TRAFFIC

For me, Traffic is not the typical band in the "prog rock genre", definitely not the early incarnation with Dave Mason on board. On this album, as well as the debut, we found a band more connected to the underground or "psychedelic" movement. But one can notice a more straight approach on the second album. The instumentation is not that extravagant and the tunes are more catchy and direct.

The album's opener as well as "Feelin' Alright?" is classic Mason, songs that maybe some of the other members of the band found to straight. But the mixture between the Mason direction and the Winwood/Capaldi contributions is what makes this album such a true gem. One of Traffic's strongest efforts!

Eclectic in the old-fashion way...

Boarding from jazz, folk, rock and even blues, you got a spectacular album done by fascinating, yet subtle on the show-off side , musicians. The Low Spark of High Heeled Boys is a wonderful adventure to the less classic Prog stuff, so-long the Symphonic structures, and use of the synths and mellotron, also so-long the out-of-it's-time syndrome. Yeah, that's The Low Spark of High Heeled Boys, it's 100% 70's sounding, yet compositionally you could say they're out-of-their-time just like you call King Crimson and Gentle Giant.

However, naming those 2 bands from the same sub-genre, as you may have already known from the first paragraph, they're nothing alike, since Traffic stays to the classic 70's roots of rock and blues, and add a wonderful, and very perceptible, blend of jazz and folk. They really don't want to explore new grounds ala ELP with synths and adapting classical compositions, nor as Yes with their grandiose 'epics'. Traffic stays firm to the roots of that time, and from there they create something totally unique and great.

All in all a very creative, yet solid to the 70's rock/blues/folk roots, album. Recommended for all music fans who still need to listen to Prog music that doesn't sound like Prog. Is that paradoxical? Well, whenever you listen to this album, you'll know what I mean.

5 stars

I have the greatest respect for Steve Winwood. A huge talented guy who blew the musical industry when he was only a teenager. To tell that I am a blind fan is another story.

Their last album "When The Eagle Flies" which was released some twenty years prior to this one was one of their weakest effort and this come back is not really brilliant. But IMHHO, there aren't many brilliant come-backs after such a long period of time (history is proven)..

Standout tracks are difficult to find if you're not in a bluesy / soulish mood. The first moment of hope is the superb instrumental intro of "Far From Home". Fully "Santana" oriented, and probably therefore that I like it so much. I should say though than as soon as the vocals step in, the feeling is not so great any longer. I wouldn't compare these with the poor Greg Walker or Alex Ligertwood but I really don't like this type of vocals.

I'm not quite sure about the reasons of this reunion. Not the money (little sales), nor the artistic achievement. Maybe an effort to satisfy the hordes of oldsters who were still willing to listen to a "Traffic" album. I can't blame the band for this.

But I can't be overwhelmed either. This album features just decent rock songs: some good folk feel with a wonderful musical introduction for "Holy Ground" that is one of the best track featured. But to swallow the funky "Some Kinda Woman" is quite difficult ?

I am afraid that this album is far from a great come back. Very few bands did achieve this, and "Traffic" didn't. A least this is how I feel. Such songs as "Every Night?" or "This Train Won't Stop" have little to share with great music. My fave track is the closing number "Mozambique". A very much early "Santana" song (again) as some fellow reviewers have already mentioned.

I really wouldn't go higher than two stars for this (long) album.

THE END OF AN ERA

There is nothing great to tell about this work, I'm afraid. Although not the last record of this band, it is the end of their golden days. Even if I have never been a huge "Traffic" fan, I have to admit that they released quite decent works of which my fave is their live set available on "Welcome To The Canteen".

I can't be thrilled by any of the songs featured here. These jazzy jams sounds ("Dream Gerrard") or blues-rock oriented music ("Walking In The Wind") are just numbers that don't work for me. At this time of my "Traffic" reviewing, I have to say that I am quite voiceless to see that they were switched from prog folk to eclectic.

My favourite song featured on this album is "Walking In The Wind": wonderful vocals, great bass play and is it necessary to tell that backing keys are great? I would have wished to get more like this one, but it won't be the case.

I guess that the band didn't want to stop their career on such a work and therefore came back twenty years later with a follow-up effort. But this is another story.

"When The Eagles Flies" is at best average IMHHO. Trying to find a gem is useless and even a great song is hard to find (out of seven). Two stars, no more.

Anything new under the "Traffic" sun? I'm afraid not.

