Eat A Peach - ALLMAN BROTHERS****

Ain't Wastin' Time No More/Les Brers In A Minor/Melissa/Mountain Jam/One Way Out/Trouble No More/Stand Back/Blue Sky/Little Martha/Mountain Jam Continued

Eat A Peach was a part live part studio double album. It includes the final recordings of guitarist founder member Duane Allman who was killed in a motorcycle accident. (US:4)

“The album's tortured history is well documented and that background makes it an even more impressive package. I'm hard pressed to think of another band that in the wake of a massive loss like Duane Allman's death, couldn't have found the inner strength and courage to pick up the pieces of their personal and professional lives to complete an album.”

“The Allman Brothers were a band of two sides: the classic radio-friendly hit drenched in Southern comfort and the extended jam. In this double album consisting of nine songs, the Brothers provide plenty of both.”

“Mountain Jam is the crux of Eat A Peach, and possibly the best recorded jam ever. For anyone who is a fan of southern rock, this is a must have. I could go on for a long time about why but that would be saying too much about such a simple yet elegant work of art.”

“Released less than four months after Duane Allman's death, Eat A Peach gathers together the final tracks laid down by the original band, the only studio documentation of the short-lived five-man, one-guitar line-up and the remaining performances from the concerts which had yielded the epochal At Fillmore East album. Far from being a stereotypical posthumous odds and ends collection, Eat A Peach is a treasure trove containing much of the Brothers' best work, and stands right at the very apex of their stupendous body of recordings.”

“Rock with a very strong southern influence. The album flows really well and it becomes apparent that these guys are great song writers. From the rocking opening track there is a great diversity throughout.”

“This is a really effective mix of studio tracks and live performances. The guitarist Duane Allman died during the recording of this album and Eat A Peach was dedicated to his memory. The material is mostly jam band kind of stuff with some magnificent double guitar playing by Duane Allman and Dicky Betts.”

Who Will Save The World - GROUNDHOGS***

Earth Is Not Room Enough/Wages Of Peace/Body In Mind/Music Is The Food Of Thought/Bog Roll Blues/Death Of The Sun/Amazing Grace/The Grey Maze

Who Will Save The World maintained the commercial appeal of the blues-rock band Groundhogs, although with a dip in quality. Features the use of mellotron on a few tracks. (UK:8)

“Excellent progressive bluesy hard rock with mellotron and dark lyrics. I really love most of this. Sadly, the last two songs are not at all as good as what precedes them. Amazing Grace done Hendrix-style is not that fun, and Grey Maze lingers on for a while too long with headache inducing guitar solos.”

“On this, they seem to be clearly running out of steam. Still featuring primarily blues-rock, this one suffers from not enough of Tony McPhee's guitar pyrotechnics. It's still decent, just way off the outstanding performance they established on the last two outings.” “The Hogs are just not that great a band, they seem lost in an endless change of styles, which leads to a varied quality from song to song. One must realize that there are no musical milestones here.”

“If you forget about Amazing Grace which is pure filler, the rest is stylistically close to Hogwash, although this one leans closer to prog than hard rock.”

“A truly awesome album. Progressive licks blend perfectly with some excellent guitar kicks. It's like they've been practicing for years to achieve this. The result is amazingly smooth and it flows like the water on Nile and the Amazon, sometimes fast, sometimes slower, but with no gaps.”

“Who Will Save The World is nothing short of an amazing bluesy heavy progressive rock album. Here McPhee included Mellotron along with guitar and I really dig the use of Mellotron, even though he only used it on three songs.”

“Tony McPhee is an awesome guitarist and an even better song writer. His version of Amazing Grace still gives me chills. Lots of guitar effects and I think this is the best line up of the band members.”

Greatest Hits - BLOOD SWEAT & TEARS*****

You've Made Me So Very Happy/I Can't Quit Her/Go Down Gamblin'/Hi-De-Ho/Sometimes In Winter/And When I Die/Spinning Wheel/Lisa Listen To Me/I Love You More Than You'll Ever Know/Lucretia Macevil/God Bless The Child

An excellent compilation of the best songs from the jazz-rock ensemble Blood Sweat & Tears in their most creative period. These are single edits thus avoiding the lengthy more jazzy interludes. (US:19)

“Although not a perfect rendition of the band’s broad scope of artistic instincts, as it omits many of the secondary roads the band has travelled. It consists only of single edits instead of the more developed, and much more interesting, album versions, This is nevertheless a great appetizer which stimulates the curiosity to instigate a more detailed exploration of the incredible catalogue of the initial years of the god-fathers of jazz-rock.”

“What you get when you mix a soulful blues voice and pop horns is a good sounding band with power and finesse and heart. Someday I'll dive deeper into their catalogue, but for now this is an excellent collection.”

“The crisp songs on this collection are a good sample of jazzy rock blues. Along with the gravelly vocals, the tunes have those signature sounds of BS&T, a wicked brass section which blues and grooves its way through the album accompanied by some great keyboard and guitar work.”

“BS&T hits are best heard in their shorter radio edit versions as here that expurgate the jazzy interludes which sound nothing like the rest of the songs.”

“My favourite on this collection is the gentle soulful ballad Sometimes In Winter, a song that perfectly captures a mood of loneliness and regret that I believe is universal. It is atypical of the rest of their output, and very beautiful. This is an interesting collection of a rare jazz-rock experiment that seems to have died at the end of the 1960s.”

“This amazing group with the most incredibly soulful lead singer I've ever heard. So much passion in his vocals, and one amazing song after another.”

“Two of the band's signature hits, And When I Die and Spinning Wheel are the shorter versions, missing the outstanding jazz breaks. Not that this is bad, as BS&T's songs are so good that they defy editing.”

Thick As A Brick - JETHRO TULL*****

Thick As A Brick Part 1/Thick As A Brick Part 2

Thick As A Brick is a brilliant tour de force, a continuous piece of music divided into distinct segments of enormous creativity. Original LP came with gimmick of a spoof local newspaper. (US:1 UK:5)

“The idea was to make it truly a concept album, one continuous piece of music. It originated as smaller pieces of music that were strung together, so it has all the shifts in dynamics of a regular record, but lyrically it is one forty-minute song, and that's what's so fascinating about it.”

“The whole album is full of brilliant moments. The unbelievable talent of all of the members is overwhelming. The music is so creative, yet so difficult to play and so tight. It is hard to believe there are just five people here. The sound changes so much throughout the album. Different instrumentations, different time signatures, different styles. Everything here is one word, sophisticated.”

