Europe '72 - GRATEFUL DEAD***

Cumberland Blues/He's Gone/One More Saturday Night/Jack Straw/You Win Again/China Cat Sunflower/I Know You Rider/Brown Eyed Woman/Hurts Me Too/Ramble On Rose/Sugar Magnolia/Mr Charlie/Tennessee Jed/ Truckin'/Epilogue/Prelude/Morning Dew

Europe 72 was the third live album released by the Grateful Dead in as many years. This triple LP consists of several different performances from their recent European tour. (US:24)

“This collection of several different performances from the band’s European tour shows what great musicians they were. The band are tight, the music great, there is not much more you can ask from a live album.”

“It has been said the Dead were at their peak in 1972 and I can't find any arguments against that claim. This release is just one classic after another, and the more you continue to listen the more you will hear of their instrumental depth.”

“The set list is enjoyable, particularly on the first disc, which has always been the highlight for me. The vocals sound great and the playing is pretty much all top notch. Particularly on the first disc, the song lengths are much shorter, almost pop length really, which makes it pretty easily digestible to the casual Dead fan.”

“If you're new to live Grateful Dead this is a possible starting point. There's none of that long jamming that newcomers may find hard to get into, this is a Dead live album that's very easy to like.”

“Many argue that this album of live cuts from the Europe trip has been a little too cleaned up with studio overdubs and, as a serious fan, I am inclined to agree. However, anyone new to the band would be unlikely to notice this. This triple album contains many good versions of now classic songs, with a really warm sound.”

“Whoever chose the versions for this album knew the music well, they are performed with precision and force in just the right places. This is a good album for anyone who doesn't own any other Dead albums, as there are no weak spots.”

“This album has some great songs on it. The Grateful Dead were an amazing live band and this is a fine example of their live power.”

Don McLean - DON MCLEAN****

Dreidel/Bronco Bill's Lament/Oh My What A Shame/If We Try/The More You Pay/Narcisissima/Falling Through Time/On The Amazon/Birthday Song/The Pride Parade

This self titled release was the follow up to Don McLean’s huge hit single and album American Pie. Although it attracted positive reviews a fickle record buying public largely ignored it. (US:23)

“OK, so you've just recorded the most fascinating song of the decade, and become a sensation. Now what? Well, if you're smart, you won't try to do the same thing on your next album, and that just might be the key to the success of this fine album. Here you have ten excellent songs, performed very well, by a very gifted singer. Check this out, and you'll find that McLean's talent runs quite deep indeed.”

“This solid early McLean album justifies itself every time I listen. This is good time music with a point, Dreidel is a great cut and If We Try has become a standard. The LP is well worth searching for and taking real good care of once you’ve found it.”

“About on a par with American Pie as an album. All the tracks are very good, and there are a couple of standouts. Very enjoyable and essential for all fans, casual listeners as well.”

“Poor Don. Everyone went nuts over American Pie, and the rest of his career is barely known at all which is a shame as he is such a talented signer. Every song on Don McLean is beautiful and a joy to listen to. Do Don a favour and listen to this album.”

“From the dark and fateful look at human nature in the opening number of Dreidel, a song that shows just how accomplished a lyricist McLean is. With the more tragi-comic flair of Bronco Bill's Lament, the poignant Oh My What A Shame and the lovely melody and lyrics of If We Try, McLean was clearly stretching his wings here, and was unafraid to explore the limits of his style and substance without worrying about whether his newfound fans would follow suit.”

Not bad at all, really. The strongest songs are the more upbeat ones. The two side-openers, Dreidel and Nircisissima are both quite pleasing. Don's lyric writing is impressive and songwriting isn't bad either. But some songs like Oh My What a Shame are just such downers.”

The Magician's Birthday - URIAH HEEP****

Sunrise/Spider Woman/Blind Eye/Echoes In The Dark/Rain/Sweet Lorraine/Tales/The Magician's Birthday

The Magician’s Birthday found the progressive rock group Uriah Heep at the peak of their creative powers. The mystical elements introduced with the previous album are continued here. (US:31 UK:28)

“Though it may have been rushed it nearly matches its great predecessor. The band, and especially Hensley as a songwriter, were at the peak of their creativity and many of these songs have become classics and favourites.”

“It's one of their most worthwhile releases. The chemistry of the classic line-up is the best they ever had and there they are on top form. With this album they stabilized their reputation as a hard-rock group that can create magnificent music, but also be unique, having their own style that can't be copied successfully by anybody else. Some of their best songs are here like Sweet Lorraine and Sunrise, without any filler. The closer is a semi-progressive lengthy track with many changes and surprises that can be used to showcase both Hensley's songwriting and the whole band's wonderful performance.”

“Uriah Heep were often acclaimed as one of the bands at the root of heavy metal but I find little evidence of this here. At its best it has a number of good melodious rock songs that tend towards pop, with a bit of fairly accessible prog thrown in.”

“The blazing Roger Dean cover equals the music here, prime early 70s semi-prog rock, full of ladies, wizards, drugs and keyboards. Heep's shorter songs all work well, but The Magician's Birthday does have some slower moments.”

“Let's face it Uriah Heep where unstoppable at this time, and here's another shining example of their mighty talent. The title track is all out early prog metal, and the whole package is a blast to listen to.”

“From the personal introspection of Rain to the psychedelic connotations of Tales, this band exhibited a high level of talent that makes their music still relevant, today.”

“In the same vein as their previous recording. They were at the height of their powers and their music reflected that heavy psych hard rock with great guitars and keyboards.”

Homecoming - AMERICA***

Ventura Highway/To Each His Own/Don't Cross The River/Moon Song/Only In Your Heart/Till The Sun Comes Up Again/Cornwall Blank/Head & Heart/California Revisited/Saturn Nights

Homecoming was the follow up album from the soft rock group America. Apart from their highly original first single, none of their later releases made much impact in the UK. This was in contrast to the US as shown by the No. 8 placing of Ventura Highway. (US:9 UK:21)

“They make a lot of simple soft-rock tunes that are perfectly fit for a road trip, but that's the problem: it's nothing more than some enjoyable background music. The album lacks originality and didn't stand out much from the rest of the similar acts of their time. It has a few great songs but overall is nothing special.”

“America, the band, peaked with this collection of faultless songs. The group occasionally hit these heights with the odd song on other albums but never to such effect and or in such abundance. It would be pointless to cite particular highlights as each and every song is perfect and none eclipses another.”

“This album is a nice, little acoustic record. It ups the ante on some songs and has some rocking moments. Check out Moon Song, with its rocking drums and driving guitar. They seem to be only known for their hits, but they also have some good unknown gems.”

“Homecoming is an acoustic assortment of thoughtful, well-written, professionally performed songs, embellished in the golden California sunset. It's one of their better albums and, along with their self-titled debut, is essential for America fans.”

“America second effort is nearly as good as their debut. Here the songs are a bit more pop and polished which is more accessible than the innovative guitar parts in their previous album. Nevertheless, all the songs here are excellent and catchy.”

“Homecoming builds on the sound and success of their first album, but it also takes a step towards the commercial soft rock sound that would eventually lead to their demise. Fortunately, it stays within the bounds of down-to-earth hippie relevancy and doesn't alienate the fans.”

Doremi Fasol Latido - HAWKWIND***

Doremi was the first album of space rockers Hawkwind to feature Lemmy as the replacement bass player. Although he stayed with the group for a few years, they were not a natural outlet for his talents, in contrast to his next band Motorhead. (UK:14)

“Typically for Hawkwind, the album is a sprawling, ambiguous astral road-trip in terms of structure - the songs are all distinct, but they flow into one another as once cohesive whole, which suits the pulsing bass and drums and the swirling, sweeping synthesisers.”

