Rockin' All Over The World - STATUS QUO***

Hard Time/Can’t Give You More/Let’s Ride/Baby Boy/You Don’t Own Me/Rockers Rollin’/Rockin’ All Over The World/Who Am I/Too Far Gone/For You/Dirty Water/Hold You Back

Rockin’ All Over The World maintained the UK fan base of boogie rockers, Status Quo although there were some concerns about the direction the band were heading. Unusually, the dynamic title track UK No. 3 hit single was not one of their own compositions. (UK:5)

“A mix of boogie rock songs and poppier numbers. When both are combined to good effect, the result is surprisingly convincing.”

“A little slip in quality, and not so brilliant. That said, this is Status Quo and they certainly know how to rock. Guitars blazing, they just go rockin’ all over this world.”

“Well this is not a terrible album but it's not particularly good either, and pales in comparison to earlier releases. It just seems a bit lacklustre. So, even those songs that might've rocked hard, just don't.”

“Rockin’ All Over The World, was a lightweight pop offering with everything that made the Quo great removed. The guitars and bass were buried in the mix, the drumming was far too restrained and simply didn’t swing like the best shuffle drumming should, and the vocals seemed to have been grafted on top of the music. Worse was the inclusion of a full time keyboard player to add icy touches of synth to the proceedings.”

“Some people say that their titanic period ended with the 1976 live album, but that's not true. This album includes many great rockers, including an incredible cover of the John Fogerty penned title track.”

“When this album came out it shocked me with it's blandness, and I wondered what had changed. Then some years later I discovered the reason, this was the first album they didn't produce themselves, and it really shows.”

“Fans of the harder rocking releases will like this one less than what came earlier, but it's still a dynamic and fun release. It has a mixture of harder and poppier rock. But Quo do great pop rock, so that is not a problem, and the band were still riding high, at their peak in many ways here.”

Foot Loose & Fancy Free - ROD STEWART***

Hot Legs/You’re Insane/You’re In My Heart/Born Loose/You Keep Me Hangin’ On/(If Loving You Is Wrong) I Don’t Want To Be Right/You Got A Nerve/I Was Only Joking

With Footloose & Fancy Free vocalist Rod Stewart continued to enjoy a high degree of popularity despite departing from his rock roots to embrace a much blander sound. You’re In My Heart and Hot Legs were both UK top five hits. (US:2 UK:3)

“The album as a whole lacks energy, and Stewart at times, seems to be going through the paces, rather than leading his generation onto the dance-floor, let alone leading it into exciting new musical territory. His raspy voice is still effective though.”

“Somewhat more rocking than the last one, or at least the rockers are more memorable, and that's a big advantage.”

“I only checked this album out fairly recently and was surprised how good it was. It rocks harder, and is better produced, than the first two Warner albums and with only eight tracks there isn't any filler.”

“Footloose & Fancy Free isn't a spectacular album, but it contains some solid and occasionally outstanding songs. Hot Legs is either reviled or loved by fans, and while it does contain some incredibly inane lyrics, it’s got an incredibly catchy beat. You're In My Heart is one of Rod’s prettier songs and I Was Only Joking is one of his most underrated songs.”

“The lead off track Hot Legs really cooks with some gritty vocals, cool lyrics, and solid instrumental support. You're Insane and Born Loose continue this trend. However, Rod shows a tender side as well. I Was Only Joking is a very touching tune with lyrics of a relationship gone sour. Some good acoustic and electric guitar solos add to the tune. You Got A Nerve is another tune with an intriguing vocal and a nice low key instrumental touch. All in all this a good album before Rod went the disco route and alienated many of his rock fans.”

“Rod Stewart's Foot Loose & Fancy Free has so much variety, a newcomer would be excused for thinking it's a greatest hits package. However the rest of the LP consists of solid songs that are usually overlooked by classic rock archivists.”

Street Survivors - LYNYRD SKYNYRD***

What’s Your Name/That Smell/One More Time/I Know A Little/You Got That Right/I Never Dreamed/Honky Tonk Night Time Man/Ain’t No Good Life

Street Survivors was the last album from the Southern rockers Lynyrd Skynyrd, released shortly before members of the band were killed in an air crash. Out of respect the original flames cover was replaced. Features the US No. 13 hit single What’s Your Name. (US:5 UK:13)

“Good hard southern rock with an attitude is all over this release. Three lead guitars assault the senses and the lead singer drives it all home.”

“It was a worthy goodbye to the original line-up. The second half veers too much from the country, hard rock, and down-home soul of their earlier records, in favour of blues-boogie, but the playing never lags.”

“The last album with Ronnie Van Zant on vocals, Street Survivors is also probably the last worthwhile Lynyrd Skynyrd release. An excellent way to close the Skynyrd era we know and love, even if it wasn't meant to end. Recommended for any rock collection.”

“Like previous recordings from Lynyrd Skynyrd, Street Survivors is loaded with down home, rebel flag wavin' blues rock.”

“Street Survivors is a very good, energetic Lynyrd Skynyrd album, with great guitar work all over it. While not as street fighter raw and ready as their earlier albums, it's a rowdy testimonial to the life of the band.”

“This album had to be the swan song for a great line-up of a great band. The addition of Steve Gaines gave them a shot in the arm both creatively and instrumentally. If it had not been for the unfortunate accident that ended it all, I believe they would have soared to new heights.”

Out Of The Blue - ELECTRIC LIGHT ORCHESTRA****

Turn To Stone/Its Over/Sweet Talkin’ Woman/Across The Border/Night In The City/Starlight/Jungle/Believe Me Know/Steppin’ Out/Standin’ In The Rain/Big Wheels/Summer & Lightning/Mr Blue Sky/Sweet Is The Night/The Whale/Birmingham Blues/Wild West Hero

ELO maintained their relatively recent high level of commercial appeal with the double LP Out Of The Blue. Their music is best described as melodic pop-rock. Features the UK top ten hits Sweet Talkin’ Woman, Mr Blue Sky and Wild West Hero. (US:4 UK:4)

“Surprisingly great 70s symphonic rock album. The songs are catchy but corny as well, with a good variety between upbeat rockers to symphonic ballads. It never forgets the huge hooks and overblown production.”

“ELO will never be considered a fashionable band, but their place in rock history as one of the great bands is absolutely assured. The song Sweet Talkin' Woman is an absolute gem.”

“It's hard not to love ELO, they combined so many different genres together while still keeping their pop appeal. Nowhere is that more apparent than on this disc. You have rock & roll, disco, funk and so many other types of music crammed together with delightfully poppy hooks and choruses. It's pretty incredible how they managed to pull it off with no real slip ups.”

“Some of the double album curse, with too many inconsequential tracks. But some great singles here too, mostly on the first side. One gets the sense that Lynne had taken his orchestral style of pop to its limit here.”

“Should have been a single LP. There is too much filler, but the hits and a couple of other songs are great.”

