VOLUME 114, sent December 15, 1997

Topics in this issue:
  1. Traffic poster
  2. Songs & Visions, and Midi files etc
  3. Traffic album covers
  4. Anyone else miss #113?
  5. Jim Capaldi
  6. Grech question
  7. US Radio Show on CD
  8. Re: Dancing
  9. David Oxtoby Traffic paintings
 10. Gotta Get Back, again
 11. Re: Winwood Christmas track
 12. Blues Brothers

Date: Tue, 25 Nov 1997 14:45:59 -0500
From: Bob Craig 
Subject: Traffic poster

Quite some time ago, I advertised a Traffic poster from 1970 that is a promo
poster for the UNRELEASED live Traffic LP.  Rare, Rare, Rare! Well, I got
two!  I never sold the on advertised last time as the person that was interested
drug it out to the point of useless.  The description is a black background with
the majority of the poster being the Traffic logo with pictures of the band
individually set within the boundaries of the logo (the fourth pic is of Rich
Grech).  At the top is white lettering that says "TRAFFIC LIVE" in unique, old
style printing.

Now here's the fun part.  This pup is really as rare as it sounds.  The album got
as far as a few test pressing and they made a limited amount of these posters
before the LP got pulled (for Canteen????) and they destroyed all the posters,
but the few that circulated to industry folk or those who happened to rip one off.
I would like to sell it for $200.00 including first class shipping.


[A review of the album "Traffic: Live November '70" can be found on the web-
site at http://www.azstarnet.com/~bobbieg/live70.htm  --BG]

Date: Tue, 02 Dec 1997 03:43:46 +0900
From: Hisao Chida 
Subject: Songs & Visions, and Midi files etc.

First of all, I saw Songs & Visions yesterday. It's good to see him perform.
Even though I am very biased, he was the best of all the musicians.  I saw him
perform on 7 songs. His Hammond playing on Gimme Some Lovin' was great.
No one else can play Hammond so cool.

On the way back from hospital, I found some SDG and Traffic midi files for

Gimme Some Lovin', I'm A Man, Coloured Rain, Dealer, Dear Mr Fantasy,
Feeling Alright, Forty Thousand Headmen, Hole In My Shoe, Low Spark Of
High Heeled Boys, Paper Sun, Smiling Phases, Who Knows What Tomorrow
May Bring.

SDG songs were on a FD saying programmed by Stephen Kern LA, for Trycho
Music International. I will buy this.

But the Traffic songs were in a package by Tune 1000 Corp. It was obviously
manufactured in the North America. Before buying it, I wanted ask you or the
list members about it. I found some of the same song midi files on your site and
they sound great.


From: Tim John Dickinson 
Date: Wed, 3 Dec 1997 16:05:59 GMT
Subject: Traffic album covers

I was looking at Traffic's LP covers yesterday in the book 1000 record covers
(Michael Ochs) and I was wondering if anyone out there knows what Tony
Wright's painting for the "Low Spark" album is meant to represent.  The
"Shoot Out" cover is also interesting (far more than "Eagle Flies") in fact all
their covers are good with the exception of "Traffic".

Sorry Peter, as a Traffic fan I would rather listen to something with  a bit more
character than Ocean Colour Scene and Paul Weller. However they are keen on
this "retro" theme and I think that I've read that they are into Winwood's work
as well. A few people who I know who are fans of Weller and OCS also can
hear Traffic in their  work.  Mind you most of friends hate Weller and OCS so I
think I've  been influenced by them!

I feel that Traffic's more progressive approach would be more  in line with
some of Miles Davis' work.  In fact I've got the recent re-issues of his 70s live
work and with it's percussion, huge line up  and interesting combination of
instruments I think there is a Traffic (1970s in particular) feel to his work.  The
2nd instrumental passage in "Low Spark" (On the Road version) which starts
around 10 minutes in to the song strongly reminds me of this.  Mind you Miles
work from this era is just pure madness.  Great stuff! I believe Chris Wood was
into Miles???

