1970- Traffic- John Barleycorn Must Die sidmal 24bit-192khz

This is an original vinyl rip at 24bit/192khz by Sidmal, I use audacity 1.2.6 for recording wav at 32/192, then split it using Wavelab 6.11 and finally tag and convert to flac 24/192 using EZCD 2.01. I have a rega rp1 prefomance pack phonograph (made in france I think) a Denon DRA700 AE analog reciever, an Audiotrak Dr. DAC prime external soud card which is compatible with 24/192, and it all mainlines into my 3 years old (works as brand new) w520 Think pad
Which is very reliable and can be used 24/7/52 with it's cooler and never heats up.
please leave comments as to the quality, be they positive or negative.
Enjoy, then SEED!!!!

Traffic ‎– John Barleycorn Must Die
Label:
Island Records ‎– 88 018-270, Island Records ‎– 88 018 ET, Island Records ‎– ILPS 9116
Format:
Vinyl, LP, Album, Repress

Country:
Germany
Released:

Genre:
Jazz, Rock
Style:
Folk Rock, Fusion, Classic Rock



Tracklist

A1 Glad 6:32
A2 Freedom Rider 6:20
A3 Empty Pages 4:47
B1 Stranger To Himself 4:02
B2 John Barleycorn 6:20
B3 Every Mother's Son 7:05


Companies etc

Phonographic Copyright (p) – Island Records Ltd.
Recorded At – Island Studios
Recorded At – Olympic Studios


Credits

Design [Album Design] – Mike Sida
Engineer – Andrew Johns*, Brian Humphries
Photography By – Richard Polak
Producer – Chris Blackwell (tracks: A1 to B1), Guy Stevens (tracks: B2, B3), Steve Winwood (tracks: A1 to B1)


Notes

Recorded at Island Studios & Olympic Studios, London.
Illustrations courtesy of the English Folk, Dance & Song Society.
(P) 1970 Island Music Ltd.

Cat#1 appears on sticker on backcover.
Cat#2 appears on labels.
Cat#3 appears on spine.


Barcode and Other Identifiers

Rights Society: GEMA
Label Code: LC 0407
Matrix / Runout (Matrix Side 1): S 88 018 A
Matrix / Runout (Matrix Side 2): S 88 018 B
Matrix / Runout (Runout Side 1): S 88018 A-1 III
Matrix / Runout (Runout Side 2): S 88018 B-1 II

Tracklist:


Allmusic.com

Review by William Ruhlmann

At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the five-and-a-half minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album.


Release Date
July, 1970

Duration
39:28

Genre
Pop/Rock


Styles

Album Rock, Art Rock, Prog-Rock, Jazz-Rock, British Psychedelia, Psychedelic/Garage


Recording Date

February, 1970 - April, 1970