Marathon – SANTANA***

Marathon/Lightning In The Sky/Aqua Marine/You Know That I Love You/All I Ever Wanted/Stand Up/Runnin'/ Summer Lady/Love/Stay (Beside Me)/ Hard Times

Some critics considered that Santana, by the time of Marathon, might have lost direction, dabbling in jazz fusion and commercial pop-rock. However, they continued to admire the guitar skills, and enthused abut the instrumental track Aqua Marine. (US:25 UK:28)

“On Marathon, Santana as a group lose everything that made them great except their instincts for pop hooks and the guitar. The first victim of this is good taste as this is a tired work-out, entirely made of kitsch.”

“An interesting album from Santana that starts out fantastically with the stunningly beautiful Aqua Marine that provides the perfect soundtrack for the ultimate cruise ship sunset of dreams. And then the wheels come completely off.”

“Santana's late 70s period is when Carlos Santana would occasionally show signs of his brilliant guitar skills, but other times he'd go commercial and focus on somewhat generic soulful vocals. Marathon is somewhere between both styles.”

“The only song worth listening to is Aqua Marine, thankfully, an instrumental. If you’re a fan of Carlos’ guitar work, stick to the early ’69-’74 work and give this one a major pass.”

“The music on this falls, some in the pop-rock genre and some in the Latin rock, yet it is difficult to give it a perfect identity or description. Santana seems lost between his love for the rock jazz fusion music, his worries about sales and his commercial ranking.”

“Carlos infuses each song with his special sound of spirits crying for enlightenment, but without the excessive pyrotechnics that sometimes make his albums tiresome after repeated listenings. My favourite song is the haunting, transcendent instrumental, Aqua Marine, which will calm jagged nerves.”

“Santana is still knocking on the spiritual door but this album lacks any true spirit and is devoid of soul. While the guitar playing is typical of Carlos, the vocalist Alexander screams out radio friendly rock. His voice borders on the embarrassing.” “The arrangements are not always particularly poppy, even at its rockiest. A great way for Santana to end the 70s on a high energy level.”

Reggatta De Blanc – POLICE***

Message In A Bottle/Regatta De Blanc/It's Alright For You/Bring On The Night/Deathwish/Walking On The Moon/ On Any Other Day/The Bed's Too Big Without You/Contact/Does Everyone Stare/No Time This Time

Police were a difficult band to categorise and might be described as pop-rock with reggae influences. Their quick follow up album Regatta De Blanc is, like the debut, similarly uneven. So the two UK No. 1 hit singles Message In A Bottle and Walking On The Moon place all the other tracks in the shade. (US:23 UK:1)

“The Police's second album Reggatta De Blanc is more reggae based than the debut, but still awesome. The two big hits Message In A Bottle and Walking On The Moon obviously deliver in spades; the rest comprise moody, atmospheric reggae based numbers that smoke.”

“This band has a certain something that keeps them sounding unique. Not new, though: you can definitely sense that this is an old album, but not in a bad way. There's a bit of filler here and there, and occasional cheese (even if it's intentional).”

“This album is a little more reggae influenced than their debut but still a decent mix of pop and new wave. It is essentially similar their first but done better and there isn't much to dislike. It’s before they went all pop-rock and AOR and got a little boring and cheesy.”

“Although the Police were one of the major new wave bands, it is really here, on their second outing, where they define their influential sound. They do so with virtually no modern devices like keyboards and synthesizers, which were so trendy among new wave bands. At the core of their sound, the Police are really just a great power trio, and it is on Reggatta De Blanc where the band really masters this formula.”

The title means something like ‘White Reggae’ and indeed there is a lot of reggae influence to be found. The album goes in a number of different directions, almost as if the band was struggling to find just what kind of sound that they wanted to put out there. Overall this is another strong album from the Police.”

“The punk energy of the last album has been replaced by something more sophisticated, a kind of reggae influenced pop for which the band became famous.”

“The smooth balance of instruments, the clever game play between stylish vocals, outstanding drumming and terrific guitar effects, make this a gem of the late 70s.”

The Long Run – THE EAGLES***

The Long Run/I Can't Tell You Why/In The City/The Disco Strangler/King Of Hollywood/Heartache Tonight/Those Shoes/Teenage Jail/The Greeks Don't Want No Freaks/The Sad Café

It was three years since The Eagles had released their previous blockbuster album so there was huge anticipation over The Long Run. However, from the funereal cover to the lacklustre tracks, this came as a big disappointment, despite the US No.1 hit single Heartache Tonight. (US:1 UK:4)

“Take this record for what it is, a smooth, tight, and very introspective album. There are no jagged edges, or memorable hooks that sit in your head demanding to be heard. Yet when this album is played, everything floats back like the touch and feel of a long lost lover, nothing to prove, just the pleasure of being together.”

“Considering that it took The Eagles nearly three years to produce this album, and also considering the strength of their previous album, The Long Run cannot be viewed as anything but a disappointment. It did indeed contain a few really big hits, but I'm not convinced they were as good as the ones the group had produced up to that point. Furthermore, and more disappointingly, the non-hit songs composing the remainder of the album are very slight.”

“Leaving behind the sun-splashed country-rock that helped The Eagles dominate the airwaves throughout the '70s, The Long Run points toward a new decade with angular lead guitars and a seductive but pervasive darkness of spirit.”

“The music is as dark as the sleek cardboard album cover with cynical insights into themes of evil exhilaration, dissolution and despair that now seem to have moved from American prairies and Mexican deserts into an urban setting. The country-rock inclinations and innocence of the Take It Easy era are now effectively ended, and the metallic violent sound is veering in a harder rock direction.”

“The Long Run is a bit heavier than their earlier records and is far from their country-rock roots. Its tempo is more upbeat throughout excluding the ballads. The title track is a great opening song, a good upbeat rocker.”

“This is the lone Eagles' album containing none of the usual country-style rock. It has a hard edge, a darkness, an urban feel, and is simply the best, most complete, adult work, that the band did together.”

Eat To The Beat – BLONDIE***

Dreaming/The Hardest Part/Union City Blue/Shayla/Eat To The Beat/Accidents Never Happen/Die Young Stay Pretty/Slow Motion/Atomic/Sound-A-Sleep/Victor/Living In The Real World

Blondie continued their turn of the decade dominance of the UK singles chart. Although not as acclaimed as its predecessor Eat To The Beat features two strong singles, the UK No. 1 Atomic and No. 2 Dreaming. (US:17 UK:1)

“After the groundbreaking Parallel Lines Blondie had a tough act to follow. There are some fabulous moments on this album like Dreaming and Atomic which brings back the whole signature pop disco back again. However, most of the songs here are almost like imitations of better Blondie songs. This doesn't sound as energetic as they used to be and it doesn't bode well for their sound. They are clearly moving more towards the pop market and losing their edge. The material is at least familiar sounding and a bit above average, but this is the last of the necessary classic Blondie albums to get.”

“Following up an album like Parallel Lines is a difficult task, so you can't really blame Blondie for not being able to duplicate that album's success here. This album does have some great tracks though, such as Dreaming and Atomic. But overall, the quality fluctuates a lot from track to track, which diminishes the album.”

“Eat To The Beat is a slight letdown after the previous year's Parallel Lines, as it could hardly help but be. The musical direction is oriented more towards pop than punk, and the band displays more variety to their sound, but the results are a little inconsistent, especially towards the end of the album.”

“Eat To The Beat has two very different album sides; the first is wonderful pop music, but side two has some unsuccessful experiments with that are completely outside Blondie's comfort zone. Stick to the first side and you'll be in pure pop heaven.”

