Sabbath Bloody Sabbath - BLACK SABBATH****

Sabbath Bloody Sabbath/A National Acrobat/Fluff/Sabbra Cadabra/Killing Yourself To Live/Who Are You/Looking For Today/Spiral Architect

By the time of the release of Sabbath Bloody Sabbath Black Sabbath had established themselves as the premier heavy metal band, a title that they would not easily relinquish. (US:11 UK:4)

“In that era, Sabbath were able to forge accessible melodies and deliriously effective heavy riffs, yet do so with an attention to detail and craft that was rivalled by only a few other bands.”

“More than any of Sabbath's other albums, Sabbath Bloody Sabbath is one of emotional extremes - in that this record possesses some of the lightest, most airy material of their career, and likewise, some of the darkest & most weighty material they've ever penned. By this point Sabbath were a band who could write music in equal parts that is both graceful and brutish.”

“It's interesting how the more you delve into a band's discography, the more you see the diversity in their sound and their influences, giving you a bigger and more clear picture of the band than before. Sabbath Bloody Sabbath has a greater production, sounding more majestic in its approach, with horns and strings incorporated into the music, along with a lot of more complex structures in the songs.”

“Sabbath get back on track with the heavy Sabbath Bloody Sabbath. Right off the bat, with the title track, it hits you in the face with what you expect from classic Back Sabbath: dark, down-tuned, memorable riffs with occult lyrics. Ozzy is starting to blossom into a stronger vocalist by this album.”

“Quite progressive and dark sludgy riffing and some nice guitar licks along with rather groovy baselines.” “Whilst previous Black Sabbath albums included a few synthesisers and keyboards, their use was mainly restricted to the occasional stabs at more progressive rock-sounding tracks between the heavy songs that were their main focus. On Sabbath Bloody Sabbath, the group finally integrated the synthesisers into the main songs.”

“Sabbath Bloody Sabbath shows further experimentation with the band's sound. This time around, Black Sabbath apply their new ideas more sensibly and they always fit in perfectly with the songs, never hurting the album's cohesion.”

Welcome - SANTANA***

Going Home/Love Devotion & Surrender/Samba De Sausalito/When I Look Into Your Eyes/Yours Is The Light/ Mother Africa/Light Of Life/Flame Sky/Welcome

Welcome heralded a change of direction for Santana away from Latin rock towards jazz fusion. However, the move brought about a sudden drop in the chart placing of their albums in the USA. (US:25 UK:8)

“A significant change of direction, the band now seems to be a Latin jazz band through and through. Still jamming and the guitar remains beautiful but I prefer the recordings that preceded this one.”

“The Latin rock band has disappeared and been replaced by a Latin jazz band. Welcome finds Santana playing music from samba to jazz-funk via jam session station. From the first notes of Going Home to the soothing finale that is John Coltrane's Welcome, it is clear that this is a different Santana.”

“Sounds like the further line up changes inspired even more experimentation from Santana with his guitar taking a back seat to different vocalists, more keyboards, percussion and a varied sound that moves from soft pop, funky instrumentals and Coltrane referencing jazz fusion with great ease.”

“Overall Welcome is an enjoyable release by Santana that might be slightly too diverse for it’s own good, and therefore suffers a bit in the consistency and flow department, but ultimately still comes off as a quality product.”

“Santana with a whole new jazz fusion style, and very mature. This is great music, and I find it odd that many Santana fans do not like this equally well as the stuff they started out with.”

“If you're looking for a good fusion record, this isn't it. If you're looking for a good Santana record, this isn't that either. If you're looking for an OK record with a style all its own that occasionally gets lost in its own pretensions and gets its grounding from guitar solos, then this is the record for you.”

“This is the first Santana album after Carlos got into his religious/mystic stage. It is quite a departure from other material by the ‘group’, although he does have a number of solo albums along the same lines. It is more of a jazz fusion than the traditional Latin beat. I found it to be an excellent merger of the two styles.”

Mind Games - JOHN LENNON***

Mind Games/Tight A$/Aisumasen (I'm Sorry)/One Day (At A Time)/Bring On The Lucie (Freeda Peeple)/Nutopian International Anthem/Intuition/Out Of The Blue/Only People/I Know (I Know)/You Are Here/Meat City

Mind Games was a disappointing release from John Lennon with only the title track up to his usual standard. The final comment below draws attention to the decline in songwriting that was now becoming more apparent. (US:9 UK:13)

“Good, solid album from Lennon but off the pace of the two that preceded it. Not too many great songs here but plenty of this more than hits the spot. Definitely aimed at the mainstream.”

“Mind Games is a low key charmer that plays to Lennon's strength as a songwriter, using early rock 'n' roll forms as a launch pad for songs that feature his familiar socio-political and deeply personal lyrics. The towering title track is an instant highlight but shouldn't overshadow other great stuff like the simple beauty of One Day (At a Time).”

“Take away the magnificent title track, and I'd be thinking how could such a talented artist put together such a boring release.”

“Not a very good album from John Lennon. This album is littered with filler and really only a few tracks worth listening to. This release is a testament to the fact that in the mid 70s John Lennon was out of song ideas.”

“This album marks the fall of Lennon, with only the title track Mind Games making the grade. Things get worse when you learn that it's actually an old track he's had lying around for a few years.”

“To be totally honest, Mind Games is not one of John's most inspired efforts. But something the listener should keep in mind is that this album was recorded during a very unsettled time for Lennon. As a result, the drain on his energies caused the whole process of making music to become a chore.”

“1973 was the year in which it suddenly became all too clear that the great artists of the 1960s counterculture were not impervious or capable of keeping the masterpieces coming. A year that saw the arrival John Lennon's Mind Games is not a particularly hopeful year; it's a year where the hard truth officially dawned: the dream was over.”

Stranded - ROXY MUSIC****

Street Life/Just Like You/Amazona/Psalm/Serenade/A Song For Europe/Mother Of Pearl/Sunset

Bryan Ferry takes full control of Roxy Music after the departure of Brian Eno. This is reflected in Stranded where the emphasis is on mainstream pop-rock with little evidence of experimentalism. Features the dynamic UK top ten hit Street Life, plus Song For Europe, their best album track not released as a single. (US:186 UK:1)

“Bryan Ferry takes full control and is the absolute master on this album. Where his singing was previously shaky and insecure, here he experiments with his voice and delivers an amazing performance, the best of his career.”

“Shortly after For Your Pleasure came out, Brian Eno left the band. Having contributed a lot of interesting material on their first two albums, one would think this was a set-back for the band. In my mind this is not the case at all. Stranded is a superb effort, it presents Roxy Music in excellent form.”

“A lot more cautious than their first two albums. This album sees Roxy move into a more pop/rock area especially without Eno's treatments. The album however, is just as enjoyable as their first two and I do not see a tremendous drop in quality just because there is not much experimentation.”

“Stranded was the album where Roxy Music attempted to steer away from the avant garde glam rock sound that featured on their first two albums. However, there is still some trace of Brian Eno's influence left, as evidenced by the weird electronic sounds that open Street Life and the odd honking noise that closes Sunset.”

“Roxy Music had more than found their way without Brian Eno as evidenced by the lush, warm sound of Stranded. Held high by two epic favourites, A Song For Europe with Ferry's tragic vocals of love lost over pounding pianos, and Mother Of Pearl a night and day look at the shallowness of existence. Stranded brought a sophistication only seen in pockets in the first two albums.”

