"Get A Whiff A This" by JUICY LUCY (2013 Esoteric Recordings Reissue - Paschal Byrne CD Remaster) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK On CD - Exception Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 
(No Cut and Paste Crap)

"…They Say Some Day...I Might Be A Star…" 

Back in August 2010 - England's Esoteric Recordings (part of the Cherry Red umbrella of labels) reissued the blistering September 1969 self-titled debut album of JUICY LUCY (only the second LP on the then blossoming Vertigo Records) – alongside their equally good second platter from October 1970 called "Lie Back And Enjoy It" (also on Vertigo) – both with cool bonus tracks and newly Remastered audio.

But it's taken three more years for fans to see their much-less favoured third album on Bronze Records (distributed by Island hence the ILPS catalogue number) to emerge on a Remastered CD (alas minus bonus tracks) – the pongtastic cartoon-covered "Get A Whiff A This" from June 1971. Here are the Odorono details...

UK released 23 April 2013 – "Get A Whiff A This" by JUICY LUCY on Esoteric Recordings ECLEC2389 (Barcode 5013929438941) is a straightforward CD Remaster of their 9-track 3rd album from June 1971 and plays out as follows (35:18 minutes):

1. Mr. Skin

2. Midnight Sun

3. Midnight Rider

4. Harvest

5. Mr. A. Jones

6. Sunday Morning [Side 2]

7. Big Lil

8. Jessica

9. Future Days

Tracks 1 to 9 are their third studio album "Get A Whiff A This" - released June 1971 in the UK on Bronze Records ILPS 9157 and September 1971 in the USA on Atco Records SD 33-367. Produced by NIGEL THOMAS and JUICY LUCY – it didn't chart in either country.

JUICY LUCY was:

PAUL WILLIAMS - Lead Vocals [ex Zoot Money’s Big Band]

CHRIS MERCER – Saxophone, Piano and Organ [ex John Mayall's Bluesbreakers]

MICKY MOODY – Lead Guitars [ex Tramline, Mike Cotton Sound - later with Snafu, Whitesnake and duet work with Paul Williams]

GLENN (ROSS) CAMPBELL – Steel Guitar [ex The Misunderstood]

JIM LEVERTON – Bass

ROD COOMBES - Drums

The 8-page booklet features new liner notes from noted writer and music-buff MALCOLM DOME (reissue coordinated by Mark Powell) with the text done in the same style handwriting as the original 1973 LP sleeve (a nice touch). Original band member Paul Williams gives insights into the chaos and pressure that surrounded them at the time. There are two trade adverts for the album and reproductions of the Campbell cartoons that made up the single-sleeved original LP. The CD label apes the Juicy Lucy band logo as per the original artwork and beneath the see-through CD tray is an inlay with (not surprisingly) adverts for the two previous CD reissues on Esoteric. But the best news is the spiffing audio...

Boasting a new 24-bit remaster done in 2013 by BEN WISEMAN at Audio Archiving in London - it's also available digitally at www.losttunes.com. Like Esoteric's 2010 CD reissues of "Juicy Lucy" and "Lie Back And Enjoy It" - the audio quality is incredibly clean and crisp, full of power and a massive improvement over what I had before - a really great job done. With its artwork and see-through tray - it's a nice-looking reissue too. To the music...

"Get A Whiff A This" is the kind of difficult third album that's long forgotten - and unfortunately it's very easy to hear why. To start with it's stylistically all over the place. Steve Ellis had just left the line up to join Boxer - replaced by Jim Leverton on Bass from Noel Redding's Fat Mattress. Lead singer Paul Williams was on his 2nd Juicy Lucy LP ("Lie Back And Enjoy It" was his first) – and the presence of ace-axeman Glenn Ross Campbell who did the stunning "Who Do You Love" took a Pedal Steel backseat to the Lead Guitar of Micky Moody – later of course with Snafu, Nazareth and Whitesnake.

