From Rave-Up To Freak Out Dept. - The Butterfield Blues Band

Chick backing singers were big back then

 

The first rock band to stretch out with live improv was The Yardbirds [not above, have patience - Ed.]. They weren't the first to play US-style RnB, that would probably be Alexis Korner and some fat middle-aged bloke in glasses called Cyril, but it's a stretch to call them a rock group. Or interesting. So probably the Stones. 

But the Yardies [left - Ed.] were having a Rave-Up, as they called it, back in early '64, lifting audiences into a frenzy through improvisation (or playing what the fuck they felt like) rather than just turning up and trying to sound like the records. This was a seismic shift in rock music performance. I have no time for Clapton Cancelers. He's a fantastic and important guitarist and a fine songwriter, so shut up. You should extend him the forgiveness rightly given the old blues guys themselves, who were weren't exactly bothered by wokeness. He was the first British rock musician to whip the audience into a froth with an improvised guitar solo, and later, the first to use a Les Paul, creating the sound of hard rock. The Kinks had already built the structure with 'You Really Got Me', in (guess when) '64. Where do Yer Beatles fit in? They don't.

On the other side of the world, The Paul Butterfield Blues Band were extending the possibilities of rock guitar by having Mike Bloomfield and Elvin Bishop in the same band. Yikes. Dylan witnessed how their electricity knocked folkies off their chairs at Newport, and got them to back him the next day. Yup. Not The Band.

Their first album [left - Ed.] appeared in '65, an authentic blast of Chicago blues from a rock band format. We need to talk about the cover. Note black dudes, the rhythm section from Howlin' Wolf's touring band. Black and white in the same band back then was pretty unusual. They're pictured standing in front of what looks like a head shop. Incense, herbs, oils ... quacks like a duck, right? But the internet is insistent that the first head shop appeared in '66, one whole year later. Hmm ... The Butterfield Blues Band sure were ahead of their time! A head, geddit?? It's like a play on words! Fuck you. And there's the font, which looks unremarkable today. The Beatles are sometimes credited with the first psychedelic lettering on an album cover (Rubber Soul), but the artist has denied any connection with or knowledge of the nascent psychedelic scene - the letters look like rubber, duh. Here, the great Elektra house designer Harvey S. Williams - carve his name with pride - uses the first recognisably psychedelic font that inspired Rick Griffin and Victor Moscoso (and everyone else), two years before the Summer of Love. Does this matter? Of course it does.

But it's their second album from '66 I want to talk about [above top, and about time. I'll be in the bar if you need me, so don't. - Ed.], because it took The Yardbird's improvisational initiative and set a template for rock guitar performance (and, uh, jam bands) ever since. It's a groundbreaking and massively enjoyable album that often gets overlooked. Unlike the Stones' perfunctory eleven minute 'Goin' Home' in the same year - they were never a jam band - the 'East-West' title song is a thirteen minute, dynamically-structured improvisation featuring the raga-influenced playing we associate with '67. And no drum solo. It's totally groovy and far out. There's also a funkified version of the Monkees' 'Mary, Mary' which sounds entirely natural, a jazzy eight minute work-out of 'Work Song', the achingly soulful 'Never Say No', and, of course, some fine Chicago blues greased by Butterfield's raucous harp blowing. There's a live-in-the-studio feel and the whole album sounds as vivid as the day it was recorded.

What happened to relegate this great band to the where-are-they-now file? After a faultless and viscerally exciting couple of years, the PBBB squandered everything through dizzying lineup changes and entirely losing the plot. They went from authentically, unconsciously, psychedelic to Hallmark Hippie in the space of a few months, playing a song called Love March at Woodstock, ffs, adding horns, losing impetus. Blues rock was a global phenom, dominated by Cream, who not only did the extended live improv but had punchy, memorable and exciting hit singles that had nothing to do with the blues. The Paul Butterfield Blues Band were yesterday's mashed potato, mostly unrecognised at the time and mostly forgotten since.

Today's deliverables catch them at their prime: the pre-first album recordings, a nifty soundtrack album featuring rare cuts, the first album, and 'East-West'.

 

This post inspired by a random appearance of 'East-West' on the Shuffle-O-Meter© on the road to Sakhorn Nakhon, which isn't pronounced like Foghorn Leghorn.