Chords for The Michael Bloomfield Story - part 1
Tempo:
104.1 bpm
Chords used:
E
G
Am
F
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [A]
[E] [Am]
It was a time when things were [D] beginning to happen.
The president had been shot, the war was a growing part of the evening [Am] news, the [D] South
was in turmoil, [Am] and American music was discovering its roots and reinventing itself.
[D] Things were changing.
A revolution was coming, and many of its [C] conspirators hailed from the Midwest.
[Dm]
One in particular would change the [Am] way a generation [D] thought about [Am] music making.
His name was Michael Bloomfield.
[Em] [E]
[Abm] [Gbm] [Em]
[E] [A] [E] [B] The [E] son of a wealthy industrial kitchen supply manufacturer [A] and a former actress and beauty
[E] queen, Michael Bloomfield was a child of privilege.
[G]
Born in [E] Chicago in [A] 1943, he [E] grew up on Lake [Bm] Michigan's affluent North Shore [E] and was expected
to follow his father into business.
But his passion lay elsewhere.
Bloomfield loved [Abm] the guitar, [B] and he especially loved the music [Em] he heard on [E] Chicago's South
Side, music [B] called the blues.
[G]
[Em] [G]
[D] [G] In the summer of 1964, Bloomfield [Am] traveled to New York City.
[G] He had been to the Big Apple before and was eager to test his mettle [C] as a guitar player
[Em] in the city's vibrant folk music scene.
He knew there were few musicians who could play [A] with his skill and dexterity.
[D] With him went his friend and frequent musical collaborator, [G] Charlie Musselwhite.
Musselwhite, a young harmonica player and guitarist from Memphis, had met Bloomfield
at the Jazz Record Mart in Chicago.
The two had been playing at a coffeehouse in Old Town called The Fickle Pickle, and
they often had a trio with blues [Dm] legend [C] Big Joe Williams.
[G] [D] [G]
[Am] [N]
[B] [E]
By [A] the summer of [E] 1964, Big Joe was gone, and Bloomfield and Musselwhite began playing at
a bar on Wells [A] Street called Big John's.
Chicago's folk scene was vital and [Gb] happening, [E] but New York was where all the big stars were,
and where most of the record [B] companies were too.
Michael Bloomfield wanted to make a record, and he knew New York was the place for that.
[Eb] [G] [Ab]
[G] [F] [Bb] [Eb] [Ab]
New York in 1964 [F] was filled with [Bb] music, [E] but in Greenwich Village, [Bb] the sounds most frequently
heard were those of traditional acoustic music.
[Eb] What began as [Bb] a revival on college campuses [B] in the late 50s had reached full [G] flower a
decade later in the many folk clubs and coffeehouses that could be found in [N] Lower Manhattan.
In Washington Square Park, amateur folk enthusiasts gathered every Sunday to [C] sing and [F] trade songs.
[B] Bloomfield came to New York to play music, but he was also keen on finding a record company,
and he thought that Folkways Records would be the perfect label for him.
Folkways had been started in 1948 by Moses Ash, an immigrant from Warsaw and the son
of a famous Polish novelist.
[E] He had recorded such luminaries as Woody Guthrie, Pete Seeger, Lead Belly, [Db] and Sonny Terry,
and Brownie [E] McGee, and through Folkways had brought folk music into [Em] the American mainstream.
Bloomfield [Dbm] gave Ash a tape and never [Bm] heard from him again.
[A] While he was [C] in New York, Michael [Db] spent some time with a friend he'd met several years
earlier in Chicago.
[Ab] The son of a famed Columbia producer and A&R man, John Hammond Jr.
was an aspiring blues singer.
He was staying at his family's Manhattan Brownstone that summer, and he invited Bloomfield and
Chari Musselwhite to join him.
Hammond [Db] was a frequent [Ab] performer at the Café a Go [Db] Go, and he would ask Michael to sit in on occasion.
He also asked Bloomfield and Musselwhite to go into the studio with him [Ab] that June.
He was going to make a record for Vanguard, his third, [Db] and he wanted the Chicagoans to
be [Ab] part of it.
This time Hammond was going [B] to try [Abm] something different.
His new record [F] would be an electric blues album made entirely by young white musicians like himself.
Hammond's father, John Hammond Sr.,
had offices in the massive CBS building on 53rd
Street, home to Columbia Records.
