East-West (CD)

Singer/harmonica player Paul Butterfield and his band were from Chicago and well-schooled in that city's urban blues scene. Their first two albums of modernized Chicago blues not only created a critical stir, but led to large-scale interest in electric blues amongst the then-embryonic hippie generation. Members of the Butterfield band (most notably guitar whiz Mike Bloomfield) also played a key role in rock history by helping Bob Dylan along in his transition to electric music. Butterfield's 1966 album EAST-WEST was strikingly prescient in its incorporation of Eastern modalities. By the mid-'70s he was getting into the post-Woodstock rural vibe with his BETTER DAYS band. Though Butterfield's salad days were far behind him when he passed away in the late-'80s, he had changed both the blues and rock worlds irrevocably.

• Category:  Music  »  Blues  »  Contemporary Blues
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: January 1, 1988
• Label: Elektra Entertainment
• UPC: 075596075121
• WAPI (Tower ID): 106698116
• Average Customer Review: There are no customer reviews yet. Be the first to write a review!
• Tower.com Sales Rank: #12274 in Music (See Top 100 Music Bestsellers)
• #225 in Blues (See Top 100 Blues Bestsellers)
• #1211 in Contemporary Blues (See Top 100 Contemporary Blues Bestsellers)

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Paul Butterfield Blues Band: Paul Butterfield (vocals, harmonica); Mike Bloomfield, Elvin Bishop (guitar); Mark Naftalin (piano, organ); Jerome Arnold (bass); Billy Davenport (drums).

Producers: Paul A. Rothchild, Mark Abramson, Barry Friedman.

Includes liner notes by Paul Nelson.

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 of the album is more traditional, save for a radical deconstruction of Monkee Mike Nesmith's "Mary Mary" (if this was a bid for a hit single, they were kidding themselves), and there are sensational performances in abundance, including a deeply-felt rendering of the blues classic "Got a Mind to Give Up Livin'."

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