During these years, many artists and their labels know that having Paul Butterfield: Harmonica printed on the album cover will not only help record sales, but also add a level of distinction to individual songs. It is a combination of the full visceral tone he pulls out of his harmonica, and extraordinary timing that develops his profile as the most recognizable harmonica player in mainstream popular music. His only potential rival being Nashville's studio king, Charlie McCoy, he mostly works with country and country crossover artists.
During his reign as the most sought-after harmonica sideman in Rock, Butterfield plays a supporting role on records by many artists who record everything from Traditional Folk, Blues, Jazz/Rock Fusion, and even mainstream pop. In fact, next to Charlie McCoy, Paul Butterfield's harmonica is a noticeable part of more pop records than anyone during the later half of the twentieth century.
One of those artists is Tim Hardin. He is one of many singer songwriters who grows out of the early '60's Folk trend, and then crosses over into Folk/Rock boom. Over his brief career, Hardin never does experience the same success as a performer as he does a songwriter. Readers may not have ever seen him in concert or heard any of his albums, but they have probably all heard one of his songs: If I were a Carpenter, Reason to Believe or Don't Make Promises to name a few.
In 1969, Hardin releases the album Suite for Susan Moore and Damion. The last track of side one is Little Sweet Moments which features Butterfield's funky harmonica in a supporting role.