Vol. 4 - BLACK SABBATH****

Wheels Of Confusion/Tomorrow's Dream/Changes/FX/Supernaut/Snowblind/Cornucopia/Laguna Sunrise/St. Vitus Dance/Under The Sun

Black Sabbath Vol. 4 marked a modest change in direction for the band. Although still retaining a heavy sound some more progressive elements now appear that provide a lighter tone overall. (US:13 UK:8)

“Vol.4 represents a turning point in Black Sabbath's career: before the release of this record, the band was getting heavier and heavier so they had to search for other directions and styles. The result is a still a very heavy album, but featuring clear and innovative progressive elements, since the songs are all very varied, following distinct structures.”

“After their first three hard and heavy albums, Black Sabbath went in a different direction on Vol 4 which is more laidback, with songs like Changes, which is one of their best. Sabbath make the transition very well and the doomy element still shines through. This album is Sabbath making a different road for themselves.”

“Not as strong as the previous albums, though still a groovy kind of stoner/doom with Iommi trademarked riffing. Yet this album feels quite much lighter and a bit more poppier than the previous ones, lacking a lot of the darker elements.”

“Their fourth album borrows from previous albums and foreshadows the more experimental and technical route of Sabbath Bloody Sabbath, but fails to reach the better moments of these albums for inspiration. Vol. 4 is a tenuous middle ground of sludge/stoner metal, straightforward hard rock, and some stripped down tracks that while short of excellence, are still an essential component of their discography.”

“This unfortunately suffers a bit due to its inconsistency. It sees the band trying out new stuff like piano ballads and some acoustic instrumental interludes. Changes is a piano ballad and it sounds pretty sappy and forced. However, great moments heavily outweigh the poorer ones. The album starts with the great Wheels Of Confusion which sees the band trying to inject some prog into their songs, which works well thanks to some amazing guitar work.”

“Another classic by Sabbath featuring some experimentation by having some soft easy listening and instrumentals. They are different from the usual Black Sabbath's sound, but nonetheless interesting.”

Bandstand - FAMILY***

Burlesque/Bolero Babe/Coronation/Dark Eyes/Broken Nose/My Friend The Sun/Glove/Ready To Go/Top Of The Hill

With Bandstand the progressive rock band Family moved in a more commercial direction, although still retaining an eclectic mix of tracks using a wide assortment of instruments. Includes the UK top 20 hit Burlesque. (US:183 UK:UK:15)

“Fine musicianship and wonderful tunes, they actually reached a high level of quality at a time where many were being over-rewarded for much less. They were also legitimate practitioners of unrepentant creativity.”

“Family were ahead of their time by using an assortment of instruments previously not normally used in rock bands, such as clarinet, and displaying a slight jazz influence. What is most noteworthy about this band, is the almost unbelievable vocal intensity of front-man Roger Chapman.”

“Higher production on this LP yields a much more polished sound which, coupled with the overtly mainstream orientation of their material, misses the mark substantially. Moving in a distinctly more commercial direction, their quality suffers dramatically. Gone is the hard rock edge of earlier releases, replaced by a substantially greater use of strings. Their descent towards the depths of mediocrity is in free fall. Still, there are a few decent tracks to salvage here.”

“Bandstand is by far their most polished work which gained them some much needed notice in the States. As with many of their albums, this is a rather eclectic mix with the perfect balance of depth and accessibility that makes all of Family's albums an enjoyable experience.”

“While it may have lacked some of their more creative moves, the results made for their most consistent release, showcasing a distinctive switch towards a commercial, hard rock influenced sound. Exemplified by the lead off rocker Burlesque and Broken Nose, Chapman's unique voice proved well matched to the genre and served as kind of a precursor to his forthcoming post-Family Streetwalkers project.”

“Not a bad listen, but not real good either. By this point Family were doing a bit of everything, including a big funk influence. Still a lot of nice prog/rock moments.”

Dingly Dell - LINDISFARNE*****

All Fall Down/Plankton's Lament/Bring Down The Government/Poor Old Ireland/Don't Ask Me/O No Not Again/ Dingle Regatta/Wake Up Little Sister/Go Back/Court In The Act/Mandolin King/Dingly Dell

Dingly Dell was dismissed by some critics as below par when compared with the first two Lindisfarne albums. There is no justification for this claim as it is fully the equal of their earlier releases. (UK:5)

“As an album I think it hangs together better than Lindisfarne's previous efforts. Unfairly criticized upon release, this album has the most lively, spirited feel of these three great albums. The only drag is the last track, Dingly Dell, which is essentially a six-minute drone chant. Not my bag, but the rest is pretty great, All Fall Down and Court In The Act being the highlights.”

“A criminally under-rated album of great songs, recorded fast (as all the best records are) and as a result they sound more like a band, if less eclectic, than on their first two albums.”

“This album has a real charming crazed sing-a-long in your living room feel. Alan Hull's voice may take a while getting used to but its all good fun and that's the bottom line here. It's hard to pick a highlight out of this collection, confirmation why Lindisfarne were such a big a hit band in the early 70s.”

“The music within thrilled my young ears, mandolins strummed, harmonicas wailed, guitars jangled etc. This music still resonates with some of Alan Hull's greatest songs.”

“The band's playing is spirited enough, they sound like Pentangle with higher wattage, and there are lots of enjoyable songs. Court In The Act is a classic piece of folk-rock, with a rousing chorus, a wonderful melody and memorably funny lyrics. There are many other good songs that have memorable tunes.”

“The one-two-three punch of the opening medley might well be the most thrilling moment in the band’s catalogue signalling everything Lindisfarne were about: shouting from the rooftops on behalf of the common man whose voice was being denied and whose feelings were being trampled on.”

Close To The Edge - YES*****

Close To The Edge/And You And I/Siberian Khatru

The progressive group Yes reached a creative peak with the three extended tracks of Close To The Edge. Alas, this would be their high water mark as future releases would reflect their descent into turgid mediocrity. (US:3 UK:4)

“This, as far as I'm concerned, sounds like heaven, the gorgeous melodies, sublime harmonies, top notch musicianship, dense layered luscious instrumentation, pretty, poetic lyrics. To me, this is why music exists.”

“This disc provides a cohesive, unified musical vision and is certainly one of the most consistently excellent Yes albums. It provides a perfect balance between accessibility and experimentation, whilst the music is highly original, novel and complex, at the same time the album is still approachable.”

“This album pretty much has everything I look for in music. It's tightly played, yet demonstrating a freedom in the patterns and structures; it's melodic, it's very alternative, yet so very much 70s sound to it. There are harmonies with good vocals and it all just melts into a perfect balance.”

“Close To The Edge, the opening track that takes up the entire first side has a great beginning, full of noodling guitars that lead into upbeat movements spiced with harmonies. The middle track And You And I is more experimental and slower moving, while Siberian Khatru is conventionally structured and fast paced. Overall this is a very delightful listening experience.”

“Close to the Edge is a very good example of a rock symphony. The title suite in particular, is impressive in the way it's organized: the basic themes set out at the beginning are reprised repeatedly in interesting ways. The arrangement is also excellent, with all of the instruments working together in sometimes surprising ways.”

