Budgie - BUDGIE***

Guts/Everything In My Heart/The Author/Nude Disintegrating Parachutist Woman/Rape Of The Locks/All Night Petrol/You & I/Homicidal Suicidal

Eponymous debut album from the Welsh heavy rock trio Budgie. They were popular on the concert circuit, but despite much favourable publicity, never quite made the commercial breakthrough that was predicted.

“One of the best hard rock/heavy metal debut albums in history. The Welsh power trio Budgie came roaring out of the gate swaggering with blood and thunder in '71, and at that time they had very little competition for their brand of bludgeoning heaviness.”

“Their songs are strange and have changes of tempo and atmosphere within their performances. The vocals are so off the wall they win you over after a spin of two. The riffs just never stop chugging until they start to add some mellow to the proceedings, which they do at all the right times.”

“Basically mix Led Zeppelin with Black Sabbath and you get Budgie. A power trio that lays down some solid drum breaks and original ideas. Overall, I would recommend giving this a listen if you are into early hard rock material.”

“Budgie's first album is not the easiest of listens as it is relentless heavy blues-rock. There are a couple of light interludes but for pretty much the rest of the album the bass grinds away in your head and the drums clatter along in accompaniment.”

“This album is seriously a hard rock classic since every second feels like it's totally kicking in the right gear, and that's the case with Budgie's debut.”

“The blues-rock template the band is working to may not sound overly innovative by today’s standards but given its surprisingly early release date of 1971 this qualified as cutting edge. The tracks are usually built around a good riff/hook but go beyond three to four minute rockers and often evolve into a more jam oriented session.”

“Budgie were always good at big riffs, and here, on this record, you've got some. The power of these tunes is well juxtaposed against some acoustic ballads, a trend that they continued with throughout their career.”

“It's not just typical guitar soloing that feels meaningless and doesn't go anywhere. Instead there is some very tight songwriting, and the guitar riffs are excellent. The vocal melodies are easily a step above most bands.”

If You Saw Thro' My Eyes - IAN MATTHEWS***

Desert Inn/Hearts/Never Ending/Reno Nevada/Little Known/Hinge/Hinge/Southern Wind/It Came Without Warning/You Couldn't Lose/Morgan The Pirate/Thro' My Eyes

After leaving Fairport Convention folk vocalist Ian Matthews set up the short lived Matthews’ Southern Comfort group. If You Saw Thro’ My Eyes is his debut as a solo artist.

“Fairport Convention's Ian Matthews presents a masterpiece of electric folk on this warm, intimate solo album. His haunting vocals, in particular, make him a competitor with Nick Drake for the best singer-songwriter in this particular style during the 1970s.”

“This is the inescapable sound of a tortured genius expressing heart wrenching poetry via the medium of song. Despite experiencing the staggering success of the chart topping Woodstock, Ian Matthews was something of a man on the edge, unable to possess the ability to connect with the small emotive audiences he once naturally embraced. This beautifully introspective offering may have consequently diminished Matthews newly found fan base, yet simultaneously confirmed his appeal as a bluesy bar-room troubadour.”

“This album is just about perfect. Incredibly well crafted and executed songs. And easily stands the test of time.”

“After a couple of fairly good albums with Matthews’ Southern Comfort, Ian Matthews delivered a masterpiece. With support by his old pal Richard Thompson from his Fairport Convention days, Matthews delivers a very solid performance. Most of the tracks are self written and the covers mainly date back to the early days in Fairport.”

“For those of us old enough to remember, the honest sound of this disc is very evocative of the 70s and that whole Fairport British folk/ country/rock era. Thoughtful lyrics, lovely playing, and 'that' sound. This guy has the kind of voice you'd expect to find in the angelic choir.”

“Subdued beauty from ex-Fairport Convention player shows him as an impressive, exceedingly well composed singer songwriter that takes in some lovely rootsy elements.”

“There's not a clunker amongst the tracks. Granted that a country-rock sound may not be for everybody, but there's something to be said about his songwriting, the strength of his voice here, and how well everything comes together.”

Mirror Man - CAPTAIN BEEFHEART**

Tarotplane/Kandy Corn/25th Century Quaker/Mirror Man

Mirror Man by the unpredictable and sometimes eccentric Captain Beefheart comprises four long blues jams. They were recorded several years earlier and intended for inclusion in an unreleased double album. (UK:49)

“Here, the group play long blues jams, all but one extending beyond ten minutes in length. Unlike other psychedelic blues from the period, guitar solos are not the focus. Most of the time, the rhythm section propels the action, in a sense foreshadowing the sound later dubbed Krautrock. The result is rather curious, relegating fairly straightforward, often directionless blues jams into otherworldly territory.”

“The material is a mix of blues-rock and psychedelic rock and includes even some jam band feeling which wasn't that typical of Beefheart. I really can't call any of these songs a highlight because they're all very good and none rises above the others in quality.”

“A collection of extremely long blues jams. They do all have that Beefheartian lope but you'd have to be a Beefheart maniac to sit through this. I've had it for many years and I still haven't managed to listen to it all the way through.”

“Four tracks that were proposed for an unreleased double album after Safe As Milk but were not released until much later. It’s a shame as Mirror Man is pretty persuasive in convincing you what an amazing band and vision Beefheart had. The epic jams Tarotplane and the title track see them driving the old blues music in all kinds of directions, fuelled by some incredible drum patterns and whiplash slide guitars. The Captain’s harp and oboe playing adds an interesting dimension to the sound opening things into an almost free jazz context.”

“The absolute pinnacle of psychedelic blues jams. The lengthy numbers are all based on inspired swampy blues grooves, with simple and rare solos, that are primitive and mesmerizing. Slide guitar, lumpy rhythms, the bluesy harp drizzling all over the place randomly, but founded in a blues pattern that never gets boring.”

“I got a little excited when I saw the track lengths on Mirror Man, as I've always wanted to hear the Captain and his band play lengthy compositions. Unfortunately, none of these four tracks go anywhere exciting or adventurous. There's hardly any actual noodling or improvisation, just monotonous repetition. The title track was pretty cool, and I'll regard it as an exception, but the rest are fairly dull.”

Spring - SPRING***

The Prisoner (Eight By Ten)/Grail/Boats/Shipwrecked Soldier/Golden Fleece/Inside Out/Song To Absent Friends (The Island)/Gazing

Eponymous sole album release from the Leicester progressive rock band Spring. They featured no fewer than three mellotron players to enhance their distinctive sound.

