Nightwatch - KENNY LOGGINS***

Nightwatch/Easy Driver/Down N Dirty/Down In The Boondocks/Whenever I Call You Friend/Wait A Little While/What A Fool Believes/Somebody Knows/Angelique

Nightwatch became singer songwriter Kenny Loggins best selling solo album helped by the US No. 5 hit duet with Stevie Nicks Whenever I Call You Friend. His solo albums would not be nearly as successful as those with Jim Messina. (US:7)

“I listened to it and felt deep emotions and a great uplifting. The music is masterful, inspired, and filled with joy. The words are simple but they are true.”

“There are some terrific songs. Wait A Little While is superb, very evocative and as good as anything he’d done previously. In addition, Loggins had co written What A Fool Believes and his version is very good as well. Beyond these though things are not so good. The problem was that Loggins was now being pushed as a rock singer and the songs served up to fulfil this purpose were unconvincing. The tracks packed onto side one might be vaguely foot stomping but are ultimately rather vacuous. The second half lacks the charm and sophistication of his previous release.”

“Though not my favourite Kenny Loggins album, Nightwatch packs a fine selection of songs. Kenny's version of The Doobie Brothers' What A Fool Believes isn't bad at all, giving it a different spice and flavour.”

“Kenny Loggins has had a lustrous, if somewhat up and down, musical career. This release is one of his most interesting, as it explores so many different types of music. Kenny in those days was known for lengthy tunes that showcased not only his vocal prowess, but his wonderful arranger's imagination. This album contains two of his best: Nightwatch, a haunting, moody song, and Angelique, a soaring and wistful mini-opera, with a great instrumental interlude.”

“This album couldn’t be any more different and unique from his first album. The wispy breeziness has been replaced by not only a musical but a production sound that’s a lot more varied and diverse in flavour. It isn't exactly jazz-fusion or folk-rock, but at the same time it isn't entirely West coast AOR either. The title song is an elongated jazzy piece where spacey electric keyboards and bass lines all play in the same river over Kenny's scaling vocal licks. Its moody atmosphere certainly suggests the same idea as the title implies. This album also includes some stronger rock and blues elements.”

Dire Straits - DIRE STRAITS****

Down To The Waterline/Water Of Love/Setting Me Up/Six Blade Knife/Southbound Again/Sultans Of Swing/In The Gallery/Wild West End/Lions

Eponymous debut album from one of the best British rock bands to emerge during the late 1970s. Dire Straits would enjoy considerable commercial success during the next decade. Features the classic US and UK top ten single Sultans Of Swing. (US:2 UK:5)

“Dire Straits were pub rockers to the core and had the added benefit of being proper musicians as well. All they had to do was bide their time and wait for the right moment to strike. Then, when punk had pretty much cleared the decks of bands that took pride in how well they could play their instruments, Dire Straits unleashed Sultans Of Swing, a catchy pop-rock tune with real guitar solos, restrained musical backing and not a shouty chorus to be heard.”

“Sultans Of Swing is the big fish here, and a member of the elite group of singles that have lost none of their impact despite years of over-exposure. The smoky, greasy atmosphere in that song is present throughout the album which, for the most part, lives up to the quality of its most famous alumnus.”

“One of Dire Straits most impressive feats is that they were able to release a debut album this good during the age of punk. Sultans Of Swing will always be the song remembered off this album, but Wild West End is the real gem here.”

“The debut album of Dire Straits uses only guitars, bass guitar and drums. Mark Knopfler's guitar solos already have that characteristic style, with staccato notes, bluesy little bends and accents. Their sound is subtle and refined. The top song remains Sultans Of Swing, about an amateur band that keeps playing Dixieland jazz, even when totally out of fashion.”

“Dire Straits really were a sip of fresh air in a stale rock atmosphere. I am not a big fan of this kind of pub music, but the awesome Sultans Of Swing is an outstanding track and easily the pinnacle of whole release. The rest are not so impressive, although it's all enjoyable and relaxing. At any rate, this is better than primitive punk rock with its no music, no voice approach.”

“Sultans Of Swing is one of the best songs of all time - guitar, vocals and horns - they are blowing their sound. Let's get back to those days of real music. Few rock bands have ever had debut albums as accomplished and polished as this.”

War Of The Worlds - JEFF WAYNE****

The Eve Of The War/Horsell Common & The Heat Ray/The Artilleryman & The Fighting Machine/Forever Autumn/Thunder Child/The Red Weed Part 1/The Spirit Of Man/The Red Weed Part 2/Brave New World/Dead World/Epilogue Part 1/Epilogue Part 2

War Of The Worlds was a musical concept album composed by Jeff Wayne, inspired by the H G Wells classic with narration by Richard Burton. Features the top 5 UK hit Forever Autumn by Justin Hayward. (UK:5)

“One of the best known progressive rock concept albums of all time is this ambitious effort by Jeff Wayne. It is an extremely intense package full of different kinds of musical styles that create a true musical and emotional totality. The spoken word sections fit the album just perfectly.”

“There's plenty to like and dislike about this album. At 95 minutes, it's certainly too long with four tracks spanning more than ten minutes and another couple more than eight. Richard Burton as the narrator is great and the narration provides the cohesion the album needs in telling the story. Of the singers, Justin Hayward got the best part with Forever Autumn and does a nice job”

“I really love the first half of this album, even with the disco stuff and the cheese levels approaching critical, there is still enough fuzz and weirdness to make it worthwhile and Burton’s narration is a cracking listen.”

“Very alternative mix of rock, disco, opera and even some new wave and synth pop influences. I enjoyed this quite a lot, although some of the material was a bit confusing. Lots of quite long tracks, but still a very smooth and pleasant listen.”

“Jeff Wayne's War Of The Worlds takes all the thrill of the H.G. Wells classic and sets it to some incredible music. Featuring wonderfully evocative narration, the album conveys not only the story, but the intense emotion behind it. Jeff Wayne has done a wonderful job of bringing the storyline down to its essential components. The combination of the music and narration does a much better job of telling this classic story than any movie adaptation ever has, or could.”

“It's very long, dated (often backed by disco beats and synthesizers), it's strange, and something of a tedious listen. There's music here, but the majority of it tends to be instrumental. However, it's a one-of-a-kind project, with a very unique sound, featuring a large variety of talented musicians who do their jobs very well. The music itself is rarely boring, and the songs featured are mostly excellent.”

Street Legal - BOB DYLAN****

Changing Of The Guards/New Pony/No Time To Think/Baby Stop Crying/Is Your Love In Vain/Senor(Tales Of Yankee Power)/True Love Tends To Forget/We Better Talk This Over/Where Are You Tonight

Street Legal finds Bob Dylan in a more experimental mode than usual, with some questionable innovations such as horns and female backing vocals. Features the UK top 20 hit Baby Stop Crying. (US:11 UK:2)

“Dylan has a changed style with an emphasized commercial sound, but I find that he best knows what his music should sound like. This record is very good and holds lyrically impressive songs in the opener, the wonderfully crafted Changing Of The Guards as well as No Time To Think though with a slower tempo.”

“Changing Of The Guards perfectly sets the tone for this album, upbeat and joyful, with beautiful backing vocals that surprisingly compliment Dylan's voice very well. Unfortunately, apart from the opener few of the tracks do enough to stand out.”

