Extra Texture - GEORGE HARRISON***

You/The Answer's At The End/This Guitar (Can't Keep From Crying)/Ooh Baby (You Know That I Love You)/ World Of Stone/A Bit More Of You/Can't Stop Thing About You/Tired Of Midnight Blue/Grey Cloudy Lies/His Name Is Legs (Ladies & Gentlemen)

Extra Texture proved to be another disappointing album from George Harrison. Most of the tracks are mediocre and there is nothing that is particularly memorable. (US:8 UK:16)

“Perhaps a bit too moribund at times for repeat playing, it's nevertheless one of those albums that sounds better than you remember it.”

“A mediocre cast of back-up musicians, coupled with songs that were flat-out boring, make this largely unlistenable. Except for opening track You, there's little else memorable from this. And to put things into proper perspective, You would have been nothing more than a B-side during Harrison's Beatles tenure.”

“Extra Texture is one of George Harrison's most underrated albums. It's certainly not his best work, but neither does it deserve the criticism it often receives. There are no really bad songs here, though overall the album is just a bit too mellow for my taste.”

“Like many others, I fantasise about what masterpieces might have been created by culling the dross from the post Beatles' solo albums of any given year and combining the great songs into a single album performed by all four of them.”

“The album is consistently mellow and ballad-oriented, which is probably why critics bashed it. Extra Texture lacks the energy of some of George's other work, but overall, the mellowness makes it a rather unique effort.”

“This album, although it contains some enjoyable moments, really isn't worthy of a very high grade. The songs mostly seem unrealized and tossed off. A couple tracks succeed, Ooh Baby is one such, a very slow tune with moody, atmospheric guitars and horns, and George's singing sounding genuinely sad.”

“George was obviously in a strange place when this album was written. There are a lot of sorrows, and a lot of plain giddiness. But it's not a total loss, and George's musical charms are definitely still here.”

“Though always worth hearing, he was not a consistent artist, mixing far more ordinary material among his rarer excellent songs.”

Clearly Love - OLIVIA NEWTON JOHN***

Something Better To Do/Lovers/Slow Down Jackson/He's My Rock/Sail Into Tomorrow/Crying Laughing Loving Lying/Clearly Love/Let It Shine/Summertime Blues/Just A Lot Of Folk (The Marshmallow Song)/He Ain't Heavy He's My Brother

Vocalist Olivia Newton John continues her country-pop phase with Clearly Love although with slightly less success than previously. Something Better To Do was a US No. 13 hit. (US:12)

“Clearly Love didn't repeat the commercial success of her two previous records but in many ways it might be considered as one of Olivia Newton-John's best efforts of the 70s era, maintaining her trademark country/pop style. This time the song selection is perfect and suits her vocals like a glove. Something Better To Do might by one of the better singles in her career, its simplicity and elegance places it above her others from that era.”

“Clearly Love is one of the most overlooked and underrated albums in Olivia Newton-John's catalogue. Here Olivia and her producer, John Farrar created a seamless flow of great '70s pop music. The album's biggest single, Something Better To Do is a light-hearted look at loneliness. The lyrics are depressing, but are disguised in a breezy, sing-song melody.”

“Clearly Love stands out with its simple catchy melodies and Olivia's pure voice. The songs on this album are great to sing along to and, while they all represent her 70's style, they do so by covering a wide range of genres. By far, the most moving performance is the sombre Just A Lot Of Folk, which displays her ability to filter emotions into lyrics.”

“It lacks a mega-hit of the calibre she had most recently enjoyed, and yet the recording taken as a whole is a real gem that holds up decades later. John Farrar was a genius at writing and arranging for Olivia's voice, and she's never sounded better than on the radiant Sail Into Tomorrow, and the short but glorious title track, both of which show her to be a singer of substantial ability, and not just a pretty voice.”

“There are some absolute treasures on this album, including the title track which is simply amazing, and I was pleasantly surprised at just how strong an album this is. Pop/country cross-over at its best, and arguably Olivia's strongest album.”

Prisoner In Disguise - LINDA RONSTADT***

Love Is A Rose/Hey Mister That's Me Upon The Juke Box/Roll Um Easy/Tracks Of My Tears/Prisoner In Disguise/Heat Wave/Many Rivers To Cross/The Sweetest Gift/You Tell Me That I'm Falling Down/I Will Always Love You/Silver Blue

Prisoner In Disguise consolidated vocalist Linda Ronstadt popularity in the USA. Features a mixture of songs including some Motown covers one of which Heat Wave was a US No. 5 hit." (US:4)

“Somehow this acquired a reputation as a carbon copy of Heart Like A Wheel. It’s not even close, she might have pulled the songs from similar sources, but while the earlier album had spirit and personality, this one has the LA professionalism that was becoming a growing mould. The record comes to life briefly with the title track, I Will Always Love You which might have been a real winner if it had the third verse, and The Sweetest Gift.

“Motown covers never worked for Ronstadt quite as well as half-forgotten 1950s/1960s tunes, in part because the originals are still prevalent and vital. Heat Wave is a disaster, and I've always found this version of Tracks Of My Tears pleasant at best.”

“Prisoner In Disguise is not as good as Heart Like A Wheel but it comes very close. It's good to hear Linda Ronstadt's powerful voice again; the standout performance is I Will Always Love You. It's really refreshing to hear this simple yet very emotional cover of a Dolly Parton's song.”

“This album is an eclectic collection of songs welded together into a cohesive album by brilliant production and Linda Ronstadt's distinctive clear vocals. As usual, the musicians are second to none.”

“In establishing a familiar formula, Prisoner In Disguise actually helps to break new ground in the delivery of popular music. Seldom can pop music in any decade have been delivered with such convincing skill and melody. Ronstadt rarely disappointed during her run of albums in the 1970s, and this is no exception.”

“It has everything that makes a great Linda Ronstadt album, a great eclectic collection of songs, some old some new. All produced to make something better than the sum of its parts. Of course, what really makes it special is the voice.”

Windsong - JOHN DENVER***

Windsong/Cowboy's Delight/Spirit/Looking For Space/Shipmates & Cheyenne/Late Night Radio/Love Is Everywhere/Two Shots/I'm Sorry/Fly Away/Calypso/Song Of Wyoming

Windsong was folk-rock singer songwriter John Denver’s second US chart topping album. He was at the peak of his popularity during this period as shown also by the US No. 1 double A-side hit single I’m Sorry/Calypso. (US:1 UK:14)

“A weak collection of songs with the country turned way up and the folk turned way down. Calypso is a pale shadow of The Eagle & The Hawk, and not even Olivia Newton-John's backing vocals can save Fly Away. It's not terrible, but you don't need anything here that's not on a greatest hits collection.”

“While it does not quite match its illustrious predecessor, it is still a wonderful album, one of the best of his career. The first single was I'm Sorry, a superb ballad, and Calypso is my favourite song here.”

