Leftover Wine - MELANIE***

Close To It All/Uptown & Down/Mama Mama/The Saddest Thing/Beautiful People/Animal Crackers/I Don't Eat Animals/Happy Birthday/Tuning My Guitar/Psychotherapy/Peace Will Come

The live album Leftover Wine reveals singer-songwriter Melanie in full flower child mode, accompanied just by guitar in front of a sympathetic and enthusiastic audience. (US:33 UK:22)

“Leftover Wine may be the best of Melanie's early recordings because it drops the sometimes overdone arrangements and focuses squarely on Melanie's greatest strength - her amazing, impassioned singing. Uptown & Down and Mama Mama are killer performances of great songs that are far better than the studio versions. There are also the audience favourites, Animal Crackers and Psychotherapy.”

“This is Melanie at her best. Without the overblown orchestral backgrounds of her studio albums, the power and emotion of her voice are allowed to shine. A prolific songwriter, her simple but poetic words testify to the pain and loneliness common to us all. This live album, with no back-up musicians, enhances the starkness and intimacy.”

“Melanie and her guitar make a gift to her audience of her voice and her experiences. The audience is a full participant, often singing along with the hilariously ironic Psychotherapy. Tuning My Guitar and Leftover Wine are poignant laments of her life spent on stage.”

”Simply just her and a guitar. Melanie without the wall of sound, with us through deep poetry and joy. The crowd is so enthusiastic, and in the end they come up on stage and share in the party. Such sweetness filled with intense power through voice and vibration.”

“This live album from Melanie is sweet, funny, and thoroughly enjoyable. Melanie is very much the `Flower Child' in this recording and for those who love that era and style, this is the album to get.”

“Leftover Wine gives an intimate insight into Melanie's ground breaking live performances. If you have attended one of these, you will never forget her power, her affection and her humility.”

“Her voice and emotional delivery of Tuning My Guitar is a standout. The guitar playing is, at best, basic, but it adds to the simple mood of the album.”

For The Good Times - RAY PRICE***

For The Good Times/Gonna Burn Some Bridges/Crazy Arms/I'll Go To A Stranger/Black & White Lies/Grazin' In Greener Pastures/Help Me Make It Through The Night/Lonely World/You Can't Take It With You/A Cold Day In July/Heartaches By The Number

Ray Price was a respected country singer for nearly twenty years before the release of his biggest hit, the Grammy winning single For The Good Times, which peaked at No.11 in the States. (US:28)

"Ray Price had come a long way and burned many bridges to establish his orchestrated country style, and with his reading of the Kris Kristofferson composition For The Good Times he finally hit home big time. The song itself is unbelievably beautiful in its sadness, many have sung it later on, but only Ray Price can get the best out of it. I don't know one single recording that is as sad and as beautiful as this. So perfect, it's scary."

"Just sit back and let him make you feel warm. I don't know what it is, but his voice is full of wisdom and understanding and it cuts through any orchestration and/or bar room noise that might get in the way."

"For The Good Times may have been issued just when Ray Price was at the peak of his performing powers. It was a Columbia Records studio album, and by gosh, they used to know how to put a production into full tilt back in the days when Columbia Records and CBS ruled New York City. Ray was a country gentleman with some urban sophistication as this album demonstrates. There was a solid string section of studio musicians backing him, and there is even a piece which has a vibraphone playing behind him. This is a kind of country music with New York sophistication, if you can imagine such a thing. The result is a knock-out album."

"His treatment of these now classic country pieces sets the scene for what real country music should sound like. He is his own man and makes these songs his own. When you listen to Ray Price you don't hear someone trying to sound like someone else, you hear the genuine article. Now if some of the singers today would try to sound like Ray Price, that would be a good thing."

"A wonderful vocalist who started out as a straight country & western warbler who went on to become one of the great MOR pop singers. Not just a fine voice, he also knows how to sing a song. This is high quality, soft and easy listening, performed by an experienced artist who will continue to appeal to all ages."

Spirit In The Dark - ARETHA FRANKLIN****

Don't Play That Song/The Thrill Is Gone/Pullin'/You & Me/Honest I Do/Spirit In The Dark/When The Battle Is Over/One Way Ticket/Try Matty's/That's All I Want From You/Oh No Not My Baby/Why I Sing The Blues

Spirit In The Dark sees Aretha Franklin returning to her soul roots after some experimentation. Includes the Grammy winning single Don't Play That Song, a top twenty hit in both the US and UK. (US:25)

"After the jazz-edged Soul '69 and the pop soul oriented This Girl's In Love With You, Aretha unleashed her earthiest soulful testament in quite a while with the brooding Spirit In The Dark."

"It's her most earthiest set of songs and certainly more versatile than her previous records. Lavished with the most glorious gospel backings and Aretha's own piano - which by the way took me completely by surprise, seeing just how rhythmic and enthusiast a pianist she is. And the songs are just great, the band sound awesome and it contains her most serious songwriting efforts with four penned by herself. Her choice of covers is still as eclectic as ever, even a touch of blues here and there, but her voice soars and tears through them all."

"It lives up to its name as her performance and treatment of each song is nothing short of spirited. The music is bluesy and the songs have fantastic arrangements making everything come together perfectly. I actually had no idea that Aretha played the piano on this until recently and wow is she skilled."

"This is definitely an overlooked Aretha Franklin album. While it's not the best of her Atlantic albums, it still holds it's own and is very consistent. Some really inspired cover song choices, the best being her version of Oh No Not My Baby. She sounds refreshed and overall it's an enjoyable album start to finish."

"The first Aretha Franklin album I ever bought, and still one of my favourites, because she plays great piano on it, because of the gospel atmosphere. Today Aretha has been a caricature of herself for a quarter of century, but this album is enough to justify her reputation."

"It's undeniably good stuff and perhaps all around, Aretha at her most refined. After failed exercises in the covering pop, rock, and jazz with a splash of her customary soul on her prior two albums to this one, Aretha picks up where she left off on Aretha Now sticking what she does best - southern soul, blues, and gospel. I say it's her most refined because the production hardly has any missteps."

No Dice - BADFINGER***

I Can't Take It/I Don't Mind It/Love Me Do/Midnight Caller/No Matter What/Without You/Blodwyn/Better Days/It Had To Be/Watford John/Believe Me/We're For The Dark

No Dice was the follow up album from the British pop-rock group Badfinger and includes the US and UK top ten hit No Matter What. They are best sampled on a compilation album. (US:28)

"This one marks a progression from their debut (under this name). The album still features top quality pop, but with somewhat more consistency and confidence than earlier. Fine vocal harmony and excellent song writing are the band's hallmark, and should have propelled them to greater things. Here we find a blend of ballads, R & B, rock, and even a country flavoured cut."

"Bravely writing all the compositions here between them, there are some dull moments but interspersed, indeed outnumbered by some flashes of brilliance too. Prominent amongst the latter are the power-pop-perfect hit single No Matter What and the sublime acoustic closer We're For The Dark, while just a few rungs lower down the pecking order lie the atmospheric story-in-a-song Midnight Caller, and there will always be interest in the original, much more subdued version of the universally well known Without You."

"No Dice isn't a perfect album, but it is far more confident than what preceded it, and contains many good rockers that would remain staples of the group's live set. The hits are right in the centre of the album, and notwithstanding the fact that Without You has almost become a parody of itself, this version is lean and ends with a memorable organ line. Much of the second side feels tossed off, but the musicianship is high."

"The second album by Badfinger finds them settling into a melodic rock groove, balancing the slower ballads with some harder blues rock/pop in classic rock style. Some of the songs don't really do much to dispel the notion of them being like a back-up band for their influences."

"No Matter What, the big Top Ten hit from this collection, might just be the very first power pop single. But, these guys could also write terrific songs, as well. The Harry Nilsson classic, Without You, which has been covered by many artists over the years, was written by Ham and Evans, and is included on this album. Their version is more laid back, but it's no less stellar, and is a great example of what kind of talent these guys had."

Weasels Ripped My Flesh - THE MOTHERS OF INVENTION**

Didya Get Any Onja/Directly From My Heart To You/Prelude To The Afternoon Of A Sexually Aroused Gas Mask/Toad Of The Short Forest/Get A Little/The Eric Dolphy Memorial Barbecue/Dwarf Nebula Processional March & Dwarf Nebula/My Guitar Wants To Kill Your Mama/Oh No/The Orange County Lumber Truck/Weasels Ripped By Flesh

Weasels Ripped My Flesh from The Mothers Of Invention was live material recorded between 1967-69, mostly free style jazz instrumentals together with some zany chanting. (US:189 UK:28)

"Much of Weasels Ripped My Flesh is quite experimental with its meanderings beyond the realm of regularly structured music, yet from my perspective it does tend at times to become slightly over indulgent and tiresome in some of those meandering experimental pieces."

