Customer Reviews

About Time

5 star:		(52)
4 star:		(20)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

I have heard most of Steve Winwood's solo albums, along with all the Traffic/Blind Faith output and some of the Spencer Davis Group. I'm a keyboardist and I've always felt Steve Winwood counted as a legendary figure in rock music for very good reason. When he's on, he is ON - music that is just among the best in rock. He is one of my all time favorite and most influential musicians for that reason.
I was at Bonnaroo a few weeks ago and Steve was last-minute booked to fill an injured Willie Nelson's slot. I stood in torrential rain through a 2 hour delay to the start of his set. When he finally came out, he played a set that was without a doubt my favorite of the entire 3 day weekend. I figured it would be good but I didn't know it would be THAT good - it sounded excellent, loose, Traffic-like, and featured a few tracks from this album along with old Traffic and Blind Faith material, all performed mind-blowingly well. He had a Hammond/Leslie, no bass except via the Hammond, and had a killer horn player, guitarist, drummer and percussionist, all of whom I believe are featured on this album.
As soon as I was home I made it a priority to get this album. I am not disappointed. Anyone with a love for Traffic should pick this up as it has that strong Traffic, jamming loose but tight vibe. And it's always great when that Leslie spins up in stereo washing that Hammond across the mix. Some really great songs on here, including "Distant Light," "Cigano," ?Why Can't We Live Together," the subdued "Horizons", and Sylvia (Who Is She?)." There are few signs of the 1980's Steve Winwood here. This is my favorite Winwood album, and is an extremely worthy addition to Steve's catalogue. Make sure to get a copy that includes the live bonus disc where Steve tears up Dear Mr. Fantasy on guitar, which is another stellar highlight.

Many years ago, Steve Winwood seemed to revolve in a kind of extra-terrestrial ether, inhabited by a handful of the era's luminaries: Hendrix, Clapton, etc. Indeed, many of us who saw him live during that period felt that, when that amazing voice soared out over the PA, it did seem as if he had been beamed down from another planet. For a worthy live sample from that time, give a listen to side 2 of Traffic's "Last Exit"( 1969), mainly a compilation of outtakes from the group's second album, simply titled , "Traffic." Last Exit was released upon the group's first breakup and Winwood's foray into the rock celebrity of "Blind Faith." The recording quality is abysmal on both B side live selections (recorded at San Francisco's Fillmore West), nonetheless, you can get a sense of the outsized gifts and musical maturity, in which, with but two stage mates-Chris Wood and Jim Capaldi (sax/flute and drums, respectively) providing a simple accompaniment, the Winwood juggernaut takes flight. The organ playing is inspired and the incredibly soulful vocal- full of emotional power- undoubtedly raised the roof off the old Fillmore Auditorium. It's an individual tour de force.

Speaking of Traffic, which one can't help but recall in listening to " About Time," it is a source of wonder to consider that at the time the group recorded their "Low Spark of High-Heeled Boys" album (1971), which stands up so well today- even at 30+ years- Winwood, whose career by that time included, among other adventures, The Spencer David Group, Traffic, and Blind Faith, was all of 23 years old. Indeed, Hendrix, according to Jimi's sidemen of the time, longed for a Hendrix/Winwood band, but was uncomfortable making the overture. A sample indicator of such a union can be heard on Hendrix's recorded high watermark-"Electric Ladyland" (1968)- within which the pair of rock heavyweights serve up the remarkable "Voodoo Chile." Reportedly, that number was recorded in one take. Winwood was 19 or 20 years old at the time.

