(A.C.E.M. 11-68 instead 3-68 in my version) Rest is the same

Blues Breakers John Mayall With Eric ClaptonThe purist British Blues Rock Band whose music closely to the sound of Chicago Blues.This 1968 Netherland Decca pressing comes with different cover ... there's no Beano comics here.It is a thrilling experience to hear Blues Breakers jamming on this period.Phenomenal record from one of premier blues group from England .

Same catalog # and all info same on j-card I have an edition with a tan tape w/ yellow labels. Looking to sell, anyone familiar?

I just found this copy at a store in NJ, US. Does anyone know the year of this release? Also I noticed the phonograph copyright year of 1965 but the original release was 1966. This makes me confused. Any help is appreciated.

This brand also has 6 albums. the year of 1999-2000 may be.

I have a copy of this album. Purchased new on eBay 2006 from UK seller. Sorry can't help with the date anomoly. Almost perfect reproduction of original album but no value details

Indeed, the 1960’s were certainly some strange years. Of course The Beatles where ‘the’ group to listen to, from there it was but a single short step to The Rolling Stones, where AM Radio for the most part played a hybrid mixture of tunes designed for the masses, to be consumed without thinking. But there was an essence that lingered from much of the music of the 1950’s, and was certainly explored by Bob Dylan ... that being, ‘The Blues.’Of course I traveled with my Stones albums and listening to Dylan with the passion I did raised many eyebrows among my friends. So when I showed up at school with this Blues Breakers album, I felt that I had stepped across some sort of imaginary line that indicated unacceptable behavior. The album cover was not attractive in the least, but for me it was compelling, revealing a gritty side of life that didn’t just call to me, it shouted my name out loud. I loved this cover, a true snapshot, nothing posed [though I was to find out later that it really was extremely posed], nothing manipulated, just the guys sitting at a train stop, waiting to relentlessly move on. I got it [!] ... for once it wasn’t about the clothes, or the cool hair cuts, it was about the music. This cover was not lost to the thinking of other musicians either, it became a subliminal message for saying, “It’s not about us, it’s about the music.” This cover has been copied in many variations, with probably the most famous being by Crosby, Stills, and Nash.But it was what was inside that really got to me, this was like the music that came in on my small transistor radio during the wee hours on damp rainy nights; from places like Galveston, Baton Rouge and Memphis. I loved it, even if I couldn’t dance to it, because it settled in a fresh new spot, and I was addicted to the feeling. Oh yeah, I put the colourful scarves over the lamps in my room, creating atmosphere ... my head, neck, and shoulders developed their own relationship, and I tapped my foot in a very sexual manner. There were many changes taking place, and I was listening to the right thing at the right time.Even the most superficial spin of this disc lets you hear what all the fuss was about. It gets under my skin that John Mayall & The Bluesbreakers have so unfairly been relegated to a lesser place in musical history, when all it takes is a listen to a song like “Parchman Farm,” to show you all that Cream would ever be. All of the music found here is innovative, and fluid ... just float with “What’d I Say,” hear how wonderfully they slow it down, and those choice notes from The Beatles “Day Tripper,” never fail to put a smile on my face. It is easy to see why John Mayall has remained such a propionate figure to so many, he not only uses instruments in ways that compliment each other, but the man has chosen cover songs that compliment his original works seamlessly. This is probably the first non jazz album I had ever heard that allowed its members to stretch out with precision, traveling without wondering aimlessly.This music is as bright and fresh as the day it was recorded ... it’s timeless and will endure through the ages. It doesn’t matter what genre you dig most, this is essential listening, and has effected every musician out there in one way or another, whether they know it or not. If you don’t own this album, shame on you ... if you’ve been meaning to score yourself a copy, then by all means get out there today and do so.*** The Fun Facts: The album is also known as 'The Beano Album' because of its cover photograph showing Clapton reading The Beano, a British children's comic. Clapton stated in his autobiography that he was reading The Beano on the cover because he felt like being "uncooperative" during the photo shoot. The photographer was Derek Wedgbury and the location was near the Old Kent Road. Despite being listed on the album jacket, Eric Clapton was responsible for but one single song on the release, and even that "Double Crossing Time," was co-penned by Mayall.Originally, John Mayall intended for his second album to be also a live venture in order to capture the guitar solos performed by Eric Clapton. A set was recorded at the Flamingo Club, with Jack Bruce (with whom Clapton would subsequently work in Cream) on bass. Due to the shaky recordings of the concert and the lack luster quality of the performance, the adventure was cancelled.Review by Jenell Kesler

Came with a free BackToBlack MP3 download. The quality of this pressing is quite poor, I have to wonder where the master was sourced. Look for another release.

