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Editorial Reviews
John Barleycorn Must Die is the Traffic album that almost never was but which is now commonly regarded as their definitive work. By 1970, still only 22, Steve Winwood had already served time at the heart of The Spencer Davis Group, as a founder member of Traffic, and with the supergroup Blind Faith. What started out as Steve Winwood's solo debut, originally to be called Mad Shadows (a title later filched by Mott The Hoople), John Barleycorn Must Die became Traffic's third and most fully realised studio album.
In support of the album, Traffic toured America where their shows at the Fillmore East, New York, on November 18th and 19th were taped. A scheduled live album, mixed down from the Fillmore East, was never released. These much bootlegged recordings are now officially released for the first time on Disc Two of this new deluxe edition along with alternate takes of `John Barleycorn Must Die`, `Stranger To Himself' and `Every Mother`s Son`.
Customer Reviews
Most Helpful Customer Reviews
54 of 58 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Two discs-34,58 minutes each approximately. Why they didn't fill the discs with more music is a bit disappointing. The digitally remastered sound is clean, but still has that slightly muffled feel to it-in part because the bass is oftentimes played by Winwood using the bass pedals on the keyboard. But you can now hear instrumentation and vocals that, on previous editions, weren't as clearly heard before. An example is the title track-Capaldi's background vocals can now be heard in unison with Winwood. The live tracks are taken from the original 16 track master tapes. The discs are manufactured in Germany. The discs are snapped in inside a quad-fold cardboard holder, which has some nice photographs. The 22 page booklet tells the TRAFFIC story in some detail, beginning with the formation of the group. There's quite a few great period color and b&w photographs, many not previously seen. Also included are period ads, which help flesh out the group's history.
This album was originally intended to be a Steve Winwood solo album, with Winwood playing the various instruments, and handling the vocals. But, as sometimes happens, it morphed into a TRAFFIC album. In 1970 Winwood still in his early twenties, was about to record a solo album to fulfill a contractual obligation. Finding things not really working out like he intended, Winwood (vocals/guitars/keyboards/bass) called on his friend and ( and TRAFFIC bandmate) Jim Capaldi (drums/vocals) for help. He then decided to bring in (TRAFFIC member) Chris Wood (saxes/flute/organ/percussion/vocals) to help flesh out the compositions-and TRAFFIC was reborn.
"John Barleycorn Must Die" emphasized Winwood's soulful, lived in voice, and extended (almost jazz-like in spots) instrumental passages, along with an old folk song that captivated Winwood. This combination of Winwood's plaintive voice and a mixture of folk/rock/jazz arrangements gave this album a different feel and identity. The album went on to be the group's first gold album, and remains popular today. It's a perfect example of the willingness of musicians during this time to incorporate different genres of music to fit their needs. With both Winwood and Capaldi writing the tunes, the album benefited both lyrically and sported solid arrangements. Here it must be said that Chris Wood was very important to this album's sound. It was Wood who had heard a version of the title track (by The Watersons), and introduced the song to his bandmates. Wood's penchant for incorporating different musical styles in the group's sound was something he had done on a regular basis in the past. And, of course, his musical efforts on this album help give the songs a strong, individual identity.
Without Dave Mason, gone were the more psych/pop songs from earlier albums. The band was now free to explore and extend their sound into folk and rock-based songs, with jazz-like arrangements. Also absent ( to a large extent) were the concise compositions of the past. The band was now stretching out instrumentally, making good use of their combined instrumental prowess. Even Capaldi's drumming, always firm with light flourishes, took on a different feel that anchored the band's newer sound perfectly.
Most likely you're already familiar with the original album, so there's little left to be said. The second disc begins with three tracks from the original album in a slightly different form ("Stranger To Himself", John Barleycorn Must Die", and "Every Mother's Son") which are interesting and nice to hear. The first version of "John Barleycorn..." has a slightly fuller arrangement compared to the version on the original album. The track has the feel of something FAIRPORT CONVENTION might have recorded-a more "English" folk-style sound to it. The rest of the disc contains live tracks, with their touring band (Ric Grech FAMILY, BLIND FAITH, etc.-bass, guitar, violin), from the aborted live album that, at one point, was close to being released. For whatever reason the idea was dropped-thus began the several bootleg releases of this concert. Many people have heard these tracks over the years, but it's nice to have a legitimate release of this concert.
