Last Time Around – BUFFALO SPRINGFIELD****

On The Way Home/Its So Hard To Wait/Pretty Girl Why/Four Days Gone/Carefree Country Day/Special Care/ The Hour Of Not Quite Rain/Questions/I Am A Child/Merry-Go-Round/Uno Mundo/Kind Woman

Third and final album from talented US pop rock band Buffalo Springfield, released after their split. The aptly titled Last Time Around showed some slight drop in quality compared with earlier releases. (US:42)

"The third and last album of Buffalo Springfield. A gem to hear artists who would go on to even better work. Neil Young shows his varied style. Stephen Stills is continuing his creative ways that began on the two previous albums. Richie Furay and Jim Messina are starting to show what would become years of gifts to others. This album is not their best but it shows diversity and talent."

"An incredible amount of talent in Buffalo Springfield, if they had come together in the 70s they would have been a 'supergroup', too much individual talent maybe and Young and Stills had lost interest in the band by Last Time Around. I believe it was pieced together after half the band had left. It's still an enjoyable listen, with some good songs and performances on it."

"Though clearly not their best, this was released as a collection of studio outtakes after Young's departure. It's still fairly typical of their sound, with some acoustic guitar driven rock, and a few fuzz guitar numbers as well."

"Sweepings up from the aftermath of a band that was never going to last too long. It's amazing what you can find lying around though."

"Given the fact that this album was assembled from the wreckage of a broken band, it works quite well. The set opens and closes with classics. In between, there's more good than bad. Neil Young is barely present, but I Am A Child is good enough that he can be forgiven for being elsewhere. Stills, on the other hand, contributes five tracks, but his songwriting is beginning to slip."

"Buffalo Springfield always had too many cooks in the kitchen so it was not a surprise when the group broke up. What is surprising is how good their last supper really was."

In The Groove – MARVIN GAYE***

You/Tear It On Down/Chained/I Heard It Through The Grapevine/At Last (I Found A Love)/Some Kind Of Wonderful/Loving You Is Sweeter Than Ever/Change What You Can/Its Love I Need/Every Now & Then/You’re What’s Happening In The World Today/There Goes My Baby

In The Groove was an album quickly assembled together to take advantage of the phenomenal success of I Heard It Through The Grapevine, a No. 1 single on both sides of the Atlantic. (US:63)

“For an album that was literally cobbled together to take advantage of the unexpected success of the single I Heard It Through The Grapevine, the results were surprisingly enjoyable. Featuring a mixture of previously released singles, previously recorded tracks that had been shelved for various reasons, and a couple of forgettable new tracks, the results were uneven, but managed to hang together enough to constitute an album that was thoroughly enjoyable. The result was an album without the MOR tracks that plagued so many of Gaye's earlier releases.”

“If there is filler on this album I'm not aware of it. Every track on here is worth a listen once you get past Grapevine, which is a great song all things considered. Every Now & Then is the lesser known gem on this one.”

“I really like Loving You Is Sweeter Than Ever. And if Gaye was dissatisfied, you'd never know it on this record. On Grapevine, of course, and lead track You, Gaye wrenches out bravura vocal performances. Tear It On Down, Loving You, and the jubilant At Last (I Found a Love) are typical Motown productions, which means they're classic. There is filler, but this is a pop album.”

“In The Groove was at one time re-titled I Heard It Through The Grapevine to capitalise on the phenomenal success of the single. It wasn't envisioned as an album.”

“I Heard It Through The Grapevine is a three-minute masterpiece and spent a whopping seven weeks at #1, becoming Motown's biggest hit of the sixties. The single is justifiably considered by many to be Motown's greatest hit ever. This album was thrown together quickly to cash in on its success, and as a result is sometimes a little spotty. There are enough incredible songs and powerful performances to make In The Groove a very good release, despite it's unevenness.”

Greatest Hits – FRANK SINATRA****

Strangers In The Night/Summer Wind/It Was A Very Good Year/Somewhere In Your Heart/Forget Domani/ Somethin’ Stupid/That’s Life/Tell Her(You Love Her Each Day)/The World We Knew/When Somebody Loves You/This Town/Softly As I Leave You

Few Sinatra fans would consider this to be a genuine greatest hits package as it confines itself to his more commercial releases from the mid 1960s, when he was struggling to come to terms with the changing music scene. (US:55 UK:8)

"Appropriately, it begins with his biggest solo hit of the '60s, Strangers In The Night, and then vacillates between adult contemporary pop songs and ballads. Much of the production sounds dated, with its guitars, reverb, and arrangements bearing all the hallmarks of '60s pop. While some of the songs rank among Sinatra's finest moments, particularly Summer Wind and It Was A Very Good Year, most of the songs here are guilty pleasures. They might not have the emotional resonance of his finest ballad and swing albums, but fluff like the Nancy Sinatra duet Somethin' Stupid, the fuzz guitar-tinged The World We Knew and the bluesy This Town are enjoyable as pop singles."

"Frank Sinatra's Greatest Hits isn't a good introduction to his music, as it isn't even a representative chronicle of his '60s Reprise recordings. Instead it's a fun and effective portrait of Sinatra as he was in the late '60s, illustrating how he was struggling to come to terms with contemporary pop music."

"Sinatra as usual is superb, the songs are classics and just pure beauty, and very entertaining."

"These are songs that hit the pop charts and are not necessarily his best songs. Some are classic Sinatra, but there are also some you might have never heard before. These are not bad songs, yet are certainly not indicative of his best work."

"You just cannot beat Frank Sinatra for the overall music experience. He is truly timeless. This has some of his best and is a good start for a Sinatra collection."

"It would have been less misleading had they said 'Greatest Hits at Reprise from 1964 to 1967' because that is more or less what you're getting. Sinatra embracing the new aesthetic of the 1960s, or at least as much of it as he could. Worth buying for the over-the-top, over-dramatic stabs Sinatra did make at commerciality here."

Crown Of Creation – JEFFERSON AIRPLANE****

Lather/In Time/Triad/Star Track/Share A Little Joke/Chushingura/If You Feel/Crown Of Creation/Ice Cream Phoenix/Greasy Heart/The House At Pooneil Corners

Crown Of Creation shows a return to form by Jefferson Airplane, thus reinforcing their place as one of the most creative and influential psychedelic groups of the late 1960s. (US:6)

"Contains the best of both their worlds. It features their beautiful, semi-commercially compatible vocal harmonies with solid west coast vibes and some cutting edge psychedelic foundations. A truly solid release."

"By the time Crown Of Creation came out the Airplane were fully loaded with incredible musicians and an album's worth of uniquely creative songs. Ranging from their exotic take on alternative lifestyles to the acid crazed end of the world, the instruments, voices and sound experiments expand in an effortless collage of psychedelic consciousness. A collision of modern art and contemporary music that helped to define the hypnotic sixties."

"A very good album. Lather is spooky, melancholy and sarcastic at the same time. Triad is a beautiful acoustic ballad that is a bit risqué. Greasy Heart is one of Grace's most underrated gems, it's just awesome. Ice Cream Phoenix and Crown Of Creation are my favourites from this top notch band."

"By now the Airplane had long ago left their hippie-folkie sound behind; in fact, they'd already fragmented so that this record is full of Grace tracks, Paul tracks and Marty tracks, but very few Jefferson Airplane tracks. The end result is a very fine album, but one that shoots off in all directions, rarely settling on a style, and one that could only have been made in the 1960s."

"It was a great deal of fun and most satisfying to rediscover this innovative and wonderful example of prime psychedelic rock. Jefferson Airplane were such a breath of fresh air, so intelligent, funny, irreverent and, lets face it, the first rock band to ever feature a smart, beautiful and sensual female singer who wrote great tunes."

"To my taste this is the most polished and peak piece of Jefferson Airplane's work. The composition, production and musicianship are all dead on. This is one of the very finest examples of psychedelia as a musical genre ever."

