Love Story - SOUNDTRACK***

Theme From Love Story/Snow Frolic/Mozart Sonata In F Major (Allegro)/I Love You Phil/The Christmas Trees/ Search For Jenny/Bozo Barrett/Skating In Central Park/The Long Walk Home/J S Bach Concerto No 3 In D Major (Allegro)/Theme From Love Story Finale

The tragic romantic film Love Story was based on the screenplay and novel by Eric Segal and starred Ryan O’Neil and Ami McGraw. All the tracks were written by Francis Lai. (US:2 UK:10)

“The first time I watched Love Story what I immediately noticed was the beautiful music throughout the film. Every song is amazingly played with that classic 70s muted bass and drum sound. Some of the tracks have a girl singing so softly with a harpsichord and it is amazing. The song Christmas Trees is the most beautiful piece of music I have ever heard and is perfectly arranged.”

“The score is haunting and beautiful and magnificently echoed the feel of the story, enhancing the youth, promise and sadness in the lives of Oliver and Jenny. If you loved the film, you need to have the album.”

“Most of the tracks are just different renditions/arrangements of the Love Story theme. I especially like The Christmas Trees, and the sultry vocal on I Love You, Phil. This album brings back memories from the early 70s, a time when the world seemed a little less complex and down to earth.”

“The album contains a mix of beautiful recordings, with the classic 70s bass and drum sounds. A lovely sounding harpsichord appears throughout and works amazingly against a girl’s voice, who sings so softly with the music. The piano and the strings make the album.”

“Francis Lai's score never fails to propel me back to a time when somehow things were better and less knowing. My personal favourite has to be Snow Frolic which still manages to create a profound sense of nostalgia and child-like wonder in me. The tune and the arrangement are really something to behold, employing a sumptuous mix of fat bass, drums and harpsichord set to a very French siren's call: just gorgeous.”

Elvis Country - ELVIS PRESLEY****

Snowbird/Tomorrow Never Comes/Little Cabin On The Hill/Whole Lotta Shakin' Goin' On/Funny How Time Slips Away/I Really Don't Want To Know/There Goes My Everything/Its Your Baby You Rock It/The Fool/Faded Love/I Washed My Hands In Muddy Water/Make The World Go Away

This was an unusual release from Elvis comprising his interpretation of country songs. Although best remembered for pop and ballad releases this style of music formed an important part of his heritage. (US:12 UK:6)

“Elvis Presley's last solid LP is not really a country album so much as a good time rocker. His touring band is smokin' here, keeping the tempos at a steady pace. There are a few ballads making gestures toward a countrypolitan sound.”

“Elvis Country makes sense. There are several reasons: He's the original country boy making it big in the world, he grew up on the music and always recorded country songs throughout his career. Regardless of what many people say about him being a white blues singer to just a pop crooner, it was country music that left the strongest influence on his music.”

“There are so many great tunes on here. Or more to the point; there are so many great interpretations of tunes on here. Elvis in his day, with the right songs and the right combination of chemicals, could sing anyone under the table.”

“Docked a full star for splicing "I Was Born About 10,000 Years Ago" between every song. For me, this renders the album unlistenable, but I recognize there are fine performances here.”

“This album captures the very essence of Elvis. It demonstrates country, soul, pop, gospel, and a variety of music types combined in a way that only spells Elvis. I believe that everyone would be an Elvis fan if they heard this album. This is a very mature Elvis with some excellent material. His heart and soul are in the tracks. Backing Elvis is a wonderful band with some great vocals.”

“Elvis Country is not a very country album. Sure, he covers a lot of classic country songs, but not in a country style, more one from the 70s era.”

Salisbury - URIAH HEEP****

Bird Of Prey/The Park/Time To Live/Lady In Black/High Priestess/Salisbury

Salisbury was the follow up album from the heavy progressive group Uriah Heep, which some out of touch music critics bizarrely chose to unfairly disparage. Fortunately, the record buying public had more sense. (US:103)

“It's not as insanely heavy as the debut, nor as consistent, but it's a slightly more proggy album, and still heavy, with some excellent riffs and plenty of guitar/organ madness to go around.”

“Musically they continued where they stopped on the previous album. This is probably the most progressive in their discography, the epic title track, which has multiple parts and a running time of 16 minutes, is proof enough.”

“Whilst not all of the songs on the album are top-notch, it deserves credit for managing to establish a heavy and metal-like atmosphere despite eschewing what would eventually be seen as typical metal instrumentation and compositional practices.”

“Salisbury is one of Uriah Heep's most magical and epic albums. It is a protometal masterpiece with amazing vocals from David Byron and keyboards by Ken Hensley.”

“This is the closest the group ever came to a masterpiece. Excellent musicianship and songwriting, plus the vocals are tolerable.”

“As well as the hard-rocking tunes, you also have the beautiful jazz fusion cut, The Park, and a foray into progressive rock, Salisbury, complete with a twentyfour piece orchestra. These have always been my favourite tracks from this album, which has held up well over time, and is as good today as it was then.”

“This has to be Heep's most diverse effort. Bird Of Prey, Time To Live and High Priestess are just pure proto heavy metal, alternating between the beautiful soft tracks The Park and the hit single Lady In Black. However, the title track, in all its orchestrated glory, has to be the most pompous thing I've ever heard.”

Osmonds - THE OSMONDS***

(Would It Make You) Think/One Bad Apple/Catch Me Baby/Lonesome They Call Me/Motown Special Medley/ Sweet & Innocent/He Ain't Heavy He's My Brother/Find 'Em Fool 'Em Forget 'Em/Most Of All/Flirtin'

The Osmond Brothers were regulars on the Andy Williams Show during 1962-67 as child artists, releasing several albums which failed to chart. In the early 1970s they transformed themselves into a pop bubblegum band appealing mainly to pre-teen girls. This self titled album heralded their change of musical direction, which would yield huge commercial dividends in the next few years. (US:14)

“I don't find this nearly as bad as their reputation would have it. Yes it's ultracommercial vocal pop fluff, but with great period flavour. And some of the tracks are downright catchy.”

“There's really nothing wrong with this album. It's slickly produced, easily palatable white-boy soul for the teenybopper masses. Granted, that may be grounds for many to become violently ill, but frankly I was expecting much worse upon first listen. It really isn’t bad at all, although to admit this publicly runs the risk of complete and utter humiliation. Honestly, you could do a lot worse.”

“Contains the #1 smash One Bad Apple and a lot of other styles of music. Country pop like Think and Most Of All and their signature theme He Ain't Heavy, He's My Brother.”

“Another great collection of Osmond brothers’ brilliance. Donny Osmond was great with the group and I guess they were just realising that he was very cute and sold records. Another fine effort from the brothers.”

“Great songs from guys that can actually sing. I loved hearing them again. I have loved The Osmonds since I was a teen and this is one of my favourites.”

