Kites Are Fun – THE FREE DESIGN***

Kites Are Fun/Make The Madness Stop/When Love Is Young/The Proper Ornaments/My Brother Woody/59th Bridge Street Song/Don’t Turn Away/Umbrellas/Michelle/Never Tell The World/A Man & A Woman/Stay Another Season

Kites Are Fun was the debut album from the New York sunshine pop group The Free Design. Their image was considered a bit too straight for the emerging hippie generation.

“An extremely pleasant listen, sugar-sweet harmonies and very well done counterpoints in vocal arrangements. But it lacks the personality or serious creative ambition to tie everything together to a masterwork. And the lack of strong songs is disappointing.”

“Kites Are Fun works within a limited style and range. The harmonies are all very similar and there's not much dynamic range to the music. This is as much a critique of the genre as the group. It doesn't age as well as some material from this period, but that's part of the charm.”

“Sunshine pop at its most sunshiny is the recipe of The Free Design. Picture the band sitting on a sunny patch of grass besides a bubbling brook, having a merry picnic fuelled by marmalade sandwiches and juices of various flavours. So it's very twee and precious while at the same time lovely and naive.”

“There's a very good reason that The Free Design never hit the big time. They sound just like every other hippie harmony band from the mid and late 60s, but without the songwriting ability of their more successful colleagues.”

“Picture a commercial from 1967 - the men wearing turtleneck sweaters, the women with long blonde hair. Perhaps the ad is set in a ski lodge. The sun is shining bright, the music sweet and pure. Around the fire, their eyes glow as they smile with perfect teeth. This is a memory that is on the verge of disappearing. The Free Design open the gates into this long-ago time, now as dead to us as ancient Rome.”

“The gorgeous harmonies, the intricate arrangements, the irresistibly catchy songs, this is The Free Design. From the joyful summer afternoon of the title track, to the lush, soaring chorale of Stay Another Season this is pop music at its best. If you're up for ultra sweet vocals, bouncy flutes and lyrics it will be hard to resist this.”

Jigsaw – THE SHADOWS***

Jigsaw/Tennessee Waltz/Prelude In E Major/Cathy’s Clown/Stardust/Semi Detached Suburban/Trains & Boats & Planes/Friday On My Mind/Winchester Cathedral/Waiting For Rosie/Chelsea Boot/Maria Elena/With A Hmm Hmm On My Knee/Green Eyes

Jigsaw unfortunately established the formula that the Shadows would adopt for several decades to come, namely a heavy dependence on instrumental versions of recent pop hits. Album would have benefited from the inclusion of their final new instrumental (minor) hit Maroc 7/Bombay Duck. The Shadows legend rests almost entirely on their instrumental releases from 1960-65. (UK:8)

"1967 - The Summer of Love. San Francisco, flowers in your hair...and the dear old Shadows, still be-suited and a-twanging, a-grooving, and a-moving, and so firmly locked in a bygone age that even grandma thought they were a little square."

"The late John Rostill was the first to run a bass guitar through distortion. Listen to Tennessee Waltz to hear what I mean. Friday On My Mind as an instrumental? Only the Shads could do this. By the time they recorded this their singles sales were falling, after all they had been going for nine years so were trying new things. Sad to say a lot of the critics were stuck in Apache days and did not realise The Shads had moved on. Waiting For Rosie is a jazz number reflecting Nivram slightly. With A Hmm-Hmm On My Knee, we hear Hank playing banjo which he used to do before his Dad bought him his first guitar. Chelsea Boot with acoustic guitars is terrific and borrows a bit from the Goons and Pinky & Perky, highlighting the Shads humour."

"This album is one of the most rocky albums that they did in the 60s, but not one of their best in my opinion."

"Jigsaw caused some surprise at the time of release by disregarding current trends and avoiding vocal material entirely. Nonetheless, it proved to be an exuberant and entertaining album and, aided rather than hindered by instrumental interpretations of relatively recent high performers like Friday On My Mind and Winchester Cathedral, it found its way into the UK Top Ten."

It Must Be Him – VIKKI CARR***

US – It Must Be Him/Can’t Take My Eyes Off You/One More Mountain/A Million Years Or So/So Much In Love With You/Tunesmith/A Bit Of Love/Alfie/Forget You/Look Again/Her Little Heart Went To Loveland UK - It Must Be Him/None But The Lonely Heart/Her Little Heart Went To Loveland/Laia Ladaia/Look Again/Forget You/ Cuando Caliente El Sol/How Does The Wine Taste/Should I Follow/May I Come In/Toys/ San Francisco

Vikki Carr was already an established AOR singer well before her breakthrough with the over emotional hit It Must Be Him, that made the top three in both the US and UK. Different versions of the accompanying album were released. This was to be the highpoint of her career, although she continued to dent the lower reaches of the US album chart into the early 1970s. (US:12 UK:12)

"Carr had been recording for most of the 1960s when she unexpectedly broke big with It Must Be Him, which may be the ultimate torch song, in the fall of 1967. She sang the melodramatic ballad with a sense of torn emotion in her voice, recounting the turmoil of a love affair that has not quite ended, at least as far as the song's narrator is concerned. The It Must Be Him album, not surprisingly, expanded upon this theme to include other songs of lost love, songs that today sound like paeans to female victimization, most of them written by men."

"I have listened to this album over and over again and still can't get enough. Vikki sings with such enthusiasm and passion. She puts her all into the songs, even though the musical arrangements now seem 'old'. I just don't care. To me it's very romantic, very special."

"This lady is maybe the last of a group of people who have gone down in showbiz history of being a singer's singer. She was admired by the best." "Its unfortunate that Vikki should hit with such a maudlin song."

"Vikki Carr was (if you like the old Vegas cover artist/lounge singer type of music), a very talented artist, who could really wring the emotion out of a lyric. Her heart wrenching performance of It Must Be Him still sticks in my head after all this time."

"In retrospect, the 1960s being the starting point of the feminist movement, It Must Be Him was by no means a good place for women trying to assert their independence from men. But heck, that's no fault of Vikki, it's just a song."

Insight Out – THE ASSOCIATION****

Wasn’t It A Bit Like Now (Parallel 23)/On A Quiet Night/We Love Us/When Love Comes To Me/Windy/ Reputation/Never My Love/Happiness Is/Sometime/Wantin’ Ain’t Gettin’/Requiem For The Masses

Insight Out was another excellent album from the US pop harmony group The Association. Contains the US No. 1 Windy and No. 2 Never My Love. It seems inexplicable that none of The Association's classic, timeless songs ever made it into the UK top twenty. (US:8)

"An excellent effort by The Association. The catchy uptempo pop hit Windy and the beautiful ballad Never My Love highlight the album. Requiem For The Masses may have been the most creative track this group ever released. Modelled after a Catholic mass, the harmonies run counterpoint to the anti-war message. Wasn't It A Bit Like Now and We Love Us are both above average 1960s light pop at its best."

"Never My Love is one of the absolute greatest songs ever written and they nail it brilliantly. This is pop perfection at it's finest. The reverberating guitar, the Wurlitzer, the organ, and the absolutely flawless, beautiful vocals make this song an achievement that will not sound dated even 100 years from now. Windy is another piece of pop perfection. Maybe more a product of the late 60s but again it stands the test of time completely."

"The Association, already one of the more professional acts going, are now on the verge of becoming slick. And while Insight Out is certainly amongst the cream of the studio crop for 1967, it would be nice to see the band let loose a little bit more instead of being reigned in to such a degree. Hard to complain though, when the end result is so palatable."

"An absolute classic pop album. Simple as that. Nearly every song here, be it an upbeat track like Windy or We Love Us, or a soppy ballad like On A Quiet Night or Never My Love, boasts a pure pop hook. Sure its no deep and meaningful album - its all a bit of fluff really, but for what it is its practically perfect."

"Fabulous songs, performances and vocal harmonies. When it comes to 60s 'sunshine pop', there's nobody better. Insight Out is outstanding."

"Have you ever heard a song quite as unflinchingly romantic as Never My Love? For my money it has to be the most perfect love song ever created."

