A Kind Of Hush - THE CARPENTERS***

There's A Kind Of Hush/You/Sandy/Goofus/Can't Smile Without You/I Need To Be In Love/One More Time/Boat To Sail/I Have You/Breaking Up Is Hard To Do

Unfortunately, A Kind Of Hush is an uneven album as several of the tracks are inferior to those featured in earlier releases. However, the better songs are enhanced by the purity of Karen Carpenter’s voice. (US:33 UK:3)

“Very pleasant easy listening. Today no one can come close to this. A bit twee though.”

“This is not The Carpenters best album, but certainly, one worth listening to. Karen's voice is a appealing as ever, Richard's arrangements are nice, but the material doesn't seem up to par with the Carpenter's standards. There are some strong songs, but nothing new and exciting, just a pleasant collection of love songs sung by one of the most distinctive voices in music.”

“This album breaks no ground musically and seems to mellow out at times. However, Karen's voice redeems it. You is lovely, and so is Can't Smile Without You, but clearly the best song is I Need To Be In Love. But the songs on the second half all seem to sound the same, and one can now see The Carpenter's slide down the charts beginning.”

“This album doesn't have the spark that most other Carpenters albums do. But Karen's voice rises above that.”

“Perhaps their personal problems, relentless touring and other outside influences had something to do with the rather lacklustre theme of the album. Amongst such oddball cuts as Goofus and the cloying Sandy the listener will find a few gems and one masterpiece, I Need To Be In Love, Karen's personal favourite.”

“Its overall presentation fails to fully satisfy due to a lack of top-notch material. The arrangements are more restrained than usual, often featuring Karen's gorgeous alto all alone with no overdubbing or harmonies. The standout tracks are the stunning One More Time, I Have You and of course, the album's masterpiece, I Need To Be In Love. The remaining tracks are mostly very nice, but nothing exceptional. Why the moronic track Goofus was ever released as a single is beyond me. Almost any other song would've been a far better choice.”

A Night On The Town - ROD STEWART***

Tonight's The Night/The First Cut Is The Deepest/Fool For You/The Killing Of Georgie/The Balltrap/Pretty Flamingo/Big Bayou/The Wild Side Of Life/Trade Winds

Vocalist Rod Stewart continued to enjoy immense popular success despite the transition from good time rocker towards MOR territory. A Night On The Town tries to ride both horses, without fully satisfying either camp. (US:2 UK:1)

“Rod Stewart once had the ability to treat cover songs as if they was his own, and his version of The First Cut Is The Deepest is a classic. Pretty Flamingo is great too, and on The Killing Of Georgie he shows that he can write some good songs too.”

“Separated into two sides, one for the ballads the other for the rockers. It starts off well enough with the first side containing the three hit singles, two of them self-penned and each of them seeing him more than living up to his self-proclaimed soubriquet of story-teller, firstly the disarming seduction of Tonight's The Night, the superb The Killing Of Georgie and the well-chosen cover of The First Cut Is The Deepest. There's not much more after that I'm afraid.”

“Rod Stewart has made possibly every type of song in his illustrious career, and this album is a fine example of just how diverse Rod is. This is one of those albums where you don't skip to the next track; every track is that good. The slow half features the obviously slower, lovelier tracks, while the fast half features throw-it-in-your-face boogie down songs.”

“This is quite possibly the last musically credible album Rod Stewart put out before he turned into a leopard skin clad king of disco dirge, but having said that it still isn't a patch on his earlier solo output. Most of the album is pretty ordinary, and biggest problem with the faster tracks is that they sound like a very poor man's watered down Rolling Stones.”

“Rod's done us the service of breaking the songs up stylistically on this record. If you want to listen to slow cheesy songs listen to side one. It starts off with the groan-inducing Tonight's The Night and goes downhill from there. If you want to listen to fast songs listen to side two. Rod must have found himself in a bit of a quandary with Trade Winds. It's a slow song that ends up on the fast side.”

Another Passenger - CARLY SIMON***

Half A Chance/It Keeps You Runnin'/Fairweather Father/Cow Town/He Likes To Roll/In Times When My Head/ One Love Stand/Riverboat Gambler/Darkness 'Til Dawn/Dishonest Modesty/Libby/Be With Me

Although it did not include any major hits, singer songwriter Carly Simon’s Another Passenger kept her music in the public consciousness. Critics claimed that it was both funkier and more rock orientated than previously. (US:29)

“Another Passenger somehow fails to be a thrilling experience. It is more musically diverse than her previous efforts, and her songwriting is still as strong as ever, but still it lacks that certain edge to make it stand out.”

“There's a funkier, blacker sound than on the earlier records and some unexpectedly hard rock, but stylistically this is a little all over the place.”

“Another Passenger is a beautiful work that somehow never found the large audience of Carly's earlier work. The album was a bit of departure in that it was more rock oriented and funkier than previous releases.”

“I could identify with many of the songs as they relate to love and relationships. This album is a sleeper. I love all of them especially It Keeps You Runnin’ with Michael McDonald in the background.”

“I love this album, and I think it's under-recognized. The songs are more mature, good for anyone that grew up with this wonderful artist. They have a lyrical quality, with still a little of the bite that is characteristic of her earlier work. Overall I think they reflect life changes and growth, friendship, disappointing marriages, the power of dreams and endurance.”

“While she was not writing songs as great as those that brought her to the top of the charts, Simon still could write some decent material. The problem was that she was no longer writing those confessional songs that made her popular.”

“This is better than most of her other albums. It is like a collection of short stories, some that are probably autobiographical, others that seem fanciful, all set to wonderful memorable melodies. The vocals are stunning, and range from the soft and sweet Be With Me, to the howling mock-country of Cowtown, and the emotional rollercoaster that is In Times When My Head. Her cover version of the Doobie Brothers' It Keeps You Runnin' is also something to behold.

Agents Of Fortune – BLUE OYSTER CULT***

This Ain't The Summer Of Love/True Confessions/(Don't Fear) The Reaper/ETI/The Revenge Of Vera Gemini/ Sinful Love/Tattoo Vampire/Morning Final/Tenderloin/Debbie Denise

The US rock group Blue Oyster Cult enjoyed moderate commercial success during the mid seventies, held back by a generic sound and a lack of distinctiveness. Agents Of Fortune contains their biggest hit (Don’t Fear) The Reaper which reached the top twenty in both the US and UK. (US:29 UK:26)

“With Agents Of Fortune BÖC moved into a more commercial and pop oriented style. This is a hard rock record but it differs a bit from their previous albums because this is clearly a more radio friendly totality. The quality of the material varies too much. The best parts here are pretty good but the album also includes lots of mediocre moments and also a couple of weak tracks.”

“(Don't Fear) The Reaper casts an undeniable spell, but the rest of Agents Of Fortune is terribly unmemorable. Even the other alleged highlight, This Ain't The Summer Of Love, sounds like any generic 70s hard rock band.”

“Perhaps with more listens I'll find this more interesting, but so far I've found it pretty dull. It all feels rather conventional; of course there's nothing wrong with sticking to conventions, but it doesn't do so in a way that's particularly catchy, enjoyable, or memorable.”

