Live Album - GRAND FUNK***

Introduction/Are You Ready/Paranoid/In Need/Heartbreaker/Inside Looking Out/Words Of Wisdom/Mean Mistreater/Mark Say's Alright/TNUC/Into The Sun

A live double LP from the group the music critics loved to hate. The mostly adolescent male fan base took a very different view and Grand Funk became one of the most popular American early seventies rock acts. (US:5 UK:29)

"No frills rock, pummelling in places, the thundering rhythm section particularly the bass, as in Into The Sun, when it gets going with the guitar slicing through it, is monstrous. The pace does slow here and there with songs such as Heartbreaker and Mean Mistreater. An album tipped as one of the live greats and far be it from me to disagree. Guitar, bass and drums, this is hard rock in its rawest most basic primitive state."

"A phenomenal energy release from a three man band. Mark, Don, and Mel never fail to deliver raw hard pounding rock, and this recording will give the listener a glimpse into the early days of what might just be the ultimate American hard rock band. You can literally hear the sweat pour out their bodies, with the music that they play; this album delivers that much from these three musicians. How a three man band can deliver this level of hard driving rock experience, still amazes me."

"Grand Funk Railroad's first live album shows that the band were even hotter live than in the studio. Many songs are stretched out here into long jams, a common practice in the 70s. This LP is a must-own for any hard rock fan who believes in the power of music to change the world."

"Grand Funk Railroad were one of the heaviest American hard rock groups, a loud 'n' proud garage band that made it big, the poster group for the common man. While the long hair rebellious teens loved the power trio, the critics absolutely detested GFR, due to their neanderthal delivery and rapid rise in popularity."

"We are treated to a record of GFR going all out and giving the audience what they wanted, unpretentious three chord blues based rock music. The era's performance trade marks are all here in nine songs; extended drum solo, bluesy riffs, charged vocals, and improvisational jams. GFR simply went on stage and rattled the rafters to the audience's delight."

"Throughout it is heavily blues rock, mixed with some good improvisation in between tracks and overall pretty wild and loud performances, with a rowdy audience as well."

The Johnny Cash Show - JOHNNY CASH***

Sunday Morning Come Down/Come Along & Ride This Train-Six Days On The Road-There Ain't No Easy Run- The Sailor On A Concrete Sea (Medley)/These Hands/I'm Gonna Try To Be That Way/Mississippi Delta Land- Detroit City-Uncloudy Day-No Setting Sun-Mississippi Delta Land (Medley)/Here Was A Man

The Johnny Cash Show LP featured performances from his TV series which included a diverse range of guests from across the American musical spectrum. (US:44 UK:5)

"Johnny Cash's prime time television show, aired from 1969 featured both prominent rock and country artists of the day. Groundbreaking television for sure, considering at the time that most rock artists were associated with the peace, drugs, free love and the anti-war movement by a conservative segment of American society, just when the war was really starting to sour."

"At the peak of the hippies vs straights culture clash, Cash boldly invited guests from across the American musical spectrum - longhairs, country traditionalists, Nashville insiders, jazz musician, rock stars, pop tunesmiths and folkies. The guest list was truly astonishing, given the tensions of the times."

"What can I say? Anything Johnny Cash is good, but watching his old Johnny variety show was sheer pleasure."

"The diversity of artists that were invited to be on the show reminds me of what a good and insightful man Johnny Cash truly was. Many of the artists were deservedly boosted by appearances on the show."

"I would strongly recommend this to any Johnny Cash fan. He was ahead of his time, his special guest cross all musical lines showing his desire to unite and he did it perfectly."

"Johnny Cash brought a daring mix of musicians, songwriters and singers to his show in the late 60s. In an attempt to heal some of America's divisions of that time, he succeeded in his 'stew' of varied artists. This Johnny Cash LP is like a visit to a good salad bar."

"In a society divided by the Vietnam War, a generation gap, racism, and numerous other fault lines, Cash parlayed his artistry, broad musical vision, experienced opinions, faith and personal integrity into a TV series that crisscrossed the American landscape. Cash's own musical segments find him at one of his performing peaks."

Stephen Stills - STEPHEN STILLS****

Love The One You're With/Do For The Others/Church/Old Times Good Times/Go Back Home/Sit Yourself Down/ To A Flame/Black Queen/Cherokee/We Are Not Helpless

Well received self titled debut solo album from the Crosby Stills & Nash founder Stephen Stills. Includes the US No. 14 hit single Love The One You're With. (US:3 UK:8)

"Stills is obviously trying to not sound like CSN here with plenty of blues rock and gospel choirs. Featuring such names as Jimi Hendrix, Eric Clapton, Booker T, Cass Elliot, Crosby and Nash, John Sebastian and Rita Coolidge, the guest list here really reads like a who's who. None of that would matter if the songs were not up to snuff which they are. Just exceptional all the way through, Stills was not messing around here. He wanted to produce something great and he did."

"Stills' eponymous debut album is a fertile mix of southern-tinged rock, blues, pop, folk and gospel. Formerly with Buffalo Springfield and of course Crosby, Stills & Nash, Stephen scored his first solo hit with opening track (and pseudo-free love anthem) Love The One You're With and while it's a great song, it's just one of many highlights to be found on this very consistent album - his best I think."

"To me, this is his best solo work. Every song is well worth a listen and many more. Love The One You're With isn't the only amazing song on this album. Most of the songs are masterpieces that people seem to have forgotten about. I think that Stephen was at or near his musical peak on this album."

"Some great songs Love The One You're With, Do For The Others, the ethereal arrangement of To A Flame is perfection whilst Black Queen is a rousing acoustic blues with a strong vocal from Stills. Elsewhere little really stands out, though Church shows he knew how to build a gospel track, but the slot from his friend Hendrix on Old Times Good Times adds little, indeed Clapton's fiery soloing on Go Back Home is more successful."

"A good album that shows off Stills' skills as a virtuoso. There is some great acoustic guitar playing throughout the album. Love The One You're With and Do For The Others are brilliantly produced and executed numbers. Church has some great bluesy feel rhythms and gospel singing."

"Stills managed to create this fine record. It's no unexpected masterpiece, but it doesn't have to be; it's just one great, well-performed rock song after another."

Tap Root Manuscript - NEIL DIAMOND****

Cracklin' Rosie/Free Life/Coldwater Morning/Done Too Soon/He Ain't Heavy He's My Brother/Childsong/I Am The Lion/Madrigal/Soolaimon/Missa/African Suite/Childsong (Reprise)

Tap Root Manuscript was an ambitious album release from Neil Diamond; the entire second side was given over to a suite of African themed music. Includes the US No. 1 and UK No. 3 hit single Cracklin' Rosie. (US:13 UK:19)

"The cobwebs of Diamond's earlier productions are all swept away, yet the entire second side, African themed, seems ill advised, and the first side is short on the usual feel good progressions you would get from Neil. Apart from the hit single, the only other standout track is Done Too Soon with its name-checking and interesting form (uptempo first half, slow second), a different tack for the artist."

"Ironically, as soon as Neil Diamond hit the big time in 1970, with the superb number one single , the quality of his album output sharply declined. In my opinion, other than the single, Cracklin' Rosie, the rest of this album has to rank as amongst Neil Diamond's least essential stuff. I really don't care for the whole African suite."

"The first half of the album contains some wonderful songs like Cracklin' Rosie and one of the more profound songs Neil ever wrote - Done Too Soon. The second half contains the African suite masterpiece. Rhythms, voices, instruments and lyrics evoke jungles and plains of that continent. Soolaimon is the standout, but the entire suite moves effortlessly. Diamond was still a young songwriter/singer when he made this, which is simply remarkable."

"Oh man, this is weird. An A side filled with workman-like 70s adult pop and a B side filled with African music. Chanting, percussion, odd melodies, mangled English. Get it for the weirdness factor alone. Just don't expect to be playing it too often."