“I love it and play it all the time. It has some really great songs and really makes you want to get up and sing and dance.”

“I had forgotten how much I loved these songs. Nobody can touch the tight harmony this family has in their music.”

Rose Garden - LYNN ANDERSON***

Rose Garden/For The Good Times/Another Lonely Night/I Don't Want To Play House/Snowbird/Your Sweet Love Lifted Me/Sunday Morning Coming Down/I Still Belong To You/I Wish I Was A Little Boy Again/Its Only Make Believe/Nothing Between Us

Country singer Lynn Anderson’s only major album success came with Rose Garden, boosted by her catchy trademark hit single, which reached No.3 on both sides of the Atlantic. (US:19 UK:45)

“A wonderful album. Such a sweet voice and great production with the classic title track. I'm not sure if I like the way she sings Sunday Morning Coming Down so happily with that smiling face, but it sure adds another dimension to the song.”

“From its breathless opening rush of pile-driver strings, Lynn Anderson's signature hit Rose Garden announces itself to be every bit as pop as it is country. Consequently it stands as a supreme example of the countrypolitan sound, a crossover smash of all pounding country rhythms, whizzing steel guitar, soaring backing vocals and dramatic strings.”

“Back in the early '70s, I had the Rose Garden LP and nearly wore it out. I really enjoyed the soaring vocals and strings that were seamlessly melded together. Her style was indeed unique during this period. Rose Garden was a cover written by Joe South.”

“This album is mainly a collection of country and pop classics from the late 1960s and early 1970s but Anderson's interpretations never fail to please. Backed by a lush, string-driven country pop sound, she delivers memorable and engaging covers of hits.”

“Lynn Anderson became the Nashville Sound girl - country cosmopolitan at its best. Rose Garden is the epitome of the Lynn Anderson sound. This gives the listener an opportunity to hear music that is almost forgotten today. Crisp, clear and subtle, that was Lynn Anderson all the way.”

Pearl - JANIS JOPLIN*****

Move Over/Cry Baby/A Woman Left Lonely/Half Moon/Buried Alive In The Blues/My Baby/Me & Bobby McGee/ Mercedes Benz/Trust Me/Get It While You Can

Released posthumously, Pearl was critically acclaimed as a fitting memorial to America’s greatest female blues-rock singer Janis Joplin. Includes the US chart topping single Me & Bobby McGee. (US:1 UK:20)

“Song after song, take after take, Joplin is singing her heart out, with power, conviction and her great natural talent, which was simply unparalleled at the time and stayed as such for posterity. This album is much more than a historic document of an era and a portrait of an artist; it is a superb and masterful piece of music, which deserves to be heard again and again.”

“This is one of the greatest rock ‘n' roll, bluesy rock, and just all around vocal albums ever recorded. Janis sings with such conviction and mighty power that I can’t help but assume every song is autobiographical.”

“A solid effort once again from this acid blues rock legend. This is really strong record, where every piece is in balance. Many of the songs have been made for Joplin by other songwriters and artists. Her covers are always a nice listen, because she is such a great exponent. Her singing comes so deep from the soul. The backing band Full Tilt Boogie play fine and they rock pretty much.”

“Joplin's swan song presents no dramatic advances in blues rock, nor does is possess any revolutionary or radical lyrical content. But every track bristles with Joplin's vocal energy. I have never really been part of the cult of Janis Joplin by any stretch of the imagination, but it's hard to deny the strength of these performances.”

“Her voice was rugged, raspy and not at all pretty in the traditional sense, but she bellowed every word straight from the bottom of her heart, putting fiery emotion into every syllable. This album displays her vocals at their most confident.”

Highway - FREE****

The Highway Song/The Stealer/On My Way/Be My Friend/Sunny Day/Ride On A Pony/Love You So/ Bodie/ Soon I Will Be Gone

It is surprising that the chart placing of Highway was so low given that the blues-rock band Free had very recently enjoyed widespread critical acclaim following the huge international hit All Right Now. (US:190 UK:41)

“Free go mellow on Highway, but without sacrificing their trademark earthy, grounded sound, defined by Paul Rodger's smooth, charismatic vocals. This sounds more folky and measured than previous Free albums with the penultimate track Bodie even having a country flavour.”

“Their softest album, with only a few of the ingenious rockers they'd featured previously, and Paul Rodgers' lyrics were rapidly going downhill. Second side is pretty much a write-off. What happened to the spark of the first two albums?”

“Through the first three albums they had built up a solid reputation as a hard working solid blues rock band. For each of these albums the songs had been written and honed on the road. That wasn't the case with Highway though, and for the first time they were forced to write in the studio. There is a marked change in style. With far more piano than on previous albums this is certainly the softest Free album, although this does give added punch to the harder rockers.”

“It suffers from a poor selection of material, with far too many soulful ballads, and little, if any rock. It appears to be mostly just a vehicle for Rodgers' crooning. Their weakest to date, and just another step on the way down to Bad Company.”

“Highway has a very consistent, slow-paced earthy feel. Really it’s no heavier than pop, but you still get a real band here, leaving each other lots of space, but languidly gelling perfectly. Lyrically, there are lots of good romantic love songs, not sappy at all, just honest and heartfelt.”

“Recorded in a hurry on the heels of their massive commercial breakthrough, Highway reflected the first signs of growing internal tension and artistic fatigue. Musically the album wasn't a draconian change from earlier work. The songs weren't bad, just plain in comparison.”

McGuinness Flint - MCGUINNESS FLINT***

Lazy Afternoon/Bodang Buck/Mister Mister/Heritage/Letting You Know/Let It Ride/Dream Darling Dream/ When I'm Dead & Gone/Brother Psyche/Who You Got To Love/International

Self titled debut album from the Manfred Mann offshoot McGuinness Flint. The chart placing was boosted by the UK No.2 hit single When I’m Dead And Gone. (US:155 UK:9)

“This is soft, prog influenced rock with some mild country vibes, and some use of horns. Overall, I found it a little weak for my taste, but it does have a couple of decent cuts to redeem it.”

“At the time I had no idea who this band were or what the album sounded like, and most likely was hoping for a prog record that fell between the cracks. I was a bit taken back when I heard the likes of Bodang Buck and the rest, finding it to be rather standard '70s rock. I soon found out they were an offshoot of Manfred Mann's Mike D'Abo period group, which makes the sound a bit more understandable. Happily, the album has grown on me over the years. When I'm Dead & Gone was the single, and it is a good choice.”

“Tom McGuinness had once been in Manfred Mann and drummer Hughie Flint had a spell with John Mayall's Bluesbreakers in the 60s. Therefore, there is a core of British blues in their music. But what really makes them something else are the folky, innovative and introspective songs penned by the group's most important members, the Scottish singer-songwriter duo Benny Gallagher and Graham Lyle, who wrote almost everything of the band's material. And they were singers and multi-instrumentalists as well.”

