A Tramp Shining – RICHARD HARRIS*****

Didn’t We/Paper Chase/Name Of My Sorrow/Lovers Such As I/In The Final Hours/Macarthur Park/Dancing Girl/If You Must Leave My Life/A Tramp Shining

Actor Richard Harris and songwriter Jimmy Webb get together to produce an unlikely classic. A Tramp Shining includes the lengthy single MacArthur Park which reached No. 2 in the States and No. 4 in the UK. Would anyone like some cake? (US:4)

"The artist's first collaboration with composer/producer Jimmy Webb is a great record, encompassing pop, rock, elements of classical music, and even pop-soul in a body of brilliant, bittersweet romantic songs by Webb, all presented in a consistently affecting and powerful vocal performance by Harris. The production and arrangements by Webb were some of the lushest ever heard on a pop album of the period, with a 35-piece orchestra. Strangely enough MacArthur Park, the massive hit off the album, isn't all that representative of the rest of the record, which relies much more on strings than brass and horns, and has a somewhat lower-key feel but also a great deal more subtlety."

"This album squarely rests at the intersection of camp and genius. It's dated and over-the-top and it works perfectly. Harris brings the drama to Webb's gorgeous song suite, and while you may wish Glen Campbell were wrapping his vocals around these instant classics you can't resist the results. Timeless."

"There are classics on this album such as Didn't We and The Name Of My Sorrow and A Tramp Shining. This album is the one I play when my heart is breaking. No one could describe it better than Jimmy, or sing it with such soulfulness as Richard Harris, whose unique voice and style has an angelic, haunting quality to it."

"This is one of those rare comings together of two great artists who between them created a stunning whole greater than the sum of their considerable parts."

"When I play MacArthur Park for my stepson and his friends they laugh and tell me that it's 'overproduced', has 'poor arrangements', that 'the chorus comes in constantly at anti-climatic times', that the lyrics are 'hilarious', the orchestra sounds 'syrupy' and that it's a perfect example of '60s excess'. What do I do? I tell them they're wrong, wrong, wrong!"

Wake Up Its Tomorrow - STRAWBERRY ALARM CLOCK****

Nightmare Of Percussion/Soft Skies No Lies/Tomorrow/They Saw The Fat One Coming/Curse Of The Witches/ Sit With The Guru/Go Back You’re Going The Wrong Way/Pretty Song From Psych-Out/Sitting On A Star/Black Butter Past/Black Butter Present/Black Butter Future

Wake Up Its Tomorrow, the follow up album from US psychedelic band Strawberry Alarm Clock, surprisingly failed to chart given the huge success of its predecessor only a few months earlier. This phenomenon is consistent with the relatively short shelf life of quite a few American bands from this period.

"Another very solid release from this quintessential 60s psych outfit. This one is slightly more commercially oriented than their debut, but it's also still highly psychedelic and features the same amazing period flavour as well."

"This is a really nice psych rock effort and it really evokes the era. Nothing actually too distinctive, and occasionally veering toward flower pop, but there are several very nice tracks. It also flows quite well, track to track, and ends up as a great LP."

"A real gem of melodies, well crafted compositions and top notch musicianship. Tomorrow deserved to be a million seller hit. So, everything, absolutely everything on this record is enjoyable, from the kind of drums mayhem in the rightly called Nightmare Of Percussion, to the finale brought by the Black Butter trilogy. Love sunshine pop for ever."

"Excellent album by this sadly underrated group. The music here is very high quality psychedelic pop/rock with lovely melodies and harmonies."

"Once the LP is popped on the listener is immediately transported back to a time of day-glo fashions, LSD and prankster games. A shot of youthful 'feel good' adrenaline when anything was possible and the sky was the limit. Amazing sixties atmosphere resonates from this LP like no other. A true sixties classic."

"Its a wonderful album from the first to the last track. But what matters is that the music here is great, lovely melodies and harmonies. Dreamy, heavenly arrangements. A true psychedelic gem."

"Essentially a mix of nice, sunshiny 60s pop songs with Beach Boys-esque harmonies, and some weirder and frankly bizarre psychedelic offerings. If the album consisted solely of one of these two categories of songs I'd rank it slightly lower, but as it is, this ends up as a rather interesting and entertaining release."

Tell Mama - ETTA JAMES****

Tell Mama/I’d Rather Go Blind/Watch Dog/The Love Of My Man/I’m Gonna Take What He’s Got/The Same Rope/Security/Steal Away/My Mother-In-Law/Don’t Lose Your Good Thing/It Hurts Me So Much/Just A Little Bit

Tell Mama was soul and R & B vocalist Etta James’s comeback album after leaving Chess records. Here she can be found performing in a much rawer and bluesier style. (US:82)

“The album is top-notch, featuring the all-time classic soul ballad I'd Rather Go Blind, excellent covers, a couple of driving uptempo numbers, most notably Watch Dog and the magnificent title track. Etta James never sounded better than during these sessions, and the various musicians never set a foot wrong. The best record Etta James ever made, one of the finest, most cohesive soul and R & B records of the late 60s. You really ought to give it a listen.”

“One of the classic soul albums from the 1960s and an artistic highlight, this album finally matches fierce vocals with right material and excellent musicians. Almost every song here is soul classic. Plenty of horns and James is on fire.”

“The ever vivacious Etta James is one of R & B's true greats, an artist whose work will always stand the test of time and this album, is one of her best known and most powerful. More dynamic than expressive, James was a gal who clearly knew how to rock, capable of expansiveness, jump blues but with a touch of sleekness. The Tell Mama album is a flawless, timeless crowd pleaser, packed with upbeat, compact material, a tailor made showcase for James' mousy snarl. Backed by the best of the Muscle Shoals crew, this is music that can't be faulted.”

“This album represents everything that was and still is awesome about Etta James. Too many of today's stars sing the words on key, but don't bring any feeling to the music. Etta really bared her soul when she sang.”

“Miss James always liked her music on the raw side, and when she got the chance to sneak away from the string-laden 'pop-soul' tunes arranged at Chess Records, she let out a howl that showed everybody that she was a blues wailer at heart. Tell Mama is a monster of a jam that perfectly suits Etta's powerful, gritty vocals.”

“I can still remember listening to this for the first time. I was absolutely blown away. Not just with her voice, but with the quality of the songs, arrangements and sound.”

Sounds Of Goodbye – THE GOSDIN BROTHERS***

Sounds Of Goodbye/She’s Gone/Catch The Wind/Let It Be Me/For Us To Find/The Victim/The First Time/ Woman’s Disgrace/Bowling Green/Louisiana Man/Love Of The Common People

Sounds Of Goodbye was the sole album release from the Alabama country duo The Gosdin Brothers. Their lack of success may have been due to being too country for rock audiences and too rock for country audiences.

“They combined their country and gospel backgrounds with bluegrass and pop, and found themselves recording their debut LP in the thick of California's country-rock revolution. The country sounds of their earlier singles remain, but mellowed by California experiences in playing folk and bluegrass. The drumming of Gene Parsons fits the album's casual vibe perfectly.”

“It is understandable in hindsight why most of this material didn't sell very well - at the time it was too country for rock audiences and too rock for country audiences - this was long before the walls began to come down between those very segmented camps. When you strip everything else away though, the true reward here is the singing - Vern was one of the finest country singers of any era, and Rex was an ace harmonist with a beautiful tenor voice.”

“Sounds Of Goodbye, would be the duo’s only album together. It was a groundbreaking effort that somehow slipped through the cracks. The originals, For Us To Find and The Victim are outstanding cynical country rockers that showcase Vern Gosdin’s crystal clear vocals with an added Bakersfield twang. On The Victim, the acoustics sparkle and glitter beautifully with a slight psychedelic production that adds to the Gosdins’ unique vision. Sounds Of Goodbye and She’s Gone are very wistful and sad but good nonetheless.”

“Absolutely great country/pop/rock album. The vocals of Rex and Vern Gosdin are absolutely astonishing. I think its Rex who does the harmonies, and he's probably the greatest harmony singer of all time. And then Vern, that voice, its so deep and soulful, absolutely gorgeous.”

“The majority of songs here are tearjerkers, and with those vocals you can’t help but be moved. One magnificent album. Rex and Vern Gosdin were underrated singers who stand with the best of country-rock.”

