We’re Only In It For The Money – THE MOTHERS OF INVENTION**

Are You Hung Up/Who Needs The Peace Corps/Concentration Moon/Mom & Dad/Bow Tie Daddy/Harry You’re A Beast/What’s The Ugliest Part Of Your Body/Absolutely Free/Flower Punk/Hot Poop/Nasal Retentive Caliope/ Let’s Make The Water Turn Black/The Idiot Bastard Son/Lonely Little Girl/Take Your Clothes Off When You Dance/What’s The Ugliest Part Of Your Body (Reprise)/Mother People/The Chrome Plated Megaphone Of Destiny

We're Only In It For The Money epitomises pretentiousness masquerading as experimentalism. Apparently Frank Zappa did not have a high opinion of the merits of Sgt Pepper, a viewpoint at odds with the vast majority of pop and rock fans. The original rip off cover was quickly pulled. (US:30 UK:32)

"When Frank Zappa heard Sgt. Pepper he was not amused. Or perhaps he was amused. Most likely he was bemused. In any case, he felt it necessary to respond, with a sprawling and savage indictment of The Beatles, flower power and the whole hippie scene in 'The Summer of Love'. I must warn you, the album is a bit...bizarre." "There are a lot of funny lyrics and statements throughout the album, and I like the idea of ripping on flower power/hippies, but the lack of good music throughout makes this album mediocre."

"These lyrics aren't even particularly funny, and most of the time come off as obnoxiously pedantic and unintentionally childish."

"Experimental. Maybe a little too experimental, but it was the 60s and Zappa felt hacked off with all of the Sgt. Pepper praise."

"Probably more widely known for it's parody of the Sgt. Pepper album cover than the music itself, We're Only In It For The Money is not the strongest album from the early Mothers. While the satirical nature is excellent, it leaves you wanting more from the actual music. Many of the tracks are too short and unfinished sounding."

"Maybe I just don't get it, but I'd take The Beatles over a Beatles parody any day of the week. Definitely weird though and I'll give it credit for creativity."

John Wesley Harding – BOB DYLAN*****

John Wesley Harding/As I Went Out One Morning/I Dreamed I Saw St Augustine/All Along The Watchtower/The Ballad Of Frankie Lee & Judas Priest/Drifter’s Escape/Dear Landlord/I Am A Lonesome Hobo/I Pity The Poor Immigrant/The Wicked Messenger/Down Along The Cove/I’ll Be Your Baby Tonight

After an enforced break following a motorcycle accident, Bob Dylan returned as strong as ever with John Wesley Harding, a stripped down collection of country-folk songs. (US:1 UK:2)

"Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, it strips away all of the wilder tendencies of Dylan's rock albums - but it isn't a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as I'll Be Your Baby Tonight are straight country songs. Instead, John Wesley Harding is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like All Along The Watchtower, I Dreamed I Saw St. Augustine and The Wicked Messenger revealing several layers of meaning with repeated plays."

"Recorded with a set of Nashville musicians, this is one of his best albums. Superb music and the lyrics draw you right in. These are songs with a story and a purpose." "Really atmospheric. Unlike bloated prog-rock outfits, Dylan only needs an acoustic guitar, bass, drums, and his vocal cords to transport the listener to another place. My favourite songs are the title track and All Along The Watchtower, but all are great."

"An album of subtle beauty and humble brilliance, best listened to late at night in a drowsy haze. The dreamscapes Dylan sketches on songs like As I Went Out One Morning, I Dreamed I Saw St. Augustine and All Along The Watchtower all serve to create a wondrous atmosphere."

"And abruptly, just when electric sounds were taking off well into the sky, Dylan turned off his power tools and went as far away from psychedelia as he could."

"If you care about Dylan at all, you know this as yet another change from the guy whose turns of musical direction inspired every single rock and roller of the era. It's simple and stripped down."

Gris-Gris – DR. JOHN**

Gris-Gris Gumbo Ya Ya/Danse Kalinda Ba Doom/Mama Roux/Danse Fambeaux/Croker Courtbullion/Jump Sturdy I Walk On Gilded Splinters

Gris-Gris was the debut album from the New Orleans jazz and R & B singer Dr John, known as The Night Tripper. He was famed for his exotic stage shows in which he dabbled in voodoo ceremonies, wearing outrageous costumes and headgear.

“A weird psychedelic album, which unfortunately has little content beyond the first layer of novelty. That or I simply don’t enjoy weird music all that much. He has a smooth voice, and the backing vocals and percussion on this one are pretty great.”

“All hushed intonations and bubbling swamp-funk, listening feels like eavesdropping on some bayou ritual. Musically it may be a little limited, but there's no doubting the incredible atmosphere.”

“This is such a unique sound that you simply can't help but rate it highly. There simply was nothing else like it at the time, or for that matter since. This is everything that makes New Orleans intriguing, the voodoo, the jazz, the R & B, the gumbo, the ya ya, and the Gris Gris, all boiled together as only the Doctor could do it.”

“Everything is swathed in a vibe of unshakable cool. Vocals and sounds wave through as in a swampy mist and the whole effect is extremely organic, extremely immersive, and unlike anything I've ever before heard.”

“Deep into the Mississippi, ya can smell the voodoo in the air and your ears are pricked for the sound of the alligators. The music oozes cool, swollen rhythms that set the scene for a real ‘trip’ of an album.”

“Gris-Gris Gumbo Ya Ya begins things off with a lazy crawl. You can almost feel the heat coming from your speakers, as it has a dark summery pulse that brings you right down to the swamp. No question that Gris-Gris is worth the price of admission for the title track and Splinters alone, but the rest of it is a bumpy ride with too much chant singing and gloomy atmosphere.”

“A strange little album, some kind of a tribal, spooky weirdness vibe to it, like it was recorded around the fire deep inside the jungle of Dr. John's mind.”

Feelings – THE GRASS ROOTS****

Feelings/Here’s Where You Belong/The Sins Of The Family Fall On The Daughter/Melody For You/Who Will You Be Tomorrow/You Might As Well Go My Way/All Good Things Come To An End/Hot Bright Lights/Hey Friend/You & Love Are The Same/Dinner For Eight/Feelings

Feelings was the follow up album from the San Francisco pop group The Grass Roots. They would release a couple more albums before the end of the decade but to less acclaim.

“The Feelings LP may be devoid of top ten hits, but some of the misses are pretty good. I must say that I always considered The Grass Roots a lightweight, manufactured pop group that produced a handful of classics. This collection certainly changed my mind.”

“This is a beautiful LP representing most of their best work. More depth than their fame suggests for sure, and lots of fun. The melodies and the harmonies are sublime for the most part. They were all young and hungry then, and given the time, 1967-68, it was a zenith for creativity and taking chances.”

“The Grass Roots were not always a slick middle of the road hit machine. Listen to Feelings, and you hear pretty stripped down primitive folk rock. These were the days of hit factories: take a decent band, add some juice and shine up the sound. You had entire staffs on a label making big coin for this. Listening to Feelings, and it is obvious this is what happened to The Grass Roots.”

“Without a doubt, their most appealing release to underground fans, and the one that hooked my attention to them in the first place. It still contains plenty of the mainstream vocal pop they were noted for, but this time more or less equally mixed with some semi-commercial rock, with country and folk flavours, and some pretty good psych influences.”

“Having penned six originals, which are arguably the best six, The Grass Roots came the closest to taking control of their sound than at any other time in their career. It is possible they were ahead of their time by making a cohesive album without an obvious hit single. The opening title track Feelings is a great song that deserved better, but its lack of success was the death knell for them as an autonomous progressive band. We all know what followed.”

A Gift From A Flower To A Garden – DONOVAN*****

Wear Your Love Like Heaven/Mad John’s Escape/Skip-Along-Sam/Sun/There Was A Time/Oh Gosh/Little Boy In Corduroy/Under The Greenwood Tree/The Land Of Doesn’t Have To Be/Someone’s Singing/Song Of The Naturalist’s Wife/The Enchanted Gypsy/Voyage Into The Golden Screen/Isle Of Islay/The Mandolin Man & His Secret/Lay Of The Last Tinker/The Tinker & The Crab/Widow With Shawl(A Portrait)/The Lullaby Of Spring/The Magpie/Starfish On The Toast/Epistle To Derroll

The imaginatively titled A Gift From A Flower To A Garden was a masterpiece from Donovan comprising an expensively produced boxed double album. Disc one features melodic pop tunes and disc two folk songs, ostensibly for 'little ones'. (US:19 UK:13)

"This was one of those albums that truly took you to another place and time, to me the true meaning of psychedelic."