Groovin’ – THE YOUNG RASCALS****

A Girl Like You/Find Somebody/I’m So Happy Now/Sueno/How Can I Be Sure/Groovin’/If You Knew/I Don’t Love You Anymore/You Better Run/A Place In The Sun/Its Love

The Young Rascals are best remembered for their lazy summertime hit Groovin', which topped the US singles chart and won them a Grammy. Also contains the US top ten hits How Can I Be Sure and A Girl Like You. (US:6)

"Groovin' was one of the top songs of 1967, but this album offers much more. First, there are the distinctive voices of Felix Cavaliere and Eddie Brigati, then there is the robust R & B feel to much of their work with occasional flashes of Latin influences. Groovin' contains lots of great songs - A Girl Like You, the romantic How Can I Be Sure, the title cut, If You Knew, the jazz-inflected It's Love, and my favourite A Place In The Sun. If you grew up in the 60s, this album will really carry you back. If not, The Rascal's joyful, uplifting, R & B tinged romanticism will make you a convert."

"A legendary band with timeless classic songs. It's some of the songs that were not hits though that impress; It's Love is my favourite of all of them, I Don't Love You Anymore and the Stevie Wonder cover A Place In The Sun are also excellent."

"The Young Rascals (like many 60s groups) would release albums with several great songs along with some filler. For groups like The Rascals (who have 10-12 essential songs in their collection) a compilation is an effective method of owning their music."

"This is one of the great albums of the 1960s. The Rascals are often dismissed for being a singles band. This assumption is far from the truth, many of their albums are excellent. This recording is where psychedelia, soul, folk-rock, garage and ethnic elements mesh successfully into one cohesive offering. Every song is a winner and very individual. The Rascals voices sound excellent and they have not abandoned their soul roots. This is an essential listen for any 60s pop fan."

"There is an interesting mix of original hits that are still timeless and some cover material. The selection will hold your interest from start to finish."

"There is filler, of course - mostly on side two - but even these songs usually give your ears something to hold onto."

Flowers – THE ROLLING STONES*****

Ruby Tuesday/Have You Seen Your Mother Baby/Let’s Spend The Night Together/Lady Jane/Out Of Time/My Girl/Back Street Girl/Please Go Home/Mother’s Little Helper/Take It Or Leave It/Ride On Baby/Sittin’ On A Fence

Flowers was a US only release showcasing the best of The Rolling Stones output during the 1966-67 period, when their songs were distinctly more pop focussed than they were either before or since. (US:3)

"Flowers is a compilation of Stones singles, b-sides and songs that were omitted from the US versions of Aftermath and Between The Buttons. Let's Spend The Night Together and Ruby Tuesday are well deserved classics, but other lesser known Stones songs shine. Flowers is one of the better compilations to be released by the band as it combines well known songs with lesser known ones to make for an interesting listening experience."

"Almost every track is strong, so if you're serious about your Stones, don't pass this by. There's some outstanding material you can't get anywhere else, and the album as a whole plays very well from beginning to end."

"This album shows the group at or near its peak. Their blues roots are intact (with a nice dose of pop/rock), the songs are spare yet subtly textured, and the band seems fresh and eager to experiment. Very highly recommended."

"Shows The Stones during the mid-sixties experimenting with a psychedelic sound; and as always, Brian Jones adds his unmistakable deft touch. This album is definitely worth it. For me, this is my favourite period. Well worth checking out."

"This is probably the best Stones collection imaginable. It's got all of their poppiest songs, and they're all great, among the best songs ever written. This is very, very pop, but will probably help convert you if you aren't a fan."

"What's amazing is the band's uniformly superb musicianship. The songs are textured with flute, accordion, marimba and other instruments; the bass and drums are tight and driving, and the guitars add nuance as well as bite."

"This is an excellent record which offers so much for fans of The Stones before they got into their roots rock period."

1st – THE BEE GEES****

Turn Of The Century/Holiday/Red Chair Fade Away/One Minute Woman/In My Own Time/Every Christian Lion Hearted Man/Craise Finton Kirk Royal Academy Of Arts/New York Mining Disaster 1941/Cucumber Castle/To Love Somebody/I Close My Eyes/I Can’t See Nobody/Please Read Me/Close Another Door

The Bee Gee's 1st was a highly creditable debut release from a group that would enjoy enormous popularity over several decades. The melody and song construction is particularly remarkable given that the Gibb brothers were all in their teens at the time. Contains the top twenty hits Holiday, To Love Somebody and New York Mining Disaster 1941. (US:7 UK:8)

"Bee Gees' 1st is a beautiful collection of short psychedelic songs with a Phil Spector-ish touch, influenced by The Beatles, The Zombies, Moody Blues, The Hollies and others acts from the British Invasion. The album has mellotrons ascending and descending through the tapes, distorted voices guided by cabaret pianos, beat period rock, delightful orchestral oriented psychedelia, awesome tunes, Beach Boys legacy, lots of mystifying lyrics, hints of soul and assertive and imaginative playing. This is a worthy psychedelic period gem."

"This is a brilliant mid-60s pop album, only lacking in true originality to qualify as a bone-fide pop/psychedelic classic."

"The more I listened, the more I grew to appreciate this album. At the same time, however, I gradually was also able to pinpoint just what it is about The Bee Gees that would later prove so annoying and, worst of all, uncool. While their musical skills and songwriting talent, especially their ability to craft a pretty hook, have never been in doubt, there is something unforgivably derivative about their work."

"Some seriously classic stuff here - even from this early point, The Bee Gees were the masters of the melody."

"This is a psychedelic classic and orchestral pop masterpiece - easily one of the ten most melodic albums of original material ever released, and possibly the youngest band ever to record an out and out classic album."

"The Bee Gees first album, on the whole, is definitely worth a listen, featuring a solid collection of songs that are performed well. Just don't expect much originality."

The 5000 Spirits – THE INCREDIBLE STRING BAND*****

Chinese White/No Sleep Blues/Painting Box/The Mad Hatter’s Song/Little Cloud/The Eyes Of Fate/Blues For The Muse/The Hedgehog’s Song/First Girl I Loved/You Know What You Could Be/My Name Is Death/Gently Tender/ Way Back In The 1960s

The Incredible String Band live up to their name with their astounding second album The 5000 Spirits. It mixes folk and psychedelia with exotic instrumentation to create a heady brew, enhanced by the contrasting musical styles of the two songwriters. (UK:25)

"Messrs. Williamson and Heron hit an astonishing artistic and creative peak with this, their second album. An essential recording for anyone with more than a passing interest in music which defines the spirit of the late 1960s, but far more than just a fashion statement. This is music which still sounds fresh and amazing, but which has its roots deep in Celtic (and other) traditions. Sometimes baffling, always fascinating, trippy, weird and completely wonderful. Contains the classics First Girl I Loved and Hedgehog Song, but every track is a wondrous treasure."

"One of those albums that are essential to hear at least once in your life. The Incredible String Band's The 5000 Spirits is their second studio album and it is also one of the definite classics of the 60s psychedelic music."

"Here we have the first album where Mike Heron and Robin Williamson begin to live up to the promise of their band's name. Without Heron and Williamson's song-writing, chemistry as performers, and the bizarre fusion of world music, more traditional blues and folk, progressive song structures and budding interest in world religions, The Incredible String Band might just sound like every other British 60s folk revival group. They never really collaborated in co-writing, yet there's a wide-eyed optimism and mystical euphoria that pervades both writers' contributions. Heron's songs for their whimsy and pop instincts, Williamson's for their focus on narration and more abstract, eerie imagery."

"The music on the album is acoustic psychedelic folk with some progressive elements. The instrumentation is varied throughout the album. There are lots of harmony vocals in the songs which adds an extra dimension. The atmosphere is mostly jolly but there are darker moments too which gives the album good variation."

"This album with it's strange musical alchemy, surreal lyrics, and gentle whimsy placed The String Band in the vanguard of the burgeoning psychedelic movement."

We Are Paintermen – THE CREATION***

Cool Jerk/Making Time/Through My Eyes/Like A Rolling Stone/Can I Join Your Band/Tom Tom/Try & Stop Me/If I Stay Too Long/Biff Bang Pow/Nightmares/Hey Joe/Painterman

We Are Paintermen was the only album from the British mod group The Creation. Their musical style was a combination of garage and psychedelia. Despite a couple of minor hit singles they quickly disappeared from view. “The Creation specialized in writing miraculously catchy garage rock 'n' roll. Their hallmark was their rolling thunder sound with guitar, bass and drums working in tandem to provide a solid, reverberating, resonant backbone to the irresistible jangle that sat up front giving the songs both a bone-shaking rawness and an irresistible pop charm.”

“A fantastic mod album from a band that showed much potential on this album. Many of these songs rock like the early Stones and the lyrics are very powerful.”

“Naturally, I got to check out Creation after being impressed by their fantastic song Making Time. It pretty much defines their sound, revved up like The Who, mod to the core but still with a few more psychedelic tricks up their sleeves.”

