Muswell Hillbillies - THE KINKS***

20th Century Man/Acute Schizophrenia Paranoia Blues/Holiday/Skin & Bone/Alcohol/Complicated Life/Here Come The People In Grey/Have A Cuppa Tea/Holloway Jail/Oklahoma USA/Uncle Son/Muswell Hillbilly

Muswell Hillbillies was an apt title for a Kinks album as the group was formed in the Muswell Hill area of London, and it features their interpretation of American country music. (US:100)

“I think you have to be a certain age to really appreciate this; you have to believe that the present sucks, and even the future isn't what it used to be. The past, on the other hand, is where it's at, as long as it isn't now. Ray Davies is even more unapologetically atavistic here than on Village Green, and if you're turning into a crusty old codger yourself, you will be able to relate. If you are as sick of every major modern affectation as I am, this album will become one of your best friends.”

“It's Americana in the musicality, but British in attitude. I mean who ever heard a country song about a cup of tea or concerns about futuristic dystopia. That's not to say they don't try a few country tracks, though the results are still hilariously British.” “The Kinks streak of quality from '66 to '71 was remarkable, and this disc doesn't skimp on the charm or immediacy that made The Kinks rock legends. The raunchy guitars, absurdly witty lyrics, and rolling pianos of Holiday and Acute Schizophrenia Paranoia Blues may seem quaint and whimsical compared to the dark proto-metal of the time, but that's no reason to underestimate the album's quality.”

“This is the Kinks at their best. The addition of horns, Dave's gritty slide work and Ray's songs predate his fascination with New Orleans. Once again, Ray has painted a vivid picture of British working class life that resonates with one's own.”

“Another Kinks record with inspired themes. On Muswell Hillbillies, the band decided to make country music, one of the most American of genres, but with their typical English flavouring. But country music and Ray Davies' conception of modern England are fundamentally opposed; embedded into country music is the idea of the open road, the plains, that very American drive for freedom. Bringing that sound to an English setting allowed Ray Davies to emphasise, again, how restricting and hopeless modern England had become.”

“The baroque melodic joy of the late 60s Kinks is gone here, replaced by a spare, basic, low-key country rock sound. I don't mind the rustic sound but on most of these tracks there are just no real hooks that I can latch onto.”

Roots - CURTIS MAYFIELD***

Get Down/Keep On Keeping On/Underground/We Got To Have Peace/Beautiful Brother Of Mine/Now You're Gone/Love To Keep You In Mind

Roots was the second solo studio album from The Impressions lead singer Curtis Mayfield. He was recognised for the emphasis on social consciousness messages in many of his songs. (US:40)

“Some of the ideas here may have been put to better use on his solo album and Superfly, but so what? This album sounds fantastic all on its own. I love how Mayfield elongates his tracks, as compared to his peers, where everything on here sounds epic.”

“I was really impressed, particularly with how instant the songs and melodies are, even the second time I heard the album I remembered all the songs from the first time. It's just that kind of album that I think anyone should get something from. It's such an earthy and natural form of funk and soul music, truly I've never heard anyone quite like Curtis. His natural ability to blend politics with amazing songwriting and then the vocals, it's so impressive.”

“Although this album is really good, to me it feels like a step backwards from the brilliance of Curtis, and the great live album Curtis/Live. It almost feels like outtakes from Curtis: similar in sound and feel, but of slightly lesser quality. It's still a sight better than most other artists could do, but after hearing what Curtis was capable of it feels a bit of a letdown.”

"Get Down, with its seedy-yet-triumphant arrangement, sets the stage for an album that's uplifting and dark in equal measure. Particular highlights include We Got to Have Peace, which features some of Mayfield's most passionate singing. Love To Keep You In My Mind is a very charming closer with excellent production, and Underground, is a colossus of a track, one that grabs your attention and doesn't let go.”

“If there's one thing Curtis Mayfield knows how to do so well, it's build up a funky groove and stick with it. These songs are long, and they should be - the more you listen, the more enveloped you become. The instrumentation is terrific, especially the bongos and that bass that sounds like a synth.”

Rough & Ready - JEFF BECK***

Got The Feeling/Situation/Short Business/Max's Tune/I've Been Used/New Ways Train Train/Jody

Jeff Beck’s previous group fronted by Rod Stewart was disbanded, and a completely new set of musicians were recruited for Rough & Ready. This release heralded a move in a jazz and soul direction. (US:46)

“This version of the Beck Group has always gotten short shrift compared with first one, no doubt because of the former presence of Rod Stewart. But taken on its own terms, this line-up made some blistering music. The difference this time around was a move away from more blues based forms to a sound that made overt nods to funk and jazz influences.”

“A minor change in direction and not as good as his previous releases. There is not nearly enough rock or his patented fabulous guitar. The vocals are bad and there doesn't seem to be any cohesiveness to this music.”

“Here Jeff Beck decided to make an R & B/blue eyed soul album, with hints of jazz flavour. The result was great slow crawling ballads, and funky out of this world rockers. Although it's not a bad album by any means, it is very flawed. As to be expected when you have a guitar genius like Jeff Beck who seems to think that everyone is up to his skill level. Where it does work it works well, and where it doesn't its just bad, Got The Feeling and I’ve Been Used being the strongest tracks on the album. I've heard worse but I also expected a whole lot better.”

“This time around we have an emphasis on soul flavoured rock, with a hint of the fusion influences that would completely engulf Beck's later releases, and even a mild funk move, here and there. Though the band shares the same name with its earlier incarnation, the total change in personnel, coupled with their new direction, demands that this album not be compared to his two earlier releases.”

“This is a fine early 70s effort from the second incarnation of Jeff Beck and his merry sidemen, and has aged surprisingly well. One can sense Beck's slight turn toward the jazz leanings that would soon become his forte, although he is still hanging on to his rock/blues roots on this set. There is some interesting diversity, everything from the heavy riff rock of Train Train, the jazz-rock leanings on Situation and Got The Feeling, to the beautiful and ethereal Max's Tune. The album features fine drumming from Cozy Powell and outstanding playing overall from the musicians involved.”

Anticipation - CARLY SIMON****

Anticipation/Legend In Your Own Time/Our First Day Together/The Girl You Think You See/Summer's Coming Around Again/Share The End/The Garden/Three Days/Julie Through The Glass/I've Got To Have You

Anticipation was the quick follow up album from rising singer-songwriter Carly Simon. The title track was a US No.13 hit single but her next single would prove to be a global smash. (US:30)

“Anticipation works as a great follow-up by continuing the soft rock style that she started with and expanding on it. The production here is much better than her debut and her abilities as a songwriter are ever improving.”

“Anticipation ranks as one of Carly Simon's better studio albums of the 70s. The title track along with Legend In Your Own Time are two classic singles that deservedly earned their commercial and artistic success. While Carly's voice may not be pleasant enough for everyone, it's definitely original and she uses it perfectly on quiet folksy songs like Our First Day Together.”

“It’s stood the test of time. Minimal, acoustic production adds depth and stays away from early 70s studio tricks that could have marred these beautiful songs. A truly wonderful piece of music.”

“A better album than her first, although some of her annoying mannerisms, such as a tendency to overemphasis syllables, is becoming pronounced. Still a lovely example of that lost autumnal 1970s singer-songwriter sound.”

“This was her first big album in terms of success, and had the smash hit Anticipation. Yet there are also a number of other interesting, provocative, and beautiful selections here, including Legend In Your Own Time, a song obviously about her soon to be husband James Taylor. My personal favourite is The Garden, a moving, intimate word picture of a song with a lovely melody, evocative lyrics, and an absolutely haunting vocal. This was one of her first autobiographical confessional albums, and it gives us an interesting vantage point with which to understand her better.”