“This album is progressive because Jethro Tull married multiple musical styles on one album. The album is conceptual because the entire song is actually multiple songs married into one song by a variety of transitions and interludes. There may be an occasional unevenness in the transitions, but in general the whole thing works, and is one of the most unique works of rock music.”

“A surprisingly cohesive effort for a forty minute rock song. It avoids both the tiresome repetition a lot of songs that length indulge in, and the tendency of prog epics to consist of multiple unrelated sections. Everything here flows from one piece into the next. It rocks at times, but it’s always aware of and willing to return to the light acoustic progressions that form the heart of the album.”

“From the first moment you are transported to a magical world where anything goes musically, in which the musicians combine in an odyssey of rock, folk, jazz and classical elements to create a marvellous experience.”

“This album is simple and ambitious at the same time. The simplicity of the gentle, catchy melodies along with Anderson's hooky vocals contrast with the complexity of the lengthy instrumental passages and cryptic lyrics.”

“Rich vocals, fine ensemble musicianship, a beefy sound, and a playfulness that is the result of band members who are tight and at their peak.”

Harvest - NEIL YOUNG*****

Out On The Weekend/Harvest/A Man Needs A Maid/Heart Of Gold/Are You Ready For The Country/Old Man/ There's A World/Alabama/The Needle & The Damage Done/Words (Between The Lines Of Age)

Singer songwriter Neil Young hit a creative and commercial peak with Harvest, topping the album charts on both sides of the Atlantic. Consistently excellent throughout it includes the US No.1 and US No.10 hit single Heart Of Gold (US:1 UK:1)

“Harvest is a beautiful folksy masterpiece, featuring unforgettable and heart-on-a-sleeve numbers. It is also one of few rock albums on which an orchestral music additions actually works for good effect. A true classic.”

“Show me another album where songs of such quality arrive so densely packed. There are no less than six you wouldn't hesitate to call 'the emotional centrepiece' of some run-of-the-mill all-time classic.”

“A soft and smooth album, which apart from somewhat politically loaded lyrics also has a more sensitive and emotional side to it. As for the music it ranges between some singer/songwriter material mixed with a bit of folk-rock and some slight country elements as well. The rock is from the smoother side, but suits the lyrics really well, adding to the emotional appeal of the album.”

“One of those albums you just have to hear at least once in your life. Young seems to have a sincere way of expressing himself and having a unique style with this record. Wonderful stories and a great country rock vibe.”

“This album is the mortar and bricks that have built up the music industry. The lush sounds, sad themes and haunting melodies are beyond category, beyond time, and beyond what I had expected.”

“One of Neil Young's finest albums and one of his darkest. The Needle & The Damage Done is a fine anti-drug song. Alabama is an indictment of the old Southern way of thinking and way of life. Heart Of Gold is a beautiful song and Old Man is a slap at the older generation of the time. The whole album is great folky beautiful rock.”

“Harvest contrast nicely different approaches and sounds. The album refers to many issues. Neil also secured a nice skirmish with Lynyrd Skynyrd over the song Alabama, which was not appreciated by the southerners.”

In The West - JIMI HENDRIX****

Johnny B Goode/Lover Man/Blue Suede Shoes/Voodoo Chile/The Queen/Sgt Pepper's Lonely Heart's Club Band/Little Wing/Red House

In The West was a posthumous live album from guitar legend Jimi Hendrix. It features performances at the Royal Albert Hall, San Diego Sports Arena, Berkeley Community Theatre and his final live appearance at the Isle of Wight Festival in August 1970. (US:12 UK:7)

“I played this album to death in my teenage years and it seemed like it was never off the turntable. Even back then, I knew that its provenance was questionable and subsequently, diligent research has shown that several tracks were not recorded as advertised. At the time of its release it was one of only a small handful of legal, non bootleg, Hendrix live albums and, therefore, was an invaluable addition to any Hendrix fan. The quality of the recordings was fine, the only quibble being the number of covers. The version of Little Wing was particularly fine and remains to this day one of my favourite live songs.”

“Most of this material was recorded in 1970, and so must rank among his last. It's typical of live Hendrix, which is usually quite awesome. It seems Red House and Little Wing are the popular favourites, but Voodoo Chile is the standout for me.”

“This record includes Jimi´s versions of rock ´n´ roll classics Johnny B. Goode and Blue Suede Shoes, but also his short tribute to The Beatles with Sgt. Pepper. The ultimate highlight is of course the thirteen minutes long Red House which easily beats the studio version.”

“I've never been more stunned in my life after hearing a piece of music, it floored me. When Jimi first rips into that howling guitar solo in Little Wing it's really the most exciting and powerful notes ever played on guitar.”

“This is a must listen for all guitar aficionados. Jimi's version of Red House is mind boggling. It still holds up decades later as some of the greatest live blues guitar ever captured on tape.”

“The version of Little Wing on this album is mind-blowingly fantastic. Probably the most beautiful piece of music I've ever heard in my life. In The West is Jimi Hendrix's best live album, and it's worth searching out.”

John Prine - JOHN PRINE***

Illegal Smile/Spanish Pipedream/Hello In There/Sam Stone/Paradise/Pretty Good/Your Flag Decal Won't Get You Into Heaven Anymore/Far From Me/Angel From Montgomery/Quiet Man/Donald & Lydia/Six O'Clock News/Flashback Blues

Self titled debut album from the American folk-rock singer songwriter John Prine. He remained a cult figure, notable for his insightful and enigmatic lyrics that drew comparisons with Bob Dylan. (US:154)

“John Prine sings from the heart about subjects ranging from new and lost love to drug usage and politics, but he does it in a way that’s disarming yet poignant. There’s always charm to break down the walls and get at the listener’s heart strings.”

“I can appreciate his incredible talent for lyrical storytelling. Prine's self-titled debut covers everything from drug-addicted veterans, the joys of simple living, the depression that comes with aging, the encroachment of industry on the environment, jingoistic pride in the military and crippling ennui, all while crafting immersive stories that draw the listener into the world of Prine's characters.”

“One of popular music's best lyricists is introduced to the world on John Prine's eponymous debut. His mixture of folk, country, and countercultural appeal definitely positioned him as one of the mythical ‘next Bob Dylan’ that record companies were looking for at the time. The good songs on this album are phenomenal but some of the tracks built around sombre narratives, get tiresome because the pathos in them seems forced, lacking natural appeal.”

“John Prine's debut album reveals him to be a deft lyricist on a par with contemporaries such as Bob Dylan or Neil Young. Less prone to getting very abstract than either, the album is divided between aching melancholia, satirical yarns and combinations of the two.”

