Paul Buttereld

Paul Vaughn Buttereld (December 17, 1942 May

4, 1987) was an American blues singer and harmonica
player. After early training as a classical autist, Buttereld developed an interest in blues harmonica. He explored the blues scene in his native Chicago, where he was
able to meet Muddy Waters and other blues greats who
provided encouragement and a chance to join in the jam
sessions. Soon, Buttereld began performing with fellow
blues enthusiasts Nick Gravenites and Elvin Bishop.

were soon performing as Nick and Paul in college-area

coee houses.[5]
In the early 1960s, Buttereld attended the University
of Chicago, where he met aspiring blues guitarist Elvin
Bishop.[6][7] Both began devoting more time to music
than studies and soon became full-time musicians.[5]
Eventually, Buttereld, who sang and played harmonica,
and Bishop, accompanying him on guitar, were oered
a regular gig at Big Johns, an important folk club in the
Old Town district on Chicagos north side.[8] With this
prospect, they were able to entice bassist Jerome Arnold
and drummer Sam Lay (both from Howlin' Wolfs touring
band) into forming a group in 1963. Their engagement at
the club was highly successful and brought the group to
the attention of record producer Paul A. Rothchild.[9]

In 1963, he formed the Paul Buttereld Blues Band, who

recorded several successful albums and were a popular
xture on the late-1960s concert and festival circuit, with
performances at the Fillmores, Monterey Pop Festival,
and Woodstock. They became known for combining
electric Chicago blues with a rock urgency as well as their
pioneering jazz fusion performances and recordings. After the breakup of the group in 1971, Buttereld continued to tour and record in a variety of settings, including
1.1
with Paul Butterelds Better Days, his mentor Muddy
Waters, and members of the roots-rock group the Band.
While still recording and performing, Buttereld died in
1987 at age 44 of a heroin overdose. Music critics have
acknowledged his development of an original approach
that places him among the best-known blues harp players.
In 2006, he was inducted into the Blues Hall of Fame
and the Rock and Roll Hall of Fame inducted the Paul
Buttereld Blues Band in 2015. Both panels noted his
harmonica skills as well as his contributions to bringing
blues-style music to a younger and broader audience.

Buttereld Blues Band with Bloomeld

During their engagement at Big Johns, Buttereld met

and occasionally sat in with guitarist Mike Bloomeld,
who was also playing at the club.[6] By chance, producer
Rothchild witnessed one of their performances and was
impressed by the obvious chemistry between the two. He
convinced Buttereld to bring Bloomeld into the band,
and they were signed to Elektra Records.[9] Their rst
attempt to record an album in December 1964 did not
meet Rothchilds expectations, although an early version
of Born in Chicago, written by Nick Gravenites, was included on the 1965 Elektra sampler Folksong '65 and created interest in the band (additional early recordings were
later released on the 1966 Elektra compilation, Whats
Shakin' and The Original Lost Elektra Sessions in 1995).
In order to better capture their sound, Rothchild convinced Elektra president Jac Holzman to record a live
album.[10] In the spring of 1965, the Buttereld Blues
Band was recorded at New Yorks Cafe Au Go Go. These
recordings also failed to satisfy Rothchild, but the groups
appearances at the club brought them to the attention of
the East Coast music community.[6] Rothchild was able
to get Holzman to agree to a third attempt at recording
an album.[lower-alpha 1]

Career

Buttereld was born in Chicago and raised in the citys

Hyde Park neighborhood. The son of a lawyer and a
painter, he attended the University of Chicago Laboratory
Schools, a private school associated with the University
of Chicago. Exposed to music at an early age, he studied
classical ute with Walfrid Kujala of the Chicago Symphony Orchestra.[3] Buttereld was also athletic and was
oered a track scholarship to Brown University.[3] However, a knee injury and a growing interest in blues music
sent him in a dierent direction. He developed a love for
blues harmonica and a friendship with Nick Gravenites,
who shared an interest in authentic blues music.[4] By the
late 1950s, they started visiting some of Chicagos blues
clubs and met musicians such as Muddy Waters, Howlin'
Wolf, Little Walter, and Otis Rush, who encouraged them
and occasionally let them sit in on jam sessions. The pair