“Close To The Edge is great music, composed and played by instrumentalists with a great amount of talent. The title piece defines Yes: texture, depth, motion, lyrical, containing intertwining themes amidst changing tempos that lift the piece to a soaring climax. It never sounds dated. And You And I contains rich, full keyboards surrounded by fine guitar work. Siberian Khatru crashes forward with Howe's unique guitar style.”

Styx - STYX***

Movement For The Common Man/Right Away/What Has Come Between Us/Best Thing/Quick Is The Beat Of My Heart/After You Leave Me

Eponymous debut album from the American progressive band Styx. They would become enormously popular later in the decade but this first effort is heavily dependent on covers making the group indistinguishable from many others.

“Styx is clearly the work of an emerging band as evidenced by the amount of covers. Only Best Thing and parts of the opening track were self penned, but the covers are of songs I’ve never heard before and are ably performed. The style is a crossover of blues-rock, hard-rock, and some forays into prog, all of which fail do anything to set Styx apart from a myriad of other bands doing the exact same thing in the early 70s.”

“Considering what they would later morph into, this is surprisingly good, though not great. Overall, it's a mix of good, and not so good, semi-commercial, hard edged prog, with only some of the annoying vocal harmonies and synth that characterize their later, well recognized sound.”

“As a huge Styx fan, I'm the first to admit that this isn't the best thing the group has ever done. They had a long way to go until they found the sound that they were comfortable with. However, that doesn't make this a bad album. As far as rock albums from the early 70s go, this one can stand on its own merits.”

“With Movement For The Common Man you have a fantastic prog rock suite. The rest is just generic mainstream blues-rock I'm afraid.”

“Side one is more in an early progressive rock mode, and quite good at that. Side two though is the real charm with a mid-western hard rock sound similar to Grand Funk at their best. Nothing outstanding, but a good listen all the way through.”

“Every song is well written, well produced, and performed flawlessly. I can see now how Styx became progressive rock giants.”

“For the typical listener, this may seem like a rather arcane addition to their music collection, but it does stand as the musical incarnation for what was to become one of the most popular bands. Mostly covering songs written by others, Styx show good rock and roll flair, and indications of some of the great progressive rock that they would generate as their career advanced.”

Roy Buchanan - ROY BUCHANAN***

Sweet Dreams/I Am A Lonesome Fugitive/Cajun/John's Blues/Haunted House/Pete's Blue/The Messiah Will Come Again/Hey Good Lookin'

Self titled debut album from the American blues-rock guitarist Roy Buchanan. He came to public prominence after starring in a TV programme labelled as ‘the best unknown guitarist in the world’. (US:107)

“Roy Buchanan is definitely one of my favourite blues guitarists. Here is the debut where he unveils the magical and unique sound of his guitar. The highlight is of course Messiah, featuring some of the most haunting solos put on a single track. Sweet Dreams is his most known song and a blues gem. The lengthier songs are blues diamonds.”

“This major label debut is an uneasy mix of slow/heavy blues rock, and heavily country flavoured rock, featuring steel guitar. Buchanan is a guitar virtuoso, so nearly all the tracks feature a guitar improvisation of one sort or another, some of which work, while others border on annoying. I feel the blues driven tracks are clearly the best material here.” ,p> “A very inconsistent album, but has some amazing songs on it. The Messiah Will Come Again being my personal favourite, with so much emotion in such a simple song. Sweet Dreams shows his artistry on guitar, getting a sound only Buchanan could. Neither Pete's Blues nor John's Blues have the sound I love Buchanan for, but that's not to say they are bad. I Am a Lonesome Fugitive is a rather jocular tune, while out of place, I enjoy it a lot.”

“Buchanan is an amazing player with such a unique style and approach. He is truly one of the top guitar players of all time and of all his albums this one was played with the most passion and fury. Cajun is without a doubt the best track with a killer solo, the guitar through the whole song is amazing. Other highlights would be Haunted House and Sweet Dreams both of which are classics. Roy Buchanan is an album that each and every guitar player should own.”

“It's hard to pin Roy down, he played everything so well - country, blues, rock, jazz, you name it. He moved seamlessly from one genre to another, so for lack of anything more descriptive he is often categorized as a blues guitarist.”

Captain Beyond - CAPTAIN BEYOND***

Dancing Madly Backwards (On A Sea Of Air)/Armworth/Myopic Void/Mesmerization Eclipse/Raging River Of Fear/Thousand Days Of Yesterday (Intro)/Frozen Over/Thousand Days Of Yesterday (Time Since Come & Gone)/I Can't Fell Nothin' (Part I)/As The Moon Speaks (To The Waves Of The Sea)/ Astral Lady/As The Moon Speaks (Return)/I Can't Fell Nothin' (Part II)

Eponymous debut album from the Los Angeles progressive rock band Captain Beyond based in Los Angeles. Formed by former members of Deep Purple, Iron Butterfly and the Johnny Winter Band. (US:134)

“There's no other band to compare with these guys to because they're so unique. If I had to describe their style, I would probably say they do a fascinating job of mixing psychedelia, heavy metal and even some jazz, with the mellow stuff the icing on the cake. The music is calm and lovely one minute, only to turn blistering and loud the next.”

“Captain Beyond is a modest rock treasure, an encyclopaedia of hard rock riffs. The songs gallop along, spilling over, merging together, presaging and summing.”

“Creative hard rock riffs, crazy time changes, soulful vocals and utterly schizophrenic drumming, all topped off with an entirely nonsensical concept and mind-expanding cosmic lyrics. Each song has about a million riffs crammed into it.”

“It is structured as a progressive rock album, with long suites and the songs joined together, without intervals or separations, which gives the record certain conceptual unity, although the prog of Captain Beyond is not so well-built as other art rock classics.”

“This album is not a collection of songs, but a song cycle in which themes in one song are revisited later in others. The record is meant to be listened to as a whole, not as individual songs. The album masterfully blends early heavy metal, progressive sensibilities and extremely catchy tune-writing.”

“An album very much ahead of its time - hard rock, but not metal, spacey but not too druggy, acoustic before there was the term unplugged, jazzy without being jazz, conceptual without being a concept album, with each song flowing on into the next. This is certainly one of the greatest guitar albums I've ever heard.”

“One thing about the album is its variety. It feels as if it spans the void, sometimes deftly, other times more clumsily, between late 60s psych and the more metallic hard rock of the 70s.”

Toulouse Street - THE DOOBIE BROTHERS*****

Listen To The Music/Rockin' Down The Highway/Mamaloi/Toulouse Street/Cotton Mouth/Don't Start Me To Talkin'/Jesus Is Just Alright/White Sun/Disciple/Snake Man

Toulouse Street was the follow up album from the hard rocking Doobie Brothers that delivered their commercial breakthrough. The group benefited enormously from the songwriting skills of Tom Johnston. (US:21)

“A rollicking good-rocking masterpiece, from the first note to the last, this is good time rock with a decidedly Southern feel at its best. As a band The Doobie Brothers are in top form. The combination of Tom Johnston and Patrick Simmons' vocals and guitars is a knockout as usual and the music just flows.”

