Customer Reviews

John Barleycorn Must Die

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Man, was this a departure for Traffic from their previous albums. When I first picked up this album and saw Dave Mason wasn't on it, I was disappointed. Afterall, Mason was the guitar player for the band, and he wrote half their music. I really liked that folk pop sound on their previous self-titled album. And I felt Mason was the one primarily responsible for that sound. But it was obvious Winwood didn't want to go that way, and he and Mason had a fallen out. So that takes us to this album. This was orignally supposed to be a solo album for Winwood. But at the last minute he decided to bring on his old bandmates Jim Capaldi and Chris Wood, minus Mason. From the moment I first put the needle to the vinyl, and GLAD came on, well I was hooked big time. This was different than anything I had ever heard before. A band without a true guitar player who could jam and improvise like a jazz band, but still maintain a rock sound. What a way to start the 70's. Glad still remains one of the best instrumental songs I've heard.But the extended jams don't stop there. FREEDOM RIDER comes next with some fantastic creative sax and flute playing by Chris Wood. And then EMPTY PAGES with the most memorable elecric piano solo by Winwood that I've ever heard. Side 2 of the original vinyl did feature guitar. But it was Winwood handling the duties this time. This album was clearly a Winwood vehicle. He also produced most of this album. But he did bring in Guy Stevens, who was one of the best rock producers ever, to produce on STRANGER TO HIMSELF, and EVERY MOTHER'S SON, which has some George Harrison sounding guitar playing along with an extended organ and piano solo going on at the same time. Definitly the Guy Stevens touch, and a good way to close the album. A lot of people don't consider this their best album. But of all the Traffic albums I have, and I've got about all of em, I seem to reach for this one the most.

This was begun as a solo record for Steve Winwood to be entitled: "Mad Shadows". Steve had completed two tracks: "Stranger To Himself" & "Every Mother's Son." All the instruments {including drums} were played by Steve. There is more than one story, but, my favorite is that Steve just missed working with Jim & Chris, and after producer, Guy Stevens departed after the first sessions for this project, (returning to working with: "Mott The Hoople"), Traffic was very much alive once more.

Steve Winwood, Chris Wood and Jim Capaldi had grown as musicians since the break-up of Traffic in early 1969 and this record in it's maturity shows how different their music now was from the 67-69 edition of this great group.

"Glad", with it's jazz/funk groove leaves no doubt that this new music was developed from a jam. But, this is very polished & refined BUT not overdone (as was commom for music of 1970) Steve's, organ and piano just sparkle in the mix featured here, and the flutes & saxophones really make this piece grow into something special. "Freedom Rider" also benefits from the fine sax by Chris (his phasing and that certain note that he 'bends'). "Empty Pages" closed the first side of the LP, and it's the closest thing here to classic Traffic, on this album, this was the track that received the most plays on the FM stations of this era. A bonus track comes next called: "I Just Want To Know." This track is almost a 'throwaway' and it should not dropped intp the middle of the original record as it really messes with the flow of the music. This should have been tacked on at the end of the CD.

Side Two begins with: "Stranger To Himself", and this is a strong rock number with some fine guitar work from Steve. "Stranger" would have made a great addition to the "Blind Faith" album, but it sure is a great addition found here. The title track is the main reason this Record was tagged with this being Traffic's folk-rock album, but I find Traffic's arrangement of this Traditional tune more modern than the versions that you are going to find as recorded by Fairport Convention and/or Jethro Tull. The closer of the original record was: "Every Mother's Son" and it's another fine rocker with a great guitar solo by Steve, that you will find on the fade-out.

This Deluxe Edition has more bonus tracks located at the end of the disc. "Sittin' Here Thinking of my Love" is a studio track that missed inclusion on The original record, it's O.K. but because of time limitations back in 1970's record albums, this one has remained in it's tape tin until now. But, that's not all...At the end we get a taste of what was to been released as: "Traffic, Live November 1970" with a live: "Glad" "Who Knows What Tomorrow May Bring" and my personal favorite of the bunch: "Backstage & Introduction"...While Bill Graham is introducing the band and the light show, they casn be heard standing in the wings having a VERY INTERESTING conversation, and all of this is included because someone was carrying a tape recorder and captured this golden moment in time for all of us to witness. It is a great little peak into the rock world of 1970 and this is indeed, quite a find!

I'll wager right here that: "John Barleycorn" will see it's next re-issue as a Deluxe 2 CD Set as was already done with the: "Blind Faith" album with more of the Filmore East tapes included. I've only been waiting 36 years to hear that one!

Whittled down to a trio Traffic solidered on with their finest album. Although not as catchy or commerical as their first two studio albums, JBMD captures the trio at their best. The music smoothly moves from folk to jazzy instrumentals without breaking a sweat. Winwood's vocals are among his best here. His impassioned vocals on Every Mother's Son bring the album to life.