Song Cycle – VAN DYKE PARKS***

Vine Street/Palm Desert/Widow’s Walk/Laurel Canyon Boulevard/All Golden/Van Dyke Parks/Public Domain/ Donovan’s Colours/The Attic/Laurel Canyon Boulevard/By The People/Pot Pourri

Song Cycle was the high budget debut album from American singer songwriter Van Dyke Parks. Despite critical acclaim it sold poorly. He is best remembered for his involvement in Beach Boy Brian Wilson’s abortive Smile project.

“In 1968 Warner Brothers released an album by a young musician and songwriter called Van Dyke Parks. The budget for Song Cycle made it the most expensive album ever recorded. The Warner bosses weren't worried, they knew it was going to be the biggest thing since Sgt Pepper and probably bigger. They were wrong, they were very wrong. Although it received unprecedented pre-release rave reviews, when Song Cycle was released it just didn't sell.”

“Song Cycle is a musical travelogue, a sonic trip across the America of Mark Twain, John Steinbeck, Busby Berkeley musicals and John Ford westerns. It has moments of real beauty such as All Golden and Donovan's Colours but just as you're beginning to feel like you know which direction you're moving in, it whisks you up like a hayseed in the wind and then lands you somewhere completely different.”

“I'd say it didn't sell well because there is not one catchy song on the album. Many of the songs are beautiful, but they have to be heard as part of the album. I hope that more people take an interest in this as it is too good to be forgotten.”

“Experimental art-song, eccentric orchestrations, candy-floss vocals, unintelligible lyrics. Not as eclectic as it pretends, as many of the tracks sound very similar in style and attitude. Barely intelligible lyrics undermine whatever power it might have had.”

“I'll credit VDP with being a skilled composer and arranger, a clever lyricist, and an all-around interesting character, but it all doesn't really add up to a compelling whole on this album. It sounds more like him playing around in the studio and maybe trying to show off a bit than any kind of great artistic achievement. It's whimsy taken to extremes; it does work on some level but never feels very substantial, though.”

“Although this album grew on me it's still a bit of a mess. I think that its pretensions outweigh its merits quite a bit, but there are still some moments of true greatness.”

Sher-oo – CILLA BLACK****

What The World Needs Now/Suddenly You Love Me/This Is The First Time/Follow The Path Of The Stars/Misty Roses/Take Me In Your Arms & Love Me/Yo Yo/Something’s Gotten Hold Of My Heart/Step Inside Love/A Man & A Woman/I Couldn’t Take My Eyes Off You/Follow Me

With her powerful voice, Cilla Black was one of the most popular female singers from the sixties, who achieved a string of chart hits. Her third album Sher-oo maintained the high standard and includes the British top ten hit Step Inside Love. (UK:7)

"This was Cilla Black's third British LP and, like its predecessors, was produced by the legendary George Martin. There is a mixture of '60s pop like What The World Needs Now Is Love and standards such as Un Homme Et Une Femme, all immaculately scored by George Martin. The general result is a pleasant album, but hardly groundbreaking in comparison to her rival, Dusty Springfield. Step Inside Love is one of the few Lennon-McCartney compositions offered to another artist in their latter writing period. If you are a Cilla fan, you'll probably find much to enjoy here."

"This was Cilla's third album released in early 1968 to coincide with her first TV series for the BBC and came after a quiet period in her recording career. The album's big hit single was Step Inside Love written for her by Paul McCartney to open and close her TV shows. The album is full of top tunes that capture Cilla's voice at it's best."

"Enjoy the feast of wonderful music contained on this album. Ignore the rather ill advised hairstyle and none-too-flattering photograph on the cover, just settle down to listen to one of Black's best. It includes, of course, her huge Lennon-McCartney penned hit Step Inside Love, but it's her choice of covers that make this such a thrilling album. She betters the Tremeloes Suddenly You Love Me, turning it into a shimmering, upbeat belter; her take on Something's Gotten Hold Of My Heart is simply stunning, her voice full of yearning, bringing out all the drama of the song; Cilla's version of Take Me In Your Arms doesn't quite surpass the original, but it's a fabulous, surging, imploring track none-the-less; Misty Roses is a breathy, silky smooth track, highlighting her lighter voice; and you know she believes totally that What The World Needs Now Is Love. This album deserves to pick up new fans, and certainly won't disappoint her old. There's a lora lora great music here."

Nancy & Lee – NANCY SINATRA & LEE HAZLEWOOD****

You’ve Lost That Lovin’ Feelin’/Elusive Dreams/Greenwich Village Folk Song Salesman/Summer Wine/Storybook Children/Sundown Sundown/Jackson/Some Velvet Morning/Sand/Lady Bird/I’ve Been Down So Long

Nancy Sinatra shares complementary vocals with her producer and songwriter Lee Hazlewood. Nancy & Lee contains the US No. 14 Jackson and No. 20 Lady Bird hit singles. (US:13 UK:17)

"Cheesy coolness and humorous candle-lit darkness, Lee's truly one of a kind and Nancy a singer with personality, together they create fun music that's not without complexities and underpinnings. Dig this one out and sling it into the record player next time you want to liven up a get together. Works every single time."

"Nancy and Lee are a perfect combination, like Sonny and Cher. Lee is the writer with the gravel voice and the troubadour persona, Nancy is the kitten with the school girl toughness, feminine and smart. They had several hits in their groovy day and the best are here. Jackson, Summer Wine and Sand are great examples of the duo's country pop that defined their unique sound."

"If there's a 'cheesy record hall of fame', Nancy & Lee certainly belongs in it. Never dull, always fun and performed well, it's a great listen from start to finish."

"I love both of their voices to death. Lee has that deep-throated gravelly voice that could sweep any woman off her toes. Nancy has a sugary-sweet, and sexy voice that makes the perfect female complement to Lee's sultry goodness. These two, together with the overall dreamy texture of the album, make for one trippy experience for a pop album. And it's a shame that it's about half covers and half originals on here as Lee Hazlewood is truly a great songwriter. Great pop album."

"This collection is just awesome. Nancy and Lee are excellent together and they should have teamed up as a duo instead of separately."

"I had the Nancy and Lee LP years ago. Wore it out. Nancy Sinatra was not the best female vocalist, but paired up with the raspy baritone voice of Lee Hazlewood, it really was a magical musical experience. Solid songs with excellent instrumental and vocal backups made this album a joy to listen to again."

The Move – THE MOVE***

Yellow Rainbow/Kilroy Was Here/The Lemon Tree/Weekend/Walk Upon The Water/Flowers In The Rain/Hey Grandma/Useless Information/Zing Went The Strings Of My Heart/The Girl Outside/Fire Brigade/Mist On A Monday Morning/Cherry Blossom Clinic

Birmingham pop group The Move are best remembered for their many excellent singles written by Roy Wood. Their only album success came with their self titled debut which includes the British top three singles Flowers In The Rain and Fire Brigade. (UK:15)

"A strange hodgepodge of an album from The Move, comprising two killer singles, a number of tracks which sound like rewrites of these and others of their singles, three weird cover versions and some fair-to-middling psychedelic pop-rock with some outthere lyrics. Listening to this album it is apparent why The Move never made it into the top division, but that said the late 60s wouldn't have been the same without them, especially the singles charts."

"When the highlights are good, they're shiny bursts of creative pop genius that make the heart go pit-a-pat, pit-a-pat and suddenly the world is new and the sun is shining and sensations are stimulated. When the filler is bad though, it reeks to the high heaven. Which is a damned shame, because Roy Wood is capable of bringing us an engaging world of beauty in his songs."

"Disappointing to hear this in its entirety after enjoying some of their contemporaneous singles. Fire Brigade may be fantastic, but much of this debut album is filler. They’re a good band, with a strong rhythm section and the excellent Roy Wood on guitar: but it’s filler, nonetheless. And the inclusion of novelty tracks such as Weekend and Zing Went The Strings Of My Heart only exacerbate the unevenness of the whole."

"The Move's debut is a simple, straightforward psychedelic pop, devoid of any pretensions. There are a few pop gems, but most of the album is full of lightweight songwriting and mediocre tunes. In fact, the best songs are the hit singles, Flowers In The Rain, a song evoking pastoral imagery, and Fire Brigade, a bit more surreal."