The voice may not rattle the rafters as it once did, but it is remarkable how much of it remains, evidenced by this new recording. Its soulfully earnest quality still grips you. Perhaps what is most surprising in "About Time," is that there is actually a musical dialog going on- reminding the listener of the rarity of that circumstance in the sterile, calculated rock music environment of today. In the case of Winwood, one may have to go back to Traffic to hear this kind of recorded musical rapport. There was a magical alchemy in the old Traffic, and the affinity within that group is as clear to the listener today as it was back then- perhaps more so. This new disc is sans tape loops and other such studio devices. The result is a live treat and upon giving it a spin you may feel like you're chez Winwood, in Gloucestershire, where it was recorded. Several tracks are augmented by able sidemen, variously adding sax, flute and congas, the effect further evoking Winwood's earlier work. But this is not an exercise in nostalgia. It's an inventive amalgam of musical forms on a firm rock foundation. All but one of the well wrought compositions are originals. The disc opens with the standout, "Different Light," with Winwood's signature style amply evident therein. There is much more pleasure to follow, likely imbuing this artist's legion of fans with the hope he won't wait years for a recorded encore.

The Latin-tinged musical symbiosis of About Time reminds you that a group of gifted players can deliver rock music well worth listening to. Principal accompaniment on the recording is by the wonderful Jose Neto (guitars) and drummer Walfredo Reyes, rounding out a first-class trio. You won't hear a bass guitar; as in much earlier days on stage, Winwood covers the bottom with the pedals of his mighty Hammond B-3. It all adds up to a dexterous demonstration of musical good taste.

Those keyed into the ersatz flavors of the month who occupy most slots on today's pop charts may not find a connection here; but for fans of something more genuine this CD may be revelatory. It's from the best all-around rock musician ever to spring from Britain's old sod.

I would guess that loyal fans of Steve Winwood have long hoped he'd record an album like this one. It was not only recorded "live," but stripped down and entirely without studio gloss or artifice. I've no doubt this welcome effort confirms what fans of this prodigiously talented musician have always known: realities of the music business aside, he certainly never needed the aid of high production.

This CD showcases Winwood's unique intuitive gifts--in composition and musicianship, alongside that unmistakable hallmark vocal--still compelling after all these years. I believe this is the first time Winwood has played just a single instrument on a recording, other than guest artist session work. For "About Time," Winwood works the Hammond B-3, from which he coaxes beautiful, soulfully nuanced sounds on track after track. There is not a clunker in the bunch. Essentially, the band is a trio (a few tracks contain the addition of sax or flute), but owing to the talents of the group the sound is remarkably full and textured. It's a great showcase for Winwood. In particular, Jose Neto shines on various guitars. There is no bass guitar here; Winwood covers that ably with the organ pedals.

"About Time" melds several musical influences (R&B, World, Latin, Soul) into something that truly feels organic. The first impression was of something raw. Thereafter, the tastefully skilled musicianship reveals itself. There is a sense that Winwood had his heart in this one.

One track,"Sylvia," is I think, unnecessarily extended by a blazing (and un-Winwood) guitar solo by Neto. A small criticism of a real gem. Four and a half rounded up to five on my scale.

As a long-time fan of Steve Winwood, I have dutifully bought all of his releases, from The Spencer Davis Group through 'Junction Seven'. And, I have had to contend with too few good songs and too many slow-to-mid tempo, synthesizer-laden forgetable ones. Happily, that has all changed with this release.
The is the product of a real band. Along with the tasteful drumming and percussion of Walfredo Reyes Jr. and the impressive guitar of Jose Neto, 'About Time' features Winwood's vocals and the Hammond B3 organ (he plays no other instrument on the album), and both are in fine form. Recorded in Winwood's own Wincraft Studios in England, the songs range from the early Santana-influenced 'Different Light' to the driving rhythms on 'Cigano' and 'Phoenix Rising'. The ballad 'Horizon' is hauntingly beautiful, while the Flaminco influenced 'Domingo Morning' features nice guitar work and ever-busy Hammond.
Winwood offers some well-crafted, rythmic songs with his voice and Hammond B3 front and center. I may be biased, but I easily give it 5 stars.

