Posts Tagged ‘Dave Mason’

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As Dave Mason reflects in a statement, “I’ve played these songs for the better part of 50 years because I love them. I re-recorded the whole album because I still feel inspired by the music. This makes “Alone Together Again” a true labour of love. Some things I know for sure; music is relationship and love is best when shared. That is the whole conceptual play of Alone Together.” Here, he performs the album in its original sequence with members of his touring band and special guests such as Jonathan McEuen, Gretchen Rhodes, and Doobie Brothers multi-instrumentalist John McFee.
Now, unlike some re-recordings, the reimagined versions aren’t a ploy to land a sync deal or to bury the classics we’ve come to love. Rather, these talented artists are drawing on a fifty-year vantage point with new experiences and perspectives to inform their compelling interpretations. Both Yusuf (Cat Stevens) and Mason seek to build on their legacies with new performances that complement the original albums rather than replace them. Arriving as they do at a time when we’re truly alone together again, living in a wild world that’s tackling many of the same questions from 50 years ago, the words remain pertinent to our current times, while the performances remain spirited.

“Alone Together” was my first solo album. Like all firsts, they are special. The original tapes that burned in the 2008 Universal fires was heart-breaking. But it occurs to me, the Music never dies.

I’ve played these songs for the better part of 50 years because I love them.  I re-recorded the whole album because I still feel inspired by the music.

We allowed ourselves to have some fun with the presentation of this CD, which is marbled and multicoloured, just like the original vinyl. And true to the original album, it’s a three part fold out. We tried to find the exact spot in Joshua Tree to reshoot the photo, but, well, it has been over fifty years ago and we couldn’t be sure. But we think we recaptured the spirit, nonetheless.

I hope you’ll enjoy listening to Alone Together Again as much as I had in making it. And I hope you’ll feel the love when you have it in your hands, and when the music hits your heart.

Alone Together included a tri-fold die-cut design and what might be the first example of marbled colour vinyl on a mass scale. Thankfully, these visual elements remain in their reimagined versions. The tillerman in the new edition has returned from a space expedition while the children enjoy music through headphones and gaming on a cell phone. – Dave Mason

Wait! There’s More! You’ll hear great music, but you’ll also have something awesome to look at. Encased in a tri-fold jacket, complete with die cut image of Dave Mason in a top hat and collaged behind a rocky outcrop. The interior pocket holds your marbled CD, an homage to the legendary original record.  Alone Together Again will bring you joy both for the ears and the eyes.

Featured on this CD is the Dave Mason Band: Johnne Sambataro on guitar, Alvino Bennett on drums, Anthony Patler on bass & keyboards, and special musical guests John McFee, Jason Roller, Jonathan McEuen, Gretchen Rhodes, Bill Reynolds, Jesse Siebenberg, Teddy Jack Russell and Billy Mason.

“Alone Together Again” will ship out July 27th.

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Hindsight may be less than favorable concerning the super-group phenomenon, but Delaney and Bonnie’s efforts represent the most complementary and productive examples of the communal creativity at the heart of this approach, one which crystallized in the brief roadwork captured. On Tour with Eric Clapton recently released in an expanded edition; it’s little wonder this group, headed primarily by Delaney, went on to supervisor EC’s eponymous solo debut (see Bracelet’s mix, markedly different and arguably superior to, than official producer Tom Dowd’s, included in the Deluxe Edition CD set of that album).

   

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On Tour with Eric Clapton-Expanded Edition The four CDs in this set originally comprised a Very high-priced, limited edition package, the design of which replicated an equipment road-case. The cover artwork here mirrors that and, presumably, a pristine sound mix courtesy Bill Inglot and Dan Hersch that pulses with no small measure of the excitement in those moments.Including extensive historical notes by Bud Scoppa taken from perspectives as varied as Bonnie Bramlett herself and engineer Glyn Johns, as well as technical notes, the newly-issued set turns into a true labor of love that’s worth the dramatically reduced price. The complete concert from the Royal Albert Hall in London accompanies composites and further complete later shows on the seven-day tour; and while not surprisingly, there’s more than a little overlap, the ostensible redundancy really serves to further illustrate how infectious are these performances. And while Eric Clapton’s participation is limited to the sideman role he preferred at that time, he does take a lead vocal on “I Don’t Know Why” and there’s no mistaking what his guitar work adds to this roiling eclectic mix of vocals, keyboards, horns (trumpeter Jim Price and saxophonist Bobby Keys who went on to play with the Rolling Stones) and a redoubtable rhythm section.Given the durability and spirit of the setlist, including The Spencer Davis Group’s “Gimme Some Lovin’,” “Only You Know and I Know,” (composed by ex-Traffic member Dave Mason, whose presence in the band is given short shrift) and most conspicuously “Coming Home” with its clarion call guitar figure, it really no surprise it didn’t change much night tonight.

