Son Of Schmilsson - NILSSON***

Take 54/Remember (Christmas)/Joy/Turn On Your Radio/You're Breakin' My Heart/Spaceman/The Lottery Song/ At My Front Door/Ambush/I'd Rather Be Dead/The Most Beautiful World In The World

Son Of Schmilsson was a quick follow up to his very successful similarly titled previous album. Unfortunately it is let down by too many failed attempts at humour, some not always in the best of taste. (US:12 UK:41)

“Remember and You're Breaking My Heart are beautiful ballads, vocally exquisite. Joy is a hokey country number that’s fun, as is the music hall pastiche I'd Rather Be Dead enhanced by an OAP vocal section. Harry was clearly taking some risks and having some fun with his new found fame. Not much of the rest sticks, the rockier numbers remind me of 70s beach; the mellow Lottery Song is the best of the other tracks, dripping with requisite irony.”

“There’s a lot of pop competence and bitter jokes on this album, but so very little substance. Joy, the bouncy and indirectly media-critical Spaceman and maybe some of the gentler pop ballads are genuinely good stuff. But more than half of the album is Nilsson mindlessly goofing off, unwilling to care for quality if it doesn’t just happen.”

“This record is just too jokey. More than half the songs have weird or silly punch lines attached to them, either musically or lyrically. This would be okay if the jokes were at least slightly funny, but they're not most of the time.”

“There's no great hit single, there are no great covers and the songwriting is mostly sub standard. The running order goes up tempo-ballad-up tempo-ballad-up tempo... all the way through the album, this soon becomes a very predictable and a somewhat boring listen.”

“The songs and the arrangements are only OK. The comedic elements are entertaining but do not make up for the absence of song craft. Joy is quite clever, but I'd Rather Be Dead, with its elderly choir, is something of a cheap joke.”

“This album is essential for even the most casual listeners, although I can see why certain people were turned off by it. As it says in the liner notes, Harry would take the most pop sounding, radio friendly songs and then throw in lyrics that would guarantee no radio station would play them. It was as if Harry was trying to avoid stardom. But the songs are still incredible.”

Chicago V - CHICAGO***

A Hit By Varese/All Is Well/Now That You've Gone/Dialogue (Part One)/Dialogue (Part Two)/While The City Sleeps/Saturday In The Park/State Of The Union/Goodbye/Alma Mater

With Chicago V the group moved away from their original jazz-rock style towards a blander pop sound. This release is notable as their first single, rather than double, album. Includes the US No.3 single Saturday In The Park. (US:1 UK:24)

“Once again a great album by Chicago, with jazz, rock, soul and funk mixed up with fine lyrics of social criticism, that will always be a trademark of the group.”

“There's too much filler material. To make things worse, State Of The Union is a terrible attempt at funk that goes on criminally too long.”

“Chicago V is great for casual and hard-core fans alike and should be considered essential listening. This could be seen as marking the end of the classic Chicago period, as from this point on, the pop started to take more of a front seat to the more artistically challenging material.”

“The first single album released by them with nice mid and up-tempo arrangements. The songs tend to run towards the same pop/jazz/rock seen on earlier releases. The hit here was Saturday In The Park which is one of the better songs here. Another standout is the Dialogue (Part I & II) suite incorporating Terry Kath’s guitar fuzz workouts.”

“Chicago V, the band's first single album after an astonishing run of three double albums and a four-record live set, is the first in the band's history to be free of elaborate, and occasionally wearying suites. Instead, we get a compact ten song album filled with good, solid tunes.”

“There was a time when this group was inventive, socially conscious and even rocked now and then. This album still shows enough of the inventiveness.”

“The success of Chicago V can be attributed, in large part, to the strength of the hit single Saturday In The Park. This is truly a signature Chicago pop composition in every sense with Robert Lamm belting out the lead vocal with his warm timbre, the Chicago horns playing in classic style with great harmony vocal and rhythm section arrangements. This song stands as one of the all-time great pop music recordings.”

Moods - NEIL DIAMOND****

Song Sung Blue/Porcupine Pie/High Rolling Man/Canta Libre/Captain Sunshine/Play Me/Gitchy Goomy/Walk On Water/Theme/Prelude In E Major/Morningside

Moods found Neil Diamond at a crossroads. After more than five years of releasing distinctive well crafted songs he would soon lose his touch and for the future would mostly churn out bland album fodder. Includes the US chart topper Song Sung Blue and top 20 hit Play Me. (US:5 UK:7)

“A guilty pleasure, perhaps, but it's beautifully crafted with lovely playing and production, and an undeniably accomplished voice. Some songs are deliberately lightweight and quietly, harmlessly goofy in ways. There are big rousing sing-alongs and delicate, reflective meditations on life, love and death. This is a good album, no doubt about it.

“For some fans of his early work this is truly the point of exit. He succeeds in stripping his writing of all its spiky edges to produce the first Diamond bland-fest. Everything here, even that once wonderful voice, is over-produced into a bloated and soporific torpor.”

“Unfortunately, much of Diamond's recognition comes from his hook-filled, pop flavoured tunes that suffered from much overplay in their day, like Song Sung Blue, which is included on this album. But the real magic of Diamond comes from those hidden gems such as Morningside, the South American influenced Canta Libre, the gospel flavour of Walk On Water, the playful Gitchy Goomy and of course the classic Play Me.”

“Besides the hits and semi-hits, there are some amazingly creative and well-written folk-blues songs here that you've probably never heard of, and almost all carry the air of introspection. And every one is beautiful in its own, often simple, way.”

“Moods displays emotions ranging from happy to downright silly. There is very little sadness to be felt here. Still a nice, listenable piece of work which I'm sure you'll enjoy as much as I do.”

“If you are just discovering Neil, start with this album, it is one of his best. Song Sung Blue and Play Me became major hits, but other songs on here are true gems as well. There just isn't a bad song on this album.”

Live! - CARLOS SANTANA & BUDDY MILES***

Marbles/Lava/Evil Ways/Faith Interlude/Them Changes/Free Form Funkafide Filth

Unique live collaboration between Carlos Santana and the lesser known R & B artist Buddy Miles, formerly of Electric Flag and Jimi Hendrix’s Band Of Gypsies. (US:8 UK:29)

“The music, although hectic at times, is a good example of greatly talented musicians in the process of searching new ways to mix rock with the improvisational elements. The expanded improvised on side two is the most important and most advanced achievement of their meeting, sounding absolutely nothing like anything else at the time.”

“The best thing about it is that it may lead people to look closer into Carlos' other work. This album will rock you to the bone. Marbles and Lava may be his best two songs to date and, throughout, Buddy Miles helps create a rhythm that's almost out of control.”

“For those who love traditional Santana and are acquainted with the deep-hearted rhythm and blues of Buddy Miles this recording combines the talents and exhausting efforts of these two great artists into one exhilarating, energized hour of music.”

“This live recording has tremendous energy from all aspects. The horn section on Evil Ways makes this the best version out there. The highlight must be the long version of Free Form Funkafide Filth. This is where the problem lies. Santana's guitar fades in and out of the mix. One second he is screaming the next he fades out to inaudible levels. It is a shame because this song just cooks tremendously.”

“The album starts off with the killer Marbles/Lava, the best tune on the record. Free Form Funkafide Filth is a massive jam that lets everyone get their licks in, and most of the other songs are also quite good.”

