Traffic "John Barleycorn Must Die" 1st UK ILPS 9116

	£		33
	$		44

Traffic "John Barleycorn Must Die"

Original 1st UK Press, Mono/Stereo, 1970 Island Records: cat no. ILPS 9116 Matrix: ILPS 9116 A/2  UAS 5504 A  6.3.70, ILPS 9116 B/2 UAS 5504 B  6.3.70

Original gatefold white `i' pink label.

John Barleycorn Must Die is a 1970 album by English rock band Traffic. As did most of their albums, it featured many different genres of music including art rock, jazz rock, and many psychedelic influences.The album was initially intended by Steve Winwood to be a solo album, but when Chris Wood and Jim Capaldi joined him, it became Traffic once more. The album was originally dubbed Mad Shadows.After recording the album early in 1970, it was released by Island Records and United Artists in July 1970. It became the first Traffic album to reach gold status.

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This item is offered with a money back guarantee if not as described below.

Sleeve Condition: EXCELLENT.

The E. J. Day printed gatefold sleeve is in fantastic shape front, back & inside with only light spine rubs and corner scuffs.

Vinyl Condition, Visual: EXCELLENT.

A lovely shiny copy with only a few hairline surface marks that generally don't affect play.

Vinyl Condition, Audible: EXCELLENT.

Plays very well with only some light surface noise, generally in between tracks.

Label Condition: MINT.

Pink label white `i' original. Has no sign of spindle marks or ring wear.

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Review:

At only 22 years old, Steve Winwood sat down in early 1970 to fulfil 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 characterised 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.

Track Listing:

Side One

1. Glad

2. Freedom Rider

3. Empty Pages

Side Two

1. Stranger To Himself

2. John Barleycorn

3. Every Mothers Son

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UK Record Collector Grading System:

MINT: The record itself is in brand new condition with no surface marks or deterioration in the sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.

EXCELLENT (US version of this term: Near Mint): The record shows some signs of having been played, but there is very little lessening in the sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD (US version of this term: VG++): The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover, or extra items, without any major defects, is acceptable.

GOOD (US version of this term: VG): The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits etc.