Star Wars - SOUNDTRACK****

Main Title/Imperial Attack/Princess Leia's Theme/The Desert & The Robot Auction/Ben's Death & Fighter Attack/The Little People Work/Rescue Of The Princess/Inner City/Cantina Band/The Land Of The Sand People/Moue Robot & Blasting Off/The Return Home/The Walls Converge/The Princess Appears/The Last Battle/The Throne Room & End Title

This was the double LP Grammy winning album that launched the incredibly influential Star Wars movie franchise. Composed by John Williams the Main Title would provide him with a US No.10 hit. (US:2)

“The greatest movie soundtrack ever made. There's no getting past how incredible this music is. In fact, the music was a fairly big part of the reason the movie was so popular in the first place.”

“Hard not to give this an insanely high rating, because it's the sound of my childhood. What struck me as much as anything was the legitimacy that Williams' score gave the film. Any other composer would have been drawn in by the sci-fi and the futuristic setting and rely too heavily on what they thought was futuristic music.”

“The Star Wars Theme is perhaps the most recognized movie theme of all time, and I'll even wager the greatest instrumental movie theme ever created. Leia's Theme is a calm and beautiful song, while Cantina Band is the perfect bar band song. Every song fits so perfectly with the movie.”

“Star Wars both in music and in film, has managed to create a separate universe from our own. It is probably one of the best films ever made and the music is also some of the best ever composed. You can feel the intensity and ample fear in the battles captured here.”

“This is probably the greatest soundtrack ever. For that matter, this is some of the greatest music of the 20th century. Excellent writing, especially the melodies, excellent orchestration, and the reintroduction of the old idea of the leitmotif.”

“With all the new movies, the spin-offs, the TV commercials and remixes, sometimes it's hard to remember just how powerful the very first, original movie's music was. This was a grand, epic soundtrack. You have the sweeping power of the main theme, and the most famous song of all Cantina Band. Each song has texture and meaning built into each note.”

Nether Lands - DAN FOGELBERG***

Nether Lands/Once Upon A Time/Dancing Shoes/Lessons Learned/Loose Ends/Love Gone By/Promises Made/Give Me Some Time/Scarecrow's Dream/Sketches/False Faces

Soft rock singer songwriter Dan Fogelberg continued to attract public attention with the release of Nether Lands. During the next five years he would enjoy solid commercial success in the USA, but would remain little known in the UK. (US:13)

“Beautiful songs sung with feeling, quite special. The tracks Loose Ends and False Faces are his best work. This was Dan Fogelberg’s breakthrough album, but unfortunately he never reached these heights again.”

“There are some really good tunes on this LP, but it feels like it takes itself a little too seriously in places. I think the album's charm is the same as its downfall, namely the strings and apparent multiple production layers.”

“A couple of tracks are OK, but overall, I had difficulty following this from beginning to end, and also had problems figuring out when one track ended and the next started. It is similar sounding throughout the recording.”

“With it's over the top production, sappy strings, and sensitive guy lyrics, the best way to describe Nether Lands is Barry Manilow in blue jeans. The only two decent cuts are Loose Ends which is saved by some fine harmonies and excellent guitar. False Faces is also pretty good. Outside of these tracks this album is best kept in a Nether Land of its own.”

“The dreamy, haunting arrangements, that mostly comprise the stylings of multi-instrumentalist Fogelberg, are inspirational, breathtaking and unforgettable.”

“I am always impressed by the diversity and emotional power with which he writes and performs. He easily moves from soft ballads to driving rock and roll, with a little country and classical mixed in between. There is never a dull moment with Fogelberg. He is an awesome talent.” “The music is probing and inquisitive, dramatic and relieving. Here, Fogelberg has expanded the soft rock California sound of the late seventies by including an intelligent and poignant theme. It is melodic, luscious and discerning.”

I'm In You - PETER FRAMPTON***

I’m In You/(Putting My) Heart On The Line/St Thomas (Don’t You Know How I Feel)/You Won’t Be My Friend/You Don’t Have To Worry/Tried To Love/Rocky’s Hot Club/(I’m A (Road Runner)/Signed Sealed Delivered (I’m Yours)

After the massive success of his live album from the previous year expectations ran high for the next Peter Frampton release. Unfortunately, I’m In You was a disappointment in which his traditional rock musical style took a back seat to chasing the fickle teenage girls market. (US:2 UK:19)

“Frampton was walking a tightrope with this album, a fine line between catering to his teenybopper fandom and yet still wishing to further his rock-star credentials. In the end, although the album was commercially successful on first release, he satisfied neither faction and soon found himself back where he was in the early 70s with his future behind him.”

“I still can't believe what a lame follow-up to the double-live this was, especially given how relatively good and rocking its studio predecessor Frampton was.”

“With this album, Peter Frampton faced the fundamental problem of how to adequately follow such a smash as Frampton Comes Alive, which had taken the world by storm the previous year. Typically, many critics were quick to dismiss the new record as being an inadequate, rushed and a lightweight follow-up.”

“The music did not particularly attempt to replicate the sound and style of the live album, although the lively pairing of two old Motown songs did reflect Peter's enjoyment of performing. Rather than opening with an upbeat track, the album's first song was the memorable synthesizer laden ballad I'm In You. The rest of the album unfolded with upbeat tracks strongly featuring distinctive synthesizer sounds.”

“Despite the relative sappiness of the title track, it's still a classic piece of 70s glossy balladeering that had the young girls swooning, evolving into a powerhouse toward the end. But just in case, the remainder of the album displays remarkably good taste and dynamic, imaginative songwriting.”

“This album was basically a misguided attempt to become a pretty boy sex symbol and while it did sell quite a few copies, it was almost shamelessly devoid of any of Frampton's earlier wit and charm. The title track was a hit, and was snapped up by teenage girls looking for the latest pin up to swoon over. Otherwise, the songs are lifeless and emotionless.”

Izitso - CAT STEVENS***

(Remember The Days Of The) Old Schoolyard/Life/Killin’ Time/Kypros/Bonfire/(I Never Wanted)To Be A Star/ Crazy/Sweet Jamaica/Was Dog A Doughnut/Child For A Day

Singer songwriter Cat Stevens released some of the best pop-rock albums during the 1970s, but alas Izitso is not one of them. This is an uneven release which unusually for this artist features synthesisers. (US:7 UK:18)

“Perhaps it's his worst work, but it includes two of my favourite tracks: Old Schoolyard and the instrumental Kypros, which refers of course to his country Cyprus.”

