Also worthy of mention is the sex appeal he brings into this, something nice and without vulgarity. It creates a sense of spectacle, a show delivered unto us. The director's attention to detail is truly amazing even back then: close-up on objects, faces, sweat, dance moves, Winwood's performance or the sax player during the solo. Black and white cinematography, couples dancing in this crowded bar and Steve Winwood and band performing the song. Fincher's contribution is nice but the video's success owes more to the sound we hear than to images we see. Pollard, a good friend of Capaldi’s.The team gathered here is amazing: Steve Winwood at the top of his game back in the 1980's with a great hit song Paula Abdul providing the choreography for the video and that video clip master-later-turned-into-outstanding-filmmaker directing it, David Fincher (yes, the same from "Se7en" and "Gone Girl") were all integral part of this promo of Winwood's song "Roll with it". The title was gifted by US actor Michael J. It also shows that Traffic were masters of the deep groove, easing their way from slow deliberation to proggy delirium. This stunning 11-minute epic, co-written by Capaldi and Winwood, is one of the benchmarks of early ‘70s jazz-rock, built around a simple piano motif. 1) The Low Spark Of High Heeled Boys (The Low Spark Of High Heeled Boys, 1971) Capaldi keeps things moving forcibly as Chris Wood doubles up on organ. 2) Empty Pages (John Barleycorn Must Die, 1970)Ī mesmerising tour de force in which the funky lilt of the opening section elides into a rushing Hammond chorus, with Winwood delivering one of his greatest lead vocals (curiously too, he sounds like a pre-echo of classic Peter Gabriel). Hendrix, The Grateful Dead and CSNY recorded their own versions later. Winwood’s vocal lines, lower in the mix, exude a certain trippiness, before a digressive guitar solo ushers in Jim Capaldi’s pounding drums and a great biker riff. The first true flowering of Traffic’s vast potential offers an index of possibilities, from blues and soul to prog and psychedelia. Far removed from the psychedelic leanings of old, its glorious six minutes of acoustic pastorale owe more to Fairport Convention and Steeleye Span than they do Sgt. The trio go full-pelt folk on Winwood’s rootsy arrangement of a traditional ode to the pagan symbol of the harvest. 4) John Barleycorn (John Barleycorn Must Die, 1970) Later covered by Joe Cocker, The Jackson 5 and Lulu, among others. Chris Wood offers a beguiling sax break, while Steve Winwood adds splenetic backing vocals at the climax.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |