Breathe Awhile – ARCADIUM***

I’m On My Way/Poor Lady/Walk On The Bad Side/Woman Of A Thousand Years/Change Me/It Takes A Woman/ Birth Life & Death

Breathe Awhile was the sole album released by the little known British psychedelic group Arcadium. They were linked to the legendary London hippie music club Middle Earth, which was closed after several police raids.

“The music is more derivative of Uriah Heap than Yes. While the playing is pretty tight and often hard/psychedelic rocking, the vocals are some of the weakest and most annoying you will ever hear. There are two long songs, I'm On My Way and Birth Life & Death, but these are more like long jams than progressive suites. Of these two, the former is by far the superior.”

“Remember, this was 1969, prog rock was going through its growing pains, so many bands still stuck to their psychedelic roots, and of course, Arcadium were no exception. The album opens up with the amazing I'm On My Way which starts off slowly, then they start getting into some great jams.”

“Overall Arcadium isn't a bad album. It just isn't outstanding and doesn't represent anything you haven't already heard better played from some other band. Perhaps if they had had more time on their side, and had invested in a better lead vocalist, the story might have turned out differently.”

“These songs really stick with you. There’s an extremely dark and haunting feel to most of them. The opening track I’m On My Way features weird chromatic lines that snarl around you like vines. The guitar tones are indeed of their times, but the high quality of the music helps transcend; superb use of Hammond organ is also a plus.”

“An absorbing, intoxicating proto-prog album with a decidedly downtrodden feeling and flourishes of biting acid guitar, compellingly dark with a tangential songwriting approach that is challenging, but always enriching. They stumble their way through certain passages but always come out the better for it, lush and dynamic with great subtlety and drama.”

“There aren't many bands that managed to melt down heavy rock based psychedelic music with straight forward progressive rock, but Arcadium have done so and in fair success, a solid album.”

Phallus Dei – AMON DUUL II***

Kanaan/Dem Guten Schonen Wahren/Luzifers Ghilom/Henriette Krotenschwanz/Phallus Dei

Phallus Dei was the debut album from the Munich experimental group Amon Duul II. They were pioneers in establishing Germany as a major force for avant-garde electronic music in the seventies.

“This is Amon Duul II's first album, and it's everything that the American psych and freakout bands promised but could not deliver. Furiously surging, ebbing and flowing, the music combines elements of garage rock, avant-garde, psychedelia, and just plain all-out weirdness. All the lyrics are in German but it doesn't matter; what matters is that you will be swept away. Truly psychedelic music, not for the faint of heart, but spiral into the Duulian atmosphere and you may never return.”

"Phallus Dei, the last track of this psychedelic masterpiece, is an extended magnificent jam-session, divided into various movements, always getting the trance way. The middle-section is quite extraordinary, a madness of bongos and Turkish drums side-by-side with savage screams.”

“Phallus Dei introduced the dark, layered space psychedelia that made Amon Dull II one of the most inventive bands of their era. Some of this seems hokey now - the ghost noises on the second track, for example. But for innovation and a blueprint to truly dark underground music, this album has few peers.”

“Phallus Dei is a psychedelic mind-trip that is light-years ahead of most other releases of the era. One big sloppy stew of a musical melange that lacks only a light show and some love beads to complete the sixties experience. And perhaps a ticket for your trip back to Earth.”

“Dissonant and thickly layered, but not once noisy or monolithic. The harmonies and textures are deliciously subtle and ambiguous, but rhythmically the music is forward moving, even rocking. One of Krautrock’s most important statements, Phallus Dei is surprisingly 'rock' but also very unusual.”

“Amon Duul II were an early practitioner of Krautrock, and they were also one of the best. Here we have their gritty, psychedelic sludge-drenched debut, which is still one of the band's best, even if it's a little mad. An epic long trip that seems never to end, but is nonetheless captivating and fascinating."

Get Together With – ANDY WILLIAMS***

My Cherie Amour/You Are/Yesterday When I Was Young/Love Them From Romeo & Juliet/Quentin’s Theme/ Good Morning Starshine/Sweet Caroline/Get Together/More Today Than Yesterday/Put A Little Love In Your Heart/Aquarius-Let The Sun Shine In

Andy Williams ended the sixties with Get Together, an album that features recent pop covers in an unconvincing attempt to make him appear a little more hip to the younger generation. (US:27 UK:13)

“I grew up listening to this album. The music is timeless and Andy's voice is at its best. It fills my soul, lifts my spirits, and takes me back to my childhood in all ways that are good.”

“In 1969 Andy Williams was in the midst of a transition. He turned 40 that year and he was back on NBC with a new show. No longer content to be the tuxedo or sweater clad champion of easy listening, a new Andy Williams emerged. This was a newer, cooler and hipper Andy. Take a listen to this classic album, and get to know a newer view of Andy Williams, a really cool view indeed.”

“His style, his voice, well, it never failed to make me happy or soothe my frayed nerves from the work day. Now whenever I travel long distance in my car, Andy is right there beside me, making the journey so much easier.”

“The Love Theme From Romeo & Juliet is done with great sensitivity; and Good Morning Starshine shows Andy really making the transition from the early 60s to what was then more current music, this time from the musical Hair. Sweet Caroline is one of my very favourites on this LP; Andy does this beautifully and Get Together is yet another terrific cover of a song more hip and happening than Andy had previously performed. Similarly, More Today Than Yesterday, Put A Little Love In Your Heart and still more music from Hair - Aquarius/Let The Sun Shine In end the album in a way that leaves me wanting more.”

“Get Together was a typical Andy Williams album of the time, one on which he simply listened to what was on the radio in the spring of 1969 and picked out some tunes he liked -- Stevie Wonder, Neil Diamond, a couple of songs from the musical Hair that had become pop hits. He wasn't particularly effective on such material.”

The Allman Brothers Band – THE ALLMAN BROTHERS****

Don’t Want You No More/Its Not My Cross To Bear/Black Hearted Woman/Trouble No More/Every Hungry Woman/Dreams/Whipping Post

The eponymous debut album from the Southern blues rock group The Allman Brothers. They would become one of the major American rock acts of the early 1970s. (US:188)

“The Allman Brothers' self-titled debut album is an impressive brew of blues, rock, jazz, and even classical influences. Gregg Allman's vocals are fantastic and his organ work blends incredibly well with the twin guitars of his brother Duane and Dickey Betts, setting the stage not only for future Southern bands, but for the jazzrock fusion movement of the mid-to-late-70s as well.”

“Their debut was one of their better studio releases as it fused rock, blues, and even a little jazz into a soulful mix. Gregg Allman has a perfect blues voice and the combined lead guitars of Duane Allman and Dickey Betts made for one of the best combinations in rock history. The album is just about a perfect selection of five original compositions by Gregg Allman, plus two cover songs, that blend into a cohesive unit as each builds upon one another as the album progresses.”

“This album is a testament to the rock/blues music that characterized the early Allman Brothers. Every song is blues centred with Duane Allman and Dickey Betts sharing the lead guitar spotlight, assaulting their respective guitars with powerful blues jams. Gregg Allman supplies the vocals, Berry Oakley the bass, The music stays basic but powerful, with one extended blues guitar lick after another.”

