Traffic 1970

This band started life as a trio from Northern Ireland called Method, changing their name to Andwella's Dream after moving to London in 1968. After the first LP they were known simply as Andwella. The trio were fronted by Dave Lewis (guitar/keyboard/vocals), with Nigel Smith (bass/vocals) and Gordon Barton (drums). The "World's End" album was comprised entirely of Dave Lewis compositions, but most of the tracks were more mainstream with string orchestrations, brass arrangements and background vocals. The best tracks are the mid-tempo R&B influenced "I Got A Woman" with flute solo, jazzy piano and guitar; two tracks ("Reason For Living" and "Shadow Of The Night"), which sound similar to Traffic and the slow instrumental Michael Fitzhenry which featured some good guitar work and flute. The bands' last album, "People's People" was released in 1971, after which the band broke up in 1972.

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…

Tomorrow Today (1969). Hardin & York's debut album was quite competent yet derivative early progressive rock, and derivative of Traffic in particular. At least, however, it came by its influences quite honestly, Pete York having drummed behind Steve Winwood in the Spencer Davis Group, and Eddie Hardin having joined the Spencer Davis Group after Winwood left. And the duo does get quite a lot of sound out of their keyboards and drums, although they had plenty of backup from some session musicians. Hardin sings and writes uncannily like Winwood circa Traffic's "Forty Thousand Headmen" period, but while that's a good standard to shoot for, therein also lies the problem: it's not quite as good as the Winwood-paced Traffic, and certainly not as original…