Live At Carnegie Hall - IKE & TINA TURNER***

Piece Of My Heart/Everyday People/Doin' The Tina Turner/Sweet Soul Music/Ooh Poo Pah Doo/ Honky Tonk Women/A Love Like Yours/Proud Mary/I Smell Trouble/Ike's Tune/I Want To Take You Higher/I've Been Loving You Too Long/Respect

A double live LP which records the legendary soul duo Ike and Tina Turner at the peak of their powers and popularity. It largely features their interpretations of well known covers.(US:25)

“Live At Carnegie Hall displays the duo at their best....live! Even when their dozens of albums weren't selling or on the charts, they could always light it up live thanks to Tina's amazing energy and stage presence. While no recording could come close to capturing her essence, this is as close as you can get.”

“I don't find this album to be all that great, since the music and performances are pretty much sub-par. I put the blame on Ike Turner. He's a marginal guitar player at best, there are times when he hogs the spotlight. Still, Tina's performances are often excellent in spite of the sloppy band and dodgy arrangements. So I still say it's worth a listen, but just barely.”

“Based around a variegated and eclectic collection of covers that always took the originals to new, unexpected and for the most part, improved platforms. Be it the rough take on the Stones Honky Tonk Women, the inflammatory reading of Sly Stone’s I Want To Take You Higher or the emotional charge injected into Otis Redding’s I’ve Been Loving You Too Long.”

“This concert was recorded at Carnegie Hall when Ike and Tina were still together and when they were considered to be at the peak of their powers. Their selections that night were great and ‘what you hear is what you get’. I've Been Loving You Too Long is sensational. Just hear the audience lap it up, an aural delight and a rock and roll experience.”

“Ike and Tina at their very best at the peak of their popularity. This is an exciting album that makes you feel like you are at one of their shows. Ike and Tina and the Ikettes are a very exciting and explosive live act and Live At Carnegie Hall really captures that essence.”

“The energy that comes off this record is electric. I love the version of I Want To Take You Higher. Great vocals, both from Tina and The Ikettes, and great instrumentation. It'll knock your socks off.”

Harmony Row - JACK BRUCE***

Can You Follow/Escape To The Royal Wood (On Ice)/You Burned The Tables On Me/There's A Forest/Morning Story/Folk Song/Smiles & Grins/Post War/A Letter Of Thanks/Victoria Sage/The Consul At Sunset

Harmony Row was the follow up solo album from the former Cream bassist Jack Bruce. Unlike fellow member Eric Clapton his album releases would fail to achieve any significant chart success.

“Bruce has crafted that extremely rare item, a jazz-rock fusion album that's not only accessible, but indispensable. Unlike works that require the listener to invest countless hours in the hope of one day having their weary mind bludgeoned into enlightenment as regards some supposed genius on the part of the artist, Harmony Row will find its converts quickly and decisively.”

“The album is both intricate and fragile, yet rock-solid. Using both music and lyrics to reach the listener's emotional core with flashes of intense, dizzying imagery. Harmony Row finds a virtuoso musician at the pinnacle of his powers. It is the musical equivalent of the gifted child.”

“Scattered along the album the germs of his talent and his fertile imagination give birth to gems as diverse as the spellbinding tranquil beauty of Folk Song, to short solo piano pieces as the both delicate and dramatic Can You Follow that sets things rolling with a sudden burst of voice and piano, or the soothing interlude with quasiavant- garde harmonic complexity yet unfailing beauty of There’s A Forest.”

“I was surprised to find that this album by Jack Bruce is better than anything Clapton ever wrote after Cream. It is a masterpiece. Jack's vocals are outstanding. His bass guitar is insane and is heard constantly throughout the album. The album is also very heavy in piano - which Jack plays beautifully. His guitar and drum players are also quite good. Jack also uses the same lyricist he used in Cream - Pete Brown - so expect some awesome word-work.”

“His musicianship as a bass player, acoustic guitarist, keyboardist, and cellist are highlighted here and are a testament of his skills as a unique artist of uncanny talents. Of course, adding to his ability as a composer-musician are Bruce's fiery and spirited vocals, which at that time were at the apex of all rock vocalists. During the early 1970s, when most British rock players were entrenched in heavy blues-boogie structures, Bruce went against the grain to present a poetic style of jazz and art rock, augmented with other-worldly piano and acoustic ballads.”

The Donny Osmond Album - DONNY OSMOND**

Sweet & Innocent/I'm Your Puppet/Hey Little Girl/Don't Say No/So Shy/Lollipops Lace & Lipstick/Flirtin'/Burning Bridges/The Wild Rover (Time To Ride)/Wake Up Little Susie

Debut album from thirteen year old Donny Osmond. For the next few years he would enjoy massive success on both sides of the Atlantic as a fantasy idol for early teen girls. (US:13)

“Teen pop from the 70s, which is somewhat rare. It is still bad, and has that kind of country lean.”

“Great songs by a young Donny on his first solo release. Get this album and listen to one of the greatest when he first started on his journey as a solo artist.”

“The album is very dated, but still contains some of Donny's biggest hits such as Sweet & Innocent along with other fan favourites like Flirtin'. Not even fourteen years old when these were recorded, Donny is at his squeakiest vocally here, but for diehard fans this LP is a must have and the whole thing has been put together brilliantly.”

“I recommend that anyone who is an Osmond fan should buy this album, the songs are really great.”

“I still have this album which I bought it as a teen. I am in my fifties and still love to hear Donny Osmond. So if you are a fan and want to bring back those teen memories I highly recommend this.”

“The Donny Osmond Album is exactly what you would expect it to be, a collection of lightweight pop confections that was a finely tuned commercial beast nevertheless. Hey Little Girl, I'm Your Puppet, and a very spirited version of Wake Up Little Susie all highlight the singer's youthful innocence and energies. If Lollipops, Lace & Lipstick does mark a musical nadir of sorts, it's still infectious enough that you'll be singing along regardless.”

“Unlike the Osmonds' own albums, there is little sense of artistry here; it is hard to escape the feeling that songs were selected, and arrangements recorded, long before Donny turned up to sing his way through them. But it's still enjoyable, and one that has withstood the test of time a lot better than many albums of its ilk.”

At Fillmore East - THE ALLMAN BROTHERS*****

Statesboro Blues/Done Somebody Wrong/Stormy Monday/You Don't Love Me/Hot 'Lanta/In Memory Of Elizabeth Reed/Whipping Post

Double live album from the premier Southern rock band The Allman Brothers. As well as being critically acclaimed At Fillmore East featured the original lineup before tragedy struck. (US:13)

“This album is pure brilliance, not only the guitar exchange the stage, but the rhythm never misses a beat. Just take a listen at In Memory Of Elizabeth Reed, one of the many climaxes of the album. You've got that jazzy feeling at the back and screaming guitars at front.”

