Pretzel Logic - STEELY DAN*****

Rikki Don't Lose That Number/Night By Night/Any Major Dude Will Tell You/Barrytown/East St Louis Toodle-oo/ Parker's Band/Through With Buzz/Pretzel Logic/With A Gun/Charlie Freak/Monkey In Your Soul

With Pretzel Logic art rock group Steely Dan consolidate their creative reputation. However, the enjoyment is interrupted by the inclusion of an Ellington track which can be skipped. Features the US No. 4 hit single Rikki Don’t Lose That Number. (US:8 UK:37)

“As any major dude will tell you, this is a perfect marriage of studio professionalism, first-rate instrumentation and Donald Fagen's vicious lyrics. Pretzel Logic is nothing short of a masterpiece.”

“This was the album that marked the end of Steely Dan as a group, and the beginning of Steely Dan as two guys and a bunch of session musicians. In just about every other case, that would suck. But when the two guys are Walter Becker and Donald Fagen, it's all good. Another departure that I noticed is a distinct shift in the lyrics from cynical to serious.”

“East St. Louis Toodle-Oo is a lacklustre throwaway instrumental, a Duke Ellington song that just sounds silly with that wah-wah guitar. Skip it.”

“Steely Dan get into their stride by this their third studio album Pretzel Logic. It sounds so self assured, and they give you the impression that are in no hurry to get through this set, and a laid back feeling certainly comes across as you listen to this one. There is depth and great musicianship on display here, but it is done with such effortlessness that you can be forgiven for not even noticing.”

“Steely Dan have left behind such an impressive legacy that their entire catalogue is a worthy addition to any music aficionado's collection. The fact that the majority of the lyrics are so enigmatic and encourage some deep thinking to get to the true meaning of what they are trying to say is part of the Dan's odd charisma.”

“Everything throughout the album reflects the taste of an American middle-class duo who grew up with the Summer of Love but has now hoarded enough maturity to get rid of all the ingenuous utopias of the sixties.”

“Don't try to figure out Rikki Don't Lose That Number, just sit back and enjoy. The lyrics can be bizarre and blunt, but they are always intelligent.”

Shinin' On - GRAND FUNK***

Shinin' On/To Get Back In/The Loco-Motion/Carry Me Through/Please Me/My Pretty Boy/Gettin' Over You/Little Johnny Hooker

With Shinin’ On Grand Funk move away from their hard rock origins towards a more commercial pop sound. Features their incongruous cover of The Locomotion which topped the US singles chart. (US:5)

“I just could not get into this one. The previous album was pretty good but this is inconsistent and a little flat. There are a couple toe tappers and the funk is still there but the material is limited in quality. Why do a cover of Locomotion when the original is so much better.”

“Another Todd Rundgren production, Shinin' On is a mixed bag of good rock tunes with some surprises, such as the horn-filled To Get Back In and the Todd-like Carry Me Through. I like the overall sound and it sticks with me decades later.”

“This was Grand Funk's second album with producer extraordinaire Todd Rungren. He puts some spacey moments in and lots of echo, but it doesn't detract from what is, with one exception, a very strong set of rock songs. I'd buy this album for the title track alone.”

“The group moved farther away from the hard rock they started with, though they still managed to balance both it and their newer pop sound at certain points. Shinin' On, the title track, is probably one of their best.”

“While nothing from the Shinin' On album comes close to the incredible power and rocking energy of the title song with its fantastic rhythmic beats, I can't find anything to complain about either.”

“This album is clearly the close of a dynamic American rock giant. Grand Funk were moving in a different direction in their later albums compared to their hard hitting rock achievements of the past. This does not mean they got worse. They just strayed from the Grand Funk I preferred, becoming too commercialized for my taste.”

“Comparing this with all the previously released Grand Funk albums, you'll probably be shocked by the way it sounds and the direction Grand Funk chose to take their music. This is pretty much an obvious attempt to go commercial, though not really a necessary one since they were popular before this, but the band also probably wanted to fit in with the times.”

Chicago VII - CHICAGO***

Prelude To Aire/Aire/Devil's Sweet/Italian From New York/Hanky Panky/Life Saver/Happy Man/(I've Been) Searchin' So Long/Mongonucleosis/Song Of The Evergreens/Byblos/Wishing You Were Here/Call On Me/ Women Don't Want To Love Me/Skinny Boy

Chicago VII was the final double album from this ensemble. It comprises several jazz fusion tracks combined with some pop numbers. Two of the latter, (I’ve Been) Searchin’ So Long and Call On Me, reached the US top ten. (US:1)

“I would rate this last double album as their worst, with the opening progressive songs really pointless and lacking the elementary good taste which was prevalent on their previous works, when they were so creative and offering strong melodies.”

“Chicago VII marks the end of Chicago’s first true era. It’s the last double LP they ever released, it’s the first album with a Brazilian percussionist, it’s the last with instrumentals, it’s the last that is fully eclectic and experimental, and it’s the last truly great album they would release for several years.”

“Chicago VII is one of the double albums the band released during the first few years of their career, when they succeeded in combining their ambitious, experimental sides with their ability to write striking pop songs. A lot of the music is instrumental, and the band uses the space to the fullest.”

“When I first read that Chicago VII was intended to be a purely jazz fusion album, and there were indeed five fusion tracks on the album I was a bit sceptical, although upon hearing it I am pretty impressed. One of the major faults I have with the fusion tracks is for the most part, the horns really do not cut loose and are quite stiff, although Robert Lamm's keyboards, and Terry Kath's guitar work really shine on most of these songs. The pop songs are also pretty good, although they are generally ruined by very inane lyrics.”

“The whole of side one and about half of side two are taken up by jazz fusion instrumentals. The musicianship displayed on these pieces is nothing short of astounding. The second half is a big letdown, some of the songs are quite good, others are downright awful, but most are pretty cheesy.” “After the relatively downbeat pop of Chicago VI, this album shows an energetic Chicago with a positive musical outlook. While the pop element is retained, there are also incredible jazz moments that can take you back to their first three albums.”

Queen II - QUEEN*****

Procession/Father To Son/White Queen (As It Began)/Some Day One Day/The Loser In The End/Ogre Battle/ The Fairy Feller's Master-Stroke/Nevermore/The March Of The Black Queen/Funny How Love Is/Seven Seas Of Rhye

Queen II achieved the commercial breakthrough for the creative rock band Queen fronted by the flamboyant vocalist Freddie Mercury. Features the UK top ten hit single Seven Seas Of Rhye. (US:49 UK:5)

“Perhaps eager to prove that they were more than a straight-ahead rock group Queen II was an exceptional flight of fantasy full of colour and drama. Queen fused together their hearty tales with fine musicianship that formed a complete cohesive work.”

“Queen have always been amazing in the studio. The way that they record their instruments and their vocals, and layer them over each other in a thousand ways, to get the sound onto their albums in the way that they do is remarkable.”

“Another fantastic, underrated Queen album that shows they weren't all radio-friendly hits. It is full of great, heavy, epic tracks, showcasing the band's penchant for theatrical arena rock. Mercury's voice is once again impeccable.”

“Another strong album from Queen, oozing bombast and reverb from every pore. The first five or so songs are mostly composed by Brian May about emotional and passionate topics of one sort or another. The second half consists of six heavy prog tracks written by Freddie Mercury, who indulges his love of fantasy to the hilt.”