“From the beautiful title track to the up-tempo, toe tapping track Love Is Everywhere this is a masterpiece. If you do nothing else, buy it for the track Calypso which John wrote in tribute to Jacques Cousteau, an amazing track with a range of notes and tempo that are truly wonderful. The haunting melodies of Song Of Wyoming are relaxing and conjure up images in a way that only John Denver can do.”

“These are songs to sing along to, great lyrics and beautiful music. No-one can match the earth spirit he created.”

“Windsong was released at the peak of John Denver's career, and rode to Number One on the strength of his previous success, and the epic Calypso, which provided the touchstone for the album. Essentially, this is an album about communing with nature, an overall thematic thrust missing from many other Denver records. There may not be that many songs that match Calypso, but some come close, helping elevate Windsong into Denver's front rank of albums.”

Searchin' For A Rainbow - MARSHALL TUCKER BAND***

Fire On The Mountain/Searchin' For A Rainbow/Walkin' & Talkin'/Virginia/Bob Away My Blues/Keeps Me From All Wrong/Bound & Determined/Can't You See

Searchin’ For A Rainbow was the most commercially successful album from the Southern rock Marshall Tucker Band. They enjoyed some popularity in the USA during the mid 1970s although still a long way behind the Allman Brothers. (US:15)

“Marshall Tucker take a left turn to do a mostly unplugged album. Despite a few not-so-great songs, there are enough gems here to make it all worthwhile.”

“If you are a fan of Southern rock from the 70s, I think you'll find Marshall Tucker will suit your tastes. There are a couple of slower tempo tunes, but the crux of the album is rock with good harmonies.”

“They're a kind of band where you like only half the tracks on each album but you buy the albums because the music is so good.”

“With Searchin' For A Rainbow, The Marshall Tucker Band retreated somewhat from the grittier sounds of Where We All Belong without abandoning their country and blues roots.”

“I'm buying this album, unheard, on the strength of Can't You See, which is everything a ballad should be, soulful without being ponderous, and with a beautiful melody. If the rest of the album is as good as that song, it's worth it.”

Fighting - THIN LIZZY****

Rosalie/For Those Who Love To Live/Suicide/Wild One/Fighting My Way Back/King's Vengeance/Spirit Slips Away/Silver Dollar/Freedom Song/Ballad Of The Hard Man

Fighting moves the Irish band Thin Lizzy further in a hard rock direction, and heralds the arrival of their signature twin guitar sound. This would soon yield commercial dividends with future albums. (UK:60)

“This is the transition album between the bluesy hard rock sound of Lizzy, and the future ground-breaking twin-guitar approach of metallic hard rock. Suicide was a life staple, and it's easy to see why: the double guitar melody that was practically invented by them, gets perfect here. The title-track is also a highlight, the heaviest song on here. Rosalie is a nice little hit for the opener and there are some other great tunes.”

“The blues, folk and pop influences are still audible on this release but the band have started to play hard rock. Fighting is also the first album that features the classic twin guitar sound which became a trademark of the band.”

“This is the Thin Lizzy album where the awesome twin guitars really kicked in and drove it home. Each track shines on brightly and very melodically. Very consistent on what it's trying to accomplish, namely great hard rock with the amazing story telling ability of Phil's lyrics.”

“Gone are the confused old Celtic ballads, here we have a compendium of straight, great rockers, this being easily one of the bands best. Rosalie may be a Bob Seger song, but Lizzy really make the most of their twin guitar blasting to give it new life as a hard rockin' classic.”

“Listening to this album makes me remember that Thin Lizzy were one of the most remarkable bands. They seemed to fall right into the centre of the rock family, but were far from being a conventional rock band. Lynott's subtle soulful voice permeates this album, haunting and chilling almost to a depth that most of rock's histrionic exemplars can only dream about.”

“Not a single weak track on the album. The guitar playing is among the best the band has ever recorded and Lynott was on top of his game songwriting and performance wise.”

Minstrel In The Gallery - JETHRO TULL***

Minstrel In The Gallery/Cold Wind To Valhalla/Black Satin Dancer/Requiem/One White Duck-Nothing At All/Baker Street Muse/Grace

Minstrel In The Gallery was alas another mediocre album from Jethro Tull, a group who were capable of much better. This was a phenomenon which affected many artists from this period onwards. (US:7 UK:20)

“Bringing back the acoustic side of their sound, adding an orchestra to some tracks (but to little benefit), taking on a mildly medieval tone and tossing in a nicely structured epic, Baker Street Muse, for good measure, Tull go a long way towards reassuring the listener that they were still capable of producing a decent album.”

“There is a lot of depth on the album, particularly the Baker Street Muse song-cycle, with its bawdy, sometimes touching and other times raucous wordplay. And once again, we find the exquisite acoustic guitar work of Anderson. Many fans consider the flute as the defining instrument in a Tull composition, but it is really the interplay of Martin Barre's electric and Ian Anderson's acoustic guitars. The variation of the two sounds, the hard and the soft, is what makes Tull albums truly unique.”

“I really don't like this recording very much, as it seems to be contrived,. Over the years Jethro Tull made some very beautiful music, but this is mediocre at best and for me personally, borderline bad.”

“Unfortunately, it's not one of their better progressive pieces. You can't beat the title track, but a number of the other songs are dull to forgettable.”

“Minstrel In The Gallery was their most folk-rock oriented album. Some of their previous albums had some folk influence here and there but this album was their first with a clear folk rock sound mixed with progressive rock.”

“There are some interesting tracks but it somehow feels incomplete and missing something. That's something is soul. It seems that Ian Anderson recorded much of the album alone in the studio. The remaining parts were added later, the orchestration and the other band parts such as guitar, bass, drums. It almost feels like the other band members were being employed as session musicians, on the same level as the orchestra. The result, despite the occasional highs, leaves me cold.”

Win Lose Or Draw - THE ALLMAN BROTHERS***

Can't Lose What You Never Had/Just Another Love Song/Nevertheless/Win Lose Or Draw/Louisiana Lou & Three Card Monty John/High Falls/Sweet Mama

Win Lose Or Draw finds the songwriting of the southern blues-rock Allman Brothers to be in decline although the group was still very successful commercially. It would be another four years before their next album. (US:5)

“This album is not their most creative release but it has its moments. It is not as rocky or heavy as previous stuff but High Falls is a great southern blues jam.”

“A perfectly pleasant album, but not as good as their previous records, and not a failure either. An average Allman Brothers album is still a fun listen and belongs in every guitar rock collection.”

“The album was an inconsistent affair with three very good songs and the rest mostly filler. When The Allman Brothers are good, they are very good and such was the case with Can’t Lose What You Never Had an old Muddy Waters tune. The band was at the top of their game as they fused its blues roots with southern rock style. It ended up as one the hardest rocking tracks of the group’s career. The title song was a Gregg Allman composition; the vocal may not have been the best, but the song itself remains one of his superior compositions. High Falls was one of those instrumentals that Richard Betts was so good at creating and has a jazzy feel.”

