VOLUME 67, sent April 21, 1997

Topics in this issue:
  1. some answers
  2. more answers
  3. Billy Joel comparisons
  4. Re: copyrights
  5. Needs VH1 Honors Concert tape
  6. Re: Set list
  7. Re: Not Fade Away
  8. AOL sites on album cover designs
  9. Re: I'm a Man
 10. Re: SP Journal
 11. VH1 With Steve

From: "Angelo" 
Subject: some answers
Date: Mon, 21 Apr 1997 09:09:56 +0200

I would like to anwer a couple of question on # 66.

number 1: to skaz....

Yes it is DRUGS!!! Write for list of other drug-related songs/ lyric lines...

number 4: to Arnie: Yes, it is Dave Mason in dark sunglasses. The original
core of Traffic was ALWAYS  Steve, Chris AND Jim: Mason split the moment
he decided to compose and sing songs his own way and the moment the success
of Hole in My Shoe went to his head. If you see the British version of "Traffic"
the inside booklet where Dave appears was taken out, the only thing they
couldn't do was taking his image off  the front cover. Grech, Gordon, Reebop,
Hood, Hawkins and Rosko all collaborated but weren't responsible for the
Traffic Project, even if they collaborated to the creative side to some extent. But
only because Traffic were very open minded. But TRAFFIC always belonged to
Steve, Chris and Jim (their words, not mine).




From: "Jason Nickerson" 
Subject: more answers
Date: Sun, 20 Apr 97 23:26:32 PDT

> From: "Vockeroth, Adrian" 
> Secondly, one listmember described some form of video that he or
> she was thinking of creating and indicated that it would be
> created in a particular manner so as to avoid copyright problems.

This was purely a creative brainstorm to add to the wondrous soul of SW.  No
attempt has been made to sidestep SW's accomplishments by advocating
copyright violations as you would seem to imply.  This computer video would
simply be a video with no audio, but synched with an actual SW song.  In other
words, the person would have to have music of SW if the music is to sync
together with the video.

> From: Shaft51@aol.com
> A friend of mine from Scottsdale dropped me a line the other day
> and asked me if I was aware of whether or not those at Virgin
> Records, Ron Weisner Entertainment or any other sources are
> making attempts to get Steve Winwood into the Rock and Roll Hall
> of Fame.

I wouldn't worry about it too much :).  SW is largely under-appreciated in these
times (e.g., "Refugees of the Heart").  SW's music will actually live forever and
will actually create a sense of nostalgia as rarely experienced ever.  Don't
despair, just give it time.  Way ahead of his time! :)

Date: Sun, 20 Apr 1997 16:44:20 -0500
From: jordan 
Subject: Billy Joel comparisons

Check out the cassette single of "We didn't start the Fire"  There's a song on the
back side called "House of Blue Lights".  This is rare recording of BJ playing
Hammond organ.  It's obvious who he's been listening to.

From: JPatGray@aol.com
Date: Mon, 21 Apr 1997 07:35:37 -0400 (EDT)
Subject: Re: copyrights


Copyright in this country is regulated by Title 17 of the United States Code,
between Canada, Mexico and the US under the NAFTA treaty, and while the
international laws are still incomplete, it looks like it will come under GATT
1994 and administered by the World Trade Organization.  In other words, you
really need a lawyer.

Patrick Gray

Date: Mon, 21 Apr 1997 13:53:41 -0400 (EDT)
From: Kathy Brooks 
Subject: Needs VH1 Honors Concert tape

I would like to ask if anyone would be interested in selling me a copy of the
VH1 Concert.  Believe it or not, there are still places on this planet that do not
actually get VH-1 (scary, isn't it?).

Please mail me at kbrooks@mutech.com if anyone would be interested.


