John Barleycorn Must Die [Bonus Tracks] [Remaster]

Performer: Traffic
Engineer: Brian Humphries; Andy Johns; Brian Humphries; Andy Johns
Producer: Steve Winwood; Guy Stevens; Chris Blackwell; Steve Winwood; Guy Stevens
Distributor: Universal Distribution

Notes: Originally released on Island (9116). Traffic: Chris Wood (flute, saxophone, electric saxophone, organ, percussion); Steve Winwood (flute, bass instrument); Jim Capaldi. Personnel: Steve Winwood (vocals, acoustic guitar, piano, electric piano, organ, bass guitar, percussion); Jim Capaldi (vocals, drums, tambourine, percussion). Liner Note Author: Brian Hogg. Recording information: Island Studios; Olympic Studios, London, England. Although JOHN BARLEYCORN MUST DIE was originally intended as Steve Winwood's post-Blind Faith solo debut, Winwood and producer/label head Chris Blackwell first drafted Jim Capaldi to provide lyrics, and then Chris Wood dropped by to add his familiar reeds, and almost by accident, Traffic was reborn. This was a different, and better, Traffic than the ill-fated quartet lineup with Dave Mason, which never entirely settled on an artistic direction. The sound of JOHN BARLEYCORN MUST DIE, on the other hand, remained the template for the rest of the reunited band's career--long, organically developed songs with a subtle jazz-rock feel, powered by Capaldi's percussion and Winwood's organ. "John Barleycorn," a traditional English folk song about the process of brewing ale (not, as the liner notes mistakenly claim, a call for temperance), here becomes a pastoral reverie carried along by flute and acoustic guitar, and proves to be the record's highlight. However, the quality of the other songs, particularly the instrumental opener, "Glad," and the outstanding ballad "Empty Pages," is nearly as high. At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the 5� minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album. [The 2001 reissue includes two previously unreleased songs: "I Just Want You to Know" and "Sittin' Here Thinkin' of My Love."] ~ William Ruhlmann

Rolling Stone (9/3/70, p.42) - "...The best cut on the album is probably the title tune....Wood's flute is again exceptional, delicate and ornate, and Steve sings the song just right, with an admirable sense of restraint and simplicity..." Q (2/00, p.104) - 3 stars out of 5 - "...a stew of jazz, folk and prog....seeing the band lapsing into a little too much jam-based indulgence..." Mojo (Publisher) (1/00, p.106) - "...shows that Traffic were capable of thoughtful, inventive and occasionally very beautiful music."

Traffic appeared amidst the late-1960s psychedelic scene, and at its height the band was one of the most adventurous outfits around, although Traffic's unstable lineup made it an on-again, off-again affair by the '70s. Teenage wunderkind Stevie Winwood was the main man, but all the members made significant contributions. With a sound that combined influences from folk, rock, jazz, and soul, Traffic created something wonderfully of its time on classic albums such as THE LOW SPARK OF HIGH-HEELED BOYS.

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