Complete List Of Traffic Albums And Discography

Feature Photo: Dina Regine, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons

Ask any classic rock fan to put together a list of their favorite bands, and you will find Traffic on that list. Traffic was formed in Birmingham in 1967 by Steve Winwood, Jim Capaldi, Chris Wood, and Dave Mason. Fans loved the way the group blended elements of rock, jazz, and psychedelia into their sound. Traffic’s innovative approach to music and their ability to craft songs seamlessly integrated various musical styles, setting them apart from their contemporaries.

Traffic released their first single, “Paper Sun,” in 1967, which was closely followed by their debut album, Mr. Fantasy, later the same year. Over the years, Traffic released a total of eleven studio albums, including Traffic (1968), John Barleycorn Must Die (1970), and The Low Spark of High Heeled Boys (1971), among others. Their discography also includes several live albums, compilations, and EPs, contributing to a rich and diverse musical legacy.

The band’s sound was heavily influenced by artists such as The Beatles, Bob Dylan, and the jazz and blues genres, which is evident in their eclectic musical style. In turn, Traffic has inspired a wide range of musicians and bands across various genres, from classic rock acts to contemporary artists exploring progressive and psychedelic sounds.

Traffic’s contributions to music were recognized with their induction into the Rock and Roll Hall of Fame in 2004, a testament to their lasting impact on the music world. Their ability to experiment with different musical forms and their success in creating timeless, genre-defying tracks have cemented their status as pioneers in the industry.

Mr. Fantasy

Released 1967

Mr. Fantasy is the groundbreaking debut album by the English rock band Traffic, released in December 1967. The album showcases the talents of Jim Capaldi, Steve Winwood, Chris Wood, and Dave Mason, although Mason departed from the band shortly after the album’s release. Mr. Fantasy achieved significant success, reaching number 16 on the UK Albums Chart and number 88 on the Billboard Top LPs chart in the United States.

Recorded at Olympic Studios in London, the album was produced by American record producer Jimmy Miller, with Phill Brown as the recording engineer. Brown has been quoted as saying his favorite memory of engineering was “Recording ‘Dear Mr. Fantasy,’ one o’clock in the morning, November 1967.” This statement captures the late-night creativity and dedication that went into the making of this iconic album.

The UK version of Mr. Fantasy, released under Island Records, was one of the earliest rock albums for the label, featuring a colorful gatefold cover and comprising 10 songs. Notably, the album did not include Traffic’s hit singles from that era, adhering to the 1960s practice of keeping album and single releases separate. The use of the sitar, notably on the track “Utterly Simple,” linked the album to the psychedelic sound Traffic was known for, especially through their singles “Paper Sun” and “Hole in My Shoe.”

The album’s release in the United States saw it retitled as Heaven Is in Your Mind by United Artists Records, with a different cover excluding Mason and additional tracks from Traffic’s singles. However, two of Mason’s songs were omitted. This version also introduced “We’re A Fade, You Missed This,” which was the conclusion of “Paper Sun.” After its initial pressing, the title reverted to Mr. Fantasy, although the altered cover and tracklist remained until a reissue in 1980 by Island Records, which restored the original UK version.

In Canada, the album was released in December 1967 under the title Reaping, featuring a unique cover and a slightly different tracklist, which was later replaced by the UK stereo album version in 1970.

Mr. Fantasy is known for its diverse mixes and recordings, leading to four distinct versions of the album, all of which have been reissued on CD. Notably, the song “Giving to You” appeared in three versions across these releases. The album’s influence extended beyond its own tracks, with songs like “Coloured Rain” and “Smiling Phases” covered by other prominent artists, demonstrating Traffic’s significant impact on the rock genre.

The album was met with critical acclaim, including a positive review in the April 27, 1968, edition of Rolling Stone, which praised Winwood’s matured voice and the fusion of Traffic’s experimental sound with his R&B style. Despite Mason’s departure, his contributions, particularly on “Dear Mr. Fantasy” and “Dealer,” where he played bass guitar, were well-received.

Mr. Fantasy stands as a testament to Traffic’s innovative approach to rock music, blending elements of psychedelia, jazz, and folk to create a sound that was both ahead of its time and deeply influential.

