A Man Alone – FRANK SINATRA***

A Man Alone/Night/I’ve Been To Town/From Promise To Promise/The Single Man/The Beautiful Strangers/ Lonesome Cities/Love’s Been Good To Me/Empty Is/Out Beyond The Window/Some Travelling Music/A Man Alone(Reprise)

This album of songs composed by Rod McKuen appears to have divided Frank Sinatra fans as to its merits. A Man Alone includes the UK No. 8 hit single Love’s Been Good To Me. (US:30 UK:18)

“Not only was Frank in excellent voice for this album, but his poetry readings were amazing. Given his acting ability he delivers palpable sentiment and captures the essence of Rod McKuen’s theme of being alone and being lonely, something Sinatra conveys like no other. This is very much a mood piece which deftly alternates song and poetry. Don Costa's orchestra provides a delicate balance of soaring strings and bluesy saxophones.”

“Sinatra seemed to be recording anything he liked in the late 60s and this set of Rod McKuen songs is a prime example. The spoken interludes set a dark atmosphere so this is not for casual listening. Sinatra’s performance is once again perfectly respectable; Don Costa’s arrangements turn back the clock to the Capitol torch song era perfectly.”

“This 1969 offering is something of a curio in the Sinatra oeuvre. Much unloved among Sinatra purists for its alleged mawkishness and sentimentality, it did create a whole new audience for him. The album was largely ignored by Sinatra's traditional audience and only got into the top 30 on the basis of its appeal to the new youth market. Serious critics derided the occasional banality of McKuen's prose, and were unconvinced about the extensive spoken word sections on some of the tracks.”

“For those who enjoy the simple, direct and unadorned songs of Rod McKuen, offered in the simple and direct manner as Frank Sinatra does here, then I highly recommend this album. It's a once-in-a-lifetime experience.”

“This album was especially written for Frank by McKuen. The album is not for casual listening, since it has great moments of sadness and disappointment.”

“Squares don't get it. This is incredible, heartbreaking, deep and spiritual. He's in fine voice. He's having a crack at new material. Don't fence him in, just dig it.”

Nice – THE NICE***

Azrael Revisited/Hang On To A Dream/Diary Of An Empty Day/For Example/Rondo 69/She Belongs To Me

The self titled third album from the progressive group The Nice heralded their commercial, but not necessarily critical, breakthrough. Their sound was dominated by the keyboard skills of Keith Emerson. (UK:3)

“Consistent, but significantly off the pace of their previous two. Its still keyboard dominated prog, by now sounding noticeably similar to what ELP would eventually sound like, but with an overall harder edge to the material. Unfortunately, the longer tracks are inconsistent, and the album as a whole doesn't have much period flavour.” “A disappointing step down from Ars Longa Vita Brevis, which I really liked. This one just doesn't seem to work overall. Occasional moments of glory aren't enough to hide the fact that most of the time it just doesn't go anywhere.”

“While not a great album, Nice has some good moments. The aesthetic the band pursued from 1968 on combined jazz, classical, and blues, mainly from the compositional magpie Keith Emerson. This album has a stopgap feel to it, mostly covers (both rock and classical) and nothing truly original, which makes this album more jazz than rock. You can feel Emerson straining at the leash here.”

“The Nice at their best. I still get a tingle when I hear Keith Emerson piano intro on the first track. There is a very fine jazz/choral arrangement of Tim Hardin’s Hang Onto A Dream and though Diary Of An Empty Day is lifted from a classical piece, it all fits and works rather well with the lyrics.”

“Their album tracks demonstrated a depth of musicianship well beyond the single theme stage stuff, and nowhere more than on this album. Azrael revisited could almost have been early Genesis, whilst For Example has to be the most novel and multi-textured variation on the blues that I have ever heard. So in addition to enjoying the instant gratification of the live tracks, try the studio material - as with all highly structured and textured music it takes a few listens for it to grow on you.”

“Every track a gem. Masters of jazz-prog rock. This is easily Nice's best album, Rondo is a most exciting organ led live track, second only to She Belongs To Me. If you only buy one Nice album, this is the one to get - no argument.”

Lee Michaels – LEE MICHAELS***

Tell Me How Do You Feel-(Don’t Want No) Woman-My Friends-Frosty’s-Think I’ll Go Back/Stormy Monday/Who Could Want More/Want My Baby/Heighty Hi

This is the self titled third album from Los Angeles rock organist Lee Michaels. His live act at the time consisted of himself plus a rather frenetic drummer known as Frosty. (US:53)

“This is a classic rock album with the wildest sounding organ playing you'll ever hear. The first side is a medley and it's brilliant. When they played live, it was just the two of them with Lee Michaels playing the bass on the bass pedal. Beside his live album, this is the rawest, purest, basically recorded live in the studio. I still think this is clearly his best album.”

“Monumental in setting all standards for rock, jazz, funk, performed on the legendary Hammond B-3; Mr. Michaels was ahead of his time extracting many of the finest licks ever created on the infamous Hammond organ. He brought the organ to the forefront in the midst of the acid rock scene, wailed on that Hammond and then moved on.”

“If you never had a chance to see Lee and Frosty back in the day, or just want to relive that phenomenal concert experience then this is the album. This album completely captures the basic set that Lee and Frosty performed during the height of Lee's touring popularity. Listen closely to Frosty's drum solo, most of this was performed bare-handed. Frosty was the perfect accompaniment to Lee's driving B3 organ.”

“I saw Lee Michaels with his drummer Frosty live at Winterland in SF, years ago. Outstanding performance. Great songs. Could do without the drum solo, but it's a small price to pay for the rest of the music.”

