The Low Spark Of High Heeled Boys - TRAFFIC***

Hidden Treasure/The Low Spark Of High Heeled Boys/Light Up Or Leave Me Alone/Rock & Roll Stew/Many A Mile To Freedom/Rainmaker

Low Spark finds Traffic moving away from their progressive rock origins towards a more mellow jazz influenced sound. In the UK they were never able to regain the commercial success of their earlier albums. (US:7)

"None of the tracks on Low Spark are bad, but also none are very good. Many A Mile To Freedom is perhaps my favourite despite the seven minute duration, and Rock & Roll Stew is quite nice. The title track sounds OK all the way through, but that can't save it from being over lengthy, and the ethnically flavoured Rainmaker seems to go on for too long as well. The rest are decent.”

“Another heterogeneous grab-bag, Traffic are once again apparently unable to choose between folk-rock, proto-prog, psych and straight ahead rock. They respond to this indecision by dithering around between the various genres they'd flirted with rather than coming up with a really interesting fusion between them. The stylistic gear change between the folky opener Hidden Treasure and the jazzy, mellow title track could give listeners whiplash.”

“All of the songs are good and they're all pretty equal. Some nice solos and melodies but some of them feel like they're a bit too mellow at times. The album closer Rainmaker might be my pick as a highlight here.”

“This is some of the best and most competent music anyone was recording during the early seventies. If there's a weakness with Low Spark, it's that there isn't enough cohesion to it. Having different vocalists is one thing, but it just seems like the album would have been even stronger if they had made a more consistent musical statement, or put some catchier, briefer numbers on it.”

“Traffic lavished each song with bountiful amounts of jazzy music while maintaining a rock oriented sound to create the mellowest of songs. Winwood's voice is perfect for this album, especially during the eleven minute title track.”

“The title track is nearly twelve minutes of a blissful cool jazz/rock jam with just enough hipness to keep anyone listening to it from looking like a total coffee house beatnik.”

With a mixture of jazz, blues, soul, and pop influences, it's as potent as a Molotov cocktail without the nasty explosion, and there's no bitter aftertaste.”

Tago Mago - CAN*

Paperhouse/Mushroom/Oh Yeah/Halleluwah/Aumgn/Peking O/Bring Me Coffee Or Tea

Tago Mago was another ‘experimental’ album from the German avant-garde band Can, this time stretching the agony over a double LP. Ignore the pretentious psychobabble, there is little genuine music to be discerned here.

“At times during these seven virtually uncategorisable, creatively unhinged tracks, you feel as if you’re listening to someone trying to reconstruct a dream they had of what music is like, and not quite managing it.” “Experimental? So being experimental is to play random notes on your instrument? If so it was extremely experimental when I began learning to play the guitar.”

“Can's second studio album sees the band go down a deeper, more experimental and darker sound. Tago Mago is without a doubt one of the oddest albums you will ever hear. Though Can don’t stray too far from their earlier records in some tracks, songs like Halleluwah, Peking O and Aumgn see the band at their darkest and most frightening. This alone makes for this album to be one of their most memorable and without a doubt a must listen for all music fans.”

“Admittedly the song-writing isn't great, but to criticize that would be to miss the point slightly. The fact is, they had no pretence to being songwriters, concentrating instead on rhythm, texture and electronics and so re-inventing their instruments.” “The repetition is the point, it can lose itself in improvisation, but that is the point. It's an amazing trip if you're willing to let yourself get into it. No, the draw isn't that it's 'far out' or 'crazy experimental'. These could be some ways of describing the album, but it is all of these things in the best possible way.”

“A lot of people can't get past the tracks Aumgn and Peking O but if you can grow to respect something like The Beatles Revolution No. 9 there's nothing here you won't be able to handle. The tribal rhythms that end Aumgn are astonishing, and Peking O is full of breaks, beats, clever ideas that would be ripped off ad infinitum in techno music and trance.”

“It is the ultimate freak-out album. It just keeps getting weirder and weirder. At one point they even switch to something that sounds like techno, which didn’t exist even exist back then.”

Flowers Of Evil - MOUNTAIN****

Flowers Of Evil/King's Chorale/One Last Cold Kiss/Crossroader/Pride & Passion/Dream Sequence/Mississippi Queen

Flowers Of Evil, from the American hard rock band Mountain, is divided into a studio side and a well regarded live side. The group’s commercial popularity would take a dive from now on. (US:35)

“One of legendary hard rock/proto-metal band Mountain's better albums, Flowers Of Evil is a cornucopia of Leslie West's fiery guitar work and excellent vocals, some really excellent songwriting, and truly powerful drumming. All of side one proceeds from amazing song to amazing song. This album is an incredibly propulsive blast. One Last Cold Kiss is chilling and amazing, and Crossroader just burns."