"A double album, the first disc of full-band adult music and the second of solo acoustic children's music. Ironic, then, that album #2 sounds a good deal more adult than album #1."

"This double album is an example of a creative artist at the top of his game, and using his chosen art form to make a brilliant contribution to the collective output of humans. This is an album for everyone, tuneful, gentle, sing-along, thoughtful - everything good about the human condition. The first album is light jazz/pop, the second part are acoustic pieces originally written for children."

"The beauty of this album is that it creates a magical world of its own, a gentle world filled with love, flowers, trees, babies, tinkers, crabs, starfishes, magpies and other assorted creatures. Some might find all this quaint, naive hippy-dippy nonsense, but then on the other hand there are those who feed on starry-eyed idealism daily and who will find it touching, uplifting and absolutely breathtaking."

"Musically this is an album that is timeless. Melodic inventiveness at its peak, simplicity of chord progressions hiding small harmonic complexities, done with restraint and elegance, and great attention to the sound. Never has an acoustic guitar sounded quite like this, seldom has Donovan sung with such sincerity."

"I imagine him writing this entire album while lying on his back in a bed of flowers on a care-free, blue-skied, fine summer's day. A Gift From A Flower To A Garden is simply delicious."

Gandalf – GANDALF***

Golden Earrings/Hang On To A Dream/Never Too Far/Scarlet Ribbons/You Upset The Grace Of Living/Can You Travel In The Dark Alone/Nature Boy/Tiffany Rings/Me About You/I Watch The Moon

Self titled sole album from the New York psychedelic group Gandalf. Most of the songs are covers but two are band originals. Poor promotion by Capitol records may have contributed to their early demise.

“This is a wonderful album, not overproduced, but with a dreamy, laid back vibe and a velvet landscape with a feminine essence that's hard to describe. The vocals are one of the highlights, very soft and articulate, drenched in reverb and sometimes echo out.”

“I was curious about this one for quite some time, but was put off by the name, which immediately conjures up images of stupid twee songs about elves and other hippy silliness. But what a pleasant surprise was in store, this is fantastic melodic psych that will really grow on you.”

“This is a very well done album. It is nicely composed, arranged and performed, with some fine singing. It is pretty mellow with lots of organ, though Never Too Far is a nice blast of fuzzy-guitar psych. The trippy studio effects are used tastefully and contribute to a pleasantly hazy, dreamlike vibe. I think it's one of the best obscure albums of the era. Highly recommended for psych, baroque pop and 60s fans.”

“This isn't a bad early psych release at all. There are too many cover tunes for my taste, but I like the Tim Hardin stuff, and Gandalf do a good job with them.”

“Most of the music is so far outer space psych that you can't make out what the singer is saying. If that weren't bad enough, the singer himself has a voice very high pitched and generally non-melodic. The music is what I'd call sub-par psych-rock, it never adds much to the songs.”

"Some pretty spaced out psychedelia. Its all pretty good, but a bit too laid back with the band never really cutting loose until the closing track I Watch The Moon. Fortunately everything here is pretty decent, I just wish they'd stop being so mellow.”

“It's riddled with boring, aimless passages of oblivious delirium, but it does have it's shining moments, even if those moments are cover songs and not band originals.”

Did She Mention My Name – GORDON LIGHTFOOT****

Wherefore & Why/Last Time I Saw Her/Black Day In July/May I/Magnificent Outpouring/Does Your Mother Know/Mountains & Maryann/Pussywillows Cattails/I Want To Hear It From You/Something Very Special/ Boss Man/Did She Mention My Name

Did She Mention My Name was the third album from Canadian folk singer Gordon Lightfoot. It features his first use of orchestration. He would achieve his commercial breakthrough at the start of the new decade.

“Of Lightfoot's four United Artists studio albums, Did She Mention My Name is the most heavily orchestrated and ambitious. Many of the arrangements use horns and strings, and a bizarre effect or two is also employed here and there. These stylistic choices could have made for a disastrous result, but since the songs are very strong,the artsy production seems to enhance, not detract from, the listening experience.”

“Some of the songs, such as the excellent leadoff track Wherefore & Why, feature only small orchestral touches. The title track, which is an absolute favourite of mine, with its tasteful vocal harmonies and clever lyrics, is a very straight-ahead folk song. Probably my favourite of all of Lightfoot's United Artists songs, The Mountains & Maryann is a lyrically evocative song with some nice guitar work, accented with strings to great effect.”

“There are so many great songs on this album. The production can be a little jarring at first, but I think it adds to the charm of many of the songs.”

“Did She Mention My Name was the first Lightfoot album I purchased and I have been in love with his music ever since. His lyrics are poetry at its very best. Every song tells a story, every note touches an emotion and every line offers a glimpse deeper into the soul of a true artist.”

“This is probably Gordon Lightfoot's most experimental album, and as experimental albums tend to be, it's somewhat uneven. Most of the experimenting here, however,involves strings. Sometimes this works, as on Pussywillows Cattails. The strings and winds give an air of austerity to an otherwise so-so song."

“For his third album, he occasionally used low-key orchestration. Though a bit more erratic than his earlier efforts, his songwriting remained remarkably consistent. His characteristically bright, uplifting outlook became more diverse as well.”

Heavy – IRON BUTTERFLY***

Possession/Unconscious Power/Get Out Of My Life Woman/Gentle As It May Seem/You Can’t Win/So-Lo/Look For The Sun/Fields Of Sun/Stamped Ideas/Iron Butterfly Theme

Heavy was the debut album from the Californian heavy rock group Iron Butterfly. Their follow up later in the year would be an astonishing commercial success. (US:78)

“Not particularly 'heavy', actually: this is certainly lighter and less tripped-out than it would soon come to be.”

“Here are many awesome psychedelic rockers like for example Unconscious Power,Fields Of Sun and the greatest song of the album, the closer Iron Butterfly Theme. Mostly these songs are effective but there are also some not so amazing tracks too.”

“This particular album features some of the most infectious melodies of the trio, with hardly a clunker among the cuts. Add to the mix liberal doses of fuzz guitar, Voxxorgan, cool vocal harmonies, and you've got a recipe for a well deserved favourite of mine.”

“For me this is the most enjoyable Iron Butterfly album. It has got a good mixture of songs and has a psychedelic feel to it. Iron Butterfly Theme is one of the best instrumental pieces of the time, a very haunting tune and one of the best they wrote.”

“I love this album. Granted, it's not perfect. The sound quality is a bit muddy at times,and a few of the performances resemble rough drafts which were never expanded upon or finished. But there are some killer tracks, with the trademark Butterfly sound already in place.”

“Iron Butterfly is truly a perfect name for this band; the way they blend light and heavy sound is amazing. They were the true pioneers of heavy metal, yet their music is melodic due to the keyboards. This is their debut, and it is probably their best album as well.”

“Butterfly both directly and indirectly influenced more bands than arguably anyone else. However, this album shows they were not a one-trick-pony, and also dabbled in psychedelia, pop and other styles too.”

Vincebus Eruptum – BLUE CHEER***

Summertime Blues/Rock Me Baby/Doctor Please/Out Of Focus/Parchment Farm/Second Time Around

San Francisco hard rock trio Blue Cheer are considered to be one of the earliest exponents of the heavy metal genre. Their debut LP Vincebus Eruptum includes their cover of Summertime Blues, a US No. 14 hit single. (US:11)

"Vincebus Eruptum, Blue Cheer’s landmark 1968 debut, is widely regarded as the ground zero of the heavy metal explosion. The album, includes the trio’s mindmelting reading of Eddie Cochran’s Summertime Blues, overdriven originals such as Doctor Please and Second Time Around plus distinctive re-workings of the blues standards Rock Me Baby and Parchment Farm.”

"Without a doubt, Blue Cheer's debut is one of those albums which strongly influenced the birth of heavy metal at the beginning of the 70s. The sound is pretty heavy for its time, offering us wicked psychedelic fuzz-guitar driven hard/blues rock, a few cover songs and a few awesome original numbers. There's no doubt that Vincebus Eruptum is one of the classics of its time."

"Chaotic, aggressive, sludgy, heavy, noisy and years ahead of it's time. The music is very blues based, but the grooves are aggressive and the guitars are transformed by fuzztone and overdrive into monster dinosaur riff makers. Pretty amazing considering this band predated Black Sabbath by two years. Though not nearly as dark as Sabbath, this album is arguably heavier and noisier."