“They were a band with a smooth, easy going style with enough edge to keep the music interesting. Great harmonies and rhythm. The percussions on their early work were outstanding. The beginning of Jesus Is Just Alright is a testament to that aspect.”

“The musical style is perfect west coast rock, flavoured with elements of southern rock and rhythm & blues. The range goes from catchy rock songs, fevered rhythms of the south, long grooving jams and comforting acoustic performances.”

“This is a solid effort from the Doobies. Their sound is very much in the southern rock arena. This album is very professionally presented in terms of vocal harmonies, musicianship and production.”

“The Tom Johnston Doobies were fantastic, good musicianship, great vocals, and very catchy and skilled songwriting. Their lyrics are captivating. These guys were craftsmen at songwriting, artistic at guitar styles, and wizards at being able to put a great album together.” ,p> “The musical chemistry here is astonishing and for fans who only know the band for their hits, the gentler, laid back vibe of the acoustic, folk-tinged numbers will surprise many listeners.”

“After their self-titled debut disappeared off the charts without a trace, the band became a lot more pop conscious with their second album. The album's first track, Listen To The Music is pure AM gold. Instantly hummable, with a memorable opening guitar riff, the song started an impressive run for the band in the 70s.”

Ben - MICHAEL JACKSON***

Ben/Greatest Show On Earth/People Make The World Go Round/We've Got A Good Thing Going/Everybody's Somebody's Fool/My Girl/What Goes Around Comes Around/In Our Small Way/Shoo Be Doo Be Doo Da Day/You Can Cry On My Shoulder

Ben was the second and most successful album from Michael Jackson during his time as a Motown child artist. The melodic title track topped the US singles chart and reached No.7 in the UK. (US:5 UK:17)

“You can definitely tell his singing had improved from his debut. There's a lot more soul and conviction most evident on the fantastic title track, but also throughout the release as well. The cuts here are generally a little more up-tempo than his debut as well, which is nice and provides a pretty good vehicle for Michael to shine.”

“Before Michael Jackson became a pop legend, he was a child prodigy on Motown. Ben sees him sweet and innocent, with his squeaky, high-pitched vocals. These do get quite annoying after a while, as do the songs about love and relationships being sung by a twelve year old. Having said that, for his age he was a remarkably good singer and tracks like The Greatest Show On Earth are performed well and are catchy enough to be enjoyable. Ben is by no means essential, but it is nonetheless a reasonable album.”

“Ben, the title track, starts off the album with Michael Jackson singing so passionately; he truly displays a talent far beyond his years. His phrasing and his excellent diction enhance his performance all the more; and the rest of the Jacksons also do a sublime job. The Greatest Show On Earth has an incredible melody with Michael squarely front and centre, singing this with panache. Motown had really worked hard to make the music work while his voice still had that sweet, innocent sound to it.”

Many of the songs reflect not only the poppier side of 70s Motown but some of the lyrics take on somewhat reflective adult themes that are very mortal. The Greatest Show On Earth had this very densely written pop approach, and there was the impression that the singer is very aware at this point what he's singing about. People Make The World Go Round is a slightly faster variation on the Philly classic, with the lyrics changed to make more sense with a 13 year old singing them; references to school strikes and such.”

Saint Dominic's Preview - VAN MORRISON****

Jackie Wilson Said/Gypsy/I Will Be There/Listen To The Lion/Saint Dominic's Preview/Redwood Tree/Almost Independence Day

Saint Dominic’s Preview was singer-songwriter Van Morrison’s most successful album in the USA, containing his most diverse range of songs. Jackie Wilson Said would be a top five hit in the UK ten years later when covered by Dexy’s Midnight Runners. (US:15)

“Saint Dominic's Preview is the album where Van's folk and R & B leanings converge in the most satisfactory manner. As far as the former goes he may not have laid down a more irresistible groove than Jackie Wilson Said. Its roll call introduction is a simple trick but a hugely effective one, and before long it's swinging in a tribute to the titular soul-man that goes beyond merely respectful.”

“A nice variety of styles here from the great uptempo start of Jackie Wilson Said to the epic mutterings of Listen To The Lion, one of Morrison's greatest songs. Yet there is still time for the energetic title track, and the atmospheric epic Almost Independence Day.”

“This album takes you on a journey. It is the most well-rounded LP of Van Morrison's career. Whereas most of his albums choose a specific genre to mine, this is one of the few that gives you a taste of his different favourite styles: Punchy AM-radio pop-soul, a fabulous, no holds barred soul-blues number, a gorgeous, sentimental hippie anthem, two rewarding and never boring stretch-out/space out explorations, and to top it all off, one of his most affecting major compositions, in the title track.”

“Unfortunately, Van wasn’t inclined to revisit the glorious Astral Weeks sound very often. But whenever he did, the results were always worthwhile. This isn’t quite a full-on return to that vibe, but it’s still very close to the mystical side of Van.”

“The album lacks cohesion somewhat, but it holds its own through the sheer exuberance of the songs. The title cut is my favourite Van song, bar none. It exemplifies the album perfectly, on the line between Van's accessible R & B and his extended form jazz sensibilities. The album is never over-produced or sappy.”

A brilliant record from one of the greatest recording artists on earth. The range shown in these songs is stunning, from romping, to short and very sweet, to alluring, to show-stopper blues to magnificent longer tracks, all a tour-de-force “

Long John Silver - JEFFERSON AIRPLANE***

Long John Silver/Aerie (Gang Of Eagles)/Twilight Double Leader/Milk Train/The Son Of Jesus/Easter?/Trial By Fire/Alexander The Medium/Eat Starch Mom

Long John Silver was the last studio album released under the Jefferson Airplane name before regrouping under the Starship banner. A lacklustre offering it featured the gimmick of a cover that folded up into a replica of a cigar box. (US:20 UK:30)

“Riding on their familiar early 1970s west coast rock sound, rooted in blues-rock, tinged by psychedelia, without being either, Jefferson Airplane embarked on another record with meandering rock songs, where the guitars sound like they’d rather be jamming and the vocalists sing like they’d rather be performing live.”

“This one is super underrated. It's not their usual psychedelic folk-rock, but I find it pretty sweet to hear bands I love play in a different style than usual, and to hear Jefferson Airplane play this album of straight up rock and roll is pretty sweet.”

“Long John Silver is probably not the best introduction to the Airplane's recorded work. But it has a kind of fury to it that is just short of punk rage. I can't count the number of times I've come home from a long hard day at work and blasted Grace's Eat Starch Mom, a masterpiece of unfocused rage.”

“The problem with this album is that not a single song stands out as particularly good. There aren't any seriously bad songs, but it's a rather boring listen.”

“The last studio album by Jefferson Airplane is a noisy creature, packed with bad songwriting and too many guitars without purpose. The only song worth remembering is Easter.”

“Was this the worst Jefferson Airplane album? Yes, bad sound, bad songs and a bad trip. Eat Starch Mom is the worst Airplane song ever, and even at its best this just sounds like other songs re-made. Not a big surprise this was the last studio album under the Airplane name.”

“Grace is just horrible on the album. I've always had an appreciation for her siren style of singing. But here, instead of sounding like a siren in the operatic sense, she sounds more like an actual siren, screeching instead of singing.”

