Coal Miner’s Daughter – LORETTA LYNN***

Coal Miner’s Daughter/Hello Darlin’/Less Of Me/Any One Any Worse Any Where/For The Good Times/The Man Of The House/What Makes Me Tick/Another Man Loved Me Last Night/It’ll Be Open Season On You/Too Far/Snowbird

Coal Miner’s Daughter was probably the most critically acclaimed album in the career of country star Loretta Lynn. The autobiographical title would be used again in the later film about her life.

“I'm admittedly not the hugest fan of country music but I do like some of the more traditional sounds of yesteryear when the genre had more soul. Few women had more soul than Loretta Lynn did in the day. She had that perfect sad and sombre voice that reeked of sincerity, and was perfect for both the Nashville Sound and gospel that she was famous for.”

“Coal Miner's Daughter was one of her biggest hits in terms of the single as well as the album. Although I’ve always loved the single, it is quite a surprise that the album is full of tracks that are equally as strong and could easily have topped the country charts. Loretta’s dramatic vocals, playing with the slide guitar and honky-tonk rhythms, results in a mesmerizing classic sound that more than delivers the goods.”

“The success of this album is that there is no filler. Loretta chose do covers for most of the songs and although I’m not familiar with all the original versions, I can say that she nails every single track on here and makes them her own.”

“This is one of those standout albums when Loretta Lynn is at her best vocally and musically, at a time when she was at the top of her career. It is albums like this one that explain the superstardom of Loretta Lynn, and this one does not disappoint.”

“Loretta was never more appealing and has never sounded better. Every song on here is a keeper. This is vintage stuff.”

Fourth - SOFT MACHINE***

Teeth/Kings & Queens/Fletcher's Blemish/Virtually Part 1/Virtually Part 2/Virtually Part 3/Virtually Part 4

For their fourth album release Soft Machine move decisively away from their progressive origins to embrace a jazz fusion style. This would result in a significant reduction in their commercial appeal. (UK:32)

“I am pretty bored by the end of this. No standout compositions and the playing is generally pretty lethargic compared to the earlier efforts.”

“Fourth is a complete jazz fusion record from start to finish. Some Canterbury scene influences can be heard though. Most of the time they sound great but there are some points where they feel a bit empty. However this is still an enjoyable totality.”

“Much lesser than the fantastic and innovative previous works. What is on offer here is pretentious and boring tacky imitations of free jazz and a blatant lack of melody.” “Musically speaking, the tracks lie on a continuum from a slightly more jazzy take on the fusion sound of Third, to an approach which takes on so much of jazz, and incorporates so little rock, that it's no longer really fusion, just jazz.”

“As their sound continues its headlong shift towards total jazz, it continues to lose my interest. Not that I don't appreciate progressive jazz, but for some reason this just doesn't excite me. Perhaps I'm just disappointed they didn't pursue progressive rock further, as they were one of the best of the genre early on. It was clearly obvious by this time that Soft Machine had changed for good.”

“Fourth marked the period where Soft Machine made the complete change into straight up jazz, moving completely away from progressive rock elements. Imagine a hard rock or heavy metal band that, instead of using an electric guitar, uses a saxophone and just rips your speakers apart with a distinct style of intensity and an ability to make it melodic. That's what Fourth is like, and why it's so unique.”

“This is fantastic jazz, the Softs really had little to do with rock by this point. And it is early 70s fusion at its finest. The electric pianos let you know it is from this era. But unlike some early jazz-rock over-indulgence, Soft Machine stuck with clean sounds and structures, using simple lines to open space for improvisation.”

Once Again - BARCLAY JAMES HARVEST***

She Said/Happy Old World/Song For Dying/Galadriel/Mocking Bird/Vanessa Simmons/Ball & Chain/Lady Loves

Once Again was the aptly titled follow up album from the British progressive band Barclay James Harvest. Despite competent musicianship they never managed to shake off their reputation for a lack of originality.

“Opening with a swell of strings and some enthusiastic drumming, Once Again starts in exactly the way you'd want an album by a band with the heavyweight pastoralprog reputation of Barclay James Harvest to start, a bit epic, a bit moody, topped with some overdone guitar work and a slightly haughty sounding vocal. Rock music just doesn't do this sort of thing anymore.”

“Once Again is a highly enjoyable progressive rock journey with mostly really decent material inside. The mighty opener She Said could actually be their best song ever. The rest are really enjoyable too, especially Mocking Bird and the heavy Ball & Chain, please my ears on this one.”

“This for me is by far their best album. They plugged away for years in the UK without really achieving any commercial success. Some of their other albums have good songs on them but there is a consistency here they were unable to match elsewhere.”

“As with much of Barclay James Harvest, Once Again doesn't sound horribly original, with an obvious nod to the Moody Blues, and even at its best this album still falls a bit short of their classic work. Nonetheless, a consistently good-to-great album that is probably worth checking out for any fan of 70s art/prog rock.”

“A grand opus of a piece that is really too clever for its own good, that sounded avant-garde in its day, with loads of atmosphere.”

“They have been plagued with stylistically aping other bands while not contributing any ideas of their own. It's like having some sort of bizarre cover band in which they perform only their own material, but completely in the style of other bands current to the scene.”

“When FM radio was starting to make inroads, this is one of the records that got frequent air play. Most noteworthy was Mocking Bird – it still makes the hair on the back of my neck stand up.”

Album II - LOUDON WAINWRIGHT III***

Me & My Friend The Cat/Motel Blues/Nice Jewish Girls/Be Careful, There's A Baby In The House/I Know I'm Unhappy-Suicide Song-Glenville Reel/Saw Your Name In The Paper/Samson & The Warden/Plane Too/Cook That Dinner Dora/Old Friend/Old Paint/Winter Song

Follow up album from the American folk singer-songwriter Loudon Wainwright III who came from a musical family. He enjoyed a cult following in the early 1970s which was never converted into commercial success.

“Wainwright's voice is high and scratchy but well suited to his folk style, and the way he delivers his songs that way is a part of the reason I like him so much as a writer and a performer. This album, a fitting successor to the first, really goes one step further in its plaintive wailing.”

“Definitely a step up from Album I. It goes along real strong and it finishes well with Winter Song. Samson & The Warden is a real gem. LWIII loves his cleverness and this is one of the times he really pulls it off. If you like folk music that is only a little bit silly, pick this up.”

“Album II picks up the baton from Album I without any real discernable change. He may have sneaked in the occasional piano accompaniment, and his wife Kate McGarrigle makes a brief appearance but, essentially, this is another album from Wainwright and his sidekick the acoustic guitar. Things have improved slightly but not enough for me to hail Wainwright as one of the great singer-songwriters.”

