John Barleycorn Must Die - TRAFFIC***

Glad/Freedom Rider/Empty Pages/Stranger To Himself/John Barleycorn/Every Mother's Son

Following the abortive Blind Faith project Steve Winwood revived Traffic and released the jazz influenced John Barleycorn Must Die. Unfortunately it is a pale shadow of the group's first two albums. (US:5 UK:11)

"John Barleycorn Must Die marked a new direction in Traffic's music. For the first time, it was based primarily in jazz and soul, and influenced everything from fusion to latter day dance-pop."

"I find their first two much more enjoyable with their psychedelic influences. Apart from Empty Pages, the other numbers lead me to nowhere and are quickly forgotten. Classy musicianship, but overrated, with tedious, too long songs."

"Much as I adore early Traffic 67-69, this is plain boring and I never play it. Sounds like a Winwood solo album. This band, almost at one time the classiest and best band in Britain, completely lost their energy and fire."

"I'm not so fond of this one. Traffic aficionados will claim it's a revolutionary blending of early prog, jazz-rock, and British folk rock, but personally I'm not hearing it. There were plenty of better artists working in all of those fields (or in blending them) that preceded this, and on top of that there isn't really much blending going on here - there'll be a jazzy bit, then a psych bit, then a folky bit, and it doesn't evidence much thought or care when it comes to finding a cohesive sound. Quite frankly, it sounds like a bunch of guys jamming away without any real idea of what they want this reincarnated Traffic to sound like."

"This release has always epitomized the best of Traffic; long, jammy jazzy tunes interspersed among folkier and rockier songs. Winwood is in fine form throughout. The title track remains one of the best recordings of the era; a sinister, ancient folk song, given a lift by Winwood and Traffic. Empty Pages and Glad also stand-out."

"The title track is undoubtedly one of the great folk/rock songs: a classic serious minor-key melody with just flute, piano and guitar, very tastefully arranged. The rest of the album however is different. Apart from the obvious catchiness of the piano hook in Glad, I just have never been able to get really excited about it, despite several attempts over the years."