Elvis TV Special – ELVIS PRESLEY*****

Trouble/Guitar Man/Lawdy Miss Clawdy/Baby What Do You Want Me To Do/Heartbreak Hotel/Hound Dog/All Shook Up/Can’t Help Falling In Love/Jailhouse Rock/Love Me Tender/Where Could I Go But To The Lord/Up Above My Head/Saved/Blue Christmas/One Night/Memories/Nothingville/Big Boss Man/Guitar Man/Little Egypt/ Trouble/Guitar Man/If I Can Dream

After several years in the doldrums Elvis Presley reignited his career in spectacular style with his critically acclaimed comeback TV special, broadcast in December 1968. The only new song on Elvis TV Special was the finale If I Can Dream, a top ten hit in both the US and Britain which was a signpost to his new musical direction. (US:8 UK:2)

"Just when it seemed that his best work was behind him, Elvis returned to form (and then some) with this fantastic album. It didn't necessarily break any new ground, but it returned Elvis to what he did best - good old rock and roll music played with integrity, spirit and heart. There really aren't any weak moments on this album, although the 'unplugged', in-the-round segment is an obvious highlight, as is the closer If I Can Dream, one of Elvis' career defining moments."

"Rumours of his demise were greatly exaggerated. In one night the King clearly reclaims his crown. In peak voice with a maturity and sensitivity unequalled, he's back more intense and impressive than ever before."

“If I Can Dream would in many ways be his first modern day hit single. It was a song that would build throughout forcing Elvis to push himself vocally. It was straight pop, or what would be considered adult contemporary today. Elvis and his fans were growing older and this song was evidence that this process could be graceful."

"The performance given by Elvis for TV cameras in 1968 was everything that rock and roll is supposed to be: raw, stripped down, wild, sloppy, sensual, loud, exuberant, fast, dangerous, celebratory, imperfect, and just plain fun to watch and hear. OK, so the orchestra makes some of it sound dated, but the 'sit-down' portion featuring a few guitars and percussion has that timeless rock & roll jamming sound."

"In the late 60s, Elvis had become stale and a joke. But after his NBC TV special people sat up and remembered the King once again. This album could be thought of as the first 'unplugged' release. It is an impressive mixture of live full blown sets, and personal acoustic sets with just the King, a few guitars, and a bunch of screaming girls."

Greatest Hits – DAVE DEE, DOZY, BEAKY, MICK & TICH*****

The Legend Of Xanadu/Zabadak/The Wreck Of The Antoinette/Last Night In Soho/Hideaway/You Make It Move/ Bend It/Hold Tight/Mrs Thursday/Touch Me Touch Me/If I Were A Carpenter/Save Me

First greatest hits compilation from the British group Dave Dee, Dozy, Beaky, Mick & Tich who had a string of excellent pop hits in Britain during the last half of the sixties, all written by the songwriting team of Howard-Blaikley.

“They may have had a silly name but they were really very, very good indeed. Anybody who saw them on stage in their heyday will know that very few bands ever wanted to follow them.”

“This run through of their greatest hits shows that they could sing and play to perfection, with fantastic vocal harmonies. Hold Tight, The Wreck Of The Antoinette, Xanadu and many more are all great pure pop songs written by Ken Howard and Alan Blaikley.”

“This was not the only sixties group to have a silly name and it didn’t stop them making some upbeat, guitar-based rock music of really quality. It seems that they failed to make any impact in America, but they had thirteen hits in their native Britain between 1966 and 1969, many going high in the top ten.”

“Although most (but not all) of the songs are upbeat fun songs, there is a remarkable variety of styles within this collection.”

“They might have had the longest and silliest name in pop history, but Dave Dee, Dozy, Beaky, Mick and Tich were a classic band who put out some essential 60s pop tracks.”

“Full of inventive sounds and great lyrics (both exemplified in their biggest hit Xanadu), they put out track after track of foot tapping, well crafted music; a sort of light rock with a tinge of psychedelia. Expertly played by this talented band, with some great vocals, this is great stuff.”

“What a fantastic album from a great band. I have always cherished this group and their music and to have all their hits on the same album is just incredible. This for me is a must buy for any fan of sixties music.”

Cycles – FRANK SINATRA***

Rain In My Heart/From Both Sides Now/Little Green Apples/Pretty Colours/Cycles/Wandering/By The Time I Get To Phoenix/Moody River/My Way Of Life/Gentle On My Mind

On Cycles Frank Sinatra makes another attempt to modernise his style this time with covers of recent country/folk songs. Critics had mixed opinions on the result. (US:18)

"This was the first album he made that took the songs popular with the pop-rock/folk crowd at the time, and made them his own. I love this album because so many songs on it sound like he is speaking the lyrics, which you can only get with Frank in the way he does it. No album has so many soft-sad songs on it like this one."

"Cycles was an attempt by Frank to modernize his sound and is a very successful effort. The songs are excellent, Frank's voice is in fine shape, and so are Don Costa's arrangements. This is a great attempt at contemporary pop that shows Frank could survive the ever changing music world."

"This was considered to be Sinatra's stab at a contemporary, folk-rock sound. The results are interesting, if not entirely successful. No matter, I absolutely love the title track. The contemporary, folk-rock sounds have Frank stressed out."

"Cycles is Frank's first serious foray into the soft rock/folk music scene in the late sixties. It is an eclectic mix of tunes. This is clearly new musical territory for Frank, and he stamps each song with his own unique interpretation that makes the album work. The mood is mellow and reflective, and Don Costa's soft strings provide the perfect backdrop for Sinatra's vocals. This is not a great album compared to his incomparable body of work with Capitol and his early work with Reprise, but Sinatra's voice is still excellent, and his timing, phrasing and diction are flawless."

"Sinatra sounds great, the arrangements and material choice are what really let this album down. Sorry I really don't need to hear Sinatra cover Both Sides Now and Little Green Apples. No wonder Sinatra looks so depressed on the cover. The problem is the material is a bit of a mixed bag - the title track is just lovely and Frank handles Jimmy Webb's By The Time I Get To Phoenix really well, the sheer drama of Rain In My Heart is also clearly right up Frank's street but he doesn't sound comfortable singing the likes of Both Sides Now or Gentle On My Mind, and Moody River is pure cheese. It is surprisingly listenable though."

Blood Sweat & Tears – BLOOD SWEAT & TEARS*****

Variations On A Theme By Erik Satie(1st & 2nd Movements)/Smiling Phases/Sometimes In Winter/More & More/ And When I Die/God Bless The Child/Spinning Wheel/You’ve Made Me So Very Happy/Blues Part II/Variations On A Theme By Erik Satie(1st Movement)

This follow up album from this noted jazz-rock ensemble featured David Clayton-Thomas on vocals as replacement for departed Al Kooper. Blood Sweat & Tears includes three US hit singles, You've Made Me So Very Happy, And When I Die and Spinning Wheel, all coincidentally peaking at No. 2. (US:1 UK:15)

"The heart of the album’s popularity was its three hit singles. You Made Me So Very Happy, Clayton-Thomas’ smooth vocal and the big brass sound enabled it to become a pop classic. Clayton-Thomas only wrote one track but it was the album’s stand-out. - Spinning Wheel had a number of tempo changes and a staccato vocal delivery. The most creative track was their interpretation of Laura Nyro’s And When I Die. The harmonica introduction, the bouncy melody, and then some frenetic vocals moved it far from Nyro’s original intent."

"Probably the cream of the crop for jazz-rock, a genre that is usually pretty over-thetop and more than a little self-indulgent and that's the case here as well. However, David Clayton-Thomas has a strong and unique voice and the rest of the band plays pretty well. It's not going to turn me into a jazz-rock freak but this is quite a good album for what it is."