“Hawkwind were a great experimental rock band. They were able to juxtapose a primal, simplistic and quite frankly low-brow thud-chant on Time We Left This World Today with some mind-accosting dissonant experimental instrumentation.”

“Arguably the heaviest rock album of all time. Hawkwind's Doremi succeeds both as heavy metal and space-rock in equal measure. Lemmy's rumbling bass lines are augmented by fuzzed and wah-wah electric guitars, as thunderous drums keep the tribal beat going.”

“Brainstorm is a great freak-out hard rock riff-based space song, especially when the vocals stop, the guitar harmonics come in, and the noise generator merges with the organ. As strange chanting vocals join the mix, and the bass gets jazzy with notes that don't seem to belong to any harmonic pattern. Here, as elsewhere, Hawkwind kiss the cheeks of prog, nod in the direction of punk, and suitably update krautrock.”

“Hawkwind's third album sees the group struggling against difficult circumstances and turning these problems into opportunities. For starters, it's the first album with Lemmy on bass - an instrument he wasn't used to, having learned to play lead guitar, with the result that his playing is somewhat unorthodox on here.”

“So bad it's good. It's like watching the first Star Trek series; I do it for the laughs, not because I want to go on an intergalactic journey. Time We Left This World Today is a good example of this with some pretty lame vocals. Brainstorm and Lord Of Light are mind-numbingly repetitive, yet I wouldn't change a thing about either. Keep an ear out for the One Change transition, a rare speck of beauty here.”

Slayed? - SLADE****

How D'You Ride/The Whole World's Goin' Crazee/Look At Last Nite/I Won't Let It 'Appen Agen/Move Over/Gudbuy T'Jane/Gudbuy Gudbuy/Mama Weer All Crazee Now/I Don' Mind/Let The Good Times Roll-Feel So Fine

During the course of 1972 the glam rock band Slade became pre-eminent in the British music scene, with Slayed? their top selling album. Features the UK No. 1 Mama Weer All Crazee Now and No. 2 Gudbuy T’Jane. (US:69 UK:1)

“Slade always struck me as a band you simply cannot hate - pure stomping hard rock 'n' roll that somehow manages to combine working class grit and glam appeal. A British band of the people. Great songs and even greater singles.”

“Vocalist Noddy Holder is in fine form and his nasally glam rock wail combined with a throat that was made for blues-rock just gel together in a rare fashion. Put simply though, everything just fell into place here, and even the mighty Slade themselves would never again even get close to masterfulness of this album.”

“Slade are offering us a hard rockin' gem here. Pretty legendary album by Noddy & the boys. I think every song is pretty good here and that makes this album great.”

“Slade were one of the most popular glam rock bands of the early 1970s, and Slayed? shows what the fuss was all about. As you can see, the band loves misspelling the names of their songs. There's an impressive cover of Janis Joplin's Move Over, Gudbuy T' Jane is a catchy little song while Mama Weer All Crazee Now is probably the most popular song off the album.”

“Stomp along kids. Completely over the top and silly, and that's what makes this record so good. Full of goofy struts and ridiculousness, and it’s fun. So take a break from the serious record analysis and scholarly evaluation, and just enjoy. After all, it was supposed to upset your parents, not you. Of course, I must admit, this is all the Slade you'll probably ever need.”

“Definitely a rock and roll band with powerful vocals, a very good rhythm section and a vibrant, driving feel, Slade were quite capable of making a classic album if they had concentrated their shots. Very limited in lyrical ambition and range, but very solid rhythm guitar, and the bass lines are often very effective. A fevered live feel, not far from hard rock and spirited 60s garage.”

Transformer - LOU REED****

Vicious/Andy's Chest/Perfect Day/Hangin' Round/Walk On The Wild Side/Make Up/Satellite Of Love/Wagon Wheel/New York Telephone Conversation/I'm So Free/Goodnight Ladies

Transformer was a quick follow up to Lou Reed’s lacklustre debut. With the help of David Bowie and Mick Ronson as producers, he created his most memorable album, steeped in decadence, as exemplified by the UK top ten hit Walk On The Wide Side. (US:29 UK:13)

“After an often-forgotten and rather ignored debut solo album, Lou Reed hit it out of the park with Transformer, embracing the arty glam rock aesthetic of number one Velvet Underground fan David Bowie and producing a series of songs celebrating the liberating effects of sexuality and walks on the wild side. Opening with a catty and mildly camp put-down (Vicious), continuing with a surreal tribute to Andy Warhol (Andy's Chest), and continuing through various other odes to debauchery and the lifestyles of the Factory luminaries, it's a wonderfully celebration of decadence.”

“Songs like Walk On The Wild Side and New York Telephone Conversation are some of the more campy compositions in the Reed canon. On the other hand Perfect Day is one of the most angelic and profound writings from Reed giving the listener never a dull moment to an album that is constantly satisfying through and through.”

“This is cool, funny and catchy and it oozes a sense of effortless coolness which is at the core of glam rock. There are so many songs which are just amazing, the kind that can stay in your head for days. The mood ranges from raunchy straight up rock to heartbreaking ballads. Some of the lyrics really are funny, generally in a surreal kind of way, and of course, when it rocks, it rocks.”

“Transformer seems to have been regarded as Lou Reed's most iconic album ever since its release in the early 70s. Walk into any record store today and amongst a plethora of compilations it is the one original studio album that you are likely to find still on sale. Doubtless the collaboration with David Bowie helped fuel interest in the record. There is also that unforgettable image of Reed on the front cover and of course songs that make it onto every one of those compilation albums.”

“The album is probably most famous for the hit Walk On The Wild Side. However most of it is unlike that classic rock song, with sweet ballads that lull us almost into complacency until they slap us in the face. One of the great things is how the music is so sweet and like show tunes but with lyrics subtly deviant and clever.”

Seventh Sojourn - THE MOODY BLUES*****

Lost In A Lost World/New Horizons/For My Lady/Isn't Life Strange/You & Me/The Land Of Make Believe/When You're A Free Man/I'm Just A Singer (In A Rock & Roll Band)

Seventh Sojourn was the last of the seven classic albums from The Moody Blues. There would be a gap of six years before the next studio album was released, and their sound would then change to mainstream progressive with less of the mystical elements. (US:1 UK:5)

“Seventh Sojourn, the appropriately titled final instalment of the classic seven Moody Blues albums, is the most atmospheric, most cohesive and best produced of the band’s early records. Recommended to any fan of symphonic rock, or of thoughtful 70s rock in general.”

“The album starts really well with the one two punch of Mike Pinder's excellent socially aware Lost In A Lost World and Hayward's gorgeous, heartfelt welcome to his new child on the beautiful New Horizons. Whilst the sound is typical Moody Blues, these tracks seem to usher in a new outlook, less precious or pretentious, and minus the acid tinged spiritual baloney that permeates the majority of their work.”

“The original Moodies' swansong and masterpiece. Seven richly perfected, poignant soft-rock songs, with Isn't Life Strange being the highlight, and the closer, I'm Just a Singer, which really rocks, yet at one and the same time is a showcase of majestic melody.”

“Seventh Sojourn maintains the standard set by earlier albums, but is a collection of individual songs rather than a concept album. There is less prog-rock here too, and it has a more pop sound. The unmistakable Moody Blues sound remains though, the flowing melodies, rich harmonies and somewhat grandiose soundscape. Clearly the creative energies of the group had not yet run their course, and in Seven Sojourn they took their leave with a collection of high quality tracks.”

