In The Good Old Days – DOLLY PARTON****

Don’t Let It Trouble In Your Mind/He’s A Go Getter/In The Good Old Days (When Times Were Bad)/Its My Time/ Harper Valley PTA/Little Bird/Mine/The Carroll Country Accident/Fresh Out Of Forgiveness/Mama Say A Prayer/ Always The First Time/D-I-V-O-R-C-E

In The Good Old Days was country star Dolly Parton’s third solo album, released when she was beginning to gain recognition through her regular TV appearances.

“Parton's 1969 album is a spirited collection that starts with the bang - Don't Let It Trouble Your Mind and He's A Go Getter are delicious Parton originals that find her in excellent voice. Almost all the songs are her own, except a few covers and as usual, she is like a little country butterfly with her instantly recognizable cute voice. Occasionally Parton slips into corn, she might be sentimental in the ballads but is excellent in uptempo songs.”

“This was pure country Dolly, singing her songs in her early country style. This was Dolly of the Porter Wagoner days, the Dolly before she was a household name.”

“The album is one of Dolly's better records during this period and contains a combination of both originally penned songs by Dolly as well as covers. The title track deals with Dolly's upbringing. Another original is the funny He's A Go Getter. My personal favourite from this recording is the breathtaking Mine and the haunting Mama Say A Prayer.”

“The covers here are produced extremely well by both Porter Wagoner and Bob Ferguson. Dolly records the Tammy Wynette standard D-I-V-O-R-C-E, Wagoner's The Carroll County Accident, and Jeannie C. Riley's Harper Valley PTA.”

“One of the things that people like so much about older country music was that it told the truth warts and all. I hardly think that a song like In The Good Old Days would be put out on an album these days by any mainstream country artist, and country music is the lesser for it.”

“During this period in Dolly's career she was suffering from overexposure because RCA was also releasing duet albums and singles with Porter Wagoner that proved to be more successful than Dolly's solo material.”

Near The Beginning – VANILLA FUDGE**

Shotgun/Some Velvet Morning/Where Is Happening/Break Song

Part studio part live Near The Beginning returns Vanilla Fudge to lengthy self indulgent jams. It was to be their last US top twenty album. The last sentence of the final review is a questionable criticism. (US:16)

"Arguably their best, this one is straight hard rock, featuring good organ and guitar. Though I tend to gravitate toward the longer stuff, I didn't think the side two long track was the best thing on here, but it's still solid."

"Seen in perspective Near The Beginning might look a bit self-indulgent and a pointless sum of egos; and is not one of the Vanilla Fudge’s best albums, though it sounds heavier than your average 1969 'heavy metal' band."

"This is actually a pretty enjoyable release for the most part, even though things have the tendency to lapse into boredom from time to time. Like Appice's solo on Break Song. But when the band kick into gear it's quiet an experience. Plus dig that monster distorto bass."

"The merit of Near The Beginning was that it captured the feeling of a live and heavy performance with fireworks in the organ and, above all, the guitar, bass and drums solo. At this point, you'll understand why Carmine Appice was considered one of the most spectacular and powerful drummers in the world."

"It starts with an absolute killer version of Shotgun. It really blows you away. Their take on Some Velvet Morning is equally haunting and good, and Where Is Happiness is one of their better original tracks. The Break Song (recorded live) is a bit perplexing. It starts out great, keeps going, but then gets a little tired in the middle, but then picks up for a great finish."

"What made these guys interesting were their bizarre cover versions and this has two of the most bizarre: an over the top version of Junior Walker's Shotgun and their superb take on the Nancy Sinatra - Lee Hazlewood melodrama Some Velvet Morning. Good singing, good playing and a killer rhythm section. Folks that don't 'get' the Fudge take rock music a bit too seriously."

English Rose – FLEETWOOD MAC****

Stop Messin’ Round/Jigsaw Puzzle Blues/Doctor Brown/Something Inside Of Me/Evenin’ Boogie/Love That Burns/Black Magic Woman/I’ve Lost My Baby/One Sunny Day/Without You/Coming Home/Albatross

Released for the American market, English Rose was the first Fleetwood Mac album to feature additional guitarist Danny Kirwan. It includes the UK No. 1 hit, the lilting instrumental, Albatross. (US:184)

“The addition of guitarist Danny Kirwan pays immediate dividends for Fleetwood Mac. With Green, Spencer, and Kirwan on guitars, one might think English Rose would sound too cluttered but this is not the case. Kirwan adds four tracks to this album and unlike those of Spencer, they do not sound like reproductions of Elmore James or other well known blues slide guitar masters.”

“Another 'assembled' American version of a British album, this contains around a half dozen of the tracks found on their legit Mr. Wonderful release from the previous year. It comprises their standard blues, boogie, heavy blues and blues rock.”

“This is the original Peter Green's Fleetwood Mac at their gritty best. For me there isn't a bad track to be had and is I think essential listening for anyone. This album also shows how talented Danny Kirwan was with his tracks Something Inside Of Me and One Sunny Day, with great rhythm section work from Fleetwood and McVie. I also like Jeremy Spencer's contribution especially Doctor Brown with strong vocals and slide work.”

“This excellent album offers some of the best blues and features the incredible Peter Green at the helm. His composition, Black Magic Woman, is much the best version. But the crowning jewel is the closing cut, Albatross. This haunting track soared to the top of the English charts and still has a mystical aura.”

“English Rose finds Fleetwood Mac adding Danny Kirwan, a third guitarist, to the line-up. Horns also appear for the first time. Other than that this LP is a natural follow up to the band's excellent Chicago blues debut. As one listens to Green wail on Black Magic Woman it becomes crystal clear why he is considered to be one of the greatest guitarists. This version of the band was supremely talented and a confident gathering of musicians. This is a collection of some of the best material that came from those years.”

Engelbert – ENGELBERT HUMPERDINCK****

Love Can Fly/Love Was Here Before The Stars/Don’t Say No(Again)/Let Me Into Your Life/Through The Eyes Of Love/Les Bicyclettes De Belsize/The Way It Used To Be/Marry Me/To Get To You/You’re Easy To Love/True/A Good Thing Going

Fourth album from top romantic vocalist Engelbert Humperdinck. Engelbert Includes the top five UK hits The Way It Used To Be and Les Bicyclettes De Belsize. What a fabulous voice. (US:12 UK:3)

"Engelbert's vocal talents include a huge range, amazing breath control and phrasing, but more than that, he sings with his heart and soul."

"Les Bicyclettes De Belsize gives Engelbert the chance to sing a passionate love ballad about the importance of enjoying life and love while we have it - every day is a precious gift. The Way It Used To Be is a gorgeous tune with a fine set of backup vocalists to bolster Engelbert's delivery of this lush ballad."

"When Engelbert was in his 60s prime, nobody but nobody handled a ballad with more power, drama and emotion better than he did - just an absolutely amazing vocalist with a body of work underscoring this fact time and time again."

"If you are looking for something to set the tone for a truly romantic evening just pop this album onto your player. Then leave your phone off the receiver, softly turn down the lights and let Engelbert take care of the rest. You have to hear this music to understand how ageless and wonderful it is."

"I can listen to Engelbert sing all night long and have. I love listening to his flawless voice, watching his handsome face, the way he works his mouth so sensually when singing. He is the whole package. Love the way he sings from his heart to each individual; his beautiful and astonishing range, his wit, charm, strong presence, and the way he projects himself from the stage to our very heart."

"Engelbert Humperdinck in my opinion is, everything considered, absolutely the best crooner of all time. His voice was mellow and both masculine and broad in range. He captivated audiences with his voice and his stature."

"If you want to hear singing done to perfection with both power and smoothness this is the man. Engelbert is without a doubt one of the best vocalists to ever sing."

Bayou Country – CREEDENCE CLEARWATER REVIVAL***

Born On The Bayou/Bootleg/Graveyard Train/Good Golly Miss Molly/Penthouse Pauper/Proud Mary/Keep On Chooglin

Bayou Country, the follow up album from bluesy rockers Creedence Clearwater Revival, mixes well crafted short songs with some plodding jam sessions. Includes the top ten single Proud Mary. (US:7)

"Creedence Clearwater Revival's second album is much like the first, offering as it does a mixture of long, drawn-out bluesy swamp rock jams and finely crafted shorter songs. In general the band seem to be trying to repeat their earlier formula and there's not a whole lot of musical growth in evidence, but it's still a diverting trip into swamp rock country which doesn't outstay its welcome.