During the recording sessions, Paul Rothchild had assumed the role of group manager and used his folk contacts to secure the band more and more engagements outside of Chicago.[12] At the last minute, Buttereld and
band were booked to perform at the Newport Folk Festival in July 1965.[6] They were scheduled as the opening
1

2
act the rst night when the gates opened and again the next
afternoon in an urban blues workshop at the festival.[12]
Despite limited exposure during their rst night and a dismissive introduction the following day by folklorist/blues
researcher Alan Lomax,[13][lower-alpha 2] the band was able
to attract an unusually large audience for a workshop performance. Maria Muldaur, with her husband Geo, who
later toured and recorded with Buttereld, recalled the
groups performance as stunning it was the rst time
that many of the mostly folk-music fans had experienced
a high-powered electric blues combo.[12] Among those
who took notice was festival regular Bob Dylan, who invited the band to back him for his rst live electric performance. With little rehearsal, Dylan performed a short,
four-song set the next day with Bloomeld, Arnold, and
Lay (along with Al Kooper and Barry Goldberg).[13][14]
It was not received well by some of the folk music establishment and generated a lot of controversy;[3] however,
it was a watershed event and brought the band to the attention of a much larger audience.[12]
After adding keyboardist Mark Naftalin, the bands debut album was nally successfully recorded in mid-1965.
Simply titled The Paul Buttereld Blues Band, it was released later in 1965. The opening song, a newer recording of the previously released Born in Chicago, is an
upbeat blues rocker and set the tone for the album, which
included a mix of blues standards, such as "Shake Your
Moneymaker", "Blues with a Feeling", and "Look Over
Yonders Wall" and band compositions. The album, described as a hard-driving blues album that, in a word,
rocked,[8] reached number 123 in the Billboard 200 album chart in 1966,[15] although its inuence was felt beyond its sales gures.[9]
When Sam Lay became ill, jazz drummer Billy Davenport was invited to replace him.[9] In July 1966, the sextet recorded their second album East-West, which was
released a month later. The album consists of more
varied material, with the bands interpretations of blues
(Robert Johnson's "Walkin' Blues"), rock (Michael Nesmith's "Mary, Mary"), R&B (Allen Toussaint's Get Out
of My Life, Woman), and jazz selections (Nat Adderley's "Work Song"). East-West reached number 65 in the
album chart.[15]

CAREER

signatures ... He just destroyed them.[17] Several live

versions of East-West from this period were later released on East-West Live in 1996.
While in England in November 1966, Paul Buttereld
recorded several songs with John Mayall & the Bluesbreakers, who had recently nished their A Hard Road
album.[18] Both Buttereld and Mayall contribute vocals, with Butterelds Chicago-style blues harp being
featured. Four songs were released in the UK on a 45
rpm EP in January 1967, titled John Mayalls Bluesbreakers with Paul Buttereld.[lower-alpha 3]

1.2 Later Buttereld Blues Band

In spite of their success, the Buttereld Blues Band lineup
soon changed; Arnold and Davenport left the band, and
Bloomeld went on to form his own group, Electric
Flag.[9] With Bishop and Naftalin remaining on guitar
and keyboards, they added bassist Bugsy Maugh, drummer Phillip Wilson, and saxophonists David Sanborn and
Gene Dinwiddie. Together, they recorded the bands
third album, The Resurrection of Pigboy Crabshaw, in
1967. The album cut back on the extended instrumental jams and went in a more rhythm and blues-inuenced
horn-driven direction with songs such as Charles Brown's
"Driftin' Blues" (retitled Driftin' and Driftin'"), Otis
Rush's "Double Trouble", and Junior Parker's "Driving
Wheel".[19] The Resurrection of Pigboy Crabshaw was
Butterelds highest charting album, reaching number
52 on the album chart.[15] On June 17, 1967, most
of this lineup performed at the seminal Monterey Pop
Festival.[lower-alpha 4][20]
Their next album in 1968, In My Own Dream, saw the
band continuing to move away from their hard Chicagoblues roots towards a more soul-inuenced horn-based
sound. With Buttereld only singing three songs, the album featured more band contributions[21] and reached
number 79 in the Billboard album chart.[15] By the end
of 1968, both Bishop and Naftalin had left the band.[9] In
April 1969, Buttereld took part in a concert at Chicagos
Auditorium Theater and a subsequent recording session
organized by record producer Norman Dayron, featuring
Muddy Waters and backed by Otis Spann, Mike Bloomeld, Sam Lay, Donald Duck Dunn, and Buddy Miles.
Such Muddy Waters warhorses as "Forty Days and Forty
Nights", "I'm Ready", "Baby, Please Don't Go", and "Got
My Mojo Working" were recorded and later released on
his Fathers and Sons album. Muddy Waters commented
We did a lot of the things over we did with Little Walter and Jimmy Rogers and Elgin [Evans] on drums [Waters original band] ... Its about as close as I've been
[to that feel] since I rst recorded it.[22] To one reviewer, these recordings represent Paul Butterelds best
performances.[23]