“The music sits somewhere between theatrical rock, progressive rock and hard rock. A really eclectic mix of music styles and ideas, the musicianship is outstanding throughout. Convincing and adventurous instrumental delivery by all involved and out of this world vocals by Freddie Mercury.”

“It has everything that made Queen awesome: insanely tight arrangements, ridiculously over the top vocals and just a pure joy in trying everything once. Add some prog in the Queen pot and you get Queen II.”

“The album frequently contrasts dark and light, elegant and naughty, with brash and soft moments, added to the hyper-complexity of the arrangements which still leave room for ethereal, angelic melodies and vocal harmonies, all in Queen's unique, classicism-drenched style. All this makes for a tantalizing, spellbinding wonder.”

What Were Once Vices - THE DOOBIE BROTHERS*****

Song To See You Through/Spirit/Pursuit On 53rd St/Black Water/Eyes Of Silver/Road Angel/You Just Can't Stop It/Tell Me What You Want/Down In The Track/Another Park Another Sunday/Daughters Of The Sea/Flying Cloud

The Doobie Brothers, during the Tom Johnston era, released some excellent albums. What Were Once Vices maintains the high standard and is somewhat heavier than the others. (US:4 UK:19)

“Tom Johnson was the main talent in the Doobies. He should have been pushed forward as the front guy of the band and his songs should have dominated their albums. That is not to take away from Patrick Simmons abilities; it is just that the Doobies sound was defined by Tom Johnson's guitar style which was present in all of the songs he wrote. He has a very unique rhythm guitar technique.”

“Another very good Doobie Brothers album. These guys were a really good band. Production is top notch, the musicianship is stellar, and there's no filler. I couldn't ask for more than that.”

“The Doobie Brothers had a strong run of albums during the early/mid-'70's. What Were Once Vices Are Now Habits is a prime offering from the west coast melodic rockers. With Tom Johnson and Patrick Simmons leading the way, the Doobies hit their stride here.”

“Solid as always with the Doobies. This is an album full of good stuff. Many times I find myself singing the songs on this album. Great electric and acoustic guitar work throughout this LP. Many tunes that will keep you tapping your feet. But also some nice melodic and introspective songs as well.”

“The Doobie Brothers have always been known, especially during the Tom Johnston era, to have strong, catchy beats that hook you in and won't let you go. This release is full of these classic Doobie songs.”

“Tom Johnston and Pat Simmons peeked with this one. There isn't a filler tune on Vices, and it flows along like a good dream on a warm summer night. The chord progressions, lyrics, melody, rhythm section, and fantastic guitar work complement their songs.”

“The Doobie Brothers are one of the greatest American bands. They are awesome-and always have been since their first album. They simply connected by combining elements of jazz, R & B, rock into a unique, coherent, energizing musical synthesis with absolutely superb stylistic diversity.”

Unborn Child - SEALS & CROFTS***

Prelude-Windflowers/Desert People/Unborn Child/The Story Of Her Love/Dance By The Light Of The Moon/ Rachel/King Of Nothing/29 Years From Texas/Ledges/Follow Me/Big Mac

The soft rock duo Seals & Crofts risked alienating their liberal fan base when they chose to release Unborn Child with its unfashionable promotion of an anti abortion message. (US:14)

“This a rather mediocre affair. The album contains no weak songs but too much of them are only average. Highlights are Unborn Child and the surprising Dance By The Light Of The Moon.”

“After a horribly weak first half. with the dreadfully cheesy Prelude and the ham fisted anti-abortion title track, the album comes around to some really nice tunes. Not enough, however, to completely make up for the other.”

“The title track and lyrics of Unborn Child carried a strong anti-abortion message, which may have divided some fans. However, as with Diamond Girl, it contains a varied collection of songs with good harmonies, melodies and rhythm.”

“I'd forgotten how much I like almost all of the songs on this album. It is too bad we live in a country where PC has become more important than freedom of speech and free thought. Regardless of opinions about abortion, Unborn Child, is a superior musical offering, with top notch production value, lyrical poignancy and soaring guitar solos. The rest of the album is produced to just as high a standard of quality.”

“This is a solid effort and was a minor hit when it was released in the early 1970s. Sales were probably hurt some by the strong, anti-abortion statement of the title song. It also includes the minor hit The King Of Nothing. A nice album from one of the 1970s forgotten stars.”

“My wife and were mesmerized by the title song. It was a strange choice for a rock group at this time, so we were glad when we understood how powerful was their message. I also believe Windflowers is a song that should be heard by all.”

“Along with the title cut and Windflowers is Desert People, light and breezy and just jazzy enough to make it different. Dance By The Light Of The Moon is an all out rocker.”

Now We Are Six - STEELEYE SPAN***

Seven Hundred Elves/Drink Down The Moon/Now We Are Six/Thomas The Rhymer/The Mooncoin Jig/ Edwin/ Long-A-Growing/Two Magicians/Twinkle Twinkle Little Star/To Know Him Is To Love Him

Now We Are Six was notable for Steeleye Span moving away from their folk roots to embrace a more rock sound. The inclusion of a nursery rhyme and a pop cover disappointed some traditional fans. (UK:13)

“Let down by the incongruous Twinkle Twinkle and To Know Him that end the album, what were they thinking?”

“The only downside for me is a rather lame version of Twinkle Twinkle Little Star, but the rocking Thomas The Rhymer and the rollicking Mooncoin Jig more than make up for that.”

“By the time you get to this album, there aren’t so much warning signs that the band were in decline, instead you're just presented with an album that's plain and simple bad. There's no lightness of touch here and there's none of the band's earlier icy beauty. In fact I'd go as far as saying this isn't really much of a folk album - instead it is just some bland mid-70s rock/pop album, in large part due to the addition of a full time drummer.”

“I had forgotten how good this album was. Plenty of great tunes and Maddy Prior's great vocals. Sure I could do without Twinkle Twinkle and a couple others, but for fans of that British folk-rock this is a must get.”

“This album isn't bad, but this was the one that alienated a few listeners. Because the band started to include something other than traditional British Isles folk music, like a couple of children's songs and a cover of a Phil Spector song. The line-up was now augmented by a drummer, resulting in a more rock effort than what they done before.”

“Steeleye's sixth album continues on the path of the previous ones, with mostly positive results. The album features the magnificent Thomas The Rhymer, an exquisite blend of traditional British folk and a thumping rock beat. Many years later, it still excites.”

“Many fine songs may be found here. In fact, the only thing that spoils this album are two tracks sung with a boys choir, and a very odd and out of place cover of To Know Him Is To Love Him with David Bowie on saxophone.”

Burn - DEEP PURPLE***

Burn/Might Just Take Your Life/Lay Down Stay Down/Sail Away/You Fool No One/What's Goin' On Here/ Mistreated/A 200

Burn was the first release from Deep Purple after the major personnel shake up which saw the arrival of David Coverdale as vocalist. Unfortunately this line up never reached the same level of musical achievement as the previous one. (US:9 UK:3)

“A pretty much flawless record and a brilliant second (or is that third) wind for Deep Purple. Coverdale and Hughes give it a heart full of soul and the juxtaposition between this and the chunky metallic groove of the group make it irresistible listen. Incredibly difficult to single out a best track here, the whole thing is extremely edible.”

“Roger Glover and Ian Gillan are gone and it shows. Vocals and lyrics are sub par and the bass lines suffer. Ritchie Blackmore saves this release with some of his best guitar work but Deep Purple are not a funk band and that's the direction David Coverdale and Glenn Hughes wanted to go.”

