The Butterfield Blues Band-"The Resurrection of Pigboy Crabshaw" (1967)

Paul Butterfield was to the United States in the 1960s, what John Mayall was to England; the greatest exponent of the white blues, under whose premise he would develop an intense work that enshrined him both in the media and among the public internationally.
Popularly however Butterfield has never had the fame of Mayall. Their quality was almost the same, but their works were quite different, while John Mayall always practiced a very free blues with a great base in research and avant-garde, Butterfield was eminently a traditional musician, who used the classic methods of blues and music i perfect without wanting to go much further.
Undoubtedly he was a total purist, and this took away the possibilities for the public that Mayall would reach after many years of struggle, when his revolutionary ideas were accepted and used by a great majority of musicians of his time.
However, even in his traditionalism, Paul always knew how to surround himself with the best musicians that he had within his reach, his various bands, as would happen with Mayall, had names of great stature, discovered by him or already consecrated, names that will later write pages of gold in the history of music.
From 1959 Paul was making contacts with the great Chicago bluesmen, who will define his style for him, they were names like Jimmy Cotten, Junior Wells, or Sonny Boy Williamson.
By the mid-sixties Paul Butterfield was already an established teacher, a magnificent singer and a harmonicist who mastered the instrument like no one else.
Since then he would work intensively making anthological albums for the history of the white blues.
Along with him musicians such as Mike Bloomfield, Al Kooper or Elvin Bishop developed, considered as great figures of the genre and later successful careers.
Its quality and purity would lead him to make legendary albums like "Firts", "East West" or "The Resurrection Of Pigboy Crabshaw", basic pillars of the history of the blues.