From: "BobbieG." 
Date: Fri, 5 Dec 1997 09:14:32 -0700
Subject: Anyone else miss #113?

I've been hearing reports that some people did not receive #113;  if that
includes you, please email me and I'll send you one.  Or you can always visit
the Archives on my web-site.  For #113 go to


Hope this helps,

From: "Angie C  " 
Subject: Jim Capaldi
Date: Sat, 6 Dec 1997 11:07:57 -0500

I wanted to personally thank Bobbie for allowing me to put Jim Capaldi on her
web-site.  I have gotten a lot of questions, as well as wonderful letters to Jim
which really confirm my feelings that his many talents have gone unnoticed for
many years. I want to thank everyone for taking the time to let me know that.
He has won new fans, as well, from a whole new generation.

Here is an example of part of just one of many letters I received.  This person is
a college student who is from Italy, living in the USA now.  Quote, "It was
wonderful to see all the information on Jim Capaldi. I was checking him out
cause of the Italian name.  I am familiar with Steve, but didn't know that Jim
even existed.  As I was reading the titles of his music, I noticed that I knew a
lot of songs.  I just had never applied a name to those beautiful songs.  It was
AWESOME!!  Could you let me know more info. on Jim and also how the
group started and how long they were together...I'm very curious.. and excited."
(Note: Also won a new Traffic fan)

Jim loved getting the letters and was able to answer some of them, which I
forwarded on to those lucky fans.  Keep checking his page, because soon you
will be hearing from him. He is very appreciative of his fans. Thanks again
to you Bobbie.


From: "BobbieG." 
Date: Sun, 7 Dec 1997 08:12:36 -0700
Subject: Grech question

I got this question in The Answer Lady, and this answer lady can't answer it!
Can anyone help me out here?

"message:  I've got a book coming out on The Beatles' musical
contributions to other artists' recordings titled "BEATLES
UNDERCOVER." There is a section on Ric Grech/Blind Faith. I'm
wondering if anyone can give me FULL details on the sessions for
the songs "Exchange And Mart" and "Spending My Days?" Apparently,
George Harrison was involved in these sessions. If you can add
more than what is in Mark Roberty's book contact me. Thanks"


From: sohi@aabc.dk
Subject: US Radio Show on CD
Date: Mon, 8 Dec 1997 09:35:17 +0100

I subscribe to a British magazine (Q), and in the January 98 issue, which I
received on Saturday, I noticed an advert from a mail order operation in the UK
selling US radio shows on CD. They are very expensive (between 39 and 125

There is one SW double CD of music and interviews offered at 39.95. Are you
familiar with the existence of such a set? I think they are called Close Up or
something like that.


From: "Fischler, Sol (NBC)" 
Subject: Re: Dancing
Date: Tue, 9 Dec 1997 08:42:00 -0500

Ok,  you talked me into it.  Since it seems everyone else has clocked in with
their opinions on  dancing at concerts,  I'll toss my two cents into the storm.
(And a very  unpopular couple of pennies  it seems they will be.)

It might be a personal problem,  but when I go to a concert,  I find that I pretty
much hang on every note.  Going and actually watching the musicians create
the music is,  for me,  a very special experience,  and I try to focus on as much
as I can (which is no easy feat, considering the distance I usually find myself
watching from -- second balcony doesn't usually allow for too many close ups).

It seems like many people in these pages --  many people whom I've conversed
with regularly,  and whose opinions I greatly respect,  have the attitude that
it's a party,  and if I don't want to (can't-?) get up and shake it,  then I may as
well rent a video and stay home where it's safe.  Quite the contrary -- if all you
want to do is get up and dance,  then indeed,  hang a couple of paper lanterns,
mix a pitcherful of pina coladas,  crank the stereo as high as your neighbors
will allow,  (the rebel in me says then add a notch,  and the neighbors be
damned ...) and twist the night away.