“With it's wonderful mixture of rock, folk, gospel & old fashioned good time music all blended together this gem of a record should have done much better.” “Don't miss this opportunity to hear a band at the absolute peak of their game. It's just not done like this anymore.”

“If you missed McGuinness Flint's excellent LP now's your chance to pick-up on some really tight harmonies and feel good music. There isn't a throwaway track in the bunch.”

Soul Rebels – BOB MARLEY & THE WAILERS***

Soul Rebel/Try Me/Its Alright/No Sympathy/My Cup/Soul Almighty/Rebel’s Hop/Corner Stone/400 Years/No Water/Reaction/My Sympathy

Soul Rebels was the follow up album from the legendary reggae group The Wailers, and their first to be released outside Jamaica. It features the production skills of Lee ‘Scratch’ Perry.

“In many ways Soul Rebels is the strongest album by Bob Marley & Co. It's a true original form of the reggae - powerful, sunny, raw and innocent.”

“Considered one of the greatest roots reggae albums of all time, Soul Rebels, led by Scratch Perry broke The Wailers from the confines of simple singles that propelled them through the 60s and focused them on a concept based on rebellion and social justice. The band featured the newly configured backing of The Upsetters. Soul Rebels is chock full of the root reggae traits the genre is famous for. It generously checked off all the themes of social injustice and ghetto life.”

“A totally underrated album, the compositions, tone, mix and vibe are absolutely amazing. This is a classic and you should hear it.”

“The Bob Marley marathon continues with the first release produced by the legendary Lee ‘Scratch’ Perry who was the man who created the favourite ‘Wailers sound’. The Wailers are by now very much recognisable as the band they were when they became famous. Things have gone from ska to reggae, and The Wailers are sounding like they’ve truly found themselves.”

“This is easily the sparsest Bob Marley record in terms of arrangements, with rarely anything more than vocals, one guitar, a bass and drums appearing on any song. This album has a kind of dark and haunting quality that no other album of his has, mainly thanks to the very sparse arrangements making the reverb on the vocals all the more obvious.”

“This has clear, tight musicianship, powerful production, soulful singing and great lyrics. Also no overdubbing for European ears.”

“I love everything from the original Wailers, they were truly a legendary band who made a particular genre of music mainstream and introduced the world to three legendary singers. But this, their first album released outside of Jamaica, is truly a treasure as it captures them at their rawest and most uncut period. Soul Rebels is straight up reggae with no apologies given.”

Uncle Charlie – NITTY GRITTY DIRT BAND***

Some Of Shelly’s Blues/Prodigal’s Return/The Cure/Travelin’ Mood/Chicken Reel/Yukon Railroad/Livin’ Without You-Clinch Mountain Backstep/Rave On/Billy In The Low Ground/Jesse James/Mr Bojangles/Opus 36/Santa Rosa/Propinquity/Uncle Charlie-Randy Lynn Rag/House At Pooh Corner/Swanee River-The End-Spanish Fandango

At the time of the release of Uncle Charlie the Nitty Gritty Dirt Band were a well established Californian country-rock band. It includes their classic cover version of Mr Bojangles, which reached the US singles top ten. (US:66)

“Uncle Charlie is the most representative of the Nitty Gritty Dirt Band's vision. It certainly stacks up well with any of the other country/rock albums emerging from this very new genre at the time. Their rendition of Mr. Bojangles is a classic, and easily outpaces the original as the standard.”

“Great and unexpected early 1970s mix of rustic country pop, bluegrass with even slight psych influences. Very consistent, with not a bad track on this.” “The Nitty Gritties sure wanted to display their versatility, and these 21 short tracks weave very fine bluegrass, country, pop, and even spoken word (the Uncle Charlie interviews) into a unique tapestry.”

“The Nitty Gritty Dirt Band do an exceptional job as their vocals and musical arrangement capture the subject of Mr Bojangles in such a way as to create a beautiful gestalt in which both the joys and sorrows of life are respectfully presented. It is a special gift to be able to bring into music a sensitive balance of exuberance and melancholy, and this recording does it beautifully.”

“There are a few different styles on this album. Tracks like Some Of Shelley's Blues and Prodigal's Return show the band's then commercial sound, the vibe is light and breezy pop, but it still makes quite a racket with full, up-beat rock n' roll, and elements of banjo and slide guitar. Also a stack of traditional American tracks with harmonica, mandolin and fiddle. My favourite of these is the full-throttle bluegrass Clinch Mountain Backstep, great to dance to at those seventies parties.”

“Standing head and shoulders above the rest of the set, the superlative 3/4 country pop Mr Bojangles is definitely a leap ahead of Jerry Jeff Walker's original. If you've never heard this fine track, it's one of the great songs of the seventies for sure. The Dirt Band had always lurked in the shadows cast by the big name bands of the seventies. They consistently defied categorization by enthusiastically embracing elements of rock, folk, country and bluegrass.”

Patto - PATTO***

The Man/Hold Me Back/Time To Die/Red Glow/San Antone/Government Man/Money Bag/Sittin' Back Easy

Self titled debut album from the English progressive band Patto, led by vocalist Mike Patto. Their music combines elements of rock with blues, soul and jazz included in the mix.

“Patto's debut album is a nice totality even though I expected a bit more from it. The guitar work is impressive and most of the songs are interesting. Money Bag is the longest track of the record and it's also my personal favourite here. I think this record is a bit inconsistent because some of the songs are clearly better than the others.”

“As far as I can remember, very special stuff, kind of jazz material in a rock band format. Unique, but not that much gripping. Money Bag is perhaps my favourite, and the most interesting aspect of the whole affair was not the singer but the good guitar work.”

“This first album is arguably their best. It's predominantly heavy, blues driven, powertrio style hard rock, with some prog jazz seasoning in the mix.”

“The noticeable fluctuations in quality songwriting hold this one back for me. The guitar work is pretty great throughout, but like the songwriting the vocals also have their ups and downs in terms of effective delivery.”

“Mediocre, bluesy, soul-inspired white singer dude is in full effect, and with lame lyrics in hand. If you haven't heard this, you're not missing much. It's like any Cgrade blues influenced hard rock album from the era.”

“This is hard-rocking jazzy 70s rock with a bluesy sensibility, and isn't nearly as weird as the killer cover art may lead you to believe. Mike Patto's vocals are thick, rough, and genuine, but the guitar might be the primary draw - it's fluid, scorching, and fast, morphing to fit whatever each song demands, never boring and rarely overtechnical.”

“This music features guitar, bass, drums and Vibraphone. Most of the songs have very minimal instrumentation and are absolutely hard rock. But Patto add some unique chord changes to these, so they are fresh and have a very distinct touch. Then, they add little splashes on the vibes, in just the right places. Not a lot of rock bands mixed styles quite this way, so you really have to admire Patto’s unusual sense of tone colour and arranging.”

