Caribou - ELTON JOHN****

The Bitch Is Back/Pinky/Grimsby/Dixie Lily/Solar Prestige A Gammon/You're So Static/I've Seen The Saucers/ Stinker/Don't Let The Sun Go Down On Me/Ticking

With Caribou Elton John delivers another album of outstanding songs let down by some eccentric lyrics and subject matter. Features the US top five hits Don’t Let The Sun Go Down On Me and The Bitch Is Back. (US:1 UK:1)

“What matters is the quality of the songs and this album does not disappoint. You have a huge variety of material here from one of his hardest songs, to some of his quietest, to some of his most melodramatic.”

“Having managed to crank out seven albums in a little under five years was bound to cause issues in the quality control department sooner or later, and sure enough this is a bit of a step down for Elton. There were a couple of hits, The Bitch Is Back was the rocker, Don't Let The Sun Go Down On Me the ballad, but the rest of the record was fleshed out with throwaways, novelties, experiments and just plain weirdness.”

“The positives outweigh the negatives. Caribou could have been better, had Elton just given it some proper attention. But the Elton John phenomenon had by this time grown so big that even the man himself had trouble keeping up.”

“By the time Caribou appeared, EJ was a fixture in the pop music stratosphere. This album was released as a launch pad for his much anticipated world concert tour, and given this backdrop, may explain the relative simplicity of many of the tunes. To be sure, this collection lacks the variety of tone and texture that made its immediate predecessor, such a satisfying listening experience, but one shouldn't sell Caribou short.”

“There are superb harmonies on I've Seen The Saucers, Pinky and Don't Let The Sun. There are also some classic stadium rockers: The Bitch Is Back, Stinker and I'm So Static. Elton and Taupin still manage to add a rather silly song in the mix, Solar Prestige A Gammon, a gibberish song about absolutely nothing, which Elton belts out the song at his cheeriest. Dixie Lily is a great country tune, showboat whistles and all, while the tragic Ticking has to be one of the best songs Elton and Taupin ever wrote, as close to a tear-jerker as anything they ever composed.”

“Two classic songs tower above the rest of the material. The Bitch Is Back is one of his best known and enduring rock songs. Don’t Let The Sun Go Down On Me is a timeless love song.”

Waterloo - ABBA***

Waterloo (Swedish)/Sitting In The Palmtree/King Kong Song/Hasta Manana/My Mama Said/Dance (While The Music Still Goes On)/Honey Honey/Watch Out/What About Livingstone/Gonna Sing You My Love Song/Suzy Hang Around/Waterloo (English)

Swedish pop group Abba came to the attention of British audiences with their barnstorming victory in the Eurovision Song Contest with Waterloo, which subsequently became a UK No.1 hit. (US:145 UK:28)

“A very uneven album, some of the tracks are perfect, simple delightful pop songs that are capable of bringing you instant happiness. Then there are some rather unremarkable ones. Overall, Abba are a very energetic band on this album, not very original but their pop enthusiasm is addictive.”

“Abba were well on their way to becoming the greatest group in the history of catchy and accessible pop. While their debut had a couple of great songs, Waterloo is clearly a stronger LP overall. Kicking off with a Swedish lyric version of their all-time classic title track, the album is an enjoyable listen with some exceptions to their now familiar sound; Sitting In The Palmtree is quirky little oddity, and we also get Abba's take on hard rock in Watch Out, a rather unusual track in their discography.”

“It's clear that by their second album, Abba had latched on to the magical formula that makes their music so special. While Waterloo isn't their best, it has enough classics to compare favourably to their later releases, and is a definite improvement over their debut. Of course, there's the title track, which is one of the group’s signature songs and one of the greatest pop songs ever recorded. But there's also the lovely Hasta Mañana, which features the glorious, bittersweet melancholy that they would become known for on later songs Honey Honey is a very catchy tune as well, while Watch Out is a brilliant rock song.”

“The songs on Waterloo already improve on those from the debut, perhaps because they are now definitely a group rather than a pair of couples having a good time just singing songs. Abba at this point had not yet found their feet; hence an album full of conflicting styles and genres. There is no real uniting factor, with all four members taking lead vocal duties on at least one song.”

“The band are terrific, but this is marred by inconsistency (the guys sing way too many songs) and some forgettable tunes. It sounds too imitative of other influences. They would have to wait until the next album for the pieces to come together.”

Mr Natural - THE BEE GEES***

Charade/Throw A Penny/Down The Road/Voices/Give A Hand Take A Hand/Dogs/Mr Natural/Lost In Your Love/I Can't Let You Go/Heavy Breathing/Had A Lot Of Love Last Night

By this time the Bee Gees had reached their mid 1970s nadir of unpopularity. Nobody could have predicted the amazing renaissance that was just around the corner. Mr Natural is a transitional album mixing ballads with their new R & B influenced sound. (US:178)

“A major departure from the early seventies Bee Gees albums which is in itself a relief. This is the Bee Gees' finest funk and R & B contribution that does not include the famous Barry Gibb falsetto.”

“The introduction to their disco era. They've departed from the minor country pop phase and entered the dance hall with funk lingering about, but no falsetto yet.”

“This represents a last nod to the dominion of the acoustic pop ballad and an excited, though not fully-formed, step towards the blockbusting R & B floor-fillers with which they'd soon remake their reputation. While certainly transitional, this is in many respects one of its odd strengths. Variety and a sense of experiment permeate it, along with an appealing restraint; few laboured ballads or falsetto hysterics here, just an appealing candour. A singularly understated, romantic album that deserves a special place in their pantheon.”

“With their audience having all but disappeared, Mr. Natural found The Bee Gees turning to producer Arif Mardin. The album is instantly recognizable as a Bee Gees product, but it marked a major change in direction for the brothers. If you want to hear the roots of what was to become their late 1970s chart domination, then this is the place to start. Exemplified by tracks such as Charade and Voices there are still plenty of the Gibbs' trademark big ballads, but the brothers seem to have decided that commercial survival required them to toughen up their sound.”

“It's a shame that this album suffered the fate that it did. The Bee Gees second RSO offering was another helping of some very good and well written songs. Once again, we're treated to some beautiful ballads. The brothers also deliver some fusion drenched R & B songs you can actually dance to.”

“It has a little bit of everything - fast, slow, and in between; gospel, soul, country, jazz, and rock. You name it Mr Natural has it. Some of the best vocal work ever recorded is right here.”

If You Love Me Let Me Know - OLIVIA NEWTON-JOHN****

If You Love Me Let Me Know/Mary Skeffington/Country Girl/I Honestly Love You/Free The People/The River's Too Wide/Home Ain't Home Anymore/God Only Knows/Changes/You Ain't Got The Right

If You Love Me Let Me Know heralded the immensely successful transition of Olivia Newton-John from pop singer to country star. This phase would only last a few years before she returned to pop. Featured here are the US No.1 I Honestly Love You and the No. 5 title track. (US:1)

“If You Love Me Let Me Know is probably the most interesting of Olivia Newton-John's country albums (or actually any of her pre-pop records), in part because it follows the spirit of her Australian records, pleasant selections given interesting arrangements that don't come close to real country but make for enjoyable listening. The title track and I Honestly Love You are definite winners, but the rest of the album has its moments.”