“Eno's gone but the quality remains. The songs are more conventional but a lot longer, with Brian Ferry obviously delighted to be in full control. You'd think it would be a more upbeat album and I suppose in parts it is, but it is also clouded by a strong melancholic undertone which runs though all the songs. Street Life, that opens the album, is simply Roxy's greatest song ever, pure joy from start to end.”

Ringo - RINGO STARR****

I'm The Greatest/Hold On/Photograph/Sunshine Life For Me (Hold On Raymond)/You're Sixteen/Oh My My/Step Lightly/Six O'clock/Devil Woman/You & Me (Babe)

Ringo was notable for including contributions from all his former Beatles colleagues. Features the US chart toppers Photograph and You’re Sixteen that were also top ten hits in the UK. (US:2 UK:7)

“This album is just delightful. Ringo puts on a love fest of great musicians, and offers up a barrel of fun on vinyl. This is as close as we ever got to a Beatles reunion, with the presence of 3/4 of the band on a single song, and all of them appearing on the same album.”

“This is outstanding pop music with really strong compositions. Photograph is one of George Harrison's most enjoyable songs, and I'm The Greatest is John Lennon at his self deprecating best. Some big hits came from this album, but it's the non-hits that really make this album for me.”

“With a little help from his friends. Looking at the album credits, there's a surprisingly high amount of famous guest stars on this album. Most notable of these are all three of his former band-mates on at least one track or other. This makes this the last album all four were all on with new material and justifies the few odd claims that this is the last Beatles album. And as far as the songs go, they're all largely of the same quality.”

“Nothing Ringo would ever do could be deemed as vital, so how did the least talented Beatle get by in the post-split years? It's obvious, call in the help of your former band-mates, hire a hot-shot producer and make the most of your limited singing and playing abilities.This is what a Beatles album might have sounded, if Ringo had sang lead on all the songs.”

“Ringo’s best album by some distance, there’s nothing embarrassing on it and I think you’d have to be a real grump to dismiss the whole album.” “It's probably fair to cut Ringo some slack, but there's no getting around the fact that this record is mostly a piece of self indulgence. Its saving grace are not necessarily the contributions from the other Beatles - Lennon's I'm The Greatest is more of a cruel joke than a friendly contribution. It's Ringo's own Devil Woman that stands out as the only truly good tune.”

Laid Back - GREGG ALLMAN***

Midnight Rider/Queen Of Hearts/Please Call Home/Don't Mess Up A Good Thing/These Days/Multi-Coloured Lady/All My Friends/Will The Circle Be Unbroken

Laid Back was the solo debut album from Gregg Allman in which he eschewed the southern blues rock of his group efforts in favour of a mellower sound including horns and orchestration. (US:13)

“Laid Back was a modest surprise that showcased a set far more diverse than his blues-rock repertoire with The Allman Brothers. Anyone expecting to hear blistering, twin lead guitar Southern rock was going to be left scratching their heads. Mind you, Allman's voice remained instantly recognizable, though his patented Hammond B3 organ was largely absent from the proceedings. And that's where the similarities ended. While you couldn't label this a pop album, it's hard to imagine the Allmans recording anything with intricate orchestral arrangements.”

“Laid Back has been one of my favourite ‘laid back’ albums. As soulful and melancholy a recording as you'll ever hear.”

“Gregg Allman is so soulful, and has to be one of the best singers there has ever been. If you like the Allman Brothers Band, I'm sure you'll like this album. It's a much more mellow and chilled out set, as opposed to the more bluesy and fired up sound on the Allmans' albums.”

“There is an introspective feel to this release, as shown in the great cover of Jackson Browne's These Days. It is a nice departure from the southern rock Allman Brothers sound and Queen Of Hearts will move the hardest of souls. The strings and horns show a kind of production that Allman Brothers fans have never heard.”

“This is Gregg's first solo effort and it is nearly a tour de force. Its style differs significantly from that of the Allman Brothers Band at the time, but only in a good way. I think, however, that its somewhat maudlin tone can best be understood in light of the tragedies that stalked Gregg and the other members of the band at the time.”

“Laid Back is an outstanding collection of songs, imaginatively arranged and performed with passion and grace by singer/organ player Gregg. On his first solo outing Gregg strays far from the expected twin-guitar-southern-rock-blues sound, and instead offers horns, jazzy arrangements, strong hints of gospel, and even a Jackson Browne cover, with it all working wonderfully.”

For Everyman - JACKSON BROWNE***

Take It Easy/Our Lady Of The Well/Colours Of The Sun/I Thought I Was A Child/These Days/Redneck Friend/ The Times You've Come/Ready Or Not/Sing My Songs To Me/For Everyman

For Everyman was the follow up album from American singer songwriter Jackson Browne. He wrote Take It Easy for The Eagles but few of his compositions are in the same class, most suffering from forgettable blandness. (US:43)

“For Everyman is a definite improvement over Browne's self-titled debut. The songs are clearer and more to the point. While the style is still the same throughout, it is clear that the songs being played have more purpose and meaning than previously.”

“It has some great songs such as Take It Easy, These Days and For Everyman, and Ready Or Not is a sweetly observed song about impending fatherhood. But generally speaking this is a very smooth collection of west coast folk-rock which is pleasant but feels a little insubstantial.”

“This is better than his first album but not by that much; Our Lady Of The Well and Ready Or Not would be my personal favourites. Take It Easy is far too recognisable as an Eagles track for this version to sound anything other than a pale imitation, no matter what order they were recorded in.”

“Although the album is slightly unfocussed, this has the effect of adding an element of warmth to the proceedings, something that his later albums would sadly lack. However, despite some decent songs, the album is ultimately let down by Browne's languid vocals.”

“This is an album for `everyman", the definitive statement by Jackson Browne of his disturbing and apocalyptic view of contemporary society, and his hopes and fears for its future. It is also a lovely, stirring and evocative song cycle that illuminates his unique vocal and instrumental arrangements.”

“Half the songs are very good to excellent, the other half mediocre at best. I love Browne's version of Take It Easy, better than the Eagles version in my opinion. An altogether listenable album, but not his best.”

“Jackson Browne is not only a great musician but also a wonderful poet. For Everyman is all about life and love, happiness and heartbreak. From the carefree happiness of Take It Easy to These Days, with its melancholy lyrics.”

Loud 'N' Proud - NAZARETH***

Go Down Fighting/Not Faking It/Turn On Your Receiver/Teenage Nervous Breakdown/Freewheeler/This Flight Tonight/Child In The Sun/The Ballad Of Hollis Brown

Loud ‘N’ Proud was a quick follow up album to take advantage of the hard rock group Nazareth‘s brief spell of commercial success in the mid 1970s. Their almost unrecognisable cover of Joni Mitchell’s This Fight Tonight was a UK No.11 hit single. (US:150 UK:10)

“Nazareth's Loud 'N' Proud is most likely their best album ever. McCafferty was at his vocal peak, and the band really was really tight. The first side does have generally the same rhythm and tempo, and is fairly predictable, but the songs are great. They're catchy, have a contagious attitude, and are performed very well. The second side is unquestionably different and stops this album from being a little too generic.”

“The album only contains two numbers still worth listening close to, This Flight Tonight, written by Joni Mitchell, and The Ballad Of Hollis Brown, written by Bob Dylan. Especially the latter is even now really stunning, dark and fateful; perhaps the best cover of this tragic masterpiece ever.”