"Blue Cheer were groundbreakers for the time. To me they are the first ever heavy metal band. When you put them up against the likes of Hendrix and Cream, there was no comparison. Their loud and nasty sound corrupted my musical tastes forever."

"Blue Cheer were crude, rude and always on the verge of collapsing or blowing up under their own volume. I don't remember ever thinking of them in comparison with Hendrix or Cream who were great players who created their own unique brand. Blue Cheer were working another angle: the most volume and distortion possible. They were not exploring new scales, guitar tones or intricate arrangements."

I Stand Alone – AL KOOPER***

Overture/I Stand Alone/Camille/One/Coloured Rain/Soft Landing On The Moon/I Can Love A Woman/Blue Moon Of Kentucky/Toe Hold/Right Now For You/Hey Western Union Man/Song & Dance For The Unborn Frightened Child

I Stand Alone was the appropriately titled first solo album release from influential and versatile musician Al Kooper. Unfortunately, it is considered a somewhat inconsistent effort. (US:54)

“Kooper is a gifted artist, and this first of his solo releases is an eclectic mix of soft,pop blues, and some pop covers, featuring horns and orchestration. But it is also mixed with lots of sound effects, creating a surreal psych atmosphere, which makes overlooking the commercial aspects of the production quite possible.”

“The orchestra is not refined, spoiled with stupid and ridiculous sound effects and the whole of it is mostly overblown and confused. At several moments he uses yelling feminine backing vocals which sounds really ugly. All this stuff sounds pretentious,and forgettable. An average bunch of recycled melodies in different styles.”

“I Stand Alone is an embarrassingly narcissistic retread of the far superior Child Is Father To The Man, chock full of painfully thin, embarrassingly white bread vocals, and production gimmickry for the sake of production gimmickry alone. Even when he hits the mark, as on Blue Moon Of Kentucky, Kooper sabotages himself, adding tons of needless reverb, as if playing with all the knobs in the control room was more important, and more interesting, than the performance.”

“This is not an album with technical finesse, but more of an experiment with sound.But most important, is the quality of songwriting from this true pioneer of rock and roll. One song after another shows his true genius."

“I am amazed at the breadth of musical styles that Kooper handles on this album, and the quality of the arrangements, especially the horns and backup vocals. All this, and good melodies too.”

“How to describe it? Beautiful melody, classical influences and lots of brass, which at the time was a bit non rock & roll. But still an album that you always found yourself humming. Kooper recognized beautiful melody and knew how to rock.”

Wild Honey – THE BEACH BOYS****

Wild Honey/Aren’t You Glad/I Was Made To Love Her/Country Air/A Thing Or Two/Darlin’/I’d Love Just Once To See You/Here Comes The Night/Let The Wind Blow/How She Boogalooed It/Mama Says

After the experimentation of the two previous albums The Beach Boys return to what they do best - simple melodic pop songs. Wild Honey includes the US top twenty hit single Darlin'. (US:19 UK:11)

"While it may lack the sophistication of Pet Sounds and the weirdness of the psychedelic, Smiley Smile, Wild Honey makes up for it by being filled with amazing, 100% pop songs. This is an incredibly solid release of psych-pop music."

"Wild Honey had a looser, funkier feel than any previous Beach Boys efforts, at times approaching a kind of bleached-out white soul. The resulting music is often quite pleasant, for the great harmonies if nothing else, but the material and arrangements are thinner than they had been for a long time."

"All these songs are infinitely playable, but one stands out above all - Darlin', my all time favourite Beach Boys song. The wonderful chorus, Carl's fantastic lead vocal, and the overall sound of the song which immediately brings a smile to my face...simply perfect."

"Short, sweet and playful, this modest collection of effortless pop might not deliver on the promise of Pet Sounds but its take on white soul has a sunny, domestic charm to it that’s irresistible. The unadorned production is a great antidote to hermetic studio indulgence and the psychedelic trappings of the day, which makes this, in its own way, a rather bold release for its time."

"It has always been one of my favourite Beach Boys records. Darlin' is essential, as is the magnificent title track. Aren't You Glad sparkles and I'd Love Just Once To See You is about as sweet a rock and roll song as you will ever hear. It's not a masterpiece in the way that Pet Sounds is, but it is an excellent record and a great collection of tunes."

"One could deem this a step backwards from the grandiose production techniques of Pet Sounds and even Smiley Smile. But further listening reveals this as a great offering of contemporary R & B and blue-eyed soul."

The Who Sell Out – THE WHO*****

Armenia City In The Skies/Heinz Baked Beans/Mary Anne With The Shaky Hands/Odorono/Tattoo/Our Love Was/I Can See For Miles/I Can’t Reach You/Medac/Relax/Silas Stingy/Sunrise/Rael 1

The Who finally release an album of an equal calibre to their singles. The Who Sell Out comprises a diverse selection of songs interspersed with commercial jingles. It contains the top ten hit single I Can See For Miles. (US:48 UK:13)

"This is quite simply inspiring and should belong in the collection of every music lover with any interest in '60s music or British pop. The sophistication, the craft, the range of genres from song to song, the songwriting and the playing have no equal anywhere."

"The songs are astonishing. First of all, they are extremely diverse. Nearly every song sets a different mood, not a thing that just any rock band could do on a single album. Commonplace with great albums, you can't emphasise individual songs, the album works as a whole. The jingles are a crucial part of the experience, and the mixture of real and fictitious jingles was a great idea."

"The Who Sell Out is one of the most underrated and overlooked albums of the rock era. Essentially it's twelve songs juxtaposed next to ad jingles to give the impression that one is listening to a broadcast of a 60s London radio station. The songs themselves are very good but sadly many are unknown to rock fans in general. Only the hit single I Can See For Miles is well known, but there are many other gems."

"The actual songs on The Who Sell Out are markedly more psychedelic than those on any other Who album; or perhaps faux-psychedelic is more accurate, because these songs don't actually sound like the work of a real band, but the music in a comedy sketch that parodies the hippy trippy-ness of the '60s. What makes this recording especially refreshing is that while it seemed as if the entire pop culture was taking itself much too seriously during the Summer of Love, The Who were willing to inject a bit of whimsy into the proceedings. In the process they produced some of their most enduring songs."

"My favourite album by The Who. I love how they play different genres as if it were songs by other artists during the 60s. Very creative and it works amazingly. There's a terrific set of songs that ultimately stand as one of the group's greatest achievements. With every listen, the album reveals another beautiful layer."

The Thoughts Of Emerlist Davjack – THE NICE***

Flower King Of Flies/Thoughts Of Emerlist Davjack/Bonnie K/Rondo/War & Peace/Tantalising Maggie/Dawn/The Cry Of Eugene

The Thoughts Of Emerlist Davjack was the debut album from the British progressive group The Nice. The peculiar sounding character in the title is formed out of each band member’s name. Keyboard wizard Keith Emerson would achieve greater fame in the 1970s with Emerson Lake & Palmer.

“The Nice's debut, the absurdly titled Thoughts Of Emerlist Davjack, is often considered one of the first progressive (as differentiated from psychedelic) albums. While this album didn't quite create progressive rock, it is an important touchstone for prog's formative years.”

“The title is one of the dumbest I've ever heard. As for the music it is mostly ordinary psychedelic pop tunes that aren't too bad. Three longer tracks are of note, but only Rondo is awesome. Dawn is experimental, but the whispered vocals are laughable. War & Peace is an organ-fused blues tune, nothing more. Only for compulsive completists of prog rock and psych-pop freaks.”

“A pioneer album for progressive rock, with the psychedelic influence that every band was condemned to have in the late 60s, and a virtuoso keyboard player who would later become the centrepiece of a better band.”

"Although clearly an early progressive rock album, The Thoughts Of Emerlist Davjack is very firmly rooted in 60s psychedelia and acid rock. It's easy to hear a bit of ELP in this, but what's more intriguing is just how different it is from ELP. Although very innovative at the time the album is let down firstly by weak vocals and secondly by some inconsistent material. However, there are some good musical passages and most of the musicianship is excellent, particularly that of Keith Emerson.”

“The Nice were one of the first bands experimenting with progressive rock by mixing it with classical and jazz. These guys are excellent instrument players, but the music, in spite of innovative and fine moments, is not that exciting. The vocals are totally pointless and sometimes terrible.”

“It's not the commercial prog-rock of ELP era, but instead a great psychedelic album driven by stunning keyboards, late 60s soul and swinging psychedelia.”