"There are some good songs, but the album is too long and has way too much filler."

Live At London's Talk Of The Town – DIANA ROSS & THE SUPREMES***

With A Song In My Heart-Stranger In Paradise-Wonderful Wonderful-Without A Song(Medley)/Stop In The Name Of Love-Come See About Me-My World Is Empty Without You-Baby Love(Medley)/Love Is Here & Now You’re Gone/More/You Keep Me Hangin’ On/Michelle-Yesterday(Medley)/In & Out Of Love/The Lady Is A Tramp-Let’s Get Away From It All(Medley)/The Happening/Thoroughly Modern Millie/Second Hand Rose/ Mame (Medley)/ Reflections/You’re Nobody Till Someone Loves You

With Live At London's Talk Of The Town The Supremes, now with Diana Ross as figurehead, make another attempt to break into the already fading adult MOR cabaret market. (US:57 UK:6)

"Even as they released a steady stream of pop/R & B classics in the 1960s, The Supremes tried as a live act to escape the 'chitlin circuit' and teen tours to graduate towards the sophisticated supper clubs. By the time the renamed Diana Ross and The Supremes played the Talk of the Town in London, they were backed by an orchestra and were presenting most of their material in abbreviated medley form. Ross was attempting jokes in the brief moments between musical sequences, and the song list was weighted as much with MOR standards as it was with Supremes hits, an uneasy mixture. Here, the tempos were rushed, the groove was gone, and Ross and co. were frantic to keep up. For all the razzle-dazzle, though, the girls did manage to approximate to a slick Las Vegas style."

"I like their live versions of their own hits. Diana is in decent voice, although she is really dominating this album. I can live without the cover versions and show-tunes. This was Berry Gordy ensuring the pan-demographic appeal."

"More supper club shenanigans. Tepid covers and run-throughs of the hits, although Diana sounds far more into the Barbra Streisand songs than her own repertoire. This was the first Supremes album I ever acquired; a big, big mistake."

"Somehow, in three years, The Supremes went from innocent sounding, excited young girls to sophisticated, well-rehearsed, songstresses. I love the selection of songs here - the speed and the energy sounds wonderful, but The Supremes have become such slick performers that the words seem to fly from them automatically, as if even Ross is no longer interested or attached to the lyrics."

Joni Mitchell (Song To A Seagull) – JONI MITCHELL*****

I Had A King/Michael From Mountains/Night In The City/Margie/Nathan La Franeer/Sisotowbell Lane/The Dawntrader/The Pirate Of Penance/Song To A Seagull/Cactus Tree

Self titled debut album from acclaimed Canadian folk singer songwriter Joni Mitchell, often unofficially referred to as Song To A Seagull. The merits of the early Joni Mitchell albums only become apparent after repeated listening. (US:189)

"Presented with simple musical accompaniment, packed with lyrical complexity, and sung by the voice of an angel, this is a great album. The fact that she would go on to do even better albums does not diminish the impact of this astonishing debut."

"Singing perfectly matches the lyrics, slightly melancholic yet uplifting, it has a dreamy quality present on the whole album, making it grounded in reality but with definite aura of fantasy. And though almost every song here is a masterpiece by itself, they fit together perfectly. Repeated listens to the album proved to be extremely rewarding, as the actual hooks and riffs started to appear out of what seemed to be at first an endless stream of monotonous singing and guitarstrumming."

"Joni Mitchell's 1968 debut album Song To A Seagull is an elegant and timeless microcosm. The songs are captivating and complex, but use simple instrumentation. Her primary accompaniment is usually her own acoustic guitar, but she is occasionally joined by bass, piano or harmonica. She is also frequently heard providing her own backup singing by recording twice. The album draws the listener into a misty and often melancholic realm through her unique voice, whose range is fully demonstrated. Her lyrics are as descriptive as looking at a painting."

"This is a very pure, innocent record, and stood out in 1968 because it was one of the few intimate, acoustic records amid a sea of hard rock & roll and psychedelic experimentalism. While many people don't think so, this actually best represents early Joni Mitchell, and her style was already highly developed."

"Musically, Song To A Seagull is grand in its simplicity - the vast majority of the songs feature Joni's fascinating guitar work as the stark support for her piercing, soaring voice. While Joni's vocals are schooled and formal, they are nonetheless heartbreakingly beautiful."

I Can't Stand Myself When You Touch Me - JAMES BROWN **

I Can’t Stand Myself (When You Touch Me) Part 1/There Was A Time/Get It Together (Part 1)/Baby Baby Baby Baby/Time After Time/The Soul Of JB/I Can’t Stand Myself (When You Touch Me) Part 2/ Get It Together (Part 2)/Why Did You Take Your Love From Me/Need Your Love So Bad/You’ve Got To Change Your Mind/Funky Soul 1

Some mostly tuneless funk from James Brown, a debased genre that was largely kept at bay during the musical golden age of the late sixties. I Can't Stand Myself When You Touch Me reached No. 17 on the US album chart. (US:17)

"And so the funk begins. I Can’t Stand Myself When You Touch Me seems to be the first full funk album, and although there are still some ballads, covers and R & B tracks here, most of the disc is proper funk. This is the type of album he would be making for the next decade. Most of the songs here use the funk template: short, endlessly repeated guitar and drum lines with Brown spouting improvised-sounding lyrics over the top."

"The late '60s was a time of great change for the music of James Brown. From 1967 - 70, JB's brand of hard soul was rapidly mutating into all-out funk and this album, originally released in 1968, was an example of this transition. Raw in the extreme."

The Hangman’s Beautiful Daughter – THE INCREDIBLE STRING BAND*****

Koeeaddi There/The Minotaur’s Song/Witches Hat/A Very Cellular Song/Mercy I Cry City/Waltz Of The New Moon/The Water Song/Three Is A Green Crown/Swift As The Wind/Nightfall

The Incredibles hit a creative peak with The Hangman's Beautiful Daughter, their best remembered and most commercially successful LP. All their future albums would disappoint in comparison. (US:161 UK:5)

"There's so much to love about this album both in quality of songs, and in the mood and attitude. It makes a great 'soundtrack to life' perhaps because it's so full of contradictions much like life itself. It's mystical and fairy tale-esque, yet earthy and realistic. It's edgy and experimental, yet whimsical and heartfelt. It's classical and pure, yet free and wild."

"The music on the album is psychedelic folk rock with progressive elements. The 13 minute long A Very Cellular Song is the best example of the progressive side of the band’s sound. The band play fully acoustic music. The many different instruments create a varied and warm soundscape, and some of the most exotic ones also create an eastern tinged sound. The vocals by Robin Williamson and Mike Heron are pleasant, warm and at times quirky and humorous. The atmosphere varies between jolly and dark, which the band masters really well. All songs are well written and cleverly arranged and the production is of high quality too. Highly recommended."

"The songwriting, singing performances, choice of instrumentation seem as outrageously creative today as they did in the 60s. There will never be another band as innovative."

"Viewed by many die-hard fans as the jewel in the crown of Stringdom, this is the album to demonstrate, above all others, just what makes this unique band so wonderful. From the opening dream-like reflections on childhood to the exquisite dying fall of Nightfall, this is strange, exotic, mesmerising and mysterious stuff. Oh, and it just happens to be incredibly beautiful as well."

"The Incredibles really had nowhere new to go after this and, despite sporadic flashes of brilliance on subsequent albums, this represents a peak from which they had no choice but to decline."

Golden Hits – THE DRIFTERS*****

There Goes My Baby/(If You Cry) True True Love/Dance With Me/This Magic Moment/Save The Last Dance For Me/I Count The Tears/Some Kind Of Wonderful/Up On The Roof/On Broadway/Under The Boardwalk/I’ve Got Sand In My Shoes/Saturday Night At The Movies

The Drifters were undoubtedly the best American R & B harmony group from the 1960s. Golden Hits covers many of their biggest hits from the 1959-64 period, but more recent CD compilations include many more excellent songs released during this time by this hugely influential group. (US:122 UK:26)

"This is a very nice collection of what The Drifters had to offer. They existed in the later years of the 'hit single' era, pre-album rock, and all their best singles are definitely included here. I owned this hits collection on vinyl before I got it on disc, and I've always really loved it for what it is: a nice portrait of a truly groundbreaking, genre-bending early 60s R & B act."

