THE BUTTERFIELD BLUES BAND: THE ORIGINAL LOST ELEKTRA SESSIONS (1964/1995)
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 Alright; 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.
Although the posthumous legend of The
Butterfield Blues Band mainly lingered on in circles of «aficionados» and
«connaisseurs», it was strong enough to trigger a large series of archival releases
in the mid-Nineties — and for understandable reasons: most of these releases,
like Strawberry Jam or East-West Live, were culled from live
shows recorded while Bloomfield was still in the band, so as to satisfy the
demand for Mike-era live material and have something to commemorate the band's
finest incarnation on stage, rather than its latter day version with the brass
players replacing the original guitarists. Unfortunately, all of these releases
are bootleg quality: for some reason, the original band did not care much about
being recorded professionally while in live flight, and most of this stuff is
barely listenable, let alone reviewable.
In the end, the only archival release by the
original band that is worth owning and talking about is the very first one —
their failed first attempt at recording an LP, which they made as early as December
1964, immediately after signing up with Elektra. Not all of the 19 songs
included here date from those very sessions, but most of them do, and since the
band was already fully formed and included Bloomfield, and the recordings were made in a professional studio, this here is
an indispensable acquirement for The True Fan.
The problem is, I can sort of see why the
people at Elektra were not impressed. From a certain angle, these covers of
classic blues and R&B numbers are not significantly different from the
contents of The Paul Butterfield Blues
Band — indeed, a few would later be re-recorded for that very album. The
subtle difference is that in late 1964, this really was «The Paul Butterfield Blues Band», with Paul's vocals and
harmonica always taking center stage and always being much higher in the mix
than everything else. Basically, ladies and gentlemen, we come here to listen
to the amazing Mr. Paul Butterfield do impersonations of Muddy Waters, Howlin'
Wolf, Sonny Boy Williamson II, Elmore James, and particularly Little Walter —
and there are a few sidemen playing, uh, on the sides, but they're quite
dispensable.
There are only a few spots where Bloomfield is
allowed to shine, and they're cool and important: instrumental rave-ups like
ʽNut Popper #1ʼ and R&B dance numbers like ʽLovin' Cupʼ are probably the
earliest known examples of the classic Bloomfield style, and even a small
handful is enough to say that for that brief moment in late 1964 / early 1965,
Mike Bloomfield may have been the coolest axe player in the West, and the only
real competition to Mr. Slowhand of the Yardbirds' fame as the finest (white,
at least) blues-rock guitarist known to mankind. But it is a really, really small handful — and it betrays
jealousy, since on ʽMellow Down Easyʼ, for instance, Butterfield does not even
allow him a proper solo: all the lead parts are played in the background and
convenietnly muffled by the much louder harmonica parts. (On the 1965
re-recording, that would change, and Mike would get to slip in something purely
his own).
To serious admirers of Paul's harmonica-blowing
talents, this should not be a disappointment; on the contrary, I'd say that not
a single «proper» BBB album features as much harmonica playing as these early
tapes — where Paul is simply all over the place. But honestly, unless you
really, really take your time thinking about how to use your harp in various
creative / expressive ways, depending on the structures, tonalities, moods of
the individual songs, a blues-rock «Listen To Me Blowing» type album is
ultimately bound to sound boring, and I can suggest that the people at Elektra
thought so, too. As competent as these covers are, Butterfield here is the
all-pervasive imitator, and only Bloomfield is the occasional innovator —
because at least several Chicago blueswailers played better harmonica than Paul
(let alone singing), but no Chicago lead guitar players ever played a guitar
solo the way Bloomfield does it here on that ʽNut Popperʼ thing.
For some reason, many accounts of the album try
to increase its status by claiming that it was «one of the first blues-rock
albums», which is supposed to boil up our admiration and at the same time to
forgive the record its rawness, unevenness, and harmonica-heaviness. But the
true expression should be «one of the first white American blues-rock albums»
— British invaders like The Yardbirds and The Animals, let alone lesser heroes
like Alexis Korner, had already been doing this thing for at least a couple of
years; and in basic terms of instrumentation, there's really no reason why one
couldn't apply the term «blues-rock» to the Chicago sound — I mean, Howlin'
Wolf's recordings from the late Fifties / early Sixties certainly «rock» just
as hard, if not harder, than these ones. A thinner drum sound, perhaps, but
that's about it.
Still, there are enough historical and other
reasons to at least be happy that the tapes were not completely lost, and that
it is possible to trace Butterfield's story way back into late 1964. And, heck,
when they really speed up the tempo and Paul is blowing away and the rhythm
section is rolling and grooving, like on ʽPiney Brown Bluesʼ, for instance, it
takes a mighty (anti-)intellectual leap to not get caught up in the excitement
— at least a little bit.
Thumbs up?
ReplyDeleteHa, when it comes to Good Morning, Little Schoolgirl I disagree. I tried it because I wanted to compare it with Alvin Lee and explain why it sucks, but it doesn't. Butterfield and Bloomfield may be unoriginal, they totally pull it off. It's playful; the guitar works as a counterweight and has such some very interesting notes. Without the biting sound Bloomfield produces the song would not have been nearly the same.
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