“Most of his records are worth a few listens, and are in places very funny. But I like to go back to this album, just Loudon on guitar mostly, and funny in a very dark way. Sounds like the work of a guy who's been living alone in a shack for too long. And that's something you don't hear every day. Extra half star for having the whiniest vocals ever.”

“There are some enduring songs here like Motel Blues and Be Careful There's A Baby In The House, and plenty of the wry, witty, incisive and sometimes self-excoriating lyrics which have made Loudon Wainwright one of the best singer-songwriters of my generation.”

“This is not one of his better albums. His voice doesn't sound as mature as it does on his later releases. Here Loudon was getting his foot in the record business; a decent album but not his best.”

Ring Of Hands - ARGENT***

Celebration/Sweet Mary/Cast Your Spell Uranus/Lothlorien/Chained/Rejoice/Pleasure/Sleep Won't Help Me/ Where Are We Going Wrong

Ring Of Hands was the follow up album from the British progressive band founded by keyboardist Rod Argent. Their music was more rock orientated than the pop appeal of his former group The Zombies.

“Cohesive ensemble playing, mixed with excellent material and a fine example of cooperation by the songwriters. Listening to this, one can only be amazed at the fact this band was completely ignored until the release of their third album. Rod Argent continues to display his amazing talent on keyboards, but the rest of the band shine as well. Russ Ballard shows he's no slouch on the guitar and his songwriting abilities show tremendous growth here. The vocals are extremely well done as well.”

“With a sound pitched just between Zombies styled pop/prog of their previous effort and the mainstream, veering toward AOR, prog of their next effort, this is a pretty happy medium. The songwriting could be a bit stronger on some of the tracks, but the best of them are pretty good.”

“This one sounds noticeably heavier and more progressive than their first, yet still contains an air of commerciality about it. Of course, it features massive amounts of keyboards and some guitar, though not as much as many other prog outfits.”

“Many tracks contain extended progressive improvisations, which are generally right up my alley, but for some reason I can't quite put my finger on, they don't really seem very compelling here. These cuts could be, and should be, better than they are, though still decent nonetheless. My pick would have to be the infectious Where Are We Going Wrong, featuring ever-so-slight psych influences.”

“Argent were a frustrating band. All too often, their music was less than the sum of its parts. Lothlorien is one of the pieces where it all fell brilliantly into place, and it makes this album well worth the price of admission.”

“The songs are a little more adventurous on this second outing, clearly the musicians were starting to gel as a unit. Reflecting the musical trends of the time, tracks like Lothlorien explore the instrumental talents in the band. While Argent and Ballard trade organ and guitar solos, Jim Rodford knits everything together with some adventurous bass playing.”

The Polite Force - EGG***

A Visit To Newport Hospital/Contrasong/Boilk/Long Piece No.3

The Polite Force was the follow up album from the progressive trio Egg. Like many of their Canterbury scene contemporaries their music contained experimental and psychedelic elements.

“Catchy melodic riffs, punctuated by moments of methodical breaks. Some really creative time signatures throughout but, surprisingly still really accessible and easy on the ears. Still sporting all the wonderful, signature Canterbury sounds of smooth, pretty vocals and that screeching distorted sound that is featured so much.”

“The best Egg album of the lot; they still sometimes sound like a jazzed-up Canterbury version of ELP, but the songwriting is tighter and the musical range and experimentation broader and more satisfying.”

"A Visit To Newport Hospital is prog rock classic and a must-hear track. The rest isn't bad, but its simply too typical early 70s Hammond driven prog rock, mostly instrumental and rather jammed than written.”

“The trio produced music of startling originality and energy, drawing on influences ranging from rock to jazz to psychedelia to classical. The album follows the path of its predecessor with the entire second side of the original LP again dedicated to a long suite in four parts. The music is even more complex and often uses odd rhythmic patterns.”

“Despite being seemingly overlooked even among prog fans this album was extremely controversial and inventive for it's time and probably the first ‘maths rock’ album ever recorded, taking influences from Soft Machine and pushing it into new, unexplored directions. Extremely complex rhythmically but always with fine musical ideas, though quite inaccessible due to it's very experimental edge.”

“The music of Egg combines a significant proportion of dissonance and avant-garde tendencies with over-the-top technical excess.”

“This is quite an early and important album and has the well-deserved reputation of being a classic of prog music. Songs range from very complex to pure experimental maintaining a high degree of originality and professionalism.”

“Definitely not for fans of easy, safe inoffensive pop, but for those who love their experimentalism with lots of droll British humour, it's a treasure trove.”

Melting Pot - BOOKER T. & MGS****

Melting Pot/Back Home/Chicken Pox/Fuquawi/Kinda Easy Like/Hi Ride/LA Jazz Song/Stormy Monday

Melting Pot was one of the more acclaimed albums from the Stax instrumental house band Booker T. & The MGs. This would be their final release with the classic line up as Booker T. quit the group and left Stax records. (US:43)

“This is a monument to funky infected instrumental soul rhythm blues. The infectiously swinging eight minutes plus tracks which open both sides are true grooving festivals.”

“Melting Pot is up there with my favourite songs of all time. It's so good that eight minutes just don't seem long enough and it's always over too fast. It's just a brilliant song all around: melodic, complex, slightly trippy, slightly funky, and utterly soulful. The rest of the album isn't quite up to that lofty standard, but it still makes for a very enjoyable and highly recommended listen. The soundscapes these fellas are able to conjure with just guitar, bass, drums and organ/piano truly boggle the mind.”

“It opens with the greatest piece of music ever recorded, the title cut, Melting Pot. From start to finish it is perhaps, the most fitting example of each member's equal contribution to the sound and soul of the band. Four guys doing four distinctive things, with it all coming together like magic, and all the while, none of them having enough of an ego to detract from the others.”

“A swan song for the classic line-up and what a way to go. Tracks like Melting Pot and Chicken Pox are as tight funk-soul as you'll get and are the highlights for me. The rest of the album is pretty strong. Side two contains some backing vocals that sound dated but don't really detract from what is possibly their strongest album.”

“There simply are not words (at least not in my lexicon) to describe its sublime brilliance. I could mention the incredibly strong melody, its sophisticated big-city feel, the awesome interplay between Booker T's Hammond and Steve Cropper's guitar underpinned by Dunn's bass and the genuinely unique presence of Jackson's drumming, but that would still not begin to do it justice.”

“This is feel-good music to blast away on the car stereo with pile driver speakers. Some say they are annoyed with the ‘doo-wah’ female vocals, but I think they just add to the overall splendour of this masterpiece.”

