• Shootout At The Fantasy Factory (Remastered)
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Shootout At The Fantasy Factory (Remastered)

Shootout At The Fantasy Factory (Remastered)

$20.98 USD
$20.98 USD $20.98 USD
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Traffic: Steve Winwood (vocals, guitar, keyboards; Jim Capaldi (vocals, drums); Chris Wood (saxophone, flute); Rick Grech (bass); Jim Gordon (drums); Rebop Kwaku Baah (percussion); Roger Hawkins, David Hood. Recorded at Strawberry Hill Studios, Jamaica. Traffic: Chris Wood (flute, saxophone); Steve Winwood (piano, organ); David Hood (bass instrument); Rebop Kwaku Baah, Jim Capaldi (percussion); Roger Hawkins. Personnel: Steve Winwood (vocals, guitar, keyboards); Jim Capaldi (vocals, keyboards, drums); Jimmy Johnson (clarinet); Barry Beckett (keyboards); Roger Hawkins (drums); Chris Wood (wind). Recording information: Strawberry Hill Studios, Jamaica. Illustrator: Tony Wright. Photographer: Tommy Wright III. Unknown Contributor Roles: Steve Winwood; Chris Wood ; Jim Capaldi; David Hood; Roger Hawkins; Rebop Kwaku Baah. SHOOT OUT AT THE FANTASY FACTORY is the second of Traffic's expanded line-up studio albums, following 1971's THE LOW SPARK OF HIGH-HEELED BOYS. The five extended pieces here have little in common with the pastoral, psychedelic folk-pop of Traffic's first four albums, betraying instead Steve Winwood's roots in the Spenser Davis Group and foreshadowing his later solo success in the '80s. Traffic toured constantly before recording FANTASY FACTORY, and the album's extended grooves are clearly born of these performance experiences. The band's rhythm section was the famed Muscle Shoals Studio bass and drums team of David Hood and Roger Hawkins. But the character of the songs does not depend solely on rhythm. This material is highly inventive and memorably melodic, showcasing Winwood's passionately soulful singing. Throughout, Chris Wood's saxophone and flute are a supple foil to Winwood's voice. FANTASY FACTORY--along with the live albums of the same era--effectively represents this expanded incarnation of Traffic and the jazz-influenced, extended jam format they were focusing on at the time.
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