Back To The Roots - JOHN MAYALL****

Prisons On The Road/My Children/Accidental Suicide/Groupie Girl/Blue Fox/Home Again/Television Eye/ Marriage Madness/Looking At Tomorrow/Dream With Me/Full Speed Ahead/Mr Censor Man/Force Of Nature/ Boogie Alert/Goodbye December/Unanswered Questions/Devil's Tricks/Travelling

Back To The Roots was an ambitious double album from British blues pioneer John Mayall, in which he invited several former Bluesbreakers, including Eric Clapton, to record some new material. (US:52 UK:31)

“There’s no denying the quality here. It’s not really a jam but each musician brings something unique. How they interact and grow is what is delicious and tasty.”

“Sporting a fairly commercial sound of blues-pop by this time, comparisons with Canned Heat are not unjustified. They feature guitar, flute, sax and electric fiddle, as well as some softer material too.”

“When John Mayall goes back to his roots, there's a very rich history to draw from. That's the whole idea behind this album, as Mayall calls back some of his former Bluesbreakers mates to record two records worth of new material. It's too bad this isn't stronger, but it is what it is, and most of the time the musicianship overcomes the shortcomings of the songs themselves. Excellent for late night listening.”

“Back To The Roots merits a special place on the long list of Mayall blockbusters. The 1960s and early 1970s were a period of tremendous creative ferment in the world of music and Mayall was always in the vanguard of experimentation. He is known to most as a blues artist, but on this LP he stretches that concept, touching more on social issues and the everyday concerns of the people than at any time before or since.”

“Besides John Mayall at the forefront, you get legendary artists like Eric Clapton, Mick Taylor, Harvey Mandel, and the great jazz violinist Don ‘Sugarcane’ Harris. With eighteen outstanding songs by Mayall, the album is mostly electric blues/boogie with a tasty helping of jazz and rock mixed in.”

“This is a first rate collaborative album by Mayall and former associates with his then current band. It remains a mellow album, which spans many blues styles, and even touches on elements of softer jazz-rock, which Mayall had been experimenting with at the time. It also contains some excellent all round work by Clapton”

Edgar Broughton Band - EDGAR BROUGHTON BAND***

Evening Over Rooftops/The Birth/Piece Of My Own/Poppy/Don't Even Know Which Day It Is/House Of Turnabout/Madhatter/Getting Hard (Into)/What Is A Woman For/Thinking Of You/For Doctor Spock

Self titled final chart album from the London blues-rock band headed by Edgar Broughton which features some heavy blues mixed with progressive rock. The cover was not to everyone’s taste. (UK:28)

“A more varied offering, and as such manages to be much easier on the ear. Still pretty heavy in places, but much more melodic with it. Lyrically weird, coupled with some far out guitar playing, this band succeeded in being well ahead of their time.”

“The psychedelic songs all are great, the ones that gravitate to progressive rock are a notch less interesting and the folk motifs I liked least but they are good all the same.”

“Such a brilliant album, which could have been their breakthrough, if not for that horrible tasteless cover, which probably put many people off. On the other hand, commercial success was never on this band's agenda.”

“Considerably more patchy and self-indulgent than previous releases, their third still contains some decent, hard material, despite the use of some strings and horns, which do nothing to aid the cause.”

“Despite its misleading title, this is in fact the Edgar Broughton Band's third album. It is, however, their most commercial. That's not saying a lot, as they never were and never intended to be starlets of the pop charts. They're way too cerebral and provoking for that. That's not to say they're tuneless. Far from it. Get one of Edgar's melodies stuck in your mind and chances are it'll be there for months. But their style and production technique is truly creative.”

“This is one of the truly great records of the period - beautiful, melodic, versatile, intelligent music. In retrospect, Edgar was one of the best and certainly one of the most underrated. The standout song is Evening Over Rooftops with what must be an awesome evocation of storming starlings. The imagery is as powerful as any created in rock lyrics.”

“Lyrically, politics and a need for social justice run through all these songs. It's hard to pick favourite tracks here as the album is pretty cohesive.”

Fifth - LEE MICHAELS***

Keep The Circle Coming/You Are What You Do/Willie & The Hand Jive/Didn't Have To Happen/Rock Me Baby/ Do You Know What I Mean/Ya Ya/Can I Get A Witness/Oak Fire/I Don't Want Her

Fifth was the most commercially successful album from multi-instrumentalist Lee Michaels, but is heavily reliant on cover songs. Includes the US No. 6 hit single Do You Know What I Mean. (US:16)

“While I wasn't blown away, it's an extremely unique sound, working almost solely with Hammond organ and a percussionist. Michaels was able to create a very full sound with the sparsest of parts. Most of the album is jaunty, R & B/soul infused tunes that get the toes tapping. Michaels shows great versatility both in voice and mood, even if he does rely on covers here quite a bit.”

“This is much weaker than his earlier LPs. Do You Know What I Mean was the hit but a fairly lightweight one. Much better are Keep The Circle Turning and You Are What You Do, two great funky upbeat tracks.”

“He had a unique sound, and along with his larynx-shredding vocals, the results are staggering. Aided by Joel Larson on drums, Michaels does a lot of covers on this record rendering them all in an infectious, gospel style. There are only a few originals on the album, and one, Do You Know What I Mean was a big hit and cemented Lee Michaels as one of the best white blues performers of the period.”

“Lee Michaels is a gifted musician who had a definitive sound. Do You Know What I Mean and Keep The Circle Turning are still exemplary efforts. The album however does not take full advantage of his talents. Why he included filler tunes like Willie & The Hand Jive is beyond me. There are several other tracks that are equally, and mercifully, forgettable.”

“Lee Michaels was an organist mainly and played some piano. This album is known for his hit Do You Know What I Mean but every song on here is a slice of what rock music was like in the early 1970s. It was good then and still rocks today.”

“The hit Do You Know What I Mean is catchy enough, and I like it. But the rest of the album is very repetitive of that song and rather mundane.”

Man In Black - JOHNNY CASH***

The Preacher Said Jesus Aid/Orphan Of The Road/You've Got A New Light Shining In Your Eyes/If Not For Love/Man In Black/Singing In Vietnam Talking Blues/Ned Kelly/Look For Me/Dear Mrs/I Talk To Jesus Every Day

With the release of this LP country legend Johnny Cash would become widely referred to as the ‘Man In Black’. This album may not appeal to all fans with its inclusion of spoken word narration and preachy sentiments. (US:56 UK:18)

“With a sparse, sharp sound, here Cash never sounded better; and for that reason it's no surprise this album is often cited as one of his best. Sadly, however, with so much story songs and spoken word, Man In Black doesn't hold up too well on repeated listens, and is actually pretty light on classic songs.”

“Despite getting off to a rough start, Johnny Cash's Man In Black ends up being a good record, and probably the last through and through consistent one he would make.”

“An impressive and a bit underrated album by Cash. He seems to bring different elements together from previous albums: religion, politics, outlaws and country tragedies. It is all put together with the boom-chicka-boom sound, which returns here and relieves Cash from the pompous sound of the TV show.”

