About Me
THE BUTLER TWINS
Detroit Blues
The Detroit blues sound is not an indigenous one. Like the Chicago blues, it is the result of what had been called "the great migration." Between 1935 and 1970, millions of African-Americans from states like Mississippi, Georgia and Alabama came to Detroit in search of better jobs. They brought their music with them. It was this movement that brought Curtis and Clarence Butler to Detroit.
"The Twins," as they are affectionately known around Detroit, were born on January 21, 1942, near the town of Florence, Alabama, the birthplace of W. C. Handy. The biggest influence on their music was that of their father Willie "Butch" Butler and his harmonica-playing partner, Raymond Edwards. While neither of their parents wanted the boys to pursue a career in blues music, the twins could not be dissuaded. By the time they were 16, they were touring southern towns. The pay was poor and travel through stretches of all-white territory was dangerous.
After several years, the twins decided to put their musical ambitions on hold. They moved to Detroit in the early 60s, just before a vibrant blues scene which included John Lee Hooker, Bo "Mr. Bo" Collins, Little Sonny, Little Eddie Burns, Bobo Jenkins, Washboard Willie and others went into decline. The Twins worked in the auto plants, Clarence at Ford and Curtis at Chevrolet. They continued to play and perform occasionally, sometimes working as sidemen, but for the most part they were anonymous. They also attended house parties at Uncle Jessie White's home on 29th Street, where the local musicians could hang out, play all night long, perfect and exchange blues riffs, and drink till the sun came up.
By the 70s a new blues scene was emerging in Detroit and so did the Butler Twins - as one of Detroit's best blues bands which included drummer Duke Dawson, Jeff Grand on lead guitar and Chris Rummel on bass. Their sound reflected the Delta blues of their childhood in Alabama as well as their urban Detroit experience. Curtis Butler backed up the band with a clean and crisp, yet warm rhythm guitar. Curtis could also play harmonica and sing but the choice was obvious that brother Clarence had a natural and distinct talent for creating lyrics on the spot at any given show, and for powerfully demonstrating pure harmonica rhythms that the twins blended together from their original unmistakable southern roots.
The twins, after several successes and some disappointments, went to a local record label, Blues Factory Records, where they released their first full cassette tape recording Live in Detroit recorded at a local club (Moby Dicks on May 21, 1988). With a taste of that success, they pursued their dreams again letting nothing dissuade them.
"I know my blues" Clarence would often iterate with his faithful brother at his side. They hosted Monday night Jam sessions at their local Blues juke, the Attic Bar, and that provided them with many choices for a new line up, and "what the heck," they lived right above the bar - so they could audition you before you even knew it! So the next line up, after Clarence calling in Kenny Parker to play lead guitar, was with local Blues drummer Bullet Bob Bau and Darell Lee on bass. This was their next band for a time, but changed up bass players and hired Ray Rodgers to play very often while Darrell moved about The Detroit Music scene.
Their next recordings were to bring them national attention and a tour to England. 'Not Gonna Worry About Tomorrow on J.S.P.' was recorded at White Room Studios in Detroit and produced by Jeff Grand (former guitar player and still best friend) who appears on this album playing slide guitar. Jeff had always maintained respect for his mentors, The Twins, and often would show support for their new found efforts and, well, the "proof is in the pudding". Also featured on this recording is Kenny Parker on lead guitar, Martin Gross on drums, Buster Whiley on bass, and former Black Crows pianist Eddie Harsh. Most of the tracks on this recording were already formed when Clarence brilliantly invented in the studio a "stunning performance" of 'Crack House Baby' and yet another masterpiece '1-900' all backed up with another chilling and original cut of the Robert Johnson classic 'Crossroads', all done Twins style. This effort was backed by still another positive influence in the Twins corner, Sally Levingston-Parker or "Sal", as the band referred to her, who helped manage, book and promote the band. Her efforts during these days were a major and fundamental part of this particular change in Twins history and will be forever remembered.