“Although never straying from their, by this time, well-established formula, Lynne, producing, writing and singing as always, leads the band through engrossing, tuneful songs, dominated by guitars, characteristic strings, endless synthesizers, a dash of piano and choral vocals. It all comes together beautifully, if not perfectly.”

“With Out Of The Blue, the Electric Light Orchestra attained an apex of artistic creativity and commercial appeal. For all of its incredible variety, this album holds together as a cohesive whole. It is also easy to imagine that virtually every song could have been a hit single.”

News Of The World – QUEEN*****

We Will Rock You/We Are The Champions/Sheer Heart Attack/All Dead All Dead/Spread Your Wings/Fight From The Inside/Get Down Make Love/Sleeping On The Sidewalk/Who Needs You/Its Late/My Melancholy Blues

The excellent News Of The World reinforced the status of Queen as the pre-eminent UK rock band during the second half of the 1970s. Features the UK and US top five hit single We Are The Champions. (US:3 UK:4)

“I think the word impressive sums this up nicely. There isn't a bad song in sight and every last one is entirely different from the next and equally memorable too. Freddy's vocals are always as smooth as they can be, and the instrumentation is definitely rock, but blended with so many different genres that things are always interesting.”

“Jumping from genre to genre, from mood to mood and from idea to idea is definitely an entertaining path. Just when you thought you had them figured out, boom, they’re in another zone that they’d never been in before. All this is approached with musical inventiveness, memorable melodies and a tight instrumental background.”

“These songs sound as fresh as they did the day this album came out, they are catchy, well written, and performed in such a technical and perfectionist way that it makes me believe that this album is their masterpiece.”

“News Of The World generally features Queen more rock oriented and stripped down than the more flamboyant and theatrical predecessors. Queen always had a rock oriented sound, and some tracks on earlier releases are very direct and hard rocking, but on News Of The World they go for a less layered sound than usual. There are of course still the trademark extensive use of choirs and harmony vocals but here the lead vocals are given more room.”

“I often find it amazing when a group can make me fall in love with music, but Queen always seems to do just that. Their music, their guitar, their vocals, nothing beats their unique sound and nothing ever will.”

“In many ways this is Queen's most powerful album, and is very close to being their best. Queen never again sounded as heavy as they do here.”

“Can't you just feel your feet stomping just by looking at this album? We Are The Champions is the pinnacle of anthems, and no song will ever match it in intensity or worldwide acceptance.”

Moonflower – SANTANA***

Dawn/Go Within/Carnaval/Let The Children Play/Jugando/I’ll Be Waiting/Zulu/Bahia/Black Magic Woman/Gypsy Queen/Dance Sister Dance/Europa/She’s Not There/Moonflower/Soul Sacrifice/Heads Hands & Feet/El Morocco/ Transcendance/Savor/Toussaint L’Overture

Moonflower was a DLP comprising earlier live and more recent studio tracks. Thus it is a mixture of their original sound and their more contemporary sound, so providing the right balance to satisfy fans. (US:10 UK:7)

“I am a sucker for live recordings of good rock bands and half of this release or more is just that. The studio side is the best Santana has done in awhile. Most double long plays have some filler, but there is none here, just great rock and roll.”

“A mix of new studio tracks and live versions of familiar songs from his 1976 tour. Many Santana releases from this time forward are inconsistent, but this is not one.”

“Moonflower is interesting in that being released later in the 1970s after the original line-up of Santana had changed a few times, as well as the sound of the band. Almost totally gone were the lain sounds and the hard rock feel. The band had since moved to a more R & B and soul sound. But here on Moonflower we have the group reaching back to their original sound, just slightly mixing it with their more contemporary sound.”

“What an incredible band as the live portions of this record show. Carnival was a song that I was not crazy about in the studio version, but listening to them present it live is breathtaking.”

“Moonflower has a bunch of great musicians making great music. A two record set blending live and studio material for a very complete listening experience.”

“This is about the only late seventies Santana record that I would recommend because the group struck the right balance to satisfy those fans that dug the rock group, and those who liked the jazz-fusion group. Also it contains an excellent mixture of live and studio work that makes it appear seamless in conception.

“Moonflower is a mix of studio and live cuts, with the live stuff rising far above that of the studio in terms of great playing and overall quality of songs. Anyone who has seen Santana live can tell you that they never disappoint, and that's absolutely the case here.”

Bat Out Of Hell - MEAT LOAF*****

Bat Out Of Hell/You Took The Words Out Of My Mouth/Heaven Can Wait/All Revved Up With No Place To Go/Two Out Of Three Ain't Bad/Paradise By The Dashboard Light/For Crying Out Loud

The explosive Bat Out Of Hell combined powerful vocalist Meat Loaf with the stunning songwriting talents of Jim Steinman. A measure of its popular appeal is that it remained in the UK album charts for over a decade. Was this the best rock album of the 1970s? (US:14 UK:9)

“It is so well-written and performed that even the grimmest heart should be warmed listening to this. It may be overly theatrical, over the top, fun, but in a way, it is also serious.”

“This is a quintessential album, not only of my lifetime, but of generations before and after me. It certainly made Meat Loaf's career, and though he had successes after this, they could never live up to what he achieved with this.”

“Make no mistake about it; this is a behemoth of an album, created by a group of people for whom the word subtlety had absolutely no meaning. It's Jim Steinman's album more than anyone else's, of course. His lyrics are blunt, obvious, and scrape heights of emotion rarely rivalled by anyone.”

“The most excessive rock album I've ever heard, and the ultimate expression of youthful drama. The title track is a masterpiece, both musically as well as the story.”

“This is one of those albums that is impossible to rate and impossible to challenge, because it exists in a space and time of its own, one that I’m sure will be repeated at some future date when the cosmic ripples hit the other side of the universe and wash back over this tiny blue planet once again, where we’ll be treated to something equally intense and over the top.”

“Bat Out Of Hell is ridiculous and way over the top. There's absolutely no reason it should be as good and universally enjoyed as it is. Despite everyone's best efforts to catch lightning in a bottle twice, it has never been duplicated.”

“Bat Out Of Hell is by far my favourite song of all times and I listen to it several times a week. It's both sensitive and powerful at the same time, making it very varied.”

Little Criminals - RANDY NEWMAN****

Short People/You Can’t Fool The Fat Man/Little Criminals/Texas Girl At The Funeral Of Her Father/Jolly Coppers On Parade/In Germany Before The War/Sigmund Freud’s Impersonation Of Albert Einstein In America/ Baltimore/ I’ll Be Home/Rider In The Rain/Kathleen (Catholicism Made Easier)/Old Man On The Farm

Little Criminals was the most commercially successful album released by sardonic songwriter Randy Newman, helped by the controversial US No. 2 hit Short People. (US:9)

“Randy Newman's Little Criminals is an album doomed to live in the critical shadow of its predecessors. It constitutes a leap towards a poppier sound which irritated many of Newman's more elitist fans, particularly when the lead single Short People almost became a number one hit in America. The lyrical viciousness is also significantly toned down, often replaced with sincerity, sympathy, neutrality or simple storytelling. This did not sit well with the cynical brigade of satire lovers that made up a large portion of Newman's audience.”

