Customer Reviews

John Barleycorn Must Die [Vinyl]

5 star:		(16)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

Traffic had one of the most original (and interesting) sounds in British rock, and not only because of their eclectic musical influences, which embraced psychedelia, folk, jazz, soul, R&B, and even classical. Their unique sound was also the result of their unusual instrumentation. While the group went through a number of personnel changes, its constant core members were Steve Winwood (vocals, keyboards, guitars), Chris Wood (sax, flute, and organ), and Jim Capaldi (drums & percussion). With no regular bass player, Winwood often filled in with the bass pedals on his organ. And, while there is no lack of guitars on most Traffic recordings, the guitar is not emphasized or particularly important to the group's sound. Dave Mason came and went in their early years and, on other recordings, Steve Winwood would switch to guitar, with Chris Wood taking over organ duties. In short, Traffic was anything but your typical guitar-bass-drums rock outfit. And, with "white Ray Charles" prodigy Winwood at the helm, and with their willingness to experiment with virtually any sound or musical style, they cut some of the most distinctive and important records in British rock.

"John Barleycorn Must Die" is the only recording by just the Traffic "core" trio, and it is also one of their strongest. With Dave Mason only a memory, and the Blind Faith experiment with Eric Clapton over, Steve Winwood returned to the studio to record his first solo album, originally titled "Mad Shadows." Needing a little musical support, he soon enlisted Capaldi and Wood, and Traffic was reborn with "John Barleycorn." However, the radio-friendly 3-minute song structures were abandoned, as Winwood & Co. stretched out into extended jazz-rock compositions. The instrumental "Glad," in particular, with Winwood's unforgetable piano riff and Wood's fat sax, may be the finest jazz-rock composition ever put to vinyl. In addition, early Traffic's folk-rock was updated by reaching back to medieval England for the title track. With limited, but extremely talented and complementary, personnel, "John Barleycorn" is probably Traffic's most cohesive and focused artistic statement.

To summarize: buy this record!

After listening to all of Traffic's albums 20+ years removed, and recognizing about 10 percent of their music from my youth, I found John Barleycorn Must Die to be the most complete album offered by the group. There is no doubt that it does not contain the single best songs written by Traffic (e.g., Dear Mr. Fantasy, Low Spark of High Heeled Boys, etc), but John Barleycorn approaches that level, and overall the quality of each of the tunes provides the strongest album they have produced. Empty Pages, and Every Mother's Son stand out to me. It is also interesting to discover that the title track John Barleycorn is an adaptation of a song written by the classic Scotch poet Robert Burns of the same title, which elevates it to a classic in its own right. Something in Winwood's style of singing comes from deep in the past, and his selection of John Barleycorn only reinforces this. It is difficult to listen to the album and not spend all day with it playing in my head. There is a place for the flute in rock music a/la Jethro Tull. We all know opinions vary, but this album is one of my all time favorites.

Traffic is known for excellent musicianship, I am often astounded by the variety of instruments tackled by these men, especially on "Mr. Fantasy." I think that Traffic lost an excellent songwriter and brilliant musician when Dave Mason departed, however, "John Barleycorn Must Die" is an excellent offering and the songwriting has some very high points.

"Glad" is a swinging instrumental track which has an infectious rhythm and showcases the brilliant and vituoso abilities of Winwood on the piano. Capaldi's drumming is sophisticated with excellent synchopations and Chris Wood's saxophones are vocal and expressive. "Empty Pages" falls into a similar category, both songs are jazz thumbed and have incredible backbeats. "Stranger to Himself" is a catchy tune, but the true joy of it is listening to all of the instruments Winwood is playing, he tackles everything, including the drums!

The title track "John Barleycorn Must Die" is a standout for me. It is a departure from the other tracks on the album and from any song the band had recorded to that point. It is a triumph because it is a masterful arrangement and adaptation by Winwood. Wood's flute and the myriad percussion instruments within the song make it an excellent record. Winwood picks with sensitivity and poise on his folk guitar and the vocal harmonies between him and Capaldi embellish the lyric. This song has an obvious effect upon the subsequent Traffic album "The Low Spark of High Heeled Boys" which is noticeable particularly in the songs "Rain Maker" and "Many A Mile To Freedom." I am impressed with how easily Traffic is able to break new ground and be innovative with their sound.

I recommend this album because it is a departure not only from earlier Traffic albums, but because it is a departure from the popular music of its day altogether. The blending of genres and styles is masterful and worth an attentive ear.

Back in the day, the Brothers dogged me out for raving about Traffic. That stopped when they gave a listen.

