Live - IRON BUTTERFLY***

In The Time Of Our Lives/Filled With Fear/Soul Experience/You Can't Win/Are You Happy/In-A-Gadda-Da-Vida

The sole live release from heavy rock pioneers Iron Butterfly. Unfortunately, but alas predictably, it includes their best known song, the highly self indulgent In-A-Gadda-Da-Vida. (US:20)

"Some of these tracks, namely their signature tune, suffer from the live treatment, while others benefit. Liking the studio version of IGDV as much as I do, it's really tough to get my head in a place that can appreciate this unnecessarily sped up live version. You Can't Win is one that sounds better here. Overall, the prevailing sound on this is hard rock, as you would probably expect."

"The classic Iron Butterfly Live from 1970 is an acid trip through the worst nightmares of the 60s, which starts with the sordid notes of In The Time Of Our Lives, baroquely driven by the terrifying Doug Ingle's organ and his Bela Lugosi-esque vocals, segueing into a gorgeous version of Filled With Fear."

"It’s the live version of In-A-Gadda-Da-Vida that’s the shining star on this live album. Compared to the studio version, they play it a little faster, the bass line is both further up in the mix and more buzzy, the audience reaction/participation is not too obtrusive, and the drum solo is better."

"At this point, after the success of the In-A-Gadda-Da-Vida album the band must have been on a high and with good reason - not many bands have released a song that is almost twenty minutes long let alone have a huge hit with it. It is done here in all its glory and with some added confidence, oozing psychedelic insanity with its driving, droning, hypnotic riff and stoned lyrics."

"This could have been a terrific album, especially since Iron Butterfly were not the type of band to excessively enhance their sound in the studio. It starts out well enough, with primal versions of In The Time Of Our Lives and Filled With Fear from the then recent Ball, and the jangly anti-war anthem You Can't Win from their oft-neglected debut album. But then, the albatross. Yes, it would be the definition of cheating the audience to go to an Iron Butterfly concert in 1969-70 and not hear In-A-Gadda-Da-Vida in its full-blown glory. But putting it on the back of the resulting album means that well over thirty minutes of album space was devoted to this track alone. If it were appreciably different from the studio rendition, including it here might have some merit, but it's not."

Elton John - ELTON JOHN*****

Your Song/I Need You To Turn To/Take Me To The Pilot/No Shoe Strings On Louise/First Episode At Hienton/ Sixty Years On/Border Song/The Greatest Discovery/The Cage/The King Must Die

The excellent self titled follow up album from singer songwriter Elton John heralded his commercial breakthrough, thanks to the transatlantic top ten hit single Your Song. (US:4 UK:5)

"There are many great songs here and it's hard to choose some highlights, because this album works best as a totality. But if you force me to select my favourite song, it would be the final track The King Must Die, one of his very best songs of all-time."

"It’s hard to believe that so many years have passed since Your Song was released. This haunting love song marked his first US hit and remains a testament to the idea of what’s simple is best. Two other well known tracks grace this release: Border Song, another simple tune that focuses on vocal and piano, is about peace and tolerance. Take Me To The Pilot has undergone a number of incarnations over the years. Here it is the first great rock track of his career, complete with a gospel-tinged vocal and remains an excellent early effort."

"This album is pure genius and some of Elton’s greatest work. Sixty Years On is his best song ever, with First Episode At Hienton and The Greatest Discovery coming pretty close. All the remaining songs are very good - there is not one boring second."

"Your Song and Border Song are classics. Sixty Years On, The Greatest Discovery and First Episode At Hienton are masterpieces of songwriting. A beautiful, mellow album by one of the truly great songwriters and also a very fine pianist."

"Elton's second album is a much better listening experience than his first with superior production and much better songwriting. Your Song is the start off track and one of the best known Elton John songs of all-time. Simply brilliant."

"Elton John's second album established him in the pantheon of up-and-comers to watch. With Gus Dudgeon's gorgeous production and Paul Buckmaster's string arrangements, Elton now had a team worthy of his music.”

"As the 1970s began, a new sound, the singer-songwriter era, began to dominate the music charts, becoming an important part of both the pop and rock music repertoire. Among its first stars was Elton John. This highly lauded self-titled album would set him on the path to make him a world class rock star."

Greatest Hits - THE 5TH DIMENSION****

Aquarius - Let The Sun Shine In/The Girls Song/Stoned Soul Picnic/The Worst That Could Happen-Wedding Bell Blues/California Soul/Up Up & Away/Blowin' Away/Carpet Man/Workin' On A Groovy Thing/Paper Cup/Sweet Blindness

The first compilation album from the pop-soul group The 5th Dimension, covering their sixties hits. There are more comprehensive collections available today which also include their many seventies releases. (US:5)

"The 5th Dimension were able to release music that encompassed not only soul but also R & B plus a little vocalese as well. All of this tied together with a perfect pop sensibility. Take a look at the song selection and you'll see what I mean. Composers such as, Jimmy Webb and Lauro Nyro plus more. For the most part each song is extremely well performed and the musicianship is first-rate."

"A great compilation from a truly great (and under-appreciated) vocal band. This group deserves far more recognition for its influence on some great pop music that followed."

"This superb LP captures the all the great hits by this fabulous singing group. Listening to their Laura Nyro (Wedding Bell Blues) and Jimmy Webb (Up Up & Away, Paper Cup and Carpet Man) brings you back to the great music era of the late 60s when the music made you feel good."

"The songs feature wonderful harmonies on great songs written by Laura Nyro that make me feel all sunny and happy like I'd had two non stop pitchers of Kool-aid. This is feel good pop music at some of its best. I've always dug Marilyn McCoo's vocals and still feel she is a Foxy Lady. The arrangements and production had a style and feel that spoke so much of the time period and yet it sounds like its own creation. This is must have feel good music."

"These are the original arrangements and recordings that caused folks like me to love the 5th Dimension. Their musical blends, harmonies, and arrangements are a rare find these days. This is an excellent compilation if you are a fan of the group."

Live Cream - CREAM***

NSU/Sleepy Time Time/Lawdy Mama/Sweet Wine/Rollin' & Tumblin'

The first live only album from the blues-progressive group Cream, released a year after they disbanded. With one exception the extended tracks are from their debut album. (US:15 UK:4)

"The first Cream album after Goodbye. Thousands of still broken hearted fans grabbed it and held it to their chests for comfort - and not completely beyond reason. There is some great playing and jamming here, as well as one of rock history's first bonus tracks, Lawdy Mama, essentially an embryonic version of Strange Brew with different words."

"Some bands do their best work in the studio, using the equipment available there as an instrument in its own right. Others thrive on stage, each performer playing off of his or her band mates, creating a whole greater than the sum of the parts. Cream were one of the latter groups, and this album is an excellent example of what can be achieved by talented musicians simply allowed to jam."

"You can jam, but you're still not getting anywhere. And Clapton deserves a big spanking for all his sneers about Cream's aimlessness when this album serves as aural proof that he was the worst offender."

"When listening to these recordings, one can see the high energy and explosive inventiveness in Clapton's playing that has not been heard in any of his other groups. Bruce and Baker push him to experiment with tone, phrasing and volume. His solo on Sleepy Time Time is especially juicy and Sweet Wine is a nearly seventeen minute journey into the then uncharted territory of jazz-rock."

"Superb live recordings of Cream. Jack Bruce's bass is powerful as always. Clapton dishes out the guitar licks and Baker keep the rhythm going strong. The whole band is in top form. The opening track of N.S.U is fiery and powerful leading up to a great jam. For awhile I thought I was sitting back and listening to Strange Brew when I realized it wasn't this at all, but instead a lesser song, Lawdy Mama, with the exact same melody but different lyrics."

"Since Fresh Cream was primarily a blues-rock album, Live Cream exudes the same feel. On most of the numbers, however, such as the opener, N.S.U. and Sweet Wine, the blues are fairly rapidly clicked up a notch as the band jams in rock mode."

Mantovani Today - MANTOVANI***

Leaving On A Jet Plane/Midnight Cowboy/Up Up & Away/The Windmills Of Your Mind/Lemon Tree/Wand'rin Star/Them From The Virginian/Where Is Love From Mozart /I'll Never Fall In Love Again/Aquarius/Deserted Shore/Good Morning Starshine/Theme Piano Concerto No 21/My Way

Mantovani goes all mod and 'with it' as his cascading strings demonstrate enough flexibility to embrace several pop hits from the late sixties. This forgotten release would be his final top twenty album of new material. (US:77 UK:16)

"Very nostalgic and relaxing. Has melodies of great songs from the fifties, sixties and seventies in beautiful arrangements. Mantovani was a genius."