Cheap Thrills – BIG BROTHER & THE HOLDING COMPANY*****

Combination Of The Two/I Need A Man To Love/Summertime/Piece Of My Heart/Turtle Blues/Oh Sweet Mary/ Ball & Chain

Part studio, part live. Although nominally credited to Big Brother, this masterpiece is regarded by just about everyone as the debut Janis Joplin album. Cheap Thrills includes the US No. 12 hit single, the cover of Piece Of My Heart. (US:1)

"This is, for all intents and purposes, a Janis Joplin album. The energy and emotion Joplin delivered is unparalleled in musical history - you can literally feel it emanating from the speakers. One only has to hear Summertime or Ball & Chain to understand how Joplin inspired countless female vocalists over the past 40+ years. Honestly, there are very few singers, who have been so influential."

"While all the songs sound like they were recorded live, only Combination Of The Two, I Need A Man To Love, and the album's barn-burning closer, Ball & Chain, were. The rest were recorded in the studio, yet have all the feeling of a live recording. While popular culture dictates that we treat Cheap Thrills as a Janis Joplin LP, we needn't neglect the rest of Big Brother, who deftly blend blues rock licks with psychedelic paroxysms of feedback. The band is tight, full of conviction."

"Alive, raw and organic. Hard rocking, acid psych blues led by the powerful and amazing Janis Joplin. Her voice is like razorblades making the most fuzzed out guitar seem unplugged. And the Band are phenomenal. They complement her so well, just sitting in the pocket waiting for her almost random and unexpected explosions. Such a treat to listen to such awesome musicians. Brilliant."

"For all its ragged glory, Cheap Thrills endures as the best showcase of Janis Joplin's extraordinary singing talent. She really is one of the best white female blues shouters that existed in 20th century music. She sings like silverware in a blender but I buy every minute of it. All of the songs are good, and the rest of the band plays pretty well, even if the music part seems at a lower volume to accentuate Joplin's voice. Not a bad thing because this album is all the better for it."

"This album is an extract of a raw and flourishing musical vibe; heavy psychedelic, intense and eager with massive emotional impact."

Best Of Vol. 3 – THE BEACH BOYS***

Do It Again/The Warmth Of The Sun/409/Catch A Wave/Lonely Sea/Long Tall Texan/Wild Honey/Darlin’/Please Let Me Wonder/Let Him Run Wild/Country Air/I Know There’s An Answer/Friends/Heroes & Villains (UK track listing)

Very few groups can claim to have charted with a third volume of hits, so Best Of Vol. 3 must be recognised as some kind of achievement for The Beach Boys. (US:153 UK:8)

"It would prove to be the last official 'best of' package by the band on their first record label."

"This was the third Best Of Beach Boys album issued by the Capitol label. As with the first two there was some padding to fill out the release."

"These early compilation albums by The Beach Boys have been made obsolete by the dozens which followed. Still songs such as Darlin' and Heroes & Villains are always worth a listen."

"The album combines material from different eras of their career, which makes for an uneven listen."

"Another hodgepodge compilation from Capitol Records, it's just another poorly sequenced compilation that is really a last ditch attempt to sell something with The Beach Boys name on it."

"Having gone through most of the chart hits and notable album tracks from The Beach Boys' early history, the label was forced for the first time to include some of their psychedelic-era songs on this compilation. But there wasn't enough of a track record to build an entire album in that direction, so alongside Heroes & Villains, plus the recent single Darlin', there is the car song 409."

"This was so downright weird as a collection that it was never less than interesting, even if it was satisfying to very few listeners. And it was something of a sign of their longevity and impact on music that The Beach Boys could release a reasonably legitimate Best Of Vol. 3. Other than Elvis Presley, one would have been hard pressed to name an American rock act in 1968 that could have generated a third such volume, flawed though it was."

Anthem Of The Sun – GRATEFUL DEAD***

That’s It For The Other One/New Potato Caboose/Born Cross Eyed/Alligator/Caution(Do Not Stop On Tracks)

Anthem Of The Sun, the follow up album from The Grateful Dead, encapsulates their experimental rambling free-form psychedelic playing style with which they are most associated. (US:87)

"Psychedelic to the core. There is nothing holding this baby to the ground. Badly underestimated record that may need to be heard a few times to be appreciated."

"Certainly more representative of the sound most people equate with this band than their debut. This one also features great period flavour, along with more noticeable psych influences, but with some of the more extended improvisations that have become their trademark."

"Filled with daring psychedelic playing, inventive experimentalism, a constant flow of ideas and a balanced mix of careful studio work and raw live energy. Anthem Of The Sun may not be the easiest listen, but it surely is a very original album."

"This is not simply an album. The composition, performance and craftsmanship of this work sets it apart. The blending of live and studio material, the incorporation of avant-garde modern music, and the melodic flow of side one is pure genius. Side two is acid-drenched blues-rock jamming at its finest."

"Rambling and chaotic, but that's the idea I suppose. Garcia pulls out some burning leads amongst the trippy haze."

"This is The Grateful Dead I loved: acid-drenched, spontaneous, crazed and loopy. Anthem Of The Sun catches some of their concert magic. Never mind that they blended studio and differing concert recordings - this album gives the feeling of the psychedelic Grateful Dead when they were really cooking."

"I wasn't a big fan of the first record but I thought I would try them again. A big, big mistake, and a real waste of money. There is nothing remotely musical about this record. It is a cacophony of noise. Anyone who disagrees with this, I would ask them to sing any of this from memory. Do not buy this record if you are a musician or if you have any musical taste at all."

Aerial Ballet – NILSSON****

Good Old Desk/Don’t Leave Me/Mr Richland’s Favourite Song/Little Cowboy/Together/Everybody’s Talkin’/I Said Goodbye To Me/Little Cowboy/Mr Tinker/One/The Waiting Of A Willow/Bath

Second album from Harry Nilsson includes several original compositions. However, the best known track, Everybody's Talkin', the theme song to the film Midnight Cowboy, is a cover, reaching No. 6 on the US singles chart.

"The man with the perfect voice, with perfectly crafted and arranged songs. The perfect assortment of brass, strings and piano to create the most perfect baroque soundscapes known to man. The only thing he's lacking is enjoyability. I don't want to get into something about the album lacking 'soul' or whatever, because that's usually something that's so subjective. But that's exactly what he's lacking."

"Aerial Ballet is one of Nilsson's best albums. His talent for writing timeless and catchy pop songs is evident throughout each and every track, but his voice is the icing on the cake that brings it all together. One can't go wrong with any of his early work. Definitely recommended."

"If you're into beautiful, carefully crafted songs with smart lyrics (a cross between Randy Newman and The Beatles), sung by one of the world's best singers, don't pass on this one."

"Aerial Ballet is an agreeable, but slight, collection of light pop tunes. Nilsson is pretty self-aware and exploits the inherent triviality of pop music. As much as he clearly reveres a band like The Beatles, he also challenges the 'this is serious art' attitude to songwriting that prevailed in the 60s. Still, songs like Don’t Leave Me are so catchy and beautifully crafted that they also remind us how transcendent trivial pop music can be." ,p> "Aerial Ballet has the whimsical, pastoral, peaceful feel that was slipping away as things began to unravel: drugs, assignations. Nilsson here seems to pull it all back in a plausible way. Plus his jazzy singing is great."

"Nilsson is unfortunately best known for hits not penned by him but are covers instead. Here every track is at least part written by him save one, the strongest hit track Everybody's Talkin'. That's not to imply that this album is just filler, although it would be safe to say that Fred Neil's composition stands out over the rest."

Best Of – FRANK SINATRA*****

Young At Heart/Hey Jealous Lover/All The Way/Witchcraft/Chicago/Come Dance With Me/Only The Lonely/High Hopes/Nice ‘N’ Easy/Put Your Dreams Away (For Another Day)

With only ten tracks on this LP there are many more comprehensive Sinatra compilations available today. Best Of includes some of his best remembered songs from his Capitol years. (UK:17)

"Sinatra's Capitol years were so good that it is hard to give this anything less than five stars. The Sinatra magic works no matter how you sequence it."

"This doesn't really contain 'all the best'. Still, for the money, it's a very good start for fans of Sinatra's music."

"Sinatra's voice was never better. By the 1950s, his voice had deepened and matured, and he had developed a sense of rhythm and timing that sets him apart from all other singers. This is Sinatra at his best, singing the greatest songs from the best songwriters, backed by the best musicians of the era."

