A1 	Walkin' Blues 	3:15
A2 	Get Out Of My Life, Woman 	3:13
A3 	I Got A Mind To Give Up Living 	4:57
A4 	All These Blues 	2:18
A5 	Work Song 	7:53
B1 	Mary, Mary 	2:48
B2 	Two Trains Running 	3:50
B3 	Never Say No 	2:57
B4 	East-West 	13:10

Bass – Jerome Arnold
Drums – Billy Davenport
Guitar – Elvin Bishop, Mike Bloomfield
Harmonica, Vocals – Paul Butterfield
Organ, Piano – Mark Naftalin
Vocals – Elvin Bishop (tracks: B3) 

The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Butterfield and his bandmates could cut tough, authentic blues (not a given for an integrated band during the era in which fans were still debating if a white boy could play the blues) with the energy of rock & roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the frontman, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance. The Butterfield Blues Band sounded muscular and exciting on classic blues workouts like "Walkin' Blues," "Two Trains Running," and "I Got a Mind to Give Up Living," but the highlights came when the band pushed into new territory, such as the taut New Orleans proto-funk of "Get Out of My Life, Woman," the buzzy and mildly trippy "Mary, Mary," and especially two lengthy instrumental workouts, the free-flowing jazz of Nat Adderley's "Work Song" and the title track, a fiery mix of blues, psychedelia, Indian musical patterns, and several other stops in between, with Butterfield, Bloomfield, and Bishop blowing for all their worth. East-West would prove to be a pivotal album in the new blues-rock movement, and it was the Paul Butterfield Blues Band's greatest achievement; Bloomfield would be gone by the time they cut their next LP to form the Electric Flag, and as good as Bishop was, losing the thrust and parry between the two guitarists was a major blow. But East-West captures a great group in high flight as the bandmembers join together in something even more remarkable than their estimable skills as individuals would suggest, and its importance as a nexus point between rock, blues, jazz, and world music cannot be overestimated. ---Mark Deming, AllMusic Review

Lato 1966 roku przyniosło dwa albumy, które zdefiniowały muzykę bluesrockową. Najpierw, w lipcu, ukazał się "Blues Breakers" Johna Mayalla i Erica Claptona, który pokazał Europejczykom, że muzyka bluesowa, dotąd popularna głównie wśród Afroamerykanów, może być atrakcyjna również dla nich. Wystarczyło tylko połączyć ją z rockową energią. Zaledwie kilka tygodni później, już w sierpniu, ukazał się album "East-West" amerykańskiej grupy The Butterfield Blues Band, na którym zaprezentowano jak elastyczne mogą być ramy owego bluesrockowego stylu.

Korzenie zespołu sięgają początku lat 60., kiedy na Uniwersytecie w Chicago poznało się dwóch wielbicieli bluesa - Paul Butterfield i Elvin Bishop. Pierwszy śpiewał i grał na harmonijce, drugi na gitarze, więc szybko zaczęli wspólnie jamować. Kiedy, gdzieś w 1963 roku, zaoferowano im występy w jedynym z lokalnych klubów, duet postanowił zaprosić do współpracy sekcję rytmiczną wspomagającą w tamtym czasie Howlin' Wolfa - basistę Jerome'a Arnolda i perkusistę Sama Laya. Pierwszy występ okazał się sukcesem i kwartet postanowił nawiązać trwałą współpracę. Podczas jednego z kolejnych występów, wśród publiczności znalazł się początkujący producent Paul A. Rothchild (który wkrótce miał zyskać sławę, odkrywając m.in. grupę The Doors), który zaproponował muzykom kontrakt. Przekonał także grupę, aby przyjąć do składu świetnego gitarzystę Mike'a Bloomfielda, będąc pod wrażeniem jego okazjonalnego jamu z Paulem Butterfieldem. Wkrótce zespół poszerzył się jeszcze o klawiszowca Marka Naftalina. W tym składzie zarejestrowany został debiutancki album grupy, "The Paul Butterfield Blues Band", wydany pod koniec 1965 roku. Longplay składa się głównie z energetycznych przeróbek utworów chicagowskich bluesmanów, uzupełnionych nowymi kompozycjami w tym stylu.