"Zappa slaps some aimless outtakes together and calls it an album. Didja, From My Heart and My Guitar can't save this tedious mess."

"There is a lot of wild experimentation on this set which is designed to get up the listener's nose, which was always Zappa's musical intent. The most notable abomination, of course, was the excruciating title cut, two minutes which give new definition to the term 'feedback'."

“Zappa’s point seems to be that these aren’t discrete variables; that concepts of 'mainstream' and 'avant-garde' are much closer to each other than it might first appear, and that the space between these concepts is a continuum, not an abrupt shift. The less mainstream parts of this album may seem digressive, yet, by the end of the album, it’s clear that things haven’t stayed in the same spot. Weasels manages to be digressive and progressive at the same time."

"I think the title of this album is quite appropriate for the music in general, not only the final cut, which consists of about two minutes worth of pure 'white noise'. Weasels is full of abrupt transitions that almost rip you apart when listening. Free jazz, musique concrete, raunchy blues, provocative orchestral music, short live, 'lewd' outbursts, this record just keeps moving at a quick, almost taxing pace."

"The most insane rock record ever? Quite possibly. This was released shortly after the original Mothers split up, and basically compiles studio leftovers and live tracks that Zappa deemed worthy for release. There really isn't any other music out there that sounds like Prelude To The Afternoon Of A Sexually Aroused Gas Mask consisting of the Mother's grotesque grunts and groans."

Future Blues - CANNED HEAT****

Sugar Bee/Shake It & Break It/That's Alright Mama/My Time Ain't Long/Skat/Let's Work Together/London Blues/ (So Sad) The World's In A Tangle/Future Blues

Future Blues was the final album from boogie blues group Canned Heat before the death of their main songwriter Al Wilson. It was a blow from which the group never recovered. Includes the UK No. 2 hit Let's Work Together. (US:59 UK:27)

"The material is classic Canned Heat from the start to the finish. Blues/boogie rock with some really cool guitar work. So Sad (The World's In A Tangle) shows their concern about people ruining the environment and nature. That's probably the ultimate highlight of the whole disc, but the rest of the songs are more or less awesome too."

"To my ears Canned Heat has always been an acquired taste. That makes 1970's Future Blues somewhat of a surprise. Blues remains the dominant influence, but this time around there's a surprisingly attractive rock edge to material such as Sugar Bee, That's All Right Mama and Let's Work Together."

"Absolutely my favourite hippie blues release. There is not a weak moment on this recording. While one could argue that Canned Heat's influence was not seminal, I would argue that this recording was one of the most successful protest records in a time of turmoil."

"Here is an overlooked album by an overlooked band. This was recorded in the late sixties and still sounds vital today. This contains some of Al Wilsons' last recordings, including the prophetic My Time Ain't Long . For anyone interested in the American blues this album should be in their collection."

"Sugar Bee, London Blues, Skat and others - mostly those written or featuring Al Wilson, are still in my head so many years after I first heard them. Wilson was an original: his piano, rhythm guitar and, of course, his harmonica playing created a fabulous juxtaposition of an artist with sound evocative of the past, almost forced against its will into this 'future'.”

"Possibly my favourite studio set by them, this one features some good, hard, semicommercial, guitar driven blues rock with some fuzz guitar. It shows the depth of how much rock developed from the blues and how they comfortably coexist, musically anyway. The band is tighter and more rocking than before."

Sunflower - THE BEACH BOYS****

Slip On Through/This Whole World/Add Some Music To Your Day/Got To Know The Woman/Deirdre/Its About Time/Tears In The Morning/All I Wanna Do/Forever/Our Sweet Love/At My Window/Cool Cool Love

By the early 1970s The Beach Boys had become uncool and dated. Although Sunflower was a flop commercially it helped restore the group's creative reputation. (US:151 UK:29)

"This is one of those albums people got to know after the fact. The Beach Boys were as un-hip a property as ever there was in 1970, so hardly anyone heard this LP at the time. It’s actually quite a strong little album, featuring a solid set of little pop gems that beg for repeated listening."

"It is sadly ironic that this excellent album was originally one of the poorest sellers in The Beach Boys history. It was their first album on their own Brother label for Warner Bros. after parting ways with Capitol. Unfortunately this ambitious and adventurous set of songs, with plenty of writing participation from all members of the group, failed to generate much interest with the public, with virtually no radio play on any of the songs. Sunflower flows very well for an album with so many different writing contributions coming at you from seemingly different directions."

"Easily their best album since Pet Sounds, Sunflower made up for lack of sales by gaining The Beach Boys critical respect for the first time since the mid 60s. Unlike certain other releases from them around this time, this sounds like a proper album and not just a compilation of new songs mixed with unfinished old ones from the Smile era."

“All the Beach Boys are writing here, so it's not the Brian show anymore although he still contributes quite a few tracks. This is simply one of the band's finest moments; it's just excellent pop music from top to bottom."

"The balance between mainstream commercial rock and gorgeous vocal harmonies is surprisingly pleasant. However, it is difficult to say much of Sunflower has the inspiration of The Beach Boys at their very best. Songs penned in whole or in part by Brian Wilson are still well worth hearing for their explorations of the human capacity for love. Overall, this is a very mellow effort that has held up reasonably well."

"Sunflower is the best Beach Boys album for fans who want to hear contributions from other group members, although Brian again turns out the best songs."

Focus Plays Focus - FOCUS*****

Focus (Vocal)/Black Beauty/Sugar Island/Anonymus/House Of The King/Happy Nightmare/Why Dream/Focus (Instrumental)

Focus Plays Focus was the excellent, but often overlooked, debut album from the acclaimed Dutch progressive band. Their next album release would see them breakthrough onto the international market. Released as In & Out Of Focus in the UK. (US:104)

"The first album by this fantastic progressive rock band and it is pretty good. Better stuff is coming but this is still a good listen. There is plenty of that great guitar but there is also some good keyboards and flute. Featured prominently are the incredible talents of virtuoso guitarist Jan Akkerman and flautist/keyboardist Thijs van Leer. Let us just say that their playing is impressive even at this early stage."

"Dutch progressive rock band Focus' debut is a truly stunning piece of musicianship that announced to the world a new virtuoso guitar gunslinger was in town in the person of the amazing Jan Akkerman. Focus Plays Focus is also a collection of mostly prog jazzy instrumental pieces that are amazing and really expand the limits of your mind. This is an album that you can really get into if you love guitar, progressive rock, instrumental rock or jazz."

"I'm probably one of the few people who really love both the charming rock songs and the super-hot instrumentals on this one. Two totally different styles on this album, but every track here really kills me. I wish I could find more albums with this kind of catchy vocal and instrumental sound. I'm a big Focus fan and I love the direction they went in after this, but this one of those true one-off gems of that era."

"Some brilliant lyrics, arrangements, etc in the fey, baroque, late 60s style pop songs. Some really great songs that stick in the head, especially Sugar Island - what a sharp gem. And some hot instrumental stuff that laid the template for the classic Focus jamming sound with flute and guitar. A hugely underappreciated album that succeeds greatly with both sides of that split personality. I have a special fondness for the pop songs, the likes of which they would never do again."

“The keyboards are basic, mostly organ and piano. Some songs are more catchy and accessible with very good lead and backing vocals; others are more instrumental, with tons of drums and flute through fast bass and electric guitar rhythms."

Greatest Hits Vol. 2 - THE TEMPTATIONS*****

Cloud Nine/I Wish It Would Rain/Ball Of Confusion/(I Know) I'm Losing You/I Can't Get Next To You/You're My Everything/Psychedelic Shack/Please Return Your Love To Me/Run Away Child Running Wild/I Could Never Love Another (After Loving You)/Don't Let The Joneses Get You Down/(Loneliness Made Me Realise)Its You That I Need

This second greatest hits compilation from the legendary Motown soul group The Temptations covers the period 1966-70 when the group developed a funkier sound under the direction of Norman Whitfield. (US:15 UK:28)

"The Greatest Hits Vol. 2 version of the Temptations is much tougher than the initial Greatest Hits line-up. Motown's growing sense of funk, rather than the earlier, sweeter themes, fills most of this second volume of smash hits. Thanks to David Ruffin, (I Know) I'm Losing You is one of the company's most apocalyptic sides ever, while I Can't Get Next To You offers a more playful approach to its gospel-style thunder. Even the dated Ball Of Confusion and Psychedelic Shack, with the guys trading lines, still sound pretty hip."

