Customer Reviews

On the Road

5 star:		(11)
4 star:		(8)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

"On The Road" captures highlights from Traffic's 1973 European tour in which the band was supporting what was then their latest album "Shoot Out At The Fantasy Factory". Traffic was always considered a stellar live act whenever they would perform. What is heard on this album is no acception. For this album, Traffic consisted of its core trio of Steve Winwood on piano, guitar and vocals, Jim Capaldi on percussion and Chris Wood on woodwinds along with additional support from drummer Roger Hawkins, bassist David Hood, keyboardist Barry Beckett and percussionist Rebop Kwaku Baah.
As with every Traffic release, the music is very progressive-oriented and has many R&B and Jazz influences tucked away during its solo spots. With this being a live album however, the improvisations are even more expanded and showcase the band's super-tight musicianship. In particular, Steve Winwood in addition to his soulful lead vocals, takes centerstage with some solid piano work on the album's opening medley of "Glad" and "Freedom Rider" as well as in the funk-styled jams of the closing track "Low Spark Of High-Heeled Boys". Elsewhere, he shows off some unparalelled lead guitar work on "Shoot Out's" title cut and Jim Capaldi's composition "Light Up Or Leave me Alone". The late Chris Wood gives this music an extra added jazz-fusion kick with his flawless sax playing which is heard in its best moments during the aforementioned opening medley and "Low Spark" as well as his own instrumental piece "Tragic Magic". As far as the rhythm section is concerned, it's difficult to tell who is doing what since there is an additional drummer and percussionist on stage besides Capaldi. Either way, the percussion trio of Capaldi, Hawkins and Rebop never falters throughout this album. Also, the addition of second keyboardist Barry Beckett gives the band a fuller sound and allows Winwood to stretch out on his piano and guitar without to do too much multitasking on stage.
All in all, this is a great live document from a great band. It captures the essence of what Traffic was all about when they performed live, solid musicianship from solid and serious musicians. This album as well as the "Feelin' Alright" compilation and the 1970 studio album "John Barleycorn Must Die" make an essential Traffic trilogy. Pick any one of these up and you won't be disappointed.

'On the Road' was originally released on vinyl in the United States as a single disc with only four tracks. What is now a single CD includes the complete two album set and well over 70 minutes of music divied up among only 6 tracks (7 songs total as the opener is a medley). It's not only a great buy for the quantity, but for the unparalleled quality of the recordings. This is easily the finest live jazz-rock performance I have ever had the pleasure of experiencing. Steve Winwood had beefed up the core of Traffic by adding three of the four founding members of the Muscle Shoals Sound Studio, creating a tight and talented mega-band. By April of 1973 the band had been touring for several months in support of the sequel to 'Low Spark of High-Heeled Boys', the 'Shoot Out At the Fantasy Factory' disc. Five of the seven tracks offered here originate from those two albums. There is also a medley of two tracks from their previous studio album, 'John Barleycorn Must Die', 'Glad' and 'Freedom Rider'.

If I could pick a setlist of tracks to hear at a Traffic concert, I'm not sure I could have generated a much better one than we have here. 'Glad' is a tremendous opener, with it's spunky piano theme, vividly keyboarded by Winwood. Relieving Steve of his typical organ duties with Traffic through the presence of Barry Beckett also allowed him to rip off lengthy wah-pedal guitar solo's, impressively proving that his talents on the six string are grossly underestimated. Saxophonist Chris Wood is equally compelling, at times coaxing runs out of his horn that sound like he has his own wah-pedal hooked up to it. And the presence of three percussionists means there is no absence of rhythm, although the one studio track with the most prominent percussion, 'Shoot Out At the Fantasy Factory', for some reason tones down both Rebop Kwaku Baah and Jim Capaldi's presence.

Nearly every song on this disc flat-out rocks, with the exception of Chris Wood's instrumental 'Tragic Magic', which wasn't meant to. At the same time, each song features exploratory meanderings into the realm of jazz, which given your penchant for jazz either adds or detracts from their value. I find the tinkerings and improvisations illuminating, especially since the fundamental jams are still offered in abundance. The recording quality is also exceptionally well-done, with only a few occasions where Winwood's vocals are slightly muted. The bass may seem a bit heavy in spots, but it does a duty in keeping the jazz meanderings in line. There is a minimum of crowd noise.