“After three stellar albums that cemented BÖC as an enigmatic force in the American hard rock scene, it was only natural that they would move into more commercial territory. Agents Of Fortune seemed to fit the bill quite well as a break out album, but in all honesty it is a pretty dull listen.”

“It may not have many songs as good as Don't Fear The Reaper, but they all sound different which makes this a varied and memorable album.” “For the band this was a crossover album and it shows, preserving elements of their earlier blues orientated sound and fusing it with a melodic, almost AOR, flavour which would serve them well in the future.”

“A classic album from one of the best rock bands, with complex arrangements, poetic lyrics and pure hard rock. Every metal head should have this in their library.”

Turnstiles – BILLY JOEL***

Say Goodbye To Hollywood/Summer Highland Falls/All You Wanna Do Is Dance/New York State Of Mind/ James/ Prelude-Angry Young Man/I've Loved These Days/Miami 2017 (Seen The Lights Go Down On Broadway)

At the time of the release of Turnstiles pianist Billy Joel was relatively little known to the record buying public. Some of his best songs are here and within a year he would become a major star. (US:122)

“This was recorded at a beautiful moment in his career: producing himself for the first and only time, so this album's finally free of the overproduced sound that could be heard previously. Apart from that it was also recorded before he became a superstar with his follow up. As a bonus, he had a collection of excellent songs as well.”

“Joel's return to NYC sees him reclaim control of his career and then go on to become a huge star. The joyous Say Goodbye To Hollywood sets the tone perfectly, as does the wistful New York State Of Mind. The rest of the record is pretty decent too.”

“The album features some of Billy Joel’s most consistent songwriting. The vocals and particularly the musicianship are first rate, having used the members of his stage band rather than studio musicians for the recording process. It would also effectively conclude the first phase of his solo career that was piano based for the most part without the polish of his most popular work. It would, however, yield a number of enduring songs that would be concert staples throughout his career.”

“There are few artists who make sophisticated music sound so simple. The poetry flows from his singing voice like waterfalls and the piano blends harmonies that are bluesy, jazzy and rock 'n’ roll. Joel never sounds rehearsed and especially here, where the multi-layered harmonies blend beautifully with the diverse rhythms.”

“We all know Joel is a talented artist, and his rich piano work that infiltrates this are by turns snappy and lush, classic Billy Joel. Additionally, his lyrics on this record are insightful and knowing, if at times a little self-possessed.”

“Turnstiles is the reoccurring lyrical theme of leaving a place like LA and returning home to New. Overall the record seems to be one of reflection and moving on, combined with some the best melodies of his career, which makes Turnstiles the hidden gem of Billy Joel's albums.”

Wired - JEFF BECK***

Led Boots/Come Dancing/Goodbye Pork Pie Hat/Head For Backstage Pass/Blue Wind/Sophie/Play With Me/Love Is Green

With Wired Jeff Beck moves further away from rock territory into the world of jazz-rock fusion, probably alienating his fan base in the process. His collaborator is Czech keyboardist Jan Hammer. (US:16 UK:38)

“Beck's foray into fusion is evergreen for me. No matter how much waffle the genre may appear from the outside, Beck inhabited it and gave it wallop and a wonderful wistfulness. Starting with brilliantly heavy staccato pummelling of Led Boots and finishing off with the beautiful Love Is Green, the whole thing is a gloriously consistent jazz-rock fantasy.”

“Jeff Beck doesn't just continue his previous flirtations with jazz fusion, he improves upon it. Maybe it's the extensive contributions from keyboardist Jan Hammer, but I get a real Mahavishnu groove when I play this one. Beck really shows his stuff here both as a guitarist and band leader.”

“More instrumental jazz-rock fusion from Jeff, definitely much more jazz this time round and as a result Wired doesn't possess Blow By Blow’s crossover appeal, nor is it as attractive or coherent as the previous record.”

“When you listen to this, you have to ask yourself what has happened to the art of guitar playing. The skill and excitement just blow away anything created today. Are today's young artists just spoiled by all the technological toys around so that no great new guitarists will ever emerge again? Or are they out making music as great as this but we never get to hear of them?”

“Wired is the second, and best, of a pair of revolutionary albums that were a true turning point in Jeff Beck's career and a real landmark in the world of jazz fusion. Former Yardbird's guitar pioneer Jeff Beck had grown tired of, and disenchanted with the rock format, and branched fully out into jazz fusion with spectacular results, while absolutely proving his supremacy as one of the greatest guitarists of all time.”

“This is an excellent album that sums up what great guitar playing in a jazz/rock setting can do. Goodbye Pork Pie Hat and Love Is Green are very melodic and lush. For anyone wanting to check out the genre of jazz/rock and great guitar playing, I recommend this album.”

High & Mighty - URIAH HEEP***

One Way Or Another/Weep In Silence/Misty Eyes/Midnight/Can't Keep A Good Band Down/Woman Of The World/Footprints In The Snow/Can't Stop Singing/Make A Little Love/Confession

High & Mighty was the end of an era for the progressive band Uriah Heep following the departure of vocalist David Byron. They would now experience a substantial dip in popularity. (US:161 UK:55)

“A new low for Uriah Heep, and an unfortunate finale for the David Byron led incarnation of the band. High & Mighty takes a cue from its predecessor and opts to supplement the band's trademark hard prog mix with a number of straightforward pop/rock tunes. The problem here is that the non-traditional selections are even poppier and more annoying than before, making this a somewhat difficult album for devoted Uriah Heep fans to listen through.”

“Weep In Silence is the stand-out track with Mick Box pulling out a truly amazing solo. The rest are pretty hit and miss with Can't Bring A Good Band Down being a low point. A patchy effort and sadly their last with David Byron.”

“It was self-produced and that it is why it is so different, so show some patience as nothing is immediately catchy. There are so many subtle pieces of music, each song is completely different to any other here, or for that matter on any other Uriah Heep album.”

“Uriah Heep's last good album, High & Mighty is softer and less fantastic than the work earlier in the decade. John Wetton offered some alternatives that the band, alas, did not explore. It's true that by this time Heep sounded a little behind the times, but the end was near.”

“Another excellent, but misunderstood Uriah Heep album. It's a bit experimental and does not fit the style of their previous albums. It's most like a Hensley's solo work with him writing all the tracks and playing the most instruments, limiting the impact of the others. Weep In Silence is the best track, where all the others stand well, with very few minor flaws. Even their most experimental tracks have their value, if you listen to them with an open mind. Original Heepsters might be disappointed though.”

“This album was my introduction to Uriah Heep. I was a little confused when I bought it, mistaking them for a hard rocking outfit. When I got over the shock of the flimsy, floppy, middle of the road sounds, I actually grew quite fond of it.”

Rising - RAINBOW****

Tarot Woman/Run With The Wolf/Starstruck/Do You Close Your Eyes/Stargazer/A Light In The Black

Rising was the well regarded follow up album from the heavy metal band Rainbow, created by ex Deep Purple guitarist Ritchie Blackmore. Their popularity would continue well into the next decade. (US:48 UK:11)

“This is a consistently good hard rock release. The vocals by Dio are epic; they are the album highlight as they simply rule every single song doing everything I expect from a hard rock album.”