Dopiero drugi album, "East-West" pokazał większą wszechstronność muzyków. Poniekąd wiązało się to z odejściem Sama Laya i przyjęciem na jego miejsce Billy'ego Davenporta - perkusisty zorientowanego bardziej na granie jazzu. Kolejna zmiana, to zwiększenie demokracji w zespole, wcześniej dominowanym przez Butterfielda. Podczas tworzenia tego albumu, pozostali muzycy mogli zaprezentować swoje pomysły, co przełożyło się na większą różnorodność. W rezultacie, obok rockowo zagranego bluesa (np. "Walkin' Blues" Roberta Johnsona, "Get Out of My Life Woman" Allena Toussainta, "Two Trains Running" Muddy'ego Watersa) i obowiązkowych bluesrockowych ballad (rewelacyjny "I Got a Mind to Give Up Living" i "Never Say No" - oba nieznanego autorstwa), znalazły się tu także utwory innego rodzaju. Jak chociażby "Mary, Mary", napisany dla grupy przez niejakiego Michaela Nesmitha (który później nagrał go ze swoją grupą The Monkees), będący właściwie utworem acidrockowym, ze sfuzzowanymi partiami gitar i bardzo chwytliwą melodią.

Z kolei dwa instrumentalne utwory, "Work Song" (z repertuaru Nata Adderleya) i "East-West" (autorstwa Bloomfielda i Nicka Gravenitesa), zdradzają silne wpływy jazzowe. Ten pierwszy to niemal ośmiominutowa improwizacja oparta na jazzowej grze sekcji rytmicznej, z rewelacyjnymi gitarowymi solówkami także o jazzowym charakterze, ale i rockowej ostrości, a także z bluesowymi popisami Butterfielda na harmonijce i organowymi solówkami Naftalina. Utwór tytułowy to z kolei 13-minutowy jam, inspirowany muzyką indyjską i twórczością Johna Coltrane'a. Sam pomysł narodził się w głowie Bloomfielda po całonocnych eksperymentach z LSD. Improwizacja opiera się na wyrazistym basowym motywie i transowej partii perkusji, które stanowią tło dla niesamowitych popisów pozostałych muzyków - przede wszystkim dla rewelacyjnych, orientalnie zabarwionych solówek gitarzystów (przypadkiem lub nie, momentami kojarzących się z "Eight Miles High" The Byrds), a także dla fantastycznych partii harmonijki. Niesamowite, jak wiele Paul Butterfield potrafił wydobyć z tak prostego instrumentu. "East-West" to jeden z najwspanialszych przykładów zarówno jazz rocka, jak i rocka psychodelicznego, jakie dane mi było słyszeć.

Jak już wspomniałem we wstępie, "East-West" to album pokazujący, że muzyka bluesrockowa nie musi ograniczać się do powielania utartych, bluesowych schematów. Że jest w niej miejsce także na eksperymenty z innymi stylami, które wcale nie muszą szkodzić spójności albumu, a mogą go bardzo ciekawie ubarwić. A akurat na tym longplayu właśnie te eksperymenty są najbardziej ekscytujące. Chociaż pozostałym utworom nie mogę nic zarzucić - to naprawdę dobrze zagrany blues rock, niczym nie ubiegający chociażby twórczości Johna Mayalla. Krótko podsumowując - "East-West" to jeden z najlepszych i najważniejszych albumów w historii i bluesa, i rocka. Wstyd nie znać. ---Paweł Pałasz, pablosreviews.blogspot.com

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A1 	Play On 	3:44
A2 	1000 Ways 	4:49
A3 	Pretty Woman 	3:51
A4 	Little Piece Of Dying 	3:29
A5 	Song For Lee 	3:42
B1 	Trainman 	6:01
B2 	Night Child 	4:32
B3 	Drowned In My Own Tears 	5:10
B4 	Blind Leading The Blind 	3:59

Paul Butterfield - Harmonica, Piano, Vocals
Big Black - Congas, Percussion, Vocals
Merry Clayton - Vocals
George Davidson - Drums
Brother Gene Dinwiddie - Flute, Sax (Soprano), Sax (Tenor), Tambourine, Vocals
Oma Drake - Vocals
Bobbye Hall - Bongos, Congas, Percussion
Ted Harris - Piano
Rod Hicks - Bass, Vocals
Clydie King - Vocals
Trevor Lawrence - Sax (Baritone)
Steve Madaio = Trumpet
David Sanborn - Sax (Alto)
Ralph Wash - Guitar, Vocals
Dennis Whitted - Drums, Vocals