The heavy opener "Shoot Out?" is quite an embarrassing tune I have to say. IMHHO, it was quite a mistake to have placed this track there. You know, in those remote days, you went to your record shop, and usually you were played a few seconds of the opening track, and eventually the same for the second one. And you had to make up your mind based on this short introduction. Not quite convincing, unfortunately?

After this quite messy track, good old "Traffic" is back with "Roll Right Stones": a good rocker of a song that also combines good fluting and enjoyable percussion work. But don't expect real ecstasy: the moment IS pleasant but no more. A good musical combination played by skilled musicians. Is this anything extraordinary?

I very much prefer the melancholic "Evening Blue" which features an excellent vocal part from Steve (but this is again usual). This is a truly moving rock ballad which features a damned good (but short) sax part.

The jazzy instrumental "Tragic Magic" holds little magic as far as I'm concerned. Another pleasant soft-jazz-rock number for sure. But weren't we expecting more from the band? Maybe I wasn't since I were never a huge fan and my preferred album of theirs will always remain "Welcome To The Canteen" (for specific reasons outlined in my according review).

My fave track is the closing one. I would say that on the contrary of its title, this song is indeed very much inspired, emotional and in one word: beautiful. The backing band performs superbly and Steve is again phenomenal in his vocal duties. A moving guitar break and excellent percussions add a definite "Santana" feel to the whole. THE highlight.

This is a fair critic from someone who did listen to it carefully. And I'm not kidding. Three stars.

The band has now recovered from Mason's hesitations and released this highly considered ''Traffic'' album.

It starts on a peaceful and classic folk song (''Hidden Treasure'') which should be only an appetizer for the epic from this ''Low Spark?'. The mood of this song is also on the tranquil side. This jazzy number doesn't really start actually. Calm and sweet vocals, fine instrumental middle section, and a nice finale are the spices. But I would have liked it more spicy to tell the truth (OK, my wife is Mexican...).

There are no weak songs featured on this album, but none of them are truly moving me. The psyche-rock ''Rock & Roll Stew'' is a perfect example of this feeling.

The first track with a prog feel is ''Many Mile?''. Pastoral atmosphere, nice fluting and pleasant vocals for sure. These qualities are not new and so there is hardly anything new with this album as far as I'm concerned. Unless a bluesy rock like ''Light Up?'' sounds revolutionary to some ears?but not mine.

My second fave is ''Rainmaker''. For the same reasons than ''Many Mile...''. The fluting parts (which are many) are exquisite, and the violin adds a great prog layer . It sounds an awful lot to Tull though. Or is it reverse???

But two excellent songs don't make a great album, only a good one as far as I'm concerned. This is a good release: it rocks a little, it folks a little, it blues a little. But it progs very little. Three stars.

My entry to ''Traffic'' was the single that was released from this live album. It was clearly labelled ''Traffic'' and it was of course the great rendition from the Spencer Davis Group: ''Gimme Some Lovin''.

Mason was back for a few live appearances and two songs out of his first album are featured in this live testimonial (''Sad And Deep As You'' and ''Shouldn't Have Took More Than You Gave''). But even if the latter is particularly very much soul oriented, the final guitar part is so good, that I ended up by liking this one.

What was amazing with this band were the live performances. Their jamming abilities, the way that they re-invented studio tracks was quite an experience. Some of it could be experienced during the live side from their third album: ''Last Exit'' ot the bonus tracks available on the CD edition for ''John Barleycorn?''.

There is unfortunately not too much of it here. The very good ''40,000 Headmen'' remains a classic rensdition but the extended version of ''Dear Mr. Fantasy'' is a highlight. The wild guitar is a great moment of rock music by all means and the crazy beat is superbly introducing the phenomenal version of ''Gimme?''. I recommend this song to all great guitar lovers (to which I do belong).

Some thirty years later (I bought the single in December '71), my favourite tracks is by far the luminous ''Gimme Some Lovin''. An orgy of rhythm, keys, drums and extravaganza. A huge track indeed which definitely raises the level of this album.

It almost starts as the gorgeous ''Soul Sacrifice'' version from Woodstock and I can only be thankful to this album version which allows me to listen to the whole of this song without having to turn the single record (but, in those times, I taped it on cassette to enjoy a full representation: but the fade alas out could not be avoided).

This album starts with the third track. It's a pity that a song as ''Freedom Rider'' or ''John Barleycorn?'' was not integrated into this record instead of the first two songs which are weak.

