A Tab In the Ocean - NEKTAR***

A Tab In The Ocean/Desolation Valley-Waves/Crying In The Dark/King Of Twilight

A Tab In the Ocean was the follow up album from the British progressive band Nektar formed in Germany. They specialised in lengthy space-rock jams and would soon achieve a degree of commercial success in the States. (US:141)

“A Tab In The Ocean sees Nektar incorporate a few symphonic elements into their space-rock model, particularly in the synthesiser work on the title track. It also has some fascinating studio effects, such as the strange echo effect on the vocals to King Of Twilight. This is a great early prog album which proved that in Nektar could stand proud next to the likes of Genesis and Gentle Giant.”

“Drifting space rock instrumental breaks and trippy vocal stylings still dominate parts of the album, yet as a whole I'd say that it falls midway between the sub-genres of psychedelic/space rock and heavy prog.”

“If you want to get lost in some really good psych prog, I don't think you could go wrong with this. Even the shorter tracks have something to bring to the table.”

“Nektar are a rather unknown act and with good reason. They were an average rock band that wanted to explore progressive movements without actually having the talent to do so, or even actually exploring, but instead jog aimlessly along on the title track and hope the second side filler won’t be noticed.”

“This time around, many of the spacey Krautrock experiments had been abandoned, concentrating more on great prog rock. The album starts with the truly wonderful side length title track, with plenty of wonderful instrumental passages, as well as vocals which tend to be short.”

“The songs here are varied. Lightly distorted organ is omnipresent. The epic minutes Tab In The Ocean is made of aggressive symphonic keyboards and electric guitar full of distortion, that is near metal sometimes. Waves has mellow bits with pure electric guitar sounds. King Of Twilight has some aggressive guitar parts, and there is a unique repetitive fast single note keyboards pattern.”

“What an amazing musical accomplishment. I think this is the only band to conflate practically all musical genres into a cohesive entity. The title track is an opus of astronomical proportions. This is heavy and mind bending.”

Stealers Wheel - STEALERS WHEEL***

Late Again/Stuck In The Middle With You/Another Meaning/I Get By/Outside Looking In/Johnny's Song/Next To Me/Jose/Get's So Lonely/You Put Something Better Inside Me

Self titled debut album from the Scottish folk-rock group Stealers Wheel. Includes the UK top 10 hit Stuck In The Middle With You. As a group they would hardly trouble the charts again, but front man Gerry Rafferty would enjoy some commercial success towards the end of the decade. (US:50)

“Stealers Wheel is a very pleasant and romantic album and all the melodies boast quite a lyrical sound. But I think that at the time it was released such kind of music already belonged to the past, though it sounds so sweet now.”

“Stealers Wheel offered up a nice introduction to the band's mix of English folk-rock, commercial pop, and harder-rock moves. Blessed with two strong writers this collection had more than its share of highlights. Of course Stuck In The Middle With You was the tune that made them international stars. A well deserved hit, it wasn't the only standout performance. Lots of people enjoy their more folk-oriented repertoire, but personally I love their rock numbers.”

“Stealers Wheel is a slightly under par folk-rock album, greatly improved by its one hit song. It starts off with some pretty standard acoustic folk-rock, but then slides through a few other musical styles including hard-rock and bluesy southern rock. Despite this genre jumping, the album still morphs into an altogether predictable set of songs. The music is good, but nothing is memorable instrumentally. Similarly, the vocals and harmonies are pleasant, but don’t amount to much in the end.”

“Stuck In The Middle With You is one of those classic pop songs that just seems too good to be true. But, to some surprise, I immediately took to the opener Late Again, the vocal melody being excellent. However, as the album played on, I found some songs to be a little more trying, like Another Meaning and the barely tolerable, I Get By. After that, by the end, it proved to be a one trick pony.”

“With this debut Stealers Wheel certainly managed to please everyone because one can hear pop, ballads, country, folk, hard-rock, even some hints of progressive rock. A thick sound and relaxed easy going atmosphere makes all the songs attractive enough to listen to, but expect no exceptionally strong songs, as the album enters the ear as fast it has left it.”

Greetings From LA - TIM BUCKLEY***

Move With Me/Get On Top/Sweet Surrender/Nighthawkin'/Devil Eyes/Hong Kong Bar/Make It Right

With Greetings From LA folk singer-songwriter Tim Buckley moved away from the avant-garde experimental nature of his previous album towards a more conventional mainstream direction.

“The music here doesn't reach the same heights as his previous albums and it is not as challenging. Some really fun and pleasant listening and an excellent companion to his other albums. You could dismiss this as Buckley trying to be more mainstream, but you should instead see this as him trying to be more welcoming and fun.”

“On this album he shed most of introspective, plaintive and experimental characteristics, and embraced a pragmatic commercial view.”

“Though slightly more commercial than Starsailor Buckley seems to be in a period of demonstrating his new found sobriety, turning his back on his wicked and self destructive former ways. This album is delightful, and worthy of a place among his classic albums.”

“The peculiar mix of a truly great singer with a kind of soul-like music works perfectly. The first two songs are so intensively played and sung. In fact the whole atmosphere in this album is intensive, lonesome and forlorn.”

“This is tremendous album. Buckley's voice was something else: he had a truly astonishing range, great control and timbre, and the ability to be both powerful and delicate. He used his amazing voice more like a musical instrument.”

“Sweet Surrender is a fascinating glimpse into the tragically helpless ways of its author, who comes off as a repentant amoralist in his blunt, self-excoriating delivery. The stunning Hong Kong Bar serves to redeem the dumb, repetitive tracks that litter much of the album; it's Buckley at his best, improvising some of the most authentic blues one could hope to hear, a refreshingly sombre, acoustic piece which allows his true talents to finally take over and chill one's spine.”

“A strange one even by Tim's standards, Greetings From L.A. is certainly not the greatest place to start for the newcomer. Gone are Tim's quiet, gentle folk stylings and searing spiritual quests for psychedelia, replaced with seedy underworld sounding tunes, complete with some very corny soul backing vocals.”

Two Weeks Last Summer - DAVE COUSINS***

Two Weeks Last Summer/October To May/Blue Angel/That's The Way It Ends/The Actor/When You Were A Child/Ways & Means/We'll Meet Again Sometimes/Going Home

Two Weeks Last Summer was a rare solo release from Dave Cousins at a time when he was the leading songwriter with the folk-rock group Strawbs. His former colleague keyboard wizard Rick Wakeman, now with Yes, lends him a hand.

“One of the great prog rock songs is the ten minute long Blue Angel from this great solo debut by Dave Cousins, the front man of one of my very favourite bands Strawbs. The keyboards are in the very capable hands of Rick Wakeman. Other standout cuts include Two Weeks Last Summer, October To May and When You Were A Child. The rest are unfortunately filler, but if you like 70s progressive rock or Strawbs even the smallest possible amount, you really have to hear the song Blue Angel.”

“Dave is backed by top musicians and shows himself as a very convincing songwriter, piano player and acoustic guitar player. The result is a very refined and sensitive various album going from rock, ballads to the epic progressive psychedelic masterpiece Blue Angel.”

“A Strawbs album by any other name. In this case Dave Cousins teams up with Miller Anderson on four of the best songs from the album including the feature track Blue Angel. Guitar extraordinaire Miller whose resume is too long to list here adds an edge that is not heard on any of the standard Strawb releases. Some of the other songs are considerably mellower, but there is a good mix of styles consistent with any Strawbs album of the era. Any Strawbs fan who has not heard this, add it to your list. You won't be disappointed.”