Their Satanic Majesties’ Request – THE ROLLING STONES****

Sing This All Together/Citadel/In Another Land/2000 Man/Sing This All Together(See What Happens)/She’s A Rainbow/The Lantern/Gomper/2000 Light Years From Home/On With The Show

Their Satanic Majesties Request was a brief and uncharacteristic diversion for The Rolling Stones as they attempted to go psychedelic. Best remembered for the 3D cover. (US:2 UK:3)

"The actual music follows the psychedelic trend that was happening at the time but with a Stones twist to it, being as Jagger's voice keeps you from floating off into space, while the other members play with a clear goal to tackle a theme that they were probably not accustomed to at all. As a more experimental album from the early period of the band, it's pretty underrated in the Stones canon."

"This album really grows on you the more you listen to it. Some of the tracks are downright hypnotizing. Sure there are some misfires, and a couple of the tracks are downright unlistenable because The Stones were just trying too hard to be trippy and psychedelic on them. But there are some gems too. 2000 Light Years From Home is an utter masterpiece. It had a huge influence of the development of space rock and conveys a bitter sense of loneliness and isolation better than almost any other song."

"The much maligned Their Satanic Majesties Request is The Rolling Stones obvious response to The Beatles Sgt. Pepper album. The band dived headfirst into the psychedelic sounds of 1967's Summer of Love and the album sounds like no other in their catalogue. Despite the criticism and attempt to keep pace with The Beatles (including the original 3-D cover), the album contains some excellent songs."

"Their Satanic Majesties Request is a piece of psychedelic bliss and is more than welcome change to The Rolling Stones original blues rock sound which they switched back to after this release, which makes it just as wonderful."

"1967 was the year when psychedelia was at its zenith and several bands released albums showing its influence. It bears a dense, textured dark vibe throughout, full of exotic sounds and great songs. 2000 Man, She's A Rainbow and 2000 Light Years From Home are all top shelf."

Supernatural Fairy Tales – ART***

I Think I’m Going Weird/What’s That Sound/African Thing/Room With A View/Flying Anchors/Supernatural Fairy Tale/Love Is Real/Come On Up/Brothers Dads & Mothers/Talkin’ To Myself/Alive Not Dead/Rome Take Away Three

Supernatural Fairy Tales was the only album release from the Carlisle based psychedelic group Art. They had previously been known as The VIPs and would later change their name again to the much better known Spooky Tooth.

“This is Spooky Tooth without Gary Wright and comes from 1967 - its not all that reminiscent of the later group. Supernatural Fairy Tales is a fine song, and some of the other cuts are pretty good too. This has some psychedelia, hard rock, soul and pop on it.”

“This is a top notch psych album. Not many albums can send my mind adrift to another dimension but this album is definitely one. The song Love Is Real is one of the most beautiful songs I have ever heard with very touching lyrics. Everyone needs to listen to this album if they love psychedelic music.”

“Art was Spooky Tooth back in 1967 before Gary Wright joined them. I have grown to really love this album. When I first heard it, I didn't see what the big deal was. After a few listens, however, I grew to really appreciate it. I think I like this better than most of the Spooky Tooth albums. It's quite heavy in places, with some very cool guitar riffs and keyboard lines, psychedelic, occasionally kind of mellow and a bit soulful.”

“The riffs and lyrics to some of the songs would make you think this was Black Sabbath in 1967 trying to be psychedelic. It is a decent effort of dark psych with some bluesy overtones.”

“Supernatural Fairy Tales was a strange hodgepodge of psychedelic covers and numerous self penned originals. The problem was that despite being more than competent musicians, they had to rely on the vocals of Mike Harrison, whose soulful voice was strong but not terribly flexible. Thus, the songs on the album had a sameness about them that seemed to doom the band to permanent obscurity.”

“A tasty cake of psychedelic rock with some really good highlights but also some average moments. I consider this as a classic album of the psychedelic era but it doesn’t rock me as much as I wish it would."

Songs Of – LEONARD COHEN***

Suzanne/Master Song/Winter Lady/The Stranger Song/Sisters Of Mercy/So Long Marianne/Hey That’s No Way To Say Goodbye/Stories Of The Street/Teachers/One Of Us Cannot Be Wrong

Songs Of Leonard Cohen was the debut album from the archetypal bedsit singer-songwriter, the Canadian Leonard Cohen. More a poet than a songwriter, there is no getting away from the fact that most of his songs sound very much the same. (US:83 UK:13)

"Cohen's first and most classic album is naturally marked by his calm voice tone chanting his trademark and captivating storytelling poems. The instrumentation generally consists of droning acoustic guitar backed by quiet and superb chamber instruments, as well as equally discreet electric guitar and horns. What a soothing listen, a handsome folk album in which everything matches perfectly."

"It's not good that every song sounds pretty much exactly the same. I'd heard Suzanne a little while before and found it's gentle lilting tone quite soothing. I was disappointed that every single song sounded identical to this. No, not disappointed, intensely irritated."

"He's known as the 'poet of existential despair', a man of soaring visages and terrible nightmares, all put to beautiful and classic melodies." "Leonard Cohen is one of the artists that defined what it meant to be a singer-songwriter and his entrancing acoustic riffs, poetic storytelling lyrics and masterful use of non-folk instruments expanded the boundaries of what folk music could be and mean."

"This album is for people with a true love for folk music and people who won't be put off by a general lack of melody. These songs are all beautifully written, but they need to be listened to closely to be really appreciated. It's a fair assessment that all these sound more or less the same, but that just means all ten songs are good."

"This album is soaked in emotion. Cohen's deep, soothing and yet slightly sinister voice makes him the greatest adult storyteller, and his finger picking guitar style adds to the creepy atmosphere that acts as the scenery to Cohen words. Such is the language used; you can visualize a different story on every listen."

Sessions – FRED NEIL***

Felicity/Send Me Somebody To Love/Merry Go Round/Love Over Yonder/Fools Are A Long Time Coming/Looks Like Rain/Roll On Rosie

The Sessions LP from folk singer songwriter Fred Neil comprises loose, informal tracks which have the feel of performances that were rehearsals or jams, rather than a finished product.

“Some songs are quite long and rambling. They are wonderful examples of Neil's exceptional ability on twelve-string guitar and his voice, which has a resonance equal to that of his guitar. If you like a mellow voice, low-key blues, and great songwriting, you'll enjoy Fred Neil.”

“You will be hypnotized by the melodic tones. The lyrics work, but they are really not as important as the feeling you will derive by just listening to the twelve-string work, for which Fred is the master.”

“Listening to this, I wonder if Fred Neil knew these 'sessions' were going to be released. If he didn't, that makes the album that much more impressive. If he did, I wonder why so much studio dialogue was left in the final cut. As for the music, well the first three songs are gold. Then the acoustic jamming starts. Some of the rhythms (and counter-rhythms) are pretty incredible; the musicianship lively, as well as the singing. But perhaps it is the substance of the songs that diminishes as the album awkwardly shuffles towards its conclusion. Nevertheless Sessions is still a rather good album.”

“I've always loved this record a lot: the term 'laidback' gets another definition on this record. Playing and singing more laid back than this is utterly impossible.”

“Fred is in a bluesy, loose, crooning, jammy mood. I have to agree, these are his strengths. Superb musicianship, and as always Fred's vocals, are as painful as ever, if not more so. An overlooked gem in the folk world.”

“Much, much better than its reputation. I must say that I like this loose approach. The guitar playing is totally manic on some tracks.”

"Felicity is a concise, beautiful introduction to the album. Please Send Me Someone To Love is a definitive Fred Neil song. His baritone is one of the finest voices ever.”

The Resurrection Of Pigboy Crabshaw – THE BUTTERFIELD BLUES BAND****

One More Heartache/Driftin’ & Driftin’/I Pity The Fool/Born Under A Bad Sign/Run Out Of Time/Double Trouble/ Drivin’ Wheel/Droppin’ Out/Tollin’ Bells

Following personnel changes, on The Resurrection Of Pigboy Crabshaw The Butterfield Blues Band moved towards a more commercial R & B sound, featuring Elvin Bishop on lead guitar. (US:52)

This is not the Chicago blues found on The Paul Butterfield Blues Band, nor is it as convincing as either of the band's previous two albums, but it is great blues music. Elvin Bishop does a nice job with lead guitar; accenting when on rhythm and delivering when called to solo.”

“A big change in personnel finds the band heading in a much more commercial direction with pop style blues on this outing. Fortunately, the addition of brass is not a major detraction, but overall, the material is significantly off the pace of earlier releases.”