“Side one starts well with Go Down Fighting and I'm Not Faking It both being pretty solid rockers. After this I slowly lose interest as the side progresses; the tracks are weak and sound too much like the lower league glam rock that was floating around the UK charts at the time. Side two is a different matter with no filler and even manages to live up to the heights set by This Flight. Child In The Sun is a cool mellow track with some sweet slide. Hollis Brown is another cracking cover, with a very different take on the Dylan original - dark, dirty and grungey - keeping me gripped for its entire nine minutes.”

“Nazareth were not the best songwriters, but their early material packed a whole lot of power. This album is a very good example. Not Fakin' It is definitely as raw and heavy as early heavy metal gets. It's quite evident that This Flight Tonight was meant to be a soft pop ballad with deep lyrics, but Nazareth supercharges it with so much octane and wallop, it rightfully becomes their own song.”

“Nazareth were probably the least known hard rock band from the 70s which is a shame. They were a really talented band that focussed not on guitar solos, but on catchy vocal melodies, loud choruses and solid guitar riffs. They had a gifted lead singer who screams like a demon, but who was still capable of emotion. A talented band that deserve more recognition than what they've been given thus far.”

Full Sail - LOGGINS & MESSINA***

Lahaina/Travelin' Blues/My Music/A Love Song/You Need A Man/Coming To You/Watching The River Run/ Pathway To Glory/Didn't Know You When/Sailin' The Wind

The soft-rock duo Loggins & Messina were enormously popular in the States during the early seventies, but were virtually unknown in the UK. Full Sail continued their winning streak. (US:10)

“I guess they're going for some kind of tropical feel on this album. It doesn't work. A case in point is Lahaina, which uses a Caribbean style musical background, while singing about a location in Hawaii. There's an overriding insincerity that just kills this album. Pathway To Glory offers some musical hope, but it simply comes too late to save an otherwise manufactured sounding effort. Pass this one by.”

“A wildly uneven album, full of undeveloped songs. Probably, they should have been a little bit more choosy, concerning the musical material as well.

“On the first two albums they played primarily light pop music, with enticing bits of country and calypso thrown in to the mix to keep it interesting. On Full Sail they begin to stretch out with lengthier instrumental passages that have hints of country-jazz fusion.”

“Loggins and Messina were two talented artists working together rather than a real duo. They each wrote soft rock material of a high standard, their songs synergised by tasty horn and woodwind arrangements, largely driven by Messina. On this set he tends to lead the way.”

“Full Sail is a solid album by Loggins and Messina that has some terrific music on it. Yes, they took some chances as they branched out on this album, but it all holds its own very well even all these years later.”

“I feel that this was one of their best albums. It is still as comforting to listen to today as when it first came out. Mellow and up beat, this is a great collection of some of their most memorable songs.”

“It's impossible to feel sad or angry while listening to this bright, carefree album. Pathway To Glory is not what I would call a dark exception; however, it is an introspective and haunting piece, and though beautifully arranged and performed, it's not a fit for this sunny themed album.”

Jonathan Livingston Seagull - NEIL DIAMOND***

Prologue/Be/Flight Of The Gull/Dear Father/Skybird/Lonely Looking Sky/Be/Lonely Looking Sky/Dear Father/ Anthem/Be/Skybird/Dear Father/Be

Jonathan Livingston Seagull was a soundtrack album that won a Grammy for Neil Diamond despite the film itself being a flop. Inspired by the novella from Richard Bach. (US:2 UK:35)

“Neil Diamond makes like John Williams with the orchestra. Only he makes better music. He also sings on occasion, to good effect.”

“The first time I heard this album was in school. Our teacher who was a padre, played it in our classroom. At first I was laughing with him, because he seemed to be in ecstasy. But after a while I started listening and I too saw the light... It was the first album I bought. I was 16 at the time and I used to listen to more pop oriented songs. So this was a complete new experience for me. Anyway it's one of my all-time favourite albums.”

“Jonathan Livingston Seagull's music can take me from stressed to relaxed in no time. The music is so soothing. In this one especially, Diamond did some of his best work. So, if you're a Neil Diamond fan and you like something in a more relaxed vein, you will love this one.”

“Neil Diamond's voice, with his unique way of pleading and vulnerability, gets right into the deepest recesses of your brain and heart. This is a truly magical album. The musicianship is incredible. Oh, those strings, that piano, the drums, just every single instrument is flawless.”

“Neil Diamond comes close to finding God here with his music, bringing you on a soft but determined way to a state of inner reflection and deep joy. This record brings man, his dreams and belief together strongly.”

“This is one of those albums you rarely come across, pure class. It's both for those who like Neil Diamond and those who don't, or in most cases say they don't because they think it's cheesy. But there's nothing cheesy about this piece of work and it proves that Neil's was more than a mere singer song writer, since he can compose beautiful music.”

Quadrophenia - THE WHO***

I Am The Sea/The Real Me/Quadrophenia/Cut My Hair/The Punk & The Godfather/I'm One/The Dirty Jobs/Helpless Dancer/Is It In My Head/I've Had Enough/5.15/Sea & Sand/Drowned/Bell Boy/Doctor Jimmy/The Rock/Love Reign O'er Me

Given the acclaim for Tommy and other recent Who albums hopes were high that the rock opera Quadrophenia would attain the same standard. Sadly this did not happen, the only decent track being the UK top 20 hit 5.15.

“The story is over complex, too obsessed with nostalgia at the expense of entertainment and it just isn't as enjoyable as Tommy. What Quadrophenia also lacks is great tunes.”

“It's a two-disc, ridiculously overblown rock opera with way too many overdubs and a needlessly complicated plot that would've been simple if it weren't for the ‘four-personality’ thing.”

“For many listeners, Quadrophenia was simply too much. To this day critics talk disparagingly of the album as if it is a stereotypical prog rock dinosaur, devoid of tunes and stuffed full of self-indulgent musicianship.”

“Quadrophenia is invariably compared to Tommy, which is the most effective way of showing the limitations of the second Who rock opera. Neither the story nor the production is particularly great, and it makes this double album a massive disappointment compared to its predecessor.”

“It’s too lengthy and self-indulgent to be a great rock album, and it re-hashes too many of the same musical ideas simply to stretch out things.”

“Diversity is important to an album to make sure it does not grow boring. If diversity isn't there, then the sameness better have really good music to go with it. This album has a lot of sameness, with music that only occasionally rises to being memorable.”

“Not everyone relates to the story of Jimmy, but I do. It is a journey from teenage angst to spiritual redemption. The four great themes, each related to a band member and a part of Jimmy's personality, give this long work continuity, so that despite its hard rock edge, it is great art. In fact, it is musical alchemy. The themes combine together toward the end in the instrumental The Rock, which is the philosopher's stone of rock. The four themes become elemental icons.”

Pin-Ups - DAVID BOWIE***

Rosalyn/Here Comes The Night/I Wish You Would/See Emily Play/Everything's Alright/I Can't Explain/Friday On My Mind/Sorrow/Don't Bring Me Down/Shapes Of Things/Anyway Anyhpw Anywhere/Where Have All The Good Times Gone

Pin-Ups was an entirely superfluous and unnecessary album of covers from David Bowie, as during this period his songwriting talents delivering original material were firing on all cylinders. Includes the UK No.3 hit single Sorrow. (US:23 UK:1)

“The problem with this project was always going to be that, although Bowie chose some of the better songs of the period (mid 60s London), they were probably never going to match the quality of his own songs at this time. Consequently, it's the most inessential Bowie album of the 1970s.”

