My People Were Fair – TYRANNOSAURUS REX****

Debora/Hot Rod Mama/Scenesof/Child Star/Strange Orchestras/Chateau In Virginia Waters/Dwarfish Trumpet Blues/Mustang Ford/Afghan Woman/Knight/Graceful Fat Sheba/Weilder Of Words/Frowning Atahualpa

Before he became a glam rock teen idol Marc Bolan released several psychedelic folk albums. My People Were Fair includes the single Debora which peaked at No. 7 in 1972. (UK:15)

"Bolan's busy and brittle debut, as he warbles his childish ditties in his weird voice, works far better than it should."

"Fun and quirky, with some strange high pitched singing. The songs are short and catchy, standouts being Child Star, Dwarfish Trumpet and Weilder Of Words. It sounds like the guys are having a good time making this album."

"I'm completely in love with this record, though when I was listening to this the first time, I turned down the sound so my neighbours wouldn't think I'm insane, listening to some special kind of music for madmen. I soon got into Bolan's voice, and now think that his bleating is damn perfect."

"The songwriting is wonderful, and Bolan's outstanding vocals combined with the sparse, and quite original, acoustic arrangements create a really unique atmosphere. I absolutely love it when they go off on two or three chords and he just starts wailing random sounds. Really great stuff. A couple of the songs are a little weak, but overall this is a very enjoyable listen."

"Trippy, psychedelic, folk, weird, but, above all, very interesting and creative album." "It really is a 'magical' album, it works like a spell: it transports you, it whirls your head around and fills you with its swirling inflections, and it all seems like one mystical, marvellous, lyrical poem."

"This is the template for the Bolan sound. Marc's high speed strumming, various, exotic percussion, and that voice. This music is difficult for many to take seriously, but Marc was genuinely as strange as his music would suggest. This gives an authenticity and charm to songs that would otherwise come across as self-indulgent and contrived. No one else could have pulled off these bizarre arrangements and abundant jibber-jabber as convincingly or with so much style."

Greatest Hits – LORETTA LYNN*****

Don’t Come Home A Drinkin’ (With Lovin’ On Your Mind)/Before I’m Over You/If You’re Not Gone Too Long/Dear Uncle Sam/The Other Woman/Wine Women & Song/You Ain’t Woman Enough/Blue Kentucky Girl/Success/The Home You’re Tearin’ Down/Happy Birthday

The first compilation LP from the Kentucky country star Loretta Lynn. As a songwriter she often focussed on issues concerning working class women and the problems they faced.

“Lynn's early records at Decca like Wine Women & Song and Blue Kentucky Girl were very much in the traditional female country vein and had a subservient theme. 1965's You Ain't Woman Enough and 1966's Don't Come Home A Drinkin' drastically altered that doormat persona. From then on, Lynn would become a voice and role model for women everywhere.”

“I love Loretta Lynn's voice, lyrics and most of all, the fact that she is so true to herself. She doesn't try to use correct grammar in her songs or employ vocal tricks to add drama. Her voice is so natural and pure.”

“Loretta Lynn is a wonderful lyricist and melody maker. Each song is infused with her own wit and realism. Although her husband brought her 'out' into the world, had it not been for talent, there would have been nothing to bring out. This is a classic album of her talent.”

“Perhaps her incredible music stems from the fact that her marriage and personal life wasn't always pretty; she has experienced ups and downs along the way in life, and I think that helps her sing and write songs straight from the heart. Indeed, Loretta performs so well many people can identify with her feelings in everything she sings.”

“At a time when radio is glutted with manufactured country stars who rely more on pro-tools than professionalism, a spin through Loretta Lynn's Greatest Hits is a refresher course on the bedrock of the genre.”

“Make no mistake, Loretta Lynn was a feminist at a time when that wasn't easy, especially in ultra conservative country radio. I'm talking about someone being a strong woman and not taking any nonsense from anybody. This music must have given comfort to thousands of repressed young rural women who could never have expressed these sentiments themselves.”

Journey To The Centre Of The Mind – THE AMBOY DUKES***

Mississippi Murderer/Surrender To Your Kings/Flight Of The Byrd/Scottish Tea/Dr Slingshot/Journey To The Centre Of The Mind/Ivory Castles/Why Is A Carrot More Orange Than An Orange/Missionary Mary/Death Is Life/ Saint Philip’s Friend/I’ll Prove I’m Right/Conclusion

The second and most successful album from the Detroit hard rock group The Amboy Jukes. Journey To The Centre Of The Mind features the title track US No. 16 hit single. Guitarist Ted Nugent would find solo success in the late 1970s. (US:74)

“There aren't a whole lot of highlights, save the title track, which features one of the finest electric guitar performances of the psychedelic era, matched by some of the finest psychedelic lyrics ever penned, matched by one of the heaviest bridge segments ever committed to vinyl.”

“The Amboy Dukes were predominantly guitarist Ted Nugent's project, but at this point rhythm guitarist Steve Farmer also had a crucial role being the one who leads the album towards psychedelia. Musically, there are more or less two styles 'fighting' to be dominant. On tracks like Mississippi Murderer, Flight Of The Byrd and Dr. Slingshot Nugent shows his strong roots in blues, and demonstrates what an excellent guitarist he is. Another part of the album is however strongly influenced by psychedelic currents, both European and American. For me it is this part of the album which is really interesting. The title track is psychedelia at it's best - melodic and catchy.”

“The vocals and guitar are great, and the 'journey' of blended songs on the second part is very well done. The lyrics are strange and sometimes meaningless, but that is what 60s psychedelic music was all about.”

“I’m almost disappointed that the idiot Ted Nugent is so damn good here. Maybe he wasn’t as stupid back in those days. Side A, which mainly seems to be Nugent’s show, is great, whilst side B is filled with slower, bland psychedelic songs. Decent enough though.”

"Side one suggests a pioneering HM hard rock classic - a real rarity in 1968 - side two however is unrecognisable as the same band - a naff piece of conceptual pseudo-psychedelia at its worst.”

Hickory Holler Revisited – O. C. SMITH***

The Son Of Hickory Holler’s Tramp/Sitting On The Dock Of The Bay/Main Street Mission/By The Time I Get To Phoenix/Long Black Limousine/The House Next Door/Little Green Apples/Take Time To Know Her/Honey(I Miss You)/The Best Man/Seven Days

R & B vocalist O.C. Smith had to wait a long time before his short lived commercial breakthrough came in 1968. Hickory Holler Revisited was his highest placed LP and contains the US No. 2 Little Green Apples and the UK No. 2 Son Of Hickory Holler's Tramp. (US:19)

"O C Smith began his musical career as a jazz vocalist, even spending time as a vocalist with Count Basie, but is best known for his R & B/pop recordings of country songs. OC's warm voice was particularly suited to ballads, but he could sing any type of song brilliantly."

"He had one big UK hit with Son Of Hickory Holler's Tramp, a classic story-telling song written by prolific country songwriter Dallas Frazier. Controversial at the time of its release, it praises a mother who turned to prostitution after her husband deserted her, thereby ensuring that she could continue to feed her large family."

"This man was hard to categorize - was he jazz, country, blues or pop? It really doesn't matter because he had a big powerful voice for any genre. Lots of tearjerkers here including Son Of Hickory Holler's Tramp, Long Black Limousine etc."

"I am surprised at the quality here. Smith makes even Honey function on a sweet soul level, no small accomplishment. On Little Green Apples, although I find the tinkering bells dated and cloying, I can't deny Smith's voice is excellent. I also can't deny a lot of this album is straight, if mellow, middle-of-the-road soul. The music works, sometimes on its own terms, and sometimes in spite of its mushiness, due to Smith's voice being so strong."

"O.C. Smith was one of the most underrated artists of his day. People who know of him often call him a one hit wonder. He has such a great, silky and smooth voice. So here's to a great singer and a great collection of songs that you will enjoy."

Friends – THE BEACH BOYS****

Meant For You/Friends/Wake The World/Be Here In The Morning/When A Man Needs A Woman/Passing By/ Anna Lee The Healer/Little Bird/Be Still/Busy Doin’ Nothin’/Diamond Head/Transcendental Meditation

Another collection of simple melodic songs from The Beach Boys. Friends struggled on the US album chart, a swift fall from grace for this highly influential group. (US:125 UK:13)

"For those who when thinking of The Beach Boys hear large orchestral sounds and studio trickery will be shocked by Friends. Its a sparse, short and simple album. A laid-back affair that is the complete antithesis to the grandiose Pet Sounds and Good Vibrations sessions. Here is a basic album that prospers from its minimalism. It flows almost like an ambient piece, such is the tranquillity of the music. Friends is sadly overlooked by many people who are missing out on a different Beach Boys experience to what they may expect, but a rewarding one none the less."

