Equinox – SERGIO MENDES & BRASIL‘66****

Constant Rain/Cinnamon & Clove/Watch What Happens/For Me/Bim Bom/Night & Day/Triste/Gente/Wave/So Danco Samba

Sergio Mendes & Brasil 66 followed up their highly successful A & M debut LP with Equinox. Although not as successful, it contains the same ingredients of easy listening bossa nova. (US:24)

"If you like kitschy 60s lounge music, or cheesy bossa nova then this is what you are looking for. Although they are not as commercial as Alpert, they swing and sound fun and have some artistic value to their music. The vocals are what make the album so timeless, their swingin' harmonizing, and Lani Hall's classic voice blend with the band, and make for perfect music. I can just picture this music back in the 60s brightening up people's days as they were riding in elevators or sitting in dentist offices. Great cheesy listening LP but it really is good music."

"Sergio Mendes and Brasil '66 is something that I'd be willing to bet that almost no one has heard of. They are a group of bossa nova singers and their album Equinox has some of the most beautiful stuff I've ever listened to. All of it is great and most is in Portuguese because the bossa nova movement came from Brazil."

"This is my all-time favourite Brasil '66 album - sensual, exudes a feeling of warm weather and warm emotions. Captivating rhythms, poetic, evocative lyrics, with lovely, intricate vocal and musical arrangements. A joy from beginning to end and a must have for romantic evenings." "The songs, some in English and some in Portuguese, are almost impossibly catchy; the musical arrangements wonderful, and vocal blending and phrasing of the group impeccable. Other than a marvellous rendition of Night & Day, there are no current pop songs which unfortunately became the group's staple later on. Despite the Brazilian sound of the entire album, these tracks personify the 60s beat. Lani Hall has got to be one of the best female pop vocalists. Her voice is truly remarkable and was the cornerstone of this group's fame."

"Mendes plays a mean jazz piano, and his blocky piano chords sound like Vince Guaraldi backed by a bossa nova beat. Everything on this album works. The songs are wonderful and well chosen. Groovy and stylish album. Not one bad track. Good choice for cocktail parties."

The Electric Prunes – THE ELECTRIC PRUNES***

I Had Too Much To Dream (Last Night)/Bangles/Onie/Are You Lovin’ Me More/Train For Tomorrow/Sold For The Highest Bidder/Get Me To The World On Time/About A Quarter To Nine/The King Is In The Counting House/Luvin’/Try Me On For Size/Tunerville Trolley

The Electric Prunes were a psychedelic garage band from Seattle best remembered for their memorable No. 11 US hit I Had Too Much To Dream Last Night. Their self titled debut album was rather less successful after which the group largely faded from public consciousness. (US:113)

"Released in 1967, The Prunes debut album features the only two of the group's songs that anybody in their right mind would remember: I Had Too Much To Dream is a masterpiece of psychedelic pop, a mind warped concoction of warbling guitars, spacey rhythms and wistful vocals. Get Me To The World On Time, meanwhile, marries the former song's psych-pop craftsmanship with a thumping Bo Diddley beat and some warbling guitars. So there you have it, just two really good singles."

"Silly name, but good tunes. Very psychedelic, with lots of reverb and special effects. The Prunes have been forgotten, except for one hit single (I Had Too Much To Dream) but some of the songs here are quite good. If you like this kind of stuff, this album is a must-have."

"The Electric Prunes suffer from the same disease which claimed so many of their contemporaries - mediocrity. Does anyone else remember how many albums were sold from 64 - 67 that had only one or two good songs? I don't remember either, but I do remember there were far too many - add this one to the pile."

"This is a classic album of the psychedelic era. It includes two monster hits with I Had Too Much To Dream and the Bo Diddley inspired Get Me To The World On Time. The inconsistency of some of the other tracks is a bit disturbing at first sight."

"There are many obvious attempts at being experimental, but most don’t come over very well. But then there is one of the most fantastic psychedelic rock songs of all time: I Had Too Much To Dream (Last Night). It could basically be described as a morbidly elegant verse giving way to a rocking chorus with several guitars playing in the background, smothered with crazy effects; it stands the test of time."

"A landmark of early garage psychedelia, a bit uneven but adventurous."

Electric Music For The Mind & Body – COUNTRY JOE & THE FISH*****

Flying High/Not So Sweet Martha Lorraine/Death Sound/Porpoise Mouth/Section 43/Super Bird/Sad & Lonely Times/Love/Bass Strings/The Masked Marauder/Grace

Electric Music For Mind & Body, the debut album from Country Joe & The Fish perhaps epitomised, more than any other, the psychedelia of the Summer of Love. (US:39)

"This record is the 'Rosetta Stone' for psychedelic music. If you want to hear the real deal; this is it. Nothing has ever been it's equal in this genre. The music, blends blues, folk and rock, in ways only dreamed of. Nobody else could match its complex mix of old and 'never heard of before'. The sounds and words played here are like a time capsule. Truly one of the great albums from a period of truly great music."

"True to its cleverly pretentious title, Electric Music For The Mind & Body ranks up there as one of the most influential debut albums ever released. Remarkable for its innovative use of swirling instrumentation, odd chord sequences, abrupt switches in tempo and strange, image-laden lyrics. Several of its best tracks (in particular the deeply atmospheric Bass Strings, the wonderfully eerie Section 43, the bizarrely structured Masked Marauder and the even weirder Grace) remain quite unlike anything heard before or since."

"Though psych/rock and acid rock are seemingly interchangeable terms, they invoke a slightly different nuance. This album seems more appropriately defined as acid rock. It's dreamy, trippy, ethereal, west coast acid rock, featuring Barry Melton's somewhat jerky style of lead guitar, some fuzz, lots of Voxx organ, and a mix of vocal and instrumental tracks. The band would never again achieve the heights of greatness exhibited on this debut."

"The 1967 debut by Country Joe and The Fish is truly one of the most important albums to come out of the psychedelic era, and probably the best example of the San Francisco sound at that time. The album's single, Not So Sweet Martha Lorraine is one of the strongest tracks, a biting anti-romantic love song. Other highlights include the opener, Flying High. Instrumentally, the album is tight. Barry Melton's lead guitar is great, and the organ gives the album a mellow, trippy vibe. I would recommend Electric Music For The Mind & Body to anyone who is interested in 60s psychedelic rock."

Electric Comic Book – BLUES MAGOOS***

Pipe Dream/There’s A Chance We Can Make It/Life Is Just A Cher O’Bowlies/Gloria/Intermission/Albert Common Is Dead/Summer Is The Man/Baby I Want You/Let’s Get Together/Take My Love/Rush Hour/That’s All Folks

Electric Comic Book, the follow up LP from the psychedelic garage rock group Blues Magoos, was rather less successful than their debut. It signalled the end of their commercial career. (US:74)

“Madcap music and special effects helped these all-American hippies create a crazy blend of pop art and cartoonish musical lunacy that brightened up the late sixties.”

“While they may not have been that technically proficient or original, Blues Magoos wrote some catchy psychedelic tunes, fully equipped to enhance a journey to the centre of your mind, or to just sit back and enjoy.”

“There was a type of psych rock that was a mixture of garage band and psych and this is that type. The band was less about being on acid than having fun and that's just cool. They made some of the best garage psych rock tunes ever. It's just good bouncy stuff that isn't too completely psyched out.”

“The gradual deterioration of the compositions on Electric Comic Book reveal the lack of substance the band possessed. Side two offered tracks which are just a cut above disturbing aural chaos.”

“They wrote incredible music, with complex melody lines, typical of the period. Ambitious arrangements and superb instrumental work was fronted by great vocals and vocal harmonies. This is a kind of music, which can be much better appreciated today, in retrospect, especially in view of the fact that it is so much better than anything made today. Musically the group could be easily considered proto-prog, since their music travels way beyond the pop of their era and the amount of musical ideas present here is staggering. This is a gem and a must to anybody seriously interested in rock history.”

“Although a notch or two below its predecessor there were many encouraging signs that these guys should have lasted longer. Songs they wrote like Pipe Dream and Life Is Just A Cher O'Bowlies are worthy of a band trying to gain respect and popularity. Side two is not as good and it might give an indication of their limitations.”