Time Of The Last Persecution - BILL FAY***

Omega Day/Don't Let My Marigolds Die/I Hear You Calling/Dust Filled Room/'Til The Christ Come Back/Release Is In The Eye/Laughing Man/Inside The Keepers Party/Tell It Like It Is/Plan D/Pictures Of Adolf Again/Time Of The Last Persecution/Come A Day/Let All The Other Teddies Know

Time Of The Last Persecution was the second and final Deram album from British singer-songwriter and pianist Bill Fay. After decades of obscurity he would release some new material in 2012.

“There is nothing showy about the musicianship. It is simple, tasteful and direct and while allowing the singer/songwriter element to be obvious, it is a classy and interesting band effort. While some of Fay's lyrics are a little dramatic, there is realness to it. Some of his dark and apocalyptic ideas conjure real insight.”

“A rather laidback folk record, almost pretty with some nice singing. It is not as convincing as I had hoped that it would be. Fay’s complete lack of conviction in his voice is a big shortcoming. He doesn’t seem to believe himself or care all that much.”

“Bill Fay's second album is solid if unspectacular in the singer-songwriter vein that leaps to its status as a minor masterpiece because of the fantastic guitar work.”

“This album is psychedelic, moving between pop song, funeral dirge, and chaotic climax. It deals very poetically with love, war, technology, and history. Bill Fay loves his songs, and he crafts them, sculpts them without a trace of indifference. Like a true bard, Fay has stuffed this album with historical allusions, literary references, and elegant language.”

“This is mostly fairly soft, downer style, vocal prog rock, with some horns and sax, and brief interludes of intensity, featuring electric guitar. I detect a mild concept element to it as well.”

“Bill has kind of a lazy way of singing these really pretty, often melancholy psychy songs, but I'm more than willing to overlook it by the end of the album when the songs have somehow hooked themselves into my spine.”

“One of the most stark and atmospheric albums of the 70s. The songwriting is dark and ominous, the arrangements and music are sparse but still quite beautiful.”

“The sometimes amateurish style of Fay's vocals, only adds to the quality of this record - it makes the songs more fragile and touching.”

First Utterance - COMUS***

Diana/The Herald/Drip Drip/Song To Comus/The Bite/Bitten/The Prisoner

First Utterance was the debut album from the British progressive folk ensemble Comus. The music is largely acoustic that includes elements of eastern percussion combined with mystical and violent lyrics.

“Musically, this album is an amalgamation of various folk styles, using instrumentation from run of the mill strings to less conventional bongo drums. The most peculiar thing to be noted is the sound which appears malevolent, mocking, vicious and all around merciless.”

“In spite of being pretty much ignored on release, First Utterance has since gained a significant cult following. Comus essentially play folk music, but with the technical proficiency and invention of progressive rock.”

“To put it bluntly, this is one evil album. And it's not evil in the way you would expect. Nothing loud, screeching, and terrible. Instead, Comus create an extremely dark atmosphere by calling in every instrument you would expect to hear from a pagan cult. It creates a brooding atmosphere of despair, and sounds really quite ominous.”

“This is a bizarre mixture of gloomy and psychedelic atmospheres mixed with meticulously crafted folk music. Progressiveness is in full force as well; each piece piles on layers of peculiar instrumentation with a strong sense of momentum and rising progression.”

“Musically and lyrically, Comus evoke visions of pre-Christian pagan nature worship that is starkly anti-romanticist, dark, paranoid and vengeful. Just listen to the first song Diana: goblin-like voices sing is a very credible hymn en masse to the eponymous goddess. The lyrics are twisted and sometimes violent.”

“If you couldn't tell from the cover, Comus' First Utterance isn't a particularly sunny album. In fact it is truly one of the darkest, scariest, most disturbing albums I've ever heard. If you're put off by music with lyrics that graphically describe violence and madness, you'll probably be revolted and offended.”

“They are very acoustic and lightweight in their sound, mostly using plucked acoustic guitars, a couple of orchestral instruments, and hand drums as percussion. On top of this, we have delicate harmonies along with snarling and menacing lead vocals which provide a sharp contrast to the serenity.”

Greatest Hits - KENNY ROGERS & THE FIRST EDITION****

Ruby Don't Take Your Love To Town/But You Know I Love You/Just Dropped In (To See What Condition My Condition Was In)/Momma's Waiting/Heed The Call/Something's Burning/Reuben James/I Believe In Music/Love Woman/Tell It All Brother

Before Kenny Rogers morphed into a mawkish country singer he enjoyed a high degree of musical credibility as the lead singer of the pop-rock group The First Edition, whose hit singles combined originality with some fine melodies. (US:57)

“Yes, there was a time when middle-of-the-road, easy listening country/gospel music was in the mainstream. Kenny Rogers and the First Edition had a number of hit singles all of which appear on this album.”

“A lot of people may not even remember Kenny Rogers with the First Edition, but the songs are great classics that I just had to listen to forever.”

“I’m not a huge Kenny Rogers fan, but I loved the song I Just Dropped It (To See What Condition My Condition Is In) ever since I was a kid in the 1960s. At first, the lyrics sound like a psychedelic mishmash, but it was actually an anti drug song, warning of the effects of a bad trip.”

“Some of these hits are among the most representative and emblematic of this ensemble with clear country influences, but his compositions are made with broad gusto, rhythms and excellent arrangements. This album still remains a classic.”

“This is the original hits album. Everyone is a winner. This is a fine collection of country, pop, easy listening and hard rockers. A must for any music fan.”

“A very rare, but great, collection from the early period of The First Edition. Reprise records did a lot of experimental stuff back then and these songs are no different. Vague anti-war messages and civil rights issues are conveyed in an intelligent way. Good stuff.”

“I loved The First Edition from the start. A lot of these songs were a part of my play list years ago. Kenny was the star but their sound and eclectic style made them a hit then. I love listening to these songs.”

Deliverin' - POCO****

I Guess You Made It/C'mon/Hear That Music/Kind Woman/Hard Luck-Child's Claim To Fame-Pickin' Up The Pieces/You'd Better Think Twice/A Man Like Me/Just In Case It Happens-Grand Junction-Consequently So Long

The album Deliverin’ was the final Poco release featuring founder member Jim Messina. It has been praised for the excellent live musicianship and vocal harmonies. (US:26)

“They possessed a kind of youthful exuberance that really comes through on this set. Ritchie Furray is a fine singer, and the playing on this album is really top notch. Check out his vocal on the Springfield song Kind Woman - just gorgeous. And the closing medley really shows what these guys were made of.”

“Poco were a great live band and this album captures the energy and good time fun at their prime. All the songs are great, although Kind Woman doesn't translate well as a Poco song.”

