Sings Songs From His TV Series – SCOTT WALKER***

Will You Still Be Mine/I Have Dreamed/When The World Was Young/Who(Will Take My Place)/If She Walked Into My Life/The Impossible Dream/The Song Is You/The Look Of Love/Country Girl/Someone To Light Up My Life/Only The Young/Lost In The Stars

Sings Songs From His TV Series was a now somewhat obscure album of MOR standards from Scott Walker, a release which the singer has reputedly disowned. (UK:7)

"Essentially Scott singing standards like The Impossible Dream. No doubt about it, he's got one of the all-time voices, but his other more dark and disturbed work paints a more accurate picture of what the followers of the cult of Walker are praying to."

"Released by Philips in 1969 between his classic third and fourth solo albums it's not the neglected masterpiece one might naturally expect, despite its admirable vintage. It's a needless, compromised throwback to his Walker Brothers' years, a syrupy selection of slushy, pompously arranged standards that sound like they were picked for him by over cautious producers. It remains an uncomfortable, often cringe worthy listen and it's not difficult to see why Scott might have attempted to block any kind of re-release."

"It's not all that representative of what he was usually recording at the time, and certainly not his best work of the period. The dozen songs are all covers of popular standards. Fairly heavily orchestrated and middle of the road even by the standards of 1960s MOR vocalists. There isn't a hint of rock, or even period pop in sight, with the arguable exception of The Look Of Love. So it's far from Walker at his best, but that doesn't mean it's worthless. He sings extremely well throughout the album, indicating he could have been a highly successful adult pop crooner had he stuck to that path exclusively."

"There's not a hint of the moody darkness that was so integral to his early solo work's strength, and for that matter, no material by Jacques Brel, the composer he enjoyed interpreting more than any other. For that reason alone it's a curiosity that's far less enduring than his other albums of the late '60s and early '70s, and is only recommended to completist fans of the singer."

Children Of The Sun – SALLYANGIE***

Strangers/Lady Mary/Children Of The Sun/A Lover For All Seasons/River Song/Banquet On The Water/ Balloons/Midsummer Night’s Happening/Love In Ice Crystals/Changing Colours/Chameleon/Milk Bottle/The Murder Of The Children Of San Francisco/Strangers

Children Of The Sun was the sole album release from the British brother and sister folk duo Sallyangie. It features Sally Oldfield on vocals, backed up by Mike Oldfield on flute and guitar who, in the seventies, would achieve global acclaim for his innovative Tubular Bells album.

“The first recording for Sally, but especially, Mike Oldfield. If you like genuine folk style don't be afraid to listen to this somewhat naive offering. We are in 1968 and Mike is just 15-16 years old.”

“There seems to be very few musicians nowadays capable of writing even what remotely resembles a melody, let alone an original song. Here is an amazing example of the creative power of olden days. This album is full of youthful creative energy and nature inspired melodies. Some of them, mesmerizing and enchanting, some others verging on the surreal. Sally Oldfield's versatile pure toned vocal, beautifully resonating with her then 15 year old brother's gentle voice, stunning flute and guitar accompaniment.”

“Yes, it would never be made today, and yes it is somewhat twee, but for students of the English folk explosion of the late 60s, it has a certain period charm. The overriding influence would appear to be The Incredible String Band seen through younger eyes, without perhaps the acid influences.”

“Musically, it's just fine and it's nice to see Mike Oldfield on guitar plucking form. Don't expect anything like Oldfield's own work, this is in a league of its own but that's not necessarily a positive statement. Folksy and dreamy, it will while away an hour but might make you want to dive for Tubular Bells after it's done.”

“Often cited flower power release features dueting male/female performers creating contrasting vocal patterns over softly strummed, acoustic guitar. Besides somewhat dated production, Sallyangie suffers from overdone singing, particularly with the toohigh female pitch which sometimes comes across as unintentionally humorous. Despite its flaws this is still an intriguing piece of late 60s folk that deviates enough from standard patterns to stick out.”

Pickin’ Up The Pieces – POCO****

Foreword/What A Day/Nobody’s Fool/Calico Lady/First Love/Make Me A Smile/Short Changed/Pickin’ Up The Pieces/Grand Junction/Oh Yeah/Just In Case It Happens Yes Indeed/Tomorrow/Consequently So Long

Pickin’ Up The Pieces was the debut album from the influential country rock group Poco, formed by former members of Buffalo Springfield and a future member of The Eagles. (US:63)

“The album consists of twelve simple, bright, happy and snappy short songs. The title song is a lovely and a lively ode to country music. There isn't a weak track as all four band members contribute to vocal duties. The band's early records are instantly and effortlessly likeable. However, for most rock fans it might be just too country.”

“Country rock bands like Buffalo Springfield and The Eagles get a lot of play while Poco seem to sit on the back shelf unknown to many. A great debut, but not the best I've heard. The music is well played but some of the songs are a little short.”

“This underrated and undersold debut is a brilliant example of the LA country rock scene at the time, and holds up perfectly today. The harmonies are beautiful and the playing is super tight.”

“Pickin' Up The Pieces is Poco's great debut album. Deftly blending country and rock, the album fell between the cracks, not fitting either radio format well enough to get much airplay. However, it foreshadowed much of the music that both formats would later embrace.”

“Pretty fantastic '60s country rock with some catchy melodies. Basically it reminds me of Buffalo Springfield meets Sweetheart Of The Rodeo. So if that sounds great to you, check this out. I don't think you will be disappointed. My only problem is that it gets more Nashville midway through the second side.”

“This album is literally a lazy afternoon on the porch picking a guitar and drinking lemonade. Extremely relaxing and pleasant on the ears. It's got those peppy moments too so it makes good travelling music as well.”

“This is an excellent debut by one of the best country-rock outfits. This is beautiful, simple, listenable stuff. Unlike a lot of their contemporaries who were obsessed with 'making statements' about the world, Poco elected to make enjoyable pop music.”