“One excellent pop track Old Schoolyard, which keeps better company on any number of compilations, and lots of horrible, unlistenable junk. The Worst of Cat Stevens would have been a better title.”

“The only remarkable song here is the beautiful (I Never Wanted) To Be a Star with a fine tune and great lyrics. Absolutely unacceptable: the instrumental Was Dog A Doughnut.”

“Mediocrity abounds on this album. For the most part, the songs manage to sound both flimsy and over-baked. Izitso may be Stevens' most keyboard oriented album. There are lots of synthesizers here and even a drum machine on the instrumental Kypros.”

“This album was quite a musical departure for Stevens, filled with synthesizers and often much more upbeat pop/rock with a bit harder edge than a lot of his work. While this album doesn't have his traditional sound to it, I think he adapted well to the use of synthesizers. This is a great timepiece of the era. He was a true original, and his presence in the music world is certainly missed.”

“This album gets a lot of flack for embracing Cat's soulful side as opposed to mellow folk, and thereby going against his musical grain to some ears. But there's a lot of quality music on here that could all too easily be overlooked.”

“I'm a big Cat Stevens fan, but this was a big disappointment to me. Except for three really great songs (Old School Yard, To Be A Star and Child For A Day) the material is lousy.”

Book Of Dreams - THE STEVE MILLER BAND***

Threshold/Jet Airliner/Winter Time/Swingtown/True Fine Love/Wish Upon A Star/Jungle Love/Electro Lux Imbroglio/Sacrifice/The Stake/My Own Space/Babes In The Wood

Book Of Dreams has many similarities to the previous Steve Miller album, unsurprisingly as they both appear to have been recorded at the same session. Features the US No. 8 hit Jet Airliner. (US:2 UK:12)

“Following hot on the heels of the exhilarating Fly Like An Eagle, Steve Miller returned with the equally impressive Book Of Dreams. What is particularly noteworthy about both these albums is the versatility of his guitar playing and ability to switch effortlessly between musical styles.”

“Filled with classics and some other typical Steve Miller space music, it remains one of my favourite albums from the 70s and is the quintessential Steve Miller Band record. Jet Airliner, Swingtown, and Jungle Love dominated the airwaves that year and still remain accessible and enjoyable when heard today. The rest of the tracks are also strong, and the flow of the music as a whole works much better than most other Steve Miller albums.”

“It is well known that Miller cleverly recorded both this and its predecessor at the same sessions and carved the material up into two separate albums for subsequent release. Unsurprising therefore that the material on both is interchangeable and similarly constructed, with three killer pop singles, some blues, some corny country and little synthesiser inserts that he liked to elevate with slightly pretentious titles.”

“Steve Miller lives somewhat of a dual musical existence, solidly forging his reputation as a blues man, but he also has his lightly tinged psychedelic side, stringing together dreamy romantic wasted numbers that come off smoothly, cleanly, and more often than not intoxicatingly. Even within this quasi psychedelic nature, he still manages to lace unexpected songs together. Some are on the verge of rocking, while others are as effortless and gentle as smoke, and still able to hold them all in check, fully in control.”

“Book Of Dreams is one consistently strong recording. There is a great balance between driving electric guitar rockers and acoustic songs with an emphasis on special effects. Jet Airliner and Jungle Love were two good choices for singles but there are plenty of other catchy hidden gems.”

Time Loves A Hero - LITTLE FEAT***

Hi Roller/Time Loves A Hero/Rocket In My Pocket/Day At The Dog Races/Old Folks Boogie/Red Streamliner/ New Delhi Freight Train/Keepin’ Up With The Joneses/Missin’ You

Critics were disappointed with blues-rock Little Feat’s Time Loves A Hero as the input from the main songwriter and vocalist Lowell George was much diminished. (US:34 UK:8)

“I think the whole record could have been so much better, but nevertheless it has some fine songs. The title track is catchy, Rocket In My Pocket has a funk-rock quality that drives it at full throttle. Old Folks Boogie is a lot of fun and A Day At The Dog Races is a highlight showing that Little Feat were more than capable of trying out other forms of experimentation.”

“Not one of the better Little Feat albums. This is OK, but the band sounds a bit tired here. Lowell George is on his downward spiral leaving the band without a lot of good material to record. There are some good moments but they are few and far between.”

“This album is given a bad name by many, mainly because of Lowell George's dwindling contributions to the band he once spearheaded. However, I don't think it's fair to compare this album to their earlier work because they were beginning to go in a new direction. The whole first side is stellar, and features several of their best songs: Time Loves A Hero gels into a mellow-yet-funky, driving groove, and all in all is a sublime song.”

“Lowell George was on the decline, contributing only two tunes, the best of which is the rocker Rocket In My Pocket. The big problem is that they sound more like The Doobie Brothers, than the Little Feat I'd come to know and love.”

“Time Loves A Hero continues Little Feat's downward trajectory from the dizzying height of Dixie Chicken. Lowell George is essentially gone, jazz-fusion noodling replaces funky Southern grooves, and electronically synthesized sounds smother the rich, organic timbre of real instruments.”

“This is a decent album but really nothing more. The standout tracks are killer and would prove to be even better onstage. The rest is ho-hum, heard-it-all-before type stuff.”

At The Hollywood Bowl - THE BEATLES****

Twist & Shout/She’s A Woman/Dizzy Miss Lizzy/Ticket To Ride/Can’t Buy Me Love/Things We Said Today/Roll Over Beethoven/Boys/A Hard Day’s Night/Help/All My Loving/She Loves You/Long Tall Sally

Somewhat belatedly At The Hollywood Bowl was the first Beatles live release. The songs are all taken from the 1963-65 period. Although of significant historical interest, the group’s performance is rather drowned out by the screaming of fans. (US:2 UK:1)

“As one might easily understand, the recording quality was (to put it mildly) quite inferior, whereas the girls' screaming was quite superior. That said, once your ears get attuned to the noise, there's no doubt about it - it's definitely a live Beatles performance, signed, sealed, and delivered.”

“The band battled fans for the spotlight on that and it really shines a bright light as to what Beatlemania was.”

“If one were to describe this meeting between The Beatles and their fans as a battle, the fans clearly win. There are several reasons for this. The most important being that at the time, live concert equipment was a far cry from what it later became.”

“Because The Beatles were nothing more than a straight-up pop band at this point, Live At The Hollywood Bowl ends up being moderately underwhelming. The live arrangements hardly vary from the studio versions. At the time, though, that’s what concert attendees demanded. On these terms, the shows were a success. The Fabs are pretty tight musically, but one area in which they struggle throughout the set is their vocals. It is hard for them to approximate the harmonies found on their records.”