“Lee Michaels gave his all at every concert, especially when performing the opening medley to this incredible album. Lee's Hammond B-3 playing is unsurpassed and is right up there among other greats. Nowadays you don't witness such finesse onstage where the performers took their shows to the ultimate climax.”

“Most of this sounds as if it was recorded live, in a single take. For me, the whole first side is severely hampered by the insanely long drum solo in the middle.”

Yes – YES*****

Beyond & Before/I See You/Yesterday & Today/Looking Around/Harold Land/Every Little Thing/Sweetness/ Survival

The eponymous debut album from the progressive rock group Yes was untypical of the ethereal sound of their best known work from the early 1970s. Instead it consists of some of the finest melodic driving pop of the period.

“The album is filled with early progressive rock music and clear hints of psychedelia here and there. The vocal harmonies are beautiful. An absolute must buy for Yes fans, it is an exceptionally good album, and definitely worth a listen.”

“The album combines aspects of psychedelic rock, early hard rock, and proto-prog to create a sound that, although not groundbreaking, is still immediately identifiable as Yes via the pixyish vocals of Jon Anderson and the bouncy bass lines of Chris Squire. A good collection of tunes performed by obviously very talented musicians.”

“In a way this is closer to late British psychedelic than early progressive rock. Every so often, though, you can hear the 'Yes-that-will-be emerging', such as on Survival, when you get a good taste of where they will take the extended composition.”

“Knowing where the Yes sound ends up, you can hear it in embryonic form, most notably on Harold Land, which most anticipates the multi-part suites on the group's best albums. However, when you hear the driving sound of the opening cut, Beyond & Before, you will wonder who you are listening to.”

“While not being quite as polished as some of their later albums the 'Yes' sound is already distinguishable. A very strong debut - the songwriting is already in fine form, separately and collectively. This album is more pop than prog.”

“A bit jazzy, a bit psychedelic, very late-60s, but it's quite easy to hear that Yes sound developing, especially because of the very distinctive bass sound - it's not as prominent on this album as it was later, but it certainly adds some punch to the album, especially on the funk-tinged rocker Looking Around and on Harold Land.”

“The sweet vocals and catchy melodies don't get buried behind overly complex arrangements, synthesizers or too many chords. It's fair to call this a pop album with a progressive edge.”

An Electric Storm – WHITE NOISE**

Love Without Sound/My Game Of Loving/Here Come The Fleas/Firebird/Your Hidden Dreams/The Visitation/ Black Mass-Electric Storm In Hell

An Electric Storm was the debut album from the British/American studio group White Noise. The music was a combination of electronic experimentation and psychedelic rock featuring one of the first synthesizers.

The legendary debut White Noise album was released in 1969 by Island Records featuring Delia Derbyshire and Brian Hodgson, who had worked for the BBC Radiophonic Workshop, and David Vorhaus, who had studied classical orchestral bass playing and electronics. It introduced all sorts of early electronic instruments and a huge amount of tape manipulation.”

“An Electric Storm is considered to be one of the most experimental albums. The songs create a peculiar and sometimes dark atmosphere.”

“Vorhaus crafted this masterwork in the classic e-music methods; lots of tape and musique concrete is in evidence here, along with some very interesting and often twisted early synth work and massive reprocessing of percussion and other sounds. There's often a really creepy feel that gets into the mix here.”

“This will have limited appeal, it’s totally bizarre and over-the-top, free-form freak-out style experimental prog/psych, with heavy use of sound effects.”

“Sounds a bit too cheesy in some parts, and is pretty outdated nowadays, but still manages to hold up rather well with great songs and a lot of interesting moments.” “The music is trippy, the tones suggestive etc, but this must vocally be one of the worst records of all time.”

“Using all sorts of tape manipulation techniques to alter the sound of acoustic and electric instruments, it is one of the first records to mix psychedelic rock with the experimental electronic music that was part of the avant-garde at the time. Made in the late 1960s, it is almost inconceivable that this could have been done with the technology then available. Yet, there it is. Only a group of true musical geniuses could have pulled this off.”

Wasa Wasa – EDGAR BROUGHTON BAND***

Death Of An Electric Citizen/American Boy Soldier/Freedom/Neptune/Evil/Crying/Love In The Rain/Dawn Crept Away

Wasa Wasa was the debut album from the British psychedelic blues group the Edgar Broughton Band. They would enjoy some moderate commercial success in the early 1970s with their brand of good and hard rocking music.

“Basically, it rocks good and hard, remains unafraid of letting lunacy into the lyrics, and takes off into the realms of excess with impressive confidence. Edgar's immense vocal power holds its own throughout the loudest sections, and the thudding blues elements never get boring because the lyrics explode with twists and turns.”

“Edgar Broughton are heavy, gritty and loud, most of the time. The lyrics are quite good too. I'm sure that a new generation would appreciate them in the right environment. Although the album is produced in the studio, it doesn't lack the presence of a live act.”

“The real treats here are Death Of An Electric Citizen and Love In The Rain, but to be perfectly frank the whole album is fantastic. This is blues-based, fuzz-laden psych rock at its very best. Experimental, yet listenable, heavy yet melodic, freak-out yet musical. What more can you ask for?”

“It does have an undeniable heaviness to its sound, and there's also a dark atmosphere that permeates the whole thing, but the content is so weak that listening is a pain that drags on and on.”

“The whole of Wasa Wasa consists of hard rocking psychedelic songs. Edgar Broughton is responsible for the lush and sarcastic vocals. Despite his sarcasms, he’s something of a poet. The music is mostly noisy even though the sound is supreme for this type of music. None of the songs are bad, but I put my emphasis on Death Of An Electric Citizen, Neptune, Crying and Dawn Crept Away.”