“Strawbs leader Dave Cousins' first solo record Two Weeks Last Summer is a unique mix of powerful rock, psychedelia, and sensitive, deeply personal songs. Featured guests are Rick Wakeman, Roger Glover and Jon Hiseman.”

“Recorded between Strawbs projects in the early 70s, Two Weeks lacks none of the shimmering genius evident in the band's best works. Cousins serves up a feast of songs that will leave any Strawbs fan breathless.”

“I've been listening to this since it came out, and its charm never diminishes. One of those rare albums that make you feel deeply while retaining a high level of artistry.”

Diamonds In The Rough - JOHN PRINE***

Everybody/The Torch Singer/Souvenirs/Late John Garfield Blues/Sour Grapes/Billy The Bum/The Frying Pan/Yes I Guess They Oughta Name A Drink After You/Take The Star Out Of The Window/The Great Compromise/Clocks & Spoons/Rocky Mountain Time/Diamonds In The Rough

Diamonds In The Rough was the follow up album from American folk-rock singer songwriter John Prine. His albums were generally well received but he remained a cult figure with the wider public. (US:148)

“While a lot of these songs are just as affecting, sometimes more so, as the debut, it doesn't hold up quite as well as a full album. Yes I Guess has to be one of my favourite drinking songs.”

“I have a lot of respect for the stripped down approach to this record. The concept works but the execution is pretty dreadful. I guess compared to his first album there are so few acknowledged classics. For me the album just feels like a rush job.”

“It isn't as good as the debut, but it does contain a set of classics. A little wearier and sparser than the first album, but side one is uniformly excellent. My favourite is Late John Garfield Blues, funny and mysterious.”

“Although not quite as powerful as his self-titled debut album, Diamonds In The Rough still manages to hold its own with its eclectic collection of tunes. Prine's voice sounds even more rough-hewn and whiskey-soaked, an extremely evocative instrument that conveys deep humour and sorrow at the same time.”

“The more obvious antiwar songs are overshadowed by the simple faith that is a constant theme throughout Prine's work. Diamonds In The Rough, the title song sung a capella, is the perfect vehicle for his ragged voice. The clever play on words offer a humorous undertone to the bleak themes of Late John Garfield Blues and The Great Compromise.”

“This is easily my favourite Prine album in which he combines his unique writing ability with a very emotional voice from beginning to end.”

Barnstorm - JOE WALSH****

Here We Go/Midnight Visitor/One & One/Giant Bohemoth/Mother Says/Birdcall Morning/Home/I'll Tell The World About You/Turn To Stone/Comin' Down

Barnstorm was the debut album from Joe Walsh after leaving the James Gang. He would enjoy a successful solo career during the remainder of the decade combining it with membership of The Eagles. (US:79)

“A very solid album that doesn't so much rock but mesmerize the listener. Joe with his band mates and a few extras exquisitely weave various guitars, pianos and other well placed instruments on several songs. It probably requires a few extra listens and it is important not to have expectations of The James Gang or others. An album meant to be heard in its entirety as the flow blends well between songs.”

“A big departure from the James Gang. No power trio in your face hard-rock but some fairly heavy country-rock that showcases his terrific guitar skills. There is also a lot of keyboards in one form or another. Turn To Stone is absolutely magical and one of his best.”

“Upon leaving The James Gang Joe Walsh was tired of the power trio format and wanted to make a far different type of album. With Barnstorm he succeeded admirably. This is very keyboard heavy and one of the first albums ever to use a great deal of synthesizer. The songs are generally slower paced and more languorous than is the norm on most James Gang releases.”

“This really is a wonderful album, a beautiful blend of guitar magic with some great songwriting. It even has some prog moments. Some jam outs but with direction and intention.”

“A nice mix of electric and acoustic, easy genre-mixing, playful, yet completely serious about first-rate playing, great vibe, consistently fine material. This is just a really nice experience, hearing an artist at the top of their game.”

“This does everything many later classic rock albums over or under did. It has its share of hooks but doesn't rely on them and let the rest of the musicianship suffer. There are some truly beautiful mixtures of electric and acoustic textures I haven't heard anywhere else, and there's not a weak track out of the bunch. If you are a Joe Walsh fan, this is a must have.”

Be Good To Yourself - MAN***

C'mon/Keep On Crinting/Bananas/Life On The Road

The Welsh rock band Man underwent innumerable changes in personnel with members regularly leaving and then rejoining. Given the circumstances it was creditable that Be Good To Yourself attracted favourable reviews on release.

“If you enjoy jam band music it's easy to recommend this LP. This one isn't anything mind-blowing but it's a pretty solid package of psychedelia and prog rock played in a jamming style.”

“Man are at their West Coast, psychedelic, progressive Kraut-rock, acid Welsh best. At once derivative and utterly unique.”

“A good, solid album of semi-commercial prog rock, with well-crafted songs that are very pleasant to listen to. It features both guitar and keyboard driven passages, and contains some mild symphonic and Canterbury style moves.”

“Magnificent instrumental prog with occasional moments of lyrical genius. More composed than jammed, I suspect.”

“Characteristic traits of all four compositions are long, improvisational sounding jams, with psychedelic licks from the guitars going back and forth, as well as some nice underscoring by the keyboards, and vice versa. The long instrumental parts are tight and always evolving; adding elements or slight changes to the textures, keeping the song interesting.”

“Magnificent live recording by the best Welsh band of their time. Patchy at times, but always rewarding due to the high standards that these fellows demanded. Guitars and more guitars.”

“The mood is mellow, laid back and irreverent. The music always seems to be on the way somewhere progressing rather than repeating. Throughout the album, the guitar works well with the keyboards as they trade lead melodies.”

Moyshe McStiff - C.O.B***

Sheila's Return-Lion Of Judah/Let It Be You/Solomon's Song/Eleven Willows/I Told Her/O Bright Eyed One/Chain Of Love/Pretty Kerry/Martha & Mary/Heart Dancer

Moyshe McStiff was the follow up album from the psychedelic folk group C.O.B (Clive's Original Band). Led by Clive Palmer, a now largely overlooked founder of the Incredible String Band.

“This album shows the group’s experimentation and hippyness. One of the most eclectic offerings in the fields of British folk, and a highly original effort.”

“Perhaps the biggest difference between this and others in this style is that from front to back it all sounds very samey. Interesting and pleasurable but not essential.”

“A dazzlingly beautiful album with not a weak track. Emotion springs from every spore. These guys had to have a very strong musical and emotional bond to be able to deliver such a masterpiece.”

“The playing is top-notch, but the songwriting is even better. Just jaw-dropping stuff on practically every track, and really not a weak one in the bunch.”

“This second LP by C.O.B is among the most complex and challenging items ever produced by the British folk scene. Crude chants and delicate ballads stand side by side; religious brooding leads into a pastoral hymn, then back again. But running through it a certain mood, or world-view, emerges, a unique experience which is not easy to describe.”

“Clive's Original Band, was the side-project of the Incredible String Band founder Clive Palmer. Although this is really traditional, it is certainly a step to the proverbial left from ISB. There's a real stoned vibe to accompany the great fantasy/pseudo-religious lyrics. The record competently stumbles through a real mellow haze, and the atmosphere is what makes this much more interesting to me than the ISB.”

“When it comes to the Incredible String Band, I'm more concerned with the rich, staggering variety of arrangements. With C.O.B the enjoyment factor stems from the catchy vocal melodies and the unique blend of Middle Eastern arrangements, with banjos creating a unique sound. The vocal melody style is written in an entirely different way so there are really no musical similarities between the two artists.”