“The first side is quite good, beginning with the later Santana sound of McLaughlin's Marbles and Miles Lava, demonstrating interesting and inspired jamming. Evil Ways gets a reworking with some excellent horns, and Them Changes jams well. Free Form Funkafide Filth is a worthy effort, but it's just too long. There are some very cool parts, but some parts drag, which can be expected in a 25 minute plus jam.”

Carney- LEON RUSSELL****

Tight Rope/Out In The Woods/Me & Baby Jane/Manhattan Island Serenade/Cajun Love Song/Roller Derby/ Carney/Acid Annapolis/If The Shoe Fits/My Cricket/This Masquerade/Magic Mirror

Carney was the album which cemented the reputation of multi-instrumentalist and songwriter Leon Russell after several years of relative obscurity. Features the US No.11 hit single Tight Rope. (US:2)

“It's a melancholy and cynical take on stardom looked at through the distorted lens of a mixed up, shook up world. This isn't Leon in the revival tent show. It's Leon backstage scraping off the makeup and wondering who's more messed up, himself or his audience.”

“A good but uneven record from Leon Russell. I love the lead off songs Tight Rope and Out In The Woods. There are some other good songs, but unfortunately some are pretty forgettable, but even these have good instrumentation.”

“The music of Leon is classic. Although he is as southern as you can get, the jazz of his soul comes through. There is something about Tight Rope and Manhattan Island Serenade that just takes me away. If you have an eclectic soul you probably will put this one somewhere, where you can play it all by yourself.”

“I love and respect Leon's rock side, he can’t be touched. But he is a master of the ballad, the unforgettable melody. This is one of those albums that takes you to another place for awhile, an alternate universe. It's melancholic and beautiful, full of honest emotions and longings. The only track I don't enjoy is Acid Annapolis which for me it's jarring, and breaks the dreamlike mood of the record.”

“I was delighted to have this album take me on a journey back to a time of innocence, of exposures to new freedoms and the opening of life to come. Now, Leon Russell's voice, words and melodies touch me in places that are weathered with real life experiences and the feeling is soulful and knowing.”

“Carney is a brilliant album, and a genuine highlight of 1972. It opens with the Top 40 hit Tight Rope, and offers up one great song after another. Personal favourites include Manhattan Island Serenade and This Masquerade which has some of the most touchingly true lyrics ever written.”

Roxy Music - ROXY MUSIC****

Re-make Re-model/Ladytron/If There Is Something/2HB/The Bob (Medley)/Chance Meeting/Would You Believe/Sea Breezes/Bitters End

Debut album from the influential British art rock group Roxy Music. During this early period there was a creative tension between the glam rock crooning of vocalist Bryan Ferry and the electronic experimentalism of keyboardist Brian Eno. (UK:10)

“This album practically invents a new aesthetic, blending fifties nostalgia with futurism, pop art with literary sensibilities, and, musically, Bryan Ferry's ironic crooner persona with Brian Eno's electronic experimentalism. The second side is perhaps less melodic and memorable than the first, and some tracks work better in theory than in practice.”

“This first album is an interesting piece of rock and roll music that shot Roxy Music to the pinnacle of the exciting glam rock of the seventies. Its sound is very much shaped by both Ferry and Eno; Ferry contributes a melody that can even go so far as to recall the singers of the slick 1940s, while Eno feels futuristic and adds atmosphere in a way that only he could.”

“The tension between Eno's eternally experimental approach and the slick, crooning glam rock style of Bryan Ferry creates not chaos, but a unique hybrid approach with plenty to offer. Suites such as The Bob, and Sea Breezes show the technical complexities the band could attain when they put their mind to it, whilst electrifying pop numbers like Remake/Remodel see the band members injecting fast, sharp jolts of technical wizardry and sudden, unexpected twists into warped pop formats.”

“The songs are strange in structure, there seems to be extended improvisations in place of choruses. There is also a lot of genre experimentation going on. Brian Eno's synth treatments on Ladytron and 2HB add to the tension in these songs. Roxy Music sounds like a start of new musical epoch and that’s what this album really is. Bryan Ferry’s affectionate croon is jarringly accentuated by Brian Eno’s modern electronic noises and the resulting effect is highly innovative and harmonious.”

“Bryan Ferry's voice is still raw and hasn't developed into his patented trademark lounge lizard croon but fits the seemingly undisciplined material. The instrumentation is quite formidable and it was a refreshing paradigm shift to see the saxophone and oboe incorporated into the proceedings.”

At Madison Square Garden - ELVIS PRESLEY****

Introduction/That's Alright/Proud Mary/Never Been To Spain/You Don't Have To Say You Love Me/You've Lost That Lovin' Feelin'/Polk Salad Annie/Love Me/All Shook Up/Heartbreak Hotel/(Let Me Be Your) Teddy Bear-Don't Be Cruel (Medley)/Love Me Tender/The Impossible Dream/Introduction By Elvis/Hound Dog/Suspicious Minds/For The Good Times/American Trilogy/Funny How Time Slips Away/I Can't Stop Loving You/Can't Help Falling In Love

Elvis Presley released several live albums during his later career revival. At Madison Square Garden is one of his most highly regarded performances showing the star in fine form. (US:11 UK:3)

“This album was a recording of a complete concert rather than a pieced together affair. This gives the listener an accurate feel of an actual 1970’s Elvis concert.”

“This set is better than anyone would have envisaged: Elvis was in sizzling form, the backing crew was top class, and New York became Elvis' over the three days he performed in the Garden.”

“Elvis Presley enjoyed great success with his standing room only concerts at Madison Square Garden, and this LP shows us why. He is in excellent form and his rapport with the crowd runs very strong; almost instantly the audience rests in the palm of Elvis' hand as they whoop and shout for joy as he sings to them.”

“Alternates between songs with faster and slower tempos; but they all work well and Elvis bats them all straight out of the ball park. Elvis sings them all with great sensitivity.”

“This is simply a sensational record, a frenetic, muscular, masterful, almost hyper-active exercise in rock and roll. The first two-thirds of the show seem to pass by without our hero taking a breath.”

“A very good live album from Elvis and you certainly get your monies worth. Polk Salad Annie is welcome on any Elvis release. Never Been To Spain is given a gritty performance. Funny How Time Slips Away is a nice subtle performance. American Trilogy is a superior track and Elvis takes this song in a wonderful pop direction. His classic oldies are fine as they had not yet reached just going through the motions status.”

School's Out - ALICE COOPER****

School's Out/Luney Tune/Gutter Cat Vs The Jets/Street Fight/Blue Turk/My Stars/Public Animal No. 9/Alma Mater/Grande Finale

Prior to the release of School’s Out the American hard rock group Alice Cooper were little known in the UK. This would all change when the title track topped the singles chart. For the next couple of years Cooper and his band would be one of the leading players in the British music scene. (US:2 UK:4)

“Alice Cooper is interesting, misunderstood, and hard to classify. Many have placed his music in the hard rock category, but in listening to the range of music on this LP I find jazz, rock, hard rock, progressive rock, instrumentals, and even a song that sounds like a Broadway show tune.”

“Mostly not as heavy as the legendary war-marching hard rocker that is the title track. It is rather artsy and proggy in many parts, the jazzy Blue Turk being of special note. Alma Mater presents a nicely sentimental song, showing off Cooper's '60s leanings.”

“School's Out will be best remembered for its timeless, class title track, and chunks of the album loosely revolve around a dark spirited, school daze theme, that results in an ambitious, theatrical release.”

“There's a certain over indulgence that would eventually lead to Cooper’s downfall from the charts that begins to creep into the picture on School's Out. It's a shame too, because there's some pretty good material here among the cartoonish stuff. Chief among the stand outs has to be the great title cut. For those of us who found ourselves in Junior High when School's Out was all over the radio, there's a certain joy that still stirs when that opening guitar riff is heard.”