“This excellent concert LP is from the Jim Messina version of the band and it rocks mightily. Amazingly pristine sounding for a live album, it was done with no overdubs, so what you're hearing is five superb singers and players blending their not inconsiderable talents effortlessly.”

“Deliverin' gives you just a taste of the great songwriting, awesome musicianship, incredible vocal harmonies, and good nature that have carried Poco through their career. The band's enthusiasm for the material and the appreciation of the crowd are clearly evident.”

“They played with conviction and heart. One of the tightest country rock rhythm sections on record. Neither they, nor any country rock band before or since, played so well on one recorded night.”

“Poco's Deliverin' is what a live album should be. From the opening song to the ending the energy is there, and what energy it is. The music is heart thumping, hand clapping, good time country rock and roll. Also included here is Richie Furay's classic Kind Woman. All who love country-rock should have this collection of tunes.”

“This album marks the culmination of Poco's early, and best, years featuring Richie Furay and Jim Messina leading the band in what they did best - delivering up-tempo, feel-good country rock tunes powered by four-part harmony and crack musicianship.”

Live In Cook County Jail - B. B. KING***

Introduction/Every Day I Have The Blues/How Blue Can You Get/Worry Worry Worry/3 O’clock Blues-Darlin' You Know I Love You/Sweet Sixteen/The Thrill Is Gone

Recording live albums in prisons appeared somewhat in vogue during this period as B.B. King followed the lead of Johnny Cash, this time at Cook County Jail. Some critics considered that there were rather too much spoken words during this performance. (US:25)

“It's got some nice tunes such as The Thrill Is Gone, but what's with all the talking and ad-libbed singing? I want to listen to music, I don't come here for a lecture. Three completely boring slow blues pieces in a row with mostly talking.”

“Here you’ll find one of the most incredible B.B. King solos, just listen to him in the introduction of How Blue Can You Get - absolutely brilliant.”

“The track listing is very impressive featuring many of King's all time greatest and most beloved songs including the immortal The Thrill Is Gone. And while the performance from B.B. is high spirited and energetic, his backing band at times gets lost by the wayside as King's guitar overpowers all the other instruments.”

”All in all Live In Cook County Jail is a rather enjoyable outing from the King even if there are minor production issues, though it's far from his best live recording for sure.”

“Though not necessarily one of the most unique, influential or progressive albums that I have, it is easily one of my favourites. It doesn't slow down once and proves to be one of the most satisfying live performances that I have come across.”

“It's not that I think this is a bad album or performance. It's the opposite; when B.B. King is jamming, it sounds so good. My issue arises when he starts speaking and speaking and speaking. The first couple of times, it's cool to listen to him ranting and raving, but then you just want him to get on and play.”

“This has an awesome set list, for starters, and the songs are performed so well. B.B. seems very comfortable as he informs the crowd they're in for a special treat; he's pulling out the back catalogue.”

The Good Book - MELANIE***

The Good Book/Babe Rainbow/Sign On The Window/The Saddest Thing/Nickel Song/Isn't It A Pity/My Father/ Chords Of Fame/You Can Go Fishin'/Birthday Of The Sun/The Prize/Babe Rainbow (Reprise)

The Good Book was singer songwriter Melanie’s last authorised release on the Buddah label before setting up her own recording company. Some critics were disappointed by the number of cover songs. (US:80 UK:9)

“This was recorded while Melanie was at loggerheads with her record label Buddah, and while it doesn't seem to have impacted the craft of the album, the presence of three covers and the frequently dour mood of these songs seem to reflect an artist who was not entirely at peace with herself.”

“Melanie's cover of Dylan's Sign On The Window and her own title track both depict a woman tired of the music business (if not her art) and eager to look after kids rather than deal with the trappings of stardom. If her take on Phil Ochs' Chords Of Fame and her own composition, The Nickel Song, lack the agrarian influence of former tunes, if anything they're even stronger variation on the same theme.”

“There's no such thing as a Melanie album without a bit of emotional excess, and she speaks her heart and mind with clarity and gentle force on these numbers, while finding room for the hard won wisdom of The Saddest Thing and Judy Collins' My Father, and the playful proto-feminism of Babe Rainbow. If Good Book was a product of a troubled moment in Melanie's career, there's little arguing that she made the very best of a bad situation.”

“Melanie is one of the truly great entertainers. Although she has sold millions of albums, she has not enjoyed the wider public recognition such a powerful voice and amazing song writing prowess deserve. A whole new generation should be listening to this amazing artist.”

“Melanie writes songs that mean something different to every person who hears them. It is simply poetry to music, its life as it happens and she leaves you somehow connected to a moment.”

“The Good Book, contains several classic songs, but also shows Melanie's increasing disenchantment with the music business. There is one piece of nonsense (a spoken narrative that lasts just half a minute) but don't worry about that, as there are ten great songs on the main album, plus a reprise of one of them.”

Golden Bisquits - THREE DOG NIGHT****

One/Easy To Be Hard/Mama Told Me (Not To Come)/Eli's Coming/Your Song/Celebrate/One Man Band/Out In The Country/Nobody/Woman/Don't Make Promises/Try A Little Tenderness

The oddly titled Golden Bisquits provided a snapshot of Three Dog Night’s major releases up to this point. However, they would continue to enjoy several more years of hits with their covers of other artists’ material. (US:5)

“A premature greatest hits package, but the selections are good and it hangs together well as an album. But I would like to pick up a more comprehensive set.”

“It's a head-scratcher why they've left off both Liar and Joy To The World, in favour of a few early non-single LP cuts, since both of those songs charted before the release of this greatest hits package.”

“This was one of the first albums I ever owned and I played it till the grooves were worn. Almost every song on this album is classic and a favourite. Percussion and lead guitar are typical of the late 60s and early 70s, plus the vocals mark this as the highlight of this fantastic LA based band.”

“Here is a collection of the twelve best tracks (as of late 1970 to early 1971) from Three Dog Night's first four studio albums. These songs received extensive airplay on the radio, and each of them has a sound that is distinctly characteristic of TDN, which is hard to describe in words, but simply has an essence that unmistakably belongs to this band.”

“These super great songs demonstrate creativity, artistry, and tremendous popularity, making this a must-have collection.”