"Medicated Goo", from 1969's "Last Exit" album, is a bit longer than the previous version, and still has that jazzy sound and feel. "Empty Pages", likewise, has a bouncy feel to it, with some jazz overtones, but lyrically it's on the bitter side. "Forty Thousand Headmen", from the 1968 album, "Traffic", has always had a mysterious, haunting feel-courtesy of both the arrangement and the lyrics. Here it's extended slightly, but still retains that haunted feel. The digitally remastered sound really brings out the delicate acoustic guitar sound, and highlights Winwood's vocals-something difficult to get across live. As always, Wood's flute playing is evocative, delicate, and intelligently played. "Who Knows What Tomorrow May Bring?", also from the '68 "Traffic" album, stylistically would fit on the "John Barleycorn..." album. Both lyrically and instrumentally the song has a similar feel to other tracks on that album. The pace of the song isn't rushed here (something that happens live), but flows out nicely. Wood's sax brings out just the right feel, and with Winwood's organ, are the perfect combination for this great tune. "Every Mother's Son" has a slightly different feel, due to having a full band (rather than Winwood) playing the various instruments. Some people may find this live version more to their liking. "Glad/Freedom Rider", is a high point-it's always been one of the more popular parts of the album. The instrumental "Glad" sticks to the original, but the tempo is a bit rushed, and heard live gives it a slightly different feel. The happy go lucky, bouncy feel of the original isn't emphasized on this version, and loses something from the original. Instead, the band lays down the melody and the solos in one, intense groove. It's still a good listening experience-just different. The segue into "Freedom Rider" is handled effortlessly. This version sticks fairly close to the original tempo. Wood's flute is well played and recorded.
This is a fine way to end this set-bringing back memories of that era for those of us lucky enough to have heard TRAFFIC live. It also makes you wish for more live releases from this great band-they exist. Songs like "Pearly Queen", "Heaven Is In Your Mind", "Dear Mr. Fantasy", and "Can't Find My Way Home" (heard on the BLIND FAITH album), were all recorded at this concert. Maybe in the future. But for now, this "Deluxe" version of one of the band's best albums, and one of the best albums from the era, will do nicely. Here's hoping that other TRAFFIC albums will get the "deluxe" treatment in the near future. If any band deserved it-it's this band.
This album was originally intended to be a Steve Winwood solo album, with Winwood playing the various instruments, and handling the vocals. But, as sometimes happens, it morphed into a TRAFFIC album. In 1970 Winwood still in his early twenties, was about to record a solo album to fulfill a contractual obligation. Finding things not really working out like he intended, Winwood (vocals/guitars/keyboards/bass) called on his friend and ( and TRAFFIC bandmate) Jim Capaldi (drums/vocals) for help. He then decided to bring in (TRAFFIC member) Chris Wood (saxes/flute/organ/percussion/vocals) to help flesh out the compositions-and TRAFFIC was reborn.
"John Barleycorn Must Die" emphasized Winwood's soulful, lived in voice, and extended (almost jazz-like in spots) instrumental passages, along with an old folk song that captivated Winwood. This combination of Winwood's plaintive voice and a mixture of folk/rock/jazz arrangements gave this album a different feel and identity. The album went on to be the group's first gold album, and remains popular today. It's a perfect example of the willingness of musicians during this time to incorporate different genres of music to fit their needs. With both Winwood and Capaldi writing the tunes, the album benefited both lyrically and sported solid arrangements. Here it must be said that Chris Wood was very important to this album's sound. It was Wood who had heard a version of the title track (by The Watersons), and introduced the song to his bandmates. Wood's penchant for incorporating different musical styles in the group's sound was something he had done on a regular basis in the past. And, of course, his musical efforts on this album help give the songs a strong, individual identity.
Without Dave Mason, gone were the more psych/pop songs from earlier albums. The band was now free to explore and extend their sound into folk and rock-based songs, with jazz-like arrangements. Also absent ( to a large extent) were the concise compositions of the past. The band was now stretching out instrumentally, making good use of their combined instrumental prowess. Even Capaldi's drumming, always firm with light flourishes, took on a different feel that anchored the band's newer sound perfectly.
