Woyaya - OSIBISA***

Beautiful Seven/Y Sharp/Spirits Up Above/Survival/Move On/Rabiatu/Woyaya

Woyaya was the follow up album from Osibisa, one of the first exponents of the genre that would become known as world music. They were unable to sustain the popularity of their first two releases. (US:66 UK:11)

“A really cool Afro-funk album, filled with a funky, jazzy, soulful African flavour. High replay value, something I can listen to over and over again and still enjoy. Cool to listen to on a lazy weekend afternoon.”

“Woyaya remains one of the most remarkable and gratifying records from Africa that I've come across. The homogeneous fusion of Afro-rock, electric jazz and progressive rock found on this album is unique.”

“Building impressively on the successes of their first album, Osibisa's Woyaya combines killer guitar playing in a classic rock or fusion mould and delicate, gentle flute, with the African rhythms of the band's legendary percussion section to create a true piece of world music, showing as it does the influence of three continents. The music is so wonderfully upbeat and cheerful.”

“I love progressive rock, classic rock, jazz and fusion. I'm sorry but I just don't get this album at all. It sounds like Santana-lite. Second rate prog with world music influences. Not recommended.”

“Osibisa impressed with a high energy level and a fusion of influences which made them accessible around the world. Their influence on pop music is not to be underestimated; they encouraged many African musicians to rise to the challenge of the music business. Woyaya remains Osibisa's most impressive album.”

“An excellent follow up to their debut album, this LP is much better recorded, and the songs show more variety and maturity. The percussion steals the show. The seven musicians play a kind of African jazz-rock with a great deal of energy and feeling.”

“Don't judge them by their later brief forays into the pop charts; this is a more sophisticated and mature offering altogether." Widely regarded as Osibisa's best, the music here reflects the hunger that explains their earlier success. The group was able to fuse the explosive nature of African music to the intricate riffs of western rock.”

America - AMERICA***

Riverside/Sandman/Three Roses/Children/A Horse With No Name/Here/I Need You/Rainy Day/Never Found The Time/Clarice/Donkey Jaw/Pigeon Song

Eponymous debut album from the soft-rock trio America, who enjoyed significant commercial success in the mid 1970s. Features the innovative US No.1 and UK No. 3 hit single Horse With No Name. (US:1 UK:14)

“The highlight of the album is definitely Horse With No Name. Most of the other tracks are much the same, except not quite so catchy; they often get extremely repetitive and outstay their welcome.”

“It seemed obvious that Warners were looking for a counterfeit CSN and found this nice little trio that made hippie music after the movement disappeared. The reason why they became successful lies in the plain beauty of the singles.”

“America’s timeless first album is a true folk jewel with its acoustic six and twelve strings guitars and refined harmonies. A Horse With No Name is built with only the same two chords from beginning to end, but the arrangements are so refined and various that you can't believe it's so simple.”

“Riding on the successful formula of acoustic guitars and harmonized vocals, the debut America album was a seed thrown on fertile ground;. But the trio also had some trumps: catchy songs, pleasant vocals timbres and swinging acoustic strumming. They also had all the energy of a group of friends, that had been playing together for several years; overflowing with energy and the excitement of the opportunity to record an album. They were also able to find a producer who knew how to keep it simple and appealing with freshness.”

“I was just hoping for some nice, pleasant 70s soft rock but I got something more than that as this is an extremely well written and played album.”

“While this was not a sensational album, it was a great piece of pop music, and met all the criteria to earn it an established place in musical history. The playing was clean and fresh, it was lightly layered with sensational harmonies, and a great interplay within the group.”

“The shimmering and psychedelic friendly A Horse With No Name suffers from over-exposure, as it is ubiquitous on classic rock radio, particularly in North America. Their musical style is a mix of something between soft or acoustic rock and folk-pop.”

Journey To The Centre Of The Eye - NEKTAR***

Prelude/Astronaut's Nightmare/Countenance/The Nine Lifeless Daughters Of The Sun/Warp Oversight/ The Dream Nebula Part 1/The Dream Nebula Part 2/Its All In The Mind/Burn Out My Eyes/Void Of Vision/Pupil Of The Eye/Look Inside Yourself/Death Of The Mind

Debut album from the British progressive band Nektar who were based in Germany. Journey To The Centre Of The Eye consists of a long psychedelic jam with spacey guitar and keyboard effects.

“The album has all the wailing guitars, spooky synths and shimmering percussion you'd expect from early Floyd, but with a conceptual structure that's tighter and more coherent.”

“It has a few moments of light at the beginning, but as it drags on it eventually blends into one really long psychedelic jam that never seems to end.”

“Journey To The Centre Of The Eye just epitomizes the space-rock sub-genre more than anything else I've ever heard. The spacey guitar and keyboard effects, the soundscapes, the acceleration and deceleration of the music, the lyrics and the concept - it's all there.”

“This amazing record embodies a whole wave of sci-fi, psych-prog, space-head, soul-searching, future-yearning, world weariness that enchanted a significant segment of the vanguard rock world for a few years.”

“Pounding Hammond organ, trippy effects, weaving guitar lines mixing together with other instruments and the majestic Mellotron. Space rock and of course a larger-than-life concept. These are the common tags one can apply to this release by the nearly unknown British psychedelic/prog rock band working in Germany.”

“Nektar are often thrown in with the Krautrock bunch, even though in reality they were a British band, but residing in Germany. Journey To The Centre Of The Eye was their debut and the only weak spot is the rather flat production, but the musical quality more than makes up for the shortcoming. This album is a collection of songs all segued in to one another, intended to be listened to as a whole. This tended to the more psychedelic end of the prog rock spectrum.”

“Every single moment is devoted to a spiritual atmosphere, a magical journey. The vocals are incredibly melodic, beautiful and touching; there is a wonderful sense of instrumental skills that always keeps a creative flow, resulting in an all around near perfect album.”

Islands - KING CRIMSON***

Formentera Lady/Sailor's Tale/The Letters/Ladies Of The Road/Prelude: Song Of The Gulls/Islands

Following extensive personnel changes King Crimson released the rather uneven Islands. Opinions ranged between interesting and dull for this attempt to mix classical music with their brand of prog. (US:76 UK:30)

“It starts jazzy and incredibly interesting, the first track floating you through the ether and the second blasting you through space. The next three, though good enough, are a little underwhelming. The album closes with the Islands, which is very mellow.”

“Islands is just really very dull. The band had always been up for experimentation, changing genre from album to album, sometimes within the same song. Here, they attempt to master classical music mixed in with their own brand of prog. What results is not an interesting blend of old and new, but an album that's totally pointless.”

