Abbey Road – THE BEATLES*****

Come Together/Something/Maxwell’s Silver Hammer/Oh Darling/Octopus’s Garden/I Want You(She’s So Heavy)/Here Comes The Sun/Because/You Never Give Me Your Money/Sun King/Mean Mr Mustard/Polythene Pam/She Came In Through The Bathroom Window/Golden Slumbers/Carry That Weight/The End

The world’s greatest ever pop group go out with a bang on their final recordings, although not their final album of new material. Abbey Road topped the album charts for several months in both Britain and the States. Includes the US No. 1 single Come Together and UK No. 5 Something. (US:1 UK:1)

“There is not a false note on this album. It kicks off with a forceful vocal from John Lennon on Come Together, which is balanced by the tenderness of Something, one of George Harrison's best songs (and only Beatles A-side single contribution). With Because Lennon wrote one of the loveliest melodies of his career. Even the silliness of McCartney's Maxwell's Silver Hammer and Ringo Starr's child-like Octopus's Garden exude charm and warmth from a band that was on the verge of fragmenting forever, and taking some of the innocence of the sixties with them.”

“Beginning at You Never Give Me Your Money, the album transforms into a hotpotato medley of one sublimely melodic song after another, a shockingly creative assembly line of tracks that magically blend together.”

“This album has no weak or lesser moments. It is completely perfect in every way possible from the musicianship to production to writing to tracking. The Beatles are rightly acclaimed but I believe this is their greatest achievement.”

“As close to perfection as you'll ever get. It's got plenty of timeless classics that you still hear regularly today. It's got experimentation throughout the album. It's got fantastic tracks. The musicianship is spot on and the production is flawless. It's some of the most innovative music ever put down in a studio.”

“In my opinion, there has never been a more cohesive album than Abbey Road. It's one of those rare records that I can listen to all the way through and never get bored. They weren't just musicians; they were prophets, and this was their grand finale.”

“The Beatles set the standard for classic rock. They are the creators of today’s music. Abbey Road was without a doubt the best music put out by any band and will never be duplicated. The music was so thought out and crafted with detail.”

Bread – BREAD***

Dismal Day/London Bridge/Could I/Look At Me/The Last Time/Any Way You Want Me/Move Over/Don’t Shut Me Out/You Can’t Measure The Cost/Family Doctor/It Doesn’t Matter To Me/Friends & Lovers

The self titled debut album from the Los Angeles soft rock group Bread. Led by melodic songwriter David Gates they would become one of the most popular acts of the early 1970s. (US:127)

“Not the best album I’ve ever heard, but it is not as bad as their following albums at all. This is still pop, but definitely made in more artistic way than the other albums by Bread. Small signs of light psychedelia, post hippie - pre disco era. Some songs better, some worse, but overall feeling is satisfying.”

“Nice soft pop with lots of moping love songs I could relate to. Dismal Day seemed to sum up life at times and Gates had a way of making all things sad seem not so bad, something worth writing a song about.”

“This album by Bread is a definite plus for this group; a very strong debut for a band that I only wish hadn’t got tagged with the 'soft rock' label.”

“The music is excellent, reminiscent of a time when radio friendly rock music was softening and artist competition made for excellent songwriting. That's the period in a nutshell. Largely unnoticed even back then, Bread released solid hits that remain timeless.”

“Bread never claimed to be more than high quality pop/rock group and much of this sounds fresh as the day it was recorded. I rate these songs very highly.” “It is perhaps impossible to think of Bread without associating them with the laid back, syrupy ballads that made them famous. However, their first release reveals that they had a lot more to offer. In fact, while I find their hits to be still enjoyable after many years, this self-titled album brings more rock and blues influenced material to the front. Fans of late 60s early 70s rock/pop should find much to enjoy with this release.”

“The first Bread album is clearly their best and the most promising. There is not one bad composition, either from a lyrical or musical perspective. These songs held lots of excitement suggesting a level of sophistication that they never again delivered.”

The Band – THE BAND*****

Across The Great Divide/Rag Mama Rag/The Night They Drove Old Dixie Down/When You Awake/Up On Cripple Creek/Whispering Pines/Jemina Surrender/Rockin’ Chair/Look Out Cleveland/Jawbone/The Unfaithful Servant/King Harvest(Has Surely Come)

The self titled follow up album from the The Band was released to near universal acclaim. It featured songs exploring different aspects of America’s heritage. The Band includes the UK No. 16 hit single Rag Mama Rag. (US:9 UK:25)

“The Band’s second effort was just about a perfect rock album. They continued to build on the song structures and textures established on Music From Big Pink. They would take almost mystic folk traditions and, through a subtle rock styling and beautiful vocals, they created a sound that was different from anything else at that time. Even today, The Band’s sound remains unique and instantly recognizable.”

“Refining and livening up the sound of their brilliant debut, the group reached their peak on this one with stunning arrangements and performances all around. Nearly every tune here sounds like its songwriting credit should have 'trad' attached to it, and yet everything is wholly original and very much of its time. A remarkable achievement - no rock fan should be without it.”

“The self-titled album of The Band is not just a complete masterpiece, but it's also the absolute essential country/folk rock album. Not many bands were able to have such instrumental proficiency and have three in the band who could sing lead. Every song on this album is a great, not a single one being sub-par.”

“There's something about these songs that makes them seem a hundred years old. The lyrics are smart, sweet and timeless. There aren't any lyrics that date this recording, no hippy-dippy sentiments - just great story telling and evocative ideas, and the music itself is absolutely incredible.” ,p> “Twelve charming American short stories told with wit, wisdom and depth. The musicianship is outstanding but never over the top, just subtle nuances that add texture to the stories told.”

“The Band's self titled second album and known most often as simply the 'Brown Album' never grows old. It will never sound dated or insincere.”

Introspection – THE END***

Dreamworld/Under The Rainbow/Shades Of Orange/Bromley Common/Cardboard Watch/Introspection Part 1/ What Does It Feel Like/Linen Draper/Don’t Take Me/Loving Sacred Loving/She Said Yeah/Jacob’s Bladder/ Introspection Part 2

Introspection was the sole album release from the British psychedelic group The End. Produced by Rolling Stone Bill Wyman its release was delayed by eighteen months.

“This is a psychedelic influenced album that still sounds fresh and vibrant, full of little bits of whimsy mixed with some wonderful songs.” ,p> “First listen in I loved it, such a refreshing wave of music that perfectly sums up the British psychedelic scene. This album has everything any fan of the late 60s could ask for; harmonies, dreamy songs, upbeat, uplifting songs.”