Born Free – ANDY WILLIAMS****

Born Free/Somewhere My Love/Spanish Eyes/Strangers In The Night/Sherry/Music To Watch Girls By/I Want To Be Free/Alfie/Then You Can Tell Me Goodbye/Sunny/I Will Wait For You/You Are Where Everything Is

MOR vocalist Andy Williams remained immensely popular throughout the sixties, oblivious to the changing musical scene surrounding him. Born Free includes Music To Watch Girls By which became a No. 9 hit in Britain in 1999. (US:5 UK:22)

"Melodies and lyrics are usually not viewed as representative of 1967's music. Although we may think of that time in terms of the rebellious and uninhibited rock culture, Williams wrote an overlooked chapter in history, combining old-time charm and airy flower-power harmonies." "Even when he takes on the upbeat bugaloo-bounce of Music To Watch Girls By, Andy Williams takes rough-edged syncopation and transforms it into a tranquil foxtrot."

"Although most of the songs are covers that were popular at the time, the arrangements have withstood the passing of years without sounding even slightly dated. Andy always had a way of making a familiar song sound fresh and new. Born Free contained the hit single Music To Watch Girls By, as well as the title hit."

"On this album, he tackles a few different styles and Music To Watch Girls By has a distorted guitar on it, which was probably a slightly risky thing for him to do. I had not heard some of the fine songs before but had heard of them. Andy does not disgrace himself. This is the sound of Andy getting a bit of musical credibility."

"Andy Williams has the smoothest, most delicious singing voice, ever. He is the ultimate crooner and really, really knows what women want in a male singing voice."

"Working with a new producer Andy hit a creative peak. Nick De Caro was both producer and primary arranger on this album, and was a perfect match for the wondrous voice of Andy Williams. Contemporary, yet classic instrumentation. Using what must have been the crème of LA musicians, Andy creates a mood that fits him to a 't'."

The Above Ground Sound Of – JAKE HOLMES***

Lonely/Did You Know/She Belongs To Me/Too Long/Genuine Imitation Life/Dazed & Confused/Penny’s/Hard To Keep My Mind On You/Wish I Was Anywhere Else/Signs Of Age

The Above Ground Sound LP was released by the now forgotten folk rock guitarist Jake Holmes. It is notable for including an acoustic version of Dazed & Confused, which later appeared on the first Led Zeppelin album credited to Jimmy Page.

“Mostly acoustic guitar driven, male vocal, soft rock, with some folk moves and mild psychedelic influences. What sets him apart from the rest is the quality of his material. I'm not much of a folky, but I like this.”

“This album has the original eerie acoustic version of Dazed & Confused before the Led Zeppelin version came out. This is true late '60s psychedelia at its best. The entire album is full of deep bass riffs, broken guitar chords and Holmes' voice that delivers lyrical perfection. A great forgotten singer/songwriter lost in time.”

“Though often footnoted by Led Zeppelin apologists for Dazed & Confused, Holmes' debut album contains much more than that allegedly pilfered song. It often blurs into some speedier, acid-drenched material.”

“Accompanied by only two guitars and bass, Holmes' stark and disembodied lyricism sets a mood that is tense and anguished. When listening to this uncompromising album, it is bewildering to know that its lonely and brooding author would soon become a master at penning upbeat jingles in commercial advertising.”

“In general, this album is both gorgeous and harrowing, full of surreal melodic constructions drifting through a dreamy haze of ringing guitars and haunted vocals. The music is hypnotic, the ideas original and the overall tone often otherworldly.”

“Holmes is to be lauded for his daring production risks, mixing Greenwich village folk with fleeting horns, strings and quick-fingered jazz leads. The electric bass underpinning many of the arrangements is nimble and ever-so unpredictable. The album is indeed a lost psych-folk classic, albeit one the casually aware often slight with 'if it's so good why haven't I heard it' dismissal. That said, Holmes does slip into some 'poor me' lyrical missteps here and there.”

A Drop Of The Hard Stuff – THE DUBLINERS*****

Seven Drunken Nights/The Galway Races/The Old Alarm Clock/Colonel Fraser & O’Rourke’s Reel/The Rising Of The Moon/McCafferty/I’m A Rover/Weila Waile/The Travelling People/Limerick Rake/Zoological Gardens/The Fairmoye Lasses & Sporting Paddy/Black Velvet Band/Paddy On The Railway

The Dubliners, in their classic line up, were undoubtedly the finest ever exponents of traditional Irish music. Sales of A Drop Of The Hard Stuff were boosted by their UK No. 7 hit single Seven Drunken Nights. Also includes the UK No. 15 hit Black Velvet Band. (UK:5)

"Established The Dubliners as an enduring presence and not a one-hit wonder. They include memorable and influential interpretations of many great songs like The Rising Of The Moon, Black Velvet Band and Paddy On The Railway. All of these are classic tracks that would irrevocably change the way the world saw Irish music."

"The diversity of their material encompasses drinking songs, ballads depicting romantic folly, sea shanties, covers of songs and also political songs, with numerous variations and permutations."

"Recorded when The Dubliners were young and full of fire. The songs are performed with gusto and great musicianship. Essential for anyone who loves Irish music."

"Backed by the incredible virtuosity of the band, Ronnie Drew's rasping vocals breathed new life and vitality into these traditional tunes and made them popular with the man in the street again, to the dismay of the folk purist and elitist, who thought that traditional music had to be treated like a museum relic and studied in a academic way, rather than to be enjoyed. Basically The Dubliners handed folk music back to the folk."

"The songs are funny, boisterous, rollicking and tender, performed by the band with such fire and zeal that they have become the definitive versions. They're also great drinking songs."

"This is the classic line-up at its uncompromising best that shook folk music out of its stupor. Essential."

"If you have never heard Luke Kelly sing, this is a good introduction to the greatest balladeer of them all."

Younger Than Yesterday – THE BYRDS*****

So You Want To Be A Rock & Roll Star/Have You Seen Her Face/CTA-102/Renaissance Fair/Time Between/Everybody’s Been Burned/Thoughts & Words/Mind Gardens/My Back Pages/The Girl With No Name/Why

The Byrds maintain their consistently high standard with Younger Than Yesterday. This was the last album before extensive personnel changes overtook the group. (US:24 UK:37)

"Put simply, this is one of the best and most cohesive records from a period of profound musical change. Just about every song is tightly structured, superbly played and infused with the sheer enthusiasm of the mid-60s music scene. Driven along by Roger McGuinn's innovative use of the 12 string guitar and Chris Hillman's 'lead guitar' bass, the group's highly distinctive arrangements provide a solid backdrop for their exquisitely controlled harmonies."

"1967 was a vintage year for pop music and this album, one of The Byrds finest, reinforces my belief about just how much great music was released in that year. The album is notable for the emergence of Chris Hillman as a songwriter as well as great songs written or co-written by Roger McGuinn and David Crosby. The other notable feature is that this was the last album before the group went through a period of high staff turnover. Four of the original five were together for this album."

"This is a beautiful album. I think it's the best The Byrds ever did. The songwriting here is amazingly consistent."

"The Byrds at their most complete. Definitely their best. Have You Seen Her Face and Thoughts & Words are two of my favourite Byrds tracks ever - both Hillman compositions too. The psychedelia doesn't intrude like it does maybe on Notorious, except on Mind Gardens naturally."

"This is a good and consistent album. The Byrds combined country, psychedelic, rock, pop and jazz into a sound all their own. There's a sophistication in their instrumental interplay. It's the type of stuff that sounds fairly simple at first but a closer listen reveals it to be pretty intricate."

"Opening song So You Want To Be A Rock & Roll Star would become a classic. Newcomer Chris Hillman immediately shows his abilities in Have You Seen Her Face, which marks the first cautious sounds of country rock."

The Youngbloods – THE YOUNGBLOODS***

Grizzly Bear/All Over The World (La-La)/Statesboro Blues/Get Together/One Note Man/The Other Side To This Life/Tears Are Falling/Four In The Morning/Foolin’ Around (The Waltz)/Ain’t That Lovin’ You Baby/C C Rider

The self titled debut album from the Boston folk rock group The Youngbloods. Includes the US No. 5 Get Together, sales boosted considerably by its use in a TV commercial. (US:131)

“The Youngbloods is a classic, plain and simple. It is on my all time list of great albums. Jesse Colin Young's pure voice, coupled with Banana's solid playing, the vocals and guitar word of Jerry Corbitt, plus the drum work of Joe Bauer made for some terrific music.”

“There are a myriad of reasons why the first LP is as fresh sounding today as during the sensational sixties. Jesse's vocals have long been underrated. His voice is captivating as you look forward to every verse.”

“As with many bands of this period, the key is the wonderful tightness that grew out of playing together in little clubs every night. Listen to the mix of the voices of Jesse Colin Young and Jerry Corbett, and the constant interplay between Corbett's guitar, Banana Levinger's electric piano and guitar, Young's bass and Joe Bauer's drums.”

“The music is garage driven semi-commercial folk/pop rock. Despite coalescing in Boston, this album has some great west coast flavour in the mix. Perhaps their most consistently excellent album.”