“The opening song The Preacher Said Jesus Said, with its grating narration by Billy Graham, is difficult to stomach. Cash's born again Christian sentiments get the better of him, and it certainly wouldn't be for the last time. If you can look past that first track, the rest is a lot more rewarding. The beautifully honest Singing In Vietnam Talking Blues is an autobiographical account of a performance for US troops fighting in Vietnam.”

“This was the first album after the ending of the highly successful Johnny Cash TV Show on ABC. Man In Black the song, explained perfectly the persona and character of Johnny Cash. He would forever be known by that moniker. The album is one of Cash's best, certainly from the 70s, but perhaps of his career. Opening with The Preacher Said Jesus Said with the Rev. Billy Graham, and continuing on with song after song of commentary of the turbulent times, as well as some incredible story songs.”

“Cash pulls the listener in two directions. On the one hand, he speaks for the weary and downtrodden for whom he casts himself in black. The other half of the album is filled with a unique set of gospel tunes.”

Indian Reservation - THE RAIDERS***

Indian Reservation/The Shape Of Things To Come/Prince Of Peace/Heaven Help Us All/Take Me Home/Just Remember You're My Sunshine/Come In You'll Get Pneumonia/Eve Of Destruction/Birds Of A Feather/Turkey

After a couple of years in the doldrums the newly abbreviated Raiders came back in a big way with Indian Reservation, as the title track single propelled its way to the top of the US chart. (US:19)

“I suspect this is a hurriedly thrown together effort riding on the back of the surprise success of the Indian Reservation single. Most of the progressive elements of the earlier Collage LP are gone here, and this is back to more easy to digest chart pop. It's reasonably listenable, but a bit generic and quickly forgettable.”

“Just when it was thought that Paul Revere & The Raiders were finished they released one of the best singles and albums of their career. Indian Reservation was topical and a good rock sound for the time period, and the rest was well thought out and produced. The problem was that they could not sustain this level of excellence.”

“This is great stuff that has long been under rated critically in spite of its commercial success. You can't go wrong here if you have any leanings towards this group's work.”

“I loved these guys but they seemed to be fading into obscurity by this time, with too many band member changes. I guess that's how the music business is sometimes.”

“The image of the Raiders as loveable goofballs didn't stop Indian Reservation from being a huge hit, and the album itself did well too. So why they were unable to sustain that success is a bit of a mystery as there is other strong material on the album.”

“This LP is not very reminiscent of the kicking rock & roll band of the '60s: they're lush '70s AM pop artefacts. Indian Reservation has a decidedly soulful streak, present in the gospel style Heaven Help Us All, and the punching horns of Just Remember You're My Sunshine, and even in the rousing version of Leon Russell's Prince Of Peace. This is balanced by a sunshine pop bent on the rest of the record.”

Love Letters From Elvis - ELVIS PRESLEY***

Love Letter/When I'm Over You/If I Were You/Got My Mojo Working/Heart Of Rome/Only Believe/This Is Our Dance/Cindy Cindy/I'll Never Know/It Ain't No Big Thing (But Its Growing)/Life

Love Letters From Elvis was the third album release from the marathon Nashville sessions of June 1970. At the turn of the decade Elvis’s career was reinvigorated by the recording of better quality songs and the abandonment of the increasingly stale movie formula. (US:33 UK:7)

“This album is made up of leftover songs from the session that didn't make it onto the superior That's The Way It Is and Country albums. There's nothing downright bad here, but only a few really good songs. Otherwise, the rest is forgettable, if inoffensive.”

“Love Letters demonstrates Elvis' undeniable love for music. He didn't just sing a song, he gave it energy and let it breathe. This is clearly on display in the way he sings on Heart Of Rome. When I'm Over You is another opportunity for him to grab hold of the music and make it his own.”

“I love Elvis ballads. This collection is so beautiful and you hear the full range of Elvis, and his perfect voice. For any one that likes love songs, this is a must have. I have enjoyed each song.”

“In the 1970s, like many performers that were maturing past their hit making age, Elvis mellowed out and began to concentrate more on his blues/country influences. The results were studio albums like this one. Love Letters is an album of love songs in Elvis's own unique style. A very nice album with songs you don't hear that often.”

“In June 1970 Elvis embarked on a marathon recording session that resulted in more than 30 cuts. Two extremely fine albums came out of that session and then there was this, which pretty much scraped up the dregs. If Elvis had not had to meet RCA's excessive contractual demands for product, it's almost certain that this would not have been released. For the most part Presley is in pretty fine form vocally, but most of the material on here is treacly pop poorly suited to his style.”

“Enough good stuff remained from the 1970 Nashville sessions to make this album a worthwhile release at the time. The Nashville dates showcased Elvis in an incredibly broad musical context, attacking everything from the schmaltziness of pop ballads to some of his hardest latter day rockers. While the quality of the songs themselves varies greatly the performances are, for the most part, outstanding.”

What's Going On - MARVIN GAYE****

What's Going On/What's Happening Brother/Flyin' High (In The Friendly Sky)/Save The Children/God Is Love/ Mercy Mercy Me/Right On/Wholy Holy/Inner City Blues

What’s Going On was the most ambitious and acclaimed album from Motown’s most prominent male solo artist Marvin Gaye, in which he explores many contemporary social ailments. Includes three top ten US hit singles Mercy Mercy Me, Inner City Blues and the title track. (US:6 UK:56)

“Musically the arrangements are beautifully smooth packed with emotion; you'll be hard to find an album which flows as well as this. Marvin Gaye's voice is equally smooth, he sings with a sense of conviction and the songs are fantastic mostly because they compliment each other to tell a complete story.”

“Utter excellence, the greatest soul album to be released. The production is nothing short of astonishing. The meticulous layering of all the instruments creates a soundscape that is alive and moving.”

“The 'love-conquers-all' message it presents is an admirable one, but a horribly naive one too. It didn't seem that way in the '70s, but now we live in a more cynical age and look upon that sort of message differently. It also suffers the problem of having singles that tower above the rest of the album.”

“What's Going On lives on the shelf marked untouchable. It is the album to make you feel and (more importantly) look mature, tolerant and sensitive. It is the album that broke down the conventions of popular music, set a benchmark for artistic control and spoke for a generation of disenfranchised Americans.”

“This is certainly a very consistent record both thematically and musically, but I would normally turn to his earlier string of hits if I wanted to hear him. His sweet and soulful voice definitely helps matters, but some tracks feel too short and others too long. There are only about three songs here, the rest being variations on a theme.”

“Inspired by the Vietnam war it's a socially conscious album, perhaps a bit too preachy for some people's tastes. The lyrics are a bit insipid, but it is difficult to write good political lyrics: the charm is that his heart is in the right place.”

“When listening to a concept album, one can usually see what is inside the artist's head. With this album, we see Marvin's mind, soul and emotions.”

Burt Bacharach - BURT BACHARACH****

Mexican Divorce/Close To You/Nikki/Wives & Lovers/All Kinds Of People/And The People Were With Her/April Fools/Hasbrook Heights/Freefall/One Less Bell To Answer

Self titled final high placed chart album from Burt Bacharach, the most commercially successful songwriter of the 1960s. Most of the songs here are amongst his less known compositions. (US:18)

“I am a sucker for Burt Bacharach, and particularly his own. Never has ‘easy’ listening been more complicated, full of intricate arrangements and rhythm changes, even if it seems always light and breezy.”

