Station To Station - DAVID BOWIE***

Station To Station/Golden Years/Word On A Wing/TVC15/Stay/Wild Is The Wind

David Bowie followed up his previous disappointing soul album with Station To Station. Whilst not as dire, it features some experimentalism, yet fails to deliver much in the way of memorable songs. Features the UK top ten hit Golden Years. (US:3 UK:5)

“There are funk influences on this album as well as some avant-garde elements. Every song on this album is good but the only one that I'd call outright excellent is Wild Is The Wind.”

“Station To Station takes the more appealing aspects of Bowie's previous Young Americans and twists them into something far more impressive, infusing them with an angular art rock that prefigures the experimentalism of the upcoming Berlin trilogy. The title track is unlike anything Bowie had previously recorded - a slow-building atmospheric epic that segues between multiple movements. The song certainly ranks among the finest of his career. The rest are equally impressive, especially the guitar-driven Stay.”

“The album is a continuation of the soul soaked Young Americans, but the style this time goes deeper into futurist theatricality. Station To Station is the sound of a man who has become comfortable with soul and funk, and has learned how to marry his musical fascinations of the time with his trademark moods and style.”

“Very difficult album to describe, clearly this is not glam rock, nor is it any type of disco, soul or dance music. Bowie's approach here is much less theatrical than on his earlier music but I'm not sure what to compare it to. There is an electronic feel to it but the vast bulk of the sounds come from traditional instruments.

“Bowie takes has taken a look at the plastic soul that he created and uses Station To Station as a platform to expand and improve it. Taking soulful fundamentals, he incorporates them into an experimental art rock format, unlike anything he's tried before. The end result is an anxious, bizarre piece of work.”

“The already established 'thin white duke' continued his 'fame' with the single release of Golden Years, a warm, but tepid dance song that introduced the fantastic Station To Station. The title track clocks in the lengthiest of his songs and provides a series of bridges and chorus changes that surpassed anything he had done to date.”

Native Sons - LOGGINS & MESSINA***

Sweet Marie/Pretty Princess/My Lady My Love/When I Was A Child/Wasting Our Time/Peacemaker/Its Alright/Boogie Man/Fox Fire/Native Son

Native Sons was the final studio album from the soft-rock duo Loggins and Messina. Kenny Loggins would go on to enjoy a successful solo career whilst Jim Messina’s would stall. (US:16)

“The instrumentation is often very good, especially with the addition of talented horns and wind instruments to the usual guitars and rhythms. The lyrics on occasion will make you wince or worse as both songwriters are capable of piling on the sentimentality. There is nothing really original here, although it is done quite well.”

“Over the course of their years together, Loggins and Messina released five albums of original studio material. The last of these, Native Sons, was by far the worst. As much as I loved the first four, listening to this lacklustre LP makes me think it really was time for these guys to go their separate ways.”

“Though it's not easy to say exactly what is wrong with this album, there are some clear differences from the earlier material. The resulting overall sound is much more rock lite. The country influences have been downplayed, the band seldom jams, the playing is almost never hot, and Messina's excellent guitar work is barely in evidence. Instead, we get more flute, less sax, more string orchestration. The songwriting doesn't hold up as well, although perhaps it is the arrangements that make me feel this way, rather than the songs themselves.”

“As a longtime fan of Loggins and Messina I have to admit that this record is their weakest. By the time this album came out, I am sure they were both working on different agendas. This is a tired album, no life and probably released to fulfil their recording commitment. There are some decent tracks, but nothing that really rocks.”

“This is a wonderfully underappreciated collection; melodic Loggins ballads side by side with Messina's longish rocking rambles.” “The material on this album is vastly different. Messina's writing is not the best, but all the Loggins songs show an artist at his peak of innovation, risk taking and expertise.”

Frampton Comes Alive! - PETER FRAMPTON***

Something's Happening/Doobie Wah/Show Me The Way/Its A Plain Shame/All I Wanna Be (Is By Your Side)/ Wind Of Change/Baby I Love Your Way/I Wanna Go To The Sun/Penny For Your Thoughts/(I'll Give You) Money/Shine On/Jumpin' Jack Flash/Lines On My Face/Do You Feel Like We Do

At the start of 1976 few would have predicted that the former Humble Pie guitarist Peter Frampton’s double live release would be the year’s top selling album in the USA, spending ten weeks at the No. 1 spot. (US:1 UK:6)

“Nearly all of it sounds like the same flimsy, inoffensive second-rate poppy rock song, except for his cover of Jumpin' Jack Flash which is truly bad.”

“There are a few standard songs that are OK, Show Me The Way, Baby I Love Your Way and Penny For Your Thoughts. The rest are forgettable except for some moments of good guitar work here and there.”

“Frampton is a fine live performer; he's got the whole package - great voice, stage presence, outstanding guitar, and the four-piece band sounds great. They are obviously having a good time, the audience sounds like they're in ecstasy, and it's almost impossible not to get caught up in the fun.”

“Anyone growing up with the rock and roll in the seventies knows what true popular music was. Musicians that toured regularly, worked hard, wrote and produced music, and could play an instrument. How different that is from today's popular music. This album shows an incredible performance, many songs becoming rock and roll classics. It is also an example of how hard work and a love for performing can translate into a wonderful piece of music history.”

“It's middle of the road rock that certainly won't offend anyone, perfect fodder for the masses, which is why it sold six million copies and stayed on the US charts so long.”

“This album sounded the death knell of rock & roll. While the album itself was good, its release marked the end of an era of free expression n the music industry, and led to a period where men in suits decided what we were going to hear on the radio.”

“His solo LP's were decent, but light affairs, so it was only natural that a talented guitarist would collect the best of those and punch it up for a live album. It came out of nowhere, and people to this day are still trying to figure out why, but it seemed to strike a chord with people.”

How Dare You - 10CC*****

How Dare You/Lazy Ways/I Wanna Rule The World/I'm Mandy Fly Me/Iceberg/Art For Art's Sake/Rock & Roll Lullaby/Head Room/Don't Hang Up

How Dare You was the excellent final album with the full original line up of the art rock band 10cc. Unfortunately, the Godley/Crème partnership would leave the group thus diluting the songwriting diversity. Features the UK top ten hits Art For Art’s Sake and I’m Mandy Fly Me. (US:47 UK:5)

“This one just gets better and better with each listen. 10cc, I'm beginning to realize, really were great; pop mixed with some fairly sophisticated musicianship. There is a quality to their playing that tells you they are not taking this too seriously either.”

“The last 10cc album with the original band members, How Dare You is a breathtaking collection of quirky, surreal, daring and beautiful songs. It boasts excellent arrangements and complex movements which take in several different musical styles within the same song. This shows four musicians revelling in their collective abilities, and I can think of no other band were every member contributes equally to the output.”

“10cc had mastered the art of balancing the conflicting demands of big hit singles with fiendishly clever art-rock albums. As commercial as glam rock, but still cleverer than the vast majority of prog-rockers, their formula worked, but it never made them any less ambitious or experimental.”

“The ultimate 10cc; reasonably avant-garde, enjoyably poppy and occasionally hilarious. Plus, wisely constructed and impeccably produced.”

“It's long been a mystery to me why music this well conceived, written, performed, produced, intelligent and thought provoking has not found a more substantial following. Maybe people feel somewhat overawed by the level of sophistication, wit and flair evident in their music, maybe they came across a tad too quirky for some tastes. Whatever the reason in my opinion that is such a shame.”