After many years away from the music spotlight, Steve Winwood is back in full force with the aptly titled "About Time". Although the majority of his solo career has consisted of shorter pop songs and big hits, "About Time" is a major return-to-form from Winwood. Several of the tracks harken back to his days as a member of Traffic. Also, there are more extended songs here than on any previous Winwood solo album which means there is a lot of room for improvised jamming.
For this album, Steve is joined principly by only two other musicians, guitarist Jose Neto and drummer Walfredo Reyes Jr. There is no bass player on this album as Winwood masterfully handles all the bass lines on his Hammond B3 organ. Musically, Steve and his two-piece band tackle a variety of styles from Latin ("Why Can't We Like Together" and "Domingo Morning"), to Blues-rock ("Different Light" and "Cigano"), to Marley-esque reggae ("Take To The Final Hour"), to Sam and Dave influenced R&B ("Bully") to Jazz-Fusion ("Phoenix Rising" and "Walking On") and extended improvisation ("Silvia").
It's great to have Steve Winwood back in the high life again (no pun intended). After the six-year break, Winwood is singing and playing better than ever. His voice still has a lot of soul left in it while his mighty Hammond playing never falters. Had Winwood recorded this album with Jim Capaldi and Dave Mason, this would have been the ultimate Traffic reunion album. Instead, this is positively Steve Winwood's best solo album to date. There isn't one bad piece of music on this album and continues to prove that Steve is one of the world's greatest musical geniuses. Check it out. It's worth it.

I heard about this disc, oddly enough, on one of those daytime TV programs like "Good Morning America" or whichever one that has live concert segments. I just flipped through the channels and wouldn't ya know it, here's Steve manhandling a Hammond B-3, singing his heart out and playing with a smoking band (Jose' Neto on guitar, Walfredo Reyes on drums and Karl Denson on saxes) and what came out just floored me, in a moment I realized the REAL Steve Winwood is back with a vengeance!

Gone are the glossy, cheesy synths and wimpy fussed with radio-friendly pop-hooks. Returned was the gritty soulful, funky, adventurous muse that put Steve on the map with Traffic and Blind Faith. It was so refreshing to hear him and his bandmates jam, take risks and play their hearts out. The 6 year or so hiatus that Steve took was time well spent for him to get back in touch with what he really loved.

There's so many smoking tracks on here, but if have to pick highlights, I would have to say the ferociously grooving "Different Light" (the words have great signigficance to me personally), the rip snortin' and funky "Cigano (The Gypsies)", the plaintive "Domingo Morning", the slowly smoldering cover of Timmy Thomas's 1972 R&B hit "Why Can't We Live Together", the ferociously rocking "Phoenix Rising" and the by turns haunting and achingly soulful "Sylvia (Who Is She?)". The only weak track for me is "Bully" even though it does have an irresitibly danceable cha-cha groove, it just doesn't seem to catch fire otherwise.

Another appealing feature of this disc for me is the fact it has a very open, live sound to it (in fact, I seem to remember reading somewhere that much of the album was recorded live in the studio with extremely minimal overdubbing. Man, I wish more albums were made like that these days.

Steve definitely took a brave and necessary step in forsaking a major label and forming his own (Wincraft Music). Without the pressures of a major label screaming for instant hits, Steve has plenty of room to stretch out as do his bandmates. Guitarist Jose Neto combines the best elements of Gypsy, Flamenco, Jazz and Rock into a unique style all his own, Karl Denson spins forth soulful melodies and gritty funk saxophone, and drummer Walfredo Reyes just burns from beginning to end.

Welcome back Steve, we sure missed ya!!!!!

How many Winwood and or Traffic records have I (or you) bought over the many years waiting to hear THAT sound again. Even the last Traffic records were not quite on track... There were moments of THAT sound on his first solo album back when, quite a few on the Traffic duet with Capaldi, Far From Home, some songs on Refugees of the Heart, but never a full album that satisfied, was there? The pop discs (High Life, Roll With It) had their grooves but it was, well, far from Traffic. Well, it's About Time. This record is rhythmic and Latin influenced, like that last track on Far From Home, but it also brings and swings and sings on THAT sound, in full organ and voice. If you've ever loved his music, trust me and buy this. You will smile.