“Whatever could you do wrong with a progressive rock band featuring three members playing the wonderful mellotron? Absolutely nothing at all. This is a lost gem to discover and explore.”

“Spring released just this one LP in their short active period in the early 1970s. The album is full of folk influenced progressive rock with lots of mellotron and good guitar work. I really dig the way this album mixes the prog rock style with folk sound.”

“The music is mostly mellow and very song oriented but deceptively dense with a multitude of challenging subtleties and wide swathes of analogue sound.”

“In many ways, Spring's debut is notable as the mellotron album, which may be enough to attract aficionados of the instrument (which produces totally unique sounds originally meant to mimic orchestral instruments, flutes and choirs). However, Spring is more than just a Mellotron showcase; it's an early prog tour de force that sports tightly written but experimental songs, some gnarly guitar, and an excellent lead singer with an incomparable voice.”

“The content here is not the most audaciously complex prog of this vintage, but is notable because of the band's extensive use of mellotron - and unlike many groups, who stuck mainly to the iconic choir sound it provides, Spring bring a variety of tape sets to bear, making good use of the eerie flute and violin sets.”

“The fact that they were actually able to get all those mellotrons to sound so sweet and harmonious is practically a miracle, since they were very difficult to keep in tune and working order. The singer has a strange accent and the songs meander in midtempo prog-land, slightly lacking in hooks making them hard to remember.”

“Spring were one of the first groups to incorporate the mellotron into their sound right from their conception. But the arrangements are not just all mellotron; there's plenty of acoustic six and twelve-string guitar, a good balance of driving blues-rock electric guitar, and gritty Hammond organ as well as bass and drums. However, the vocals may be an acquired taste for some.”

Asylum - CRESSIDA***

Asylum/Munich/Goodbye Post Office Tower Goodbye/Survivor/Reprieved/Lisa/Summer Weekend Of A Lifetime/ Let Them Come When They Will

Asylum was the second and final album from the British progressive group Cressida. Their music appears to contain some jazz elements filtered through Canterbury scene influences.

“Cressida has succeeded better with the songwriting here on their second album. These eight songs are all effective prog pieces with some jazz and psychedelic elements.”

“Cressida's second album slipped out posthumously, the band having broken up a few months before. That's a shame, because it sounds like they were going in a very interesting direction with this one, both allowing in some jazz-rock influences filtered via the Canterbury scene as well as playing up the psychedelic side of their sound.”

“It's all very pleasant, ordinary early 70s rock with lots of piano, symphonic flourishes and Canterbury elements. Altogether it's an area of music I find very comfortable and enjoyable, but it strikes me as a substandard example of its genre. It doesn't have any exciting parts, just a fairly even, mellow, melodic flowing sound.”

“With clear jazz influences, a fantastic mellotron presence, some of the most skilfully implemented orchestration I've heard in a rock album, tasteful solos, and an excellent vocalist, it's just an all around great package of smooth early 70s prog.”

“Here, Cressida seem to be consciously aware that they are a progressive rock band and have provided longer and more dense compositions. The good news is they never lost sight of the song. Blessed with a dynamic singer, Cressida by rights should have been one of the big names from the English prog scene.”

“Munich deserved better luck. This song, with perfect orchestral inserts, is the best of a great album and is at the same level of the best known progressive suite. Another top moment of this album is Summer Weekend Of A Lifetime, with a fantastic and suggestive intro. Vocal melodies by Angus Cullen make this album a masterpiece. The compositions are so much better then in their first album.”

“If you like Hammond organ/piano/electric guitar driven early 70s rock with some jazz leanings, then this is for you. The singer has a good sense of melody and an interesting, pleasant voice that doesn't annoy. It's not complex music, but it's still enjoyable, especially the occasional shift into jazzier territory.”

Rory Gallagher - RORY GALLAGHER****

Laundromat/Just The Smile/I Fall Apart/Wave Myself Goodbye/Hands Up/Sinner Boy/For The Last Time/Its You/I'm Not Surprised/Can't Believe Its True

Self titled debut solo album from Irish blues-rock guitarist Rory Gallagher after he left Taste. He would continue to enjoy UK album chart success for the rest of the decade. (UK:32)

“Fans of blues-rock, and especially traditional USA blues, will be blown away with these songs, although the casual listener may find this too much traditional blues orientated.”

“A wonderful record, perfectly gauged. Its range keeps you interested throughout. You sense how much Gallagher was in tune with his music; he really knew when to hold back and when to blast it out. A superb, sensitive musician.”

“Straight up blues with no filler. Electric roadhouse anthems and acoustic heartbreakers are the name of the game here, and he would only get better with each new album.”

“Rory Gallagher is an extremely talented guitarist with a beautiful voice - although later albums and especially live albums have something that this likeable debut does not, variety. By the last four songs the routine has been laid down and it starts to get samey. However Gallagher has an unavoidable charm and this gives the album bags more longevity.”

“Gallagher's guitar playing isn't as showcased here as it is on later releases. Certainly there are some tasty, refined bluesy into jazzy guitar stylings to be enjoyed on this record, but there are also some fine songs flavoured with the sweet, earnest, tuneful vocals.”

“With just the right mixture of grit, material, and relentless delivery Rory Gallagher set a standard on his debut that should have been envied by almost everyone. There is not much to complain about on this one. If you like a driving bass with heaping portions of lead runs there is little room for disappointment.”

“Rory Gallagher is one of those oft forgotten artists who occasionally resurface into the consciousness and you find yourself questioning why you let it be so long between plays. This is a great album with every track worth the time to listen.”

Stormcock - ROY HARPER***

Hors' D'Ouevres/The Same Old Rock/One Man Rock & Roll Band/Me & My Woman

Folk-rock singer songwriter Roy Harper’s Stormcock consists of four extended tracks, mostly with just guitar accompaniment. Jimmy Page puts in a guest appearance on acoustic guitar.

“This is an amazing album - every song is relevant and it is definitely Roy Harper's masterpiece. Whether backed by a strings or just Jimmy Page the music flows with intelligent emotional expressions.”

“It's not overly elaborate but there is some great picking if you care to listen carefully. He has a great voice as well, ideally suited for acoustic music like this. It is both haunting and beautiful and at times a little venomous.”

“Roy Harper's Stormcock consists of a mere four extended tracks, and most of the running time offers the singer and his guitar unaccompanied (with a few interventions from other instruments here and there,). Despite this the album never feels sparse or minimalist, and Harper's song structures don't outstay their welcome either, working in enough progressive inventiveness that they are able to sustain their baroque charms over their full running times. Jimmy Page guests here, though he doesn't make his presence felt that much.”