Below The Salt - STEELEYE SPAN****

Spotted Cow/Rosebud In June/The Bride's Favourite-Tansey's Fancy/Sheep Crook & Black Dog/Royal Forester/King Henry/Gaudete/John Barleycorn/Saucy Sailor

The success of the British folk group Steeleye Span, featuring vocalist Maddy Prior, continued to grow. Below The Salt includes the unlikely UK top twenty single Gaudete, an a cappella version of a Latin hymn. (UK:43)

“Tim Hart and Maddy Prior steer the good ship Steeleye Span into medieval waters, with a range of classic traditional songs given the electric folk treatment. With a mixture of full-band effort, a capella pieces, and a wide emotional range, the album is another success in the Span's ongoing project to explore the potential of electrified versions of traditional British folk music.”

“This album is a purer tribute to the folk music and 19th century sources Steeleye so admire. Some may object to the religiosity in songs like Gaudete, but by singing it straight, the focus paradoxically is on the aesthetic of the past and not on the beliefs themselves.”

“The uniqueness of Below The Salt lies in its instrumentation: a sparse blend of electric guitar, electric bass, and violin, and apart from the occasional tabor there are no drums on the album. But it's very effective; Sheep Crook & Black Dog is A-grade intense, heavy folk, Royal Forrester is rollicking and, for folk-rock, and the absolutely gorgeous Gaudete is almost the live incarnation of a medieval cathedral. There are some weak parts but on the whole this is a reasonable exposure to the band.”

“Maddy Prior`s voice is so good it makes me wonder why they didn't let her sing all the songs. Too bad they didn't have a drummer on this record but they get by without one. Just a solid album. Excuse me while I do a jig.”

“With this album, Steeleye Span came to the fore of the British folk-rock movement. Though it begins with the precious yet jaunty Spotted Cow followed by the forlorn Rosebud In June and then some snappy jigs, the songs become progressively complex thereafter. Tunes such as Sheep Crook & Blackdog, Royal Forester, the resplendent King Henry, and a cappella Gaudete are haunting. The interplay between voices, guitars, bass and violin is unlike anything else on record.”

“This album is one of the very finest of any kind I have ever heard. The songs are just utterly gorgeous, haunting, and beautiful. This album is something to be cherished forever, a glorious, timeless classic.”

Three Friends - GENTLE GIANT***

Prologue/School Days/Working All Day/Peel The Paint/Mister Class & Quality/Three Friends

Three Friends from the British progressive group Gentle Giant is a concept album about three childhood friends whose lives take them to different places. It is mostly instrumental with brief vocal interludes. (US:197)

“Three Friends was the first concept album by Gentle Giant and it tells a story about three childhood friends. When the boys are young they're best friends but as they get older their lives take them in different directions.”

“Smooth progressive rock with a really good funky groove to it. Great tight playing, mellow easy to listen to melodies and harmonies, with also some complex structures in the music. The organ is a really good addition to guitar and bass, and all three of them get their moments, even going on in very playful takes with each other. A jamming feeling on some of the tracks.”

“The vocal harmonies are top notch as always, the melodies are strong but this album starts off a little slow and it seems like it takes until half way through to get warmed up before it develops into something truly interesting and then it ends too soon.”

“Three Friends defiantly lacks in quantity and needs to deliver in quality. While the songs here are good, complex and certainly progressive, they lack a key ingredient, passion. Gentle Giant have gone so over the top with the intricacy that the soul of the music is pretty diminished. While this style is likely to be pretentious, they succeeded in creating that spark on some of their other albums, but not this one.”

“The precision of the instruments and vocals, together with the clear, simple and touching lyrics creates a profusion of musical ambiance that carries the listener to empathically follow the well told story of the three friends, with the laughs and tears of their lives.”

“Gentle Giant were one of the lesser known prog bands of the 70s, but don't let their lack of radio hits scare you away. They had everything a great progressive rock group should have: complex lyrics and arrangements, lofty concepts, and above all virtuoso musicianship. Too bad music like this doesn't exist anymore and you are labelled retro if you listen to it.” .

Rock & Roll Music To The World - TEN YEARS AFTER***

You Give Me Loving/Convention Prevention/Turned Off TV Blues/Standing At The Station/You Can't Win Them All/Religion/Choo Choo Mama/Tomorrow I'll Be Out Of Town/Rock & Roll Music To The World

Rock & Roll Music To The World was the last Ten Years After album of new material to make an impression on the charts. This hard rocking band led by ace guitarist Alvin Lee would disband shortly afterwards. (US:43 UK:27)

“Though still managing to offer up some truly solid hard blues rock, their albums are beginning to succumb to commerciality. As with their previous studio effort, this one mixes the good hard rock with comparatively lame commercial pop-rock.”

“By this time Ten Years After were a well oiled machine. Between the locked-in slow burnin' blues and the lightning quick numbers, guitarist Alvin Lee fronted the tight English group with fierce fret board work. Rock & Roll Music To The World showcases them kickin' out blues-rock with authority. Leading off with the six minute swamp stomp of You Give Me Loving, Lee and company charge through nine strong songs.”

“Alvin Lee blisters in the high energy numbers, while bass work will shake the roof. This album flows and becomes an anthem in itself. From the opening number to the closing title track there is simply nothing in here that misses a beat. Turn it up and be mesmerized by the wizard of the electric guitar.”

“This work represents all that TYA & Alvin Lee were striving for throughout their recording career. Gone are the arty pretensions and self indulgent solos. What you have here is a serious group of talented individuals in there prime, lean and mean.”

“Rock & Roll Music To The World offers some blues, some ballads and of course the kind of simple rock & roll tunes Ten Years After will always will be associated with. Sure, this is the album of a band soon running out of steam. The strain of endless touring is beginning to tell, and there's not much inspiration in Alvin Lee's guitar routines. But this is a surprisingly strong album where the band sound tight and relaxed.”

“The rock and roll effects created by Alvin Lee’s magical guitar brings out the best of Ten Years After. A solid rock album with good blues that is quite rare when compared with today's artists.”

Live - Full House - J. GEILS BAND***

First I Look At The Purse/Homework/Pack Fair & Square/Whammer Jammer/Hard Drivin' Man/Serves You Right To Suffer/Cruisin' For A Love/Looking For A Love

Full House was the first live album from the heavy rocking J. Geils Band. It was recorded at the Cinderella Ballroom, Detroit in April 1972. All the songs are live versions of tracks on their first two studio albums. (US:54)

“High energy live rock ‘n' roll, recorded live in Detroit, Full House is everything you would want. Peter Wolf is your master of ceremonies, keeping the energy level at a fever pitch with his wild vocal style, and on-stage banter. J.,Geils is an excellent guitarist, and this album is his finest hour on vinyl.”

“After two studio albums, this live album is a little disappointment. Most people say that The J. Geils Band sounded better live, but here, they play most of their material too fast, especially It Serves You Right To Suffer that was a slow creeping groove, which is mostly lost here.”

“I've never been a big fan of the J. Geils Band. There are a few songs here and there that I have heard and enjoy, but there is a reason why they never really made it that big or left much of a lasting impression. They are nothing more than a great bar band, which is good for what its worth, but its just not enough to sustain a career.”

“Back in the days when progressive rock radio stations used to play reasonably decent music, this live release caught my ear. It's not particularly consistent, but contains a couple of great live versions of material found on their first two LPs.”