“The next time someone accuses country music of being all about cowboys, reactionary politics, and rampant nostalgia, just turn them on to a little John Prine, who combines an acute social conscience with articulate lyrics.”

“John Prine has an incredible ability to create characters and situations in his songs which seem as real and familiar as your next door neighbour. His insightful and enigmatic lyrics are comparable to Bob Dylan, and his free and comfortable singing style appeals to fans of folk, country and blues.”

Linda Ronstadt - LINDA RONSTADT***

Rock Me On The Water/Crazy Arms/I Won't Be Hangin' Round/I Still Miss Someone/In My Reply/I Fall To Pieces/ Ramblin' Round/Birds/Faithful/Rescue Me

This self titled album was released by Linda Rondstadt during the relatively lengthy period between leaving The Stone Poneys and her eventual super stardom in the mid 1970s. It has a country-rock feel, unsurprising as she is backed by The Eagles before they too became famous. (US:163)

“This is the best pre-superstardom Linda Ronstadt album. It is not as polished but sounds fresh and vital. While her voice was always an instrument of undeniable strength and beauty, this time it was perfectly used on ten songs which are enjoyable in their own terms. The album, as always, is filled with covers, yet this time she made them her own.”

“It sounds like music coming out of California in the early 70s; not entirely rock, not quite country, definitely not pop but it does have traces of it occasionally.”

“Linda always was more of an interpreter rather than a songwriter of her own, and it doesn't harm the quality of the album that she didn't write any of the songs. She handles material from Jackson Browne, Neil Young and Johnny Cash with the utmost care, making every word sound like she could have written it.”

“An early Linda Ronstadt album and it's already quite good. Unfortunately it isn't that well produced and her voice is not yet what it would soon become.

“My favourite Ronstadt album. Great singing, some excellent songs and a fine set of musicians playing with great feel. There is a wealth of wonderful material and Ronstadt's pure, bright voice at the centre. It's a lovely, sad, bittersweet effort, thrown a bit by a strident cover of Rescue Me at the very end.”

“This was the last of Linda's early country-folk-rock albums before she began the transition to the mainstream pop-rock artist of the seventies that made her famous. The music is still fairly simple and raw, unlike the slicker music that came later, but the song selection gives some clues about the future.”

“This is a lovely album recorded in the brief period after she had left The Stone Poneys and before she burst onto the national scene. This collection is much more country and even bluegrass than she would move on to later, but the effect of her clear, sharp voice on all these songs is simply electrifying.”

Saturday Morning Pictures - STRAY***

Our Song/After The Storm/Sister Mary/Move That Wigwam/Leave It Out/How Could I Forget You/Mr Hobo/Queen Of The Sea

Saturday Morning Pictureswas the third outing for the hard rock group Stray, formed when the members were still at school. Although popular on the local club scene during the early 1970s, commercial success would continue to elude them.

“Still recognisably Stray a few years after their debut, Saturday Morning Pictures is a samey type of record but occasionally breaks into some phenomenal boogies. Queen Of The Sea is really quite something.”

“This is Stray's third straight very good album in a row. It has lots of hard rock but this recording is a little more progressive than their previous stuff. The guitar again just blazes through the material.”

“Listen to Queen Of The Sea as great a progressive rock song as was being done by any of their contemporaries. At times heavy, at times sublime, this is an album any fan of hard or progressive rock will appreciate.”

“Their third album marks their zenith as it's clearly their most consistently awesome, featuring truly fabulous semi-commercial hard rock with some prog flavour, and only a mildly commercial orientation. The guitar playing is top-notch, as is their choice of material. This is certainly a great place to start investigating them for the first time.”

“A fine release from this UK hard rock band that sound somewhat similar to Thin Lizzy. However a bit unmemorable but still worth checking out.”

“They had that raw energy that I've always loved. They're not the most polished band ever, but they were no slouches either. Their sound was original, pure rock with some depth and great hooks.”

Dreaming With Alice - MARK FRY***

Dreaming With Alice (Verse 1)/The Witch/Dreaming With Alice (Verse 2)/Song For Wild/Dreaming With Alice (Verse 3)/Roses For Columus/A Norman Soldier/Dreaming With Alice (Verses 4-5)/Dreaming With Alice (Verse 6)/Lute & Flute/Dreaming With Alice (Verse 7)/Down Narrow Streets/Dreaming With Alice (Verse 8)/Mandolin Man/Dreaming With Alice (Verses 9-10)/Retorb Ym No Hcram

Mark Fry was a British psychedelic folk artist who was living in Italy when Dreaming With Alice was recorded. It was never released in the UK but gradually gained cult status. Unusually, single verses of the title track are interspersed throughout the album.

“It's interesting how the title track is broken up throughout the album, lending it a sort of atmosphere, but melodically and lyrically, the majority of songs are fairly stale, and compared to some other albums of the period, the arrangements aren't all that impressive. It's a warm, fuzzy album, but there's not much beyond that.”

“An inconsistent effort, but very good overall. It's soft, acoustic guitar driven folk/prog with a strong psychedelic flavour and effects, featuring some sitar. The versions of Dreaming With Alice are a soft folk song broken up into snippets and inserted between all of the featured tracks.”

“Here light acoustic sounds blend with Mark's voice and make for a nice dreamy landscape. The Witch is a favourite, with hand drums, use of eastern scales, and lyrics about an entrancing witch. One song keeps recurring throughout the album like a strange hallucination about religious and mythical visions.”

“A very good obscure acid folk album, but which I found this to be slightly overrated, although there are some great numbers. The interspersion of single verses of the song Dreaming With Alice between other songs doesn't work for me. It breaks the flow and makes the record choppy. Also, the tune, while good, gets old fast.”

“While maybe above average, I'd be hard pressed to find anything directly mind-blowing or soul-stirring about this. Mostly some ballads, few actually, spiced up with exotic touches, flutes, hand drums and citra. Its a bit like 60s Donovan, topped with the dizziness of Tyrannosaurs Rex. It has a hazy, Sunday afternoon feeling. The idea to use snippets of one song throughout the record is an intriguing one, and so is the songs itself, but its overused here.”

“Incredibly rich instrumented and composed song cycle from Englishman Fry in Italy. He utilises sitar, mandolin, flute, acoustic and electric guitar to good effects for an unique aural trip.”