“Live At Fillmore East is quite simply a cornerstone of rock. It's definitely rock ‘n’ roll, but it's also part southern boogie, the ultimate peak of live showmanship, and even has a lot in common with classic jazz; it's impossible to categorize. It's easily one of most flawless and inventive live recordings even committed to tape; the Duane Allman's guitar solos and slide are absolutely perfect and awe inspiring. The group as a whole was so good in this performance, so in-tune with each other's strengths that listening to this is nearly a religious experience.”

“Their mixture of blues, southern rock and jazz still penetrates the soul of any listener who dares to draw near this piece of living history. There must have been something in the air to endow this double album with such fire, warmth and strength. There's enough proof of Duane Allman's unlimited skills in his invaluable duels with Dickie Betts. Yet, there are not only incandescent guitars on this record. Keyboards flow as guided from a far-away paradise, and the rest of the accompaniment shines as possessed by an indescribable light.”

“It's absolutely brilliant, breathtaking, and entrancing, the most amazing blend of rock, blues, and jazz I've ever heard. The musicianship here is probably unparalleled in the history of rock music. And these guys played with the improvisational genius and intensity of our greatest of jazzmen.”

“At Fillmore East is the pinnacle of The Allmans career. A very dynamic live album with long blues jams, great solos and a very nice atmosphere. It does not matter if the songs last four minutes or near twenty like You Don't Love Me, they all sound very dynamic and tight.”

From The Witchwood - STRAWBS****

Glimpse Of Heaven/Witchwood/Thirty Days/Flight/The Hangman & The Papist/Sheep/Cannon Dale/The Shepherd's Song/In Amongst The Roses/I'll Carry On Beside You

From The Witchwood was the sole Strawbs studio album to feature keyboards wizard Rick Wakeman before he jumped ship to join the more prestigious and musically compatible group Yes. (UK:39)

“The sole studio album featuring Rick Wakeman it enjoys a wide range of moods, from the bleak and oppressive subject matter of religious persecution in The Hangman & The Papist to the hopeful and uplifting final song I'll Carry On Beside You. Although Wakeman gets a few opportunities to break loose on the keyboards, he's here mainly for support and texture rather than as a soloist, so it's no surprise that he'd jump ship for Yes. The material here is sufficiently engaging and wellperformed by the other Strawbs to be of interest to progressive folk fans.”

“Easily the best Strawbs LP, From The Witchwood is one of the greatest English folk-rock albums every recorded. It's full of amazingly well written and played gems helped along by the brilliance of Rick Wakeman's keyboards.”

“After a strong live album the band went into the recording studio and made their masterpiece. It is interesting to note that all Hudson & Ford’s contributions are very strong and fit very well with Dave Cousins well crafted tunes.”

“This was the final Strawbs album before they turned towards straightforward progressive rock. Although this is first-and-foremost a folk-rock record, there's just enough instrumental flair and compositional variety here to keep a proghead interested throughout. Wakeman is fantastic when he is allowed to shine, but his role is extremely supplementary throughout much of the album.”

“This was the first Strawbs album to feature the Mellotron and synthesizers. It's starting to show the band was looking to move in to a prog-rock direction, but most of the time remaining a folk-rock band.”

“A wonderful, not to say unique, blend of acoustic and light electric folk rock, yet quite different from its contemporaries. The lyrics of Dave Cousins are pure poetry, and the modest orchestrations, together with a church like vocal harmonies, make this album a true glimpse of heaven.”

“This album is a fine mix of English folk-rock containing many religious overtones. Rick Wakeman plays keys and, of course, his playing is awesome.”

Stephen Stills 2 - STEPHEN STILLS***

Change Partners/Nothin' To Do But Today/Fishes & Scorpions/Sugar Babe/Know You Got To Run/Opens Secret/Relaxing Town/Singin' Call/Ecology Song/Word Game/Marianne/Bluebird Revisited

Follow up solo album from Stephen Stills which is similar in style to his first but not nearly as good. Unfortunately, the best of his songwriting was now behind him. (US:8 UK:22)

“Overall this is a good listen. Not as good as his first solo it still has some fine moments of it's own that keep me coming back. Good vocals and guitar playing as always with Stephen Stills, so always a pleasure to listen to.”

“Here again Stills brings out some old material from his CSNY stint but the new songs didn't assure him the success he was used to. The sometimes superfluous and naive compositions make this album less memorable than its predecessor.” ,p> “Identical in style and spirit to the first album, it just lacks a little melodic sparkle to lift it into classic status. Otherwise it is excellent in most departments. One weakness is that most of the tracks are a little short and unclimactic. This kind of vibrant, atmospheric rock was about to vanish, as recording techniques changed to produce the cleaner, more artificial, pasteurised sounds of AOR.”

“Some times this album is better in places than the first one, but in places also seriously worse. Stephen Still 2 is an average enough effort that has a couple of memorable tunes but the poorer songs are just that bit poorer. Change Partners is the only song with any worthwhile theme and tune.”

“This album still treads too much of the same ground. Change Partners might as well be called ‘Love The Next One You're With’. Stills didn't have to resort to a pallid remake of Bluebird to let us know that he was running low on ideas.”

“Just like the majority of Stills' solo work, there a a couple of really fine tunes here, and a lot of no more than OK filler. The good stuff starts right at the beginning. Change Partners is a bittersweet tune about the ending of relationships, and how they are just a normal part of life. It's smart, and one of those songs that really sticks in your head.”

“An enjoyable album with a variety of style and song types. From a phase of his career that was very productive. Not as strong as his first album but a worthy effort by my own personal favourite acoustic guitarist.”

B S & T 4 - BLOOD SWEAT & TEARS****

Go Down Gamblin'/Cowboys & Indians/John The Baptist (Holy John)/Redemption/Lisa Listen To Me/A Look To My Heart/High On A Mountain/Valentine's Day/Take Me In Your Arms/For My Lady/Mama Gets High/A Look To My Heart

The fourth album release from the jazz-rock ensemble Blood Sweat & Tears was their last to achieve a high chart placing, following a lack of consistency not helped by the departure of many of the founding members. (US:10)

“Most of the songs sound very good – just the kind of jazzy, often funky pop/rock that one expects from B S & T.”

“With the richest tonal palette of all brass rock bands – trumpet, piccolo trumpet, flugelhorn, trombone, bass trombone, tuba, baritone horn, alto sax, flute, clarinet and bass clarinet – B S & T continue their saga of giving cinematic proportions to their repertoire. However their fourth release undergoes a notorious change, the track list for the first time consists of mainly original material.”

“B S & T had it going on all cylinders for this album with but two songs from members of the band. Although Go Down Gamblin' was the big hit there is so much to this LP. Sensitive and driving, moving and quiet, introspective and passionate, you will moved in many ways. David Clayton-Thomas' voice is as good as it has ever been.”

“This particular album accentuates how a band that enjoyed tremendous success, could be so unaffected as to turn out a mature and well constructed album, similar yet vastly different from their previous albums. This innovative band continued to be one of the great aural joys of their era. The high point is Go Down Gamblin' with David Clayton-Thomas being surprisingly good on guitar.”

