------------------------------------------

Volume 142, sent October 15, 1998:
1. Re: Losing his Virginity
2. Live Traffic LPs & Replies to S.Smith
3. Re: Losing his Virginity!
4. 94 Traffic openers
5. Keyboard Magazine, Novembuary 1998
6. Empty Pages CD review
7. Re: Losing his Virginity
8. New Traffic Compilation
9. Blues Brothers 2000 DVD
10. Capaldi on Bonzos tribute
11. Here we go
12. First Annual Convention

-------------------------------------------------

1*1*1*1*1*1*1*1*1*1
From:           	"Mary Katsikas" 
Date sent:      	Wed, 30 Sep 1998 11:59:35 EST
Subject:        	Re: Losing his Virginity

I was glad to see that SW has parted ways with Virgin.  I agree that they
weren't promoting his great music enough.  I really look forward to some
more wonderful music from him and maybe, with a latin beat this time
around.

After reading Dawn's mail, she should be SW's producer and promoter.

Mary


2*2*2*2*2*2*2*2*2*2
Date sent:      	Wed, 30 Sep 1998 13:30:38 -0400
From:           	Ted G
Subject:        	Live Traffic LPs & Replies to S.Smith

Random notes from the Trafficologist...

(1) I just have a couple more things to say about "On The Road":

Thing #1:  I've asked a couple former residents of Germany what that
"Swans, swans, more swans" might mean, and they didn't know.  My official
guess:  The audience is not speaking German and may be unsuccessfully
trying to say something in English.

Thing #2:  On "Freedom Rider":  "See children gathering in the street /
While hoping that" WHAT?  Their hips are neat?  The hooks have meat?

(2) Replies to Stephen Smith (who replied to Trafficology part 3):

What color labels does your 2-LP OTR have (with faded Low Spark & the cool
road sign sleeves)?  Mine (with non-faded LS & plain sleeves) is an Island
black label (late '70s? - I got it used).

Regarding non-US CDs of SHOOT OUT with the full Roll Right Stones:  I saw
a reference in an earlier SP to a non-US CD with a "longer" RRS.
Unfortunately I have been unable to relocate that particular SP edition.

(3) Since I've asked everyone about OTR, how does everyone feel about
WELCOME TO THE CANTEEN now??

A few thoughts of my own: a.  Steve's memory of the lyrics to "Goo" is
terrible but it somehow makes the song all the more fun. b. "Headmen"
sounds like the band was required to play it for 6 minutes before they
could stop.  (Does anyone know what Steve is saying near the end?) c.
"Gimme" just doesn't sound the same without the backing vocals that were
on the original.  (At least "Shouldn't" has backing vocals).  Dave's
guitar goof-up in the 2nd half is embarrassing enough, but then UA had to
put it on a single and a compilation to boot! d. Best tracks IMHO:
Shouldn't, Medicated, Mr. Fantasy.

Bye...
Ted

[The backing vocals that we're accustomed to in the US were only included
on the US releases, am I right?  The version on the compilation CD "Eight
Gigs a Week" is the British release, with no "hey!"s.  I think. -- BLG]


3*3*3*3*3*3*3*3*3*3
From:           	"Eddie" 
Subject:        	Re: Losing his Virginity!
Date sent:      	Wed, 30 Sep 1998 23:26:38 +0100

Yeah, well to be honest it didn't surprise me.  I never felt that they
really pushed Steve, at least in this country.  I'm not sure about the USA
and rest of the world.  In my opinion also and I stress this is just my
opinion, I didn't think Steve did himself any favours with the J7 tour.  I
thought that he had downsized himself in a way. He seemed too big an
artist to be playing smaller venues.  In doing that he was out of the
public eye in a way except to devoted fans.  I mean after all it wasn't
that long ago that he did  5 nights at the Royal Albert Hall in London!
Junction 7 was a great album; it deserved a much bigger push than it got.
The gigs were great too.  There's no doubt in my opinion about that.

But I'm also surprised that he supposedly  might concentrate on production
.
 OK, fine, but could that mean also to not record or perform again?  Man
what a waste that would be!  He has so much talent and so much more music
to offer I think, don't you?  How many artists of his generation can you
think of who've actually improved with the passing years both as  a
musician, songwriter and performer? Combine the two yes, but don't deny us
the pleasure of the talent.

I truly hope that he continues to perform and record.  I hope that a
record co. comes to him (I'm sure there must have been overtures) and are
prepared to back him as he deserves.  It's always been one of the saddest
things to me that his home country (England) has never really truly
appreciated or recognised the depth of his ability.  He is without doubt
the best musical talent of his generation that we've ever produced.

