John Barleycorn Must Die

Barnes & Noble

On their 1970 release, JOHN BARLEYCORN MUST DIE, Traffic handily straddled the fence between their earlier psychedelic folk rock and the jazzy, progressive sounds with which they would soon be identified. With Dave Mason gone, keyboardist-vocalist Steve Winwood was free to pursue his artistic vision, which meant extended compositions full of jazzy flourishes, dominated by organ and piano. Traffic is down to a trio on BARLEYCORN, with Winwood accompanied only by drummer-lyricist Jim Capaldi and sax-flute man Chris Wood. Thus constituted, the band moves through the angular, jazzy rock of "Freedom Rider," the Blind Faith-ish "Every Mother's Son," and the traditional folk ballad "John Barleycorn," presented here in a properly rustic acoustic setting. "Empty Pages," which alternates between grand, organ-fueled choruses and gently grooving electric piano-driven verses, is perhaps the best-known tune on what would prove to be Traffic's most commercially successful album. Jim Allen

All Music Guide

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 five-and-a-half 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. William Ruhlmann