Looking On - THE MOVE****

Looking On/Turkish Tram Conductor Blues/What/When Alice Comes Back To The Farm/Open Up Said The World At The Door/Brontosaurus/Feel Too Good

Looking On was the first Move album to feature Jeff Lynne, recruited from the commercially unsuccessful pop group The Idle Race. It features the very heavy UK top ten hit single Brontosaurus.

“Looking On introduced ex-Idle Race multi-instrumentalist Jeff Lynne to the line-up. The album marked a major change in musical direction. All but absent were the band's earlier slices of poppy-psych, replaced by a series of extended, heavy rockers. Critics and fans weren't particularly kind, and to my ears the change in direction was somewhat jarring. That said, the results were heavy rock, but done in Move style, which meant lots of experimentation and unexpected surprises that you wouldn't hear in a typical heavy rock album.”

“This is my favourite album by The Move, and it's the only one of theirs that didn't strike me as overlong. It's also insanely heavy. I'm surprised this one doesn't show up on more proto-metal lists. Downtuned riffs with crippling fuzz.”

“Looking On was a continuation of The Move's prior evolutionary trajectory towards progressive and experimental psychedelic rock music. Heavier than the earlier material, it still retains a psychedelic, experimental feel.”

“Simply calling the album progressive rock doesn’t do it justice, as it is truly an inspired blend of genres and ideas. Feel Too Good is the pinnacle of the album. Part boogie, part glam rock, part doo-wop, and part honky-tonk bar room piano, it represents the album’s greatest gamble, and triumph. The Move were on the verge of transitioning into The Electric Light Orchestra, and hints of their debut album can be heard on Roy Wood’s cello playing in When Alice Gets Back From The Farm.”

“A portrait of a band in flux, proto metal and prog rock mix sometimes uncomfortably with pure pop. There are interesting instrumentation and arrangements all around. What the record may lack in terms of execution and songwriting, it more than makes up for in ambition and creativity.”

“No longer a psych-pop hit single machine, this incarnation of the band moved in new directions, sounding something like a somewhat heavy jam band that discovered baroque instruments in the back of their studio. It's also evident that this is where that early ELO sound was born.”

Christmas & The Beads Of Sweat - LAURA NYRO****

Brown Earth/When I Was A Freeport & You Were The Main Drag/Blackpatch/Been On A Train/Up On The Roof/ Upstairs By A Chinese Lamp/Map To The Treasure/Beads Of Sweat/Christmas In My Soul

This strangely titled album from singer-songwriter Laura Nyro’s includes the final original material from her early most creative phase. It features several short pop songs, together with an extended more experimental suite. (US:51)

“My favourite Laura Nyro album: somehow both the shorter, relatively catchy songs on the first side, and the suite (not one superfluous note) on the second side, touch me in a more immediate way than any of her other albums. This is probably because here her expressionism never seems overbearing, and there's a feeling of intimacy that her previous albums only hinted at sporadically.”

“It is divided between joyous, uplifting soulful pop songs and more expansive, experimental, piano-driven epics. Christmas has its own distinctive flavour in that it is more exotic and Oriental sounding than its predecessors. There are subtle Latin inflections in the rhythms and arrangement of Blackpatch, and of course the Oriental arrangement and melodic structure of Upstairs By A Chinese Lamp and aquatic harp lines in Map To The Treasure."

“The first side was on the whole fairly accessible soul-pop, with Nyro's brilliant piano and angelic voice giving it a delicate beauty. The second side was Nyro's most experimental work, and probably one of the most influential works in the development of singer/songwriter music.”

“It's another altogether brilliant album but perhaps not as profoundly so. Stripped down to voice and piano much of the time, with those big brass arrangements somewhat toned down and a smoother 70s sound creeping in, Nyro's self-styled music seemed to be breaking down into its constituent parts.”

“Nyro repeatedly uses pop music idioms, but she never actually allows them to evolve into anything that could be remotely described as pop music per se, and in the process she repeatedly leaves the listener hanging, waiting for musical phrases that she never creates. The result is a very strange tension between what one expects to hear and what one actually gets.”

“This is the last album of original material that Laura Nyro released during her most prolific and inventive years and remains a landmark album, a seamless blend of jazz, pop, soul, gospel, rock and folk.”

That's The Way It Is - ELVIS PRESLEY****

I Just Can't Help Believin'/Twenty Days & Twenty Nights/How The Web Was Woven/Patch It Up/Mary In The Morning/You Don't Have To Say You Love Me/You've Lost That Lovin' Feelin'/I've Lost You/Just Pretend/ Stranger In The Crowd/The Next Step Is Love/Bridge Over Troubled Water

That’s The Way It Is reveals the mature Las Vegas Elvis at the top of his game. Includes the UK top ten hits I’ve Lost You and I Just Can’t Help Believing, together with interpretations of many contemporary standards. (US:21 UK:12)

“Elvis hits the Las Vegas circuit and moves his music towards easy listening waters. Big arrangements, huge vocal choir backings and lots of schmaltz are the order of the day. That said the set works and Presley sounds in his element singing big ballads.”

“That’s The Way It Is was a somewhat mislabelled title as it purported to be the soundtrack from the documentary of the same name. However, it only contained four live tracks while the other eight were from the studio. Nevertheless, it remains an excellent release as he presents songs that had never appeared in his catalogue up until that time.”

“That's The Way It Is marks Elvis Presley's transition from B-grade film star to bigtime Las Vegas entertainer. And the results are quite grand. Picking up cues from his much lauded 1968 comeback special, Presley foregoes the sit-down portions of that show for the big budget numbers.”

“This is better than nearly everything else Elvis did after the fifties, despite the fact that it didn't produce any major singles. Unlike many of his later albums, every song is well crafted.”

“This is a compilation of songs performed by Elvis that might not be well known in the popular consciousness, but are executed with a level of depth, energy, and sincerity that Elvis tapped with astonishing consistency during the early postcomeback years. He is arguably at the height of his powers here.”

“This one shows a very confident, dedicated singer at the top of his game. It was clear that Elvis was enjoying himself and was very committed to learning new material, performing them with perfection. Physically, mentally and vocally he had never been better. I am sure that this is the period he would want to be remembered. Elvis and the band were having fun while delivering the goods and he was in control.”

Worst Of - JEFFERSON AIRPLANE****

Its No Secret/Blues From An Airplane/Somebody To Love/Today/White Rabbit/Embryonic Journey/Martha/The Ballad Of You & Me & Pooneil/Crown Of Creation/Chushingura/Lather/Plastic Fantastic Lover/Good Shepherd/ We Can Be Together/Volunteers

A presumably tongue in cheek title from one of the giants of the late 1960s American psychedelic music scene. Worst Of includes most of Jefferson Airplane’s best known songs from their earliest days to the end of the decade. (US:12)

“Their first official compilation consisting of material dating from 1966 to 1969. A good start, if you want to know better the music of Jefferson Airplane.”