"The Temptations were the greatest soul group to come out of Motown. Every member was a bona fide solo artist in his own right. This collection is a great sampler of their work."

"If you like 60s and 70s Motown, this is as good a representation of the hits they released as any other. One hit records after another coming at you."

"There's a whole new generation growing up today who have never heard these classics, or people who weren't exposed to the Temptations. So this is a solid collection of material and a great introduction to one of soul music's greatest groups."

"Who wouldn't love to remember this great Motown music? This LP is the best one to bring back those memories when life was great to live and people were much better to deal with than now. The music you fell in love with - oh, those precious moments."

"Like its predecessor, Vol. 2 balances hits with lesser-known tracks (Don't Let the Joneses Get You Down, (Loneliness Made Me Realize) It's You That I Need, and this makes the collection less interesting to casual fans who only want hits. They'll be better served by latter-day collections which feature hits from both Vol. 1 and Vol.2, but this album remains a solid summation of The Temptations' late-'60s singles."

Third Album - JACKSON 5****

I'll Be There/Ready Or Not Here I Come/Oh How /Bridge Over Troubled Water/Can I See You In The Morning/Goin' Back To Indiana/How Funky Is Your Chicken/Mama's Pearl/Reach In/The Love I Saw In You Was Just A Mirage/Darling Dear

Back in the 1970s record companies lost no time in promoting their hottest new acts with quick fire album releases. The Jackson 5's Third Album hit the record stores a mere eight months after the debut. Includes the US No. 1 I'll Be There and No. 2 Mama's Pearl, the former reaching No. 4 in the UK. (US:4)

"This one sticks more or less to the same formula as the first two, except the ballad I'll Be There, which became their fourth consecutive #1. There are highs and lows on this album, the two hit singles are classic Jackson 5. Their dreadful version of Bridge Over Troubled Water makes you glad that you've got the 'skip' button on your CD player, but then again there's a nice version of Smokey Robinson's The Love I Saw In You Was Just A Mirage."

"The Jackson 5 were teen pop, but this album has such a maturity recalling the best Motown acts with a more upbeat pop approach and Michael's brilliant voice. Reach In, Goin Back To Indiana and I'll Be There are three highlights of an album that'll move your heart and feet."

"This effort includes the mega-hit, I'll Be There, but there is so much more to the album than that. The best cut is the brilliant Reach In which shows off the young Michael Jackson's vocal gifts. Other stand-out songs are Darling Dear, How Funky Is Your Chicken and the other hit off the record Mama's Pearl. Goin' Back To Indiana is a fun song about the group's roots, and there are good covers of The Love I Saw in You Was Just A Mirage and Oh How Happy."

"As with its predecessors, this albums contains a diverse mixture of R & B, funk, and soul styles, all the while remaining vibrant, fresh, young, and most definitely pop."

"I'll Be There is one of those deserved classics that no matter how much oldies radio saturation it gets still amazes with its secularized gospel power and sincerity. It's one of the vocal highpoints of Michael's early career and a sure fire highlight of this album. The songs, feelings, instrumentation and the voices are solid from start to finish. Even though Michael sings like an old soul throughout this set his brothers hold their own as well."

At Monterey - OTIS REDDING & JIMI HENDRIX****

Like A Rolling Stone/Rock Me Baby/Can You See Me/Wild Thing/Shake/Respect/I've Been Loving You Too Long/(I Can't Get No) Satisfaction/Try A Little Tenderness

A curious live offering from the legendary Monterey Pop Festival of 1967 which kick started the 'summer of love' legend. The music styles of these two participants are very different; Jimi Hendrix being a legendary rock guitarist and Otis Redding a renowned soul artist. (US:16)

"My copy is just about the Otis Redding stuff and it's excellent. I normally prefer down tempo R & B music, as I feel it showcases the voice better, but the sheer power and energy of Otis & The MG's is too exhilarating. It is no wonder this is one of the most acclaimed performances from anybody."

"Jimi Hendrix's set is worth seeking out. He plays a pretty tight set, consisting, fortunately, of songs that one does not usually associate with him (with the early highlight being Rock Me Baby). The finale, Wild Thing, is so brutal it has to be heard to be believed. Even the iconic images of Jimi taunting the flames melting his guitar are no match for this blissful sonic cataclysm."

"Otis Redding and his group perform at a ferocious pace, resulting in the definitive performances of each of these tracks. Few releases have matched the exuberance of this one."

"I bought this record for the Jimi Hendrix tracks and they are terrific as you would expect. The other half was Otis Redding and The MGs and it blew me away. What a powerful voice and the choice of tunes was perfect."

"This is a split record with Jimi Hendrix and his Experience and Otis Redding and his Booker T and the MG's, each commanding a side. It's a weird comparison, Redding and Hendrix, both pioneers, with Hendrix's reign just beginning and Redding's just coming to an end. Hendrix's performance isn't bad, he stumbles through Like A Rolling Stone and does a cover of BB King's Rock Me Baby to the music of his own song, Lover Man. While Hendrix once again cements his legendary status, Otis Redding wins over the crowd with some great versions of some his best songs. All of the tracks are energized with that deep southern swagger and soul and he moves at a blistering pace, literally out of breath when trying to speak between songs. This probably has the best live Respect, and Try A Little Tenderness closes finely with Otis growling like a rabid dog."

Close To You - THE CARPENTERS****

We've Only Just Begun/Love Is Surrender/Maybe Its You/Reason To Believe/Help/(They Long To Be) Close To You/Baby Its You/I'll Never Fall In Love Again/Crescent Noon/Mr Guder/I Kept On Loving You/Another Song

The commercial breakthrough for the brother and sister duo The Carpenters came with their second release Close To You. It brought to the world's attention the magically pure voice of Karen Carpenter. Features the US chart topping title track and No. 2 hit We've Only Just Begun. (US:2 UK:23)

"The Carpenters second album finds the brother and sister duo soaring to new heights. What the Carpenters debut album was missing, Close To You improves on in almost every way possible. We've Only Just Begun and the title track are just amazing pop artefacts, as they showcase Karen Carpenter's voice at its brightest and most angelic peak. While there may be nothing else on the album that matches the power of these two songs, most of the album tracks are pleasant pop offerings that the duo seemed to lack on subsequent releases."

"After the poor performance of their debut, this is the album that enabled Richard and Karen to reach the audience that they deserved, mostly due to the success of the single Close To You. Despite being heavily jazz influenced, this is pop music at its best. The 'Carpenters sound' is fully realised and every track is a feast for the ears."

"This album launched The Carpenters into stardom that made them one of the most listened to groups of the seventies. Arranged by Richard Carpenter's unique blend of multiple track layered vocal recordings, the Carpenters music was indeed unique for its time. Karen's incredibly clear and flawless vocals made their sound a distinctive one, one you immediately recognise after hearing just the first several notes of music. Since they had not yet found their formula for pop success, this album offers a variety of music."

"The album is built around two wonderfully melodic songs. It begins with the love ballad We've Only Just Begun, a song that became the group's second consecutive hit. The other major hit, Close To You shores up the middle. The other tracks fill out the album quite nicely, although there are some songs that are a bit weak, yet pleasing all the same."

"We've Only Just Begun begins the album with a smash hit for The Carpenters; they play and sing this beautifully and the number is very sensitive. Karen sings this with so much passion, you truly feel that she is singing to you and only you."

Paranoid - BLACK SABBATH*****

War Pigs/Paranoid/Planet Caravan/Iron Man/Electric Funeral/Hand Of Doom/Rat Salad/Fairies Wear Boots

Heavy metal pioneers Black Sabbath cemented their growing reputation with their second album Paranoid. The frenzied title track reached No. 4 on the UK singles chart. (US:12 UK:1)

"While Paranoid is not my favourite Sabbath outing, it is a classic, and should have its place among metal’s legendary texts. The slightly tentative tone of their debut behind them, our heroes began to truly forge a sound all their own here. The riff is still king, as it was before, but these riffs are better by a good margin. Also better is the chemistry between the players, a fact that the opener War Pigs bears out."

"Paranoid is the second album from Black Sabbath and deals with topics as diverse as nuclear war, heroin addiction, Vietnam and skinheads. The music is equally diverse with drum solos, heavy riffs, slow and fast songs. My main concern is that the album opens with the two best tracks. War Pigs is an epic and should be an album closer; Paranoid is overplayed but still an excellent track. Black Sabbath can best be understood through the lens of Paranoid; an album that is so indispensable to the foundation of heavy metal with its juxtaposition of ragged, sour vocals against the ruthless propulsion of a synchronous rhythm section, and utterly profound use of the solid body electric."

