Bark - JEFFERSON AIRPLANE***

When The Earth Moves Again/Feel So Good/Crazy Miranda/Pretty As You Feel/Wild Turkey/Law Man/Rock & Roll Island/Third Week In The Chelsea/Never Argue With A German/Thunk/War Movie

After shedding some notable band members Jefferson Airplane began to lose momentum by the time Bark was released. As a gimmick it was originally issued in a brown paper bag. (US:11 UK:42)

“Bark was recorded during a tumultuous time, some band members leaving and others entering, and the group was none too certain of their direction without Marty Balin around. It's not a disaster, but it doesn't have a lot of memorable tunes or any kind of cohesive sound. Basically, the album sounds like individual ideas are kept separate from everyone else, without a lot of collaboration happening.”

“There are some marvellous moments on this album including the dark, menacing feeling you get from Pretty As You Feel and especially from the guitar, the excellent social commentary of Crazy Miranda to name just two. Clearly there are differences in musical interests in the band, displayed by the three main protagonists, but the album as a whole does owe it's antecedents to the earlier incarnation.”

“There's definitely an empty sort of feeling on this one, and quite a few bad moments, along with some average, good, and even quite a few great. Overall I feel an uninspired atmosphere here which resulted in the first Jefferson Airplane album that was merely good instead of great.”

“What makes Bark special is the move of Slick and the astonishingly under-valued Jorma Kaukonen to the foreground, and the new casual, almost frayed approach to performing and recording. Also new is a shift away from the already qualified counter-culture sentiments of Volunteers towards a more resigned, knowing world view.”

“Jefferson Airplane's Bark was their first album after the departure of Marty Balin and Spencer Dryden. In many ways this is considered the beginning of the end for the group, but you can still find a number of enjoyable cuts. For example, the impressive Wild Turkey and Grace Slick's Crazy Miranda.”

“Here's a recording of a great band falling apart. There are some good, even very good moments on Bark. But be warned, it isn't for everyone, or even every fan of Jefferson Airplane.”

Fireball - DEEP PURPLE*****

Fireball/No No No/Demon's Eye/Anyone's Daughter/The Mule/Fools/No One Came

The classic line-up of Deep Purple consolidate their position amongst the world’s leading heavy rock groups with Fireball, which added a more progressive edge to their sound. (US:32 UK:1)

“The stunning title track was like a kick in the stomach with its heavy drums and aggressive guitar and organ themes. The whole album is more bluesy and less coherent than their previous one, but the loose Demon's Eye or the groovy Fools are stone cold classics for sure.”

“A slight decrease in heaviness from the in-your-face Deep Purple In Rock, this one still has plenty of decibels and more variety to boot. Partially this album returns to a more psychedelic sound with tracks like The Mule and Fools. It also has some of Purple's bluesiest tracks such as No No No and Demon's Eye. But the title track is what makes it, this concise piece of speed metal just oozes electricity in a way no other band could at the time.”

“What a nice surprise it would be to hear an album this good released by a mainstream ‘rock’ band nowadays. Buy this LP and be transported back to a magical time when strong musicianship, individuality, and innovation, as opposed to image and packaging, were considered actual priorities in the music world. Hard to imagine, I know.”

“Fireball's songs are towering, crunching, proto-metal monsters of the highest order. The album is built around one of the greatest songs of heavy metal's original era, the invincible Demon's Eye. It's difficult to discuss the individual musical performance of Fireball because the tracks are all so good. Deep Purple Mark II was a super tight cohesive unit at this point, and everyone in the band is at their individual apex.”

“After the stunning In Rock, Deep Purple took their prog roots in a more hard rock orientation. Fireball remains for many their most interesting and confident album of the seventies. It has lots of high points like the title track, a hard rock tune with a great beat. The Mule and Fools are the most prog parts of the album, but my favourite piece is Anyone's Daughter, one of the best from the entire Purple catalogue.”

“This is where they tried to add a lot more prog-rock to their heavy metal drive and the result is brilliant.”

Who's Next - THE WHO*****

Baba O'Riley/Bargain/Love Ain't For Keeping/My Wife/Song Is Over/Getting In Tune/Going Mobile/Behind Blue Eyes/Won't Get Fooled Again

The Who continued their run of excellent albums with Who’s Next. It includes a wide variety of tracks from dynamic rockers to more introspective songs. Won’t Get Fooled Again reached No. 9 in the UK and No. 15 in the US. (US:4 UK:1)

“A classic hard rock album where most of the songs have became staples of classic rock stations. Some of the best rock songs ever are included here.”

"Baba O'Riley is one of the best rock songs of all time, the musicianship is astounding. The delightfully bitter Won't Get Fooled Again is another brilliant tune that just about anyone can hum. This has everything anyone could want in a rock album and then some. If you like music at all you need this album, sheer perfection.”

“The thing that makes this album so great is the way the lesser songs start to take over the record after you've been listening for a while. Any of these songs would have been the highlight of another album; here, they're ‘filler’. Who's Next still sounds as fresh as the day I got it.”

“This is just one of the best rock albums ever released, simply because every track does just that, it really, really rocks. There are also some really intelligent arrangements throughout, showing that The Who weren't just brainless thrashers, with some terrific playing, writing and producing.”

“Who's Next is the most dynamic and hard rocking studio album from The Who with many classics on it. It begins with the iconic synthesizers of Baba O'Riley and ends with the raging scream of Won't Get Fooled Again. But in between there are many fantastic songs like the beautiful Behind Blue Eyes or the very catchy Bargain.”

“This album is a very eclectic collection of different songs, the pinnacle of 70s testosterone rock. No more Mod rockers or introspective adolescents, they are now tough, in your face hard rockers, and it is great.”

“A classic rock album filled with classic tunes. Everything played tightly, even the jamming parts. This album quite clearly shows that there was so much talent within the band, yet they keep things quite simple and sing along friendly, with at the same time many elements, which almost make it borderline progressive rock.”

So Long Bannatyne - THE GUESS WHO***

Rain Dance/She Might Have Been A Nice Girl/Goin' A Little Crazy/Fiddlin'/Pain Train/One Divided/Grey Day/Life In The Bloodstream/One Man Army/Sour Suite/So Long Bannatyne

So Long Bannatyne heralded a fall in sales for the Canadian rock band The Guess Who. At this time they began to experiment with looser and more progressive stylings. (US:52)

“A little softer than their previous recordings. No Randy Bachman and that lounge lizard Burton Cummings is now in complete control. Studio recordings go pretty much down hill from here.”

“Bachman's departure is more noticeable here. He has taken the band's hard guitar sound with him. Most of the material is softer, and more concentrated on Cummings' vocals. Still there are some haunting melodies to be found, and the album is far from the depths they were headed towards.”

“I just can't believe it. Such a good album from the early 1970s, and nobody wants to appreciate it. There was a time when these Guess Who albums were well known and respected, but as time went on, apparently people made up their minds about what bands should be remembered and which ones shouldn't. Unfortunately the Guess Who fell into the second camp and became forgotten.”

“Coming less than a year after the Guess Who's first post Randy Bachman LP this one shows the band still able to deliver the goods, along with some over indulgence and some exercises in questionable taste. They also came up with a few memorable tunes.”

“Something is amiss here, at least to my ears. I enjoy a few things about this album like the jumpy Rain Dance or the great Pain Train, but others rub me the wrong way. The mostly piano dominated, pop sound seems to point the way to Cummings' eventual role as a soft rock balladeer.”

“It contained the singles Rain Dance and Sour Suite, but this album was really a departure from the Guess Who sound. It's redeemed somewhat by Pain Train and Grey Day, but on the whole this record really failed to set the world on fire.”

