All Of Us – NIRVANA***

Rainbow Chaser/Tiny Goddess/The Touchables (All Of Us)/Melanie Blue/Trapeze/The Show Must Go On/Girl In The Park/Miami Masquerade/Frankie The Great/You Can Try It/Everybody Loves The Clown/St John’s Wood Affair

All Of Us was the second and final album from the British progressive group Nirvana. Rainbow Chaser received extensive radio play but commercial success still eluded them. The cover is rather at odds with the content.

“I'm a massive sunshine/psych pop fan but for some reason I find most of this a bit too lightweight for my taste. I think it might be the vocals pushing a bit too far into the twee zone for my liking. However, still some great songs on this with the feature track being Rainbow Chaser.”

“Soft, rather commercial Brit-pop, featuring delicate string arrangements, and little in the way of compelling melodies. They're probably an acquired taste, one which I clearly haven't acquired yet.”

“This is one of my favourite albums from the late 60s. All twelve tracks are beautifully constructed, well-written pop songs that are as subtle as they are catchy.”

"It's barely psych and the lightness is just goofy and dripping in sap. It contains their only great song - Rainbow Chaser.”

“They were popular with people who liked melodic acid influenced rock. Nearly all the songs have orchestral backing and there is a delicacy and sensitivity of spirit in this music that is very unusual. The songwriting has some weaknesses, but with all their faults I still love listening to them because they capture the essence of a very special and short lived time.”

“A slice of time, a slip back to days when we bought records that had been created rather than produced.”

“The level of musicianship is very high, the tunes catchy and the production professional. Less whimsical than their remarkable first album it is a very strong and coherent collection. All these factors combine to create a pleasant listen with a few choice moments of psych weirdness. I'd recommend this album for lovers of the lighter side of psych.”

Nazz – NAZZ***

Open My Eyes/Back Of Your Mind/See What You Can Be/Hello Its Me/Wildwood Blues/If That’s The Way You Feel/When I Get My Plane/Lemming Song/Crowded/She’s Goin’ Down

The self titled debut album from the Philadelphia pop group Nazz. They were marketed as a teenybopper group which would have dented their credibility with more serious music fans. Todd Rundgren went on to solo success in the 1970s. (US:118)

“Nazz combine beautiful songwriting with an insight for future music. Their first album is a wonderfully adept collage, featuring the beginnings of the Todd Rundgren 'wall of sound' effect.”

“Nazz is a crafty and infectious combination of high energy rockers, and ballads with beautifully blended vocal harmonies. Nazz is neither classic nor revolutionary, but it is a captivating venture from an Anglo mod band who faded into the rock ocean with hardly a splash.”

“Though he's not the singer or front man, Nazz was Todd Rundgren. He wrote all the songs, and usually came up with all the arrangements. This, of course, led to much friction in the band, since Todd was obviously the musical brains behind the whole venture."

“On their debut album, their primary brand of music is riff-driven blues/rock, heavily inspired by Cream and The Yardbirds. However, there's also a good dose of pop that comes across at times.”

“Marketed at the time as teeny-bopper music, this is anything but teeny. It's a collage of blues rock, psychedelic pop, garage rock and other junk all filtered through the genius of Todd Rundgren. It features great guitar playing and vocal harmonies ahead of their time.”

“A perfect debut if there ever was one. An excellent blend of hard rockers, and lush without being over-the-top ballads, make this an interesting listen.”

“A strange album which sounds like there are two distinct bands trying to get out. The first is a rocking garage band, while the second sticks to lush ballads, and there's no in-between.”

The Marble Index – NICO***

Follow up album from Velvet Underground collaborator Nico. Featuring the harmonium, The Marble Index is darker in mood than its predecessor, evoking a sense of gothic doom.

"This is definitely completely different from Chelsea Girl. Nico's debut had lighthearted moments, and even the darker lyrics had simplistic and somewhat accessible music going with it. The Marble Index, on the other hand, is complex and not an easy listen. The songs have loud, cold instrumentation, accompanied by obscure lyrics. It's impossible to truly describe the mood, you could say it's heavy, dark, suffocating, ancient, downright nightmarish, but none of these do it justice."

"This record is hypnotic and haunting. Nico's harmonium and Cale's musical arrangements make me feel like I'm walking into a black and white horror movie. I really enjoyed her Chelsea Girl album, one of my favourites, but I really like the twist, the change of direction Nico takes here."

"Haunting gothic music before goth was even invented. Not for everyone but a compelling listen if only to hear it once."

"Strings and harmonium form the core of this album, giving it a vaguely medieval feel - imagine Nico playing inside a darkened cathedral. And her writing is almost as good, evocative and poetic. Nico's vocals are still unique to this day, heavily accented and thick, and there isn't a lot of variation either. But her voice sounds rich and vibrant, especially when she sings the more heartfelt lines."

"What can you compare this to? Nico's haunting vocals, with a slight vibrato, set to discordant arrangements, courtesy of her harmonium and John Cale's involvement are very different, very unique, but not quite perfect."

"The Marble Index provides a very nice mix of emotionally powerful songs. It's not melodic in the classical sense, though it is a harmonious blend of seemingly discordant elements. I don't think that the songs on this album will ever come to be appreciated by the majority of people. Nico touched the abyss and found that it wasn't so bad being there."

Magic Lantern – HAYMARKET SQUARE***

Magic Lantern was the sole album release from the Chicago psychedelic group Haymarket Square. The overlong jamming tracks, including drum solos, come as a disappointment.

“This is an interesting item by a unique late 60s group. The opening number has a dirge-like feel, and several of the songs have a pagan hymn quality to them. The lead singer, Gloria Lambert has a beautiful, soaring voice, as good as any 60s female singer. The band had a seeming knack for quirky rhythms and arrangements. The highlight of the album is Amapola with great wah wah guitar work throughout and a memorable chorus.”

“It is a very bleak and disappointing affair, never really pulling it off. I would say that about half the album is good with strong melodies, but then unfortunately it goes off in the wrong direction into pointless jamming, drum solos and other stuff that quite quickly makes me switch off.”

“The music is very classy psychedelic rock with awesome instrumental work and pretty long songs. The lead vocalist does some good work too. The songs of their own material are all more or less perfect. Just listen to Amapola or Funeral for example and you'll understand.”

“One of the most hugely overlooked classics of the psychedelic 60s. Haymarket Square's Magic Lantern represents some of the best obscure psychedelia you can get. Their sound is unique, offering flaming guitar work, stunning drumming, great bass and of course the beautiful lead vocals of Gloria Lambert. Most of these songs are pretty lengthy so much of the material here is just great jamming. That is one reason why I like this album so much.”

“I like parts of this but then there are the drum solos. These solos are long and way too common. Because of them it is unlikely I will listen to this album again.”

“This is pretty raw stuff with a real garage feel about it. The intent is admirable and there's some good stuff here but it ultimately disappoints. The poor arrangements and lack of cohesion with the vocal harmonies lend a rather amateurish feel to proceedings.”

Incredible – GARY PUCKETT & THE UNION GAP***

Over You/Now & Then/I’m Just A Man/The Common Cold/Can You Tell/If The Day Would Come/Lady Willpower/ Reverend Posey/Give In/Take Your Pleasure/I’ve Done All I Can

Between 1967-69 Gary Puckett & The Union Gap charted six top twenty singles in the US, memorable for their strong vocals and attractive melodies. Their third album Incredible includes the top five hit singles Over You and Lady Willpower. The group are best sampled on a compilation CD which includes their best known hit, the gorgeous Young Girl. (US:20)

"Alongside the well known hits are gems such as Now & Then, and If The Day Would Come. Gary Puckett always gives you full value for your money. Never any useless filler."

"With this album the group seems to leave their original genre and try something almost new."

"Great product for those of us who remember the soaring voice of Gary Puckett."

"Gary Puckett and The Union Gap made upbeat music typical of the late sixties. Lady Willpower was a huge transatlantic hit in 1968 and Over You a notable American hit."

"I believe Gary Puckett had the best voice in rock, it is unfortunate that his material was all so similar."

"If you love good vocals and solid backing horns, then this album is for you."

"A lot of people felt that the records sounded too much alike and began to lose interest."

"American singer Gary Puckett was blessed with a rich and powerful voice, which enlivened several memorable top ten hits."

"Proving that the British Invasion had little effect on American pop music, but became a part of it, was the case of Gary Puckett & The Union Gap being in the right place at the right time. They also had the right producer in Jerry Fuller."

