Traffic - John Barleycorn Must Die

Traffic's third studio album is also its third best, ranking below the band's superb second record (1968's Traffic) and its psychedelic debut (1968's Mr. Fantasy). The depth of those albums came from having two superior songwriters, Steve Winwood and Dave Mason; by John Barleycorn, Winwood was leading a trio that included Chris Wood on horns and Jim Capaldi on drums. Winwood now supplied guitar as well as keyboards, and songs such as "Glad" and "Freedom Rider" reflected the trio's fondness for instrumental jams. But the 1970 album is remembered most for the title tune, a traditional folk song blessed with one of the finest vocals of Winwood's long career. --John Milward Amazon.com

Traffic's Real First Album

In the telling, Traffic was this great band with two front-men, Steve Winwood and Dave Mason, which fell apart over egos and ambition and then reformed, without Mason, after Winwood's Blind Faith excursion crashed and burned.

In reality, the Winwood-Mason group was really a different band, a fine band, but far less ambitious and innovative than the band that was born on "John Barleycorn Must Die." Losing Dave Mason didn't deplete Traffic; it freed the band from the strictures of its previous incarnation as a generator of hit singles and allowed the fruitful collaboration among Winwood, Chris Wood and Jim Capaldi to reach its full apogee. "John Barleycorn" doesn't sound anything like the Traffic that did songs like "Feelin' Alright" or "Heaven is in Your Mind."

Nor is this version of Traffic -- which continued through the remainder of its career -- a "jam band" in the sense that those words now signify. The compositions on "John Barleycorn..." as well as on subsequent classics like "The Low Spark of High-Heeled Boys" are highly structured. Built into that structure were opportunities to perform solos. Both were multi-instrumentalists, so for some songs that means Winwood soloing on organ, guitar and piano, and Wood on flute and saxophone. Or some combination thereof. Both were virtuosos whose solos had much more to say, musically, than 95 percent of rock instrumentalists. And you couldn't pin them down. Their muse pulled them in many directions: Rock, folk, jazz, R&B and various subgenres. What Capaldi provides here and would blossom later into a signature quality was an incredible suppleness of rhythm. He could lay down a fat groove or a solid 4/4, or he could swing lightly, or he could click away in an ethereal mist. Whatever the song needed. Rhythmic adventurousness was Traffic's foundation beginning with this album.

The only drawback I find to "John Barleycorn..." is a wish they had gone further. Clearly, this group was awaiting an African drummer -- you can almost hear it on some of the tracks. Of course, that drummer arrived in time for the next Traffic album, "Welcome to the Canteen," and is one of the factors in making the next three Traffic albums the unheralded classics that they are.

As for the individual songs -- I can't think of a better suite than the three songs that made up the original Side 1 of this disk: "Glad, "Freedom Rider" and "Empty Pages." Then you've got the wondrous title song, which was the centerpiece of side 2. "Stranger to Himself" is an R&B style tune, in the mode of the previous incarnation's great final single, "Shanghai Noodle Factory/Medicated Goo." It's just a wonderful slab of music that you'll play a long time before getting tired of it. August 26, 2008

5 for the Album/2 for the Sound

The album itself is fantastic. A genuine classic.

The problem is in the totally crappy re-mastering job. There is audible dropout at the beginning of "Glad" on the left channel, which eventually straightens out after a few seconds, but ruins the song. "Empty Pages" is really bad. It has a wow/flutter effect throughout that might have been in the original recording, but I doubt it. It basically sounds like cassette tapes used to sound when they would get old and worn out, creating a fluttering sound quality.

I suspect the master tapes have gone bad here in spots, but it could just be my system. I listen on headphones, which might make me more sensitive to flaws. But, I think anyone thinking of this purchase might want to test a track via download before investing in the entire CD. February 22, 2008

what were they thinking?

