"Here We Go 'Round The Mulberry Bush" OST, Featuring Traffic & The Spencer Davis Group

Original released on LP United Artists UAS 5175

(US, 1968)

Although not a proper Spencer Davis Group album, eight of the fourteen songs on the soundtrack to this silly late-'60s British flick were by the group (most done, alas, just after the departure of Stevie Winwood). There were also three tunes from Traffic, and a nice orchestral-psychedelic oddity from Andy Ellison (lead singer of John's Children). Heard in isolation from the movie, the album tends to highlight just how important Winwood was to the Spencer Davis Group, whose numbers are pleasant, almost stereotypically late-'60s London pop throwaways. "Waltz for Caroline," which does feature Winwood, is an organ-dominated instrumental that is identical to the cut titled "Waltz for Lumumba" on other SDG releases; "Picture of Her" is a ringer for the kind of songs Jack Bruce and Peter Brown wrote for Cream. Better are Traffic's more soulful contributions, especially the title track. (Richie Unterberger in AllMusic)

WELCOME TO THE CANTEEN

Original Released on LP Island ILPS 9166 (1971/09)

SOME REVIEWS:

How you react to this album will probably have more than a little to do with just how much of an original Traffic freak you are. And if you loved the Spencer Davis Group during its mid-Sixties coming-to-be, then you may also have your reservations. Oh, all the right personnel are on hand - Stevie Winwood, Jim Capaldi, Dave Mason and Chris Wood - but it's pretty hard to improve on perfection. So it sounds strangely hollow to hear these four, buttressed by the addition of Rick Grech (Family, Blind Faith), Kwaku Baah and Jim Gordon, serving up still another helping of "Medicated Goo," "40,000 Headmen," "Dear Mr. Fantasy" and "Gimme Some Lovin'." The whole thing was recorded at a live concert in Croydon and at the Oz Benefit Concert in London. Certainly the Oz fund could be considered a worthy cause, but since the profits from this record are going elsewhere, there's an element of rip-off to the proceedings. Still, if you're into nostalgia, or if you want to hear some fair to good live versions of what have already become rock classics, you might want to tune in on these tracks. But for the real thing, you still can't beat the originals!
(Circus, 1/72)

Former Traffic members get together for this live recording which shows off the tremendous instrumental and songwriting talents of the group. The band jams on a 14-minute "Dear Mr. Fantasy" and an extended version of the famous "Gimme Some Lovin'," Also included are Dave Mason songs, "Shouldn't Have Took More Than You Gave" and "Sad and Deep as You."
(Billboard, 1972)

Following the success of John Barleycorn Must Die, Traffic planned a concert album for the fall of 1970, and it got as far as a test pressing before being canceled. A recording was necessary to satisfy the terms of British label Island records' licensing deal with American label United Artists, which had provided for five albums, of which four had been delivered. With Island starting to release its own albums in the U.S., the UA contract had to be completed, and hopefully not with the potentially lucrative studio follow-up to John Barleycorn Must Die. Thus, Traffic tried again to come up with a live album by recording shows on a British tour in July 1971. Joining for six dates of the tour was twice-dismissed Traffic singer/guitarist Dave Mason, who had subsequently scored a solo success with his Alone Together album. The resulting collection, Welcome to the Canteen (which was technically credited to the seven individual musicians, not to Traffic), proved how good a contractual obligation album could be. Sound quality was not the best (and it still isn't on the 2002 remastered CD reissue, though it's better), with the vocals under-recorded and stray sounds honing in, but the playing was exemplary, and the set list was an excellent mixture of old Traffic songs and recent Mason favorites. Dear Mr. Fantasy got an extended workout, and the capper was a rearranged version of Steve Winwood's old Spencer Davis Group hit "Gimme Some Lovin'"

(All Music)

TRAFFIC'S THIRD

Original Released on LP Island ILPS 9180

(November, 1971)

The album cover notwithstanding, Traffic didn’t cut any corners on their followup to John Barleycorn. The Low Spark of High Heeled Boys follows the same design: six tracks that wrap psychedelic/rock/folk sounds together into a rich musical landscape. The difference is a saturation in sound versus the dry Barleycorn, possible now that Traffic’s recent tour had left them swelled to a sextet. Jim Capaldi and Steve Winwood are still responsible for the bulk of the music, including such classics as the title track and the similar-sounding “Light Up Or Leave Me Alone.” On the 12-minute title track especially, Traffic was mesmerizing. It’s hard to say why; the music isn’t any more complicated or catchy than Chicago, but it has an unspoken stillness that commands attention. (Astute listeners may find a parallel between this track and David Bowie’s “Sweet Thing.”) Also popular is the funked up “Rock & Roll Stew,” another psychedelic cut that’s aged remarkably well, this time written by new members Rick Grech and Jim Gordon. It’s an atypical track for Traffic, but a great way to shake off some of the dust. The remaining songs are uniformly excellent, belonging to the same school as Barleycorn’s other bits. The pronounced folkiness of “Rainmaker” suggests the rustic school of Tull, while the bittersweet “Hidden Treasure” and “Many A Mile To Freedom” serve the same purpose as a “Freedom Rider” or “Stranger To Himself.” While the arrangements are richer, don’t expect a linear increase in complexity over Barleycorn; as Canteen showed, more players doesn’t necessarily equal more music. The percussion of Reebop Kwaku Baah is an added dimension, but Grech and Gordon don’t anything that a Winwood or Capaldi couldn’t have multitracked. Still, this is the richer album, trippy and vibrant where Barleycorn had a pronounced, brittle folkiness. If their last studio album went down smooth, you’ll get an even bigger charge out of Low Spark. (Dave Connolly)

Quality, brevity, pitch-perfect, beautiful english rock at another cutting edge in its time: Pure lyrics and musicianship - stark, memorable, strange, unpretentious yet full of poetry: Classy music, built to last forever!