Matching Mole - MATCHING MOLE***

O Caroline/Instant Pussy/Signed Curtain/Part Of The Dance/Instant Kitten/Dedicated To Hugh But You Weren't Listening/Beer As In Braindeer/Immediate Curtain

Drummer Robert Wyatt created Matching Mole after he left Soft Machine when that band started to move too far in a jazz fusion direction. This debut album demonstrated a broad range of his musical interests.

“Robert Wyatt's first album as a band leader, following his exit from Soft Machine, shows the broad range of his musical interests - almost all of which were being ignored by his former band at this point, being devoted to jazz fusion. Not that there's no jazz influence here, but the album is infused with Wyatt's hitherto stifled personality, from the touching love song O Caroline that opens the album to the more challenging, free jazz-influenced material that follows.”

“Matching Mole was Robert Wyatt's new band after he left Soft Machine. Their debut album is a real killer and starts with a couple of gentle tracks where Wyatt sings. O Caroline is so beautiful and one of the highlights here. The album gets more progressive and instrumental oriented towards the end; the songs on the second side run together and are just magnificent.”

“This is a definitely a highlight of the Canterbury sub-genre. Robert Wyatt decided to form a new band after Soft Machine started heading in a direction closer to jazz. Wyatt still creates challenging and experimental music that is as enjoyable as Soft Machine releases.”

“This record contains some very varied songs. There are Canterbury elements, but also krautrock, psychedelic, avant-prog and fusion. Fortunately, Robert Wyatt only sings on the first tracks. The typical Canterbury organ and vocals effects are often really good, like on the surprisingly jazzy Part Of The Dance. Wyatt's drums are very elaborate and varied. However, there are unfortunately some lengthy and irritating parts where nothing seems to unblock a stagnant, minimalist and lethargic state.”

“Rather forgettable Canterbury scene sound with some similarities to Hatfield & The North and Soft Machine, but not as well done. The initial tracks are more subdued than most Canterbury rock, but prove to be the best. O Caroline is a great prog ballad with some fine mellotron. Instant Pussy and Signed Curtain are similar at times, and also very good. The longer nine minute jam stays truer to the Canterbury style but suffers due to length. Instant Kitten is average and Beer As In Braindeer is a poor song. The final track uses the mellotron also, but is rather boring.”

Swaddling Songs - MELLOW CANDLE***

Heaven Heath/Sheep Season/Silversong/The Poet & The Witch/Messenger Birds/Dan The Wing/ Reverend Sisters/Break Your Token/Buy Or Beware/Vile Excesses/Lonely Man/Boulders On My Grave

Swaddling Songs was the sole album release from the Irish progressive folk band Mellow Candle. They are best remembered for the duets of the two female vocalists.

“The female vocals are quite gorgeous, but despite many arresting moments, some songs sound nondescript.”

“It is easy to understand why Swaddling Songs is considered as one of the cornerstones of the genre. Although there are some tracks on here that I consider to be minor fillers, fortunately most of the songs are enjoyable and so is the record as a totality. A bit overrated but still pretty good.”

“A slightly heavier approach to folk-rock than most. Well written tunes with great female vocals and nice guitar. If there were a genre called heavy folk, this would fit comfortably in it.”

“It's amazing, progressive folk rock, with beautiful female vocal duets. There is a mix of soft and harder, with some Celtic rhythms in the mix, and fantastic song writing.”

“A touchstone for early 70s British folk rock, comparable to Fairport Convention in musical prowess, but with a more classical feel, relying more on female vocal chorus and piano. The girls are the main focus here and they are incredible together.”

“Varied instrumentation, lovely singing and memorable melodies make this the kind of record for everyone who considers themselves a fan of the acid-folk genre.”

“With its medieval-like pop style and magical harmonies, those who hear Swaddling Songs will surely find it delightful. The opener Allison Williams' quirky, harpsichord driven Heaven Heath announced the beautiful vocal harmonies of the two women that dominate the album.”

"Swaddling Songs is quite an impressive album, which has some of the most lovely and beautiful songs I've heard, and the two female vocalists just have wonderful and beautiful voices. There's some outstanding piano playing as well as good guitar work, but it's the great songs that really make this special. There's not one bad song on this album, and I can see why it's considered a classic.”

No. 1 Record - BIG STAR***

Feel/The Ballad Of El Goodoo/In The Street/Thirteen/Don't Lie To Me/The India Song/When My Baby's Beside Me/My Life Is Right/Give Me Another Chance/Try Again/Watch The Sunrise/St100/6

Big Star were an American power-pop band who enjoyed a cult status in the mid 1970s. Led by the former Box Tops vocalist Alex Chilton No.1 Record was their debut album.

“Classic power pop, literally every one of the tracks would have sounded great on radio. Unfortunately, in spite of rave critical reviews, the small Stax-affiliated Ardent label ran into severe distribution problems which effectively limited sales. A must own addition to your collection.”

“It's a bold move to call your debut album #1 Record, but in Big Star's case it's appropriate. Big Star combined the best elements of Beatles, Rolling Stones and Byrds to create a unique sound which is mostly classified as power pop.”

“Big Star were an awesome band. They have a combination of great rockers and acoustic ballads. It’s a shame these guys went unnoticed for years, because what they put out was incredible, they were just missing a niche.”

“It starts off well enough, the first side is filled with some memorable and infectious tracks. Afterwards though, my interest wanes as the rest of the album lacks the appeal that it's leading tunes have to offer. It just feels like a sweetly sung, acoustic guitar-led mush.”

“Big Star's debut #1 Record is a missing link between the pop pleasures of the Beatles era and the lean, hard power pop of the likes of Cheap Trick and others. With tight compositions and pristine performances, Alex Chilton and his band mates craft an infectious confection of pop classics.”

“Big Star were never big, but their first LP is great pop music. They never got the recognition they deserved with the jangling guitars and beautiful harmonies.”

“Perfect power pop from one of rock and roll's hidden treasure bands. This is filled with great pop songs. In a fairer world all these songs would be well-known hits.”

"It is a good pop selection, the album starts with more upbeat themes with more softer songs towards the end. The lyrics are simple but honest, the singing decent and the guitar is quite entertaining.”

Bare Trees - FLEETWOOD MAC***

Child Of Mine/The Ghost/Homeward Bound/Sunny Side Of Heaven/Bare Trees/Sentimental Lady/Danny's Chant/ Spare Me A Little Of Your Love/Dust/Thoughts On A Grey Day

Bare Trees was the final Fleetwood Mac album to feature guitarist Danny Kirwan who contributes most of the songs here. The band continue their move away from blues-rock into soft-rock. (US:70)

”This album really matches its contents with the picture on the cover, with shows a grey, rather dreary English Winter day, and is perfect for listening on such a day. Not that the music is dreary as it works like wrapping a quilt around yourself and relaxing in your favourite chair.”

“Although Bare Trees is more pop rock oriented than the previous Future Games, Fleetwood Mac are still searching for an identity. This will be the last album to feature guitarist Danny Kirwan and the group certainly uses the most of his talents here. He is the predominant songwriter and splits the guitar duties with Bob Welch. Unlike Future Games however, most of Kirwan's tracks here fail to impress, perhaps due to the evolving pop influence that has permeated the group.”

“The Bob Welch/Danny Kirwan incarnation of Fleetwood Mac is my least favourite compared against the blues rock of Peter Green and pop genius of Buckingham and Nicks. I find many of the tracks here bland across the board. The style is a cross between the two incarnations of the band that surrounded this one. Welch and Kirwan appear to being doing a poor man's Peter Green impersonation, with Christine McVie continuing her seeming quest to craft a pop ballad.”

