"Hidden Treasure" the opener, is an extension of Traffic’s definitive interpretation of "John Barleycorn." Wood's lilting flute gives the song a tradition folk feel akin to the approach of Fairport Convention or Pentangle. The song shifts gears in the middle and takes on a Middle Eastern feel before returning to English folk. A long silence follows before you realize there's a sax snaking out of your speaker like a foghorn blowing in the mist. Wood's sax gets louder as Winwood chimes in on piano, launching into the title cut, a mixture of jazz, Latin and rock. A tip of the hat has to go to Capaldi, who wrote the lyrics to virtually all of Traffic's tunes (Winwood usually concentrated on the music). On this song and album he outdoes himself, filling the songs with imagery running the gamut from nature (and man's place in it), to money, sex, and freedom. These aren't the typical "I lost my baby" lyrics, Capaldi's lyrics make you think -- which is rare in rock music.

Capaldi got Low Spark’s title from actor Michael J. Pollard. While sitting at a café in Morocco with Pollard discussing a movie project, a reporter came up to the pair and asked Pollard to describe Traffic’s music. He said the group sounded like “the low spark of high heeled boys” and Capaldi filed the obtuse catch phrase for future use. Capaldi wrote the song’s third verse in the hallway while the group was recording and placed the lyrics on the piano in front of Winwood as he came out of his synthesizer solo: “If I gave you everything that I own, and ask for nothing in return, would you do the same for me as I would for you? Or take me for a ride, and strip me of everything, including my pride, but spirit is something non one can destroy.” Full of spontaneous, intense jazz-inspired riffs, particularly by Winwood on piano and synthesizer, the song’s underbelly percolates, thanks to Reebop’s dexterous runs on congas and Gordon’s unerring ability to change tempo as easily as a race car driver shifts gears . Grech seems to be playing the same subtle bass line for the song’s eleven minute duration, but listen closely and you’ll hear him throw in some impressive runs up and down the fret board during Winwood’s solos.

Less we get too serious, the next song, Capaldi’s "Light Up Or Leave Me Alone,” is a playful Motown romp with a fluid and funky guitar riff by Winwood, a pulsating beat by Gordon and a leering vocal Capaldi’s having such a good time being out in front he practically laughs his way through lines like “Spending my bread like it grew in the trees, you’re tryin’ to tell ‘bout the birds and the bees, the skirt that you’re wearin’ is way past your knees, either light up or leave me alone!” Even the background music shakes with conviction, with Grech’s thumping bass giving James Jamerson a run for his money and Winwood's tasty electric piano playing sounding well, like Winwood.

Side two's opener, "Rock and Roll Stew" is the only song Grech and Gordon ever wrote for Traffic and it's a flat out winner, mixing a reggae beat with R & B. Capaldi handles the vocals again, grunting, shouting and clapping his way through the infectious beat, which is as toe-tapping as anything War ever did. “Rock and Roll Stew” and the “Light Up “ served notice that Winwood was every bit as good a guitar player as he was a keyboard player.

The album's high point, "Many a Mile to Freedom" follows, a deceptively peaceful song that builds and soars toward its finish. Wood's whispery flute and Winwood's shimmering guitar solo are highlights, but it's Winwood's fragile vocal that's the main attraction, conveying Capaldi's melancholy lyrics about nature -- you can practically feel the winter in your bones. “Many a mile to freedom, many smile to turn. Ask my bluebird to sing to you from the heart of a wishing well. If you should ask me to give you, the reason for life as we know, then together we float like the river, and together we melt like the snow.”

"Rainmaker" the final cut, is another gem. Beginning where the album started, with Wood’s flute evoking traditional English folk, Capaldi and Winwood launch into a Druid-like chant pleading for rain. The seemingly simplistic vocal gives way to two stunning solos --Wood, ghostly and gentle on flute, followed by Grech, taking a rare turn on violin, which bathes the song in an exotic, Middle Eastern feel. Wood circles back in on flute, then Capaldi and Winwood return to the chant. Just when you think the song is over, Reebop bursts in on timbales and congas, transforming the song from folk to Latin. Previously subdued, Gordon leads an army of overdubbed percussion. Winwood puts down his acoustic and picks up an electric guitar, and Wood, now on sax, begins to wail like Junior Walker -- a surprising and very pleasant ending to a masterpiece.

Although “Low Spark” proved to be Traffic’s best selling album in America, these days Winwood is the only member of the of the six man group who is still around to hear the applause. Gordon, co-writer of “Layla” with Eric Clapton is still alive, but his drum kit has long been silent. A schizophrenic, he’s been in jailed since 1984, shortly after the voices in his head told him to kill his mother. Reebop’s show-stopping solos in concert eventually drew Winwood’s ire and his occasional absence from stage lead to his dismissal during the recording of the group’s swan song, “When the Eagle Flies” in 1974. He became a highly sought after percussionist for hire, enjoying a stint in the raucous German prog band Can. Tragically he died on stage in his adopted home of Sweden in 1982, a year before Chris Wood passed away, the victim of a brain hemorrhage. Grech’s love for American country music would bring him to America , where he would hook up with Gram Parsons before joining KGB, a supergroup featuring Mike Bloomfield at the apex of his heroin addiction (and the nadir of his guitar playing) and the commanding drumming of Carmine Appice. No choir boy himself, Grech feuded with Bloomfield and both men were sacrificed for the sake of the group. Grech slowly faded from music, ending his days as a carpet salesman before succumbing to liver and kidney failure as the result of a brain hemorrhage at the age of 43. Capaldi went on to a stellar solo career, releasing 14 albums, becoming a five time winner of the BMI/Ascap Award for the "most played compositions in America,” and penned numerous classics such as “Love Will Keep Us Alive,” (covered by the Eagles) and “This is Reggae Music,” co-written with Bob Marley. Stricken with stomach cancer, Capaldi, Traffic’s heart and soul, died in 2005 at 60, shortly after the group was inducted into the rock and roll hall of fame.

If you have but one Traffic album in your collection, check that, if you have but one album in your collection, "Low Spark" should be it. It’s musical alchemy, lightning in a bottle. If I could give "Low Spark" more than five stars I would.

Writer’s note: The remastered version of “Low Spark” features the bonus cut “Rock and Roll Stew” (parts 1 & 2). Originally a two sided 45 (remember those?), part two, full out guitar-dominated jam, will be of special interest to fans.

Posted October 19, 2006 Permalink