"Gone are the psychedelic effects of the debut, and in its place is simply great, accessible jazz rock."

"Not as good as their first album, but this is still pretty good. A combination of well known tunes and some pretty interesting jam sections. Just a great band playing a really cool mix of different styles."

"It's over 40 years old but it seems every time I listen to it it's as if it's brand new. I am transported back to NYC circa 1969 again and again. This album has everything: pop hits, blues, jazz, even classical. This is an album in which you play it whole, not merely for the hits."

"This is an awesome album. It has so many different styles of music. It has blues, rock, jazz, soul and a bunch of others. I really enjoy listening to it."

Beggar’s Banquet – THE ROLLING STONES*****

Sympathy For The Devil/No Expectations/Dear Doctor/Parachute Woman/Jig-Saw Puzzle/Street Fighting Man/ Prodigal Son/Stray Cat Blues/Factory Girl/Salt Of The Earth

Beggar's Banquet was the album which provided the blueprint for The Rolling Stones' blues-rock sound over the next few decades. The unpleasant original cover was quickly ditched. (US:5 UK:3)

"1968's Beggar's Banquet was a real turning point for The Rolling Stones. This is the moment in time when they passed from being a hugely successful pop band, with tons of hit singles, and became the pre-eminent blues-rock band on the planet. Beggar's Banquet just oozes and bleeds deep blues from it's every pore. It is also the snapshot of a very transitional time in The Stones history. This is the last time original guitarist Brian Jones contributed anything meaningful. It also has some of their greatest and most earthshaking songs. Sympathy For The Devil is one of the greatest songs ever released by any band, ever. Street Fighting Man is a revolutionary call to arms. Stray Cat Blues is just wonderfully dirty, and Salt Of The Earth incredibly sublime. You need Beggar's Banquet, everyone does."

"Following Their Satanic Majesties Request's odd, almost insincere psychedelia, the Stones turn right back to the blues, where they belong. But this time they hit it off with pure musical experience in hand as well as all the basics delightfully mastered, the result is a triumph of self discovery and some terrific music. It's down and dirty blues rock that embodies what these guys are all about."

"From the first drum beat on Sympathy For The Devil to the last guitar strum on Salt Of The Earth you are treated to an exceptional rock and roll experience with this record. The music is outstanding, the lyrics are meaningful. In my opinion this record marks a turning point for the 'Greatest Group'."

"Not a duff track on it. The sequence of tracks, the excellent playing and standard of songs on BB established the Stones as a serious musical force, rather than just a highly successful pop group. It stands the test of time superbly, and is still probably the best rock/blues album ever made."

"The band had finally found their George Martin. Jimmy Miller's sympathetic production captured the band's raw edge. This is as raspy and as close to the blues as rock ever got. BB was the most consistently brilliant album the band would make."

A Touch Of Sadness – JIM REEVES***

Where Do I Go To Throw A Picture Away/You Kept Me Awake Last Night/I’m Crying Again/Oh How I Miss You Tonight/Lonesome Waltz/Your Wedding/When You Are Gone/Missing You/Honey Won’t You Please Come Home/In A Mansion Stands My Love/I’m Glad You’re Better

Legendary velvet voiced country star Jim Reeves remained highly marketable five years after his death. To meet the continuing demand for new product, A Touch Of Sadness, a collection of melancholic older material, was released in the UK. (UK:15)

"The only thing that has always bothered me about Jim Reeves is the amount of negativity depicted in the songs. A quick glance at the track listing reveals a plethora of words implying heartbreak, loneliness and worry. All this, when added up, can sometimes have a somewhat neutralising effect. A perfect voice that is very uplifting, soft guitar, gently strumming and lyrics awash with doom and gloom."

"Jim Reeves always had an excellent voice and even though he did not write many of his own tunes, he was a pretty good musician to boot." ,p> "You Kept Me Awake Last Night has soothing lyrics and the typical velvet touch of the Reeves voice. This song will sure send me off to sweet sleep. Wonderful orchestration by the Nashville 'A' team of pianists, woodwind and string artists."

"With When You Are Gone Jim Reeves has the ability to turn the simplest song into a real gem."

The Everlasting Love Affair – THE LOVE AFFAIR****

Everlasting Love/Hush/60 Minutes (Of Your Love)/Could I Be Dreaming/First Cut Is The Deepest/So Sorry/Once Upon A Season/Rainbow Valley/A Day Without Love/Tobacco Road/The Tree/Handbags & Gladrags/Build On Love/Please Stay/Tale Of Two Bitters

The Everlasting Love Affair was the sole album release from the London teen pop group The Love Affair. They released a succession of fine melodic hit singles in the late sixties the best known being the UK chart topping title track.

“The appeal of the songs that defined the 60s was in the main down to the energy and melodic structure of the tunes. Melody is something that ran through every artist and The Love Affair were no exception. The stand out hits here are the massive selling Everlasting Love plus Rainbow Valley and A Day Without Love. All are as infectiously catchy today as they were then. In the 60s, arrangers and producers had a knack of dovetailing guitars and drums with orchestration, which filled a song and made the sound so rich and powerful.”

“Beautiful orchestral pop songs like Everlasting Love and the album's best track, A Day Without Love stand out. Memories and great classic pop are all found here on this excellent masterpiece.”

“The Love Affair epitomise everything that is great about British pop music. Accordingly, this LP epitomises everything that is great about The Love Affair. Essentially, they represented everything that was great about the 60s. Pure genius from start to finish, you will not be disappointed with this fine package.”

“Just shows how good these guys were - often regarded as just another pop group - and Steve Ellis voice – brilliant.”

“The Love Affair were an iconic band of the 60s with the distinctive vocal sounds of that master of singers Steve Ellis. Not all songs will jump out and immediately become recognisable; however, Rainbow Valley is an extremely well crafted song with very tight harmonies and a melody that haunts the listener.”

“Steve Ellis’s Love Affair completely blitzed the original and ended up not only with a UK chart-topper but one of the most enduring songs of all time. Their form didn’t end there though because a string of hits followed. Why they never had the acclaim of other bands of the decade I’ll never know. This is how great music sounds."

Wichita Lineman – GLEN CAMPBELL****

Wichita Lineman/The Dock Of The Bay/If You Go Away/Ann/Words/Fate Of Man/Dreams Of The Everyday Housewife/The Straight Life/Reason To Believe/You Better Sit Down Kids/That’s Not Home

US country pop star Glen Campbell was at the peak of his popularity in the late 1960s. The highly original title track, Wichita Lineman, written by Jimmy Webb, reached No. 3 in the States and No. 7 in the UK. (US:1)

"Being his only Billboard #1 LP, it presents Campbell at the zenith of his 60s superstardom. It was during this album's chart run that he became a household name and it features two of his most memorable songs: Dreams Of The Everyday Housewife and the smash title track."

"Glen Campbell's album Wichita Lineman is outstanding. I love these songs and Glen sings passionately at his usual very best. He possesses a genius I rarely hear or enjoy; he can sing just about anything without ever skipping a beat, and his excellent diction enhances his performance all the more."

"This is one of the best of Glen's 60s albums I've heard and it's also the most representative of his style. It is a bit folksy, a bit countrified, and strongly leaning towards pop, most of all it's got Glen Campbell's irresistible charm with great musicianship and understatement. The title track is a classic of course, once more he and Jimmy Webb strike gold and it's far from the last time they would do this. He also sneaked in another one of his originals, too bad it's a spoken word track and a bit cheesy, easily the weakest track here."

"The title track opens the LP and Glen never sounded better. The strings are used to great advantage, and the guitars work to make the number come off even better. But apart from the music, Glen's singing comes straight from the heart and that's just so rare I won't forget it anytime soon."