“What a debut album, one of the best of all time. Southern Rock is born, but again it's much more than that. The Allmans didn't just draw from the usual sources. Sure there's blues, and a lot of it. There's soul, funk, and rock, but there's also the element that made The Allmans unique for their time, a very healthy dollop of jazz. And that's what sets The Allmans apart from any other bands from the genre they created. As a band The Allmans are all fantastically talented, Duane and Dickey Betts are both phenomenal guitar players, and Gregg's keyboards are superb and sublime."

“The musicianship is laid-back and mellow but intense at the same time. Every song is strong, a very solid debut.”

Hollywood Dream – THUNDERCLAP NEWMAN***

Hollywood No.1/The Reason/Open The Door Homer/Look Around/Accidents/Wild Country/When I Think/The Old Cornmill/I Don’t Know/Hollywood Dream/Hollywood No. 2/Something In The Air

Hollywood Dream was the sole album from the British one hit wonder Thunderclap Newman. Created by The Who’s Pete Townshend they topped the UK singles chart with Something In The Air. (US:161)

“Even with Something In The Air's anthem status, the rest of the album definitely holds up. Hollywood Dream is a solid musical experience which gets under your skin as the tunes roll along. This album is one to be enjoyed repeatedly over time.”

“The tunes are infectious and will hook you from the beginning. Every song is a surprise, whether through the lyrics or the amazing intertwining of the melodies and many instruments played by these three brilliant musicians, or the clever arrangements. There are juxtapositions of ragtime jazz interspersed with soaring rock guitar solos, obscure Asian instruments and good old Dixieland style horns, which sometimes shift over to jazz and R & B styles.”

“Despite the revolutionary disposition Hollywood Dream is a rather gentle album showing more airy moodiness and halftones than rebellious emotions.”

“Delightful album with a unique sound, a handful of all-time great songs, several more good ones, and a few filler-ish but quite listenable tunes. Something In The Air is rightly recognized as one of the classic singles of its era, but there are a couple that are even better: Open The Door Homer has a similarly great, wondrous vibe and is one of the best Dylan covers ever, and Hollywood Dream is one of the finest three minute pop-rock instrumentals.”

“This is a totally solid album of psychedelic British pop rock. My main beef is that the songs can be formulaic - they all seem to be decent mid-tempo rockers with sudden breaks for contrasting quirky jazz/honky-tonk piano interludes. It works on Something In The Air, but it starts to get a little repetitive elsewhere."

“Trouble is by the time this album came out in Britain the singles and albums markets were considered to be very different and Thunderclap Newman were seen as a 'one hit wonder' and the album was deemed not worthy of serious attention.”

MK II – STEAMHAMMER***

Supposed To Be Free/Johnny Carl Morton/Sunset Chase/Contemporary Chick Con Song/Turn Around/Six Eight For Amiran/Passing Through/Down Along The Grove/Another Travelling Time/Fran & Dee Take A Ride

Follow up album from the British blues rock group Steamhammer. It consists entirely of original songs, with a musical style that includes jazz and progressive rock elements.

“This one contains all the best elements of Steamhammer: great playing, experimentation and an appreciation for a variety of influences. It starts out jazzy, brooding, slow and progresses into a fine tasteful blues jam without being flashy.”

“Steamhammer were a true jam-band that deserve a proud place among their peers. The album has all the right ingredients, including gently grooving mid-tempo rockers, good musicianship and a gradual progression toward dreaminess and longer improvised pieces.”

“They move into a more progressive and psychedelic direction this time even if the album still includes a clear blues rock sound. From the shorter tracks like Johnny Carl Morton to the lengthy jam fest Another Travelling Time, the album sounds great. The album has a bit of jazz sound at times too, which is really nice to hear.”

“This one has much less emphasis on blues material (actually very little). It's got a much more progressive sound, featuring some horns and sax, but retaining the good hard rock influences of their first.”

“Supposed To Be Free and Passing Through are well worth a mention, but the albums killer track has got to be the wonderful Another Travelling Tune which makes this a must have album on its own. From the rambling flute opening through the laid back bluesy guitar riff that follows, this sets the trend for wonderful guitar/sax interplay, with distinctive vocals adding to the mix before the guitar/sax/flute combination takes it through highs and lows to its conclusion. I once heard this described as the first example of progressive blues.”

“Sometimes, the tracks are blues, hard rock and jazzy with excellent sax parts. There are also some psychedelic elements revealed by the harpsichord and typical fuzzy guitar notes. The omnipresent hard rock/bluesy electric guitar has a pretty conventional sound: there are some good solos, but the sound is a bit subdued.”

Spanky’s Greatest Hit(s) – SPANKY & OUR GANG****

Sunday Will Never Be The Same/Makin’ Every Minute Count/Lazy Day/Commercial/It Ain’t Necessarily Bird Avenue/Everybody’s Talkin’/Sunday Mornin’/Like To Get To Know You/Give A Damn/Three Ways From Tomorrow/Yesterday’s Rain/And She’s Mine

A fairly comprehensive compilation album from the sunshine pop vocal harmony group Spanky & Our Gang. At their best they encapsulated the idealistic spirit of the era. (US:91)

“An ethereal blend of voices, horns, strings, poetic lyrics, and a folk-rock beat, all dreamy harmonies and overtones. As with every outstanding band, Spanky & Our Gang's sound was more than the sum of its parts, and this elusive quality shines through in all their songs.”

“As harmony groups go, Spanky and Our Gang were quite a combination of talent. All six members contributed vocals to a blend of pop, rock, folk, country, blues and jazz material. Their hits were mostly upbeat sunshiny tunes that sounded great on radio.”

“Unfortunately for Spanky and Our Gang, their music was so vocally and instrumentally intricate that most cover groups can't reproduce their sound. Because of that, you don't hear these hits performed very often by others. As a result, they aren't remembered as much as they should be. Too bad, because Spanky and Our Gang were truly one of the more talented and sophisticated groups of the era.”

“There was really nothing this group could not sing. They succeeded at everything they did, jazz, pop, Broadway, blues. Sure, Spanky was the lead voice, but all of the group were very talented and willing to experiment.”

“In my opinion, they can't do wrong. And you can't go wrong listening to this terrific band at their best. They're songs are timeless and they are one of the greatest sounds to come out of their era.”

“Well-crafted sixties' sunshine pop featuring some winning, inventive five and six part jazz harmonies. Spanky and Our Gang were one of the better and more successful folk/soft-rock vocal groups that featured a strong female lead in the late 1960s. If you like sweet harmonies by great vocalists, you won't be disappointed by this album.”

Sea Shanties – HIGH TIDE***

Futilist’s Lament/Death Warmed Up/Pushed But Not Forgotten/Walking Down Their Outlook/Missing Out/ Nowhere

Sea Shanties was the debut album from the British hard rock band High Tide. They were unusual in that equal prominence was given to the violin as to the electric guitar.

“Sea Shanties is a relentless barrage of rock, the rhythm section is tight and heavy, the guitar is mind-blowingly intricate and gnarly, and the effect-laden violin matches the lead guitar in weight, making High Tide a unique hybrid in rock history. This is definitely doom rock.”

“Yes it is raw, recorded live in the studio, to try and capture the 'in performance sound'. Always difficult to do that. The violin and guitar interplay is great.”

“This is really great hard rock from 1969. The songs are extended, though the chord structures pretty chunky and basic, and lo and behold, they have a violin.”

