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▓▒▒▒▒▓▓▓▓▓▓▓▓▓░:░ Release notes ░▒▓▓▓▓▓▒▒░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░▓▒░
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▒░ ░░
░░ Rel. date .: Feb-11-2009 ░░
░░ ░░
░░ Artist ....: Paul Butterfield ░░
░░ Album .....: Put It In Your Ear ░░
░░ Genre .....: Blues ░░
░░ ░░
░░ Label .....: Wounded Bird Records ░░
░░ Catalog # .: WOU 6960 ░░
░░ Language ..: English ░░
░░ ░░
░░ Source ....: CDDA ░░
░░ Size ......: 51,4 MB ░░
░░ ░░
░░ https://blow.us ░░
░░ ░░
░░ ----------------------------------------------------------------------- ░░
░░ ░░
░░ 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 and Gravenites 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 Illinois-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. ░░
░░ ░░
░░ After some intense woodshedding, Butterfield and Bishop began making ░░
░░ the rounds of the South Side's blues clubs, sitting in whenever they ░░
░░ could. They were often the only whites present, but were quickly ░░
░░ accepted because of their enthusiasm and skill. In 1963, the North Side ░░
░░ club Big John's offered Butterfield's band a residency; he'd already ░░
░░ recruited Howlin' Wolf's rhythm section -- bassist Jerome Arnold and ░░
░░ drummer Sam Lay -- by offering more money, and replaced original ░░
░░ guitarist Smokey Smothers with his friend Bishop. The new quartet made ░░
░░ an instant splash with their hard-driving versions of Chicago blues ░░
░░ standards. In late 1964, the Paul Butterfield Blues Band was discovered ░░
░░ by producer Paul Rothchild, and after adding lead guitarist Michael ░░
░░ Bloomfield, they signed to Elektra and recorded several sessions for a ░░
░░ debut album, the results of which were later scrapped. ░░
░░ ░░
░░ At first, there was friction between Butterfield and Bloomfield, since ░░
░░ the harmonica man patterned his bandleading style after taskmasters ░░
░░ like Howlin' Wolf and Little Walter; after a few months, though, their ░░
░░ respect for each other's musical skills won out, and they began sitting ░░
░░ in together at blues clubs around the city. A song from their aborted ░░
░░ first session, the Nick Gravenites-penned "Born in Chicago," was ░░
░░ included on the Elektra sampler Folksong '65 and created a strong buzz ░░
░░ about the band. In the summer of 1965, they re-entered the studio for a ░░
░░ second crack at their debut album, adding organist Mark Naftalin as a ░░
░░ permanent sixth member during the sessions. In the meantime, they were ░░
░░ booked to play that year's Newport Folk Festival. When Bob Dylan ░░
░░ witnessed their well-received performance at an urban blues workshop ░░
░░ during the festival, he recruited Butterfield's band to back him for ░░
░░ part of his own set later that evening. Roundly booed by acoustic ░░
░░ purists, Dylan's plugged-in performance with the Butterfield Band ░░
░░ ultimately shook the folk world to its foundations, kickstarting an ░░
░░ electric folk-rock movement that effectively spelled the end of the ░░
░░ traditionalist folk revival. ░░
░░ ░░
░░ On the heels of their historic performance at Newport, the Paul ░░
░░ Butterfield Blues Band released their self-titled debut album later in ░░
░░ 1965. Now regarded as a classic, the LP caused quite a stir among white ░░