"Wichita Lineman is one of the greatest songs that has been played on American radio, back when singles had great influence. Five stars for the title track alone, it is his best. Also, Dreams Of The Everyday Housewife is a pleasant waltz and another haunting melody."

"There are a few egregious blemishes on this otherwise great pop-country album."

Wheatstraw Suite – THE DILLARDS***

I’ll Fly Away/Nobody Knows/Hey Boys/The Biggest Whatever/Listen To The Sound/Little Pete/Reason To Believe/Single Saddle/I’ve Just Seen Her Face/Lemon Chimes/Don’t You Cry/Bending The Strings/She Sang Hymns Out Of Tune

Wheatstraw Suite was the album in which the bluegrass group The Dillards started to embrace a more commercial country pop sound. Half the tracks are original compositions, the remainder are contemporary covers.

“They somehow combined their bluegrass roots with country and rock, creating a masterpiece that sounds as fresh today as it did back then. These young men, then in their twenties, wrote songs that still endure today. It is filled with wry humour, deep understanding of the cycle of life, and love of the land.”

“Yes, you can 'hear the sixties' in this impeccable recording by The Dillards, but great vocal harmonies and virtuoso banjo picking never go out of style. One of the tightest ensembles of all time, The Dillards perfected a brand of eclectic bluegrasscountry- folk that has never been equalled. Wheatstraw Suite is short but sweet.”

“This is a nice balance between 60s pop music and traditional bluegrass that really does play out like a suite, starting with the short but sweet gospel standard I'll Fly Away and quickly transitioning into some of The Dillards' best songs.”

“This is a classic, one of the first bands I listened to. A unique fusion of baroque pop, bluegrass, folk and rock.”

“So good. the sound of bluegrass mixing with late 60s pop, the vocals, the playing, the songs - they're all here. This is the sound of something new and exciting that’s so well conveyed in these songs that its impossible not to get a buzz from listening to this. There's some real upbeat poppy stuff and some really gorgeous ballads.”

“Artful, sensible integration of pop-rock into country-bluegrass. The covers work, the vocals shine. Talent and vision well realized but kind of corny in places.”

“This album shows The Dillards, a bluegrass band, moving into a pop direction. Sounds like nothing else. It's hard to imagine it working but it does - phenomenally well as a matter of fact.”

Val – VAL DOONICAN**

Little Dreamer/My Cup Runneth Over/Little Green Apples/The Story Of My Life/The Sun Always Shines When You’re Young/A Thing Called Love/Mad Mad World/Take Me In Your Eyes/In A Million Years Or So/Jennifer’s Rabbit/A World Of Love/Day Dream

Val, the final top twenty album from Irish crooner Val Doonican comprises his usual sentimental schmaltz, plus the occasional novelty number. He is remembered more for his cardigan and rocking chair than his music. (UK:6)

"Generally overlooked by rock fans as just one more in a long line of super suave mid-'60s crooners, and epitomized for a generation of TV viewers by the image of him smiling gently, cardigan clad in his rocking chair, Val Doonican nevertheless possessed one of the most distinctively restful voices of the age."

"No one is ever going to mistake Val Doonican for rock & roll. Indeed, the veteran Irish crooner has more in common with Perry Como (even down to the cardigans and laid-back manner) than any of his British chart contemporaries. But his material always tended to be just a tad hipper than Como, even if it was for the slippers and armchair set. There was an easy, folksy sheen to his material that gave him more of a crossover, and that's captured here. In many ways, this is like visiting a favourite old uncle and hearing him sing away for pleasure. Nothing rankles; everything is smooth, warm and comforting."

Trip Thru Hell – CA QUINTET**

Trip Thru Hell (Part I)/Colorado Mourning/Cold Spider/Underground Music/Sleepy Hollow Lane/Smooth As Silk/ Trip Thru Hell (Part II)

Trip Thru Hell was the sole album release from the obscure Minnesota psychedelic group CA Quintet. Behind the experimentation and strange sounds lies one of the gloomiest recordings of the time.

“The nine minute Trip Thru Hell (Part 1) doesn't really seem very dark to me, but it is one of the cooler instrumentals to emerge from this era. Other standout tracks are Cold Spider and Underground Music. The whole concept maintains a high standard throughout which is an achievement for any album, whatever genre.”

“CA Quintet's sole release is a very special-nightmarish album. Some distinctive late 60s sounds, full of strange noises, brave experimentations and a cool combination of great melodies and weird instruments."

“For its title, Trip Thru Hell is pretty tame. This is basically garage rock with some pretty interesting elaborations. The foundation has a 1960s DIY sound, but on top are voices, echo, and a chorus of voices that go bump in the night. The album has the feel of a 60s horror movie - nice fright noises, but nothing that will even raise goose bumps. Still, you have to admire the CA Quintet for expanding the parameters of garage rock, and as music, this is pretty fun.”

“While it is no doubt a psychedelic album, it doesn't even come close to creating the dark spooky atmosphere it seems to aim for. Needless to say, I was disappointed. If you're into obscure 60s psychedelia, you've probably already unearthed many fantastic gems. But this is not one of them, I'm sorry to say.”

“It's got such a doomy, terrifying vibe. Full of paranoia, the dark mood never lets up. The title track establishes a vibe and, by shoving it down your throat, makes you feel almost uncomfortable. The haunting backing vocal that comes in and out of the mix is like the shower scene from Psycho put to vinyl. The whole album is heavy, not as in heavy rock but as in just a heavy vibe that never abates. It's got no melodic hooks that you'll find yourself whistling but it does have a feeling that's impossible to shake for awhile after hearing it. An above-average 'lost psych album', but don't go in expecting an awe-inspiring masterpiece."

Too – THE LEFT BANKE***

Goodbye Holly/There’s Gonna Be A Storm/Sing Little Bird Sing/Nice To See You/Give The Man A Hand/Bryant Hotel/Desiree/Dark Is The Bark/In The Morning Light/My Friend Today

Too was the second and final album from the baroque US pop group Left Banke. During recording internal squabbles led to the departure of their main songwriter.

“The songs are really quite good, just as strong as those on the first album. The arrangements are great and the vocals are very solid. I'm surprised how much I'm enjoying it. Desiree should have been a big hit, but there are other songs here that are equally as good. If you like late 60s pop with a touch of orchestration, this comes highly recommended.”

“I’m really surprised nothing came of their second release. There were some legal issues with their name and a couple songs, Desiree and Dark Is The Bark did not fair well in radio play. Musically this is a solid as their first release. I love the harmonies, very much in a classical baroque manner.”

“There are only two songs on here by Michael Brown, but that doesn't hurt its appeal at all, not one little bit. This is The Left Banke playing and singing on all cuts, and they are at their pop, harmonizing best. If they had been better handled we'd be looking at arguably one of the best American pop groups of their time.”

“Despite the departure of teenage genius maestro Mike Brown, this is fully the equal of the debut album and identical in style. Its actually more cohesive overall with fewer weak tracks.”

“Not a classic like Walk Away Renee/Pretty Ballerina, and not as good, but also not as much worse as some would suggest, it still has charms.”

“This album stands as a monumental cautionary tale for all would-be idiot-savant, genius pop group leaders. Treat your musicians well or they might create something astonishing without you. Indeed, after Michael Brown, composer of Walk Away Renee and the bulk of the first LP, departed in search of 'musical freedom', the remaining members sprung to the foreground to achieve everything a late 60s studio auteur could possibly wish to conjure.”