“A bit of a soft option for the psych-lover, this one. The production is very plush and the humorous interludes are entertaining. Otherwise there's not much going on to raise the bar. That's not to say The End weren't competent because they most certainly were. I just don't rate their songwriting capability much. Consequently, they're better when they're jamming, and this album is a tight collection of songs. Not much room for improvisation by psychedelic standards.”

“Introspection is a sweet little album with many nice tracks. But still a bit of a let down because I expected more. Some of the songs don't offer anything special and sound way too common and mediocre psychedelic pop/rock. On the other hand some very good tracks, too like parts one and two of the title cut.”

“In my opinion The End's only album isn't that special a record at all. Just a quite neat and pretty enjoyable little psychedelic effort. Worth checking out for every psych fanatic out there. But don't expect to hear anything ultimate psychedelic experience or something like that.”

"Very exciting album, in my opinion. This record is pretty poppy but it has some really nice psychedelic elements which do fit in greatly with their music.”

“Some real quality material that can sneak up on you. Fine, dreamy vocal harmonies characterize this primarily soft pop/psych record, featuring some haunting melodies.”

Kip Of The Serenes – DR STRANGELY STRANGE***

Strangely Strange But Oddly Normal/Dr Dim & Dr Strange/Roy Rogers/Dark Haired Lady/On The West Cork Hack/A Tale Of Two Orphanages/Strings In The Earth & Air/Ship Of Fools/Frosty Mornings/Donnybrook Fair

King Of The Serenes was the debut album from the Irish progressive folk group Dr Strangely Strange. Their music has been described as not dissimilar to The Incredible String Band.

“Among the most revered of folk/prog bands. This is their first of two, and fairly consistent. It's a mix of semi-Celtic, minstrel and traditional folk with progressive influences, and featuring extensive use of pan-flute and with male vocals. Unfortunately, for my taste, the songwriting is rather weak, yielding somewhat uninteresting material.”

“Very quirky, charming folk-rock with ties and similarities to The Incredible String Band. Surreal lyrics at times, probably a minor classic to some people. With some of the songs, I'm not sure if they're grabbing me or just annoying me.”

“Not as catchy as their second album. It's well played, but a little boring by and by. But for fans of The Incredible String Band, this is recommended.”

“Remarkably mature for 1969, this first album of Dr. Strangely Strange is a marvel of progressive folk. Most of the pieces are very well orchestrated, vocal harmonies are complex and multifaceted, instrumentation is rich, adventurous, sometimes psychedelic, always controlled.”

“Its nice enough, certainly ramshackle and plenty weird too. Unfortunately a couple of songs are just a little undistinguished in that nothing really leaps and grabs me, but then again a couple of songs are very good.”

“It drifts, it loses focus on occasion, it indulges in all sorts of whimsy and mythological silliness, you can hear the barely suppressed giggling and it seems to stagger off in random directions for no real reason.”

“Some songs have so many layers of subtle complexity to them I'm sure I could appreciate them differently each time I listen indefinitely. They clearly had an acute sense for the little details and for how to tell their eccentric stories, unexpectedly baffling the listener by introducing a new tune mid-song, only for it to vanish again.”

The Stooges – THE STOOGES*

1969/I Wanna Be Your Dog/We Will Fall/No Fun/Real Cool Time/Ann/Not Right/Little Doll

What does music sound like without a trace of creativity? The answer is that it sounds like the first Stooges LP. This is nihilism for its own sake which, to the credit of critics of the time, got very short thrift in the sixties. Future punters would not be so fortunate in their music establishment approved trendsetters.

“I found that something was fundamentally missing with The Stooges self-titled debut. Just where is this 'energy' I keep hearing of? Iggy Pop just doesn't do anything and I find almost everything here severely lacking. We Will Fall is dreary and boring and again doesn't do anything exciting.”

“The music is a distorted and noisy kind of hard rock and is understandably called proto punk by many. The snarling attitude is certainly there, and considering the album was released in 1969 it’s at times a quite extreme hard rock album. In contrast with the predominantly short and aggressive tunes, the album also features the ten minutes long We Will Fall, an exercise that is chanting, repetitive and bleak.”

“This was the first Stooges album and it put me off from them for quite a long time. Just too boring. The music ideas in this one go nowhere. The best song and a great one on here is No Fun, but after that none of them are really that memorable.”

“To claim that this is the first punk record requires no real effort, chronological technicalities be-damned. Rarely does the group surpass the two chord mark in these songs, and when they do, they rely on power chords.”

“This album will mainly appeal to anyone who spent years sniffing paint fumes as a youth, or is catatonically depressed for whatever reason, or has a sub-70 IQ.”

“The Stooges' debut is an essential listen - it sounds so wonderfully out of sync with the late sixties music scene, and the first five tracks are genuine works of garage rock genius. Back in the day, the gritty realism of The Stooges failed to turn many heads. Why listen to a song about how boring 1969 is when you can listen to a much more relevant song about a talking gnome or a china cat sunflower?”

“Sorry, I really don’t get this one. While I absolutely love Fun House, I can't help but think that the reason this one is rated so highly must be due to revisionism.”

A Step Further – SAVOY BROWN***

Made Up My Mind/Waiting In The Bamboo Groove/Life’s One Act Play/I’m Tired/Where Am I/Savoy Brown Boogie

For their fourth album, A Step Further, Savoy Brown depart a little from their traditional blues mode with the addition of horns and percussion. The lengthy final track was recorded live at The Cooks Ferry Inn, London in May 1969. (US:71)

“Maybe the best recording Savoy Brown made. Nobody can 'boogie like they do'. If you are a fan of the real Savoy Brown, do yourself a big favour and add this to your library.”

“The Savoy Brown Boogie is 22 minutes of non-stop excitement. Guitar solos that come and go, vocals sung in a way to emphasize fun, and bouncy piano work that really captures the boogie style beautifully.”

“Comfortably set into their successful tenure with one of the most distinctive blues frontmen in the history of the craft, Savoy Brown continue to build diligently upon the groundwork laid by previous efforts. A Step Further, is just that; the next logical turn of the wheel, amplifying pre-existing ideas and combining them with a few new ones, in an effort to breakthrough somewhat from the traditional blues mould.”

“There seemed to be a certain pattern back in the late 60s and early 70s that some of the more adventurous bands would cut an album with studio stuff on one side, and one big long jam on the other. Usually these had mixed results. In this case, Savoy Brown kept a continuity from side A to side B and it all went together very well. There is nothing earth shaking here, but all are good songs, blues based, boogie based.”

“The songs I'm Tired and Life’s One Act Play are anthems for everyone in any time period. Chris Youlden's voice is contemplative. The live side is great except for the audience non-responsiveness.”