“Anticipation and Legend In Your Own Time were strong enough to become and remain radio staples, but these songs only scratch the surface of the depth of material here. Our First Day Together and The Garden are stark and beautiful ballads on a stylistic par with early Joni Mitchell.”

Rockin' The Fillmore - HUMBLE PIE****

Four Day Creep/I'm Ready/Stone Cold Fever/I Walk On Gilded Splinters/Rolling Stone/Hallelujah (I Love Her So)/I Don't Need No Doctor

Double live LP from the British heavy rock group Humble Pie. Rockin’ The Fillmore was recorded in May 1971 and includes the classic original line up featuring both Steve Marriott and Peter Frampton. (US:21 UK:32)

“This spirited and inspired concert recording puts the spotlight squarely on mighty front man Steve Marriott, while guitarist Peter Frampton steps in with fierce fret board work, and the tag-team of bassist Greg Ridley and drummer Jerry Shirley tightly hold down the rhythm. Behind the spartan sleeve lurks a blazing set of sweatsoaked live tracks that bleed raw blues-rock.”

“In a time when many bands put the audience to sleep with extended jams, Humble Pie managed to make their extended pieces exciting. Walk On Gilded Splinters is a magical piece that filled an entire side of the album, but is so good you don't notice the time. I'm Ready is slow and heavy, and features one of Steve Marriot's patented, singing introductions. Anyone who thinks that Peter Frampton was just a pretty boy will be blown away by his guitar playing here. He never sounded this good again. Stone Cold Fever displays his jazzy approach to soloing, and he smokes here.”

“Humble Pie didn't have much use for subtlety, or songwriting for that matter (of the seven tracks, only one is an original). Just give 'em an old-time tune, crank up the amps, and let Steve Marriott scream on. I love the gritty, southern-tinged, blues rock sound, but Humble Pie just doesn't cut it, even on this live album that people seem to regard as their crowning achievement.”

“Humble Pie were an underrated band and this is one of the best live albums of the 70s. This is a must have for any serious hard rock fan. Steve Marriot was a fantastic rock and blues singer, Peter Frampton added so much to the vocal harmonies and with his guitar. The whole band is fantastic.”

“Perhaps more than any of their studio albums, Rockin' The Fillmore is the Humble Pie album which seals their legacy. It's not subtle, or nuanced, it's just a brilliantly raw live recording of a mid-level early 70s rock band punching above their weight on a live stage.”

“While performing live, they were free to let all of their raucous, pent-up energy loose. The result is a thoroughly entertaining album.”

Gather Me - MELANIE****

Little Bit Of Me/Some Day I'll Be A Farmer/Steppin'/Brand New Key/Ring Around The Moon/Ring The Living Bell/Railroad/Kansas/Some Say (I Got Devil)/Centre Of The Circle/What Wondrous Love/Baby Day/Tell Me Why

Singer-songwriter Melanie was the epitome of the Woodstock generation so it should have come as no surprise that her appeal began to wane as the seventies progressed. Gather Me was the last of her classic albums and includes the quirky chart topping single Brand New Key. (US:15 UK:14)

“Gather Me remains one of Melanie's very best recordings. Of course there are the purists who complain about the orchestration. Fans who feel she should not be playing with anything more than an acoustic guitar and a microphone. But the musical arrangements on this album are almost uniformly brilliant providing an advantageous setting for both Melanie's vocals and songwriting.”

“Her singing matures dramatically with this album. She never had difficulty belting it out, but the quieter phrases here are much deeper and sustained. There is a mellow, rich quality throughout. Of course this is also the album that contains Brand New Key, the huge hit that unfortunately pegged her forever as a novelty singer of cute little ditties.”

“Most of these songs are thoughtful, sophisticated efforts burnished with an ascendant maturity. The world weary, almost country western Little Bit Of Me, the simply brilliant Steppin', Railroad and Kansas, are virtually flawless. Someday I"ll Be A Farmer and Baby Day revisit the Brand New Key territory a bit, but there is a sardonic aspect to all these songs that resolutely removes them from overly cute category.”

“Melanie's career never really took off. Certainly, during the early 70s she was one of the most creative forces in music. But, her commercial decline was fast and abrupt, here today; gone tomorrow. There are numerous reasons for this, the main being poor management and bad choices. Gather Me is her best album, hands down. It is not, however, without flaws. Baby Day is too cute for its own good and reinforces her hippy-dippy image. The rest of the songs are the strongest of her misguided career.”

“Great production values and perfect arrangements for her voice and style are the reasons why Gather Me was Melanie's best. It really does provide a nice cross section of her ability to sing country, pop, folk, and some traditional styled songs.”

American Pie - DON MCLEAN****

American Pie/Till Tomorrow/Vincent/Crossroads/Winterwood/Empty Chairs/Everybody Loves Me Baby/Sister Fatima/The Grave

American Pie was a phenomenally successful breakthrough album for singer songwriter Don Mclean, boosted by the complex chart topping title track. Also includes the UK No. 1 Vincent. (US:1 UK:3)

“American Pie is one of the seventies best known songs, and one of the singly greatest tracks ever recorded. The imagery and historical references are perfectly blended with a song of celebration, lamentation and remembrance. But what follows is mostly a fantastic set of tracks. Vincent is another masterpiece with amazing lyrics and quietly brilliant guitar work.”

“Undoubtedly one of the finest albums ever made, American Pie is a classic in every sense of the word. While the title track dominates, the others are equally impressive and form a cohesive whole. Don McLean's singing is simple and pure, and the instrumentation is perfect throughout.”

“If anyone had released a song as great as American Pie or Vincent anytime post 1986 we would have fainted in surprise. In the early 1970s classic singles like this were regular occurrences. We could afford to sneer at hits from artists who didn’t have the right street cred or attitude. Now they seem totally inspired like something from another galaxy.”

"Don McLean's second album American Pie is mostly remembered because of the mighty title track. This album offers lots of other material to enjoy, and Vincent is also a pretty well known track. Don has written a pack of great songs here and the instrumentation serves them well.”

“McLean caught lightning in a bottle with the title track. Maybe not the anthem many make it out to be, but solid enough.”

“Behind the legendary title song lurks American Pie the album which, contrary to all probability, is actually a solid slice of early 70s singer-songwriter Americana. Sure, the other tracks are hidden in the shadow of both the title track and Vincent, but taken on their own merits they’re at best solid examples of material by a songwriter hitting his peak and are at worst superior filler.”

Madman Across The Water - ELTON JOHN*****

Tiny Dancer/Levon/Razor Face/Madman Across The Water/Indian Sunset/Holiday Inn/Rotten Peaches/All The Nasties/Goodbye

Madman Across The Water was another classic album from Elton John which strangely had little impact in the UK at the time. Nevertheless it is the equal of the more successful albums which preceded and succeeded it. (US:8 UK:41)

“There was a huge singer/songwriter thing happening in the early 70s, and John was at the top of his game. There are two bona fide classics here - the beautiful Tiny Dancer and the more lyrically complex Levon. But others like the excellent title cut, and Goodbye are right up there with them. John's singing has never been better than here, and his playing is as always immaculate. There indeed was a time when image didn't mean a whole lot to him, when he put everything into the music.”

“Possibly the most difficult of his classic era albums to get into, Madman Across The Water reveals its pleasures slowly. With no major hit singles or even love songs aboard, and with arguably as difficult a set of lyrics as Bernie Taupin ever gave him to write music to, Elton applies a lot of rigour and no little craft to attempting to bring these songs to life.”

“For an Elton John fan, it doesn't get much better than this. This album proves that Elton is a songwriting genius despite the flak he takes for his later albums. For anyone who doubts Elton's abilities, or is unimpressed by his more contemporary stuff, listen to this album, it is likely to change many minds.”