“This is music of the happy and gentle side of the hippie love and peace dream with catchy songs, good jingle jangle guitars and intense vocals.”

“Nice hippie folk. Has their big hit Get Together. All of the covers on this album are weak.”

“Two very fine songs. One that shows up on all the group's compilations (Get Together) and one that never does (Tears Are Falling). The rest are serviceable, but only hint at the sporadic brilliance to come.”

“This is the record that Get Together is on, but the rest of the songs are slightly more rockin' and/or bluesy."

Part One - THE WEST COAST POP ART EXPERIMENTAL BAND***

Shifting Sands/I Won’t Hurt You/1906/Help I’m A Rock/Will You Walk With Me/Transparent Day/Leilya/Here’s Where You Belong/If You Want This Love/’Scuse Me Miss Rose/High Coin

Part One was the commercial debut album from The West Coast Pop Art Experimental Band. Some critics complained that their songs were too short to be psychedelic and insufficiently innovative to be experimental.

“They were very inventive, solidly in the rock category, as their name would seem to indicate, very progressive. I always worried their sound was going to be rather cold, but I was wrong. Actually, their music comes off warm and friendly, even when the mood may be sad, dark, etc.”

“The West Coast Pop Art Experimental Band's debut Part One from 1967 only major flaw may have been the year of release. Since it would become a time of such superlative psychedelic music and timeless rock and roll, it seemed in retrospect a shame that for many this group got lost in the shuffle. If you want a slice of the times, they will satisfy you hunger with their blend of psychedelia, rock, folk and improvisational sounds from a legendary year in rock and roll.”

“Their Reprise label debut is something not to be missed. This is a psych driven mix of garage/pop and jangly folk rock, but with some bizarre, sinister element lurking in the mix that remains constantly elusive, always just out of sight, but whose presence cannot be denied.”

“The biggest problem with this album is the length of the songs. Just one is over four minutes long which clearly isn't enough if you want to hear some psychedelic jamming. You don't find any long jam band songs here. But the overall feeling is satisfying - not a total masterpiece but a very entertaining and nice record still.”

“Very nice album. It's got a good mix between really trippy psychedelic, and psych-pop. Help I'm A Rock is just one of those awesome messed-up trippy psychedelic songs, probably more of a weed song than an acid song. Shifting Sands is just a masterpiece, really well-made that sounds like Pink Floyd's middle stuff, same with Transparent Day. And there's also some psychedelic pop on here too. A very entertaining slice of vintage psych pop from the 60s.”

The Velvet Underground & Nico – THE VELVET UNDERGROUND*****

Sunday Morning/I’m Waiting For The Man/Femme Fatale/Venus In Furs/Run Run Run/All Tomorrow’s Parties/ Heroin/There She Goes Again/I’ll Be Your Mirror/The Black Angel’s Death Song/European Son

As a counterpoint to the hippy trippy Summer of Love, The Velvet Underground's debut album explores the darker side of life, interspersed with more gentle vocals from Nico. In defiance of its historical importance this seminal album struggled on the US album chart. (US:171)

"The year was 1967 - the Summer of Love. While other acts were singing about peace and love, Lou Reed and The Velvet Underground were telling us about the dark side of sex, drugs, and rock and roll. This album and their other recordings are much too avant-garde to ever be fully embraced by the record buying public, but this is art on a much higher level than we ever get from most musicians."

"There is no denying that this is one of the quintessential albums in the history of rock with its influence lingering on well until today."

"Music wouldn't be what it is today without The Velvet Underground, and more specifically this album. Even when I listen to it today, it sounds so new, so fresh, so innovative. I can't even begin to imagine what it sounded like in 1967. It's absolutely mind blowing. This album was years ahead of its time."

"Scary and beautiful at the same time. No one sounded like this in 1967. There's probably three or four different moods to the album, but there's an underlying current of fear and discomfort throughout, regardless of which song you listen to."

"Beautiful, haunting, and sometimes a little scary. All these things describe the first album by The Velvet Underground. It was shunned when it first came out, but now it has taken on an almost mythical quality because of how many artists it inspired."

"This is probably the most beautiful and the most gritty record I have ever listened to. Here you will hear some of the sweetest, heart-warming tunes and some of the most twisted, and nightmare inducing. But overall, this is a really dark record. Even the more gentle songs have a strong tinge of darkness. I have not heard an album like this that combines these two characteristics in a way that's so unique."

There’s A Kind Of Hush – HERMAN’S HERMITS****

There’s A Kind Of Hush All Over The World/Saturday’s Child/If You’re Thinkin’ What I’m Thinkin’/You Won’t Be Leaving/Dandy/Jezebel/No Milk Today/Little Miss Sorrow Child Of Tomorrow/Gaslight Street/Rattler/East West

There's A Kind Of Hush was the final Herman's Hermits album to reach the US album top twenty. The title track peaked at No. 4 in the UK and No. 7 in the US. Also contains the top twenty hits Dandy, No Milk Today and You Won't Be Leaving. (US:13)

"Head and shoulders above the rest of the Herman's Hermits LPs, this one has some of their best work like Dandy, Mo Milk Today, and the great non single track Jezebel. If you are going to own any Hermits LP this is the one to get."

"This record is an example of British beat music from the mid sixties at its best. Herman's Hermits typified a sound of that era that was very melodic, heavy on rhythmic guitars, with focus on delightful harmonies and impeccable arrangements. All the songs were originals, except for the frantic Jezebel, and were written by the top professional songwriters of that era. What makes this record outstanding is not only the craft of the tunesmiths involved, but the marvellous arrangements. All the songs are terrific."

"The general impression is that Herman's Hermits were a singles band, but this LP shows the group to be rather more substantial than that. Not only does it show off elements of their sound that never made it onto their singles, but such attributes as their own songwriting, for which they seldom received any regard."

"There's A Kind Of Hush opens with the famous title track, which is a great example of why 1967 was such a wonderful time. The album also includes two hit singles of the previous year, No Milk Today and You Won't Be Leaving – both quality pop songs, that are quite different from each other."

"This is easily Herman's Hermits best album. Every track stands up on it's own. It is essentially a gathering of recent singles and such, but so what? It still rules."

"The Hermits' excellent 1967 album There's A Kind Of Hush was the group's last top hit in the States. Apart from the title track, it also contained such gems as No Milk Today and East West, both written by Graham Gouldman of 10cc fame."

Live! – THE TEMPTATIONS****

Introduction/Medley/What Love Has Joined Together/My Girl/Yesterday-What Now My Love(Medley)/Beauty Is Only Skin Deep/Group Introduction/I Wish You Love/Ain’t Too Proud To Beg/Old Man River/Get Ready/Fading Away/My Baby/You’ll Lose Precious Love/Baby Baby I Need You/Don’t Look Back

This first live set from Motown soul giants The Temptations was recorded in Detroit in October 1966. This is believed to be the only live recording with the original line up. (US:10 UK:20)

"This is one of the best live albums ever produced. This is the only live recording with David, Paul, Eddie, Melvin and Otis back in 1966. Thank God for amps and pa systems, because you will not be able to hear anything with the girls screeching and screaming in the audience. Trust me every song on here is good."

"Apparently Temptations concerts were a lot of fun. Excellent quality for a live album recorded in 1966, you're right on stage. Rather than just a collection of live versions of songs off their LPs, this album virtually takes you to a live performance."

"All the songs are among their best up to this point in their career and performed exceedingly well. There's also their take on Yesterday which has a kind of lounge feel to it. Though you may not want to add these individual tracks to your regular listening rotation, the album as a whole is an enjoyable experience."

"Since fans will never have the opportunity to hear the 'Classic Five' sing again, this is the next best thing to being present at a live performance. The enthusiasm of the audience is apparent and brings back memories of Temptations concerts of long ago."

"The Temptations sound like they're all over the stage. Their voices drop in and out as they move around the microphones and their hand claps can be clearly heard, but by allowing them full flight during the recording, what's also heard is the pure joy and exuberance of the original Temps in their prime. As a long time fan of live recordings, my humble opinion is that it doesn't get much better than this."

"Long before this album first came out, my brothers and friends always considered The Temptations the greatest singing group of all time. All you have to do is listen to the women scream during this incomparable show. That says it all. The black groups today can never ever compare. What has happened to the romance and soul?"