I Thank You – SAM & DAVE***

I Thank You/Everybody Got To Believe In Somebody/These Arms Of Mine/Wrap It Up/If I Didn’t Have A Girl Like You/You Don’t Know What You Meant To Me/Don’t Turn Your Heater On/Talk To The Man/Love Is After Me/Ain’t That A Lot Of Love/Don’t Waste That Love/That Lucky Old Sun

I Thank You was the first Atlantic album from dynamic soul duo Sam & Dave. Although it failed to reach the US album chart the title track single reached No. 9 in the States.

“I'm rather stunned that these proto-Philly tracks come off as well as they do. The presence of strings and a smoother guitar rhythm could have drowned these two giants out, but it only seems to have emboldened their vocal chutzpah.”

“The title track shows a drier, more aggressive sound that gives Dave in particular an even nastier edge. He carries that through most of the other songs, leading to the duo's most balanced release in terms of vocal presence.”

“The arrangements and production here are a just bit smoother, with some strings, than their earlier LPs. However, that said this is still the real deal. The last in a line of nearly flawless soul LPs. All killer, no filler.

“I Thank You offers the title track and a great version of These Arms Of Mine, and preposterously, agonisingly brassy and funky tracks such as Wrap It Up and You Don't Know What You Meant To Me for the latter. The storming Ain't That A Lot Of Love can potentially belong to either, varying from person to person. You can even usually count on the ballads holding up, leaning more towards howling desperation than sugary sweetness.”

“Sam & Dave are a duo I've heard mentioned many a time as one of the great soul artists, but yet I couldn't have named a song they had performed (except Soul Man). It's a cryin' shame because they are really fabulous, extremely soulful, with a bit of grit to them, and they harmonize, so I can see why they were so important.”

“These are some of the best tracks that Sam & Dave ever recorded. I imagine by this time in their partnership they were at the top of their game. I Thank You sounds like a greatest hits package, but it definitely grooves like an album.”

The Hurdy Gurdy Man – DONOVAN****

Hurdy Gurdy Man/Peregrine/The Entertaining Of A Shy Girl/As I Recall It/Get Thy Bearings/Hi Its Been A Long Time/West Indian Lady/Jennifer Juniper/The River Song/Tangier/A Sunny Day/The Sun Is A Very Magic Fellow/ Teas

The Hurdy Gurdy Man was a US only release from Donovan now well into his psychedelic phase. The title track was a US No. 5 and UK No. 4, with Jennifer Juniper a UK No. 5. (US:20)

"Donovan crafts an endearing mixture of psych and folk on Hurdy Gurdy Man that lends warmth to the simple poetic beauty of his lyrics. The title track is of course a great psych number, and apart from a few non-event tracks, this is a very pleasant."

"Most of the songs are uplifting, accessible, pop-rock numbers with a splash of jazz or Caribbean flavour, rounding out an excellent album of the highest musicianship, lyric writing and song craft."

"This is Donovan at his most varied, the Celtic folk debuts with Jennifer Juniper, an insanely catchy chill song that stays with you thanks to Donovan's breezy vocals."

"Its a quite inspired mix of heavy psych rock such as the title track, fey pop Jennifer Juniper and Sunny Day, music hall influences As I Recall It. Celtic/North African ragas Peregrine and Tangier, as well as little detours into jazz and Latin music. Yet one of the finest tracks is also the ethereal folk of River Song. Donovan really could turn his hand to almost anything, the arrangements and session players in particular are strong, guiding him perfectly through all the different styles. Its quite brilliant."

"Like Donovan's other Mickey Most produced albums this one displays a variety of musical styles and instrumentations, with tasteful and original arrangements." "The title track is truly a classic. Very eerie, and leaves an imprint on you after listening. Get Thy Bearings, a jazzy tune, is also a highlight. Jennifer Juniper is a beautiful song, with great woodwind use to make a fine pop song."

"Donovan was really on fire in '67-68. Following the last great record with an album that's almost its equal. This one is little more even. The pop and folk numbers seem equally good. Truly a wonderful, cheery record."

End Of The World – APHRODITE’S CHILD****

End Of The World/Don’t Try To Catch A River/Mister Thomas/Rain & Tears/The Grass Is No Green/Valley Of Sadness/You Always Stand In My Way/The Shepherd & The Moon/Day Of The Fool

End Of The World was the debut album from the Greek progressive group Aphrodite’s Child. Their single Rain & Tears was a big European hit. Both Vangelis and Demis Roussos would move on to successful solo careers.

“Their classic debut album was released in 1968 and featured the international hit Rain and Tears, partially inspired by Procol Harum’s A Whiter Shade Of Pale. However, the album revealed a more experimental side to the band’s nature with such psychedelic gems as The Grass Is No Green, You Always Stand In My Way and Day Of The Fool.”

“An exceptionally innovative trio from Greece, who performed an unusual blend of psych, progressive, melodic rock (with occasional elements of jazz) led by the unique high-register voice of Demis Roussos, embellished sometimes by the use of traditional Greek instruments and music.”

“Lots of atmospheric listening enjoyment, using many different styles, but it all has a certain quality to it which is hard to pin down. They were active toward the end of popular music's psychedelic era, and everything here takes the listener to that period, without being trite. They were masterful musicians who delivered the goods without fail.”

“The title track End Of The World, sets the mood; nice gentle melody, stream-ofconsciousness lyrics, and a vocal delivery only Roussos could deliver. There are light, folk-like tunes, some pop/jazz fusion numbers and some genuinely dark and eerie songs. The Grass Is No Green is a pretty good example of this.”

“Aphrodite's Child’s very interesting debut album from the golden era of psychedelia. Mostly the album represents excellent, even perfect psychedelic pop/rock, but in one or two songs, the album takes a dive into the average. However, mostly this album is very enjoyable.”

“A classic of the psychedelic era and an early prog attempt, this album remains to this day a formidable achievement. Vangelis' superb feel for melody and lyricism and Roussos' extraordinary vocal abilities create a wonderful atmosphere.”

Elmer Gantry’s Velvet Opera – ELMER GANTRY’S VELVET OPERA***

Intro/Mother Writes/Mary Jane/I Was Cool/Walter Sly Meets Bill Bailey/Air/Looking For An Happy Life/Flames/ What’s The Point Of Leaving/Long Nights Of Summer/Dream Starts/Reactions Of A Young Man/Now She’s Gone

Self titled debut album from the British rock group Elmer Gantry’s Velvet Opera. Their single Flames was the only non self composed number included in the early Led Zeppelin stage act.

“Elmer Gantry's Velvet Opera is a truly great LP. It sounds amazingly fresh and different from its contemporaries.”

“This really does have some great stuff on it. There are a number of various styles offered, and though not all of them are necessarily great, they certainly keep things from getting boring. Even the weaker tracks are generally pretty decent, but the better ones are exceptional. This has some early progressive elements, an overall psychedelic orientation and great period flavour as well.”

“Elmer Gantry's Velvet Opera's debut is by no means a perfect album, owing mainly to some just plain odd blues/ham-fisted music hall experiments on side one, but it does contain some of the greatest songs in UK psychedelia. Reactions Of A Young Man is an astounding accomplishment. Dream Stairs utilizes the most intense vocal reverb ever heard on a psych track. What's The Point Of Leaving and Now She's Gone are two heavy mellotron tracks, while Long Nights Of Summer is pure pop. Flames was chosen as the single from the album but my personal pick would have been the powerful opener Mother Writes.”

“There are so many different styles of songs on this album you'd think you're listening to an amazing psychedelic compilation. It just doesn’t get much better than this.”

“Average at best, heavy psych, rock influenced. This, their first album, is appreciably inferior to their next. The best I can say about this record is that it isn't unpleasant to listen to.”

"Elmer Gantry's Velvet Opera belongs to the hidden sixties - the music that existed in a parallel universe to that which was popular, but it remained a secret.”

Electric Ladyland – JIMI HENDRIX*****

And The Gods Made Love/Have You Ever Been (To Electric Ladyland)/Cross Town Traffic/Voodoo Chile/Little Miss Strange/Long Hot Summer Night/Come On/Gypsy Eyes/The Burning Of The Midnight Lamp/Rainy Day Dream Away/1983 A Merman I Should Be/Moon Turn The Tides Gently Gently Away/Still Raining Still Dreaming/ House Burning Down/All Along The Watchtower/Voodoo Chile(Slight Return)

Electric Ladyland was the final studio album from guitar hero Jimi Hendrix during his lifetime, and is a sprawling mixture of genius and self indulgence. Includes Voodoo Chile, a British No. 1 released after his death in 1970, his top five acclaimed cover of Dylan's All Along The Watchtower, plus the UK No. 18 hit Burning Of The Midnight Lamp. (US:1 UK:6)

"The sprawling Electric Ladyland is often considered Hendrix's magnum opus, as it shows the full range of his musical capabilities. From the druggy psychedelia of 1983 to the heavy blues rock of Voodoo Child (Slight Return) and the short, catchy Crosstown Traffic, the sixteen tracks show how adept Jimi was at various forms of rock music, However, as with many LPs of this length, I feel that a slightly shorter album would have been preferable. Aside from that minor flaw, Electric Ladyland is a very strong album that should belong in the collection of any rock fan."

