Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. And given that Steve Winwood is the bandleader and main vocalist - - drummer Jim Capaldi provides harmony vocals on two songs - - there's some soulfulness as well. Winwood plays all of the keyboard, guitar, and bass parts on the album except for the some of the organ parts on "Empty Pages," played by Chris Wood.
Wood also plays all of the wind and reed instruments. Capaldi plays the drums on every song but "Stranger to Himself," on which Winwood is the drummer.
The playing is solid throughout, with Winwood and Wood displaying some virtuosity, especially on "Glad. Side one of the original vinyl, the jazzier side, is made up of excellent compositions: "Glad," "Freedom Rider," and "Empty Pages. Overall, a very good album, and one I would recommend to any fan of progressive rock.
No, not really. Now you could say that with such an old band as Traffic, thinking that an album released thirty years after their golden era would be as great as when the band was young is wishful thinking. I don't believe that Far From Home should match any of their old albums in the slightest. To me, a comeback album is one that is more of a callback to old material, replicating it slightly but with other sounds and gadgets to make up for weak points.
This is especially the case when an album is such a flash-fire like Far From Home was the band released and nothing subsequently. But this didn't happen. FFH was a complete overhaul of Traffic's sound, demolishing the eclectic folk influence, the progressive construction, and any semblance of what made Traffic Traffic. If every element of the band was removed, then what exactly was left? Nothing particularly remarkable. Far From Home, in layman's terms, is a glorified Steve Winwood solo album, the only difference being that drummer Jim Capaldi from the original lineup joined him on it.
The album is over-saturated, much like Winwood's albums, with harmonized synth keyboards, slow echoing drumming, and soul backing vocals. To call Far From Home a prog record would be a stretch, but you could make a case for it.
The album does have many Latin and salsa jazz influences, no matter how badly used they may be. Funnily enough this album features some of Traffic's longest tracks, which have little-to-no experimentation in them; this may be a trap for you if you're going into the album looking for some hardened progressive rock, so it's better to be aware. Winwood's vocals in their early stages were quiet, yet when required were able to belt out power notes. However after spending the 80's successful with just using the latter, Winwood's over-enthusiastic yell became the centerpiece of the vocal arrangements.
Capaldi, who I know is a great drummer, is restricted within this genre with slow, linear drum patterns that rarely shift from their solid mold.
Mick Dolan and Davy Spillane appear as newcomers to the band, on rhythm guitar and Uilleann pipes a type of Irish bagpipe respectively. Even with their presence though, it's undoubtedly primarily Capaldi and Winwood doing the work. The album has some pretty good moments, the title track is stand-able and features one of those super-filtered guitar solos from Winwood at the end of the song.
The tracks that I always come back to are that of 'Nowhere Is Their Freedom', a punchy film-score esque epic, and the wonderful closing instrumental 'Mozambique'. The other tracks are forgettable, but I wouldn't necessarily go so far as to say they wouldn't appeal to anybody because this music definitely still has an audience.
Far From Home is not a fantastic record. It has more ups than downs, and unfortunately isn't that great of a resurrection of such a classic band.
Yet if you are open minded I'm sure this album would have it's fans. My two- cents don't mean anything in the wider picture. Happy listening. To think of it, maybe Traffic needed a little more Mason after all. If anyone can do campy right, it's him. I only have two relatively minor complaints. The first is that Reebop's contributions, as skilled as he is, are not essential IMO. Maria gets pregnant and Nigel starts to snap, and the only sane one seems to be Jimmie, Nigel's existential pot dealer.
Dark humor and a driving pop-rock score complete this riveting, nightmarish gem. Additional Product Features Film Country. Big, classic rock-indebted guitar slashes collide with punk fury, like a lo-fi version of The Who.
My last exit. Given its title and dark, quasi-religious subject and sinister-moody vibe, this tune sounds like a Soundgarden outtake. Which may be precisely why it does. The Biz premium subscriber content has moved to Billboard.6. Thriller, Michael Jackson () Michael Jackson is not the first artist to come to mind when selecting which records to take with you on the road. Maybe if you’re curating a dance party, but not a road trip. But the truth is, Jackson’s disco pop, and his finest album Thriller sounds even better turned way up in a car. Dancing wise, you.