“I guess it should come as no surprise that J. Geils Band make way more sense live than in the studio. Overflowing with energy, attitude, and boogie, they were built for the stage. Full House features a selection of live recordings when these guys were at the peak of their powers.”

“This is the musical equivalent of a 4th of July fireworks display by one of the hottest groups ever to soar onstage, and one of the most ferocious shows of its time. If crackling energy is what you need and explosive rock 'n’ roll is your medicine, this band was made to order. Recorded live the place jumped like a pogo stick with mad springs as Peter Wolf lived up to his name and yowled, yelled, screeched, and bawled alongside his five locomotive band mates.”

Who Came First - PETE TOWNSHEND***

Pure & Easy/Evolution/Forever's No Time At All/Nothing Is Everything (Let's See Action)/Time Is Passing/ Heartache (There's A Heartache Following Me)/Sheraton Gibson/Content/Parvardigar

With Who Came First the title says it all as clearly all the best Townshend compositions were used up on The Who group albums. The Lifehouse project might have been a lost masterpiece. (US:69 UK:30)

“His voice becomes annoying after a couple of tracks. Overall, there is little here to appeal to hard core underground rock taste. It's pretty much in line with the sound of all his solo albums, with no hidden gems. The album puts just about all it's got right up front, with side one the far better of the two.”

“Most of this is mediocre stuff, not bad, but it just doesn't evoke a single emotion in me. Obviously The Who did come first, at least whilst choosing songs for this record.”

“Semi-compiled from previously released compilations devoted to Pete's avatar Meher Baba. Who Came First is a great homespun solo album from the Who's main mover. We get some Who leftovers including the excellent Lifehouse centrepiece Pure & Easy, covers, poetry adapted to music, and guest appearances by Ronnie Lane and Billy Nichols. In spite of the variety the album retains a tight low key cohesiveness, and sports a number of charming, underrated tunes.”

“A nice album that is surprisingly calm and mostly acoustic. Pete may not be the greatest singer in the world, but he knows how to write sweet friendly ballads.”

“This was a wonderful side project for Pete Townshend. A gem of an album not long after the miraculous Who's Next. Townshend puts together a quiet album full of more introspective and religious songs, along with a few pieces that didn't make the cut for a Who release.”

“Pete takes a break from the rather chaotic Who sessions to knock out this homemade album with all kinds of Meher Baba influences that he was always going on about. Who Came First mixes a batch of unrelated tunes, some rejected by the Who, with some surprising covers and some terrific material that Pete wrote for the Lifehouse project and fuses them into a little gem of a record.”

Crazy Horses - THE OSMONDS***

Hold Her Tight/Utah/Girl/What Could It Be/We All Fall Down/And You Love Me/Crazy Horses/Life Is Hard Enough Without Goodbyes/Hey Mr Taxi/That's My Girl/Julie/Big Finish

When the single Crazy Horses was released the British rock music press went into meltdown that a teenybop bubblegum outfit should try and get so much above their station by releasing a spoof psychedelic song. This excellent single reached No. 2 in the UK and is now performed by serious rock cover bands. (US:14 UK:9)

“Crazy Horses is psychedelic in a way I never expected it to be, and it occasionally rocks hard, much harder than I'd ever expected an Osmond outfit to rock.”

“Some of this is heavy, the Crazy Horses track is a classic, but also check out Hold Her Tight and a couple of others with a Led Zep sound. With the usual strong vocals this is a nice surprise.”

“Crazy Horses has since been covered by many other bands and it demonstrates that The Osmonds, while many were still so unwilling to give them their due credit, so many were still willing to imitate.”

“I remember being caught off-guard the first time I listened to the Crazy Horses LP, listening a second and third time to be sure I'd heard right the first time. This was definitely not teenybopper bubblegum.”

“Everybody recognizes Crazy Horses, with its classic organ intro, driving rhythm, and signature guitar riff, and the chugging opening bars of Hold Her Tight, but there are several other hidden gems here. Borderline country-rocker Life Is Hard Enough Without Goodbyes, with Merrill's raspy lead vocal, haunting guitar intro and hook, and the longing of the harmony vocals, should have been released as a single. The tender ballad And You Love Me captures the euphoria of being in love while showing admirable restraint and Utah is a partying garage-band homage to their home state. That's My Girl might almost be a love song from a father to a daughter. The only throwaway in the bunch is Julie, which ends the LP on a weaker note than it deserves, but the point of Big Finish is well-taken.”

“The title song has been one of my favourites since I was a toddler. Hold Her Tight is also a rocking goodtime track. The brothers wrote all of these songs and are truly amazing talents and performers. This is a great party album.”

I'm Still In Love With You - AL GREEN****

I'm Still In Love With You/I'm Glad You're Mine/Love & Happiness/What A Wonderful Thing Love Is/Simply Beautiful/Oh Pretty Woman/For The Good Times/Look What You Done For Me/One Of These Good Old Days

With I’m Still In Love With You Al Green consolidated his position as the premier American soul artist of the early 1970s. Possessing a very distinctive vocal style he really should not have been recording unsuitable covers. The title track was a US No. 3 hit single. (US:4)

“I'm Still In Love With You contains no hugely famous classics, but as a whole the album sounds better than its predecessor, although this does not mean that it is really excellent. At least the two cover songs might be thrown away although he sings them as well as usually. Most of the rest, all new and self-composed, are very good, however.”

“He's just so smooth and his music is very calming, and there's something about this album in particular that makes me feel warm inside while listening to the songs. It may be because it isn't full of heartbreaks and loss, and more about happiness and how great love can be.”

“Al Green in his own right staked out unique artistic territory in R & B, and in the early 70s he arguably had a run of more consistently satisfying albums than anybody else making soul music. This one’s among his best, and were it not for a lacklustre cover of Oh Pretty Woman, it might even top Call Me. Willie Mitchell’s production gives new definition to the word smooth without sacrificing the organic immediacy of the funky musical accompaniment. With Green’s subtle articulations the arrangement of nearly every song is pop perfection.”

“Al Green seemed to be firing on all cylinders. Virtually every one of the nine tracks had something going for it. The only song that didn't really connect was the needless Orbison cover, which simply didn't add anything to the original.” ,p> “Al Green was the natural heir to Sam Cooke, with a voice that is as smooth as silk, amazingly supple, and sweet as honey. What's more impressive than the sheer quality of the voice is what he does with it; flicking syllables around his mouth like diamonds. Simply Beautiful may be the most aptly titled song I've ever heard.”

“This is a really great album, one of Al Green's all-time classics. A collection of fantastic love songs with a great groove and amazing singing.”

The Best Of - BREAD*****

Make It With You/Too Much Love/If/Let Your Love Go/Everything I Own/Been Too Long On The Road/Baby I'm A Want You/Down On My Knees/It Don't Matter To Me/Mother Freedom/Look What You've Done/Truckin'

Bread were the most popular American soft rock group in the early 1970s thanks to the songwriting talents of David Gates. This compilation omits some later hits. (US:2 UK:7)

“Bread were the pinnacle of soft rock during the early seventies with vocalist David Gates writing a series of ballads comparable to The Carpenters at their best. This compilation includes all of those on side one, whilst side two, more countrified and rocky contains the more obscure tracks and is all the better for it.”

“Pure pop with perfect vocals from David Gates. Their five or six best songs are masterful displays of harmony, song-structure and arrangement.”

“This band wrote the book on soft rock. This compilation mainly sticks to what they did best, as the title suggests. A few rockers are included but there are few surprises. Recommended for any fan of soft rock but less so for the general listener.”