Originally intended as a Steve Winwood solo album Capaldi and Wood offered their services during the recording of the album. The songs and playing meshed so well that Winwood, Capaldi and Wood decided to revive the Traffic name.

The bonus tracks are a fine addition to this already great album. The sound quality is great. The booklet informative but doesn't suffer from overkill.

There have been a number of different versions of this CD. There is a US, remastered version that does not have the live bonus track (but keeps the bad bonus studio tracks). It is less than half the price of this "Import" CD.

There are five bonus tracks on this album. The studio tracks I Just Want You To Know and Sitting Here, Thinking Of My Love are pretty bad. They are nothing like Traffic has done. They sound like they were meant to be AM radio hits. What's worse, is that I Just Want You To Know is stuck right in the middle of the original material. It really upsets the flow of the original album.

The three live bonus tracks are an introduction to the band, a 7 minute Who Knows What Tomorrow May Bring and a 12 minute Glad, with following Freedom Ride hacked off. As the liner notes explain, Traffic was due to release a live album, but that was scrapped. The group was Winwood, Capaldi and Wood with Rich Grech.

I really like the two live tracks. I like the version of Glad better than the one on On The Road. The sound quality is a little off (like there is some wow and flutter to the tape), but I think it gives the music a unique, eerie feel to it. It really sets the type of atmosphere that you get at a great concert where the music takes you somewhere else.

The original album is one of Traffic's best. It has different sound than the earlier Traffic albums. It really makes good use of Winwood's soulful voice. Later Traffic albums would be brighter and more rock oriented.

This was originally going to be a Winwood solo album and it sounds like it in parts. With Winwood overdubbing most of the instruments, the album has a unique sound to it. It certainly does not sound like a typical rock album.

Note that both Capaldi and Wood have died.

It's all a matter of taste- I'm not particularly fond of Traffic's first two albums- actually there was a third called Last Exit which was excellent and it was the beginning of the really classic jazzy Traffic sound which could not be attained until Dave Mason left- if you like Dave Mason try Live at the Canteen, it's a wonderful reunion with Dave and the whole band. Anyway, they really hit their stride on this album, it's great folky, jazzy rock. Winwood is as great on guitar as on keyboards. The next album, Low Spark is probably their best (in my opinion) and then they slowly went downhill. If you like this album Blind Faith should also be your cup o'tea.

The original 1970 disc "John Barleycorn Must Die" is one of those albums that marks the end of Sixties music for me and I have always thought of "Glad" as the song that really allowed Traffic to justify their name and really jam. I truly cannot think of a better instrumental number from this period (the end of "Layla" does not count), plus I have an irrevocable association in my mind for the song and one of the more interesting movies I saw my first semester of college. Ironically, this was not supposed to be a Traffic album but the first solo album for Steve Winwood, who was still only 22 years old at that point although already a veteran of the Spencer Davis Group with the classic "Gimme Some Lovin'" on his resume as the definitive screaming organ piece of the decade. Winwood intended to play all of the instruments on his album (just like Paul McCartney did on his self-titled solo album that same year), but then Winwood had Jim Capaldi and then Chris Wood to help work on the sessions and suddenly Traffic had not only its first album in a year but its best one.

The most amazing thing about this album is that while you have the opening track "Glad," perhaps the best example of jazz influence in rock and roll, you also have the mournful folk ballade "John Barleycorn," with the voices of Winwood and Capaldi entwined over and around an acoustic guitar. You would swear these songs had to come from different albums because they really have nothing in common representing jazz and folk as they do. This time around the band takes the time to explore their songs, with four of the songs lasting longer than six minutes, which in 1970 was really considered pushing the envelope. It also signaled a new level of musical commitment for the group to artistic rather than commercial success, since these were the four longest songs they had recorded to date. The group might still be jamming, but at a higher level that before their last breakup because they are simply on the same wavelength at this point.

The other thing that strikes me about Traffic is that they really knew how to start a song, especially the awesome piano lick that begins "Glad," but also on "Stranger to Himself" and "John Barleycorn." The album made it to #5 on the Billboard album chart. "Empty Pages" was actually released as the obligatory single and although it is arguably the catchiest tune on the album and shows Winwood's virtuostity on the electric piano only made it to #64 on the singles chart. As for the question of whether "Freedom Rider" is really about Jim Morrison of the Doors, you can make of that what you will, but it is too late for me to make that a major association in my appreciation of the song. "Stranger to Himself" is actually a message song, but focusing on the lyrics is always problematic on this album given the attention that must be paid to the music. That is why "John Barleycorn Must Die" is arguably the greatest Sixties album not produced in the actual decade of the Sixties.