“The more I listen to Randy Newman, the more I'm impressed. It's not his voice, even though his nasally vocal has a pleasant, relaxing quality. It's certainly not the music which on Little Criminals is particularly one paced with a soporific, dozy aspect. It's not even the lyrics. They can be incisive, biting and sardonic but they also are simple and endearing with a homey feel. No, it's none of that. What it is, is the subjects he chooses to write about and the subtle twists he puts into the stories.”

“Randy Newman has a unique, appealing way with his music. He writes magnificent brass and string arrangements to complement his piano-based pop/jazz/blues feel. His unique voice somehow appeals to me more than most; and his lyric writing always seems to speak volumes in a few lines of verse.”

“This has a more elaborate sound and more instruments than I expected from this singer-songwriter, but the core is still in the lyrics and the piano accompaniment. The sarcastic mid-tempo songs have a piano rock sound; the saddest songs use a chamber orchestra. Short People is a sharp parody on bigotry. Randy Newman knows the world is a mess, but he keeps his sense of humour while looking at it.”

“I enjoy the stabbing and sneering rhythms, the sarcastic lyrical backhanders, the lazy piano rolls, the little tapa-patta percussion that rolls down like knuckles on concrete. Randy Newman draws me in with his voice and melody, and by the time I have reached Rider In The Rain I know I'm a sucker for the rest of the album.”

The Stranger - BILLY JOEL****

Movin’ Out (Anthony’s Song)/The Stranger/Just The Way You Are/Scenes From An Italian Restaurant/ Vienna/Only The Good Die Young/She’s Always A Woman/Get It Right The First Time/Everybody Has A Dream/Untitled

The Stranger was the album that provided the huge commercial breakthrough for singer songwriter and pianist Billy Joel. Features the Grammy winning US No. 3 hit single Just The Way You Are. (US:2 UK:25)

“For the most part his music wasn't anything innovative, but he had a unique style to both his piano playing and singing, which makes his music instantly identifiable. Generally I think of him as a singles artist, but The Stranger is an album that doesn't disappoint. Then again, no less than six of these songs were hit singles, so it's hard to really go wrong here.”

“This is an album where everything comes together, a perfect storm of song writing and performing, of getting the right mix of moods and tempos so that they work together, rather than standing alone in a stark environment. Although each song is memorable, it doesn't feel as though it has drawn all of the spotlight of the album, leaving the rest to make up the numbers.”

“The truth is that people had largely heard this album whether they bought it or not. Five of the songs were hit singles, and the title track and Scenes From An Italian Restaurant got FM radio play as well. Billy Joel's fortunes completely turned around and The Stranger became one of the best selling albums of all time, with good reason. Each hits featured Joel at the top of his form, ranging from the current rock sound on Movin' Out to the piano balladry of She's Always A Woman to the jazzy Just The Way You Are.”

“It may not be the best pop album ever produced but it probably comes close. The production is flawless, and the music has a polish and sheen that was missing from his previous albums. When you combine that with Joel’s increasing maturation as a songwriter you have an album that was appealing to a broad spectrum of buyers”

“Joel's tough but smooth singing voice plays strong over his piano tinklings, whether performing a rocker or a ballad. The album contains many excellent songs, and holds up incredibly well decades since its first release.”

Heroes - DAVID BOWIE***

Beauty & The Beast/Joe The Lion/Heroes/Sons Of The Silent Age/Blackout/V2 Schneider/Sense Of Doubt/Moss Garden/Neukoln/The Secret Life Of Arabia

Heroes was the second ‘Berlin Trilogy’ collaboration with Brian Eno. Unfortunately it is less accessible than the first, and the more conventional songs are weaker. (US:11 UK:2)

“It saw Bowie continue to delve into a more ambient and texture-rich sound that helped revitalize his career. The recording was at a time where Bowie was very inspired to push himself and create a sound that was challenging and rewarding at the same time. The album starts off with more straightforward songs, but saying more straightforward just means that they're the least ‘out there’.”

“Low Mk 2 and equally as vapid, soulless and insipid, what else is there to say? If the artist himself has absolutely nothing of any real insight to offer I don't feel the need to waste my valuable time analysing his work.”

“Heroes is the middle album of the Berlin trilogy and is as experimental as its predecessor, Low. The album is cut drastically in two parts, the first one being more rock and the second one more experimental instrumental tracks Once again, Brian Eno's collaboration is very important, but Robert Fripp and Carlos Alomar's guitars really add something to this album.”

“The second Berlin album follows a similar format to Low, although there are notable differences. The more conventional songs aren’t always as soulful and impressive, but Beauty & The Beast and Sons Of The Silent Age are both very good, although nothing on either album could really compare to the title track, for which I can’t think of any appropriate superlatives.”

“The ambient pieces are not what I want from a Bowie record. The remaining songs feature a few interesting qualities before slipping into a realm of pure monotony.”

“His lyrics just don't speak to me and the music is often self-indulgent and pretentious. Some good songs still break through but only occasionally.”

“For me Heroes has plenty of decent moments and one moment of absolute genius in the title track. I also think some of the tracks on the second half of the record, as interesting as they are, overstay their welcome and border on self indulgence.”

Seconds Out - GENESIS****

Squonk/The Carpet Crawl/Robbery Assault & Battery/Afterglow/Firth Of Fifth/I Know What I Like/The Lamb Lies Down On Broadway/The Musical Box/Supper's Ready/Cinema Show/Dance On A Volcano/Los Endos

The live double album Seconds Out was recorded at the Paris Palais des Sports in June 1977. Although featuring mostly Phil Collins era songs he rather surprisingly attempts some Peter Gabriel compositions. (US:47 UK:4)

“Held by many as the best of Genesis’ live entries, this album certainly cements their live reputation. Arguably containing the definitive performances of several classics, this album to me captures the essence of the group live.”

“Hearing this album for the first time when I was a kid was a rapturous experience. I first got into Genesis in the mid-80s, during their pop hit period, and had no inkling of their 70s progressive glory.”

“This was so much better than I thought it was going to be. I have always much preferred Peter Gabriel era Genesis, but this is an awesome live album. One great track after another.”

“The live renditions of Phil era material are lovely, but the real treat is the chance to hear Phil try his hand at Gabriel era stuff, including a complete rendition of Supper's Ready. He succeeded admirably, taking to the theatrical stuff with just as much enthusiasm as Peter did.”

“A great live set from shortly after Gabriel departed, and although this tour is supporting the first non-Gabriel album, the band are still playing early Genesis songs. It's a great opportunity to hear Collins belt out the vocals on these old fan favourites.”