“The thing about Bacharach that musicians envy was his ability to write with such memorable complexity. Most tunes you hear whistled in the street use the simplest chords.”

“Here Bacharach bows out (from greatness) with such rich intricacy that appreciative weeping is probable and completely acceptable. Chords, melody, harmony counterpoint - if you like it lavish, then listening to his second recorded version of Wives & Lovers will leave you dribbling.”

“I simply cannot give this album enough praise. Even though there's no Warwick or Springfield, nor the legions of others who have recorded Bacharach/David's work over the years, it is Bacharach in the purest, most melodic form. In particular, Wives & Lovers is so hauntingly beautiful. When it comes to the American popular song, this album stands as a triumph.”

“The songs and their arrangements are some of the best ever written by anybody. This album ranks as one of the best, if not the best, of the Bacharach A & M original albums. Great songs and great orchestrations, with strings in profusion and the chorus, with Cissy Houston in the spotlight, in superb shape. Bacharach at his best.”

“Several of his most well-known and classic standards are here. Bacharach displays his exceptional composing skills on his extended suite for orchestra And The People Were With Her, a brilliant, jazzy collage of strings, horns, and shifting rhythms with Burt, himself, leading on grand piano. Freefall is another stellar example of his superior orchestral writing and arranging with added voices in the ensemble. Hasbrook Heights is a blissful waltz with Burt on lead vocal coolly musing with the orchestra about the relaxed, good life in the suburbs.”

Songs For Beginners - GRAHAM NASH*****

Military Madness/Better Days/Wounded Bird/I Used To Be A King/Be Yourself/Simple Man/Man In The Mirror/ There's Only One/Sleep Song/Chicago/We Can Change The World

Songs For Beginners was the solo debut album from The Hollies and CSNY guitarist Graham Nash, where he successfully demonstrates his ability to craft a varied selection of memorable melodic songs. (US:15 UK:13)

“This is one of the best albums of the hippie era, and still a beloved favourite. These quiet singer-songwriter tunes are very much in the soft-rock mould of the Crosby, Stills & Nash ensemble, which was in one of its periodic stages of disintegration when this album was recorded. Overall, this is possibly the best of Nash's solo albums, a cohesive, beautiful, heartfelt set of twee counterculture lullabies. The dewy-eyed, tender romanticism of Nash's love songs heightens the painful anguish of the political material.”

“Songs for Beginners is a pleasant album. Whilst there is nothing revolutionary in the music it is just full of the romantic spirit of the time.”

“As you'd expect, Nash turned in a highly personal collection combining his instantly recognizable voice with some great melodies and introspective lyrics.”

“Nash is playing to his strengths here, short, tuneful and hopeful songs with a somewhat hippie-ish vibe. A really wonderful album, it's very catchy and Graham's vocals are top notch all the way. It's really one of those albums you wish were longer.”

“Graham Nash delivered the finest of all Crosby, Stills & Nash solo releases. A true masterpiece, with great vocals all the way through. He is certainly an underrated musician. Most of the songs are good compositions. Military Madness is an excellent starter followed by the refined Better Days. There are also a bunch of beautiful acoustic songs like Simple Man and Sleep Song.”

“It is a bit dated with its "we can change the world" attitude, and Be Yourself suffers from the same hippy dippy mentality. But this is still a good album, Nash is in great voice and delivers some fine lyrics.”

“Songs For Beginners is an absolutely amazing album. Graham Nash, to me, is one of the most underrated musicians of all time. He doesn't get the credit he deserves. These songs are so impressive, and this album is a must have if you appreciate good music.”

Free Live! - FREE****

All Right Now/I'm A Mover/Be My Friend/Fire & Water/Ride On A Pony/Mr Big/The Hunter/Get Where I Belong

The sole live album from the highly regarded blues-rock band Free. As this recording testifies, despite their relative youth they were all musicians of the first rank. (US:89 UK:4)

“The stage was their favourite place to live and perform; and you can feel it by the fan's enthusiastic screams. Paul Rogers sings with a solid husky and powerful soulful voice while Paul Kossoff replies with trenchant guitar playing and creative solos. The rhythmic section bass and drums is very efficient, strong and dynamic. Free’s music sounds like deep hard-blues, sometimes close to hard-rock.”

“While Andy Fraser and Paul Rodgers quickly assumed leadership of Free's studio albums and developing sound, it's Paul Kossoff that shines when they play live. Whether it's because there's less opportunity for additional instruments to reduce his role as had happened in the studio, or simply because Kossoff excelled in a live environment, he's very much to the fore here. Free had the rare combination of being great players raised to another level by the chemistry they had as a unit.”

“This has to be one of my favourite live albums - Free sound fabulous throughout - tight, playful and enormously listenable. Simple blues rock played with great feeling and honesty.”

“Almost all the best songs from Free's first three records are here, and they sound raw and gritty in this live setting. The arrangements are lean and powerful, and Paul Kossoff's sparse, muscular riffs leave plenty of room for drummer Simon Kirke's thumping backbeat to breathe.”

“One of the best recorded and performed live album of all time, this release features the always great Free storming through a number of classics including, predictably enough All Right Now which is extended for both audience and listener joy.”

“Free's one live album captured the band in full flight, at the top of their game. Whereas some of their studio material sounds restrained and restricted, here the material is rampant and benefits from a much looser approach.”

“A simply brilliant live album, rock and roll at its rawest and most powerful, with a pinch of the blues thrown in for good measure. The live concert venue is where Free gained their faithful followers.”

Tarkus - EMERSON LAKE & PALMER***

Tarkus/Jeremy Bender/Bitches Crystal/The Only Way (Hymn)/Infinite Space (Conclusion)/A Time & A Place/Are You Ready Eddy

Tarkus was the follow up album from the bombastic progressive trio Emerson Lake & Palmer. The superior title track covering side one comprises a suite divided into seven songs based on the group’s notions of reverse evolution. (US:9 UK:1)

“Tarkus itself is a great prog track, and one I always enjoy listening to. The final part Aquatarkus, with its bubbly moog sound, may sound cheesy now but it was a good end to the story.”

“If a ton of rapid keyboard work and songs that never end don't scream excessive prog...then I don't know what does. One can't deny their skill after hearing this, even if it is headache inducing, annoying and self-indulgent. It's a shame that really only the Tarkus medley is exciting and fun.”

“I am not the biggest fan of Emerson, Lake & Palmer but I have to admit that the Tarkus suite is a really impressive musical piece and makes this album one of the most influential progressive rock albums. Unfortunately the second side is rather weak.”

“For me, most of the material from Tarkus still sounds strong today, and why many cannot appreciate the challenging difference this music represents, compared to the overrated, repetitious and derivative dross that one hears from many artists today, is puzzling. It just seems that many regard adventurism as pomposity; ELP can be pompous and sometimes their music led to a dead-end. I'd rather take the gems with the clunkers than settle for the fool's gold consistently proffered by the mediocre.”

“The title track is one of the best prog rock songs ever. Although almost twenty minutes long, it is so well structured, and has such well done riffs/melodies throughout, that it never feels like it drags nearly as much as it should. It's honestly a sublime song, and the kind of which I wish this band could have delivered more often. The rest of the album is very hit or miss at best.”