"There are a few entertainers who maintain a consistency of excellence. Frank Sinatra was one of those. Everything in this collection is classic. The collaboration of musical talent, combined with the high fidelity recording technology of that era, preserves for us some of the crown jewels of popular music. Trying to describe this music with words is like trying to describe an oil painting. Few vocalists pack the drama, emotion and swagger of Frank Sinatra, and this collection compiles Frankie at his best during the era many consider his artistic peak."

"The Capitol years find Sinatra at his vocal apex. He was in his late 30s/early 40s, and 'The Voice' was at its peak. Gone was the lighter sound of the Dorsey and Columbia years. In the 50s Sinatra possessed a powerful baritone with great elasticity."

"Frank Sinatra was the great American 'popular' singer of the 1940 to 1970 era. And, the best songs and arrangements of his career were those recorded for his Capitol albums during the 1950s. Unlike his 'hit singles', which were chosen to appeal to young radio listeners, his Capitol albums were aimed at adults, especially men in early middle-age who could appreciate Sinatra's viewpoint, a tough look at life from a guy who had been through failed marriages and relationships."

Waiting For The Sun – THE DOORS*****

Hello I Love You/Love Street/Not To Touch The Earth/Summer’s Almost Gone/Wintertime Love/The Unknown Soldier/Spanish Caravan/My Wild Love/We Could Be So Good Together/Yes The River Knows/Five To One

Another classic album from The Doors, Waiting For The Sun includes the US chart topping hit single Hello I Love You, and comprises hard rockers together with softer ballads. (US:1 UK:16)

"It's a great Doors classic that sees the band masterfully walking the tightrope between the hard rockers and the softer ballads. For their third album, they decided to go for an earthier, softer sound on some of the tracks, which lends this Doors album an extra kind of beauty."

"Opening with the No. 1 smash Hello I Love You, the strength of the album lies in the more obscure tracks. Ballads like Love Street and Summer's Almost Gone are proof the band could do the mellow stuff. There's still some intense psychedelia present though; look at the flat out creepy Not To Touch The Earth and the powerful closer Five To One. Spanish Caravan opens with some wonderful flamenco guitar play, the pseudo waltz of Wintertime Love is an interesting listen, as is the war protest song The Unknown Soldier. A more light hearted affair, Waiting For The Sun makes for a great listen. Try this Doors album out, there's quite a few great tracks to be found."

"Overall, this album saw the band entering a softer direction but it still has the darker material of their first two albums. Tracks like Love Street, Summer's Almost Gone and Yes The River Knows all have beautiful melodies and feature some of Jim Morrison's most passionate vocals. Another great album. Highly recommended."

"Waiting For The Sun is a lot more crowd-pleasing than the previous one: it's softer, gentler, a lot of the dark mood is lost, and there are tender ballads which are not dark at all - just plain sad and melancholic."

"For the most part the album is filled with more pop hits than one would expect from The Doors, but if you’re patient, there’s also a tenderness found here, a dichotomy, and juxtaposition between rock and jazz that’s perfectly balanced."

"The genius of The Doors was in the contrast of upbeat, poppier fare with their darker, more nihilistic stuff. And their pop songs are still pretty unique."

The Village Green Preservation Society - THE KINKS****

The Village Green Preservation Society/Do You Remember Walter/Picture Book/Johnny Thunder/Last Of The Steam Powered Trains/Big Sky/Sitting By The Riverside/Animal Farm/Village Green/Starstruck/Phenomenal Cat/All Of My Friends Were There/Wicked Annabella/Monica/People Take Pictures Of Each Other

With Village Green Preservation Society The Kinks get into nostalgia in a big way. Given the favourable reviews, and the popularity of the group at the time, it is mystifying that it failed to chart.

"Although Village Green Preservation Society was a commercial failure when originally released its reputation has burgeoned over the years. This reputation is well-founded. The songwriting is of a consistently high standard and the band is playing at its best."

"Village Green Preservation Society is a work steeped in nostalgia, memories and narratives of the old ways of Britain. A concept album dealing mostly with traditions and progress."

"This album is a great illustration of how Ray Davies was clearly living in a different world to his musical peers in the late 60s. Whilst pop groups seemed to still be indulging in the concept of changing the world around them, Davies was once again creating everyman suburban characters living in an orthodox universe."

"The Kinks try to emulate the Fab Four, and the results are good, but far from spectacular. In particular, this album is highly derivative of the campy, Tin Pan Alley side of The Beatles which I believe Paul McCartney was largely responsible for. There aren't any songs here I'd call great, but there's a few really good ones. It's very consistent without any weak tracks."

"The basic theme is the great English countryside and its fast disappearing traditions. It's not a folk album, but it does have a very pastoral theme. Songs are well crafted, with plenty of great Kinks style hooks and melodies, coupled with lyrics which show a real regret for a world fast disappearing."

"In retrospect it's easy to see why it sold so poorly, as its cosy nostalgic songs were well out of place in a time when rock was just beginning to get heavy. It's only with the passing of time than one can admire the album's brilliance. All songs are Ray Davies originals, sepia toned to a time which may never have existed."

Truth – JEFF BECK****

Shapes Of Things/Let Me Love You/Morning Dew/You Shook Me/Ol’ Man River/Greensleeves/Rock My Plimsoul/ Beck’s Bolero/Blues Deluxe/I Ain’t Superstitious

Truth was the blues drenched debut album from former Yardbirds guitarist Jeff Beck. It is notable for launching the distinctive vocals of up and coming star Rod Stewart. (US:15)

"Long before he recorded avant-garde techno guitar, Jeff Beck was in the vanguard of the late 1960s heavy blues boom. You won't find any of Jeff Beck's typical whammy bar adventures here, but you will hear a lot of heavy, flashy, and usually tasteful guitar work that compares very favourably to Jimmy Page's playing on the first couple of Led Zeppelin albums. An even greater surprise is lead singer Rod Stewart, who back in that day could belt out soul and blues with the very best of them. He comes very, very close to stealing the show."

"Blues-rock as raw as it could get in 1968. Rod Stewart and Jeff Beck set out to show the world that, in their view, rock needs to get rid of these tedious psychedelic gimmicks, that the genre needs to be rejuvenated by making it simpler and louder."

"As Beck was an axe man, no composer, and Stewart was an interpretive singer, not yet a songwriter, it’s obvious that they would tackle covers or lift patterns from old Blues masters. They have a thick, if sort of restrained sound typical of that era."

"Sounds a little like what Zeppelin took on the next year, except that Zeppelin really did it right."

"Nice album, but some pundits are highly misguided if they really think that rock fans backed the wrong band by making Led Zeppelin legendary rather than this."

"Here we have Jeff Beck's first solo outing, following his stint with the blues masters The Yardbirds, and it's obvious from the outset that Beck certainly learned a great deal from that band, since he has simply taken the blues and turned the volume up. Beck dispenses with psych organs, slowed-down covers and buckets of distortion, and instead just plays the blues he loves with a much harder edge. This album is a prime example of the bridge between blues and hard rock, and is one of the most primal offerings of heavy blues rock. Classic, bluesy brilliance."

Trilogy For The Masses – FORD THEATRE***

Theme For The Masses/101 Harrison Street/Back To Philadelphia/The Race/From A Back Door Window/ Postlude: Looking Back

Trilogy For The Masses was the debut album from the Boston psychedelic group Ford Theatre. To unify the album the gothic, classically influenced title track is reprised a couple of times after it opens proceedings.

“Trilogy For The Masses is their first album based on two lengthy pieces of exceptional orchestral work with virtuoso guitar and organ solos. A real masterpiece of prog-rock.”

“Psych influenced progressive flavoured hard rock, featuring extended guitar and keyboard improvisation.”

“A good 60s psych with long and good instrumental, part organ-guitar. Not essential but trippy.”

“Epic, touching, monument of an era, beautiful compositions, outdated voices, a great record for 60s fans. Killer psych album.”

“Super boisterous organ sounds, great heavy guitar strumming and rolling drums full, clear male vocals from their lead singer. The music doesn't overpower the vocals, or the vocals the music, they are in perfect balance.”

“This has to be probably one of the best albums I have ever heard, it has an aura in it, there is something that grips and doesn't let me go. It is far better psychedelia than much of the music being made back then. It has amazing melodies driven by a very strong keyboard and some very relaxing vocals.”