“Decent set of covers in Bowie's glam rock style of the times but ultimately it's nothing too amazing or inspiring.”

“Released during an almost unstoppable run of classics, this hiccup is generally cited as one of David's weaker efforts. I wholeheartedly consider this as Bowie's most unnecessary offering, and honestly see no great reason for it to exist.”

“Not actually as bad as it first sounds, but also not very good and, fatally, not particularly interesting even as a curiosity. A covers album, in case you didn't know, with Bowie and his band doing a bunch of mostly English 60s mod songs.”

“Bowie finally sunk to an all time low after a streak of brilliant albums. Pin Ups is just a collection of Bowie covering songs by adding a glam flavour to them, and nearly ruining most of them in the process.”

“Sure, Pin Ups was pretty much a filler release, but given that the clock was ticking and Bowie would shortly abandon rock and roll to go self-consciously arty. In many ways it's nice to hear him relax with friends before he showed them the door.”

“One of the most interesting songwriters of the early 70s makes a covers album and it comes of weak and uninspired. It probably doesn't help that I don't know many of the songs, but the ones I do know are butchered, especially See Emily Play. Poor album and the worst he's done so far at this point.”

“Bowie's tribute to the sixties contains mostly familiar covers. The band is tight, the selection interesting, but the sound is very samey throughout.”

These Foolish Things - BRYAN FERRY***

A Hard Rain's A Gonna Fall/River Of Salt/Don't Ever Change/Piece Of My Heart/Baby I Don't Care/Its My Party/Don't Worry Baby/Sympathy For The Devil/The Tracks Of My Tears/You Won't See Me/I Love How You Love/Loving You Is Sweeter Than Ever/These Foolish Things

Consisting entirely of well known covers, These Foolish Things was the debut solo album from Roxy Music’s front man Bryan Ferry. Features the UK top ten hit A Hard Rain’s A Gonna Fall. (UK:5)

“Right from the start, we're alerted to the sheer iconoclasm of the project with Ferry taking on Dylan's A Hard Rain's A-Gonna Fall, by then generally viewed as a monumental work of protest, but here hammed up into something approaching mockery.”

“These Foolish Things is a great compilation of cover songs by Bryan Ferry, recomposed with his romantic and sophisticated vision, A Hard Rain's A Gonna Fall being the best song of this album. A must hear for any fan of Roxy Music.”

“A great start to Bryan's solo output, considering what he'd done with Roxy Music at this point; it must have been a bit of a gamble for him to release this with such well known songs. I think he pulls it off very well, some of the tunes might be cheesy but kudos for him trying.”

“Ferry's album is, in its own way, as eccentric and adventurous as the Roxy Music albums he was making at the same time. The album kicks off with A Hard Rain's A-Gonna Fall, one of the greatest Dylan covers of all time, simply for its utter irreverence: Ferry transforms Dylan's mournful acoustic protest song about nuclear war into a glam show-tune, complete with bizarre sound effects.”

“Bryan Ferry is a legend but when he sings such famous songs he just sounds like a dodgy pub singer. Check out for example the versions here of It's My Party and Sympathy For The Devil. Incredibly funny, and to be honest I don't know if humour was the ultimate objective.”

“There is no one on this planet that can take a hoary old classic, blow the dust off it and make it completely his own, quite the way Bryan Ferry can. I never grow weary of listening to this album. Apart from the fact that this man has a sinfully wicked voice, he also has this wondrous ability to interpret lyrics that have been recorded ad nauseum, and create something fresh and eclectic.”

Goodbye Yellow Brick Road - ELTON JOHN*****

Funeral For A Friend (Love Lies Bleeding)/Candle In The Wind/Bennie & The Jets/Goodbye Yellow Brick Road/ This Song Has No Title/Grey Seal/Jamaica Jerk Off/I've Seen That Movie Too/Sweet Painted Lady/The Ballad Of Danny Bailey (1909-1934)/Dirty Little Girl/All The Girls Love Alice/Your Sister Can't Twist (But She Can Rock & Roll)/Saturday Night's Alright For Fighting/Roy Rogers/Social Disease/Harmony

Normally with a double album some filler material might be expected. However, this is most certainly not the case with Elton John’s Goodbye Yellow Brick Road since every song here is first rate. (US:1 UK:1)

“There was something happy, pleasant and joyful with the release of Goodbye Yellow Brick Road. The music had nothing to do with the decline of the psychedelic 60s, its varied musical styles and influences were fresh and inspiring, and the songs flowed from sombre melodies to raucous anthems.”

“Elton John was not, unlike today's pop tarts and poseurs, just a pop star, but also a very capable and expressive musician. No wonder he keeps getting himself into trouble for blasting today's pop stars - he writes classic pop opuses like this one, while they can't even sing live on stage.”

“While normally a double album would indicate overconfidence and too little good stuff spread too thinly, that's definitely not the case here. Goodbye Yellow Brick Road is bursting with ideas, influences and styles. A smorgasbord of rock and pop goodness it covers prog-rock, ballads, pure pop, glam-rock, show tunes, hard rock even a laughable attempt at reggae.”

“Elton was of course always different; the fact that he used the acoustic piano as his weapon of choice, in a world of screaming electric guitars, was just one aspect of his uniqueness. Then there was his sweet, crooner like voice which could melt ice and those meaningful lyrics that popped out of Taupin's head, which used imagery and sophistication way beyond your usual pop song.”

“Elton John had the magic ability to write beautifully melodic tunes, which were catchy but never trivial. He used strange chord changes and included a myriad of clever flourishes originating in blues, jazz, vaudeville and cabaret, and were way more sophisticated that what most people considered as pop. This was Elton's magic and the reason why this music remains perfect and untouchable by time.”

“Anything I say would only pale in comparison to this virtuoso's creative and varying musical talents that are on display for well over an hour in this double dose of listening pleasure. If you listen to it with an open mind, you will love it.”

Back Into The Future - MAN***

A Night In Dad's Bag/Just For You/Back Into The Future/Don't Go Away/Ain't Their Fight/Never Say Nups To Nepalese/Sospan Fach/C'mom/Jam Up Jelly Tight

Back Into The Future is a part live, part studio DLP that provided the Welsh rock band Man with their first chart placing. The live portion was recorded at the Roundhouse, London in June 1973. (UK:23)

“One of my favourite Man recordings with half studio and half live tracks. There are some long jamming prog tunes with excellent guitars and keyboards. One of the few double albums that contains very little filler.”

“Man's finest hour, this double album is the perfect statement of their brand of psych prog. From the tightly written first side to the fully jammed fourth side, everything they attempt is executed with precision, skill and soul.”

“Side one starts out a bit dated, but when you get to the second there's the live performances which are really energetic jams with great guitar. The only thing that disrupts the music here is the Welsh chorus but that's a minor issue.”

“If there was a single high point in the history of Man, this performance is a strong candidate. It represents Man at the peak of their powers. One of the novelties on this recording is the presence of the Gwalia Male Voice Choir.”

“This band are so tight and involving, one minute they can be flying and next comes a beautiful soft part; the way they create tension and then release it when you least expect. The musicianship is second to none; every instrument gets its own space to shine.”