“This was ELP's first full-side suite, and musically it is amazing even if the lyrics don't seem to make any sense or have anything to do with the plot as outlined on the record cover. Unfortunately, side two seems to be a bunch of outtakes. That's the only way I can describe the shocking drop in quality.”

Live - COLOSSEUM***

Rope Ladder To The Moon/Walking In The Park/Skelington/Tanglewood 63/ Encore Stormy Monday Blues/Lost Angeles

Live double album from the British progressive jazz-rock group Colosseum recorded at Manchester University and the Big Apple, Brighton in March 1971. Within a few months of these gigs the band would break up. (US:192 UK:17)

“There's just too much standard blues here. These long bluesy jams that end in monotony don't work for me. By this time you would've expected the band to move on from these ideas and expand on their symphonic approach, but here they are plodding in guitar riddled bluesy solos that leave me cold.”

“Hard-rock/fusion madness, wild guitar/organ/vocal overdrive for over seventy minutes. Just what I'm looking for, or so it seems.”

“As most live albums go, this one is good, featuring fairly hard semi-commercial prog. I feel their sound on this is somewhat marred by a little too much sax for my taste, but the album is salvaged with truly excellent guitar.”

“The tracks tend to be long and rambling (and possibly ad-lib) as they often were those days, containing a number of smoking instrumental solos. I would describe this music as a kind of jazz/blues/prog-rock. Vocals are delivered in a rather theatrical style on occasions where the sound is more important than the words, but with good harmonies. There is good use of brass instruments (especially sax). As a whole the album is jazzy and upbeat and the musicianship is outstanding.”

“What genre is the music? I suppose you have to label it progressive rock, but that doesn't really do it justice. The blues and jazz influences are obvious, but to find such superb and diverse musicianship right across a band is rare.”

“Surprisingly well recorded for a live album in those far off days of cassettes, this showcases the stunning musicianship of a well rehearsed band playing incredibly well together.”

“While I really enjoy most of the instrumental parts on this album, the vocals make me cringe with embarrassment with the deep timbered soulful screams. Luckily there's lots of improvisation and solos that remedy this issue slightly.”

Live At Fillmore West - ARETHA FRANKLIN****

Respect/Love The One You're With/Bridge Over Troubled Water/Eleanor Rigby/Make It With You/Don't Play That Song/Dr Feelgood/Spirit In The DarK/Spirit In The Dark (Reprise)/Reach Out & Touch (Somebody's Hand)

Live At Fillmore West sees soul legend Aretha Franklin tailoring her sound for what appears to have been a largely white audience. Some critics believe that she should have included more of her own songs. (US:7)

“If you are not acquainted with the Queen of Soul or have not looked beyond her hits, Live At Fillmore West will be a treat. Aretha, backed by King Curtis and The Kingpins, Billy Preston and The Sweethearts Of Soul, created one of the classic live albums of all time.”

“Designed as an album to allow Aretha to crossover into the domain of hip young (and mainly white) rock fans Live At Fillmore West could have become a disaster; bland soul music for mass consumption never is a pretty picture. Nonetheless, Aretha Franklin's sheer, powerful energy and the fact that she had one of the tightest, funkiest bands backing her up would provide a stellar, sweaty album brimming with live wire gospel-soul.”

“This is one of those live albums that fails to deliver. All you have to do to see some of the problems with this set is to note that what the very obvious covers of songs by Stephen Stills, Paul Simon, Paul McCartney and David Gates do, is take up room in which Aretha should have been performing more of her own great songs.”

“Clearly adjusting her catalogue for the Fillmore's young, white rock audience, the songs found Franklin doubling up on popular pop and rock hits. There wasn't anything wrong with such performances, but Franklin’s focus on pop and rock tunes left precious little room for her soul material. Personally I would have liked more classic soul tunes and less pandering to the hippie crowd.”

“If you're a casual fan of Aretha's soul singles, this is probably not the album for you. Apart from the obligatory Respect and a thumping Dr Feelgood, most of this live set is dedicated to either material from her last album or covers of contemporary rock songs. And yes, she's a superb singer, but somehow having the Queen of Soul belt out Bridge Over Troubled Water or Eleanor Rigby makes them seem more pompous and overblown than they already were.”

“The Queen blows into the fabled Fillmore West with The King Curtis Band and proceeds to blow the roof off. Check out those staccato horns at the end, dynamite.”

Carpenters - THE CARPENTERS****

Rainy Days & Mondays/Saturday/Let Me Be The One/(A Place To) Hideaway/For All We Know/Superstar/ Druscilla Penny/One Love/Knowing When To Leave-Make It Easy On Yourself-Always Something There To Remind Me-I'll Never Fall In Love Again-Walk On By-Do You Know The Way To San Jose (Medley)/Sometimes

Self titled third album from the easy listening vocal duo featuring the exquisite voice of Karen Carpenter. Includes the No.2 US hit singles Rainy Days & Mondays and Superstar. (US:2 UK:12)

“On this album, the famous (and often detracted) Carpenters sound really falls into place. Karen Carpenter has one of the all-time greatest voices (sweet and pure, but with plenty of pain in it as well). They also display an artistic level of sophistication that very few of their contemporaries could even begin to match.”

“As ever with The Carpenters we have some truly great songs, Karen's great voice, a sprinkling of cheesiness and some fascinating arrangements. Worth it just for Superstar, but there is much else to enjoy too.”

“This is an unexpected masterpiece in its own sub-genre of easy listening romantic melancholia. The languid afternoon hangovers of sleeping pills and antidepressants have never been conveyed better. It’s highly melodic, and lyrically superior to other Carpenters albums.”

“The real stars here are Karen Carpenter and the stellar material chosen for this album. Superstar is one of those songs that exist in its own universe and is, as far as I'm concerned, the Carpenter's signature tune. One other song, Rainy Days & Mondays, has achieved iconic status over the years. Not only is all of this stuff great material, but all the songs seem to have been tailor made for Karen's voice and the Carpenters' sound.”

“This is arguably their best album and includes two of their most loved songs, Rainy Days & Mondays and Superstar. The vocal focus has quite clearly shifted to Karen, with Richard singing lead on only two songs, both vastly different in style and tone from those sung by Karen.”

“I remember growing up in the early 1970s, heading into a record store looking both ways to ensure no one I knew saw me go in to buy this Carpenters LP. Their unfortunate, squeaky clean promo image was at its height; and I didn't want to be thought uncool or something even less flattering. If only they had listened to Karen's smouldering, melancholy vocals perhaps they would see the light.”

Ram - PAUL MCCARTNEY*****

Too Many People/3 Legs/Ram On/Dear Boy/Uncle Albert-Admiral Halsey/Smile Away/Heart Of The Country/ Monkberry Moon Delight/Eat At Home/Long Haired Lady/Ram On/The Back Seat Of My Car

Paul McCartney’s excellent second solo album Ram sees the former Beatle in peak form to deliver a consistently high level of songwriting. Includes the US No. 1 hit single Uncle Albert/Admiral Halsey. (US:2 UK:1)

"Ram, unlike many of McCartney's post-Beatle outputs, runs solid from start to finish. It's full of catchy tunes and lush arrangements.”

“There are more melodies and hooks every couple of seconds than most artists can conjure up in a lifetime. An undervalued masterpiece.”