"The songs are a little too simple for my complete liking. Friends is nice to listen to in certain situations such as a warm day with some like minded friends that enjoy the beauty of The Beach Boys. However, there aren't many songs that standout on their own and make me want to come back and listen independently."

"Lots of great songs. Lots of filler songs that fade out prematurely before the two minute mark. Annoying and frustrating to say the least when you have such great ideas permeating the majority of the album."

"Each song is a short masterpiece that leaves you wanting more. The album isn't quite as lush as some of their other works, but the beauty of such bare songs as Little Bird and Be Still never leaves you unfulfilled. Busy Doin' Nothin' is a catchy song about nothing, and the title track is a beautiful song complete with standard Beach Boy harmonies. This album is a necessity for anyone who loves pop music."

"It is so mellow and different from any previous Beach Boys record. Brian really lets the vocal harmonies come out, like on Anna Lee The Healer, Wake The World and the title track."

"Friends is one of The Beach Boys' most charming albums, and one of their last truly unified efforts. Brian Wilson has simplified his production, yet it is still rich, and his grasp of chord changes remains masterful. Good vibes all around."

Feliciano! – JOSE FELICIANO****

California Dreamin’/Light My Fire/Don’t Let The Sun Catch You Crying/In My Life/And I Love Her/Nena Na Na/ (There’s)Always Something There To Remind Me/Just A Little Bit Of Rain/Sunny/Here There & Everywhere/The Last Thing On My Mind

Blind Spanish guitarist Jose Feliciano was awarded a Grammy for best new artist, helped by his debut release featuring his interpretations of recent pop hits. Feliciano! contains the top ten cover Light My Fire. (US:2 UK:6)

"Feliciano! is a classic collection of cover versions of international hits. Particularly Feliciano's version of Light My Fire brought him onto the international map. On this album, Feliciano manages to never sound corny as he sings these well-known songs. Feliciano! turned him into an international star, not just as a soulful singer but also as a gifted guitarist."

"The blind Jose Feliciano gives us an example of his physical abilities on the Spanish guitar accompanied by his extraordinary soulful voice."

"Interpreting others music is an under-rated skill. This was a particular challenge in the 1960s, as popular music took such divisive directions - lounge, rock, R & B. Feliciano here does convincing reinventions of three Beatles songs, The Doors and The Mamas and The Papas. I particularly like his take on Bacharach's Always Something There To Remind Me."

"An enjoyably different old-school pop album, with interpretations of largely familiar contemporary songs filtered through an acoustic bossa nova style, that makes the first two tracks in particular sound thoroughly awesome."

"Soulful easy listening about as close as that fusion gets to reality, with passionate vocals and virtuoso flamenco guitar. Jose, in this album, was a fine example of a crossover musician from pop standard to Latin influence."

"Feliciano's gift is his ability to take songs made famous by some of the great rock musicians of the time and truly make them his own. His gorgeous guitar and vocals are bold, expressive and beautiful. There truly isn't a track on this album that you won't find stirring, beautiful and distinctive. His style is so inherently relaxing that it's a perfect accompaniment to the mood you're in."

Fairport Convention – FAIRPORT CONVENTION***

Time Will Show The Wiser/I Don’t Know Where I Stand/If(Stomp)/Decameron/Jack O’Diamonds/Portfolio/ Chelsea Morning/Sun Shade/The Lobster/Its Alright Ma Its Only Witchcraft/One Sure Thing/M1 Breakdown

Debut album from Britain's premier folk group Fairport Convention featuring soon to be replaced vocalist Judy Dyble. However, this one demonstrates more mainstream rock material. The final track was tragically prescient.

"Prior to their reinvention of English folk music Fairport's were called 'the English Jefferson Airplane'. They weren't quite that good and did more cover versions but some hints of the genius to come are there."

"This was the only album featuring this particular line-up, which included the highly talented Judy Dyble as female vocalist. Though she tended to sound quite similar to her replacement, her style is somewhat different, lending strength to the comparatively higher proportion of harder rock than typically found on later releases. This album is nothing short of exquisite, with a mix of soft, acoustic folk, and somewhat harder folk/prog."

"At this point, Fairport have yet to figure out who they are. The album sounds similar to bands coming from the states like Jefferson Airplane or The Byrds. Judy Dyble is a good vocalist but she is not up to the standard that Sandy Denny was about to set on subsequent releases."

"The material is also much poppier sounding than anything they would do afterwards and isn't really very English sounding at all. Had they not gone on to the career they had, this album would be little more than a pleasant half-forgotten treat of the period. Still as a mildly psychedelic folk rock album it compares well."

"There's no Sandy, no 'trad arr Fairport', no Swarb. So what? Recorded when they were billed as 'England's answer to Jefferson Airplane', this is a gorgeous album of West Coast-a-phile folk-rock."

"This album is the 'pre Sandy Denny' one and finds the early Fairport rooted firmly in the American influenced sixties 'soft rock' sound, to which the wistfully yearning (but occasionally out of tune) voices of Judy Dyble and Ian MacDonald (Matthews) were well suited. Although it contains several covers by, among others, the then littleknown Joni Mitchell, more than half were originals written by the band and friends."

"There are shades of psychedelia here, but its essentially a collection of relatively fragile songs topped off with the gentle vocals of Judy Dyble and Ian Matthews."

Definition – CHRYSALIS***

What Will Become Of The Morning/Lacewing/Cynthia Gerome/April Grove/Father’s Getting Old/30 Poplar/Baby Let Me Show You Where I Love/Fitzpatrick Swanson/Lake Hope/Piece Of Sun/Summer In Your Savage Eyes/Dr Root’s Garden

Definition was the only album release from the New York psychedelic rock group Chrysalis. Although an American group their music appears more reminiscent of some British folk psychedelia.

"Definition is the lone studio album of this six piece psychedelic folk/pop band. It offers some really interesting psychedelic folk/pop with tasty psych rock and chamber folk-influences. I'm not utterly impressed but I can say it's a nice piece of 60s psychedelia.”

“Flitting butterfly-like between the gossamer light acoustics of Cynthia Gerome, the fuzz-drenched satire of Father's Getting Old and the ragtime psychedelia of 30 Poplar, the album takes lush woodwind and string arrangements, full-on acid-rock weird-outs and unbearably delicate jazz vibes and mixes them up into one giant bittersweet birthday cake.”

"Definition is a unique blend of folk, psychedelic and Dixieland influences. Typically such hybrid records sound like neither fish nor fowl, but this one works. Every track is a gem. It makes you wonder why no one else made a record quite like this. Many of the songs are about insects, but in a good way.”

“There's a genius in there somewhere composing wonderfully complex melodies and harmonies that are enjoyable and fulfilling. The tasteful flute work is tremendous. The album as a whole has that 'made-in-a-loft-by-hippies-for-hippies' vibe about it, a perfect mixture of psychedelia and folk-rock, not the darker psych emanating from San Francisco at the time. This was much more ethereal.”

“This is a neglected gentle, delicate classic, with some definite touches of the whimsical, pastoral sound of 60s British psychedelia and folk. Overall the feel is ambitious and wide-ranging, and the music is beautifully played and worked.”

“Take elements of psychedelia, jazz, folk, Dixieland, and combine them and you have this album. Definition is one of the most musically accomplished, adventurous, and literate records ever released.”

The Crazy World Of Arthur Brown – THE CRAZY WORLD OF ARTHUR BROWN*****

Prelude-Nightmare/Fanfare Fire Poem/Fire/Come & Buy/Time/Confusion/I Put A Spell On You/Spontaneous Apple Creation/Rest Cure/I’ve Got Money/Child Of My Kingdom

British heavy rock band The Crazy World Of Arthur Brown sole album release was this impressive self titled effort. Includes the theatrical Fire, a US No. 2 and UK No. 1 hit single. (US:7 UK:1)

"A really interesting release all the way through. You can find many different feelings combined in this record. The Crazy World Of Arthur Brown has scary parts, odd and wacky harmonies and also comedy. I just adore the really versatile vocal range of the singer/frontman Arthur Brown. Their biggest hit Fire is of course featured, here also are two cover songs Screamin Jay Hawkins' I Put A Spell On You and I've Got Money by James Brown. This record doesn't have any weak spots and it's a really classy album from start to finish."