“The renditions of the Gabriel era songs are phenomenal with Phil Collins exhibiting his ability to affix his own stamp to them without detracting from their original essence.”

Thunder In My Heart - LEO SAYER***

Thunder In My Heart/Easy To Love/Leave Well Enough Again/I Want You Back/Its Over/Fool For Your Love/ World Keeps On Turning/There Isn't Anything/Everything I've Got/We Can Start All Over Again

By the time of the release of Thunder In My Heart singer songwriter Leo Sayer had move away from the quirky compositions that had built his reputation. Here he embraces a mainstream pop disco sound which was perhaps not the best use of his talents. (US:37 UK:8)

“Thunder In My Heart features some big studio names of the day, and kick-starts with a devastatingly smashing disco hit – the title track. Not a bad setting to release a new album.”

“The music on the album is actually quite good, but excluding Sayer's sometimes amazingly high voice, there isn't much that separates this album from tens of similar mainstream attempts.”

“I bought this album on the strength of the absolutely thrilling single Thunder In My Heart which was brilliantly sung with enormous passion and should have been a much bigger hit. The rest of the album is just filler I’m afraid, really disappointingly mediocre material.” “Leo was experimenting during the 70s but unfortunately started resorted to mass appeal ballads. He has one of the UK's best pop voices. No one comes close in today’s music scene.”

“The second of three Richard Perry produced albums. On this one, Perry allows Leo to write more of the songs than previously, but somehow convinces him to dumb them down for general consumption. Leo Sayer is a great singer but this stuff is so ordinary. One more album together and Leo went back to his roots - a bit too late, I'm afraid.”

“Whilst the album is certainly of its time production wise, there is no doubting the passion and effort that went into making it. By now Leo had his eye on the US market, disco was in full swing, and beats and strings were the order of the day, which is what makes this record so great. The strings and tunes are just fantastic. Thunder In My Heart has a fab vocal, which he sings with gusto and real feeling. Buy this album if you are a fan of '70s disco, melodies and inspired soul music.”

40 Golden Greats - CLIFF RICHARD*****

Move It/Livin' Doll/Travellin' Light/Fall In Love With You/Please Don't Tease/Nine Times Out Of Ten/Theme For A Dream/Gee Whizz Its You/When The Girl In Your Arms/A Girl Like You/The Young Ones/Do You Want To Dance/I'm Lookin' Out The Window/It'll Be Me/Bachelor Boy/The Next Time/Summer Holiday/Lucky Lips/Its All In The Game/Don't Talk To Him/Constantly/On The Beach/I Could Easily Fall/The Minute You're Gone/Wind Me Up/ Visions/Blue Turns To Grey/In The Country/The Day I Met Marie/All My Love/Congratulations/Throw Down A Line/Goodbye Sam Hello Samantha/Sing A Song Of Freedom/Power To All Our Friends/(You Keep Me) Hangin' On/Miss You Nights/Devil Woman/I Can't Ask For Anymore Than You/My Kinda Life

Cliff Richard was the top UK pop artist in the early 1960s until the arrival of The Beatles. Unlike many of his contemporaries who soon fell away he remained on top his game for several decades. This is the definitive album of his best singles. (UK:1)

“Some of his early ballads are beautiful and not over-orchestrated with horrible backing vocals. Quite a nice compilation and the best way to discover this artist.”

“This set was the definitive Cliff Richard hits collection at the time of its original release on vinyl. Even back then, Cliff had too many hits to include them all, but all the essentials are here, although some might argue about that.”

“Every track here is a classic. If you are mainly interested in Cliff's sixties music, and you don't need to have all the hits from the period, this is the compilation for you.”

“I enjoy how much emotion he can convey in a song, so much so that he can bring me to tears even after hearing them many times. His voice is beautiful and emotive and I find him to be an amazing performer.”

“Whatever your thoughts on Cliff Richard, you can't deny that he knew a good song when he heard it and turned it into a piece of pop history. The number of different styles registered in this superb selection is amazing. There are so many top tunes here that you tend to forget the sheer quality and quantity of his output.”

“For those of us whose musical heritage is firmly seated in the 60s and early 70s then this collection will bring back memories of Dansette record players, juke boxes, Thank Your Lucky Stars and those little booths in record stores where you could listen to a record before deciding whether or not to spend your hard-earned pocket money on it.”

Passage - THE CARPENTERS***

B'Wama She No Home/All You Get From Love Is A Love Song/I Just Fall In Love Again/On The Balcony Of The Casa Rosada-Don't Cry For Me Argentina/Sweet Sweet Smile/Two Sides/Man Smart Woman Smarter/Calling Occupants Of Interplanetary Craft

With Passage The Carpenters attempted to move in a new direction by introducing some more innovative tracks. A good example was the very untypical UK top ten hit single Calling Occupants Of Interplanetary Craft. (US:49 UK:12)

“Passage is by no means perfect, but thanks to good arrangements and singing, it always sounds great even in the parts where the songs are a bit flaky, and sounds really great when the songs are up to scratch.”

“Rather a disappointment for a record that was presented at the time as The Carpenters' most daring, innovative and surprising. I really don't like the pomposity of some parts of this record although the more classic pop stylings yield some nice listening moments.” “For all its flaws, this album contains some absolute gems. Karen's singing and Richard's arranging were also at their usual height of perfection and, although I don't like some of the songs, they sound wonderful.”

“With record sales slipping from their last two albums, The Carpenters tried to go into a new musical direction. This is apparent with the first song, Bwana She No Home and the classic Man Smart Woman Smarter. Fortunately, these songs are not the highlights on this interesting album. The standouts are Calling Occupants Of Interplanetary Craft, taken right from the Star Wars craze, and Don't Cry For Me Argentina the best version I have heard.”

“The album has some nice singing but I recall how disappointed I was at the change of style. However, Karen's fabulous voice is still worth a listen.”

“Only The Carpenters can combine pop, opera, a touch of country and aliens all on one album and make it work. Karen lulls us with her interpretation of Evita on this classic release. She simply sounds terrific singing this great operatic extravaganza. She also adds a little country flavour with the song Sweet Sweet Smile. The LP ends with the lengthy Calling Occupants Of Interplanetary Craft, very appropriate for modern times with the alien phenomena in full swing.”

Chicago XI - CHICAGO***

Mississippi Delta City Blues/Baby What A Big Surprise/Till The End Of Time/Policeman/Take Me Back To Chicago/Vote For Me/Takin' It On Uptown/This Time/The Inner Struggles Of A Man/Prelude (Little One)/Little One

Chicago XI is considered to be the end of an era as it was the last album to feature Terry Kath. In truth their music had changed over the years from the early jazz influence to a more pop orientated sound. Includes the US No. 4 hit Baby What A Big Surprise. (US:6)

“Chicago by this time had become a pop-rock group, refined, well travelled, solid studio hit makers, whose time with the youngsters were over. Punk rock and disco were here now, and these guys weren't going down these routes.”