"Side one is pleasant enough early 70's MOR. And, before you groan, this was no mean feat. By 1970, all the giants of 60s 'easy' had traded in their sharp suits, polished Italian shoes and short haircuts (or sculpted toupees) plus their Porter and Bacharach songbooks for denim, sneakers and (if physically possible) perms, to instigate a strange new twist in middle-aged musical hipsterdom ... the recording of songs by Paul Williams, Bread and...Neil Diamond."

"At the time of his greatest popularity, Neil Diamond was quite experimental in some of his albums, which boldly showed his unusual willingness to take chances in pursuit of broadening his musical abilities and interests."

The Andy Williams Show - ANDY WILLIAMS***

They Long To Be Close To You/Joanne/Never My Love/Make It With You/El Condor Pasa/Snowbird/Leaving On A Jet Plane/What Are You Doing The Rest Of Your Life/Spanish Harlem/Hello Young Lovers

A rather sub par release featuring songs from the Andy Williams TV show. LP criticized for its fake live pretence, unnecessary musical interludes and canned applause. (US:81 UK:10)

"Released at the start of Andy Williams' ninth and (as it turned out) final season as an NBC television host, The Andy Williams Show LP was not a soundtrack recording from the TV series, and it was not really a live album, although it gets categorized as such. What appears to be the case is that Columbia Records took a group of Williams' studio recordings, most of them made during the summer of 1970 and consisting of his versions of recent soft rock hits, and added a lot of canned applause, along with some of the kind of musical interludes used to usher numbers on and off on the show, including bits of its Moon River theme music at the start and the finish."

"The Andy Williams Show was a 'live' album of songs that Andy sang on his TV show and it includes a 'station break', and 'musical bridges' between songs."

"This is Andy Williams at his very best. The Andy Williams Show LP brought back a lot of memories for me when times were a little easier. A must-have for Andy fans."

"Except that there wasn't quite enough of it, there was nothing wrong with the material; what was wrong was all that irritating applause, so obviously dubbed in (it even faded in and out). Williams' fans responded to the shoddiness of the project, and it suffered relatively mediocre sales. Given that Williams' popularity was starting to fade anyway, the album was a real blunder."

Lola Vs Powerman & The Moneygoround - THE KINKS****

The Contenders/Strangers/Denmark Street/Get Back In Line/Lola/Top Of The Pops/The Moneygoround/This Time Tomorrow/A Long Way From Home/Rats/Apeman/Powerman/Got To Be Free

The final album from The Kinks creative period sees the group voicing their disenchantment with the music business. Includes the UK top five hits Lola and Apeman, the former reaching No. 9 in the States (US:35)

"Even if The Kinks were already past their creative apex at the time this music was recorded, they were still one of the best pop/rock bands and songwriting talents on the British scene and this music lost nothing of its quality and vitality over time. The songs from this album, which were released as singles, remain in the collective memory of the 1960s/1970s generation as an integral part of their life's soundtrack."

"This is a concept album with a critical focus on the music industry. But the important thing is that it contains a wealth of fine songs. In addition to the two classic hits Lola and Apeman you will find the very beautiful Get Back In The Line, which was a regular on the group's repertoire in the 1970s. Also, This Time Tomorrow and the ballad A Long Way From Home are personal favourites. Among the more thematic songs The Moneygoround is both funny and biting. Dave Davies delivers one of his very best songs, Strangers, which both musically and lyrically is simply great."

"A pretty consistent release by The Kinks - perhaps not as strong as some of their earlier efforts but there is still an enjoyable wittiness to their songwriting. I didn't care so much for the concept of this release, but you don't need to because the songs are worth your time regardless. The singing seems a lot rougher around the edges and their kitsch melodies that seems ever present has grown a little tiresome by now, particularly on tracks like Denmark Street and The Moneygoround. But it's the singles which truly impress. Lola was their first hit for some time and revitalised the band - it's awesome. I also absolutely love Apeman, perhaps the strongest song on the album."

"The Kinks return to some of the harder rocking that made them in the first place. I guess that makes them pretty good at anticipating the 70s, which is funny for a band that prided itself on anachronism for albums like Village Green and Arthur. They still mix in the vaudeville/music-hall sound, but the guitar rock is a lot tougher. It's a loose concept album about the horrors of becoming a rock star, more specifically about how everyone stole Ray Davies's money. In general, the album starts naive and idealistic and gradually gets more cynical."

Just A Collection Of Antiques & Curios - STRAWBS****

Martin Luther King's Dream/The Antique Suite/Temperament Of Mind/Fingertips/Song Of A Sad Little Girl/Where Is This Dream Of Your Youth

Live follow up album of mostly new songs from the British folk-rock group Strawbs, recorded at the Queen Elizabeth Hall in July 1970. More progressive in style than the debut it showcased the keyboard skills of new member Rick Wakeman, who would soon jump ship to join Yes, a more suitable vehicle for his talents. (UK:27)

"I believe that this is the first Strawbs album to move away from their folk beginnings and whilst there are real signs of a move to a more progressive style, there are still a significant number of songs that are most definitely folk-rock. The rest of the album is almost a showcase for new member Rick Wakeman. His performance on this album is superb, including the solo piano Temperament Of Mind where he melds classical with honky-tonk, 30s jazz and goodness knows what else, all utterly seamlessly and with a dexterity that few could match within the rock sphere."

"What a beautiful album cover. It represents the music inside perfectly. By this stage the Strawbs has expanded into a quintet with keyboard wizard Rick Wakeman and former Velvet Opera members Hudson and Ford. The performance is a little bit shaky but that's part of the charm of the album."

"This recording is much more for the established fan rather than someone looking to initiate themselves. The Strawbs are best known for their fusion of progressive rock with folk and the mainstream pop stylings of the 70s. Here we see them at a point of transition, beginning to move from their folksy roots gradually into a more 70s progressive sound. If you like the Strawbs, this is a must if you wish to have a good understanding of their evolution over the years."

"This album of is probably the world's first introduction to the keyboard genius of Rick Wakeman. His incredible extension to the earlier Strawbs classic Where Is This Dream Of Your Youth? is just mind-blowing."

"The band were still sticking mainly to their folk-rock roots, but the music is so good I can't complain that it is only progressive on occasions. All the songs were written by Dave Cousins, aside from Temperament Of Mind, which is Wakeman's. This is his solo piece on piano, which consists of many different styles, including several quotes from several classical pieces (like from Bach)."

Nicely Out Of Tune - LINDISFARNE*****

Lady Eleanor/Rode To Kingdom Come/Winter Song/Turn A Deaf Ear/Clear White Light/We Can Swing Together/Alan In The River With Flowers/Down/The Things I Should Have Said/Jackhammer Blues/Scarecrow Song

Nicely Out Of Tune was the excellent debut album from the Tyneside folk-rock group Lindisfarne. In reality they were far more rock than folk. Includes the UK No. 3 hit single Lady Eleanor. (UK:8)

"Probably the best folk album of its kind. Combining folk and rock music with politically edged lyrics, courtesy of Alan Hull. The album stands up to repeated playing; I have had it since 1970 and never tire of it."

"On Nicely Out Of Tune they play a style of electric folk less beholden to traditional sensibilities and more in touch with then current styles in art rock than the likes of Fairport Convention or Steeleye Span."

"Due to its goodtime seventies vibe with some spiritual reflections, one of the very most played albums of my life. The sound of the band's harmonies on Turn A Deaf Ear and Clear White Light is just magical."

"There are protest songs mixed in with love songs, ballads, and kick up your heels barn dances. But through it all there is a feeling of fun and kindred spirit. Alan Hull singing Winter Song would send shivers down any spine."

"A very good folk album with the fantastic Lady Eleanor with its haunting melody and long acoustic coda. Clear White Light starting a cappella wonderful vocal harmonies, and We Can Swing Together with its harmonica solo are really good too."

"A classic lost album that undoubtedly contains many of their finest tracks. Lindisfarne wrote great folk/pop songs and their singing just captured something indefinable. Lady Eleanor is justifiably famous, with its ethereally delicate intro, sublime lyrics and soaring chorus. Clear White Light is almost as good and Winter Song touches the heart with haunting perennial questions about society's disregard for the poor and marginalised. And some of their songs are quite funny at times too."