Is Spreading – THE PEANUT BUTTER CONSPIRACY***

It’s A Happening Thing/Then Came Love/Twice Is Life/Second Hand Man/You Can’t Be Found/Why Did I Get So High/Dark On You Now/The Market Place/You Should Know/The Most Up Till Now/You Took Too Much

Is Spreading was the debut album from the Los Angeles psychedelic band The Peanut Butter Conspiracy. Their music was a cross between the Mamas & Papas and Jefferson Airplane. (US:196)

“Spreading is a decent first effort, but it has a rather piecemeal quality to it. While not a singles band, the album plays as if PBC were one. Thus, the tracks work better individually than as a well-integrated album.”

“The quality of the songs, vocals, musicianship and arrangements are second to none. You cannot get away from feeling that this band should have been absolutely huge.”

“Upon initial listening The PBC appear like a less arresting version of The Mamas & Papas but then their slightly different, more frantic harder edged style, starts to attract. It's A Happening Thing is nice and breezy with massed vocals and captures that magical year 1967 fairly well. Then Came Love is different, via gentle baroque overtones, with heavenly harmonies much in the style of The Mamas & Papas.”

“They're pretty good. Sit back and enjoy the ride, it will satisfy a lot of 'What ifs?'. Mine has always been, what if there was a group that had great harmony and good music behind it? Well there was, and the conspiracy is spreading.”

“These people meld The Mamas & The Papas with the Jefferson Airplane and a dash of Peter, Paul and Mary to create a sound all their own.”

"Now I see how people became fed up with it, and quickly moved on to the next thing. Spreading is another hippie dippy extravaganza with mediocre songwriting. However, I do like the sound, production, enthusiasm and amateurism. A worthy addition to my psych folk collection."

“One of the better LA outfits of the late 60s, featuring male/female vocal harmony style pop, with fuzz guitar breaks, and a great period flavour. Though their material is in a flower pop vein, their somewhat non-melodic approach to songwriting almost disqualifies them from the genre.”

Sings The Blues – NINA SIMONE****

Do I Move You/Day & Night/In The Dark/Real Real/My Man’s Gone Now/Backlash Blues/I Want A Little Sugar In My Bowl/Buck/Since I Fell For You/The House Of The Rising Sun/Blues For Mama

Sings The Blues is one of a number of themed albums Nina Simone released during the 1960s showcasing her ability to perform in a variety of different musical genres.

“Nina Simone sang many styles of music well, including soul and jazz, but to me, this is Nina at her best. She squeezes every drop of emotion from her voice. This is raw, passionate blues, and I think it's one of the more important albums of the 60s.”

“The in your face assertiveness of Nina Simone pours out here and projects an attitude that may not be everyone's cup of tea. However for those who hunger for the soul laid bare, Nina Simone stands out for her naked expressions of emotion and consciousness. An absolutely revelatory album and highly recommended to those just getting into Nina's music.”

“From the moment I heard it, I was tapping my toes and fingers. Fantastic voice, excellent songs, this is one of the best blues LPs I have heard. If you like blues, check this one out.”

“This is certainly Nina's most powerful band configuration; the rusty blues guitar, soulful backing vocals, and especially the sharp, sleazy harmonica act almost as primary characters on the less engaging material. Nina is impassioned, confident and bursting with intent, as in the lustful Do I Move You? or the political Backlash Blues. Meanwhile, the production makes use of improving studio technology, with overdubbed vocal harmonies and a crisp sound.”

“Some people think of Simone as having a masculine, assertive voice, but this album is plaintive, sad, and sensuous in a more conventional way. That in itself doesn't make it a great album, but Simone's superlative interpretation and phrasing does.”

“As good as blues gets. Simone's voice is gravelly and smooth, grating and gorgeous, and most of all, undeniably unique. She is also a master interpreter, bending every song she approaches. Her voice is so distinct that it can never be copied, and her styling and phrasing is deep. In The Dark and I Want A Little Sugar In My Bowl are absolute gems, but the LP overall is excellent.”

Secombe’s Personal Choice – HARRY SECOMBE***

Falling In Love With Love/Love Is A Many Splendored Thing/Stranger In Paradise/Girls Were Made To Love & Kiss/Funiculi Funicula/Be My Love/Grinzing/Vienna City Of My Dreams/Fountain In Capri/Santa Lucia/Il Lamento De Federico/This Is My Song/A Man Without Love/Summer Song/Lead Us Heavenly Father Lead Us/O Come All Ye Faithful/Abide With Me/If I Ruled The World/Moulin Rouge/Here In My Heart/Domino/I Long To See The Day/ Bless This House

Sir Harry Secombe is best known as one of the Goons, but he also had some success as a vocalist, performed in a rather old time style. Secombe's Personal Choice, a mixed bag double LP, had its chart placing boosted by the No. 2 hit single This Is My Song. (UK:6)

"Clear vocals, so one can understand exactly what the words are, delivered by Sir Harry with a perfect command of his voice. This LP is to be highly recommended. Perfect to sit and listen to with a cocktail either before or after dinner."

"I wasn't disappointed, every track is sung with feeling and warmth. If you have never listened to Sir Harry sing, you must do so, he was the best."

"This LP is the Master singing strongly and with great clarity the songs many of us love to hear. There is no mixed music, no synthesizer just great vocals and wonderful chemistry. One is transported through many a stage performance and you live his words through the medium of vocal clarity and range."

"The man had a sensational voice and this music will live on for years to come. A delight from start to finish, go on give it a try, you'll be presently surprised."

"This album will convince you that here was a tremendously talented man, so much neglected and overlooked musically."

"Harry Secombe has a fantastic singing voice, the LP is perfect and we love sitting, listening and sometimes singing along with him."

"What a voice. As a Goon he was fantastic, and as a singer he is on a par with Kenneth McKellar. I would recommend this album to all who love great voices."

"If I Ruled The World is a wonderful piece of music and, of course, the unmistakable, magnificent, uplifting voice of Harry Secombe."

My Cup Runneth Over – ED AMES***

My Cup Runneth Over/In The Arms Of Love/Au Revoir/Don’t Blame Me/Watch What Happens/Melinda/Bon Soire Dame/There’s A Time For Everything/True Love/Our Love Is A Living Thing/Edelweiss

Easy listening Ed Ames achieved his highest album chart placing with the romantic My Cup Runneth Over. The title track show tune was a US No. 8 hit single. (US:4)

"His albums were easy listening records, with light folk, country and pop influences."

"The title song comes from the Broadway show I Do I Do and sets the tone for a delightful mix of beautiful songs mostly from stage and screen. For example, True Love is the Cole Porter ballad from the Grace Kelly, Bing Crosby, Frank Sinatra movie, High Society - and no one ever sang the song better than Ed Ames. This album is beautiful, unabashed romanticism."

"My Cup Runneth Over has some of the most beautiful love songs ever written sung by a man with the richest, baritone voice and I nearly wore the album out. This is a classic body of songs and you can't go wrong with it. If you love beautiful melodies and intelligent lyrics, this LP is a must."

"In the fifty year history of modern popular music, there are only a handful of voices that are instantly recognizable. One of these is the satin smooth baritone of Ed Ames. The title track, My Cup Runneth Over, is the highlight of the album, but it is given a gentle nudge by Au Revoir, True Love and Watch What Happens. As a bonus, Ed's beautiful rendition of Edelweiss can move a listener to tears. It is often said that beauty is in the eye of the beholder. When Ed Ames is singing, close your eyes and let your ears take over. The effect is magical."

"I have the original 1967 record album and practically wore it out. Drove my college roommate crazy by playing it over and over again. What can I say - these songs still make me laugh and cry. If you are in any way romantic, do not miss this."

"Ed Ames is unrivalled among the greatest male singers. And for many reasons: his absolute professionalism, his deep humanity that transcends his singing, his emotional, gracious, evocative style, the conviction he puts in each song, viewed as a work in itself. His voice is like the seasons, being like a light breeze or capable of thundering."

Matthew & Son – CAT STEVENS*****

Matthew & Son/I Love My Dog/Here Comes My Baby/Bring Another Bottle Baby/Portobello Road/I’ve Found A Love/I See A Road/Baby Get Your Head Screwed On/Granny/When I Speak To The Flowers/The Tramp/Come On & Dance/Hummingbird/Lady/School Is Out/I’m Gonna Get Me A Gun

Debut collection of brilliant bouncy pop songs from Cat Stevens, different in style from his later better known, reflective and introspective material on the Island label. Matthew & Son includes the UK No. 2 title track and No. 6 I'm Gonna Get Me A Gun. (UK:7)

"A really strong debut from the troubadour to be. This puts all of Swinging London in a bottle and shakes it up - a beautiful postcard from a particular time and place."

"It's fun and original, and the orchestration is pretty awesome. If you're looking for some good pop music from the sixties, look to this album, it won't disappoint."