“If this had to be the last Kath-era album, this was a fine way to go out. There is no filler on Chicago XI and the songwriting and musicianship are top notch throughout. It goes without saying that this was a massive improvement over Chicago X. This marked the end of Chicago the hit machine. Baby What a Big Surprise would be Chicago's last top ten hit for almost five years.”

“It's too bad that Chicago with Terry Kath and James William Guercio had to go out in such mediocrity as this album. That isn't because it is all bland, just very uneven. Overall, there are some pretty awful pieces here, but the best ones really shine through. Chicago XI is where the end of the era hit.”

“A fitting end to an era. Most people already know that this was the last album to feature the great Terry Kath. The hit is probably the weakest track here, and it's not bad.”

“This album represents the last Chicago album to feature Terry Kath's musicianship as well as James Guercio's production techniques. Chicago's music since this album, while not necessarily less worthy, is clearly different in terms of the group's production style as well as their changing membership. All of the songs are gems.”

“For hard core early Chicago fans, this is their last great album. They would never be the same after the death of lead singer and guitarist Terry Kath. The album is a hodgepodge but features some spectacular tracks such as Mississippi Delta City Blues.”

Aja - STEELY DAN*****

Black Crow/Aja/Deacon Blues/Peg/Home At Last/I Got The News/Josie

Aja is perhaps the most jazz influenced album by the US art-rock group Steely Dan, which may account for it appearing less accessible on first hearing than previous releases. Features the US hits Peg and Deacon Blues. (US:3 UK:5)

“It's a slickly engineered product with crisp, commercial harmony vocals and pop numbers like Peg and Josie rounding it out. The compositions and their delivery are just too perfect not to win me over, particularly in the way they establish a calm, tranquil atmosphere quite at odds with the angry cynicism of earlier albums.”

“While slick perfection was always The Dan's primary stock-in-trade, they never achieved it more fully than on Aja. This is an album of spotless, micromanaged clarity.”

“Steely Dan's jazziest album, with most of the songs breaking the five minute mark. The songs don't grab me as much as the earlier stuff, but the atmosphere created by the killer line-up of musicians makes up for it.”

“A strong album from Steely Dan but also a little inconsistent. The group made a sharp stylistic change with this release, going for more sparse arrangements and more of a languid, jazzy feel. The tone is great and the sound is very stylish but the songwriting is not first rate all the way through.”

“This album should be on the A-List of everyone who appreciates the beauty of music. It is full of complex musical concepts which immediately remind the progressive rock fan some of the common manoeuvres in classic progressive rock albums. Take the title song for example. This piece takes you on an eight minutes ride to diverse musical patterns that vary between rock and jazz moods, amplified by rich orchestration. Other songs such as Deacon Blues and Home At Last constantly prove to be intriguing, while Black Cow is captivating.”

“Steely Dan are the definitive band, when it comes to jazz-rock. All of their trademarks are present in this album, it's a very polished recording. Great jazzy vocal harmonies, instrumental breaks, musicianship, cynical lyrics and some of the best jazz musicians around, It's a priceless investment for any musician who want to expand their language and musical horizons, or any good music lover. If you've never heard of Steely Dan before, this could be a great introduction.

Bad Reputation - THIN LIZZY****

Soldier Of Fortune/Bad Reputation/Opium Trail/Southbound/Dancing In The Moonlight/Killer Without A Cause/ Downtown Sundown/That Woman's Gonna Break Your Heart/Dear Lord

The Irish heavy rock band Thin Lizzy continue their winning streak with Bad Reputation. They managed to combine a hard rock sound with some more gentle melodic songs. Features the UK hit Dancing In The Moonlight. (US:39 UK:4)

“Thin Lizzy produced several immaculate studio albums, and this is certainly one of them. Side two is not as strong as side one but the songs at the start of this album are absolutely perfect. You will not find better rock tracks anywhere.”

“Bad Reputation featured American producer Tony Visconti giving new direction to the Thin Lizzy's sound, more modern perhaps, for an album that is filled with interesting ideas.”

“Bad Reputation is one of the most solid hard rock albums I've ever heard. It just doesn't have a lot of distinguishing features. Still, this gets the job done and hasn't tarnished with age.”

“While Bad Reputation wasn't quite the commercial phenomenon that Jailbreak was, its influence and legend might be even bigger than its predecessor. Lynott’s lyricism was never better than here. His knack for writing perfect songs was never more evident than on songs like Dancing In The Moonlight, the killer title track, and the now haunting, semi-autobiographical Opium Trail.”

“If you compare most rock bands of today with Thin Lizzy, it is obvious that Lizzy were far more talented, creative and skilful. Phil Lynott’s lyrics are usually very good and it's not just empty words that sound cool or right to a particular song. They had the ability to play anything from the hardest rock to the most melodic and emotional pieces. On this album, there are plenty of great songs that never gained the attention they deserved.”

“This is pure genius, melodic hard rock and fantastic songwriting. The guitar work is just sublime: listen to the solo in Dancing In The Moonlight, or to the gentle opening lick in the beautiful That Woman's Gonna Break Your Heart. The album also has its rockers. Phil Lynott graces the album with sublime lyrics, real poetry; just listen to the great Southbound. A really great rock album.”

Motorhead - MOTORHEAD***

Motorhead/Vibrator/Lost Johnny/Iron Horse-Bound To Lose/White Line Fever/Keep Us On The Road/The Watcher/Train Kept A Rollin'

Eponymous debut album from the British heavy metal band Motorhead. Lemmy jumped ship from Hawkwind, where he didn’t fit in, to create a highly successful vehicle for his loud and unsubtle brand of music. (UK:43)

“This debut album is interesting primarily because of the way the rudimentary, almost DIY production teases out a different sound than the Motörhead style we all know and love. The selections are a mixture of new tracks and updated songs from Lemmy's Hawkwind days, with the updated songs really transformed by the power trio line-up.”

“Their compositions would get leaner and meaner on the records to follow, but these are just as worthwhile because at the time they were pretty much the loudest bluesy hard rock band in the world. In very atypical Motorhead fashion, the longer numbers shine especially.”

“The first Motorhead release, while good, has never been anything special. It's like a bluesier, grungier AC/DC. Lemmy's voice makes it stand out. If they'd stayed like this, they probably would have been a very good heavy blues band.”

“It's certainly primitively recorded, the whole thing sounds murky, raw and loud. There is zero in the way of production but it doesn't really matter as Motorhead are all about volume anyway. Iron Horse and Keep Us On The Road are both superb slices of hard rock just before it mutated into heavy metal. There’s a psychedelic edge cutting through the sound and the brutal guitar playing.”

“This is the album where Lemmy announced his transformation from mere crew member aboard the space ship Hawkwind, to all out metal overlord of battle station Motorhead. Where his audience had shifted from the acid-dropping, pothead hippies that worshipped his former band mates, to the speed-loving and bourbon-drinking outlaw fraternities of bike gangs and renegades.”