“The overall energy is absolutely insane, almost incomparable. It's like listening to space shuttle taking off, it's a blast, the fire is bursting right from everywhere and you're right in the centre of action.”

“What does come through is the incredible energy they could generate in live performance. Most of these songs are taken at a faster tempo and are done in a more basic way. There was no room for subtlety during these concerts.”

“Considering the Fab Four could barely hear themselves it's incredible that they were able to play and sing as well as they did. Their voices are ragged and hoarse at times, but it only adds to the appeal.”

Deceptive Bends - 10CC*****

Good Morning Judge/The Things We Do For Love/Marriage Bureau Rendezvous/People In Love/Modern Man Blues/Honeymoon With B Troop/I Bought A Flat Guitar Tutor/You've Got A Cold/Feel The Benefit

The art-rock group 10cc suffered a severe blow with the departure of half their members leading to fears of a decline in songwriting capabilities. Happily, Deceptive Bends proved these fears to be largely unfounded. Features the UK top ten hits Good Morning Judge and The Things We Do For Love. (US:31 UK:3)

“Having cornered the intelligent pop market with a brace of hit singles and a quartet of albums which made the most of each individual band member’s top-draw songwriting and cutting-edge production techniques, 10cc had now very little to prove. In retrospect Deceptive Bends was a brave attempt by the remaining members of 10cc to keep the ball rolling despite the departure of Godley and Crème.”

“The music on the album is unmistakably the sound of 10cc, line-up changes or not. High quality art pop/rock with lots of clever musical twists and great tongue in cheek humour. To my ears very little has changed and the two remaining members easily fill the roles of the two that left.”

“10cc were never quite the same once Godley and Creme left. The same tight harmonies, some funny lyrics but just not as clever. This has some really good tracks like Good Morning Judge and The Things We Do For Love and the stand out track Feel The Benefit and still better than most of the music released at the time.”

“With Gouldman and Stewart responsible for tracks, the only minor difference from earlier work was a slight shift to a more commercial sound; some of the earlier experimentation seemingly absent.”

“Deceptive Bends was the beginning of the end for 10cc. The band had split into two, Graham Gouldman and Eric Stewart regrouped and came back with a beautiful pop album that showed a subtle change in the sound. The music was still alive with fresh ideas and inventive productions, but was just a bit less cerebral. Every song on this album has become a highlight for me.”

“This album is brilliant from start to finish, with great melodies, crisp harmonies, the usual quirky stories, plus exciting, fun music from master musicians. The closer, Feel The Benefit is one of the all-time great songs.”

Anytime Anywhere - RITA COOLIDGE***

(Your Love Has Lifted Me) Higher & Higher/The Way You Do The Things You Do/We're All Alone/I Feel The Burden/I Don't Want To Talk About It/Words/Good Times/Who's To Bless & Who's To Blame/Southern Lady/The Hungry Years

Anytime Anywhere was the most commercially successful album from US vocalist Rita Coolidge. Most of her songs were covers and this one includes her US top ten hits Higher & Higher and We’re All Alone. (US:6 UK:6)

“Coolidge had a long career both before and after this, but her biggest hit singles were all on this album. It's a decent and professional set of mostly covers, but her husky voice doesn't seem to register very much passion for the material.”

“All the tracks are enjoyable, including the powerful rock ballad Southern Lady and the closing track, a cover of Neil Sedaka's The Hungry Years, a yearning ballad. All in all, Anytime Anywhere is an appealing pop album with many a soulful moment.”

“Anytime Anywhere is the pinnacle of Rita's commercial success. The best tracks here are not the biggest hits, but other treasures. Her vocals on this record are amazing.”

“Her cover of Higher & Higher is probably the best ever. But the disc also includes other great nuggets. Coolidge knows how to pick the right songs to showcase her silky voice.”

“Rita has one of the smoothest voices I've ever heard, soft, smoky and romantic. She does justice to every song here. If you like slow rock from the 70s, do yourself a favour and get this. She is one of the most highly underrated and irreplaceable artists there have ever been.”

“Rita Coolidge has a long and distinguished career to her credit, without ever quite achieving the level of popularity that her talents deserved. Nevertheless, she had her moments in the spotlight and never more so than with Anytime Anywhere, which yielded several hits and gave her some success internationally. Many of the songs were covers, but with tasteful production nicely complementing Rita's superb voice. The versions here probably sounded fresh and exciting to anybody who was familiar with the originals.”

Works - EMERSON LAKE & PALMER***

Piano Concerto No. 1/Lend Your Love To Me Tonight/C'est La Vie/Hallowed Be Thy Name/Nobody Loves You Like I Do/Closer To Believing/Excerpt From The Scythian Suite/L A Nights/New Orleans/Two Part Invention In D Minor/Food For Your Soul/Tank/Fanfare Of The Common Man/Pirates

The overlong Works allocated a side each to individual members of Emerson Lake & Palmer, with only the fourth side remaining for a group effort. Unfortunately, the only memorable songs are the final two tracks. (US:12 UK:9)

“The last track, Pirates, has a delightful mix of contemporary classical epic music and lively keyboards: very melodic, progressive, dynamic, charming and complex. Even Greg Lake sings with passion on this track.”

“Works is one of those double long plays that should have been a single. Their egos got the better of them and this was the end result. At least half of these cuts are just not good, and the other half isn’t bad but certainly not great.”

“I'm not sure that a near twenty minute piano concerto was well placed in an ELP album, and some of the solo songs are a little light, but they went for it big style and I'm glad they did. Very sad that it represented the beginning of the end for the band.”

“Under the guise of a double album ELP effectively go solo for a side each. Emerson's Piano Concerto Number 1 is a self-indulgent piano solo pretending to be a concerto fluttering from musical style to musical style. Lake's five songs, written in collaboration with Sinfield, are sentimental pop songs; pretty enough but rather forgettable. Palmer's six pieces, a couple of them in collaboration with Emerson, are probably what you would expect from a drummer going solo. Side four sees the band coming together again.”

“What we’re presented with here is three sides of solo material of questionable quality, and a single side of Emerson, Lake and Palmer together. Emerson’s side is a textbook example of why prog died.”

“Works is basically a compilation of solo projects of each of the band members, and while overall a decent record, I think it would have worked better as three separate solo releases rather than a compilation. Emerson basically contributes classical, Lake acoustic love songs and Palmer more experimental instrumental progressive pieces.”