"It's not without shortcomings, but Creedence Clearwater Revival's second album does contain the undeniable masterpiece Proud Mary, one of the most beautifully evocative slices of Americana ever created, a wistful classic whose rolling rhythm and stirring melody are among the great additions to the rock 'n' roll vocabulary."

"Now this is Creedence Clearwater Revival at its most monotonous. The welcome and happy exception is the classic Proud Mary of course, but otherwise, track after track is mainly just a simple drum/bass/guitar backing, plus John Fogerty's riff-like vocals over it. No chord changes, no significant melodies."

"Bayou Country opens with what could be CCR's signature track, Born On The Bayou the quintessential swamp rock song, awash with chugging muddy rhythms and plaintive guitar."

"This is a great album. You actually feel like if you were on the bayou. The album has the same feel the whole way through and the songs are all-round good. Some that stand out are Born On The Bayou, Penthouse Pauper and Proud Mary. It shows a good side of Creedence but they still haven't reached their full potential yet."

"Born On The Bayou, Bootleg and Penthouse Pauper are quite all right, though not very memorable in terms of songwriting. Graveyard Train is over lengthy and quite boring, while Keep On Chooglin' is even less worthy."

Contact – SILVER APPLES*

You & I/Water/Ruby/Gypsy Love/You’re Not Foolin’ Me/I Have Known Love/A Pox On You/Confusion/Fantasies

Contact was the follow up album from the New York electronic duo Silver Apples. Some critics have argued that their work is the precursor of the techno bands of the nineties; others have concluded that it is not really music at all.

“All syth-pop, techno and industrial bands of the 80s and 90s can trace their music back to the Silver Apples albums. Songs like You & I give witness to the birth of synthesized music. Silver Apples percussionist Dan Taylor's driving metronomic style is so precise that, you'd swear he was a machine. All in all, anyone who makes claim to being a connoisseur of techno, industrial or alternative music must have this.”

“Truly pioneers in experimentation this second (and best) album from the US psych duo explores interstellar drones and hums, pulsing rhythms and electronicallygenerated melodies. Sounds from another world created by a series of oscillators to form a collage of strange but extremely enjoyable music.”

“This album seems as hypnotic as you can get. Somewhere along the way this music parallels a mantra. It is repetitious in a way that may leave you wanting to go farther out. I've never heard anything like it before or since.”

“They seem to have concocted a crude form of synthesizer, known as oscillators. Mr Simeon does well for one man at playing all bass and lead instruments. Dan Taylor never misses a beat, becoming the first human drum machine.”

“I really hated this LP. It was very eccentric for both the music and the singing. Most of it is too psychotic and over the top to be even remotely enjoyable. What a let down. It has been considered by some to be ahead of its time but in reality it's just overrated noise.”

“What little melody the first contained, is all but jettisoned here. And the repetitive rhythms that seem to be their stock-in-trade often seem to be more monotonous than trance inducing this time round.”

“Was the band flying high into outer space? They've gone a bit too far for us ordinary folk who have no idea what they're doing. Come back to Earth, Silver Apples. You're too far 'out there', we can't communicate anymore.”

Bless Its Pointed Little Head – JEFFERSON AIRPLANE****

Clergy/3/5 Of A Mile In 10 Seconds/Somebody To Love/Fat Angel/Rock Me Baby/Other Side Of This Life/Its No Secret/Plastic Fantastic Lover/Turn Out The Lights/Bear Melt

Bless Its Pointed Little Head was the dynamic first live album from legendary West Coast progressive group Jefferson Airplane, recorded at Fillmore East and West in autumn 1968. (US:17)

"This album captures an incredibly talented and versatile group of artists in top flight. Everything I like about 60s music is here. There is a wide range of genres: acid rock, folk-rock, blues and heavy 60s-style rock. Lead guitarist Kaukonen and bass player Casady are particularly excellent, while Slick weaves her magical ethereal voice around their scaffolding. This truly is a masterpiece among live concerts."

"The best thing on this live recording is that the songs are pretty much different to the studio versions. So it has a lot of jam band feeling and I think it's great. And the number of lengthy cuts makes it even better. The whole band plays tight and every single moment is exciting."

"In my opinion, the only live Jefferson Airplane that anyone really needs. The songs from the studio albums are played far heavier here and the covers and new stuff are more than worthwhile as well. Not a bad rendition on here. This is the first to last JA album that is actually worth hearing."

"Raw and rampant, Bless Its Pointed Little Head is a classic live album, brilliantly displaying the Airplane's talents for improvisation and jamming whilst also providing enough punchy, jagged rock bursts to satisfy anyone out there gagging for a little raw power. Check it out if you like a bit of high-octane psych joy. I would defy anyone to say that, at their height, the Airplane weren't the best in the business."

"Bless Its Pointed Little Head captured that edge and energy on vinyl. It's a proper, unfettered, warts-and-all live masterpiece that showcases not only the band's knack for anthemic tunes and the neat vocal interplay of Slick and fellow singer Marty Balin, but also their ability to let loose, to improvise and to rave it up. Everyone's a hero on Bless Its Pointed Little Head. Slick is at her best, taking her staple Somebody To Love, for example, and turning it inside out as the band funks it up behind her, belting out some delirious vocalisations like a crazed Southern gospel singer."

The Best Of – DEAN MARTIN*****

Volare/Sway/Memories Are Made Of This/Please Don’t Talk About Me When I’m Gone/I’m Yours/Pretty Baby/ That’s Amore/Come Back To Sorrento/Just In Time/Dream A Little Dream Of Me/Sleepy Time Gal/Arrivederci Roma/Non Dimenticar/You’re Nobody ‘Til Somebody Loves You/My One & Only Love/Return To Me

Best Of showcases many of laid back vocalist Dean Martin's best known songs from his Capitol years in the fifties. Many of the tracks have an Italian theme. (US:95 UK:9)

"His major Capitol hits are included along with some terrific lesser known efforts. Dean had a reputation for not being too serious about things but these tracks unlock a well kept secret. When Dean walked into the recording studio, he was all business. He was a wonderful singer who, for all his success, remains under appreciated."

"This is an excellent compilation of songs that keeps Dean in our hearts and in our thoughts. These are the songs that almost everyone will associate Dean Martin with. When Dean's name is brought into a conversation you immediately start to hum to yourself songs like That's Amore, Memories Are Made Of This, Return To Me and the unforgettable Volare. It'll even give you a taste of some of the classic Italian songs Dean recorded during his career. He just always seemed so relaxed whether he was singing or acting. I've been a very big fan of Dean for years."

"Dean Martin's voice is much like satin, smooth to listen to, yet exuding the mood of his songs to perfection. The entire LP is great for anyone who may have heard of him, such as in the Rat Pack, or may have appreciated one of his hits such as Amore. This collection demonstrates what an incredible performer he truly was, with a velvet voice that was extremely underrated when compared to the success of his fellow Rat Packer Frank Sinatra. Although it is not by any means just for oldies' fans, it is relaxing and wonderful to hear."

"Dean Martin was clearly one of the greatest male vocalists of the entire twentieth century. This album is a fine introductory LP for people just discovering Dean's artistry and who enjoy classic pop vocals."

"The perfect blend of blissful melodies juxtaposed with heart-wrenching lyrics all tied together with the voice that cannot be imitated. Buy this album if you only buy one Dean Martin album in your lifetime. But why would you buy only one?"

Ball – IRON BUTTERFLY****

In The Time Of Our Lives/Soul Experience/Lonely Boy/Real Fright/In The Crowds/It Must Be Love/Her Favourite Style/Filled With Fear/Belda-Beast

Hard rock group Iron Butterfly's third album Ball eschews the extended jam of their monumentally successful previous LP, thereby enabling a more listenable experience. (US:3)

"This is a very enjoyable album from Butterfly. Most likely their best in my eyes. All around similar to the Doors but with their added 'heavy' approach. A good listen."