“This is an incredible piece of music history, unknown to almost the entire record buying public. Very comparable with early Who, Small Faces and Stones and is at the top of the 60s psychedelic/mod/garage heap. The Creation were the first to use the violin bow on the guitar, as well as pioneering other musical innovations such as feedback, before Hendrix refined and mastered the art of it.”

“Not a single song on the album that isn't ridiculously great. I can't believe these boys aren't as renowned as their contemporaries. It's a shame to think of the music they could have made if things had gone the way they should have for them.”

“This is the ultimate should have been band, with great vocals, powerful guitars and drums, plus catchy in-band songwriting. They played garage mod, psych-heavy rock and highly electrified folk with both muscle and melody, and compared well with their contemporaries. One can only assume they were doomed by a combination of inadequate distribution, line-up changes, and a management that couldn't sustain commercial velocity. Listening to their catalogue it's nearly impossible to imagine this band wasn't a huge, chart-topping success.”

Up Up & Away – THE 5TH DIMENSION****

Up Up & Away/Another Day Another Heartache/Which Way To Nowhere/California My Way/Misty Roses/Go Where You’re Wanna Go/Never Gonna Be The Same/Pattern People/Rosencrans Boulevard/Learn How To Fly/Poor Side Of Town

Up Up & Away was the debut album from the pop harmony group The 5th Dimension, which brought songwriter Jimmy Webb to public attention for the first time. The Grammy winning title track was a US No. 7 hit single, with Go Where You Wanna Go reaching No. 16 on the US singles chart. (US:8)

"The Fifth's debut album is wonderful. Full of great pop tunes and the Fifth's wonderful harmonies. Billy Davis Jr. and Marilyn McCoo have terrific voices. Though they were grouped to sound like a black Mamas and Papas, they have a distinctive sound all their own."

"Somewhat underwhelming, despite the pedigree of all involved. Everything here was arranged and conducted by a very young Jimmy Webb which automatically makes it worth checking out, but honestly this record doesn't match up to the 5D's best. The major exceptions are two classic Webb tunes: the massive hit Up Up & Away and the gorgeous Rosecrans Boulevard."

"This unlikely mixture of an unknown black group (The 5th Dimension), a well-known but tragically unhip young white producer (Johnny Rivers) and an even younger songwriter/arranger/conductor of amazing ability (Jimmy Webb) confounded all expectations when first released in 1967, and has aged far better than contemporary 'Summer of Love' material."

"Nice songs, well crafted arrangements and musicianship (which are occasionally, surprisingly 'outside' or otherwise unusual harmonically - Misty Roses for example). However, it's going to be too slick and/or cheesy for many folk."

"This album, produced by Johnny Rivers, introduced the group as somewhat of a soul music answer to The Mamas and The Papas, mixing the five-part vocal harmony to catchy pop oriented music. For the most part it worked."

"Up Up & Away is when the 5D became more or less a household name well deserving of the praise they would receive."

The Small Faces – THE SMALL FACES****

Tell Me) Have You Ever Seen Me/Something I Want To Tell You/Feeling Lonely/Happy Boys Happy/Things Are Going To Get Better/My Way Of Giving/Green Circles/Become Like You/Get Yourself Together/All Of Our Yesterdays/Talk To You/Show Me The Way/Up The Wooden Hills To Bedfordshire/Eddie’s Dreaming

The Small Faces first LP on the Immediate label is confusingly given the same title as their debut on Decca a year earlier. It comprises a collection of short catchy pop tunes from the Marriott-Lane songwriting partnership. (UK:21)

"Almost everything, from top to bottom, is credited to the Marriott/Lane songwriting team, and the two do a good job. Steve provides the obligatory R 'n' B-ish foundation, the grit and the sweat; Ronnie digs into his little storehouse of traditional British musical forms; and both, throw in some psychedelic effects, lyrics and moods so that no one would mistake them for The Kinks."

"The Small Faces second 'official' album is a lot more pop than the first album but is pretty good with only a couple of duds." "Odd, given the short length and occasional lack of cohesion, but definitely charming."

"This album is a perfect example of why the 60s were such a heady time in pop music. No song on this album is longer than three minutes, but every one is crammed with catchy hooks, inventive production and great musicianship. That's not to say that every song is great, because some are definitely better than others, but even the ones that aren't so great still have a simple, gruff charm."

"Principle vocalist and guitarist Steve Marriot possesses one of the great voices in 'blue-eyed soul'. His throaty roar belies his small stature as he belts it out with the best of them. Bassist and secondary vocalist Ronnie Lane is a much more limited singer, but displays a touching vulnerability which Marriot often lacks. As the principal writers of the band, their contrasting styles complement each other nicely."

"An album like they used to make them - two sides of short, snappy, inventive, songs which you can easily listen to all the way through without getting bored. You can hear the psychedelic experimentation coming through excellent results."

"Maintains a high standard throughout. A hidden gem without a shadow of a doubt."

Sing Rodgers & Hart – THE SUPREMES****

The Lady Is A Tramp/Mountain Greenery/This Can’t Be Love/Where Or When/Lover/My Funny Valentine/My Romance/My Heart Stood Still/Falling In Love With Love/Thou Swell/Dancing On The Ceiling/Blue Moon

Sing Rodgers & Hart was another attempt by Motown to move The Supremes into a more adult MOR market. It is notable for being the last release under the original line up before Diana Ross took centre stage. (US:20 UK:25)

"This classic, but rarely heard, album is an important milestone for both The Supremes and Motown. It is one of the most famous examples of Motown's 1960s policy of grooming their stars for career longevity (i.e. appealing to a more affluent, adult audience). At a time when nearly every pop or R & B star had culled from the Great American Songbook, many have forgotten that The Supremes were one of the first acts to do so - and they did it better than most who followed."

"The harmonies are incredible, the orchestra highlighting them while not competing or overshadowing them. Diana is soaring, kittenish and mature all at the same time."

"What makes this album work so well are the arrangements and The Supremes excellent interpretation and phrasing of the standards. It's not just an R & B version of jazz tunes, they really made these tunes their own. It's very evident everyone involved on the album did their homework. Unlike some other Motown stars who were clearly ill at ease with belting out a Broadway ballad or swing number, The Supremes excelled at it."

"These recordings also marked a historical milestone for The Supremes. Not only would this project be the last time the trio would receive group credit - as all future releases involving Ross would give her top billing - but sadly, these also turned out to be the final studio recordings made by the original line up."

"This works so well for many reasons. Firstly, the songs themselves could hardly miss. R & H wrote great tunes, and those selected here are wonderful. Secondly, the music is treated with respect and enthusiasm, even the tunes where a 'Motown sound' was adapted, work very well. Thirdly, Diana Ross was coming into her own as a song stylist. Her performances are uniformly very good to excellent. Fourth, the background vocals are prominent on songs in which they exist, and they add a special dimension to the music."

Sgt. Pepper’s Lonely Hearts Club Band – THE BEATLES*****

Sgt. Pepper’s Lonely Hearts Club Band/With A Little Help From My Friends/Lucy In The Sky With Diamonds/ Getting Better/Fixing A Hole/She’s Leaving Home/Being For The Benefit Of Mr Kite/Within You Without You/ When I’m Sixty-Four/Lovely Rita/Good Morning Good Morning/Sgt. Pepper’s Lonely Hearts Club Band (Reprise)/A Day In The Life

Sgt. Pepper was recognised as the greatest popular music album as soon as it was released, a position that is has maintained continually ever since. This Beatles' masterpiece won a Grammy in the States and is the top selling British album of new songs. (UK:1 US:1)

"Sgt. Pepper is arguably The Beatles most recognized album. Released in 1967 at the peak of the 'hippy/flower power' movement, it combined art with music in a way that no album had previously done. From the way upbeat, Sgt. Pepper's Lonely Hearts Club Band to the surreal, somewhat sombre, A Day In The Life, every song is a classic."

"First and foremost this album is one of the most perfect pop albums ever. The fact that their arrangements are unique, and that their recording techniques were groundbreaking at the time, shows that there was tremendous work done here. This album changed forever recorded music, because it represents total freedom for artists - there are no boundaries for this album."

"It is a masterpiece of melody and atmosphere. When I'm 64 is a touching and tuneful throwback that never fails to make me smile. The lyrics are eloquent and simple but often the best poetry is. She's Leaving Home is superbly constructed and will captivate you upon first listen. A Day In The Life is quite simply the greatest closer to an album I've ever heard. The rest is charming, catchy and uplifting."