"Black Sabbath's second album still heavily features the doom metal sound that they had already perfected on their debut - unleashed with devastating effect in War Pigs and Hand Of Doom. But this time around the song selection is more varied, proving that the group weren't just a one-trick pony. Never has a quickie throwaway single been as influential as the title track, which set a precedent for speed metal in proving that crunching heavy metal riffs could be played fast to good effect."

"One of the best, beloved and most influential albums from one of heavy metal's quintessential bands, Paranoid is almost totally flawless. Every song is simply marvellous, ranging from slow doom ballads like Iron Man and Electric Funeral to psychedelic trips like Planet Caravan and Fairies Wear Boots, and hard rockers like Paranoid. They're all great, due in no small part to the incredible musicians."

"A true classic of its genre, and an admirable follow-up to their stunning debut, this album literally defined heavy metal. It features wicked, overdubbed guitar, sludgy bass, reasonable drumming and Osborne's sinister vocals."

His Band & The Street Choir - VAN MORRISON***

Domino/Crazy Face/I've Been Working/Call Me Up In Dreamland/I'll Be Your Lover Too/Blue Money/Virgo Clowns/Gypsy Queen/Sweet Jannie/If I Ever Needed Someone/Street Choir

Released a little too quickly after his previous album Van Morrison's His Band & The Street Choir is let down by a number of sub par tracks. Includes the US No. 9 hit Domino. (US:32 UK:18)

"It's not that any of these songs are bad, it's that they weren't treated with the care and polish they deserve. The swinging rock 'n' roll Sweet Jannie is a highlight for me - actually the last three songs are particularly strong. It doesn't help that some of these are throwaways that weren't good enough for his previous records."

"Most of it is commercial, radio-friendly R & B - not fake soul, and is the sound of Van actually enjoying himself, making music similar to that he grew up with. The tracks are mostly short, and you can dance to much of this."

"Any release that includes Morrison's Domino is worth buying, no matter what. Not nearly as creative nor as acclaimed as Astral Weeks or Moondance, this LP is still a fun listen. I dare you not to get up and dance to Domino. If those few initial guitar pluckings don't prompt you to crank up the volume and hit the floor, then there's no hope for you. Nothing spectacular about the rest of the songs though."

"Well, the opening R & B heavy Domino is a cracking little tune. It swings, it moves, Van sounds full of beans and such forth. Unfortunately, much else of what's here is Van by numbers. Well, not even that. The simpler forms of parts of Moondance have seemingly been taken as a starting point and its all downhill from there."

"He drops the mysticism of the last records almost entirely. For some, that makes this fare poorly by comparison. Yet, setting aside the fact that both Astral Weeks and Moondance were some of the best albums of the era, His Band is a wonderful record all on its own. It feels a little more extroverted, alternating between bar-room soul/R & B sound and more intimate folk, and a few tunes that fall somewhere in between. So much of this is so good-natured, fun and impassioned, still with touches of poignancy, that it should be easy to love."

"All of the songs are good, some are very good and at least two are brilliant. But the album is so laid back that it might be boring to some people, especially the second half. That's why this is an album for chilling out, for leisurely and relaxed enjoyment."

After The Gold Rush - NEIL YOUNG*****

Tell Me Why/After The Gold Rush/Only Love Can Break Your Heart/Southern Man/Till The Morning Comes/Oh Lonesome Me/Don't Let It Bring You Down/Birds/When You Dance You Can Really Love/I Believe In You/Cripple Creek Ferry

With his third solo album After The Gold Rush Neil Young moves into top gear with this collection of melancholic and introspective songs that would establish his reputation as one of the best singer-songwriters of the 1970s. (US:8 UK:7)

"An amazing display of Young's talent, this album easily shows off most aspects of this man's artistic width and depth; from pure tenderness (as on Birds) to burning rage (Southern Man) and anything in between. This is Neil at the top of his game, inspirational and durable."

"Unlike his two previous albums, Young is at his best here when he is at his most melancholic. Most performers would be happy to come up with one classic per album, but After The Gold Rush presents an embarrassment of riches, one right after the other. Songwriting that is masterful, yet seemingly effortless."

"Neil Young had the talent to create convincing music from the simplest of building blocks and it was never made to look as easy as it was here. A handful of chords and the most obvious of tunes seem to fall into each others arms as if they were made for each other."

"This is one of Young's best albums. The songs range in subject matter from introspection, to protest songs, to love songs, to sing-along ballads. The sound is more consistent, it's heavily influenced by country and folk music. Every song is solid and quite a few are Young standards."

"When I listen to it, it's from start to finish. Not a bad song on the entire effort. Loved it when originally came out and still do. One of those rare albums that still sounds fresh after many decades."

"After The Gold Rush has a great mixture of soft, thoughtful, and beautiful acoustic based tracks alongside really raw and powerful electric stuff. I think all the tracks are wonderful; it just does not get any better than this."

"There's an intangible element here that elevates tracks like Birds to knockout status. Perhaps it's the aura of a great songwriter approaching his prime."

Get Yer Ya Ya's Out! - THE ROLLING STONES*****

Jumpin' Jack Flash/Carol/Stray Cat Blues/Love In Vain/Midnight Rambler/Sympathy For The Devil/Live With Me/ Little Queenie/Honky Tonk Women

The Rolling Stones second official live release Get Yer Ya Ya's Out is considered to be much superior to their first effort. Gone are the screaming girls and in comes some virtuoso guitar playing and vibrant vocals. Recorded at Madison Square Garden in November 1969. (US:6 UK:1)

"Ya-Ya's showcases how they've evolved as a band since 1966's Got Live If You Want It. Gone are the sloppy playing that was heightened by the screaming teenagers. Here, the band showcases themselves as accomplished and focused musicians. Part of this transformation was the new kid on the block back then, Mick Taylor. While not as versatile as Brian Jones, Mick Taylor played the best lead guitar ever for the greatest rock 'n' roll band in the world. Taylor works hard but never overplays; his riffs are brilliant."

"With Get Yer Ya-Ya's Out, the Rolling Stones give us a great pre-Sticky Fingers era set list showcasing guitar and percussion superior to some studio recordings. The live version of Stray Cat Blues, one of the great songs off Beggars Banquet, rivals the original. The solo is performed perfectly. The studio albums have a hard time capturing the true energy that the band had when performing live."

"This is one of my favourite live LPs from a time when The Rolling Stones were not interested in recreating their records note-for-note on stage. What you get is some of the most amazing readings of Stones songs ever captured on vinyl. Midnight Rambler, and Sympathy For The Devil showcase the guitar interplay between Keith Richards and Mick Taylor."

"Get Yer Ya Ya's Out is the greatest live album ever recorded, and in addition is one of the greatest twin guitar albums ever recorded. The astounding guitar interplay between Keith Richards and Mick Taylor totally elevates every song on this album far over the recorded earlier studio versions. This is a perfect capture of The Stones at the peak of their powers."

"The greatest rock 'n' roll band in the world sprang into action from the huge MSG stage with a three-minute shot of Jumpin' Jack Flash. The vibe is hot from the off, as Mick and Keef push the performance, while no-frills drummer Charlie Watts and stone-faced bassist Bill Wyman keep the ever-steady backbeat."

Original Greatest Hits - THE EVERLY BROTHERS*****

Bye Bye Love/Problems/Let It Be Me/Maybe Tomorrow/Be-Bop-A-Lula/Bird Dog/Love Of My Life/Keep AKnockin'/ Leave My Woman Alone/A Brand New Heartache/Wake Up Little Susie/Like Strangers/Rockin' Alone/Long Time Gone/All I Have To Do Is Dream/'Til I Kissed You/Poor Jenny/Should We Tell Him/Lightning Express/Rip It Up

The Everly Brothers' Original Greatest Hits was a double album featuring the pop harmony duo's best known songs released on the Cadence label between 1957 and 1960. (US:180 UK:7)

"Don and Phil Everly are, in my opinion, the greatest duo in the history of American popular music and this Original Hits LP has many of my favourite Everly Brothers songs on it. These tunes are classics in the true sense of the word. They stand the test of time. I think people will be listening to them 100 years from now and marvel at the high quality of their music."