“This one is simply a hard kicking rock album that is just weird and unconventional enough to be memorable. Death Of An Electric Citizen and Freedom simply fry the average speaker. It has enough quirkiness and charm to be noticeable. In general Wasa Wasa makes an impression of a solid and astute work.”

Unhalfbricking – FAIRPORT CONVENTION*****

Genesis Hall/Si Tu Dois Partir/Autopsy/A Sailor’s Life/Cajun Woman/Who Knows Where The Time Goes/Percy’s Song/Million Dollar Bash

Unhalfbricking was the LP with the strange title, and even odder cover, which brought the now legendary British folk group Fairport Convention to widespread public attention. (UK:12)

"Sandy sings Dylan better than almost anyone else. Unhalfbricking is a great album that everyone should hear. The songs are excellent and it just sounds fantastic. This is a good record to play to those people who say they 'don't like folk music'."

"Beautiful folk-rock album and a landmark in the genre's history. Sandy Denny's gorgeous voice is sublime and the songs match her skill."

"A very, very special album. Things get rolling with possibly the most beautiful song ever written, Who Knows Where The Time Goes. It helps to have the song sung by the one of the most beautiful voices ever, Sandy Denny, but it's the whole package of voice, melody and lyrics that does the deal. The rest of the album is also great with gorgeous harmonies, truly inventive playing by Richard Thompson on guitar and Dave Swarbrick on violin, and great song selection. This is truly a perfect musical trip that everyone should take."

"It was really with Unhalfbricking that Fairport 'reinvented' English folk music. I don't think it's an exaggeration to compare this line-up with The Beatles as you had two towering geniuses of music (Richard Thompson and Sandy Denny) with some lesser, but still outstanding, contributors (Ashley Hutchings and Dave Swarbrick) together in the same band. Also, the greatest Fairport song ever can be found on this album: A Sailor's Life."

"Sandy Denny's vocals are undoubtedly the best asset Fairport Convention have on Unhalfbricking. I prefer the more upbeat and catchy songs that are here, but many of them are also a bit cheesy - Si Tu Dois Partir, Cajun Woman and the Dylan cover Million Dollar Bash. Percy's Song is really enjoyable but also very repetitive and lengthy. The song where the band get it right is the very first one, Genesis Hall; perfect length, great vocals, melody and instrumentation. The slower songs are also good, but perhaps a bit too subtle at times."

Best Of – CREAM*****

Sunshine Of Your Love/Badge/Crossroads/White Room/Swlabr/Born Under A Bad Sign/Spoonful/Tales Of Brave Ulysses/Strange Brew/I Feel Fine

Best Of Cream was an excellent compilation from this famed blues rock band. However, they are really so good that their original albums represent a much better buy. (US:3 UK:6) "Basically every worthwhile Cream song, bundled together into an easy, ten song package. Take it for what it is; a decent compilation of some rocking songs."

"Cream really had an amazing run as a singles band, as this album will prove beyond any doubt."

"Pleasant collection of sixties blues rock from the masters. Impossible to fault, and still sounds surprisingly fresh."

"This is still a solid package, with all of their popular tracks plus some album cuts in Born Under A Bad Sign, Spoonful and Tales Of Brave Ulysses. If you want to get into Cream, without diving into their small discography, first look no further than this."

"All of these songs are of course classics but you'd probably be better off getting the original albums, Cream really doesn't have that big a discography after all."

"I would call this 'Cream for beginners'. A very tight greatest hits package. It has just about every Cream song you would ever hear on the radio and then a couple. Only notable omission is I'm So Glad. It makes up for it with Swlabr - one of my personal faves."

"With only ten tracks this LP may appear to be superseded by later Cream compilations, but the saying 'less is more' certainly holds true here, with not a weak track. This is the ultimate best of Cream - a great starting place."

The Soft Parade – THE DOORS****

Tell All The People/Touch Me/Shaman’s Blues/Do It/Easy Ride/Wild Child/Runnin’ Blue/Wishful Sinful/The Soft Parade

The fourth album, The Soft Parade, from the innovative rock group The Doors ensured they remained one of the dominant forces in popular music at the end of the decade. It includes the US No. 3 hit single Touch Me. (US:6)

“The psychedelic elements are somewhat toned down, and it's definitely their most upbeat album. Tell All The People and Touch Me are just superb openers: incredibly catchy, triumphal, with absolutely beautiful arrangements, and some of the finest singing Morrison ever did.”

“This fourth album by The Doors, The Soft Parade, is probably their most ambitious. For this one they brought in a full orchestra to add strings and horns to their already definitive sound.”

“Starting with the simple, but highly effective Tell All The People, this little pop ditty as well as the chirpy Touch Me belie the feeling that you think this will be a straightforward pop record. However, as we travel further through the tracks, we get Morrison's inner demons exposed in 'bluesy' subconscious vocal rages, combined with jamming session style random solos. Morrison's tenor style is extraordinary and apart from a few weak tracks midway, this is still a top quality release.”

“The Soft Parade is a very different and very cool release from The Doors. The band were at the very height of their experimentalism here, dabbling in horn sections, string sections, and even bluegrass on some songs. But it really works, and makes for a fantastic album. There are some incredibly rich and appealing songs here.”

“Trading in their psychedelic sound they so successfully displayed on their first two records, we get a big band sound here instead. On several of the songs this new sound works, especially the first three tracks. If the rest of the songwriting had been as strong then The Soft Parade would stand proudly among The Doors' best work. Unfortunately, this is not the case. It begins to sound as if they have sold out, trading in their underground credentials for commercial acceptability, with pretty weak results. They seem to be looking for a Blood Sweat and Tears type sound, with all the brass and orchestration.”