"There are three things that make this album exceptional. The first is AB's singing voice: it's obvious that he has a gift which few can equal. The second: the theme of the first half, a personal spiritual struggle of great tension. The third: Vincent Crane's fantastic organ work and Carl Palmer's drumming. No guitar here, yet remarkably moving music that fits both the theme and AB's voice."

"Dominated by Brown's frantic, but beautifully dramatic and virtuosic vocal delivery and Crane's superb organ playing, based on jazz influenced improvisations, they sounded unlike no other band at the time. The music, written mostly by Crane with the exception of a couple of rock classics, is absolutely astounding and fits Brown's lyrics perfectly. Brown's delivery is theatrical and manic at times, but always sensitive and of outstanding quality. The album is a relic of the era and an absolutely essential listening experience."

"Doesn't get any better than this. Doesn't get any weirder than this. Doesn't get more theatrical, baroque, intense, spooky, scary, funny or noisy than this without turning into something other than pure, grade A rock 'n' roll."

"Arthur Brown was one of the most underrated performers of the 60s, his music was psychedelic rock at its best. It just gives you energy, and makes you want to rock."

Bare Wires – JOHN MAYALL***

Bare Wires/Where Did I Belong/I Started Walking/Open A New Door/Fire/I Know Now/Look In The Mirror/I’m A Stranger/No Reply/Hartley Quits/Killing Time/She’s Too Young/Sandy

British blues legend John Mayall, assisted by his Bluesbreakers featuring Mick Taylor, here attempts a concept album, as demonstrated by the Bare Wires Suite, which comprises side one. (US:59 UK:3)

"An interesting album from Mayall and his Bluesbreakers. Here they experiment, if not wildly, at least imaginatively. The whole of the first side is dedicated to the Bare Wires Suite. This is essentially a sequence of songs evoking different moods and featuring a variety of solos: a nice guitar solo from Mr Taylor, two sax solos, drums, and even bass. It's a courageous attempt at something different and deserves recognition and applause. Side two has a jumble of songs of various styles. Interesting, but not the easiest, nor the most rewarding album, to listen to."

"Pretty good, but not great, Bare Wires gives us Mick Taylor as Mayall's latest guitar slinger, and he shows his stuff pretty well. Trouble is he'd show it even better if he had stronger material to work with. This album has Mayall in transition, and as often happens, the vision is more seed than fruit. The side long Bare Wires Suite isn't a suite at all, but I'm sure at the time it looked good on the album to call it that. To me though, it's a bunch of individual tunes strung together without any central theme to justify being a suite. But at least the songs are pretty good."

"My favourite Mayall album. There is the feel of a suite here. Moody and more poetic than usual. The songs seem to breathe (inhale tension, exhale relax, and repeat). I would point out specific songs, but it seems that in doing so implies unevenness, and that's not the case here. This is a great album from beginning to end. One of those rare albums in which I find myself wanting to sing along. I'm glad the lyrics are included inside the cover. Highly recommended."

"Despite a gradual lack of consistency in the second half, this album is a winner due to a majority of uptempo tracks, strong, bluesy melodies and interesting instrumentations. Mayall’s willingness to enrich his music with some soundexperiments and a bit of complexity keeps his output interesting, and makes Bare Wires a mainly compelling listening experience. It was to be the last appearance of The Bluesbreakers on a John Mayall record, and they went out as a great acid-blues big band."

Aretha Now – ARETHA FRANKLIN****

Think/I Say A Little Prayer/See Saw/Night Time Is The Right Time/You Send Me/You’re A Sweet Sweet Man/I Take What I Want/Hello Sunshine/A Change/I Can’t See Myself Without You

The Queen of Soul Aretha Franklin stays on top of her game with her fourth Atlantic album Aretha Now. It contains the top ten hit single, Think and No. 1 I Say A Little Prayer. (US:2 UK:6)

"I can't think of a better 1-2 punch than Think and I Say A Little Prayer. They're such different songs but they're just so great. The rest of the A side is just as consistently great and, while the B side of the album is not quite as solid, it's only a tiny step down, not enough to really detract from my enjoyment of this great performance."

"Aretha Franklin always delivers amazing songs. What I like about this album is its energy: Aretha proves that she's not only good at singing soulful ballads, she's also great at singing uptempo and positive tracks. The first two songs, Think and I Say A Little Prayer are already classics, while You're A Sweet Sweet Man has turned into one of my favourites. A perfect record to sing along to."

"This record is a solid representation of a great soul artist at the top of her game. While Think and Say A Little Prayer are the two lasting masterpieces present here, the rest of the material ranges from agreeable to good, often reminding me of the fundamental early work of Ray Charles."

"If you want to understand why and how Aretha Franklin became the Queen of Soul, Aretha Now is required listening. Ms. Franklin's ability to take a song and own it is most recognized by her cover of Respect. But the queen has done this with so many tunes. My favourite ones here are You Send Me and Night Time Is The Right Time."

"Aretha's classic rhythm and blues album is gospel tinged soul with the Queen belting out a handful of remakes and the co-written, Think, a feisty supercharged personal and social call for freedom, with a stinging chorus forever embedded on the listener's consciousness. Sometimes the 1968 code of hit-making ethics find her lungs a bit constrained, when you know she just wants to wail her church trained voice and make the song her own, like in Burt Bacharach and Hal David's I Say A Little Prayer and Sam Cooke's You Send Me, fine songs and fine renditions, but lacking the excitement of a Franklin single."

100$ Fine – LITTER***

Mindbreaker/Tallyman/Here I Go Again/Morning Sun(Under The Screaming Double)Eagle-Apologies To 2069/ Kaleidoscope/Blues One/She’s Not There

100$ Fine was the follow up album from the Minneapolis garage rock band Litter. It is a combination of their own compositions with some covers, and features some driving guitars with a dose of psychedelia.

“The major difference between this and their debut LP is that the band wrote most of their own material here, (except for four covers) showcasing their talents as writers as well as musicians.”

“The LP is an amazing look at a band at the height of its creative and musical powers. $100 Fine is as good an effort from 1967-1968 as many of the other LPs of the era. The guitar prowess of Caplan and Rinaldi is as good a double-barrel attack as any in the 60s, while Waite's powerful vocals are superb. The bass of Kane and drumming of Tom Murray is as good as it gets, as well as very tight. The results are a glorious album.”

“If you like unadulterated 1960s garage rock, Litter are right up your alley. This album features all the fuzz guitars and minimal structures garage fans just eat up. This is quintessential for the sound. For me, this stuff is a little bare, but I can hear the talent in the playing and writing.”

“Superb snarling 60s garage psychedelia. More adventurous and original than their first LP. Though quiet a bit different in execution, it deserves more respect and greater exposure. Very recommended.”

“This album probably needs little introduction. It's among the best known, most renowned psychedelic hard rock albums of the late 60s, both harder and more psych than their first LP, without a weak track in sight.”

“Even harder than their debut, the follow-up is strong guitar driven hard rock, with major psych influences. Fantastic.”

Sir John Alot – JOHN RENBOURN****

The Earle Of Salisbury/The Trees They Do Grow High/Lady Goes To Church/Morgana/Transfusion/Forty-Eight/ My Dear Boy/White Fishes/Sweet Potato/Seven Up

Sir John Alot was a purely instrumental album from folk guitarist John Renbourn. It comprises a mixture of jazz, blues and folk played in a medieval musical style.

“Anyone with just the slightest love for guitar music should own an album by Renbourn. This is from his early period, and it showcases his technique and style with wit and humour. This album makes a perfect document of his music.”

“A truly beautiful album of instrumentals. My only complaint is that its a bit short. An excellent buy for anyone interested in folk/acoustic guitar work or haunting instrumentals.”

“Sir John Alot is arguably Renbourn's best solo work - if you don't care for his voice, then this album is a treat because it's 100% instrumental. You do get a very strong medieval feel with many of the tracks.”

“A superb instrumental album which covers early music, folk, jazz and R & B. John Renbourn remains a brilliant guitarist.”

“Renbourn's first excursion into early music, and it's one of the loveliest things in my collection. As light as the flickering flame of a candle, with a hushed, fragile atmosphere, it's perfect late night listening, and Renbourn plays divinely, of course.”

“A collection of tunes featuring the nimble guitar skills of John Renbourn, plus the odd bit of percussion and some flutes. A couple of tracks sound medieval, while a couple are more straight folk, while others sound a bit goatee-bearded chin-stroking type music.”