"I could go on and on about how admirable is this record but really its success is in how a clutch of very different songs are sequenced to sound like a seamless whole."

Rewind – JOHNNY RIVERS****

The Tracks Of My Tears/Carpet Man/Tunesmith/Sidewalk Song-27th Street/It’ll Never Happen Again/Do What You Gotta Do/Baby I Need Your Lovin’/For Emily Wherever I May Find Her/Rosecrans Boulevard/The Eleventh Song/Sweet Smiling Children

Rewind from Johnny Rivers is notable for the inclusion of six songs from the then up and coming songwriter Jimmy Webb. Includes the US top ten singles Baby I Need Your Lovin' and The Tracks Of My Tears, both covers of recent Motown hits. (US:14)

"No one has ever created better covers of other artist's songs more consistently than sixties superstar Johnny Rivers. From Baby I Need Your Lovin' to The Tracks Of My Tears, Johnny turns in a truly stellar performance here."

"Few other sixties artists were as bold or as forthright about delivering stirring and accomplished covers of other artists work. Rivers has long been under-appreciated as a master for delivering blue-eyed soul with conviction and believability."

"Mr. Rivers does such an incredible job of turning wonderful songs into truly great pieces of music. His style brings out the best in a song."

"Rivers is a very engaging singer and those of us who hail from that generation know many of these melodies by heart. He was great at covering other people's songs and even if you love the originals you'll really enjoy Rivers' versions."

"Rewind is an amazing record, not only for the spot-on vocals, but for the choice of material. I'm particularly impressed by the six Jim Webb covers, my favourite being Rosecrans Boulevard, but they're all great."

"When Jimmy Webb was riding high, Johnny Rivers took advantage of covering his songs and did a good job. As I recently listened to this LP it dawned on me how similar the arrangements were on most of these songs. Lush strings, horns and piccolo etc. with Johnny's voice out front. If you listen to these one after the other the sameness gets to you. However, each one on its own merits still sounds great."

"Johnny Rivers has always been one of my favourite artists and Jimmy Webb wrote songs that seemed to call me by name."

The Queen Alone – CARLA THOMAS***

Any Day Now/Stop Thief/I Take It To My Baby/I Want To Be Your Baby/Something Good (Is Going To Happen To You)/When Tomorrow Comes/I’ll Always Have Faith In You/All I See Is You/Unchanging Love/Give Me Enough (To Keep Me Going)/Lie To Keep Me From Crying

The Queen Alone was the first album from the Queen of Memphis Soul, Carla Thomas, after her memorable partnership with Otis Redding. The first side is uptempo, the second moody and powerful. (US:133)

“Initially, I was a bit disappointed, as the album seemed to lack some of the spark and charm that is so present on her major singles. Upon repeated listening, though, I've come to really enjoy it. The first half, while more uptempo, is actually the weaker. It's the back half, where Carla really starts to croon, that showcases the album's strengths. It's moody and powerful; the vocals and horns punctuate the songs meaningfully.”

“The album gets more enjoyable upon each subsequent listen, and each track seems to be better than the previous one. However, I Will Always Have Faith In You is hands down the high point of the album.”

“Unfortunately, as much as I've already harped on this, Thomas' voice simply isn't adequate. Her sense of rhythm is as shaky as her vibrato, and she throttles her tone as soon as the going gets dramatic.”

"I Will Always Have Faith In You is majestic, composed, and graceful in a manner befitting her titular moniker, and a true gem of a song. That marked highlight aside, though, there's simply not enough here to cohere. Thomas can straddle the line between pop and soul all she wants, but until she's acquires a consistent voice and stable of material, her work will continue to be spotty at best.”

“One of her strongest albums, The Queen Alone isn't the work of someone who took a Memphis only approach, but of someone who was well aware of what others were up to. What's surprising is the fact that this album contains only two minor hits: the playful Something Good (Is Going To Happen to You) and the idealistic, gospel-influenced ballad I'll Always Have Faith In You. Drawing on both Southern and Northern soul, Queen Alone is a pleasant reminder that they were equally attractive options.”

Moby Grape – MOBY GRAPE****

Hey Grandma/Mr Blues/Fall On You/8:05/Come In The Morning/Omaha/Naked If I Want To/Someday/Ain’t No Use/Sitting By The Window/Changes/Lazy Me/Indifference

Solid debut album from San Franciscan rock band Moby Grape that was effectively sabotaged by their record company with the simultaneous release of the tracks as singles, all of which flopped. (US:24)

"Really good late 60s album, one of the best albums to come out of the San Francisco scene. The songs are short and to the point and there’s not a dull number here. It’s mostly upbeat rock numbers with a little country flavour thrown in. The guitar playing is excellent, the band is very tight, and the vocal harmonies are great."

"Moby Grape's 1967 magnum opus is the perfect debut album. Weaving stunning and impassioned vocal harmonies against a dense frontline of three guitars and a seriously rocking rhythm section the album exudes energy and sun-soaked optimism. The album kicks out a series of killer two and a half minute gems that effortlessly fuse rock, folk and country influences with hook laden pop."

"A standout of '67 psychedelia, Moby Grape's debut is tighter, brighter, and lighter than albums by competing outfits, and also leans a bit more on blues influence than Jefferson Airplane or Country Joe & The Fish did. Everyone in the band plays and sings and writes, and they're all pretty good at it. This is a tremendous album that still stands its ground."

"Among the pillars of the west coast psych scene, this debut displayed all of the promise that this wonderful band held, promise that would go ultimately unrealised through over-hype and mismanagement. The music is primarily country flavoured pop, with strong use of vocal harmony, somewhat similar to The Byrds at times. An excellent example of period flavour, unquestionably their crowning glory."

"Moby Grape's debut is among the finest late 60s LPs released. It's so chock-full of greatly executed ideas and talent. No other band matched their versatility. What a shame they never matched this again."

"This record successfully shows a band at their most youthful and at their prime. They excelled in all departments, vocals, instrumentation and songwriting."

Live At The Talk Of The Town – TOM JONES****

Ain’t That Good News/Hello Young Lovers/I Can’t Stop Loving You/What’s New Pussycat/Not Responsible/I Believe/My Yiddische Momme/Shake/That Lucky Old Sun/Thunderball/That Old Black Magic/Green Green Grass Of Home/Its Not Unusual/Land Of A Thousand Dances

Live At The Talk Of The Town was the first live set from powerful Welsh balladeer Tom Jones. He would build his international reputation with his live performances, particularly at Las Vegas. (US:13 UK:6)

"The live setting is captured wonderfully and the rapport with the audience comes across well. Green Green Grass Of Home is the outstanding track, but in reality they are all excellent with Tom at his best. I am the wrong age to like this, but like it I do."

"Tom is one of those performers who is somehow better live than in the studio. When I have been lucky enough to catch his live act I could feel his 'joy of performing' in the air. His live material exudes an indefinable excitement that is not fully captured in the recording studio. Besides his 'joy of performing' I suspect it must be those great live rhythm and blues arrangements, added to that heavy horn section, plus Tom's blasting soulful voice that contribute to my enjoyment of his live material."

"Back when singers could actually sing without vocal enhancements and true live stage entertainers became legends like Tom, Elvis and Engelbert. This LP will give you a glimpse back into that time when things were so good."

"Being a Tom Jones fan for many years, to hear an LP like this of his early live recordings just after breaking into the American market, is a real treat."

Janis Ian – JANIS IAN***

Society’s Child/Go ‘Way Little Girl/Hair Of Spun Gold/Then Tangles Of My Mind/I’ll Give You A Stone If You’ll Throw It/Pro-Girl/Inter Generational Blues/New Christ Cardiac Hero/Lover Be Kindly/Mrs McKenzie/Janey’s Blues

Folk singer and songwriter Janis Ian shot to fame in 1967 as a precocious sixteen year old with her US No. 14 hit single Society's Child dealing with interracial romance. (US:29)

"Janis Ian's self titled is nothing like her albums in the 70s. This gem is full of cool psych/pop riffs and great harmonies. All coloured in by some great songwriting. A great album."

"A folk album, more pop oriented than not, with excellent period flavour and some fuzz guitar on it's best cut - Janey's Blues. Her early albums had some psych influences and are worth investigating by fans of the genre."

"Despite being a complete folkie her voice is an astounding mix of teenbeat styled pop starlet and desperate, chain smoking insomniac. The beginning of a serious career in songwriting.”

"I'm not saying that this album is amazing, but it's worth owning because Janis Ian has a lovely voice, the lyrics are highly intelligent and spiritually aware, especially for a precocious 16 year old, and Society's Child and New Christ Cardiac Hero are among the best songs of the 60s."