Mu - MU***

Ain't No Blues/Ballad Of Brother Lew/Blue Form/Interlude/Nobody Want's To Shine/Eternal Thirst/Too Naked For Demetrius/Mumbella Baye Tu La/The Clouds Went That Away

Mu were a short lived American rock band created by Merrell Fankhauser, formerly of Fapardokly, with assistance from Jeff Cotton, a former Captain Beefheart backing guitarist. This debut was critically acclaimed but commercially unsuccessful.

“Smooth cool laid-back head music, with fantastic mood creating lead guitar, permeates the whole album. So, what can I say other than catch a mellow buzz, put on the headphones and cruise the cosmos.”

“Low energy, soft and laid back, non-commercial rock with some heavy, bongo-like drumming, and psych influences all over the place, especially on the slide guitar passages.”

“Out of this world combination of jerky, Beefheartian quirks and luxurious, mystical hippy mellowness. One of the best examples of the hippy era.”

“Excellent West Coast sounding psychedelia. Fantastic slide guitar and saxophone make this a very interesting album. The opener has some of that great slide while Ballad Of Brother Lew sounds more bluesy. Nobody Wants To Shine has some very effective sax and the longer jam Eternal Thirst has some varied percussion. The Clouds Went That Way is a rather folkish ballad with some fantastic vocal harmonizing. A solid album to be sure that avoids easy classification.”

“Imaginative, intelligent, rhythmic and diverse music with a deep spiritual feeling to lift your heart, mind and body. This album is like a time tunnel to the good aspects of the sixties, a mystical warm vibe, the feel of being connected to everyone and everything, respect for human and animal life, and living in touch with nature.”

“This is an unknown classic. It has everything - bits of sixties psychedelia, skewered blues, Beefheart, even a little jazz. And it's all perfectly played, sung and arranged. The recording is also great, it has that early '70s clarity.”

Into The Purple Valley - RY COODER***

How Can You Keep On Moving/Billy The Kid/Money Honey/FDR In Trinidad/Teardrops Will Fall/ Denomination Blues/On A Monday/Hey Porter/Great Dream From Heaven/Taxes On The Farmer Feeds Us All/Vigilante Man

American guitarist Ry Cooder’s second album release Into The Purple Valley continues the theme of his debut by reviving and interpreting songs from the dustbowl era. (US:113)

“American music is hard to define because it encompasses so many different styles. Yet, when you hear it, you know it. Ry Cooder is much more than a singer and outstanding guitarist. He is a performing curator of the Museum of American Music. Look at the songwriting credits on this great album - songs that span over 100 years of American songwriting tradition and styles, all lovingly presented with very little embellishment.”

“Round up all things American in a nice laid back, and easy flowing rootsy style. Throw in the calypso of FDR and the slicker sounding Teardrops for good measure. And you can't beat a bit of Vigilante Man can you?”

“Leave it to guitar virtuoso Ry Cooder to tackle the dust bowl era, the great depression, and the plight of sharecroppers in America. Into The Purple Valley is Cooder's musical take on John Steinbeck's The Grapes Of Wrath: impoverished farmers travelling to the land of opportunity. The majority of songs are pre-1950s standards, but instead of updating them, Cooder captures the music (or perhaps the desperation) of the time.”

“Combining the storytelling style of Johnny Cash with virtuosity of a Clapton or Gallagher, track after track of covers and standards go down smoothly with toe-tapping catchiness and abundant guitar flash.”

“Into The Purple Valley is one of Ry Cooder's strongest albums from the 1970s, showing the guitarist in good form on a number of traditional folk numbers and dust-bowl ballads, with an R & B tune thrown in for good measure. As the little known songs on this album can attest, Cooder has an encyclopaedic knowledge of American music.”

Cooder’s second record sees him exploring the music and social history of the dustbowl era of American history. Amazingly it ties in quite perfectly with his more recent work in trying to marry the music and the history of American peoples together.”

Pink Moon - NICK DRAKE***

Pink Moon/Place To Be/Road/Which Will/Horn/Things Behind The Sun/Know/Parasite/Ride/Harvest Breed/From The Morning

Pink Moon was the third and final album from British singer-songwriter Nick Drake who was to die a few years later of a drug overdose. His sometimes melancholic albums were critically acclaimed but commercially unsuccessful.

“It is a complete self-portrait, a life statement, and whatever your heart tells you it is. Nick Drake didn’t have any answers for any questions, but he painted every infallible essence of himself on Pink Moon.”

“Unlike his first two efforts, which consisted of orchestrated folk-pop music, this album was just Drake playing his acoustic guitar and singing (with a bit of piano here and there). The result is a bleak testament to melancholy and alienation that has a haunting and pristine beauty.”

“These songs are not easy to hum along to. You really have to be in the mood for quieter music, because Pink Moon is less accessible, less immediately dazzling in some ways than his second album. It doesn't have as much variety as Bryter Layter or as much rich instrumentation and lyricism as Five Leaves Left. It's best listened to from beginning to end, as a whole, due to the length of the songs. Only on your third or fourth listen will you start to appreciate its nuances.”

“It's melancholic, but what it really captures is the solitary feeling of longing. Nick Drake here strips bare his musical pallet and uses sparse arrangements to match his breathy vocals.”

“It’s a masterful album with lessons learned from the previous being well applied. His vocals are mixed low and in time with the deeper strummings and finger pickings of his guitar. There are perfect string arrangements, evoking a place in which Nick is playing. Nick sings his songs with an exacting measure of grace and elegance, yet with a detached feeling.”

“The music is a beautiful melancholy folk, but the melodies are definitely pop oriented. As far as instrumentation goes, this album is only Drake, he's playing acoustic guitar and occasionally the piano, but this minimalism gives it this haunted solitary sound that is extremely effective. It also showcases his ability to write such amazingly personal and heartfelt music. As emotional is it is, it's still rather relaxing which I think is what makes it rather eerie.”

Greatest Hits - FLEETWOOD MAC*****

The Green Manalishi/Oh Well Part 1/Oh Well Part 2/Shake Your Money Maker/Need Your Love So Bad/Rattle Snake Shake/Dragonfly/Black Magic Woman/Albatross/Man Of The World/Stop Messin' Around/Love That Burns

An excellent compilation covering the Peter Green led years of Fleetwood Mac. It includes all their hit singles together with some of their more commercial tracks that will appeal to blues-rock fans. (US:36)

“Fleetwood Mac's Greatest Hits covers the Peter Green led band period from 1968 to 1970, when they played exclusively outstanding blues-rock. Therefore, it's no wonder that Green is the author of almost all the songs here. All their early killer hit singles are included. This collection is a must for every serious blues-rock follower.”