“Seventh Sojourn is one of those albums that never grows old. The arrangements are lush and evocative; the music itself is poignant, melodic and memorable; the lyrics danced across the turntable.”

“The biggest change in sound is that Mike Pinder abandoned the Mellotron to play a Chamberlain (an updated Mellotron which works on the same principle, made by the same company and, yes, sounds the same).”

Romany - THE HOLLIES***

Won't You Feel Good That Morning/Touch/Word's Don't Come Easy/Magic Woman Touch/Lizzy & The Rainman/ Down River/Slow Down/Delaware Tagget & The Outlaw Boys/Jesus Was A Crossmaker/Romany/Blue In The Morning/Courage Of Your Convictions

Romany was unique in The Hollies album catalogue as it is the only one without main vocalist Allan Clarke who left to forge a solo career. His replacement, Swede Mikael Rickfors, would be ousted in little more than a year as Clarke returned to the fold. (US:84)

“Mikael Rickfors does a fantastic job replacing Allan Clarke and The Hollies couldn't have chosen a better singer as a replacement. His soulful voice fits perfectly on ballads like his self-written Touch or the tender Romany. He shines on the rockers like the heavy Slow Down with a great guitar riff or the driving rock 'n' roll song Courage Of Your Convictions, and he is on top of his powers on rockers like the single Magic Woman Touch.”

“The symphonic 60s style folk-pop of Romany was well out of style by 1972 but this is an accomplished effort of the genre that fans of the early Bee Gees or Walker Brothers should dig, with a couple tunes like Slow Down going in a rockier direction.”

“Allan Clarke was a talented and engaging singer. The Hollies had forceful, nuanced harmonies that were among the best of their day. Exit Clarke and enter would-be crooner Mikael Rickfors. All you need to do is listen to the over-emoting on Down River to know how the personnel change panned out. As for the harmonies, hidden behind a glitzy production wall, The Hollies can't seem to survive without him.”

“Romany was the first Hollies album not to feature Allan Clarke on vocals. He had left the band to seek solo success. His replacement, Swedish-born Mikael Rickfors, whose vocal register was a lot deeper, utterly changed the band's distinctive style. Some of the music is OK, but the general overall standard of the songs is neither as infectious as their work in the sixties, nor as good as the softer rock/folk rock options around at the beginning of the seventies.”

“Allan Clarke split from The Hollies after a disagreement regarding solo work. The remaining members decided to pick a replacement, and they couldn't have come up with anyone better than Mikael Rickfors, who got the job due to his songwriting and multi-instrumental abilities, but most of all for his incredible singing voice. Deep and rich, he brought a fresh new sound to the band.”

Baby James Harvest - BARCLAY JAMES HARVEST***

Crazy (Over You)/Delph Town Morn/Summer Soldier/Thank You/One Hundred Thousand Smiles Out/Moonwater

Rather weirdly, progressive band Barclay James Harvest’s fourth album Baby James Harvest appears to be making some obscure reference to James Taylor’s Sweet Baby James. Regardless, the critics were mostly less than enthusiastic about it.

“Although I like the opening track the rest of the material is more or less mediocre. It's a pretty boring record full of quite tame and lame symphonic prog/art rock. Not recommended.”

“Their fourth LP sounds more artsy with greater emphasis on the guitars this time around, rather than their earlier symphonic prog leanings. Not a bad collection of songs, it is unfairly dismissed as one their worst efforts.”

“Stylistically the music on Baby James Harvest continues the semi-progressive rock style of its predecessors. Strong vocals and harmonies, catchy songwriting, organic playing and the occasional use of mellotron, which provides the music with an epic dimension. While the band do produce more simple rocking tracks, there is a sophistication to the songwriting that's unmistakably a progressive rock trait.”

“Of historical worth only or if you would like to be reminded of the spirit of BJH. I like Moonwater and hats off to them for daring to be different, at one point orchestra meets rock meets northern brass band.”

“The title appears to be a jokey reference to James Taylor. Baby James Harvest could use some of his talent in the songwriting department as this album is simply lacklustre in just about every way.”

“The style involved here is folk/rock music, the rhythm is rather slow and the record contains acoustic and electric guitars with often good piano or basic keyboards. The bass is loud and well played and the lead singer is good. This one is not as depressive as many other BJH's albums, maybe because of the rather absent floating keyboards.”

To Whom It May Concern - THE BEE GEES***

Run To Me/We Lost The Road/Never Been Alone/Paper Mache Cabbages & Kings/I Can Bring Love/I Held A Party/Please Don't Turn Out The Lights/Sea Of Smiling Faces/Bad Bad Dreams/You Know Its For You/ Alive/Road To Alaska/Sweet Song Of Summer

To Whom It May Concern has been described as a transitional album by the Bee Gees during their period in the doldrums before they embraced a radically different sound. Includes the UK top ten hit Run To Me. (US:35)

“The ballad heavy track listing ensured long standing fans would be happy. That said, you can only take so many of these heavily arranged ballads before they begin to sound alike. To my ears the brothers' formula finally starts to sound somewhat tired and worn.”

“This one is a bit of a mixed bag. Here they are clearly going through a transitional phase from their well known orchestrated sound to...something else. I'm not quite sure what though. A number of songs sound tired and seem to be an indicator that they were becoming bored with their orchestrated pop. This is a crossroads album, showing the first signs of moving towards a new direction.”

“A very typical Bee Gees album of the era, which included both rockers and syrupy numbers, both progressive pop and twee tunes.”

“An obscure record by the Bee Gees, lost in their transition phase, between the original pop-masters and their later disco success. I really love it, the hits are consistent, Run To Me and Alive are good and lovable.”

“The album is a goodbye to the old Bee Gees and was the changing of the old guard. It is a fabulous album, one were you can truly witness the complexity this band possessed as both singers and songwriters.”

“Released in one of the Gibb's slow periods, this LP contains a collection of mostly individual works, most of it hodgepodge, but there is still a humble brilliance to many of the songs. However, for the real Bee Gees fan, it is a must have. Other than the big hit, Run To Me, other standout cuts are, Road To Alaska, a unique toe-tapping rocker, Paper Mache Cabbages & Kings, a fun novelty song that bounces around with oddball lyrics, You Know It's For You, a Maurice Gibb song that is one of his best lively mood songs and Alive, a poorly received single that is one of the best written ballads the Bee Gees have done.”

Rock Me Baby - DAVID CASSIDY***

Rock Me Baby/Lonely Too Long/Two Time Loser/Warm My Soul/Some Kind Of Summer/(Oh No) No Way/Song For A Rainy Day/Soft As A Summer Shower/Go Now/How Can I Be Sure/Song Of Love

By late 1972 when Rock Me Baby was released teeny bop girl mania for David Cassidy was reaching a peak in the UK, although back in the USA his appeal was starting to wane. Features his British chart topping cover of How Can I Be Sure with the title track doing less well reaching No. 11. (US:41 UK:2)

“Rock Me Baby launched a heavier sounding Cassidy on to the world market with great success. The title track is a great rocking number. Some pundits have even gone as far to say that if the song had anyone's name on the recording other than Cassidy's, it would be regarded as one of the best rock songs of the early 70s.”

“This music is great but still very pop as the music was largely controlled by record executives; David had very little input.”