“The all around musicianship on this album is top notch. The addition of the horn section makes this a very dynamic and spirited recording. Elvin Bishop is featured throughout. Every track has great moments; in particular One More Heartache and Driftin' & Driftin'. A must buy for all Butterfield admirers."

“After the triumph of East West, Mike Bloomfield quit The Butterfield Blues band Instead of hiring a clone, Butterfield smartly made a slight shift, moving from straight blues to a more R & B mutation of the music. He added horns and gave his unit a fatter, almost jazzy sound. The alteration is evident on the tour de force first track, One More Heartache which became a early FM radio favourite. Butterfield's master gambit here was to keep the songs structurally simple - there is still a lot of blues here - but run fantastic musicianship and arranging through them."

“After the departure of Mike Bloomfield, Elvin Bishop kicks this band up several notches. His stinging solos and dynamic rhythmic interplay with other band members make this a hands down success. Paul Butterfield creates a type of blues music that is seasoned with just enough R & B to really make the music swing. On this album, every musician seemed to be in near psychic contact with each other. The blend was a perfectionist's dream.”

The Great Conspiracy – THE PEANUT BUTTER CONSPIRACY***

Turn On A Friend (To A Good Life)/Lonely Leaf/Pleasure/Too Many Do/Living Loving Life/Invasion Of The Poppy People/Captain Sandwich/Living Dream/Ecstasy/Time Is After You/Wonderment

The Great Conspiracy was the quick follow up album from the psychedelic rock group The Peanut Butter Conspiracy. Despite consistently good reviews they never achieved much of a commercial breakthrough.

“Having a name like The Peanut Butter Conspiracy probably didn’t help on this otherwise very strong record from this Los Angeles band. Very similar to Jefferson Airplane - this is excellent, well written with great vocals. The songs are steeped deep in the San Francisco sound - part psych-part acid rock pastoral folk. For psych summer of love 'hippie' or sixties fans its a must own. The recording is on a par with the best records on the time and almost every song is a keeper.”

“This is a credit to the musical genius of this unheralded 60s group. This LP features original material and contains the rich, beautiful vocals of the group’s female lead singer Sandi Robison. She possessed such a beautiful voice, innocent yet powerful. Listen to Lonely Leaf to appreciate her vocal talent. Although most of their music consists of three part harmony, Sandi's voice is truly a treasure. This is a wonderfully composed and arranged masterpiece that should not be overlooked.”

“The Great Conspiracy continues pretty much the same style as their debut, in my opinion this is a better record as a totality. Psychedelic rock with a clear touch of pop and folk rock is what this album is all about. It's a great pack of songs.”

“Propelled by the same basic sound as on their first album, this one has much more pronounced psych influences, and less commercially oriented material, but the same great period flavour.”

“The Great Conspiracy was much more a reflection of their live sound than their debut effort. By the time of this release The Conspiracy were sonically asserting themselves with a decidedly hipper approach. This is especially evident on the stretched out and psychedelic Too Many Do and the deliciously floating, trippy Ecstasy. Brilliantly inspired are Lonely Leaf and the somewhat paranoid and very dark Time Is After You. Not all of this music is wonderful, nevertheless those tracks that are great will stand the test of time.”

Pandemonium Shadow Show – NILSSON****

Ten Little Indians/1941/Cuddly Toy/She Sang Hymns Out Of Tune/You Can’t Do That/Sleep Late My Lady Friend/She’s Leaving Home/There Will Never Be/Without Her/Freckles/Its Been So Long/River Deep Mountain High

Harry Nilsson first achieved fame as a songwriter, his song Cuddly Toy was recorded by The Monkees. This and five other Nilsson originals are included on his debut LP Pandemonium Shadow Show, which also includes his unique take on some Beatles' tunes.

"I'd forgotten what a good Nilsson album this was. He does an incredible Beatles medley where he starts with You Can't Do That and without changing the tune, weaves in lines from other songs. If you don't have any Nilsson already, this is a great place to start."

"Harry Nilsson's debut album is one of the better efforts I've heard from the man. Yes, it is pop - very mature 1967 pop. Sure, Cuddly Toy was covered by The Monkees but Nilsson's lovable personality on that tune and all the others here really carry the record, making it not only a very coherent collection but consistent on the whole."

"One of the all time best Harry Nilsson albums. These songs are affectionate, cheery and childish in the best possible way. This is his first (maybe only) true masterpiece."

"Shadow Show really is not a rock and roll album. Like say, Randy Newman or Laura Nyro, Nilsson was drawing from ragtime, vaudeville, sometimes even children's music on this album. And it all works. His voice is amazing, he has a great jazz motif going with his clean voice. The songs are well written and the arrangements are warm with nice subtle horns."

"Let me count the positive things first. The production is faultless and the sound quality excellent. Nilsson could sing very well back in 1967. The cover of Beatles' You Can't Do That is quite clever in mixing several Fab Four songs together but ending up sounding like the same song. And then the minuses - there are altogether too many covers, and Nilsson's own songs are often not that good either."

"Harry Nilsson's debut Pandemonium Shadow Show is a spectacular piece of psychedelic music. Highly advisable for people who love intelligent pop music."

Open – JULIE DRISCOLL & THE BRIAN AUGER TRINITY****

In & Out/Isola Natale/Black Cat/Lament For Miss Baker/Goodbye Jungle Telegraph/Tramp/Why(Am I Treated So Bad)/A Kind Of Love In/Break It Up/Season Of The Witch

Julie 'Jools' Driscoll would become the face of 1968 in the British media. Her collaboration with the jazz-rock Brian Auger Trinity yielded a top 5 UK hit single with the dynamic cover of Bob Dylan's This Wheels On Fire. The album Open was their only other major commercial success. (UK:12)

"This is a must for anyone wanting to revisit or discover mid to late 60s jazz-rock-soul fusions, its simply a great album by great musicians."

"This is in fact two one-sided albums put together. One side with Jools singing, and the other with Brian Auger and the group playing mainly instrumentals. A largely forgotten classic from a very interesting era. Best tracks are Why and Season Of The Witch on the Jools side."

"Open is the first full album by the Brian Auger combo with Jools, but not all tracks include her vocals. The first five tracks are mostly instrumentals with some great brass backing to the usual trio. All pretty good except Black Cat where the male vocals are not brilliant. Then Jools comes in from track six onwards and that makes the album for me. Some very soulful vocals and a great range of voice."

"Julie's soaring voice reigns supreme along the contagious Hammond B3 textures crafted by the artistry of Brian Auger. The band is up to par."

"When Brian Auger, one of the visionary pioneers of UK jazz rock, was drawn to the wailing mod madonna Julie ‘Jools’ Driscoll the results were explosive. From soulful, swinging jazz-drenched grooves, to burning organ-driven rockers and smoky lilting ballads, this captures the sounds of swinging London at its finest during the heady days of the late 1960s. Their exhilarating blend of funkiness, mixed with swirling psychedelic rock and jazz, sounds as fresh and exciting today as when recorded."

"Jools has a distinctive voice which on the ballad type songs sounds a bit like Dusty Springfield although becomes a bit rawer on later tracks. With Brian Auger's superb organ playing the album has a jazzy, soulful feel."

The Story Of Simon Simopath – NIRVANA***

Wings Of Love/Lonely Boy/We Can Help You/Satellite Jockey/In The Courtyard Of The Stars/You’re Just The One/Pentecost Hotel/I Never Found A Love Like This/Take This Hand/1999

The Story Of Simon Simopath was the debut album from the British psychedelic group Nirvana. The single Pentecost Hotel was highly original and received quite a lot of airplay but still failed to chart. They should not be confused with the dreary US nineties band who filched their name.

“This 60s hidden pearl is full of lovely orchestration, innocent hippie lyrics and cute genre gestures. Short, charming, surprising and very unpretentious.”

“Average and forgettable psych pop. The only thing that really grabs me here is Pentecost Hotel, and it's a very weak grab.”

“I've always felt Nirvana were a bit of an acquired taste, and still do. Most of their music is heavily dependent on the lyrics, and their style of music is somewhat standard Brit-pop fare, with some mild psych elements to it.”

“Orchestral, baroque psychedelic pop that seems a little too sappy and sweet on first listen, but spin it a few more times and allow it to grow on you. It's beautiful.”

“An unashamedly twee early concept album, Ignoring the rather silly story (something about a boy who wishes he could fly), what's left is a regrettably brief but uniformly solid set of well constructed psych-pop tunes with attractive melodies and rich, semi-orchestrated arrangements.” “The standouts on this psychedelic fairy tale are the breathtakingly beautiful Wings Of Love and the uplifting Satellite Jockey and the hymn like Pentecost Hotel, lovingly arranged and produced, entirely locked in their age.”