Godspell – AMERICAN CAST*****

Prepare Ye The Way Of The Lord/Save The People/Day By Day/Learn Your Lessons Well/Bless The Lord/All For The Best/All Good Gifts/Light Of The World/Turn Back O Man/Alas For You/By My Side/We Beseech Thee/On The Willows/Finale/Day By Day (Reprise)

The Off-Broadway musical Godspell was composed by Stephen Swartz, and features a series of parables based on St Matthew’s Gospel. Day By Day reached No. 13 in the US singles chart. (US:34 UK:25)

"Godspell is so endearing, the music is incredibly catchy and memorable, the message is of course positive, and the delivery is excellent, most of the time. Prepare Ye The Way Of The Lord from its conch shell opening is an utter delight, a joyful statement of faithful expectation. Day By Day builds joyfully and is such an exquisite statement for trying to live spiritually in a material and sometimes unkind world. Light Of The World rocks joyfully and makes you feel hopeful.”

“Godspell takes a while to grow on you, but once it does you won't go away disappointed. The musical that made Day By Day famous is light, inspirational and a good way to make your day.”

“This is one of the few shows written in which every song is memorable and catchy. I have every song in this show stuck in my head. The music, and the show itself, is an eclectic free-for-all journey through the book of Matthew.”

“This music is pure joy, and although some of the arrangements might seem dated, the lyrics are right out of the Bible and therefore, timeless. It completely feeds my soul to sing along to harmonies on some, melodies on others.”

“The lyrics and themes portray the story of Jesus with humour in a modern-day setting and, most of all, amazing accuracy, a commodity rarely found in musicals of this nature.”

“The songs are so catchy that they stay in your head all day, and so I sing this stuff all the time. The music from this show is so good because it carries a meaningful message with simple music.”

“This recording is vintage early 70s. Schwartz is compositionally at the top of his game. It's a beautiful musical, the whole album is full of vibrant songs.”

Gets Next To You - AL GREEN***

I Can't Get Next To You/Are You Lonely For Me Baby/God Is Standing By/Tired Of Being Alone/I'm A Ram/Drivin' Wheel/Light My Fire/You Say It/Right Now Right Now/All Because

Gets Next To You was the third album from top seventies soul artist Al Green. He would shortly achieve enormous popularity with his next few releases. Includes the US No. 11 and UK No. 4 hit single Tired Of Being Alone. (US:58)

“Before Al Green accelerated his rise to soul superstardom by mixing southern aesthetics with a more sophisticated and blander sound, he pumped out one album that made no such compromise. Gets Next To You is Green's funkiest waxing, and his only all-out southern soul outing.”

“Notice how Green knows when to let his voice simmer at the most opportune moments, a technique that is characteristically his own. He has one of my favourite soulful voices, because he always has this good sense of dynamic with the music.”

“This release is a little more hard hitting than the typical Al record you'd get later on and you can kind of tell with some of the songs they were choosing to cover (stuff from Norman Whitfield and The Doors). It really sounds a lot like a Memphis kind of record with the guitar and a bluesy, rock-like quality instrumentation overall.”

“For those who might be coming to Al Green from a harder, rougher soul perspective, this is the album for you. If you've never heard how down and dirty the sinister minister from Memphis could get, this record will change your mind.”

"Tired Of Being Alone is just so smooth and among my favourite Green tracks. The title track cover tries to be grittier and dirtier than the Temptations original but loses in power. God Is Standing By is nice though, but there are too many semi-funky jams that don't go anywhere for this to hold up to the great following albums.”

“If you like Al Green's brand of funky soul, Gets Next To You is one of his best. For me, it doesn't get any better than the great AM radio hit Tired Of Being Alone. But this album is full of great tracks, with hardly a dud in the bunch.”

“Not a bad album really, but its nothing to get too excited about. I don't love his cover of the Temptations Can't Get Next To You, its just a bit plodding and missing the exciting original dynamic of having the Temp's different voices on it. Are You Lonely For Me Baby is a very typically sounding Al Green track, lots of ad-libbing and the usual laid back arrangements. I'm particularly keen on the track Drivin’ Wheel, the rhythm is so insistent and groovy.”

White Light - GENE CLARK***

The Virgin/With Tomorrow/White Light/Because Of You/One In A Hundred/For A Spanish Guitar/Where My Love Lies Asleep/Tears Of Rage/1975

White Light was the second solo album from the former Byrds member Gene Clark. It has been described as a poetic and mostly acoustic work with many introspective tracks.

“On White Light, Gene Clark combines poetic lyrics with beautiful vocals and sparse arrangements: most of the time it's just Clark with his acoustic guitar. The more you listen, the more the LP will reveal itself and its secrets to you. What I love most about it is how Gene Clark really lets the arrangements of his songs breathe.”

“With this release it becomes easier to see how much Gene Clark is influenced by Bob Dylan, particularly the early phase when he tended to focus on simple acoustic driven ballads. Clark doesn't quite compare when it comes to songwriting, but he did write a very solid album here. The songs have neat easy going melodies in them, and the electric guitars that show up are quite enjoyable.”

“Gene's voice is so achingly plaintive, his words are deceptively simple, the mood is meditative, and the playing is ear-catching enough to reward attention but never overshadows the songs.”

“White Light is a quite laid-back affair. At its heart it is an acoustic record, the lead electric guitar is clean and the songs are always driven by the acoustic rhythm guitar. The percussion is generally not the standard in-your-face rock kit drumming that usually accompanies folk-rock.”

“He's always been better as a solo artist than as a band member, something which is again obvious on this album, his first true solo effort. As a brilliant songwriter and vocalist Clark hardly ever puts a foot wrong, but this collection remains one of his most impressive achievements. It's filled with his trademark sound which falls somewhere between folk-rock and country, and the songs are all excellent.”

"White Light stands as a snapshot of Gene Clark at his song writing peak. The songs are all heartfelt, full of interesting melodies and delivered with his sweet, soulful vocals. It can be seen as an evaluation of the successes and failures of the hippie generation, with lyrics never obtrusive but quietly thoughtful, warm and caring. The instrumentation is perfect for the material he wrote.”

Maggot Brain - FUNKADELIC***

Maggot Brain/Can You Get To That/Hit It & Quit It/You & Your Folks Me & My Folks/Super Stupid/Back In Our Minds/Wars Of Armageddon

Maggot Brain was the third album from Funkadelic who would pioneer the fashionable funk music culture of the 1970s. However, this early release was a mix of psychedelic rock and soul. (US:108)

“The famous title track shows off some electric guitar virtuosity that really rivals Hendrix, and for a full ten minutes, really wringing out a surprising amount of emotion and drama from the electric guitar... it's deservedly entered the canon of amateur teen guitarist gods. Can You Get To That is an anthem, and You & Your Folks, shows a knack for combining thoughtful social critique with irresistible, booty-shakin' rhythms on a par with Sly Stone.”

“The title track isn’t the only thing on Maggot Brain, but it can feel that way a lot of the time. It is, after all, a good contender for the best guitar solo of all time; an emotional rollercoaster soaring over a minimalist, almost post-rock backing. Every other track is a raucous, psychedelic, funky classic, with Hit It & Quit It and the blistering Super Stupid being the highlights.”

“Funkadelic were a band with a very unique sound and great versatility. They were so unique; I have a difficult time describing their genre - funk, rock, psychedelic or experimental. Whatever they are, they are original above anything else.”