“With Rock Me Baby Cassidy seems to have got his way with his insistence that he goes towards a more blatant rock sound. That may have worked if the rock songs were more tuneful, but Rock Me Baby is not a good song. How Can I Be Sure charted, and is a great song, another cover, many of which Cassidy nearly always performs well. The stand-out tracks for me are Some Kind Of Summer and Soft As A Summer Shower which are performed and produced beautifully.”

“If only Cassidy had come up with better tunes for the drier rock sound and direction at this critical juncture, then maybe Cassidy might have completely transitioned from teen-star to desired lead solo singer. The talent and drive were there, but easier said than done. It's not that Rock Me Baby is a bad album, it's just that those of us who loved David Cassidy expected great tunes for every track. Rock Me Baby did not provide any one great new original tune in this more desirable mature direction.”

“Superb quality recording; it is peaceful listening to the beautiful voice of David Cassidy, and tunes from once upon a time. Recommend to anyone who likes smooth music, some with some kick in them.”

“Former teen idol David Cassidy's second solo album is an attempt at blue-eyed soul that, for the most part, works well. Rock Me Baby was more expressive than anything he was allowed to record on the Partridge Family sessions. These tracks show off Cassidy's vocal range but there's nothing as catchy as on the Partridge Family albums.”

360 Degrees Of Billy Paul - BILLY PAUL***

Brown Baby/I'm Just A Prisoner/Its Too Late/Me & Mrs Jones/Am I Black Enough For You/Let's Stay Together/Your Song/I'm Gonna Make It This Time

Philadelphia soul singer Billy Paul released many albums during the 1970s but the only one to enjoy a high chart placing was 360 Degrees thanks to the US chart topping single Me & Mrs Jones. (US:17)

“I think the defining characteristic that sets him apart instrumentally is the more evident piano and keyboard playing that you don't usually hear as much in the lush productions of Philly soul. The other thing that separates Paul from the rest is his very distinctive voice. The covers on here are just fantastic too, he really reinvents them into his own, making Let's Stay Together and Your Song practically unrecognizable.”

“The best tracks, indeed, are the slower, deeper cover of Let's Stay Together and Your Song. The rest is just too commercial. However, Paul's voice is very impressive.”

“A nice variety of songs for Billy Paul to flex his style on. The opener, I'm Just a Prisoner, the hit Me & Mrs. Jones and the other two less familiar songs Am I Black Enough For You and I'm Gonna Make It This Time are all unique and full of character, not simply depending on one formula sound.”

“360 Degrees Of Billy Paul certainly has a lot more to offer aside from the one song that everybody knows from it. In fact it’s only blemish is a cover of Al Green’s Let’s Stay Together which strips the original arrangement down to bare bones making for a rather boring track. He does, however, cleverly re-work Elton John’s Your Song by taking an opposite approach and significantly increasing the song’s tempo, and adding to the arrangement. This is the most impressive of the album’s three covers.”

“These songs are a great trip back to the past; they marry a great jazz singer with some beautiful R & B stylings that will leave you speechless. Billy is more than a singer, he's an amazing interpreter. His vocal sounds just seem to flow out of him. He turns a simple ballad like Elton's Your Song into a soulful, breath-taking, up-tempo masterpiece. He makes Let's Stay Together and It's Too Late his own also. This is an amazing album from an artist who should have been as big as any R & B superstar of the 70s.”

Live Concert At The Forum - BARBRA STREISAND****

Sing-Make Your Own Kind Of Music/Starting Here Starting Now/Don't Rain On My Parade/Monologue/On A Clear Day (You Can See Forever)/Sweet Inspiration-Where You Lead/Didn't We/My Man/Stoney End/Sing-Happy Days Are Here Again/People

Barbra Streisand’s second live album performance was held near Los Angeles in April 1972 in support of the doomed McGovern presidential campaign. It captures her during the transition period when she began to adopt a more contemporary popular musical style. (US:19)

“She's not just a singer or an actress; she's an entire way of life, an inspiration, a comfort, an ongoing pleasure to discover year after year. Something about the power of that voice and the force of her personality just hit home with me and began a love affair that has continued without letup.”

“Every song in this live recording is great. Barbra belts out classic full-voiced renditions of her signature pieces. She also squeezes a huge amount of emotion into the ballads. One can only marvel at the skill required to convey such depth of emotion. Then there are upbeat cute songs, but my favourite song is Stoney End, so punchy and lively. Her vocal control and technical skill are as inspiring as her artistic interpretation of the songs. And there is some fun in her humorous banter with the audience too. What an entertainer.”

“As Barbra did not perform many concerts during her early career, this was well done. Her voice while still in the early stages of development sounded strong and resonant. She captures the audience in her hand and holds them until the end and beyond. If you are looking to add to your collection, this is very good.”

“This was her fund-raising concert in 1972 for George McGovern. The songs are classics, and it has the energy of a live concert performance. I think it remains one of her best, not only for the music but for its great nostalgic quality.”

“This performance was taped just at the start of Barbra's transition from singing Broadway songs to her attempt to be more rock oriented, so it's a nice combination of songs from both eras in her career. Definitely a must have from one of the greatest entertainers of the last century.”

“Don't miss this one. It'll make you wish you got to see this concert live while leaving you feeling you are still there, with every journey into this outstanding performance of some of Streisand's most memorable and perfected vocals.”

Boomer's Story - RY COODER***

Boomer's Story/Cherry Ball Blues/Crow Black Chicken/Ax Sweet Mama/Maria Elena/Dark End Of The Street/Rally 'Round The Flag/Comin' In On A Wing & A Prayer/President Kennedy/Good Morning Mr Railroad Man

Ry Cooder specialised in reviving and re-interpreting American blues songs from the pre-war era. Boomer’s Story has been described as revealing the more sombre side of his musical vision.

“This collection of instrumentals and traditional pieces find Cooder at the peak of his powers, braying and crooning endlessly while coaxing mellow slide sounds and countrified blues from his guitar, backed by a crackerjack group of musicians.”

“It features some beautiful moments , especially the Latin tinged Maria Elena and his instrumental version of Dark End Of The Street both of which I could listen to for hours. The title track and his collaboration with Randy Newman on the traditional Rally Round The Flag are also impressive.”

“The two instrumentals are the best, Dark End Of The Street and Cherry Ball Blues. A good group of songs, none of them overmatch Ry's singing ability, and his playing brings out the best in every song.”

“This in my opinion is Ry Cooder's best album. The songs on Boomer's Story stand out much more than on his other albums from this period. The sound is raw and meaningful.”

“The best songs on Boomer's Story are the instrumentals, which emphasize his phenomenal slide-guitar playing where Cooder can tell a story just with his axe. This is his real strength.”

“Many of these songs were written in the pre-World War II era and I don't think the compositions were changed too much from the originals. With a bunch of great musicians though these songs provide some incredible music.”

“Richly textured, this recording is a prime example of the future soundtrack work and the cultural melting pot that Cooder has refined into an eclectic style that is all his own. It draws on old traditionals, and has some really silky slide work.”

“Ry Cooder has a gift for playing music that seems fixed in time. Covering a group of folk bluesman from yesteryear he convincingly sets the scene with his adept playing.”

Lady Lake - GNIDROLOG***

I Could Never Be A Soldier/Ship/A Dog With No Collar/Lady Lake/Same Dreams/Social Embarrassment

Lady Lake was the second album from the British progressive group with the unpronounceable name Gnidrolog. They employed a vast array of musical instruments.

“An under appreciated classic 70s prog album. Not the normal instrumentation for a prog band as, along with guitars and percussion we have recorder, tenor horn, cello, soprano, tenor and baritone sax, oboe and flute.”