Tons Of Sobs – FREE*****

Over The Green Hills Part I/Worry/Walk In My Shadow/Wild Indian Woman/Goin’ Down Slow/I’m A Mover/The Hunter/Moonshine/Sweet Tooth/Over The Green Hills Part II

Tons Of Sobs was the stunning debut album from British blues rock group Free. It is difficult to believe that the members of the group were all in their teens when it was released. (US:197)

"Tons Of Sobs is their brilliant debut, a fine example of early hard rock, starting with the superbly heavy Worry, and progressing to other blasters like Walk In My Shadow, The Hunter, and the positively raunchy Wild Indian Woman. All the songs here sound like if Hendrix had a harder tone, in both vocals and guitar playing. Paul Kossoff is certainly one of the most under-appreciated guitar maestros to have ever lived. A great debut from a great band, and one that deserves to be heard."

"As opening albums go, I can't think of a better one from such a young group of musicians. Over forty years later it still sounds fresh and exciting, the performances full of anticipation and excitement. Their music was impressively solid, full of raw energy and great musical taste. It was a glorious time for British rock music."

"A truly incredible album for a debut. Andy Fraser was only 17 years old when they cut this, but the sound is so bluesy and heavy with so much maturity you would think they were in their sixties. A great album by a great band."

"Tons Of Sobs is Free's first album, made when they were mere teenagers. There is a maturity in their playing, arranging and writing that most certainly belies their years. The entire album should be considered blues/rock with a healthy dose of edge and attitude, though no posing and pretension."

"Tons Of Sobs is a lot of things. It's one of the greatest electric blues rock albums of all time. It's one of the greatest debut albums of all time. It's one of the most fiery guitar albums of all time, and it's an unstoppable wave of power almost as glorious as Led Zeppelin's debut. The combination of Paul Rodgers almost unbearably rich voice, along with Paul Kossoff's electric firestorm guitars and Simon Kirke's avalanche of drums, is almost more than the human nervous system is capable of bearing. The fact of the matter is that almost every song is a masterpiece. If you love rock music you will love Tons Of Sobs."

Thunder On A Clear Day – TWENTIETH CENTURY ZOO***

Quiet Before The Storm/Rainbow/Bullfrog/Love In Your Face/You Don’t Remember/Its All In My Head/Blues With A Feeling

Thunder On A Clear Day was the sole album release from the Phoenix psychedelic group Twentieth Century Zoo. Comprises neat fuzz guitar and organ with a couple of more self indulgent extended tracks.

“Very competent acid rock with some white boy R & B thrown in as well. Rainbow and Love In Your Face are worth the price of admission with the latter having one of the best psych guitar solos I've heard on an obscure 60s record. Solid songwriting and awesome fuzz guitar throughout. Nice Farfisa organ work in You Don't Remember Me. All in all this is a psych masterpiece and is highly recommended.”

“Late sixties US heavy acid psych rarity with fuzz guitars and spaced effects all over the place.”

“A really cool garage psych release by this Arizona band, very influenced by groups like Country Joe & The Fish and Savage Resurrection, but with more garage and lots of fuzz on the guitar.”

“One of the greatest psychedelic albums. Twentieth Century Zoo's Thunder On A Clear Day is everything that the psych-lover wants: incredible fuzz-guitars, lengthy jams, great songwriting and of course, some tasty blues here and there.”

“To my ears, one of the best psych albums ever recorded. It's simply a non-stop fuzz guitar onslaught of psych hard rock, and with nothing short of extraordinarily good material. Sure has what I'm looking for in a psych album.”

“Lots of fat fuzzy guitar here with punk attitude. Two long bluesy jams which take up half the album. Still very good and worth hearing. It's All In My Head is a standout, but all five psych/garage/punk tracks pass the grade.”

“Featuring elongated fuzz-sustain riffs and heavy organ, there was little to make it stand out from the crowd of similar late-sixties American albums. At times there is a hard blues-rock feel, which could break into tedium on longer tracks, such as a tenminute cover of Little Walter's Blues With A Feeling."

This Is My Country – THE IMPRESSIONS****

They Don’t Know/Stay Close To Me/I’m Loving Nothing/Loves Happening/Gone Away/You Want Somebody Else/So Unusual/My Woman’s Love/Fool For You/This Is My Country

I’ve Gotta Be Me was the first album from the soul group The Impressions on the Curtom label, created by their noted lead singer and songwriter Curtis Mayfield. (US:107)

“There are the traditional Impressions' harmony rich love songs and ballads, mostly in the slower mid-tempo style. Gone Away is one of my favourites here. The call and response harmony is impeccable, a relic from their doo-wop early days. The lyrics are heartfelt, and Mayfield's falsetto/tenor is vulnerable. Love's Happening is an upbeat, somewhat hippie vibin' cool jam. I'm Loving Nothing is more of a later-age doo-wop song with background humming and a slower tempo, a heartbreaker for sure. The Impressions dab into social commentary and race relations in songs like the string laden They Don't Know, and the title track.”

“The Impressions are my favourite group from the 1960s, they had a style and charisma that was uniquely their own, and this helped them to become one of the most important musical voices of the civil rights movement. They were truly one of the groups whose songs not only made wonderful contributions to music but also helped, in many ways, shape the society they lived in.”

“This album is filled with beautiful message music and writing by Curtis Mayfield and friends. While most other R & B groups concentrated on the traditional love and romance songs, The Impressions seemed to be at the forefront of the black pride sentiment that swept across black America during those troubled times.”

“Lush arrangements and production, with tracks ranging from beautiful soul songs to others with intelligent and political lyrics, making for some absolute classic tracks.” ,p> “By 1968, The Impressions had developed a great deal since their founding when they were predominantly a doo-wop group. The vocal arrangements had become less overwhelming, and the focus had shifted more towards the instrumentation. One thing that remained consistent was the quality of their recordings.”

“This Is My Country gets the political awakening treatment but it does leave the more common themes - love, relationships, personal belonging, on the sidelines.”

The Beatles (White Album) – THE BEATLES*****

Back In The USSR/Dear Prudence/Glass Onion/Ob-La-Di Ob-La-Da/Wild Honey Pie/The Continuing Story Of Bungalow Bill/While My Guitar Gently Weeps/Happiness Is A Warm Gun/Martha My Dear/I’m So Tired/ Blackbird/Piggies/Rocky Raccoon/Don’t Pass Me By/Why Don’t We Do It In The Road/I Will/Julia/Birthday/Yer Blues/Mother Nature’s Son/Everybody’s Got Something To Hide Except Me & My Monkey/Sexy Sadie/Helter Skelter/Long Long Long/Revolution 1/Honey Pie/Savoy Truffle/Cry Baby Cry/Revolution 9/Good Night

The Beatles' White Album, as it is almost universally called, is their most eclectic piece of work demonstrating an amazing variety of musical styles. On the plus side it features George Harrison's best song While My Guitar Gently Weeps. On the downside it includes the first dud Beatles' tracks, the unlistenable Revolution 9 and the facile Why Don't We Do It In The Road. (US:1 UK:1)

"The White Album is a kaleidoscope of different musical genres which are treated masterfully by the band, a deft outpouring of elements that no other band even comes close to performing, let alone attempting in one sitting. There are blues, psychedelics, dance-hall burlesque, vaudeville crooning, country, folk, reggae, hard rock, social commentary, nihilism, expressionism, chamber music, 50s rock 'n' roll - the list is extensive and the album fires on all cylinders."

"Unbelievable. The Beatles' greatest exercise in artistic freedom. Easily the best double-album of all time."

"It is one marvellous collection. Definitely one of the most diverse, if not, the most diverse album I've heard during my lifetime. A couple of not-so-fantastic songs keep it from near perfection."

"Whether you're a Beatles fan or not, the White Album is brilliant. The songwriting is compelling and thought-provoking, slightly humorous, and well written. The music ranges from extremely simple to mega-complex. This album really showcases the individual band member's talents and offers a treat to anyone who cares to listen."

"Wow. Just wow. An all around amazing album. Amazing all the way through. Very dark in parts. Many very well written songs. While My Guitar Gently Weeps may have the greatest guitar solo ever."