“Bare Trees is a soft-rock album by a band that was by then gradually gaining more distance from their earlier harder sound, and while they're found lacking in places it's a solid enough release. Not terribly exciting perhaps, and certainly it doesn't live up to the cover, but it does strongly suggest that the post Peter Green, pre Buckingham/Nicks line-up deserves more recognition than they get.”

“Fans of the Buckingham-Nicks era of Fleetwood Mac will probably enjoy this album as it occupies a good middle-ground between the two well-known periods of the band. Danny Kirwan’s stint in the Mac is over but he leaves us a wealth of great, unappreciated material and Bare Trees is a fitting epitaph to his time with the band.”

The Godfather - SOUNDTRACK***

Main Title/I Have But One Heart/The Pick Up/Connie's Wedding/The Halls Of Fear/Sicilian Pastorale/Love Theme From The Godfather/The Godfather Waltz/Apollonia/The New Godfather/The Baptism/The Godfather Finale

The blockbuster movie The Godfather starring Marlon Brando, told the story of a New York mafia dynasty. The Grammy winning score was composed by Nino Rota who was similarly responsible for the two sequels. (US:21)

“Few songs can make you feel more like a boss than the Sicilian guitar playing the main theme; it transmits both respect, mystery and a tiny bit of sadness. The love theme is a very beautiful piece of music, and even though it repeats quite a lot, small changes to the arrangements are enough to make it sound fresh each time around.”

“Beautiful, evocative and classy music that stirs up fond memories of a very good film. The only drawback is that the main melody re-occurs a bit too often with quite similar musical arrangements which feels unnecessary on such a short album.”

“Nino Rota's score for The Godfather is one of the most breathtakingly evocative, beautiful, and haunting film soundtracks of all time.”

“This is the perfect score for a perfect film, the ominous qualities of the Sicilian melodies of the love theme and main theme set the mood. Dark motifs that transpire across different settings and can reflect all kinds of authentic moods and feelings.”

“Anyone who has seen the film has undoubtedly fallen in love with Nino Rota's amazing score, thematically beautiful and with more than a hint of his Italian roots.”

“This is a terrific score that is very well performed. There's a lightness to the instrumentation and a charming use of folk instrumentation: mandolin, accordion and trumpet. It's a real winner.

“One of the many elements of The Godfather which makes it an icon of pop culture is its unforgettable soundtrack. The melancholy, tragic music which makes up the score adds to the tone of the film, and stands alone as great music as well. The sweet, dark, Italian-inspired melodies immediately recall entertainment brilliance.”

“This soundtrack is relaxing yet invigorating and sometimes I get so enveloped in the music that I put my stereo on repeat and listen to it the entire night.”

Love Theme From The Godfather - ANDY WILLIAMS***

Love Theme From The Godfather/Precious & Few/Theme From Summer Of 42/Everything I Own/Until Its Time For You To Go/An Old Fashioned Love Song/MacArthur Park/Hurting Each Other/Music From Across The Way/Without You/Imagine

Easy listening vocalist Andy Williams had enjoyed more than a decade of enormous commercial success with his interpretations of songs in an MOR style that was now increasingly going out of fashion. This would be his last US top 30 entry. (US:29 UK:11)

“MacArthur Park and Love Theme From The Godfather are over-the-top arrangements that blare and blast noise in all directions, but Williams keeps his cool raising his voice but never yelling. He seems to use a falsetto in some of these songs - was his voice really that high? He does especially well with John Lennon's Imagine.”

“The easy listening label which has stuck to Andy Williams doesn't do justice to his power, expansive range and impeccable control. This is particularly evident on his blockbuster Godfather album, featuring his hit single of the same title where he ends on a note somewhere in the stratosphere.”

“Andy could and still can perform covers of songs better than just about anyone; albums like this one more than prove it. Andy is in top form throughout.”

“The set begins with Andy at his usual very best singing Love Theme From The Godfather. The musical arrangement fits in nicely with Andy's singing and it makes a fine opening number. Precious & Few is another song that has Andy really opening up to showcase his voice; and the backup chorus harmonizes to perfection. The theme from Summer Of '42 gets the royal treatment from Andy; the harp, strings and more enhance the natural beauty of this tune. Until It's Time For You To Go is treated very sensitively by Andy who never lets go of a superfluous note; and I also like the passionate MacArthur Park and Hurting Each Other.”

Now - SAMMY DAVIS JNR***

The Candy Man/This Is My Life/I Am Over 25 But You Can Trust Me/Have A Little Talk With Myself/Willoughby Grove/Take My Hand/I'll Begin Again/I Want To Be Happy/Macarthur Park/Time To Hide/John Shaft

All round entertainer Sammy Davis Jnr had been largely absent from the upper reaches of the charts for over a decade. This all changed with his US No.1 hit single cover The Candy Man, taken from the film Willy Wonka & The Chocolate Factory. (US:11)

“His cover of The Candy Man topped the pop charts for three weeks. The cut is pure cheesy pop and Davis allegedly hated it, setting down the track at a time when he thought it might help him land the title role in the Willy Wonka film for which the song was written.”

“At this time, on record and in cabaret Sammy was trying to find a niche in the modern music scene but it never really worked. Of this below average set the best tracks are his delivery of Jim Webb's MacArthur Park and the final track where Isaac Hayes was drafted in to arrange Davis version of the Shaft theme tune. The rest are forgettable.”

“The general impression is that of an artist whose forte is the Great American Songbook being forced into something of much less value. I Am Over 25 But You Can Trust Me is an example of the type of material he is faced with here, each of the songs presenting a situation where he is required to emote with great sincerity, no matter what, while gospel-tinged background singers ooh in the background.”

“MacArthur Park is the best-written song of the bunch, providing at least some kind of melody to work with, as well as all the makings of a huge production number.”

“The best thing about this album is the cover packaging, which unfolds into a giant Sammy poster. It is big enough for the artist himself to hide behind -- and he probably did.”

“The highlight is Davis’ version of the ubiquitous MacArthur Park. Whereas many artists chose to cut Jimmy Webb’s epic song down, Davis embraced it, cake in the rain and all, and his zeal for the song actually makes it work in non-ironic fashion.”

I Gotcha - JOE TEX**

I Gotcha/Give The Baby Anything The Baby Wants/Takin' A Chance/Baby Let Me Steal You/It Ain't Gonna Work Baby/God Of Love/You Said A Bad Word/Bad Feet/The Woman Cares/Love Me Right Girl/For My Woman/You're In Too Deep

American soul artist Joe Tex had to wait for over a decade before he broke into the US album charts with I Gotcha. The title track was his highest placed single reaching No. 2, a feat he would achieve in the UK five years later but with a different release. (US:17)

“With I Gotcha Joe Tex made a sizzlin' debut for his new distributor Mercury Records, and rightfully so. The title track is one of the funkiest cuts, infectious in its gimmickry, hilarious in its execution and rumpin' to the funkin' groove-wise. A fantastic record, that offers far more than the mammoth title-track.”

“Joe Tex stands in the tradition of James Brown and this varied album displays his funky style to the full with its mix of raunchy, fast-paced numbers like I Gotcha and You Said A Bad Word, plus beautiful ballads like The Woman Cares and For My Woman. The lovely arrangements give the sound a Stax-Volt feel that perfectly suits Tex's warm and versatile voice. This album with its great songs and exuberant delivery is a little known classic and well worth investigating if you're into rootsy southern soul and funk.”