“This record supplies catchy little ditties a plenty, it never becomes boring and has dated extremely well. There's something pastoral and homemade about this endeavour.”

“It’s possibly Paul's best produced record, with songs that deserve the full treatment. There are too many highlights to mention. The Back Seat Of My Car is probably my favourite, but every song hooks me and doesn't let go. For melody, inventiveness and style this one simply cannot be beaten.”

“McCartney's vocal performances are virtuosic, his harmony arrangements perfectly judged, and even when the lyrics are little more than eccentric mumbo-jumbo they ride on the crests of intensely memorable hooks.”

“What is there left to say about Ram, other than the fact that it is McCartney's true masterpiece? Paul is juggling with magic here and the whole thing sweeps you up and takes you away to somewhere beautiful, strange and melancholy.”

“Ram comes closer to the Beatles sound than any other post break-up work the four individual members produced. There is a diversity of material here to keep your interest better than the studio albums, both before and after. There is a sense of adventure and daring which makes it all less predictable and more fun.”

“The most Beatlesque of all the Beatles solo albums. Musically, this is brimming with all kinds of melodic ideas and harmonies.”

Where I'm Coming From - STEVIE WONDER***

Look Around/Do Yourself A Favour/Think Of Me As Your Soldier/Something Out Of The Blue/If You Really Love Me/I Wanna Talk To You/Take Up A Course In Happiness/Never Dreamed You'd Leave In Summer/Sunshine In Their Eyes

Where I’m Coming From was a transitional album from Motown star Stevie Wonder in which he begins to move away from his early pop style towards introducing a more funky soul sound into his music. (US:62)

“The music behind the lyrics is poppy-funk. There are a couple of pretty strong melodies but most of it is rather unmemorable. There was a lot of pretty great funk being made at this time which this doesn’t measure up to.”

“Obviously not as incredible as what would follow but you can hear the germ of Stevie's classic 70s style in some of the songs here. This is a classic transitional album, with one foot in his early Little Stevie style but also clearly flirting with funk and more complex themes.”

“His transitional record, released just as he was truly free from Motown's dictating, but still when his freedom was so fresh that he didn't quite yet know what he wanted to do. There's pleasure in the simple 60s type material, and this is really the last time Wonder touched on it so much.”

“At this point he has still got his feet in the past and some of these adult songs sound compromised by the traditional arrangements given to them. However talent will out, and there's more here to like than dislike, even if none of it is of the quality of the albums that followed.”

“Where I'm Coming From as a whole is a curiously uneven and disjointed album, with an uneasy mix of the revolutionary and tentative, and the innovative and conservative, mixing some of his best music to date with some of his near worst.” “This is the record where Stevie throws everything against the wall and sees what sticks, and the truth is not much does.”

“It starts with the haunting Look Around, and it is clear that Wonder wanted to set the creative tone and conscious lyrics early on. Do Yourself A Favour is a funky social commentary that repeatedly tells us ‘educate your mind’. Never Dreamed You'd Leave In Summer is a forgotten classic; Wonder's music and his metaphorical lyrics are so emotional the song is literally heartbreaking.”

Songs From Wasties Orchard - MAGNA CARTA***

The Bridge At Knaresborough Town/White Snow Dove/Parliament Hill/Wayfarin'/Down Along Up/Country Jam/Time For The Leaving/Isle Of Skye/Sponge/Sunday On The River/Good Morning Sun/Home Groan

Songs From Wasties Orchard was the third album release from the London progressive band Magna Carta. In addition to acoustic and electric guitar their music featured mandolin, sitar, harpsichord and cymbals.

“Consisting of a dozen tracks Songs From Wasties Orchard may have lost the vestiges of dabbling with progressive music, but on the other hand it is a portrait of a band fighting to find a voice and style.”

“Pastoral songs such as Isle Of Skye and The Bridge At Knaresborough Town are based on gorgeous melodies supported by arpeggiated guitars and mandolins, chiming embellishments of pedal steel guitar, bells or celeste, chirping flutes, gentle percussions, with some occasional droning bowed-bass or sitar ornamentations and glossy vocal harmonies.”

“This album doesn't come close to living up to the immense promise of the first song, which features very tasteful and well integrated use of sitar alongside standard English folk lyrics in an interesting juxtaposition. After a few autumnal downers, Country Jam and the rest come off as just folk-rock that rollicks along monotonously.”

“A pleasant, dreamy folksy collection of songs. Time For The Leaving is the stand out track, full of pained nostalgia and regret.”

“Most of the songs are really pleasant but short in duration. Some great acoustic guitar and even a bit of sitar thrown in on the first track for good measure.”

“A beautifully constructed album. Magna Carta were one of those rare groups that were hardly noticed except by those who appreciate their lovely instrumentals and harmonies.”

Smiling Men With Bad Reputations - MIKE HERON***

Call Me Diamond/Flowers Of The Forest/Audrey/Brindaban/Feast Of Stephen/Spirit Beautiful/Warm Hearted Pastry/Beautiful Stranger/No Turning Back

Smiling Men was the debut solo album from Mike Heron of the innovative hippie folk group The Incredible String Band. It took eclecticism to a new extreme, blending rock, folk and world music into an atmospheric whole.

“It is generally very good folk-rock, though there are a few moments when it starts to drag. On its own musical merits, it is a worthy addition to any rock collection, particularly if you're already a fan of Heron based on his String Band work.”

“Heron was always more of a rocker than the Robin Williamson, the other half of the Incredible String Band. What we get here marries an eclectic approach to a rockier sound that the ISB would not have stretched to.”

“Far removed from the Incredible String Band and yet very much Mike Heron. Sadly Smiling Men didn’t sell that well as Mike never did a solo tour to support it, and the ISB was on a downward curve by that time. But it remains for me a gem, a magical moment in time.”

“This is quite a departure from the String Band material that Mike was turning out at the time. While in places this is still acoustic folk-rock, Mike tries his hand a couple of other styles, though not always successfully.”

“It features some straight ahead rock n' roll, delicate acoustic pieces, early synthesizer work, Indian and folk styles. It also offers Feast Of Stephen, one of those wonderful songs that come along only now and then.”

“I feel tempted to roughly divide its tracks into three categories, the quiet and introspective with touches of experimentalism and that I can imagine in an ISB album, the extrovert and lively that reflect Heron’s experiences in rock groups and those that could establish him as a radio friendly singer-songwriter.”

“In creating this spectacularly eclectic album, Heron found a cast of sympathetic collaborators who had enough talent and vision of their own to be able to truly contribute to Heron's ideas. In turn, they seemed to push him to new heights, all the while providing the variety that makes this album as diverse and expressive as it is, with Heron as the great unifier.”

All By Myself - EDDIE KENDRICKS***

Let's Go Back To Day One/This Used To Be The Home Of Johnnie Mae/I Did It All For You/Its So Hard For Me To Say Goodbye/Something's Burning/Can I/Didn't We

All By Myself was the debut solo album release from the former Temptations vocalist Eddie Kendricks. He is best remembered for his distinctive falsetto singing style. (US:80)

“Stepping away from The Temptations, All By Myself found Eddie Kendricks working with producer Frank Wilson. Kendricks instantly recognizable voice was in fine form, but as you'd expect, as a non-writer he was largely dependent on Wilson's guidance and help in song selection. The good news was that about two thirds of the choices were good and the really bad choices came at the end. Known for his falsetto and handling many of The Temptations' best ballads, Wilson didn't dare stray too far from that identity.”

