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Paul Butterfield

Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him in the pantheon of true blues greats. It's impossible to overestimate the importance of the doors Butterfield opened: before he came to prominence, white American musicians treated the blues with cautious respect, afraid of coming off as inauthentic. Not only did Butterfield clear the way for white musicians to build upon blues tradition (instead of merely replicating it), but his storming sound was a major catalyst in bringing electric Chicago blues to white audiences who'd previously considered acoustic Delta blues the only really genuine article. His initial recordings from the mid-'60s -- featuring the legendary, racially integrated first edition of the Paul Butterfield Blues Band -- were eclectic, groundbreaking offerings that fused electric blues with rock & roll, psychedelia, jazz, and even (on the classic East-West) Indian classical music. As members of that band -- which included Michael Bloomfield and Elvin Bishop -- drifted away, the overall impact of Butterfield's music lessened, even if his amplified harp playing was still beyond reproach. He had largely faded from the scene by the mid-'70s, and fell prey to health problems and drug addiction that sadly claimed his life prematurely. Even so, the enormity of Butterfield's initial impact ensured that his legacy was already secure.

Butterfield was born December 17, 1942, in Chicago and grew up in Hyde Park, a liberal, integrated area on the city's South Side. His father, a lawyer, and mother, a painter, encouraged Butterfield's musical studies from a young age, and he took flute lessons up through high school, with the first-chair flutist in the Chicago Symphony Orchestra serving as his private tutor for a time. By this time, however, Butterfield was growing interested in the blues music that permeated the South Side; he and college-age friend Nick Gravenites (a future singer, guitarist, and songwriter in his own right) began hitting the area blues clubs in 1957. Butterfield was inspired to take up guitar and harmonica, and he and Gravenites began playing together on college campuses around the Midwest. After being forced to turn down a track scholarship to Brown University because of a knee injury, Butterfield entered the University of Chicago, where he met a fellow white blues fan in guitarist Elvin Bishop. Butterfield was evolving into a decent singer, and not long after meeting Bishop, he focused all his musical energy on the harmonica, developing his technique (mostly on diatonic harp, not chromatic) and tone; he soon dropped out of college to pursue music full-time.

After some intense woodshedding, Butterfield and Bishop began making the rounds of the South Side's blues clubs, sitting in whenever they could. They were often the only whites present, but were quickly accepted because of their enthusiasm and skill. In 1963, the North Side club Big John's offered Butterfield's band a residency; he'd already recruited Howlin' Wolf's rhythm section -- bassist Jerome Arnold and drummer Sam Lay -- by offering more money, and replaced original guitarist Smokey Smothers with his friend Bishop. The new quartet made an instant splash with their hard-driving versions of Chicago blues standards. In late 1964, the Paul Butterfield Blues Band was discovered by producer Paul Rothchild, and after adding lead guitarist Michael Bloomfield, they signed to Elektra and recorded several sessions for a debut album, the results of which were later scrapped.

At first, there was friction between Butterfield and Bloomfield, since the harmonica man patterned his bandleading style after taskmasters like Howlin' Wolf and Little Walter; after a few months, though, their respect for each other's musical skills won out, and they began sitting in together at blues clubs around the city. A song from their aborted first session, the Nick Gravenites-penned "Born in Chicago," was included on the Elektra sampler Folksong '65 and created a strong buzz about the band. In the summer of 1965, they re-entered the studio for a second crack at their debut album, adding organist Mark Naftalin as a permanent sixth member during the sessions. In the meantime, they were booked to play that year's Newport Folk Festival. When Bob Dylan witnessed their well-received performance at an urban blues workshop during the festival, he recruited Butterfield's band to back him for part of his own set later that evening. Roundly booed by acoustic purists, Dylan's plugged-in performance with the Butterfield Band ultimately shook the folk world to its foundations, kickstarting an electric folk-rock movement that effectively spelled the end of the traditionalist folk revival.

On the heels of their historic performance at Newport, the Paul Butterfield Blues Band released their self-titled debut album later in 1965. Now regarded as a classic, the LP caused quite a stir among white blues fans who had never heard electric Chicago-style blues performed by anyone besides British blues-rock groups. Not only did it sow the seeds of a thousand bar bands, but it also helped introduce more white listeners to the band's influences, especially Muddy Waters and B.B. King. Toward the end of 1965, drummer Sam Lay fell ill and was replaced by the jazz-trained Billy Davenport, whose rhythmic agility and sophistication soon made him a permanent member. He was particularly useful since Butterfield was pushing to expand the band's sound, aided by Bloomfield's growing interest in Eastern music, especially Ravi Shankar. Their growing eclecticism manifested itself on their second album, 1966's East-West, which remains their greatest achievement. The title cut was a lengthy instrumental suite incorporating blues, jazz, rock, psychedelia, and raga; although it became their signature statement, the rest of the album was equally inspired, perhaps due in part to Butterfield's more relaxed, democratic approach to bandleading.