Heavily influenced by American bands like The Allman Brothers and Spirit – Juicy Lucy seemed to lose songwriting focus and produced a 9-track mishmash of ok cover versions alongside six all-genre originals. It isn't Blues Rock – it isn't quite Country Rock either – although "Big Lil" has fab Bluesy axework in it and the band's own "Jessica" actually sounds like The Allman Brothers who of course had a song of the same name on their "Brothers And Sisters" LP (the theme music to "Top Gear" for years). Unfortunately Juicy Lucy's "Jessica" isn't a cool instrumental but a sliding Dobro/Electric guitar that thinks its Elvin Bishop. Speaking of iconic American bands - "Midnight Rider" is a cover of The Allman Brothers classic that's good but hardly deviates from the original's sound so what's the point. "Mr. Skin" appeared on Spirit's brilliant "Twelve Dreams Of Dr. Sardonicus" album in November 1970 on Epic Records and again I can see what drew the British band to it – a funky cool tune with great lyrics. Juicy Lucy's version is spirited (if you'll forgive the pun) but it feels more like an interesting B-side rather than a track that leads off Side 1 on your new album.

At last things start cooking with Paul Williams' hard-hitting "Midnight Sun" - a heartfelt rocker about Vietnam and the appalling waste of life taking place there on both sides of the political divide (how to kill a man a thousand miles away). They then take Bobby Darin's obscure "Harvest" and Funky-Rock its ass producing a very cool groove. The superb acoustic ballad "Mr. A. Jones" feels like Paul Williams has been channeling Rod Stewart's "Gasoline Alley" and "Later That Same Year" by Matthews Southern Comfort from 1970 and winning (lovely audio too). But Side 2's "Sunday Morning" and "Future Days" are countrified ballads that sound like a mellow Frankie Miller chilling in the studio before he gets back to his real job of being a proper Rock 'n' Roll singer. Unlike their signature sound of old – both songs feel like a band at odds with their public identity. You long for these tunes to ignite but like too much of the album - they steadfastly refuse to do so. Williams admits in Malcolm Dome's excellent liner notes that in hindsight the LP needed much more work – but they were under pressure to deliver between tours.

Re-listening to "Get A Whiff A This" now in 2017 (46 years after the event) – it's hardly surprising that despite its tactile stippled-effect cover and its schoolboy title (a joke Glenn Ross Campbell came up with it) – the 1971 album made no commercial impact at the time (or subsequently) and that’s because it just didn’t have memorable enough tunes to bother anyone (let alone a hooky single).

After the resounding commercial failure of LP No. 3 - the line-up would fracture yet again (four exited) with only Paul Williams and Micky Moody left to record 1972’s "Pieces" on Polydor Records – their fourth and last studio album. But – and I stress this - there are some Seventies bands I go dolally over and JUICY LUCY is one of them. And although some of the tracks on here don't quite live up to the image and promise of the elaborate sleeve - there's still magic in them dar slides – and the Audio is toppermost.

So despite the album's shortcomings - I'll return to this underrated band and record more often than not. I won't be getting sniffy about this one...

PS: I've also reviewed the 2010 Esoteric Recordings CD Remasters of their debut "Juicy Lucy" from 1969 and the follow-up from 1970 "Lie Back And Enjoy It" – both 'Expanded Editions' with new annotation (see separate reviews)...

"Zinc Alloy And The Hidden Riders Of Tomorrow - A Creamed Cage In August" by T.REX (2002 Edsel 2CD 'Deluxe Edition' Remasters) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK On CD - Exception Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 
(No Cut and Paste Crap)

"...Change Is Coming..."

The typically space cadet entitled "Zinc Alloy And The Hidden Riders Of Tomorrow - A Creamed Cage In August" is not one of Marc Bolan's most popular T.REX albums for sure (it peaked at No. 12 in March 1974 on release). It isn't even that well remembered as a classic either truth be told (except amongst fans).