[D]
[G] A powerful figure in the history of the company and in American music in general, the elder
Hammond had been credited with discovering Count [Bb] Basie, Billie Holiday, Benny Goodman,
and many other jazz greats.
[Eb] [F] It was at those offices that a young [G] adman and [Bb] promoter from Chicago visited him in the
[Db] summer of [Am] 1964.
[Gm] In his early twenties, Joel Harlib had the ambition of a man twice his age.
As the manager of the Fickle Pickle, he had seen that Michael Bloomfield had marketable
talent, so he eagerly signed on as the [Ab] guitarist manager.
He was determined to advance his client's career, and so, when he visited New York that
summer, he made a cold call on the legendary Hammond, Bloomfield, demos in hand.
[C] [Am]
Hammond listened, [E] [Am] and to Harlib's delight, very much liked what he heard.
[E] [Am] But first he wanted to hear [F] this fleet-fingered [C] guitarist with a band, [D] and then they'd talk about [Am] possibilities.
[G] [E] [A]
I got Michael to [E] record on an album I [Am] made in 64, [F] called So Many [G] Roads.
[A] [Ab] And I had been playing with a band up in [G] Toronto [E] called Leavon and the Hawks, [A] and the guitar
[Ab] player was Robbie [G] Robertson.
To show you what kind of respect [E] Michael had for people [G] in general, [Ab] you know, I mean, he
heard Robbie play and he [E] didn't want to play guitar.
He played [Ab] piano on the record, [F] and I mean, he [G] just, he was just, he was just a great guy.
[F]
[B] [C] The [F] Septet finished the entire record in [Gb] one afternoon [Eb] in the studio.
But [F] Vanguard held the album's release for a year, only [Eb] issuing So [F] Many Roads in 1965,
and thus denying [Bb] Hammond credit for being the first to record a white electric blues album.
Bloomfield's contribution went largely [Eb] unnoticed, but [Fm] by that time, [Ab] he was on to [F] bigger things.
[E] [Am]
It was a time when things were [D] beginning to happen.
The president had been shot, the war was a growing part of the evening [Am] news, the [D] South
was in turmoil, [Am] and American music was discovering its roots and reinventing itself.
[D] Things were changing.
A revolution was coming, and many of its [C] conspirators hailed from the Midwest.
[Dm]
One in particular would change the [Am] way a generation [D] thought about [Am] music making.
His name was Michael Bloomfield.
[Em] [E]
[Abm] [Gbm] [Em]
[E] [A] [E] [B] The [E] son of a wealthy industrial kitchen supply manufacturer [A] and a former actress and beauty
[E] queen, Michael Bloomfield was a child of privilege.
[G]
Born in [E] Chicago in [A] 1943, he [E] grew up on Lake [Bm] Michigan's affluent North Shore [E] and was expected
to follow his father into business.
But his passion lay elsewhere.
Bloomfield loved [Abm] the guitar, [B] and he especially loved the music [Em] he heard on [E] Chicago's South
Side, music [B] called the blues.
[G]
[Em] [G]
[D] [G] In the summer of 1964, Bloomfield [Am] traveled to New York City.
[G] He had been to the Big Apple before and was eager to test his mettle [C] as a guitar player
[Em] in the city's vibrant folk music scene.
He knew there were few musicians who could play [A] with his skill and dexterity.
[D] With him went his friend and frequent musical collaborator, [G] Charlie Musselwhite.
Musselwhite, a young harmonica player and guitarist from Memphis, had met Bloomfield
at the Jazz Record Mart in Chicago.
The two had been playing at a coffeehouse in Old Town called The Fickle Pickle, and
they often had a trio with blues [Dm] legend [C] Big Joe Williams.
[G] [D] [G]
[Am] [N]
[B] [E]
By [A] the summer of [E] 1964, Big Joe was gone, and Bloomfield and Musselwhite began playing at
a bar on Wells [A] Street called Big John's.
Chicago's folk scene was vital and [Gb] happening, [E] but New York was where all the big stars were,
and where most of the record [B] companies were too.
Michael Bloomfield wanted to make a record, and he knew New York was the place for that.
[Eb] [G] [Ab]
[G] [F] [Bb] [Eb] [Ab]
New York in 1964 [F] was filled with [Bb] music, [E] but in Greenwich Village, [Bb] the sounds most frequently
heard were those of traditional acoustic music.