Unfortunately, Mike Bloomfield left the band at the height of its success in 1967, and formed a new group called the Electric Flag with Nick Gravenites, which aspired to take East-West's eclecticism even further. Bishop moved into the lead guitar slot for the band's third album, 1967's The Resurrection of Pigboy Crabshaw (a reference to Bishop's nickname). Displaying a greater soul influence, the album also featured a new rhythm section in bassist Bugsy Maugh and drummer Phil Wilson, plus a horn section that included a young David Sanborn. Pigboy Crabshaw proved to be the closing point of the Butterfield Band's glory days; the 1968 follow-up, In My Own Dream, was uneven in its songwriting and focus, and both Elvin Bishop and Mark Naftalin left the band before year's end. Still hoping for a breakout commercial hit, Elektra brought in producer/songwriter Jerry Ragovoy, a longtime R&B professional, which marked the first time they'd asserted control over a Butterfield recording. That didn't sit well with Butterfield, who wanted to move in a jazzier direction than Ragovoy's radio-friendly style allowed; the result, 1969's Keep on Moving, was another inconsistent outing, despite the return of Billy Davenport and an injection of energy from the band's new guitarist, 19-year-old Buzzy Feiten. 1969 wasn't a washout for Butterfield, though; his band was still popular enough to make the bill at Woodstock, and he also took part in an all-star Muddy Waters session dubbed Fathers and Sons, which showcased the Chicago giant's influence on the new generation of bluesmen and greatly broadened his audience.

After 1970's Live and the following year's studio effort Sometimes I Just Feel Like Smilin', Butterfield broke up his band and parted ways with Elektra. Tired of all the touring and personnel turnover, he retreated to the communal atmosphere of Woodstock, still a musicians' haven in the early '70s, and in 1971 formed a new group eventually dubbed Better Days. Guitarist Amos Garrett and drummer Chris Parker were the first to join, and with folk duo Geoff and Maria Muldaur in tow, the band was initially fleshed out by organist Merl Saunders and bassist John Kahn, both from San Francisco. Sans Geoff Muldaur, this aggregation worked on the soundtrack of the film Steelyard Blues, but Saunders and Kahn soon returned to the Bay Area, and were replaced by New Orleans pianist Ronnie Barron and Taj Mahal bassist Billy Rich. This lineup -- with Geoff Muldaur back, plus contributions from singer/songwriter Bobby Charles -- released the group's first album, Better Days, in 1972 on Butterfield manager Albert Grossman's new Bearsville label. While it didn't quite match up to Butterfield's earliest efforts, it did return him to critical favor. A follow-up, It All Comes Back, was released in 1973 to positive response, and in 1975 he backed Muddy Waters once again on The Woodstock Album, the last LP release ever on Chess.

Butterfield subsequently pursued a solo career, with diminishing returns. His Henry Glover-produced solo debut, Put It in Your Ear, appeared in 1976, but failed to impress many: his harmonica playing was pushed away from the spotlight, and the material was erratic at best. The same year, he appeared in the Band's farewell concert film, The Last Waltz. Over the next few years, Butterfield mostly confined himself to session work; he attempted a comeback in 1981 with legendary Memphis soul producer Willie Mitchell, but the sessions -- released as North-South -- were burdened by synthesizers and weak material. By this time, Butterfield's health was in decline; years of heavy drinking were beginning to catch up to him, and he also contracted peritonitis, a painful intestinal condition. At some point -- none of his friends knew quite when -- Butterfield also developed an addiction to heroin; he'd been stridently opposed to it as a bandleader, leading to speculation that he was trying to ease his peritonitis symptoms. He began to play more gigs in Los Angeles during the early '80s, and eventually relocated there permanently; he also toured on a limited basis during the mid-'80s, and in 1986 released his final album, The Legendary Paul Butterfield Rides Again. However, his addiction was bankrupting him, and in the past half-decade he'd seen Mike Bloomfield, Muddy Waters, and manager Albert Grossman pass away, each loss leaving him shaken. On May 4, 1987, Butterfield himself died of a drug overdose; he was not quite 45 years old. ~ Steve Huey
full bio