"Janis Ian has a wonderfully powerful and melodic voice and can really carry a song. This, her first album is a fine example of that. She seems so passionate about what she’s doing here, there doesn’t seem to be time to sit back and question anything, and maybe that’s what makes Janis Ian so great. This set of mostly controversial folk-rock/pop songs have mixed results, full of angst and humour."

"Musically, this is not much more than an average folk and folk-pop album with a few mildly memorable tunes, but lyrically and historically this is quite remarkable. For a 16 year-old Janis Ian wrote some incredible lyrics with a pretty advanced sense of social critique. The overriding impression is that of a precocious, self-consciously intellectual girl drawn to non-conformist ideology at an unusually young age. While her roots are decidedly folky, her material traverses a number of genres."

Hip Hug-Her – BOOKER T & THE MG’S****

Hip Hug-Her/Soul Sanction/Get Ready/More/Double Or Nothing/Carnaby St/Slim Jenkin’s Place/Pigmy/Groovin’/Booker’s Notion/Sunny

Hip Hug-Her was one of the stronger albums from Booker T & The MG's, whose reputation was gained as Stax label session musicians backing up artists such as Otis Redding and Wilson Pickett. (US:35)

"Of their Atlantic distributed albums, this is probably Booker T. & The MG's strongest set. Six of the eleven songs are originals, and their cover of Groovin' made the R & B top ten. If you dig Otis Redding, Wilson Pickett, Sam & Dave, or even The Blues Brothers, then treat yourself to this disc."

"Hip Hug-Her is where all of the elements of their sound came together to their fullest potential. There's not a bad or weak song. The mix of covers and originals is perfect, as is the mix of uptempo songs with slower, more atmospheric tunes."

"Many people say that Hip Hug-Her is the best album ever released by Booker T. & The MG's. While that's up for debate, this certainly is one of the legendary quartet's greatest achievements. This is the album where the four musicians merged into the most formidable instrumental unit the world has ever known."

"The title cut is just pure prime time Booker T. & The MG's playing with a newly found confidence. Hip Hug-Her was the first single they released with Booker T playing the Hammond B-3 organ. And he would use this type of organ on almost every track the group would henceforth record."

"The album's closer is a fantastic cover of Bobby Hebb's Sunny. It's highlighted by some of the most perfect guitar playing I've ever heard. And Booker's organ work just defines the essence of cool. When Hip Hug-Her was unleashed, The MG's went from being the best studio backing band in the world to being bona fide stars."

"Hip Hug-Her is one of Booker T and MG's strongest, most consistent studio efforts. Here, the band's sound gels completely, the grooves become more insistent, the sound more varied, yet the whole is smoother and more seamless. Like most MG's albums, it includes covers, but it's the originals that stand out. Soul Sanction with its great auxiliary percussion backing, the uber-groove of Slim Jenkins' Place, and the infectious, utterly irresistible title track display the ensemble at their funk/soul finest."

Headquarters – THE MONKEES****

You Told Me/I’ll Spend My Life With You/Forget That Girl/Band 6/You Just May Be The One/Shades Of Grey/I Can’t Get Her Off My Mind/For Pete’s Sake/Mr Webster/Sunny Girlfriend/Zilch/No Time/Early Morning Blues & Greens/Randy Scouse Git(Alternate Title)

In mid 1967, with the release of their third album Headquarters, The Monkees were at the peak of their relatively short lived popularity, mostly with teenage girls. Contains the UK No. 2 hit Alternate Title. (US:1 UK:2)

"Released in June 1967, this album continued the rapid fire release of Monkees albums. A polished and solid effort, and it also served notice that The Monkees were exerting more creative control over the direction of the band, as evidenced by the proliferation of Monkees penned material. Thanks to the television show, most of the songs are easily recognizable, and that tends to lend credibility."

"The Monkees' first album to be recorded using mostly just the group, this album could have been a disaster but it isn't. More than not being a disaster, it's a lost classic pop album of the mid 60s. It is terrific all the way through, even the throwaway material is good and fits the album perfectly. If you love great 60s pop, or just like 60s music in general, check this out. It may surprise you."

"Given all the possible hazards, Headquarters is an absolute triumph. In fact I can't remember the last time I listened to an album which sounds like it was so much fun to make. It's easy to pick holes in Headquarters and ridicule The Monkees as musicians, but that's a totally pointless exercise. The album reveals a band in the process of evolving, attempting to take control and developing in their own preferred direction. It's fun, silly and in some ways disposable, but none the less great."

"I know it's The Monkees and they aren't hip and all that, but I'm secure enough to say what many that are worried about seeming cool won't, Headquarters is an above average 60s pop rock album."

"What it all comes down to is the songs, the music and this album has some of the best Monkees music in their canon. Of course, Jones' cheese is still the weakest part but the rest of the album makes up for his schlock."

Greatest Hits – BUDDY HOLLY*****

Peggy Sue/That’ll Be The Day/Listen To Me/Everyday/Oh Boy/Not Fade Away/Maybe Baby/Rave On/Think It Over/Its So Easy/It Doesn’t Matter Anymore/True Love Ways

Buddy Holly's melodic rock & roll was a major influence on The Beatles and many other British Invasion groups including of course The Hollies. His Greatest Hits includes nine of the tracks from the posthumous 1959 Buddy Holly Story LP. (UK:9)

"Buddy Holly was a genius. It's as simple as that. His creation of music was in a class by itself and his work remains nonpareil and will continue to delight many for time immemorial. These are timeless classics that you will never tire of hearing. Buddy Holly could not do a bad song if he tried."

"Holly is a true cultural icon, and this collection has great historical importance. But it's fine to momentarily forget about the legend and just enjoy the music. Decades after these songs were recorded, they remain fresh and full of irrepressible life."

"If you don't know Buddy Holly's music, you really should familiarize yourself with it. Bottom line: it is masterful and definitive early rock 'n' roll. This album offers a fantastic way of getting to know some of the very best music that came from this amazing musician. I highly recommend purchasing and devouring this album."

"The whole LP is filled with timeless Buddy Holly classics that will never be left in the past. Its amazing to realize how much talent there was in someone so young. The songs are incredible. Even though Buddy is gone, his spirit and talent will live always and he will never be forgotten." "If this is all you ever hear of Buddy Holly you will never appreciate just how great and far ahead of his time he was. To me nobody in the 50s came even close to being as talented, or as big an influence, as Buddy Holly."

"Don Maclean's American Pie features the line - 'The day the music died'. He was speaking of the death of Buddy Holly after a plane crash. Holly's career was cut tragically short. He only had a career spanning a few years and a small number of recording sessions. Yet his star burned brightly during that brief time."

"While these songs may be old, they'll never go out of style."

The Golden All Time Hits – THE BACHELORS***

You You You/Put Your Head On My Shoulder/Any Time/My Happiness/Who Wouldn’t Love You/Manana (Is Good Enough For Me)/Heartaches/It Is No Secret/Stranger In Paradise/Dear Hearts & Gentle People/Harbour Lights/You’re Breaking My Heart/My Heart Cries For You/A Little Bird Told Me

On Golden All Time Hits the The Bachelors perform what they do best, old time songs sung in a modern style. The boys would have to wait another 41 years for their next full price album hit. (UK:19)

"The Bachelors were a three part harmony group from Dublin who were popular in the UK during the 'beat-boom' of the 1960s. Their music followed in the tradition of barbershop quartets, though I suspect The Everly Brothers would've been an influence too. The title of this album is perhaps a bit misleading, as it is not a compilation of songs made hits by The Bachelors, but rather a selection of million-selling songs that have been given The Bachelors 'treatment'."

"The distinctive vocal harmonies of The Bachelors are the main attraction here, though they're somewhat undermined by the lightweight material. And given that I'm not familiar with even one of the tracks here, that only goes to show that a song being a million-seller is no guarantee that it is well known. As this album is from an era where million-sellers were commonplace it's no indicator of musical merit either."

"This is an album of innocuous 'light entertainment', that would appeal to elderly folk having a holiday at say, Butlins. Or in this case, a night out at the ABC Theatre in Blackpool, where this album was recorded, capitalising on the demand for evening entertainment for 'seaside holidaymakers' that were prevalent in the UK during the 1960s. Jaunty and pleasant, but ultimately forgettable muzak."

"These guys have such a great sound. In my opinion, they didn't get the recognition and commercial success they deserved. I think they had unfortunate timing, coming into the US music scene with this retro, harmonic sound while the British invasion and drug influenced music was the prevailing trend."