“The studio side features great playing from the band and great songwriting from Felix, including a really cool anti-Vietnam war song, while the live side has the extended Dream Sequence jam that has to be heard to be believed.”

“Flowers Of Evil is half studio and half live. That's why it might be just slightly incoherent, but I don't mind at all, I have always loved this album. The first side consists of five studio tracks which are all really awesome. The second side consists of two live tracks, a monster jam/medley Dream Sequence and the final track a live version of Mississippi Queen, which is a fine cover."

“While I feel that all the songs on side one are quite good, especially Crossroader, side two is really where it’s at. Mountain were known as great live and the live tracks reinforce that, as the band really sizzles. Pappalardi's bass playing and Corky Laing's power drumming back up man mountain Leslie West, as he dishes out killer licks.”

“Mountain's third album had one studio side and one live side, combining the innovativeness of their studio recordings with the improvisational strength of their live shows. Some have felt the album to be a weak follow up, and this may be fair as it is neither a cohesive studio album or a long enough live to be judged in comparison.”

“Flowers Of Evil shows Mountain at their best. Side one includes the great anti-Vietnam War title song and another classic Last Kiss. Side two, though is a monster as Dream Sequence is simply the best live music I have ever heard.”

Straight Up - BADFINGER****

Take It All/Baby Blue/Money/Flying/I'd Die Babe/Name Of The Game/Suitcase/Sweet Tuesday Morning/Day After Day/Sometimes/Perfection/Its Over

Straight Up was the follow up studio album from the melodic Welsh power pop group Badfinger, who were signed to The Beatles Apple label. Includes the US and UK top ten hit Day After Day. (US:31)

“Once again, the band borrows heavily from the Beatles psychedelic stage, the songs here are well done and the album has little or no filler.”

Led by the hit Day After Day and the melancholy Take It All, this is Badfinger's best album. It's tuneful and varied. Crisp and melodic power pop doesn't get much better.”

“A happy and light pop album from the 70s. There really isn’t a lot to praise here, except for the fact that it is a catchy release, good enough for a few fun moments.”

“History has shown that, while some of the tunes could have benefited from the harder sound of No Dice, it's overall a brilliant album that just happens to lean more toward a straight pop direction. The unfortunate thing about the sound is not that it does Badfinger's vision no justice, it's that it pushed them further into the shadow of The Beatles.”

With George Harrison and Todd Rundgren in the production office, this album was destined to garner some respect, and it is well deserved. The power pop tag here has never been more accurate. Each song is well crafted, harmonies nailed down, slide guitar where appropriate, and overall great songwriting.”

“An unfairly overlooked album, where Badfinger realise all their early promise in this assured collection of quality songs, sumptuously produced by the separate forces of George Harrison and Todd Rundgren. Not surprisingly then there are plenty of glowing guitars and tasteful strings but it's the songs that shine through, particularly from Pete Ham. Stately, elegant ballads counterpoint power-pop classics.”

“Probably the band's zenith in terms of creativity, Straight Up is their most consistently good effort. The production continues to improve from previous albums, and we find that their material is no longer consistently pop. But the song writing quality is still top notch, and they manage to pull off a variety of styles with ease.”

Aerie - JOHN DENVER***

Starwood In Aspen/Everyday/Casey's Last Ride/City Of New Orleans/Friends With You/60 Second Song For A Bank/Blow Up Your TV/All Of My Memories/She Wont Let Me Fly Away/Readjustment Blues/The Eagle & The Hawk/Tools

Country-pop singer-songwriter John Denver had yet to achieve a major commercial breakthrough, although this would come in a big way with his next album. Meanwhile Aerie consolidated his growing reputation. (US:75)

“Aerie is arguably the first of his records that can be credibly viewed as a serious, cohesive piece of work. Up to this point his LPs had been pretty uneven affairs. There were some good songs to be found here and there but a penchant for gimmicky arrangements and variable sound quality generally spoilt each of them at one stage or another. By contrast, this record boasts a real consistency that is lacking on earlier efforts and represents an overdue attempt to join the ranks of serious songwriters.”

“Like many good albums Aerie has a prominent artistic theme running through it. The strong bond that Denver enjoyed with mountain landscapes is contrasted against a growing sense of alienation with modern city life. There is no denying the sincerity with which he tackles this subject. He contributes six of his own songs including Starwood In Aspen, a little sugary for my liking but a pretty song nonetheless. City Of New Orleans is a great little train song. Best of the bunch has to be All Of My Memories with its restrained arrangement that matches the sombre subject matter.”