“This is not great for The Allman Brothers although far from a bad album. Most are reasonably good, the exception being High Falls, a very good tune, which has its own interesting although somewhat peculiar sound, and shows that the band was still able to create good music.”

“This is a very unfocused release with few memorable songs. The band was going through some turmoil at the time and it is reflected in the music. They continued to go more towards a country sound with Dickey Betts' Just Another Love Song and Louisiana Lou. The only tracks that recall their earlier albums are their cover of Muddy Waters' Can't Lose What You Never Had and the Dickey Betts excellent instrumental High Falls, the high point of the album. The other tracks aren't up to their usual high standard.”

Sun Collection - ELVIS PRESLEY****

That's Alright/Blue Moon Of Kentucky/I Don't Care If The Sun Don't Shine/Good Rockin' Tonight/Milk Cow Blues Boogie/You're A Heartbreaker/I'm Left, You're Right, She's Gone/Baby Let's Play House/Mystery Train/I Forgot To Remember To Forget/I'll Never Let You Go (Little Darling)/I Love You Because (1st Version)/Tryin' To Get To Know You/Blue Moon/Just Because/I Love You Because (2nd Version)

Before he became an international star Elvis Presley was a recording artist for the Memphis based Sun Records, beginning in 1954. He came to the attention of RCA Records who bought up his contract in 1955 for the then considerable sum of $40,000. It turned out to be the bargain of the century. (US:76 UK:16)

“This is Elvis when he was young, raw, and ready to take on the world with nothing but his incredible voice. Listening to this, one gets a sense of the excitement that these songs must have generated when heard for the first time back in the mid-50s. This is brilliant stuff, and makes for an incredibly enjoyable and rewarding listen.”

“This album shows Elvis in his purest, most unadulterated form. If you want to hear him when he first made an impact, then this would be near the top of the list.”

“As Elvis' first ever recordings the historical value is obvious. That it has some very listenable tracks is another reason to buy. Elvis' early country influence is obvious here in songs such as Blue Moon Of Kentucky. My favourite track is Mystery Train a song that has grown in stature over the years.”

“This is where rock was born. Maybe blues and gospel artists had paved the way, but this is where everything truly came together. One must wonder if he had any idea of the cultural icon and beloved pop figure he would soon become.”

“Recorded before RCA Records and Heartbreak Hotel made him a star, these songs show Elvis in his early, raw prime, reinterpreting old blues, R & B, pop and country songs with the kind of hungry, restless urgency that simply defines rock 'n' roll.”

“The tracks 19 year old Presley recorded at Sun Studios were mostly blues and country songs he had listened to while growing up in Tupelo and Memphis. But when you compare his versions with the originals, they are different. Elvis revamped and energised the tracks, they sound completely new and turbo-charged.”

“Hearing Elvis in the studio transforming the songs into what he wanted, and changing music into what it will become, is fascinating.”

Sabotage - BLACK SABBATH****

Hole In The Sky/Don't Start Too Late/Symptom Of The Universe/Megalomania/The Thrill Of It All/Supertzar/Am I Going Insane (Radio)/The Writ

Sabotage is considered to be the last classic era album from the heavy metal giants Black Sabbath. It maintained their doom laden sound that attracted many legions of their fans. (US:28 UK:7)

“Arguably Sabbath's heaviest, this would also be their last truly great recording. This feels like a compilation of all the sounds sampled on the last five albums, smashed together to make a thunderous, sludge-drenched metal masterwork.”

“There's hardly a band that even comes close to them. Just when you think they would run out of thrilling music to play, they come out with this.”

“A great cocktail of fierce guitar playing and perfect vocals. Mind-blowing and catchy performance, this is model of progressive metal for an army of modern copycats.”

“Sabotage is the final album of classic era Black Sabbath. It's pretty similar to the two albums before it but a bit heavier. Symptom Of The Universe has a really aggressive riff which has gained attention as some kind of proto-thrash. Hole In The Sky is the template from which a million stoner/sludge/doom tracks have been copied.”

“Sabotage is the most perfect distillation of Black Sabbath's signature wall of doom sound. Every element that makes them great, from Ozzy Osbourne's mournful wail, to Tony Iommi's great thick down-tuned chordal guitar slabs, to Geezer Butler's muscular winding basslines, and Bill Ward's earth-crushing drumming are all set perfectly into place.”

“Sabotage has more perfect songs, with less misfires, than any other Sabbath album, including the more classic ones. It doesn't just have one epic song as a focal point, it has two, Symptom Of The Universe and Megalomania, both songs being brutally powerful.”

“Sabotage is where Black Sabbath reached their peak in terms of power, nuance, subtlety, variety and performance. Hole In The Sky and Symptom Of The Universe are the best of their heavier songs and Megalomania has a dark and mysterious feel that makes it one of their greatest songs ever.”

Blues For Allah - GRATEFUL DEAD***

Help On The Way/Slipknot/Franklin's Tower/King Solomon's Marbles/Stronger Than Dirt Or Milkin' The Turkey/ The Music Never Stopped/Crazy Fingers/Sage & Spirit/Blues For Allah/Sand Castles & Glass Camels/Unusual Occurrences In The Desert

Blues For Allah was another mediocre and uninspired album from the legendary progressive band Grateful Dead. Critics maintain that the musicianship is still strong, and that it reveals a distinctive jazz influence. (US:12 UK:45)

“Blues For Allah found the Grateful Dead tapping a sort of jazz fusion vein well removed from the psychedelia and folk they are generally associated with.”

“The melodies sometimes drift into wandering jamming, still the superb musicianship and complexity make things constantly interesting, and ultimately satisfying. Venturing further, I’ve gradually come to dig the whole album. The title track, although no masterpiece, is a pleasant slice of weird ambience.”

“This is a very strong album with solid songwriting, outstanding vocals and great ensemble playing. The precision of the band's playing here is key to the music; this is subtle rock with a distinct jazzy feel. Executing music like this requires a level of refinement and care that typically cannot be reproduced in a live setting. The album is extremely consistent and sets a really nice mood.”

“The production is smooth, the playing at times quite stunning but the actual songs veer unevenly between overblown, tedious, boredom inducing to really catchy pop.”

“Blues For Allah has always eluded categorization. It starts off rather easy-going, like a breezing, soulful Steely Dan, but soon enters a very strange territory on side two. At times it sounds like jarring Canterbury folk music, heavily instrumental and floating, only to be superseded by a truly haunting song that sounds as if it were recorded in a tomb.”

“The melodies and playing are superb, the country influences heard on previous albums are largely gone and replaced with a jazzy bouncing sort of swagger. But what really makes this album for me is that the Dead stretch out and jam on many of the songs including the two instrumentals King Solomon's Marbles and Sage & Spirit. This jazz like spirit permeates Blues For Allah and makes it more akin to the Dead’s live performances than other studio albums.”