“Thankfully Eddie actually sings in his natural tenor for some of the songs, rather than giving us overwhelming amounts of falsetto as on his later albums.”

“All By Myself, was Eddie's first solo album after leaving the Temptations. Let's Go Back To Day One is a funky opening with Eddie's vocal multi-layered. Something's Burning starts off slow and ends with a funky ending, and the Jimmy Webb composition, Didn't We, closes this set.”

“Some super hit songs with fine arrangements sung by the greatest R & B falsetto that ever lived. He is accompanied by the funkiest of brothers in the band.”

“Eddie Kendricks sound was definitely Motown, but Frank Wilson knew how to find the right mix and arrangements to fit his voice. On his first album release I can still hear the Sly Stone and the emerging funk sound in this one.”

“This is early Eddie after his departure from The Temptations and his angelic tenor voice is at its best. Each track is like candy to the ears. If you are truly old school like I am, you must purchase this set.”

“All my favourites, the chartbuster classics and the ones you may have forgotten about, are in this collection. It brings back memories of when music was so clear, precise and respectable.”

Edgar Winter's White Trash - EDGAR WINTER***

Give It Everything You Got/Fly Away/Where Would I Be/Let's Get It On/I've Got News For You/Save The Planet/Dying To Live/Keep Playing That Rock & Roll/You Were My Light/Good Morning Music

For his follow up album Texan blues-rock guitarist Edgar Winter recruited several musicians to form his backing group White Trash. The new album was steeped in deep blues and southern gospel. (US:111)

“Southern blues-rock does not get much better than this. Once the needle hits the first groove till the last, this is terrific. The dual guitars of Rick Derringer and brother Johnny are everywhere and the overall vibe is down and dirty.”

“Blending hard-driving rock & roll with gritty, funky R & B, the music kicks harder than a team of mules. This is gut-busting, greasy, true grit Texas roadhouse music, just the kind of thing you want to put on at a down-home summer barbecue.”

“There are so many facets to this truly wondrous album. Rick Derringer and Johnny Winter's guitars are like fire and ice all over the place. The album is absolutely soaked and steeped in deep blues and southern gospel.”

“I wonder if people who grew up in the late 60s/early 70s took it for granted that every time they turned around some instant rock and blues classic would come out all the time. Well this is one of them. But sometimes I think people forget why this album is so revered. This album and serves as something of a transition from the psychedelic jazz-funk of the earlier Entrance and the blistering southern rock of his next They Only Come Out At Night. The overall result is a horn heavy, passionately sung early 70s blues-rock that is very funky and rockin' all the way.”

“Every track on this one is superb and full of raw, in-your-face earthiness with no slick commercial hype. A wonderful album fully reminiscent of the talent filled early '70s when the blues still had a strong influence on the rock idiom, and people really knew how to play their instruments.”

“You can almost feel the sweat, sawdust and smoke emanating from the pores of your speakers, and Jerry LaCroix's gravelly voice both blends with and counterpoints Edgar's high-pitched wails as the horns drive the engine.”

Faro Annie - JOHN RENBOURN***

White House Blues/Buffalo Skinners/Kokomo Blues/Little Sadie/Shake Shake Mama/Willy O'Winsbury/The Cuckoo/Come On In My Kitchen/Country Blues/Faro Annie/Back On The Road Again

Faro Annie from Pentangle guitarist John Renbourn is an album of folk-blues songs evoking Americana. Much of his music was based on traditional material with a Celtic influence, interwoven with other styles.

“This sounds really fresh and is an album of folk-blues songs rather than instrumentals and mostly Americana.”

“The reason why this is so good is the song selection and the arrangements. John Renbourn's acoustic guitar work is excellent but he also plays sitar and electric guitar (with wah-wah peddle) to very good effect. There are also fiddle, harmonica and bass and drums with good additional female vocals.”

“This is standard folk music, well played, but never surprising. It works best on the blues tunes, although Willy O'Winsbury is surprisingly good.”

“Renbourn claimed that this one was conceived as a piece of light folk-blues nostalgia, put together to fulfil his record contract. And it works.”

“Incomparable acoustic guitar (and very nice electric too) on largely traditional offerings, with his understated vocals (and some Pentangle company backup) that enhance the overall quality. Very bluesy; Kokomo Blues and Country Blues are beautiful. Americana blues of a bygone era by a British singer that never sounded so good.”

“Renbourn's playing style, and his gentle but melodious voice, were characterized by a quietness that carries over here. So if you're looking for excitement, go elsewhere. But the simple beauty of Renbourn's work is undeniable and this is one of his better examples.”

Fuzzy Duck - FUZZY DUCK***

Time Will Be Your Doctor/Mrs Prout/Just Look Around You/Afternoon Out/More Than I Am/Country Boy/In Our Time/A Word From Big D

Self titled sole album release form the London progressive group Fuzzy Duck. Their music features the prominent use of Hammond organ backed up by electric guitars.

“Fuzzy Duck is a marvellous conjugation of guitars, Hammond organ and drums. The music is intricate and flowery. It is very original combination of hard psychedelic rock with imaginative art rock with every song demonstrating musical virtuosity in its composition and arrangement.”

“Very underrated Hammond orientated rock from the early 70s. While this release doesn't exactly introduce original or groundbreaking ideas, it's hard to find any fault with it. Every track is enjoyable in its own way, and the album has a very warm psych atmosphere throughout. The organ and guitar playing is great and the extended jams in certain tracks give the album a prog reputation.”

“This album doesn’t stand out remarkably amongst the other progressive leaning heavy rock of the early 70s but it does present some instantly catchy groovy riffs that warrant repeated listens.”

“Following in the footsteps of their contemporaries Fuzzy Duck incorporate the lineup of Hammond and electric guitar to perform in the heavier key of early prog. The result is a fine album that's entertaining, energetic and often fun.”

“Listen to the whole album in sequence and one thing leaps out, and that is of an unchanging and constant pacing. There are few changes of tempo within each track and little difference from one track to the next. The absence of light and shade gets a little tiring despite the often interesting compositional ideas.”

“Fuzzy Duck sound like a lot of late 1960s Hammond based heavy rock keyboard ensembles, but they have slightly above average songs and are fairly precise musicians. The proceedings do not fall prey to sloppy playing or that other unwelcome indulgence of the time, the endless exploratory jam.”

“This is basically a down to earth great hard rock album full of catchy melodies and great interplay. Although the songs are within the five minutes limit they never get boring or move off into pointless jamming. The riffs, choruses and great soloing are too powerful to fall into that common trap.”

Halfnelson - HALFNELSON**

Wondergirl/Fa La Fa Lee/Roger/High C/Fletcher Honorama/Simple Ballet/Slowboat/Biology 2/Saccharin & The War/Big Bands/(No More) Mr Nice Guys

Self titled sole album release from the Mael brothers under this early moniker. In the mid seventies, under their new name Sparks, they would achieve commercial success built around their quirky sound and eccentric stage appearance.

