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THE BUTTERFIELD BLUES BAND

Released in 1969, Keep on Moving was the fifth Elektra release by the Paul Butterfield Blues Band. During a four-year span the group's namesake and leader was the only original member left from their first album in 1965. Morphing in a similar direction as Michael Bloomfield's Electric Flag, this edition of the Butterfield Blues Band prominently fronted the horn section of David Sanborn on alto sax, Gene Dinwiddie on tenor, and Keith Johnson on trumpet. The band's direction was full tilt, horn-dominated soul music, first explored on The Resurrection of Pigboy Crabshaw, which took them farther away from the highly regarded gritty blues experimentation of East-West and the duel guitar attack of Michael Bloomfield and Elvin Bishop. This album also signaled the final appearance of AACM and Art Ensemble of Chicago drummer Phillip Wilson, whose Butterfield swan song was the collaboration with Dinwiddie on the hippie gospel track "Love March," of which an appropriately disjointed live version appeared on the Woodstock soundtrack album.

"LIVE"

<reissue, originally published 1970>

Produced by Todd Rundgren

2LP     ELEKTRA RECORDS      7E-2001  STEREO

PRINTED IN USA    1976 REPRESSING

GATEFOLD SLEEVE

THICK CARDBOARD COVER (AMERICAN STYLE)

NOTES: Butterfly Elektra Label with Warner Communications logo at rim text

Barcode and Other Identifiers

Barcode: none

LABEL: ELEKTRA - BUTTERFLY LABEL - BLACK TEXT

Catalog on cover: 7E-2001

Catalog on labels: 7E-2001-A SP / 7E-2001-B SP

Matrix / Runout (Side A, Etched [SRC Stamped]): 7E 2001 A-SP  SRC  I-I  ESRTD 6-8-76

Matrix / Runout (Side B, Etched [SRC Stamped]): 7E 2001 B-SP  SRC  I-I  ESRTD 6-9-76

Matrix / Runout (Side C, Etched [SRC Stamped]): 7E 2001 C-SP  SP  I-I  ESRTD 6-8-76

Matrix / Runout (Side D, Etched [SRC Stamped]): 7E 2001 D-SP  SRC  I-I  ESRTD 6-9-76

   On labels: rim text "Mfg by Elektra/Asylum/Nonesuch.........Communications Inc. W"

STEREO

Produced by Todd Rundgren

A Madcliff Production

On back cover: Tracklist & Credits

Recorded live at THE TROUBADOUR in Los Angeles

© Copyright 1970 by Elektra Records 15 Columbus Circle  New York City 10023

Printed in U.S.A.(bottom right corner)

tracklisting

Side A: EVERYTHING GOING TO BE ALRIGHT - LOVE DISEASE - BOXER

Side B: NO AMOUNT OF LOVING - DRIFTIN' AND DRIFTIN'

Side C: INTO TO MUSICIANS - NUMBER NINE - I WANT TO BE WITH YOU - BORN UNDER A BAD SIGN

Side D: GET TOGETHER AGAIN - SO FAR, SO GOOD

  grading

RECORDS EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

For the Paul Butterfield Blues Band, this two-LP set proved that it all came down to Butterfield himself and his abilities as a leader in the end. For all of the adulation heaped on Mike Bloomfield, Elvin Bishop, et al., the group was ultimately an extension of Butterfield's abilities as a leader and player, and this set proved that Butterfield and the bandmembers he had assembled in 1971 had more than two LPs' worth of live playing in them that was worth releasing and worth buying. And that wasn't the half of it -- talk about ironies -- at the time the Paul Butterfield Blues Band recorded this live album, they were at their peak as a concert act; they were getting all the bookings they wanted at the best clubs in the biggest cities in the country, and a lot of other places as well, in front of enthusiastic audiences who were devouring their blues-jazz-rock-R&B hybrid sound as fast as they could pump it out on-stage. They just weren't selling many records, which was why few people ever got to hear this album. The four-man horn section and the single guitar are a long way from the band that dazzled audiences six years earlier on East-West, or at Monterey in 1967; this is big-band Chicago blues with a jazz base and a killer sound, ranging all over the musical map without peer. In the midst of all of those seemingly louder instruments blowing away, however, one can still find a great showcase for Butterfield's blues harp on numbers like Big Walter Horton's "Everything's Gonne Be Alright." The sound, recorded on then state-of-the-art equipment at the L.A. Troubadour, is excellent and the performances are as tight as anything ever delivered by the band, in many ways fulfilling the promise of the longer numbers represented on their earlier studio albums. The original double LP is still worth finding for vinyl enthusiasts...(AllMusic)