“Ford Theatre were typical of the sound of Boston psychedelic rock circa 1968: dark, foreboding, sombre songs, sometimes quite long, with sub-California acid rock guitar, and more weight on the organ than many bands of the period carried.” “On the whole, not a bad acquisition for the insatiable psychedelic collector looking for something typical of the era, though it's not that distinctive in approach or quality.”

Things – MERRELL FANKHAUSER & HMS BOUNTY***

Things (Goin’ Round In My Mind)/Girl (I’m Waiting For You)/What Does She See In You/Lost In The City/Your Painted Lives/Driving Sideways (On A One Way Street)/In A Minute Not Too Soon/A Visit With Ashiya/The Big Gray Sky/Rich Man’s Fable/Ice Cube Island/Madame Silky

Things was the sole album from the psychedelic group HMS Bounty, formed by guitarist Merrell Fankhauser from his previous group The Exiles. He was also involved in the band Fapardokly.

“This is a long time favourite of mine. Not only is it very interesting and enjoyable to listen to, but it's also quite diverse, and representative of a broad range of styles. It's also reasonably consistent too.”

“Another album by Fankhauser that failed to garner much attention. This album is similar to the Fapardokly release, but shows a progression forward. Rather upbeat psych-pop, the opening two tracks are solid pop tunes with Merrell's warm vocals and Byrdish guitar work. Lost In The City has a bit more bluesy sound, with excellent dual guitar work. A Visit With Ashiya has an Eastern sound with some sitar and great guitar. The atmospheric folk of Ice Cube Island is a bit of a change, though very good. Madame Silky strays away from their poppier sound and unleashes some pretty wicked psychedelic guitar.”

“One of the all-time lost 60s classic albums. This 1968 release comes to you courtesy of cult legend Merrell Fankhauser, the HMS Bounty album is really something special. The songs are all extremely catchy, but with enough heavy guitars and psychedelic textures to keep things interesting. The first two tracks are actually more in a sunshine pop/blue-eyed soul vein, but they're still totally excellent. All in all, this record is a lost treasure.”

“Fans of 60s psych pop - if you don't already own this album, get it immediately. Shades of the Byrds, Buffalo Springfield and Cream, but with its own unique sound as well.”

“Considered by most critics to be a psychedelic pop classic, this album features some tasty treats for anybody into late 60s psychedelic pop/rock. Fankhauser may be the most talented unknown in rock history. This album is just one slice of his wide and varied catalogue.”

Tape From California – PHIL OCHS****

Tape From California/White Boots Marching In A Yellow Land/Half A Century High/Joe Hill/The War Is Over/The Harder They Fall/When In Rome/Floods Of Florence

Tape From California found folk singer songwriter Phil Ochs at the apogee of his social and political protest concerns, linking his fears of a disintegrating society with his own sense of personal failure.

“Whether it was the lyrical lilt of his voice or the tremendous passion of his articulate poetry, Phils Ochs had a profound impact on listeners. He could be politically outlandish but more often incredibly insightful. His lyrics are some of the most intelligent written by a modern day folk artist or songwriter of any ilk.”

"This album creates an intriguing portrayal of the songwriter and where he was at this time. Collectively, this album is about the apocalypse. As Phil saw the country falling apart in 1968, he wrote about it. And Tape From California is the result of that portrait. The instrumentation is again a different direction for Ochs, turning to an eclectic mixture of rock and roll, traditional folk and orchestral arrangements.”

“Tape From Califonia is a wonderful record that is not nearly known enough. With ambitious structures and arrangements, essay like protest lyrics, this music was tailor made for FM progressive radio. The problem is that people now may see this music as dated; these are masterpieces that did not survive the purge, when FM became AOR and music selection was handed to demographic consultants.”

“Only eight songs, but they all had very intelligently written and insightful lyrics, and the music sounds great as well. Those were the days where every song on an album was intended to be good, not just one or two purposely manufactured 'hits' and the rest mere filler.”

“There's desperation and a sense that he's casting off his boat into a sea of depression. A lot of this is ravings about the state of society, and though Phil's earlier music had a 'movement' message to it, by this point he sounds defeated.”

“The lyrics are thought provoking, his gentle voice belying their often sardonic, sometimes cutting nature. The musical backing is spare but the embellishments are diverse and appropriate. Every song and performance seems just right, they're all superb in different ways. Put bluntly this is a classic album.”

Skip Bifferty – SKIP BIFFERTY***

Money Man/Jeremy Carabine/When She Comes To Stay/Guru/Come Around/Time Track/Gas Board Underdog/ Inside The Secret/Orange Lace/Planting Bad Seeds/Yours For At Least 24/Follow The Path Of The Stars/Prince Of Germany The First/Clearway 51

Self titled sole album from the English psychedelic rock group Skip Bifferty. They came under the wing of manager Don Arden, but after quickly falling out with him they changed their name to Heavy Jelly without any improvement in fortune.

“This band mixes dancehall/English vaudeville melodies with eccentric lyrics a pounding, somewhat inelegant piano, raunchy guitars, quirky melodies and spacious arrangements. Some of their songs are hackneyed and sillier than others.”

“Inconsistent (and all the really good songs are on Side A) and not trippy enough for my liking, but it's melodic and contains a sufficient amount of good material to satisfy curiosity without disappointment.”

“If psychedelia turns just a bit more flowery than Skip Bifferty it will become a rose garden of earthly delirium. The album is like a carpet of many colours and fantastic patterns – or to be more precise it is like a magic carpet that takes you flying high above so many fairytale isles. Musically the album is extremely generous and lush, so listening to it I felt as if I was resting in a treasury full of luxuriant jewellery.”

“You will find fourteen very short psychedelic pop tracks from this, Skip Bifferty's only studio album. The instrumental work isn't anything exceptional and I found the vocals a bit too generic for my taste. Fortunately there are some better parts for example Come Around, Inside The Secret and Follow The Path Of The Stars, but as a whole this album doesn't convince me.”

“Skip Bifferty's self titled, lone album sits as one of the best in the genre. They brought a catchy, power pop approach to psychedelia.”

“Soaked in and made of English cynical optimism, observational satire and scenesetting psychedelia, this record is an utterly perfect meld of atmosphere, lyricism and perfect pop psych rock sensibility.”

“Outstanding freakbeat psychedelia that really impressed me on first listen.”

Renaissance – VANILLA FUDGE***

The Sky Cried-When I Was A Boy/Thoughts/Paradise/That’s What Makes A Man/The Spell That Comes After/ Faceless People/Season Of The Witch

After the fiasco of the previous release heavy rock group Vanilla Fudge get their act together and produce their most mainstream and consistent album, Renaissance. (US:20)

"It has a consistency of style throughout, always intense and often at the point of mental and physical breakdown. Blistering guitar, drenched in Hammond organ, pumped through a wall of Leslie speakers, backed by one of the best rhythm sections ever, not to mention Mark Stein's powerful emotional vocals. No other record sounds like this, it is truly unique."

"Vanilla Fudge are known - if they're known at all - for turgid, lumbering covers of songs other people made famous. I heard the eerie, spacey cover of Donovan's Season Of The Witch and immediately went out and bought the album. Most of the rest of this fascinating period piece are originals. This album might sound pretty silly, but it has an emotional intensity and truth that I never got from the Fudge's other efforts. A jewel unappreciated even by its maker."

"Best known for their ability to take other artist's songs and make them into something entirely their own, this album had them doing, mostly, their own material. Great harmony arrangements, along with their instrumental prowess, made this one of my favourite Vanilla Fudge records."

"Every song on Renaissance is worth the price of admission with an exceptional rhythm section, heavy Hammond organ, nasty guitar work, not to mention their trademark ethereal vocal harmonies. This was released when the Fudge were at their peak and all the elements - life, beauty, acid, love and doom - came together and manifested in this masterpiece."

"What I always loved about this greatest of all Fudge sets were the heartfelt emotions openly expressed in it, the sheer power of the music, and the beauty that lay within songs like Paradise. For anyone who remembers those days, or for acid rock connoisseurs of all ages, Renaissance is one of the finest examples of this musical genre you will ever encounter."