“The violin played an important role in the sound, here for the most part, it is a novelty. Vocals are muddy and buried and not that interesting when they surface anyway. When they slow down and avoid the screech factor you see what might have been, then they kick the bombast in again. Sadly I found myself checking my watch too frequently during the long songs.”

“What makes High Tide different from similar bands was how the violin played on the same level as the electric guitar, in terms of loudness and soloing time.”

“High Tide were probably one of the most interesting hard rock bands to come out of the late 60s. They're certainly a very heavy, intense and imaginative head trip.”

“About as heavy as an album could get in 1969 without being full-on proto-metal, High Tide's secret weapon are the nuanced violin performances. This touch of gentle class amid the band's whirlwind of acid-drenched fuzz creates an intoxicating brew.”

“This disc is filled with very powerful and very heavy music for it's time. The overall sound is still really psychedelic even though clear progressive and jazz fusion elements can be heard.”

Renaissance – RENAISSANCE***

Self titled debut album from the British progressive group Renaissance formed out of the remnants of The Yardbirds. After splitting the band would reform in the early seventies, but without any of the original members. (UK:60)

“The dominant forces were co-founders Keith Relf and Jim McCarty. The duo had been the psychedelic half of the final line up of The Yardbirds. This means that in terms of musical history, Renaissance are the counterpart to Led Zeppelin of the groups that sprang up from their demise.”

“The long opening track Kings & Queens is one of the highlights of the album. There is also much flavouring from eastern music and psychedelia. Jane Relf sings on Island and Wanderer. Keith's vocals are reminiscent of his Yardbirds days on the longest track Bullet, which incorporates a heavy dose of psychedelia in his wild harmonica solo and an eastern music type chant, set over a great jazz and classically fused piano.”

“Although Jane Relf looks very like Annie Haslam in every picture of this incarnation of Renaissance, most of the vocal work is done by brother Keith, and the sound, is dominated by his guitar work. The result is that, like the later classic Renaissance, this record is dominated by quiet jamming on piano and lyrics, that often betray a significant social consciousness.”

“While Renaissance features quite a bit of keyboard work and longer tracks, this album is remarkably unpretentious and very listenable. Kings & Queens and Innocence are sophisticated, yet aggressive tracks, which sound like a progressive folk version of The Yardbirds.”

“The original group just about managed to scrape out a couple of albums before they imploded, and this one is a fine piece of early symphonic prog. Pianist Jim Hawken's playing is prominent in the mix, and the ethereal vocals of brother and sister team Keith and Jane Relf have a quality to them which hadn't been seen much before in rock music.”

“An ambitious and novel prog rock idea, but mostly missing the mark. There are far too many classical piano passages, supported by too little interesting material.”

In Blissful Company – QUINTESSENCE***

Giants/Manco Tapac/Body/Gange Mai-Chant/Pearl & Bird/Notting Hill Gate/Midnight Mode

In Blissful Company was the debut album from the British Eastern influenced psychedelic group Quintessence. Their music has been described as raga new age with a strong spiritual emphasis.

“This psychedelic hippie band from the UK is best known for their sound which was largely influenced by Indian music and culture. In Blissful Company was their first studio album and it's pretty much instrumental. Some of the songs have vocals too and the lyrics are very 'Hare Krishna' kind of material.”

“Quintessence never hit it big time in the UK or US markets. But I found their debut to be a sweet totality. I like the psychedelic raga rock sound of this hippie group really much. While it's not one of the biggest forgotten diamonds of the late 60s it's still an overlooked record. Hare Krishna, Hare Krishna!”

“This sounds like it's obscure for a reason - namely that it's just not particularly good. The last two songs were enjoyable and an indication of the greatness to come, but elsewhere there are only average at best songs with irritating vocals.”

“Eastern flavoured prog rock, presented in a hippy commune style, and with mild psych influences. The music is primarily instrumental, though there are a few vocal passages here and there.”

“Quintessence offered a blend of Hare Krishna chant, droning sitar, jazz flute and some fine rock jamming. In Blissful Company was their first album and perhaps their best. The sense of a more innocent age and the smell of incense pervade the album.”

“Such beautifully penned out progressive folk raga-rock. Almost heavenly, Quintessence's music is heavily influenced by the sounds and style of Eastern culture. They were genuinely living a life collective that spilled into the music. A lovely and uplifting fusion of East and West performed with panache and flair. This is more than music, its a divine journey through a spiritual land.”

“On the plus side there are some nice spacey excursions and the flute gives it an edge, on the minus side there is a lengthy sitar excursion that goes on forever.”

Paint Your Wagon – SOUNDTRACK*****

Main Title(I’m On My Way)/I Still See Elisa/The First Thing You Know/Hand Me Down That Can O’ Beans/They Call The Wind Maria/A Million Miles Away Behind The Door/There’s A Coach Comin’ In/Whoop-Ti-Ay (Shivaree)/I Talk To The Trees/The Gospel Of No Name City/Best Things/Wand’rin’ Star/Gold Fever/Finale

The musical western Paint Your Wagon is an updated version of the early 1950s Broadway stage show. It starred Clint Eastwood and Lee Marvin, the latter a very unlikely vocalist. Includes the British No. 1 hit single Wand’rin’ Star. Music by Frederick Loewe, lyrics by Alan Jay Lerner. (US:28 UK:2)

“Just about every song on this record is exceptional. They hold their own against any song performed on a Broadway musical stage or in any movie. But the pinnacle of this album will forever remain Lee Marvin 'singing' Wand’rin' Star, the class act song of the entire production. Could Marvin sing? Of course not, but it doesn't matter, you can listen to this version a thousand times and never weary of it.”

“The soundtrack weaves between some delicate ballads, such as I Still See Elisa, A Million Miles Away Behind The Door and Wand'rin’ Star," to potent tunes like They Call the Wind Maria and others that go to the opposite extreme with rip-roaring fun, like Hand Me Down That Can Of Beans. Very few songs on the soundtrack fail to contribute to the overall sense of ribaldry and camaraderie.”

“The songs, written by Lerner and Loewe, are very good. But the fact is, most of the actors here aren't very good singers. To be fair, Harve Presnell has a terrific musical theatre type voice. But Clint Eastwood and Lee Marvin can't sing worth a lick. Clint has a weak voice and has trouble staying in tune. As for Lee, his off-key basso profundo warbling would be painful to listen to, if it wasn't so darn funny.”

“This really is a soundtrack, not one of these pop-quicky-samplers as of recent movies. All songs are really to be heard in the movie. You'll get to hear wonderful tunes and songs you can even understand."

“The songs live on in your head for days. They are uplifting, funny, and musical. Neither Eastwood or Marvin can be considered great musical voices, but they are fittingly adaptable to this musical. Paint Your Wagon is a soundtrack from a musical era gone by. Unlike many modern soundtracks, this one can be enjoyed by the whole family.”

Offering – THE CARPENTERS***

Invocation/Your Wonderful Parade/Someday/Get Together/All Of My Life/Turn Away/Ticket To Ride/Don’t Be Afraid/What’s The Use/All I Can Do/Eve/Nowadays Clancy Can’t Even Sing/Benediction

Offering was the debut album from the easy listening brother and sister duo The Carpenters. They would become a major international act during the early 1970s helped by the pure voice of Karen Carpenter. Album re-released as Ticket To Ride the following year. (US:150)

"I always thought that The Carpenters were typically a 1970s band but in fact their first album, released at the tail end of the 1960s, is pure sixties pop magic. This first 'offering' includes a majority of excellent self-penned songs, which would not be the norm later on."

