David Bromberg Albums (11)
'Live in New York City 1982'
Release Date 7/14/2008
Tracks 13
Label Appleseed
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What The Critics Say
David Bromberg was already past his peak as a popular attraction by the time this live recording was made in 1982, but his musicianly prowess was no less diminished. Whether on acoustic guitar, fiddle, or mandolin, Bromberg was technically proficient and often quite dazzling as he navigated his way around various traditional bluegrass, folk, country, and blues tunes, Bob Dylan's "Wallflower" and one original, "The New Lee Highway Blues." A listen to this ambiguously titled disc -- nowhere does it say exactly where in New York City or when in 1982 the live performance took place -- confirms repeatedly that Bromberg was a whiz as an instrumentalist. As a vocalist, less so, but his coterie of loyalists never held that against him, and there is a charm to his ragged singing that befits the down-home-ness of the pickin'. On uptempo tunes like the lengthy "Don't Let Your Deal Go Down" opener (extended via an inserted medley of fiddle tunes) and the old Bob Wills favorite "Stay All Night," and on the slow blues numbers, Bromberg and his three support players (wielding various acoustic-stringed instruments) keep the level of virtuosity high. Unfortunately, the sound mix is painfully off-center during that opener and takes a while to find the proper balance, and other tracks could have benefited from some judicious editing when Bromberg's spoken intros ramble on just tad too long. Nonetheless, it's a representative slice of what fans would have heard at a Bromberg show during this period, several years before he took a long sabbatical from making music to become a violin craftsman. ~ Jeff Tamarkin, All Music Guide
'Try Me One More Time'
Release Date 2/27/2007
Tracks 16
Label Appleseed
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What The Critics Say
Had David Bromberg been making new recordings all along, then Try Me One More Time would be a welcome addition to his catalog. An all-acoustic, solo set of blues and folk tunes -- one original, several traditional and the rest by established writers such as Bob Dylan, Rev. Gary Davis and Robert Johnson -- the album feels intimate, honest and earthy, and of course the guitar playing is never less than masterful. But Bromberg hadn't released a new album in a long 17 years when Try Me One More Time hit, and because of that it's an underwhelming return. There is no denying that Bromberg, who basically gave up the road and the studio at the dawn of the '90s in order to become a violin maker, possesses an innate love for the roots Americana that populates his comeback album. And on its own merits, it's a satisfying enough listen -- he sounds perfectly comfortable within the familiar domain of this material. But therein lies the disappointment: he's too comfortable. Bromberg's interpretations show little imagination or ingenuity, and after such a lengthy sabbatical, fans would be right to expect something that displays growth and movement in an artist. Try Me One More Time doesn't. Bromberg's Delta-style guitar work is, as always, note-perfect (the two instrumentals are a treat and his slide playing is sweet), but fans already know he can do that with his eyes closed. And while Bromberg, never much of a singer -- the voice is a bit more gravelly these days but otherwise unchanged -- is well-suited for the minimalist renditions of tracks like Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry," Elizabeth Cotten's "Shake Sugaree" and Davis' "Trying to Get Home," there are no real surprises in how he handles those chestnuts. It's not that anyone expected David Bromberg to come back and make a hip-hop record or something equally out of character, but while he undoubtedly enjoyed cutting these songs that have always been dear to his heart, there are few clues here as to what he's been up to for the nearly two decades he spent out of earshot. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
By billing this album to the David Bromberg Band, Bromberg signals that the listener can expect to hear more than just his adenoidal voice and variety of acoustic instruments. But then, that just means it's as eclectic as most David Bromberg albums. The lead-off track "I Want to Go Home" has a blues-rock feel; horns wail into a Dixieland swarm during the old folk tune "Stealin''; and then comes a medley of old-timey country tunes played on banjo, mandolin, and guitar. That's just the first three tracks, and before the album is over, one has been treated to melodic folk-rock ("Baby Breeze"), blues ("Nobody's Fault but Mine"), and jump blues with a touch of funk ("Beware Brother Beware"), not to mention a jazzy sequel to "Stagger Lee," "Mrs. Delion's Lament," in which Stagger Lee takes over hell, and a medley of Civil War songs. Not bad for a performer who tends to get categorized as a folk singer. ~ William Ruhlmann, All Music Guide
'How Late'll Ya Play 'Til?, Vol. 1: Live'
Release Date 2/15/1989
Tracks 8
Label Fantasy
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What The Critics Say
David Bromberg has been such an effective sideman for so long, it could be possible to not notice what a wonderful entertainer the man is when he is at center stage. How Late'll Ya Play 'Til?, Vol. 1 catches Bromberg and a crack band having a fine time on mostly humorous tunes. Of course, Bromberg does play guitar throughout the album, but the real attraction here is his bluesy vocal turns and his razor-sharp comedic timing. Though "Will Not Be Your Fool" is his signature piece and is very well performed here, the highlight is the incredible "Bullfrog Blues." The exact nature of this hilariously rambling talking blues couldn't be conveyed in anything less than the 16 minutes that Bromberg takes to perform it, and if it could be communicated it shouldn't, because there are delightful surprises here. Like all great live albums, How Late'll Ya Play 'Til? will make you extremely sad that you weren't in the audience the night it was recorded, and determined not to repeat the error should the chance present itself. ~ Richard Foss, All Music Guide
What The Critics Say
Bromberg's debut for Rounder included versions of traditional blues, country, folk and soul/R&B tunes. He sang them earnestly and backed himself tastefully while working with both large groups and small combos. The guest roster included everyone from Dr. John to Jackson Browne and David Lindley, as well as Chris Daniels and the Kings and some members of what was then Willie Nelson's traveling band. The only problem with this session was Bromberg, for all his knowledge and zeal, just wasn't that convincing or gripping a vocalist. Still, this is an instructive disc for those interested in hearing faithful recreations of various classic genres. ~ Ron Wynn, All Music Guide
'You Should See the Rest of The Band'
Release Date 1/1/1980
Tracks 6
Label Fantasy
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'Midnight on the Water'
Release Date 1/1/1975
Tracks 10
Label Columbia
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What The Critics Say
A big-band blowout album with guest appearances by Bonnie Raitt, Linda Ronstadt, Emmy Lou Harris, it features "The Jokes on Me" and "Don't Put that Thing on Me." ~ Richard Meyer, All Music Guide
What The Critics Say
This is a reissue of Bromberg's 1974 album. Backing musicians include several members of The Grateful Dead as well as Andy Statman on mandolin and tenor sax. Some of Bromberg's strongest and best-loved material can be found here, including "The Holdup," "Danger Man," "Send Me to the 'Lectric Chair," "The New Lee Highway Blues," and Bob Dylan's "Wallflower." ~ Roundup Newsletter, All Music Guide