“Joe's voice doesn't seem to have the higher register that we've come to expect soul stars to show their talent by soaring into now and again. Instead he has an astonishing bass register that he soars down into to show off sometimes.”

“If you're not into soul music, you may only know Joe Tex only from his mainstream hit I Gotcha and the follow-up You Said A Bad Word. However, these are in sharp contrast to much of Joe Tex's material.”

“Joe Tex is underrated and often gets lost in the discussion about the great soul vocalists of the 60s and 70s. That said, his style is not for everyone. On many of his songs he comes off as a little too funny or playful, and this casualness prevented him from being taken as seriously as some of the deep soul singers of the era.”

“Joe Tex was authentic soul. He never achieved the fame that other giants of soul did, but he had an amazing cool, distinctive style and made his mark in his own right.”

A Thing Called Love - JOHNNY CASH***

Kate/Melva's Wine/A Thing Called Love/I Promise You/Papa Was A Good Man/Tear Stained Letter/Mississippi Sand/Daddy/Arkansas Lovin' Man/The Miracle Man

Country musician Johnny Cash was at an artist peak in the early 1970s following his two acclaimed prison albums. A Thing Called Love benefited from the skills of new producer Larry Butler. The melodic yet saccharine title track reached No. 4 in the UK. (US:112 UK: 8)

“At this time Johnny Cash was still on a roll. Having released two incredible live albums from prisons in the late 60s, hosted his own network TV show for three seasons, and won many awards, Cash was still touring and making great records. A Thing Called Love was released during this time. Nearly every song is a stand out in its own way.”

“Following the mixed bag of the self-produced Man In Black, A Thing Called Love is largely a return to form, thanks in part to the introduction of Larry Butler to Johnny’s production team. Larry would play a recurring role in Cash’s 70s career. Sadly, this would be one of Johnny’s last hit records.”

“A major change was happening for Cash then. He was shifting from being a bad boy to America’s darling. Through this period, he reconnected with his faith in a new way, as well. A Thing Called Love is an interesting album with one foot firmly planted in each world. On the one hand, it’s filled with some excellent bad boy tunes. The opener, Kate is as fine a murder ballad as Johnny ever put to record. The second side of the album, though, is Cash the inspirational figure. With A Thing Called Love Cash is at his most buoyant, singing gleefully of the wonders of love. It’s a fine tune, but the arrangement is overdone and saccharine sweet.”

“As a whole, the album is a nice summation of Cash’s duality, and features some fine 70s country with easy-going, meandering guitar leads over that old boom-chicka-boom sound. The addition of the Evangel Temple Choir sadly results in an overblown sound. Some of the vocal recordings, too, are lacking in quality. Despite this, Larry Butler does a fine job of helping Cash get some of his mojo back, resulting in one of his best 70s albums.”

“For whatever reason, Johnny Cash's seventies music is regarded less highly than his fifties and sixties music. Compilations rarely feature A Thing Called Love, despite its phenomenal success at the time.”

A Lonely Man - THE CHI-LITES***

Oh Girl/Living In The Footsteps Of A Lonely Man/Love Is/Being In Love/A Lonely Man/The Man & The Woman/ Ain't Too Much Of Nothin'/Inner City Blues (Makes Me Wanna Holler)/The Coldest Days Of My Life

The Chicago soul group The Chi-Lites achieved the peak of their commercial popularity with A Lonely Man. It includes the US No. 1 hit single Oh Girl. Subsequent releases would achieve only modest chart success. (US:5)

“A Lonely Man stands as the classic Chi-Lites album. Showcasing Eugene Record as chief songwriter, early 1970s soul simply didn't get much better than this. Record and company were in full stride here - three hits, including a number one pop, and at least as many selections that could have been hits had Brunswick taken the time and effort to push them.”

“A beautiful record of some of the most heartfelt emotional and poignant soul ever recorded. Immaculate production, well-crafted arrangements, and full harmonies abound on this album.”

"Oh Girl was a number one hit and with good reason. It is an extremely unique mix of both country and soul which must have been extremely fresh at the time, and still is, and the title track is also brilliant. These guys really sing their hearts out and you can feel the emotion in every note of music. The Coldest Days Of My Life has to be one of the most devastating and downright gorgeously produced songs ever.”

“Eugene Record hits the mark here with his clean production, well-crafted arrangements and plaintive vocals. Fine, melancholy uptown soul, this is very humane, very human, uplifting and affirming stuff.”

“The Chi-Lites were a fantastic soul group with sky high heavenly harmony and a wonderful, make-you-melt falsetto/tenor by Eugene Record. A Lonely Man is the epitome of soft, ballad soul. I love the strings and sweet melody of all the songs here. Each one is a winner, and there are a few here that are among my favourite soul jams. Oh Girl is one of those emotionally charged ballads that will make you tear up, even the hardest of the hard will well up to this one.”

“Eugene Record was not only a great vocalist, but he was an outstanding writer. His lyrics conveyed love and pain in a way many of today's R & B young boys could only hope to imitate. Oh Girl left you wanting to plead on his behalf for his woman to stay and Coldest Days Of My Life has to be one of the saddest songs I have ever heard.”

Manassas - MANASSAS***

Song Of Love/Rock & Roll Crazies-Cuban Bluegrass/Jet Set (Sigh)/Anyway/Both Of Us (Bound To Lose)/Fallen Eagle/Jesus Gave Love Away For Free/Colorado/So Begins The Task/Hide It So Deep/Don't Look At My Shadow/It Doesn't Matter/Johnny's Garden/Bound To Fall/How Far/Move Around/The Love Gangster/What To Do/Right Now/The Treasure (Take One)/Blues Man

Manassas was a sprawling double album by a group of musicians led by Stephen Stills. Although musically competent, representing a number of genres, overall it is bland and lifeless containing no standout tracks. (US:4 UK:30)

“I like the bluesy, country folk sound, the twangy, slide guitars and piano accompaniment. The problem is that none of the songs sound particularly strong, compelling or exciting.”

“This is a collection of soulful roots rock, country and folk songs that represent precisely what American styled seventies rock did so well. There are few standout tracks, but the overall level is very consistent. All is well performed and well recorded. I like the fact that the four sides each have a focus on a different style.”

“I don't really think of it in terms of songs, more an extended jam through American music forms. So it starts off with some muscular, funky southern rock and blues with Latin influences then heads into country and bluegrass, coming out of that into mellow, acoustic folk ballads and resolving with some of the same west coast rock.”

“Though Stephen Stills' songwriting remains too flat to make the album a masterpiece, it's all well arranged and it's played by musicians who can really play. It's hard to pick out a favourite song, because there really aren't any stand outs.”

“There's something for every mood here. If you're not sure how you're feeling, listen to side one, The Raven Suite. You get rock, Latin, blues and romantic ballad. If you're in the mood for country, do up side two. The best track on the disc, the impeccable So Begins The Task will sweep you away. Side three is folk, and leads off with the next best track, the plaintive It Doesn't Matter. This side also features a pioneering, and entirely appropriate use of the moog synthesizer on Move Around. Side four will blast you away with one solid rock track after another. Stills signs the work with the closer, a tribute to lost artists such as Duane Allman, Blues Man.”

“Most of the time this is all pretty lifeless. It lacks soul, the harmonies are astoundingly boring. Smooth, but boring. And the songwriting is not really that strong either. It's all a hefty step down from his CSN material.”