Most likely you're already familiar with the original album, so there's little left to be said. The second disc begins with three tracks from the original album in a slightly different form ("Stranger To Himself", John Barleycorn Must Die", and "Every Mother's Son") which are interesting and nice to hear. The first version of "John Barleycorn..." has a slightly fuller arrangement compared to the version on the original album. The track has the feel of something FAIRPORT CONVENTION might have recorded-a more "English" folk-style sound to it. The rest of the disc contains live tracks, with their touring band (Ric Grech FAMILY, BLIND FAITH, etc.-bass, guitar, violin), from the aborted live album that, at one point, was close to being released. For whatever reason the idea was dropped-thus began the several bootleg releases of this concert. Many people have heard these tracks over the years, but it's nice to have a legitimate release of this concert.
"Medicated Goo", from 1969's "Last Exit" album, is a bit longer than the previous version, and still has that jazzy sound and feel. "Empty Pages", likewise, has a bouncy feel to it, with some jazz overtones, but lyrically it's on the bitter side. "Forty Thousand Headmen", from the 1968 album, "Traffic", has always had a mysterious, haunting feel-courtesy of both the arrangement and the lyrics. Here it's extended slightly, but still retains that haunted feel. The digitally remastered sound really brings out the delicate acoustic guitar sound, and highlights Winwood's vocals-something difficult to get across live. As always, Wood's flute playing is evocative, delicate, and intelligently played. "Who Knows What Tomorrow May Bring?", also from the '68 "Traffic" album, stylistically would fit on the "John Barleycorn..." album. Both lyrically and instrumentally the song has a similar feel to other tracks on that album. The pace of the song isn't rushed here (something that happens live), but flows out nicely. Wood's sax brings out just the right feel, and with Winwood's organ, are the perfect combination for this great tune. "Every Mother's Son" has a slightly different feel, due to having a full band (rather than Winwood) playing the various instruments. Some people may find this live version more to their liking. "Glad/Freedom Rider", is a high point-it's always been one of the more popular parts of the album. The instrumental "Glad" sticks to the original, but the tempo is a bit rushed, and heard live gives it a slightly different feel. The happy go lucky, bouncy feel of the original isn't emphasized on this version, and loses something from the original. Instead, the band lays down the melody and the solos in one, intense groove. It's still a good listening experience-just different. The segue into "Freedom Rider" is handled effortlessly. This version sticks fairly close to the original tempo. Wood's flute is well played and recorded.
This is a fine way to end this set-bringing back memories of that era for those of us lucky enough to have heard TRAFFIC live. It also makes you wish for more live releases from this great band-they exist. Songs like "Pearly Queen", "Heaven Is In Your Mind", "Dear Mr. Fantasy", and "Can't Find My Way Home" (heard on the BLIND FAITH album), were all recorded at this concert. Maybe in the future. But for now, this "Deluxe" version of one of the band's best albums, and one of the best albums from the era, will do nicely. Here's hoping that other TRAFFIC albums will get the "deluxe" treatment in the near future. If any band deserved it-it's this band.
18 of 20 people found the following review helpful
Format:Audio CD
You have to keep the previous remaster of this album, because the two bonus studio tracks on the 2001 reissue are not on this new one. They were both produced by Guy Stevens and from the original sessions for what was going to be a Winwood solo album. So, thanks Universal for making me keep something for 2 tracks you could have EASILY fit on disc one of this new set.
- Vincent G. Marino
- Vincent G. Marino
13 of 15 people found the following review helpful
A classic album with a second disc devoted to alternate mixes and live material still not quite ultimate edition
March 19, 2011
Format:Audio CD|Amazon Verified Purchase
Originally started as Steve Winwood's first solo album "John Barleycorn Must Die" quickly became a Traffic reunion (minus on and off again member Dave Mason)with the late Jim Capaldi and late Chris Wood. Winwood who supervised this reissue (remastered by Paschal Byrne)elected to drop the two bonus tracks included on the last remaster John Barleycorn Must Die "Sittin Here Thinkin' Of My Love" and and the song/fragment "I Just Want To Know" the latter one was strangely put RIGHT in the middle of the album. The original album deserves five stars and this set because it isn't quite as definitive as I would have hoped gets docked a star for not including the two bonus tracks from the previous release and for not including more of the live show on disc two.
Winwood did chose to include three alternate mixes for songs included on the original album "Strange To Himself" (an alternate mix), "John Barleycorn Must Die" (the first mix)and "Every Mother's Son" (an alternate mix). Three live tracks here were on the British edition of "JBMD" (which suffered from the overuse of noise reduction)--the introduction, "Who Knows What Tomorrow Brings" while it appears as if "Glad" is a different performance of the song (and it is a longer medley with "Freedom Rider") perhaps from a different night of the same run the band did at the Fillmore. Rich Grech had joined at this point making the band a quartet and helping to fill out their sound as he plays bass and guitar as needed.