"I think the problem with this album is that Richard takes too many lead vocals. The great thing about The Carpenters was Karen's voice - other than that, they're not that much different from countless sunshine poppers. Not a fantastic album as a whole and it occasionally gets a bit boring."

"The sound of this album is quite different to their later recordings. At the time it was recorded, the intention may have been for The Carpenters to be a true duo, rather than the focus, at least vocally, being on Karen. Richard sings lead on five of the songs."

"The distinctive 'Carpenter sound', that of multi-layered harmonic vocals, is first heard on this album in several songs. Karen's voice is not yet 'perfect' in her emotional content interpretation of the songs, as she is just a young 19 years old."

This is obviously the start of The Carpenters' success to come; the album is not quite as polished as their later works. With the gift of a perfect pitch, and an uncanny innocence to her voice, Karen begins her legacy of getting to the heart of millions."

"Offerings is The Carpenters first album, and it shows their signature sounds from the beginning. Karen's haunting vocal on tunes like Someday and Ticket To Ride provide the highlights. Most of these songs are just average though, and the lyrics are weak but well sung. Karen's voice is still developing, and she shows strength on the lovely Eve and All Of My Life. At this point, they still had to work and find their trademark sound."

Morgen – MORGEN***

Welcome To The Void/Of Dreams/Begging Your Pardon (Miss Jones)/Eternity In Between/Purple/She’s The Night Time/Love

Self titled sole album from the obscure New York heavy rock group Morgen. Their music has been described as a mixture of acid garage and hard rock with some over the top vocals.

“Despite the rather amateurish singing, I really like this album and the vocals add to the charm. To say the album is psychedelic, is as accurate as one could get. It has the feel, song structure, and of course, the fuzz guitar that add up to a fascinating musical journey. There is even a little bit of keyboard and some harmony guitar parts here and there.”

“Every song contains excellent guitar work and introspective lyrics. Unfortunately Steve Morgen went into acting following the release of Morgen and never again recorded. What a loss for the music industry. But what a legacy he left behind.”

“Psychedelic album, that neither feels too strange nor too poppy. It has great production, you really have the right amount of distortion in those guitars and it just sounds great for the time. Even though I feel that the drumming is quite poor, it is an album that can be described as being always good but never great, as some parts wander about a bit too much.”

“Morgen's only studio album is a really high quality piece of hard rocking psychedelic rock from the late 60s. The more you listen to it, the more you will love it. Steve Morgen's really good guitar work is one of the driving forces here but the songs are also well written.”

“Great hard psych. The guitar playing and tone on this album is incredible. This is definitely a benchmark of the hard psych genre. Every song is pretty awesome. My only complaint is that there seems to be too much of a focus on lyrics, i.e. more of this album should be guitar solos.”

“The album overall has nice melodies floating everywhere, and the music is very late 60s and heavy for it's time. The lyrics don't make a whole lot of sense. But I think the music is much more important for these types of albums. A lot of nice fuzzy sounding guitars, and also contains some nice and smooth melodies.”

Melanie – MELANIE***

I’m Back In Town/Tuning My Guitar/Soul Sister Annie/Any Guy/Uptown Down/Again/Beautiful People/Johnny Boy/Baby Guitar/Deep Down Low/For My Father/Take Me Home

Self titled second album from pop-folk singer songwriter Melanie. Seen as the ultimate hippie flower child, her career would receive a boost from an appearance at the Woodstock festival. (US:196)

“Melanie is truly the most under-appreciated talent of all the female vocalists of this era. Her ability to transition into so many musical genres is masterfully demonstrated on this album. Her voice is so different and is truly what sets her apart. To some it is an acquired taste but to me it is haunting, powerful and beautiful.”

“Many old music artists of the 60s and 70s are being re-discovered by younger people like myself, but Melanie is almost always overlooked. Her music can be best described as folk-rock.”

“Melanie was a true great and never a one hit wonder. She was a heartfelt original songwriter. Not a great musician but she wrote and sang what she observed and felt with one of the most unique voices ever heard in music. Tuning My Guitar is one of Melanie's greatest unknown songs.”

“Melanie is a skilful, soulful singer and guitar master. She loves to create songs that create moods that mean different things to different people. Melanie's roots were firmly planted in folk music although she ultimately embraced other influences. This album will take any fan back to the days when music was simple and fun.”

“Melanie, her second album, suffers from over the top vocal delivery. But, her songwriting has started to improve. Beautiful People is a classic, and Tuning My Guitar is one of her best songs, but suffers from emotive excess. The rest of the album is good, but certainly not great. Melanie would soon develop into one of music's great talents. This was only the beginning.”

“Because of these early albums Melanie received the label as `the ultimate flower child' and listening to the songs, you can understand why. They are filled with the sweetness and innocence of that short-lived 'flower power' era. However, that does not mean that the albums are too hopelessly dated to be enjoyable, in fact they are immensely enjoyable. I must admit that I really love Melanie and that I have most of her albums, but her best work was yet to come.”

Led Zeppelin II – LED ZEPPELIN*****

Whole Lotta Love/What Is & What Should Never Be/The Lemon Song/Thank You/Heartbreaker/Living Loving Maid(She’s Just A Woman/Ramble On/Moby Dick/Bring It On Home

The follow up album from the soon to be enormous heavy rock group Led Zeppelin demonstrates their immense talent, but is let down by a couple of self indulgent tracks. Led Zeppelin II includes the US No. 4 hit single Whole Lotta Love. (US:1 UK:1)

“This album is a prime example of why Led Zeppelin are legends in the music industry. It has everything a rock fan could possibly want. A bluesy feel, tight guitar riffs, solos from the soul, well constructed songs, layers of music and passionate vocals. For me the true cohesion comes from the rhythm section. Bonham's drums drives the band ever forward while Jones is ethereal on the keyboards and perfect on bass guitar.”

“Led Zeppelin II is the album that perfectly blends all of their styles. There is plenty of blues, and more original blues too, than on the first album. There is the sheer power of hard rock but still plenty of hippy folkiness and sixties ideology on offer too.”

“A near-classic with five of Led Zeppelin’s greatest hits on it, unfortunately it also has two of their worst songs as well. The Lemon Song is a bit of a stinker and Moby Dick is a just a glorified drum solo and should have been left on the cutting floor.”

“Some great tracks here mixed with a few weaker Led Zeppelin songs. The album opens with Whole Lotta Love which has become one of the bands most well known tunes. However I think the best song is Ramble On which is awesome. What Is & What Should Never Be is classic Zeppelin.”

“After their ground breaking debut album, the group quickly followed up with Led Zeppelin II. Whereas their debut contained a few blues covers and longer jams, II is a much tighter affair. Jimmy Page was a master at coming up with memorable guitar riffs and they abound throughout II.”

“This is another outstanding rock collection from Led Zeppelin. All the songs have the phenomenal guitar work of Jimmy Page. I believe the unique vocals of Robert Plant are unsurpassed. Both Page and Plant have vast artistic range.”