"It's telling that The Bachelors are my favourite group of the British invasion even though they are Irish and only happened to come along at the same time. I love older music with strong melodies and singing though."

Evolution – THE HOLLIES****

Then The Heartaches Begin/Stop Right There/Water On The Brain/Lullaby To Tim/Have You Ever Loved Somebody You Need Love/Rain In The Window/Heading For A Fall/Ye Olde Toffe Shoppe/When Your Light’s Turned On/Leave Me/The Game We Play

The modish psychedelic cover disguises the mostly well crafted melodic pop tracks within Evolution, which unusually for The Hollies contains no hit singles. (US:43 UK:13)

"Supposedly psychedelic, but it's light on that for the most part. Just The Hollies doing what they do best - nice, light pop/rock, a tight band with some great melodies and some nice hooks. When they try to go 'weird' for the sake of doing it, it sounds dumb, Lullaby To Tim being the greatest offender."

"The Hollies always wrote much more interesting and adventurous songs than many of their contemporaries in the mid 60s and this is a fine example of that. More than just a singles band, not quite an albums band, but interesting none the less."

"Though often touted as a 'psychedelic' release, this is just more of the same great vocal harmony pop they're known for, with little if any discernible psych influences."

"The Hollies try to hit the psychedelic trend head on with Evolution, but it winds up sounding pretty much like classic Hollies with psych-pop touches here and there. The result is a hit and miss album, but even the tracks that don't connect like Lullaby To Tim are still interesting to listen to."

"Like The Stones, psychedelic trappings don't suit The Hollies who, despite the garish album sleeve still sound like a jaunty 1965 band trapped in the Summer of Love. That isn't what counts here though. Evolution amounts to an ability to write their own material to a high standard. All twelve songs are well crafted and show a flair for melody. The best material might however just as easily have featured on earlier albums. Overall, this is a good album, but it could have been a lot better."

"In 1967, The Hollies were 'keeping with the times' by dressing in flower-power garb, bringing in fuzzy distorted guitars, crazy sounding vocal effects, and the obligatory bit of Indian instrumentation."

"The Hollies come in colours. A breeze of fresh air in the magic Summer of Love."

Distortions – THE LITTER**

Action Woman/Whatcha Gonna Do About It/Codine/Somebody Help Me/Substitute/I’m So Glad/A Legal Matter/ Rack My Mind/Soul Searchin’/I’m A Man

Distortions was the debut album from the Detroit garage rock band The Litter. This one relies very heavily on their aggressive interpretations of well known contemporary covers. They would soon move on to a heavy metal sound.

“The Litter's debut album doesn't offer me much. Distortions features raw garage rock with psychedelic elements. Soul Searchin' would be my favourite pick from the album but the rest of the material is more or less pretty mediocre and even a little bit annoying. Don't waste your time with this boring album.”

“Tough fuzz garage at its finest, of course Action Woman is the classic on this LP. Another major highlight for me is Soul Searchin', one you can blast out of your car stereo. Codine is also very enjoyable to listen to. Deserves most of the hype it gets from the garage heads of the world.”

“Action Woman is fantastic. The rest is really good, but it's padded out by cover songs. Still, they choose great covers and give them their own spin, making for a solid listen.”

“This record is completely derivative. There's no pretence to blues tradition or pop-art intelligence in The Litter's emulation of their Brit-idols. They just go for the noise, but somehow they get it, and it's beyond perfect. What we hear in The Litter's I'm A Man is not the genius of individuals, but the genius of an art form as a whole.”

“The Litter were one of thousands of garage bands from the 60s. They got psychedelic and vaguely out there, but they were not that different from other bands. But do not let this dissuade you from hearing this wonderful slice of rock. Their songs, a lot of them covers, all of which will fill you with a distinct warm and agitating feeling that will make you want to smash your brains against the wall with glee.”

“I can't figure it out. This shouldn't be as good as it is, by rights. Sure, it has Action Woman on it, but look at the track listing. The rest are mostly covers which is usually the kiss of death. And yet it isn't. This is, above and beyond, one of the most energetic, tuneful, aggressive, sloppy wonderful albums I've ever heard. Their versions are energetic, yet wonderfully authentic.”

The Baroques – THE BAROQUES***

Iowa A Girl’s Name/Seasons/Mary Jane/Rose Coloured Glasses/Musical Tribute To The Oscar Meyer Weiner Wagon/In Silver Light/This Song Needs No Introduction/There’s Nothing Left To Do But Cry/Bicycle/Purple Day/ Boop/Love In A Circle

This self titled album was the only release from the Milwaukee garage psychedelic band The Baroques. Some critics suggest they may have fared better on another label rather than Chess, known mainly for its blues artists.

“You'll be hard pressed to find a garage psych album that's as consistent and with as much chutzpah as this one. Usually albums of this ilk are spotty with some decent originals with a bunch of covers to flesh out the rest of the record. This album has all originals of The Baroques moody, dark and a little bit dangerous songwriting. It's tough to pick any highlights as it's all of such a high standard. One of those records where there are no tracks to skip, no embarrassing missteps.”

“It is pure 60s, but it has a wonderful dark vibe to it that makes it special. No flower power. Not a bunch of stupid effects. Just really nice strange, unorthodox psych-garage. If you like The Doors or the scarier side of the 60s this is for you.”

“The songs are well constructed, well executed, and there is certainly no filler to be found here. Their lack of success was perhaps due to the fact that their wonderful album was released on the Chess label, known mainly for its blues artists, which was not a good fit for distributors who were perplexed by the psychedelic rock found on The Baroques.”

“The music on this album is not your typical garage/psych, though this is how they are usually pigeon-holed. Many of their cuts have a very dour, even gloomy sound. The psych influences are subtle, though on a few, they are much more overt. Several tracks feature electric piano and harpsichord, as well as lots of twelve string guitar, which often yields a folk flavour. There are, of course, liberal uses of fuzz guitar which figures prominently in a few freak-out style breaks in the best cuts.”

“This record will likely not bowl you over on first listen, but rather tends to grow on you as it did me. The Baroques is frequently mesmerizing and never less than enjoyable. It found the band mixing their best Brit impressions with meltdown fuzz guitars, weird time changes and what sounded like oceans of illicit stimulation. Strongly recommended as something out of the ordinary in garage/psych albums."

Sounds Like – HERB ALPERT & THE TIJUANA BRASS*****

Gotta Lotta Livin’ To Do/Lady Godiva/Bo-Bo/Shades Of Blue/In A Little Spanish Town/Wade In The Water/Town Without Pity/The Charmer/Treasure Of San Miguel/Miss Frenchy Brown/Casino Royale

Herb Alpert & The Brass continued their winning streak with Sounds Like which squeezed through The Monkees and Beatles dominance to top the US album chart. (US:1 UK:21)

"This shows just how popular Herb Alpert & The Tijuana Brass were, still spanning the generations during the Summer of Love, still putting out records as fresh and musical and downright joyous as this one."

"The songs on this album are as familiar to me as the back of my hand - they've been a part of my psyche for nearly forty years."

"While it wasn't The Tijuana Brass's best known work from the '60s, I think it is their strongest, most consistent album. The second side, from Town Without Pity to Casino Royale, is my favourite instrumental sequence in pop music. Every note of this album is in my bones. Highly recommended to anyone interested in catching up with a pop masterpiece."

"My first impression is Herb Alpert & The Tijuana Brass were ready to blow the competition off the stage, such energy. They found a great groove, a tougher sound and worked it. What a strong album - Herb's playing is very taut, aggressive, and slightly menacing, yet playful and charming elsewhere. This album may not have the 'hits' but it's an album that I return to more than the others."

"Perhaps the hippest Tijuana Brass ever recorded, Sounds Like was Alpert's eighth album. On this the drums and bass are heard more, giving more bottom to the sound of the recording. This would be the next place to start after SRO. A soulful album, anyone with taste would enjoy this record."

"I have always thought that this was a step back in the right direction. The collection of songs just seems better here, and it signs off with the most exciting, energetic song that I think the group ever recorded, Casino Royale."

"The music on this disc is some of The TJB's best work. Casino Royale alone is worth the price. Herb's instrumental version of Lady Godiva rocks."