"I guess the old fogies were trying to 'get modern' in hopes of salvaging their diminishing popularity. Ray Conniff was the only one who pulled it off."

In The Wake Of Poseidon - KING CRIMSON***

Peace - A Beginning/Pictures Of A City (Including 42nd At The Treadmill)/Cadence & Cascade/In The Wake Of Poseidon (Including Libra's Theme)/Peace - A Theme/Cat Food/The Devil's Triangle/Peace - An End

In The Wake Of Poseidon was the follow up album from progressive group King Crimson which some critics considered to be too similar to its predecessor. (US:31 UK:4)

"Crimson's second album is a mostly competent re-hash of their first with some interesting new ideas thrown in for good measure. After the acapella intro, the first three tracks sound like outtakes from the first album - but they're not bad in the slightest. The title track has some incredible melodies and further entrenches the mellotron as the first thing that comes to mind when you hear King Crimson. A short interlude brings us into the groovy Cat Food. The schizophrenic piano is something we haven't heard before. The song is home to some killer guitar and piano improvisation before trailing off into beautiful noodling. The album's eleven minute epic is a fascinating rock recreation of Holst's Mars that on some levels fails embarrassingly."

"The title track is pretty fine in terms of early prog, everything else here however is vastly forgettable. Like In The Court Of The Crimson King, with a mild case of substance deficiency. What this does have however, is needlessly large amounts of time spent on seemingly pointless interludes and intros and outros pretty much all over the place."

"What a change from the debut. This album seems to me like a collection of leftovers and outtakes. The very first full song Pictures Of A City is obviously nothing more than a reworking of 21st Century Schizoid Man. One of the better pieces is The Devil's Triangle which was inspired by Holst's Mars from The Planets Suite. An OK album but too obvious that it is a half-baked reworking of the debut."

"A bit of a travesty, really, saved from utter disaster by enough brilliant and engaging musicianship, this progressive rock album is almost a carbon copy of Crimson’s fantastic debut. The only notable difference between the already established symphonic prog with experimental and ambient leanings familiar from the first album is a greater stress on jazz-rock improvisation and more experimental adventures."

"There has been a lot of criticism of this album for being a near remake of the first, and it is. But why is that a bad thing? I'd call it a re-imagining, not a remake, all the songs are completely different, but only the moods and sharp changes are similar."

Let It Be - THE BEATLES****

Two Of Us/Dig A Pony/Across The Universe/I Me Mine/Dig It/Let It Be/Maggie Mae/I've Got A Feeling/One After 909/The Long & Winding Road/For You Blue/Get Back

Let it Be was the final album release of new material from the Fab Four, although not their last recordings. Produced by Phil Spector, it gathered together the best of their leftover songs, a few of which don't quite match up to the group's high standard. Nevertheless, it includes quite a few gems including three US chart toppers, Get Back, The Long & Winding Road and the title track. (US:1 UK:1)

"Let It Be has always been the most undervalued album in the Beatles' catalogue. It was the Fab Four's attempt to record an album of all new material completely live, with no studio overdubs. But various problems throughout the project began to pull the band apart. In the end, The Beatles recorded a whole truckload of material, but were so soured by the experience that they couldn't bear facing the task of going through the tapes. So, it was up to legendary producer Phil Spector to cobble together an album from the troubled sessions."

"Three of the best songs ever recorded are to be found right here. Let It Be, The Long & Winding Road and Across The Universe. Get Back is also a Beatles classic. The rest of the album more than any other showcases the band's rock 'n' roll roots, but apart from the two short tracks, every track has a certain fond appeal."

"By normal standards, this is a brilliant album. By Beatles standards, this is a weak album, simply because they had recorded so many outstanding albums before they did this one. Nevertheless, there are some fine songs here."

"This album has been criticised more than any other original Beatles album, from the songs themselves to the over-production of Phil Spector. My advice: buy it yourself and listen to it. I think you will conclude that, while a bit thin in places, it is still a good collection of songs. And Spector's production, while rightly slammed as over-the-top on The Long & Winding Road, was pretty solid on the rest of the package."

"This album is somewhat problematic to review. It may possibly be the Beatles worst album, but it is still better than most rock groups best albums. It is sloppy and technically imperfect, but there are a lot of great songs here. It features three genuine classic hits; Let It Be, The Long & Winding Road and Get Back. The other songs are also good, with the possible exceptions of the tossed off jams, Dig It and Maggie May."

It Ain't Easy - THREE DOG NIGHT****

Woman/Cowboy/It Ain't Easy/Out In The Country/Good Feeling (1957)/Rock & Roll Widow/Mama Told Me (Not To Come)/Your Song/Good Time Living

The American pop-rock group Three Dog Night were at the height of their popularity during the early 1970s. They were largely dismissed by music critics as they did not write their own material. It Ain't Easy includes the US chart topping single Mama Told Me (Not To Come) and the US No. 15 hit Out In The Country. A lot more popular in the States than in Britain, the former track was their only UK hit, peaking at No. 3. (US:8)

"Some of Three Dog Night's best ballads are present here (Out In The Country, Your Song, and Cowboy). I personally think their version of Your Song is superior to Elton's. Mama Told Me of course is a classic. Rock & Roll Widow and Good Feeling (1957) are dubious efforts."

"A good solid effort from the blue eyed soulsters, with some country sounding songs and a bluesy acoustic title song. Good listening here."

"Some good rockin' bluesy pop songs. Woman, Rock & Roll Widow and Mama Told Me are top class. Cowboy is different, and a nice change of mood."

"This album definitely has the trademark late 60s early 70s instrumentation and reminds me of the sounds of psychedelic bands of that era. The songs are all different and there were some of the greatest songwriters and musicians backing them up on this album which gave it an edge. Vocals and harmonies were awesome and true to form. The guitar work is strong but under-rated, but after this length of time it still stands the test of years."

"The best Three Dog Night album without a doubt. I've been listening to this one since it was first released and I've never grown tired of it. I own most of their stuff, and I like it all, but this one has always been the cream of the crop for me. No filler songs at all, just pure groovin' all the way through. Contains their great hit Mama Told Me Not To Come, probably the main draw for most people, but don't stop there. Woman, the title track, Cowboy, Out In The Country and a great cover of Elton John's Your Song make this album a must have. I take this disc to work with me all the time. Timeless rock and roll from one of the best bands to come out of the 60s.”

"I believe this album to be their best. While all their music was superb, the overall quality of this album surpassed the rest."

Band Of Gypsys - JIMI HENDRIX****

Who Knows/Machine Gun/Changes/Power Of Soul/Message To Love/We Gotta Live Together

Band Of Gypsys was the last album release during Jimi Hendrix's lifetime. It features live performances at the Fillmore East, New York of songs unreleased on his studio albums. (US:5 UK:6)

"Whereas Hendrix' work with the Experience was eclectic, psychedelic and spaced, the Band Of Gypsys had him getting down in a funk groove. And a particularly hard one, at that. Culled from live performances, Band Of Gypsys is a smouldering slab of electrified, molten funk metal that brims with attitude, passion, cynicism, hope and assertiveness."

"Most of the songs were never recorded in the studio and this fact makes this record a must have for every Hendrix fan as the only live album that was authorized by Jimi himself."

"In my opinion Hendrix was a musician who wasn’t able to show his entire potential in the studio, but live he was indisputable the best guitar player to have ever walked on earth. Also the interaction between the three musicians is great and even though some of the jams are very long it never gets boring."

"Not exactly a classic Hendrix album, apart from Machine Gun it doesn't really contain any outstanding songs, but it's a cool group effort encompassing rock, funk and soul."

"Of the four albums Hendrix released in his lifetime, it is evident that Band Of Gypsys is the weakest link. Perhaps it was only ever going to be a phase that Hendrix went through, but the impression I get from listening to this album is that he was just going to get ever more self-indulgent and over-complex as time went on."

"The band is totally on fire, Hendrix is on top form with the masterful Machine Gun, a true artistic statement of the past and future of electric guitar playing. Never has a wailing guitar said so much without words."