“Like most other Crimson albums, this one's biggest drawback is the singing. However, I was also surprised by how lame and unfocused the improvising was as well. The second side is better, or at least closer to what I want to hear from a KC record.”

“King Crimson deliver with Islands an album that is not disappointing, quite enjoyable, but nothing that really impresses. It is an adventurous, emotional and quite experimental album; however it was greatly shadowed by all the great earlier releases.”

“So while the songs are a bit too long, Islands isn't half as bad as its reputation. If you're a King Crimson fan who doesn't have a big problem with noodling improvisations and general mellowness it's probably worth getting. Although very confused and uneven, most of it is quite good.”

“Islands is largely quiet and brooding, with dark, low tones played on reed, brass, and string instruments, woodwinds, along with moody mellotron here and there.”

“This album certainly contains the best elements of King Crimson's music -the heavy the lyrical, the classical, the jazzy and the pop/humorous. But most important, behind the real beauty of the music, comes a message of despair and agony: the cry of the contemporary man who tries to escape the crashing loneliness of his age.”

The Inner Mounting Flame - MAHAVISHNU ORCHESTRA***

Meeting Of The Spirits/Dawn/The Noonward Race/A Lotus On Irish Streams/Vital Transformation/The Dance Of Maya/You Know You Know/Awakening

Mahavishnu Orchestra were a jazz fusion group formed by guitarist John McLaughlin. Their innovative debut album The Inner Mounting Flame included elements of Indian music with a spiritual vibe. (US:89)

“Under the leadership of the great John McLaughlin, MO created a diverse collage of sounds that had never been introduced to each other before. Shades of progressive rock, contrast with the jazz fusion and McLaughlin’s interest in Indian music, as well as Gaelic folk music.”

“The Mahavishnu Orchestra were an incredible jazz rock band founded by John McLaughin with some other incredible musicians. All of them are in great shape but naturally the guitar and the sparkling solos are in the spotlight. But it never gets too exhausting because the well-crafted songs make it an exciting, loud, instrumental jazz fusion landmark.”

“The music on Inner Mounting Flame is instrumental jazz rock fusion with John McLaughlin´s guitar as the lead instrument. Piano and violin leads are also present in the music. The eight songs are all played with virtuoso skill and it’s definitely the musicianship that impress the most. The compositional quality of the tracks are not always that high as most have an unfinished feel to them, focusing a lot on improvisational noodling and less on reoccurring themes and melodies.”

“Technically they have some of the most talented people in the field, particularly on guitars. They managed to create a very spiritual vibe, but unfortunately they end up overdoing things and it sounds like they are showing off instead of developing coherent songs.”

“Jazzy and meandering to the extreme, with some absolutely incredible catchy, groove-laden, and impressive drumming throughout the whole album. Violins and electric keyboard give the music a very distinctive Eastern quality, but it's McLaughlin's guitar playing which steals the limelight.”

“This is a brilliant masterwork, consisting of a mixture of jazz, rock and a colouring of eastern classical music. What John McLaughlin is doing with his guitar is just unbelievably marvellous and absolutely mind-blowing.”

Diamonds Are Forever - SOUNDTRACK***

Diamonds Are Forever/Bond Meets Bambi & Thumper/Moon Buggy Ride/Circus Circus/Death At The Whyte House/Diamonds Are Forever/Diamonds Are Forever/Bond Smells A Rat/Tiffany Case/007 & Counting/Q's Trick/To Hell With Blofeld

Sean Connery returns to his role as 007 James Bond in Diamonds Are Forever. The title song is by Shirley Bassey and once again James Barry is responsible for the score. The chart placing is notably lower than for the early soundtracks. (US:74)

“The theme song features reliable Shirley Bassey again belting out her throaty stylings against John Barry's impeccable orchestration.”

“The album is embarrassingly short; there was so much other great incidental music that could have been included. But what is here is exciting stuff. The quieter parts are cool jazz beefed up with the signature Bond motifs on horns and strings. Barry injects even more energy and tension into the action scenes. Staccato trumpets, violins and percussion (very prominent here is the xylophone) dole out the militaristic spy themes that define the genre.”

“Perfectly evocative of the glitz of Vegas, John Barry's score here captures the fun, over-the-top feel of the successful return of Sean Connery to the role of Bond.”

“John Barry returns again with another masterpiece. Shirley Bassey for her second time performs the title song with sensational class and charm. All in all, one of the best 007 soundtracks and thoroughly enjoyable.”

“Perhaps some of John Barry's best work on the Bond series, Diamonds accurately captures the hazed, odd quality of this movie that makes it one of the most fascinating 007 outings. Shirley Bassey's rapturous title track makes it in its luxurious entirety, along with two other versions that are equally entrancing. The satellite theme 007 & Counting is here in grand form, and Barry fans will be delighted with this interpretation of the Bond theme in To Hell With Blofeld which closes the LP.”

“The music was a departure from what John Barry had been writing for the Bond films up to that point, as the score was much more lightweight, not in substance, but in sound, appropriately reflecting the tone of the film. The string and percussion sections are much more prominent than in earlier Bond films. It is one of the better Bond scores and has a magical and glistening quality about it which is much more complex than given credit for.”

Orange - AL STEWART***

You Don't Even Know Me/Amsterdam/Songs Out Of Clay/The News From Spain/I Don't Believe You/Once An Orange Always An Orange/I'm Falling/Night Of The 4th Of May

Singer songwriter Al Stewart enjoyed only limited popular appeal at the time of the release of Orange. This is considered to be the most personal of his albums, an introspective trait that was his hallmark.

“The songs, despite a gorgeous variety, are loosely tethered to his lingering folky singer-songwriter persona. Al was able to express himself in several different ways; Dylan-like in some spots, gently glam-rock in others.”

“This was the turning point for Al Stewart. This album is more electric than the previous one. The music is a kind of progressive folk-rock and several tracks are really catchy. One of best Al Stewart's albums in this genre.”

“Orange is the not the easiest of albums. It is the most personal of all Al Stewart's work, but also the last of his truly autobiographical albums. His next phase was more experimental and historical as well as more commercial.”

“Orange is an acquired taste, many fans saw it as a sell out at the time, as it was so smooth and professional. And smooth it is; a polished performance of well-written, intelligent lyrics with a backing from fine musicians.”

“Three songs in particular stand out here. Songs Out Of Clay presages the development of Stewart as a modern troubadour, and as a wordsmith and storyteller without parallel. News From Spain is a great early example of a Stewart love song set in an exotic locale. The rare Stewart instrumental Once An Orange features a silly name, but some tasty playing.”