Full title - Sometimes I Just feel Like Smiling. The Butterfield Blues Band has been critically acclaimed as one the greatest electric blues bands ever! Lead by singer & harmonica player Paul Butterfield, their albums have stood the test of time as classics of the 60's & early 70's. Sometimes I Just Feel Like Smilin', was their fourth album, originally released in 1971. It features saxophonist David Sanborn. It was the last album the band recorded for Elektra Records. This album is making its worldwide CD debut! Wounded Bird Records. 2002. --- Editorial Reviews, amazon.com

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1 	I Get Excited 	
2 	Get Some Fun In You Life 	
3 	Footprints On The Windshield Upside Down 	
4 	Catch A Train 	
5 	Bread And Butterfield 	
6 	Living In Memphis 	
7 	Slow Down 	
8 	I Let It Go 	
9 	Baby Blue

Paul Butterfield - Harmonica, Vocals, Vocals (Background)
Julius Bradley - Vocals (Background)
Steve Cobb - Bass, Percussion
Eddie Fisher - Drums
Jack Hale - Trombone
James Hooker - Piano
Wayne Jackson - Trumpet
Andrew Love - Sax (Tenor)
Willie Mitchell - Horn Arrangements, Percussion, String Arrangements
Erma Shaw - Vocals (Background)
Michael Toles - Guitars, Piano, String Arrangements, Synthesizer, Vocals (Background)

Paul Butterfield, a white singer and harmonica player who apprenticed with black bluesmen, helped spur the American blues revival of the '60s. The teenage Butterfield ventured into Chicago's South Side clubs, eventually working his way into onstage jams with Howlin' Wolf, Buddy Guy, Otis Rush, Little Walter, Magic Sam, and other blues legends.

Butterfield played with University of Chicago classmate Elvin Bishop in bar bands named the Salt and Pepper Shakers and the South Side Olympic Blues Team. In 1963 he formed the Paul Butterfield Blues Band with two former members of Howlin' Wolf's band, Jerome Arnold and Sam Lay, later adding Bishop, Mark Naftalin, and lead guitarist Mike Bloomfield. The group built a strong local following, and its debut album was released in 1965. At that year's Newport Folk Festival, after playing its own set, the Butterfield band backed Bob Dylan for his controversial premiere electric performance. East-West featured extended jams and showed the influences of jazz and Indian music. Bloomfield left to form Electric Flag; Bishop moved to lead guitar.

By 1967 Butterfield had begun the first of many experiments, adding a brass section (including David Sanborn on alto saxophone) and changing his orientation from blues to R&B. He played on Muddy Waters' 1969 album, Fathers and Sons, and after disbanding the Blues Band in 1972, moved to Woodstock, New York. There he formed Butterfield's Better Days with Amos Garrett, Geoff Muldaur, and Ronnie Barron.

Butterfield made an appearance at the Band's Last Waltz concert in 1976, and during the late '70s he toured with Levon Helm's RCO All Stars and with ex-Band bassist Rick Danko in the Danko-Butterfield Band. In early 1980, while recording North-South in Memphis, Butterfield was stricken with a perforated intestine and peritonitis, which forced him to undergo three major operations over the next several years. Butterfield's next and last album, The Legendary Paul Butterfield Rides Again, came out in 1986, one year before the 44-year-old musician, an alcoholic, was found dead in his apartment. --- rollingstone.com

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CD 1
01. Born In Chicago 
02. Lovin' Cup 
03. One More Mile 
04. Off The Wall 
05. Come On In 
06. Nut Popper #1 
07. Ain't No Need To Go No Further, It's Too Late Brother 
08. Born In Chicago 
09. Shake Your Money Maker 
10. Blues With A Feeling 
11. Thank You Mr. Poobah 
12. Our Love Is Driftin' 
13. Mystery Train 
14. Last Night 
15. Walkin' Blues 
16. I Got A Mind To Give Up Living 
17. Work Song 
18. All These Blues 
19. East West