“It's a paradox, in a way the music is very dated, but magically remains utterly timeless and at times, downright futuristic. All the songs are compact little masterpieces. Though they all have a misleadingly simplistic approach to melody and lyrics, there's clearly more going on under the surface.”

“They only made this sort of music in the late 1960s. Beautiful melodies, a childlike tenor and florid orchestration flow through this album, without being too saccharine.”

Ninth – HERB ALPERT & THE TIJUANA BRASS*****

A Banda/My Heart Belongs To Daddy/The Trolley Song/The Happening/Bud/Love So Fine/The Love Nest/With A Little Help From My Friends/Flea Bag/Cowboys & Indians/Carmen

Herb Alpert & The Tijuana Brass maintain their momentum with the mellow sounds of Ninth, which includes their take on Bizet's Carmen with full orchestration. (US:4 UK:26)

"Herb Alpert and The TJB are known for bright little instrumental pieces, heavy on the brass and often with a Latin flavour to them. For the most part, this album fits in with that vision but there is something different about it as well. It seems to be a bit slower paced and more contemplative. The melodies are still beautiful and some are indeed fast or playful but the overall mood is a slower one. That being said, this album is still a source of joy."

"The title leaves no doubt who TJB really were and deservedly so. But to my mind, this is the last of the albums that Herb seemed focused on the group. Perhaps the rousing rendition of Carmen, which parodies previous TJB songs, was the first indicator that Herb was heading off on his own. Nonetheless, this album still has the energy and freshness of the preceding albums."

"Perhaps I have mellowed with age, but Ninth is one of the most enjoyable TJB albums. The tunes are fantastic. Ninth is a worthy addition to the TJB catalogue and one of the most consistent and enjoyable TJB albums."

"I really enjoy this album, especially the last piece Carmen. A Banda is a solid brass piece; The Happening is upbeat and well performed; Bud is mellow with a good beat and beautiful guitar playing. Flea Bag has a great trombone part that is very entertaining. The music is very catchy, arranged and performed by people with real musical talent."

"For the last track on the album, Carmen, Alpert arranged The Tijuana Brass' sound with a full orchestra, representing the main theme in a variety of rhythms associated with the group and a reference to Tijuana Taxi at the end. Each track is laid with power and emotion, rhythm and clarity, warmth and earnestness. Excellent choice of melodies produced to perfection."

New Masters – CAT STEVENS*****

Kitty/I’m So Sleepy/Northern Wind/The Laughing Apple/Smash Your Heart/Moonstone/The First Cut Is The Deepest/I’m Gonna Be King/Ceylon City/Blackness Of The Night/Come On Baby(Shift That Log)I Love Them All

New Masters is another collection of brilliant pop songs, marred only by the inclusion of The Laughing Apple. Cat Stevens would take a break for the remainder of the decade before coming back even stronger in the 1970s with a new innovative musical style.

"This underrated album is to be discovered because of its freshness and maybe for certain nuggets moods, 60s psych shadows. They're not quite easy songs. In certain ways there is a big deal of tasty and groovy sounds in here. I'm So Sleepy captures the fuzziness of the sleepy feeling, Kitty is a beat song and then there is The First Cut Is The Deepest that indeed was just perfect. The rest is something exciting to listen to, with the Cat Stevens voice shaping into the deep tone we all know."

"Not quite as consistent as his first album, the second Cat Stevens album has some excellent tracks - including the best song, First Cut Is The Deepest. It also includes the horror of The Laughing Apple."

"There's a lot to love on this album. First Cut Is Deepest was covered by everyone from P.P. Arnold to Rod Stewart, Kitty was a single and I'm So Sleepy is very familiar. Cat Stevens' pop writing sensibilities were great from the start."

"Topped by the song The First Cut Is The Deepest, this album shows the beginnings of what was to become the landmark sound of the singer Cat Stevens. A unique sound that he would claim as his own. Stevens hits it great with songs like Come On Baby (Shift That Log) and Ceylon City."

"Vastly underrated in comparison to his 70s agonising, which progressively got worse after TFTT. The music here captures the essence of 60s pop better than anything else this side of The Beatles. A real bargain, there's nothing else like this out there."

"I really like these songs because most of them actually have meaning or tell a story. Very importantly they are all catchy and have plenty of hooks. There's no end of diversity on this album, based on an array of true instruments. This is one vastly under appreciated recording and stands as one of his best."

Mr Fantasy – TRAFFIC*****

Heaven In Your Mind/Berkshire Poppies/House For Everyone/No Face No Name No Number/Dear Mr Fantasy/ Dealer/Utterly Simple/Coloured Rain/Hope I Never Find Me There/Giving To You

Mr Fantasy was a very impressive debut album from progressive band Traffic which melds the musicianship of Stevie Winwood with the catchiness of Dave Mason's songwriting. CD version benefits from the inclusion of the British top five hits Paper Sun and Hole In My Shoe. (US:88 UK:8)

"Led by the immensely talented Steve Winwood and Dave Mason, the magnificent rock band Traffic said hello to the world with their 1967 debut album, Mr. Fantasy, a delicious psychedelic supper of flower-power pop/rock. The organ is prominent throughout and the sitar makes an appearance on a few songs. This is a totally far out record, man."

"Traffic succeeded in combining Winwood's jazzy/bluesy style and Mason's melodic songwriting with the new psychedelic trends of which the band themselves were very much a part."

"The music on Mr. Fantasy is a mix of psychedelic rock, folk, proto-prog rock and semi-jazzy elements. The musicianship is excellent and the addition of flute, sax, sitar, mellotron, harpsichord and organ to the more regular rock instrumentation of bass, drums, guitar and piano really gives the music an interesting sound. The vocals are really strong and suit the music perfectly. All songs are of high quality, memorable and well written. The band are obviously willing to experiment within a commercial pop/rock frame."

"Great album, great diversity of style, goes from sad to happy to fast to slow, but always psychedelic and trippy."

"A fantastic album with much variety and great songwriting. Songs like Berkshire Poppies and the sitar-laden Utterly Simple showcase the band's true originality."

"What else can one say about one of the truly great bands: Traffic, out of the late 60s: Superb! There is not one cut here that is not unique in it's own way. This album is like an all encompassing pop-up book, playing in your mind. An impressive piece of work with memorable tunes and inspired musicianship."

Movin’ With Nancy – NANCY SINATRA***

I Gotta Get Out Of This Town/Who Will Buy/Wait Till You See Him/Younger Than Springtime/Things/Some Velvet Morning/See The Little Children/Up Up & Away/Friday’s Child/Jackson/This Town/What’d I Say

The Movin’ with Nancy LP featured the songs from Nancy Sinatra’s TV special showcasing her talent on a variety of musical genres. It includes the duet Jackson with Lee Hazlewood which peaked at No. 14 in the States. (US:37)

“The Movin' With Nancy album is the soundtrack to her Emmy-winning TV special. Each of the songs demonstrates Nancy's adaptability to a variety of musical genres.. It's Nancy at her very best.”

“This is a nice album of music from Nancy's TV special. Particular highlights are I Gotta Get Out Of This Town (a great, rousing opener), Some Velvet Morning (a classic, weird and atmospheric song with its odd time signature changes), Up Up & Away (nice happy version of the Jimmy Webb song), Friday's Child (another great song written by Lee), and This Town (a cool, melancholic number).”

“This is good stuff from Nancy Sinatra and fun to listen to. She evokes her mini-skirt clad tough girl in songs like I Gotta Get Out This Town and a sweet sensual side in Wait Till You See Him. Her voice, while not a superior instrument, blends nicely with her 60s pop arrangements, though her Up Up & Away has a hokeyness to it.”

“The TV special on which the album is based was meant to establish Nancy's star power. She did not live up to the talent her father was. One of the standout tracks was her version of the duet of Jackson with Lee Hazlewood. Enjoy it for what it is, a singer trying to establish her career with the help of her dad and friends.”

“It brings back great memories of the days when Nancy was the most sultry, exciting performer on the planet and anything was possible. Listen, remember and enjoy.”

“It is actually one of Nancy's best albums, arguably the very best. There is not a weak track here. The Lee Hazlewood production is terrific, and Nancy never sounded better."

“The mix of songs is pretty much what you would expect from a late sixties television special, especially one that is trying to span the generations.”