“I have to say I’m not the biggest fan of folk guitar heroics, but this is a pretty decent collection. Given the limited instrumentation, it sounds pretty varied and doesn’t outstay its welcome.”

Set Me Free – CHARLIE RICH***

Set Me Free/By The Time I Get To Phoenix/The Proudest Loneliest Fool/I Miss You So/Just Like Old Times/Try A Little Tenderness/H2O/Very Much Alone/I’ll Just Go Away/That’s The Day/Got To See My Baby

Set Me Free was country singer Charlie Rich’s first album for the Epic label. At the time his music was at the crossroads of soul, pop, and the country music sub-genre known as the Nashville Sound or Countrypolitan.

“Though Rich was himself a fine songwriter, he was wise to record songs by all sorts of writers and from a variety of sources. He was such a fine interpretive singer that it would have been a shame to have restricted himself to his own tunes. In fact, on this particular album, he only wrote one song, the moody I'll Just Go Away. But it's the other material that makes this LP great. Nobody sings 'em like Charlie.” ,p> “The 'Silver Fox' has many faces and here he adopts the cross-over success where heavy strings transform country into radio friendly pop.”

“This is not as lavish and full-sounding as his later Columbia stuff, but a really quiet, laid-back album. The title track has a great organ intro with a speaking part and it sounds more like soul than a Billy Sherrill production. This was his first collaboration with Sherrill and they're still five years away from success. Here they're just testing ground it seems, with flawless results. Almost all the songs are ballad type material and Rich has always been better on the sadder songs. He breaks your heart a few times here, be it with an excellent By The Time I Get To Phoenix or the other standard I Miss You So, where he gets all the devastation out that this song needs."

“The overall mood is very melancholy, which makes this definitely an album for the later hours of the night.”

“The first album Charlie Rich recorded for Epic Records is far from his first great LP. This is musically diverse, but also with a few hints of the path he and Billy Sherrill would take, with ballads using string arrangements.”

“The background singers almost overpower Rich, but if you ignore the syrupy backup and focus on his sublime vocals, you will be richly rewarded. The man recorded lots of great songs, but for my money those were not necessarily his big hits. They would come later, but some of the best music came on his early albums.”

Realization – JOHNNY RIVERS***

Hey Joe/Look To Your Soul/The Way We Live/Summer Rain/Whiter Shade Of Pale/Brother Where Are You/ Something Strange/What’s The Difference/Going Back To Big Sur/Positively 4th Street

Although Realization was Johnny Rivers most successful album, it comprises covers of songs, at a time when artistic credibility came through writing one's own material. Includes the US No. 14 hit single Summer Rain. (US:5)

"It's fairly obvious from the cover images of him with his facial hair and beads with peace symbols, that he cannot resist being influenced by the times in which he was living. Too bad these influences didn't carry over to his music as well. This is a marked improvement over it's predecessor, though still nothing to write home about. It's a mix of commercial male vocal pop, and acoustic driven folk/pop."

"Rivers manages to butcher songs by Procol Harum, Bob Dylan and Tim Rose and as always makes them bland, sappy and otherwise unappealing."

"This holds together incredibly well. The songs are not tarted up with trendy 60s sound effects, but are lusher takes on the beautiful written pop-rock that was River's master corner. If Realization is a step forward, that step is how well these tracks complement each other."

"I bought River's Realization in 1968 when it was first released. I was absolutely overwhelmed by the music, musicians and quality of production of this album. One of the finest compilations of music to ever come out of the 1960s."

"Johnny Rivers made this LP in '68 drawing for the most part on the California sound of the late sixties. The songs range from hard rock to ballads, backed by lush instrumentals in the style of Jimmy Webb. Rivers has a great, soothing voice full of emotion and gives weight and meaning to his interpretations. The songs weave together nicely, with interludes of music from childhood and simpler times, such as waves lapping the shore and marching band parades. This album is guaranteed to make you feel good."

"Summer Rain is an absolutely beautiful ballad. It resonates with power and is devoid of grandiose imagery that pollutes most love songs. Other songs, showcase Johnny's beautiful voice."

The Promise Of A Future – HUGH MASEKELA***

Ain’t No Mountain High Enough/Madonna/No Face No Name & No Number/Almost Seedless/Stop/Grazing In The Grassv/Uca/Bajabula Bonka/There Are Seeds To Sow

The Promise Of A Future was the only major commercial album success for South African jazz trumpeter Hugh Masekela in the States. It includes the US chart topping hit single Grazing In The Grass. (US:17)

"Features African and English vocals in an assertive and rough hewn brassy setting."

"Before Hugh Masekela was arranging musicals, he was arranging pop songs. His work on Grazing In The Grass did the same thing Sergio Mendes did so well - to take pop and make it into little mini-jazz tunes. This 1968 album does this with pop songs, covers and Masekela's own material. It is pop, but high pop, with the flow of jazz. Very few people could take music, make it sophisticated, but keep it prime for 1960s AM radio, but he does. Bajabula Bonke is more jazz, and shows what Masekela could do outside of a AM singles context, and that is great too."

"In 1968, a little-known South African-born trumpeter and flugelhornist named Hugh Masakela released an instrumental single called Grazing In The Grass. Its catchy, percussive rhythms and jazzy horn lines made it an international hit, and turned Masakela into an overnight star."

"The Promise Of A Future is a strong jazz album with enough African, Caribbean, jazz, soul and blues sounds to make it more palatable than his previous works. The album is largely instrumental, but there are a few vocal numbers, some of which are weak. It must be said that The Promise Of A Future really lives up to its title by bringing African, jazz, blues, and other stuff into this musical stew. Most of the songs on here are fairly short for a jazz record, but they say as much as a jazz record in which the songs are a bit longer (in some cases). This is one of those records that shows Hugh at his peak, and it shouldn't be overlooked."

The Pentangle – PENTANGLE****

Let No Man Steal Your Thyme/Bells/Hear My Call/Pentangling/Mirage/Way Behind The Sun/Bruton Town/ Waltz

Self titled debut album from two of the best known talents in the sixties British folk scene, Bert Jansch and John Redbourn, who came together to form the nucleus of Pentangle. (US:192 UK:21)

"This is where my Pentangle journey began, and I can tell you that the album was good enough to make me hungry for more. And when you think about it, that's what debut albums are supposed to do."

"The debut offering from this well known UK folk/prog outfit is certainly promising. It's not their best, but far from their worst as well. On tap is some acoustic guitar driven, female vocal folk rock. But on this one, points were deducted for too many solos."

"Pentangle's debut is actually inferior to both Bert Jansch and John Renbourn's solo albums from the same period. The rhythm section already swings but Jacqui McShee does sound a little stiff compared to the group's later output. Actually, my favourite tracks here are the instrumentals: Bells in particular has an ease and grace the band itself will only really capture the next time around."

"In spite of, but also because of, pointing in several directions and the hesitations in following a pattern, this album established Pentangle as the creators of a new style. An inexhaustible source of creative force and skilled playing that would serve the folk scene, and its derivatives, for many years to come."

"There's a mixture of styles to be found here, mainly British trad/folk, but with tinges of jazz and blues. The players, especially Jansch and Renbourn on guitars and McShee on vocals, are delightful. The rhythm section (Thompson and Cox) are no slouches either. All in all a delightful album, one that I would happily recommend."

"This is a really nice album. The rhythm section is strong, and the band manages to make something new out of the confined folk formula. Tracks like Waltz and Pentangling stick in your mind long after the record is over. Recommended."

"While Fairport Convention remain more traditional, Pentangle reveal a more jazzier side of British folk, which is more to my liking."

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

The Right Somebody To Love/Safe In My Garden/Meditation Mama(Transcendental Woman Travels)/For The Love Of Ivy/Dream A Little Dream Of Me/Mansions/Gemini Childe/Nothing’s Too Good For My Little Girl/Too Late/Twelve Thirty/Rooms/Midnight Voyage

Final hit album of new material from the iconic sixties hippy group The Mamas & The Papas. Papas & Mamas was a relatively disappointing finale before they spilt. The revival of Dream A Little Dream Of Me was a US No. 12 and UK. No. 11 hit for Mama Cass. (US:15)

"Its definitely more trippy than their earlier albums. Not that this is full on psychedelia by any stretch. But here, with tracks like Meditation Mama, Mansions and the hard rocking Gemini Childe, some of the music takes on a more other worldly bent."