“I love to hear the country Olivia Newton John. This record was my first love of country music. There is something about her voice I have never found elsewhere, the same feeling of warm fuzziness as she does for me. It is something only she can do. This album is definitely from the 70s, with the way the background singers sing. Anyone who has lived though that era knows what I mean.”

“Every song is great. To this day I still feel this is her best album. If an Olivia Newton-John collection is planned, this should be the first purchase. All the tracks are very good. Olivia's ability to blend country with pop is very well represented.”

“Of Olivia's music that I know, these songs are her best. Not a bad song on the album. It is a shame it is not more readily available to new listeners.”

“This is my favourite Olivia LP, bar none. Every song is good. The highlight is of course Olivia's first US number one hit, I Honestly Love You. This song's lyrics are so strong and sad, and her vocals are so sensitive and caring, that it is easily the finest song she has ever recorded. But it is not a happy song.”

“Olivia Newton-John broke through in a big way with this album which quickly established her as a superstar to be reckoned with. It works on many levels, and is a strong chapter in Olivia's catalogue.”

Back Home Again - JOHN DENVER****

Back Home Again/On The Road/Grandma's Feather Bed/Matthew/Thank God I'm A Country Boy/The Music In You/Annie's Song/Its Up To You/Cool An' Green An' Shady/Eclipse/Sweet Surrender/This Old Guitar

Back Home Again was released when country-rock singer songwriter John Denver was at the peak of his popularity. It includes the US No.I hit singles Annie’s Song and Thank God I’m A Country Boy plus the No.5 title track. (US:1 UK:3)

“He was a sincere and talented artist. His songs give us a romantic and hopeful view of life, harking back to a simpler, less complicated time and the wide open spaces of the American landscape. This album is one of his best. It’s not all apple-pie stuff. One track, Eclipse, sings of environmental degradation, a theme Denver championed during his career. It’s a beautiful, sad and poignant number.”

“This album was released when John was at the apex of his popularity, and the songs served to propel him firmly into the stratosphere. From the comical Thank God I'm A Country Boy to the incredible smash hit Annie's Song, John Denver showcased his incredible talents here. Denver almost single-handedly began the outdoor backpacking, hiking, and orienteering movements by popularizing the idea of nature as an important element in modern life. From Sweet Surrender to This Old Guitar, Denver's songs soar in their description of the beauties of a simple and natural life and in being close to the great wide-open.”

“This is the album that made JD world famous, and although more mainstream than any of the preceding albums, it contains not a single bad track. The imagery is strictly US countryside, but it gained an international appeal. No other album ever sounded like this again. Not the pinnacle of his works but the best known and a great one to listen to.”

“John never liked to be typecast but he was a country boy at heart and it was never more obvious than on this album. Whatever you may think of his other releases, this album is country. It was his best-seller and it contains his best-selling single, Annie's Song, and my favourite song of his, Back Home Again, together with many other classic songs.”

“If you only get one John Denver album, make it this one. He's at the top of his game here; straddling folk, rock and country, and it all sounds great.”

Wonderworld - URIAH HEEP***

Wonderworld/Suicidal Man/The Shadows & The Wind/So Tired/The Easy Road/Something Or Nothing/I Won't Mind/We Got We/Dreams

Wonderworld features the classic line-up of the progressive band Uriah Heep for the last time. The title track is a contender for one of their strongest compositions. (US:38 UK:23)

“The problem with this album is that the band's once-consistent songwriting gifts have taken yet another step back. Perhaps the strain of releasing one album a year had finally caught up with them, but much of this record is desperately lacking in memorable hooks.”

“Heep's final potentially strong set, there are some bland moments but on the whole nothing fatally mediocre. Wonderworld shows the depth of their versatility, the title track and The Easy Road are haunting piercing ballads, while I Won't Mind is a slow blues piece whilst Suicidal Man and Something Or Nothing both rate as two of Heep's strongest rockers.”

“This album has a dark and moody atmosphere, but the songs, though still good, are not to the high level of previous albums.”

“Things start out good with the title track, and well.... that's about it. The band sounds good, Byron in particular but this album sounds rushed and down right embarrassing at times.”

“While it's not one of their best albums overall , there are a number of excellent tunes here. Suicidal Man features a menacing riff throughout it, and The Shadows & The Wind is the perfect example of the band's intricate five-part harmonies.”

“The title track still remains a gem and is a very powerful opener as all of the classic Heep elements are intact: a soaring vocal from Byron, Hensley's piano and keyboards melding perfectly for colour and texture, and the strength of the group collectively as a whole makes this song an instant classic. Suicidal Man is a mid-paced rocker that has a bit of darkness to it with the harmony chorus and some great guitar leads.”

“After their best years Uriah Heep released another very good album, Wonderworld, with a good selection of songs, and featuring their classic line-up for the last time.”

Between Today & Yesterday - ALAN PRICE****

Left Over People/Away Away/Between Today & Yesterday/In Times Like These/Under The Sun/Jarrow Song/City Lights/Look At My Face/Angel Eyes/You're Telling Me/Dream Of Delight/Between Today & Yesterday

Between Today & Yesterday provides a semi-autobiographical account of life in North East England. Features the lengthy and somewhat sentimentalised Jarrow Song, a UK No.6 hit single. (UK:9)

“Side one is outstanding, with complex, accomplished baroque arrangements (brass bands, bassoons etc) and Price seems to heading towards a masterpiece. Side two is so run of the mill, that the overall album seems good rather than brilliant. He has a weak voice but uses it extremely well.”

“Between Today & Yesterday is an adult album that confronts ageism like no other, and wears its heart on its sleeve with unabashed sincerity. Alan Price's harrowing, bleak, semi-autobiographical account of Geordie poverty-stricken Northern England, is about as personal and realistic in musical and lyrical terms as it gets.”

“The hit single Jarrow Song which at first comes across as an almost novelty song, with further plays the lyrical depth becomes glowingly realized. It's an amazing piece of music that paints a scene of the division between the north and the south of England in Price's younger days.”

“Price re-visits his North East roots and comes up with an album which is a bit spotty but on which the best parts are magnificent.”

“Alan Price doesn't put a foot wrong throughout the entire album. A stunning collection of emotional, nostalgic songs that tear at the listeners heartstrings. Absolutely wonderful.”

“Despite the unevenness of this work, it's a vital part of any Alan Price library. The title track is a masterpiece, while the rest of the album never quite hits that height. As usual with Price's work, the musicianship is first rate throughout.”

“Although there is a theme, or a concept, in that side one is yesterday and side two is today, the songs stand up on their own although the hit single Jarrow Song is not the strongest cut. Great arrangements and terrific guitar work. The songs are catchy, the lyrics are meaningful and the album stands up as Alan Price's greatest work.”

