The interview led Angelesce in Berkshire Cottage of Los Angeles 3 weeks before breaking. Everyone woke up when we arrived at the beginning of the afternoon with gold leaves, and we all listen to the cassettes of Hugh Masekelos Angeles, Steve Stills and the moment when Super Plos Angelesyers Plos Angelesying “Mr. Fantasy”, followed a variety of wonderful performances through Swan Sildentones.

Everyone sat in the living room and listening: quiet vibrations and the upper day. The interview interrupted through the interruptions, however, the interview itself an interruption, and through a madman, a cold, sliding in the dust reader (Stevie Winwood and Chris Wood controlling the steering wheel) in a jeep towards the Roman fields, where not only the natural simple air is located, but it is also a 360 degree view of what the world looks like.

After the interview, we block in the tool room – – Stevie On Battery, Jim Capaldi in an organ and his interviewer in another. (All are musicians in the traffic chalet). Then, Jim, Chris and Stevie took over and continued their music until dawn, as they did the maximum time and nights, they were together.

Could we communicate about some of its musical beginnings? Were they all in the organization feeling deeply in Birmingham? Jim: Only me. And Dave [Mason] was for a while. In fact, he left before turning the organization’s call into a deep sensation. It was an organization in Evesham, which is close to Birmingham. We did the maximum of our own things. We did a Davy Graham number that was a piece of Leadbelly called “Leavin’ Blues “. Davy had returned from the Tangier and made this LP Folk Blues and had done this edition that was influenced through the music he heard in Tangier. We did the same type of set we did in Birmingham in the paint clubs of the British railroads. I was completely out of words.

Chris: I was in an organization called Locomotive, inside and outside the doors while I was at the University, then I left the university. We had 4 years in the organization, and we played what I idea then to be jazz, however, now I know that there were 12 bar sequences in piano, bass and drums. We would obtain the occasional reception of the wedding, the Social Club, the Assembly of the British Legion on Saturday. Touches waltz and popular flops, however, we try to do as much jazz and we can get out of it.

Stevie: I at the university, but I expelled. It is a very loose school, but I created a “bad impression. ” As if it were a bit burning at that time. While expelling, I knew precisely what I’m going to do and I didn’t even have trouble returning for an initial certificate. Then I sang in folk clubs around Birmingham and touched jazz in clubs on Sunday.

Chris: On Saturdays, musicians accumulated and accumulated in a pub called chapel. There is a great scene, very past things that happened in Birmingham. You can go to a pub at dinner time, then move on to an afternoon club and somewhere at night. Young massages in Manchester, then to Birmingham clubs.

How does Birmingham look? Stevie: It’s called Black Country. The other people in western Midland are the other people in which Tolkien intended to found their hobbits. It is a heavy industrial.

Jim: People are types of characters, such as other people from Liverpool – Accent, attitudes. Birmingham looks a lot like Chicago. Maybe more as Detroit, and has a wonderful original music scene.

How did you gather?  Stevie: At the end of my days of organization Spencer Davis, and we were all accustomed to going to this admission club where Jim played, and while they gave us and played with him and Jam. And we have just gathered.

When did the Spencer Davis organization occur?  Stevie: Well, that did not take place exactly. It was still carried out to a false level type. It’s almost like a joke that too far, that’s what I thought. It is not serious. In a way, it is intelligent to take a tool and touch and sing it, but it is not an idea of ​​what it is now. It is just a consultation of doing anything else.

As if that were enough ignorant. With a song like “Humbody Help Me”, for example, as suddenly, this guy came here and said: “Here is a song to sing”, just arrived to the studio like this. I’m not there. “Date love” and “I am a more personal man”, but I did them in some way, I didn’t think much about that.

Chris: When you are American jazz, the teams remained in combination, but individually, there has never been a restriction because each member of an organization has made an album through itself. Art Blakey used to maintain an organization in combination for 3 or 4 years, but at the same time, individual members did other things. And that is now intelligent in pop, as long as I consult the organization in combination. We played in a Joe Cocker session. And Stevie and I played in the LP Hendrix.

Jim: Big Pink has been in combination for nine years, and they don’t look at how nothing less or more than they are because they are in combination nine years. This is the fact that they were in combination: they have something intelligent in combination.

Stevie: And the other people of Stax have been like 15 years together.

What is the first song you recorded as traffic? Jim: “Mulberry Bush. ” The Magnificent Edition. It is an instrumental thing and we exploit it. We put words, stored in one study, then in some other study.

Traffic: Rolling Stone’s interview, 1 of 5