“The album is similar in places to its predecessor, and takes the sounds of Parallel Lines to new extremes. It's a passionate and vibrant, and seems to bridge the band's earlier punkish roots with the more commercial pop they acquired along the way.”

“Stylistically this features a lot of tracks from Blondie's playbook but manage to avoid being by the numbers. There's more of a new wave slant to this effort than their prior works and less disco/punk which I take as an indicator that they were willing to change with the times.”

Into The Music –VAN MORRISON****

Bright Side Of The Road/Full Force Gale/Stepping Out Queen/Troubadours/Rolling Hills/You Make Me Feel So Free/Angeliou/And The Healing Has Begun/It's All In The Game/You Know What They're Writing About

In contrast to his first couple of albums Van Morrison’s subsequent releases were never more than uneven. Critics considered Into The Music his best for many years. (US:43 UK:21)

“Drawing on his Gaelic roots, soft rock, blue-eyed soul and R & B, apotheosizing both the religious and the romantic, this very much recalls Moondance in feel and style; its aural grace and candour harkening back to why that LP was such a touchstone.”

“What holds this back from being in the same league is the songwriting which leans too hard on cliché. Its love songs, all relational with not enough specifics to ramp up interest, ditto the songs about spirituality and religion. But for an album this easy-flowing, I'm not going to complain too much.”

*Its probably a bit more hook driven and catchy than his past efforts, but the genuine emotion and fantastic instrumental arrangements can still be found. It is filled with great songs, and I would consider it amongst his very best albums.”

“It's definitely the most underrated work by Van Morrison that I've heard. This is legitimately on the level of both Moondance and Astral Weeks, although maybe not quite as consistent as either. The final four songs are an outstanding collection of soulful, gentle, and melancholy songwriting, all in peak Van Morrison style. The first half of the album is outstanding as well, marking the sunnier part of the album.”

“This is a pure gem of an album, all the way from the energetic opening track to the last song. Every song is carefully crafted and just keeps getting better and better as the album unfolds.”

“Into The Music was hailed at the time of its release as his greatest since Moondance and a real triumph for Van all around. All these decades later, it just sounds like a pretty good record, nothing more and nothing less.”

“Morrison used this record as a springboard to take his music somewhere else, just as it seemed he was getting stuck in a rut. But that’s what great artists do. You can hear the excitement of the creative moment here and Van was well and truly back.”

The Pleasure Principle – GARY NUMAN***

Airlane/Metal/Complex/Films/ME/Tracks/Observer/Conversation/Cars/Engineers

The Pleasure Principle was the first album credited personally to the electronic musician Gary Numan, although he had previously traded as Tubeway Army, enjoying a UK No. 1 hit with Are Friends Electric. Cars also topped the UK singles chart and Complex reached No. 6. (US:16 UK:1)

“Gary confirmed his place as one of the first robotic solo artists by making this really cool and original synth pop album.”

“On The Pleasure Principle, Numan does away with guitar entirely, replacing them with synthesizers and on some tracks electric violin. This makes for a less diverse album, but Numan's quirky songwriting remains intact. This was a highly innovative and influential album, paving the way for other artists with its space age sounds.”

“The best-known song from this is obviously Cars, but the rest of the album is amazingly consistent. Some may find his approach a little too cold and minimalist.”

“Nearly all of the songs venture down the same path with little if any deviations, explorations, excursions or emotional memories, where the melodies are completely evasive and Gary Numan comes off as some sort of sonic computer engineer.”

“I was disappointed at the lack of variety. I enjoyed the synth tones of Cars, but it just seems like the entire album uses those exact same tones just swapped around.”

“Excluding the dull and over lengthy Conversation, every track sounds quite good, but as a whole the album becomes a little boring because the songs are very similar to each other. The feel of innovation is somehow completely missing.”

“There are a number of Numan classics in addition to Cars, some of them still regularly performed live. Films, for instance, is a funky, menacing number. Metal is a live staple, covered and remixed numerous times and still working. Conversation is another rambling, robot-inspired number with a long synth breakdown at the end.”

“As with the previous album, you’re in android territory here. Nearly all the songs are from the view of a robot or a human caught in a robotic world or mindset. Even Cars, the world-wide hit, sounds like a product of an android’s fevered mind. It’s wonderfully impersonal music, though I have to say, it’s a lot warmer than its predecessor. The ballad Complex sounds more human.”

Off The Wall – MICHAEL JACKSON*****

Don't Stop 'Til You Get Enough/Rock With You/Working Day & Night/Get On The Floor/Off The Wall/Girlfriend/ She's Out Of My Life/I Can't Help It/It's The Falling In Love/Burn This Disco Out

Off The Wall was the first adult album from Michael Jackson, then best known as the lead vocalist of the Jackson Five. Produced by the veteran Quincy Jones it kick-started his enormously successful solo career. Features the US No.1 hit singles Don’t Stop ‘Til You Get Enough and Rock With You. (US:3 UK:5)

“This album is where many Michael Jackson collections start. Off the Wall features a grown-up MJ saturated in the seventies disco-pop scene. One can easily hear the disco and funk themes throughout this album, especially in the bass lines. Michael does a fantastic job with song selection, with a wide variety of tracks within the disco-pop genre. The majority of the tracks here are the foot-tapping, dance tracks one expects from the pop king. His voice is absolutely perfect for music and it is showcased throughout the album.”

“Taken as pop songs, about half of this album has hooks that will sink into your brain like none other, while the other half are unmemorable yet pleasant. Taken as disco songs, every single track has a beat and energy to them.”

“The first half is straightforward but entertaining disco/pop that occasionally hits pretty funky heights. The second half is mostly saccharine ballads that try to evoke a sophisticated night time feel. As an album it works pretty well and entertains even when the material isn't so great, mainly because the real star here is Quincy Jones stunning production job which is absolute perfection.”

“This album serves as Michael Jackson’s mind-blowing introduction as an independent adult music artist. Off The Wall is a celebration of escape from the hard realities of life through dance and music. Disco, soul, R & B, and funk influences are heavy throughout punctuated by synth, sax, and percussive accents. Guided by music industry professional Quincy Jones, he exceeded all expectations with his first adult solo album, which is a solid effort front to back.”

“It was with Off The Wall that he really established himself as the musical force that would, in time, become one of the biggest icons in entertainment history. The influence of this album is still felt to this day. Through an accessible cocktail of genres based on disco-rhythms, this album essentially invented the music that we've labelled as dance-pop ever since.”

Slow Train Coming – BOB DYLAN***

Gotta Serve Somebody/Precious Angel/I Believe In You/Slow Train/Gonna Change My Way Of Thinking/Do Right To Me Baby (Do Unto Others)/When You Gonna Wake Up/Man Gave Names To All The Animals/When He Returns

It came as a shock to Bob Dylan fans when he announced he had converted to Christianity. Slow Train Coming is a mouthpiece for his new beliefs and so was rejected by his uncomprehending supporters. (US:3 UK:2)

“As an entry point into the music of Bob Dylan, Slow Train Coming probably isn't too bad of a place to start. The music itself is quite listenable and more polished than your average Dylan record. His voice is strong and passionate since he's singing about something he really cares about on this album. “

“While Dylan fans dismissed the record, it had huge success in the Christian community. He now found himself in the welcoming arms of the very same people who only a few years before had seen him as the main reason behind the downfall of western youth culture.”