"A great sixties pop album - it's still a classic, and the tracks that do it, really go all the way. Very cool album. Don't pass it up if you like 60s pop masterpieces."

"For those that are unaware, Cat Stevens is one of the greatest singer/songwriters ever and this is just another stunning example of his abilities."

"It is interesting, and the music being played is top notch. The lyrics aren't deep at all being very much light and fluffy and very sixties inspired. This doesn't mean you should not pick up the album as it is very good for that kind of music. I love tunes from that era and have always loved Cat's voice."

"Bouncy pop tunes that, while sometimes rather dated, make for good, clean fun."

"This early material from Cat bears little resemblance to his earth shifting work of the 1970s, but it has its charms. The songs are produced in a way that was typical of many UK hits at the time. So as well as being an important chapter in Cat's career, this disc also acts as a reminder as to why the music of the time was so refreshing."

"These songs represent some of the best in 60s big band pop music made at the time. Bring Another Bottle Baby gets me in the mood every time, and I just want to swing, baby, yeah! I'm sure it's one of Austin Power's favourite tunes as well. Great music, but a little dated now. Aren't we all?"

The Mamas & The Papas Deliver – THE MAMAS & THE PAPAS****

Dedicated To The One I Love/My Girl/Creeque Alley/Sing For Your Supper/Twist & Shout/Free Advice/Look Through Any Window/Boys & Girls Together/String Man/Frustration/Did You Ever Want To Cry/John’s Music Box

Third album from the hippie era Mamas & Papas in which the inspiration runs down a little towards the end. Deliver includes the definitive version of Dedicated To The One I Love, a No. 2 hit single in both the US and UK, plus the autobiographical top ten hit Creeque Alley. (US:2 UK:4)

"Deliver is the third studio album released by The Mamas and Papas. Even though it isn't as perfect as their debut album, or as experimental as their mostly original second album, it still has several wonderful songs and served to continue The Mamas and Papas reign as the 'Royal Family of Pop'."

"From the very first listen it becomes rather obvious that the blistering first side of the record, containing not a single weak cut, pretty much contrasts with the lacklustre, not too inspiring second side, and it certainly can't be a coincidence that the first side is mostly based on covers, with just two original compositions, while the second side is entirely composed by the band's only significant songwriter, John Phillips."

"Every member of the group has their own solo songs, but of course Mama Cass steals the show, Dedicated To The One I Love, My Girl and Sing For Your Supper are overall the best songs. The rarer, neglected songs on the B-side should remain that way, as they are for the most part boring. Nevertheless, this is a must have for fans, but isn't an essential rock document like the previous albums."

"Deliver is well worth the listen if you enjoy the sunshine pop of the mid-sixties. Even some of the poorer tracks have great vocal passages. Do not expect California Dreamin', but look forward to the last great Mamas and Papas album."

"Deliver is the weakest of the group's first three albums. At the same time, it is the group's last great album as the musical quality declines sharply afterwards. It did deliver a few successful singles in its day. The format here is very similar to the group's previous two albums - mostly folk pop with a heavy emphasis on vocal harmony and balance."

Lady – JACK JONES****

Lady/A Beautiful Friendship/Free Again/If You Never Come To Me/Nice ‘N’ Easy/Brother Where Are You/Once Upon A Time/If You Go Away/Theme From The Sand Pebbles/Girl Talk/Afraid To Love/Its Easy To Remember

Easy listening crooner Jack Jones achieved his final commercially successful LP in the States with Lady. He would enjoy a revival of popularity in the UK during the early 1970s. (US:23)

"This Jack Jones album contains a memorable hit single Lady, yet every one of its songs has grown in popularity with fans over the decades. It's no surprise, considering how this LP encompasses everything Jones was and became as an interpretive singer, and every genre and trend that he would master in his early recording career."

"I remember listening to Jack Jones sing Lady for the fist time when my parents played this on the stereo and I really liked the sweet sound of this man's voice. Every song that came out from this great singer always sounded good. So clear and crisp, and it was all natural, without strain. He could sing with the best of singers."

"Lady is such a beautiful song and Jack has such a wonderful smooth voice. Pure gold."

"On this album Jones would introduce a newer and richer style of introspection, with sparse accompaniment, as he expresses the desperation in If You Go Away, and the exhilaration of Free Again. Jones could easily have made the latter a one note anthem, but instead leads listeners through a subtly elevating emotional journey, from hesitation to reminiscing to sombre relief and, ultimately, the breathless declaration of freedom from a relationship."

"Here, at the mere age of 29, he was forging his own, unique path, with a deeper, more haunting intimacy with lyrics that no other pop singer could match."

"The past is instantly recalled in the title song, with Jack's incredible vocal range bringing vivid life to this gorgeous, but difficult, Bert Kaempfert melody. His singing voice glides easily from baritone to tenor and back, expressing the pure, swooning romance of an earlier, happier era, as only Jack Jones could still convincingly do in this far from idealistic year of 1967. This single was indeed 'quintessential Jack', yet Jones chose to continue maturing."

In London – TRINI LOPEZ****

Takin’ The Back Roads/Strangers In The Night/Love Letters/Happy/Mame/Your Ever Changin’ Mind/Gonna Get Along Without Ya’ Now/Lady Jane/It Had To Be You/Fever/I Wanna Be Around/That’s What Makes The World Go Round

Latin-folk vocalist and guitarist Trini Lopez achieved his final high placed chart album with In London, considerably more successful in Britain than in his native country. (US:114 UK:6)

"In London perfectly sums up Trini's appeal. There's a mix of sing-along tunes, reworked covers of then current hits, standards and a few surprises, including a solid take on take on The Rolling Stones Lady Jane. The singles from the album didn't break out to become huge hits, but it doesn't reflect the quality of the album. Really, this is all-around solid stuff."

"In London is a really great collection. Recorded in London in '67, it features his hit single version of the Patience & Prudence nugget, Gonna Get Along Without Ya Now. Trini does a great rendition of this pop classic. There are several other notable tracks on this album that are never included on Lopez compilations. The best track on the album is a Lopez original, That's What Makes The World Go Round which is Trini doing what he does best - having a good time."

"Though the energy level here isn't quite up to par with his famous live albums, there's a lot to like on Trini Lopez In London. The material is first-rate, though often a bit predictable and Lopez delivers charismatic performances on every track. His backing musicians keep up with him admirably too. A few times, though, one gets the impression he's going through the motions, applying his patented groovy-izer in the same manner to whatever tune producer Don Costa throws his way."

"There is one revelation here: Lopez's sensitive treatment of The Rolling Stones classic, Lady Jane. Finding the perfect balance between his usual public hipster number one style and the melancholy romanticism of the original, the singer manages to sing the lyrics with the seriousness they deserve, yet sounds completely like himself. The result is pretty amazing. Though Trini Lopez In London often suffers from cookie-cutter syndrome, in the end Lopez's clarity of voice, and seeming lack of pretence, make him a joy to hear even at his most banal."

Images – THE WALKER BROTHERS***

Everything Under The Sun/Once Upon A Summertime/Experience/Blueberry Hill/Orpheus/Stand By Me/I Wanna Know/I Will Wait For You/It Makes No Difference Now/I Can’t Let It Happen To You/Genevieve/Just Say Goodbye

Third and final album of new material from the Walker Brothers before their split. Over the next few years Scott Walker would release a series of acclaimed solo albums. (UK:6)

"The Walker Brothers are not noted for their albums, but the care given to their singles was repeated throughout this, their third album. Their dilemma always was, it seems, which direction to go in. The big, deep ballads that brought them commercial success are represented here, but so is 'Spectoresque' pop, as on their marvellous version of Stand By Me. Scott also has three diverse songs, aimed at deeper waters, but was yet to achieve the level of maturity displayed on his four numbered solo albums. Of the three, I'd say Genevieve is the most potent, while Orpheus is typical of the style he'd develop."

"The Walker Brothers third and final album of the 1960s was as wildly uneven as their other pair. Affecting pop/rock ballads and operatic crooner vehicles were interspersed with absolutely inappropriate uptempo blue-eyed soul and rock covers. However, Scott Walker's songwriting and singing exhibited a growth that foreshadowed some of the more ambitious aspects of his early solo albums."

"The last album Scott, John and Gary made in the '60s is also something of a contrast to the increasingly psychedelic times. Released just as they were on the way out - their singles were charting ever lower. It's a curious mix of material to appease their mental teen fan base, MOR minded mums and dads including even those wanting real substance to their pop entertainment."

"Scott's three compositions are the main reason to buy this album. Experience is a silly, wonderfully entertaining Germanic waltz. Scott's lyrics are as inventive as usual. Orpheus is my favourite, one of Scott's darkest, most seductive songs."