"Every track is great and it makes a fantastic album. The diversity of the songs is very appealing. It's one of the most influential and essential albums of all time."

The Supremes Join The Temptations – DIANA ROSS & THE SUPREMES & THE TEMPTATIONS****

Try It Baby/I Second That Emotion/Ain’t No Mountain High Enough/I’m Gonna Make You Love Me/This Guy’s In Love With You/Funky Broadway/I’ll Try Something New/A Place In The Sun/Sweet Inspiration/Then/The Impossible Dream

First collaboration between two of Motown's most successful groups. Diana Ross & The Supremes Join The Temptation includes the hit single I'm Gonna Make You Love Me, No. 2 in the US and No. 3 in the UK. (US:2 UK:1)

"First and easily the best of both group's albums together. With clear signs of Diana's growing ego, Dennis Edwards and Eddie Kendricks do a remarkable job not letting themselves be upstaged."

"This is one of the greatest superstar pairings in music history. Diana Ross shines as do The Temptations. I think Ross was in her vocal peak and Motown ruled the charts. It is a historic and legendary recording."

"This is an enjoyable album from start to finish and is not marred by any filler. It is an essential album for any lover of soul music."

"The ultimate landmark of the album is the exhilarating I'm Gonna Make You Love Me. Injecting the sweet, lush harmonies of Diana Ross with Eddie Kendricks quite sensual falsetto, proved a winning combination."

"In the late 60s, Motown's idea of getting two of its hottest acts together in the studios was a commercial stroke of genius. It kicks off on a sizzling note with Try It Baby, a jazzy showbizzy number which captures the magic of the ensemble. Neither group was trying to dominate the other and that's part of the reason for its success. I'm Gonna Make You Love Me showcases a truly awesome performance and without doubt the high point of the album. I'll Try Something New was another example of how getting Diana and Eddie to trade leads was a winning formula."

"An interesting move Motown made back in the 60s, they reunited two acts that began their careers singing together on the streets of Detroit. A poignant moment occurs when the two super groups perform The Impossible Dream, something they had dared to do."

Soulful Strut – THE YOUNG-HOLT UNLIMITED***

Who’s Making Love/Please Sunrise Please/Be By My Side/What Now My Love/Baby Your Light Is Out/Soulful Strut/Just Ain’t No Love/Little Green Apples/Funky Is As Funky Does/Love Makes A Woman/Ain’t There Something Money Can’t Buy

Young & Holt were former members of The Ramsey Lewis Trio before founding instrumental jazz-rock group Young-Holt Unlimited. They enjoyed a US No. 3 hit single with Soulful Strut, which helped the accompanying LP to a high album chart placing. (US:9)

"An awesomely funky and soulful disc full of twelve instrumentals from the duo that had been Ramsey Lewis' rhythm section on some of his biggest chart hits. Having split from Lewis in 1966, Eldee Young and Isaac 'Red' Holt went off to form their own trio. Over the course of a few albums, the trio swelled to a somewhat amorphous group of musicians, with Young and Holt as the rock-solid rhythm section. Their greatest popular success was Soulful Strut. Originally the backing track for Barbara Acklin's Am I The Same Girl, the instrumental literally replaced Acklin's vocal with a drifting, languorous piano. One of the great soul-jazz instrumentals."

"Soulful Strut is one of those borderless, feel good anthems. There are ten beautiful instrumentals nestling alongside the title track. These are mostly vocal-less versions of other Brunswick hits (Please Sunrise Please, Who's Making Love) but there's also a nice Don Walker composition Funky Is As Funky Does and a little call and response jam session that clearly shows the group's roots as Ramsey Lewis' rhythm section."

"Unclear how much actual playing The Young-Holt Unlimited do on their LP Soulful Strut. The title track happens to be the instrumental track of Am I The Same Girl, with Acklin's vocal removed and the piano raised in the mix. Likewise for Please Sunrise, Love Makes A Woman, and Just Ain't No Love, all songs that Acklin recorded. The trio consisted of Ken Chaney (piano), Eldee Young (bass, cello, vocals), and Isaac Holt (drums), formerly of The Ramsey Lewis Trio. Whether a fast one got pulled or not, the ten tracks make for enjoyable and delightful listening. Excellent old-school smooth jazz."

"The soft yet upbeat melodies of the piano and soothing wails of the saxophone are suitable for play in an office environment, as hold music, or even as a backer for talk radio."

Song Of Innocence – DAVID AXELROD***

Urizen/Holy Thursday/The Smile/A Dream/Song Of Innocence/Merlin’s Prophecy/The Mental Traveller

Song Of Innocence was the debut album from David Axelrod, who had previously worked as a producer of jazz recordings. It was intended as a tribute to the poetry of William Blake.

“This album reflects much of what was going on with music then, and probably represents one of its most interesting documents. Axelrod, was already at a creative peak: jazz discovering rock and willing to embrace it, orchestral arrangements that are bold and pushing the envelope of the traditional big band concept. Along with the addition of electric guitars, it engages in full psychedelic flight without indulging in trippiness for trippiness' sake.”

“Fusing deep, thick and soulful bass grooves and drum breaks with psychedelic atmospherics, acid rock guitar, and orchestral grandeur, David Axelrod created a masterwork.”

“Bland and emotionless instrumentals, any of which could easily be the theme tune for one of those 60s or 70s TV shows. For that reason it is somewhat atmospheric, but insufficient to make up for the lack of affecting melody.”

“This album is notable for being based on the poetry of William Blake. While the suite's sound is undeniably 60s, I always enjoy how Axelrod managed to take bits and pieces of several styles and make something that really has no stylistic equal.”

“When I share Song Of Innocence, it often provokes laughter. It is true that the style is pretty schmaltzy and our ears are conditioned to treat strings and horns as movie soundtrack music, but I find the atmosphere here really great. The session playing rivals many other jazz-rock crossovers of the late 60s - it's easy to hear how influential Axelrod continues to be.”

“Song Of Innocence, apparently loosely influenced by William Blake's poetry, assembles a collage that has some of its roots in baroque jazz and lounge jazz. Axelrod adds a heavy dose of orchestration to this tentatively jazzy mix, and the result is reminiscent of a freakish film soundtrack. The most remarkable thing about this album is that it remains tasteful throughout. Its really just lounge jazz grown out of proportion, but no matter, it's still impressive.”

Oliver! – SOUNDTRACK*****

Overture/Food Glorious Food/Oliver/Boy For Sale/Where Is Love/Pick A Pocket Or Two/Consider Yourself/I’d Do Anything/Be Back Soon/As Long As He Needs Me/Who Will Buy/It’s A Fine Life/Reviewing The Situation/Oom- Pah-Pah/Finale

Composer Lionel Bart's acclaimed musical Oliver!, based on the Dickens classic, enjoyed long stage runs in London and on Broadway. The Oscar winning film version starred Oliver Reed, Ron Moody and Mark Lester. (US:20 UK:4)

"It is truly a delightful LP to listen as each song tells the story of life, romance, hope, and trust, and making a classic tale come to life. If you are a real fan of Dickens, then you will be overwhelmed by this musical."

"This delightful conversion from stage to screen couldn't have been done any better. The music is well performed, and wonderfully scored, from the tear-jerker Where Is Love? to the powerful Boy For Sale to the favourite Consider Yourself, this album never disappoints."

"What a fantastic film with a brilliant soundtrack. If you like musicals, then this is the one for you. It is a real get up and dance type film, and will have you entertained for hours."

"Oliver! won six Oscars including best film. It is a glossy adaptation of the gritty stage musical. One can't quibble with the dramatic or vocal interpretations of the songs - they are first rate. Orchestrations are lush and detailed."

"It is easily one of the best musicals ever made. First of all, the songs are absolutely marvellous, and I mean it."

