THE LOW SPARK OF HIGH HEELED BOYS

The classic world of progressive rock was a time of innovation. I believe 1973-1975 to be where the genre really hit its stride, with the usual big 5 bands of ELP, Genesis, King Crimson, Pink Floyd, and Yes innovating the genre's engines for groups in the future to use in their own ways. However, the early EARLY days of the genre, say 1967- 1971, was a time of exploration, setting sail to new horizons that'd be mastered over the decades. Many bands got their foot into the door during this time, namely the big 5 I commented on, as well as Gentle Giant, Magma, Caravan, and today's subject, Traffic.

Whilst finding fame with The Spencer Davis Group, Steve Winwood and Chris Wood was discontent with their musical output within the group, and wanted to find more of a footing with a full fledged band. That is when they decided to leave The Spencer Davis Group, and form Traffic, with Jim Capaldi and Dave Mason. Over the years, the band has created music, from psychedelic rock, to the early stylings of progressive rock. The band would find their footing in the industry with John Barleycorn Must Die, which was at a point when the band was going into a more progressive rock outlook, as opposed to the late 60s psychedelia. While the success of John Barleycorn was great for the band commercially, it certainly made them more aware of the music industry and the troubles of being a part of it, and thus, that is where the boys in high heels come in.

Admittedly, this is the only Traffic album I have listened to, so I cannot quite compare it to other records from their discography. However, first impressions with the band for this record are very positive. It took me quite a bit to kinda get this record, but what Traffic delivers on here is a very great deal.

The record is a charming, but quite bitter sounding ordeal, with instrumentation that feels like a smooth combination of Chicago-esque jazz rock with a pastoral prog sound that groups like Genesis and Mike Oldfield were enjoying. It is certainly a surprising, but very enjoyable combination of sounds for me, especially with the title track and Rainmaker. I also noticed a bit of appreciation towards more 60s style psych pop, with the shorter tracks of Light Up Or Leave Me Alone and Many A Mile To Freedom, which give this already flavorful experience into one bursting with colors.

I also quite like the lyricism on here. While I am not one who cares much for lyrics, the poetry on these tracks hold a special kind of magic that rivals that of Pink Floyd's Animals, with lyrics describing the toxic music industry with the uses of boys in high heels as their flamboyancy dies out, or with the stress of being a rock star going back and forth from country to country. It is like Wish You Were Here, but from a jazzy prog rock lens. While the album isn't the first to bash the industry, they really take charge at it, and it certainly creates for a truly progressive experience to the ears.

I kinda have only one problem with this record and that is it feels a bit top heavy, with the A side feeling a lot better than the B side. Though, admittedly, this is a minor inconvenience, since even the B side has some really great tracks. Though, again, it does leave this album slightly disjointed, and compared to stuff like the title track and Hidden Treasure, the B side certainly does feel a little weak in comparison. Who knows, maybe I will warm up to the B side and this album will change into a masterpiece in my eyes.

A fun record to be sure. Certainly gets me interested in whatever Traffic has to offer. Recommend this one to those who are looking into the classic time period of prog rock, as it is an excellent record to listen to, especially on a rainy Sunday morning.