The Nightmare Of J. B. Stanislas – NICK GARRIE***

The Nightmare Of J B Stanislas/Can I Stay With You/Bungle’s Tours/David’s Prayer/Ink Pot Eyes/The Wanderer/ Stephanie City/Little Bird/Deeper Tones Of Blue/Queen Of Dreams/Wheel Of Fortune/Evening

The Nightmare Of J. B. Stanislas was the debut album from the little known British singer songwriter Nick Garrie. Described as baroque pop, the album features lush orchestrations.

“It's usually referred to as 'psych pop' although I think it veers towards easy listening at times. Imagine folk songs dressed up in a string laden 60s easy listening gloss. These songs would fit perfectly on the play list of some bizarre world oldies station.”

“The music is very cool, with good songwriting. It's chamber-psych/sophisticated late-60s pop with lots of strings, some orchestral horns, and interesting arrangements with echoed harpsichord.”

“Great album, very obscure. But Bungle’s Tours and Queen Of Dreams, just sound out of place on this great orchestral effort. The opener is an overwhelming piece of music that puts you right in the mood.”

“A couple of the tracks here are of that purely late 60s British pop whimsy that so many similar-in-genre LPs went for. If one removes Bungle's Tours and Queen Of Dreams one has quite a good album.”

“Despite the gothic gloom of the title, this is one of those bright, occasionally eccentric, sunshine pop albums with a few dark corners and a sprinkling of psychedelia. Though obscure, it's hardly low budget, what with sumptuous orchestral arrangements, the acoustic, the electric, harpsichords and pianos, all frequently coming and going. Garrie's tenor suits the music though his voice sounds limited at times.”

“The title track is a five-minute tour de force, as much for its far out orchestration as for the song itself. Most of the first half is melodic, easy pop. As it progresses however the material seems to grow stronger. Deeper Tones Of Blue is particularly haunting and mysterious, a far cry from the music hall feel of Bungle’s Tours.”

“Garrie's songs are both poetic and melodic. These are brilliantly structured songs, backed by strong production and a dizzying tapestry of instruments.”

Stand Up – JETHRO TULL*****

A New Day Yesterday/Jeffrey Goes To Leicester Square/Bouree/Back To The Family/Look Into The Sun/Nothing Is Easy/Fat Man/We Used To Know/Reasons For Waiting/For A Thousand Mothers

With the departure of Mick Abrahams, Ian Anderson firmly stamped his authority on Jethro Tull to deliver Stand Up, an outstanding collection of individualistic progressive rock. (US:20 UK:1)

"Jethro Tull's second album heralded a string of great albums, through to Thick As A Brick. Containing a number of stand-out tracks, the band really come into their own on this release with the sound that we immediately associate with Jethro Tull - folk based progressive rock containing the ever present Ian Anderson's highly skilled flute playing. Stand Up does a good job of mixing acoustic tracks in between electric rockers, as well as mixing the two styles together on some songs. We get a taste of string arrangements and even some horns thrown in, resulting in a really varied group of songs."

"Musically, this album is pretty diverse with an incredible blending of styles that makes for a very enjoyable and dynamic listening experience. In addition, the range in instrumentation, which includes hard edged electric guitar along with softer acoustic instruments, including those associated with traditional English folk music, add another dimension to the album. The writing is all top notch and the music shows a significant leap forward from the debut album." ,p> "It's a good mix of folk, blues and progressive music, and I especially like the medieval feel of some of the songs. Anderson's flute is rather understated here, and it does more to complement the songs, rather than acting as a lead instrument."

"I am just amazed at how good all the songs are. Let's face it, you're lucky to have four, maybe five excellent songs on any album, but this one just rolls along like a well-oiled machine, and is one of the very few that I play through without skipping."

"Jethro Tull's first great album. Although more blues rock than progressive rock, Stand Up anticipates much of the classic Tull sound with its constant barrage of flute alongside Martin Barre's distinctive guitar playing. Stand Up should appeal to fans of both bluesy hard rock and progressive rock. A recommended album for any classic rock enthusiast, as well as an essential addition for Jethro Tull fans."

Spooky Two – SPOOKY TOOTH****

Waitin’ For The Wind/Feelin’ Bad/I’ve Got Enough Heartache/Evil Woman/Lost In A Dream/That Was Only Yesterday/Better By You Better Than Me/Hangman Hang My Shell On A Tree

Spooky Two, the follow up album from the British rock group Spooky Tooth is considered by critics to be their best. Their sound featured the contrasting styles of their two lead singers. (US:44)

“Here we have Spooky's best album. It is somewhat typical, significant for the period of late 60s. However there is not a single weak point, everything is functioning great, from songwriting and production to two great vocalists and keyboardists.”

“One of the most American influenced, and often American sounding, of the late 60s early 70s UK bands. Spooky Tooth relied heavily both on the combined power and contrasts between their two lead singers, the more nasal, raspy Mike Harrison and the more bright, shouting and often falsetto bordering Gary Wright.”

“Standing as the group's formal American debut, 1969's Spooky Two reinforced their reputation as a happening underground act. Refining their molten-metal attack, the collection benefited from growing studio confidence and improved production values. Showcasing an exceptional strong set of original material, tracks like Evil Woman and That Was Only Yesterday aptly displayed the group's keyboard and guitar fury, quickly becoming FM staples.”

“The material, mostly written by Wright, is wonderfully consistent and the heavy sound of wailing organ and screaming guitar behind Harrison's incredible vocal excursions is absolutely stunning. This album epitomizes everything that was great and unique in British rock at the time – complete artistic freedom, unlimited talent, great production and that sound, which unfortunately is now lost forever. There is not a dull moment anywhere on this album, with one exciting peak chasing another, a complete roller-coaster of musical rush.”