"The 60s was a tough decade for cinematic musicals, with many of them turning out to be bloated exercises in tedium. But Oliver! is one of the shining lights of the genre, a true uplifter guaranteed to have the feet a tapping and a smile on one's face."

"It's perfect. The story is a Dickens classic given the musical treatment. And the songs - wow they are fantastically written and sung pitch perfect. Favourites include Food Glorious Food, Oliver, Consider Yourself, I'd Do Anything, Oom-Pah-Pah...this could go on for a while, there are no bad songs."

Ars Longa Vita Brevis – THE NICE***

Daddy Where Did I Come From/Little Arabella/Happy Freuds/Intermezzo From Karelia Suite/Don Edito El Gruva/ Ars Longa Vita Brevis

Ars Longa Vita Brevis was the follow up album from the British progressive group The Nice. If features their interpretation of a classical work by Sibelius and the extended title track symphonic suite.

“The first three songs are a lot of fun, and the suite, despite containing some really bad ideas (the first movement is a four-minute drum solo), it did lay the blueprint for other bands to do this sort of thing later.”

“One of the most innovative albums of the 60s. This album is composed of two parts. The first made up by yummy psychedelic songs, while the second is a symphonic progressive suite, the first in rock history.”

“It's not quite as symphonic as I was expecting. With the exception of the organ it seems to be more or less traditional rock instrumentation, though played with an eye towards bridging the gap between classical and pop music. Unfortunately, like most attempts to bridge that gap it fails to produce anything like the complexity of classical music.”

“Keith Emerson began his long compositions on this album with the extended suite Ars Longa Vita Brevis, an influential multi-part rock song with orchestral flavours and driving organ parts. Other tracks such as Little Arabella, Happy Freuds, and Daddy Where Did I Come From undercut the artistry of the album, but add some fun, I guess.”

“This is the album that started the whole progressive rock genre, during the height of psychedelia in 1968. The vocal and guitar work are very much in the 60s style, yet there is an entirely new dimension in there, created by Keith Emerson's driving, swirling organ, well supported by drums and bass and foreshadowing things to come later. Rock music weds classical on this album, and their child is progressive rock, precocious, curious and capricious.”

“When pop acts forget their roots as pop musicians they can sometimes overreach and come across as pretentious and annoying but The Nice don't do that here, they are still a psychedelic rock band and they don't forget it.”

Born To Be – MELANIE****

In The Hour/I’m Back In Town/Bobo’s Party/Mr Tambourine Man/Momma Momma/I Really Loved Harold/Animal Crackers/Christopher Robin (Is Saying his Prayers)/Close To It All/Merry Christmas

Born To Be was the debut album from the New York pop-folk singersongwriter Melanie. An eclectic mix of styles it includes Bobo’s Party a big hit on the European continent.

“Melanie’s debut, is an intriguing curate's egg, unsure exactly where her strengths lie, so she is cast in a number of roles: Piaf-imitating chanteuse (In The Hour), soul searching, angst-heavy troubadour (Momma Momma), giggling novelty figure (Animal Crackers) and children's entertainer (Christopher Robin). Stranger still, half the time the experiment works; the small ensemble, led by her own enthusiastic (if thoroughly inexpert) guitar playing creates an arty, coffeehouse ambience in which Melanie's idiot-savant act flourishes.”

“She wrote some of the greatest ballads of the late 60s. In the Hour is a very beautiful song, including some sad accordion in the background. In I Really Loved Harold Melanie sings another sad song only backed by her guitar and discreet woodwinds, like oboe and bassoon, sometimes to time. That's such a wonderful memorable melody.”

“From I Really Loved Harold to Bobo's Party to In The Hour, Melanie writes from a place of irony and despair, but as one who continues to pick herself up regardless. Vocally, she has the emotion of Edith Piaf, but is not nearly so annoying. Her version of Mr. Tambourine Man wipes any other version you've heard out of your head; and her throw-away cuts, Animal Crackers and Christopher Robin are somehow given meaning in context with the rest of these songs.”

“I was struck by how fresh and challenging the performances are. Born To Be is really an inspired debut album. Those unfamiliar with Melanie's work except for her hits are in for a real surprise with this album. Most of the arrangements are orchestral, and her youthful sounding voice paints a stark contrast to the complexity of her songwriting.”

“On Born To Be her voice had not yet developed into the fine instrument it would become. The songwriting is emotional and simplistic, but she was quite young when she wrote these songs, so they do reflect her youth.”

Mad River – MAD RIVER***

Merciful Monks/High All The Time/Amphetamine Gazelle/Eastern Light/Wind Chimes/The War Goes On/Hush Julian

Self titled debut album from the Ohio psychedelic rock group Mad River. Their music had a dark edge to it with several extended jamming sessions let down by some poor vocals.

“The longer songs are all pretty much perfect but the shorter numbers won't disappoint the psych fanatics either. The album feels just like the album cover looks. So expect a very dark and pretty slow psychedelic rock sound. I've heard far better vocalists inside the psychedelic rock scene than this singer who sounds a bit tired at times. If you are an acid rock fanatic, and you really love the late 60s psychedelic music, you've got to give Mad River's great debut a try.”

“The music is occasionally quite neat, but the singer is just embarrassing to listen to." “Much of this music is built around songs but some are stretched out to be as much instrumental as anything else, especially side two of the album. They range from blues-rock, prog to avant-garde and the guitar playing is pretty adventurous, using some striking dissonances. There's a dark and brooding atmosphere throughout, the antithesis of sunshine-pop, deadly serious and free of parody. However, the vocals are a little overbearing and some meandering passages seem over-indulgent.”

“My best description of it would be disjointed, as it is a very diverse, non-commercial offering, with some strong psych influences on most of the record.”

“The band is dark, smoking, brooding and on fire. Ideas are excellent, presented tightly, these tracks rock, creep, spook and surprise with a very heavy lysergic influence. The singing just kills it for me, however.”

“Plain bizarre. I am not into West-Coast psychedelia at all but this album is fascinating in its weirdness. Typically this band weren't able to write songs but the mood of the record is so very dark and distorted it makes up for the lack of songwriting skills.”

“Some of the songs are nightmarish and the topics and playing explore dark themes. Its quite ominous and evil sounding in a way.”

Life – SLY & THE FAMILY STONE***

Dynamite/Chicken/Plastic Jim/Fun/Into My Own Thing/Harmony/Life/Love City/I’m An Animal/M’lady/Jane Is A Groupee

Life continued the dance-funk sound of Sly & The Family Stone’s two previous albums and added the psychedelic guitar sound in vogue at the time. Sales however were rather poor. (US:195)

“The roots of the group's revolutionary mix of classic R & B with San Francisco's burgeoning acid-rock sound can be heard loud and clear here. With no clear standout tracks, Life is fascinating more for its explorations than its arrivals. The elements are all there - the dynamic ensemble singing, the adventurous arrangements, the hard funk beats and the screaming guitars.”

“Sly was a genius, with exuberance and groove to spare on every track of this album. Even the filler material Chicken and Dynamite are catchy with some interesting production touches, and the better songs are awesome. If you love the alternating lead vocals, fuzz bass, punchy drums, it will only take a few listens before these songs are as classic to you as his best.” ,p. “This is a great album which I suppose is classed as psychedelic soul but in my view is the dawning of funk. Life may have come out in the sixties but it sounds as if it was made yesterday.”

“A major step forward for Sly, bringing a more diverse set of song structures to the successful funk formula he discovered on the preceding Dance To The Music. That's not to say that it all works, but where it does, this is excellent.”

“This is probably the group's best party record simply because it refined the band's established formula and doesn't have any meandering jams, cloying sentimentality, or utter darkness.”