But as ever - Edsel of the UK have done his recorded legacy proud with this 2CD overhaul. You get the original 1974 LP Remastered, important non-album singles that surrounded it and a slew of worthy Bonus Tracks in the shape of an 'Alternative' album called 'Change' (all 13 cuts), working versions of all the single sides and solo Acoustic Demos too. All in all – the whole caboodle is very good value for money. Here are the unhidden details...

UK released August 2002 (reissued in 2007 and 2014) – "Zinc Alloy And The Hidden Riders Of Tomorrow – A Creamed Cage In August" by T.REX on Edsel MEDCD 717 (Barcode 740155171728) is a 2CD 'Deluxe Edition' of Remasters and breaks down as follows:

Disc 1 (60:58 minutes):

1. Venus Loon

2. Sound Pit

3. Explosive Mouth

4. Galaxy

5. Change

6. Nameless Wildness

7. Teenage Dream

8. Liquid Gang

9. Carsmile Smith And The Old One

10. You've Got To Jive To Stay Alive – Spanish Midnight

11. Interstellar Soul

12. Painless Persuasion v. The Meathawk Immaculate

13. The Avengers (Superbad)

14. The Leopards Featuring Gardenia & The Mighty Slug

Tracks 1 to 14 are the album "Zinc Alloy And The Hidden Riders Of Tomorrow - A Creamed Cage In August" – originally released 1 February 1974 in the UK on EMI Records BLN 7751.

EXTENDED PLAY (five non-album single sides):

15. The Groover

16. Midnight – Tracks 15 and 16 are the A&B-sides of a June 1973 UK 7" single on EMI/T.Rex Wax Co. Label MARC 5

17. Truck On (Tyke)

18. Sitting Here – Tracks 17 and 18 are the A&B-sides of a November 1973 UK 7" single on EMI/T.Rex Wax Co. Label MARC 6

19. Satisfaction Pony – Track 19 is a January 1974 UK 7" single on EMI/T.Rex Wax Co. Label MARC 7 – the non-album B-side to "Teenage Dream"

Disc 2 (61:52 minutes):

1. Venus Loon

2. Sound Pit (Parts 1 & 2)

3. Explosive Mouth

4. Galaxy

5. Change (Signs)

6. Nameless Wildness

7. Teenage Dream

8. Liquid Gang

9. Carsmile Smith And The Old One

10. Spanish Midnight

11. Painless Persuasion v. The Meathawk Immaculate

12. The Avengers (Superbad)

13. The Leopards Featuring Gardenia & The Mighty Slug

Tracks 1 to 13 are "The Alternate Zinc Alloy ('Change')" – studio rough mixes of every track.

EXTENDED PLAY (All Working Versions of the Five Single-Sides on Disc 1):

14. The Groover

15. Midnight

16. Truck On (Tyke)

17. Sitting There (Sitting Here)

18. Satisfaction Pony

BONUS ACOUSTIC DEMOS:

19. Nameless Wildness

20. Carsmile Smith & The Old One (Solo)

21. Carsmile Smith & The Old One (with Organ)

22. Painless Persuasion v. The Meathawk Immaculate

23. The Avengers (Superbad)

24. The Leopards Featuring Geraldine & The Mighty Slug

The three-way fold-out digipak is pretty – alternate artwork on the inner flaps – press adverts and promo stuff beneath the two see-through CD trays - detailed 16-page liner notes by T.Rex/Marc Bolan expert MARK PAYTRESS – lyrics – and both CDs carrying the T.Rex Wax Co. 7" single Logo which on this reissue is blackened to resemble the sleeve instead of the usual blue and red colouring (I remember for all those 45s we used to grab in Woolworths with the excitement of buying the next Beatles seven). The remasters are fabulous too – full of power and muscle – giving tracks like the electric strum of "Change" and the chugging rock boogie/drums of "Explosive Mouth" huge presence. But in truth I wish I could get more excited about the album in general…

I remember to this day the disappointment of "Truck On (Tyke)" – the first T.REX 7" single to sound average – like Bolan was treading water. And for me the LP “Zinc Alloy…” that followed amounted to the same. What was so exciting between 1971 and 1973 now sounded so utterly dated and forced by 1974. There are magic moments for sure like the funky boogie of "Nameless Wildness" and the opening guitar chug of "Venus Loon" where the groove is still good – but much of the rest sounds forced and massively over-produced with screaming girly voices and strings. There's a general feeling of 'uninspired' about the whole record I thought. Having said that the extras are more than just interesting - giving you a fascinating insight into his work process (there's a lovely intimacy to those Acoustic Demos especially).