“This is a great folk album. Delicate, the lyrics make Harper look intelligent and wellspoken, and the way his voice echoes and the almost whispering tone of his vocals make Stormcock a very haunting listen that enshrouds you like a mist before you can even realize it's gotten a hold of you.”

“One man, his guitar and his ideas. There are many albums that fit this description, but very few reach the effortless mastery of Stormcock - intimate and powerful, dark and uplifting. Only very sparse backing instruments here and there in all the right places. This is as spacious as any folk album but is packed full of sonic subtleties and inspiring lyrics. A journey that pulls you into its heady world from start to finish.”

“The undoubted highlight of this album is Jimmy Page's acoustic guitar solo at the end of the second track. Apart from that it's pretty unexciting fare: stream-ofconsciousness folk which could well have been influenced by contemporaries The Incredible String Band, though Harper doesn't seem nearly as eccentric. The mood is largely meditative, sometimes mournful. Harper's singing is a little shaky at times but, for the most part, his voice is nice enough to listen to.”

Rock On - HUMBLE PIE****

Shine On/Sour Grain/79th & Sunset/Stone Cold Fever/Rollin' Stone/A Song For Jenny/The Light/Big George/ Strange Days/Red Keck Jump

Rock On is regarded as the creative peak of British blues-rock band Humble Pie. It would be the final studio album with Peter Frampton who would shortly leave for a successful solo career. (US:118)

“Probably Humble Pie's artistic peak. A perfect blend of Marriott's soulfulness, Frampton's melodic hooks and Ridley's pub-rock sensibilities. The album is varied and expertly performed all the way through. Shine On is probably one of the band's finest songs ever, and some of the others are no slouches either. This is superlative Pie at their finest.”

“A great blues album, perfect to chill out on. Although it may lack some of the rock element prevalent on many of their other albums, I loved this hard blues style.” “Humble Pie get harder, but they still maintain one foot in the blues and an eye to the glam-rock movement that surrounded them. This is the album that defined the classic Humble Pie sound.”

“After the first two English-country tinged albums, Humble Pie went under contract to A & M and delivered two knockout albums before Frampton went solo. It may sound unbelievable, but in its time this band was competing with the likes of the Rolling Stones for rock supremacy, and really had some of what it took to do that. Marriott and Frampton had a dual vocal and guitar attack going, and the backbone was solid. They were arena big, and crunched huge.”

“Their best studio album by far. Well produced, nice material, and the band flat-out rocks. What a great set of rootsy bluesy grooves. Highly recommended for fans of tasteful early seventies hard-rock.”

“Together Frampton and Marriott create some great rollicking blues rock n' roll. Nothing too fancy or too special. It's pretty standard but for what it is it works.”

“Rock On is Humble Pie’s best record, due to the wonderful, nostalgic 70s sound that is unique to that great decade records, and the fact that it's not too bluesy and not unequal in quality as some of their other records.”

“Humble Pie veered away from their acoustic blues style to a more hard rock direction, which led to Peter Frampton leaving the band.”

Curtis/Live! - CURTIS MAYFIELD***

Mighty Mighty (Spade & Whitey)/I Plan To Stay A Believer/We're A Winner/We've Only Just Begun/People Get Ready/Stare & Stare/Check Out Your Mind/Gypsy Woman/The Makings Of You/We The People Who Are Darker Than Blue/(Don't Worry) If There's A Hell Blow We're All Going To Go/Stone Junkie

The former Impressions leader Curtis Mayfield’s first live album recorded at the Bitter End club in New York. Many of his songs focused on the need for political and social change. (US:21)

“The best part of this album is that it proves how talented Curtis Mayfield actually is. This is the stripped down version: no dense, lush production; no string sections; just bass, drums, guitars, percussion and vocals. You wouldn't necessarily think that this would work as well as it does, but it makes for a highly enjoyable listen. There's an intimacy to this small club show which is sometimes missing from Mayfield's more grand productions. In this context his vocals sound more fragile and vulnerable, but also a lot more earnest and honest.”

“Curtis/Live gets across everything a live album should, but rarely does. For starters, Curtis had the savvy to assemble a batch of musicians who knew how to set up a vibe and dig their heels into it. The members of the band are supernaturally in tune with each other, letting the songs expand and contract with an unhurried precision that intuitively follows Curtis’ restrained, yet highly emotional delivery.” “Curtis taped live in an intimate club setting, with a small, stripped down band just stretching out and enjoying playing for the sake of playing. His voice is a pleasure throughout the set.”

“What really makes Curtis/Live! worth owning is how well it comes off as a live album. The recording is crystal clear, from every drum and guitar to Mayfield's vocals. In addition, there's just enough audience noise to give you the live feel without it becoming overwhelming.”

“The plus side of this live album is that you don't get all the sappy string arrangements that mar much of Mayfield's studio work. The down side is that the arrangements here are so very sparse at times that it feels as if things are going to grind to a halt at times. Still in all, a fairly nice set.”

“The music quality on here is pure genius. Mayfield covers a variety of topics, certainly never shying away from the current state of politics during this time.”

Shelter People - LEON RUSSELL***

Stranger In A Strange Land/Of Thee I Sing/Its A Hard Rain Gonna Fall/Crystal Closet Queen/Home Sweet Oklahoma/Alcatraz/The Ballad Of Mad Dogs & Englishmen/It Takes A Lot To Laugh It Takes A Train To Cry/She Smiles Like A River/Sweet Emily/Beware Of Darkness

Shelter People from rock guitarist Leon Russell features many of his own compositions plus no fewer than five Dylan covers. It was regarded as one of his best releases. (US:17 UK:29)

“It’s the Dylan cover that really sells this album, and a few other tracks where Leon's energy and the strength of the backing band make up for a lack of composition. Intense rock riffing on Alcatraz and Beware Of Darkness make up the highlights for me. Moreover, Russell's version of Hard Rain is definitive.”

“Stranger In A Strange Land is the best song on this, Leon Russell's best record. Go to the last minute of that song and start there. If Leon's gospel style whelps and calls grab a hold of you, then you are a potential addict.”

“Russell alternately brings feeling and energy to the songs on this amazing album. There are tracks you can kick back to, and others you will want to turn up. The musicians along for the ride are stellar. This guy should have been a huge star.”

“This is Leon Russell at his best. A great selection of songs including five Dylan compositions and half a dozen Russell originals. Every song is played with zest by Leon, his band and professional musicians. This album is a must and it is refreshing to hear a great artist do justice to his and other artists' songs.”