As no pictures of Delaney and Bonnie were deemed good enough for the album cover, a photo was used instead of a Rolls-Royce Silver Dawn in a desert, reportedly taken by manager Barry Feinstein while working as a photographer covering a Bob Dylan tour in 1966. Dylan’s feet are those hanging from the car window.

On Tour was re-issued in 2010 as four-disc box set, packaged in a mock road case containing the complete performance from the Royal Albert Hall, plus a composite of the next night’s performances at Colston Hall in Bristol, and both the early and late shows from the tour’s final stop at Fairfield Halls in Croydon. George Harrison played slide guitar on the English leg of the tour that followed the Albert Hall performance, as well as in Scandinavia, therefore he doesn’t appear on the first disc but does on the other three.

On Tour with Eric Clapton is a 1970 album by Delaney & Bonnie with Eric Clapton, recorded live at the Fairfield Halls, England. Released on Atco Records, The album features Delaney and Bonnie’s best-known touring band, including Eric Clapton, Jim Gordon, Carl Radle, Bobby Whitlock, and Dave Mason. Many of the players on this album would later go on to work with George Harrison on his post-Beatles debut album All Things Must Pass and with Clapton on his solo debut. The horn players Bobby Keys and Jim Price would play on the albums Sticky Fingers and Exile on Main St by the Rolling Stones, and join them for their 1972 STP Tour. Whitlock, Radle, and Gordon would form with Clapton his band Derek and the Dominos for Layla and Other Assorted Love Songs.

The album has received highly positive reviews, with many critics suggesting the album is superior to Clapton’s prior project (Blind Faith) . In the Rolling Stone Album Guide, the album is described as “a triumph”, which is attributed to the fact the band was “one of the best” in “rock and roll”. Writing for Rolling Stone, Mark Kemp said the album contained “wicked performances of the kind of country and boogie that would define Southern rock”.Mojo described the album as “one of the two Rosetta Stones of roots rock’n’roll”.

The Band:
Bonnie Bramlett — vocals
Delaney Bramlett — guitars, vocals
Eric Clapton — lead guitars, vocals
Rita Coolidge — backing vocals
Jim Gordon — drums, percussion
George Harrison (under the pseudonym L’Angelo Misterioso) – guitars (discs two — four of box set only)
Tex Johnson – percussion
Bobby Keys — saxophone
Dave Mason — guitars
Carl Radle — bass guitar
Jim Price — trombone, trumpet
Bobby Whitlock — organ, keyboards, vocals

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Two stunning BBC sessions from the heyday of the british band fronted by Steve Winwood and Jim Capaldi. One shot recorded before the release of the debut album on Island Mr. Fantasy, the second – December the 11th – right after. Facing the beginning of a new groove revolution after the blues explosion.

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Things are getting more sophisticated down here. The band just released his debut album and is ready to roll. Second self-titled album is almost there, so a number of key tracks like Pearly Queen,Who Knows What Tomorrow May Bring and Feeling Alright. Three different radio sessions from winter and the hot summer of ’68.

Classic Radio Broadcasts: On their formation in April 1967 Traffic experienced instant success and rapidly expanding popularity. That they accomplished so much in such a short space of time attests to the talent of the band s particular blend of creative forces, but also might explain why the first few years were so tumultuous. Although Steve Winwood was already a widely respected figure due to his time with The Spencer Davis Group, the strength of Traffic’s debut single, Paper Sun, took many observers by surprise. A number 5 hit in the UK, the song signaled that Winwood had matured into one of the most significant figures in British music and, as further material appeared over the course of 67, that Traffic were a major arrival on the scene – Dave Mason’s Hole In My Shoe gave the band a UK number 2 in August and November s Here We Go Round The Mulberry Bush their third successive top ten hit. When the group s debut album, Mr. Fantasy, arrived in December, it was to rapturous acclaim on both sides of the Atlantic; but trouble lay ahead. In early 68 Dave Mason quit, citing artistic differences. Although he briefly re-joined the band during sessions for their second album, Traffic, he left again shortly after and Traffic never really recovered. Winwood exited in early 69 (to the shock and surprise of Jim Capaldi and Chris Wood) and formed Blind Faith alongside Eric Clapton & Ginger Baker.