Not one of his greatest albums for me then but if you're a fan there's the beefy remastered sound – quality presentation - and a reasonable price tag for a 2CD Deluxe Edition. Meathawk Immaculate indeed...

"Gold" by TRAFFIC [feat Steve Winwood, Jim Capaldi and Dave Mason] (2005 Universal 2CD Definitive Collection Remasters) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK On CD - Exception Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 
(No Cut and Paste Crap)

"…If You See Something That Looks Like A Star…"

At last count - I numbered way over 50 artists across Universal’s vast catalogue given the 2CD “Gold” treatment (sometimes also known as a “Definitive Edition”). But with the artwork for these digitally remastered two-disc retrospective sets being so uninspiring and uninformative (a track list on the rear with bugger all else by way of detail) – many simply go unnoticed – languishing around in digital warehouses unwashed and unloved. But that isn’t to say there isn’t a deal for a buyer to be had…

Amidst their hidden gems - STEPPENWOLF and THE CRUSADERS are two "Gold" editions that jump to mind (I’ve reviewed and raved about both - amazing content as well as quality remastered sound). Well here comes another – the TRAFFIC instalment.

As you can see from the detailed lists below – you get great choices (and lots of them) and best of all (only credited on the inside booklet) - superb ELLEN FITTON mastering. Fitton is a name I’ve sung the praises of before – she mastered all of the extraordinary “Complete Tamla Motown Singles” book collections (75 discs across 14 volumes, 1847 tracks) and has also had a hand in large swaths of Hip-O Select reissues. Her work here is the same. So here are the smiling phases, paper suns and high-heeled boys with low sparks…

Released September 2005 – "Gold" by TRAFFIC on Universal/Island 0602498312070 (Barcode 602498312070) is a 2CD retrospective that breaks down as follows:

Disc 1 (79:49 minutes):

1. Paper Sun

2. Dealer

3. Coloured Rain

4. Hole In My Shoe

5. No Face, No Name, No Number

6. Heaven Is In Your Mind

7. Smiling Phases

8. Dear Mr. Fantasy

Tracks 1 to 8 are from their debut album “Mr. Fantasy” – released December 1967 in the UK on Island ILPS 9061 [Tracks 2, 3, 4, 5 and 6 on the British LP] and April 1968 in the USA as “Heaven Is In Your Mind” on United Artists UAS 6651 (Stereo) [Tracks 1 to 8 on the US LP – retitled “Mr. Fantasy on 2nd pressings].

9. You Can All Join In

10. Pearly Queen

11. Feelin’ Alright

12. Who Knows What Tomorrow May Bring

13. Forty Thousand Headmen

Tracks 9 to 13 are from their 2nd album “Traffic” – released October 1968 in the UK on Island ILPS 9081 and in the USA on United Artists UAS 6676 (Stereo)

14. Shanghai Noodle Factory

15. Medicated Goo

Tracks 14 and 15 are form their 3rd album “Last Exit” – released May 1969 in the UK on Island ILPS 9097 and in the USA on United Artists UAS 6702 (Stereo)

16. Glad

17. Freedom Rider

18. Empty Pages

19. John Barleycorn

Tracks 16 to 19 are from their 4th album “John Barleycorn Must Die” – released July 1970 in the UK on Island ILPS 9116 and in the USA on United Artists UAS 5504 (Stereo)

Disc (78:44 minutes):

1. Gimme Some Lovin’ (Live) – from the live album “Welcome To The Canteen” - released September 1971 in the UK on Island ILPS 9166 and in the USA on United Artists UAS 5550