“Dylan going Christian evangelist must have been a shocker back but Slow Train Coming is an excellent record that tracks a deep kind of anger and self realisation behind its transformation.”

“Dylan is completely filled with the Holy Ghost and it shows here. This rocks, is funky at times and overall a very passionate and energy filled listen The presence of God is definitely here. Unfortunately most of his fans didn't care for it.”

“The voice of a generation comes of age and crosses over to the other side. Dylan's keen lyrical and musical ability is fine match for his newly awakened spirit. The songs are scriptural and the stories and themes easily known by any listener. Like all of Dylan's stuff, you either love it or hate it. I'm certain a legion of his previous faithful were left disappointed and confused.”

“This is where it all ends for me. Bob Dylan gave us some of the greatest, revolutionary music, but on Slow Train Coming, the music relies on all sorts of late 70s clichés. The backup singers and brass accompaniment, the thin, almost funk-like tones and strumming patterns on the guitars can all be put into this category. Overall, it is a cheesy mess of silly reverb and unnecessary, sappy studio embellishment.”

In Through The Out Door – LED ZEPPELIN***

In The Evening/South Bound Saurez/Fool In The Rain/Hot Dog/Carouselambra/All My Love/I'm Gonna Crawl

In Through The Out Door was the final studio album from Led Zeppelin, the world’s leading heavy rock band. It was another uneven release and a disappointing end to such a promising start made a decade earlier. (US:1 UK:1)

“Extra lame, and an impressive failure from a band who managed to release some of the finest albums of the 1970s. However, the turn of the decade made it clear that Led Zeppelin were by now running out of ideas and becoming an anachronism.”

“Let's start with the positives: All My Love and Fool In The Rain are pretty good songs. So while they aren't on par with the best tracks from the bands early albums, they're probably one tier below. The remainder range from alright to awful, with Hot Dog is particularly terrible. The weaker material definitely outweighs the good stuff.”

“In Through The Out Door is patchy. But it also captures the sound of one of the biggest bands on the planet rolling the dice and evolving their sound in order to continue to remain relevant as they step into a new decade. Sure, there are a couple of misfires, but at least they’re not lazily churning out the same thing, and they’re doing their best to give themselves a new lease of life.”

“It’s very different from previous studio albums because John Paul Jones wrote most of the tracks. This is less heavy, more melodic and catchier than their other albums.”

“The record is dominated by John Paul Jones and his synths, while Jimmy Page and his guitar are hiding somewhere in the background. In The Evening is the only song that really resembles the old Led Zeppelin. All My Love is generic sweet pop filler, whilst Hot Dog is just plain bad. I'm Gonna Crawl is the only saving grace.”

“Led Zeppelin added the synthesizer to their repertoire with this album. It's certainly different but it still manages to sound like Led Zeppelin. It provides an interesting glimpse into the direction the band might have gone in had they not broken up.”

“Many complain about the excessive use of synthesizers on this one, and I agree it is a bit much. However, it's pulled off rather well, and is a nice change for Zeppelin. Many of the tracks seem experimental, and it leaves one curious as to what would have happened had they fully refined the use of synthesizers.”

Down To Earth – RAINBOW****

All Night Long/Eyes Of The World/No Time To Lose/Makin' Love/Since You Been Gone/Love's No Friend/Danger Zone/Lost In Hollywood

Down To Earth found the hard rock band Rainbow with a new vocalist Graham Bonnet. Unfortunately for him he appears to fallen out with Ritchie Blackmore and failed to please the fans, so this was his only album. This one features the strong UK hits All Night Long and Since You Been Gone. (US:66 UK:6)

“A brilliant hard rock record, with every song bringing something special, unique and memorable. There are very few bands that had the potential to do that, so I give Down To Earth the highest rating. Even cheesy sweet pop of Makin' Love and Since You Been Gone fit into the whole scheme of this diverse and captivating album.”

“Enter the previously little know Graham Bonnet. His vocal style is sometimes overbearing but it works to great effect on the blistering opener All Night Long and the prog classic Eyes Of The World.”

“Rainbow's only album with Graham Bonnet vocals. However, Blackmore just didn't like what he heard, but I do. Even though Ritchie is a guitar god, and one of the most innovative musicians alive, he can be really narrow-minded when it comes to the sound of his own band.”

“Sadly for Blackmore, and possibly more so Bonnet, the honeymoon period was a short one. Live audiences did not take to him; he didn't look the part and made no effort to change. More importantly he struggled to sing the Dio material and live shows were pretty shambolic. Down To Earth is an excellent hard rock album with a couple of hit singles thrown in for good measure.”

“This is where Rainbow took a turn for the worse and went into a pop direction without Ronnie James Dio. It's good pop rock, but it's a far cry from the greatness of their previous era.”

“This isn't a hard one to review, the only one to feature lead singer Graham Bonnet, is pretty steady. Not as musically adventurous as those with Ronnie James Dio or as commercial as those with Joe Lynn Turner. Everything here is good but not great and the best songs are the singles. Graham Bonnet sings well but overdoes it on occasions.”

Rust Never Sleeps – NEIL YOUNG****

My My Hey Hey (Out Of The Blue)/Thrasher/Ride My Llama/Pocahontas/Sail Away/Powderfinger/Welfare Mothers/Sedan Delivery/Hey Hey My My (Into The Black)

Rust Never Sleeps is divided into separate acoustic and electric sides. It was the best Neil Young album release in several years although not quite the equal of his most creative period. (US:8 UK:13)

“This work hearkens back to the real world we grew up in, with a mix of styles and lyrical ideas that touch on all the various aspects of what we believed in, desired, hoped for, and feared when we were young people.”

“Neil Young has always struck me as a somewhat schizophrenic artist, rattling between noisy guitar-rock which could be either thrilling or dragged out beyond all reasonable endurance and his softer acoustic side, which could either be touching and well-judged, or bland and uninspired. The two sides of his muse rarely acknowledged the existence of the other and when he tried to blend the two it usually ended up a mess. Rust Never Sleeps is where the two sides of his persona finally came together in perfect harmony and it resulted in his best album.”

“The first half of the album is acoustic and soft and the second half is electric and much harder. I can't choose which side I like more because both are nice. A good album in every way.”

“What makes Rust Never Sleeps so great is that it's a total microcosm of everything that makes Neil Young so great, all in one album. Every side of his musical genius is represented here in the form of a great song.”

“Fans of Young's folk and countrified catalogue will particularly enjoy the first side of the record, His deft stories and descriptions floating to the heavens over simple guitar strums, crafted from a love for the land, nature, history, humour and the human condition.”

“Whether it be the acoustic side, or the electric side of this album, Neil Young delivers some of his best-ever lyrics and most poignant messages in his musi, and in the way he sings.”

“This has some of the best guitar rock and also some of the most beautiful songs you will ever hear. Neil Young manages to fit in just about everything he is known for in this album.”

Live Killers – QUEEN*****

We Will Rock You/Let Me Entertain You/Death On Two Legs/Killer Queen/Bicycle Race/I'm In Love With My Car/Get Down Make Love/You're My Best Friend/Now I'm Here/Dreamers Ball/Love Of My Life/'39/Keep Yourself Alive/Don't Stop Me Now/Spread Your Wings/Brighton Rock/Bohemian Rhapsody/Tie Your Mother Down/Sheer Heart Attack/We Will Rock You (Reprise)/We Are The Champions/God Save The Queen

Live Killers was the first live album from Queen recorded in early 1979 during their European tour. Although there would be several excellent hits to come this release captures them at the height of their powers. (US:16 UK:3)

“Live Killers found Queen at a fascinating crossroads. Over the course of seven studio albums they had established themselves as an arena filling colossus with a sound which had started out as prog rock, before applying the glitter, shedding their less dynamic sensibilities, and morphing into one of the finest classic rock acts ever.”