Past Present & Future - AL STEWART***

Old Admirals/Warren Harding/Soho (Needless To Say)/The Last Day Of June 1934/Post World War Two Blues/ Roads To Moscow/Terminal Eyes/Nostradamus

Al Stewart found fame as a folk influenced singer songwriter for the bed-sit generation. Past Present & Future was an ambitious concept album in which he tackles issues from 20th Century history. (US:133)

“Al Stewart's concept to write a song representing each decade of the century couldn't help but fail. It's quite a good effort, though Stewart pretty much abandons the idea toward the end. Old Admirals is quite lovely; its portrait of the melancholy of old men is very poignant.”

“Easily my favourite Al Stewart album. He has a slightly weak and whiny voice which puts some people off, but he sometimes tells wonderful stories in song. The best one is Roads To Moscow about the Eastern front in the second world war seen through the eyes of a Russian soldier. Nostradamus is regarded as an Al Stewart classic but it does tend to drag on too long.”

“You've got to admire him, he's the only guy I know that did popular songs about the German retreat from Moscow, and a retired Admiral wishing for his days at sea. Nonetheless, Al's lonely furrow is cut smooth and straight, and here are a set of songs that still sound fine in the right listening environment.”

“Time is a constant theme in Al Stewart's music. This album finds us going back in time for the most part, with the exception of the albums best known cut, Nostradamus which is of course about a man who predicted the future. To say this album rocks just wouldn't be true, but it does offer nice melodies and thoughtful lyrics.”

“Past Present & Future is a memorable album in many respects. Stewart is an accomplished songwriter and every one of these tracks is well written, some are, and remain, brilliant. His voice works well for the music and he put together a set of studio musicians that provided excellent backing and a strong rhythm section. Stewart is at his best in Roads To Moscow. He sings it as a ballad with an excellent orchestral arrangement that creates a very Russian mood.”

“Past Present & Future is one of the most impressive and amazing albums ever to emerge out of the 1970s. Each track is a mini masterpiece. His music is timeless, his melodies beautiful and well crafted, and his lyrics intelligent and thought provoking.”

Like An Old Fashioned Waltz - SANDY DENNY***

Solo/Like An Old Fashioned Waltz/Whispering Grass/Friends/Carnival/Dark The Night/At The End Of The Day/ Until The Real Thing Comes Along/No End

Sandy Denny departed from her folk roots with Like An Old Fashioned Waltz. Moving in a jazzier direction this is a melancholic album with a dark atmosphere. (US:197)

“There aren't many things that can stop be dead in my tracks, but Sandy Denny's crystalline voice and magical sense of melancholy is one that can.”

“This album is quite different from Denny's previous work, less folk-rock oriented and with some gentle jazz touches. Most of the material is original, but a few jazz standards are also included. The overall atmosphere is deeply melancholic and very introverted, nostalgic and somewhat dark, beautifully performed by her and a superb band.”

“A not wholly successful attempt at making Sandy into a cross-over artist. The voice is still wonderful but some of the material doesn't really suit it.”

“Despite its rich arrangements, Like An Old Fashioned Waltz never feels forced; instead it's an elegant, at times slightly stylish, album full of great emotional moments. Fans of her earlier recordings should be aware that this is very much free of folk influences.”

“A very seventies sounding album from Sandy with jazzy numbers, singer-songwriter moments and some great classics like Solo. A very enjoyable album but like a lot of her output it is a little too diverse.”

“Solo is beautiful and reason enough to buy the album. But the most interesting track is Whispering Grass which shows how Sandy could easily have left her folk roots behind for a contemporary career. The rest of the songs add layers of complexity to an album that is a beautiful swan song for one of the greatest vocalists of all time.”

“From her folksy roots and somewhat pedestrian arrangements, she evolved towards something richer and fuller, culminating in this, a very jazzy, seductive and satisfying album complete with soaring instrumentals. It contains the gorgeous ballad Solo, one of the prettiest things she ever did. Her splendid voice is certainly in fine form here.”

For Girls Who Grow Plump - CARAVAN***

Memory Lain Hugh/Headloss/Hoedown/Surprise Surprise/C'Thlu Thlu/The Dog The Dog He's At It Again/Be All Right-Chance Of A Lifetime/L'Auberge Du Sanglier-A Hunting We Shall Go-Pengola-Backwards-A Hunting We Shall Go (Reprise)

Like many progressive bands from the Canterbury scene Caravan enjoyed a cult following. For Girls Who Grow Plump saw them moving in a slightly more mainstream direction.

“Not the best Caravan album due to the fact that it is a bit uneven. The high points are wonderful to be sure. Unfortunately, the two long extended pieces are a mixed bag of inspired moments interspersed with tedium.”

“A number of line-up changes following Waterloo Lily would see Caravan's musical style changing direction. This time around, they're trying to fuse their whimsical Canterbury sound with a more mainstream friendly musical approach, a project which after several albums would result in the band's prog audience drifting away and no mainstream audience coming in to replace them. Here, however, the compromise between the conventional and the experimental is perfectly judged.”

“A very similar prog flavoured semi-commercial rock sound to their previous release, but this one incorporates extensive use of electric violin, and moderate use of brass. Some tracks have a mild country flavour, while others are typically (for them) long suites.”

“This is one of those great marriages of straightforward pop songs with a prog approach, possibly best exemplified in the stomping Memory Lain Hugh and melodic beauty of The Dog The Dog He's At It Again. The only track here that really sounds like you might expect is the closing medley, a blazing tour de force of the distinctive Canterbury sound Caravan specialized in.”

“Caravan going for a glam, harder rock sound which reminds me of Emerson Lake and Palmer, but not in a good way. However The Dog The Dog He's At It Again recalls the fine pop tunes they created previous to this one. This sounds OK but it doesn't seem to have the spirit behind it their first three LPs.”

“Caravan were one of those bands to which detractors loved to attach the deprecating art-rock label. In this case it means an ever-evolving style that wove together a strong underpinning of rock with tinges of jazz, a slight flavouring of the psychedelic era, and the faintest hint of classical chord structures.”

Don't Cry Now - LINDA RONSTADT***

I Can Almost See It/Love Has No Pride/Silver Threads & Golden Needles/Desperado/Don't Cry Now/Sail Away/Colorado/The Fast One/Everybody Loves A Winner/I Believe In You

Don’t Cry Now was noticeably more commercially successful than Linda Rondstadt’s earlier albums. However, she would have to wait until her next release before she struck gold. (US:45)

“One can't help but feel sympathy for this lost girl, lost with no sense of direction and without her own material.”

“Don't Cry Now refines the breakthroughs on Linda Ronstadt, meaning its softer, more singer-songwriter than the rough-country edge on her previous work, without quite coalescing all the elements that Heart Like A Wheel perfected. Its one of Ronstadt's most welcoming discs, relying largely on ballads, but it draws on her interpretative and vocal skills for powerful performances that recontextualize contemporary well-known songs. There are exceptionally good performances throughout.”

“Although this contains more rock and less country than her previous albums, it has more of a country feel to it than much of the music coming out of Nashville in recent years. The LP is fairly mellow, being mainly a mix of ballads and mid-tempo songs, with only a couple of up-tempo songs.”

“She would acquire a lot more finesse, subtlety and sophistication later on, but there are still some unforgettable gems on this work. Colorado is a wonderful showcase for her voice in all its honey-sweet purity, and her version of Desperado is the equal of the original, and certainly more vocally powerful. Love Has No Pride and Don't Cry Now are great ballad powerhouses for her also. All in all, a strong indication of what was to come, and an album that still largely holds up quite well today.”