“Bread's sound as well as their lyrics were rather sweet, but so what? They were love songs that work a bit better when they generally are sweet.”

“The music of Bread is simply some of the most meaningful pop music ever, that touched the hearts of so many people.”

“They were decent songwriters who knew that a good hook is the key to great pop music. They knew how to get under the listener's skin with their skilful melodies and these tracks have a definite resiliency that elevates them above mere pop fluff.”

“The beautiful secret of Bread is simplicity and sincerity. The instrumental accompaniment is kept to a minimum, which lends the music a simple, accessible folk sound and emphasizes the beautiful voice of David Gates.”

“Bread were probably one of the most underrated bands of all time. They certainly did not get the recognition they deserved. David Gates is a very talented singer, songwriter and musician. Their music is very light, mellow and can bring back fond memories.”

Phoenix - GRAND FUNK***

Flight Of The Phoenix/Trying To Get Away/Someone/She Got To Move Me/Rain Keeps Fallin'/I Just Gotta Know/So You Won't Have To Die/Freedom Is For Children/Gotta Find Me A Better Day/Rock & Roll Soul

Phoenix was a relatively mellow album by the standard of the heavy rock band Grand Funk. Summer of Love sentiments are not what they are normally associated with. (US:7)

“A more strictly commercial sounding Grand Funk. Some good tunes here, elevated by shinier production values and smoother instrumental interplay. Early Grand Funk had a more distinctive vibe, but this is a decent enough early 70s mainstream American rock record, embracing dippy Summer of Love freedom sentiments.”

“Not Grand Funk's best recording but maybe their funkiest. That's not to say that this LP doesn't rock, with great guitar and Hammond on almost every track. As usual with GF there are lots of toe tappers and Rock & Roll Soul is a very cool tune.”

“Phoenix is aptly titled, because Grand Funk rose from under manager/producer Terry Knight's heavy hand to produce a great album. The songs seem very hopeful, and reflect a desire for personal as well as social change. The best songs here are the election-year anthem I Just Gotta Know and the party song Rock & Roll Soul, but the whole LP is great.”

“I think GFR should have kept up their previous sound for a while before doing this album. They could have waited a while before becoming packaged and domesticated. But in spite of the fact it is not the same type of sound that drew huge crowds while getting ragged by the media, this album stands up.”

“The overall tone of the album is more mellow than early Funk, but the vocal harmonies and smooth, funky arrangements of much of the remaining songs display the varied talents of the band; they don't have to just crank it up and grind and still produce great music. Rock & Roll Soul which finishes the album serves notice to all their fans that even though they are less raw, they can still crunch it with the best.”

“Record reviewers loved to hate Grand Funk, but that didn't stop people from buying their records and selling out their shows. Some of criticism may have been valid – as their songs tend to be somewhat simplistic. But kids in the late 60s and early 70s weren't always searching for complexity in their music.”

Foxtrot - GENESIS*****

Watcher Of The Skies/Time Table/Get'Em Out By Friday/Can-Utility & The Coastliners/Horizons/Supper's Ready

Foxtrot is generally regarded as the magnum opus of Genesis largely due to the extended track Supper’s Ready. It also heralded their commercial breakthrough that would crown them as the premier UK progressive rock band for the remainder of the seventies. (UK:12)

“This is one of the finest progressive rock albums I have heard, and I can't believe it was overlooked back then along with the rest of the Gabriel era Genesis. It shows what the public was missing out on then; sometimes the album you don't buy turns out to be incredible, and Foxtrot is one of the best examples of this. I would encourage prog fans to check this one out.”

“The obvious centrepiece is the band's magnum opus, Supper's Ready. At a staggering 23 minutes it succeeds where many mega prog tracks can come up short. The track is complex with different motifs rising, falling and interwoven throughout the track but it still manages to retain my interest throughout.”

“With Foxtrot, Genesis continued their streak of near-perfect material that lasted until Peter Gabriel left the band. Many argue that this is their best work, and while not all agree, it contains what is certainly the best song of the band's long career, the epic Supper's Ready. No other song even comes close to the thematic, stylistic and technical prowess displayed here, and its different movements showcase all the different facets of Genesis at their best: tranquil acoustic passages, ridiculous whimsical parts, harrowing sections with complex meters, and emotional, transcendent climaxes. One of the greatest progressive rock songs ever composed.”

“The majestic mellotron in the opening seconds of Watcher Of The Skies will haunt every prog listener for the rest of their life. With impressive bass lines and sinister organ parts, this is one of the excellent Genesis poetic deliveries with nice tune changes and a dramatic, symphonic atmosphere all the way.”

“There are a few albums in the history of progressive rock that are absolutely essential and one of these is Genesis’ Foxtrot. It is almost a revolutionary album for the time, and it helped define progressive rock as we know it today. What you get is some of the most way out prog-rock of the 70s. Gabriel voice has such emotion and fragility.”

Catch Bull At Four - CAT STEVENS*****

Sitting/Boy With A Moon & Star On His Head/Angelsea/Silent Sunlight/Can't Keep It In/18th Avenue (Kansas City Nightmare)/Freezing Steel/O'Caritas/Sweet Scarlet/Ruins

Overall Catch Bull At Four is another very strong and diverse album from Cat Stevens at the height of his creative powers. However, it does contain a rare dud track, the tedious Boy With A Moon & Star. On a more positive note it features the top 20 hits Sitting and Can’t Keep It In. (US:1 UK:2)

“This music remains a monument to late sixties-early seventies consciousness, a pillar to the edifice of the whole notion that we could change the world and make it a better, more tolerant, and more humane place to live in. All the music here is wonderful, and I can listen to the album without missing a single lovely beat.”

“The early seventies Cat Stevens albums are pretty amazing including this one. He's trying to change his style here a bit from his last three albums, but his talents were still firmly in place. This is more of a rock album, but there’s still some of the old style left, but its the new directions this album takes that makes it a great listen. Stevens wrote great melodies, and there are some great tunes here.”

“Another great album in which Cat has mostly avoided rehashing his softer melody style, and has introduced a more brash and energized style.”

“Cat Stevens understandably wanted to experiment with more unusual song structures and ambitious arrangements, and the result is a somewhat more stylistically diverse album than its predecessors. As a result it is, if anything, a stronger, more musically satisfying album, and includes new elements such as electric guitar, synthesizer, female backing vocalists and the accomplished keyboard work of Jean Roussel. At the same time, the album retains much of what made Cat's earlier work appealing. The mood is at times sombre, reflecting Stevens' continuing spiritual pilgrimage at this time, and his deep feelings perhaps show through most in the opening track Sitting and the bleak closing song Ruins.”

“It is a little darker than some of his other albums, and more personal. His voice is raw and emotional on most of these songs which is not something that you hear from most pop stars today. If you're a Cat Stevens fan, you should definitely add this one to your collection.”

Squawk - BUDGIE***

WhiskeyRiver/Rocking Man/Rolling Home Again/Make Me Happy/Hot As A Docker's Armpit/Drugstore Woman/ Bottled/Young Is A World/Stranded

Squawk was the follow up album from the Welsh early heavy metal band Budgie. Never close to the front line of the British rock scene they achieved some limited commercial success in the mid 1970s.

“A power trio with attitude Budgie never got the recognition they deserved. Furious in your face rock followed by haunting acoustic ballads, Budgie certainly appreciated the value of light and shade. Tony Bourge's guitar playing is as usual flawless, and on Bottled he shows some very tasty slide guitar.”