“I've had this for ages and still enjoy it. What a great guitarist Peter Green was, an incredible feel and able to express so much with so few notes with a lovely mournful blues voice too. This is a great collection of songs that takes in classical, rock, slow/fast blues styles and even a little psychedelia.”

“Fleetwood Mac were a different band altogether after the departure of Peter Green, and it's clear from this compilation the significance of his role in the quality of the band's output. There is a darkness and intensity in many of these tracks which could never be recaptured in the band's later releases. All in all, an excellent showcase for some outstanding musicianship and inspired songwriting.”

“Lots of non-album tracks and B-sides, plus the best of the early material all in one place. A great place to start if you're exploring the early years.”

“A disparate collection of songs reflecting the fluctuating line-up and power balance of early Fleetwood Mac. The better tracks are the Peter Green-led slow-burners which overshadow the blues standards and cod psychedelia. The outstanding song, though, is Love That Burns a malevolent, brooding slab of blues with vocals issuing from some dark corner I hope never visit.”

”This is an exceptional collection of songs from early Fleetwood Mac when the guitar god Peter Green was on charge ably supported by Jeremy Spencer and Danny Kirwan. Featuring Green's masterpieces Black Magic Woman, Oh Well and the spooky underrated single The Green Manalishi.”

I Capricorn - SHIRLEY BASSEY***

I Capricorn/The Look Of Love/The Way A Woman Loves/Love/Where Am I Going/I've Never Been A Woman Before/For All We Know/The Greatest Performance Of My Life/Where Is Love/Losing My Mind/One Less Bell To Answer/Lost & Lonely

Although her popularity began in the late 1950s, powerful vocalist Shirley Bassey most consistently successful period for album sales was during the 1970s, as exemplified by the well regarded I Capricorn. (US:94 UK:13)

“One of Shirley Bassey's finest albums from the 1970s. She has an unbelievable voice and a unique artistry that defies description.”

“The LP kicks off with the haunting title song, which features her voice in all its glory. It then moves into her unique take on the Bacharach/David gem The Look Of Love. Ordinarily rendered as a sultry ballad, Bassey cranks up the brass and the bass, and gives it the James Bond Theme treatment. She is wistful on the lilting Where Is Love from Oliver. Neither the Bronx nor Washington Square could provide an escape from the enormity of her hyper-emotional reading of Where Am I Going from Sweet Charity.”

“I Capricorn opens this stunning collection with all of the haunting brilliance that is typical of a great Bassey performance in an absolutely magical musical surrounding.”

“A winning sensual The Look Of Love and a hauntingly beautiful The Way A Woman Loves find Shirley in peak form, weaving vocal magic in glorious settings. John Lennon"s Love is soft and warm while the classic Where Am I Going becomes a powerful anthem. Beautiful and passionate I've Never Been A Woman Before is mesmerizing while the theme song For All We Know is definitive.”

“She is the greatest singer and performer of all time. This is one of many LPs that are par excellence. She was born to sing and only too many superlatives to mention can describe this lady.”

“I truly love this album. There is no one that sings with such raw, breathless emotion like Shirley Bassey. The woman takes a song, any song, and makes it her own. Good songs combined with Bassey’s soaring vocals make every song on this album simply phenomenal.”

Elvis Now - ELVIS PRESLEY***

Help Me Make It Through The Night/Miracle Of The Rosary/Hey Jude/Put Your Hand In The Hand/Until Its Time For You To Go/We Can Make The Morning/Early Mornin' Rain/Sylvia/Fools Rush In/I Was Born About Ten Thousand Years Ago

Elvis Now is a compilation of tracks recorded during the previous three years. There is a variety of different genres which some claimed showed his talents for singing all types of song, others that many of the interpretations were sub par. (US:43 UK:12)

“This eclectic mix of gospel-pop, folk-pop and adult contemporary doesn't quite work. Add to this the dreadful take of Hey Jude from the three year old Memphis sessions, and it seems as if little care was put in compiling this album.”

“It seems that 'Elvis Over the Past Three Years' should have been title of Elvis Now. Hey Jude comes from his 1969 Memphis sessions and I Was Born Ten Thousand Years Ago is featured in snipped from Elvis Country. Stylistically, the album is all over the place, featuring schmaltzy pop, country and gospel. A decent interpretation of Kris Kristofferson's Help Me Make It Through The Night salvages what would otherwise be a rather unremarkable album.”

“Elvis Now is one of his best 70s albums. a classic no doubt. This tremendous work showcases not only Elvis' love for a variety of music but his ability to sing all kinds of songs. We Can Make The Morning is the stand alone track from this set and ranks as one of his best. Help Me Make It Through The Night shows off his love for country music but it doesn't sound ‘country’, it has that Elvis sound. Until Its Time for You To Go is another great gem and was one of the standards for his live shows in the early 70s. Sylvia is a powerful ballad that tells a great story, Elvis' voice is so strong on this one.”

“This is an OK album, not particularly strong, but not that bad either. My favourite song from it is the up-tempo, rockin' blues number I Was Born About Ten Thousand Years Ago. Put Your Hand In The Hand is pretty good too. Hey Jude was recorded in the late 60s and it sounds like Elvis was just fooling around with it. His voice is really straining and he is making-up some lyrics. It should never have been released. The fact that it was, is just another indicator of how poorly managed Elvis was, and how desperate his label was for studio recordings by him.”

Bealtitude Respect Yourself - THE STAPLE SINGERS***

This World/Respect Yourself/Name The Missing Word/I'll Take You There/This Old Town (People In This Town)/ We The People/Are You Sure/Who Do You Think You Are (Jesus Christ Superstar)/I'm Just Another Soldier/Who

A rare chart entry for gospel music albeit heavily infused with a dose of R & B and soul. The Staple Singers were a family group based in Chicago. Bealtitude Respect Yourself features the US No. 1 single I’ll Take You There and No.12 Respect Yourself. (US:19)

The record goes a little too much into gospel territory for my taste, but most of it is solid muscle shoals R & B played brilliantly and sung with real fervour.”

“Bealtitude combined elements of gospel and funky soul with Jamaican rhythms into a mix that was unique and creative. The vocals are raw and emotional as they convey messages of hope, respect and peace during an era when such messages were sorely needed.”

“The album’s most memorable track is the number one pop and rhythm & blues hit I’ll Take You There. Straight out of the Southern Baptist gospel tradition by way of the Caribbean, it has a call-and-response chorus along with the pure funk of the lead guitar runs. Respect Yourself was an anthem of self-empowerment during the post-Civil Rights movement. There is a subtle fuzz guitar sound that makes the song work, with some nice tempo changes that are accentuated by the vocals.”