CD 2
01. One More Heartache 
02. Double Trouble 
03. Last Hope's Gone 
04. Mornin' Blues 
05. Just To Be With You 
06. Get Yourself Together 
07. In My Own Dream 
08. Love March 
09. Walkin' By Myself 
10. Love Disease 
11. Everything's Gonna Be Alright 
12. Driftin' & Driftin' 
13. Blind Leading The Blind 
14. Song For Lee

Musicians/Line-Up:
Bass – Jerome Arnold, Bugsy Maugh, Rod Hicks 
Drums, Percussion – Sam Lay, Billy Davenport, Phillip Wilson, George Davidson, Dennis Whitted
Guitar – Elvin Bishop, Buzz Feiten, Ralph Walsh 
Lead Vocals, Harmonica [Harp] – Paul Butterfield 
Organ, Piano – Mike Bloomfield, Mark Naftalin, Al Kooper, Ted Harris
Tenor Saxophone – Gene Dinwiddie
Trumpet – Keith Johnson, Steve Madaio
Alto Saxophone – David Sanborn
Baritone Saxophone – Trevor Lawrence

One of the most attractive things about An Anthology is the inclusion of some of the band's earliest recordings for the label, most of which were long thought to have been lost and wouldn't be rediscovered and released until the mid-1990s. The blistering first take of the band's signature "Born In Chicago," originally released on an Elektra Records folk compilation in 1965, showcases Butterfield's high-flying harp skills; by contrast, the version of the Nick Gravenites song that would appear on the band's debut album later that year, recorded with guitarist Mike Bloomfield, would sound much different with his participation as a full band member.

In fact, the first seven songs on An Anthology feature a four-piece version of the Paul Butterfield Blues Band with Bloomfield provided no more than a token participation. These sessions, recorded in 1964, provide a blueprint to the band's later success. Songs such as Butterfield's original, hard-driving "Lovin' Cup," offer the harp player's soulful vocals and blasts of harp tethered to reality only by the band's sturdy rhythm section. Bishop's searing solos here, and on the following cover of James Cotton's "One More Mile," are wiry, taut, and sting like an arrow to the heart. The uncharacteristic "Come On In," one of the band's first single releases, sounds less like the Southside of Chicago and more like the British blues emanating from dreary London town. --- Reverend Keith A. Gordon, blues.about.com

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01 New Walkin' Blues 
02 Please Send Me Someone To Love 
03 Broke My Baby's Heart 
04 Done a Lot of Wrong Things 
05 Baby Please Don't Go 
06 Buried Alive in the Blues 
07 Rule the Road 
08 Nobody's Fault But Mine 
09 Highway 28

Personnel:
Ronnie Barron 	- Choir, Keyboards, Organ, Piano, Piano (Electric), Vocals
Gary Brocks - Trombone
Sam Burtis - Trombone
Paul Butterfield - Harmonica, Harp, Piano (Electric), Vocals
Bobby Charles - Choir, Vocals
Brother Gene Dinwiddie - Sax (Tenor), Saxophone
Peter Ecklund -	Trumpet
Amos Garrett - Bass, Guitar, Guitar (Acoustic), Vocals (Background)
Howard Johnson - Horn, Sax (Baritone)
Geoff Muldaur 	- Guitar, Guitar (Acoustic), Piano, Guitar, Vocals
Maria Muldaur 	- Choir, Fiddle, Vocals
Chris Parker - Drums
J.D. Parran - Sax (Tenor), Saxophone
Billy Rich - Bass
David Sanborn 	- Sax (Alto), Saxophone
Stan Shafran - Trumpet
Dennis Whitted - Choir, Drums, Vocals

The Butterfield Blues Band may have maintained an eight-year reign atop the American blues-revival pecking order, but the ensemble's focus was clearly waning by the time Paul Butterfield--by then the last remaining founder--closed down the operation in the early '70s. He resurfaced in 1973 with the more versatile and democratic Better Days. Their self-titled debut displays Better Days' strengths, which include three strong singers (Butterfield, Geoff Muldaur, and Ronnie Barron) and a more pastoral sensibility that's reflective of the setting of the recording--Woodstock, New York. When Butterfield's old band tackled "Walkin' Blues" on their groundbreaking sophomore release, East-West, they attacked it with Chicago-style aggression; Better Days' version of the same song is more relaxed and easy-flowing. It says a lot about Butterfield's shifting perspective that one of the nine-song collection's highlights is a tender ballad, "Done a Lot of Wrong Things." ---Steven Stolder, Editorial Review