“Squawk is the second studio album by Budgie and continues in the same vein as their debut. Very guitar driven early heavy metal and hard rock with some progressive elements here and there. This might be a bit weaker than its predecessor but overall I can say that Squawk is a pretty enjoyable record as well.”

“I like most Budgie albums but this one is a little disjointed. The musicianship is not as crisp or as good as their usual releases. Still, it does rock in that heavy early 70s way and there are a few toe-tappers.”

“The style is a little less bluesy and more metal than their debut but making this distinction fails to underscore how close they’ve stayed to their riff based songwriting. There are some forays in a more prog direction, and token lighter pieces are added to make the album easier to digest, but by and large this is straightforward rock.”

“Marginally the weakest of Budgie's first five studio albums, but still a worthwhile album that I'd recommend to any devotee of 70s hard rock. Squawk largely continue with the mix of Zeppelin-esque hard rock and raw proto-metal.”

“Picking up where they left off on their debut, Budgie deliver another set of crunchy hard rock tunes with a little variety thrown in.”

“Budgie are a three piece band that defy the laws of physics to put forth a melodious, yet heavy, wall of sound that must be experienced to be believed. Hot As A Docker's Armpit, its title notwithstanding, is a masterwork of sonic waves that wash over and engulf the listener in ambient ecstasy. Make Me Happy has an acoustic aura that's difficult to describe, but it evokes feeling of happiness in the listener, that's for sure”

Solomon's Seal - PENTANGLE***

Sally Free & Easy/The Cherry Tree Carol/The Snows/High Germany/People On The Highway/Willy O'Winsbury/No Love Is Sorrow/Jump Baby Jump/Lady Of Carlisle

Solomon’s Seal was the final album from the influential British folk group Pentangle. By this time their commercial appeal was much diminished and they split up the following year. (US:184)

“Pentangle's fifth album is nothing special but it is still worth listening to if you love British folk music. There are some awesome tracks on here. The Cherry Tree Carol is a great song with a cool instrumental and beautiful lyrics. The Snows is beautiful in the instrumental part and the lyrics are also pretty good. So, overall Solomon's Seal is a pretty reasonable album.”

“At this stage of their career, Pentangle are exhausted after long stints of touring and many years of recording, so this is the beginning of the end. They burst onto the scene as a unique folk-jazz band, who rode the wave of the British folk explosion along with other bands that enjoyed superstar status at the end of the sixties. Solomon’s Seal marks the end of an era for the band.”

“Solomon’s Seal is a beautiful album, no doubt about it. It contains some of Jacqui McShee’s most enchanting vocal songs in The Cherry Tree Carol and the mesmerizing folk ballad Willy O’ Winsbury, which almost brings me to tears.”

“Finally letting their jazz influences fall aside, they turn in nine masterful performances of obscure traditional tunes mixed with a few originals that stay well in touch with the feel of the trads. My only quibble is that Jacqui McShee's voice is at her breathiest and wispiest, making some of the lyrics hard to decipher.”

“The last album by the original Pentangle, this is a fine folk release. A lot of the jazz influence has disappeared, but they use a wider range of instrumentation to very good effect.”

“On Solomon's Seal, Pentangle sound less lively than on their previous albums, but the songs are still good enough to make it worthwhile. The band sticks mainly to traditional folk. John Renbourn's electric guitar provides more of a folk-rock feel, but for the most part, the unclassifiable, not-quite-jazz, not-quite-folk sound of the band's best work is not especially evident here.”

Bright Phoebus - LAL & MIKE WATERSON***

Rubber Band/The Scarecrow/Fine Horseman/Winifer Odd/Danny Rose/Child Among The Weeds/The Magical Man/Never The Same/To Make You Stay/Shady Lady/Red Wine & Promises/Bright Phoebus

Bright Phoebus was the sole album release from the from the brother and sister folk duo Lal & Mike Waterson. Their songs have been described as echoing traditional material but also involving a variety of other influences.

“Absolutely perfect, and not just an album for folkies either. If anyone gives this album time they will realise that it's simply beautiful and a landmark album in folk-rock.”

“Lal Waterson had such a lovely voice, eerie and strange. Mike Waterson's guitar complements her perfectly. Some really good arrangements too, Red Wine & Promises is pure heavenly heartbreak.”

“This magical collection of very English songwriting has long been acknowledged a classic and one of the finest achievements of the British folk revival.”

“These are modern folk songs, definitely English and somewhat traditionally based, but also complex in structure and story. The covers here express a wide range of styles and sensibilities, but are all consistent in the love, respect and depth they bring to the material.”

“Great original material sung by various members of the Waterson family with back up by folk royalty, including among others, Richard Thompson. The music is largely angular, dirge like ballads, bleak yet mixed with bright patches of sunshine provided with a pop sensibility. Very poetic and original lyrics that are a modern take on the themes of love and loss, stories of death and reinvention, described by their versions of traditional material.”

“I'm not sure why this album isn't better known, possibly not folk enough for the folk purists and not pop enough for others.” “Lal has a unique vocal style which may not have universal appeal but certainly did it for me, a committed folkie. Mike Waterson's playing provides an excellent backdrop to some brilliant songs. This album will be listened to many times in this household.”

Prologue - RENAISSANCE***

Prologue/Kiev/Sounds Of The Sea/Spare Some Love/Bound For Infinity/Rajah Khan

The release of Prologue came during a turbulent period for the progressive band Renaissance. By this time all the original members had departed, but despite this there was still some continuity in their sound and they benefited from new vocalist Annie Haslam.

“Although this was the first album for the new Renaissance, they brilliantly carried on in the same classical/rock style of the original group, so Prologue is definitely their third album, and it is absolutely fantastic. With founder Jim McCarty passing the torch to the new group by co-writing two songs on Prologue, the third Renaissance album is a sparkling gem. The new line-up, including the gorgeous, soaring voice of Annie Haslam, is just as superb as the original group.”

“Strange indeed that both founding members, and even the second wavers were now gone, yet they had written enough musical material to nourish the bands coffers, leaving this album with no songs written by anyone still in it.”

“It signifies a new beginning and the Renaissance we all know. Not quite the classic line-up but Anne Haslam makes her debut and what a fine performance it is; she more than shows her capabilities. Unfortunately this really seems like a prologue to the following Renaissance albums and feels like a teaser of what is to come.”

“A bizarre album, resulting from a period of total chaos in the Renaissance line-up that sees a group of entirely new performers, none of whom wrote any of the songs. This is a transitional album that sits partway between the classical-influenced symphonic prog of the original group and the folk-tinged symphonic rock of the classic line-up.”

“This is not a bad album at all. Some wonderful tracks delight us with power and smoothness. The beautiful voice of Annie Haslam, make us thinking how precious life is in a moment of time. The first track Prologue is the highlight, but Rajah Khan is close. A strong album and one that made Renaissance one of the greatest bands in prog music.”

“This is the first Renaissance album with Annie Haslam on the lead vocals. It is definitely a complex and refined piano oriented album, although the tracks are loaded with other instruments.”

Sandy - SANDY DENNY****

It'll Take A Long Time/Sweet Rosemary/For Nobody To Hear/Tomorrow Is A Long Time/Quiet Joys Of Brotherhood/Listen Listen/The Lady/Bushes & Briars/It Suits Me Well/The Music Weaver

Self titled follow up album from the former Fairport Convention vocalist Sandy Denny. Critically acclaimed but commercially unsuccessful it comprises mostly self penned songs.

“This is the perfect folk-rock for an evening in. Denny's voice, sometimes fragile and at other times rising to something understated and powerful, is always passionate, yet full of longing.”

