THE PAUL BUTTERFIELD BLUES BAND - EAST-WEST (original Elektra label)
$
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Description
The Paul Butterfield Blues Band
East-West
VG++/VG++
Elektra Records - EKS-7315
Paul Butterfield was from Chicago, Illinois and began learning classical (flute) with Walfrid Kujala, a member of the Chicago Symphony Orchestra. He was a track star and got a scholarship to Brown University. But he injured his knee throttling any sport career ambitions. Focusing on music he began playing (harmonica). Inspired by Elmore James, Muddy Waters, Bobby 'Blue' Bland and especially Little Walter, he spent hours by himself pursuing his craft. He and Nick Gravenites would go to South Side Blues clubs like Frost's Corner, The Fickle Pickle, Mother Blues and Big John's where he saw all his heros.
He met Elvin Bishop and they sat in with blues bands like Salt and Pepper Shakers and The South Side Olympic Blues Team backing Muddy Waters, Magic Sam, Buddy Guy, Little Walter and Howlin' Wolf. He formed his own band, with himself (harmonica, vocals), Elvin Bishop (guitar, vocals) and poached Jerome Arnold (bass) and Sam Lay (drums) both from Howlin' Wolf offering them more money to join him and Elvin.
Paul was known as the white blues player and was welcomed at all the dark clubs catering to Sonny Terry, Junior Wells, Otis Rush, Jimmy Reed, Muddy Waters and all the known greats. Paul Rothchild, from Elektra Records, saw them at Big John's and offered a record contract. He thought another guitarist might add some punch to their sound and Mike Bloomfield (guitar) joined them.
They flew to New York City and recorded an album at Mastertone Studios. Mark Naftalin was hired on (organ). They also played at the Newport Folk Festival for their own performance and backed Bob Dylan. The album was cut and pressed and 25,000 were sitting in a warehouse ready for delivery. But they sat there unreleased.
Jac Holtzman, president of Elektra, decided that a live performance would bring out more energy. They were set up to play at the Café Au Go Go for one week. The gigs went well and everyone was happy but the Musicians Union witnessed every show and before the end of the week approached Jac Holtzman with a huge fine for not reporting the planned event. Jac bailed on the live performance and brought them back to Elektra Studios for their official first album.
They played clubs in New York, Boston, Chicago and Detroit before taking a jaunt to California to perform at The Fillmore West. The Paul Butterfield Blues Band brought keen national interest to the blues for white teenagers which had been absent and isolated pretty much to the local clubs in Chicago.
Their second album, East West, had several blues cover tunes but featured Mike Bloomfield on the album title tune with a long, improvised guitar solo that became a hippie-raga. It was all based on an LSD trip that he took. The 13-minute song would extend to an hour during the live shows. The psych heads couldn't believe what they were hearing and put Paul Butterfield on the map.
Several albums followed with band members revolving in and out. Mike left the band to form The Electric Flag. Elvin Bishop had great success as a solo artist. Paul began taking acid. The revamped band played at the Woodstock Festival and Paul, with his family, settled in Woodstock. He still toured but drinking was a real problem and heroin took over. His wife kicked him out because of his uncontrollable vices and he moved to California.
A few more unsuccessful albums were released but if you didn't see him live, he became a footnote in musical history. He died of heart failure in Hollywood, age 44 May of 1987.
Musically heavy Blues Rock. Psychedelic guitar on the second album. Good comparisons, The Outlaw Blues Band and John Mayall and the Bluesbreakers.
This was the second LP. An original Elektra label issue.
Cover has some slight shelf, edge and corner wear with a small drill hole upper left. Record has some sleeve and age marks that DNAP. Record plays clean with maybe a light tick or two while spinning. Generic inner sleeve with plastic lining.
Long time buyer from E-bay and other record websites since the 90's.
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VISUAL GRADING - PLEASE READ THIS!!!
COVERS - I'm a 73-year-old guy with Strabismus (an eye disorder). I try to visually describe every flaw that I can see, but sometimes I miss a small tear or a tiny seam split.
SHELF WEAR generally means that the cellophane was removed when the LP was new and it sat on a shelf or in a box without a plastic sleeve, before they were available, for several years, so there can be some rub blemishes, sticker residue if it was purchased used, tiny tears, slight seam splits and other defects.
EDGE WEAR usually means the picture wrap around the edge has been worn, sometimes into the cardboard itself. This usually happens on the top or bottom edge.
CORNER WEAR is the same as edge wear but sometimes there will be a dent or ding at the corner. All 4 sides are suspect for this occurrence.
RING WEAR occurs when a record was not stored in a protective sleeve for a very long time. Back in the day, plastic sleeves were not easily available. Most of us as teenagers, ripped off the cellophane and didn’t consider how the record cover was being stored. Most of the record covers laid on the floor or were stored in the closet or on a shelf for easy access. If they sat for a long time, earth movement, that nobody feels, causes vibration and the record sleeves would rub together and wear on the cover picture or illustration causing the ring wear and other flaws.
THE VINYL RECORD ITSELF - I will try to visually grade both sides of the vinyl record. There might be some sleeve rubs or marks on some of these. All of my records were played more than once, unless they are sealed. If I mention ticks and or clicks in the description, that means that you can visually see and sometimes hear the imperfection. Most of these Do Not Affect the Play (DNAP). I try my best to see any flaws but understand I don’t Inspect these LPs with a High Lumens Tactical Light and a Magnifying Glass. If the visual flaws are obvious or severe, I try and describe these as best as I can. If there are a lot of visual scratches, it won’t be listed. The exception is if the LP is very rare. I will list a rare record that looks bad but plays pretty good without skips.
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POSTAGE COST - Typically, the minimum cost for USPS Media mail in the USA would be 1-2 LPs $5.50 USD. Canada 1-2 LPs around $24.00 USD. Europe, Japan and other countries around the world, $33.00 USD for 1-2 LPs. Additional LPs as per total weight. I will send an invoice with the total postage cost. Everything is shipped via USPS. I don't use the E-Bay International shipping.
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