The Butterfield Blues Band Keep on Moving Numbered Limited Edition 180g LP (Use code: FREESHIPPING at Checkout Two Orders or More UK Only)

And then there was one. Paul Butterfield stands as the last remaining original member of his namesake collective on Keep on Moving. It's hard to imagine it being any other way. Picking up where it left off on In My Own Dream, the Butterfield Blues Band wholly embraces R&B fervor — and indirectly dares any horn-accompanied ensemble of the era to match its energy, pulse, tightness, and flair. While going all-in on soul with a crack support cast on this 1969 set, Butterfield would pull the plug on the band just two years later.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g LP makes Keep on Moving available in audiophile quality for the first time. Open, clear, and balanced, it underlines the dynamic liveliness and organic feel of Jerry Ragovoy's production. As well as the palpable chemistry of the sessions recorded at his then-brand-new Hit Factory studio in New York. This reissue's quiet surfaces and black backgrounds also expose key details, accents, and textures germane to the music. Not to mention Butterfield and company's pervasive interplay.

The prominence and positioning of the formidable horn section — comprised of a young David Sanborn, Gene Dinwiddie, Trevor Lawrence, Keith Johnson, and Steve Madaio — particularly benefit from the newfound transparency and presence. Separation between the instrumentalists is such that you can distinguish tenor, baritone, and alto parts. You can sense the air between brassy shades, pauses, and swells. Butterfield and Howard "Buzz" Feiten's guitars register with a similar sense of realism and directness, with everything from the in-the-room tones to the wiry snap of their strings emerging with dimensional body. The imaging, pacing, and naturalism further help frame Keep on Moving as a far better album than many critics of the time believed.

Anyone expecting the Butterfield Blues Band to repeat the moves of its first two albums might be inclined to close their mind to what the guitarist-vocalist spearheads on this album, which climbed into the Billboard Top 200 and marked the leader's final collaboration with Art Ensemble of Chicago co-founder and drummer Phillip Wilson. The direction the group takes is obvious from the first bars of the aptly named opening "Love March." Distinguished with fanfare complete with horn taps and hup-two cadences, the zig-zagging and psychedelic-leaning piece places the group amid the Age of Aquarius. It even finds Butterfield briefly trading his six-string for a flute.

The remainder of the record pursues funky, bluesy paths carved by rolling bass lines, stacked horns, buttoned-up rhythms, and signature harmonica blasts. Walls of brass border "Morning Sunrise," a slippery rave-up with Butterfield's unhinged vocals contrasting with the measured playing of his horn section. Akin to most of the tracks on the Keep on Moving — if you're not tempted to get out of your chair and dance by the time this feel-good cut wraps up, check your pulse — it leans into catchy R&B disciplines and prioritizes grooves over riffs.