"Hendrix takes a major detour with Band of Gypsys showcasing performances which must have stunned and enthralled those who saw it live. This album has it all, funk, rock, blues and jazz, with a rhythm section in Buddy Miles and Billy Cox that really makes it happen. Each of the songs is truly unique, masterful in structure and presentation. Machine Gun is a brilliant work of guitar artistry and emotion."

Cricklewood Green - TEN YEARS AFTER*****

Sugar The Road/Working On The Road/50000 Miles Beneath My Brain/Year 3000 Blues/Me & My Baby/Love Like A Man/Circles/As The Sun Still Burns Away

With Cricklewood Green blues-rock group Ten Years After, led by virtuoso guitarist Alvin Lee, deliver their most highly regarded album. Includes the UK top ten hit Love Like A Man. (US:14 UK:4)

"This is their masterpiece. Psychedelic blues-rock was rarely, if ever, this good. Alvin and the boys were at the peak of their powers and it shows. Love Like A Man and Circles back to back go from massive guitar hard rock to magical psychedelic rock. For me, blues-rock has never been better."

"Ten Years After's first great album. Awesome songs and a great overall consistency. Just the right amount of psychedelic rock and roll blues. Love Like A Man, Sugar The Road, Me And My Baby are just a few of my favourites songs. It sounds clichéd but they just don't make 'em like this anymore."

"Ten Years After, with front-man Alvin Lee, made a good handful of solid blues/rock albums in the late sixties and early seventies. Alvin Lee is a terrific guitarist, and he had the reputation of being the fastest in the world at the time, when Ten Years After were at the height of their popularity. Lee wrote almost all of their music, and he had a skill of writing catchy blues based guitar riffs. One of their best known songs of this type Love Like A Man is the key track on this album. Though his songwriting is somewhat uneven, probably because of pressure to constantly to come up with material for new albums and singles, their best songs still sound great today."

"It took Ten Years After a few years to make a decent album that would be memorable and showcase the band’s talent on vinyl, but with Cricklewood Green they finally seem to have gotten the balance between song structure and cohesive performance right. Cricklewood Green is a tight all round album after so many off kilter excursions. Alvin Lee combines both his songwriting and playing talents to great effect. Working On The Road is about the best track I have ever heard concerning life in a rock band."

"The best stuff here, are the longer tunes, especially 50,000 Miles Beneath My Brain, which for my money sports Lee's best work on the album, although Love Like A Man runs a close second. It would be easy to lose a band like this among the plethora of psychedelic/blues bands coming out of England in the late 60s. If you love good rock and roll guitar, Ten Years After should not be missed, this is one of their best."

McCartney - PAUL MCCARTNEY****

The Lovely Linda/That Would Be Something/Valentine Day/Every Night/Hot As Sun/Glasses/Junk/Man We Was Lonely/Momma Miss America/Teddy Boy/Singalong Junk/Maybe I'm Amazed/Kreen Akrore

The release of a mainstream solo album from a former Beatle was a major musical event at the time. Unfortunately McCartney disappointed many fans with the inclusion of too many throwaway tracks amongst the obvious gems. (US:1 UK:2)

"On it are two phenomenal, five star songs - the well known and well loved Maybe I'm Amazed, and the highly underrated Every Night. Both are highly memorable, which is the point of pop music. There's a couple of other songs with a good hook and melody, but not much else to offer, like Junk and Teddy Boy - both are let down by poor lyrics. However, McCartney suffers most from filler - there are several brief instrumental tracks that develop no musical ideas and which just take up space."

"It seems like there's some wasted potential here: unfortunately many of the songs are too short and they end way too early. Paul McCartney himself has said that almost all these tracks are throwaways. Highlights are Every Night, That Would Be Something and of course the masterful Maybe I'm Amazed - a truly wonderful song that holds up even when compared to his Beatles material. A pretty good album that could have been much greater."

"Solid first solo outing by Paul McCartney. The music is very rich and what we have got here is the proof that he has got all the potential to lead a solo career without being a part of the Fab Four. The instrumental Momma Miss America is excellent, Every Night is one of my personal favourites and Maybe I'm Amazed is the summit, for me, of McCartney in his solo years. Another instrumental Singalong Junk is worth a listen too."

"An understated album, which feels more like a scrapbook of ideas for what could have been new Beatles songs had things turned out differently. With songs that have fully developed, like Every Night and Maybe I’m Amazed, you’ve got some McCartney classics, and whilst Junk feels like it could have been so much more, it still works perfectly well as it is. A lot of the rest just feel like ideas for the melting pot, but interesting ideas, at least."

"Much of McCartney sounds like a homemade project, which makes sense considering he performed the entire album by himself. This results in much of the material sounding like a rough sketch, plus there are too many instrumentals."

Benefit - JETHRO TULL*****

With You There To Help Me/Nothing To Say/Alive And Well And Living In/Son/For Michael Collins Jeffrey & Me/To Cry You A Song/A Time For Everything/Inside/Play In Time/Sossity You're A Woman

Ian Anderson and Jethro Tull continue to fire on all cylinders. Benefit features a stunning collection of progressive rock songs which cemented the group's reputation as one of the hottest acts of the early 1970s. (US:11 UK:3)

"I remember when this came out all those years ago thinking how terrific this album was and my view has not changed with the years. The mood is sombre but as a whole this album is the most emotive, moody and soulful in the Tull catalogue. In this respect it is unique."

"Benefit is one of the greatest heavy progressive rock albums every made. Every song here simply cooks. Guitarist Martin Barre is astounding; his guitar is sharp and stinging. Ian Anderson's vocals are amazing and his flute gives Tull the extra edge they need to ascend to true greatness. Benefit is one of the greatest, and heaviest, of all the first generation progressive rock albums - all the songs are amazing."

“Benefit is one of Jethro Tull's more challenging albums, in that it demands the listeners' full attention, dedication, and willingness to revisit it for repeated listens for its musical gems to be revealed."

"As their fame continued to rise, so did the quality of their material. This is similar to the previous release, but slightly better, and with some psych influences this time round. On top of their distinctive blues based prog rock are a few soft folk driven ballads thrown in for good measure. The songwriting at this time in their career was top rate."

"The music is intricate and multi-layered, and yet somehow natural and organic, a feat that is well demonstrated in the opening song, With You There To Help Me. The crescendo of flute, keys, guitars (both acoustic and electric) and vocals is so carefully crafted, that one marvels at the cohesiveness of the piece."

"The years have been good to this one. Still packs a punch. Powerful writing, powerful playing. Before Ian Anderson developed megalomania, he was an amazingly good and original songwriter and performer."

"I could really go on about how special and brilliant this album is - every track. I'd give it the nod over Stand Up for being a little more consistently devastating."

Parallelograms - LINDA PERHACS***

Chimacum Rain/Paper Mountain Man/Dolphin/Call Of The River/Sandy Toes/Parallelograms/Hey Who Really Cares/Moons & Cattails/Morning Colours/Porcelain Baked Over Cast Iron Wedding/Delicious

Parallelograms was the sole 20th century album release from the Californian psychedelic folk singer-songwriter Linda Perhacs. Although virtually unknown she has been compared favourably to Joni Mitchell.

“Linda Perhacs could easily have made the big time on the strength of this release. Its folky singer-songwriter style is reminiscent of early Joni Mitchell, confident and focused, it ought to have appealed to a similar fan-base. Perhacs has a wonderful voice, perfect for the moody and magical world she conjures up from the sea and the wind, the leaves and the raindrops.”

“The mood here is flawless, hypnotic, subtly psychedelic, simultaneously hazily nocturnal and narcotically dawn-like. Perhacs' voice isn't quite as lithe or showy as that of similar female singers, but it fits the songs she wrote and serves the words and atmosphere perfectly.”

“Albums like Parallelograms only go to show how the big bang of creativity that was the late 60s and early 70s left an overwhelmed music loving population unable to digest everything that had been released.”

“This gorgeous psychedelic folk album from mysterious love child Linda Perhacs has been likened to Joni Mitchell, though darker and more experimental. It is an absolute gem that should be heard by more.”

“This album virtually epitomizes the term mood music, as it not only creates a mood with its intricate style, but almost requires the listener to be in a certain mood in order to enjoy it. This record was so soft and laidback as to practically put me to sleep.”

“It would be impossible to not compare this to Joni Mitchell. They both share folk singer voices that reside in a high pitched bird-like register, only I think Linda's is perhaps a little more ethereal and trippy. It sounds rather breezy and haunting and perfectly suits her pop psychedelic folk style. The emotion she manages to convey with her rollercoaster style voice is remarkable.”