All Directions - THE TEMPTATIONS****

Funky Music Sho Nuff Turns Me On/Run Charlie Run/Papa Was A Rolling Stone/Love Woke Me Up This Morning/I Ain't Got Nothing/The First Time Ever (I Saw Your Face)/Mother Nature/Do Your Thing

Under producer Norman Whitfield the music of The Temptations moved in a more socially and politically conscious direction. All Directions features the US No.1 and Grammy winning single Papa Was A Rolling Stone. (US:2 UK:19)

“As good as their early albums are, those they released in the early 70s, which felt the influence of producer Norman Whitfield are their strongest. Whitfield had actually been working with the group since the mid-60s but it wasn't until the end of the decade that he began pushing them to expand their scope both sonically and lyrically. They became more socially and politically conscious and the music reached new levels of sophistication to match the more mature lyrics. Songs were stretched to funky, tastefully orchestrated epics.”

“Wonderful album, there is nothing in the world of music quite like the full version of Papa Was A Rolling Stone. The first side is downright funky and aimed at the dance floor, while side two is more lyrical and balladry.”

“A great album full of songs with high energy with some beautiful ballads. Every song is really good. Not one of them has a bad voice, and lyrics are good too. The first three songs have quite a bit of energy, then everything else gets pretty slow at the end. I definitely recommend this album.”

“A late return to form for the Temptations, almost solely down to the twelve minute Norman Whitfield epic Papa Was A Rolling Stone. There's not much to keep interest going here though, a couple of throwaway funk numbers on side one, a selection of nice ballads on side two, and a decent but ultimately pointless cover of Do Your Thing to close things off.”

“This album finds The Temptations in rare form. Every song is sung with passion and those fine harmonies we've come to expect from this great group. The remake of Isaac Hayes' Do Your Thing is a classic, and I especially like the social messages on songs such as Run Charlie Run and Mother Nature, a song that is very passionate and bluesy. Do I really need to say anything about Papa Was A Rolling Stone? The Grammy speaks for itself.”

Super Fly - CURTIS MAYFIELD****

Little Child Runnin' Wild/Pusherman/Freddie's Dead/Junkie Chase/Give Me Your Love/Eddie You Should Know Better/No Thing On Me/Think/Superfly

Soul artist Curtis Mayfield reached an artistic and commercial peak with the soundtrack album Super Fly. The film tackled the subject of drug dealing and was one of several from the era for which the term ‘blaxploitation’ was coined. Includes the US top ten singles Freddie’s Dead and the title track. (US:1 UK:26)

“Curtis Mayfield’s third studio album was composed as the soundtrack to the movie Super Fly. Mayfield’s songs display a negative image of the drug dealer and ultimately this is the message the film itself conveys.”

“Mayfield came up with a funky, realistic, no-holds-barred musical soundscape confronting the ills of ghetto life that opened the paths to the hustles glorified in the movie.”

“There were a lot of great soul artists doing soundtracks around this time, but this one stands out above the rest. All the songs are so well written, going along with the plot of the film, yet could be played in any setting and would still be appropriate. Mayfield's use plot elements from the movie to put across socially conscious commentary is genius. These rhythms are terrific and catchy, but still sophisticated.”

“Adding a tense, nervous energy to his string and brass sections compared with the preceding Curtis, with Super Fly Curtis Mayfield might have in theory been cutting the soundtrack for a sleazy and rather forgettable blaxploitation movie, but it stands perfectly well on its own as a concept album telling its own story about corruption, vice, and the harm inflicted on communities from within and from without. It has more than a little to offer to jazz listeners too, particularly with some of the horn solos. Standing at the corner between soul and funk, sample what Curtis is pushing here.”

“Using grandiose orchestral backings, horns and a funky rhythm section, Curtis created a masterpiece of modern black music. Everything about this album works, from the music and arrangements to the detailed and cutting lyrics.”

“Curtis Mayfield struck a true chord with this recording. Without being obscene or vulgar he captured the sorrows and joys of people who lived city streets, but the everyday ups and downs of just being human.”

The Slider - T REX****

Metal Guru/Mystic Lady/Rock On/The Slider/Baby Boomerang/Spaceball Ricochet/Buick Mackane/Telegram Sam/Rabbit Fighter/Baby Strange/Ballrooms Of Mars/Chariot Choogle/Main Man

T. Rex mania continues but their appeal would start to slide from now on. The Slider features two UK chart toppers Metal Guru and Telegram Sam. This was their most successful album in the States. (US:17 UK:4)

“Bolan has his imitators but no-one has ever come close to his love of words as musical poetry which he uses to develop a language only he seems able to understand. But, if language was all Bolan was about, success would forever have eluded him. What he also had was an uncanny ability to find a killer riff or hook from which to hang his lyrics and used the alliteration and repetition as an additional instrument.”

“Remember when teeny-bop bands played electric guitars and wrote and recorded their own material? Bolan was at the height of his fame if perhaps not his powers at the time of the release of The Slider. It's fair to say that the recurring charges against him of formula and recycling of ideas started here, particularly on the acoustic numbers, most of which sound differentiated only by their lyrics. However, the remaining mix of rockers and funky blues still demonstrate charm and ingenuity.”

“Bolan seems to have found his groove here, repetitive simple riffs, nonsense lyrics, big catchy choruses and most importantly Tony Visconti’s by now trademark thick production sound and arrangements.”

“An exemplary album of glam that never ceases to appeal. Songs sound of the same vein, but are numerous, and well written. Truly a complete album, and not just a collection of T-Rex songs: all seem to flow nicely, and the hits here do not stand above the rest. A must have for fans of T-Rex, glam or pop-rock in general.”

“Featuring two number one hit singles, the effervescent Metal Guru and the bluesy pop of Telegram Sam. The Slider is the band's best produced album and arguably the most accessible. The strings give the songs, with their rough glam guitar, more ground and a lush setting, that pairs nicely with Bolan's earthly poetic lyrics.”

“As good as glam could possibly get. Catchy smooth tunes and cool lyrics with a great vibe. If you liked his previous stuff you should enjoy this.”

Never A Dull Moment - ROD STEWART****

True Blue/Los Paraguayos/Mama You Been On My Mind/Italian Girls/Angel/Interludings/You Wear It Well/I'd Rather Go Blind/Twistin' The Night Away

Never A Dull Moment was the last album Rod Stewart released whilst still a member of The Faces. As a result his music would become progressively blander. Includes the UK No.1 hit single You Wear It Well. (US:2 UK:1)

“Not as good as Every Picture Tells A Story, but still great. True Blue is easily one of his best songs, and even the standard covers are solid. It's not The Faces by any means, but it'll do. Sadly, this was the last real rock 'n’ roll album he made before making his jump to contemporary pop.”

“The thing about Rod's early recordings before he took the Atlantic crossing, is that he sounds as if he's enjoying himself, he's the band leader calling the shots, but still one of the boys. Unfortunately there was no bigger casualty of corporate rock.”

“Stewart and his band borrow many of the same elements from Every Picture Tells a Story: a mixture of acoustic rock and folk tunes and a nice combination of original and cover material. There's more electric guitar here, and a country influence creeps in from time to time.”