“Before he was famous, before he was a household name, John Denver was trying to make name for himself. Included in this release were songs that spoke to a generation. Anti-war and anti-establishment, these songs found meaning to the disenfranchised.”

“John Denver was a country singer in the true sense, rather than the Nashville sense. He sang about rural life as he saw and experienced it, reflecting on issues that he felt strongly about. He liked to do things his own way, and his success allowed him the freedom to do that. This particular album was not one of his most successful commercially, but it has always been one of my favourites.”

“While these songs are not only a part of history, they reinforce the ideals of his generation. I truly believe this is one of his greatest albums. While he may not have written many of the songs here, he gives due credit to Kris Kristofferson and Tom Paxton by singing their compositions with feeling and understanding.”

The Stylistics - THE STYLISTICS****

Stop Look Listen (To Your Heart)/Point Of No Return/Betcha By Gollly Wow/Country Living/You're A Big Girl Now/You Are Everything/People Make The World Go Round/Ebony Eyes/If I Love You

Debut album from the premier Philadelphia soul group The Stylistics. They were one of the most successful R & B acts in the 1970s, particularly in Britain. Includes the US top ten hits Betcha By Golly Wow and You Are Everything. (US:23)

“The sound of the album is incredible, not exactly lush by my standards, as nothing is truly enveloping or washed out, it sounds powerful and alive. This has to be one of the best ballad based soul LPs ever, and it is so affecting that it makes more funk based soul music sound somewhat frivolous in comparison.”

“Just lots of classic tracks on here. An essential Philly soul record, and one of the very best R & B group albums. Thom Bell was really delivering tons of hits for them around this time. Russell Thompkins' singing is another real distinguishing characteristic of their music; he had a pretty unique voice.”

“Quintessential Philly Soul music. Copious amounts of lush strings and horns piled on top of incredibly smooth, delicate soul. Most of these songs can be safely filed under ballads, but the few upbeat songs sound remarkably like disco five years ahead of its time.” “I'm already in love with the wonderfully sweet and timeless sound of their big ballad hits.”

“This is an auspicious debut. At the time it was quite unique. I remember that while many of the elements present in this recording were partly in other styles of R & B, nowhere else was there a better combination of a sophisticated symphonic sound, with rich vocal harmony, a first rate falsetto lead, and evocative songs. This is romantic elegance at its height. This was one of the recordings that heralded the coming of the Philly style of soul, which at that point had not the exposure it deserved. The songs are of longing, love lost and found.”

“The Stylistics, the legendary Philly soul group debut, is a classic full of wonderful harmony driven soul from the centre of the heart. Russell Thompkins Jr. had one of the coolest, falsetto voices around.”

Killer - ALICE COOPER****

Under My Wheels/Be My Lover/Halo Of Flies/Desperado/You Drive Me Nervous/Yeah Yeah Yeah/Dead Babies/Killer

Killer was released when the hard rock group Alice Cooper were on the verge of their major commercial breakthrough. Although lacking high charting hit singles this release epitomises the distinctive sound they had been cultivating. (US:21 UK:27)

“Killer is one of the finest hard rock albums ever. By now the group is tight and the songwriting excellent. There are so many great songs that you won't be able to stop playing it. Halo Of Flies and Under My Wheels are pure Alice and this album is as good as it gets.” “I like the dark horror element to the songs, their beauty is that they are still melodic, and written in rock form so you can sing like them even if you are repulsed. Still a great rock album thinly disguised as an attempt to shock the world. For those who really are intrigued by Alice's style this is the recommended starting place.”

“A dark and scary record, even for the likes of Alice Cooper shock rockers. Black lyrics underlined with heavy distorted guitars and a humming keyboard, this is a revelation for the real gothic adorer.”

“About as close to heavy metal as Alice Cooper ever got and my personal favourite. Eight well considered tracks of great commercial hard rock with avant-garde moments and all honed into people pleasing rockers.”

“What can one say about Killer other than it is a rock and roll masterpiece. All the tracks are just flat out excellent. The album achieves tremendous lyrical content, flawless drumming and great vocals. The uninitiated should start here.”

“Alice Cooper at their finest. Besides the first two radio friendly classics, Under My Wheels and Be My Lover, Halo Of Flies is a fantastic song showcasing the creativity of this band and their ability to play outside the box. These guys were able to use tempo changes and put together some fine music.”

“The classic Cooper album, a benchmark against which all their other albums are measured. On a roll from the success of Love It To Death, everything came together here to create the perfect rock and roll storm. There are taut rockers, a long psychedelic freak-out and a way-ahead of its time tale of child neglect.”