The thirteen-minute instrumental title track East-West

incorporates Indian raga inuences and features some of
the earliest jazz-fusion/blues rock excursions, with extended solos by Buttereld and guitarists Mike Bloomeld and Elvin Bishop.[7] It has been identied as the rst
of its kind and marks the root from which the acid rock
tradition emerged.[16] Live versions of the song could
last nearly an hour and performances at the San Francisco Fillmore Auditorium were a huge inuence on the
citys jam bands".[17] Bishop recalled, "Quicksilver, Big
Brother, and the Dead those guys were just chopping
chords. They had been folk musicians and weren't particularly procient playing electric guitar [Bloomeld] Sometime between late 1968, when Elvin Bishop left the
could play all these scales and arpeggios and fast time- band, and the Spring of 1969, when Bloomeld returned

1.3

Better Days and solo

to back Buttereld as mentioned above, Bishop referred Live at Winterland Ballroom, recorded in 1973, was rea young New York guitarist, Buzz Feiten, to Buttereld, leased in 1999.[28]
initially to play bass. After a jam session with Buttereld,
B.B. King, Jimi Hendrix and others,[24] Buttereld mentioned to Feiten that he had heard he also played guitar,
and invited him to audition for the band. According to
Feiten, he landed the gig as primary guitarist for the band
and was at Woodstock three months later. This would
place Feitens advent in the group in the late Spring of
1969. Feiten recorded with the group on the 'Keep On
Moving' album.[24]
Buttereld was invited to perform at the Woodstock Festival on August 18, 1969. He and his band performed
seven songs, and although their performance did not appear in the resulting Woodstock lm, one song, Love
March, was included on the Woodstock: Music from the
Original Soundtrack and More album released in 1970.
In 2009, Buttereld was included in the expanded 40th
Anniversary Edition Woodstock video and an additional
two songs appeared on the Woodstock: 40 Years On:
Back to Yasgurs Farm box-set album. With only Buttereld remaining from the original lineup, 1969s Keep
On Moving album was produced by veteran R&B producer/songwriter Jerry Ragovoy, reportedly brought in by
Elektra to turn out a breakout commercial hit.[3] The
album was not embraced by critics or long-time fans;[25]
however, it reached number 102 in the Billboard album
chart.[15]
A live double album by the Buttereld Blues Band, simply
titled Live, was recorded March 2122, 1970 at the The
Troubadour in West Hollywood, California. By this time,
the band included a four-piece horn section in what has
been described as a big-band Chicago blues with a jazz
base"; Live provides perhaps the best showcase for this
unique blues-jazz-rock-R&B hybrid sound ".[26] After
the release of another soul-inuenced album, Sometimes
I Just Feel Like Smilin' in 1971, the Paul Buttereld Blues
Band disbanded.[9] In 1972, a retrospective or their career, Golden Butter: The Best of the Paul Buttereld Blues
Band was released by Elektra.

