The single was "Walking In The Wind"; the obligatory 11-minute jam is "Dream Gerrard." All I can say on the up side is that some of the songs like the sappy, sax-slathered "Forever," the silly, wah-wah drenched "Replace The Face," and the stately "Ballerina" do recall Mason's 70s style and might have succeeded with even minimally sincere production. Third album How to Be a...Zillionaire! A sorry live album that shows the band in slow-motion free fall, with just six mostly lifeless tracks spread thinly over an entire double LP. (JA), Headkeeper (Mason: 1972) This was Winwood's comeback record after a few years of semi-retirement. This was the first of quite a few Dave Mason solo records. The title track also got some airplay, and "Freedom Overspill," the other single, hit the Top 40. Winwood gets in some long, impassioned guitar solos on the staid pop song "Sometimes I Feel So Uninspired"; the plodding rocker "Shoot Out At The Fantasy Factory" has a sincerely bad attitude; and Capaldi's wild-eyed vocal on the sloppy "Light Up Or Leave Me Alone" is welcome. Produced by Jimmy Miller. I also liked Traffic's debut single, "Paper Sun," released a few months before Mr. Fantasy. Surprise, surprise, but that ABC magic is back again! I'm not sure why, because he goes with shorter and more commercial, dance-oriented numbers this time, and the two singles are both fine tunes that sound a lot like Arc Of's hits: the ballad "Valerie" and the faster-paced "Still In The Game." This live record also features Dave Mason, who was back with the band for just a few guest appearances. This particular record is mostly entertaining, but being an 80s pop-rock piece it's slathered with all the usual heavy-handed production values: slick backup vocals, ethereal synth tracks, tamely funky bass, crisply distorted guitars, and steamy love lyrics. (JA), The Sweet Smell Of Success (Capaldi: 1980), Old Crest On A New Wave (Mason: 1980) (JA), Ginger Baker's Air Force (1970) The originals were co-written with guitarist Miles Waters and synth bassist/keyboard player/Winwood sound-alike singer Peter Vale. Elsewhere there's just a little stylistic variety within carefully defined limits, in keeping with the soft-rock production and blandly inspirational lyrics: feel-good New Age on "You'll Keep On Searching," slick, brassy R & B on "Another Deal Goes Down" and "Come Out And Dance," and intricate synth pop on the driving, ten-minute "In The Light Of Day." (JA), Back In The High Life (Winwood: 1986) He also recycles the warm and fuzzy synth sounds of the last record, usually to good effect, although it's such overkill that it eventually starts sounding impersonal and factory-made. Had Mason's biggest hit, "We Just Disagree" - which he didn't even write. Co-produced by engineer Tom Lord Alge. They do succeed in imitating Traffic's sound, with synth flute and real (?) First, I'd been very impressed with Traffic's 1970 album John Barleycorn Must Die and its follow-up, The Low Spark of High Heeled Boys. Right up there with the Beatles. Practically every song blends Russ Kunkel's snappy drums and congas, Paul Harris' sparkling piano, Mason's soothing acoustic guitar, and the duo's smooth-as-silk harmonies. Winwood, Walden, Capaldi, and Eugenia Winwood split most of the songwriting credits. But inexplicably, Steve mostly sticks to his keyboards and lets professional studio players handle the rest, which renders the proceedings completely faceless. (JA), Oh How We Danced (Capaldi: 1972) The mostly routine, synthed-up R & B tunes are perilously similar to their recent solo work. (JA), On The Road (1973) It was a major commercial and critical success, and included the Top Ten hit "While You See A Chance" and the ethereal follow-up single "Spanish Dancer." Even the more standard pop songs have a pleasantly jazzy feel ("Empty Pages"), and the memorable title track is a haunting, acoustic English folk song. That said, it's mostly quite enjoyable. What a disappointment - somehow the recent lineup changes and chart successes had sucked out all of Winwood and Capaldi's originality and knack for writing catchy tunes. (JA), Last Exit (1969) It includes two fantastic singles in the style of earlier hits ("Medicated Goo"; "Shanghai Noodle Factory") and some additional, more run-of-the mill studio tracks (the instrumental "Something's Got Ahold Of My Toe"; the psychedlic waltz "Withering Tree"); but the second side is padded out with two endless blues-based jams that reveal the limitations of Traffic's Mason-less three-man lineup ("Blind Man"). The studio trickery is gone, but the songwriting steps up to fill the gap, and a loose, partying atmosphere draws the listener in. (JA). Understandably, this was Mason's last solo record; as far as I know he next appeared on the 1995 Fleetwood Mac