Customer Reviews

Traffic

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

 

 

One of the finest albums the original quartet produced their second self titled album captures the musical diversity that Traffic was capable of creating. When the trio fo Winwood-Capaldi-Woods began recording their second album Dave Mason decided to join them in the studio. The resulting tracks were so strong that the members decided to allow Mason to rejoin. Mason provides some of the second album's highlights with his single Feelin' Alright a magical 3 minute portrait of the band's best qualities.

That isn't to slight Winwood. He also (in collaboration with Capaldi and Wood)wrote some of his finest material for their second album. The band sounds more cohesive (if that's possible) than on either Mr. Fantasy (the first UK album) or Heaven Is In Your Mind (the reconfigured Mr. Fantasy and their first US album).

The inclusion of bonus tracks is always welcome but the UK version of this album was a bit odd. While it's understandable that Island would want to include as much single and b side material as possible the inclusion of the band's first single on their second album was a bit jarring to say the least. Here We Go Round The Mulberry Bush doesn't fit in with the band's second album.

Supervising producer Bill Levenson has reconfigured the UK release to more accurately reflect the band's sound at this time. The sound quality is outstanding. Levenson's reissue doesn't sound quite as overprocessed as the UK release. The liner notes are informative without overdoing it. Although it isn't mentioned if this is a 24 bit remaster on the cover art the sound quality rivals that of the Uk release but still retains the organic sound of the original vinyl and source tapes.

Traffic isn't the band's best album (John Barleycorn Must Die still stands as the band's definitive statement) but it is the best album recorded by the original quartet. Hopefully Island will remaster and reissue the rest of their catalog (particularly the fine late period albums Low Spark of High Heeled Boys and When The Eagle Flies. Here's hoping that Welcome To The Canteen is also remixed to improve the sound quality of the original live tapes)shortly. This great UK band is finally getting their due in the digital age.

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.

Their sophomore album, "Traffic," perfected the band's sound, and stands as one of the best albums in British rock. Psychedelic influences were still evident, but gone was the silly "Sgt. Pepper"-style trippiness of "Mr. Fantasy." Instead, Winwood and Capaldi perfected their jazzy take on psychedelic-soul, while Dave Mason turned in by far his best contributions with the group. Mason's "You Can All Join In" and "Feelin' Alright" (later popularized by Joe Cocker) are folk-rock gems, while Winwood's genius shines through on the whimsical but very funky "Who Knows What Tomorrow May Bring" and the swampy jungle-rock epic "40,000 Headmen." Furthermore, in contrast with the cut-n-paste nature of Traffic's other LPs with Dave Mason, here there is real collaboration, as when a Mason folk-rocker climaxes with Winwood's soulful wailing on the refrain or the bridge ("Don't Be Sad," "Cryin' To Be Heard"). The overall result is a delicious paradox: a recording that is wildly eclectic, yet artistically cohesive.

If you haven't heard "Traffic," all I can say is, you don't know what you're missing.

John Barleycorn Must Die is a great album and I have a soft spot for Traffic's debut, but as far as I'm concerned they peaked on their self-titled second album. It strips away much of the psychedelia of Heaven Is in Your Mind, leaving a tasty mix of blues-rock, R&B, folk, little bits of classical, and even country -- all focused into short, tight songs. Between five great Dave Mason originals and five classics penned by the rest of the band, there isn't a dud present. Especially noteworthy are the dreamy "40,000 Headmen" (nice flute playing by Chris Wood), the classic rock staple "Feelin' Alright", and Dave Mason's cheery "You Can All Join In", and the meaty blues-rock of "Pearly Queen". If you like late 60s British rock, this album is absolutely essential.

It is unbelievable to me how this classic album of innovative musical gems wasn't included in Rolling Stone's top 500 records of all time.It just floors me...

How much fun is this!
This CD serves as a great time piece of an era gone by, that's not meant to be bad or good, just an observation. The way the recording production is handled and the mix, it's impossible to find this sound today without going back. I get so much joy from so many recordings between 1967 and 1975 that I am somehow tied to that era and this CD does not disappoint. The craftsmanship and playing is so relaxed and natural, the effortless style and vocal harmonies mixed with Winwoods beautiful organ work creates an infectious summertime cool breeze feeling. The mood is mellow throughout (with a upbeat groove) but not in a pretentious attempt at creating something "cool" it is simply what happens when great musicians create music with joy and skill.