“While it wasn't the perfect retrospective, the album served as a nice introduction to the Airplane. You also get a decent feel for the musical interests of each of the major players (Balin, Kantner and Slick). While getting people to agree on the perfect track selection would be impossible, there were no major surprises here and on the whole it made for a good way to get an occasional Airplane fix, while avoiding the filler and throwaways that cluttered much of the original records.”

“A great compilation of short Jefferson Airplane songs. Some very gentle, some are classic Airplane rockers, with crashing chords, unusual time changes, and fabulous vocals coming from every angle. A fine introduction to the inconsistent, often passionate, at times brilliant, Jefferson Airplane.”

“The cheeky title may be off-putting to some, but the material is anything but bad. If you like female fronted psychedelic rock music and you are a fan of the '60s then you probably don't need to read this review because you'll have all of their albums already, but for those who weren't there the first time around like myself, this is a great companion.”

“By chronologically arranging the songs we can see the Airplane evolve from a folk vocal harmony group, to an unquestioned commercial success, into an experimental acid rock band and then into a densely musical, overtly political entity.”

“It's no wonder that the band leapt to include Grace Slick into their line up as she definitely had a voice to kill for. It's also interesting to note that in the late sixties this band was considered to be somewhat revolutionary. The record offers some insight into the madness of late sixties acid rock, some of it has aged but in a good way.”

Cruel Sister - PENTANGLE***

A Maid That's Deep In Love/When I Was In My Prime/Lord Franklin/Cruel Sister/Jack Orion

After the huge success of Basket Of Light the relatively poor sales of the follow up Cruel Sister must have come as a big disappointment to leading British folk group Pentangle. Comprising traditional folk tunes the highlight is a twenty minute version of Jack Orion. (US:193 UK:51)

“My favourite track is Lord Franklin which is very pretty, sombre, and just the right length. There are several high points through the side-long Jack Orion and the title cut is a nice, dark tale.”

“I greatly prefer the approach this time around - which is much more rooted in folk, in particular folk music from times of history, with old and out of fashion instruments and delightful songs about murder, suicide, bloodshed and madness set to beautiful acoustic tunes. There are of course rock touches here and there, such as the instrumental workouts and an occasional eccentric touch that spices up the sidelong epic Jack Orion, but by and large this is just good meaty folk music performed well.”

“The obvious centrepiece is Jack Orion. Lasting eighteen minutes is has the potential to get really boring, but it never actually does. It has enough twists and turns, and a sense of momentum, to hold your interest.”

“Sometimes a sound just captures your imagination and carries you along with it, and Pentangle definitely does that for me. Even their questionable artistic moments are part of a constant search for some lost key in the murky depths of ancient music, matched with the spirit of jazz improvisation and Eastern touches.”

“As a Pentangle fan that I find myself hard pressed to rate this too high. Of course the playing is great but the material has many dull moments. I can do without the Jacqui soloing. To be fair the opening A Maid That's Deep In Love is respectable and the traditional Lord Franklin is a plus. The Jack Orion side really heats up over the latter half, but I still find myself glad when they finally drag out the last chorus.”

“This is an album of supremely talented musicians, expressing themselves without being self-indulgent. The album has such a light, lilting feel, it all sounds so simple that you don't notice the individuals; it's as if they create just one sound. The interplay between the instruments, the superb vocal lines, they take one song and let it fly down multiple paths, without ever creating a feeling that the song is dragging.”

Kingdom Come - SIR LORD BALTIMORE***

Master Heartache/Hard Rain Fallin'/Lady Of Fire/Lake Isle Of Innisfree/Pumped Up/Kingdom Come/I Got A Woman/Hell Hound/Helium Head/Ain't Got Hung On You

Kingdom Come was the debut album from the Brooklyn rock band Sir Lord Baltimore, one of the earliest exponents of the heavy metal genre that would become increasingly popular during the 1970s. (US:198)

“Kingdom Come is an astoundingly hard and heavy album for 1970. Some of these songs could crush the earth. The album is one guitar blasting, drum thudding, dinosaur stomping primordial wail of thudding doom.”

“Hard driving distortion dripping bombastic rock that's among the more frenzied efforts you'll find in the proto-metal era. There is definitely enough in the fiery guitar work to be worth a look for anyone with even a passing interest in hard rock, or the evolution of what would eventually become metal.”

“This is seriously hard music with big, fuzzy, clipped guitar riffs, energy, huge stomp beat and a singer who learned everything he knows from listening to Steppenwolf apparently. The songs are tight and carefully arranged, showing a group that had been playing together for a long time and were in peak form in the studio.” “For genre fans, it doesn't get much better than this. Very hard rock, bordering on heavy metal at times, this features many furiously paced cuts, as well as some hard hitting guitar. Not for the faint of heart.”

“The debut Kingdom Come is an absolute heavy metal, riff driven explosion that boasts just about all of the tricks in the metal book long before the book had even been written. Heavy jam outs and extended acidy solos, backed by a driving bass and a thunderous drummer/vocalist.”

“Undoubtedly an underrated influence on the development of heavy metal, Sir Lord Baltimore's classic, Kingdom Come, is interesting and unique. The riffing is generally good, but on the other hand you have to suffer 70s redneck vocals. Two songs in particular, Lake Isle Of Innisfree and the title track, make this an album that cannot be described as simply average.”

“What we have here is one of the craziest, most frantic, and energetic albums ever. Side two kicks off with what's easily the band's greatest song.”

Lizard - KING CRIMSON***

Cirkus/Indoor Games/Happy Family/Lady Of The Dancing Water/Lizard/Prince Rupert Awakes/Bolero-The Peacock's Tale/The Battle Of Glass Tears/Big Top

With Lizard King Crimson move away from their progressive roots to embrace a more jazz influenced sound, following significant changes in personnel. Album is divided between shorter progressive tracks and more lengthy jazz instrumentals. (US:113 UK:29)

“Here we have an interesting and enjoyable album of a very British sounding whimsical psychedelia. The first side of the album is more song oriented and quite upbeat and danceable, while the second side is more instrumental, dreamy, mellow, and ethereal.”

“A slump in early KC's discography, on one hand the material here feels fractured and schizophrenic, and on the other it's full of irritating Victorian style pomposity. There's the set of four shorter psychedelic tracks and then a large instrumental jazz fusion epic that's not particularly engaging or dynamically fluent.”

“Lizard is much further into jazz than the previous two albums. It's also a great deal more twisted and avant-garde. This makes it, along with its slightly less loved sibling Islands, a pair of albums that divides listeners. All bands, especially in the realm of prog, go through that part in their career, especially when they are experimenting.”

“The sound is a lot more jazz oriented than their previous records. None of the songs on the A-side impresses me that much. They are all quite solid pieces but I expected a lot more from this band. The B-side however is the stronger side here.”