“It's got everything: it's catchy, funny, clever, weird, beautiful, all at the same time. The combination of Godley/Creme and Stewart/Gouldman had something both duos couldn't bring on their own. Here they can be heard together for one final time. It is a gold mine of pop hooks, melodies, clever lyrics, and good music in the British tongue-in-cheek tradition. Everything is here from the wistful to the bizarre, and I can't think of a better representation of 70s art rock.”

Desire - BOB DYLAN****

Hurricane/Isis/Mozambique/One More Cup Of Coffee/Oh Sister/Joey/Romance In Durango/Black Diamond Bay/Sara

The well received Desire was released during Bob Dylan’s Rolling Thunder Revue tour and features many of the backing musicians. Notable contributions are made by Scarlet Rivera on violin and vocals from Emmylou Harris. (US:1 UK:3)

“Hurricane, in fairness, is pretty great, but it's purely Hollywood - all scope and sweep and storytelling, and absolutely no attention paid to the realities underneath.”

“Dylan wrote and recorded Desire around the time of his Rolling Thunder Revue, and the album has a suitably ramshackle, gypsy-like vibe, with rootsy, acoustic instrumentation and the inspired choice of Scarlet Rivera on violin. The result is a collection of fine, melodic songs with their own unique sound.”

“Hurricane and Isis are brilliant and Sara provides a surprising and moving homage to his ex-wife, but the rest are leaden and uninteresting. The arrangements are too busy, the instrumentation too strident and the most important factor, Dylan's voice, is lost in the mix.”

“Desire is an album wrought with emotion and sincerity, right down to the melancholy arrangements, sensitive caterwauling, and quasi-liturgical feel. With the aid of both violin accompaniment and Emmylou Harris' vocals, this was arguably the most intimate side of Dylan yet.”

“A lot of the songwriting is pretty weak, but the atmosphere carries it and makes it a worthwhile listen. This is definitely one of being inside in a rainy day, weary yet comfortable. The violin of Scarlet Rivera and the backing vocals of Emmylou Harris contribute to this atmosphere just as much as anything Dylan is doing here. A good half of the songs are pretty good to be honest but Hurricane, One More Cup Of Coffee and Isis can't save the album from the drab dirge that is Joey, which feels painfully stretched out.”

“Classic in every sense of the word, the backing vocals and the violin parts are marvellous additions to Dylan's realist poetry. His maturity is obviously a crucial factor on this album.”

Head On - BACHMAN TURNER OVERDRIVE***

Find Out Above Love/Its Over/Average Man/Woncha Take Me For A While/Wild Spirit/Take It Like A Man/Lookin' For No. 1/Away From Home/Stay Alive

Head On was the last studio album to achieve a respectable chart placing for the hard rock group Bachman Turner Overdrive. Henceforward the kind of rock music dominant during the previous decade would gradually go out of fashion, replaced by very different musical styles. (US:23)

“Their formula for success was starting to wear thin. Although the driving dual guitar assault is still there, things are starting to become a bit repetitive.”

“Head On saw the introduction of jazz-tinged ballads along with BTO's patented hard rock. However, the record has its fair share of weak spots. Lookin' Out For #1 was a fine example of this, the group's sole entry on the easy listening circuit, that was hard to digest for hardcore fans.”

“Head On is probably the hardest BTO to rate because it's neither great nor awful. For every weakness here, there are strengths as well. What is clear is that this album marks the beginning of a stylistic change for the band. Subsequent albums would only continue to drift further from the blueprint BTO used to make their name. Most of this is paint-by-numbers but Average Man gets the nod here.”

“If you like hard rock this is packed with hard driving power chords mixed with beautiful melodies. All their best songs are not necessarily what you hear on the radio. If you've found yourself in a world of wimpy music dig this one up, listen to it loud, and you will remember what pure rock ‘n ‘roll is supposed to be.”

“This is a great BTO album that is unique in its song selections. Full bodied rock and roll with a touch of smooth jazz, featuring the hard driving Away From Home and the jazzy Lookin’ Out for Number One. While not as heavy as previously, this album is still excellent and shows a variety of song styles.”

“I love BTO, old school rock & roll from the good old days, when rock really existed. This band was quite underrated in their day, often criticized for their form or use of chords, when in fact all they delivered was hard hitting guitar riffs, catchy chords and choruses with great vocals. This LP is one of their less mainstream titles, but one of my favourites.”

Abba - ABBA***

Mamma Mia/Hey Hey Helen/Tropical Loveland/SOS/Man In The Middle/Bang-A-Boomerang/I Do I Do I Do I Do I Do/Rock Me/Intermezzo No. 1/I've Been Waiting For You/So Long

Swedish pop group Abba managed to buck the trend of one hit wonder Eurovision winners. This self titled third album featured the UK No.1 hit Mamma Mia and No. 6 SOS. They would dominate the British singles chart for the remainder of the decade. (US:174 UK:13)

“With the release of their third album Abba found that they were bucking the trend of being a one-hit wonder like the majority of Eurovision winners. Once they released the single SOS it was rags to riches for this euro-pop band that had hit on the perfect blend of cheesy banality with compositional sophistication. The world was hooked and from here on the hits were unstoppable.”

“This album is a huge improvement over the previous two with the much better songwriting and the diverse influences that make every single track stand out. The lead single I Do I Do I Do I Do I Do was a throwback to the European schlager music of the 50s with a soulful saxophone. The song Tropical Loveland has a tropicana meets reggae feel. Rock Me is a harder rocker and there's even an instrumental Intermezzo No. 1 that serves as an intermission clearly influenced by the symphonic prog keyboard wizards.”

“Following to their Eurovision Song Contest victory, Abba were one of the rare winners able to pursue an international very successful career. I have never been a big fan of this band, finding them too commercial with vocals too much ripped of from The Mamas & The Papas but with far less skill. Here excepted for the wonderful SOS and the listenable Hey Hey Helen, all the rest are utterly mediocre, bombastic and noisy.”

“Abba was always about the poppy melodies. And there are many of these here. Nearly every song could have been released as a single.”

“This album has everything - ballads, energetic pop songs, instrumental classic music, operatic vocals, and even some jabs into the rock world. It really couldn't be more classic Abba if it tried.”

“It is true that this LP shows a group still looking for their own identity. But here, Abba are starting to find their sound. SOS is widely considered as a milestone in this perspective.”

Aftertones - JANIS IAN***

Aftertones/I Would Like To Dance/Love Is Blind/Roses/Belle Of The Blues/Goodbye To Morning/Boy I Really Tied One On/This Must Be Wrong/Don't Cry Old Man/Hymn

Aftertones was the follow up release to singer songwriter Janis Ian’s surprise US chart topper. Her brief spell of commercial success in the mid 1970s ended with this one as future albums charted much lower. (US:12)

“In the mid 70s she was in her prime, but doing this album was a bad idea. It suffers from outdated arrangements, lack of intensity, unimaginative lyrics and filler.”

“Tracks such as Boy I Really Tied One On were my introduction to Janis Ian so it's maybe for that reason that this album is still my favourite. I later read that she was struggling to come up with new material to meet the recording deadline, but to my ears it stands up as a fully realised album with no filler.”