“This has that feel that many debuts do of being in an awkward stage of growth in which the artistic vision has not yet quite reaching reality. That doesn't prevent it from having some really cool tracks here and there, ranging from proto-Blondie keyboard driven numbers to guitar driven glam coolness.”

“Before Sparks became Sparks, they got together with Todd Rundgren to create this debut album issued under the band's old name of Halfnelson. The Mael brothers approach to glam rock is already in evidence, and whilst it doesn't quite hit the distinctive operatic hysteria of Kimono My House it's still a credible entry in the band's discography.”

“The Roxy Music resemblances are evident but n the end Sparks' first outing did not quite make the impact the dense Roxy Music debut had, being less dramatic and more lightweight. This is a little too quirky for my taste, but still an important and influential album.”

“A very good first outing by my favourite eccentric Americans. They got better in the ensuing years, but this is a lovely and very accomplished beginning, produced with verve by Todd Rundgren.”

“I suppose it's comforting to know that the Mael brothers weirdness was something that was a part of them for a very long time. Ever since the very beginning, in fact. Halfnelson lures you in with a copious amount of weirdo falsetto, perverted lyrics and idiosyncratic song structures.”

“Initially, it was all too much - the voice, the shifting song structures, and the lyrics take a fair bit of time to get used to. But each reveals itself in time, and what results is a wholly unique and very enjoyable album. I'd stress that it isn't just weirdness that makes the album special; anyone can do that. It's the attention to detail that makes the whole thing convincing and resonant.”

Tir Na Nog - TIR NA NOG***

Time Is Like A Promise/Mariner Blues/Daisy Lady/Tir Na Nog/Aberdeen Angus/Looking Up/Boat Song/Our Love Will Not Decay/Hey Friend/Dance Of Years/Live A Day/Piccadilly/Dante

Eponymous debut album from the Irish folk duo Tir Na Nog. Their music primarily features their own compositions, reflecting their strong Celtic roots showcasing intricate acoustic guitar playing and close harmony singing.

“The first impression is that it is folk music based around two acoustic guitars and two voices that harmonize and complement pleasantly, without mistakes, but also without virtuosity or bursts of energy, Through its apparently predictable melodies, mystical or ghostly vibes on the one hand or subtle fun on the other start insinuating.”

“A mix of soft acoustic duets and some psych influenced folk/prog. I don't normally get excited about this kind of music, but this is good.”

“Some very nice folk music on this album, save for a few silly numbers. The sound could be described as a blend of Donovan and The Incredible String Band.”

“They manage to blend their influences and create a unique and captivating sound. In addition to their fairly economical but very expressive guitar playing they moderately but tastefully embellish their songs with several other instruments that they play themselves, only relying on external help for a couple of tracks.” “This is a stunner, the tunes are excellent and the harmony vocals stick in your mind. I love this album.”

“In between all the mythology are strangely beautiful melodies and tunes wrapped up in strings and acoustic guitars that are fabulous.”

“They can pen a good, memorable tune with an affecting chorus, and the relatively straightforward arrangements, fleshed out fiddle and some great arrangements, are never overdone. Pleasant without ever being startling, this is '70s folk-rock, with the emphasis on the folk more than the rock.”

Never Neverland - PINK FAIRIES***

Do It/Heavenly Man/Say You Love Me/War Girl/Never Never Land/Track One Side Two/Thor/Teenage Rebel/ Uncle Harry's Last Freakout/The Dream Is Just Beginning

Never Neverland was the debut album from the psychedelic band Pink Fairies who were prominent in the London underground scene. They have been credited as promoting free music, drug use and performing impromptu gigs and various other agitprop stunts.

“Pink Fairies were one of the instantly blossomed, insane bands of the early seventies that loved to mix hard rock and progressive with interesting imagery. Never Neverland was the only album from the band of any significance, and is regarded as a classic.”

“Sounding for all the world like a less spacey, more poppy, and more hard rock oriented version of Hawkwind, Pink Fairies' debut album delivers a psychedelic sound which clearly represents a major update from the 1960s, and bridges the gap between the hippie era classics and neo-psychedelic works.”

“The Pink Fairies debut Never Neverland is an essential part of any record collection. The album contains many elements that make it unique such as psych, punk, space, and heavy rock. I find each track to be a short story.”

“The first Fairies album is a mind-melting mix of drug-fuelled psychedelic atmosphere and scorching, feedback-driven acid guitar garage rock, with a remarkable nod to what would be later called punk. Great lyrics, raging vocals, a fierce rhythm section and some veritable classics.”

“I rate it above average, but not much. Heavenly Man, War Girl and the title track are my favourite songs. Those reveal that they were able to write songs. However, the rest is either boring jam or badly produced garage rock.”

“Where this album really succeeds is that over the course of its length it is quite a varied release which is quite hard to categorise. Its not really late 60s psych nor is it really early 70s rock.”

“The opener, while pretty rockin' musically, has some of the dumbest lyrics ever. Heavenly Man is an unusual psych ballad while War Girl has some fantastic guitar and a bit of an R & B sound. The title track is an excellent song, part underground rock, part minimalist noise. Uncle Harry's Last Freakout is a solid slice of guitar freak-outs, though it gets a bit long.”

A Third Of A Lifetime - THREE MAN ARMY***

Butter Queen/Daze/Another Way/A Third Of A Lifetime/Nice One/What's My Name/Three Man Army/See What I Took/Midnight/Together

A Third Of A Lifetime was the debut album from the English rock band Three Man Army formed by the Gurvitz brothers, after the break-up of their previous group Gun.

“Excellent hard rock guitar oriented recording that rocks from start to finish. The Gurvitz brothers play terrific guitars and Adrian never got his due as one of the best lead guitars on the planet.”

“Excellent hard rock power trio, with extraordinaire guitar playing by Adrian Gurvitz, a truly great six strings-hero but sadly overlooked.”

“A ten song album with three instrumentals is a bit suspect but this was 1971 and not that odd a situation. Excellent musicianship, with some real drivers like Butter Queen and What's My Name. On the whole a great record but I am not sure if it wants to rock hard or lean to the arty side at times.”

“Not as heavy or as bluesy as their later album but arguably a little more west coast. Nevertheless great early 70s rock that is well put together.”

“While not really in my top ten of semi-obscure classic rock, Third Of A Lifetime is a stirring affair I would recommend to those into more mid-paced rock with a controlled hardness.”

“While many say they grew more roots in hard rock, I tend to think they mingle somewhere within the boundaries of hard and light rock, towards moderate rock, for lack of a better term.”

“This band has its own unique sound, and features some fine guitar work. The songs are riff oriented but not as heavy as Zeppelin or Sabbath. The only problem is the overly repetitive nature of most of the album.”

“Guitarist brothers, Adrian and Paul Gurvitz, formerly of Gun, later of The Baker- Gurvitz Army, make a not surprisingly guitar-centric album of surprisingly fresh hard rock, full of riffs, hooks, and variation. More upbeat and sharp than overly heavy, but still a great hard-rock LP.”

In My Own Time - KAREN DALTON***

Something On Your Mind/When A Man Loves A Woman/In My Own Dream/Katie Cruel/How Sweet It Is/In A Station/Take Me/Same Old Man/One Night Of Love/Are You Leaving For The Country

In My Own Time was the follow up LP from Oklahoma folk singer Karen Dalton. Her bluesy, world-weary voice has been compared to that of iconic jazz singer Billie Holiday. Her repertoire also embraced blues, country and pop.