CD Track Listings:

“Heaven Is in Your Mind” – 4:16
“Berkshire Poppies” – 2:55
“House for Everyone” – 2:04
“No Face, No Name, No Number” – 3:30
“Dear Mr. Fantasy” – 5:40
“Dealer” – 3:11
“Utterly Simple” – 3:16
“Coloured Rain” – 2:41
“Hope I Never Find Me There” – 2:09
“Giving to You” – 4:16

Traffic

Released 1968

Traffic, the second studio album by the English rock band of the same name, was released in 1968 and represented a pivotal moment in the group’s history. It was the final album recorded by the original lineup before their initial breakup, marking the end of an era for the band. The album was issued on Island Records in the United Kingdom and United Artists in the United States, reaching number 9 in the UK Albums Chart and number 17 on the Billboard Top LPs chart in the US, showcasing its international appeal.

Following the departure of Dave Mason after the success of their debut album Mr. Fantasy, Traffic experienced a period of transition. Mason, who had been working with the group Family, was invited back in May 1968 to contribute to the recording of Traffic. Despite his contributions, Mason’s pop sensibilities often clashed with the other members’ leanings towards jazz, leading to his second departure from the band by October of the same year. This tension is reflected in the album’s diverse range of musical styles, moving away from the psychedelia of their debut to embrace blues, folk, and jazz influences. Mason’s “Feelin’ Alright?” became one of the standout tracks, highlighting his knack for crafting memorable pop melodies.

The album itself is a testament to Traffic’s versatility, blending various genres to create a unique sound that set them apart from their contemporaries. The inclusion of Mason’s songs alongside those by Jim Capaldi and Steve Winwood resulted in a rich tapestry of music, albeit one that underscored the creative differences within the band.

The 2000 and 2001 reissues of Traffic brought renewed attention to the album, adding bonus tracks and single mixes that expanded its legacy. These reissues were carefully produced with the assistance of Jim Capaldi, ensuring that the album’s re-release paid homage to its original spirit while offering fans new material to explore.

Traffic remains a significant album in the band’s discography, not just for its chart success in the UK, the US, and Canada, but also for its reflection of a band at a crossroads. Its eclectic mix of songs showcases the diverse talents of its members and their ability to traverse musical genres with ease. The album captures a moment in time when Traffic was both coming to an end and laying the groundwork for future reincarnations, embodying the tumultuous and transformative nature of the late 1960s music scene.

CD Track Listings:

“You Can All Join In” – 3:34
“Pearly Queen” – 4:20
“Don’t Be Sad” – 3:24
“Who Knows What Tomorrow May Bring” – 3:12
“Feelin’ Alright?” – 4:16
“Vagabond Virgin” – 5:21
“(Roamin’ Thro’ the Gloamin’ with) 40,000 Headmen” – 3:15
“Cryin’ to Be Heard” – 5:14
“No Time to Live” – 5:10
“Means to an End” – 2:39

John Barleycorn Must Die

Released 1970

John Barleycorn Must Die is the fourth studio album by the English rock band Traffic, released in 1970. This album marked a significant comeback for the band after a brief hiatus, featuring a reformed lineup minus Dave Mason. It achieved remarkable success, particularly in the United States, where it reached number 5 on the Billboard Top LPs chart and was certified gold by the RIAA. The single “Empty Pages” also found success, spending eight weeks on the Billboard Hot 100 and peaking at number 74. In the UK, the album reached number 11 on the Albums Chart, showcasing its widespread appeal.

The album’s genesis can be traced back to the aftermath of Traffic’s disbandment in late 1968 and the subsequent formation and dissolution of Blind Faith, which included Steve Winwood. Initially intended as a solo project for Winwood, the recording sessions soon evolved into a Traffic reunion when Jim Capaldi and Chris Wood joined him in the studio. The album, titled initially Mad Shadows, transformed into John Barleycorn Must Die, taking its name from one of its tracks and signaling a new phase in Traffic’s career.

Musically, the album diverged from Traffic’s earlier work, incorporating jazz and blues influences while also paying homage to traditional English folk music through its title track, “John Barleycorn.” This blend of genres marked a shift towards a more progressive rock and jazz fusion style, characterized by extended instrumental sections and a more improvisational approach.