1.3

Better Days and solo

After his Blues Bands breakup and no longer with Elektra, Buttereld retreated to the community of Woodstock,
New York where he eventually formed his next band.[12]
Named Paul Butterelds Better Days, the new group
included drummer Chris Parker, guitarist Amos Garrett,
singer Geo Muldaur, pianist Ronnie Barron and bassist
Billy Rich. In 19721973, the group released the selftitled Paul Butterelds Better Days and It All Comes Back
on Albert Grossman's Bearsville Records. The albums
reected the inuence of the participants and explored
more roots- and folk-based styles.[27] Although without
an easily dened commercial style, both reached the album chart.[15] Paul Butterelds Better Days, however,
did not last to record a third studio album, although their

With Rick Danko (left) on bass guitar at Woodstock Reunion

1979.

After the breakup of Better Days, Buttereld pursued a

solo career and appeared as a sideman in several dierent musical settings.[8] In 1975, he again joined Muddy
Waters to record Waters last album for Chess Records,
The Muddy Waters Woodstock Album.[29] The album was
recorded at Levon Helm's Woodstock studio with Garth
Hudson and members of Muddy Waters touring band. In
1976, Buttereld performed at The Band's nal concert,
The Last Waltz. Together with the Band, he performed
the song "Mystery Train" and backed Muddy Waters on
"Mannish Boy".[30] Buttereld kept up his association
with former members of the Band, touring and recording with Levon Helm and the RCO All Stars in 1977.[7]
In 1979, Buttereld toured with Rick Danko and in 1984
a live performance with Danko and Richard Manuel was
recorded and released as Live at the Lonestar in 2011.[31]
As a solo act with backing musicians, Buttereld continued to tour and recorded the misguided and overproduced Put It in Your Ear in 1976 and North South in 1981,
with strings, synthesizers, and pale funk arrangements.[3]
In 1986, Buttereld released his nal studio album, The
Legendary Paul Buttereld Rides Again, which again was
a poor attempt at a comeback with an updated rock
sound. On April 15, 1987, he participated in B.B. King &
Friends, a concert that included Eric Clapton, Etta James,

4 PERSONAL LIFE

Albert King, Stevie Ray Vaughan, and others.[32]

