Camelot – SOUNDTRACK****

Prelude & Overture/I Wonder What The King Is Doing Tonight/The Simple Joys Of Maidenhood/Camelot & The Wedding Ceremony/C’est Moi/The Lusty Month Of May/Follow Me & The Children’s Chorus/How To Handle A Woman/Take Me To The Fair/If Ever I Would Leave You – Love Montage/What Do The Simple Folks Do/I Loved You Once In Silence/Guenevere/Finale Ultimo

The film musical Camelot was based on the Broadway stage show and starred Richard Harris and Vanessa Redgrave. Music by Frederick Loewe, lyrics by Alan Jay Lerner. (US:11 UK:37)

"Vanessa Redgrave and Richard Harris are wonderful on this soundtrack, and the sound is so crisp and clear. While the Broadway cast version is clearly superior and is the album of choice, here we have a unique interpretation of one of Lerner and Loewe's best scores."

"The film version of Camelot ended up being a none too flattering vision of the original Lerner-Loewe musical. Directed by Joshua Logan and starring Richard Harris and Vanessa Redgrave, the movie was a modest success, it's long running-time and slow pace the main factors in it's failure. The soundtrack album is a delight, however. Vanessa Redgrave is an interesting Guenevere, singing in a charming speak-sing fashion and makes the role her own."

"This is the best recording of Camelot. The performances are first rate. Even though the cast are not singers per se they pull it off wonderfully. The orchestrations are superb and the whole performance is full of passion. These are the quintessential performances. All around this is a superior version compared to the Broadway cast."

"This is a truly lovely LP and I love the speaking/singing of Richard Harris which makes the songs so much more poignant. It's really music to wallow in and the only truly perfect version of these songs."

"The singing is not in the same league as the Broadway version. This is a movie. So, the ambience is different. While the singers Richard Harris and Vanessa Redgrave are quite competent, the underscoring is something out of this world."

"The musical arrangements by Alfred Newman and Ken Darby are what makes this soundtrack recording the best thing to emerge from the mediocre movie version of Camelot."

Butterfly – THE HOLLIES*****

Dear Eloise/Away Away Away/Maker/Pegasus/Would You Believe/Wishyouawish/Postcard/Charlie & Fred/Try It/Elevated Observations/Step Inside/Butterfly

Butterfly is The Hollies psychedelic masterpiece. Ironically, it was the least successful album from their heyday, failing to chart in both the US and UK. Graham Nash would soon depart, and the group would return to releasing more mainstream pop material.

"This album is the peak of The Hollies creativity, their true 'Evolution' album in which they finally turned into a beautiful Butterfly. Every moment is 60s pop perfection with tinges of psychedelia and soft introspective moments, courtesy of Graham Nash. It's unfortunate that this would be their last great album and their last with Nash."

"The songs on this album are amazing. Pegasus is an incredible track and the only one that Tony Hicks took lead vocals on. Pretty much every song here is a winner, with my personal favourite being Elevated Observations. I highly recommend this album if you are just getting into psychedelic music, it is right up with the standards of 60s psychedelic."

"It is definitely poppy, but this being 1967 there are thick psychedelic vibes in the stew. And yes, the songs are good - Maker, with its layers of psych sitar, is genuinely trippy, and every bit as good as any Orient inspired psych pop from 67 - but hey, there's tons of other good moments to be savoured here."

"Butterfly features plenty of exotic instrumentation and full, live orchestration. Much of their experimentation on the album reflected other prominent releases of the year, but these ideas had not yet passed their freshness date and the phenomenal song-writing of Clarke-Hicks-Nash more than compensated for any redundancies. Apparently, the band as a whole was not too excited about the dive into psychedelia that they had begun with Evolution and continued here. This caused creative strain and Graham Nash would depart for America shortly after this album, but on Butterfly the tension provides a perfect balance between pop and psychedelia."

"This gem of an album came out in the Summer of Love period and was so different from their singles. It is still refreshing to hear it today with Nash and Clarke at their brilliant best and Tony Hicks outstanding as a lead guitarist."

Bed Sitter Images – AL STEWART***

Bed Sitter Images/Swiss Cottage Manoeuvres/The Carmichaels/Scandinavian Girl/Pretty Golden Hair/Denise At 16/Samuel Oh How You Changed/Cleave To Me/A Long Way Down From Stephanie/Ivich/Beleeka Doodle Day

Bed Sitter Images was the debut album from the British folk rock singer Al Stewart. His brand of introspective songwriting would become quite popular during the early 1970s.

“Al Stewart's debut is a choppy affair. There are a handful of genuinely great songs on here (Bed Sitter Images, A Long Way Down From Stephanie and the lovely instrumental Denise At 16) and a couple of really twee and embarrassing tunes too, particularly the clumsy Beleeka Doodle Day.”

“Stewart was just beginning to develop what was to become his unique style here, and there is quite a bit to like. My favourites are Bed Sitter Images where he reveals an early knack for a literate composition; the charming romance of Swiss Cottage Manoeuvres; a rare instrumental on Ivich, with faint gypsy undertones and Beleeka Doodle Day, in an epic style of storytelling upon which he would build his reputation.”

“This debut album by Al Stewart has always been hated by his fans. That's a shame, because his songwriting talent is very much in evidence here, even if it is obscured at times by the overly ornate arrangements. But I do think that the album is quite listenable if one is in the mood for quirky British pop.”

“Bed Sitter Images unveiled a promising but tentative folk-rock singer/songwriter. Al Stewart's songs already displayed his talent for observational storytelling, though at this point he was detailing ordinary lives of British people and autobiographical romance, rather than epic historical incidents. Most of the cuts used a full orchestra, and although the folk-baroque approach worked for some folk-rock artists of the era, here it seemed ill-conceived. The orchestration was twee, which made the already precious songs seem even twee-er.”

“This is where it all began. While the singing and the music much improved later, we can glimpse the humour and the rhythmic melodies here that would form the foundation for Al Stewart's later works.”