"As is the case with many late 60s/early 70s double albums, it's not about the music, it's about indulgence. Speaking of which, this album is the closest that The Jimi Hendrix Experience ever came to an 'experience', and it's not just the music, it's also the sheer endless artillery of effects strewn throughout every inch of the album."

"A sprawling, sometimes discordant, but nearly always brilliant kaleidoscope of music with an emotional range that drifts sonically from melancholy musing to mellow merriment to the lunatic fringe of moon-madness and inchoate rage."

"If you are a fan of classic rock, hard rock, art-rock or great music in general and you don't already own this, then I pose the question - why not? This record has everything, great songs, great guitar work, great production effects and above all, a fantastic musical vision. So don't hesitate to pick up this masterpiece of an album, which is a true testament to Jimi as a musician and creative force in the studio."

"Although for the most part I like this, and most of the songs are excellent, the sheer length of the album is somewhat of a flaw to me. There are a number of tracks that just feel like unnecessary preludes to some of the better songs on the album."

Velvet Gloves & Spit – NEIL DIAMOND****

Sunday Sun/A Modern Day Version Of Love/Honey Drippin’ Times/Pot Smoker’s Song/Brooklyn Roads/Two Bit Manchild/Holiday Inn Blues/Practically Newborn/Knackelflerg/Merry-Go-Round

The strangely titled Velvet Gloves & Spit is a mixed bag of Neil Diamond songs including the autobiographical Brooklyn Roads. He had moved to the Uni label as he wanted to record more ambitious, introspective music.

“Some good and some rubbish. Too much of a mixed bag to be a consistent album. I like Brooklyn Roads and Two Bit Manchild but didn’t care for Pot Smoker's Song and Knackelflerg.”

“I just wish one of Neil Diamond's albums was 100% awesome throughout. He seemed to need a filter to keep dumb songs like Pot Smoker's Song and Knackelflerg out of his LPs. But Two Bit Manchild is good and Shilo a classic.”

“Whereas Diamond's previous two LPs placed the artist firmly against a slick and sharp, gleaming steel and concrete New York backdrop, Velvet Gloves suggests open, dustier vistas. The instrumental differences might be subliminal but when placed in this warmer and wider stereo context, lends the performer an air of the 'travelling troubadour' so profitably prevalent at the time. Thankfully, he knew exactly where his journey had begun. The Brill-Building technician remained intact and all the songs here (with the one exception of the comically massive faux pas that is The Pot Smoker's Song) display his concise, disciplined mastery to the full.”

“I never did understand what the title was all about. It's an interesting album because you don't find most of these songs on other Neil Diamond albums. Brooklyn Roads is a nostalgic piece about childhood that I have always loved and one of his best songs. I think this album shows just what a good singer Diamond was at the start of his career. This is not just for completists; it's an enjoyable album for anyone who likes Diamond's music.”

“This is an all-out, well written and well composed effort by Neil Diamond. Velvet Gloves And Spit is a wonderful collection of songs, pleasing to the senses.”

“Diamond's most enjoyable and consistently great album from the 60s. That is because this is the only album that Diamond wrote and recorded in New York as a serious artist experimenting and expressing personal issues.”

Chitty Chitty Bang Bang – SOUNDTRACK****

Chitty Chitty Bang Bang/You Two/Toot Sweets/Hushabye Mountains/Me Ol’ Bam-Boo/Chitty Chitty Bang Bang/ Truly Scrumptious/Chitty Chitty Bang Bang/Lovely Lonely Man/Posh/Hushabye Mountain Reprise/The Roses Of Success/Chu-Chi Face/Doll On A Music Box & Truly Scrumptious/Chitty Chitty Bang Bang (Finale)/Chitty Chitty Bang Bang (Main Title)

The children’s musical film Chitty Chitty Bang Bang, about a magical flying vintage car, starred Dick Van Dyke, Sally Ann Howes and Lionel Jeffries. Music and lyrics by Richard M. Sherman and Robert B. Sherman. (US:58 UK:10)

“How could the soundtrack to Chitty Chitty Bang Bang be anything but brilliant? Every single song is inspirational, and among the greatest the Sherman brothers have written. The ninety piece orchestra used to record the songs is stretched to its limit with Me 'Ol Bam-Boo and Toot Sweets.”

“Bright, entertaining and delightful fun. My family hums and sings the songs all the time. It's a great way to lift your spirits.”

“My son and I both love this LP. Every tune puts you in a good mood. You'll find yourself humming these tunes all day, even during important work meetings.”

“Although one can justifiably quibble with the consistency of the composers' work on this LP and the overall quality of the film itself, the effect of this music is worth more than the sum of its parts. There are endearing melodies and surprising lyrics. There is a schmaltzy counterpoint (Music Box/Truly Scrumptious) that works despite itself.”

“The movie is not only delightful but the soundtrack offers an excellent selection of music. It doesn't take long for both adults and children alike to find themselves singing along. The song Hushabye Mountain is especially beautiful.”

“Almost all of the tunes here are instantly memorable and hummable and will stay with you for weeks after you hear them. The title song is one of the catchiest tunes I've ever heard, and Truly Scrumptious and You Two are also tops. The Shermans did not necessarily write complicated songs; they stick to basic chords, and don't use too drastically exciting chord changes, but their gift for melody was undeniable. On top of that, the lyrics are tongue-twistingly fun and provide amusement for kids and adults alike.”

Caravan – CARAVAN***

A Place Of My Own/Ride/Policeman/Love Song With Flute/Cecil Rons/Magic Man/Grandma’s Lawn/Where But For Caravan Would I Be

Self titled debut album from the Canterbury progressive jazz rock group Caravan. They became quite popular in several European countries but their commercial success back home in Britain was very limited.

“There was a burgeoning musical scene in Canterbury in the psychedelic era of the later sixties, which included Caravan. Their self titled first album was in some ways groundbreaking in that it captured the whimsical and exploratory moods of the times.”

“With its echoing organ backgrounds, Caravan's debut album is easily dated to the late 1960s. With only one long track, it has a different slant to everything the band subsequently did, though the gentle, English accented vocals are easily identifiable. A Place Of My Own is a straightforward, instantly memorable song, and Ride with its funny, trotting rhythm is both memorable and more indicative of the band's ingenuity. Love Song With Flute is another beauty but, while there are no bad tracks on the album, there are moments of blandness.”

“Caravan's debut is an insubstantial slab of psychedelia, with little in common with their far superior later albums. Indeed if the band did not transform into a popular prog band it is probable that this album would be lost in the depths of time. The main problem with the album is the boredom it induces. It certainly is the product of its time - slow pop-rockers awash with soft drums and lengthy organ solos are the order of the day. None of the songs are particularly bad, but with a few exceptions, they are all completely unmemorable.”

“Their eponymous debut isn't a lot like their later work. Despite the tag of progressive rock, the prog elements on this are probably overshadowed by the far more obvious psychedelic sounds and textures. Thankfully, one thing that is the same is the way the band just gel together perfectly along with creative songwriting. What also stands out is the organ playing. They just wouldn't be the same without the amazingly fluid, psychedelic texture of distorted organ.”

“Great debut album, it contains some fine songwriting, a touch of psychedelia, some good old British humour and above all great melodies.”

Birthday Party – THE IDLE RACE***

The Skeleton & The Roundabout/Happy Birthday/The Birthday/I Like My Toys/Morning Sunshine/Follow Me Follow/Sitting In My Tree/On With The Show/Lucky Man/Don’t Put Your Boys In The Army Mrs Ward/Pie In The Sky/The Lady Who Said She Could Fly/End Of The Road

Birthday Party was the debut album of the Birmingham pop group The Idle Race. They specialised in whimsical pop, their single Skeleton & The Roundabout gained a lot of airplay but failed to chart. Jeff Lynne would later join The Move and help found The Electric Light Orchestra.

“The music has been well documented over the years and is a very listenable psychedelic pop. Its a little whimsical in places and deals with what would appear to be childhood memories and some rather quirky lyrics.”