I’ve Got Dem Ol’ Kozmic Blues Again Mama – JANIS JOPLIN*****

To Love Somebody/Try(Just A Little Bit Harder)/As Good As You’ve Been To This World/Little Girl Blue/Work Me Lord/One Good Man/Maybe/Kozmic Blues

Kozmic Blues was a thrilling debut album from the unique blues-rock artist Janis Joplin, following her departure from Big Brother. It was probably the best rock album from a female vocalist. (US:5)

“The record contains several show stopping pieces. The tenderness of Little Girl Blue attests to both her timelessness and greatness as a singer, the rawness of Work Me Lord, the driving force of Try, and others all showed her growth as a singer.”

“There are so many great tracks on this album. Janis Joplin had a certain way of performing a song. She was unlike anybody before her, and no matter how hard others try they can't match her. She was one of a kind, and this album is fantastic.”

“It is full of classics; everything is pretty up there in the woman's repertoire. Kudos to her for making an album of long blues/soul numbers that doesn't sound turgid or uninteresting for a second.”

“This album has a quality, professionalism and charm most singers can only reach in their dreams. Joplin’s overreaching vocal powers transform a batch of songs to achieve an album of soulful fulfilment.”

“I can't think of any other singer who has moved me as much as Janis Joplin since hearing this album. Repeated listening does not diminish its impact either. It amazes me what the world today considers talent after knowing who Janis was and what she could deliver vocally - she truly stands alone.” ,p> “This woman holds nothing back as she pours heart and soul into each song. The music is rough hewn R & B delivered with conviction.”

“She dropped out of Big Brother and the acid sounds, and plunged herself into the soul she had always felt deep down inside her. The orchestral arrangements give her voice such a majestic power. She sounds immaculate, not less powerful, but even more self-confident and firm than previously.”

Yer’ Album – THE JAMES GANG****

Take A Look Around/Funk No.48/Bluebird/Lost Woman/Stone Rap/Collage/I Don’t Have The Time/Wrapcity In English/Fred/Stop

Yer’ Album was the debut album from the Cleveland, Ohio hard rock group The James Gang. The band was responsible for launching the career of Joe Walsh who, in the 1970s, would enjoy a successful solo career and a spell with the mega-group The Eagles. (US:83)

“My favourite LP by the James Gang and probably my favourite LP involving Joe Walsh as well. Just about every track is great on this, but for me Collage is a standout, a beautiful, melancholic ballad track with some orchestral backing.”

“Yer' Album, the James Gang's debut, is great, the guitars crunch, the drums groove with a funky intensity, and the songs are generally strong. Several of the longer tracks drag a bit towards the end, but they're still great. This album is a must own for anyone who enjoys good classic rock.”

“The James Gang's debut is utterly astounding. It's one of the best guitar, power trio, and hard rock albums ever recorded. Joe Walsh's guitar comes roaring out of the gate like few in history have ever done on a debut album. This was a band out to conquer, and they did. Yer Album is also notable for the inclusion of one of the most gorgeous, melancholy, and elegiac songs ever recorded, the sublime Collage. Then there's the crashing fire of Funk #48, and the epic funk thud of Stop.”

“A truly superb debut, definitely my favourite of their output. It features a surprisingly hard rock sound, considering what the band would eventually turn out to be. And the songwriting on this one is sheer genius. Their most underground as well.”

“The debut album featured a surprisingly tuneful collection of guitar powered hard rock. A mix of popular covers and originals, the album showcased Walsh's interesting nasal vocals and stinging guitar runs.”

"This is a very solid debut and one of the underrated gems of the sixties. The James Gang sound is here in abundance: rumbling organ coupled with powerhouse bass and drums and Joe Walsh's early pyrotechnics on guitar. It is mostly covers of songs from The Yardbirds, Buffalo Springfield, and others. Lots of guitar firepower from Walsh and studio weirdness makes this a nice addition to any collection.”

In The Court Of The Crimson King – KING CRIMSON***

21st Century Schizoid Man/I Talk To The Wind/Epitaph/Moonchild/The Court Of The Crimson King

In The Court Of The Crimson King, the debut album from the progressive rock group King Crimson, includes some inspired moments but also parts that are terminally boring. (US:28 UK:5)

“The pieces on the album cover a broad spectrum of styles, moods, tempi and dynamics ranging from all out rave-ups to delicate passages comprised of just flute and soft cymbal work. The opening track 21st Century Schizoid Man features blistering riffs played in unison by several musicians and at breakneck speeds. In stark contrast to this all out assault is the quiet and contemplative piece I Talk To The Wind. Epitaph is my favourite track and features, in all its glory and splendour, the mellotron with string setting. Moonchild is an odd piece that is more of a sound collage than anything else, with a very experimental and 'free-form' instrumental passage that features various percussion instruments and delicate guitar parts where the noodling gives way to sections of near silence. The opening flourish of the closing track The Court Of The Crimson King features a ton of mellotron with some great ensemble work and is pretty haunting.”

“Hearing it in it's entirety for the first time is a strange experience and once you tell yourself 'this is intentionally ponderous' it gets a lot better. The dragging end of Moonchild is especially irritating - but when The Court Of The Crimson King kicks in any doubt is swept away utterly.”

“The opener, 21st Century Schizoid Man, is a classic, the horns and the guitars in perfect harmony, the distorted vocals intertwined with the plodding rhythm. However, the album takes a quick drop in quality on Epitaph. Although it presents itself as an emotional song, it just sounds incredibly dated, not to mention tedious and needlessly repetitive. As Moonchild began, I thought that it would increase in quality but for ten minutes I listened to the most boring free-jazz I have ever heard. This is a prime example of a record that does not hold up. It may have been interesting and experimental in its day, but now it simply sounds dated, weighted down with tedium.”

“This album is everything a rock album should aspire to be and more - with complex and meticulously crafted songs that challenge the listener; it borrows several elements from classical music, while maintaining the swift catchiness of rock.”

Hot Rats – FRANK ZAPPA***

Peaches En Regalia/Willie The Pimp/Son Of Mr Green Genes/Little Umbrellas/The Gumbo Variations/It Must Be A Camel

On the jazz-rock album Hot Rats Frank Zappa presented a more serious, less self indulgent aspect to his music than hitherto. This was rewarded by the highest chart placing of any of his albums. (US:173 UK:9)

“Some pretty great jazz rock tainted by some noodling. Peaches En Regalia is gorgeously catchy. Willie The Pimp starts off as a good blues song. It then proceeds to be a vehicle for a long Zappa guitar solo, which sounds good but goes on a bit too long. The quirky and often catchy instrumentals are usually very good. The Gumbo Variations is the least interesting thing here, and unfortunately the longest. I'd definitely recommend this to people curious about Zappa.”

“This is a pretty crazy jazz fusion record, and contrary to Trout Mask this one is actually listenable. It has wild sax and crazy rhythm and you can never predict where they are going next. Well actually you can, you know they going to keep with the crazy stuff. Despite all of its innovation and interesting moments, which are a whole lot, the album does in fact little for me.”

“Its not all bad to my ears, there are some great instrumental moments here, but after the first time listening I just lost interest in the second spin.”

“Some incredible playing on Hot Rats. Peaches En Regalia must rank among his catchiest, most infectious songs ever. Zappa gets down to guitar business after a bunch of eccentric cabaret/comedy records.”