Rehearsals For Retirement – PHIL OCHS****

Pretty Smart On My Part/The Doll House/I Kill Therefore I Am/William Butler Yeats Visits Lincoln Park & Escapes Unscathed/My Life/The Scorpion Departs But Never Returns/The World Began In Eden But Ended In Los Angeles/Doesn’t Lenny Live Here Anymore/Another Age/Rehearsals For Retirement

Rehearsals For Retirement was Phil Och’s most pessimistic album, prompted by his disillusionment with the turn of events at the 1968 Democratic convention in Chicago. (US:167)

"Rehearsals For Retirement is probably Och's most personal album. Considering his demons then, this may be somewhat harrowing an experience for some listeners. The music, however, is the best of his career - ranging from beautiful to rocking. As for the lyrics, RFR captures his typical sarcasm, this time around dealing with the underwhelming results of the 1968 Democratic convention protests. Evidently, though, the event was life-changing for socially-conscious Ochs, and thus accounts for much of the disillusionment he sings about here.”

“At this time in his career and life, Phil was immensely depressed about everything from the endless war in Vietnam to civil strife at home, and for being involved in, and witnessing, the 1968 Democratic Convention in Chicago. His depression is echoed in this album.”

“The greatest Phil Ochs album. From the lean acoustic chords of Pretty Smart On My Part, to the eerie piano intro on The Doll House, to the heartbreaking title track and Doesn't Lenny Live Here Anymore, Ochs proved on Rehearsals For Retirement that he could go head-to-head with any of the great songwriters of the sixties.”

“This is probably Ochs' strongest album - not a bad song on it and you get a fairly devastating parody of Bob Dylan's singing style on The Doll House. Recorded shortly after the 1968 Democratic National Convention at which Ochs lost so much of his faith in humanity, it features My Life, one of Ochs' finest songs and a plethora of intelligent, very moving, tuneful, ironic and iconic songs that even someone new to Ochs can enjoy.”

“Ochs' albums shifted gradually from Dylan derived political protest and righteous outrage to allegory through the '60s. By RFR, the externalized social concerns expressed early on are largely subsumed under a shroud of resignation, with wholesale hints of encroaching paranoia.”

More – PINK FLOYD**

Cirrus Minor/The Nile Song/Crying Song/Up The Khyber/Green Is The Colour/Cymbaline/Party Sequence/Main Theme/Ibiza Bar/More Blues/Quicksilver/A Spanish Piece/Dramatic Theme

Still struggling to find a distinctive sound, Pink Floyd were invited to provide the soundtrack to the French hippy lifestyle film More. It is likely to appeal only to committed fans. (US:153 UK:9)

"Pink Floyd were still very much a band in search of a sound. To say that More was 'kind of experimental' is like saying Dark Side Of The Moon was 'kind of successful'. Despite all the failings of this record, the band managed to capture several moments of kaleidoscopic beauty. Songs range from the gentle acoustic breeze of Green Is The Colour to the pounding rock of The Nile Song (and its evil twin, Ibiza Bar). In between there lies oddities of every sort, including a slight taste of blues; a touch of flamenco guitar, and the dark musings of Cymbaline. The tracks I find most interesting, however, are the three instrumentals: Main Theme, Quicksilver and Dramatic Theme. Each one is a strange moody piece that depends heavily on Rick Wright's keyboard excursions."

"More is one of the slightest, most inconsequential albums Pink Floyd ever recorded. Overall, this album rarely rises above mediocre, and suffers the same fault of many movie soundtrack albums - the work comes off as 'incidental music' that, when separated from the film, simply does not stand up on its own."

"The problem with the album is that it's extremely forgettable – there are a few throwaway acoustic songs, a couple of uninspired rockers, and a lot of aimless noodling, plus the likes of Spanish Piece, which is a stupid joke track. The Main Theme is dramatic enough, but by and large More is just dull and lifeless."

"The truth is, this is not the greatest Pink Floyd album. It wallows quite a bit, and at times, can get rather dull. Still, Pink Floyd are growing their roots with this record and their experimentation with ambiance, mood and tone produce interesting results. The album would clearly influence their later work and allowed Pink Floyd to broaden their scope and move forward to produce their masterpieces later."

"More remains an interesting catalyst within the evolution of Pink Floyd's sound and identity post Syd Barrett, and while its not an essential inclusion within the group's collective catalogue, it does contain a few tracks which are of interest to fans."

Bubble Gum, Lemonade & Something for Mama – MAMA CASS***

Its Getting Better/Blow Me A Kiss/Sour Grapes/Easy Come Easy Go/I Can Dream Can’t I/Welcome To The World/Lady Love/He’s A Runner/Move In A Little Closer Baby/When I Just Wear My Smile/Who’s To Blame

Follow up album from Mama Cass showcasing her versatility on this collection of upbeat songs. Bubble Gum, Lemonade includes the UK No. 8 hit single It’s Getting Better. (US:45)

“This is simply great. If singing bubble gum music is a sin, she is forgiven. No one could sing it with such charm and in such high spirits. Tracks such as Blow Me A Kiss, When I Just Wear My Smile and Lady Love alone are worth buying the album. And there is much, much more to be delighted with: there is Mama's voice.”

“If you ever wanted a Mama Cass's LP full of sweet, romantic, not-so-dramatic tunes, and her beautiful voice, this one is for you.”

“This is very simply a must-have for every Cass Elliot fan. Its a collection of nice little songs, sung by one of the truly unique voices in the history of pop singing. This is late 60s pop at its best - so bright and sunny it's practically raining daisies.”

“The second solo album by Cass Elliot contains some great songs and dynamite singing. The upbeat songs offer a lot of hope, brightness and positivity that the world needs so much today.”

“This album has one of the biggest ballads that Cass ever sang - He's A Runner. This song is one of the performances of Cass's career. She really belts out this ballad so heartily that is just amazing to hear this woman's talent. Cass's way with a song is something that will always live on.”

“There is pure sunshine in her voice. Every note is precisely sung, every syllable enunciated. There is sweetness and good humour in her style, with an undercurrent of longing that makes Mama Cass's voice instantly recognizable, the kind of voice that, whatever you're doing, makes you want to stop and listen.”