My copy has numerous skips fresh out of the shrink wrap and no matter how I adjust my turntable. I wonder does yours have the same problem?

I have a copy of this version, but can't figure out why this pressing seems to be so much more valuable than others pressed at the same time, seemingly no different other than pressing plant. Any help? Thanks.

The cd was reliced back in 1998, You can see it on the backside of the cd cover

Indeed, the 1960’s were certainly some strange years. Of course The Beatles where ‘the’ group to listen to, from there it was but a single short step to The Rolling Stones, where AM Radio for the most part played a hybrid mixture of tunes designed for the masses, to be consumed without thinking. But there was an essence that lingered from much of the music of the 1950’s, and was certainly explored by Bob Dylan ... that being, ‘The Blues.’Of course I traveled with my Stones albums and listening to Dylan with the passion I did raised many eyebrows among my friends. So when I showed up at school with this Blues Breakers album, I felt that I had stepped across some sort of imaginary line that indicated unacceptable behavior. The album cover was not attractive in the least, but for me it was compelling, revealing a gritty side of life that didn’t just call to me, it shouted my name out loud. I loved this cover, a true snapshot, nothing posed [though I was to find out later that it really was extremely posed], nothing manipulated, just the guys sitting at a train stop, waiting to relentlessly move on. I got it [!] ... for once it wasn’t about the clothes, or the cool hair cuts, it was about the music. This cover was not lost to the thinking of other musicians either, it became a subliminal message for saying, “It’s not about us, it’s about the music.” This cover has been copied in many variations, with probably the most famous being by Crosby, Stills, and Nash.But it was what was inside that really got to me, this was like the music that came in on my small transistor radio during the wee hours on damp rainy nights; from places like Galveston, Baton Rouge and Memphis. I loved it, even if I couldn’t dance to it, because it settled in a fresh new spot, and I was addicted to the feeling. Oh yeah, I put the colourful scarves over the lamps in my room, creating atmosphere ... my head, neck, and shoulders developed their own relationship, and I tapped my foot in a very sexual manner. There were many changes taking place, and I was listening to the right thing at the right time.Even the most superficial spin of this disc lets you hear what all the fuss was about. It gets under my skin that John Mayall & The Bluesbreakers have so unfairly been relegated to a lesser place in musical history, when all it takes is a listen to a song like “Parchman Farm,” to show you all that Cream would ever be. All of the music found here is innovative, and fluid ... just float with “What’d I Say,” hear how wonderfully they slow it down, and those choice notes from The Beatles “Day Tripper,” never fail to put a smile on my face. It is easy to see why John Mayall has remained such a propionate figure to so many, he not only uses instruments in ways that compliment each other, but the man has chosen cover songs that compliment his original works seamlessly. This is probably the first non jazz album I had ever heard that allowed its members to stretch out with precision, traveling without wondering aimlessly.This music is as bright and fresh as the day it was recorded ... it’s timeless and will endure through the ages. It doesn’t matter what genre you dig most, this is essential listening, and has effected every musician out there in one way or another, whether they know it or not. If you don’t own this album, shame on you ... if you’ve been meaning to score yourself a copy, then by all means get out there today and do so.*** The Fun Facts: The album is also known as 'The Beano Album' because of its cover photograph showing Clapton reading The Beano, a British children's comic. Clapton stated in his autobiography that he was reading The Beano on the cover because he felt like being "uncooperative" during the photo shoot. The photographer was Derek Wedgbury and the location was near the Old Kent Road. Despite being listed on the album jacket, Eric Clapton was responsible for but one single song on the release, and even that "Double Crossing Time," was co-penned by Mayall.Originally, John Mayall intended for his second album to be also a live venture in order to capture the guitar solos performed by Eric Clapton. A set was recorded at the Flamingo Club, with Jack Bruce (with whom Clapton would subsequently work in Cream) on bass. Due to the shaky recordings of the concert and the lack luster quality of the performance, the adventure was cancelled.Review by Jenell Kesler

This is not a 1966 release. The photos show a 1969 copyright on labels.