Sheet Music - 10CC*****

The Wall Street Shuffle/The Worst Band In The World/Hotel/Old Wild Men/Clockwork Creep/Silly Love/ Somewhere In Hollywood/Baron Samedi/The Sacro-Iliac/Oh Effendi

Sheet Music was the follow up album from the British art-rock group 10cc. Every track demonstrates the brilliance of these highly talented songwriters. The Wall Street Shuffle was a UK No.10 hit. (US:81 UK:9)

“This album achieves a perfect fusion of complexity and irregular songwriting while still maintaining an incredible pop sensibility and the catchiest melodies. Every single one of these songs is perfectly executed.”

“With its sparkling production, top draw songwriting and a vice-like grip on pop dynamics, Sheet Music is an album that deserves re-appraisal as a life-affirming exercise in playing by your own rules, while still being accessible and easy to digest.”

“Hugely talented on this their second album they are recording a body of work as opposed to a series of singles and as a result some of the material is quirky to say the least. Every 10cc album has some great tracks and this is no exception.”

“The album is almost flawless. Old Wild Men is simply beautiful. Hotel is quirky, witty pop of the highest order. The Sacro-iliac proves that elementary instrumentation can be the best accompaniment for melody. Oh Effendi has a political, satirical edge but never strays into sermonising. Silly Love is a wickedly barbed story of how to write a love song and contains another fabulously effective power riff. Baron Samedi actually puts bongos to good use. The Worst Band In The World stabs and wounds the ironic heart of the music business with a superbly caustic lyric. Somewhere In Hollywood has some memorable guitar breaks. Even the politically dodgy Clockwork Creep can't be faulted when it comes to originality.”

“This is a bright and productive album, one with choice material, excellent musicianship, and a concept that carries through unabated, from the beginning to the end. It is always refreshing to hear such quality from a group who seem to write and perform in an almost off handed way.”

“Those were the days, inventive, intelligent and witty lyrics, great melodies, first rate production, musicianship supreme, not one filler track included, in fact, faultless in its execution. Now, if only lovers of some of the garbage around these days would listen and learn.”

The Psychomodo - COCKNEY REBEL***

Sweet Dreams/Psychomodo/Mr Soft/Singular Band/Ritz/Cavaliers/Bed In The Corner/Sling It/Tumbling Down

The Psychomodo was the follow up album from the glam rock band Cockney Rebel. They were a vehicle for the songwriting talents of front man Steve Harley. Features the UK top ten hit Mr Soft. (UK:8)

“Mr Soft and the swirling psychedelic Ritz are excellent, but the rest are dull Ziggy/Aladdin-esque fodder.”

“Very bland songs neither well crafted or produced that totally fail to register. Harley voice lacks real drama to give any credibility to what he is trying to sing, which is rather pretentious when you go deep inside the lyrics.”

“I don't know much about glam-rock, but this album impressed me from the very first listen. I'm not used to symphonic arrangements either, but I find them very classy and sober here. Or maybe it's just the eclecticism of this pop-rock kaleidoscope, with its grandiose melodies and creative rhythm emphasis.”

“With a voice pitched halfway between Bowie and Ray Davies, a sleazy outlook on things and a trusty violin riding alongside to keep it distinct, Steve Harley is the face of the most inventive side of glam rock. Wild pop songs fraught with madness and beauty.”

“It picked up where The Human Menagerie left off, veering to the left, before descending, taking us on a dark journey to some surreal reality, Steve spouting, often serrated, intriguing poetry, whilst squeezing and dripping every last drop of dark brooding imagery into the grooves of this sickly sweet disc.”

“Psychomodo goes through a smorgasbord of musical styles reggae, rock, theatre, and chamber. His lyrics beat Bowie and Ferry by shear audacity and wit.”

“From the opening orchestral strains of Psychomodo/Sweet Dreams to the remarkable grandeur of Tumbling Down, Harley takes you on a tour into his beautiful but often twisted psyche.”

“Go on admit it if you were a glitterbug in 1974, you probably bought this and now admit it again, you still love it.”

Bad Company - BAD COMPANY***

Can't Get Enough/Rock Steady/Ready For Love/Don't Let Me Down/Bad Company/The Way I Choose/Movin' On/Seagull

Self titled debut album from the blues rockers Bad Company formed after the break-up of Free. Unfortunately, their only song that reached the standard of Free was the US top five hit Can’t Get Enough. (US:1 UK:3)

“Bad Company's self titled debut album takes the old Free adage of less is more but transfers it from the blues sound of the sixties to the stadium rock sound of the seventies, without losing any of the soul. The foundations of Bad Company can clearly be heard on the final Free album but Ralphs adds the rock ‘n’ roll riffing that was never a part of Kossoff’s armoury.”

“This is just a straightforward snore: No standout melodies, riffs, whatever it is you're looking for. There's a reason why these guys aren't listed among the classic hard rockers anymore.”

“Paul Rodgers' vocals are superb, the music is feeling-rich blues-tinged hard rock, this is a quality album, pleasant and almost a mandatory listen for the fans of the genre.”

“For my tastes, Free will always be leaders where Bad Company always appeared to slot in with moody adult rock trends. It is their best work, so let's give them some credit.”

“Mix of ballads and hard rockers, which sound exactly the same as every other hard rock band. It is still a reasonably enjoyable listen, but overall feels rather dull.”

“Definitely their most solid album, unless you're a huge fan just get this as the rest is more of the same.”

“After hearing a Bad Company tune once you needn't hear it again as there'll be nothing new to find. For a 'guitar band' the guitar work is what some critics would call 'workmanlike'. Not that I'm much of a fan of showboating but their music needs a bit of flashy guitar heroics to lift it out of the doldrums.”

“Bad Company never reaches greatness because it is hampered by its own solidity. Every tune is rock radio ready and formatted for middle-of-the-road consumption, but there is neither subtlety nor a truly great song, all is commercially formulaic.”

Diamond Dogs - DAVID BOWIE*****

Future Legend/Diamond Dogs/Sweet Thing/Candidate/Sweet Thing (Reprise)/Rebel Rebel/Rock & Roll With Me/ We Are The Dead/1984/Big Brother/Chant Of The Ever Circling Skeletal Family

David Bowie’s excellent Diamond Dogs was loosely based on George Orwell’s 1984, although he was not allowed to use that title due to objections from the Orwell estate. Features the UK No.5 hit Rebel Rebel. (US:5 UK:1)

“The concept of the album, largely influenced by George Orwell's novel 1984, is standard concept album fare, but is elevated by blending it to a certain extent, with his earlier Ziggy Stardust character.”

“The opening and closing tracks are a bit strange to say the least, but are short and serves as bookends to the excellent tracks the make up the album and rank amongst some of the best music produced across the whole of the 70s.”

“Diamond Dogs presents a glam vision of a post-apocalyptic future inhabited by gangs of starving youths, in which a horrifying totalitarian society arises. With Bowie proving adept at lead guitar and a couple of misleadingly trashy glam rock songs (Diamond Dogs and Rebel Rebel), the album lures you in before hitting you with some of Bowie's most progressive works, in particular, the sweeping and majestic triptych of Sweet Thing/Candidate/Sweet Thing Reprise and the dirge of We Are The Dead.”

“On Diamond Dogs Bowie proves himself more than just a song-writer by arranging and producing, as well as playing guitars, saxophones and some keyboards, on this brilliant album, which is as much progressive rock as glam rock.”

