Thanks For Thinking Of Me But It’s Alright is the closing track of Side 1 from the self-titled Pulse album from 1969. After it was written and we arranged it in late 1968, it was also almost always Pulse’s opening tune in concert.
The group Pulse was based in New Haven, Connecticut, more specifically Wallingford at Syncron Studios soon to become Trod Nossel, which is still operating, and managed and produced by Doc Cavalier. The first version of the band was a six-piece. We started rehearsing in January, 1968 and were together until almost mid-1970. There was a four-piece group for the remainder of 1970.
The personnel: Carl Donnell (Augusto), vocals, guitar; Peter Neri, lead guitar, vocals; Beau Segal, drums; Paul Rosano, bass, background vocals; Jeff Potter, harp, percussion; Rich Bednarzcyk, keyboards.
The album was recorded in 1968 and early 1969, this track as stated probably late ’68. It was written by our drummer Beau Segal. We were huge fans of the Butterfield Blues Band, one of our main influences at the time, and we had seen them a number of times at the Cafe Au Go Go in New York and the Psychedelic Supermarket in Boston as well as the Oakdale Theatre in Wallingford.
Beau has said he took the lead line from a Butterfield tune he heard live. I know the one. Actually he embellished it a bit. If you listen to a live version of the tune by Butter it doesn’t have the chromatic ascent or the closing phrase that bounces off a minor third. And in fact, it’s not a Butterfield composition.
Butter was covering a Little Walter tune. Everything’s Gonna To Be Alright (1959). Butter’s version changed several times over the years. The only studio track I’ve heard is from an early session on the Original Lost Elecktra Sessions, which pre-dates the first Butterfield Band album.
It didn’t start with Little Walter either. The line was used by Elmore James in his Dust My Blues from 1955 as his closing solo. There are probably other examples from that time frame.
If you dig deeper you’ll hear the line as a part of the vocal melody on the bridge of Robert Johnson’s Kind Hearted Woman Blues, and the line is the basis for the main melody in Johnson’s Sweet Home Chicago. Wonder where he heard it if he didn’t originate it himself.
This stuff is fascinating, the Blues tradition. It’s reminiscent of the folk tradition in which entire chord structures and melodies of existing tunes were continually updated with new lyrics, particularly in the ’50s and early ’60s.
Going forward, it pops up in a number of other unusual places. In 1970, Atco Records released Live Cream, which included a studio outtake Lawdy Mama. The original Cream version of this song was a shuffle and included the same lead line. The outtake on Live Cream sees the track changed to a straight rock feel with the line still used but stretched out a bit.
However, many of us have heard this line hundreds of times on a slightly different track. The group ditched the Lawdy Mama version of the song when Felix Pappalardi was brought in to produce and his wife, Gail Evans, wrote new lyrics creating the tune Strange Brew. I never recognized the similarity until I heard the shuffle version of Lawdy Mama by Cream on a grey market item.
Eric Clapton would use the line again to good effect in his outstanding version of Sweet Home Chicago on the Sessions For Robert J album (2004). And so it goes.
The Butterfield Band was and remains one of my favorite groups of all-time and is sorely underappreciated. Thanks For Thinking Of Me was our tip of the hat to them, one of our major influences.
He rarely plays in the States but Taylor was scheduled to be at four venues in or near Connecticut: Toad’s Place in New Haven, Black-Eyed Sally’s in Hartford, the Iron Horse Music Hall in Northampton, Mass., or if you wanted to drive a little further, Misquamicut Beach in Westerly, R.I.
I’ve been to quite a few concerts over the years, many influential, some inspiring. The earliest big venue shows were in the fall of 1965, both at the New Haven Arena. In early November, it was the Rolling Stones with Brian Jones on second guitar in the wake of their summer mega-hit Satisfaction. The Stones sounded and looked great, but it was a relatively sedate performance compared with ones for which the band became infamous. A side note on the Stones show is that the first time they were booked for the Arena, the summer of ’64, the show was actually canceled because of insufficient ticket sales. Amazing. The second show, the Beach Boys with Brian Wilson on bass, on Thanksgiving Day. The Boys wore yellow short-sleeved oxford shirts with gray slacks, not their customary black-and-white and white khakis (I guess because it was a holiday) and with Brian in the fold sounded like angels. Two rather different groups but both rode the singles charts and that’s what drove the music industry at the time.