Born To Run - BRUCE SPRINGSTEEN*****

Thunder Road/Tenth Avenue Freeze Out/Night/Backstreets/Born To Run/She's The One/Meeting Across The River/Jungleland

Born To Run was the breakthrough album for Bruce Springsteen. Hailed at the time by one commentator as the ‘new Bob Dylan’, in reality he appealed more to a blue collar audience than to college students. (US:3 UK:17)

“One of the most cohesive and coherent rock albums ever made. There are so many delights on this it is hard to know where to start, but the core of the album are the four epic songs which open and close the sides.”

“The dream of breaking out and experiencing absolute freedom, perfect joy and fulfilment, permeates much of this record. The first five songs build a stunning momentum which peaks with Backstreets and the remarkable title track.”

“If you are looking for a record that represents The Boss in all his greatness and glory than look no further, Born To Run is one of the best rock albums ever created. It's ambitious songwriting and larger than life sound is just awe-inspiring with each listen. It always sounds so fresh and immediate and after several decades has still not lost its appeal.”

“You don't have to be a staunch American patriot or blue collar worker to relate to these songs, or to feel an endless affinity for the way that Springsteen evokes the plight of the characters that inhabit his stories.”

“This is a very strong album and you can tell Springsteen put everything he had into it. His singing is great and he sounds almost possessed on Backstreets. The arrangements are rock oriented but still very complex. The songwriting overall is terrific, as are the arrangements.”

“The record is epic in the true sense with songs that have a genuine classic rock feel. The engines rev up before things take off on Backstreets and then really explode with the sublime title track at the heart of the album. It's a close to being a perfect album.”

“Right from the start it is a rollercoaster ride full of love, dreams, broken hearts, faith, and taking chances. The incredible Thunder Road all the way to the electrifying end of Jungleland.”

Wish You Were Here - PINK FLOYD****

Shine On You Crazy Diamond/Welcome To The Machine/Have A Cigar/Wish You Were Here/Shine On You Crazy Diamond

After the huge international success of Pink Floyd’s previous release there was considerable interest in the follow up Wish You Were Here. The album is dedicated to their early front man Syd Barrett. (US:1 UK:1)

“The album, as a tribute to Syd Barrett, is impressive, heartfelt, and transcendental. Understanding the history of the band and Syd's downward spiral into the depths of his own mind, once brilliant, then slipping slowly into an eventual soft insanity. The shining light of a crazy diamond, as it flickered, and extinguished itself, builds an instant emotional bond between the listener and the longing of Pink Floyd for their long lost friend and muse.”

“The album is haunting, whimsical and painful. It recalls the lost greatness of Syd Barrett, and seems to follow his spectre. This whole album is dedicated to him, and is heartfelt and full of the pain of the band who had lost their front-man genius. This is surely one of their greatest works.”

“Although far more personal than any other Floyd work, this album bristles with anger, self-loss, confusion, and hope. Finally confident in their own ability as artists, the group sought to tackle the demons of its troubled past. Shine On You Crazy Diamond is probably the best song they ever produced, as it attempts to pay tribute to the group's original front man Syd Barrett. This song also aims to make a public statement about Barrett's tragic decline into mental illness.”

“This is a grower for sure. If you're hearing this for the first time, the title track will stand out by a mile, but this will only temporarily obscure the fact that this album is seamless. It takes you on as good a trip as Floyd can take you on.”

“This record is unique in the fact that each and every song is absolutely remarkable, and not one can be taken out, without impacting the album as a whole.”

“I used to fall asleep to this album every night and it is till my favourite Floyd album to this day. No matter how much classic rock stations wear out Wish You Were Here, the song still strikes a chord in me. Yet, I still wonder to this day: how was such an album created? What was going on in their minds? Was this all planned out note for note? The same answer still applies: they are just that good.”

Another Year - LEO SAYER***

Bedsitterland/Unlucky In Love/The Last Gig Of Johnny B Goode/On The Old Dirt Road/I Will Not Stop Fighting/Moonlighting/Streets Of Your Town/The Kid's Grown Up/Only Dreaming/Another Year

Another Year was the final album from singer songwriter Leo Sayer’s more inventive period. His future albums would be more mainstream and commercial. Features the UK No. 2 hit Moonlighting, possibly his best song. (US:125 UK:8)

“Sayer's last album before he sold his soul under a discotheque mirror-ball for a career in light entertainment and I know which Leo I prefer. Like his two earlier albums, there's some earnest stuff here, mixed with a little light relief. Opener Bedsitterland sounds like early Elton John, in fact piano-melodies dominate the album, contributing to a largely downbeat collection of songs about outsiders on the run.”

“This is the third Leo Sayer album which is rather in a Billy Joel and Elton John vein, often singing ballads backed by a piano and sometimes strings and other instruments. Moonlighting is one of the best tunes ever written by this songwriter. The single's B side Streets Of Your Town is another nice ballad. However there is some filler, so a pleasant album with several minor weaknesses.”

“At times he maintains the quirkiness from the first album, but this is the best singing from Leo. Musically piano driven mostly and on ballads the music is very Elton. On more uptempo tunes the music is more reminiscent of Leon Russell.”

“After this he decided to become less quirky and more mainstream. I lost interest then.”

“This is a varied and surprising album with Leo in great voice. A shame his career went down a less interesting path (although probably more lucrative).”

Ritchie Blackmore's Rainbow - RAINBOW****

Man On The Silver Mountain/Self Portrait/Black Sheep Of The Family/Catch The Rainbow/Snake Charmer/The Temple Of The King/If You Don't Like Rock & Roll/Sixteenth Century Greensleeves/Still I'm Sad

Debut album from the heavy rock group Rainbow established by former Deep Purple guitarist Ritchie Blackmore. Ronnie James Dio was recruited as vocalist to deliver a dynamic sound. (US:30 UK:11)

“The birth of Rainbow was brought about by Ritchie Blackmore's dislike of the funkier, bluesier direction that David Coverdale and Glenn Hughes were taking Deep Purple. At this stage of his career Ritchie was still very much into playing the type of neo-classical hard rock/metal with medieval/historic imagery that had made him, and Deep Purple famous worldwide. For this he found the perfect foil in vocalist Ronnie James Dio with whom Blackmore recorded Rainbow's debut, which is a truly amazing album full of hard rock gems made vibrant by Dio's mythological imagery and lyrics.”

“Opening track Man On The Silver Mountain boasts an instantly recognisable riff and remained a live favourite throughout the Dio years. It remains one of Blackmore's best compositions. Catch The Rainbow also became a live favourite and once again allowed Blackmore and Dio to shine both individually and together with its laid back bluesy melodic feel.”

“Much better than the album released by Deep Purple after Ritchie Blackmore's departure, this was an auspicious debut album for a new band on the hard rock scene.”

“Definitely still a hard rock band, Rainbow's debut is marginally inconsistent but has more than its fair share of gems. Their early heavy metal sound hadn't quite coalesced yet and there are a few tracks that aren't up to par.”