“Funkadelic showed promise with their first two releases, featuring a few killer tunes and a willingness to experiment. With Maggot Brain, they made good on the promise and fulfilled their potential. The title track gets the most attention, and rightfully so, the guitar solo is among the finest to be recorded, particularly from an emotional standpoint. This work bolsters the rest of this exceptional album.”

“What this album does is take the best parts of their first two releases and basically meshes them together, there's still something of a funky, almost bluesy inflection here similar to their debut, but it adds some more of the trippy elements that were on their second album, like certain recording techniques and great guitar solos.”

“Funkadelic's third album opens with Maggot Brain, perhaps the greatest improvisation the band ever recorded. This is followed up with some short-form songs, finely crafted funk gems which show that the songwriting side of the band has finally caught up with the improvisation side.”

Give More Power To The People - THE CHI-LITES***

Yes I'm Ready (If I Don't Get To Go)/We Are Neighbours/I Want To Pay You Back/Have You Seen Her/Give More Power To The People/Love Uprising/Trouble's A Comin'/You Got Me Walkin'/What Do I Wish For

The follow up album from the Chicago soul group The Chi-Lites Give More Power To The People delivered their commercial breakthrough. Unlike the simplistic message of the title track the US and US No. 3 hit single Have You Seen Her was a romantic number. (US:12)

“The Chi-Lites were already one of the more popular soul groups by the time 1971 rolled around. Eugene's high voice and the beautiful four part harmonies put this group on the map. Lush arrangements, fun songs and everything expertly produced - the Chi-Lites were competing with the best of Detroit, Philly and Memphis when they really hit.”

“1971 was the year where even those who were never political before were taking action. Politics was selling and soul groups all around were speaking their mind. The Chi-Lites channelled Sly & The Family Stone as well as anybody on We Are Neighbours which is just awesome funk music and a chorus that you can't help but become a part of. Other places are more sweet soul music, but the production really shines here.”

“It might not be one of the all-time great soul records and it's definitely not as heavy or personal sounding as some of the others from this year, but it's a great blend of pop, funk and soul. A record that most soul fans should have and love.”

“This is the album that made them huge stars, with the huge hit Have You Seen Her, which has to rank very high amongst my favourite songs of all time. With Yes I'm Ready, I couldn't think of a better song to put as the b-side to that soul classic. Overall, there is plenty to enjoy here. It is a unique album in that much of it revolves around social commentary of the day.”

“Power To The People was stone cold perfect, alternating the sweet soul they ultimately became known for with thumping chunks of Sly-influenced proto-funk.”

“I'd always heard that they were a smooth soul group and was pleasantly surprised to hear some Sly-influenced tracks like Give More Power. Also, I liked the fact that the bass voice was an integral part of the group sound. These four guys were not merely a lead singer star with just support harmonies. They functioned as a group.”

Surrender - DIANA ROSS****

Surrender/I Can't Give Back The Love I Feel For You/Remember Me/And If You See Him/Reach Out I'll Be There/Didn't You Know (You'd Have To Cry Sometime)/A Simple Thing Like Cry/Did You Read The Morning Paper/I'll Settle For You/I'm A Winner/All The Befores

Motown’s top female solo artist was prolific in the early 1970s with the release of her fourth album Surrender in just over a year. The title track single reached No.10 in the UK, but in recognition of it topping the British singles chart this LP was re-titled I’m Still Waiting in the UK. (US:56 UK:10)

“Soulful, glamorous and every inch a sequined diva, Surrender embodies songs that are all solid, and a couple the title track and her take on Reach Out I'll Be There, are downright masterworks. She was white hot and burning like a comet at this point and her talent was unstoppable.”

“Surrender is one of the strongest albums in Diana’s solo career. The title track ranks as one of her most impressive performances ever. This is old school soul/funk at its very best. With some great songs this album can easily be hailed as masterpiece.”

“Her approach in each song is dynamically pitched to the lyrics sometimes dark narratives. Her vocals are husky, smokey and delicate in the right places. Ross can come across like a terrified child (and at other times plays coyly like the soul diva she is.”

“This is one of the strongest studio albums that Diana Ross released in 70s. Surrender was big flop in US, but it managed to hit the top ten in the UK.”

“It's a wonderful collection of songs in which Diana Ross sounds wonderfully soulful showing off her laser like pitch that rings clear as a bell, proving once again that she was more than ready to be a solo artist.”

“When Diana Ross left The Supremes to start her solo career, it was up to Berry Gordy to put who he thought would be the best producers to showcase her talent. Little did he know that when he put her with the fledgling production team of Ashford and Simpson they would hit the jackpot. This is my all time favourite album that they produced for her.”

“Surrender is my favourite solo Ross album. Every track is a winner. It includes the timeless signature tune Remember Me as well as the very dramatic All The Befores.”

A Space In Time - TEN YEARS AFTER****

One Of These Days/Here They Come/I'd Love To Change The World/Over The Hill/Baby Won't You Let Me Rock & Roll You/Once There Was A Time/Let The Sky Fall/Hard Monkeys/I've Been There Too/Uncle Jam

A Space In Time provided another platform to showcase the skills of Alvin Lee regarded as one of the world’s leading guitarists. Despite his input Ten Years After never quite attained the commercial heights to match his talent. (US:17 UK:36)

“This is certainly their best, most commercial and at the same time most experimental work, but still in keeping with their familiar blues roots. If you like early 70s rock music with a shot of blues and psychedelica, than you can't go wrong with this album. It also contains the minor hit single I'd Love To Change The World, which would be worth alone the purchase.”

“I found this one very inconsistent; another Jekyll/Hyde type release with a mix of some good hard rock, and some real commercial duds. There is enough of the good to substantially outweigh the bad, but be advised that it is there.”

“It is a good consistent release. With some nice guitar playing and some singing that is good but can get dull at times. I just found it highly unoriginal and quite boring towards the end, but it is fun overall.”

“It's a remarkable fusion with great songs, outstanding performance, wonderful bluesy organ and piano, and then Alvin Lee's solo guitar as the cream on the cake.”

“Alvin Lee is, on any given day, my favourite axeman of all-time. And I'd Love To Change The World is one of the few excessively lead guitar driven songs that actually works. Lee's licks are so unbelievably scorching, you almost don't mind all that hippie claptrap. The rest of the record aims for a more laid-back, stoned blues sound, with some success.”

“This album is just a great blend of acoustic and electric guitar playing, one great song after the next, with some of the best guitar playing you'll ever hear.”

“A Space In Time is the best studio album from a band that was better live than in the studio. When Alvin Lee plays in a spontaneous fashion, the results are often amazing. The safe environment of the studio, to my ears, causes this great guitarist to hold back a bit. That said, there are still some epic guitar moments, especially that fantastic break on I'd Love To Change The World, pure guitar heaven.”

Sound Magazine - THE PARTRIDGE FAMILY***

One Night Stand/Brown Eyes/Echo Valley 2-6809/You Don't Have To Tell Me/Rainmaker/I'm On My Way Back Home/Summer Days/I Would Have Loved You Anyway/Twenty-Four Hours A Day/I Woke Up In Love This Morning/Love Is All That I Ever Needed

Sound Magazine provided a further commercial spin off LP from the hit TV series The Partridge Family. Leading star David Cassidy would shortly embark on a highly successful solo career as a teen idol. Includes the US top 20 hit I Woke Up In Love This Morning. (US:9 UK:14)

“This is the best album of pop music ever made in history of music recordings. These songs are pop masterpieces. There will never be an album of original material this good because all of the best melodies have now been used in the rock era. Music can now only be different using production and vocal techniques, not songwriting.”