“Linda had showed moments of brilliance before, but not necessarily at such a level up to this point. This album shows that she would only get better and become one of the most influential female singers in pop music history.”

“Recorded at a pivotal time in Los Angeles country-tinged rock, Don't Cry Now moves Ronstadt a few steps away from her previous, and more rustic, albums, and closer to the pop-edged sheen of her later mainstream work. Although the production is muddy in places, the musicianship throughout is stellar.”

Aerosmith - AEROSMITH****

Make It/Somebody/Dream On/One Way Street/Mama Kin/Write Me/Movin' Out/Walkin' The Dog

Self titled debut album from the hard rock band Aerosmith. They have sometimes been touted as the American equivalent of the Rolling Stones, but this rather overstates their limited musical talent. (US:21)

“I sometimes forget that Aerosmith were once an actual rock band, instead of the gross power-ballad corporate entity they became.”

“The overall sound shows a young band searching for a style, but with enough talent to develop their own personality. They rock hard but can be swinging and sleazy as well. And the best part is, they would refine their approach in their next release.”

“Aerosmith's self titled debut is a gritty, stone cold blues-based offering, which features material the band had been performing live for several years. It's the low slung bluesy, raw roots of the band that defined American raunch 'n' roll throughout the high-flying '70s.”

“This is a fine debut, hard rock with a tinge of blues that is immediately appealing. Dream On is the standout track but the other three songs from side one are all pretty good too, but side two drags the average down a bit. If you're at all interested in this band or seventies rock, it's definitely an album worth checking out.”

“Aerosmith's self-titled debut album is a nice collection of addictive bluesy hard rock. These Boston bad boys who always seemed to me to be America's answer to the Rolling Stones didn't find instant success with this one but Dream On would be reissued four years later and would eventually hit the top 10 on the charts and become a staple for classic rock radio for the rest of eternity.”

“It is still one of the hardest rocking albums. Aerosmith are one of the most influential bands to ever hit the music scene, and with a debut album like this, everyone should've seen it coming.”

“Aerosmith really are one of those groups where if you've heard one of their songs you've basically heard them all. Yes, this kind of hard blues-rock was killer at the time, but highly uninteresting now.”

“This is the debut of one of the greatest twin guitar, swaggering front man, hard rock bands that ever walked the planet, the legendary Aerosmith. The band achieves excellence on a few tracks, but solid competence on every one.”

Ol' Blue Eyes Is Back - FRANK SINATRA***

You Will Be My Music/You're So Right (For What's Wrong In My Life)/Winners/Nobody Wins/Send In The Clowns/Dream Away/Let Me Try Again/There Used To Be A Ballpark/Noah

Frank Sinatra came out of retirement to release Ol’ Blue Eyes Is Back, his final chart album of original material. By this time his style of music was regarded as seriously unfashionable. (US:13 UK:12)

“This is a great Sinatra album. Do not pay attention to critics who describe it as a mixed bag or denigrate Sinatra's vocals. No, this is not the prime Sinatra of the Capitol years and, yes, his voice is a little rough around the edges, but so what? An aging Sinatra was still light years ahead of any other singer.”

“Frank was no spring chicken when he recorded this but it contains some beautiful work. In my view, whenever Gordon Jenkins, Don Costa and Frank Sinatra got together, it made for great music. I think the orchestration on this release is stellar, the best of all of Frank's albums. There is not a bad track and it is well worth the money at twice the price. I have heard some say that this album showed Frank's voice was getting a bit thin by this time but Winners and You Will Be My Music still give me goose bumps every time I listen to them.”

“Frank Sinatra makes his first album since he announced his retirement. And what a comeback album it is. We first notice that Sinatra`s voice has aged but it has aged like a fine wine, never better.”

“This LP may pale in comparison to Frank's previous work but there is still much to be heard. Fresh from retirement his voice is a bit rusty but still sounding beautiful. There are three cuts that deserve attention. One is Anka's second anthem Let Me Try Again which was actually an Italian melody for which he supplied lyrics. The second special cut is his classic rendition of Send In The Clowns. The third and my favourite cut is the haunting There Used To Be A Ballpark. It goes beyond being a beautiful recording and enters the realm of social commentary addressing subject matter rarely found in a popular song.”

“Everyone loves a comeback, and this album represented Sinatra's return to the studio after a brief first 'retirement'. There are some nice performances here, but some of this album is awful, the Kris Kristofferson number notably. Noah is also just wrong for Sinatra, suffering from the same overproduction as much early 1970s music. Dream Away is just hokey.”

Wake Of The Flood - GRATEFUL DEAD***

Mississippi Half Step Uptown Toodleoo/Let Me Sing Your Blues Away/Row Jimmy/Stella Blue/Here Comes Sunshine/Eyes Of The World/Weather Report Suite

After two excellent studio albums the Grateful Dead’s Wake Of The Flood came as a disappointment. Most of the tracks here are bland and forgettable jazz influenced jams. (US:18)

“It's got a great mellow, jazzy feel to it that reminds me of springtime , with lots of good singing and playing from Jerry.”

“Here's a great example of a solid Dead studio album with songs that aren't terribly impressive in these incarnations but really blossomed live. Stella Blue stands out in particular as a track that is a touch dull here but was often tremendously powerful live when Jerry really belted it out and played some moving leads.”

“It has jazz/prog influences that weren't present on earlier releases. It feels like the band were influenced perhaps by Steely Dan, and it results in tighter musicianship with a few good moments that are lost in a pretty mediocre songwriting effort.”

“This is a very sleepy album and the fact that the vocals are off-key at times ruins all chances for future spins. I don't doubt that they were a great live band, but this studio album sounds lifeless to my ears.”

“Further proof that the studio was rarely this band's friend. This is the beginning of their overly smooth jazz-fusion production sound.”

“None of these songs are bad, which is always a positive thing. But only the last two songs really shine, both very nice songs but the rest of the stuff isn't so great, some of them being pretty mediocre.”

“Here is where the Dead first displayed their true blandness in the studio. The first of their ultra slick albums that would plague the 70s and beyond. Corporate hippie noise at its worst.”

“The Dead are heading in yet another direction with the release of Wake Of The Flood, but mostly they don't quite reach their destination. When they do however, the results are excellent, with nice jazzy jams and thoughtful lyrics.”

“There's a more pronounced use of jazzy improvisation here, even as the music still has a pronounced folk-rock style with lots of slide guitars and such.”

The Joker - THE STEVE MILLER BAND***

Sugar Babe/Mary Lou/Shu Ba Da Du Ma Ma/Your Cash Ain't Nothin' But Trash/The Joker/Lovin' Cup/Come On In My Kitchen/Evil/Something To Believe In

Although overall a mediocre release Steve Miller’s The Joker album quickly became his most successful, propelled by the catchy title track, No. 1 in both the US and UK. (US:2)

“Being Steve Miller is a mixed bag: a cool voice and an inability to write a decent lyric. It comes together smashingly on the endearing title track, against the odds. The rest of The Joker lacks that song's lazy swagger. Some of it-especially Your Cash Ain't Nothin' But Trash is flat out terrible.”