“Street Legal sounds like no other Dylan album. Maybe an attempt at making a more commercial record, but it’s a definite break from his previous aesthetic, his first attempt at really creating a big sound. It’s more glossy and polished, yet the production frequently muddles all the instruments together so that his instrumental support just sounds like a giant mess of sound rather than an actual backing track.”

“On Street Legal, the sound is bombastic with horns and a girl backing choir. I can't say that I'm fond of this style, at least not when it's Dylan who is using it. I just don't think that it suits him. The songs are generally pretty good, with really nice lyrics. He experiments with his songwriting, and sometimes he succeeds.”

“This album is slicker than most of his work. He uses a battery of musicians plus some female backing singers that are definitely an acquired taste. The original mix of the album is muddled and really takes away from its overall enjoyment. I find that the best songs have an emotional depth and create a mood.”

“The lyrics are complex and highly symbolic, steeped in kabbalistic, tarot and astrological imagery. Behind the imagery is Dylan at his starkest and most desperate, grasping for love and meaning. Many people have criticized the album because of the fairly rough horn section and the pseudo-Motown backup vocals. To me, this type of backing is a fascinating counterpart to complex lyrics, creating an effect that is exotic but at the same time very soulful.”

Back & Fourth - LINDISFARNE***

Juke Box Gypsy/Warm Feeling/Woman/Only Alone/Run For Home/Kings Cross Blues/Get Wise/You & Me/Marshall Riley's Army/Angels At Eleven/Make Me Want To Stay

Back & Forth was the comeback album from the folk-rock group Lindisfarne. Unfortunately it is a bit uneven compared with their earlier work, the highlight being the UK No.10 hit single Run For Home. (UK:22)

“Mostly second-rate stuff here. The much awaited comeback album that, in the event, manages to disappoint on practically every front.” “The original line up re-unites but sound much more polished and bland. It cannot be denied that Run For Home is gorgeous but apart from that only Marshall Riley's Army adds to their legacy.”

“The sound has moved on a bit from the early albums, a bit less folk, a bit more rock and with an eye on the pop market.”

“The quality of songwriting is excellent throughout and incredibly consistent. There are no weak tracks or filler to be found here. Standouts for me are Run For Home, second only to Lady Eleanor as their greatest song. Then there is the political Marshal Riley's Army, a story about the Jarrow marchers. There is the great Warm Feeling, a really bouncy and jaunty expression of love and the happiness that being in love brings.”

“This was the band's comeback album after a fairly quiet patch in the mid-'70s. The fact is, Back & Fourth isn't really that good a record, lacking the imagination and spirit of experimentation that highlighted their early albums. However, at its best, it was smoothly commercial.”

“It’s as if they had already managed to capture so much of the Lindisfarne spirit and purpose in Marshall Riley’s Army that there was no need to bother with the rest of this slick over-produced album of pop songs and ballads. Run For Home was truly gorgeous but suggested that the band will be doing more dancing than marching in the years to come, politics taking second place to pop.”

Songbird - BARBRA STREISAND***

Tomorrow/A Man I Loved/I Don't Break Easily/Love Breakdown/You Don't Bring Me Flowers/Honey Can I Put On Your Clothes/One More Night/Stay Away/Deep In The Night/Songbird

Songstress Barbra Streisand managed to retain her popularity throughout the 1970s despite changing musical tastes. Although her largely MOR sound was never much in fashion, her continuing appeal was not helped by albums such as Songbird with some undistinguished material. (US:12 UK:50)

“Maybe her 60s work is better, but this album is like a textbook in painfully sappy 70s soft rock. I think I have a pretty high level of appreciation for soft rock compared to most people, but this crosses the line into muzak.”

“This album remains one of the most under-rated Streisand albums to date. It is filled with Streisand gems, despite some of the silly lyrics. However, many times previously Streisand has taken our minds off the lyrics to a point where we only concentrate on her voice.”

“The only listenable songs on this album are the bookends: Barbra’s delivery of Tomorrow is splendid, and the title track, whilst not much of song to begin with, is spared the butchering treatment given the rest. It simply defies comprehension why Streisand chose such third-rate material, and then, to add insult to injury, decided not to sing but scream them at the top of her lungs.”

“Streisand's Songbird album is further evidence of the range of Barbra's voice at the time. If a lot of these songs are of lesser material, this is nothing new, since her choice of material has always been eclectic, even in her early recording days.”

“Many regard this as one of her forgettable '70s albums, but I think it's full of eclectic material. Barbra is in extremely good voice, and many of the songs are quite enjoyable. Who else could turn the annoying Tomorrow into a sunny and charming vocal.”

“There are two ways to listen to Songbird. One is to just listen to the power of Streisand's voice and marvel at it like watching a glorious storm from the safety of your window. The other way is to listen closely to these interpretations of largely third rate material, most of which are just sung loudly with little feeling for the lyrics, however mundane.”

Octave - THE MOODY BLUES****

Steppin' In A Slide Zone/Under Moonshine/Had To Fall In Love/I'll Be Level With You/Driftwwod/Top Rank Suite/I'm Your Man/Survival/One Step Into The Light/The Day We Meet Again

Octave was the first Moody Blues album in six years, and the mysticism of their earlier releases is largely absent. Although the sound is now mainstream rock these songs are well crafted and distinctive. (US:13 UK:6)

“They weren't in the midst of a spectacular creative momentum, and as such, the album feels rather generic and forced. It's not all bad, Top Rank Suite is a great pop song, but sounds nothing like The Moodies. It was clear the magic had faded over the hiatus, and although they still clearly had life in them, the door had shut rather firmly on the past that made those first seven so miraculous.”

“A very uneven comeback after six years from their last album. More adult contemporary than art rock. Keyboarder Mike Pinder left the band in the middle of the sessions and never returned.”

“After a six year silence the band returned with this album. Critics trashed it because it came out at the height of punk and they weren't waiting for the return of one of the dinosaurs. It was mostly just a pop album and therefore not well received by the fans either. But despite all the negative reactions from critics and fans, this turned out to be a pretty good. Yes, it is pop and I certainly miss Mike Pinder's mellotron, but this features a lot of great songs.”

“An under appreciated Moody Blues classic. While the song arrangement and content lacks the mysticism and idealism of their first seven. These songs represent a more matured look on life. Musical and vocal arrangements are beautiful.”

“Although Pinder's departure was certainly the end of an era for The Moody Blues, at least he left the band on a very high note. Octave is a marvellous Moodies album, with the band picking up right where they left off. All the band members contribute excellent songs.”

“Perhaps the most attractive characteristic of The Moody Blues repertoire is that each album is different. I too did not care for Octave when it first debuted, but listening more I discovered what it is: a collection of finely crafted, late `70s songs done in the group’s style.”

Some Girls - THE ROLLING STONES****

Miss You/When The Whip Comes Down/Just My Imagination/Some Girls/Lies/Far Away Eyes/Respectable/ Before They Make Me Run/Beast Of Burden/Shattered

Some Girls provides a return to form for the Rolling Stones after a couple of lacklustre albums, although still not reaching their creative best. Features the hit single Miss You, No. 1 in the US and No. 3 in the UK. (US:1 UK:2)

“The songs are much improved and the band's sloppy, swinging greatness shines through. Ron Wood doesn't offer the contrast that Mick Taylor did, he sounds a lot like Keith but the mesh of the two is perfect for this moment in the band's history, simply because the result is a more direct and aggressive sound that fits the songs like a glove.”

“Probably the last great album they ever released. The disco-infused hits Beast Of Burden and Miss You are the best, but the rockers are better than they had been in years as well.”