Mardi Gras - CREEDENCE CLEARWATER REVIVAL**

Lookin' For A Reason/Take It Like A Friend/Need Someone To Hold/Tearin' Up The Country/Someday Never Comes/What Are You Gonna Do/Sail Away/Hello Mary Lou/Door To Door/Sweet Hitch-Hiker

Mardi Gras was the final Creedence release and also their most reviled. John Fogerty made the huge mistake of subcontracting much of the songwriting to other band members with dire results. Includes the US No.6 Sweet Hitch Hiker. (US:12)

“John Fogerty's contributions to the album are great CCR songs. They are worth buying the LP for. But man, the rest of it sucks.”

“It is every bit as sub-par as its reputation would suggest. Creedence Clearwater Revival turned in far and away the worst record of their short, spectacular run. It barely sounds like them. That's largely because John Fogerty only sings four of the songs (one of which, Someday Never Comes, is amazing). Drummer Doug and bassist Stu write and sing the rest. The compositions and performances are brittle and lame, lacking much of the down-home flavour and texture that made Creedence's work straight, but never stiff or weak. Mardi Gras is an embarrassment.”

“It took John Fogerty mere months to churn out several classics. After four years the best the other band members could come up with after touching the depths of their talent are the passionless, by-the-numbers generic country rock songs on Mardi Gras. Hilarious and sad.”

“The last and biggest upset in Creedence's catalogue. The album is in complete tatters as Fogerty's lack of influence weighs heavy on the album's ability to succeed as Doug Clifford and Stu Cook can't live up to his songwriting ability. Their contributions are unforgettably bad and the only redeeming quality is the work of Fogerty such as Someday Never Comes which is in stunning contrast to the quality of the rest of the album.”

“The Fogerty tracks are the album's best, while the others are very substandard by CCR standards. In fact, one wouldn't know they were even Creedence tracks without prior knowledge. It was a shame that such a great band went out with such a poor album, it doesn't seem fitting.”

“Only Sweet Hitch Hiker and Someday Never Comes save this from the ignominy of lower ratings. Both are great, otherwise, wow, so far below par, it's amazing. At times unlistenably bad.”

Graham Nash & David Crosby - CROSBY & NASH***

Southbound Train/Whole Cloth/Blacknotes/Strangers Room/Where Will I Be/Page 43/Frozen Smiles/Games/Girl To Be On My Mind/The Wall Song/Immigration Man

Graham Nash and David Crosby team up to release a rather disappointing album. The problem is the lack of quality songs and a disjointed sound arising from their differing musical styles. Southbound Train is the only standout track. (US:4 UK:13)

“Although the material is a tad lacklustre overall in terms of songwriting, the performances and stylistic diversity leave this album as good or better than anything released by either of these artists afterwards.”

“I can't really say this is a truly joint, synthetic work. It's more like half a Graham Nash album featuring David Crosby, and half a David Crosby album featuring Graham Nash. Five seconds listening to each track will let the listener soon know who wrote any one song, and whoever's not being the lead for a particular song is reduced to the role of sideman.”

“Which songs you like best on the album will depend on which man’s songwriting you like better. If I had to choose only one, I’d come down on Nash’s side because he understands that a song ought to have an actual melody rather than rhythmic chanting over moody, augmented/diminished chords.”

“Everything you already cherish about these two is present here, heartfelt and immaculate harmonies, strong and distinct compositions from both artists, and superb musicianship, again provided by an elite of California's session players. When it comes to specific songs, it's more a matter of personal choices than objective hierarchies. Nash's songs are particularly moving and Crosby's pieces carry the wonderful dramatic undertow he could invoke.”

“Nash contributes some of the strongest, least fluffy material of his entire career; both Southbound Train and Immigration Man were instant singer-songwriter classics of the period, with Nash's usual melodic instincts but also a bit more edge than he usually dished out. Crosby here completed the incredible winning streak.”

“I've long been a fan of Crosby's compositions, but I've always found Graham Nash's work rather weak, just a little too sweet for my taste. That's not so much the case here. Nash's tunes are excellent with Southbound Train and Immigration Man leading the way. Crosby's tunes are great with The Wall Song my favourite.”

All Together Now - ARGENT***

Hold Your Head Up/Keep On Rollin'/Tragedy/I Am The Dance Of The Ages/Be My Lover Be My Friend/He's A Dynamo/Pure Love

All Together Now was the most commercially successful album released by the progressive group Argent led by the former Zombies keyboardist Rod Argent. Includes the UK and US top 5 hit Hold Your Head Up. (US:23 UK:13)

After the excellent Hold Your Head Up, the album falls into the usual seventies rock dirge, with fantastical lines and grand themes that amount to absolutely nothing.”

“Argent's probably best known album All Together Now is a mixed bag, like so many 1970s albums I have recently explored. Hold Your Head Up sounds great and contains a typical feel for its era: quite heavy, slightly progressive, but still catchy.”

“There are three good tracks on this - Tragedy, I Am The Dance Of The Ages and the feature track Hold Your Head Up. But for what was a fairly major prog band of the era, the rest of the material is distressingly mediocre.”

“An overall decent release, it's rather heavy prog that often feels somewhat lacking in any real substance, almost as if they were handed the formula for progressive rock, and then just filled in the blanks, without summoning up any of their own input to expound upon. Like all of the rest of their releases, this features substantial amounts of keyboards, and some guitar. But these passages sound generic and are less compelling than advertised.”

“There is nothing fundamentally wrong with it. But on the other hand, as it contains their biggest hit Hold Your Head Up I have never felt the need to own another. I always feel the same way after listening to it too. It's enjoyable but doesn't leave me craving more of the same.”

“This album finds Argent moving towards a rather generic heavy sound that doesn't do much for me. Hold Your Head Up is good but one of those songs I've heard too many times; the only other track that I find particularly interesting is the one with the ELP style organ fugue on side two.”

“With the release of All Together Now, Argent achieved a wider degree of fame and commercial success, thanks in no small part to the hit Hold Your Head Up. The song remains a FM radio classic, thanks to its catchy guitar riff, marching rhythm, a great organ solo by Rod Argent and a memorable, anthemic chorus.”

Slade Alive! - SLADE****

Hear Me Calling/In Like A Shot From My Gun/Darling Be Home Soon/Know Who You Are/Keep On Rocking/Get Down & Get With It/Born To Be Wild

Slade Alive! was the breakthrough album from this good time pop-rock band. It is full of covers and does not include any of their hit singles. They would dominate the British singles chart for the next three years. (US:158 UK:2)

“Slade Alive! perfectly captures the riotous, good time rock and roll nature of their shows. Frontman Holder is on top form as he tears through a handful of song (mostly by other artists) and punctuates them with his own sense of humour, and unbelievable voice.”

“An amazing album from Slade, possibly their best work. My only complaint is that it's too short, wish they could have included the entire performance, but oh well.. Overall, it is just mind blowing.”

“It was like a bolt of lightning hitting you in the face, this is just pure 70s rock n' roll. It's a good time and an amazing document of the time, the ultimate Slade album.”

“A brilliantly raucous live record from a young Slade - the more melodic songs work well against the rockier ones and the atmosphere is palpable. Any hard rockers who doubt them check out the final mind-bending half of their stomping Born To Be Wild cover. Hypnotic and brief but in need of more originals.”

“Their sound was captured masterfully and shows the true grit of this band. Side one is better than side two, but it is still all good. Simply put, it is an awesome slice of a bashing hard rock band just playing rock n' roll rather admirably.”

“Slade had really paid their dues, making records and touring up and down the UK since the mid-60s, before suddenly becoming glam rock icons in the early 70s. Slade Alive was released in the same year as some big hit singles but they aren't anywhere to be heard. This is more of a document of their killer live show, mixing a few originals with covers.”