“Were it not for Cass's great vocals, close to half of these songs would have wound up in a trash bin. But that said, Cass Elliott herself gives that special something that makes it worthwhile.”

Make It Easy On Yourself – BURT BACHARACH*****

Promises Promises/I’ll Never Fall In Love Again/Knowing When To Leave/Any Day Now/Wanting Things/ Whoever You Are I Love You/Make It Easy On Yourself/Do You Know The Way To San Jose/Pacific Coast Highway/She’s Gone Away/This Guy’s In Love With You

Make It Easy On Yourself was the third album from songwriter Burt Bacharach containing orchestral versions of his magnificent compositions, sometimes with female choral backing. (US:51)

“Some of his best compositions in semi-instrumental versions (with female chorus), so you can enjoy and appreciate the sophistication of the music, and relax at the same time.”

“A good choice to get a into Burt Bacharach´s unique songs from the 60s. Some tracks are instrumental, which supports the intricate way they are composed and arranged; others have female singers and on one, Mr. Bacharach, well, sort of sings. The album breezes the open air of the late 60s – musically such a great harvest.”

“The music and arrangements flow effortlessly from track to track and play off each other. He doesn't push the boundaries that far to offend his core audience, but it is still a sophisticated take on what an album can be, versus just a series of unrelated songs aimed at airplay. It was largely a nostalgia purchase for me, but I found myself listening to it over and over again. Borderline fans and the curious will be surprised with the sparse vocals and universal themes.”

“With a legion of popular hits under his belt, it's easy to see why everyone chose to do Burt Bacharach songs when you hear Burt do them himself. The emotion in his arrangements is astounding - these songs need no lyrics to convey their sadness or excitement. This album will appeal to people who would never admit to liking this genre of music. Just good music and you can't beat that.”

“Burt Bacharach exploded into the world of pop music in the mid-60s, and his influence continues to this day. If you want to know why, this is the first album you need to buy. Not only is it a piece of history, it is one of the most perfect pop albums ever made. Non-stop infectious melodies, intricate and dazzling orchestrations, everything you could ever want, and more, is here for the taking. One classic tune after another, songs that, once created, take on a life of their own.”

From Elvis In Memphis – ELVIS PRESLEY*****

Wearin’ That Loved On Look/Only The Strong Survive/I’ll Hold You In My Heart/Long Black Limousine/It Keeps Right On A-Hurtin’/I’m Movin’ On/Power Of My Love/Gentle On My Mind/After Loving You/True Love Travels On A Gravel Road/Any Day Now/In The Ghetto

With the release of From Elvis In Memphis Elvis put aside his lacklustre movie soundtracks and started to redefine himself as a mature singer of quality songs. It includes the top three hit single In The Ghetto. (US:13 UK:1)

"After years of recording mediocre soundtracks, this was Elvis' long-overdue return to making real music. And what a return it was. In a rare smart move, Elvis' management set him to work with Chips Moman at the Memphis American Sound Studios. The new environment and material seemed to refresh Elvis' creative spirit and he delivered some of the best performances of his career. The majority of the album has a strong R & B flavour, with some country thrown in for good measure."

"After spending years putting out lame movie soundtracks, Elvis Presley's confidence as a performer was about as low as he could get. Getting out of the movie contracts, Elvis returned to the music studio with a desperate desire to retake his throne and remind everyone what made him the king of rock and roll. The raw energy and pure determination we all saw in the 1968 comeback special, is on full display on what is definitely one of his finest albums, From Elvis In Memphis."

"This is the first time we get to hear the mature voice of Presley. Here he is far removed from his rockabilly roots. Perhaps the most powerful cut is Long Black Limousine, a song steeped in melodrama. Moman's dirge-like, over-the-top production, filled with female background singers and church bells, makes this one hard to resist."

"The King comes back with his best album ever. This is basically a soul record with orchestral arrangements and shots of country and rock and roll. The songs are all very strong and Elvis is in top form."

"Elvis returns to his roots in Memphis and cuts one of the great albums of all time. Soul and blues with a healthy dash of rock and country. Great material that Elvis makes all his own. Highly recommended."

Empty Sky – ELTON JOHN****

Empty Sky/Val-Hala/Western Ford Gateway/Hymn 2000/Lady What’s Tomorrow/Sails/The Scaffold/Skyline Pigeon/Gulliver-Its Hay Chewed-Reprise

Empty Sky was a solid debut album from singer songwriter Elton John who would become one of the mega-stars of the next decade. It only reached the charts after re-release in 1975. (US:6)

"With this album began the era of one of the most popular artists of our time. This album shows some signs of Elton's talent. The best song is without doubt Skyline Pigeon, which is today still one of his most beautiful songs. There are also some good rock songs, especially Western Ford Gateway and Sails while Empty Sky is too long, but still good. This album isn't one of his best, but it is for everyone who likes music of 60s and who is a big Elton fan like me."

"Solid first album from Elton. Most of the songs are pleasant to listen to and all of them are at least somewhat memorable. Lady What's Tomorrow stands out because of it's catchy hooks and simple song structure, but Skyline Pigeon and Empty Sky are also great songs. There's no absolute standout hits as the album is geared more to the singer/songwriter genre, so it might not please casual Elton John listeners, but fans should still enjoy this album."

"Empty Sky, Elton John's introductory 1969 release, briefly provides a glimpse forward to his signature piano based sound, which he would soon master over the course of his next two albums. The harpsichord featured here somewhat lightens the melancholy mood evident in many of the songs."

"It has still a couple great songs in it - Skyline Pigeon, which is a masterpiece and can be compared with Elton's later great ballads. Another one which is my special favourite is Val-Hala, a really nice song after the rocking beginning of the title track."

"It clearly shows his potential, and it's a good album that surprisingly doesn't sound too dated. The songwriting is not quite up to the standard of the next few years. The end track is just rubbish, who need a reprise of parts of all the tracks?"

"Elton was still trying to discover his sound, and there are places where blues, jazz, and even a bit of country flavour these songs. Indeed, it can be difficult to classify this album because the influences are broad."