"I don't think there is a more melodramatic, powerful ballad ever recorded than Just Say Goodbye, with it's gorgeous romantic arrangement, and nobody did them better than Scott and John. It ends their brief 60s career perfectly."

How Great Thou Art – ELVIS PRESLEY****

How Great Thou Art/In The Garden/Somebody Bigger Than You & I/Farther Along/Stand By Me/Without Him/So High/Where Could I Go But To The Lord/By & By/If The Lord Wasn’t Walking By My Side/Run On/Where No One Stands Alone/Crying In The Chapel

Elvis Presley won a Grammy for his acclaimed second gospel album How Great Thou Art. Includes the hit Crying In The Chapel, No. 3 in the States and No. 1 in the UK. (US:18 UK:11)

"Let's be honest, his voice was fantastic, especially on ballads. This is why Elvis and gospel is a great idea. No sequinned jumpsuits and amphetamines here, just lovely, lilting devotional songs. How Great Thou Art and Crying In The Chapel are wonderful but the real star here is Stand By Me."

"How Great Thou Art was like a breath of fresh air as it was released in the middle of a run of generally terrible to average soundtrack albums. Elvis was always at his best when it came to gospel. He was a deeply religious man, his lifestyle not withstanding. How Great Thou Art is a wonderful rendition of this classic gospel hymn. Elvis' deep baritone maintains the integrity of the song. All the rest remain the standard for gospel releases. Essential for any Elvis collection."

"This is the best of Elvis' three gospel albums. Extremely powerful and faithful vocal performances, great songs and clever arrangements. You can tell that this music means a lot to Elvis and he puts a lot of effort in here as always, but this time even more. It's exciting and moving listening all the way through. Make sure not to miss this one, it's the best thing that Elvis did in the mid-60s."

"This is a wondrous LP with great songs throughout, believe me. Do not equate this masterpiece with previous outings, this is just pure, solid great music with heart."

"When most people think of Elvis Presley they think of rock & roll, but he was a very talented and versatile singer and did manage to do some spirituals as well. This one in particular is my favourite. Sung with deep devotion with that smooth velvet voice."

"How Great Thou Art is one of the greatest albums ever done by a popular singer. The beauty and passion that comes through is riveting. You don't have to be religious to enjoy this masterpiece, just sit back and be enthralled by Elvis, his talented musicians and backup singers."

Green Green Grass Of Home – TOM JONES****

Riders In The Sky/He’ll Have To Go/Funny Familiar Forgotten Feelings/Sixteen Tons/Two Brothers/My Mothers Eyes/Green Green Grass Of Home/Ring Of Fire/Field Of Yellow Daisies/Wish I Could Say No To You/All I Get From You Is Heartaches/Mohair Sam/Cool Water/Detroit City

Green Green Grass Of Home showcases Tom Jones' interpretation of classic country songs. The title track was a UK No. 1 hit single and reached No. 11 in the States. Also included are the UK top ten hits Detroit City and Funny Familiar Forgotten Feelings. (US:65 UK:3)

"Many of the songs are remakes of classic country and western genre songs, along with a few standards such as My Mother's Eyes. Jones even covers the legendary Johnny Cash with a more rock oriented update of Ring Of Fire. Most of the songs tend to the romantic ballad side, although musical arrangements mostly stay true to a more country and less orchestral sound, which was uncommon for Jones in the late 60s. The highlight is the title track, an international smash hit single that gave Jones his second #1 hit in the UK."

"The music here is some way removed from the country music then coming out of Nashville. Three of the songs became huge UK pop hits for Tom, and helped to increase awareness of country music in Britain. This is an excellent album that showed how, with a little adaptation, country music could appeal to a much wider audience back in the sixties."

"Many of the tracks on this album look back from the sixties to earlier decades as Tom does his own versions of country classics such as Ring Of Fire and the Jim Reeves classic He'll Have To Go. From the similar genre we also have Ernie Ford's Sixteen Tons and Vaughn Monroe's Ghost Riders In The Sky. All interesting and all in the unique, and at this stage developing, Jones style. Green Green Grass Of Home is the obvious highlight, but this album will be of interest to country fans as well as the Jones faithful."

"This great album from Tom's early years shows the man from the valleys in fine voice. His choice of material tends to the mellow end of the spectrum - with a hint of melancholy. Tom has only a few 'belters' here - such as Detroit City. This is Tom showing his range of emotion and expression. Its also great fun. A good listen and well worth the purchase price."

The Grateful Dead – THE GRATEFUL DEAD***

The Golden Road(To Unlimited Devotion)/Beat It On Down The Line/Good Mornin’ Little Schoolgirl/Cold Rain & Snow/Sittin’ On Top Of The World/Cream Puff War/Morning Dew/New New Minglewood Blues/Viola Lee Blues

The self titled debut album from the legendary San Franciscan hippy progressive band is untypical of their later output. It features mainly garage and blues songs and largely eschews the rambling free form jamming for which they are best known. (US:73)

"Basically this is The Grateful Dead as garage band. It's actually better than several of the Dead records that followed, mainly because of the energy."

"The Dead were never a studio band, and their first record is even overlooked by the most ardent Deadheads. It’s easy to see why; here they sound more like a garage band: raw, loud, way too fast. The opener, The Golden Road, sets the momentum for a series of short, bluesy, breakneck tempo numbers that don’t slow down until the beginning of side two. The closing prison song cover, Viola Lee Blues, more closely resembles the exploratory and improvisational sound that would soon become their stock in trade, but with just enough sloppiness and dissonance to keep things interesting."

"This album illustrates how the San Francisco sound emerged from folk-rock. Side A is bursting with energy and contains all the elements that would emerge in more mature form on Workingman's Dead and American Beauty, mainly a solid reliance on traditional American musical forms, from folk to blues to country. Side B, unfortunately, gets a bit bogged down in some rather pedestrian blues."

"It is the perfect listen for people studying the San Fran - Haight Ashbury scene of the mid-late 60s. Some of the tracks are drawn from their old jug band repertoire, and others are just blues covers. But they do a top job on each cover, and come up with some great early band originals."

Neon – THE CYRKLE***

Don’ Cry No Fears No Tears Comin’ Your Way/The Visit (She Was Here)/Weight Of Your Words/I Wish You Could Be Here/It Doesn’t Matter/Two Rooms/Our Love Affair’s In Question/I’m Happy Just To Dance With You/Problem Child/Please Don’t Ever Leave Me/I’m Not Sure What I Wanna Do

Neon was the follow up album from the American pop group The Cyrkle, significantly less successful than their debut. The group would disband shortly afterwards. (US:164)

“This is another high quality pop album, their second, and though still quite good, it is ever so slightly off the pace of their stunning debut. This one emphasizes softer material, with judicial use of strings, horns and even sitar, but the orientation is somewhat more commercial, and psych influences are negligible.”

“Terrific jangle-pop with psych touches. Very catchy stuff here, nicely produced - a real pop-psych beauty.”

“Actually quite good, considering that they are not the 'most wanted' among 60s bands, or that any of their albums has classic status. Paul Simon was responsible for their only big hit and he also co-wrote the best track here I Wish You Could Be Here. It formed a great single with its B-side The Visit (She Was Here), these two songs being the definite highlights.”

“There are some excellent cuts on this album as well as a few clunkers. During this time many bands tried some sort of novelty and The Cyrkle were no exception. Problem Child and Weight Of Your Words come to mind. However there was some beauty, The Visit (She Was Here) is a great track.”

“In retrospect this must have been one of the more enjoyable pure pop LPs of 1967. But Neon skewed a little more offbeat than maybe the group had intended - a lot of pop groups had confused directions around this time, feeling a need for 'hip' production touches. Now we can admire the deft use of electric sitars, lovely string arrangements and the imaginative, tight vocal harmonies.”

“Most of this is jangly pop, or ballads played by the band with little orchestration. The Cyrkle had some great songs, but none better than the very short Two Rooms. Nothing here is bad, but as an album, you may find pieces of Neon a little nondescript, but if you are curious, you may find it enjoyable.”

Calm Before – THE RISING STORM**

Don’t Look Back/To LN-Who Doesn’t Know/I’m Coming Home/A Message To Pretty/In The Midnight Hour/Frozen Laughter/She Loved Me/Mr Wind/Big Boss Man/Bright Lit Blue Skies/The Rain Falls Down/Baby Please Don’t Go

Calm Before was the debut album from Massachusetts garage band The Rising Storm. Comprises a mixture of band originals plus some soul and R & B covers.