“This is the Partridge Family's most acclaimed LP. Belying the clunky album cover is a consummately produced, engineered and arranged collection of innocuously derivative and unpatronisingly crooned pop songs for near adolescents. The studio session work is immaculate. Sound Magazine must qualify as the peak of its genre; the tracks all remain hugely satisfying, helped by David Cassidy's theatrically sincere but unusually convincing vocal delivery.”

“Apparently they were writing with more of a slant toward David Cassidy's voice by this time because this album is noticeably better than the debut. I find more than half of this album extremely listenable, and no one is more shocked by that than I am.”

“If there is one non-greatest hits LP that defines a group's sound, then Sound Magazine would be the pinnacle of the Partridge sound. The recording process on this LP is an awesome mix job: the instrumentation is quite strong; the background singers are at their best here with the tightest harmonies ever produced on a Partridge recording. The vocals are crystal clear, the songs are timely and well produced.”

“Well I cannot think of a better collection of songs. This album is a gift from God. David Cassidy does some of the greatest vocals, you'll ever hear. Though one or two tracks are a little slow.”

“Cassidy's mature, expansive voice fully embraces each song, and the backup vocals hit it right out of the park. A self-assured, dramatic, and fully realized album that still sounds great today.”

Shaft - ISAAC HAYES****

Theme From Shaft/Bumpy's Lament/Walk From Regio's/Ellie's Love Theme/Shaft's Cab Ride/Cafe Regio's/Early Sunday Morning/Be Yourself/A Friend's Place/Soulsville/No Name Bar/Bumpy's Blues/Shaft Strikes Again/Do Your Thing/The End Theme

Soul artist Isaac Hayes achieved his greatest commercial success with the Academy Award winning soundtrack to the film Shaft. The theme single would reach No. 1 in the US and No. 4 in the UK. (US:1 UK:17)

“The Theme From Shaft is obviously the best song on the album, being an absolute classic. Hayes’s skills as composer and writer are in full effect, and the combination of funk guitar with orchestration (including a prominent flute) is amazing.”

“This is an album of very high quality music, with Hayes able to create a significant amount of interesting and enjoyable music. Shaft may be less appealing to some because of the high number of instrumental tracks, but nevertheless it comes highly recommended.”

“I have always had a soft spot for the single taken from the Shaft soundtrack. I always assumed this album would be funky soul music, so it was quite a surprise to observe that it has nothing at all to do with soul but features, in the main, smooth laid-back jazz. The trouble is, most of it is far too laid back and a lot of the music here borders on the bland, which is quite nice but nothing more.”

“Theme From Shaft is, of course, the untouchable, iconic track on here and is perfect in nearly every way. But the rest of the album is still full of groundbreaking, cinematic, funky soul.”

“Some relaxed and laid-back mostly instrumental soul/jazz/funk pieces that are quite pleasant indeed. A nice album to be heard as background music, although I don’t think I will revisit it that often. Do Your Thing is a different kind of breed that seems a bit out of place within the album’s context. It’s a twenty minutes long monster that features a killer rhythm section with a great brass attack. It also has an extremely impressive and long psychedelic guitar solo, a groovy bass line and synthesizers here and there. Even some Latin-flavoured percussion appear occasionally.”

“After the iconic Theme From Shaft, you begin to notice something is missing. These are nice songs, but it's a soundtrack in the truest sense, most being a straight up film score. The songs are begging to have vocals put on top of them, and while they're still good, it's hard not to feel that the format of a soundtrack was a constraint.”

Master Of Reality - BLACK SABBATH*****

Sweet Leaf/After Forever/Embryo/Children Of The Grave/Orchid/Lord Of This World/Solitude/Into The Void

By the time of the release of their third album Master Of Reality Black Sabbath had established themselves as the foremost heavy metal band, a genre that would increase in popularity during the next decade and beyond. (US:8 UK:5)

“Black Sabbath's third album, established a formula which the band would religiously stick to over several albums: crushing, sadistic riffs punctuated by light, almost medieval instrumentals. However, they would never match this, the prototype, an example of heavy metal music at its very best.”

“The blues influence is largely gone, the shambolic suites of the earlier records are pared back, the playing is tighter, brasher, more confident, and, in their way, funkier. People forget how good Sabbath's rhythm section was, sludgy and stoned as it might be, this was punchy, mobile, swaggering stuff.”

“A more than worthy follow-up to Paranoid, and if you’ve already got your head round that, then this is easier to digest too. They are on top form again with tracks like Sweet Leaf, Children Of The Grave and Into The Void. And like the last album there are some folky passages too, most notably Solitude where Ozzy sings so softly he’s almost unrecognisable.”

“From beginning to end Master Of Reality has a heaviness that's missing from any other Sabbath album ever recorded. The low distortion, the trudging, plodding pace, all of the songs truly shine with a life of their own. From the opener Sweet Leaf to the closing and heaviest Sabbath song ever Into The Void, this is a stellar album that is arguably one of the best and most underrated heavy metal albums in existence.”

“No other band can say they created a genre besides Black Sabbath. Although Paranoid began their reign of terror, it is Masters Of Reality that completely captured and perfected what they had started. Darker and slower this paved the way for many other bands. A timeless album, Sabbath took rock away from naïve hippies and idealists, and gave it back to the lonely, the desperate and the hopeless.”

“The riffs on this album are so massive and dense that they really steal the show from most of the other elements. There are many bands, and many genres of rock and metal, that owe their essence to this album.”

In Hearing Of - ATOMIC ROOSTER***

Breakthrough/Break The Ice/Decision Indecision/A Spoonful Of Bromide/Black Snake/Head In The Sky/The Rock/The Price

In Hearing was the final album of the British heavy rock group Atomic Rooster to chart. It features a new vocalist which led to some friction and afterwards there would be several changes of personnel. (US:167 UK:18)

“With great heavy-prog tunes like Breakthrough, Break The Ice and The Price dotted throughout, In Hearing Of is one of those albums that deserves wider recognition by fans of 70s rock. It's well paced, doesn't outstay its welcome, and despite it's tortured genesis, the musicianship is top-notch throughout.”

“Not as dark or morbid as the previous Death Walks Behind You, In Hearing Of feels a bit more spry, lively and lightweight in comparison. Still, this one rocks mightily for the most part, with the band possibly shooting for a more sophisticated sound.”

“In Hearing Of is a bit too inconsistent compared to their previous LP. There are some really good songs here but also one or two that are a bit more mediocre prog pieces. Black Snake and the following Head In The Sky are probably my favourite songs here and the biggest standout tracks.”

“This album, together with Rooster’s first two releases, can be considered a milestone in early 70s progressive hard rock. There isn’t any really weak track on here and songs like Breakthrough or The Rock have become all-time classics. Overall their sound is a bit less heavy than previously, but the more quiet tracks show very well the group’s musical potential.”

“In Hearing Of is a utterly scintillating slab of 70s proto-metal/heavy prog. The pairing of John DuCan's wailing guitars and Vince Crane's swirling, stabbing keyboards are, as usual, simply devastating.”

“A hard rock sensibility is once again mixed with progressive-tinged arrangements to create a sound that is best labelled as heavy prog. The keyboard playing of Vincent Crane is as magnificent as ever, making the album another absolute must for lovers of organ-driven rock. This may be a slightly less brooding record than its predecessor, yet what this album lacks in atmosphere it more than makes up for with the band's strongest set of melodies.”