It’s Smoke Time – THE SMOKE***

My Friend Jack/Waterfall/You Can’t Catch Me/High In A Room/Wake Up Cherylina/Don’t Lead Me On/We Can Take It/If The Weather’s Sunny/I Wanna Make It With You/Its Getting Closer/Its Just Your Way Of Lovin’/I Would If I Could But I Can’t

It’s Smoke Time was the only album release from the Yorkshire pop group The Smoke. More popular in Germany than at home their single My Friend Jack received a lot of airplay on pirate radio stations but was banned by the BBC for drug references.

“More than any other band, The Smoke epitomized the groove of Swinging London. Their sound fell somewhere between mod and The Beatles, their instrumental attack was somewhat Who/Small Faces like, yet they delighted in cheerful vocals and infectious harmonies and melodies. Only slightly popular on their home turf, and unknown in the US, their biggest success was in Germany.”

“When The Smoke turn out a good song like My Friend Jack or High In A Room, I found myself wanting to hear more hot lyrics and psychedelic music. While the music is good quality throughout the album, the lyrics are often awkward and uninspired. The album opens with My Friend Jack, and after hearing such sharp, surreal prose, the remaining lyrics are a let down.”

“The Smoke to my mind were the most talented and best sounding groups of the psych world. I love every track they made in the 60s. They definitely had a lot more talent than they were given credit for.”

“The Smoke where best known for their hit in Germany My Friend Jack, but the rest of the album is right up there with some killer songs. These guys sounded a bit like The Who did from 66 to 68.”

“Their great single, My Friend Jack from early 1967, should have been their big breakthrough, but because of the controversial lyrics it was banned by BBC, and therefore never became the big British hit it deserved. Besides being very much in the style of early Pink Floyd the song had everything a hit single needed; a great melody, a catchy riff, solid production and a modern sound. It was in fact a hit in several European countries, and the band became relatively big in Germany. This, was their only album, though there are several fine songs, it seems rushed with many tracks sounding like demos.”

Mixed Bag – RICHIE HAVENS***

High Flyin’ Bird/I Can’t Make It Anymore/Morning Morning/Adam/Follow/Three Day Eternity/Sandy/Handsome Johnny/San Francisco Bay Blues/Just Like A Woman/Eleanor Rigby

An early album from Ritchie Havens who transformed the folk songs of others into his own personal style. He would achieve fame by becoming the opening act at the legendary Woodstock festival. (US:182)

“The LP takes the sound of folk music and adds Richie's gruff singing style and his unique acoustic guitar strumming. This album leaned more toward outside writers like Dylan and Lightfoot. Of course his Beatles covers were all the rage later but here he does a strange take of Eleanor Rigby.”

“Richie Havens is a very original artist even if he often covers other people's songs. He has a rich deep voice which he uses to express warmth and depth, only occasionally allowing it to blast away full throat, which makes those moments all the more effective. More distinctive yet is his guitar style, which is some sort of open tuning. This results in some great rhythm playing to accompany his voice.”

“This album is mostly folk music, usually with a decidedly jazzy edge expressed via the arrangements and an excellent combo of backup musicians. Havens himself strums along on acoustic guitar using a type of open tuning he himself invented. But by far his best work is when he hits you with tunes, self-penned and otherwise, that hardly anyone's heard before.”

"What Havens established in Mixed Bag, was a deep emotional bond of intimacy with the listener that few have been able to create since. It is the perfect after-hours album, because it is at once, melancholic and cathartic.”

“With intelligence, a strong sense of music and just sheer originality Richie Havens sings and plays with the timbre of a troubadour and an artist in full command of his instruments. His ability to make each song he did not pen his own is masterful, yet his originals are the most compelling: lyrically elusive, yet emotionally evocative.”

“He has one of the most soothing voices I have ever heard. His versions of Just Like A Woman and Eleanor Rigby are unreal. Richie Havens reaches deep into the heart and soul with this album of intensely thought provoking songs. A must have for any folk music collector.”

Here Come The Tremeloes – THE TREMELOES***

Here Comes My Baby/Run Baby Run/My Town/What A State I’m In/Loving You/Good Day Sunshine/You/Shake Hands/When I’m With Her/Even The Bad Times Are Good

One of the surprises of 1967 was the singles chart resurgence of The Tremeloes after the departure of vocalist Brian Poole. Here Comes The Tremeloes contains two No. 4 UK hits Here Comes My Baby and Even The Bad Times Are Good. A compilation Tremeloes CD, which includes the singles with Brian Poole would be highly recommended, but unfortunately it still awaits release. (UK:15)

"Originally billed as Brian Poole and The Tremeloes, the group were signed to a record label by somebody who thought they had more potential than another then obscure group, The Beatles. They had some successes, taking Do You Love Me to number one on the UK charts and having other major hits with Twist & Shout, Candy Man and Someone Someone, but after that Brian Poole decided to go solo. It turned out to be the wrong decision for him and he faded into obscurity, but the remaining Tremeloes went on to bigger and better success, finding a new lead singer and also developing harmonies."

"Here Comes My Baby by The Tremeloes was one of my favourite songs. Even though it was written by Cat Stevens it would be another three years before I would know he existed. The Tremeloes had been the back up band for Brian Poole (whoever he was) and this was their first breakout in the States. They sound like a cross between The Electric Prunes and The Four Seasons if that's possible. Besides the outstanding title track there are a few other worthwhile offerings. There are a few nice fuzz guitar moments and the harmonies are as good as any of their sixties contemporaries." "No skill pop songs. They are catchy no doubt, but they also end up sounding too dumb and dull."

"Here Comes My Baby opens the festivities and is the perfect introduction. The Beatlesque sound is superlative. The vocals are magnificent in wording and inflection. Good originals, good covers, etc. Not the best or most influential group; but good clean rock."

Greatest Hits – PAUL REVERE & THE RAIDERS****

Louie Louie/Louie Go Home/Steppin’ Out/Just Like Me/Melody For An Unknown Girl/Kicks/Hungry/The Great Airplane Strike/Good Thing/Ups & Downs/Legend Of Paul Revere

This hits compilation covers the period up to early 1967, thus omitting the many later hits of archetypal mid sixties US garage band Paul Revere & The Raiders. (US:9)

"If you don't know what The Raiders were about, this is a good way to find out that there was a hard rocking band under the campy uniforms and synchronized concert moves. It's a solid compilation for those who want to get into one of the best US garage bands, released before the trashy stuff."

"Paul Revere and The Raiders were a funny band to figure out. On one hand they wore revolutionary war outfits and were constantly on TV in the mid-60s, but yet they put out some really hard edged rock music, not your typical boy band fluff. My favourites are Kicks, Hungry and Him Or Me."

"Still the best hits package. This is truly the essential Raiders collection. The most underrated band of the 60s, this is vital garage band rock and roll. Listen to Mark Lindsay wail on Just Like Me or Hungry. He could blow 90% of the lead singers of the day off the stage."

"I grew up when Paul Revere and The Raiders were turning out hits left, right and centre. First on the TV show 'Where the Action Is' then completely on their own. In listening to these songs again after 30+ years I didn't realize how upbeat and guitar driven they were."

"If you're not familiar with the early career of The Raiders then you should check this one out. They were a hard rockin' group at this stage before Mark Lindsay, basically, took over the whole show. These weren't all hits, but to my mind this is a killer representation of the early Raiders, with mostly gritty rock."

"Pure bubble gum; great if you like that kind of thing. It's very derivative; you'll hear shades of The Byrds, The Beatles and The Rolling Stones in there. There is some excellent instrumental work, so they were not entirely without talent, and they turn out some great R & B sounds on occasions."

Greatest Hits – THE HOLLIES****

Bus Stop/Pay You Back With Interest/Here I Go Again/Tell Me To My Face/I’m Alive/Look Through Any Window/ Stop Stop Stop/Whatcha Gonna Do About It/Just One Look/Memphis/I Can’t Let Go/On A Carousel

This US only collection from The Hollies is very incomplete since the group would continue to generate hits for another seven years. A superior British equivalent would be released the following year. (US:11)

"The Hollies just kept going on and on when other British Invasion groups gave up the ghost and stuck their spoon in the wall."

"I am surprised how well these songs aged. I enjoy them as much now as I did then."

"This is a great little collection of The Hollies greatest hits. By no means is it complete, but if you are looking for just a taste of the sweet British Invasion hits that you loved way back when, you'll find it's worth the money."

"Bus Stop, one of their biggest hits ever, starts the track set really well. They sing and harmonize on this number; and the guitars and drums are used brilliantly in the musical arrangement. Look Through Any Window has a rockin' feel to it that helps it all hold its own very well; the beat is good and The Hollies handle complex tempo and key changes like the pros they were. Pay You Back With Interest has a mostly rockin' feel to it that is quite memorable, and On A Carousel is The Hollies at their very best."