Song Of A Gypsy – DAMON***

Song Of A Gypsy/Poor Poor Genie/Don’t You Feel Me/Did You Ever/Funky Funky Blues/Do You/Night/I Feel Your Love/Birds Fly So High/Road Of Life

Song Of A Gypsy was the sole album release from the obscure Californian psychedelic singer songwriter Damon. It has been praised for its naiveté, period innocence and impressive guitar playing.

“An album for spiritual cleaning of your soul and mind, with philosophical depth of almost biblical proportions. Perhaps one of the best psychedelic albums ever made, and a quintessence of the love, peace, meditation hippie movement. Meditative and mesmerizing music, psychedelia with strong oriental (Indian) flavour, melancholic and distant singing, 'talking' fuzzy guitar.”

“Really nice gypsy outsider acid folk with fuzz guitars, sitar and other instruments. Recommended.”

“Among the true monster rarities of US psych, this album is deserving of its hype, and among the very best of its genre. Featuring stoned, laid-back type vocals over echoed fuzz-tone guitar and sitar, the album just oozes lysergia. How this artist, who had never previously ventured into the psychedelic arena before, managed to hit the nail squarely on the head on his first time out, is a true wonder.”

“Damon's main drawback is that he finds it difficult to make each song different. You seem to be hearing the same song over and over again. Still, what a great song it is.” “Its not a bad album, but there's nothing especially distinctive or memorable about it. Mellow and nice music but it feels rather dated and the fifth track, Funky Funky Blues, is just horrible.”

“Its ordinary psychedelic rock music, not quite as strange or exotic as some word-ofmouth would imply. There's plenty of searing fuzz guitar, soul-searching, and probing lyrics with a mystical gauze and, frankly, minimal melodic variety throughout the ten tracks, which have a slight Eastern flavour. It's not a mainstream record by any means, but it's not stunningly weird or innovative either.”

“You’d have to really like this genre to enjoy this, but Damon produced a fine collection of hypnotic songs that deserve to be presented to a new hippy generation.”

Crosby Stills & Nash – CROSBY STILLS & NASH*****

Suite:Judy Blue Eyes/Marrakesh Express/Guinnevere/You Don’t Have To Cry/Pre-Road Downs/Wooden Ships/ Lady Of The Island/Helplessly Hoping/Long Time Gone/49 Bye-Byes

This sublime self titled debut from Crosby Stills & Nash was an album which oozed the good time vibes of the Woodstock generation. Includes the UK No. 17 hit single Marrakesh Express. (US:6 UK:25)

"As a document of the post Summer of Love hippie scene, this album is indispensable; that era's unfettered, doomed optimism and community spirit are trapped in these grooves forever. What's most impressive about this record is how timeless it is, a gorgeous collection of songs, brimming with sweet, sunny, evocative music and genuine emotional resonance. The classic Suite: Judy Blue Eyes is a stunning case-in-point."

"Some albums simply define the times in which they were made, and this happens to be one of those albums. Whatever you might think about the late 60s hippie movement, there's no denying that it provided the perfect groundwork for idealistic expression, and you will find a near perfect representation of those ideals and beliefs on this album."

"I just have to gush over this marvellous album. If I had to listen to only one album the rest of my life, this would be it. No album gets you in such a good mood as CSN's debut. Of course, it takes a while to get into, but it grows on you."

"The whole record is an expression of joy, demonstrated via heavenly harmony vocals and more than catchy tunes. The artists burst with so many fantastic, lush song ideas, the album is almost wastefully filled with irresistible hooks and stand-out moments for any folk-rock/West Coast fan."

"Revolutionary, influential, and as close to flawless as any album of the 60s. Every song is a classic. The contrast in the styles of the three is a big part of the attraction." "This is how music is supposed to be done. There is no one who sounds as good as these guys who can sing and harmonize on a completely different level from anyone else. You take three people from three separate bands and turn them into a supergroup. That is CSN. This just plain rocks."

California Bloodlines – JOHN STEWART****

California Bloodlines/Razorback Woman/She Believes In Me/Omaha Rainbow/The Pirates Of Stone County Road/Shackles & Chains/Mother Country/Lonesome Picker/You Can’t Look Back/Missouri Bids/July You’re A Woman/Never Goin’ Back

Debut album from John Stewart, a former member of the American traditional folk group The Kingston Trio. Despite the popularity of that group, and good reviews, California Bloodlines struggled on the album chart. (US:193)

“From first note to last, this album is a perfectly realized vision, filled with classic songs about America from one of its most astute observers of national life. These are timeless songs, as touching now as when they were released.”

“The album is not country as in the current understanding of the term. It is more like 'Americana' before that term was known. The playing is inspired and the songs are terrific evocations of American life.”

“Truly a work of genius by a singer-songwriter at the glorious height of his creativity. Each song is a timeless picture of the breadth and depth of the American spirit. One after another each frame exists outside of time, and can never be truly dated. John Stewart had a long career before and after this album, but no other album of his embodies the multiple facets of who we are with such a ferocity of insight, pain and tenderness - of the truths that unite us as social and sentient beings.”

“Nothing like this has ever been produced again - the rich lyrics, the melodies, the voice, the Nashville production values. A huge display of creativity after he left The Kingston Trio. Maybe this was 'alternative-country' thirty years ahead of its time. In the final analysis, this opus defies categorization.”

“If you must own only one John Stewart album, make it California Bloodlines. The production is great, the songs are beautiful melodically and strange lyrically."

“Stewart's best album, and perhaps the best Americana-style album ever recorded. It's like a collection of short stories, each told with the perfect choice of words and musical backing - a lively steel guitar here, a softly picked acoustic guitar there, a lyrical piano intro, a languorous dobro, graceful group backing vocals, and accent notes by the best Nashville session men in the business.”