“Lemmy was just too aggressive and restless to be contained by the space rock expansiveness of Hawkwind, so one of the greatest heavy metal bands in history, Motörhead, was born. This, their debut, is a raw blast of punk-metal fury.”

Terrapin Station - GRATEFUL DEAD***

Estimated Prophet/Dancin' In The Streets/Passenger/Samson & Delilah/Sunrise/Terrapin Station

At the time of the release of Terrapin Station the progressive band Grateful Dead were reaching the end of a decade of fashionable admiration by popular music influencers. Their commercial appeal would now become much diminished. (US:28 UK:30)

“An excellent release featuring lots of Donna Godchaux's beautiful vocals. The smooth reggae stylings of Estimated Prophet are brilliant although a rather lame rendition of Dancing In The Streets misfires. The entire side two is taken up by the incredible Terrapin Station which in my opinion is the pinnacle of the Dead’s career.”

“Extremely inconsistent, this album contains two of the Dead's best songs hands down - Estimated Prophet and Terrapin Station, along with two of their worst Dancing In The Streets and Sampson & Delilah, and one completely uncharacteristic song, Sunrise. Given the inconsistent material, overall the album is mediocre but the title track is truly outstanding in every way and is entirely unique for this band.”

“Dancing In The Streets is ridiculously bad. Side two is the only reason to own this long play and it is a good reason. Terrapin Station is a monster, one of the best studio tracks the Grateful Dead have ever done.”

“A bit of reggae, a dash of disco, some blues rock, a soft rock ballad for Donna, and a side of prog excess. I guess the band felt they had their bases covered. “

“Mostly pretty boring, including a questionable cover of Dancing In The Streets, but the epic, multipart title track pulls the album up from total mediocrity.”

“A very good album mainly because of its brilliant second half which is seven songs played into one long sixteen minute masterpiece filled with great guitar work. It’s the first side that needs to be stronger. Estimated Prophet is an amazing song and a great one.”

“Terrapin Station represents the Dead in their declining years. That doesn't mean there aren't some interesting and truly enjoyable moments here. It merely says that the halcyon days were indeed behind them.”

Simple Things - CAROLE KING***

Simple Things/Hold On/In The Name Of Love/Labyrinth/You're The One Who Knows/Hard Rock Cafe/Time Alone/God Only Knows/To Know That I Love You/One

Simple Things was the last album from singer songwriter Carole King to enjoy a high chart placing. She was enormously popular in the early 1970s, and will be forever remembered for her magnificent hit compositions during the early 1960s. (US:17)

“Carole King’s contract with the Ode label had expired with her last release and with it her overwhelming commercial success also ended. While she would continue to be moderately successful, there would be none of the commercial highs that dominated the earlier part of her recording career.”

“Simple Things marked the beginning of an evolution in her musical style. She would rely less on dramatic, gritty, and personal lyrics and instead move towards a more laid-back or pastoral style of writing. The music was good but not enough for one to choose to listen to over many of those that preceded it. Pleasant but not essential.”

“This was probably Carole's least successful LP commercially, but has handsome rewards for those who appreciate her excellent song craft and performance.”

“The first time I listened to this I thought that it not one of her best. So I listened to it again and read the lyrics as she sang the songs. Then I listened to it again and realized the emotion that she put into the songs. When you really listen to the songs, you get it.”

“Fans will find many fine album tracks, all of which are relentlessly optimistic. Even the song of separation, You're The One Who Knows, leans on the lasting value of what was, rather than dwelling on what's no more, and the closing One speaks to King's growing social conscience.”

“Several songs are all richly orchestral numbers mixing elements of folk, symphonic pop and progressive rock.”

My Aim Is True - ELVIS COSTELLO****

Welcome To The Working Week/Miracle Man/No Dancing/Blame It On Cain/Alison/Sneaky Feelings/(The Angels Wanna Wear My) Red Shoes/Less Than Zero/Mystery Dance/Pay It Back/I’m Not Angry/Waiting For The End Of The World

Singer songwriter Elvis Costello belonged to a new generation of British musicians who, in both appearance and musical style, presented a complete break with the progressive rock era. His debut album My Aim Is True found favour with the music critics of the time, and features the UK top 20 hit Watching The Detectives. (US:32 UK:14)

“The melodies are timeless but the lyrics are very much of the time. Clever, caustic, funny and powerful, Costello proved himself to be, not a saviour, but a beacon of hope that music had discovered a way forward.”

“Elvis Costello may have had some of the attitude of the punks but I've never thought of him as one. He's a classic songwriter and he's one of the best. Every time I listen to his debut I just can't decide which song is my favourite, there are so many tracks that are not just album highlights, or career highlights, but pop culture highlights.”

“Elvis Costello’s classic debut showcases all the elements which would come to define his sound during the next decade: snarling punk rock swagger, dense hyper-literate wordplay, light-hearted cynicism and tongue-in-cheek humour. My Aim Is True leans heavily on the influences of 1950s rock & roll, doo wop, soul and R & B rather than the synth-heavy new wave sound he would experiment with on subsequent releases.”

“His debut album is a classic in the annals of the mid 70s British rebel movement that fostered punk, new wave, and alternative music onto an unsuspecting world still listening to glam metal.”

“The songwriting dexterity of Costello is second to none and has been so since the very beginning. Songs like Welcome To The Working Week and Less Than Zero articulate with such mastery and conviction, the drudgery of working class England, while Watching The Detectives and Alison are examples of song craft at its finest.”

“My Aim Is True draws upon myriad influences while sounding fresh, new and original at the first listen. The angst, fear and alienation of youth are clearly defined, exploited and exploded by Costello's wry, witty and, at times, angry penmanship.”

Moody Blue - ELVIS PRESLEY***

Unchained Melody/If You Love Me (Let Me Know)/Little Darlin'/He'll Have To Go/Let Me Be There/Way Down/ Pledging My Love/Moody Blue/She Thinks I Still Care/Its Easy For You

Moody Blue was the final Elvis Presley album, released shortly before his death. It features mainly covers both live and studio, with critics noting the dark mood throughout. Features the UK No. 1 Way Down and the top ten title track. (US:3 UK:3)

“This is the final album of new material released during Elvis' lifetime. Way Down and Moody Blue were the singles and they are definitely the standout tracks. The rest is an assortment of various cover songs. In each case, the original artist's interpretation is much better. Unchained Melody is the best of these.”

“Not the best album to remember Elvis by. The hit single, Way Down is the best, She Thinks I Still Care is a nice ballad, and the title song, Moody Blue is adequate. Not much else is worthy of comment. Elvis deserved better.”

“Moody Blue is an album with some very good tracks but is kept from being excellent by a few less than stellar performances. It remains an essential Elvis release due to the fact that it was the last album released during his lifetime.”

