VOLUME 34, sent July 9, 1996

Topics in this issue:
  1. Mystery song/group
  2. Another Keyboardist
  3. Musical Phases
  4. Last Exit
  5. Medley Ideas
  6. Steve, what else???
  7. Hendrix and Traffic
  8. Memories
  9. Quadrophenia
 10. 3 Steve Winwood boots

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Date: Tue, 25 Jun 1996 05:38:37 -0500
From: Richard Batey (rsbatey@gulfsurf.infi.net)
Subject: Mystery song/group

Thanks for posting my question. I now believe that this song may not be from
the Isle of Wight (why the taper put it there is ?). Do you know anything about
Ginger Baker's group Airforce? Could it be them? The sax player sounds like
Chris (?) from Traffic & the drummer sounds to me like Ginger Baker.

Thanks for your help. Sure would like to nail this track down.

Richard


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Date: Wed, 26 Jun 1996 10:11:07 -0700
From: David Stephenson (david91@mindspring.com)
Subject: Another Keyboardist

Another keyboardist for Winwood
Scott Pearson - Forte Music Publishing
c/o Horizon Film Productions
4222 Emperor Blvd.
Durham, N.C. 27703


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Date: Thu, 27 Jun 1996 13:40:30 +1000
From: John McPharlin (johnmc@sb.com.au)
Subject: Musical Phases

Adrian Vockeroth (Adrian.Vockeroth@cc2smtp.NRCan.gc.ca) wrote some
time ago, but I'm a slow reader:

"One very minor segment of Steve's career that Peter doesn't mention is his
stint with Eric Clapton and the Powerhouse (I've also seen the band referred to
simply as "Powerhouse").  Can anyone on the list fill me in on how this band
came  together and where it fits into Steve's career..."

Powerhouse seems to be one of rock's better kept secrets. You'd think that the
Eric Clapton "Crossroads" boxed set, which describes Crossroads as "Clapton's
signature song" would give some prominence to Powerhouse, since their record
is probably the earliest Clapton version of Crossroads, but instead it is
dismissed with half a sentence (in a 30 page booklet) while
talking about the formation of Blind Faith: "the two men had played and
recorded together two years earlier and Clapton
admired Winwood's tunefulness as a singer and songwriter".

Perhaps I'm just a cynic, but I wonder if the owner of these recordings asked for
too much money, so Polydor decided simply to ignore it...

"Lastly, on a different tangent, another musician who I like as much as Steve is
Richard Thompson.  Are any listmembers big RT fans?  I guess his only
connection to SW is that they both played on at least one Sandy Denny album.
"

I am a sometime Richard Thompson fan, although the music that I know and
like best is from the mid-eighties (eg. around the time of "Across a Crowded
Room"). He toured here with Loudon Wainwright III and they put on a great
show but I haven't seen or heard much from him since. There is a Richard
Thompson list group which constantly informs me that he continues to tour and
record, although there seems to be little likelihood that he'll come  here again...

Regards,

John McPharlin


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Date: Thu, 27 Jun 1996 21:23:23 +1100
From: peter nuttall (pnuttall@melbpc.org.au)
Subject: Last Exit

I'm pleased you enjoyed my Musical Phases posting, Adrian, and I'll try to clear
up some of your queries. Firstly, I agree with you that Steve had a more
prominent role in Go than he did in Airforce (though what his contribution was
to the "sounds" between the songs is unclear), I was referring more to the fact
that both were short term projects. I still think his involvement with Airforce
may have been partly due to contractual agreements with the record company,
certainly considering the press reports of conflict between Steve and Ginger
during BF's tour of the States and there's no mention of them ever playing
together since Airforce. It's probably worth noting that when Blind Faith
formed the idea was that their first album would be released on Polydor and
their second (!) on Island (in the UK in any case) and Steve's continued
involvement with Island ensured his commitment to that side of the agreement.

As for Powerhouse, I was only aware of it's existence when I bought my copy of
the "Winwood" double album released in the mid seventies, which contains
Crossroads (a really good version, too). I don't remember reading anything in
the music press at the time and I've never seen the What's Shakin' album so I
haven't even heard their other track (my loss!).

I remember reading an interview with Steve back in '67 when he said that
Traffic weren't intending to include singles on their albums and certainly in the
beginning he was true to his word, only Giving To You (a different version), B-
side Paper Sun, and Coloured Rain, B-side Mulberry Bush featuring on Mr.
Fantasy, though No Face No Name No Number was later released as a single
(with 40,000 Headmen as B-side). I mention this because it has a bearing on
my thoughts concerning Last Exit.