"A really great album from this folk-rock band that criminally went underappreciated in their time. Lady Eleanor is amazing, as is the good time rocker Kingdom Come with great harmonica and fiddle."

The Man Who Sold The World - DAVID BOWIE*****

The Width Of A Circle/All The Madmen/Black Country Rock/After All/Running Gun Blues/Saviour Machine/She Shook Me Cold/The Man Who Sold The World/The Supermen

The powerful The Man Who Sold The World LP is considered to be David Bowie's most hard rocking release. It is certainly full of stunning original compositions. (US:105 UK:26)

"It captures his unique and influential songwriting skills and matches it up perfectly with some pounding hard rock guitar. It's hard to pick a favourite song, all of these are top notch. Listen to this album, it will leave you spellbound."

"Musically and lyrically, the album builds on what has gone before, adding a mildly progressive edge on the instrumental side, whilst Bowie's songs develop his preoccupation with sci-fi messiahs and other strange topics. The heavy proto-glam on display here is an intriguing experiment which most Bowie fans will want to savour at some point."

"An album that is enduring across all generations and which never grows old. All The Madmen is just so human and the title track is one that stops you in your tracks, it hits a different nerve each time you hear it. This album never loses its shock value."

"Bowie at his heaviest and psychedelic. Great rockin', muddy sounding numbers. The lyrics are so abstract and create such vivid imagery, but many of the songs here create weird, almost satanic like images. Mick Ronson's guitar work is nothing short of brilliant. The vibes on the album are so jammy and heavy, I love it."

"This album is one of Bowie's many masterpieces. Here we have a hard rocking David Bowie, who is still in the hippie phase of his career. Every song rocks, and all are extremely catchy. Bowie's writing is much more mature on here as he deals with themes of occultism and mental insanity. This is one of his most notable albums. From this point on, he becomes one of rock's most respected trend setters."

"The Man Who Sold The World arguably sees Bowie at his most glam-rock in terms of sound as he starts a phenomenal series of albums in that style. The quality on show is hard to argue with. The album is a rocker throughout and the opening section of the album is unrelenting, encapsulating the rock sound of the time.”

"This a fascinating view of mankind’s dark side, which ranks as one of his best and most challenging masterworks, as it still rings out just as clear and relevant as ever."

I Who Have Nothing - TOM JONES***

Daughter Of Darkness/I Have Dreamed/Love's Been Good To Me/Lodi/Try A Little Tenderness/I (Who Have Nothing)/What The World Needs Now/Can't Stop Loving You/To Love Somebody/Brother Can You Spare A Dime/See-Saw

At the start of the seventies Welsh balladeer Tom Jones was still at the height of his popularity, although his vocal style is much less popular today. I Who Have Nothing features the UK and US top 20 title track, plus the sinister UK No. 5 Daughter Of Darkness. (US:23 UK: 10)

"Wonderfully over-the-top singing and instrumental excess as you would expect from Tom Jones. The standout tracks are Daughter Of Darkness and I (Who Have Nothing). The title track in particular has a nice oppressive feeling to it, with some ominous guitar sounds and a huge arrangement. The covers of some of the more well known songs are for the most part not bad, sung with gusto by Tom, though the arrangements can get pretty cheesy. All in all a great listen for Tom Jones fans."

"I (Who Have Nothing) as an album has a strong focus on remake material and includes a beautifully understated vocal performance of the old Rodgers & Hammerstein standard Loves Been Good To Me as well as a dramatic interpretation of the old Brother Can You Spare A Dime, a perfect fit for Jones and his over the top emotional vocal style that characterized some of his trademark hit singles. There is also a memorable remake of the Bee Gees hit To Love Somebody that seems tailor made for Jones from a musical standpoint. The title track is a very dramatic, emotional song with heavy orchestration and much use of the classic Tom Jones horn section, that rates well as a live performance highlight although this (like the single) is studio recording."

"The title track was one of his biggest hits, as well as being one of the best moments on this consistent, but average set, which also featured fine versions of To Love Somebody and Try A Little Tenderness."

"Tom Jones has a wonderful, powerful voice but he could not come close to adding the soul to the title song as Shirley Bassey did....she made your heart break into a million pieces with her rendition."

"They do not make music like this anymore. I don't believe that they have the talent or the inspiration. These days will never return. That is why I live in the past when it comes down to good quality music."

Anyway - FAMILY***

Good News Bad News/Willow Tree/Holding The Compass/Strange Band/Part Of The Load/ Anyway/Normans/ Lives & Ladies

The Anyway album from British progressive rockers Family, was a half studio and half live release, recorded in 1970 at the Fairfield Halls, Croydon. Includes the UK No. 11 hit single Strange Band. (UK:7)

"This album was released when they were still in their ascendancy and although uneven in parts gives a pretty strong flavour of what they were about. Good News Bad News is great but the highlight is Part Of The Load. This still holds up pretty well today. Good to interesting."

"I find Family to be an acquired taste, due largely to Roger Chapman's odd tremolo filled vocal. Also the material on this album, while falling pretty much into the rock format, has a lot of unusual chord sequences that make it hard to latch onto at first." "Half live, half studio - half wild, half gentle. Perhaps more 'interesting' than 'entertaining'. But perhaps not..."

"The studio tracks almost flow together as a suite of unusual, challenging but very rewarding songs that typified Family. If there is a quintessential Family song in the unreal variety of their work, that may be the title track. The vocal and instrumental backing seem to be going in different directions, both complex, with an unusual rhythm to boot. Yet it holds together beautifully. Lots of violin touches, a bit of vibes and Roger Chapman alternatively bellowing and crooning. All in all, certainly one of my Family favourites. No one who enjoys Family should be without this one."

"Good News Bad News is perhaps the best song Family ever did. The rest of the album, while still demonstrating very strong songwriting, also does what they started on the Song For Me LP - moving to some kind of 'their own style' pub rock - in terms of attitude, performance and even recording quality. So the songs are good, but the magic of the early albums is gone."

"A masterful album that should have proved the catalyst to finer things, but for some reason the band never quite fulfilled their remarkable potential."

"What a wild, strange shambles of an album, chaotic hard rock and sweet progressive with some almost country elements all fused together. Not necessarily a great album, but very interesting. Strange Band is uncommonly heavy."

New Morning - BOB DYLAN***

If Not For You/Day Of The Locusts/Time Passes Slowly/Went To See The Gypsy/Winterlude/If Dogs Ran Free/New Morning/Sign On The Window/One More Weekend/The Man In Me/Three Angels/Father Of The Night

New Morning was Bob Dylan's quick follow up to the poorly received Self Portrait. Unfortunately, the new release failed to fully restore his reputation with many critics. (US:7 UK:1)

"My main criticism of him during this stretch is not that he lost his genius, but that his genius was unfocused, manifesting itself on a handful of songs per album only. This is somewhat the case on New Morning, but there is enough strong material to recommend it."

"New Morning has flashes of greatness, like the minor hit If Not For You and the joyous Day Of The Locusts, but after that it peters out with uninspiring songs. You would be hard pressed to remember these tracks, unless you are a diehard fan."

"New Morning arrived a mere four months after the disappointing Self Portrait yet the two albums were like night and day. Gone were the cover songs, live tracks, and traditional folk songs and back was an album of original compositions. New Morning is sparse in places, simple, and earthy. It would begin the process of Dylan’s transition back toward a rock sound. The first three songs are just about as good as any three that Dylan would produce in the 1970s."

"As with Self Portrait, again this brings Dylan down from the throne, there's no will or energy to make the album alive, even amazing songs such as If Not For You are bad in the hands of its writer, Harrison's version is a million times better. There are many strong songs here nevertheless, but the production is very unfitting for a Dylan record, brings it down miles. Some good moments, some bad moments, along with Self Portrait, this is the worst record Dylan had released up to this point."

"It's got a back to basics feeling despite the more soul/gospel direction and reasonably big production, but still the feeling is a tad uninspired and jaded. However, it's a return to form after the weirdness of Self Portrait."