"The Everlys were responsible for many early rock 'n' roll classics like Wake Up Little Susie, All I Have To Do Is Dream, Bird Dog and Problems - all written by Boudleaux and Felice Bryant. Their music is timeless and no serious popular music collection is complete without these Everly Brothers classics."

"For anyone who doesn't know, the Everly Brothers were among the most successful pop artists of the late 1950s-early 1960s era. They had a string of hits during this period featuring their trademark two-part harmonies. This LP features many of their biggest and best-known hits. If you were around then, these great old tracks will bring back some memories. If you weren't, the beautiful songs these guys recorded are a treat for the ears in a style of music not heard much these days."

"The songs are prime examples of exceptional 50s-60s songcraft. But, what really pushes this to a heaven on earth experience is the natural blend of Phil and Don's harmonies. Absolutely right, they hit the nail on the head again and again and again."

"Most kids will pass on these guys as really old, but most of the seminal rockers list the Everly Brothers as prime influences. Great music sung by two guys that had it all together in the 50s and 60s."

"Don and Phil were huge stars in the late 50s and their influence on subsequent music was great. This particular compilation covers the period 1957 to when they were at the peak of their popularity. It includes their biggest hits from that time. It is great to have the original recordings, so that you can hear them just as were."

Greatest Hits - THE BEACH BOYS*****

Sloop John B/California Girls/Barbara Ann/I Get Around/Wild Honey/I Can Hear Music/Darlin'/God Only Knows/ Do It Again/Cottonfields/Bluebirds Over The Mountain/Then I Kissed Her/Help Me Rhonda/Break Away/Heroes & Villains/Good Vibrations

Previous Beach Boys compilations scattered their biggest hits over a number of albums. This well chosen Greatest Hits brought them all together on one LP for the first time. (UK:5)

"A lot of people only listen to music they can relate to, but in my case, it doesn't matter. If I like a song, I like it, and this LP is packed full of good songs. I don't surf, care about fast cars, have school pride, and whatever. But, these songs are still catchy, and great to listen to."

"The Beach Boys voices are so easy to like and if you want to be in a good, happy, optimistic mood - the collection of classic Beach Boy hits on this LP will definitely get you there. They are down in history as one of the groups with the best harmony and most uplifting tunes."

"A fantastic collection of the Beach Boys' best-known songs. A very fun album that is especially enjoyable to listen to sitting on the beach or driving around on a summer day."

"Always great listening to these old tunes especially in the summer. A reminder of the good old days when one could find pleasure in small and simpler things." "You can't beat The Beach Boys when you want to listen to some great summer classics out on the porch with a cool drink. These are Beach Boys songs that everyone seems to know by heart."

"I listened to this set yesterday afternoon and I found it to be a very refreshing experience. Most of their early songs make you feel like you are at the beach, and the later cuts are sensational, especially God Only Knows. It’s a combination of good '60s fun and musical genius. I believe that Good Vibrations is one of the greatest records in rock and roll history, an epic recording from beginning to end."

"The Beach Boys are a classic band. Their harmonies, the sheer genius that is Brian Wilson, and their melodies are some of the best in rock and pop history."

"The Beach Boys are as essential as the sun in the summer when it comes to that season. These tunes are ingrained into our consciousness with an indelible stamp."

Mad Dogs & Englishmen - JOE COCKER***

Honky Tonk Women/Sticks & Stones/Cry Me A River/Bird On The Wire/Feeling Alright/Superstar/Let's Go Get Stoned/I'll Drown In My Own Tears-When Something Is Wrong With My Baby-I've Been Loving You Too Long (Medley)/Girl From North Country/Give Peace A Chance/She Came In Through The Backroom Window/Space Captain/The Letter/Delta Lady

The double live album Mad Dogs & Englishmen showcases Joe Cocker's 1970 American tour, in which he surrounded himself with an entourage of over forty musicians led by Leon Russell. (US:2 UK:16)

"Mad Dogs & Englishmen succeeds mostly on the high energy gospel rock 'n' roll numbers, particularly at the beginning with Honky Tonk Women, Sticks & Stones and Cry Me A River - sounding not too far from The Rolling Stones where Joe Cocker brings some entertaining swagger. But this live set is a hard album to sit through front to back because of the length and inconsistency. There are duds plastered through this album; as great as Give Peace A Chance is, Joe Cocker's vocals are rushed and gets drowned out by the sheer number of singers."

"Joe Cocker's travelling circus, otherwise known as 'Mad Dogs & Englishmen', played the Fillmore East in March 1970 to record this album. The rambling, raucous revue included a choir, a few drummers, a horn section, Leon Russell, Rita Coolidge, Don Preston, Carl Radle, Jim Gordon, and a host of other rock luminaries and topflight studio performers. Cocker has reinvented more songs to suit his distinctive style than Thomas Edison had patents, and nowhere is this more evident than on Mad Dogs & Englishmen. Leon Russell must be given his due as a great arranger for live performances.”

"Infamous coffee table album from the seventies. Apparently, it proved useful as a coaster for hot drinks. Nothing to recommend here. Every track goes on too long. Everyone is on it but yet no one stands out. So boring. If you have a copy, sell it."

"This album is at the heart of the 70s. Joe voice is powerful and when combined with the full force of the near twenty 'Mad Dogs and Englishmen' band backing him the songs are stronger then ever. The greatness of this is you see the disillusioned hippies before they couldn't hold face anymore. Anything goes, and they present music for the sake of itself without worrying about its reception. This sort of idealism is contagious but ironically the strongest part of the album is the darker songs."

"Mad Dogs & Englishmen is the definitive Joe Cocker album, capturing him after his first flush of success when he was genuinely a huge concert draw in America."

Stage Fright - THE BAND****

Strawberry Wine/Sleeping/Time To Kill/Just Another Whistle Stop/All La Glory/The Shape I'm In/The W S Walcott Medicine Show/Daniel & The Sacred Harp/Stage Fright/The Rumor

Some pundits detected a slight drop in standard on The Band's third album Stage Fright. Whether or not this is true it still includes a fine collection of classic songs. (US:5 UK:15)

"There's no justice, really. If Stage Fright had come from anyone else, it would garner its fair share of five-star ratings, but seeing as how it will forever exist in the shadows of The Band's first two albums, this one is doomed to suffer by comparison."

"Not as inferior to the preceding two albums as some people would have you believe. Songs are mostly top-notch and The Band is tight as ever."

"This album has undergone some revisionism by critics in recent years. Whereas it was once considered a second tier Band album, it now seems to be held in nearly the same high esteem as Big Pink and The Band. There isn't any weak material here - there are a couple of average tracks, maybe - but their third album is an entertaining listen through and through."

"Stage Fright was The Band’s third studio album. It featured darker lyrics and textures and fewer harmonies as Robbie Robertson moved his guitar out front on many of the tracks. He would write or co-write all ten songs and provide the musical vision for the album. The reviews for Stage Fright were less positive than for Music From Big Pink and The Band yet the album has held up well over the years. It contains very personal music, rather than the American based myths and legends that graced their first two releases."

"This album has the hits The Shape I'm In and Stage Fright. The rest have the feeling of a band sharing the personal favourites that they enjoy performing more than the hits they have to do on stage. It is a more intimate album than their previous releases, but it is also less compelling."

"This release did not fare as well as the first two outings by The Band. That being said, when one looks back in time, with today's ears, aware of the history of not only The Band, but of the social events of the day, this is a knock out album to say the least. The song Stage Fright has to be the all time best song regarding live performing, and The Shape I’m In is relentless in its style and grace."

Eric Clapton - ERIC CLAPTON***

Slunky/Bad Boy/Lonesome & A Long Way From Home/After Midnight/Easy Now/Blues Power/Bottle Of Red Wine/Lovin' You Lovin' Me/I've Told You For The Last Time/I Don't Know Why/Let It Rain

The long awaited self titled debut album from Eric Clapton after doing time with The Yardbirds, John Mayall, Cream and Blind Faith. It is a curious fact that none of his many solo albums are anywhere near as inspired as his group efforts, particularly with Cream. Includes the US No. 18 hit single After Midnight. (US:13 UK: 17)

"There's no sting to any of the songs. There's no rawness, there's no flourishes, there's no determination to make something that stands out. This is music by numbers. There are emotions, but they are not convincingly expressed. There are ideas but they are not developed, they're just hidden in mostly forgettable pleasant 70s pop. There's no fire here."

"Nothing tremendously outstanding song-wise here, although I've always liked the sweet melody of the acoustic Easy Now and the pretty country/soul of Lovin' You Lovin' Me. Of course his cover of After Midnight is the best known track, but overall this record feels like an attempt at crossover."

