The musicianship shown by this group will be appreciated by everyone. Electric saxophone, flute, piano, organ, and, electric piano as well as several percussion instruments and drums with the usual guitar are used here to augment the vocals of Steve Winwood and Capaldi on one cut. Traffic (minus Dave Mason) is back and showing a new style mixed in with the old. There is as much music as you can handle. There is as much joy as a thousand clowns. There is as much exuberance as you can muster. It is merely the best, the quintessence of what rock is, what it could be. Fantasy maybe the next album will soar again. Traffic, after all, was a light-year jump from Mr. This is a good album of rock and roll music, featuring the best rock and roll woodwind player anywhere and one of the best singers, and maybe the trio is still just getting together again, feeling each other out. Perhaps part of the problem is my high expectations of any Traffic album. Steve Winwood may be the best at it that there is, but it still isn't a very rewarding art form. But that kind of control-board masturbation can take the music only so far. And he is a good virtuoso - the guitar on "Stranger" and the organ on "Every Mother's Son" are both powerful and moving. Jim Capaldi's lyrics are almost perfect, and Winwood's singing is just stunning, lean and clear. Winwood's two virtuoso cuts, "Stranger To Himself" and "Every Mother's Son," are equally satisfying. Winwood's flute is again exceptional, delicate and ornate, and Steve sings the song just right, with an admirable sense of restraint and simplicity. The best cut on the album is probably the title tune, a traditional English ballad arranged by Winwood for acoustic guitar and flute. if this train is moving, why isn't the scenery changing? Wood's flute and Winwood's piano are both extraordinary, and Jim Capaldi's drumming is fine, very sympathetic, but. It's all so perfect, so exquisite and so dull. "Glad," the instrumental cut that opens John Barleycorn Must Die, has some glorious piano work by Steve Winwood and some inventive, imaginative sax playing by Chris Wood.
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