“Slow, crawling songs like Some Girls and Beast Of Burden are where the Stones really excel. Not to mention the disco influenced stomps of Miss You and Shattered, which showcase the Stones in prime creative form. This album definitely has its fair share of highlights despite the fact that there are some forgettable moments. Some of the lyrics might be too sleazy or racy for some.”

“This one is packed full of interesting tracks. Plenty of variety and some great rockers like Respectable. Mick sounds as fresh as ever, and the guitar work is well up there with their best.”

“Some Girls falls short of the best Stones records, and yet channels the times with both relevant and inspired stylings from the disco crossover Miss You, the sleazy slow-crawl of the title track, the punky Shattered, and the classic ballad Beast Of Burden.”

“This one came out during the days of disco, and the band was able to adapt without compromising their reputation. As proof, the dance rock hits Miss You and Shattered are still regulars on classic rock radio.”

“This is the last album in which the Stones don't sound like withering old geezers. On this back-to-basics record, they sound inspired and coherent.”

Peter Gabriel 2 - PETER GABRIEL***

On The Air/DIY/Mother Of Violence/A Wonderful Day In A One Way World/White Shadow/Indigo/Animal Magic/ Exposure/Flotsam And Jetsam/Perspective/Home Sweet Home

Follow up solo album from Peter Gabriel, irritatingly given the same eponymous title. Like the first, the songs comprise a variety of styles, although this time they are not so distinctive. (US:45 UK:10)

“It doesn't help that Gabriel seems conflicted as to which direction he wants to go in. Tracks like Mother Of Violence or the majestic White Shadow feel at points he is harking back to the progressive stylings of Genesis, whilst others like Animal Magic point to a quirky art rock direction The end result is an album which is half compelling, half forgettable.”

“There are still some songs that conceivably could have been by Genesis. The best is the lovely Mother Of Violence. Peter's gentle delivery perfectly suits the melody and arrangement and though it's a sombre, serious song, there's also some token surreal humour in there.”

“Gabriel’s second solo LP, sometimes referred to as ‘Scratch’ after the cover art, is by no means a bad album, but the ones preceding and following it were so stunning that this one pales in comparison. The songs just aren’t as memorable.”

“Not as solid a collection of songs as on his predecessor, however he's still sounding quite decent in a pop environment which he entered into with his first solo album. The songs aren't as memorable or moving though.”

“Here the late 70s New York scene influences are clear and the sound is harder and moodier then the first album. A mixed bag stylistically and a definite move away from the mainstream, with some songwriting high points here like Home Sweet Home.

“Peter Gabriel's second solo album sticks out as a tentative experiment in the midst of his early prog-rock with Genesis and the later dark-edged art-pop and world music dabbling which would begin with his third effort. It was clear on this album that he was still attempting to find his solo voice; he had scaled his songs down to pop size but had yet to find a cohesive sound.”

Darkness On The Edge Of Town - BRUCE SPRINGSTEEN****

Badlands/Adam Raised A Cain/Something In The Night/Candy's Room/Racing In The Street/The Promised Land/Factory/Streets Of Fire/Prove It All Night/Darkness On The Edge Of Town

After the commercial breakthrough with his previous album, singer songwriter Bruce Springsteen reinforced his position as spokesman for the blue collar audience with the somewhat strident Darkness On The Edge Of Town. (US:5 UK:16)

“Springsteen's music screams white, American working class. If you get into that mindset, you can enjoy it in that context. If you're not in that mindset, you won't. This album is probably his hardest with more electric guitar than on any other album. The biggest knock on this is the overly strident tone. His vocals are really over the top in places and it seems like he's straining too hard to get his point across on some of these songs, particularly Adam Raised A Cain.”

“Its not an easy album to love as its theme is almost entirely bleak, but it has a real live in the room feel which lets the songs really breath and the emotions flow. There are some moments where his vocals are a bit over dramatic, but generally Springsteen keeps these to a minimum.”

“For this work, Springsteen turned his attention to the underbelly of ordinary life, in part evoking how the passage of time is less romantic than realistic. Musically and lyrically, he exhibited sophistication and an increasing ability to convey his songs in mature and moving ways. In a sense, this is him emerging from adolescence into adulthood.”

“This is the hardest rocking and most straightforward rock album that Springsteen ever presented. It's an album expressing the disillusion of a working class that has been raised on anthems, but lead dime-a-dozen lives.”

“This is an album that shows his success did not distract him from the themes he had dealt with so far. He still sang about hopes rising and falling, the working class and the city.”

“This one strikes deep into the soul. It is dark and moody, gritty, depressing and emotionally draining. However, the music is so powerful that you come away feeling inspired.”

Live & Dangerous - THIN LIZZY*****

Jailbreak/Emerald/Southbound/Rosalie-Cowboy's Song/Dancing In The Moonlight/Massacre/Still In Love With You/Johnny The Fox Meets Jimmy The Weed/Cowboy Song/The Boys Are Back In Town/Don't Believe A Word/ Warrior/Are You Ready/Suicide/Sha La La/Baby Drives Me Crazy/The Rocker

The double LP Live & Dangerous was the first to capture the dynamic nature of the Thin Lizzy live act. Features many of the best known songs from their most creative period. (US:84 UK:2)

“The inspired Live & Dangerous captured the classic Lizzy line-up firing on all cylinders from the stage. The tight performances showcase their diversity and go-for-it spirit, as well as Lynott's larger than life star power charisma.”

“In the late 70s Thin Lizzy were at the absolute peak of their performance powers, so the timing for recording their first live album couldn’t have been better. Live & Dangerous features the group tearing through their songbook, resulting in definitive versions of their best known tracks.”

“Effectively works as a greatest hits from their material up to that point, except it actually sounds much better played in the live setting than in the studio.”

“A classic live album that really captures the essence of Phil Lynott and the rest of Thin Lizzy. The band are unbelievably tight and the energy in the tunes is incredible. One of the finest live rock albums ever released, the musicianship is top notch and the choice of tracks unbeatable.”

“Live & Dangerous is quite possibly the best live album ever made. Phil Lynott never sounded better. His unique vocals and bass-lines real shine. Than there is the twin guitar attack of Brian Robertson and Scott Gorham. A brilliant masterpiece that every serious rock fan should own.”

“Most of the songs here benefit from being played live. The faster numbers take on a new ferocity, the mid-tempo melodic ones take on a languid beauty, and the slower numbers burn with intensity.”

“Phil Lynott and the boys are at their best in the arena setting. They control the crowd with a wonderful combination of rock and roll, blues, soul, and with an ever-present trace of Irish folk.”

David Gilmour - DAVID GILMOUR***

Mihalis/There's No Way Out Of Here/Cry From The Street/So Far Away/Short & Sweet/Raise My Rent/No Way/Deafinitely/I Can't Breathe Anymore

Eponymous self titled solo debut album from Pink Floyd guitarist David Gilmour which appears to replicate the then group sound. There would be a long interval between future releases. (US:29 UK:17)

“Gilmour's first solo outing isn't bad or unpleasant, but compared to his soulful, epic guitar playing for the Floyd, it seems like he has little to nothing to say.”

“His debut album is quite pleasant. It's very calm and relaxing. Not too hard rock or too soft rock. It's just right and good for relaxing.”

“For his debut record, David opts for a harder rocking sound that falls a bit closer to the classic Floyd style of the 70s. The music here is slightly bluesier and more straightforward than most classic Floyd.”