The album cover, featuring a burlap background in its original release, became iconic, even making a cameo in the 1971 Dario Argento film Four Flies on Grey Velvet. This visual aspect added to the album’s mystique and artistic appeal.

CD Track Listings:

“Glad” – 7:01
“Freedom Rider” – 5:27
“Empty Pages” – 4:47
“I Just Want You to Know” – 1:30
“Stranger to Himself” – 3:52
“John Barleycorn” – 6:22
“Every Mother’s Son” – 7:05

Last Exit

Released May 1969

Last Exit, released in May 1969, serves as the third album from the English rock band Traffic. This compilation, put together by Island Records following the band’s initial breakup, encapsulates a mix of studio and live recordings, highlighting the band’s diverse range and capturing a pivotal moment in their history. The album achieved commercial success, reaching number 19 on the American Billboard Top LPs chart, underscoring Traffic’s enduring appeal in the United States.

The album’s cover art features the original Traffic lineup, including Steve Winwood, Jim Capaldi, Chris Wood, and Dave Mason, though Mason only contributes to two tracks: “Just for You” and “Something’s Got a Hold of My Toe.” The American LP version presented by United Artists Records showcases distinct artwork, utilizing a cut-up image of the band arranged into their logo against a black backdrop, offering a unique visual representation of the band’s identity.

The first half of Last Exit predominantly consists of A-sides and B-sides from the band’s singles, with all tracks presented in stereo, a departure from their original mono single releases. “Just for You,” a Dave Mason solo single backed by Traffic members, and “Shanghai Noodle Factory,” a collaborative effort featuring the band and producer Jimmy Miller, are notable tracks that reflect the band’s studio work. “Medicated Goo” stands out as a live favorite that was reintroduced during the band’s reunion, showcasing Traffic’s dynamic performance style.

The inclusion of “Something’s Got a Hold of My Toe”, an instrumental outtake, and “Withering Tree”, a track likely recorded during Mason’s tenure despite his absence, adds depth to the album’s studio side. The second half of Last Exit is a testament to Traffic’s live prowess, featuring recordings from a March 1968 concert at the Fillmore Auditorium in San Francisco. The live tracks “Feelin’ Good” and “Blind Man” highlight the band’s ability to engage in cohesive jam sessions, bringing a raw and energetic dimension to their music.

The personnel on Last Exit reaffirms Traffic’s core identity, with Steve Winwood’s multifaceted musicianship driving the band’s sound, supported by Mason’s guitar work, Wood’s wind instruments, and Capaldi’s rhythmic foundation. The technical and artistic direction, led by Guy Stevens and Mike Sida, alongside the evocative photography by Francine Winham, Raymond Ross, and Richard Polak, contribute to the album’s distinct aesthetic and historical significance.

In summary, Last Exit stands as a crucial chapter in Traffic’s discography, encapsulating the band’s studio finesse and live energy. It serves as a bridge between their initial success and subsequent reunions, offering fans a glimpse into the band’s evolving sound and the individual talents of its members.

Side One:

“Just for You” (Dave Mason) – 2:18
- A Dave Mason composition that originally appeared as a solo single, featuring the backing of Traffic members.
“Shanghai Noodle Factory” (Steve Winwood, Jim Capaldi, Chris Wood, Jimmy Miller, Larry Fallon) – 5:06
- A collaborative effort that exemplifies the band’s ability to fuse rock with more experimental elements.
“Something’s Got a Hold of My Toe” (Winwood, Mason, Miller) – 2:14
- An instrumental outtake, showcasing the band’s playful and experimental side.
“Withering Tree” (Winwood, Capaldi) – 3:04
- A reflective piece likely recorded during Mason’s tenure with the band, highlighting Winwood and Capaldi’s songwriting prowess.
“Medicated Goo” (Winwood, Miller) – 3:36
- A vibrant track that became a staple in Traffic’s live performances, known for its catchy rhythm and engaging lyrics.

Side Two:

“Feelin’ Good” (live at the Fillmore) (Anthony Newley, Leslie Bricusse) – 10:40
- A live rendition of the classic tune, showcasing Traffic’s ability to transform and expand upon existing songs through their dynamic live performances.
“Blind Man” (live at the Fillmore) (Deadric Malone, Joseph Scott) – 7:06
- Another live track that emphasizes the band’s capacity for soulful expression and extended instrumental exploration.

