The Spencer Davis Group was the muscle car, the GTO of 1960's rock and roll, and the only Winwood band to produce music suitable to Top-40 radio. Their two biggest hits, both from 1967, 'Gimme Some Lovin' (charting out at #7), and 'I'm a Man' (#9) are included here. Both songs feature guitar and organ riffs reminisent of a runaway locomotive, and both feature no less than 6 percussionists adding to the barely controlled din, including 3 future members of Traffic: Dave Mason (at that time a roadie for the band), Jim Capaldi and Chris Wood. It is hard to believe that Winwood was only 19 years old and a 5 year veteran of The Spencer Davis Group when these songs were recorded. Not surprisingly rhythm guitarist Davis consented to a modification of the band's name after the success of these two songs: The Spencer Davis Group featuring Steve Winwood.

But most of the songs on 'Millennium' are drawn from the progressive rock produced by Winwood's second band, Traffic. It is hard to argue with the selections here, beginning with 'Paper Sun' (the band's most successful US single, topping out at number 74, though in the UK it rose to #5) and 'Dear Mr. Fantasy' from late 1967, and '40,000 Headmen' and 'Pearly Queen' from late 1968. The two former songs were prototypes in the emergence of acid-rock, simultaneously pioneered by artists such as The Beatles, The Byrds, Jefferson Airplane, and Jimi Hendrix. 'Pearly Queen' has become a rock classic in its own right, and perhaps the most covered Winwood song ever.

Winwood broke with Traffic briefly in 1969 to team with future Traffic bassist Rick Grech and two-thirds of Cream, Eric Clapton and drummer Ginger Baker, to form the short-lived 'supergroup' Blind Faith. Two of Winwood's best compositions from that band's only release are included here, 'Had To Cry Today', which climaxes in a captivating mix of guitar virtuosity from Clapton and Winwood, and the soft and thoughtful 'Can't Find My Way Home'.

The collection concludes with selections from Winwood's second stint with Traffic. First up are two selections from the 'John Barleycorn Must Die' album, 'John Barleycorn' himself, and the classic 'Empty Pages' (the band's only other US single, stopping dead at #94). If I was given my druthers, I would have chosen 'Freedom Rider' rather than 'John Barleycorn' from the 'John Barleycorn...' album, but given the emphasis on Traffic's epic rock numbers here, the selection of the melodious 'John Barleycorn' is understandable. Further, the song has lyrics penned by poet Robert Burns in the 18th Century, based on a character created by Jack London, lending it historical interest. 'John Barleycorn' was the first American novel to explore the tribulations of alcoholism.

The last song on the CD may be the best known of all Traffic recordings, 'Low Spark of High-Heeled Boys', with lyrics penned by Capaldi (and inspired by 'Bonnie and Clyde' actor Michael J. Pollard) and music by Winwood. Like many Traffic recordings, the lyrics of 'Low Spark...' are steeped in the symbolism characteristic of good psychedelia. Winwood's taste for challenging lyrical content actually harkens back to some of his earliest compositions. Consider this line from 'I'm a Man': "If I had my choice of matter, I would rather be with cats, all engrossed in mental chatter, showing where our minds are at". If you've been around since the 60's and haven't 'gotten it' yet, the stylings of Winwood's imaginative mind may elude you. So be forewarned, but hopefully tuned into, this impressive collection.


A Good Deal   April 30, 2001
David J Rubenstein (Federal Way, WA)
10 out of 10 found this review helpful

If your just looking for some highlights from early Steve Winwood, I think this disc does a very nice job. You get two songs from Blind Faith (both winners), and some darn good picks from the days of Traffic. The Spencer Davis Group makes an appearance on this disc as well. I was very surprised to hear some pretty decent sound come from this CD - I was expecting the worst and actually wound up being impressed. You get 11 tracks, which is just right for the casual fan - a nice little package with some very good picks here. Highly recommended.


Umm... Where's the Winwood?   June 2, 2000
Pat Kelly (Here, There & Everywhere)
8 out of 10 found this review helpful

As has oft been noted in the Millennium series, these collections are far less than they could be. Most run about 35-40 minutes and have no more than 12 tunes. Inexcusable to leave that much blank space on a CD. With some artists, like The Who or Bing Crosby, the amount of material left off is criminal. With less lights such as Burt Bacharach or .38 Special, finding 10 tracks is a stretch.

Steve Winwood presents a unique problem: His solo albums, with great tracks like Roll With It, Higher Love, While You See A Chance, and Valerie, were not recorded for MCA. Similarly, his earlier work with Traffic, Blind Faith (only one album) and Spencer Davis, were separately insufficient to justify a "Greatest Hits" release.

So instead, MCA has merged these disparate groups into a single desparate album. Not a single track is credited to Winwood as a solo act.

The soul-pop of Davis jars with the heavy prog rock of Faith & Traffic. If you're really interested in those groups, there are better collections that don't skim the most obvious surfaces. If you want a complete overview of the Winwood career, check his box set "The Finer Things".

But if you already have the Steve Winwood Chronicles, consisting of his biggest hits while on the Virgin label, then this is an adequate place to catch up on his earlier work without duplication.


Good selection, title misleading   January 7, 2006
William M. Feagin (Upstate New York, USA)
5 out of 6 found this review helpful

When you first see this cover in the record shop bins, you are fully expecting a collection of Winwood's solo work from 1977-87, prior to being wooed away to Virgin. You turn it over and discover the tracks are his best-known works with the Spencer Davis Group, Traffic and Blind Faith, and limited to the period 1966-72. It's not really surprising that Universal would do this; the compilers at Universal are not the music lovers who used to run the labels over which the company now has jurisdiction, and so I dock this collection a star for that.

That said, however, this *is* a good collection. As I said before, these are some of Winwood's best-known tracks, and in fact some of his best, period. The Universal compilers chose well for what is a essentially a budget-line anthology, and the remastering job is good, too. You certainly can't go wrong with such classics as "Gimme Some Lovin'," "I'm a Man" (Chicago's cover never did justice to this song), "40,000 Headmen," "Dear Mr. Fantasy," "Had to Cry Today," "John Barleycorn," and of course "The Low Spark of High-Heeled Boys."

I would like to correct a mistake made by one reviewer--the lyrics to "John Barleycorn" are not the work of Robert Burns, but in fact go back much farther. The song is at least 500 years old; dear Bobby Burns may have, at some point, written some variation on the lyrics (the notes to the original LP, John Barleycorn Must Die, point out that there are many variations of this song throughout the British Isles--versions are known to exist in Ireland, Scotland, Wales and England, all round the same basic theme), but the version here is definitely 15th Century British. "And little Sir John, and the nut-brown bowl/And his brandy in the glass/And little Sir John, and the nut-brown bowl/Proved the strongest man at last...."

A good place for anyone unfamiliar with Winwood's early work to start, I definitely recommend it.


Nice lineup, but...   November 6, 2000
4 out of 4 found this review helpful

Unlike much most of Universal's "Millenium" series, this collection is actually quite well thought out. It provides a nice sampling of Stevie's early work (Spencer Davis, Blind Faith, both periods of Traffic), and features such classics as "Paper Sun", "Dear Mr. Fantasy", and "Can't Find My Way Home". At fifty-seven minutes, it's a good value, as well. Unfortunately, the sound is not very good at all, which keeps it from getting a fourth star. It's sad that a major label can't do better work than this, especially when all these songs appeared in fine-sounding versions on the "Finer Things" box set.