TRAFFIC

After finishing the John Barleycorn record, Traffic went on tour, this time playing their older tunes with a lineup of new musicians.

The live shows featured percussionist Rebop Kwaku Baah, drummer Jim Gordon, bassist Ric Grech, Steve Winwood on guitar, keyboards, and vocals, Chris Wood on saxophone and flute, Dave Mason on guitar and vocals, and Jim Capaldi on drums and vocals. In contrast to the smaller lineup on their previous record, Traffic now had a big band setup with three guitarists, two drummers, keyboards, saxophones, flutes, and a talented percussionist. During this period, Traffic recorded a live album, Welcome to the Canteen, in 1971.

Steve Winwood wanted to start recording a new Traffic album, but it was not possible to count on Dave Mason, who only played six gigs with the band before leaving for good; he would never work with Traffic again.

The core of the band's sound was its ambient vibe, with percussionist Rebop Kwaku Baah as a permanent member, alongside Steve Winwood on lead vocals, keyboards, and guitars; Chris Wood on saxophones and flute; and Jim Capaldi on drums, percussion, and lead vocals. The lineup was rounded out by invited members Ric Grech on bass and Jim Gordon on drums.

The Low Spark of High Heeled Boys

The album title refers to an inscription written by diminutive American actor Michael J. Pollard in Jim Capaldi's notebook while they were both in Morocco. Capaldi and Pollard had been planning to work on a movie that was never filmed.

The record opens with "Hidden Treasure," which sets an acoustic jamming tone for the album. The title track, The Low Spark of High Heeled Boys, is the longest track on the album. It begins with a gradual fade- in and ends with a slow fade-out. The signature piano starts after the fade-in. The verses are sparsely arranged and move at a slow, deliberate, contrasting with the double-time, densely layered pop choruses. The tune fades out with a dissonant melody.

This is the only Traffic album to feature two lead vocals by Jim Capaldi, on "Light Up or Leave Me Alone" and "Rock & Roll Stew." The record closes with "Rainmaker," an anthemic track that serves as a powerful ending to this remarkable album.

The Low Spark of High Heeled Boys is a grand folk-acoustic jamming record with great percussion and keyboards. It is both grandiose and minimalist, experimental and traditional. It's hard to categorize, but it stands as a masterpiece of Traffic. While John Barleycorn highlighted Winwood's influence, The Low Spark? is more of a band record, a reaffirmation of the Winwood/Capaldi songwriting partnership.

The Traffic On Winwood

By this time, Traffic was disbanded, with guitarist Dave Mason leaving the group for the second time. Steve Winwood joined the supergroup Blind Faith, while drummer Jim Capaldi and multi instrumentalist Chris Wood turned to session work. Both Wood and Capaldi joined drummer Ginger Baker in his post-Blind Faith group, Ginger Baker's Air Force, for their debut album, Ginger Baker's Air Force (1970).

After Blind Faith's self-titled record was released, Winwood returned to the studio with a few ideas he hadn't been able to use with Blindfaith and a desire to create a more progressive sound on a maybe solo project. The album was initially titled Mad Shadows, and he recorded two tracks with producer Guy Stevens, "Stranger to Himself" and "Every Mother's Son." However, Winwood soon realized he needed like-minded musicians to bring his ideas to life. He invited Wood and Capaldi to join him, marking a re-launch of Traffic with a more jazz-experimental sound than their earlier psychedelic-pop rock 'n' roll style.

Though Winwood attempted to bring Dave Mason back into the fold, the collaboration didn't materialize. Yet, with Capaldi on drums and vocals, Wood on multiple winds instruments, and Winwood handling keyboards, guitars, percussion, and vocals, the three formed a strong unit. They recorded the album with minimal commercial expectations, allowing Traffic the freedom to explore new sounds.

The album John Barleycorn Must Die blended jazz and progressive influences, with one traditional English folk song providing its title and thematic centerpiece. Their rendition of "John Barleycorn" became iconic, showing the musicians' ability to offer a modern interpretation of folk music with a depth and nuance that was new for Traffic.