“There is some nice prog rock going on here but it is overwhelmed by the vocalist and the horns. Although there is some cool guitar it is not enough to move this beyond average.”

“Lady Lake by Gnidrolog is an excellent swan song, which sees them softening and broadening the idiosyncratic style of their debut In Spite Of Harry's Toenail with some influences from the wider prog and art rock world. A combination of Jethro Tull like flute work and hard rock guitar heroics is still present.”

“A strong, albeit more inconsistent, follow-up to their debut. Most of the tracks feature their new sax player, though the best material is guitar driven. There is some acoustic folk too. Yes, the singer has an annoying voice, but after a little getting used to, it's no more than a mild distraction.”

“Lady Lake seems like it produces the sound that Gnidrolog always wanted; take their eclectic approach to songwriting, add more saxes and get better production. Unfortunately, I feel the songwriting is just a bit too safe compared to Harry's Toenail; the compositions don't sound as adventurous.”

“Lady Lake is a dynamic and dramatic album which cannot be accused of being pompous and overblown as it is relatively minimalist, and many parts are entirely acoustic. Besides guitars, bass and drums they use a vast array of wind instruments and cello, but oddly enough no keyboards apart from acoustic piano on one track.”

“The jazzy jams are quite exceptional because they sound distinct and quite haunting in spots. It's rare when jazz gives me that kind of feeling. Lady Lake includes soft, moving ballads, beautifully rolling acoustic guitar, piano, flute, mellotron and cello.”

Little Red Record - MATCHING MOLE**

Starting In The Middle Of The Day We Can Drink Our Politics Away/Marchides/Nan True's Hole/Righteous Rhumba/Brandy As In Benj/Gloria Gloom/God Song/Flora Fidgit/Smoke Signal

Little Red Record was the second and final album from the Canterbury scene progressive band Matching Mole created by Robert Wyatt after leaving Soft Machine. The compositions here are more of a group effort compared with the debut. The title and art work are based on Maoist publicity propaganda.

“Little Red Record is not easy-listening. It's weird, but with a wide range of ideas and sounds, combined with superb musicianship. It's an example of how music was pushing the limits back then. In fact, they were the final days of what could justifiably be called the musical avant-garde.”

“Little Red Record was the second studio effort by this short-lived band and it's not even close to the quality of its predecessor. There are some very nice moments on the first side but side two is clearly the weaker.”

“As a whole the album lacks focus, and sounds more like experiments towards a band identity rather than the group manifesto the album title suggests. Perhaps a third Matching Mole album would have been more cohesive, but that was not to be.”

“This is music straight from heaven, for listeners inclined towards the more sophisticated end of the spectrum, combining complex improvisation and quirky rhythmic patterns, which have no parallel elsewhere. Of course this kind of music should be kept alive at all costs.”

“It is too bad the actual music, sporadically interesting warmed over jazz-rock, can't possibly live up to one of the greatest, most hilarious covers in history. Get their first album for the music, this one for the cover.”

“It's one often undeveloped idea after another, the interestingly gentle layered vocals of track one give way to familiar jazz-rock, followed by a few actual songs, followed by some instrumentals that serve more as textured background for mumblings than they serve as compositions. Also striking to me is a lack of any melody.”

“It is very surprising to me that Robert Wyatt quit Soft Machine and then formed this group who committed the same jazz-noodling atrocities as his former outfit. The only magic on this LP happens when Robert opens his mouth, which is not nearly enough. Overall, the album is basically unlistenable.”

Let Me In - POOBAH***

Mr Destroyer/Enjoy What You Have/Live To Work/Bowleen/Rock & Roll/Let Me In

Let Me In was the debut album from the Ohio heavy rock band Poobah. They released two more albums during the 1970s and several more afterwards. However, despite some good reviews they remain largely unknown.

“If you're into the early 70s hard rock with strong guitar work then this first Poobah album is worth checking out. Fans of heavy psych should listen to this as well although the psychedelic elements are quite limited.”

“American hard rock done really well, with great instrumental work and boundless enthusiasm for the awesomeness of rocking.”

“Let Me In is a raw, but very powerful, hard rock album and can easily be seen as the blueprint for which most Midwest rock albums sound like.”

“Pounding blue collar hard rock, some psychedelic moves and songwriting is on the simple basic side. As much as I want to love it the songs are just a little too flat. Second tier all the way.”

“Big money indie hard rock album with plenty of flaws but still good. Let Me In is a great heavy psych rocker with a few dumb moments, but smoking in the band department. A must for hard rock fiends.”

“This band is referred to as psychedelic and I have yet to fully understand why. Let Me In exhibits some elements that can be considered just that. However, the fuzzed out and wah-wahed guitars present all over the opening cut, are no more psychedelic than Black Sabbath's first two albums.”

First Base - BABE RUTH***

Wells Fargo/The Runaways/King Kong/Black Dog/The Mexican/Joker

As the title implies First Base was the debut album from the English rock band Babe Ruth. They appear to have been largely unappreciated in their home country, but enjoyed limited success in the States, and this album was certified gold in Canada. (US:178)

“Babe Ruth would shift from being a hard-edged progressive rock band to being a hard rock band with a few progressive touches on subsequent albums, but this debut finds them at their proggiest.”

“The amazing female vocals and searing guitars are what set Babe Ruth apart from their multitudinous rock band competition in the early 70s.”

“The first of many albums from this outfit, and a pretty decent listen. Although they seem to be best known for their heavier songs it's actually the more mellow progressive rock numbers like The Runaways that grabbed my ears. The female vocals give this album a unique flavour as well, but again I preferred them most on the slower pieces.”

“Their first album is a cross between hard rock typical of the early '70's, some prog moves here and there. Fronted by great Janita Haan on vocals, the album has some good moments like The Runaways or instrumental King Kong with nice arrangements on keys.”

“This is mostly hard edged, semi-commercial prog rock, featuring husky-voiced female vocals. They are a great, relatively unknown band, and this debut showcases them at their best.”

“The First Base album definitely had some great hard rock songs, but also some that were totally different from anything coming out at that time or era. This is what made this band so great, that they could play any kind or style of music, and it all sounded great. Babe Ruth also had some very accomplished musicians, and of course, the great Janita Haan singing lead vocals with her powerful and awesome voice, she's one of the best ever in my opinion.”

“Excellent hard rocking prog with slamming vocals by Janita Haan and burning guitar solo's courtesy of Alan Shacklock. The whole thing grooves along intensely for a wild ride.”

Charlee - CHARLEE***

Wizard/Lords Knows I've Won/Just You & Me/A Way To Die/Let's Keep Silent Part 1/Wheel Of Fortune/It Isn't The First Time/Let's Keep Silent Part 2

Eponymous sole album release from the Canadian hard rock band Charlee. It includes plenty of wah guitar work courtesy of the legendary guitar hero Walter Rossi. Lords Knows I’ve Won topped the Australian charts.

“Consistently great, guitar driven semi-commercial hard rock with excellent material. The album features extensive wah-wah and overdubbed guitars, as well as raspy vocals. It's hard to imagine anyone truly into hard rock not liking this record.”

“A fantastic album that every fan of heavy '70s rock must hear. It's consistently good and the impressive guitar pyrotechnics never become too much, it is reined in perfectly.”

“With some blistering axe this is a gem of an album, and the only one ever released by the group. A must for any and every rock record collector.”

“Excellent album - Canadian rock as good as it gets, great guitar playing, soloing, and some fine songs, this album features Walter Rossi at his peak.”