years before his death. In it, he explains various techniques, demonstrated on an accompanying CD.[36] Buttereld played mainly in the cross harp or second position,
although he occasionally used a chromatic harmonica.[8]
2 Legacy
Reportedly left-handed, he held the harmonica opposite
to a right-handed player, i.e., in his right hand upsideAside from rank[ing] among the most inuential harp down (with the low notes to the right), using his left hand
players in the Blues,[33] Paul Buttereld has also been for muting eects.[lower-alpha 6]
seen as pointing blues-based music in new, innovative
Also similar to other electric Chicago-blues harp playdirections.[34] AllMusic critic Steve Huey commented
ers, Buttereld frequently used amplication to achieve
his sound.[8] Producer Rothchild noted that Buttereld
Its impossible to overestimate the imporfavored an Altec harp microphone run through an early
tance of the doors Buttereld opened: bemodel Fender tweed amplier.[39] Beginning with The
fore he came to prominence, white American
Resurrection of Pigboy Crabshaw album, he began using
musicians treated the blues with cautious rean acoustic-harmonica style, following his shift to a more
spect, afraid of coming o as inauthentic. Not
R&B-based approach.[6]
only did Buttereld clear the way for white
musicians to build upon blues tradition (instead of merely replicating it), but his storming
4 Personal life
sound was a major catalyst in bringing electric
Chicago blues to white audiences who'd previBy all accounts, Paul Buttereld was absorbed in his muously considered acoustic Delta blues the only
[3]
sic. According to his brother Peter
really genuine article.
He listened to records and went places, but
In 2006, Paul Buttereld was inducted into the Blues
he also spent an awful lot of time, by himFoundation Blues Hall of Fame, which noted that the
self, playing [harmonica]. He'd play outdoors.
albums released by the Buttereld Blues Band brought
Theres a place called The Point in Hyde Park
Chicago Blues to a generation of Rock fans during the
[Chicago], a promontory of land that sticks out
1960s and paved the way for late 1960s electric groups
into Lake Michigan, and I can remember him
like Cream.[33] The Rock and Roll Hall of Fame inout there for hours playing. He was just playing
ducted the Paul Buttereld Blues Band in 2015.[35] In
all the time ... It was a very solitary eort. It
the induction biography, they commented the Butterwas all internal, like he had a particular sound
eld Band converted the country-blues purists and turned
he wanted to get and he just worked to get it.[8]
on the Fillmore generation to the pleasures of Muddy
Waters, Howlin' Wolf, Little Walter, Willie Dixon and Producer Norman Dayron recalled the young Buttereld
Elmore James".[14]
as very quiet and defensive and hard-edged. He was this
tough Irish Catholic, kind of a hard guy. He would walk
around in black shirts and sunglasses, dark shades and
dark jackets ... Paul was hard to be friends with. Al3 Harmonica style
though they later became close, Michael Bloomeld commented on his rst impressions of Buttereld: He was a
As with many Chicago blues-harp players, Paul Buttereld approached the instrument like a horn, preferring bad guy. He carried pistols. He was down there on the
South Side, holding his own. I was scared to death of
single notes to chords, and used it for soloing.[8] His style
[40]
Writer and AllMusic founder Michael Erhas been described as always intense, understated, con- that cat.
lewine,
who
knew
Buttereld during his early recording
[34]
cise, and serious and he is known for purity and incareer,
described
him
as always intense, somewhat retensity of his tone, his sustained breath control, and his
mote,
and
even,
on
occasion,
downright unfriendly.[8] He
[36]
unique ability to bend notes to his will. Although his
Buttereld as not much interested in other
choice of notes has been compared to Big Walter Hor- remembered
[8]
people.
ton's, he was never seen as an imitator of any particular
harp player.[6][8][lower-alpha 5] Rather, he developed a style On November 16, 1964 Paul married Virginia McEwan,
original and powerful enough to place him in the pan- a high school friend of many years, at the Chicago City
theon of true blues greats.[3]
Hall. Pauls rst son, Gabriel Luther Buttereld, was born
Buttereld played Hohner harmonicas, and later endorsed in September 1965. Paul and Virginia remained married
deliver the eulogy at Pauls
them, and preferred the diatonic ten-hole Marine Band until 1969. [Virginia would
[41]
funeral,
May
8,
1987.]
[37]
model.
Although not published until 1997, Buttereld authored a harmonica instruction book, Paul But- By 1971, Buttereld had purchased his rst house in rutereld Teaches Blues Harmonica Master Class[38] a few ral Woodstock, New York and began enjoying family life

6.2

Live albums

with his second wife Kathy and their new infant son, Lee.
According to Maria Muldaur, she and her husband were
frequent dinner guests, which usually also involved sitting around a piano and singing songs.[12] Although she
doubted her abilities, it was Butter that rst encouraged
me to let loose and just sing the blues [and] not to worry
about singing pretty or hitting all the right notes ... He
loosened all the levels of self-consciousness and doubt out
of me ... And he'll forever live in my heart for that and
for respecting me as a fellow musician.[12]

Death

5
In My Own Dream (1968)
Keep On Moving (1969)
Sometimes I Just Feel Like Smilin' (1971)
Better Days Paul Butterelds Better Days (1973)
It All Comes Back Paul Butterelds Better Days
(1973)
Put It in Your Ear Paul Buttereld (1976)
North-South Paul Buttereld (1981)
The Legendary Paul Buttereld Rides Again Paul
Buttereld (1986)