“Blackmore leaves Deep Purple and gives birth to a new hard rock/heavy metal band Rainbow. This is their debut album and it's a very strong record. Ronnie James Dio's vocals are unbelievable as always. Take a look at the track listing, so many well known songs which have a legendary status today."

“Blackmore's first post-Purple effort is a winner, featuring great guitar work from the master and an excellent performance by Dio on vocals.”

A Chorus Line - BROADWAY CAST****

Opening-I Hope I Get It/I Can Do That/At The Ballet/Sing/Hello Twelve Hello Thirteen Hello Love/Mother/Gimme The Ball/Nothing/Dance Ten Looks Three/The Music & The Mirror/One/What I Did For Love/One (Reprise)-Finale

A Chorus Line opened at the Schubert Theatre in July 1975 and ran for 6137 performances, the second longest run in Broadway history. It features dancers auditioning for a musical. Music by Marvin Hamlisch and lyrics by Edward Kleban (US:98)

“A Chorus Line is a classic staple of musical theatre. The story takes place in a theatre, all in one day in which a director must choose four men and four women to be in the chorus of a musical. In the end, the eight are chosen and the rest are heart broken. There are so many legendary songs in this show; I'd have to list the entire soundrack to name them all.”

“A Chorus Line paints a sophisticated portrayal of the real lives of struggling actors and actresses. The catchy melodies by Marvin Hamlisch will delight you; the lyrics by Edward Kleban display forethought and sensitivity.”

“A Chorus Line had no big name celebrities to brighten up the stage, no elaborate sets, and a comparatively thin plot to connect the outstanding musical numbers. However, the show shined brightly because it highlighted the lives of the people who are in the chorus line of a Broadway musical. By focusing on people who normally don't make the leap into stardom, the show paradoxically gained remarkable strength and popularity. The show ran for 15 years; and there is no doubt that Marvin Hamlisch's score is a big reason why.”

“Through songs and monologues, the dancers tell us something about themselves. This smash Broadway hit endured as long as it did because the music and the monologues were raw, honest, and emotional. A Chorus Line struck a chord with millions of people because they could all relate to being an unsung hero, or an underdog, to having been at one time or another in the shadows of another person.”

“What makes this musical works is that while it is about an ensemble, it is an ensemble of clearly defined characters. Even the cute songs, such as I Can Do That and Sing, are clearly character driven.”

“What makes this musical great is that not only is every other number a showstopper, but almost every character has his or her time to capture your heart and you really find yourself rooting for them as the story moves along.”

The Dream Weaver - GARY WRIGHT***

Love Is Alive/Let It Out/Can't Find The Judge/Made To Love You/Power Of Love/Dream Weaver/Blind Feeling/Much Higher/Feel For Me

The Dream Weaver was the debut album from the former Spooky Tooth keyboard player Gary Wright. By a considerable margin it was more commercially successful than any of the group releases, and is notable for its use of keyboards and synthesizer, without guitars. The title track and Love Is Alive were both US No. 2 hit singles. (US:7)

“Great keyboard driven funky, pop-rock. The music is better than the distant sounding, limited range singing, but they work together. The first side is better than the second despite the hit title track leading off the latter.”

“Without question Love Is Alive and Dream Weaver are the most accessible of the numbers on offer from the album that was self-produced by the former Spooky Tooth keyboardist. In addition, Wright played most of the instruments during the recording sessions.”

“The Dream Weaver was one of the world's first techno-pop albums, and with the two singles Love Is Alive and Dream Weaver he had it down cold. Unfortunately, however, the rest of the album is filler.

“Standard rock played on Moog synths. Two cuts stand out: Dream Weaver and Love Is Alive. The rest sound much the same, despite the techno arrangements.”

“An interesting album that was recorded without the use of guitars or drum sets, the first rock album to achieve this, it's all keyboards and synthesizer.”

“This was the first of several albums former Spooky Tooth member Gary Wright recorded as a solo artist. The title track, Dream Weaver, was a big radio hit and is still heard today on stations that play classic rock. Gary was a pioneer in the use of synthesizers. However, it was his songwriting skills and soulful singing that made his music stand out from others experimenting with electronic music in 1970s.”

“If you have never heard any of Gary's music, it's a little difficult to describe because of its unique nature. His voice is a mid-high tenor and his range is impressive, sliding effortlessly into a smooth falsetto. While Gary used technology to create this music, his songs are not taken over by it. The subject matter for many of these tracks is human emotions and interpersonal relationships.”

Force It - UFO***

Let It Roll/Shoot Shoot/High Flyer/Love Lost Love/Out In The Street/Mother Mary/Too Much Of Nothing/Dance Your Life Away/This Kid's-Between The Walls

By the time of Force It UFO had moved away from their space-rock origins to adopt a more mainstream rock sound. This change would have been accelerated by the recruitment of guitar ace Michael Schenker. (US:71)

“It's what you'd expect from studio UFO; acceptable and has a few catchy songs. It does feel pretty structured and not many of these songs have room to breath.”

"Force It is a natural evolution traced by the band in relation to what they had created with their previous release. This album is heavier, more cohesive and leaves behind all traces of late psychedelia that remained."

“While the previous album still had hints of the early space rock, this is now eliminated and we have one of the best hard rock albums of the 70s. Some of UFO's finest songs are here: the brutal thump of Mother Mary, the whimsical ballad High Flyer, two rocking opening tracks, with the album ending on a high in This Kids.”

“This album demonstrates that UFO meant business. Well-crafted rock songs with tight and energetic musicianship this deserves its place in any hard rock collection.”

“Force It has a great range of songs, combining the heart starting opener Let It Roll, the rocking Shoot Shoot, classic Out In The Street and the timeless Mother Mary. This album has almost everything covered. Add This Kid's as the closer, which combines with Schenker's instrumental Between The Walls ends the album on a high.”

“UFO too often had trouble coming up with a complete album of great songs, but this is one where they hit the nail on the head. This is a wall-to-wall intense blast. OK, there are a couple of ballads, but they're good ones. Michael Schenker's guitar playing veers from breathtakingly beautiful to insanely wild, and no other studio effort of theirs lets him cut loose so brilliantly.”

“This seems to be a continuation of their previous release with the same great lead guitar and some solid rock tunes.”

Scheherazade - RENAISSANCE****

Trip To The Fair/The Vultures Fly High/Ocean Gypsy/Song Of Scheherazade

Scheherazade was an album of extended progressive rock tracks featuring the distinctive voice of Annie Haslam. Undergoing many personnel changes, Renaissance never quite achieved the commercial success which their potential might have promised. (US:48)

“It’s definitely soft, gentle music by modern standards, but still dramatic. Side one is strong, culminating in Ocean Gypsy, a fine, poignant and touching rock ballad. The sidelong title track has some bombastic orchestral elements which remind me of fifties film scores. But the beautiful dreamy prog ballad sections are my favourite parts.”

“Finally the progressive-folk of Renaissance takes form in a cohesive way, with more concentration on the instrumental passages; the first side shines, with Trip To The Fair. But the suite on the second side is too verbose.”