“This album represents a more jazz-like feel, and incorporates more woodwinds and piano than other King Crimson works before or since. I like the variance in compositions and sounds, as this showcases another aspect of the creative side of Robert Fripp.”

“The general formula for the first two albums was a blistering opening track, followed by melodic quietness, then a massive Mellotron-driven ballad, then a grand finale. Lizard broke away from that and used the following: Three songs that go straight to the point (more or less), melodic quietness, and finally a through-composed suite. Lizard is the most jazz-oriented album of the Crimson's discography. As a result, it has a somewhat loose and chaotic sound.”

Desertshore - NICO***

Janitor Of Lunacy/The Falconer/My Only Child/Le Petit Chevalier/Abschied/Afraid/Mutterlein/All That Is My Own

Desertshore features another collection of songs by German singer Nico whose work has been described as evoking images of gothic gloom and high romantic seriousness. Produced again by her former Velvet Underground colleague John Cale.

“If you want an intense, frightening listen with occasional moments of beauty, look no further than here. Afraid, my personal favourite, is a lovely piano-centric ballad, while The Falconer starts off superbly creepy before breaking into a considerably prettier, more contemplative section.”

“Desertshore, finds Nico's wheezing, off-kilter harmonium dominating the mix alongside her deep Teutonic boom of a voice. The result is an album full of darkness and gloom but also of gentle, melodic beauty, singling it out as one of Nico's most attractive works.”

“Nico succeeds where so many fail: she conquers the darkness through music, and with her soothing voice amongst confusing sounds she actually reaches your deepest fears, and shakes them all over. Many images may stroll through the listener's mind while she sings with her hypnotizing voice.”

“Nico is the most underrated and underappreciated artist of all time. Her music was decades ahead of its time, and to this day there is still nothing like what she has done out there. She was writing songs in a style that was and is unparalleled; she used beautifully dark imagery to tell her stories.”

“Its grim, foreboding and difficult and typically austere and you've really got to be in the right frame of mind to get any real benefit from it. But like all Nico’s work the perseverance pays off in the long run, but it is not an album to play in front of others. Best left to be listened to alone.”

“The darkness of this album was overwhelming. Every song gave me a sinking feeling. Despair was the first word that came to mind. The strings and piano on these songs were haunting, and Nico's strong voice amplified it.”

“Each song is a powerful testament to the ominous wonder that ebbs and flows throughout this life we live in, with heavenly melodies that leave me aghast, and attain ageless prescience within my inquiring soul.”

H To He Who Am The Only One -VAN DER GRAAF GENERATOR***

Killer/House With No Door/The Emperor In His War Room/Lost/Pioneers Over C

English progressive band Van Der Graaf Generator’s third album H To He was well received by the critics but failed to generate commercial momentum. Robert Fripp of King Crimson helped out on some of the tracks.

“Van Der Graaf Generator are a difficult band, even for people who are into progressive rock. They rarely use an electric guitar and their sound is largely based on the Hammond Organ, crazy sax solos and of course the sometimes quite histrionic vocals of Peter Hammill. This is their first really good album. It feels like a concept album from time to time - mostly, the lyrics deal with loneliness.”

“As with the last album every song flows perfectly into the next, mixing pleasant melodies with jarring outlandish outbreaks of cacophonous sounds that perfectly emphasize lyrical subterfuge in their deliveries.”

“Peter Hammill's vision, leading this fine band of musicians to places other bands fear to tread has always been an adventurous and rewarding listening experience. I'll admit, initially it might take a little getting used to for some people. H To He contains some of the band's best work. There are moments of straight ahead rock, achingly beautiful laments and cool spacey rock.”

“H To He is the consensus starting point for a series of classic prog rock albums by the Peter Hammill fronted Van Der Graaf Generator. While I may not be as head over heels for this album as some other prog, this doesn’t make H To He any less essential to the band’s discography or prog in general. The biggest improvement on this album is that they’ve managed to clean up most of the ridiculous lyrical references and overly long compositions and replaced them with a leaner, more economic series of incredibly dense material.”

“This is a classic recording that is a must for Van Der Graaf fans, and essential listening to discover just how wildly experimental, powerful and moving progressive rock could be in its infancy.”

“This is the bleakest, most gothic prog rock I have ever heard. Instrumentation is sparse, with great drumming, solid bass playing, twisted Hammond organ work plus angular and aggressive sax playing.”

Lick My Decals Off Baby - CAPTAIN BEEFHEART**

Lick My Decals Off Baby/Doctor Dark/I Love You You Big Dummy/Peon/Bellerin' Plain/Woe-Is-Uh-Me-Bop/Japan In A Dishpan/I Wanna Find A Woman/Petrified Forest/One Red Rose That I Mean/The Buggy Boogie Woogie/The Smithsonian Institute Blues/Space Age Couple/The Clouds Are Full Of Wine/Flash Gordon's Ape

Decals was the only Captain Beefheart LP to break into the UK album top twenty. It features the usual mixture of eccentric and wacky lyrics with more avant-garde musical experimentalism, appealing only to minority tastes. (UK:20)

“This is focused on Beefheart's brand of curious jazz-rock. The witty, humorous lyrics he's known for are in top form, especially on the opening/title track, which is my favourite song on the album. There's an environmentalist slant in some of the tracks, which show the good captain applying his surreal wordplay to serious issues. One of his best and most memorable albums.”

“It takes all the radical experimentalism from its predecessor and refined it into a much more digestible sound. This would be one of the first albums I would recommend to those uninitiated to the Magic Band.”

“Another wacky and crazy album by this well known and official captain of insanity. Many different musical genres can be found in here which was typical for Beefheart and his band at the time. Experimental rock, art rock, blues rock, psychedelia and free jazz are combined fantastically in this record.”

“This is sure not toe-tapping elevator music, but a sonic exploration that fits no mould. Try to understand the lyrics? Never in a million years.”

“Captain Beefheart is best when he is overpowering. With only a few exceptions, this record is disappointingly flat. Beefheart's voice and lyrics lack their usual strength.”

“While it has its moments of humour and downright strangeness, it has at its heart a stark meditation on time and mortality, reaching an almost apocalyptic peak on the number Flash Gordon's Ape. While there are cheerful moments such as the instrumental Japan In A Dishpan and thoughtful moments such as the pseudo- Renaissance instrumentals, there is a strange paranoiac, apocalyptic tone that picks up speed in the final few numbers.”

“The whacky, ever experimental, far out, creative and highly unusual songwriting is here. Personally I have a lot of trouble understanding the lyrics, but that doesn't matter as the lyrics are put together in an interesting way.”

