Butterfield Blues Band

Paul Butterfield | Format: Audio CD

Product Details

• Audio CD (October 25, 1990)
• Number of Discs: 1
• Label: Elektra / Wea
• ASIN: B000002GZ1
• In-Print Editions: MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (46 customer reviews)
• Amazon Best Sellers Rank: #8,738 in Music (See Top 100 in Music)
  • #8 in Music > Blues > Harmonica Blues
  • #44 in Music > Blues > Chicago Blues
  • #44 in Music > Music Deals > $7.99 and Under

Editorial Reviews

Amazon.com

A slew of albums by young white men out of their minds in love with music made by older black men came from both sides of the Atlantic during the mid-1960s, but two records really laid the groundwork for the decade's blues revival--the self-titled releases by John Mayall's Bluesbreakers out of London and the Paul Butterfield Blues Band out of Chicago. Both bands were led by harmonica-blowing vocalists; both featured ascending guitar gods--Eric Clapton with Mayall and Mike Bloomfield with Butterfield. Butterfield's ensemble, however, came of age closer to the roots of the music. The rhythm section heard on the group's 1965 debut was hired away from Howlin' Wolf, and Butterfield, while still in his early 20s when the album shipped, was already a familiar face on the Windy City's club circuit. "Born in Chicago" opens the album on a gritty note that never flags through this 11-track landmark. The slashing duo guitars of Bloomfield and Elvin Bishop and Butterfield's flash harp helped make Muddy Waters fathomable for a new audience and, decades later, it's still easy to understand how. --Steven Stolder

Product Description

No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 9-MAR-1989

Customer Reviews

Most Helpful Customer Reviews

134 of 145 people found the following review helpful:

1.0 out of 5 stars YOU'RE BUYING THE WRONG CD!, November 2, 2004

By 

BOB (LOS ANGELES, CA) - See all my reviews
(TOP 500 REVIEWER)   

This review is from: Butterfield Blues Band (Audio CD)

Yes, this is the great PBBB 1st album (actually, the 2nd, see below), but it's not the CD you should be buying.

This domestic CD was released in 1990 and has never been remastered.

The import 2CD version of this title (backed with the PBBB's 2nd album "East West") is the one to get. It was remastered by Bob Irwin in 2001.

Ditto for "Pigboy Crabshaw" & "In My Own Dream"; the 2004 import 2CD is also remastered (and sounds incredible) and the domestic CD's are not.

Why WEA and Elektra have not made these four remasters available domestically is a mystery.

Don't waste your money on these inferior versions: Get the imports!

Also: Don't miss the "Original Lost Elektra Sessions" CD, which was the real first PBBB album, recorded before this one. There is some fabulous music on that CD, and the liner notes by Paul Rothchild are worth the price alone.

37 of 37 people found the following review helpful:

5.0 out of 5 stars A Milestone In Music, May 18, 2004

By 

Gavin B. (St. Louis MO) - See all my reviews

This review is from: Butterfield Blues Band (Audio CD)

In the early Sixties, the prevailing wisdom was that the blues was a music based on the shared experience of African Americans and that any attempt by a "Caucasian" to play the blues would..er, uh...pale in comparison to the authentic renditions of the blues by African Americans. In 1965, Paul Butterfield broke that color barrier, not by successfuly "imitating" black blues musicians, but by developing his own signature playing and singing style that demanded that audiences and critics accept Butterfield on his own terms. Butterfield's passion and intensity transcended any formulamatic notions of authenticity simply because of Butterfield's refusal to be evaluated as an imitator. His playing and singing were so uniquely stylized and original that when Butterfield played "Look Over Yonder's Wall" nobody used the Elmore James original as a litmus test of authenticity. I've heard enough bad imatators of B.B.King, both black and white, to know that racial authenticy is not a very reliable benchmark to evaluate good blues. Mediocrity is color blind, as is brilliance and any argument to the contrary is simply, as they say, academic.

Butterfield's band was bi-racial with rythym section consisting of Howlin' Wolf Band veterans Jerome Green on bass and the mighty Sam Lay on drums. Elvin Bishop, a University of Chicago student from Oklahoma learned guitar under the tutelage of another Howlin' Wolf veteran, Smokey Smothers. From 1963 until 1965 Bishop and Butterfield played together at Little John's a smokey blues joint on Chicago's northside. Near the time of this recording, Mark Naftalin was added to the band. Naftalin, a former University of Chicago student, played understated but tasty solos on Hammond organ. Naftalin was a nuanced jazz player having received a year of formal training at Mannes College of Music, where he was recruited by Butterfield for the band.

