Michael Bloomfield - Don't Say That I Ain't Your Man! (1994)

01. I've Got You In The Palm Of My Hand 
02. Last Night 
03. Feel So Good 
04. Goin Down Slow 
05. I Got My Mojo Working 
06. Born In Chicago 
07. Work Song 
08. Killing Floor 
09. Alberts Shuffle 
10. Stop 
11. Mary Ann 
12. Dont Throw Your Love On Me So Strong 
13. Dont Think About It Baby 
14. It Takes Time 
15. Carmelita Skiffle

Musicians:
Michael Bloomfield – guitar, vocals
Michael Johnson – guitar
Michael Melford – guitar
Fred Olsen – guitar
Orville Rhodes – guitar (steel)
Paul Butterfield – harmonica, vocals
Charlie Musselwhite - harmonica
Michael Fonfara – keyboards
Brian Friedman – piano
Barry Thomas Goldberg – keyboards, piano (electric)
Ira Kamin – organ, piano
Al Kooper – organ, piano
Mark Naftalin – organ, piano
Ron Ruby – organ
Richard Santi – accordion
Jerome Arnold – bass
Harvey Brooks – bass
John Kahn – bass
Sid Warner – bass
Billy Davenport – drums
Fast Eddie Hoh – drums
Bob Jones – drums
Norman Mayell – drums
Skip Prokop – drums
Dino Andino – congas
Nick Gravenites – percussion, vocals
Marcus Doubleday - trumpet
John Wilmeth – trumpet
Gerald Oshita – sax (baritone, tenor)
Herbie Rich – piano, sax (tenor)
Rev. Ron Stallings – sax (tenor)
Peter Strazza – sax (tenor)
Mark Teel – sax (baritone)
Ace of Cups – vocals
Diane Tribuno - vocals

Fifteen tracks covering the pioneering blues-rock guitarist's '60s work, which was by far his best and most influential. Bloomfield worked with a bunch of bands during the decade, and the compilation flits rather hurriedly from his contributions to The Paul Butterfield Blues Band and Electric Flag, to his collaborations with Al Kooper, and some of his late-'60s solo tracks (none of his groundbreaking mid-'60s work with Dylan is here). Collectors will be interested in the first five songs, which date from previously unreleased sessions produced by John Hammond in late 1964 and early 1965. Featuring Charlie Musselwhite on harmonica, this pre-Butterfield Blues Band outfit plays convincingly, but the material is standard-issue, and Bloomfield's vocals are thin and weak (they didn't improve much over time). As befits Bloomfield's considerable but erratic talent, this is an interesting but erratic compilation; seek out the first two Paul Butterfield albums for a more cohesive showcase of his skills. ---Richie Unterberger, Rovi

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