“While it may seem stupid, I wish all of Zappa's albums sounded like this one. But then, being eclectic is Mr. Zappa's trademark and we wouldn't want to take that away.”

“Frank Zappa thought of himself as witty. Most of the time he wasn't. He had a very pimply sense of humour. Very juvenile. You can forget about all his other albums. This is the only one worth while having. It's jazz-rock of the highest standard.”

“Hot Rats stands out as an excellent early example of melding rock and jazz. Though primarily instrumental, the album contains some fine melodic textures.”

Supersnazz – FLAMIN GROOVIES**

Love Have Mercy/The Girl Can’t Help It/Laurie Did It/Apart From That/Rockin’ Pneumonia & The Boogie Woogie Flu/The First One’s Free/Pagan Rachel/Somethin’ Else-Pistol Packin’ Mama/Brushfire/Bam Balam/Around The Corner

Supersnazz was the debut album from the San Francisco pop group Flamin’ Groovies. It consists of re-creations of fifties rock & roll songs plus some original compositions.

“The production gives the album a life of its own. There is something about the songs, the smoothness of the acoustic and electric instrument sound with added weirdo touches - and yet it still rocks and is a lot of fun.”

“It's OK, but not their best. It features good-time R & B pop presented in a cheesy early 60s vocal group setting, with virtually no late 60s flavour.”

“It's not bad, but it's a bit anaemically played and horribly produced. The super-slick horn-powered sounds wouldn't even be appropriate for their mid-70s power pop stuff, and it certainly does nothing for the retro rock on this record. It should have been rawer, tougher, or at least faster and more energetic.”

“The slavish covers weigh it down, and it's the originals that stick out, Laurie Did It in particular.”

“I'm not sure about the somewhat limp 50s covers contained on this rollicking band's debut. I dig the originals though, which are all over the map, including bluesy rockers, folk songs, music hall numbers and catchy pop.”

“They've done much better but this one isn’t too bad, mixing covers with originals with the later shining the most. Laurie Did It is an early classic and while by no means is this the best gateway into the Groovies, it's not an entry to be entirely written off either.”

"Laurie Did It is a fantastic psychedelic rock song. The Groovies make their music very easy to listen to because they play their instruments so well.”

Free - FREE*****

I’ll Be Creepin’/Songs Of Yesterday/Lying In The Sunshine/Trouble On Double Time/Mouthful Of Grass/Woman/ Free Me/Broad Daylight/Mourning Sad Morning

Self titled second album from the British blues-rock group Free. Although this was not a success commercially, the following year they would make their big breakthrough with a stupendous classic rock single.

“Coming sandwiched between their hard rocking bluesy debut and their big breakthrough, Free's second album may very well be their masterpiece, too often dwarfed by its more famous follow up. Free finds the band at it's most musically eclectic and also at their most introspective.”

“If you're interested in British blues-rock this record by Free should be on top of your list. In spite of the small line-up, guitars, bass, drums and vocals, the music is varied and the moods diverse. The record still sounds surprisingly fresh.”

“A great and flawless blues rock album which stays heavy, brooding and catchy. Possibly their finest release.”

“The group enriches the solid blues of their first album with funkier rhythms, tighter arrangements, some lovely, atmospheric acoustic guitar, as well as a more lived-in approach to songwriting. While it’s solid from start to finish, the standouts are Trouble On Double Time and Free Me, which show off different dimensions of the group’s uniquely restrained approach to the blues rock of the day.” ,p> “Free had a musical talent and lyrical depth beyond their years and the first three albums show them at their best. This self titled second release is right in the groove and reminds us of a time when rock music took its blues influences seriously. Paul Rodgers big, soul textured voice sounded great with Paul Kossoff's ringing, clear as a bell guitar notes.”

“What a record! From blues-rock to psychedelic instrumentals Free really have it down on this album. The highlights for me are Paul Kossoff's spectacular guitar (electric and acoustic) and Paul Rodger's voice (somewhere between early Rod Stewart and Robert Plant). It is my favourite due to its soulfulness and inspired earthy integrity. In my opinion, this is just a totally flawless album.”

Songs Of Experience – DAVID AXELROD***

The Poison Tree/A Little Girl Lost/London/The Sick Rose/The School Boy/The Human Abstract/The Fly/A Divine Image

Songs Of Experience was the second album from American producer and composer David Axelrod. It explores a darker side of humanity than its predecessor.

“Songs Of Experience was highly experimental for it's time. Axelrod based this album on a set of poems by William Blake, adding a lush, orchestrated sound mixed with hints of pop, jazz and folk. Add to that Axelrod's penchant for pushing the boundaries with studio effects and you've got yourself a seriously innovative album.”

“Songs Of Experience represents the second half of David Axelrod's musical vision of William Blake's famous songs. Whereas the first album on this project, Songs Of Innocence, was hopeful, daring and overall ambitious, these Songs Of Experience are experimental. This is a darker album, a different but still quite lyrical and fearless Axelrod bringing to a masterful close the cycle initiated on his '68 debut. The compositions, arrangements and band performance are superb.”

“Make no mistake, the music isn't bad at all. Axelrod continues to weave sophisticated arrangements and ends up producing a musical fusion that sounds very much AOR/MOR, but somehow is smarter than that. There are numerous details hidden under an ostensibly slick surface, making this no less engaging than its predecessor. The Blake allusions and the enigmatic artsy cover may be puzzling.” ,p> “Astonishing perfection of a sound: super groovy, open, deep funky drum and bass, electric guitar with languid, swirling, ingenious orchestrations. There is something about 60s orchestral/baroque pop that I just adore.” ,p> “This is impeccably orchestrated, jazzy, soaring, subtly funky and tasteful. It pulls off a fusion that doesn't come off as merely mashing together incongruous musical elements. It is also highly atmospheric and evocative. It is certainly an accomplished album. And The Human Abstract is a remarkable highlight of the album."

“At the best of times it's pretty and moving, but mostly it failed to make much of an impression. Without a doubt its very epic sounding, a hybrid of classical, jazz, prog and a bit of pop.”

Rhymes & Reasons – JOHN DENVER***

The Love Of The Common People/Catch Another Butterfly/Daydream/The Ballad Of Spiro Agnew/Circus/ When I’m Sixty Four/The Ballad Of Richard Nixon/Rhymes & Reasons/Yellow Cat/Leaving On A Jet Plane/(You Dun Stomped) On My Heart/My Old Man/I Wish I Knew How It Would Feel To Be Free/Today Is The First Day Of The Rest Of My Life (Sugacity)

Rhymes & Reasons was the commercial debut album from country pop singer songwriter John Denver. It includes the original version of the international hit Leaving On A Jet Plane covered by Peter, Paul & Mary. Denver would become a major recording star during the seventies. (US:148)

“Rhymes & Reasons is a decent enough example of late 60s singer-songwriter fare, sprinkled with folk and country influences. Denver's tendency towards tweeness and the endless references to children and flowers are largely kept in check. Where some of this does creep in, it thankfully proves to be no more than a temporary blip.”

“Some of the better moments come during the quieter, understated songs such as Daydream with its lovely piano and acoustic guitar backdrop, one of four self-penned songs that Denver contributes. Of course, this album also features Leaving On A Jet Plane which would become the first of his instantly recognised songs. Denver is in decent vocal form throughout; when he really goes for it he shows that he has a pretty good voice - clear and strong.”