"Yes, it doesn't have an extended power-jam like In-A-Gadda-Da-Vida, but there's not a single weak cut on the album. Their sound and songwriting are more solid and complex here. Soul Experience and Belda-Beast are both experimental and totally successful. This is not only the best Butterfly album, it's also one of the best psychedelic albums of all time."

"Iron Butterfly's third studio album Ball continues what they started at Heavy and their most famous effort In-A-Gadda-Da-Vida. Though Ball hasn't received as much appreciation as the two albums before, many of the songs are very organ-driven and I consider this to be a plus. It isn't so heavy psych based as the previous two were but it doesn't matter. Iron Butterfly's 60s albums are impressive."

"This album is Iron Butterfly’s first that actually sounds professional. It makes for a varied, interesting and atmospheric listen."

"In sum, this album is a nice listen, and not just a period piece. All the songs are well written. Doug Ingle had a booming voice if not a great range, and even the fuzz guitar holds up reasonably well today." ,p> "It's a very good mixture of heavy(ish) rock, pop and psychedelic soul, if such a genre exists. One beautiful ballad Lonely Boy picks you up and drifts you off into space, and the strange but wonderful Belda Beast defies pigeonholing."

"Iron Butterfly were trying to branch out into different styles, and that is the major problem with this record. With one foot still firmly planted in the hippie era, the quartet nevertheless tries out everything from soul to psychedelic-funk hybrids, and although the results are usually endearing, most songs are not remotely strong."

The Best Of – SAM & DAVE****

Hold On I’m Comin’/When Something Is Wrong With My Baby/You Don’t Know Like I Know/May I Baby/Soul Man/Soothe Me/I Thank You/I Take What I Want/Wrap It Up/You Don’t Know What You Mean To Me/Small Portion Of Your Love/You Got Me Hummin’/Can’t You Find Another Way (Of Doin’ It)/Said I Wasn’t Gonna Tell Nobody

First compilation album from one of the more dynamic soul acts of the sixties, who never quite made the commercial breakthrough into mainstream popular music awareness. (US:87)

“Sam + Dave = rhythmic soul music. All song interpretations of the duo are very rousing and especially danceable. Here are the best of them, like the groovy mover Hold On I'm Comin', the genre defining Soul Man or the smooth balladesque When Something Is Wrong With My Baby."

“Sam and Dave are not the first name to spring to mind to the general public when asked to name a great soul act, but they released as many classic soul tunes as anyone. This 1969 compilation remains definitive and showcases the finest soul duo of the 60s at the very peak of their powers.”

“The duo creates an exciting synergy that exudes an energy I've yet to hear in any other soul music. Their music is pure fun to listen to. Every song is like a celebration. It's everything soul should be.”

“A wonderful collection of all the highly energetic and soulful hits of Sam & Dave presented in chronological order and in their original form. If you like your R & B with a heavy gospel influence and performed with a wealth of appropriate confidence, then The Best Of Sam & Dave is right up your alley.”

“Show me an album that packs more punch and delivers more soulful energy than The Best Of Sam & Dave, because it such an album exists, I'd like to know.”

“You know what they call soul singing nowadays? Nothing like these guys, who work in tandem, sometimes harmonizing but often switching off on verses, and on very well written soul jams. Simple lyrics, direct to the heart, and stomping with rhythm. The LP has all the songs that received air-play during the duo’s heyday and some I never heard. If you are a true fan of Memphis soul, this is a must have.”

20/20 – THE BEACH BOYS****

Do It Again/I Can Hear Music/Bluebirds Over The Mountain/Be With Me/All I Want To Do/The Nearest Faraway Place/Cotton Fields/I Went To Sleep/Time To Get Alone/Never Learn Not To Love/Our Prayer/Cabinessence

20/20 was the final Capitol album from The Beach Boys. It includes the British chart topper and US No. 20 Do It Again, plus the UK No. 10 I Can Hear Music. By this time Brian Wilson, their chief songwriter, had been largely sidelined. (US:68 UK:3)

"This is The Beach Boys final release on Capitol records, and it's an album that shouldn't work but somehow does. It's an entirely hodge-podge affair, but most of the material is actually quite strong and makes for an enjoyable listen. At this point in Beach Boys history, Brian Wilson had mostly retreated to the sidelines and left the bulk of the songwriting and studio craft to the others. The results are actually quite good, as every track is solid and tuneful, even if they lack the magic spark of genius."

"As the end of the 60s rolled around, The Beach Boys fulfilled their contract with Capitol Records by putting out 20/20, an album cobbled together from recent single releases, fragments of the aborted Smile project and a handful of new tracks. As messy as this proposition sounds, 20/20 actually maintains the high standard the band had kept up since Pet Sounds."

"20/20 was an album of singles and leftovers, albeit pretty good ones. Fans in particular can appreciate the presence of two Smile cuts which were finally released: the multi-part Cabinessence and the hymn like Our Prayer. One of my favourites is the instrumental The Nearest Faraway Place, a lush track featuring soft, echoed keyboards and understated strings."

"The 20/20 album was a patchwork of hit singles and some really good Beach Boys originals, but even with the slapdash atmosphere, it was still a finely-crafted album that deserved far better than the reception it first received in the US on release."

"The songs are in a variety of styles that seem to clash with each other. But there are a lot of good songs here, taken individually. It features The Beach Boys last two top 30 hits for seven years, Do It Again and I Can Hear Music, plus other worthwhile songs like the bizarre Cabinessence, and the non-single version of Cotton Fields."

"20/20 is an above average release and still listenable almost forty years later."

Yellow Submarine – THE BEATLES***

Yellow Submarine/Only A Northern Song/All Together Now/Hey Bulldog/Its All Too Much/All You Need Is Love/ Pepperland/Sea Of Time/Sea Of Holes/Sea Of Monsters/March Of The Meanies/Pepperland Laid Waste/Yellow Submarine In Pepperland

This animated film soundtrack album features four new Beatles songs and much filler courtesy of producer George Martin. Yellow Submarine is considered to be the least essential of the original Beatles' albums. (US:2 UK:3)

"Hey Bulldog is the most interesting of the few new songs. And, George Martin, a true genius of a producer, possessed little talent as a film score composer. Apart from the lovely Pepperland, there's not much worth listening to in his contributions here. All in all, a pretty much expendable novelty from The Beatles catalogue. For completists only."

"The soundtrack album is mostly useless. Only the first side is made up of actual Beatles songs, and of that side's six songs, two of 'em - the two best - were already available on albums that any Beatles fan should already own. Side two, meanwhile, is original instrumental music composed for the film by George Martin. Some of his stuff is actually quite pleasant - other parts sound a bit like melodic and tonal riptakes on the most familiar classical pieces."

"The A side includes four new Beatles songs. They were recorded at different times and many weren't intended to be released on an album. Two stand out: Hey Bulldog and It's All Too Much. The first is a rocker driven by a pretty sweet piano riff, and the second is a an airy song by George Harrison. It sticks in my head and I really like it."

"So two outstanding songs from the mid 60s, a couple of good new songs, some filler, and half an album's worth of orchestral noodling. Even allowing for the 'old Beatle throwaways are better than most band's best music' theory, this is a very underwhelming release, and not really a proper Beatles album at all. It's definitely not the place to start for casual fans. Recommended for the ultra-dedicated Beatle fan only, and even then solely for completeness' sake."

"Easily the worst thing with The Beatles name on it, only half of it really counts as the Fab Four, and out of that one-half, only 2/3 of it is actually new material. These are all outtakes from either 1967 or 1968, and the only one that is at all decent is Lennon's Hey Bulldog."

Velvett Fogg – VELVETT FOGG***

Yellow Cave Woman/New York Mining Disaster 1941/Wizard Of Gobsolod/Once Among The Trees/Lady Caroline/Come Away Melinda/Owed To The Dip/Within The Night/Plastic Man

Eponymous sole album from the Birmingham psychedelic rock band Velvett Fogg. A combination of covers and original tunes, the group quickly split up after disappointing sales.