[Eb] What began as [Bb] a revival on college campuses [B] in the late 50s had reached full [G] flower a
decade later in the many folk clubs and coffeehouses that could be found in [N] Lower Manhattan.
In Washington Square Park, amateur folk enthusiasts gathered every Sunday to [C] sing and [F] trade songs.
[B] Bloomfield came to New York to play music, but he was also keen on finding a record company,
and he thought that Folkways Records would be the perfect label for him.
Folkways had been started in 1948 by Moses Ash, an immigrant from Warsaw and the son
of a famous Polish novelist.
[E] He had recorded such luminaries as Woody Guthrie, Pete Seeger, Lead Belly, [Db] and Sonny Terry,
and Brownie [E] McGee, and through Folkways had brought folk music into [Em] the American mainstream.
Bloomfield [Dbm] gave Ash a tape and never [Bm] heard from him again.
[A] While he was [C] in New York, Michael [Db] spent some time with a friend he'd met several years
earlier in Chicago.
[Ab] The son of a famed Columbia producer and A&R man, John Hammond Jr.
was an aspiring blues singer.
He was staying at his family's Manhattan Brownstone that summer, and he invited Bloomfield and
Chari Musselwhite to join him.
Hammond [Db] was a frequent [Ab] performer at the Café a Go [Db] Go, and he would ask Michael to sit in on occasion.
He also asked Bloomfield and Musselwhite to go into the studio with him [Ab] that June.
He was going to make a record for Vanguard, his third, [Db] and he wanted the Chicagoans to
be [Ab] part of it.
This time Hammond was going [B] to try [Abm] something different.
His new record [F] would be an electric blues album made entirely by young white musicians like himself.
Hammond's father, John Hammond Sr.,
had offices in the massive CBS building on 53rd
Street, home to Columbia Records.
[D]
[G] A powerful figure in the history of the company and in American music in general, the elder
Hammond had been credited with discovering Count [Bb] Basie, Billie Holiday, Benny Goodman,
and many other jazz greats.
[Eb] [F] It was at those offices that a young [G] adman and [Bb] promoter from Chicago visited him in the
[Db] summer of [Am] 1964.
[Gm] In his early twenties, Joel Harlib had the ambition of a man twice his age.
As the manager of the Fickle Pickle, he had seen that Michael Bloomfield had marketable
talent, so he eagerly signed on as the [Ab] guitarist manager.
He was determined to advance his client's career, and so, when he visited New York that
summer, he made a cold call on the legendary Hammond, Bloomfield, demos in hand.
[C] [Am]
Hammond listened, [E] [Am] and to Harlib's delight, very much liked what he heard.
[E] [Am] But first he wanted to hear [F] this fleet-fingered [C] guitarist with a band, [D] and then they'd talk about [Am] possibilities.
[G] [E] [A]
I got Michael to [E] record on an album I [Am] made in 64, [F] called So Many [G] Roads.
[A] [Ab] And I had been playing with a band up in [G] Toronto [E] called Leavon and the Hawks, [A] and the guitar
[Ab] player was Robbie [G] Robertson.
To show you what kind of respect [E] Michael had for people [G] in general, [Ab] you know, I mean, he
heard Robbie play and he [E] didn't want to play guitar.
He played [Ab] piano on the record, [F] and I mean, he [G] just, he was just, he was just a great guy.
[F]
[B] [C] The [F] Septet finished the entire record in [Gb] one afternoon [Eb] in the studio.
But [F] Vanguard held the album's release for a year, only [Eb] issuing So [F] Many Roads in 1965,
and thus denying [Bb] Hammond credit for being the first to record a white electric blues album.
Bloomfield's contribution went largely [Eb] unnoticed, but [Fm] by that time, [Ab] he was on to [F] bigger things.
Key:
E
G
Am
F
Ab
E
G
Am
[D] _ _ _ _ _ [A] _ _ _
_ _ _ _ _ _ [E] _ [Am] _
_ It was a time when things were [D] beginning to happen.
The president had been shot, the war was a growing part of the evening [Am] news, the [D] South
was in turmoil, [Am] and American music was discovering its roots and reinventing itself.
[D] Things were changing.
A revolution was coming, and many of its [C] conspirators hailed from the Midwest.