I would have liked to rate this album with seven out of ten; but since the last four tracks are so good, I upgrade it to four stars.

The gestation of this record has already been described by fellow reviewers so there's no need to tell the story again. The band is now a trio after the many in and out from one of their leader (Mason).

After an hesitant instrumental jazzy track (''Glad''), the next song is much more catchy: ''Freedom Rider'' demonstrates all the qualities of this band: vocals are brilliant (as usual), the work of Chris Wood on sax and fluting is absolutely gorgeous. My fave here.

There are some positive vibrations that are coming out of this album, as if the burden of Mason's decision to leave, stay, leave etc. were all gone. Concentration was again centralized on music, not external stability factors.

This album is also more soul oriented than usual (''Empty Pages'' and ''Stranger To Himself''). These leave me rather cold I'm afraid.

Luckily, the band reverts to a more traditional and folkish style with the charming title track. Another highlight from this album. The mix between the acoustic guitar and the flute is excellent while the heavier mood of ''Every Mothers Son'' shows a nice contrast: Steve is pumping his organ jolly well and performs a very convincing vocal part.

The remastered CD edition adds another twenty-five minutes of music to the original album. What I particularly like are the live tracks. Extended versions of ''Glad'' and ''Who Knows What Tomorrow May Bring'' from their second album. ''Traffic'' was a very good live band and had a serious tendency to jam quite a bit during their live performances.

The version of ''Glad'' is totally dynamited and far much superior to its studio counterpart. You have to be keen on long improvisations though. But I belong to this generation.

This is a good album, but better things are on their way. Three stars.

This third ''Traffic'' album opens on a fine psychedelic-folk song: ''Just For You''. This is very pleasant indeed and might announce a good work. I have a mixed bag feeling about the next track available. ''Shanghai Noodle Factory'' (what a title!) holds a splendid chorus, and even it is a total ''Procol Harum'' rip-off this bluesy-symphonic song is quite enjoyable overall. Heavy organ and fluting are superb as well.

Actually, the heavy-prog ''Something's..'' also offers some jolly good beat. A strong psyche feel again and so far so good for this album. I am not a deep fan of the band, but I can't see any worse here than in their previous albums. On the contrary, I would tend to like this one better.

Not that it holds musical jewels, but the vocals are well performed and the pair keys/flute works perfectly (''Withering Tree''). There is only one side of studio recordings which ends with the funky-bluesy ''Medicated Goo'' which is my least favourite.

The second part of the album is dedicated to two long live songs. As usual in live performances in those days, these extensive tracks do hold improvisation parts, but that's alright with me. Being a fan of Led Zep and Purple, I couldn't really complain about this fact.

What is remarkable though is the great organ play in ''Feelin' Good''. But everybody knows the man who sits behind?A great man indeed. The interplay organ/sax is quite impressive. In all, there is nothing wrong with this album: three stars even if the bluesy ''Blind Man'' is not my cup of tea.

''Traffic'' has been moved from the prog-folk to the eclectic genre a while ago but I really don't understand this move. Eclectic style means complex, intricate music which is something I cannot find in ''Traffic'' records.

A country-Western tune to open, some average psyche one with ''Pearly Queen'' aren't jewels of progressive music to say the least.

My perspective here, which has been the same with some other great bands from the sixties, is that if the album is not great there are NO reasons to grant them with four or five stars because of their ''historical'' importance. An album is great or not: period. And I can't feel this one belonging to the pinnacle of prog music.

Can anyone on this site be thrilled with ''Who Knows What Tomorrow May Bring''? I can't.

Of course, there is the hit ''Feelin' Alright'' available: but I can't really relate the track with the eclectic genre to be honest. This is still a very good song indeed.

Most of this album do share some folkish atmospheres (''Vagabond Virgin'') but even during those ones, I couldn't feel the same passion than with Tull for instance. OK, there is a nice psychedelic feel during ''Forty Thousand Headmen'' and some fluting as well, but in comparison of the whole album, it sounds a bit ''short''.

My favourite song from the whole is ''Cryin' To Be Heard''. It offers some superb keys and strong vocals as well. This is maybe the most ''prog'' related song of the whole. Of course, if you like some bluesy-soul stuff, a song like ''No Time To Live'' might be a great moment for you; but I don't share the same bill. At all.

IMO, this is an overrated album. Two stars is my rating. I can't add anything else for historical reasons.