"Strangely bland and tired effort after three very good albums. It seems that this quartet hasn't much left to say at this point; memorable tunes almost completely deserted John Phillips. It's a telling fact that the only brilliant song here is the cover, Dream A Little Dream Of Me. The same song also started Mama Cass' solo career and is to be found on her own first album, so it's somehow out of place here."

"Nothing particularly stands out. OK that's not strictly true as Dream A Little Dream does, but that's merely because its so well known, while Gemini Childe does because of its pretty vicious sounding guitar. I guess Twelve Thirty has the catchiest chorus, but otherwise its all pretty much of a muchness here. That's not necessarily a bad thing as most of the songs are reasonably good, but you just wish that more stood out to grab you in the way they did on the debut."

"This is one of the most underrated rock albums of all time. It was the group’s final album before their initial breakup. Highlights includes the catchy Twelve Thirty and Cass Elliot's Dream A Little Dream Of Me. My favourite is the hard rocker Gemini Childe, the group's most ambitious song, along with the soothing Meditation Mama and the moody Mansions."

"In Papas & Mamas, Twelve Thirty and Midnight Voyage do what can be done to save the whole package drowning into a swamp, but not quite succeeding. The Mamas & The Papas were clearly ready for call it a day in 1968."

"The final album is a solid effort given that the group was about to self-destruct."

Ogdens’ Nut Gone Flake – THE SMALL FACES***

Ogdens’ Nut Gone Flake/After Glow/Long Agos & Worlds Apart/Rene/Son Of A Baker/Lazy Sunday/Happiness Stan/Rollin’ Over/The Hungry Intruder/The Journey/Mad John/Happy Days Toy Town

This flawed concept album was The Small Faces' last outing before they split. Nevertheless, Ogdens' Nut Gone Flake was graced by the inclusion of the chirpy cockney Lazy Sunday, a UK No. 2 hit single. The gobbledegook interludes of 'Professor' Unwin become wearisome. (US:159 UK:1)

"The true highlight on this album is Lazy Sunday. I remember liking this song when I was really young listening to it on the radio. The entire song is so catchy that you can’t help but sing along to it, and the cockney accent adds the delightful ingredient of humour. Rene is the next obvious highlight with another catchy chorus."

"Ogdens' Nut Gone Flake has a fairly good A-side with some catchy songs, but the B-side is average at best. The songs aren't anything special and the narration pretty much ruins every song."

"While I love many of their singles, this album is mostly dross. Lazy Sunday and maybe Afterglow are the only things that stick out on side A, while they still don't hold up to the band's best stuff. The B-side is awful to listen to with half-finished song ideas interrupted by an annoying troll talking voice."

"Housed in the world's first circular album sleeve, it was split into two distinct sides. Ogdens' first half consists of six tightly buzzing slices of the psychedelic R & B that was now their stock in trade. Mainly penned by Marriott and Lane, the fare divides itself between punchy blue-eyed soul stompers like Afterglow (Of Your Love) and more chirpy psych knees ups like Lazy Sunday. The second side contains the story of Happiness Stan, interlinked by forgotten master of gobbledegook, Stanley Unwin. Here the songs are considerably more embellished and varied in texture; but somehow at the heart of it all was The Small Faces' muscular approach that makes Ogdens' certainly the least fey of all English psychedelic classics."

"Lazy Sunday is awesome. Side B is just plain silly. Another over-rated 'critics list' LP here."

"A very unique, enjoyable, and well crafted English pop album from the sixties’ psychedelic era."

La La Means I Love You – THE DELFONICS***

I’m Sorry/Break Your Promise/The Shadow Of Your Smile/Hurt So Bad/Losing You/Alfie/La La Means I Love You/You’re Gone/The Look Of Love/Can You Remember/A Lover’s Concerto

Debut album from the groundbreaking Philly sound soul group The Delfonics. La La Means I Love You. The title track peaked at No. 4 in the US and No. 19 in the UK. (US:100)

“Thom Bell's production genius, the group's impeccable harmony, and William Hart's beautiful falsetto were all ingredients for a sweet, classic debut. Albums like this one helped Philly soul bloom in the 70s.”

“This album from 1968 marked the beginnings of the sweet Philly soul sound of the 70s, with lovely vocal harmonies set to lush orchestral backgrounds.”

“The immortal title track cannot mask the overwhelming amount of filler. The fact that this album has such perennial rock-schlock as Alfie and The Look Of Love shows how cheesy The Delfonics could be.”

“Philly soul is an elusive form of music. It combines enormous and lush scales of instrumentation with sleek, fragile vocals. I found this album to be one of the true treasures in the genre. Behind the production is one of the architects of Philly soul, Thom Bell. He combines his extraordinary arrangements to bring us an album filled with memorable and classy slow jams.”

“The lead singer William Hart cannot get enough credit for his graceful delivery, he really knocked each and every moment out of the park. The album is well written, contains beautiful harmonies, and has clean production. An early, and often overlooked, musical triumph for the genre.”

“This album is slightly flawed yet still a stone cold classic Philly soul record by one of the best and innovative soul groups in music history. The title track is one of my favourite songs ever, which has some of the most sophisticated, ethereal productions and gorgeous string arrangement I've ever heard.”

“Listening to a whole album at once, of sweet, sentimental, sophisticatedly produced material like this, might lose its appeal and beauty on you after awhile, but overall there's not a bad song on here.”

Wish It Would Rain – THE TEMPTATIONS****

I Could Never Love Another(After Loving You)/Cindy/I Wish It Would Rain/Please Return Your Love To Me/Fan The Flame/He Who Picks A Rose/Why Did You Leave Me Darling/I Truly Truly Believe/This Is My Beloved/ Gonna Give Her All The Love I’ve Got/I’ve Passed This Way Before/No Man Can Love Her Like I Do

Final album from The Temptations featuring a traditional R & B sound before they moved on to psychedelic soul. I Wish It Would Rain, includes the US No. 4 title track and No. 13 I Could Never Love Another hit singles. (US:13)

"If you can get your hands on this LP, you will forever treasure it. The Tempts' harmonies are just outstanding, and once again, you will understand just why this is a group that stands far beyond all others in classic soul. A must have."

"Though it's David Ruffin's finale there's an air of half-heartedness here. Sure it begins in typically Temptations style, with the gospel/soul laments of I Could Never Love Another to a place only these guys and few others are capable of. The production holds up, and the arrangements are professional, occasionally touching."

"I Wish It Would Rain is the last remnant of what was once the most magical line-up in R & B. David Ruffin dominated the music The Tempts recorded during this period, and out of the twelve cuts on this LP, he sings lead on seven of them."

"Yes, they were a singles band. And this is just a collection of single recordings, but, that said, it plays like an album, rare in 60s Motown, with one song flowing into another in mood and sensibility. And the five Tempts, the original five, are all in exceptional form. Yes, this was David Ruffin's last record with them, but he is lacking nothing in his strengths. In fact, the title song is an underrated triumph of emotional delivery."

"This really marked the end of an era for The Temptations. It was their last album with the late, iconic David Ruffin. It was also the last album the group made in the traditional R & B field, before Norman Whitfield pushed them to record psychedelic soul. Anyway, this is a damn good R & B album. It's pretty standard Motown, but standard Motown is awesome, so there you have it. Other than the superlative, broken-hearted title track, none of these songs are among the very best of The Temptations. This was to be the last album in the classic Temptations style as the next release debuted their new acid soul sound."

Honey – ANDY WILLIAMS***

The Impossible Dream/This Is My Song/By The Time I Get To Phoenix/Theme From The Valley Of The Dolls/ Scarborough Fair/Love Is Blue/Honey/Windy/Our Last Goodbye/Spooky/Up Up & Away

The prolific Andy Williams achieved his second top ten album for 1968 with Honey, comprising his interpretations of recent chart hits, a formula to which he would increasingly resort. (US:9 UK:4)

"At this point in his career, the versatile Williams, who had found his greatest success covering movie theme songs, but also ranged from light rock to venerable standards, was completely devoted to recording his versions of current hits. It was a popular notion at the time that middle-of-the-road singers like him could maintain their popularity by turning to soft rock, and Williams proved that theory by reaching the top ten and earning gold records with albums such as this. The 60s music was in full throttle when this album was made, and you 'hear' Andy trying to adapt. Still, this album, which could be subtitled 'Andy Williams sings the late '60s', presents only one side of his talent."

"Every song is an adaptation of popular songs from this time, but Andy's fresh, silklike, soft presentation provides a new way to enjoy the songs."