This album is one of the greatest of several fine efforts from one of the most unique, talented and often overlooked bands of the late 60's/70's. The jazz and folk influence that had always been hinted at in Traffic's earlier work become more apparent on "John Barleycorn" and the albums which followed it. Standout tracks are "Glad," a jazz-rock instrumental with a terrific piano riff, "Freedom Rider" which continues in the same jam/fusion vein and the infectious, breezy groove of "Empty Pages". The title track, with Chris Wood's gently haunting flute and Steve Winwood and Jim Capaldi's lovely harmonies is the most beautiful rendition of this folk song you will ever hear. Every cut on the original album is good, this is probably Traffic's most instantly enjoyable release (besides their self-titled 1968 album, another classic) - I would recommend it if you're just getting familiar with the band. Steve Winwood's vocals, of course, are fabulous. This album also proves what a great musician the late Chris Wood was, featuring some great electric sax and his spine-tingling flute soloing. The remastered version contains a number of bonus tracks. "I Just Want You To Know," (a fairly pointless reprise of "Empty Pages") and a ballad, "Sittin Here..." both sound like demo songs and probably are, as such they don't hold up as well as the other album cuts. The live tracks tacked on at the end include some mostly incoherent mumbling, doors slamming and other backstage ambience, followed by "Who Knows.." which doesn't quite have the spunk of the studio version, but it's nice to hear another version of such a great Traffic song. Lastly there is a pretty trippy extended version of "Glad," which immediately segues into the opening chords of "Freedom Rider" and then we are rudely cut off and the CD ends! Kinda spoils the experience, considering there's still plently of space left on the CD for a few more live tracks. The CD booklet contains a not-particularly informative capsule history of Traffic. By far the best thing about the remastered CD (besides the sound quality) are the wonderful pictures of the band.

This album is one of the greatest of several fine efforts from one of the most unique, talented and often overlooked bands of the late 60's/70's. The jazz and folk influence that had always been hinted at in Traffic's earlier work become more apparent on "John Barleycorn" and the albums which followed it. Standout tracks are "Glad," a jazz-rock instrumental with a terrific piano riff, "Freedom Rider" which continues in the same jam/fusion vein and the infectious, breezy groove of "Empty Pages". The title track, with Chris Wood's gently haunting flute and Steve Winwood and Jim Capaldi's lovely harmonies is the most beautiful rendition of this folk song you will ever hear. Every cut on the original album is good, this is probably Traffic's most instantly enjoyable release (besides their self-titled 1968 album, another classic) - I would recommend it if you're just getting familiar with the band. Steve Winwood's vocals, of course, are fabulous. This album also proves what a great musician the late Chris Wood was, featuring some great electric sax and his spine-tingling flute soloing. The remastered version contains a number of bonus tracks. "I Just Want You To Know," (a fairly pointless reprise of "Empty Pages") and a ballad, "Sittin Here..." both sound like demo songs and probably are, as such they don't hold up as well as the other album cuts. The live tracks tacked on at the end include some mostly incoherent mumbling, doors slamming and other backstage ambience, followed by "Who Knows.." which doesn't quite have the spunk of the studio version, but it's nice to hear another version of such a great Traffic song. Lastly there is a pretty trippy extended version of "Glad," which immediately segues into the opening chords of "Freedom Rider" and then we are rudely cut off and the CD ends! Kinda spoils the experience, considering there's still plently of space left on the CD for a few more live tracks. The CD booklet contains a not-particularly informative capsule history of Traffic. By far the best thing about the remastered CD (besides the sound quality) are the wonderful pictures of the band.

This is one of the best offerings by the band named Traffic, with the re-mastering of this import version the music is even clearer and more to what one would think the band was trying to get out to the public. The re-mastering here doesn't have the usual harsh tinny/bright sound that has ruined many remastered efforts, not just by this bands but many many others.

Included on this reissue is an extra track not on the original vinyl called "Sittin' here thinkin' of my Love". Also included is a selection of two live songs from the Fillmore East recorded in 1970 after the fall of Blind Faith and Ginger Baker's Air Force which included Rick Grech on bass which actually fills out the sound much better than previous live offerings wherein the band had toured prior with only organ/flute/drums. This gives the listener/fan an oppurtunity to hear the band as a four piece prior to the Low spark/Shoot out ensembles of six to eight members, definently an added pleasure rather than an effort to get more "product" to the buying public.

Overall the time taken to re-master the album, give detailed liner notes and also include the original gatefold sleeve inner picture of the band as a three piece as well as other pics of the period are just fantastic. This version is highly recommended to all Traffic fans and even more so to the newly initiated listeners.

Originally Traffic in the late 1960s released albums and singles which were often radio friendly, such as Hole In My Shoe.
John Barleycorn Must Die, from 1970, has a much more jazz feel and although the title track is an excellent folk song, I find most of the remainder not much to my taste.
If you are curious and enjoy jazz music, go for it!