“Though concerts had been getting larger since the late 60s, this album was ushered in when arena rock was becoming the only way to go for most artists where they could make a lot of money quickly. It became more of an event than an opportunity to develop a rapport with the artists, and the type of music they were putting out in many ways began to reflect this.”

“The Joker is an average album, by a great artist. This is far from being one of Steve Miller's best, as it is very uneven. You have a couple of pretty decent songs, a couple of bad ones and one absolute rock and roll classic.”

“This is the last of the smooth Steve Miller Band vibe. His mojo is starting to fade but he gets it all together for another psychy R & B release that is still a good listen today.”

“Some would call this the turning point when Miller set the stage for his commercial success on ensuing albums. Although that is the more popular scenario, others may have viewed this as his last gasp before he would sell his soul to the top 40 gods.”

“Steve Miller's The Joker marked the high point of his career; the song that is, not the album. The strong hook, melodic guitar solo and clever lyrics made the song a smash hit and one of the best-ever classic rock tunes. However the album as a whole bears the mark of an artist still struggling to find a consistent groove.”

“While there are some outstanding numbers on this record, I dig these songs and they put a smile on my face, but I'm left with the empty feeling that Steve Miller is showing us nothing new here at all.”

Berlin - LOU REED****

Berlin/Lady Day/Men Of Good Fortune/Caroline Says/How Do You Think It Feels/Oh Jim/Caroline Says II/The Kids/The Bed/Sad Song

Lou Reed’s Berlin must be one of the bleakest albums ever released. Despite this handicap it works very well in conveying the sense of hopelessness of a relationship breaking apart. (US:98 UK:7)

“Berlin is an underrated album, perhaps because many people jumped under the covers when they heard how perfectly depressing it is.” “It's tremendously difficult to listen to because he succeeds brilliantly at conveying the utterly depressing and devastating emotional tone of the story.”

“An often maligned album, Berlin is an ambitious, exhausting effort from Lou Reed. that tackles many universal 70s excesses: drugs, domestic violence, promiscuity and suicide.”

“The most harrowing music I have ever listened to. Reed manages to create music that is as beautiful as it is disturbing. The music is incredibly varied, leaping from style to style, without ever losing focus.”

“The themes explored by Reed on Berlin are not radically different to those that he deals with on other albums. What distinguishes this record is the intensity and the focus of both the writing and the performances. It isn't a concept album so much as a song cycle. Part protagonist, part weary onlooker, Reed manages to convey the sheer frustration as well as the sense of hopelessness as the central characters drift inexorably apart.”

“Here we have a much bleaker version of Lou, with an album that just gets plain depressing at points. He's also far more ambitious and conceptual than before. The album centres around a couple who are falling into a downward spiral of drug abuse, depression, prostitution, and everything else about the marginalised in society.”

“Unlike Lou's previous works that featured poppy single songs, this focuses on the album as a whole. All the songs work so well together, it's very cohesive. The composition and instrumentation are just so beautiful. From the start, with the soulful piano on Berlin moving into the song Lady Day that hits you with all these amazing instruments, the lush trumpets, the bold organ that gives the listener a sense that they're in for a great journey, and the flutes that work so well with the drums.”

Selling England By The Pound - GENESIS*****

Dancing With The Moonlight Knight/I Know What I Like (In Your Wardrobe)/Firth Of Fifth/More Fool Me/The Battle Of Epping Forest/After The Ordeal/The Cinema Show/Aisle Of Plenty

With the release of Selling England By The Pound the British progressive band Genesis manage to combine strong commercial popularity with stunning artistic creativity. (US:70 UK:3)

“It's overused, but epic is a good word for this album. The band's most sweeping and striking moments are here in the four long tracks. The shorter songs are also good. This one is the last with the classic Genesis sound.”

“Genesis occupy an ethereal territory which transcends rock and blues while simultaneously embracing them and spurning them. Selling England By The Pound is indescribable. An attempt to classify this album might go something like this: Progressive-classical-folk-rock-symphonic-fantasy music.”

“What I like so much about progressive rock is that it always surprises me. This album specifically stands for that. These songs are like a jungle where you loose your way easily if you aren't well versed, but where the most beautiful things and places appear out of nothing if you walk on.”

“It’s as fresh and vital as it ever was and at its best, represents some of the greatest prog ever recorded. Not overly bombastic, not full of empty virtuosity or experimental noodling, nothing cosmically remote - just clever, funny and exciting. Prog rock, back then, was all about creating a unique sound. Genesis did just that and are immediately recognizable, perhaps nowhere more than on this album.”

“This is in my opinion one of the best records in history. Genesis here show visions both from history and the future. I can't get enough of it, every new listening gives me another dimension to it. Every song is good in its own way. This was totally new back in the seventies and no one has reached the same level again.”

“Not a single wasted second can be found from this record. Instrumentally the band does amazing job and the songwriting is brilliant here. A true progressive rock classic with only high quality material.”

“Complex classically inspired music combined with fantasy lyrics conjure up wonderful surreal images on this extraordinary work. Why doesn't anyone write music like this anymore?”

Hello! - STATUS QUO****

Roll Over Lay Down/Claudie/Reason For Living/Blue Eyed Lady/Caroline/Softer Ride/And Its Better Now/Forty-Five Hundred Times

After several years in the doldrums boogie rockers Status Quo hit their high watermark of popularity with Hello. Features the UK top ten hit singles Caroline and Roll Over Lay Down. (UK:1)

“A continuation of their previous LPs and all the LPs to come. So what? They are what they are, a solid hard blues rock jam band and they are great at it.”

“Status Quo rolled through much of the simplistic Hello with heads down confidence, targeted directly at the long hair, denim clad punters. The LP opens with the shuffle action of Roll Over Lay Down, while adding Caroline, and the no-frills Reason For Living. However, the best is saved for the very end, as the album culminates in the spirited Forty-Five Hundred Times. This strong closing cut builds up well over nine-minutes, and served as an energetic concert staple for Quo throughout the years.”

“Dynamic, driving, carefree, careful, light as the breeze yet heavy as a steel chassis and clad in a sleeve as black as hot rubber. At this point the Quo were flying.”

“Nice light rollicking boogie - and one of Quo's better albums. The never ending nature of Forty-Five Hundred Times is great, the hits are grand but some of the first few tracks are grindingly repetitive. But that's Quo for you.”

“Very good boogie party rock album. Status quo hit their first No.1 with this recording which contains hits like Roll Over Lay Down and Caroline. Hello is not a perfect album but it's an ultimately entertaining one that is based on simple straight forward fast paced rock 'n' roll.”

“During this time period, Quo were on top of the world, or at least on top of Europe. They finally found their niche with Piledriver and with this album they mastered their science. Roll Over Lay Down gets things started and is followed by Claudie, which is one of Francis Rossi's finest moments. Reason For Living is a hopping little Quo piece and Blue Eyed Lady must be the most underrated Quo track ever. It shows that these guys could really play. Side two starts with the Quo classic: Caroline. Softer Ride keeps on rockin' and And It's Better Now quietens things down until the nine minute boogie explosion of Forty-Five Hundred Times, guaranteed, to be some of the best you have heard from any rock group.”