“Most of it is clearly low-grade 'me-too' irritating 60s pop. There are a couple of standouts, but listeners might be better served by a compilation of his earlier work.”

The Walker Brothers Story – THE WALKER BROTHERS***

Make It Easy On Yourself/Land Of 1000 Dances/Young Man Cried/Living Above Your Head/I Need You/My Ship Is Coming Home/Saturday’s Child/Mrs Murphy/The Sun Ain’t Gonna Shine Anymore/I Can See It Now/Just For A Thrill/Summertime/In My Room/Stand By Me/Once Upon A Summertime/Experience/Come Rain Or Shine/ Archangel/People Get Ready/Stay With Me Baby/Genevieve/Walking In The Rain/I Wanna Know/Just Say Goodbye

The Walker Brothers Story was released at the time of the group's break up. Despite being a double LP it managed to omit several of their UK top twenty hits. Better compilations of this superior, prototype boy band are currently available. (UK:9)

"The Walker Brothers were not brothers, they were actually Scott Engel, Gary Leeds and John Maus. Once they adopted their chosen group name, they dropped their own surnames and became Scott, Gary and John Walker. Unable to make it in their American homeland, they relocated to England, where they became successful all over Europe, although they had far more hits in the UK than elsewhere. They sang pop ballads superbly, though they could up the tempo enough to provide variation."

"Decent compilation and a good place to pick up those great Walker Brothers singles, in particular the spectoresque productions of Make It Easy On Yourself and The Sun Ain't Gonna Shine Anymore. They were perfect for Scott Walker's deep croon. Although The Walker Brothers stuff outside the big hits hardly makes me want to buy their catalogue though."

"Nice collection. Worth getting for the great Walker Brothers singles. However, this is no substitute for the Scott Walker 'Scott' records."

"A great selection of tracks from the best boy band of the 60s, with well known songs such as their first hit Make It Easy On Yourself, which reached No 1 in 1965, the evergreen The Sun Ain`t Gonna Shine Anymore, the romantic My Ship Is Coming In and lots more."

"Listening to these songs, the awesome voice of Scott Walker still manages to send a shiver down my spine."

"There's a certain and very warm feeling which runs through you when you hear any one of The Walker Brothers hits from the 60s. Maybe it was the orchestration, or the big production, but your ears immediately prick up."

Blowin’ Your Mind – VAN MORRISON***

Brown Eyed Girl/He Ain’t Give You None/TB Sheets/Spanish Rose/Goodbye Baby (Baby Goodbye)/Ro Ro Rosey/Who Drove The Red Sports Car/Midnight Special

Blowin’ Your Mind was the debut album from former Them vocalist Van Morrison. Slightly disappointing, it is redeemed by the inclusion of the much played US No. 10 hit single Brown Eyed Girl. (US:182)

“Somewhat caught between an angry young garage rocker and a surrealist folk musician, Van Morrison's debut album quite fails to find it's proper voice. Except for the jangly hit single Brown Eyed Girl we don't have much here.”

“It's actually not that bad. The tracks here are bluesy, slightly dreamy. He Ain't Give You None could have easily been reworked to fit onto Astral Weeks. T.B. Sheets is a haunting masterpiece. The second side significantly putters. It was, after all, a contractual obligation to release this album, and Van had little, if any, input on the track selection.”

“Only came for Brown Eyed Girl but didn't stay for the rest which is mostly non-spectacular blues and some soul attempts including a few covers. Closer to Them than what he did afterwards, but not as raw.”

“Van Morrison blows your mind for about three minutes before he abruptly stops and makes a bunch of boring songs that show that he was really not yet a master of his destiny.”

“The problem is most of the songs suck apart from the mighty Brown Eyed Girl and the lusty He Ain't Give You None. Morrison was trying out takes for songs that ended up on Astral Weeks at the same time and his heart clearly lay in that direction, no matter how good his voice sounds here.”

“This is the first incarnation of Van's first official solo album, not great, but not as bad as some say. The record seems like merely a continuation of his work with Them with highlights in Spanish Rose and He Ain't Give You None. And it has Brown Eyed Girl, which you can hear at any pub, at any time, on any night.”

“Van Morrison's debut album will be always remembered for the massive pop hit Brown Eyed Girl. But that does not do justice to this fine record.”

Triangle – THE BEAU BRUMMELS****

Are You Happy/Only Dreaming Now/Painter Of Women/The Keeper Of Time/It Won’t Get Better/Nine Pound Hammer/Magic Hollow/And I’ve Seen Her/Triangle/The Wolf Of Velvet Fortune/Old Kentucky Home

The West Coast group The Beau Brummels return to form with Triangle that mixes country, pop, psychedelic and folk rock. Despite some good reviews it barely dented the US album chart. (US:197)

“The songs on Triangle represent the full music spectrum of The Beau Brummels, with folk-rock, country-rock, and British-pop all mixed together. Many of the songs deal with the mystical aspects of dreams, but the end result is more a consistent theme than a cohesive whole.”

“This album effectively mixes country, pop, psychedelia and folk-rock. It is a lavish work, with strings and horn arrangements that are certainly grand by any estimation. The songs are intricate, well crafted and diverse tales of mystical characters and dreams, mixed with commentaries of a more contemporary focus, complementing each other beautifully.”

“It remains one of my most treasured musical possessions. It is one of the early concept albums, and the instrumentation and vocals are beautiful, but it is the haunting sound, lyrics and melodies that have become securely etched into my memory.”

“I have to admit that I was somewhat disappointed with this album. Triangle has been referred to as a classic album, the best by the band. It does feature several fine strings arrangements, but the overall lack of really good songs, makes the album a pretty dull experience.”

“This music is haunting and deep. I am amazed at the quality in the music, all from a time when albums contained a hit, maybe another good song or two, but were mostly filler. This one is great from the beginning to the end.”