“Stewart's vocals are clearer, the string arrangements are lush but not overbearing, and the guitars, bass and drums blend in a much cleaner sounding mix than previous Stewart albums.”

“Al Stewart was still searching for a unique unifying theme but alas he did not quite find it on Orange which is a collection of nice but fairly straightforward lost love tunes in the singer-songwriter confessional style, that was so much in vogue in the early `70s.”

What Ever She Brings We Sing - KEVIN AYERS***

There Is Loving/Margaret/Oh My/Song From The Bottom Of A Well/Whatevershebringswesing/Stranger In Blue Suede Shoes/Champagne Cowboy Blues/Lullabye

For this album former Soft Machine bassist Kevin Ayers recruited Mike Oldfield as a backing guitarist in the period before he found fame. The musical style here is considered very diverse although somewhat inconsistent.

“This one of his best records, unclassifiable, frustrating, occasionally beautiful, and nearly always indulgent. From the full on symphonic splendour of There Is Loving via the lilting Margaret and on through the almost ragtime arrangement of Oh My the record never sits still. Bottom Of A Well features a disturbed vocal from Ayers and some full on guitar work from Mike Oldfield, as does the other very weird track here Champagne Cowboy Blues.”

“Another ragged solo album from Kevin Ayers; like most of his it's a bit patchy and inconsistent, and the musical style is all over the place, but for some reason it works. The music is much like Ayers' public persona of a shabby but loveable posh hippy who has had a bit too much to drink. Unlike the previous album, this one is much more skewed towards catchy pop numbers.”

“An album that found Ayers returning to his strengths in part and completing failing for the most part. The mystical, twee There Is Loving and Margaret open the album with lush, colourful orchestration and Ayer's signature zombie Nick Drake voice. Sadly everything that follows, outside the pleasant enough Lullabye, is obnoxious, portentous or boring.”

“Generally a much more relaxed outing than Shooting At The Moon, the title track in particular being very sweet, featuring a lovely solo from Mike Oldfield. Song From The Bottom Of A Well is the most unusual and dark track on offer, and the other stand-out track, Stranger In Blue Suede Shoes, went on to become one of his best loved songs.”

Garcia - JERRY GARCIA***

Deal/Bird Song/Sugaree/Loser/Late For Supper/Spidergawd/Eep Hour/To Lay Me Down/An Odd Little Place/The Wheel

Eponymous solo album from Grateful Dead leading light Jerry Garcia, in which he plays all the instruments except drums. Described as similar sounding to recent group albums, mixed with some experimental pieces. (US:35)

“I was expecting a lot more from Garcia's first solo record, but there's too much homespun atmosphere here. Bird Song retains its great melody but loses its form too easily by the close, whereas Sugaree is a few too many choruses long. There are other moments that are worthwhile, To Lay Me Down is mostly excellent for instance, but there is too much experimenting with avant-garde noise making.”

“The most popular solo release from the leader of the Dead is a solid effort, let down only by few shorter tracks that don't really do much. The twangy, blues-like guitar on the opener Deal makes it evident that this solo album would maintain a heavy Dead influence. Having said that, Garcia performs almost every instrument.”

“It's Jerry on everything except drums, but you can still fairly call this a Dead album in disguise. Not only did six of the songs enter the band's repertoire, most of them became mainstays. The music very much inhabits the same sound world as Workingman's Dead and American Beauty.”

“Garcia is a strong solo debut from one of the greatest rock musicians in history, but this should have been beefed up with a couple more songs. The experimental instrumentals are fine, and An Odd Little Place provides a nice introduction to an excellent rendition of The Wheel. Bird Song is another standout here with this electric version demonstrating the diversity of the tune when contrasted with the acoustic version.”

“The anti-dead heads who complain that the Dead have too many boring solos will not have that criticism here. Several tight songs comprise both sides of the LP.”

“This album is such classic Garcia. The Deal is a hot song and has some incredible guitar licks like only Jerry can give. Sugaree is a classic, Lay Me Down is gentle and reflects the subtlety of his music, and The Wheel articulates what it is to live on the razors edge in life. You won't be sorry to own this one.”

Naturally - J. J. CALE***

Call Me The Breeze/Call The Doctor/Don't Go To Strangers/Woman I Love/Magnolia/Clyde/Crazy Mama/ Nowhere To Run/After Midnight/River Runs Deep/Bringing It Back/Crying Eyes

Naturally was the debut solo album from American blues-rock guitarist J. J. Cale. His laid back style was a major influence on Eric Clapton who was the first to cover one of his songs with After Midnight. (US:51)

“His music is very warm, like a summer night with the sounds of crickets and fireflies filling the air. His groove is infectious to say the least, very casual and easy to dig. You'll find nothing pretentious or overbearing here, just some of the smoothest, cleanest, thoughtful, toe tapping numbers you will ever hear.”

“Naturally is one of the best chill-out albums. It's a calm, pleasant and relaxing blues rock record. J.J. Cale wasn't a fancy guitarist, but he knew perfectly which guitar tricks would fit a song best. It's his minimalism that makes the songs shine.”

“The music here is typical Cale, that is a very simple and relaxing mix of blues-rock and country-rock. This release is also historically important because Cale's sound has hugely influenced artists like Eric Clapton and Mark Knopfler. So as you might guess, this is great stuff.” “There is nothing that is over the top and nothing that stands out. Just a canvas of subtle musicality for music lovers to switch off and enjoy. A very rare artist that can achieve this with such sincerity and skill.”

“The songs are laid back and sleepy, the melodies sometimes predictable, and the horn sections sometimes a little unnecessary, but the voice that runs over the whole album is quiet and heartfelt. As you listen your eyes begin to droop and a feeling of satisfaction overwhelms.”

“It's a rock classic, immediately easy to listen to, yet also holds up well after many plays. It's music for slow, hot summer days, when you want to just kick back and down a couple brews with some friends. Consider it summer porch music. Another point in its favour is that every song is strong, not a single loser. I've never understood why this album has never received more recognition.”

“So laid back it sounds like he's already fallen over, there is a lovely natural feel about these songs. Late night manna from heaven.”

Solid Rock - THE TEMPTATIONS***

Take A Look Around/Ain't No Sunshine/Stop The War Now/What It Is/Smooth Sailing From Now On/Superstar (Remember How You Got Where You Are)/Its Summer/The End Of Our Road

The Temptations Solid Rock album was released at the height of the group’s psychedelic soul era which producer Norman Whitfield had steered them towards. Recent personnel changes were not for the better according to some critics. (US:24 UK:34)

"Take A Look Around isn't often mentioned as one of their better tracks, but it's a good balance between what Whitfield wanted the Temptations to be and the group’s own inclinations. The vocal harmonies are kept front and centre; the psychedelia, while low-key, is there in the harpsichord and the burbling arrangement.”