More than a party,  I think a concert is a celebration -- of both the music and
the musician,  and for someone who's produced as much intelligent,
inspirational,  introspective,  and yes,  happy music as Winwood,  I think
reverent focus is just as honest and appropriate a response as dancing in the
aisles.  As rarely as I get to see him perform,  I study the man when he's on
stage;   I crank the CD and scream like a Banchee during the drive home.

Am I saying we should all sit in our seats like statues?  Of course not.  I also
remember the first couple of bands to tour Japan in the '80's say they were
amazed at how quiet and polite the Japanese audiences were -- to the point that
they thought the crowd wasn't enjoying the music at all.   I'm sure the artists to
a large extent feed off the reactions of the crowd,  and believe me,  watching
Winwood this last go-'round,  even from three flights up,  my own feet were
hardly stuck in cement.  But I am saying I don't think dancing on chairs or
flailing wildly should be considered the norm,  and if you're going to be drawn
to that,  you've got to consider that the people around you might not all be
enjoying the experience the same way.  At the Beacon in October,  people got
out of their chairs and danced in the aisles.  That's cool -- the rest of us could
still see.  Color me old-fashioned,  but I still believe the difference between a
record and a concert is you listen to a record,  you SEE a concert.  And again --
much less often.  And at thirty-five bucks a pop for a nose-bleed,  I don't
appreciate  the main focus being the couple three rows in front of me doing the
boogaloo.  Even at the Fogerty concert this summer,  when he brought all his
old happy, feel good,  get-up-and-dance Creedence tunes,  (and a bunch of
NEW happy,  feel good,  dance-to-the-music tunes), the biggest bummer for me
was the 3 people directly in front of me bouncing and cavorting to every note.
Of course,  that was an SRO venue,  I couldn't move away from  them,  and I'm
only 5'6".  In heels.  Again,  possibly a personal problem,  but I'd waited only
about 25 years to finally catch Fogerty,  and I couldn't see a thing.  How fair is
that?  Did I ask them to stop?  Not at all.  Did I choke them?  Absolutely not.
But regardless,  one person's enjoyment at the expense of another's -- and
another thirty-five dollars to watch aging boomers do the frug.

(And to the 4 morons behind me at Winwood who gossiped continuously
through  the first four songs,  talking loudly so they could hear each other
OVER the music,  my question is why exactly did they come in the first place?
THEM I asked to be quiet).

Of course it sounds like whining,  and maybe I should limit my religious
experiences to the synagogue rather than the arenas,  but I've long had a bug up
about people who want to turn every concert into Woodstock.  (I still have the
frisbee that hit me in the head during the Traffic concert in Binghamton in

And since it seemed everyone here was in agreement on the issue,  I just
wanted to offer an alternate view.

... But only because you asked.

-- Sol

From: "Elena Iglio" 
Subject: David Oxtoby Traffic paintings
Date: Tue, 9 Dec 1997 20:52:27 +0100

To Mr. Richard Goodall

Dear Mr. Goodall,

thanks for your post relating to my message in SP n.68, that you sent to my
old office e-mail. I was thoroughly disappointed to know that most of the
Traffic series of David Oxtoby's paintings have been destroyed. (I would want
to know why!) I was hoping to see a catalogue, a photograph or the very
paintings sometime. I've been wondering about them for a long while, but at the
time of the exhibition I was only 14 years old and, living in Italy, was to young
to travel alone to see it.

Alas your post was the only one I got about the subject, so my feeling is that
you as a collector, a prospect buyer and a friend of the artist and me as a
diehard Traffic fan have little hope to see the works, still I wouldn't lose it
completely. There could be still somebody owning one or more of the paintings.
I hope that publishing this message on SP now that the number of people
visiting the site is larger could maybe reach somebody who could help us.