My favorite track on the disc is the majestic and inspirational (oddly enough) '(Sometimes I Feel So) Uninspired'. While acknowledging the discouraging aspects of life, the song also offers the remedies, such as "You've got to smile and turn the other cheek, so today you might get up, but by tomorrow you'll be sailing". I believe in retrospect that the widely maligned 'Shoot Out...' album (from which 'Uninspired' is derived) has proven its mettle over time. This song, along with the title track, 'Tragic Magic', and 'Evening Blue' and 'Roll Right Stone' have aged extremely well. No doubt this is the finest live Traffic disc available, and given that 'Welcome To the Canteen' gave homage to Traffic's earlier personnel and compositions, 'On the Road' is exactly what the doctor ordered. It's magic, and it's not tragic. What was tragic was Jim Capaldi's death in January of 2005, which should only remind us that we have limited time to savor all he and the other members of Traffic produced. Buy this now.

Hardly a modest claim, let's see if it can be justified? Firstly, I'd just like to deal with the review posted under the title "Plodding Traffic" ... notwithstanding a factual inaccuracy (Jim Gordon was long gone by '73) this is not "a band at the end of the road" but rather a band at the very pinnacle of their career.
I'd also argue the fact that this album sets the pattern for future supergroup live albums, simply because nobody else ever sounded like Traffic. Moving on ... I bought this album on vinyl back in '73 and despite the fact that thousands of other releases have passed through my hands in the 30 years since, this remains my favourite album of all time, by any artist and boy-oh-boy, there are some great ones it had to usurp. Musicianship is quite simply at a level seldom encountered within the popular music genre; even the Muscle Shoals guys (who provide 'support' on drums, bass and keyboards) ooze class. I have often cited this album as evidence that Steve Winwood is the greatest living rock artist. His vocal style is unique, his improvised piano playing a revelation and his distinctive guitar work at least equal to contemporaries such as Clapton and Page - just listen to him solo on Sometimes I Feel So Uninspired - talk about an ironic title. By the time that Island got around to recording Traffic, live in the Spring of '73, they were several months into a world tour behind their new studio album (Shoot Out) and these taped performances from gigs in Germany really do smoke. These guys are just so 'together' it takes your breath away! I personally consider every track on this album at least equal, but generally superior, to their studio versions ... and Traffic were a GREAT studio band too! The fact that the tracks are all comparatively long (anything from 7 to 20 minutes) is a blessing, yet I would have preferred some to be even longer! After playing this album quite literally thousands of times over 30 years I have never tired of it, even momentarily. Frankly, I don't feel that Winwood or Capaldi ever quite reached the musical heights of Traffic again, once they went forward with their solo careers ... despite a clutch of gems. Things just quitely came to an end for Traffic in '74 after When The Eagle Flies (another 5 Star release) and an appearance atthe Reading Festival ... then there was punk and, well, things were never the same again were they! So, if you fancy listening to seven groundbreaking and hypnotic songs, rendered with unprecedented and intuitive brilliance, in an incomparable style; look no further. If you don't love this release, you don't love music. One final word on this newly remastered version : yes, sound quality is much improved, for which I'm grateful. But, where are the extra tracks? Island recorded entire performances and those tapes ARE apparently still in the vaults ... this should have been extended to a 100+ minute double-pack. Shame on today's record company executives who always seem to put money/convenience before artistry. I suppose I'll just have to continue tracking down those dodgy audience tapes. From a bonus material viewpoint, the Traffic remastered series started well, faltered a little in the middle and then totally imploded with this last batch ... not a single extra track on any of the final three remasters. Unbelievable, utterly unbelievable.

I bought this album in 1973 after it received an excellent review from Richard Williams in the London Times. Most Americans have probably never heard of Williams, but he was also a presenter on the Old Grey Whistle Test, an influential TV rock show in the UK. I was something of a rock snob and already owned Welcome to the Canteen so I had to buy this album. It's an album I still love, but it's not for everybody.