“The laid-back styling coupled with the enormous confidence and competence of the musicians permeates all the tracks. It causes the performances to have a recorded live in the studio feel.”

“This sound is very indicative of the era but still holds up today. It's one of those albums I return to over and over again. My favourites are Stranger In A Strange Land and Of Thee I Sing because while there's a message its wrapped up in Russell's superb piano playing and distinctive voice. With the Shelter People it takes on the flavour of a gospel choir. At times acoustic and at times electric, this entire collection does not disappoint. This is the Leon Russell album to have even if you don't acquire anything else.”

Osibisa - OSIBISA***

The Dawn/Music For Gong Gong/Ayiko Bia/Akwaaba/Oranges/Phallus C/Think About The People

Self titled debut album from the African group Osibisa who introduced what became known as World Music to the British charts. It comprises a mixture of jazz, rock, R & B and Latin (US:55 UK:11)

“The band was the brain child of Ghanaian sax and flute player Teddy Osei, who had been trying to create a sound that would blend the dance/jazz experience he had brought from his homeland, with the rock and soul that were all the rage in western countries.”

“The album is a captivating and catchy mix of brassy choruses, licks and accents, a percussion heavy affair with moments when drums, timbales, bongos, cowbells, whistles or whatever may be used to mark a beat.”

“Their sound is an eclectic fusion of various types of African and Caribbean music but they also include a healthy dose of jazz, rock, Latin and R & B. I share the overwhelming opinion that Osibisa were indeed the African version of Santana.”

“Osibisa were one of the first bands to popularize the term ‘world music’ and influenced many others to follow their multi-cultural cross pollination. A very pleasant debut album where you can expect a big full sound delivering happy upbeat harmonies and rhythms very much in the style of early Santana.”

“This is a very interesting and comparatively unusual album by a true melting pot of band members, hailing from Africa, the Caribbean, Central America, and the UK. It's mostly instrumental prog, prominently featuring African rhythms, with some use of brass, some guitar, and a few vocal tracks as well. This blends what is now popularly known as ‘world music’ and is consistently good. An album well worth investigation by adventurous listeners looking for something off the beaten track.”

“The debut Osibisa album is a well presented blueprint for their unique world fusion sound, combining musical influences from across the world in a unique mixture. This is Afro-funk jazz rock crossover music, with the musical traditions of three continents blending as equals.”

“An excellent fusion album that incorporates African style drums and vocals into the mix in a way that works really well. It's not authentic and was never meant to be. It's fusion, and is very good at what it sets out to do.”

Sky's The Limit - THE TEMPTATIONS***

Gonna Keep On Tryin' Till I Win Your Love/Just My Imagination (Running Away With Me)/I'm The Exception To The Rule/Smiling Faces Sometimes/Man/Throw A Farewell Kiss/Unite The World/Love Can Be Anything

Sky’s The Limit from Motown’s premier soul group the Temptations was one of their more diverse releases featuring ballads, some funky numbers and a hint of psychedelia. Includes the US chart topper Just My Imagination, which reached No. 8 in the UK. (US:16)

“Here's a record that tries to be everything for everyone. I think it was meant to appeal to both their more conservative and younger fans. Out of the eight tracks, we get four ballads, and from these only the all time smoothest Just My Imagination is on the classic level.”

“The quasi-psychedelic trappings of some of The Temptations' albums of this vintage are largely absent from Sky's The Limit. In its place are some of Norman Whitfield's most lush and tasteful orchestrations. The album's smash hit Just My Imagination is the best example of this approach. The group's take on Smiling Faces Sometimes comes closest to the psychedelic shack sound. Despite a couple of weaker numbers on side two the album closes out with a bang thanks to Unite The World and the funky rocker Love Can Be Anything.”

“An album with everything that was great about Motown: epic funky jams, upbeat love songs, soulful ballads that are all kept interesting by some standout arrangements and shining vocals.”

“There are so many great ideas within these songs, whether it's in the singing, production or arrangements, to keep my attention. Just My Imagination was the big hit but there's a few on here that I think are even better. Gonna Keep On Tryin' has little percussion, reverberated piano chords and a wonderful guitar line that sounds like it's quivering. The ballads would be decent enough just with the great harmonies, but every song has something interesting going for it.”

“It is a shame that Sky's The Limit has somehow drifted into obscurity over the years. This is one of the best featuring the group's patented harmonies, equally matched by one of the best session bands in history. Featuring the quintet's number one hit Just My Imagination the set also includes a lengthy version of fellow Motown recording Smiling Faces Sometimes. This over twelve-minute opus lets the boys and the band cut loose with a masterful blend of funk and orchestral wizardry.”

L. A. Woman - THE DOORS*****

The Changeling/Love Her Madly/Been Down So Long/Cars Hiss By My Window/LA Woman/L'America/Hyacinth House/Crawling King Snake/ The WASP (Texas Radio & The Big Beat)/Riders On The Storm

L. A. Woman was the final album from The Doors with vocalist Jim Morrison at the helm before his untimely death. The group would continue to record but with much less commercial appeal. Includes the US top twenty hits Love Her Madly and Riders On The Storm.

“Musically speaking, the previous album's evocation of their blues-rock roots has progressed to a full fusion of blues and rock, with two longer tracks (L.A. Woman and Riders On The Storm) being standout moments. The playing is decent enough, but the vital spark which really pushes this album to greater heights comes from Morrison himself, who grunts, yells and roars his way through the material.”

“This was The Doors most pivotal album in that the songs flexed and ebbed through a variety of sonic channels, mixed unprecedented ingredients, gathered relentless bits of music from across the radio dial ... then dealt them out like worn playing cards, who’s tattered and marked edges merely hinted at what was coming next.”

“Very similar to Morrison Hotel in that the best songs are some of the finest The Doors ever recorded, and contains some of their most adventurous tracks.”

“L.A. Woman was the final album by The Doors before the death of Jim Morrison. What is so striking about it is how the two best tracks, the title one and Riders Of The Storm, are so different from the rest. Most of these are really blues oriented, with Love Her Madly clearly being the best of the bunch.”

“This masterpiece of psychedelic and blues rock has everything your heart desires. There are the hits Love Her Madly and Riders On The Storm, the rousing blues interpretations Cars Hiss By My Window and Crawling King Snake and west coast anthems like the famous title track L.A. Woman. You can't go wrong with this LP.”

“With L.A. Woman, the group go back to their roots as they nearly abandon the psychedelic influences in favour of a more blues-rock sound. If it weren't for Manzarek's keyboards and Morrison's distinctive voice, this would not sound like a Doors album. It lacks their unique style that made the band special in the first place.”