“Mistreated is a five stars song, plain and simple. It's the greatest song Deep Purple released with Coverdale on vocals and also one of the best songs this band ever made. However that's about it. The rest are nothing spectacular at any level. Listenable hard rockers, but nothing mind-blowing at all. On the other hand none of these songs is a total waste of time either.”

“The opening title track is a classic through and through: hard-rock energy, guitar and keyboard solos plus Coverdale's singing. Sadly it's downhill from there, albeit on a gentle, undulating slope. New man Hughes is excellent on bass but his voice isn't in the same league. So a number of tracks are not improved by Hughes sharing vocal duties.”

“A classic metal attack to open the album off, but after the band proves they can still rock out, it rather peters into a mix of boogie-woogie, funk rock, blues and the uninteresting synth-driven closer. Not a bad album per se, but I found most of it quite boring.”

“Very solid playing, great vocals, and proof that just because your lead singers quits doesn't mean that's the end of the story. The songs here are solid as well, especially the title track, a patented high speed Purple album opener that is just as good as previous opening tracks.”

Sundown - GORDON LIGHTFOOT****

Somewhere USA/High & Dry/Seven Island Suite/Circle Of Steel/Is There Anyone Home/The Watchman's Gone/ Sundown/Carefree Highway/The List/Too Late For Prayin'

After several years on the brink of success Canadian folk artist Gordon Lightfoot achieved his major breakthrough with Sundown. Features the US chart topping title track and US No.10 Carefree Highway. (US:1 UK:45)

“Soft folk-rock, heavy on bittersweet background strings and the typical yearning baritone of Lightfoot delivering well-crafted folk and country-tinged songs.”

“Sundown is one of the greatest electric folk rock albums of all time. It is the high point of Canadian legend's Gordon Lightfoot's career and is full of wonderful songs that are small captured moments in time that enrich you by the listening of them. Sundown itself is one of the most beautifully expressive and emotive, and wonderfully rich love songs ever recorded, it's magic, lightning in a bottle.”

“This album represents Lightfoot's commercial peak. Does that mean it's his best? Not necessarily. The truth is, Gordon was remarkably consistent between 1970 and 1976, and it is something of a fluke that Sundown is his most famous LP, owing mainly to the popularity of the title track, which became a #1 hit in the US. Of course, it didn't hurt that the album features another top ten hit, Carefree Highway, which is arguably a better song. Those hits propelled this record to its status as a mid-'70s classic of the singer-songwriter genre, but really it's just another in a long string of great albums he released during this era.”

“Sundown represents Lightfoot at a point where he was as well-known as he would get. This is a pleasant enough release. Perhaps overly pleasant and not challenging enough.”

“This seems to be the most introspective of all his albums, as though he was trying to really make sense of life; there is much more of a sense of struggle here than in other albums. There is a lyrical depth that goes beyond even the usual Lightfoot level. The melodies are fantastic, there is a subtle sophistication to the arrangements, and Gordon's voice is strong.”

“This album contains songs not well-known to the public, and yet they serve to demonstrate the extraordinary range and depth of Lightfoot's songwriting, playing, and arrangements.”

Grievous Angel - GRAM PARSONS***

Return Of The Grievous Angel/Hearts On Fire/I Can't Dance/Brass Buttons/$1000 Wedding/Cash On The Barrelhead-Hickory Wind/Love Hurts/Las Vegas/In My Hour Of Darkness

Grievous Angel was the posthumous follow up album from country artist Gram Parsons who was briefly with The Byrds. Here he is joined by Emmylou Harris who would soon enjoy a successful solo career. (US:195)

“Grievous Angel showed me that there is a world of country music out there that is enjoyable, well written and tasty.”

“Another enjoyable collaboration with Emmylou Harris, this is some absolutely gorgeous country material which teases out the softer side of Gram's sound.”

“The album focuses on melancholic and easy going ballads, which could be enjoyable enough if they didn't sound so predictable, and in most cases, corny. A couple of upbeat tunes provide some fun. Instrumentally it has some sweet guitars and some violins as well.”

“You have to admire Gram for bringing country music to a wider audience as at the time this genre was not that popular. I remember country as being one of the most clichéd genres and it was not that well thought of except by the diehard fans.”

“Released a couple of months after his death, Parsons seems to imply that with this record, he knew his time was up. There are only two new self-penned songs, the rest are either covers or songs he'd written a long time back. What helps elevating the album to blissfulness is the singing of Emmylou Harris. Their voices combine for some truly pretty moments, especially on their version of Love Hurts. Even though the album overall is somewhat maudlin, Parsons throws in a couple of fun songs to break up the mood.”

“What I don't like is that some of the songs are so full of country music clichés: the guitars, the vocal melodies. Sure, there is some variety, but this has been elevated to some sort of cult status that in my opinion it doesn't deserve.”

“From the first listening you will realize that Gram Parsons was special, his voice, style and songs. They all come together in a country hybrid sound that makes this collection one of my top desert island discs.”

The Way We Were - BARBRA STREISAND***

Being At War With Each Other/Something So Right/The Best Thing You've Ever Done/The Way We Were/All In Love Is Fair/What Are You Doing The Rest Of Your Life/Summer Me Winter Me/Pieces Of Dreams/I've Never Been A Woman Before/My Buddy-How About Me (Medley)

The Way We Were showcases ballads recorded by Barbra Streisand over a five year period and is considered to be the last in her classic style. Features the US chart topping title track. (US:1 UK:49)

“This album is decent and it contains at least few great tunes with the title track as one of the better songs of her career. Too many sound alike ballads drown this album but the overall quality is respectable.”

“The songs on this album are mostly schmaltzy ballads, although the title track with its orchestral arrangement is great and reminds me of the wonderful, melancholic movie.”

“The fact that the better tracks on this album were recorded five years before its release is not surprising. It was at this time, before she decided to go pop, that her voice was at its most pure and powerful. Her voice sounds so warm and effortless on these tracks you can't help but be hypnotized.”

“This still remains a fabulous collection of ballads. Mature, sensuous, beautifully sung and arranged, mixing old and contemporary songs into one terrific and coherent album. The last great Streisand album in her classic style.”

“Out of all the great albums Streisand has put out this one is among the best. Her voice is perfectly matched to the gorgeous orchestrations that accompany her. You just can’t beat a recording like this. This is the perfect Streisand album.”

“The release of The Way We Were was, at the time, unusual in that Barbra was beginning to show much more interest in current pop composers. Some may consider it a throwback to her earlier days of doing Broadway tunes and standards. However, musically, as well as emotionally speaking, it was her strongest effort for some years to come.”

“Even though it was recorded at different sessions dating from the late 60s The Way We Were hangs together as one of the most sophisticated and mature albums of her career. With this album, her vocal timbre gains a warmth that had previous only been hinted at, and her phrasing is soulful, delicate and intense.”

Court & Spark - JONI MITCHELL***

Court & Spark/Help Me/Free Man In Paris/People's Parties/The Same Situation/Car On A Hill/Down To You/Just Like This Train/Raised On Robbery/Trouble Child/Twisted

Court & Spark finds singer-songwriter Joni Mitchell moving further away from her folk roots towards a greater jazz influence. Not all of her fans were happy with this change in direction. (US:2 UK:14)

“Joni Mitchell's slick commercial peak came with Court & Spark, a tuneful, glossily-produced set of songs with few signs of her outré experimental tendencies to come. It is Joni for the era of hi-fi, a radical departure from the fragile folk she had been producing up until this point. It is also unlike other commercial makeover albums in that it sacrifices none of the art and is just as beautiful as what came before, if not more so.”