“Though some of these tracks are way better than others, overall, this is a pretty consistently good album. It's primarily psych flavoured prog rock, with most of the material on the hard side. A very interesting album; shame this is all we heard from them.”

“A great and very much a forgotten psychedelic classic. Even though the peak of psychedelic rock era had gone by the time of release, this album remains as a proof that there were fantastic psychedelic records after that.”

“Velvett Fogg only released this one studio album in their short career. The music is very high quality psych/acid rock and I love all of these songs equally. So great music. Even the cover version of Come Away Melinda works absolutely perfectly.” “This is one of the most amazing psychedelic albums I've heard in a long time. It's refreshing and innovative.”

“A sort of 'psychedelic-turning-to-prog' sound, owing to the heavy use of Hammond organ. Quite dated though, with cheesy tunes like Yellow Cave Woman and the overly cutesy Wizard Of Gobsolod, with lyrics as corny as you could imagine, plus covers of New York Mining Disaster and Tim Rose’s oft-desecrated Come Away Melinda. Has its moments of transcendence, though. Kind of fun and enjoyable provided you’re in the right state of mind (i.e. prepare not to take it too seriously).”

“This is one of the best British psychedelic albums ever. Original songs are blended nicely with some great covers and the result is perfect. Not even a 'simply good' song here. Everything sounds superb.”

Three Dog Night – THREE DOG NIGHT***

One/Nobody/Heaven Is In Your Mind/Its For You/Let Me Go/Chest Fever/Find Someone To Love/No One Ever Hurt So Bad/Don’t Make Promises/The Loner/Try A Little Tenderness

Three Dog Night were a pop harmony group very successful in the States but noticeably less so in the UK. Their self titled debut includes the US No. 5 hit single One. (US:11)

"A surprisingly good 'sleeper' of a debut from a band that probably justifiably gets plenty of stick from commercial rock haters like myself. It's hard rock driven soul/pop, with a much more underground vibe going than that found after they hit it big."

"The weakest part of this record is actually one of Three Dog Night's biggest hits, the annoying One. The banging on that piano makes me cringe. Everything beyond that is great late 60s rock/pop music."

"The critics decided that since they didn't write their own songs then they had to be a second rate band. But in retrospect, if you can sing and play this good and choose incredible songs to record, then who cares? This is one of the lost classics of the sixties, every song on here is a winner."

"Way back when, this band was putting out hit after hit, with superb harmonies you'd try (but fail) to match, and the absolute best band in the land. The first release virtually exploded off the turntable and in the headphones, with the three part harmonies sounding like one all-powerful voice, and the organ and guitar especially dominating the electrifying sound that was emerging."

"Three Dog Night made the most enjoyable and radio friendly interpretations of other people's songs in rock history. Many times their interpretations became the true hit, being far more popular than the original artist's version."

"This is their first album and their best. It sounds dated today and the covers are great songs, but they do not top the originals. Still though this is a good album and an honest effort. Afterwards they became a hit singles machine."

"Some of the best songs that got them started on their rise to stardom. They have some of the best harmonies from that era. This LP is a must for anyone who enjoys listening to rock & roll, rhythm & blues, soul and funk all from one group."

Stand By Your Man – TAMMY WYNETTE*****

Stand By Your Man/Its My Way/Forever Yours/I Stayed Long Enough/It Keeps Slippin’ My Mind/My Arms Stay Open Late/I’ve Learned/Cry Cry Again/Joey/If I Were A Little Girl/Don’t Make Me Go To School

Country star Tammy Wynette’s best known song was the Grammy winning Stand By Your Man which topped the UK singles chart when re-released in 1975. (US:43)

“There's no filler to be found here at all. What makes this record so great is that there are no cover versions of common tunes on this collection. Billy Sherrill and Tammy collected a stunning collection of songs, that nearly make this a concept album, on the themes of enduring love and the opposite side of the pain of heartbreak and separation. A cornerstone record for any decent country collection."

“The title track from Wynette's third album proved to be her indelible signature. She sang her woeful tales with authority. From jilted wives to lonely, desperate children, her performances were drenched in emotion.”

“Stand By Your Man is one of the best Tammy Wynette albums, there is not a single weak track. And her voice was never in better form. Starting with the chart topping title track, Wynette weaves an emotional tapestry of tears and love like no one had ever done before and no one since.”

“Her previous albums contained plenty of covers, but you won't find any of those here. There are some songs about children, and several songs in which Tammy stands by her man. Of Tammy's original albums, this was certainly one of the best.”

“If you prefer rich, smooth country, heavy on the ballads and thick with steel guitar, tremolo guitar, and superb heartfelt vocals with plenty of twang, then this has got to be one of Tammy's finest.”

“This is the album that made Tammy Wynette more than a country star - it made her an icon. Not only was her singing wonderful but the controversy started by the title song would follow her all her life. She gave voice to the real lives of women everywhere, and did it passionately. With producer Billy Sherrill at the helm, the music is a somewhat softened version of the honky-tonk sound, smoother, more pop-oriented. The lyrics can be a bit corny at times, but her voice - supple, strong, and dignified - will stick with you.”

The Book Of Taliesyn – DEEP PURPLE***

Listen Learn Read On/Hard Road (Wring That Neck)/Kentucky Woman/Exposition-We Can Work It Out/The Shield/Anthem/River Deep Mountain High

The Book Of Taliesyn was a quick follow up album from up and coming British heavy rock group Deep Purple, released to coincide with their American tour. It is considered to be their most psychedelic. (US:54)

“Anthem and the other original compositions are the standouts, but the covers are notable also, especially the incredible arrangement on River Deep Mountain High. Book Of Taliesyn is simply a must have for all followers of prog rock, but not so much for fans of later Deep Purple. Hard rock buffs may have a little problem getting into the refined vocals and much more thoughtful and complex compositions.”

“As with other albums in the Mark I period, keyboards and guitar are much more balanced than in later years, with Lord's excellent keyboard playing to the fore.”

“A killer album by any standard. You can look at it as a great psychedelic album, well-composed and amazingly well performed - this was a cut above the psychedelic music from other bands of the day. Or you can look at it as a proto-progressive album which nails down the early progressive style better.”

“This is Deep Purple's most psychedelic album ever, with spoken word interludes, lots of echo and sound effects. There are also some classical influences coming to the fore. Some of this material also tends to sound a little MOR, due to the crooner type voice of Rod Evans. Cool album, but not one they would be remembered by.”

"This album is probably DPs best Mk I release, and though it doesn't surpass any of the classic era albums, it's well worth getting a hold of as it remains one of their most interesting works. The band is not yet as proficient at firing out memorable riffs yet, but even at this stage they were capable of rockin' out with the best of them.”

“Continuing in their proto-progressive style, but this time with more pop oriented material; overall not as heavy, and somewhat off the pace of their debut. Again, featuring a number of covers, and again, with mixed results.”

“This is more progressive, with a more bluesy touch to the sound and obviously this album lacks Gillan. But overall, just like their debut, this record is brilliant.”

The Family That Plays Together – SPIRIT****

I Got A Line On You/It Shall Be/Poor Richard/Silky Sam/The Drunkard/Darlin’ If/All The Same/Jewish/Dream Within A Dream/She Smiled/Aren’t You Glad

The Family That Plays Together was the follow up and most commercially successful album from the Los Angeles rock group Spirit. The group would continue to make the lower reaches of the chart until the mid seventies. (US:22)

“Another solid release by this outstanding band, the follow-up to their debut continues in a similar vein, with a diverse mix of acoustic guitar driven soft rock, and psych flavoured harder material. Overall, quite an ambitious project.”

“The Family That Plays Together is the same quality as their debut. That means this album rocks very well start to finish. The best known song of the disc is the minor hit and the album opener I Got A Line On You. What a great song that is. But it's not the only stand out cut on this record.”

“This second LP containing the AM smash I Got A Line On You, maybe their peak creation from start to finish, a virtual psychedelic trip. Along the way double-tracked fuzz guitar, flutes, jazz electric piano, some nice tambourine shaking, drum solos, Hebrew prayer, intricate harmonies, acoustic guitar work, songs about girls smiling, and stepping off mortal coils.”