“The Staple Singers had been a together for nearly two decades when they landed at Stax in 1968. They had recorded old-school spirituals for Vee Jay and folk-influenced sides for Riverside before finding a new direction with the Memphis soul powerhouse. Not only did the Staples adapt to the soul and funk energy of Stax, but they evolved their material from the pointed social topics of the folk era to less specific, but highly empowering message music.”

“A full-blooded, simmering gospel soul set. As usual, both Pops and Mavis get their star turns. Pops nails the slow burn of Who Do You Think You Are, and Mavis, she well inhabits everything else. When the material isn't up to par, the arrangements usually pull things out.”

“The classics are Respect Yourself and I'll Take You There, but the first five tracks are all great. The second half gets overdrawn to my taste. It's produced to perfection, which makes it that much more surprising that so much of the grit gets preserved. They know how to be uplifting, how to threaten you, and you believe every word.”

All I Ever Need Is You - SONNY & CHER***

All I Ever Need Is You/Here Comes That Rainy Day Feeling/More Today Than Yesterday/Crystal Clear-Muddy Waters/United We Stand/A Cowboy's Work Is Never Done/I Love What You Did With The Love I Gave You/You Better Sit Down Kids/We'll Watch The Sun Coming Up/Somebody

The former hippy duo Sonny & Cher had been absent from the charts for four years when this album was released. During this time they had broadened their appeal through their TV show and had become more mainstream in appearance and outlook. Includes the US top ten singles A Cowboy’s Work Is Never Done and the title track, the latter also reaching the top ten in the UK. (US:14)

“It shows off the various facets of their appeal, even if what they were doing during the '70s was more mainstream music than anything near the cutting edge of even pop music.”

“The two voices together on the record fascinated me. I loved the way they sounded: her voice cavernous, low and comforting, the high nasal harshness of his in contrast.”

“This album represents a conglomeration of qualities: a new slick show-biz act that had arrived, fuelled by their not-so recent stint as entertainment outcasts. The mid-60s teeny-bopper hippies lost their footing in the landslide of psychedelic rock. A new act was formed as a result, a glittery dress bought to disguise the dreary road they had travelled to get back in the game.”

“What works well about this album is the material's collective feel. All the songs sound as if they belong together on one album of slightly western, a little bit Vegas, middle-of-the-road, adult contemporary pop.”

"All I Ever Need Is You begins with a subtle strut of an opening guitar strum and Cher's new drawl is unveiled to the world, along with her new vocal confidence. Violins come in smooth like a wind sailing around her vocals. In contrast, Sonny's nasal singing comes closer to the note than on any other record. His best performance is on this track, still a bitter sound but less abrasive.”

“The All I Ever Need Is You album is an important piece because it officially ushered in the new Sonny & Cher look and sound. This was the version that captured a whole new legion of fans, old and young, to replace the late teen fans they had recently lost.”

Malo - MALO***

Pana/Just Say Goodbye/Cafe/Nena/Suavecito/Peace

Eponymous debut album from the San Franciscan Latin-rock band Malo, similar to Santana but with a greater emphasis on horns. Features the US top twenty hit Suavecito. Future albums would be less commercially successful. (US:14)

“Latin flavoured semi-commercial pop rock, with progressive influences. They really do sound just like Santana, but with way too many horns. But this is so good, it manages to overcome this.”

“There are definitely some really strong grooves to be found here. Don't let the Santana comparisons fool you, Malo are very much their own entity and this is just so funky throughout. The only real exception to this is Suavecitobut even this has got some pretty cool instrumentation backing it up.”

“Well played but dull and typical Latin rock with far too many horns for my taste. It may have Latin rhythms and lots of lead guitar, but it doesn't sound much like Santana to me. The guitar tone is different and the song writing is uninspired.”

“Nice Latin rock featuring guitarist Jorge Santana, brother of you know who. Suavecito was the big hit, the whole album has a funky, soulful Latin feel. The brass is ever present on nearly all the tracks and their playing is as tight as possible.”

“The album mainly consists of uptempo songs with wah-wah guitars, excellent brass and percussion sections and great arrangements. Peace is a suite beginning with a heavy rock vamp leading into a swinging jazz improvisation by the trumpet; a quiet guitar improvisation leads back to the rock vamp from the beginning.”

“Malo made a solid debut with the release of their self-titled album. The tracks are nice and long and there is never a dull moment. While I consider Santana's style more rock with a Latin influence, the Malo sound can be seen as the opposite, Latin rhythms with a rock influence. It's too bad Malo were never as big in the mainstream as Santana, because on this album they display a unique sound that is all their own.”

Highlights are Suavecito, sung in English, a mild rumba and a quiet storm classic with lovely harmony vocals and subtle percussion. Just Say Goodbye, a little suite starting with a slow introduction, then a rocking part takes over featuring a guitar solo, great congas and organ, eventually vocals sing a falling line.”

Young Gifted & Black - ARETHA FRANKLIN****

Oh Me Oh My (I'm A Fool For You Baby)/Day Dreaming/Rock Steady/Young Gifted & Black/All The Kin's Horses/A Brand New Me/April Fools/I've Been Loving You Too Long/First Snow In Kokomo/The Long & Winding Road/Didn't I (Blow Your Mind This Time)/Border Song

The song Young Gifted & Black symbolised a more politically assertive period for USA black politics. It was written by Nina Simone and is regarded as an anthem of black liberation. A cover version by the Jamaican duo Bob & Marcia was a top five hit in the UK. The album includes the US No.5 hit single Day Dreaming. (US:11)

“Aretha Franklin made Young Gifted & Black during the midst of her most creative years. The album contains her trademark soulful singing, a few moving love songs, one gritty original, and some cover versions. There are also some social overtones as well. As the title implies, these were uplifting times for blacks in America. Black pride symbolized an emerging nation working toward changing traditional attitudes.”

“Aretha’s artistic abilities are evident throughout the album. If it doesn’t rank with her greatest, it is still very satisfying to hear. The first five songs alone are worth the price of admission and with Young Gifted & Black, the title says it all.”

“It's not without its faults, and I can't buy the argument that it's her best album, but there are some great tunes here, and the whole thing is a very efficient fusion of soul, pop, funk and gospel. For my money, Elton John's Border Song, formerly a decent rock song with gospel influences, becomes an absolute powerhouse.”