Love Story - ANDY WILLIAMS***

(Where Do I Begin) Love Story/Your Song/For The Good Times/Something/Its Impossible/We've Only Just Begun/I Think I Love You/Candida/Fire & Rain/Rose Garden/My Sweet Lord

The evergreen middle of the road performer Andy Williams was celebrating a decade at the top at this time, but his interpretations of contemporary hits were slowly beginning to go out of style. Nevertheless, his version of Love Story was a top ten hit single in both the US and UK. (US:3 UK:11)

“Andy Williams is nostalgic, comfortable, non-threatening. He has a pleasant voice and he has always been canny in his choice of songs to cover, mixing in contemporary writers with the more standard fare. This album is no exception where he sings Elton John and George Harrison (among others). And it's all very nice. But despite growing up with his show in the sixties and loving Andy, it is only those performances when he can really make the song his own that ever stand out from the elevator music that he otherwise becomes. Whilst decent, this is just so much ear candy.”

“Somewhere beneath the avalanche of accolades for Sinatra and Bennett, Andy Williams remains one of America's most under recognized pop vocalists. In addition to the sheer beauty of his smokey high baritone, husky falsetto, power, diction, and superb control, Williams is one of the few from the old school who remained open to the changing musical scene that emerged in the 1960s. Eventually, in addition to singing the great standards, he branched out to embrace country, pop, rock, gospel, Christmas, and even disco tunes.”

“In the late '60s and early '70s, Williams covered many of the hits of the period. Love Story illustrates his ability to present these songs in ways comfortable for him, while retaining their contemporary feeling. Where other vocalists might have sounded awkward, Andy pulled it off, because he really got into the spirit of these tunes, as well as the contemporary style in which they were written.”

“This is a precious feast to enjoy of delightful '70s love songs, sung and performed with sincerity by beloved pop singer talent Andy Williams. Though not as special or charming as the original performances, Williams gives all of his soul and heart to pull off some stirring renditions of the amiable type to the kind listener. Invigorating at times, the songs seem to achieve the purpose of easing the listener's stress-filled day.”

Stoney End - BARBRA STREISAND*****

I Don't Know Where I Stand/Hands Off The Man/If You Could Read My Mind/Just A Little Lovin'/Let Me Go/ Stoney End/No Easy Way Down/Time & Love/Maybe/Free The People/I'll Be Home

Stoney End marks a turning point for songstress Barbra Streisand as she casts aside her traditional standards and show tunes repertoire to embrace a more modern sound. The title track was a US No. 6 hit single. (US:10 UK:28)

“This is probably the first really good album Barbra Streisand made. I'm not really a lover of her big show tune numbers which had dominated most of her 60s output. Here the sound is contemporary, marking a new phase in Streisand's recording.”

“A very important album for Barbra Streisand as she moved into pop music and left Broadway behind her. She had enormous success in previous decade on stage and in musicals but at the dawn on 1970s and Woodstock happening around her, she left musicals and turned her interest to contemporary composers and songwriters.”

“If you like the big, dramatic Barbra Streisand, then Stoney End probably isn't the album for you. She's a little subdued on this record, a little rural even. Streisand plays it down home on Stoney End. For the most part, the songs she's selected are straight-forward affairs, no big emotional moments or anything.”

“Stoney End is so unique because for once Barbra leaves behind her supper club/show tunes material and takes a relaxed approach interpreting folk and pop...and to what effect. All tracks are wonderfully subdued and laid back, and yet they still bear that stamp of vocal power that has always been her calling card.”

“This LP is one of the rare moments in Streisand's recording career when she seems relaxed, free and not constantly second-guessing herself and her singing. A definite must for those who love Streisand's voice, phrasing and diction, but who often tire of her endless renditions of ballads and show tunes drowned in meticulous precision.”

“Barbra Streisand arrived as a credible contemporary artist with the release of this satisfying landmark album. Stoney End is the song responsible for breaking Barbra out of the conservative mould as a singer of ‘yesterday's songs’ into a great singer of songs of any kind with no boundaries which allowed Barbra to grow artistically by leaps and bounds.”

Nantucket Sleighride - MOUNTAIN****

Don't Look Around/Taunta/Nantucket Sleighride/You Can't Get Away/Tired Angels/The Animal Trainer & The Toad/My Lady/Travellin' In The Dark/The Great Train Robbery

Nantucket Sleighride was the best selling follow up album from the heavy rock group Mountain. The title track will be familiar to British TV viewers as the dynamic introductory theme to the Sunday morning politics programme Weekend World. (US:16 UK:43)

“Nantucket Sleighride is one of Leslie West, and Mountain's greatest achievements. It is a stone classic of 1970s heavy metal and a guitarist’s dream. The proggy title track is easily the greatest individual song. They took their inspiration from Cream, but they turned it into some of the finest guitar driven hard rock ever put on record.”

“Leslie West has a touch, tone, and spirit to die for. His guitar playing is so raw and melodic at the same time. He really knows how to construct a guitar solo.”

“I had to buy this for the title track. As a kid, the Brian Walden hosted Sunday dinner time programme Weekend World used Nantucket Sleighride as the theme tune. What a stonking riff - that climbing keyboard line is ace, and the snare rolls that punctuate it is brilliant.”

“Mountain's second album was a superb follow up. Like it's predecessor, it opens with a heavy rock number and Never In My Life remains an underrated classic. West's vocal is brutal and Corky Laing's drumming incredible. The mood changes immediately with the awesome Nantucket Sleighride. Pappalardi's vocal delivery captures the mood of parting from a loved one for many months and the song remains essential to any Mountain concert to this day.”

“This is hands down the best album of Mountain's career, with everything falling properly into place and not a note or chorus wasted. The songwriting is at its brightest peak and Leslie West is one of the most amazing guitarists of the times.”

“It's hard work combining artistic rock with heavy, evil guitar riffs and deep, bluesy vocals. I don't what the accepted starting point of the heavy metal genre is, but if this is heavy metal, it's the best and most eclectic example of it I've ever heard.” “This is a classic album, and one of the best of its time. There's some great songwriting, excellent arrangements, and nice, clean production. Leslie West is probably the best "slow" guitar player in rock history”.

It's Impossible - PERRY COMO***

Its Impossible/Raindrops Keep Falling On My Head/Something/Snowbird/A House Is Not A Home/Everybody Is Looking For An Answer/El Conder Pasa/Close To You/I Think I Love You/We’ve Only Just Begun

It’s Impossible was the comeback release from the easy listening crooner Perry Como who was immensely popular during the 1950s, but fell out of fashion during the following decade. The title track single reached the top ten on both sides of the Atlantic.(US:22 UK:13)

“Perry's magic continued into the '70s with this album. It's Impossible was an instant easy-listening standard.”

“It's Impossible is virtually a greatest hits easy listening album. On this one, Perry Como actually pulls it off and makes I Think I Love You into a great song.”

“Though purists would argue that Perry's voice was at its apex in the 40s and 50s, I've always preferred his style voice in the later years. This is the reason I love this album, because it showcases the more mature Como sound, with more contemporary arrangements and an easier listening style than some of his novelty songs of the 50s.”