“Queen had a sound all their own, owed in great part to Freddie Mercury who had over-the-top vocal and performance skills, a rare combination. It’s pretty amazing that they were able to pull off some of their songs live, given the rich harmony and state-of-the-art production that was tough to duplicate live. But they definitely do so here.”

“This live album shows marvellously why Queen were one of the best bands of the era. Before they admittedly began to soften into pop rock territory, they rocked with the best of them, always adding something new to an already well-explored genre.”

“Freddy Mercury, was certainly a vocal legend. He had a range that had no peer. Highs, lows, screams and soft beautiful melodic bliss. He captured an audience and held them in awe for hours. Combine his powerful vocals with an equally rich and grungy solid guitarist like Bryan May, with a solid rhythm section and it is no wonder that Queen is on most people’s list of the world’s greatest bands. Live Killers is sensational; the band is at the peek of their powers and Freddy’s voice is flawlessly enchanting throughout.”

“Live Killers is perhaps the best Queen live album, for those fans who prefer them in their pre-synth years. The band were not at their heaviest during this tour, but still rocked with many interesting selections.”

“Few can put on a high-energy show as Queen could. With Freddy Mercury dancing about the stage involving the audience with vocal acrobatics it is easy to see how Queen's shows were such colossal events.”

Back To The Egg – PAUL MCCARTNEY & WINGS***

Reception/Getting Closer/We're Open Tonight/Spin It On/Again & Again & Again/Old Siam Sir/Arrow Through Me/Rockestra Theme/To You/After The Ball-Million Miles/Winter Rose-Love Awake/The Broadcast/So Glad To See You Here/Baby's Request

Back To The Egg was the final Paul McCartney album to feature his backing band Wings. It is perhaps best remembered for the Rockestra track featuring a wealth of accompanying musicians. (US:8 UK:6)

“Back To The Egg was the final Wings album, revealing now more than ever that both Paul and John Lennon were incomplete without each other. Nevertheless, Paul’s fashioned yet another album filled with catchy little melodies that are rather sparse on narratives.”

“The problem here is that even though Paul sings well, a lot of the material just doesn't carry that much appeal. Much of side two slides into ballad heavy torpor.”

“McCartney's trying very hard to sound modern in the age of punk and new wave and even though some of this sucks, it turns out to be one of my favourite Wings releases. Underrated is not the right word here, as it's easy to see why some of this is often trashed. Surely not for everyone, but those who can appreciate some of the weird stuff will find this very enjoyable.”

“This is an unsatisfying mix of uninspired pop, lazy rockers and soul. Paul and his band attempt to rock a little harder than they had in their past, but they rarely manage to pull it off. Most of the time it just sounds like throw-away pop-rock. Paul roped in a few mates to help on Rockestra Theme.”

“In terms of uptempo material all of the songs here either rock very hard or have a heavy groove. The real highlight is Arrow Through Me, a haunting melodic mid-tempo lightly reggae styled soul/funk groove Pounding out pummelling riffs and thunderous drums he crafts some fine rockers, even teaming up with an all-star ‘rockestra’ including Pete Townsend, John Bonham, Dave Gilmour and more.”

“This is Paul's most underrated disc. He wanted to get back to the basics of rock and this is the product he created. It's his hardest rocking album. It's likely that the public had a negative reaction to this album because it didn't have most of the normal type of songs he records. That's sad because it's one of his best albums; not only that, but the version of Wings put together here was the most talented

Communiqué – DIRE STRAITS***

Once Upon A Time In The West/News/Where Do You Think You're Going/Communiqué/Ladywriter/Angel Of Mercy/Portobello Belle/Single-handed Sailor/Follow Me Home

Communiqué was the downbeat follow up album from the British blue-rock band Dire Straits led by guitarist Mark Knopfler. They would move on to greater heights in the coming decade. (US:11 UK:5)

“The band feature melancholy, almost sterile melodies as their trademark here. Needless to say that all compositions are led by Mark Knopfler's distinctive guitar works. This is nothing but perfect music to relax to. Vocal duties are chiefly background.”

“Not one of Dire Straits best appreciated recordings. the individual tracks don't make too much of an impression on their own, but taken as a whole, it transcends it's limitations and transforms into a really nice, effortless, relaxed rainy afternoon LP that just totally hits the spot as a cool, low key chill out.”

“Both guitars run with similar intensity throughout the album and the group rarely raises pulses. However, a combination of great melodies, intricate guitar lines and rhythms, and Mark’s wispy vocals, add a unique aura to the group's music that breaths life into their tracks.”

“Communiqué is one of those albums that can simply be described as more of the same. This is the Dire Straits recreating the bluesy rock sound that was all over their debut. For the most part they were quite successful as the songs are mostly enjoyable, although the quality varies.”

“If you want to see what all the fuss about Mark's guitar playing is you owe to yourself to get this record. The solos are guitar licks are simply otherworldly. Never has his guitar sounded better. His approach on this album is so subtle and smart and completely inoffensive. This is all about musicianship rather than headbands and stadium rock.”

“An album with sleepy guitar passages was destined to bore a few listeners. However, it's those same passages that set the foundation for others who like this groove. Certainly Mark Knopfler has a touch for his Stratocaster and although nothing really grabs you, there admittedly isn't anything objectionable here. Subtle laid-back material that requires the right mood for maximum listening pleasure.”

Discovery – ELECTRIC LIGHT ORCHESTRA****

Shine A Little Love/Confusion/Need Her Love/The Diary Of Horace Wimp/Last Train To London/Midnight Blue/On The Run/Wishing/Don't Bring Me Down

By the end of the decade ELO had been transformed from an innovative experimental rock band to a pop hit making machine with some disco elements. Discovery features the UK top ten hits Shine A Little Love, Diary Of Horace Wimp, Don’t Bring Me Down and Confusion. (US:5 UK:1)

“It's just pretty pop catchy, sometimes with strings or keyboards or vocals that reference art music tangentially. There is also a distinct disco vibe on a number of tracks, adding a boring, metronomic pulse to some of the songs, making them seem even less arty than they already did.”

“As a whole this is a pleasant, easy-on-the-ear, certainly a radio friendly album, but its creator is not quite at his best and it is certainly over-produced. There are better discoveries to be made in Jeff Lynne's back catalogue than this one.”

“Electric Light Orchestra had been flirting with disco since Evil Woman, and on two songs from Discovery they just drop any pretence and go for it.”

“Now down to four main members, and with the band’s customary strings gradually giving way to synthesizers, this remains one of Electric Light Orchestra's best albums. They embrace disco with the likes of the opening Shine A Little Love and the wonderful, breezy Last Train To London.”

“Jeff Lynne takes his rock juggernaut and trains it on the lowlier ambitions of disco and lounge, plus a few odd trinkets. All of it ages well, as a technical marvel. But in terms of rock credibility, it was absent since the day it was released. Having lopped off the string section, he had set in motion a process where, in the end, he was the only person left in the band.”

“They now have a bit of a reputation with many people as an overproduced, disco-influenced abomination. Much of the reason for that came with Discovery, an album made up predominately of ballads and dance tracks.”