Many of the tracks from this album were originally recorded without Michael Bloomfield's guitar, but Butterfield reluctantly added Bloomfield, an out of work session player under contract to Columbia Records, at the urging of Paul Rothschild, the brilliant producer at the budding Elektra record label. Bloomfield was a young guitar savant whose signture guitar style contained elements of Albert King's tension, release and sustained feedback; Wes Montgomery's cascading flurries of jazz notes; Elmore James' electrifying bottle neck; and even unconvential modalities like atonal Indian ragas and swaying samba rythyms. The diffence of the in the master tapes with and without Bloomfield is startling. The addition of Bloomfield's explosive guitar playing appears to have ignited the entire band

On the opening cut, "Born In Chicago" Butterfield wastes no time in dispelling the white blues efficacy argument with his take no prisoners approach to blues shouting. The hard edged lyrics to Nick Gravenites's song,"...I was born in Chicago in 1941, and my father told me, son you had better get a gun", seemed to be issuing a challenge to the Doubting Thomases with staid intellectual theories of black authenticity. Butterfield's haromica playing is so uniquely sculpted that comparisons to either Little Walter or Sonny Boy Williamson are futile. The approach of the Butterfield Blues Band raises the ante to new sonic levels. The decibel level is so high and the playing is so intense that it appears that the band can generate enough electricity to light up the Chicago skyline. Butterfield and his guitarist Bloomfield appear to be circling each other like caged lions in the crossfire between the harmonica and guitar solos. Elvin Bishop's rippling and bracing guitar solos are almost an afterthought because Butterfield and Bloomfield remained locked in a tense struggle for sonic domination of the band that rages like a prarie fire until the last note of the final song, "Look Over Yonder's Wall."

Such was the legendary mutual ambivalence between Paul Butterfield and Michael Bloomfield...the twin towers of the Butterfield Blues Band. Both men were so endowed with rare musical talent that only an act of serendipity placed them on the same stage together. They were linked forever by this hellaciously good band, but each seemed to be saying to the other the equivalent of, "This band ain't big enough for the both of us." It was this brinksmanship between Butter and Bloom that often pushed the band into uncharted territory.

I saw this edition of the Butterfield Band twice in concert and their approach to both jazz and blues was so intense that they appeared to be tearing a hole in the fabric of the cosmos itself, armed with the sword of Damocles. The brilliance of Paul Rothchild's production was that he captured this raw intensity and seamless playing skill on vinyl. One can take a snapshot of the eye of a hurricane, but few photos capture the fury of storm, itself. Rothchild seemed to have bottled a raging force of nature, using some form of trickery at the studio mixing console. Bloomfield was partially responsible because he was the rare musician could play on a both a concert stage, or the clinical setting of a studio booth with the same pulse stopping immediacy.

For better or for worse, Butterfield's first album was an early statement of a generation of musicians who were unwilling to accept the arbitrary limits of conventional wisdom. It was 1965; and the musical revolution that about to change everyone's lives so dramatically was just budding forth. As the Sixties unfolded a hundreds of self-styled musicians bloomed into musical maturity and like Butterfield and Bloomfield, they challenged conventional wisdom and often their creativity crossed the divide between the sacred and the profane, but we are all better people for it.

30 of 32 people found the following review helpful:

5.0 out of 5 stars Butterfield's Best!, September 26, 2002

By 

deepbluereview "deepbluereview" (SACRAMENTO, CALIFORNIA USA) - See all my reviews

This review is from: Butterfield Blues Band (Audio CD)

Butterfield's debut CD burst on the scene in 1965 and the blues, rock and pop scene were never the same after it's release. In it's original form, the band consisted of Butterfield on vocals and harmonica, Mike Bloomfield on slide guitar, Elvin Bishop on rhythm guitar, Jerome Arnold on bass, Sam Lay on drums and Mark Naftalin on organ. One can argue which Butterfield CD should be at the top of the heap but there is no denying that this would rank in the top five of any Butterfield enthusiasts list. The CD contains a variety of blues styles as well as what became the bands signature song, "Born In Chicago" as well as the Bloomfield gem "Screamin'". If you love Butterfield, this is a must have CD. If you are unfamiliar with Butterfield, this is the place to start. In either case, you should own this disc!