“Every song is a nearly perfect pop gem. Fun and light-hearted, great summertime stuff. Short and sweet at just under thirty minutes, you just want to play it again when it's over.”

“This album contains fairly typical British sounding pop, but possesses comparatively subtle psych influences, which can go easily undetected by those looking to get walloped over the head with mind twisting effects. It does have good period flavour as well, but is overall unexceptional.”

“This album had a very acid, Beatles-esque sound with Jeff singing in a falsetto British accent. All the songs sound quite poppy, but there's a sort of off-kilter aura about them that makes them exciting. What I like most about this band is the often strange take they have on things and the acid-washed lyrics. Most of the songs are light-hearted, strong on traditional British comedy and humorous understatements.”

“A truly great psychedelic pop album, probably the best I have ever heard. Fantastic work from Jeff Lynne that ranges from Beatles-like pop to a more guitar based sound. The supporting cast is excellent as the band utilizes many instruments to make an almost perfect sound. The pop craziness starts from the first track.”

“Musically it offers up a distinctively English blend of styles including music hall, pseudo-classical arrangements foreshadowing future Move and ELO projects, and upbeat out-of-their-minds psychedelia. Complete with creative production touches, both cryptic and jaunty melodies, it made for a wonderful package.”

Wee Tam/The Big Huge – THE INCREDIBLE STRING BAND***

(Wee Tam) Job’s Tears/Puppies/Beyond The See/The Yellow Snake/Log Cabin Home In The Sky/You Get Brighter/The Half Remarkable Question/Air/Ducks On The Pound (The Big Huge) Maya/Greatest Friend/The Son Of Noah’s Brother/Lordly Nightshade/The Mountain Of God/Cousin Caterpillar/The Iron Stone/Douglas Traherne Harding/The Circle Is Unbroken

The Incredible String Band were riding high following the release of two highly acclaimed albums. The follow up Wee Tam & The Big Huge was released as a double album in the UK, but as separate single albums in the States. Unfortunately, the band started to lose direction from this point on. (US:174/180)

"I'd say that compared to individual songs on the previous two albums the tracks here fall a little bit flat."

"This is the last 'pure' ISB album, that is, one made solely by the duo of Williamson and Heron. Its two albums in one, as the title suggests: one disk of sunny folkpsychedelia, one disc of darker, heavier material. It's not as good as The Hangman's Beautiful Daughter. The quality of the tracks is rather more erratic, and some of the lyrics seem plain batty instead of poetic or inspired."

"I think that this represents the beginning of the decline of the band: it has an indulgence that is both its best feature as well as a hint of a certain post-psych revolution torpor. Their mixing of styles is a bit forced, and their humour a bit smirky and self-congratulating, but for now it still works, often gloriously."

"The Incredible String Band continue to intrigue and inspire me with their simple but beautiful songs and melodies. Wee Tam & The Big Huge is yet another classic set of songs. The use of sitar, flutes, acoustic guitars and even kazoo and organ blends the songs brilliantly. The Incredible String Band were very talented musicians who deserved far greater recognition."

"Yes, these guys were, I suppose, classic hippies. Yes, their songs are about puppies and caterpillars, meteorites, log cabin homes in the sky, Moses and the tabernacle, water from wondrous wells and love songs to oxygen. Yes, every musical genre from ragtime to ragas is haphazardly employed. But these songs are just so sweet and lovely that they still melt my heart to this day."

The Best Of The Seekers – THE SEEKERS*****

I’ll Never Find Another You/A World Of Our Own/The Carnival Is Over/Someday One Day/Walk With Me/We Shall Not Be Moved/Morningtown Ride/When Will The Good Apples Fall/Island Of Dreams/Open Up Them Pearly Gates/Emerald City/Georgy Girl

The Best Of The Seekers was an excellent compilation that includes all the groups hits. With their folk tinged melodic pop, and the soaring voice of Judith Durham, The Seekers were one of the most successful and distinctive hit makers of the mid 1960s. (UK:1)

"Judith Durham had arguably the best, pure voice of any female recording artist of the 1960s. Her sensitivity and charm are exhibited in most of the songs. Judith's vocals are rich and pure and in some of her recordings she sounds like an angel. The harmonies of The Seekers are also excellent."

"The Seekers played an important role in the British Invasion of English music entering America in the 1960s. They offered people everywhere soothing rhythms and sweet melodies that proved to be both infectiously catchy and strikingly beautiful at the same time. This album showcases their talents very well."

"They were primarily folk and traditional and are led by one of the world’s greatest voices - Judith Durham. When you hear the voice, you know immediately who it is and listen, since her use of lyrics is easily understood, clear and melodic. It's hard to compare with anyone today, it's that good."

"Anyone who likes 60s pop music or appreciates folk music will absolutely love this album. Most of its songs make you want to tap your feet or get up and clap to the simple beat."

"This Australian quartet are amazingly versatile, with an inspired set of talents and range in this collection from the 60s, which not only endures but becomes richer. Judith Durham's ethereal intonations grace numerous songs, and bless them with a magic and purity that must be listened to with your heart, not just your ears."

"The Seekers remain one of the best groups of the entire twentieth century. Although they broke up after only a few years, their artistry lives on through their awesome words and music. Many in the music industry proclaim a 'unique style' but few can actually support those claims. The Seekers do."

Behold & See – ULTIMATE SPINACH****

Gilded Lamp Of The Cosmos/Visions Of Your Reality/Jazz Thing/Mind Flowers/Where You’re At/Suite: Genesis Of Beauty/Fifth Horseman Of The Apocalypse/Fragmentary March Of Green

Behold & See was the follow up album from the Boston psychedelic rock group Ultimate Spinach. The chart placing showed a substantial dip compared with its predecessor. (US:198)

“Behold & See, the second release from Ultimate Spinach is so much better than their debut. The music, lyrics and concept are steeped in 1968 psychedelia. If it were only for the song Mind Flowers it would be worth the price. Jazz Thing and Genesis Of Beauty showcase their jazzier side. If you want to explore Ultimate Spinach at their finest this is the LP to own. It's dated for sure but it's the real deal.”

“Absolutely mind blowing gem but criminally forgotten and also underrated. This record is filled with lengthy songs, which is a good thing in psychedelic rock. I have nothing bad to say because its just pure five star action from start to finish. Perfect balance of short and lengthy songs. This is one of my favourite albums of all-time.”

“This is one of those records you need to listen through many times if you want to truly understand it. It might not open to you on the first listen. Only eight songs, and most are pretty lengthy and high quality too. One of the sadly forgotten psychedelic rock album classics.”

“A psychedelic rock masterpiece, a musical tour-de-force from 1968. Weird song structures, off the wall lyrics, use of unusual instruments, reverb, feedback, drone. More complex compositions, such as the suite in four movements Genesis Of Beauty and Fragmentary March Of Green, two pieces soaked in mysticism. Jazz Thing and Mind Flowers experimented with even more unusual tempos and atmosphere, while the graceful Gilded Lamp Of The Cosmos exemplifies the best of their psychedelic folk ballads. This album's songs focus on a hippie society.”

“I can sympathize with listeners who are too young to remember the 60's. But as the old expression goes: 'If you remember the sixties, you weren't there'. Its records like this that illustrate the sentiment behind that expression. There aren't many better. Close your eyes and listen to this and you'll get high without taking any drugs.”

Present The Battle Of The Bands – THE TURTLES***

The Battle Of The Bands/The Last Thing I Remember/Elenore/Too Much Heartsick Felling/Oh Daddy/Buzzsaw/ Surfer Dan/I’m Chief Kamanawanalea/You Showed Me/Food/Chicken Little Was Right/Earth Anthem

Battle Of The Bands was a concept album from The Turtles in which a different style of music is impersonated on each track. The battle was won by the US No. 6 and UK No. 7 single Elenore, with US No. 6 You Showed Me the runner up. (US:128)

“One of the more interesting concept albums it is presented as a battle of the bands. Each song is presented as played by a separate band each in their own unique style, ranging over a wide set of genres. Obviously, The Turtles themselves are the only band behind these tracks. Luckily, the quality of the writing stays consistently quite good throughout the entire record, and the tongue-in-cheek humour helps things along. Overall, a worthy listen; but if you're looking for songs that match the two hits you'll probably be disappointed.”

“Some really good songs here, especially Elenore and The Earth Anthem, but also a lot of forgettable tracks. Not everything here works, but you have to give them credit for at least trying something creative.”

