Traffic - John Barleycorn Must Die

Written By: Moti Kupfer

Release date - 01.07.1970

Steve Winwood's voice once prompted legendary Island Records founder Chris Blackwell to famously describe him as "Ray Charles on helium." The comparison reflected Winwood's remarkably high tenor voice during his years with the "Spencer Davis Group".

Blackwell always expressed enormous admiration for Winwood's importance to the label. "He was really the cornerstone of Island Records. He's a musical genius, and because he was on Island all the other talent wanted to sign to Island."

Winwood had joined the "Spencer Davis Group" at the age of just 14. Four years and three albums later, he left the band. Thanks to the success of several hit singles, he had earned enough money to buy his own Hammond organ and form his next band, "Traffic," whose third studio album, "John Barleycorn Must Die," was released in July 1970.

Winwood formed "Traffic" in 1967 alongside three exceptionally talented young musicians: drummer Jim Capaldi, multi-instrumentalist Chris Wood, and guitarist Dave Mason. Initially inspired by "The Beatles," the band embraced psychedelic rock before gradually evolving toward progressive rock, introducing increasingly sophisticated arrangements, Mellotron, flute, and jazz-inspired techniques into their music.

Following the success of their debut album "Mr. Fantasy," tensions with Dave Mason began to surface. Mason left the band, returned, and then departed once again after the second album, on which he had written roughly half of the material.

In response, the 21-year-old Winwood left as well, effectively bringing "Traffic" to an end. He joined forces with Eric Clapton, Ginger Baker, and Ric Grech to form the supergroup "Blind Faith," whose remarkable debut album ultimately proved to be its only release.

Still contractually obligated to deliver another album to Island Records, Winwood returned to the studio in early 1970, initially intending to record his first solo album under the working title "Mad Shadows."

He recorded two songs with producer Guy Stevens, "Stranger to Himself" and "Every Mother's Son," but soon realized he longed to work again with musicians who shared his musical vision. He invited Chris Wood and Jim Capaldi to join the sessions.

As a result, what had begun as Winwood's solo project evolved into a reunion of "Traffic," albeit without Dave Mason, effectively relaunching the band's career.

The title "Mad Shadows" would eventually be used by "Mott the Hoople" for their second album, which was also produced by Guy Stevens.

The reunited band's new album was instead titled "John Barleycorn Must Die," inspired by the traditional English folk song "John Barleycorn." Originally dating back centuries, the song became associated with numerous interpretations during the early twentieth century. "Traffic" reimagined it through a contemporary folk-rock lens, drawing inspiration from British folk groups such as "Pentangle" and "Fairport Convention."

The song itself is a satirical allegory surrounding alcohol, humanity's dependence on it, and the absurdity of attempting to suppress its production. It transforms an old traditional ballad into a timeless reflection on prohibition and everyday life.

Where earlier "Traffic" albums had relied on relatively concise songwriting, "John Barleycorn Must Die" pushed the band decisively toward progressive rock and a freer jazz fusion approach. Extended instrumental passages and expansive jams became central to the band's identity and would define much of their work throughout the 1970s.

Winwood frequently praised Chris Wood's broad musical knowledge and the unique influences he introduced during the recording sessions.

"Chris Wood was very instrumental because he'd bring in music for us to listen to that we'd never heard before. He'd play us Japanese classical music and wonderful jazz things."

The album opens with three energetic tracks, two of them instrumentals. "Glad" immediately establishes the mood with Winwood's vibrant jazz-influenced piano riff before flowing naturally into the funky groove of "Freedom Rider." It then transitions into "Empty Pages," featuring Jim Capaldi's lyrics about leaving a failed relationship behind, turning the page on the past, and looking optimistically toward the future.

Side two begins at a slower pace without sacrificing any of the album's intensity. Lyrically, "Stranger to Himself" feels just as relevant today as it did in 1970. Its central character, whether interpreted as a hippie, a politician, or simply someone blinded by their own convictions, remains instantly recognizable decades later.

One of the album's defining characteristics is that, aside from the title track, it is relatively sparse lyrically. For "Traffic," however, this was never a weakness. Capaldi and Winwood often excelled more at creating emotional landscapes than telling conventional stories.

The greatest leap forward comes in the band's compositional abilities. Psychedelia had already encouraged experimentation with song structures, but very few musicians possessed the technical skill, musical education, or instinct to weave multiple themes into coherent, satisfying compositions.

Whether inspired by Winwood's time with Clapton and Baker or simply by artistic maturity, every composition here is built around strong musical ideas and remarkable balance, allowing tremendous stylistic variety without ever losing focus. This is the first "Traffic" album that truly presents a collection of carefully constructed pieces forming one complete artistic statement, making "John Barleycorn Must Die" one of those rare albums best experienced from beginning to end in a single uninterrupted sitting. Sometimes, taking a break can make all the difference.

The album reached No. 5 on the US Billboard album chart, becoming "Traffic's" highest-charting release in the United States.

Recording engineer Andy Johns always spoke with enormous admiration about Steve Winwood's musicianship. Recalling the earlier "Blind Faith" sessions, he said:

"I came back one day from lunch and the soundproof door was open a crack and I could hear him playing the Hammond. He was playing the manuals, the bass pedals and singing. I looked at him and he was looking at the ceiling. Not only was he playing the top manual, the bottom manual, the bass pedals and singing, he was probably thinking about what he was going to have for dinner. He was doing four or five things at once and the music was unbelievable. I hate using the word genius, but this guy has more in his little finger than a whole tribe of musicians. He's the real thing."

For Listening: Spotify, Apple Music

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