░░ blues fans who had never heard electric Chicago-style blues performed ░░
░░ by anyone besides British blues-rock groups. Not only did it sow the ░░
░░ seeds of a thousand bar bands, but it also helped introduce more white ░░
░░ listeners to the band's influences, especially Muddy Waters and B.B. ░░
░░ King. Toward the end of 1965, drummer Sam Lay fell ill and was replaced ░░
░░ by the jazz-trained Billy Davenport, whose rhythmic agility and ░░
░░ sophistication soon made him a permanent member. He was particularly ░░
░░ useful since Butterfield was pushing to expand the band's sound, aided ░░
░░ by Bloomfield's growing interest in Eastern music, especially Ravi ░░
░░ Shankar. Their growing eclecticism manifested itself on their second ░░
░░ album, 1966's East-West, which remains their greatest achievement. The ░░
░░ title cut was a lengthy instrumental suite incorporating blues, jazz, ░░
░░ rock, psychedelia, and raga; although it became their signature ░░
░░ statement, the rest of the album was equally inspired, perhaps due in ░░
░░ part to Butterfield's more relaxed, democratic approach to bandleading. ░░
░░ ░░
░░ Unfortunately, Mike Bloomfield left the band at the height of its ░░
░░ success in 1967, and formed a new group called the Electric Flag with ░░
░░ Nick Gravenites, which aspired to take East-West's eclecticism even ░░
░░ further. Bishop moved into the lead guitar slot for the band's third ░░
░░ album, 1967's The Resurrection of Pigboy Crabshaw (a reference to ░░
░░ Bishop's nickname). Displaying a greater soul influence, the album also ░░
░░ featured a new rhythm section in bassist Bugsy Maugh and drummer Phil ░░
░░ Wilson, plus a horn section that included a young David Sanborn. Pigboy ░░
░░ Crabshaw proved to be the closing point of the Butterfield Band's glory ░░
░░ days; the 1968 follow-up, In My Own Dream, was uneven in its ░░
░░ songwriting and focus, and both Elvin Bishop and Mark Naftalin left the ░░
░░ band before year's end. Still hoping for a breakout commercial hit, ░░
░░ Elektra brought in producer/songwriter Jerry Ragovoy, a longtime R&B ░░
░░ professional, which marked the first time they'd asserted control over ░░
░░ a Butterfield recording. That didn't sit well with Butterfield, who ░░
░░ wanted to move in a jazzier direction than Ragovoy's radio-friendly ░░
░░ style allowed; the result, 1969's Keep on Moving, was another ░░
░░ inconsistent outing, despite the return of Billy Davenport and an ░░
░░ injection of energy from the band's new guitarist, 19-year-old Buzzy ░░
░░ Feiten. 1969 wasn't a washout for Butterfield, though; his band was ░░
░░ still popular enough to make the bill at Woodstock, and he also took ░░
░░ part in an all-star Muddy Waters session dubbed Fathers and Sons, which ░░
░░ showcased the Chicago giant's influence on the new generation of ░░
░░ bluesmen and greatly broadened his audience. ░░
░░ ░░
░░ After 1970's Live and the following year's studio effort Sometimes I ░░
░░ Just Feel Like Smilin', Butterfield broke up his band and parted ways ░░
░░ with Elektra. Tired of all the touring and personnel turnover, he ░░
░░ retreated to the communal atmosphere of Woodstock, still a musicians' ░░
░░ haven in the early '70s, and in 1971 formed a new group eventually ░░