The Low Spark of High Heeled Boys

Released 1971

The Low Spark of High Heeled Boys, Traffic’s fifth studio album, released in 1971, stands as a monumental achievement in their discography, marking their most successful venture in the United States. The album soared to number 7 on the Billboard Top LPs chart and was later certified platinum, a testament to its enduring appeal and significant sales exceeding one million copies. Despite its impressive performance in the US, the album did not chart in the UK, a curious divergence in the band’s transatlantic reception.

This album was pivotal for Traffic, introducing percussionist Rebop Kwaku Baah and featuring the sole studio appearances of drummer Jim Gordon and bassist Ric Grech, the latter reuniting with Steve Winwood after their brief collaboration in Blind Faith. Notably, The Low Spark of High Heeled Boys is distinguished by having two tracks led by Jim Capaldi’s vocals, a rarity in Traffic’s catalog that adds a unique flavor to the album’s vocal dynamics.

The album’s eclectic mix, drawing from jazz, folk, and classical influences, is a hallmark of Traffic’s sound, seamlessly blending diverse musical styles into a cohesive whole. The title track, inspired by actor Michael J. Pollard, became a centerpiece of the album, known for its extended form and profound lyricism. The album’s artwork, with its distinctive clipped corners creating a three-dimensional cube illusion, further emphasizes Traffic’s commitment to artistic expression, both audibly and visually.

Upon its release, The Low Spark of High Heeled Boys generated some controversy in the UK due to the term “high-heeled boys,” which at the time was slang for organized crime assassins. However, as it became apparent that the song’s usage of the term was metaphorical and not descriptive of crime, the controversy subsided.

The Low Spark of High Heeled Boys was quickly certified gold and eventually platinum in the United States, underscoring its widespread acclaim and commercial success. The remastered reissue in 2002, which included a bonus track, offered fans and new listeners alike an opportunity to experience one of Traffic’s most iconic works with enhanced sound quality.

The album’s personnel, featuring Winwood’s multifaceted musicianship, Chris Wood’s wind instrument expertise, Grech’s bass and violin, Gordon’s drumming, Capaldi’s percussion and vocals, and Baah’s percussion contributions, encapsulates the collaborative spirit and individual talents that defined Traffic. The production by Winwood and engineering by Brian Humphries, coupled with Tony Wright’s cover art and Richard Polak’s photography, contributed to the album’s lasting impact and aesthetic appeal.

In summary, The Low Spark of High Heeled Boys not only captures Traffic at their artistic and commercial peak but also embodies the band’s innovative fusion of musical genres. Its enduring legacy is a testament to the timeless quality of Traffic’s music and their significant role in the landscape of rock history.

CD Track Listings:

“Hidden Treasure” – 4:16
“The Low Spark of High Heeled Boys” – 11:35
“Light Up or Leave Me Alone” – 4:55
“Rock & Roll Stew” – 4:29
“Many a Mile to Freedom” – 7:18
“Rainmaker” – 7:39

Shoot Out at the Fantasy Factory

Released 1973

Shoot Out at the Fantasy Factory, Traffic’s sixth studio album released in 1973, serves as a follow-up to their acclaimed 1971 album The Low Spark of High Heeled Boys. This album, while not as critically celebrated as its predecessor, still managed to make a significant impact by reaching number six on the Billboard Pop Albums chart, surpassing Low Spark‘s peak position. Notably, the original LP jacket of Shoot Out continued the design trend of its predecessor by having its top right and bottom left corners clipped, adding a unique physical characteristic to its presentation. The album was given a new life with a remastering in 2003, enhancing its audio quality for contemporary audiences.

Recording for Shoot Out featured a collaboration with four members of the esteemed Muscle Shoals Rhythm Section, including bassist David Hood and drummer Roger Hawkins, who played on all the tracks and were credited as Traffic members on the album sleeve. Keyboardist Barry Beckett and guitarist Jimmy Johnson also contributed, specifically on the track “Tragic Magic”. This integration of Muscle Shoals talent not only brought a fresh dynamic to the album’s sound but also saw Hood, Hawkins, and Beckett joining Traffic for subsequent tours, as reflected in the live album On the Road.

