The Axe and the Wind: George “Wild Child” Butler’s Blues Resurrected by Bob Dylan
“You are the moan of the suffering woman, the groan of the dying man. You ain’t nothing but the blues.” — Willie Dixon on George “Wild Child” Butler
The history of blues music is filled with artists whose talents and distinctive voices, while celebrated within dedicated circles, often never found mainstream acclaim.
Their music sometimes lay dormant for decades only to be rediscovered by new generations or cast into fresh light through the interpretations of prominent contemporary musicians. Such is the case with George “Wild Child” Butler, a harmonica virtuoso and vocalist of singular character, and his evocative 1968 recording, “Axe and the Wind.”
Among the many recordings in Butler’s discography, “Axe and the Wind” stands out for several reasons, not least its authorship by a blues master and its recent, unexpected reappearance in the contemporary music landscape thanks to an artist you may have heard of… Bob Dylan.
The Willie Dixon Connection: Songwriting, Production, and Influence
“Axe and the Wind” has an impressive pedigree: the song was penned by the iconic blues songwriter, producer, and musician Willie Dixon. Dixon’s compositions formed a cornerstone of the post-war blues canon, recorded by legends such as Muddy Waters, Howlin’ Wolf, Little Walter, and Koko Taylor, as well as being influential on the emerging rock and roll scene.
Dixon’s involvement with Butler’s early career extended beyond songwriting. Willie Dixon produced Butler’s recording sessions for Jewel Records between 1966 and 1968, a period that would encompass the creation of “Axe and the Wind.” Dixon’s production role meant he had a direct hand in shaping the sound, arrangement, and overall feel of these recordings.
While I couldn’t find specific session musician credits for “Axe and the Wind,” the typical lineup for Butler’s Jewel sessions during this 1966 period, under Dixon’s stewardship, included such notable Chicago bluesmen as fellow harmonica master Walter Horton, guitarist Johnny ‘Twist’ Williams, bassist Jack Myers, and drummer Vince Chappell.
Willie Dixon himself occasionally contributed second vocals on these sessions. It is highly probable that this core group, or a very similar ensemble directed by Dixon, provided the musical backing for “Axe and the Wind,” lending it an authentic Chicago blues sound. It is a product of the powerful artist-producer synergy that was characteristic of many classic Chicago blues recordings, carrying the indelible stamp of both Butler’s vocal and harmonica delivery and Dixon’s compositional depth.
“Wild Child,” that name, my mother named me that. Says this baby is wild. And I been carrying it ever since. When I cut the record the people was more crazy about the name than they was me!”
The Genesis of “Wild Child” and the Upside-Down Sound
George Butler was born in Autaugaville, Alabama, on October 1, 1936. His moniker, “Wild Child,” was bestowed upon him by his mother before he could even walk, a prescient label for the untamed energy that would later characterize his musical persona. His affinity for music manifested early; he took up the harmonica at the tender age of six and was performing professionally by the age of 14.
A fascinating aspect of Butler’s music was his unconventional approach to his primary instrument. From the age of five, he played the harmonica upside down. It wasn’t until much later in his life that he was informed of the conventional orientation of the instrument, with the high notes typically played on the right side. By then, however, his “upside down sound” had become an integral part of his style, a foundational component of the unique sonic texture that would later be dubbed his “swamp sound.”
Forging a Blues Identity in Chicago
Like many aspiring blues musicians of his generation, Butler recognized that the path to broader recognition led to Chicago. He moved to the city in the late 1950s (other accounts suggest closer to 1966), immersing himself in the city’s highly competitive blues environment. It was in this crucible that his career began to gain significant traction. A pivotal moment came in 1966 when he signed with Jewel Records. His early recording sessions for the label were auspicious, featuring collaborations with established and influential figures such as the legendary Willie Dixon, guitarist Cash McCall, and guitarist Jimmy Dawkins.
Dixon, was a institution in the blues world — a prolific songwriter, a skilled producer, an accomplished bassist, and a talent scout who had shaped the sounds and careers of many artists at Chess Records and other labels. To have Dixon involved in his early recordings, and indeed to have him produce his Jewel sessions, lent Butler immediate street cred. Dixon’s belief in Butler’s unique talent is further evidenced by his vivid descriptions of Butler’s sound.
Dixon described Butler’s voice as “way-out strange,” artfully positioning it somewhere between the powerful growl of Howlin’ Wolf and the haunting tones of Lightnin’ Hopkins, concluding that “ain’t nothing been around like that.” Dixon’s praise went further, capturing the profound emotional depth he perceived in Butler’s delivery: “You are the moan of the suffering woman, the groan of the dying man. You ain’t nothing but the blues.”