“See that man with the top hat and cigar in his mouth on the left hand side of the album cover? That's vocalist extraordinaire Chris Youlden. It was his voice that made Savoy Brown one of the great underground bands of 60s, bar none. If you are a fan of 60s hard rock blues and you haven't heard this release, hunt it down, it's worth the effort and cash.”

The Pious Bird Of Good Omen – FLEETWOOD MAC****

Need Your Love So Bad/Coming Home/Rambling Pony/The Big Boat/I Believe My Time Ain’t Long/The Sun Is Shining/Albatross/Black Magic Woman/Just The Blues/Jigsaw Puzzle Blues/Looking For Somebody/Stop Messin’ Round

The Pious Bird Of Good Omen was a rather premature and thus incomplete compilation from Fleetwood Mac. The Greatest Hits album of a few years later is a much better introduction to this seminal British blues-rock band. (UK:18)

"The original and best Fleetwood Mac line up led by the enigmatic Peter Green with Jeremy Spencer, Danny Kirwan et al. There is not a duff track on show from the moody and magnificent Need Your Love So Bad, through The Big Boat to the more romantic and commercial, often imitated but never equalled, Albatross. The Elmore James comparisons are obvious but this is by no means to its detriment. What creative heights would they have achieved, if they had remained intact as a unit, we will never know, but this album serves as a constant reminder that (some) white boys really could play the blues in those heady days of the British blues boom."

"Though a compilation album it's a good one, and we do not have to listen to as much Jeremy Spencer as on the Mr. Wonderful album. Instead we are treated to some nice easy blues, some hard rocking blues and some variation and diversity. But to give Spencer some credit, his version of the Elmore James standard Sun Is Shinning is good and sounds real lazy, fitting the subject matter in many ways. Danny Kirwin brought some much needed talent to the Mac, and himself and Peter Green play off each other well, especially on Albatross, a classic instrumental."

"This album acts as a nice overview of what made Mac part one such an enjoyable group. Simply put, Fleetwood Mac were a band dedicated to the blues, with a mission to spread to the world the gospel of the great bluesmen, especially Elmore James, thanks to Jeremy Spencer. Along the way, Peter Green discovered his own gift for writing music, and thus we have the other side of the Fleetwood Mac coin. This is the side, especially Black Magic Woman and the beautiful Albatross, that would blaze the trail for the albums that would follow."

"With its distinctive title, an unsuspecting punter could have been forgiven for believing it to be a 'new' album. Instead it was a 12-track ragbag of singles and Bsides, collaborations and other rarities difficult to find on LP."

On Time – GRAND FUNK RAILROAD***

Are You Ready/Anybody’s Answer/Time Machine/High On A Horse/TNUC/Into The Sun/Heartbreaker/Call Yourself A Man/Can’t Be Too Long/Ups & Downs

On Time was the debut album from the Michigan hard rock group Grand Funk Railroad. They would achieve enormous popularity in the States during the early 1970s, predominantly with late adolescent males. (US:27)

“On Time, Grand Funk Railroad's debut album, shows the band breaking out of the starting gate with a flourish. Such songs as the opening anthem Are You Ready and the minor hit Time Machine, are great examples of a band that absolutely knew how to both let the good times roll and try to affect change.”

“A cracking début album from Grand Funk, full of exciting and fresh sounding hard rock music. As with all of their early albums it's low on sophistication and high on melody and just sheer fun.” ,p> “On Time is an incredible slab of crushing drum heaviness overlaid with stinging guitars and incredibly powerful booming bass lines. This album is a crunchy hard rock gem that I'd recommend to anyone. The songs are amazing. Heartbreaker is an incredibly blues rock jam you don't ever want to stop. Into The Sun just rampages. TNUC is all dinosaurian thud and thunder. And Time Machine was Grand Funk's original fiery call to arms. One of the best proto-metal albums ever.”

“Great album, unfortunately, it is probably their best. Serious, great melodies and very raw and powerful heavy metal. Compared with this album all other heavy metal is either too overproduced, or too fast or artificially slow or polluted. This is just right.”

“What I like about Grand Funk's debut is that it just rocks hard and heavy right from the beginning, while containing quite a lot of memorable vocal melodies that you can party and dance to. Of course, there's a noticeable blues influence as well, and that's almost impossible to ignore because all hard rock bands back then were influenced by the blues.”

"Grand Funk Railroad's first album wasn't a bad effort. Let's consider that the band were, basically, about raw power. With this debut its obvious there was room for a lot of growth; they certainly were not polished. And therein lies the charm of Funk.”

My Cherie Amour – STEVIE WONDER***

My Cherie Amour/Hello Young Lovers/At Last/Light My Fire/The Shadow Of My Smile/You & Me/Pearl/ Somebody Knows Somebody Cares/Yester-Me Yester-You Yesterday/Angie Girl/Give Your Love/I’ve Got You

Still in his teens Motown appeared to be grooming Stevie Wonder for the cabaret circuit. He would move in a different direction a couple of years later after taking more control over his music. My Cherie Amour featured the top five title track plus the UK No. 2 Yester-Me Yester-You Yesterday. (US:34 UK:17)

“Stevie seems to be heading for the cocktail hour - Las Vegas style going by a number of the arrangements, but he revels in the unusual stylings, the combination of his vocals and these settings that he brings to the likes of Hello Young Lovers and The Shadow Of Your Smile. But what is really substantial here are the stunning pop singles Yester-Me Yester-You Yesterday and the title track.”

“The title hit is a sophisticated pop masterpiece, and Yester-Me Yester-You Yesterday is another decent smoothie. But too much on this album doesn't live up to these and just sounds like soppy clichéd balladry. The few upbeat songs here have a 'soul teenbeat' feel that The Jackson 5 would soon handle much more convincingly. The fault mostly lies with the by-the-numbers approach that Motown seemed to exert on Stevie and the dated 'Las Vegas-y' arrangements. There are a few non-hits but about half of this album outside the outstanding title track is pretty expendable.”

“The title track is one of Motown's best from the 1960s, but this album is a peculiar mix of songs, some of which had been recorded as early as 1966 but held from release. Though the album isn't exactly cohesive, there are a few delightful songs you won't find elsewhere.”

“My Cherie Amour is another solid late 60s album from Stevie Wonder. The title cut is one of the best ballads he's ever done. It has lush orchestration and a supple vocal. Many of the other songs are in this vein.”

“If you like Stevie, then you should buy this album because it is sure to delight and enlighten you. Once you hear the first song, My Cherie Amour, I guarantee you will be singing the chorus in your head all day long because it's a happy groove. What a joy to hear Stevie's early music from his Motown era.”