_ [Dm]
One in particular would change the [Am] way a generation [D] thought about [Am] music making.
His name was Michael Bloomfield. _ _ _
_ [Em] _ _ _ _ [E] _ _ _
[Abm] _ _ [Gbm] _ _ _ _ [Em] _ _
_ [E] _ _ [A] _ [E] _ _ [B] The [E] son of a wealthy industrial kitchen supply manufacturer [A] and a former actress and beauty
[E] queen, Michael Bloomfield was a child of privilege.
[G]
Born in [E] Chicago in [A] 1943, he [E] grew up on Lake [Bm] Michigan's affluent North Shore [E] and was expected
to follow his father into business.
But his passion lay elsewhere.
Bloomfield loved [Abm] the guitar, [B] and he especially loved the music [Em] he heard on [E] Chicago's South
Side, music [B] called the blues.
_ [G] _
_ [Em] _ _ [G] _ _ _ _ _
_ _ _ _ [D] [G] In the summer of 1964, Bloomfield [Am] traveled to New York City.
[G] He had been to the Big Apple before and was eager to test his mettle [C] as a guitar player
[Em] in the city's vibrant folk music scene.
He knew there were few musicians who could play [A] with his skill and dexterity.
_ [D] With him went his friend and frequent musical collaborator, [G] Charlie Musselwhite.
Musselwhite, a young harmonica player and guitarist from Memphis, had met Bloomfield
at the Jazz Record Mart in Chicago.
The two had been playing at a coffeehouse in Old Town called The Fickle Pickle, and
they often had a trio with blues [Dm] legend [C] Big Joe Williams.
[G] _ _ [D] _ [G] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Am] _ [N] _ _ _ _
_ _ _ [B] _ _ [E] _ _ _
By [A] the summer of [E] 1964, Big Joe was gone, and Bloomfield and Musselwhite began playing at
a bar on Wells [A] Street called Big John's.
Chicago's folk scene was vital and [Gb] happening, [E] but New York was where all the big stars were,
and where most of the record [B] companies were too.
Michael Bloomfield wanted to make a record, and he knew New York was the place for that.
[Eb] _ _ [G] _ [Ab] _ _ _
[G] _ [F] _ _ [Bb] _ _ [Eb] _ [Ab] _ _
_ _ New York in 1964 [F] was filled with [Bb] music, [E] but in Greenwich Village, [Bb] the sounds most frequently
heard were those of traditional acoustic music.
[Eb] What began as [Bb] a revival on college campuses [B] in the late 50s had reached full [G] flower a
decade later in the many folk clubs and coffeehouses that could be found in [N] Lower Manhattan.
In Washington Square Park, amateur folk enthusiasts gathered every Sunday to [C] sing and [F] trade songs.
_ _ [B] _ Bloomfield came to New York to play music, but he was also keen on finding a record company,
and he thought that Folkways Records would be the perfect label for him. _
Folkways had been started in 1948 by Moses Ash, an immigrant from Warsaw and the son
of a famous Polish novelist.
[E] He had recorded such luminaries as Woody Guthrie, Pete Seeger, Lead Belly, [Db] and Sonny Terry,
and Brownie [E] McGee, and through Folkways had brought folk music into [Em] the American mainstream.
Bloomfield [Dbm] gave Ash a tape and never [Bm] heard from him again.
[A] _ While he was [C] in New York, Michael [Db] spent some time with a friend he'd met several years
earlier in Chicago.
[Ab] The son of a famed Columbia producer and A&R man, John Hammond Jr.
was an aspiring blues singer.
He was staying at his family's Manhattan Brownstone that summer, and he invited Bloomfield and
Chari Musselwhite to join him.
Hammond [Db] was a frequent [Ab] performer at the Café a Go [Db] Go, and he would ask Michael to sit in on occasion.
He also asked Bloomfield and Musselwhite to go into the studio with him [Ab] that June.
He was going to make a record for Vanguard, his third, [Db] and he wanted the Chicagoans to
be [Ab] part of it.
This time Hammond was going [B] to try [Abm] something different.
His new record [F] would be an electric blues album made entirely by young white musicians like himself.
Hammond's father, John Hammond Sr.,
had offices in the massive CBS building on 53rd
Street, home to Columbia Records.