“Despite the inclusion of a couple of quite enjoyable tracks, Way Down and somewhat less so, Moody Blue, this album is a bit of a mixed bag. For some unknown reason several live tracks are included, and although Unchained Melody is a pretty remarkable performance, the rest of the live stuff seems unnecessary.”

“Although Elvis recorded Moody Blue during a time when most people felt he was in decline and when he was only months away from his own death, the album actually contains some bracingly strong cuts. Divided between studio pieces and live recordings, it displays a singer who continued to care deeply about the material he recorded and put everything he had into it. Perhaps the finest track is the eerily prescient Way Down, in which Elvis almost seems to predict his own demise.”

“Things stopped being light when Moody Blue came out. Elvis seemed to be in a real depression during the album and its dark mood makes it seem like that. This is not the happy Elvis but a mature performer doing songs that are very serious and emotionally draining, focused on love lost, a pull toward the melancholy.”

Going For The One - YES***

Going For The One/Turn Of The Century/Parallels/Wondrous Stories/Awaken

Going For The One was the first album release in nearly three years from the progressive band Yes. With the return of keyboardist Rick Wakeman expectation were high, but with the exception of the UK No. 7 hit Wondrous Stories these songs are fairly uninspired. (US:8 UK:1)

“After releasing some increasingly complex albums, Going For The One sees Yes take a more balanced approach. The band produce a diverse set of tracks that represent their most accessible material, though in this case accessible does not mean poppy.”

“Going For The One reveals a band so anxious to be recording again after a lengthy break that their hyperactive performances managed to overcompensate for the half-formed, hastily cobbled-together material, resulting in a fine but by no means great record.”

“There is plenty of creative inspiration here, but some mediocre songs and an indistinct personality keep the album from measuring up to their real masterpieces.”

“Every song is well thought out and the playing is awesome. Awaken is timeless, and Turn Of The Century a dynamic lesson in creativity. The songs are a nice mix of longer pieces and shorter ones, with a beautiful atmosphere, and solid direction.”

“It has a perfect blend of conventional songwriting and progressive structures. The return of Rick Wakeman to the band seemed to re-invigorate the creativity of the group. Though some may disagree, I see this as the last great Yes epic album.”

“The song structures are still very complex which was typical for this group back then. Parallels is my favourite, but I've never enjoyed the title track that much, it's the weakest part here. Going For The One isn't considered as one of the best releases of Yes and I agree.”

“Yes have given us more than their share of great music, but one song on this album still remains my all time favourite Yes song, the lengthy Awaken. A powerful, beautiful, intricate, haunting and elevating refreshment for the human spirit, mine at least, and it gets better each time I listen. It is the essence of Yes.”

JT- JAMES TAYLOR***

Your Smiling Face/There We Are/Honey Don't Leave LA/Another Grey Morning/Bartender's Blues/Secret O' Life/ Handy Man/I Was Only Telling A Lie/Looking For Love On Broadway/Terra Nova/Traffic Jam/If I Keep My Heart Out Of Sight

By the time of the release of JT singer songwriter James Taylor’s albums had become predictable, bland easy listening, sometimes described as mellow by his fans. Features the US No. 4 cover of Handy Man. (US:4)

“This is rocking-chair music and can at times be sleep-inducing, but it's also reassuring and balming. It can be accused of blandness, cosiness, sterility, you name it, but also it's pleasant, warming even comforting.”

“Some of the tunes border on adult contemporary cheese, such as the soft keyboard sounds of There We Are and the disco era Honey Don't Leave L.A. Luckily, Taylor's easily likeable voice underlies it all and makes JT a worthwhile entry into his legendary catalogue.”

“This album is everything James Taylor is about. His clear vocals are the featured attraction and they're in fine form. I could listen to him sing for hours.”

“Nice mellow easy listening tunes perfect for a Sunday morning listening session, or to unwind with after a long day at the workplace.”

“This is a fluent, pleasant, and well-produced album, but it's a bit disappointing. On the plus side, Taylor seems to be more assured as a vocalist, testing both the high and low ends of his voice to good effect. There's a good bit of variety in the material too.”

“This will always be my favourite album by him. He seemed to truly find his voice here. In fact the combination of voice, guitar skills, writing skills and the Peter Asher production created a perfect high point in his career. Maybe a bit more pop than some of his other albums, but the music is very accessible and in many cases, supremely peaceful like taking a warm bath.”

“This album just seems to float by, and when itis over you wish there was more. James Taylor at one of his finest points, and definitely worth the buy. For the enthusiast its simply a must have. This is the secret to a great musical listen.”

CSN - CROSBY STILLS & NASH****

Shadow Captain/See The Changes/Carried Away/Fair Game/Anything At All/Cathedral/Dark Star/Just A Song Before I Go/Run From Tears/Cold Rain/In My Dreams/I Give You Give Blind

CSN was the first Crosby Stills & Nash collaboration in seven years. Whilst not as distinctive as their early group efforts, these are fine songs and an improvement on those found on more recently released solo projects. Features the US No. 7 hit Just A Song Before I Go. (US:2 UK:23)

“The best thing about this album are the harmonies. Every song is beautifully sung, and although I don't think it is a classic album, it certainly is a very pleasant listen and pretty solid throughout.”

“After their huge success in the late 60s Crosby Stills & Nash went their separate ways. The original trio finally reunited for this album, full of smoothly produced, well played tracks that are mainly very pleasant to listen to if lacking in the huge amount of classic songwriting of their debut. It’s a solid record, if unspectacular.”

“CSN came back together with their best writing in years. It sounds like they have been saving the best songs from their past side projects for this reunion. This short-lived comeback at least proved CSN were still one of the greatest bands around and should not be counted out. Not a bad track is to be found.”

“There is not the shadow of a single weak track, the vocal harmonies are really as brilliant as in the past and the orchestration is faultless. All the compositions are perfect and the whole album is very cohesive. There are many highlights and the first is the magnificent and mystical Cathedral with its slow mysterious piano playing which lets the melody grow till the vocal apotheosis.”

“Crosby Stills & Nash have always sounded their best when they sing in harmony and sound like one unit. That's exactly what you get on CSN. The songs may not pack as powerful a punch as they do on their self-titled debut but the harmonies are still as sweet as ever.”

“There isn't any filler on CSN; every song is exquisitely crafted to showcase the vocal harmonies that have made Crosby Stills & Nash a perennial favourite. The most popular song is the rather lightweight Just A Song Before I Go, but what really distinguishes this album from many of its late 1970s contemporaries is that all of the songs are heartfelt meditations on love.”

Streisand Superman - BARBRA STREISAND****

Superman/Don't Believe What You Read/Baby Me Baby/I Found You Love/Answer Me/My Heart Belongs To Me/Cabin Fever/Love Comes From Unexpected Places/New York State Of Mind/Lullaby For Myself

Acclaimed vocalist Barbra Streisand continued to adapt to changing musical tastes allowing her to remain on top of her profession. Streisand Superman contains many original songs. (US:3 UK:32)

“No one does it better than Streisand, songs that would sound trite and tedious in another singer's hands can become magically interesting in hers. On Streisand Superman, several unmemorable songs become showcases of the heart felt emotion that only Streisand can bring to a song.”

