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
and
Island Records
chief
Chris Blackwell
moving to the production chores, brought in a third
member,
Chris Wood
, to work on the sessions. Thus,
, 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
's voice and instrumental work, with
Wood
adding reed parts and
Capaldi
drumming and occasionally singing harmony vocals. If the original
bowed to the perceived commercial necessity of crafting hit singles, the new
was more interested in stretching out. Heretofore, no studio recording had run longer than the 5½ minutes of
"Dear Mr. Fantasy,"
but four of the six selections on
John Barleycorn Must Die
exceeded six minutes.
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
sentiments. But the vocal sections of the songs merely served as excuses for
to exercise his expressive voice as punctuation to the extended instrumental sections. As such,
moved beyond the jamming that had characterized some of
's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became
's first gold album. [The 2001 reissue includes two previously unreleased songs:
"I Just Want You to Know"
"Sittin' Here Thinkin' of My Love."
] ~ William Ruhlmann