“The focus is on tight songwriting with memorable melodies and lyrics. I love his slow paced singing which feels really heartfelt. Then there is of course the guitar, which takes centre stage in several points of the album and absolutely shines.”

“Unfortunately, Gilmour’s solo material tends towards the light and airy side. There's No Way Out Of Here was an excellent single, and there are a few decent songs on here (the best being the instrumental tracks), but it is largely no more than background music.”

“This was definitely geared toward commercial radio station airplay. The album demonstrates the extent to which Gilmour was responsible for Pink Floyd's overall sound at that time. Virtually the entire LP could easily pass for one of the group’s albums of similar vintage. The record is not entirely consistent, but contains plenty of great material, and should be considered essential for any self respecting Floyd fanatic.”

“If you buy this album hoping to hear more music just like Pink Floyd, you will be disappointed. The album is just simple, relaxed rock. There is nothing ambitious or adventurous here and that is the main weakness. I cannot really pick anything out as special, memorable or even bad.”

But Seriously Folks - JOE WALSH***

Over & Over/Second Hand Store/Indian Summer/At The Station/Tomorrow/Inner Tube/Theme From Boat Weirdos/Life's Been Good

Guitarist Joe Walsh enjoyed a successful solo career between leaving the James Gang and joining The Eagles. During the long gap between releases from the latter group he resumed his solo output with But Seriously Folks. (US:8 UK:16)

“Joe and his pals from L.A. crank out a reasonably strong mix of '70s Southern California style rock that was well produced. Walsh was an excellent songwriter with an eye for life, especially his observations on the pitfalls of fame as described in the hit and album closer Life's Been Good.”

“He shows a master ability to create intricate arrangements which, surprisingly, work very well on most of the album. For the first time Walsh's ambitions do not crush his work as a songwriter, and Life's Been Good is the definitive proof of this.”

“An entertaining, if unspectacular album from Walsh and his friends. Side one is made up of songs which are quite diverse and make for a pleasant listen. But there's nothing that excites. Side two opens with Tomorrow which sounds quite a lot like an average Eagles number, which features some of his former colleagues singing in the background. Next are two enjoyable instrumentals which run into each other. The album closes with the best known song Life's Been Good.”

“Joe Walsh’s idiosyncratic rock style is underpinned by a generosity of spirit, his personality shines through, and his ability to pen songs which make you slow down and listen are natural to him. As a guitarist and composer he is important because he lets you see into his soul, whilst charming you with his humour and great playing.”

“Recorded during Joe Walsh's fairly brief tenure with The Eagles, this album reflects the influence that the band had on him. More mellow and less experimental than his previous works, it nevertheless has some great songs, including Life's Been Good, an example of sheer rock star chutzpah.”

“This LP is a good example of Joe Walsh's ability to come up with one great song on an album of filler. Life's Been Good, with its distinctive melody and tongue in cheek portrayal of the rock and roll life, is a true rock classic. It would be nice to find at least one more good song, but the rest is forgettable with a couple of weak instrumentals and some instantly forgettable soft rock.”

Grease - SOUNDTRACK****

Grease/Summer Nights/Hopelessly Devoted To You/You're The One That I Want/Sandy/Beauty School Drop Out/Look At Me I'm Sandra Dee/Greased Lightnin'/Its Raining On Prom Night/Alone At A Drive In Movie/Blue Moon/Rock & Roll Is Here To Stay/Those Magic Changes/Hound Dog/Born To Hand Jive/Tears On My Pillow/Mooning/Freddy My Love/Rock & Roll Party Queen/There Are Worse Things I Could Do/Look At Me I'm Sandra Dee (Reprise)/We Go Together/Love Is A Many Splendored Thing/Grease (Reprise)

Grease was another chart topping soundtrack album starring John Travolta, this time teamed up with Olivia Newton John. Features covers of 1950s hits plus some huge new 1970s hits performed by the headline stars. (US:1 UK:1)

“The highlights are the songs by Newton-John, Travolta, the two of them and a few others. Sha-Na-Na drags this down because they weren't inspired versions, but more workmanlike in approach.”

“When a movie comes out with a soundtrack that isn't just a compilation of various artists’ music, it becomes an album on its own and this is one of the better ones. John Travolta showcases his music talent with Olivia Newton John as his counter part. With other actual singers like Sha Na Na, Frankie Valli and Frankie Avalon, you hear non-singers like Stockard Channing. All the music is early rock & roll and doo-wop.”

“Why can't today's music be as melodic and fun to sing? An awesome soundtrack, one of the best that allows you to relive every great point in the movie.”

“Grease is the word. This soundtrack rules. The songs are fabulous and really get you pumped up. After listening to it, I wish I could go back to the 50s.”

“Grease is a great movie and has great music. It has some new recordings of 1950s music and has good 1970s music in it as well. If you like the 70s and 50s this is a must.”

“I am so thankful I grew up in the era when this movie came out. It was not only a pleasure to watch, but it was fantastic to listen to. John and Olivia are amazing together, both with their onscreen chemistry and their singing.”

“All the songs are good especially the new songs written for the movie, It's no wonder it sold so many millions of copies, it's perfect.”

Long Live Rock & Roll - RAINBOW****

Long Live Rock & Roll/Lady Of The Lake/LA Connection/Gates Of Babylon/Kill The King/The Shed (Subtle)/ Sensitive To Light/Rainbow Eyes

The partnership of Ritchie Blackmore and Ronnie James Dio moulded the hard rocking band Rainbow into one that became the equal of Deep Purple. Long Live Rock & Roll cemented the band’s reputation with the punters. (US:89 UK:7)

“I think Blackmore and Dio invented the style here known as power metal. Gates Of Babylon was imitated millions of times but never would be improved. The terrific and powerful Kill The King shows the world how an epic metal song had to sound.”

“The marriage of Ritchie Blackmore's guitar work, riffy and melodically colourful with Ronnie James Dio's powerful, soaring voice, lead the songs forward, while the rhythm section acts as the muscle of the band without being particularly flashy.”

“Gates Of Babylon and Kill The King are absolutely stellar and a big part of the reason why Rainbow are so famous. These songs are made up of all the best that Ritchie Blackmore and Ronnie James Dio have to offer, with killer riffs, beautiful guitar playing and Dio's distinct epic vocals carrying the tune. With those staples on the album, it allows the other tracks to have their day, too. While they remain mostly inessential, they're solid enough and worth delving into.”

“Everything on Long Live Rock & Roll is top-notch, Ritchie Blackmore's riffs and solos, Ronnie Dio's vocals, the rhythm section, and the classy keyboards. A 70s metal classic that turned Rainbow into one of the most influential hard rock bands.”

“The Dio era of Rainbow set the standard for hard rock and power metal over the next decade. Unlike the hair metal acts of the '80s, Rainbow were a class act, featuring renowned players within their ranks, and delivering a combination of fantastic, romantic, and medieval themes. Long Live Rock 'N' Roll marked a clearer and more direct statement than the band had ever made up to this point.”

“Long Live Rock 'N’ Roll is proof that Blackmore hadn't lost his touch when it came to playing the guitar. Ronnie James Dio's supercharged vocals complement his playing very well. Together they were a killer songwriting duo and with the rest of the band's rhythm section, this is one album that is a must have for all classic hard rock fans.”

