VOLUME 138, sent August 8, 1998

Topics in this issue:
  1. Latin Crossings boot, Review of Hamburg, Q-Magazine
  2. Songbook
  3. New Airforce Release
  4. Memories
  5. "solidarity"
  6. Cheap Traffic CD's
  7. Re: Winwood is Everywhere, and Trafficology
  8. Rainbow Concert and New Traffic album
  9. Winwood in Hamburg
 10. Re: Last Exit cover
 11. Re:  Trafficology

From:           	sohi@aabc.dk
Subject:        	Latin Crossings boot, Review of Hamburg,
Date sent:      	Sat, 25 Jul 1998 16:19:45 +0200

I'm back from Sweden now, so here goes:

1) Answer to the person who wanted a Latin Crossings CD in
SP 136. I know that the show in Hamburg was recorded by
German radio, and I tried to find out exactly when it would
be broadcast. The closest I could get to a definite date
was "sometime in September". Can we ask any German SP'ers
to keep their ears open and record it. Then maybe we can
tape-tree it later. I'll personally try to contact the
radio station to see
if I can get a tape.

2) Review

Mick Newton very kindly invited me (and my wife) down to
Hamburg as guests for the show on Saturday, 18 July, which
happened to be my birthday. We drove down in the afternoon
and arrived about 6:30 p.m. Parking was right next to the
big tent where the concert took place, and I could hear the
band was doing a

I managed to get through the heavies (tough looking young
German security people) and went into the tent to find the
tour manager. After a lot of searching I found him in
Steve's private dressing room (a caravan) behind the stage,
and he promised to sort out the tickets etc.

I went to the back of the stage and waited for the
soundcheck to finish. When Steve came off, I introduced
myself to him, and he was very friendly and talked about
the print we are in the process of making. I told him I was
going to write a review for SP and he asked if I had the
access I needed. I told him I had a ticket, and he then
said he would arrange for everything, which he duly did,
because when I went to the VIP ticket
counter half an hour later, there was a backstage pass for
med with access to all areas.

There was a pretty good support group - a local Latin/Jazz
band with a few Cubans and an Argentinian, and after their
performance Steve congratulated them on a good set.

Then to the Latin Crossings set. The band started without
Steve, Tito and Arturo, who were then introduced after the
opening number. Steve went on to a thunderous applause from
the about 2,500 strong audience in the tent. They played
the following set (based on their own set list):

Hot Sauce
Higher Love
Para Los Rumberos
Low Spark
Closely Dancing
Be Bop
I'm A Man
Oye Como Va
Encore: Gimme Some Lovin'

The concert lasted about 2 hours 15 minutes, and it was an
extremely positive experience. The band seemed very tight
and there seemed to be so much enjoyment in what they were
doing that it rubbed off on the audience. The otherwise
somewhat conservative Germans were dancing and having a
really good time, and Steve blended in very nicely with the
other very competent players. To me, obviously, songs like
Low Spark and I'm A Man were the highlights, but it was
very pleasant to experience the contributions of the other
musicians. One of Tito's songs was really brilliant, and he
was very good on stage. He commands a lot of respect from
his fellow players, as does Steve, and it was amazing to
see a man in his late seventies be so active on stage.

What was another special treat was that Steve actually sang
in Spanish. Arturo's song "Tito" about the maestro was sung
by all the members, but Steve took the lead in one of the

His guitar playing was great, and the latin touch seemed to
suit him fine.

They went off to so much applause that one feared the tent
would collapse and then came back and played Gimme Some
Lovin' with a tremendous drive and latin feel. A very good
version of a very good song.

After the show I went backstage to say goodbye to Steve and
thank him again for his kindness, and he was very pleasant
and said he was glad to have finally met me. They only
stayed for a quick beer because they had an early start on
Sunday. They were leaving at 7 a.m. for Bern in
Switzerland, where they had a 4 p.m. concert at a jazz

I only hope that Steve will do such things in the future
again. It was nice to hear the different styles, and his
own songs were given a special feel by the other players.

3) Q-Magazine for August 1998 has a list of the 100 richest
British musicians (McCartney at No. 1 with about 500
million pounds sterling, and Steve in joint 53rd place
(with Dave Stewart, Sade, Kate Bush and the Spice Girls
(individually) with 12 million pounds (estimated). The
write-up is:

"Winwood upgraded from R&B prodigy to AOR king in the '80s,
Roll With It justifying Virgin's 13 million US dollar
advance with a US number 1. Has a home in Nashville and a
manor house near Cheltenham. Enjoys shootin' and other
squirearchical pursuits. Pops down the pub at the reins of
a pony and trap."