From: "Les Jacobson"
Date: Mon, 21 Apr 1997 10:10:13 -0500
Subject: Re: Set list

Editing my dream set list for this summer's concert tour, I decided Steve should
include a few more covers for variety and interest.  Two that occur to me are
Stevie Ray Vaughn's (Caught in the) Crossfire, and I'd suggest he play the
guitar solos note-for-note, as homage to the master (and because they're pretty
damn good notes).  A good encore would be the Beatles' Long and Winding
Road, with Steve on acoustic guitar or mandolin.  And as long as we're
dreaming, I hope Narada and Nile Rodgers are in the band: what a rhythm
section!  Watching the VH1 Honors concert (I keep showing it to different folks
so I can get off on it again) I notice what a fine rhythm guitarist Rodgers is.
Speaking of which...Family Affair: better by far live than the studio effort, and
in fact, one of the surprise highlights of the show.  Perhaps Steve will get some
credit for reviving interest in Sly Stone, a great and long-neglected rhythm &
funk artist of the late '60s. And the final fantasy for this summer: JT and Chaka
Khan "drop in" (sounds like the Oprah show!) for a few concerts and sing
harmony, plus maybe even a few of their own numbers.  It's fine with me!

From: LoudnCraig@aol.com
Date: Mon, 21 Apr 1997 03:05:40 -0400 (EDT)
Subject: Re: Not Fade Away

Adrian Vockeroth is right that the Rolling Stones were not the original artists
to do "Not Fade Away".  I only remembered they had a big hit with it.  Too bad
the song did not get on the VH1 Honors show.  They showed only a couple of
verses on the  Backstage at Honors program.


From: Dreemwyvr@aol.com
Date: Mon, 21 Apr 1997 00:39:34 -0400 (EDT)
Subject: AOL sites on album cover designs

I was in the middle of muddling through AOL's personal publisher to create a
web page, searching for online art resources, and ran across a site for the artist
who created Winwood's Arc of a Diver album cover.  The artist discloses the
story behind the cover.  Thought you might find this of interest, if you haven't
already seen it.

Steve Winwood-
Arc of a Diver

Wile we're at it, there's another section in this site that goes into Traffic as

Rock & Roll
Album Art Gallery

Laura Bone', aka Dreemwyvr

[Enter these at Keyword on AOL.  For those of you who don't have AOL, the
"Arc of a Diver" site reads:
Artist: Tony Wright
Medium: Lithograph
Image/Artist Info:
Tony Wright-
"Arc of a Diver" came out in 1980, a time when record sleeves were still the
main visual image that accompanied the music.  Just then videos were starting
and I knew the record sleeve was on the demise.  They had grown from just
being a package to being independent works of art to be judged in their own
right.  "Arc of a Diver"  looked like an art print, it had striking presence
because of that.

I remember making the picture very well.  It was the last cover I did in
England.  I'd gone there for my "last summer."  Steve was just finishing the
record when I arrived.  I wasn't intending to do any work, but quickly this
changed.  Although I'd done several thing for Steve obliquely through Chris
Blackwell, I'd never worked directly with him.

I had a demo tape of the music to work to.  I did about 15 ideas in sketch form
to illustrate what the music and title suggested to me.  Some were English
countryside images like the flash of a kingfisher when it dives, some were about
the arc of space, but the one that struck me the most and I hoped he'd choose
was a very simple Matisse-like diver.

It was a long drive to his place in the country.  He was in hiking gear looking
incredibly young and healthy.  The house maybe dated from the sixteenth
century, his studio was built underground in what must have been the cellars.
Steve's first wife was there, she thought the diver looked awkward.  He replied,
"If I did a dive that's the way it would look."  She warmed to it and decided the
red heart showed the diver had soul.

When you first was the cover you couldn't help but be caught by its unique

The "Low Spark" site reads:
Artist: Tony Wright
Medium: Lithograph
Image/Artist Info:
Jim Capaldi-
I remember the "Low Spark" session vividly.  I had written the lyrics for the
title track and had given them to Steve.  On the way to the studio he said he'd
written something that was so so.  When he sat at the piano and first played it
through it took awhile to sink in- but you instinctively knew that you'd just
heard a classic.