“It must be remembered that this was rather a manufactured band directed to perform the task of creating a specific symphonic prog sound, which they did quite well. Perhaps it is a little predictable and I would much prefer some spontaneity lending a surprise or two, but that was not to be in the mix. Taken as the progressive pop it is a very pleasant album that never fails to entertain from the predictable piano run of Trip To The Fair to the finale nine part title track which is one of the most sophisticated the band has ever done.”

“The music is absolutely stunning. On side one, Ocean Gypsy ranks among Renaissance's best pieces, but it is side two that defines this album. The Scheherazade suite is one of the highlights of rock history, featuring gorgeous melodies and fabulous musicianship.”

“Their symphonic progressive rock style is just beautiful and Annie Haslam performs some amazing vocals once again. Just four songs here and I must say that all are pretty awesome. Ocean Gypsy is probably my favourite, but also the massive title track offers some unbelievable moments.”

“This is the most ambitious work in their career, keeping to the same formula as their previous albums, but lacking in catchier melodies. This would've been a good album, if there wasn't the overly long and sometimes boring title track.”

Outlaws - OUTLAWS****

There Goes Another Love Song/Song For You/Song In The Breeze/It Follows From Your Heart/Cry No More/ Waterhole/Stay With Me/Keep Prayin'/Knoxville Girl/Green Grass & High Tides

Self titled debut album from the Southern country-rock band Outlaws. Their music is similar in style to the Allmans and Lynyrd Skynyrd but with the emphasis on vocal harmonies. (US:13)

“The Outlaws are in my opinion, the greatest band ever to come out of the Southland. The original line-up had a marvellous chemistry and each member brought a wonderful set of influences which shine through on this album.”

“The Outlaws self-titled debut album shows this pro-law-enforcement guitar army starting at the top of their game. Their sound, despite this album having been recorded in California, is a special blend of sweet country vocal harmonies and real-deal Southern rock. It places rich harmony singing on top of an Allmans/Skynyrd type of guitar attack, creating a style that I call ‘Southern & Western rock’, bringing some edge and fun back to popular music in an era of sensitive singer-songwriters and lumbering heavy metal.”

“Great debut album, Green Grass & High Tides is of course the highlight but after a couple of listens, the rest of the songs grow on you. They are quite country-rocky in a southern-rock style and I like that.”

“This is what Southern rock should sound like. Harmonized vocals, guitar coming at you from every corner with repeated major scale licks. The kind of album that epitomizes the sound of Southern rock that I love.”

“Worth listening to if only for the closer, Green Grass & High Tides, which is a great piece of energetic, southern rock, full of groove and top notch guitar work.”

“The Outlaws weave folk, bluegrass, and west-coast rock influences into smooth, sophisticated tunes with plenty of country-twanged hooks. The album eventually kicks into high gear for the substantial, extended axe-slingin' showdown, Green Grass & High Tides.”

“There is not a dud on this record. If you've never even thought about playing guitar before, after listening to this record I can almost promise you that you'll want to start. The only decision you'll have to make is Strat or Les Paul. Simply wonderful.”

Fleetwood Mac - FLEETWOOD MAC*****

Monday Morning/Warm Ways/Blue Letter/Rhiannon/Over My Head/Crystal/Say You Love Me/Landslide/World Turning/Sugar Daddy/I'm So Afraid

One time blues-rock band Fleetwood Mac had appeared directionless after the departure of founder Peter Green. Against all the odds they would start to enjoy enormous success with the recruitment of Lindsey Buckingham and Stevie Nicks. This was the first release under the new line-up. (US:1 UK:23)

“By the end of 1974, Fleetwood Mac had seemingly come to the end of their natural lifespan. There was nowhere left to go musically, or sign of commercial success, and no great interest in the band once considered one of the greatest exponents of the blues-rock genre. But nobody could quite have expected the slow-burning success of this new eponymous album; it was seen as just another line-up change.”

“This is the first album to feature Buckingham and Nicks. Both are excellent songwriters but Nicks seems to be a bit understated here because McVie and Buckingham dominate the album in terms of lead vocals. She does contribute two of the absolute best songs the Mac ever released in Rhiannon and Landslide.”

“It seems like a long time ago that the new Fleetwood Mac hit the music scene. But when you look even further back to the blues style of the original Peter Green version, this really was a big step in a new direction. It felt like a new band had appeared with the arrival of Stevie Nicks and Lyndsey Buckingham, which all seemed to spur Christine McVie into a new vein of inspired writing.”

“With the infusion of Stevie Nicks and Lindsey Buckingham, the beleaguered Mac found their way out of the desert of mid-tempo ballads that seemed to be their lot since Peter Green and Jeremy Spencer left the group. Their impact was instant, and gave Fleetwood Mac a more vibrant, and in Nicks' case, a seductive and mystical voice. Christine McVie is at her ballad best here.”

“Mac classics abound, that began the group's domination of the airwaves. Though soft-rock in sound, there is nothing wimpy about Mac's songwriting or musical abilities. This is a must own for fans of 70s rock.”

“This is the first album featuring guitarist, vocalist and songwriter Lindsay Buckingham and his then-wife Stevie Nicks, who also brought her own songwriting and singing style to the band. Nicks's voice and stage presence brought Fleetwood Mac a solid identity that it had been missing since Peter Green departed.”

Atlantic Crossing - ROD STEWART****

Three Time Loser/Alright For An Hour/All In The Name Of Rock & Roll/Drift Away/Stone Cold Sober/I Don't Want To Talk About It/Its Not The Spotlight/This Old Heart Of Mine/Still Love You/Sailing

Atlantic Crossing is where Rod Stewart started to put aside the good time rocking image of The Faces, replaced instead by a more polished ballad dominated sound. Features the UK No. 1 hit single Sailing. (US:9 UK:1)

“With this album, he seems to turn his back on his rock roots and Faces sound for one more polished sound. This is still a good collection of songs, and let's not forget that amazing voice that turned everyone on in the first place.”

“Atlantic Crossing is a good but not great LP, patchily inconsistent like so many of his albums, but with an intuitive and sympathetic production, it helped pave the way for future success and excess, much of which is inferior to what he achieved here.”

“All the soul is gone. All the rock is gone. But yet it still isn't totally cheese soaked in the way that his following albums would be. It's quite an oddball, or transitional piece.”

“The first half is pretty much straight out rock ‘n’ roll, not much different from what he was doing with The Faces, but perhaps with lengthier guitar solos. Its foot-tapping stuff but hardly essential listening. But its on the ballads that Stewart shines showing what a great interpretive singer he is.”

“Only somebody as crass as Rod would have a fast side and a slow side and name them such. But then he goes and writes something like Still Love You and you have to forgive him everything.”

“The title refers to Stewart's abandonment of England for the USA, and the music followed suit. Produced by Tom Dowd and backed by a number of Muscle Shoals musicians, he moved to a more polished pop sound, yet maintained much of the energy found in his earlier recordings. The song selection is well matched to Stewart's emotional, raspy voice, including several bluesy originals.”