“Here's a superb long-lost gem, a perfect example of the more thoughtful and optimistic sensibilities of the time. Linda Perhacs' voice is haunting, playful, yearning, sensual, or soaring, just as each song demands.”

Gracious! - GRACIOUS***

Introduction/Heaven/Hell/Fugue In D Minor/The Dream

Self titled debut album from the British progressive band Gracious. Their music featured tracks of extended length in which some critics considered that they had overreached themselves.

“This is one of those albums that are all over the place. Some call it messy or unfocused. Some may call it pompous and overreaching and it's obvious that at times this does seem like an amateurish attempt to create something grander than is actually realized.”

“The music meanders through different genres ranging from heavy psych to mellotron drenched symphonic prog, and even from ragtime to medieval folk music with a whole track devoted to a classical fugue. These come and go and ramble and twist and turn and you never really know where they are going, which is part of the charm.”

“Side A is really nice, melodic and accessible, especially Introduction and Heaven. With Hell they felt compelled to create a spooky quirky messy recording, but to me it's still within likable boundaries. Side B is much less interesting; it has more ambition than substance, but a track of 17 minutes is over the top for the ideas at hand.”

“A worthwhile album, especially on the freak-out moments, which are top notch. This band was capable of wonderful pop melodies when the mood suited them.”

“Their debut was a careful mix of classical piano/harpsichord/mellotron work with bluesy electric/smooth acoustic guitars and dreamy vocals, creating an album consisting generally of complicated structures.”

“Semi-commercial prog rock, featuring vocal harmony and some hard rock passages. Overall, it suffers from substantial inconsistency.”

“If patchy and eclectic were synonymous this would be a masterpiece. That said, this is an album of fairly good musicianship, blessed with several good passages, or tracks, which deserve an attentive listen.”

“Their debut still carries strong reminders of the psych era but pushes onward into classical territory, resulting in a nice blending of various styles in a rock format.”

Egg - EGG***

Bulb/While Growing My Hair/I Will Be Absorbed/Fugue In D Minor/They Laughed When I Sat Down At The Piano/The Song Of McGillicudie The Pusillanimous/Boilk/Symphony No 2 Suite

This eponymous album was the first released by the Canterbury scene progressive band under the moniker of Egg. They were previously known as Uriel but for contractual reasons their debut album was released in 1969 under the name of Arzachel.

“Egg marry abstract Canterbury Jazz, ELP style symphonic workouts and absurd avant-gardisms with results that are masterful.”

“This reminds me a lot of the psych-prog bombast of early Soft Machine and Caravan. A little experimental and funny, great playing, it's a Canterbury record alright.”

“After releasing a self titled album as Arzachel and shedding guitarist Steve Hillage, the three remaining musicians regrouped and released a self-titled album as Egg. It's slicker and more restrained than before but still bizarre, humorous and borderline disturbing, particularly on the second side instrumental suite.”

“These guys used to be known as Arzachel and their only album was a masterpiece. This is mostly a very keyboard driven instrumental prog album. There are shorter tracks on the A-side which are all quite mediocre material. The second side comprises just one very long track Symphony No. 2 which has four parts of which the last is the best.”

“This LP features some absolutely phenomenal playing, and hardcore prog fans should give it a try. Keyboards fanatics should absolutely pick it up. Vocals are sparse and the long, inventive instrumental sections really suck you in and get you caught up in the classic prog jamming. Egg manage to come up with tons of catchy riffs that are addictive.”

“At times this sounds reminiscent of ELP but not quite as keyboard dependent, and with a somewhat harder rock sound. A few too many piano solos make this inconsistent for my taste, but it is still quite good overall.”

“And the egg was hatched: avant-garde machines making noise, keyboards pulsating, psychedelic quasi-prog bliss and majestic prog symphonies, this is one of my favourite Canterbury albums.”

A Time Before This - JULIAN'S TREATMENT***

First Oracle/The Coming Of The Mule/Phantom City/The Black Tower/Alda Dark Lady Of The Outer Worlds/ Altarra Princess Of The Blue Women/Second Oracle/Twin Suns Of Cetauri-Alkon Planet Of Centauri/The Terran/ Fourth From The Sun/Strange Things/A Time Before This

A Time Before This was the sole album release from the short lived British progressive band Julian’s Treatment, whose sci-fi imagery was melded to the dominant Hammond organ sound.

“The tracks have an aura of the weirdness from those times, sometimes attempting to synthesize some psychedelic/folky experiences with more sinister, mystical contours.”

“This is a charming British proto-prog/psychedelic rock gem, creating a mood for cosmic jamming. Atmospheric music eventually surfaces via the emerging progressive scenery, as the album is dominated by the Hammond organ.”

“What you get here are some long, instrumental organ-based pounds, which contain a nice intellectual depth, lots of dreamy female voices, which sometimes turn into dramatic and crying performances, plus some fantastic flute drives. Concept helps the album pass through different climates, from discreet classical preludes to powerful organ waves, and from narcotic psychedelic deliveries to some harder parts with a more pronounced electric guitar. Breaks and tempo variations are strong components.”

“The Hammond work here is what makes this so good, this is a must have for the organ aficionado. It's multi-layered, sometimes jazzy, evoking haunting moods. Another obscure prog/psych gem.”

“This has never really resonated with me and, although it has grown on me a bit with repeated listens. Maybe it's the ridiculous sci-fi lyrics, highlighted by the spoken interludes that are especially distracting on some tracks. A Time Before This does attempt to resuscitate itself on the second half, beginning with the instrumental Terran, but the overall result is still decidedly mediocre. A decent, albeit far from essential, prog/space rock album.”

“They were a great prog-rock band from the early 70s. The music is very dynamic, great melodies, and with an impressive female vocalist.”

Tapestry - DON MCLEAN ***

Castles In The Air/General Store/Magdalene Lane/Tapestry/Respectable/Orphans Of Wealth/Three Flights Up/ And I Love You So/Bad Girl/Circus Song/No Reason For Your Dreams

Tapestry was the debut LP from the New York singer songwriter Don Mclean. This collection of introspective folk tunes has been overshadowed by the monumental success of his follow up album.

“This is my favourite album by Don. Castles In The Air is a real accomplishment, a great and lovely song. Magdalene Lane and Orphans Of Wealth are also fine tracks. This is a solid album with good classic old school folk tunes.”

“Not as good as American Pie, but still some gems can be found. Castles In The Air is a great introduction, and the disc is a capsule of late 60s folk from a burgeoning songwriter. Many tracks have an acoustic spookiness to them.”

“What a strange, moody, angst-ridden album. Dripping in depression, even the happy songs sound full of despair. And the unhappy songs, well, they're utterly dire. Yet I don't find it unpleasant to listen to, quite the contrary, I love it more every time I play it. I used to be a bit lukewarm towards it, but I'm beginning to think it's a masterpiece.”

“Tapestry is Don McLean's most socially conscious album, featuring songs about poverty, the environment, justice and race. It is a half and half mixture of topical folk music and introspective singer-songwriter material, and definitely has elements of the protest '60s era as well as the sensitive '70s.”

“Some wonderful songs, Orphans Of Wealth must be one of the most powerful songs ever written, whilst And I Love You So is a classic love song. However, their very diversity makes this a somewhat disjointed album.”

“Don's first album is full of great songs sung with terrific energy. Castles In The Air is the track most will know, but all of them stand up to examination.”

“Listen to his warm and clear voice, the way he plays his guitar, and the way he builds the language that he used in his songs, like a poet.”

“Don displays his incredible voice, his fantastic finger picking skills, his ability to write melodies and his poetic lyrics.”

The Garden Of Jane Delawney - TREES***

Nothing Special/The Great Silkie/The Garden Of Jane Delawney/Lady Margaret/Glasgerion/She Moved Thro' The Fair/Road/Epitaph/Snail's Lament

Debut album from the short lived British folk rock band Trees. Despite being compared favourably with some of the biggest folk acts of the time, as well as having an excellent female vocalist, commercial success still eluded them

“Trees have a sound similar to that of Sandy Danny era Fairport Convention and early Steeleye Span; traditional and pure female vocals, folky guitar drones, some playfulness and beautiful ballads in the minor key. Yet Trees are slightly more progressive, with some nice psychedelic electric guitar playing and a more dynamic approach to songwriting.”