To Sir With Love – SOUNDTRACK***

To Sir With Love/School Break Dancing – Stealing My Love From Me/Thackeray Meets Faculty Then Alone/Music From Lunch Break – Off & Running/Thackeray Loses Temper Gets An Idea/Museum Outing Montage - To Sir With Love/A Classical Lesson/Perhaps I Could Tidy Your Desk/Potter’s Loss Of Temper In Gym/Thackeray Reads Letter About Job/Thackeray & Denham Box In Gym/The Funeral/End Of Term Dance – Its Getting Harder All The Time/To Sir With Love

To Sir With Love starred Sidney Poitier as a new teacher in a challenging East End London school. Music by Ron Grainger. The rousing title track by Lulu was a US No. 1 hit single. (US:16)

"Excellent soundtrack to an excellent film. The several variations on the title theme are each interesting and the other pop numbers are very entertaining. The rest of the disc comprises mainly musical cues and the film's percussive score is evocative of the film. Recommended."

"Out of the fourteen tracks, there are only four I would elect to save for repeated listening - Lulu's title track, which I have always adored along with the film, and three of Ron Grainger's instrumental pieces. Perhaps the passage of years erodes any former regard for The Mindbenders efforts. The rest is incidental instrumental music or repetition, there being three versions of the title track, and a weaker Lulu number. However, in the context of a very good film, it's a nice piece of nostalgia."

"To Sir With Love is just perfect for all those nostalgia freaks who long for a return to those heady times. The music itself is superb. Don Black's lyrics to the title track still bring a tear to my eye. There are several versions of the song too, including the original movie orchestrated and best example. The Mindbenders (featured as the 'school prom' band) also feature on the album."

"It has not only the great pop tracks by Lulu and The Mindbenders that perfectly capture the spirit of the time, but the music cues instantly recall dramatic moments in the film."

"Contains incidental music and scoring, unlike many of today's soundtracks, which are simply a collection of songs licensed to further vertical integration of a product. The Mindbenders tracks are great. Lulu's stuff is killer, the alternate takes on the title theme fascinating. The rest of the score is good as well and captures that unique sound of 60s music that is not over-produced."

Tim Hardin 2 – TIM HARDIN****

If I Were A Carpenter/Red Balloon/Black Sheep Boy/Lady Came From Baltimore/Baby Close Its Eyes/You Upset The Grace Of Living When You Lie/Speak Like A Child/See Where You Are & Get Out/Its Hard To Believe In Love For Long/Tribute To Hank Williams

Tim Hardin 2 comprises another collection of exceptional folk songs by gifted songwriter Tim Hardin. Again, many are better known by the versions covered by other artists. Like his debut this LP was a bit on the short side.

"This is just beautiful folk from Hardin. Quite a bit more introspective than the earlier stuff, this contains some of Hardin's best, and best known material, such as If I Were A Carpenter. Here Hardin is moving away from blues towards jazzier phrasings. Hardin's guitar and beautiful voice are upfront, but he is also backed by drums, piano, vibraphone, bass, and some tasteful string arrangements. I would go as far as to say that this was probably Hardin's best studio album and wholeheartedly recommend it to anyone looking for romantic folk sung from the heart."

"Again, like the first album, Tim Hardin 2 is ridiculously short. Brevity aside though its a decent enough album and worth owning for the opening four tracks alone, and it's not like it is going to take up too much of your precious time to hear it either."

"Tim Hardin's second album contains some of his best-known songs, which are, in fact, some of the best songs of the era: the simple, affecting, much-covered If I Were A Carpenter and the wryly humorous Lady Came From Baltimore. Other songs here are the equally memorable, prodigal son story Black Sheep Boy, the hushed, jazzy Speak Like A Child, and the emotional, elegiac Tribute To Hank Williams. But two things keep this album from being a true classic: it's extreme brevity and arrangements which are sometimes syrupy and overbearing that seem to work against Hardin's more unconventional jazz and blues phrasings."

"Hardin's second album opens with his most famous composition, If I Were A Carpenter, which was subsequently taken into the top ten by Bobby Darin. Hardin's version is more introspective and raw and while apparently too sparse for top 40 radio, its powers as both a song and a performance are still quite evident. By 1967 Hardin had moved with the times from his earlier blues works into folk-rock, and here into a slightly more mystical sound. The jazz phrasings giving way to a more pensive and introspective style that's often accompanied only by acoustic guitar and light rhythm."

Soul Finger – BAR-KAYS***

Soul Finger/Knucklehead/With A Child’s Heart/Bar-Kays Boogaloo/Theme From Hell’s Angels/You Can’t Sit Down/House Shoes/Pearl High/I Want Someone/Hole In The Wall/Don’t Do That

Bar Kays were an instrumental soul group from Memphis. After the release of Soul Finger several members of the band died in the air crash which killed Otis Redding. The title track was a US No. 17 hit single.

“It was pretty enjoyable with some nice lighter and calmer grooves. Good for a hot summer day, but they don't do much else for me. When the songs are playing it's like I'm constantly hoping for more to happen. Not bad, just lacking something special.”

“The blistering title track is an unquestionable Memphis soul classic, kicking off a strong set of eleven instrumental cuts. House wrecking numbers like Knucklehead, You Can't Sit Down and House Shoes are sure to get your party started. Sadly, this would be the first and last record from the original Bar-Kays line-up.”

“Even if you don't know the title, almost everyone knows the sound of Soul Finger, the 1967 hit off this Bar-Kays album. The track is shorthand in films for wild soul partying.”

“What you may not know is that Soul Finger is by far not the only selling point of this album. At a half hour, this is a concentrated tablet of the bluesy romps that were dance music all over the US, particularly the old south. With the gleaming exception of With A Child's Heart, simply one of the most beautiful ballads you may have never heard, this is essential soul and dance music.”

“A reasonable, energetic Booker T alternative. The funk isn't quite hard enough, but there's some powerful organ 'n' drum fills to stomp you awake.”

“The title tune of this great instrumental album is guaranteed to make you go right on the floor. This is typical raucous music from the 60s, and this album could please surf/hot rod music lovers as much as soul music ones. I know I overrate this album, but I love it so much. Great party music.”