"The songwriting isn't as strong as sixties Dylan, but the sound is unique and generally laid-back with abundant use of piano. There are even a couple of minor classics in New Morning and Sign On The Window. If Not For You also has that status, but only when it was covered by George Harrison. If Dogs Run Free is fascinating, don't know if you can call it good, but it is enjoyable."

Greatest Hits - SLY & THE FAMILY STONE***

I Want To Take You Higher/Everybody Is A Star/Stand/Life/Fun/You Can Make It If You Try/Dance To The Music/Everyday People/Hot Fun In The Summertime/M'Lady/Sing A Simple Song/Thank You (Falettinme Be Mice Elf Agin)

The first greatest hits package from the jazz soul group Sly & The Family Stone. There are some positive reviews here but the suspicion remains that the funky style this group pioneered was a wrong direction for popular music. (US:2)

"One of those miraculous mid-career compilations that perfectly captures the essence of a group. It shouldn't be construed as a slight to Sly & The Family Stone, truly one of the great bands, that Greatest Hits is their finest and most essential recording."

"Sly married funk, soul and rock, incidentally writing and producing some of the best singles ever, mostly collected here."

"The pulsating Greatest Hits LP from Sly and the Family Stone packs genre-defying, celebratory songs of funk 'n' groove action. The uplifting set opens in style with the five-minute I Want To Take You Higher. The twelve inch vinyl cooks behind Everyday People, the feel-good vibe of Hot Fun In The Summertime, and the freaky closer Thank You (Falettinme Be Mice Elf Agin)."

"This album should be considered as one of the cornerstones of funk. Truly there are very few albums that have had as much influence on a music genre as this. Funk simply wouldn't have evolved into the monster it became without these songs."

"If you want music that will make you feel good this will do it. It is impossible not to remain still as this album starts. The music will take over your body and make you move. Pure good fun. Plus it gives a genuine insight into the time these songs were made."

"This album has all the Sly & The Family Stone greats. It takes me back to the 70s in a way that no other music quite can. The funk, the unique rhythms, the often meaningful lyrics - all classic Sly. Everybody Is A Star has always been one of my favourite songs of all times and is alone is worth the price of the LP."

"Sly & The Family Stone were a great genre-crossing, race-melting band. This collects all their happy, dancing music. This will bring a smile to everybody's face."

Led Zeppelin III - LED ZEPPELIN*****

Immigrant Song/Friends/Celebration Day/Since I've Been Loving You/Out On The Tiles/Gallows Pole/Tangerine/ That's The Way/Bron-Y-Aur Stomp/Hats Off To (Roy) Harper

For their third LP heavy rock group Led Zeppelin turn down the volume a little and provide some acoustic folk tinged numbers. Contrary to mythology they did release singles, Immigrant Song reaching No.16 in the States. (US:1 UK:1)

"It starts out with one of the most recognizable riffs and vocals sounds ever from Immigrant Song, right away this album lets you know you are into something amazing. I'd be shocked if you could find a bad song on here. The album is still definitely full of rock, it has the wonderfully bluesy guitars, but it also contains many acoustic and folkish elements adding an extra dimension to everything."

"This is more of an acoustic album than its predecessors, with mostly successful results as the band explore a more subdued sound and continue to mature into exploring new directions beyond blues-inspired rock. It's much less heavy than other early releases, making for an interesting contrast."

"When I first heard this, I was perplexed. There were a few great hard rock songs. but there was also some folk rock done in an electric style. Nevertheless it holds up very well as a masterful disc of good music. It's Led Zeppelin and that is a good thing, but hard rock fans who don't have the tolerance for folk music or psych rock may not be so happy with this one. Just listen to it more than once and you will begin to get the feel of what they were trying to do here."

"Zeppelin spread their wings a bit here, expanding the scope of their songwriting and musical expression from the firmly blues rock rooted approach of their first two albums. The most hard-rocking track on here, Immigrant Song, kicks things off with a proto-speed metal approach. What's really interesting is what happens after that - we plunge into Friends, complete with driving acoustic guitar lines, subtle use of Moog, and a decidedly foreboding atmosphere, and we know we're no longer with the same old Zeppelin we used to know. The band don't abandon the blues entirely - Since I've Been Loving You is one of their best slow blues rock songs, in fact - but they do delve deeply into acoustic experimentations. Here the Zeps bring a light acoustic touch to heavy, hard rock material, creating an altogether different sound. Although it's not very metal, it is more varied and more interesting than their earlier material."

"Another great release by Led Zeppelin. The band show that they still know how to make great rockers but also good folky tunes as well."

Ode To John Law – STONE THE CROWS***

Sad Mary/Friend/Love 74/Mad Dogs & Englishmen/Things Are Getting Better/Ode To John Law/Danger Zone

Ode To John Law was the quick follow up album from the Glaswegian blues-rock group Stone The Crows fronted by the legendary vocalist Maggie Bell. She would go on to have a lengthy solo career, but without the kind of commercial success that might have been expected from her talent and energy.

“Ode To John Law has passed through the decades unscratched. Time was helpless against this album. High quality psychedelia and majestic vocals by Maggie Bell made this music invincible. Masterful guitars and moody Hammond organ accompanied by massive bass and drum attacks sound spick–and–span to this day.”

“They had a mystery and darkness to their sound which drew me with tracks such as Friend and Love which still do today, brimming with atmosphere they are just better than great, just mind blowing. They take me back to a time when one could feel music bursting into one’s young susceptible brain, when music could take you to another place.”

“With the terrific Maggie Bell as the band's front-woman, one might expect to hear thunderous and raspy Janis Joplin inspired vocals, loaded with angst and emotion, over hard-driving blues rock. Well, this is exactly what is on offer here. Stone The Crows are what The Faces might have sounded like with a female vocalist at the helm.”

“This continues on from where the debut left off, with more psychedelic tinged, bluesbased rock 'n' roll, along with a touch of funk and soul added to the mix, thicksounding Hammond, trippy electric piano, spirited and tasty guitar, and a solid and punchy rhythm section.”

“The first three tracks are not very promising. The band don't seem to know what to do with a singer like Maggie Bell. That is why the songs sound like they were made for a male psych blues vocalist. Overall, Ode To John Law is decent but not much more. The flipside is good, with Mad Dogs & Englishmen as a highlight. Unfortunately, this is not enough to make the album really good as a whole.”

“Quite a lot of soul here and the female vocals are tasty, and it's heavy and delicate. So it is good. What I actually value here is the delicacy. It's not just some smokey rock, it's introspective and dramatic blues prog.”

Delta Momma Blues – TOWNES VAN ZANDT***

FFV/Delta Momma Blues/Only Him Or Me/Turnstyled Junkpiled/ Tower Song/Come Tomorrow/Brand New Companion/Where I Lead Me/Rake/Nothin’

By the time of the release of his fourth album Delta Momma Blues, country singer-songwriter Townes Van Zandt had gained a cult following for his emotionally tortured outlook on life.

“Van Zandt was a strange fish; one of those artists who was critically lauded but who garnered little commercial appeal, even during the early seventies, considered to be his most artistic period. Van Zandt's personality made him the perfect tragic, tortured figure, and his music reflects that. I find Delta Momma Blues to be so consistently downbeat it begins to weigh too heavily.”

“Townes Van Zandt's simple melodies, along with truly honest lyrics, is what makes Him a true treasure amongst singer/songwriters. Although he isn't well known, fans like myself can't imagine music without him. With songs like Rake, FFV and Tower Song, Van Zandt delivers a combination of love, pain and every emotion that are meant to invoke thoughts about one's own life.”

“There's no doubting that the man was an immense, if damaged, talent. However, I've come to the conclusion he's too unpredictable to ever be listed among my favourite singer-songwriters, although some of his individual songs are worthy enough to be mentioned in the same breath as the best in the genre.”

“Perhaps this set is not quite as strong as the earlier albums, but I have to say that I admire all of the works of Townes Van Zandt. This is just stunningly simple and sincere, and quite beautiful music. I could so easily spend a day listening to this man's work back to back.”