“Lynne made the bizarre decision to replace the string players with keyboards, a move influenced by disco music. I don't mind too much the sound Discovery, which surprisingly is not that different from their other albums. Strong point is undoubtedly the singles, which were not only excellent, but also vary versatile.”

Night Owl – GERRY RAFFERTY****

Days Gone Down/Night Owl/The Way That You Do It/Why Won't You Talk To Me/Get It Right Next Time/Take The Money & Run/Family Tree/Already Gone/The Tourist/It's Gonna Be A Long Night

Night Owl was the follow up album from Scottish soft-rock singer songwriter Gerry Rafferty. Thanks to the title track No. 5 hit single he was able to maintain his high profile, but before long he would soon begin to fade. (US:29 UK:9)

“The pastel and maroon hues of the sleeve art adequately serve the songs reflective, downbeat and introspective nature.”

“The album starts brightly with Days Gone Down with its affirming lyric, soothing melody and strong chorus before the title track gives us an insight into the writer's growing drink problem. Warm and insidious as the melody is, Night Owl is a very unflattering self-portrait of the artist. Lush and melodic the music may be but listen closely and you'll hear a man struggling with his inner demons. Every song has a strong melody although Rafferty's propensity to overdo tends to homogenise and indeed blanch the songs of emotion.”

“This album is OK, but somewhat disappointing after City To City. Get It Right Next Time is a fantastic, but nearly forgotten minor hit from the album. There are some other good songs, especially The Way That You Do It. The first half of the album is stronger, while the second half gets less significant and a bit more boring.”

“All these years later, this album still stands up well. There aren't as many stand-out gems as City To City, Rafferty's pinnacle, but Night Owl Is consistently good. After many listens, I enjoy it as much as ever. Rafferty's voice is sweet and smooth and the production quality is excellent.”

“Punk and new wave were on the advent while progressive rock and classic rock were waning, and disco was dying an unnatural death of defiant struggle. Rock had fragmented into so many sub-genres when along came Gerry Rafferty. The Scottish born folky whose music often has a Celtic resonance hidden just beneath the surface.”

“Every bit as richly produced and played as City To City and even if it sometimes is a little too slick and overplayed its still packed with some amazing songwriting.”

Lodger – DAVID BOWIE***

Fantastic Voyage/African Night Flight/Move On/Yassassin/Red Sails/DJ/ Look Back In Anger/Boys Keep Swinging/Repetition/Red Money

Lodger was the final album of David Bowie’s Berlin trilogy collaboration with Brian Eno. Unfortunately it contains too much experimentalism from the latter, redeemed only by the UK No. 7 hit Boys Keep Swinging. (US:20 UK:4)

“Lodger is strong throughout. It opens with one of Bowie's most underrated songs, Fantastic Voyage, and is followed by the fantastically quirky African Night Flight (a song only Bowie and Brian Eno could come up with). These two songs are a lot to live up to for the rest of the album, which for the most part succeeds. The over-the-top histrionics of DJ and the tongue-in-cheek misogyny of Boys Keep Swinging are a couple of other highlights. Some experimentation was done, such as having musicians play unfamiliar instruments.”

“Considered part of the Berlin trilogy, it's Bowie at his most experimental and non-tuneful. This no doubt will put many people off. Add to that a shift in style with every song, weird electronic production and baffling multi-tracked vocals, means that you've got one of the least commercial of his albums.”

“Boys Keep Swinging is the one thing that keeps this from being a complete waste of time. I'll never understand the praise Brian Eno gets for his work.”

“A different kind of experimentation from the other Berlin albums, with more in common with new wave than ambient or krautrock. It’s a wacky record, which must have reasonably fun to make and is definitely fun to listen to, but with no real classic songs it lacks the aura of some of his other albums, not least the two before.”

“The final piece of the so-called Berlin trilogy, Lodger presents a wide range of styles and approaches that David Bowie effortlessly makes his own. Not only does the pop sensibility shine strongly, but the use of world-influenced styles and experimental production is brilliantly applied with help from Brian Eno.”

“Lodger is definitely not the kind or record that hits you from the beginning. It starts with songs inspired by African and Middle East influences, with Bowie again reacting to what was going on in pop music. As the album continues, it sounds more and more in line with the art rock he'd been recording in the previous years. Lodger is a quirky collection of songs that don't have longevity written across them.”

Flag – JAMES TAYLOR***

Company Man/Johnnie Comes Back/Day Tripper/I Will Not Lie For You/Brother Trucker/Is That The Way You Look/BSUR/Rainy Day Man/Millworker/Up On The Roof/Chanson Francaise/Sleep Come Free Me

Singer-songwriter James Taylor managed to retain his popularity despite some sub par albums. Flag is representative of this trend, not helped by the inclusion of some unnecessary covers. (US:10)

“Taylor himself says he really wasn't paying much attention to his musical career back when Flag was made, and it shows. This is the kind of lazy, saccharine soft rock that people unfairly think he does all the time. Your first impression of the album will be just how slow it is; it'll put you to sleep, and not in a good way.”

“The production is wonderful. The songs are forgettable. It's still unquestionably JT, but there's no fire in this record, and it's not an essential album.”

“While this particular album was nowhere near as popular as some of his other releases, I consider it to be proof positive of Taylor's enduring ability to produce a continuing stream of distinctive songs. With breathless ease he delivers such memorable songs as Rainy Day Man and Millworker, a terrific cover of Up On The Roof, and a number of lesser known but still very interesting and captivating songs.”

“This is hodgepodge release with some pointless covers, a remake of his own song Rainy Day Man, songs written for the failed Broadway musical Working, as well as a few new good compositions. Although, the album is enjoyable it is recommended for the hardcore James Taylor fans only, such as me.”

“I happen to like Flag. I don't really understand the antipathy toward it by some. I like his version of Day Tripper. To me, he makes it his own. It is edgy and burning. It's a departure from the Beatles version, and perhaps this may be the problem for some.”

“This record has been met with a mixed reception from most fans; indeed, it is a kind of mixed bag sonically as well as in terms of quality. Flag isn't a masterpiece, but it still has enough interesting tracks to warrant more than a few listens.”

“This is album is a hidden gem. Unfortunately, it seems that most folks used to the classic JT sound don't get it. It strays into experimentation, and so a lot of the songs don't fit the James Taylor mould. Maybe one of the biggest issues people see with this album is that it is all over the board stylistically.”

Voulez-Vous – ABBA****

As Good As New/Voulez-Vous/I Have A Dream/Angel Eyes/The King Has Lost His Crown/Does Your Mother Know/If It Wasn't For The Nights/Chiquitita/Lovers (Live A Little Longer)/Kisses Of Fire

The lightweight Swedish pop group Abba continued to ride the crest of a wave with Voulez-Vous as they maintained their dominance of the UK charts. Chiquitita, Does Your Mother Know, I Have A Dream and the title track were all UK top five hits. (US:19 UK:1)

“After a string of international hits, Abba had polished its trademark Eurodisco-cum-American pop sound to an almost blinding sheen. Voulez-Vous represents some of the last creative gleanings in this direction; subsequent releases by the Swedish foursome would betray more of a modern rock influence. If the formula is familiar here, it still delivers an exhilarating rush.”

“This is hands down my favourite Abba album. The iconic roster of peak singles secures that position on its own, but then the non singles come in and continue to blow me away.”

“It never drops below a very consistent level of quality, the first Abba album to make it to the end without some silly song to detract from the overall quality.”

“While Abba has great harmonizing which leads to many beautiful ballads, they completely omit the slow-beautiful song style and opt to release an LP full of fast-paced and groovy Europop. This makes you want to get into your car and go driving while singing your heart out as loud as you can.”

