A Special Dez Record Guides Presentation: The Steve Winwood Musical Odyssey

We recently had some friends over to the house, and had one of those cable music channels playing for the background music. It was the 80’s channel, and Steve Winwood’s “The Finer Things” came on. I commented that Winwood was awesome. My friend looked at me like I was nuts and said “he’s terrible.” I said that Winwood is one of the most talented overall musicians ever to appear on the rock/pop scene. “What?” After exploring my friend’s ignorance further, I discovered that to him, Steve Winwood meant 80’s AOR synth pop.

Another good friend of mine who likes baseball a lot more than I do used to talk of the ‘Nolan Ryan Syndrome,’ referring to someone who does great things, but the expectations are so high that even what would normally be a successful stretch in a career still looks like a disappointment due to impossibly high expectations from things done earlier in the career. If I remember correctly, this referred to after Ryan’s Astros career when he went to the Rangers, where he was good but not the legend people thought he should continue to be. This person reads GNABB fairly regularly, so do I have that right?

Anyway, that is a long way of trying to capture the musical career of Steve Winwood. Amongst musicians who know music, Winwood is hugely admired. One of the most soulful white vocalists of the rock era, he is also a multi-instrumentalist who can play jazz piano or stand toe to toe on guitar with Eric Clapton. He burst onto the scene in the mid-1960’s at the age of 14 as the wunderkind singer/keyboardist for Spencer Davis Group, immediately gaining critical accolades, with his voice often being compared to Ray Charles. Again, that is a scrawny white British teenager being compared to Ray Charles. He soon left to form and lead the more adventurous Traffic, made one record in one of the first true supergroups, Blind Faith, and finally embarked on a fitfully successful solo career. But for a guy many pegged early on as one of the greats, a guy who Jimi Hendrix supposedly wanted to form a group with after the demise of the Experience but was too nervous to ask…as successful as he has been his career in its entirety still seems like wasted potential. As many talents as he has, I think his Achilles Heel is consistent songwriting, which has kept him from becoming the truly great artist that he should be.

SPENCER DAVIS GROUP:

But for the talents of Winwood, the Spencer Davis Group would be just one of many merely competent British invasion groups who mainly feasted on R&B covers. I would not recommend any of their studio records, but one of many decent budget compilations is fine. There are really only two essential songs from this group, and they still to this day are a rush of soulful energy. “Gimme Some Lovin’” (wherein the 17 year old Winwood really does stand next to the great soul singers) and “I’m a Man” (not to be confused with the more famous Muddy Waters tune “Mannish Boy.” Different song entirely.)

TRAFFIC:

Wanting to explore more adventurous musical territory, Winwood left the Spencer Davis Group and joined up with likeminded musicians Jim Capaldi (drums), Chris Wood (sax, flute, other woodwinds) and Dave Mason (guitar) to form Traffic. Retreating to a country estate, they holed up and got their sound together. I think that Traffic features Winwood’s finest work, deftly combining folk, psychedelic, jazz, rock and R&B influences for a potent, adventurous blend. There are really two phases of Traffic. One is the tug-of-war between Dave Mason’s more straightforward rock/pop sensibilities vs. the team of Winwood/Capaldi’s jazzier, experimental work. Once Mason left for good (he left and returned three times), Traffic disbanded long enough for Winwood to be a part of the mostly disasterous supergroup Blind Faith. Traffic then reformed sans Mason and it was firmly Winwood’s vision of jazzy jams.

Mr. Fantasy (UK only) (1967) ***
Heaven Is In Your Mind (US only) (1967) ****
As was the common practice at the time, the UK vs. U.S. release of their debut differed in both tracks and running order. The U.S. version is superior, as it includes important singles that in the UK were not included on the record. You only lose some minor Mason tunes from the UK release in exchange for some great folk/psych singles of the era. Many of these songs sound a bit dated (the pastoral, folk/psychedelic vibe is definitely of its time), but it is still quite enjoyable and adventurous. The standout, of course, is “Dear Mr. Fantasy,” one of the greatest songs of the 1960’s. Listeners who mainly associate Steve Winwood with his smooth 80’s synthesizers need to listen to this song to hear an incredible guitarist at work.

ABOVE: Many casual music fans do not realize that Steve Winwood is an excellent guitar player

Traffic (1968) ****
A great and varied listen, primarily due to the Mason vs. Winwood/Capaldi power struggle. Divided about evenly between both styles, it combines for a fantastic record. Winwood’s “(Roamin’ Thru the Gloamin’ With) 40,000 Headmen” is creepy, groovy and mysterious all at once, while “Who Knows What Tomorrow Will Bring” is a funky joy. But the highlight does belong to Mason with his signature tune, “Feelin’ Alright.”