“It isn't nearly as downbeat as his previous two albums, and because of that it isn't nearly as good. However it still contains some of his best songs like Tower Song and Nothin’. It is also interesting to see his more upbeat face as well, even if it isn't as effective. Overall a great country album, that shows how good a songwriter he was.”

“One listen to Delta Momma Blues demonstrates that Van Zandt is no typical songwriter, since none have displayed such a deliberate knack for avoiding predictability, mawkishness or indifference in songwriting.”

Man - MAN***

Romain/Country Girl/Would The Christians Wait Five Minutes/Daughter Of The Fireplace/Alchemist

Self titled third album from the Welsh progressive band Man. After many personnel changes they would achieve some limited British commercial success in the mid 1970s.

“The highlights of this record are the two longest songs which are both quite OK and enjoyable. Romain and Country Girl are pretty lame and weak songs. Daughter Of The Fireplace is a fast rocker which is pretty mediocre. This is definitely one of their weakest albums. A poor mix of blues rock, psychedelia and prog rock.”

“I guess Man are an acquired taste. I like most of their recordings and this is no exception. Bluesy psych rock with a touch of prog seems to be the best way to label this. Some real cool dual guitars.”

“A combination of semi-commercial, and non-commercial, prog rock, with psych influences. They were rather experimental on this one, with mixed results.”

“Country Girl (in a country style) and Daughter Of The Fireplace (hard rocking boogie woogie) stand out so much from the remaining psych prog that they tarnish the album. Neither song is bad in itself but they don't belong here. Everything is excellent, if a little simplistic compared to their later work.”

“The first side of this album is filled with sub par boogie hard rock, and is easily forgotten. Side two (with the suite Alchemist) is much more experimental and interesting. Almost kraut-like sometimes.”

"Romain has a nice forward blues rock feel to it, Country Girl is a country laced pop oriented song and Would The Christians Wait Five Minutes is a thirteen-minute breath taking psychedelic jamming instrumental. I also dug the straight ahead rocker Daughter Of The Fireplace and Alchemist, a superb twenty-one minute epic of' psychedelic experimentation.”

Shooting At The Moon - KEVIN AYERS**

May I/Rheinhardt & Geraldine/Colores Para Delores/Lunatics Lament/Pisser Dans Un Violin/The Oyster & The Flying Fish/Underwater/Clarence In Wonderland/Red Green & You Blue/Shooting At The Moon

Shooting At The Moon was the follow up solo album from the former Soft Machine bassist Kevin Ayers. Here he is joined by his backing group The Whole World for an album that appears to comprise both the avant-garde and some quirky pop tunes.

“Shooting At The Moon is a double-minded record, where silly pop songs co-exist with extended avant-garde improvisations in perfect harmony. Lunatic's Lament starts out as a puerile psychedelic tune only to end up in screamy, free-form freakout. The poppy The Oyster & The Flying Fish fades seamlessly into the musique concrete of Underwater and in Rheinhardt & Geraldine the crazy, cut-up middle section is followed by the most beautiful melody Ayers has ever committed to tape.”

“This album featuring Kevin's short-lived touring band The Whole World, is a dizzy world tour veering through gentle pop to interesting avant-garde instrumentals influenced by Soft Machine experiments, plus early Floyd and musique concrete.”

“This was a very poor follow up to an unbelievable debut. I don't know what he was thinking when he left the charm at home and brought in eight minute John Cage tributes and aimless dirty rock songs. Only May I seems to carry this ship afloat.”

“Kevin Ayers' second solo album is a spotty one but it does have a few golden moments, most notably the title track, a reworking of an early Soft Machine song. The rest of the tracks fall between Velvet Underground styled numbers, folky ballads and weird, rather self-indulgent foolery that is at least quiet if pointless.”

“I'm amazed this album doesn't get talked about more. Contrasting beautiful tunes against surreal yet evocative soundscapes, this showcases the split personality of the post-psychedelic English musical landscape.”

“Ayers' songs, as usual, seem almost casual on the surface but on closer inspection reveal an intelligence and direction that bring him fairly close to his contemporary and friend, Syd Barrett. Ayers' dark, luminous baritone voice is his own, however, and his worldview, although sometimes a bit demented, is not burdened with the overtones of paranoia and fear that edge Barrett's work. Ayers' pastoral and carefree view of life informs everything he writes, but don't be deceived by the surface. There's a lot going on underneath, and repeated listenings will reveal more.”

UFO I - UFO***

Unidentified Flying Object/Boogie/C'mon Everybody/Shake It About/Melinda/Timothy/Follow You Home/Treacle People/Who Do You Love/Evil

Debut album from the British rock band UFO who, in their early days, were more popular on the continent than at home. They would have to wait a few years, together with a new guitarist, before they made their commercial breakthrough.

“There are some really energetic and dance-inducing guitar and drums moments, but the rest of the album is just average and forgettable. And I think I would like it more if the vocals were different”

“First album by UFO and sounding very different here to the straight up rock band they were eventually to become. This is more space rock than hard rock, but Phil Moggs' vocals are so unmistakable that you always know that you are listening to a UFO album. Definitely sounds like an album of it's time.”

“UFO's debut LP is light years removed from the legendary hard rock, with a metallic edge that the group would eventually drive home once the band settled-in with German guitarist Michael Schenker in the ranks. The band's early work is bogged down by loosely recorded, heavy-on-bottom-end, stoner blues numbers that overall fail to build any momentum.”

“The band’s debut album already shows the enormous potential of the band. It was a low budget production, where they try different things and have yet to find their unique style.”

“On their debut, there's little here in common with UFO's later, guitar driven uptempo speed rock, and instead it's very much a boogie rock release. None of it is overtly bad, it's just pretty boring and average, and not even that spacey.”

“The low-budget recording, simply titled UFO 1 is a loose jamming, space rock recording that goes heavy on fuzz, blues, boogie, distortion and psychedelic influences. The early era landing of UFO is far removed from the eventual stealth material to come from the group once guitarist Michael Schenker teamed with vocalist Phil Mogg.”

“It's the sound of a soon-to-be-great band struggling to find their footing, and they're at least sincere in trying to rock. There's nothing spacey about it other than the brief UFO sound effects on the opening Unidentified Flying Object.”

The Magnificent Seven - THE SUPREMES & THE FOUR TOPS ****

Knock On My Door/For Your Love/Without The One You Love/Reach Out & Touch (Somebody's Hand)/Stoned Soul Picnic/Baby (You've Got What It Takes)/River Deep Mountain High/Ain't Nothing Like The Real Thing/ Everyday People/Its Got To Be A Miracle/A Taste Of Honey/Together We Can Make Such Sweet Music

Two of Motown’s top acts come together for The Magnificent Seven. By this time longstanding lead singer Diana Ross had left The Supremes for a solo career. Includes the US and UK top twenty hit cover of River Deep Mountain High. (US:113 UK:6)

“Jean Terrell and the late Levi Stubbs were the lead singers for two of the most influential singing groups ever. The selection of tunes for this album suits everyone's talent to a fault. The production and arrangements work beautifully.”

“The collaboration of The Supremes (post Diana Ross) and The Four Tops was a match made in heaven. The beautiful rich soulful voice of Jean Terrell, and the powerful soulful voice of the great Levi Stubs, was a blend of sweet summer wine.”

“I am so glad they let The Supremes collaborate with another male group so their talent could come forward as they did on several of the cuts, such as Reach Out And Touch and You’ve Got What It Takes where Mary and Cindy get lead lines, something that would not have been possible with Diana in the mix.”

“This is a remarkable collection, the new mix of River Deep is worth the price alone. Both of these groups had immense talent, and for the most part it was put to good use here. It sometimes seems as if the Jean Terrell led years had to be compared to every thing that came before with Diana Ross. Their singing styles were completely different and sometimes it worked, sometimes it didn't. Celebrate these girls in every different combination they recorded.”