“The record delicately balances Whitfield's more pop and funky tendencies well. By this point in The Temptations' story, producer Norman Whitfield had taken over the plot with his ornate arrangements and impeccable production aesthetic. Solid Rock lacks a huge single, but that's a good thing, as this ends up being one of their more consistent records. Their take on Bill Withers' Ain't No Sunshine builds well and features stunning guitar work. Stop The War manages to work, even at twelve minutes in length it never overstays its welcome. The second side boasts some of the group's diamonds in the rough.”

“It is pretty fun in the beginning but lacks some kind of kick into it, the lyrics are quite poor and there is little originality.”

“This is a significant album in the history of the Temptations, as it is the first produced after the departure of Eddie Kendricks and Paul Williams. However, Damon Harris wasn't exactly a smooth replacement for Kendricks, and replacing the solid baritone voice of Paul Williams with the whiney high tenor of Richard Street completely ruined The Temptations sound.”

“Like a lot of the Motown albums of the era, it feels more like a Norman Whitfield solo album than a Temps album. It was released during the height of his psychedelic soul era and it's terrific. The standout tracks are Stop The War which has a beat and tempo that could be charted as a bell curve--it's gradually builds and gradually fades; as well as Superstar and Take A Look Around which is an appeal against the destruction brought by drugs to the inner city.”

Kongos - JOHN KONGOS***

Tokoloshe Man/Jubilee Cloud/Gold/Lift Me From The Ground/Come On Down Jesus/I Would Have Had A Good Time/Try To Touch Just One/Tomorrow I'll Go/He's Gonna Step On You Again

South African pop-rock singer songwriter John Kongos enjoyed a brief moment in the spotlight in the early 1970s thanks to two dynamic UK top five hit singles, Tokoloshe Man and He’s Gonna Step On You Again. (US:29)

“With only the two hit singles to go on - He's Gonna Step On You Again and Tokoloshe Man, you'd expect lots of percussion, lots of effects and not much else. What you get, apart from those two tracks, is low percussion, low effects, worthwhile lyrics, mostly decent playing and a nicely balanced album.”

“I found this just a little too commercially oriented for my taste. It's a mix of soft, acoustic guitar driven material with some fast and hard cuts too.”

“A workman-like album from a period when a lot of one or two album artists came and went. Apart from Tokoloshe and He's Gonna Step there's nothing that really stands out from the ordinary and for me, one track, Tomorrow I'll Go, is dire.”

“Sounding like something Slade might have recorded, the fuzz guitar and African percussion propelled the slice of glam-rock Tokoloshe Man gets the set off to a rousing start. Similarly, He's Gonna Step On You Again offers up another pounding rocker that incorporates an early use of tape loop. Unfortunate Kongos didn't stick with this formula for the rest of the album. Instead, tracks such as Jubilee Cloud, Gold and Lift Me From The Ground offered up a more conventional pop-rock sound.”

"Tokoloshe Man and He's Gonna Step On You Again are absolute five star tracks, Unfortunately, the rest of the album is more subdued country rock.”

“John Kongos was, apparently, really hot in South Africa in the Sixties and Seventies, and you can see why from this album. It shows a guy who could belt 'em out with the best of the British rockers of that time.”

“The two standouts are the songs that bookend the album, Tokoloshe Man and especially He's Gonna Step On You Again, rockers that are ferocious and snarling, making you want to play them over and over the way you do with any good song.”

The Persuaders! - JOHN BARRY***

Theme From The Persuaders/Midnight Cowboy/Goldfinger/The Danny Scipio Theme/007/The Girl With The Sun In Her Hair/On Her Majesty's Secret Service/Vendetta/Thunderball/The Chase/From Russia With Love/James Bond Theme

After scoring the soundtrack for several James Bond films composer John Barry turned his hand to the TV series The Persuaders starring Tony Curtis and Roger Moore as a couple of playboy sleuths. The title track reached No.13 in the UK. (UK:18)

“The original theme from The Persuaders, with its muddy synthesized bass line, was more akin to a pop record of its day, with various over dubbing of the cimbalom and kantele to create a unique sound. It would be very difficult to reproduce this sound exactly in today's recording environment without the original musicians, analogue equipment and acoustics of the original recording studio.”

“With its unmistakable rumbling guitar riff, adrenalin pumping string arrangement and swaggering horns, the James Bond Theme is known to millions of movie-goers worldwide. Even though he didn't write it, it has become synonymous with one man - John Barry.”

“As a seven-year-old boy in 1972, I loved The Persuaders and its theme must have been one of the first singles I ever bought. And I was soon hooked on the music from the Bond movies. So this LP is a piece of nostalgia for me.”

“You can't beat the intro: The Persuaders conjures up the Cold War era, wistful melancholy tempered by the memory of Tony Curtis and Roger Moore swanning about the South of France.”

“I love this album. John Barry`s music at it’s very best, from the all too familiar strains of Bond to some lesser known pieces like the haunting Girl With The Sun In Her Hair.”

“Famous for the Bond theme, it was surprising to hear such a wide range of music that is instantly memorable from films from the 60s and 70s. Easy listening and uplifting.”

“Fantastic music, such a talent, play this and memories will come flooding back -great movies, great music and a great composer.”

Whatcha See Is Whatcha Get - THE DRAMATICS***

Get Up & Get Down/Thank You For Your Love/Hot Pants In The Summertime/Watcha See Is Watcha Get/In The Rain/Gimme Some (Good Soul Music)/Fall In Love Lady Love/Mary Don't Cha Wanna

The Dramatics were a Detroit based R & B vocal group who enjoyed some limited US commercial success in the early 1970s but are largely forgotten today. Features the US top ten hits In The Rain and the title track. (US:20)

“This was their most commercially successful release. The Dramatics were as good as, and, in some cases, better than other contemporary soul groups. Their sound is fresh and their performance is competent. It succinctly echoes the sounds of its time, but still sounds as good today, as it did back then.”

“The title song had impeccable and creative arrangements. The group members alternated singing lead on each line. It was an R & B tune, but it looked ahead to the coming disco movement. A fuzz sound on the lead guitar, plus horns and strings all served to make it memorable. Get Up & Get Down was more of the same but the vocal interplay was different and creative.”