Steve.  If you read this, please continue to grace us with your gifts.

Eddie


4*4*4*4*4*4*4*4*4*4
Date sent:      	Wed, 30 Sep 1998 17:41:46 -0500
From:           	Steven Robert Seim 
Subject:        	94 Traffic openers

Just out of curiosity--does anyone know who the opening act was for the
1994 Far From Home tour (if it makes a difference, I saw them at the
Minneapolis show)?

Steve Seim


5*5*5*5*5*5*5*5*5*5
From:           	Operanut@aol.com
Date sent:      	Wed, 30 Sep 1998 21:54:03 EDT
Subject:        	Keyboard Magazine, Novembuary 1998

Dear Fellow Steve-anatics:

Just got the November issue of KEYBOARD magazine, for those of us who are
piano/synth/cheesy Hammond etc. players. They dig up old classic vinyls in
all genres and put up a little feature called "KEY TRACKS". This month, lo
and behold is John Barleycorn!!

    I quote:

"This 1970 album was essentially supposed to be a solo album for Steve
Winwood, but with longtime drummer and percussionist Jim capaldi onboard,
as well as the late Chris Wood on flute, sax, percussion, and organ, the
album retained enough elements to warrant being called a Traffic record.
There is an abundance of distinctive licks on this disc - listen to the
piano riff that defines "Glad," and its modulating electric piano groove
of "Empty Pages," with its Hammond-laced choruses.  Winwood vacillates
between Hammond B-3 and acoustic piano as a player, but is also quite
adept at other instruments, hence the "all instruments" credit on
"Stranger to Himself".  It's his innate sense of melody that prevails,
whether it be the electric guitar lines after the chorus of "Every
Mother's Son" or the piano solo in "Empty Pages" --even on a song like
"John Barleycorn," which features a beautiful acoustic guitar picking
arrangement and accompanying flute runs by Chris Wood (truly one of the
great, unsung heroes of modern music; his work on this and other Traffic
records is unsurpassed).

"Knowing how to cover both rhythm and lead gives Winwood balance and
foundation, and makes his playing adaptable. The ambiance(sic) he creates
with the spacey piano and organ solo in "Glad" makes the song breathe and
gives it life.  I often wonder which he recorded first.  Liten to how the
organ dominates "Freedom Rider," and how to piano all but disappears, save
for its signature lick, and the outro (sic -- outre'?) jamming.  Note
there is no bass credit - perhaps Steve's left hand working overtime?  And
don't forget, Steve is singing lead and writing all the lyrics as well as
arranging and composing the songs, along with Jim Capaldi.  Truly a
jack-of-all-trades at his creative peak!!

"Also recommended: Low Spark of High Heeled Boys, Welcome to the
Canteen. -- Robbie Gennett"

Sharon's comments now: His "creative peak"?? Lemme see, this was 1970 and
he was born in '48, so he's been goin downhill since the age of 22???   I
should go shoot myself if that is the case!!  This person may have been
under a rock cooling his crust for a while, or maybe this person is just a
bit young to remember the original vinyl and the airplay? I don't know.  I
am not gonna comment on the original history of Traffic -- I leave that up
to you that are better read on the Traffic segment of Steve's career.

   If you have comments, these folks maintain a website at:

www.keyboardmag.com

 so go abuse the First Amendment there.

Another hysterical note: Everybody's favorite Tulsa Trash, Hanson, played
Houston on Sunday night. The reviewer in the Houston Carbuncle noted that
they opened with "Gimme Some Lovin' " and pointed out that Steve was
probably 16 when this was a hit, and nobody called it bubblegum rock back
then!!  LOL!!

My 12-year-old hates Hanson and I think they are pretty good! They remind
me of Chuck Berry.

Keep on shining, everybody,

Sharon

[Sometimes people use the word "outro" to mean the opposite of "intro"; in
other words, a coda.  Maybe that's what Gennett meant? --BLG]


6*6*6*6*6*6*6*6*6*6
From:           	"Eddie" 
Subject:        	Empty Pages CD review
Date sent:      	Fri, 2 Oct 1998 03:46:12 +0100

Issued by Oil Well Records, Made in Italy. Not a commercially available
recording. The sleeve states "Live in London, UK June 5 1973".  But itís
not as you will see.  Cover pic depicts Steve in "goatie" beard, taken
from When the Eagle Flies promotional photographs.

Track Listing.