"The album Honey came at a time where Andy Williams was hitting a creative peak, teaming with producer Nick De Caro, who truly understood Andy's vocal gifts. His arrangements fit Mr. Williams' voice like a glove. This Is My Song is the best example of his voice being surrounded by an arrangement that expresses the true strength and warmth that makes Andy Williams a superior interpreter of music and lyrics. A stunning album."

"Andy has shown elsewhere that he can sing original material but on this collection, he demonstrates that he is quite content to record covers, stamping his own identity on each song."

"This album is Andy's finest moment. Here is the greatest version of The Impossible Dream ever waxed, a vocal rendition of Love Is Blue that is second only to Paul Mauriat's original instrumental, a cover of The Classics IV's Spooky which is a totally groovy arrangement, and Our Last Goodbye which is a flawless classic. If you like Andy Williams this is a disc you must own."

Getting To The Point – SAVOY BROWN***

Flood In Houston/Stay With Me Baby/Honey Bee/The Incredible Gnome Meets Jaxman/Give Me A Penny/Mr Downchild/Getting To The Point/Big City Lights/You Need Love

Getting To The Point was the follow up album from the tenacious British blues band Savoy Brown. Unlike its predecessor it comprises mostly band originals. During this period the group underwent several personnel changes.

“Getting To The Point was the band's second album, after a few personnel changes including a new vocalist. Although a good album it is not up to the quality of their first, being a little bit patchy and doesn't flow quite as well. There are three instrumentals, for example, that are all pretty similar shuffles and one listen to them is probably enough. But elsewhere are some real gems - the slow Honey Bee springs to mind. The cover of You Need Love gives the entire band a workout and a chance to solo.”

“Initially something of a downer after Shake Down, the album picks up half way and begins to rattle along, showcasing an individual style and a growing dynamic within the band.”

“This is the first release with the new line-up. It's also a substantial let-down from their debut as well. A mix of light and heavy blues cuts, with one hard blues rock track. Simply not as interesting as its predecessor.”

“With just two cover songs and seven originals, the album was to have been the band’s transition from being a blues covers outfit to a band that had asserted its own identity. Unfortunately, the songs were not as strong as on the previous album, with the exception of the moody Mr. Downchild and Willie Dixon’s You Need Love."

“Right from the start, when the band bump and grind their way into opener Flood In Houston, you know that you are listening to something very special. They have a chemistry that makes you feel they had been together for a lifetime.”

“Savoy Brown, as a blues band, were at their creative peak in the late 1960s and early 1970s. Of the albums from that period, Getting To The Point is probably the most overlooked and underrated. The album opens and closes with pure blues that sandwich an eclectic mixture of rock, boogie, and blues in between.”

Flashes – ILL WIND***

Walkin’ & Singin’/Sleep/Little Man/Dark World/LAPD/High Flying Bird/Hung Up Chick/People Of The Night/Full Cycle

Flashes was the sole album from the Boston psychedelic rock group Ill Wind. Their musical style was folk-rock mixed with their own distinctive brand of psychedelia.

“They tried their best, but they weren't very developed, a bit sloppy, their vocals raggedy, songs were blasé, and none of them memorable. Potential was there, but they were too much like a garage band that needed more rehearsals and better songs to find an identity. Flashes is for 1960s fanatics only.”

“A really impressive and wonderful west coast-styled psychedelic/acid folk in the vein of Jefferson Airplane, with amazing female vocals and a really nice guitar work. The first track is the weakest, but the rest are highlights.”

“It's tremendous, west-coast style, male/female vocal harmony psych, with a few country moves thrown into the mix. Outside of the excellent material, what sets their sound apart from the rest is the comparatively unusual vocal stylings of the two singers. Both are responsible for setting this a full notch above what it might otherwise rate. The diversity is also a plus, for those who might easily tire of similar music.”

“It's nice enough but just kind of floats by, not really providing any moments that give me pause. There's nothing bad here either. It all just seems rather like harmless, hippy folk rock music. Not that there's anything wrong with that.”

“One of the best West-coast hippie bands. Great cover of High Flying Bird and Dark World blows your mind. There is not a weak song on the album. The bass player and vocalist Connie Devaney are fantastic.”

“Group suffered from a lack of a consistent musical direction, uneven material and production that didn't make the most of the instrumental and vocal talent in the group. This album was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Connie Devaney the best ingredient.”

A Child’s Guide To Good & Evil – THE WEST COAST POP ART EXPERIMENTAL BAND***

Eighteen Is Over The Hill/In The Country/Ritual No. 1/Our Drummer Always Plays In The Nude/As The World Rises & Falls/Until The Poorest Of People Have Money To Spend/Watch Yourself/A Child’s Guide To Good & Evil/Ritual No. 2/A Child Of A Few Hours Is Burning To Death/As Kind As Summer/Anniversary Of World War III

A Child’s Guide To Good & Evil was the third album from this Los Angeles psychedelic group. Like many groups of this time they appear to have been more highly regarded by posterity than they were at the time.

“On several cuts, the band shows a mastery of jazzy and funky elements not heard before on their previous rock/folk-rock discs. They were still young but their corpus was an astonishing blend of maturity and exuberant freshness.”

“These guys are very underrated. Their sense of humour, production skills and musical ability are right up there. Though I feel this is the weakest of the three it is still a must own.”

“It really puts across the innocent, hopeful nature of the early hippie movement at its best. The band never became as popular as they deserved. They are witty and their vocal harmonies are excellent. Sure, the message is rather dated but it worked then and works now. Clever, interesting and very enjoyable. It's dated in many of the themes, but the music is great.”

“These pretty much follow the trends of rock in the late 1960s. A little nice jangle pop, some jazz inflections, bossa nova; basically, everything top tier bands bought into rock and lesser bands copied. They are 1960s rock, not bad, but not anything even above average.”

“The West Coast Pop Art Experimental Band's third effort released in 1968 is a fine representation of the myriad of groups that never made it to the pinnacle but certainly deserved representation. They mixed rock, psychedelic, folk and country, resulting in a good effort. Unfortunately, the group’s dark vision and offbeat sense of humour would often get lost in the shuffle.”

“The West Coast Pop Art Experimental Band was just another group thriving in the rapturous years of the 60s. They fused guitar pop, jazz, country and folk to create their representational sound of what psychedelic rock really was.”

The Birds The Bees & The Monkees – THE MONKEES****

Dream World/Auntie’s Municipal Court/We Were Made For Each Other/Tapioca Tundra/Daydream Believer/ Writing Wrongs/I’ll Be Back Upon My Feet/The Poster/PO Box 9847/Magnolia Simms/Valleri/Zor & Zam

Fifth and final hit album from the iconic sixties boy band The Monkees. The Birds, The Bees & The Monkees. It includes the chart topping Daydream Believer and US No. 3 Valleri. All their many hits were crammed into a hectic twenty months period. (US:3)

"Though still ultra commercially oriented, they seem to be continuing to drift further and further away from the teenybopper style they became famous for, opting for a more serious sound. It does sound somewhat more mature, but is slightly off the pace of earlier releases in it's songwriting appeal."

"This is a really finely crafted album, with lots of different types of songs - psychedelic, schmaltzy Davy ballads, Mike's country-western-type music, and the peppy pop The Monkees became famous for."

"The Birds The Bees & The Monkees departed from the typical la-de-da pop of their earlier albums, and dived head first into new sounds and styles. There are still the mandatory hokey, Davy Jones sung, lovey dovey songs, but what makes this album different is the maturity and intelligence of the music. This album is one of their best."

"This album was in the nature of an experimental departure from the norm for this most underrated group of their era, and one that has been unfairly maligned in publications such as Rolling Stone as being nothing but a manufactured aberration. Perhaps, at the outset, they were that - but not as time went by. They consistently appeared on the charts with some of the best tunes to hit the airwaves and juke boxes, not to mention record sales, in the late 1960s."

"It's really amazing how many people disregard The Monkees because they were a TV band. This doesn't take away from the fact that the songs are really great, even past the greatest hits collections. Every Monkees album has great songs that not many people have ever heard and The Birds The Bees & The Monkees is no exception. Like every other Monkees album this should be listened to."