Present Tense – SAGITTARIUS***

Another Time/Song To The Magic Frog/You Know I’ve Found A Way/The Keeper Of The Games/Glass/Would You Like To Go/My World Fell Down/Hotel Indiscreet/I’m Not Living Here/Musty Dusty/The Truth Is Not Real

Present Tense was the debut album from the studio pop group Sagittarius created by producers Gary Usher and Curt Boettcher. The musical style was melodic and harmonious sunshine pop.

“Idiosyncratically beautiful album from 1968, full of gorgeous melodies, lush harmonies, stunning musicianship and production. A one-shot project by producer Gary Usher and many of LA's elite session musicians.”

“It has that wonderful 'Summer Of Love' sound and is very harmonious. The melodies are very catchy and memorable. The song most will remember is My World Fell Down.”

“The songs are pleasantly light and just psychedelic enough. Lilting melodies will take your mind to another place. My World Fell Down, the best song, has already achieved cult status.”

“Near perfect psych/baroque/sunshine pop. The melodies and harmonies are off the charts here. It is absolutely beyond me how this wasn't huge back in 1968. For me, this is one of the finest albums in thi

“Very consistent, ultra-lightweight flower pop, with gigantic production, including strings, horns, harpsichord and various orchestration. Though this is highly regarded pop/psych by many, I find it just a little too commercially oriented for my taste, with the overzealous production and all. And the psych influences are muted at best.”

"Silky, syrupy, mellifluous vocals, huge arrangements. This is The Carpenters meets The Beach Boys. Strong melodies, but too tinkly to really satisfy. Harmless sunshine pop music, won't knock you down or make you fall off the chair, just very enjoyable and makes you feel good and relaxed.”

“Present Tense is an incredibly lush and well-produced pop record. The melodies here are just utterly gorgeous and the album has a great atmosphere. A fine album that could have been just a tad more psychedelic.”

Music In A Doll’s House – FAMILY****

The Chase/Mellowing Grey/Never Like This/Me My Friend/Variation On A Theme Of Hey Mr Policeman/Winter/ Old Songs New Songs/Variation On A Theme Of The Breeze/Hey Mr Policeman/See Through Windows/ Variation Of A Theme Of My Friend/Peace Of Mind/Voyage/The Breeze/3 X Time

Music In A Dolls House was a well received debut album from British progressive rock band Family, noted for the idiosyncratic singing style of the lead vocalist. (UK:35)

"Ultimately, Music In A Doll's House sits in that strange gap between late-60s psychedelia and 70s progressive rock. Strangely, I like it a lot more than most protoprogressive albums I've heard, as there is some genuinely feverish experimentation happening from a songwriting perspective, and despite the eclecticism the band has a certain focus."

"A good deal of the band's strangeness is owed to lead singer Roger Chapman's powerfully thick, tremulous vocals. As far as I know, he's got no stylistic equal in the history of rock music, and his brio certainly adds a unifying, distinctive character to what is an extremely eclectic collection of songs."

"Coming at a time when baroque pop was meshing with folk and rock to form early British psych its surprising this isn't more highly blathered about in the music press." "Roger Chapman's voice certainly is an acquired taste and I'm not sure that its my taste, but the music is top drawer. It has a kind of early prog feel, which is a good thing because its not too overblown or pretentious."

"The first three songs are high class. This form of baroque pop is what made Family unusual. I'm much less partial to the rest of the album, which descends into both short, unmemorable experimental jabs, and mediocre '60s blues rock. If you like sweaty, dramatic, he-man vibrato though, Roger Chapman may be your man."

"This album, and in fact this band, are unique. No one else sounds like them and they never repeated themselves on any track throughout their short lifetime. Roger Chapman's vocals are an acquired taste. In some of the band's later recordings they grate at times but in my opinion he is on top form throughout this album. Probably has the strongest psych influences of their catalogue, and may be their most innovative as well."

"This album defines much of the feel of the decade's twilight years. It's a great piece of British band/musical history and for me, brings back memories of halcyon days of parties, trippy laid back summer evenings, and the sheer originality that so many bands at this time offered."

A Man Without Love – ENGELBERT HUMPERDINCK****

A Man Without Love/Can’t Take My Eyes Off You/From Here To Eternity/Spanish Eyes/A Man & A Woman/ Quando Quando Quando/Up Up & Away/Wonderland By Night/What A Wonderful World/Call On Me/By The Time I Get To Phoenix/The Shadow Of Your Smile

Engelbert's releases during the late sixties were his most creative, where his sensitive voice was enhanced by outstanding musical arrangements. A Man Without Love features the British No. 2 hit single title track. (US:12 UK:3)

"During the late 1960s, Engelbert Humperdinck successfully bucked the trend of pop/rock groups, singing romantic ballads that employed rock instrumentation along with strings to update the sound of the pre-rock classic pop singers he resembled. His third album, A Man Without Love, was rushed out in the wake of success from its title song, his fifth consecutive hit, and it went gold and stayed in the charts for more than a year. Typically, for an album cut to take advantage of a hot single, it was a collection of recent standards to which the singer could give his patented treatment. There are no other Humperdinck hits beyond the title song, but the album is a consistent effort all the same."

"Engelbert's at his best here, I don't think he was ever better. The sideburns were raging, the baritone was on window display. His version of the Bob Crewe standard Can't Take My Eyes Off Of You is perhaps my favourite version of the song as is the lovely Spanish Eyes."

"A Man Without Love is a little treasure, what I consider a classic. From Here To Eternity is now my all-time favourite song of Engelbert's. It is absolutely beautiful, and every time I see him in concert, I always hope that he will perform it. This is a must-have for all fans of E.H."

"A Man Without Love is a great record, that relentlessly spins wonderful vintage covers like Quando Quando Quando and the over-played What A Wonderful World. Beyond the sexy voice there is the sexy bow-tie that seemed to be the hallmarks of this performer's stage repertoire. Five stars for Humperdinck, in that he classifies swankiness with a Lawrence Welk pop that is unattainable today."

It’s a Long Way Down – THE FALLEN ANGELS***

Poor Old Man/A Horn Playing On My Thin Wall/Something You Can Hide In/Tell Me A Story/Silent Garden/Look To The Sun/One Of The Few Ones Left/I Really Love My Mother/Look At The Wind/Didn’t I/It’s A Long Way Down/I’ll Drive You From My Mind

It’s A Long Way Down was the second and final album from the Washington DC psychedelic garage band The Fallen Angels. This LP is considered to be the stronger of the two.

“Most of these fairly-unknown 'holy grail' type 60s psych records tend to fall off on the second side, but to my ears this one actually gets better as it goes on, delivering a string of absolute stunners with the last four tracks.”

“The music is mostly psychedelic pop with elements of baroque pop, psych rock and folk too, but this record isn't utterly psychedelic as some of the songs are pretty much basic psych pop. There are many songs that I can call perfect. The rest is pretty fine material too.”

“Decent music but insipid vocals, substandard and amateurish songwriting, and wholly lacking in the main thing I look for in psychedelic pop - soaring melody.”

“I have been checking out a lot of 'lost masterpieces' with mostly great disappointment, but this is the seemingly rare real deal. Don't understand why this isn't more highly regarded compared with some of the more half baked psychedelic albums that create such large myths.”

“Not all tracks are even psychedelic. Some are merely mainstream vocal pop. Some tracks are imbued with folk flavour. But most are crafted in such a way as to implant a seed in your brain that will grow long after you've stopped listening, and leave you scratching your head and wondering where you heard the tune that refuses to leave your consciousness.”

“Being a big fan of 60s psych and psych pop, this is one of the few LPs in my favourite genre that is from beginning to end excellent. No weak spots to be found.”

“One of the best US psych LPs out there. Some real dazzling songs like One Of The Few Ones Left, but there is not a bad track on this album. It definitely deserves the hype it gets.”

July – JULY***

My Clown/Dandelion Seeds/Jolly Mary/Hallo To Me/You Missed It All/The Way/To Be Free/Move On Sweet Flower/Crying Is For Writers/I See/Friendly Man/A Bird Lived

Eponymous sole album from the obscure London psychedelic rock group July. The group featured lush harmonies, keyboards and intricate lead guitar work.

