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Super Session is an album by singer and multi-instrumentalist Al Kooper, with guitarists Mike Bloomfield on the first half and Stephen Stills on the second half. Released by Columbia Records in 1968, it peaked at No. 12 on the Billboard 200 during a 37-week chart stay and was certified gold by RIAA.
Music from Free Creek is an album from a series of 1969 "super session" recordings by Free Creek, a group composed of a number of internationally renowned musical artists of the time, including Jeff Beck, Eric Clapton, Keith Emerson, Buzz Feiten, Mitch Mitchell and Linda Ronstadt.
The Live Adventures of Mike Bloomfield and Al Kooper is a double album recorded at the Fillmore West venue; the album is a successor to the studio album Super Session, which included Stephen Stills in addition to Bloomfield and Kooper, and had achieved commercial and critical success earlier in 1968.
Kooper produced a number of one-off collaboration albums, such as the Super Session album that saw him work separately with guitarists Mike Bloomfield and Stephen Stills. In the 1970s Kooper was a successful manager and producer, recording Lynyrd Skynyrd's first three albums. He has had a successful solo career, writing music for film ...
I Stand Alone is the debut album by the American singer-songwriter Al Kooper, issued in 1969 on Columbia Records. [1] It was recorded after his collaboration with Michael Bloomfield and Stephen Stills on the 1968 album Super Session .
Kooper Session is the second-in-line of the Super Session albums featuring singer-songwriter Al Kooper. Joining Kooper in the guitar slot is 15-year-old phenomenon Shuggie Otis, son of rhythm and blues pioneer Johnny Otis. [1]
The result was Super Session, a jam album that spotlighted Bloomfield's guitar skills on one side. [1] Bloomfield, who suffered from insomnia, left the sessions after the first day. Guitarist Stephen Stills completed the album with Kooper. It received excellent reviews and became the best-selling album of Bloomfield's career. [1]
Super Session reached number eleven in the album chart and became one of Columbia's best-selling albums of the late 1960s. [34] It was also the best-selling album of both Bloomfield's and Kooper's careers and Stills' first gold record. Although Hoh had already played drums on several well-known songs, he was relatively unknown to audiences. [35]
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