Boys In The Trees - CARLY SIMON***

You Belong To Me/Boys In The Trees/Back Down To Earth/Devoted To You/Fly Me In The Face/Haunting/Melt My Heart/You're The One/In A Small Moment/One Man Woman/For Old Times Sake

Critics appear to be divided on the merits of singer songwriter Carly Simon’s Boys In The Trees. Some claim that it compares unfavourably with her early work, others that it is a good mix of mellow soulfulness. What is clear is that this was her last album to achieve a high chart placing. Features the US top ten hit You Belong To Me. (US:10)

“A few catchy tracks scattered amongst a mostly generic album. But it has some of that nice 1970s zeitgeist, and the closing track For Old Times Sake is really good. However, not one of the most outstanding and special albums on earth.”

“The sound slides ever further into vapid studio pop, with hardly a trace of the folky singer-songwriter of Simon's debut. The soft porn cover is reflected in the lyrics.”

“The good mix of mellow and upbeat soulfulness keeps one listening and grooving to Carly's thoughtful but accessible observations, illustrated in each of these songs. This album wasn't something that just came out of nowhere. Throughout the mid 70s Carly had been gradually developing a more soulful feeling and funky groove in her music and songwriting.”

“Carly Simon's early albums really resonate with me. This just feels like very ordinary stuff in comparison. Yes her voice is lovely, but I prefer a lovely voice connected to some quality songwriting which this album rather lacks.”

“Overall, Boys In The Trees makes for quality easy listening music, but it doesn't illustrate Carly's potential as a songwriter. Her earlier releases are better albums by far.”

“All the great features you'd expect from Carly and her team are here in good amounts: the beautiful chord constructions, heart-stopping middle eights, perfect production and plaintive and honest lyrics - she seems guileless.”

“A succession of seductive, laconic and absorbing tracks, written and performed by one of the great singer-songwriters of the 70s.”

Heavy Horses - JETHRO TULL***

And The Mouse Police Never Sleeps/Acres Wild/No Lullaby/Moths/Journeyman/Rover/One Brown Mouse/Heavy Horses/Weathercock

Jethro Tull’s Heavy Horses continued the folk influences introduced with its immediate predecessor, but the outcome here was not nearly as good. Future releases from the group would be still less inspired. (US:19 UK:20)

“Not as lively as Songs From The Wood and not as inspired perhaps, but there are still several great tracks. However, there is a bit of noodling about here that lessens my interest.”

“After Jethro Tull's classic period the band turned more rustic, softening its blues inspired hard rock edge and putting a heavier emphasis on folk oriented tracks, although many still with progressive tendencies.”

“Maintains the folky vibe of the previous album but with a bit more energy and electricity this time. Probably an improvement but I just can't get excited about it, despite what Tull fanatics tell me.”

“I credit Heavy Horses as the band's final studio release that is essential listening for any fan of 70s progressive rock. Alongside its predecessor Songs From The Wood, this record constitutes Jethro Tull's short-lived rustic folk/prog renaissance of the late-70s. Both albums mix the group's already folky take on progressive rock with more overt bits of British folk rock.”

“Continues on the folk rock path laid down by the previous album, but manages to reach higher peaks of grandiosity in the process. It covers a variety of styles, sometimes blended seamlessly, sometimes alternating each other. Diversity is the key-word: folk-infused arrangements and songwriting that delve in bluesy hard rock territory, not without the occasional nod to their prog-rock past.”

“Medieval inspired progressive folk rock. The concept could be good, but this album lacks something. The musicians are good, but they just don't seem to get things to work properly. They manage to get a quite soft and nice atmosphere around the music, but in the end the music itself is mostly rather boring and uninspired.”

“Jethro Tull continued to flounder. Here and there intimations of the old inspiration peek through but mostly it is wooden not sylvan.”

London Town - PAUL MCCARTNEY***

London Town/Cafe On The Left Bank/I'm Carrying/Backwards Traveller/Cuff Link/Children Children/Girlfriend/I've Had Enough/With A Little Luck/Famous Groupies/Deliver Your Children/Name & Address/Don't Let It Bring You Down/Morse Moose & The Grey Goose

Critics agree that London Town was one of Paul McCartney’s weaker albums, not helped by the inclusion of songs from his backing band. Features the US No.1 and UK No. 5 hit With A Little Luck, which proved that he could still write decent material. (US:2 UK:4)

“Pretty lightweight and wimpy even for Wings but there are some nice tracks here. It’s McCartney going folk and a conscious step towards simple melodies, acoustic sound and memorable refrains.”

“Make that sleepy London town. This is Paul's 70s nadir, almost nothing going on. A lot was made at the time of the album's long playing time, but when over six minutes of that is the excruciatingly embarrassing Morse Moose, to say nothing of Famous Groupies or the two appalling Denny Laine songs, more is definitely less here. The best track worth salvaging is the single release With A Little Luck.”

“London Town kicks off the album with a fantastic, reserved ballad that manages to discuss London without being as cloying as the song could have been. The mini-medley of Backwards Traveller/Cuff Link is also an unexpected highlight, with a great snippet of melody followed by a surprisingly funky instrumental.”

“The most notable experiment is Morse Moose, a six and a half minute monster, which needs to be heard to be believed. A combination of disco, folk, hard rock and sea-shanty, with sirens and backwards guitar. There is nothing else like it in Paul's catalogue and it serves as an appropriately messy ending to a messy album.”

“By any stretch of the imagination London Town isn't a great album but it is reflective of the fact that McCartney felt more comfortable working with a smaller band and that there was still plenty of life in the old dog.”

“This is a vastly under-rated album, and often overlooked. There are a wide variety of musical flavours here, all presented with a slick pop veneer. McCartney is the consummate craftsman, although some of the songs here are perhaps a little thin. Though this album is generally considered rather weak, it is actually an exceptional record with many catchy Paul songs.”

And Then There Were Three - GENESIS*****

Down & Out/Undertow/Ballad Of Big/Snowbound/Burning Rope/Deep In The Motherlode/Many To Many/Scenes From A Night's Dream/Say Its Alright Joe/The Lady Lies/Follow You Follow Me

It was a strange paradox that the more Genesis shrunk in personnel the greater their commercial success became. And Then There Were Three was the last album to reflect their distinctive progressive musical style. Features the rather poppish UK No. 7 hit single Follow You Follow Me. (US:14 UK:3)

“It's not a reflection of either's musical or artistic merit, but Genesis lost a lot more momentum when guitarist Steve Hackett left than they did when Peter Gabriel left. And Then There Were Three is quite a literal title since Hackett's departure reduced Genesis to the core trio of Phil Collins, Tony Banks and Mike Rutherford, the line-up that would make the band international superstars and remain unchanged until the mid-'90s. Naturally, the music is the sound of a band in transition.”

“And Then There Were Three is a record full of magnificent compositions, slightly more commercial than the albums before, but still not in the least arbitrary. In fact this was the last of the really great Genesis albums without any soul pop, funky horns and one finger keyboard lines.”

“Probably the most polarising of the band releases up to that point, the album sees Genesis, now as a trio, trading some of their grandiose, complex ideas for increased pop sensibility. Maybe due to the fact that they weren't exactly sure in which direction they wanted the music to go, And Then There Were Three sits awkwardly in-between progressive rock and pop-rock, somehow being neither and both at the same time.”

“This gives the listener a slightly poppier kind of progressive rock. Not as guitar based as before, but still a lot of creativity and great melodies with a good amount of experimentalism at times. The album creates a soft and smooth atmosphere, especially the finalizing Follow You Follow Me.”