“This debut album from Trees sees them producing music which fits neatly into the electric folk tendency as developed by acts like Steeleye Span and Fairport Convention. The psychedelic side of the equation tends to come in when one of the three guitarists goes off on an explosive rock-oriented solo in the middle of the band's folk playing. A solid listen that is worth exploring if you like psychedelic or progressive folk of the 1970s.”

“Much of this sounds fairly traditional but some heavier passages, and the distorted tone on some of the guitar solos pushes it into the folk-rock category. Celia Humphris sings quite beautifully, and has that purity of voice you would expect with this type of music. The musicianship is first-class, notably the interplay between the instruments during moments of collective improvisation.”

“When it came to song writing, these guys had no shortage of ideas, with each song superbly crafted, steadily coming at you in unexpected ways. Fuzz guitar, psych influences, gorgeous female vocals - this album has it all.”

“The music has depth to it, Celia Humphris' voice is beautiful, and the whole album rolls from one amazing song to another. If you like British folk-rock, then you must hear this as they rank with the very best the genre has produced.”

“A wonderful slab of British folk rock. The beautiful and fragile voice of Celia Humphris is the strongest point on this record. The visceral electric guitar solos are strong, and there is a certain psychedelic dimension, but not too pronounced. This music is definitely acoustic guitars driven, good, but not too memorable.”

Juicy Lucy - JUICY LUCY***

Mississippi Woman/Who Do You Love/She's Mine She's Yours/Just One Time/Chicago North Western/Train/ Nadine/Are You Satisfied

Debut album from the British blues-rock group Juicy Lucy, who had a UK top 20 hit with Who Do You Love, a lively cover of a Bo Diddley song. They would disband after a few years following numerous personnel changes. (UK:41)

“The album is mostly just a blues rock record with some very nice moments. However, the lack of absolute killer material makes it nothing more than just above average.”

“These guys quickly mutated into a commercial boogie blues band in much the same manner as Status Quo, though nowhere near as successful. Most of the material on this debut is pretty good, yet lacking in any particular quality which might have propelled it to a higher level.”

“Heavily blues based, the band expanded into hard rock, psychedelia and early prog, playing mostly original material with superb arrangements. The guitar work is simply stunning and miles above anything done at the time, and the throaty vocals are superbly expressive. All the band members play incredibly well, turning this album into a timeless masterpiece. In many respects this encapsulates everything that was great in music by the end of the 1960s: originality, innovation, guts and talent.”

“They came off as one of the more authentic sounding outfits, and were certainly gifted with some amazing players. Owen's effortlessly achieved that '70 year old black guy' sound that others like Eric Burdon could only long for. Check out his grizzled performance on the country-blues number Just One Time.”

“The music is primarily Southern rock with the occasional hint of psychedelia and is competently performed without ever becoming anything too special. There is nothing intrinsically wrong with a band using a musical style that grew in a culture not their own – the brilliance of the late sixties and early seventies musical underground was largely an outcome of borrowing, fusing and experimenting with different global styles within an overall rock context. Yet, despite the fact that Juicy Lucy were obviously talented musicians and able to deliver a collection of enjoyable tracks, I can't help thinking that the music on this album is somehow inauthentic. It sounds more like a tribute to this musical style rather than first hand experience of the culture from which it originates.”

12 Songs - RANDY NEWMAN***

Have You Seen My Baby/Let's Burn Down The Cornfield/Mama Told Me Not To Come/Suzanne/Lover's Prayer/Lucinda/Underneath The Harlem Moon/Yellow Man/Old Kentucky Home/Rosemary/If You Need Oil/Uncle Bob's Midnight Blues

Singer songwriter Randy Newman is best known for his quirky and sardonic lyrics. His second album release 12 Songs was originally a demo recorded before his self titled debut, and is notable for its stripped down backing.

“Modestly named 12 Songs Newman's second album eschews the melodramatic songs of love and despair that peppered his self-titled debut, replacing them with a constant stream of songs from the perspective of losers, bigots, weirdos, loners and psychos. These impeccably observed vignettes are simultaneously comic and troubling, tapping into a dark vein of humour which came to be synonymous with Newman's work.”

“Newman’s lyrics may jolt and potentially offend but he is so unerringly audacious and honest in his writing, and has such a winning way with a tune, that you can’t help but be taken along by the whole thing.”

“After the orchestral excess of his eponymous debut, Randy Newman stripped back his sound for his second effort, largely relying on a simple piano, guitar, bass and drums format. While this did little to mask the imperfections in Newman's voice, it gave the songs the room to breath in the simpler arrangements.”

“For me this was and still remains Randy Newman's high water mark as a recording artist. The style and sound of the whole LP is sparse and as such rather menacing which suits the subject matter of these songs. Neither before nor since has Newman so convincingly stepped inside the skins of his dark, delusional characters, added to the fact there is not a single bad track on the whole record.”

“Every song is memorable, and he had the good sense to abandon the vaudeville leanings of the first album in exchange for something a bit more primitive.”

“Where the songs are strong though, they are among Newman's most memorable, with the rollicking party tune of Mama Told Me being among Newman's best known songs and Lover's Prayer finding him at his sardonic and cynical best.”

Raw Sienna - SAVOY BROWN***

A Hard Way To Go/That Same Feelin'/Master Hare/Needle & Spoon/A Little More Wine/I'm Crying/Stay While The Night Is Young/Is That So/When I Was A Young Boy

Raw Sienna was probably British blues outfit Raw Sienna’s most acclaimed album. Released at a time when they were undergoing personnel changes, including the departure of vocalist Chris Youlden. (US:121)

“This seems rather diverse, despite its overall blues rock direction. The album is an often overlooked standout of the genre, and, indeed, rocks out at times, with good period flavour to boot. Not too consistent, but worthy of investigation.”

“Raw Sienna is undoubtedly a staple in the British-blues rock category, and arguably their best. The album flows together flawlessly and captivates the audience at first listen; there are no weak links present. This is a quality record that every blues-rock enthusiast should own.”

“Their best album, featuring Chris Youlden's unique and soulful vocals with excellent songwriting. The Savoy Brown album to get if you want to know what this group were all about.”

“Jazzy horns, funky and loose bass, amazing piano and lots of detours in the music, Savoy Brown here take the blues and expand on the genre. The playing is sophisticated but gutsy, and the writing is organic, yet complex. Think of a jazz take on the blues with top flight progressive rock impulses.”

“One of those rare few records that, when played to the uninitiated, they are instantly converted. The whole thing saunters and boogies with a relaxed blues vibe that was practically unparalleled at the time of its production.”

“If you like your blues with a touch of boogie, full of intelligent and creative arrangements, then this is for you. There is not a bad cut here. Unfortunately, this was the last record which the talented vocalist Chris Youlden would perform with Savoy Brown. The songs vary from a couple of snappy jazz instrumentals, to some great blues boogie, and even include a couple of nice and easy bluesy ballads. The band plays at a consistently high calibre throughout the set.”

“At a time when rock artists were expanding their vision of rock to include the best elements of jazz, blues, soul, latino and boogie, Savoy Brown released Raw Sienna, their own version of rock fusion.”

Leon Russell - LEON RUSSELL***

A Song For You/Dixie Lullaby/I Put A Spell On You/Shoot Out On The Plantation/Hummingbird/Delta Lady/Prince Of Peace/Old Masters/Give Peace A Chance/Hurtsome Baby/Pisces Apple Lady/Roll Away The Stone

After several years collaborating with other artists, songwriter and multi-instrumentalist Leon Russell released his own solo album. With his long, wispy hair, beard and trademark stovepipe hat, he soon developed a unique visual image. (US:60)

“The music reminded me an awful lot of Dr John, a heavy emphasis on well played southern blues rock. The opener A Song For You is sparer, simply some French horns backing Russell’s piano and voice. It's a beauty, but sadly the rest is rather unremarkable barring the lovely Hummingbird.”

“There are at least a few great songs (the lead-off track; Hummingbird), but most of the music lacks individuality. That is, except for Russell's voice, which I really don't care for; it's impassioned but quite nasally and he has the unfortunate habit of undercutting the effectiveness of his best songs with weird, goofy yelping or moaning noises. It seems he may have been a bit uncomfortable with finally being a front man after his impressive session career.”