“Janis' poetic imagery combined with her musical genius to create an album you'll never tire of listening to. Each song has its own magic and portrays her true-life vulnerabilities so deliciously.”

“This album did not receive much critical or popular acclaim when released, but has some amazingly excellent writing on it. The harmony on the song Hymn alone is worth it, but you won't be disappointed with her obvious talent in singing and writing blues. Her sense of humour shines through on Boy I Really Tied One On. A few songs foreshadow her struggles and disillusion with the music business, and the angst of the performer has always been a theme for her. There's real quality work here.”

“One of the better albums from a master song crafter, with fabulous arrangements and engineering, horns, strings, jazz and blues influences. With salsa, and torch songs such as Love Is Blind, I never tire of this album.”

“I don’t think there are any songs here that grab you emotionally in the way that Janis Ian’s best do. A few of the songs seem like poorer versions of earlier better songs. Most of the songs are fairly gloomy as she only takes a positive perspective in one or two songs.”

Elite Hotel - EMMYLOU HARRIS****

Amarillo/Together Again/Feelin' Single Seein' Double/Sin City/One Of These Days/Till I Gain Control Again/Here There & Everywhere/Ooh Las Vegas/Sweet Dreams/Jambalaya/ Satan's Jewel Crown/Wheels

Like her previous releases country singer Emmylou Harris’s critically acclaimed third album Elite Hotel is comprised of covers, featuring traditional tunes and some new material. (US:25 UK:17)

“Emmylou Harris has the most beautifully powerful voice, and on this set covers a wide range of music from the lively Ooh Las Vegas, the quite beautiful Sweet Dreams and even a Beatles cover. Curiously, three tracks are recorded live.”

“For me, Elite Hotel is where Emmylou Harris crosses over from someone with potential to someone exercising that potential. While not perfect, and an album composed entirely of cover songs, Harris' voice and emotional intensity once again wins out.”

“A beautiful voice and some great performances both vocal and instrumental add up to a fantastic, worldly yet spiritual album.”

“Great interpretations of classic country and rock songs by the rare singer who's voice matches up to her physical beauty. Backed by the excellent Hot Band, Emmylou exudes a sort of dewy innocence, even when singing world-weary songs of heartache and drinking. It makes the sadness all the more palpable, because you want such purity sheltered from the evils of the world.”

“An inspired mix of honky-tonk country and rock & roll, with Emmylou's superb voice in total control of her Hot Band of stellar musicians. Emmylou's voice is intoxicatingly crisp, clear and clean.”

“One of the finest voices around. She's a top class singer, and a true artist that follows her heart when she makes music, rather than thinking about dollars. I have a deep respect of her as an artist.”

“It showcases Emmylou's voice in a breathtaking balance between tenderness and tenacity, humility and grit. As good as it sounds on the first hearing, this album still grows on one.”

Northern Lights Southern Cross - THE BAND****

Forbidden Fruit/Hobo Jungle/Ophelia/Acadian Driftwood/Ring Your Bell/It Makes No Difference/Jupiter Hollow/ Rags & Bones

Northern Lights Southern Cross was the last commercially successful studio album from The Band which the critics also judged to be their best for many years. (US:26)

“The Band always managed to blend a variety of influences into their albums, and this takes it to the next level. While this does have the overall Band feel, it also manages to jazz it up with Ophelia and, with synthesizers, songs like Jupiter Hollow almost sound like progressive rock.”

“The songs were a little longer than usual but only eight tracks were included. In this case brevity translated into excellence as Northern Lights Southern Cross would be The Band’s last truly superior studio album.”

“This is a great Band record, the last time they achieved that together in the studio. It updates rather than retreads the sound of previous successes, and features a set of killer songs, at least three of which are regarded as classics.”

“It really is a good comeback. Robertson injects some actual heart into his songs for the first time since Stage Fright, and some ridiculously gnarly guitar as well. Superb performances from the rest of the crew as well.”

“This is their swan song, a very mature sounding collection, and there's not a weak track among the bunch.”

“Not every song is a classic, but there are enough of them here to let Northern Lights Southern Cross hold up with the rest of The Band's amazing catalogue. The classics include Ophelia a fun number that chugs along well, Acadian Driftwood where the band regain their storytelling form, and my favourite It Makes No Difference, one of Rick Danko's most heartfelt and beautiful songs.”

“I love the way these songs flow seamlessly from one to another. The songs all deal with loss, upheaval, movement, endurance, cycles of joy and sadness, all beautifully pieced together.”

Fish Out Of Water - CHRIS SQUIRE****

Hold Out Your Hand/You By My Side/Silently Falling/Lucky Seven/Safe (Canon Song)

Fish Out Of Water was the well received sole album release from the Yes bassist Chris Squire, released at a time when his band was taking an extended break. (US:69 UK:25)

“Whereas most bass guitar players are happy to sit in the background, looking cool and providing a needed bottom to the sound, Squire was always out front, with triple-necked bass guitars and frequent solos. Rather than treating the bass like a background instrument, Yes always gave it equal time with the guitar.”

“The only album by Yes bassist and founding member Chris Squire, recorded at a time when all members took a break from group activity and recorded solo projects. This is a very ambitious undertaking, involving a large orchestra and a group of musicians playing music composed by Squire. He plays bass and sings lead vocals (his voice sounding remarkably similar to Jon Anderson). The result is a classic prog album, perhaps one of the last classics of the golden decade and certainly more interesting than anything Yes as a group were doing at the time. The compositions are concise, but nicely developed, and there is none of the extravagant (and often pompous) typical Yes prolongation and repetition. All the players do a splendid job and Squire’s bass, often in the lead, is powerful and impressive.”

“This is a wonderful symphonic rock album fully achieved, with beautiful passages of English classic music, delightful melodies, strong passages of aggressive rocking plus changing tempos from hard ones to others highly lyrical.”

“Chris Squire gives us a very convincing album of five solid, interesting and alluring compositions. The music is muscular, with the deliberate and pointed accents so typical of 70s progressive fare. There is plenty of tasteful time signature trickery and the basic rhythm section lacks for nothing. The lead vocals have character and the harmony vocals are strong, and simply beautiful. An orchestra is used in certain sections and are unobtrusive and work, much like a keyboardist would, to colour passages and bring added emotion where appropriate. Nothing here is sappy or commercial; this album is in very good taste throughout.”

“It's not easy for a bass player to record a solo project. The temptation is to make your instrument dominant on the album. Luckily he doesn't give into that temptation, and instead draws the perfect distinction between out front, and overpowering.”

Numbers - CAT STEVENS*****

Whistlestar/Novim's Nightmare/Majik Of Majiks/Drywood/Banapple Gas/Land O' Free Love & Goodbye/Izero/ Home/Monad's Anthem

Cat Stevens returns to form with Numbers, a collection of melodic songs for which he was a master. Sadly this was his last worthwhile album as he would soon withdraw from the world of music to pursue a religious obsession. (US:13)

“This one needs time to grow on you, but it turns out to be his most mature and complete album.”

“If you're a Cat Stevens fan you'll probably enjoy this. Though there are no hits, there are plenty of decent songs.”

“This is a truly overlooked masterpiece. I can listen to it over and over again and never get tired at all. From the very first song you are taken on a journey, through sounds and music. Novim's Nightmare is certainly the finest piece in the album and one of his best songs, mysterious and gentle with a great production. Jzero is such a lovely piece and Home is beautiful. This album has no filler; you can just push play and be sure you will enjoy every single track.”