“This is such a cohesive work that is listenable from start to finish. Cowboys & Indians is my favourite track, but there's not a bad one on it.”

“This is an excellent album. I started listening to it almost thirty years ago and have never tired of it. The horns are phenomenal. When combined with David Clayton Thomas's unique voice, it's nearly unbeatable.”

“The opening song Go Down Gamblin’ written by singer David Clayton-Thomas features some phenomenal dual guitar interplay I wouldn't have expected from these guys.”

Blue - JONI MITCHELL*****

All I Want/My Old Man/Little Green/Carey/Blue/California/This Flight Tonight/River/A Case Of You/The Last Time I Saw Richard

Blue was the final album from the golden period of singer-songwriter Joni Mitchell. Her idiosyncratic folk-rock compositions would become both less inspired and more jazz focussed. (US:15 UK:3)

“This is the record that launched a thousand female singer-songwriters. It features some of the most accomplished and most influential songwriting of the 1970s, full of the substance that so many singer-songwriter albums lack.”

“Joni Mitchell's Blue is without a doubt one of the finest pieces of singer-songwriting. The album is a magnificent culmination of her piano and guitar talents, this time adding the simplistic and almost exotic beauty of a lap dulcimer. The tones are highly personal; loneliness, homesickness, confidence, excitement and deep sorrow.”

“This is my favourite of Joni’s albums, and it definitely marks the point where she perfected the approach she was developing on her first four albums – quiet, understated folk music heavy on acoustic guitar and piano, and light on most other stuff.”

“Lots of beautiful and heartfelt tracks here, featuring slightly odd melodies and harmonies lending it an original-sounding mood. This constitutes poetry that is stunning at its best moments, with gorgeous melodic vocals.”

“I am simply amazed at Mitchell's songwriting, vocal range and melodies. I could go on and on. There are no songs being written or sung like this today. Joni has the ability to paint pictures of her journeys through life that intrigue and fascinate us. Plus the songs are simply a joy to listen to. At first I used to be turned off by Mitchell's singing and vocal mannerisms. but before long her voice becomes comfortable and welcome.”

“Consistently perfect songwriting throughout. Joni Mitchell knows how to wring the sweetest notes out of a guitar. Her melodies and chords are always rich, bold and colourful. Best of all, her emotional honesty makes for a deeply touching listen.”

“Certainly the most influential folk album ever written by a woman, and the template for every sensitive female artist playing a guitar, piano or harp. She dissects herself and her lovers past and present with analytical precision.”

Every Picture Tells A Story - ROD STEWART*****

Every Picture Tells A Story/Seems Like A Long Time/That's All Right/Tomorrow Is A Long Time/Maggie May/ Mandolin Wind/(I Know) I'm Losing You/Reason To Believe

The critically acclaimed Every Picture Tells A Story was the breakthrough album for The Faces front man Rod Stewart, which launched him on the path to super stardom that in time would be maintained at the expense of artistic credibility. Includes the US & UK chart-topper Maggie May. (US:1 UK:1)

“A tremendous album. Although much of it is covers, Rod at this time did covers better than anyone and picked his material very smartly. Most of it is very heartfelt folk ballad type stuff which Rod carries off wonderfully, accented beautifully by both acoustic and steel guitar.”

“Stewart concocted a potent brew of folk, country, blues, soul, gospel and of course rock, with every track sounding quite distinct and yet somehow intrinsically bound to its companions. Credit that to the band behind the music and indeed the production, each song sounding as if it was recorded live with no overdubs.”

“Believe it or not, there was a time when Rod Stewart was actually good. Better than just good: before he would destroy his reputation in the eighties he made some brilliant records and I would say Every Picture Tells A Story is the pinnacle.”

“This is the Rod Stewart we ought to remember and celebrate, offering Faces-style rockers on Every Picture Tells A Story, folk-rock narratives on Maggie May, and uplifting torch songs on tracks like Reason To Believe. The covers are ably picked, The Faces are on form providing the musical backing, and the original songs are better than ever.”

“Yes, there was a time in the early 1970s when Rod Stewart could do no wrong. High quality all the way, Every Picture Tells A Story is ragged, rocking, tuneful and pretty. With covers and originals everything works, especially the title track and Maggie May, overplayed but undeniably great. Stewart wouldn't be relevant for much longer, but this is his high point.”

“Rod Stewart's early career appears to have been a miracle. His later work was a huge disappointment, not because his music was so terrible, but because his fans couldn't believe that an artist who developed such a seamless blend of folk, rock, soul and country that both sounded highly traditional and completely innovative, would turn his back on his muse. But the muse is in full control on this album.”

Angel Delight - FAIRPORT CONVENTION***

Lord Malborough/Sir William Gower/Bridge Over The River Ash/Wizard Of The Worldly Game/The Journeyman's Grace/Angel Delight/Banks Of The Sweet Primroses/The Cuckoo's Nest-Hardiman The Fiddler-Papa Stoor (Medley)/The Bonny Black Hare/Sickness & Diseases

Angel Delight was the first release from the leading British folk group Fairport convention following the departure of Sandy Denny and Richard Thompson. It is a mixture of originals and traditional folk songs. (US:200 UK:8)

“I find this quite decent, and way better than many others of its ilk. It features somewhat heavy sounding, almost plodding material, with some mild Celtic moves here and there, and there is a mix of folk rock and traditional style folk. Unfortunately, it seems to lack that unidentifiable ingredient that sets their earlier releases apart from the rest. Genre fans won't be disappointed however.”

“The first album following founding member Richard Thompson's decision to pursue a solo career, Angel Delight saw Fairport Convention reduced to a quartet. While no longer an active member, Thompson's influence wasn't entirely missing given he'd co-written two of the ten songs prior to his departure.”

“When people talk of Fairport Convention, they will usually start by mentioning Richard Thompson and Sandy Denny. Their departure was certainly a tremendous loss to the band, but as this album shows Fairport were still a band of considerable talent. Mixing traditional tunes and originals, this album serves both as a showcase for the remaining members' talents, and as a worthy successor to the Sandy Denny /Richard Thompson era.”

“With Nicol and Swarbrick stepping into the leadership roles, the album offered up a surprisingly enjoyable mix of traditional English folk with more conventional and commercial numbers. While neither were fantastic singers, once you gave them a chance, the results weren't half bad.”

“Richard Thompson is gone, and he's sorely missed, not just in his guitar playing (although Simon Nicol steps up to the plate manfully), but also in his songwriting abilities. The title track is the best thing here. With Simon still a reluctant singer, Swarb handles most of the vocals, and his voice can fairly be described as an acquired taste. The traditional songs come off best, particularly the haunting The Bonny Black Hare, but it's not enough to boost the album past fair at best.”