Brave New World – THE STEVE MILLER BAND***

Brave New World/Celebration Song/Can’t You Hear Your Daddy’s Heartbeat/Got Love ’Cause You Need It/Kow Kow/Seasons/Space Cowboy/LT’s Midnight Dream/My Dark Hour

The third Steve Miller Band album Brave New World features the same familiar mix of blues mixed with psychedelia, but this time without the help of Boz Scaggs. (US:22)

“As the 1960s began, the standard model of throwaway still ruled. But in the middle of the decade musicians began to see themselves as more than just jingle makers. They began to experiment - musicians and bands began to write more involved and longer songs. And an era began, that of the concept album. Bands were given a degree of freedom. But one thing remains clear: without bands like Steve Miller the potential of this genre of rock and pop would not have allowed some critically acclaimed music to emerge. So, although this album suffers a bit, the path the band was treading, was an important one. And, while it isn't for everyone, it is still a great piece of history in the making, flaws and all. Space Cowboy and the title cut are great tunes, even today.”

“The songs on Brave New World combine Miller's signature blues influence and distinctive, almost conversational vocal style with a psychedelic hippie sensibility of peace, love and cosmic adventure. Blues grittiness with soaring triple-tracked harmonies evoking new age hope might seem at odds. But from the eponymous first track's rocket blast-off that segues into futuristic industrial guitar chiming, this album takes you on a challenging interstellar journey with equal parts down-home humour and wistful heaviness.”

“The first release after the departure of Boz Scaggs, and they don't miss a beat, with yet another solid album. Their sound seems to have settled into the mildly hard rock vein. But the commercial production is bordering on irritating, and detracts from what would have been a better LP with a little less zeal in this department.”

“A couple of good tunes here, but nothing to write home about. Space Cowboy is great, and My Dark Hour is also pretty good. Miller provides some soulful vocals at times, and the guitar playing is sporadic at best. All in all, this one falls kind of flat.”

“The songs contained on Brave New World are far complex and diverse and they certainly require more attention.”

Beck-Ola – THE JEFF BECK GROUP****

All Shook Up/Spanish Boots/Girl From Mill Valley/Jailhouse Rock/Plynth (Water Down The Drain)/The Hangman’s Knee/Rice Pudding

Beck-Ola was the second outing from guitar hero Jeff Beck, again aided and abetted by Rod Stewart on vocals. He never quite achieved the acclaim of his Yardbirds contemporaries Eric Clapton and Jimmy Page. (US:15 UK:39)

"As a sequel to his first metal album this is a bit of a let down. It's more of the same (though less diverse) with less obviously strong material. And the Nicky Hopkins piece is a very odd inclusion. This may be the best 60s blues rock guitar performance outside of Hendrix and the first Zep albums. Beck is much more forward thinking than Clapton ever was with Cream and, though he lacks the imagination of Hendrix, he does do all sorts of neat things that sound unusual even now. It's worth it for the guitar playing alone."

"An album of superb hard rock by the original Jeff Beck Group. Beck-Ola is a far more even, and less adventurous album than the debut Truth, and that's the reason why it works so well. When they concentrate on playing down and dirty rock this band just cooks, and here the entire group perform at 110%. Jeff Beck's guitar burns and screams. Ronnie Wood's bass is just primal thump. Aynsley Dunbar's drumming is an avalanche, and a very young Rod Stewart has rarely sung better. Nicky Hopkin's piano is a revelation at times, especially on his signature piece, the gorgeous Girl From Mill Valley. But the highlights here are many, and include the wonderfully driving Spanish Boots, the heavy thudder Plynth (Water Down The Drain) and the ripping The Hangman's Knee."

"Absolutely brilliant from start to finish, with exceptional performances by Beck and Stewart, combining raw energies and great talent, this is a masterpiece of the era. This album includes some originals, as well as superb arrangements of classic blues songs, and other no less inspiring material pays off in this case. The sound is even heavier than on the debut album. This is classic rock with an early definition of what hard rock would be like a few years later."

"Those casually checking out this album may be disappointed. I certainly was at first. But after sticking with it, I have easily discovered its magic, and recommend it to fans of the late 60s British axemeister triumvirate (Clapton, Beck and Page)."

At San Quentin – JOHNNY CASH*****

Wanted Man/Wreck Of The Old 97/I Walk The Line/Darling Companion/Starkville City Jail/San Quentin/San Quentin/A Boy Named Sue/(There’ll Be) Peace In The Valley/Folsom Prison Blues

A second prison album from Johnny Cash that was even more acclaimed by his fans than the first. At San Quentin includes the Grammy winning top five hit single A Boy Named Sue. (US:1 UK:2)

"This album really transports me to San Quentin. The cheers from the crowd that can often annoy on live releases really add to the album and the rapport Cash has with the criminals he's singing to makes you part of the experience. You can fully envisage being in San Quentin watching the Man In Black when listening to this, and its a must hear for any music fan even those who dismiss live albums."

"I don't believe anyone in music history has offered two live albums only a year apart that were essential to anyone's record collection. But the Man in Black released Folsom Prison in 1968 and turned right around and churned out San Quentin in 1969. The songs I Walk The Line, A Boy Named Sue and a reprise of Folsom Prison Blues are worth the price of admission alone. Johnny Cash was a unique icon in American music and culture, a rockabilly rebel, a country superstar and a man chased by demons most of his life. If you only wish to have two Cash albums in your collection, these two are all you really need. They are better than the studio recordings because you really get a chance to hear Cash's extraordinary wit, and his easy repartee with the wildly appreciative inmates."

"This is as good as a live album could possibly ever be. Johnny Cash on fire singing these songs with so much energy from him and the 1000 prisoners in the audience. From the very first song you know you are listening to something special which he cranks up another notch with Wreck Of The Old 97. This LP really captures what a great artist and live performer Johnny Cash was. You also get the song San Quentin twice because the prisoners love the song and are yelling for him to sing it again."

"This is much more than the music, although the music is great. It is about the men and the place. Johnny reached out to some of the roughest and most outcast men in America. He did not condescend or act righteous - he was real. The songs are gritty and harsh. This is not an easy or enjoyable recording, but it is a tour de force with power and might. It has as much power today as it had in 1969."