“One last swansong before Jim Morrison departed the world. By far the closest they ever came to being a blues act, but still with a large dose of psychedelic moments.”

Sings She's A Lady - TOM JONES***

She's A Lady/Do What You Gotta Do/In Dreams/Nothing Rhymed/Til I Can't Take It Anymore/Resurrection Shuffle/Puppet Man/Its Up To The Woman/Ebb Tide/(I Ain't No) One Night Only Love Maker/You're My World

Dynamic Welsh vocalist Tom Jones was at the peak of his international popularity with the release of She’s A Lady, which is heavily reliant on covers of other artist hits. The title track reached No. 2 in the US and No. 13 in the UK. (US:17 UK:9)

“Tom Jones sings She's A Lady which features his inspiring version of Paul Anka's title song as well as gorgeous interpretations of Ebb Tide and In Dreams. If you want to hear Tom Jones at his soulful, rocking best, then look no further than this album.”

“She’s A Lady features a good mix of original compositions like Till I Can't It No More along with some of Tom’s better re-makes, particularly his version of Roy Orbison's In Dreams. The album moves between adult contemporary, bluesy soul, mild country tinged pop and also manages to squeeze in some uptempo rock oriented material as well, including Jones take on the Fifth Dimension's Puppet Man, and of course the title track, which many people don't realize was Tom’s best selling single in the US.”

“A past master at performing well, particularly handling a Roy Orbison classic, both fluently and with feeling, and well within his amazing vocal range. One of the best singers Britain has ever produced.”

“She's A Lady may have an uneven selection of songs, but the title track was Tom Jones' biggest US hit and its follow-up Puppet Man was nearly as good. Plus, Jones' robust performances keeps things moving throughout the course of the album.”

Mud Slide Slim & The Blue Horizon - JAMES TAYLOR*****

Love Has Brought Me Around/You've Got A Friend/Places In My Past/Riding On A Railroad/Soldiers/Mud Slide Slim/Hey Mister That's Me Up On The Jukebox/You Can Close Your Eyes/Machine Gun Kelly/Long Ago & Far Away/Let Me Ride/Highway Song/Isn't It Nice To Be Home Again

The second of singer-songwriter James Taylor’s pair of acclaimed albums Mud Slide Slim contains another set of excellent laid back songs. His cover of You’ve Got A Friend would top the US singles chart and reach No. 4 in the UK. (US:2 UK:4)

“Taylor gets into his stride and continues where its predecessor left off, but somehow goes deeper by being less diverse. The sound is richer, funkier and warmer, even on a ballad as slow as You've Got A Friend the bass moves against the beat and creates a soft syncopation that satisfies. Taylor's songs are not always as simple as he makes them sound and the smooth flow of the regularly changing chords give the musicians opportunities to show their skills.”

“Moving on from the simple production of Sweet Baby James, James Taylor introduces more complexity and instruments on this album. It's still mellow folk-rock, simply more interesting. The songs sing of life, with its ups and downs. Taylor's voice is superb and the backing musicians do a fine job. One of the best early seventies albums from this highly influential singer-songwriter.”

“It really doesn't matter what your musical preferences are, James Taylor is one of the most tasteful and influential artists of our time. Anyone who has ever listened to one of his recordings can feel his music and in my opinion Mud Slide Slim embodies his life's work, and I have listened to it literally at least a hundred times.”

“Mud Slide Slim was an album that shaped my teenage psyche. It expressed through songs the restlessness of looking for the soul's home. A haunting and delicate weaving of words and music in Long Ago & Far Away still sends chills down my spine, and reminds me how consoling Taylor's songs can be. No other James Taylor album touches my soul as much as this one, where he articulates a yearning for something not yet known. An absolute must for any music lover's library.”

“This is one of the finest albums I've ever heard by anyone. Taylor casts a slight overcast tinge throughout yet manages to inject pieces of humour and optimism, yet never sounds dated because the music is so strong and intelligent. It also shows that he has a wider selection of songs, ranging all the way from the sombre, reflective and overtly political to a lovely love song.”

Maybe Tomorrow - JACKSON 5***

Maybe Tomorrow/She's Good/Never Can Say Goodbye/The Wal/Petals/16 Candles/(We've Got) Blue Skies/My Little Baby/Its Great To Be Here/Honey Chile/I Will Find A Way

Motown’s heavily promoted new act the Jackson Five continued to release albums at a prodigious rate, Maybe Tomorrow being the fourth in just over a year. Includes the US No. 2 hit single Never Can Say Goodbye. (US:11)

“The title track is a moody ballad and is nicely sung between Michael and Jermaine. You get the impression that the Jackson 5 were still a high priority act at this time with Motown, and the songwriting was still good quality.”

“Overall the album feels that Motown was dreading the day when Michael would lose his pure childish voice and it would drop into the unknown. Fear of this meant that in the early recording years of the Jackson 5's career, they were extremely prolific. There's enough on this album to make it interesting, but considering this was in the charts around the same time as other classic albums, then it's really not all that good.”

“The song Maybe Tomorrow shows a level of chord experience I hadn't heard with most adult groups. Michael's perfect pitch doesn't miss a note as he effortlessly goes from verse to bridge to chorus. This album shows some maturing by the group in song choices and performance. My Little Baby is one of the most exciting performances from the young Michael.”

“On their fourth studio album Maybe Tomorrow, there is a large musical growth in the band. The title track is a gorgeous song that has a beautiful orchestral backing. Never Can Say Goodbye was another hit and it is still one of Michael's best vocal efforts. I Will Find A Way is a great closer and Jermaine supplies one of his best vocal efforts.”

“The Jackson 5 possessed some of the best soul singers to ever grace a record or stage. As a whole the Motown sound was a very complex machine. It played mostly on empathy and allowed the listener to receive key emotions through the bridge of the song. This was unheard of before Motown and the Jackson 5 used the system well.”

“This finds the Jackson brothers branching out into some new directions. Even though the bubblegum soul is still very much in evidence there are more than a few surprising changes in the sound here.”

Survival - GRAND FUNK***

Country Road/All You've Got Is Money/Comfort Me/Feelin' Alright/I Want Freedom/I Can Feel Him In The Morning/Gimme Shelter

During the early seventies the American hard rock band Grand Funk never put a foot wrong with their adoring mainly young male fans. Survival would provide them with more of the same back to basics product. (US:6)

“By 1971, the band-the-critics-loved-to-hate, Grand Funk, had proved that they weren't going to go away, or allow the fickle music press get them down. The primal onslaught of hard rock and dense blues from the power trio was just what the long haired youth of America clinged to as the flower-power scene was left in the dust. First and foremost Grand Funk were a people's band.”