“There are times when you just can't ask for more than a fun and upbeat instrumental R & B album. And for those times, Soul Finger fits the bill perfectly. The title track has irresistible charm and energy.”

Smiley Smile – THE BEACH BOYS****

Heroes & Villains/Vegetables/Fall Breaks & Back To Winter/She’s Goin’ Bald/Little Pad/Good Vibrations/With Me Tonight/Wind Chimes/Gettin’ Hungry/Wonderful/Whistle In

A curiosity from The Beach Boys. Apart from the two hit singles, most of these highly melodic tracks seem musical doodles rather than fully rounded off songs. Smiley Smile contains the transatlantic chart topper Good Vibrations and the top twenty hit single, Heroes & Villains. (US:41 UK:9)

"Smile was supposed to be Brian Wilson and The Beach Boys' magnum opus, their masterpiece. The album was to be an absolute groundbreaking collection of music on the par with the greatest music ever released. Unfortunately, the sessions for the album broke Brian Wilson and its full genius was never realized. Bits and pieces of the sessions did see the light of day and they are fabulous. Heroes & Villains is the best known song from the Smile sessions and it kicks off Smiley Smile, which is the remains of the aborted sessions. Other Smile leftovers include Vegetables, Wind Chimes and Gettin' Hungry. There are some other solid songs like With Me Tonight and Wonderful and the album is well above average."

"The main thing to keep in mind while listening to Smiley Smile is that it was never constructed as a proper 'album', and that while beautiful in their own way, only a few of the tracks can really be considered proper songs. Instead what we get is a collection of experiments, minimally written vignettes and gorgeous miniatures; built from a seemingly random hodgepodge of leftovers. Despite the oddness and rampant experimentation of the songs, most of Smiley Smile is downright pretty and accessible. The Beach Boys would never record anything as interesting or beautiful as Smiley Smile again."

"The two singles from Smiley Smile, Good Vibrations and Heroes & Villains are established classics. But most of the obscure tracks hold up well too."

"This album is dwarfed in comparison to Pet Sounds, lyrically and musically, but it's still a fun listen."

"It is a great little album, unlike any other in the rock canon and even if Brian Wilson gave up loftier pursuits, this is still an amazing record with not a wasted note or word."

Raymond Lefevre – RAYMOND LEFEVRE***

A Whiter Shade Of Pale/Ame Caline(Soul Coaxing)/Think Of Summer/Release Me/Notre Roman/Puppet On A String/L’important C’est La Rose/Nous Ne Sortirons Qu’au Printemps/Quand On Revient/Groovin'/Adios Amor/ Les Gens Du Nord

Self titled easy listening debut album on the Major Minor label from noted French musical arranger Raymond Lefevre. It features the US and UK minor hit Soul Coaxing. (UK:10)

"The use of guitar, female vocals and piano are unmistakably Lefevre, and I feel him in the arrangement of the strings. I'm particularly fond of Nous Ne Sortirons Qu'au Printemps which makes me feel tres nostalgique."

"Underplayed is right - you never hear this on radio."

"I love Soul Coaxing - an orchestra but with a rock beat - and a mesmerizing melody. I have to rank this as one of my top five instrumentals songs."

"Soul Coaxing is a killer track, Lefèvre has one of the best versions. The interplay between those arpegiated chords and that tuneful bass line in the intro is enough to get the spine tingling, and then that beautiful top melody kicks in. A great and not well enough known instrumental masterpiece."

"Soul Coaxing is a timeless classic and it will never grow old. I hope this is the kind of music they play in heaven after I'm gone."

"There have obviously been many, many beautiful and stirring instrumentals over the years. But nothing like Soul Coaxing. Underrated...underplayed...under-appreciated. But it's genius and in my book unsurpassed."

Ode To Billie Joe – BOBBIE GENTRY***

Mississippi Delta/I Saw An Angel Die/Chickasaw County Child/Sunday Best/Niki Hoeky/Papa Woncha Let Me Go To Town With You/Bugs/Hurry Tuesday Child/Lazy Willie/Ode To Billie Joe

Mississippi country singer Bobbie Gentry enjoyed massive success with her atmospheric Ode To Billy Joe which topped the US singles chart and reached No. 13 in the UK. The accompanying debut album was also a US chart topper dethroning Sgt Pepper in the process. (US:1)

"There may not be much stylistic variety here but the songs are great, as is her voice. She's got a smoky, slightly rough sounding voice that really adds a lot to the atmosphere of the songs here.”

"A trip to the Deep South. Otherworldly. The title song is almost sinister. You can feel the heat and you can smell the magnolias when you listen to Bobbie Gentry. This is really what I think of as swamp rock. Rich is atmosphere and foreboding, soulful singing. Gentry was very active for a couple of years and then she vanished."

"Gentry's first album is an uncluttered, straight down the line collection of smoky voiced gems, mostly with the simplest guitar accompaniment. So few female artists wrote their own material and even fewer were able to pen a tune like Bobbie could."

"This album is interesting not only because it was her first, but also because it's so different from the others. It has a rushed feel to it - as if the massive success of the single Ode To Billie Joe caused the label to push Bobbie to write an album's worth of songs in a couple of weeks. If you've heard Ode you don't need to listen to Bugs, Lazy Willie and Chickasaw County Child, because the melody and guitar accompaniment are almost the same - only the words and tempo are different. These songs could easily have been eliminated. Besides the title track, the standout numbers are I Saw An Angel Die and Hurry Tuesday Child."

"Album built around brilliant single - OTBJ is still one of the most powerful and mysterious songs ever recorded, but the rest of the LP is basically variation on the same sound, repeated until the trick became painfully obvious. Niky Hoeky is great fun, but still, we heard it all before. Gentle, acoustic ballads like Sunday Best and I Saw An Angel Die hint at different direction in the future and thankfully, Gentry moved on very soon."