“This is a better than average soul album from the early 70s. It's nothing too earth shattering, but it makes for quite an enjoyable listen and is pretty solid all the way through. There really aren't any clunkers on this one, and the best songs are pretty much classics of the genre in their own right. To me what sets this album apart is the production, which is incredibly thick, multi-layered, and yet airy at the same time. It's great stuff, no doubt about it.”

“An excellent slice of Stax R & B. The title track is the real stand-out, but there's a great grinding rhythm all the way through the album.”

“It is very puzzling that The Dramatics are not better known, or revered, among soul fans. Possibly this lack of acclaim is due to the fact that they recorded for a smaller label, as opposed to being on a major such as Motown or Atlantic, and weren't marketed properly. But rest assured; this is absolutely classic soul music, from ballads to funkier numbers, packed with great tunes and soaring harmonies.”

“There is some fine foot stompin' music along with a few ballads to get you in a lovin' kind of mood.’

Phase III - THE OSMONDS***

Down By The Lazy River/Business/Love Is/A Taste Of Rhythm & Blues/Yo-Yo/He's The Light Of The World/My Drum/Its You Babe/In The Rest Of My Life/Don't Panic

By the start of 1972 the youthful boy band The Osmonds had become the focus of young teen girls fan mania in the USA, and this would shortly be replicated in Britain. Phase III includes the US top five hits Yo-Yo and Down By The Lazy River. (US:10)

“The Osmonds always struck me as somewhat cool. Overall it's a pretty good listen, even the cheesy pop of Yo-Yo.”

“This album represents a musical transition for The Osmonds that explains the inclusion of songs like My Drum, an underrated rocker which hints at the musical direction in which the boys were headed.”

“Phase III is good, if a little patchy, and although it showed growth from the brothers' first two MGM releases, to my mind their best work came on their next couple of studio LPs.”

“I'd have to say that the song that defines Phase III is He's The Light Of The World. It's such a strong recording.”

“A great beat and an incredible message. As devoted Christians, these guys make no apologies for their beliefs and I applaud them. In The Rest Of My Life is a truly beautiful love song. I found myself singing along as if over 30 years hadn't gone by.”

“Phase III contains two of the Brothers biggest and best hits of the 70s, Yo-Yo and Down By The Lazy River are well known and deserve to be. This was their highest charting album in the US and was their best up to that point, in early 1972. Other stand out songs include: My Drum and He's The Light Of The World. I think it was the beginning of the kind of music was to come from the Osmond Brothers. It's not my favourite, but it's certainly a great album I couldn't leave out of my collection.”

Greatest Hits - JACKSON 5****

I Want You Back/ABC/Never Can Say Goodbye/Sugar Daddy/I'll Be There/Maybe Tomorrow/The Love You Save/Who's Lovin' You/Mama's Pearl/Goin' Back To Indiana/I Found That Girl

Motown’s most consistent hit machine during the early 1970s was the Jackson 5 fronted by a very youthful Michael Jackson as lead vocalist. This compilation covers all their 1970-71 hits. (US:12 UK:26)

“Because of their hit singles oriented approach to the music business, Motown Records fostered a lot of ‘singles bands’ who performed these amazingly brilliant pop songs, but whose albums numbered too many and had too much filler in them. It's these kinds of bands that are best consumed in the form of a Greatest Hits album.”

“If you're looking for an accessible, easily digestible music history lesson then this album should be your first stop. It's short, sweet, and lovely.”

“The Jackson 5 may have provided very sugary mainstream pop music, but that doesn't prevent these songs from being unbelievably melodic, expertly written and fantastically performed.”

“The Jackson 5 released many songs that are indispensable in a good pop collection. They were very talented and precocious singers, with good Motown material and some funky production. Better, indeed, than any child stars since.”

“One of the best albums of all time. There music never goes out of style. I grew up on these songs and I am having fun singing along.”

“This is a great LP. I am a huge fan of the Jackson 5 and Michael Jackson and I always find myself dancing to this stuff. It is outstanding. This album covers the best songs from their earliest period.”

Hot Rocks - THE ROLLING STONES*****

Time Is On My Side/Heart Of Stone/Play With Fire/Satisfaction/As Tears Go By/Get Off Of My Cloud/Mother's Little Helper/19th Nervous Breakdown/Paint It Black/Under My Thumb/Ruby Tuesday/Let's Spend The Night Together/Jumping Jack Flash/Street Fighting Man/Sympathy For The Devil/Honky Tonk Women/Gimme Shelter/ Midnight Rambler/You Can't Always Get What You Want/Brown Sugar/Wild Horses

Hot Rocks was the first instalment of two double album compilations which charted The Rolling Stones most creative period from 1964-1971. As such it remains an essential purchase to this day. (US:4)

“This is still the greatest rock 'n' roll compilation ever made; just looking at that track-list makes me giddy. Every one ranges from either fantastic to one of the greatest songs of all time. A perfect starting point for the Stones, and if you don't like it, you don't like rock music.”

“The Rolling Stones are never classified as a singles group because of the quality of their album releases. However, when you gather all their early single releases in one place the results are spectacular. This album is just one great song after another.”

“One the best greatest hits packages ever put together. Although it is not definitive, this is a perfect introduction to the band. Every song is great.”

“Essential for the casual or intermediate Stones fan. Culled from their numerous releases between 1964 to 1971, Hot Rocks follows the group’s progress from their deeply R & B influenced beginnings to the biggest stadium band in the world.”

“The best Stones package. This double album could make anyone a fan of the band, it certainly did with me. It has all their early singles, right through the classic late 60s album cuts, ending with tracks from Sticky Fingers.”

“Hot Rocks is a towering compilation which sees the Stones emerge from their early R & B roots to embrace pop and rock, ballads and rockers with equal aplomb.”

“This is one of those few, special, greatest hits sets that are, in every way, perfect. Many leave off important tracks and have moments of worthless filler. Others are made obsolete by better, more complete sets. Not Hot Rocks, since it covers only the best, most famous, and most influential songs of the seven years when the Stones were at their peak. All the landmark material is accounted for.”

Sunfighter – PAUL KANTNER & GRACE SLICK***

Silver Spoon/Diana/Sunfighter/Titanic/Look At The Wood/When I Was A Boy I Watched The Wolves/Million/ China/ Earth Mother/Diana 2/Universal Copernican Mumbles/Holding Together

Sunfighter was a side project by Grace Slick and Paul Kantner, two leading members of Jefferson Airplane. In part it is a celebration of domestic life and the birth of their daughter featured on the cover. (US:89)

“This is so soft rock, that I almost thought it was Jefferson Starship at some points. The songs drag on for so long that you wish for the whole album to be soon over. They also repeat the same lyrics over and over again.”