“This landmark LP proved to be a turning point in the careers of all involved, but most particularly of Ritchie Blackmore and Dio. It not only established Rainbow as a credible band, rather than a vanity project of Blackmore's, but it also saw Dio join the first rank of metal front men. It would not be an exaggeration to say that most of Dio's subsequent career would be based around refining and perfecting the fantasy metal blueprint provided by this album.”

“Spectacular, over-the-top hard rock with progressive moves, graced with tight playing by some of the most talented musicians of the time: Blackmore's intense guitar playing, Ronnie Dio at his best (both in vocals and lyrics) plus Cozy Powell's extraordinary performance.”

“Smooth hard rock mixed with a good dose of early heavy metal and some progressive rock as well. A very well written and solid album, which Dio brings up to a whole new level. It does feel a bit short, but then again the good thing is that there is no filler on it either.”

“Rainbow Rising is the most perfect moment of Ritchie Blackmore in the studio. The album brings the powerful voice of Ronnie James Dio, the strength of Cozy Powell on drums and the magic guitar of Blackmore after the Deep Purple break-up. Mixing classical moments as in Stargazer and the hard rock explosion as in Tarot Woman, this recording is a rare moment in heavy metal history.”

“On a par with any of his stuff with Deep Purple, this is Ritchie Blackmore's masterpiece with Rainbow. This rocks all the way through and Blackmore's guitar work is out of this world. An excellent rock band with a bunch of great musicians.”

Too Old To Rock & Roll - JETHRO TULL***

Quiz Kid/Crazed Institution/Salamander/Taxi Grab/From A Deadbeat To An Old Greaser/Bad-Eyed & Loveless/ Big Dipper/Too Old To Rock & Roll Too Young To Die/Pied Piper/The Chequered Flag (Dead Or Alive)

Only a few years earlier progressive band Jethro Tull were topping the album charts in both the US and UK. The relatively low chart placing of Too Old To Rock & Roll mirrors their decline in creativity. (US:14 UK:25)

“This is nothing like Tull at their best consisting of lame attempts at rockers and inept slower dreary numbers. Confirmation that their decline of JT was continuing."

“This finds Tull as close to pop-rock as they would ever get. Extended song structures were kept to a minimum, lyrics were totally unambiguous and the concept of the album was spelt out for the hard-of-thinking in comic strip form as part of the artwork. Some more hard-line prog fans were aghast at these stylistic changes, but an equal number embraced the more streamlined and no-frills version of Jethro Tull.”

“This record lacks the greatness of the best Jethro Tull studio albums and you can hear the commercialism virus in some parts. There are some classic Jethro Tull trade mark elements like Anderson's flute but overall the sound has very little to do with their early albums.”

“It suffers from a scarcity of ideas and a feeling that the band are just blindly going through the motions. Those who particularly miss the more straight-ahead folk-rock of the group's early days might get some enjoyment out of some of the material here, but it's a major disappointment. The performances sound subdued and unenthusiastic, suggesting that the band were taking the album title to heart.”

“There is a certain weariness in this album, a definite lack of freshness, a reworking of old ideas, and a rather striking absence of memorable songs apart from the title track. Not that the band sounds spent, but judging from this album, their rock 'n' roll days seemed to be over.”

“Too Old To Rock 'N’ Roll is a concept album, telling the thought-provoking story about an old rocker, who had become too old to rock 'n roll, but again becomes hip, when the trends in music and fashion suddenly change. Like on all Tull albums there are some terrific songs and melodies here. The playing and production is as always impeccable.”

Fly Like An Eagle - STEVE MILLER BAND***

Space Intro/Fly Like An Eagle/Wild Mountain Honey/Serenade/Dance Dance Dance/Mercury Blues/Take The Money & Run/Rock 'N Me/You Send Me/Blue Odyssey/Sweet Maree/The Window

Fly Like An Eagle continues Steve Miller’s journey into the rock mainstream, exploring the use of synths to create a spacey vibe. Features the US No.1 hit single Rock ‘N’ Me. (US:3 UK:11)

“The first few songs are really nice, lots of spacey synth work floating around the mellow blues sounds. Then things get gradually worse with a series of Eagles and Free imitative tracks, and an awful Sam Cooke cover with not much else of any real note.”

“A good record that mixes blues and pop. The songs are pretty enjoyable, though they are far from memorable and the guitar playing is a bit too simplistic and bland. Still it still makes for a worthwhile listen.”

“A winning mix of blues and pop from Steve, garnished with some space-age synth doodling for effect. To be sure, some of the material is a bit hokey, especially the glutinous re-make of You Send Me and the dorkish country hoedown Dance Dance Dance. Some of the more authentic bluesy material sounds a little at odds with the radio-friendly pop stuff, but the more you play the album, the more it hangs together.”

“It seems that around the early to mid-seventies a good number of guitarists were laying down said instrument in favour of the synthesizer. Steve Miller incorporated the synth on Fly Like An Eagle, adding some atmospheric space rock sounds to his bluesy pop template.”

“Not his best effort. In spite of excessive radio play, it still has some good songs. This was his last gasp. Check out his stuff from the 1960s.” “This was Miller at his radio friendly best, hook laden songwriting, ace lead guitar work, warm vocals and lyrics that occasionally soar with the music. The only down notes are the by-the-numbers cover of Sam Cooke's You Send Me and the fact that the rest of the material is filler, but that's just quibbling.”

“While this is a pretty solid mix of bluesy pop rock, its also a bit too tame and bland. Beyond the hits so little manages to actually catch your ear.”

Rocks - AEROSMITH***

Back In The Saddle/Last Child/Rats In The Cellar/Combination/Sick As A Dog/Nobody's Fault/Get The Lead Out/Lick & A Promise/Home Tonight

Rocks was the heavy rock band Aerosmith’s most successful album during the 1970s. Like a number of American groups of the time, what they lacked in subtlety they made up for in adrenalin fuelled energy. (US:3)

“Rocks is one of the weaker of the tremendously solid first four Aerosmith albums - not to say bad at all but with a little less variety. There's a whole lot of wallop in here and it's as strong as an ox throughout. Good battlin' hard rock.”

“Rocks is Aerosmith's most focused album. It's one of the most dynamic and yet crunchy hard rock discs in history.”

“Rocks is the essence of the mid 1970s and all the sleazy rock n' roll that went along with it. While it isn't even close to being Aerosmith's greatest record it is still one hell of a ride.”

“Aerosmith's fourth studio effort is a lean 'n' mean solid collection of nine prime time cuts. Rocks is loaded down with eight jacked-up raging tracks, which blow out the walls, before the lone ballad Home Tonight, closes out this epic disc.”

“Rocks is a truly great album, it showcases the Aerosmith sound to perfection. Technically the music is simple rock and roll, but the band have developed their own distinctive style - down and dirty boogie - which has never sounded better.”

“One of the greatest hard rock albums of all time. Aerosmith were at their peak here, showcasing their own distinctive style and loosing the same bluesy lines present in their previous records. Every single song is fuelled with energy, the riffs are monumental and there's a constant groove in the background thanks to an excellent rhythmic section.”

“No rock music collection is complete without this. Most Aerosmith albums have their high and low points, but Rocks doesn't drag at all. The tracks are the strongest Aerosmith put together on one album.”