“While their first album was psychedelic and surreal, on this their second release, it shows that the band were just as comfortable taking advantage of world music, jazz and jam rock. Unfortunately, Spirit never managed to break through to the big time, as they so richly deserved.”

“The second Spirit album contains some good rock tunes, well arranged songs with tight performances but despite it all The Family That Plays Together remains rather unremarkable. Lou Adler's production is by a long way the weakest link with this album, and Spirit's work in general. Randy California was beginning to make his mark as both songwriter and guitarist, but much of his work pales into the background by the unspectacular methods Adler used to produce the album. There is no doubt that there is potential in the music; I Got A Line On You is a tight pop rock number. The band were very talented and experimental as they explored many avenues, but many of the guises don’t take off fully.”

Revelation – MAN***

And In The Beginning/Sudden Life/Empty Room/Puella Puella/Love/Erotica/Blind Man/And Castles Rise In Children’s Eyes/Don’t Just Stand There (Come In Out Of The Rain)/The Missing Pieces/The Future Hides Its Face

Revelation was the debut album from the Welsh progressive group Man. Never in the top flight of the British music scene they enjoyed some limited chart success in the mid 1970s.

“Absolutely stunning debut LP from Man. Great UK progressive psychedelic here to be fully taken in.”

“Revelation, is an excellent example of prog with psych overtones, but because there are a few boogie and rootsy-oriented numbers, it makes the album a little uneven in the long run, Sudden Life and Blind Man come to mind. But what makes the album great is songs like Empty Room, Don't Just Stand There, And In The Beginning and the ever disturbing instrumental Erotica.”

“Revelation wasn’t such a great revelation to me – the album doesn’t sound quite mature and though there are some interesting songs, on the whole this debut failed to impress me much.”

“This first is a mix of psych flavoured prog and blues rock, with a few other interesting excursions as well. Not all of it is great though. Some of the more progressive tracks are truly outstanding, while the more pedestrian blues cuts, by comparison, miss the mark. Overall, the album is quite innovative for it's time.”

“This debut album is the best start they could have had, with saturated organ sounds and amazing psychedelic and trippy guitar licks. The vocals are really unique in many ways. The main vocalist has a haphazard approach when he wants to accent something, it's definitely there but when he doesn't it gets mixed in with some other lyrics and just flows. Also, the harmonies are some of the best I've heard, well crafted and eerie sounding.”

“Pretty great debut album from these Welsh prog rockers. Very unique and catchy with great vocals. Now I want more.”

Aynsley Dunbar Retaliation – THE AYNSLEY DUNBAR RETALIATION***

Watch ‘N’ Chain/My Whisky Head Woman/Trouble No More/Double Lovin’/See See Baby/Roamin’ & Ramblin’/Of Sydney Street/Memory Of Pain/Mutiny

Debut album from the blues rock group Aynsley Dunbar Retaliation. Respected drummer Dunbar had previously worked with John Mayall and during the 1970s would guest for a wide range of artists.

“Aynsley Dunbar formed his band Retaliation in the late sixties during the British blues boom. Their music was not straight blues based, but incorporated a jazz feel to the timing in their songs. All four members of the group were strong players on various instruments, and they had a good song composer.”

“Their sound could sometimes be derivative. This music is not the kind that hits you over the head on first play with more needed to really appreciate them. They were one of the few groups playing their own style of music using the blues as a jumping off point.”

“Decent blues rock, a bit similar to Ten Years After, with skilful drumming by Dunbar.”

“This should have come out in 1967. It's different, it's good, I like it. Aynsley played for John Mayall before this, and went on to The Mothers and all kinds of other groups. Quite an impressive résumé.”

“If you like Peter Green era Fleetwood Mac you might want to give this a try. The structure is similar, but the dryness is somewhat lubricated with the piano sharing the leads. Aynsley is a drummer so expect more and longer percussion. It’s not a draw back until the last song which ends with a five minute drum solo. A couple of different types of guitars share leads with an organ on Memory Pain, with the end result being the signature British blues song.”

"The most greasy blues I know, scraped from the bottom of a garbage-can. You will fall for it. Aynsley is also a well respected drummer."

“The record ultimately comes off as rather second-division late-'60s British blues, though in a little heavier and darker style than Mayall's.”

O. K. Ken? – CHICKEN SHACK***

Baby’s Got Me Crying/The Right Way Is My Way/Get Like Used To Be/Pony & Trap/Tell Me/A Woman Is The Blues/I Wanna See My Baby/Remington Ride/Fishing In Your River/Mean Old World/Sweet Sixteen

O. K. Ken? was the final Chicken Shack album featuring Christine Perfect before she was poached by Fleetwood Mac, with whom she eventually achieved international stardom. (UK:9)

"This is an excellent example of a band playing music they love and having a great time doing it. There's nothing particularly new going on but it doesn't really matter, there are some great electric blues songs with occasional vocals from the superb Christine Perfect. The strange conversational outtakes between each song can become annoying but they don't make the album any less enjoyable."

"Anyone growing up in the progressive rock and blues era of the late 60s, early 70s will know Chicken Shack as a heavy blues band. OK Ken is perhaps one of the most spontaneous with the band performing at their best and having a laugh whilst doing it."

"The music is heavy and blues based with some good numbers by Freddie King and tremendous vocals by Christine Perfect. It is solid, traditional electric blues with an injection of fun. If you grew up with the band you will know it and love it, if not you will surely enjoy it but may find the track intro's annoying."

"British blues at its best could be exciting (if usually derivative), but it's difficult to fathom how this relentlessly plodding, monotonous effort met with such success. Stan Webb took most of the songwriting and vocal chores, emulating the slowburning Chicago boogie with little skill or subtlety (though he wasn't a bad guitarist). Christine Perfect did write and sing a few songs, but these unfortunately found both her compositional and vocal talent at a most callow stage of development."

"Chicken Shack had the added bonus of a fabulous female vocalist in Christine Perfect, her smooth, languorous voice weaving in and out of the melodies." "Chicken Shack were similar to British bands of the same era such as early Fleetwood Mac, Savoy Brown and Ten Years After. The vocal duties were split nearly equally between Stan Webb and Christine Perfect."

The Moth Confesses – THE NEON PHILHARMONIC***

Brilliant Colours/Cowboy/The New Life Out There/Morning Girl/Midsummer Night/Little Sparrow/The Last Time I Saw Jacqueline/Morning Girl Later

The Moth Confesses was the debut album from the studio psychedelic pop group Neon Philharmonic. Their music has been described as baroque pop as exemplified by their US top twenty hit Morning Girl.

“This album is a rather cheerful experience from start to finish. The over-the-top baroque orchestrations do put a smile on my face, but the quality of each song isn't what it might be. This album features some of the most romantic styled pop music you'll probably ever hear, and Morning Girl may be one of the finest baroque/psychedelic pop songs ever written. It's so lovely. My biggest beef is that while some melodies are great some of the songs felt over-extended.”

“The Moth Confesses is one of the earliest 'rock operas' if the term can be fairly applied to a collection of songs based on a central theme. It tells the story of falling in love for the first time and the innocence that goes with it, the eventual break-up, with the lovers eventually seeing each other later under radically different circumstances.” “It's a stretch to call it rock. It is really more of a pop album. It almost classifies as easy listening because it is a very mellow sound. It's not a boring album, but other than a few good songs, it is not particularly interesting either.”

“I was looking for a melodic and light-psychedelic soft album. But this is just too plain boring and mellow. The compositions range from very radio-friendly and commercial to slightly better ones with at least a hint of light pop-psych. Don't expect a forgotten psychedelic masterpiece."

“Backed up by imaginative instrumental work, these songs were very different from the pop music that was prevalent in '69. Morning Girl made it to radio but, while it's a nice piece, it's surely the most mass market sounding cut on the album; there are other cuts which are much better, including the wistful and haunting The Last Time I Saw Jacqueline. My favourite is Brilliant Colours, though.”

“The songwriting is not instantly catchy, but after a few listens the songs prove to be really interesting, and the singer has a good voice with a style.”