“The songs from Survival are more intricately arranged than those from previous albums, while the group pulled back on the heavy end.”

“A great mix of rock and soft rock and a must have for Grand Funk fans. Any one that likes a clean sound without all that feedback and distortion but with the pure sound of a super garage rock band, this album has it.”

“Good hard guitar oriented rock and roll. Their cover of the Stones' Gimme Shelter is the highlight, but all the tracks are good.”

“I doubt anyone will ever be able to explain the vast gulf between Grand Funk’s success and the mediocre quality of their records. This collection of seven tracks - including two covers - made at the peak of the band's popularity isn't exactly bad, but it is very unexciting. The best track is a gospel song, I Can Feel Him In The Morning, which is neither typical of the album nor of the band generally.”

“Survival is a powerful heavy blues-based rock album, the best part of which is that it is so solid, there isn't a single weak track, as all songs are of the same high quality level. The only flaw of the album is that it lacks certain originality. It doesn't really sound like anything we haven't heard before, it doesn't say anything new.”

“A perfectly enjoyable album, especially the bass heavy Country Road, but not one of their best. The Stones cover is totally unnecessary. Nothing really stands out about this album or its songs but the great singing and funkyness is still there.”

Sticky Fingers - THE ROLLING STONES*****

Brown Sugar/Sway/Wild Horses/Can't You Hear Me Knocking/You Gotta Move/Bitch/I Got The Blues/Sister Morphine/Dead Flowers/Moonlight Mile

The run of acclaimed albums from the world’s premier rock band The Rolling Stones continued with Sticky Fingers. Includes the US No.1 and UK No.2 hit single Brown Sugar. (US:1 UK:1)

“Sticky Fingers is the toughest, tightest, best blues-rock album ever released. The sound of the soft faraway thump of voodoo drums over darkened Southern fields and the Devil waiting down at the crossroads just pervades this entire album and soaks it deeply with an evil blues funk unparalleled in music.”

“Sticky Fingers is the best album from one of the best bands ever. Everything seems to gel so perfectly from Mick Taylor's astounding guitar work to Mick Jagger at his peak as a vocalist. Brown Sugar is among the best opening tracks. Sway is great, and Wild Horses is an amazing ballad. A great album from start to finish.”

“Mick is in fantastic voice with a confidence and attitude that had really honed itself on the previous two or three releases. Here the Stones found a groove, one that hits you in the face with licks that have inspired so many, but rarely equalled. If only the Stones could have kept up this level, they would have been untouchable.”

“Sticky Fingers has always been one of the staples of classic rock, with good reason. The songwriting is fabulous. A lot of their versatility is shown. You get typical blues rock music with Brown Sugar and emotionally charged acoustic music with Wild Horses. Everything is wonderfully executed.”

“Mick Jagger's vocal range is a lot better on this album mainly because there are a variety of styles. In the more rock tracks, his voice is crazy and totally appropriate for the music. In the more ballad songs, it is soft enough to really convey emotion. Jaggers' vocals are probably the best thing about this album.”

“On this album, The Rolling Stones found the best lead guitar player they ever had. Mick Taylor is a very tasteful, melodic, bluesy, and ripping guitarist. This album also contains some of the greatest and most memorable songs they ever wrote.”

“The Stones retained their title as the world's greatest rock and roll band with songs like Brown Sugar and Bitch, but it is the murky, slow songs that are the ones which reveal Sticky Fingers true heart.”

17-11-70 - ELTON JOHN***

Take Me To The Pilot/Honky Tonk Women/Sixty Years On/Can I Put You On/Bad Sign Of The Moon/Burn Down The Mission-My Baby Left Me-Get Back

An early live album from a youthful Elton John in front of an enthusiastic New York audience. In contrast to his later flamboyant style he keeps thing simple, with just drums and guitar backing his piano. (US:11 UK:20)

“A young, very energetic Elton John pounds out blues flavoured rock. He was clearly having fun with this set, with the piano and drums often at the forefront. Later the style changes to the blues again, consistent with Elton's early style.”

“This is a fine, high energy performance from Elton. The beauty of this album is its simplicity; John on piano, Nigel Olsson on drums, and Dee Murray on bass. That's it. No strings, no synths, not even a guitar. It really allows the listener to appreciate the depth of John's lyrics, and the raw talent that was lying under all the rhinestones and feather boas.”

“There's an air of fun and naiveté as this crack threesome are feeling their sound really come together, song after song.”

“This one is raw and smokin', with a lot of music getting made from just a little three piece band. This performance showcases just how good a piano man Elton was back then. This album is all good old fashioned rock and roll energy.”

“Elton's always walked a thin line between rock and soul enthusiast and showbiz entertainer; it's one of the things that has made him so endearing. Here, though, he wanders too far into the MOR side, with smarmy patter and versions of hits by the Stones, Elvis and Beatles. Pity, because when he gets going, Take Me To The Pilot in particular, he really does get going.”

“This is a very lively radio set of an up and coming Elton John. The band is a trio that runs through a very percussive set especially with Nigel Olsen on drums and John's terrific piano work. Dee Murray moves the show along on his bass.”

“If you're a fan of the early Elton material, you should love this. This live radio broadcast has an eclectic set list and no hits. The piano is front and centre and Elton's piano playing absolutely rocks.”

“It’s OK, but the recording quality is terrible, and the audience is down-right annoying. The pick of the songs could have been better too.”

Something Else - SHIRLEY BASSEY****

Love Story/Till Love Touches Your Life/Easy Thing To Do/Until Its Time For You To Go/Its Impossible/What's Done Is Done/Pieces Of Dreams/Breakfast In Bed/Excuse Me/Bridge Over Troubled Water/I'm Not There/I'd Like To Hate My Self During The Morning

Shirley Bassey enjoyed a revival in popularity during the early 1970s reflected in the high chart placing of Something Else and its similarly titled predecessor. During this period MOR artists appealing to the adult market often enjoyed a longer shelf life than the more ephemeral teen idols. (US:123 UK:7)

“Big, bold, brassy and Bassey. Even when you think she might over-sing something she has a way of always ending up in the right place.”

“I bought the record years ago, and it's been my favourite Bassey album since then. Here, you can feel her power and emotion.”

“By the 1970s Shirley Bassey's voice became truly ‘Something Else’, more full bodied and also dramatically deepened in tone, becoming one of the all time original great voices of the century.”