“Yes you do have to appreciate disco to enjoy some of this album. Abba have a formula that works, that is also quite ageless.” “At this period disco had taken over the planet. In the UK and to some degree Europe there was a battle raging in the singles and album charts between the two musical revolutions of the 70s. Punk and disco were making all the waves, and it just seemed that Abba were merely looking on from the sidelines. Their style and sound had been swept aside by people wanting to dance, and by those who were loud and angry. Clearly something had to be done so Voulez-Vous was eagerly awaited but fans were disappointed in what they got, as the disco feel didn't altogether suit Abba.”

Black Rose – THIN LIZZY****

Do Anything You Want To/Toughest Street In Town/S & M/Waiting For An Alibi/Sarah/Got To Give It Up/Get Out Of Here/With Love/Black Rose

The Irish hard rock band Thin Lizzy fronted by Phil Lynott maintained their creative peak with Black Rose. Waiting For An Alibi and Do Anything You Want To were the UK hits. (US:81 UK:2)

“At a time when most other acts in the genre sounded creatively burnt out, bloated, out of touch, and corporatized, Thin Lizzy sound confident and focused. It is not a game-changing masterpiece of the genre, but it is at the very least a pleasant listen, and one of the last truly fine hard rock albums to be made before the genre collapsed into '80s hair metal and corporate rock.”

“Very competent 70s hard rock release, which still manages to sound relatively fresh and makes for a really fun listen. The songs have really catchy hooks, the guitar playing is great and the vocals are pretty iconic. It does have a couple of bad moments, such as S & M, but these are overshadowed by the vast majority of hard rock goodness.”

“Thin Lizzy were always a fine band and Black Rose could be argued as their finest all round album. Lynott always had a flair for the epic with his lyrics and would become remembered as one of hard rocks best storytellers. When the songs were able to match the greatness of the ideas themselves then Thin Lizzy without doubt made some of the greatest hard rock epics of all, and several of them are here.”

“Black Rose is another masterpiece from the often overlooked Thin Lizzy. The album is their most mature recording, and is strong from start to the final note of the epic seven-minute title track that closes out the mesmerizing LP. The fact that Lizzy never broke out big in the USA remains a travesty. Philip Lynott and company deserved much more attention on this side of the Atlantic.”

“This is the best Thin Lizzy album ever made. No question, this was the band at their strongest and sadly they didn't get enough time to be this strong again. This was also the only full studio album that features Gary Moore on guitar and his influence is strong in the best way possible. The opener Do Anything You Want To absolutely struts with swagger and confidence, and the guitars on it are huge.”

Outlandos D’Amour – POLICE***

Next To You/So Lonely/Roxanne/Hole In My Life/Peanuts/Can't Stand Losing You/Truth Hits EverybodyBorn In The 50s/Be My Girl/Sally/Masoko Tanga

Outlandos D’Amour was the debut album of Police who would become one of the most successful British bands during the following few years. Their albums were very uneven, in contrast to the singles which were first rate, such as the UK hits Roxanne, Can’t Stand Losing You and So Lonely. (US:23 UK:6)

“The mix of pop, jangly new wave/punk, and reggae elements is still original and authentic). Of course, some of the songs, especially on side two, have not much substance and get pretty boring, but this is a pop album, after all, so what do you expect.”

“An excellent debut, to some they would get better after this, after they left their punk roots behind. Others think less of their later efforts for being too bombastic and for not having the raw energy of this debut.”

“The Police had two things going for them: catchiness and an ability to be repetitive without being boring. Combine the two and you have some great pop songs.”

“A short, sharp and energetic debut. I could go on about the rawness of it all, or the repetitive lyrics, but let's face it, it's an auspicious effort, full of accomplished musicianship, and foreshadows great things to come. While the singles are the standouts there are some flat moments too.”

“Born out of the tail end of the British punk scene, this debut album is a severely underrated offering. Sting gives us a hint of his great lyric writing abilities, so evident on future albums, on tracks like Roxanne and Born In The 50s. It becomes very clear as one listens to the tracks here that this is not your usual run-of-the-mill punk band with lame, brain-dead lyrics but great musicianship with complex stylings and arrangements.”

“At the time it was released it was significant. Nobody had ever heard reggae jams in rock songs before.”

“The Police for me were an infuriating band, as they had arguably one of the greatest run of singles in any band's history, with not a duff track in sight. Their albums however were littered with rubbish.”

Fate For Breakfast - ART GARFUNKEL***

In A Little While (I'll Be On My Way)/ Since I Don't Have You/And I Know/Sail On A Rainbow/Miss You Nights/Finally Found A Reason/Beyond The Tears/Oh How Happy/When Someone Doesn't Want You/Take Me Away

The oddly titled Fate For Breakfast provided Art Garfunkel with his second UK chart topping single Bright Eyes. He would continue to release albums but with significantly less commercial success. (US:67 UK:2)

“Overproduced, with lots of echoing on which I don't like and sometimes an annoying choir. But on the other hand Bright Eyes is a great song and was a major hit.”

“Fate For Breakfast is one of my absolute favourites. Art is, of course, in fine voice as usual, and I think the producer pushed all the right buttons on this project. Far from being sappy, the arrangements compliment his beautiful tenor voice. While I am hard pressed to pick a favourite song, I have to go with Miss You Nights. Art really hits this one out of the park.”

“Many of our great artists are disappearing, either because no one thinks that they are marketable any more: a note to them, we are still here, and we still love and want to buy these artists’ products. The enrichment their songs gave to our lives cannot be forgotten as well as the memories. Their music brings us back to a time, when music has a message, and it touched our hearts, souls and our very lives.”

“This is a quality recording in all aspects. A great selection of songs (all by different songwriters), excellent arrangements, quality studio musicians, and Art is in fine vocal form. The songs run the gamut of emotions, from the exuberance of Oh How Happy to the despair of When Someone Doesn't Want You. But it is a little known gem that steals the show, Miss You Nights is one of my all-time favourite songs, and Garfunkel nails it perfectly.”

“This is my favourite album by Art Garfunkel, though it is critically seen as a flop. From the hip (for Art at least) opening song, to the electric guitar riddled Take Me Away, everything here is done well, though it seems to contradict itself at times. Also present are some of Art's 50s remakes including the classic Since I Don't Have You and the light-hearted Oh How Happy.”

“A beautiful collection of songs. Garfunkel's vocals here are their zenith, so you have a rich, full voice giving full credit to these songs and arrangements.”

Overkill – MOTORHEAD***

Overkill/Stay Clean/I Won’t Pay Your Price/I’ll Be Your Sister/Capricorn/No Class/Damage Case/Tear Ya Down/ Metropolis/Limb From Limb

Overkill was the follow up album from the driving heavy metal group Motorhead fronted by the legendary guitarist Lemmy. It has to be admitted that musical subtlety was never on the menu. (UK:24)

“The songs are typical Motörhead, with simplistic riffs and structure throughout. There aren't any breaks or unnecessary parts, they know that their fast pace is their greatest asset. This is first and foremost a very fun band to listen to and they spare no expense to keep it that way on this album.”

“A powerhouse of speed and weight that opens with perhaps the heaviest song written in that moment in time. Pounding constant double bass leaves a fantastic first impression, and surely set the standard for the songs to come. Unfortunately, the majority of the album is more mid-paced, standard heavy metal, and lacks the riffs or melody found in their contemporaries to carry it. When Motorhead go full throttle, they rock, but elsewhere, they fall into mediocrity.”