“School's Out departed from both the sound and the lyrical themes that the band had established on Love It To Death and Killer. The band apparently decided to take a break from the creepy, horror-movie rock 'n' roll, and instead make a semi-concept album about high school and juvenile delinquency. The songs, while good, venture into silliness once or twice too often. And, rather than continue to experiment with gross-out subject matter, they experimented this time around with jazzy sounds and Broadway theatrics.”

Living In The Past - JETHRO TULL****

Song For Jeffrey/Love Story/Christmas Song/Living In The Past/Driving Song/Bouree/Sweet Dream/Singing All Day/Teacher/Witches Promise/Inside/Just Trying To Be/By Kind Permission Of/Dharma For One/Wond'ring Again/Locomotive Breath/Life Is A Long Song/Up The 'Pool/Dr Bogenbroom/From Later/Nursie

The double album Living In The Past was the first compilation release from the progressive rock band Jehro Tull, covering their most creative period. One side is live and most of the tracks were previously only released as singles or b-sides. (US:3 UK:8)

“An excellent grab-bag of early Jethro Tull tracks, including enough non-album tracks (including the entire Life Is A Long Song EP) and alternate versions of album tracks (like a blistering live Dharma For One, and the wonderful full version of Wond'ring Again, to make it worth exploring even if you already own all the studio albums.”

“I just love the way the first two sides of the album flow, with really nice early easy-listening Tull singles that would be too lightweight for their other albums, but here they just sound perfect. This is the core of Living In The Past - soft, folky, jazzy, bluesy - not progressive or hard rock like a lot of their other material - but incredibly tuneful and perfect. The third side breaks the flow a little with the slightly overlong live tracks, but the fourth side gets right back into a short catchy song mode.”

“I could do without the overlong and noisy live side, but otherwise this is exactly how I like my Tull: earnest, folky, melodic and simple, literate and well-crafted, and with mindless boogie kept at bay.”

“The Living In The Past compilation gathered early non-album singles and B-sides, choice album cuts and a small amount of unreleased material. As a result it made a case for Jethro Tull as an idiosyncratic pop band, which in the grand scheme of prog rock, they were. Unlike many of their more pompous and self-important contemporaries, Tull did have a sustained run of hits on the pop charts.”

“With a great mix of Tull from 1968-1971, you cannot go wrong. Most of the songs are folk acoustic tunes that make you want to sing along, but there are some doses of blues and rockers, as well. A must for any Tull/late 60s fan when music was just starting to change the face of rock and roll.”

“Great from start to finish with a range of musical styles so varied it's impossible for some people to believe one band is at work here.”

A Song For You - THE CARPENTERS****

A Song For You/Top Of The World/Hurting Each Other/Its Going To Take Some Time/Goodbye To Love/Intermission/Bless The Beasts & Children/Flat Baroque/Piano Picker/I Won't Last A Day Without You/Crystal Lullaby/Road Ode/A Song For You (Reprise)

During the progressive rock era the wholesome image of The Carpenters was very unfashionable amongst music critics, seemingly unable to appreciate the purity of Karen Carpenter’s voice. A Song For You includes the UK top ten hits Goodbye To Love and Top Of The World. (US:4 UK:13)

“A very arty and subtle release from these Californian siblings, which might just be their artistic peak as far as their albums go. I won't go so far as to say it was all downhill from here, but as album artists they never again attained the same heights as on this one and its gorgeous predecessor.”

“A Song For You is a strong album from Karen and Richard Carpenter that showcases yet again their singularly beautiful artistry. They performed so very well together that is was practically heavenly; I am not trying to be effusive but it's just the simple truth. When Karen sang it was as if she was singing to you and only you; and Richard's musical arrangements and backup vocals always enhanced the beauty of their ballads.”

“How anyone can deny the sweetness, warmth and sheer greatness in Karen Carpenter's voice is a mystery to me. She had a beautiful talent, and she could reach phrases and emotions that most singers could only wish for. Although the seventies coyness and cuteness sometimes shows through, this is more than forgivable. If you want spirit lifting melodies and charming songs sung by the best female vocalist, then pick this up.”

“Without a doubt, this album was the gem of The Carpenters formative years. Not only did it yield several perennial radio hits, the non-released tracks were stunning as well. It was with this album that Karen's lower register was really in full bloom, and is especially wonderful on the opening track, Hurting Each Other and the classic I Won't Last A Day Without You.”

“In the early 1970s The Carpenters were massive in mainstream pop, no more so than on A Song For You. While Karen's vocals dominate, Richard sings too and Leon Russell and Carole King are among a number of writers who contribute to this well crafted album.”

Greatest Hits - SIMON & GARFUNKEL*****

Mrs Robinson/For Emily Wherever I May Find Her/The Boxer/The 59th Street Bridge Song (Feelin' Groovy)/The Sound Of Silence/I Am A Rock/Scarborough Fair-Canticle/Homeward Bound/Bridge Over Troubled Water/ America/Kathy's Song/El Condor Pasa/Bookends/Cecilia

First of many Simon & Garfunkel compilations and of course the tracks are all superlative. However, their studio albums are really just as good and would make a better purchase. Four of these songs are live versions. (US:5 UK:2)

“Every single song here is perfect, and magical in its atmosphere and unparalleled vocal harmonies. Most of them are quite complex, despite their undisputed pop potential. The reason why they sound so elegant and charming, and timeless, and pure is precisely that they are so complex and finely structured.”

“Simon and Garfunkel are easily my favourite folk music group. They obviously spent a great deal of time working on intonation, timing, balance, and blending their voices. Each song flows so well, it is almost effortless. They have four legendary albums condensed into five short years. Deciding on their best music and jamming it on one record is an ambitious project to say the least.”

“Though I had grown up listening to the music of Simon and Garfunkel, it is in listening to this LP that I realized how prolific they have been and how beautiful were their harmonies. This is a timeless collection, a wonderful compilation of their music which can best be described as mellow folk-rock. It runs the gamut from the upbeat, to the poetic to the unusual. Every cut is a winner.”

“Four of the songs on here aren't the original studio versions, rather they're previously unreleased live takes; but they don't actually interrupt the album's flow as much as I expected them to, and they're just about as good as the originals.”

“It is such a flawless album I've never felt the need to look for anything else by the duo. Nothing more than mellow folk rock, it nevertheless transports the listener onto a higher plain of perception - adjectives like wistful and haunting immediately spring to mind. Whilst many may disagree given Simon's songwriting talents, they were a team, with Garfunkel's beautiful voice a perfect counterpoint to Simon’s quieter tone.”

“Many of the songs are represented by live versions. In this case the gamble paid off, as the alternate versions are all stellar.”

Trilogy - EMERSON LAKE & PALMER***

The Endless Enigma Part 1/Fugue/The Endless Enigma Part 2/From The Beginning/The Sheriff/Hoedown/ Trilogy/Living Sin/Abaddon's Bolero

Trilogy was appropriately named as it was the third studio album from this three man progressive group. Critics were divided on its merits; some considering it to be fairly uneven, others claim that it is one of their best. (US:5 UK:2)

“This album stands out as being one of their most bombastic works. The way all of the instruments seem to pop and bounce off of each other is magical and something rarely heard, even by masters of the genre such as ELP.”