“Perry's voice became more of a pure baritone as he aged and I defy anyone to think he was in his sixties when most of these songs were recorded. Like fine wine, Como aged impeccably. You will be put into a mellow mood by listening to him effortlessly breeze through these songs.”

“I admit to some trepidation when I saw the play list, because I was certain Perry would butcher a song like I Think I Love You, which belongs lock, stock and barrel to David Cassidy. But amazingly, Perry does a decent job here, and turns in a performance that isn't campy or silly. The rest of the songs are excellent and Perry continues to surprise through the album by putting his own calm, unique stamp on each song. A beautiful record, sung by the amazing Mr. C.”

“By the early '70s, Como was recording less frequently, and with It's Impossible he scored a surprise crossover single that topped the easy listening charts and also scaled the pop charts. The album was rushed out to take advantage of the hit, with Como quickly cutting his own versions of some contemporary favourites. Thus, this disc can be thought of as "Perry Como Sings the Hits of the Early '70s."

First Album - ZZ TOP***

(Somebody Else Been)Shaking Your Tree/Brown Sugar/Squank/Goin' Down To Mexico/Old Man/Neighbour Neighbour/Certified Blues/Bedroom Thang/Just Got Back From Baby's/Backdoor Love Affair

Debut album from the Texan blues boogie band ZZ Top who were noted for their trademark flowing beards. Within a couple of years they would achieve their commercial breakthrough that would keep them at the top for more than two decades.

“Good power trio boogie blues rock with a touch of Texas. Fine lead guitar leads the way and the rhythm section is more than competent. At this point ZZ Top were a solid rock band and this is a solid rock album.”

“Although at times lacking the confidence felt in later recordings, ZZ’s debut is a solid, raw, and honest album with a careful use of overdubs. The qualities that would make this a top band are all there either latent or full-blown.”

“A far cry from the synthesized boogie of the 80s era Top, this one is raw and bluesy and real honest-to-goodness Texas blues rock, no frills and no gimmicks. Still not ZZ's best of this era, but a fine start from one of the best dirty boogie bands the world has ever known.”

“ZZ Top's First Album is all about the blues and more blues, as well as the boys proud South-western roots. ZZ Top built their sound on the rich tradition of the black man's blues, and Billy Gibbons' guitar work, which was heavily influenced by such English six string heroes as Jeff Beck and Eric Clapton.”

“If you like older ZZ Top tunes, this album is a must buy. Just Got Back From Baby's is Texas blues at it's finest, as it demonstrates the delta influences on the genre. This cross-pollination resulted in a unique sound, illustrated wonderfully on this (and other early) ZZ Top albums before they sold out and went pop.”

“This one has everything I love about debuts. ZZ's raw sound, high energy and no nonsense approach is refreshing. The song writing and musicianship is top quality. Great feeling on this one. If you like ZZ Top this one is a must.”

“ZZ Top's debut is an absolute treat for fans of blues rock. It's raw and hard rocking as was all 70s Top. Billy Gibbons' guitar tone is stellar as always, and he pulls of killer riff after riff and solo after solo. My favourite song on the album is Brown Sugar, which has an awesome intro with just Billy's vocal and guitar with a killer solo, after which the rhythm section comes in for the first time.”

2 Years On - BEE GEES***

2 Years On/Portrait Of Louise/Man For All Seasons/Sincere Relation/Back Home/The 1st Mistake I Made/Lonely Days/Alone Again/Tell Me Why/Lay It On Me/Every Second Every Minute/I'm Weeping

The album 2 Years On heralded the return of Robin Gibb to the Bee Gees, to establish the line up that the three brothers would retain until the end. Includes the US No.3 hit single Lonely Days.(US:32)

“This post reunion album just seems so disjointed and uneven. There are some great ideas on here but it just feels hurried and thrown together. These are undoubtedly mostly solo recordings considering the date of release.”

“Robin loses interest in creating further solo outings and rejoins the brothers Gibb to create this record. There's nothing new here - they've continued the symphonic pop route that they have pursued since about late 1967. Overall, it's a fine album, none of the songs are bad, but most of side two is rather boring and uninspired.”

"Lonely Days, is the best track by the Bee Gees who were, let's face it, a singles group. It's an epic song with fantastic production and lush harmonies that still stand the listening test to this day. The rest, with the exception of a couple of decent tracks, is filler.”

“By this date in their career, they had opted to go the almost total commercial ballad route, and there is way too much emphasis on the orchestration in their production, though there are a few bright spots.”

“Its a workmanlike album, songs pieced together and all the buttons pressed like on their 60s albums. There even the same patches of stellar musicianship, the heavy strings set against competent bass and drums and the occasional fuzzy guitars.”

“This may not be the Bee Gees' best album, but there is a lot to like about it. It sounds as though the brothers are feeling each other out in order to get the magic back. They succeed very well on a couple of songs. Lonely Days gives me the feeling that they are back together and Alone Again has the greatest harmonies of their career.”

“This one's all about big, arranged lush ballads. The songs show many vocal talents and harmonious varieties.”

McDonald & Giles - MCDONALD & GILES***

Suite In C/Flight Of The Ibis/Is She Waiting/Tomorrow's People-The Children of Today/Birdman

McDonald & Giles were both early members of the progressive band King Crimson. After their departure this self titled collaboration continued in a similar style but with limited commercial success.

“Ian McDonald and Michael Giles were both original members of King Crimson and this album was released after they left the group. This just can't reach the level of King Crimson's music. Although it comes pretty close at times but most of the time this is just pretty decent and quite OK prog and nothing more. Birdman which fills the whole B-side is the clear standout. It's a very diverse song with lots of different parts. The A-side isn't as convincing.”

“This one album of ex-King Crimson members is like a cross between early King Crimson and Caravan. Very nice and very British soft prog, it's really nothing new, but I really like this kind of moody atmosphere in music.”

“McDonald & Giles presents three long-to-epic pieces of peace-loving, often groove laden, psych-tinged progressive rock, along with two short songs.”

“The very funky jazz style of Michael Giles, along with a soft progressive, almost Canterbury scene approach to the arrangements, makes this quite a unique prog record that refuses to be pigeon holed.”

“Much of this collaborative album sounds very similar to the first two Crimson albums - just without the Mellotrons and Greg Lake's strong vocal performance. Lyrically it's rather trite, but instrumentally they and the rest of the guest musicians make this work, particularly Giles's inventive drumming. The one song where it comes together both lyrically and musically is the all-to-brief Is She Waiting, which sounds more like a single that never was. Unfortunately, the band really decides to stretch out on the second side with Birdman, 22 minutes of failing to take a song anywhere.”