John Barleycorn Must Die. Despite the CD sleeve cover, this track may or
may not have been recorded in London. Then again it might be from the
German gig(s), which constitute the Traffic on the Road album. Could even
be the 1970 trio line up, who knows! Whatever, this track is almost as
good a live version that youíll find but with one slightly enduring
feature. Steve and Jim getting the words mixed up towards the end of the
song, with a slight snigger in there too!

Shoot Out At The Fantasy Factory. This is the exact same cut from the
Traffic on the Road album. Nuff said!

Glad/Freedom Rider live. Again unknown as to where recorded. Sounds like
the 3 piece line up though, or maybe augmented by Ric Grech, but it
definitely ainít the 73 line up, thatís clear. Anyway, itís not that bad.
Steve up to par on organ on Glad. Freedom Rider, not bad. Chris Wood in
excellent form on Flute and Sax. The sound recording of Steveís vocal
distorts his voice slightly, but not enough to fail to enjoy.

Every Mothers Son. Trio line up once again. Got a feeling that this and
Glad/Freedom Rider are from BBC 1970 Radio recordings, might be wrong
though. But itís not bad. Chris Wood on Electric Piano. Jimís drumming as
steady as ever.

Low Spark Of The High Heeled Boys. This is the exact same cut from the
Traffic on the Road live album. Need I say more?

Pearly Queen. BBC radio recording, 1968 line up I think, but might be
1970. Nice version this. Good guitar work by Steve.

Empty Pages. BBC Radio recording 1970. Good version this. Nice Electric
Piano solo. Not bad.

Who Knows What Tomorrow May Bring. BBC Radio recording. Good to hear this
in a live format. Itís always been one of my favorite Traffic songs,
although others will Iím sure disagree with me! Nice funky organ solo by
Steve. Chris on form on Sax.  Funky is definitely I think the word for
this one.

Medicated Goo. BBC radio recording 1970. Not bad but it doesnít really
come across that well performed as a three piece, but worth hearing.

What else can I say about this CD? Well, donít be mislead by the sleeve
stating that itís recorded live in London in í73 because clearly it isnít!
If you donít already have the BBC recordings in your possession then itís
worth getting just for them. Taking 2 tracks that are already commercially
available is a bit out of order, but there you go. Other than that the CD
is not too bad but donít pay over the odds for it.

Eddie


7*7*7*7*7*7*7*7*7*7
From:           	LesterJake@aol.com
Date sent:      	Sat, 3 Oct 1998 15:05:32 EDT
Subject:        	Re: Losing his Virginity

I enjoyed Dawn's ruminations about Steve's strengths and weaknesses as
they relate to a new label.  From almost the very start (I first saw him
in 1969 in Blind Faith) I felt Steve had the talent and capability to
produce the best "classic" rock music of his generation, i.e. music of
strength, complexity and beauty that would be appreciated forever. Certain
works come close--the eponymous second album and parts of Last Exit,
Barleycorn, High Life, Far From Home--but somehow I've always felt that
Steve still had the great studio album within him, that he hadn't pushed
himself, or been pushed by producers, enough to yield the great
masterpiece (it seems to me) he is capable of.

Undoubtedly he is one of the most gifted performers of his generation, and
I have been fortunate to see him live perhaps two dozens times in as many
years, in many musical permutations: Blind Faith; Traffic as a trio, as a
quartet, as a sextet and still bigger bands, fronting for the Dead; and
solo, from his first U.S. re-appearance in 1987 in Grand Rapids, Mich., to
the wonderful J7 club dates last year.  But unfortunately Steve limits
himself to playing the same 10 or 15 songs (plus whatever is current) year
in and year out, when there are so many great but more obscure numbers in
his catalogue (thinking of Night Train or Here Comes a Man) his fans would
love to hear.

So I'd like to see Steve find a label that would permit him to more or
less retire from performing, as great a loss as that would be, to
concentrate on writing and recording new music.  He would need to find a
writer, or (perhaps better yet) turn to sacred and classic texts, to
supply the lyrics to sing. In theory, he could produce an album of new
material at least every other year.  That would mean five albums a
decade--for (hopefully) many decades to come.  Think of the musical riches
that might flow!  One can only hope.

Les


8*8*8*8*8*8*8*8*8*8
From:           	"Eddie" 
Subject:        	New Traffic Compilation
Date sent:      	Sun, 4 Oct 1998 01:21:45 +0100

I found this on the Island records web site. No other details that that.

Oct 12th

Albums:
Free - Walk In My Shadow - An Introduction to...
John Martyn - Serendipity - An Introduction to ...
Traffic - Heaven Is In Your Mind - An Introduction to...