Despite their eventual reformation in 1970 (minus Mason), 67- 68 thus stands alone as the original pure era in Traffic s history. With the impact that the band made on British music at the time, they fast became fixtures of radio programming, on John Peel s Top Gear show in particular. Collected here are the complete BBC performances by Traffic from across 1967-68, a fascinating journey that traces the evolution of the band over the course of its quintessential period, from Paper Sun in September 67 to Feelin Alright in July 68, Dave Mason’s last great gift before he walked.

This Dynamic broadcast recording from the band Traffic in 1972 featured Steve Winwood, Jim Capaldi, Dave Mason, and Chris Wood who met at a nightclub the Opposite Lock in Aston, Birmingham in the mid-1960s. At the time Winwood was still performing with The Spencer Davis Group, but when he quit in April 1967, the quartet formed Traffic.

Traffic signed to Chris Blackwell’s Island Records, and their debut single “Paper Sun” became a UK hit in the summer of 1967. Further hit singles followed and their debut album, “Mr. Fantasy”, was successful in the UK. Dave Mason left the group by the time Mr. Fantasy was released, but re-joined for a few months in 1968, long enough to contribute to their second, eponymous album. The band however was discontinued following Winwood’s departure in early 69. He then formed the supergroup Blind Faith, which lasted less than a year, recording one album and undertaking one US tour. After the break-up of Blind Faith, Winwood began working on a solo recording, bringing in Wood and Capaldi to contribute, and the project eventually turned into a new Traffic album, “John Barleycorn Must Die”, their most successful record of all.

In 1971 the group released The Low Spark of High Heeled Boys (1971), a Top 10 American album but one which did not chart in the UK. They toured America in early 1972 to promote the LP, during which they performed an extraordinary concert at the Santa Monica Civic Auditorium on 21st February, which was broadcast across FM radio along the West Coast, and is featured in its entirety . The quite superb performance includes cuts from their two finest albums.

recorded at the Santa Monica Civic Auditorium in 1972, this concert seems to kick off with a somewhat spacey, mildly exploratory version of the title tune of the band’s then-current LP, “The Low Spark of High-Heeled Boys”; Steve Winwood and Chris Wood get to stretch out nicely on this one, on piano and electric sax, respectively. “Light Up or Leave Me Alone” comes next, on which former drummer Jim Capaldi gets to do his white Sammy Davis, Jr. thing while Stevie offers up some wicked guitar licks. (Until his recent collaborations with Eric Clapton, many seemed to have forgotten what a fantastic guitarist he’s always been!) A straightforward yet tasty as can be rendition of “John Barleycorn” follows, featuring some terrific work by Chris on flute; “Rainmaker” makes for a perfect segueway after this one, highlighted by more lovely flute work from Chris and a rousing percussion interlude from Reebop Kwakubaah. The classic Traffic diptych of “Glad”/”Freedom Rider” comes next, accompanied by some psychedelic light FX, and then Stevie sings effortlessly and beautifully on “40,000 Headmen.” “Dear Mr. Fantasy” closes out this set in rousing fashion, featuring some more staggering guitar work from Winwood.

In 1967, when the still-teenaged keyboardist Steve Winwood left the Spencer Davis Group (for whom he’d sung lead on hits like “Gimme Some Lovin'” and “I’m a Man”) to start a new band with guitarist Dave Mason, few observers thought their idea of blending pop, rock, and jazz would work. Immediately, though, Traffic scored giant hits with Winwood’s east-meets-west “Paper Sun” and Mason’s acid-jazzy “Hole in My Shoe”. Between those songs, the smoking-guitar driven title track, the swinging instrumental “Giving to You” and the haunting ballad, “No Face, No Name, No Number”, Traffic’s debut established both players as elite members of the new guard of late 60s British rock.

“I knew it wasn’t just a good piece or a good track for a record,” Traffic drummer and lyricist Jim Capaldi once said of their song “Dear Mr. Fantasy” the pseudo-title-cut from the band’s kaleidoscopic debut LP. “I knew it was going to be a real milestone-type piece.” His hunch was spot-on.

The British quartet never cracked the pop charts with the spiraling psych-rock song. (In fact, they never even issued it as a single.) But the six-minute long “Fantasy” was designed more as a deep, mind-expanding bong hit than a quick joint puff: Steve Winwood’s bluesy howl and the group’s live-in-the-room exploration tapped into the same jam-sprung freedom flourishing at that time from America’s West Coast.