In the end, John Barleycorn Must Die (1970) proved to be a very enjoyable record, showcasing Traffic's musical maturity and their willingness to embrace new directions. The tracklist opens with the instrumental "Glad," a fantastic jazz-infused jam, followed by "Freedom Rider" and "Empty Pages," continuing the jazzy style with great sax and flute work by Chris Wood. The next song, "Stranger to Himself," has a groovy, funk-inspired feel and is a hint of the band's future direction. "John Barleycorn (Must Die)" is a beautifully folk piece, pastoral break from the rest of the record and a classic prog sound, before the album concludes with "Every Mother's Son," highlighting Winwood's outstanding voice and keyboard work.

John Barleycorn Must Die is a landmark album, a significant step forward from their earlier work. Traffic had become a mature band, far from their previous pop attempts, and Steve Winwood emerged as a legend.

The second half of the sixties provided a launch pad for a number of bands on the British Isles who were "doing their own thing" with blues, psychedelia and jazz influences. Small Faces, Spooky Tooth, Trinity, Family - or even Traffic. These bands (and many others, of course) may not have become pop culture icons, but their music still has the inimitable touch of a time when genre development was counted not in years, but rather in months or often weeks.

In the band Traffic, an interesting four musicians came together in mid-1967 after a jam. Guitarist and player of various other (mainly Indian) stringed instruments Dave Mason, woodwind player Steve Wood, drummer Jim Capaldi and (at that point the figure with clearly the highest musical "credit") Steve Winwood, a keyboardist (but actually more of a multi-instrumentalist) who had left the popular Spencer Davis Group shortly before. It soon became apparent that the Winwood/Wood/Capaldi trio were more musically drawn together, while Mason was profiling himself as a guitar solitaire, both humanly and as a writer. The disagreements came to light mainly during the recording of their debut album Mr. Fantasy, where Mason had to record several bass parts against his will.

Specifically, these tracks were Mr. Fantasy and Dealer - and although Mason may not think so to this day, they both turned out great. Full-blooded guitar blues rock with subtle psychedelic curtains has juice and certainly doesn't get boring. The psychedelia literally oozes from the opening Heaven Is in Your Mind, which gets me with its combination of two contrasting melodic motifs and playful piano. I'm so much impressed by the densely backed melody of Coloured Rain, in which Wood's saxophone rages like a black hand. Then we have two slower pieces - the graduating into a heavier form of Hope I Never Find Me There and the utterly soulful splendour of No Face, No Name, No Number. A little "aside" from the rest of the material on the record is the cheerful looking piano piece Berkshire Poppies, and Mason's oriental psychedelia Utterly Simple. And then there's the closing r'n'b jam Giving to You, which builds all that melodic charge into a chaotic vocal collage.

Traffic's psychedelic melody is not hard to succumb to. Imaginative arrangements, distinctive vocals and melodic sovereignty in pretty much all the tracks puts this debut pretty damn high in my eyes - even within the year 1967, which perhaps favoured recordings of this kind the most of all years. After a little hesitation I give Mr. Fantasy full marks for that geyser of creativity.

Review #139!

The fquacking best English jazz-rock album ever! So very good, from beginning to end. The title track is one of my all-time favorite songs, and every others ongoing is just as wonderful! Magical, my favorite Traffic, followed closely by 'Shootout..'. So awe-inspiring, so delicate yet hard-rocking, so wonderful, so groovy, so "every pleasant emotion that the human can experience"! This album is so eclectic in styles, moods, and lyrics, jumping from fun Latin flavor undertones to somber and beautiful. While songs like 'Rock and Roll Stew' are just lovely and light-hearted, the title track is pure jazz-prog madness! Wonderful, wonderful, wonderful! Prog on!

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.

Traffic's "Mr. Fantasy" is an impressive debut album that showcases the band's eclectic and innovative musical style early into their career. From start to finish each track feels unique, with intricate instrumentation and captivating melodies that keep the listener engaged. The band's musical talent is also evident throughout, with impressive guitar work and tight rhythms that create a sense of unity and cohesiveness. "Mr. Fantasy" is not only a testament to Traffic's musical prowess but also a reflection of their creative vision and willingness to push boundaries. The album's production is crisp and polished when compared to other albums being released at the time, enhancing the overall listening experience. With its diverse range of musical influences and captivating performances, "Mr. Fantasy" is a must-listen for fans of psychedelic rock, progressive rock, and those seeking an interesting musical journey.