Dusty In Memphis – DUSTY SPRINGFIELD*****

Just A Little Lovin’/So Much Love/Son Of A Preacher Man/I Don’t Want To Hear It Anymore/Don’t Forget About Me/Breakfast In Bed/Just One Smile/The Windmills Of Your Mind/In The Land Of Make Believe/No Easy Way Down/I Can’t Make It Alone

This acclaimed soul album from Dusty Springfield is considered by critics to be her finest moment. However, this was not reflected in the chart placing. Dusty In Memphis includes the top ten single Son Of A Preacher Man. (US:99)

“Up until Dusty In Memphis, Dusty Springfield's brand of soul wasn't really of the down-to-earth, gospel-derived variety. Instead she had rather more of a swinging bachelor pad vibe. But as the reigning queen of blue-eyed soul, she must have felt motivated to take a stab at classic Southern R & B. Dusty had quite a standard to match, and some folks might have been sceptical of whether a white British crooner could live up to her American idols. She removed any doubt of this once the album hit the shelves, as it immediately received huge accolades from every major critic, with many citing it as one of the finest R & B records ever produced.”

“I hope in her later years she listened back at this album with a sense of pride and achievement. Her voice soars above the sumptuous and beautifully recorded arrangements and the whole thing sounds like a glorious night out.”

“I love soul music and the whole Atlantic/Stax/Volt roster but Dusty was more than fit for purpose, walking to Memphis in style. She never over-sings and her understated, sultry style suits these songs perfectly, the production giving her room to interpret the different styles here.”

“Even youngsters know Son Of A Preacher Man but the album is full of songs every bit as cool, smooth, and sultry. It's a high water mark of white soul - a genre that's produced its share of classics. Dusty's voice captures a timeless sound and creates a timeless mood.”

“The songs on this album are fantastic, and Dusty Springfield had one of the greatest voices to ever grace pop music. Her voice is so soft and mellow, yet can grab and just galvanize you. She knows exactly when and how to emote, something today's pop singers seem completely clueless about. I cannot praise either this album or Dusty Springfield enough.”

The Live Adventures Of – MIKE BLOOMFIELD & AL KOOPER***

The 59th Bridge Street Song/I Wonder Who/Her Holy Modal Highness/The Weight/Mary Ann/Together ‘Til The End Of Time/That’s Alright/Green Onions/Sonny Boy Williamson/No More Lonely Nights/Dear Mr Fantasy/Don’t Throw Your Love On Me So Strong/Finale-Refugee

Live Adventures was the second Bloomfield/Kooper blues rock collaboration recorded over three nights in 1968 at the Fillmore Auditorium in San Francisco. (US:18)

"Its bluesy, it's jazzy at times, and its just great jamming. Just something about this music is so inspiring. Every song is good. The first disc is definitely stronger than the second, even though there is some really great jamming here."

"The relationship between Kooper and Bloomfield is intuitive and symbiotic- the two of them know how to share a song, playing with and off of one another with finesse and warmth. It's wonderful to hear them tossing ideas back and forth. Of course, it doesn't hurt that they are two of the best players in the business, capable of melding blues and jazz into an expertly crafted rock 'n' roll framework. They also know how to jam, settling into loose grooves and letting off with the best they got."

"In typical 1960s concert fashion, way too much of the album is turned over to seemingly endless jamming. Nobody but the truly fanatical will want to hear extended versions of Her Holy Modal Highness, No More Lonely Nights or Don't Throw Your Love On Me So Strong. There are some interesting moments including Bloomfield's debut as a singer, and on tracks such as the covers of Ray Charles' Mary Ann and That's All Right. Is it essential? No way. Is it worth buying? Sure."

"Mike Bloomfield really never played better. His guitar work on this album tops anything he did with Butterfield and Electric Flag. And he plays a lot, and even sings a bit. Al Kooper's singing is soulfully strained, really reaching for the note. I've always enjoyed his on-the-edge vocal styling. All the songs here get a fresh attitude and interpretation. This album captures the essence of the electric white blues explosion of the late 60s, and you can really feel the creative energy of these young men discovering the meaning of the blues, live and without a net."

“If you're looking for Steely Dan production values, you'll hate it. But if you love raw, spontaneous, live, 60s rock-blues, treat yourself to a rare moment in time."

Strictly From Hunger – HUNGER***

Colours/Workshop/Portland 69/No Shame/Trying To Make The Best/Open Your Eyes/The Truth/Mind Machine/ She Let Him Continue/Trying To Make the Best No. 2

Strictly From Hunger was the sole album release from the obscure Portland heavy psychedelic group Hunger. All the tracks feature a predominately organ lead with some heavy bass.

“Excellent garage psych with a strong soul/R & B/pop feeling. Workshop is my favourite song, this contains great garage organ, some softly fuzzed guitars and impressive vocals. A must have for psychedelic rock fans.”

“Featuring a very subtly unique sound, with good guitar and vocal harmony, as well as great use of effects.”

“Truly beautiful instrumental psychedelic garage, and a very pleasant listen. I can't give any real standouts, the whole records works as a whole and puts you into a nice state of mind, from start to finish.”

“Insanely awesome psychedelic rock. I never get tired listening to it, this album is absolutely perfect.”

“Poor musicianship and mostly uninteresting songs. Portland 69 and The Truth are pleasant exceptions. Random band, great producer. Unfortunately, that's not enough. Not recommended.”

“Excellent moody garage psych, heavier than most organ-led groups with insistent rhythm and frequent fuzz bursts. Quite trippy like a heavier 'Swinging London' sound. The group featured long organ driven instrumental breaks, with piercing guitar lines between some strong songwriting in the majority of songs.”

“The potential for moving more into fusion was evident in their music right from the start. You can hear elements of just about every genre (jazz, blues, pop, rhythm & blues) intermingled amongst each song, although you must listen very carefully to hear it all. Every song serves as an excellent example of the cross pollination of genres. They were so much more than the psych-rock band that they were generally perceived as. The lyrics are suitably surreal and the organ-heavy soundscape is actually quite interesting. A nice late 60s record from a forgotten band.”

What We Did On Our Holidays – FAIRPORT CONVENTION****

Fotheringay/Mr Lacey/Book Song/The Lord Is In This Place/No Man’s Land/I’ll Keep It With Mine/Eastern Rain/ Nottamun Town/Tale In Hard Time/She Moves Through The Fair/Meet On The Ledge/End Of A Holiday

What We Did On Our Holidays, was the second album from British folk legend Fairport Convention, and the first to feature the celebrated new vocalist Sandy Denny. Released as the eponymous Fairport Convention in the States.

“An eclectic album that nevertheless begins to define Fairport's dusty, woodwormworn sound. What We Did On Our Holidays is a stellar set of originals and covers that usher in the band's classic era, signalled by the arrival of Sandy Denny. Their new vocalist's spine-tingling power is clearly evident. Stepping to the plate in no less a fashion is guitarist/songwriter Richard Thompson, penning his first definitive classic in the defeated yet defiant Meet On The Ledge, plus contributing underrated cuts like Book Song, No Man's Land and the world weary, Tale In Hard Time.”

“It all comes together with this one, and the excellence wouldn't let up for a long time. Sandy Denny is the big reason I suppose, but Richard Thompson plays some really unbelievable guitar as well. There may not be another vocalist like Sandy with the ability to stop me dead in my tracks the way she does.”

“It's got so many different moods. There's medieval Celtic folk, hippy folk-rock blues rock, etc. It is just glorious and another classic '60s record that doesn't get respect.”

“The addition of Ms. Denny has brought magic to their product. Whether flying solo or harmonizing with other vocalists, she sings like an angel and seems to have propelled them to write even better material. Most tracks are light and delicate; some are soft and slow ballads, with acoustic guitar. Still others rock out, providing welcome diversity. For newcomers, this one is probably the best place to start.”

“A now classic early Fairport Convention album, just as they decided Sandy Denny would bring more to the group as vocalist and composer. To me this is where things started to happen and every song is brilliant. Everything from the instrumental opener to Denny's voice is spot on, ancient and modern at the same time. It's a varied, entertaining album - the beginning of truly great British folk-rock and it would only get better.”