Monster Movie – CAN*

Father Cannot Tell/Mary Mary So Contrary/Outside My Door/Yoo Doo Right

Monster Movie was the debut album from the Cologne experimental group Can. They were pioneers in establishing Germany as a major force for avantgarde electronic music in the seventies.

“Starting off with the berserker sonic vortex of Father Cannot Yell, the band carves out a wild patch of territory somewhere between noise-rock, jazz improvisation, new music, and beat-poet-ranting that hits home like a .44 magnum bullet to the brain even to this day. The whole second half of the release is taken up by the amazing Yoo Doo Right, which is one of the truly great jam classics of all time, featuring astounding work by all the band, topped by ranting, yowling declamations.”

“Malcolm Mooney shared the same offbeat concept of lead vocals as his successor, Damo Suzuki. The big difference is that Mooney was an expatriate American and spoke English as a first language, meaning you can actually make out what he's 'singing' (reciting might be more apt).”

“This was back with original vocalist Malcolm Mooney, who just lets it all go on this record in the tradition of the truly possessed, he becomes at times hysterical in the energy he channels on this record, you fear that this much passion and terror, love and intensity coming from one person would kill them.”

“Why are Malcolm Mooney's vocals always described as deranged ranting? It's a cliché. But a good cliché. There really isn't a better way to describe his vocal style.”

“Very annoying, looped repeated guitar strums, plodding doldrums drums and weak whiny vocals like a geeky traveller trapped in a particularly uninspiring and insipid vinyl valley. An extra-special annoyance, however, is Yoo Doo Right all twenty bloated minutes of it. What amazes me the most about this 'song' is the quality of the lyrics, it's beyond generically awful. This incredibly annoying 'epic' seems to think it's some kind of super cool pre-eminent funk jam. Could I ever face listening to this again...well probably not.”

“Screeching guitars, thump-a-lumping drumming, and neurotic vocals is what usually comes to my mind when Can is brought up. These characteristics defined Can from the get-go with their debut release: Monster Movie.”

Looking Back – JOHN MAYALL****

Mr James/Blues City Shakedown/Stormy Monday/So Many Roads/Looking Back/Sitting In The Rain/It Hurts Me Too/Double Trouble/Suspicions (Part Two)/Jenny/Picture On The Wall

Looking Back was a compilation album of tracks recorded since 1964 that had not previously appeared on any previous John Mayall LP. It provides another opportunity to hear the guitar wizardry of Eric Clapton and Peter Green. (US:79 UK:14)

“Looking Back draws its material from singles that never made it onto an album, and covers the years 1964 through 1968. However, it has the context, mood and tenor, to stand as a fully fledged release. Historically, it is of extreme relevance to all blues music fans.”

“So many talented artists passed through The Bluesbreakers that it almost requires a scorecard; with the most notable being presented here, along with some sincere surprises. Stormy Monday is a brilliant track from 1966 that featured both Eric Clapton and Jack Bruce. Peter Green is showcased on Sitting In The Rain, laying out some stunning finger picking. Of course the list is endless, but some of the other musicians include Mick Fleetwood, Mick Taylor, Jon Mark, Andy Fraser, Aynsley Dunbar, and the all but forgotten Dick Heckstall-Smith. All in all, this is just a really great release.”

“This is when Clapton was at the peak of his blues prowess. You don't hear many like this anymore.”

“Yes, Eric Clapton is here, and he sounds great. But the real treasure is the playing of Peter Green, one of the greatest white blues guitar players ever. Mayall brought many greats into the limelight and got their careers started. This album is great and should be a part of every blues/rock collection.”

“If you like white blues this is a lovely recording. Who cares that it is a compilation rather than all of piece? Stormy Monday is breathtaking Clapton recorded live. You can see why he was so influential to heavy rock - unmistakable and very powerful. Still in my view Peter Green provides the tastiest additions to many of the tracks. As usual with these Decca/London Mayall recordings the sound is just lovely and the band is wonderfully full of character.”

Jimmy Cliff – JIMMY CLIFF***

Time Will Tell/Many Rivers To Cross/Vietnam/Use What I Got/Hard Road To Travel/Wonderful World Beautiful People/Sufferin’ In The Land/Hello Sunshine/My Ancestors/That’s The Way Life Goes/Come Into My Life

An early album from the influential Jamaican reggae star Jimmy Cliff that ranges from pop material to protest songs. Includes the UK No. 6 hit single Wonderful World Beautiful People, after which the US release was titled.

“The undeniable talent of Jimmy Cliff is making anything sound like a celebration. On his self-titled album, Jimmy Cliff, there are songs about struggle and war and injustice, and all of these songs are packed with heavy lyrics and vivid imagery, but Jimmy Cliff seems to understand that it is more effective to get an important message across positively with energy as opposed to disillusionment.”

“It's not all doom and gloom brought to you with a smile on Jimmy Cliff, there are also some real positive numbers that don't feel forced or thick and, thanks to Jimmy Cliff's vision, they fit in perfectly with the political aspects of the album. The powerful soul singing and rich instrumentation on Jimmy Cliff make this album universal, whether you actually are a reggae diehard or not.”

“Great pop-reggae from before he hit the big time. Saying that this is not roots is missing the point. Here Cliff takes the radical soul of the time and transforms it into the Jamaican idiom to great success. Beautifully produced, brilliantly performed and Cliff at his best. He never bettered this album actually - check it out if you are new to the genre - a great introduction to the wonderful world of reggae.”

“Occasionally average and a bit too pop. Jimmy Cliff's first album is strong nonetheless. Many Rivers To Cross isn't nearly as good as some would have you believe, but Vietnam, Wonderful World Beautiful People and My World Is Blue are all excellent. Definitely recommended.”

“Here Jimmy Cliff sings the provocative Vietnam. You'll also find Cliff's signature ballad here, the moving and spiritual Many Rivers To Cross. His infectious pop-ska hit Wonderful World Beautiful People is another highlight.”

“This album has some great sound, tons of great tracks. It's quite long, definitely worth your money, and the songs are classic. His lyrics are powerful and socially conscious (often quite sad) while his rhythms are upbeat and positive.”

Tammy’s Greatest Hits – TAMMY WYNETTE*****

Stand By Your Man/Singing My Song/Take Me To Your World/Apartment No.9/D-I-V-O-R-C-E/I Don’t Wanna Play House/Your Good Girl’s Gonna Go Bad/Run Angel Run/Too Far Gone/Almost Persuaded/My Elusive Dreams

The first compilation LP from American country legend Tammy Wynette, who would have to wait until 1975 before she made a breakthrough with British audiences. (US:37)

“Of the best known female icons of country music in its heyday, Wynette had by far the most sophisticated sound. Tammy is pure Nashville.”