“This is one of the great, pure garage rock records that actually lives up to its reputation. The soul covers are the only downside to this album but even these songs are solid and quite respectable. Mr. Wind, Frozen Laughter, A Message To Pretty and To L.N. are excellent folk rock songs with a garage touch. Frozen Laughter in particular is the album's standout being a sublime slice of folk-psychedelia.”

“I would not recommend this to the casual listener, but I believe that anyone with a devout interest in 60s garage would find this LP to be attractive from both a musical and historical perspective.”

“The music is quality garage, of the early 'frat-rock' style frequently found on many garage albums of the time. Typically, most of the material consists of covers, though these are more obscure than most, and they do an admirable job on them.”

“Really good garage rock with some folk influences thrown in on the original tracks. Don't Look Back is a good, if not solid cover. To L.N./Who Doesn't Know is a soothing, almost folk song with great acoustic guitar. The Love cover is excellent while In The Midnight Hour is a good version. Frozen Laughter is probably the best on the album, with spooky organ and great druggy lyrics. She Loved Me is another original with a real catchy guitar riff, while Baby Please Don't Go is a solid rocker. Another major highlight is the atmospheric The Rain Falls Down."

“Roughly half of the songs on Calm Before are originals, and they're surprisingly subtle and ambitious stuff, moody folk-rock that often suggests the influence of the psychedelic revolution that was looming on the musical horizon. If The Rising Storm weren't exactly virtuosos, they were a tight and energetic band with enough musical smarts to make the most of songs.”

The Best Of – THE LOVIN’ SPOONFUL*****

Do You Believe In Magic/Did You Ever Have To Make Up Your Mind/Butchie’s Tune/Jug Band Music/Night Owl Blues/You Didn’t Have To Be So Nice/Daydream/Blues In The Bottle/Didn’t Want To Have To Do It/Wild About My Lovin’/Younger Girl/Summer In The City

Timely greatest hits package as The Lovin' Spoonful would split shortly afterwards. Few groups have produced such a wealth of material in such a short time span. (US:3)

"You could almost never pigeonhole this band because they explored Western Music in virtually all its hybrids. And this embodies the very definition of American rock and roll. So, if you break down its constituents, The Lovin' Spoonful were essentially American rock and roll tied to their country's musical roots. They never sounded like the same band even with each of their successive singles."

"The rich textures, hopeful tones, and wonderful melodies of The Lovin' Spoonful reach across generations and this music can still make the rainiest day seem full of sun and hope. The genuine feeling and emotion that comes through in some of the vocal performances is simply amazing, and you'll marvel at the fact that popular music was ever this good and at how far it has since fallen. The Spoonful understood music in a way that completely eludes most popular music 'artists' today."

"It does have pretty much every song you ever sang along to. If you've never listened to them, this is a good place to start; incredible songs from a time when we thought the world was ours."

"John Sebastian was the focal point of The Spoonful. A talented multi-instrumentalist, he had a keen melodic ear and the lyrical talent of a Tin Pan Alley master. Songs like Summer In The City and Daydream were in the best traditions of American song craft. Sebastian and The Spoonful had pretty much run their course by 1968 but left a stellar string of hit singles."

"Never flashy, always fun, drawing on the folk and jug-band scene of early 60s Greenwich Village, they lit up the top 40 airwaves with much needed balance to the British gang and others too painful to recall, let alone mention in print. The Spoonful were musician's musicians and the band as a whole was as tight as it gets while maintaining a sense of good-time looseness."

Another Monday – JOHN RENBOURN****

Another Monday/Ladye Nothinge’s Toye Puffe/I Know My Babe/Waltz/Lost Lover Blues/One For William/Buffalo/ Sugar Babe/Debbie Anne/Can’t Keep From Crying/Day At The Seaside/Nobody’s Fault But Mine

Another Monday was the follow up solo album from folk singer songwriter John Renbourn before he helped establish Pentangle, one of the leading British folk groups of the period.

“Another faultless John Renbourn album. This guy is really playing music for music’s sake and not for the money, or whether it will chart or not. The guitar playing is always musically and technically outstanding. John never tries to impress the audience by only playing fast by showing he's the best; the soul, tradition and technique always demonstrates that he is.”

“Fronted by one of Renbourn's most breathtaking blues tune, this record is a fantastic study in guitar playing. Renbourn's idiosyncratic sound and articulation shines all the way through. Every home should have one.”

“For me this is where it all began and here John took a major step forward in his fusion of folk, blues and classical guitar techniques. This LP is an essential for all guitar players.”

“The second solo from English guitar virtuoso John Renbourn. It is very much an English folk album with touches of American blues and, in the last track, a hint of gospel. Renbourn plays some amazing guitar, music which just runs from it like a stream as his fingers dance nimbly over the frets, with swirls, ripples and eddies in the current that just sweep you along.”

“His singing is soft, gentle, friendly. The whole tone is informal, it sounds just like a few friends getting together for an informal jam. It's a delightful record, really warm and friendly, accessible to anyone and not just hardened folkies.”

“A great album from John Renbourn that every young fingerstyle guitarist should listen to and aspire towards playing. Some of these now classic pieces such as Day At The Seaside and Lady Nothinge’s Toye Puffe are still a challenge to perform.”

Back Up Train – AL GREEN***

Back Up Train/Hot Wire/Stop & Check Myself/Let Me Help You/I’m Reachin’ Out/Don’t Hurt Me No More/Don’t Leave Me/What’s It All About/I’ll Be Good To You/Guilty/That’s All It Takes (Lady)/Get Yourself Together

Back Up Train was the debut album from Al Green, one of the most innovative American soul artists. After moving to the Hi record label he would become spectacularly successful in the early 1970s.

“Back Up Train was the first great Al Green single, more in common with his smooth sounds of the 70s than anything else on the album. A relatively big hit, Al Green struggled for a few years while he tried to find a follow-up with the same tuneful and soft sophistication.”

“Before he was Al Green, Al Greene released Back Up Train. He hadn't hooked up with Hi Records yet, but that doesn't mean he didn't have the talent - he just didn't really know how to best use it. Back Up Train has Al running through a lot of basic R & B song structures and tempos as he attempts to discover his niche, and as such, it makes for an entertaining and unpredictable listen. Back Up Train may not be Al Green at his best, but that doesn't mean he's not putting out some top notch songs.”

“This is the beginning of the great Al Green. Not as good as his classic Hi work of 71-75 but it has enough flashes to be a very good album. Back Up Train is the highlight but almost all the other songs are nicely done. Al is not nearly as polished as he would become but his talent is too good not to shine through. It's neat to hear the early work of the greatest R & B singer of all-time.”

“Back Up Train is more or less a promising prelude to what would become an unparalleled career as king of smooth soul. None of the songs are particularly weighty, mostly being generic but likeable soul workouts, although the title song and Stop & Check Myself do stand out as choice cuts.”

“The real interest on Back Up Train is in hearing Al Green’s famous voice before he quite figured out how to use it. All the pieces are there, buried under generic arrangements: the moans, the croons, the shouts, growls and hiccups and the bell-clear beautiful tone, everything that Green would eventually ride to the top of the heap. In general the attraction of the album is in hearing Green dig into this fairly forgettable batch of songs and come up with moments of real emotion.”

Trogglodynamite – THE TROGGS**

I Can Only Give You Everything/Last Summer/Meet Jacqueline/Oh No/Its Too Late/No 10 Downing Street/Mona/I Want You To Come Into My Life/Let Me Tell You Babe/Little Queenie/Cousin Jane/You Can’t Beat It/Baby Come Close/Its Over

Trogglodynamite provided pounding rockers The Troggs with their second and final chart album of original material. Despite the title, the high energy the group was capable of appears not to have been replicated here. (UK:10)

"There's not a single track here that even remotely recalls the glory moment of Wild Thing. Instead, The Troggs concentrate on soft, near-sappy ballads, and very moderate pop-rockers with a very limited amount of feedback, very restrained guitar tones and a pretty monotonous atmosphere at that."

"Most of the songs on here are pretty normal standard pop, and the choice of covers is hardly worse than last time around. It's just that not only was most of this selection thoroughly obsolete for 1967, it's really pretty much dismissible on its own merits. I mean, who really needs The Troggs devoid of the patented caveman energy? If you want solid early sixties pop-rock, take your basic Stones, Kinks or Hollies, whichever you prefer, but these guys could barely hold two chords together."

"This bore the hallmarks of a rushed affair, comprised largely of sub-standard original material and covers, not even including a hit to stand out from the crowd."

"Part of the problem was that the group didn't have enough good original compositions to merit an album's worth of material, necessitating the enlistment of other songwriters who largely weren't up to the task. Most of the disc is surprisingly tame, with little of the crunch or roar that motored their best classics. Cousin Jane is the album's lone first-rate track."