_ [D]
[G] A powerful figure in the history of the company and in American music in general, the elder
Hammond had been credited with discovering Count [Bb] Basie, Billie Holiday, Benny Goodman,
and many other jazz greats.
[Eb] [F] It was at those offices that a young [G] adman and [Bb] promoter from Chicago visited him in the
[Db] summer of [Am] 1964.
[Gm] In his early twenties, Joel Harlib had the ambition of a man twice his age.
As the manager of the Fickle Pickle, he had seen that Michael Bloomfield had marketable
talent, so he eagerly signed on as the [Ab] guitarist manager.
He was determined to advance his client's career, and so, when he visited New York that
summer, he made a cold call on the legendary Hammond, Bloomfield, demos in hand.
_ [C] _ _ [Am] _
Hammond listened, [E] [Am] and to Harlib's delight, very much liked what he heard.
[E] [Am] But first he wanted to hear [F] this fleet-fingered [C] guitarist with a band, [D] and then they'd talk about [Am] possibilities.
[G] _ [E] _ _ [A]
I got Michael to [E] record on an album I [Am] made in 64, [F] called So Many [G] Roads.
[A] [Ab] And I had been playing with a band up in [G] Toronto [E] called Leavon and the Hawks, [A] and the guitar
[Ab] player was Robbie _ [G] Robertson.
_ To show you what kind of respect [E] Michael had for people [G] in general, [Ab] you know, I mean, he
heard Robbie play and he [E] didn't want to play guitar.
He played [Ab] piano on the record, [F] and I mean, he [G] just, he was just, _ he _ was just a great guy.
[F] _ _ _
_ _ _ _ [B] _ _ [C] The [F] Septet finished the entire record in [Gb] one afternoon [Eb] in the studio.
But [F] Vanguard held the album's release for a year, only [Eb] issuing So [F] Many Roads in 1965,
and thus denying [Bb] Hammond credit for being the first to record a white electric blues album.
Bloomfield's contribution went largely [Eb] unnoticed, but [Fm] by that time, [Ab] he was on to [F] bigger things. _ _
_ _ _ _ _ _ [E] _ [Am] _
_ It was a time when things were [D] beginning to happen.
The president had been shot, the war was a growing part of the evening [Am] news, the [D] South
was in turmoil, [Am] and American music was discovering its roots and reinventing itself.
[D] Things were changing.
A revolution was coming, and many of its [C] conspirators hailed from the Midwest.
_ [Dm]
One in particular would change the [Am] way a generation [D] thought about [Am] music making.
His name was Michael Bloomfield. _ _ _
_ [Em] _ _ _ _ [E] _ _ _
[Abm] _ _ [Gbm] _ _ _ _ [Em] _ _
_ [E] _ _ [A] _ [E] _ _ [B] The [E] son of a wealthy industrial kitchen supply manufacturer [A] and a former actress and beauty
[E] queen, Michael Bloomfield was a child of privilege.
[G]
Born in [E] Chicago in [A] 1943, he [E] grew up on Lake [Bm] Michigan's affluent North Shore [E] and was expected
to follow his father into business.
But his passion lay elsewhere.
Bloomfield loved [Abm] the guitar, [B] and he especially loved the music [Em] he heard on [E] Chicago's South
Side, music [B] called the blues.
_ [G] _
_ [Em] _ _ [G] _ _ _ _ _
_ _ _ _ [D] [G] In the summer of 1964, Bloomfield [Am] traveled to New York City.
[G] He had been to the Big Apple before and was eager to test his mettle [C] as a guitar player
[Em] in the city's vibrant folk music scene.
He knew there were few musicians who could play [A] with his skill and dexterity.
_ [D] With him went his friend and frequent musical collaborator, [G] Charlie Musselwhite.
Musselwhite, a young harmonica player and guitarist from Memphis, had met Bloomfield
at the Jazz Record Mart in Chicago.
The two had been playing at a coffeehouse in Old Town called The Fickle Pickle, and
they often had a trio with blues [Dm] legend [C] Big Joe Williams.
[G] _ _ [D] _ [G] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Am] _ [N] _ _ _ _
_ _ _ [B] _ _ [E] _ _ _
By [A] the summer of [E] 1964, Big Joe was gone, and Bloomfield and Musselwhite began playing at
a bar on Wells [A] Street called Big John's.
Chicago's folk scene was vital and [Gb] happening, [E] but New York was where all the big stars were,
and where most of the record [B] companies were too.
