John Barleycorn Must Die is the fourth studio album by English rock band Traffic, released in 1970 as Island ILPS 9116 in the United Kingdom, United Artists UAS 5504 in the United States, and as Polydor 2334 013 in Canada. It marked the band's comeback after a brief disbandment, and peaked at number 5 on the Billboard 200, making it their highest-charting album in the US, and has been certified a gold record by the RIAA. In addition, the single "Empty Pages" spent eight weeks on the Billboard Hot 100, peaking at number 74. The album was marginally less successful in the UK, reaching number 11 on the UK Albums Chart. Background and content In late 1968, Traffic disbanded, with guitarist Dave Mason leaving the group for the second time prior to the completion of the Traffic album. In 1969, Steve Winwood joined the supergroup Blind Faith, while drummer and lyricist Jim Capaldi and woodwinds player Chris Wood turned to session work. Wood and Winwood also joined Blind Faith's drummer Ginger Baker in his post-Blind Faith group Ginger Baker's Air Force for their first album, Ginger Baker's Air Force (1970). At the beginning of 1970, after the demise of Blind Faith, Winwood returned to the studio ostensibly to make his first solo album, originally to be titled Mad Shadows. He recorded two tracks with producer Guy Stevens, "Stranger to Himself" and "Every Mother's Son", but yearned for like-minded musicians to accompany, inviting Wood and Capaldi to join him. Thus Winwood's erstwhile solo album became the reunion of Traffic (minus Dave Mason), and a re-launch of the band's career. Mad Shadows would go on to be the title of Mott the Hoople's second album, also produced by Guy Stevens, and the new Winwood/Traffic album took its title from one of its tracks and became John Barleycorn Must Die. The album featured influences from jazz and blues, but the version of the traditional English folk tune that provided the album's title, "John Barleycorn", also showed the musicians attending to a modern interpretation of traditional folk music in the vein of contemporary British bands Pentangle and Fairport Convention. Whereas previous Traffic albums had been dominated by more concise song structures, John Barleycorn saw the group develop into a looser, jam-oriented progressive rock and jazz fusion style, setting the tone for their subsequent output in the 1970s. The album was reissued for compact disc