“The idea is that they are pretending to be a series of different artists depending on the song you select which actually works really well surprisingly. This has a variety of different stuff and it has a sort of cheekiness to it which makes the album all the more compelling.”

“The Turtles are usually lumped in the sunny 60s American pop group category. But here they were doing something that was definitely cooler than most of their contemporaries. An interesting concept album, they are capable of creating quirky, yet touching songs. None better than Elenore obviously. The Turtles had something good going on. Very good, enjoyable album. Unfortunately it is usually overlooked by the casual rock fan.”

“In a sense I found it refreshing to see the group take on many different forms of music. After all, groups from the 60s cannot live entirely on sunny pop sounds, psychedelia and folk-rock alone. However, this may have sounded a little too bizarre. In some ways it is a comedy disc, but that's OK because they parody different musical styles and do it with affection.”

Dream A Little Dream – MAMA CASS****

Dream A Little Dream Of Me/California Earthquake/Room Nobody Lives In/Talkin’ To Your Toothbrush/Blues For Breakfast/You Know Who I Am/Rubber Band/Long Time Loving You/Jane The Insane Dog Lady/What Was I Thinking Of/Burn Your Hatred/Sweet Believer

Dream A Little Dream was the first solo album from Mama Cass after the break up of The Mamas & The Papas. Features the title track, a US No. 12 and UK No. 11 hit single. (US:87)

“The material is first-rate from beginning to end and covers a wide range of genres from torch songs to ballads to boogie-woogie. Cass rises to the occasion on every cut; it sounds like she was having a great time. Special praise to producer and musicians for creating settings that are gorgeous and witty. This, in my opinion, is Cass Elliot's best-ever combination of material, performance and production.”

“A psychedelic classic, Cass's first artistic opus. This album has been out of the public's consciousness for too long. Do yourself a favour and pick it up. Sweet Believer, a sprawled-out ballad of epic proportions, replete with enigmatic lyrics and Stax-y horns, is worth the price alone.”

“An eclectic mix of some traditional and some quite unusual songs, it showcases her talent in several genres from playful (Rubber Band) to country catsup (Jane The Insane Dog Lady and Talkin' To Your Toothbrush) to dreamy torch song (Sweet Believer). I had never heard most of the songs before, and I have never heard them sung by other artists since, which is fine because Cass's performance would be tough to follow. I feel the two best numbers on the album are What Was I Thinking Of, which reveals her powerful voice and great range, and Sweet Believer. But for me, every song on this album is great.”

“After she left The Mamas and The Papas, Cass Elliot became one of few solo artists to come out of the 60s still well remembered. She entertained us with a mature vocal command that only a great singer can produce. Her vocal style always allowed the nuances of the lyrics to come through and this LP shows that clearly.”

“The songs are beautiful and spirited, just like Cass was. She had a range unmatched by today’s performers and a way of singing into your heart, and into your mind. What's so amazing is the variety of songs/music on this collection. Cass could sing it all - from vaudeville sounding Tin Pan Alley to big ballads to folk and rock.”

The Clown Died In Marvin Gardens – BEACON STREET UNION***

The Clown Died In Marvin Gardens/The Clown’s Overture/Angus Of Aberdeen/Blue Suede Shoes/A Not Very August Afternoon/Now I Taste The Tears/King Of The Jungle/May I Light Your Cigarette/Baby Please Don’t Go

The Clown Died In Marvin Gardens was the second and final album from the Boston psychedelic group Beacon Street Union. The Boston psychedelic scene never quite managed to rival that of San Francisco. (US:173)

“Their second outing is noticeably more polished, and more ambitious, than their first, but less consistent, and with less of a psych flavour. Their use of orchestration seems unnecessary and out of place, but they are not averse to taking chances.”

“The Clown Died is, structurally, the exact opposite of their debut, which wandered aimlessly for the first half before fashioning the outline of an engrossing concept album. Here, the conceptual framework is established from the outset, only to be quickly abandoned.”

“Was well on its way to classic status until the eleven minutes cover of Baby Please Don't Go, which closes the album. First rate sound quality bass and strong keyboards. Very rich, accomplished, eclectic psych album - just skip the last track.”

“Fuzz-tone guitar freak-outs, swirling Farfisa organ, wacky lyrics - all the stuff that made life worthwhile in the late 1960s. The title track is wonderfully upbeat yet funereal, culminating in a wild, psychedelic guitar workout.”

“It's all quite eclectic and that makes it a fun listen. You just don't know what will happen next. 60s collectors wont be disappointed.”

“The Beacon Street Union were unique in the way they used flute, marachas, fuzztone guitar, Farfisa organ, as well as many other instrumental variations.”

“This second effort finds the band branching out as they incorporate more subtle instrumentation, such as vibes, along with some orchestral augmentation. The strongest material comes early on. The title track is a classic, Angus Of Aberdeen and A Not Very August Afternoon are nearly as good.”

Steppenwolf The Second – STEPPENWOLF****

Faster Than The Speed Of Life/Tighten Up Your Wig/None Of Your Doing/Spiritual Fantasy/Don’t Step On The Grass Sam/28/Magic Carpet Ride/Disappointment Number(Unknown)/Lost & Found By Trial & Error/Hodge Podge Strained Through A Leslie/Resurrection/Reflections

Quick follow up from heavy rockers Steppenwolf, Steppenwolf The Second became the group's highest placed album. Includes the US No. 3 hit single Magic Carpet Ride. (US:3)

"This album displayed the diversity and ambition of a very distinctive band definitely of their time. I was captivated by the medley on the second side."

"Anchored by the smash hit Magic Carpet Ride, a song that got relentless exposure on AM radio in 1968, Steppenwolf gathered a selection of tracks that varied from psychedelic pop to grungier blues."

"Besides the well known Magic Carpet Ride the first seven songs are more or less as appealing, although more simple. One exception is Don't Step On The Grass Sam, a fine example of protest in their time. But the best is yet to come. Starting with, Disappointment Number (Unknown), to the end is a medley that will slowly lift you off the ground and take you on a real carpet ride of rustic slide guitar and rippin' blues."

"This second album by Steppenwolf is the reason we look back and remember how melodic and easy-going and just really superb the rock and roll from the 60s was. I think the best thing about it is how the lead singer is in excellent shape with his amazing voice. When someone sings with this kind of emotion, you know it's totally real, and not an attempt to give the listener some bogus feelings like commercial bands out there do today."

"If Born To Be Wild is the ultimate biker anthem then Steppenwolf's next hit, Magic Carpet Ride, tries to achieve the same prominence as a psychedelic number. This album follows closely in the footsteps of its predecessor, although there is clearly a bit less of the blues this time around thrown into the hard rock mix. There is even an acoustic track, Spiritual Fantasy, which seems a bit out of place, especially compared to the funky guitar-organ groove of Magic Carpet Ride."

"This second outing shows their unique flair for defining and extending what was the beginning of heavy metal, all accomplished with their iconoclastic, staccato style."

SRC – SRC***

Black Sheep/Daystar/Exile/Marionette/Onesimpletask/Paragon Council/Refugeve/Interval

The self titled debut album from the Detroit psychedelic rock group SRC (Scott Richardson Case). The single Black Sheep is considered a classic of the psych genre. (US:147)

“This is the Scott Richardson Case debut, an album that was ahead of it's time. The songs are atmospheric, melodic and the mood as a whole, ties the songs together very well. Very good vocal harmonies with 'far out' lyrics that are thought provoking and more intelligent sounding than the acid soaked lyrical content of their peers.”

“This album is quintessential 1968 with its magical lyrics and intense music. It's so fragile that you can't take it from its time without it falling apart. Lyrics reference literature, mythology, physics, metaphysics and mathematics.”

“The first thing that comes to mind about SRC's debut album is that the songs are all so very equal in quality. All are very special fuzzy psychedelic acid rockers, but none of them actually stand out as an ultimate highlight which I think is a good thing. The album has a pretty slow tempo which I enjoy a lot.”

“I remember the moment I heard Black Sheep that I had to search for this album and check it out. I'm absolutely glad that I did. SRC's self-titled debut is one hell of a package full of great psychedelic rock creamed with screaming fuzz guitar.”

“Pretty good acid rock, although this band's music isn't quite as hard as some others, but it still packs a punch. The emphasis is on the Hammond organ and acid guitar which are at the forefront in every track. The vocals are also very good, including even the occasional harmonies. Black Sheep is a fantastic psychedelic rocker with really menacing guitar, lots of distortion, and great Hammond guitar. Daystar is also very good, in the same vein as the opener. Marionette is much more subdued with guitar that is toned down and more good vocals.”