“Emerson Lake & Palmer's third album, Trilogy, is just as great a progressive rock exhibition and workout as the group's first two albums. Carl Palmer's drumming is as precise and powerful as it gets. Keith Emerson's keyboard playing is mind boggling, with Greg Lake's guitar and vocals as excellent and tasteful as ever. Trilogy is a rock solid progressive rock outing and one every proghead should own.”

“One of the more consistent ELP albums, but that's not necessarily saying much. Both sides start off strong, then get bogged down towards the end.”

“Rock music with touches of jazz and classical. A bevy of keyboards that either sound like they're from the past or the future, often playing the role that a guitar would play in a traditional rock band. There are experiments with time signatures and song structure, with very few concessions to pop radio.”

“High points are easily the album’s opening and closing tracks. The three-part Endless Enigma houses some of Emerson’s most stunning organ playing, and also features a lovely fugal solo piano part in the middle. Abaddon’s Bolero is a work of striking intensity, building slowly from beginning to end, and emphasizing Emerson’s synthesizer work in a memorable way. The rest of the album is just fairly average.”

“This is one of Emerson, Lake & Palmer's best studio albums, and the songwriting is exemplary. The opening song, The Endless Enigma, is one of their signature songs, and also has some of Lake's best lyrics, brooding and mysterious. From The Beginning is one of Lake's loveliest ballads, and Emerson and Palmer's accompaniment is really subtle and compliments the song beautifully. The final track, Abaddon's Bolero, starts out slowly, but builds to a magnificent climax.”

The Rise & Fall Of Ziggy Stardust - DAVID BOWIE*****

Five Years/Soul Love/Moonage Daydream/Starman/It Ain't Easy/Lady Stardust/Star/Hang Onto Yourself/Ziggy Stardust/Suffragette City/Rock & Roll Suicide

Before the release of Ziggy Stardust David Bowie had been recording for five years with only limited success, despite critically acclaimed reviews. This album heralded the turning point that would keep Bowie on the top of his game for the next decade. Includes the UK top ten hit Starman. (US:75 UK:5)

“The album rocks from start to finish, as Bowie is at his most masterful in terms of songwriting and gloriously explosive music. In short, there's nothing I enjoy more thoroughly than putting Ziggy on, turning the volume all the way up, and singing along with all of the revolutionary harmonies that Bowie has concocted.”

“Ziggy Stardust saw Bowie create a new style of music that would go on to influence many others. The album plays like a best of, which is always a good thing, and there are really few, if any, weak moments here. The style of tracks ranges from guitar oriented anthems like Ziggy Stardust to the mostly acoustic Rock & Roll Suicide, to piano ballads like Starman and Lady Stardust.”

“This album is just one great package. You could go through the songs and pick out that it has four or five great tracks, but then you would be taking away one of its great attributes, the fact that all the songs flow. They are all unified under Bowie. Like a concept album, the way Bowie does each song makes the album feel like a cohesive unit. It is all of these aspects that make this Bowie's masterpiece.”

“Bowie's most successful persona fronts perhaps his most recognisable album of all, with a track listing which reads like a proverbial 'greatest hits' collection. This is quite rightfully considered one of the best rock albums of all time.”

“All of these songs are pop-rock masterpieces, instantly memorable and recognizable. The concept is brilliant too. This album really deserves all the praise it gets.”

“The melodies are great, the vocals are great, and the instrumentation is great. This album takes you for a ride and keeps you interested until the very last note at the end. Clearly one of modern rock's truly classic recordings standing the test of time and reminding us of the power of musical genius collected and assembled.”

Earthbound - KING CRIMSON**

21st Century Schizoid Man/Peoria/The Sailor's Tale/Earthbound/Groon

Earthbound was the first live release from the progressive group King Crimson. Regarded as very disappointing due to the poor sound quality, short length and questionable choice of tracks.

“It's impossible to write about Earthbound without mentioning the audio quality, which is terrible and literally sounds like a bootleg audience tape. The five tracks are taken from four different American tour dates, so there isn't really any continuity, and it has the impression of being a collection of recordings rather than a cohesive album.”

“That Peoria, Earthbound and Groon make up most of the LP, despite being inessential to the Crimson catalogue, and entirely inconsequential, is ridiculous.”

“The opening 21st Century Schizoid Man is a pretty powerful performance, further enhanced by the rough-cut engineering job. The next three tracks are pretty standard fare for them at this point, despite sounding nice. But Groon is something else, a messy jazz half-improvisation with some wild sax playing, that turns into a wild drum solo and later into a crazy tornado of noisy chaos.”

“Get all the other King Crimson live material you could ever want in the world before you even consider wasting a scrap of your money on this one. As far as King Crimson's discography goes, this is as close as it gets to the bottom of the barrel unless you're willing to dabble in bootlegs; most will sound better than this turkey.”

“Not a complete show by any stretch, but chosen cuts performed live, and I have yet to find a better performance of 21st Century Schizoid Man. The sound is definitely tolerable, but probably only if you are a King Crimson fan.”

“Yes, the sound quality is poor, but if you are able to get past that, these live performances are fantastic. I would have given anything to have seen this band in their prime. The performance of 21st Century Schizoid Man is flawless, and absolutely chaotic. Surely the best live rendition I've heard. This album surely does not deserve its reputation of one of the worst of all time.”

“It pulls off the neat trick of achieving consensus in the stubbornly diverse field of rock criticism, to be universally agreed to be one of the worst live albums Features legendarily bad sound quality, indifferent/awful performances, inexplicably perverse song selections, combined with a brief running time.”

Old Boot Wine - SPIROGYRA***

Dangerous Dave/Van Allen's Belt/Runaway/Grandad/Wings Of Thunder/World's Eyes/Don't Let It Get You/Disraeli's Problem/A Canterbury Tale

Old Boot Wine was the follow up album from the Canterbury folk group Spirogyra. Vocalist Barbara Gaskin is given more prominence and there is a greater rock sound featuring electric instrumentation.

“Despite the surreal cover art, Old Boot Wine feels a bit less adventurous and progressive than the other two albums of Spirogyra's original run. Those who enjoy folk-rock with progressive sensibilities will still find the material here to be of interest, Barbara Gaskin still charms on the microphone, and the instrumental sparring is a treat, but the proceedings feel rather sedate and tame.”

“Adventurous folk/prog, with a mix of soft and somewhat hard material featuring electric and fuzz guitar, yet still including the trademark male/female vocal harmony and acoustic guitar.”

“This is deeply bucolic and rather simplistic folk-rock with lots of pop thrown in, saved by good songwriting and the clever vocal lines.” “The more rocking songs are good, but some of the melodies aren't exactly the strongest ever written. However, the mix of gentler songs helps creates a well rounded album.”

“Old Boot Wine saw them move into a more rock orientated and straightforward direction with more emphasis on electric instrumentation, the odd Germanic groove, and on opener Dangerous Dave a heightened awareness of vocal hooks. The intense vocal contributions of Martin Cockerham were also pared back, with Barbara Gaskin given more of the spotlight, which certainly makes the album an easier listen.”

“Not to be confused with smooth jazz near namesakes Spyro Gyra, this outfit were one of the more interesting progressive folk groups to emerge in the early seventies. Spirogyra's lack of commercial success almost certainly had more to do with expectations than it did with the quality of their material. In the early seventies, the Canterbury sound was already synonymous with quirky jazz, a stereotype that Martin Cockerham’s politically charged, anglicized take on Dylan-esque folk failed to emulate.”