“The only solo project by Macdonald & Giles after leaving King Crimson, this album sounds as fresh, richly melodic and transporting as it did when I first heard it on vinyl. This is progressive rock at its finest: weaving different musical styles together to create something that's truly moving and enchanting, while never mistaking empty bombast for depth. A serious work, it's all the better for its infectious sense of humour and wit.”

Teenage Head - THE FLAMIN’ GROOVIES**

High Flyin' Baby/City Lights/Have You Seen My Baby/Yesterday's Numbers/Teenage Head/32-20/Evil Hearted Ada/Doctor Boogie/Whiskey Woman

Teenage Head was another high energy release from the San Francisco garage band The Flamin’ Groovies. In the era of progressive music their raw and basic style was then regarded as distinctly uncool.

“It is able to both rock very hard, while at the same time deliver beautiful and melodic country ballads. This album has a kind of very authentic energy and drive that make it nearly irresistible to have a good time while listening to it. Its simply excellent from beginning to end, and its a shame its so short.”

“They were a 60s garage rock band stuck in the 70s. While so many bands were experimenting with lengthy, psychedelic jams, the Groovies twisted fifties-style rock 'n’ roll into rapid-fire bursts of swagger and grit.”

“The music is similar to late 60s and early 70s Rolling Stones, with the exception that this doesn't contain any great tunes.”

“Considered by many to be their masterpiece, I have trouble accepting that. I liked them better in their earliest days, when they still incorporated many of their live performance moves into their studio recordings. By this time, they were a little too slickly produced for my taste. This is still enjoyable, it’s pop, in their typical good time R & B mould, and featuring a mild punk flavour.”

“Teenage Head is an album of groove, straight up rock ‘n' roll garage style, and one of the most overlooked and forgotten albums of all time by one of the saddest forgot bands ever. This was their best, since they would soon reinvent as a power-pop band.”

“Not a duff track and several that will blow your head off. The Groovies fell down the crack between the '60s and punk and consequently never achieved the success they should have. But at least this music hasn't become stale or over familiar, and it still sounds as fresh as ever.”

“While other bands in the Bay Area were into their spaced out, unfocused drivel, the Flamin' Groovies were honing their skills on straight ahead, power driven, rock and roll. The Groovies made some fine records, but Teenage Head remains their crowning achievement.”

On The Shore - TREES***

Soldiers Three/Murdoch/Streets Of Derry/Sally Free & Easy/Fool/Adam's Toon/Geordie/While The Iron Is Hot/ Little Sadie/Polly On The Shore

On The Shore was the second and final album release from the now little known British folk group Trees. At the time they were quite well known on the university folk circuit, without achieving a commercial breakthrough.

“A lovely psych-folk record which transports me to a different time and place. Truly excellent musicianship, the atmosphere is pleasant, the compositions ornate and slightly psychedelic with beautiful soaring vocals, evocative of a quaint English country garden.”

“Showing a boldness in stark contrast to the quieter, softer approach taken by many of their contemporaries, this second album presents a perfect blend of traditional folk and psychedelic-tinged rock with long virtuoso guitar solos that I can get lost in.”

“On all tracks we can hear some great melodic compositions and on the longer tracks Trees score with atmospheric interplay. I wouldn't call them a very progressive band, but there's a lot of very tasteful musicianship, arranging and some nice atmospheric passages. The production is really good, capturing the spirit of its time.”

“Very beautiful female vocals and music laden with psychedelic overtones. Often the vocals come in an agreeable male and female duet when the music becomes pretty airy. On The Shore is a mature set of mellow folk-rock songs.”

“This is groovy, hippy folk rock that balances that fine line between the folk and rock aspects. For the most part the playing is more focused then on its predecessor, less drawn out, but the quality of the songs is also more hit and miss.”

“The music is very folky and quite rock/hard rock, and is definitely influenced by Fairport Convention. I find the songs more catchy than on their earlier album. There is a slight psychedelic dimension, but not too pronounced. The tracks are not very progressive, and the rare keyboards are quite timid, mainly consisting in very good piano arrangements on a few tracks. This music is definitely acoustic guitars driven.”

“They're quite different because of the sound of the lead guitarist's playing, which can be pretty heavy and even psychedelic on several songs, and last but not least, Celia Humphris has a beautiful voice.”

In The Land Of Grey & Pink - CARAVAN***

Golf Girl/Winter Wine/Love To Love You (And Tonight Pigs Will Fly)/In The Land Of Grey & Pink/Nine Feet Underground

The third album from Canterbury scene progressive band Caravan, In The Land Of Grey & Pink, is their most critically acclaimed. It features grandiose instrumentation with lush lyrics.

“It is a wonderfully quirky, lovely, and complex album full of gorgeous songs and wondrous melodies. And it has the best Caravan song of all, the wondrously cheeky and charming Love To Love You."

“The music of In The Land Of Gray And Pink is spectacular in its essence, rich with texture, intimate, with swirling melodies of fantasy, which will inspire so many in the future. There is no urgency to the music found here, it simply flows over you, engulfs you. The keyboards are unlike anything I had heard before, and when those are mixed with outstanding lyrics, a more then creative bass line, and a crisp clean drum, we are presented with something so totally new, so very tight, something that is nothing short of sublime.”

“Notable largely for the lengthy Nine Feet Underground suite (which took up the entirety of the B-side) and the transcendentally beautiful Winter Wine. These two pieces alone justify this album’s purchase. The other tracks show the band in their folksy hippie whimsy mode, but they serve to charm quite a bit.”

“Probably the most played album in my collection and definitely the one I’d take with me to a desert island if I could only take one. It's prog, but never gets self-indulgent. The lyrics are thoughtful, witty and inventive and the musicianship is consummate.”

“It combines the grandiose instrumentation and lush lyrics of a progressive rock band, with the lengthy solos of a jazz fusion group. But even the chords over the solo section are not as straight-forward in a fusion group. Although the last track is a little tough to sit through the first time round, it seems to grow on you quickly. This is also the first time I've heard a Mellotron being prominently used as a solo instrument. All in all, this is definitely nothing short of a lost classic, and easy to understand why people say this is Caravan's best work.”

“I love the bizarre English lyrics on Golf Girl and the title track, and it just gives off that awkward British feel. The instruments off this album are just amazing. Overall In The Land Of Grey And Pink is a masterpiece of Canterbury scene music.”

Ry Cooder - RY COODER***

Alimony/France Chance/One Meat Ball/Do Re Mi/My Old Kentucky Home/How Can A Poor Man Stand Such Times & Live/Available Space/Pigmeat/Police Dog Blues/Goin' To Brownsville/Dark Is The Night

Eponymous debut album from Los Angeles guitarist and session musician Ry Cooder. It features his interpretations of Americana roots music, mostly from the 1930s.