“It's a fantastic mixture of complicated music theory. It uses unusual chord progressions, changes in metre, changes from major keys to minor keys, and mixes many different kinds of unusual instruments. He makes the guitar sound like a harp interweaving the melody with the piano, vocals and other instruments. Plus, my favourite Cat Stevens trademark - lots of syncopation, not only achieved in the vocals, but all of the other instruments as well.”

“It's one of my all-time favourites because of its esoteric references and easy-listening yet unique tunes. Cat Stevens has always been searching for unifying concepts to sing about and keeps finding mirrors reflecting illusions of other mirrors. It's fun and not serious but it is deep.”

“Numbers is probably my favourite Cat Stevens album. So much on here is pensive and thought-provoking. I think my ultimate favourite, and one I turn to when I'm feeling especially low, is Home. You really wish you lived in that place. This seems to have been a concept album, back in the days when Stevens was still trying to figure out who he was. I believe it needs to be in everyone's music library.”

Greatest Hits - HELEN REDDY****

I Am Woman/I Just Don't Know How To Love Him/Leave Me Alone(Ruby Red Dress)/Delta Dawn/You & Me Against The World/Angie Baby/Emotion/Keep On Singing/Peaceful/Ain't No Way To Treat A Lady

The singer Helen Reddy enjoyed considerable popularity in the USA during the early 1970s. She had a distinctive voice and is best known for her barnstorming feminist anthem I Am Woman. (US:5 UK:5)

“Her voice was pleasant, her songs were usually pleasant, the arrangements were pleasant, even cover pics were pleasant. But it seems that there are too many pleasant adjectives for this artist.”

“Why has history forgotten this woman? I remember one critic claiming that he kept a picture of her on his wall after I Am Woman came out. He also sadly recalled taking it down after hearing some of her lesser later efforts; but, me, I dig Angie Baby for its weirdness, and generally like the comforting tone of her voice.”

“These songs were a nice representation of Reddy's best up to 1975 (and since by all accounts). Overly dramatic for sure, but she had a decent voice for this type of material.”

“During the explosive early days of the women's liberation movement, this dynamic singer dived head first into the controversy, becoming an outspoken advocate on this emotionally charged issue. However, no matter what anyone thought of her politics, no one could deny that Helen Reddy was a superior songstress, possessing a vibrant voice and a dynamic delivery. Her music remains as magical today as the day it first hit the airwaves.”

“Helen Reddy is someone I remember from my teens. Her song I Am Woman won my heart, and became the anthem of the feminist movement, and I still like it today. It's a song about having strong self-esteem and taking your place in the world.”

“It is a rare thing these days to turn on the radio and hear actual talent. More and more ‘singers’ are cropping up every day, but none have that rare ability to sing a song so powerfully and yet so naturally. I think that Helen Reddy is probably one of the very few left that have that kind of talent.”

“Helen Reddy was not a dynamic influence on popular music. She was a barely passable singer with some interesting footnotes to early 70s pop. Some of these songs may bring back memories but let's not pass them off as anything but pop fluff.”

The Hissing Of Summer Lawns - JONI MITCHELL***

In France They Kiss On Main Street/The Jungle Line/Edith & The Kingpin/Don't Interrupt The Sorrow/Shades Of Scarlett Conquering/The Hissing Of Summer Lawns/The Boho Dance/Harry's House-Centrepiece/Sweet Bird/Shadows & Light

With The Hissing Of Summer Lawns Joni Mitchell moves away from her folk roots to incorporate into her songs an increasing jazz influence. Her innocent outlook has been replaced with a more inaccessible sound. (US:4 UK:14)

“Her lyrics are particularly perceptive here, and she delivers them in that conversational style she was beginning to gravitate towards. The great thing about this album is that it keeps surprising you even after a number of listens. Every nuance you discover earns the record a deeper level of respect.”

“Throughout the decade of the 70s, Joni Mitchell could simply do no wrong in a recording studio. Hissing Of Summer Lawns could very well be the best of the bunch. The music is simply beautiful, and the lyrics are brutally honest in their portrayal of the futility of pursuing the material over the tangible, the image over substance. This album shattered the Yuppie dream before the Yuppie dream existed. If more people had listened, the 80s may have turned out differently.”

“Joni takes aim at suburban alienation in this rather lyrically pointed release, which also features some pretty wacky experimentation. The first impression is that her music has gone a bit cold - the trademark ringing open chords are gone, replaced by off-kilter jazz influenced arrangements that sometimes lurch jarringly into experimental sections.”

“One of the most daring music experiments of her career, and for the most part it pays off. Here we see a substantial shift in her work, from self-reflection to observational, symbolic social commentary.”

“This album continues Mitchell's transformation from a simpler, sparser songwriter into a much more urban-style lyricist and musical arranger. There is a more uptown jazz style creeping in than ever before - but there's plenty of variety along the way. The lyrics are nice, but the melodies aren’t particularly memorable.”

“It may not be as accessible as Ladies Of The Canyon, but this album stands out for its spirit of innovation. It truly sounds like nothing else that pop music produced in the 70s. Overall this is more rocking that her earlier, more folk-oriented releases, but it also pushes the envelope into jazz and world music.”

A Night At The Opera - QUEEN*****

Death On Two Legs/Lazing On A Sunday Afternoon/I'm In Love With My Car/You're My Best Friend/'39/Sweet Lady/Seaside Rendezvous/The Prophet's Song/Love Of My Life/Good Company/Bohemian Rhapsody/God Save The Queen

Queen hit the big time with the release of A Night At The Opera. It contains a very diverse range of tracks that reflect the group’s creativity. Topping it all is their best known song Bohemian Rhapsody, a UK No. 1. (US:4 UK:1)

“The apex is the operatic Bohemian Rhapsody, always talked about as being one of the greatest songs ever recorded, and for good reason. Aided by Mercury's incredible vocals, and May's excellent guitar work in the heavier sections, it certainly qualifies as an all time epic.”

“Queen often go from pop-rock anthems and simple songs, to musical genius and some of the best writing in rock music ever heard. But either way the music is great. This album has some of their best stuff.”

“The vocals are what set A Night At The Opera apart as something special. Mercury had an amazing voice, and he applies layer upon layer of overdubs on every track to multiply the impact of its power and range. Most bands with progressive tendencies downplay the vocals to draw focus to the instruments. Queen, on the other hand, treated the vocals as another instrument that could be used to blow listeners away, the same way a great guitar solo or complex riff might be used. They had no qualms about putting effects on vocal tracks to create a certain sound or feeling.”

“Although Bohemian Rhapsody is the Queen song that almost every person on the planet knows, the album that it is taken from offers many other varieties of tracks. They combine classical sounds with a rock & roll inspired outlook. It's difficult to see exactly which direction the band is taking, but I believe that they were still experimenting at this stage. All in all, a great rock album, one that got me hooked on the Queen sound. It has a little bit of everything for many different musical tastes.”

“This is probably the best representation of Queen's early sound. It's definitely their most cohesive and developed, as their previous albums were a bit more scattered and experimental. A Night At The Opera, however, was when Queen really broke through to the general public and made them one of the 70s most enduring bands.”