This very distinctiveness, the “swamp sound” and the unconventional harmonica technique, was a double-edged sword. While it earned him the respect of peers like Dixon, it may have also contributed to Butler’s lack of broader mainstream commercial success.
The 1960s and 1970s saw a significant blues-rock boom, which propelled many blues-influenced artists to international fame. However, this boom often favored blues structures that were more standardized or heavily infused with rock elements. Butler’s sound, authentic and original, might have been perceived by the wider music market as too “rootsy,” too “strange” (to use Dixon’s term), too idiosyncratic to fit neatly into the prevailing commercial trends. Consequently, he remained a respected figure within a more specialized niche, an artist celebrated for his integrity and unique style rather than his record sales.
“I came [to Chicago] and got with Willie Dixon. I had come to see Buddy Guy and he turned me on to Willie Dixon. Me and Dixon started working together and I did a session. So Dixon got Jewel, Stan Lewis down in Shreveport, Louisiana to hear it and Jewel called my manager and they got the first record Dixon and I did together.”
The 1968 Jewel Records Single
Recorded in 1966, “Axe And The Wind” was released as a 7-inch single by George “Wild Child” Butler on Jewel Records, bearing the catalog number Jewel 793, in 1968. A two-year delay between recording and release was not uncommon in the record industry of the time, often due to the economics of pressing and distributing singles. “Axe And The Wind’s” release was advertised in the August 17, 1968 issue of Billboard magazine, indicating — whatever the delay — the label thought it a track worth spending some money to promote in the R&B market.
Jewel was the creation of Stan Lewis, owner of Shreveport’s Stan’s Record Shop. Prior to owning the record stores, Lewis operated jukeboxes he placed in nightclubs with mostly black clientele. He also was the host of a 15-minute radio segment on which he featured music artists who didn’t receive airplay, kind of like a certain deejay Bob Dylan fans are familiar with. In the 1950s, Lewis sponsored radio shows that featured blues and gospel music that couldn’t be heard anywhere else, all available for mail-order through Stan’s Record Shop.
George “Wild Child” Butler passed away on March 1, 2005, in Windsor, Ontario, Canada, due to a pulmonary embolism. He was 68 years old. He left behind a legacy as a truly original voice in the blues, a master of the harmonica with an unforgettable style, and an artist who, in the words of Willie Dixon, was “nothing but the blues.”
A New Spotlight: The Bob Dylan Cover
Decades after its original release, “Axe and the Wind” was thrust into a new and unexpected spotlight. On May 13, 2025, Bob Dylan performed the song live for the very first time during his set at Willie Nelson’s Outlaw Tour in Phoenix, Arizona. Dylan’s performance was part of a characteristically eclectic setlist that included other covers (“Route 66” and The Pogues “Rainy Night in Soho”) and some of his own rarely played original material, including his first performance of “Mr. Tambourine Man” since 2010.
As with many songs he played on Theme Time Radio Hour and has covered in concert, Dylan’s decision to cover “Axe and the Wind” has introduced an older, lesser-known work to new audiences, hopefully sparking new interest not only in the song itself but also in its original performer, George “Wild Child” Butler. As with many songs, the story of “Axe and the Wind” is an ongoing one, it audience now expanded by Dylan’s high-profile reinterpretation, an example of the vital, living connections within musical traditions that span artists and generations.
Ultimately, the narrative of George “Wild Child” Butler and his song “Axe and the Wind” can be seen as a microcosm of the blues genre itself. A musical tradition rich in extraordinary talent, often born from hardship and adversity, frequently under-compensated and under-recognized during its peak creative periods, yet possessing a profound cultural gravity and an ability to influence music and connect with listeners across decades.
While George “Wild Child” Butler may not be a household name, his distinctive contributions to the blues harmonica vernacular and potent recordings like “Axe and the Wind” ensure his place in the complex, tapestry of blues history — especially with its Willie Dixon pedigree and its recent nod from Bob Dylan. George “Wild Child” Butler’s story is one of fierce individuality, unwavering dedication to his craft, and the enduring power of an authentic artistic voice that continues to echo.
“I’ve found that the blues is a man’s very best friend. anyone’s best friend ’cause it don’t ask you where you’re going, it don’t care where you been. And it don’t care who you are, and that’s the way the blues is. That’s what I love about it.” — George “Wild Child” Butler
Have a comment or question? Email me at fhbals@gmail.com
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