Selected Discography


Track List: Live At Winterland Ballroom

1. Countryside (Live At Winterland Ballroom)

2. Buried Alive In The Blues (Live At Winterland Ballroom)

3. Small Town Talk (Live At Winterland Ballroom)

4. New Walkin' Blues (Live At Winterland Ballroom)

5. Broke My Baby's Heart (Live At Winterland Ballroom)

6. Highway 28 (Live At Winterland Ballroom)

7. Please Send Me Someone To Love (Live At Winterland Ballroom)

8. He's Got All The Whiskey (Live At Winterland Ballroom)

9. Nobody's Fault But Mine (Live At Winterland Ballroom)


Track List: The Paul Butterfield Blues Band: An Anthology: The Elektra Years

Disc 1

1. Born In Chicago

2. Lovin' Cup

3. One More Mile

4. Off The Wall

5. Come On In

6. Nut Popper #1

7. Ain't No Need To Go No Further/It's Too Late Brother

8. Born In Chicago

9. Shake Your Moneymaker

10. Blues With A Feeling

11. Thank You Mr. Poobah

12. Our Love Is Driftin'

13. Mystery Train

14. Last Night

15. Walkin' Blues

16. I Got A Mind To Give Up Living

17. Work Song

18. All These Blues

19. East West

Disc 2

1. One More Heartache

2. Double Trouble

3. Last Hope's Gone

4. Mornin' Blues

5. Just To Be With You

6. Get Yourself Together

7. In My Own Dream

8. Love March

9. Walkin' By Myself

10. Love Disease

11. Everything's Gonna Be Alright

12. Driftin' & Driftin'

13. Blind Leading The Blind

14. Song For Lee


Track List: The Original Lost Elektra Sessions

1. Good Morning Little Schoolgirl

2. Just To Be With You

3. Help Me

4. Hate To See You Go

5. Poor Boy

6. Nut Popper #1

7. Everything's Gonna Be All Right

8. Lovin' Cup

9. Rock Me

10. It Hurts Me Too

11. Our Love Is Driftin'

12. Take Me Back Baby

13. Mellow Down Easy

14. Ain't No Need To Go No Further

15. Love Her With A Feeling

16. Piney Brown Blues

17. Spoonful

18. That's All Right

19. Goin' Down Slow


Track List: The Legendary Paul Butterfield Rides Again

1. We Stand A Chance

2. Save Me

3. Heart Like A Locomotive

4. Don't You Hang Me Up

5. The Wandering Kind

6. Bad Love

7. Mannish Boy

8. The Night Ain't Long Enough

9. Changes


Track List: North South

1. I Get Exited

2. Get Some Fun In Your Life

3. Footprints On The Windshield Upside Down

4. Catch A Train

5. Bread And Butterfield

6. Living In Memphis

7. Slow Down

8. I Let It Go ( To My Head )

9. Baby Blue


Track List: Put It In Your Ear

1. You Can Run But You Can't Hide

2. (If I Never Sing) My Song

3. Animal

4. Breadline

5. Ain't That A Lot Of Love

6. I Don't Wanna Go

7. Day To Day

8. Here I Go Again

9. Flame

10. Watch 'Em Tell A Lie


Track List: Better Days

1. New Walkin' Blues

2. Please Send Me Someone To Love

3. Broke My Baby's Heart

4. Done A Lot Of Wrong Things

5. Baby Please Don't Go

6. Buried Alive In The Blues

7. Rule The Road

8. Nobody's Fault But Mine

9. Highway 28


Track List: It All Comes Back

1. Too Many Drivers

2. It's Getting Harder To Survive

3. If You Live

4. Win Or Lose

5. Small Town Talk

6. Take Your Pleasure Where You Find It

7. Poor Boy

8. Louisiana Flood

9. It All Comes Back


Track List: An Offer You Can't Refuse

9. Everything's Gonna Be Alright

10. Poor Boy

11. Got My Mojo Working

12. Last Night

13. Loaded

14. One Room Country Shack


Track List: East-West

1. Walkin' Blues

2. Get Out Of My Life, Woman

3. I Got A Mind To Give Up Living

4. All These Blues

5. Work Song

6. Mary, Mary

7. Two Trains Running

8. Never Say No

9. East-West


Track List: The Paul Butterfield Blues Band

1. Born In Chicago

2. Shake Your Money-Maker

3. Blues With A Feeling

4. Thank You Mr. Poobah

5. I Got My Mojo Working

6. Mellow Down Easy

7. Screamin'

8. Our Love Is Drifting

9. Mystery Train

10. Last Night

11. Look Over Yonders Wall


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Sorry ... BOB should read PBB below ... autocorrect.
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Saw BOB back in the '60s at Club 47 in Harvard Square ... what a night! Sat 5 feet from him ... the drummer, Sam Lay was in the slammer that night having been busted earlier in the day, but Mike Bloomfield was awesome, Butterfield unbelievable (despite a brief flirt with feedback on his mouth harp), Elvin Bishop held his own ... one of the best sets I ever heard as Club 47 was a tiny, intimate venue ... they blew the doors off!
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You will never answer this. .but been homeless for 5 years and sneakin round. Just makes me feel good
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I saw him and his band at the Sunk Creek Inn in Boulder Co. Best harmonica player ever. 1973 or 74
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Someone awhile ago told me that he played his harmonica upside down.
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In all the years I went to the Chicago blues fest I only wish I heard a band like. Butter field group!
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Karen who are ? 66 years. Old. Me too! U. Freaked me out. But thanx. Anyway!
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Cuz could blow
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But eatery time I'm blow away by this
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goodfoodms - the period. button. on your.keyboar d . is.stuck.
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Julie. When. I. Listen. To. Pbbb- I. Lovel the. Tunes. But they. Also. Make me a little. Sad. I had. Feelings. For. U. And. U. Dumped me. ! Michael. B. ��
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Karen. I can. Dig. It. Michael. 66 years young!
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Bob dylan(. Robert Zimmerman). Said mike Bloomfield. Was the. Best. Guitar. Player he ever heard