“The songs are not about big themes, but explore a series of relationships. They are like a series of short stories, vividly sketching emotional situations, although they often imply their stories rather than stating them, leaving us to fill in the gaps, letting us to take part in small dialogues of the imagination."

“Although brass heavy, Court & Spark is on the right side of jazz to be pop, while neither being too pop to be disposable even though belonging to the 70s.”

“Mitchell experiments further with her sound on Court & Spark, creating a jazz-inflected folk pop hybrid in the process. It's home to some of her most carefree music to date, from the breezy Free Man In Paris, that quite effectively mirrors the unburdened nature of the track's daydreaming title character, to the rollicking Raised On Robbery, to the flat-out fun Twisted, a 1950s jazz song that marks the first time a cover has made its way onto a Mitchell record.”

“This album is an example of her ability to subtly change styles and approaches, fusing jazz and blues, resulting in a captivating and quite arresting collection of my personal favourites.”

“Court & Spark is an exhilarating mix of jazz, pop, rock and Mitchell's ever distinctive voice. Her songs are brilliantly deceptive in that they seem simple on first listen, but the arrangements are complex with multiple overdubs of guitars, keys and chorus vocals on nearly every track.”

“I feel the album slips in the middle, where the songs seem to merge into one, as I can find nothing particularly interesting or distinctive about them.”

Hotcackes - CARLY SIMON***

Safe & Sound/Mind On My Man/Think I'm Gonna Have A Baby/Older Sister/Jut Not True/Hotcakes/Misfit/Forever My Love/Mockingbird/Grown Up/Haven't Got Time For The Pain

Hotcakes was released when singer-songwriter Carly Simon was pregnant and the autobiographical songs portray Simon happily married at a time when she was beginning a family. It features the US No.5 hit cover of Mockingbird. (US:3 UK:19)

“Hotcakes is neither the most brilliant or thrilling album by Simon, and comprises an artistic let down following the smash No Secrets. However, Simon was clearly in a time in her life where songwriting was put on the back burner. Happily married to James Taylor and pregnant with their first child together, Simon made a light, soft album to reflect the joyous time in her life. A weak a album it may be, it's very easy to forgive Simon for not being too preoccupied by the album's production.”

“I'm sorry to say that this album does very little for me. I found it to be quiet tedious and boring. The only real highlight for me was Mockingbird. The title track is just plain nonsense and the rest is so forgettable it is already forgotten.”

“With Hotcakes, Carly Simon continued her career by focusing her artistic ability towards showing a mature woman evolving within an important phase of her life. In the process, she did what she had done before and continued to do throughout her career; take her personal musings and project them in a way in which we all can relate.”

“I'm not a big fan of Hotcakes; the only song that has stuck with me is the emotionally charged Haven't Got Time For The Pain, highlighted by the expressive vocals and an awesome musical outro. Nonetheless, Simon's composing skills and individuality can't be denied.”

“The singing is fabulous; her ever distinctive voice sounds rich and carefree. Hotcakes generally shows Simon at her best: sensuous, songwriting earth mother with a sublime pop voice showcased by Richard Perry's distinctive pop/rock production.”

“Hotcakes is Carly's response to her marriage to James Taylor and the impending arrival of their first child. Thus, the album is markedly optimistic and upbeat, even in its inevitable love songs. Producer Richard Perry soaks the arrangements with acoustic instrumentation and tasteful strings.”

Old New Borrowed & Blue - SLADE***

Just Want A Little Bit/When The Lights Are Out/My Town/Find Yourself A Rainbow/Miles Out To Sea/We're Really Gonna Raise The Roof/Do We Still Do It/How Can It Be/Don't Blame Me/My Friend Stan/Everyday/Good Time Gals

Old New Borrowed & Blue signalled a change of style for Slade with less of the stomping rockers and a move to a more mainstream pop sound. Features the UK top three hits My Friend Stan and Everyday. (US:168 UK: 1)

“Most of the songs here are crunching rockers which in the end are diminished by their similarity to one another. Better then to look to the few under-the-radar tunes. These comprise Find Yourself A Rainbow, showing their music-hall influences, the stately ballad Everyday and the pub-rocking My Friend Stan.”

“Their fourth studio set continued the band's move away from glam to a more conventional rock attack. Propelled by Holder's shrieking voice, Dave Hall's crushing guitar, and the rhythm section of bassist Jim Lea and drummer Don Powell these guys epitomized mid-1970s sludge rock. If you were looking for sophisticated musical compositions and thought provoking lyrics, this probably wasn't going to be an album that would make it into your collection.”

“Slade step it up a couple notches by introducing some new musical styles. Pop, ballads, Jim & Noddy's writing improves as they dive fearlessly into new musical territories.”

“This is a decent album with a few outstanding tracks and a few boring ones. The band tones down the stomping rock of past albums, and focuses on the pop side of their sound. They pull off some great melodic hooks, especially on My Town and When The Lights Are Out, but more often the songs aren't quite up to snuff to pull it off, and you end up wanting more noize.”

“This was the last of the great Slade era as their later albums didn't seem to have as many memorable tunes on. It proved to be the most diverse record the band had released and includes music hall, country and folksy balladry.”

“There is no doubt that it showed a greater maturity in song writing and arrangement and less of their stomping trademark. To my mind that is what makes it as an album. A good song is always a good song no matter how much fashions change, and there are plenty to enjoy and love on this album.”

Planet Waves - BOB DYLAN***

On A Night Like This/Going Going Gone/Tough Mama/Hazel/Something There Is About You/Forever Young/ Forever Young/Dirge/You Angel You/Never Say Goodbye/Wedding Song

Planet Waves was the outcome of Bob Dylan’s much publicised signing with Asylum. However, his stay there would be short lived as his next album the following year was released on his old label Columbia. (US:1 UK:7)

“I found it full of lyrical sweetness and personal insight. Its simplicity is refreshing from one usually so complicated. His vocal style here is softened and inviting. Some of Dylan's most favoured songs are to be found here, like Forever Young.”

“Enjoyable but fairly pedestrian for Dylan. I liked, and was surprised by, the more upbeat second version of Forever Young.”

“Better than most people seem to think it is. The Band are playing on top form, and Dylan's songs have a great sense of eclectic styles and textures with some great guitar work, organ flourishes and backing vocals.”

“This is a very poor Dylan album by any standard. Whether you like Dylan the protest folk singer, Dylan the rocker, Dylan the alternative country artist, Dylan the born again Christian or Dylan the old bluesman, the chances are very small you' will find something you like here. The playing is just uninspired and is one of the worst Dylan set of songs of the 70s.”

“Dylan and The Band knocked out this pretty good album in only three days, and although not near the top of the Dylan catalogue, it's still pretty playable. My favourites being Dylan's trademark Forever Young and the always nice solo acoustic Wedding Song.”

“Planet Waves opens with a very uptempo number, On A Night Like This, which sounds great. The chorus of Forever Young (version one) makes me recognise a classic. You Angel You showcases Dylan's legendary ability to make songs that are much better when performed by someone else. Finally, Wedding Song recalls the Freewheelin'-era Dylan, though the song is not very good and feels overlong.”