“Nobody is quite as stunning as Shirley is on a torch ballad full of pathos, and none is finer that the classic Excuse Me where you feel her soul in this passion filled masterpiece. A complete vocal tour-de-force makes Bridge Over Troubled Water as great as the original, which speaks volumes about the wondrous talent of Shirley Bassey. Classic orchestration meets a classic performance, so get ready to use the repeat button over and over on this incredible performance.”

“Something Else is the perfect title many times over. Shirley's perfect voice always hits the mark and those glorious high notes.”

“This is by far the best Bassey album ever produced. The sublime Johnny Harris arrangements perfectly match Miss Bassey's soaring vocals. The first time I heard this I was blown away.”

“This pure cracker features the astonishing arrangements of Johnny Harris. It's a shame Shirley doesn't have these fine arrangers any more. Anyone who likes Miss Bassey will love this album. A sheer treat.”

“The album is vibrant and playful. I'd Like To Hate Myself In The Morning is one of the best songs and reflects the whole feel of the album. It is a must for any fan.”

Songs Of Love & Hate - LEONARD COHEN***

Avalanche/Last Year's Man/Dress Rehearsal Rag/Diamonds In The Mine/Love Calls You By Your Name/Famous Blue Raincoat/Sing Another Song Boys/Joan Of Arc

Folk songwriter Leonard Cohen’s album Songs Of Love & Hate is considered to be his darkest, as he explores the feelings that accompany deep emotions with poignant lyrics and original imagery. (US:145 UK:4)

“My problem was the impenetrable nature of Cohen's words, in which they form a shield between him and the listener. Intriguing and enchanting as the album is, it's difficult to form any real attachment to it.”

“Songs Of Love And Hate is a truly dark and upsetting album. Cohen has never played cheerful music but nowhere is it near as deep and sad as this LP. Avalanche is my favourite contemporary folk track with its threatening and majestic atmosphere. It's an intense and lyrically very strong folk album with some flaws but incredible atmosphere.”

“This record is similar in sound, mood and compositions to his debut, but the arrangements are fortunately stripped down and the overall atmosphere is even more desolate. Although Cohen never was big on diversity, the tracks here show a surprising emotional versatility. Avalanche and the suicidal Dress Rehearsal Rag are pure distilled depression on vinyl following Cohen’s deep voice into the darkness. Last Year’s Man and Famous Blue Raincoat are melancholic, but incredibly gentle in their performance. My favourites Sing Another Song Boys and Joan Of Arc sport a calm and collected resignation.”

“The tone is darker, both musically and lyrically than anything he has done before. From the brilliant opening track Avalanche right through to the closing track, Joan Of Arc, which tells the tale from the point of view of the fire engulfing her, the tone never lets up and is all the more interesting and rewarding as a result.”

“As you can deduce from the album’s title, the two themes that Cohen ceaselessly explores are love and hate. Through each song, he also explores the feelings that invariably accompany these broader emotions by writing poignant lyrics and crafting some of the most original imagery I’ve ever listened to.”

“A devastating, cynical, bitter, spiteful, and very occasionally hopeful album from Leonard Cohen, who applies his razor barbed wit to these grim, stripped-down compositions. Some tracks are quite oppressive in their bleakness.”

Thin Lizzy - THIN LIZZY***

The Friendly Ranger At Clontarf Castle/Honesty Is No Excuse/Diddy Levine/Ray-Gun/Look What The Wind Blew In/Eire/Return Of The Farmer's Son/Clifton Grange Hotel/Saga Of The Ageing Orphan/Remembering Part 1

Eponymous debut album from the Irish hard rock group Thin Lizzy fronted by vocalist Phil Lynott. This release is untypical of their later sound in that it includes elements of folk and their Gaelic heritage.

“Before establishing their identity as a hard rock tour de force in the mid-seventies, Thin Lizzy initiated their run as a proud Irish trio steeped in folk influences.”

“Thin Lizzy's self titled debut, despite being one of their weakest efforts, is still a fine album with profoundly Irish, even rural, folk and acoustic tendencies. It perhaps shows timidly some traces of the pseudo genre later known as Celtic-rock.”

“One of hard rock's greatest and most infamous bands, Thin Lizzy had somewhat humble beginnings, with their oft-forgotten debut falling behind some of their later masterworks. Here they play a slow, considered sort of hard rock, heavily steeped in Gaelic heritage, and while it's not their best, you can hear elements of the band's later sound if you strain hard enough.”

“This debut is not a great starting point for anyone discovering Thin Lizzy now. It was an album produced with little or no budget and incorporates all kinds of music genres from traditional Irish music, sixties rock, and here and there a few glimpses of the fantastic music that they would eventually record.”

“Thin Lizzy started life as a more folksy-sounding band than the larger-than-life rockers they would eventually become later in the 70s. There's a real, almost dark, edge here that also includes more than a few echoes of the harder path their music would follow in later years. The lead guitar is subtle but strong, pushing the songs in harsher places than Phil Lynott's lyrics were ready to go. Lynott's songwriting itself shows more maturity than one would expect from a debut album.”

“This is an incredible album. For those expecting a heavy tone to the album, you will be disappointed. The thing I love about Thin Lizzy is how their music changed over the years and as various band members came and went. This is electric-folk pure and simple. If you buy this without any expectations of style, you will enjoy it as it stands on its own separate from their other albums. It is also a good example of a classic band that took a few albums to really establish themselves, both creatively and commercially.”

Wildlife - MOTT THE HOOPLE***

Whisky Women/Angel Of Eighth Avenue/Wrong Side Of The River/Waterlow/Lay Down/It Must Be Love/Original Mixed-Up Kid/Home Is Where I Want To Be/Keep A Knockin'

For their third album Wildlife Mott The Hoople eschewed their previous heavy rock sound to embrace some softer country style ballads. They would have to wait a while yet before developing a commercially successful identity. (UK:44)

“These numbers are better taken in small quantities depending on one's tastes. They are interesting cuts, but definitely light years away from what they would achieve on future, more assured records.”

“There is nothing dull or country about Keep A Knockin' or Whisky Women. This is progressive rock with well written tunes.”

“A ballad, country turn for Mott The Hoople. As always there are a few moments here where the lyrics are so personal it feels like I'm having a conversation with Ian Hunter. In general they seem a bit better suited to flashy, boozy glam rock than quiet, contemplative rural music.”