Beginning in 1980, Paul Buttereld underwent several

surgical procedures to relieve his peritonitis, a serious and
The Original Lost Elektra Sessions (1995, recorded
painful inammation of the intestines.[7] Although he had
1964)
been opposed to hard drugs as a bandleader, he began
using painkillers, including heroin, which led to an addiction. These problems and the drug-related death of 6.2 Live albums
his friend and one-time musical partner Mike Bloomeld
Live (1970, reissued 2005 with bonus tracks)
weighed heavily on him.[3] On May 4, 1987 at age 44,
Paul Buttereld died at his apartment in the North Holly Strawberry Jam (1996, recorded 19661968)
wood district of Los Angeles. An autopsy by the county
coroner concluded that he was the victim of an acciden East-West Live (1996, recorded 19661967)
tal drug overdose, with signicant levels of morphine
Live at Unicorn Coee House (various names and
(heroin)".[2]
dates, bootleg recording 1966)
By the time of his death, Paul Buttereld was out of the
commercial mainstream. Although for some, he was very
Live at Winterland Ballroom Paul Butterelds Betmuch the bluesman, Maria Muldaur commented he had
ter Days (1999, recorded 1973)
the whole sensibility and musicality and approach down
Rockpalast: Blues Rock Legends, Vol. 2 Paul Butpat ... He just went for it and took it all in, and he emtereld Band (2008, recorded 1978)
bodied the essence of what the blues was all about. Unfortunately, he lived that way a little too much.[12]
Live at the Lone Star Rick Danko, Richard Manuel
& Paul Buttereld (2011, recorded 1984)

Discography
6.3 Buttereld compilation albums

In 1964, Buttereld began his association with Elektra

Records and eventually recorded seven albums for the
label.[42] After the breakup of the Buttereld Blues Band
in 1971, he recorded four albums for manager Albert
Grossmans Bearsville Records two with Paul Butterelds Better Days and two solo.[42] His last solo album
was released by Amherst Records.[42]

Golden Butter: The Best of the Buttereld Blues Band

(1972)
An Anthology: The Elektra Years (2 CDs, 1997)
Paul Butterelds Better Days: Bearsville Anthology
Paul Butterelds Better Days (2000)

After his death in 1987, his former record companies re Hi-Five: The Paul Buttereld Blues Band (2006 EP)
leased a number of live albums and compilations. Except
where noted, the following albums are listed as The Paul
Buttereld Blues Band.
6.4 Compilation albums/videos with vari-

ous artists
6.1

Studio albums

The Paul Buttereld Blues Band (1965)

East-West (1966)
The Resurrection of Pigboy Crabshaw (1967)

Folksongs '65 (1965)

Whats Shakin' (1966)
Festival (1967 lm, including 1965 appearance with
Dylan)

7 NOTES
You Are What You Eat (1968 lm soundtrack)

6.6 Tribute albums

Woodstock: Music from the Original Soundtrack and

More (1970, recorded 1969)

A Tribute to Paul Buttereld Robben Ford and the

Ford Blues Band (2001)

Woodstock 2 (1971, recorded 1969)

The Buttereld/Bloomeld Concert The Ford Blues

Band with Robben Ford and Chris Cain (2006)

An Oer You Can't Refuse (1972, recorded 1963)

Woodstock '79 (1991 video, lmed 1979)
Woodstock: Three Days of Peace and Music (1994,
recorded 1969)

7 Notes
Footnotes

The Monterey International Pop Festival June 16

1718 30th Anniversary Box Set (1997, recorded
1967)

[1] Rothchild also recalled Holzmans approval came with the

warning, Rothchild, do not fuck this up!" [11]

The Complete Monterey Pop Festival (2002 video,

lmed 1967)

[2] Albert Grossman, who had agreed to take over management of the band the night before, was incensed at Lomaxs perceived insults and an argument backstage led to
an altercation between the two.

Woodstock: 40 Years On: Back to Yasgurs Farm

(2009, recorded 1969)
Woodstock: 40th Anniversary Ultimate Collectors
Edition (2009 video, lmed 1969)

6.5

As an accompanist

[3] Presumably because of licensing restrictions, the EP was

marked For sale in the U.K. only, although it soon found
its way to some specialty record retailers in the U.S. The
songs were later included as bonus tracks on the 2003 expanded 2-CD reissue of A Hard Road with most of Peter
Green's recordings with Mayall.

John Mayalls Bluesbreakers with Paul Buttereld

John Mayall & the Bluesbreakers (1967 EP)

[4] Billy Davenport played the drums and Keith Johnson contributed trumpet in place of David Sanborn on saxophone.
Former bandmate Mike Bloomeld also performed the
same day at Monterey with his new group Electric Flag.