The Royal Scam - STEELY DAN*****

Kid Charlemagne/The Caves Of Altamira/Don't Take Me Alive/Sign In Stranger/The Fez/Green Earrings/Haitian Divorce/Everything You Did/The Royal Scam

The Royal Scam is considered to be the darkest album from the art rock band Steely Dan. However, the music is up to their usual very high standard and features the UK top twenty hit Haitian Divorce. (US:15 UK:11)

“It was the mid-1970s, the dream was over, and the kids were hooked on disco. Even at their heaviest though, the Dan are a refreshing bit of funky noise, bopping along as a remarkable fusion of hard bop jazz with soul and rock. They pull it off with such finesse that it hardly matters what they're really singing about. They write some of the wryest and most literate lyrics, and the instrumental improvisation recalls the best of the jazz greats."

“This is famous for being the dark Steely Dan album, the one where the music is as bleak and cynical as the lyrics.”

“If you do not like Steely Dan because you thought they were just another mindless classic-rock radio staple, pick up this album. It contains hardly any recognizable hits from them and is fresh with shimmering new ideas.”

“Lyrically, it's a cynical, sarcastic, sardonic work, even more so than other Steely Dan records. The characters that populate these nine songs are flawed, often criminal types. The lyrics are well-judged and probably more straightforward than before, but no less impressive.”

“It sees them moving away from pop influenced material into a darker territory, but still with the usual sublime lyrics. They managed to fuse jazz, reggae and disco into a genre beyond categorization.”

“Though it’s fairly dark lyrically, the music itself is nothing but pleasant. The guitar solos are hot, the grooves are all good, and the music stays interesting the whole way through. This is Steely Dan at their absolute best.”

“Steely Dan always delivered a first rate experience. This LP is very good as all their albums are, but it is a bit darker in tone than their other works.”

Black & Blue - THE ROLLING STONES***

Hot Stuff/Hand Of Fate/Cherry Oh Baby/Memory Motel/Hey Negrita/Melody/Fool To Cry/Crazy Mama

Black & Blue featured a change of personnel for The Rolling Stones with former Faces guitarist Ronnie Wood replacing Mick Taylor. Unfortunately it is another lacklustre album, that features Fool To Cry, a top ten hit on both sides of the Atlantic. (US:1 UK:2)

“Black & Blue would be the beginning of The Rolling Stones adapting to the musical styles of the day. This album would find them drifting toward 70s classic rock. Is it a great album? The answer is no. It contains no real weak or strong cuts and in many ways deserves to be somewhat overlooked and forgotten in their catalogue.”

“This is a whole new direction for the Stones with Taylor gone. It is more pop and less bluesy and hard rock, They never were the same after he left, nevertheless this was a good effort.”

“Black & Blue was the first album in which Ronnie Wood replaced Mick Taylor. Musically the Stones were no longer the same band, the vocal posturing had become a parody of itself, the ceaseless riffing had become rudimentary and flat. They had run out of gas with material that lacked energy, and were simply slapping yet another one down to keep the concern afloat, and satisfy their legion of eager fans whom they were discovering would just about support anything.”

“There are too many styles of music being played here and a lot of the songs feel underdeveloped. However, this album definitely has its moments.” “What a sad record. No inspiration or imagination, they just plop out eight songs that sound like they think they should sound, and the results are borderline embarrassing. Hand Of Fate is the best by a mile, the rest vary from mediocre to instantly forgettable.”

“Black & Blue might be one of the more forgettable Stones albums, but it is definitely an entertaining one. The band is experimenting with different genres, whether it is disco, reggae or soul, which always grabs the interest of the listener.”

“When did The Rolling Stones turn into a parody of themselves? Mick sounds like he's trying to do his funniest Jagger imitation. There are a few decent tracks here, but not many.”

Jailbreak - THIN LIZZY****

Jailbreak/Angel From The Coast/Running Back/Romeo & The Lonely Girl/Warriors/The Boys Are Back In Town/Fight Or Fall/Cowboy Song/Emerald

Fighting was the album where the Irish hard rock band Thin Lizzy finally made their commercial breakthrough with their distinctive musical style. Features the UK top ten hit The Boys Are Back In Town. (US:18 UK:10)

“Firing on all cylinders, driven by a biting guitar riff, Jailbreak served notice that Lizzy had upped the ante. Far removed from the sobering early era Lizzy it packs muscle and lyrically takes on authority. The diverse album segues into melodic numbers via Angel From The Coast, the mellow, sax-accented Running Back, and Romeo & The Lonely Girl, with the drug inspired Warriors countering with a hard edge.”

“Jailbreak represents the culmination of a band that have honed their act to perfection, developing a unified spirit and essence to match. It may not contain all their best work, but it is the point when the band came together as a unit and realised just how good they actually were. Like a jigsaw puzzle, all the songs sound as though they fit together.”

“Thin Lizzy's Jailbreak finds them capably adapting the early 1970s bluesy style of hard rock they'd made their own to changing times. The Boys Are Back In Town is, deservedly, the standout song, in part because it's the fastest and hardest on the set. The rest don’t quite hit the sheer standards of joy as this, though the title track does come close at points. A little calculated and polished, maybe, but still a lot of fun.”

“I was completely blown away by this album the first time I heard this beginning to end. It was absolutely love at first listen. These guys were an absolutely amazing band. The great guitars duelling each other. A thunderous rhythm section and one of the most charismatic singers in music history.”

“Some of the most feel-good, confident and head-bobbing rock songs ever recorded. It's hard to find classic rock that is this joyous to listen to.”

“This is definitely a '70s hard rock touchstone, and for good reason. The Lizzy guitar assault is in full effect here, and there's a nice blend of hard rock and more tender stuff.”

Amigos - SANTANA***

Dance Sister Dance/Take Me With You/Let Me/Gitano/Tell Me Are You Tired/Europa (Earth's Cry Heaven's Smile)/Let It Shine

The music of jazz-rock artist Santana continued to evolve, not always for the better. Amigos sees him moving with the times with the introduction of some disco-funk tracks. (US:10 UK:21)

“I never expected one of the most famous Santana songs Europa would be found on a mediocre 70s funk album.”

“The emphasis has shifted away from the jazz fusion stuff this time out although I must admit I'm not keen when it's replaced with straight funk, like it is here on a couple of tracks.”

“Amigos finds Santana well and truly locked into the commercial trajectory their music would take for a long while. Playing jazzy disco-funk with occasionally infuriating lyrics, the album is saved from being a complete waste by Carlos Santana's guitar heroics, which are extremely technically accomplished though more than a little bland and generic this time around. This has to be considered one for the Santana fanatics only, I fear.”

“Europa may be one of Santana's best songs but it doesn't make up for the rest of the album.”

“If you love great music, soft music, music to dance to Santana is the guy. With Europa you will be transported to a different world with one of the greatest songs I've ever heard.”

“Dance Sister Dance is a perfect mix between a Latin groove and a pop/rock song. The final part, which is played in double time, work toward a climax. A strange but effective contrast between slow and dreamy guitar lines, with cooking drums underneath. Europa hardly needs any introduction; a classic instrumental in the tradition of Samba Pa Ti, but more smoothly executed.”

“Amigos features two solid instrumentals, the most noteworthy being Europa, one of Carlos' trademark guitar works. Starting with pretty high-pitched twangs, it evolves into a potent solo in the Santana tradition. For the rest this represents the beginning of the slippage from Santana's top-notch studio album work.”