Crimson & Clover – TOMMY JAMES & THE SHONDELLS***

Crimson & Clover/Kathleen McArthur/I Am A Tangerine/Do Something To Me/Crystal Blue Persuasion/Sugar On Sunday/Breakaway/Smokey Roads/I’m Alive

The biggest LP success for bouncy Ohio bubblegum pop outfit Tommy James & The Shondells came with the quasi-psychedelic Crimson & Clover. The title track topped the US single chart with Crystal Blue Persuasion peaking at No. 2. (US:8)

"Inconsistent but entertaining psych-pop. With the emphasis being on the pop side of the equation. The title track and a few others are really great but more often than not this is sort of mediocre. The psych's not out there enough and the pop's not catchy enough."

"Still inconsistent overall, but this one is a marked improvement over the totally commercial drivel of earlier releases. The better tracks feature strong psych influences and very catchy songwriting. Most are in a soft rock vein."

"So, what was this album, really? A bubblegum hit-maker's attempt to cash in on the trend of psychedelic music? Is it inauthentic because of the opportunism it reflects? True, the timing of the album makes it seem suspiciously opportunistic, but listen to it. It comes across as pretty sincere to me. And besides, what I like most about it is that it doesn't take itself too seriously. You take the melodic sense of Tommy James and meld it to psychedelic effects and Eastern musical sensibilities. What you end up with might not be a masterpiece, but it's a lot of fun to listen to."

"Okay, Tommy James and The Shondells ain’t Hendrix, but any album that contains Crimson & Clover, Crystal Blue Persuasion, Sugar On Sunday and the mesmerizingly hallucinogenic I Am A Tangerine deserves some respect as the epitome of psychabubbleishiousness."

"While historians today tend to focus on groups like The Velvet Underground and The Doors when tracing the 'psychedelic' music of the sixties, Tommy James and The Shondells brought the stuff to the top of the charts in '69 and hardly receive a mention. Crimson & Clover is a great album. I Am A Tangerine, Smoky Roads and Sugar On Sunday might not ring a bell, but before you toss out this group on its undeserved bubblegum reputation, give 'em a chance with this album."

Birthday Blues – BERT JANSCH***

Come Sing Me A Happy Song/The Bright New Year/Tree Song/Poison/Miss Heather Rosemary Sewell/I’ve Got A Woman/A Woman Like You/I Am Lonely/Promised Land

Birthday Blues was a solo album from folk singer songwriter Bert Jansch during a period when his primary focus was with the group Pentangle, which might explain why it is more uneven than previous offerings.

“This album is uneven, seemingly un-themed and without a consistent mood or style to tie its disparate pieces together. That said, the notion that albums must all be concept pieces is a mistaken one, and what we have here is an excellent innovator and skilled interpreter presenting us with a cluster of diverse, highly imaginative songs in 'folk, blues and beyond', with a voice and guitar style that are uniquely personal. He is joined by excellent, complementary musicians.”

“Birthday Blues is a 1969 album from the period when Jansch was playing with John Renbourn in Pentangle, and the rhythm section from the group show up on some of these tracks in support. The result is pretty much in between a purely Jansch album, where it is just him and his guitar, and a full-blown Pentangle effort.”

“All of the songs are written by Jansch and while this still qualifies as a British folk album he is definitely playing the blues more than we usually find him doing.”

“One of Bert's more casual albums, it throws a little bit of everything he does into the mix, accompanied by the Pentangle rhythm section. There's a light hearted feel and on the whole it's a pleasant Sunday morning listening, but it doesn't match the two albums before and after it, or Pentangle's Basket Of Light, released soon afterwards.”

“Bert demonstrates all his skills on Birthday Blues. This acoustic album is loaded with all Jansch originals that are played and sung to perfection. Every song features his guitar prowess and several are augmented by various instruments. A very good album that both rivals and mirrors his best Pentangle work. A Woman Like You and Wishing Well are just two of the outstanding songs on a very solid set.”

“The arrangements on this album are in more of a baroque/blues style, which Bert makes it sound enchanting. Haunting harp and flute, with occasional loose sax give them a memorable edge.”

Any Day Now – JOAN BAEZ****

Love Minus Zero-No Limit/North Country Blues/You Ain’t Goin’ Nowhere/Drifter’s Escape/I Pity The Poor Immigrant/Tears Of Rage/Sad Eyed Lady Of The Lowlands/Love Is Just A Four Letter Word/I Dreamed I Saw St Augustine/The Walls Of Redwing/Dear Landlord/One Too Many Mornings/I Shall Be Released/Boots Of Spanish Leather/Walkin’ Down The Line/Restless Farewell

Any Day Now was a double album from the American folk icon Joan Baez performing songs written by her contemporary Bob Dylan to a variety of backings. (US:30)

“Any Day Now is not without fault, still I find Baez's Dylan set to be inspired, featuring lots of country elements (dobro, banjo, pedal steel) popular at the time that complement Joan's performances. The result is that Baez is integrated into the music, instead of having her superior voice superimposed meaninglessly over stringbased arrangements as on previous albums. What I appreciate most about this particular album is her song selection, which neglects the most famous tunes in favour of Dylan's more political or esoteric work.”

“The five octave range Joan Baez brings to her interpretation of Dylan's songs typifies the emotional depth with which she tells his stories. From the a cappella Tears Of Rage to the guitar twang of The Walls Of Redwing, Baez compels listeners with the precision and empathy of her phrasing. She makes them her own as she demonstrates why she is the quintessential conduit for Dylan's lyrical commentary.”

“When this was released, there was a lot of hype about how great it would be - Baez singing Dylan - but it turned out to be somewhat less than mediocre. There are probably a couple of okay songs; I don't think I've heard it through yet - really monotonous stuff.”

“A pretty decent attempt to point the listener towards some more or less under appreciated Dylan tunes. Of course that very pure voice is not always perfectly suited to the material, but there you go.”

“This is a cover album - all Bob Dylan songs - and it's a wonderful one. Baez gives us her own take on Dylan's poetry and music, and with her incredible voice it's magical. The album has a definite country flair, which turned me off at first, but then it really grew on me. Everything about this album is just so right: her phrasing, the choice of songs and her elegant delivery.”

Who Knows Where The Time Goes – JUDY COLLINS****

Hello Hooray/Story Of Isaac/My Father/Someday Soon/Who Knows Where The Time Goes/Poor Immigrant/First Boy I Loved/Bird On The Wire/Pretty Polly

Who Knows Where The Time Goes features folk legend Judy Collins interpreting songs from some of the best known emerging songwriters of the era. (US:29)

“This is a true folk-rock masterpiece which may very well have set the standard and was the template for the modern folk-rock wave that took hold of the music scene at the dawning of the 1970s. Filled with masterly covers of songs by Leonard Cohen, Bob Dylan, Fairport Convention, The Incredible String Band and Ian Tyson, Who Knows Where The Time Goes has a country-rock edge to it and a smattering of her classical inclinations mixed into its folkiness.”

“This LP is a must for any decent music collection. Her voice is clear and beautiful; the arrangements are inspired; and, besides Sandy Denny herself, only Judy can do justice to the awesome title track. Buy this for a youngster in your life. They need it. As do we all. This is what I call music.”

“This effort is easily the best album in Judy Collins' long and illustrious career. From the opening phrases of Hello Hooray to the final chords of Pretty Polly, this brilliant effort never stops delighting and amazing the listener with its unique combination of brilliant songwriting and selection, vocal performances, musical scoring and accompaniment. Simply put, this is an absolutely matchless piece of music history you should be able to experience and enjoy again and again.”

“This is Judy Collins at her best. The backing musicians are superb and her voice never sounded better. The title cut is one of the best songs to come out of the late 60s, and she does it beautifully. The track that grabs me the most though is Pretty Polly, though there's not one lacklustre track to be found here. It all shines.”

“Judy Collins always had had a crystal clear voice, and a good range, but on this album it was at its most powerful. The material is from the best-ever writers in this genre. The result is about the tightest folk-style rock album there ever was, with a fine range of sentimental and yet gripping songs. Not only does Judy choose some very good contemporary songs for this album, she also writes and performs her own My Father, which is terrific.”