“For better or worse, Tammy Wynette is best known for the country smash Stand By Your Man. Unfairly dismissed by some as a subservient song, it is actually an impassioned plea for love and forgiveness.”

“Tammy's Greatest Hits became the first country album to sell a million copies, thus solidifying Wynette as the 'First Lady of Country Music'. It represents a slice of America that usually goes unnoticed when looking back at the music scene of the late sixties. Woodstock it ain't, but maybe that's a good thing.”

“This is great, brilliant stuff from the days when queens ruled country music not bimbos. The sentiment on these tracks is just as real and powerful as it was over thirty years ago. You have to have this collection if you love country.”

“If your only exposure to country music's First Lady is Stand By Your Man, then listen to these other songs and you will be engulfed in a sound that will chill you, excite you and leave you in awe. These tracks prove beyond a shadow of a doubt that Tammy Wynette was one of the greatest country female vocalists of all time.”

“She's best known for her ballads, and many of these songs are ballads or slower in tempo. But she also includes uptempo hits. No one can sing of heartache or the difficulty of being a mother better than Tammy. Her voice aches in each song, and her vulnerability is always there. This is true country music. Highly recommended.”

Four Sail – LOVE****

August/Your Friend & Mine – Neil’s Song/I’m With You/Good Times/Singing Cowboy/Dream/Robert Montgomery/ Nothing/Talking In My Sleep/Always See Your Face

For their fourth album, the more heavy rocking Four Sail, Love underwent major personnel changes, with only songwriter Arthur Lee still remaining to steer the vessel. (US:102)

“Four Sail is an essential for any Love fan, or any fan of late 60s acid rock. Lee still proves that he is more than just another psychedelic rock band, putting his newlyformed band on the top of the rock pedestal of 1969. This album has been unfairly forgotten.”

“By no means is it a masterpiece, but it displays a talented, often hard rocking aggregation. The lyrics aren't as awesome as Forever Changes, but this stuff is still quite good.”

“It is different from its predecessors in that it rocks much harder from beginning to end. However, as their early singles made perfectly clear, Love were always a band that had the ability to rock hard. On Four Sail, Lee explores the electric side of psychedelic folk rather than the acoustic.”

“By 1969 Lee was the only constant from the original line-up. It starts out with the rather nice jazz-rock song August, the longest track on the album. There is also Your Friend & Mine which hints at some country rock. This can be a wonderful album to listen to.”

“Arthur Lee stopped using an orchestra and scrapped the Morricone-ish arrangements and went back to his blues roots, both musically and lyrically, on here with his new band members. Lee's songs still retain their strong Byrds-influenced melodies, and the wah-wah guitar is so raw and stripped down.”

“If you're coming off Forever Changes expecting something as existentially profound you're going to be disappointed. If you're content to listen to some good 60s psychedelic pop without all the lyrically heavy material, you'll love this record.”

“The best thing about Four Sail is that it sounds like a new band, completely lacking the orchestral textures that were woven into its classic predecessor's fabric.”

First Take – ROBERTA FLACK****

Compared To What/Angelitos Negros/Our Ages Or Our Hearts/I Told Jesus/Hey That’s No Way To Say Goodbye/The First Time Ever I Saw Your Face/Tryin’ Times/Ballad Of The Sad Young Men

First Take was the debut album from American soul singer and pianist Roberta Flack. Includes the Grammy winning single The First Time Ever I Saw Your Face, a US No. 1 and UK No. 14, hit single. (US:1 UK:47)

“Her voice is nothing short of magical. It can be soft and gentle and powerful. On this album, she shows both ends of her spectrum.”

“First Take is Roberta Flack's best album. Listening to it, you can see why she created a real stir in her early days. Intelligence, artistry, a jazz and folk sensibility, deeply held passion, and spirituality are just a few words to describe what that amazing brand new voice was bringing to the table.”

“Roberta Flack puts drive and force behind every track. It's full of fine performances. She delivers in style and is an elite vocal artist.”

“A 1969 classic, perhaps Roberta's best album. The tempo doesn't change much throughout, but there are enough variations in song formats, to keep the album interesting, as well as beautiful. She sounds close to angry on a couple of tracks - Compared To What and Trying Times are social observations still relevant today. Angelitos Negros is sung in Spanish. A beautiful version of Leonard Cohen's No Way To Say Goodbye, plus one of the most beautiful songs ever recorded, The First Time Ever I Saw Your Face make this album timeless.”

“The atmosphere is intimate, like Ms. Flack is performing just for me. The sound is minimalist but stately and assured. Though there are bass, drums and other instruments accompanying her, Roberta's piano and unique voice are at the forefront of the mix. First Take is quite simply an essential LP for any music lover to have. From the political to the personal songs, it's the real deal.”

“Her piano playing is fantastic and the vocals are strong. My problem is more with the music, which sometimes sounds very dated. First Take includes some covers, but they are too laid back to catch fire, and way too long. The album's saving grace is its middle section. Very romantic, but the rest I find to be a bit overwrought.”

Easy Rider – SOUNDTRACK****

The Pusher/Born To Be Wild/The Weight/Wasn’t Born To Follow/If You Want To Be A Bird/Don’t Bogart Me/If Six Was Nine/Kyrie Eleison Mardi Gras/Its Alright Ma(I’m Only Bleeding)/Ballad Of Easy Rider

Easy Rider was an iconic film exploring the conflict between hippie idealism and mainstream straight society. Peter Fonda and Dennis Hopper played the two bikers crossing America. The soundtrack includes some of the best known rock acts of the period. (US:6 UK:2)

“Part of the charm of the record is that it doesn't only have the heavyweights (Hendrix, Byrds, Steppenwolf), but it has the novelty songs that bring up memories of specific scenes in the film. If You Want To Be A Bird has little value out of context, but here it makes me smile with visions of the corresponding scene.”

“These songs fit perfectly the image and pictures of the movie. The movie without its songs and the songs without the movie are not what they are in this partnership. It's the soundtrack for all bikers and the soundtrack for a generation.”

“The juxtaposition between the easygoing and the more earnest songs is telling. Trying to act free and childlike, while simultaneously looking for respect is a difficult balance. The fact that America itself seemed to be going through an adolescent rebellious phase at the same time, has made both the film and soundtrack both dated and timeless.”

“As with the movie, the music was fresh and clean with some surprises and some old favourites to tie it all together. The music and the movie united members of the counter culture from across the country and new people into the fold.”