“Very disappointing as the charming psychedelic pop of his early efforts has gone, to be replaced with a rather generic form of boogie rock. After spinning it a couple of times, there was nothing among the twelve tracks that I could ever see myself wanting to hear again.”

“This is more of Leon doing what he does best and bringing along that same core of musicians and singers for the ride. This album has more of a Southern gospel boogie sound and it's a nice mixture of ballads and rockers, many of which went on to find great success with other artists.”

“His first and best, as frequently is true of guys who were primarily back-ups and session players. That's not to say he didn't have talent and creativity. It's just that a first album usually contains songs from years of work that has been on the backburner for the artist; things that they couldn't get another artist to record, or they wouldn't trust anyone else with. The guitar work is amazing and the piano is Leon at his best, with different styles as well as the one that became his trademark.”

“This is a superb album. Every song is top-notch. Many albums have a few good songs you love and the rest are filler. With this album there is no filler.”

Bloodrock - BLOODROCK***

Gotta Find A Way/Castle Of Thoughts/Fatback/Double Cross/Timepiece/Wicked Truth/Gimme Your Head/ Fantastic Piece Of Architecture/Melvin Laid An Egg

Self titled debut album from Texan hard rock group Bloodrock, who gained some commercial success in the US market in the early 1970s with their then novel heavy metal sound. (US:160)

“An excellent debut by the well-known Texan hard rock band, their best LP for sure. Later albums were more successful but never reached the standard of this one.”

“Bloodrock forged their own unique identity by becoming the most spectral and eerie of all the 1970s proto-metal bands. Their lyrical themes can be at times even more morbid than Black Sabbath's.”

“Bloodrock's debut is an amazing proto-metal rock masterpiece, and is among the greatest debut albums of all time. It has amazing dark lyrical imagery, swirling organ, fiery guitar lines and wonderful singing.”

“This sounds like it must have been among the forefront of hard rock for it's time, setting the pace for the early seventies. Cool riffs abound and the guitars have a great, raw hard rock sound.”

“The quality and maturity of the music is astounding. The music is heavy, organ driven rock and the longer tracks show some contemplative skills.”

“Hard rock dominated by heavy riffs, pedestrian lyrics and some funky Hammond moments. Overall the music never really went over the above-average bluesy chugging hard rock band threshold.”

“Great opening album by one of the most underrated bands of the time. Here you hear the original creators of hard rock and the first of many fine albums to come. The vocals are trend setting, and the mystical rockers Time Piece, and Melvin are great compositions with Fatback and Double Cross real shakers.”

“A simple, strong, straight ahead rock album. Some fine guitar and keyboard work, loaded with some laughable pseudo-profound lyrics.”

On Tour - DELANEY & BONNIE****

Things Get Better/Poor Elijah-Tribute To Johnson (Medley)/Only You Know & I Know/I Don't Want To Discuss It/That's What My Man Is For/Where There's A Will There's A Way/Comin' Home/Little Richard Medley

A live album capturing the legendary early 1970 American tour of blues rock duo Delaney & Bonnie, plus influential friends including Eric Clapton, Dave Mason and Rita Coolidge. Includes the top twenty hit singles Comin' Home and Only You Know & I Know. (US:29 UK:39)

"The energy of this recording is amazing. Clapton is on fire and the whole band kicks out a strong set of gospel influenced rock and roll. Great stuff. If you like Clapton at his peak you'll want this."

"The duo were always acclaimed as great live performers, and this shows why. Bonnie Bramlett with her powerful soulful voice sours over these numbers, and you can just see where Clapton learned where to find his voice; it's directly inspired by Delaney Bramlett. Once you have Rita Coolidge vocals added to the mix, you have a culmination of electrifying vocals. It's a blast. There are some big heavyweights on this live assembly. Notably, Eric Clapton on lead guitar, and as a sideman he is just on top form; there are some of his best most calculated riffs here. He must be enjoying himself."

"Through some twist of fate, this pretty good white-soul duo wound up with one of the greatest backing bands ever assembled. There's not a lot of flashy guitar, but the ensemble certainly kicks out the jams... you can hear the Derek & the Dominos sound emerging, on cuts like Things Get Better and especially Comin' Home with its duelling lead guitars."

"Clapton is a sideman, and totally content with that. It brings out his best to be sure. The other sidemen, soon to become the core of Clapton's next project The Dominoes, are also in excellent form. Bonnie Bramlett was a sorely under-rated blues belter who could throw down with the best."

"This really is the LP where Delaney and Bonnie's sound - a heady brew of blues, soul, gospel and straight-up rock (what we might nowadays call roots music) - comes together in a big, big way. The backing band is amazing, and EC seems totally inspired on guitar; maybe because he's just working as a sideman; the pressure to perform is off, and he responds with some of the sharpest, most thoughtful playing of his career."

Still Waters Run Deep - THE FOUR TOPS***

Still Water (Love)/Reflections/Its All In The Game/Everybody's Talking/Love Is The Answer/I Wish I Were Your Mirror/Elusive Butterfly/Bring Me Together/LA (My Town)/Still Water (Peace)

After over five years at the top the popularity of The Four Tops began to wane, as soul music moved towards a funkier sound. Still Waters Run Deep includes the UK No. 5 cover of Its All In The Game plus the US No.11 and UK No. 10 hit single Still Water (Love). (US:21 UK:29)

"The title track and its slowed side two reprise are really the main reasons to own this pretty average post peak Four Tops record. Everybody's Talkin' is a nice cover done well, but the rest of the record is pretty standard late 60s pre-funk Motown."

"The first side of this album is awesome. Tails off quite a bit on side two, but worth a listen, as I'd say most Four Tops releases are. If you're not a fan of Motown, this album is completely inessential. Still Water (Love) is a vastly underrated Tops track, and most of the covers, notably It's All In The Game and Everybody's Talkin', hold up well. Reflections is an excellent track and proof that even after the songwriting trio responsible left Motown, their mark would be forever coupled with the label. This song prominently highlights the baritone of front man Levi Stubbs, and is a prime example of how, when coupled with decent songwriting, his voice could easily carry a song."

"A lot of these songs are well written enough but there's nothing that you'll keep with you. There are some pretty breathtaking moments as well, to the point where I would recommend everybody at least listen to this album, if only just once."

"Within the first few months of the new decade, The Tops hit cycle was revived with the hauntingly beautiful Still Water (Love). The album was a song cycled concept album with well thought out originals and expertly considered covers like Elusive Butterfly and Everybody's Talkin'. They banked a second hit with a classic cover of It's All in the Game. Frank Wilson, with important input from the group members, rounded out the album with originals like L.A. My Town."

Third - SOFT MACHINE***

Facelift/Slightly All The Time/Moon In June/Out-Bloody-Rageous

Third sees the one time psychedelic band Soft Machine move firmly into avantgarde territory. Although their most commercially successful release many punters may find this a difficult listen. (UK:18)

"It took 40 years to get to my ears because it is bad. Did you ever hear of noodling? I hate noodling. Noodling is what happens when rock musicians try to stretch out and play jazz. Its like free form Spinal Tap after Nigel was kicked out of the band. Endless, pointless, noodling."

"So intent were Soft Machine to evolve at the speed of light into new musical territory that, in only a few short years since they started as a psychedelic pop band, by the time they got to their third album they practically abandoned all that had come before. Diving head first into the world of free jazz and avant-garde psychedelia only titbits of rock were still to be found throughout this sprawling and ambitious undertaking."

"Something obviously happened between the making of Soft Machine's 2nd and 3rd albums to bring about the unfortunate shift from Volume Two's playful psychedelia to the turgid fusion of Third. It augured well for something highly ambitious but I'm not sure if it really succeeded. This is an album devoid of any serious composition, and which relies on its strangeness to beguile the listener. At its best it can be quite fascinating, but as a follow-up to the magnificent Volume Two, it's a terrible disappointment."

"Their third studio album is my favourite in Soft Machine's discography. Third will most likely please the fans of jazz oriented progressive rock but I'm not so sure if the fans of their early material like it as much. This group started as a psych band but over the years their style changed. You won't find anything psychedelic here because this time jazz has taken over Soft Machine's sound completely."

"I'm a psych rock fan myself but I also like jazz a lot and in my opinion Soft Machine made the right choice by leaning more towards jazzy material. The instrumental work is superb. Basically this double album is just long instrumental jamming from start to finish. Even if the jazz fusion/prog style is the dominating genre, there are still some experimental influences as well. While these four songs are just great I still think this record is a bit too long."