“It seems to show the direction their music was heading, but still keeps it's dignity unlike much of the group’s music from the 1980s.”

“This is very dominated by the sound of Tony Banks' Polymoog synthesizer which gives it a distinctive mood. Like other Genesis albums, the rhythms get intense and the melodies and harmonies are downright magical.”

20 Golden Greats - NAT KING COLE*****

Sweet Lorraine/Straighten Up & Fly Right/Nature Boy/Dance Ballerina Dance/Mona Lisa/Too Young/Love Letters/Smile/Around The World/For All We Know/When I Fall In Love/The Very Thought Of You/On The Street Where You Live/Unforgettable/Its All In The Game/Ramblin' Rose/Portrait Of Jennie/Let There Be Love/ Somewhere Along The Way/Those Lazy Hazy Days Of Summer

Advancing technology in the late 1970s facilitated an increase in playing time for LPs. This, coupled with a TV advertising campaign and an excellent choice of songs, propelled easy listening singer Nat King Cole to the top of the UK album charts with this collection, more than a decade after his death. (UK:1)

“After hearing this album, I can see why he is mentioned along with Martin and Sinatra, as one of the greats. His voice is as smooth as silk, the tunes are catchy, I loved Nature Boy, and many others off of this album.”

“All I can say is that this is some of the most beautiful music you could ever hope to own. Of all the oldies Nat King Cole has the most amazing voice and way of singing.”

“The more familiar ballads are all here. Some examples of his early, jazzier style, are also included. For me, Nat's crooning style verges on the bland, but there's no denying that the voice is seductive and the arrangements very stylish. Highly recommended for anyone just wanting to dip their toe into the great man's huge recorded output.”

“The words, the music, the songs are just enchanting and the velvet tone of Nat King Cole is itself a joy to listen too.”

“The combination of his crooning, but gravelled voice is unique. These two qualities of his voice intertwine well and are impossible to be copied.”

“The easiest of easy listening, with quality vocals and orchestration. Good old-fashioned music. Just buy it and listen to it for instant relaxation.” “A superb collection of the songs from a true singer. Over the years I have turned to this genre of music. Nat had a voice that still reigns supreme, what a talent he was. It is difficult to pick out the best song on this collection, as there are so many lovely songs here.”

This Year's Model - ELVIS COSTELLO****

No Action/This Year's Girl/The Beat/Pump It Up/Little Triggers/You Belong To Me/Hand In Hand/(I Don't Want To Go To) Chelsea/Lip Service/Living In Paradise/Lipstick Vogue/Night Rally

Elvis Costello was one of a number of new wave artists who had a significant impact on the British music scene in the late 1970s, and who moved popular music in a new direction. This Year’s Model features the UK top 20 hit I Don’t Want To Go To Chelsea. (US:30 UK:4)

“Though never really punk, Elvis Costello absorbed its angry attitude. This Year's Model is a stinging slap in the face, a sour brew of sexual jealousy, office politics, and class war that rails against lovers, fashion models, and faceless corporations.”

“Thanks to his natural songwriting ability and killer rhythm section, This Year's Model is a sharp, catchy new wave album that plays to his strengths (incisive lyrics, catchy hooks, amazing backing band) and minimizes his weaknesses (his tendency to start whining).”

“Elvis Costello's classic early-career magnum opus, This Year's Model, is one of the albums that fuelled my teenage angst. A sing-along classic from front to back, it is angry, sarcastic, bitter, as well as fun. The lyricism is sharp and witty, and the instrumentation is brilliant, thanks to The Attractions. The bass on most tracks cannot be matched and the guitar playing is tight and memorable. Overall, this is a youthful and swaggering album that lives and breathes teen-hood.”

“Quite pleasant new wave with strong pop melodies. Solidly composed music, which in general has plenty of variation. Very easy to listen to and has taken influences from other music genres as well.”

“Jittery, hyper-caffeinated new wave Costello-style. This Year's Model features twelve different fusions of power pop and punk that underline his classic sound, particularly the sing-along Pump It Up and the paranoid rant of (I Don't Want To)Go To Chelsea. A volcanically angry album compared to its predecessor.”

“I can recognise the greatness of some of the melodies on this album, but I just can't get past these vocals.”

“Costello's most complex, angry and beautiful album. Adding The Attractions has to be the perfect move, with the almost guitar-less punk rock attack of bass, keyboards and drums supporting the ferocity of the nasal vocal assault.”

A Song For All Seasons - RENAISSANCE***

Opening Out/Day Of The Dreamer/Closer Than Yesterday/Kindness (At The End)/Back Home Once Again/She Is Love/Northern Lights/A Song For All Seasons

Renaissance were a British progressive band that received some critical acclaim but relatively little commercial success. A Song For All Seasons features their only UK top ten hit Northern Lights. (US:58 UK:35)

“Renaissance's last great album and an overlooked gem. The music is similar to previous releases; quite varied but often melodic and highly singable progressive rock with lush orchestral and symphonic arrangements. However, here the music is more rock-based, even featuring electric guitars, which is a rarity with the band.”

“A Song For All Seasons is the ultimate Renaissance album, the one they had been pointing to for almost a decade. Here they shed some of the preciousness that restricted most of their previous works, adding some electronics while continuing to embrace the orchestral backing. They delivered a pop sensibility to several tunes, resulting in an incredible achievement for symphonic prog, since almost all their contemporaries had sold out. Here was Renaissance producing the most convincing album of their career.”

“A good, albeit slightly uneven, record that is the last Renaissance album I'm willing to recommend to the general fan of progressive rock. This doesn't imply that I'd place this album alongside their classics; what we have here is a good record from a great band that nicely holds its place in their discography without really standing out.”

“Renaissance were one of the few bands from the early '70s that actually got better as they went along. Thankfully they keep the great vocals of Annie Haslam for all but a few of the tracks, and they also whip up some good folky prog that even an orchestra can't mess up.”

“In their prime, Renaissance were a band who mixed quite unlikely ideals - acoustic pop and classical orchestration - into songs that were amazingly powerful, beautiful and mysterious. However, with the coming of the punk revolution, delicate romanticism was completely out of favour with the public, and Renaissance showed clear signs of decline. They were able to write beautifully memorable melodies, but on A Song for All Seasons they seldom do this, sounding strangely mechanical, something one would not expect for a band that was so organic a few years back.”

Jesus Of Cool - NICK LOWE****

Music For Money/( I Love The Sound Of) Breaking Glass/Little Hitler/Shake & Pop/Tonight/So It Goes/No Reason/36 Inches High/Marie Provost/Nutted By Reality/Heart Of The City

Singer songwriter Nick Lowe had been part of the UK rock scene since the late 1960s as a member of Brinsley Schwarz and his later collaboration with Dave Edmunds in Rockpile. Jesus Of Cool was his first solo album and features the UK No. 7 hit I Love The Sound Of Breaking Glass. Album renamed Pure Pop For Now People in the USA. (US:127 UK:22)

“I love the sound of Nick Lowe. The album title pretty much tells you everything; he really is the 'Jesus of Cool'. Not only because he's a fab musician, it's also due to the fact that he can freely experiment with any style he wants.”

“Power pop with great catchiness as well as quite tight and technically good playing. This album was quite good to listen to, but also rather easy to forget. After listening to it, there aren't that many bits that actually stuck into your mind, so in a manner it's quite generic as well.”