"We're the only band around that's playing rooted American music," Better Days vocalist and former folkie Geoff Muldaur told an interviewer when this album was first released in 1973, and with perhaps just a handful of exceptions he was right. The band's mix of various styles of blues, from rural (Robert Johnson), to cosmopolitan (Percy Mayfield), along with hints of New Orleans R&B, boogie woogie, and early rock and country, was tremendously out of step with the pop trends of its time.

These days, of course, there are many bands doing more or less the same thing (although rarely as well), but the fact that these guys couldn't have cared less about appearing trendy is one of the reasons why BETTER DAYS sounds timeless. Another reason, of course, is world class musicianship; Muldaur, Paul Butterfield, and stupendously stylish guitarist Amos Garrett in particular come across as both relaxed and passionate. Despite their essentially formalistic approach to music making, they never sound academic or sterile. BETTER DAYS is one of the great lost albums of the '70s. ---Rovi

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01.  Intro
02.  Walkin' Blues
03.  Take Your Pleasure Where You Find It
04.  Broke My Baby's Heart
05.  Done a Lot of Wrong Things
06.  Piano intro
07.  He's Got All the Whiskey
08.  It All Comes Back
09.  Down at the Bottom
10.  Too Many Drivers

(KILLER Filler with Geoff Muldaur and Amos Garrett in the band)
11.  Piano Intro
12.  He's Got All the Whiskey
13.  Nobody’s Fault But Mine
14.  Please Send Me Somebody To Love

Paul Butterfield's Better Days 
12/30/1973 
Record Plant 
Sausalito,CA

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01 - Born In Chicago 
02 - Shake Your Moneymaker
03 - Blues with a Feeling
04 - Thank You Mr. Poobah
05 - I Got My Mojo Working
06 - Mellow Down Easy
07 - Screamin'
08 - Our Love Is Drifting
09 - Mystery Train

Personnel:
    Paul Butterfield — vocals, harmonica
    Mike Bloomfield — electric guitar
    Elvin Bishop — electric guitar
    Mark Naftalin — organ 
    Jerome Arnold — bass
    Sam Lay — drums

Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents. --- Mike DeGagne, Rovi

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1. One More Headache   3:34 
2. Driftin' And Driftin'   9:05 
3. Pity The Fool  6:01	 
4. Born Under A Bad Sign 4:07 
5. Run Out Of Time 	3:00 
6. Double Trouble 	5:37	 
7. Drivin' Wheel  5:53	 
8. Droppin' Out 2:16	 
9. Tollin' Bells 5:22

Personnel
    Paul Butterfield – vocals, harmonica
    Elvin Bishop – guitar
    Mark Naftalin – keyboards
    Bugsy Maugh – bass, vocal on "Driving Wheel"
    Phil Wilson – drums
    Gene Dinwiddie - tenor saxophone
    David Sanborn - alto saxophone
    Keith Johnson – trumpet

This imported double CD from WEA's international division is a real conundrum for blues fans in general and fans of the Paul Butterfield Blues Band in particular. On the one hand, the first of its two discs is The Resurrection of Pigboy Crabshaw, the last of what are usually regarded as the classic albums by the band, and a glorious moment in the career of guitarist Elvin Bishop (aka "Pigboy Crabshaw"), and it's remastered in far better, closer, crisper sound than the extant domestic Elektra Records CD of the same album, which was transferred digitally more than a decade ago; and it's also got their next album, In My Own Dream, which generally doesn't appeal to the same listenership, with its more horn-oriented and jazz-influenced sound; and that album is otherwise available domestically through Wounded Bird Records (who do such a good job with it that it would be a shame to take any business away from them). Also working against this double-CD is its price -- it's more than twice as expensive at retail as the domestic "Pigboy Crabshaw" album. On the other hand, the sound is really good -- but that's also true of the Wounded Bird release of In My Own Dream. So the fans should sort it out for themselves, but suffice to say that the sound on this double-disc set won't disappoint, and the annotation by Peter Doggett (with help from Elvin Bishop) is very thorough and enlightening about this tumultuous period in the group's history. ---Bruce Eder, Rovi