On the Road pushed Traffic into jazz / Grateful Dead territory. At times it can ramble and sound a little unfocused to people who like 3-5 minutes songs. The studio version of Low Spark was already 11 minutes long, but on this album it is stretched to 18 minutes. Back in 1973 most of my friends didn't really 'get' this album: Prog-rock and metal were king. So I have some reservations about recommending it whole-heartedly, but it has aged much better than most of the popular albums from that time.

By 1973,Traffic had become mainly a vehicle for Steve Winwood. Winwood plays guitar and piano and is in fine singing form. Winwood plays some excellent guitar solos but tends to noodle on piano. Capaldi and Rebop add percussion. Chris Wood contributes sax and flute. Wood and Capaldi contribute a song apiece.

For this album three Muscle Shoal players are added: Roger Hawkins (drums), Barry Beckett (keyboards) and David Hood Hood (bass). They are all master musicians and were used by Paul Simon on his There Goes Rhymin' Simon which also came out that year. It's Beckett's piano solo on Kodachrome.

The version of (Sometimes I Feel So) Uninspired is one of my favorite all time tracks tracks. It's 11 minutes long, and builds slowly, starting with Beckett's piano and Winwood singing. The drums and bass then come in and Winwood then adds guitar. His solos are beautiful but not flashy.

I feel a little nostalgic for this era, when bands regularly experimented and pushed boundaries. Since the 1980s we have had shorter songs and fewer solos. Steve Winwood's glossy and pragmatic solo work is an unfortunate example of how things changed.

Traffic's live album from 1973, "On The Road," is an excellent, smokin' hot document of the band live in Germany during their tour for "Shootout At The Fantasy Factory." There's only six tracks on it, but Steve Winwood, Jim Capaldi, Chris Wood & the gang stretch this little batch of classic Traffic tunes into jamming heaven, such as the 20-minute workout of "Glad" and "Freedom Rider," and the supercool 18-minute treatment of "The Low Spark Of High Heeled Boys." Everybody in the band gets to strut their stuff, the performances simply electrifying. The only debit is that the album leaves you hungry---certainly Traffic played more tunes in concert than just these. Nevertheless, "On The Road" is a great live album, and proof positive that Traffic were a mighty force on the concert stage.

I would have to disagree with the previous reviewer. Just listen to "Light up or leave me alone" and this will dispel any notion that this album drags, this track ROCKS!! The guitar solo on '...uninspired' is anything but. I have been waiting for this album to reappear on disk for a long time. Welcome back, about time.

If you are new to Traffic I would probably steer you toward John Barleycorn must Die. If you are new to Traffic, this CD might be a little heady for most listeners. This is live Traffic and it is all about long improvisational jamming. Being a Deadhead, this is what "normal" music sounds like to me but most listeners might not be up to the challenge. Personally, I can't imagine why anyone wouldn't want this CD.

This newly remastered edition blows the original Island version away. Sonically, every instrument is improved and clarity is very good. Glad/Freedom Rider is the high point here with some serious sax work by Chris Wood, wah-wah sax! What is strange is the fades after tracks giving you the impression that this was at one time a much longer concert. There are liner notes with a big typo: Glad/Freedom Fighter(whoops!). The rest of the booklet is like the original. Some could complain that the tracks drag on longer than they should and with a few of the tracks, that is the case on a few. Not note perfect performances but very good nonetheless. 6 tracks/75.41.

I got this album for Christmas during my sophmore year in high school shortly after its release and I truly enjoyed it through college and beyond. But, in the early '80's, I boxed and then lost most of my records. I finally replaced it and recieved it yesterday. After twenty-five years, it is better than ever. It dove tails perfectly with "Welcome to the Canteen". Great music.

I have enjoyed listening to this more than any CD I've purchased in recent memory.

Can't say enough.

Backed by Muscle Shoals sidemen, Winwood, Capaldi, and Wood rock like never before. Traffic songs that were already great were transformed into extended jazzy jams with interesting interplay between all the players. A funky groove unites all the separate tracks, making this a great driving album or a soundtrack for doing housework. Too bad the sidemen split from Traffic after this, since the album promised potential future development that might have significantly altered the direction of contemporary music. As it is, it's a lesser-known gem in the rock archive that is absolutely necessary for any true music fan of 70's progressive rock.

On the road is one of the best live albums from Traffic with extended songs with superb guitar solos from winwood.Highly recommended.