“This is a pretty dark album. There are no upbeat pop songs on here, not like he would turn to in future albums. This is deadly serious stuff, which makes it a very unique album for Elton John, because in his classic period he did mostly glam-like pop.”

“If you like early Elton John, then Madman Across The Water is a must have, as it shows the Bernie Taupin and Elton John creative team in the ascendant and honing their craft. Levon, Razorface and the title track are as good as anything they've ever done, but all the other tracks also have their highlights. If anything perhaps they should have been a little more ruthless in trimming some of the songs down, as six of the nine tracks break the five minute mark when there really is no need for them to do so. Also the somewhat over the top string arrangements can bury the songs a little. Very nice, but a little overwrought.”

Greatest Hits - GLEN CAMPBELL*****

Gentle On My Mind/I Wanna Live/Wichita Lineman/Try A Little Kindness/Honey Come Back/By The Time I Get To Phoenix/Galveston/Where's The Playground Sussie/Dreams Of The Everyday Housewife/Burning Bridges

This first Glen Campbell compilation album brings together several of the most memorable Jimmy Webb songs. Worth a special mention is the excellent country hit Dreams Of The Everyday Housewife. (US:39 UK:8)

“Five top shelf Jimmy Webb tunes, with the best of the rest highlighted by John Hartford's Gentle On My Mind and the period piece Dreams Of The Everyday Housewife. Early Glen Campbell, when he was at the top of his game.”

“Glen Campbell was a country-pop icon of sorts. His hit records of the sixties and seventies were AM radio top 40 staples that received tremendous airplay. His collaborations with Jimmy Webb are songs that have given the youth of that generation memories that will last a lifetime.”

“Glen handles these songs with panache and he never skips a beat. The music is perfect for the lyrics and these are memorable songs to say the least.”

“Who doesn't love Glen Campbell. His music is timeless. I have many good memories of listening to his hits on the radio back when he was at the top of the music game.”

“Campbell's best hits still ring true after many years and will transport you back in time to the carefree days of the Glen Campbell Goodtime Hour.”

“Glen Campbell can always please his loyal fans; and there's no doubt as to why when you listen to this album full of great, timeless music by this icon. Glen is in excellent form throughout and every tune's a winner.”

“Not only did Campbell sell millions of singles but he also recorded a number of highly successful albums to boot. With Greatest Hits enjoy once again such favourites as Wichita Lineman and Galveston. I am also partial to some of his lesser known hits like Dreams Of The Everyday Housewife, Honey Come Back and most especially the highly uplifting Try A Little Kindness.”

“I am not a fan of country music, but there are some artists that transcend music genres, simply because they just make great music and their voices flow so smoothly. Glen Campbell is one of those artists.”

Look At Yourself - URIAH HEEP****

Look At Yourself/I Wanna Be Free/July Morning/Tears In My Eyes/Shadows Of Grief/What Should Be Done/Love Machine

The progressive rock group Uriah Heep continue their run of classic albums with Look At Yourself. The original rather gimmicky reflective cover allowed punters to do just that. (US:93 UK:39)

“Look At Yourself is one of Uriah Heep's best, heaviest and most powerful albums. David Byron's vocals are as amazing as ever, and are Mick Box's guitars. However as usual it's Ken Hensley's organ stealing the show. As with all their classic albums this is a mixture of proto-metal and progressive rock, and as also as usual it works to great effect here.”

“Musically, this is one of the greatest albums I have ever heard. Uriah Heep have always amazed me for not only being so intense and riff-laden, but having an equally fierce organ attack. The title track is a fine example of their firepower.”

“With a mirror cover image, Look At Yourself is filled with colourful and expressive hard rockin' cuts that includes traces of progressive rock. While many have hung the heavy metal tag on them, I have never bought into Heep standing in the metal ring. The group trip into some alloy recordings here, but their ability to stretch out and experiment warrants more than being pigeon-holed in the heavy metal genre.”

“The third album from Uriah Heep was the high-water mark of their catalogue. The band mixed hard rock with progressive elements and this hybrid shines very bright. Heavy sounding guitars, thunderous Hammond organ and Byron's unique vocals works perfectly in songs like the epic July Morning, the mystical Shadows Of Grief or in the immortal title track. Look At Yourself is mandatory for lovers of classic hard rock.”

“This is where Heep started to hit their stride, the Deep Purple influences are considerable, and the lyrical subject matter less mystical than their later material.”

“Uriah Heep in the early 1970s were very much the band which everyone but the fans of the band themselves, loved to hate. They got loads of stick from critics, these being particularly unfair criticisms against a band that produced some excellent music during their career. Look At Yourself stands as one of their finest and most accomplished efforts.”

Nursery Cryme - GENESIS*****

The Musical Box/For Absent Friends/The Return Of The Giant Hogweed/Seven Stones/Harold The Barrel/ Harlequin/The Fountain Of Salmacis

With the release of Nursery Cryme Genesis consolidated their position as rising stars in the British progressive firmament. It is an album packed with complex and reflective songs of stunning originality.

“The first Genesis album to feature Phil Collins and Steve Hackett opens with The Musical Box, which is a fantastic showcase for both performers' unquestionable musical skills, and then continues in a louder, more confident, and more daring mould than previously.”

“With elements of their pastoral, folksy side still evident, they also stretch out with meaty, aggressive progressive arrangements. But unlike many other acts of the time, Genesis managed a quality that eluded them: taste. Genesis kept to the credo that a band is a democracy, and the composition of a song is the most important thing. All are fantastic musicians, with no one dominant. They all contribute their best compositional efforts to create a prog-rock masterpiece.”

“With their classic early line-up Genesis deliver a vintage prog-rock cornerstone with Nursery Cryme. The album builds on the folky foundation laid by Trespass but ups the ante in terms of dynamics and lyricism, the playing fiery and determined as Peter Gabriel's lyrics turn towards bizarre, disturbing imagery.”

“Nursery Cryme came at perhaps the most interesting time in the band's career. They had just picked up much needed muscle with Hackett and Collins, but were still trying to find their voice as a band. The result is some of the oddest, most original music they have ever composed, played at a new level of competency.”

“Well-written, well-executed and well-produced, Nursery Cryme builds on itself throughout, never lingering in one place too long, even in the lengthy Musical Box. While far from later radio-friendly schlock, it nonetheless includes plenty of catchy bits, which was a trademark for the band at this period - progressive, experimental music saturated with catchiness. Gabriel, always kept things interesting, both in lyrical content and execution, and the band, as always, is ultra-solid.”

“The quiet songs are just beautiful, and complement the heaviness of other tracks. The epic The Musical Box is perhaps the best Genesis song. Musically and lyrically this album provided evidence of what they could achieve.”

There's A Riot Goin' On - SLY & THE FAMILY STONE**

Luv N' Haight/Just Like A Baby/Poet/Family Affair/Africa Talks To You/There's A Riot Goin' On/Brave & Strong/( You Caught Me) Smilin'/Time/Spaced Cowboy/Runnin' Away/Thank You For Talkin' To Me Africa

There’s A Riot Goin’ On was an immensely successful LP in the States from the soul band Sly & The Family Stone, boosted by the US No.1 Family Affair. With its emphasis on funky rhythms at the expense of harmony and melody it was one of the albums that signalled a wrong turn for popular music.(US:1 UK:31)

“One could sense right from the start how groundbreaking this was when first released. Sly and his crew knew exactly how to match words to music in a way that was both effective and poignant, but not without infusing their music with a certain complexity that challenged conventions. It also took on a darker and more atmospheric feel than their previous work. Thus, although the album takes a couple of listens to fully digest due to its musical complexity, it's more than worth it and reflects the time period perfectly.”

