Traffic – John Barleycorn Must Die (Vinyl) Japanese Pressing
Island Records (1970 / This Pressing 1980)
$65.00
Rare Tenth Anniversary Japanese Pressing Of Classic Traffic LP ~ Complete With Highly Collectable Fold-Over Obi Flap / Insert! Vinyl Still In Immaculate Condition! Insert Features Lyrics In English & Notes In Japanese.
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Rare Tenth Anniversary Japanese Pressing Of Classic Traffic LP ~ Complete With Highly Collectable Fold-Over Obi Flap / Insert! Vinyl Still In Immaculate Condition! Insert Features Lyrics In English & Notes In Japanese.
Condition — Vinyl: NEAR MINT!
Condition — Cover: EXCELLENT! Minor foxing.
Japanese vinyl pressings are highly sought after by audiophiles and collectors, due to their premium sound quality and beautifully presented packaging. The sonic quality of Japanese records is regarded as the best in the world. No wonder all the original Mobile Fidelity Sound Lab records were pressed in Japan! The covers are printed on better quality heavy stock paper too. Near Mint condition Japanese pressings are becoming scarcer ~ and therefore more collectable and valuable every year.
Side 1:
Glad
Freedom Rider
Empty Pages
Side 2:
Stranger To Himself
John Barleycorn
Every Mother’s Son
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Island Records (1970 / This Pressing 1980)
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Steve Winwood and company play extended instrumental variations on compelling folk- and jazz-derived riffs. 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.