John Mayall
Biography
As the elder statesman of British blues, it is John Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s.
Mayall's personnel has tended to overshadow his own considerable abilities. Only an adequate singer, the multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall himself was in his thirties by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material (which ranged from good to humdrum), revamping his lineup with unnerving regularity, and constantly experimenting within his basic blues format. Some of these experiments (with jazz-rock and an album on which he played all the instruments except drums) were forgettable; others, like his foray into acoustic music in the late '60s, were quite successful. Mayall's output has caught some flak from critics for paling next to the real African-American deal, but much of his vintage work -- if weeded out selectively -- is quite strong; especially his legendary 1966 LP with Eric Clapton, which both launched Clapton into stardom and kick-started the blues boom into full gear in England.
When Clapton joined the Bluesbreakers in 1965, Mayall had already been recording for a year, and been performing professionally long before that. Originally based in Manchester, Mayall moved to London in 1963 on the advice of British blues godfather Alexis Korner, who thought a living could be made playing the blues in the bigger city. Tracing a path through his various lineups of the '60s is a daunting task. At least 15 different editions of the Bluesbreakers were in existence from January 1963 through mid-1970. Some notable musicians (like guitarist Davy Graham, Mick Fleetwood, and Jack Bruce) passed through for little more than a cup of coffee; Mayall's longest-running employee, bassist John McVie, lasted about four years. The Bluesbreakers, like Fairport Convention or the Fall, was more a concept than an ongoing core. Mayall, too, had the reputation of being a difficult and demanding employer, willing to give musicians their walking papers as his music evolved, although he also imparted invaluable schooling to them while the associations lasted.
Mayall recorded his debut single in early 1964; he made his first album, a live affair, near the end of the year. At this point the Bluesbreakers had a more pronounced R&B influence than would be exhibited on their most famous recordings, somewhat in the mold of younger combos like the Animals and Rolling Stones, but the Bluesbreakers would take a turn for the purer with the recruitment of Eric Clapton in the spring of 1965. Clapton had left the Yardbirds in order to play straight blues, and the Bluesbreakers allowed him that freedom (or stuck to well-defined restrictions, depending upon your viewpoint). Clapton began to inspire reverent acclaim as one of Britain's top virtuosos, as reflected in the famous "Clapton is God" graffiti that appeared in London in the mid-'60s.
In professional terms, though, 1965 wasn't the best of times for the group, which had been dropped by Decca. Clapton even left the group for a few months for an odd trip to Greece, leaving Mayall to straggle on with various fill-ins, including Peter Green. Clapton did return in late 1965, around the time an excellent blues-rock single, "I'm Your Witchdoctor" (with searing sustain-laden guitar riffs), was issued on Immediate. By early 1966, the band was back on Decca, and recorded its landmark Bluesbreakers LP. This was the album that, with its clean, loud, authoritative licks, firmly established Clapton as a guitar hero, on both reverent covers of tunes by the likes of Otis Rush and Freddie King and decent originals by Mayall himself. The record was also an unexpected commercial success, making the Top Ten in Britain. From that point on, in fact, Mayall became one of the first rock musicians to depend primarily upon the LP market; he recorded plenty of singles throughout the '60s, but none of them came close to becoming a hit.
Clapton left the Bluesbreakers in mid-1966 to form Cream with Jack Bruce, who had played with Mayall briefly in late 1965. Mayall turned quickly to Peter Green, who managed the difficult feat of stepping into Clapton's shoes and gaining respect as a player of roughly equal imagination and virtuosity, although his style was quite distinctly his own. Green recorded one LP with Mayall, A Hard Road, and several singles, sometimes writing material and taking some respectable lead vocals. Green's talents, like those of Clapton, were too large to be confined by sideman status, and in mid-1967 he left to form a successful band of his own, Fleetwood Mac.
Mayall then enlisted 19-year-old Mick Taylor; remarkably, despite the consecutive departures of two star guitarists, Mayall maintained a high level of popularity. The late '60s were also a time of considerable experimentation for the Bluesbreakers, which moved into a form of blues-jazz-rock fusion with the addition of a horn section, and then a retreat into mellower, acoustic-oriented music. Mick Taylor, the last of the famous triumvirate of Mayall-bred guitar heroes, left in mid-1969 to join the Rolling Stones. Yet in a way Mayall was thriving more than ever, as the U.S. market, which had been barely aware of him in the Clapton era, was beginning to open up for his music. In fact, at the end of the 1960s, Mayall moved to Los Angeles. Released in 1969, The Turning Point, a live, all-acoustic affair, was a commercial and artistic high point.
In America at least, Mayall continued to be pretty popular in the early '70s. His band was no more stable than ever; at various points some American musicians flitted in and out of the Bluesbreakers, including Harvey Mandel, Canned Heat bassist Larry Taylor, and Don "Sugarcane" Harris. Although he's released numerous albums since and remained a prodigiously busy and reasonably popular live act, his post-1970 output generally hasn't matched the quality of his '60s work. Following collaborations with an unholy number of guest celebrities, in the early '80s he re-teamed with a couple of his more renowned vets, John McVie and Mick Taylor, for a tour. It's the '60s albums that you want, though there's little doubt that Mayall has over the past decades done a great deal to popularize the blues all over the globe, whether or not the music has meant much on record. ~ Richie Unterberger, All Music Guide
Selected Discography