"The Drifters were one of Atlantic Records best-selling groups and their songs are absolutely timeless and ageless never seeming to grow old. They transport you to another place where you can escape the outside world."

"Of all the singing groups of the rock 'n' roll era, The Drifters revolutionized music with an inimitable sound. The combination of European/concert string melodies, Latin syncopation, and R & B voices, created a sound never to be duplicated or forgotten. The group were blessed with a multitude of lead singers and wonderful harmony. Their music was 'class'. Although it was not gospel/religious, the music seemed to bring heaven and love a little closer."

"These are the original recordings of The Drifter's greatest hits. This is one super album. If you totally didn't know what you were doing, and took a chance buying this album, you would have one of the greatest albums ever recorded. This is just beautiful music that everyone from babies to grandparents love. If you don't like The Drifters, you ain't human."

"I don't believe The Drifters ever came out with a bad song. This compilation of their music from '59 to '64 is hard to beat, even as the lead singers changed from Ben E. King to Rudy Lewis to Johnny Moore. Listening to this, it's impossible not to be reminded how far popular music has drifted in the wrong direction."

Goin’ Out Of My Head – THE LETTERMEN****

Never My Love/Anyone Who Had A Heart/Holly/Our Day Will Come/I Wanna Be Free/The End Of The World/The Look Of Love/Love Is Blue-Greensleeves (Medley)/Spooky/By The Time I Get To Phoenix/Goin Out Of My Head- Can’t Take My Eyes Off You (Medley)

Easy listening harmony group The Lettermen epitomised the adult MOR market of the late 1960s, unfairly dismissed as kitsch by the rock generation. Goin' Out Of My Head features the US No. 7 title track hit medley. (US:13)

"The Lettermen's smooth harmonies, supported by lush arrangements of new and reworked tunes, earned them a diverse following among the music buying public, giving them the top billing for adult contemporary vocal groups of the 60s."

"Not many Brits know about The Lettermen - they had just one minor UK hit single and no UK hit albums - but they were very popular in their American homeland, where they were consistently successful in both the singles and album charts, especially during the sixties. Smooth ballads were their trademark sound."

"This album is perfect for any romantic occasion, as it can be the soundtrack for a candlelight dinner or cuddling by the fireplace on a cold winter's night."

"I think this album is musical comfort food. I wouldn't want a steady diet of it, but the soothing and smooth three-voice harmonies, along with lyrics and melodies I am already acquainted with, are great pick-me-ups on depressing rainy afternoons."

"Throughout the 60s, The Lettermen continued to place singles and albums high onto the pop charts in spite of the assault of hard-edged, teenybopper and British invasion music during the era."

"The title song is a perfect mash-up of two different love songs only The Lettermen can give. Certainly one of the most clever and catchy arrangements in pop history - and sung with smooth sensuousness by The Lettermen. The 60s were truly the golden age of pop songs. People don't know how to write songs like this anymore - more the pity for the listening audience that is for sure."

Eli & The Thirteenth Confession – LAURA NYRO*****

Luckie/Lu/Sweet Blindness/Poverty Train/Lonely Women/Eli’s Comin’/Timer/Stoned Soul Picnic/Emmie/ Woman’s Blues/Once It Was Alright Now/December’s Boudoir/The Confession

Famed singer songwriter Laura Nyro second album Eli & The Thirteenth Confession contains several tracks made famous by other artists. Meanwhile her LP of the originals languished at a lowly placing on the US album chart, despite the critical acclaim. (US:181)

"Eli & The Thirteenth Confession is a sparkling set of well-crafted, well-arranged pop songs. Simply amazing - how this young girl churned out perfect songs one after the other. Laura wasn't very successful with her own songs, but others were."

"If you want to hear an album from an artist who knew exactly what she wanted to do, free from conventional limitation, and has achieved this feat remarkably well, then hear Eli & The Thirteenth Confession. Nyro intrepidly set out to create a record that blended several genres including blues, gospel, jazz, Motown and Broadway, all the while maintaining a firm grounding in pop music. However, she was not interested in the straightforward approach to pop songs. Instead, she ambitiously set out to create songs with unrelenting dynamism and unorthodox rhythm changes. Her artistic drive essentially violated basic laws of pop composition. The songs were more like mini-suites, divided into sections with complex changes in both tempo and melody. Whereas many pop artists played it safe by maintaining the same tempo, applying a traditional song structure and sticking to one designated genre, Laura repudiated this approach and that is why she was a true original."

"Eli & The Thirteenth Confession is the quintessential Laura Nyro. It shows a sophistication of song styling, which will stir up a variety of emotions for the listener."

"I have turned on a multitude of music lovers to Laura's music over the years. But mostly I like to listen to this album when I am alone so I don't need to talk and I can just absorb this masterpiece. A true musical genius who will be forever missed by me and all true lovers of music."

"I can't stop listening to this one. The mixture of pop, jazz and other elements, with superb arrangements, make this album incredibly interesting and enjoyable. The unusual chord progressions and frequent rhythm changes introduce a complexity that somehow flows naturally and easily."

The Dock Of The Bay – OTIS REDDING****

(Sittin’ On) The Dock Of The Bay/I Love You More Than Words Can Say/Let Me Come On Home/Open The Door/Don’t Mess With Cupid/The Glory Of Love/I’m Coming Home/Tramp/The Huckle-Buck/Nobody Knows You (When You’re Down & Out)/Ole Man Trouble

Posthumous release from soul legend Otis Redding, The Dock Of The Bay comprises mostly lesser known earlier material, The newly released title track topped the US singles chart and reached No. 3 in the UK. (US:4 UK:1)

"Sometimes you don't realize how important someone was until they're gone. You just wish there was more of his voice existing somewhere on record. Luckily, this album's way more than enough of that, with an all time essential opener and closer to bookend eight more tracks that perfectly showcase what he brought to the world of music."

"The title track is the most famous and while not necessarily being the best track it does show a possible new direction for Redding – one which, of course, he wasn’t able to follow. Compare it to the second track, I Love You More Than Words Can Say: this is superb and another in his line of intensely emotional performances."

"I listen to this album every day and think what a tragedy it is that Otis Redding died before his time. The music that this man was starting to create is the epitome of soul. I am moved nearly to tears listening to Otis belt out such tunes as Ole Man Trouble, Let Me Come Home and The Glory Of Love."

"Most of his other famous releases were partially made up of songs from other recordings or covers too, so it feels fitting the last album you get of Redding is the perfection his living albums attempted to bring. An incredible send off to an evocative performer and undeniable legend."

"The pensive, brooding (Sittin' On) The Dock Of The Bay, Redding's biggest hit, is one of Otis' greatest compositions, a weepingly beautiful, gently rolling tune filled with introspection and despondency."

"The Dock Of The Bay sadly became Otis Redding's last album, a haphazard collection, gathering various singles and B-sides and including tracks recorded as far back as 1965. Perhaps surprisingly, it's also one of his best albums."

The Delta Sweete – BOBBIE GENTRY****

Okolona River Bottom Band/Big Boss Man/Reunion/Parchman Farm/Mornin’ Glory/Sermon/Tobacco Road/ Penduli Pendulum/Jessye Lizabeth/Refractions/Louisiana Man/Courtyard

The Delta Sweete was the follow up album from Southern country pop vocalist Bobbie Gentry. Although the LP was critically well received its lowly album chart placing was quite a contrast with her chart topping debut. The record buying public can be very fickle at times. (US:132)

“Delta Sweete is a superb example of Gentry's artistry at work, featuring the bold and brassy Okolona River Bottom Band, the melodious Mornin' Glory and outstanding covers of Louisiana Man, Tobacco Road and Parchman Farm.”

“Here is an original, creative artist at the top of her game, who somehow slipped through the cracks in the general public's collective imagination. What we have here is a solid album of wonderful, swampy country-pop music that is wholly unique, sung in a rich, smoky contralto voice that could not be mistaken for anyone else.”

“As a whole, the singing and arrangement are exceptional. Ms. Gentry had a brief and much undervalued career, but she truly did know how to sing and how to make a song her own.”