“As far as British psychedelic rock goes, July fare really well. They existed in an era when rock was still single-driven, so the album features a couple tracks that were much more popular as singles than the entire album or the band ever managed to achieve. My Clown is classic British radio psych, with trippy, treated guitars and vocal harmonies. My favourite track is Dandelion Seeds which moves on a pretty jazzy groove and features a really far-out bridge. Jolly Mary is classic whimsical British pop.”

“It's hard to peg them, but their sound is light to moderate psychedelic with 60s Brit garage band if there was such a thing.”

“Obscure psychedelia which is so inept and amateurish that its flaws are somewhat endearing. At its best, the group has a fractured, Syd Barrett-type appeal, but the slower songs are a shaggy mess.”

“One of the better British psych albums, this contains all the things you'd expect: vocal filters, weirdo guitar noises etc. It all comes together quite nicely and rocks more than enough to balance the psychedelic trippy-ness. It doesn't particularly hold my attention but I'm just impatient. Give it a try.”

“July was a short-lived psych group from London and this is their self-titled debut recording. Most of the greatest psychedelic rock of the 1960s came from the USA but there were many nice UK psych groups as well. July was one of those even if this album is not a total jackpot. This stuff is very trippy at times despite the shortness of the songs.”

“Presenting a variety of psychedelic styles, July seem comfortable with all of them, as if they are totally at home in any shade of psychedelia. Even the weakest of cuts here is still at least pretty good, while the best are fire breathing monsters. This one has it all - effects, lyrics and songwriting.”

In Search Of The Lost Chord – THE MOODY BLUES*****

Departure/Ride My See-Saw/Dr Livingstone I Presume/House Of Four Doors/Legend Of A Mind/House Of Four Doors Part 2/Voices In The Sky/The Best Way To Travel/Visions Of Paradise/The Actor/The Word/Om

With In Search Of The Lost Chord progressive group The Moody Blues deliver their most psychedelic album, one bursting with gorgeous melodies and intriguing lyrics. (US:23 UK:5)

"In Search Of The Lost Chord is filled with the group's euphoric music, which both explores the cosmos and comforts us with their emblematic, tuneful bliss. There is a remarkable, youthful enthusiasm in both the music and the lyrics, and the album is loaded with songs of unique, psychedelic charm."

"This is an intriguing album, a valuable introduction for the uninitiated to the wild range of talents of the band, and a showcase for their musical virtuosity. The album focuses increasingly on aspects of the eastern way of perceiving and interpreting reality, and they conduct this exploration within the margins of popular music quite provocatively and very entertainingly. This is classic Moody Blues material, and they mine this genre in a way uniquely their own."

"I've listened a lot to all The Moodies albums up through the 70s. This one is the best. The songwriting, playing and production all have a deft lightness that's not present to this extent on their other albums. This is so pleasant sounding. The songs take you away and there's no dark or vibes or taking oneself too seriously. This was the creative peak for them and it stands as a testament to the creativity of the era."

"Undoubtedly the closest that The Moody Blues ever came to a straightforward psychedelic pop album. In Search Of The Lost Chord combines the symphonic touches introduced on Days Of Future Past with more conventional song structures and a bit of a hippie sensibility."

"This is one of the albums that caused me to fall in love with rock 'n' roll. We have something really special. It's all just beautiful. Acoustic strumming, Eastern influences, spacey blips, lilting flute, major songs resplendent with rich, sophisticated gentle melodies."

"In Search Of The Lost Chord was one of those essential albums in my life, an album I played time and time again. This was probably one of the most beautiful, successful psychedelic albums of all time."

In Concert – DONOVAN****

Isle Of Islay/Young Girl Blues/There Is A Mountain/Poor Cow/Celeste/The Fat Angel/Guinevere/Widow With Shawl (A Portrait)/Preachin’ Love/The Lullaby Of Spring/Writer In The Sun/Pebble & The Man/Rules & Regulations/Mellow Yellow

The only live album released by folk-rock singer Donovan during the height of his popularity. Donovan In Concert was recorded at the Anaheim Convention Centre Arena, California in September 1967. (US:18)

"Donovan's style varied between simple, eloquent, poetic folk and beatnik jazz. This is a poet with a lovely Scottish voice who composed what I would consider the soundtrack of what the 1960s were about. This live collection came out as an abbreviated single LP recorded with either Donovan and his acoustic guitar alone, or else with his small ensemble of flautist, bass player and bongo/drummer. With Donovan's music, that's all you need. It is highly recommended."

"Lower your lights, light some incense, and fly Trans-Love Airways back in time to the hippie/flower power/beatnik music by the quintessential practitioner thereof."

"Very chilled-out, whimsical set. For me there's nothing bad here, maybe a bit bland at worst. The stand outs are The Fat Angel, Rules & Regulations and the hits There Is A Mountain and Mellow Yellow."

"The songs are great, and the lyrics are what just put me in awe, I love the way Donovan writes a song. His style of folk-rock is one of the best I have ever heard and the way he fuses jazz, folk, rock, and a little psychedelia is really something to be commended. Definitely something to get if you like Donovan or something to start off with - worked well for me."

"For Donovan fans, this concert is essential. For me, never getting the chance to hear and see him back in the sixties, this is a treasure. One of the things that took me by surprise is that the band and Donovan himself have a very genuine mastery of the jazz idiom. The beauty is how they mix jazz with folk, Celtic, rock, etc. This vast musical cross-hybridization is what I cherish about the 60s rock movement. This concert captures the spirit of the 'Flower Power' sixties. If you are laid back and folky you will definitely enjoy this album. A definite buy for all Donovan fans."

In-A-Gadda-Da-Vida – IRON BUTTERFLY***

Most Anything You Want/Flowers & Beads/My Mirage/Termination/Are You Happy/In-A-Gadda-Da-Vida

Spending three years in the US album charts, heavy rock group Iron Butterfly's strangely titled In-A-Gadda-Da-Vida was for many years Atlantic Records best selling LP. Unfortunately, the title track, taking up the whole of the second side, is way too long and tedious. (US:4)

"Iron Butterfly's most well-known work was once Atlantic's biggest seller. Sadly, the first five tracks are instantly forgettable and the album's immortality stems from its 17 minute meandering title track. Great intro, mercurial organ/guitar interplay, manic bluesy vocals, but the power of the piece is compromised by the drum solo and the shrieks entangled in the succeeding organ solo."

"In-A-Gadda-Da-Vida was so long it became almost a parody of itself, because after all, who wants to sit there and listen to a bunch of self-absorbed musician make love to their instruments for over 17 minutes?"

"What made this album great is Iron Butterfly's one hit wonder, In-A-Gadda-Da-Vida, which is slurred for 'In a Garden of Eden'. The same catchy riff has been reused, modulated and used as the foundation for the extended solos in the glorious 17 minute song."

"Half of the album is the title track, the other half is completely disposable. In-A-Gadda- Da-Vida the song is one of the most remembered in rock history whether you remember it fondly or not."

"Possibly the first metal album, this release (and band) are only known for the title track which gets really long and pointless well before it's over. The rest of the album is extremely dated psychedelic rock not helped by the poor lyrics."

"The problem with Iron Butterfly's signature album is that while the musicianship is solid enough, their lyrics are trite and sometimes clumsily written and their song structures are competent but uneven."

"Although it may seem repetitive, using this short riff and extending it over 17 minutes requires musical talent and physical endurance to perform this piece."

Hair – BROADWAY/LONDON CAST*****

Aquarius/Donna/Hashish/Sodomy/Coloured Spade/Manchester England/I’m Black/Ain’t Got No/ Air/ Initials/I Got Life/Hair/My Conviction/Don’t Put It Down/Frank Mills/Be-In/Where Do I Go/Black Boys/White Boys/Easy To Be Hard/Walking In Space/Abie Baby/Three-Five-Zero-Zero/What A Piece Of Work Is Man/Good Morning Starshine/ Let The Sun Shine In

The hippy rock musical Hair was very much a part of its era, and it may come across as rather dated today. The songs, however, are timeless. Music by Galt MacDermot, lyrics by Gerome Ragni and James Rado. (US:1 UK:3)

"Part of the reason Hair now seems so dated is not because of the hippie stuff, it is even better: race equality, the end of the draft, sexual freedom: a lot of the change people were striving for in 1968, they got. At least to a huge degree."