American Beauty - GRATEFUL DEAD*****

Box Of Rain/Friend Of The Devil/Sugar Magnolia/Operator/Candyman/Ripple/Brokedown Palace/Till The Morning Comes/Attics Of My Life/Truckin

American Beauty is the second half of the excellent duo of albums in which the Grateful Dead eschew their trademark noodling and deliver a package of songs with both tune and musical structure. (US:30 UK:27)

“Like their previous studio album, there is a wonderful balance between melodic richness and musical playfulness. I melt before these jazzy rhythms, the guitars of virtuosity and the multiple voices of loveliness.”

“Of all the jazz, classical music, folk and roots music I have ever listened to, I still have not found songs which parallel these in their strength and grandeur.”

“This release is truly one of the all time most amazing pieces of musical work. American Beauty is just a pleasure to hear time and time again.”

“This indeed is a unique entry into the Grateful Dead lexicon. The band totally discard their trademark long psychedelic jamming for a totally laid back, country rooted album.”

“The Grateful Dead's studio masterpiece. Every song is a marvel. These people are musicians, and good ones. And this is one fine rock album.”

“This album is a prime example why the 60s and early 70s were and are so much better than any other era of music. The band knew how to create an album and it has no songs in which I consider to be of the filler variety.”

“This release does a great job in showcasing their songwriting and singing abilities. There isn’t a bad song on the whole entire album.”

“American Beauty features lyrical, complex songs and straightforward American folk music. Ripple may be the most beautiful song ever written. Box Of Rain is funny and poignant. And I dare you not to break into a huge grin during Sugar Magnolia. While this is a much different Grateful Dead from what they performed in concert, it is equally glorious.”

Twelve Dreams Of Dr Sardonicus - SPIRIT****

Prelude-Nothing To Hide/Nature's Way/Animal Zoo/Love Has Found A Way/Why Can't I Be Free/Mr Skin/Space Child/When I Touch You/Street Worm/Life Has Just Begun/Morning Will Come/Soldier

Dr Sardonicus was the most acclaimed album by the Los Angeles progressive band Spirit. It has been described as exploring the fragility of life and the complexity of the human experience. (US:63 UK:29)

“Spirit have always been a classic underrated band, perhaps due to the eclectic nature of their music, a hybrid of rock, pop and jazz. Dr. Sardonicus is the band's watershed album from the acid-influenced cover art, to the ingenious melange of musical styles incorporated into the songs. Existentialism, war, ecology are the subject matters touched upon, and the musicianship is superb.”

“This album is an absolute classic. It's funny in that it was recorded pretty much after the end of the psychedelic era but you wouldn't know this by listening to it. Whereas other psychedelic albums often got bogged down in experimentation for the sake of it, the flourishes on here are all suitable for the songs. The production is perfect and so are the arrangements. Most of the songs end leaving you wanting more, which is great.”

“A masterful release by Spirit and a perfect snapshot of the strange transition period when psychedelic rock's time in the sun was coming to an end and progressive rock was emerging from its elder sibling's shadows. These Twelve Dreams Of Dr Sardonicus take the listener on a wild and diverse trip, held between folky acoustic gentleness, psychedelic head trips, and some downright rocking numbers.”

“Twelve Dreams Of Dr. Sardonicus is just as trippy as the title and the album cover would imply, but it is also a potent brew. I am not quite sure how to describe the sound, which is at least one sign of a good record, or at least a unique one. There are elements of jazz, folk, and hard rock, with spacey guitars and processed vocals.” “It's just one of those albums where all the elements come together perfectly. There are no weak tracks, and I can listen to this one over and over again without getting bored. I know I'm not the only one who feels this way, as virtually everyone I've shared this album with has fallen in love with it.”

“A light, dark album, full of beautiful melodies, superb drumming, its pretty much a musical equivalent of the LP cover. Almost exists in the realm of dream music if you are not too cynical.”

Watt - TEN YEARS AFTER****

I'm Coming On/My Baby Left Me/Think About The Times/I Say Yeah/The Band With No Name/Gonna Run/She Lies In The Morning/Sweet Little Sixteen

Watt was the quick follow up album to capitalise on the commercial success of the previous release Cricklewood Green. Some critics considered that greater delay would have produced an even stronger album. (US:21 UK:5)

“Well this is not as good as their previous recording but that was a tough act to follow. That said, this is still a very good hard blues album, not many psychedelic touches here but bluesy as hell.”

“A step down from Cricklewood Green, but still pretty fine. I love the way the band jumps out of the gate with the hard drivin' I'm Comin' On, and they even lay down a funky groove on I Say Yeah. As usual, there are a couple of ballads, a traditional blues, and some good old rock n' roll. So it's standard fare from a pretty exceptional band.”

“Ten Years After are a band that were consistently really good, who never quite attained greatness. Alvin Lee is a great guitarist but as a vocalist, I'd say he's average. The songwriting here, and on all their albums I've heard, leaves a little to be desired when compared to many similar bands of the era. The instrumental sections are the best parts of the album.”

“Alvin Lee and company may have been wiser to leave this album a few months until they had gathered stronger material, if only to make it something of a match for Cricklewood Green.”

“The atmosphere in this music is electric and captures a period of time that will never be duplicated. From I'm Coming On to She Lies In The Morning you're transported to the mythical realm of drug induced euphoria via the transport ship of Ten Years After. This band toured so much during this period that you can feel the weariness in this recording. This plays well on these songs and adds texture and atmosphere.”

“Watt is a solid effort with a great overall consistency to it. Every song is different but fits into a consistent sounding album. No clunkers, just good rock & roll blues. Alvin Lee and band really get into a great groove with a solid rocker to finish it off. When you talk about the good old days this album says it all to me.”

Everything Is Everything - DIANA ROSS ***

My Place/Ain't No Sad Song/Everything Is Everything/Baby Its Love/I'm Still Waiting/Doobedood'ndoobe/Come Together/The Long & Winding Road/I Love You (Call Me)/How About You/Close To You

Everything Is Everything was the second solo album release from Supremes vocalist Diana Ross, let down by some superfluous covers. Includes the excellent UK No. I hit I’m Still Waiting and the impossibly titled No.12 Doobedood’ndoobe. (US:43 UK:31)

“A given in pop music is that some songs are suitable only as filler. Here, Diana has given us nearly two sides full of it. She hasn't yet learned that not everything that comes out of her mouth should end up on an album. A case in point is hearing Diana croon Close To You, which in concert would probably be a fun surprise. As the closer here it is the opposite: predictable and painful. This and the two Beatles covers that open side two are probably the most cringe worthy moments on the album.”

“This funky little detour for the ex-Supreme is best known for I’m Still Waiting, a single which barely made a ripple in the US but managed to become one of her biggest and most enduring hits in the UK. Maybe American audiences weren’t used to hearing her sound like a vulnerable little girl, but it’s a beautiful song and Ross plays it to the hilt like the bravura actress she’d briefly become. The rest of the album is a glossy treat, albeit one padded with Beatles covers and the like.”