Fittingly, since much of Traffic’s early repertoire reveled in whimsy, “Dear Mr. Fantasy” originated from a doodle. “I’d drawn this character playing a guitar, with puppet hands instead of his own hands,” Capaldi recalled in a video interview celebrating the 50th anniversary of Mr. Fantasyin 2017. “I wrote a letter next to it: ‘Dear Mr. Fantasy, play us a tune.'”

At the time, the band Capaldi, Winwood, multi-instrumentalists Dave Mason and Chris Wood were holed up at Sheepcote Farm, a rural cottage in Berkshire, England, owned by baronet Sir William Pigott-Brown, a friend of Island Records founder Chris Blackwell. Experimenting with weed and LSD, and living among the filth of their own dirty dishes and laundry, the young men cooked up much of Mr. Fantasy at this ragged sanctuary.

“There was no running water, there was a well and no electricity,” said WinwoodBlackwell took the gamekeeper’s cottage down the lane so he could make sure we rehearsed and wrote material. It was a place where we could make as much row as we liked – and we certainly did.”

During one ordinary vice-filled afternoon, “Fantasy” emerged.

“I was asleep upstairs in the cottage, and I heard this nice little bass line going and some guitar,” Capaldi said “I woke up, went down — we’d jam all time of the day, and we’d all take breaks, do whatever.”

“[I] found that they’d written a song around the words and drawing I’d done, I was completely knocked out by it. Chris wrote that great bass line. We added some more words later and worked out a bigger arrangement too.”

“Dear Mr. Fantasy” “was done on impulse with practically nothing worked out, because it was almost jammed,” Winwood told Rolling Stone in 1969. “The initial spirit of the whole thing was captured on record — which is very rare. That was one of the things, because it’s not specifically an outstanding melody or an outstanding chord sequence or anything. It’s basically quite simple. They’re very simple lyrics and they’re repeated three times. … It wasn’t half so strong after we’d done it. It was time that gave it a lot of meaning.”

Armed with a batch of songs that sprawled from psych to blues to soul to Beatlesque Indian nods, Traffic eventually moved to London’s Olympic Studios with producer Jimmy Miller, with whom Winwood had collaborated as part of his previous band, the Spencer Davis Group.

Miller was crucial in capturing the song’s free-flowing vibe on tape, which they only achieved after scrapping the traditional recording booths and tracking as a live four-piece: Winwood on electric guitar and vocals, Mason on bass, Wood on organ and Capaldi on drums. A surprise fifth member was Miller, who augmented the groove by rushing from the control room to lay down some extra percussion.

“We were in the middle of a take and there’s a part where the tempo changes it jumps and I look around, and Jimmy Miller’s not in the control room,” by the side of engineer Eddie Kramer. “The next thing I see out of the corner of my eye is Jimmy hauling ass across the room, running full tilt. He jumps up on the riser, picks up a pair of maracas and gets them to double the tempo! That, to me, was the most remarkable piece of production assistance I’d ever seen. They were shocked to see him out there, exhorting them to double the tempo. Their eyes kind of lit up. It was amazing.”

“Fantasy” thrives on that anything-can-happen energy: Capaldi’s thumping kick drum accents and tumbling fills, the double-time grooves, Winwood’s Jimi Hendrix-like solo, that tempo-shifting finale. From 1967 onward, it became a staple of Traffic’s live show performed more than any other song in their catalog.

And kindred spirits followed suit onstage. Grateful Dead introduced a faithful cover in 1984, a showcase for keyboardist-singer Brent Mydland, and continued to perform it up through 1990. (Jerry Garcia even joined Traffic for a version during their 1994 reunion tour, documented on the live set The Last Great Traffic Jam.) Several other rock legends have paid tribute, including Hendrix, Crosby, Stills & Nash, mid-’90s Fleetwood Mac (featuring a briefly tenured Mason), Peter Frampton and Eric Clapton (alongside Winwood).

“Dear Mr. Fantasy” “was done on impulse with practically nothing worked out, because it was almost jammed,” Winwood told Rolling Stone in 1969. “The initial spirit of the whole thing was captured on record — which is very rare. That was one of the things, because it’s not specifically an outstanding melody or an outstanding chord sequence or anything. It’s basically quite simple. They’re very simple lyrics and they’re repeated three times. … It wasn’t half so strong after we’d done it. It was time that gave it a lot of meaning.”