Summer Solstice - TIM HART & MADDY PRIOR***

False Knight On The Road/Bring Us In Good Ale/Of All The Birds/I Live Not Where I Love/The Ploughboy & The Cockney/Westron Wynde/Sorry The Day I Was Married/Dancing At Whitsun/Fly Up My Cock/Cannily Cannily/ Adam Catches Eve/Three Drunken Maidens/Serving Girls Holiday

Summer Solstice was a further collection of mostly traditional English folk songs performed by Steeleye Span leading lights Maddy Prior & Tim Hart. In contrast to the electric sound of much of the group material this is acoustic.

“An enchanting, hypnotising, very pretty folk album based around either the acoustic guitar or a dulcimer, with the odd bit of percussion, fiddle or string session. With the odd unaccompanied vocal, the album sounds like an acoustic Steeleye Span.”

“Highlights have to be the gorgeous False Knight On The Road (totally different to Steeleye's version), the downright spooky Bring Us In Good Ale and the gorgeous I Live Not Where I Love.”

“The songs are possibly a little samey, but as it is only about thirty minutes longs it never really gets the chance to become monotonous.”

“A terrific ‘solo’ album by Hart and Prior who were with Steeleye Span at the time. They had done this sort of thing before, with the two volumes of Folk Songs, but this is a lovely album.”

“Summer Solstice is delightful. All acoustic, with two engaging voices and lively traditional rhythm, and an alternate version of one of my favourite Steeleye songs, False Knight On The Road - here a gorgeous full-throated Maddy Prior solo. Most of the songs are traditional, and the one or two that are modern fit in well with the others. I'd recommend this album to anyone who likes traditional acoustic music.”

“Maddy does nearly all the singing although Tim gets some and joins Maddy on other songs. He is mainly preoccupied playing guitars, dulcimer, harmonium, psaltery and tabor. Other musicians play mandolin, string bass, percussion, bells and electric bass. Quite rightly, the dominant instrument here is Maddy's superb voice, one of the finest that has ever graced the world of folk music.”

“Unlike the rock elements (drums and electric guitars) introduced into Steeleye Span recordings, this is an unplugged affair with Hart on guitars and dulcimer. Vocal chores are split between Hart and Prior, occasionally singing duet.”

Indelibly Stamped - SUPERTRAMP***

Your Poppa Don't Mind/Travelled/Rosie Had Everything Planned/Remember/Forever/Potter/Coming Home To See You/Times Have Changed/Friend In Need/Aries

The second Supertramp album Indelibly Stamped came at a difficult time for the progressive band following a significant turnover of members resulting in a loss of musical direction.

“Supertramp abandon their early progressive rock sound switching to a jazz/hard rock sound. The guitars are heavier, the songs are shorter and complete with a saxophone. A sneak preview of their later sound perhaps. The band goes Jethro Tull on you at the end with the closer Aries, an all jazz flute glory.”

“Well Supertramp were still trying to figure things out, and this album is pretty much the definition of filler. Everything about it is bland from the songs, to the melodies, to the album art. Its really just a mess scrambled between Supertramp's transitional period from more of a pop group to full on progressive.”

“The main problem with the album is that the band simply don't know who they are, or what musical direction they want to take. As a consequence they try a little bit of everything and don't achieve very much in any of the formats they try out.”

“Indelibly Stamped is one of Supertramp's less well-known releases coming, as it did, before they received any major commercial attention. It reveals a band in the midst of developing their own style and still unsure of their own abilities. There is no hint here of either the success they would later enjoy, nor the more commercial side of rock they would favour. What does shine through, however, is the promise of a band who exhibit a breadth of musical accomplishment way above the average, and a dual vocal approach which provides an added dimension.”

“Supertramp's second album, Indelibly Stamped, was critically-acclaimed but didn't exactly set the cash registers ablaze. Still, the band continued to evolve, as they stepped away from the psychedelic rock of the first album and honed their trademark jazz/pop/rock hybrid sound that would eventually sell millions.”

“This LP represents the early efforts of the notable British art-rock band, still developing their sound. Even on this early record you can see the pattern beginning to emerge; guitarist and lead vocalist Roger Hodgson's gentle, deeply introspective musings are counterbalanced by the solid blues influences of Rick Davies. As the principle songwriters they created moments of true beauty.”

Illusion - RENAISSANCE***

Love Goes On/Golden Thread/Love Is All/Mr Pine/Face Of Yesterday/Past Orbits Of Dust

Illusion, the second album from Renaissance, was released at a turbulent time for the group as important founder members departed. Matters did not improve as they would soon suffer a complete change of personnel.

“What we have here is what a band sounds like in the middle of total meltdown. Due to the fact that they hated touring, the two founding members Jim McCarty and Keith Relf jumped ship leaving the rest of the band to fend for themselves. Jane Relf is still here but she sounds lacklustre and hardly any songs have the same musicians.”

“The first side has some pretty tracks like Love Is All and Golden Thread, plus the incredibly boppy Love Goes On. A lot of the rest is an odd cobbler. Mr Pine was written by someone who wasn't really in the band and sounds like a throwaway psychedelic relic married with pieces from other songs. The lengthy Past Orbits Of Dust really goes nowhere in the last ten minutes.”

“Despite the constant shifting personnel, Illusion is an incredibly even record, although not as aggressive as their debut. The classical influences are also toned down concentrating more on the folk aspect of their sound. The four tracks initially recorded for the album are the strongest. Mr. Pine has its moments, although it sounds unfinished and not fully realized. Past Orbits Of Dust starts out an excellent track, but soon devolves into pointless jamming and eventually just loses steam.”

“This is the second Renaissance album, the last before they change all the musicians. This record is sometimes piano oriented, but less than the Renaissance of the Annie Haslam-era; the baroque piano parts are absolutely delightful and unforgettable. The omnipresent electric guitar is inoffensive. The female singer Jane Relf has a very good voice, even though Annie Haslam is better. There are tons of catchy and mellow backing vocals. Many parts have rather delicate psychedelic rock tendencies, not unpleasant at all.”

“With all the internal turmoil, one would expect Illusion to be very uneven. As it turns out, though, in many ways, it's a better album than their debut. The band cuts down on the winding jams and concentrates more on melody. Two of the contributions, Love Is All and Love Goes On are delightfully catchy pop songs, with nice vocal harmonies and rather dated hippy-dippy lyrics, but that's OK.”

Distant Light - THE HOLLIES***

What A Life I've Led/Look What We've Got/Hold On/Pull Down The Blind/To Do With Love/Promised Land/Long Cool Woman (In A Black Dress)/You Know The Score/Cable Car/A Little Thing Like Love/Long Dark Road

By the time of the release of Distant Light The Hollies were beginning to fade a little in Britain. Nevertheless the group would achieve their biggest hit single in the US when Long Cool Woman peaked at No. 2. (US:21)

“One might think that an early 60s British pop group would be out of place in 1971 and generally you would be right. However, this may be an exception - nice harmonies and some decent guitar riffs, not hard rock but not bad.”