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1. -  Good Morning Little School Girl 02:23
2. -  Just To Be With You 03:23
3. -  Help Me 02:16
4. -  Hate To See You Go 04:34
5. -  Poor Boy 03:27
6. -  Nut Popper # 1 02:25
7. -  Everything's Gonna Be All Right 02:58
8. -  Lovin' Cup 02:44
9. -  Rock Me 02:52
10.-  It Hurts Me Too 02:46
11.-  Our Love Is Driftin' 02:29
12.-  Take Me Back Baby 02:49
13.-  Mellow Down Easy 03:06
14.-  Ain't No Need To Go No Further 02:45
15.-  Love Her With A Feeling 03:00
16.-  Piney Brown Blues 02:14
17.-  Spoonful 03:20
18.-  That's All Right 03:14
19.-  Goin' Down Slow 06:02

Musicians:
Paul Butterfield (vocals, harmonica); 
Elvin Bishop (guitar); 
Mike Bloomfield, Mark Naftalin (keyboards); 
Jerome Arnold (bass); 
Sam Lay (drums). 

All but one of these 19 tracks were recorded in December, 1964, as Paul Butterfield Blues Band's projected first LP; the results were scrapped and replaced by their official self-titled debut, cut a few months later. With both Michael Bloomfield and Elvin Bishop already in tow, these sessions rank among the earliest blues-rock ever laid down. Extremely similar in feel to the first album, it's perhaps a bit rawer in production and performance, but not appreciably worse or different than what ended up on the actual debut LP. Dedicated primarily to electric Chicago blues standards, Butterfield fans will find this well worth acquiring, as most of the selections were never officially recorded by the first lineup (although different renditions of five tracks showed up on the first album and the What's Shakin' compilation). ---Richie Unterberger, Rovi

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1. Love March (Gene Dinwiddie/Phil Wilson) 2:58
2. No Amount of Loving (Paul Butterfield) 3:14
3. Moring Sunrise (Paul Butterfield/Phil Wilson) 2:41
4. Losing Hand (C. Calhoun) 3:35
5. Walking By Myself (James A. Lane) 4:31
6. Except You (Jerry Ragovoy) 3:53
7. Love Disease (Gene Dinwiddie) 3:29
8. Where Did My Baby Go (Jerry Ragovoy) 4:23
9. All In A Day (Rod Hicks) 2:28
10. So Far So Good (Rod Hicks) 2:28
11. Buddy's Advice (Howard Feiten) 3:21
12. Keep On Moving (Paul Butterfield) 5:02

Personnel:
Paul Butterfield (Harmonica, Vocals and Flute)
Fred Beckmeier (Bass Guitar)
Gene Dinwiddie (Guitar, Keyboards, Tenor Sax, Flute and Backing Vocals)
Howard Feiten (Organ, Guitar, Frenc Horn and Backing Vocals)
Ted Harris (Piano)
Rod Hicks (Bass Guitar, Cello and Backing Vocals)
Keith Johnson (Trumpet)
Trevor Lawrence (Baritone Saxophone)
Steve Madaio (Trumpet)
Jerry Ragovoy (Piano)
David Sanborn (Alto Saxophone)
Phil Wilson (Drums and Backing Vocals)

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. The difference between Butterfield's 1965 street survival ode "Born in Chicago" ("My father told me 'son you'd better get a gun") and "Love March" ("Sing a glad song, sing all the time") left fans wondering if the band had become a bit too democratic. However, on cuts like "Losing Hand," some of the band's original fervor remains. Butterfield's harp intertwining with the horn section sounds like a lost Junior Parker outtake and the Jimmy Rogers' penned "Walking by Myself," is the closest this band comes to the gutsy Windy City blues of its heyday. The remaining tracks aren't horrible, but tend to run out of ideas quickly, unfortunately making what may have been decent material (with a little more effort) sound premature. Butterfield would make a few more personnel changes, release one final disc on Elektra, Sometimes I Just Feel Like Smilin', and then dump the band altogether to embark on a solo career. In 2006, Sundazed released a High-Definition Vinyl LP version of Keep on Moving. ---Al Campbell, Rovi

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