| | Paul Butterfield Blues Band CD Paul Butterfield Discography of CDs
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The '60s Blues Revival begins here. Calling this album influential is an understatement akin to calling the Grand Canyon a rut; suffice to say that an entire generation of musicians (mostly young and white) heard this and had their lives changed forever. In fact, for at least a year after the album's release in 1965, it was impossible to walk down the hall of any college dorm in America without hearing one of the songs here echoing from somebody's room.
Heard today, the thing still packs a wallop. Butterfield's harmonica and vocals are utterly idiomatic, without a hint of minstrelsy. Michael Bloomfield's lead guitar is stinging and eloquent, and the rhythm section, on loan from Howling Wolf, swings like mad. The only fly in the ointment is the fairly primitive production, which often makes Mark Naftalin's keyboards sound like a horde of angry bees, but that's a small criticism in the face of blues playing as passionate and accomplished as this. A genuine classic.
Live Recording
Includes liner notes by Pete Welding.
Paul Butterfield Blues Band: Mike Bloomfield.
Personnel: Paul Butterfield (vocals, harmonica); Sam Lay (vocals, drums); Elvin Bishop (guitar); Mike Bloomfield (slide guitar); Jerome Arnold (bass); Mark Naftalin (organ).
Q (p.126) - 3 stars out of 5 - "[H]e sang and played the blues like a natural..." Paul Butterfield Blues Band Music Paul Butterfield Blues Band Songs Paul Butterfield Blues Band Music Paul Butterfield Blues Band Music Review Average Rating: (5 out of 5 stars)  Could be the best blues ever recorded
I bought this album first in 1965 and wore-out numerous vinyl copies over the past forty years - everytime I play it, I feel like I am 19 years-old again.
I also had the opportunity to see them live at the Filmore and Avolon dance halls in SF back in the 1960.
Submitted by gtigerclaw (Hoyland Nether, UK)
Was This Review Helpful? Yes No 2 of 4 found this helpful. Play it loud!
This album stands the test of time. Nearly 30 years later, Butterfield, Bloomfield et al are unsurpassed.
Submitted by a reviewer (Orient, NY)
Was This Review Helpful? Yes No 2 of 4 found this helpful. This is the blues!
This is one of the top three Chicago blues recordings! While other sixties players were recording rock or folk and calling it blues, this is the real deal. From the opener "Born In Chicago" through "Blues With A Feeling" and "Last Night" it stays true to the great urban blues sound of Chicago. Butterfield, Bloomfield and Bishop with the former Howlin' Wolf rhythm section. Simply outstanding to this day!
Submitted by woodop (Denver, CO)
Was This Review Helpful? Yes No 1 of 3 found this helpful. | Have you heard this album? |  |
Purchase Paul Butterfield Blues Band CD To buy, Click on price to add to cart | Paul Butterfield East-West CD (1966)
Paul Butterfield Blues Band
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A pivotal '60s album. The Butterfield Blues Band's 1965 debut was a life-changing experience for a generation of young blues players; this follow-up, while not quite as epochal, can still be credited with influencing just about every underground band then percolating in San Francisco.
In fact, the album's title track is an epic 13-minute modal jam that is an obvious template for what the Airplane, the Dead, Quicksilver, and the rest would be doing a year later. The remainder ...
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While the title track is the album's best-known song, SABBATH BLOODY SABBATH proved to be another in a long line of 100% filler-free records from Ozzy and co. Highlights included the creepy "Who Are You?," plus the Tony Iommi riff-mongers "A National Acrobat," "Killing Yourself to Live," and "Sabra Cadabra," a song that Metallica would cover on its 1998 release GARAGE INC. You'll also find one of Sabbath's most haunting yet serene instrumentals, "Fluff," as well as the melodic album-closing rocker, "Spiral Architect." SABBATH BLOODY SABBATH is quintessential heavy metal.
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This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' beautifully downtempo "When the Stars Go Blue," and a great, leering rendition of Lee Hazlewood and Nancy Sinatra's "Summer Wine."
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
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Carioca, a Brazilian musician from Rio de Janeiro, is a brilliant guitarist, vocalist and composer known around the globe for his virtuosity. His intricate rhythms, ...
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