Bulletproof - HARD STUFF***

Jay Time/Sinister Minister/No Witch At All/Taken Alive/Time Gambler (Rodney)/Millionaire/Monster In Paradise/ Hobo/Mr Longevity RIP/The Provider (Part One)

Bulletproof was the debut album from the appropriately named English rock band Hard Stuff, which included former members of Atomic Rooster. It has been described as a slab of proto-metal goodness.

“Very good hard rock LP with blazing guitar riffing. Pure testosterone rock played by good musicians. If you dig the hard rock sound of the early 70s you will like this.”

“Guitar solos that are unique and crazy are what raise Bulletproof above the other hard rock albums of the time to make it literally bulletproof. My absolute hit here is Time Gambler, a murderous guitar slasher.”

“Disappointingly, all the songs have a certain compactness, even the longer ones. There's no sense of wanting to extend any number, the emphasis is in the composition, each track being a miniature example of how to write a classic rock song.”

“The band, formed from former Atomic Rooster and Quatermass members, isn't quite in the supergroup class. The style is hard rock with plenty of heavy guitar hooks, somewhat lightened in a couple of songs by humorous subject matter and party rock tendencies.”

“Fairly commercial and highly consistent heavy metal style hard rock, featuring great guitar, and some funky material here and there.”

“There's no escaping the fact that this is pretty serious stuff. While Sinister Minister only barely avoids degenerating into a blues strut, it does have some serious guitar work and some interesting arrangement choices. The slow grind of No Witch At All is pretty cool, although Taken Alive could be performed by just about any hard rock band of the era. Time Gambler is more serious, with very fuzzed out guitars and a pretty stern feel. Side two is pretty strong from start to finish, and there's a remarkable lack of mellowness here, it being hard and or heavy all the way through. Not every song convinces, but the ones that do, really do so.”

“Here we have a true slab of proto-metal goodness, proto because this doesn't quite reach metal in my opinion, even though few bands of the era rocked as hard.”

Hard Attack - DUST***

Pull Away-So Many Times/Walk In The Soft Rain/Thusly Spoken/Learning To Die/All In All/I've Been Thinkin'/Ivory/How Many Horses/Suicide/Entrance

Hard Attack was the follow up album from the American hard rock trio Dust. They wrote their own material in a variety of styles, but commercial success eluded them and they broke up after this release.

“Good hard rockin' stuff with a lot of psychedelic sounds. I really like the country influences on this as well, definitely a keeper.” “The fantastic opening song Pull Away/So Many Times is probably my favourite track here but there some are other nice moments too. None of these are duds but I wouldn't call any of the other songs a masterpiece, like the opener.”

“An underrated and under appreciated classic from the 70s, Dust's album Hard Attack is a fantastic rock album with tunes like Pull Away/So Many Times that are similar to popular rock bands at the time, to sweet country ballads like on How Many Horses to hard rock jams that border on metal and heavy psych like Suicide. Sonically diverse, not hard to digest, and at time heavy hitting, sad, and others upbeat and powerful, Dust's Hard Attack is a brilliant rock album from start to finish.”

“I love heavy/psych and this is an excellent record of the genre that mixes aggressive riffs with melodic vocal lines, including outstanding ballads.”

“They played ambitious self-penned material written by the guitarist, who displays some amazing guitar licks throughout the album. The band had a heavy sound and the compositions are dramatic and well developed, and still sound surprisingly fresh. This is one of those forgotten gems.” ,p> “Slightly off the pace of their stunning debut, they make the mistake so many acts of their vintage did: trying to diversify too much by getting into genres they have little penchant for, while forsaking their forte.”

“They can rock pretty good, but some of the stuff is a little too polished sounding for me, and there is a bit too much variety in styles between songs.”

“A great follow up to the self titled debut album by this dynamic group. During the 1970s they ranked right up there with the best. If you appreciate pure musicianship and outstanding vocals of an excellent three piece band, then this LP is for you.”

Jerusalem - JERUSALEM***

Frustration/Hooded Eagle/I See The Light/Murderer's Lament/When The Wolf Sits/Midnight Steamer/ Primitive Man/Beyond The Grave/She Came Like A Bat From Hell

Self titled sole album release from the British early heavy metal band Jerusalem. Produced by Ian Gillan of Deep Purple he described their music as rough, raw and doomy.

“Perfect vocals and songwriting to go with epic crushing riffs that melt my brain into a puddle of pure metal ecstasy. I have heard a fair number of obscure early metal albums, but this blows almost everything else out of the water.”

“The chilling cover fits the album perfectly; it's cold, clammy, and harrowing, with deliciously unhinged vocals adding the evil vibe. Venomous tracks like Hooded Eagle, the psychotic confessional Murderer’s Lament, driving When The Wolf Sits, and appropriately bludgeoning Primitive Man, are creaky and rotten to the core.”

“Comparisons to Purple can be expected, but Jerusalem's minor-key riffs and tortured vocals paint an altogether darker picture than anything Purple ever attempted. Indeed, the lyrics often deal with such morbid subject matter as murder, the grim reaper and rotting in a grave. Further adding to the uncomfortable mood is the fact that several songs staunchly refuse to settle into traditional groovy rhythms, instead providing an insistent, sharp-edged backdrop to the group's gloomy tales of loneliness, alienation and death.”

“There are fantastic amounts of energy and passion going into and coming out of the songs. The vocal performance is the cherry on the cake. The lyrics are dark and doomy and the singer’s voice is just as powerful and deadly as the music.”

“What a great record that any metal fan will love. It's mostly pretty straight-forward heavy metal guitar driven hard rock, featuring excellent song writing, good production and consistency.”

“Very aggressive rockin' album from this British band, produced by Deep Purple's Ian Gillan. Crude and raw, featuring the fine guitar - check out Hooded Eagle. Sadly their only release, they had a lot of potential in the 70s rock market.”

Henry The Human Fly - RICHARD THOMPSON***

Roll Over Vaughn Williams/Nobody's Wedding/The Poor Ditching Boy/Shaky Nancy/The Angels Took My Racehorse Away/Wheely Down/The New St George/Painted Ladies/Cold Feet/Mary & Joseph/The Old Changing Ways/Twisted

Henry The Human Fly was the first solo album from notable British folk artist Richard Thompson after leaving Fairport Convention. Regarded as more rock orientated than his group work, it comprises folk tunes with a hint of Celtic influence.

“Richard Thompson's sole solo album of the 1970s, sandwiched between his departure from Fairport Convention and the establishment of his collaboration with Linda. We start our adventure out with Roll Over Vaughn Williams, a bleak folk-rock declaration of utter futility and desolation, and continue from there. It's a bold start and it works a treat.”

“The debut album from Richard Thompson after leaving Fairport Convention. It’s not an album I'd recommend to those who have no knowledge of Richard's work as it is a fairly dark and unlovable piece with a wildly erratic second half. It carries on with the fusion of rock and British folk music for which his former band were famed.”

“As overlooked as anything Richard Thompson has ever been involved in and almost as good as his finest work. A lot more rock than his albums with Linda or with the Fairport Convention, it also features one of his better collections of songs.”

“The young Richard Thompson's first solo album finds him doing a fine set of low key British folk tunes, with the occasional hint of Celtic influence. The songwriting is exceptional, and though the production may be a little rough around the edges, it's hardly a factor to consider with such a great songwriter. He would go on to do better stuff later, but this was a very admirable start for the solo career of a British legend.”

“Everything comes together; cleverly written rather strange songs, amazingly crisp simple arrangements, and some fantastic guitar work.”