Every Good Boy Deserves Favour - THE MOODY BLUES*****

Procession/The Story In Your Eyes/Our Guessing Game/Emily's Song/After You Came/One More Time To Live/ Nice To Be Here/You Can Never Go Home/My Song

Every Good Boy Deserves Favour continues the run of superior albums from The Moody Blues. By this time their songs were becoming structurally simpler to facilitate live performances. (US:14 UK:1)

“Although they start off with a very unusual, mostly instrumental/special effects ‘song’ which appears to trace the history of humankind, from there on it is pure Moody Blues. The songs are lavish, thought-provoking, and utterly entertaining. The album has a certain ‘Middle Earth’ quality to it, which seems to transport the listener to another time and place.”

“Each of The Moodies' magnificent seven has a slightly different style, and preference depends largely on personal taste. This is definitely progressive rock, with an emphasis on ambitious, sweeping melodies and a couple of quite experimental symphonic passages. Side two particularly is a classic side.”

“This one is all about Justin Hayward, everything that is good about this album emanates from his pen, The Story In Your Eyes is the single best rock song of their entire career and for once Hayward's fine, understated guitar playing gets a chance to shine.”

“The most mature Moody Blues album. One More Time To Live is probably my favourite track of all time, its middle eight with those lower harmonies layering against the lush background of organ and moog hardly ever fails to astound me. A splendid combination of the pastoral and the grandiose. The Story In Your Eyes is a well done rocker by Hayward, and his other contribution You Can Never Go Home is a perfect balance of picturesque, spiritual and romantic elements.”

“Every Good Boy Deserves Favour reverses the trend of slightly simpler arrangements begun with Question Of Balance, reintroducing interesting symphonic elements while featuring a far stronger set of melodies than that earlier album. As with several other Moodies albums, Every Boy contains a ‘conceptual’ opening track with Procession. At nearly five minutes in length I almost always choose to skip it. Luckily, every other track is great.”

“The album starts off with a brilliant concept song, Procession, an instrumental track that is one of the best from the band and a perfect beginning to the album.”

Tear Gas - TEAR GAS***

That's What's Real/Love Story/Lay It On Me/Woman For Sale/I'm Glad/Where Is My Answer/Jailhouse Rock-All Shook Up/The First Time

Eponymous second album release from the Glasgow progressive rock band Tear Gas. Members would later team up with Alex Harvey to form the Sensational Alex Harvey Band.

“Tear Gas is a real guitar tour de force - it seems there is more guitar sound than one's ears can cope with. The musicianship is simply superior, with songs that are full of emotions, splendid guitar solos and bridges and elaborate harmonies. Bass lines are very impressive as well so the album is highly enjoyable.”

“Powerful hard rock with great guitar, bass, drums, and vocals. They’ve got it all. There were no more releases but we have still got this spectacular hard LP.”

“Not consistent enough to be a classic, but super heavy and super tight. Vocals are the weakest factor. Though not terrible, but a better talent might have taken them to another level. This guitar player is special, well above the norm and the rest of the band are also well above average.”

“This album's originality is greatly underestimated. Real heavy metal was not that common when it was released. In fact, this was the first period in history that the term heavy metal came into use as a musical genre. And even with all the other metal albums around, this one still has its own distinct sound. Obviously they were influenced by contemporary metal bands, but you can't point to any particular guitar tone or riff and say that they stole it from this band or that band. In that sense, this is a completely original album.”

“A great and underrated hard and proto-heavy album. Brilliant guitar, bass and drum work, good compositions and a really hard combo.”

“Incredibly heavy and well produced rock album full of powerful drums, melodic riffs and great vocals.”

Samurai - SAMURAI***

Saving It Up For So Long/More Rain/Maudie James/Holy Padlock/Give A Little Love/Face In The Mirror/As I Dried The Tears Away

Self titled sole album from the rock group Samurai under this name. However, most of the personnel belonged to an earlier group called The Web, and the name was changed after the arrival of an extra sax player.

“Their songs were bright and flowed with a rock texture, yet holding an aggressive edge. The sax and organ work played off each other, while the guitars held the foundation, acting as the driving force, whilst the drums stood at the centre, forever the heartbeat of the entire conception.”

“The music is mostly medium energy rock with exceptional musicianship on sax, guitar and keyboards. Their excellent material is psych influenced as well, yielding a welcome ingredient.”

“To the celestial calmness and mellowness of their gentle art-rock music the band added some elaborate aggression of the brass section, so the result became a truly fresh and innovative set of delicious tunes.”

“Samurai provide the listener with a rich tapestry of musical delights, each song tweaked to fit into the jazz-funk formula, and like a lot of jazz-orientated albums, they don’t neglect the important guitar parts.”

“Alternating between mid tempo and more laid back tracks, this is a precious and clean sounding affair that knows how to grab your attention; never predictable, rich with well crafted arrangements. A seven men band, Samurai sport a wealth of timbres; two blowers deal with saxes, flutes and clarinets, whilst acoustic and electric pianos and organ have a predominant role.”

“Extraordinary prog-rock with warm saxophone and wonderful vibraphone. It's even as good as I Spider, the masterpiece of their previous incarnation as The Web. The songwriting is more mature and deep, although the overall sound is softer and dreamy. There's a blue-eyed soul side bringing a delightful touch to the record, completed by atmospheric assorted percussion, short and handsome guitar lines and lots of intricate passages.”

“I'm amazed at how incredible the songwriting is here. Every track has a memorable melody - and played in a progressive rock fashion with fuzz bass, organ, sax, flute and superb vocals. There's really no other album like it.”

Link Wray - LINK WRAY***

La De Da/Take Me Home Jesus/Juke Box Mama/Rise & Fall Of Jimmy Stokes/Fallin' Rain/Fire & Brimstone/Ice People/God Out West/Crowbar/Black River Swamp/Tail Dragger

This self titled album was one of many released by this well regarded American guitarist who started recording in the late 1950s. It sees him performing in a folk-blues Americana style. (US:186)

“If you like swampy gritty rootsy voodoo blues/country/soul, it doesn’t get better than this. Many of the songs also include ghostly backing vocals that add a uniquely eerie, haunting atmosphere to the proceedings.”

“This is a consistent, honest, soulful record that merits a full examination. It was recorded in a chicken coop which was reconfigured to house a band and features Link and his brother along with a few close friends cutting loose on some heavy blues/folk rock jams. The lyrics are honest and heartfelt, but occasionally border on the cheesy.”

“The sound of sitting around the campfire on a warm summer night, staring into the flame as the time slowly passes by.”

“His first album after a long hiatus finds him jettisoning the teen idol persona, and concentrating on what he does best: playing guitar. This is a fairly non-commercial mix of rock, blues, etc., vaguely reminiscent of some Capt. Beefheart that I've heard, but with better guitar and some fuzz.”

“Link Wray was the guitarist in Rumble and similar kinds of proto-surf instrumentals. But this was a surprise. It is not instrumental and there is no guitar workout on it. Instead it sounds something like The Band playing in a shack. There are some good songs here, it all sounds very intimate, and it a lot of fun to listen to.”

“This is down home folk/blues Americana recorded in a converted chicken shack for that extra raw sound. Its stomping and funky but soulful too as these beautiful songs chronicle the treatment of the Native Americans, and in a wider context, the results of faith and war in America . His song Fallin’ Rain which outlines the futility of war is heartbreaking stuff. As is Jimmy Stokes and Ice People in which the sheer cruelty of mankind is examined.”

Rosemary Lane - BERT JANSCH***

Tell Me What Is True Love/Rosemary Lane/M'Lady Nancy/A Dream A Dream A Dream/Alman/Wayward Child/ Nobody's Bar/Reynardine/Silly Woman/Peregrinations/Sylvie/Sarabanda/Bird Song

Although Bert Jansch remained a member of the prominent British folk group Pentangle he continued to release his own solo albums. Rosemary Lane was the last of these before his band split up.