“Slade Alive catches the band in transition as the set is still full of cover songs, but played the way only Slade could. Opening up with Alvin Lee's I Hear You Calling the guys are immediately into a groove and have the whole audience clapping their hands, stomping their feet, and cheering the band's every move. Immediately the band's distinctive style is thrust down your ears.”

Machine Head - DEEP PURPLE*****

Highway Star/Maybe I'm A Leo/Pictures Of Home/Never Before/Smoke On The Water/Lazy/Space Truckin'

Deep Purple were at the peak of their musical influence with the release of Machine Head, a distillation of hard rock by the classic line-up. Includes the US No.4 hit single Smoke On The Water. (US:7 UK:1)

“Deep Purple are one of the best bands ever and this might be their most well known album which includes their best known song Smoke On The Water. Highway Star and Space Truckin are both amazing with some of the most unique guitar work you will ever hear. Lazy is a bluesy hard rock masterpiece and Pictures Of Home just rocks. Not a bad song on the album and some of the best rock songs ever.”

“A true seventies classic, retaining interest from first note to last. Not as heavy as In Rock, there is so much musicality on this album, thanks in large part to the virtuosity of lead guitarist Ritchie Blackmore and classically trained keyboardist Jon Lord, that one can't really do Machine Head justice by just labelling it heavy metal. Punchy, by turns bluesy then almost funky, every track is a rich origami of superb inventive playing.”

“Machine Head is regarded as one of the classic hard rock albums of all time and has not one, but two tracks that are just about immortal in the history or rock. The searing Highway Star may just be the greatest driving song ever as Jon Lord charges his Hammond organ for a blistering solo that is ultimately matched by Ritchie Blackmore's guitar. The riff to Smoke On The Water might be overexposed but I'll never tire of the song. The introduction of each instrument in turn is just perfect.”

“A classic hard rock album that all genre fans should own but maybe not for the general listener as it does contain some lengthy jams where the muscular band show off their abilities.”

“If you don't own any Deep Purple recordings then plan to buy this one. Classic rock, the precursor to heavy metal, these songs truly define what being a rocker is all about. Some of the best writing the band ever did, and great performances to boot. What more could you ask for?”

“A nice mix of rock, blues and progressive influences it has in the music. Best of all, most songs vary quite a lot in both tempo, melodies and playing. What you get on this album is total delight for the ears and a lot of classic tunes as well.”

Smokin' - HUMBLE PIE****

Hot 'N' Tasty/The Fixer/You're So Good To Me/C'mon Everybody/Old Time Feelin'/30 Days In The Hole/Road Runner- Road Runners G Jam/I Wonder/Sweet Peace & Time

After Peter Frampton had departed Humble Pie Steve Marriott was given free rein to impose his blues and boogie rock vision on the band. The outcome was Smokin’, regarded as their definitive album. (US:6 UK:28)

“Humble Pie's best album and one of the greatest hard rock albums of all time. Elements of funk, soul, blues, folk and good old fashioned rock ‘n' roll all combine to make one hell of a record.”

“Steve Marriot is, in my opinion, the best rock singer that ever lived. He had a fantastic voice, and a fearless presence. The guy was a natural born performer , and a good guitar player as well, he had feel.”

“Smokin' was the album that made Humble Pie's commercial reputation in the States. This was the band's first studio release after founding member/guitarist Peter Frampton's departure. In spite of the personnel change, musically the set wasn't a major change from their previous collections. Frampton's more commercial touch was obviously gone, but most folks bought Humble Pie album's for their blues and boogie rock moves and these characteristics remained firmly in place.”

“Their first sans Frampton yields a temporary rejuvenation to their sound, seemingly pulling this one out of a hat. For my money, they were clearly on a downhill slide by this point, but somehow manage to record some real good, hard rockin' material here.”

“Pretty standard for the era blues/boogie rock. I'm actually a big fan of this genre in general, but the problem with this album is that there really isn't anything that makes it stand out from the pack.”

“This is quintessential Humble Pie, hard rockin' 70s riffs with a hint of blues and soul. All of the make your hair stand on end energy that you heard on the live Rockin The Fillmore is captured on this, easily the best-recorded studio effort from the Pie, as the sound is right up front and you can almost feel the sweat. This is their first record without Peter Frampton, but Dave Clemson more than fills his shoes with his bluesy stylings on guitar. Everyone was firing on all cylinders when they made this record.”

We'd Like To Teach The World To Sing - THE NEW SEEKERS***

Dance Dance Dance/Georgie Girl-Ticket To Ride/I'd Like To Teach The World To Sing/Changes Iv/One By One/I Can Say You're Beautiful/Beg Steal Or Borrow/The World I Wish For You/Wanderer's Song/Just An Old Fashioned Love Song/Songs Of Praise/Mystic Queen

The New Seekers were a very easy listening pop group far removed from the quality music of their earlier Australian namesake. Nevertheless, they were extremely popular in the UK during the first half of the 1970s. The title track is little more than an extended advertising jingle but it still made No.1, whereas Beg Steal Or Borrow, a somewhat better track, reached No. 2. (UK:2)

“The, by now, usual mix of group originals and cover versions but not entirely successful as an album - the stand-out tracks are all included on the Best Of LPs.”

“It is perhaps fitting that The New Seekers should be best remembered for a song about singing in perfect harmony, as that is truly what this group did best. Proving that the total is greater than the sum of its parts, these five very unique individuals created some vocal magic in the early 70s, as evidenced on this disc. There are no toe-curling, strained vocal acrobatics (as is the norm today), just beautiful yet complex harmonies performed with the greatest of ease.”

“The New Seekers put out their album We'd Like To Teach The World To Sing shortly after their smash hit television commercial jingle for Coca Cola made it obvious that this group was entering the big time. Although the album was hastily put out, the high quality control proves that The New Seekers were a highly talented group with incredible energy and force.”

“The members of the band emote so well; they make each song on this LP their very own with their singularly beautiful renditions of songs written mostly by other artists. The highlight includes, obviously, the famous I'd Like To Teach The World To Sing. The New Seekers perform this just right, they had just the right sounds and harmonizing to make this song very memorable.”

“This set really showcases the group at their most versatile, mixing self-penned material with some inspired covers to great effect.”

“The New Seekers trademark of strong lead vocals, supported by intricate harmonies and superb arrangements, promises something for everyone on this timeless recording.”

Shades Of A Blue Orphanage - THIN LIZZY***

The Rise & Dear Demise Of The Funky Nomadic Tribes/Buffalo Gal/I Don't Want To Forget How To Jive/ Sarah/Brought Down/Baby Face/Chatting Today/Call The Police/Shades Of A Blue Orphanage

Shades Of A Blue Orphanage was very similar in content to Thin Lizzy’s debut. The group explore a mish-mash of musical styles, none of them particularly distinctive and a long way from their later hard rock sound.

“They are still searching for themselves. The sound of Thin Lizzy has not settled yet. It is about to and when it does, hold on. One of the best hard rock bands of the seventies is about to emerge, but just not yet.”

“Perhaps slightly too diverse, prog flavoured hard rock, mixed with some boring slow cuts. Overall, slightly off the pace of their debut.”

“Another largely forgotten Lizzy release, Shades Of A Blue Orphanage is not among the band's highlights, mostly due to the fact that it's just more of the same as the first album. It certainly doesn't have the oomph of their later works, merely potential for what is to come, and a healthy dose of Celtic spirit.”

“This album doesn't really improve upon the promise of the debut. Again we have a mish-mash of musical styles, the band perhaps not really seeing how they would sound in the future. Nice enough, but far from essential.”