“Bobbie's conversational songwriting is folksy and somewhat appealing, if not all too precious. I admire her for producing and arranging this ambitious suite of material, and also for incorporating blues chestnuts like Parchman Farm and Tobacco Road into the mix. However, it was not the lost masterpiece I was half expecting.”

“Tracks like Courtyard and Mornin' Glory on this wonderful album, have me coming back to Bobbie, and falling in love every time. She should be considered as one of the very best loner troubadours in pop music, instead of a marginal one-hit wonder. The best music here is blissful orchestral-pop of the highest class, and Bobbie is one of the coolest femme fatales of the era. The time to discover her is now, so pick this one up and live in Bobbie's world of magical melancholy and a mythical south.”

“Fantastic album, featuring original compositions, as well as several well known bayou standards. The 'suite' concept works great here, and every song is well suited to the vocal style of Bobbie Gentry.”

Conspicuous Only In Its Absence – THE GREAT SOCIETY***

Sally Go Round The Roses/Didn’t Think So/Grimly Forming/Somebody To Love/Father Bruce/Outlaw Blues/ Often As I May/Arbitration/White Rabbit

The Great Society are remembered as the group that launched the career of vocalist Grace Slick who found fame with Jefferson Airplane. Conspicuous Only In Its Absence was recorded at the San Francisco Matrix Club in 1966 and includes the original versions of Somebody To Love and White Rabbit. (US:166)

“Conspicuous Only In Its Absence was recorded live at the Matrix back in 1966 but was not released until 1968. Before the Airplane released their huge hits Somebody To Love and White Rabbit The Great Society performed them live in San Francisco. Their White Rabbit is unbelievably great, even more psychedelic than the more famous Airplane version. Apart from these two songs the ultimate highlights are Sally Go Round The Roses, which is just mind-blowing. Didn't Think So and Often As I May are also impressive. The rest of the songs are solid too without any filler. Just great psychedelic rock jamming, enhanced by Grace Slick's awesome vocals.”

“Grace Slick is my all time favourite female singer and here is one hell of a strong psychedelic rock album by her and The Great Society. The whole group plays tight and that can’t be anything else but awesome."

“Primitive versions of Somebody To Love (a dull take indeed) and White Rabbit; mostly live, the first of two archival records from Columbia put out to exploit Grace Slick's success as singer of the Airplane. Raw performances, improvised solos, but the musicians are not very skilled and most of the material is generic psych-pop.”

“I am a fan of Jefferson Airplane, and though this band is not as sophisticated it is still an important one. It was definitely experimental, one that pushed boundaries, something that not too many were brave enough to do. The songs are edgy for the time and obviously a building block for Grace Slick's later greatness.”

“Recorded live on what appears fairly rudimentary equipment in San Francisco's Matrix Club in 1966, the sound quality is much better than you could reasonably expect, but still pretty basic. The group can certainly play, but their sound is closer to a highly competent garage band than the sophisticated musical interactions of Jefferson Airplane which, of course, with the exception of Grace Slick, they're not.”

The Circle Game – TOM RUSH****

Tin Angel/Something In The Way She Moves/Urge For Going/Sunshine Sunshine/The Glory Of Love/Shadow Dream Song/The Circle Game/So Long/Rockport Sunday/No Regrets

Singer songwriter Tom Rush played a prominent part in the late 1960s American folk scene. The Circle Game is considered to be his most highly regarded release. (US:68)

"Part folk, part blues, a little bit country, even a little rock and pop flavour, this one had it all. He taught us who Joni Mitchell was before she could sell us records on her own, and did the same for James Taylor, Jackson Browne and others. He found and elevated young songwriters of genius, sang well, played great guitar, took his time with the tunes. Rush balanced fun and melancholy, a beat and thoughtfulness, better than anyone else at that time. It is still a hugely enjoyable record, and worth owning if you like this kind of art."

"The album is quintessential Tom Rush. The songs are moody and evocative, and they carry you along from beginning to end."

"It is hard for me to find the perfect adjective to describe this collection. Timeless, intimate, subtle, exceptional. Slightly melancholy but never maudlin, it grows more complex with each passing year. No better example of late 60s 'electric folk' is available. Perfect on a coming of winter morning."

"Probably along with Judy Collins, Tom Rush was one of the people who started the folk-scene but got lost along the way when newer artists like Joni Mitchell took over with original material. Not that Tom didn't write his own songs, No Regrets stands as the best track on this album."

"The Circle Game is one of the strongest singer-songwriter recordings to come from this time period, which still sounds amazingly fresh today. There are three things that separate Rush from his contemporaries, and from the legions of singer-songwriters that would follow: 1) a voice that has the ability to capture intensity of emotions, 2) great guitar playing and a terrific backing band and 3) solid songwriting skills. On this release he contributes two gems Rockport Sunday, a wonderful guitar instrumental and No Regrets, arguably Rush's finest work."

"A masterpiece. Rush is an outstanding guitarist and singer, and the arrangements are superb. Everything magically came together for Rush on this recording."

Child Is Father To The Man – BLOOD SWEAT & TEARS*****

Overture/I Love You More Than You’ll Ever Know/Morning Glory/My Days Are Numbered/Without Her/Just One Smile/I Can’t Quit Her/Meagan’s Gypsy Eyes/Somethin’ Goin’ On/House In The Country/The Modern Adventures Of Plato Diogenes & Freud/So Much Love-Underture

Child Is Father To The Man was an excellent debut album from the influential New York based jazz-rock ensemble Blood Sweat & Tears. Founder Al Kooper left after this release. (US:47)

"Child Is Father To The Man is a concept album, with very eclectic material, heavily tinged with jazz, blues, bossa nova and psychedelic rock. The work makes us understand how vast and rich was the band's repertoire, perhaps too large to fit on a single album; technically, a very difficult album to record."

"Kooper’s participation in the band he founded was short but sweet, as the album produced with him was one of the best of its era, and far different from the mega hit albums that would follow after his exit. Child Is Father To The Man would fuse rock, rhythm & blues, jazz, and even some classical elements with a brass section, into a unique sound. The music was a brilliant and eclectic hodgepodge that somehow all fitted together. It remains an interesting piece of music history, vastly different from most of what was being released at the time, and remains an essential listen today."

"Utterly fantastic, soulful, bluesy jazz-rock masterpiece from perhaps the originators of the genre. Stunningly solid all the way through and overflowing with musical ideas and creativity. I can't throw enough clichéd praise at this album."

"Child Is Father To The Man stands apart from the music of the band's contemporaries. The music is a fusion of progressive, psychedelic, blues and jazzrock. There are even elements of lounge music, and occasional orchestration adds to the mix. The listener is guaranteed diversity."

"This Al Kooper led band is very different from the later David Clayton-Thomas led BS&T, so much so that it should be thought of as being made by an entirely different band. So, taking this album for what it is, on its own merits, this is a masterpiece, with terrific songs, unique and magnificent arrangements."

"The music was a fully realized compendium of a lot of Kooper's ideas with the Blues Project: jazz fusion, contemporary rhythm and blues. One wonders what BS&T could have accomplished, had the band remained under the leadership of Al Kooper's bold, experimental and often eccentric vision."

A Long Time Comin’ – THE ELECTRIC FLAG***

Killin’ Floor/Groovin’ Is Easy/Over Lovin’ You/She Should Have Just/Wine/Texas/Sittin’ In Circles/You Don’t Realize/Country/Easy Rider

A Long Time Comin’ was the debut album from the Chicago blues rock group The Electric Flag and comprises a sometimes uneasy fusion of rock, jazz and R & B. (US:31)

“A little too brassy, and seems to lack direction in places. It's listenable, but if you want to hear some good Mike Bloomfield, maybe you should start with the Butterfield Blues Band.”

“While the West Coast got most of the press in the late 60s, there was a lot going on back east as well. One of the best was the short lived Electric Flag formed by guitarist Michael Bloomfield. Coming along for the ride were the likes of Buddy Miles, who of course would go on to be part of Hendrix's Band of Gypsies, and a host of other musicians. These guys had a deep appreciation of 50s and 60s R & B and soul, brought it into the studio, and produced a couple of fine LPs. This was the first, and it's a good one.”