“The album begins on an exceedingly militant note, with Grace extolling us to put down our forks and knives so that we can eat with our hands. After all, what's the use of bourgeois pretence when our ‘civilization’ is built upon imperialism and genocide? Next up is a brief hymn to a terrorist who blew herself up. Just when you think that you've stumbled upon the Weathermen's favourite album, things take a pastoral turn, with Paul and Grace spending most of the rest of the LP noting the charms of rural life and domesticity. For those who are familiar with the historical and political trajectory of the US counter culture, Sunfighter has a lot of period charm, but some clearly dated sentiments keeps it from classic status.”

“This is a fairly obscure album done in the late Jefferson Airplane period. The cover shows their daughter China being held up in the air. They bask in the glow of the birth of their daughter and it shows in the music. The songwriting is very strong although a little long winded lyrically. Vocally, Grace and Paul have never sounded better. Their harmonies at times soar and lift you up as you join in their celebration.”

As far as the really good stuff, I love the song China, an ode to Grace and Paul's new born daughter. It's sweet and moving for anyone who's experienced life with a new baby. I also like about everything else on side two. You can hear echoes of Kantner's great Blows Against The Empire album that came before this, and that's a very good thing. Trouble is, side one is just pretty boring.”

“When I was younger this was one of the first choices of music for acidheads and it definitely can be trippy with haunting melodies, thundering piano and great guitar. This is not ordinary rock, but it is great rock. It feels like Kantner and Slick put their hearts and souls into this one, perhaps because it was made in honour of their newborn daughter. You just don't see rock or pop musicians put this kind of thought and energy into anything anymore.”

Year Of Sunday - SEALS & CROFTS***

When I Meet Them/'Cause You Love/Antoinette/High On A Mountain/Year Of Sunday/Paper Airplanes/Irish Linen/Springfield Mill/Ancient Of The Old/Sudan Village

Year Of Sunday was the first album for Warner by the soft rock harmony duo Seals & Crofts, although they had released two previous LPs on the minor TA label. They would achieve their commercial breakthrough with the next release. (US:133)

“Time has not been kind to Seals & Crofts, probably due to their relatively sentimental and naive compositions. This is not to say that their music is saccharin. It's not. Year Of Sunday is my favourite of their recordings for a couple of reasons. Firstly, the harmonies created are very surprising and secondly, the intimate guitar/mandolin accompaniment is so appropriate for these very personal songs. The production is noticeably subdued, almost claustrophobic, which, ultimately, serves the music well.”

“Recorded just before they hit the big time, this album contains some of their most poignant lyrics, beautiful melodies, and inspired musicianship. Revealing a new sound, and a craftsmanship almost unheard of in pop, their arrangements made mandolin and violin seem hip. This combined with a spiritual message that seemed universal at the time, in the era of peace demonstrations and the love generation.”

“The mandolin passage in Irish Linen still takes my breath away with its exquisite beauty. There is a real ache and longing for a lost love in Antoinette. Their voices intertwine in Cause You Love, anticipating the soaring magic of Hummingbird in their next album. The melody, delicate harmonizing, and mandolin playing in Paper Airplanes elevates a somewhat sentimental song into a heartbreaking classic. Year Of Sunday is an uplifting song of faith and hope.”

“From the epic title track that tells a story of spiritual and peaceful leaders without preaching, we are indeed on a highly-crafted musical journey here that I find very different to the other popular music of this time. To say that this is some of the finest and well produced pop music would be an understatement, as this music is complex, and at the same time so easy to soak in and enjoy on a basic level of enjoyment.”

”From the good time country, to the jazzy and onto African styles, there is a lot to drink in here. Arrangements of these gems almost steal the limelight from the vocal harmonies, but everything fits together just right.”

Garden In The City - MELANIE***

Garden In The City/Love In My Mind/We Don't Know Where We're Going/Lay Lady Lay/Jigsaw Puzzle/Don't You Wait By The Water/Stop I Don't Want To Hear It Anymore/Somebody Loves Me/People In The Front Row

Garden In The City comprises leftover tracks from Buddah recording sessions which Melanie appears to have repudiated. She set up her own record label Neighbourhood for future releases. (US:115 UK:19)

“This might not be the best folk record ever made but it has a lot of heart. Melanie sings with such a honesty that it’s hard not to feel her words. The arrangements are good too but it’s her vocal work the one that will keep me coming back.”

“It was compiled without Melanie's involvement and she consented to its release almost under duress, repudiating it as soon as it appeared. Its songs have since been scattered across numerous albums, not all of them still available.”

“Even though it's a compilation consisting mainly of outtake material, it plays better than several of her proper albums. Anyone who prefers her earliest material, when she was at her most fearless and experimental as a singer and songwriter when all her eccentricities were still intact, they will love this.”

“Sneakily marketed by Buddah as a new album after Melanie had left the label, Garden In The City was made up of recordings that failed to make the grade for earlier albums, plus a couple of songs from film soundtracks. That didn't augur well for the set, but in fact it isn't too bad. Melanie makes light work of Jigsaw Puzzle, tackles Lay Lady Lay with aplomb, and even turns in a respectable standard, Somebody Loves Me. People In The Front Row finds her battling it out against a full-piece orchestra; it's a hammy piece, full of nonsense lyrics and staged laughter that is either a hoot or a travesty, depending on your tastes. It's no surprise that Melanie was apparently dismayed at the appearance of this album, any listener unaware of its true origins would have assumed she was regressing.”

“This LP contains many gems and is an important musical addition to any Melanie collection. There are only four original tracks, others being covers, but I'm really fond of the treatment she prescribes to songs such as Dylan's Lay Lady Lay or the Stones' Jigsaw Puzzle. I don't see any low points here. Several songs have an eastern flavour such as the splendid Love In Mind, plus there's People In The Front Row an incredible vocal challenge.”

Quiet Fire - ROBERTA FLACK***

Go Up Moses/Bridge Over Troubled Water/Sunday & Sister Jones/See You Then/Will You Still Love Me Tomorrow/To Love Somebody/Let Them Talk/Sweet Bitter Love

R & B vocalist and pianist Roberta Flack increased her commercial and artistic recognition with Quiet Fire, which includes a significant number of covers of well known songs. (US:18)

“Roberta Flack is back to her smouldering self on Quiet Fire. I was apprehensive as the first tune, Go Up Moses played, because while she does a fine job with gospel, it's the ballads that I really want. Then came her cover of Bridge Over Troubled Water, a song that has been covered countless times, with most failing miserably. Roberta nails it, with all the emotion, love and promise that Paul Simon intended. It's beautiful. But the best of all is the final cut, a gorgeous soulful reading of Sweet Bitter Love which explains perfectly why I love listening to Roberta Flack sing ballads. It's really something to behold.”