"By the time Clapton recorded his debut solo effort he was only a shadow of the musician who had recorded with John Mayall's Blues Breakers. The album is hit and miss, dull, lacking a decisive tone, while the atmosphere is unconvincing."

"What you've got here is a contemporary blues record with pop music thrown in for good measure. But its still EC, so there is some quality there. Whether its on the level of his earlier (and best stuff) is debateable (I would think not), but its an enjoyable listen. The songs are well put together and the backing band is not bad."

"Eric Clapton's debut solo album is fun, enjoyable but lightweight, while the compositions have none of the depth of his best work. The performances are solid, Clapton's vocals are strong, but his guitar isn't showcased quite as much as one would hope. The backing band keeps in line but the arrangements give too much space to the band instead of Clapton's expert playing."

"EC broadened his horizons by incorporating pop, country and even gospel elements into his sound. Maybe he wanted to prove that there was more to him than the blues rock that defined him in the 1960s. On the other hand, there are times on this album when a sizzling guitar solo would have been exactly what the doctor ordered."

Open Road - DONOVAN***

Changes/Song For John/Curry Land/Joe Bean's Theme/People Used To/Celtic Rock/Riki Tiki Tavi/Clara Clairvoyant/Roots Of Oak/Season Of Farewell/Poke At The Pope/New Year's Resovolution

After somewhat slipping out of fashion troubadour Donovan re-energises his career by forming his own group for the album Open Road, providing a more rock orientated sound than his usual acoustic folk fare. (US:16 UK:30)

"At the time of this recording Donovan had recently parted company with producer Mickey Most, preferring to produce himself, and his exuberance at finally being in control of his own destiny shines through on every track. The lyrics dwell repeatedly on the themes of independence, anti-authoritarianism, freedom, and self-reliance. Musically, there are a couple of ballads, a bossa nova, a couple of tracks on which Donovan explores the blend of rock and traditional British sounds that bands like Fairport Convention and Pentangle were working with more extensively, and the remainder is a batch of tough, punchy, stripped-down rock & roll."

"My favourite Donovan album. Riki Tiki Tavi is the stand out track and with child like lyrics it's one of those really catchy songs that you can't help but sing along with. The rest of the album flows really nicely, and the more rock orientated Celtic Rock vibe really appeals to me."

"This is a decent surprising shift of focus for Donovan, with some surprising detours from an artist who has been multi-faceted. Here, where he does a full fledged rock record, it falls a bit flat in places."

"Probably his most underrated album. This time Donovan eschewed his usual session men and formed a real rock band. While acoustic guitar is still prominent, it's the raging electric that takes centre stage. A great bunch of songs too"

"Donovan fronting a rootsy, chest-thumping rock band makes little to no sense, even considering the winds of change blowing at the turn of the decade. His down-home drawl isn't any more convincing than it was on the debut, the Pope gets by with an 'edgy' critique bordering on juvenile, and attempts at invoking a Celtic past are equally thin. When so much of your album trades in flaccid Americanisms, it takes a lot more than misty buzzwords to supply an air of authenticity."

"As it all too often seems to happen, an artist produces his finest work at the same time his commercial appeal starts to slide. That doesn't mean the creative juices have dried up, only that the tastes of the mass market have shifted."

Greatest Hits Vol. 1 – JOE SOUTH***

Games People Play/Hush/Children/These Are Not My People/I Knew You When/Walk A Mile In My Shoes/Don’t It Want To Make You Go Home/Down In The Boondocks/Birds Of A Feather/The Greatest Love

Joe South from Atlanta, Georgia was a pop/country singer songwriter best remembered for Games People Play, a top twenty hit on both sides of the Atlantic. He also wrote Hush and Down In The Boondocks both covered in this greatest hits package. (US:125)

"Joe South songwriter extraordinaire. He's penned some of the classic songs of the American sixties era, songs which stand the test of time even today."

"Atlanta native Joe South is one of the unsung heroes in popular music as although a few of his hits peaked in the top 40 in pop and/or country, it was mostly other artists who had hits with his material."

"It is surprising how influential Joe South was on the music scene, given the number of people who have never heard of him. This is a solid album worthy to be added to any classic rock collection."

"Several songs on this list were hits for other artists. From Billy Joe Royal to Elvis Presley, South's songs penetrated the business in a hurry. Hearing the songwriter's version is enlightening. It's also notable how many tracks are socially engaged, and more important, how they haven't dated."

"If you are not familiar with Joe South, this album is a great collection of hits and fan favourites. Joe was a singer/songwriter from Atlanta, Georgia who wrote beautiful songs from the heart, that also reflected the times and tumult of the Sixties."

"Joe South is the maestro of many songs we hear today. He delivers the tunes with a special country/honky-tonk flair. This is for any true classic music collector."

"A handy summation of the hippie-era recording career of songwriter Joe South, a twangy, soul-drenched pop genius who wrote a remarkable string of smash radio hits, including the thunderous hard rock anthem, Hush, which put the band Deep Purple on the map. South's own versions of the covers are markedly different from the hits -- Also included here are Games People Play, a top pop hit for South himself in 1969, as well as Walk A Mile In My Shoes, which was one of his few actual country entries, and several lesser well-known gems from his back catalogue."

Supertramp - SUPERTRAMP***

Surely/Its A Long Road/Aubade/Words Unspoken/Maybe I'm A Beggar/Home Again/Nothing To Show/Shadow Song/Try Again/Surely

Eponymous debut album from the progressive pop band Supertramp. They would achieve significant commercial success in the second half of the decade. This early effort is considered to be too derivative, before they developed their trademark sound. (US:158)

“Supertramp's debut may be more progressive than most of their other work, but that doesn't make it better. Musically speaking, there's a certain early Yes influence floating about, but the band's ideas just can't compete with most of the other groups operating in 1970. The fact is that a lot of their attempts to replicate other prog bands' experimentations fall flat.”

“This album portrays a band that was ambitious and was itching to show their ways. The songs are based around a kind of gentle, peaceful, hippieish vibe that makes the songs quite relaxing and enjoyable.”

“The band is almost unrecognizable at some points, but that is not bad. The soaring compositions make for a good listen. By no means great, but a good debut that is virtually unknown.”

“Certainly the most progressive of all their albums, it's actually a shame they didn't pursue this direction rather than the more overtly commercial path they ended up on. A delight from start to finish.”

“Some fans may be in for a shock when hearing this album for the first time, as it's by far the most psychedelic, art-rock album in the band's catalogue. There's no trace of jazz leanings or saxophone anywhere.”

“The best comparison I can think of is early Yes with a hint of Traffic thrown in. The songs meander all over the stylistic map with Maybe I'm A Beggar and Surely the most closely related to the later Supertramp sound. The songs have all the right ingredients for the later more commercially polished prog pop sound, but they clearly haven't been cooked long enough for the right flavour.”

“Gentle pastoral prog. Surely being a bit too soft is the only reason it’s never received its rightful recognition. Full of lovely melodies and delicate, pensive playing, and lyrics concerning the search for meaning.”

Seasons - MAGNA CARTA***

Seasons/Goin' My Way (Road Song)/Elizabethan/Give Me No Goodbye/Ring Of Stones/Scarecrow/Airport Song

Seasons was the second and most commercially successful album from the London folk-rock band Magna Carta. The ambitious title track suite is a conceptual work influenced by the changing seasons. (UK:55)

“This is just the kind of music I like; sparse, rich instrumentation with a seriously gorgeous melodic folk/rock mix of major and minor chords.”

“The band’s second effort was an enormous artistic leap from their debut. Clocking in at over twenty minutes, Seasons is a real conceptual piece, with a seamless succession of themes that come and go, a prologue and an epitaph that lyrically concludes and musically reprises the opening theme.”

“Though undeniably quite twee, this is one of my favourite albums. It has some fantastic arrangements for group, strings and woodwind on the side long title track.”

“This is an absolute classic, the songs are beautifully crafted. Mystery and human feeling emanate from this timeless album. Pastoral beauty and a wonderful piece of history, somehow link old England with the new young people culture of the late sixties and early seventies.”

“Seasons is a very pleasant progressive folk album. The songs are quite catchy and easy to enjoy. The lead and backing vocals are excellent, being among the strongest points of the record. There is some narration and some excellent orchestral arrangements on a few tracks, courtesy of the London Symphony Orchestra. The warm acoustic bass and the omnipresent acoustic guitars contribute to enhance the overall value of this record.”

“The music is pleasant and folksy and perhaps dated in places. For those who yearn for the halcyon days of carefree youth and the endless days of hot summer, or the joy of the first fall of snow. So put your feet up, give this a spin and return to those days.”