"I don't know what happened, but this has virtually nothing of the groundbreaking debut. Not that it's overly bad, but it's much too tame and uninspired, both musically and lyrically. Disappointing."

"There are too many rock 'n' roll covers for my tastes. Secondly, one is left with the distinct impression that The Troggs tried to disguise poor songs and poor musicianship simply by inserting some grungy fuzz guitar riffs."

Walk Away Renee/Pretty Ballerina – THE LEFT BANKE****

Pretty Ballerina/She May Call You Up Tonight/Barterers & Their Wives/I’ve Got Something On My Mind/Let Go Of You Girl/Evening Gown/Walk Away Renee/What Do You Know/Shadows Breaking Over My Head/I Haven’t Got The Nerve/Lazy Day

The Left Banke were a psychedelic pop band from Brooklyn whose star shone very briefly during 1967. Their critically acclaimed debut LP was named after the US top twenty hit singles Walk Away Renee and Pretty Ballerina. (US:67)

"This short lived American baroque pop band made one hell of an album out of Walk Away Renee/Pretty Ballerina. For an album simply named after its two main singles, and two only big hits, one would think that this is just another piece of forgettable 60s pop oddity, but this is far from the case - it is an outstanding piece of pop music. The two title tracks are without doubt excellent, there's no question about it, but the other tracks that have been overlooked are just as good. Overall this album, though keeping within the 60s pop formula, makes room for going outside the box, creating a unique and excellent album that might be one of the best of the 60s."

"A baroque psych pop journey with a very cheery and heartfelt vibe that catches the feeling of an era with great ease and wit. The songwriting is up to par and the orchestral bits add to the overall impression. The singles shine and this is one of those albums that inspired many."

"Compare today's pop with this release and you will understand how low our current culture is. Here we have the crème de la crème of late 1960s baroque pop. This LP is without a doubt one of the most original and unique in the history of pop music. Considering the age of the members at the time it's mind boggling. This LP is a must for any serious collector and any 60s music lover. Although the music here is actually timeless."

"Oh the 1960s. What a bizarre period in history. A burgeoning New York band made a superb debut which is recognised as a classic four decades later, but which nobody noticed on its release, The Left Banke's debut album is a minor masterpiece, containing some of the finest moments of the 1960s. Full of very pretty songs, sung and played beautifully. Of course the two title tunes are classics, but there is really a lot of good music to be found here. There are those strange baroque elements, that were all the rage circa 1965-1967, and all the better for it."

Surrealistic Pillow – JEFFERSON AIRPLANE*****

She Has Funny Cars/Somebody To Love/My Best Friend/Today/Comin’ Back To Me/3/5 Of A Mile In 10 Seconds/DCBA-25/How Do You Feel/Embryonic Journey/White Rabbit/Plastic Fantastic Lover

This landmark psychedelic album from Jefferson Airplane heralded the more serious direction popular music would take during the late sixties and early seventies, combining socially relevant lyrics with more complex forms of musical expression. Featuring new vocalist Grace Slick, Surrealistic Pillow includes two memorable US top ten hit singles, Somebody To Love and White Rabbit. (US:3)

"Probably the defining album of 1960s psychedelia, the entire freak-out, mind-trip, free your consciousness psychedelic movement in music hit it's apex right here. This album defines the word trippy. If you haven't gotten high while listening to White Rabbit you haven't lived. Grace Slick's powerhouse vocals on Somebody To Love established her as one of the greatest female vocalists of all time."

"Now we're talking Airplane! This is the Airplane of legend and accolades, and it's easy to see why they gained a following based on this. The first and most immediate change from the debut album is that Grace Slick has now joined them and brought her formidable voice with her. It's funny how she sounds, it's both a sort of serene clear vocal style but used in such a way as to be very forceful and aggressive."

"This is truly one of the greatest albums not only of the sixties and the folk-rock/psychedelic era, but of the entire pop music era."

"Surrealistic Pillow by Jefferson Airplane is a classic rock album from 1967. A lot of these songs have a psychedelic feel to them, and how can you not love the hit singles Somebody To Love and White Rabbit. Front woman Grace Slick's voice is magic, her voice soars, swells and belts like there's no tomorrow."

"Surrealistic Pillow is quite 'serious': a mature, full-blown 'psychedelic' album with a band clearly writing music for the soul, not for the body. The greatest hippie album of all time. At this stage, they were perfectly able to balance the acid streams with enough pop catchiness to provide their psycho fantasies with a solid musical base."

"Sometimes you just need a dose of the hippie, acid drenched sixties, and this is where I will keep returning for that purpose. This is a powerful trip."

Sugar – NANCY SINATRA***

Sweet Georgia Brown/Vagabond Shoes/Oh You Beautiful Doll/Hard Hearted Hannah/All By Myself/Coastin’/ Mama Goes Where Papa Goes/Let’s Fall In Love/What’ll I Do/Limehouse Blues/Sugar Town/Button Up Your Overcoat/My Buddy

Sugar, the fourth album from Nancy Sinatra in little over a year, exploits her sex kitten image with its bikini clad cover, which contrasts with some of the old time standards within. Includes the top ten hit single Sugar Town. CD version benefits from the melodic chart topping duet with her father, Somethin' Stupid. (US:18)

"This album features Nancy Sinatra singing Dixieland jazz versions of standards, with the exception of two new songs done in a more modern style, written by producer Lee Hazlewood - Coastin', and the hit Sugar Town. Honestly, the Dixieland style is not the best showcase for Nancy's voice. She is more suited to the type of pop music that she had hits with. Not a bad album, but not one of her best, either."

"This album was something of a departure for the chanteuse. Unlike her previous efforts, which were a mix of songs by producer/Svengali Lee Hazlewood and covers of pop hits of the day, this one featured only three Hazlewood compositions, along with lots of old-timey pre-rock standards. These include a couple - All By Myself and What'll I Do - by Irving Berlin."

"The cover art is really all that recommends it. Pleasant, but pedestrian 'vocal standards' material."

"Irving Berlin is to Nancy as Harold Arlen was to Barbra Streisand. She covers two Berlin songs and one Arlen song and I think she updates them well."

"I didn't think I was going to like this album much, but I was wrong. Some of this was pretty entertaining. OK, her voice isn't all that special at covering the old standards. But she and the band have some silly lounge fun at times."

"Sugar really bucked the trend of her previous albums. Nancy Sinatra came up with a genre album, which, as the inner sleeve says, 'sweet, soulful serenades from the old timey years'. That includes 1930s swing and blues, which means lots and lots of brass."

Sing Holland-Dozier-Holland – THE SUPREMES****

You Keep Me Hangin’ On/You’re Gone/Love Is Here & Now You’re Gone/Mother You Smother You/I Guess I’ll Always Love You/I’ll Turn To Stone/It’s The Same Old Song/Going Down For The Third Time/Love Is In Our Hearts/Remove This Doubt/There’s No Stopping Us Now/Love Is Like A Heat Wave

All of the mid sixties hits by the Supremes were written by the Holland-Dozier-Holland songwriting team. As well as some of their own hits, covers of other groups on the Motown roster are also included here, plus two tracks written by R. Dean Taylor. (US:6 UK:15)

"This is a classic album by The Supremes. It was a great idea to have them cover other Motown acts, who recorded songs by the writing and producing team, Eddie Holland, Lamont Dozier and Brian Holland. In addition to the two singles by the Supremes You Keep Me Hangin' On and Love Is Here & Now You're Gone, the Supremes shine on a cover of Martha Reeves and The Vandellas' Heat Wave. They cover two hits by The Four Tops. This album provides The Supremes with a chance to sing songs with more soul and grit that other artists had performed. Going Down For The Third Time could have been single material."

"The harmonies of The Supremes, and the song writing of Holland-Dozier-Holland on this album, are a great representation of the height of 1960s hits era Motown. Most of this album is so fun that you may find yourself dancing without even realizing it."

"Their cover of Heat Wave and other songs from other Motown acts are all pretty much just as good as the originals, which is not all surprising because they all have the same session players."

"Here are Diana, Mary and Flo at their best, with Holland-Dozier-Holland also in top form; this is the classic mid-1960s Motown sound. In addition to some classic hits, there are some killer B-side numbers many fans haven't heard."

"Sing Holland-Dozier-Holland is more sassy, more sophisticated and shows The Supremes developing a more mature approach to music. Gone are most of the girly numbers that they did when they first started their career, replaced with far more soulful tracks."

"Firmly stands as one of their ultimate albums. All in all another superb album."