“Here we see a glimpse of John Denver in the early years, as he'd come into his prime, before Rocky Mountain High made him an international star. In many ways, this album remains one of my favourites.”

“The album isn’t bad, but he just hasn't found his sound yet, although he was already an accomplished writer. The title song Rhymes & Reasons is an all time great song lyrically. But to me it sounds as if he didn't yet know if he wanted to be a folk singer, a country singer or the fifth Beatle.”

“This is an enjoyable album but John had yet to learn how to project his songs and his persona. This is the album that contains his original version of Leaving On A Jet Plane and so this is an important album to have. However, it must be said that the Peter, Paul & Mary hit version is certainly superior to John's own.”

“RCA tested the waters by filling Rhymes & Reasons with reliable covers but the four Denver originals caught the ears and hearts, being indicative of what was to come.”

Bobby Sherman – BOBBY SHERMAN***

Little Woman/Rainy Day Thought/Seattle/One Too Many Mornings/A Time For Us/Sounds Along The Way/This Guy’s In Love With You/Love/Land Of Make Believe/Bluechip/Time

Debut album from American teen idol Bobby Sherman, whose bubble gum appeal failed to cross the Atlantic. Bobby Sherman includes the US No. 3 hit single Little Woman. (US:11)

“To me, bubble gum is like baroque pop in a way. The arrangements are pretty complicated, and it's some of the greatest fluff ever. Bobby Sherman was one of the best practitioners of this underrated genre.”

“Bobby Sherman was always one of my favourite teen idols. He had such a good voice and was good to look at too.”

“Bobby Sherman was the perfect example of a very charismatic singer, provided with a powerful ability to engage the stage through the magisterial arrangement of easy to listen ballads, so typical of the late sixties.”

“Bobby Sherman, one of the best exponents of bubble gum music on the planet.”

“As Rolling Stone once put it, Bobby is a 'teenybopper with talent'. He wrote several songs, arranged songs, co-produced some of his albums, played 16 instruments, and could sing wonderfully. He was also consistently in the top 10 during the late 1960s.”

“All of Bobby Sherman's songs were great. Just listening to his voice and looking at the posters I had when I was a teen was about as big a thrill I could get. His voice is just great along with him.”

“Teen idol, Bobby Sherman, star of Shindig and Here Come The Brides, was a sensation back in the late 60s, early 70s. He had good looks, charisma, was multi-talented, and possessed a certain uniqueness that set him apart. It's unfortunate that today's teen idols seem to be carbon copies of each other.”

“He was my biggest crush when I was about twelve years old. Not the strongest voice, but he had that twinkle in his eye and really seemed to enjoy performing.”

The Best Of – CHARLEY PRIDE****

Just Between You & Me/Does My Ring Hurt Your Finger/Kaw-Liga/The Snakes Crawl At Night/All I Have To Offer You (Is Me)/The Easy Part’s Over/The Day The World Stood Still/I Know One/Gone On The Other Hand/Before I Met You/Too Hard To Say I’m Sorry/Let The Chips Fall

The first compilation LP from the one and only successful American black country star Charley Pride. He grew up listening to country music on the radio as a child. (US:24)

“Charley Pride - country music's lone black superstar - ranks behind only Elvis Presley in all-time sales figures for RCA artists. Pride created his own vocal style by melding the smooth delivery of Jim Reeves with a natural twang. The singles, like Just Between You & Me and The Easy Part's Over are all ballads sung in a lower key. With the live recording of Hank Williams' Kaw-Liga, Pride added an uptempo hit to his repertoire that finally captured his warm baritone in its natural register.”

“If you grew up with Charley Pride singing his songs on the radio, then Just Between You & Me and I Know One will bring back memories of real country music sung by real country singers. Charley Pride's distinctive voice made him a hit around the world. Have you noticed that the current crop of country singers all sound the same? There is no tune, no melody, just the same unsuccessful attempt to put out another recording and repackage to the masses.”

“Pride's commercial success began with the Grammy winning Just You & Me from 1966. Pride's masterful baritone is set between twangy pedal steel and a countrypolitan background chorus. For all the recognition Pride has received as country music's first (and really only) African-American superstar, his music is completely colour blind. His song choices speak to country music's universal experiences of love and loss, and his voice, while quite unique, is marked mostly by his Southern raising.”

“Charley Pride was an exceptional entertainer with his rich voice and story telling style. It's a shame he didn't get more recognition than he did.”

“He truly has a tone, smoothness and directness in his phrasing that nobody else could match. Charley Pride has such a sweet baritone voice and he remained true to the old country music sound. If you love country music, you can't go wrong with this.”

Sussex – BENT WIND***

Touch Of Red/Riverside/The Lions/Going To The City/Hate/Look At Love/Mystify/Sacred Cows

Sussex was the solitary album released by the obscure Canadian psychedelic group Bent Wind in their youthful prime. It comprises an unusual combination of hippiedom and garage rock.

“This band can play straight-forward garage rock with a psychedlelic feel that is clean with just the right amount of weird guitar sounds and bizarre lyrics. I really like the guitar breaks. The songs have a bluesy feel to them.”

“The LP is filled with wonderful guitar work and the songwriting is strong throughout. The band deserved a much better fate, but like many bands of the day, with little backing from their label, they were unable to survive financially.”

“How I miss this kind of music. In the late 60s early 70s musicians got together and played whatever they felt like. Occasionally you got a winner like Sussex. This is all over the place but the guitar work, in general, is pretty good.”

“A band of hippie students without a clue, laying down enough tracks to wax to call it an album. One that is awash in fuzzed out gibberish that decades later makes sense not musically, but as a statement.”

“Though most of the material is in a hard rock vein, it's not particularly heavy. Psych influences are mild, if not minimal. They feature two guitarists, and occasionally they mixed it up a bit. But for the most part, what you get is a lot of improvisation style guitar breaks, with some wah-wah.”

“Amateurish but vital garage rock with a Texan sound. It isn't that good, but not that bad either. The album consists of almost exclusive hard rock songs, sounding at times like a lesser Hendrix and at other times like some of the psychedelic hard rockers of the time.”

“Most of this is pretty unoriginal, having been done before and much better by more famous bands. The couple of bits that are unique, like the bird-whistle sounds in Riverside, are just annoying. There's also something lacking in the overall vibe which comes off as just repetition for repetition's sake, instead of a heavy-psych-groove that I assume they were aiming for.”

It's So Hard To Tell - KAREN DALTON***

Little Bit Of Rain/Sweet Substitute/Ribbon Bow/I Love You More Than Words Can Say/In The Evening (Its So Hard To Tell Who's Going To Love You The Best)/Blues On The Ceiling/It Hurts Me Too/How Did The Feeling Fell You/Right Wrong Or Ready/Down On The Street(Don't You Follow Me Down)

Debut album from the Cherokee folk blues singer Karen Dalton. Known as the folk singer's answer to Billie Holiday, she also played twelve string guitar and long neck banjo.

"Karen Dalton has a Voice. Angels must sound like this, at least after a diet of whiskey and cigarettes. Comparisons to Billie Holiday are understandable if not quite exact since few others are even in the same ballpark. Obviously not to everyone's taste, but what do everyone know, anyway?"