Even In The Quietest Moments - SUPERTRAMP*****

Give A Little Bit/Lover Boy/Even In The Quietest Moments/Downstream/Babaji/From Now On/Fool's Overture

By the time of the release of Even In The Quietest Moments progressive bands such as Supertramp were becoming unfashionable with the music critics. Regrettably, the replacement genres then being promoted would result in the terminal decline of popular music. (US:16 UK:12)

“It’s not profoundly complex prog, side one could easily be considered closer to pop. Side two is stronger – song-based, but it could be considered progressive as each song evolves and builds, culminating in Fools Overture, of which all parts are superb, and even at eleven minutes it doesn't feel over-long.”

“Give A Little Bit is a lovely folky kind of tune. Nice chord progression, guitar strumming and sing along chorus. The closer; Fool's Overture has some great keyboard licks that hearken back to the days of the prog rock giants that once lumbered over the earth back in the 1970s.”

“The album starts deceivingly romantic, but quickly changes pace. It has a very acoustic sound, being very sparsely instrumented. The songs take a much heavier jazz direction, though I hesitate to say that because they still fall far from jazz, than anything else they've done.”

“No weak tracks on this one, lots of great melodies and vocals, a delicate piano-based style with a unflagging sense of tenderness and joy. The title track reminds me of early Genesis in the acoustic guitar and voice passages, perhaps my favourite piece on the album. Give A Little Bit is a fantastic song and Fool's Overture is a soft symphonic rock epic with an emphasis on synth, an enjoyable spacious piece that creates a convincing mood.”

“In Supertramp's heyday back in the 1970s, there was nobody else quite like them. Their music was, and still is, unique. On Even In The Quietest Moments, they do what they always do best, play intelligent music with complex musical compositions, variable textures, and thoughtful lyrics. This album is a masterpiece.”

“The title hints at the flavour of this album. Overall it has a thoughtful, mellow air to it. The exception is the first track Give A Little Bit, an upbeat hit pop number which introduces a snazzy sax in the middle. Fool’s Overture surprised me, for a moment I thought I was listening to a Yes or Genesis album of the early 70s.”

Songwriter - JUSTIN HAYWARD****

Tightrope/Songwriter Part One/Songwriter Part Two/Country Girl/One Lonely Room/Lay It On Me/Stage Door/ Raised On Love/Doin' Time/Nostradamus

Songwriter was the debut solo album from Justin Hayward of The Moody Blues. It is a fine collection of melodic songs although not quite as distinctive as his Blue Jays collaboration with John Lodge. (US:37 UK:28)

“He's getting too close to the mainstream schlock formula here. Mike Pinder is sorely missed.”

“This was Justin’s first true solo album and is wonderful. Very laid back, late 1970s soft rock and a definite must have.”

“Hayward always wanted primary to be known as a songwriter and many of his famous songs with the Moodies showcase his writing ability. His songs have always spoken to me and my own moods. “

“Songwriter is without doubt the best of Hayward’s solo albums. He plays nearly all the instruments himself. The songs are good and the title song reflects on his wishes to be a songwriter. All the songs together show Hayward’s strength in singing with his characteristic voice. Of all the songs I am most touched by Raised On Love, a beautiful, simple song, where his voice is very strong and good. But Nostradamus is also very interesting musically and rich.”

“Songwriter marked Justin Hayward's first solo album. During the mid-70s, the Moody Blues took a break and during that time all of them released at least one solo album. While Songwriter isn't up to the standard of Blue Jays, this collection does contain some excellent work.”

“It still seems fresh, innovative in its songs and arrangements, and I'm always impressed by the musicianship, as well as the vocals. I don't think he has ever written a bad song and this first solo release was the promise of more to come.”

“This album wonderfully showcases Hayward's diverse instrumental, songwriting, and singing talents. From rock-n-roll numbers, to more MOR tracks, to the mystical, to more mellow selections and the orchestral, Hayward once again shows why is one of the world's most respected singers, songwriters and guitarists.”

Burnin' Sky - BAD COMPANY***

Burnin' Sky/Morning Sun/Leaving You/Like Water/Everything I Need/Heartbeat/Peace Of Mind/Passing Time/Too Bad/Man Needs Woman/Master Of Ceremony

Burnin’ Sky came as another disappointment to fans of blues-rock band Bad Company. With the exception of the title track most of the songs on this album are forgettable. (US:15 UK:17)

“Basically, the music public’s taste had started to change. Bad Company put out another stripped down blues based rock album in the same vein as in the past. This time the material was not as good except for the spectacular title track.”

“The rest of the album sadly doesn't live up to the level of the opening title track. Nor does anything else on the album rock as hard, and that's sad because the title track doesn't even really rock all that hard. That being said, the vocals are so good they rival the earliest days in Free.”

“It is clear almost from the outset that three albums in as many years had taken its toll on the bands main composers Paul Rodgers and Mick Ralphs as the material here is once again mostly not up to the high standards of the first two albums. That’s not to say it doesn't have its moments though.”

“This ambitious recording is highlighted by the stunning title cut, which sets the mood for the album. Bad Company excelled at producing blues-based rock that showcased the passionate vocal talents of Paul Rodgers.”

“A chink was beginning to appear in the armour of Bad Company with this release. Perhaps it was the constant touring or the pressure of having to follow-up the success of the previous releases. Whatever the reason Burnin’ Sky just doesn't have the power or the hits of its predecessors.”

“I've always enjoyed this album. It was the beginning of the band's descent into pop, but it still is a great rock album. Burnin' Sky is a classic Bad Company tune, and side two doesn't have a bad song on it. Closing the album is Master Of Ceremony, the first blues song on a Bad Company album and an awesome tune.”

“Burnin' Sky continues on the slight experimental path Bad Company started to take with Run With The Pack, but where that album had a few classics mixed with some throwaways, this album feels like the band just woke up from a nap and recorded an album of jams.”

Peter Gabriel - PETER GABRIEL*****

Moribund The Burgermeister/Solsbury Hill/Modern Love/Excuse Me/Humdrum/Slowburn/Waiting For The Big One/Down The Dolce Vita/Here Comes The Flood

Self titled debut solo album from the former Genesis front man Peter Gabriel. Not as progressive as his group compositions, it provides a vehicle for a variety of musical styles. Includes the UK No. 13 hit Solsbury Hill. (US:38 UK:7)

“Peter Gabriel's initial departure from Genesis is so all-over-the-place that you can't pigeonhole him to any style or genre.”

“It reminds me more of Genesis than any of Peter's later albums, so it's always been my favourite solo album of his. Unsurprisingly, the first two tracks, which are the most Genesis like of all, are also the most successful.”