“The suite has several great moments and is definitely fine as a whole, but it's a bit too verbose. The standouts are the wonderful, mellow Elizabethan with its descendant cello theme and old-time mood, and the nice, tuneful pop-folk of Airport Song, which are worth the entire album.”

Hawkwind - HAWKWIND***

Hurry On Sundown/The Reason Is/Be Yourself/Paranoia (Part 1)/Paranoia (Part 2)/Seeing It As You Really Are/ Mirror Of Illusion

Self titled debut album from space-rock pioneers, and one time underground band, Hawkwind. This release appears to stick closer to a mainstream rock sound than some fans would have liked.

“This album was recorded live in the studio as a one long jam called Sunshine Special but they cut that performance to form different songs. In my opinion Hawkwind succeeded with this debut, and it has a pretty trippy, space rock/psych sound. Their later albums are even more space rock oriented than this one. Here you can hear their blues, rock and folk influences, and of course psychedelia has a big part too.”

“What it is not is the Hawkwind that developed right after this album. The songs here seem more composed, recorded carefully as songs and soundscapes. They don't have that driving, monolithic bass pump that Hawk would make their trademark.”

“Nice initial LP by these spaced out dudes. More straight-forward rock than things to come but still very spacey. This release was as good as most psychedelic rock made after 1969. Better stuff is coming but this is still good.”

“Hawkwind may be renowned as the lords of space-rock, but here on the debut they play a quite primitive mixture of spacey psych & folkish prog. The influence on stoner and space rock of today is clear though, with the drawn out cosmic melodies, the prog/rock mix, some of the tunes even have a melancholic edge.”

“There is some decent psychedelic music to be found on Hawkwind's initial effort, but if you want the space-rock that they would become known for, that would happen on the next one. This is more for fans to complete their Hawkwind collection.”

“Hawkwind's debut contains some finely-honed jamming from the space rock titans but, alas, a few areas where the compositions could be tightened up a lot. The vocals are sparse, usually comprising the chanting of short, repetitive phrases into the mike in a monotonous and irritating manner. But between these parts, the band jam marvellously, showing a surprising range of influences.”

“This debut set displays much of what would soon identify the band, particularly its shifting between ethereal acoustic music and trans-dimensional electronic hard rock, but here it retains the very loose and very random feeling.”

Ma Kelly's Greasy Spoon - STATUS QUO***

Spinning Wheel/Daughter/Everything/Shy Fly/(April) Spring Summer & Wednesdays/Junior's Wailing/Lakky Lady/ Need Your Love/Lazy Poker Blues/Is It Really Me-Gotta Go Home

Ma Kelly’s Greasy Spoon was where Status Quo started to ditch pop psychedelia and embrace their trademark boogie rock sound. It would take the band three years to cast aside memories of their early lightweight image before they gained commercial musical credibility.

“The start of the blues, hard and boogie rocking Quo era. This album sounds like a rebellion against whatever Pye was trying to turn them into.”

“To me, the sound is raw but fresh. All the tracks sound distinctively different and are enduring. The exception may be the ballad, Everything, which seems out of place on this album.”

“My favourite Quo album, coming between their psycho-flower pop and the more denim clad boogie-bop dum-de-dum of later albums.”

“Ma Kelly's Greasy Spoon was the first Quo album to feature the classic heads down no nonsense boogie for which the band would become famous, and often derided. After the orchestrated pop of previous albums, this is an ugly, stripped down album with barely any frills and plenty of duff notes.”

“It is admirable in its total disregard for the sound that had established them prior to this release, and the fact that this was the style of music that the band truly wanted to play.”

“Dating from the halcyon days of 1970, when Status Quo were trying to shuffle off the psychedelic bubblegum pop image of the 'Matchstick Men' era. Ma Kelly's Greasy Spoon is a refreshing and pleasingly varied set which set down the markers where they would venture forth to become one of Britain's most enduring combos.”

“Quo dropped the pop for a harder sound on this record and even though they were still finding their feet it is a big improvement over previous LPs”

“This is where it really started, rammed full of some of the best hard driven blues boogie ever recorded. From the opener to the closing jam, this album proves that the rock and roll granddads of today were once a great band.”

The Time Is Near - KEEF HARTLEY BAND***

Morning Rain/From The Window/The Time Is Near/You Can't Take It With You/Premonition/Another Time Another Place/Change

The cover suggests that The Time Is Near might be an American release. In fact Keef Hartley was British and served for a time as drummer with blues legend John Mayall. This album was noted for its heavy use of horns. (US:191 UK:41)

“A nice blues album with a little jazz thing going on. Well written tunes with interesting vocals and nice guitar. Of course the drummer is excellent. The only drawback is those horns.”

“The Keef Hartley Band’s third album was particularly heavy on the horns. They are featured on most songs, some of which turn into extended pieces. Using heavy blues guitar leads and a soulful voice, Miller Anderson keeps the brass in check. The songs have good melody and sound better with repeated plays. If you like to mix horns with your blues then this would be a good choice.”

“One band that fell into a hole of neglect and subsequently obscurity (unfairly) was The Keef Hartley Band. They really had a whole lot going for them musically, starting with the dynamic drumming of Keef Hartley himself. Next, they had a talented vocalist/guitarist in Miller Anderson, who was also a very adept lyricist, writing six of the seven songs on this album.”

“One of the elements that separated them from many other bands of the era was an astoundingly good jazz horn section which put them, superficially at least, in the same category as Chicago or Blood, Sweat & Tears. However, the Hartley Band's horn section was much more jazz oriented and full of skilled soloists.”

“These songs had a rock groove and a genuinely 60s FM underground sound, but the horns played sweet R & B changes over vocals that could rival Otis Redding or Sam and Dave.”

“Songs like Morning Rain, the splendid title track (which really should have been a hit) and You Can't Take It With You are so hook laden, and groove with such a distinct original sound that once they get stuck in your head you'd swear you have heard them on the radio. There is no reason why other songs made it big in 1970 and these worthy gems were brushed aside. Just the fickle finger of fate.”

The Use Of Ashes - PEARLS BEFORE SWINE***

The Jeweller/From The Movie Of The Same Name/Rocket Man/God Save The Child/Song About A Rose/Tell Me Why/Margery/The Old Man/The Riegal/When The War Began

By the time of the release of The Use Of Ashes all the original members had departed the psychedelic folk group Pearls Before Swine, except for guiding light Tom Rapp. For this release he recruited some top session musicians and also called in aid his then wife Elisabeth.

“Although somewhat dated in sound, what saves the record are the songs. They are incredibly well crafted and melodic, with the only clunker being Tell Me Why which is a meandering mess.”

“With the other founder members of the band all gone, Pearls Before Swine had rather become the Tom Rapp show by this point. That said, as far as psychedelictinged folk-rock singer-songwriters go, he does an admirable job here, backed up with his then wife and Memphis backing musicians, to issue forth a range of sweetly sung ruminations.”

“I'm not the biggest fan of this style of downer folk, but their earlier releases were in such a non-commercial vein as to be almost compelling. I found this less interesting even than its predecessor, of which I was no big supporter either.”

“One gets the feeling listening to The Use Of Ashes that it was intended to be the commercial breakthrough for Tom Rapp. Certainly the hook laden God Save The Child was meant for more radio exposure and it deserved it. This a quiet album and more refined than Balaklava.”

“The only real great song on this album is Rocket Man an eerie track about the family of an astronaut. Most of the rest is slow depressing murky folk rock without the hooks of previous albums.”

"The Jeweller leads off the album and it instantly displays the vocal and songwriting prowess of Tom. If you like this song you will know instantly you are on to something. Loaded with talented back up musicians, the complex song play is only more enhanced by Tom's expressive singing. Margery and Riegal are also worthy of high praise. This is slow but intense music and probably not for everyone.”

“A collection of psychedelic influenced folk rock ballads, many of which are sadly overlooked classics resulting in a melancholy masterpiece.”

Affinity - AFFINITY***

I Am & So Are You/Night Flight/I Wonder If I Care As Much/Mr Joy/Three Sisters/Coconut Grove/All Along The Watchtower

The sole album release from the jazz-rock band Affinity formed by students of the University of Sussex. The vocalist Linda Hoyle enjoyed a lengthy singing career, mostly out of the limelight, in Canada.

“If you're not familiar with Affinity, they were a five member English ensemble that released this sole LP in 1970. The band seems to blend the elements of pop, folk, jazz and blues into their music. A lot of thought, heart and emotion went into the making of this record.”