Moonmadness - CAMEL****

Aristillus/Song Within A Song/Chord Change/Spirit Of The Water/Another Night/Air Born/Lunar Sea

Moonmadness was the highest charting album from the British progressive band Camel. Reviews appear to be mixed, some critics praising melodic and emotional passages whilst others complain that the music is not particularly memorable. (US:118 UK:15)

“Although not a concept album as such, the individual songs have a loose conceptual underling and the musical unity is truly remarkable. The material is wonderfully coherent, melodic and highly emotional, with ample space for extended instrumental passages.”

“Mostly slightly up-tempo melodic jamming with a clean sound, somehow relaxing rather than angst-driven. The dreamy quiet sections are just beautiful, with the occasional vocals, understated, effect-drenched and set back in the mix, giving a sense of mystery and suiting the music perfectly.”

“Although most of this material isn't exactly very memorable, Camel makes up for that in the atmosphere department. The keyboards and guitar shimmer in a way that makes the cover art appropriate.”

“A decent enough album from Camel. Song Within A Song is great, and the rest flow nicely too. But it just doesn't leave much of an impression on the memory. I think it fills the gap nicely if you just want some chilling music without having to concentrate too hard.”

“The main strength of the band are not the lyrics or the vocals - let's face it, they mostly suck - but their instrumentals or instrumental passages. They are so melodic and well-written that you can just lose yourself inside them and get absorbed into their music.”

“Somewhat tolerable keyboard driven semi-prog that is slightly better than what you might hear in an elevator at the mall.”

“Moonmadness is Camel’s masterpiece, and a welcome addition to any classic rock lovers’ collection. It is at times rocking, at others jazzy, and at others ethereal. It is a mostly instrumental album but does have a handful of vocals that help out immensely.”

No Earthly Connection - RICK WAKEMAN***

The Warning/The Maker/The Spaceman/The Realisation/The Reaper/The Prisoner/The Lost Cycle

No Earthly Connection was an uneven album from keyboardist Rick Wakeman where the blandness of some of the compositions exceeds the passages that are more inspirational. (US:67 UK:9)

“I strongly believe that this is Wakeman's music as it should be. A fantastic good album with unique and unreachable sound. It's definitely my all-time favourite and my connection with many-faced keyboard's performance.”

“The album was inspired by mysterious phenomena like the Bermuda Triangle, the pyramids etc. and was a prime example of prog rock's decline after the mid-70s.The grand opus Music Reincarnate contains some of prog rock's best and worst moments. Fantastic classical influences, jazzy interventions, orchestral majesty and keyboard virtuosity/complexity. But these all go along with overly very pompous vocals and pretentious lyrics along with some clichéd choirs. This one flirts dangerously with both majestic and bland music.”

“This is a very underrated album from Rick Wakeman, supported by the excellent English Rock Ensemble. There are many excellent mellotron, piano, clavinet and harpsichord parts, and the bass even sounds like a clavinet. The tracks are very rhythmic and loaded. The omnipresent brass arrangements are very special and excellent, and give the music a very original sound.”

“All the tracks are excellent, and the music is very progressive. This splendid album is introspective, serious, beautiful, and it naturally predisposes the listener to a religious contemplation. The music is perfectly balanced between Wakeman's progressive keyboards and the omnipresent sophisticated rock dimension provided by the English Rock Ensemble. All the tracks can be uninterruptedly listened without any problem.”

“An average Wakeman outing. The opening five part suite is marred by vocals that just don't cut it and lyrics that are, to be polite, strained. The Prisoner and The Lost Cycle save the LP as both are better performed and more interesting songs. Wakeman is a great performer and plays well throughout.”

Takin' It To The Streets - THE DOOBIE BROTHERS****

Wheels Of Fortune/Takin' It To The Streets/8th Avenue Shuffle/Losin' End/Rio/For Someone Special/It Keeps You Runnin'/Turn It Loose/Carry Me Away

Takin’ It To The Streets is very much a transitional album from the Doobie Brothers. Tom Johnston has been edged out and Michael McDonald steps up to take on songwriting duties. This would soon transform them from a hard rocking band to a bland soul outfit. Here however both aspects are in balance and the McDonald songs are quite good. (US:8 UK:42)

“Michael McDonald joins, Tom Johnston departs. The transformation of The Doobies from twin-guitar rock band to cloyingly sweet soul band begins, sadly, though here the band is still mostly in top form. A lot of Takin It To The Streets still absolutely rocks Michael McDonald does have a wonderful voice, there's no denying that. But he's definitely not a rocker. Still his vocals, combined with The Doobies still rockin' sound, make this an enjoyable album. The Doobies weren't doomed yet, but they were starting to get there. It's a very transitional album, but quite good enough to please fans of both eras of the band.”

“Michael McDonald and The Doobies. Following this album they went down hill faster than a greased roller skate on butter. Regardless of McDonald’s R & B moments Wheels Of Fortune and 8th Avenue Shuffle are good tracks, seemingly the tail end of the Doobies' fading former selves.”

“It's no secret that I don't care for Michael McDonald, yet despite that this is a pretty good record. However, the writing was clearly on the wall.”

“On Takin' It To The Streets, the Doobies started their transition from a rock-oriented to pop-soul oriented sound. Michael McDonald makes his Doobie's recording debut while original leader Tom Johnston makes his departure. What makes this album great is that both elements of the band sound show up and it isn't exclusively one or the other. The album kicks off with the rocking Wheels Of Fortune and then rolls into the classic title cut. These two songs perfectly frame the two styles. This album bridges the gap and is the best of both Doobie worlds.”

“This is the best album with Michael McDonald appearing. His songs are very strong and the album still retains that Doobie sound.”

Presence - LED ZEPPELIN***

Achilles Last Stand/For Your Life/Royal Orleans/Nobody's Fault But Mine/Candy Store Rock/Hots On For Nowhere/Tea For One

Despite the high chart placing critics considered that Presence was the weakest Led Zeppelin album. It is certainly uninspiring, deserving the dismissive comment that it is a bored parody of the group. (US:1 UK:1)

“It is a hard, screaming, multilayered electric guitar album with no pretence to the softer acoustic music Led Zeppelin were famous for as well.”

“Many felt it lacked the diversity of the earlier Zeppelin albums. A lack of experimentation and very little light and shade on the album, with no acoustic tracks saw it alienating the more folky Zeppelin follower.”

“Not horrible, but the band's best moments Achilles Last Stand and Nobody's Fault are overshadowed by the weaker filler. All things must end.”

“Led Zeppelin’s worst record, and by considerable distance. And yet it features Achilles Last Stand, which could well be in their top five best songs. Nobody's Fault But Mine is also good, but not great. Sadly those are the only songs on here of any real worth. The rest sounds like a bored parody of the group. This is not a particularly long record, but it's a draining one. It really takes an effort to sit through this.”

“Jimmy Page is on the top of his game with his solos. However, I don't like the wide array of guitar effects he uses on this album, and I think it is clear by this point that his songwriting partnership with Plant is beginning to struggle in terms of creativity.”

