Traffic Welcome To The Canteen CD

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 Traffic Jams: One of the Best Live Albums Ever
"Welcome to the Canteen" is what live albums should aspire to be -- perfect! This edition of Traffic, arguably their best line up, features rock's best and busiest session drummer, Jim Gordon, who wrote "Layla" with Eric Clapton and played with every major act in the 60s and 70s including Delaney & Bonnie, Joe Cocker, Jackson Browne, Dr. John and others. Rick Grech, who played with Ginger Baker's Airforce, Family and Blind Faith is solid and steady on bass, and Anthony "Reebop" Kwaku Baah, the era's most renowned percussionist is dazzling on congas and anything else he can lay his hands on. Traffic's founding trio -- Steve Winwood (guitar, bass, keyboards, vocals), Jim Capaldi (percussion and vocals) and Chris Wood (Sax, flute and organ) are at their creative best here, particularly Wood, who soonafter began drowing his fear of flying in alcohol and drugs that robbed him of his talent. Oh yeah, there's another guy on the album by the name of Dave Mason (who returns to the group for a third time before getting the final boot)who plays some tasty, albeit occasionally out of tune guitar. "Canteen" isn't without a couple of glitches -- Mason, who only played 7 gigs with Traffic before leaving(and didn't get a lot of rehearsal), misses several cues during "Mr. Fantasy," and on the original mix of the album, part of Winwood's vocal on "40,000 Headmen" was muffled. Thankfully, the later problem has been corrected on CD. "Canteen" starts off with a full throttled version of "Medicated Goo" featuring some incendiary guitar work from Mason, soulful Winwood vocals and a driving beat from Gordon. A great deal of credit for this album's success has to be given to Gordon, who replaced the steady, but plodding, Capaldi on drums. Gordon is not only powerful throughout, but he creates fills on his kit that weren't on the original recordings. Coupled with Grech's bone thumping bass, Reebop's percolating percussion and Capaldi's additional percussive efforts, Gordon gives Traffic's a more steady and discernable beat. The second tune, "Sad and Deep" as you, however, owes much to Reebop and Chris Wood. Taken from Mason's solo album "Alone Together," this quiet, almost faceless tune is given a flamenco feel, thanks to Wood's dancing, whispery flute and Reebop's gentle touch on the congas. "40,000 Headmen" the tghird cut, finds Winwood in fine voice. Wood darts in and out of the acousticly driven tune, jabbing like a boxer. The tune is also a great platform for Reebop and Jim Gordon, who engage in a percussion call and response that isn't showy, but is infectious and will leave you wanting to take drum lessons. "Shouldn't Have Took More Than You Gave" was a lackluster country flavored tune on Mason's solo album. Here, thanks again to Gordon's manic beat, the song is a full out rocker. Winwood lays down a circus-like foundation on the organ during the vocals, and as the song reaches the end, Mason tears off one of his best solos ever. It's seering, challenging, and frenzied, as it would have to be, once Gordon throws the beat into overdrive. Chris Wood riffs on Sax in the background, and Reebop throws in some nice flashes on congas. Traffic never rocked so hard. A ten-plus minute version of "Dear Mr. Fantasy" follows that far outstrips the original studio cut done three years before. Here you get the added treat of hearing Winwood, no small potatoes on guitar himself, battle Mason on guitar. These two guys never understood or liked each other, and, for once, they channneled that anger into something positive. Mason takes the first solo, going from subdued to artistic, too just plain fast, before giving way to Winwood. The usually shy and gentlemanly Winwood, better known for his mastery of the keyboards, rips into his solo,notching up the showmanship. When the two men face off, it's like a musical showdown between two gunslingers with the advantage going to the listener. Add Wood's flourishes on organ and the ominpresent, thundering percussion from Gordon, Reebop and Capaldi and you have a cut you'll want to listen to again as soon it's over. The album's closer, "Gimme Some Lovin'," is a bouncing, loose jam spolighting Reebop's crowd-pleasing congas, Winwood's Hammond organ and Chris Wood's jazzy solos. There's an old film clip of the group at the Oz Fest in 1971 (no, not that Oz) where this song was recorded that shows Capaldi jumping up and down in a stoned frenzy on stage and the crowd doing bad versions of the boogaloo. In short, they really "dug" Traffic's performance that day and you will too. Along with "The Low Spark of High Heeled Boys" and "John Barleycorn Must Die" this is one of the group's albums you have to have in your collection.
Submitted by a reviewer (Hartsdale, NY)
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 Superlative sound for Traffic remasters
The new Traffic remastered CDS sound wonderful! I only wish they had included bonus material...
Submitted by a reviewer (Nashville, TN United States) 
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 ALL STAR LIVE PERFORMANCE
All star super band but the live recording on the original lp was not clear.This is better. Not recommended for beginner traffic fans. Lots of jamming on this..sometimes sounds like a jazz cd,,recommended for the hard core traffic fan only.
Submitted by lolly (nyc,ny,usa)
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 Traffic A Super Group
One of my all time favorite albums live or studio, ever. As a live album it deserves to be up there with the very best. Few people even know of this impressive lineup or this incredible performance. In my opinion next to; "Allman Brothers Live At Filmore East", this stands as the best example of what a live album should be like tight-loose, always intense...
Submitted by Duja (Illinois)
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 Eyewitness at Fairfield Hall
The chemistry between bandmembers was magical!! Concert was smooth, organized and all bandmembers knew each others preferences. 40,000 Headmen and Medicated Goo was outstanding with very deep percussion riffs. Entire concert is what I consider Traffics best album. The talent on stage that night was breathtaking! The original vinyl album was muted and seemed dim, but the re-mastered CD is how I remember the concert.
Submitted by Harrison (Muscle Shoals, Alabama, USA)
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