“I've always adored he title track, and while it's twice as long as it needs to be, it's still a great song. Unfortunately, there's only one other standout in this entire album. Overkill and No Class are great, but everything else is extremely dull and forgettable. None of them are bad, but none are memorable in any way either.”

“Motörhead, the loudest band in the world, with the power and force of a hundred pneumatic drills, destroyed the nation over and again and no-one, repeat no-one, remained unaffected by them, everyone was torn limb from limb.”

“This follow up effort from Motörhead is a loud, adrenaline filled heavy metal classic. On the debut their style was less coherent; it was more like a hard rock, punk and heavy metal mixture. But here everything is in its place. The title pumping track with thunderous drumming was an absolute measure of heaviness. The anthems with boogie vibe like No Class or Damage Case also rip hard.”

“An album that every self respecting rocker and metal head needs to listen to. This is the band that influenced many of the metal bands that I enjoy to this day. Everything about this album is just perfect; Lemmy's vocals and bass playing, the riffs and the drumming, it's all simply, dirty raw rock ‘n’ roll.”

Very Best Of - LEO SAYER*****

When I Need You/You Make Me Feel Like Dancing/Raining In My Heart/How Much Love/Dancing The Night Away/Thunder In My Heart/I Can’t Stop Loving You/One Man Band/Giving It All Away/Train/Let It Be/Long Tall Glasses/Moonlighting/The Show Must Go On

Singer songwriter Leo Sayer was one of the most creative and individualistic musicians during the second half of the 1970s. This very successful compilation was well timed as the hits would soon dry up. (UK:1)

“I didn't realize how talented Leo Sayer was until I bought this collection. It is easy to listen to, has very good songs, and I enjoy his music now more than ever.”

“If you like Leo Sayer, you will absolutely love this collection. This has all the classics that we know, and some that we've never heard. You will hear all the textures that make him the one of a kind that we know and love.”

“A huge star in the 70s yet often over looked when that decade is dissected by so called experts. He was an original performer who released catchy pop singles yet his albums offered up a much more serious side to his nature. This is as good a compilation that you could ever wish to own.”

“Sayer has a strange kind of voice and it takes a little getting used to. It is not unpleasant and he sounds a bit different from song to song, unlike some artists where every song sounds the same. There is enough variety here to please just about anyone.”

“Sayer's versatility is what's immediately obvious on this compilation. Aside from its obvious nostalgic charm, this sketches a portrait of a singer not only loaded with talent and ability, but also with resourcefulness, dedication, and an ability to remake himself.”

“A comprehensive collection of songs from a most under-rated singer/songwriter. there are no unworthy fillers here. What a great artist and song writer.”

“Great songs, I didn't realise he had made such good music. It is very easy to listen to the whole album without jumping to the obvious, better known tracks.”

“This greatest hits collection does a good job of representing the different faces of Leo Sayer.”

Breakfast In America – SUPERTRAMP*****

Gone Hollywood/The Logical Song/Goodbye Stranger/Breakfast In America/Oh Darling/Take The Long Way Home/Lord It Is Mine/Just Another Nervous Wreck/Casual Conversations/Child Of Vision

The progressive group Supertramp reached their creative and commercial peak with Breakfast In America. This success was achieved by adopting a shorter pop format with less musical complexity. The Logical Song, Goodbye Stranger and Take The Long Way Home were all top ten hits. (US:1 UK:3)

“Where the music differs (or seems to) from their other albums is that there is a consistency that never dips for one second. There are no highs and lows, no clunky or awkward moments and no sections that make me think that they have not worked. It is full of memorable, punchy songs and is, to my ears, a superb achievement. If only every artist could make just one album this homogeneous.”

“This is probably the last truly great classic rock album, which not only closes the 1970s but if fact (and in retrospect) the entire rock era. Everything recorded after this album would be more or less a lame imitation of the glorious past.”

“Fantastic album, more poppy than their earlier works but still great to listen to. One thing that's always attracted me to this band is their lyrics and it's nice to see that even in more poppy escapades the band does not fail to impress in this aspect. They retain their close attention to detail and carefully composed songs, which is also a plus. There isn't a single dud, or even average song on this album.”

“The record contains all of Supertramp's trademark musical features - studio-perfected rock, rhythm and blues grace, symphonic stylings, and a faceless magic all their own.”

“Supertramp were quite happy to go down the pop route to commercial success, filling their albums with radio-friendly shorter numbers, which sure enough when lifted as singles hit the charts and spring-boarded them to ever greater heights.”

“Supertramp continued their shuffle towards the mainstream with this finely crafted art-pop album. They only became successful once they dropped their aspirations to complexity and started crafting lovingly polished art rock hits.”

“What an enchanting album. From the totally delightful vocals, to the pure innocent sounds of the keyboards, these are powerful dynamic songs. The opening title track sets up the visual playful and yet cutting lyrics for the entire album.”

George Harrison - GEORGE HARRISON***

Love Comes To Everyone/Not Guilty/Here Comes The Moon/Soft Hearted Hana/Blow Away/Faster/Dark Sweet Lady/Your Love Is Forever/Soft Touch/If You Believe

This somewhat delayed, and not particularly memorable, eponymous album from George Harrison has been described as mellow soft rock. Blow Away was a US No. 16 hit single. (US:14 UK:39)

“This is Harrison at his warmest and gentlest; soft rock it may be, and a long way from the punk of the time, but on its own terms it succeeds beautifully. Anyone who doesn't smile upon hearing Blow Away must have a heart of lead.”

“It lacks any of the lyrical greatness we got from him before, no ingenuity to speak of. This is some mellow rock music and not the good kind. It has a few fun songs but everything's fairly musically unimaginative.”

“George Harrison is a subtle, sweet-natured album filled with charms and warm musings about newfound love. He was clearly in a good place, and his inspiration shines through in the gentle melodies and laid-back sound. Slick acoustic and slide guitars are at front and centre. Never the strongest vocalist, he supports his voice here with thoughtful arrangements.”

“George goes all soft rock and it mostly suits him. Loads of keyboards provide a really lush sound around his beautiful guitar playing and vocals. The songs sound really joyous; you get the feeling that with his new family Harrison was entering a really contented phase in his life.”

“George Harrison is a mellow, laid-back album, consisting mainly of ballads. The first half of the album is excellent. Love Comes To Everyone, with its gentle disco beat sets the mood for the rest of the album. Not Guilty is a dark and moody song, and I also like Here Comes The Moon, not as good as Here Comes The Sun and it does become slightly repetitive, but it's pleasant enough to listen to. Soft-Hearted Hana stands out as entirely different from all the other tracks and has funny lyrics and a strong melody. However, Blow Away is probably my favourite song here, it's upbeat, optimistic and catchy. The second half of the album is not quite as strong.”

“I always wondered why Harrison never made more albums like this. Very relaxing and captivating, its the kind of album where you disconnect yourself from the outside world of technology and sit back and listen from beginning to end.”

Enlightened Rogues - THE ALLMAN BROTHERS***

Crazy Love/Can’t Take It With You/Pegasus/Need Your Love So Bad/Blind Love/Try It One More Time/Just Ain’t Easy/Sail Away

The southern blues-rock band The Allman Brothers had not released an album in four years but they still retained a loyal following. However, Enlightened Rogues would be the last time that they enjoyed a placing in the upper reaches of the charts. (US:9)

“After four years off, the boys return with this typical Allman Brothers southern blues rock long play. This is not a great album but it does have good dual guitar work. Pegasus is a fine jam and sounds great with a buzz and headphones.”