“When taken as a whole, this probably is the best recording that Rod did for Warner. Personally, I think all of the albums have their moments, but this one stands out a bit more as a completely solid effort

Very Best Of - ROGER WHITTAKER*****

Durham Town/The Book/Skye Boat Song/San Miguel/Streets Of London/Storm/The Impossible Dream/Good Morning Starshine/If I Were A Rich Man/This Moment/Mexican Whistler/Dirty Old Town/The Last Farewell/Swaggy (Whistling Swagman)/Candy Cloud/New World In The Morning

Folk tinged MOR vocalist Roger Whittaker enjoyed some commercial success in the UK during the mid 1970s with some well crafted songs. His avuncular image was at odds with the long haired rock groups during this period. This compilation was well timed to take advantage of his big 1975 hit The Last Farewell. (UK:5)

“This is a very nice collection of Roger Whittaker's music. While he had some big hits with more expansive orchestration, I've always considered him best in the folk genre. His smooth and resonant voice seems best suited to telling a story in song, and it is there that I believe he shines.”

“Listening to the LP brought me back to those days when music was about the words, the music and telling a story that painted a picture of far away places and romantic shores, or small town life.”

“I had this album as a teen back in the mid seventies and pretty much played it until it wore out. Roger's baritone voice matches my vocal range so it was easy to sing along but, I don't think I could even come close to his whistling skills.”

“If you own only one Roger Whittaker album, let this be it. This one has it all and stunningly showcases his mastery of the romantic, lyrical song. Particularly haunting is The Last Farewell, depending on where you are in life, it is filled with a range of meanings.”

“He has such a smooth voice and was always calming to listen to as he took me to other lands and thoughts.”

“The present is all we have. We are given the grace, the strength and one another to help us make it through the day. Therefore, live your life to the fullest each day (New World In The Morning). The Last Farewell reminds us to enjoy life, to appreciate the little things, and never be afraid or ashamed to express true sentiments.”

“This man had an amazing way with music and his special way of interpreting a song.”

Red Octopus - JEFFERSON STARSHIP***

Fast Buck Freddie/Miracles/Git Fiddler/There Is Love/Sweeter Than Honey/Play On Love/Tumblin'/I Want To See Another World/Sandalphon/There Will Be Love

Red Octopus was by far the most commercially successful album to carry the Jefferson moniker yet for the most part it is fairly mediocre. The stand out track is the US No. 3 hit Miracles. (US:1)

“An accomplished band playing a series of tracks that somehow just don't quite gel. There are plenty of good sections, but overall I found it a bit disappointing and not a great showcase for Grace Slick's impressive vocals.”

“This whole album has a distinctly soft and dreamy feel. It's very pleasant to listen to, and extremely unique and shockingly solid, especially for a 70s radio album.”

“The album's best quality is that it is original sounding, even some of the weaker tracks have an unusual feel to them which prevents them from becoming boring.”

“Red Octopus is probably the best Jefferson Starship album. The most played song is Miracles which captures the old chemistry that Grace Slick and Marty Balin had together back in the old Airplane days.”

“Red Octopus was a mainstay of the mid-1970s AOR playlist. Unlike the Airplane, whose politically-minded, drug-fuelled, and musically daring discography made them a pure counterculture band, Jefferson Starship stayed largely within the bounds of convention. Virtually all the tracks are pure love songs, and the vast majority of them will someday make the Vegas circuit with no problem at all.”

“To think that the Jefferson Airplane made such great, cutting edge albums in the 60s, and then they stooped to making vacuous, boring albums such as this one. What a shame.”

“Although Red Octopus was one of the biggest selling albums of the seventies, and certainly of the whole Airplane/Starship canon, it really has lost much of its lustre. Yes, it was the smoothest production sound to date, but the album has little, if any, bite. As pleasing as it is to have Marty Balin's yearning tenor back in the mix, it is also his influence on the group's direction which caused a critical nosedive. The love songs are generally uninspired both lyrically and musically. It all has a slick, corporate gloss.”

The Basement Tapes - BOB DYLAN & THE BAND****

Odds & Ends/Orange Juice Blues (Blues For Breakfast)/Million Dollar Bash/Yazoo Street Scandal/Goin' In Acapulco/Katie's Been Gone/Lo & Behold/Bessie Smith/Clothes Line Saga/Apple Suckling Tree/Please Mrs Henry/Tears Of Rage/Too Much Of Nothing/Yea Heavy & A Bottle Of Bread/Ain't No More Cane/Crash On The Levee (Down On The Flood)/Ruben Remus/Tiny Montgomery/You Ain't Goin' Nowhere/Don't Ya Tell Henry/ Nothing Was Delivered/Open The Door Homer/Long Distance Operator/This Wheel's On Fire

The double album The Basement Tapes was recorded in 1967 but not released until 1975. Although lacking in classic tracks it provides a snapshot of Bob Dylan’s experimentation during the overlooked period after his motorcycle crash. (US:7 UK:8)

“Dylan and The Band jam away in Big Pink and work on cobbling together a mash-up of folk-rock and more traditional strands of Americana. I think this is more interesting as a historical document than as an album to listen to in its own right; if you're extremely curious to hear how The Band came together, or what Dylan got up to between Blonde On Blonde and John Wesley Harding, then this is a fine enough port of call, but at the same time this is clearly the guys throwing a bunch of ideas around to see what sticks.”

“A sprawling double album, it can be hard to take in initially but is ultimately incredibly warm and rewarding, melding country, blues and roots music to create a slack, autumnal, good humoured representation of months spent together at a house in the woods with nothing but conversation and music for company.”

“It is notoriously Band heavy, and the songs that are solely theirs are not as strong as Dylan's ingenious compositions. Still, the tracks do fit very well together, and the effect is timeless. A stellar album, and one that will provide many years enjoyment.”

“It is a loose, sprawling album of experimentation on the part of Dylan. He seems to take a casual approach to the whole affair. Maybe its The Band and maybe it was his place in life at the time, but he produces an album rooted in Americana.”

“The Basement Tapes is in an overrated sprawling mess. The sound quality is poor, and the whole thing just sounds like Bob Dylan and The Band messing around and releasing the results knowing that the product would sell.”

“A relaxing free-spirited glance at Dylan conspiring with The Band. Dylan adds a slice of slow moving rockabilly with a swing beat that only The Band knows how to do, making this synergy unique.”

Tonight's The Night - NEIL YOUNG*****

Tonight's The Night/Speakin' Out/World On A String/Borrowed Tune/Come On Baby Let's Go Downtown/Mellow My Mind/Roll Another Number (For The Road)/Albuquerque/New Mama/Lookout Joe/Tired Eyes/Tonight's The Night Part II

Tonight’s The Night is the bleakest and darkest Neil Young album, yet it is nevertheless a compelling listen. It was motivated by the death of close friends caused by drug addiction. (US:25 UK:48)

“Tonight's The Night may lack the truly great songs of other Young albums, but it is one of the few that feels like a single entity as opposed to a series of carefully partitioned edifices. It bucks and rolls like a night on the tiles, a failed attempt to escape the spectre of mortality in a haze of dope and whiskey.”