The track listing of Shoot Out at the Fantasy Factory is concise with five songs, all penned by Steve Winwood and Jim Capaldi, except for “Tragic Magic” by Chris Wood. The album’s side one kicks off with the title track and is followed by the epic “Roll Right Stones”. Side two features “Evening Blue”, “Tragic Magic”, and “(Sometimes I Feel So) Uninspired”, culminating in a total length of 39:18 minutes.

An interesting note about the album versions is the initial exclusive availability of the full-length master on the U.S. vinyl version distributed by Capitol Records. Subsequent versions, after the end of Island’s distribution deal with Capitol, featured remixed and shortened versions of “Roll Right Stones” and “Uninspired” until the 2003 remaster restored these tracks to their original lengths on CD.

Personnel on the album included core members Steve Winwood, Chris Wood, along with David Hood, Roger Hawkins, and Jim Capaldi, with additional contributions from Barry Beckett and Jimmy Johnson on “Tragic Magic”. The production was led by Winwood and Capaldi, with Jerry Masters and Steve Melton engineering, and the album’s visual aspects were crafted by Tony Wright (cover illustrations) and Tommy Wright (photography).

Despite its mixed critical reception, Shoot Out at the Fantasy Factory achieved commercial success, evidenced by its gold certification in March 1973, and it remains a notable entry in Traffic’s discography, capturing a period of experimentation and transition for the band.

CD Track Listings:

“Shoot Out at the Fantasy Factory” – 6:05
“Roll Right Stones” – 13:40
“Evening Blue” – 5:19
“Tragic Magic” – 6:39
“(Sometimes I Feel So) Uninspired” – 7:31

When the Eagle Flies

Released 1974

When the Eagle Flies, Traffic’s seventh studio album released in 1974, marked the end of an era for the band, being their last studio effort before a two-decade hiatus. This album saw the collaboration of Jim Capaldi, Steve Winwood, Chris Wood, and the addition of Rosko Gee on bass guitar. Notably, percussionist Rebop Kwaku Baah contributed to two tracks before his departure from the band during the album’s production. Winwood expanded the band’s sound on this album by incorporating a wider range of keyboard instruments, including the Moog synthesizer, enriching Traffic’s already diverse musical palette.

The album continued Traffic’s success in the United States, becoming their fourth consecutive studio album to reach the Top Ten and achieve gold status. However, its reception in the UK was lukewarm, with the album briefly entering the charts before quickly disappearing. Despite this discrepancy in reception, When the Eagle Flies showcased the band’s continued evolution and experimentation with sound.

The album was supported by a tour, but Traffic disbanded midway through, marking a premature end to their activities until Winwood and Capaldi’s reunion in 1994 for Far from Home. An interesting note is the exclusion of Chris Wood’s composition “Moonchild Vulcan” from the album, which was instead replaced by “Memories of a Rock n’ Rolla”. Although “Moonchild Vulcan” was performed during the album’s supporting tour, it would not be officially released until 2008 on the posthumous Chris Wood CD Vulcan.

The track listing of When the Eagle Flies is a blend of Winwood and Capaldi’s collaborative writing, with the exception of “Dream Gerrard”, which was co-written with Vivian Stanshall. The album unfolds with “Something New” and ventures through a diverse soundscape including the epic “Dream Gerrard” and the introspective title track “When the Eagle Flies”.

Personnel on the album included Winwood’s dynamic vocals and instrumental skills, Chris Wood’s wind instruments, Gee’s bass contributions, and Capaldi’s work on drums, percussion, and backing vocals. The production, led by Chris Blackwell, with engineering by Nobby Clark and Brian Humphries, captured the essence of Traffic’s sound during this period.

Despite its mixed critical reception, When the Eagle Flies stands as a significant chapter in Traffic’s discography, reflecting the band’s ability to explore new sonic territories while maintaining their distinctive identity. The album’s legacy is a testament to Traffic’s influence in the rock genre and their willingness to experiment and evolve, even at the twilight of their initial run.