“It’s always struck me as how homogeneous the songs were, they all worked so well together despite the vast differences in musical styles, say Jim Hendrix compared to The Electric Prunes, or the beauty of The Ballad Of Easy Rider compared to If You Want To Be A Bird. These contradictions, similarities, intermixing of style and place were just as evident in the movie, making this one of the most important soundtracks of its day.”

“The soundtrack album is something of an innovation as it was among the first to feature artists as opposed to specifically written orchestral works. The music was as diverse and unexpected as the country they were travelling through.”

Clear – SPIRIT****

Dark Eyed Woman/Apple Orchard/So Little Time To Fly/Ground Hog/Cold Wind/Policeman’s Ball/Ice/Give A Life Take A Life/I’m Truckin’/Clear/Caught/New Dope In Town

Clear was the third album from the jazz rock group Spirit. By undertaking a tour to promote the album they had to turn down an invitation to appear at the Woodstock festival. (US:55)

“The first half of Clear is covered in hard-rock numbers, like Dark-Eyed Woman and Ground Hog. These songs blare with Hendrix tinged leads, but they have time changes and keyboard solos that add a very sophisticated polish to the tunes. Everything is extremely well thought out. Each song's dynamics unearth themselves with repeated listens; there are layers and layers of sound here. The second half is mainly covered by spacey interludes and jazzy improvisations.”

“Clear is not a good first listen, because the most interesting parts are buried deep within the music, and listeners may have trouble with Spirit's strange musical crossbreeds. But stick with it, and this album will be a fantastic standby for years to come.”

“When I surf the radio waves of today, I thank the gods that bands like this once roamed the earth, and that they left an electric legacy for our modern-day rock & rollstarved souls to continuously rediscover and immerse ourselves in.”

“The music is rock with a touch of jazz, much like Steely Dan. It is well written, well played and packs an emotional punch that blows you all the way back to the 60s. The group is composed of talented musicians from varied backgrounds. Like all great bands, they play as a cohesive musical force that is greater than the individuals that comprise it.”

“This is a very unusual in terms of the number of musical styles that the band covers. But here's the Spirit trademark: everything is played with great passion and respect for those differing styles; within the world of music, such seemingly disparate styles can sometimes meld together with wonderful results. The arrangement of the songs and the contribution of each musician, fit in with the rest of the band and is obviously very well thought out.”

"This was a difficult album to get into. But after years of listening to it you can't help but love it. It does have changing tunes, but that is what made Spirit so great.”

Boz Scaggs – BOZ SCAGGS****

I’m Easy/I’ll Be Long Gone/Another Day (Another Letter)/Now You’re Gone/Finding Her/Look What I Got/Waiting For A Train/Loan Me A Dime/Sweet Release

Self titled debut solo album from the former Steve Miller guitarist Boz Scaggs. It would chart in 1974 at the start of a period in which he would enjoy appreciable commercial success. (US:171)

“I am a fan of early Boz Scaggs and do like this LP, though it is a bit schizophrenic: this has everything from country-blues (Waiting For A Train) to soul-rock (I'm Easy) to full-on blues (Loan Me A Dime), and while any track would sound good on the radio, throwing them all together on one recording makes for a bit of a jumble.”

“This album is a must for Boz fans. I believe this was his first solo effort after he split from The Steve Miller Band and one of his finest. Although Duane Allman is a featured guitarist, Boz sings the blues as only he can do.”

“Despite lacking commercial success, Duane Allman’s amazing guitar work, and the sensational backing from Muscle Shoals’ finest more than hinted at things to come. There was still some folkyness to his style here, but listening to what was developing is pure magic.”

“Boz Scaggs has written some good songs for this record and can this guy sing. The second side is built around a terrific track Loan Me A Dime, an extended blues piece which builds from the plaintive request to the brash and cooking fusion of the lead guitar amongst a chorus of horns and keyboards.”

“Don't know which I like best I'll Be Long Gone or Loan Me A Dime, but these aren't the only powerful songs on this album. This is Boz at his best, and with the Muscle Shoals horns and Duane Allman on guitar, it's not to be missed.” ,p. “The entire album is just so classy and well performed. Duane Allman and that fat horn section are completely solid. It is like the planets aligned just for a special moment. I especially like the version of I'll Be Long Gone which is sad, but sweet. Every track worthwhile. I can recommend this to all fans of early classic rock.”

“Absolutely essential LP for anyone into 60s/70s rock. This is the real thing. Great backing band, wicked songs and Boz singing his heart out.”

Tadpoles – BONZO DOG BAND**

Hunting Tigers Out In Indiah/Shirt/Tubas In The Moonlight/Doctor Jazz/Monster Mash/I’m The Urban Spaceman/ Ali Baba’s Camel/Laughing Blues/By A Waterfall/Mr Apollo/Canyons Of Your Mind

Tadpoles was the third album from the British novelty group Bonzo Dog Band. Includes their UK No. 5 hit single I’m The Urban Spaceman. They combined elements of music hall, trad jazz, psychedelic pop laced with off beat humour. (UK:36)

“Songs taken from the TV Show - Do Not Adjust Your Set and released in the US to either amusement or befuddlement. The Bonzo's achieved success with their reworking of old 1920s songs and some new ones that Neil Innes wrote, including their best known I’m The Urban Spaceman. Tadpoles is a quirky look back at what made children laugh in the 1960s, and Canyons Of Your Mind still works today.”

“In many ways Tadpoles could be viewed as The Bonzo's 'pop' album, given that it consists of tuneful ditties that were originally recorded for the late 60s kids’ comedy show Do Not Adjust Your Set. As a result it's significantly less subversive than either of the earlier albums, Gorilla and The Doughnut In Granny's Greenhouse, but what it does boast is a high concentration of the band's most commercial moments.”

“Because these songs were cut for a kids TV show, Tadpoles is often seen as a lesser work than the Bonzo's other albums, which is a real shame as there's a sense of childish fun here that is a rare thing to capture. At the end of the day Tadpoles is a fun album and a perfect antidote to what was going on in the po-faced rock scene at the time.”

“These are songs the Bonzos performed during their stint on the proto-Python kids show Do Not Adjust Your Set. Little wonder, then, that they hark back to the trad silliness of parts of Gorilla rather than the more out-there previous record. It's still very endearing and funny, and their crazed version of Monster Mash is my favourite. My daughter loves Ali Baba's Camel and Laughing Blues, so obviously the Bonzos hit their target audience right on.”