Blues at Midnight (various names and dates) Jimi

Hendrix, B.B. King, et al. (bootleg of jam recorded
1968)

[5] Compare Butterelds reading of O the Wall from

Whats Shakin' or Everything Going to Be Alright from
Live to Little Walters originals.

Fathers and Sons Muddy Waters (1969, reissued

2001 with bonus tracks)

[6] Erlewine wrote that he held the harmonica in his left hand
with the low notes to the left, but this is contradicted by a
photo on the front cover of Butterelds instructional book
and his lmed performance at Monterey Pop, both clearly
showing him holding it in his right and using his left for
muting.

Give It Up Bonnie Raitt (1972)

Steelyard Blues Mike Bloomeld, Nick Gravenites,
Maria Muldaur, et al. (1973 lm soundtrack)
Thats Enough for Me Peter Yarrow (1973)
Woodstock Album Muddy Waters (1975)
Levon Helm & The RCO All-Stars (1977)
The Last Waltz The Band (1978)
Elizabeth Barraclough Elizabeth Barraclough
(1978)
Hi! Elizabeth Barraclough (1979)
B.B. King & Friends (various names and dates)
B.B King, Eric Clapton, Stevie Ray Vaughan, et al.
(bootleg video of television special lmed 1987)
Heart Attack Little Mike & the Tornados (1990,
recorded 1986)[lower-alpha 7]

[7] A review of Heart Attack states four cuts feature Paul

Buttereld on harp (believed to be his last recordings). Frantz, Niles J. "Heart Attack Album Review.
AllMusic. Rovi Corp. Retrieved August 4, 2013.

Citations
[1] Paul Buttereld. Sweet Home Cook County. Cook
County Clerks Oce. Retrieved September 15, 2013.
[2] Musicians Death Laid to Overdose. Los Angeles Times.
June 13, 1987. Retrieved July 23, 2013.
[3] Huey, Steve. Paul Buttereld Biography. AllMusic.
Rovi Corp. Retrieved July 23, 2013.
[4] Wolkin, Keenom 2000, p. 40.
[5] Milward 2013, p. 66.
[6] Field 2000, pp. 212214.

[7] Paul Buttereld Biography. Rolling Stone. Retrieved

September 13, 2013.
[8] Erlewine 1996, p. 41.
[9] Leggett, Steve. The Paul Buttereld Blues Band Biography. AllMusic. Rovi Corp. Retrieved September 14,
2013.
[10] Rothchild 1995, pp. 14.
[11] Rothchild 1995, p. 3.
[12] Ellis 1997
[13] Marcus 2006, pp. 154155.
[14] The Paul Buttereld Blues Band Biography. Rock and
Roll Hall of Fame. Retrieved December 16, 2014.
[15] Paul Buttereld Awards. AllMusic. Rovi Corp. Retrieved July 23, 2013.
[16] Tamarkin, Je (1996). "East-West". All Music Guide to
the Blues. Miller Freeman Books. p. 42. ISBN 0-87930424-3.

[32] "B.B. King & Friends: A Night of Blistering Blues

Overview. AllMusic. Rovi Corp. Retrieved September
14, 2013.
[33] Paul Buttereld. Blues Hall of Fame 2006 Inductees.
The Blues Foundation. 2006. Retrieved July 23, 2013.
[34] Dicaire 2001, p. 5960
[35] The 2015 Inductees. Rock and Roll Hall of Fame. Retrieved December 16, 2014.
[36] Paul Buttereld Teaches Blues Harmonica Master
Class. Homespun Music Instruction. Homespun Tapes.
Retrieved September 15, 2013.
[37] Welding, Pete (1965). The Paul Buttereld Blues Band
(Album notes). Paul Buttereld Blues Band. Elektra
Records. EKL-294/EKS-7294.
[38] Buttereld, Paul (1997). Paul Buttereld Teaches Blues
Harmonica Master Class. Homespun Listen and Learn Series. ISBN 978-0-7935-8130-6.
[39] Rothchild 1995, p. 3.

[17] Houghton 2010, p. 195.

[40] Wolkin, Keenom 2000, p. 93.

[18] Schinder, Scott (2003). A Hard Road Expanded Edition

(CD booklet). John Mayall & the Bluesbreakers. Deram
Records. pp. 10, 14. B0001083-02.

