The Paul Butterfield Blues Band ‎– The Paul Butterfield Blues Band

Label:
Elektra ‎– EKL 294
Format:
Vinyl, LP, Repress, Mono
Country:
Released:
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Tracklist Hide Credits

A1 Born In Chicago
Songwriter – Gravenites*
2:55
A2 Shake Your Money-Maker
Adapted By – Butterfield*
2:27
A3 Blues With A Feeling
Songwriter – W. Jacobs*
4:20
A4 Thank You Mr. Poobah
Songwriter – Naftalin*, Bloomfield*, Butterfield*
4:05
A5 I Got My Mojo Working
Songwriter – Morganfield*
3:30
A6 Mellow Down Easy
Songwriter – W. Dixon*
3:40
B1 Screamin'
Songwriter – Bloomfield*
4:30
B2 Our Love Is Drifting
Songwriter – Bishop*, Butterfield*
3:25
B3 Mystery Train 2:45
B4 Last Night
Songwriter – W. Jacobs*
4:15
B5 Look Over Yonders Wall
Songwriter – J. Clark*
2:23

Companies, etc.

Credits

Barcode and Other Identifiers

  • Matrix / Runout (Side 1 Etching): EKL-294A 4 (delta)8764
  • Matrix / Runout (Side 2 Etching): EKL-294B 4 (delta)8764-X 1-4-1966
  • Matrix / Runout (Stamped both sides): MR circled

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streetmouse

streetmouse

April 1, 2017
edited about 1 year ago
If ever there was a stolen band, it was this one that Paul Butterfield along with producer Paul Rothchild [also producer for The Doors] put together. With Jerome Arnold on bass, and Sam Lay on drums, ducking out on Howlin’ Wolf, while Mike Bloomfield [also playing around Chicago] was asked to ditch his current band along with Elvin Bishop, and finally keyboardist Mark Naftalin fell in with the rest to round things out and present a previously unheard of take on the Chicago blues style, that still stands as a signature moment in time.

As with Charlie Musselwhite, the band was built around Butterfield’s harp, which he approached and presented as if it were a horn, favoring single notes to chords for emphasis, arranging his songs to fall in line with this structure. Though Butterfield was certainly the band leader, he was more democratic than most, eager to incorporate new ideas and musical philosophies from the sensational players that now surrounded him. Ever intense and built on a solid blues foundation, his harp playing was monumental, able to bend notes and redefine scores due to his incredible breath control. Though most surprising was his innate ability to blend both blues and rock to encompass and embrace a wider audience, making he and his band a staple at venues such as the Fillmore during the mid 60’s, where his take on blues rode effortlessly right along side of what the psychedelic crowd was laying down during those years.

The most difficult aspect of The Butterfield Blues Band was the difficulty in capturing the live sound the group was known for, and packed venues wherever they played … though that was all ‘positioned’ to change when they connected with Bob Dylan at the Newport Folk Festival, serving as his backing band when he blistered the world and went electric. I used the world ‘position,’ because even with all of the praise and emotion, the Butterfield Blues Band didn’t click with most people, with most people being the purist, who felt that the group was offering up too many styles and attitudes, rather than relying on one signature sound. But that was the mistake of the purists, they were so wrapped up in the notion of defining any sort of blues to a preconceived notion, falling to recognize that like rock or jazz, blues was more than capable to develop and expand on its own … and that is just what the likes of Paul Butterfield, Mike Bloomfield and Elvin Bishop were in the process of doing, and certainly able to play circles around nearly any other band they came up against, taking a forward looking path, building on what was, rather than existing within a defined musical location; though still with that Chicago blues vision.

To my way of thinking, it mattered little that much of the album was filled with covers and tributes, Butterfield and his bandmates were white Chicago musicians who played amplified rock based blues with a passion … what mattered was the sound and the fire these gunslingers set, giving me a sense of belonging, the assertion that my generation was beholden to no one, serving as a wakeup call to the blues world that we could fly and simmer all on our own. And to that end, during the latter half of the 1960’s if Paul Butterfield was playing within two hundred miles, you were sure to see my smiling upturned face as close to the stage as I could get, as you could count on them laying all of their cards on the table, and never backing down.

*** The Fun Facts: Paul Butterfield was a guest on the television show “To Tell The Truth” during the 60’s, where Butterfield and two imposters would make money if the panel guessed who they were incorrectly.
NotPresentNowPresent

NotPresentNowPresent

September 11, 2016
A NZ version of this exists! Similar to the recently subbed AUS version, triple flipback non-laminated cover on the elektra label.
shakingstreet

shakingstreet

August 19, 2015
Gold label..first US pressing