“This is not simply a rock album; nor is it merely a clever pop star selling futuristic tunes. Diamond Dogs is pure genius. The music, arrangements and lyrics, brimming with intelligence, are fresh and daringly original; the apocalyptic mood of the album is perfectly set with a chorus of almost ghoulish voices, chanting and supporting Bowie's strong and melodic voice. The lead guitar, horns and synthesizer dangle ominously in the background, assisting in the creation of a dark and cannibalistic world. Two of the songs in particular, Big Brother and Sweet Thing, are successful in conveying the mood of dark despair. The lyrics in both songs are inspired; the melodies are strong, lingering and haunting.”

Phenomenon - UFO***

Too Young To Know/Crystal Light/Doctor Doctor/Space Child/Rock Bottom/Oh My/Time On My Hands/Built For Comfort/Lipstick Traces/Queen Of The Deep

Phenomenon was the album in which UFO discarded their space-rock sound to embrace hard rock material. The impetus for this change was the recruitment of former Scorpions guitarist Michael Schenker.

“Solid hard rock guitar runs throughout with some real toe tappers. They were pretty much a second tier Deep Purple at this point, without the keyboards. They truly rock and this record should be played loud to fully appreciate it.”

“In 1973 Michael Schenker quit the Scorpions and joined UFO, a psychedelic space rock band. He was said to be one of the most promising guitarist in the world but he wasn’t a big fan of the space rock from UFO. So the band took some time, wrote some songs and changed their style.”

“After blowing amps with their spacey, stoner rock and metallic boogie, UFO initiated their hard rolling ride with Phenomenon, thanks largely to the acquisition of guitarist Michael Schenker. The young, German born guitarist promptly pumped new life into the high flyers with his stealth fretboard work.”

“Rock Bottom, revealed Michael Schenker to be a prodigy of the highest order. It's a ground-breaking metallic hard-rock number that has stood the test of time Other than this wonderful track, the rest can be a bit tedious.”

“This is where it all begins for UFO. German axemeister Michael Schenker propels the band to an entirely new level with the now classic boogie Doctor Doctor and the tour de force Rock Bottom, the extended solo still perhaps his finest moment. The rest of the album contains some gentler, but still enthralling tunes.”

“This was the band's first record with wunderkind Michael Schenker, fresh out of The Scorpions and heading for the stars. Phenomenon was a gigantic leap forward for the group in every respect. UFO went from being a tired space-rock combo into a lean, mean metal machine virtually overnight. Spearheaded by Schenker's fiery guitar and Phil Mogg's nimble hard rock phrasing and assured songwriting, UFO were on a roll. The runaway best cut is Rock Bottom which, as well as boasting one of the best rock choruses, comes complete with a one of the defining rock guitar solos in rock.”

Second Helping - LYNYRD SKYNYRD***

Sweet Home Alabama/I Need You/Don't Ask Me No Questions/Workin' For MCA/The Ballad Of Curtis Loew/ Swamp Music/The Needle & The Spoon/Call Me The Breeze

Second Helping was the follow up album from the southern blues-rock band Lynyrd Skynyrd. Features the US top ten hit Sweet Home Alabama which has become a staple of pub cover bands. (US:12)

“Nearly as good as the debut and doesn't suffer as much from overplay, with the exception of Sweet Home Alabama. It contains some of the band's best and most underrated songs.”

“Good hard southern rock doesn't get much better than this. This long player is loaded with multiple guitar riffage and pounding bass. The tunes themselves are good ole southern white boy blues with a major touch of hard rock.”

“For me Skynyrd really just had one great album, and that was their debut. This is more or less an expansion of that, but with less interesting songs. Sure we have Sweet Home Alabama, which is one of the most popular songs of all time, but sometimes that song works, other times it just grates because it is so overplayed.”

“What Lynyrd Skynyrd lacked in lyrical invention and eloquence, they more than compensated for with their directness, emotional honesty, and fusion of hard rock with southern blues and soul. Sweet Home Alabama usually gets called out as a bad song. I always pretend to hate it in polite company, but secretly I think its offence is political, not musical.”

“Once Sweet Home Alabama hit the Top 40, Second Helping surged up the album charts, becoming one that defines southern rock, and even hard rock. A powerful mixture of hard rock, blues, country and boogie, Skynyrd easily became a sensation in the south, but soon branched out to become a worldwide success. With their three guitar attack and infectious grooves, Skynyrd are considered by many as the best band ever to come out of the south.”

“Lynyrd Skynyrd are the quintessential southern rock band and Second Helping’s opening track, Sweet Home Alabama, is the quintessential southern rock song. It’s a classic rock radio staple, meaning I’ve probably heard it way more times than I’d like to admit. Still, I can enjoy it for what it is. The closing song, Call Me The Breeze, is another song of a similar status.”

Shock Treatment - THE EDGAR WINTER GROUP***

Some Kinda Animal/Easy Street/Sundown/Miracle Of Love/Do Like Me/Rock & Roll Woman/Someone Take My Heart Away/Queen Of My Dreams/Maybe Some Day You'll Call My Name/River's Risin'/Animal

Shock Treatment was the final album to achieve a high chart placing by the blues-rock Edgar Winter Group. They are joined on guitar by Rick Derringer who had previously collaborated with brother Johnny Winter. (US:13)

“I know it must be hard to follow a monster album like their previous long play, and this album suffers in comparison. Shock Treatment is still good blues rock but nothing jumps out and bites you.”

“Few artists can hold it perfectly together over the course of several albums. Artists like to experiment, which leads to both good and bad things. What it boils down to is this, Shock Treatment is a good, solid, but unspectacular rock album.”

“A very underrated album; not the commercial success of its predecessor, but much stronger musically.”

“Not an outstanding album. In many cases it seems overproduced, with the rather thin vocals swamped by the music. This is not the case on Sunrise and Easy Street though, as these two songs stand out above the rest.”

“A great follow-up to They Only Come Out At Night, with more songwriting contribution by Dan Hartman, who later became a major production force in his own right. With Rick Derringer replacing Ronnie Montrose on guitar, this became the third definitive Edgar Winter line-up.”

“I have love this album ever since it came out. It was a slight departure from Edgar Winter’s previous albums and I am glad they experimented with this one.”

“I'd forgotten what a wonderfully good album this is. Great, catchy, dare I say sophisticated, pop tunes. I am still amazed that none of these songs were ever hits.”

“This was a potpourri of styles ranging from gritty R & B, sparkling pop to hard charging boogie rock.”

Rampant - NAZARETH***

Silver Dollar Forger/Glad When You're Gone/Loved & Lost/Shanghai'd In Shanghai/Jet Lag/Light My Way/ Sunshine/Shapes Of Things-Space Safari

Rampant was the last of three high charting albums in the mid 1970s from the Scottish hard rock group Nazareth. They would continue to have limited commercial success for the rest of the decade. (US:157 UK:13)

“Rampant is a hard rocking album all the way. Not a weak piece here, but not a special one either, all are good but none excellent.” “Not a very good record, to be honest. It's a mixture of glam, country, southern rock and blues based hard rock. The best tracks are far from being classic or even something great compared to other Nazareth songs.”