2. Low Spark Of The High-Heeled Boys

3. Light Up And Leave Me Alone

4. Rock & Roll Stew

5. Rainmaker

Tracks 2 to 5 are from their 5th studio album “The Low Spark Of The High-Heeled Boys” – released November 1971 in the UK on Island ILPS 9180 and in the USA on Island SW 9306

6. Shoot Out At The Fantasy Factory

7. (Sometimes I Feel So) Uninspired

Tracks 6 and 7 are from their 6th studio album “Shoot Out At The Fantasy Factory” – released January 1973 in the UK on Island ILPS 9224 and in the USA on Island SW 9323

8. Something New

9. Dream Gerrard

10. Walking In The Wind

11. When The Eagle Flies

Tracks 8 to 11 are from their 7th and last studio album “When The Eagle Flies” – released November 1973 in the UK on Island ILPS 9273 and in the USA on Asylum 7E-1020

The 20-page booklet is unexpectedly substantial – cool photos, an essay on the band by SCOTT SCHNIDER and detailed reissue credits at the rear. And that superb remastered sound too…

To this day tracks like “Dear Mr. Fantasy” and Dave Mason’s wonderful “Feelin’ Alright” (covered by Joe Cocker, Grand Funk Railroad, Lulu and Three Dog Night within a few years of its release) still send me. There’s fantastic audio punch on “Medicated Goo” ("freaky Freddie!”) and Island Records literally named their budget label sampler LP after the “You Can All Join In” track on the 2nd LP. The opening instrumental “Glad” on “John Barleycorn Must Die” always sounded to me like Soul Rock or even Fusion before such a phrase was even coined – brilliant stuff.

The stunning eleven and half minutes of “Low Spark Of High-Heeled Boys” where Winwood cruises through this almost hypnotic groove still sounds unbelievably modern – I love it (lyrics above). For sure things began to taper off towards the bands last few albums - but I still feel there’s soulfulness in the Winwood/Capaldi slowy “(Sometimes I Feel So) Uninspired”. The eleven-minute “Dream Gerrard” (a co-write with Vivian Stanshall) has a good groove too - as does “Walking In The Wind” (another Capaldi co-write with Steve Winwood). All this and “Paper Sun”, “Smiling Phases” and the hippy sitar of “Hole In My Shoe”! Will we ever see their like again? I doubt it…

With generous playing times on both discs (a half-decent booklet too), top quality sound and an online price tag that is often below three pounds (three quid for God's sake!) - you’re getting a whole lot of bang for your buck here. Way to go…

"5 Classic Albums" by TRAFFIC [feat Steve Winwood, Jim Capaldi and Dave Mason] (2017 Universal/Spectrum 5CD Mini Box Set Of Remasters) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK On CD - Exception Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 
(No Cut and Paste Crap)

"...Sure Took Me For One Big Ride..." 

I suspect Traffic fans will say 'about bleeding time mate' - and they'd be right. Other artists like Fairport Convention, Pat Benatar, Scott Walker, The Jackson 5, Status Quo, Sandy Denny, Bob Marley & The Wailers, Dusty Springfield and even Graham Parker have received one of these '5 Classic Albums' multipack releases from Universal/Spectrum's monster back catalogue. But we've had to wait until January 2017 for that most brilliant of British groups - TRAFFIC. But at least we've been given five of their best and their remasters too. To the nitty gritty...

The packaging has good and bad points. The naff-looking outer card slipcase is flimsy and very easy to damage. In fact my shrink-wrapped set was already creased when I received it in the post. Each of the repro cards is a single sleeve (using UK Stereo artwork) with no inners. Back in the day the first three albums were gatefolds originally and the last two had cut-corner shaped packaging with inner sleeves. Bit much I suppose to expect faithful accuracy – but as a cheapo reissue (less than two quid per album) – the five front and rear sleeves are clear and the colour is very, very good. Another nice touch is that each CD label uses the differing Island Records logo designs as they progressed through the years - the pink label with the orange and black eye logo on the "Mr. Fantasy" debut from 1967 through to the pink-rimmed palm tree label of "Shoot Out At The Fantasy Factory" in 1973 (see photos below).