Magical Mystery Tour – THE BEATLES*****

Magical Mystery Tour/The Fool On The Hill/Flying/Blue Jay Way/Your Mother Should Know/I Am The Walrus/Hello Goodbye/Strawberry Fields Forever/Penny Lane/Baby You’re A Rich Man/All You Need Is Love

Magical Mystery Tour was a US only release which combines six songs from the BBC TV programme with the group's chart topping singles from 1967. However, the TV movie was panned by critics on release. (US:1)

"The Magical Mystery Tour album is often not credited with being a 'proper' Beatles release. The six song soundtrack that accompanied the movie was paired with three recent singles from the group to expand it into an album for a US release."

"A great album. Loved it on the first listen and in my opinion, it ranks right up there with the rest of their classic albums. A truly fantastic work of art that demonstrates a legendary band pushing the envelopes of pop music to where it can and will go."

"Critics say that its just a collection of songs strung together to make an album. This may be so but they are the finest songs you'll find on any Beatles album. A collection of the finest psychedelic pop songs to ever find their way onto any record before or since. Quite simply Magical Mystery Tour is a set of songs that you'll be humming from the day you first hear them until the day you die."

"This may not be a genuine album release, but there is no disputing the quality of the songs. Guilty pleasure? I think this is my favourite album by the Fab Four."

"This is one of The Beatles strongest albums of all time and showcases their true talent at the peak of their career, before they started to struggle with keeping the band together. This is a definite must own for true Beatles, rock or music fans."

"Not quite the strong thematic accomplishment of Sgt. Pepper but this collection certainly holds its own. The Beatles were still up to their studio tricks, using lots of orchestration, backwards cymbals, unusual instruments, and each song is unique."

"These are some of The Beatles' best songs, arranged beautifully, with plenty of strings, horns and psychedelic sound effects. Every song still sounds very fresh and vibrant, and the overall sound is trippy and engrossing."

The Magic Garden – THE 5TH DIMENSION****

Prologue/The Magic Garden/Summer’s Daughter/Dreams-Pax-Nepenthe/Carpet Man/Ticket To Ride/Requiem 820 Latham/The Girl’s Song/The Worst That Could Happen/Orange Air/Paper Cup/Epilogue

The Magic Garden was the follow up album from the harmony pop-soul group The 5th Dimension. Comprising a suite of songs from Jimmy Webb it sold considerably less than their other LPs of the time. (US:105)

“This album was a flop chart wise, but it certainly isn't a flop when it comes to enjoyment. It's nothing great, just decent R & B when the genre meant something.”

“The 5th Dimension's second album, The Magic Garden found them continuing their collaboration with Jimmy Webb, who was responsible for all but one of the tracks. While the group's unique MOR sunshine pop remained intact, this time around the emphasis wasn't on top 40 acceptance, but rather on attempting to make a big statement. Full of lush orchestration and dreamy (if pompous) lyrics, the result almost qualified as a concept album.”

“The 5th Dimension go 'progressive'. The arrangements are lush and orchestral, and the soul focus is absent on many tracks. There are lots of interesting ideas and admirable adventurousness throughout the album, but I'm not sure it always works.”

“Very pretty and wonderfully arranged psych-pop from a strangely clean-cut bunch of African-Americans, who might have been of the soul era, but whose music is almost devoid of soul. Instead it is pure pop with quite a lot of class and is one of their finest offerings, if you can take the saccharine content. I know I can - but then I'm partial to almost anything associated with this period of Jimmy Webb's creative development.” “Jimmy Webb was at the top of his songwriting game, and the sophisticated writing with all its romanticism and psychedelia, certainly must have enhanced his reputation. The individual and harmony singing could not be improved upon. The 5th Dimension were without a doubt, one of the best vocal groups of their time.”

“Contains some of the most marvellous vocal performances you will ever hear. All but one of the songs were penned by Webb and the music flows from one tune to another without interruption, something very unique for the time. It may be an acquired taste, but I find it to be an intricate and sonically mesmerizing recording.”

In A Mellow Mood – THE TEMPTATIONS****

Hello Young Lovers/A Taste Of Honey/For Once In My Life/Somewhere/Ol’ Man River/I’m Ready For Love/Try To Remember/Who Can I Turn To/What Now My Love/That’s Life/With These Hands/The Impossible Dream

In A Mellow Mood was an unusual one-off release from The Temptations as the group attempt to diversify their musical style with an incursion into some well known MOR standards from the 1960s. (US:13)

"The Temptations moved into world of jazzy pre-rock pop, and showed that great singers can handle anything. While many soul fans were surprised that they issued an album with versions of Ol' Man River, Somewhere and Taste Of Honey, they were hooked once they heard it. This recording was another indication of how much Berry Gordy wanted to show mainstream audiences the versatility of Motown acts."

"On this album The Temptations do quite a few easy listening covers which are surprisingly good. Songs that may otherwise be too maudlin for some listeners seem more appropriate with a soul injection, a testament to the talent of the original songwriters and The Temptations."

"In A Mellow Mood is a refreshing change of pace for the group with all of The Tempts wonderful voices tackling great standards of the day. This is a great album in which The Temptations interject much passion into songs that had originally been recorded with the soul-less voices of stage singers. A classic album."

"While you won't be getting out of your seat to shake and stomp to this one, it is a magnificent showcase for the group's different voices, and instrumentally each song is superbly handled."

"This is an album that shows the true depth and musicianship of The Tempts. From the very beginning to the end, anyone with an appreciation for good music, will love this album. Every song is sung with passion and warmth."

"Something for grandma and gramps methinks. Only worth checking out for Paul's definitive interpretation of For Once In My Life, Melvin's 'Ol' Man River is more of a novelty this time around, finding a better place to grow in live performances. The Impossible Dream demands to be laughed at; What Now My Love being far too smug for its own good. Showtime it sure is not."

Come Out Fighting Ghengis Smith – ROY HARPER***

Freak Street/You Don’t Need Money/Ageing Ravers/In A Beautiful Rambling Mess/All You Need Is/What You Have/Circle/Highgate Cemetery/ Come Out Fighting Ghengis Smith

On his follow up album Come Out Fighting Ghengis Smith Roy Harper begins the first tentative steps away from his folk beginnings towards the more progressive sound for which he is better remembered.

“The third track on this Roy Harper's second album is called In A Beautiful Rambling Mess and that sums this album up. It was released on CBS in 1967 - when major record companies still took risks.”

“Classic Harper with his acoustic guitar and occasional orchestra. Check out the middle-eastern guitar jamming on Freak Street.”

“This one does not feature any of his hard rock material and is consequently off the pace. Soft acoustic folk and folk rock - that's it.”

“A more distinct style appears, and notably on the superb closer. The album is inconsistent, but on early work this is rather a good sign. And am I crazy for hearing some prog elements?”

“This LP always gets overshadowed by Roy's later albums on Liberty and Harvest, and as such doesn't receive the credit it deserves. This LP is a progression from Sophisticated Beggar, but much gentler and folky than the following LPs which cemented Roy's reputation.”

“On Harper's second album, he strode further into folk-rock as opposed to folk, with sympathetic production from Shel Talmy; there was light electric backing and drums, as well as occasional orchestration. He remained, however, overly verbose, his observational lyrics tending to jam too many thoughts into too little time.”

“It is music that demands a lot of concentration to apprehend, and ultimately doesn't fully reward the effort, the listener's attention tending to drift off amidst Harper's inscrutability. Especially befuddling are the epic length cuts, Circle and the title track, which try to make a grand point, but are only intermittently interesting winding roads, the pseudo-humorous spoken dialogue in Circle falling especially flat. He is best when he is most restrained, as on All You Need Is and What You Have."

The First Edition – THE FIRST EDITION***

I Found A Reason/Just Dropped In (Too See What Condition My Condition Was In)/Shadow In The Corner Of Your Mind/If Wishes Were Horses/Ticket To Nowhere/I Get A Funny Feeling/I Was The Loser/Dream On/Home Made Lies/Marcia 2am/Hurry Up Love/Church Without A Name

Eponymous debut album from the American pop group The First Edition which launched the career of country star Kenny Rogers. It includes the US No. 5 hit single Just Dropped In, an inventive song light years away from the kind of mawkish mush their lead singer would put out as a solo artist. (US:118)

“This debut album includes their breakthrough hit, the anti-drug anthem Just Dropped In. The rest of this is not as interesting, a lot of Beatles-esque hippie-pop stuff. Kenny Rogers doesn't sing a lot of lead here and to me they became more interesting when they incorporated a more country sound later. This doesn't really stand out for 60s pop/rock although it shows that a lot of talent is involved here.”