“Achilles Last Stand is a truly great track and arguably one of their finest, with great riffs and solos all over the place. With the exception of the decent blues-rocker Nobody's Fault, the rest of the tracks range from mediocre to very boring. Uninspired and generic melodies and even Page solos are far from creative.”

“This album shows Zeppelin at their most tense and energetic. A very electric and muscular album that has no acoustic guitar at all. This album is desperate and powerful Zeppelin.”

Wings At The Speed Of Sound – PAUL MCCARTNEY***

Let 'Em In/The Note You Never Wrote/She's My Baby/Beware My Love/Wino Junko/Sillly Love Songs/Cook Of The House/Time To Hide/Must Do Something About It/San Ferry Anne/Warm & Beautiful

On At The Speed Of Sound Paul McCartney opens up the songwriting duties to members of his backing band Wings. Predictably the end results are rather disappointing, but redeemed by the two big hits, the superlative Silly Love Songs and Let ‘Em In. (US:1 UK:2)

“Paul’s attempt to make Wings more of a group effort largely falls flat here. If it weren’t for the two mega-hits Silly Love Songs and Let ‘Em In, this album would have ranked as one the weakest by any ex-Beatle in the 70s. As it stands, it’s still a pretty sub-par album.”

“I can understand what McCartney was trying to do – develop Wings into a band rather than a vehicle for his own talents – but all this proves is Wings were no Beatles. Linda’s Cook Of The House is plain embarrassing and must rank as one of the worst songs on any album by any artist.”

“If McCartney ever needed evidence that he was either better off ploughing a musical furrow as a solo artist or sticking with the band format but writing all the material himself, then Wings At The Speed Of Sound provides ample proof.”

“Well, this is a massive step down from everything Paul McCartney had done previously. There are two reasons for this. First, and most obviously, he began indulging the idea that Wings was actually a band, instead of a collection of backing musicians. Other than Cook Of The House, nothing is truly deplorable, but it's just not Paul McCartney.”

“Silly Love Songs and Let ‘Em In are both great pop songs, and Warm & Beautiful is one of his typical old time sounding, soppy ballads which is well executed. But the rest is a huge step down.”

“It is the one Wings album where we get solid songwriting contributions from the members of the group who are not Paul McCartney. Denny Laine's The Note You Never Wrote is an interesting, heartbreaking tune, and Time To Hide is a competent rocker. Jimmy McCullough's Wino Junko possesses the best groove on the album.”

Come On Over - OLIVIA NEWTON JOHN***

Jolene/Pony Ride/Come On Over/It'll Be Me/Greensleeves/Blue Eyes Crying In The Rain/Don't Throw It All Away/Who Are You Now/Smile For Me/Small Talk & Pride/Wrap Me In Your Arms/Long & Winding Road

After a country phase, Come On Over is an album of mostly ballads and covers, before Olivia Newton John would make another musical change which would be towards disco. (US:13 UK:49)

“The really disappointing thing is that Come On Over is a great track, its perfectly suited to her style, but best heard on a hits collection. Aside from Don't Throw It All Away the rest is best heard as backing music to an afternoon nap.”

“Come On Over is the middle of Olivia Newton-John's MOR phase, which means the record is filled with mediocre ballads and contains little of interest. It is just not as consistently entertaining as her early country or pop successes. Her versions of Jolene and Blue Eyes Crying In The Rain are handled well, even if they don't hold a candle to the classics. The best song is the title track, which exemplifies all that is great about pop. The most interesting moment is her adaptation of Greensleeves, which is hauntingly intriguing. Most of the second half is ballads, which become indistinguishable from one another. Olivia Newton-John made several entertaining records, unfortunately, despite some highlights, this isn't one of them.”

“Dull is the word. Outside of the title track and Jolene there's not much electricity to be found here. Despite a long list of yawners, there's still Don't Throw It All Away, a catchy, mellow tune that would have made a good single.”

“Olivia tackles it all on this effort, everything from traditional country to folk to pop to disco. She seems a little bolder here with some of the material and her voice is breathier in some cases but stronger in others. Her cover of Dolly Parton's Jolene is terrific and has become a standard during her rare concert performances. There's also a beautiful rendition of The Long & Winding Road.”

“This is one of Olivia's worst albums; it feels like a filler of well known cover versions - almost like she had to produce an album. The performances are good, but often do not compare well with the originals, which probably means a bad choice of material. Jolene is a good recording as are Come On Over and Don't Throw It All Away, but Greensleeves should be left for medieval banquets.”

Rebel - JOHN MILES****

Music/Everybody Wants Some More/Highfly/You Have It All/Rebel/When You Lose Someone So Young/Lady Of My Life/Pull The Damn Thing Down/Music (Reprise)

British singer songwriter John Miles enjoyed a very brief moment of glory in the mid 1970s. He is best remembered for the excellent UK No. 3 hit single Music lifted from his debut album Rebel. Although he would release many more albums none of them would trouble the upper reaches of the charts. (US:171 UK:9)

“Surely just about everyone has heard the totally overblown grandiloquent offerings of the lushly orchestrated hit single Music So whatever happened to John Miles, destined for super-stardom after the release of his debut album Rebel. There was another couple of attempts at hitting the charts and then he sank without a trace.”

“All in all I find Rebel a very entertaining album. Although obviously flawed and not compatible with most ears, for me entertainment value counts and that's just what John Miles and Alan Parsons have produced here, a highly polished pop extravaganza with bags of entertainment. They don't make them like this anymore that's for sure.”

“Miles had it all - great voice; talented multi-instrumentalist, and a songwriter capable of crafting highly commercial material that spanned several genres and styles.”

“Yes, Music is pompous, bloated, but for me it’s still a rousing single sung and performed with heartfelt emotion.”

“Massive orchestras interspersed with harpsichord riffs, electric guitars and operatic choirs. It's all here, the trademark Alan Parsons sound in a formative stage. Music has become a classic, and Highfly is still a great song.”

“This album is really pretty stunning. Miles takes the vaguely glam sound of mainstream Brit-rock in the lagging days before punk and turns it up. The overall pomp and circumstance he generates gives Emerson, Lake and Palmer a run for their money. In terms of orchestration, this album sounds as good in parts as The Moody Blues, though more specifically song-oriented.”

“Miles' musical range is amazing and Rebel is full of songs that should have been classics. Obviously Music is the highlight but listeners who are not so keen on this masterpiece will find different types of songs to satisfy their appetite.”

Diana Ross - DIANA ROSS****

Theme From Mahogany/I Thought It Took A Little Time/Love Hangover/Kiss Me Now/You're Good My Child/One Love In My Lifetime/Ain't Nothin' But A Maybe/After You/Smile

Self titled album from Diana Ross, the most successful female vocalist in the 1970s. Includes the US No. 1 hit Love Hangover, her first foray into disco, which was now the dominant musical genre in the singles chart. Also featured is another US No.1, the excellent ballad Theme From Mahogany. (US:5 UK:4)

“My personal favourite album by Diana Ross. I suppose its more commercial sounding than her earlier soulful efforts, but it contains the hits Love Hangover and Theme From Mahogany. The best track from the album, however is After You, a song with quite a dreamy melody and a good verse-chorus structure. You could probably compare this period in Diana Ross' career to the Barbra Streisand sound of the similar period. All in all a good solid album.”