“It’s almost impossible for me to get to the bottom of There’s a Riot Goin’ On, because the allusion and hyperbole runs so thick, and the funk grooves are so deep, that it seems to me to be an aural bottomless pit, a modern-day journey through Dante’s Inferno. When we can see the deepest feelings of an artist, when he puts aside his stage persona and reveals his innermost despair, it creates an art so personal and real it makes almost everything else look contrived.”

“This is Sly Stone's magnum opus, and it's straight out off a cocaine-induced hell of paranoia. Muddy sounds, warped lyrics, eerie guitars, droning organs, sinister bass, and that unforgettable tired voice. This is a raw primordial funk experience.”

“I'll be the first to admit that I know little about soul, and less about funk. I'm sure that the historical context for this album is incredibly important in its sound compared to other funk, but to be completely frank this is one of the blandest albums I've ever heard. It starts and ends quite well, but the middle tracks are absolutely forgettable.”

“This is a really awful album. Maybe it’s just not my taste but there are so many things I dislike about this. First, it sounds like a demo. It truly sounds appalling production wise. Everything is muddy and just unpleasant to listen to. Next, Sly's voice is terrible. For the majority of the album he sounds like he has a speech problem, slurring every word.”

To You With Love - DONNY OSMOND***

I Knew You When/Little Bit/Go Away Little Girl/Hey Little Johnny/Sit Down I Think I Love You/A Little Bit Me A Little Bit You/Do You Want Me/Bye Bye Love/I'm Into Something Good/Standing In The Need Of Love

To You With Love was the follow up album from young teen heart throb Donny Osmond. Filled with covers his pre teen audience of young girls probably thought all of these were new songs. Includes the US chart topper Go Away Little Girl. (US:12)

“I am 50 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.”

“Here is a very young Donny Osmond singing his heart out; and that cute 1970s melody still sounds so fresh and good today. This is still great music for dancing; Donny's voice is excellent and it all holds its own very well. Go Away Little Girl slows down the tempo quite a bit; this melancholy ballad sounds wonderful and he never misses a beat. Even at a very young age, Donny had an intuitive feel for music and an uncanny sense of timing to make his songs all the better.”

“During my preteen years I thought Donny Osmond and his brothers were the essence of pop. This is great nostalgia stuff, good material and not badly performed either. No doubt this wholesome music had a positive influence on my emotional and intellectual development.”

“I had not heard Donny's old songs in over thirty years so I really enjoyed it. It is nice to hear the young voice of Donny in his early songs.”

“Albums such as this should be judged upon nothing more than the quality of the songs. If you enjoy the barely pubescent Donny voice on one song, you will probably admire it on the rest. It would not be cruel to suggest that he had nothing more to do with the creation of these records than turning up at the studio to sing what he was told. Orchestras float, lush strings flow, and little Donny sings like an angel.”

Stones - NEIL DIAMOND****

I Am I Said/The Last Thing On My Mind/Husbands & Wives/Chelsea Morning/Crunchy Granola Suite/Stones/If You Go Away/Suzanne/I Think Its Gonna Rain Today/I Am I Said (Reprise)

It is unfortunate that Neil Diamond’s Stones contains a large number of covers, since his songwriting skills reached a peak during this period. Features the US and UK No. 4 hit single I Am I Said and the US No.14 title track. (US:11 UK:17)

“How strange it is that the more popular Neil Diamond became, the more his music gets worse. The title track and the single I Am I Said are pleasant enough, but suddenly I'm finding him boring.”

“One of the best Neil Diamond albums which I love playing on quiet cosy nights, just sitting back and listening to the feeling that it brings. So deep and moving, I would definitely recommend it.”

“A surprisingly good collection of songs. The singing is as you'd expect from Diamond, and while the arrangements do occasionally go a bit over the top, they are far less trying than on some of his other releases.”

“Stones is a depressingly good album that evokes dark winters of short days and long dreams. Diamond's powerful voice and the great arrangement, especially of the strings, make these singer-songwriters classics soar high. The few Diamond originals are also great, especially the dark ballad that is the title cut.”

“For first time listeners who maybe discovered Diamond after hearing a track on the radio this is the place to start. A singer who can evoke moods within the listener like virtually no other artist of the 1970s, and who never sounded better than on Stones. The self penned title track is one of his absolute best, demonstrating a style that is clearly all his own. I Am I Said is the showpiece tune, a light that could not even be extinguished by it's overplay on the radio. No one covers a song quite like Diamond, making it all his own, and this album has many examples.”

“Even though most of the songs are covers, Neil Diamond covers them eloquently; Chelsea Morning evokes images of lazy summer mornings in a butter-yellow kitchen watching the early rising sun. Stones is a great album just to kick back and listen to or during a long road trip. Decades later, it still sounds crisp and fresh.”

At Carnegie Hall - CHICAGO***

In The Country/Fancy Colours/Does Anybody Really Know What Time It Is/South California Purples/Questions 67 & 68/Sing A Mean Tune Kid/Beginnings/It Better End Soon/Introduction/Mother/Lowdown/Flight 602/ Motorboat To Mars/Free/Where Do We Go From Here/I Don't Want Your Money/Happy 'Cause I'm Going Home/Ballet For A Girl In Buchannon/A Song For Richard & His Friends/25 Or 6 To 4/I'm A Man

At Carnegie Hall was a live mammoth four disc box set recorded in April 1971. It is a measure of the group’s then commercial appeal that it achieved such a high chart placing in the USA. (US:3)

“At the time of this series of concerts, Chicago were at the top of their game and it's fully on display here. Sure, there's the occasional shaky attack in the horn section, the pitchy vocal line, and some balance problems, but considering the sophisticated arrangements and the powerful tunes few bands of the time, or now, could have pulled this off as well.”

“This marked the first time a rock band had ever played a week at Carnegie Hall. All the shows were sold out. From a musical standpoint, this can act as a substitute for the first three albums, as Chicago plays all the best cuts from all three albums, which basically means each album almost in its entirety.”

“A great hidden gem from the past. If you are a Chicago fan for the musicianship and not the pop music hits, then this is an album you will really enjoy. Recorded over four nights at Carnegie Hall there is a wide variety of their classic hits along with many other less familiar compositions.”

“I am a fan, but I would never recommend this album to anyone. It satisfies the curiosity but not musically, mainly because the live material sounds a little sluggish and the sound quality of the recording is terrible. The song selection is OK, but I rarely come back to this one and when I do I am always disappointed.”

“Recorded long before the band's later pop hits, this features them as one of the best bands from the jazz-rock scene. From the well known hits to longer pieces with instrumental sections with a lead role for the horn section, this pretty much sums up what early Chicago were all about. This is not the easy listening Chicago that's so hard to listen to today. This was a soulful, rockin' band, with a killer horn section, an excellent rhythm section, with outstanding vocalists and arrangements.”

“Anyone looking for the best example of Chicago as a great band has it right here. Their improvisational powers are at a peak and their best early hits are here.”

Meddle - PINK FLOYD****

One Of These Days/A Pillow Of Winds/Fearless/San Tropez/Seamus/Echoes

Meddle was regarded as a transitional album in the development of the Pink Floyd sound, incorporating the experimentalism of early releases but less structured than subsequent albums. (US:70 UK:3)

“Meddle is Pink Floyd's first truly great album and marks a transition to a period of creative maturity. The relaxed songs show the group in a pleasant and positive mood and are fantastic songs to unwind to. The ambitious Echoes is a work of genius, featuring beautiful, lazily harmonizing vocals, superbly catchy instrumental interludes, and a gorgeous and trippy experimental mid-section.”