“Musically this silly UK psych-pop with a supposedly comic edge, like if Monty Python formed a band I suppose. This kind of thing just really doesn't do it for me. It's silly without being humorous, and musically annoying. I've never been a lover of novelty bands though, so I guess I should just leave it at that.”

Blind Faith – BLIND FAITH****

Had To Cry Today/Can’t Find My Way Home/Well All Right/Presence Of The Lord/Sea Of Joy/Do What You Like

The sole album release from the very short lived supergroup blind Faith, formed out of the leading players of Cream, Traffic and Family. A fine set of songs let down by the lengthy self indulgent final track. (US:1 UK:1)

“Blind Faith brought Eric Clapton and Ginger Baker from Cream, together with Traffic's Steve Winwood and Family's Rick Grech for a single album in 1969. This one actually works out pretty well, vibe-wise leaning more towards the earthy, soulful sound of Traffic with highlights coming in well-realized tunes like the hazy Can't Find My Way Home, the swirling Sea Of Joy and regal Presence Of The Lord. Elsewhere the heavy riffs of Had To Cry Today and a bouncy Buddy Holly cover with a middleeastern interlude, Well All Right fill things out nicely, the album trailing off with a 15 minute jam, Do What You Like.”

“Blind Faith put out this, their lone album, which in retrospect I believe to be quite good, counterbalanced by one lengthy dud track. Steve Winwood, Eric Clapton, Ginger Baker and the then-lesser known Rick Grech were talented musicians with impressive pedigrees, but joining them together was akin to mixing nitro and glycerine. The fifteen minute Do What You Like jam was the principle element that kept this record from being a stone cold classic.”

“What's not to love about Blind Faith? If you come from the generation I do, you will love the memories, the music and times. Eric Clapton and Steve Winwood are brilliant. They don't make music like this anymore. Enjoy and listen on.”

“This was a short-lived, but sublime combination of rock greats and the label supergroup for Blind Faith really does fit. It's as if these guys upped their game and their music became tighter. The compositions are excellent and Winwood's vocals are beautiful and otherworldly. Listen, remember and enjoy.”

“If you grew up in the 60s, then this classic recording of Blind Faith should be in your collection. The simplicity of words and music make you appreciate the real talents of these artists. Songs that had meaning and words you could understand. Stories that we could all relate to and the music seemed to reach way down into your soul.”

Barabajagal – DONOVAN***

Barabajagal/Superlungs My Supergirl/Where Is She/Happiness Runs/I Love My Shirt/The Love Song/To Susan On The West Coast Waiting/Atlantis/Trudi/Pamela Jo

A disappointing effort from Donovan who would never regain the creativity he achieved during the years 1965-68. Barabajagal includes the US No. 7 hit single Atlantis plus the UK No. 12 title track, with assistance from The Jeff Beck Group. (US:23)

“Unfortunately the only genuinely good song on this record is Atlantis. Something has gone wrong here, the writing isn't up to snuff and the music seems like it's trying to hard. It's all overcooked and served cold. Aside from Atlantis, the only other songs that seemed much worth the investment are Where Is She and Happiness Runs, which harken back to Donovan's more mellow folky days.”

“A quite weak release, there's interesting melodies and some songs stand up as good throughout the whole thing, but I feel nothing particular with the style or the album at all, except Donovan's great voice, but sorry, that ain't enough man.” “It's a mixed-bag really. Some nice psych/folk numbers mixed with some bad rock band experiments with The Jeff Beck Group, and the usual corny tunes. Still enough good tunes to make it worth picking up.”

“A more hard rock outing than it's predecessors, this record points in the direction he would take with Open Road the following year, while still retaining some of the spaced out folkie qualities of the earlier ones.”

“The few flashes of quality cannot obscure an overall patina of mediocrity. Supposedly, this was Donovan's attempt at a heavier rock sound, but for the most part it is really simplistic and often cloying pop of the worst kind. Basic structures imitate country or ragtime, the lyrics seldom take poetic flight or deliver the kind of imagery that is associated with Donovan, and several ideas are borrowed and rehashed from his existing catalogue.”

“At its best, Barabajagal showed Donovan's light psychedelia still working well within the context of the times. At its worst, it demonstrated that he would need to make some serious changes to his approach if he wanted to stay relevant. Clearly, he did not want to, for he stubbornly stuck to his old tricks for as long as possible.”

Audience – AUDIENCE***

Banquet/Poet/Waverly Stage Coach/River Boat Queen/Harlequin/Heaven Was An Island/Too Late I’m Gone/ Maidens Cry/Pleasant Convalescence/Leave It Unsaid/Man On Box/House On The Hill

Self titled debut album from the British progressive group Audience. One of a number of similar groups that generated plenty of airplay but only very limited commercial success.

“1969 was really the year that the UK album market came of age. It was finally possible to get an album issued without having a hit single, although those albums without a hit usually undersold. This is Audience's first LP. The entire set is really terrific; Howard Werth's great vocals and acoustic guitar; Keith Gemmell's saxophone, Trevor Williams' great bass and Tony Connor's capable drumming.”

“About half of the album is a series of re-interpretations of an initially impressive jazz groove that never exactly tires itself out, but at some point begins to feel cheap. The other has a little more of that edge that I was hoping to find in this release. As a whole, it never drags on, and it is without a doubt more fun and approachable than the majority of classic jazz albums of the time. The jazz elements are relatively straightforward, but the zany freak folk elements hint at a greater potential.”

“An eclectic and eccentric debut from this British progressive outfit. There are still traces of Audience's R & B roots on both Harlequin and Too Late I'm Gone, while River Boat Queen reminds me of some odd theatrical Van Dyke Parks track. The rest are very pleasant, well played, but never pretentious tracks.”

“A great first album which gives you one pearl after another. Wonderful songs done in a unique manner, dynamic rock tunes without any heavy guitar, reminds me a little bit of minstrel-tunes mixed with a jazz-rock brass influence.”

“Audience were one of those almost forgotten band of the early 70s that will bring shivers down the spine of most progheads.”

“Audience were a British combo with a fantastic singer and prime-division musicians that made 1969 a truly classic year, now so underrated. It was a pity that these guys never had the success they deserved.”

As Safe As Yesterday Is – HUMBLE PIE***

Desperation/Stick Shift/Butter Milk Boy/Growing Closer/As Safe As Yesterday/Bang/Alabama 69/I’ll Go Alone/A Nifty Little Number Like You/What You Will/Natural Born Bugie/Wrist Job

Debut album from the British blues rock group Humble Pie formed by Steve Marriott of The Small Faces and Peter Frampton of The Herd. As Safe As Yesterday Is includes the British No. 4 hit single Natural Born Bugie. (UK:32)

“Considering the 'supergroup' tag they wore from the onset of their career, this affair was a wobbly and uneven debut. With the exception of Natural Born Bugie and I'll Go Alone, most of the album is riddled with filler and faceless blues jams, pseudoprog exercises and a bit of rather contrived psychedelia. Luckily, fans were treated to superior recordings in the coming year, but this album was a hodgepodge mess.”