While I appreciate that Winwood didn't like the two songs included as bonus tracks on the previous edition, since they were previously released it would have made sense to include them with this edition making it the ultimate reissue of the album. Completists might want to hold on to the previous U.S. single disc reissue from a couple of years back as a result.
There are also additional live performances from the same show NOT included here and I'm a bit disappointed that the alternate mixes, two tracks from the previous edition weren't included on the first disc with a 10 or 15 second gap much as they used to do with bonus tracks AND included more live material on the second disc.
The sound quality is pretty good if a bit brighter than the previous CD release remastered by Jeff Willens. The booklet included has a good, solid history of the band and there are some nice pictures included that I hadn't seen before.
Over all this is a fine reissue just not the ultimate two disc edition many fans (this one included)were waiting for but the inclusion of the live tracks and the alternate mixes are welcome.
Winwood did chose to include three alternate mixes for songs included on the original album "Strange To Himself" (an alternate mix), "John Barleycorn Must Die" (the first mix)and "Every Mother's Son" (an alternate mix). Three live tracks here were on the British edition of "JBMD" (which suffered from the overuse of noise reduction)--the introduction, "Who Knows What Tomorrow Brings" while it appears as if "Glad" is a different performance of the song (and it is a longer medley with "Freedom Rider") perhaps from a different night of the same run the band did at the Fillmore. Rich Grech had joined at this point making the band a quartet and helping to fill out their sound as he plays bass and guitar as needed.
While I appreciate that Winwood didn't like the two songs included as bonus tracks on the previous edition, since they were previously released it would have made sense to include them with this edition making it the ultimate reissue of the album. Completists might want to hold on to the previous U.S. single disc reissue from a couple of years back as a result.
There are also additional live performances from the same show NOT included here and I'm a bit disappointed that the alternate mixes, two tracks from the previous edition weren't included on the first disc with a 10 or 15 second gap much as they used to do with bonus tracks AND included more live material on the second disc.
The sound quality is pretty good if a bit brighter than the previous CD release remastered by Jeff Willens. The booklet included has a good, solid history of the band and there are some nice pictures included that I hadn't seen before.
Over all this is a fine reissue just not the ultimate two disc edition many fans (this one included)were waiting for but the inclusion of the live tracks and the alternate mixes are welcome.
Most Recent Customer Reviews
One of the classics
The first two songs on this album/CD are what I purchased it for. "Glad" and "Freedom Rider" are a couple of great pieces regardless of the group or period, IMO - the things that... Read more
Published 2 months ago by David Cloyd
Added live tracks make this a "must-have"
Frankly, I'm not too excited about most reissue CDs these days. Most labels just take the original recordings, compress them excessively to maximize the apparent loudness, and... Read more
Published 5 months ago by Gregory E. Dunn
Classic album,sadlystill not given its due
Great album.Over priced reissue.With all the minutes available on these cds and all the music from this great band there to be put on it and not to see it here is a crime. Read more
Published 5 months ago by Robert Herman
Sentimental favourite
I bought this CD because I found that the opening chords of Glad kept popping into my head. I own the LP but haven't played it for decades, because I no longer own an LP... Read more
Published 6 months ago by Barry
Traffic Legacy CD
THis cd is a reissue of a previus product. The new song selection and unreleased material makes it worth having. Read more
Published 10 months ago by Phoenix
John Barleycorn Must Die
One of my favorite albums. This is a timeless classic and it sounds wonderful now that it has been remastered.
Published 10 months ago by Robert W. Shepherd
music
la la la la la la la la la la la la la la la la la la la la la la la la la la la la music is a personal choice I'm not going to review akll my music choices-listen & learn!
Published 12 months ago by Gregory C. Ward
Mike K.
The deluxe edition of this classic album is phenomanal. The remastering is superb. the live and alternate take bonus tracks are high sound quality and not just throw away tracks... Read more
Published 13 months ago by mike K
The only kind of Traffic I don't mind.
This my kind of traffic. I can listen to Traffic while I am stuck in traffic. I love the Deluxe Editions.
Published 13 months ago by W. E. Elston
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