The two albums missing are "Last Exit" from 1969 (partially Live) and the double live set "Welcome To The Canteen" from 1971 and those poppy but (let's face it) horrible singles "Paper Sun" and "Hole In My Shoe" (many will feel that all of these are losses we can do without). But the best news is that these are Remasters (doesn’t say what date) – each sounding absolutely toppermost. I suspect these are the 24-bit digital transfers done in 1999 and later in 2005 by Ellen Fitton for the much praised "Gold" double. Whichever – they sound great. Here are the Pearly Queens...

UK released January 2017 – "5 Classic Albums" by TRAFFIC on Universal/Spectrum 5374164 (Barcode 600753741641) is a 5CD Set Of Remastered CDs housed in a card slipcase with singular repro art sleeves and plays out as follows:

Disc 1 "Mr. Fantasy" (34:39 minutes):

1. Heaven Is In Your Mind

2. Berkshire Poppies

3. House For Everyone

4. No Face, No Name And No Number

5. Dear Mr Fantasy

6. Dealer [Side 2]

7. Utterly Simple

8. Coloured Rain

9. Hope I Never Find Me There

10. Giving To You

Tracks 1 to 10 are their debut album "Mr. Fantasy" – released December 1967 in the UK on Island ILP 9061 (Mono) and ILPS 9061 (Stereo) and April 1968 in the USA on United Artists UAL 6651 (Mono) and UAS 6651 (Stereo) – the Stereo Mix is used. It was originally called "Heaven Is In Your Mind" in the USA when released on United Artists UAS 6651 with different artwork front and rear. It also featured two extra tracks – the hit singles "Paper Sun" and "Hole In My Shoe". This 2017 CD reissue uses the British 'fireside' cover artwork and the UK track list of 10.

Disc 2 "Traffic" (40:47 minutes):

1. You Can All Join In

2. Pearly Queen

3. Don't Be Sad

4. Who Knows What Tomorrow Might Bring

5. Feelin' Alright?

6. Vagabond Virgin [Side 2]

7. Forty Thousand Headmen

8. Cryin' To Be Heard

9. No Time To Love

10. Means To An End

Tracks 1 to 10 are their 2nd studio album "Traffic" – released October 1968 in the UK on Island ILPS 9081T and in the USA on United Artists UAS 6676 (Stereo).

Disc 3 "John Barleycorn Must Die" (34:35 minutes):

1. Glad

2. Freedom Rider

3. Empty Pages

4. Stranger To Himself [Side 2]

5. John Barleycorn

6. Every Mother's Son

Tracks 1 to 6 are their 4th studio album "John Barleycorn Must Die" – released July 1970 in the UK on Island ILPS 9116 (Stereo) and in the USA on United Artists UAS 5504 (Stereo). Produced by CHRIS BLACKWELL and STEVE WINWOOD -

Disc 4 "The Low Spark Of High Heeled Boys" (40:27 minutes):

1. Hidden Treasure

2. The Low Spark Of High Heeled Boys

3. Rock 'n' Roll Stew

4. Many A Mile To Freedom [Side 2]

5. Light Up Or Leave Me Alone

6. Rainmaker

Tracks 1 to 6 are their 5th studio album "The Low Spark Of High Heeled Boys" – released November 1971 in the UK on Island ILPS 9180 and in the USA on Island SW-9306. Produced by Steve Winwood – it peaked at No. 7 on the USA LP charts (didn’t chart UK).