  • Steve Winwood – guitar, lead vocal
  • Dave Mason – bass guitar, harmonica, backing vocal
  • Chris Wood – organ, backing vocal
  • Jim Capaldi – drums, backing vocal
  • Jimmy Miller – maracas

Traffic / The Studio Albums 1967-1974

This 6LP vinyl box set due in May, Universal Music are set to release a new Traffic vinyl box set, the snazzily titled, The Studio Albums 1967–1974.
The six-LP set collects together the Island-released Mr Fantasy, Traffic, John Barleycorn Must Die, Shoot Out At The Fantasy Factory, The Low Spark Of High Heeled Boys and When The Eagle Flies. 1969 odds ‘n’ sods compilation Last Exit isn’t included.

Traffic were originally formed in 1967 when Steve Winwood fled the Spencer Davis Group at the ripe old age of 18, and joined drummer/singer Jim Capaldi, singer/guitarist Dave Mason and reed player Chris Wood. The quartet soon rented a cottage out in rural Berkshire to ‘get their heads together in the country’.

While the group were quickly successful with the singles ‘Paper Sun’ and ‘Hole In My Shoe’, they were more at home on the album format, and also enjoyed considerable success within the U.S., scoring four consecutive top ten albums from 1970 to 1974.

The Studio Albums 1967-1974 is released 17th May 2019.

The LPs have been remastered from the original tapes and presented in their original and highly collectable ‘first’ Island pressing form (gatefold sleeves, pink eye labels etc). The set also includes a related and rare facsimile promo poster for each album.

Image of Traffic 'First Exit' blue vinyl LP

Steve Winwood formed Traffic with Jim Capaldi, Dave Mason, and Chris Wood in 1967. In the spirit of the times, the group was intended to be a cooperative, with the members living together in a country cottage in Berkshire and collaborating on their songs. Signed to Island Records their single “Paper Sun,” peaked in the U.K. Top Five in July 1967 and also spent several weeks in the lower reaches of the charts in America. Traffic toured Europe in the summer of ’67 and the live recording that comprises this album was made for radio broadcast in Sweden at Radiohuset, Stockholm on September. 12th, 1967. It has been newly mastered for vinyl and pressed on blue vinyl.

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• Restored and newly mastered audio
• Historic live radio broadcast available for the first time on LP
• Includes the hits ‘Paper Sun’ and ‘Hole In My Show’
• Complete live show from 1967
• Limited edition blue vinyl

Image of Traffic 'First Exit' blue vinyl LP

TRACK LISTING
1. Giving To You [live] / 2. Smiling Phases [live] / 3. Coloured Rain [live] / 4. Hole In My Shoe [live] / 5. Feelin’ Good [live] / 6. Paper Sun [live] / 7. Dear Mr Fantasy [live]

bumpers up front

“Bumpers” was a double sampler album from Island Records, released in Europe and Australasia in 1970; there were minor variations in track listings within Europe but the Australian release was fundamentally different. The title refers to the training shoes which can be seen on the front of the album cover but there may also be a less obvious reference to the meaning “unusually large, abundant or excellent”.

The album is left to present itself; there are no sleeve notes, the gatefold interior consists of a photograph showing publicity shots of the featured acts attached to the bole of a tree, without any identification. This image is flanked by the track listings, but even there, the information given is unreliable. Unlike its predecessors You Can All Join In and Nice Enough To Eat, there are no credits for cover art (the cover art was by Tony Wright, his first sleeve for Island), photography or design. The impression is left that the album’s production was rushed, presumably to leave enough lead-time to promote the albums featured. The English version of the album came out in two pressings, one with the pink label and “i” logo, the other with the label displaying a palm motif on a white background and a pink rim, each version with some minor variations in the production of individual tracks.

In the late sixties British record labels started to release a selection of their artists’ material on records known as samplers. These were not intended as anthologies or compilations – the purpose was to allow listeners the opportunity to sample a range of acts at a reduced price, showcasing in particular those for whom there was not a conventional singles market and hence little opportunity for radio airplay in the UK. Columbia’s ‘The Rock Machine Turns You On’ and Liberty Records ‘Gutbucket’ .   Island Records produced a series of gems from ‘Nice Enough to Eat’ and ‘You Can All Join In’ in 1969, to ‘Bumpers’ in 1970 and ‘El Pea’ in 1971. ‘Bumpers’ was, as it’s name would suggest, the pick of the crop, with an eclectic yet cohesive collection of music across two 33rpm vinyl discs. Priced at actually 29/11 cover price . The album came out in two pressings, one with the pink label and “i” logo, the other with the label displaying a palm motif on a white background and a pink rim.