“This is nearly all-acoustic, and it might be his most gentle and heartbreakingly sad record ever. There's a dreamy, hazy vibe to much of the music that creates a timeless feel; by which I mean that it actually seems to stop time. I don't think Jansch ever topped his vocal on Tell Me What Is True Love, and it goes without saying that his guitar playing is superb.”

“Jansch has improved upon the one common fault, his voice, and undergone a subtly radical reworking of his style. No more accompanists, bitter dread or emotional distance - just a dewy, mannered calm, flexible enough for undertones tragic, smitten and serene.”

“I would call him a creative genius. His acoustic guitar arrangements sound at first oddly foreign, somehow reconfiguring the patterns in your brain, to change into the most natural and complete compositions you've ever heard. His lyrical style exactly compliments what he plays on guitar, and he comes off as a very convincing storyteller.”

“It's my absolute favourite of Jansch and maybe of the genre even. It's so slow, so humble. It keeps quiet as if it were listening to the listener's sorrow instead of telling about its own. Jansch's renditions of the title song and Reynardine are stunning. They sound so timeless in their melancholy.”

“Rosemary Lane finds Bert Jansch getting back to basics. In this case that means playing his guitar without any added orchestrations. These recordings are so basic that you can hear his fingers rubbing the strings of the guitar. Jansch is one of the great acoustic guitar virtuosos of his generation, equally comfortable playing the blues, American folk music or, as is largely the case here, the more traditional music of the British Isles.”

“A very overlooked and underrated acoustic gem made at a point when folk music was going almost entirely electric. It was thrown together very quickly, yet the performances exude heavy thought and meditation.”

Broken Barricades - PROCOL HARUM****

Simple Sister/Broken Barricades/Memorial Drive/Luskus Delph/Power Failure/Song For A Dreamer/Playmate Of The Mouth/Poor Mohammed

Broken Barricades was the final album to feature guitarist Robin Trower before he left for a successful solo career. It is a more rocking guitar driven album than their previous organ dominated sound. (US:32 UK:42)

“Broken Barricades is a very well written and diverse album. Tracks like the powerful Simple Sister, the beautiful Broken Barricades (which features piano/keyboard work reminiscent of Genesis), the equally beautiful and string laden Luskus Delph, the powerful Power Failure (featuring an almost fusion-like middle drum part), and the psychedelic Song For A Dreamer, represent some of the highlights of the album, and at the same time display the diversity of the material.”

“It is clear that this record caught the band at a time of transition, with guitarist Robin Trower soon to depart for a solo career, and as a result the album struggles to find a cohesive style. I suspect that this lack of identity is what most devoted fans object to, as well as its frequent departure from the organ-driven art rock of earlier releases for a heavier guitar-centric style.”

“The last album Procol Harum released with Robin Trower was Broken Barricades. As a farewell album for Trower it is stellar, as he plays some incredible guitar throughout. This is more rock driven then previous releases, and I like it like this. Overall Broken Barricades is an excellent, if under-rated album that any fan of Procol Harum and rock in general should enjoy.”

“The group were still very much at the top of their musical power. Brooker's gift for composing momentous melodies, combined with excellent lyrics written by Keith Reid, who was a de facto fifth member of the group, made them a unique phenomenon, which can be appreciated even better from the perspective of the decades that passed since their inception. The moody, sometimes gothic atmosphere of medieval spookiness and bluesy undertones beautifully expressed by Trower's virtuosic guitar licks, are simply stunning.”

"Broken Barricades is where pianist/vocalist Gary Brooker and company put aside the Hammond organ and go even more in a hard rocking direction than on their previous albums.”

One World - RARE EARTH***

What'd I Say/If I Die/The Seed/I Just Want To Celebrate/Someone To Love/Any Man Can Be A Fool/The Road/ Under God's Light

The soul-rock band Rare Earth were the only successful white act to be signed to Motown records, and the specially created label for this category was named after them. One World would turn out to be their last major chart success. (US:28)

“For me, this is their best studio recording. Funky hard rock with some very good guitar and catchy tunes make for a very good LP.”

“Some excellent stuff here the best of which is the last track Under God's Light, the second half of which suddenly kicks into gear and ends up a fantastic, joyously upbeat, party down, hippy soul/rock groove to the fadeout.”

“It is probably their most consistently good album, with soul influenced funky hard rock, featuring their trademark vocal harmonies, really solid guitar with some use of wah-wah, and great material, a combination that's hard to beat.”

“This was the most consistent and rocking album by Rare Earth. Every song drives home and includes great vocals with superb musicianship for this style of rock/soul music. The guitars are electric and turned up with that great Grand Funk styled fuzz on them. The lyrics are heartfelt and true. An uplifting album full of high energy music that is bound to get your foot tapping.”

“You will not find a better album released around the time of this album and the music stands the test of time.”

“One World is without a doubt one of the greatest, most soulful albums ever produced by Motown. This will reach the souls of music lovers in every generation.”

Fool's Mate - PETER HAMMILL***

Imperial Zeppelin/Candle/Happy/Solitude/Vision/Re-Awakening/Sunshine/Child/Summer Song (In The Autumn)/ Viking/The Birds/I Once Wrote Some Poems

Fool’s Mate was the debut album from the vocalist and founder of the British progressive group Van Der Graaf Generator. It comprises songs that were not regarded as suitable for the group’s releases.

“This album consists of songs written by Hammill over the previous few years that were more conventional than the Van Der Graaf material, tending to follow standard verse-chorus-verse structures. As such, it’s derided by some hard-core Van Der Graaf fans as fluff, although I think that term would be unlikely to occur to the casual listener.”

“Essentially Hammill's twee record, trading piercing saxophones for woolly flutes, bleakness for a mostly innocent sense of humour and outlook, and intricate suites for mandolins.”

“This is a grab-bag of early Hammill solo material - a series of songs composed during the early Van Der Graaf Generator days which tend to be too simple and/or short for consideration for the group's own albums. It's therefore a bit less serious than subsequent solo albums produced by Hammill, in periods when his solo albums were his major creative outlet.”

“Sounds like early 70s Bowie if you were to trade in the distorted guitars for synths, but not as memorable or bombastic. It's so close to being a great album, but it isn't. Just a little too cold and detached.”

“A fun, lightweight record with some really nice songs on it. Recommended to anybody who wants a change from gloom and doom and who doesn't need every record to be an epoch-shattering masterpiece.”

“An odd concept for a solo album where his Van Der Graaf band mates back him. This album features shorter, more song oriented material than what VDGG was doing at the time.”

“Fool's Mate is a collection of great songs, performed with Hammill's characteristic sense of urgency and reflection. The observations are typically simpler and more direct than much of his later work, yet sacrifice no insight or originality. It reveals a perceptiveness and sensation that would set him apart from his contemporaries and towards an exploration into the abyss of the soul through musical expression.”

Catapilla - CATAPILLA***

Naked Death/Tumbleweed/Promises/Embryonic Fusion

Self titled debut album from the short lived and largely forgotten London progressive band Catapilla. They had links to both Black Sabbath and the Canterbury music scene.

"Catapilla features four sprawling group originals. Tracks such as the brutal lead off Naked Death and Promises offer up an intriguing mix of progressive, jazz-rock and psychedelic influences. Propelled by the female vocalist’s shrill, piercing and occasionally out of control voice and the triple sax line up, this one's simply unlike anything else I've heard. It isn't going to appeal to everyone, but the results are pretty stunning.”