“The transition from Pink Floyd's playful psychedelic beginnings to their more focused and structured forms that would inform their internationally successful work was hardly smooth, littered as it was with questionable double albums, slightly bizarre soundtracks and albums with cows on the cover. It is perhaps surprising then that smack bang in the middle of this period they managed to release one of their most enjoyable and downright fun albums.”

“There are some things in common with their previous album Atom Heart Mother here, but in many respects Meddle set the tone for the band in defining their '70s sound. By refining their experimental rock style into more of a straightforward rock sound, they really found their niche.”

“This album covers a lot of ground. This is the Pink Floyd I love the most, when they seemed more cohesive as a band playing off each other and not just Roger Waters' backing band, a band that was playful but also serious, but not so serious as to lose all semblance of fun.”

“Meddle is among the least pretentious, most eclectic and melodically sound of any of the band’s records. It's experimental, psychedelic, beautifully produced and contains many of their prettiest moments. Even the filler tracks are clever and never annoying. On the sunny, tropical themed San Tropez, Roger Water's sounds legitimately happy, maybe for the only time. Seamus is a throwaway, Gilmour led experiment but it's not completely awful. The rest are all very good, and Echoes is probably the greatest song the band ever recorded. It takes up a whole side of the record and is fascinating throughout.”

Led Zeppelin 4 (Four Symbols) - LED ZEPPELIN*****

Black Dog/Rock & Roll/The Battle Of Evermore/Stairway To Heaven/Misty Mountain Hop/Four Sticks/Going To California/When The Levee Breaks

The fourth album from the heavy rock band Led Zeppelin was never officially given a title, but is often referred to as Four Symbols due to the four hand drawn symbols on the inner sleeve. Includes Stairway To Heaven, voted the greatest rock track of all time. (US:2 UK:1)

“A definitive album of harder edged rock and a classic, each song is brilliant in its own way. Some tracks stay true to the bands roots in straightforward blues-rock, while others explore peculiar rhythms and song structures and more ambitious arrangements. The effect is superb and it captures the band at a creative peak.”

“The most popular song on the album is without doubt Stairway To Heaven, which has become the most demanded song on American radio stations. The eight minute epic starts gently but develops into a hard rocking tune with a fantastic guitar solo, often considered the greatest of all time.”

“From the moment the thunderously amazing Black Dog starts it's obvious that this is one of the best albums of all time. That feeling of awe that begins the album stays constant until the very end. It's one of the few albums that nearly everyone can agree is filled with classics. They rocked harder than almost anyone, but still had amazing slower songs with beautiful folk texturing.”

“Without a shred of doubt in my mind, this is the finest album, the finest recording, the finest piece of music, the finest work of art, and the finest concept in the history of time and space. Comparing other music, especially non-Led Zeppelin music, to this album is the highest blasphemy.”

“As of right now, seven different radio stations are playing seven different songs off this album. Thousands of teenagers are hearing it for the first time, and finding they have a new favourite. Thousands of middle-aged people are also listening to it, reminiscing about how it was a key part to the soundtrack of their teenage years.”

“You know, there are actually some people in the world who don't own this album. What a shame, it is such a classic. From the manic vocals on Black Dog to the rough Mississippi delta blues of When The Levee Breaks the album is epic. And of course, the centrepiece is Stairway To Heaven a slow building folk-rock masterpiece which climaxes in a volley of hard rock guitar lines and wailing vocals.”

Isle Of Wight - JIMI HENDRIX***

Midnight Lightning/Foxy Lady/Lover Man/Freedom/All Along The Watchtower/In From The Storm

A live recording of Jimi Hendrix at the legendary Isle of Wight Festival held at the end of August 1970. Within a few weeks of this appearance he was found dead from a drug overdose. (UK:17)

“In 1970, Jimi Hendrix returned to the country where he had skyrocketed to fame and gave his first performances in almost two years when he headlined the Isle of Wight festival. Sadly, it was also to be his last major public appearance as less than three weeks later he would be dead.”

“At times jagged, and straining the limitations of the trio format, it's nonetheless a passionate, intriguing clue as to Hendrix's true ambitions and potential beyond his initial hype and stardom.”

“I have never heard so much out of tune guitar on any live album by a professional recording artist as appears here. As for the singing I can only consider it to be lacklustre. I'd say that's a gracious assertion. It's tragic that this gig was so well recorded yet caught the great man on such a bad night. Normally you can say with some justification that a bad show for Hendrix would have equated to a good or reasonable show performed by lesser mortals. Not in this case.”

“Of all the classic live Hendrix releases, this is my favourite because of the raw and heavy guitar tone - really in your face. All Along The Watchtower highlights and epitomises his tone at this concert.”

“If you like Jimi Hendrix live, you will love this LP. I play it almost constantly in my car and never tire of it. Jimi's skill comes across loud and clear on all tracks. It's different to the Woodstock concert which is brighter in mood, this is heavier and dark.”

“This is a very below-par performance, the bottom line is Jimi really wasn't in the mood. Most of the time he sounds desperately uninspired. The only reason this material has ever been issued is because it represents the last properly recorded concert before he died.”

“At 2:00 am in front of half a million music fans and stoned hippies, Hendrix held no prisoners as he crashed the small island's night silence with an absolutely blazing performance, giving everything he got, as if he could sense this would be his last British concert.”

Fearless - FAMILY***

Between Blue & Me/Sat'd'y Barfly/Larf & Sing/Spanish Tide/Save Some For Thee/Take Your Partners/Children/ Crinkly Grin/Blind/Burning Bridges

Fearless was considered by some critics to be a return to form for the British progressive band Family. Their music contained a variety of different styles which sometimes resulted in an eccentric sounding outcome. (US:177 UK:14)

“One of the more eclectic progressive rock bands Family contribute something wholesomely fun on this album, as well as musically ambitious. There are many creative highlights here which place it on equal grounding with Family's first two albums, regardless of the change in tone.”

“The songwriting seems to me too bland, gone are the psychedelic and prog feel of their earlier releases and what is left - blues and roots rock with some desperate attempts to sound modern.”

“Eclectic, excellently-played, heavy art-rock, with an outstanding vocalist. All the guitars and other instrumentation are exemplary. There really was no other band like Family and this is an excellent introductory album for the uninitiated but interested.”

“Over the space of a typical Family LP they'd be all over the map. They didn't serve up many easy hooks and it made you work a bit as a listener to figure what they were on about. Having said that, it was usually worth the effort. Fearless was one of their better efforts.”

“Fearless introduces a much more progressive sounding Family with the addition of bassist/vocalist John Wetton. The folksy Between Blue & Me and Children is Family at their best, although the unfortunate boozy nature of Sat'dy Barfly keeps this album from being an enjoyable listen from start to finish.”

“Family's sound is so hard to pin down, which is probably why they didn't find a true voice outside of the UK. Just about every musical style is thrown in the pot on Fearless. Rock, blues, psychedelia, jazz, soul, folk and eccentric British leanings, all weaved into an indescribable concoction of musical kaleidoscopic topography.”

“This album is a masterpiece from a band whose dramatic, melodic, and stunningly unique music is enhanced by masterful alterations of its sound, both vocally and tonally, in rich, artful complement. The band often alters the output of its conventional rock instrumentation by assigning it un-conventional tonal placements.”

The Singing City - THE SPINNERS***

The Orange & The Green/The Leaving Of Liverpool/In My Liverpool Home/Dirty Old Town/Maggie May/Marco Polo/Liverpool Lullaby/Manchester Rambler/Liverpool Judies/Jug O' Punch/Drunken Sailor/Three Jolly Boys

The Spinners were a Liverpool folk group that had been together for more than a decade before their first major album chart success came with Singing City. They were very well known in Britain through their numerous TV appearances. (UK:20)

“Purists often ignore The Spinners but their easy-going style attracted a lot of people into folk music. This compilation provides a good sample of their music, which includes covers of traditional folk songs.”