“Spooky Two is a genuine masterpiece. It has soft melodies coupled with bombastic organ and guitar work, all laden with spirited singing and harmonization. If you are a fan of hard rocking music combined with passionate and melodic singing, all interspersed with tasty guitar work, then this is for you. Simply put, there is not one weak moment on this album, and it stands the test of time. Highly recommended to anyone interested in hearing the beginnings of hard English rock music.”

The Best Of Cliff – CLIFF RICHARD*****

The Minute You’re Gone/On My Word/The Time In Between/Wind Me Up/Blue Turns To Grey/Visions/Time Drags By/In The Country/Its All Over/I’ll Come Running/The Day I Met Marie/All My Love/Congratulations/Girl You’ll Be A Woman Soon

The Best Of was the third compilation package from Cliff covering the years 1965-68. There was a distinct dip in the quality of many of his singles after this release. (UK:5)

"Cliff further developing his craft and maturity as a vocalist. There are fewer uptempo rockers and more of the mellow pop ballads that have dominated his career ever since. The sublime Visions stands out as flawless performances of wellconceived ballads."

"He manages to retain a youthful vocal style, even when confronted with lightweight material. His phrasing and ability to convey soul and depth of feeling puts many of today's popular singers to shame."

"Whatever your thoughts on Cliff Richard, you can't deny that he knew a good song when he heard it and turned it into a piece of pop history."

"I prefer Cliff with the older material as here, some great songs, not all that modern stuff of today. Long live Cliff, last of the legends."

"Great music from Britain's most successful singer, Cliff Richard, the No.1 hit-maker. Grab yourself a slice of British pop music history at it's best. He has to be the world's living legend - an amazing, talented and zestful performer."

"Only one singer can claim to be consistently good at finding the right songs at the right time and that singer is Cliff."

"The Day I Met Marie is a class song, way ahead of its time, and Cliff's finest moment. The use of brass is astonishing and the production superb, a great tribute to 60s pop."

Accept No Substitute – DELANEY & BONNIE****

Get Ourselves Together/Someday/Ghetto/When The Battle Is Over/Dirty Old Man/Love Me A Little Bit Longer/I Can’t Take It Much Longer/Do Right Woman/Soldiers Of The Cross/Gift Of Love

Accept No Substitute was the follow up album from Delaney & Bonnie after moving to the Elektra label. They had a changing line-up of backing musicians credited as Friends. (US:175)

“This album basically gave the Southern sound a major boost in the arm and brought it to the attention of the rest of the US. It is a great mix of R & B, gospel, rock 'n' roll, and naturally the blues. Bonnie's voice was a breath of fresh air, but that was the beauty of FM back in the late sixties, they were a lot more open to playing what was good, not just the hits.”

“This album is a great blend of blues, soul, gospel, rock & roll, and R & B that basically started the whole Southern rock sound. This duo had a natural feel for R & B and the blues that the much-hyped British blues-rockers, as great as they were, couldn't hope to match. Delaney & Bonnie's albums were among the prototypes for the 'Southern boogie' style that would become popular in the early 70s.”

“This LP is what solidly established the band. Soulful rock with a gospel touch: brass section, superb keyboards, great guitar work, with very tight, powerful vocals and harmony. Quality music that is timeless.”

“No Substitute sees the Delaney & Bonnie sound completely fleshed out in all its gritty grandeur. The perfect mix of country, gospel, and rhythm & blues added to two parts soul. Bonnie's voice might be a touch shrill at times, and Delaney a bit flat, but together they move mountains musically. On this, their second album, they had assembled Leon Russell's band of merry men to great effect. It completely mystifies me why they didn't hit with more success, or why no one does anything similar today.”

“A truly wonderful album. What gospel would sound like if played by a white country/rock band from the late sixties. Real blue-eyed soul music at its finest.” “If you like late 60s rock that still has soul, buy this album. First rate rock and soul by either Delaney or Bonnie. Every person I ever let hear this has gone and bought it within a week. Buy this and enjoy with no regrets.”

Midnight Cowboy – SOUNDTRACK***

Everybody’s Talkin’/Joe Buck Rides Again/A Famous Myth/Fun City/He Quit Me/Jungle Gym At The Zoo/ Midnight Cowboy/Old Man Willow/Florida Fantasy/Tears & Joys/Science Fiction/Everybody’s Talkin

Midnight Cowboy was a film about the low life of New York starring Dustin Hoffman and Jon Voight. The soundtrack was scored by John Barry. Includes the Grammy winning US No. 6 hit Everybody's Talkin' from Nilsson. (US:19)

“The theme song to Midnight Cowboy is driven by the forlorn harmonica of Toots Theilemans. John Barry scored it as a slow, melancholy melody reminiscent of a warm, lazy day with nothing to do. Except the movie uses it to exploit the loneliness one can feel walking along a crowded street. Be forewarned that on the soundtrack, Everybody’s Talkin’ is a different version to the single that hit the top ten.”

“With the exception of Nilsson's Everybody's Talkin' that comes twice, starting and closing the album, this is a very lame soundtrack album. It's full of both boring John Barry themes and awful 60s soul/pop tunes by acts like the insipid Elephants Memory and The Groop.”

“The quirkiness and uneven quality of the music seamed well with the adventures Ratzo and Big Joe got themselves into. Nilsson's rendition of Everybody's Talkin' is poignant and brilliant; the film is often caught with snippets of the tune blowing here and there. John Barry truly nailed the mood of the film with the title piece, a slow burning tune with a Western vibe, which often summed up the mood surrounding Joe as he struggled to get to grips with his vision of life in New York.”