“A very average release from Thin Lizzy, this one is a bit repetitive and uninspired. While it's not bad, they don't do a lot on here that demands repeated listens.”

“Shades Of A Blue Orphanage is an extension of their first album; storytelling, poetic lyrics, musical experimentation with blues, rock, folk and prog elements. There is no real formula to any of it.”

“Thin Lizzy were maturing. Shades Of A Blue Orphanage, their second album, occasionally has a harder edge than their impressive debut, but is still miles away from the hard rock sound that would define them in later years. It's a pleasant album, although one that I don't feel the need to play very often.”

“There is no question that this release is not as fast paced or anywhere near as rocky as later albums and indeed may not appeal to some Lizzy fans. However I believe that it catches a slice of Lizzy's sentimental side and I love it, a much underestimated treasure.”

Hellbound Train - SAVOY BROWN***

Doin' Fine/Lost & Lonely Child/I'll Make Everything Alright/Troubled By These Days & Times/If I Could See An End/It'll Make You Happy/Hellbound Train

The British blues-rock band Savoy Brown releases were always a lot more commercially successful in the USA than in their homeland. Hellbound Train was no exception being their highest place chart album. (US:34)

“The album opens with the fine bouncy boogie, Doin’ Fine, it shifts gears immediately with Lost & Lonely Child, a slower progressive psychedelic song. The next track, I’ll Make Everything Alright, is another boogie number with a really cool haunting organ solo. Hellbound Train is certainly the standout song, as the boys stroll through nearly every rock and blues genre there is, building the song, allowing it to ebb and flow for an epic ride.”

“Even less inspired than its predecessor, this one is also less dependent on the boogie blues formula that has gotten them where they are. The title track is enjoyable enough, but the rest of the album is slick and faceless.”

“While the first six cuts are pleasant, even likeable, they are not strong enough to stand on their own merit. Then comes the unforgettable title track. Starting slow, the drums setting up the sound and motion of train wheels, the bass churning along, gathering speed, then comes the vocal. Dave Walker lets the passion build gradually, then falls back as the song speeds along. Then outstanding solos by organist Paul Raymond and Kim's fabulous guitar figures push the train into overdrive.”

“The vocals are gritty and powerful while the keyboards and guitars wail. Very tight and punchy rhythm section also. The title track is an eerie masterpiece, creating an aura of a runaway train speeding to its ultimate demise.”

“This is a classic blues album. There is not one stone left unturned by Savoy Brown on this one. From the fun-time opening track Doin' Fine to the hard driving finale Hellbound Train Savoy Brown take you on the most enjoyable ride to hell you'll ever have.”

This Is – GRACIOUS!***

Super Nova/CBS/What's Come To Be/Blue Skies & Alibis/Hold Me Down

Follow up album from the British progressive group Gracious!. It was released as one of a budget series by Philips, after they had disbanded and without any publicity. The high point is Super Nova which fills the first side.

“The jewel of the album is the first side-long epic Super Nova, which starts out with some really cool spaced-out sound effects dishing out the best progressive electronics of the day, and then begins to really rock out with a Floydian guitar riff that reminds me of the Syd Barrett years.”

“The album includes high quality progressive rock tracks one after another. The massive Super Nova fills the whole first side and it's a pretty awesome 25 minutes long epic piece with four different parts. The second side continues the same strong way.”

“Instrumentally it's quite pleasant, they've gone for a spacey sound, which works quite well for the most part. The guitarist is the star, delivering some outstanding solos, the mellotron waves are pretty nice as well. The arrangements are very one-dimensional though, all the edginess the last album had is gone. Now they're playing in a much more commercial key and the rhythm doesn't seem to change much.”

“Super Nova starts out promisingly in an experimental heavy space-rock way, but it gets lighter to the end. The rest of the tracks are predictable, dated rock/prog with a commercial edge. Not enough darkness or heaviness for my taste.”

“Significantly better than their debut, this one features a variety of prog rock types - some light, some hard, and some heavy psych. Unfortunately for the band, the album's release on this primarily budget sub-series of Philips doomed this to almost total obscurity at the time.”

“A bit better than their debut album, above all the remarkable suite Super Nova that moves from classic progressive rock to a romantic pop in the vein of early King Crimson. It stands alone as the best episode of an interesting album, although it is no masterpiece.”

“Gracious blend hard-driving rhythms with gentle melodies to produce an album that should be in every progressive rock lover's collection. While the lyrics are forgettable, the instrumentation is outstanding.”

Cabaret - SOUNDTRACK****

Wilkommen/Mein Herr/Two Ladies/Maybe This Time/Sitting Pretty/Tiller Girls/Money Money/Heiraten/If You Could See Her/Tomorrow Belongs To Me/Cabaret/Finale

Cabaret was set in a Berlin nightclub during the Weimar republic and reflects the decadence of the period. Based on the Broadway musical it stars Liza Minnelli with support from Joel Grey and Michael York. Music by John Kander, lyrics by Fred Ebb. (US:25 UK:13)

“The performances here are ever so grand. Joel Grey, the wisecracking master of ceremonies with the over-the-top and put-on German accent, sings the majority of the songs here, my favourite of which is If You Could See Her. Oddly, it's the most romantic song on the whole album and it really pulls on your heart strings.”

“Whoever said this album had a sinister tone is surely correct. Every song on here has a certain mocking edge to it, and all you really want is for Joel and Liza to leave you alone, but they insult you with every mock-German accented word that comes out of their mouths, and the band teases you with every blow of the horns.”

“Probably my all-time favourite musical. Liza Minelli is amazing and should have gone on to much greater things. There is hardly anything but good tunes on it and Joel Gray is something else again.”

“There's something sinister about this album. Its songs scare me while I listen, then taunt me for hours afterwards. I'm not sure the album merits excellence for this, but its production values certainly do.”

“Never have I listened to one LP in which every song is utterly brilliant, enjoyable and wonderfully crafted, performed by Liza Minelli and Joel Grey, whose talent I commend. Liza sings with emotion and energy that she is a joy to listen to. If I had to choose the two best songs, I would say Cabaret and Tomorrow Belongs To Me.

“Liza is fantastic, the music is fun and energy packed, as it builds up towards the end where she is utterly explosive, as in Mein Herr and Maybe This Time.”

“This soundtrack is absolutely perfect. I consider the movie the highlight of Liza Minnelli's career. It starts with Joel Grey's Wilkommen, after which Sally Bowles is introduced and lets rip with Mein Herr. Two Ladies is risqué and very funny, while Maybe This Time is a sad love song. Money Money is energetic and very funny while Heiraten sounds like a real period piece, a German love song from the 1930s

Something/Anything? - TODD RUNGREN***

I Saw The Light/It Wouldn't Have Made Any Difference/Wolfman Jack/Cold Morning Light/It Takes Two To Tango/Sweeter Memories/Intro/Breathless/The Night The Carousel Burned Down/Saving Grace/Marlene/Song Of The Viking/I Went To The Mirror/Black Maria/One More Day (No Word)/Couldn't I Just Tell You/Torch Song/Little Red Lights/Money (That's What I Want)-Messin' With The Kid/Dust In The Wind/Piss Aaron/Hello Its Me/Some Folks Is Even Whiter Than Me/You Left Me Sore/Slut

Todd Rungren is best remembered as a producer but he was also a talented musician and songwriter. This is in evidence on the double album Something/Anything? where he dabbles in a kaleidoscope of musical styles (US:29)

"Pop does not do justice to the veritable cornucopia of catchy tunes here - they're literally piled on the vinyl and tumbling off the sides. I could rattle off ten songs right now that are clever, extremely listenable and incredibly well crafted.”