This is a truly a masterpiece, and the re-mastered tracks sound great. But one star off for the bonus tracks, especially for the one stuck in the middle. I'm not a big fan of bonus tracks in general; they rarely add to the experience, but at least stick em at the end where they can be properly ignored. The liner notes for the re-issue give a clue to their cluelessness: "Along with Fairport Conventions Liege and Leif, John Barleycorn Must Die stands as a pivotal statement in late 60's/early 70's British folk rock music". Huh? Did the person who wrote that even listen to anything besides the title track??? January 31, 2008

Metamorpho is But a Stranger to Himself ---and others ;)

There are old stand-bys in Metamorpho's world like life perservers when the going gets tough and Metamorpho gets moaning. Not that I am ever known to whine people. (I hear laughs! Search the audience! I want names, dates, places on my desk in the morning!). O.K., where was I? Oh yes, there are just great recordings that I rely on to get my fair share of joy and revelry in this poor, old (and sometimes) pathetic world. This is one of them. A pure pop-rock-jazz influenced gem if there ever was one.

Did I not tell you (it seems like leagues ago) that Clapton and Winwood gave a great show with Blind Faith, but the best was yet to come. Well, I already gave you the Layla Lecture (a noted high point in your beloved Seer's career), but now I give you Winwood's triumph, John Barleycorn.

It is magikal, effervescent (sort of like the bubbles that make their way to the top of Metamorpho's champagne glass), creative exhuberent music. This is music with heart and soul. And you will be totally enthralled by the riffs (sometimes keyboard oriented) and the whirlwind (or Winwood?) expertise contained herein. You doubt my word? How bold.

The fact that this music was accomplished by only 3 extraordinary musicians should peak your interest for sure. The sound is the unmistakeable sound of Traffic (sorry Dave Mason) with the inclusion of woodwind instruments. Well, what would you expect with names like Steve Winwood and Chris Wood? Very appropriate, if you ask me.

The sound is hardy, solid, sometimes mixed with soul and jazz kisses. There is really no other album like it. The genius behind Steve's talent is that he was able to go from album to album and make each one a unique entity. Discovering new grooves along the way. This is one of his highest, finest moments. Of that, I have no doubt. (Then again, Seers rarely doubt their intuitions). ;)

This is a classic. Miss it at your peril. From the beginning instrumental of "Glad", you will get on a ride that will last the whole album. Listen to that piano riff with sax people! Are you going to sit there and tell me this is not great stuff? If you do I will vote you off the island! That sax note (the off center one) that Chris Wood hits in "Freedom Rider" is infectuous and will work itself into your brain that you will wait for it to please on subsequent listenings. Believe me, I know.

The opening organ joy riff and following ride on "Empty Pages" continues along this overindulgence avenue. And then Winwood gives you that wonderful, disjointed piano jouney with "Stranger to Himself" including that wirey guitar addition and fuzzy lead guitar. Everything here is so well done. Me, with all my ultimate wisdom, could not help to create a better blend of instruments.

They then take on an olde English folk tune, "John Barleycorn", and this, my people, was sheer genius. They give you rock-pop-jazz and then tone it down to this. Amazingly effective and brilliant! Supposedly, it was a tune against alcohol but, in the end, John Barleycorn won out. As stated in the liner notes "but there are many other interpretations". So kind of Traffic to leave it up to our imaginations! "Every Mother's Son" gives Steve free range on the keyboards while allowing his vocals to reclaim the soul he had with the Spencer Davis Group. This song is not a rave by any means, but it's meter reveals many colours.

In closing, this is one of my treasured and most liked albums in my archives. It is one of the few that I keep under lock and key. Only dragon fire can break the lock (and, believe me people, he is far away in an unused part of my castle!). Anyway, if you like late 60's-early 70's rock music at all, this one should definitely be in any worthwhile collection. If you have it-you know all my words ring true. If you don't have it - take heart, salvation is yet to come with the purchase!

as always, thinking of my vast public -- your own, Metamorpho ;) January 13, 2008

KNEEL IN AWE

One of the best pieces of music ever recorded. Not a bad song on the whole CD. Unique ---unlike any others. LOVE "Traffic" December 20, 2007

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