Date sent:      	Tue, 28 Jul 1998 20:55:53 +0900
From:           	Hisao Chida 
Subject:        	Songbook

Do you remember a songbook of SW I mentioned before? It's
found currently unavailable, sad to say but
they say it will be reprinted soon. And very fortunately, I
found another online sheet music shop who sells
every thing at a discount and whose s/h costs are much more
reasonable (to non-US residents, in
particular!) than those of Sheet-Music.Com. The URL is:


How good and important it is for a market to be

The book has not arrived yet. I think these books are worth
buying if you are a musician or not because
they are available for a very short period and once it's
got out of print, it seems very hard to find.... I mean
they should be counted as collectors items.

Hisao Chida / Tokyo, Japan

From:           	Stephen Smith 
Subject:        	New Airforce Release
Date sent:      	Tue, 28 Jul 1998 22:20:57 -0400

Just picked up Ginger Baker's new 2-CD anthology Do What
You Like (Polygram Chroncles 314 558 542-
2), which includes both Airforce albums (1970) and Baker's
Stratavarious (1972).

Winwood took part in the first Airforce album, recorded
live at Royal Albert Hall in January 1970, which is
on the first CD here in its entirety. A previous Polydor CD
release omitted the last track ("Doin' It").
Winwood was also involved with a studio version of "Man Of
Constant Sorrow", which was released as a
single and is included in this set. Sound quality is
substantially improved from the earlier Polydor release,
but the original album cover art is way shrunk and the
inner gatefold isn't reproduced at all.

The Airforce 2 (no Winwood) tracks include their unreleased
version of "Sunshine Of Your Love".

Overall, the set is a fitting and long overdue tribute to a
great drummer and percussionist. Ironically, his
solo on Blind Faith's "Do What You Like" turned more than a
few people on to Winwood and Clapton,
including me!


Date sent:      	Tue, 04 Aug 1998 20:40:25 -0400
From:           	Rich Sasserath 
Subject:        	Memories

The funny thing is that back in 1967, my friends and I
traveled to Florida for summer vacation. We had an
8-track in my friend's car, and we played (constantly) a
Traffic tape (can't remember the title). Now, 30+
years later, I visited a Best Buy store in Allentown, and I
noticed the Traffic "Smiling Phases" double CD.
Looking over the list of songs, I was brought back to that
summer and suddenly, all these songs were
brought back to memory. It was rekindled even more when I
returned home and actually played the CDs.
What great music it was and still is. Funny how you
correlate music with various times in your life.


Date sent:      	Tue, 4 Aug 1998 20:49:29 -0500
From:           	Dawn 
Subject:        	"solidarity"

Hey Everybody,

Yeah! SP is back!  Hope everyone is having a wonderful
summer!  I'm really looking forward to reading
everybody's thoughts, news, reviews, stories, etc. again.
June seemed awfully long!

So, speaking of everyone's thoughts ... with your
indulgence...a few of my thoughts regarding this

I believe that the purpose of this newsletter is the free
exchange of ideas between all of the
Winwood/Traffic fans. It's certainly been great to make
friends and share information about the guys and
their music!  But perhaps even more important has been the
pleasure derived from reading, considering,
and discussing the *diversity* of opinions put forth by the
subscribers.  As a matter of fact, I have always
sort of looked at the concert and album reviews in SP as a
sort of fans' "Consumer Reports" guide. We can
find out from one another how other fans rate albums,
boots, shows, etc. and can decide whether to take
their advice to heart, or just go find out for ourselves.

Of course, with the range of ages, cultures and
perspectives represented here, there is no way that we will
*all* agree with everything others post about. It would be
impossible!  But that doesn't mean that
differences of opinion shouldn't be tolerated, or that
divergent opinions shouldn't be shared. That's what we
are here for, right?  One would only hope that differences
of opinion can continue to be expressed politely,
and with respect to all others involved.

Now then, an unexpected snag in the wool:  Since this
newsletter is posted on Bobbie's website, anyone
who has internet access can read the opinions shared here.
In the event that the artists themselves, or
people close to them, may get curious about what the fans
are discussing, and take a peek in here, they
should be forewarned that they may not always like (or
agree with) what they read!  Along with HEAPS of
praise for the Traffic lads, together and solo, each one of
them has taken their lumps in these pages, too.

Certainly, I don't believe that anyone here *intends* for
their words to wound the artists. We wouldn't be
here in the first place if we didn't hold them in high
esteem. But, even though we are fans, we will
occasionally be critical.  Realistically, if they put their
music and performances out there, we will respond -
most often with great enthusiasm and praise... but
sometimes, with just the opposite.  That doesn't mean
that we don't respect them and their work.