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The PBB Band's first two albums qualified them for the Rock & Roll HOF. What a group!! In 1965 no one else came close.
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A much underrated player!! Died to soon
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Mmmmm...this number is HEAVY oh yeah!
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Need to find a man that can love me with a feeling or don't love me at all
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Always loved these dudes!
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One of my earliest IDOLS & blues HEROES, I never missed a chance to see them, usually w/other greats on the bill as well. Best of all, when you went to see The BUTTER, it wasn't a 'sit & listen politely' type of scene. You KNEW you were gonna BOOGIE, which I Loved, (and I think HE did, too!!) That HARP made your body shimmy and shake like a Crawlin' Kingsnake!!! Ditto Bloomer! That whole Woodstock music scene spawned a WHOLE lot of great music, musicians- and great collaboratio n s too!!
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I saw him play in a cafe/bar in Woodstock, where I was living for a short time, in 1980. After he played, I asked him what key it was in, & I went back to my apartment & played the hell out of that song on my harmonica that night.
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Just read Deke Rivers' post from a couple of years ago. The R&R HOF became irrelevant when it inducted Madonna some years back. Meanwhile The PBB Band and Steve Miller Band are ignored among other notables who made music with real instruments instead of digital bullshit.
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My brothers favorite
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I got a 2 lp set -Best of and I was floored by intense playing, especially of Butterfield/ Mike Boomfield and Elvin Bishop. Blues rock Masters!!
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Train I ride!!!!! Yeah Baby!
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williamcaubl e
isn't Mystery Train lyrics started wit hTrain I ride, not train arrive (as written here)? Fug 'em; I'm singing Train I Ride because I ride that train!
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East/West is a CLASSIC!
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nice blues
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williamcaubl e
I saw them many years ago in San Diego. I was amazed. Doesn't anyone else like some of the Golden Butter -Better Days album? Highway 28 , New Walkin' Blues..
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yup my song
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Glad to see Pandora has fleshed out the discography a bit. Still some things missing. Now they need to work on Bloomfield's .
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What else can I add?
..........he was just the best !
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@ Deke Rivers---I know, go figure eh. Yes, Bad A** they certainly were!!!
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Man he can play that hurmonica !!!
Report as inappropriate KISS and Hall & Oates get into the R&R Hall of Fame and Butterfield is still not in?! Whatever credibility the Hall ever had is completely gone imho.
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Listening to 'Work Song' - the solos here have never ceased to amaze me and I've been listening to this one for decades. What a f*&kin bad-a** band this was.
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mighty!!! we miss him!!!!!
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the first scrapped electra album, subsequently released, was better than 99% of the junk out there at the time! long live the 3 B's of BLUES!
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wonder where it all would have gone and where it all would be if Butterfield & Bloomfield hadn't left us all so early?-----s a d & early loss of such great talent.
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oh Pandora, what does it matter that he's white? Why cant he just be classified as one of the greats. period?
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Poor boy .... THERE'S a Butterfield classic. Tonyd .... that must have been SOME concert!
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dont know if anyone remembers. saw PB with Janis J at ridge arena in braintree ma 1968.
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Suicide isn't painless. Theories about why he did it
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Butterfield / Bloomfield-- - - - - s u p e r b blues.
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Paul Butterfield is the reason that i'm addicted to the blues. I named my first son after bass player Jerome Arnold. And who can forget the advice given on the band's first album - In order to appreciate this album please turn up your volume to the max. Imagine that I only paid for a cup of coffee at the old Unicorn Club on Boylston St., in Boston to get my first taste of their wonderful music.
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The baddest white boy to ever play the Blues imho. Bloomfield said that Butter wouldn't take s*&t from no one and would walk into those South Side Chicago Blues clubs (all Black at the time) and hold his own with the best of em. Bloomfield said that all the guys in the Butterfield band were in awe of him, and scared of him! Play the Blues white boy!
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