“This is a very competently made album but I have yet to raise much enthusiasm for Americana. This might be because to discover its pleasures, I would need to know the land it comes from, and discover its roots. The album does not move me, as it obviously does others, and offers little to make me want to listen again.”

“I’m not sure how many people would have heard of sleepy John Estes, Arthur Blake or even Blind Willie Johnson in Americana music circles of 1970. However Cooder does them proud particularly on the Police Dog Blues and Dark Is The Night where Cooder (never much of a vocalist) steps back and lets his guitar do the talking and they are both stunning.”

“This an interesting and artistically daring debut that served to showcase Cooder's long standing interest in the blues, folk, Americana roots rock and other largely forgotten musical genres. While his raw and strained voice was an acquired taste, the set has a rough hewn charm.”

“A collection of songs from America's archives. Ry Cooder does them proud though his voice is thin and unable to carry the songs very well at times. His playing on the other hand is superb.”

“An album that pays homage to great songs and songwriters in the folk, blues, and Americana tradition, while making a clear effort to not sound exactly like them. It features tunes by artists ranging from old legends like Leadbelly, to up and coming songwriters like Randy Newman, to unknowns as well as a few traditional tunes. The theme that seems to tie the tunes together is the struggles unfortunate outsiders face through circumstances created by a cruel and indifferent society. The characters in these songs are victims of injuries inflicted on them through no fault of their own.”

Orang-Utan - ORANG-UTAN***

I Can See Inside Your Head/Slipping Away/Love Queen/Chocolate Piano/If You Leave/Fly Me High/Country Hike/Magic Playground

The self titled sole album release from the little known London acid-rock band Orang-Utan. They featured twin guitars and the members were recruited from various local groups.

“A very forgotten psychedelic rock classic from the early 70s. Orang-Utan are unknown these days and they weren't very famous back then either. But this album is full of classy music that every psych fan should check out. This record is one tight package full of awesome hard and bluesy psychedelia numbers with some very fine guitar work.”

“Get ready for some early 70s heavy rock with smoking twin-lead guitars and fiery vocals. The music consists of very well played, heavy, guitar-oriented rock.”

“Some lovely hard rock with quite bluesy influences. Good musicians, playing very tight and the guitars are just marvellous.”

“This is heavy rock, that is influenced by blues and psych, but don't expect it to sound anything like the other British bands of the day. They had a much more American sound, and to me, sound more like a Midwest band. The dual guitar work is very solid all the way through, but I think some of the vocal arrangements are pretty second-rate. As for as the material itself, most of it is good, but there are a couple of mediocre, half-baked tracks as well.”

“Very boring, slow and predictable. No good riffs. Annoying thing is that in each track the solos are played by both guitarists but unfortunately at the same time.”

“Heavy psych is awesome when done right, but rather dull when done wrong. Orang-Utan provide more lumbering riffs than you can shake a stick at, but nothing that makes me want to whip out the air guitar. Their typical UK underground hard rock sound is pleasing to the ear and does elevate proceedings a little. Country Hike and the opener are good fun, but there's still not much else to enthuse over.”

Starsailor - TIM BUCKLEY**

Come Here Woman/I Woke Up/Monterey/Moulin Rouge/Song To The Siren/Jungle Fire/Starsailor/The Healing Festival/Down By The Borderline

Starsailor was a commercial flop for the one time folk artist Tim Buckley, unsurprising as it consists mostly of free form jazz which must have alienated his fan base.

“For those unlucky ones unfamiliar with Tim's music and his incredible voice: this is one of the most stunning, amazing pieces of music ever recorded, containing some of the most unapologetically uncompromising and unyielding, dark, fiery, eruptive and profoundly spiritual poetic vision ever offered by any popular artist.”

“Buckley's vocals are stunning even when they cross the line from energetic and spontaneous to silly. While this has picked up a reputation for being notoriously ‘of its time’, I hear just the opposite: a ruthlessly inaccessible, untrendy work of art that's aged all the better for it.”

“Starsailor was more than a commercial failure; after listening to this album, there were probably some consumers that just stopped buying music forever. They wanted to hear folk songs and they got some sort of hazy, sadistic nightmare.”

“This is basically a free-form jazz album with Tim pouring his heart and soul and giving everything he's got into his vocals. I've never heard, and will never again hear anything even close to what lies on this album. His vocal acrobatics will make your jaw drop each and every time you hear them.”

“What makes a human being with so obvious a gift, want to stretch his natural abilities to their breaking point and create such challenging music when he could simply coast to glory on his honeyed vocal chords? It is this restless spirit that separates talent from genius.”

“Starsailor is an accomplishment which is respectable but also deeply inaccessible. Drifting away from his folk-rock moorings more or less completely, Buckley unleashes the most wildly experimental album of his career to date. I'm glad someone made this kind of album, but it isn't necessarily fun to listen to.”

Things We Like - JACK BRUCE***

Over The Cliff/Statues/Sam Enchanted Dick/Born To Be Blue/HCKHH Blues/Ballad Things We Like

Things We Like by Jack Bruce is a jazz album recorded just before the blues-rock group Cream were disbanded. It features the guitar of the then little known John McLaughlin.

“Warning: this is a straight ahead jazz album, well done by some extremely talented people, but not the rock and blues we usually associate with Jack Bruce.”

“Completely different to his debut, Bruce keeps a couple of members of the early jazz rock group Colosseum and includes John McLaughlin to move in a free jazz direction.”

“This album came as something of a pleasant surprise for me. I knew that Bruce had done some recording with John McLaughlin but I didn't know that he had done an entire jazz album with him, let alone recorded it during the waning days of Cream. This album is by far my favourite Jack Bruce solo release.”

“This recording is just a joy to listen to - jazz performed at a master level with best track for me being the ballad Born To Be Blue. Fans of John McLaughlin will be pleased to hear some of his most understated and beautiful playing on this disc (his chords are so clean they sound like an electric piano), as well as, some outstanding drumming. As one would expect, Jack's double bass playing is near flawless, but the real star of this outing is the soulful horns.”

“Jack plays upright bass intelligently and tastefully. It doesn't really click until John McLaughlin's guitar arrives on the scene and then it becomes really good.” “It's a brilliant jazz album and can stand shoulder to shoulder with any of the greats. It's too bad he did not pursue at least one more album with this fabulous line-up. It's really amazing when you consider that he was still a member of Cream when this was recorded, and that John McLaughlin, who had played with Jack briefly in the Graham Bond Organization, had little name recognition at this point in his career.”