Side One

  1. “Every Mother’s Son”  – Traffic (from John Barleycorn Must Die (ILPS 9116)) (7:06)
  2. “Love”  – Bronco (from Bronco (ILPS 9134))  (4:42)
  3. “I Am the Walrus”  – Spooky Tooth (from The Last Puff (ILPS 9117)) (6:20)
  4. “Jesus, Buddha, Moses, Gauranga”  – Quintessence (Live version of track, not released elsewhere at the time, but available as ‘bonus’ track on CD version of album Quintessence (REPUK 1016) (5:15)

Side Two

  1. “Thunderbuck Ram” – Mott the Hoople (from Mad Shadows (ILPS 9119) (4:50)
  2. “Nothing To Say”  – Jethro Tull (from Benefit (ILPS 9123)) (5:10)
  3. “Going Back West”  – Jimmy Cliff (from Jimmy Cliff (ILPS 9133)) (5:32)
  4. “Send Your Son To Die” – Blodwyn Pig (from Getting To This (ILPS 9122)) (4:35)
  5. “Little Woman”  – Dave Mason (no source listed)  (2:30)

Side Three

  1. “Go Out And Get It”  – John & Beverley Martyn (from Stormbringer! (ILPS 9113)) (3:15)
  2. “Cadence & Cascade” – King Crimson (from In the Wake of Poseidon (ILPS 9127)) (4:30)
  3. “Reaching Out On All Sides”  – If (from If (ILPS 9129)) (5:35)
  4. “Oh I Wept”  – Free (from Fire and Water (ILSP 9120)) (4:25)
  5. “Hazey Jane” – Nick Drake (from his album to be released Autumn ’70) (4:28)

Side Four

  1. “Walk Awhile”  – Fairport Convention (from Full House (ILPS 9130)) (4:00)
  2. “Maybe You’re Right”  – Cat Stevens (from Mona Bone Jakon (ILPS 9118)) (3:00)
  3. “Island”  – Renaissance (from Renaissance (ILPS 9114)) (5:57)
  4. “The Sea”  – Fotheringay (from Fotheringay (ILPS 9125)) (5:25)
  5. “Take Me To Your Leader”  –Clouds (intended to be on their Chrysalis album to be released Autumn ’70) (2:55)

 

 

Steve Winwood formed Traffic with Jim Capaldi, Dave Mason, and Chris Wood in 1967. In the spirit of the times, the group was intended to be a cooperative, with the members living together in a country cottage in Berkshire and collaborating on their songs. Signed to Island Records their single “Paper Sun,” peaked in the U.K. Top Five in July 1967 and also spent several weeks in the lower reaches of the charts in America. Traffic recorded two sessions for Saturday Club and Top Gear shows in 1967. Session 1 first aired October 1967 while Session 2 first aired December 1967 recorded for the BBC Top Gear programme. Both are released here for the first time. Traffic also toured Europe and the live recording that comprises part two of this album was also made for radio broadcast, this time in Sweden at Radiohuset, Stockholm on September. 12th, 1967

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John Peel’s legendary status is defined by the vast amount of bands and artists he championed. His urge to “hear something he hadn’t heard before” led to a relentless search through demo tapes sent in to his radio show from songwriters and musicians looking for a break. His conviction in not following conventional programming formats, and offering his listeners an alternative to daytime pop pap would ensure that his relevance to broadcasting would remain vital right up to his untimely death in 2004. Chris Wood’s Flute playing is amazing on this. Their BBC Sessions deserve to be officially released! As does the Copenhagen ’67 Concert.

His sessions would become an important outlet for new listeners to sample live selections from fledgling and established artists. Many of these recordings have been released to the public, some remain in the vaults. Here is a continuing history of all the sessions, starting in 1967 for his “Top Gear” show right up to the final recording in October 2004.

December 11th 1967: Traffic John Peel Session Studio – 201 Piccadilly, Studio 1

Tracklist:

Here We Go Round The Mulberry Bush
Heaven Is On Your Mind
No Face No Name No Number
Dealer
Hope I Never Find Me There

The Band:

Jim Capaldi – drums, acoustic guitar, lead vocals, Dave Mason – electric guitar, bass, vocals Steve Winwood – electric guitar, keyboards, vocals Chris Wood – flute. percussion ,