No Way Out – CHOCOLATE WATCH BAND***

Let’s Talk About Girls/In The Midnight Hour/Come On/Dark Side Of The Mushroom/Hot Dusty Roads/Are You Gonna Be There (At The Love-In)/Gone & Passes By/No Way Out/Expo 2000/Gossamer Wings

No Way Out was the debut album from the Californian psychedelic rock/garage group Chocolate Watch Band. Vocals on many of the tracks are by a session singer.

“It just stinks of mediocrity, though No Way Out isn't completely without its charms, Dark Side Of The Mushroom has a pretty cool groove to it, as does Expo 2000. Overall this album was OK, just not a real gratifying listening experience.”

“This isn’t really a 'Chocolate Watch Band' album, since on half the tracks, the lead vocals were handled by a session singer at the management's request. A baffling decision because the singer used would clearly have been more suited to soul music than a trippy garage album."

“Good psych/garage but rates as a minor disappointment. Only four of the tracks were performed by the entire group. A black session singer sings on the others. Some of the interesting psych was put together by the record's engineers without the band's involvement or knowledge.”

“With their hard-hitting, bass and beat driven garage rock, you would swear you were listening to The Stones if you didn't know any better. In between psychedelic instrumentals and studio experimentation are cuts of white hot garage rock. Even the trippy stuff is pretty good, Creepy at times, it is one hazy, rhythm and blues-based psychedelic punk album.”

“Some songs are pure space out and they were added and forced on the band by the band's management, but they are good psych rock instrumentals all the way. I don't know if the band played them live, they are more like Pink Floyd than the rest of the disc which is garage rock with a tinge of psych.”

“A psychedelic/garage band fusion with a little 60s soul music thrown in. The band's range is amazing and the rawness of the recordings keeps it fresh and fun, despite the dark undertone of 60s nihilistic angst which can be felt somewhere in the background. The songs vary between psychedelic floating sounds and bone dry garage rock.”

More Of The Hard Stuff – THE DUBLINERS*****

Muirton Durcan/Poor Old Dicey Riley/A Nation Once Again/Whiskey In The Jar/The Old Triangle/The Pub With No Beer/Kelly The Boy From Killan/Croppy Boy/Sullivan’s John/Come & Join The British Army/(The Bonnie) Shoals Of Herring/Mormon Braes/Drink It Up Men/Maloney Wants A Drink

Another Drop Of The Hard Stuff was a speedy follow up album from legendary traditional Irish folk group The Dubliners. All the sixties albums on the Major Minor label, released with this classic line up, can be thoroughly recommended. (UK:8)

"These songs characterize a very unique approach. The Dubliners were heading for a big-time sound, not using very much amplification. Their choice of instrumentals has revealed their passionate intensity and meticulous expertise in mastering complex rhythmic jives."

"The voices of Ronnie Drew, Luke Kelly and Ciarán Bourke fill up a very important gap in the songs. The way they handle the songs is of utmost spontaneity and with exquisite enjoyment as they rip through them all one by one."

"This is the one and only treasure trove. Go enjoy the songs and sing or dance along if you want. The Dubliners won't mind."

"Gutsy, raunchy and lots of fun, this album is an immediate pick up to any lagging hour. Listening to it is nothing but sheer joy. You fall in love with the various voices in the group and applaud when your favourite one comes through with yet another Irish affirmation of life, love, of duty to country and not the least - the sacrosanct juice of the barley."

"If you are old enough to have enjoyed The Dubliners in their prime, this is a wonderful LP. Here the boys produce a veritable what's what of Irish music from songs of rebellion and modern political updates on those themes, novelty songs, and songs based on the old traditions of whiskey, women, war and the wounds of occupation on the Irish psyche."

"As for the whiskey we have Whiskey In The Jar. For the wounds of occupation well, how about A Nation Once Again and Come & Join The British Army. You have a pretty good look at the run of the old Irish traditions and a wide swathe of Irish musical history."

Hipsters Flipsters Finger-Poppin’ Daddies! – GENO WASHINGTON & THE RAM JAM BAND****

Herk’s Works/Day Tripper/I Can’t Turn You Loose/You Left The Water Running/In The Midnight Hour/Hi-Heal Sneakers/Shotgun/Raise Your Hand/Who’s Foolin Who/Things Get Better/It’s A Wonder/She Shot A Hole In My Soul/Wild Thing

Hipsters Flipsters was the follow up album from the most explosive live soul artist performing in Britain during the mid sixties. This is where the Mods let their hair down. (UK:8)

"Imagine yourself in Soho in 1967 - you've made it past the bouncers with your two-tone suit and your slim black knitted tie, but will the soul brother GIs down for the weekend from the US bases in Norfolk really accept you as you start to bop and clap to the infectious beat? Basically, who cares - that's the message here - grab a Babycham or a Watneys Red Barrel and enjoy this hot sweaty cellar of an LP. You're going to boogie till dawn, to the soul sound of bass, horn, sax and that funky, wunnerful guy Geno Washington. No one keeps their feet still to this one."

"This is for all of us who remember the young Geno and The Ram Jam Band juicing up the joints at clubs and pubs all over the country in the sixties."

"Geno Washington is a pleasure to listen too. A stomping voice and the tracks are brought to life by The Ram Jam Band. True gritty soul music and a performance from the heart. I fell in love with the music in the 1960s and for me it is still as fresh and vibrant as it was in that decade. Well worth listening to."

"This was one of the most funky and exiting bands on the music circuit in the sixties. When Geno came on to the crowd chants of 'Geno, Geno, Geno' we all knew it was party time full of rockin' soul and rhythm 'n' blues. We knew the songs and joined in with this band who could get any place rocking in minutes. Surely one of the great live bands of the sixties. Live they were totally awesome."

"We all loved Geno and the band so much at their peak, and do you know it still sounds great today. I'm sure the young generation would love this music just as much as we did. Get in the groove, get those old sneakers out and enjoy once again this totally fabulous band at their very peak in funky music. If you like your soul/mod tunes you’ll love it."

