Inspired by the Blues Brothers, I bought my first Blues Harp around the beginning of 1987. Soon thereafter and unbeknownst to me, one of the musicians pivotal in the crossover of blues music to white audiences, someone who knew the southside streets of Chicago much better than Jake and Elwood, died at the age of 44.Paul Butterfield, Elvin Bishop, Mike Bloomfield: the son of a lawyer, a full ride scholarship physics major, and a Jewish northside heir to a catering business respectively. You'd sooner expect to find ketchup on a Chicago Style Hot Dog than these three in a blues bar back in 1963. But they, as many white suburban kids would do for years to come, made the pilgrimage. Paul traded in his flute (yes flute) and the CSO for the Marine Band and Big John's nightclub.
I know most of the blues "standards" on the album, but there are one or two I'm not familiar with, and several written by Butterfield that I haven't heard before. I could do some research and then say with confidence that the white flight to blues happened first in Chicago, or that it started first in London... but I'm thinking listening to blues music is better than doing research; Paul, Elvin, and Mike surely concurred.
Born In Chicago- who better to write your first blues hit than Nick "the Greek' Gravenites. The influences of Muddy Waters, Otis Rush and Howlin' Wolf are strong, as is the interplay between harmonica and guitar.
Shake Your Money-Maker- this up tempo blues standard has been covered by everyone from Fleetwood Mac, Jimmy Page, Eric Clapton, The Black Crowes, and George Thorogood. The original was recorded by Elmore James. Suggestive lyrics for the early 60's.
Blues with a Feeling- a cover of the Little Walter hit. Little Walter was one of the first harmonica players to play through an amplifier with distortion and thus could "compete" with the lead guitars. Butterfield would use this style often playing through a Fender amp and/or the house P.A. microphone. The sound became so popular, that Shure adapted the microphone they once designed for public address systems, into a full fledged harmonica mic.
Thank You Mr. Poobah- An instrumental original on the album and the first to credit keyboard player Mark Naftalin, another University of Chicago graduate and son of then Minneapolis mayor. The harmonica playing is great, the guitar playing fluid, but the organ playing is sloppy at best.
Got My Mojo Workin'- The Muddy Waters standard is flawless. Paul Butterfield's singing, it's a weird mid-point between honoring Muddy and mocking him... I'm sure it's meant as honoring, but he's imitating Muddy's grunts and groans...it's probably just me be overly critical. Flawless, but maybe that's what is throwing me off.
Mellow Down Easy- The Willie Dixon song reminds me of Wang Dang Doodle (which he also wrote) that was made famous by Koko Taylor. The guitar solo by Bloomfield, is fluid and wonderfully accented and weaved by the harmonica.
Screamin'- a blues shuffle written by Bloomfield. I've never heard this one, but I think it's my favorite on the album so far. It showcases both Mike's guitar prowess, and the unique style of Butterfield's playing. It's as if he incorporated his classical flute background to the blues. Anyone remember Ralph Macchio's character in the movie Crossroads? Coinkydink?
Our Love is Drifting- the only original on the album with singing, it's pretty straight forward, not bad, not great.
Mystery Train- The Junior Parker song, also made famous by Elvis' cover in 1955, is another up tempo blues standard. It rolls in, and rolls out just as quickly; I would have liked to hear more harp/guitar soloing.
Last Night- Another Little Walter cover. You can't hear this and not think of Chicago. I don't know if it's been used as movie music, but to me the sound is synonymous with the south side. John Popper sounds like this in his wet dreams.
Look Over Yonders Wall- was the flip side to Elmore James Shake Your Moneymaker. The book of the song is a guy who wasn't drafted because of his bum knee, and takes advantage of lonely soldiers wives. All's fair in love and war, and blues.
I've long since lost my adolescent fascination with the blues. It has however matured into an appreciation for the musicianship, sound, and culture. The early sixties, to me, seemed fertile ground for change. The Beatles, Civil Rights, a youth movement. Perhaps it's easy for those of us that were born afterwards, to take for granted the struggles faced by those who planted those seeds of change; those who crossed over lines: cultural, race, or artistic.
The Butterfield Blues Band would go on to perform at Monterey, and then Woodstock. Paul Butterfield died of a heart attack at age 44 caused by drug use and heavy drinking. Tragically, the blues does in fact cross over.
Next Up #475 Bruce Springsteen- Tunnel of Love (1987)
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