░░ dubbed Better Days. Guitarist Amos Garrett and drummer Chris Parker ░░
░░ were the first to join, and with folk duo Geoff and Maria Muldaur in ░░
░░ tow, the band was initially fleshed out by organist Merl Saunders and ░░
░░ bassist John Kahn, both from San Francisco. Sans Geoff Muldaur, this ░░
░░ aggregation worked on the soundtrack of the film Steelyard Blues, but ░░
░░ Saunders and Kahn soon returned to the Bay Area, and were replaced by ░░
░░ New Orleans pianist Ronnie Barron and Taj Mahal bassist Billy Rich. ░░
░░ This lineup -- with Geoff Muldaur back, plus contributions from ░░
░░ singer/songwriter Bobby Charles -- released the group's first album, ░░
░░ Better Days, in 1972 on Butterfield manager Albert Grossman's new ░░
░░ Bearsville label. While it didn't quite match up to Butterfield's ░░
░░ earliest efforts, it did return him to critical favor. A follow-up, It ░░
░░ All Comes Back, was released in 1973 to positive response, and in 1975 ░░
░░ he backed Muddy Waters once again on The Woodstock Album, the last LP ░░
░░ release ever on Chess. ░░
░░ ░░
░░ Butterfield subsequently pursued a solo career, with diminishing ░░
░░ returns. His Henry Glover-produced solo debut, Put It in Your Ear, ░░
░░ appeared in 1976, but failed to impress many: his harmonica playing was ░░
░░ pushed away from the spotlight, and the material was erratic at best. ░░
░░ The same year, he appeared in the Band's farewell concert film, The ░░
░░ Last Waltz. Over the next few years, Butterfield mostly confined ░░
░░ himself to session work; he attempted a comeback in 1981 with legendary ░░
░░ Memphis soul producer Willie Mitchell, but the sessions -- released as ░░
░░ North-South -- were burdened by synthesizers and weak material. By this ░░
░░ time, Butterfield's health was in decline; years of heavy drinking were ░░
░░ beginning to catch up to him, and he also contracted peritonitis, a ░░
░░ painful intestinal condition. At some point -- none of his friends knew ░░
░░ quite when -- Butterfield also developed an addiction to heroin; he'd ░░
░░ been stridently opposed to it as a bandleader, leading to speculation ░░
░░ that he was trying to ease his peritonitis symptoms. He began to play ░░
░░ more gigs in Los Angeles during the early '80s, and eventually ░░
░░ relocated there permanently; he also toured on a limited basis during ░░
░░ the mid-'80s, and in 1986 released his final album, The Legendary Paul ░░
░░ Butterfield Rides Again. However, his addiction was bankrupting him, ░░
░░ and in the past half-decade he'd seen Mike Bloomfield, Muddy Waters, ░░
░░ and manager Albert Grossman pass away, each loss leaving him shaken. On ░░
░░ May 4, 1987, Butterfield himself died of a drug overdose; he was not ░░
░░ quite 45 years old. ░░
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░░ THIS IS *NOT* A SUBSTITUTE OF THE ORIGINAL. ░░░
░░ --------------------------------------------------------------------- ░░░
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░░ NB TRACKNAMES: LENGHT: ░░░
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░░ 01. You Can Run But You Cant Hide 03:44 ░░░
░░ 02. (If I Never Sing) My Song 02:56 ░░░
░░ 03. Animal 03:46 ░░░
░░ 04. Breadline 03:06 ░░░
░░ 05. Aint That A Lot Of Love 04:06 ░░░
░░ 06. I Dont Wanna Go 04:32 ░░░
░░ 07. Day To Day 03:18 ░░░
░░ 08. Here I Go Again 03:51 ░░░
