Paul Butterfield Blues Band LP In My Own Dream 12" PROMO (Rock) 1968 Elektra EKS
$
30
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Description
The Paul Butterfield Blues Band's In My Own Dream -- their fourth official release -- marked the point where the band really began to lose its audience, and all for reasons having nothing to do with the quality of their music. They'd gotten past the loss of Michael Bloomfield in early 1967 (which had lost them some of their audience of guitar idolaters) with the engagingly titled (and guitar-focused) Resurrection of Pigboy Crabshaw. In My Own Dream has its great guitar moments, especially on "Just to Be with You," but throughout the album, Elvin Bishop's electric guitar shares the spotlight with the horn section of Gene Dinwiddle, David Sanborn, and Keith Johnson, who had signed on with the prior album and who were more out in front than ever. More to the point, this album represented a new version of the band being born, with shared lead vocals, and the leader himself only taking three of the seven songs, with bassist Bugsy Maugh singing lead on two songs, Bishop on one, and drummer Phillip Wilson taking one. What's more, there was a widely shared spotlight for the players, and more of a jazz influence on this record than had ever been heard before from the group. This was a band that could jam quietly for five minutes on "Drunk Again," building ever so slowly to a bluesy crescendo where Bishop's guitar and Mark Naftalin's organ surged; and follow it with the title track, a totally surprising acoustic guitar-driven piece featuring Sanborn, Dinwiddle, and Johnson. The playing is impressive, especially for a record aimed at a collegiate audience, but the record had the bad fortune of appearing at a point when jazz was culturally suspect among the young, an elitist and not easily accessible brand of music that seemed almost as remote as classical. "Get Yourself Together" was almost too good a piece of Chicago-style blues, a faux Chess Records-style track that might even have been too "black" for the remnants of Butterfield's old audience. It also anticipated the group's final change of direction, when it blossomed into a multi-genre blues/jazz/R&B/soul outfit, equally devoted to all four genres and myriad permutations of each. AllMusic Review by Bruce Eder
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RECORD GRADINGVINYL AUDIO (Excludes lead in/out) Mint = 100% New or new like condition (unopened if sealed). Doesn't mean it is perfect. May have mild dust from storage. M- , NM or Near Mint = Rare if any hints of surface noise. EX = Minimum amount of surface noise however, there is very little lessening in sound quality. VG = Mild to Medium hints of surface noise / crackling throughout record. Some scratches may be audible. In general, most records fall into this category. VG (-) = Plays fine with Medium to Heavy surface noise. Some mild popping or surface noise. These records are definitely playable.
VINYL (VISUAL) Mint = 100% New or new like condition (unopened if sealed). Doesn't mean it is perfect. M- , NM or Near Mint = Little or no visible surface marks / defects . Vinyl shines. Doesn't mean it is perfect. EX = Shows some sign of being played. One or two tiny inconsequential flaws. Doesn't affect the play. May have noticeable light surface marks that don't effect playing. VG = Signs of moderate wear (obviously played). Noticeable light surface marks and/or groove wear that don't effect playing. Lack original gloss. VG (-) = Signs of wear. Plays fine, many light and a few deep surface scratches. Good = Light and deep scratches/scuffs/other defects. Record plays and may skip. Can use a collection filler. Significant background noise Poor = Record may not play properly due to scratches, bad surface noise. Use a collection filler. These may be very rare pieces.
VINYL (LABEL) Mint = 100% New or new like condition (unopened if sealed). Doesn't mean it is perfect. M- , NM or Near Mint = Bright Label. EX = May have one or two tiny inconsequential flaws. VG = Signs of moderate wear. May have a ring wear. VG(-) / Poor = Has ring wear.
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