“Some pretty competent and fun to listen to power pop. It seems like he was trying to revive the old 50s rock ‘n’ roll spirit, yet at the same time drawing some influences from the UK punk scene.”

“This is the sound of Nick Lowe having fun making pop music. Great melodies melded with golden harmonies and zany lyrics, backed by stellar musicianship, are the order of the day.”

“Lowe seems an endless pioneer of lo-fi indie music with his blend of catchy pop hooks, bright and crunchy guitars, acoustic layerings, smooth vocal harmonies, and good-old-fashioned rock and roll.”

“The album is a literal compendium of pop music history. Here, the sweet melodies of pre-Beatles pop, the energy of the British Invasion, the excess of glam and elements of ska and new wave don’t blend but stand side by side on the field of battle, each one willing to lay down his life for the other. Jesus is the crossroads where pop music and pop culture collide, self-aware for the first time, fusing into a white hot chunk of rock ‘n’ roll energy.”

Earth - JEFFERSON STARSHIP****

Love Too Good/Count On Me/Take Your Time/Crazy Feelin'/Skateboard/Fire/Show Yourself/Runaway/All Night Long

Jefferson Starship albums had a tendency to be somewhat uneven but this ended with Earth, the group’s most consistent release. Features the US No. 8 hit Count On Me and No. 12 Runaway. (US:5)

“If you are a true Jefferson Starship fan you must add this classic to your collection. The LP is full of the beautiful ballads and hard-rocking masterpieces that made the Starship one of the best bands of the 70s.”

“I wore my tape out from playing it so much. Songs like Count On Me and Runaway are timeless. If you are just discovering Jefferson Starship, this is a great way to start your collection.”

“This is the best and most underrated of all Jefferson Starship albums. Earth contains many fine moments. The hits Count On Me and Runaway are pleasant, lilting diversions, but the real goods are held in the songs by Grace Slick. Her cooing and growling on Love Too Good open the album with a funkiness not usually attributed to the Starship. Take Your Time is about as reflective and personal as Grace gets. Skateboard is an outright roller that blasts its way out of the speakers, and Grace truly wails. Of course, the album's centrepiece is Show Yourself that builds in intensity and musicianship from start to finish.”

“This is one of those few records where every song is good. Few of such recordings exist. My favourite is All Night Long, a progressive, spacey, late 70s version of acid-rock with a polished, glossy production, that sounds exactly like what 60s acid rock should have progressed to during the glossy disco era of the late 1970s.”

“Earth marks the end of an era for Jefferson Starship, both Marty Balin and Grace Slick would leave the band before the next album. Sonically, the trademark mid-'70s Starship sound is in full force, with the songs being terrific. This ends up being an irresistible, vastly underrated album.”

“Jefferson Starship's Earth is a sensational album, a feast of musical achievements conducted in a party-like spirit yet with the band incredibly tight and cohesive. We've got great vocals here, but the instrumental performances are every bit as good, and display marvellous cohesion. The compositions are, without exception, superb.”

City To City - GERRY RAFFERTY****

The Ark/Baker Street/Right Down The Line/City To City/Stealin' Time/Matttie's Rag/Whatever's Written In Your Heart/Home & Dry/Island/Waiting For The Day

City To City was the debut album from singer songwriter Gerry Rafferty, who a few years earlier enjoyed a top ten hit with Stealers Wheel. The excellent Baker Street was one of the best remembered songs from the late 1970s, reaching the top three in both the US and UK. (US:1 UK:6)

“I bought this for Baker Street I mean who didn't? Everything about that song is fantastic but I ended up liking a few of the other tunes. There is something very warm about Gerry's vocals and he was easily one of the finest songwriters of his generation.”

“Upon listening to this album it quickly becomes apparent that Rafferty has an excellent ear for melody. He appears to effortlessly turn his hand to whatever style he deems fit. This makes for an interesting listen as the album has many styles from folk to swing, all tied down by his melodic talent.”

“The arrangements and musicianship are simply stunning. There’s no doubt Rafferty was a real talent, albeit an erratic one and, despite some of the songs being a little too lengthy for their own good (particularly the closing duo), it’s a really good record.”

“This one has the classic Baker Street, about the restless person who desires to settle down but doesn't have the discipline to do so. It features blistering solos in saxophone and guitar, and Rafferty's laid-back vocal. The other hit was Right Down The Line a low-key standard issue love song.”

“Oldies radio stations have almost made the world tired of Baker Street, even though it has always been a great song. Right Down The Line may be a bit too sentimental for some people, although I loved it as a kid and still do. But what really sells this one is that all the songs are good, with great melodies, diverse lyrics and terrific arrangements. The styles vary quite a bit, all held together by Rafferty's voice, one of the most unique of the seventies, and the focus on the music as a whole rather than some star's instrument.”

“City To City was one of the best collections of music to come across to the States during the late 70s. Gerry Rafferty has a super smooth voice and is a great songwriter surrounded by great musicians.”

Watermark - ART GARFUNKEL****

Crying In My Sleep/Marionette/Shine It On Me/Watermark/Saturday Suit/All My Love’s Laughter/(What A) Wonderful World/Mr Shuck N Jive/Paper Chase/She Moved Through The Fair/Someone Else (1958)/Wooden Planes

Watermark is notable for the unique collaboration with songwriter Jimmy Webb. Garfunkel’s vocal style, together with the distinctive songs, yielded a perfectly matched combination in the judgement of some critics. (US:19 UK:25)

“Jimmy Webb’s odd writing style really fits Garfunkel’s personality. There's just something haunting about the way his beautiful high tenor blends with Jimmy's bizarre writing. The other songs are mostly pretty tunes, sung in a pretty way.”

“Beautiful songs, Jimmy Webb's words and Art Garfunklel always unique voice, what a pair these two made. The music is spiritually moving to the inner soul.”

“Watermark is one of the most intelligent, lovely albums made in the 1970s, a reminder that not all was disco or sappy ballads. Garfunkel is one of the great interpreters of Webb's pensive and often demanding songs. Webb was involved in this production and it shows: the arrangements are classy and never intrusive.”

“Jimmy Webb is a fine songwriter and Art Garfunkel is a fine singer. The time and thought that has gone into this album makes it a truly memorable combination. Has anyone interpreted these songs better?”

“His interpretations of Jimmy Webb's songs on this album are first rate. These songs are a combination of perfectly matched word and melody, and Garfunkel executes the emotion needed to bring the songs to life. This is a first rate album with a lot of care put into the production.”

“Watermark is a great album. It is, by far, the best release of Art Garfunkel's solo career. It's one of those overlooked musical gems that never got the attention or recognition it deserved.”

“The sublime songwriting by Jimmy Webb, at the top of his game, is fantastic. Art perfectly capture's the angst ridden lyrics and his voice was never better. This is a classic that has never aged.”

The Album – ABBA****

Eagle/Take A Chance On Me/One Man One Woman/The Name Of The Game/Move On/Hole In Your Soul/Thank You For The Music/I Wonder (Departure)/I’m A Marionette

The Swedish pop group Abba reigned supreme in the UK singles charts during the late 1970s, although they were regarded as somewhat lightweight by rock critics. Features the UK No. 1 hits Take A Chance On Me and The Name Of The Game. (US:14 UK:1)

“This was likely the height of their creativity and a perfect demonstration of why they should be taken seriously as musicians. Just like the title infers, this is ‘The Album’ to own from the band.”