Appaloosa – APPALOOSA***

Tulu Rogers/Thoughts For Polly/Feathers/Bi-Weekly/Glossolalia/Rivers Run To The Sea/Pascal’s Paradox/ Yesterday’s Roads/Now That I Want You/Georgia Street/Rosalie

Self titled debut album from the Boston progressive folk group Appaloosa. Instruments used were acoustic guitar, cello, violin and electric bass plus keyboards from producer Al Kooper. (US:178)

“This is well written folk with a cello, with most songs here quiet and subtle. Appaloosa takes time to grow on you. This is not essential, but if you like the experimentation that stamped rock during this era, this is an impressive pick.”

“A mellow masterpiece from the sixties. If you enjoy thoughtful, string laced ballads, you won't be disappointed.”

“Charming and personable rather than great music, this album is more notable for its overall atmosphere than for its individual songs. Here we have the golden but diffident aspirations of talented youth, full of poetic impulses but not quite sure what to do with them. Music may be the vehicle on this occasion but the general amorphousness suggests that it could just as easily have been poetry or painting. Only a couple of the songs gel into something with a distinct shape; the rest blend into a hazy formlessness that is pleasant to drift along with, but lacks destination.”

“Violin/cello solos and arrangements interweave to give the folk music a unique and unforgettable sound. This music is pure and vibrant, produced by the legendary Al Kooper. The style was called folk-baroque in the late '60s.”

“Nice 60s/70s pop with quite big influences from the occurring folk music as well as some slightly more psychedelic influences as well. Easy listening, really nice melodic and harmonic music.”

“Pretty light, but still entertaining baroque pop with some great orchestral touches. The band uses cellos, violins, and a few other instruments very well. The singing is very good though the lyrics are cheesy at times.”

“Appaloosa have a distinct sound, more psychedelic than Pentangle, with occasional electronic manipulations. The classical instrumentation is occasionally augmented by electric guitar and brass arrangements, and the songs are well-crafted.”

Aoxomoxoa – THE GRATEFUL DEAD***

St Stephen/Dupree’s Diamond Blues/Rosemary/Doin’ That Rag/Mountains Of The Moon/China Cat Sunflower/ What’s Become Of The Baby/Cosmic Charlie

Aoxomoxoa contains a heavy dose of experimental jamming from The Grateful Dead, which the average popular music punter may find a rather wearisome listen. (US:73)

“Although Aoxomoxoa isn't necessarily better than its predecessor, Anthem Of The Sun it does at least subtly indicate a progression away from psychedelic jamming towards more formulaic (but still rather spacey) folk-based numbers. This trend would eventually supplant jamming as the basis for The Grateful Dead's albums, although jamming remained the live preference of both the band and their audience.”

“More straight out and catchy psychedelic rock than on the predecessor album, and therefore a bigger commercial success. There are some elements of folk rock and roots rock interlaced, as on tracks like Doin' That Rag. Early fan favourites St. Stephen and China Cat Sunflower plus some nice blues slide guitar on Cosmic Charlie completed the set. Only the heavy psych What's Become Of The Baby is tough stuff and a bit strange.”

“The Dead had not yet worked out how to make albums and this is still something of a mess. However it is a really enjoyable mess with a brilliant cover.” “Transitional album by The Dead as they moved from their particular brand of trippy jam rock to a more reflective Americana style.”

“Many of the songs just seem to run out of ideas. The chord progressions are interesting for a while. However the melodies are not that memorable. The What's Become Of A Baby piece is downright atrocious. I hate it when bands put tuneless garbage like that on a record. What is the purpose of filling up eight and half minutes of space with aggravating chanting?”

“Dated, flawed, but unique and ambitious in a way that only The Dead could be, this album saw the group gravitating more towards playing it straight. It succeeds on that front, and shows off some of the band's nascent song stylings that would pay off on the next two legendary studio albums. A pretty solid, trippy album, right down to the cover art, though it could have been a little less of a cluster of experiments.”

Suitable For Framing – THREE DOG NIGHT***

Feelin’ Alright/Lady Samantha/Dreaming Isn’t Good For You/A Change Is Gonna Come/Eli’s Coming/Easy To Be Hard/Ain’t That A Lotta Of Love/King Solomon’s Mines/Circle For A Landing/Celebrate

Quick follow up LP from the rock harmony group Three Dog Night. Suitable For Framing contains three US top twenty singles, Easy To Be Hard, Eli's Coming and Celebrate. (US:16)

"Soul driven pop with good period flavour. Commercially, they were already well on their way to emerging from the underground."

"Three Dog Night owned AM radio for a while in 1969-70. This album is a perfect example of why. There are great harmonies, very competent guitar, and well-chosen material that is uniquely interpreted by the band."

"Can you say cover band? The cover of Lady Samantha saves this album from complete anonymity."

"Three Dog Night are one of those 60s-70s bands that hold up so well after decades. Tight vocal harmonies (where is that kind of singing these days?) and fine musicianship never go out of style."

"Three Dog Night released this sophomore effort after their equally strong debut. TDN delivered a sound all their own. Corey had the grit, Chuck had the soul and Danny.... well Danny may have not had quite the range of the other two, however, you would not have those perfect TDN harmonies without him. Suitable For Framing is not an album without its share of filler."

"3DN are one of the few bands who made a career of singing other songwriters' compositions. This resulted in a rather eclectic sound with the vocals being the identifying factor. Along with the hits from this album, other notable tracks include Sam Cooke's A Change Is Gonna Come and Elton John's Lady Samantha."

"There are some good songs here, like the upbeat anthem Celebrate, the sentimental ballad from the musical Hair - Easy To Be Hard, covers by Laura Nyro and Elton John. Three Dog Night also contribute with a couple of their own compositions as well. This album put TDN on the map."

10 to 23 – FELICIANO***

Amor Jibaro/First Of May/ The Windmills Of Your Mind/By The Time I Get To Phoenix/Miss Otis Regrets/Little Red Rooster/She’s A Woman/Lady Madonna/Rain/Gotta Get A Message To You/Hey Jude

10 To 23 provides some more distinctive Feliciano guitar interpretations of popular hits, plus an archive recording of him as a ten year old. His commercial appeal would now begin to tail off. (US:16 UK:38)

"What you will hear is Feliciano at the zenith of his creative genius. His soulful and distinctive voice, paralleled with his amazing guitar virtuosity, makes this a landmark recording that will bring years of listening pleasure."