Michael Bloomfield wanted to make a record, and he knew New York was the place for that.
[Eb] _ _ [G] _ [Ab] _ _ _
[G] _ [F] _ _ [Bb] _ _ [Eb] _ [Ab] _ _
_ _ New York in 1964 [F] was filled with [Bb] music, [E] but in Greenwich Village, [Bb] the sounds most frequently
heard were those of traditional acoustic music.
[Eb] What began as [Bb] a revival on college campuses [B] in the late 50s had reached full [G] flower a
decade later in the many folk clubs and coffeehouses that could be found in [N] Lower Manhattan.
In Washington Square Park, amateur folk enthusiasts gathered every Sunday to [C] sing and [F] trade songs.
_ _ [B] _ Bloomfield came to New York to play music, but he was also keen on finding a record company,
and he thought that Folkways Records would be the perfect label for him. _
Folkways had been started in 1948 by Moses Ash, an immigrant from Warsaw and the son
of a famous Polish novelist.
[E] He had recorded such luminaries as Woody Guthrie, Pete Seeger, Lead Belly, [Db] and Sonny Terry,
and Brownie [E] McGee, and through Folkways had brought folk music into [Em] the American mainstream.
Bloomfield [Dbm] gave Ash a tape and never [Bm] heard from him again.
[A] _ While he was [C] in New York, Michael [Db] spent some time with a friend he'd met several years
earlier in Chicago.
[Ab] The son of a famed Columbia producer and A&R man, John Hammond Jr.
was an aspiring blues singer.
He was staying at his family's Manhattan Brownstone that summer, and he invited Bloomfield and
Chari Musselwhite to join him.
Hammond [Db] was a frequent [Ab] performer at the Café a Go [Db] Go, and he would ask Michael to sit in on occasion.
He also asked Bloomfield and Musselwhite to go into the studio with him [Ab] that June.
He was going to make a record for Vanguard, his third, [Db] and he wanted the Chicagoans to
be [Ab] part of it.
This time Hammond was going [B] to try [Abm] something different.
His new record [F] would be an electric blues album made entirely by young white musicians like himself.
Hammond's father, John Hammond Sr.,
had offices in the massive CBS building on 53rd
Street, home to Columbia Records.
_ [D]
[G] A powerful figure in the history of the company and in American music in general, the elder
Hammond had been credited with discovering Count [Bb] Basie, Billie Holiday, Benny Goodman,
and many other jazz greats.
[Eb] [F] It was at those offices that a young [G] adman and [Bb] promoter from Chicago visited him in the
[Db] summer of [Am] 1964.
[Gm] In his early twenties, Joel Harlib had the ambition of a man twice his age.
As the manager of the Fickle Pickle, he had seen that Michael Bloomfield had marketable
talent, so he eagerly signed on as the [Ab] guitarist manager.
He was determined to advance his client's career, and so, when he visited New York that
summer, he made a cold call on the legendary Hammond, Bloomfield, demos in hand.
_ [C] _ _ [Am] _
Hammond listened, [E] [Am] and to Harlib's delight, very much liked what he heard.
[E] [Am] But first he wanted to hear [F] this fleet-fingered [C] guitarist with a band, [D] and then they'd talk about [Am] possibilities.
[G] _ [E] _ _ [A]
I got Michael to [E] record on an album I [Am] made in 64, [F] called So Many [G] Roads.
[A] [Ab] And I had been playing with a band up in [G] Toronto [E] called Leavon and the Hawks, [A] and the guitar
[Ab] player was Robbie _ [G] Robertson.
_ To show you what kind of respect [E] Michael had for people [G] in general, [Ab] you know, I mean, he
heard Robbie play and he [E] didn't want to play guitar.
He played [Ab] piano on the record, [F] and I mean, he [G] just, he was just, _ he _ was just a great guy.
[F] _ _ _
_ _ _ _ [B] _ _ [C] The [F] Septet finished the entire record in [Gb] one afternoon [Eb] in the studio.
But [F] Vanguard held the album's release for a year, only [Eb] issuing So [F] Many Roads in 1965,
and thus denying [Bb] Hammond credit for being the first to record a white electric blues album.
Bloomfield's contribution went largely [Eb] unnoticed, but [Fm] by that time, [Ab] he was on to [F] bigger things. _ _