“Everyone knows the memorable Nilsson hit Everybody's Talkin', it just gets better with age. The rest of the album is an eclectic mix of psychedelic funky rock, Jungle Gym At The Zoo, funky soul He Quit Me, jazz Fun City, and the classic main theme. If you don't have this album already, you should have. For the 60s and 70s soundtrack collectors - essential listening.”

“The lasting impression that this time capsule of a soundtrack leaves is the abundance of vocal energy and inventive harmonizing that proliferated in the late sixties, and how styles were changing from cool lounge and orchestral scoring to topical pop music placement to reflect the moment. Barry's themes reflect and refract pieces of the pop tunes while draping pivotal scenes in a lovely sadness. Outstanding is Toots Theileman's wailing harmonica on the Main Theme.”

Streetnoise – JULIE DRISCOLL, BRIAN AUGER & THE TRINITY***

Tropic Of Capricorn/Czechoslovakia/Take Me To The Water/A Word About Colour/Light My Fire/Indian Rope Man/When I Was Young/Let The Sun Shine In/Ellis Island/In Search Of The Sun/Finally Found You Out/Looking In The Eye Of The World/Vauxhall To Lambeth Bridge/All Blues/I’ve Got Life/Save The Country

Streetnoise is a double LP in which vocalist Julie Driscoll performs her distinctive interpretations of the works of several well known contemporary songwriters backed up by Brian Auger on the Hammond organ. (US:41)

“This album is an epic, an adventure, stirring, moving, enlightening, thoughtprovoking and much more. Julie Driscoll sings like a beautiful and demented angel revolutionary, Brian Auger is right on the point, and it simply baffles me that this mind-blowing album isn't much better known. It's rock, it's jazz, it's gospel, the vocal and instrumental work is top-notch, and the whole thing hangs together beautifully."

“She's got that perfect posh bird voice, with crystal clear enunciation that makes good use of its bell-like tones, and three octave range on When I Was Young, drawing out the vowels. Another stellar track is Indian Rope Man; whose artful vocal arrangement boasts clever circular breathing and pauses between words that function as a percussive instrument of their own. The upbeat composition has a funkily rocking beat that cranks like nobody's business.”

“One of the finest fusions of rock, jazz and blues I've ever heard. Driscoll vocals are crystal-clear singing from heaven, and the instrumental laid back by the guys is at once steaming and very complex. The arrangements are fantastic, and all the execution is top-notch musicianship.”

"Streetnoise is a mix of female vocal prog, some with Driscoll's trademark lounge flavour, and organ driven instrumentals. Overall, quite inconsistent, but I still prefer the instrumentals to the vocal tracks.”

“A very good album, but from style a bit dark and depressing with varying folk, rock, soul and jazz influences. There's a variety of songs. Most are composed by Auger or Driscoll but there are a number of covers. Originally released as a double LP, the third side is the weakest due to the fact that Julie Driscoll and her amazing voice is missing completely.”

Maybe Tomorrow – IVEYS***

See Saw Grandpa/Beautiful & Blue/Dear Angie/Think About The Good Times/Yesterday Ain’t Coming Back/ Fishermen/Maybe Tomorrow/Sali Bloo/Angelique/I’m In Love/They’re Knocking Down Our Home/I’ve Been Waiting

Maybe Tomorrow was the debut album from the Welsh soft rock group The Iveys, who would later become Badfinger. The title track was a hit in several European countries. Under their new much cooler moniker they would achieve commercial success during the early seventies.

“A lovely debut from the band who were subsequently renamed Badfinger, Maybe Tomorrow features straight, meaty, melodic guitar pop. Although a product of the late 1960s, there's little trace of revolution or psychedelia. Upbeat, uptempo fun is represented by See Saw, Grandpa and Sali Bloo; mid-paced pop by Beautiful & Blue and I'm In Love; ballads by the title track and Angelique. All of these are superb.”

“While as a whole the songs on this release don't hold up to the standards the band would set for itself in the future as Badfinger, this is an enjoyable artefact from the late-sixties and a must-have purchase for any Badfinger fan.”

"Mostly a pretty ordinary late 60s pop LP salvaged by one uncharacteristically heavy track that saves the day: I've Been Waiting is a standout and probably one of the heaviest tracks these musicians ever did.”

“Pre-Badfinger and as such a record to be revered, although Pete Ham and co. would vastly improve on this earlier version of the band.”

“Most of this is soft rock featuring vocal harmony and unusual orchestral accompaniment in typical British fashion. But, unfortunately, songwriting is not up to their later standards, and most tunes are not at all catchy, leaving the LP overall rather boring. However, the closing track is a standout pop/psycher.”

“If you're the type of music lover who considers it necessary to find everything by the band you choose to obsess over, this is a disc for you. If you're a casual Badfinger fan you might be better off picking up a greatest hits collection. There are a few highlights, but they sound fairly thin compared to the band's later works. It is obvious that Pete's and Tom's songwriting abilities have not fully developed at this point.”

Hallelujah – CANNED HEAT***

Same All Over/Change My Ways/Canned Heat/Sic ‘Em Pigs/I’m Her Man/Time Was/Do Not Enter/Big Fat/ Huautla/Get Off My Back/Down In The Gutter But Free

Hallelujah was a slightly uneven fourth album from the boogie blues band Canned Heat, released at a time when the group still retained their classic line up. (US:37)

“Though still a good one, recorded during their halcyon days, this one is not particularly my favourite. It's mostly fairly uptempo, boogie style blues rock, with some slower, heavier stuff, but still all semi-commercially oriented.”

“With Hallelujah the pendulum of indulgence has swung back from the extremes of the double record Living With The Blues, but while the low points are not so low, neither are the high points so high. A fun record for fans of their sound. Evocative California blues hippy nostalgia for some.”