CD Track Listings:

“Something New” – 3:15
“Dream Gerrard” – 11:03
“Graveyard People” – 6:05
“Walking in the Wind” – 6:48
“Memories of a Rock N’ Rolla” – 4:50
“Love” – 3:20
“When the Eagle Flies” – 4:24

Far from Home

Released 1994

Far from Home, the eighth and final studio album by the iconic rock band Traffic, emerged as a poignant revival of the band’s creative spirit after a 20-year hiatus. Released on 9 May 1994, this album not only rekindled the collaborative songwriting fire between Steve Winwood and Jim Capaldi but also marked the first Traffic project since their last album in 1974. Recorded in the serene setting of Woodstock near Dublin, Ireland, and mixed at the picturesque Chateau Miraval in southern France, Far from Home carries the essence of Traffic’s earlier works while embracing a modern sound.

The album features Winwood’s multi-instrumental talents prominently, with him playing all instruments and performing all vocals, except for Capaldi’s contributions on drums and backing vocals. The addition of Davy Spillane’s Uilleann pipes on “Holy Ground” and Mick Dolan’s rhythm guitar and programming on “Nowhere Is Their Freedom” further enrich the album’s texture. Notably, the track “State of Grace” was initially intended for a Capaldi solo project but found its home in this Traffic album, adding a layer of depth to the duo’s collaborative resurgence.

Upon its release, Far from Home achieved significant commercial success, especially in the UK, where it reached number 29 on the Albums Chart, marking Traffic’s most successful album in their home country since John Barleycorn Must Die. The album also resonated with audiences in Germany, charting at number 22, and in the USA, where it climbed to number 33 on the Billboard chart, showcasing Traffic’s enduring appeal across different markets.

The album’s artwork, featuring a 3D-rendered stick figure playing a flute against a checkerboard floor and a dark blue-gradient background, encapsulates Traffic’s signature blend of simplicity and complexity. This visual theme is carried through the CD’s packaging, which includes blurry photographs of Winwood and Capaldi, adding a nostalgic touch to the album’s presentation.

Tracklist highlights include the expansive “Far from Home”, the rhythmic “Here Comes a Man”, and the introspective “State of Grace”, among others, all co-written by Winwood and Capaldi, with the exception of “Holy Ground”, a collaborative effort with Spillane.

The personnel on Far from Home underscores the collaborative nature of the project, with Winwood and Capaldi steering the ship, supported by Dolan and Spillane. The album’s production and technical team, including engineer and mixer Mick Dolan and mastering expert Tim Young, played crucial roles in bringing Traffic’s vision to life.

Far from Home stands as a testament to Traffic’s legacy, bridging the gap between their rich past and the contemporary music scene of the 1990s.

CD Track Listings:

“Riding High” – 5:18
“Here Comes a Man” – 5:10
“Far from Home” – 8:38
“Nowhere Is Their Freedom” – 7:00
“Holy Ground” – 7:49
“Some Kinda Woman” – 5:42
“Every Night, Every Day” – 5:41
“This Train Won’t Stop” – 5:58
“State of Grace” – 7:18
“Mozambique” – 4:26

TRAFFIC LIVE ALBUMS

Welcome To The Canteen

Released September 1971

Welcome to the Canteen is a live album by the English rock band Traffic, released in September 1971. This album is somewhat unique in the band’s discography for several reasons. Notably, it was not originally credited solely to Traffic, but rather to the individual members Steve Winwood, Jim Capaldi, Chris Wood, Dave Mason, Ric Grech, Jim Gordon, and Reebop Kwaku Baah, reflecting the fluid and collaborative nature of the band’s lineup during this period. However, subsequent reissues have typically attributed the album to Traffic.

Recorded live from performances at Fairfield Halls, Croydon, and the Oz Benefit Concert at the Fillmore East in New York City, Welcome to the Canteen captures the band in a transitional phase, showcasing their improvisational skills and the chemistry between the ensemble members. The album features a mix of Traffic songs, Dave Mason’s solo work, and a Spencer Davis Group classic.