One would hope that if they are going to read what the fans
are talking about, that along with the kudos,
they may take a moment to consider the criticisms,
especially if the same ones keep cropping up.  As much
as criticism can sting,  there just may be some validity to
it, too.  On the other hand, one would truly hope
that we fans can manage to express the occasional criticism
without being cruel, or getting unduly personal.

What I am suggesting is this: Let's PLEASE all try to be
respectful and kind to one another (including the
artists), and shock others on the 'net with what a polite
and fun newsletter we've got here!  (And save ALL
flaming for the barbecues!)

Now then...

...In attempting to write this post, I realized that we
have one big problem:  What the hell do we call
ourselves?  I mean, the "Deadheads" had their name, the
Jimmy Buffett fans are "Parrotheads", Phish fans
are "Phishheads" etc., so what the hell are we?

"Woodheads"?  "Winnies"?  "Winwoodians"? "Winwoodheads"?
"Trafficheads"? "Trafficites"? (sounds
like something on the ceiling of a cave, that one),
"Traffikers"?  (No, no, no, sounds druggy!), "(Medicated)
Goo-bers"? Okay, now I'm getting really silly...  (I expect
that Graham Chapman will show up in a
Colonel's suit any second now.)

Well, perhaps we can put our "Wood"en heads together, and
see what we come up with.

(Actually, we need a battle-cry, too, but that's another
post entirely. LOL)


Date sent:      	Wed, 05 Aug 1998 16:50:58 -0500
From:           	"Richard A. Chapman"

Subject:        	Cheap Traffic CD's

I was at Tower Records yesterday, they had a bin full of
CD's, including several Traffic selections
including: Welcome to the Canteen, Low Spark, Mr. Fantasy,
Last Exit. All for $7.99 each! Just in case
anyone is looking for a great deal.

Rich Chapman

Date sent:      	Wed, 05 Aug 1998 20:10:45 -0400
From:           	Ted G
Subject:  	Re: Winwood is Everywhere, and Trafficology

Here are 2 posts...

Subject:  Winwood Is Everywhere (More Hold Music)

I heard a Muzak version of "My Love's Leaving" while on
hold one time.  I thought the song worked quite
well as an instrumental.  (Of course, it wasn't too
inappropriate of an arrangement as Muzak goes.)

Subject:  'Trafficology' -- part 2

TRAFFICOLOGY:  Observations, questions & other extreme
trivia regarding Traffic releases... (Note:
Part 1 had some strange punctuation changes which
apparently occurred in the translation from my e-mail
to Bobbie's.  The strangest part was that anything starting
with a "number sign" disappeared completely.
Go figure.  Anyway, this edition includes some Internet
addresses which I hope will come across intact.)

(Part 2)


US LP has 'You Can All Join In' as 5th song while UK has
'Smiling Phases'.  Most US copies have the
short 'Paper Sun' while others (I presume later ones) have
the full version.


Stopwatch malfunction No. 2:  LPs from UA (with the
'burlap' background on the cover) have times of 6:30
/ 6:02 for 'Glad' / 'Freedom Rider'.  Island LPs/CDs (with
the new gray background) have 'corrected' times
of 6:32 / 6:20.  The Smiling Phases collection finally got
it right at 6:58 / 5:27.

'Did ya ever notice?' No. 2:  On 'John Barleycorn',
starting at verse 3, Steve switches to a harmony part
(albeit a prominent one) and Jim takes over the lead.
(This might seem pretty obvious but it took me
several listens to notice.)


To answer a question from SP 37: LP covers for WTTC never
had the name 'Traffic' on them, and
originally the record labels didn't either.  (Apparently,
this was a slap from UA -- see
http://www.azstarnet.com/~bobbieg/live70.htm.)  Later, of
course, that confusing 'Traffic, Etc.' (due to
uncertainty as to whether Dave or all those new guys were
officially part of the band, perhaps?) was added
to the labels.

Am I the only one who's ever had a hard time telling who
the guys were on the far left & right of the cover


Stopwatch malfunction No. 3: For some reason, the title
track on this album has always been listed as
12:10.  On the Smiling Phases collection, it's listed
correctly as 11:35.  (In case anyone thought the
collection had an edited version or something.)

Original track order on LP was Hidden / Low Spark / Light
Up / Rock & Roll / Many A Mile / Rainmaker.
The CD has 'Light Up' moved from No. 3 to No. 5 -- probably
to separate the two Capaldi vocals.