“When this album first appeared in early 1968, underground free form FM radio was in its heyday and the songs on A Long Time Comin' were a mainstay. AM radio didn't know what to make of a band that combined blues, folk, jazz, rock and at times even classical modes in a sound that was astounding.”

“This album is something of a contradiction in styles, mixing gritty blues with Buddy Miles' pop-soul influences and a bit of '60s psychedelia.”

“After a fairly strong Killin’ Floor, the album sinks into a three-song doldrums of psychedelic candy-pop. Hardly a sound from Bloomfield's guitar on these tracks, either. It returns to form with Wine and Texas, but then splutters along as the band tries to make up their mind about what genre they are playing in. Bloomfield shows up on and off, and Buddy Miles has a few good singing parts, but even those tracks that hold their own fail to coalesce into a compelling album.”

“Like a shooting star, Electric Flag appeared on the scene then were gone before anyone realized it. The legendary Mike Bloomfield was near his peak and Buddy Miles was coming into his own as an innovative drummer.”

Would You Believe – BILLY NICHOLLS***

Would You Believe/Come Again/Life Is Short/Feeling Easy/Daytime Girl/Daytime Girl (Coda)/London Social Degree/Portobello Road/Question Mark/Being Happy/Girl From New York/It Brings Me Down

Would You Believe was the sole album release from London pop singer Billy Nicholls. All the tracks are his own compositions, performed in a breezy swinging style typical of the period.

“This is 'just' an album of pop songs, but what songs. Buried in monolithic Spectoresque echo, sweeping strings and soaring harmonies, this album is a distillation of a time - whatever made swinging London swing is captured in these tracks.”

“It's Andrew Loog Oldham's finest production job. Great songs, singing, vocal arrangements, killer guitar playing and beautiful strings.”

“Would You Believe features Nicholls' own songs, full of strings, tuba, sleigh chimes, all the bells and whistles you would expect on a 1968 baroque pop album. Most of these tracks are condensed songs with a folk-pop base, which Nicholls filters through his orchestrations. His constructions are solid and simple, and these bare bones lend themselves perfectly to his tasteful, layered arranging. The strings are classical, not easy listening, and the chimes melodic, not sappy. This creates beautiful, high end pop.”

“While the music, arrangement and production are top-notch, the songs are not so memorable. Where are the hooks and killer choruses? There aren't any. The vocals are often buried and very average. The lyrics aren't noteworthy. The sound here is 60s pop all the way. The material however is average at best.”

“The songs are all fairly short and breezy but they're so beautiful and well-arranged you can't help but feel pretty good listening to it. Incredibly consistent, although if pressed to choose a standout I might go with Girl From New York, featuring scorching guitar.”

“There aren't many records that can transport you to a place and a time as immediately as this one does. It's London, it's the swinging 60s, it's an exercise in basic songwriting, nothing radical, nothing profound, nothing that departs from the accepted norm of the pop-rock song. Indeed, its strength lies in its consistency.”

Who Will Answer? – ED AMES***

Who Will Answer/Blowin’ In The Wind/Yesterday/Monday Monday/Pale Venetian Blind/Massachusetts/I Wanna Be Free/Cherish/The Other Man’s Grass/Can’t Take My Eyes Off You/There’s A Kind Of Hush

By the late 1960s the album charts became increasingly dominated by rock acts. However, there was still a place for more traditional artists albeit with more uptempo material, such as Ed Ames's Who Will Answer? with the title track a US No. 19 hit single. (US:13)

"Nine of the album's eleven tracks were 'adult-pop' covers of recent 'young people's' hits. Monday Monday, I Wanna Be Free and Massachusetts come off best; Ed overdoes it on Blowin' In The Wind and Yesterday, and seems uncomfortable with The Other Man's Grass, And though he does his best with it, Cherish just isn't suited to a solo voice. As 'adult' renditions of 'young sounds' go, this isn't bad; Ed actually seemed to have some feel for the music."

"While Ames sounds out of place on Blowin' In The Wind, Yesterday and Monday Monday, the overall quality of the material is quite high."

"Who Will Answer is a series of bad cover versions of pop songs. It's not Ed Ames' fault that the cover versions are bad; in most cases the songs are associated closely with the original groups that performed them. Who Will Answer is an easy-listening protest song which sounds almost laughable today."

"Ed Ames' deep voice offers male vocals at their best. The immensely thoughtful and reflective Who Will Answer? provides a stunning target for his talent." "A lot of these are songs made famous by others. He brings a great touch to them."

"The title song is a strong and forceful protest song, with a very clever arrangement that varied from Gregorian chant-like sections to a pounding modern beat. And I give Ed Ames (and staid old RCA) credit for recording such a hip (for the time) protest single. Ed's voice is tremendous. Monday Monday and Massachusetts are also very good and relatively reminiscent of the original recordings by the original artists to be familiar and feel good. All in all this is a great album that showcases a strong, rich baritone."

Valley Of The Dolls – DIONNE WARWICK***

As Long As There’s An Apple Tree/Up Up & Away/You’re My World/Valley Of The Dolls/Silent Voices/Do You Know The Way To San Jose/For The Rest Of My Life/Let Me Be Lonely/Where Would I Go/Walking Backwards Down The Road

Valley Of The Dolls finds Dionne Warwick less dependent on Bacharach & David songs. This did not prevent it becoming her most commercially successful album. The title track was a US No. 2 hit single, and Do You Know The Way To San Jose was a US No. 10 and UK No. 8 hit. (US:6 UK:10)

"Some soft easy listening that is average or better, with some awesome orchestral explosion songs such as You're My World, For the Rest Of My Life and Let Me Be Lonely."

"Dramatic ballads here, but melodies are weaker than on past magic albums while the voice is systematically pushed."

"One of the most original voices and smartest phrasings I have ever heard on popular music. Surely the title song of Valley Of The Dolls pairs her best renditions, an impressive and strong performance I have never forgotten. Two interesting Bacharach-David originals also come from this album: As Long As There's An Apple Tree and Do You Know The Way To San José. Also features a version of Jimmy Webb's Up Up & Away. Finally, this album offers one interesting song which Ms. Warwick sang in the San Remo Festival - Silent Voices."

"They don't write them like Valley Of The Dolls anymore. Splendid composition, seamless time signatures, vocal finesse, uplifting with gentle breaks. Like a beautiful soft breeze. It gives me goose bumps when Dionne breaks into the heart of the song. Magical."

"Dionne's range of voice is superb, but what really sets her apart is her uncanny ability of mood projection. Dionne in this album, and in nearly every one she produced, highlights this ability. This is an outstanding example of Dionne's placing her listener inside the atmosphere of what the music is intending to transcend. Musically Dionne reaches her audience's heart, mind and soul as well as any actor/actress of the theatre. She is without question The Queen of Romantic Soul."

Ultimate Spinach – ULTIMATE SPINACH***

Ego Trip/Sacrifice Of The Moon/Plastic Raincoats-Hung Up Minds/(Ballad Of The) Hip Death Goddess/Your Head Is Reeling/Dove In Hawk’s Clothing/Baroque No.1/Funny Freak Parade/Pamela

The self titled debut album from the Boston psychedelic rock group Ultimate Spinach. The track Hip Death Goddess is considered to be an excellent incursion into psychedelia. (US:34)

“Ultimate Spinach use a lot of instruments to create a nice psychedelic sound. The most unusual one is the theramin. Barbara Hudson has a great singing voice and they create a nice atmosphere in the music.”

“Ultimate Spinach's self-titled debut is a breathtaking totality with awesome song structures, cool sounds and everything. Simply its just an incredible psychedelic rock album.”

“What you have here is nine tracks of psychedelic wonder- the songwriting is just fantastic. Hip Death Goddess has to be one of the most mystifying psych tracks of the era, marrying a slippery bass line with icy, other-worldly vocals, surrounded by face-melting guitar acrobatics and intoxicating keyboard wooshes. Sacrifice Of The Moon is equally wonderfully, a spellbinding instrumental.”

“Ballad Of The Hip Death Goddess is everything psych should be - ethereal, but still rocking out. It's beautiful. The rest is pretty good, excepting Funny Freak Parade - ever notice how late-'60s bands thought they had to include an obligatory vaudevilleesque, 1920s-esque parody tune?”