“Planet Waves is kept afloat by the energy of The Band who supported Bob on this album. Forever Young and Wedding Song are among Dylan's best written songs. A solid record if an unremarkable one.”

Piano Man - BILLY JOEL****

Travelin' Prayer/Piano Man/Ain't No Crime/You're My Home/The Ballad Of Billy The Kid/Worse Comes To Worst/ Stop In Nevada/If Only I Had The Words (To Tell You)/Somewhere Along The Line/Captain Jack

Singer-songwriter Billy Joel’s second album Piano Man heralded his commercial breakthrough, although he would have to wait a few years before he became a megastar. The excellent title track is considered to be his signature tune. (US:27)

“This LP receives the most attention out of Billy's pre-Stranger albums because it contains his signature song, the album's title track. Yes, that song is an outright classic, and so is the sardonic Captain Jack.”

“An entire album full of classics. Absolutely love the title track, but the massive highlight has to be Captain Jack, what a cracker of a tune.”

“Captain Jack and The Ballad Of Billy The Kid are both superb tracks, great strings on the latter whilst the former is as hard hitting and evocative an expression of disillusionment as you will hear.”

“Piano Man may not be his best album but, make no mistake, it is very good. It not only sets the stage for what would follow, but it contains several songs as good as any he would produce. When exploring the music of Billy Joel, this is the place to start.”

“Every track tells a story, brings you into Joel's centre of gravity and not a second of space is not contemplated, nor is a single melody not living up to its full potential. Joel has a way of communicating solemn themes in a light-hearted, free and fun manner that enraptures the listener.”

“His early work is incredibly artistic, fresh, and poignant. Joel has always expressed his thoughts and feelings through his art, and his energy and drive show on this one. Piano Man is always the song he'll be known for, but these are all brilliant pieces of work here.”

“Piano Man featured some impressive songs, although there were a number of weak bits. The autobiographical title track is a stone cold classic but has suffered the unfortunate fate of being overplayed on classic rock radio.”

“The title track needs no introduction. Easily one of my all-time favourites, it's an incredible song, and makes up for a lot of the shortcomings of the album.”

Maria Muldaur - MARIA MULDAUR****

Any Old Time/Midnight At The Oasis/My Tennessee Mountain Home/I Never Did Sing You A Love Song/The Work Song/Don't You Feel My Leg/Walkin' One & Only/Long Hard Climb/Three Dollar Bill/Vaudeville Man/Mad Mad Me

Eponymous debut album from the jazz influenced vocalist Maria Muldaur. Often dismissed as a one hit wonder her subsequent releases were notably less successful. Features the US No.6 hit single Midnight At The Oasis. (US:3)

“What Muldaur did back than was record excellent and eclectic albums, covering different music genres and displaying formidable musical knowledge, while keeping her own recognisable singing style, quirky and original. Within the first two minutes listeners can tell this is Maria Muldaur.”

“Besides Oasis this album has a delightful collection of country, blues, vaudeville and ballads from off-the-wall sources. Perhaps it was this freshness that audiences found so appealing back then. It must be said that the huge commercial success of this debut unfortunately towers over her other albums and somehow keep them in the shadows.”

“This record just oozes charm as Maria Muldaur's singing is quite unique, a raspy sweet vocal with some heft behind it when called for. This is notable debut that covers a lot of ground from roots country blues to popular vocal jazz to New Orleans style jazz.”

“Best known for her song Midnight At The Oasis it would be easy to dismiss Maria Muldaur as a one hit wonder. But you would miss a lot of good music if you did. On her debut, she serves up a nice mix of blues, country and cabaret music, helped out by some fine session players. She handles the songs with respect and style.”

“Maria Muldaur is the perfect blend of soft but edgy, poppy but jazzy that made some glossy 70s radio music top of the heap. But you may be surprised that a lot of the music on this album is New Orleans based, having a high end club sound. Oasis was released as the single for obvious reasons, but the rest of the album is as well done if a little different in approach.”

“This album is full of contrasts. It is so much fun, yet has a lot to offer musically. The arrangements are unusual, yet spectacular. And her voice just goes all over the place, yet it works beautifully.”

Moontan - GOLDEN EARRING****

Candy's Going Bad/Are You Receiving Me/Suzy Lunacy (Mental Rock)/Radar Love/Just Like Vince Taylor/The Vanilla Queen

Moontan was the only album from the progressive Dutch band Golden Earring to achieve a respectable album chart placing in the US and UK, helped by the major international hit single Radar Love. (US:12 UK:24)

“One of the great prog albums though the song that is most well known is the straight up hard rock classic Radar Love. The Vanilla Queen is a prog ballad masterpiece; Are You Receiving Me is amazing, and Candy's Gone Bad rocks. This LP is underrated and a must for fans of prog and hard rock.”

“Radar Love, good as it is, is only the beginning. Melodic, progressive heavyish rock, absolutely cooking, literally from the very first chord to the very last.”

“Moontan is the utterly fantastic Dutch progressive rock band Golden Earring's best album, by far. A lot of what makes it so awesome are the really excellent and complex as well as the insanely great bass lines. The album is full of long multi-part prog excellence.”

“A quantum shift toward commerciality, this one gave them a taste of worldwide stardom via the mega-hit. Said stardom turned out to be a drug they could easily get accustomed to, and wrote their direction change in stone. From here on in, they would steadily descend farther and farther into the commercial cesspool. But this one still retains a solid semblance of decent material, commercial, yes, but somehow uniquely different and interesting to listen to. Each track features long instrumental passages with good period flavour.”

“Solid hard proggy rock from start to finish. Their overall vibe is just so cool. Nice guitar work throughout. Toe tappers mixed with some spacey stuff make this a killer.”

“This album was chosen as the greatest rock album from the Netherlands some years ago and I can see the reason why. Moontan is Golden Earring's most successful and famous album and it's a very solid mix of catchy hard rock with very clear progressive rock elements.”

“I find it truly amazing. Radar Love is the obvious classic, but the hard-rocker Candy's Going Bad and the spacey and whimsical Vanilla Queen are great additions to the album.”

Bachman-Turner Overdrive II - BACHMAN-TURNER OVERDRIVE****

Blown/Welcome Home/Stonegates/Let It Ride/Give It Time/Tramp/I Don't Have To Hide/Takin' Care Of Business

The follow up album from the Canadian hard rock band Bachmann-Turner Overdrive heralded their commercial breakthrough in the States. Features the US top 12 hit Takin’ Care Of Business. (US:4)

“Just really radio friendly hard rock, full of poppy stuff, but yet hard at the same time. You either like it or find overrated, overplayed and possibly boring.”

“There is one good guitar riff after another on this solid long play. Hard rock as it should be. This is pure fun to listen to. Stonegates is an awesome cut, and who doesn't have a soft spot in their heart for Takin’ Care Of Business?”

“Absolutely perfect hard rock, hooky as can be but still very powerful, and with amazing songwriting. Blown is a great opener. Stonegates rocks out. Let It Ride may be the best Bachman-Turner Overdrive song ever, a nearly perfect riff machine. That's true of Takin’ Care Of Business as well, a song that demands to be played loudly.”

“Beyond a doubt there are a small handful of rock groups that stand not only the test of time, but consistently punch the drive, so that within the first two seconds after a particular song is played, causes the listener's auto-neurons to fire and entice that listener to instinctively crank the volume to the outer threshold of toleration. Not to mention singing each lyric verbatim with the distinct inflection and mimicry of the performer. Takin' Care Of Business is such a song.”