“There is nothing too exiting about this particular release, as it has the same characteristics of most jazz-rock albums of the era. Some long psychedelic jams, loads of bluesy wah-wah noodling and an abundance of wind play. None of it excels in any department; the compositions sound over-extended and aimless, although they aren't utterly poor either.”

“This short-lived and also sadly forgotten progressive rock band is one of my personal favourite artists of the early 70s music scene. Their jazzy and psychedelic prog style is just irresistible. And even if the female vocalist isn't that awesome I still enjoy her vocals a lot. This also includes lots of saxophone which brings a jazzy feeling.”

“These psychedelic tunes are never dull thanks to an emphasis on freak-out sax and aggressive female vocals, but often come across as too rough around the edges.”

“What we have here is eclectic brass prog with some jazzy psychedelic touches giving overall a very interesting atmosphere. The sax has an important role and having lots of space in solos combined with keyboards together with a unique and powerful vocalist.”

“The music itself is, very roughly, a mix between original sounding blues-rock and jazz-rock, with evident hard rock and psychedelia influences as well. One of those vintage, classic albums that are extremely visceral and fierce in some moments, due to the instrumentation. In addition we have guitars, bass, and sax that are accompanying the vocals, without any keyboards anywhere.”

Songs For The Gentle Man - BRIDGET ST JOHN***

A Day A Way/City Crazy/Early Morning Song/Back To Stay/Seagull Sunday/If You'd Been There/Song For The Laird Of Connaught Hall Part 2/Making Losing Better/The Lady & The Gentle Man/Downderry Daze/The Pebble & The Man/It Seems Very Change

Songs For The Gentle Man was the follow up album from British singersongwriter Bridget St John. She recorded on John Peel’s Dandelion label and was a featured on his radio Peel Sessions programme, being also familiar on the college and festival circuit.

“The second release from singer/songstress Bridget St. John is nothing short of a masterpiece of British contemporary baroque style folk music. The album has earned its cult legendary status over the years by capturing the romanticism and allure of the UK folk scene at the opening of the seventies.”

“Although there are moments of pure sixties folk rock revelry, the more dominant musical sensation is that you are being transported back to a time when there were country fairs with prize hams dangling from a spit in the warm spring air. You are eating strawberries and drinking milk with the actor and his wife. Minimal instrumentation and winding melodies lend this album an old-time feel, shying away from the commercial elements of record making.”

“Among the plethora of singer/songwriters who emerged at the tail end of the 1960s, Bridget St. John tends to be overlooked, partly because she never had a whiff of commercial success despite vigorous marketing by her record label, and possibly because her lyrics are not nearly so personal or revealing as many contemporaries. The rather distant tone of her first album is softened to give the songs added impact, and the addition of orchestration on a number of tracks adds immeasurable melody and depth to what were already extremely good songs.”

“In tone, Songs For The Gentle Man differs quite a bit from traditional acoustic folk, being not sharp and crisp, but distinctly quiet and blurry owing to the extensive use of orchestration, which is used to amazing effect on the mesmerising opening two songs. The everyday tone of the lyrics adds greatly to the songs by making communication with the aware listener very easy.”

“The only female singer/songwriter who reminds me of Nico, both in her vocal style, which is dry and monotonic, and her sound, which is at times quite harsh and demanding. The minimalist arrangements and the use of classical and minor key instruments also gives a hint to the Nico solo albums.”

Message From The Country - THE MOVE****

Message From The Country/Ella James/No Time/Don't Mess Me Up/Until Your Moma's Gone/It Wasn't My Idea To Dance/The Minister/Ben Crawley Steel Company/The Words Of Aaron/My Marge

Message From The Country was the final album from the highly successful pop group The Move. Leading members Roy Wood and Jeff Lynne would shortly form the Electric Light Orchestra.

“The song selection is a rich palette of varied genres. Rather than jamming extensively around a smaller set of compositions, the band set out to make fascinating musical and lyrical vignettes in a relatively short time span per song.”

“Simply put, this is an unusual album for The Move, and, in many ways, the polar opposite of the first Electric Light Orchestra album, yet it is the perfect missing link between the two groups. It’s dense and experimental, yet loose and fun, which is definitely a rarity in prog rock.”

“At this point you could see that this was the beginning of the end; the band was pared down to a three-piece that had it sights on something else previously unheard. As it turns out, they were working on the debut ELO record simultaneously as this was being recorded. That being said, the material on here is great and varied and never boring. The dabbling with 50s rock and classical music is at the forefront and you could see the writing power of Lynne and Wood really begin to pick up steam.”

“Though possessing a couple of stronger tracks than their previous release, this one is slightly less consistent overall, possibly due to its diversity. Material ranges from semi-hard rock, to very commercial ELO sounding tracks. The quality of the majority of this is considerably off par.”

“Message From The Country was a modest change in direction for the band; dropping some of their earlier pop and psychedelic inclinations in favour of what might best be described as a rough stab at proto-Electric Light Orchestra styled pop. Nothing here was as elaborate, or orchestrated as the forthcoming ELO catalogue, but you could hear the band (particularly Wood), playing around with new ideas and ways to expand or modify their sound.”

“This was the last album from The Move, recorded simultaneously with Electric Light Orchestra's self-titled debut. Often humorous, often playful, it's a very fun album to listen to.”

Sundance - MOUNTAIN BUS***

Sing A New Song/Rosalie/I Don't Worry About Tomorrow/Sundance/I Know You Rider/Apache Canyon/ Hexahedron

Sundance was the sole album release from the Chicago rock band Mountain Bus. They folded when their record company went into liquidation following a lawsuit over the use of Mountain in the group’s name.

“Though their sound is quite obviously Dead influenced, their style is their own, with a much less commercially oriented vibe than The Dead were drifting toward through the 70s. The psych flavoured improvisations they churned out was very much west coast even though they were from the mid-west.”

“Blues-based, they played some really cool music with guts and a lot of talent, sometimes sounding like Grateful Dead, but mostly sounding just like themselves. Although obscure, this album is as good as anything recorded at the time and deserves to be re-discovered.”

“Obviously influenced by the Dead, Mountain Bus had great musicians and slick songs. Any fan of the Dead will enjoy this album.”

“The first and still one of the best Grateful Dead clone bands. Mountain Bus soak up Aoxomoxoa era Dead in their prime. Plus dig their take on I Know You Rider which goes on for ten long minutes. Nothing mind-blowing but pretty enjoyable.”

“Tremendous early 70s psych out of Chicago with an obvious Grateful Dead influence. Starts out strong and gets stronger, with some really high quality space jams towards the end of the record. This band's version of I Know You Rider is perhaps the best version I've ever heard. Gorgeous vocal harmonies and searing leads make this the standout cut for sure.”

“Mountain Bus were one of the best Chicago rock bands from the 1970s. This album features excellent percussion and strong melodic rock, with an occasional touch of old country influence.”

“Mountain Bus are the Grateful Dead without the acid tinge. Not a bad thing at all. If you listen to the vocals and nimble guitars of this band, you would think it was Jerry Garcia fronting them. Yet the group is no pale carbon copy or contrived derivative. The guitar playing is jazzy and fluid, and they play well constructed songs with a early 1970s cosmic cowboy feel.”

Tudor Lodge - TUDOR LODGE***

It All Comes Back To Me/Would You Believe/Recollection/Two Steps Back/Help Me Find Myself/Nobody's Listening/Willow Tree/Forest/I See A Man/The Lady's Changing Home/Madeline/Kew Gardens

Self titled sole album release from the English folk ensemble Tudor Lodge. They formed a prominent part of the London folk circuit in the early 1970s but soon split after personnel upheavals.