“I absolutely loved this album. It seemed so fresh, as if it was just released. I can't stop listening to it. My favourites are River Deep, Mountain High and For Your Love. For those new to Motown music it is important to note that Jean Terrell replaced Diana Ross in 1970. Although she didn't have the star power, Jean had instead the voice power that Diana often lacked. Because of Jean, the post-Diana Supremes, still made hits and great music (even without Motown support). Levi Stubbs is fantastic on the album, but Jean really steals the show, exhibiting how comfortable she was in a variety of musical formats.”

Lorca - TIM BUCKLEY**

Lorca/Anonymous Proposition/I Had A Talk With My Woman/Driftin'/Nobody Walkin'

Lorca sees folk singer songwriter Tim Buckley move still further in an experimental avant-garde direction, that would see him lose much of his commercial appeal.

“Tim could have coasted by on his voice and looks, yet he insisted on challenging himself and his audience. These are mostly slow experimental dirges. You have to be kind of damaged and able to become obsessed with somebody to get this.”

"Tim Buckley had intentionally begun to explore experimental ideas, free form mellow jazz and loose jamming, on his previous two albums in an attempt to move away from his original more traditional folk-rock sound. Both of those albums are however still what I’d characterize as transitional, as they feature elements from both his early mainstream folk-rock style and his future more experimental style. With Lorca the transition is complete. While never completely forsaking his folk rock roots Tim Buckley takes you on a very different journey with Lorca.”

“This is about as close to late career free-jazz John Coltrane as just about any popular artist has got, and I love it for that.”

“Side one is pretty out there, Buckley removing form and structure from his sound completely on the title track in favour of a pump organ playing in an old horror movie style whilst an electric piano improvises lines alongside his vocal experiments. This style continues on the less grating second track which is a bit more successful. Side two carries on with mellow, dreamy acoustic folk-jazz with Buckley bending and shaping his voice into new forms. Driftin’ is particularly brilliant, and he signs off with the conga driven Nobody Walkin’ which shows his new interest in abstract funk.”

“The sounds are hollow and stark, the electric piano is nightmarish on the title track, and Anonymous Proposition is an incredibly abstract composition and performance, by far the most alienating and difficult to get through, though highly original. But the album does feature more relaxing and accessible songs, I Had A Talk With My Woman is very beautiful, Buckley perfectly integrates the stark tones and atmosphere with a very much easy listening song.”

Looking In - SAVOY BROWN***

Gypsy/Poor Girl/Money Can't Save Your Soul/Sunday Night/Looking In/Take It Easy/Sitting & Thinking/Leavin' Again/Romanoff

British blues rockers Savoy Brown were known for their extensive personnel changes. The most drastic upheaval came with the departure of front man Chris Youlden shortly before the release of their Looking In album. (US:39 UK:50)

“I really like the sound of the band overall, the songs are awesome, pretty much straightforward but genius blues rock from start to finish. And what makes this even better is the flaming guitar work which lifts the songs to an upper level, if possible.”

“British blues band plays down home American blues like no other. They forged their own blues style. They listened, studied the Mississippi delta blues and then got progressive with it, and it totally worked.”

“Those were the days; the Savoy sound was supreme British blues rock. Simmonds had a distinctive a sound on guitar, but he had an overbearing personality which caused quite a turnover rate in personnel from the band.”

“This is a good album. Two sides of pretty straightforward blues rock, but that doesn't make it boring or unoriginal. This group are very relaxed and pretty comfortable with themselves. They know what they like to do, and they do it.”

“There is a heavy jazz improvisational feel to several tracks, particularly Sunday Night and that fabulous live staple Leaving Again. The latter number includes some of Kim's most eloquent guitar work during his entire thirty year career.”

“Topped and tailed by two short Kim Simmonds guitar pieces, there are seven pieces of solid gold blues and boogie. Just before going into the studio the erratic vocalist Chris Youlden had decided to leave the band in search of solo fame, leaving the others high and dry with studio time booked and no yodeller.”

“The Savoys turned over the microphone to their rhythm guitarist ‘Lonesome’ Dave Peverett on this release, after the departure of their vocalist. There are also some great instrumentals here. Kim Simmonds' lead guitar work is nothing less than invigorating.”

Goodtime Album - GLEN CAMPBELL***

Its Only Make Believe/ Macarthur Park/As Far As I'm Concerned/Just Another Piece Of Paper/Pave Your Way Into Tomorrow/My Way/Dream Sweet Dreams About Me/Bridge Over Troubled Water/Turn It Around In Your Mind/Funny Kind Of Monday

Glen Campbell’s Goodtime Album seems him moving in the direction of MOR style covers. His version of Its Only Make Believe was a top ten hit on both sides of the Atlantic. (US:27 UK:16)

“There is nothing too weighty here, and a good showcase of Campbell's diversity. Yes, there is a cover of MacArthur Park, possibly the cheesiest song ever written, but it's a good cover. And that's what you've got here, some great cover songs.”

“The hit from the album is a cover of It's Only Make Believe, originally released by Conway Twitty. Glen's cover also became an international hit. In addition this album contains the wonderful Funny Kind Of Monday, together with excellent covers of Bridge Over Troubled Water, MacArthur Park and My Way.”

“These were Glen's best vocals in his prime time. Anyone loving his music will agree with me. Listen and enjoy.”

“A spin-off of the TV show of the same name, this album is a nice representation of what Campbell was about at the time. In addition to the hit on the album (the cover of Conway Twitty's It's Only Make Believe), he dips into the Jimmy Webb songbook for two of the tracks.”

Tumbleweed Connection - ELTON JOHN*****

Ballad Of A Well Known Gun/Come Down In Time/Country Comfort/Son Of Your Father/My Father's Gun/Where To Now St Peter/Love Song/Amoreena/Talking Old Soldiers/Burn Down The Mission

Tumbleweed Connection was a musical departure from the usual rock and pop sound of Elton John, with its focus on creating an idealised vision of the old American West. (US:5 UK:2)

“If I knew nothing about Elton's later works, and heard this, I would have taken him a lot more seriously. It's a concept album through and through, rich with Wild West themes and his own unique take on Americana. Gospel, folk and country elements have never flowed so seamlessly. The beautiful sepia-toned cover art only hints at the rustic charm within.”

“Elton made some awesome music early in his career. Tumbleweed Connection is a prime example of that. It's a loose concept album about the old Wild West. Musically, the album is heavily influenced by roots rock. Country, folk, gospel, blues, pop and rock elements are mixed brilliantly here.”

“You might guess just by looking at the album cover that there is a clear country influence here, and that's not a bad thing. Elton's talent for songwriting is, of course, the strongest aspect of this album.”

“The whole Americana/Western feel of this album is amazing and it is tied together so well. John's music and Taupin's lyrics match up with each other so that it sounds like they were written by the same person.”

“This isn't the kind of album that grabs you right away, nor is there a track on here you can latch onto as a starting point. Instead, each track builds on the foundation lain down by those before. As it goes on, it just starts to get more interesting. The melodies seem catchier, the arrangements more lush, the vocals more passionate.”

“It's one of the few albums Elton has recorded that contain no hit singles, yet in many ways it's the album's simplicity which is perhaps its biggest strength. Elton connects with many of the fundamental influences in popular music which includes folk, country and blues, and in doing so he also cuts back somewhat on the orchestration normally found during this period, resulting in little of the more showy aspects associated with his more commercial sound.”

Beaucoups Of Blues - RINGO STARR***

Beaucoup Of Blues/Love Don't Last Long/Fastest Growing Heartache In The West/Without Her/Woman Of The Night/I'd Be Talking All The Time/$15 Draw/Wine Women & Loud Happy Songs/I Wouldn't Have You Any Other Way/Loser's Lounge/Waiting/Silent Homecoming

For his second solo album Ringo Starr recruited some top flight Nashville musicians and songwriters. Beacoups Of Blues is an improvement on its predecessor and surprisingly it comprises all original material. (US:65)

“Ringo goes country for his second solo outing. Recorded with the cream of Nashville session players it fulfilled the former Beatles ambition of recording a country record. Is it any good? Well his voice sounds far better with this material than with the standards record for sure. His doleful delivery suits country music quite well and the backing tracks are super tight as you would expect.”