“Some of the greatest, most honest, soulful songs you'll hear. Before Stewart became more pop orientated, here he's just laying it all on the line and baring some of the most emotional music ever played. The instrumentation is top notch, with Ron Wood's signature chunky guitar licks and a thumping rhythm section, along with some folk styles.”

“Rough and rugged rock & roll mixed with Rod’s raspy vocals made some great rockers and great ballads. After this release the quality of Stewart's work went downhill, making one realize how important the members of The Faces were to the success of Stewart's early work. While this is not a Faces record, they are all over it.”

“I really appreciate the unbeatable Faces style mix of electric and acoustic that Stewart brings to perfection on this and his other early releases. Every cut is strong. Half the album is covers, but what covers they are.”

American Gothic – DAVID ACKLES***

American Gothic/Love’s Enough/Ballad Of The Ship Of State/One Night Stand/Oh California/Another Friday Night/Family Band/Midnight Carousel/Waiting For The Moving Van/Blues For Billy Whitecloud/Montana Song

American Gothic is the most acclaimed album from the singer songwriter David Ackles. Despite the media hype at the time of release sales remained disappointingly modest. (US:167)

“It really is a crime that so few people listen to such masterpieces as American Gothic. Lyrically, Ackles' songs reveal a true poetic sensibility as well as great affinity for stage-writing. I do not believe that any songwriter has written lyrics as intelligent, powerful and dramatic as its title song, while Midnight Carousel seems a showcase for his dramatic and storytelling genius.”

“As its title suggests, American Gothic is an attempt to paint a kaleidoscopic picture of American life through a series of character narratives and internal monologues. As sprawling a project as this may sound, Ackles manages to avoid the pitfall of overreaching, in attempts to be all-inclusive by imagining himself quite snugly into extremely focused and well-drawn characters and situations.”

“Ackles lives in a world populated by characters struggling against the constraints of life, where the morals and opinions of the masses press down, snuffing out any essence of individuality. A case of conform or get out. Because of these rigid strictures, this lack of social development, Ackles could be singing of life a century ago or situated in isolated, claustrophobic communities where modernity has yet to penetrate. Where people lock themselves away inside clapboard houses and indulge in dreams and vices hidden from the disapproving gazes of the neighbours.”

“Ackles has a wonderfully novelistic, narrative style that beautifully captures the flip side of the American dream, from dead end relationships and one night stands to the emptiness of the single life that pervades several tracks here. Others hark back to simpler times and echo with a loss of community and religion that by the early 70s was becoming more and more widespread.”

“Ackles has a really idiosyncratic style, combining the confessional storytelling of other songwriters of his era with a huge does of musical theatre, particularly cabaret and American musicals, with borderline novelistic lyrics. It's a weird amalgam that mostly doesn't just work but wows.”

Fifth - SOFT MACHINE**

All White/Drop/MC/As If/LBO/Pigling Bland/Bone

By the time of the release of Fifth founder member Robert Wyatt had left Soft Machine to form Matching Mole. As a result the group moved further away from its psychedelic roots to embrace jazz fusion.

“The absence of Robert Wyatt is palpable in this album. Gone is the sense of musical adventure, the humour and whimsy, and of course, the solid drumming. What you are left with is a very run of the mill jazz fusion that offers nothing that several other bands weren't already offering.”

“Soft Machine got very immersed into the jazz thing. That shouldn't be a problem, except for the fact that the melodies aren't jazzy at all, they're just quickly making up the whole thing. Dark tunes without too much soul.”

“The sound is quite similar to that found on their previous effort. Very jazz oriented and less progressive/psychedelic than the original style of the first two albums. This has lots of improvisation and high quality instrumental work, just the way I like it.”

“If Fourth captured Soft Machine drifting towards pure jazz territory, Fifth sees them having travelled most of the way there. With Robert Wyatt jettisoned, the band also appears to have severed most of its connection to the Canterbury sound with this music being gentle, quasi-ambient fusion.”

“This is a good 70s electric jazz album from a band who started off as psychedelic rock, moved into jazz-rock, and then dropped the rock altogether.”

“With this one, we find the tide reversing ever so slightly back towards rock, incorporating more of a fusion sound. As usual, all tracks are improvised, and while some are slightly more interesting than on earlier releases, others are even less.”

“This was the first album after the departure of Robert Wyatt, which was a major blow. With Wyatt leaving he took not only his great drumming abilities, but his sense of anarchy, eccentricity, and warmth. This begins the jazz/fusion era of Soft Machine and as always, it's all subjective, but I always thought the post Wyatt era of Soft Machine was much underrated. This is great jazz/fusion/progressive music that is ahead of it's time.”

Home Free - DAN FOGELBERG****

To The Morning/Stars/More Than Ever/Be On Your Way/Hickory Grove/Long Way Home (Live In The Country)/ Looking For A Lady/Anyway I Love You/Wysteria/The River

Home Free was the debut album from American soft rock singer-songwriter Dan Fogelberg. He would achieve consistent commercial success in the USA during the second half of the 1970s.

“Dan's singing is surprisingly raw here, and that's not a good thing when his songs and his style demand the kind of lush and pretty and polished singing that he would go on to develop. On this debut his voice sounds stranded between somewhere he should be going and somewhere he shouldn't.”

“From the first ethereal strings of To The Morning to the lingering ending of The River, this album stands as a quintessential example of Fogelberg's talent. There is little artifice here, musically or lyrically.”

“To me, his later releases lack the raw emotion that this album so perfectly portrays. Every song here is great. Listen to the sheer beauty of Be On Your Way or the raw emotion of More Than Ever. This record is Dan's milestone.”

“I have worn this album out. It has a little bit of everything, a slight folksy, country sound, but great meaningful songs and melodies. This was his first album and a real taste of what was to come. If you like Dan Fogelberg, this is a must have.”

“This album turned me on to Dan Fogelberg's awesome style of lyrics that weaved intricate imageries with the creative music that has made him so popular.”

“Home Free is a good piece of work that contains fast country-pop tunes, symphonic ballads and folky songs. This first effort reveals that Dan Fogelberg wasn't just a good composer, or a folky who told pretty stories and memories. He was a pioneer also. Home Free was ahead of its time. Dan sounds like modern ambient and electronic music, with much resemblance to new age orchestrations.”

“After all these years, this is still one of my favourite Fogelberg albums. It has a nice freshness to it, and a delicacy that's lacking later on. It's neatly produced too, better in fact, than many of his later albums, and packed with memorable, rather melancholy tunes.”

Foghat - FOGHAT***

I Just Want To Make Love To You/Trouble Trouble/Leavin' Again (Again)/Fool's Hall Of Fame/Sarah Lee/ Highway (Killing Me)/Maybelline/A Hole To Hide In/Gotta Get To Know You

Self titled debut album from the British boogie-blues band Foghat launched by former members of Savoy Brown. Like their parent band they enjoyed much greater success in the States than back home. (US:127)

“I found their first album imaginative, full of hooks and catchy from start to finish with great dual lead guitars.”