Disc 5 "Shoot Out At The Fantasy Factory" (37:24 minutes):

1. Shoot Out At The Fantasy Factory

2. Roll Right Stones

3. Evening Blue [Side 2]

4. Tragic Magic

5. (Sometimes I Feel So) Uninspired

Tracks 1 to 5 are their 6th studio album "Shoot Out At The Fantasy Factory" – released January 1973 in the UK on Island ILPS 9273 and in the USA on Island SW-9323. Produced by Jim Capaldi and Steve Winwood – it peaked at No. 6 on the USA LP charts (didn't chart UK).

The debut album is a hippy beast - all Psychedelic soundscapes as the boys romp around the countryside in afghans and tie-die shirts with poppies in their hair and joints hanging out of their mouths - shagging anything that looks cute and grows mushrooms. The sound is unbelievably good - that wound up clock at the beginning of "House For Everyone" - Winwood's aching vocal accompanied by acoustic guitar on the lovely "No Face, No Name And No Number" and the sexy, sly 'tune' in "Dear Mr. Fantasy". Check out the Crosby, Stills, Nash & Young cover version from 1980 of the long and slow "Dear Mr. Fantasy" that turned up on their 1991 4CD Box set as a Previously Unreleased Track - it's unbelievably good with Stephen Stills stretching out on Guitar. The 'Summer Of Love' Sitar and spoken voice in "Utterly Simple" (you do understand that Lewis is Alice) is evocative stuff too. Overall a great beginning...

The improvement in songwriting for the second self-titled "Traffic" album is amazing (and who hasn't had that Island Records sampler LP "You Can All Join In" on Island IWPS 2 in their homes at one point - Traffic get the titular track at the end of Side 1). Comparing "Pearly Queen" on this CD to the 1995 Mobile Fidelity version I have (an Ultradisc II audiophile disc) holds up well - but there's no doubt the MF version is better. I'd forgotten how good "Don't Be Sad" is - that Harmonica and Saxophone combo - that 'Traffic' sound they made. The double-combo of "Who Knows What Tomorrow May Bring" and the mucho-covered Mason winner "Feelin' Alright?" confirm the album's greatness. "Feelin' Alright?" (with its question mark intact) is one of those Rock songs that lends itself to other artists - Joe Cocker, Grand Funk, Lulu, David Ruffin, The Chairmen Of The Board, Three Dog Night, Rare Earth, Hubert Laws, Wade Marcus - they're just some who've had a go (what a song - lyrics from it title this review). But it’s surely the flute and shakers of "Forty Thousand Headmen" that has cemented the album into hearts – a wickedly good groove with Steve Winwood 'soaring high above the clouds'. The harpsichord in "Cryin' To Be Heard" is clear as are the band when they kick in - drums and organ taking off. "No Time To Live" is amazingly accomplished - sounding just spiff - a big wheel of fortune ace. The funky Rock of "Means To An End" is similar to the vibe of "Feelin' Alright?" and at times the guitars sound so Delaney & Bonnie or Derek And The Dominoes...

If "Traffic" was an indication of greatness impending - 1970's "John Barleycorn Must Die" landed it. Right from the opening of "Glad" (a song that sounds like its title) – there’s a swagger in the Funky Rock on offer. In this near seven-minute instrumental (penned by Winwood) - Saxophones alongside Organ and Piano vie for the listener’s attention as they engage in cheery runs up and down the scales like time is of no consequence. LP3 almost sounds like another band compared to LP2 – Happy Jazz Hour meets Mellow Prog Rock and wins. This is confirmed by the Winwood-Capaldi sophistication of "Freedom Rider" – Chris Wood's Flute and Saxophone playing added a Jethro Tull/Blodwyn Pig feel to the song – Capaldi's drumming anchoring Winwood's piano runs and world weary vocals as he cries "...here he comes..."