“A somewhat more progressive effort for Nazareth, Rampant offers up the usual dose of hard rockin' tunes, with a bit more experimentation than the band has dished out before. It makes for a unique album that, while not their best, still manages to stand apart.”

“Nazareth are slipping a little here, some decent stuff with only Shanghai'd In Shanghai being a true Naz classic. Not a bad record, but nothing overwhelming.”

“All successful bands have their trademark and with Nazareth it's McCafferty's vocals, a wonder to the ears. Silver Dollar Forger is an excellent capsule of all that is good about Nazareth; a classic rockin' song, a guitar solo that bristles with Scottish pride, dynamic lead vocals, superb harmony vocals, a sense of humour, a heavy bass line and thunderous drumming.”

“On Rampant, Nazareth played around with their sound, adding southern rock influences and recording a number of softer songs as well. The hardest rockers here are Silver Dollar Forger and Shanghai'd In Shanghai, but many of the songs seem to experiment with new structures while betraying signs of road-weariness.”

“I don't know why people always put this record down. It has really good styles and is very varied - straight ahead rock, commercial tracks, spacey blues and acoustic elements.”

Quo - STATUS QUO****

Backwater/Just Take Me/Break The Rules/Drifting Away/Don't Think It Matters/Fine Fine Fine/Lonely Man/Slow Train

By the time of the release of Quo the boogie rock band Status Quo were enjoying a complete reversal of fortune as they had become one of the most successful British groups after several years in the doldrums trying to achieve musical credibility. Featured here is the UK top ten hit Break The Rules. (UK:2)

“From start to finish this is outstanding blues hard rock. The guitar work could be some of their best.”

“Enjoyable pop rock, without never making amazing stuff, it is still a pretty consistent and mostly fun release.”

A real head-banger, Status Quo easily rival AC/DC in terms of pure head-banging no nonsense rock and roll. People who tend to dismiss the Quo as a naff pop band whose every song sounds the same should give this album a listen. An underrated classic.”

“One of the finest albums of Quo, with only nice tracks, beautifully opening with Backwater and Just Take Me and ending in one of my personal favourite Quo tracks Slow Train.”

“Never have Quo rocked as hard or as good as on Quo, the ultimate Status Quo album. It even features a killer acoustic build up number Lonely Man which is one of the most melodic sounding songs they've ever written, nothing like their usual boogie style.”

“Quo does contain its share of party tunes that are pretty good and, what appears to be apparent now, created with the intention of being totally fun. In addition, Status Quo like taking hard rock elements and adding the occasional bluesy guitar licks here and there to make the songs super melodic.”

“Quo is unique among Status Quo albums in that it's much darker and heavier. This like the others features plenty of rockin' good tunes, but there's a sense of foreboding in nearly every track.”

Journey To The Centre Of The Earth - RICK WAKEMAN***

The Journey/Recollection/The Battle/The Forest

Journey To The Centre Of The Earth was an ambitious live project from keyboard wizard Rick Wakeman in which he calls in aid the London Symphony Orchestra. Unfortunately, it is let down by too much mediocre material and an intrusive narration. (US:3 UK: 1)

“Journey To The Centre Of The Earth is not for the faint hearted. It’s a heavily orchestrated and dense album with an intermittent narrative and far too many synthesiser solos. For a prog-rock fan it’s an example of just how far the genre could cross-over into orchestral music. If you’re a fan of orchestral music, you’ll find much to admire and much to baffle you.”

“When I first heard this I thought it the biggest load of old tosh I had ever heard, the passing of almost 40 years hasn’t changed my mind. This is in spite of Yes being one of my favourite all time bands. I would be much better without the tedious narration.”

“This is a grand progressive rock album which features a unique concept supported by suitably epic music. The vocals are lacking, and the music seems to run out of steam towards the end, but overall this is a very good showcase for Rick’s talents for playing keyboards and composing for orchestra. The album does indeed take you on an epic journey.”

“This is so utterly bloated and pompous that it make your head spin. I really love progressive rock, and it really irks me when something this self-indulgent is released. Albums like this are sometimes the only exposure that people curious about progressive rock get to hear, and then they go running from the genre.”

“Wakeman, whose keyboard playing is excellent is backed by London Symphony Orchestra and its choir is great. There are some flaws here and there. Mixing such a melting-pot of different kinds of music is not that easy. The orchestra sounds a bit confused in a too big reverberation with exaggerate bloated effects. The rock band sounds rather more studio than live and the voices are sometimes a bit strained.”

“This is not an for everyone. Rick Wakeman dominates the majority of the album, often using outlandish synthesizers. There are moments when things don't seem to fit, and the male vocal harmony section goes flat. However, counterbalancing these points, are some of the most inspired passages in prog history.”

Hero & Heroine - STRAWBS***

Autumn/Sad Young Man/Just Love/Shine On Silver Sun/Hero & Heroine/Midnight Sun/Out In The Cold/Round & Round/Lay A Little Light On Me/Hero's Theme

Hero & Heroine was released after several major personnel changes to the folk-rock group Strawbs. This had a significant impact on their commercial appeal from which they would never recover. (US:94 UK:35)

“The most consistent album I have heard from this outfit. A nice Genesis like symphonic prog sound with some of their older folk rock influence creeping in as well. I had no problem sitting through this album countless times, especially side two.”

“Despite occasional pastoral lyrics and instrumental passages, Hero & Heroine sees the Strawbs moving away from the acoustic prog folk of earlier albums into lush symphonic prog drowning in Mellotron. The new direction was in part a consequence of new members joining the band, and is particularly on display on the opening three-part epic Autumn, which contrasts dreamy summer idylls with cold winter yearning. Another particularly good pick is the title track, which offers some characteristically direct and cutting lyrics from Dave Cousins.”

“Hero & Heroine remains as wonderful as ever, an art rock song that soars. The remainder of the record plays out very well through a slate of Cousins' compositions. Some of these can be considered overly dramatic perhaps, but they fit in well with the sensibilities of the times.”

“Good progressive rock that should have been more popular. They abandoned the folk sound almost entirely and went a more mainstream rock approach. The instrumentation is awesome, with some great mellotron on the opening suite, with piano and subtle electric guitar. The title track is a fantastic slice of prog. Midnight Sun is an emotional almost acoustic track with good vocals. Round & Round is a great rocker with fantastic electric guitar.”

“On the whole, the pieces comprise a nice blend of prog, folk, and rock styles. The album opens with a brooding swirl of mellotron, string synthesizer, and some very gloomy guitar chords on Autumn, which is the longest track and my favourite.”

“From the grandiose opening to the choir on many tracks, I love everything about this disc. The delicate piano and guitar work on Autumn are alone worth the price.”

Secret Treaties - BLUE OYSTER CULT***

Career Of Evil/Subhuman/Dominance & Submission/ME 262/Cagey Cretins/Harvester Of Eyes/Flaming Telepaths/Astronomy

Secret Treaties was the third album from the New York hard-rock band Blue Oyster Cult. They would enjoy steady but unspectacular commercial success during the 1970s. (US:53)

“The third and final release of Blue Öyster Cults seminal ‘black and white’ trilogy, Secret Treaties is far and away their best album. To me it took the quirky subtle humour of their debut and mixed it with the brooding and hard rocking guitars of Tyranny & Mutation and mashed them into a beautifully consistent and well-crafted record.”