“A bunch of refugees from Savoy Brown got together to make boogie blues. Dual guitar leads rock out the blues and it is a joyous sound.”

“They were formed to appeal to the lowest common denominator, with their steady boogie blues output. But at the time of this first release, they weren't so sure this idea would take off, and recorded an album that appeals to fans of all shades of blues rock, with mild progressive influences that are well concealed. This is clearly their least commercial offering, and the one that would probably appeal the most to underground music lovers.”

“I'm not normally much of a Foghat fan, but this first album rocks pretty hard; a steady blues boogie rumble that's worth playing once in a while.”

“Foghat did their level best to defy genre-typing. While this is not my favourite album of theirs, it was certainly a pleasure to listen to nonetheless. While they were still finding their footing here, they did an admirable job and got it right.”

“This debut album is for anyone who enjoys energetic, blues-influenced rock. Not quite as polished as some of their later works, I still consider it their best, capturing well the guitar/bass-driven sound that came across so well in concert.”

“Being a Savoy Brown fan I was naturally curious about Foghat. This record confirms why its a good thing sometimes when a few core members choose to leave. They created a magical amalgam of blues, boogie, riveting covers stamped with their own brand.”

“This is how Foghat came to this world. Nicely rocking, they matured later, and this is a solid kick-start for serious outsiders.”

Exercises - NAZARETH***

I Will Not Be Led/Cat's Eye Apple Pie/In My Time/Woke Up This Morning/Called Her Name/Fool About You/Love Now You're Gone/Madeleine/Sad Song/1692 (Glen Coe Massacre)

Exercises was the follow up album from the heavy rockers Nazareth, and is more acoustic and mellower than their other releases. With a return to a more hard rock sound they would achieve commercial breakthrough with their next album.

“Exercises is a real mellow Nazareth release although I prefer their more hard rock output. Even though it's mellow, there are several good tracks here.”

“Exercises is an early Nazareth LP, featuring a kind of rock that's pretty distant from what made the band well known, straightforward pub rock intertwined with great ballads. Here, all that is absent, and instead there is blues-rock, folk and orchestrated songs.”

“The album sounds dated and old-fashioned for its time, and is not something memorable from their back catalogue, except maybe Madeleine, a lost gem in the vast Nazareth discography.”

“An odd, laid back, mainly acoustic album, kind of a downer. Not very memorable and not much by way of rock songs here.”

“Nazareth's second album, is somewhat out of place, being released between their harder rocking debut and their pioneering heavy metal breakthrough. The songs are mostly acoustic ditties with some semi-hard blues rock thrown in. There is also one of the most definitive angry atheist statements ever in I Will Not Be Led.”

“Nazareth decided to make a more mellow-sounding album with more focus on songwriting instead of on rocking out and having fun. This makes it clearly different from everything else the band ever did.”

“I Will Not Be Led features atheistic lyrics and a moody atmosphere complemented by some orchestration. Cat's Eye Apple Pie is a great harmonica driven tune that can instantly make you feel good when you're down. In My Life is the weakest song on the album, but it's not without charm. Woke Up This Morning is a cool tune with a great beat. Fool About You will stick in your head for a long time, an awesome acoustic rocker with a brilliant vocal melody. Madeleine might be the most beautiful, moving, painfully emotional ballad that was ever put on record.”

Road - ROAD***

I'm Trying/I'm Going Down To The Country/Mushroom Man/Man Dressed In Red/Spaceship Earth/ Friends/Road

Self titled sole album release from the hard rock trio Road formed by former Jimi Hendrix Experience bassist Noel Redding. Their music has been compared to Black Sabbath but with wah-wah guitar to the fore.

“Spaceship Earth is epic and gets better every time I listen to it. The rest of the songs range from decent to great. I can't see anyone into this type of music having any complaints about this one.”

“Not unlistenable and rather enjoyable in parts. But the psych sound provided by this new ensemble isn't all that interesting. Once again, another effort by Noel Redding to try and prove his continued relevance.”

“A simply devastating heavy-psych album by Experience's bassist, and a real surprise when I heard it recently for the first time.”

“Noel Redding never really established a career outside of Hendrix. Neither Fat Mattress nor his own solo albums took off in any way, but this power trio recorded some really great stuff. Mushroom Man features some of the wildest wah-wah/fuzz tone guitar I've ever heard, while both Spaceship Earth and Road are lysergic blasts of stoned early seventies rock. There are a couple of ordinary mellow cuts, but on balance this record is killer.”

“This album takes you on an unforgettable adventure through forgivable hippie country on a Sabbath death camp freight train. A gem among wah-wah wizardry.”

“I like Noel's accented, echoed English pop-rock vocals; the guitar has a great, strong tone, and although their arrangements are pretty simple, they all have a driving energy to them which makes the album compulsive listening. It's not prog or hard rock, probably the best label would be late heavy psychedelic rock.”

“Wonderful wah-wah driven lead with the thunderous bass of the legendary Noel Redding, it might be fair to call this album his finest moment as a bass player. All in all a rather un-commercial and very trippy affair.”

Case History - KEVIN COYNE***

God Bless The Bride/White Horse/Uggy's Song/Need Somebody/Evil Island Home/Araby/My Message To The People/Mad Boy/Sand All Yellow

Case History was the debut album from British vocalist and guitarist Kevin Coyne who had previously fronted the little known group Siren. It features songs about madness and loneliness.

“Trippy bluesy folk singer/songwriter stuff with way too much reverb on the vocals. Quality material and a distinctive delivery.”

“A fine and haunting album. While his ruminations on madness and desolate human loneliness were even more fully-fleshed on his next album, this is so spare in its instrumentation that it feels a lot more like being inside a person who's experiencing those feelings and experiences.”

“This one sent chills down my spine, and saves me when I'm crazy or sad sometimes. A haunting acoustic blues/folk album featuring a collection of observations about madness, and poetry sung with angst and passion.”

“Having recorded two multi-faceted, blues-influenced albums with the group Siren, Coyne was exposed on Case History as a brutally emotional singer-songwriter who wrote with conviction and sang from the depth of his very soul. Case History offers a fascinating glimpse into an artist in his prime.”

“Kevin Coyne is a much neglected part of the Brit rock scene and this needs addressing. This maybe is not as necessary as Marjory Razorblades but it shows his evolution from the band Siren into that remarkable album. This is an LP that anybody with an interest in an eccentric British take on rock music needs.”

Tractor - TRACTOR***

All Ends Up/Little Girl In Yellow/The Watcher/Ravenscroft's 13 Bar Boogie/Shubunkin/Hope In Favour/Everytime It Happens/Make The Journey

Self titled second album release from the British progressive duo Tractor. Despite featuring only two musicians they skilfully created a multi instrumental sound dominated by fuzz guitar.

“Tractor's debut LP is a very powerful record. Although the album loses some of its power in the middle with the shorter tracks, the start and the end of this heavy psych/prog rock disc are very strong indeed. It also includes some folk rock material between all the progressive and psychedelic stuff.”

“A very good heavy prog- rock release with outstanding guitar. A little dark atmosphere permeates throughout. Heavy and hard from start to finish with wailing guitar.”