“Though it has some great guitar work from Henry Vestine and Al Wilson the lyrics on some songs are quite dull and irrelevant, and not that well written or sung with any sort of conviction. Sic 'Em Pigs may have been a fun song but it's mainly filler, Same All Over has that same lethargic feel to it that drags it down and it could all have been so much better.”

“This is great hippie music. Psychedelic blues from one of the great late 60s underground bands. I also love the guitar, harp and vocals of Al Wilson. You can tell in the passion of his playing, the no excuses honesty of his vocals, and his ability to find great old tunes, that this was a man who loved his blues. The Heat made better albums, but this one is a lot of good fun. Especially if you long for those hippie days long past.”

“Unlike the other discs the Bear doesn't dominate here. Al Wilson (harp and guitar) wrote or co-wrote six of the songs. There is a lot more of his harp playing here than on its predecessor. This one rocks.”

“Hallelujah is a fine album with such Heat favourites as Time Was, Same All Over and the great '60s anthem Sic' Em Pigs. By this time, though, Canned Heat seemed to be obligated to do an extended boogie. Only lovers of retread will be happy with that kicked tyre.”

Good Morning Starshine – OLIVER**

Who Will Buy/The Arrangement/Can’t You See/Letmekissyouwithadream/Ruby Tuesday/Jean/Good Morning Starshine/In My Life/Where Is Love/Both Sides Now

Oliver was a now largely forgotten pop vocalist who struck lucky with a couple of big hits in the late 1960s, mostly notably his interpretation of the catchy Hair musical song Good Morning Starshine, a US No. 3 and UK No. 6 hit single. The accompanying album also includes the US No. 2 hit Jean. (US:19)

“Totally mainstream male vocal with big production comprising predictable pop slop of the late 60s.”

“Oliver had a short but infectious hit-making career, which still has had an impact on society, as Good Morning Starshine continues to be used in various marketing ads.”

“I love both Jean and Good Morning Starshine and they were the reason I bought the album. Unfortunately, most of the other tracks are only OK and not special. I think Oliver was an amazing talent and I do wonder why he didn't record more of Rod McKuen's material.”

“Four stars for the hits, Good Morning Starshine and Jean. The rest is rather mediocre.”

"Good Morning Starshine is a timeless song that had widespread appeal, it has no imperfections only brilliance. Oliver has more in his arsenal than being a one hit wonder. Jean would have been a quality song for any performer with a certain vocal quality but Oliver's delivery of the lyrics brings it to the next level. These two tunes show the wide range of his vocal strengths.”

“Oliver's recording career covered a lot of ground, from the cosmic bubblegum of Good Morning Starshine to serious, socially conscious folk-pop and country-rock. His rendition of Rod McKuen's love-and-nature ballad Jean fits into yet another category altogether, and gave Oliver his biggest hit. These reveal him to be a restless character reaching for artistic and professional direction after two defining but unrepresentative singles.”

Deep Purple – DEEP PURPLE***

Chasing Shadows/Blind/Lalena/Fault Line-The Painter/Why Didn’t Rosemary/Bird Has Flown/April

The eponymous third album was the last from Deep Purple with the original members. With the introduction of their classic line up on their next studio album the group would enjoy a huge surge in popularity. (US:162)

“Quite nice psychedelic and progressive rock, with some slight blues in it as well. Not that much of a Deep Purple sound. Rather variable music, ranging from totally creative to rather boring, so the standard of the material is not the best possible.”

“The original band's last album. The musicianship is excellent, but no solid songwriting. Few of the songs on this album will be familiar to anyone. Deep Purple had at least developed an identifiable sound - there are elements of British blues and psychedelia, and also classical music in Jon Lord`s organ playing.”

“Deep Purple's worst album, by far. They were mostly uninspired, giving no hint that they were about to explode into glory on their very next release.”

“Even more diverse than their earlier two, this one is inconsistent and patchy at best. They do continue to explore new corners of this burgeoning genre, and this one experiments with Lord's classical inclinations, as well as providing some twelve bar boogie blues, and some heavy stuff too. The final release featuring this line-up.”

“This record is much more 60s sounding meaning it is quite psychedelic in parts, also progressive, classical and some bluesy elements added to the hard rock/proto heavy metal. Even if it doesn’t sound like what came later, it still has those elements which were instrumental in the creation of metal music.”

“A very underrated album. Probably in large part because it has nothing in common with the proto-metal sound they would perfect on the following three albums. But in its own way, this is just as good as those that would follow. It shows a different side of the band. Instead of loud chugging metal riffs we get blues jams, psychedelic tinged songs, and moody progressive rock. This style actually shows how good they are as musicians, just as good if not better than the later heavy stuff. It's not a masterpiece, but the songwriting is very consistent, and there aren't many covers.”

Best Of – THE BEE GEES*****

Holiday/I’ve Gotta Get A Message To You/I Can’t See Nobody/Words/I Started A Joke/Spicks & Specks/First Of May/World/Massachusetts/To Love Somebody/Every Christian Lion Hearted Man/New York Mining Disaster 1941

Best Of Bee Gees was the first compilation album from one of the greatest late 1960s pop groups, with every track a winner. The Gibb brothers would achieve even greater commercial success in the 1970s with their disco influenced songs. (US:9 UK:7)

“You will not find a better compilation album to highlight the early era Bee Gees, and what a band they were. Great songs, great track listing makes an awesome album which encapsulates an inspired period for the group.”

“No hard rock of course, but the concise pop melodies coupled with deft baroque art pop arrangements are absolutely superb. Strings, horns, organ and piano, with carefully laid emergent moments of bass, electric rhythm and even occasional mixed-back but crashing drums push the music just into the realm of rock. The mood is wistful, evocative, even nostalgic throughout, and the lyrics are not all sappy love, but oftentimes languidly whimsical, nonsensical or, if you prefer, quasi-psychedelic.”

