While Steve Winwood’s name often takes center stage when discussing Traffic’s formation in 1967, the band’s true strength lay in their groundbreaking genre-fluidity. Like many of their contemporaries in the late 60s and early 70s, Traffic explored a vast musical territory encompassing pop, rock, jazz, psychedelic sounds, R&B, folk, blues, progressive rock, and even elements of world music. However, Traffic uniquely and warmly integrated these seemingly disparate genres, creating a signature sound that set them apart. Despite internal tensions leading to multiple breakups and a lengthy hiatus, their musical output during their initial active years remains a testament to their innovative spirit.
This list of the top 10 Traffic Songs delves into the most musically adventurous period of the band, spanning their first five years and showcasing their incredible range and depth.
10. “You Can All Join In” (From Traffic, 1968)
Opening their self-titled second album, “You Can All Join In” is a burst of breezy energy, characterized by handclaps and Dave Mason’s distinct, stinging guitar work. Penned and sung by Mason, this track subtly hints at the internal creative divergences within the band. Were they leaning towards folk, pop sensibilities, or a more direct rock approach? At this juncture, Traffic embraced a delightful blend of all, showcasing their versatility right from the album’s outset. This song exemplifies the band’s early exploration of accessible, upbeat sounds, a counterpoint to some of their more experimental pieces.
9. “(Roamin’ Thru the Gloamin’ With) 40,000 Headmen” (From Traffic, 1968)
Traffic, their second album, proved to be a period of internal strife. Dave Mason’s growing creative differences with Steve Winwood and other band members intensified, leading to his departure during the album’s creation. Consequently, Mason is absent from roughly half of the album’s tracks, including this track. “(Roamin’ Thru the Gloamin’ With) 40,000 Headmen” stands as a somewhat heavier, spiritually inclined piece, rumored to be influenced by the psychedelic culture of the time. Despite the internal friction, this song points towards the more ambitious and experimental directions Traffic would explore in their future work, hinting at the progressive elements they would later fully embrace.
8. “Medicated Goo” (From Last Exit, 1969)
Following Traffic’s initial disbandment in 1968, their record label compiled Last Exit, an album of studio outtakes and live recordings. While largely disjointed, “Medicated Goo” stands out as a gem. This bluesy shuffle, recorded during the sessions for their second LP, is a compelling track that highlights the band’s raw talent even in their less polished moments. Notably, similar to the John Barleycorn Must Die album and portions of Traffic, Dave Mason is not present on this recording, further solidifying the shifting dynamics within the band during this period.
7. “Rock & Roll Stew” (From The Low Spark of High Heeled Boys, 1971)
For their fourth studio album, The Low Spark of High Heeled Boys, Traffic expanded their core trio by bringing in outside musicians. This infusion of new talent injected an improvisational spirit into their music, propelling the album into more jam-oriented and progressive territories. “Rock & Roll Stew,” a slinky blues-infused number, holds a unique distinction within our top 10 traffic songs list: it’s the only track featuring percussionist Jim Capaldi on lead vocals. This highlights the collaborative and evolving nature of Traffic’s music, where different band members stepped into the spotlight, contributing to their diverse sound.
6. “Freedom Rider” (From John Barleycorn Must Die, 1970)
After the release of their second album in 1968, Steve Winwood departed Traffic to join the short-lived supergroup Blind Faith. Dave Mason had already left before Traffic was even completed, leaving the band in a state of flux. Following Blind Faith’s quick dissolution, Winwood began work on a solo album, inviting Jim Capaldi and Traffic’s flautist, Chris Wood, to contribute. This collaboration organically evolved into Traffic’s third album, John Barleycorn Must Die, notably without Mason’s involvement. “Freedom Rider,” a jazzy and sophisticated track from this album, became a standout. It exemplifies Traffic’s ability to seamlessly blend jazz influences into their rock foundation, creating a sound that was both intricate and accessible.
5. “Feelin’ Alright?” (From Traffic, 1968)
While other artists, notably Joe Cocker and Grand Funk Railroad, achieved greater chart success with their covers of “Feelin’ Alright?”, Traffic’s original version, penned and sung by Dave Mason, possesses a unique and effortless groove. This jazz-tinged single from their second album showcases Mason’s songwriting and performance at their peak. “Feelin’ Alright?” captures the band’s ability to craft catchy and commercially viable songs without sacrificing their musical complexity, making it a prime example of their accessible yet sophisticated sound. It’s a testament to Mason’s songwriting prowess and Traffic’s inherent musicality.
4. “John Barleycorn” (From John Barleycorn Must Die, 1970)
Traffic’s folk roots were always evident, particularly in their debut album. However, for John Barleycorn Must Die, their third studio album and their most commercially successful, reaching No. 5 on the charts, they deeply explored these roots. This is especially evident in the acoustic title track, “John Barleycorn.” A traditional folk song re-arranged as the album’s six-minute centerpiece, “John Barleycorn” highlights Traffic’s mastery in an unplugged setting. It underscores their musical versatility, proving their prowess extended beyond electric instrumentation and into the realm of acoustic folk music with equal artistry and depth.
3. “Paper Sun” (From 1967 single)
Traffic’s debut single, “Paper Sun,” is sonically representative of the psychedelic soundscape of 1967. Characterized by its trippy atmosphere and prominent sitar, it’s a quintessential song of its era. Yet, it’s a pivotal recording in Traffic’s career, signifying their willingness to experiment and embrace diverse musical elements. Steve Winwood, still in his teens when “Paper Sun” was recorded, brings forth his signature R&B-infused vocals, honed during his time with the Spencer Davis Group. “Paper Sun” marked the arrival of Traffic and immediately established them as innovators unafraid to blend genres and push musical boundaries.
2. “The Low Spark of High Heeled Boys” (From The Low Spark of High Heeled Boys, 1971)
By the time Traffic created their fourth studio album, The Low Spark of High Heeled Boys, they shifted away from traditional song structures, opting for expansive, extended pieces that incorporated jazz, progressive rock, and improvisational elements reminiscent of the Grateful Dead. The album’s centerpiece is the title track, “The Low Spark of High Heeled Boys,” an 11-minute sonic journey that unfolds with subtle builds and fades. At its core, the track features Traffic’s most elastic and captivating groove, anchored by a memorable and chewy hook. This song epitomizes Traffic’s later period of musical exploration, showcasing their ability to create immersive and expansive soundscapes.
1. “Dear Mr. Fantasy” (From Mr. Fantasy, 1967)
“Dear Mr. Fantasy,” a centerpiece of their debut album Mr. Fantasy, is one of Traffic’s earliest extended compositions and arguably their finest group performance featuring the original four members. Steve Winwood’s exceptional mid-song guitar solo, often mistakenly attributed to Dave Mason, foreshadows the band’s later spacious sonic explorations, even though Mason would soon depart. “Dear Mr. Fantasy” encapsulates the boundless potential Traffic possessed at their inception. It’s a powerful track that blends soulful vocals, instrumental virtuosity, and a sense of musical adventure, solidifying its place as the top of our list of traffic songs. It represents Traffic at their most collaborative and forward-thinking, hinting at the incredible musical journey that lay ahead.