“As usual, less is always more with a Roberta Flack album, so the best tunes by far are those that simply feature her on piano. Nothing on this album really misses, and sometimes the results are amazing.”

“You'll love Roberta's passionate readings of many covers on this gem. She does a beauty remake of Aretha Franklin's minor hit Sweet Bitter Love with just herself on keyboards.”

“Quiet Fire is as apt a name as any for this wonderful singer. Her voice is a slow boiler that starts out cool, gradually heats and builds to a raging fire on this album. Go Up Moses stokes those flames. Again, Miss Roberta mines her choices well, and there isn't one bad cut here.”

“Roberta's approach to a song is rather conservative. She may slow it down a bit but always tries to preserve the melody and the cadence of a song. What she does is use her peerless phrasing and majestic performance to transform a song into something precious and personal. Listening to her voice build and rise above the piano is akin to a religious experience and it can't get more churchy than Go Up Moses which has Roberta feverishly incanting over a raucous rhythm.”

“This disc finds Roberta Flack at her peak, flush with her initial success, and building on that with an album that combines soul and jazz feeling. It captures the times, employing themes of mass movement as well as individual passion.”

A Nod Is As Good As A Wink - FACES****

Miss Judy's Farm/You're So Rude/Love Lives Here/Last Orders Please/Stay With Me/Debris/Memphis/Too Bad/That's All You Need

The Faces reached the pinnacle of success as a group with A Nod Is As Good As A Wink. From now on Rod Stewart’s solo career would take precedence, with the rest as mere backing musicians until they were ditched altogether. Includes the UK and US top twenty single Stay With Me. (US:6 UK:2)

“The Faces musically were a long way from the band fronted by Steve Marriott. For one thing, they had no interest in experimentation, being progressive or anything like that. They played raucous rock songs and were far more interested in having a real good time than playing serious music.”

“A Nod Is As Good As A Wink finds the group at the peak of their powers, a finely honed machine. Rod Stewart can be heard transforming into the superstar. Ron Wood proves himself to be one of the most capable guitarists on the planet. I've never been as big on the Ronnie Lane numbers, but even his are pretty good here. From here on out, they would essentially become the backing band for Rod Stewart, and, in the process, lose some of their mojo. Catch them at their best here.”

“The Faces' masterpiece is a glorious rave up, opening with the infectiously bluesy Miss Judy's Farm and closing with the mildly calypso influenced That's All You Need. With perhaps the Faces' most famous song Stay With Me acting as the lynchpin, you could argue that the band's songwriting was never stronger, and they bring excellent performances to match. Rod Stewart's vocal delivery is better than ever, Ron Wood takes the Faces closer to Rolling Stones territory than ever before and Ronnie Lane's compositions bring out the best in all concerned.”

“This was a great, rollicking band, with a reputation built on raucous, sloppy, and fun rock n' roll. The Faces often backed Rod Stewart on his own solo albums, particularly his early classics, but on their own records they cut loose even more.”

“These are some great songs here, and some unusual arrangements, starting with the kick-off Miss Judy's Farm a Ron Wood guitar tour-de-force. The Faces all share equal billing. The cover looks like it might be a live album. Its not, but its how you want a live band to sound.”

“Another classic raw blues and rock album. The Faces were great in their prime, they had a certain sincerity and authenticity.”

Deuce - RORY GALLAGHER****

Use To Be/I'm Not Awake Yet/Don't Know Where I'm Going/Maybe I Will/Whole Lot Of People/In Your Town/ Should've Learnt My Lesson/There's A Light/Out Of My Mind/Crest Of A Wave

Deuce was the follow up solo album from Irish blues-rock guitar legend Rory Gallagher. Unlike many of his contemporaries he eschewed stage theatrics concentrating instead on the music.

“Rory Gallagher had a seemingly instinctive guitar sensibility. On Deuce his passion and splendid playing more than compensate for the occasionally average song writing. Stunning slide guitar, ripping lead runs, and a good murky production tone make this worthy of any collection. Out Of My Mind is a beautiful acoustic number and Crest Of A Wave is a fine showcase.”

“A great follow-up to his first release, with ten very well written blues-rock tunes with some awesome guitar work. I don't know if I ever heard a better blues guitar player than Rory Gallagher. You can hear his soul screaming from his guitar.”

“Rory Gallagher is an excellent guitarist and nearly as good as a vocalist. But all the tracks on this record seem pretty similar, so my fascination for the music drops down a bit towards the end.”

“Deuce brings back to my mind how much Rory was a strikingly gifted artist. This album offers a very delicate form of blues-rock, played with finesse and unmatched feeling. Gallagher doesn't need to go out with the full artillery to be powerful.”

“More rockin’ than the debut, maybe not as much variation, but no matter what Rory did during his peak years it came out fantastic. One of the greatest talents in the history of blues or rock.”

“For people into guitar based music this is really an unappreciated gem of an album. Even the cover is no-nonsense in an age of frivolity and unnecessary showmanship. Gallagher always eschewed stage theatrics for the music and it shows here.”

“The dark, edginess of his first solo release have receded , and Deuce pretty much set the stage for how Gallagher's later catalogue of recordings would be structured, intermixing blistering power riffs from tracks such as Crest Of A Wave and In Your Town with plaintive blues songs such as Don't Know Where I'm Going and Should've Learned My Lesson.”

Ten Man Mop - STEELEYE SPAN***

Gower Wassail/Paddy Clancy's Jig-Willie Clancy's Fancy/Four Nights Drunk/When I Was On Horseback/Marrowbones/Captain Coulston/Dowd's Favourite-£10 Float-The Morning Dew/Wee Weaver/Skewball

Some Steeleye Span fans complained that Ten Man Mop did not make the best use of the band’s strongest asset, the pure voice of Maddy Prior. Following personnel changes they would move towards a more electrified sound.

“Ι find this album quite uneven. Some tracks are great with a progressive influence but others are so depressing and sometimes annoying that I just can't stand them.”

”The songs like Gower Wassail and When I Was On Horseback are the equal of anything on the preceding album, and the two medleys of jigs and reels feature some fantastic playing. My only minor quibble is the Maddy Prior is perhaps a tad under-used.”

“Ten Man Mop could be described as an attempt by Steeleye Span to achieve a sparser, more stripped-down sound than on the two earlier albums. However, the sparser sound scarcely achieves the intensity that might be hoped for, and the amazing atmosphere that was seen on the debut is seldom seen because the production often overemphasised dense violin or guitar work over a band sound. This detracts from Gower Wassail in particular, but even Wee Weaver, with Maddy's beautiful vocals, does not match the band's best work.”