Tough
2009

The Private Collection - Live
2006

Bluesbreakers: With Eric Clapton
2001

USA Union
1970

The Turning Point (Live)
1969
Sumpthins missing?...l e t s see, he's what? British...
Employs great session folk to stretch out his view of the Blues. |
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I did a sound gig for the 1985 Big Orange Festival in Miami. Mayall was one of the artists. He had Coco Montoya playing with him at that time. Saw him on Maui in 2006 with Buddy Whittington. Buddy is one of the best players out there.(he can hold his own w/Clapton) Mick Fleetwood came up out of the audience to take over on the drum kit for the last three songs. The band kicked into high gear and blew the roof off the place! The whole dynamic of the band changed and they went to the stratosphere !
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Like Ellinton,Bas i e , T h e Dorseys,Good m a n , J a m e s . Who thru them,so many great indivuals became famous on their own, Mayall had Page,Taylor, M c V i e , F l e e t w o o d , Green,Bruce, and "God" playing with him and left to become great on their own. While he just keeps on being John Mayall one of the greatest band leaders of all time.Bless him.
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Just saw a concert last night with Jorma,Ruthie Brown, and Robben Ford. John Mayall would have been an excellent addition to the show, can't wait to see him live.
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It must be strange to have a name that is so famous. And yet, no one's really ever heard your music.
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I saw Mayall live in Boston at The Paradise with Mick Taylor, and two of the McVie,s.He was about five feet in front of me and played guitar,blues harp,keyboar d , and sang.He was note perfect and the band was very tight.One of the best live performances I have ever seen.He is a perfectionis t and seeing him made me apreciate how talented he really is.
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this is mr buddy whittington from ft. worth playing and singing this one. one of the best guitarists out there. he is the current guitar player in the bluesbreaker s . give him the credit he deserves. he's an amazingly talented individual.
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THANK YOU JOHN FOR HANGING IN THERE WHILE RAISING ALL THOSE BABIES. 5*S AND KEEP ROCKING.SCD
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I have loved him for at least 40 years and he never ceases to be amazing
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Are the albums recorded on the "Polydor" label still available? I would also like to find his early import albums, one which had "Broken Wing" and Marsha's Mood" on it. I believe Peter Green, and his version of "Supernatura l were on it as well. I think it was called "The Blues Alone".
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I am trying to find the song "the Bear" from the record "Blues From Laurel Canyon". Anybody have it?
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Saw John Mayall on the turning Point tour in 69 at Capital Theater in Port Chester N.Y. with Jon Mark, Johnny Almond & Steve Thompson. Great Show!!!! With no Drums. Had 3rd row center seats Mayall did a 30 minute version of "California and when he ended my buddy Dennis got up and yelled california . Mayall looked straight at him as if he was nuts. Its was a good night back in 69. The father of British Blues hands down!!!!!
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Brings back good memories form my younger days. Thanks for reminding me that these songs exist. Life gets in the way. Some of the best music ever.
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