I don't think you can regard Last Exit as an album in the normal sense, it's not
something the band set out to produce but, rather a collection of material
already in the can. In this context it must be noted that Withering Tree was the
B-side to Feeling Allright while Medicated Goo was a single backed by
Shanghai Noodle Factory (the version on Last Exit is slightly different mix
with a more "live" sound to it). Having said that, Withering Tree is one of my
favourite Traffic songs. It's probably also worth mentioning that 'Goo was
recorded as a trio (- Mason). Of the other two studio tracks, Just For You is a
typical Mason song of the period, tuneful, with some nice eastern style
percussion. Something's Got A Hold Of My Toe is an odd track, an
instrumental that goes nowhere (I'm not sure if Jimmy Miller actually plays on
the track, though he is credited as co-writer) but I like it anyway.

What I do find really special about Last Exit are the two live tracks. Blind Man
has that great sound that set Traffic apart, great organ, great sax, great drums
and fantastic vocals. Feeling Good has all the moods and dynamics that Traffic
were able to create. What is surprising is the audience response, for one thing it
sounds like the hall is only half full and there's only muted applause, maybe the
concert as a whole didn't go down too well. It sounds like they're only a trio,
and if I remember correctly Steve was having problems with his voice and the
tour was eventually cut short, with the break up of Traffic following soon after.

I'm a great fan of early Traffic as you know and these are the only live
recordings I have. Treasure. Somewhere in the vaults of Island records there
must be more from that tour, it's a shame nothing else has been released.

BTW no one has yet responded to my request on how to get hold of some of the
bootleg material available. Come on you Traffic fans help me out. If anyone is
willing to tape some of their recordings I'll supply the tapes and pay for the
postage, just get in touch via my email address.

On a different subject, I saw Mason, Wood, Capaldi, Frog back in the winter of
'68-'69, not very inspiring at all. Dave Mason dominated proceedings and they
didn't seem to hit it off well, though Mick Weaver (Frog) is an exceptional
organist. Also, Chris Wood is featured quite a bit on Gordon Jackson's
Thinking Back, but I think it might be difficult to get hold of. I saw Richard
Thompson with his own band back in the seventies, after Fairport Convention,
really good, he's an excellent guitarist.

Peter


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From: "Gabb, Anthony A" (Gabb.Anthony.A@bhp.com.au)
Subject: Medley Ideas
Date: Tue, 2 Jul 1996 12:23:03 +1000


The first two tracks of Roll With It (Roll With It & Holding On) and Refugees
of the Heart could be joined together nicely (Keep on Searching & Every Day).

Other interesting joins could be performed between old and new
material.  For example, Medicated Goo could go quite well with a
similarly styled number like Take It As It Comes.

The possibilities are endless.


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From: Operanut@aol.com
Date: Tue, 2 Jul 1996 00:28:00 -0400
Subject: Steve, what else???

Hi y'all!!!
   I have always admired Steve for his broad musicianship.  I'm a piano player
learning MIDI and like the liveliness of his records.  For most of 1981 when I
was in grad school and having a crisis, I listened to Arc of a Diver and "Empty
Glass" by Pete Townshend obsessively, twice a day for over six months.  I still
don't know why, but the music must have spoken to me in some deep way.   Am
glad to hear he's got a new record coming!!!  The jet on "Wake Me Up On
Judgment Day" reminds me of the jet on "Back in the USSR".  Great sound
effect -- that's the first record I've heard with that on it since the White Album.

Sharon
Opera Nut@aol.com (yes I have to get a real internet provider someday --
somebody other than America On Hold).........; - D


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Date: Wed, 03 Jul 1996 15:03:07 EDT
From: "Stephen Smith" (uscgs4ud@ibmmail.com)
Subject: Smiling Phases - Hendrix and Traffic

This fascinating (to some of us) topic has many branches, and apparent answers
actually raise more questions!  The following tidbits relate to Dan's postings in
Volume 11 and Volume 33.  The session information is from John
McDermott's book Jimi Hendrix:  Sessions (1995).

(1) Nine to the Universe Outtakes

McDermott describes a 2/11/69 recording session at the Record Plant (NYC)
for the Buddy Miles Express album Electric Church.  Two jams were recorded,
"World Traveler" and "It's Too Bad", with Hendrix on guitar, Buddy Miles on
drums, Larry Young on organ, and maybe others (from the Express) which are
not described.  "It's Too Bad" relates to Hendrix' stepbrother Leon.  This seems
to fit the tape described in Volume 33, and I noted that some other material on
Nine to the Universe was recorded around this time (3/69).  Alas, no Winwood!