Well, this would have to be my favorite Traffic album!!!! It is wonderful!!! I would definatly recommend this album if you are just starting to like Traffic... this album realy made me appreciate Steve Winwood and Dave Mason's song writing abilities. If you like jazz you will like this album. If you like psychedelic music you will like it. If you like the sixties you will like it! Traffic has a good way of combining regular rock & roll with other instuments like the flute or saxaphone. The best songs on this album would have to be Don't be sad (my alltime Traffic favorite), feelin alright, 40000 headmen, and no time to live. see for yourselff....

Traffic's 2nd album, simply called "Traffic," is a classic album that mixes songs from both singer/keyboardist Steve Winwood (the bigger, more dramatic, art-rock kind of stuff), and singer/guitarist Dave Mason (the simpler, more-introspective, straightforward kind of stuff). But it all hangs together, the music simply brilliant. Includes such classics as Mason's sing-along "You Can All Join In," "Don't Be Sad," the harpsicord-flavored "Cryin' To Be Heard," and the all-time radio favorite, "Feelin' Alright," as well as Winwood staples "Pearly Queen," the magnificent acoustic tale of "Forty Thousand Headmen," the groovy "Who Knows What Tomorrow May Bring," and the gorgeous number, "No Time To Live." Mason, however, disagreeing with Winwood over Traffic's direction, would soon leave the band (though he would briefly return for a tour, documented on "Welcome To The Canteen"). But he definitely left his mark with the band, having made two fantastic albums with them, "Mr. Fantasy," and this one. "Traffic" is an outstanding disc.

A very steady recording indeed by Traffic. On this release, both Steve Windwood and David Mason contribute some excellent songs. Pearly Queen, Don't Be Sad, Who Knows What Tomorrow May Bring, Feelin' Allright, Cryin' To Be Heard, and You Can Join In are all catchy focused numbers with some captivating solos which are not overly extended. In addition, the vocals stylings are very expressive in the case of both Windwood and Mason. They both bring out every possible tone in their voices.

Overall, the effort is consistent if not quite spectacular as John Barleycorn or Low Spark Of Hi Heeled Boys. Vagabound Virgin does drag after a while and the last two songs(not including the extra tracks) are not as good as the others. None the less, the prime time material on this record makes it a worthy purchase.

Back in the day, I had every Traffic album. I only recently picked up this one again. I'd forgotten what a classic it is. In retrospect, it's more like Dave Mason backed with Traffic, but that's a pretty good billing in my book.

The greatest feat here was the lifting of the veil of psychedelia that permeated their first release. As much as I still love Mr. Fantasy, the cohesion that Traffic produced for their sophomore effort solidified their greatness, making this album their most accessible record. It manages to balance a myriad of musical genres from psychedelia ("Vagabond Virgin") to country ("You Can All Join In") to straight-up rock and roll ("Pearly Queen") to the folky/soft-rock stylings of Mason's solo work ("No Time To Live").

What makes "Traffic" even more impressive is the incredible use of layering to produce a rich, complex tapestry of music. Generally speaking, overdubbing tends to muddle and confuse music, but it was done in such a well calculated way here that it actually enhances the overall feel of each song. It's clear there was a focus here that didn't really manifest itself ever again. That's not to say that Traffic's later work was academic or pedestrian by comparison, but the effort to establish themselves as top-notch composers is most evident on this record.

Traffic's sound changed so much over their relatively short catalog that it is difficult to point newcomers to a particular album as a good starting point. In fact, this album may be the one most unlike any others with the possible exception of John Barleycorn.

I rate this album with five stars not so much because it's my favorite Traffic album (it's not), but because of the obvious clarity of purpose they put forth. There are no weak songs here. Every one could stand alone as a picture of brilliant song writing. This is absolutely a must have for any fan of the era and/or genre.

This is amazing, a must-have in any self-respecting '60's rock collection. Any album with You Can All Join In, Pearly Queen, 40,000 Headsmen and Feelin' Alright? has got to be pretty good. But you also get Cryin' to Be Heard, the underrated Don't Be Sad (pathetic lyrics aside, it's actually quite good) and Who Knows What Tomorrow Brings. Vagabond Virgin has some good social-commentary lyrics, something the group rarely tackled. And while No Time to Live is a filler, that's it. The rest is excellent jazz/folk/rock, far exceeding anything imitators ever did. For a similar record, both in general feel and in quality, pick up Jethro Tull's excellent Benefit.