“The hard rocking Canadian band followed up their rugged debut with an album that resembles the first in some ways but has more of a radio-friendly sound.”

“Short, simple and to-the-point this is a shining example of what a good album should be, even with some daft tracks in the middle; a capsule of what was going on at the time and simultaneously timeless.”

“BTO really put themselves on the musical map with this album, well known for the hit tracks Let It Ride and Takin' Care Of Business. There are other musical nuggets on this album to boot.”

Wild Tales - GRAHAM NASH*****

Wild Tales/Hey You (Looking At The Moon)/Prison Song/You'll Never Be The Same/And So It Goes/Grave Concern/Oh Camil (The Winter Soldier)/I Miss You/On The Line/Another Sleep Song

Wild Tales was the follow up solo album from Graham Nash. Unfortunately now largely forgotten, it is the equal of his excellent debut, and the relatively low chart placing is no reflection of its merits. (US:34)

“This is a real dark horse from Nash. Not like his usual light songs, it has an all pervading gloom but with repeated plays it opens up into a really good album. The performance is top notch to match some intricate songs. I recommend this as a genuine lost LP, not because it is ridiculously obscure but because it is so good.”

“I love this album. It is dark when Nash is supposed to be sunny. Wild Tales is just simply a great rocker, while Hey You and On The Line are country rock bliss. And So It Goes, probably my favourite, rocks out with a menace.”

“A great second album, almost as good as his first. There are a lot of musically interesting parts, for instance the harmonica in Prison Song. This album is full of great songs.

“Wild Tales sounds more heartfelt and intimate than on his first album; and it is more cohesive without those heavy backing vocals. Wild Tales is the only fast track and is an excellent starter. All the other songs are quieter.”

“I wouldn't want too much of this sort of thing but I find these songs highly satisfying and enjoyable in a hippy-dippy sort of way.”

“I was literally blown away by the great, classic tracks on this masterpiece. Graham Nash doesn't have the super genius of Neil Young, but he's essentially assembled Neil's band to create a wonderfully consistent and timeless piece of work. I would honestly say that virtually every song is a keeper.”

“This is Graham Nash at his best. He reveals a side of his songwriting not seen anywhere else. It's a little bit raw, edgy, thoughtful and most heartfelt. It's set squarely in the revolution of the late 60s and early 70s, yet it still carries appeal, charm and inspiration.” “The harmonies are great, the lyrics are poignant to anyone who lived through this period and the tunes are superb. In short, one of the greatest albums ever written.”

Silverbird - LEO SAYER****

Innocent Bystander/Goodnight Old Friend/Drop Back/Silverbird/The Show Must Go On/The Dancer/Tomorrow/ Don't Say Its Over/Slow Motion/Oh Wot A Life/Why Is Everybody Going Home

Silverbird was the debut album from the pop singer-songwriter Leo Sayer. In his early days he was responsible for several inventive and distinctive singles. Features the UK No. 2 hit The Show Must Go On. (UK:2)

“There's quite a variety of styles at play here, a little bit of folk, music hall, piano balladry, acoustic singer-songwriter and even a smattering of rock.”

“While nothing really comes close to the hit in terms of quality, I also enjoyed the fragile The Dancer, sung in falsetto, the set opener Innocent Bystander and the sprightly rocker Oh What A Life. Some of the songs do sound a little undercooked and don't linger long in the memory.”

“Very muted, under modulated LP with the vocals often buried in the far or middle distance. The weak sound on the excellent The Show Must Go On undermines it. The Dancer is a forgotten classic with a sublime vocal.”

“If you like a variable voice, inventive pop arrangements and good music, then don't miss this recording.”

“Silverbird was his first album quite a few years before he metamorphosed into the popster that most know. In the beginning, he was a melancholic intriguing figure in pop/rock music, arguably ahead of or outside of his time. In these early days he created a dark aura of irony, isolation, vulnerability and emotional depth that was at once highly personal, in some ways relatable and powerful enough to make him, as an artist, songwriter and performer, an intriguing figure that seemed to be verging on the nightmarish.”

“Set to a backdrop of mournful, eerie string arrangements and a sparse piano based band, the songs are dark, strange and disturbing, and ultimately captivating. The themes are isolation and loneliness; a youthful cocktail of depression, separation, failure and angst, with an underlying desperation for love and connection.”

“There is not a weak track here, but the outstanding song Dancer is as moving a song as you will hear anywhere. The only sadness is knowing that, after a couple more decent albums, Leo descended into pop mediocrity and succumbed to the lure of the fast buck.”

Dylan - BOB DYLAN***

Lily Of The West/Can't Help Falling In Love/Sarah Jane/The Ballad Of Ira Hayes/Mr Bojangles/Mary Ann/Big Yellow Taxi/A Fool Such As I/Spanish Is The Loving Tongue

This album was released by Columbia without Dylan's authorization after he had signed with Asylum Records. It is a curiosity in that it is comprised entirely of covers. (US:17)

“Dylan earned a gold record despite being reviled by critics and the artist himself. It was his first album to contain no original compositions. Dylan's contract with long-time label Columbia Records was up for renewal, but he decided to sign with David Geffen's fledgling Asylum imprint. Columbia's reaction was to release this album without any input or blessing from the artist.”

“Nearly any Dylanophile would admit that this album does not rank among Dylan's best, but with the release of The Basement Tapes and Another Self Portrait these misunderstood tracks fit nicely into the mix of both of those albums, showing Dylan's appreciation for other artists songs.”

“Dylan's album-that-never-should-have-been. Self Portrait outtakes released by Columbia in retaliation for Bob jumping over (however briefly) to Asylum.”

“There is little coherence to the album, with oddments collected from earlier recording sessions. But it is still a decent album and well worth the getting. It features Dylan's covers of Fool Such As I, and Big Yellow Taxi, which he adapts to his style superbly. His ragged rendition of the former really packs a punch and brings a tear to the eye. It might lack in thematic coherence, but it does deliver in feeling and depth, and I often wonder why some of these tracks were dropped.”

“Almost universally disparaged and dismissed as the worst ever Dylan album, this collection of covers recorded in 1969/70 is actually not at all bad. Bob's voice is perhaps not the best for some of these tunes, but on the whole, this album hangs together with a fair degree of coherence. It's well performed and arranged, the main problems really being Bob's ability to hold the tunes, and the fact that sometimes he and his backing singers seem to be not entirely in the same key.”

“These songs appear to be warm up exercises for Dylan and his band before launching into the songs he had a mind to eventually release. CBS released them when Bob left the company. The album was deleted when he returned to the fold.”

Bette Midler - BETTE MIDLER****

Skylark/Drinking Again/Breaking Up Somebody's Home/Surabaya Johnny/I Shall Be Released/Optimistic Voices-Lullaby Of Broadway/In The Mood/Uptown-Da Doo Run Run/Twisted/Higher & Higher

Self titled follow up album from the powerful American vocalist Bette Midler, which more than equalled the high chart placing of her debut. She would continue to maintain her popular appeal for many years. (US:6)

“The album Bette Midle is basically a continuation of her first record, but it doesn't have any of her well-known songs, except for In The Mood, which was a minor hit. That doesn't make this album any less of an achievement, of course, because it is stunning. The album opener, Skylark, is one of her absolute best performances, as well as an amazing cover of Dylan's I Shall Be Released. There are the requisite lounge/jazz/girl group songs like her first album, but this one has more of a soul/funk influence. If you love Bette, this one is as essential as her first effort.”

