The second of two sent today.

Volume 175, sent Dec 9, 1999:
1. Mr. Fantasy (Remastered) mono/stereo differences
2. McEvoy MP3
3. Remasters and idea for posts
4. Monday at Shepherd's Bush
5. Dylan/Winwood, PA
6. John Barleycorn (Remastered)
7. Lithos and OneList

Date sent: Mon, 06 Dec 1999 13:28:18 -0500
Subject: Mr. Fantasy (Remastered) mono/stereo differences
From: Trafficologist (Ted G.) -

Mr. Fantasy (Remastered) mono/stereo differences (or, "Trafficology 201"...):

Perhaps it was overkill for Island to use the entire original U.S. mono version of MR. F. for bonus tracks on this CD, given that most of the mono tracks don't really add anything to the stereo versions. For example, I doubt that many listeners, since getting this CD, have said, "Gee, I feel like hearing the mono version of 'No Face, No Name, No Number' today!". (Nothing against that song, but hopefully you get my point.)

Nonetheless, the CD does present the listener with a nice little game of "Find The Version Differences". After a couple of close listens, here is what I found to be different about the mono versions. (Note: The times given for mono versions don't include the inevitable 'Mulberry' snippet.)

HEAVEN IS IN YOUR MIND - Different guitar solo at end (as previously discussed in SP); distinctly heavier reverb on Steve's vocal; faded out a little earlier (stereo = 4:16, mono = 4:10).

BERKSHIRE POPPIES - Beginning cut off (i.e., no "1-2-3, 2-2-3") -- stereo = 2:55, mono = 2:50.

HOUSE FOR EVERYONE - I'd like to know if anyone else caught this one: The placement of the wind-up noises at the beginning is slightly different. In the mono version, the 4th wind-up sound cuts into the first note of the sax melody; in the stereo version, it finishes right before the first sax note -- definitely an improvement.

DEALER - This is the one track where I wish the stereo version was more like the mono one. In the stereo version the vocals fade out at 2:42 and the song ends at 3:09. In the mono version the vocals end (not faded out) at 3:06 and the song ends at 3:26.

HOLE IN MY SHOE - Both versions fade out after the 5th 'aaaaaaaa' (or whatever you'd call it) but the mono version doesn't fade back in for the 6th -- stereo = 3:00, mono = 2:50.

GIVING TO YOU - As everybody probably knows by now, the mono version here is identical to the original 'Paper Sun' B-side version. This version (as has been discussed before) has a vocal verse at the beginning and no jive talk at the beginning or end. It also has a somewhat different mix which includes a flute riff near the beginning that was mixed out of the stereo version, and in which the flute choruses sound noticeably different (more emphasis on the melody). What I want to know is: Is this really the track that appeared on the original U.S. mono album? What happened to the original mono "different jive talk" version ("stop makin' it, man", etc. -- see SP 37-04)? Was that only on the U.K. mono version? (IMHO, that would have been a better bonus track than most of the ones that were actually used.)

Did any sharp-eared types hear any differences that I missed?

From: Ken
Subject: McEvoy MP3
Date sent: Mon, 6 Dec 1999 16:00:20 -0800 sent this to me:


Date sent: Mon, 06 Dec 1999 22:40:39 -0500
From: speakershop
Subject: Remasters and idea for posts

Just wanted to ask you what you think of the remasters. I received my JBMD this week. I really like the Live-70 material. The playing is quite good, I believe that shoots the theory down that the band pulled the plug because of a sub-par performance. I fail to understand how Island did not include Freedom Rider after Glad. I've been listening to a lot of 74 tour material. I was wondering if anybody likes the live version of Shootout from Ft Worth 10/12/74 as much as I do. What a great version.

Got me thinking if subscribers may like to post what their favorite versions of songs from live shows are. i.e. Feelin Good (love the '68 Fillmore version w/ mason).Speaking of that show, I'm overwhelmed by how much the band had grown from the 9/67 shows. That particular gig was a tantalizing view of what could have been. The group was breaking new ground. What a shame they broke up.

Best Wishes, GUY

Date sent: Tue, 7 Dec 1999 18:23:16 +0000
From: Jan Henderson
Subject: Monday at Shepherd's Bush

Went down to London last night to see Steve at the Shepherd's Bush Empire - I have to say it was one of the best gigs I've been to for years, and certainly the best Winwood concert (and I have seen quite a few over the years). Steve seemed very happy and confident, was obviously enjoying himself, and, backed by an amazingly tight band that was really cooking all evening, was in top vocal and musical form. All the classic tracks, from I'm a Man through Can't Find My Way Home, a sprinkling of Traffic stuff including Dear Mr Fantasy, Low Spark and 40,000 Headmen, and plenty of solo stuff, were included - ending up with a rousing Gimme Some Lovin' encore. An excellent evening - one to treasure.

Date sent: Tue, 7 Dec 1999 18:37:28 -0500
From: Scott Smedley
Subject: Dylan/Winwood, PA

The Phil Lesh and Friends band, on tour with Bob Dylan, sang not only "Dear Mr. Fantasy" in the past two months, but also on at least one occasion "Low Spark of High Heeled Boys." Warren Haynes, ex-Allman Bros. guitarist, current Gov't Mule front man, from what I heard did an excellent job on the vocals.


ps. The town that shares it's name with Steve near Philadelphia is actually spelled Wynnewood, and not Winwood. The strange spelling probably comes from the Welsh settlers in the area, and I've never seen it spelled the other way.

Date sent: Thu, 09 Dec 1999 07:50:40 -0500
Subject: John Barleycorn (Remastered)
From: Trafficologist (Ted G.) -

Random thoughts on the bonus tracks on the JOHN BARLEYCORN (Remastered) CD...

Did Jim C. actually have anything to do with "I Just Want You To Know"? And why is "Backstage & Introduction" credited to Winwood/Capaldi?

It's incredible that at least the 1st half of the lost LIVE 1970 album is finally available after all this time. It doesn't seem that the story of why it was lost in the first place is any clearer, though.

It's weird how we get to hear "Freedom Rider" beginning at the end of "Glad" but then don't get to hear the rest of the song (and wouldn't have even on the full album as it was meant to be released). I don't think I've ever heard of anything like that on a live album before.

Pure opinion: Even if the 2nd half of the LIVE 1970 album was better than the 1st -- and just based on the track listing I suspect it would have been -- I personally don't think this would have been a better live album than WELCOME, ON THE ROAD, or even the live side of LAST EXIT.

And that's all I have to say about that.

From: "BobbieG."
Date sent: Fri, 10 Dec 1999 07:12:25 -0700
Subject: Lithos and OneList

Another reminder about two things!

1) There are still 50th Birthday lithos available and I can still get one sent to you in time for the holidays. This project was approved by Steve for our use only. I'm still waiting to hear what charity the money will go to, and I will let you know as soon as I do. Email me for more information.

2) SP will become automated around February 1, 2000. We have 8 people learning and testing the system, and it's been great fun! (Andrea and Kat, I'm looking in your direction!) If you'd like to help out, either email me or go directly to and join the Smiling-Phases list.


End of Smiling Phases, volume 175