“There's a sweeping, almost orchestral majesty to tracks such as The Lady which suggests that Denny's music here was moving from its humble, self-deprecating folk roots to something more grandiose. Easily maintaining the high standards of her debut, Sandy is another entry in a solo career that was all so short.”

“This album is often considered to be Denny's best and in retrospect it stands out as one of the greatest folk-rock recordings of all times. The vast majority of the material comprises original songs written by Denny, beautifully performed by her and a superb band, which includes many British folk-rock heroes. Denny's angelic voice and her unique vocal style are simply stellar. An almost perfect album from a lady with one of the best, most purest voices in popular music.”

“This album showcases her voice in a way that Fairport Convention could not. The songwriting is unbelievable, the pacing is right on track, but most of all you cannot put this album down once you hear it.”

“Sandy was Denny's second album after leaving Fairport Convention, and is a transitional effort in that she is still singing in the traditional manner of a folk singer, but with attention being paid to the arrangements and instrumentation that are more sophisticated. Listen to Listen Listen, where the mandolin is reinforced by the sound of strings. But at this point it is a traditional song, like Quiet Joys Of Brotherhood, done in layered a cappella by Denny, but with a violin solo at the end, that stands out although obviously it is something she could not do in concert.”

“Sadly, in our homogenized world of radio pap Sandy's music is nowhere to be found. It would enrich radio, and there's certainly a place for her work, it's just that there are so many people that have never heard of her that her music falls between the cracks.”

All The Young Dudes - MOTT THE HOOPLE****

Sweet Jane/Momma's Little Jewel/All The Young Dudes/Sucker/Jerkin' Crocus/One Of The Boys/Soft Ground/ Ready For Love-After Lights/Sea Diver

After several years in the doldrums Mott The Hoople hit the big time with the UK top three single All The Young Dudes written by David Bowie. The group would maintain this success for the next two years. (US:89 UK:21)

“It rocks, and lyrically far outshines their previous releases. Sometimes they sounded loose but on this album they are tighter than on any other. If you have any interest in this band, this is where you should start.”

“A solid rock classic, All The Young Dudes is Mott The Hoople's finest hour. It's not just Ian Hunter's fabulous whiskey-smoke vocals, the roller-rink organ or relentless guitar riffing. It is the amazing quality of the songs that make this a masterpiece.”

“All The Young Dudes is a glorious song, with one of the greatest choruses and uses of an organ ever in rock 'n' roll history. Unfortunately, the rest of the album is heartbreakingly mediocre, disappointing to say the least. But then again, I guess Bowie didn't use his songwriting touch on any of the other songs, so...”

“I listened to the album for one song: All The Young Dudes. Thankfully, that wasn't all there was on this fantastically produced album. With the awesome 1970s David Bowie feel, the album really lives up to the solid expectations I had.”

“The major reason anyone would be interested in hearing this record now is that it features the first recorded version of David Bowie's song All The Young Dudes. Otherwise, the album is pedestrian Stones-style rock with a desperate shortage of memorable hooks. Apart from the title track and Momma's Little Jewel, there are no songs or performances of merit here.”

“A nice combination of pop-rock, in the vein of their collaborator David Bowie, with harder edged rock that occasionally borders on proto-metal, though with a slightly more progressive bent. All The Young Dudes delivers on all fronts; the instrumental work is strong, as are vocal performances, the songwriting is very good, and it's a thoroughly enjoyable album.”

“This is a good album for Rolling Stones fans and glam-era Bowie fans alike and of course it's a must own for the Ian Hunter faithful.”

Rocky Mountain High - JOHN DENVER****

Rocky Mountain High/Mother Nature's Son/Paradise/For Baby (For Bobbie)/Darcy Farrow/Prisoners/Goodbye Again/Season Suite

Rocky Mountain High conveyed John Denver’s love for nature and the environment. It also heralded his commercial breakthrough and he would retain a high degree of popularity for the remainder of the decade. The title track was a US top ten hit single. (US:4 UK:11)

“This album really shows John Denver’s love and respect for the land where he lived. The title track Rocky Mountain High is incredibly beautiful and one of the greatest country songs ever made. The other big highlight on this album is the Season Suite, but all these songs are really good.”

“John Denver hit the big time for good with this one, and deservedly so. Rocky Mountain High, the song, is tremendous. The lyrics alternate between sharp and clunky, but the music really soars, with a lovely guitar intro. Denver's in full acoustic mode, and there's not a bad song on the album.”

“I love acoustic music and John Denver's album Rocky Mountain High has some of the best acoustic guitar playing I have ever heard. From the opening lick on the opening track proclaiming the reverent majesty of the mountains, this album pays homage to the environment, a subject very dear to his heart.”

“John continued the largely acoustic musical style of his previous albums, using electronic effects and instruments sparingly to create a style of pop/country that remains as unusual today as it was then. The classic Rocky Mountain High was dominated by acoustic guitars and John Denver's voice in an echo effect, that creates a more expansive musical piece than a description would imply. The song itself is a song of loss and discovery in the mountains of Colorado.”

“With the release of this album John Denver was launched into superstardom. All the elements he used to achieve such singular fame and fortune as the best-selling and most popular singer of the 1970s is here. Rocky Mountain High portrays an intimacy with nature he sang about so effortlessly elegantly.”

“Hearing John sing in his youthful enthusiasm about what turns him on is still a rare treat. This one has weathered the years with all its energy and beauty intact. I love this album, and I think you will too.”

Liza With A ‘Z’ - LIZA MINNELLI****

Yes/God Bless The Child/Say Liza (Lisa With A Z)/It Was A Good Time/I Gotcha/Son Of A Preacher Man/Ring Them Bells/Bye Bye Blackbird/You've Let Yourself Go/My Mammy/Cabaret Melody/Bows

Liza With A ‘Z’ was recorded as a live TV special from the New York Lyceum Theatre in May 1972. Minnelli was at the peak of her fame at that time following her acclaimed performance in the movie Cabaret. (US:19 UK:9)

“Miraculously popular in its day, this is still a great introduction to the wonders of Minelli's craft. Despite tackling some contemporary songs she shines naturally on the show-biz stuff. Her version of Charles Aznavour's chilling You've Let Yourself Go is definitive, while the Cabaret medley gives the record a climax to remember. A great showcase for a great talent.”

“Liza Minnelli is legendary performer and this album shows you how great she was back in her heyday in the early 70s. Liza With A 'Z' is a dynamic, powerful, energetic performance. Every song is a proof of her incomparable vocal power. She belts these songs with strength and passion. A brilliantly done live album by a legend.”

“From the charged great opener Yes it is clear that this is going to be an extraordinary musical trip with a great, singer. Drama and pathos make God Bless The Child a moving and incredible experience and Liza With A ‘Z’ is great fun and a tongue-twisting feat that Liza never once flubs on. Exuberant and soulful is the definitive version of It Was A Good Time and wildly soulful is the rhythmic I Gotcha, a great dance routine where Liza really shines.”

“If anyone can't understand what all the fuss was about when Liza Minnelli started years ago, listen to this tape. She was in fine form as one of the greatest singers and dancers of our time.”

“In this collection of songs from her live TV special of 1972 Liza is at the top of her game. All the tracks are stand-outs but it is really is thrilling towards the end of Cabaret to hear her hit that long extended note with a pure and perfect vibrato and then chop it off with almost a growl.”

“I had heard about the Liza with A ‘Z’ song, and I really wanted to hear it. Well, then I listened to the other songs and they were just superb. I really loved the medley from Cabaret.”