░░ 09. Flame 03:19 ░░░
░░ 10. Watch Em Tell A Lie 03:00 ░░░
░░ 35:38 min ░░░
░░ --------------------------------------------------------------------- ░░░
░░ TO THE INVOLVED ARTIST(S), CONSIDER THIS AS A FREE WORLDWIDE ░░░
░░ PROMOTION CAMPAIGN. TO THE END (L)USER, SUPPORT ARTIST(S) OR DEL! ░░░
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█▓▒▒█▓▒▒▓▒▒░░▒▒▒▒▒▓▒▒▒▒▒▒░░▒▒░▒▓▒▒▒▒▒▒▒░░░░▒░░░░ ░░▒▒▒▒▒▒ ▀▀▀▓▓▓▓▓▓▒▒ ▒▓░░
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██████▀▀▀▀ ▀ ▀ ▒ ░▒▒░ ▓▓▒▒░ ▓█▓▒ ▀▀▀▀▀▀▀▓███████▓▓▓▒▒░░
▓██▀ "Oi" to: ░▒▒░ ░ ▓▓▒▒░░ ▀▓▓▒▒▒░░░ ▀▀▓██▓▒▒░░
▓█▌ ░▒▒░░ ▀▓▓▓▒▒▒░░ ▀▀▓▓▓▓▒▒▒▒░░ ░▓█▓▒░
▒█░▒▓▓▓▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░░ ░░░ ░ ░░▒▒░░ ▀▀▓▓▓▒▒▒▒▒▒▒▒▒▒▒▓▓▓▓▓▄░░░▓▓░░
▒█ ░░▒▒▒░░░░░▀▀▀▀▀▀▀▀▀▀▓▓▓▄▄▀▀▓▓▄▓▓░░
▒▓ ░ ▀▀▓▓▄░▀▓▓░░
░▓ ▀▓▓░░▓░░
░▓ █▓░▓░░
░▒ 4 HORSEMEN, █▓▓░░
░▒ 801, █▓░░
░▒ ADDiCTED TO MUSiC, APOCALYPSE PRODUCTiON CREW, AUDiO ARCHiVE FORCE, ▓░░
░░ BEAT MASTERS iNTERNATiONAL, BEATS iN CONTROL, ▒░░
░░ CHROMANCE, CiTADEL CREW MP3 DiViSiON, COMPRESS DA AUDIO, ▒░░
░░ CORE OF RESiSTANCE, CRiSiS, CSWCN, ░░░
░░ DA OLDSCHOOL CREW, DEiMOS MP3, DEAFNESS, DECiBEL COURiERS, ░░
░░ DiGiTAL SOUND PROPHETS, DiSSiDENT, ░░
░░ EVERY DAY MP3Z, EViGHET, ░░
░░ FRENCH SOUND PROViDER, ░░
░░ HiGH iNTELLiGENCE TROLLS, ░░
░░ iMAGiNE, iMPULZ, iNDECENT XPOSURE, iNTERNET MUSiC PiRATE GUiLT, ░░
░░ JAZ, ░░
░░ KiLOHERTZ, ░░
░░ LOGOS, ░░
░░ MCKENNA, MiLLENNiUM GENERATiON MUSiC, MiSTAHWAX, MUSiC AND DECiBELS, ░░
░░ MUSiC iN PROGRESS, MUSiC TO MASSES, ░░
░░ NEW WORLD ORDER MP3, NORDiC MUSiC ENSEMBLE, ░░
░░ NUTRiCiOUS HEARiNG SUPPLiES, ░░
░░ OTAKU, ░░
░░ PROViDERS OF SOUND, PSiLOCiBiN, ░░
░░ RABiD NEUROSiS, RADiAL, RARE MUSiC FiNDER, REVOLUTiON, ░░
░░ ROCKERS' BREWiNG CORP, ROTATiON, RUDE BWOY KUTZ, ░░
░░ SCHOOL OF THE OLD, SDL, SMOKE WEED EVERYDAY, STRONGER THAN ALL, ░░
░░ SYNTHESiS MEDiA, ░░
░░ THE FLAME ARROWS MP3, TOUCHDOWN, TWEE, ░░
░░ WALL OF SOUND, WE LOVE WAREZ MP3, ░░
░░ ░░
░░ *ALL* OF OUR FRIENDS AND FAMILY HERE AND GONE... ░░
░░ ░░
░░ ░░
░░ ---------------------------------------------------------------------- ░░
░░ ░░
░░ "Those who do not remember the past are condemned to repeat it." ░░
░░ ░░
░░ George Santayana ░░
░░ ░░
░░ ---------------------------------------------------------------------- ░░
░░ ░░
░░ ░░
░░ ▄▄█▓▀ ▄▄ - IF YOU DON'T LIKE THIS RELEASE THEN ░░
░░ ▄▄▓███▓▓▓░░███▓▓▓▄▄▄ ENFUCKINGCODE IT YOURSELF! ░░
░░ ▄▓████▀░░▒▒▒▒▒▓▓▒▒▒▒▒▒▓█▄▄ ░░
░ ▄▀▀▄░░░▒▒▒▓▓▓▓▓▓▓▓▓▓▓▓▒▒▓▓██▄ - WE SHIT ON *ALL* SCENE-IDIOTS: ░░
░ ▄░░▒▒▓▓▓▓█▀▀▀▀▀▓▓██▀▓▓▓▓▓▒▒▓█ "H8ERS", NUKERS, PUBBERS, -EON, ░░
░ █▓▓▓▀██▓▀▀▀▄▓▒░░▄██▌░░ ▓▀▓▓▓▓█ MAYBE ON YOU TOO?! ░░
█▓▓▀▄▓█▓▓░░░░█████▓█▓▄▄▄█▓ ▀▓▀▓▓ ░░
█▀ █▓▀▓███▄▄▄███▓▓▓█████▓█▀▄▐▌ █ - WE ONLY BELIEVE CURRENT YEAR CDDAS ░░
█ ▐█████▀ ████▓▓█▌▀██▓▓ ▐▓ IS TEH GOOD MUSIC! ░░
░ ███▀ ▐████▓█▓ ▐▓▀ ▀ ░░
░░ ▓ ███▓███▓ ▀ - WE CONSTANTLY LOOKING FOR 10Gb/s, 500Tbs ░░
░░ ▐███▓▓██▌ W/ 0SEC ATTITUDE THAT CAN'T ACHIEVE MORE THAN SIX ░░
░░ ██▓▓▓▓█▌ MONTHS OF UPTIME. WHQ SPOT AVAILABLE!!!!!!!!!!!!! ░░
░ ▓█▓▒▒▓█ ░░
░░ ██▒▒▒▓█▌ - ICQ US! ░░
░░ ▐█▌░▒▒▓██ ░░
░░ ▐█▌░░▒▓█▌ YOUR **TRUE** PSEUDO-FRIENDS, ░░
░░░ ██▒░▒▓█▌ ▓ ▄■ ░░
░▒░ ▐█▌▓▀▓█▌ ▓▄▓ · WASHED UP SCENESTERS ░░
░▒▒ ░██▌▒▒▓█▓▌▓▒█▀·▄■▄ ▄ ▓▓▄▄▄ 'o9 ░░
░▒▒▌ ▒▒██▒▒▓▓░█▓▒▒▒▀▒▒▄▄ ▄ ██▓▓███▄▄▄▄▄ ░░
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THIS IS NOT PIRACY.