“After storming the scene with a couple of rockin' releases, Mott the Hoople come back with... a soft album. Who in their right mind thought that was a good idea? Perhaps Mott were trying to reach out to a larger audience with this one, as the music is much more subtle, going for a more natural and spiritual feel, hence the whole pastoral Wildlife thing. The only problem is that Mott The Hoople have created possibly the dullest album I have ever heard.”

“After recording two heavy rock albums that went largely unnoticed, the band released a folksy country-rock album. But the rock still pokes through on Whisky Women and the overly long live closing cut.”

“If you want your Mott The Hoople to rock you would be advised to hold off expectations on this one. Not that it's a bad album, in fact Wildlife has many strong points for the open minded listener. Only the opening Whisky Women and perhaps the closing Keep A Knockin’ have any elements of rock. The three songs after the opener are all ballads, but they are actually pretty good especially Wrong Side Of The River.”

War - WAR***

Sun Oh Son/Lonely Feelin'/Back Home/War Drums/Vibeka/Fidel's Fantasy

Self titled debut album from the funk-rock band War after they parted from Eric Burdon. Their sound was hard to categorise but included elements of blues, soul, rock, jazz and Latin. (US:190)

“The first War album is actually quite good. The opening track Sun Oh Son sets the mood, and though the following songs are different, the vibe remains the same. Even the eight minute Vibeka carries it all the way through. So War is much more consistent than the more famous follow-up albums.”

“This is not a masterpiece, but has some nice songs on it, especially War Drums, which shows their jazzy pop songwriting with a cheap twist of madness in the style of Frank Zappa. Sun Oh Son is another prog-funk gem from the days when black music still brought a bit of refreshment to the scene.”

“From the gun blast of the single Sun Oh Son to the dark observation of the epic Fidel's Fantasy. War's debut release enters the post-Burdon era with a no-holdsbarred approach in the social ring. War Drums has to be considered as harsh a statement as any in the entertainment world concerning the Vietnam conflict, and leaves the hair standing on your neck from it. Then you are calmed back down with the harmonica in the classic Vibeka.”

“The band’s debut album without Eric Burdon and they try to do a lot here. The songs all have very substantial musical ideas and even when they are more minimal the listener will feel as if they are swimming in this music. On Sun Oh Son they start out one way and suddenly spin into another idea entirely with the gospel of Lonely Feelin', a highly celebratory tune focusing on War's new found independence.”

“Musically a potent mixture of different blues, gospel, soul, jazz and Latin rock influences. Their open door policy towards freedom of musical expression made them alone of the poster bands for the first half of the 70s. Once mixed together the different styles they embraced came together to become the building blocks of the ‘united funk’ period where social/cosmic lyrical concepts, soulful musical ambition and commercial success all rolled into one.”

“The playing is smooth and refined, which is impressive considering how new the genre was back then. The energy is more of a controlled burn rather than a straight out assault which helps this album to stand out from its contemporaries.”

Please To See The King - STEELEYE SPAN****

The Blacksmith/Cold Haily Windy Night/Bryan O'Lynn-The Hag With The Money/Prince Charlie Stuart/Boys Of Bedlam/False Knight On The Road/The Lark In The Morning/Female Drummer/The King/Lovely On The Water

Please To See The King was the follow up album from British folk group Steeleye Span. It succeeded in maintaining a traditional atmosphere despite the introduction of electric guitars. (UK:45)

“Both the male and female vocals are very beautiful and they create great harmonies, especially in my favourite, Cold Haily Windy Night. The other songs don't live up to this one, but some of them are quite lovely, like Boys Of Bedlam or Lovely On The Water. Despite the constant presence of electric guitars and basses, the album has quite a specific medieval atmosphere.”

“I like this catchy and a little mystical recording. Maddy Prior has a bea

“This is timeless, a loving collection of olde English folk music. Maddy Prior's voice is pure and gorgeous. Rich harmony singing, plenty of cats-gut violins, mandolins, fiddles, and a dedication to their craft.”

“Does the absence of drums make Steeleye Span less rhythm focused than usual? Not at all: it provides an occasion to concentrate even more on vocal/instrumental interactions. Bass is as prominent as unpredictable, the most dynamic counterpoint for the guitar's angular riffs and violin erratic lines. Maddy Prior's crystalline voice often creates amazing harmonies with male backing vocals, both in a cappella and in instrumentally important episodes.”

“This is an enthralling effort that retains Maddy Prior's amazing vocal talents from the debut. Though rather difficult on first listen, this album is a worthy addition for those curious about folk-rock.”

“Their second release is a masterpiece. What I admire most was that they took 500 year old folk songs and ballads, updated them to a whole generation of young people. I really love the medieval vibe I get with Please To See The King.”

“This album is more densely electric than most of the later albums...yet with no drums. It stands alone as an achievement of performance and arrangement. The entire album is first-rate.”

Carly Simon - CARLY SIMON***

That's The Way I've Always Heard It Should Be/Alone/One More Time/The Best Thing/Just A Sinner/Dan My Fling/Another Door/Reunions/Rolling Down The Hills/The Love's Still Growing

Self titled debut album from singer songwriter Carly Simon showcasing her interpretations of a variety of musical styles. Includes the US top ten hit That's The Way I've Always Heard It Should Be. (US:30)

“Looking back, one wonders what might have become of Carly Simon without getting airplay for That's The Way I've Always Heard It Should Be. As usual, the single is the best track on the album, and shorn of that, we're not left with much that stands out on this debut. Dan My Fling is nice, but the other songs don't hit very hard and the melodies meander.”

“Though her voice isn't technically great, there's something about Simon's singing when she's dragging out a note that's quite pleasing.”

“Carly Simon is an impressive debut, but it’s not the most ingenious of albums, However, it is still a strong starting point for a successful long-term career.” “This is a more austere and sedate record than some of her later ones, but the relative restraint does the songs no harm at all.”

“Carly's skilful use of her vocal abilities to create poignancy and swelling emotions has never been matched on any of her later works, which enjoyed more instant commercial success.”

“I am never quite sure why Carly's debut album was criticized for not living up to the standard of its lead-off single. This song is quite an epic, and the album only begins to tap into the depths of Simon's persona. However, this is a beautiful debut and Carly displays herself as an ample interpreter of numerous styles, from country and blues, to ballads and folk.”

“The first track is Carly's first big hit. Then, the songs you may have never heard before start. Listen carefully to the lyrics and music, and to the emotions and feelings. Although the tracks seem disconnected, they really tell a wonderful story.”

“What a way to begin a music career. This album has the incredible That's The Way I've Always Heard It Should Be, which is vintage Carly. It also shows her budding abilities with other forms of music. Many of the songs display her talents with beautiful arrangements on the piano.”