“On this album Queen goes from hard rock to vaudeville, folk, pop and progressive rock and they do it all brilliantly.”

Crisis? What Crisis? - SUPERTRAMP*****

Easy Does It/Sister Moonshine/Ain't Nobody But Me/A Soapbox Opera/Another Man's Woman/Lady/Poor Boy/ Just A Normal Day/The Meaning/Two Of Us

The British progressive group Supertramp continued their musical renaissance with the release of Crisis? What Crisis? At a time when many established groups began to falter they went from strength to strength. (US:44 UK:20)

“A perfect balance between the more progressive early albums and the poppier later albums and it includes some of their best songs.”

“I think it's to the credit of Supertramp that they didn't aim at doing another heavy-weighing concept piece and instead tried to loosen up a bit. Focussing on a less cohesive collection of songs that clearly show the origins in which their two different writers were rooted. Many of the songs have a distinctive fun approach meant to entertain the listener. Instead of digging into the deep, though there were ethereal tracks and ballads about the meaning of life as well.”

“This is classic Supertramp, often overlooked because of the greater commercial success of their earlier Crime record, and then their subsequent blockbusters. Crisis? What Crisis? is an important and transitional album, where we can hear the genesis of future Supertramp hits.”

“What it proved was that Crime Of The Century was no one-off fluke and that Supertramp had an element of staying power. While many of the prog giants of previous years either stumbled or went into hibernation, Supertramp were well placed to take advantage and establish themselves on the world stage.”

“This is the most musically dense of the Supertramp releases. The complexity of the arrangements and production give the band more muscle than is evidenced elsewhere. There is also a greater emphasis placed on guitar work. Some of their finest and more fully realised compositions are present as well.”

“This is a great assortment of catchy pop tunes, jazzy piano and guitar riffs, and original melodies sure to please. It takes some time to grow on you, but it's definitely worth it.”

Captured Angel – DAN FOGELBERG***

Aspen-These Days/Comes & Goes/Captured Angel/Old Tennessee/Next Time/Man In The Mirror-Below The Surface/Crow/The Last Nail

Captured Angel was the third album from singer songwriter Dan Fogelberg who would enjoy increasing commercial popularity in the USA as the seventies progressed. (US:23)

“Far and away, Fogelberg's finest album, with no theatrics or over produced schlock, and lyrics that are really quite good. Crow is the best cut with excellent lyrics, and a guitar driven beat. When Fogelberg pulls back the reins on his high tenor voice, the results can be very good, and for the most part he does so here. The idea of melding the songs Man In The Mirror and Below The Surface works very well.”

“I especially like this album because of the song The Last Nail. Dan puts so much emotion and personality into all his songs. You can identify his real life experiences in many of the songs.”

“This incredible album helped to propel Dan Fogelberg's popularity in the late 1970s, and provides terrific testimony to his talents, and proof positive that he was one of folk-rock's most under-appreciated artists. From the stirring and dreamy opening instrumental of Aspen to the segue into the complex and quite accomplished lyrics of These Days this album showcases Dan's wide range of songwriting, musical, and arrangement skills. He tends to favour a very full wall of sound approach to his music, with sometimes overproduced arrangements. In this case, however, the songs are clear, crisp, and simply terrific.”

“Dan's crystal-clear angelic voice, acoustic guitars coupled with orchestral arrangements, and haunting songs make for a great album by a terrific songwriter.”

“What a pleasant surprise to discover that these songs are not only as good as Dan's later and more famous material, they might even be better. Tremendous guitar playing, soulful vocals, lyrics that actually have something to say, this is the sound of an artist truly coming into his own. The songs are absolutely wonderful, a great mix of ballads and rockers.”

“A true 70s classic, with beautiful melodies, profound lyrics, and not at all sappy like much of his later work.”

Voyage Of The Acolyte - STEVE HACKETT****

Ace Of Wands/Hands Of The Priestess Part 1/A Tower Struck Down/ Hands Of The Priestess Part 2/The Hermit/ Star Of Sirius/The Lovers/Shadow Of The Hierophant

Voyage Of The Acolyte was the solo debut album from the Genesis guitarist Steve Hackett. Kept in the shadows by Peter Gabriel, this release provided evidence that there was more to the group than the now departed front man. (US:191 UK:26)

“Anyone who is a fan of the Genesis mid to late '70s material would like this one as well. A definite Genesis album in everything but name, though missing some of the versatility that comes from having multiple songwriters.”

“It's a really concerted effort to show what he could do on his own independent of Genesis. While it has many of the hallmarks of the Genesis sound it also shows him broadening out in ways that he probably wasn't able to as part of the group. Unfortunately, it also lacks something that Genesis had; he indulges a bit too much in a pseudo-classical sound at times which I find rather tedious.”

“Recorded by Steve Hackett with some Genesis pals in tow whilst the band were deliberating over their post-Gabriel direction, Voyage Of The Acolyte is a brilliant showcase for Steve's skills - both as a guitar player and as a songwriter. I don't think it's a classic from beginning to end but it is packed with great music, from the super-complex Ace Of Wands to the magnificent outro to Shadow Of The Hierophant.”

“This is rightly considered one of the masterpieces of progressive rock. It has the whole spectrum of the genre - great, unpredictable arrangements, esoteric lyrics, manic instrumental sections, astoundingly beautiful moments and the drama of classical-like build-ups. In order to perform prog rock, you had to possess the skills to pull off a wide range of musical moods.”

“The greatest Genesis album that Genesis never did. This is almost a Genesis album under the Steve Hackett name. Mike Rutherford and Phil Collins both play major parts in this production but the star of the show is Hackett's fluid and virtuosic guitar. The album's tracks are named after, or with reference to, the Major Trumps of the Tarot card deck, so in that respect it's also a concept album, something Genesis fans are quite familiar with."

"A striking debut from guitarist Steve Hackett, who at the time was a somewhat disgruntled member of Genesis looking to record all of his unused tunes.”

The Rocky Horror Picture Show - SOUNDTRACK****

Science Fiction - Double Feature/Dammit Janet/Over At The Frankenstein Place//The Time Warp/Sweet Transvestite/I Can Make You A Man/Hot Patootie-Bless My Soul/I Can Make You A Man (Reprise)/Touch-A Touch-A Touch Me/Eddie/Rose Tint My World/Floor Show/Fanfare-Don't Dream It/Wild & Untamed Thing/I'm Going Home/Super Heroes/Science Fiction-Double Feature (Reprise)

The Rocky Horror Picture Show was based on the stage show with music and lyrics by Richard O’Brian who also appears in this kitsch and camp cult movie. Notable for the debut of the rock singer Meat Loaf. (US:49)

“This is one of the very few soundtracks I could listen to from start to finish. It's not trying to pretend to be something it isn't. It's cheesy but fun and I think all the cast play their characters really well. There are a few weak points, like I'd be quite happy if Meatloaf didn't make an appearance, and a few of the songs are overexposed but that doesn't lessen the enjoyment.”

“Almost every track is memorable and those that aren't are still really good. Even without ever seeing the movie, the album can still play like an ingenious concept album.”

“Anyone can do kitsch but, doing it well is not easy. This one, though, works incredibly via the enthusiasm and belief in the outlandishness of what they're interpreting that's evident from everyone involved. It's fast, funny, kooky, crazy and entertains.”