“Distant Light may possibly be considered their last great album before they descended into boredom. There are some solid tracks. The songs are also more serious and conceptual than on Confessions despite the highly derivative sound of the record. Then again, most of their work was derivative in some way. It was their vocal charm, songwriting and spirit that made all the difference to even the casual fan, let alone the die-hards like myself.”

“A largely overlooked post-Graham Nash offering from The Hollies has dated well. Even though the track list includes one of the band's most recognizable radio hits Long Cool Woman don't be fooled into thinking this is entirely finger-popping sing-alongs. Most of the album features more complex musical arrangements than previous Hollies releases.”

“The rocker Long Cool Woman is untypical of Distant Light, the overall aura is polished folk-rock: symphonic, mysterious such as Look What We've Got, and majestic You Know The Score, a mesmerizing three-part suite with an elegant a capella sandwiched in the middle. Hidden among the spirited hook-laden pop is an anti-war message which is pretty clever for a pop album.”

“On the albums before this one they always sounded too clean. Here they sound like a rootsy-rock band doing great pop-songs, which is exactly the combination I like.”

"Distant Light showed a mature, well-rounded band at their peak. Soaring harmonies, topical songs and varied instrumentation are the key elements here. They tackle such subjects as war, the complexities of relationships and even gangsters with flair and panache.”

Joshua - DOLLY PARTON****

Joshua/Last One To Touch Me/Walls Of My Mind/It Ain't Fair That It Ain't Right/J J Sneed/You Can't Reach Me Anymore/Daddy's Moonshine Still/Chicken Every Sunday/Fire's Still Burning/Letter To Heaven

Joshua was an early acclaimed album from rising country star Dolly Parton. Her compositions are taken from her background and many of them fall into the category of story songs. (US:198)

“Joshua marks the beginning of slightly harder sound. Where on previous albums Parton was surrounded with typical Nashville arrangements of the times, here for the first time we hear some excellent musicians in the background who surround her with strong guitar playing that inspired some of her most self-assured singing.”

“As usual she looks at her background for inspiration and Chicken Every Sunday romanticizes poor childhood. Of course Dolly wouldn't be Dolly if she didn't end this triumphal album with a sentimental Letter To Heaven that perfectly describes her obsession with death, children and Heaven.”

“Chicken Every Sunday is a song based on one of Dolly's favourite themes - that being poor doesn't matter, you can still enjoy life as other things are more important. There are many great story songs in this collection including Joshua. Of the others, I particularly like J J Sneed, a dramatic love gone wrong song in a Bonnie and Clyde type of setting.”

“Joshua was Dolly's first number one song and you can tell why by listening to it. One of my favourite Dolly songs The Last One To Touch Me where her beautiful voice sings the song to the highest and as it plays on, your mind envisions an angel. Your mind will envision many things listening to this album for many of the songs on the Joshua side are story songs, each one with a twist here and there, something Dolly is very famous for. Dolly lets her voice run free on this album and once again her pure magic shines through.”

“These songs are classics because they contain Dolly's roots in music, when she was doing the story songs that had a great underlying message. If you examine her songs here a lot of them suggest simple meanings that unite us all. Joshua could be interpreted as a beauty and the beast type story, don't let appearances keep you from loving or getting to know someone.”

Den Of Iniquity - THE NORMAN HAINES BAND***

Den Of Iniquity/Finding My Way Home/Everything You See (Mr Armageddon)/When I Come Down/Bourgeois/ Rabbits/Life Is So Unkind

Norman Haines was the keyboard player in the Birmingham progressive group Locomotive. He then formed his own band whose sole album release was Den Of Iniquity, after which they soon disbanded.

“This obscure heavy psych/progressive rock record is a nice totality even if it's not one of the strongest releases of either of those genres. The album has lots of solid guitar work and organ, and they've succeeded with the songwriting quite well. I guess Rabbits is the best part but the other songs are all more or less enjoyable.”

“Some really cool progressive rock, showcasing a nice lead guitar augmented with some nice wah-wah Hammond. A little psych and a little blues, but overall good prog rock.”

“The styles waver throughout the album, going from, proto-prog, psychedelia, jazzrock and even one track which is unadulterated folk. Yet, where many bands that have this ambivalence of generic styles, the Norman Haines band possess an overall ethos which binds the contrasting styles into one, cohesive whole.”

“This is a classic proto-prog and psychedelic minor masterpiece, with lengthy instrumental improvisations, great vocals and above all excellent melodies. An absolute must to all early prog fans.”

“Den Of Inquitywas the only album recorded by the band and was a dark and heavy affair with superb compositions that included a reworked version of Mr. Armageddon, the excellent title track and the epic thirteen minute long Rabbits. An excellent keyboard dominated progressive rock album.”

“Stylistically this is very diverse, and it takes awhile to get its sea legs. The title track and When I Come Down are the highlights of the first side. With side two we get a splendid near ten minute jam, that truly catches a groove and allows for some excellent guitar soloing over the tranced out organ led rhythms. Not lost is the longish electronic oriented piece with fuzz organ and electric piano that closes the album.”

“If you value quality music, you found it here. Passionate white blues with prog and psych, wrapped up in working class poetry, scorn, and music magnificence.”

Fuchsia - FUCHSIA***

Gone With The Mouse/The Nothing Song/Another Nail/Shoes & Ships/Me & My Kite/A Tiny Book/Just Anyone

Self titled sole album release from the British rock group Fuchsia. There name intimated a fusion of early 1970s musical trends, particularly progressive elements mixed with folk-rock.

“The long tracks are exhilarating with ever changing structures and unpredictable ways; the shorter tracks are full of pastoral delicacies.”

“It has a nice range of emotions, from melancholy to twee and all kinds of delicate intermingled shadings in between. It's basically a perfect album, just timeless inspiration and originality captured at the right time.”

“Strings are abundant, as are slowly unfolding waves of musical ideas, some slightly dissonant, others utterly pleasing in their melodic nature.”

“This highly unusual and unique line-up created a completely original sound and musical approach, mixing elements of prog, folk-rock and classical in a highly adventurous and, for the time, unheard of manner.”

“The concept for Fuchsia was born out of the desire to experiment with writing a series of musical themes, which start at a particular point and move on, without necessarily following the normal classic pop song format, and making string parts an integral part of the song itself, rather than something added to embellish. They succeeded masterfully in putting these dreams onto tape.”

“It’s certainly folk-rock, with its own sound in that most of the album is quite fast, the drumming frequently with a military feel, and lots of acoustic guitar. Features symphonic folk with lots of development in each song with beautifully played strings. The Nothing Song drags somewhat, but otherwise there are consistently accessible melodies, and a nice serious, dramatic mood throughout.”

“For an album that mixes folk and progressive moves and sports a rather nontraditional instrumental line-up, Fuchsia generate surprising momentum, tracks such as Shoes & Ships and A Tiny Book sporting some exceptionally pretty melodies. In keeping with more rock oriented tastes, there are even modest heavy metal guitar passages on Just Anyone and the first instrumental segment of Another Nail. Less impressive, the fey and mannered vocals are an acquired taste.”