“This is Bette Midler’s second record, and it's a great melancholic piece of work. Bette is in great vocal shape, she can really hit those high notes. It’s only a shame that her recording career changed so much after this album; this is the last of the raw-edge Bette Midler albums. She afterwards turned to love ballads resulting in some mega hit songs. But I like Bette more at this period when she's sassier.”

“Throughout this album, Bette shows her sense of humour through song and song selection. She plays with songs, plays with her voice and plays with the listener.”

“The album is very sharply divided between the two sides, with the slower, more serious songs up first, followed by the more dance-happy material bringing up the rear. This works wonderfully for me.”

“Bette Midler is one of the most classic, entertaining albums I have ever owned. Skylark is a gorgeous ballad, which highlights Bette's sweeping, beautiful voice. Drinking Again continues this tone with a melancholic, bittersweet ballad; highly unusual for a drinking song. Breaking Up Somebody's Home is a sultry, absolute riot. Bette is allowed in this song to put on her vampiness and campiness in full force.”

“I have listened to this record hundreds of times over the years and I never seem to grow tired of it. Her voice is unencumbered by melodramatic echo effects or cheesy synthesized keyboards as in later albums. Her versions of Skylark and Drinking Again do justice to Johnny Mercer's genius.”

On The Third Day - ELECTRIC LIGHT ORCHESTRA****

Ocean Break Up-King Of The Universe/Bluebird Is Dead/Oh No Not Susan/New World Rising/Ocean Break Up Reprise/ Showdown/Daybreaker/Ma-Ma-Ma-Belle/Dreaming Of 4000/In The Hall Of The Mountain King

On The Third Day was a transitional album from ELO between their early experimentalism and later more pop orientated material. Features the UK No.12 hit Showdown. (US:52)

“This album is a piece of work notable for Jeff Lynne's amazing compositions, rough vocals and stinging harsh guitar which provide a stunningly great counterpoint to the gorgeous beauty of the rest of their music.”

“ELO's steady process of improvement continued with On The Third Day, which features a streamlined sound which manages to be catchy without sacrificing too much in the way of complexity. Songs such as Showdown and Ma-Ma-Ma-Belle take a symphonic prog approach and apply it to short and snappy pop numbers.”

“All the songs on this LP are great, but it's that opening suite that I really love. Before Jeff Lynne went all sappy, he led this stripped-down, hard-rocking band that could churn out one great song after another without having to rely on tons of production effects to make them sound good.”

“Pre-pop era ELO were truly fantastic. This is ELO when they were a progressive band, something that young 'uns don't believe. This is one of my all time favourite albums.”

“One of the best ELO incarnations playing a too soon discarded progressive-pop formula that was never repeated in the band's history again. Extremely interesting, and well done too.”

“A definite bridge between the experimentation of their first two albums, and the lush arrangements and production of Eldorado and beyond.”

“It would seem everything Jeff Lynne was trying to accomplish when he and Roy Wood created ELO finally came together on this album. Rock and classical instruments blend seamlessly, and Lynne's songs are an even mix of uplifting and depressing.”

“Steady driving beats and hard churning strings. The opening instrumental rocks and leads into a remarkable side one. Classic early ELO which fills me with joy every time I listen.”

I Got A Name - JIM CROCE***

I Got A Name/Lover's Cross/Five Short Minutes/Age/Workin' At The Car Wash Blues/I'll Have To Say I Love You In A Song/Salon & Saloon/Thursday/Top Bar Hat & Grille/Recently/The Hard Way Every Time

I Got A Name was a posthumous album from singer-songwriter Jim Croce who was killed in a plane crash just as his musical career was taking off. The title track and I’ll Have To Say I Love You were US top ten hits. (US:2)

“Kicks off with the freewheeling title track which is not even written by him, but still among his greatest performances and fits perfectly in his repertoire. The other classic is of course I'll Have To Say I Love You In A Song and deservedly one of his biggest hits, a simple sentiment told in a short song, he makes it all seem very effortless.”

“Each of his albums features a fair number of comical songs about hard-luck characters, and one of the reasons I prefer I Got a Name is because its character songs are stronger.”

“Jim Croce plays straight blue-collar folk-country on this album. Perhaps that is the reason why he sounds so sincere as a singer-songwriter here.”

“Croce had sensitivity, humour, polish, and a band that just kicked. Listening now, I hear Croce's great playing, but more than that, the tight, fluid, almost funky bass, the musically played drums. This may be folk, but it is folk played by the best musicians and with the best arrangements.”

“These songs touch your soul; everyone who as been in love can feel the emotion in the lyrics and the way they were sung. It has a good mix of romantic and bluesy songs and is a worthwhile addition to any music collection.”

“From all accounts Jim was a blue collar hard drinking party guy, who like most of that particular breed found finding tender moment difficult. Lucky for us that he was able not only to reflect his life through song, but also express his emotional core.”

“From the sheer beauty of I'll Have To Say I Love You to the working-class rockin' anthem Working At The Car Wash Blues to the irony of the title song, this man was one of the greats. Anyone who grew up on 1970s rock music will love this gem of an album.”

Band On The Run - PAUL MCCARTNEY*****

Band On The Run/Jet/Bluebird/Mrs Vanderbilt/Let Me Roll It/Mamunia/No Words/Picasso's Last Words (Drink To Me)/Nineteen Hundred & Eighty Five

Band On The Run is generally regarded as the best post Beatle McCartney album and is certainly the most commercially successful. The title track and Jet were both US and UK top ten hits. (US:1 UK:1)

“Out of a disaster, a pure masterpiece was created. The sounds are organic, yet catchy and the production is not too polished, but it sounds like perfection. Some of the styles are blended so well; hard-rock, pop, mellow acoustic, African, Parisian, among others, make the record very diverse.”

“A triumph because it's just so good! This is pop music at its absolute best. All the elements that McCartney used to perfection in his best moments as a Beatle, he uses to equal perfection here. There's not a dud in the bunch, and the range of styles is interesting, refreshing and totally satisfying. McCartney is not only an excellent musician, he shows on this album a keen sense of giving the fans exactly what they want.”

“Paul's best solo effort, by some distance. Skilfully produced, adroitly played and sung, it comes down to the songs themselves and after releasing some fine singles beforehand , finally we get an album's worth.”

“The unquestioned highlights of the album are the opening two tracks, which were deserved hits. Band On The Run goes from ominous rocker to a great sing-along part, while Jet should have silenced all the doubters who thought that Paul could only write pop songs. The rest of the album is filled with some fine songs, though it does go soft in places.”

“This is the only Wings album that is enjoyable all the way through. The title track has great lyrics and is nicely arranged. The real difference between this album and most of his other albums however is depth. Wings usually managed at least one good single per album but their releases could be relied upon to contain some true dreck.”

“This album represents McCartney at his best with not a weak link in the chain. Inventive melodies, brilliant arrangements and spare production keep this album on a par with classic Beatles. The key is understatement, lyrically and musically.”

Tales From Topographic Oceans - YES***

The Revealing Science Of God-Dance Of The Dawn/The Remembering-High The Memory/The Ancient-Giants Under The Sun/Ritual-Nous Sommes Du Soleil

After several brilliant releases Yes fans must have been disappointed by the sprawling double album Tales From Topographic Oceans. It is the epitome of self indulgence, lacking any memorable songs. (US:6 UK:1)

“The music is made up of themes that are stated, explored, and restated in a similar manner to the great symphonies of Beethoven, Tchaikovsky and other masters. In order to understand the genius and fully appreciate the real beauty of this album, it must be listened to from start to finish. Many have stated that this album took many listenings in order to appreciate it. I am very fortunate as I got it the first time through. It may actually be the best musical composition of the twentieth century.”