“Third album by this great band, released only a few months after its predecessor, but marking a remarkable development and perfection of their unique style. The band strengthens the rock/psychedelic elements considerably, with the fuzz guitar being much more up-front than on the two previous albums. The definition of funk is basically all here, creating a new musical genre.”

Kak – KAK***

HCO 97658/Everything’s Changing/Electric Sailor/Disbelievin’/I’ve Got Time/Flowing By/Bryte ‘N’ Clear Day/ Trieulogy/Lemonade Kid

Self titled sole album release from the San Francisco psychedelic rock group Kak. It comprises some mellow ballads together with a few more hard rocking numbers.

“This is one of the pioneer albums wandering into the psychedelic music of the period. It is a bit folksy at times, but that was the Dylan influence in the late 60s. The song Trieulogy makes the whole album worth buying; however, there are some equally good songs scattered on the disc.”

“This is a very enjoyable LP. Its style is from psychedelic rock to acoustic folk. If you like the San Francisco sound of the 60s/70s, this will fit into your collection. The first song is forgettable, but the rest are rich and diverse.”

“Psychedelic and progressive rock, with good grooves, great melodies as well as some nice guitar licks as well. Very pleasant and easy listening, but at the same time creative and nice. Good musicianship here, with a sound that feels they were doing things a bit before others (being a bit ahead of their times). A few singer/songwriter inspired songs as well.”

“I kept hearing this is some sort of classic, but it sounds mostly dead ordinary to me. Electric Sailor is a pretty decent track but that's about it.”

“It can take sometime to really hear all the wonderful nuances to be found hidden in the grooves of this masterpiece. It doesn't always come easy, but once you've discovered the magic, you might even find yourself humming Lemonade Kid without even realizing it.”

“It's pretty good, but not the masterpiece that some claim. There's nothing really wrong overall, and the musicianship is excellent, but it's rather boring in places.” “A mixture of hard rockers, mellow ballads and lysergic psychedelia all in one album, but really, every song here is great, and some are classics. This is really beautiful stuff, though some might be put off who just want pure psych rock and can't handle a little heartfelt emotion.”

I’ve Gotta Be Me – SAMMY DAVIS JR***

I‘ve Gotta Be Me/My Personal Property/I’m Glad There Is You/Here I’ll Stay/I’m A Brass Band/If My Friends Could See Me Now/I’ve Got You Under My Skin/Someday/She Believes In Me/Sweet November

I’ve Gotta Be Me signalled a return to the US album chart for the versatile rat pack singer Sammy Davis Jr, sales no doubt boosted by the US No. 11 hit single title track. (US:24)

“Sammy Davis Jr. possessed so much genius from a very early age so it's no surprise that he could turn out albums like this one when he was a fully fledged, five star entertainer as an adult. Sammy is in excellent form throughout this set; and that's grand. His voice is strong and he sings with a type of genuine passion I enjoy but rarely hear. Just one listen to these songs proves it.”

"I've Gotta Be Me, the title track, begins the song set with Sammy belting this out and he never lets go of a single superfluous note. The lush musical arrangement enhances the ballad as well.”

“I generally admire artists that write their own music and I'm mainly into rock but Sammy is one of those few that just does for me it with his voice. Anything he sang I find interesting and Sammy was at his pinnacle here. Making this album was just another day at the office for him probably. The artists of that era just had a different belief system from those of the present day, paying homage to the big band and swing era. My favourite on this album is My Personal Property."

“This is a solid album with interesting songs, excellent arrangements, and some great singing by Davis when his voice was at its peak.”

“The album contains a mix of standards and movie songs with a few ringers thrown in. There are three songs from Sweet Charity which had just been made into a movie featuring Davis in a hilariously tuneful turn as Big Daddy, the hippie preacher. But the best movie song is the haunting ballad from the soundtrack of Sweet November. Somebody is also very good, a great tune I hadn't heard before with an excellent arrangement and a driving ending where his voice sounds like a trumpet. And if someone made me pick a single favourite performance from Davis, it would be Here I'll Stay. It's the perfect union of song, arrangement and a singer at the very top of his game.”

In Person At The Whiskey A Go Go – OTIS REDDING****

I Can’t Turn You Loose/Pain In My Heart/Just One More Day/Mr Pitiful/(I Can’t Get No) Satisfaction/I’m Depending On You/Any Ole Way/These Arms Of Mine/Papa’s Got A Brand New Bag/Respect

Released posthumously, the live In Person At The Whiskey A Go-Go recorded in April 1966 captures soul star Otis Redding at the peak of his soulful popularity. (US:82)

“This is one of the best and most energetic live albums ever made, a tour de force performance you can feel the energy coming off of it. This proves just how great a voice Otis Redding had and just how soulful he was. This is an essential album in Otis Redding's catalogue and in the history of soul and R & B.”

“Although the man himself is in top form at this juncture, the band isn't up to snuff. The track selection is fine, and the band handles capably enough, but they're not on equal footing, both with regards to performance and recording.”

“This recording is one of the main items in Otis Redding's too-brief legacy. A bit ragged, sure, but all the more intense and powerful for it, and even though it's only 35 minutes long, it doesn't feel particularly short. There is just so much energy and you're almost out of breath when it's over.”

“Grittier and sweatier than Sam Cooke, or shall we say grittier than what Sam was allowed to record. Redding's output was of an immensely high quality, and here he is in front of an enthusiastic crowd. The rough-voiced Otis Redding is backed here by his usual touring band, and he tears trough fiery, pulsating renditions of several of his best and best-known songs.”

“I've always preferred the Otis Redding live recordings to his studio work. He was undoubtedly one of the greatest live performers ever, and his live albums capture some of that, if not all of it.”

“Otis' full-throttle singing, and straight-up yelling, complement the raw production - on the fast ones he rocks the house unlike anything you've heard, and on the soulful tunes, he'll make your cold heart melt. While this may not be the most polished live recording ever, it's raw energy will make you want to stand up and just boogie. It's pretty much everything I was hoping for. The only annoying thing is how short it is. Otherwise, this is the kind of soul I like. No polish.”

I Pretend – DES O’CONNOR**

My Cup Runneth Over/Dream A Little Dream Of Me/Heartaches/You No-One But You/Just In My Dreams/The Other Man’s Grass Is Always Greener/I Pretend/This Guy’s In Love With You/Sunshine Of Life/Thinking Of You/ All I Need Is You/Happiness & Heartaches/Didn’t We/Never My Love

Popular British entertainer Des O'Connor had several hit singles in the late 1960s of which the chart topping I Pretend was the most successful. Often ridiculed, it is difficult to understand why anyone would prefer his version of these songs to the originals. (UK:8)

"Everybody likes to poke fun at Des O'Connor. Though better known as a TV host, Des had several UK hits in the sixties. His second hit, I Pretend, gave Des his only UK number one hit. If you enjoy easy listening pop music you will probably enjoy listening to Des O'Connor."

"If you like great crooners, great music and great songs then you'll love this."

"Des O'Connor is an all round fantastic entertainer. His voice and music are timeless. Wonderful voice and incredible entertainer."

"I love Des. He's such a classic. He's got a dreamy voice."

"His image is that of an insipid crooner who won't frighten your gran."

Gun – GUN***

Race With The Devil/The Sad Saga Of The Boy & The Bee/Rupert’s Travels/Yellow Cab Man/It Won’t Be Long (Heartbeat)/Sunshine/Rat Race/Take Off

The eponymous debut album from the British rock group Gun includes their UK No. 8 hit single Race With The Devil, but is spoilt by lengthy final track with boring drum solo. After group split up Adrian Gurvitz entered into several collaborations with some noted artists of the time.

“The Gurvitz brothers, only released two albums under the guise of Gun. This is a great album which unlike some others of the time doesn't sound dated. The opening track alone gives you an idea of what to expect. Brilliant riff and a great tune.”