“While Maddy Prior's vocals take something of a back seat here, the re-focus does not hurt the album as much as one might expect. The re-emphasis, while taking some getting used to, manages to still conjure up images of Ye Olde England. Skewball becomes the band most electric outing from their first three albums, while Marrowbones and Four Night's Drunk add some and with humour. Throw in a pair of fine instrumentals and Prior's vocals on her tracks, and you have an album that may fall a bit short of their best, but one that is still worth adding to your collection.”

“Steeleye Span were one of the very first groups to prove that the addition of an electric guitar lick wouldn't destroy the beauty of English traditional folk music. Hard to believe it's many decades since this album was first released as the sound continues to be fresh and current. Maddy Prior's vocals are always a treat and songs such as Skewball are classics made new again by the presentation.”

Hold Your Fire - PATTO***

Hold Your Fire/You You Point Your Finger/How's Your Father/See You At The Dance Tonight/Give It All Away/Air Raid Shelter/Tell Me Where You've Been/Magic Door

Hold Your Fire was the follow up album from the London based progressive rock group Patto named after their vocalist Mike Patto. Although building a reputation as an exciting live act, sales were disappointing and they were dropped from the Vertigo label.

“Not as good as their first release but not bad. Middle of the road rock music from a fairly average band.”

“Significantly off the pace of their debut, this one is much more loosely structured, improvised driven prog rock, but with some tracks more jazz flavoured than rock.”

“Looser and a little bluesier and jazzier than the debut, yet more consistent. The songs seem to have more direction overall.”

“The music on this album is well played and mostly well written. It seems a bit low on character, but if you enjoy guitar driven semi soft blues rock, you should try it out.”

“The lyrics often may rely on hippie imaginary and bourgeois values bashing, but their main problem was the lack of hooks on some songs, which tend to drag a bit and becoming monotonous.”

"Hold Your Fire was Patto's second release, and features an interesting blend of jazzy chords, bluesy singing and straight ahead rock 'n' roll frequently wrapped in epic arrangements of prog-rock length.”

“Inventive songs and incredible guitar playing. Others of far lesser ability have unfortunately received far more accolades, but his playing lives on in the minds and hearts of those who know this music.”

Gonna Take A Miracle - LAURA NYRO & LABELLE***

I Met Him On A Sunday/The Bells/Monkey Time-Dancing In The Streets/Desiree/You've Really Got A Hold On Me/Spanish Harlem/Jimmy Mack/The Wind/Nowhere To Run/Gonna Take A Miracle

Laura Nyro is best remembered as an somewhat intense songwriter, so the release of Gonna Take A Miracle, a collection of soul covers in collaboration with Labelle, comes as rather a surprise. (US:46)

“Gonna Take A Miracle is one of the greatest cover albums ever. This is not surprising to me given Nyro's astonishing run of masterpieces, but it is one of those simple/complex paradox albums that take time and repeated listening to fully reveal itself. Simple covers of Motown and R & B standards with the Labelle sisters become rave ups with hidden social commentary. Slow ballads are stripped down to their very essence featuring layers of soulful vocals with her voice front and centre.”

“Gonna Take A Miracle takes the adolescent superficiality of the mid-60s girl groups and presents them in the format of an operetta that's as serious as life itself. It's an overlooked gem, more easily overlooked, in fact, than Nyro's music in general. This matters little to those who are indifferent or antagonistic towards her unique musical vision but, to the converted, this album sits up there with her best work.”

“Musically, it's classic Philadelphia soul but is infused with Nyro's distinctive vocals, which are halfway between soul queen and opera diva. LaBelle never overpower Nyro, who remains the focus throughout, but their vocals meld particularly well.”

“My favourite Nyro release since I prefer her as a singer rather than a songwriter. She had a great voice, and she didn't over elaborate with American Idol style histrionics.”

“Why does such a great songwriter come up with a covers album? When it comes to an album like this that question is inevitable. Fortunately Laura Nyro has made this album something very special. At one time she's taking the unknown soul ballads The Bells and Desiree and making them sound entirely like Nyro originals, but the next moment she's showing us that she can do Motown, or a capella gospel as well. And if you can make Spanish Harlem sound like something completely new you have to be very special.”

“This was Laura Nyro's way of paying homage to the songs that gave her musical inspiration, and she crafted a fine tribute which has withstood the test of time.”

Nilsson Schmilsson - NILSSON****

Gotta Get Up/Driving Along/Early In The Morning/The Moonbeam Song/Down/Without You/Coconut/Let The Good Times Roll/Jump Into The Fire/I'll Never Leave You

Harry Nilsson achieved his commercial breakthrough in a big way with the transatlantic chart topping, Grammy winning single Without You. The accompanying album Nilsson Schmillson heralded a major change of style for this previously considered rather quirky vocalist. (US:3 UK: 4)

“Nilsson represents one of the most stupid ideas in rock music. That changing from one musical genre to another has some merit. It doesn't. Developing your own sound has merit. Going from faux-tropicalia to country-pop proves only lack of focus and taste. On top of that he's a corny and insipid singer with no discernible musical skill other than being popular.”

“Nilsson's big commercial breakthrough came with this Richard Perry produced album. Helped by the massive success of the single Without You, it seems as if Perry's layered production technique was the final piece needed in the jigsaw puzzle to see Nilsson at last burst into the mainstream, although his wilfulness saw him fail to follow through and become a truly major artist. Most of my favourite Nilsson songs are on his quirky, more innocent first two albums but this wonderfully diverse record perhaps holds up better as an album than anything he ever did after it.”

“It would be safe to assume that this is the most well known of Harry Nilsson’s output. It’s easy to see why. Clocking in at just a little over half an hour, you get ten songs that showcase his eclectic talent, honed to perfection by Richard Perry’s skilful production. Complaints have been made that this album is all over the place. In this case I find that to be a major plus. It covers numerous genres because Harry was talented enough to do it. On top of that his vocal range is on full display.”

“Say what you want about the high schmaltz factor, but his cover Without You,, melodramatic arrangement and all, is worthy of the acclaim that it has received. Nilsson's voice was built for this kind of song and when your version is considered definitive, you must be doing something right.”

“Nilsson's huge breakthrough album probably hasn't aged as well as a lot of his earlier albums, but that has a lot less to do with the quality of the songs/production and a lot more to do with the fact that this was pretty much the blueprint for 1970s pop: it retained enough of the whimsical, free nature of 1960s psych-pop but had a glossier, smoother production that put a lot more emphasis on the performance.”