“Without a single bad moment Secret Treaties hammers through your mind - the blinding keyboard solos, the surrealist science fiction poetry lyrics, the walls of riffs.”

“Every song is pretty much a hard hitting classic, from the Cult favourite Career Of Evil to open up with the catchy organ riff, the psyched out Dominance & Submission, the piano rocker Flaming Telepaths, and of course the classic laid back Astronomy that became another huge hit.”

“Although still rather commercial, this time around, their sound has taken on a mild progressive edge, a half step back in the right direction for my taste. Featuring less emphasis on guitar, and not as heavy as earlier releases, there is some use of synth.”

“Blue Öyster Cult were one of the better hard rock bands of the seventies and Secret Treaties contains some of their best work. They've mellowed somewhat from their previous release but have by no means stopped rocking. Instead, they've focused more on song writing and texture, those little bits here and there that take a good song and make it great and memorable. There's an attention to detail here you just don't see from other bands, that makes it really stand out.”

“Secret Treaties is the best release ever by Blue Oyster Cult. A brilliant combination of dark and brooding subjects, driven home with screaming guitars, haunting lyrics and very progressive melody changes. The band were at the top of their game here, and while all the songs are rockers, they are subtle in ways that make you want to listen to the music over and over again.”

Get Your Wings - AEROSMITH***

Same Old Song & Dance/Lord Of The Thighs/Spaced/Woman Of The World/SOS (Too Bad)/Train Kept A Rollin'/Seasons Of Wither/Pandora's Box

Get Your Wings was the follow up album from the heavy rock group Aerosmith who are sometimes compared with the Rolling Stones. They would achieve their commercial breakthrough with the next album. (US:74)

“It is a clear step forward from their self titled debut album. The songs are getting heavier and less bluesy, but the blues influence is still audible in almost every song.”

“This is a great follow up album from one of America's best rock bands of the 70s. Aerosmith's debut album lacked something, but they had found their niche when they made this record. It's not quite as good as the next few albums, but it still rocks. There's some really quality stuff here.”

“Great bluesy hard rock, pretty much what you would expect from an older Aerosmith album. Great riffs and licks mixed with good melodies as well. Quite a balanced and rocking album, with some classic Aerosmith tracks.”

“Pretty much on par with the debut although there is a clear evolution to hard rock here despite the polished production. The songwriting contains much more variety: It's still somewhat commercial boogie with the excellent blues influences helping greatly, but there is clearly a more hard rock edge to the riffs.”

“Aerosmith's debut proved that the band had potential, but they sounded too much like a Rolling Stones clone, and not necessarily in a good way. On this follow up album the band starts to hone their own sound that would push them into later success.”

“There is a bit more testosterone on this vinyl long play than on their previous album. The dual guitar sound gets a full workout and gives an indication where they were headed. There is less blues and more hard rock with some catchy vocals.”

“Get Your Wings is a testament to everything that made Aerosmith such a great 1970s hard rock band. This is just so heavy and dirty, and the twin guitar assault has never sounded scruffier. Aerosmith never in their career wrote better songs; this was their high water mark, a spaced out, dreamy, grungy, street rock masterpiece, that bears up wonderfully under repeated listening.”

Bridge Of Sighs - ROBIN TROWER****

Day Of The Eagle/Bridge Of Sighs/In This Place/The Fool & Me/Too Rolling Stoned/About To Begin/Lady Love/Little Bit Of Sympathy

Bridge Of Sighs was the follow up album from the former Procol Harum guitarist Robin Trower. His blues playing style has been compared to that of Jimi Hendrix. (US:7)

“There isn't a bad song on the album and it has a couple of the greatest guitar rock songs ever written on it. Trower totally channels the spirit of Jimi Hendrix on the title cut, and the album progresses from strength to strength from there. Too Rolling Stoned rumbles like a panzer division bashing its way through France. Day Of The Eagle defines fiery. And About To Begin is almost transcendentally lovely.”

“This is really one of the all-time best blues-rock albums and showcases the young Robin Trower on guitar and also bassist James Dewar as a very good singer. No filler on this record, just great songs.”

“If you are a fan of the blues-infected hard rock that was popular at the time of this record's release, or even simply a fan of great guitar playing, then this album belongs in your collection. There are several titanic tracks on this album, every one a winner. Day Of The Eagle is a riveting hard rocker and a perfect album opener. The title track is one of those rare songs that no matter how many times I hear it, I still love it.”

“As good and as essential as any hard rock or blues rock album released by the bigger guns. Trower is absolutely smoking on the guitar, but the bass and vocals of James Dewar are right there with him.”

“Bridge Of Sighs is a superb example of mid-seventies American formative blues rock and, like a fine wine, it has aged gracefully. Trower impressively mixes bruising fury with visionary sheets of melodic sound to create some fine mood music. But this album isn't simply about guitar pyrotechnics. James Dewer provides rich, evocative vocals which, on the slower tracks, lift the music to an almost celestial plane.”

“Ex-Procol Harum guitarist Robin Trower delivers his best studio effort with his second set, Bridge Of Sighs. I always had the impression that his stay in Procol was a tense one as his Hendrix-influenced playing didn't sit well with the band's keyboard oriented classical rock style. On this set, Trower deliver some of his best blues playing as well as his patented guitar virtuosity.”

On The Border - THE EAGLES****

Already Gone/You Never Cry Like A Lover/Midnight Flyer/My Man/On The Border/James Dean/Ol '55/Is It True/Good Day In Hell/Best Of My Love

On The Border is considered to be a transitional album from The Eagles where their original country rock sound is now joined by more commercial mainstream influences. Features the US No. 1 hit single Best Of My Love. (US:17 UK:28)

“The sound is transitional, as the country influences are disappearing replaced by the commercial guitar sound they wished to adopt. However, it still maintains the familiar sound of The Eagles' work. Once again the album drifts through the songs, but in this case the second side doesn't seem to have much material or solid songwriting, and the album ends up really dragging.”

“In many ways, On The Border, was a transitional album. Country-rock now shared equal billing with commercial rock. Their harmonies and catchy music remained intact as they moved toward a sound that would sell more albums than all but a few groups in music history.”

“What distinguishes this album from many of the group's others is the consistency of the songwriting throughout. Maybe there's nothing earth-shattering here, but all of the songs are at least pretty good, with no outright loser tunes.”

“From the aggressive beginning with Already Gone to the melancholy reflection of The Best Of My Love, On The Border delivers a great jam, one after another. While a lot of the album's theme was heavy rock, there is a definite soft-rock, mellow feel, one that will put you in a relaxed mood and state of mind.”

“Don Felder joined the band for On The Border. His addition marked the start of a shift from a country rock band towards more mainstream rock. In fact most of the album is made up of harder rocking songs.”