“Campy is an overused adjective, but it can't possibly be used enough when describing this record. Still, if thousands can sing along line for line, that must count for something.”

“The stunning thing about The Rocky Horror Picture Show soundtrack was not how accurate it is as a send up of seventies pop culture, but how, despite that, it stands on its own as a really good rock record. It is funny, but also, bombastic, funky, swaggering and even moving in places. For all its splendour, there isn't a great deal of rock music from the time (or for that matter since) which can match it.”

Zuma - NEIL YOUNG***

Don't Cry No Tears/Danger Bird/Pardon My Heart/Lookin' For A Love/Barstool Blues/Stupid Girl/Drive Back/ Cortez The Killer/Through My Sails

For Zuma Neil Young reunites with his backing band Crazy Horse. However, the end result is disappointing as the songs on this album are a long way off his best work. (US:25 UK:44)

“Zuma is yet another strong album and I love the style. It really exemplifies how American rock music should have sounded in the mid-seventies. Here we have a great blend of rock guitar and sentimental songwriting.”

“Zuma opens with Don’t Cry No Tears which is an almost effortless up-tempo rock number and one of Young’s catchiest songs. It is followed by the superb Danger Bird, one of my favourite down-tempo guitar tracks. One of the things that makes Young stand out from your average rocker is the combination of complex lyrics and complex musicianship. I love the imagery he conjures up and both aspects contribute equally.”

“Zuma feels like Neil Young trying to return to more folk oriented music, after going into more soft rock/blues on his previous few albums. This is a pretty relaxing, but in no way as great as his previous albums.”

“Throughout his career there have been two sides to Neil Young: an acoustic side with lovely harmonies and elements from folk and country, and an electric side with heavy rockers and long guitar solos. This album with Crazy Horse features both.”

“After the darkness and bitterness of its predecessors this marks a clear lifting of mood. Comparatively lightweight, and with a more country tone, it gets positively jaunty in parts. Of course Cortez is positively monolithic and to some extent overshadows the other songs here. A must for those who love Young's shambling guitar solos, as I do.”

“Lyrically, he has moved away from the bleak outlook on his previous albums. The main thematic element here is lost love, but not mourning about it, the general sentiment seems to be a readiness to move on to the next relationship.”

“Crazy Horse are back on board, there's a pair of lumbering epics, but Zuma is only a fair to middling Neil Young album.”

Come Taste The Band - DEEP PURPLE***

Comin' Home/Lady Luck/Gettin' Tighter/Dealer/I Need Love/Drifter/Love Child/This Time Around-Owed To G (Medley)/You Keep On Moving

Come Taste The Band was the last Deep Purple studio album for nearly a decade. With three of the classic line up absent, critics dismissed it for its mediocrity and flirtation with a funky sound. (US:43 UK:19)

“Whatever this is, it's not Deep Purple. What we have here is a pale shadow of a once great hard rock band. Come Taste The Band has some good points but ultimately doesn't cut it if you're looking for some serious hard rock.”

“I love Deep Purple but David Coverdale, Glenn Hughes and Tommy Bolin are not Deep Purple. Not even close! Ian Paice and Jon Lord must have wished they could wear brown paper bags over their heads. Actually this is not bad rock and roll with some nice guitar.”

“This is completely forgettable safe hard rock that doesn't suck but also doesn't really rock hard enough either. It’s the very definition of an unoffensive hard rock album you'd play in the background.”

“Blackmore has jumped ship and the awesome Tommy Bolin steps in much to the delight of Glenn Hughes who now had a partner in funk to work with. Gettin' Tighter is a great example of this with it's all out funk freak out mid section.”

“Deep Purple hit rock bottom here; this was scraping the very bottom of the barrel. It is tired, uninspired and formulaic paint-by-numbers rock.” “Not bad but far from their peak in the early 70s. Here they sound much more like a funk band with hard rock elements. Bolin and Hughes were the ones to blame in the end and not Coverdale who always had a magic voice. Still a good album, if only for the last two tracks.”

“My hopes were not too high when a Deep Purple album was released without guitar hero Ritchie Blackmore's name attached. Still, as a Purple fan I dared to purchase it, knowing little of the now revered guitarist Tommy Bolin. I quickly found Come Taste The Band as heavy-hitting and well written as any of the classic Purple albums. Bolin's ability to pen a catchy riff equal Blackmore's, and the combined voices of Coverdale and bassist Glenn Hughes never sounded as clear and enthusiastic.”

Ommadawn - MIKE OLDFIELD***

Part One/Part Two

Ommadawn was so similar to its predecessor Hergest Ridge that it is difficult to distinguish them. Both comprise lengthy suites of bland instrumental music, with the oddity On Horseback stuck on the end of this one. (US:146 UK:4)

“Not as strong as Tubular Bells, understandably. The album tends to meander instead of build and is not among Oldfield's best. On Horseback is a strange enough song to merit a mention and is the best piece of music on the album.”

“A very lovely balanced progressive album with strong folk inspirations and a spiritual, very meditative atmosphere to it. Not too long, but still filled with variety and pure genius material. Soft, smooth and relaxing, with a good sense for melodies and sound to help the listener into a very comfortable state of mind.”

“I like the pastoral folky feel better than the pretensions towards classical of his debut, as alarmingly ambitious as it was. This is a less show-off work and has a lot of charm going for it, as exemplified by the closing On Horseback section.”

“The two sidelong tracks epitomize what orchestral folk-rock should sound like, built around several traditional instruments, keyboards, vibes and Oldfield's soft electric touch on guitar. Great musical development with excellent melodies and folky soundscapes with the guitar being omnipresent and the album containing influences from Celtic, African and Mediterrenean music.”

“Although some may call it new age, little in that genre has produced anything as exciting or uplifting as Ommadawn. Oldfield certainly had a knack for melodies, which he would then repeat and augment with chanted vocals, African percussion, Irish folk instrumentation, acoustic and electric guitars, or anything else that caught his fancy. The backwards sound mosaic that opens side two has an especially moving pull to it.”

“It is visionary music with all the best qualities of lengthy instrumental pieces. The last five minutes of part one are truly inspiring, building to the perfect climax. Part 2 is quite good as well, but it starts out a little slow and suffers somewhat in comparison.”

“He combined the Celtic influence with his virtuosic signature guitar playing and actually made one of the finest instrumental tracks I have yet heard.”

Rock Of The Westies - ELTON JOHN***

Yell Help-Wednesday Night-Ugly (Medley)/Dan Dare (Pilot Of The Future)/Island Girl/Grow Some Funk Of Your Own/I Feel Like A Bullet/Street Kids/Hard Luck Story/Feed Me/Billy Bones & The White Bird

Rock Of The Westies was a quick follow up release from Elton John and it showed. It was his first album of original material that was below par, saved only by the excellent US No. 1 hit Island Girl. (US:1 UK:5)

“Plenty of energy in the performances and the band are once again very good. The songs mostly don't pass muster although Island Girl is a nice slice of reggae pop.”

“This album certainly is a disappointment with too many filler songs. There are however two perfect tracks, Island Girl and my favourite Hard Luck Story. But overall, I would say this is the weakest album of the classic years era.”

“This album is where Elton start losing the touch and begin making poor albums pretty much until 1983's Too Low for Zero. But that is entirely forgivable considering the quality albums of original material from 1970-1975.”