We got the track down, and it was time for the vocals.  While Steve was
singing, Chris Blackwell noticed that we intended to repeat a verse because I
didn't have enough for a last verse.  Chris said there definitely should be one,
and I agreed.  I wrote the last verse while I was sitting outside the recording
studio and Steve was singing inside.  I went into the studio and slipped the new
lyrics on the music stand, and Steve just ran it off- and that was the take.

Then we were listening through, and all getting very excited because by now
we'd become very familiar and very intoxicated with the track.  That's what it
does to you.

I wanted the album cover to reflect this very special and unusual piece of music.
It was unanimous that the cover would have to be the title track.  So I was
thinking about this while doodling with a chinagraph pencil on the control
desk.  The thought to me that although people had for a time tried everything
imaginable on album covers, they were all basically square in shape.  I had
been drawing a cube as millions of people must do every day.  But looking at it,
I realized that if you were to chop two opposite corners off an album jacket
diagonally, and draw in the relevant lines you would be holding a cube in your
hand.  Chris Blackwell gave t o Tony Wright.  When I saw what he'd done with
it, I was totally knocked out.  The rest is history.

Tony Wright-
It was the first cover I designed.  When Steve saw it he said, "It looks like
Traffic's music sounds."


From: "Mike and Janie Jordan" 
Subject: Re: I'm a Man
Date: Sun, 20 Apr 1997 21:33:57 -0500

Tell Jack that "I'm a Man" was probably written for a British 60's teenage love
movie called "Here We Go 'Round the Mulberry Bush".  Tell Adrian he's right,
Buddy Holly did write "Not Fade Away".

Be good to yourself


From: RRopek@aol.com
Date: Mon, 21 Apr 1997 00:32:44 -0400 (EDT)
Subject: Re: SP Journal

Is this idea a joke ?  Since Arnie didn't elaborate, I'll guess that he sees this as
either pretentious or not really possible, in the context of the subject matter.  As
no one else has yet aired an opinion, perhaps an elaboration on my part would

"Scholarly Journal" is a kind of working title of something that is just a little
different from the 'usual' or 'typical' posts that comprise most of SP.  I like
mostly all of what I read in SP, because it shows an interesting diversity of
ideas and opinions about what people like about Winwood's music, etc.

But, I really enjoy seeing the product of someone's work hard at digging up
facts and presenting material that is not generally known or available.  No,
this doesn't have to be a PhD dissertation - but the authors of research oriented
should have a forum, such as a 'special issue' of SP, that gives some recognition
to the work involved.  The idea of "peer review' is just quality control, so that
mistakes can be found before a release to the group.  This doesn't seem too
ridiculous,  does it ?  Basically this is what "Coloured Rain" is all about, as well
as "Chronicles'.

Anyhow, I hope this helps - maybe it still sounds like a "joke", but I have been
working on a longish piece on unreleased music of Traffic that I hoped could
start things off.  Please feel free to email me or post SP with comments /


Date: Mon, 21 Apr 1997 01:21:46 -0500
From: Yui-chan 
Subject: VH1 With Steve

When Winwood showed up on the Honors on VH1 it was the first time that I
had seen a current picture of him in a long time.  I was surprised with how
GOOD he looked.  Let's face it, Steve is getting up there in age, but he looked
good and more importantly he sounded great.

However, what I thought was more striking was the comparison between the
old guard musicians like Winwood and Wonder with the young ones like Crow
and the Young Dylan boy.  The difference in pure musicianship was
astounding.  The old guard just blew the young ones away.  And it's not that
Steve et al learned how to be musicians with their age, they've been performing
like this for a long time, well over 20 years.  So why was difference between
them so drastic?  I guess Crow and the Wallflowers are supposed to be the new
"superstars" of the 90's.  Has the quality of music really declined that much?

And with this I don't mean the style of music or what have you, but the actually
artist aspect of music.  If you look at Winwood or Wonder you think, "That is a
musician."  I don't think that when I look at a lot of the new kids on the block
(pun intended).  Am I just smoking something or is there a change.  If so, why?