“Diana Ross was in her vocal prime at the time of this recording and standout tracks include the Anna Gaye and Marvin Gaye composition Baby It's Love featuring alto sax, an Aretha Franklin cover I Love You (Call Me), which earned Ross a Grammy nomination, and I'm Still Waiting, which was a huge hit in England.”

“Everything Is Everything has always been my favourite Diana Ross album of all time. I am an avid fan and have everything she ever made. Even though this album did not produce a major US hit, the songs are all gems. I love her Ashford and Simpson's hits but these songs are different and show another side of Diana. I could play this album over and over. Diana in the 1970s was way ahead of her time in music and fashion. You will fall in love with this album.”

Blows Against The Empire - JEFFERSON STARSHIP****

Mau Mau (Amerikon)The Baby Tree/Let's Go Together/A Child Is Coming/Sunrise/Hijack/Home/Have You Seen The Stars Tonight/XM/Starship

Blows Against The Empire was the first incarnation of the Jefferson Starship name, over three years before it was formerly adopted by the group. It comprises a loose jam session featuring many luminaries of the west coast music scene. (US:20 UK:12)

“This is a perfect example of how a bunch of psychedelic era musicians could show up, jam for a while, and have the end result come out as an excellent product. Let's Go Together features Grace Slick as a police siren in the middle of a tasty folk-rock ballad, and Have You Seen The Stars Tonight is one of rock's most eternal love songs.”

“A great slice of electric psych-folk-rock from a line-up that is more or less the same as on the first David Crosby LP. It shares the same kind of communal mood, yet the whole thing is less contemplative and moody in feel. There is a strong ‘party in the recording studio’ good time vibe here. Extremely enjoyable and juicy, I just cannot see why this shouldn't be regarded as a classic.”

“A unique hippie San Francisco take, with an all star cross section of the 1970 west coast music scene and influences, including some psychedelia and folk plus some sweet late 60s guitar distortion. Occasionally a bit messy and loose, like it's all being done in one take, but it's got some great moments.”

“An excellent album which I have been listening to steadily for a week, and it is really good. Beautiful sound, somewhere between the West Coast psych of the early 70s and Fairport Convention or similar of the same period. Don't be put off by the ‘Jefferson Starship’ in the artist name, this has very little to do with what followed.”

“This is one of my favourites from the early 70s. I love the whole concept of a bunch of hippies building a spaceship and going on to create some utopian paradise out in space. Beautiful music as well, some rock oriented tunes like the opener, but most of it is more psychedelic folk with acoustic guitars, piano etc. Members of the Dead and CSNY contribute making it a nice collaboration of the San Francisco scene.”

“The music is straight up acid-folk, misty and lost. Lots of acoustic guitars, rambling structures, and not many conventional lead vocals. Most of the singing is multiple voices joined in bleary-eyed harmony.”

Whales & Nightingales - JUDY COLLINS****

Song For David/Sons Of/The Patriot Game/Prothalamium/Oh Had I A Golden Thread/Gene's Song/Farewell To Tarwathie/Time Passes Slowly/Marieke/Nightingale I/Nightingale II/Simple Gifts/Amazing Grace

Whales & Nightingales was the commercial breakthrough album for American folk singer Judy Collins in Britain, helped by her version of the traditional Christian hymn Amazing Grace which became an unlikely UK top five hit. (US:17 UK:16)

“I love most of the songs on this album, from the opening cover of Joan Baez's Song For David to Jacques Brel's magical Sons Of, to the wry and cautionary Irish folk tale of The Patriot's Game. It is hard to pick a personal favourite from these absolutely terrific songs.”

“This is a snapshot of a one of the titans of modern American folk music, taken at the peak of her awesome vocal and collaborative talents. It will please the most discriminating of well-trained folk ears, and is one I am sure you will come to treasure as much as I do.”

“It's a more idiosyncratic collection than her earlier albums, heightened by varied recording locations that each provides a unique sonic ambiance. The result isn't always cohesive from song to song, but Collins voice is so singularly beautiful, and her talent for interpretation so strong, that the individual pieces merit listening.”

“When you listen to Whales & Nightingales the big question is which song do you find more haunting, her crystal clear version of Amazing Grace, or Farewell To Tarwathie, which is sung over the accompaniment of humpback whales. The glorious soprano voice is always there and the quality of her albums always comes down to the songs.”

“Farewell To Tarwathie is Collins' reworking of a traditional song about a Greenland whaler's journey into the hinterland, but the song is brought to life by the songs of humpback whales which accompany her acapella performance. I don't think there is another moment in modern music quite like this recording, it is too beautiful for my paltry words.”

“Every song is exquisitely arranged, from the Dylan tune Time Passes Slowly to the instrumental Nightingale II, each is different, with its own signature, making this an eclectic and unusual album. There is no one quite like Collins, her voice alone is astounding and unique, a type of beauty so rare it appears once in a lifetime.”

The Black Man's Burdon - ERIC BURDON***

Black In Black On Black/Paint It Black I/Laurel & Hardy/Pintelo Negro II/PC3/Black Bird/Paint It Black III/ Spirit/Beautiful New Born Child/Nights In White Satin/The Bird & The Squirrel/Nuts Seeds & Life/Out Of Nowhere/Nights In White Satin/Sun-Moon/Pretty Colours/Gun/Jimbo/Bare Black Ride/Home Cookin'/They Can't Take Away Our Music

Second collaboration between the former Animals vocalist Eric Burdon and the black R & B group War. A sprawling double album with extended jams which might usefully have been shortened to just a single LP. (US:82 UK:25)

“The album had its moments, though they were scattered across the collection's twenty tracks and four sides. In spite of his apparent megalomania, Burdon's voice was still in fair shape and while the quality of material bounced all over the map, there were certainly a couple of interesting moments. Burdon's non-too-subtle social commentary, the extended musical jams, and the general vibe, musically it didn't get much more '70s than this.”

“The Black-Man's Burdon is a wonderful album – as a concept. It contains lengthy musical epics built around some 1960s classics. It contains a lot of jamming, like a jazz-rock definition of their own: rock that is handled like jazz. It also features a few more conventional but still valid styles like soul and blues rock. Considering this, Eric Burdon was really creating something new here.”

“I know that some people find this album inconsistent and over-rambling but that's one of the reasons why I love it. The more I listen to it, the more I like it because the performances are so fantastic. Burdon's singing is probably at its strongest here, particularly on Paint It Black which is one of the greatest covers ever.”

“The passion of Burdon's vocal delivery is as believable as he was during his first few albums with The Animals. Nothing since those days found him this inspired or interested in what he was attempting to do.”

“There is some excellent jamming, but too much self indulgence. A single LP would have had less filler.”

“This is not the War from the later 1970s, but is an absolutely kicking feast of Latin grooves. Burdon had the voice and the improvisation skills to work wonders over these long jams, and this band is both tight and loose enough to sail along with him.”