Thanks for your attention

Ellie Iglio

Date: Thu, 11 Dec 1997 14:53:11 -0600
From: Steven Robert Seim 
Subject: Gotta Get Back, again

I managed to find the Gotta Get Back CD-single on CD Europe.  However, they
have two different copies.  One is numbered H385940, from Holland, and costs
$11.50.  The other is numbered B519097, no country listed, and costs $14.50.
Both have a release date of 6-30-97.  No tracks are listed for either one. I
ordered the more expensive one, just to be on the safe side.  Have you (or
anyone else) already ordered it, and do you know if the extra tracks are on


[CD Europe's web-site is at http://www.cdeurope.com/    If you do a 'search' on
SW, type in "Winwood Steve" (without the quotes) rather than "Steve
Winwood" and you'll have much better luck. I've also ordered the single, but I
ordered the less-expensive one so that Steve and I can compare tracks.  We'll let
you know when we get them.  --BG]

Date: Sat, 13 Dec 1997 16:45:59 -0700 (MST)
From: Melle D Starsen 
Subject: Re: Winwood Christmas track

	As requested, here is my review of Steve Winwood's Christmas song
on "A Very Special Christmas 3."
	One of the greatest things about music is its seemingly infinite variety.
And the various worlds the listener is transported into.  With that bit of
practical philosophy established, I will go on record (pun intended) of saying
that there is music than I cannot/will not listen to.
	There is some music that transports me to boredom and the songs
seem endless. This includes the currently-running Ford truck commercial
jingle. Time stops because the music is so bad, I am in a perpetual state of
wanting it to stop. And it does. Eventually. But I'm already grinding my teeth.
	Now, the opposite side of this is wanting a song to go on and on
and on. And once in a while, a song comes along that is just too darn short.
This is the case with "Christmas Is Now Drawing Near at Hand," sung by Steve
Winwood on the new "Very Special Christmas 3" CD.  No matter how hard I
try, the song goes too fast because I am enjoying it so much. Time flies when
you're having fun. Too true.
	The melody is traditional and as haunting as it is lyrical. What
Steve has done with this song is make it his own. He has accomplished this
by playing all the instruments himself (hurray!), and arranging what is
described as "an ancient song much used by beggars and others during
Christmas time." He gives credit for this form of the song to gypsies 50 years
ago. Whatever its origins, his voice is suited to it. He sings steadily and quietly,
but with emotion and commitment.
	There is a strength and maturity in his voice not heard on every
song on his latest work, Junction 7." He may have lost some of the calculated
wild abandon heard in earlier works, but this is a new level that I personally
	The song was an excellent choice, and fits this quiet strength. Plus,
let's face it, the song, though "ancient," could have been written in 1997
because of the applicability of the message -- and that is the  eternal nature of
music.  It's an appealing song that draws you in to listen and when you're done,
you want to hear it again.
	My only complaint is technical: Steve "pops" his P's at two points in
the song, and the engineer should have caught this.
	Oh yes, I do have one other complaint: I want the song to be
longer. Much longer. And my CD player doesn't have a "repeat" function.

Date: Sun, 14 Dec 1997 22:09:18 -0600
From: "Tasuki Suboshi, Yui no Seishi" 
Subject: Blues Brothers

Greetings to Bobbie and All!

        Well, I just finished reading the last 12 SP issues.  Gee, I remember a few
months ago when I thought to myself, "Taking 17 hours upper division and two
foreign languages [Greek and Japanese] won't be a time burden."  Well, finals
week starts tomorrow, and as two of my finals were last week, I finally have

        I was walking though the Cate Central Lounge here at the lovely
University of Oklahoma, when the video jukebox machine played an add for the
New, Upcoming Blues Brothers movie to be released this up-coming February.
As I used to live in Calumet City, and as I just happen to love the original, I
watched the preview.  And lo and behold, what do I see?  On the keyboards, it
is indeed our dear friend Steve Winwood.

        He makes at least a token appearance (they list off his name in the
promo), and from the background behind him, I think he might be in the band,
but I could be wrong.  Oh well, that would be a soundtrack to pick up, then, in
that case.

        Well, have a good holiday season to everyone.  I'm taking 17 hours again,
but this time 6 of those aren't honor.  11 hours of language though. . .  If you
don't hear from me again until May you know why *^_^*