“Peter Gabriel's first solo outing after leaving Genesis is a mixed bag with him still trying to develop what his solo sound would encompass. The style varies from track to track with some sounding like ideas from his Genesis days, and others being more experimental in nature. The opening, Moribund The Burgermeister is a cut that may have been intended for Genesis. It's more prog oriented, and has some of the quirky narrative components that Genesis were so well known for. The second track, Solsbury Hill may be the best in the entire Gabriel discography and approaches pop perfection without sacrificing musicianship for the sake of a radio hit.”

“Making a clean break from the pastoral symphonic style of Genesis, Peter Gabriel's first solo album sees him apply his theatrical approach to a set of intriguing art rock pieces.”

“This is an album that shows its time and influences and reveals Gabriel as a restless spirit, searching for his own style and sweeping from grandeur to intimacy, touching all points in between."

“There is some of the early Genesis prog influence here and there, mostly in terms of sheer ambition rather than actual sound, but for the most part Gabriel seems to have moved on and he's all the better for it.”

“Peter Gabriel's seminal solo career began with this interesting release, a mixture of pop hits, standards, art-rock and genre exercises that looked back on his time with Genesis while pointing the way toward the future.”

In Your Mind - BRYAN FERRY*****

This Is Tomorrow/All Night Operator/One Kiss/Love Me Madly Again/Tokyo Joe/Party Doll/Rock Of Ages/In Your Mind

Bryan Ferry’s previous albums were based around cover songs. The all original In Your Mind was released at a time when Roxy Music were no longer functioning. To the surprise of many it revealed itself to be the most consistent album of the partnership. Features the UK hits This Is Tomorrow and Tokyo Joe. (US:126 UK:5)

“The quality of In Your Mind has exceeded my expectations. With eight self-penned tracks, in many ways I consider this album to be Bryan Ferry's finest 1970s solo album. The production is excellent, and I am sure the results achieved would have been very pleasing to the great man.”

“Unlike, say his arch-rival Bowie, Ferry here makes no concessions to contemporary musical influences at all, continuing here on his classic rock star way.”

“Ferry's first all self penned effort and his first after the break up of Roxy is an interesting piece in his history. It's really not that much different from Roxy, as usual most of his old band help out on some tracks.”

“In Your Mind is actually Bryan Ferry solo at its best, with excellent background vocals and catchy rhythms. Bryan is in great voice throughout, easily stacking up with his best Roxy performances.”

“This is probably my all-time favourite album from the '70s. I've listened to it many, many times and it never ceases to blow me away. Wonderful songs, brilliant playing and a very live-sounding production. It's certainly up there with Bryan's best.”

“This is Brian Ferry's first solo album of all original material and it is truly an artistic gem. In this work he weaves blues, R & B, 70s funk, and even oriental themes into a seamless pop album with intelligence, superb musicianship and sophisticated production.”

“What is most interesting with In Your Mind is that it is the most straightforward rock ‘n’ roll work Ferry has done. It is completely stripped of all the glam-rock and art-rock trimmings of most of his early Roxy Music and solo work. So Ferry's trademark croon and vibrato may sound a bit bizarre at first in such an ordinary rock setting, but after a few listens, it all seems to work.”

Novella - RENAISSANCE****

Can You Hear Me/The Sisters/Midas Man/The Captive Heart/Touching Once (Is So Hard To Keep)

The British progressive band Renaissance never broke through to mainstream acceptance but they received many critical plaudits which Novella continued. Much of the strength of their appeal derived from the voice of Annie Haslam. (US:46)

“A quiet album that still has much of the classic period feel of the band. Less epic, and more closed, shorter, the music feels warm and somewhat sunny. Clearly, the force of the band is running down, as was happening to most of the prog bands during this period. Renaissance offer shorter songs, less histrionics, and quietude amid the squalor of the punk ‘revolution’.”

“There are wonderful orchestral arrangements, unforgettable melodic piano parts, and the bass is well played, sophisticated and absolutely not timid. Annie's voice is superb, as always, and the other musicians produce excellent backing vocals. There are harp, small bells, tubular bells and acoustic guitar. The keyboards fit well with the symphonic ensemble. The influence is, again, very baroque and progressive. There are some mellow, delicate, mystical and dreamy bits which are really addictive.”

“Renaissance used classical instrumental arrangements and an operatic lead singer to experiment with the interface between rock and older forms. In its time, this type of music was sometimes dismissed by critics for its pretension, but in hindsight the critics were wrong. In Novella, Renaissance perfected a sound that possessed the driving insistence of rock but with a texture that might be described as folk, light jazz, or even the dreaded art rock. Annie Haslam's vocal stylings drive the action--her multi-octave range and incisive, insistent phrasing is impressive and effective.”

“The album's songwriting is generally far more distant and sombre than usual, making the quaint, quirky beauty of the band's music appear more heart-wrenching than entertaining this time around. But then, the album is not without its peaks of sudden happiness either.”

“Undoubtedly their least rock album, Novella flows with stately pastoral orchestral parts and entrancingly delicate quiet passages for twelve string guitar and synthesiser. There’s also a little more sense of sadness on this one. The three shorter songs are just beautiful.”

Rumours - FLEETWOOD MAC*****

Second Hand News/Dreams/Never Going Back Again/Don't Stop/Go On Your Own Way/Songbird/The Chain/ You Make Loving Fun/I Don't Want To Know/Oh Daddy/Gold Dust Woman

Fleetwood Mac’s Rumours became one of the biggest selling albums of all time, staying in the charts for years on end on both sides of the Atlantic. Features no fewer than four US top ten singles, the No. 1 Dreams, plus Go Your Own Way, Don’t Stop and You Make Loving Fun. Not bad for a group the critics dismissed as completely washed up only a few years earlier. (US:1 UK:1)

“The songs are so well crafted not to mention the detailed musicianship. Despite the fact that it's a rock album, the songs are so pop oriented that I think anyone should be able to fall madly for it, and likely that's why this is considered by many to be one of the best albums of all time.”

“Rumours really just sounds good. The amazing vocals, combined with the fantastic guitar playing and the spectacular rhythm section make some great sounding tunes.”

“Rumours remains a formidable album, regardless of whether you are a fan of 70s soft rock or not. It's one of those albums that define the 70s.”

“There's just so much right with it. The entire album is packed with melodies you'll never get out of your head, great guitar work and an array of diverse and wonderful vocalists and songwriters.”