“Barbra is my favourite singer almost to the point of obsession. So believe me when I say that this is a bad album. The songs are simplistic and vague in their subject, and Barbra's vocals don't soar like they do on most of her recordings, and when they do it sounds strained.”

“Streisand Superman is one of her better albums from the 70s. Filled with ballads, and hard edged songs, it’s great to listen to. Superman may seem like a fluffy song with its simple and somewhat silly lyrics, but her voice makes the song take flight and turns it into a beautiful ballad.”

“The seventies was a time when Streisand was repeatedly trying to keep one foot in her traditional style of MOR belting, while also trying to branch out to other demographics. Streisand Superman is her most artistically successful attempt at straddling both markets, without short-changing her long-time fans.”

“Most of Barbra's 1970s albums were filled with various covers that were either great reinventions or interesting efforts, depending on the song at hand. Superman instead relies more on original songs heard here for the first time.”

“It doesn't matter whether it is show tunes, pop or anything else, her voice is one of a kind. So don't be surprised, when you soon start singing along with her. If you have not heard Superman, it will only enhance your appreciation for her exceptional voice, and the fact that she has mastered her use of it. She sings from the heart with a voice trained to make the very most of every note.”

American Stars & Bars - NEIL YOUNG***

The Old Country Waltz/Saddle Up The Palomino/Hey Babe/Hold Back The Tears/Bite The Bullet/Star Of Bethlehem/Will To Love/Like A Hurricane/Homegrown

After his collaboration with Stephen Stills, the follow up release from Neil Young was American Stars & Bars. It comprised tracks recorded over several years with the majority reflecting a country flavour. (US:21 UK:17)

“The inclusion of Like A Hurricane only cements the mediocrity of the rest of the material - unenergetic, overblown country pieces with little of the personality that made Neil's previous years so fruitful.”

“Quite country. On one hand, American Stars & Bars shows that Neil Young could write nice melodies, which is fine of course. But on the other hand, this album shows how fond Neil was of the old-fashioned, regressive, traditional Midwest American popular music. Like A Hurricane is a classic song, but the five-minute single version should have been enough.”

“It’s a bit of a rambling collection spreading across three or four years but including some of his most accomplished songs. Like A Hurricane has outlasted any number of songs from his back catalogue, and is still capable of sending shivers along the spine of the unwary listener, whilst Will To Love displays his outstanding song-crafting skills to a very high degree.”

“After the failed Stills-Young Band tour, Neil went solo again and cut this album with some country songs and a little rock on it as well. Highlight is the classic Like A Hurricane, with one of the best guitar solos of all time. The rest isn't that special.”

“This is another of his throw a bunch of outtakes together records, pieced together from material old and new. The principal reason for buying it is Like A Hurricane, a classic. The rest is patchy, although I love the sweet country of Star Of Bethlehem.”

“For any fan, this is a must own. It shows three different sides of Neil. Most of the first album is very country-esque. The Old Country Waltz is exactly what it sounds like, for example. There is also his acoustic side with Star Of Bethlehem and the beautiful Will To Love. The real classic off this album is Like A Hurricane which is still a concert favourite to this day. And closing we have Homegrown, which combines his rocking side with his country side.”

Steve Winwood - STEVE WINWOOD***

Hold On/Time Is Running Out/Midland Maniac/Vacant Chair/Luck's In/Let Me Make Something In Your Life

Eponymous debut solo album from the former front man of Spencer Davis Group and Traffic. However this bland forgettable release is light years from the dynamic music he was making a decade previously. (US:22 UK:12)

“This record could easily put you to sleep if you are not careful. However there are some quite good passages especially Vacant Chair and the beautiful arrangement that finishes this song. Time Is Running Out is much more rousing as a piece of blue eyed soul.”

“The reason I like it the most is because it's the most Traffic sounding of any of his solo projects. It has that dreamy quality that I find so appealing in the Traffic albums of that time.”

“Subtle, textured music that stands repeated listens. There is honestly not a bad song here. As often as I play this it always sounds good, and I find myself discovering different parts. One can see the transition from the old Traffic days to the newer pop Winwood of the 80s.”

“Winwood carves out an elegant and affable mellow groove and doesn't stray far from it. Although somewhat enervating it's still enjoyable to hear the sound of a master craftsman at work, and at least it doesn't lean towards the slickness of his later releases.”

“Steve Winwood has to rank as one of the most disappointing solo debuts by an already accomplished artist. Gone is the high-octane R & B of Gimme Some Lovin and the eclectic experimentation of Traffic and Blind Faith. Instead, we have extremely mellow, laid-back late '70s sludge. While Midland Maniac and Vacant Chair have some interesting hooks, the rest of the album reveals no musical spark or inspiration whatsoever, and the overall effect is simply depressing.”

“The magic that had sustained his output since the mid-1960s had taken leave from Winwood, and the result is one of his weakest albums. If what you are seeking is some light jazz-rock, there is a wealth of it to be mined from this disc. Memorable melodies do not abound here.”

Lights Out - UFO***

Too Hot To Handle/Just Another Suicide/Try Me/Lights Out/Gettin' Ready/Alone Again Or/Electric Phase/Love To Love

The heavy rock band UFO achieved their commercial breakthrough in the USA with Lights Out. Their growing appeal was heavily dependent upon the recruitment of the German guitarist Michael Schenker. (US:23 UK:54)

“Lights Out shows that UFO were not just a great straightforward hard rock band: Try Me is a ballad with a fantastic guitar solo, and the final track Love To Love, is also a touching song with one of the greatest guitar solos ever. The more straightforward rock tracks have everything that is needed; great guitars and singing, actually, great everything. There are no weak moments in this album.”

“Lights Out is UFO's defining statement and one of the top hard rock albums of the 70s. Michael Schenker cemented his status as a guitar god for all time with his searing aural firestorms and Phil Mogg never sang better or with more emotion.”

“Here UFO manage to come up with some of the best hard rock moments, full of great parts, energetic playing and fine awesome musicianship. Every single piece here shines.”

“Lights Out, as an album, seems a little tired when played today but the evidence that this was once considered a powerhouse of its kind and the influence it's had on countless others is there for all to see.”

“The title cut and the hit Too Hot To Handle are the highlights. The rest is not all that good as they were getting pretty commercial and a little lightweight at this point.”

“A very diverse record that in some circles is considered a classic. None of those circles hang out at my house though. Semi enjoyable commercial hard rock with some very interesting moments like the pre-Maiden sounding title track, and their great cover of Alone Again Or. The rest hasn't dated so well.”

“Michael Schenker is one of the best guitarist around. He can play the lightning runs and the melodic breaks. But, the real steal on this album is the songwriting. They really matured on this album.”