“From one song to the next it just gets better and better. The opening salvo is an instrumental workout that sets the mood building to a searing climax. The guitar howls through its effects and solos almost non-stop, in a blues based showcase of diversity, restraint and tastefulness.”

“This is a killer, Walter Rossi at his best and one of the heaviest records. When I heard it the first time, I couldn't believe what I was listening to. Time stood still and the guitar screams like Hendrix but louder.”

The Late Great - TOWNES VAN ZANDT***

No Lonesome Tune/Sad Cinderella/German Mustard/Don't Let The Sunshine Fool Ya/Honky Tonkin'/ Snow Don't Fall/Fraulein/Pancho & Lefty/If I Needed You/Silver Ships Of Andilar/Heavenly Houseboat Blues

The Texan singer songwriter Townes Van Zandt enjoys considerable cult status today although none of his albums ever troubled the charts. After The Late Great his releases would become very sporadic.

“Another beautiful collection of well crafted, intelligent and quite varied tracks. The biggest compliment I can pay is that I could easily spend an entire day listening to this man's great work back to back. There is a magic to the music of Townes Van Zandt that I admire so much.” “He inexplicably remains a cult figure when he is one of the greatest songwriters of all time. His poetic lyrics are up there with the best, and his sombre, unaffected voice and gentle melodies make up a body of work few can rival.”

“His voice is so effortless and almost humorous as he croons great, laid back, sad ballads. The production is also excellent, subtle strumming and uncomplicated arrangements really just draw attention to the power of his voice and the honest, brilliant songs.”

“No American lyricist ever surpassed Townes Van Zandt, or reached the point where every word spoken seemed to possess a pristine greatness.”

“Townes Van Zandt never made fancy records. It was always the conviction for a simple life that gave him an unshakable greatness. Jagged enough to be unforgettable, this is a nice little nugget from a pure Texas original.”

“It was only through time that I realized that trying to put any other label on Townes Van Zandt aside from songwriter is completely pointless; he's not a country singer, not quite a folk artist, and not a blues performer, yet he managed to take all these elements and throw them into the mix that became his music. Perhaps the fact that he can't be easily classified may explain his maddening lack of success.”

“The compositions here are lyrically intense, Townes' language is stark and uncommercial. The music is primary acoustic and under-produced with stories by a man who lived on the edge, who walked a tightrope. With an elegant Texas-twang, Townes reveals his images of life and love, often his perspective is bleak and lonesome, melancholy tales of losers, gambles and ramblers.”

Talking Book - STEVIE WONDER****

You Are The Sunshine Of My Life/Maybe Your Baby/You & I/Tuesday Heartbreak/Superstition/Big Brother/Blame It On The Sun/Lookin' For Another Pure Love/I Believe (When I Fall In Love It Will Be Forever)

With Talking Book Stevie Wonder took further control over the direction of his music, free from the straightjacket imposed by Motown founder Berry Gordy. Includes the US chart toppers You Are The Sunshine Of My Life and Superstition. (US:3 UK:16)

“With Talking Book, Stevie Wonder embarked on an impressive run of spectacular music-making. He took the Motown sound into more funky, jazzy and progressive terrain than Berry Gordy could have imagined when he signed Stevie Wonder at the age of eleven a decade earlier.”

“Talking Book is perhaps Stevie's most personal album, at least as far as emotional accounts of his life go. It's an album about romantic love, a good portion of it dedicated to material about love on the decline, with many of the lyrics having a bleak outlook to them.”

“Talking Book was another great progression for Stevie Wonder, utilizing a delightfully beautiful sound that fills the album with life, combined with his smooth, sensual singing and heart-tugging lyrics. It will surely put a smile on your face, as it moves from one richly absorbing ballad to the next. The show-stopping Superstition, was a great chance of pace that lends the album that much more variety. The work of a single genius mind, and one of those rare R & B albums that can appeal to pretty much anybody. Talking Book is one of the most significant and essential albums of its era.”

“When you think that Stevie was so young when he wrote this music, that he was taking huge artistic risks, that he was talking about serious things in serious ways while fluff abounded around him makes this album that much more significant. He didn't just write love songs; he infused deep, soul-wrenching emotion into them.”

“An even more assured album than its highly accomplished predecessor, the sheer quality of the material makes this easily one of his most important albums.”

“A fine soul-pop album, but only Superstition and perhaps Maybe Your Baby are standouts. It has quite a few sappy ballads but overall it makes for an enjoyable listen.”

Round 2 - THE STYLISTICS****

I'm Stone In Love With You/If You Don't Watch Out/You & Me/Its Too Late/Children Of The Night/You'll Never Get To Heaven/Break Up To Make Up/Peek-A-Boo/You're As Right As Rain/Pieces

As the title suggests Round 2 was the second offering from the harmony soul group The Stylistics. They were a hit making machine in the mid 1970s as shown by the quality top ten songs I’m Stone In Love With You and Break Up To Make Up. (US:32)

“Not as many hits as their debut but still a respectable follow up nonetheless. There are two classics on here, I'm Stone In Love With You and Break Up To Make Up. The album cuts on here are good, if not better quality, than those on the debut, particularly Children Of The Night which sticks out because it's one of the few songs that doesn't deal with love.”

“The main reason why I purchased this album was for the ever lovely ballad You’re As Right As Rain. This is one of the best ballads they ever did. The boys really poured out their silky soul harmonies on it.”

“They released some professional soul music in the early 70s. Russell Thompkins has one of the most distinctive voices in soul music and he could hit some notes that few can reach. I'm Stone In Love With You was one of their best songs and Break Up To Make Up is another great tune.”

“They are one of the best groups around, I saw them in person at a club I worked at, there was standing room only. They are and will continue to be legends in the music industry. I would buy any of their albums and recommend this to anyone who likes quality music.”

“These guys just never disappoint. I purchased this the other day and have kept it playing through the weekend. I already know the hits, so I'm always curious as to what the other songs are like. I really enjoyed them; great stuff from a group that should be more appreciated today and not seen as just an oldies group.”

“Once again Russell and the crew comes through. I got everything these boys made. You're As Right As Rain and Peek A Boo are my favourites on the album. No matter what I listen to of today's music, I always wind up coming back to that sweet falsetto of Russell. This LP showcases their wonderful, soulful magic. It represents the golden age of R & B.”

Jesus Was A Capricorn - KRIS KRISTOFFERSON****

Jesus Was A Capricorn/Nobody Wins/It Sure Was (Love)/Enough For You/Help Me/Jesse Younger/Give It Time To Be Tender/Out Of Mind Out Of Sight/Sugar Man/Why Me

Jesus Was A Capricorn demonstrates the versatility of singer songwriter Kris Kristofferson covering country, rock and gospel. Includes a duet with his soon to be wife Rita Coolidge with whom he would record several albums. (US:31)

“While not standing up as well as his previous efforts, Jesus Was A Capricorn is still a pretty good country album. After all it's the songs that matter, and Kristofferson is one of the best American songwriters ever. The album begins with a nod to another great American songwriter, John Prine on the rollicking title cut. There are some real gems here. Check out Give It Time To Be Tender, my favourite cut on the album, which is a perfect country song, presented as a duet with Rita Coolidge. Also great, is the Gospel flavoured Help Me which features great vocals from Larry Gatlin.”

“This is Kris's fourth album and is an excellent one. It displays many of the different songwriting styles that he employs. There are three social/political songs. The title track is a criticism of closed-mindedness. Jesse Younger is probably better known. It is a sarcastic take on parents who try to control the lives of their children. Out Of Mind Out Of Sight shows how involved Kristofferson was in some of the movements of the day. There are also a couple of gospel songs, unusual for Kris.”