Eddie


9*9*9*9*9*9*9*9*9
From:           	Winwoodie@aol.com
Date sent:      	Tue, 6 Oct 1998 00:30:43 EDT
Subject:        	Blues Brothers 2000 DVD

The laser disc and DVD of "The Blues Brothers 2000" have a bit more SW.
Both discs have "The Making Of..."  which has a couple more short
interview lines. In one short segment Steve talks about it being different
performing in front of the camera but not being much more difficult.  In
another he says the music is the main thing that keeps him going.   There
are also a couple more shots of him at the keyboard.  Then after the short
there is the movie trailer & a couple of still production frames in which
our hero appears.  It's not alot of material but it's a bit more for those
of us fans who just can't get enough.

Craig Loudon


10*10*10*10*10*10*10*10*10*10
From:           	Stephen Smith 
Subject:        	Capaldi on Bonzos tribute
Date sent:      	Thu, 8 Oct 1998 16:50:14 -0400

From the Bonzo Dog Doo-Dah Band site:

"Jim Yoakum is currently working out the logistics for a Bonzo
tribute/reunion album, set for a Christmas release: IT WAS A GREAT
PARTY UNTIL SOMEBODY FOUND A HAMMER (the title comes from an
unreleased Bonzo track). Yoakum has been talking to some great people
about the project, such as Pink Floyd's David Gilmour, Wreckless Eric, The
Eurythmics' Dave Stewart, Negativeland, Ken Nordine, John Cale. Gene
Pitney, Eric Idle, and others. I was lucky enough to hear a demo of the
"Doin' The Bonzo Dog" by George Harrison and Jim Capaldi, and it's one of
the best post-Beatle songs to come along."

Also, for those interested, I've completed another major enhancement to
the Session Work pages: discographies for all titles, track listings for
Jim Capaldi and a few others, full mention of involvement by Traffic and
Blind Faith members and certain others, and additional info for Jimmy Page
(in Unreleased Sessions).

Steve


11*11*11*11*11*11*11*11*11*11
Date sent:      	Wed, 14 Oct 1998 16:38:06 -0400 (EDT)
From:           	Berkin Altinok 
Subject:        	Here we go

Well, as far as i can remember, i call my self a winwoodian, so that
should be a proper name for us IMHO.

Yes, it happened, Tito, Arturo and Steve were in Istanbul. But guess what
I was not there, because i had several plans with my friends, they knew
about my winwood madness, but i had promised them, so it was really hard,
but heard it was a great concert, the organizers of the Istanbul Jazz
festival said that it was the best concert of the summer, I think that was
flattering.

I think one of the channels in Turkey will air it soon, Although i am in
Boston, i will have it taped of course.

by the way speaking of Tito and Boston and my school Northeastern ,, Tito
and his 12 men band will be at the school, in May sometime, i will let
everyone know about it.

Another thing, interesting, last year one of the golf tournaments on TV in
MA was broadcasted on with a familiar tune, an instrumental "Running on",
How about that,, "ohhh ,, he misses the birdie,, well you better keep
those wheel's go round..."

One final note for right now, did anybody mention about the thing Spencer
pulled back in 67.. Q magazine of this month has  more on this,, but check
this out...

So, winwood leaves ,, SDG, and Spencer tries to replace him, and tries a
lot of guys, and comes up with Eddie Hardin, thinks he will be fine, good
guy,, but do you know who he misses,,this is really historic, it could
have changed
 the Winwood history for big time, (maybe)

Ok, so i think i remember the guy's name correctly, Red Dwight, i think i
might have been wrong, but something close to that..

wow,, oh yea,, well Spencer passed on him, but he later changes his
name, to

yeahhh,, Elton John..

Anyways,, I hope to see some people at thanx giving,, In  New York,
Common people let's meet..

Berkin, finally back.


12*12*12*12*12*12*12*12*12*12
Date sent:      	Wed, 14 Oct 1998 16:45
From:           	bobbieg@azstarnet.com
Subject:        	First Annual Convention

There are currently 10 SPers on my list of attendees to the convention!
We will definitely hold it in Manhattan on Friday, November 27 (the day
after Thanksgiving, for those of us who live in the States).  Steve Smith
and Dawn are researching bars and pubs - it's a tough job but someone has
to do it - and will report back to us soon.  Please let me know if you
even *think* you can come, and I'll put you on the list for updates on
plans.

That's 6 weeks from tomorrow, folks!

Putting on my dancing shoes,
Bobbie