“Pretty flawless really. Theme From Mahogany is truly memorable for it's melancholy beauty, while Love Hangover is just a brilliant disco classic. Her voice is so beautiful, dreamy, delicate in the right places, yet full and powerful when she wants it to be. A genuine star and an album to match.”

“This album represents a definite change in direction for Ross, both as a popular singer and as an adult who was showing more depth in her work. The singer had established herself as the most recognizable voice of American popular music. When this collection was released, the world was moving from rock and country-rock into disco, and Diana's number one single Love Hangover became one of the biggest dance club hits of the year.”

“Two Diana Ross staples are here: The Theme From Mahogany and Love Hangover. The former is one of her best ballads, while the latter is one of the seminal dance tracks of the disco '70s. Overall, not among her best, but it's still an essential part of her discography.”

“Love Hangover was her first attempt to conquer the world of disco, and my oh my, this is so good, more than seven minutes of sweetly moaning and singing, a total dance classic. The Theme From Mahogany is one of the most mellow, slow and sweet ballads that Diana delivered and is still a classic. I Thought It Took A Little Time and One Love In My Lifetime were kind and generous, but didn't achieve the success that Diana deserved simply because the world was in love with disco.”

Nobody's Fools - SLADE***

Nobody's Fool/Do The Dirty/Let's Call It Quits/Pack Up Your Troubles/In For A Penny/Get On Up/LA Jinx/Did Ya Mama Ever Tell Ya/Scratch My Back/I'm A Talker/All The World Is A Stage

Slade’s fan base was fast ebbing away by the time Nobody’s Fools was released, not helped by a lengthy and fruitless sojourn to establish themselves in the USA. Features two fine UK hit singles In For A Penny and Let’s Call It Quits. (UK:14)

“Nobody's Fools was a compound error for Slade. Their career had already nosedived with the soundtrack album Slade In Flame. The film sent out the wrong message to many of their fans who were young or unable to appreciate the clever work. The further change in direction sealed the bands death warrant and they were, by and large, presumed dead before the summer had begun. It was a crying shame really, because this album was extremely adventurous.”

“Slade mix it up quite a bit on this one. A large variety of styles and the boot stomping has now completely vanished.” “This release deserves more respect than it has been given as it is the last of the great Slade albums. I wouldn't recommend it as a starter, but it's a lovely topper.”

“The boys seem a little tired and have largely run out of ideas by this disc. The band's ‘American’ album results in more variety but less focus. Still, there's much to enjoy here and little to dislike.”

“This album was intended to lure in a larger American audience when it was first released. The song Nobody's Fool is a lost 1970s classic. The album is solid, with touches of country, soul and hard rock throughout.”

“Nobody's Fools was released after a year spent living in New York in one final (though futile) attempt to bust the American market wide open. The sojourn spent stateside was not a complete success and it only served to distance Slade from their loyal British fans. They had been on a steady downward slope. This could be the band's most diverse record but it seemed trying to be all things, including a heavy soul/R & B feel in the rhythms and background vocals.”

Blue For You - STATUS QUO***

Is There A Better Way/Mad About The Boy/Ring Of A Change/Blue For You/Rain/Rolling Home/That's A Fact/ Ease Your Mind/Mystery Song

Blue For You continued the roll the British boogie band Status Quo enjoyed in the mid 1970s. However there was some discontent amongst fans that they were beginning to incorporate too much poppy material. Features the UK hit singles Rain and Mystery Song. (UK:1)

“Whilst this album has some fantastic hard-rockin' tracks that show Quo at their best, you can't help but notice some weaker party tracks creeping in, that would become more of a feature on future albums as they drifted away from their best years.”

“On the one hand this still has the power and energy of their earlier work, but a number of tracks point to the direction the band would take in the late 1970s. Mad About The Boy is perhaps the best example of this. A melodic boogie number, at the song’s core is a simple, catchy pop song, which doesn’t quite sound as effortlessly cool as their earlier work, but instead somehow sounds a bit more safe and radio friendly. Yet the track works simply because of the band’s performance.”

“Blue For You makes me blue because it's where the Quo went off the boil somewhat. It has a few classics scattered over it like gold dust but also a lot of filler. The storming Rain, one of their greatest recordings, sounds pretty tingly despite the limp songwriting roundabouts.”

“There was a lack of imagination and variation in their music. It's deceptively simple and infectious but that can be said about the worst kind of manufactured pop. But at least when it comes to their early albums, Quo were responsible for some of the best good time rock and roll boogie songs ever recorded.”

“This was the last album produced by Status Quo that rocked, after this they became a pop band. However let’s remember them at their best.” “It was criminal for this band to be overlooked in the United States. This album was the end of a run of some of the best rock out boogie England ever produced. America would never come close to promoting a decent rock band such as this.”

Gimme Back My Bullets - LYNYRD SKYNRD***

Gimme Back My Bullets/Every Mother's Son/Trust/Got The Same Old Blues/Double Trouble/Roll Gypsy Roll/ Searching/Crying For The Bad Man/All I Can Do Is Write About It

Gimme Back My Bullets is a disappointing album from the Southern Rock band Lynyrd Skynyrd. As happened here, with many groups there was a tendency to rehash the formula of previous releases. (US:20 UK:34)

“There is nothing horrendously wrong with this album. The musicianship, songwriting, and ideas are the same as three years earlier. Plenty of funky riffs, covered in hillbilly bumpkin grooves and soulful singing, accompanied by female back-up singers, with plenty of solos to sink your teeth into. So what exactly is the problem here? The songwriting just isn't as good. It’s coming from the same creative well as before, except now its just rehashing the old and hoping for the same result.”

“A solid effort. Nothing much to write home about but still good Southern Rock material. Double Trouble and Every Mother’s Son are pretty good but nothing else is memorable.”

“Although Gimme Back My Bullets doesn't hold-up to Skynyrd's three previous studio albums, the mere fact that the title track is a roaring powder keg of stomping, stop/start, Southern friend rock 'n' roll, makes the LP an essential purchase.”

“Lynyrd Skynyrd show little effort here and the songs are rather short. There are some good as well as some bad ones, with the title track quite enjoyable. All I Can Do Is Write About It is also good and possibly the best track on the album. This should be picked up if you are a fan, but not if you want to listen to some seriously good music.”

“I can't think of a single good reason to listen to this record. Most songs are pointless and boring. We're spared endless noodling, but the songs start out nowhere, go nowhere and end nowhere.”

“On this album the band do sound a bit tired and as a result the output does not have the same verve or variety as their other albums, but it is still pretty good. Certainly anyone who likes the band will want a copy.”

Breakaway - GALLAGHER & LYLE***

Breakaway/Stay Young/I Wanna Stay With You/Heart On My Sleeve/Fifteen Summers/Sign Of The Times/If I Needed Someone/Storm In My Soul/Rockwriter/Northern Girl

Gallagher & Lyle were a Scottish soft rock duo who were founding members of the short lived group McGuinness Flint. This release was their most successful album and features the UK top ten hits I Wanna Stay With You and Heart On My Sleeve. (UK:6)

“Gallagher & Lyle, previously members of McGuinness Flint released a decent album here. Breakaway is a catchy song. Stay Young and Fifteen Summers are two very beautiful folk songs. Heart On My Sleeve is another hidden gem with a different accompaniment with accordion behind. The rest, mostly faster songs are somewhat lesser and sound more country-pop.”