“Anyone with a passing interest in American roots music needs to hear Karen Dalton, her voice is vaguely reminiscent of Billie Holiday.”

“In My Own Time is her masterpiece. It takes a wide-ranging approach in its selection of material, taking in soul, country, psychedelia and even a splash of jazz. To every song Dalton adapted her voice in achingly beautiful ways.”

“This mixes soul, folk and country in a truly unique way. Dalton’s phrasing is very much in the idiom of jazz with her cracked, sobbing tones dancing and bobbing around the melodies of the old soul tunes, twisting them into new shapes.”

“In My Own Time remains a haunting showcase for the halting singer. She turns these songs upside down and inserts intimacy which makes them sound as if they were written for her.”

“There is no self-penned material on the album so track selection is crucial. Her voice doesn't suit all the songs chosen and comparisons to Billy Holiday, whilst I can see certain similarities, are a little over-done.”

“Karen Dalton sure could belt out a tune. There’s no surpassing this music, even today. I don't know another singer that could compete with the way she drags every last sap of emotion from each word.”

“Initially I disliked this album because I could not get to grips with Karen Dalton’s voice. However, I was drawn back again and again. Ultimately my assessment is that it’s a superlative piece of music that takes a lot of listening to really get into.”

“Dalton's voice is utterly unique - a raspy, twangy, blues/country mix, a kind of 'barbed wire and old bourbon' sound you won't hear anywhere else. The band is also great - they sound so loose that you expect it to come apart at any moment, but it never does.”

Waters Of Change - BEGGARS OPERA***

Time Machine/Lament/I've No Idea/Nimbus/Festival/Silver Peacock Intro/Silver Peacock/Impromptu/The Fox

Waters Of Change was the follow up album from Scottish progressive band Beggars Opera. They were more popular in Germany where they registered a hit single with Time Machine.

“Nice piece of early progressive rock with an excellent first side, and an above average second. Time Machine is the standout, but I also really enjoyed I've No Idea and the instrumental Nimbus. Very much worth looking into if you are into progressive rock.”

“After their magnificent debut their second studio disc Waters Of Change feels like a letdown. Although it’s definitely not a bad album this one feels like it's not on the same level. The eight minutes long opener Time Machine is probably my favourite song here but I can't call any of these tracks true masterpieces.”

“The songwriting approach here moves away from the Keith Emerson inspired approach of the previous album. Gone are the super-fast songs dominated by Alan Park's organ tossing out classical quotations. In its place are more balanced songs where the other instrumentalists get a more equal share of the spotlight, and the pace is a bit more varied than on Act One.”

“A disappointing work after the impressive Act One, but still a pretty cool album of early-70s prog rock, featuring a mixture of soft psych-oriented textures, organ smashes and symphonic overtones.”

“The keyboards arrangements, which include mellotron, piano and organ, provide a great diversity, plus some duets between female Virginia Scott and excellent musician Alan Park.”

"Time Machine is a great opening piece with great guitar organ and mellotron work. Lament is simply Alan Park playing a Scottish influenced song on organ. I Have No Idea is back to the more familiar sound of the band at the time. Nimbus is a rather down-sounding piece with guitar and mellotron. Festival has a more lively feel to it. Silver Peacock features some big mellotron brass with narration before the song proper starts. A short little interlude with cello and organ is found on Impromptu before ending with The Fox, which is a great piece that goes through several changes.”

The House On The Hill - AUDIENCE***

Jackdaw/You're Not Smiling/I Had A Dream/Raviole/Nancy/Eye To Eye/I Put A Spell On You/The House On The Hill

The House On The Hill was the third and final album with the original line-up from the progressive group Audience. Their inconsistency in songwriting prevented them from achieving greater public acceptance.

“Audience managed to capture much more than a rock album here, they have embraced the best of progressive rock, psychedelic music, and atmospheric layering, in what can only be described as the best of art-rock. All of it comes from the darker side, without seeming over-theatrical or silly. The whole piece manages to ring true, like a fine score or soundtrack, and very believable.”

“These songs are all pretty nice but nothing special, except for the title track which is very cool. As a whole this is better than their debut but a bit weaker than their second album.”

“They seem to be lightweights that remind me of Barclay James Harvest, and that is not exactly a compliment. There is a lot going on but it sounds sterile. A little testosterone would have helped this along. It is pleasant enough but in the end just boring.”

“This is a good progressive rock album with some folk elements, saxophones, flutes and vocals. There are no great highlights here, except the awesome title track.”

“A timeless classic full of energy. The vocals are raw, and untamed and the melodies grab you by the throat. The title song has a haunting quality that has never been imitated.”

“This album is book ended by two great tracks. Musically you can't fault the playing or individual tracks but for me the album stylistically is all over the place.”

“Although crossing genres there is still a consistent sound throughout. Nice folk moments with some really full on saxophone sounds. Cool rock out moments and some anthemic melodies.”

“Another overlooked prog-rock classic from the early 70s. I know record companies could not promote everything being released but there was a lot of good music that did not get the exposure it warranted. All in all, no self-respecting prog-rock fan should be without this in their collection.”

Indian Summer - INDIAN SUMMER***

God Is The Dog/Emotions Of Men/Glimpse/Half Changed Again/Black Sunshine/From The Film Of The Same Name/Secrets Reflected/Another Tree Will Grow

Self titled sole album from the Coventry progressive band Indian Summer. They wrote all their own songs to some acclaim, but like many other groups of the period they very quickly disbanded.

“Its subtle, keyboards led progressive with an often melancholy vibe, and strong, personal vocals. The songs are well written, the progressive nature of the music doesn't overshadow the songwriting. These are real songs, not mere jamming or flashy complex technical stuff that doesn't go anywhere.”

“Outstanding prog rock - there are some great guitar and organ solos but the vocals are a bit difficult to swallow. This is a typical prog rock LP from this time and place, one great album and poof, they are gone.”

“This short lived UK band delivered some of the finest progressive rock songs of the early 70s with this album. All of the songs are their own material. I really can't name any clear highlights because the whole album is so overwhelmingly strong. The instrumental work is fantastic and I really dig the vocals too. This album actually doesn't have any weak spots.”

“This is generally a great album that manages to be great prog without sounding like it's being prog just for the sake of being prog. It all feels so natural and cool.”

“A very strong effort from this, all but, unknown English band. The song-writing is pretty good with no clunkers. The vocalist does have a somewhat idiosyncratic delivery. When he's not forcing it he's fine but when he does strain, a not very welcome level of vibrato kicks in. There are lots of pretty nice Hammond work, both backing and as a solo instrument.”

“Indian Summer is among the most underrated LPs from early 70s, heavy prog with a lot to offer, from keyboard driving interplays to soaring guitars and good vocal parts. I was really impressed by their structures and excellent musicianship. They also manage to create something of real interest for prog listeners, with some very fine moments. They play a typical early '70s heavy prog with long instrumental passages, keyboard meets guitar interplays and solid bass lines over it.”

“At the very least, Indian Summer is a valuable period piece. At best it is an essential nugget from the British progressive scene of the early 70s.”