“Tractor were just a duo, with guitar, drums and percussion with occasional flute and piano. With such sparse instrumentation, one would expect a delicate singer songwriter album. Quite the contrary as Tractor create an amazing racket, mainly due to the massively intense fuzz guitar layered over overdubbed acoustic guitar strumming and bass lines. Meanwhile the drummer raises up a storm, especially with the hand percussion at his disposal.”

“The first one here All Ends Up is a phenomenal track. The rest of the album follows the same way with enough heavy fuzz for ten bands, great vocals from the doom laden All Ends Up to the sweet singing of Little Girl In Yellow before the fuzz kicks in. Great playing and a production that can't be beaten.”

“The guitar playing on this is amazing. Heavy and fuzzed out, but mixed with light acoustic work also. It leans more towards heavy acid-rock but half the songs are very acoustic oriented acid-folk numbers. This is highly recommended for everyone who loves great dynamic music.” “This duo produced a kaleidoscopic album full of complex progressive music with distorted guitar, sound effects, powerful drumming and intense vocals.”

“Very hard progressive rock, with truly wailing guitar. It is difficult to imagine any genre fans not being bowled over upon hearing this for the first time.”

Green Eyed God - STEEL MILL***

Blood Runs Deep/Summer's Child/Mijo & The Laying Of The Witch/Treadmill/Green Eyed God/Turn The Page Over/Black Jewel Of The Forest/Har Fleur

Very little appears to be known about the British progressive rock band Steel Mill other than Green Eyed God was their only album and that they released two singles.

“An amazingly dark unknown 70s hard rock/prog album. Blood Runs Deep opens the album in a big way and is my favourite song on the album though there are really no weak tracks. A must for progheads.”

“Steel Mill's sole album is a bluesy take on the heaviest of heavy psych and proto-prog. Woodwind instruments add a wild card to the proceedings which sets the band apart from their influences, whilst the guitarist lays down monster riffs which establish an oppressive and foreboding atmosphere to the proceedings.”

“Each track has something special about it. They are all incredible musicians and I especially love the flutes and the guitars. The vocalist sings really well and also possesses an equally impressive imagination. The lyrics are dark and doomy, perfectly matching the music and giving the whole affair a real chilling vibe.”

“The album has a timeless and very magical feel throughout. Each track is fantastic to listen to on its own, but when the album is experienced as a whole it can transport the listener to another world of stunning and wondrous sights.”

“This real gem in progressive blues-rock was created by five brilliant musicians about whom there's actually nothing known apart from their names. The first song is such a great amazing blues rocker, swampy, bluesy and intricate at the same time. All the songs on this album are just awesome, much in the vein of Cream or early Black Sabbath, combined with great sax and flute play.”

Focus 3 - FOCUS***

Round Goes The Gossip/Love Remembered/Sylvia/Carnival Fugue/Focus III/Answers Questions Questions Answers/Anonymus II (Part 1)/Anonymus II (Conclusion)/Elspeth Of Nottingham/House Of The King

Focus 3 was a rambling and over long double album which tarnished the reputation of this hitherto highly regarded Dutch progressive rock band. However, it includes the excellent UK No. 4 hit single Sylvia. (US:35 UK:6)

“Although there are lengthy solos in this piece, they are incorporated into the arrangement and do not seem gratuitous. Jan Akkerman is an incredible guitarist and creates an infinite number of moods and textures with both the acoustic guitar and clean, undistorted tones on electric, while the Hammond organ and flute work of Thijs van Leer is something to behold. These two musicians perform on the medieval flavoured piece Elspeth Of Nottingham, which features just the lute and flute.”

“This double LP album by Focus is mostly very good progressive hard rock with many mellow parts. It s mostly instrumental. The keyboards are vintage: ambient and rhythmic organ overload, melodic piano and a few harpsichord parts. The organ is sometimes quite dirty and distorted. The usual excellent flutes Thijs Van Leer uses to play are omnipresent: some are delicate and tender land others sound more nervous and dynamic. The refined drums do a very good job. Jan Akkerman plays tons of melodic electric guitar solos.”

“When it's good, it's amazing, wistful, playful and quite intoxicatingly agreeable. However the longer tracks are quite frustratingly rambling and leave you waiting for their short bursts of brilliance.”

“A double LP that provides a taste of Focus’ best and worst tendencies. The first side shows the band in the best light, with the melodic guitar instrumental hit single Sylvia and the piano/piccolo-based Carnival Fugue being highlights. Side two opens promisingly with the pensive Focus III which segues into Answers Questions Questions Answers their response to jazz fusion, emphasizing solos over composition to a degree never dreamt of before. Even this doesn’t prepare you for Anonymus II split between two sides of vinyl. This seemingly endless track, while it boasts a very Focus-like theme, devolves into tedious bass and drum solos.”

“Not as engaging as their first two albums, although it does include the wonderful Round Goes The Gossip and minor hit Sylvia. This could have been an excellent single record if some of the tracks were shortened.”

Brother Brother Brother - THE ISLEY BROTHERS***

Brother Brother/Put A Little Love In Your Heart/Sweet Seasons/Keep On Walkin'/Work To Do/Pop That Thang/ Lay Away/Its Too Late/Love Put Me On The Corner

Brother Brother Brother by the veteran soul group The Isley Brothers cemented their 1970s revival. A mixture of originals and covers it dabbles in a diverse range of different genres. (US:29)

“The album stands out from much of the rest of their 70s output as it is much more piano and keyboard driven, making it their most classic soul record of the period. Great songs, warm production, beautifully played and arranged, Isley Brothers vocals.

“Really good night time soul album with loads of Hammond organ and piano to the fore, plus acoustic guitars . The singing from the group is top notch.”

“Sonically this is a very similar album to their previous release, but this time they sound a little more confident. They know what buttons to press and when to press them.”

“Brother Brother Brother offers up a very diverse slice of pop, soul, funk, rock, folk and doo-wop. There's plenty to offer particularly the opener Brother Brother and the organ funk of Pop That Thang but there's nothing of the pure magnetism of later albums.”

“One of the warmest, most touching albums ever released by the Isleys. Combining the grit of the funk school with the rock and folk leanings of their later offerings, the brothers came up with an intense, consistent and addictive album.”

“This album was a change of pace from all the other soul albums of that day, with a heavier emphasis on lead guitar, covers of songs made famous by pop and country artists. It is awesome, especially their remake of It's Too Late. A must for any true Isleys fans.”

This blends the right amount of covers with great original material. The ten minute bluesy take on Carole King's It's Too Late is lively due to Ronald's soaring vocals and Ernie's wailing guitar. And the beautiful closer Love Put Me On The Corner is perhaps the first great original Isley ballad.”

Some Time In New York City - JOHN LENNON**

Woman Is The Nigger Of The World/Sisters O Sisters/Attica State/Born In A Prison/New York City/Sunday Bloody Sunday/The Luck Of The Irish/John Sinclair/Angela/We're All Water/Cold Turkey/Don't Worry Kyoko/ Well... (Baby Please Don't Go)/Jamrag/Scumbag/Au

A partly live double album from John Lennon which must have severely disappointed his fans. Highly political in content his choice of backing ‘vocalist’ did nothing to improve matters. (US:48 UK:11)

“This material ranges from decent but not worthy of John Lennon's name to pretty good. Lyrically he feels nihilistic, angry and hurt.” “The studio first part is decent in places but just flat out boring in others. I expect this from Yoko's output, but Lennon's work is pretty disappointing overall, especially coming not long after the wonderful Imagine album.”