After a short period of disbandment, Traffic came back with the monster release "Jonh Barleycorn Must Die" inspired by the ancient Irish folk tale/folk song. In my opinion, this album is Traffics' masterpiece even topping the prior "The Low Spark of High Heeled Boys." This is an all-time prog, folk, and blues classic and deserves more attention from prog fans. It is often dismissed as a folk album but it is just as much prog as it is folk thanks to Steve Winwood's intoxicating keys.

The album opens with "Glad" one of the best tracks on the album right from the start. A lot of awesome organ and piano work from Winwood here, which is a common theme in the rest of the songs. The last two minutes of the song turn to a minor tone ending it off on the perfect note just to go into "Freedom Rider," my personal favorite song on the album. With a sax riff and thumping bass line, the song begins, with Winwood's impeccable voice joining it soon. The song features some incredible flute work from Chris Wood that goes well with the organ and piano that end the song in a grandiose fashion.

"Empty Pages" is a more classic Traffic tune that Winwood wrote. It is a very funky/bluesy song, even including a nice "Doors-esque" electric piano solo that sounds like it could be straight off of LA Woman. "Stranger to Himself" was originally intended for Winwood's solo project that became JBMD, and is a good song as well. Very strong folksy guitar tied together with Winwoods' powerful vocals and Jim Capaldi's unique percussive undertones. It ends with a nice electric guitar solo.

The title track "John Barleycorn (Must Die)" is one of the greatest folk performances of all time, and is a highlight on the album. The guitar work goes perfectly with Winwood's solemn vocals and Chris Woods' flute licks. Great song and would've been better as a closer, but they decided to make "Every Mother's Son" the closer. It was another song that was initially written for Steve Winwood's solo album. I like the idea of the song a lot and it even has a great organ solo in the middle, but I feel like it drags a bit and doesn't end the album with enough clarity (although it is by no means a bad song).

At the end of the day, this album is a folk-prog classic, up there with the likes of Jethro Tull and the other folk-prog greats. By far Traffic's best album and Steve Winwood's magnum opus. Highly recommended to all prog listeners, and is very accessible to even non-prog listeners.

It is very rare these days music artist put out masterpiece and it´s best album as the first release. But it wasn´t in the 60/70ties, with Traffic also for example Family, King Crimson, Dr. John, Magma, Caravan and Comus did that! Also I think Pink Floyd, Wigwam, Faust, the Jimi Hendrix Experience, Captain Beefheart and the Magic Band, Amon Düül II released masterpieces as their first album, although not their best albums. Those were the years when came a huge amount of great music! Of course Traffic members weren´t beginners, Steve Winwood had been in very successful Spencer Davis Group, other members had also earlier bands, but not as known. Anyway Traffic got success in the UK from the beginning and later also in the US. I believe when Winwood, Mason and Wood jammed together with Jimi Hendrix would not decrease their popularity.

Album starts with gently beats in "Heaven In Your Mind" that is Winwood, Capaldi and Wood composition. Soon comes really melodic vocals from Winwood & Capaldi. Chorus words "guiding your visions to heaven and heaven is in your mind" could not descripe this terrific opener better! In "Berkshire Poppies" mood changes fully: it starts with clumsy waltz, that soon goes into unbridled momentum! Musically very funny piece, but lyrics seem to be quite serious telling that time typical story of escaping the system. Next "House For Everyone" is absolutely one of Mason´s best songs! Starting as somebody is putting music box on you can easily imagine some mechanical dancer beginning to rotate. Very great melodies in this too! "No Face, No Name and No Number" is the most beautiful ballad piece from Capaldi & Winwood in this album. Next "Dear Mr. Fantasy" is the most known song from this album, but I think it´s weakest after "Giving To You". Of course it´s good rocker with great guitar solo from Steve, but really not give a right picture of the album

But in the vinyl B-side greatness continues: "Dealer" is again very melodic piece from Capaldi. Next "Utterly Simple" is again Mason track and the most psychedelic song in this album, where Mason even plays sitar. Direction changes more rock into "Coloured Rain" that has again great vocals from Steve and very intensive solo part. Mason´s last song "Hope I Never Find Me There" is again very melodic and almost as great as "House For Everyone". "Giving To You" is very cheerful jam-piece and ends this awesome album just so well!