“Todd Rundgren's double-album Something/Anything? was a diverse juggernaut of catchy pop, R & B/soul, hard rock, psychedelia, scatological humour, and other styles difficult to classify. However, the album is fairly accessible throughout.”

“The album is full of competent pop songs, either piano or guitar driven and almost anything on it could have been released as a decent single around the time. It still has its highlights however, such as Rundgren's biggest hit, Hello It's Me. I also quite like the rocking Black Maria and the instrumental track, Breathless. There are occasional more creative approaches to these pop tunes, such as in The Night The Carousel Burned Down with a backing mellotron that sounds straight out of a carnival itself.”

“A kaleidoscopic journey that blends sophisticated pop song arrangements, combining elements of funk and balladry soft rock that emit a light-hearted and playful attitude. Rundgren's persona portrays confidence in exploring various styles.”

“Something/Anything? is a sprawling, ambitious double album from studio wiz Todd Rundgren. For the first three quarters he plays all the instruments, sings all the parts and produces. The last side was a live in the studio song suite that he recorded with a full band. The album touches on numerous musical styles for power pop to rock to soul to jazz and everything in between. But it doesn't matter what the musical style is or method of recording, the effort is the strongest of his career.”

“If you are looking to have a consistently great record from start to finish, you'll probably be disappointed here. But I still think there is plenty to enjoy. It's mostly ballads and light vocal pop, but with a few good rockers hiding in the shadows.”

Border Lord - KRIS KRISTOFFERSON***

Josie/Burden Of Freedom/Stagger Mountain Tragedy/Border Lord/Somebody Nobody Knows/Little Girl Lost/ Smokey Put The Sweat On Me/When She's Wrong/Gettin' By High & Strange/Kiss The World Goodbye

During the early seventies Kris Kristofferson was riding high as one of the most influential country artists, particularly through his songwriting. Border Lord cemented his reputation. (US:41)

“Kristofferson's strength, both as a songwriter and musician, was his arrow-sharp directness. There's not a frill in sight or sound on Border Lord. Every lyric has a purpose, as does every note.”

“Border Lord is a rather short album, and can become dull with repeated listens. The emotions are complex but delivered simply, which is the fantastic strength of the album but works against it over repeated listens.”

“This album is one of my favourite all-time albums. Kristofferson is at best. Songs are stream-lined, lyrics first rate. Stagger Mountain Tragedy is one of the best songs ever written.”

“The sound here is great. It's real. Acoustic guitars, fiddle, piano. No frills. No overproduction which mired him later on. This sound is perfect for his raspy, grunting singing style. These songs are so great and do not need elaborate production, just musicians with heart.”

“Kris Kristofferson's voice is edgy, raw and sensuous in these vocals. The guitar is tried and true. This is one of few albums I own that I can listen to and enjoy each and every song, all of which have lasting replay value.”

“Probably, the most meaningful song is Kiss The World Goodbye, a ballad about coming to terms with one's own death. Among the songs religious and bar room references, the only really new subjects were about life on the road, which was treated in such songs as Border Lord and Gettin' By High & Strange, an indication that this confessional songwriter was writing about his current life as a touring musician. Fiction has nothing on reality, as this album proves.”

This man's poetry and genius marvelled me many years ago and continues to do so today. Those who have not been touched by his soulfulness must do so now.”

Roadwork - EDGAR WINTER***

Save The Planet/Jive Jive Jive/I Can't Turn You Loose/Still Alive & Well/Back In The USA/Rock & Roll Hoochie Koo/Tobacco Road/Cool Fool/Do Yourself A Favour/Turn On Your Lovelight

Roadwork is a live double album featuring Edgar Winter’s band White Trash including contributions from Rick Derringer and brother Johnny. Recorded at the Whiskey A-Go-Go, Los Angeles and the Apollo Theatre, New York. (US:23)

“This is absolutely indispensable. One of the finest live albums ever issued with more energy than can be found in the entire catalogues of most bands.”

“White Trash play music that sounds just like their name; sweaty, dirty, bluesy raunchy rock & roll. They do this very well. Brother Johnny and Rick Derringer provide the great guitar work and everybody's contributions are top of the line.”

“It's truly a shame that more people aren't familiar with this album. Simply put, Roadwork has got to be one of the greatest live albums ever recorded. From the gospel-tinged Save The Planet to the raw blues of Tobacco Road, this recording just grabs you right from the first song and won't let go. In addition to being an amazing keyboard and saxophone player, Edgar Winter is an incredible vocalist.”

“Roadwork is a raw, blistering, white hot collection of rock/R & B/jazz/gospel barnburners as only the horn-heavy Edgar Winter's White Trash could administer.”

“Gospel, soul, R & B, jazz, blues, rock & roll, this record has it all. A live experience not too be missed, it showcases many fine musicians, whether it's Jerry LaCroix enticing the Apollo audience to dance, or Edgar Winter's banshee screams, or Rick Derringer's guitar playing, or Jon Smith's brilliant saxophone leading the horn section's punchy arrangements.”

“This is live rock and roll at its finest. Edgar Winter at the keyboards, Rick Derringer on guitar, and Jerry LaCroix on saxophone combine to rattle the walls of the Apollo Theatre and the Whiskey A' Go Go . All of this music is tasty and lively.”

“Some sloppy playing in spots and some questionable song choices, but the epic Tobacco Road is worth the price of admission.”

Sittin' In - LOGGINS & MESSINA***

Nobody But You/Danny's Song/Vahevala/Trilogy/Back To Georgia/House At Pooh Corner/Listen To A Country Song/Same Old Wine/Rock & Roll Mood

Sittin’ In was the debut album from the American soft-rock duo Loggins & Messina. Former Buffalo Springfield and Poco member Jim Messina was assigned as producer for Kenny Loggins first solo album when, during the recording sessions, the two decided to team up permanently.(US:70)

“The story goes that back in 1971, Jim Messina was brought in to produce the debut album of a talented singer/songwriter Kenny Loggins. Things went so well, and Messina made such a huge contribution to the sound of the music, that Loggins, and Columbia talked Messina into making it a permanent collaboration.”

“This is a pretty good album, once you get past the sticky sweetness of songs like House At Pooh Corner and Danny's Song. Rather, check out the songs written or co-written by Messina; the eleven minute Trilogy is the best track on the album. The performances both vocally and instrumental are excellent, and the three parts tie together perfectly. Nobody But You is also an nice feel good song and Same Old Wine, is an excellent political statement by Messina.”

“Undoubtedly Sittin' In was one of the seminal albums for the singer-songwriter genre of the 1970s, and was also highly typical (and yet influential) of the growing California sound. Kenny Loggins pairing with Jim Messina was one of those magical happenings that you look back on years later with wonder.”

“This is an album which moved mainstream rock into a country groove and introduced the genius of Kenny Loggins to the world. We have here, the brilliance of Kenny's and Jim's music in a timeless album.”

“Some tremendous song writing by two extraordinary artists, who composed music that clearly mirrored the emotion and character of life of the generation around them. Through their lyrics, we appreciate and enjoy what was the true flavour of youth at that time.

“If you like gentle acoustic love songs, and post-psychedelic lead-exchanging music jam sessions, thoughtful introspective lyrics, and grass-roots feel good music, with even a little protest music, then this album is for you.”

Music Of My Mind - STEVIE WONDER***

Love Having You Around/Superwoman/I Love Every Little Thing About You/Sweet Little Girl/Happier Than The Morning Sun/Girl Blue/Seems So Long/Keep On Running/Evil

Music Of My Mind is considered to be the first mature Stevie Wonder album after he was able to throw off the constraints of the Motown machine and give free rein to his own creativity. (US:21)

“This is the album where Stevie is largely agreed to have arrived, signifying his new fully integrated signature sound, style and personal form of expression that would forever change the face of R & B.”