“Suffice it to say that this is one of the most delightful 60s psychedelic records that I have ever listened to. Searing superb scorching searching guitar wrapped around psych sound. This makes for fresh, urgent psych rock par excellence. Fine guitar, full of attitude.”

Shades Of – DEEP PURPLE***

And The Address/Hush/One More Rainy Day/Prelude:Happiness/I’m So Glad/Mandrake Root/Help/Love Help Me/Hey Joe

Debut album from legendary British heavy rock band Deep Purple. Shades Of includes the US No. 4 hit single Hush. It would be another two years before the band found there true metier. (US:24)

"It's not a bad record, but there isn't anything all that noteworthy about Shades Of Deep Purple. Even the highlights are fairly sterile and dull. Deep Purple mainstays Ritchie Blackmore, Jon Lord and Ian Paice are all here."

"Shades Of isn't In Rock. That is not a swipe in the least, only a warning to those who are looking for the more metal and improvisational side of the band. What the initial album consists of is terrific material and well-blended rock with Ritchie Blackmore already way ahead of the curve and only to get better."

"Here on their debut, DP are very much a psychedelic prog band, with more Hammond organ than blistering guitar. It's still hard enough, with the occasional great solo, and has some of Ian Paice's best drumming, particularly on the groovy Mandrake Root. Other rockers like Prelude: Happiness, Hush and Help show off some of the band's talents, which would be further cultivated with future releases. So while this may not be a hard rock masterpiece, it's an enjoyable slice of heavy prog that deserves to be heard."

"With Shades Of Deep Purple, the band hadn't yet discovered their classic sound that they would produce in the 1970s but they certainly show signs of it, with great promise. The album, by its general nature is pretty psychedelic, with plenty of extravagant keyboard dubs - but its very listenable. The band achieved very limited success in the UK with this work, but had a hit with Hush from the album and certainly had a good reception in the US."

"A bit more bluesy than later works but a decent debut. Hush is a very good song, and Mandrake Root is deliciously psychedelic."

"This isn't very good and it's not the Deep Purple that came out with In Rock. Maybe three somewhat decent songs and the rest are a boring overload."

Outsideinside – BLUE CHEER***

Feathers From Your Tree/Sun Cycle/Just A Little Bit/Gypsy Ball/Come & Get It/(I Can’t Get No) Satisfaction/The Hunter/Magnolia Caboose Babyfinger/Babylon

Outsideinside was the quick follow up album from heavy rockers Blue Cheer, the loudest band on the block. Some pundits have claimed that this is where heavy metal began. (US:90)

“Blue Cheer were revolutionary for their loudness. They cranked it up, caused near riots. Keep in mind this was the late 60s - peace and love man. They got the hippies doing crazy stuff. They also laid down the prototype for metal which was to come later. They did all this heaviness and still managed to keep melodies in their songs.”

“These guys invented heavy metal. The music in this disc has a primitive sound that was not comparable to any other heavy group that followed their roots. It is a mix of heavy rock with psychedelia.”

“This record is even better than the debut. If you liked Vincebus Eruptum, I believe you will like this album even more. On Outsideinside, Blue Cheer evolved from the standard blues formula to a more progressive original sound.”

“Blue Cheer were one of the most underrated rock groups of the sixties. You can clearly hear on Outsideinside that they were one of the pioneers of heavy metal. I did not care for the cover songs. Otherwise the album is an all out rocker. Unabashedly, unapologetically and gleefully, Blue Cheer turn up the Marshall amps and play till their fingers bleed. The bass and drums are a perfect complement to the lead guitar.”

“Another great release by Blue Cheer, with a similar strong acid rock vibe coming for this record. However, it is much more listenable, and more stable compared to the group's influential debut album. The material here is just as good, and they toned the noise down a little. Basically all the tunes here are heavy, plenty of acid rock, with some brief mellow psychedelic rock moments here as well."

“It's a shame that Outsideinside doesn't get as much cred as the influential Vincebus Eruptum because, despite not having the same impact, it's really just as good, another excellent slab of heavy, fuzzed out psychedelia, with nearly as many great smoky tunes.”

'Nuff Said! – NINA SIMONE****

In The Morning/Sunday In Savannah/The Backlash Blues/Please Read Me/Gin House Blues/Why (The King Of Love Is Dead)/Peace Of Mind/Ain’t Got No I Got Life/I Loves You Porgy/Take My Hand Precious Lord/Do What You Gotta Do

This recording was taped at the Westbury Music Fair on the evening following the death of Dr. Martin Luther King. Nuff Said contains the Hair musical hit cover Ain't Got No I Got Life, which reached No. 2 in the UK. (UK:11)

"Nina's incredible voice, so soulful, melancholy and yet full of life booms through brilliantly from start to finish. Every song is wonderful, but it's I Got No/I Got Life, Gin House Blues and of course In The Morning that are really special. This is a fantastic album, and the live recording makes it even more special."

"There is nothing bad on this album, but it's not going to shake anyone up: Backlash Blues, for instance, is much the same - but not quite as good - as her version on Sings The Blues. For me the two standout tracks are Please Read Me - a simple Gibb Brothers pop song which she sings with overwhelming emotion, that seems to overwhelm the flimsy material - and the Porgy and Bess song I Loves You Porgy - although this is much the same as her 1958 recording. Significantly, both these tracks are mostly to her piano accompaniment."

"The record 'Nuff Said! was recorded live the day after Dr. Martin Luther King was assassinated. Nina Simone's performance is a unique testament of that era, combining an excellent performance with genuine emotions. Her voice delivers the songs with dignity, achieving a quality I haven't heard on any of her other live recording since."

"This is another gorgeous album in a long line of such albums. This is a live performance from a music fair and was taped shortly after MLK's death. You can hear the emotion in Nina Simone's voice. The album has a good mix of slow and upbeat songs. This is certainly Ms. Simone at her best."

"A lot of Simone's records from this period contain songs about racial issues that must have taken a lot of guts to record. On the one hand, I have nothing but respect for her recording them. On the other, I generally prefer her on the jazz and pop standards. This may be one of the most emotionally charged recordings she ever made. Overall, this record is a little weak, at least by her standards."

Mandrake Memorial – THE MANDRAKE MEMORIAL***

Bird Journey/Here I Am/Rainy May/This Can’t Be Real/Dark Lady/House Of Mirrors/To A Lonely/Strange/Next Number/Sunday Noon

Self titled debut album from the Philadelphia progressive rock group Mandrake Memorial. Their use of electronic harpsichord gave them a highly distinctive sound.

“The interplay between the amplified harpsichord and electric guitar is worth the price of admission alone. There is no gap between the tracks so a seamless dance spins hypnotically through a variety of moods and tempos. Chord progressions and musical structure sound a bit simplistic and dated on this first outing, but nothing grates and the vocals are silky and soothing. The musicianship is excellent though slightly constrained in the studio.”

“This debut is their poppiest and most accessible. Great use of keyboards, imaginative guitar playing ensures a good standard is maintained throughout. Classy and refined would be an accurate description of these guys and their music.”

“This album is certainly their most innocent sounding project, but it is so well crafted throughout that it is a true gem. There are moments of brilliant dreamy pop psych that keep me reaching for this album time after time. Rainy May will stop you in your tracks. Guitar and electric harpsichord interplay, plus well crafted time changes, make this album a unique journey.”

“Very non-commercial pop, with a sombre/dreamy sound throughout, much of their material is heavily lyric dependent. Unfortunately, the near constant use of electric harpsichord is quite distracting, and ruins any serious psych sound that may be present. The overall impression is very one dimensional, with little variation in mood, dynamics or excitement.”

“Psychedelic and progressive with a very prominent harpsichord, Mandrake Memorial were trailblazers for their time. The lead vocalist was rather bland, and their songs were tightly structured with very little hook. Yet there is something appealing in this period piece. First of all the musicianship is first rate and all the instruments are given plenty of opportunity to develop. Some passages include a droning sitar but they are effective in their setting.”

Late Again – PETER PAUL & MARY***

Apologize/Moments Of Soft Persuasion/Yesterday’s Tomorrow/Too Much Of Nothing/There’s Anger In The Land/ Love City(Postcards To Duluth)/She Dreams/Hymn/Tramp On The Street/I Shall Be Released/Reason To Believe/Rich Man Poor Man

Late Again was the final top twenty album aimed at the adult market from legendary folk trio Peter, Paul & Mary. Their popularity would begin to wane and they disbanded in 1971. (US:14)

"With Late Again, Peter, Paul & Mary completed the transition from folk to folk-rock that had begun a couple of years before its release. As for the music, it was adequate but rather inconsequential, the harmonies polished and pleasing as always. The trio were at this point composing the majority of their own material, with serious-minded, mildly tuneful, subdued and fairly unmemorable originals, the best of them being Rich Man Poor Man."