In addition, parts of the album were recorded at Mercury Studios, but all tapes
were lost except the album master.  One just survived, "Crying Blue Rain" or
"Blue Window", and is described as a spirited blues workout.  This may or may
not relate to the boot CD.

(2) "Voodoo Chile" sessions

The track descriptions of the tape in Volume 33 fit McDermott's description
fairly well.  He mentions 3 takes rather than 5, but he may not be counting
tracks 2 and 4 (on the tape) at all or just not as separate takes.  Great!

The apparent validity of tracks 1-5 on the tape lend credence to the inclusion of
track 6 as part of this session.  McDermott doesn't provide enough information
to support it, though.

(3) Jams tape and A Session

In Volume 11, the date and location of the first jam on the Hendrix and Traffic
jams tape are described as possibly being Olympic Studios (London)  9/5/68.
This is not likely, though.  McDermott writes that after finishing Electric
Ladyland, Hendrix toured in the US for 7 weeks ending 9/15/68, then took 2
weeks vacation in LA.  No recording sessions are listed for 9/68.  However, a
lot of jamming took place with many different people in the TTG  Studios (LA)
in 10/68.  Chris Wood is not mentioned, but there was some flute in connection
with a jam related to "Electric Church" as released on Jimi Hendrix:  Blues.

Lee Michaels (with his Hammond B-3 organ) was heavily involved in these
sessions and certain others.  Up through this last phase of Winwood's early
years, he imitated and expanded upon other keyboard players' sounds and
styles, and others in turn imitated him.  As a result, it's possible that Michaels
could be mistaken for Winwood, further complicating identification.
 I've found that Chris Wood is actually easier to identify sometimes because of
his inimitable emotive style.

One can only wish that the people putting this material out would identify it
more reliably!  Of course, I'm happy that it's available at all...


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Date: Fri, 05 Jul 1996 17:14:44 +0100
From: Mark Tilson (marktil@vossnet.co.uk)
Subject: Memories


I saw Steve Winwood live in about 1980, in Southampton (my home town).
Can't remember much other than the music being excellent. I bought Traffic on
the Road in about 1973 (I would have been about 15), loved it, then learned
about the earlier work, Blind Faith, the first Traffic, etc and realised that
Steve's was the voice I had enjoyed in those Spencer Davis singles when I was
about 7. I've followed his career ever since.

My best claim to fame is that years ago I spent an evening playing snooker (like
pool, but on a bigger table) with Rosko Gee who had done some session work
with Traffic and I was delighted to see that he was the bass player in the recent
Traffic lineup. He's a great bass player, but his snooker is as bad as mine :-)

See ya!
Mark.


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This question-and-answer exchange was part of the majordomo test, which I
include here:

Date: Sat, 6 Jul 1996 08:41:07 -0700
From: bobbieg@azstarnet.com
Subject: question

Does anyone know whether Steve Winwood is scheduled to perform at the live
premiere of "Quadrophenia" (Music Concert for the Prince's Trust) which is to
air on HBO on July 14th at 8:00PM ET/PT????



Date: Sat, 06 Jul 1996 14:07:30 -0500 (CDT)
From: vankirks@ctrvax.vanderbilt.edu (Shannon Van Kirk)
Subject: Re: question

"Does anyone know whether Steve Winwood is scheduled to perform at thelive
premiere of "Quadrophenia" (Music Concert for the Prince's Trust)which is to
air on HBO on July 14th at 8:00PM ET/PT????"

The concert actually took place last night (or the night before).  There has been
no mention of Steve in any of the brief articles, ads or publicity about the show.
Of course, that doesn't mean the shy, retiring Mr. Winwood isn't performing.  It
just means that it will be hard (as usual) for his fans to figure out whether or
not he is.

If anyone finds out for sure, PLEASE post it here immediately.

Thanks,
--Shannon


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From: "Gary Ames" (garyames@enterprise.net)
Date: Tue, 9 Jul 1996 21:38:06 +0000
Subject: 3 Steve Winwood boots

Whilst writing , I've picked up 3 Steve Winwood boots
2 CDs , USA 87 & Maine 89
3 tapes Firenze Italy 28.5.83,Hammersmith Odeon London,11.7.83 ,
Yokohama Arena Japan 22.3.91
Do you know if anybody is interested to trade? I don't recall having
seen all of these on the Web page
Cheers!
Gary


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END OF SMILING PHASES, VOL 34