Track Listing:

“Medicated Goo” (Steve Winwood, Jimmy Miller) – A high-energy performance of the Traffic staple, showcasing the band’s tight groove and Winwood’s powerful vocals.
“Sad and Deep as You” (Dave Mason) – A reflective and soulful rendition of Mason’s solo work, highlighting his poignant songwriting and expressive guitar playing.
“40,000 Headmen” (Winwood, Jim Capaldi) – A Traffic fan favorite, delivered with the band’s signature blend of rock and psychedelia.
“Shouldn’t Have Took More Than You Gave” (Mason) – Another track from Mason’s solo repertoire, featuring extended jams and dynamic interplay between the musicians.
“Dear Mr. Fantasy” (Winwood, Capaldi, Chris Wood) – A compelling live version of one of Traffic’s most beloved songs.
“Gimme Some Lovin'” (Spencer Davis, Winwood, Muff Winwood) – A high-octane cover of the Spencer Davis Group hit, driven by Winwood’s energetic vocals and keyboard work, closing the album on a rousing note.

Personnel:

Steve Winwood: Vocals, guitar, piano.
Jim Capaldi: Drums, vocals
Chris Wood: Saxophone, flute
Dave Mason: Guitar, vocals
Ric Grech: Bass
Jim Gordon: Drums
Reebop Kwaku Baah: Percussion

On The Road

Released October 1973

On the Road is a live album by the English rock band Traffic, released in October 1973. This album captures the band during their 1973 tour, following the release of their critically acclaimed studio album Shoot Out at the Fantasy Factory. On the Road is notable for its extended jam sessions and the inclusion of new members who contributed to the rich, live sound that Traffic was known for during this period.

Track Listing:

“Glad” / “Freedom Rider” – This medley opens the album with a dynamic blend of two songs from the John Barleycorn Must Die album.
“Tragic Magic” (Chris Wood) – Written by saxophonist Chris Wood, this track features extended solos and a jazz-oriented approach, highlighting Wood’s compositional skills and the band’s ability to explore beyond the boundaries of rock.
“(Sometimes I Feel So) Uninspired” – A deep, reflective piece that allows Steve Winwood’s emotive vocals and keyboard work to shine, supported by the band’s tight, empathetic backing.
“Shoot Out at the Fantasy Factory” – The title track from their preceding studio album, this live version brings new energy to the song, with extended instrumental sections that give each band member a moment in the spotlight.
“Light Up or Leave Me Alone” (Jim Capaldi) – This track, penned by drummer Jim Capaldi, features a catchy riff and groove, providing a platform for spirited solos and improvisations.
“The Low Spark of High Heeled Boys” – An epic rendition of one of Traffic’s most iconic tracks, this version stretches out with expansive solos and a mesmerizing groove, encapsulating the essence of Traffic’s live sound.

Personnel:

Steve Winwood: Vocals, guitar, keyboards – Winwood’s multifaceted talents anchor the album, with his soulful voice and virtuosic playing leading the charge.
Jim Capaldi: Drums, percussion, backing vocals – Capaldi not only provides the rhythmic foundation but also contributes vocally, adding depth to the band’s live arrangements.
Chris Wood: Saxophone, flute – Wood’s wind instruments add color and texture, with his solos being a highlight of the live performances.
Rebop Kwaku Baah: Percussion – Baah’s percussion work enriches the band’s sound, adding layers and rhythms that enhance the live experience.
David Hood: Bass – Hood’s bass playing, solid and inventive, provides the groove that drives the band’s live jams.
Roger Hawkins: Drums – Sharing drum duties with Capaldi, Hawkins’ drumming adds complexity and drive to the rhythm section.
Barry Beckett: Keyboards (on some tracks) – Beckett’s keyboard work complements Winwood’s, adding depth and variety to the band’s sound palette.

Last Great Traffic Jam (DVD with bonuc CD)

Released November 2005

The Last Great Traffic Jam is a live album and DVD by Traffic, released in 2005. This release captures the band during their 1994 reunion tour, which was in support of their final studio album, Far from Home. The tour marked the first time Traffic had toured since disbanding in 1974 and featured founding members Steve Winwood and Jim Capaldi. The live performances recorded for this release showcase the band revisiting their classic hits and deep cuts with a renewed energy and dynamism, highlighting the enduring chemistry between Winwood and Capaldi.

The Last Great Traffic Jam provides a unique insight into Traffic’s live performances during a poignant moment in their history. The band’s setlist included a wide range of their repertoire, from early hits to tracks from Far from Home. The album and DVD not only celebrate Traffic’s musical legacy but also serve as a tribute to Jim Capaldi, who passed away in January 2005, making this release an even more significant part of Traffic’s discography.