"With the folk revival boom long past, PP & M had to change their approach in attempt to remain relevant. Late Again attempts to do just that. Although the group stay true to their folk roots and strive for acoustic over electric, there are elements here that are not standard PP & M fare: drums, keyboards and horns to name a few. Much of it sounds out of place and strained. Despite this, the singing is still predictably strong. They do a great job with the vocals and sound as tight as ever, but the song selection and the overall sound do not fit."

"The cuts found on Late Again are not nearly as strong as their earlier sixties material. Although nothing here is overly terrible, few tracks are worth one's time. Even the remake of Dylan's I Shall Be Released falls short of anything exciting. There's Anger In The Land is as close to the group will get to an enjoyable track, but is only of average quality when compared to their previous material. PP & M were caught in a tough situation. Times where changing and they had to realize this. However, departing too far from their folk roots might alienate some of their fans. Late Again comes after the group's glory years and can be avoided without fear of missing anything of worth."

"Late Again is a continuation of the eclecticism that marked most of Peter, Paul & Mary's albums after In The Wind. Somehow, despite an awkward mix of folk, rock 'n' roll, blues and soft, romantic balladry, this album moves effortlessly between the genres, mixing them up even, and ends up being a cohesive whole."

Idea - THE BEE GEES****

Let There Be Love/Kitty Can/In The Summer Of His Years/Indian Gin & Whisky Dry/Down To Earth/Such A Shame/Idea/When The Swallows Fly/I’ve Decided To Join The Air Force/I Started A Joke/Kilburn Towers/Swan Song. US version also includes I've Gotta Get A Message To You and omits Such A Shame

On Idea the multi talented Gibbs brothers turnout another set of catchy pop tunes that was their trademark in the late sixties. Features the UK chart topper I've Got A Get A Message To You plus the US No. 6 hit I Started A Joke. (US:17 UK:4)

"Wonderful tunes that come back as fresh as when first listened to. The Bee Gees were very clever composers, with melodies that were far more complex than other bands of the day, and lyrics that were rather mystical at times. They conveyed a love of music together with an understanding of musical structure and harmonies."

"I just love these early Bee Gees albums, they have so much verve and variety. There's a little less of the whimsical psychedelia which infused much of their first two albums, as they started to appreciate how good they were at writing big ballads."

"Idea is an example of the best The Bee Gees have to offer. I've Gotta Get A Message To You and I Started A Joke are the two best songs they ever wrote, brilliant both lyrically and instrumentally. At the same time, the rest of the songs are interesting and creative, though not so suited to being stand alone singles. It is albums like this, that made The Bee Gees such a great band."

"It's loaded with the usual great three part vocal harmonies we'd come to expect from the brothers. Their writing really started to develop and go through a tremendous experimental phase at this time. I love the contrasting styles of writing and singing you get from Barry and Robin. They were both outstanding writers, able to compose a song for pretty much every genre on this album, showing their versatility as both singers and songwriters. This is a complete album in every way."

"This is another highly enjoyable set of very different songs from a band whose ingenuity is sadly underrated, compared to some of their more critically lauded contemporaries."

"The sound is very dated from the late 60s British scene. Lots of horns, violins and electric guitars. If you dig The Bee Gees, Idea is a must for your collection."

H. P. Lovecraft II – H. P. LOVECRAFT***

Spin Spin Spin/Its About Time/Blue Jack Of Diamonds/Electrallentando/At The Mountains Of Madness/Mobius Trip/High Flying Bird/Nothing’s Boy/Keeper Of The Keys

The follow up album from the Chicago psychedelic band H. P. Lovecraft was considered more progressive than its predecessor. Lack of commercial success resulted in the group soon disbanding.

“Easily one of the best and most innovative psychedelic albums from the era. Freakout hippie jams combined with classical and electronic touches with great harmony vocals.”

“H.P. Lovecraft's second studio album is an absolutely fantastic follow-up to their debut. Here they took one step closer to psychedelic folk, and such folk influences are strongly present throughout much of the album, even though this belongs primarily to the psych rock category.”

“This album is one hell of an underrated totality, offering us the psych icon song At The Mountains Of Madness, the peaceful but trippy Electrallentando, the folkish Spin Spin Spin and a bunch of other great songs.”

“Continuing in a similar vein as their debut, this one features a little more of a laid back sound, though the psych flavour is even stronger. Like their first, no psych music collection would be complete without it.

“Extended tracks such as It's About Time and At The Mountains Of Madness opted for dense, highly orchestrated arrangements, with rambling percussion, sleepy treated vocals and spacey synthesizer tones. While the results occasionally drifted to the dull and ponderous Electrallentando, it still made for an interesting listen.”

“One of the key psychedelic albums. Hugely atmospheric - listen in the dark and it will take you places. With a timeless day-glo sleeve that stays permanently fresh and eye catching even after four decades. It epitomises the strengths and weakness of US psychedelia - a desperate shortage of good male singers, dreary derivative café folk melodies and harmonies.”

“You want to know what acid rock is. Well it doesn't get any better than this. This will make you feel like peaking in a crash pad near Haight-Ashbury. Can you dig it?”

Harper Valley P.T.A – JEANNIE C. RILEY***

Harper Valley PTA/Widow Jones/No Brass Band/Mr Harper/Run Jeannie Run/Shed Me No Tears/The Cotton Patch/Sippin’ Shirley Thompson/The Little Brown Square/The Ballad Of Louise/Satan Place

Solitary US album chart success for country singer Jeanie C. Riley came with Harper Valley PTA. Includes several songs targeting the hypocritical characters denounced in her US chart topping single. (US:12)

"It comes across nearly as a concept album that mirrors life in a small town in all its faults and tribulations, though not all songs make direct reference to Harper Valley. At the centre is the underrated voice of Jeannie C. Riley, which has the right combination of strength, sass and vulnerability to make the songs come alive. The listener is treated to songs detailing the characters mentioned in the hit title song, such as Mr. Harper, Widow Jones and Shirley Thompson. Many of the songs seem almost a copy of Harper Valley PTA, but they usually work because each has its own distinct story to tell, and the sincerity of Riley's voice reinforces the tales well."

"The title song was a huge pop crossover hit that reached #1 in 1968. It remains to this day one of the best 'tell-off' songs ever. I just love the way Jeannie spits out the line 'You're all Harper Valley hypocrites'. She basically recorded the song against her will, and the anger she must have felt at the label really came through and helped sell the song. It's the country-flavoured venom that makes it so memorable."

"No one could have produced this album better than Jeannie C. Riley. Real truth in her songs. Relates to small town issues in the public school and the troubled school board. She tells it like it was (and in some places, still is today)."

"The album's highlight is of course the single, but what's interesting is there are four other songs on here where characters from the title track show up - it's almost a concept albums of sorts."

"Surprisingly good debut LP from Jeannie C. Though centred around the well-known novelty hit single, Harper Valley PTA, most of the remainder of the tracks range from good to excellent. The four Tom T. Hall compositions especially stand out."

"Harper Valley PTA is a concept album about small towns and their hypocrisies. Sort of a country Peyton Place."

Growing Concern – GROWING CONCERN***

Hard Hard Year/Edge Of Time/Tomorrow Has Been Cancelled/A Boy I Once Knew Well/All I Really Want/Mister You’re A Better Man Than I/What Kind Of Life/Other Side Of Life/I Know A Girl/Sit Down I Think I Love You

Self titled sole album from the West Coast psychedelic pop group Growing Concern. Their music was a blend of folk-rock, pop and psychedelia. They never managed to emerge from complete obscurity.

“Very positive sunshine pop with some psychedelic influences. Very good vocalists and the music grooves in a nice way. Some of the lyrics are also very well thought and written in a bit poetic way at times as well.”

“What sets this apart for me is the male/female vocals - sometimes harmonising, more often as backup to each other. Some really cute songs too, notably the opener Hard Hard Year, A Boy I Once Knew Well and closer Sit Down I Think I Love You - indeed opening and closing the set with the female vocals seems to have been a touch of genius. A cut above most of your 1968 psych-pop.”

“Mainstream Records had some of the finest artists of the 60s psychedelic era. In my opinion, Growing Concern were one of those artists and their eponymous debut album among the finest psychedelic records ever. Nearly every song here is just perfect in my humble opinion.”