“I love this album because of the beautiful choice of songs and the blend of gospel infused soul music mixed with some of her most sophisticated pop songs. Aretha is in fine vocal form, sharp, clever and versatile; you don't experience the gritty hoarse notes that are evident on some of the earlier releases.

“It's a shame about the two soppy ballads, because this could have been even better. It's got all the great tunes and top-notch singing that goes into a great Aretha record, as well as a lot of diversity. And some great covers.”

“This is one of Aretha's better albums and one of her few post-60s albums to get close to her heyday with her first albums for Atlantic some years before. What lifts the album the most, rather surprisingly, is Aretha's own writing contribution, the sublimely languorous Day Dreaming, the storming ska-funk of Rock Steady, and All The King's Horses, a stately ballad.”

Got To Be There - MICHAEL JACKSON***

Ain't No Sunshine/I Wanna Be Where You Are/Girl Don't Take Your Love From Me/In Our Small Way/Got To Be There/Rockin' Robin/Wings Of My Love/Maria (You Were The Only One)/Love Is Here & Now You're Gone/ You've Got A Friend

Got To Be There was the debut album from Michael Jackson, lead singer of the Motown child group The Jackson 5. The album is in much the same mould as the group efforts and features the US and UK top five hits Rockin’ Robin and the title track. (US:14 UK:37)

“This album is pretty much a typical, uninventive Motown product filled a bunch of mostly conservative and forgettable covers of popular songs. The only song that really sticks out to me is I Wanna Be Where You Are, which has a really solid melody and enjoyable mid-tempo vibe to it. Got To Be There is a solid track as well, though a little on the overly sentimental side.”

“Got To Be There seems to be an album more set on going by past formulaic methods of conformity than actually saying anything new or interesting. Not that all albums have to do this and that I really expected much from a thirteen year old solo artist's debut. With this crucial period in R & B/soul music in mind, this album just fails to do much that is notable at all. If you're looking into this kind of music from the early '70s, this probably wouldn't be a very good representation.”

“Much of this is the same sub-par soul fare many records at the time were but with a less than average vocalist. As a kid Michael was only showing potential at best and was often grating. That's my main flaw with this, aside from the unoriginal material.”

“There's some worthwhile stuff on here, but too little of it. The opener Ain't No Sunshine is a quite good vocal into which he puts a lot of effort and it shows. The title track is probably as good as anything he did with the Jackson 5, though you wouldn't know it wasn't a Jackson 5 track with his brothers on backing vocals.”

“Michael Jackson's first solo album, released at the peak of the Jackson 5's popularity, is a mixed bag of covers and originals. Surprisingly, the sound is vastly different than that of the group, although the brothers appear on a few tracks as background singers. This is very light, gentle fare that perfectly suits Michael's then-thirteen year old voice. Unfortunately, Motown's studio backup singers are much older than Michael and the blend is, at times, an odd one. On four tracks, Michael interjects much too-rehearsed spoken lyrics that ruin otherwise enjoyable songs. Cheesiness aside, this is a decent album which definitely rises above kiddie status.”

Cherish - DAVID CASSIDY***

Being Together/I Just Wanna Make You Happy/Could It Be Forever/Blind Hope/I Lost My Chance/My First Night Alone Without You/We Could Never Be Friends/Where Is The Morning/I Am A Clown/Cherish/Ricky's Tune

Cherish was the debut album from the pop singer David Cassidy who found fame in his native USA as one of the stars of the TV programme The Partridge Family, and under whose group name he sung on several releases. During the next couple of years he would become a heartthrob for teenage girls, particularly in Britain. Features the US No.9 title track single and UK No.2 Could It Be Forever. (US:15 UK:2)

“David Cassidy's debut album was only three shades away from the Partridge sound but was nonetheless more sophisticated. Pop pundits who dismiss this recording as bubblegum are ignoring the calibre of material, musicians, song writers and even David's own wonderful voice.” “This is actually a very good album as some fine song writers contributed great tunes and he really did have a nice voice.”

“By the time this album was released, David's career soared throughout the world. Selling bigger venues and making all the young girls cry. Although this David solo effort had a more mature overtone than the PF recordings, nevertheless, it symbolizes pop music of it's time.”

“If only David had peaked in the heyday of video, his gorgeous looks married with that breathy, overtly sensual voice would have catapulted him even further into mass hysteria. David can sing with the best of them. This album has a mood; a sensual, sad set of ballads paired with just a few jazzier numbers.”

“His first foray into a solo career sounds very similar to his Partridge releases. The tunes here are beautifully produced and executed and showcase Cassidy's breathy vocals successfully.”

"Could It Be Forever has a romantic flavour that works wonders for the ballad; and David never lets go of a single superfluous note. Of course, we know it really wasn't all that easy; David's talent carries him through.”

The standout ballads are what deliver this album such as Could It Be Forever and the hauntingly depressing My First Night Alone Without You, which is a great song beautifully rendered here in Cassidy's undeniable earnest vocal.”

Grave New World - STRAWBS****

Benedictus/Hey Little Man Thursday's Child/Queen Of Dreams/Heavy Disguise/New World/Hey Little Man Wednesday's Child/The Flower & The Young Man/Tomorrow/On Growing Older/Ah Me Ah My/Is It Today Lord/ The Journey's End

Grave New World heralded the commercial breakthrough for Strawbs. Despite the loss of Rick Wakeman, the group had been steadily moving away from their folk roots to embrace a more progressive rock sound. (US:191 UK:11)

“The departure of Rick Wakeman didn't stop the Strawbs from fully embracing a sort of symphonic folk, but it did shake the band's confidence. Cousins turned to the rest of the band members for songwriting support. The end product is both extremely consistent and conceptually cohesive, the album tracing the journey of an everyman protagonist from cradle to grave.”

“With a heavier dose of acoustic guitar than most prog bands of the time, and a new willingness to get experimental, Grave New World sees the band perfecting their own unique model of progressive music. It might not be as complex as their competitors, but it's certainly powerful and emotionally moving - as on the best song on the disc, the harsh and biting New World. This is the first real Stawbs classic.”

“On Grave New World the band heads in a more progressive rock direction. Their earlier albums all had progressive elements but most of the material was just folk rock kind of stuff. I like the change; this still has a bit of their original folk style left which is nice. But mostly this record is a prog rock disc from the start to the end.”

“Grave New World finds the Strawbs in an almost new light, musically speaking. Being considered as a folk-rock band with progressive leanings with this album they enter in symphonic prog zone whilst keeping the folk flavour of previous albums.”

“This album seems to mark the beginning of a transition for them from their more traditional folk roots toward a more progressively commercial sound.”

