Paul Butterfield Blues Band/CA,USA 1966 2Days

Along with Britain’s John Mayall, PAUL BUTTERFIELD BLUES BAND ran through the 1960s as a pioneer of white blues. That valuable soundboard album is now available. This work includes two Fillmore performances from the 1960s. “October 14, 1966 Fillmore Auditorium Performance” and “August 1969 Fillmore West Performance”. “Fillmore” is synonymous with a famous venue that shines in rock history, but it can be confusing because it is also located in New York, but if you trace its origins to San Francisco on the West Coast. In 1965, famous promoter Bill Graham began holding concerts to raise funds at the Fillmore Auditorium. After that, in 1968, in order to expand the scale, it was repartitioned and opened in the same San Francisco as “Fillmore West”, and “Fillmore East” opened in New York on the far east coast. “West” is famous for the masterpieces of Mike Bloomfield, Al Cooper, and Aretha Franklin, and “East” is famous for the Allman Brothers and Jimi Hendrix. And, this work was performed at the original “Auditorium” and the successor venue “West”, both in San Francisco. [First half: 1966 Fillmore Auditorium] The first half of this work is 1966 Live at Fillmore. This is the stage two months after the release of the masterpiece “EAST-WEST”. The quality is an indescribably wonderful vintage soundboard. The stereo feeling where the vocals pop out only from the left channel is also very old-fashioned, but the master freshness is top-notch. The tone is full of a sepia vintage feel, but it has an irresistible luster with no distortion, no distortion, and no noise. The rustling harp and smooth slide create an indescribable, dusty yet deep flavor. I think there are many people who think that blues is limited to the 50’s/60’s, but you can really enjoy that flavor. Even more important than the sound is the performance itself. It’s divided into 11 tracks because there are tuning scenes, but basically it’s 7 songs and about 44 minutes long. The lively blues is very pleasant, with short performances focusing on standards by Elmore James and Roy Orbison. The key elements are, of course, Paul’s harp and Mike Bloomfield and Elvin Bishop’s guitar. Even though they admired black bluesmen, the people they interacted with in their hometown were much blacker than the British people seen through records. The light grooves of “Shake Your Money Maker” and “Help Me” are also great, but they are still deep and slow. “Never Say No” is a song that leaves a deep impression on your heart, and is typical of Junior Wells. It’s a relatively short style of playing one after another, but the last masterpiece, “East West”, takes a turn. Here, an interplay centered on Bloomfield takes place, and the battle with Paul’s harp is also fierce. Up until this point, it was full of blackness, but the rock-like beat, raga scale, and versatility that can be heard in later fusion music are unique to white blues. The highlight is 15 minutes of piping hot jam. [Second half: 1969 Fillmore West] The second half is West three years later. Two months before the release of “KEEP ON MOVING”…or should I say, it is the same stage as that “Woodstock” in August 1969. This is also a superb sound board, and the stereo feeling is natural and the edges are bright and sparkling. It has evolved into a sound that is well suited for the approaching 70’s. What has changed more than the sound is the show. Since the show was held in the same month as Woodstock, the ensemble, which included a large amount of horns, was funky and luxurious. In contrast to 1966, when the focus was on standards, this work also features original songs from “KEEP ON MOVING” such as “No Amount of Lovin”’ and “All in a Day.” Furthermore, the playing style itself changed. While the 1966 version was about 4 minutes long, each song in 1969 is over 10 minutes, and the 3 songs are played for about 34 minutes. In 1966, the yearning for black blues was evident, and its blackness surpassed even that of the British. Then, in 1969, they made a breakthrough and performed passionate performances reminiscent of Woodstock. It is a masterpiece where you can enjoy “Two Lives at Fillmore” on the finest sound board. Both are great shows, and live albums that reflect the 60’s scene itself, which changed drastically in just 3 years. Fillmore Auditorium, San Francisco, CA, USA 14th October 1966 SBD Fillmore West, San Francisco, CA, USA August 1969 SBD (77:42) Fillmore Auditorium, San Francisco, CA, USA 14th October 1966 1. Shake Your Money Maker 2. The Sky Is Crying 3. Tuning 4. Pretty Woman 5. Help Me 6. Tuning 7. Never Say No 8. Tuning 9. You’re So Fine 10. Tuning 11. East West Paul Butterfield – vocals, harmonica Mike Bloomfield – guitar , vocals Elvin Bishop – guitar, vocals Mark Naftalin – keyboards Jerome Arnold – bass Billy Davenport – drums Fillmore West, San Francisco, CA, USA August 1969 12. No Amount of Lovin’ 13. All in a Day 14. Driftin’ and Driftin ‘SOUNDBOARD RECORDING