“The too polished side of the 70s British country scene. Gallagher & Lyle, particularly on this album, were just too produced. You can't deny their importance in this genre of music though, as they were original members of McGuiness Flint. They just didn't do the genre any favours with this over produced pop piece.”

“A classic album that loaded all it goods on side one - leaving side two underplayed and thereby unbalancing the album as a whole.”

“Gallagher and Lyle have a very easy style, and this is an easy-going sort of album. Their music is slightly progressive 70s folk. Yet there are some surprises on here. If I Needed Someone and Storm In My Soul are fine tropical-flavoured pop, and I Wanna Stay With You is a disco song. But the reason I bought this album was for Heart On My Sleeve, a fine folk-pop song and this version adds an accordion to the mix. Fifteen Summers is a nice folk song.”

“With this album Gallagher & Lyle took their place in the pantheon of great pop singer-songwriters. These songs have much genuine sentiment and, like poetry, record universal experiences with such deftness, the listener can only instantly identify with them. The album weaves a course which is in some part folk, some part soul, creating an organic pop whole, with songs which are now upbeat, now wistful though not indulgently sad.” “Compared with the sound-alike hits played on the radio today, this music sounds brilliant, especially to someone who grew up in the 1970s.”

A Trick Of The Tail - GENESIS*****

Dance On A Volcano/Entangled/Squonk/Mad Man Moon/Robbery Assault & Battery/Ripples/A Trick Of The Tail/ Los Endos

When front man Peter Gabriel left the band critics and fans alike assumed that Genesis were finished without their flamboyant leader. But to everyone’s surprise the excellent A Trick Of The Tail retained their distinctive sound. (US:31 UK:3)

“Genesis were the best song-writers of the progressive rock era. This album is often praised for striking a good balance between the earlier, more experimental work and the more melodic and hooky later releases. It's still very much a prog album and when it sticks to that genre it works best.”

“A Trick Of The Tail was the first Genesis album without Peter Gabriel and the first with Phil Collins on lead vocals. His singing might annoy some people but musically this LP is classic Genesis all the way through.”

“With Peter Gabriel's departure, the band tightened up and there were less whimsical and meandering songs and self-indulgence which was always something of a problem with Gabriel. Trick Of The Tail retains all of the compositional qualities of a Genesis record and doesn't sound out of place with the earlier albums.”

“Phil really comes into his own as a singer on songs such as the comedic and whimsical Robbery Assault & Battery (which like the best Gabriel era material manages to be whimsical without being embarrassing), and the emotionally moving Ripples. In presenting an updated vision of the pastoral prog of Genesis' earliest days, A Trick Of The Tail goes a long way in preserving the band's illustrious past.”

“I believe this is one of the best Genesis albums. The remaining members felt they needed to make a statement after Peter Gabriel left. The musicianship is especially tight and more reflective compositions like Entangled offer Phil Collins a chance to really showcase his voice. But the jams like Dance On A Volcano are progressive rock at its best. Peter Gabriel cast a huge shadow over Genesis; but the album is extremely well done all the way through, and avoids the excessively long, rambling compositions of earlier albums.”

“Every song on this album is great. There are fairly heavy pieces of rock and some pretty ballads. Some passages are vocal, others are just instrumental. It is a credit that these guys as composers and poets equal their abilities as performers.”

Run With The Pack - BAD COMPANY***

Live For The Music/Simple Man/Honey Child/Love Me Somebody/Run With The Pack/Silver Blue & Gold/Young Blood/Do Right By Your Woman/Sweet Lil' Sister/Fade Away

Run With The Pack was the third album from the British blues-rock band Bad Company. The natural successor to the earlier more creative group Free, their music was much less consistent. (US:5 UK:4)

“Bad Company are moderately catchy here but not particularly inspiring and quite shallow and flat. One of those ‘try not to listen too closely to the lyrics type of 70s record.”

“Still has that smooth blues vibe and nice blues guitar but the material is not up to their previous stuff. Still it is a worthy addition to any Bad Company collection.”

“Here we see Bad Company apparently attempting to mix the hard rock from their first two albums with some new sounds and styles. Well, new for this band, at least. Creatively, it works pretty well in some places and falls short elsewhere.”

“By now the two years of constant touring was beginning to take its toll and the songs on here are in places a little jaded or even ordinary. Despite a number of good cuts ultimately Run With The Pack suffers, mainly due to there being no major hit material. However, it is rescued by some classic tracks which converted well to the live set.”

“There are some terrific ballads on Bad Company's third record: Simple Man and Silver Blue & Gold, for instance, are gorgeously wrapped around Paul Roger's incomparable voice. A few rockers as well, like opening track Live For The Music or Sweet Lil' Sister. All in all, a very pleasant combination.”

“This album continues Bad Company's formula of strong blues based rock. Live For The Music is an average opening track, Simple Man is a very good song with Paul Rodger's haunting vocals and lyrics and Mick Ralphs fine guitar playing. Love Me Someday is a slow ballad that is a bit boring and is fortunately followed up by the title track, a toe tapping number that you'll keep singing long after it ends. Silver Blue & Gold continues the trend of piano/acoustic songs that Paul carried over to his solo career. Young Blood is just a fun cover tune that will make you smile while you're listening to it.”

Thoroughbred - CAROLE KING***

So Many Ways/Daughter Of Light/High Out Of Time/Only Love Is Real/There's A Space Between Us/I Like To Know You Better/We All Have To Be Alone/Ambrosia/Still Here Thinking Of You/It's Gonna Work Out Fine

Thoroughbred was the last Carole King album to enjoy a high chart placing. Her songs began to lack the distinctiveness which she achieved so brilliantly with her best compositions. (US:3)

“It was her last album for the Ode label and signalled the end to the mostly joyful, romantic, and honest songs that dominated her work up until that time. It all added up to a pleasant, if not very venturesome, King release. A solid album of good music, there were no real outstanding tracks that can be considered among her best, but on the other hand there were no clunkers either.”

“It is hard to imagine an album rivalling King's Tapestry in creativity and satisfaction, but Thoroughbred nearly matches. Carole sings some of her finest and most intimate songs here. The production is slick and unencumbered.”

“Thoroughbred is one of the finest romantic albums of the mid-1970s, joyful and sometimes painful in its directness and honesty. King wears her heart on her sleeve and puts everything on the table emotionally. This is the listener's first hint that change was in the air for King; there is a raw and urgent directness in her voice, which was missing from earlier albums. Thoroughbred has a rolling acoustical sound, and guitars play a heavier role, beautifully accentuating King's two-fisted piano style. This is a beautiful gem, hopefully not soon to be forgotten.”

“Once again, Carole does her own back-up vocals on most of the tracks, plays piano, and sings her plaintive heart out. It's a startling performance and one of her best.”

“While songs like So Many Ways, I'd Like To Know You Better and the poetic Ambrosia are all some of the best romantic pop of the era, all too much of this is off a piece and could easily be dismissed by the closed minded as soft rock. Her craft has become polished to such a degree that her songs are beginning to sound alike. In terms of an album that flows together almost perfectly this will do wonderfully. But it does lack a degree of variety.”