Galactic Zoo Dossier - KINGDOM COME***

Internal Messenger/Space Plucks/Galactic Zoo/Metal Monster/Simple Man/Night Of Pigs/Sunrise/Trouble/Brains/ Galactic Zoo-Space Pluck-Galactic Zoo (Medley)/Creep/Creation/Gypsy Escape/No Time

After the collapse of his Crazy World group Arthur Brown gathered together some new musicians to create the progressive band Kingdom Come, releasing Galactic Zoo Dossier as their first album.

“A blend of space rock and psychedelia, the first Kingdom Come album sees Arthur Brown's vocals in fine form but lacks the impact of the Crazy World fiery debut, possibly because none of the band's instrumental performances match the explosive power of Vincent Crane's organ. Furthermore, the songwriting seems rather fragmentary, with strong longer tracks but a few short ones which seem underdeveloped.”

“”The first of a trilogy of albums by Arthur's short lived Kingdom Come band; the music on this record moves in a different direction from his previous work. Some of the more pop sensibilities from the first record have been stripped away, and the music seems to move in a more avant-garde and progressive direction.”

“Combining elements of art-rock, prog, psychedelia, avant-garde, jazz and even classical, this was music eons ahead of its time. It is revolutionary and outrageous, intelligent and funny, full of complex compositions with frequent rhythm shifts and multi-melodic themes; in short dazzling every step of the way. Brown's unique vocal delivery adds another dimension to the already multifaceted package.”

“Arthur Brown’s Galactic Zoo Dossier is one of the freakiest rides you’ll take in the world of pitch blackness. Between the bands foreboding prog-rock sound, Arthur’s doomsday theories and the subversive sound effects that beef up the tracks.”

“Arthur Brown came out in the '70s with a new band and style, but overall the album still reminds me of his earlier The Crazy World Of Arthur Brown. Both of them have a trippy rock sound. Similarly, bizarre short interludes bridge songs with themes into that segued concept album feel. The band has more of a hard rock/prog rock style than Crazy World's jazzier psychedelia. Some of the songs suffer from sounding typical of the era with their plodding repetitive hard rock.”

“The music is more aggressive than The Crazy World Of Arthur Brown, plenty of wild guitar work, killer organ, and of course, Arthur's voice. The opening cut, Internal Messenger features a bunch babbling about sinning before the song kicks in.”

The 2nd Of May - MAY BLITZ***

For Mad Men Only/Snakes & Ladders/The 25th Of December 1969/In Part/8 Mad Grim Nits/High Beech/Honey Coloured Time/Just Thinking

Second and final album release from the British and Canadian progressive rock trio May Blitz. Several personnel changes and lack of commercial success led to their disbandment.

“This English power trio are one of tightest rhythm and blues units of history, playing a mixture of heavy psych with progressive influences. May Blitz are one of the few bands that manage to achieve a hard rock style that is distinctively exciting.”

“May Blitz may be one of my favourite bands when it comes to the rhythmical playing and the awesome heavy psych feel. This album shows just how much potential the band had, though the production doesn't always do the band justice.”

“Progressive and heavy psychedelic rock with some bluesy sound included in some of the songs. The 2nd Of May includes lots of great moments but unlike its predecessor this one includes some not so good tracks too. For example The 25th Of December 1969 is a pretty useless track and it feels like complete filler. However most of the rest of the material is very solid.”

“The predominant genre represented here is progressive hard rock, though not all of it would classify as progressive, and also, not all of it is hard either.” “A great follow up where they continue on same bluesy/psychedelic/hard rock/prog sound they did on their first album, with extended jams.”

“Oh dear, after the excellent first LP, that difficult second album feeling really kicked in and you can really sense that ‘OK guys, what do we do now’ seep into every track.”

“May Blitz put out the hardest rock and roll you have ever heard. Every cut a gem, so don't miss out.”

Demian - DEMIAN***

Face The Crowd/Windy City/Love People/Coming/Todd's Tune/No More Tenderness/There You Go With My Baby/Only A Loner

Eponymous sole album release from the American progressive group under the name Demian. They had previously achieved a US top 20 hit as Bubble Puppy but changed their name due to fears they might be associated with the distinctly uncool bubble gum genre.

“A great hard rock album, not psychedelic at all, with hard rock in Led.Zep vein and many more hard rockers with some really excellent compositions and guitar playing.”

“This first and only album by Demian is a very satisfying package of psychedelic hard rock. Demian were the second version of the Texas psych rock band Bubble Puppy. Some really high quality material can be found on this LP.”

“More or less, a second album by Bubble Puppy, completely gone are all psychedelic influences. Here, the band concentrates on good guitar based hard rock, featuring some fine song writing with a great period flavour. A highly consistent release.”

“If you like heavy psychedelic rock with a strong guitar work then Demian's self titled album is well worth giving a try. This is a bit heavier album compared to the Bubble Puppy album.”

“Pretty typical example of early 70s blues/hard rock. It sounds OK, but there is no magic beneath and nothing to really blow your mind. Best tracks are Face The Crowd and Windy City. Only for serious fans of early 70s hard rock.”

“The quartet largely abandoned their psychedelic-tinged past in favour of an above average collection of Steppenwolf-styled hard rock. Full of tasty twin guitars (Coming was particularly good), and tight group harmonies it may not have been the year's most original offering, but still managed to blow away most of the competition.”

“This was the band's sole album. Demian is basically the four musicians from Bubble Puppy putting out a post-BP release. Notice its more hard rock than Bubble Puppy which was, of course, a psych band.”

Moon Blood - FRACTION***

Sanc-Divided/Come Out Of Her/Eye Of The Hurricane/Sons Come To Birth/This Bird (Sky High)

Moon Blood was the sole album release from the short lived Los Angeles progressive band Fraction. Very unusually for this genre they included lyrics with clear references to Christianity.

“A very good psychedelic experience, but it doesn't have quite enough oomph for me to put it among the greats. The hoarse, anguished vocals still work in the album's favour, and the lyrics, as Christian as they are, are absolutely poetic and some of the most beautiful I've heard.”

“When he's not outright screaming, the vocalist is crooning in that overly-sentimental manner usually found on one of the more dire new romantic albums. The music's not particularly heavy, either, and nor is it even vaguely psychedelic.”

“Moon Blood was the only album this underground psych band ever put out and it rocks so very hard most of the time. Just great heavy psych sound with awesome raw moaning vocals. The lyrics also have clear references to Christianity but it doesn't matter that much.”

“Their sound consists of hard rocking psychedelic rock or simply just heavy psych, raw and raunchy vocals and brilliant songwriting. There is no doubt that this album rocks perfectly from start to finish.”

“The music is heavy and lethargic hard rock, with very loud guitar, psych flavour, and that distinct west coast vibe.”

