It’s not just me – this is hands down one of my favorite Traffic albums. Surprisingly, I only stumbled upon it recently. I was initially introduced to Traffic through ‘The Low Spark of the High-Heeled Boys,’ and only gave their other albums a passing glance back in the seventies. In fact, I wasn’t even aware of this gem until I stumbled upon a pristine vinyl copy in a used record store in Chicago not too long ago.
This album features the core members of Traffic: Steve Winwood, Jim Capaldi, and Chris Wood, who had been with the band since their inception in 1967. Joining them on this album is Jamaican bassist Rosco Gee. I’m not sure if they crossed paths with Gee while recording ‘Shoot Out at the Fantasy Factory’ in Jamaica the previous year, or if they were acquainted with him through some other means. Regardless, this addition breathes new life into a band that was starting to sound a bit lackluster towards the end of their collective career. The album was recorded at Basing Street Studios, the birthplace of iconic albums such as ‘Led Zeppelin IV,’ ‘Aqualung,’ and Queen’s ‘News of the World,’ with some parts credited to The Island Mobile (whatever that was). As with many Traffic albums, there is a bit of historical confusion surrounding the recording process. The main recording credit is given to Netherturkdonic, a 16-track studio that supposedly Winwood did not build until after Traffic disbanded in late 1974. Another puzzling detail is the presence of Reebop Kwaku Baah on the cover sketch. Baah had been with the band for the three years leading up to this album but does not make an appearance on it.
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Gee injects rhythmic excitement into many of the tracks, most notably in the epic “Dream Gerrard” with its slight reggae influences. The jaunty combination of organ and bass works wonders for Winwood’s soulful vocals. They almost sound like a more talented version of UB40 from their early albums.
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The album also revisits the lazy jazz tendencies found in their previous two albums, particularly evident in the laid-back and spacey “Graveyard People,” the title track, and the brief yet touching “Love.”
While “Memories of a Rock n’ Rolla” may be a tad too nostalgic for my personal taste, it does feature commendable guitar work from Winwood and a playful bass line from Gee, which mitigates the cheesy lyrics. However, the album’s standout moment arrives midway with the groovy reggae-infused “Walking in the Wind.” This bass-driven track, accompanied by brooding organ and sparse piano, presents lyrics that read like a love song that underwent a transformation into a semi-political world view through jaded eyes, as if Bob Marley had taken the pen midway through. Although the lyrics don’t precisely fit the Traffic mold, the song itself is solid and became their last single, except for a live track released concurrently with their 1994 reunion CD.
The title track “When The Eagles Fly” may be the most progressive song on the album. It features syncopated rhythms layered over an English folk-influenced vocal track. The tempo constantly shifts, dominated by piano and Winwood’s sorrowful singing, which occasionally hints at a touch of Peter Gabriel’s style, albeit without the same vocal range. Personally, I believe this song would have made a better opening track instead of closing the album.
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Sadly, this album marked the band’s third and final swan-song. Winwood was starting to feel the itch of a solo career again, while Capaldi had already tasted success with his own record deal a couple of years prior. Wood, on the other hand, was battling a severe alcohol addiction, which tragically led to his untimely demise eight years later. Critics were rather harsh in their assessment of the album, but it did manage to earn Traffic their fourth gold record and prompted a final tour before they bid their farewells.
As I mentioned earlier, this is undoubtedly one of my favorite Traffic albums. Much like Supertramp’s ‘famous last words…’, it exudes the essence of a brilliant yet fading musical force. I wholeheartedly rate this album four out of five stars for its range and emotional depth in the songs. Given time and restraint, it’s easy to overlook any lingering sense of loss and ponder what could have been for this extraordinary band that disappeared far too soon. Highly recommended.
Peace.
Source: https://t-tees.com
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