“Tonight's The Night is a deeply mournful, grief stricken record. It's a raw album, not just in how ramshackle the production sounds but also in content and spirit is bleak; essentially Neil Young taking his country and folk informed rock to its darkest and most concentrated form, an unremitting display of grief, for both his friends and for the death of 60s idealism too. Even the most optimistic songs on here, such as New Mama, have that darkness this album inhabits lurking just underneath.”

“This album is about taking life to the edge, going beyond the limit, paying the price and then doing it again. The ragged rock music herein is the perfect way to express the pain of loss, the loneliness of success, the excitement of excess and the weariness of it all.”

“Neil Young's absolute finest and most criminally underrated album. It practically oozes authenticity, emotion and tortured conviction. It showcases a normal, everyday man caught between fame and stardom, the times and political turbulence of his age, the death of close friends due to drug addiction. Also, the underlying heartbreak and longing for deep, intimate belonging that all the while plagues and delights many of Young's recordings.”

“I still regard Tonight's The Night as the best album Young has ever played on in any form. Lyrically, musically, sonically, emotionally, honestly, and all around enjoyably, this is his finest collection of music in one place. This is why the art of album making was created in the first place.”

Return To Fantasy - URIAH HEEP***

Return To Fantasy/Shady Lady/Devil's Daughter/Beautiful Dream/Prima Donna/Your Turn To Remember/Showdown/Why Did You Go/A Year Or A Day

Return To Fantasy was the last album from the classic period of the progressive rock band Uriah Heep. Future releases would be less commercially successful as they underwent several personnel changes. (US:85 UK:7)

“They still sound good this late into the game. This one includes significantly commercial sounding, synthesizer driven hard rock, but with substantially better song writing this time around.”

“It is one of the more lyrically straightforward, and overall less remarkable albums of Heep’s ‘70s output. While not a bad album by any means, it does a little too much genre-bending for its own good, which is quite the opposite of what the title promises. The title track is an absolute classic, with prominent, spooky keyboards, a galloping rhythm, and superbly imaginative lyrics.”

“The album opens with the roaring title track, which is simply one of the classic tracks that was ever recorded by the band, starting with a mid-tempo keyboard led intro, it soon explodes into a high speed, gothic masterpiece. Another under-rated track from this album is Shady Lady, a laid back boogie rocker that still has classic Heep qualities.”

“The songs are a blend of hard rock and progressive elements, the instrumental arrangements favoured organ backgrounds, and the vocals are mellifluous. Despite the title, the lyrics are more grounded in reality, in contrast to the swords-and-sorcery themes of some of their earlier albums. The title track is outstanding, and most of the rest are listenable.”

“This is an awesome Heep record. It does not sound quite like their older works but it still retains the fine style which made the band so special. Return To Fantasy has it all: ballads, epics, rockers and jumpy tunes.”

“There are some good tunes here, the title track gallops along nicely, even if I never really knew what it was all about. Shady Lady is probably my favourite as an all guitar duel, Devils Daughter is a good heavy typical Heep tune as is Beautiful Dream. So well worth a listen, as loudly as possible of course, it makes all the difference.”

Greatest Hits - DAWN****

Tie A Yellow Ribbon/Say Has Anyone Seen My Sweet Gypsy Rose/You're A Lady/Who's In The Strawberry Patch With Sally/You Say The Sweetest Things/Steppin' Out I'm Gonna Boogie Tonight/Candida/Knock Three Times/What Are You Doing Sunday/Summer Sand/Look In My Eyes Pretty Woman

Dawn were a lightweight vocal trio popular in both the US and UK in the early 1970s. They were created by Tony Orlando who enjoyed a brief solo career about a decade earlier. Tie A Yellow Ribbon was one of the biggest British hits of the Seventies. (US:16)

“Tony Orlando and Dawn were and are quintessential to the early seventies. I still get annoyed when people either rubbish or try to apologise for the seventies. We were there, it all happened and it was good.”

“I grew up in the 70s and loved this trio. My son was making fun of me when I bought this but I see him singing along when he thinks I'm not looking. Brings back memories.”

“Great album and great songs that I sang to in my youth. It also brings back memories of their television show that we watched as a family every week. You will definitely find yourself singing along before too long.”

“Dawn were the masters of melodic vocal pop and they really shine on their hits, especially Knock Three Times which is a brilliant piece of power pop. Overall, this album takes one back to a happier, more innocent era that evokes pleasant memories.”

“Tony Orlando was in his own words the first casualty of the British Invasion. Seeing changes in the air he simply got out of the recording business until the day he was asked to demo a song called Candida and the credits on the single read Dawn. This gave Orlando a second career which reached a peak with Tie A Yellow Ribbon. This music is a revival of sunshine pop and like anything successful has been much maligned by rock critics.”

Main Course - THE BEE GEES****

Nights On Broadway/Jive Talkin'/Wind Of Change/Songbird/Fanny (Be Tender With My Love)/All This Making Love/Country Lanes/Come On Over/Edge Of The Universe/Baby As You Turn Away

Main Course was the album that heralded a major change of direction for the Bee Gees, from pop ballads to disco. This move would bring immense success for the group over the rest of the decade. Features the game changing US No. 1 Jive Talkin’ plus top ten hit Nights On Broadway. (US:14)

“The falsetto starts coming out here, but it is not yet overdone and all of the tracks are soulfully arranged and brilliantly performed.”

“You might call this their first disco album, but really they seem to cover more ground than the casual fan may think. There is a bit of a country flavour, a bit of soul, a bit of R & B, some funk undertones here and there, and all manner of stuff. Even though this album showcases the brothers trying to move in a new direction, in my mind this is their best album from that period.”

“In many ways Main Course marks a meeting of the old big ballad influenced Bee Gees with the new soul style they were beginning to incorporate into their sound. It is possibly the Bee Gees best album because it has something for everyone from longstanding fans to a new audience who may be a little more contemporary minded.”

“The Bee Gees weren't wholly committed to disco yet. What you get here is a nice blend of music somewhere between their pop sixties music and the later disco days.”

“This album presents the Bee Gees at the top of their game. Their early pop/rock songs are married to their disco leanings, and also to the mostly overlooked country element in their music.”

“Main Course was a gamble. But it paid off. So much so, that it is likely the best studio album from the Bee Gees. It reflects the amount of time they spent updating their sound to the musical styles of that time without sounding like a copy. Better than that, everyone wanted to copy them! It is also the seminal album of their 1970s career. Nearly all their work that followed originates with these compositions.”

“This album contains significant musical advancements in the career of the Bee Gees. There's a new kind of beat and rhythm by the group, more of a funky, driving kind of beat, but not quite disco.”