This Is – TIM HARDIN****

Can’t Slow Down/Blues On The Ceilin’/Stagger Lee/(I’m Your) Hoochie Coochie Man/I’ve Been Working On The Railroad/House Of The Rising Sun/Fast Freight/Cocaine Bill/You Got To Have More Than One Woman/Danville Dame

This Is featured Tim Hardin on acoustic guitar performing mostly classic blues songs in 1963 in front of a coffee house audience in Greenwich Village. Taken from demo tapes before he obtained a recording contract.

“These are songs recorded between 1963 during Hardin's 'coffeehouse days' in Greenwich Village. These are raw and deep renditions of ancient blues and classical folk songs. Hardin's depth and devotion are absolute. He wallows elegant and passionately in a tough and dry performance that proclaims his greatness. This is a new way of facing the blues. He has something captivating and yet we don't believe it completely in such a primitive repertoire.”

“These recordings are actually really good. White boy blues played with real commitment. It's got an informal quality. If you're a fan of Tim Hardin or any of the great folkies of this period, then you will enjoy this.”

“I think it's fantastic. It didn’t leave my turntable for months. The sound of a lot of the songs is like listening to an old blues man. It is different in a lot of ways from later Tim Hardin records. There are no heavy strings. It's mostly just Tim and his guitar. This is from the early 60s, and his vocals are filled with a hunger and soul. He also has a strong blues guitar style throughout.”

“This is the best album he ever recorded. It was an early recording with only Hardin and his guitar in a vacant room. He was sober and his picking style is classic folk. If you want to listen to Hardin before he fell into the abyss, this is him at his best.”

“The songs on this LP are different from later ones; they are more haunting, gutsy, raw and real. It sounds like it was recorded in a bar, late at night after everyone has gone home. Over half of the tracks are traditional blues numbers and even the four originals are in a very similar straight blues style. It takes a few listens to even realize that there is no band, no rhythm section, no backup singers, nothing but Tim on the guitar and his foot on the stage floor for rhythm and lyrics that will stay with you for the rest of your life.”

Greatest Hits – DIANA ROSS & THE SUPREMES*****

When The Lovelight Starts Shining Through His Eyes/Where Did Our Love Go/Ask Any Girl/Baby Love/Run Run Run/Stop In The Name Of Love/Back In My Arms Again/Come See About Me/Nothing But Heartaches/Everything Is Good About You/I Hear A Symphony/Love Is Here & Now You’re Gone/My World Is Empty Without You/ Whisper You Love Me Boy/The Happening/You Keep Me Hangin’ On/You Can’t Hurry Love/Standing At The Crossroads Of Love/Love Is Like An Itching In My Heart/There’s No Stopping Us Now

Sensational compilation album from The Supremes, jam packed with all their fantastic Motown hits from 1964-1967. Deservedly reached the top spot in both the US and UK. You can't get much better than this. (US:1 UK:1)

"This collection passes all the criteria by delivering hit after hit after hit. If you are looking for an introduction to The Supremes, or already like them, this is the collection for you. It was great to see these all together. I had trouble picking out my favourite song, but couldn't narrow it down. I tried a top three, and then a top five, but there was always another song that should be on the 'Best of the Best' list."

"This is all you need to satisfy a craving for Supremes' music. All of the hits are included in their original recordings. One of the great girl groups of the 1960s and for that, we salute Diana, Flo and Mary."

"The classic Motown Sound is unmistakable, and still makes for some of the most earnest pop music ever recorded. No bandwagon chasing, trend following artists in search of a quick buck, just pure and honest soul sung with unbridled joy."

"This is an amazing collection of songs, bursting with classic pop gems which are the best soundtrack to a sunny morning, the best intro to a feel-good day. The young Diana Ross tears through them with such dedication, conviction and gusto one cannot but be completely won over and delight in her little dramas."

"The Supremes had two very important things today's R & B stars lack: the undeniable songwriting power of Holland/Dozier/Holland is one. For another, they had soul. If you're tired of the cut-and-dry, emotionless 'soul' music from today’s artists give this one a spin."

"They are the most important female group ever bar none. Great songwriting and production and the songs are timeless. This is a must have compilation of some of the most important songs, not only on Motown, but the world."

Greatest Hits – THE RIGHTEOUS BROTHERS*****

You’ve Lost That Lovin’ Feeling/White Cliffs Of Dover/Georgia On My Mind/(I Love You) For Sentimental Reasons/You’ll Never Walk Alone/Just Once In My Life/Unchained Melody/See That Girl/Ebb Tide/Guess Who/ Hung On You/The Great Pretender

Greatest Hits includes the best tracks from The Righteous Brothers acclaimed Philles & Moonglow recordings. Highlights are of course You've Lost That Lovin' Feelin' and the definitive version of Unchained Melody. (US:21)

"The term 'blue-eyed soul' may not have originated specifically to describe The Righteous Brothers, but they were the epitome of the genre. If Bill Medley and Bobby Hatfield had never recorded anything other than the classic You've Lost That Lovin' Feelin', they still would have earned a special place in rock 'n' roll history. It is the perfect example of Phil Spector's Wall of Sound recording technique."

"No other voice of the classic rock era can break you down as does Bobby Hatfield's rendition of Unchained Melody."

"They weren't related at all, but Bill Medley and Bobby Hatfield made a great combination with their contrasting voices."

"This set opens with The Righteous Brothers performing one of the greatest hits ever, You've Lost That Lovin' Feelin'. They harmonize to perfection and even the backup vocalists sound great. The melody is helped along with the percussion and The Righteous Brothers easily ace this fine tune. This is classic music for sure. There's also Unchained Melody; they own this tune because of their fine diction and excellent timing. The strings are used to great advantage and I love every minute."

"Just Once In My Life has a very pretty melody and The Righteous Brothers bat this one straight out of the ballpark. The background musical arrangement complements their singing perfectly. The White Cliffs Of Dover comes from an era long gone by; but they make this sound new and fresh."

