The Paul Butterfield Blues Band Resurrection of Pigboy Crabshaw 1971 plays Mint-

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The Paul Butterfield Blues Band ~ Resurrection of Pigboy Crabshaw 

1971 Analogue pressing.

Elektra Records - EKS 74015 Stereo

Vinyl is VG++ to Mint-, mostly Mint-

Vinyl loks VG++ to Mint-, mostly Mint-: very faint and minor inner-sleeve inaudible-marks might be faintly seen upon close inspection.

Vinyl plays VG++ to Mint-, mostly Mint-, except the end of B-1 ticks for 8 rotations and B-1 introduction is VG+ to VG++ for a few seconds.

Cover is VG to VG+: crease and bends on lower-right and other corner-bends and wear; cover-wear and marks, edge-ewa, indentations and small creases.

Labels are Mint-.

The original, paper inner-sleeve has intact seams.

Out of print, analogue pressing.

"Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him in the pantheon of true blues greats. It's impossible to overestimate the importance of the doors Butterfield opened: before he came to prominence, white American musicians treated the blues with cautious respect, afraid of coming off as inauthentic. Not only did Butterfield clear the way for white musicians to build upon blues tradition (instead of merely replicating it), but his storming sound was a major catalyst in bringing electric Chicago blues to white audiences who'd previously considered acoustic Delta blues the only really genuine article. His initial recordings from the mid-'60s -- featuring the legendary, racially integrated first edition of the Paul Butterfield Blues Band -- were eclectic, groundbreaking offerings that fused electric blues with rock & roll, psychedelia, jazz, and even (on the classic East-West) Indian classical music. As members of that band -- which included Michael Bloomfield and Elvin Bishop -- drifted away, the overall impact of Butterfield's music lessened, even if his amplified harp playing was still beyond reproach. He had largely faded from the scene by the mid-'70s, and fell prey to health problems and drug addiction that sadly claimed his life prematurely. Even so, the enormity of Butterfield's initial impact ensured that his legacy was already secure.

Butterfield was born December 17, 1942, in Chicago and grew up in Hyde Park, a liberal, integrated area on the city's South Side. His father, a lawyer, and mother, a painter, encouraged Butterfield's musical studies from a young age, and he took flute lessons up through high school, with the first-chair flutist in the Chicago Symphony Orchestra serving as his private tutor for a time. By this time, however,Butterfield was growing interested in the blues music that permeated the South Side; he and college-age friend Nick Gravenites (a future singer, guitarist, and songwriter in his own right) began hitting the area blues clubs in 1957. Butterfield was inspired to take up guitar and harmonica, and he andGravenites began playing together on college campuses around the Midwest. After being forced to turn down a track scholarship to Brown University because of a knee injury, Butterfield entered the University of Chicago, where he met a fellow white blues fan in guitarist Elvin Bishop. Butterfield was evolving into a decent singer, and not long after meeting Bishop, he focused all his musical energy on the harmonica, developing his technique (mostly on diatonic harp, not chromatic) and tone; he soon dropped out of college to pursue music full-time."...

-allmusic