“Very much a product of its time, which has stood well, although the progressive content is rather limited. This is well-played, free-spirited psychedelic rock with a great female singer and an over the top keyboardist leading the sound. Rather dated but still recommended.”

“I really like the female singing on this album and the music behind her voice is very high quality jazzy progressive rock. There are also some minor psychedelic effects but not that much.”

“It's a fine offering of psychedelic rock, in which trippy, female-fronted pop melodies and jazzy arrangements combine to offer elegant, atmospheric, late-night psychedelia. The Dylan cover pleasantly surprised me as well, because it's hardly the most intriguing idea for a cover, but there's a sufficient amount of originality.”

“Affinity's sound is tough to define, as it's not really traditional rock, nor is it full blown psychedelia and it's not really prog either. Its commercial appeal is minimal, so what the aim is isn't clear. Fortunately, though hard to define, there are some nice qualities here to recommend it. The two most noticeable are the singers smoky, sultry voice and the way the different keys are used to accent songs.”

“Affinity is a very interesting jazz influenced early piece of English prog/folk rock. It's much more melodic and accessible that anything that came out of Canterbury. The album features excellent arrangements and musicianship, particularly the keyboard player. However, some of the songs are a little naive lyrically.”

“This is a nice enough early Vertigo release which many prog fans will enjoy. It's an especially good pick if you like some jazz and very light psych touches.”

Warpig - WARPIG***

Flaggit/Tough Nuts/Advance In A Minor/Rock Star/Sunflight/UXIB/The Moth

The sole album release from the Canadian heavy rock band Warpig before they split. They have been compared to Deep Purple by some, a little too closely according to one critic.

“This is very good hard rock with some super hard riffing by the lead guitar. All the tracks are real toe-tappers but Tough Nuts is an explosion of hard rock guitar crunching. Can't say enough how good this LP is. If you are into guitar oriented hard rock from the early 70s, you should like this.”

“One of the finest examples of proto metallic goodness the 70s had to offer, and probably the best thing Canadian music ever did. If you are a Deep Purple fan you owe it to yourself to give this one a go.”

“Warpig know how to finish a song without redundant solos or over the top screaming. There is a lot of instrumental work here though, but it's more about atmosphere than technicality. A subtle hint of the occult is present.”

“This is really a rocker and if they did not clone Deep Purple so closely this release would demand more respect from me. Every track on here is very strong.”

“I just don't understand how it is that nobody is willing to mention the fact that Deep Purple stole the song Rock Star from this album and credited it to themselves as Fireball. I noticed it the first time I listened to this album. It's painfully obvious, just listen for yourselves.”

“A very eclectic album, containing songs that are structured and moving, and destined to be one of the best all original albums of the early years of heavy rock. This group was on the cutting edge of that genre and several songs will become recognized as rock anthems.”

Golden Earring - GOLDEN EARRING***

Yellow & Blue/The Loner/This Is The Time Of The Year/Big Tree Blue Sea/The Wall Of Dolls/Back Home/See See/I'm Going To Send My Pigeons To The Sky/As Long As The Wind Blows

Golden Earring were one of the premier Dutch rock bands from the late 1960s through to the mid 1970s. Despite being eponymous this was by no means their debut album, although it did herald the start of their classic line-up.

“It is full of guitar oriented blues rock with nice vocals. Like most of their albums it is well produced and full of quality material. There is a little psych, a little prog and a lot of rock and roll.”

“This is very psychedelic in approach with some progressive elements thrown in, the result is pretty great, even the progressive rock term is very pale here in contrast with other bands from that period. They performed something between psychedelic rock with more edged rock arrangements here and there, but also some progressive elements.”

“This really is a corker. There are no weak tracks and it comprises their usual mix of slow, bluesy numbers, often building to crescendos (but certainly not to be termed ballads) and hard driving rockers, all done in their inimitable style.”

“Known popularly among collectors as "The Wall Of Dolls" LP, based on the cover art and the excellent track it contains. In fact, I was startled to discover that it is eponymously titled, so well established has the nickname become. As far as the sound goes, their particular brand of progressive hard rock, with substantial psych influences, truly kicks hard and consistently so. It's my favourite of their discography, and represents the pinnacle of their output.”

"Golden Earring stood as one of the band's more adventuresome and enjoyable releases. Musically the LP found the band shifting musical gears towards a heavier guitar based rock sound. That said, the collection remained stylistically diverse, The Loner and This Time Of The Year sounding like Free.”

“Every song on this is solid and engaging, Big Tree, Blue Sea is the best tune here, and does more with the Jethro Tull sound than even they could muster themselves. It rocks hard and the flute playing is great, adding an eerie atmosphere. I think personally that flute sounds great in rock, especially from the 70s.”

Death Walks Behind You - ATOMIC ROOSTER****

Death Walks Behind You/VUG/Tomorrow Night/7 Streets/Sleeping For Years/I Can't Take No More/Nobody Else/ Gershatzer

Death Walks Behind You was the follow up album from the British progressive band Atomic Rooster who achieved some commercial success in the early 1970s. Includes the UK No.11 hit single Tomorrow Night. (US:90 UK:12)

“Death Walks Behind You is probably their most famous offering, and it starts off promising with the title track. After that the album unfortunately fails to deliver, even if the sound is raw and cool, with a sinister horror movie piano and heavy riffing. If you're an enthusiast of British hard rock, you'll probably like this album, but I had expected more from it.”

“The album is pretty good overall, with plenty of light and shade particularly on side two, sombre gothic keyboard passages alternating with the heavy interludes.”

“Death Walks Behind You is definitely the band’s finest hour and one of the most remarkable hard rock LPs from this time. The band was way ahead of its time and one of the heaviest bands around. They played riff based, organ driven, angry hard rock with lots of progressive influences. This album is definitely a must hear if you consider yourself as fan of 70s hard rock.”

“Atomic Rooster's masterpiece, Death Walks Behind You is the best example of everything that made them such a fine band. Amazing sharp organ and piano are laced throughout, as are the wonderful vocals and powerful guitars. And the songwriting is just superb. Atomic Rooster were one of the greatest English bands of the 70s that walked the line between proto-metal, hard rock, and heavy progressive rock, and did it very well. This is a total masterpiece, with no weak tracks.”

“Death Walks Behind You was the second album by Atomic Rooster. This LP is far heavier than their debut and the songwriting is stronger this time. It is no surprise that the album has received lots of critical acclaim over the years. I consider it to a true progressive rock classic.”

“A solid early 1970s prog rock offering. There is a very strong hard rock influence to their sound. The vocals are very theatrical and can become loud in certain sections. It offers a vast array of instruments, from the usual rock ones to flutes, pianos and organs.”

It'll All Work Out In Boomland - T2***

In Circles/JLT/No More White Horses/Morning

It’ll All Work Out In Boomland was the sole 1970s album release from the obscure British progressive band T2. Despite positive reviews it achieved little commercial success and the group disbanded during the recording of the next album.

“It'll All Workout In Boomland combines the heaviness of Black Sabbath with the lyrical beauty of Love's Forever Changes. They are all superb musicians who manage to make a heavy progressive album that is an absolute joy to listen to.”

“This is definitely among the greatest albums of the whole 1970s. T2's masterpiece offers a fantastic combination of heavy psychedelia, progressive and hard rock.”

"No More White Horses could very well be one of the greatest songs ever written and the other three cuts aren't any weaker. The album is a complete pleasure for every fan of this kind of music.”

“Although I don't think it is quite the lost classic that it is made out to be, it's certainly an interesting prog rock take on a hard psych sound, particularly notable for having substantially less focus on keyboards and more on lead guitar than many groups of the era. The vocal harmonies on show are interesting too, though here I think they suffer from the slightly muzzy sound quality.”

“T2 offers us some ultimate quality heavy psych/progressive rock music with these four long numbers. The shortest of the cuts here is almost six minutes long while the longest piece here forms the whole of side two by itself. I can't name my favourite track since these are all so perfect. I'm a psych/prog fan and in my opinion this is one of the strongest albums within these genres.”

“Nothing earth shattering here but it's a nice rock album with very progressive leanings. If you prefer songs to suites and overplaying musicians but like good rock music then I say don't be afraid. I don't get a tired head listening to this, it keeps me interested throughout without making me wonder how long it's going to go on. For a progressive album, that's about as high praise as I can give.”

“The best part, after the guitar playing is the vocals that exactly suit the music. It would have been a perfect album, except for the too long twenty minute Morning. All of the other songs are great, especially No More White Horses."