"For those of us who grew up in the 1960s and 70s, the musical Hair was the baseline for all things revolutionary and radical. For the first time, we heard about, interracial conflict and romance, and the attempts we all make to reconcile love with the daily cruelties of life, and the trashing of all authority. So if you want to experience 'vintage' music at it's best, in a Broadway context, check this album out."

"Every song on the album is catchy and magical. It's like spiritual rock 'n' roll. Hair was a universal love religion that cannot be put into words. It brought people of all walks of life together as one. The rich and poor, black and white, hairy and shaved, Jew and Buddhist were dancing in the streets. There has never been another musical that topped the greatness of Hair."

"There are just so many songs - and all of them are wonderful. Some are happy and uplifting, while others are filled with such emotion it brings tears to my eyes. And the lyrics are some of the most impressive I've heard."

"A must for people of all ages. This musical has something for everyone - from those who remember the days of 'hell no, we won't go' to the current generation who face wars just as senseless as Vietnam. An eclectic mix of all that was good in music in the 60s."

"And if some of the songs date musically, so what. This stuff still works as pop and is some of the best composed musical theatre out there. Hair was a powerful and symbolic product of one of the most creative eras in recent history."

The Immortal – OTIS REDDING****

I’ve Got Dreams To Remember/You Made A Man Out Of Me/Nobody’s Fault But Mine/Hard To Handle/ Thousand Miles Away/The Happy Song/Think About It/A Waste Of Time/Champagne & Wine/A Fool For You/ Amen

Posthumous final album to include new material from sixties soul star Otis Redding. The Immortal Otis Redding includes the UK No. 15 hit single Hard To Handle. (UK:58 UK:19)

"Second posthumous album featuring stellar original material by the King of Soul, sustains the momentum generated by The Dock Of The Bay. All soul, no filler."

"I maintain that this is indeed the single best volume of Redding's material. Side one may be my favourite single side of music. The flipside is less arresting, with the exception of Amen, but it's still compulsively playable. It's more raw than his best known material, leaner in its arrangements, and his performances are consistently fiery and inspired."

"This second posthumous release is another great collection of tracks that is just as good as anything released while Otis was alive. My personal favourite track is Hard To Handle. All the songs are strong and really help cement his reputation as the soul singer for the ages."

"I've been listening to this masterpiece since its release and it remains as raw and emotive a statement today as it did thirty years ago. This is the full spectrum of the Otis persona, swaggering, boisterous and powerful; innocent and wide-eyed; pleading for forgiveness as the unfaithful lover. It goes on and on, each cut slicing back another part of Otis' genius. I'm a rather tough critic, even on my favourite performers, but this is about as good as R & B ever got."

"It is a testament to the talents of Otis Redding that so many complete albums of unreleased material were released after his death, and they sound just as great as the earlier albums in his catalogue. Recorded in 1967, and released the following year, The Immortal Otis Redding shows a level of sophistication unlike any other of Otis's albums. His gift of self-restraint is as powerful as his ability to light a song up with his vocal fireworks. Many of Otis's greatest songs make their first appearances on this album, including I've Got Dreams To Remember, The Happy Song, the beautiful Amen and the original version of Hard To Handle."

The Midnight Mover – WILSON PICKETT***

I’m A Midnight Mover/Its A Groove/Remember I Been Good To You/I’m Gonna Cry/Deborah/I Found A True Love/Down By The Sea/Trust Me/Let’s Get An Understanding/For Better Or Worse

For The Midnight Mover Southern soul artist Wilson Pickett teamed up with songwriter Bobby Womack on six of the tracks. Comprises uptempo rockers and tearful ballads. (US:91)

“More prime Atlantic Pickett, this one released in '68 packs a punch with both uptempo rockers and tearful ballads. He was just a force of nature at this time.”

“Bobby Womack's vibes, songwriting and guitar are apparent in abundance here and this is a true album collection with virtually no filler. It may be the best LP Pickett ever put together.”

“An interesting album by the Wicked Pickett: six songs are co-written by Bobby Womack, and on Deborah, he sings half in Italian. Otherwise he is at his gritty best.”

“My personal favourite of the Wilson Pickett records, perhaps because its the album on which Bobby Womack's imprint is all over it. Pickett makes I Found A True Love his own. Another reason why this one gets the edge over other Pickett LPs is because Deborah eventually really grew on me. I am impressed by its bravado. The rest of the record is standard R & B fare. Down By The Sea is pretty great too and that's a Pickett original.”

“Wilson Pickett was at his most productive in the late '60s. After the brilliant I'm In Love, he continued the pattern set on that LP with The Midnight Mover. That means that there is a great diversity in styles here and it all works tremendously well.”

“The Midnight Mover is one of the more diverse offerings of Pickett's from the 1960s. It contains the roughshod soul of the title cut, and in his bizarre, psycho soul performance of Deborah, the intro and verse of which are sung in Italian. There are also brilliant ballad performances in It's A Groove, Down By The Sea and Trust Me. Add to this the set closer, the gospel-driven For Better Or Worse. There is also the deep, funky, rock-drenched, snake-hipped anthem We Got To Get An Understanding. The Midnight Mover is simply a monster of an album.”

Hollies’ Greatest – THE HOLLIES*****

I Can’t Let Go/Bus Stop/We’re Through/Carrie Anne/Here I Go Again/King Midas In Reverse/Yes I Will/I’m Alive/ Just One Look/On A Carousel/Stay/Look Through Any Window/Stop Stop Stop/Jennifer Eccles

First British hit package from consistent sixties hit makers The Hollies. This one includes all their best remembered songs from the Graham Nash era. Hollies Greatest topped the UK album chart, an accurate reflection of the quality of the tracks within. (UK:1)

"This album brings back memories of the 60s. The music is pure pop, like a breath of fresh air. If you remember anything of the music of the era and especially The Hollies, this is a real gem. Put it on and let the years drift away."

"Oh what memories these songs bring back. The Hollies for me were my favourite group in the 60s and 70s and I well remember saving my pocket money to see them in concert. Tony Hicks was, and still is, one of the best guitarists around. This album covers most of my favourite songs plus a few extra. Music for all ages."

"This LP serves as an introduction to the music of this fantastic group. The song selection is very good and presents the listener with some of the most popular hits. The only problem with this album is that it is a single disc compilation, and I'm sure you'll want more Hollies as soon as these songs get into your heart. However, if you are looking for a concise representation of the band's output, this is a no-brainer."

"This LP is simply a treasure for every fan of pop music, 60s nostalgia and for all the lovers of excellent music; all the great Hollies' songs are here, from the catchy Bus Stop, their number one hit I'm Alive, their excellent own compositions like Carrie Anne, On A Carousel and Stop Stop Stop (incredible way to play the banjo), plus many other highlights. If you like The Hollies, the inspired music and 60s nostalgic sounds, this album is for you."

"Remember those wonderful sixties pop charts - The Hollies were always up there with The Beatles, Stones, Kinks et al. They only hit number one on one occasion, but on this disc we are reminded of how well they played and sang."

Folk Songs Of Old England Vols. 1 & 2 – TIM HART & MADDY PRIOR****

(Vol.1) Lish Young Buy-A-Broom/Adieu Sweet Lovely Nancy/Maid That’s Deep In Love/The Rambling Sailor/ Bruton Town/Farewell Nancy/The Dalesman’s Litany/The Brisk Butcher/The Stately Southerner/ Who’s The Fool Now/A Wager A Wager/Babes In The Wood/Adam & Eve (Vol.2) Paddy Stole The Rope/The Gardener/Bay Of Biscay/Queen Eleanor’s Confession/Horn Of The Hunter/Copshawholme Fair/Oats & Beans & Barley Grows/ Fiddler’s Green/Captain Wedderburn’s Courtship/Turkey Rhubarb/The Bold Fisherman

Two albums of traditional English songs from the folk duo Tim Hart and Maddy Prior. The pair would later help establish the successful 1970s British folk group Steeleye Span.

“Maddy and Tim's voices inject so much life and vitality into the songs that you can't help but enjoy them.”