“I consider The Bee Gees among the best rock music has to offer. Their singing alone was impressive, but consider the quality of their songs. During the first phase of their career, captured on this album, they wrote melodic songs that stick in the mind and cause one to hum them endlessly.”

“This 1969 collection by The Bee Gees proves that the 60s were the golden age of pop. Unlike most of today's chart fodder, this music has real emotional depth and originality. The haunting melodies, exquisite arrangements, soulful vocals and intelligent lyrics blend perfectly to create evocative songs of a timeless quality.”

“This fine album should be in everyone's music collection. There is not one single bad track on this collection. All the songs are solid and memorable and most are played constantly on oldie stations.”

“There are two reasons why this album stands out. The first is their extraordinary harmony singing, their voices just blend together better than most other groups. The second reason is the excellent songs, several of which are masterpieces.”

Ahead Rings Out – BLODWYN PIG****

Its Only Love/Dear Jill/Sing Me A Song That I Know/The Modern Alchemist/Up & Coming/Leave It With Me/ Change Song/Backwash/Ain’t Ya Coming Home Babe

The blues rock band Blodwyn Pig was formed by Mick Abrahams after leaving Jethro Tull. Ahead Rings Out, the first of the band's two hit albums, has a distinct jazzy feel to it. (US:149 UK:9)

"If I were to categorize how they sound, it would be early Tull but with a jazzier feel provided by Lancaster's superb sax playing. I was a bit disappointed at first, but on replays their unique sound grew on me - to a point where I wore the record out."

"One of lost classics of late 60s, this band came about from the fallout between Mick Abrahams and Ian Anderson from Jethro Tull. Jack Lancaster's sinister saxophone makes each and every song infectious. Dear Jill is a bluesy song that could've and should've been a hit."

"What a wonderful album this is, very much like early period Tull. It doesn't take itself as seriously as Tull, but is a great, light-hearted mix of blues and jazz, with a very British feel to it. Very hard to pigeon hole, this can only be described as a bit unusual, but very listenable."

"Its the kind of album that only the late 60s could produce; a heady brew of rock, folk, blues, jazz and prog put together by musicians with a strong pop sensibility, but who can still wig out tastefully when it feels right."

"An early attempt at fusing progressive rock and progressive jazz, featuring sax, and some strong guitar. The material varies, with some R & B, some soft blues ballad sounds, and some jazzy stuff. Recommended for investigation by prog fans." "Hi energy jazz-blues rock with horns. All very strong players especially bass and horns. Excellent sound quality. Melodies, chords and lyrics are run of the mill though."

"At the end of the sixties when virtuoso guitar playing was prestigious and honourable, there were enough musicians who were able to demonstrate their mastery and Mick Abrahams of Blodwyn Pig was one such. Ahead Rings Out stands intact and glorious like a monument to that flowery time and to a golden rock era."

Aretha’s Gold – ARETHA FRANKLIN*****

I Never Loved A Man (The Way I Loved You)/Do Right Woman Do Right Man/Respect/Dr Feelgood/Baby I Love You/(You Make Me Feel Like) A Natural Woman/Chain Of Fools/Since You’ve Been Gone/Ain’t No Way/ Think/You Send Me/The House That Jack Built/I Say A Little Prayer/See Saw

Aretha's Gold was a best of package from the queen of soul Aretha Franklin, showcasing the hits from her most creative period during her first years at Atlantic. (US:18)

"She is without a doubt the queen of soul, the album has a lot of her best songs so anybody looking to get a feel for her music should buy this. Not a bad song or performance to be found here."

"There are those (myself included) who find listening to a greatest hits package from Aretha to be particularly satisfying in and of itself, especially when those greatest hits are truly great. There's just something so satisfying about hearing one superlative Aretha track after another. There really is not a bad track on the album. This is 'gold' from Aretha's golden era. You can't go wrong with it. And if it encourages you to check out more of her work from that era so much the better."

"This is indeed the first Franklin 'Greatest Hits,' since her juggernaut of success took off at Atlantic in 1967. The original vinyl LP version of this title showed up in stores in the summer of '69, and had the queen's photo centred against a suitably gold background. It gathered the first two-year run of Atlantic singles, all of which, with the exception of The House That Jack Built, had appeared on preceding studio albums. As such, it was a wonderful re-issuing of the milestone hits you'd surely worn out your 45 versions of, by then."

"Love me some Aretha and this album does not disappoint. I actually grew up to this album, and have enjoyed every minute and every track."

This Is – TOM JONES***

Fly Me To The Moon/Little Green Apples/Wichita Linesman/(Sitting On) The Dock Of The Bay/Dance Of Love/ Hey Jude/Without You/That’s All Any Man Can Say/That Wonderful South/Only Once/I’m A Fool To Want You/ Let It Be Me

Unlike rock albums from this period those by MOR artists have not been treated so well by posterity and are largely overlooked, and not just by music critics. Although a big seller in its day This Is Tom Jones is unavailable as a separate album today. (US:4 UK:2)

"If you like Tom Jones, you'll probably like this album. It has some interesting songs for sure but nothing that blew me out of the water. He does Hey Jude, but I think he took his format from the Wilson Pickett cover rather than The Beatles original. Dock Of The Bay he did a nice job with too."

"The ballads are sung with unbelievable heart and soul. Tom makes me swoon when he sings these romantic tunes."

"This is Tom Jones at his very best. When he sings songs like Only Once, or I'm A Fool To Want You, his vocals and soul which he puts into these is amazing. Only he could pull it off with his dynamic voice. I've heard many versions of Fly Me To The Moon, but again, Tom does it better than anyone."