I believe this is not five star album to puritan prog lister, but to me who love terrific psych rock as much as great prog this really is!! Somehow I had to listen this many times before I understood it´s genius! Really this isn´t the most trippy psychedelic album, it´s more full of great melodies and really awesome singing and playing! To me all three first Traffic albums and "Low Spark Of the High Heeled Boys" are masterpieces (yes, even Last Exit, I really love also it´s B-side), but all their other seventies albums are four stars albums. So you can thing this band is so dear to me! One reason why I love so much those three first album is Mason, who also composed very great songs, later I think Winwood and Capaldi didn´t have enough ideas. The other story is their nineties comeback album "Far From Home", I have listened it maybe twice and what I remembered, it really hasn´t got that warmth as their old material. Traffic was very succesfull in it´s time, but these days to me it seems it´s little bit forgotten comparing other great bands of those days. I really hope young people, who have found splendor of the Jimi Hendrix Experience, the Doors, Cream, the Who etc. will also find this band, because it is as terrific!

"On The Road" is the second live album by "Traffic", recorded in Germany, and released in 1973 following their studio album "Shoot Out At The Fantasy Factory", it features American session musicians of "The Muscle Shoals Rhythm Section" keyboardist Barry Beckett, bassist David Hood, and drummer Roger Hawkins. Side one, taken up by the first track "Glad /Freedom rider", the first two pieces of "John Barleycorn Must Die" joined in one 21 minutes long epic, and honestly, the vocals there start weak. Side two holds picks from the previous release "Shoot Out At The Fantasy Factory", the instrumental "Tragic Magic" and "(Sometimes I Feel So) Uninspired", with the title track "Shoot Out At The Fantasy Factory" on side three, it's a stretched version humdrum, with no attempt of improvement to the already-drab studio version of tracks, (Shoot Out At The Fantasy Factory it's a good mediocre album for me, not bad). After there are picks from "The low Sparks of High Heeled Boys", with "Light up or Leave Me Alone" on side three, and the eponymous track "The Low Sparks Of High Heeled Boys" occupying the fourth side, I think this is where energy kicks in, particularly in vocals. "On The Road" holds a nice choice of songs, and good instrumentation, from my favorite albums, with good quality, clear sound, good performance, and production, I like Barry Beckett's work on piano and organ, especially on "Glad /Freedom Rider" and "The Low Sparks of High Heeled Boys", and also Chris wood's work on saxophone and flute, I also like the simplistic, colorful sleeve. As a live album, it's fine

Not sure what album y'all were listening to...

Despite being curious what in the hell Traffic were doing literally (exactly) 20 years after their last, When the Eagle Flies (1974), I decided to go in on this blind. An hour-long excursion into some oldheads' latterday expressions, with at best mixed (yet fairly positive) reviews, this only does so much to excite a guy... Traffic, as band, is now strictly Winwood and Capaldi. Certainly wouldn't have suggested that they needed much else, given that simple roster. [Oof.]

And here we are! The '90s! Hahahaha!!! This starts off with "Riding High", very much that commercial Winwood thing... You know what I'm talking about. Well performed, but cheesy as hell. This feels like the albums' legacy (now that I've finished listening).

With the Traffic designation, not too surprised what I'm hearing. "Here Comes A Man" is a sort of classic RnB-inflected track. Unsurprisingly, it's well done. What else can (or should) be said? Perhaps this: Steve is pulling all the strings on this one (organ, guitar and flute!). So, really at best, we get well-performed, long-form RnB-inflected Prog-lite/AOR jams. I'm not mad at it (see the track "Far From Home")... But...

"Holy Ground" was... just bad... and... what followed uhhhh... Thank God for the final track to at least pick things back up. I guess. [I'm fairly confident that there is no reason for this album to exist.]

True Rate: 1.5/5.0