“Reviving the old folk songs went down well in the clubs they performed at, gaining quite a following down the years. In 1970 they were given their own television show on BBC which ran for seven years, not too many music acts can boast that achievement.”

“This is an excellent LP and contains a mixture of song and tunes, with plaintive, thoughtful and happy songs (although understanding those which are in local English dialects is challenging). It reminds me of what a wonderful blend of voices they displayed as a group with excellent individual voices.”

“Having watched and listened to The Spinners during the 60s and 70s I was keen to reminisce. I had forgotten the joy of simple songs simply sung, for me the quality of this music is even better than I remember. I would recommend them to anyone looking for some music to lighten the day. The songs are not over sung as can be the case with some folk groups.”

“One tends to forget how good they were. If you like their kind of folk music you will love this. The music is clear and you can hear every word that is sung. I cannot say that about a great number of the present day tunes.”

“I have been a Spinners fan for a good many years. It is British folk music at its best. Their concerts were always packed out and both The Spinners and their fans had a great time, with lots of audience participation. Their tunes came from around the whole country and it was lively music, the type that lasts for ever.”

Rock Love - STEVE MILLER BAND**

The Gangster Is Back/Blues Without Blame/Love Shock/Let Me Serve You/Rock Love/Harbour Lights/ Deliverance

Rock Love is probably Steve Miller’s least know album from the era in which he enjoyed his greatest commercial popularity. However within a couple of years he would be topping the US charts. (US:82)

“Where did this come from? Wow, this is bad. SMB are one of my all time favourite bands but I don't like this. Poorly written and poorly played, save your money and avoid this one.”

“Steve got sad and just abandoned this. The record company finished it for him. Some tracks are fragments, others are unfinished.”

“You're certainly going to take no space ride with this release, although it's not nearly as bad as reputation would have you believe. What you have is Steve Miller and two others playing very stripped-down basic tunes. It is by no means essential, but it's a pleasant listen.”

“Very raw, under appreciated album from Steve's guitar. I really enjoy the live tracks, they showcase Miller's guitar prowess.”

“This is pretty much Steve Miller's version of a power trio. There are some pretty good moments and a few others that are forgettable. Hard to find and not worth paying a lot for. So don't part with the big bucks unless you really want to hear Steve at his rawest.”

“Not all the songs are keepers, but the album remains a personal favourite. I still sing Harbour Lights, and Deliverance has to be one of most incredible, live rock, twelvestring guitar performances ever. Give it a fair, solid listen. This is a different Steve Miller, and while very much rock-blues, it really is what he was all about.”

“Half live, half studio (hard to say which is better), the band is down to just three guys apparently. I don't think anyone from the original Steve Miller Band was around when this was recorded.”

“Return Of The Gangster opens it up nicely but after that we have some standard blues, an extended drum solo, very much of its period and other sub-par Miller tunes, none of which are bad, it's just that the whole endeavour is underwhelming.”

Reflection - PENTANGLE***

Wedding Dress/Omie Wise/Will The Circle Be Unbroken/When I Get Home/Rain & Snow/Helping Hand/ So Clear/Reflection

By the time of the release of Reflection the glory days of Pentangle, riding high in the charts, of a couple of years previously, were now behind them. Newer groups such as Steeleye Span were now starting to eclipse them in popularity on the British folk scene. (US:183)

“The rock elements return somewhat on this album, after receding a bit in Cruel Sister, resulting in what might be my favourite Pentangle album. Including a wonderfully gentle and moving rendition of the old country standard Will The Circle Be Unbroken. This does not indicate a move to country territory - in fact, it's one of several songs which take advantage of the lush, rich sound the band achieves.”

“Reflection with its slightly simpler, more straight-forward occasionally electrified sound still does not become a really neat album, yet it works better than the others.”

“Reflection is a rather sophisticated folk album with slight prog related tendencies: Country and blues elements are also present. The songs are rather delicate and mellow, and the excellent acoustic bass jazzy rhythms, which are a strong point of the record, give a warm dimension to the music overall.”

“Others may prefer the full folk of the early albums, or the slicker sounds of Basket Of Light, but for me this is where Pentangle really fire on all cylinders. There's the usual amount of traditional material, but there's a twist: they include songs from the American Appalachian folk songbook.”

“Yet another pretty enjoyable album from these folk rock giants. Pleasant tunes made all the more enjoyable by Jacqui McShee's great vocals.”

“The clear melodies of classic Pentangle shine through on Reflection in a way that their other albums simply cannot compare with. This is best seen in the quiet, hymnal power of the American folk tune Will The Circle Be Unbroken which the band plays as if they had known it since childhood, and the more upbeat but equally quiet Wedding Dress possesses a rare, joyful tone. At the same time, the epic title track seems to fit together perfectly, just like a jigsaw puzzle. Rain & Snow has a sharpness and folksy sound that was absent from the earlier Pentangle releases.”

Future Games - FLEETWOOD MAC***

Woman Of A Thousand Years/Morning Rain/What A Shame/Future Games/Sands Of Time/Sometimes/Lay It All Down/Show Me A Smile

After the trauma of losing their leading member Peter Green, Fleetwood Mac suffered another blow with the departure of guitarist Jeremy Spencer. They recruited Bob Welch as replacement who helped out on the songwriting. (US:91)

“After losing both Peter Green and Jeremy Spencer in the space of about a year who'd imagine they'd deliver such a gorgeous record. This is far removed from the pure blues influence that was the genesis of the group. What we have instead is Danny Kirwan picking up the load and delivering some stunning tracks that are sublime in their beauty, and also contain fantastic progressive lead guitar playing.”

“I stupidly imagined that all their records after Green's departure and before Rumours were of little interest, a major error. Because Woman Of 1000 Years is possibly their very best song and all in all this record offers catchy West Coast influenced songs from start to finish, without any weak moments.”

“With guitarist Jeremy Spencer having jumped ship Future Games saw the arrival of American singer/guitarist Bob Welch and ex-Chicken Shack keyboardist Christine Perfect given full member status. These personnel changes saw the band actively moving away from their blues-rock roots to a much more open and commercial pop and rock sound.”

“With both Green and Spencer gone, Danny Kirwan is the closest thing to an original writer Fleetwood Mac had at this point. His Woman Of 1000 Years and Sands Of Time are the strongest tracks as well as the title track penned by Mac newbie Bob Welch. The rest of the album is bland and directionless, although we do get introduced to the type of songs Christine McVie will write for the rest of her career.”

“With founding member Jeremy Spencer out, the group fills the guitar void with Bob Welch who not only brings his guitar talents, but also modest songwriting abilities. Future Games is an interesting mix of pop/rock tracks. Danny Kirwan contributes three songs and all are excellent. The other five tracks, penned by various members of the band are a mixed bag. Despite these differences, much of Future Games is a flowing, relaxing musical experience. Slow, melodic guitar passages accented with soft guitar bends dominate many of the cuts.”

Coat Of Many Colours - DOLLY PARTON****

Coat Of Many Colours/Travelling Man/My Blue Tears/If I Lose My Mind/The Mystery Of The Mystery/She Never Met A Man(She Didn't Like)/Early Morning Breeze/The Way I See You/Here I Am/A Better Place To Live

Country star Dolly Parton’s album Coat Of Many Colours is considered to be her most inspired. At this time her success was confined to the Country charts boosted by her regular appearances on the Porter Wagoner Show.