“If you are going to try an album from Abba, make it this one, there are no bad moments, only pure pleasure. This is without a doubt one of those albums that has held up with time, and is so rich that it should be hailed a classic.”

“In the second half of the seventies the songs of Björn and Benny had more depth and musical diversity than before. The vocal and instrumental sound of the Swedish pop band reached its peak.”

“This album is quite awesome. You get some really catchy singles on the first side that are wonderfully sung and full of simple yet superb rhythms. The second side contains tracks that, in my opinion, are even better. So why do hipsters hate this?”

“This was the album where Abba showed the world that they were a little more than just a pop band. Björn and Benny were the primary songwriters and here they display a knack for writing slightly more sophisticated numbers that cut down on the cheese.”

“It's unfortunate that Abba has such a questionable reputation because this is really timeless pop music. Beneath their shallow lyrics and glitzy veneer, there is some ridiculously well-crafted stuff here. The Name Of The Game is two complete songs in one, going through a typical verse to chorus build-up, only to suddenly meander off into a whole new bridge section before triumphantly returning to the chorus.”

“No other recording act has ever been able to write music like this. The melodies are unbeatable, full of hooks, a mixture of melancholy, sweetness, sadness, happiness and joy, sensuality, restraint and freedom. How can one write music any better?”

Running On Empty - JACKSON BROWNE***

Running On Empty/The Road/Rosie/You Love The Thunder/Cocaine/Shaky Town/Love Needs A Heart/Nothing But Time/The Load-Out/Stay

Singer songwriter Jackson Browne’s Running On Empty is a very unusual live album as all the tracks are previously unreleased, and are about life on the road. The title track reached No. 11 in the US singles chart. (US:3 UK:28)

“Writing an album on the road about life on the road. It sounds so obvious but I can't think of anything like that ever having been done before. So, the theme behind the album is set. It turns out that the execution is the key. This is a very good album.”

“Jackson Browne's Running On Empty is unlike any live album you are ever likely to have heard, containing all previously unheard material and recorded at various places on the road from the tour bus itself to hotel rooms, in rehearsal and lastly live on stage. It is a fascinating commentary about life on the road delivered with Browne's usual honesty.”

“While other artists' live albums are dull and overindulgent affairs, Jackson Browne turns in a lean and focused effort. With ten new songs, he crafts a very effective concept album.”

“Another Jackson Browne album that meanders towards inevitability. The difference with this one is that it is recorded in front of a live audience. Unfortunately, the usual excitement and atmosphere of a live show is lacking as it is much too safe and pedestrian. After the first three tracks which were all good I found my interest waning, and I wasn't left wanting more at the end.”

“It takes a truly unique genius to create something as intensely and fascinatingly boring as this masterpiece of utter banality, and to do it live is almost godlike.”

“The title track still holds up well. But the rest of the album does nothing for me. It's pleasant enough in a 70s soft rock sort of way. But I cannot fathom how it was so popular. It's just so mellow.”

“You've got to give him credit for trying something new with a live album. None of these songs had been released on a Jackson Browne album up until this point, and it's a concept album about life on the road. Not half bad, but I can think of better singer-songwriters.”

Saturday Night Fever - SOUNDTRACK****

Stayin' Alive/How Deep Is Your Love/Night Fever/More Than A Woman/If I Can't Have You/A Fifth Of Beethoven/ More Than A Woman/Manhattan Skyline/Calypso Breakdown/Night On Disco Mountain/Open Sesame/Jive Talkin'/You Should Be Dancing/Boogie Shoes/Salsation/K-Jee/Disco Inferno

The Grammy winning double LP soundtrack Saturday Night Fever was the best selling album of the late 1970s, topping the US album chart for nearly six months and the UK chart for almost as long. Features the Bee Gees best remembered disco songs, the US No. 1 hits Stayin’ Alive, How Deep Is Your Love and Night Fever. (US:1 UK:1)

“A great soundtrack to a great film. It's crystal clear in retrospect, that the intensely negative reaction to disco was just the panic of male rock fans challenged by a new order. Yes, the best tracks are supplied by the Bee Gees, but most all of the material just glides a long wonderfully. Just try not grooving.”

“Lets not mince words, The Bee Gee's stuff here is just amazing and the best disco music you are likely to hear. Sadly though the other tracks are a bit hit and miss and take the cheese quota to worryingly high levels at times.”

“Saturday Night Fever isn't so much a soundtrack as a genre-defining compilation. Although the LP is ostensibly just a collection of assorted songs, the movie itself has become so iconic that it almost serves to define the disco movement.”

“Saturday Night Fever, although dated, has some great material and captures the essence of the disco era. The Bee Gees provide the album's strongest tracks while the rest play like a less than cohesive mix-tape, only two of the five instrumental tracks holding up really well. Some tracks are just too disco dependent and end up drowning in a haze of polyester leisure suits, gold chains and platform shoes.”

“If you're going to have at least one disco album in your collection, you might as well make it this one. All the hits that made disco so big in the first place are on this album. Pretty much all the Bee Gees material are stone cold classics. Unfortunately the instrumentals weigh it down quite a bit - they're not bad, but they don't translate well to record. Saturday Night Fever is the definitive disco album; it's very rare for just one LP to represent a musical cultural phenomenon.”

“Love it or hate it, whether you were there or not, disco was not just a fad in the late 70s, it became a worldwide obsession. This album was the zenith of the movement.”

Slowhand - ERIC CLAPTON***

Cocaine/Wonderful Tonight/Lay Down Sally/Next Time You See Her/We're All The Way/The Core/May You Never/Mean Old Frisco/Peaches & Diesel

Slowhand, like many solo Eric Clapton albums, is rather uneven with too many forgettable tracks, yet it sold very well in the USA, helped by the No. 3 hit single Lay Down Sally. (US:2 UK:23)

“The problem with Eric Clapton isn't that he's boring (though he unquestionably is), it's that he's pompous enough to believe his own hype and internalize it. Listen to Slowhand and ask yourself if you've ever heard any song as shamelessly cheesy and earnest as Wonderful Tonight anywhere else.”

“Containing two well known hit singles and another of his signature tunes, Slowhand is definitely one of his better albums. With covers of songs by JJ Cale and Don Williams, Clapton sidesteps the blues to some degree, particularly by adding some country to the mix. While some purists may bemoan the lack of blues or even passion here, I think the producer Glyn Johns, does a fine job in coaxing a good album from Eric.”

“This music has no substance. The lyrics have just as much weight as any corny pop song. The album seemed contrived and formulaic. In the end this remains not that good, since it's just so forgettable. Would anyone care about Slowhand if it wasn't by Clapton? I think we all know the answer to that.”

“There is some lively stuff with a few toe tappers here and there. Of all his solo releases I think this is Eric Clapton's best, primarily because most is just mediocre.”

“This doesn’t exactly forge any new grounds in the world of rock unlike any of Clapton’s ‘60s bands. The whole album is safe and marketable. Get this out at parties if you need some safe rock music, but don’t be surprised if Slowhand ends up collecting dust for years at a time.”

“It's very laid back and not very exciting, but it plods along at an even pace that you can settle into if you're of a mind to.”

“Slowhand is clearly one of Eric Clapton's stronger solo releases. Whereas there are plenty of guitar solos and effects, many of these tunes are quite pleasing. A solid if not overly spectacular release that showcases the mellow side of Eric Clapton.”