You can almost feel Winwood's 'solo career' start with "Empty Pages" - a decidedly upbeat and commercial little bopper that at times feels like Charisma Genesis in its signature sounds (thumping Bass too). Side 2 gets all Bluesy with the brilliant "Stranger To Himself" - another Winwood/Capaldi funky one with a fuzzed-up guitar solo and a fabulous Stevie vocal. Things mellow into Folk with the ancient tale of "John Barleycorn" where Traffic sound like Fairport Convention - a tale of 'solemn vows' and 'bleeding' poor JB and 'men with pitch forks' doing their worst. The piano and flute are very clear - those voices harmonising beautifully - there's an amazing warmth to this transfer. It ends on yet another sound - treated guitars and keyboards wrapped around Winwood's impassioned vocals where Traffic almost sound like Joe Walsh’s James Gang impersonating Traffic. "Every Mother's Son" (like so many tracks on this album) has an epic feel that's hard to describe – it’s near seven minutes floating over you as that huge organ sound builds and builds and then crescendos – working those notes and guitars to the big finish (Winwood plays most instruments including guitar). Brilliant - I love this album...

"...There's a lot you can learn...if you listen..." - Winwood advises on "Hidden Treasure" (the band now a six-piece). A floating Acoustic/Flute melody that feels older than 1971 – "Hidden Treasure" is a song that feels smarter than us all. While that opener is good it's followed by Rock brilliance – one of my fave-rave Traffic songs – the 12-minute title track "The Low Spark Of High Heeled Boys". I never tire of this stunning groove and even at such a duration – it doesn't feel like the song overstays its welcome - huge organ notes drawn out over a bopping piano. If I ever want to convince of the band's greatness to my kids (22 and 19) - I play this slinky little number and they nod approvingly. Island USA tried "Rock 'n' Roll Stew" as a 45 (in two parts) on Island 1201 and were rewarded with a No. 93 placing in january 1972 for what is a rather plodding 'on the road again' riff (like a weedy Free). Things improve a bit with "Many A Mile To Freedom" but that guitar solo is weak. "Light Up Or Leave Me Alone" feels like Frankie Miller walked in off the street and took over at the microphone - a funky rock 'n' roll stroller (the audio is amazing on this one). The albums ends on the 8-minute "Rainmaker" - an excellent return to Traffic's sound of "John Barleycorn..." - another cool tune that's all flutes and lolly-gagging guitar strums as the voices harmonise beautifully. But while "The Low Spark Of High Heeled Boys" didn't deserve an inexplicable 'no placing' in the UK Top 50 LP charts - there is a sense already of a band winding down. I personally think it's worth another listen.

Finally we get to the short "Shoot Out At The Fantasy Factory" from 1973 with only five songs. It opens with the hooky guitar of the title track that at times bears an uncanny resemblance to that riff in Deep Purple's "Smoke On The Water". I've always liked its six-minutes of wah-wah guitars and funky feel. We then get a bit 'do do dah' with nearly twelve-minutes of "Roll Right Stones" - clearly trying to capture that "Low Spark" vibe. Winwood sings of 'spaces between my eyes' and 'standing stones in circles' that after centuries are all 'ancient torn and weather worn'. It's good but about six minutes in and the obvious endless solo makes it begin to feel like a Fairport Convention 'Liege & Leaf' experiment that should have ended twenty minutes ago. Side 2 opens with the Acoustic peacefulness of "Evening Blue" where our life-traveller hasn't slept for days - but the setting sun comes to save him. It's actually a rather lovely little cut (and the bass is gorgeous in the transfer). Musically "Tragic Magic" has always felt like an instrumental waiting to be lyric'd by its creator - personally I love that slow band-enjoying-itself-being-mellow vibe it exudes. The album ends on a song that at times sounds like its title "(Sometimes I Feel So) Uninspired)" - seven minutes of weary ache from Winwood where he talks of his room 'being wired' - but then turns it around with a pick-yourself-up chorus (great guitar work throughout too).

Despite the craziness, the line-up changes, the "Welcome To The Canteen" album not even bearing their name for legal reasons - TRAFFIC were magic throughout it all and made a sound that reaches out over the decades and casts a long shadow.

Capaldi, Mason and especially Steve Winwood would go on to long and eventful solo careers - but this rather brill little '5 Classic Albums' set reminds us why we loved them and their band so. Sure took us for one big ride indeed...