[41] Cook County Clerk

Bureau of Vital Records
P.O. Box 641070
Chicago, IL 60664-1070

[19] Erlewine, Michael (1996). "The Resurrection of Pigboy

Crabshaw". All Music Guide to the Blues. Miller Freeman
Books. p. 42. ISBN 0-87930-424-3.

[42] Paul Buttereld Discography. AllMusic. Rovi Corp.

Retrieved September 14, 2013.

[20] Perone, James (2005). Woodstock: An Encyclopedia of

the Music and Art Fair. Greenwood Publishing Group. p.
3. ISBN 978-0-313-33057-5.
[21] Eder, Bruce. "In My Own Dream Album Review.
AllMusic. Rovi Corp. Retrieved September 13, 2013.
[22] Gordon 2002, p. 207.
[23] Herzhaft 1992, p. 371.

References
Dicaire, David (2001). More Blues Singers: Biographies of 50 Artists from the Later 20th Century. Mcfarland & Co Inc. ISBN 978-0-7864-1035-4.
Ellis III, Tom (Spring 1997). Paul Buttereld:
From Newport to Woodstock. Blues Access (Blues
Access) (29).

[24] https://www.youtube.com/watch?v=SjriRBUsrys
[25] Campbell, Al. "Keep on Moving Album review.
AllMusic. Rovi Corp. Retrieved July 23, 2013.
[26] Eder, Bruce. "Live Album Review. AllMusic. Rovi
Corp. Retrieved July 23, 2013.
[27] "Paul Butterelds Better Days Album Review.
AllMusic. Rovi Corp. Retrieved September 14, 2013.
[28] Live at Winterland Ballroom. AllMusic. Retrieved
September 24, 2013.

Erlewine, Michael (1996). Paul Buttereld Blues

Band. All Music Guide to the Blues. Miller Freeman
Books. ISBN 0-87930-424-3.
Field, Kim (2000). Harmonicas, Harps, and Heavy
Breathers: The Evolution of the Peoples Instrument.
Cooper Square Press. ISBN 978-0-8154-1020-1.
Gioia, Ted (2008). Delta Blues. W. W. Norton.
ISBN 978-0-393-33750-1.

[30] Gordon 2002, p. 253.

Gordon, Robert (2002). Can't Be Satised: The Life

and Times of Muddy Waters. Little, Brown. ISBN
0-316-32849-9.

[31] Rick Danko, Richard Manuel & Paul Buttereld Live at

the Lone Star 1984 Overview. AllMusic. Rovi Corp.
Retrieved September 14, 2013.

Herzhaft, Gerard (1992). Paul Buttereld. Encyclopedia of the Blues. University of Arkansas Press.
ISBN 1-55728-252-8.

[29] Gordon 2002, p. 247.

7 NOTES
Houghton, Mick (2010). Becoming Elektra: True
Story Of Jac Holzmans Visionary Record Label.
Jawbone Press. ISBN 978-1-906002-29-9.
Marcus, Greil (2006). Like a Rolling Stone: Bob Dylan at the Crossroads. Public Aairs. ISBN 978-158648-382-1.
Milward, John (2013). Crossroads: How the Blues
Shaped Rock 'n' Roll (and Rock Saved the Blues).
Northeastern. ISBN 978-1-55553-744-9.
Rothchild, Paul (1995). The Original Lost Elektra
Sessions (Media notes). Paul Buttereld Blues Band.
Elekrtra Traditions/Rhino Records. R2 73305.
Shadwick, Keith (2001). Paul Buttereld. The
Encyclopedia of Jazz & Blues. Oceana. ISBN 9780-681-08644-9.
Wolkin, Jan Mark; Keenom, Bill (2000). Michael
Bloomeld If You Love These Blues: An Oral History. Backbeat Books. ISBN 978-0-87930-617-5.

Text and image sources, contributors, and licenses

8.1

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Paul Buttereld Source: https://en.wikipedia.org/wiki/Paul_Butterfield?oldid=674798546 Contributors: Deb, Someone else, Ixfd64,

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