Ladies Of The Canyon - JONI MITCHELL*****

Morning Morgantown/For Free/Conversation/Ladies Of The Canyon/Willy/The Arrangement/Rainy Night House/The Priest/Blue Boy/Big Yellow Taxi/Woodstock/The Circle Game

Hippy era singer-songwriter Joni Mitchell was at a creative peak at the turn of the decade. Ladies Of The Canyon includes her only British hit single the No. 11 placed Big Yellow Taxi. (US:27 UK:8)

"There is a spirit and beautiful delicacy to this album which I can remember distinctively leaving me feeling breathless."

"Joni Mitchell continues her upward trajectory with Ladies Of The Canyon. You can sense the singer-songwriter spreading her wings but being more careful than ever not to soar to flights of fanciful lyrics and vocalizations. Filled with melancholic melodies and moody piano lines, it's a collection that hints at the heartbreak contained in her next album but like that one, this too has irresistible pop moments such as Big Yellow Taxi and The Circle Game."

"I think this record encapsulates the Laurel Canyon scene like no other; from the cover to the lyrics to the songs, it has that canyon feel about it, that glow of a halcyon era of flitting in and out of houses and coffee shops playing beautiful music with the greatest artists of the time."

"Ladies Of The Canyon is surely one of the highlight releases in Joni Mitchell's wide discography. It is often overlooked even though it includes Big Yellow Taxi and Woodstock which are well known songs. If you're new to Joni Mitchell's music, this album would be a good starting point. Joni's excellent songwriting backed up with just a piano or acoustic guitar is something really awesome."

"In a thousand years, when someone wants to know what was so special and creative about the 1960s, they would do well to dust off this album and give it a spin. From beginning to end this song cycle is her wondrous paean to the simple and beautiful countercultural dreams of peace, love and community."

"A very lovely album from Joni; one of her best and probably my favourite of hers. The songs are mellow and serene along with Joni's voice. My favourites are Morning Morgantown, Conversation and The Circle Game. A series of beautiful poems that perfectly encapsulate the dreams and aspirations of the times. Joni's voices lilts and soars above the restrained acoustic guitars and pianos. A great album if you're looking for some of that 60s folk revival sound."

Watertown - FRANK SINATRA****

Watertown/Goodbye (She Quietly Says)/For A While/Michael & Peter/I Would Be In Love/Elizabeth/What A Funny Girl (You Used To Be)/What's Now Is Now/She Says/The Train

Watertown was a concept album from Frank Sinatra expressing the anguish of a small town man after his wife had left him and their two sons. The songs were written by Bob Gaudio of The Four Seasons. (US:101 UK:14)

"A baroque pop concept album concerning a lonely small town guy whose wife has walked out on him and the kids. It fits Ol' Blue Eyes hand in glove and he doesn't disappoint, providing probably the last truly great vocal performances of his career. The slightly strained quality in his voice actually benefits the material here."

"Frank Sinatra's first swan song, Watertown, is the most unusual album in his entire discography. It is the only one that openly flirts with, though does not fully embrace, rock 'n' roll sounds. It is a concept album with a full story rather than one that is manufactured around a specific theme."

"Parts of this feel rather cheesy, but I think they help with building up the overall effect that Frank would've wanted you to take away from this album - living in a small town, rumination on old love, growing old. This is basically It Was A Very Good Year stretched across an entire record, but it works incredibly well."

"In the mid-to-late 60's Frank Sinatra was struggling to compete with rock and roll and contemporary styles of the day. Like most vocal or jazz musicians he started covering current pop tunes with sometimes awkward results. Watertown, a concept album about the breakdown of a marriage written by Bob Gaudio, broke that cycle. As concept albums go, this one is brilliant with a coherent story line from beginning to end. Stylistically this is the closest Sinatra ever came to producing a rock album."

"Watertown is the forgotten masterpiece of Sinatra's Reprise years. It's comparatively poor sales performance and the flop of the single release, I Would Be In Love, allegedly contributed to his decision to retire (temporarily as it happened) from the business one year later."

"This is one of the most beautifully melancholy albums I have ever heard. I was feeling relatively content, yet a bit bored, when I started playing this. By half way through my heart was filled with sad nostalgia and, just for having such an effect on me, this deserves a good rating. This is truly a magnificent album and doesn't warrant the dismissive attitude it gets among many fans."

The Isaac Hayes Movement - ISAAC HAYES**

I Stand Accused/One Big Unhappy Family/I Just Don't Know What To Do With Myself/Something

The Isaac Hayes Movement LP, like its predecessor, consists of interpretations of recent hits made almost unrecognisable. The lengthy spoken monologue may not be to everyone's taste. (US:8)

"Some pretty nice stuff on here, but not quite matching the greatness of Hot Buttered Soul. Still not enough songs for me and I wish they were cut down a little."

"Isaac Hayes has an amazing deep voice and really puts his heart and soul into these great pieces of music. The highlights are the opener and the closer and the two songs in the middle are decent/great. Not exactly on the same level as his previous album, but I'd still say it's a must-have album if you're into soul."

"A slight stumble in quality for Isaac, especially after the unbeatable Hot Buttered Soul. The smooth production and vocals are still here, but this album is significantly less creative and the middle two tracks sound like cut-and-paste stock soul music. The Beatles cover Something is excellent and the opening track is good so I recommend just listening to those and skipping the rest. It's far from bad (even at it's worst, it's listenable soul music) just prepare for inevitable disappointment after listening to it's predecessor."

"This is a decent record on its own and at the same time terribly underwhelming when compared to Hot Buttered Soul. The only thing less than perfect about it was the endless monologue intro to By The Time I Get To Phoenix. So how does Isaac kick off this follow-up? With an even more pointless monologue, which goes on for five minutes before the song actually starts."

"On its release, Hot Buttered Soul became a success and Hayes was quick to release a follow-up in the form of The Isaac Hayes Movement, which is essentially more of the same, this time consisting of four covers redone in Hayes’ orchestrated soul style. Although it’s not the classic its predecessor was, The Isaac Hayes Movement is still a worthy album."

"Smoothness aside the highlight for me is the twelve minute version of The Beatles Something which closes the album. Hugely orchestrated with backing harmonies and a powerful horn section, Isaac makes the song his own and takes it to a place I'm sure George Harrison could never have imagined."

Getting To This - BLODWYN PIG****

Drive Me/Variations On Nainos/See My Way/Long Bomb Blues/The Squirreling Must Go On/San Francisco Sketches/Worry/Toys/To Rass Man/Send Your Son To Die

Getting To This was the second Blodwyn Pig album release following Mick Abrahams departure from Jethro Tull. The group would split shortly afterwards. (US:96 UK:8)

"Blodwyn Pig split, citing musical differences, before they really managed to establish themselves as one of the great bands of the era. Getting To This was the second and last LP before the split. In contrast to the earlier Ahead Rings Out, which set out to bludgeon its audience with driving blues riffs, the influence of Jack Lancaster's jazzy saxophone is much more strongly felt. It is a sometimes gentle and thoughtful, sometimes rocking fusion of jazz, rock and blues - but this is not jazz-rock in the tradition of the over flared and over funked American bands of the era." "Very good early 70s British blues rock with some fantastic lead guitar. Lots of toe tappers but there are some slower tracks that are not so good. This is a sound guitar oriented blues rock album with a touch of jazz and some sax."

"This was even better than their debut. They seem more focused and coherent overall. The collection's standout is arguably the side one closer The Squirreling Must Go On, possibly a nod to one of Tull fan's favourite Abrahams guitar solos in Cat's Squirrel. Overall, this release finds the band placing more emphasis on blues based material, and less on jazz, with some good hard rockin' cuts, featuring guitar, sax, flute, and a few annoying ballads."

"Guitarist Mick Abrahams has a distinct, personal take on the blues, which can be quirky, but always original, and with an edge. While Pig's music draws from authentic blues roots, Mick infuses it with the vitality of real rock 'n' roll, and a touch of jazz."

"Not a whole deal has changed between the two albums, but there still are a few noticeable differences. It appears that Abrahams likes to rock it a bit more, instead of treading a slow bluesy path. The best of these tracks are See My Way and Send Your Son To Die that combine the elements of Lancaster's high-flying jazz and Abrahams passionate soloing outstandingly well, with their riveting rhythm section. I find the other tracks less interesting.”