“Their debut As Safe As Yesterday Is highlighted the band's conflicting musical influences and interests. As to be expected, Marriott proved an advocate for a straight-ahead, no-holds-barred style of rock. Frampton and the rest of the band opted for a much more varied mix, including the Indian-flavoured instrumental I'll Go Alone and the title track (the only Marriott-Frampton collaboration). Unfortunately, their early efforts to accommodate the dual approaches were less than successful, leaving the debut with a severely unfocused sound.”

“Loose, jammy, but really nice late 60s debut LP from Humble Pie. Probably the band’s best album. Mostly has a relaxed hippie/country-ish feel throughout, with a brief shift from loose rustic stuff in Peter Frampton's excellent upbeat progressive pop contribution I'll Go Alone.”

“The Smalls were potentially one of the greatest bands of all time - an unfulfilled potential - but Pie were just a typical solid 1969-72 band, toiling away with nothing particularly memorable about them. This 1969 work is the result of a band writing and recording prolifically and unselectively, and points up the lunacy of breaking up The Small Faces to form a second rate imitation of them.”

“Their first album is great synthesis of heavy-blues, rock and folk-music. Desperation is simply beautiful, and songs like Butter Milk Boy and Nifty Number Of You are great heavy-rock songs. This is a great opener for Humble Pie music.”

The National Welsh Coast Live Explosion Company – AMEN CORNER***

Introduction: Macarthur Park/Baby Do The Philly Dog/You’re My Girl/Shake A Tail Feather/So Fine/(Our Love)Is In The Pocket/Penny Lane/High In The Sky/Gin House/Bend Me Shape Me/(If Paradise) Is Half As Nice

National Welsh Coast Live Explosion Company was a live album from the mostly lightweight Cardiff pop group Amen Corner, and was untypical of the generality of their music. (UK:19)

“Amen Corner were spirited enough in their playing and singing, but they also appeared a very lightweight group, without a lot of depth - mostly that was true of their singles, but the singles were what defined them. Fairweather-Low was strongly influenced by American soul music in his singing, but finding the balance between that and the pop sound that sold for the group was a near impossible task.”

“Turned loose on stage, Amen Corner could put on a rousing show broken down evenly between American soul and their established hits, including their pre- Immediate successes on Decca Records. They pound and stomp their way through the music that they love like nobody's business. Its a nearly perfect concert album, Fairweather-Low's singing sounds better here than it does on many of the group's studio recordings.”

“The lively Welsh Coast Live Explosion version of Half As Nice vividly salutes the fantastic range and power of Fairweather-Low's extraordinary vocal talents.”

“The National Welsh Coast Live Explosion is a stark contrast to the group’s more sober, clean and clinical single releases. Fantastically energetic, I challenge anyone to listen only to a single track from it. From the moment it bursts into life with a MacArthur Park medley, you cannot turn it off.”

“Amen Corner's live album reveals that they were a fine act live, though it is also a reminder that pop bands were still being screamed at in the late 1960s, a feature that mars several live albums of that decade.”

“That strange haunting voice of AFL belting out old favourites - songs you have forgotten, songs you have remembered. Absolutely brilliant live classics. Simply sit back and sing along - this is a seriously good album.”

Hurt So Bad – THE LETTERMEN***

Hurt So Bad/Baby Its You/A Time For Us/Sunny/On Broadway/Shangri-La/Here There & Everywhere/Love Is Here & Now You’re Gone/Elusive Butterfly/(All Of A Sudden)My Heart Sings

The final US top twenty album from the MOR vocal harmony group The Lettermen. Hurt So Bad featured the US No. 12 hit single title track. Their sound was dismissed as elevator music by cynics. (US:17)

"Shangri-La is very pretty and you're bound to remember it if you haven't heard it already.”

“One of the major things The Lettermen had going for them over the years - the many fabulous arrangers, both instrumentally and vocally that only enhanced their tremendous sound.”

“Hurt So Bad is the song that brings back the teen years - beautiful, sad, emotional and naïve – this is a classic.”

“The cosmic parody of life: I was always quick to turn this genre off the radio when I heard it in my 20s - elevator music, we all called it, only to find it the most appealing, lovely sound today in my late 50s.”

“Hurt So Bad is such a beautiful song, almost the same arrangement as that used in the original Little Anthony & The Imperial's version.”

“As a lifelong fan, Shangri-La has always been the finest song by the fabulous, Lettermen. The vocals, the instruments and the arrangements were just perfect.”

A Group Called Smith – SMITH***

Let’s Get Together/I Don’t Believe/Tell Him No/Who Do You Love/Baby Its You/Last Time/I Just Wanna Make Love To You/Mojaleskey Ridge/Let’s Spend The Night Together/I’ll Hold Out My Hand

Debut album from the Los Angeles pop group Smith. A Group Called Smith includes their US No. 5 hit single Baby It’s You. The LP consists entirely of cover songs. (US:17)

“Armed with a unique look, and an amazing vocal instrument that was a cross between Dusty Springfield and Janis Joplin. Gayle McCormick made a powerful first impression.”

“The rendition of Baby Its You is one of the few pieces of music where everything comes together to achieve absolute perfection. Gayle McCormick's vocals are incredible, and this song alone is worth the price. The band plays the song slow, which intensifies its emotional impact.”

“It's mostly garage flavoured male/female vocal pop rock covers, with some use of horns. I expected this to never grace my turntable again, but it's really not bad, as long as you're not expecting a whole lot to begin with.”

“Baby It's You is pretty much the only reason to buy this album. The rest is not half bad but nothing spectacular.”

“Smith turned almost everything they touched into anonymous mid-tempo mush. As a result, we get a non-ballad-style arrangement of Get Together which manages to totally strip the song of its charm. Of the ten songs here, only two work.”

“Very ordinary hippie rock, nothing to get excited about. Even the female singer's voice, though strong, is not that interesting.”

“Turns out the band were a one-hit wonder and the top ten smash, Baby It's You is a gem for sure, but there are few other tracks on a par with it. I think my favourite might be Tell Him No, with its great organ melody and a peak McCormick vocal. There are two male singers in the group too, who handle several tracks without McCormick, and they're excellent too, powerful throaty blues rock cats. No originals here, all covers, this is definitely worth playing again. No stinkers and a few real gems.”