Summer Breeze - SEALS & CROFTS***

Hummingbird/Funny Little Man/Say/Summer Breeze/East Of Ginger Trees/Fiddle In The Sky/The Boy Down The Road/The Euphrates/Advance Guards/Yellow Dirt

Summer Breeze was the breakthrough album for the American soft-rock duo Seals and Crofts. They were very popular in the US during the mid 1970s but little appreciated in the UK. The lightweight title track was a US No. 6 hit single. (US:7)

“Far out, man. Break out the hookah. This is some real hippie music, with some Middle Eastern religious/spiritual overtones, even quoting Baha'i scripture in East Of Ginger Trees. Comparable to Cat Stevens only not quite as good, but some lovely harmonies however.”

“Summer Breeze is like listening to candy, a song that is pure pop perfection. Unfortunately nothing else here equals its greatness. In fact it's hard to get through the whole thing. Hummingbird is fun, the rest form a languid hippy folksy dream.” ,p> “Seals & Crofts were a duo who specialized in a mix of soft-rock and wistful folk. They created wonderful, soothing music to heal, soothe and uplift during times of hardship.”

“Summer Breeze is a beautiful collection of folk-rock tunes, with reflective, emotional and poignant lyrics, some of which feature spiritual overtones. Not only that the musicianship and arrangements are all of high calibre. Jim Seals also possessed one of the most beautiful voices I've ever heard.”

“Seals & Crofts' Summer Breeze is a soft and easy album with excellent harmonies and folky grooves. The title track is a classic piece of music with vivid lyrics and sweet harmonies. Hummingbird has a strong chorus and The Euphrates and East Of Ginger Trees have some deep lyrics. This perfectly encapsulates the folk-rock sound of the early 70s.”

“Being a long time fan of this duo, Summer Breeze is where they started on a great career. While the title track got the most airplay, the rest of the songs were sadly neglected. Yellow Dirt is one of my favourites, as well as East Of Ginger Trees. The finely crafted harmonies and mandolin woven together with Jim's classical guitar make for some excellent music.”

Baby Don't Get Hooked On Me - MAC DAVIS***

Dream Me Home/The Lonesomest Lonesome/Everybody Loves A Love Song/Naughty Girl/Friend Lover Woman Wife/Half & Half (Song For Sarah)/Spread Your Love On Me/Whoever Finds This I Love You/Poor Boy Boogie/Baby Don't Get Hooked On Me/The Words Don't Come Easy

Before his commercial breakthrough as a singer with Baby Don’t Get Hooked On Me Mac Davis was best known as a songwriter for other artists, including Elvis Presley. The title track was a US No. 1 hit single. (US:11)

“I like low/middle-brow nostalgia-inducing seventies stuff, but this just smirks too much and is misogynist. The arrangements are generic to the point where I wonder if they weren't programmed to sell to middle Americans prone to buying any record that featured a TV personality with a nice smile on the cover.”

“I have loved Mac Davis' music for years. He was such a great entertainer and Baby Don`t Get Hooked On Me was my all time favourite album. I would love to see him entertaining again. His music had such warmth and love in it from the heart.”

“Mac is a wonderful entertainer as well as writer. He brings you into his life with each word. I felt as if I was there during relationships, break-ups and the joy of his children. He has no idea how much pleasure he has given to us as we listen, laugh and cry with him.”

“Texas songwriter/singer Mac Davis knew the ins and outs of how to pen a good pop song; Kenny Rogers and Elvis both scored hits with his compositions.”

“Mac Davis was one of those singers from the 1970s that when you tell people now that you liked him they kind of roll their eyes at you.”

Back Stabbers - O'JAYS****

When The World's At Peace/Back Stabbers/Who Am I/(They Call Me (Mr Lucky)/Time To Get Down/992 Arguments/Listen To The Clock On The Wall/Shiftless Shady Jealous Kind Of People/Sunshine/Love Train

Backstabbers was the breakthrough album for the Philadelphia soul group O’Jays thanks to the creative input from new producers Gamble & Huff. Love Train topped the US singles charts with the title track reaching No.3, both also being UK top twenty hits. (US:10)

“One of the quintessential Philly soul albums, bolstered by two famous singles, the multi-layered paranoia of Back Stabbers and the TV commercial favourite Love Train. Those two aside there's nothing really to complain about as they spin tales of love, hope, devotion, as well as deceit and despair with equal grace and skill.”

“As far as Philly soul goes, this was probably the most consistently good group of them all. This album is really their true debut. It's when Gamble and Huff first started producing them and they gained an identity as a group.”

“The excessive strings do make this feel a little too saccharine at time. But is there a single dud on this record? No, just impeccable harmonies and creative arrangements that make this one a real winner.”

“Gamble and Huff took a risk by going for this sound in the early 70s. The popular sound was funk, and there would have seemed to be no room for their clean soul sound. There obviously was though as Philly International grew to become one of the most successful soul labels. We are certainly lucky that they took the risk though, as the label provided so many great albums, this one perhaps being the best.”

“Although they had been enjoying minor hits since the early sixties, the O’Jays’ true breakthrough was with the album Back Stabbers, their first with the production and song writing team of Gamble and Huff. It features the hit title track as well as the No.1 hit Love Train, and is considered one of their best efforts. Although the entire album is listenable, there really isn’t much that can compete with the two hits which are easily the most wonderful tracks here, both being the kind of classic pop that imprints itself indelibly on the listener’s mind, and are almost too easy to enjoy.”

“This is Philly soul at its finest, crafted with love, passion, and feeling. The title track is among the most influential songs ever, and it remains as one of the most nerve-hitting tales of betrayal and hypocrisy.”

Rock Of Ages - THE BAND***

Don't Do It/King Harvest (Has Surely Come)/Caledonia Mission/Get Up Jake/The W S Walcott Medicine Show/Stage Fright/The Night They Drove Old Dixie Down/Across The Great Divide/This Wheel's On Fire/Rag Mama Rag/The Weight/The Shape I'm In/Unfaithful Servant/Life Is A Carnival/The Genetic Method/Chest Fever/(I Don't Want To) Hang Up My Rock & Roll Shoes

The live double album Rock Of Ages was recorded in December 1971 at the Academy of Music in New York City. The songs differ from the studio versions by the addition of horns. (US:6)

“The Band seemed to be enjoying themselves as they were at the top of their game. The musicianship is technically excellent and the harmonies precise. The set remains a live testament to one of the great rock ‘n’ roll groups and a sad reminder of what can never be again.”

“It's a shame there isn't a live record of The Band that was recorded earlier in their career, because even by 1972 you could tell they were starting to get tired. They hadn't really written much good new material since the self-titled album in 1969, and this has a surprising going through the motions vibe. You are really better off just sticking to the first two studio records.”

“The most obvious difference from the studio versions is the addition of a horn section to nearly every song, which provides an interesting change of pace, but can sometimes come off as clumsy.”

“This was The Band playing with a horn section, the whole thing just comes alive, and makes them sound even funkier than before.”

“The Band don't just play many musical styles, they embrace all of them. Their love for the music is completely sincere, and the treat every tune like a craftsman would treat a fine piece of wood. They troop through their cannon of work with emotion and integrity. The horns add a whole new musical layer to many songs.”

“Rock Of Ages is a landmark in musicianship. The Band live were already energetic performers always in sync with each other. The added horn arrangements create a truly rich listening experience. Without a doubt this is one of the greatest live documents ever made and about the best The Band released.”