Customer Reviews

Original Lost Elektra Sessions

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Even though this page only lists five tracks, "The Original Lost Electra Sessions" is not an EP, it's a 19-track CD.

All but one of these 19 tracks were recorded in December, 1964, as Paul Butterfield's projected first LP, but the results were (inexplicably) scrapped and replaced by the band's official self-titled debut, cut a few months later.

With both Sam Lay, Elvin Bishop and Mike Bloomfield already onboard, these sessions are very similar in feel to the Paul Butterfield Blues Band's first album. It's perhaps a little bit rawer in production and performance, but not really worse or different than what ended up on the actual debut LP.

Dedicated primarily to electric Chicago blues standards, it opens with a somewhat rushed take on "Good Morning Little Schoolgirl", followed by a great "Just To Be With You" with some sublime harp playing by Paul Butterfield.

Butterfield also does a pretty good Sonny Boy Williamson (II) on a faithful rendition of "Help Me", and there are many more highlights, including an excellent rendition of the classic blues shuffle "Poor Boy", a slow, smouldering "It Hurts Me Too", an alternate version of the fine original "Our Love Is Drifting", a great, swinging "Take Me Back Baby", Jimmy Rogers' "That's All Right", and yet another Tampa Red-tune, "Love Her With A Feeling".
The band also lay down a really good version of Jimmy Oden's "Goin' Down Slow", and the originals "Lovin' Cup" and the fiery instrumental "Nut Popper #1" are excellent.

Virtually everything here is worth a listen, actually. It's not highly original, but The Paul Butterfield Blues Band's versions of these classic Chicago blues tunes are among the best and most convincing blues music ever waxed by a (primarily) white blues band. And any serious blues guitar lover will want to hear Mike Bloomfield's supremely tasty, economical playing.

Paul Butterfield fans will find this album well worth acquiring, as most of the selections were never officially recorded by the band's original lineup.
Great, classic blues.

It's hard to believe that this album was scrapped. A lot of bands put out albums that were much worse than this. One has to wonder if Paul Rothschild should have just taken a few valiums and put this out at the time it was recorded, because this is very, very good.

This is a terrific document of a band of seriously dedicated guys playing the music they love, as authentically as they can. These guys weren't kidding; they paid their dues on the South Side of Chicago and were accepted as peers by none other than Muddy Waters. The performances here are raw but not sloppy, and the band is as tight as a tick. Most of the songs on here are played at a quick clip, but there's a lot of bite and venom in these performances, an air of urgency not dissimilar to something you hear on Buddy Guy's early recordings.

It's sad to think that the Yardbirds got so much praise (and still do) as being white interpreters of the blues, when this collection shows clearly that the Butterfield Blues Band was much, much better than anything the British blues movement would offer for several years. Why the Yardbirds got the press and historical props and the Butterfield Blues Band doesn't is a total mystery. Maybe they didn't wear enough paisley.

There is no paisley or patchouli on this one. It's just hard, tough blues, nasty, with teeth in it. Forget that half the band was white guys and dump every preconception you have about hippies, white blues, etc., and listen to this for what it is; a seriously cool recording of a very hot band hitting their stride.

Finally, I want to add that the recording quality of this album is not "execrable." It sounds every bit as good as any other album recorded in 1964 (! ) and a whole lot better than most. As a matter of fact, I think this is a much better produced record than anything the Yardbirds ever did. It's certainly much more authentic blues. A great document of an unjustly forgotten group.

This is some of the earliest Butterfield available. The takes on this album were scrapped (or thought to be scrapped) for the more produced tunes that appear on first album. In my opinion, a lot of these takes are better than what appears on the first album. Butterfield's rendition of "Just To Be With You" (Muddy Waters)is absolutely awe-inspiring. Jimmy Rodgers' "That's Alright" is as good as the original, although different. And Little Walter's "Everything Is Gonna Be Alright" is a jam. All of these takes are amazing, and definately not to be missed.

I have heard the white vs. black bluesman argument for years and years. I've always felt that it isn't the color of the skin that's important when it comes to the music but rather the soul of the musician. Given that, this is a great blues album by a band of soulful bluesmen. Butterfields harp is as hot as ever and the guitars of Bloomfield and Bishop are the epitome of the blues. The Paul Butterfield Blues Band were one of the greatest blues bands ever assembled and this recording is evidence of that fact. My only question is how this music has gone unheard for all of these years?

Listen to the tour de force "Hate to See You Go". Butterfield at his most primal and vicious. He is just so damn excited to be playing harp! The one absolutely essential track on the album, in my opinion, but this is a collection which is filled with gems. Or, perhaps, all the tracks sound about the same. I mean, if you don't like track one, GMLSG, you aren't gonna like this album. Butterfield's timing is distictive, and this means that the full flavor of his music is contained in each bite. In fact, this may betray my OCD, but I have broken most of these cuts apart note by note, for example, the first six notes of GMLSG, (he's using 3 blow, not 2 draw, on the first note, which is what gives this track its hyperactive intensity) I have recorded just this snipet of sound, and listened to it many, many times, sometimes at half-speed, becasue the timing is unique and compelling. Yet, so simple and straightforward. Two god-damn notes, and yet, unutterable. Paul plays like pure poetry. So, I do take issue with your statement "not highly original". While staying true to the tradition, Butterfield injects his own absolutely idiosyncratic timing, and this why I would pay $899, let alone $8.99, for one of my most favorite albums, the ORIGINAL lost elektra sessions.

Note to Butterfield acolytes: If you love this album, you must own "Fathers and Sons", which is Bloomfield, Butterfield, and Muddy Waters, 1969. I think this contains Buttefield's most brilliant playing, and he's a backing man, so, more harp, and Muddy Waters!! Plus, tons of Bloomfield. Sublime.

Also, I just noticed this, while browsing Amazon, but the album covers for Lost Elektra and the debut album both use a two-thirds, one third pictoral split. Cool.

This album is a rare, and precious gem that fits quite comfortably between the first album, and East-West. The people at Elektra discovered that sometimes true gold can be found without digging in a gold mine. And they struck real gold, not fools gold. And on the list of gems are songs like Spoonful, Everything's Gonna Be Alright (which I haven't heard since the release of Woodstock 2), Mellow Down Easy (the only repeat out of 19 songs), Rock Me, and Poor Boy. This is not only to be added to the Essentials list, but the top 2 must haves have now become three.

This is essential music for any blues fan, the best Butterfield Blues Band recordings. Butterfield and Bloomfield with Sam Lay on drums. A great band, exceptional sessions. This is Chicago blues at its best, ranking up there with the recordings of Muddy Waters, Howling Wolf and Magic Sam. Young white musicians except for Chicago veterans on bass and drums. There is no living vocalist/harp player who compares to Butterfield. Those who were in his league are no longer with us. Bloomfield, while influenced by blues players, was a virtuoso with an original approach that went beyond what was being played at the time. Too bad they both died long before their time.

I recommend this album to anyone who likes Bob Dylan's second masterpiece [not second album], Blonde On Blonde, as these 2 albums have that same THIN WILD MERCURY SOUND.

I'm not here to give a second rate, third rate, fourth rate history lesson, just recommending an EXCELLENT album, by an EXCELLENT blues band, what a shame this was scrapped at first... then again there's much more room for appreciation now...

Beautiful archival music from the masters of seminal white electric blues Paul Butterfield and Mike Bloomfield.

A must have for all blues lovers as well as those who need to hear the voice of the consumate blues man,Paul Butterfield. I know I was thrilled to hear these early recordings that were recorded before the release of the first album and featuring the original line-up.