“What we have here are mostly some dirge like tunes filled with angrily passionate vocals and fearsome guitar work full of wah-fuelled sonic pudding. The tunes tend to start off with quiet, sad melodic lines, soon to build into slow moving beasts.”

“The vocals driven, blues-psych is amazingly well done for a debut release. The Doors influence is unmistakable, particularly by the fifth track. Mix that with Fraction's heavier, darker sound and excellent production; I can only wish there had been a few more releases from Fraction.”

“Fraction's only release is classic progressive/psychedelic music with two long suites well played and performed. Moon Blood is an excellent addition to obscure progressive rock collectors.”

Tanz Der Lemminge - AMON DUUL II**

Syntelman's March Of The Roaring Seventies/Restless Skylight Transistor Child/The Marilyn Monroe Memorial Church/Chewing Gum Telegram/Stumbling Over Melted Moonlight/Toxicological Whispering

Dance Of The Lemmings was a double album from the German avant-garde group Amon Duul II. Considered by fans of this genre to be their masterpiece, others dismiss it as merely annoying noodling noises.

“Amon Düül II's third album, considered at the time of its release to be their masterpiece, is in much the same vein as Yeti in terms of balancing composed pieces against longer, improvised ones, though this one focuses on sparser arrangements and more acoustic instrumentation. The result is less immediate and mind-meltingly intense than their previous album, but no less rewarding.”

“Tiresome and tedious, this is progressive in a very sober way. It is fragmentary, calculated and non-collaborative, as if the writers holed up by themselves and wrote each of these sidelong compositions by compiling uni-dimensional riffs together tangentially.”

“A veritable collage of composition with overlays and instrumentation a-plenty and despite the track titles there are not really any tracks at all. There are repetitive themes which occur throughout and notable pieces where the listener will find recognisable rock music. In every sense of the word this is a trip. The listener is treated to an entire experience which lasts for over an hour. The album represents the pinnacle of improvisational achievement from a traditional rock band.”

“This is the point where it all came together for Amon Duul II - where the songwriting finally caught up with the band's always impressive improvisational capabilities. Like the previous album, this consists of one disc of composed tracks and another of improvisations, but it doesn't feel like a double album - far from sprawling out, it's over all too soon.”

“Most of this album is a really annoying porridge of guitar strumming, drumming and keyboard noodling noises, with some vocal parts that sound somehow mumbled and anyway the words are either in German or just nonsense with the occasional neat solos on guitars and violin. But the last three, shorter pieces are back to the bluesy rock that is so good about the first two albums.”

“The musicianship is akin to an urgent and neuron shattering explosion through inner space.”

Time Is... - RAW MATERIAL***

Ice Queen/Empty Houses/Insolent Lady/Miracle Worker/Religion/Sun God

Time Is was the second and final album from the British progressive band Raw Material. During their existence they remained little known in the UK but enjoyed some relative success on the continent.

“Time Is was the second and last album by Raw Material, and an improvement on their debut. The songs are all pretty good, especially the long album closer Sun God which stands out here. It sounds almost like something Pink Floyd could have done later in the 70s. It's not a great album but it deserves a listen if you consider yourself as a progressive rock fan.”

“Much better than their first release. Nice hard prog with some cool fuzz guitar. Well written tunes and the band is tight. There is some sax but not enough to hurt this recording but adding the synth costs at least half a star.”

“Some more excellent stuff in the same vein as their debut. Fairly non-commercial prog hard rock, featuring sax, and some extended tracks that border on trippy.” “A wild looking bunch playing good progressive music based on heavy guitar and sax riffs, organ and keyboard chords, flute and strong vocals.”

"Ice Queen really opens in strong fashion with the sax/guitar riff and goes through many great themes. Empty Houses has some great almost psychedelic solos in it. Insolent Lady goes through many powerful time signatures and is one of the best tracks here. Miracle Worker and Religion are also more than OK but maybe a bit too repetitious in contrast to the other suite like songs. Sun God is a mellow track that is in places almost spiritual in its character. The music leans towards prog folk-rock but also with the usual contrast from soft to heavy passages.”

“What we have here is a fine marriage of styles which can be described as imperious sax rhythms holding hands with introspective guitar solos. The two opening tracks Ice Queen and Empty Houses illustrate this fusion nicely. The highlight is Insolent Lady whose climax seems to almost out Floyd the Pink Floyd band. It's one of the great, albeit unknown, moments of progressive rock. Sun God closes the album and is about ascent from darkness into light, the light being a crescendo wail of keyboards and vocals.”

The Ballad Of Todd Rundgren - RUNT***

Long Flowing Robe/The Ballad (Denny & Jean)/Bleeding/Wailing Wall/The Range War/Chain Letter/A Long Time A Long Way To Go/Boat On The Charles/Be Nice To Me/Hope I'm Around/Parole/Remember Me

Ballad was the second solo album from musician and studio producer Todd Rundgren. It features mainly ballads which explore a variety of human emotions and moods.

“Todd's love of the best in pop music overflows here but is reinvented in his own inimitable style. Every song has at least one memorable facet to it.”

“This is probably his most straightforward album; as the title says it's mostly ballads, but there are a few rock songs like Long Flowing Robe and Parole. Although later albums would show Todd trying to dazzle people with his studio wizardry or instrumental skills, on this album his songwriting is laid mostly bare. Most of this is incredibly moving; Boat On The Charles is basically a perfect song, and the epic Chain Letter is one of the greatest songs he ever wrote.”

“Rundgren never ceases to amaze me as once again he delivers another gem of an album. He explores suicide, breaking up, depression, hope, and other introspective topics out there.”

“A good majority of the album consists of slow ballads, which limits the amount of time that you can really enjoy these songs to quiet, reflective evenings at home. When listened to in that particular context, the album is near flawless.”

“Todd shows himself to be an excellent crafter of songs on this one, and there really isn't a clunker in the bunch. Boat On the Charles is lush and beautiful, and for me, the highlight of the album. Long Flowing Robe is also excellent, and while Wailing Wall would show his tendency to get a little too cute, it still holds up.”

“The second solo album from this singer/songwriter finds him exploring his pop and soft rock sensibilities even further. As always, the vocals are fantastic and the lyrics, while hard to understand sometimes can be powerful. Although it fails to deliver the solid output through the whole album it is still good. The vocal harmonies, bouncy rhythm, and solid piano pave the way for the more elaborate sound of his later work.”

“This album presents Rundgren in studio savvy singer-songwriter mode. Piano and keyboards are the primary instruments here and much of the songwriting is formulaic ballad heavy pop-rock. It's nice, but it's nothing that wasn't being done by dozens of other acts at the same time and Rundgren is hardly the most unique vocalist either.”

Felt - FELT***

Look At The Sun/Now She's Gone/Weepin' Mama Blues/World/The Change/Destination

Self titled sole album from the largely forgotten Alabama progressive band Felt. Their album has been described as a sterling example of early 1970s American underground rock & roll.