“Enlightened Rogues was a great comeback for the Allman Brothers Band after an acrimonious split in 1976. Guitarist Dickey Betts is energized by new guitarist Dan Toler's presence, and he and organist Gregg Allman really shine both vocally and instrumentally.”

“Most of this sounds like a band trying recapture lightning in a bottle. They get close a few times, but in the end they just miss it.”

“Not exactly a standout in the Allmans' catalogue and far from essential, but certainly worth owning for Crazy Love and Pegasus. The highlight, however, is the soulful ballad, Just Ain't Easy, anchored by one of Gregg's best vocal performances.”

“Enlightened Rogues is very similar in sound to Brothers & Sisters, although perhaps a bit less bluesy. Dickey Betts shoulders most of the compositional work here and it is fairly obvious which tracks were penned by him when listening.”

“The Allman Brothers reunited during late 1978 and entered the recording studio to produce their first studio album in four years. What emerged was a very good, if not excellent album. If you want to experience some good music by the group, but are not in the mood for their longer, drawn-out, improvisational material, then Enlightened Rogues is an album for you.”

“It may have been four years since their last album, but Dickey Betts was still the focal point of the band. He wrote or co-wrote five of the eight tracks, provided the lead guitar work, and shared lead vocal duties with Gregg Allman. There may not be many tracks considered essential, but this is populated with a number of consistently good songs.”

Desolation Angels - BAD COMPANY***

Rock & Roll Fantasy/Crazy Circles/Gone Gone Gone/Evil Wind/Early In The Morning/Lonely For Your Love/Oh Atlanta/Take The Time/Rhythm Machine/She Brings Me Love

The uneven and lacklustre Desolation Angels was the final big seller from the British blues-rock band Bad Company, helped by the US No.13 hit Rock & Roll Fantasy. (US:3 UK:10)

“The album kicks off with a great track in Rock & Roll Fantasy followed by another beautiful song Crazy Circles, but then fades away. I feel there are too many slow songs where the band lyrically is trying to be bluesy, but the music doesn't match it and there is lack of consistency in sound.”

“The rot is starting to set in. Very middle of the road mediocre blues hard-rock is what you get here. That great touch that they once had is pretty much gone.”

“Rock & Roll Fantasy and Gone Gone Gone are all time crankin' party tunes. As for the rest, it was a good attempt to stay in the public eye in those dark days of disco and punk. But you can only go to the well so many times. Not enough here worth recommending.”

“A decent hard rock/blues rock album. All of the songs are pretty good, but the problem is that none of the songs are great. However, If you like Bad Company I think you would like this album as well. Guitar work is decent, Rock & Roll Fantasy is a great opener and starts this album right. Rhythm Machine changes it up a bit with a disco-ish vibe going on here.”

“Most of the praise for Desolation Angels is due to the huge success of Rock & Roll Fantasy their biggest hit in a long time. The production is more crisp and radio-friendly than the muddiness of the last two albums, but it also reeks of late 70s arena rock.”

“As the 1970s dragged toward their inevitable close, Bad Company slowly began their downhill slide with Desolation Angels. Not to say that it is a totally bad album, but there are more turkeys on this set than diamonds.”

“Desolation Angels is a return to form for the band. Containing the standard heavy-blues rock the band give some of the tracks a more pop feel that was needed back in the late 70s. Rock & Roll Fantasy starts the album out in style and gives the rest of the songs a high standard to shoot for which they easily achieve.”

Their 20 Greatest Hits - THE THREE DEGREES****

When Will I See You Again/Can’t You See What You’re Doing To Me/Toast Of Love/We’re All Alone/Long Lost Lover/Get Your Love Back/I Like Being A Woman/What I Did For Love/Standing Up For Love/Take Good Care Of Yourself/Dirty Ol’ Man/Loving Cup/A Woman Needs A Good Man/TSOP/Another Heartache/Distant Lover/Together/Here I Am/Year Of Decision/Love Train

The Philadelphia girl group The Three Degrees released some of the most melodic soul tracks of the 1970s. They were more consistently popular in the UK than their home country, their best known song being the UK No. 1 When Will I See You Again. (UK:8)

“Some great Gamble & Huff songs and production, but still not enough variation to sustain interest for twenty tracks. It would have been better to trim it.”

“The Three Degrees for me was what The Supremes were to others. Love these ladies and the Sound of Philadelphia. Best girl group out there.” “All the key tracks you could probably want are here. The Three Degrees are timeless.”

“The Three Degrees were one of the most successful groups to emerge from the Philadelphia soul scene in the seventies. Their American success was limited to their Philly sound period but they continued to have success in Europe, particularly Britain, for a few years after that. Their music is a wonderful mix of ballads and up-tempo material, but may generally be described as easy-listening disco music.”

“Every track on this disc features exceptional harmonies and musical arrangements. I never caught myself thinking about the fact that these songs were produced in the 70s. As someone who loves music, I appreciate the timeless quality of this music.”

“The Three Degrees were originally a sixties girl group out of Philadelphia, However, all these songs are taken from the seventies, when the group was signed to Philadelphia International Records and their albums were being produced by Gamble & Huff. At that point the Three Degrees were now doing lush disco songs. Then they got to sing with MFSB on TSOP (The Sound of Philadelphia) and that same summer they hit the charts with their mega-hit, When Will I See You Again that became their signature song.”

“In terms of the disco sound these songs have a certain touch of elegance with a smoother sound than a lot of their contemporaries. As is often the case with groups like this, the hits are not necessarily the best.”

Manifesto - ROXY MUSIC***

Manifesto/Trash/Angel Eyes/Still Falls The Rain/Stronger Through The Years/Ain’t That So/My Little Girl/Dance Away/Cry Cry Cry/Spin Me Round

After a gap of four years the art-rock group Roxy Music announce their return with Manifesto. It is a rather uneven album with a couple of excellent singles outshining the remainder of the tracks. Features the romantic UK No. 2 Dance Away plus the UK No. 4 Angel Eyes. (US:23 UK:7)

“Side one starts the album (recorded after a four year hiatus) in excellent energetic fashion, having obviously grown slicker from their incorporation of disco and soul. However, the record quickly loses steam.”

“Roxy Music were certainly not operating at the height of their powers when they made this rather monotonous and disappointingly dull album. Not an awful record necessarily, but it obviously pales in comparison to their earlier albums which were produced with more energy and conviction.”

“The strongest song is still Dance Away. There is no denying that Ferry has always known how to write the perfect pop song. Although it sounds nothing like Roxy Music, I can't help but enjoy its wonderful melody and great heart-broken lyrics:”

“Nothing is terrible here but it’s just rather dull. And from Roxy Music I don't want dullness, I want off the wall weirdness or seductive new wave. Apart from Angel Eyes and Dance Away the rest is throwaway. It’s not terrible by any means but once you compare it to their albums before this you realise how weak it is.”

“Dance Away, is a simple, infectious and heartbreaking ballad that shows why Ferry was so good at writing these types of songs, and why his songwriting style inspired a whole onslaught of clones in the years to follow.”

“This album very nicely has one foot in the older catalogue, and one in the later period. It also still has many of the original band members to continue the creative and cool sound that is distinctive of the band.”

“Manifesto, Roxy Music's first album in nearly four years after the fine run ending with Siren, does not measure up. Neither the supposedly more European sounding East Side or the slick and poppy West Side themes, deliver enough great songs or moments to make this a favourite of mine.”