“Rumours is an essential pop album driven by absurdly catchy melodies, amazing production, and meaningful lyrics. Everything came together for them on this album.”

“Widely regarded as one of the finest rock albums of all time, it is hard to argue with the status of Rumours as an all-time classic. With so many great songwriters all hitting their peak on this release, there is no shortage of great songs on offer.”

“Fleetwood Mac's Rumours is, in my opinion, one of the finest albums ever recorded. It has enough pop and rock in it to please almost everyone. The album is haunting, thoughtful, and most of all, fun. There isn't a weak song; it is great from beginning to end.”

Songs From The Wood - JETHRO TULL****

Songs From The Wood/Jack In The Green/Cup Of Wonder/Hunting Girl/Ring Out Solstice Bells/Velvet Green/The Whistler/Pibroch (Cap In Hand)/Fire At Midnight

After several mediocre albums progressive group Jethro Tull regained some of their mojo with Songs From The Wood. Strongly folk based, it was their best release in several years, although not quite a return to their early brilliance. (US:8 UK:13)

“Songs From The Wood, emphasizes the folky/minstrel aspects of the Tull sound while largely dispensing with the electric guitar-driven hard rock moments. The end result is something that I like to refer to as rustic folk prog.”

“After the success of Thick As A Brick they became rather boring, but this album brought back the excitement, and returned them to their folk-rock roots as they blend prog rock and folk-rock very well.”

“This is one really solid progressive folk rock album, where the band’s talent and songwriting really gets to bloom. Very nice melodies, harmonies and a bunch of various other elements make the sound thick and nice, with really well played solid rock, comprising some quite complex structures.”

“Folk music has always been a part of Jethro Tull's sound but this album was their most folk-oriented release. Even if it's their most folk-oriented it's still highly progressive too.”

“Without being quite as brilliant as Tull's very best albums, Songs From The Wood is nevertheless a very fine album, and well worth a listen. Pibroch is one track that stands out for me.”

“Excellent Tull LP that arrested the downward spiral of the band’s previous few releases. This was a big surprise; I never expected this to be so good.”

“This album is full of fantasy, mischief and magic. Its lush medieval imagery, unforgettable melodies, and vivid portrayal of the English countryside make for one of the most intoxicating albums I've ever heard.”

Animals - PINK FLOYD***

Pigs On The Wing 1/Dogs/Pigs (Three Different Ones)/Sheep/Pigs On The Wing 2

Animals was loosely based on George Orwell’s Animal Farm. Alas, it is a rather mediocre and somewhat impenetrable release from Pink Floyd, more remembered for the distinctive cover than the contents. (US:3 UK:2)

“Animals is a little hard to get into. The lyrics are bleak, the songs are long, and the overall aesthetic is rather dreary.”

“A largely mediocre affair, Animals vaguely explores the same themes that George Orwell touched on in Animal Farm albeit in a less blunt fashion. Pink Floyd builds up a fairly interesting atmosphere but the end result is still quite unremarkable. Every segment seems to be either drawn out longer than it deserves or not long enough, and there aren’t really any high points on the album.”

“The winds of change were blowing. Reflecting the mood of unrest prevalent in the UK at the time, the established old guard of music acts had evolved into complacency, while the combination of general discontent and the cyclical nature of change meant that they were about to be swept away by something considerably more aggressive, dynamic and challenging.”

“The main body of the album consists of three multi-layered mini-suites that unfurl and develop their grandeur gradually, which is the perfect background to the bitterest and most cynical allegories ever sung in popular culture.”

“Musically, Animals is highly textured. Although generally a guitar-driven album, the keyboard features prominently in establishing the eerie, twisted psychedelic atmosphere of its three primary compositions. Dogs is an extensive tour de force comprised of chilling instrumentation to match its haunting lyrical content. Pigs and Sheep are aggressive songs that lash out against the status quo, and they have a harder sound to go along with it.”

“Definitely my favourite Floyd album, based upon George Orwell's ingenious book Animal Farm. Waters was obviously moved by the book to make an album about it and he did a fantastic job. An excellent effort from the entire band, very well thought through and performed. It doesn't get much better than this.”

20 Golden Greats - THE SHADOWS*****

Apache/Man Of Mystery/The Frightened City/Guitar Tango/Kon-Tiki/Foot Tapper/Genie With The Light Brown Lamp/The Warlord/A Place In The Sun/Atlantis/Wonderful Land/FBI/The Savage/Geronimo/Shindig/Stingray/ Theme For Young Lovers/The Rise & Fall Of Flingel Bunt/Maroc 7/Dance On

Improved technology during the 1970s facilitated a longer playing time for LP records. The Shadows were able to take full advantage of this with the excellent all instrumental 20 Golden Greats, bringing all their big hits together for the first time. It would have been perfect if the weak Stingray had been replaced by the much better The Stranger. (UK:1)

“Rarely ever was a compilation this well titled and this aptly assembled. The Shadows played an instrumental brand of guitar pop rock that was based in beat music (without the strong blues punch), drew from surf rock (without the aggression) and mixed it with lounge brass or string sections to make it more palatable to the masses.”

“This is where my love of guitar music began. I can still cite Hank Marvin as one of the principal motivators for my abiding love of music. Marvin is listed by many guitar gods more famous than he, as a defining influence and The Shadows sound still retains a fresh, vibrant quality.”

“I don't think anyone has come close to emulating the Shadow's sound, which when I hear it immediately takes me back to the excitement of early sixties Britain. The only small complaint is that they are not in order of release.”

“This is by far the best Shadows compilation that has been released. It hasn't been re-mastered, it hasn't been re-recorded and it’s exactly the way these singles sounded back in the sixties, only without the crackles. These are the original EMI recordings and nearly all of their top twenty singles are on here. If you want the best of The Shadows, then this is the one to get.”

“It features all their best instrumentals from the 60s and the quality is brilliant, with original recordings. If you fancy owning a Shadows album and you don't know which one to buy, then you won’t go wrong with this.”

“You cannot beat the oldies; memories are made on this album. All of the tracks are classics, and it’s nice to have them all together in one place.”

White Rock - RICK WAKEMAN***

White Rock/Searching For Gold/The Loser/The Shoot/Laxx/After The Ball/Montezuma's Revenge/Ice Run

White Rock was a soundtrack album from keyboards maestro Rick Wakeman to celebrate the winter Olympics. It demonstrates his versatility on a variety of instruments and musical styles. (US:126 UK:14)

“One of the albums I've enjoyed since I became familiar with his solo career is White Rock. An instrumental album made especially for the winter games from Innsbruck. The arrangements here are well balanced, well performed; some parts are slower some with more vim, but in the end an enjoyable record.”