At Folsom Prison – JOHNNY CASH****

Folsom Prison Blues/Dark As The Dungeon/I Still Miss Someone/Cocaine Blues/25 Minutes To Go/Orange Blossom Special/The Long Black Veil/Send A Picture Of Mother/The Wall/Dirty Old Egg Sucking Dog/Flushed From The Bathroom Of Your Heart/Jackson/Give My Love To Rose/I Got Stripes/Green Green Grass Of Home/ Greystoke Chapel

Country legend Johnny Cash demonstrates an amazing rapport with the prison inmates in the challenging live set, At Folsom Prison, which includes several songs about criminality. (US:13 UK:8)

"This album doesn’t contain country’s most poignant ballads. Nor does it contain the honky tonkyest of toe tappers. What it does have is an excellent live show from a man who sounds like he means every word that he sings. Both his musical performances and his rapport with the audience come off as effortless and breezy, yet genuinely sincere."

"This is perhaps the best representation of why Johnny Cash was and is significant in American music history. The banter with the crowd, the subject matter of the songs and his excellent voice all combine to make this album holistic in the purest sense. I think this is what live albums should gear towards when they want to be viewed as complete albums. Probably the only time you'll envy an inmate."

"Cash relishes the setting, going into full outlaw mode. Over half the songs have something to do with criminality. And it's more than a little disturbing to hear how lustily the inmates cheer songs like Folsom Prison Blues and Cocaine Blues. Though the songs are the stars, the edgy atmosphere certainly adds to the experience."

"Musically, this isn't a great record; every song is just variations on familiar country chord progressions. The heart lies in the stories, performance, and chemistry between Cash and the audience, which is unlike anything on any other live album. It's a small crowd, which means that Cash can individually interact with all of them."

"This isn't a singles record, this is an album; you put it on to hear the whole thing. The performance itself is tight and structured, just like the venue. The recording is especially atmospheric - the reverb bouncing off the concrete walls, the sounds of doors slamming in the background, and an interruption by a prison announcement. Cash and the band seem unflappable and completely at ease, belying the actual tension of the gig."

40 Blue Fingers Freshly Packed & Ready To Serve – CHICKEN SHACK***

The Letter/Lonesome Whistle Blues/When The Train Comes Back/San-Ho-Zay/King Of The World/See See Baby /First Time I Met The Blues/Webbed Feet/You Ain’t No Good/What You Did Last Night

40 Blue Fingers was the debut album from British blues group Chicken Shack. Vocalist Christine Perfect is better known as Christine McVie of Fleetwood Mac. (UK:12)

"If you haven't heard of Chicken Shack you are in for a treat if you like the blues. Check out Christine Perfect's perfect vocals and add this to superb guitar work."

"40 Blue Fingers, Freshly Packed & Ready To Serve performed by forty dextrous digits of four apt musicians doesn’t disappoint. Probably the songs aren’t quite groundbreaking, but they are imbued with that bluesy spirit all through."

"Great to listen to Christine Perfect, but the album is not especially good. The other vocalist is annoying."

"40 Blue Fingers is an excellent example of the booming late 60s blues scene in and around London. With John Mayall and Alexis Korner creating benchmarks for the British blues scene, Chicken Shack were absolutely in the right place at the right time. Stan Webb is an under-rated guitarist of the late 60s British blues scene. When all is said and done Christine makes this album worth a buy. Stan Webb's charismatic guitar playing gives you another good reason to pick it up. If you love the blues, simply go get this one."

"A classic album of the late 60s British blues boom. They were contemporaries of Fleetwood Mac, so if you like early Fleetwood Mac and John Mayall, give this a go, you won't be disappointed. It still sounds fresh today. If you're going to start with any album of the Shack it has to be here. Clear intelligent blues guitar work; you won't be disappointed in the results if you're into the blues."

"Chicken Shack provided some of the best British blues around in the 60s. They had the added bonus of a fabulous female vocalist in Christine Perfect, her smooth, languorous voice weaving in and out of the melodies."

Wow – MOBY GRAPE****

The Place & The Time/Murder In My Heart For The Judge/Bitter Wind/Can’t Be So Bad/Just Like Gene Autry: A Foxtrot/He/Motorcycle Irene/Three Four/Funky Tunk/Rose Coloured Eyes/Miller’s Blues/Naked If I Want To

Follow up album from the highly regarded San Francisco rock group Moby Grape. Splits and internal dissension meant that Wow would be their final major hit release. (US:20)

"Wow is the group's second studio album. It is a lot more varied than its predecessor but it also shows that it is a product of it's time. Not many groups could pull off an album that goes from the madrigal-like The Place & The Time to a soulful rocker Murder In My Heart For The Judge, to the sound collage in Bitter Wind, to a shuffle with horns in Can't Be So Bad, to the ode to vaudeville in Like Gene Autry; A Foxtrot, all in the space of one side of an album."

"This record is completely different from the first Moby Grape album. I like it for that reason, actually. Accept it as another aspect of the group. Great tunes and the usual trippy flourishes of studio play that the times exhibited."

"Wow is an entertaining, diverse effort with a number of fine tunes that reflect the group's ability and talent to grow and explore."

"This album is a step in the wrong direction after their stellar, eponymous debut. On this one, Moby Grape were clearly trying to do a little bit of everything. The difference is that on their debut album this worked to their advantage, whereas on this one it becomes a definite liability, mostly because a lot of the ideas are bad and gimmicky."

"Just as good as the debut. Great harmonies, tight playing and arrangements, and great instrumentation throughout. I swear listening to this made me feel like I was transported back to 1968. It's one of those rare albums that does live up to it's title."

"Personally I don't think that Wow is as good as the self titled album as a whole, but if you take it in pieces, it's actually better. Everyone needs to own this album if only to hear Motorcycle Irene, which is one of the greatest songs ever written."

"Ambitious, but clearly an album where the group's reach exceeded its grasp. Nothing really seems completely thought out, and good ideas run out of steam trying to find something new to say."

The United States Of America – THE UNITED STATES OF AMERICA***

The American Metaphysical Circus/Hard Coming Love/Cloud Song/The Garden Of Earthly Delights/I Won’t Leave My Wooden Wife For You Sugar/Where Is Yesterday/Coming Down/Love Song For The Dead Che/ Stranded In Time/The American Way Of Love

The sole (ambitiously self titled) album from the electronic rock group The United States Of America who were unusual at the time for eschewing the use of electric guitar. (US:181)

“Completely whacky and wonderfully progressive, this album is light-years ahead of its time and combines avant-garde electronics with rock and jazzy improvisations.” “With their synthesizer and distortion violin and without lead guitar, they go where no album had gone before and few since. The first rock album to make extensive use of the synthesizer as a lead instrument.”

“Turn out the lights, turn up the volume and relax. You're in for one hell of a ride. Your mind will be taken to places it's never been before. Places that are dark, mysterious, terrifying and beautiful. Welcome to The United States Of America.”

“The music is sort of rock, sort of electronic, sort of a lot of things. It is an eclectic mix of influences and is done pretty well. The actual electronic music is a bit sparser than I imagined, but you can't mistake it, especially when the female vocalist sings through a ring modulator.”

“The United States of America's debut and, sadly, only release, is a psychedelic-era gem with a propensity for abstract lyrics, electronic experimentation, and Dixieland jazz. It draws heavily from the 1960s California psychedelic scene that serves as its backdrop. However, the band also make use of electronic effects in ways that were certainly revolutionary in the year of release.”

“Though wildly inconsistent, this album is nonetheless essential for any selfrespecting psych collector, with simply awesome heavy electronic psych and fabulous female vocals over tons of psych effects.”

“They mix a whole lot of stuff in this release, from folk to electronic to rock. It is definitely an interesting listen, and it must have been much more in the late 60s.”

Smash Hits – JIMI HENDRIX*****

Purple Haze/Fire/The Wind Cries Mary/Can You See Me/51st Anniversary/Hey Joe/Stone Free/The Star’s That Play With Laughing Sam’s Dice/Manic Depression/Highway Chile/Burning Of The Midnight Lamp/Foxy Lady

Smash Hits was a somewhat premature hits collection from Jimi Hendrix. More comprehensive compilation CDs are currently available showcasing this sensational guitarist. (US:6 UK:4)

"This is quite an impressive compilation for a music career which had been running for little more than a year by the time of this release. It's all smash classics from start to finish. And some singles not included on any of the studio albums."

"Smash Hits neatly gathered up both sides of his first four singles plus four tracks from Are You Experienced. Together with the debut album, this captured an inspired, cohesive, energetic period when The Experience were still a real band. Noel Redding was still making a major contribution. A very premature best of, just 17 months into his recording career."

"Smashing compilation of the early work of The Experience, Jimi's guitar stands out, but the bass and especially the drums are also very decent. There haven't been many days I didn't give it a spin since I bought it. All tracks are extremely good, with the exception of The Stars...of which I only like the intro."