It is about time that Steve Winwood created his own label and released his own music on it. "About Time" finally solidifies Winwood's talents, something his former label buried in Winwood's last three uneven cds. This cd is consistent all the way through its 11 tracks without one bomb.

It appears that Winwood is leaning more toward his debut 1977 cd and late 60's early 70's Traffic on "About Time", and amazingly it sounds warm and fresh right now in 2003! Winwood is using and organic sound with real musicians and real instruments and it is refreshing when compared to all the digitized garbage on the radio these days. When you listen to "About Time" you are getting a talented, seasoned musician who knows what he's doing. Now that Winwood is on his own label his production values are in fine form.

I suppose if a corporate label slapped Michelle Branch or Rob Thomas on Winwood he would have a hit and promotion from "About Time" and he would probably win a Grammy to boot. Thank goodness it's just Winwood and no gimmicks. He's delievered the goods on songs like "Different Light", "Cigano", "Take It To The Final Hour", the cover of "Why Can't We Live Together" and "Domingo Morning". This gives the first half of the cd a powerhouse, back to back lineup. This is followed by three more good songs "Now That You're Alive", "Bully" and "Phoenix Rising". There are two slow songs that I'm okay with, but not sure if they needed inclusion and they are "Horizon" and "Sylvia". The last upbeat song "Walking On" is also good.

Winwood appears to be writing about spiritual themes here and this is what he does best. This is what was missing from 1997's "Junction Seven" with it's populist lyrics and slick production. On "About Time" it feels as if Winwood is at home wondering about his life like his former classics "While You See A Chance", "Higher Love" and "Roll With It". On "Take It To The Final Hour" he even refers to his father's wisdom and teachings. Overall, "About Time" sums up many years of waiting for Winwood to release some solid material and it's here. I give this four stars because, and this would be my only criticism, now that Winwood has his own label why not stretch the limits of his creativity and try some new musical horizons? "About Time" is already familiar territory, and it just reaffirms what us fans already knew about him, that he can play this type of music very well and write mature themes in a manner his audience can identify with. My hope is that it doesn't take another 6 years for him to release a new cd!

If he had done nothing else his whole career, Steve (we still think of him as Stevie) Winwood would still hold a special place in our heart for being the voice of, perhaps, our favorite Rock and Roll song of all time, The Spencer Davis Group's 'Gimme Some Lovin'. Although he has never quite matched that powerful, exuberant, downright primal performance (when he was all of 16), as we all know, Winwood has gone on to have one of the more notable, varied and durable careers in pop. The most solid body of work, of course, came during his years with Traffic. His high, impassioned vocals gliding over jazzy, languid, occasionally haunting arrangements formed a hybrid heretofore unknown to Rock, but which influenced much that came after, perhaps most notably, the jazz-soul improvisations of The Dave Matthews Band. Winwood's solo albums have been more spotty affairs. Although each one contains something worthwhile, if not spectacular, they have lacked the consistency and import of his brilliant and creative work with Traffic. This cd, however, may be his finest work since 'Low Spark of High Heeled Boys'. Here Winwood has taken his work with Traffic and moved a few steps closer to jazz (with a Latin accent). The fine band-Jose Piresde Almeida Neto on guitar, Wilfredo Reyes,Jr. on drums, Karl Denson on sax and flute, and, of course, Winwood himself on Hammond organ, nearly as distinctive as his voice-stretch (only 2 cuts clock in in less than 5 minutes) and coalesce to create a fiery, soulful stew. Winwood's version of one-hit-wonder Timmy Thomas' R&B nugget 'Why Can't We Live Together' extracts the essence of the entire album into one great performance. It's one of those songs we can play over and over again.

If you are a longtime Traffic fan and want hear more of Steve on Electric guitar on songs like Dear Mr. Fantasy, then definitely buy the import version of this cd. It is available from amazon and has 30 extra minutes of 2 live tracks and one studio. It's only 13 dollars more and is worth it if you love some excellent 60's era screaming guitar work, aka Jimi Hendrix who had much influence upon the young Steve Winwood.