"Their songs are timeless, others have tried to sing them, but poorly. It takes talent. They are classic and forever. You've Lost That Lovin' Feelin' will leave you breathless. Bill Medley, with the deep baritone soulful voice, and Bobby singing tenor, showed proof that when it comes to soul, you've either got it, or you haven’t. Some of their less played songs are also fabulous."

Greatest Hits – THE FOUR TOPS*****

Reach Out I’ll Be There/Where Did You Go/I Can’t Help Myself/7 Rooms Of Gloom/Loving You Is Sweeter Than Ever/Standing In The Shadows Of Love/Something About You/Baby I Need Your Loving/You Keep Running Away/Shake Me Wake Me/Ask The Lonely/Bernadette/Darling I Hum Our Song/Without The One You Love/It’s The Same Old Song/I’ll Turn To Stone (UK release)

Another marvellous Motown hit package released for the Christmas market. Includes all the incredible Four Tops hits from 1964-1967. Definitely a hard to beat compilation. (US:4 UK:1)

"For its day it's truly essential listening, however, be warned this collection came out in 1967 so it naturally misses out a lot of their subsequent hits. Everything you find on here is excellent."

"Though this collection spans only about three years, it was the peak of The Tops output. Though later songs from the early to mid 70s are missing, to these ears they weren't as stunning as those collected here. I think Levi Stubbs was best on the melodramatic material presented on this collection."

"While this album covers only the first three years of The Four Tops' run as Motown stars, it serves a valuable purpose: It provides an aural 'snapshot' of the group at the peak of its hit making powers. The legendary song-writing/production team of Holland-Dozier-Holland created ten of the songs, including the powerful numbers that made The Four Tops' sound perhaps pop/soul music's closest link to grand opera. Propelled by Levi Stubbs' heart-wrenching lead vocals and the Greek chorus-like harmonies of Renaldo Benson, Abdul Fakir and Lawrence Payton."

"While The Tops never achieved the teenybopper popularity of The Temptations or Smokey Robinson & The Miracles, they proved on this first collection of greatest hits that they held the Motown monopoly on mature, heartfelt passion."

"Levi Stubbs has one of the most powerful voices in music history and it carries this superb compilation of their biggest Motown hits. All the well known songs are here and they sound just as good hearing them for the thousandth time as they were the first."

"The Tops never equalled these songs, nor had to. They continued with ornate but classy pop-folk covers then slid into several 70s psychedelic, disco styles before joining oldies reviews."

Frank Sinatra – FRANK SINATRA***

The World We Knew(Over & Over)/Somethin’ Stupid/This Is My Love/Born Free/Don’t Sleep In The Subway/This Town/This Is My Song/You Are There/Drinking Again/Some Enchanted Evening

This was a little remembered Sinatra album, the high point being the duet with his daughter, Somethin' Stupid, which topped the American and British singles charts. (US:24 UK:28)

"Other than Somethin' Stupid, none of the songs are associated with Sinatra and few of them were ever performed live, but in many ways the album reflects a typical Sinatra concert, mixing uptempo swingers like This Town and Don't Sleep In The Subway, romantic torchers like This Is My Love and This Is My Song, and the obligatory saloon song in Drinking Again. But while Sinatra concerts were seamless affairs, the album has a disjointed feel, arising no doubt from the fact that it was recorded over many sessions, with a number of different arrangers and conductors."

"It has too few really good, worthwhile, emotionally affecting performances - the reasons many people listen to Frank. There's something weird about hearing a bad album from a person who recorded his fair share of masterpieces."

"This was another collection of contemporary songs and famously contained the duet between Frank and his daughter Nancy, Somethin' Stupid' a #1 chart hit, a perfect pop song and perennial favourite among fans."

"Sinatra was, in his way, trying to connect with this zeitgeist by mixing some contemporary compositions into his conventional catalogue of material. The results are interesting, and certainly tuneful, even if not distinguished in the accustomed Sinatra way. Somethin' Stupid proved to be a #1 hit, which must have tickled Ol' Blue Eyes for no other reason than this duet provided additional momentum to daughter Nancy's singing career."

"In sum, the unevenness of song quality and a multiplicity of arrangers makes for a collection that sounds like the montage it is. Still, Sinatra produces enough winners here to make the purchase of this LP worthwhile."

"The tracks I return to are The World We Knew and You Are There for the melodies, Drinking Again for the arrangement, atmosphere and delivery, as well as This Town which is tough and punchy. As for the rest, it is really disappointing."

Crusade – JOHN MAYALL****

Oh Pretty Woman/Stand Back Baby/My Time After Awhile/Snowy Wood/Man Of Stone/Tears In My Eyes/Driving Sideways/The Death Of J B Lenoir/I Can’t Quit You Baby/Streamline/Me & My Woman/Checking Up On My Baby

There was a heavy turnover of personnel in John Mayall's Bluesbreakers at this time. Crusade features the guitar playing of a young Mick Taylor, who would later join The Rolling Stones. (US:136 UK:8)

"Eric Clapton in. Eric Clapton out. Peter Green in. Peter Green out. Mick Taylor in…. Being asked to play in The Bluesbreakers was like being on a non-stop merry-go-round. The studio must have been fitted with revolving doors. When you consider the band also saw Mick Fleetwood briefly pass through their ranks and that he, Green and John McVie – who plays bass throughout Crusade – would use the Bluesbreakers as a springboard to form the original Fleetwood Mac, there can be no hesitation about naming John Mayall as the premier figure for nurturing great blues rock talent in the sixties."

"While Crusade may not be in the same class in terms of quality as either Bluesbreakers or A Hard Road, it is superbly crafted, following pretty much the same formula as the previous albums, a mixture of blues standards and Mayall originals."

"Fine 1967 album from John Mayall. The lead guitarist here is Mick Taylor. There is more brass than A Hard Road and the tracks tend to be a little longer. The stand out song is the heartfelt Death Of J B Lenoir, but its all good."

"The whole band is awesome, John's playing and singing is as good as it gets. Mick Taylor on lead guitar plays solos throughout the LP that are as good as any I have heard live, including Eric Clapton. This album is the real stuff, with John and the band playing some great blues."