“This is where the law of diminishing returns begins to set in for the songwriting duo; hardly surprising when you consider the number of albums crammed into six years. The better stuff is as good as ever, but there is a surprising number of clunkers, and the second side in particular is hard going.”

“Most of Elton John's albums to this point in his career followed pretty much the same formula: little or no filler, a core of average to very good songs, and at least one or two truly transcendent songs. With Rock Of The Westies, there is some filler, and some average to good songs. But absent for the first time are memorable, transcendent songs.”

“This album is the weakest Elton album so far and gives the impression that he really doesn't care here. The only catchy melody is Island Girl, while the rest sound like ugly improvisations. Still, the songs aren't a disaster, but this album is only for die hard fans.”

“Elton John's career took a downward turn here following the break-up of his best band. A new band was assembled for this album but was less suited for Elton. This rocks harder than his other albums but the songwriting seems as if it was rushed.”

Siren - ROXY MUSIC****

Love Is The Drug/End Of The Line/Sentimental Fool/Whirlwind/She Sells/Could It Happen To Me/Both Ends Burning/Nightingale/Just Another High

Siren was the final early 1970s album from the art rock band Roxy Music. It would be four years before the next release when Bryan Ferry would take them in a more pop direction. Features the pounding UK No. 2 hit Love Is The Drug. (US:50 UK:4)

“This is certainly as mainstream as art rock gets without ceasing to be art rock. It's accessible, often danceable and relatively catchy. It features little of the overt weirdness associated with early Roxy Music. It's just mainstream, good pop-rock. Ferry is a decent writer, his lyrics are fine and his melodies are interesting enough, and there's saxophone and violin to keep things slightly off kilter.”

“Like its predecessors, Siren is rooted in art rock and glam, but unlike those albums, more funk and soul elements have been incorporated and much of the angular arrangements and experimentalism have been sanded down to a smoother sheen.”

“Roxy Music's least experimental album to date finds Bryan Ferry in a contemplative mood that lends thematic strength to the strong set of melodies. Virtually every track is a winner, whether it is the pulsing Love Is The Drug or the winding Sentimental Fool.”

“Perhaps Roxy Music's most pop-oriented album to date. Siren significantly moved away from the fresh innovative avant-garde experimentalism that dominated their first two albums. Though less satisfying artistically this is still is an intriguing listen.”

“This version of Roxy Music lacks the artistic verve of the band that made earlier albums, but it is also hard to argue against the quality. Ferry sings better than ever and the tracks are consistently strong. Best of all, after so many songs about dancing, here is a Roxy record that actually makes you want to dance. Love Is The Drug remains the band's funkiest moment.”

“Siren is a combination of rock and very melodic pop. Which might not sound like a very infectious or exciting listening experience but it is done so well. If you want a solid batch of classic and listenable pop melodies that will not insult your intelligence but will please your ears over and over again, Siren like its namesake is irresistible.”

Face The Music - ELECTRIC LIGHT ORCHESTRA****

Fire On High/Waterfall/Evil Woman/Nightrider/Poker/Strange Magic/Down Home Town/One Summer Dream

Face The Music was where ELO continued their transition from a classically inspired progressive band into a commercially successful pop supergroup. Featuring Evil Woman a top ten hit in both the US and UK. (US:8)

“This is where ELO really begins to develop into a commercially successful band, with much more pop weaved into the orchestration. I love this album but it is really the end of the experimental symphonic stuff that I liked the most.”

“Very smooth and soft symphonic rock, with a bunch of progressive and art rock influences as well. The material is well written and tightly performed, but at times it gets a bit boring, as some elements do tend to sound a bit repetitive.”

“This is a fantastic set of songs, particularly the crashing drums and irresistible groove of Nightrider, and the ridiculous approximation of Brits executing a hoedown in Downtown Home Town. Violins shriek, clavinets pout, strings swell, moogs send out funky rhythms, all the while Lynne and his backing muses roaring along, coming into their own distinctiveness. ELO are now unstoppable.”

“Face The Music sees the band moving in a much more commercial direction, with songs such as Evil Woman being well-crafted pop. The more progressive and classically-influenced pieces seem lacklustre and unenthusiastic, as though ELO were simply going through the motions of providing something for their prog audience but didn't have their hearts in it. This is a transitional album which won't impress those who liked their earlier, more progressive material, and has too much filler to be good value to fans of their pop period.”

“The face of radio was changing and by this time FM as a format effectively ceased to exist. Many bands began changing their styles, leaving the excesses of progressive rock behind them in a bid to become more commercial.”

“Face The Music presents a fine synthesis of pop and classical music. Merging rock and classical music was a brave and interesting move back in the 70s but it unfortunately had no real staying power as evidenced by Jeff Lynne jettisoning the string arrangements. Despite that shortcoming, this album is worth a listen.”

Still Crazy After All These Years - PAUL SIMON*****

Still Crazy After All These Years/My Little Town/I Do It For Your Love/50 Ways To Leave Your Lover/Night Game/Gone At Last/Some Folks Lives Roll Easy/Have A Good Time/You're Kind/Silent Eyes

Paul Simon maintained his creative streak with the Grammy winning album Still Crazy After All These Years. It features the reunion song with Art Garfunkel My Little Town which was a US No. 9 hit. (US:1 UK:6)

“There are some great songs and classics on here. There is the reunion song between him and Garfunkel, which is a pretty good. If in the right mood this album can really hit the spot. It's really mellow and relaxing.”

“This album provocatively showcases Simon's unique talents and creative interests with an eclectic, wide-ranging, and gorgeously produced solo effort. From the haunting rhythms and wry lyrics of Still Crazy After All These Years to the tender and sensitive emotions expressed so well in My Little Town sung with Art Garfunkel, we sense more than a little autobiographical influence in all the songs. Simon's lyrical genius is displayed in spades here. We can tell that this is an artist in full bloom, enjoying his singular ability to deliver a wide range of songs with a panorama of emotions, and telling personal observations so artfully expressed.”

“Nearly every song has something great about it, but none of the songs are great in and of themselves. This record is more about vibe than songwriting, which is not necessarily a bad thing.”

“This album's best bits are some of Paul Simon's finest moments. The title track with great electric piano and sax solo is just lovely. Fifty Ways To Leave Your Lover is one of his better uptempo tracks, with some great drumming as well. I Do It For Your Love is as great as a Paul Simon ballad can get. And then there's the song on which he's reunited with Art Garfunkel, a lovely pop song that just calls for the duo's harmonies.”

“This is a great album by one of America's best songwriters. Simon simply has a knack for the craft, and weaves beautiful feelings and stories together here for an excellent album. The best track for me is the poignant Silent Eyes. It's a very beautiful, moving song that makes a strong political point, but still shows more compassion than preaching. That's the mark of a great songwriter, and Paul Simon is one of our greatest.”

Breakaway - ART GARFUNKEL***

I Believe (When I Fall In Love It Will Be Forever)/Rag Doll/Break Away/Disney Girls/Waters Of March/My Little Town/I Only Have Eyes For You/Lookin' For The Right One/99 Miles From LA/The Same Old Tears On A New Background

Art Garfunkel was the junior in the partnership with Paul Simon, his strength being the possession of a voice of great purity. Breakaway features quite a few covers, including his UK No. 1 hit I Only Have Eyes For You. (US:7 UK:7)

“The melodies, vocals, and lyrics are all very well done, and amazingly produced. You can hear all the highs and lows of the instruments in each song. The album has a beautiful flow that I only encounter once in a while with music; it captivates you and keeps you wanting more.”