Last Exit (1969) **
Mason left/was booted after the debut record. He returned for the sophomore effort and then was booted again. The band decided to disband after that, but still owed The Man one more record, so this hodgepodge was hastily assembled. The studio side is quite good, featuring three recent Traffic singles and two Dave Mason solo singles that conveniently featured the rest of Traffic backing him. The live side is terrible, though. The recording sounds like a bad bootleg, and the tunes/jams are uninspired.

NOTE: Traffic disbanded and Winwood formed Blind Faith with Eric Clapton. After the brief Blind Faith detour, Traffic reformed.

BLIND FAITH:

Blind Faith (1969) ***1/2
After the first phase of Traffic disbanded, Winwood went in search of a new band. He formed one of the first and still most legendary supergroups in rock history. Joining forces with Eric Clapton and Ginger Baker from the recently disbanded Cream and bassist Ric Grech, Blind Faith alas is more about the potential than what they actually did. Given more time and if Clapton had remained interested, this could have been one of the great rock bands. What is great, though, is truly great on their one record. “Had To Cry Today” is a solid heavy rocker with a killer riff and spirited guitar duels between Clapton and Winwood, and “Presence of the Lord” features inspired soloing as well. “Can’t Find My Way Home” is one of my Top 10 favorite songs, a stunning acoustic tune written by Winwood (see, he can write great material if he wants to). Unfortunately, the rest of this record is not that great, and they were clearly filling space by allowing Baker to drum solo over the 15 minute snoozer “Do What You Like.”

TRAFFIC MACH 2: Blind Faith disbanded under the crushing expectations and Clapton went to play with the looser Delaney and Bonnie.

John Barleycorn Must Die (1970) ****
Winwood started work on a solo record in 1970 after Blind Faith imploded and Traffic was a thing of the past. But once he called in Capaldi and Wood to help, it quickly became the rebirth of Traffic. Without competition from Mason, they could fully explore their jazz/rock improvisations, like on the eight minute instrumental opener “Glad.” The title track is an arresting folk tune, while “Empty Pages” features the funkiest keyboard solo of Winwood’s career.

Welcome To the Canteen (live) (1971) ****
Dave Mason returned once again for about a week for a short tour, and this live recording is from those shows. I love this. It is loose, energetic and inspired. There is a rhythmic “40,000 Headmen” that outdoes the studio version, and Mason’s “Sad and Deep As You” and “Shouldn’t Have Taken More Than You Gave” are amongst his finest tunes. But the two extended jams are where it’s at, an incendiary “Dear Mr. Fantasy” and a raucous, almost going off the rails (Winwood and Mason are never quite in sync, symbolic of Mason’s entire Traffic tenure) “Gimme Some Lovin’” closes things out. I used to not really like this record, but in recent months it has hit me hard. Love it.

The Low Spark of High-Heeled Boys (1971) *****
Shoot Out at the Fantasy Factory (1973) ***1/2
On the Road (live) (1973) **
Low Spark represents the pinnacle of Traffic’s output. The stunning 11 minute title track is, in my view, the most successful rock/jazz fusion anywhere. “Rainmaker” also features some fantastic, expansive playing. The Capaldi sung rockers “Rock and Roll Stew” and “Light Up Or Leave Me Alone” provide perfect contrast to the otherwise dreamy, midtempo feel of the rest of the record. Shoot Out could really be titled ‘Low Spark, pt. 2,’ as it is a continuation of the same sound. Just not as great a batch of songs. The rocking title track and “(Sometimes I Feel So) Uninspired” are the highlights. On the Road should have been great, a double live album from the Shoot Out tour, but the expanded jams go on too long without ever really catching fire.

ABOVE: Latterday Traffic

When the Eagle Flies (1974) ***
Far From Home (1994) ***
Last Great Traffic Jam (live) (2005) ***
Traffic Gold (compilation) (2005) *****
Winwood closed the book on Traffic in ’74 with a record that both looks back (the extended tune “Dream Gerrard” is fantastic) and looking ahead to his poppier, more concise solo work. In 1994 Winwood reunited with Capaldi for a record that really sounds like a good Winwood solo album. But they called it Traffic (Wood had died, and Mason was not invited). There are several Traffic compilations out there, but Traffic Gold is perfect. Honestly, it is all most fans need, and if I were to compile a two disc Traffic compilation, it would look almost exactly like Gold.