“Although reasonably successful when released, this is now perhaps a rather overlooked album, which dates from a period of changing directions for The Eagles, as they veered away from their original country-influenced soft rock towards a more hard-edged sound. Only two tracks are widely known, the closing ballad Best Of My Love and to a lesser extent the brash, rocking opener Already Gone. These almost epitomise the diverging styles of the band when the album was made. The rest will be unfamiliar to all but dedicated fans.”

Starless & Bible Black - KING CRIMSON***

The Great Deceiver/Lament/We'll Let You Know/The Night Watch/Trio/The Mincer/Starless & Bible Black/ Fracture

Progressive group King Crimson’s Starless & Bible Black is half studio and half improvisational. The rather incongruous title is taken from the Dylan Thomas radio drama Under Milk Wood. (US:64 UK:28)

“Tight, precise, and full of surprises, the rockers, rock hard, while tunes like Trio are stunning in their beauty. Side two, which is largely improvisational is also a great musical trip. King Crimson are one of the few prog rock groups that can improvise, and truly stretch the boundaries without sounding pretentious and boring.”

“Mostly quite useless mock-progressive experimental art stuff, although The Night Watch is an honestly good song, and there is something appealing about Trio as well, especially knowing how the song was actually made. Primarily side two is, unfortunately, a waste of time. Fripp and company knew how to make music that is without question unconventional and innovative but still sounds slightly dodgy.”

“At this point I'm not sure if they are just messing around in the studio or if they are really trying to place some sort of direction into their long musical jams. The few scattered good moments in this album are too brief to make it an enjoyable listen. It’s chaotic but not in the good sense of the word.”

“The improvisations on this album tend to drag, building tension but not really managing to be all that interesting. The songs recorded in the studio are far better, probably among the best King Crimson ever recorded and are timeless classics.”

“Starless & Bible Black is an extremely confusing album. One half studio, one half live, with half the live stuff sounding so precise it sounds like it was done in the studio. Two of the live improvisations cut off suddenly without resolving themselves, leaving one side full of just-barely realized ideas and a second side of impressively massive improvisation and the horror-ride that is Fracture.”

“All of this line-up are virtuoso performers at their instruments, and the instrumental interplay between the group is amazing. Robert Fripp is in a league of his own. His guitar playing is absolutely stunning, and this is probably the Crimson album that best shows off his abilities. Bill Bruford’s style of drumming is very original and the only thing that keeps this album from being complete and total chaos.”

The Hoople - MOTT THE HOOPLE****

The Golden Age Of Rock & Roll/Marionette/Alice/Crash Street Kids/Born Late '58/Trudi's Song/Pearl 'N' Roy (England)/Through The Looking Glass/Roll Away The Stone

The Hoople brings an end to the creative and commercial peak of the glam-rock group Mott The Hoople. Features the UK top ten hit single Roll Away The Stone. (US:28 UK:11)

“The Hoople saw Mott The Hoople go out on the biggest high they could have done under the circumstances, with Hunter’s song writing being diverse enough to deliver both commercial hit singles and satisfying album cuts, with the band becoming ever more ambitious in their material.”

"The Hoople kicks off well enough for me with The Golden Age Of Rock ‘N’ Roll which is one of the best cuts on the album. Most of the album is OK without being anything out of the ordinary. That for me has always been the problem with most Mott The Hoople albums, their inconsistency.”

“The Hoople proved to be the end of the line for late-blooming glam rock Mott The Hoople. Rocking even harder than its predecessor, it doesn’t represent any growth but rather a refinement of what had already worked for them.”

“While not the critical and commercial equivalent of Mott, this album is pretty solid. The songs are strong and the lyrics are as wicked sharp as ever, but it doesn't sound as powerful as what came before. Not a bad release by any stretch and a credible swansong for the band.”

“The ballad stuff on here gets a bit plodding. The uptempo, glam-tinged rock is the main course, with highlights coming in the form of the opening track and the over-the-top Marionette.”

“The first track is introduced with a DJ announcement, and the tune kicks in like a freight train with a determination and respect for the genre, but also continues the new plateau that Mott The Hoople established with their previous album, thrusting them into a new fearless glam tinged carnival of unique creativity.”

“A whole lot of fun. It's been a while since I listened to a straight-up rock album, but The Hoople's incomparable energy reminds me how good rock ‘n' roll can be.”

Buddha & The Chocolate Box - CAT STEVENS***

Music/Oh Very Young/Sun C79/Ghost Town/Jesus/Ready/King Of Trees/A Bad Penny/Home In The Sky

Buddha & The Chocolate Box was the first Cat Stevens album to contain a disappointing number of sub par tracks. If they had been to a similar standard as the US top ten hit Oh Very Young his consistency would have been maintained. (US:2 UK: 3)

"Buddha & The Chocolate Box was the weakest of Cat Stevens' albums so far, and many found it a letdown. It's obvious that, for lovers of old, Oh Very Young is the track that stands out the most.”

“It's a real let down for me, there are a few good songs but others seem uninspired. However, Oh Very Young is one of Cat's best.”

“This is an album which is the very definition of workmanlike. There's not one bad track but then, other than the pretty Oh Very Young, there's nothing which really grabs the attention.”

“Throughout the album, Steven's voice and guitar work are still as hardy and resilient as ever and the lyrics are up to his usual standard. I guess what Buddha & The Chocolate Box lacks is great tunes, something to hook you and keep dragging you back. It doesn't offer a huge amount in re-play value, as there's nothing here which is particularly memorable.”

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

“Containing one of Cat's best songs in Oh Very Young, the album overall demonstrates that Cat had not lost his ability to write beautiful songs. The gorgeous King Of Trees and Home In The Sky would have sat nicely on his more acclaimed albums.”

“Cat Stevens opts for a standard rock band format, playing keyboards for the most part. King Of Trees is outstanding, lyrically and musically, sad but incisive, opening with a beautiful, extended instrumental passage. Oh Very Young is the nearest he gets to his Tillerman/Teaser days, a gentle, wistful song. Unfortunately, most of the remaining tracks are less impressive.”

Hatfield & The North - HATFIELD & THE NORTH***

The Stubbs Effect/Big Jobs/Going Up To People & Tinkling/Calyx/Son Of There's No Place Like Homerton/ Aigrette/Rifferama/Fol Del Rol/Shaving Is Boring/Licks For The Ladies/Bossa Nochance/Big Jobs No 2/Lobster In Cleavage Probe/Gigantic Land Crabs In Earth Takeover Bid/The Other Stubbs Effect

Hatfield & The North were a Canterbury Scene supergroup comprising former members of Gong, Caravan and Matching Mole. The music on this debut album has been described as jazz-rock fusion.

“This band meant business and were in effect a culmination of all the Canterbury styles that came before. A sifted, refined and filtrated jazz-rock-fusion enigma that still sends shockwaves into the first-time listener by impregnating the casual progressive rock lover’s ears with music that is flirtatious and sublime.”

“Hatfield were the jazziest band of the Canterbury scene, but where much could be foreboding, noisy and intense, Hatfield are light, playful and noodling”

“This Canterbury scene supergroup was formed by guys who had already experience fplaying in big names such as Gong and Caravan. This first album features a very jazz influenced, progressive rock style.”