“Whether you are a rock ‘n' roller or hard core country freak or both, this album is a must have. It is truly a work of art and one of the most moving pieces of work in the country genre I have ever heard. His jumps into gospel are beautiful. His band truly understand what Kristofferson is trying to convey.”

“Only his third or forth album, so it should come to no surprise that it's full of classics. Song themes range from the absurd to the tragic through folk and country styles, with several friends dropping in on the album to give support. It doesn't disappoint. Kris Kristofferson is one of the greats of American songwriting and anyone who is interested in insightful gritty songs with a country tinge will like this.”

“The relationship between Kris and Rita may not have lasted but this album will endure. This is one of the Kristofferson albums that belong in every music lover’s collection.”

Lady Sings The Blues - DIANA ROSS***

The Arrest/Lady Sings The Blues/Baltimore Brothel/Billy Sneak's Into Dean & Dean's Swingin' Uptown/T'Ain't Nobody's Bizness If I Do/Big Ben/All Of Me/The Man I Love/Them There Eyes/Gardenias From Louis/Cafe Manhattan/Country Tune/I Cried For You/Billie & Harry/Mean To Me/Fine & Mellow/What A Little Moonlight Can Do/Louis Visits Billie On Tour/Cafe Manhattan Party/T'Ain't Nobody's Bizness If I Do/Agent's Office/Love Is Here To Stay/Fine & Mellow/Lover Man (Oh Where Can You Be)/You've Changed/Gimme A Pigfoot & A Bottle Of Beer/Good Morning Heartache/All Of Me/Love Theme/My Man/Don't Explain/I Cried For You/Strange Fruit/God Bless The Child/Closing Theme

Lady Sings The Blues is the double album soundtrack tribute to Billie Holiday, regarded as one of the greatest female jazz singers when at the height of her popularity in the 1930s and 1940s. Critics were divided as to whether Diana Ross, with a very different vocal style, was the best choice to take the leading role. (US:1 UK:50)

“After Diana Ross' supreme showing following her break with the Supremes, this album and film introduced a lot of people to the music of Billie Holiday. It was, I feel, Diana's undoing. She is a fine performer, but no Billie Holiday.”

“This is a travesty, an enormity. Diana Ross's reedy voice is well suited to the soul-lite that Motown was so expert at producing. But the idea of Diana's modest gifts substituting for the glories of the immortal Billie is monstrous.”

“Lady Sings The Blues made Ross an international icon. Although many critics felt that Ross was not a talented jazz/blues singer at all, in my opinion she proved them wrong. Of course, she's not like Billie Holiday, but Ross came up with her own style and that's what makes this soundtrack a jewel in her long discography.”

“Sure, Diana could never match the depth and originality of Billie. But she wisely avoided imitating Billie and instead sang the songs in her own sweet way, thereby recording one of the best albums of her long career, both as far as the music and her voice are concerned. We also shouldn't forget that when this film was made, there was no such thing as a market flooded with remakes of Billie Holiday songs as we have nowadays.”

“When Diana Ross was chosen to star in this portrayal of Billie Holiday, a lot of critics thought that the former lead singer of The Supremes could never find the emotional depth to tackle Holiday's work. But these tracks reveal that Ross was more than up to the task. Rather than mimic the huskier voice of the legendary jazz singer, she used inflections to teach her own voice how to sing the blues.”

One Man Dog - JAMES TAYLOR***

One Man Parade/Nobody But You/Chili Dog/Fool For You/Instrumental/New Tune/Back On The Street Again/ Don't Let Me Be Lonely Tonight/Woh Don't You Know/One Morning In May/Instrumental II/Someone Hymn/Fanfare/Little David/Mescalito/Dance/Jig

After a couple of acclaimed musical gems the release of One Man Dog came as an anti climax to fans of James Taylor. Although the US top 20 single Don’t Let Me Be Lonely Tonight is a fine song the rest are largely forgettable. (US:4 UK:27)

“His vocals remain a joy and the record is so smooth playing and production wise, but it is strictly in one ear, out the other stuff.” “You have to wade through a lot of misfires to get to the good stuff, I'm grateful for this album; just as you'd pick ripe fruit from a tree and leave the rotten stuff there, so can you pick the best songs from One Man Dog and ignore the rest.”

“One Man Dog is bristling with short funky work-outs that flow from Taylor's tight, accomplished, guitar playing and are taken up by his excellent band. Some, hardly qualify as songs and are more an excuse for having a good time. Strong melodies are provided by Don't Let Me Be Lonely Tonight and the traditional sounding cover One Morning In May.”

“The biggest problem for me with One Man Dog is that only two tracks last over three minutes long and some clock in at less than a minute. That just makes the album a bit too bitty for my liking. Yes, there are some good tracks on here but there are others that have promise but just don't last long enough to get going.”

“One Man Dog is James Taylor’s best album because it is not so much a collection of singles as it is a cohesive mix of songs that mean something. The best part of the album are the last four songs that run together. Nobody bought this album because there was a single song that defined it. It works as one long series of songs about nature and making it on your own.”

“If only music today could be as imaginative and fanciful. The songs on side two are more like movements in one long song. It seems to showcase different aspects of his talents in that he is much more sombre, reflective and open about his own uncertainties and personal troubles.”

Guitar Man - BREAD***

Welcome To The Music/The Guitar Man/Make It By Yourself/Aubrey/Fancy Dancer/Sweet Surrender/Tecolote/ Let Me Go/Yours For Life/Picture In Your Mind/Don't Tell Me No/Didn't Even Know Her Name

Guitar Man was the final album from the soft rock harmony group Bread before they disbanded, although they reunited briefly five years later. Includes the Top 20 hits Sweet Surrender, Aubrey and the melodic title track. (US:18)

“Not up to the level of their previous releases. Except for the hits, this time around the quality of the songwriting is lacking, especially the Griffin contributions. Pick up one their earlier LPs to get started.”

“What would have been Bread's swansong LP, Guitar Man seemed to be a jigsaw of assorted tracks pieced together from other sessions. I can't listen to a majority of these songs. They seem to lack what made Bread so great in the early days. When they started to rock out the magic crumbled. The folk acoustic numbers shine more.”

“David has consistently provided beautiful melodies with easy, sensitive lyrics. Guitar Man and Aubrey were the big hits and they still stand the test of time. Tecolote is one of their most unusual departures, and still makes me laugh, while enjoying its musicality and originality. Didn't Even Know Her Name is a poignant lost love song; Welcome To The Music is one of those opening songs bands sometimes did to orient their fans to what to expect. It's a great album, enjoy and relive those magical moments of the glorious seventies.”

“It is an excellent mix of beautiful ballads Aubrey is the most delicate and beautiful song they ever did, and Didn't Even Know Her Name is also touching. Sweet Surrender was also a hit and Guitar Man has an irresistible hook and melody. Fancy Dancer is an amazing rocker that shows Bread should not be pigeon holed as a ballad group. Tecolote is further evidence of this, and has some hysterical lyrics. Might take some time to get used to, but this song is also catchy.”

“Guitar Man was perhaps their most versatile album in their short recording history, showing off the group's talent in songwriting. From the jazzy Welcome To The Music, to the radical Tecolote; from the country-pop Make It By Yourself, to the soft acoustic hit Aubrey, there is something for everyone to enjoy.”

“Extremely competent playing as expected, but the level of filler is alarmingly high. Nothing besides the title track and Aubrey is memorable.”