GO:

Go (1976) NR
Go Live from Paris (live) (1976) NR
Winwood worked briefly with Japanese composer Stomu Yamashta on the Go project. I probably should hunt these down. I’ve heard a couple of songs that are on Winwood’s box set, and they are interesting.

SOLO:

Steve Winwood (1977) **
Ah, the weight of expectations. Long admired as one of rock’s most talented musicians, expectations were huge for Winwood’s first proper solo record. And it was a huge letdown. Uninspired songwriting, cheesy keyboards and for a man renowned for his bold sonic explorations, it was way too safe, smooth and pop.

Arc of a Diver (1980) *****
One of the great DIY records. Winwood retreated to his home studio and recorded his sophomore effort completely alone, playing every instrument, recording, producing and engineering. While featuring heavy synthesizers that today do sound dated, Winwood’s soulful singing keeps the songs grounded. “While You See a Chance” may be a cheesy self-help tune, but its sweeping melody justifies its status as his first solo hit. The title track, dance track “Night Train” and the soulful “Spanish Dancer” are also highlights. I admire the hell out of him for recording this completely on his own, and as a record created solely by one man, it sounds cohesive and has a solid sound all the way through. Get past some of the dated keyboard sounds and some of the dance/disco grooves of the day, and this still really does hold up.

Talking Back to the Night (1982) **
A similar approach as AOAD, but much less inspired songs. And I do think he does enlist some limited outside help on this. Synth pop tune “Valerie” and the title track are the best songs.

Back in the High Life (1986) ****
If I told you that this record was slick, overly produced, AOR pop music, I doubt you’d get too excited. But when it is done this damn well, this professionally, you’ve got to admire it. This record was huge in the mid-80’s, and for a year or so it propelled Winwood near to the top of the pop/rock mountain. Again, his soulful singing saves many of these songs from being too slick. “Higher Love,” “Freedom Overspill,” “Back In the High Life Again” and “The Finer Things” were all big hits and are all great pop songs of the era. Not to mention that Winwood was sporting a fantastic 80's mullet.

ABOVE: The 80's mullet period

Roll With It (1988) **
Refugees of the Heart (1990) **
Junction Seven (1997) *
The pressure and expectations for following up BITHL were huge, and he choked. Over and over again. RWI tries to recapture the BITHL formula and it sold a lot of copies, but the songs, on the whole, suck. The other two are not even worth discussing.

ABOVE: Steve Winwood and Eric Clapton go way back together. As bandmates in the doomed Blind Faith and as frequent collaborators. Two artists who should have accomplished more than they did, both together and apart.

About Time (2003) ***1/2
Nine Lives (2008) ***
Live From Madison Square Garden (with Eric Clapton) (live) (2009) ****
Winwood has rebounded nicely in the past decade. While not prolific, he has at least regained some respect and artistic integrity. AT is fantastic, where Winwood eschews the synths entirely and jams out on his Hammond B-3. He finally reminds us that he is a great musician again. Winwood unexpectedly joined forces with Blind Faith mate Eric Clapton for a series of very well received shows. Two of our most talented but underachieving artists. This is a great live set, where they dip into Blind Faith, Traffic and solo songs from both artists. (Yeah for dusting off “Forever Man,” one of the most underrated Clapton solo songs. And it is a cool version, with Winwood, the far better singer, taking some of the verses). Winwood, by the way, stands toe to toe with Clapton on the guitar duels.

Chronicles (compilation) (1987) ***
The Finer Things (compilation box set) (1995) ****1/2
Revolutions (compilation box set) (2010) ****
Revolutions (compilation) (2010) ****
No compilation captures all of Winwood’s great moments, but some come close. Chronicles is confounding and should have been the perfect solo compilation, but some of the choices and omissions are real head scratchers. The Finer Things is unfortunately out of print, but it is worth the search. With Winwood’s varied career, it serves the same purpose as Clapton’s Crossroads box set, collecting tunes from every phase of his career, grabbing highlights from Spencer Davis Group, Traffic, Blind Faith, Go and solo, as well as sprinkling in some rarities for the collector. The more recent Revolutions box set takes the place of The Finer Things, and generally does a decent job, even if it does have a couple of crucial omissions. The single disc version of Revolutions is a decent introduction/sampler, picking some tunes from every phase of his career for the neophyte.