"This was the epitome of cheerful Britpop in the 1960s. The teenage love songs like Look Through Any Window and Bus Stop still shine with their shimmering harmonies and exuberant playing on catchy tunes and romantic lyrics. This bright vocal pop is often disdained by rock snobs, but none can deny that these songs were well crafted and expertly performed."

"Welcome to the wonderful world of The Hollies. Pleasant pop-hooks, alluring vocal harmony, one of the more melodic rock bands that came out of 60s Britain."

"Even though this disc is rather brief it is still a good collection of Hollies songs. Every song on here is great and is fresh sounding every time you listen to it - timeless music, indeed. If you aren't too familiar with The Hollies music, then this is a good place to start, though you'll probably crave more."

From The Beginning – THE SMALL FACES****

Runaway/My Mind’s Eye/Yesterday Today & Tomorrow/That Man/My Way Of Giving/Hey Girl/Tell Me Have You Ever Seen Me/Come Back & Take This Hurt Off Me/All Or Nothing/Baby Don’t You Do It/Plum Nellie/Sha La La La Lee/You’ve Really Got A Hold On Me/What’cha Gonna Do About It

From The Beginning was a spoiler album from Decca released after The Small Faces had bought out their contract and moved to the Immediate label. Contains their five Decca UK top twenty hits, together with some mostly unreleased material. (UK:17)

"Pretty decent odds-n-sods 'revenge' release by Decca aimed at competition with Immediate's Small Faces LP issued around the same time. Some tracks (very few) are repeats from Decca's Small Faces issued in May 1966. Most are rehearsal tracks and covers. If you like The Small Faces, this makes a nice (and not too superfluous) addition to your albums."

"The good news is, most of the tunes are originals, and the better news is, many of these are really originals, showing that The Small Faces had finally reached that stage when putting your name in the credits list signifies more than taking somebody else's melody and writing new lyrics for it. My Mind's Eye is one of these 'true' originals, it boasts some catchiness of its own, and shows that the boys are quite ready to swerve into psycho-pop mode exactly the way the new year of 1967 requires everybody to do. Most of the other songs are relatively slight but at the very least, they're always enjoyable and memorable."

"This hybrid album combined five Decca hit singles, with nine previously unreleased tracks. Although it's classed as a compilation, and has been dismissed as a cheap cash in by Decca after The Small Faces were sold to the Immediate label, you can make a strong case that this is a bona fide album and an overlooked vibrant minor classic of garage rock. Among the nine unreleased tracks were five new Marriott-Lane originals, and four disposable covers that still have a certain garage rock verve and vibrancy that sit comfortably with the other tracks."

"Most people who have any interest in The Small Faces prefer the Immediate output but listening to the Decca years you cannot ignore how dynamic, tight, melodic and powerful The Small Faces were as a young British R & B band. Steve Marriott's voice is impeccable."

Friday On My Mind – THE EASYBEATS***

Friday On My Mind/River Deep Mountain High/Do You Have A Soul/Saturday Night/You Me We Love/Pretty Girl/Happy Is The Man/Make You Feel Alright (Women)/Who’ll Be The One/Made My Bed Gonna Lie In It/Remember Sam/See Line Women

The Australian pop group The Easybeats achieved an international hit with the single Friday On My Mind which reached No. 16 in the US and No. 6 in the UK. The accompanying album did less well and they would enjoy only limited chart success in the future. (US:180)

“Their first album since leaving Australia, writing one of the best songs ever and arriving in the UK, surprisingly saw no step forward for The Easybeats. None of the playing on this is a cut above the average garage band/beat group. The instrumentation is sparse with minimal over dubbing - the two immediate follow ups to the classic Friday sounded like average mid sixties filler and deservedly sank without trace. River Deep is a good garage style take on the song. Not one hot track here apart from the hit.”

“With this album they take a step up from the rather generic garage/beat music of their earlier albums and manage to come up with some really catchy and energetic pop rock. Still kind of generic, but definitely a step up in quality from their early years. The characteristic staccato riffs are still in place.”

“Nothing on here quite measures up to the title track. As with anything coming out of the beat/garage barn, the joy is in the attempt. And these Aussies sound downright ecstatic. River Deep Mountain High is a prime example, straight off the top. In no way does it rival any of the more serious versions.”

“The title track was a great single, and succeeded in luring me to get the album. Well, it's certainly not a poor album, but it lacks diversity and definitely pales in comparison to the big hit.”

“Really good mod and psychedelia influenced rock from this Australian band touted as rivals to The Beatles upon their entrance into the music scene. Not as varied as The Beatles but with more focus on the guitar work. The title track is the best and is one of the finest rock songs ever recorded. Other highlights include River Deep Mountain High, Saturday Night and You Me We Love."

Fallen Angels – FALLEN ANGELS***

Room At The Top/Love Don’t Talk To Strangers/Your Friends Here In Dundersville/I’ve Been Thinking/It Might Have Been Easier To Stay At Home/Most Children Do/Introspective Looking Glass/I Don’t Wanna Fall/No Way Out/Painted Bird/Mother’s Homesick Too/You Have Changed

The self titled debut album from the Washington DC psychedelic garage band Fallen Angels. It features a lot of experimenting with pop styles and a variety of musical instruments.

“I've listened to these guys with never-ending pleasure, singing along enchanted by their groovy playing, hip-poetic lyrics and experimental production.”

“All the songs are solid, with a few big standouts. You could call it psych pop or garage, but the best way to put it is that the songwriting always stays a bit off kilter, but with nice melodies all over the place. Quality lyrics throughout, too. And they manage to stay away from overboard effects and orchestration.”

“A sadly overlooked album by one of the era's standouts, their debut is totally overshadowed by its legendary follow-up. Were this their only release, it would have been entirely commendable.”

“It's a little difficult to accurately pigeon-hole this, but it is often touted as being pop/psych. I have my reservations about that, but for lack of anything better, I'll go with it, though garage/psych would apply equally well. There is mild use of horns and significant use of psych effects. This is one of those albums that if you are forced to individually rate the tracks, they don't fare too well. But listening to the album as a whole, they all seem much better, and will often leave you humming some of them later in the day.”

“On first listening I thought this album was no more than good, though with some great moments. This is a real grower however and I now personally rate it amongst the best psych albums of the 60s. Their second album is even better.”

“The group could lay down a groove with the best of them but on this LP they favour song craft over noodling. Jack Bryant’s moody vocals and the album’s interesting production tricks catch the ear first, but the group’s energetic drive, personal lyrics and catchy melodies will win you over in the end. The band's garage roots are evident, but with various psychedelic touches to make for an interesting listen.”

Emotions – THE PRETTY THINGS***

Death Of A Socialite/Children/The Sun/There Will Never Be Another Day/House Of Ten/Out In The Night/One Long Glance/Growing In My Mind/Photographer/Bright Lights Of The City/Tripping/My Time

Emotions was a transitional album from The Pretty Things between their R & B roots and their later move into psychedelia. It features some commercial pop, plus some orchestration that was not to all fans taste.

“The first side features stellar sixties pop. Most tracks carry an extremely stripped bare sound. The orchestration is a matter of taste, for me not too disturbing, but on most tracks it adds no extra value to the sound in general. Still Emotions is a recommended sixties sleeper for those with an affection for the softer side of beat/pop/R & B.”

“If this wasn't by The Pretty Things it would have been utterly forgotten. Its 60s pop by a band who didn't do pop and weren't suited to it. The lead singer is embarrassing in places - except on Tripping, the only bluesy song.”

“At the time the band got pushed in a direction they didn't want to go. This brief transitional period had its uses though. Rather than the rough R & B at which they were so brilliant, the times dictated the need to craft more sophisticated songs, which came to full fruition on their late 60s stuff. This album reflects that transitional period. At the time, I found it a major disappointment, but now, with hindsight, it's an interesting release.”

“This album is comparatively highly produced, commercial driven pop, featuring some use of horns, and with good period flavour. Though this is not in keeping with the sound the band had been attempting to cultivate, it is enjoyable just the same.”

“Emotions was radically different from the previous two albums, which were more or less typical British R & B. They had already shown that they were very skilled songwriters, but with Emotions their musical ambitions led them into orchestral experiments. The album has often been criticized for being ruined by these strings and brass arrangements.”

"Emotions was unfortunately sandwiched between two classic Pretty Things eras; the early R 'n' B era and the psychedelic era. But the record company overdubbed some dreadful orchestration, and the result is a bit of dog's dinner.”