I'm A Writer Not a Fighter - GILBERT O'SULLIVAN****

I'm A Writer Not A Fighter/A Friend Of Mine/They've Only Themselves To Blame/Who Knows Perhaps Maybe/ Where Peaceful Waters Flow/Ooh Baby/I Have Never Loved You As Much As I Love You Today/Not In A Million Years/If You Love Me Like You Love Me/Get Down

MOR pop singer Gilbert O’Sullivan maintained his winning ways with I’m A Writer Not A Fighter. Features the dynamic UK No.1 and US No.7 Get Down, and the somewhat less successful Ooh Baby which stalled at No.18 in the UK. (US:101 UK:2)

“A great 70s pop album. The songs sound simple and unpretentious but they're very well composed and produced.”

“Gilbert plays it more or less straight on this and, though this album doesn't quite have the warmth of its predecessor, the more grown-up aspects of the songs have their own appeal. The production is conservative yet still admirable, showing off the songs to good effect.”

“Gilbert O'Sullivan's career peaked in the early 70's just as he was starting. His lyrics are verbose but clever, and the music is very complex for pop songs. He wrote a lot of good songs, and this album is his best.”

“To me this is almost as good as the previous album Back To Front. After these two he never did another album as good.”

“It seems the early 70s were O'Sullivan's vintage era and it is astonishing how he could keep writing so many songs of the highest quality and originality. Like the previous album, this one includes, not only hit songs like Get Down and Ooh Baby, but also heart-warming and memorable tracks such as Where Peaceful Waters Flow, A Friend Of Mine and They've Only Themselves To Blame.”

“One of the characteristics of this album is the unabashed sense of humour and striking melodies which go very well with the witty lyrics in some of the songs. This is certainly one of the best albums by O'Sullivan.”

“I've thoroughly enjoyed re-hearing this album even if some of the lyrics and sentiments are considered soppy by today's standards. It's not all genius of course, but this is a lovely release.”

Buckingham Nicks – BUCKINGHAM NICKS***

Crying In The Night/Stephanie/Without A Leg To Stand On/Crystal/Long Distance Winner/Don't Let Me Down Again/Django/Races Are Run/Lola (My Love)/Frozen Love

At the time of the release of the debut Buckingham Nicks album the duo were virtually unknown on the American music scene. This would all change a couple of years later when they joined Fleetwood Mac.

“Sound wise it's pretty clear that it’s very much like Fleetwood Mac joined them rather than the other way around. The songs are hardly outstanding but are still enjoyable enough, the best track probably being Crystal later re-worked by the Mac.”

“One listen to this album and you can see why these two were asked to be part of Fleetwood Mac. Superb songwriting, great vocals, and stellar musicianship make me wonder why this wasn't a hit.”

“Most people remember them as a little folk pop duo that sold only a few records. But if the world made sense, this would be treated as an enormous seventies classic. Basically everything about this album is perfect. Eight incredible tracks and two short yet enjoyable instrumentals are performed with genuine heart, soul and passion.”

“The album is a very enjoyable country pop album of a comparable standard to Rumours era Fleetwood Mac. It doesn't have the iconic status or British blues heritage of the Mac, but it does have the combustive couple that pulled the band out of their mid-seventies floundering.”

“A decent collection of low-key well performed yet somewhat forgettable folk songs. Even on this first effort Buckingham's guitar work is on top form, from which it will continue to morph and expand with the Mac. Nicks composing skills will refine a bit as well, but overall you can tell they already had what it takes.”

“At this point the duo concentrated largely on light folk, albeit well-produced with Buckingham's acoustic guitar up front. While the decent Crying In The Night was released as a single, the real star here is Crystal, both lyrically and musically. Many of the songs predict what they would bring to the Mac, but the problem is that they are too light and many of the songs are there and then soon gone.”

“There are tracks which could quite easily pass for Fleetwood Mac material, but overall, this isn't too bad, with most songs being laid-back and melodic, acoustic driven cuts, featuring the now instantly recognisable voice of Stevie Nicks.”

Vagabonds Of The Western World - THIN LIZZY***

Mama Nature Said/The Hero & The Madman/Slow Blues/The Rocker/Vagabonds Of The Western World/Little Girl In Bloom/Gonna Creep Up On You/A Song For While I'm Away

With Vagabonds Of The Western World Thin Lizzy began to move away from their Celtic and Irish roots towards the hard rock sound for which they would be remembered.

“They are starting to become Thin Lizzy. Lots of guitar driven hard rock throughout and those Johny Cash style vocals would be pretty much their sound.”

“Generally cited as the first true Thin Lizzy album, in that it is the style everyone knows them for, with some of Lynott's most intricate and deeply thought out compositions here.”

“Mostly pretty solid semi-commercial hard rock with wailing guitar passages, but mixed with some comparatively weaker material.”

“Regarded as their breakthrough album, this is certainly a somewhat overlooked treat in their back catalogue. However, not all that much has changed from their first two. The music sounds better, overall, but the Celtic blues theme is still there.”

“Meandering, psychedelic blues-rock with some mean, soulful guitar work, far removed from what they'd later become.”

“First standout effort from Lizzy here. There are hints of future glory, some blues, and some epic rocking. Phil Lynott was among Ireland's greatest rock musicians and this album is one of the first major signs of that. This is very heartfelt rock music, but not very Irish in feeling.”

“The overriding factor with Vagabonds Of The Western World was the fact that it was a much more consistent and even album that the previous two works, in both song writing and instrumentation. Overall Thin Lizzy sounded very confident and Phil Lynott was crafting his most memorable works to date.”

“Thin Lizzy despite still being a three piece were beginning to discover a harder edge and the folky traditional Irish feel of the first two albums had gone, replaced by a much harder bluesy rock sound.”

In A Glass House - GENTLE GIANT***

The Runaway/An Inmates Lullaby/Way Of Life/Experience/A Reunion/In A Glass House

The progressive band Gentle Giant enjoyed a cult following in the early 1970s. In A Glass House follows their usual pattern of achieving only limited sales despite some encouraging reviews.

“Gentle Giant eschewed the limelight to follow their own eccentric path; but for all that, there is some brilliant medieval and baroque progressive rock here. In A Glass House is the most accessible and best song here, An Inmate's Lullaby is lyrically clever, Experience runs the gamut from Elizabethan to jazz to funk, and Reunion offers a Baroque string quartet and a more pleasant use of their often strident and over-the-top vocals”

“With In A Glass House the band bring more of a rock and roll edge to the party, and mixing it in nicely with the medieval charm. It's a fine balance, and shows off the excellent musicianship of all the members.”

“One of the best things about Gentle Giant is their talent for creating compositions which are on the one hand extremely complex but yet at the same time are insanely catchy, and this skill is out in full force on this album. Ranging from the delicate and gentle to the wild and rocking, In A Glass House is yet another Gentle Giant classic.”

“In A Glass House is their most accomplished album where they lower the volume and trim the big guitar lines of their earlier work. They use a lot more percussion here, maramba, bells and chimes. This is a study in obtuse rhythms. Everything is scored to the last note, and the band work in both unison and counter rhythms. It is complex, but not cerebral, subtle, but impressive.”

“Amidst the weird, sometimes avant-garde, boundary pushing tunes are some more straightforward prog songs with influences from rock and soul. It's hard to describe the overall sound because with each song change, there's a stylistic change, and in the longer ones, the atmosphere can change within songs.”

“This is their most uncompromising, least commercially friendly album they’ve yet attempted. Starting out with the unsettling sound of glass breaking The Runaway is one of their harshest, darkest pieces. A constant perfection is maintained, a synthesis of well thought out lyrics, melody and complex rhythms utilizing the entire gamut of rock instruments.”