“Rick is very talented and managed to come up with some good arrangements, not spectacular but pleasant most of the time. He was a very versatile musician; he can go from more upbeat tempos to slower moments, from almost disco beats to jazzy elements in only few seconds, a very strong and talented keyboard player.”

“Great mini-moog jamming on the title track: this is a lost Wakeman classic, and his best soundtrack. It does indeed sound cold, like a winter-themed album should.”

“This album is OK, but nothing really stands out. You get the usual flurry of keyboards from Wakeman, but the imagination is missing. The music seems to be all pizzazz, and little substance. I also can't stand boy choirs on rock albums, and here you get two doses.”

“This record has many excellent piano and floating mellotron parts. Organ, clavinet and mini moog are also in the mix. The record is rather melodic, but it is also dynamic, nervous, even borderline strident, and contains some good choir arrangements. The compositions are less progressive than usual and simpler.”

“All in all, a delightful mix of instruments from classical to choral to synthesizer, with that glorious Moog cutting through everything else, just to remind you who is playing it. However I think I love Rick's piano on this album even more. All the instruments complement each other so well. Even though Rick seems to be using a hundred different sounds, they never get in each other's way and it all ties together superbly. A very satisfying experience technically and emotionally.”

“White Rock is much more than just a soundtrack album. It is an emotional trip through feelings of triumph and defeat.”

Festival – SANTANA***

Carnaval/Let The Children Play/Jugando/Give Me Love/Verao Vermelho/Let The Music Set You Free/ Revelations/Reach Up/The River/Try A Little Harder/Maria Caracoles

Festival is similar to many Santana albums of this period featuring a mixture of funk, Latin, jazz, fusion and disco. His popularity had significantly reduced compared with a few years earlier. (US:27 UK:27)

”An album that remains a curiosity, but far from a go to. Very good moments on here, as well as the very bad R & B meanderings that can fall flat with the Santana band when they venture into this category. Festival is easy on the ears while remaining rhythmic smooth funk, Latin, and plenty of Carlos Santana guitar.”

“Festival may be Santana's most commercial-sounding album up to the date, but the pop world is ambiguous and the album became Santana's least successful in the charts. I like all tracks at least a little, though sometimes it feels like the essential content of this album is a few phrases that are repeated over and over again.”

“Santana has just emerged from the 70s fusion movement, having played with some of the best jazzmen around. However, this is not in evidence on this unfortunate hodgepodge of rock, disco and mediocre Latin music.”

“This album suffers from the same problem as most of Santana's later albums -- there's just not much there. The melodies are still catchy, Carlos's guitar is scorching, and the danceable Latin rhythms are still there, but the music is bland and the musicians are faceless. There are high points, particularly on the opening trilogy of songs.”

”It's an early example of Santana's penchant for cashing in on the current trends. The only thing of value here is the Brazilian-flavoured Let The Children Play medley. Those who like Santana's more adventurous, jazzier side, are advised to stay away from this.”

“Overall, Festival contains its share of jazziness but it's more about the chanting than anything else, with a combination of ballads, energetic ideas and pretty good sparsely used guitar playing.”

Lost Without Your Love - BREAD***

Hooked On You/She's The Only One/Lost Without Your Love/Change Of Heart/Belonging/Fly Away/Lay Your Money Down/The Chosen One/Today's The First Day/Hold Tight/Our Lady Of Sorrow

Lost Without Your Love was the reunion album from the soft-rock group Bread released several years after their last. However, after this one they would split up permanently. The title track was a US top ten hit single. (US:26 UK:17)

“This was the comeback LP for Bread as they had broken up a few years earlier. This one almost exclusively consists of Bread's trademark soft rock ballads. Most of them hit the mark straight on the bull’s-eye, but there are not enough rockers to balance them out, and one loses interest after awhile.”

“Bread's last studio album is a pretty average piece of soft rock. The title track is a good pop song and it's the real highlight of this album. Some nice moments can be found elsewhere.”

“Fortunately, these songs stand up to many of Bread's finest. Opening with the catchy melody of Hooked On You the listener is intrigued enough to pay attention to all the cuts. Even years after their last release, the definitive Bread sound is there, and still sounding fresh.”

“Bread accomplished so much when they were together; their musical legacy never ceases to impress me. I highly recommend this album for their fans; and people just getting into the sound of Bread will love this album too.”

“This album goes from bright and cheery (Hold Tight) to dark and tragic (Our Lady Of Sorrow) There is a lot of keyboard/organ and it has the feel of the turbulent seventies to it. David Gates, whose voice was the defining factor through the years, was as splendid as ever.”

“The Bread history in a nutshell: five albums for Elektra from 1969-1972, every one essential to fans of the group, and all deep with both hits and excellent album cuts. Excellent singing, playing, arranging and writing are reflected on every one of those first five. Then Bread broke up for a few years, eventually re-emerging for what would prove their swansong, Lost Without Your Love. This is a decent album, with some good-to-very-good songs. But it doesn't have the magic of the first five. It has a certain feel of a group going through the motions, but not entirely committed.”

Luxury Liner - EMMYLOU HARRIS****

Luxury Liner/Pancho & Lefty/Making Believe/You're Supposed To Be Feeling Good/I'll Be Your Santone Rose/ (You Never Can Tell) C'est La Vie/When I Stop Dreaming/Hello Stranger/She/Tulsa Queen

The well received Luxury Liner reflected the vocal talent of country-rock singer Emmylou Harris at the height of her popularity. This would be relatively short lived as future albums charted appreciably lower. (US:21 UK:17)

“This album showcases the amazing voice that Emmylou Harris is blessed with, stunningly beautiful. It offers both the rock side of country; see for example the opening and title track Luxury Liner and the more gentle side of the genre. There is also uplifting songs such as I'll Be Your San Antonio Rose. This is just great, entertaining music.”

“A masterpiece of beautiful, sad, ethereal country music. Everything from the urgent, frenetic title track to the wistful and roaming Tulsa Queen is worthwhile. I relate to these lovelorn songs way too much these days, but there is a spiritual stillness to some of the slow ones that seems to heal all.”

“Of all the early period Emmylou albums I own, this may be my favourite. It’s a mix of songs that's a little bit more attractive, a band that's just a little bit hotter, a singer that's just a little bit more involved.”

“Traditional country music isn’t one of my preferred genres, but if more artists chose material and sang as well as Emmylou Harris that would change in a hurry. Luxury Liner has a near perfect mix of traditional country, progressive country and country-rock music. All of the songs hold up well.”