This album was recorded by what I call the 'Tragic Traffic'
line-up: it included all 3 now-deceased
members (Reebop, Chris & Rick) as well as Jim Gordon.  (See
for an account of Jim's truly tragic history --
not exactly light reading, but informative.)

'Rainmaker' is the only Traffic track to feature Rick's
violin.  (A Rolling Stone reviewer thought it was
Chris playing 'a sax sounding like it's an electric violin'
-- see http://web.syr.edu/~mdentin/1-20-72.html;
he also didn't know Capaldi wasn't doing the drumming.)

Later, Phasers...

From:           	RKrell1021@aol.com
Date sent:      	Wed, 5 Aug 1998 20:47:03 EDT
Subject:        	Rainbow Concert and New Traffic album

I recently purchased the Rainbow Concert which consists of
Steve Winwood, Eric Clapton, Jim Capaldi,
Pete Townsend and other artists.     I really enjoy the
music because Steve and Eric Clapton sing together.
Not only do I enjoy Steve's singing but Eric's singing as

 I also heard there's a new Traffic tape coming out this
month.  Do you know how it is? It's called "Best of
Traffic". I found it on Tower Records on AOL.  The tape
came out 8/4/98 and it's a new compilation of old


Date sent:      	Fri, 07 Aug 1998 21:57:52 +0200
From:           	Tatiana Burguete 
Subject:        	Winwood in Hamburg

Steve Winwood in Hamburg at the West Port Jazz Festival,
July 17

Steve Winwood was playing in Hamburg with 75-year old Tito
Puente (composer of Santana´s: Oye como
va) and Arturo Sandoval. Unfortunately these gentlemen were
trying to dominate the show.  Steve, also
singing in Spanish, was simply outstanding.  He did: Higher
Love, I`m a man, Low Spark and Gimme
some lovin.   Review in the local press was excellent.
This project is called Latin crossings.  If you get a
chance, don`t miss it!  Let me also mention that Steve
looked great.  The show was fantastic. the place was
packed and the audience had so much fun.  Our suggestion:
Steve should also do some classical music
(Mozart?). Thank you very much, Steve! We enjoyed it.
Please come back to Germany (e.g. Heidelberg)

From:           	Katstrofik@aol.com
Date sent:      	Fri, 7 Aug 1998 22:13:12 EDT
Subject:        	Re: Last Exit cover

This is in response to Ted G. wondering about the Last Exit
cover with the Traffic symbol filled with
pictures.   I have a copy and I also know where one can be
bought.      Email: Katsrofik@aol.com

From:           	BigStar303@aol.com
Date sent:      	Sat, 8 Aug 1998 04:12:58 EDT
Subject:        	Re:  Trafficology

In Smiling Phases, vol 137, Ted G writes in *Trafficology*:


In fact, the songwriting credits ARE listed on the back
cover of the U.S. "Mr. Fantasy" album. Dave is
credited on the three songs in question.

Perhaps what you're remembering is the record label itself,
which does not have songwriting credits in the
original black label version (first pressings) or the pink
and purple design (later pressings). This, I believe,
was the convention for all United Artist releases of that
era. However, I have a still later label design (tan
with the stylized UA logo) which does have the songwriting
credits listed.

As long as we're on my favorite Steve Winwood topic of all,
the "Mr. Fantasy" album, it's time to drag out
my annual plea yet again. All who have heard this song
before -- my apologies.

I'm a big fan of the American release of this album. Even
though it apparently wasn't sanctioned by the
band, the fact of the matter is that the U.S. "Mr. Fantasy"
is a much stronger album than its UK counterpart,
in both its song selection and its sequencing. (*Starting*
Side One with "Heaven Is In Your Mind" instead
of *ending* with it? Hmmph!)

That's why I've hoped for so many years that this "Mr.
Fantasy" might one day be reissued on CD, so that I
could finally pitch the many copies of the LP I've bought
over the years in the vain hope of finding one
without ticks and pops.

A few years back, there was a gold disc issue of this
album. First pressings of it had the American tracks
and sequencing listed on the outside slipcover. I know,
because I bought one -- only to find out that the CD
itself had the British tracks and sequencing.

My question is -- was this simply a labeling error
(subsequent versions of the album I saw had the British
track listing on the outside). Did this CD EVER actually
exist with the American sequencing? I can recall
reading in GOLDMINE or somewhere at the time that it was
supposed to come out this way, but I wonder
if this was stated based on simply seeing the erroneous
cover and inferring from that that the CD would
have this track selection and sequence?

Can anyone shed any light on this? Is anyone aware of ANY
CD reissue of the American version of "Mr.
Fantasy"? This is one of my few remaining holy grails in
the world of music collecting. I sure would love
to find it at last.