The Strawbs were cautiously dipping their feet into prog-rock territory by this time, their earlier albums being mostly folk and folk-rock oriented. Benedictus, which starts off the set, is a tightly constructed pop-song with a delightful organ break in the middle. The chorus is very hymn-like and unusual rhythmically. Next, Queen Of Dreams is the most psychedelic sounding tune here. True to form the group changes style through all the songs, from gentle guitar strumming folk, via music hall novelty songs, protest songs, to pounding rock on Tomorrow.”

Let's Stay Together - AL GREEN****

Let's Stay Together/La-La For You/So You're Leaving/What Is This Feeling/Old Time Lovin'/I've Never Found A Girl/How Can You Mend A Broken Heart/Judy/It Ain't No Fun To Me

Let’s Stay Together was the commercial breakthrough for Al Green who wrote most of the songs. For the next few years he would become the most popular soul artist in the USA. The title track topped the US singles chart and reached No.7 in the UK. (US:8)

“This appears to be the one where Al Green really came into his own. He wrote or co-wrote seven of the songs; the masterful production has crystallized into a warm, cosy, amalgamation of supple funk and soul. The vocal performances are especially strong and the house band, including both rhythm section and horn section, deliver the bare minimum and play it perfectly.”

“Tracks two through nine just seem to roll into one for me, becoming a soup of syrupy strings, ear-friendly vocals, and over-production. While it's a pleasant enough soup, it's still a soup, and not a single song jumps out of it. On the upside, Let's Stay Together is still, of course, a fantastic song.”

“Let's Stay Together is a classic piece of Memphis soul, dripping with great performances. The title track is, arguably, the quintessential slice of Al - a glorious, sultry procession through the soul gears which is virtually a Memphis blueprint.”

“A fairly good laid back soul album - totally inoffensive and easy listening, more straightforward and less preachy than Marvin Gaye, but not as ambitious as Stevie Wonder. This doesn't particularly excite me but cannot be easily criticised. The title track is the instant classic that everyone knows and the rest have a similar sound.”

“Those drums, that groove, and most importantly that voice, are in full swing here. The title track is the best song, and most famous simply because it is his best.”

"Let's Stay Together is a giant that no one can argue with. A song this good might overwhelm the rest of the material, especially being placed as the lead off track, but the entire album is musical testament to Green's singular talents as a singer/songwriter.”

“How can anybody not like the song Let's Stay Together? That is not to say this is the only good song, because most of them are very solid. His voice is probably the best to come out of soul.”

Paul Simon - PAUL SIMON*****

Mother & Child Reunion/Duncan/Everything Put Together Falls Apart/Run That Body Down/Armistice Day/Me & Julio Down By The Schoolyard/Peace Like A River/Papa Hobo/Hobo's Blues/Paranoia Blues/Congratulations

Debut solo album from Paul Simon which put to rest fears that his break with Garfunkel would lead to a diminution of his songwriting talent. Includes the US and UK top 5 hit Mother & Child Reunion, and UK top twenty single Me & Julio Down By The Schoolyard. (US:4 UK:1)

“This LP showcases Simon's songwriting talent, and confirms his status as one of the more interesting lyricists of his generation. The two most famous songs are Mother & Child Reunion and Me & Julio Down By The Schoolyard - the former is possibly the first well-known use of reggae/ska in mainstream American music.”

“From the upbeat opener Mother & Child Reunion, it’s obvious that Simon was happy to keep penning gloriously accessible songs which really drive home just how much he had developed as a songwriter.”

“While Paul Simon would go on to pen more focused and commercially successful albums, this self titled offering finds him enjoying his hard-won creative freedom by stretching his legs a bit and as such is among his most vigorously enjoyable work.”

“It must have been quite daunting for Paul to go solo, but he pulls it off with ease here with a collection of songs that are timeless and quite beautiful at times such as the lovely song Duncan.”

“This album showcases Simon's unique talents and creative interests with an eclectic, quirky, and yet gorgeously produced solo effort. From the haunting rhythms of Mother & Child Reunion to the comically intimate Duncan, there is more than a little autobiographical influence in all the songs.”

“Despite the record being rather sparse, it spans several genres, with blues, folk, baroque pop, jazz and reggae all being mixed into something which sounds both distantly recognisable yet different at the same time.”

“Now it is just Simon by himself, and the results are great. Overall, this is a quiet, even pensive album that finds him getting into his stride as a solo artist.”

“Paul Simon was the essence of thoughtful pop craft. On his first few solo albums, he hired the best musicians to back him on songs that were carefully composed, lyrically as well as musically.”

Baby I'm A Want You - BREAD****

Mother Freedom/Baby I'm A Want You/Down On My Knees/Everything I Own/Nobody Like You/Diary/Dream Lady/Daughter/Games Of Magic/This Isn't What The Government/Just Like Yesterday/I Don't Love You

The soft-rock group Bread reached their commercial and artistic peak with the release of Baby I’m A Want You. The title track single reached No. 3 in the US but, given its quality, only a relatively disappointing UK No.14. (US:3 UK:9)

“Their first and only really solid album (that is, only about half is filler, and the hits are pretty strong). There's plenty of the sweet soft stuff that made them famous, plus the cool AM radio rocker Mother Freedom.”

“The first half is full of great, classic Gates and Griffin melodies, rockers and ballads which would have earned this album a coveted five stars if the second half was anywhere near as good. Unfortunately, it meanders into a bit of a snore-fest.”

“Down On My Knees has to be the finest moment, it's fast, jangly and features some rockin' stop-and-start interplay. The other tunes show what would become a Bread staple: sticky-slow heart-tugging ballads.”

“If you are a soft-rock fan then you cannot live without this album for another day. All of the music on it has a certain quality to that just calms you. Their music isn't too hardcore or heavy, it's just right for taking it easy.”

"Baby I'm A Want You could be the first time that soft rock made a true, unabashed masterpiece which can be held up as a standard for time immemorial. Bread were an inspired group who merged heart, beauty, tunefulness and perfection to create heavenly music of a type never heard before or since.”

“The strength of this album is the rockin' tunes, most by James Griffin. His grainy voice add life to what would have been a very good album anyway. David Gates' title track as well as his other contributions are great ballads, except for Mother Freedom which is his rocker contribution and very good also. If you are tired of all the music that has been released since the 90s, try out this album for a great chance of pace.”

“The grammatically challenged Bread were a pretty decent soft rock band, with the rare cool instrumental break. They were true professionals, and were a pretty diverse bunch musically speaking.”