TCB – DIANA ROSS & THE SUPREMES WITH THE TEMPTATIONS***

TCB/Stop In The Name Of Love/You Keep Me Hangin’ On/A Taste Of Honey-Eleanor Rigby-Do You Know The Way To San Jose-Mrs Robinson(Medley)/Respect/Somewhere/Ain’t Too Proud To Beg/Hello Young Lovers/For Once In My Life/(I Know) I’m Losing You/With A Song In My Heart-Without A Song(Medley)/Come See About Me-My World Is Empty Without You-Baby Love/I Hear A Symphony/The Impossible Dream

TCB - Taking Care of Business - is the soundtrack to The Supremes & The Temptations live TV spectacular. Some critics suggested that their music had been watered down to gain entry to prestigious music venues. (US:1 UK:11)

"Surprisingly, this television soundtrack featuring The Supremes and The Temptations soared to the pinnacle. More than three decades later, however, TCB is unlistenable. Still, it proved a good vehicle for both groups, and accomplished its goal by helping them cross over, along with getting them gigs in Las Vegas casinos, and prestigious high paying clubs like the Copacabana. TCB is watered down Temptations and Supremes. The songs sound campy; the big band didn't help. But it worked: fans bought this album, and a bigger untapped audience discovered the versatility of arguably the best male and female vocal groups of all time."

"Christmas is coming and the goose is getting fat, please put a penny in Berry Gordy's hat. A veritable ickiness fest designed for the lower middle class 2.4 children infested suburbs. One parting observation - when older people say "this is how it was done in my day", laugh at them, laugh at them in a very, very loud manner."

"The Supremes were certainly 'Taking Care of Business' when they appeared live on NBC-TV in the United States with their Motown brothers The Temptations back in 1968. The soundtrack from the TV special, released the next day, became a number one album. On many of the songs the girls sing duets with The Tempts, but they also perform their greatest hits in a fast paced abbreviated form. This album alone is a treat for any Supremes fan."

"Since The Supremes had a primarily white American audience and The Temptations a primarily black audience, the special allowed the audiences of each to cross over to and augment the audiences of the other. Finally, the special was a major showcase for Diana Ross, designed as one of the first steps towards launching her impending solo career, which officially began in January 1970."

The Soft Machine – THE SOFT MACHINE****

Hope For Happiness/Joy Of A Toy/Hope For Happiness(Reprise)/Why Am I So Short/So Boot If At All/A Certain Kind/Save Yourself/Priscilla/Lullaby Letter/We Did It Again/Plus Belle Qu’une Poubelle/Why Are We Sleeping/ Box 25/4 Lid

Debut album from experimental rock band The Soft Machine, the first and best known of several Canterbury based progressive bands to impact the British music scene during this period. (US:160)

"First album by the seminal UK band Soft Machine, which would in time become an icon of the psychedelic era and a founding stone of the Canterbury genre. Guitarist Kevin Ayers, keyboardist Mike Ratledge and drummer Robert Wyatt were some of the most talented, inspired and prophetic musicians, who found themselves in the midst of a musical (and social) revolution, which would inspire generations to come. This timeless masterpiece is molten gold (or mercury) of ingenuity in every respect, full of zany ideas, typical British humour and futuristic musical approach."

"The two lead vocalists share their duties well. Wyatt's earthy, haunting voice adapts to a variety of material, whilst Kevin Ayers' deeper, rich, stentorian tones are perfect for his own Why Are We Sleeping? and back up Wyatt wonderfully on Save Yourself. Possibly the most out-there psychedelic album of its time, The Soft Machine debut is Canterbury's ground zero."

"This album is actually a band deeply rooted in a typical 60s psychedelic sound but with a tendency for improvisational structures. This is generally a good debut with the band trying to find their own identity, twisting from psych/rock to hints of what was going to come in the future."

"One of the tent poles of psychedelic music. The Soft Machine added Dadaist ideas and jazz rhythms to the emerging psychedelic rock sound that created a unique and compelling vision. This album is still every bit as exciting and artful as it was over 40 years ago."

"This music is a mixture of rock, jazz and electronics, but it's not like anything called 'jazz fusion'. I guess it's a little like very early Pink Floyd, but much more interesting, and you probably don't need to be tripping to appreciate it. There is much high energy playing on this record, plus much electronic experimentation, some lovely melodies. But somehow the sum equals much more than the parts."

"A fantastic record overall, with many strong, hard rocking prog cuts, with psych influences and great period flavour. Most of these tracks run together."

Scratching The Surface – THE GROUNDHOGS***

Rocking Chair/Early In The Morning/Waking Blues/Married Men/No More Doggin’/Man Trouble/Come Back Baby/ You Don’t Love Me/Still A Fool

The debut LP from the British blues rock group The Groundhogs. Scratching The Surface is pure blues but later albums included a rock element. After this one the group became a trio.

“My least favourite Groundhogs release but this is still good. The guitarist is top notch and the material is blues, all blues. A couple of real tappers on here too.”

“Considerably less spectacular than their later rock material. Make no mistake about it - this is a blues album. That's all they offer here, from hard rockin' blues, to slow and lethargic traditional blues, highly influenced by early black American artists. The album features a dearth of period flavour.”

“Decent debut, nothing to write home about but not a clunker either. Good cover of Muddy Waters Still A Fool which would be a live set staple for many years.”

“Powerful straight blues rock with the distorted guitar of Tony McPhee, growling vocals and a solid drum and bass background.”

“This is pure blues. There are a few odd timings here and there to add unique twists to the usual twelve bar structure and for the first time ever, I heard a different vocalist on a Groundhogs song in Steve Rye on two of the cuts. Over the years, Tony McPhee has not strayed too far from his roots despite stretching into more progressive music. I see this is the first in a progression from pure blues to rocking blues to rock and then back to blues again in later releases.”

“Tony's voice is unique, there is nobody else out there like him, and that is a big plus. If you are looking for the roots of British blues, this is a great start.” “This is a good listen to The Groundhogs as a pure blues band. Recorded in a very short time, it's a raw, bare-bones sound of the late 60s. As their sound progressed, so did their musical style. Scratching The Surface isn't a must own LP, unless you're a collector. But, if you like the blues and are into the British blues scene, this is a worthy LP to add to your collection.”

S. F. Sorrow – THE PRETTY THINGS****

S. F Sorrow Is Born/Bracelets/She Says Good Morning/Private Sorrow/Balloon Burning/Death/Baron Saturday/ The Journey/I See You/Well Of Destiny/Trust/Old Man Going/Loneliest Person

The Pretty Things moved away from their R & B roots to create this well received exercise in psychedelia. S. F. Sorrow is regarded by many as the first rock opera.

"This was the original, and best, 'rock opera' of the psychedelic era. Why The Pretty Things are still so neglected in comparison to others is a total mystery to me - they were probably the very finest British psychedelic rock band."

"The Pretty Things' magnum opus S.F. Sorrow is really an album that you can consider as a perfect record, even after many hearings. You just can't find a boring moment on it. This album is truly genius and innovative, as it is the first rock opera ever."

"The Pretty Things keep the chord progressions fairly simple and straightforward, which works well with the group's hard-edged sound. The thoughtful and infectious melodies and harmonies, the highly tasteful and original rhythms, the band's mix of drive and finesse, all work together most convincingly to thoroughly knock me out."

"S.F. Sorrow is a concept album, which tells the sad story of the life of S.F. Sorrow. The idea of doing a rock concept album was very new at this time. And The Pretty Things were among the very first to come up with it. In my opinion this is not what makes S.F. Sorrow a classic. The album's strength is clearly the music; though the story is quite interesting too."

"There is no denying the groundbreaking influence of this release in 1968 as the first rock opera. It truly showed the rock format did not have to exist within the confines of the three minute pop single, nor the collection of unrelated songs that typically made up an album. It deserves major points for its musically experimental nature as well as the innovative concept."

"Fantastic songwriting and a great narrative makes this truly unique. Hearing this now I can't believe how great it sounds. If you like 60s psych and catchy but quirky British invasion style tunes, this is a must own."