“Most of Richard's tunes take the point of view of the commoner, the person at the bottom of the heap, who is fresh out of luck. The combination of gallows humour and pristine musical beauty endears Richard to his fans and bewilders those outside his cult. If you like this album, you'll like all of Richard's work. If you don't get it, you never will.”

Changes - CATAPILLA***

Reflections/Charing Cross/Thank Christ For George/It Could Only Happen To Me

Changes was the second and final album from the English progressive band Catapilla. It features a blend of jazz fusion with ambient space-rock, and is notable for the distinctive female vocals.

“This is an old favourite, a feast of trippy banshee/siren female vocals and great jazzy sound, all very deep and psychedelic, along with some wonderfully wah-wah guitar.”

“A proggy psych rock album that gets into your head. A little jazzy but not too much and there are some sax interludes, that add to the atmosphere.

“Musically speaking, the album is dreamier and much more spacey than the debut, leading to a curious blend of jazz fusion and mellow, ambient space rock. Without an abrasive edge or the hot fury of fusion, what remains is a breathtaking, haunting and truly original sound which commands the listener's attention. Particularly good is the saxophone playing which dominates the musical landscape alongside ethereal female vocals.”

“Most of the songs wind up in a jam that meanders and falls apart. Anna Meek's atonal caterwauling is slightly more tolerable on this album than on their debut only for the fact that it is further down in the mix. The decent instrumental It Could Only Happen To Me is the only tune that saves this album.”

“A marked improvement over their respectable debut, overall this is excellent, with echoed female vocals, continued extensive use of sax, and psych influences.”

“Not as intense as the debut, but the vocals are much nicer. On the first album, Anna Meek sounded like she sang with a mouth full of hot porridge. This time, her voice is much more that of a siren, and the music is suggestive and haunting.”

“Changes is a smoky, sometimes otherworldly album laden with organ and saxophone riffs that play off of each other as much as they swirl about trying to express themselves through their own solo. The best examples of this interplay are on the long cuts, Reflections and Thank Christ For George. Here the band locks into one glorious groove and stays with it. It Could Only Happen To Me is a nice standout for the awesome sax solo in the second half of the song. It's a beautiful lasting impression with which to leave the listener.”

Ace - BOB WEIR***

Greatest Story Ever Told/Black Throated Wind/Walk In The Sunshine/Playing In The Band/Looks Like Rain/ Mexicali Blues/One More Saturday Night/Cassidy

Ace was the first solo album from the Grateful Dead guitarist Bob Weir. Although praised by the critics most of the tracks were backed by Dead members and featured prominently in their live shows. (US:68)

“A quick glance at the track listing and you'd think this was just a Grateful Dead album. Any serious fan will have heard nearly every one of these songs dozens of times over the years at concerts. Unfortunately since this LP is sold as by Bob Weir very few people noticed it is 100% Grateful Dead.”

“This is really a Grateful Dead album; not only do they act as the backing band but most of the songs were absorbed into the set list.”

“This is one of the Dead's strongest and most consistent studio efforts. Looks Like Rain is the gorgeous, moving standout here, with great pedal steel work from Jerry, and the sad resignation of Black-Throated Wind works great with the horn section. Playing In The Band is a fun glimpse of the Dead doing a solid job of emulating their live jams in a studio setting. The fun Greatest Story Ever Told gets the album off to a strong start and Cassidy is a beautiful closer played and sung with great heart.”

“This is for all intents and purposes a Grateful Dead album. The musicians are the members of The Dead, with some help from the occasional horn. The difference is that the songs are all sung, and at least partially composed by Weir. The other element that makes Ace more a group effort than solo affair is that several tracks are more tied to The Dead after becoming live concert standards than Weir songs.”

“The album says Bob Weir, but in fact it is almost purely Grateful Dead, Just about all of these songs would go on to become staples the Dead's live shows. Ace provides a snapshot into what these great tunes sound like in the studio.”

“This is probably the most underappreciated album ever: it is so good and yet, tragically few people know about it. It is an example of killer songwriting, fantastic singing by Bob, with great production and arrangements. Even if you don't like the Dead you'll still like this album. However, if you are a Dead fan, the album is home to some Dead classics.”

666 - APHRODITE'S CHILD***

The System/Babylon/Loud Loud Loud/The Four Horsemen/The Lamb/The Seventh Seal/Aegean Sea/ Seven Bowls/The Wakening Beast/Lament/The Marching Beast/The Battle Of The Locusts/Do It/ Tribulation/The Beast/Ofis/Seven Trumpets/Altamont/The Wedding Of The Lamb/The Capture Of The Beast/OO/Hic Et Nunc/All The Seats Were Occupied/The Break

Aphrodite’s Child were a Greek progressive band that launched the careers of Vangelis and Demis Roussos. The double album 666 is considered their most influential and is based on the Book of Revelation.

“666 is a stunning album full of amazing songs built around its centrepiece and masterwork, the astounding The Four Horsemen with its wonderful lyrical imagery and absolutely astounding guitar coda-lightning storm.”

“With regard to the claim that the album is all over the map musically speaking, what some see as a weakness I see as a strength. Tons of eclecticism and diversity to be found here; weird Middle Eastern jazz ditties, hard rock stompers, nearly straightforward pop ballads, ambient interludes, five minutes of moaning, and a twenty minute no-holds-barred tripped out jam recapitulating all of the above.”

“The strength of 666 is based more in individual songs than as a whole coherent album. The progressive element of the music is found more in the structure, some instrumental jam sections and soundscape atmospheres, than in overly complex song structures, strange time signatures or virtuoso playing.”

“666 is an album seemingly over-burdened with ideas. Not all of them are great, but when they work, such as on the short heavy-metal blister-bursts of The Battle Of The Locusts and Do It, you can only admire Vangelis’ determination to experiment with a successful formula and the band’s combined technical ability.”

“There are some very innovative sounds here. This album was definitely ahead of its time, with all the elements of what later led to the 70s progressive rock movement being put to the test, most notably the concept album and instrumental virtuosity on display in long jams, not to mention a few other elements such as clever and unusual combinations of Eastern/Western instruments and the occasional spoken interlude.”

“666 is a concept double album about the Book of Revelation, so you'd expect the music to be pretty dark and noisy. In truth the album usually sounds like good natured 70s prog, albeit with some creepy psychedelic ambience. Influenced by jazz and psychedelia, the large palette of instruments was used splendidly throughout.”

Space Shanty - KHAN***

Space Shanty/Stranded/Mixed Up Man Of The Mountains/Driving To Amsterdam/Stargazers/Hollow Stone

Space Shanty was the sole album release from the progressive Canterbury scene band Khan. Formed by Steve Hillage and recruiting Dave Stewart, both of whom later found commercial fame elsewhere. It comprises some jazz-rock with space- rock plus some classical influences.

“This one and only release by short-living formation Khan featuring Steve Hillage and Dave Stewart was one of the most pleasant and sophisticated records in the Canterbury style. The six tracks offer a highly versatile and interesting style mix between jazz and hard progressive rock with some classical leanings and a very slight space touch mainly due to Hillage’s echoed guitar solos. There are plenty sudden rhythm breaks and frequent shifts from mellow to hard rocking sections. Dave Stewart presents some of his most energetic and powerful organ work.”

“This is a classic of its genre, they just nailed it here. It's rarely that moments in an album can send a shiver up your spine but this is one of them. It certainly has leanings towards the Canterbury sound and of course Hatfield and the North, but this blend with Steve Hillage works together wonderfully, and the album is ageless.”