“Lovely background music, and there are some really engaging sections, with the band as always very strong with some particularly thumping grooves. Wakeman's symphonic synthesisers prove particularly listenable, with some undeniably creative sections in there. However, with the length and with so many filler sections, it isn't much more than background music.”

“Tales From Topographic Oceans is a hard album to review and to truly appreciate. The vast majority of people will never experience the rich and wondrous aural textures and flowing dreamscapes this album can conjure inside your head, because most people don't have the patience for it.”

“Some of the most beautiful passages in the Yes catalogue are burrowed deep within the grooves of this record, but unfortunately the songs’ length and ambition are their downfall; they simply lack the energy to continue in some places and drag on which is a shame.”

“If you are looking for self-indulgent work from the seventies, your very first stop should be Tales From Topographic Oceans, a prime-time example of meandering prog-rock songs. With the shortest track consuming well over eighteen-minutes, this is one strange and dated trip.”

“It's a dreamlike, atmospheric work that relies less on chugging hard rock, and more on sheer beauty and grandiose scale. It's not always riveting, but it's never anything less than listenable.”

Muscle Of Love - ALICE COOPER***

Big Apple Dreamin' (Hippo)/Never Been Sold Before/Hard Hearted Alice/Crazy Little Child/Working Up A Sweat/ Muscle Of Love/Man With The Golden Gun/Teenage Lament '74/Woman Machine

Muscle Of Love was the final album to feature original members of the Alice Cooper band. The relatively subdued Teenage Lament ’74 was a UK No.12 hit single. (US:10 UK:34)

“Muscle Of Love was the last hurrah of the original Alice Cooper band as production issues and exhaustion set in from relentless touring and recording. Alice wanted to do more theatrics but the rest of the band wanted to scale it back. Thematically, the shock value is pretty much gone here and is replaced by some more topical songs about what they were getting up to at the time.”

“Muscle Of Love has plenty to offer but it just doesn't feel like Alice Cooper and at times it's pretty generic, although I can understand why the band would want to move away from the image and theatrics.”

“It's a kind of a lost album that has a little bit of everything on it. It's the original bands last record. Teenage Lament '74 and Hard Hearted Alice are good glam rock numbers. Big Apple Dreaming is a garage number that goes along well.”

“Compared to Alice Cooper's previous four albums, Muscle Of Love was an outright disaster, and probably led directly to the break-up of the original band. Aside from the title track, none of the material on display has the flair, bravado, lyrical incisiveness or backbone that people had come to expect from the group.”

“It's obvious that the band were having problems at this point, much of the album feels rushed, and the spark that ignited previous classics is pretty much gone.”

“Muscle Of Love finds the Alice Cooper band trying to avoid the theatrics of their legendary front man. With less worry about concept and stage show the band focused more on creating a straight forward rock ‘n’ roll album.”

“I consider Muscle Of Love has a slapdash feel about it, like Alice and crew went through their musical closet and just emptied out left over stuff from previous recordings. But that in no way should indicate these cuts are bad, all are good, just not as good as what had been put out before. After this album the original Cooper band split up and Alice started his solo career.”

The Singles 1969-1973 - THE CARPENTERS*****

We've Only Just Begun/Top Of The World/Ticket To Ride/Superstar/Rainy Days & Mondays/Goodbye To Love/ Yesterday Once More/Its Going To Take Some Time/Sing/For All We Know/Hurting Each Other/Close To You

This is without question the best compilation of The Carpenters hits, taken from their most creative period. It is shameful to record that in the era of progressive rock this duo were ridiculed for their clean cut image as being out of keeping with the times. (US:1 UK:1)

“This compilation sold massively, especially in the UK where it stayed in the charts for ages. And it deserved to for this is a carefully assembled and set, imaginatively topped and tailed on side one to bind the individual songs almost seamlessly together into an easy-listening suite par-excellence. Stylishly produced in best sub-Bacharach style by brother Richard, he knows, as we all do, that's it's all about sister Karen's pitch-perfect voice.”

“The Carpenters' pull has always been Karen Carpenter's sparkling voice which is one of the clearest. It's perfectly pleasant, never piercing, never sharp, always on its own pretty course. The songs here are gorgeous, the melodies catchy, the instruments are sound but what really makes this a timeless delight is hearing Karen's melancholic croon.”

“If you just want to own one Carpenters album in your collection, pick this as it has all the wonderful early hits and no filler.”

“Look no further than this for an absolutely essential Carpenters collection. The material here is indisputably wonderful, fragile ballads, simple melodies, warm harmonies all cleverly arranged. What comes through most strongly is Karen's singing which is exceptional. Her voice's remarkable tonal resonance and her sure-footed empathy with each song. It's hard to go wrong with songs like these.”

“What is neat about this album is that it is not just a track by track compilation of the hit Carpenter songs. The album runs like a continuous music track with a new introduction to We've Only Just Begun, and new transition music between some songs. So even though you may have heard the original songs before, here they are presented in a different manner which catches the discerning ear. There are no weak tracks; all are true Carpenter hits.”

“I guarantee you will not get bored or tired with this album. This excellent collection contains their hit singles from the early to mid 70s and every one's a winner.”

Brain Salad Surgery - EMERSON LAKE & PALMER***

Jerusalem/Toccata/Still You Turn Me On/Benny The Bouncer/Karn Evil 9

Brain Salad Surgery was the final album released from ELP’s classic period during the early 1970s. Some critics considered that their overblown, pompous approach gave progressive music a bad name. (US:11 UK:2)

“Overblown, pompous and completely over the top. This is the epitome of ELP, and this record is a great example of all those things.”

“With Brain Salad Surgery Emerson, Lake & Palmer continued with the same symphonic progressive rock.”

“Where many see ELP's peak, I see only the beginning of the end, the moment the band project stopped being an experiment and started being a formula. The consequences of such a change in approach were a departure from innovation to simply crafting a product to tick off the boxes on a checklist.”

“This, the last of ELP's classic studio albums, is cut from the same cloth as its predecessors, moments of greatness, diluted by Emerson's penchant for virtuosity for its own sake, adding up in the end to something less than the sum of its parts.”

“Brain Salad Surgery is in some ways a masterpiece, and in some ways it's not. At times it seems like all understated sublime perfection, and at times it seems a bit way overdone. Whichever direction you have to admit that some of ELP's finest compositions are here. I just wish it wasn't so overblown in parts.”

“Without a doubt Karn Evil 9 is the feature piece on the LP, and most likely for many one of the cornerstones of 70s U.K. prog rock. It's still a pretty neat epic track, if a bit bloated and over the top. Dated, yes, but still a good listen even with the quaint, ancient synth sounds. There's enough going on here to keep this track interesting.”

“Brain Salad Surgery is simply one of the finest albums ever recorded. From the restrained interpretation of Jerusalem to the powerful majesty of Karn Evil 9, this opus showcases all the best qualities of progressive rock. As a group effort, it stands as ELP's masterpiece. This is an album that connects on all fronts: conceptually, musically and emotionally. I hear something different every time I play it. For some, it may be an acquired taste, but it is worth the effort.”