“In spite of its relatively minor weaknesses, it's definitely his greatest and by far his most characteristic album to date and can be justifiably regarded as the first of his classic period. With better pacing, just a little fewer longeurs and lapses into self-indulgence or random experimentation, we'd be looking at his first true masterpiece.”

“One thing that makes this album get overlooked is that most of the tracks are love songs with only the powerful Evil approaching any sort of social commentary. Yet, check out these love songs and keep in mind that the guy writing them was only twenty one when this album was made. Still the songs have a maturity to the lyrics.”

“Stevie was beginning to be an album artist with this set. Granted, it’s not exactly, his best work since none of the songs are great and most are forgettable. However it was a step towards the brilliance that would come.”

“This is the first Stevie album where everything came together. He'd finally managed to throw off the creative constraints imposed by Motown and found his own sound - and what a sound it was. This is what a musical paradigm shift sounds like. A hugely influential album, everything that came afterwards owes something to this album.”

“Stevie Wonder isn't quite there yet. Music Of My Mind is his first album as a soul artist, a position which he hasn't quite got used to it yet, and his songwriting still has a some way to go. His vocal performance isn't as transcendent as it would become and doesn't flow well. His keyboard melodies haven't become dominant yet and his vocals sound a lot less smooth when layered over screeching sax instead of soft bubbling keyboards. His lyrics, while decent, are mostly shallow. This seems like a practice album when compared to those that would follow.”

Jackson Browne - JACKSON BROWNE***

Jamaica Say You Will/A Child In These Hills/Song For Adam/Doctor My Eyes/From Silver Lake/Something Fine/Under The Falling Sky/Looking Into You/Rock Me On The Water/My Opening Farewell

Self titled debut album from Los Angeles based singer songwriter Jackson Browne. During the next decade he would enjoy significant commercial success in his homeland. Includes the US top 10 hit single Doctor My Eyes. (US:53)

“Jackson Browne's debut is at times formulaic, though enjoyable and catchy. The music keeps a positive tone, though quickly changes moods when it pleases. The real charm of these songs is the lyrics, which help to move the album on its way, and as a result most of the music builds itself around the lyrics.”

“I liked Doctor My Eyes, and I hoped it would all be like that with a groovy rhythm section and bouncy pop. Well, its not. Usually Browne just goes for basic rock chord changes, but there's not enough personality in his vocal delivery or in the hooks to resonant with me.”

“This debut made clear right away that Jackson Browne was among the best songwriters of his generation. Most of the songs here are still live favourites today and are still among the best songs he ever wrote. There's the well known single Doctor My Eyes, but the album's highlights are its ballads.”

“A melancholy set from a really gifted tunesmith. Side one contains the big hit, Doctor My Eyes, but it's the second side that sounds stronger throughout. This is not a record for melodic thrill seekers. Nothing out of the ordinary happening here, just an honest singer, singing honest songs.”

“The bottom line for me is that even though Jackson writes great songs his performance is often inferior to many of the interpretations. I find his voice to be rather limited and lacking expression.”

“Although Browne was only in his early twenties when this album was released, the substance and style of his writing were those of a person twice his age, an interesting mix of youthful curiosity and worldly wisdom. This became the most critically acclaimed debut album of the year, and for good reason. Listen to this and you'll see why he is considered to be one the most accomplished singer/songwriter of the 70s.”

Live - DONNY HATHAWAY****

What's Goin' On/The Ghetto/Hey Girl/You've Got A Friend/Little Ghetto Boy/We're Still Friends/Jealous Guy/Voices Inside (Everything Is Everything)

Donny Hathaway Live was the only major hit album by this soul singer and keyboardist. It was divided between sessions at New York’s Bitter End club and the Troubadour in Hollywood. He is best remembered for his duets with Roberta Flack. (US:18)

“Easily one of the greatest live experiences ever captured on wax. The group backing Hathaway is absolutely phenomenal. Donny was blessed with one of the all time great voices for soul music. He sounds a bit like Stevie Wonder with a more gospel edge, but there's a certain level of pain and sadness to his vocals that is unmatched by anyone else.”

“A terrific live recording. With the sound quality, and the interaction between Donny Hathaway and the audience, you feel like you are there. The band nicely show off their talent during some jams as well.”

“This is how a live album is supposed to be: easy-going, groovy, funky, an entertaining experience for the audience as well as for the players. Not only is Hathaway's voice great, he plays the keyboard like a demon. That, plus some fine percussion work makes this album a must for soul seekers, a timeless gem.”

“Any fan of live 1970s soul recordings will love this album which fuses funk and soul with touches of jazz, and extended bouts of improvisation with social commentary. The instruments used are both typical of 1970s soul: electric piano and organ, congas, electric bass, electric guitar, drums, and, as in other forms of funk and soul groups, horns.”

“This really has everything a live album should have. There's a competent backing band, the singer doesn't mess everything up like some do, good choice of material, and the execution of the material is different enough from the norm to be exciting. Donny has a great voice and also great keyboard skills, necessary considering there are about fifteen minutes for keyboard soloing on here.”

“Donny Hathaway was an amazing singer; there is no doubt about that. This has got to be on of the greatest live albums ever. It is amazing how much the audience plays a part in making this a great album.”

Shopping Bag - THE PARTRIDGE FAMILY***

Girl You Make My Day/Every Little Bit O' You/Something New Got Old/Am I Losing You/Last Night/Its All In Your Mind/Hello Hello/There'll Come A Time/If You Ever Go/Every Song Is You/Its One Of Those Nights

Shopping Bag was the last big hit album from The Partridge Family as David Cassidy’s solo career moved into gear. Future bubblegum teenybop groups would struggle to meet the quality of their best songs. Includes the US top 20 hits Am I Losing You and Its One Of Those Nights. (US:18 UK:28)

“The ABC of bubblegum pop: A for 'abhorred by most', B for 'bubblegum', C for 'commercial'. I like it.”

“To call it vanilla implies too much flavour. To call it AM gold suggests too much shine. There are some nice songs, but no highlights. Nothing leaps out of the elevator. It's all a breezy blend of teen dream vocals, strings, horns, and lovey-dovey lyrics. Am I Losing You and It's One Of Those Nights are the only memorable songs here.”

“I loved these Partridge Family albums as a young teenager. Even though the cast members didn't really sing, other than David Cassidy and Shirley Jones, the music is excellent pop bubble gum.”

“When listening to these tunes today you notice that little of it is cute or novel pop. What we do hear are really intense songs of love, hope, desire and loss all wrapped up in unforgettable chord structures, perfectly orchestrated studio production and songwriting, which is all but a lost and dying art form since the 70s. So, in retrospect, on nearly all the Partridge LP's we get the very best of pop writing, song ballads and rock-oriented tunes performed by supremely seasoned veterans.”

“Their earlier albums did have stronger songs and a certain more mature pop sound to them. Starting with this album the quality of songs diminished a little but I still find this one a true pleasure from beginning to end. Granted there weren't as many hits on it but songs put on greatest hits collections don't necessarily represent the best work.”

“This album is very uplifting and makes you want to sing-a-long with David Cassidy. All in all, this should be purchased by all fans of 70s pop. It should put a smile on your face if you listen with an open mind and heart. David Cassidy deserves a lot of credit for his contribution to all these overlooked, classic songs that were never taken too seriously by the general public.”