"This was my first album of Dalton's and the right words fail to describe the impact it had. The best female vocalist I've heard in a long time. There are moments on this album where, if you're not careful, you may faint from how beautiful she sounds. Her voice, in all it's raspy glory, will leave you drenched to the bone."

"On this album, which is one of only two she ever did, she performs several Fred Neil classics, a few traditionals and a Tim Hardin song, but invests so much feeling into them, she makes them her own. Her style is a laid back blues with a folk sensibility. My grievance is that she wrote nothing here, as her songwriting equally matches her unforgettable voice. Still, a very worthwhile effort from an unsung folk hero."

"It's not bad by any means, in fact it's pretty enjoyable, and Ms. Dalton's voice is truly unique - a Billie Holiday-ish croak which owes as much to cigarettes and booze as to the blues. The trouble is that it all sounds the same. However, I could see how this would be a nice listen if you were a folkie, or just in a particular kind of mood."

"Her voice reverberates in this album like a saxophone in a smoky bar. An evocative instrument which she wields masterfully, transforming songs by other artists into intimate covers which sound as if they'd been written by the singer."

"It generally takes folk blues into an area of torpor that is too much for this listener . I think I could listen to a few tracks of it at a time to establish or enhance a mood, but not the whole thing in one go."

Basket Of Light – PENTANGLE****

Light Flight/Once I Had A Sweetheart/Springtime Promises/Lyke Wake Dirge/Train Song/Hunting Song/Sally Go Round The Roses/The Cuckoo/House Carpenter

Basket Of Light was the follow up album from the folk group Pentangle which brought together some of the leading players in the British folk movement. Night Flight was the theme tune to a popular TV sitcom. (US:200 UK:5)

“A brilliant fusion of folk and jazz, and a terrific album. Pentangle manage to showcase incredible instrumental and vocal talent without seeming like show offs. It fluidly shifts through different genres, interpreted through the folk idiom - jazz, blues, rock and eastern music.”

“Hauntingly beautiful and revealing more and more with every play, Basket Of Light on first listen, sounds quite insubstantial, but in fact almost all of it has a melodic character that was entirely out of reach of the more popular rock music from the late 1960s. It stands as an album with a mood of its own: a timeless, alternately joyful and despairing mood that is so typically and so beautifully English.”

“Given a big boost by Light Flight being used as the theme music to a TV drama, the Pentangle's Basket Of Light is a grab-bag of folk originals as well as traditional standards, all given a mild twist - a jazz rhythm here, a bit of rock and roll energy there, and some occasional light psych touches. Pleasant enough, and if you are into traditional British folk you might find it a rewarding experiment, but if you aren't especially into folk the album doesn't deviate from the folk style sufficiently that it would likely appeal to you.”

“They sound like the England you read about in stories, the England your history teachers taught you about, the England you wish still existed. You need to be totally absorbed in their sound to feel that, of course, but Pentangle make it easy for you.”

“The great thing about Pentangle was that they annoyed the folk purists, mixing in elements of jazz and rock. This album has examples of all they were good at, with both original songs and traditional numbers. And it doesn't outstay its welcome.” “Pentangle's biggest popular success, this is a very good record that mixes originals, mostly by Bert Jansch, with traditional folk material. It's a sweeter, gentler listen than contemporary Fairport releases, very much a folk record, not a folk-rock one.”

Arthur – THE KINKS****

Victoria/Yes Sir No Sir/Some Mother’s Son/Drivin’/Brainwashed/Australia/Shangri-La/Mr Churchill Says/She Bought A Hat Like Princess Marina/Young & Innocent Days/Nothing To Say/Arthur

Conceived as the soundtrack for a TV play which was never made, The Kinks’ Arthur traces the life of the average man during the decline of the British Empire. It was a critical success, but relative commercial failure. (US:105)

“Every song on the album tells a different story to which many people can relate, and at the same time, they're all catchy, inventive pieces of music. The lyrics are full of social commentary concentrated on British society, history and way of life, often ironic and gently mocking. Although not a concept album as such, The Kinks wonderfully mixed raw energy and melodic sophistication.”

“This is probably Ray Davies at the peak of his songwriting prowess. The great thing about this album is that it successfully combines the band's melodic pop sense with their earlier, uptempo rave up sound on a few tracks. For those who can appreciate it, you'll find this album is one of the very best of the 60s.”

“The band is firing on all cylinders, and everything - lyrics, melodies, arrangements, playing, production, dynamics, diversity, vibe, sequencing, synergy - are virtually unsurpassed, in Kinkdom and indeed all of rock music. They move from chamber pop, orchestral pop and guitar-driven melodic rock, sometimes within the same song, with masterful, easy confidence.”

“This is classic Brit rock from the late 60s. Ray Davies intelligent lyrics are one of the strong points of the album, which showcases the many different facets of The Kinks from driving rock to sublime balladry. A concept album about a man dreaming of England’s past and a future in Australia. But its about a lot more than that, its the fall of the British Empire and the effect on the British psyche. Under the superb harmonies there is a bitter resentment of the British Empire and what it stands for - stiff upper lip-ness and all that.”

“This recording was, The Kinks finest hour. Composed by Ray Davies as the score for a 1969 British TV series that never got off the ground. It is neither a rock opera, nor a portentous retelling of the history of England. Rather, it's a collection of postcard perfect scenes of everyday life in the suburbs of England.”

Puzzle People – THE TEMPTATIONS***

Can’t Get Next To You/Hey Jude/Don’t Let The Joneses Get You Down/Message From A Black Man/Its Your Thing/Little Green Apples/You Don’t Love Me No More/Since I’ve Lost You/Running Away(Ain’t Gonna Help You)/That’s The Way Love Is/Slave

A generous helping of late 1960s psychedelic soul from The Temptations, plus some rather dubious covers. Puzzle People includes the US No. 1 hit single I Can’t Get Next To You plus the US No. 20 Don’t Let The Joneses Get You Down. (US:5 UK:20)

“I'm not quite sure what to make of this. Even with some in your face scorchers such as I Can't Get Next To You and Don't Let The Joneses Get You Down, it feels like Norman Whitfield tried too hard to consolidate rather than press for the gold. Hey Jude belongs in the same mould as In A Mellow Mood, It's Your Thing finds Dennis, struggling to put his mark on someone else's song. Message from A Black Man, powerful and defiant as it is, might have worked better on a less self conscious LP. Good outweighs bad only by the tightest of margins here.”

“Several Temptations classics from their psychedelic soul period. There are tracks here that might appear to be filler such as Little Green Apples, Hey Jude, and even It's Your Thing. But the arrangements, both musically and vocally, lift these tracks into something special.”

“Eclectic, psychedelic, funky soul from The Temptations, even by their standards this is varied, ranging from the light social consciousness of Message From A Black Man and Slave, through the rocking dance floor orientated I Can't Get Next To You, to the cheesy but innovative covers of Hey Jude and Little Green Apples. There’s never a dull moment here.”

“This is one of the cornerstones of psychedelic soul, ranging from the political defiance of Message From A Black Man to the funk of Slave, to driving jams like Don't Let The Joneses Get You Down, to a fun quasi-barbershop reworking of Hey Jude. Diverse, eye-opening and fun.”

“Norman Whitfield and The Temptations were a match made in musical heaven. The Temptations were on a roll with new member Dennis Edwards. This album covered it all - love, respect and pride. A faultless listen from beginning to end, and in my personal opinion the best album they made.”