"The album is full of masterful rock songs having a strong bluesy flavour and spangled all over with bold jazz notes."

First Step - THE FACES***

Wicked Messenger/Devotion/Shake Shudder Shiver/Stone/Around The Plynth/Flying/Pineapple & The Monkey/ Nobody Knows/Looking Out The Window/Three Button Hand Me Down

First Step was the debut album form The Faces. They grew out of the successful sixties mod group The Small Faces after they were joined by Rod Stewart and Ronnie Wood. (US:119 UK:45)

"Steve Marriott's out, Rod Stewart and Ronnie Wood are in, and hey presto, a brand new band with a brand new sound is born from the ashes of The Small Faces. Now simply The Faces, the group's debut album offers a melange of Americanainfluenced rock - there's blues-rock, country-rock, and some plain old rock besides. What's particularly notable is how much Rod Stewart isn't dominating the band during these proceedings - indeed, on some cuts he's simply providing backing vocals - and just what a low and dirty blues morass The Faces could conjure up. Few really strong songs per se, but some real nice jamming nonetheless, and all in all this is a decent opening album."

"First Step establishes the revamped Faces' change of direction with a set of woozy, laid back blues rock. It ends up a little underwritten and jammy, but is ripe with the band's signature brand of dishevelled rock."

"Rod Stewart and Ron Wood join the post Marriott Small Faces and produce a complete change in the bands sound. The mod soul and psychedelia of the past is replaced by a heavy blues rock sound built predominately around Wood's slide guitar and MacLagan's keyboards .Clearly fantastic musicians with Rod's raw vocals, they should have been as big as Led Zeppelin. What prevents them is the lack of quality songwriting. Only Flying, Three Button Hand Me Down and the cover of Dylan's Wicked Messenger stand out in this set though."

"Small Faces lose Steve Marriott to Humble Pie, things look bleak. They recruit Ron Wood who then suggests vocalist extraordinaire Rod Stewart. The result is this awesome first record, bluesy and whiskey soaked. I love this record, probably my favourite of The Faces stuff."

"A somewhat entertaining debut featuring Rod and Ronnie, this album's main flaw is that it's far too bluesy for its own good. The album starts off decently, with the first few numbers ringing true. After that, First Step begins to rely on a repetitive formula for the rest of its duration. Still, a sign of better things to come for the band."

Very 'Eavy Very' Umble - URIAH HEEP***

Gypsy/Walking In Your Shadow/Come Away Melinda/Lucy Blues/Dreammare/Real Turned On/I'll Keep On Trying/Wake Up (Set Your Sights)

Very 'Eavy Very 'Umble was the debut album from London based hard rockers Uriah Heep. For some reason they attracted the disdain of a well known American music magazine that bordered on the deranged. In fact, at their best, they created some very distinctive rock music, as their many fans would attest.

"One of rock's most horrifically underrated bands, Uriah Heep easily stand as one of the greatest proto-metallers, and one of the best and earliest practitioners of heavy rock. From as early as this debut, they crafted their own unique blend of hard rock riffing with psych organs and prog vocals and style. The whole album is driven along with such energy and power it's hard not to love."

"Not only was this the first, but it was the one that set the tone for what was to come. It is also the only album from their classic line-up where Ken Hensley didn't write virtually all of the songs."

"Commencing right here with the debut, Ken Hensley hits you right in the face with his heavy organ on the relentless Gypsy and it leaves you wanting for more of the same. Unfortunately though, nothing else quite hits those heights, not that it's bad or anything."

"The music is the formula that they are still using today. Soaring keyboards and terrific wailing guitar with good vocals and well written tunes are what they are about. This LP is good but better stuff is coming."

"Very 'Eavy Very 'Umble is the debut of one of the greatest and most influential bands of all time. Uriah Heep were a excellent band, they combined proto-metal with progressive rock like no other band has ever done, and in so doing paved the way for a lot of the awesomeness that came later."

"Uriah Heep were an incredible band, one of my absolute favourites. Along with Deep Purple, they were very influential in making the organ an important instrument in hard rock and heavy metal music. Ken Hensley was a great keyboardist, guitarist, songwriter, and singer. David Byron, of course, is a very powerful singer and Mick Box is a highly underrated guitarist; he didn't really play a lot of guitar solos on the studio albums, but he is very rhythmic and key to Heep's sound."

Moondance - VAN MORRISON*****

And It Stoned Me/Moondance/Crazy Love/Caravan/Into The Mystic/Come Running/These Dreams Of You/Brand New Day/Everyone/Glad Tidings

Moondance finds Van Morrison in peak form delivering this varied collection of songs on his best album. Unfortunately his future releases would disappoint in comparison. (US:29 UK:32)

"What a warm and welcoming album this is. Van Morrison's Moondance is one of the finest crafted albums put to wax. It is a collection of mostly mellow numbers fuelled by tasteful arrangements and Morrison's emotional and soulful delivery. A true masterwork, and a essential listen. No better starting point for Van Morrison than here thanks to the accessible nature of these songs."

"Moondance really belongs in every music collection. It is a classic album, but even more than that it is a timeless classic. The music transcends labelling as it contains a variety of styles and a little mystical something besides. The greatest thing is that its lyrics and musical production is so uplifting and very soulful. This is music that makes you feel good and reflective at the same time."

"Morrison turns in his strongest, most cohesive set with Moondance. Bathed in natural images and buoyed by a fundamental optimism, it's a brilliant collection of songs. Morrison blends blue-eyed soul, straight-up pop, Celtic folk, and his own distinctive sense of music into a lovely mix unlike anything else. Where Astral Weeks established Morrison as a unique visionary, Moondance reminded everyone what a brilliant songwriter and pop singer he was. The two together formed the foundation of one of the boldest careers in pop music."

"This album is Van Morrison's best commercial release. It has an eclectic range of musical genres including R & B/soul, jazz, rock. Van Morrison's delivery is what makes it so great. His voice brings heartache and excitement and mixes them together brilliantly. An instant classic."

"Van Morrison's classic, Moondance, is the rarest of beasts, a wholly substantial and completely consistent rock album. Never on this spell-binding LP is there a clichéd or superficial lyric, a lazily-sung word, an unnecessary instrument in the accompaniment, an instance of fabricated artistic posturing and nowhere is there a song that is not completely outstanding. Casual classic rock listeners are probably familiar with the dreamy And It Stoned Me and the jazzy title track, but none of these ten songs would sound out of place on a best-of collection."

Live - STEPPENWOLF***

Sookie Sookie/Don't Step On The Grass Sam/Tighten Up Your Wig/Monster/Draft Resister/Power Play Corrina Corrina/Twisted/For Here To There Eventually/Hey Lawdy Mama-Magic Carpet Ride/The Pusher/Born To Be Wild

Live (up to a point) double LP from American heavy rockers Steppenwolf featuring many of their best known songs. After three years at the top the group's record sales would steadily decline from now on. (US:7 UK:16)

"It's a very good album overall, primarily due to so much material. A lot of the live versions included here are not particularly inspired compared to their corresponding studio versions, and a few seem downright perfunctory. But there can be little doubt, if you want to know what a live concert sounded like in 1970, this is as good a place as any to start."

"If you lived through the 1960s, this hard-driving live album by Steppenwolf will bring back lots of memories of the struggle, the demonstrations, the idealism, the raw energy we all had back then to work for noble causes. If you are younger, this album will show you one of the best rock bands of that decade at its best."

"This proved to be one of those albums that hasn't aged well, which is such a shame, because Steppenwolf were a fantastic live band with the right line-up. The problem was that the album wasn't really live (not much anyway) but rather studio tracks with overdubbed applause mixed with some live stuff that was doctored in some places."

"Steppenwolf live? Not really. A few songs recorded in concert, a few more studio tracks with applause dubbed in and some heavily doctored live tracks. Probably the best we'll ever get from the classic era. Too bad, because the potential is all there. They were a great band in concert, there's just very little evidence to prove it now."

"Record companies of that time had a lot of power over their artists and this type of 'faux-live' release was not entirely uncommon. It is still a fantastic record and a great collection of songs and I give it a definite thumbs up, but you just have to get past the fact that this was not recorded live in a concert arena. But it is representative of what Steppenwolf would have sounded like in that era."

"I have always thought this to be an excellent blues album. It is very bass and drums heavy, and the guitar work on it is fantastic. Nice fat guitar sounds, very clean but sustaining guitars."