Word: butterfield
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...first the bad news: Paul Butterfield's new band. Butter used to have the best big band in rock music, and at times, it was clear that what he was actually fronting was a very good soul band, nearly of the caliber of the Motown house band. But in the last six or eight months, he has disbanded it, in favor of the six man band he originally started in 1965. (I found his horn section, nearly intact, backing Stevie Wonder at the Rolling Stones Concerts.) In 1965, Paul Butterfield formed the first, and maybe the best, integrated Chicago-style...
...band, unfortunately, doesn't have Bloomfield or Bishop, and that's the origin of its many problems. Butterfield has essentially teamed with an old folkie named Geoff Muldaur and they are sharing the band. My first impulse on hearing Muldaur sing was that he was in the band because he had bought all the equipment, or because he had something on Butterfield. Whatever Muldaur can do, he cannot sing blues. He sings with a false casualness that does not disguise the weakness of his voice, which begins to sound like a pubescent thirteen year old's. He is devoid...
...total loss. Butterfield took the last four songs, and made them a separate body from the rest of the show. With "Losin' Hand," he finally got the band into a groove they could manage, and then raced them through "CC Rider," "Mystery Train," and an encore of "You've Got All the Money," that was nearly worth the whole set. His harp work was stunning, and very much the focal point over the band's easy chording. Butterfield learned to play harp from the Chicago masters, Sonny Boy Williamson, Little Walter, and James Cotton especially. He's mastered their techniques...
...Paul Butterfield came back for the encore, an instrumental, and the whole evening jelled into something consistent. He and B.B. played fills, solos, chords, traded licks...
Staying the Course. It was then up to Director Daniel Mann (Butterfield 8, The Rose Tattoo) to put the rats through their dramatic paces. He may well go down in cinematic history as the Cecil B. DeMille of rodent movies: the rats swarm through Willard as if they were born to stardom. There was one problem, though: getting enough rat shrieks for the sound track. With a watchful fellow from the American Society for the Prevention of Cruelty to Animals in daily attendance, the sound men had to be crafty. One day, when the A.S.P.C.A. man was not looking, they...