"The UK version: all the early singles, all killer and no filler ... well, except for the ludicrous Stars That Play. Still about as perfect an introduction to Hendrix as you can imagine."

"He wrote the script for guitar players and was the bridge between so many styles. Here you have the fresh and creative Hendrix that went on to change pop forever."

"Probably few realised at the time what Jimi Hendrix was doing musically until he had gone, although those in the know at the time were inspired and amazed. Jimi Hendrix was ahead of his time and achieved a great sound with by today's standards, limited equipment. That only goes to show his amazing talent that sadly did not have the opportunity to be completely fulfilled."

Scott 2 – SCOTT WALKER*****

Jackie/Best Of Both Worlds/Black Sheep Boy/The Amorous Humphrey Plugg/Next/The Girls From The Streets/ Plastic Palace People/Wait Until Dark/The Girls & The Dogs/Windows Of The World/The Bridge/Come Next Spring

Second of the four acclaimed solo albums from Scott Walker. Scott 2 includes the (for the time) daring single Jackie, banned by the BBC. Accept no substitutes on this one. (UK:1)

"Scott 2 is obviously the sequel to the debut and it shares so much in common that they can be played back to back without a detection of a change in sound or vocal style. The instrumentation is still like that of a Sinatra album or a musical and it's great but the highlight is, again, Walker's undeniably clear vocals."

"Beyond categorization, beyond genre, beyond description. Scott's music is powerful, whether at a joyful, smirking gallop, a brooding melancholy shuffle, or a dark and heavy embrace of doom. He does it all amazingly well. Extraordinary vocals, lush, sweeping arrangements by probably some of the best musicians in the world, and incredibly odd, entertaining, and touching lyrics."

"Scott's second album sees him slowly gaining confidence in his own material, with his compositions probably over-shadowing the covers, even the Brel tracks. But it's really the Walker compositions like Plastic Palace People and Girls From The Streets which make the album."

"This was Scott Walker's most successful solo release, reaching number one on the album charts and pushing him into the spotlight. It is easy to understand why this album had the effect it did. A combination of strong, varied material, rousing arrangements and the powerful instrument that is Walker's voice, makes for a minor classic. His choice of writers to cover is inspired. What is also pleasing is the way his own songs sit comfortably in this esteemed company. At this stage in his career, the future must have seemed very bright."

"Another great Walker album sung with great boisterousness. He had already found his voice, his own songwriting was improving, and on this album he was coming into his own and developing his identity."

The Savage Resurrection – THE SAVAGE RESURRECTION***

Thing In E/Every Little Song/Talking To You/Tahitian Melody/Jammin’/Fox Is Sick/Someone’s Changing/ Remlap’s Cave (Part II)/Appeal To The Happy/Expectations

Self titled sole album from the obscure San Francisco psychedelic rock group The Savage Resurrection. They mixed garage, blues and psychedelia but with a singular lack of success at the time.

“The album contains some real groovy material although lacking in the songwriting department. Although the vocals leave something to be desired, the guitar work is fuzz drenched and pure acid. The mixture holds up well as a period piece.”

“Tahitian Melody is the only solid song on this record that conjures up a spacey atmosphere. The rest of the tunes are in the acid rock/garage rock vein, lacking the hooks and lyrics to compete with the better bands of the time. Occasionally the faceless garage rock has solid, tight playing but that is not saying much.”

“OK hard psych from CA. Nothing spectacular, but pleasant and at times interesting. Mostly in line with what was going on musically at the time.”

“Unexciting heavy acid rock record with a strong Cream influence. The difference between the two is that Cream wrote a bunch of great songs while Savage Resurrection wrote maybe two good ones.”

“One of greatest one-album bands and a great lost American band. One of the scant few classic hard rock albums made at the time of its release in early 1968. This is not only hard rock and acid rock but also a psychedelic classic.”

“An excellent hard rock/psychedelic album out of '60s San Francisco. Pretty solid all the way through, though the length of the song Jammin’ is rather boring and unlistenable towards the end.”

“Overall, a fairly ordinary hard psych sound. The first cut is a minor classic and the next few tracks are above average. Then we get a surprising slow, moody, dreamy psych tune, though it's not really a great track. Then two plodding, dreadful blues rock cuts that are enough to make this an album I'd never play straight through a second time. A decent, energetic blues rock rave-up comes near the end, and a pretty hot and somewhat raucous guitar jam appears before the album closes.”

Reflections – DIANA ROSS & THE SUPREMES****

Reflections/I’m Gonna Make It/Forever Came Today/I Can’t Make It Alone/In & Out Of Love/Bah-Bah-Bah/What The World Needs Now Is Love/Up Up & Away/Love(Makes Me Do Foolish Things)/Then/Misery Makes Its Home In My Heart/Ode To Billie Joe

Reflections was the first Supremes album to give Diana Ross separate lead singer billing. Features the top five title track plus the top twenty hit single In & Out Of Love. (US:18 UK:30)

"Despite the backdrop to which this album was thrown together, (Holland, Dozier, Holland leaving Motown, Florence Ballard being sacked and Diana Ross raising her game as the lead singer) this album is probably better than their previous ones. It contains the singles Reflections and In & Out Of Love together with some pretty decent album tracks. I must, however complain about the inclusion of an awful cover of Bobbie Gentry's classic Ode To Billy Joe. Why did Motown always insist on making The Supremes do these things?"

"A better than average album from The Supremes. I prefer side one, all of which is melodic and memorable. Side two features some oddly chosen cover songs and in my opinion pales in comparison to side one, but it's still decent stuff. This album is really the end of an era as it's the last on which Florence Ballard features prominently, having been recently sacked from the group."

"I always liked this album, and it has some excellent material, with three hit singles on it. Reflections, is their most psychedelic sounding song. This album marks the last of the HDH songs on a Supremes album before they left Motown to form their own labels. Forever Came Today is a masterpiece, with this song sounding triumphant with just sumptuous production, and again, more of a progressive sounding song, reflective of 1968. It wasn't as immediate a hit as other Supremes/HDH works, but it is one of their glorious best, very atmospheric with beautiful lyrics and a drum beat that really propels the song along."

"Side one of the Reflections LP was one of the most cohesive, satisfying suites of music from The Supremes' later 60s work. Musically, if not lyrically, this side is as close to a concept album as one could expect from The Supremes. Side two is more pop-oriented, and features several covers. Diana's vocal limitations prevent these from being excellent, especially as the background harmonies are suppressed and watered-down."

Just Because I’m A Woman – DOLLY PARTON****

You’re Gonna Be Sorry/I Wish I Felt This Way At Home/False Eyelashes/I’ll Oilwells Love You/Only Way Out Is To Walk Over Me/Little Bit Slow To Catch On/The Bridge/Love & Learn/I’m Running Out Of Love/Just Because I’m A Woman/Baby Sister/Try Being Lonely

Just Because I’m A Woman was released to coincide with Dolly Parton’s regular country spot on the Porter Wagoner TV show. It shows her singing the kind of material she does best, traditional country songs about life as it really is in rural America.

“Parton's 1968 Just Because I'm A Woman was a move to big-time TV shows with Porter Wagoner and the RCA recording company where she would get full star treatment. Its far better produced than her debut album, sounds less eccentric and more Nashville, with the usual share of argument songs, country weepies and the occasional comic number. More songwriters are added here, though the centrepiece is actually Parton's own songs.”

“This LP is a treasure for true Dolly fans, and the talent that would sustain one of the greatest music careers in history is evident here. Her voice, shines through on these songs. The roots of a legend, this is an absolute must have for anyone interested in Dolly Parton, or just great country music in general.”

“Dolly established her reputation by recording some songs that women could relate to. On this album, the title track (proclaiming that women should not be blamed any more than men) is the clearest example of such a song, though men also love this song, perhaps for different reasons.”

“Dolly Parton has released an extraordinary number of great songs and albums in her long career. This is a very early one and every song is top notch. There are no filler tracks on this album. There is an even balance between fast and slow vintage country and her voice is in top form. This is an absolute must for your collection.”

"Just Because I'm A Woman is regarded as one of Dolly's best studio albums reflecting late sixties Nashville and the evolution of the women's movement. The songs on this LP are mostly story songs that can deeply touch your heart. Her voice is a bit higher than I'm used to hearing, but her honesty shines through in spades. While it doesn't show off her songwriting talents as much as subsequent albums, it does show the world that there is more to Parton than her Barbie image.”