“Khan's Space Shanty is one of the best records of the progressive movement. It combines the power of the upcoming hard-rock, the intelligence and melodic feel of progressive rock, the inventiveness of jazz-rock and the spacious feel of psychedelic/space rock. Even the vocals are pretty amazing. All compositions are group efforts in which each of the four musicians has their moment of brilliance. The instrumental parts of each composition are made up of original ideas and Steve Hillage's guitar would never sound so balanced again.”

“Most of the tracks feature a mix of meandering Canterbury instrumentals with heavier guitar led segments, while Hillage's playing style endows a space rock vibe that is lacking on most Canterbury scene releases. Relatively straightforward vocal melodies are present, although they rarely dominate the proceedings.”

“Before joining Gong, Steve Hillage gathered this ensemble to perform the music that had been fermenting within him while at college. This is some of his most progressive and complicated songwriting with elaborate time signatures and dense arrangements. The music has a thick texture of progressive improvisation and elaborate composition.”

Sail Away - RANDY NEWMAN****

Sail Away/Lonely At The Top/He Gives Us All Our Love/Last Night I Had A Dream/Simon Smith & His Amazing Dancing Bear/Old Man/Political Science/Burn On/Memo To My Son/Dayton Ohio 1903/You Can Leave Your Hat On/God's Song (That's Why I Love Mankind)

Sail Away is considered the best album release from the sardonic American songwriter Randy Newman. Always more popular with the critics than the public he addresses controversial subjects like slavery and nuclear war. The quirky Simon Smith & His Amazing Dancing Bear was a hit in the UK five years earlier for Alan Price. (US:163)

“When Sail Away is good, it's very good. Political Science and Sail Away are both hilarious vignettes of American history that make you wonder why nobody writes these kinds of songs any more.”

“Sail Away is Randy Newman at the top of his game, writing and performing from the perspective of characters that it is almost impossible to sympathise with, yet you can't help but sing along with, thus leading you to question your own moral standards, which is something that very few songwriters ever manage to do. There's also lightness and frivolity as well, with Simon Smith & His Amazing Dancing Bear.”

“Some writers are funny. But Randy Newman isn't quite. He's sardonic and sarcastic with a pen dipped in bile. Yet you'll find yourself chuckling before you stop and realise the joke is on you. That's the genius of the man. On this, his best album, he gently tortures the world. Who else would couple such beautiful music to a song sung by a trader conning slaves onto his ship, as in Sail Away? Who else can have you singing lustily along to a ditty about nuclear annihilation?

“He is a master satirist with a gentle, but penetrating style that is shown to good advantage here in perhaps his most characteristic album. In the title tune, Newman subtly assumes the character of a black slave trader to satirize and at the same time slyly celebrate the American experience.”

“Randy Newman's simple songwriting, yet full of character and thematically very bold, is great. Sometimes, classicist music like Sail Away is really needed. That's why I love this album as it is filled with highly enjoyable melodies that explore traditional styles like ragtime and cabaret music. Newman's weary and whiny voice is very charming and surprisingly soulful and the way he represents the song's characters is really captivating.”

The Eagles - THE EAGLES****

Take It Easy/Witchy Woman/Chug All Night/Most Of Us Are Sad/Nightingale/Train Leaves Here In The Morning/ Take The Devil/Earlybird/Peaceful Easy Feeling/Tryin'

Self titled debut album from The Eagles, who before very long would become the most successful US band throughout the remainder of the decade. This release is more country than rock and includes the US top 20 hits Take It Easy and Witchy Woman. (US:22)

“This might just be their only true country-rock album, since they would increasingly move in the direction of mainstream AOR, though they wouldn't entirely eschew their country-rock background. If you are only familiar with Eagles songs played on FM radio, this album's all round country-tinged sound will come as a bit of a surprise.”

“The Eagles’ debut, unlike their later work, is actually a country-rock album. No blues, no AOR, just country and rock. And it’s pretty good at that. Take It Easy and Witchy Woman are classics, but songs like Take The Devil are not bad either.”

“Listening to their first self-titled album made me realize how accustomed I had become to their greatest hits. It also made me realize that many of their less famous songs were very strong in and of themselves and deserved more lasting attention than they receive. Eagles find the group’s beautiful harmonies already in place.”

“The Eagles in their earliest incarnation were firmly rooted in the country rock of Southern California, similar to Gram Parsons and the Burritos. Three big hits here, but the rest of it is also great, although nowhere near as solid an album as those they would release in later years.”

“The Eagles debut is a pretty good start, the band has a distinctive approach, though the stronger country flavour suggests that they are relying more on Bernie Leadon and Randy Meisner than on Don Henley. There's a consistency problem with the set, the best tracks are the hits. It’s a promising debut, but with the exception of the singles, nothing matches the band's best work.”

The instrumental work here is superb, with Leadon's bluegrass instincts and his Clarence White-style country-rock guitar breaks particularly impressive. This is a good solid debut with every track a classic. As well as the hits there are some real gems here.”

Lou Reed - LOU REED***

I Can't Stand It/Going Down/Walk & Talk It/Lisa Says/Berlin/I Love You/Wild Child/Love Makes You Feel/Ride Into The Sun/Ocean

Eponymous debut album from the former Velvet Underground leading light Lou Reed. This is a disappointing release with too many tracks performed better in alternative versions. (US:189)

“Reed’s return to recording after a prolonged period of inactivity resulted in an album that’s arguably lacking creative impetus, being made mostly of rehashes of his former group’s late material, and given a rather drab treatment with flat production and slightly hackneyed studio musician backing.”

“Fans of Reed will be more familiar with the Velvet's own versions Can't Stand It and Ocean, released sometime after this release. They're better versions with a more organic, jamming quality which is missing from this debut, even if the record does include a couple of catchy tunes, Love Makes You Feel and Wild Child, for instance.”

“There’s a reason why it’s a footnote in Lou’s catalogue, it’s a series of Velvets outtakes attempted with a more commercial sound. He sounds directionless and in need of a new phase with some brand new songs.”

“Berlin is a splendid ballad which is probably the pearl of his solo career, but not in this version: here the song is completely ruined by the messy arrangement and the dull vocal performance. Wild Child is the only enjoyable moment in this collection, with smart lyrics giving the feeling the guy is finally awake and having a bit of fun.”

“The songs on Lou Reed are mostly leftover Velvet Underground tracks, and while the material is good, the performances and production couldn't have been more inappropriate. Reed himself doesn't seem to have his heart in the music, and a bizarre backing band was not the right choice for Lou's songs at all. That would be easy to overlook, but the majority of these songs were done much better in earlier or later versions. Berlin doesn't have the intensity of the later version and most of the songs VU had recorded previously sound like bad cover versions, lacking bite and energy. Any songs exclusive to Lou Reed weren't much to write home about.”

“Lou Reed is more a historical curiosity than a powerhouse of artistic expression. It's difficult to listen without casting your mind on the past and to the future; there are hints of both.”

Live - THE OSMONDS***

My World Is Empty Without You-I'm Gonna Make You Love Me/I Can't Get Next To You (Medley)/Double Lovin'/Your Song/Sweet & Innocent/You've Lost That Lovin' Feelin'/Proud Mary-Free/Go Away Little Girl/ Sometimes I Feel Like A Motherless Child-Where Could I Go But To Lord-Every Time I Feel The Spirit (Medley)/We Gotta Live Together/Trouble-I Got A Woman/Hey Girl/Down By The Lazy River/Yo-Yo/One Bad Apple

The first live album from the bubble gum boy band The Osmonds. Recorded at the Forum, Los Angeles in December 1971, it captures the mania of teen girl fans at the height of their popularity. (US:13 UK:13)

“This supposedly live album is infamous for not being that live. At the time of it's recording the brothers were all sick and the results were so disappointing that they were made to re-do some of their vocals. You can tell, as many of the performances have a double-tracked sound to them. Still, it sounded like a good show and I was surprised to find out from the sleeve notes that the album was a double LP in America whilst in the UK it was edited' to fit on a single album.”