“It’s simply a timeless set of American music by an ensemble of rising young stars who were on fire with creativity. Luxury Liner was the vehicle that allowed Emmylou Harris and the Hot Band to show the world the amazing complexity and greatness of their musical soul.”

“For anyone who hasn't heard the phenomenon that is Emmylou Harris' clear-blue bell-like young voice, this disc will tilt you back like a mountain breeze on a June day.”

Low - DAVID BOWIE***

Speed Of Life/Breaking Glass/What In The World/Sound & Vision/Always Crashing In The Same Car/Be My Wife/A New Career In A New Town/Warszawa/Art Decade/Weeping Wall/Subterraneans

Low is the first of David Bowie’s ‘Berlin Trilogy’ collaboration with Brian Eno. The first side consists of fairly accessible pop songs, with side two comprising more experimental instrumental tracks. Features the UK No. 3 hit Sound & Vision. (US:11 UK:2)

“I've always found it a frustrating listen because most of the tracks on side one seem like sketches, as if their creator didn't have enough imagination to fully complete them. Secondly, the ambient side two is pretty dull.”

“After the weak attempt at commercialism that was Young Americans, David Bowie returned to boundary pushing Station To Station. But the question remained, where was Bowie to go next? The answer was further into experimentation and the result of this was a set of albums which remain among Bowie’s most celebrated works, the ‘Berlin trilogy’. The albums saw Bowie deliberately backing away from the limelight, concentrating more on creating new and exciting music than perpetuating public personas.”

“Low is the first of three albums Bowie recorded with Eno in the seventies. It is not an instantly accessible album, as it demands your patience and attention, but rewards it generously. It contains a delightful mix of quirky pop tunes sounding like vignettes of an altered state of mind, and eerie ambient tracks filled with strange alien sounds. A feeling of loneliness and space permeates the album.”

“Bowie's most overrated album. Most of the instrumentals on here are dark sounding which is all well and good, but they go nowhere and aren't very interesting.”

“Side one is Bowie blazing new ground. The album surely influenced many a band and artist. I think the first six songs are as good as anything Bowie has done. However, side two is a total bore. I have no interest in listening to this muzak. Stick to rock; go off on an electronic tangent and what you get is mediocre side two.”

“Some cool songs here - the first half is very good, overall the melodic themes are strong and the arrangements are great. The second half is completely different - moody electronic music. Unlike the frenetic first half these tracks are very downbeat, slow and sad with very strong melodic themes. Some of Bowie's vocalizations are weird here but overall this certainly reflects the mood of the album's title.”

Tejas - ZZ TOP***

Its Only Love/Arrested For Driving While Blind/El Diablo/Snappy Kakkie/Enjoy & Get It On/Ten Dollar Man/Pan Am Highway Blues/Avalon Hideaway/She's A Heartbreaker/Asleep In The Desert

Tejas has been described as a transitional album from the blues-rock band ZZ Top. They would go on to enjoy greater commercial success with the adoption of a more electronic blues sound. (US: 17)

“Tejas drips with flavour. The album features spicy cuts of smokin' Southern-fried barbequed Tex-Mex blues, as only the legendary ZZ Top can pump out on a consistent basis.”

“They are on the cusp, the eighties are coming with huge commercial success for these dudes, and this long player shows a little of what is to come. But they still rock with that great south western blues rock sound that they do so well. Some real toe-tappers on this release, so turn up the volume.”

“Tejas is a transition album for Texas rockers ZZ Top. It is the beginning of their step away from the blues-rock that had brought them fame and a lot of record sales, and towards the 1980s electronic blues that would eventually make them a worldwide phenomenon.”

“This album is as close to progressive rock as ZZ Top ever got, even though the band sacrifices none of it's down and dirty aesthetic. The songs are structured and arranged very creatively, not every tune is a verse-chorus-verse-chorus affair. The group are able to create wonderful, often subtle atmospherics, evoking dusty, Texas landscapes, amongst other things.”

“The blues-rock is no longer quite as straight as it used to be, and where it is, it's not entirely satisfying. They also begin to play around a bit with the kind of studio gimmickry that would spoil later albums.”

“There is a serious lack of energy that drove the band on their earlier works. Fair enough, the boogie and blues is a limited style to work with but ZZ Top to this point worked it well and came up with some interesting themes to hold the attention span, injected with some subtle humour. Unfortunately Tejas lacks much of the inspiration normally associated with the band.”

Wind & Wuthering - GENESIS*****

Eleventh Earl Of Mar/One For The Vine/Your Own Special Way/Wot Gorilla/All In A Mouse's Night/Blood On The Rooftops/Unquiet Slumbers For The Sleepers/Afterglow

Many fans of the progressive band Genesis considered Wind & Wuthering to be the last album from their classic period. Unfortunately, they would gradually morph into a mainstream pop-rock group. (US:26 UK:7)

“For the most part, the songs work out well, whether it's the grandiose sadness of One For The Vine to the simple beauty of Afterglow. Collins' high and beautiful vocals come through on all the songs he sings. Banks and Hackett take advantage of using all kinds of riffs that complement each other and make the songs memorable, while Rutherford and Collins set a backdrop to all the mystical sounds.”

“Wind & Wuthering often splits Genesis fans into two different groups. Some people call this album the last great Genesis record and the end of their classic period, while others think that this is the first album where the band start to lose their touch. This one has the classic Genesis sound and style but the songwriting isn't as strong as in their more famous and appreciated LPs. I still consider it to be a classic Genesis album, and it's definitely not a bad record.”

“With the departure of Steve Hackett, and the impending toxic influence and demands of the music industry, the demise of Genesis as an innovative progressive force was about to assume the manifestation of a long, slow, decent into their last re-incarnation as a competent, yet hardly innovative, pop-group. Where they would earn a loyal, and perhaps broader, fan base as a pop band they would never again equal their creative output of the early to mid-seventies. This disc is really an excellent effort, although initially dismissed by Genesis fans as being too commercial, it stands up well over time.”

“This is the last album to feature guitarist Steve Hackett and after his departure the band would take the unfortunate plunge into radio friendly pop.”

“The era ending was, of course, the critically maligned progressive rock. This was the last Genesis album in their classic, epic fantasy orchestral mode. By the late 1970s it was impossible to ignore the general decay of the prog rock scene, although decent recordings would still pop up from time to time. As such, this album holds special memories for me. Like few other bands, Genesis were able to create a mini alternate universe in their songs.”