“I'm not usually that impressed about very melodic psychedelic pop albums with short tracks. So it is always nice to find a basic psychedelic pop album that pleases my ears. Even if this is a mostly psych album the sunshine pop elements are also very clear.”

“A classic psych LP on the Mainstream label, male-female vocals, fuzz guitars and psychedelic vibes throughout. One of the best Californian psychedelic groups.” “Terrific album. What always struck me the most about it was the cynical, sad lyrics over ultra-catchy sunshine pop. A unique combination.”

“Growing Concern are made up of five boys and two girls, who complement one another beautifully. The album is full of pleasant female and male vocal harmonies with melodic guitar and organ work. Side two has several good covers with individual interpretations.”

Funny Girl – SOUNDTRACK*****

Overture/I’m The Greatest Star/If A Girl Isn’t Pretty/Roller Skate Rag/I’d Rather Be Blue Over You/His Love Makes Me Beautiful/People/You Are Woman I Am Man/Don’t Rain On My Parade/Sadie Sadie/The Swan/Funny Girl/My Man/Finale

Barbra Streisand cemented her reputation with the long running stage musical Funny Girl. She starred alongside Omar Sharif in the film version. Score by Julie Styne & Richard Merrill. (US:12 UK:11)

"This movie soundtrack is as good as the Broadway original recording, with Barbra Streisand in both cases. A wonderful musical approach to the life of the divine Fanny Brice from the Ziegfeld Follies. Classical songs with Streisand at her very best moment. Not to be missed."

"In Funny Girl, Streisand's range is as outstanding as on her earlier albums. She creates characters within her songs, which are either humorous, dramatic or romantic. We follow the different emotions and progressive experiences of her character's personality through each song. The music in this album is exquisite and Streisand's voice is at her usual peak. You really hear in the voice the various characterizations she gives to each of the performances."

"Funny Girl was one of the greatest musicals to come out of Broadway, and it created one of the world's greatest performers ever. Happily Barbra Streisand successfully transported herself to film and out came one of the most enjoyable soundtracks ever produced. The film score is so minutely different, the show's composers Styne and Merrill had to take out a couple of songs from the show and wrote the beautiful Funny Girl in it's place for the film. This soundtrack tends to be more authentic than the original cast recording because they put in non original material such as I'd Rather Be Blue Over You."

"A notable name before Funny Girl, Barbra Streisand became a superstar, as well as a bankable actress, when the film was released in 1968. Not only is it one of the best musical soundtracks, it is one of Barbra Streisand's best albums."

"In a word, amazing. The score, the story, the emotion, and the truth. All things that help to make Barbra what she has become. It all started here as her first show, and as her first movie. If you like this one, you'll love everything else that comes after.”

Dusty…Definitely – DUSTY SPRINGFIELD****

Ain’t No Sun Since You’ve Been Gone/Take Another Piece Of My Heart/Another Night/My Dream Merchant/I Can’t Give Back The Love I Feel For You/Love Power/This Girl’s In Love With You/I Only Wanna Laugh/Who(Will Take My Place)/I Think Its Going To Rain Today/Morning/Second Time Around

Dusty Springfield is recognised as Britain's greatest female vocalist. On Dusty Definitely she demonstrates her versatility by turning her hand to pop, soul and middle of the road numbers. (UK:30)

"Classy, sophisticated, cool, in total control. She's all of that and more. Lately I've been coming back to her. She sure beats the Britneys and the Pinks of this world. This is fine, fine album with superior songs and tasteful arrangements."

"Dusty Definitely has been obscured by the deserved high praise lavished upon Dusty In Memphis, but Dusty Definitely is an astonishingly varied and accomplished set of songs in its own right. From the rousing Tamla-Motownish opener Ain't No Sun Since You've Been Gone, the clatteringly ear-splitting beat of Love Power, the husky-toned This Girl's In Love With You, the spine-tingling sadness of Randy Newman's I Think It's Going To Rain Today to the album's warm closer, the sultry Second Time Around, Dusty Definitely is a maddeningly beautiful set."

"The overall sound of the album is typical of what one expected to hear from Dusty in the mid to late sixties, except that this album rocks a little harder than its predecessors. On an album of such a consistently high quality, it would be pointless to pick out favourites."

"A really solid album with no obvious weakness. If you're a serious fan of Dusty's music, you'll love this album."

"Dusty Definitely contains some of Springfield's finest performances. The album as a whole cannot be considered as completely successful, because it is quite erratic in genre. The spread from pure soul to mainstream pop simply feels too wide. Nevertheless the album definitely belongs among Springfield's most interesting."

"Of all of her albums (and I have them all), this is the one I listen to most often. Partly, I think, because it has more variety than the Memphis album, sublime though that is. Buy it, borrow it or steal it - but hear it."

Bobbie Gentry & Glen Campbell – BOBBIE GENTRY & GLEN CAMPBELL***

Less Of Me/Little Green Apples/Gentle On My Mind/Heart To Heart Talk/My Elusive Dreams/(Its Only Your) Imagination/Mornin’ Glory/Terrible Tangled Wed/Sunday Mornin’/Let It Be Me/Scarborough Fair Canticle

Bobbie Gentry & Glen Campbell was the sole collaboration album between two of the biggest new names in country music who emerged during the late sixties. (US:11 UK:50)

"I grew up with this album playing in my house. I was not a country music fan but loved harmonies. This is a wonderful album. If you like folk music or country or just good harmonies you will love it."

"Beautiful music and great harmonies. It's a shame they didn't do more duet albums together as their voices complemented each other so well."

"I'm a fan of both, and to me this is not a bad record at all. Those who say that Gentry was not a 'country' artist is to undermine the richness and complexity of the genre."

"Glen sings with a high, clear, strong voice, Gentry low and husky. Glen has to power down to stop blowing her completely off each track, so from the start he's working at a disadvantage. When they sing in unison it sounds like he's singing right on top of her. Her voice is like a coaster to Glen's bottle of beer. Their voices mix well on sections of Sunday Mornin', where Gentry shifts into her upper register. For brief moments she's out from under Glen and their voices almost work together."

"It seems pretty clear from the quality of the recordings that nobody really wanted to make this record. The cover, showing Gentry and Campbell glued together from separate photos, sums the album up pretty well. Gentry wears her disgust on her sleeve a little more obviously than company man Campbell."

"An irritating record, largely due the part it played in pigeonholing Bobbie Gentry into the 'country' category. Anyone who has heard any of her vastly superior solo work will know that 'country' music plays the smallest role within her totally unique style. There is more folk, soul, blues in the make up of her songs than any Nashville styled jiggery-pokery."

Blues Helping – LOVE SCULPTURE***

Stumble/3 O’Clock Blues/I Believe To My Soul/So Unkind/Summertime/On The Road Again/Don’t Answer The Door/Wang Dang Doodle/Come Back Baby/Shake Your Hips/Blues Helping

Blues Helping was the only LP from the Cardiff blues rock band Love Sculpture. Unfortunately it excludes their frenzied cover of the classical Sabre Dance which reached No. 5 on the UK singles chart. Guitarist Dave Edmunds would enjoy a very successful solo career in the 1970s.

"Dave Edmunds gives our ears the full treatment with his flaming guitar work. The songs are pretty much just basic blues rock but Dave's guitar gives a big boost to every single song here.”

“Most of these songs are cover versions but this album still works. Very guitar driven blues rock recording with lots of awesome tracks, one after another. There are slow blues songs which are just fantastically in balance with the more fast-paced blues rockers. If you consider yourself a blues rock fan then this album is definitely worth giving a try. Some of the finest blues covers can be found here.”

“Few can deny that Dave Edmunds is a very talented guitarist, and his handiwork is on display here. Most of the material presented is blues rock, both heavy and fast, as well as some traditional blues. But all tracks feature Edmunds' burnin' guitar passages.”

“The album is a great example of blues-rock with solid performances and exceptional guitar soloing by Edmunds. The material comprises mostly blues standards written by famous American blues artists, with one instrumental co-written by the band members and a wonderful version of George Gershwin's Summertime. This is a notable debut, which shows the band already at full strength. A memorable document of the British blues revival, which was at its peak at the time.”

“Hackneyed blues rock. Lots of 60s bands 'borrowed' (cough) blues riffs and themes and incorporated them into their rock music. A smaller number of 60s bands played flat out, note-for-note blues songs, but with fuzzy guitars. This is the latter.”

“Absolutely stunning album by Dave Edmunds who had never played blues before. He totally immersed himself in blues records and came out with this amazing piece of work. If you love the blues, it would be worthwhile to seek this one out.”