“A few hard rock tunes but these do not necessarily make a particularly good LP. There is too much mediocre music to be good. A very nice guitar though.”

“What a criminally underrated classic this one is. Felt are a pretty unknown group which is odd since their lone studio album is easily one of the most impressive of the whole 1970s. Just six songs but it doesn't matter since these are so wonderful in every possible way.”

“Felt is a very enjoyable piece of music. It contains some really good tunes, like the jazzy Now She's Gone, or the more intense Weepin' Mama Blues and World. But the rest is a bit flat.”

“This album is full of perfect psychedelic and bluesy moments with great guitar work and Beatles-styled harmonies. This is mixed in with a clear hard rock influence. While most of the album has a blues feeling to it, some of the songs include hints of progressive rock with swirling keyboards, intensive drumming, and killer guitar solos. The band is fairly unknown but boasts some very fine musicians and writers.”

“The sound is faintly psychedelic and is firmly rooted in the early 70s, but they do it so well that it's worth seeking out.”

“This is really cool. It's got funky organ, guitar solos, ambient moments, noisy loud rock ‘n’ roll moments and it's catchy but never boring. This is some fantastic bluesy rock with flourishes of many of the different sounds that existed in this period.”

“The singer has a limited voice and some of the song structures are far from original. Still, it has the right sound, the right feel and I keep playing the album. Look At The Sun has a very nice Beatles feel to it whilst the other tracks are heavy on organ and fuzz guitar, appealing to those looking for more early hard rock.”

Soul Revolution Part 2 - BOB MARLEY & THE WAILERS***

Keep On Moving/Don't Rock My Boat/Put It On/Fussing & Fighting/Duppy Conqueror V4/Memphis/Riding High/ Kaya/African Herbsman/Stand Alone/Sun Is Shining/Brain Washing

Soul Revolution was another early album from the pre-eminent Jamaican reggae group The Wailers fronted by Bob Marley. They were little known outside their own country at this time.

“The songs here are of such a high standard that it would honestly serve as a more accurate ‘Best Of’ than Legend. There is a reason Bob would end up re-recording (inferior) versions of most of these tracks on later albums. He was an incredibly prolific songwriter in his younger days.”

“This is pretty much a perfect album for any reggae fan. All the songs are great and there a couple that I can't get out of my head with their melody. If you want an album to blast on a sunny day then you have it right here; give it a spin and enjoy.” “I don't know how to accurately describe the blissful emanations inflicted so lovingly by this LP. All the songs are great - so chilled out and warmed up, so open and peaceful. This is a must have reggae LP, and I would say a must have album in general. It's hard not to dig Bob Marley because his values are so open and unassuming, and his music so warm and friendly.”

“The melodies are truly Bob at his best. I walk around all day singing songs from this album. I can’t get them out of my head. The music is chilled yet at the same time very danceable.”

“This album was only released in Jamaica as it seems that Lee Perry and The Wailers were fine tuning their skills for what was about to come. This in no way diminishes the impact of the album, the songs are still very powerful and lyrical masterpieces, and the vocals are exceptionally strong.”

“It's a breezy chilled out stripped down reggae masterpiece filled with awesome versions of fantastic songs. If you are just looking for the hits then this may not be what you want since there weren't really any huge singles off of this one. Still if you give it a chance it's extremely likeable, and the songs are every bit as good as his hits, in fact this is a great step for those looking to expand their Marley collection.”

“The Wailers early stuff is by far there best. It isn't overproduced like most of their later albums. In fact, it's hardly produced at all. But that dirty, poor sound quality gives this wonderful music a distinctive and charming sound.”

Just As I Am - BILL WITHERS***

Harlem/Ain't No Sunshine/Grandma's Hands/Sweet Wanomi/Everybody's Talkin'/Do It Good/Hope She'll Be Happier/Let It Be/I'm Her Daddy/In My Heart/Moanin' & Groanin'/Better Off Dead

Just As I Am was the debut album from 1970s soul star Bill Withers. The cover photo had to taken during his factory lunch break. Includes the US top five single Ain’t No Sunshine. (US:39)

“Withers lays down one of the best soul albums of all time. The guitar playing is fantastic, it's just an all-around great album, a necessity for anyone who likes soul.”

“Bill Withers in his quiet unassuming way, made some fine music in the early 70s. Unshowy and modest, just check the album sleeve where he looks as if he's off to do a shift at work rather than make music. The music inside is just as unpretentious, a mixture of down-home soul, blues, R & B, gospel and funk, most of it sounding like it could have been recorded on his front porch.”

“Bill's songwriting and composition style is very much his own. Stylistically based in the folk-blues, very accessible in the singer/songwriter era, his songs also utilize plenty of instrumentation of the funk/soul era such as cinematic orchestrations, slowed Afro-Cuban type percussion and a style of songwriting that is extremely memorable.”

“Everything on this album is solid, the song writing, instrumentation and production. While nothing is really exceptional (except for Withers' voice which is pretty fantastic), everything is strong enough that it elevates the work as a whole to the level of great. There is only one moment of transcendence which is Ain't No Sunshine.”

“Bill Withers is my favourite male soul artist. There's something in his voice that makes me love his songs. Although Ain't No Sunshine is brilliant and already a classic, he's so much more than this single. All his songs tell wonderful stories; he just knows how to create great music.”

“Quite possibly the most soulful album I've heard - absolutely superb from the beginning to its sublime gunshot end. Withers' voice is beautiful throughout, and the, material is excellent. We all know the classic Ain't No Sunshine, but it's no exaggeration to say that there are some equally good highlights amongst the lesser tracks.”

Homemade - THE OSMONDS***

The Honeybee Song/Carrie/Double Lovin'/Chilly Winds/Shuckin' & Jivin'/The Promised Land/If You're Gonna Leave Me/We Never Said Forever/She Makes Me Warm/Sho' Would Be Nice

Homemade was the follow up album from The Osmonds after adoption of their new bubblegum sound, together with an image tailored to excite pre-teen girls. Includes the US No. 14 hit Double Lovin’. (US:22)

“Mostly notable for Double Lovin', which is basically a variation on their big hit from the previous album, One Bad Apple. The rest are variations on white-boy, soul inspired, teeny-bopper fodder. Fairly generic sounding, but slickly executed all around. Nothing too great, but nothing too terrible either.”

“These were the songs that showcased The Osmonds to the world as the ones to watch, the ones to listen to and the ones to groove to.”

“Homemade has the rare hit Double Lovin’ and a few other good songs. It's my least favourite of all the Osmond Bros. albums, but still worth having in your collection.”

“There was not a bad song on any of their albums so the greatest hits didn't give us all the favourites.”

“I have been a fan forever and have always loved their music. Listening to these songs brings back such good memories.”

“It was so awesome to finally hear these songs again, after so many years. I was a teenager again.”

“These songs bring back so many wonderful memories of my teenage, growing up years.”