“It's a very solid album, the most enjoyable aspect is Dolly's voice, which is delicate yet very emotive. From songs about poverty to infidelity, the content is interesting. The instrumentation is excellent, especially the use of percussion throughout, which was a pleasant surprise since I went in expecting a more acoustic-guitar-based recording. This album is a classic that transcends the routinely stereotyped genre.”

“The record's songwriting is divided between Porter Wagoner and Parton, with the famous title track being Dolly's creation. It's classic mythmaking, complete with an organ to hit home the Biblical parallels.”

“Coat Of Many Colours is now recognized as one of all-time greatest albums of country music and finds her at the height of inspiration. Perhaps it has slightly more classics than previous albums, since the title song, Travelling Man and My Blue Tears became standards loved by audiences through the decades. Here we learn that she was capable of some real artistry.”

“The title track attests to Parton's brilliance as a songwriter, capturing the emotional turmoil of childhood through the discovery of an adult's nostalgic memory. Her voice holds both a little girl's confusion and a woman's knowingness, underlined by acoustic guitar, a light shuffle beat, and touches of gospel organ and background harmonies. It's breathtaking to hear songwriting, singing and production mesh so fully. Throughout the rest of the album Parton's songs, augmented by a trio of tunes from Wagoner, tell human stories in a language that seems effortlessly plainspoken.”

“Parton's personal touch and soaring vocals, the themes the album explores, and the poignant story from her youth make this album a timeless country music classic. Anyone with doubts about her should spin this disc and re-evaluate the dual but complementary personas she created that boosted her to an American culture icon.”

“She had some success in the 60s on Porter Wagoner's show, but no huge solo success. That is until this album. The title track is a signature song for Parton. No other song in her catalogue speaks volumes like this one.”

Earth Song/Ocean Song - MARY HOPKIN***

International/There's Got To Be More/Silver Birch/How Come The Sun/Earth Song/Martha/Streets Of London/ The Wind/Water Paper & Clay/Ocean Song

After a chart career lasting two years pop vocalist Mary Hopkin’s commercial appeal began to fade. Her well received folk influenced Earth Song/Ocean Song LP was produced by husband Tony Visconti.

“Mary's vocals seem to fit the Ralph McTell songs very well, just like Donovan's compositions on Post Card. I don't know if Streets Of London has ever sounded as beautiful as here. Of the two songs by Liz Thorsen, Ocean Song is the better one, and the ending is very good. How Come The Sun and Martha may be relatively impressive, but they are over lengthy. The rest is OK, but nothing very special.”

“This is a terrific and beautifully produced orchestrated folk-pop album. Mary is delightful, and her then husband Tony Visconti brings a hip contemporary vibe, with help from a Strawb and Pentangle member, here and there. The whole thing is marvellous, probably better than her debut.”

“This is Mary's best, most cohesive album. No pop fluff, but some meaty type songs. She was newly married to Tony Visconti, who produced the album with excellent acoustic instrumental musicians. This album was released when Apple Records was having a lot of internal problems, and no money went into promotion, so with the exception of a minor hit of Water, Paper & Clay it disappeared. The overall theme of the album is about parts of the human condition. Before this, Mary had been pushed into appearing everywhere, and was growing to hate it. With this release, she took more control of her career.”

“After three years of doing pop at Apple, Mary Hopkin finally got to show her true colours on her final album there. The exquisite arrangements and her crystal clear voice make for a listening experience you won't forget. There's not a single weak track, highlighted by the beautiful and very environmentally themed title songs.” “Mary Hopkin's voice is absolutely beautiful. It is pure and clear as a bell. On this album without layers of production that suited a Beatles' album, Mary's voice shines on songs such as Ralph McTell's Streets Of London which is exquisite and also on his plaintive Silver Birch & Weeping Willow. Mary gives a gorgeous rendition of Cat Stevens' The Wind.”

Flying - UFO***

Silverbird/Star Storm/Prince Kajuku/The Coming Of Prince Kajuku/Flying

Flying was the follow up album from the British band UFO who were then best know as one of the leading proponents of the space-rock sub genre. This is best exemplified in the extended title track.

“Flying seems to have just as much going for it as against. For every line that really works, there's another with no rhyme and too many syllables. For every dull, repetitive riff, there's a moment of true genius immediately following it. Just when I get sick of listening to a song, it turns itself around and pulls me back in.”

“There are just five songs here in UFO's second studio album but two of them are really long. UFO's hard space-rock sound is very satisfying and I really enjoyed this record.”

“Unfortunately and unavoidably there are some dated guitar experiments that drag for several minutes. The vocals are a bit better, and less of them - but still nothing to get excited about.”

“Before guitar legend Michael Schenker made UFO into one of the greatest and most influential hard rock bands this is what they originally were - a space-rock band. And Flying is just what the title says, epic space-rock. Here the band are far less tight and focused, far more informal and apt to jam.”

“Strong vocals, a space theme, and some drawn out hard rock guitar jams. There's some pretty obvious Interstellar Overdrive influence, but the band manage to spin Syd's vision into a slightly more melodic and mainstream sound.”

“This is definitely a lot like Hawkwind. The guitar work is excellent, in fact it dominates the album. The bass and drums are there to keep some rhythm, and they do not completely get buried by the guitar. Phil Mogg appears now and again to add some vocals.”

“For one hour of space-rock read one hour of unlistenable torture by inept musicians. To be fair these guys were young kids at the time and it shows.”

“Hypnotic, druggy bass mantras hammer out continuously while the guitar plays great minimalist stuff over the top.”

Grateful Dead - GRATEFUL DEAD***

Bertha/Mama Tried/Big Railroad Blues/Playing In The Band/The Other One/Me & My Uncle/Big Boss Man/Me & Bobby McGee/Johnny B Goode/Wharf Rat/Not Fade Away-Goin' Down The Road Feelin' Bad

The Grateful Dead are best remembered as a live band which might explain why this self titled double album was released so soon after their last double live set. (US:25)

“As a jam band, The Grateful Dead definitely are good at improvisational jamming along to a simple beat, and after their mingling in psychedelic stuff, they have now formed into a country rock band, and one of my most favourite. Big Boss Man is probably my favourite example of all these aforementioned characteristics.”

“This is a great live album. My pet gripe with Skulls & Roses is that its jam packed with overdubs, almost to a point where you forget it's a live album. There are some great highlights and the album overall is a decent representation of the live sound the Dead would really be known for from the 70s onward. However, all the overdubs ruined the album for me, but it's nowhere near terrible.”

“The Dead's second live LP, issued a year after the psychedelic expanses of Live/Dead, solidifies the band's remake as purveyors of mellow roots rock with a set of country and traditional rock covers, plus a few straightforward originals and one extended improvisation.”

“Not to be confused with the Dead's 1967 debut, this is an untitled double live album recorded mostly in New York in spring 1971. The material presented here are mostly covers, the originals are all songs that appear on a Dead album for the very first time. One of these songs is the classic Playing In The Band which has remained a live favourite throughout their entire career. Another highlight is the eighteen minute jam The Other One which starts off as a boring drum duet but really takes off when the others come in.”

“Another live offering from the world's most notorious live act, this album served as an introduction to the wealth of new material the Dead had written. This album also served to establish the fact that their turn towards more traditional rock & roll, with a slight country flavour, was no fluke.”

“This is a very good album which explores the many different styles of this classic band. Jerry, Bobby, and Pig Pen all have their time on lead vocals and each have strong moments.”

High Time - MC5**

Sister Anne/Baby Won't Ya/Miss X/Gotta Keep Movin'/Future Now/Poison/Over & Over/Skunk (Sonically Speaking)

The third album from MC5, High Time, departed from their previous proto-punk style to provide more extended and experimental tracks with a classic guitar sound. (US:137)

“High Time contends with the debut for the title of MC5's best album. Fast, furious Motor City rock, the only thing separating this from the power of the debut is the fact it isn't live.”