“This album's production is absolutely perfect, with nothing seeming to be overdone, but so full and tasteful. Great guitar instrumental, a great rhythm section, and the songwriting and singing are top-notch as well. Just progressive enough to delight those who are bored by the same old folk.”

“Although generally considered to be part of the progressive folk scene, the emphasis is very much on the folk side of the equation here. The warm, evocative production makes this a pleasant, approachable listen, and the very occasional inclusion of more psychedelic or electric elements stops things getting samey.”

“Simply wonderful gentle, lilting melodies that are not over sweet; beautiful vocal harmonies; faultless arrangements, playing and polished production; terrific but subtle use of woodwind in key places. I like the relaxing atmosphere and the tenderness of it all. Some songs have harmonically interesting parts, especially the wind instruments. Nothing on the album, or even within a single song or track, is ever overdone or underdone, it has a superb balance. It's a tragedy they originally made only one album in the 70s, but what an album they gave us.”

“Here is one of those unjustly forgotten one album wonders from an astonishingly fertile creative period in music. Rooted in folk but tinged with progressive rock in its gentler aspects, Tudor Lodge offered something tender and joyous to the willing listener. In some ways, I'm reminded a little of Renaissance, but re-imagined in terms of chamber music as opposed to sweeping orchestral music.”

“There was a distinctive sort of female vocal then, wistful and childlike, yet also wise and knowing; and it's shown to full effect here, with songs that evoke both Elizabethan pastoral and tinges of acid-folk. It was a period of fragile beauty, one that couldn't last, but this is a haunting reminder of what it felt like then.”

“Very pastoral, melodic folk with mostly acoustic guitar, the occasionally solid use of bass and drums and some other orchestral instrumental touches. The vocal harmonies rival any of the folk albums that I have heard to date.”

Dust - DUST***

Stone Woman/Chasin' Ladies/Goin' Easy/Love Me Hard/From A Dry Camel/Often Shadows Felt/Loose Goose

Eponymous debut album from the American heavy rock group Dust whose music has been described as bluesy hard rock with a slight progressive edge. They split after the next album without any real commercial success.

“This is a pretty decent early 70s hard rock album. The drums are probably the weakest part of the affair being often overly busy with rushed fills. The vocals aren't great but they work. I find the guitar and bass playing to be pretty good and the songwriting, while not the greatest, is pretty good as well.”

“One of the bands that really put the power into power trio, Dust have mostly faded into the corners of metal’s hung over and misplaced past glories. Their first outing is a fun romp down the path previously trodden by Blue Cheer, albeit with slightly more finesse.”

“This is Dust's debut album which I would describe as bluesy hard-rock with a slight progressive edge. For the most part it's good and the musicians are decent. The vocalist's voice is nothing special but bearable, if lacking uniqueness. Although I like this album, there is nothing original or inventive going on.”

“They played ambitious self-penned material written by the guitarist, who displays some amazing guitar licks throughout the album. The band had a heavy sound and the compositions are dramatic and well developed.”

“Some pretty good hard rock with progressive leanings. Stone Woman has some fantastic slide guitar. Goin' Easy has a slower more bluesy vibe while Love Me Hard comes back with some hard-hitting guitar. From A Dry Camel is a long, but rather effective jam. The last two songs are average, but suffer due to excessive meandering jams.”

“This is one of the great, early hard rock LPs. They really rip on this first one, with some fantastic, hard rockin' material featuring some bottle-neck guitar.”

“Dust is an awesome album which features some high energized tracks, such as From A Dry Camel and the instrumental Loose Goose. Some great bass playing with quite fast drumming.”

“This isn't nearly as heavy as some people would have you believe. The heaviness that this band does possess is minimised by their ultra-polished sound.”

Acquiring The Taste - GENTLE GIANT***

Pantagruel's Nativity/Edge Of Twilight/The House The Street The Room/Acquiring The Taste/Wreck/The Moon Id Down/Black Cat/Plain Truth

Acquiring The Taste was the second album release from the British progressive band Gentle Giant. It was considered to be more experimental than its predecessor, bordering on the avant-garde.

“Gentle Giant were one of the more significant progressive rock debuts of the early- 70s, but it was Acquiring The Taste that catapulted them into the upper echelon of progressive rock giants. This is the album that fully realizes the wild potential of the band's unapologetically unconventional approach. Atonal vocal melodies and quirky instrumental breaks fit directly alongside relatively immediate hard rock guitar jams, but even in its most accessible moments the arrangements are overflowing with nonstandard instrumentation.”

“Starting with this album the band took the plunge into their own unique musical world and took us to new sonic frontiers of which I am a grateful fan. This direction was taken mainly due to their extensive training and interest in classical music. This inspiration matched with an ambition is the reason Gentle Giant remain one of the most progressive of progressives.”

“The band has a good groove, which shines along the whole way through from the beginning to the end, but at times the material does feel a bit uninspired, though that luckily occurs only on a few occasions. Still this album manages to hold me in its grip, basically due to talented musicians having fun, and as the listener you really don't have a clue what's to follow. Very fusion and rock inspired.”

“Sporting three lead vocalists at this point, and playing an aggregate of more than thirty musical instruments in studio and on stage, Gentle Giant wedded classical to rock, madrigals to blues, and simple sweet ballads to near heavy metal and complex time signatures. Theirs was a music that demanded sophisticated musical taste.”

“Sounding unlike almost anything of it's time, this was unique in its approach, with some very non-commercial material that borders on the avant-garde, but is far more appealing. It features a well rounded sound and is consistently good throughout.”

“One can commend this music for any aspect; extremely refined vocals, a wide variety of styles and influences, complex instrumentation combined in such an intelligent way that it's probably impossible to get bored with these sounds.”

Silver Tongued Devil & I - KRIS KRISTOFFERSON****

The Silver Tongued Devil & I/Jody & The Kid/Billy Dee/Good Christian Soldier/(Breakdown) A Long Way From Home/Loving Her Was Easier (Than Anything I'll Ever Do Again)/The Taker/When I Loved Her/The Pilgrim Chapter 33/Epitaph (Black & Blue)

Silver Tongued Devil & I was the follow up album from rising country star Kris Kristofferson. It helped to establish his own reputation as a country artist rather than as a writer of other singers’ songs. (US:21)

“This is one of my very favourite country records ever. Kristofferson's songs have a plain spoken gravity to them and display all the many facets of the songwriter's personality while introducing a vividly rendered cast of characters.”

“Kristofferson never put together an album this good again, but he didn't need to. Between this record and his debut he'd already solidified himself as a legend.” “Kristofferson has a deep, weary voice that is perfectly suited to country music, and he was way, way ahead of the pack in creating a new style of country sound, very much a blend of the lonesome troubadour and the outlaw cowboy.”

“It's a wonder this album comes up so rarely when the conversation turns to outlaw country, because it's not just a perfect early example of the genre but also a little masterpiece in its own right. Ten songs about love, blood and Jesus that cut deeply. Despite the occasional Nashville pop trappings, silky strings and horns, this is for the most part a bare-boned record with a lonesome soul. Kristofferson here is a more charismatic performer; gone is the occasional hesitancy of his vocals, replaced by a real urgency and assuredness.”

“For someone whose name is so well known it is almost criminal that more people do not know that Kristofferson is the greatest poet in the English speaking world. His lyrics speak of freedom and survival of the human spirit like no one else. If you are unfamiliar with his writing this album is a terrific starting point.”

“This blew me away. He is a great poet. His voice is so full of feeling that you believe that he is a down and outer. He is terrific at putting feelings into words. However, it is a little depressing. As with all his music, he paints a picture so clear that you can feel it and see it as if you were there. Every song is worth listening to.”