There was no one else who did such a good job of the blend their strong guitar work with piano and horns (I guess now they call it fusion). "Glad" remains an exquisite piece of work, and hits right on the spot for the smooth jazz sound many others still strive for.

Of course, they did not stray too far from their beginnings, with the tragic, magic "Empty Pages". The piano interlude there has some of the best tickling of the ivories one would ever want to hear. It had been twenty five years since I heard this. This CD brings back a truckload of memories.

Lots of reviews on this one so I wanted to add this is the best available sound quality I have found on a cd of this name to date. I of course have the previous Japanese release which while very good in fidelity as cd's go, does not possess the same level of detail and 'air' about it. Not that the difference is obvious, it is however significant to me on my speakers and headphones with careful listening. While I cannot say for sure it is the touted SHM coating and/or the mastering and/or just extra care in manufacturing, it is worth the additional cost over the regular cd if this is one of your favorites and/or if your a dedicated audiophile. (For me it is both a favorite vintage album and I am a dedicated audiophile)
Audiophile- Someone who is always searching for higher quality sound reproduction.

From the ringing piano chords which open "Glad", to the keening Hammond organ of "Every Mother's Son," a mood of joy, or optimism, pervades this album. This is perhaps unique in the rock music of the time (late 60s and early 70s). We are told by rock historians that the time was a glum one in the "counter-culture" (the dominant one, actually). The "love era", typified by acts like the Byrds and the Beatles, was ending, to be supplanted by the gloomier, visceral sounds of glam, punk, and nascent heavy metal.

Steve Winwood and Traffic must not have gotten the bad news, as a celebratory mood pervades "John Barleycorn." The album's opener, "Glad," is an energetic sax-and-piano workout (with Winwood playing bass and piano on the track). The hero of "Freedom Rider," who seems to echo Peter Fonda's "Captain America" from "Easy Rider," is given a send-off that includes an extended solo for the Fender Rhodes. "Empty Pages" has a similarly easy, jammy feel.

Another unique aspect of the album is the approach to the recording itself. It has a very "natural" or "live" feel, as though the tracks are mostly one-offs. Every instrument is given a detailed image in the sound-picture, warts and all.

The mood of the album begins to slow somewhat for "Stranger To Himself" and "John Barleycorn." "Stranger to Himself" is perhaps the weakest number on the album (of particular note would be the nervous, stumbling guitar solo), both musically and lyrically. The latter song is a traditional English folk number, and rendered as soaring epic here -- Winwood's voice has rarely sounded clearer or better.

Rounding out the LP's second side is "Every Mother's Son", an extended modal jam on the Hammond organ framed by verses in a different key. Of note is Winwood's layers of piano in the rhythm section -- the resultant sound is unique.

No other band of this genre (The Grateful Dead, Santana, Little Feat, Allmans) was quite as effective from a timbral standpoint. Those other bands tend more to sound like one another than Traffic sounds like any of them.

There are perhaps two reasons for this -- Traffic's foregrounding of keyboard instruments above the normal electric guitar sound, and, in addition, its featuring of reeds. This sort of arrangement was unheard of other than, say, something like King Crimson, which was a different sort of animal, altogether.

I could have sworn that I submitted a review on this classic. Nonetheless here it goes again. Probably Traffic's best recording and one to take with you on a desert island if you have only room for 20 discs. Side 1 featuring Glad, Freedom Rider, and Empty Pages is almost a perfect side 1. Heck Glad just may be my favorite instrumental of all time. Love the drums on Empty Pages. What a spunky syncopated beat.

Side 2 is no slouch either with the awesome title track and two more good tunes. In general, the interplay between the organ, flute, and saxaphone is great throughout. The rhythms are captivating and Stevie Windwood vocals are very good. A keeper on all accounts.

Only 6 songs (3 per side) that this is the best album of Traffic. Side A sequence with no comment "Glad" and "Freedom Rider". The reissue is pretty much (with some typos) and perfect sound. Highly recommended. I'm from Brazil and encomeda arrived in excellent condition.

Though only six songs the original version of this recording was one of the most perfect ever made. Every song is a keeper and in total the CD is a fantastic mix of influences that made Traffic years ahead of what almost everyone else was doing at the time. Almost 40 years later it still holds up and is still ahead of this time.

Traffic's creative juices flow in each recording in its history. John Barleycorn is no exception. It's much more listenable than some other Traffic recordings. The songs flow one to another, demonstrating what a good producer can do to a recording. If you like such recordings as, for example, Super Sessions, you will also like this.