“Ringo didn't write any of the songs and instead pulled together some Nashville writers to get all the material done in a week. It was most likely rushed as none of these songs sound particularly inspired or original, just some perfectly passable generic country songs. Had it not been by Ringo, I'm sure nobody would have heard of it.”

“Sometimes a little bit weak, but still there are some beautiful songs. It's better than the previous album, but also weaker that the following one. For Ringo fans only.” “Ringo Starr's backing band on Beaucoups of Blues, his second solo album, is filled with Nashville legends. Unfortunately, his vocals are not up to the task. Here, his voice is flat and emotionless. Consider this an early missed opportunity for Ringo.”

“Starting right off with the cover, Ringo demonstrates his usual gloomy look and the songs represent exactly how he felt at the time. Using country music, Ringo offered the world a look into his life via slow and often hypnotic songs. However, he showed that he has only limited flair to sing these off-the-cuff tumbleweed classics.”

“His mellow voice and heart on his sleeve demeanour are well suited for sad country songs of heart-breaking women, and this album is well done with good songs and lyrics, and musicianship.”

“By all accounts Ringo did this country flavoured album correctly with fine session musician and production, but somehow it is less than convincing, as Ringo's friendly, warm British vocals come up a little short.”

Down Home - SEALS & CROFTS***

Ridin’ Thumb/Hand-Me-Down Shoe/Purple Hand/Robin/Hollow Reed/Gabriel Go On Home/Tin Town/Today/ Cotton Mouth/Granny Will Your Dog Bite/Leave

Down Home was the follow up album from the American soft-rock duo Seals & Crofts. They would move to Warner with their next release, achieving significant commercial success in the States during the mid 1970s. (US:122)

“Compared to the first album there are more upbeat songs here, whereas the debut has a dreamier, more reflective feel. The songs have a little more stylistic variety as well. The album isn't perfect but any shortcomings are foibles rather than failures.”

“I can't say enough about this album, with its outstanding lyrics and arrangements. The production quality is perfect and full. Jimmy's moving words soulfully sung carry songs like Gabriel Go Home and the best of all, Leave with its aching theme and wondrous vocals that come from someway deep inside these guys. Their voices never blended so well together.”

“For me, the anchor of the album has always been side two. Starting with Gabriel Go Home, with its beautiful piano intro, and their stunning harmonizing vocals on the opening lyric, have remained truly magical to my ears for decades now. Tin Town is a bittersweet reminder not to judge covers and those within. Today with its joyous chorus soars and echoes the heartfelt feelings of new found love with all its heightened senses. Cotton Mouth is a somewhat strange, trippy and tasteful production where the instruments really tickle your ears and mind.”

“Before they became purveyors of syrupy pop tunes, these guys rocked. Or perhaps I should say the rockin' songs rocked and the mellow tunes were hauntingly beautiful. This one was their high point; it's vibrant, alive and musically satisfying from start to finish.”

“Lots of nice mandolin playing and the softer tracks work really well. Robin is a particularly pretty song and Today is as good as anything Seals and Crofts have written. But then there is the tuneless up-tempo stuff; I particularly dislike the horrible Cotton Mouth, it's as tuneless as its title would suggest. Some of the other tracks are just OK. Sorry, I prefer some of their later albums.”

“Each instrument is clear and clean. I love the variety as few bands use flutes and mandolins the way Seals and Crofts do. And the harmonies and offset voices are pure and distinct.”

Silk Purse - LINDA RONSTADT***

Lovesick Blues/Are My Thoughts With You/Will You Love Me Tomorrow/Nobodys/Louise/Long Long Time/Mental Revenge/I'm Leavin' It All Up To You/He Dark The Sun/Life Is Like A Mountain Railway

For Silk Purse, her second album as a solo artist, Linda Ronstadt embraces a more distinct country sound which allows her to demonstrate her talent for some passionate and soulful singing. (US:103)

“While Silk Purse is anything but her greatest album, it does contain her (arguably) greatest song, Long Long Time. I don't think it would be possible for anyone to listen to her sing this and not feel the pain, the anguish, the desperation, of a young woman in love with a man who couldn't care less.”

“Silk Purse is my first choice record for Linda Ronstadt, it is rougher by far than any of her Asylum recordings, but is also a record that communicates pure talent, where everything rests on Ronstadt's voice and vocal abilities, and it delivers magnificently. Long Long Time is among the classics of both rock and country, a performance so steeped in emotion, it pours out of the speakers, from the first steel guitar note to Ronstadt's incredible finish. While there's nothing else on the album that good, it is far from just a one track release.”

“Linda Ronstadt was at her best as a singer and record maker before she developed a knack for either. This is pure talent set loose on a set of songs that were picked to showcase just that. Neither the clever arrangements or good playing get in the way of Ronstadt's voice as she brings passion and soul to these songs.”

“Silk Purse displays a heavy country sound in the arrangements and vocals, but the character is definitely unique, reflecting neither the Nashville Sound of late 1960s country, nor the rock influence in much of the country-rock movement. Two of the album's best defining features are Linda's confident, powerful and beautiful vocals, together with the incredible arrangements that surround each of the songs.”

“A sure-footed, wonderfully hillbilly outing of songs that lets Ronstadt try out different moods without suffocating her inherent sweetness. It's full of lovesick, heartfelt nuances and twangy guitars.”

“Silk Purse, turned out to be an extremely uneven album that Linda, in later years, would all but disown. There are reasons for this. Despite the presence of many fine songs, the musical arrangements are often quite inappropriate; and worst of all, Linda is trying too hard to sound like a hillbilly.”

Kiln House - FLEETWOOD MAC***

This Is The Rock/Station Man/Blood On The Floor/Hi Ho Silver/Jewel Eyed Judy/Buddy's Song/Earl Gray/One Together/Tell Me All The Things You Do/Mission Bell

The departure of founder Peter Green was a body blow to the fortunes of Fleetwood Mac. Under the leadership of Jeremy Spencer they produced Kiln House which eschewed the group blues sound for rock & roll. (US:69 UK:39)

“Kiln House was made after the exit of Peter Green and as a result has a much softer edge. Every tune on this album will have you tapping your feet and singing along. This is Fleetwood Mac's tribute to rockabilly, with a bluesy edge.”

“Kiln House is more like a step to the side, demonstrating a much stronger '50s rock & roll influence whilst also dipping its toe in the kind of soft rock that would make the band's name. Mission Bell in particular is a nicely whimsical folk track that is miles away from the group's traditional bluesy sound. Everything else is perfectly fine, even though the album lacks anything distinctive.”

“After the loss of Peter Green, Jeremy Spencer came back to the fore and pushed the band in an unexpected direction. Instead of bluesy progressive rock, we are back into fifties rock and roll. It's pleasant enough in itself, but probably not what the fans would have expected.”

“Fleetwood Mac don't sound so much of a blues band here, they sound unsure as to what they are meant to sound like anymore. In fact, they sound more than a little lost.”

“This was a transitional album for Fleetwood Mac. Jeremy Spencer came to the fore, contributing several compositions and giving the album something of a running theme, a homage to 1950s-style rock 'n' roll, rockabilly and plain old country. While these songs don't have the depth and adventurousness of the earlier material, they are very well done, catchy and entertaining. Several Danny Kirwan compositions lend sufficient gravity to make the album creditable from a prog viewpoint.”

“This album was put together shortly after the unfortunate exit of Peter Green and the hard times that followed. This album is a treasure full of great blues derived rock ‘n’ roll. Spencer's composing skills were rejuvenated with a variety of styles, including his recognized bottleneck work and piano. Jeremy and Danny really led each other to new displays of vibrato magic, and chunky chord displays that made for a different Fleetwood Mac sound.”

USA Union - JOHN MAYALL****

Nature's Disappearing/You Must Be Crazy/Night Flyer/Off The Road/Possessive Emotions/Where Did My Legs Go/Took The Car/Crying/My Pretty Girl/Deep Blue Sea

Blues rock stalwart John Mayall's USA Union album is so named because for the first time he employs an American backing band. Some of the songs reflect his increasing concerns about the environment. (US:22 UK:50)

"Mayall's first studio album in the 70s offers us some very fine blues. For the first time he has an American backing band behind him and the result is very good and enjoyable. The opening track shows that Mayall must have been very worried about the state of the world back then. I like all of the songs on the album except the last one which I think is filler."