“I read there were technically difficulties and the tracks were re-recorded in the studio. Don't know if this is true, but it stills sounds live in concert and contains songs from the time that weren't Osmond records. It's a fine selection of tunes and I highly recommend it for its rare recordings.”

“I just thought they were some cheesy 70s act - and that's what blind prejudice will do. But then by accident and just for the heck of it I listened to this album, and what a groove. These white boys with soul could rip it up.”

“Osmonds Live is solid document of Osmania at its most delirious. With audiences less choreographed and malleable than they would become in later years this is the sound of teenage mania at its purest and its rawest, a never ending barrage of screaming, keening ecstasy that is already peaking before the band even takes the stage. It continues on its merry, maddening way long after the last roadie has left the building.”

“The Motown medley opens the show with all the pizzazz that its studio incarnation was lacking; further medleys later in the set capture the band hitting gospel and (briefly) rock & roll with equally passion. In between times, meanwhile, a barely audible Donny squeaks gallantly through his hits, and the girls just keep on squealing. It's an awesome sound.”

Live Cream Vol. 2 - CREAM****

Deserted Cities Of The Heart/White Room/Politician/Tales Of Brave Ulysses/Sunshine Of Your Love/Steppin' Out

Follow up live album from the blues-rock trio Cream who had disbanded three years earlier. This release is considered an improvement on its predecessor and brings to the fore the guitar of Eric Clapton. (US:27 UK:15)

“Containing just six tracks, this record delivers all the good aspects about Cream. Bruce’s bass is much more audible, volatile and adventurous than on any studio recording. Clapton is loud and excited, and Baker shows how he brings jazz into hard rock.”

“Cream live were terrific. Volume 2 catches the band really into it and cooking. Bluesy acid rock was rarely played any better. It wouldn't be long before aliens kidnapped Eric Clapton and replaced him with mediocre country bluesman.”

A much better selection of songs here than on the first volume. Cream were a sensational band live, and this set proves it. I have always said Cream's dinosaurean thud was a huge influence on the birth of heavy metal, and if you want proof just listen to Sunshine Of Your Love and White Room.”

“This is Cream in their purest form, performing live. Unquestionably one of their most consistent sets, virtually every track rips, doing the corresponding studio version of each cut justice. I'll take this over Volume 1 any day.”

“Overall this is a good album that presents an accurate picture of Cream's live work. There's some great improvisation and jamming at times, so frantic it reminds me of a dog fight. Steppin' Out features an outstanding guitar performance by Clapton and Baker's drumming is fierce.”

“The way these guys jam on their extended live cuts is full of jazz-like fluidity, bluesy rhythm, and the intensity of hard rock. It all comes together on this disk. Clapton's solos are extraterrestrial, and Bruce's voice is in good form.”

“A great live album; yet it feels only partially complete. The songs chosen here completely focus on Clapton. None of the jams allow Baker or Bruce to shine through as the elite talents they are. Instead, every song showcases Clapton via extended solos with only supporting roles for the bass and drums.”

Amazing Grace - ARETHA FRANKLIN***

Mary Don't You Weep/Precious Lord Take My Hand-You've Got A Friend/Old Landmark/Give Yourself To Jesus/ How I Got Over/What A Friend We Have In Jesus/Amazing Grace/Precious Memories/Climbing Higher Mountains/Remarks By Reverend C L Franklin/God Will Take Care Of You/Wholly Holy/You'll Never Walk Alone/Never Grow Old

Aretha Franklin returns to her southern gospel roots with the double album Amazing Grace. Recorded live from the New Temple Missionary Baptist Church Los Angeles she is backed by The Southern California Community Choir. (US:7)

“Here, Franklin, along with James Cleveland & The Southern California Community Choir, let some of the most performed traditional gospel songs unfurl in very patient arrangements, allowing the singers and the band to sincerely backup Franklin's booming, devotional voice, never allowing her to become too self-indulgent. The most impressive thing about the arrangements is that they forsake speed, often a hallmark of the more sanctified gospel recordings, for musical exploration.”

“Aretha takes us to her roots and shows us where that amazing voice came from - the church. I have never known a record have so many spine-tingling moments as this one. It's relentless in its ability to squeeze every last drop of emotion from these traditional gospel songs. The choir, the band and Aretha's voice all combine to produce one of the truly great live recordings. I challenge anyone not to be moved by the music here.”

“Aretha returns back to her roots by singing gospel, and predictably it's one of the best records you will hear in the genre, mainly because no how lacking in faith you are when Aretha sings, you know the gospel singer is still at the front of it all.”

“This is quite probably the most commercially unapproachable release of her illustrious career. It has no elements of pop or scattered elements of secular soul, but is through-and-through genuine southern gospel.”

“This album is fantastic, but it is not for everybody but one for those who love to listen to Aretha's voice. Being a tremendously gifted technical singer, this live set gives Aretha an opportunity to show off every trick in her book. But on this album in particular, her technical talent never overshadows the feeling and emotional impact of the songs, as it sometimes does at other points in her career. The album is a live recording from a Los Angeles Baptist church.”

Lookin' Through The Windows - JACKSON 5***

Ain't Nothing Like The Real Thing/Lookin' Through The Windows/Don't Let Your Baby Catch You/To Know/ Doctor My Eyes/Little Bitty Pretty One/E-Ne-Me-Ne-Mi-Ne-Moe (The Choice Is Yours To Pull)/If I Have To Move A Mountain/Don't Want To See You Tomorrow/Children Of The Light/I Can Only Give You Love

The Jackson 5 maintained the high frequency of their album releases with Lookin’ Through The Windows. However, this would be the last to feature Michael Jackson as a child singer. Includes the US top 20 singles Little Bitty Pretty One and the title track, the latter reaching No. 9 in the UK. (US:7 UK:16)

“It's what you might expect from a Motown album, a few well done covers with the hit singles thrown in for good measure. The Jackson 5 weren't really aimed at the album buying market, but that doesn't really mean that the quality suffered as a result.”

“Michael's voice was on the verge of breaking and these recordings amount to the last recordings of him with his childish voice. Don't be put off by that, though, because he was a special case with an extremely soulful and passionate voice, despite his tender years.”

“All in all, most of the songs are in a similar style to each other and it flows nicely into a solid album. There has definitely been some progress made from their first four albums, which had tended to rely on the youth of the group, whereas the later recording were geared toward honing the style of The Jacksons.”

"Children Of The Light is where the J5 meet the Partridge Family, stylistically speaking. This is typical of the shiny happy people early 70s poppy upbeat peace and love songs, that those from the era would have heard on AM radio before going to school, or in the background music of a teenage Saturday morning cartoon.”

“Lookin' Through The Windows was the last top ten album by the band for Motown and it showed a maturation in the band's sound. Michael's voice was changing, so the teenybopper angle that some previous songs took no longer fits.”

“Though the songs on Lookin' Through The Windows were a bit more serious than those that made them stars two years earlier, The Jackson 5 were still frustrated with the soon to be dated songs that were being fed to them. Despite this, it was still a decent album with many of the songs accommodating themselves well to Michael's slightly changing voice.”