“These albums have all the old English songs on this excellent recording. I am glad that the music of old England hasn’t died.”

“Tim Hart and Maddy Prior became founder members of Steeleye Span, one of Britain's leading folk-rock groups. Before then, they established their reputation playing the folk club circuit. During that time, they recorded two albums of traditional folk songs. The music is suitably primitive with very little musical accompaniment, sometimes none at all.”

“Maddy and Tim each get their share of solo vocals (there are also some duets) but Tim's rustic voice will not appeal to everybody although I quite like it. Nevertheless, Maddy is a class act and the best tracks are those that feature her voice. If you are interested in traditional folk music performed in a style close to its origins centuries ago, this is as close as you are likely to find. These are all fantastic illustrations of England's colourful heritage.”

“These albums are a must for all true folkies. This is how traditional folk music should be heard. Tim and Maddy’s voices fit the songs perfectly, and the various instruments played by Tim complement the singing perfectly.”

“These extraordinary albums are raw in performance with fine harmonisation and a great selection of songs. That's what I call British folk. Just beautiful.”

Eternity’s Children – ETERNITY’S CHILDREN***

Again Again/Rupert White/Flowers/My Happiness Day/Lifetime Day/Mrs Bluebird/Your World/You Know I’ve Found A Way/Little Boy/Sunshine Among Us

Self titled debut album from the Mississippi based sunshine pop group Eternity’s Children. Despite some limited US singles chart success the band suffered from a distracted management and poor promotion by their record company.

“Well penned tracks of innocent sunshine pop. Yet, not too sappy for those who dig psych and garage bands from that same era. Vocalist Linda Lawley and the band's tight harmony vocals are their best two assets.”

“I was hoping for something that rocked a little bit, or had some killer harmonies, or some off the wall arrangements, or was at least uptempo sometimes. In my opinion, besides Mrs Bluebird, the songs are very draggy and slow.”

“Sunshine pop is a good label for this group, A lot of it sounds like early 1970s bubblegum so I guess in some ways this group was ahead of its time.”

“If you like music with strong melodies and harmonies, try this. Curt Boetcher worked on much of the album. Mrs. Bluebird is just one of the beautiful, memorable songs.”

“Maybe I'm just not in the mood for straight-up 'lollipops and smiles' songwriting...or maybe the lyrics don't have enough puns...or maybe the singing lacks memorable phrasing...or maybe the sound isn't vibrant enough.”

“The vocals are superb, as to be expected, and the music is solid. This is sunshine pop that is light and cheerful. If you like light pop music with '60s sensibilities, then you should at least give it a listen."

“Listen to this album and feel the warm pop sunshine breeze that will overcome your soul. I could listen to this album countless times and I still wouldn't be tired of it.”

“Another one to be added to the too long list of criminally ignored lost gems. I don't know why they did not become million sellers. There are no weak tracks, the mixed male and female vocals are simply the best I have ever heard. How could such perfection remain unrewarded?”

Delilah – TOM JONES****

Delilah/Weeping Annaleah/One Day Soon/Laura/Make This Heart Of Mine Smile Again/Lingering On/You Can’t Stop Love/My Elusive Dreams/Just Out Of Reach/Only A Fool Breaks His Own Heart/Why Can’t I Cry/Take Me

Delilah is probably Tom Jones' best remembered song, ideally suited to his emotional vocal style. The overwrought title track hit reached No. 2 in the UK and No. 15 in the States. (UK:1)

"It seems that the classic title track was the only single from this album, which is somewhat mellower than his earlier music of the mid-sixties, but no less brilliant for that. Following the success of Green Green Grass Of Home, there are some country songs here including Laura, Just Out Of Reach and My Elusive Dreams. Tom's versions are well up to the standard that I expect from him."

"I particularly like You Can't Stop Love, in which Tom picks up the tempo a little. The title track is the one that everybody knows, but it isn't typical of the album. If you enjoy excellent pop and country ballads, superbly performed, this could be just what you are looking for."

"Tom repeats his late 60s pattern with this album known mostly for it's title song (a Tom Jones classic) and some filler. Essential for Tom Jones' completists. Nonessential for others."

"This is Tom Jones singing at his very best. Without doubt. this is country music the way it should be sung. Buy this LP sit back and listen to Tom at his very best." "Oh if only I'd had a voice like Tom's, if only..... well if I did, then I'd have a job making an album as good as this. Takes the listener on an emotional rollercoaster, from the pulsating high of You Can't Stop Love to the despair found in Make This Heart Of Mine Smile Again."

"Delilah tells a magnificent story, and the desperation in his delivery of the song is just ethereal and apt."

David Ackles – DAVID ACKLES***

The Road To Cairo/When Love Is Gone/Sonny Come Home/Blue Ribbons/What A Happy Day/Down River/ Laissez-Faire/Lotus Man/His Name Is Andrew/Be My Friend

Self titled debut album from the American singer songwriter David Ackles whose musical style has been compared to Leonard Cohen. It featured songs that mixed strong theatrical influences with piano-based rock.

“This is the first of David Ackles' four albums, and arguably the best. The songs capture you, drag you in, hold you at knifepoint, and then, breathlessly, let you go. The Road To Cairo, Sonny Come Home and Blue Ribbons, even the tender songs will have you clutching your heart.”

“Ackles was tuned to the darker undercurrent. For subtle nuance of lyric to piano, and range of feeling in the darker, and tender zones of relationship, I feel he hasn't a rival.”

“I would call this one a mature debut. Even though he would reach greater heights in later recordings, the blueprint was laid down here. The Brecht/Weill drunken carnival music alternating with quiet piano songs creates a fascinating atmosphere of unease, grotesques and quiet reflection.”

“Although virtually unknown, David Ackles was one of the best singer-songwriters of this era. With his deep voice and sombre tone, Ackles was somewhat similar to Leonard Cohen or Scott Walker, but his subject matter, unlike theirs, was middle American.”

“Fantastic arrangements, it's one of the best albums ever, a forgotten singersongwriter. If you like dark stricken music this is what you should buy. With the organ caressing the lyrics, this is most beautiful.”

“Existing somewhere between Leonard Cohen and Tim Buckley, his low deep voice hasn’t much range but is still fairly powerful, while musically the pared down band offers some tasty organ and guitar playing in support . Overall the record as a whole is a grower as you get more comfortable with Ackles slow, sad sound.”

"The Road To Cairo is the stand-out track, but the whole album is singer-songwriting at its best.”

Creedence Clearwater Revival – CREEDENCE CLEARWATER REVIVAL***

I Put A Spell On You/The Working Man/Suzie Q/Ninety-Nine & A Half Won’t Do/Get Down Woman/Porterville/ Gloomy/Walk On The Water

Self titled debut from highly successful American band Creedence Clearwater Revival whose playing style gave rise to the term swamp rock. Future album releases would do much better. Includes the US No. 11 hit single Suzie Q. (US:52)

"Creedence Clearwater Revival released a string of singles and albums within an unbelievably short time. Some of these are absolute classics. The first full album, though, succeeds more at showing the potential the band had from the start than what later releases would deliver. Too many of the songs are forgettable and not worth mentioning. Happily, the band improved as John Fogerty started to pen more originals and the covers were scaled back."

"Creedence Clearwater Revival's 1968 self titled debut is possibly the most deep south, New Orleans midnight voodoo sounding album ever recorded. It's amazing. You can tell right from the start, the opening spine chilling intro to I Put A Spell On You that this is an album steeped in deep south blues."

"Good standard rock fare here, brought a bit above average just on the merit of the cajun/swampy feeling which helps distinguish the music and makes it fun and entertaining. The first side is pretty good, while the second breaks down into the totally average and banal. Certainly not in the same class as their later work, nevertheless this album presents a band on the verge of greatness."

"If this album has a weak-spot, it's that some of the songs are dragged out just a little too much in order to fill out the modest run time. Personally I would have much preferred a more taught and slender album with shorter instrumental passages, Creedence Clearwater Revival would go on to make superior albums to this, but this was a splendid way to kick off an illustrious career."

"This is CCR's first album from 1968, an album full of raw, down home, bluesy and countrified harder rock music. The album has much more cover material than their later albums. John Fogerty wrote most of the rest, which are of course, awesome."