"Coming off the awesome and well-deserved success of Light My Fire Jose Feliciano was give more free reign and a larger budget to work with at RCA Records, and he uses it to his full advantage on 10 To 23. The album opens up with an archival recording of a very young Feliciano performing a Mariachi number. It's scratchy, funky and completely charming. The rest of the album features some of the finer pop songs of the day and show Feliciano to be one of the great interpreters of his time. The instrumental of By The Time I Get To Phoenix will pull at your heartstrings, and Windmills Of Your Mind is equally impressive. There is also a great blues track, Little Red Rooster, which is read in the unequalled Feliciano style. All in all, an awesome record."

"Absolutely one of the best albums of Jose in his whole career. He is at the apex of his artistry in this period. It contains not only a true Feliciano recording made at age 10, but also an incredible number of masterpieces like First Of May and Windmills Of Your Mind, R & B and rock tracks like Little Red Rooster and She's A Woman, pop songs such as Gotta Get A Message To You and his Rain; a song defined as 'having a hypnotizing charm'. But, above all, this album contains his version of Hey Jude, eight minutes of amazing guitar playing. Probably no other artist can make an album like this. Strongly recommended to all Jose Feliciano fans and to all music lovers."

"I recommend this album to anyone who loves good music. Most of the songs are ones that were by other artists but with a style only Feliciano can do."

Unicorn – TYRANNOSAURUS REX****

Chariots Of Silk/’Pon A Hill/The Seal Of Seasons/The Throat Of Winter/Catblack (The Wizard’s Hat)/Stones For Avalon/She Was Born To Be My Unicorn/Like A White Star/Warlord Of The Royal Crocodiles/Evenings Of Damask/The Sea Beasts/Iscariot/Nijinsky Hind/The Pilgrim’s Tale/The Misty Coast Of Albany/Romany Soup

Unicorn was the third album from Marc Bolan, still very much in hippy-dippy mode. It achieved the highest placing of the four Tyrannosaurus Rex albums, before the change to a more commercial direction. (UK:12)

"Tyrannosaurus Rex's hippie music won't please every fan of the more straightforward T. Rex glam sound that's for sure. Bolan's lyrics and poems are fun to listen to, but some people might find them a bit too odd to enjoy."

"The final Bolan/Took collaboration is really an awful lot like the earlier ones. Unicorn is a pleasant enough album on its own, but only pleasant. Taken in the context of the group's earlier recording, it is clear that here is a band which is merely treading water. In retrospect, it's probably a good thing Took left after this one - it opened the way for further experimentation, But here, his talent just isn't showing."

"The album continues in the same vein as its predecessors, whether it is the mystical lyrics or the innovative music that has the psychedelic, trippy, journey of mind kind of atmosphere. However, this album is even more solid when it comes to instrumental arrangements and the addition of effects that are done naturally in the studio, giving some tracks an even more epic presence."

"This album is a real grower. I didn't like it so much at first glance, but each time around it reveals itself a bit more. One of the most important psychedelic folk albums around, and also one of the most versatile. The lyrics are naive, but Unicorn would not be more magical with more sophisticated lyrics. The naiveté just makes Marc Bolan, ambitious little hippie that he was in the late 60s, all the more authentic and charming. This is a magical piece from a magical place and time."

"Catblack (The Wizard's Hat) is my favourite Tyrannosaurus song, absolutely brilliant sly vocals, descending organ and falsetto backing vocals. Chariots Of Silk and Like A White Star are other major highlights. Minor highlights are pretty much every other track except for the weakish Stones For Avalon and the disposable Romany Soup, which is not actually a song."

Here We Are Again - COUNTRY JOE & THE FISH***

Here I Go Again/Donovan's Reef/Its So Nice To Have Love/Baby You're Driving Me Crazy/Crystal Blues/For No Reason/I'll Survive/Maria/My Girl/Doctor Of Electricity

By the time of their fourth album Here We Go Again Country Joe & The Fish had begun to fall out of fashion slightly. Labelled as a psychedelic band this genre would soon be replaced by progressive rock, although in reality there was often little musical difference between them. (US:48)

"This one is a different kind of Fish album compared with their first three. Definitely not as trippy but more straightforward this time. Here We Are Again might very well be their weakest album. But that doesn't mean that there is bad stuff here. Some true diamonds can be found like the amazing Crystal Blues and the album closer Doctor Of Electricity. Some of the finest material this group ever released. On the other hand there are some not so memorable cuts as well."

"Clearly the weakest in their catalogue, it seems as though it was produced more out of contractual obligation than artistic desire. Inconsistency is the order of the day here, as there are a couple of relatively strong cuts to save the record from 'also ran' status. But these are offset by some truly awful material as well."

"Unfortunately this album was made while the original line up was disintegrating. In that sense it is more a collaboration between Joe McDonald and Barry Melton with the addition of some unknown studio musicians. It is also not quite like their first two or three albums, and probably wasn't druggy enough for the CJ & the Fish fan base."

"Besides the outstanding title track this album contains the elegantly beautiful For No Reason a song Joe probably didn't play at Woodstock even though it may be the best song he ever wrote. The closing Doctor Of Electricity, a Barry Melton song, is also outstanding. There are a few others songs that rock a little bit and many of them are splendidly arranged, consisting of many well placed instruments that need a few extra listens to appreciate."

"It shows that Joe McDonald can sing and write for any form of music, not just acidrock and protest songs. He has a fine, expressive voice and combines beautiful melodies with touching lyrics. A must for all lovers of the 60s California music revolution."