Although the production date is 1971 the label design is from 1978 at the earliest and this is a later re-issue, although there is nothing to indicate this on the labels or sleeve.

Certain albums, when looked upon in retrospect, obviously show us either a moment history proves to be on the artists side or reminds us of a moment, and event that cannot be undone. For those of us who remember life before Van Halen and what happened after their first album erupted (Many forget Eddie used to hide behind a screen when he played his leads so no-one could see what he was doing ie: no copycats!) This is the album that clearly showed where Eric Clapton was turning toward after leaving the Yardbirds. It also introduced me to a thing I had completely stayed away from- the Blues!This album is exquisite. Do yourself a favor sometime,get some friends over.. drink a beer.. maybe several...when it's late, turn out the lights, put this album on and turn it way up.. then you'll get what they were trying to create here.. that late night vibe of the 1:30 am set in those smoky little Blue's clubs you find in Chicago or other places. They accomplish this on a level of quintessence with flawless tracks that flow into one another and create a portfolio of nearly every genre of blues. Guitar, Organ, Harmonica, Voice sear into heartfelt performances from John Mayall, a seminal bluesman and Eric Clapton- there is not a bad track on the album. Part of why he got the nickname "Slowhand" is from the blistering work ddone withthe Bluesbreakers, especially in their live performances. Percussion and Bass fantastically provided by John Mc Vie, (who went on tho become a founding member of Fleetwood Mac after leaving the Bluesbreakers) and Hugie Flynt, the band is tight and effective.Notable is the Album gives the recorded singing debut of Eric Clapton in track 10, "Ramblin' on my mind"Track 7: "Key to Love", maybe Eric's tightest, best lead EVERTrack 1: "All your Love" Hits a very deep spot in your soul to speak of pain and that aching want of love. Fantastic. Eric's rifts are sublime, perfect. I mean perfect.I have listened to this album at least 500 times and highly recommend it to anyone who hasn't listened to itI consider this album to be in the top 10 all time Blue's albums

I have a copy of this album but the label on the record reads "COLLECTORS EDITION" instead of "COLLECTORS SERIES". Is it considered the same edition?

Avoid this copy, the higher frequencies sounds obviously digitally compressed with that annoying bright, and the lows has no power at all. The idea of bonus tracks is okay, but well, it just makes the pressing sounding bad with that high amount of tracks in a single side.

Looking for a review of this LILITH release. Can anyone post an opinion about the sound of it? How does it play comparing to the earlier releases? Is it worth buying?

Has anyone more details about this Speakers Corner release?I'm not sure if these releases are probably the same:http://www.discogs.com/John-Mayall-With-Eric-Clapton-Blues-Breakers/release/6642075

My copy has a sticker on the front stating "Speakers Corner Records" AND has the "A limited Audiophile Pressing by Vivante..." etc. on the back, and the matrix numbers match the version mentioned above. There's also a sticker on the shrink wrap obscuring the original barcode. It says "Decca 4804" and the barcode is 4260019711106. I'm sure they are the same version.

It will be useful to have a picture from the back cover. The Vivante release has a text in the lower left corner that says "A limited Audiophile Pressing by Vivante Productions, Unit 4, 60 High Street, Hampton Wick, Surrey, England KT1 4DB, Fax: +44 181 977 4445". This may be the difference between the two!

i've got this copy, but on the back it's got a sticker witht the London Records logo and "Promotional Copy Not For Sale"

I have this copy too, what did you find out?

and actually the label is different. it doesn't have the "made in the u.s.a." part and the rest of the text is arranged slightly different