For some reason, perhaps unfamiliarity with the new set-up, the horns were not exploited as much as they could have been. On most of the tunes they are content to riff unobstrusively while Elvin Bishop's guitar or Butterfield's voice carries the lead. Solos are quite short, though musically interesting; on "Pity the Fool" tenorist Dinwiddie is allowed to stretch out and he generates the kind of driving enthusiasm associated with the best R&B. Unfortunately the ensemble playing is not up to the quality of the solos and often dissipates their excitement in mechanical-sounding, repetetive arrangements.

"Driving Wheel," a Roosevelt Sykes composition with vocal by bass player Bugsy Maugh, is the most successful piece on the record. Surprisingly, or maybe not surprisingly, it is also the piece closest to Butterfield's earlier style. Maugh's bass provides firm support, not only here but throughout the set.

Resurrection may not show the group to best advantage, but it provides plenty of evidence that these musicians are the most venturesome and exciting players of blues-based rock around.

If this band plays together long enough to feel at ease with itself and finds or writes some more suitable material, its next record could be a bitch.