Low Spark of High Heeled Boys
28 February 2010
5 Comments
5.0
Amazon.com
Despite not even charting in the band’s native England, this album became a platinum-selling American hit on the basis of three enduring FM radio staples–the expansive, jazzy impressionism of the near-12 minute title track, and the more straightforward funk of the R&B charmers “Light Up or Leave Me Alone” and “Rock & Roll Stew.” Those disparate tracks perfectly underscore Traffic’s rich musical appeal and its restless, sometimes problematic creative and interpersonal relati… More >>
Why is it some people have to live in their stupid druggie past to enjoy any older music from that time? When music like Low Spark is great, it will stand the test of time whether you’re a pathetic old stoner or not. I think that some people around here oughta get there act together and quit bragging about what a cool stoner doooooood they used to be. If you need to refer to drug use all the time to brag about an album, maybe you don’t really like it so much. And how do you think that looks to kids?
Rating: 5 / 5
Traffic had one of the most original (and interesting) sounds in British rock, and not only because of their eclectic musical influences, which embraced psychedelia, folk, jazz, soul, R&B, and even classical. Their unique sound was also the result of their unusual instrumentation. While the group went through a number of personnel changes, its constant core members were Steve Winwood (vocals, keyboards, guitars), Chris Wood (sax, flute, and organ), and Jim Capaldi (drums & percussion). With no regular bass player, Winwood often filled in with the bass pedals on his organ. And, while there is no lack of guitars on most Traffic recordings, the guitar is not emphasized or particularly important to the group’s sound. Dave Mason came and went in their early years and, on other recordings, Steve Winwood would switch to guitar, with Chris Wood taking over organ duties. In short, Traffic was anything but your typical guitar-bass-drums rock outfit. And, with “white Ray Charles” prodigy Winwood at the helm, and with their willingness to experiment with virtually any sound or musical style, they cut some of the most distinctive and important records in British rock.
After regrouping in 1970 on “John Barleycorn Must Die,” Winwood & Co. began experimenting more heavily with jazz-rock. On “John Barleycorn” (especially the instrumental “Glad”), it added a welcome ingredient to their eclectic brew. However, with “Low Spark,” they jumped in with both feet, and Traffic’s sound would never be the same. The title track stretches to an unnecessary 11+ minutes, and the overall sound is limp and uninteresting. Although better than most recordings in the genre, this is the type of aimless noodling that most people think of when they hear the term “jazz-rock.” In fact, the “rock” element is increasingly submerged by this point, resulting in mere keyboard-based acid-jazz or fusion. And, unfortunately, the one track that does not succumb to these problems is musically uninspired and lyrically stupid (“Light Up or Leave Me Alone”).
Furthermore, with “Low Spark,” Steve Winwood took up the annoying habit of singing in a straight English voice, rather than using his unique “white Ray Charles” vocal gifts. The result robs his vocals of their unique soulful power – in fact, his singing here almost sounds like a weak falsetto by contrast. Together with his jazz-fusion experimentation, this vocal change only added to the musically limp sound of later Traffic.
“Low Spark” is probably the Traffic album that most people are familiar with. That’s a crying shame.
Rating: 3 / 5
This album’s supposed to be Traffic at its most commercial, but it may also be Traffic at its most boring. It’s a lot of what Winwood was already trying to do in his singles on the earlier albums: British versions of soul, proto-jam band jamming, but there are no extraordinary moments. It is consistent, and it is easy to listen to, but not for an indication of the most progressive things happening in early 70′s rock and pop.
Rating: 3 / 5
Although not actually a piano/drum duet cd, perhaps it should have been: Winwood at his peak, with, possibly the world’s best drummer, Jim Gordon, doing a stint with the band.
Rating: 5 / 5
I missed hearing that tune and when I bought the cd I thought of only that song but the whole cd just isn’t long enough. I wanted more it’s great.
Rating: 5 / 5