“Lennon maintained his commitment to social politics with some great consciousness raising, political protest songs. They aren't slick, overdubbed or pretty. But they are good rock ‘n' roll. John and Yoko had the honesty to stand up for the underdog, and for justice, and they didn't care who they alienated.”

“The political content is what it is, mostly embarrassing, full of sound bites and fantasy. I think Lennon had good intentions but he just did not express quite complex situations very well at all.”

“It was unfortunate, but John Lennon was one of the very few that appreciated the caterwauling of Yoko Ono. Even worse, he maintained her presence in his work in spite of the world’s distain for it. This being the case, any opportunity Lennon may have had at using his celebrity to convey the political views that are the focal point of this album were greatly diminished as even his biggest fans could not endure an album marred by Ono’s intolerable squalling.”

“Sometime In New York City was recorded during John Lennon and Yoko Ono's most politically active period. The album has a mixture of John songs, Yoko songs, and some that they wrote together, covering a range of different political topics such as feminism, prisoners and Northern Ireland. It's definitely the weakest album of John Lennon's solo career and was his first critical and commercial failure.”

You Don't Mess Around With Jim - JIM CROCE****

You Don't Mess Around With Jim/Tomorrow's Gonna Be A Brighter Day/New York's Not My Home/Hard Time Losin' Man/Photographs & Memories/Walkin' Back To Georgia/Operator (That's Not The Way It Feels)/Time In A Bottle/Rapid Roy (The Stock Car Boy)/Box No. 10/A Long Time Ago/Hey Tomorrow

Breakthrough album for the social realist songwriter Jim Croce who specialised in character studies around the everyday lives of ordinary Americans. Includes the US top 20 hits Operator and the title track. (US:1)

“Croce really came into his own with this album. He had been recording on and off for a number of years and had quit the business entirely at one point. He then recorded three amazing and personal albums that far surpassed anything he'd ever written or recorded before. His style was a mixture of character songs, with a lot of humour. Hs love songs are some of the most heartfelt tunes and lyrics ever written. This album is a must for any Croce fan.”

“An acoustic singer songwriter album, a pretty decent one too. The two finger picked guitar sound is down pretty tight and Croce's voice goes well with the folky melodies.”

“This is a very warm and largely optimistic album containing little truths delivered by a man who has done some living on both sides of the track, and knows how to speak about it in a way that makes you want to listen. His songs have an intricacy to them that I’ve always liked. This is a good album overall but there's a few songs that are may be slightly sub-par.”

“A formidable set from a grossly neglected and underrated singer-songwriter. Nice blend of love songs, introspective material and character sketches. Definitely worth searching out.”

“Croce is just so real, straight from the heart; nothing syrupy or fake. He'd had a couple of near breakthroughs before this one. He pulled out all the stops, and what resulted was an outpouring of the most inspired material of his career. His other records are good, but this is in its own class. For every song here that you'll find on the usual greatest hits collections, there's an equally good lesser-known gem.”

“There are not many artists who combine real-life stories with incredible music. The guitar work alone is fantastic. Add in some of the most quality lyrical stories in modern music and you get near perfection.”

Too Young - DONNY OSMOND***

Donna/Too Young/Pretty Blue Eyes/To Run Away/A Teenager In Love/Lonely Boy/Why/Run To Him/Take Good Care Of My Baby/Last Of The Red Hot Lovers

By the time of the release of Too Young pre-teen heartthrob Donny Osmond’s popularity in the USA has started to wane a little, but in Britain the mania was just reaching its peak. Most of these songs are well known covers done better by the original artists. Includes the UK Top 5 hits Why and the title track. (US:11 UK:7)

“These songs are the ones that defined young Donny and shot him to super-stardom. Get this album and prepare yourself for one fabulous ride down memory lane.”

“Too Young is one of my very favourite tracks on the entire LP; Donny really aces this as effortlessly as if it were breathing. Of course, we know it really wasn't all that easy but Donny's talent always carries him through. Pretty Blue Eyes is very easy on the ear; and listen for more great music like To Run Away, the poignant A Teenager In Love that Donny covers so well. Why sounds fresh and new and Donny delivers this without ever letting go of a single superfluous note. Run To Him has Donny putting all his heart into this; and there are the two fine closing numbers.”

“Donny Osmond fans really must have this for their collections as all this music is that good. People who enjoy easy listening music and pop from the early 1970s will find many enjoyable tracks on this album.”

“The title track Too Young is pretty good, it's so heartfelt and well orchestrated. Why was a well deserved hit, and Last Of The Red Hot Lovers is a fun song that I never knew. I would liked to have heard some original songs, but for a 14 year old in what can you expect?”

“I love these, I knew every word, like it was yesterday, even though it's decades since I've heard these great songs.”

“Even though these are from the young Donny this is still pleasant to listen to. Brings back a lot of good memories and I enjoy listening to all of the songs not just the famous hits.”

Seven Separate Fools - THREE DOG NIGHT***

Black & White/My Old Kentucky Home/Prelude To Morning/Pieces Of April/Going In Circles/Chained/Tulsa Turnaround/In Bed/Freedom For The Stallion/The Writing's On The Wall/Midnight Runaway

Despite their enormous popularity in the States the vocal harmony band Three Dog Night never achieved much artistic credibility as their albums were always heavily dependent on covers. Seven Separate Fools features the US chart topper Black & White, a top 10 hit in the UK for the reggae group Greyhound. (US:6)

“I've never been a big fan of Three Dog Night, their music was always a little too hokey for me. This album fits right into my opinion of these guys. Very quiet and sleepy for the most part. Seems like a holdover from the 60s, like they are trying to hang on to their glory. Pretty generic music and for the most part it feels rather uninspired. Black & White is definitely the standout of the album.”

“This record has a variety of songs, from country sound of My Old Kentucky Home to some awesome guitar licks on Chained as well as the perfect harmony which we've come to love from Three Dog Night.”

“By the time of Seven Separate Fools you didn't know what to expect from a band that has kept it alive for so long. They made a huge comeback on this album to prove that they weren't going anywhere. Lots of great songs here.”

“Three Dog Night had a run of good music, but as in all groups, internal problems tore the group apart. This was the last competent album the group produced, although it was not nearly up to the standard of the previous albums. As always, the harmonies were tight, but some of the songs were a little weak.”

“There is wonderful song selection, which is diverse, cohesive and well-paced, almost going from mellow to heavy. Despite their problems, Three Dog Night were able to make this one of their very finest albums, which is good, because the train would start to de-rail not long after this. If you want to hear this group at their best, this album is a great place to start.”

“I found the lead track, Black & White, to be a little too much of a children's sing-along to be top shelf. Unlike Three Dog Night's previous albums, the rest of Seven Separate Fools didn't produce a second big single. Truth be told, such wasn't to be found, Going In Circles might have been the closest thing.”