“Pop psychedelia on the sillier side. The music's not too bad, just don't pay too much attention to those elementary lyrics. Some nice little numbers here that would have worked better as singles. Check out the eight minute Hip Death Goddess for a bouncy groove, complete with bass falling in and out of the pocket.”

“The musicianship is OK but they don't really go anywhere, and the lyrics are so dated and corny. Moderately listenable, it helps if you really like this era of 60s rock. A lot of it just sounds a little too heavy handed in its hippieness. One song, Baroque #1 is a nice organ dominated jam with some interesting moves and nice harmonica, but it lasts less than five minutes, and that's just not enough to recommend a whole album.”

Tomorrow – TOMORROW***

My White Bicycle/Colonel Brown/Real Life Permanent Dream/Shy Boy/Revolution/The Incredible Journey Of Timothy Chase/Auntie Mary’s Dress Shop/Strawberry Fields Forever/Three Jolly Little Dwarfs/Now Your Time Has Come/Hallucinations

Self titled sole album from the London progressive group Tomorrow. More influential than commercial, guitarist Steve Howe would later find fame with Yes. My White Bicycle reached the UK top twenty when covered by Nazareth, and vocalist Keith West had a huge hit with Excerpt From A Teenage Opera.

"This remains one of my more satisfying psychedelic album purchases. Tomorrow were one of the leading London underground sixties psychedelic bands.”

“The music is typical British 1960s psychedelic style. Most of the songs are catchy and melodic, featuring great guitar work by Steve Howe. Their career as a band was more or less spoiled by the success of singer Keith West as a solo artist with his Teenage Opera project.”

“Tomorrow left us with an album which captures the mood of 1967/68 in London perfectly, in that it is ever so jolly and marvellously trippy. In time it must surely rank alongside the great British albums from the period.”

“Tomorrow were highly accomplished musicians with a strong grasp on psychedelic music. They were inventive, professional songwriters. Every track is a gem that will be loved by anybody who appreciates good music of any genre.”

“A surprisingly fresh dose of late 1960s rock from the psychedelic slipstream. The titles and lyrics reveal a band wallowing in a world of British nostalgia laced with something exotic. Songs of colonels and aunties sit alongside dreams, hallucinations and revolution. Musically though it doesn't travel back to the music hall. Instead, Steve Howe's inventive, crunchy, pre-Yes guitar colours the sound behind some fine melodies and Keith West's animated vocal delivery.”

"A typically British piece of psychedelic rock. Steve Howe's guitar playing is inventive, and the three musicians gel together pretty fine. Also, most of this is well produced. On the downside, these three guys don't really seem to have any ideas of their own. It's all Beatles based, with touches of The Who, Pink Floyd, Cream, Kinks and whatever else was in vogue at the time.”

The Graduate – SOUNDTRACK***

The Sound Of Silence/The Singleman Party Foxtrot/Mrs Robinson/Sunporch Cha-Cha-Cha/Scarborough Fair- Canticle/On The Strip/April Come She Will/The Folks/Scarborough Fair-Canticle/A Great Effect/The Big Bright Green Pleasure Machine/Whew/Mrs Robinson/The Sound Of Silence

The Grammy winning soundtrack from the hugely successful film The Graduate starring Dustin Hoffman. Since all the best songs can be found on the original Simon & Garfunkel albums, it is really for avid fans only. (US:1 UK:3)

"Half of the score on this original soundtrack album are from the famous folkies Paul Simon and Art Garfunkel. There is The Sounds of Silence in two versions (the hit single one and the acoustic one), the ancient sounding Scarborough Fair/Canticle and a great version of The Big Green Pleasure Machine. The other part of the score goes to Dave Grusin and his orchestra, performing nice little swinging tunes."

"Lest we forget, The Graduate is a soundtrack, which naturally tend to be inconsistent and riddled with filler. This probably could have been a great soundtrack. Instead, it's a missed opportunity. You're better off buying Simon & Garfunkel's Greatest Hits."

"If you're looking for a good collection of Simon & Garfunkel tunes, you probably want to pass this by. Although there are a few S & G favourites here, most are special film versions that don't always work on their own. The other half of the soundtrack employs a delightful lounge-type orchestral score by jazz musician and composer Dave Grusin. These instrumental tracks, consisting of foxtrots, cha cha's and the like, when used in the film, represent the world of the adults, while the S & G tunes represent the fears, frustrations and concerns of the younger generation. However, the Grusin tracks do work well, they are fun, bouncy and infectious."

"Forget about the boring Dave Grusin tracks and just concentrate on the songs by Simon & Garfunkel, providers of the greatest vocal harmonies on the face of the Earth. I don't know how Simon does it, but he manages to create an atmosphere of ineffable beauty and enchantment."

"The Graduate soundtrack is a mix of lounge-music orchestral highlights, and versions of S & G songs. It is fun to listen to the differences since they feel like alternate versions, and not repetitious. Probably not for the casual S & G fan."

The Good, The Bad & The Ugly – HUGO MONTENEGRO***

The Good The Bad & The Ugly/March With Hope/The Story Of A Soldier/The Ecstasy Of Gold/Theme From A Fistful Of Dollars/For A Few Dollars More/Aces High/The Vice Of Killing/Sixty Seconds To What/Square Dance/ Titoli

The Good, The Bad & The Ugly comprises US conductor Hugo Montenegro's interpretations of Ennio Morricone tunes from recent Western movies. The title track reached No. 2 in the US and No. 1 in the UK, its popularity leading many non western fans to mistakenly believe that it was lifted from the original soundtrack. (US:9)

"Most Morricone purists will view this collection as a sham, but these versions are really quite excellent. I find myself enjoying these just as much as the originals. The tracks are beautifully arranged with Montenegro's pop flair (organs, guitar, trumpets and stirring albeit dated vocals). In some cases, Montenegro's interpretations are even more punchy and emotional than the originals. Aside from the big hit single, highlights include the gorgeous rendition of A Fistful Of Dollars, the frenetic, jazz flavoured Aces High and the Duane Eddy-ish twang on The Vice Of Killing."

"While respect must be paid to the original themes composed by the wonderful Ennio Morricone, Hugo Montenegro and his excellent orchestra must be congratulated for what is a very easy listening, almost groovy re-working of Morricone's work. A great re-interpretation. I just love Aces High. Highly recommended."

"The music is so rich and vibrant, it consumes your whole being. The combination of instruments blends so well that you enjoy listening over and over again."

"Can't think of one good reason why anyone should listen to Montenegro's flat and stale versions of these gorgeous tunes, while all the original and really innovative ones by their composer, Ennio Morricone, are readily available. Don't go for bad imitation, get the real thing."

"Pleasant enough listening, but after hearing the original, this is a watered-down version with none of the haunting, sharp and unique sound of the originals."

Peter Green’s Fleetwood Mac – FLEETWOOD MAC****

My Heart Beat Like A Hammer/Merry Go Round/Long Grey Mare/Hellhound On My Trail/Shake Your Moneymaker/Looking For Somebody/No Place To Go/My Baby’s Good To Me/I Loved Another Woman/Cold Black Night/The World Keeps On Turning/Got To Move

Eponymous first outing from the legendary Fleetwood Mac led by former Bluesbreaker guitarist Peter Green. The emphasis is clearly towards the blues, both originals and covers. (US:198 UK:4)

"Pretty solid debut album here from Fleetwood Mac. Its a shame most of the radio listening masses have no idea that they started out as a great British blues rock band. I have no problem with the mid to late 1970s Fleetwood Mac but I feel this era of the band is the best. This is a very consistent album featuring Peter Green on guitar and lead vocals. For anyone who hasn't heard this era Fleetwood Mac I would suggest checking them out."

"Some really good stuff here, but it's uneven. The playing is good from all involved, but other than Peter Green's guitar solos, there isn't really much to make it stand out as anything more than just pretty standard blues."

"Unbridled enthusiasm, immense talent and a deep reverence for Elmore James. What more could you ask for from a young blues rock band? Peter Green, Jeremy Spencer and Fleetwood Mac (yes, they were a great blues band before female singers started coming out of the woodwork) were raucous and rowdy, and songs like Shake Your Moneymaker and Spencer's Heart Beat Like A Hammer are incredible fun."

