John Barleycorn Must Die [Remaster]

Rating

Album: John Barleycorn Must Die [Remaster]
#	Song Title		Time
1)	Glad	More Info...	0:07
2)	Freedom Rider	More Info...	0:05
3)	Empty Pages	More Info...	0:04
4)	I Just Want You to Know	More Info...	0:01
5)	Stranger to Himself	More Info...	0:04
6)	John Barleycorn (Must Die)	More Info...	0:06
7)	Every Mother's Son	More Info...	0:07
8)	Sittin' Here Thinkin' of My Love	More Info...	0:03
9)	Backstage & Introduction	More Info...	0:02
10)	Who Knows What Tomorrow May Bring	More Info...	0:07
11)	Glad (Live)	More Info...	0:11

Album: John Barleycorn Must Die [Remaster]
#	Song Title		Time
1)	Glad	More Info...	0:07
2)	Freedom Rider	More Info...	0:05
3)	Empty Pages	More Info...	0:04
4)	I Just Want You to Know	More Info...	0:01
5)	Stranger to Himself	More Info...	0:04
6)	John Barleycorn (Must Die)	More Info...	0:06
7)	Every Mother's Son	More Info...	0:07
8)	Sittin' Here Thinkin' of My Love	More Info...	0:03
9)	Backstage & Introduction	More Info...	0:02
10)	Who Knows What Tomorrow May Bring	More Info...	0:07
11)	Glad (Live)	More Info...	0:11

Performer Notes

Remastered reissue features three bonus cuts and a twelve page booklet.
Although JOHN BARLEYCORN MUST DIE was originally intended as Steve Winwood's post-Blind Faith solo debut, Winwood and producer/label head Chris Blackwell first drafted Jim Capaldi to provide lyrics, and then Chris Wood dropped by to add his familiar reeds, and almost by accident, Traffic was reborn.
This was a different, and better, Traffic than the ill-fated quartet lineup with Dave Mason, which never entirely settled on an artistic direction. The sound of JOHN BARLEYCORN MUST DIE, on the other hand, remained the template for the rest of the reunited band's career--long, organically developed songs with a subtle jazz-rock feel, powered by Capaldi's percussion and Winwood's organ. "John Barleycorn," a traditional English folk song about the process of brewing ale (not, as the liner notes mistakenly claim, a call for temperance), here becomes a pastoral reverie carried along by flute and acoustic guitar, and proves to be the record's highlight. However, the quality of the other songs, particularly the instrumental opener, "Glad," and the outstanding ballad "Empty Pages," is nearly as high.

Professional Reviews

Rolling Stone (9/3/70, p.42) - "...The best cut on the album is probably the title tune....Wood's flute is again exceptional, delicate and ornate, and Steve sings the song just right, with an admirable sense of restraint and simplicity..."

Q (2/00, p.104) - 3 stars out of 5 - "...a stew of jazz, folk and prog....seeing the band lapsing into a little too much jam-based indulgence..."

Mojo (Publisher) (1/00, p.106) - "...shows that Traffic were capable of thoughtful, inventive and occasionally very beautiful music."

Record Collector (magazine) (p.98) - 4 stars out of 5 -- "[With] tracks such as 'Glad' and 'Freedom Rider' featuring extended jamming sections within robust song structures, while 'Every Mother's Son captures Winwood at his most soulful."

Uncut (magazine) (p.94) - 4 stars out of 5 -- "It's a trio record with an economical sound canvas....A much more sophisticated affair, pointing more towards jazz and improvisation than folkish simplicity."