"One of the early Mayall classics - Mick Taylor at his finest. This is one of those great British blues albums that capture the late 60s passion and gusto. Good selection of originals and classic blues. And Mick Taylor fuels the fire."

"Typical of their output during this period, though I can think of stronger albums. A mix of blues and blues rock, with some heavy/traditional, and some fast."

Carryin’ On With – JOHNNY CASH & JUNE CARTER***

Long Legged Guitar Pickin’ Man/Shantytown/It Ain’t Me Babe/Fast Boat To Sydney/Pack Up Your Sorrows/I Got A Woman/Jackson/Oh What A Good Thing We Had/You’ll Be All Right/No No No/What’d I Say

Carryin’ On was a unique collaboration between country artists Johnny Cash and June Carter (of The Carter Family), who would become his wife the following year. (US:194)

“This is a nice set of generally upbeat songs from the duo of Johnny Cash and June Carter, who would get married the following year. In spite of a few songs that don't quite work (like the Ray Charles songs and the dumb Shantytown), this manages to be more than the sum of its parts. It maintains a great energy throughout, and there is some fine guitar and piano playing to boot.”

“This was and remains one of the more significant albums of Johnny's long and distinguished career, and also leaves us wondering how big a star June could have been had she taken a music career seriously.”

“Johnny Cash and June Carter are largely responsible for starting off the country star duet cycle. This first album is the best. These tracks are packed with the sparks these two soul mates displayed on stage. Cash certainly seems to be enjoying himself more in the duets than in any of his solo work, he's clearly having fun. June gives such a delicious comic sass to their toe-tapping numbers.”

“I've noticed that whenever Johnny sang with June, his voice took on a different quality. It's a sound of vitality, more upbeat, even when singing about sad things.”

“This was a good period for both of them, and there are a few standout tracks (Jackson and Long-Legged Guitar Pickin' Man), but the rest is unfortunately filled with low-grade Johnny.”

“The first cut, Long-Legged Guitar Pickin' Man is a fine start, but it's downhill from there, especially with such ill-advised covers as It Ain't Me Babe and What'd I Say.”

“He and June have fun with two R & B hits borrowed from the late Ray Charles, but what they prove is that the songs should have stayed with Ray. I still love the Man in Black, and the woman he was meant to marry, but not this particular project.”

The Beat Of The Earth – THE BEAT OF THE EARTH**

Beat Of The Earth Part 1/ Beat Of The Earth Part 2

The self titled only album from the Californian group The Beat Of The Earth consists of two lengthy jam sessions reminiscent of The Velvet Underground and The Doors at their most self indulgent.

“This record is basically two long jams that absolutely deliver that zoned out vibe as good as anything. Pulsating organs, reverbed guitars, flutes, bongos and miscellaneous percussion swirl in a California-bred raga. The shifting tempos and instrumentation keep things just this side of disorientation, and the noodling never degenerates into Iron Butterfly excess or hippy dippy silliness. For those whom this makes any sense, this disc is necessary.”

“It sounded like a somewhat denser version of The Doors on one of the long jams they would put on each album. Sounds really spooky and other worldly, a must for the psych fan.”

“The album includes only the one track Beat Of The Earth separated in two different parts. It's impossible not to hear The Doors' influence on this album. The sound and the whole atmosphere are so very similar to their psychedelic raga rock song The End. And the singer does everything he can to sound like Jim.”

“This song is enjoyable jamming but the fact that they're practically just trying to get famous by imitating the sound of The Doors makes me angry at times. I like this album but at the same time I hate it.”

“This is a real rural proto-noise acid raga rock masterpiece, with strong Velvet Underground and Doors influences. Certainly one of the best west coast records and one of the best non commercial jam records.”

“A two sided beast of free improvisation. If psychedelic music is an exploration into the unknown, and an exploration for eternity, this extraordinary journey and document shoots right for the core. Will probably take several listens before it all settles in.”

“Non stop percussion, acoustic and electric guitar (a fuzzy surf sound), sitars, ancient organ, droning vocals. One of the most drugged out albums I've ever heard.”

A Day In The Life – WES MONTGOMERY***

A Day In The Life/Watch What Happens/When A Man Loves A Woman/California Nights/Angel/Eleanor Rigby/ Willow Weep For Me/Windy/Trust In Me/The Joker

Jazz guitarist Wes Montgomery enjoyed his greatest commercial success with A Day In The Life, which comprises jazzed up interpretations of recent pop hits. (US:13)

"The album is mostly comprised of pleasant, poppy jazz covers of 1960s pop favourites. Montgomery usually plays the lead melody and is backed by a number of instruments from strings to a piano."

"If you are into classic Wes Montgomery then you might not like this album. It came out towards the end of his career and is different from anything you'll hear under the Riverside record label. A Day In The Life is him playing jazzed up versions of pop songs. It certainly isn't the hard bop you might expect out of Wes Montgomery, but it is still worth both buying and listening to."

"This album by Wes Montgomery has been the doorway for many a pop/rock fan to enter the world of jazz. All the jazz heavyweights of the era are here: Wes on guitar, Herbie Hancock on piano, Ron Carter on bass, Grady Tate on drums, Ray Barretto on percussion, and a full backing orchestra to boot. Even the most overplayed of pop/rock standards can become a kind of spiritual symphony in the hands of a jazz master, and that is certainly the case here with Wes Montgomery, as he breathes new life into some of the pop fare of the day."

"Being a huge jazz fan I can understand the frustration in hearing such a talented artist in such an 'simple' setting, but it was a pop album as played by jazz artists. This kind of crossover has always gone on and this is one of the best examples."

"The arrangements are excellent, and the recording quality superb. Wes plays soulfully and with great feeling. The rich, double-octave guitar style may have since become hackneyed, but at that time it was previously unheard of in such a context."

"A perfect album for the lounge lover, a shameful experience on the jazz connoisseur. Chose your camp."