"Some fine blueswailing, but it's easy to see why they didn't maintain their status as a blues band for very long."

"This album is a bottle of raw basic old British whiskey. Noisy guitars near saturation. Have a look at this dog in a dirty street."

"By the time of the establishment of Blue Horizon records, most people buying blues music had moved on to the more finessed work of Cream and Ten Years After. Peter Green was almost a last bastion of pure British blues and he knew it. There is a great band here trying to take things seriously but, having not moved on with the money men, sound like spoilt brats having had their toys taken away."

Once Upon A Dream – THE RASCALS****

Intro/Easy Rollin’/Rainy Day/Please Love Me/Sound Effect/Its Wonderful/I’m Gonna Love You/Dave & Eddie/My Hawaii/My World/Silly Girl/Singin’ The Blues Too Long/Bells/Satva/Finale: Once Upon A Dream

Once Upon A Time was released when the New York pop/rock group The (Young) Rascals were at the peak of their popularity. Includes the US No. 20 hit single Its Wonderful. (US:9)

"It's Wonderful was a hit record, but it is certainly not the best cut. Rainy Day, Silly Girl, My Hawaii and the title track are simply beautiful songs. Felix Cavaliere and Eddie Brigati, the principal songwriters of the group, have never written better music. I followed their musical development very carefully for the rest of the group's professional life, and this album was by far their best effort."

"The Rascals do it again, only this time the band shows its utmost versatility with outstanding arrangements (Singin' The Blues Too Long) lyric content, and the groups ultimate message - world peace at a time when the world was holding its breath. Yes, The Rascals, America's very own Beatles, but with much more soul, funk and rock & roll."

"Once Upon A Dream is a wonderful album for any age group. There are no tracks that you will have to fast forward - they all are great, from a group at the height of their artistic success."

"Once Upon A Dream was The Rascals fourth album, and the first to drop the word 'Young' from their moniker; but it's more than a name change. Released in February 1968, the quartet took the easy, textured feel of their previous single, Groovin', and the deeply felt influence of The Beatles Sgt. Pepper's album, and put their own spin on it by adding their trademark blue-eyed soul and jazz influences to the mix of psychedelia. This was conceived of and recorded as an album, whereas their previous trio of full-lengths had been collections of singles with other tracks (many of them excellent) to fill the gaps."

"This band was not to be denied during the 60s craze of psychedelic happenings. The Rascals decided to turn us on with a mixture of mysticism and love. Every song on this album is excellent vocally as well as melodically. Felix and the band are true masters of turning on the listener."

Look Around – SERGIO MENDES & BRASIL ‘66*****

With A Little Help From My Friends/Roda/Like A Lover/The Frog/Tristeza/The Look Of Love/Pradizer Adeus/ Batucada/So Many Stars/Look Around

Jazzy lounge bossa nova was immensely popular with adult audiences in the late 1960s. One of the most successful exponents was Sergio Mendes, as demonstrated by his Look Around LP which includes the US No. 4 hit The Look Of Love. (US:5)

"If you like bossa nova and Brazilian jazz, played at a more loungy style, with soft vocals, with light accents, then this is for you. If you are a hipster with style, class and like the retro styles then this is for you. This is beautiful, timeless, slightly campy and kitschy bossa nova space age pop and jazz from the 60s."

"Look Around was recorded during a time when musicians and composers were keen on experimenting with new sounds, rhythms and ideas. They had at their disposal a receptacle in top 40 radio that had not yet been completely taken over by marketing geniuses determined to narrow music into 'focus group' packages so that they could sell more car insurance to the selected demographic. Although brief by today's standards, there is truly not a bad cut on the album. Some of the selections might seem borderline schmaltzy to the uninitiated, but a careful listen with uncover a wealth of timeless treasures."

"What makes Sergio Mendes and Brasil '66 so likable, makes not liking them almost perverse, is they could take virtually any material, add a Latin spice, a supernatural sense of melody, and make them sound both utterly hip and utterly embracing."

"Sunny, poppy, not too sugary, bossa beats. It's the spot-on female chorus that makes this easy-listening of the first order."

"You are transported to Rio De Janeiro, the warm tropical breezes, heavenly scents of coconut and guava, the sweet air-heaven, in other words. This is music that makes your heart dance. (How much music, today, does that for you? I can't think of much). It's the winning combination of Lani Hall's lead vocals, the excellent percussion and the versatility in song styles that makes this album so special."

Lady Soul – ARETHA FRANKLIN*****

Chain Of Fools/Money Won’t Change You/People Get Ready/Niki Hoeky/(You Make Me Feel Like) A Natural Woman/Since You’ve Been Gone/Good To Me As I Am To You/Come Back Baby/Groovin’/Ain’t No Way

Aretha Franklin continued her winning streak with the hit laden album Lady Soul. Includes four US top twenty singles, Natural Woman, Chain Of Fools, Since You've Been Gone and Ain't No Way. (US:2 UK:25)

"You can't listen to this album and not sing along at full voice. The intensity of the soul is amazing. Not only that but the musicianship of her backing band is excellent."

"Following the success of I've Never Loved A Man Atlantic Records rushed out Aretha Arrives to quickly capitalize on that momentum. However, most people view Lady Soul as its proper follow up. This time, the band and the sound is much bigger. There are horn sections and lush strings. Aretha adapts to these changes with gusto, producing some of her most memorable songs, like Chain Of Fools and Natural Woman which, like Respect, has become a feminist anthem. Lady Soul doesn't pack the visceral wallop of I've Never Loved A Man, but is yet another solid vehicle for Franklin's earth-rumbling voice."

"Well if you are looking for the definitive soul versions of songs like Chain Of Fools, which is spectacular, and Natural Woman, this is where to find them. Aretha's voice is so self-assured and strong, she just belts out these songs like there's no tomorrow. I can't imagine anyone finding fault with any of them."

"This album is the definitive late 60s Aretha Franklin - bold, beautiful, vulnerable, earthy, defiant, spiritual and strong. All these qualities and quite a bit more are conveyed by that marvellous voice and piano."

"This is a stunning album. Aretha has one of those voices that can make you feel whatever it is she is singing about. It's no wonder she is considered the queen. She puts other divas to shame with her great voice. Every song is just so good here."

"On Lady Soul there is once again a combination of newly composed songs and famous covers, Overall, another album, another classic by one of our greatest female singers to date."

The Inner Mystique – CHOCOLATE WATCH BAND***

Voyage Of The Trieste/In The Past/Inner Mystique/I’m Not Like Everybody Else/Medication/Let’s Go Let’s Go Let’s Go/Its All Over Now Baby Blue/I Ain’t No Miracle Worker

The Inner Mystique was the follow up album from the Californian psychedelic rock band Chocolate Watch Band. They started as a garage rock band and their earlier influences can still be found here.

“Inner Mystique is perfect for the music lover who romanticizes about the rock & roll revolution of the sixties. With each listen, this sucks you into the portal of what that decade was all about politically, socially and musically. It's rebellious and innovative.” “One can embrace this album in two different (but equally satisfying) ways, as a showcase for some of the Watch Band's best sides surrounded by some filler, or as an overall spaced-out, psychedelic/punk experience.”

“Overall it's a normal garage band standard. The covers are not very inspiring, to be frank, usually with some hard-rock or garage rock feel. However, the first three tracks really shine, and these three raga-psychedelic songs are excellent examples of quality music.”

“The group floated apart evidently and the producer took leftover songs and mixed them with psych out songs that are pretty cool but not of the bands doing. They were a garage band and that's what they were truly about and not hippiedom really, which was just a backdrop. This is well worth owning, you get some cool garage rock songs and some psych rock songs.”

“Just as the debut was a mixture of raw garage rock and atmospheric psych rock and so is The Inner Mystique. It's a bit backwards considering the time of release this one has a bit more of the garage variety than atmospheric psych. All of it top shelf. They still have that snarling, menacing sound and that's the ingredient that takes it to a higher level.”

“With their second album Chocolate Watch Band continued to deliver the same psych/garage oriented sound. But this time the psychedelia is the dominant style here, even if the garage influences are still very clear. Although not one of my ultimate psychedelic rock favourites but overall the record is solid as a rock.”