Tommy – THE WHO*****

Overture/It’s A Boy/1921/Amazing Journey/Sparks/Eyesight To The Blind/Christmas/Cousin Kevin/The Acid Queen/Underture/Do You Think Its Alright/Fiddle About/Pinball Wizard/There’s A Doctor/Go To The Mirror/ Tommy Can You Hear Me/Smash The Mirror/Sensation/Miracle Cure/Sally Simpson/I’m Free/Welcome/ Tommy’s Holiday Camp/We’re Not Gonna Take It

The Who deliver a staggering tour de force with the epic Tommy, the first and best ever rock opera. Includes the UK No. 4 and US No. 19 hit single Pinball Wizard. (US:4 UK:2)

"Few will deny that The Who's Tommy remains one of the all time great classic rock albums. There was nothing like this out there when it was released in 1969 as The Who raised the bar for rock, creating a work of art, not just an album full of songs."

"This is more than the first rock opera, more than a classic rock and roll album. Tommy is truly captivating, epic, haunting and powerful in it's presentation. It deals with several topics in depth, and truly explores the highs and lows of the human experience, delving into the depravity of mankind like few other records have. But it accomplishes this in such a subtle way that you almost miss the message. The songwriting is incredible and the musicianship outstanding. It's hard to believe that this group could generate such raw power."

"This is well and truly a concept album that works, each song crafted to perfection, 24 songs ranging from upbeat rockers to long, progressive instrumentals, expressing different moods and phases of the story. The lyrics are cleverly written, a range of different vocals throughout the album, all perfectly fitting. Apart from the great storytelling, the music is splendid; quite frankly, the concept is only secondary to the music. Wonderful guitar work, melodies, riffs, choir like vocals, and plenty of hooks to go by. I get a very pleasant, nostalgic feeling listening to this."

"Mind blowing - from the very first notes of Overture to the pained 'see me, feel me, touch me, heal me', the album is expansive, the rhythm steady, and always beating, like a heart beat. The sounds are magnificent and glorious, full of power and energy."

"I have to doff my cap to the sheer scope and imagination of this record. Townsend's writing was absolutely A1 on this. My heart just swells with emotion whenever I hear it. Every time I listen it just gets better and better. There are just so many great songs here that it blows me away."

Strawbs – STRAWBS****

The Man Who Called Himself Jesus/That Which Once Was Mine/All The Little Ladies/Pieces Of 79 & 15/Tell Me What You See In Me/Oh How She Changed/Or Am I Dreaming/Where Is This Dream Of Your Youth/Poor Jimmy Wilson/Where Am I-I’ll Show You Where To Sleep/The Battle

Self titled debut album from the British folk-rock group Strawbs. They would continue to gain popular support over the next few years, reaching their commercial peak in the early to mid seventies.

“Musically eponymous debut by Strawbs isn’t excessively original – songs have prevailingly folk tints, though the stuff is pretty varied and the band shows good music mastery. Especially I enjoyed That Which Once Was Mine, made in an old genre of bourrée dance: the more placid songs are the best on the album.”

“Delicious pastoral folk with acoustic guitar, mixed with minstrel flavoured folk/prog. Some of these tracks are psychedelic as well.”

“Led by Dave Cousins, Strawbs were definitely one of the most successful and brilliant UK folk-rock outfits. In various stages of their career they would explore other avenues, getting closer to rock and pop, but they always remained faithful to the folk tradition, which is their core inspiration. Cousins, a remarkable singer, guitarist and songwriter, was also a hardened bandleader. This album, which was the first they recorded for the A & M label, is a brilliant collection of songs, all written by Cousins. This is a must buy for all Strawbs and folk-rock enthusiasts.”

“All of the songs have a lyric excellence about them and the arrangements give a colourful and interesting setting. There is a varied style of folk, rock, psychedelic and early progressive rock. The album was produced in 1969 and reflects some of the then current musical trends. By this time Strawbs had transformed from a band heavily influenced by skiffle and bluegrass, through blues and jazz, to American folk."

“I was amazed by the quality of the compositions and performance. The arrangements are top notch, going from sparse folk to full on pop-psychedelia. Dave Cousins singing seems to really suit the songs which have a peculiar Englishness about them, perhaps more so than their later songs. What I really admire is that every track is different from the next. This is a worthy acquisition, especially for fans of what would be an emerging prog rock powerhouse.”

Peter Paul & Mommy – PETER PAUL & MARY***

The Marvellous Toy/Day Is Done/Leatherwing Bat/I Have A Song To Sing Oh/All Through The Night/Its Raining/ Going To The Zoo/Boa Constructor/Make Believe Town/Mockingbird/Christmas Dinner/Puff The Magic Dragon

Folk legends Peter, Paul & Mary successful run of albums came to an end with Peter Paul & Mommy, a collection of songs designed to appeal to young children. (US:12)

"Peter Paul & Mommy is one of the more cheesy albums I have heard in a long time. The reason for this is that the group is targeting children. As a result, you get twelve childish tracks, some with children singing along with the chorus line. The tracks are easy to sing and catchy if you are a child, but lack any musical depth. Most of the time, the melodies are annoyingly simple. There are a few tracks that bridge the child-adult gap, but most are forgettable."

"The musicianship on the whole is quite good. The vocal harmonies are spotless and the folk guitar is excellent. There are only a few tracks of worth and almost all of their previous material is stronger than what is presented here."

"The music is simple but intricate and superb. The harmonies are wonderful, and the playfulness is great. These are children's songs that aren't the sugary-sweet junk that many children's albums consist of. In these songs, there is a lot of goofiness, like in Boa Constrictor or Going To The Zoo, but there is sadness, like in Puff The Magic Dragon, and also seriousness, like in Christmas Dinner."

"Songs especially written for children have deteriorated steadily over the years, as all forms of popular entertainment, and especially popular music, have headed straight for the pits. This album from 1969 might be near the peak of the days when music for kids could be both non-insipid and non-imbecilic. Although more than half a century separates me from childhood, I listened to the songs here, almost all of which were new to me, with great pleasure."

"While I don't like all the songs, none of them are annoying and some are truly lovely, sweetly melodic examples of the human voice blended in warm harmony."

"The songs are very appealing to children, and yet are complex and varied enough to be interesting to most adults. The flawless harmonies of Peter, Paul and Mary weave together to create this very enjoyable album."