"Mayall teams up with Canned Heat guitarist and bassist Harvey Mandel and Larry Taylor, and jazz/blues violinist extraordinaire Don 'Sugarcane' Harris, to produce an album that sounds not at all like you might expect. One giveaway is the fact that there is no percussionist. The record is very quiet, muted and understated... late night music. One result of this is that his rather quirky voice, which I never thought was very suited to blues, comes to the fore."

"This is one of my favourite John Mayall records and an all time blues-rock classic. The sound and compositions are soft and of very good taste. He made excellent music without drums. The guitar playing of Harvey Mandell is outstanding and works out very well here."

"This interesting and unique John Mayall album has stood the test of time. I enjoy the seamless and smooth flow of the tracks as they are propelled along by the steady and melodic bass lines of Larry Taylor. Harvey Mandel's guitar contributions are fluid and under control without being overly restrained. The same is true for Sugarcane Harris and his masterful work on the violin."

"USA Union has an easy-going, laid-back feel to it. Some of this is due to the lack of a drummer; but much of it can be attributed to the fluid bass of Larry Taylor. Many of the songs are relationship themed. While this album lacks the drive of some of Mayall's best work, this is a fantastic soundtrack for a summer afternoon."

"This is a great album to play when you just want to kick back and groove out. John Mayall proves that you don't need drums to make great music."

Indianola Mississippi Seeds - B. B. KING****

Nobody Loves Me But My Mother/You're Still My Woman/Ask Me No Questions/Until I'm Dead & Cold/King's Special/Ain't Gonna Worry My Life Anymore/Chains & Things/Go Underground/Hummingbird

Indianola Mississippi Seeds was the highest charting album of new material from blues legend B. B. King, who appeared to be on a creative high at the turn of the decade. (US:26)

"Although not quite as strong and cohesive as B.B. King's previous release Indianola Mississippi Seeds contains some sweetly scintillating, chills up and down your spine musical vibes. These bluesy, rhythmic pulsations are supplied by a bevy of young, then unknown up and coming musicians who really put their own unique brand of polish to the tracks."

"Most musicians of King's stature have learned that you can't stay in a rut and play the same songs or style, or you run the risk of being relegated to the oldie's music circuit, forever stuck in the past trying to capture past glories. This album is King seeing what he can do with a blues/rock hybrid, and he does it with style."

"B.B. King in the late 60s and early 70s started to incorporate a more mainstream rock sound into his blues roots. The most cohesive album of the period is 1970's Indianola Mississippi Seeds. It contains some stinging guitar work as well as some of Mr. King's best vocal work. His voice is strong and earthy and he digs into the songs with a master's hand. This album isn't for blues purists, but if you are a casual fan of the genre, this is a great album to start with."

"Put these songs into the hands of the usual California suspects of the time alone and you'd probably have gotten a sow's ear out of a silk purse. And the feeling you get from King's singing and guitar playing throughout is that not only does he know it, but he knows precisely how to teach these otherwise somnambulistic whippersnappers a little lesson in soul. The result is one of the most likeable and affecting albums in the B.B. King canon."

"Not really a typical King album at all - more of a soul jam. An awesome one. Hummingbird is the standout track, and that one is really spectacular - the long ecstatic gospel chorus coda is one of my favourite musical moments of all time."

"This is a very powerful and moving record. Good for both serious and dilettante blues listeners. You'll never tire of it. Can't recommend it enough."

Idlewild South - ALLMAN BROTHERS BAND****

Revival/Don't Keep Me Wonderin'/Midnight Rider/In Memory Of Elizabeth Reed/Hoochie Coochie Man/Please Call Home/Leave My Blues At Home

Idlewild South was the follow up LP from the southern boogie Allman Brothers Band. It would be their last studio album to showcase the slide guitar talents of Duane Allman before his death in a motorcycle accident. (US:38)

"From the melodic opening lines of Revival to the closing strains of Leave My Blues Alone this is one of the best albums The Allman Brothers Band ever created. The band has, of course, created other masterpieces but this is the first album where everything comes together from the top notch playing by Duane and Dickey to Greg's bluesy growl. Most of the tracks from this album became the bedrock of the band's concerts."

"The Allman's best studio album, southern rock never gets this sublime or jazzy, unless The Allmans are playing it. Gregg Allman's keyboards are simply wonderful. Duane's slide guitar stings, Dickey Betts guitars meander, roam, growl and shine. The twin drum attack is as rumblingly great as always. There's not one bad song here, and some are cosmic, like Dickey Betts incredible jazz instrumental In Memory Of Elizabeth Reed. Then there's the rollicking album opener, that rafter-shouter, Revival. And of course, the best song The Allmans ever did, the mystical, magical, timeless Midnight Rider. Idlewild South is as classic as an album gets."

"The great country blues song Midnight Rider, with its mournful harmonies but bright guitars, is reason enough for blues enthusiasts to own this album, but the rollin' and tumblin' licks on Muddy Water's (I'm Your) Hoochie Man let everyone know where The Allman Brothers were coming from on their second album."

"So many artists have had amazing debut recordings only to follow up with a lessthan- inspired second effort. That certainly isn't the case, here. While, I am not sure if Idlewild South has quite the impact The Allman Brothers had, it certainly comes close. In this effort, Betts steps out for some of the songwriting and more singing duties. Berry Oakley takes a huge risk to sing a terrific version of Hoochie Coochie Man. The recording is more acoustic, subtle and beautiful than their debut. Everything here is working in a big way."

"Idlewild South includes entertaining songs one after another. Every song is very nice and good but none are perfect. On the other hand none of the songs are boring either. I could have hoped for more stand-out cuts but the album is still quite strong."

Gasoline Alley - ROD STEWART****

Gasoline Alley/Its All Over Now/My Way Of Giving/Country Comfort/Cut Across Shorty/Lady Day/Jo's Lament/I Don't Want To Discuss This

Gasoline Alley was the quick follow up from rock vocalist Rod Stewart before he became a mega star. The dynamism and inventiveness of his early 1970s releases backed up by The Faces, makes a stark contrast with the blandness of his later output. (US:27 UK:62)

"An even stronger set than Rod Stewart's debut album, with The Faces allowing themselves to be a bit more of a distinctive presence this time. Rocking out a bit more, Stewart and the gang are not afraid to wear their Stones influence on their sleeves, but at the same time offer their own distinctive take on a blues-rock sound."

"Gasoline Alley is one of Rod Stewart's finest albums, a part of his plaid-wearing 'Rod The Mod' phase, during which he took on many roles- sensitive singersongwriter, aggressive rocker, subtle interpreter - and made them all an equally important part of who he was. Most of the songs are covers, but he makes them his own. This is an LP you must own if you love good, folksy rock & roll."

"More of the same from Rod with a nice blend of covers and originals and The Faces a bit more in evidence to help out with the backing. The title track is a mandolin fuelled joy, Its Only A Hobo is one of the best Dylan covers and Rod fairly nails Its All Over Now (even if its a little too long). There are one or two weaker tracks but it is certainly as good as the debut."

"Rod really put together a string of fine albums in the early seventies. As for Gasoline Alley, the pieces really fit on the album, and Rod by himself, is only one piece. He found himself at the centre of some great production, arrangements, songwriters, and musicians, co-operating perfectly to result in some superb albums that are unfortunately, but truly, mis-credited to a solo artist. Metaphorically, this is the practice shot before hitting the bull's eye on the next album."

"Back in the early seventies, when Rod Stewart had not yet abandoned his own artistic path in order to become a spiky-haired, glitzy pop singer in pink outfits, he wrote some of the best folk rock songs, turned out some of the best cover tunes, and worked with one of the best backing bands ever. How could a man who could make a record as good as this one become what he is today? This is such a fine recording. His unusual mix of acoustic and electric, mandolins and violins never loses its ability to evoke joy and pleasure."