“It may not be Kick Out The Jams, but the whole room still smells like revolution when listening to this, and you can just feel the radical politics blasting out of your speakers. Even though the energy levels have been toned down a bit since the first album, this one still rocks hard.”

“The MC5's final album, High Time, boasts improved production over its predecessor. It is also more consciously a studio album, as several of the tracks feature heavily-layered guitars, pianos, back-up singers, non-Western percussion instruments, and a horn section. As a result, the proto-punk immediacy of the first two albums has been replaced with a more decidedly classic rock direction that yields solid, but hardly groundbreaking music.”

“Not my favourite band in the world, but this one rocks pretty hard. Some trippy stuff, but mostly it stays simple with lots of great guitar. Lyrics are more mumbly come-ons than revolution now, and there's a slight jazz influence to some tracks which keeps it interesting.”

“High Time combines the meaty sonic onslaught of the first record with the more compelling musicianship and songwriting of the second. Rock solid through and through, there's something for all fans of rock music here - style for the classic rock aficionados, energy and rebellion for the punks and intelligent lyrics for the radical.”

“It's pretty simple, really, what MC5 does, but not easy: basic guitar-bass-drums rock and roll delivered with high energy.”

“Although not as immediately catchy as Back In The USA, this album reveals a grittiness and packs a soulful punch thanks to the amazing vocals.”

In Search Of Space - HAWKWIND***

You Shouldn't Do That/You Know You're Only Dreaming/Master Of The Universe/We Took The Wrong Step Years Ago/Adjust Me/Children Of The Sun

In Search Of Space was the follow up release from the British space-rock band Hawkwind. It proved to be their commercial breakthrough, aided in part by the success of the non-album UK No.3 hit single Silver Machine. (UK:18)

“Hawkwind kick into high gear with their second album, In Search Of Space. With the fifteen minute opener, You Shouldn't Do That, they prove to be one of the few fullbore psychedelic acts capable of being considered proto-punk, with their sturdy grooves and steady pace. All the elements that make this group's early recordings great are here: the chunky guitars, the trippy synthesizer-generated sound effects, treated flutes, and alto saxophones.”

“This here is the real stuff, tribal space rock fuelled by LSD, all set to trip you out. You'll love every moment of it. Each of the songs (and the long ones especially) get you into a groove with trancing, chanting vocals with repetitive patterns and sounds.”

“In Search Of Space sees Hawkwind go from a bunch of hippie folkies to the space rock band we know and love. This contains all the elements that would make the band beloved to their fans but hated by critics. You Shouldn't Do That is nearly a quarter hour of repetitive lyrics, power chords, throbbing bass and random electronics.”

“Consists largely of uninspiring and repetitive jamming, it fails to conjure up images and feelings of space, is mostly devoid of melody, and contains totally non engaging vocals. Much better space rock than this exists.”

“Don't really know what the hype is about. Not an especially good band or album. Sounds like they're all stoned on something. Perhaps an indifferent album to add to your collection of 70s space trance. If not, skip this band and album.”

“In Search Of Space embodies much classic Hawkwind; heavy guitar riffs, wooshing electronic effects, squawking saxophone solos and science-fiction influenced lyrics.”

“The band attains its spacey atmospheres not through quiet keyboard noodling but through loud, hypnotic, pulsing bass and drum patterns which form a framework from which guitar, keyboard, sax and flute solos emerge and fade back into, with the singing on offer here being more like a tripped-out chants.”

Camembert Electrique - GONG***

Radio Gnome Prediction/You Can't Kill Me/I've Bin Stone Before/Mister Long Shanks/Dynamite I Am Your Animal/Wet Cheese Delirium/Squeezing Sponges Over Policemen's Heads/Fohat Digs Holes In Space/And You Tried So Hard/Tropical Fish Seline/Gnome The Second

Camembert Electrique was the follow up album from the psychedelic band Gong. It was recorded and released in France and did not become available on the UK market until a few years later.

“Although Cambembert Electrique isn't the Gong debut, it's undeniably the beginning of what most people consider the classic form of Gong - the one that concerns itself with Allen's hippie mystical and anti-establishment vision shrouded in mythology of teapots, pothead pixies and mythical planets, all displayed over some of the craziest jazz-influenced psychedelic music to be heard in the entire era.”

“This is an interesting transition album that feels like it has connections to the heavy psych of the 60s while branching out its tentacles into a new 70s space rock style garnished with all the zaniness and humour that the Canterbury scene was so famous for. This is a great example of how to combine the Canterbury whimsy with space rock, progressive heavy rock and healthy doses of anarchic psychedelia with totally original experimental elements.”

“On their second album Gong evolve significantly from their first, moving from whimsical folksy psychedelia to full-blown joyous space rock. The band is having immense amounts of fun, and that is the most important thing about making music. On top of this, they are also incredibly good at what they do, and what they are doing here had scarcely been done before. What I love about this album is the combination of playfulness and the seemingly perfect translation of idea to sound.”

“The crucial difference between most psychedelic groups and this album is that Gong contain virtuoso musicians who also know how to have fun, and how to incorporate traces of lots of different music of this world into a rock album. Their virtuosity is evinced by the fact that most of this music is intricately arranged.”

“Great psychedelic fun. Gong were a great whimsical childish band of the early 70s, singing about pixies and gnomes. Grand stuff, good musical arrangements, and quite trippy. A pretty stoned outing from Daevid Allen and gang of merry pranksters.”

“Gong's masterpiece and a prog classic. It's basically a collection of delirious, spaced-out acid rock jams, and you won't find a better collection of such music.”

Fiddler On The Roof - SOUNDTRACK*****

Prologue Tradition & Main Title/Matchmaker/If I Were A Rich Man/Sabbath Prayer/To Life/Miracles Of Miracles/ Tevye's Dream/Sunrise Sunset/Wedding Celebration & The Bottle Dance/Do You Love Me/Far From The Home I Love/Chava Ballet Sequence/Anatevka/Finale

A double LP soundtrack album of the highly successful Broadway musical Fiddler On The Roof but starring the lead for the London production Topol. This was one of the last traditional musicals to be translated to the big screen. (US:30 UK:26)

“The film version is not the same as the Broadway show, but it firmly stands on it's own as does this soundtrack. John Williams' orchestrations are wonderful and Topol brings a more human flavour to the role of Tevye than Mostel's more comic vision of the character.”

“The movie soundtrack is the best recording of Fiddler On The Roof available. The sensitive scoring (by Oscar winning John Williams) along with the great cast made this version sound better than any others including the original Broadway album.”

“Fiddler On The Roof is one of the best musicals ever to grace the motion picture screen. That being the case what else could the soundtrack be other than a wonderful audio experience. This version is the best of the best. Nobody can do Tevye the way Topol can. This is a celebration of life put to music and song that will have you on your feet dancing around the room with your arms raised high.”

“This gem of a soundtrack is truly one which lives up to the expectations of those who have seen the amazing film of Fiddler On The Roof. It captures all the emotions the viewer encounters in the film, and conveys them near-perfectly. If you are into generally upbeat music, you should immediately buy this LP - money well spent.”

“I enjoy the film soundtrack much more than the Broadway version. To me, the singing and orchestrations of the film are superior. I also feel that Topol gave a more impassioned performance in this soundtrack than that in the Broadway version.”

“From the beginning, the music entranced me with a mixture of familiar songs and some not so familiar. The performances are the right blend of earthy style and musical excellence, resulting in a realistic portrayal of the events in the film. The songs and the singing are appropriate to the story, serving the plot and circumstances rather than forming a story to fit great songs. It makes for a seamless musical presentation with a great deal of authenticity and artistic honesty.”