“The First Edition were best known for their hit Just Dropped In. It's probably the only song you'll find interesting if you're just looking into this album expecting more psychedelic rock material. There isn't a whole lot of that on here. Shadow In The Corner Of Your Mind could perhaps be a little psychedelic.”

“There are a few great pieces on here of mainstream 60s pop such as If Wishes Were Horses, Dream On and Hurry Up Love. But other than that, it's kind of a bore. I even get a slight country pop feel coming through off this recording too. Well performed, but unfortunately it never really interested me. Still, not a bad listen.”

“Despite the reputation this outfit earned from their later pop releases, their first LP contained some noticeable psych influences worth investigating. It still contains sizable helpings of their traditional orchestrated vocal harmony pop fare, but some tracks, in particular the hit Just Dropped In, contain rewarding psych flavour. At times, they actually sound reminiscent of a somewhat heavier Mamas and Papas.”

“The album's one drawback is that the band don't go all the way in exploring different styles the way they did on the hit Just Dropped In. This track not only made Kenny Rogers' voice the most familiar first, it's an all-out assault on the senses, its wild abandon necessary but absent from other aspects of this disc. Church Without A Name explores the blues, adding to the feel of a band looking for a sound.”

Cauldron – FIFTY FOOT HOSE***

And After/If Not This Time/Opus777/The Things That Concern You/Opus 11/Red The Sign Post/For Paula/Rose/Fantasy/God Bless The Child/Cauldron

Cauldron was the only LP released by the San Franciscan psychedelic rock band Fifty Foot Hose. They blended rock influences with the use of electronic instruments.

“Many psych collectors may still be unaware of this short-lived San Francisco band. Best described as obscure psychedelic. Cauldron impressed me with the way-out female vocals."

“It is truly a product of the time, when major labels would sign anything from San Francisco in the hope of tapping into the new music scene. What Fifty Foot Hose does to a beautiful song like God Bless The Child is unforgivable unless they were going for laughs.”

“Fans of psychedelic 60s music beware of this unknown gem. With male and female voices, electronic experimentalism mixed with 60s pop rock, this blend of harmonies is way ahead of its time.”

“This is the sole release from a unique and forgotten San Francisco band that surely has to rank as one of the more innovative to come out of that city. What set them apart are the pioneering experiments in electronic music, incorporating theremin, siren, audio generators and other various electronic effects.”

“This pretty well forgotten band from San Francisco released only this one album in their first active period in the late 60s. The sound is a nice mix of psychedelia, experimental rock and electronic music. There are also clear hints of space rock and even some avant-garde feeling. The female singer's vocals fit the album really nicely.”

“There are some magnificent moments on this album that have obviously contributed to its cult status. There's a lot that's different about it, most especially the title-track, which is an electronic soundscape with treated vocals describing some medieval execution, punctuated by the anguished cries of the female victims being boiled alive...not very pleasant. It's accomplished as an experiment, but not as interesting as a piece of music.”

Feel Like I’m Fixin’ To Die – COUNTRY JOE & THE FISH*****

The Fish Cheer & I Feel Like I’m Fixin’ To Die Rag/Who Am I/Pat’s Song/Rock Coast Blues/Magoo/Janis/ Thought Dream/Thursday/Eastern Jam/Colours For Susan

The second album from Country Joe & The Fish, I Feel Like I'm Fixin' To Die, is seeped in psychedelia. Future releases would fail to live up to the creativity of the band's first two albums. (US:67)

"If psychedelic means highly innovative, ethereal music in which technical skill is secondary to the creation of pure 'mood and feel' then virtually all of the tracks on this album qualify as winners."

"This is a good collection of some of the classics that Country Joe & The Fish made in the 1960s, and the title song is as relevant in our own warmongering era as it was during Vietnam. The material spans a wide range from the sharp satire in the title track to surprisingly tender songs. These are songs that people should be listening to - and singing - now."

"Their first album is rated higher, and maybe there are better songs on the first one, but the music, and the light breeze of the meandering notes creates a far superior experience than their debut. I find it hard to believe that the final track is almost six minutes, considering how absurdly minimal it is and how easily I make my way through it almost every time I listen to the album."

"One important characteristic of understanding this type of music is that in order to appreciate it, you have to really listen to it. Not as background or just for dancing. This was one of the big changes of the time. Instead of just dancing to music, you sat and listened to it, gathering the beauty, feelings and ideas inherent in the music."

"I had played the grooves out of the first Fish album and this one was no different. I really was surprised at the way that this captures the feel and mood of that era. A great listening experience. Forget about being analytical or critical of the level of guitar work or instrumental expertise. Just realize that it was all about painting pictures, creating a feeling, a mood and sometimes relating a message."

By The Time I Get To Phoenix – GLEN CAMPBELL****

By The Time I Get To Phoenix/Homeward Bound/Tomorrow Never Comes/Cold December(In Your Heart)/My Baby’s Gone/Back In The Race/Hey Little One/Bad Seed/I’ll Be Lucky Someday/You’re Young & You’ll Forget/ Love Is A Lonesome River

Country singer Glen Campbell was awarded a Grammy for album of the year for By The Time I Get To Phoenix. The title track was penned by newly emerging creative songwriter Jimmy Webb. (US:15)

"By The Time I Get To Phoenix is one of Glen Campbell's best albums ever. He is in excellent form throughout; he performs with panache and I'm very impressed. These songs are all terrific; there's not a dud in the bunch. The title song by Jimmy Webb opens the album with Glen singing beautifully; he does this passionately and with great sensitivity."

"Much of his success comes from the fact that he followed the same pattern of using songs from a variety of songwriters in different genres, including a couple of his own songs. Not only does Glen use Jimmy Webb's title track, but also his great versions of songs from Paul Simon, Ernest Tubb, Bill Anderson, Jerry Reed and others. This is another masterpiece."

"It was certainly Glen Campbell's finest studio recording, and he sings each song with his unique brand of conviction and wistfulness. While the showpiece is the much loved ballad By The Time I Get To Phoenix, it is the lesser known songs such as I'll Be Lucky Someday, Tomorrow Never Comes and You're Young & You'll Forget that give this album its resonance and poignancy. Most of the songs are laced with tinges of regret, but this is anything but a downer, primarily because of the bittersweet yearning of Campbell's vocals and the spare but melodic arrangements."

"This album was both his commercial breakthrough and represents the first fruits of his collaboration with Jimmy Webb, the songwriter who would go on to pen most of Campbell's biggest hits. The title track is the only Webb composition on the record, but the other ten tracks are equally fine."

"Glen Campbell is usually at his best interpreting Jimmy Webb songs, and By The Time I Get To Phoenix is one of this best. Little else on here matches it, as there is way too much that borders on easy listening. For some reason Campbell always thought he needed sappy strings to back up his songs."

Blooming Hits – PAUL MAURIAT****

Somethin’ Stupid/Penny Lane/This Is My Song/Alone In The World/Inch Allah/There’s A Kind Of Hush/Puppet On A String/Love Is Blue/Adieu To The Night/Mama

French orchestra leader Paul Mauriat enjoyed a huge international hit with Love Is Blue, a US No. 1 and UK No. 12 hit single. The accompanying album Blooming Hits also hit the top spot in the States, but his future releases would be far less successful. (US:1)

"Blooming Hits was first released around the time of Paul Mauriat's most famous hit, Love Is Blue. If you are after a compilation of Mauriat's work this is probably the best one you will find. Overall, Blooming Hits is a well balanced representation of Mauriat's arrangement of popular music from the 1960s. Sit back and enjoy that wonderfully symphonic 'Mauriat sound'."

"Love Is Blue became an international hit and it really reflects a time when everything was more romantic, the good times of early adolescence and discovery. Every song on this record has a meaning. And wow, what an orchestra, the arrangements, the sound, the harpsichord sound."

"Beautiful music, reminds me of times past. Too bad they don't produce music like this any more."

"Quite simply, this album is the exemplar of orchestral 60s pop. So subtle, yet intricate and complex, it continues to amaze me after listening to the album for more than twenty years. For the neo-lounge martini fans, this album is a must have."

"This is it - the album with the original Love Is Blue, which captivated my ears. A perfect slice of pop and orchestra - the rhythm section just swings on this, instantly giving it a cool groove and a sound like nothing else."

"This is a superb album with brilliantly orchestrated songs. If you are into quality instrumental music, then this is a good album for you. It includes the hit single Love Is Blue which held the record at that time for the most consecutive weeks at number one on the radio charts. If you like instrumental music untainted by synthesizers or other electronic processing, you're going to love this one."