Loggins & Messina - LOGGINS & MESSINA***

Good Friend/Whiskey/Your Mama Don't Dance/Long Tail Cat/Golden Ribbons/Thinking Of You/Just Before The News/Till The Ends Meet/Holiday Hotel/Lady Of My Heart/Angry Eyes

Self titled follow up album from the country-rock duo Loggins & Messina that heralded their commercial breakthrough. Includes the US No. 4 hit single Your Mama Don’t Dance. (US:16)

“Basically it's the Messina you know and love with some fine harmonies by Loggins. Kenny's songs aren't nearly as good as those on Sittin' In; therefore, this album is more Messina based, which earns big points with me.”

“Messina had no intention of being part of a duo when he signed on to produce Kenny Loggins' debut album. But his talent and contributions were undeniable. On this, their second album, things really gel together well, with Messina bringing in a good deal of the feel of his previous experience in bands like Buffalo Springfield and Poco.”

“While this talented duo created many fine albums together this one stands out as most representative of their impact. When I hear what passes for country music these days I can't help but think back to what Loggins & Messina pioneered in the early 70s. They created true country-rock and showcased it with style and near-flawless performances.”

“This Loggins and Messina release has many varied textures and arrangements. A little bit of country, some good ballads, and some good old rock & roll. Loggins and Messina compliment each other nicely with their vocal styles, and sound like their having some fun doing it.”

“Separately talented, together they are superb, each feeding off the other's talent and blending together for excellence. Great music, backed by some of the finest musicians, this is a classic.”

“Golden Ribbons hearkens back to the Springfield days; it's an excellent anti-war song. Meanwhile Thinking Of You sounds a lot like Poco, with a simple flowing melody and nice harmonies. But it's when the duo comes together for their own sound that things really work. Angry Eyes is a great extended piece with some excellent jazz flavoured soloing on the instrumental breaks.”

Rhymes & Reasons - CAROLE KING***

Come Down Easy/My My She Cries/Peace In The Valley/Feeling Sad Tonight/The First Day In August/Bitter With The Sweet/Goodbye Don't Mean I'm Gone/Stand Behind Me/Gotta Get Through Another Day/I Think I Can Hear You/Ferguson Road/Been To Canaan

During the early 1970s the reputation of singer songwriter Carole King reached a peak following the acclaimed Tapestry album. Unfortunately the introspective Rhymes & Reasons contains few standout tracks. (US:2 UK:40)

“A good, solid album from Carole doing what she does best, singing simple, melodic songs in a winsome manner on a bed of that luscious piano. None of the songs stand out, but there are no real clunkers either.” “She wrote or co-wrote all of the tracks. The lyrics are introspective in many places as she used her personal experiences to create a number of the stories. The album also has an underlying spiritual (but not an overtly religious) quality, which was confessional, gentle, and ultimately uplifting.”

“Rhymes & Reasons is one of the more emotional and philosophical albums of her career. In the final analysis it can be considered a soundtrack to life, both hers and anyone who listens to the music. It remains an essential listen on the musical journey of Carole King.”

“While her strengths are as obvious as ever, soulful singing, heartfelt songs with a warm intimate feeling, by now the style that King had found on Writer and Tapestry is beginning to harden into a formula. There's nothing particularly bad here and a couple of obvious standouts, but there's also the feeling that one's heard it all before, just a bit better.”

“Nice background music. Carole's voice probably never sounded better than it does here. The songwriting is good but not her best, with a couple of exceptions. Come Down Easy and Been To Canaan bookend the tracks, and they're the standouts. There's some nice mellow stuff, but I can't get really excited about it. It's hard to pay attention to since it's just not rich enough.”

“The songs here are highly personal, introspective, spiritual at times. Musically, one song weaves into the next so effortlessly. Each song is so thoughtfully arranged with the same soft, acoustical, textural sound. It is such a carefully crafted album.”

Caravanserai - SANTANA****

Eternal Caravan Of Reincarnation/Waves Within/Look Up (To See What's Coming Down)/Just In Time To See The Sun/Song Of The Wind/All The Love Of The Universe/Future Primitive/Stone Flower/La Fuente Del Ritmo/Every Step Of The Way

Caravanserai successfully heralded a change of direction for Santana with less of the previous Latin beat and the incorporation of jazz fusion into their sound. (US:8 UK:6)

“Caravanserai is everything the title is prone to evoke: It’s slightly kitschy oriental romanticism, but it’s also a seductive, mysterious and musically extremely compelling journey. Musically, this is Santana at their very best. Their strengths are combined to effortlessly create classic moments of jazz fusion while never leaving the rock foundation. It’s truly a straight jazz-rock classic.”

“This was a drastic departure from what the band had done before. Caravanserai was one of the first rock band forays into jazz fusion. The songs are almost invariably amazing Latin infused jazz fusion jams and are utterly fantastic, and the album forms a wonderfully perfect whole.”

“While the music style is in many ways comparable to the three first there are big differences too and Caravanserai can be seen as a turning point in the group's career. Many elements are still present and the very eclectic nature of the music is intact. Influences from jazz, fusion, Latin

“Caravanserai represents Santana's finest moment, even considering his superb first two albums. His jazz/rock fusion becomes largely dominated by jazz here, with less of the raw Latin beat and sound, although these are present in more refined form. The jazz is modern, fairly often fast-paced and hard driving, and very rhythmic and melodic. Santana delivers a tour de force, a work of compelling beauty, and one of my all-time favourite recordings.”

“A confident step into fusion territory, Caravanserai does not jettison the salsa and psychedelic rock influences of previous Santana but it does amp up the jazz component of the band's music sharply, as well as putting a strong emphasis on the role of percussion in the group's composition.”

Back To Front - GILBERT O'SULLIVAN****

Intro/I'll Hope You'll Stay/In My Hole/Clair/That's Love/Can I Go With You/But I'm Not/Outro/I'm In Love With You/Who Was It/What Could Be Nicer/Out Of The Question/The Golden Rule/I'm Leaving/Outro

By the time of the release of his second album Back To Front Irish singer songwriter Gilbert O’Sullivan was enjoying immense popularity in the UK with a string of hit singles including the No. 1 Clair. (US:48 UK:1)

“Gilbert was essentially a singles artist who knocked off some of the best songs ever written. He made the major mistake of surrounding himself with hackneyed middle of the road arrangements and production. He has a nice true-life conversational style of lyric and vocal delivery but his albums hold no great lasting interest.”

“Probably Gilbert's best album. He may not be fashionable, but he wrote terrific songs, often reminding me of Paul McCartney at his most whimsical. Clair is such a lovely song; great melody, great lyrics. More mainstream than the last album.”

“The album has an irresistible charm that the years have done nothing to diminish which may just have something to do with the quality of the songs and the sturdy, yet unfussy, production.”

“There are twelve zippy fun songs included here, and it shows not only the plain inventiveness but fun that songwriter/singers had in the 1970s when popular music was just finding itself. They were just getting their footing with real serious works at this time, and the music was wonderful. This quiet Irish singer does it with a playfulness all his own that is reflected in this wonderful album.”

“Gilbert O'Sullivan wrote unique songs that were catchy and sometimes complex. He evoked the kind of feeling you get when trying to be happy, sad or just wanting to seriously reflect on some milestone event that happened in life.”

“The music is catchy and has a feeling of at home warmth about it throughout. Light humour, occasionally clever lyrics, occasionally uninspired ones, but you really don't mind those because you're spending time with your pal Gilbert O'Sullivan, and what could be nicer?”