disc. Cult-fave crooner Van Morrison makes a guest appearance. Pretty much a no-name band on this one, although Gee is usually the bassist, and Bad Company drummer Simon Kirke guests on a couple tunes. (JA). (JA), Dave Mason & Cass Elliot (Mason/Elliot: 1971) It's a shame that critics are so quick to write Mason off as a vapid 70s pop crooner - once in a while he does pull his act together. Rebop, Hood, and Hawkins were all gone at this point, replaced by bassist Rosco Gee. There was also the fact that I knew of and liked the title track, "Dear Mr. These sounds were part of the psychedelic era when the Beatles were also experimenting with those Eastern sounds. Capaldi wrote everything except two cover tunes. But he frequently collaborated on the songwriting with Will Jennings, who continued in this role for many years. The only well-known players out of a dozen are CSNY associate Joe Lala, who plays conga here ("I Love The Music," an up-tempo cha-cha punctuated by horns); and former Mason band member Mike Finnigan, who joins a half-dozen others singing the annoyingly shrill tenor backup harmonies on almost every track. Capaldi already had put out a half-dozen solo records going back to 1972; all of them were flops, and this is the only one I have. This page includes On The Road's : cover picture, songs / tracks list, members/musicians and line-up, different releases details, free MP3 download (stream), buy online links: amazon, ratings and detailled reviews by our experts, collaborators and members. Alas, the closest they get to real rock is a light funk-blues romp ("Share Your Love"), and everything goes to hell on the single, a nauseating cover of "Will You Still Love Me Tomorrow," complete with a muzaky orchestral arrangement - it barely broke the Top 40. Albums include John Barleycorn Must Die, Mr. Fantasy, and Traffic. Everything's co-authored by Jennings, other than the funky Winwood-Capaldi composition "Hearts On Fire." (JA), Shootout At The Fantasy Factory (1973) The full line-up of Traffic appears on "Open Your Heart" and assorted band members (including Mason) are present on almost every track. Traffic discography and songs: Music profile for Traffic, formed April 1967. One track apparently was recorded with Junior Marvin's band ("Vacant Chair"). Although Capaldi ("Light Up Or Leave Me Alone") and Grech and Gordon ("Rock 'n' Roll Stew") contribute some thinly entertaining rockers, and Winwood gets in a longish ballad with yet more pretty jazz noodling ("Rainmaker"), there's nothing substantial here. Mariposa de Oro - But Side 2 is live, and it sounds like a spontaneously recorded club date. And a lot of the material has the same up-tempo, feel-good vibe, with plenty of catchy riffs and biting lead guitar lines (yet more wah wah mania on "Talk To Me"). Then there are the usual Traffic and early 70s solo numbers ("Pearly Queen," a funk arrangement of "Feelin' Alright," "Give Me A Reason Why," a quiet "Sad And Deep As You," "Every Woman"). Traffic was formed in 1967 by keyboardist/singer Steve Winwood when Winwood was just 18 years old. At some point Mason released a solo version of the latter song as a single, but he kept re-recording it, and I doubt it's this one. and makes you wish that Winwood would step in and take control (he doesn't). ); Steve Winwood (lead vocals, keyboards, some guitar, bass); Chris Wood (flute, sax, some keyboards). Considering that Traffic couldn't seem to stay intact for more than a few months at a time, the band's work seems even more remarkable. builds nicely, and several up-tempo tunes like "Holding On" and "Put On Your Dancing Shoes" rank with the best of his solo career, making this a solid buy for fans. I believe this one features "That's Love," Capaldi's one and only Top 40 single. There are official Steve Winwood and Jim Capaldi web sites, as well as an unofficial site called "Smiling Phases." It's not all bad; Mason overuses wah-wah and slide guitar, but at least it's entertaining, and the new tunes are always pleasant if never memorable (the Harrison-esque "Show Me Some Affection"; "Harmony & Melody"). And just in case you don't get the joke, he throws in an intentionally laughable, but crisply performed disco version of "Family Affair" (featuring Nile Rodgers) and a joyful, elaborately produced salsa number ("Gotta Get Back To My Baby"). But all they can think to do is ride the band's shuffling groove as it wanders through over-familiar territory on track after track - after a while, you can't even remember what song you're listening to. (JA), It's Like You Never Left (Mason: 1973) Unlike the next record this one includes nothing that will make you run to turn the stereo off, but unless you're already a Mason fan, you'll find it a waste of time.

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