“A true Canterbury supergroup, Hatfield & The North brought together the qualities of various members previous bands, combining the whimsicality of Gong, the sense of humour of Caravan, the jazz-rock of Matching Mole and the complexity and flair of Egg. The group blend all of their musical styles perfectly to create a whole that is far greater than the sum of their parts, with a mood that ranges from the tranquil to the frenetic.”

“They recorded what is considered to be the ultimate Canterbury masterpiece. The album represents everything that the genre stands for: brilliant melodies, strange harmonies, superb musicianship, quirk rhythmic patterns and British humour.”

“The music on this debut is arranged in a large suite comprised of 15 parts, which includes lengthy instrumental sections interspersed with a vocals by Robert Wyatt, excellent singing by The Northettes, and of course proper vocals by Richard Sinclair. Stylistically, a great deal of the music on is superficially in keeping with the rhythmic and harmonic practices of jazz-rock, yet there are sections that are more in line with what most people would consider to be progressive rock proper.”

“This debut falls somewhere in between heavy handed instrumental jazz fusion and whimsical post-psychedelic progressive rock.”

Zinc Alloy – T REX**

Venus Loon/Sound Pit/Explosive Mouth/Galaxy/Change/Nameless Wildness/Teenage Dream/Liquid Gang/ Carsmile Smith & The Old One/You Got To Jive To Stay Alive/Spanish Midnight/Interstellar Soul/Painless Persuasion V The Meathawk Immacula /The Avengers (Superbad)/The Leopards Featuring Gardania & The Mighty Slug

By the time of the release of Zinc Alloy the T. Rex mania of a few years earlier had well and truly abated. The glam rock sound now has a soul dimension. Includes the UK No. 13 hit single Teenage Dream. (UK:12)

“This was the beginning of the end for Bolan really, There are some good songs (mostly on side one), and he quite successfully adds a bit of funk to his sound in places. But a lot of the material is definitely patchy.”

“Teenage Dream is the best thing here by a mile, a reminder of how great Bolan's songs and Tony Visconti's production could be together.”

“This is a disappointing compared with the earlier glory of Bolan. There are a few good songs, but the rest are just mediocre, non-memorable material. The unique T. Rex sound is here though, it's like a futuristic glam-rock gospel.”

“This was really the point for T. Rex where they went from being a solid glam group to a

“Zinc Alloy finds Marc Bolan incorporating heaps of soul influence, including some truly fine backing singers, into his glam sound to produce a fresh and fascinating mash-up which was rejected at the time, but hasn't really been embraced now, although I think it is wonderful.”

“Zinc Alloy is the strangest release yet from the glitter-rock fairy, an often uncomfortable and chaotic collection that radiates a nasty jitter. Bolan's idea of the new T-Rex sound was some sort of bubblegum-soul hybrid.”

“My biggest problem with Zinc Alloy is the abominable backing vocals, the principal offender being Bolan's girlfriend Gloria Jones. Not unlike the caterwauling of a banshee, they are sometimes so shrill as to drown out the lead vocal entirely.”

“Marc’s star was still in free fall mode when this came out. His glory days appeared to be behind him and his muse seems to have all but deserted him. It showed Marc looking to change his sound and image, while alienating his established fan base.”

A New Life - THE MARSHALL TUCKER BAND***

New Life/Southern Woman/Blue Ridge Mountain Sky/Too Stubborn/Another Cruel Love/You Ain't Foolin' Me/24 Hours At A Time/Fly Eagle Fly

A New Life is the follow up album from the southern rockers The Marshall Tucker Band who have been compared to the Allman Brothers. They would enjoy moderate commercial success in the USA for the rest of the decade. (US:37)

“A New Life is just as great as their first. Songs such as the title track and You Ain't Foolin' Me prove that relationships have many sides, with the former expressing hope for a new start and the latter describing the pain of deceit. The best song, however, is the travelogue 24 Hours At A Time, on which the band kick up their heels and really jam.”

“The MTB lean heavily on the Allmans’ sun-dappled southern rock of a jazzy/jammy sort for inspiration, and manage to expand the format a little bit with the use of fiddle, flute and saxophone in places. The end result is a warm and inviting set of tunes that, while never totally lettin' 'er rip, settle in to a relaxed, sonically rich environment.”

“One of the most underrated bands ever. These guys were tight and you can tell they loved making music. This is Southern down-home music at its finest.”

“Tuckers follow up album captures the spirit of the early 70s southern rock movement better than any other album. From the jazzy Southern Woman to the incredible Another Cruel Love, the songwriting was never better. You Ain't Foolin' Me might be the purest anthem song that they were so famous for in concert. The best album by maybe the most underrated live band ever.”

“A New Life is a minor masterpiece and shows just how much further the Marshall Tucker Band were willing to push the boundaries on how far the southern rock formula can go. This album is a major step forward from their self-titled debut in terms of songwriting and instrumental variety.”

“The Marshall Tucker Band score another big one. I wouldn't necessarily call A New Life a perfect album, but it's an excellent one nonetheless. The songs are pure gold and can eclipse most mainstream songs released in the new millennium. The title track and Southern Woman are reminders why they are one of the bands that dominate the world of southern rock.”

Valentine - ROY HARPER***

Forbidden Fruit/Male Chauvinist Pig Blues/I'll See You Again/Twelve Hours Of Sunset/Acapulco Gold/ Commune/Magic Woman (Liberation Shuffle)/Che/North Country/(Don't You Think We're) Forever

Valentine from folk artist Roy Harper is a collection of songs about the many forms of love. Some of the tracks introduce an element of progressive hard rock. (UK:27)

“Valentine is often overshadowed by Harper's more ambitious 70s recordings, but its charms lie in the subtlety and quality of its somewhat more conventionally-constructed songs. Once you've had a taste of singer/songwriter material that's this varied and deep, it's hard to settle for anything less.”

“It's a collection of outtakes from that era, but it holds together as well as most of his albums, and the songwriting is Harper at his best even though it's rejected material.”

“Finally shedding his proclivity for singer/songwriter style material, this one is a good mix of folk-rock and progressive hard rock, with quality and imaginative song writing.”

“This is a beautiful album which I am very fond of, with intelligent observations on the human condition, wonderful voice, fantastic melodies, uplifting and a joy to listen to.”

“As soon as opener Forbidden Fruit chimed winsomely from my speakers for the first time I knew I was in for a treat. When you think about it, the credentials for this album couldn't be better: Singer/songwiter performs a collection of songs about the many forms of love.”

“A collection of love songs, but there is nothing predictable or sloppy here. These songs have truth, tenderness, anger, frustration, humour, and loads of bittersweet twists and turns to keep you interested. Some of the tracks rock out very nicely with assistance from Roy's heavy friends, but mostly the feel of this album is gentle, acoustic (very fine guitar as always from Roy), which is quite seductive. A favourite of mine for unwinding.”

“This album is an excellent collection of songs, though it's not as cohesive, it's probably more accessible to most listeners, and has more individual songs. Throughout the album are well-crafted melodies, deep, personal lyrics, and varied themes.”