“It is a perfectly polished mid-1970s pop album with squeaky clean production that matches Garfunkel's angelic tenor nicely, and the choice of songs is fine by me. It is an excellent contrast to the usual pop stars macho posturing, and a welcome change to hear a really beautiful voice.”

“Never a great writer or musician Garfunkel instead shows he had great taste and a talent of making things work for him musically. He made good choices here and never tried to replicate Simon and Garfunkel’s sound.”

“I think what makes it work is that Garfunkel chose a perfect line up of material that really suited his voice. I like what he does with the doo-wop of I Only Have Eyes For You or the bossa nova of Waters Of March and especially The Beach Boys Disney Girls. The backing musicians are of an incredible calibre throughout too.”

“Art's voice can't bring this collection of limp material to life no matter how he tries. If this was any slicker it would slide off your turntable.”

“Breakaway takes you to a most contemplative place. It covers different angles of being in love, and tackles them all in one set. Wanting, missing, yearning, and living with a broken heart. It is from an era long gone, has sound qualities that consist of acoustic strings and guitars and drums, a little folky at times, but offers some of the best singing and performances from a stellar a-list of background artists.”

“This album sounds every bit as fresh as it did when it was released. Give it a listen and notice how the years have changed pop music.”

All Around My Hat - STEELEYE SPAN****

Black Jack Davy/Hard Times Of Old England/Cadgwith Anthem/Sum Waves/The Wife Of Ushers Well/Gamble Gold-Robin Hood/All Around My Hat/Dance With Me/Batchelors Hall

All Around My Hat was the most commercially successful album from the folk group Steeleye Span featuring vocalist Maddy Prior. It is a crossover release incorporating a stronger electric element. The title track was a UK No. 5 hit. (US:143 UK:7)

“Maddy Prior's voice is probably the biggest factor but the tracks are well written and played. Just be prepared to sing along and enjoy yourself.”

“Purists carped on about the fact that All Around My Hat saw Steeleye Span abandoning their folk roots but, even though they have a point, this can never be a legitimate critique as bands have a right and a need to experiment and develop.”

“The single All Around My Hat was an amazingly big hit but it wasn't the song that attracted me, it was Maddy Prior's wonderful voice. An intriguing cross between medieval wench and operatic diva, without her Steeleye Span would be nothing more than another ceilidh band.”

“On All Around My Hat the band reached a perfect fusion. They still used all their trademark elements, such as strong harmony singing, cheerful fiddles, mythological subjects and Maddy Prior’s fantastic voice, but they electrified it just a bit more than before. All the constituents are employed in a reasonable amount, so that for once the label folk-rock is fully valid.”

“Steeleye Span had a strong following among the UK folk set in the early 1970s. Songs were mainly acoustic and concentrated on adaptations of traditional numbers. All Around My Hat crossed over into pop/rock by delivering some catchy numbers in an electric format. This blasphemy alienated some hard-core fans, but the result was an album of upbeat numbers which retain an authentic folk flavour.”

“All Around My Hat irritated a lot of people in the folk community when it came out for its rather blatant attempt at crossover at the expense of ground already gained. Maddy’s voice sounds great, the title cut was a hit, and the material does stand up reasonably. But the arrangements are less interesting and more pop-like than either the albums that preceded or followed it, giving one a greater feeling of sell-out than planned exploration.”

Wind On The Water - CROSBY & NASH***

Carry Me/Mama Lion/Bittersweet/Take The Money & Run/Naked In The Rain/Love Workout/Low Down Payment/ Cowboy Of Dreams/Homeward Through The Haze/Fieldworker/Critical Mass-Wind On The Water

Wind On The Water was the second collaboration from Crosby & Nash. The title track is regarded as the strongest, reflecting the burgeoning concern over the environment. (US:6)

“Pleasant, but nothing I'd consciously listen to. Sounds like they had fun and while the songs aren't masterpieces they all maintain a certain level of interest.”

“The lyrics of Wind On The Water reminds us that it was the hippies who first promoted the global ecological consciousness.”

“Wind On The Water closes the album so beautifully and powerfully that it raises the whole thing. If the rest had matched the title track, it would be a masterpiece, but its not.”

“Crosby and Nash always had the virtue of bringing out the best in each other and that is the case here. Their two-part harmonies work well from the opening track to the end. Of course, there are also background vocals from the likes of James Taylor, Carole King and Jackson Browne, which just goes to prove the more the merrier. Wind On The Water is nicely book-ended by the two most substantive songs. This is an album of rich melodies and solid vocal harmonies.”

“Crosby and Nash seemed positively liberated from the chains that went with being in a supergroup that was more ego than substance. At this point in their career, Crosby and Nash were the best songwriters in rock music, touching on themes of life, death, love and environment with poignancy any writer would sell their soul for.”

“On this mid 70s effort, Crosby and Nash show what efficient and capable songwriters they are. I personally tend to enjoy Crosby's efforts much more than Nash's especially on this album. Songs like Bittersweet capture the beauty and intensity Crosby can bring to a song. Also of note is his beautiful Naked In The Rain. The musicianship is tight and well crafted on this album. Wind On The Water is also a lovely number, but one of perhaps only two tolerable songs by Nash on this set. Sometimes he can write songs so light and airy it leaves you feeling empty.”

The Who By Numbers - THE WHO***

Slip Kid/However Much I Booze/Squeeze Box/Dreaming From The Waist/Imagine A Man/Success Story/They Are All In Love/Blue Red & Grey/How Many Friends/In A Hand Or A Face

The Who By Numbers continued the downward trend of The Who with a largely forgettable repertoire of songs. The one exception is the excellent Squeeze Box, a mildly risqué novelty number that reached the UK top ten. (US:8 UK:7)

“Squeeze Box is the closest the band has ever come to a novelty song, lightens the mood a bit, as does John Entwistle's hilarious Success Story, but the moroseness of Townshend's words is what the listener will ultimately take away from this.”

“Most of these tracks were deemed unworthy of a Who album by the Who themselves. Because it's The Who even these unworthy tracks are worth a listen. Not great but the musicianship is still pretty good, even though the material is not.”

“The Who By Numbers is indeed a very good album, without a dud track, and not even the dark, self-analytical, often self-deprecatory lyrics which Pete Townshend wrote for and about himself detract from its overall appeal.”

“At best Who By Numbers is competent hard rock that doesn't quite suck, but in reality this is just an album of forgettable left over feeling songs. I guess The Who were starting to burn out.”

“The songs are brutally honest and, with the exception of the single Squeeze Box, not that commercial, but nevertheless there are some top tunes here.”

“There's an overall sense of exhaustion and lack of ambition to this. I will say that it is superior to any of their subsequent albums, which really shows how far and how fast the quality of The Who's work fell from their peak period.”

“Who By Numbers is stripped down, back-to-the-basics rock and roll. There are no themes, no operettas, no stories running through multiple songs. Instrumentally, it's comparatively bare-bones; most of the songs are just guitar, bass and drums, played to perfection. Lyrically, the album as a whole is as good as anything Pete Townshend has written, though much more understated, thematically.”