Label: Main Stream - MSBR-45 • Format: CD Unofficial Release • Country: Japan • Genre: Rock • Style: Psychedelic Rock, Classic Rock
For an album that apparently was only days from official release with advertisements, promo posters and album covers printed the circumstances surrounding this recording were, and to some extent still are, confused and mysterious. Two shows at New York City's Fillmore East November 18 and 19, were recorded with the Glad - Traffic - Woodwind (Dead Live Tapes Newyork 1970) of producing Traffic's first fully live album.
Very soon after the concert performance both the British and American press announced the intended release. Melody Maker described the sic "Philmore East" show as being due in stores by December 11, while Rolling Stone noted that the original venue and location - the Capitol Theater in Port Chester had been changed to the Fillmore, but didn't say why.
So, with a unique approach to the standard 'live' album, an interesting selection of tracks note the 'Blind Faith' number and what must have been an extremely long "Glad" and newly added band member Ric Grech supplying sorely needed bass and violin, the album was quickly mixed in New York. All seemed to be well, until Melody Maker announced that the release date had been pushed back a month. Soon after came Glad - Traffic - Woodwind (Dead Live Tapes Newyork 1970) news that a "lost tape" had again set back the release date.
The story of the lost tape varies, but it was said to have somehow disappeared on the flight back to England. Did this really happen? One source went so far as to say that the band actually destroyed the tapes. Regardless, it seemed that the problems were only beginning - Winwood announced in the press his dissatisfaction with the finished product, and indicated that one half of the album might be new material, recorded in his newly built home studio.
Now it's going to be only a 'partly live' album, a la "Last Exit? Any of this could be an adequate reason for delay, and prolonged indecision often lead to an abandoned project in the rapidly evolving rock 'n' roll world of the early seventies. But the most compelling reason for the non-release of "Live - November 70" may have been something else entirely. This album, essentially a 'greatest hits' package, featured cuts from the various bands Winwood had played in from Spencer Davis on.
The album was released without Winwood's permission, perhaps without even his knowledge, and as titled, could be misleading to many buyers expecting a Steve Winwood solo LP one had been said to be in the offing for a couple of years.
Although the album met with some early critical acclaim - Rolling Stone saw it as worthy summation of Winwood's career to date - Winwood and Chris Blackwell Island Records owner - Traffic's UK label were deeply disturbed by the callous and cheap marketing of Winwood's name, as well as technical details such as the use of "rechanneled fake stereo" on the early Spencer Davis tracks.
Winwood also indicated that a 'career retrospective' was inappropriate at this stage of the game - he was Still Believe (10º Below Hype Dub Mix) - Shola Ama - Still Believe 22!
Blackwell told the rock press: "We are objecting on moral grounds"; meanwhile Winwood sent telegrams to twenty of the biggest radio stations Dry Hands - C418 - Minecraft - Volume Alpha the US asking them not to play the album - a novel method of anti-record-promotion! Meanwhile, Traffic owed one more record to U.
The owed record was to be "Live - November 70", but by now Blackwell was saying that U. To emphasize the point Blackwell was able to get a "cease and desist" court order aimed at U. Apparently, the pressure worked - the album was withdrawn within a month. Thus, the contractually owed album Im Leaving This Town - Various - Red Hot (Memphis) Rockabilly Vol.
6 "Welcome To The Canteen", hastily recorded at a benefit concert for Oz magazine during the Glad - Traffic - Woodwind (Dead Live Tapes Newyork 1970) July of with the new Traffic lineup. A plausible interpretation as to why " Canteen" was offered to U. Along that same line, another question might be raised as to why the concert was also aired soon after recording as an FM broadcast - wide open to being taped by fans and bootlegged.
A means to undercut sales by U. Regardless, the whole affair seemed to be a prolonged exercise in 'tit for tat'. Who got the last word in the matter? Well, U. Well, who can say? No known copy Glad - Traffic - Woodwind (Dead Live Tapes Newyork 1970) the album has been heard by collectors. One thing that is certain is that it would have been a 'leaner' form of Traffic, and perhaps a 'meaner' Traffic as well. With Ric Grech aboard both Winwood and Wood were freed from bass playing, and the group combined some of the best elements of exploration and structure.
In contrast, the much touted return of Dave Mason on " Canteen" seems to have been a mixed blessing; he added little of note to most of the standard Traffic songs, and of his own songs, "Sad and Deep As You" seemed weak next to "40, Headmen" - leaving only "Shouldn't Have Took More Than You Gave" as a complete success.
Also, the music seems only average by Traffic standardswith sloppy moments noticeable in both "Dear Mr. Fantasy", and "Gimme Some Lovin". In reality though, we have nothing to directly compare to "Welcome To The Canteen", since "Live - November 70" remains, perhaps forever, "lost". I thank Dan for allowing me to include his article on this site. Page created August 27, Last updated March 15,
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