“Some pretty psychedelic blues music to be heard here. Race With The Devil starts things off with one of the coolest guitar riffs. It Won't Be Long is one serious freak out, and the horn-fuelled Sunshine is one of the greatest psychedelic bluesy cuts. What a solid and forgotten album.”

“Gun's self-titled debut is one of those obscure psychedelic albums that you've just got to hear. Once you hear this record, you'll probably love it.”

“Only one standout song: Rat Race, a slow tempo epic ballad with choir arrangements. The rest is mostly a product of its time, that also contains some filler, jamming and a horrible drum solo.”

“Though often sounding somewhat similar to Cream, this album features extensive use of fuzztone guitar on typical power-trio style material. Plenty of first rate stuff here, with lots of psychedelic flavour, though it is rather inconsistent overall.” ,p. “Decent prototype hard rock album, pretty straight though, and lyrics are pedestrian What's with the horns and strings? I wish I could erase them all. I like the hard, fuzzy guitar parts and thumping drums rather than the production and lyrical sentiments.”

“Forgotten heavy metal pioneers with a very promising debut album. What a start - Race With The Devil is a scorcher. The album continues with three more hot tracks. Should have been a solid minor classic but it blows it on the eleven minutes closing track which is a throw back to the past not the future, acid rock with a drum solo - the dreaded drum solo is the bane of many a good album of this era.”

Gentle On My Mind – DEAN MARTIN***

Not Enough Indians/That Old Time Feelin’/Honey/Welcome To My Heart/By The Time I Get To Phoenix/Gentle On My Mind/That’s When I See The Blues/Rainbows Are Back In Style/Drowning In My Tears/April Again

Relaxed rat pack crooner Dean Martin's long run of top twenty albums came to an end with Gentle On My Mind. The title track hit single reached No. 2 in the UK. (US:14 UK:9)

"By the late '60s, Dean Martin was spending less and less time in the recording studio as his days as a pop singles act were behind him. Producer Jimmy Bowen chose the best of the then current country-pop scene and had Martin cover recent hits like Bobby Goldsboro's Honey and Glen Campbell's By The Time I Get To Phoenix and Gentle On My Mind. Martin, if possible, seems even more comfortable with this material and these arrangements than he had with the more uptempo tracks he and Bowen had done in previous years. But his nonchalance also robs some of the songs of force. It's hard to tell that Honey is about a tragic death, or that By The Time I Get To Phoenix concerns a man desperate to leave a bad love affair behind. Martin simply meets every lyric and every chart with the same easygoing charm, and for his fans, that's more than enough."

"When Dean Martin sings it's like listening to silk; and Gentle On My Mind is no exception. Dean sounds great. Even in the late 1960s he could still take any tune and make it sound singularly beautiful. The quality of the music on the album is excellent."

"Not Dean's best Reprise work, but there are some real gems here. Two of the cuts are just plain fun - Not Enough Indians and Rainbows Are Back In Style, unusual, playful arrangement on the latter."

"The first song, Not Enough Indians, is just about my very favourite style of country. The musical arrangement uses the brass and the strings to great advantage, and Dean never falters. The backup chorus helps out even though Dean didn't need it, but it sounds good anyway. I really like Welcome To My Heart which charms me with its beauty; Dean swings lightly to make this tune memorable and he was still every bit the champ he always was. Another highlight is a cover of Glen Campbell's By The Time I Get To Phoenix; Dean sings this with panache and I'm very impressed with Gentle On My Mind which is absolutely wonderful; Dean sings this Glen Campbell hit so well that I actually prefer it to Glen's rendition."

Fool On The Hill – SERGIO MENDES & BRASIL’66****

Fool On The Hill/Festa/Casa Forte/Canto Triste/Upa Neguinho/Lapinha/Scarborough Fair/When Summer Turns To Snow/Laia Ladaia(Reza)

Fool On The Hill provided the final high chart placing from Sergio Mendes & Brasil 66, whose popularity in the States would now begin to tail off. The title track reached No. 3, and Scarborough Fair No. 16, in the US. Britain remained strangely immune to their musical appeal. (US:3)

"His whole Brasil '66 discography is amazing: this is timeless, sweet, slightly exotic music that's upbeat with a hint of melancholy. This great record, leans on two very good covers, but the originals are what's special here. The perfect blend between 60s pop and bossa nova, sweet but not sappy, cheerful but not annoying, and always this sweet, glowing, after-summer vibe."

"Only vocalist Lani Hall remained of the original group. Even with all the changes, the great sound of Brasil '66 continued without so much as missing a beat. Festa is a great uptempo number which highlights the talents of all the group members. Casa Forte will have you dreaming of warm Brazilian beaches, while Lani Hall's searing vocal solo on Canto Triste will give you chills. Lapinha gave us a preview of what was to come with an excellent vocal track by Gracinha Leporace. From the first note to the last, this album will take you on a musical trip to warm, sunny places."

"The Sergio Mendes & Brasil '66 formula on Fool On The Hill was quite simple. Take pop hits like the title track by The Beatles and Scarborough Fair by Simon & Garfunkel, add a bossa nova rhythm, some lavish string accompaniment and the vocals of Lani Hall and Karen Philipp, and you have some easy listening hits."

"I couldn't believe how exciting, timeless and classy this music is. The singing and the instrumentation blend perfectly. Some of the rhythms get complex, yet they come off as smooth as silk in the hands of these great musicians. If you still don't know this music, this would be a great starting place. It is definitely one of their best."

"The two best are Casa Forte and Upa Neguinho, which are as fine as any of the group's original songs as they ever recorded. The best vocals are actually by Gracinha Leporace. You have to appreciate this type of bait, where unsuspecting music lovers pick up an album for the hits and are introduced to the seductive sounds of Brazilian jazz. In the sixties this was the sound of international music."

The Fantastic Expedition – DILLARD & CLARK****

The Fantastic Expedition was the debut album from the country rock duo Dillard and Clark. All but one of the songs were written by ex-Byrds member Gene Clark.

“An all time classic, The Fantastic Expedition Of Dillard & Clark is the first progressive bluegrass album. Doug Dillard's banjo blends beautifully with the songs Gene Clark wrote for this album.”

“This album is one of the great underappreciated masterpieces of American music. Gene Clark and Doug Dillard combined bluegrass, folk and rock sensibilities into an eloquent, emotional, and elevating testimony to life, lost love, and lingering sentiment. This is perhaps the best singing ever done on LP by Clark, who in his official releases was always a fine singer. Dillard's banjo has never sounded so full, yet restrained. The musicians and music on this are truly outstanding.”

“In addition to being one of the seminal recordings of the country rock era, this record is a masterpiece in every regard: great songwriting, great singing (particularly harmonies) and great musicianship.”

“While a lot of country rock aficionados like to place this album as one of the first country rock collections, I prefer to think of it in the context of Gene Clark's discography as both his first masterpiece as a performer and songwriter, as well as the only full album where he's complemented by an instrumentalist with an equally impressive and distinctive personality.”

“Dillard and Clark do certainly take us on a fantastic expedition every time we listen to this disc. Not sure whether it's the transcendent vocals serving the impeccable tunes here or vice-versa.”

“A seminal recording in the genre of country-rock and anyone with even remote interest in this type of music needs to get this, along with anything that Gene Clark did during this time period. The arrangements show a Byrds-like penchant for thick harmony vocal arrangements, but to my ears Dillard and company provide considerably stronger accompaniment.”

Dragonfly – DRAGONFLY***

Blue Monday/Enjoy Yourself/Hoochie Kootchie Man/I Feel It/Trombodo/Portrait Of Youth/Crazy Woman/She Don’t Care/Time Has Slipped Away/To Be Free/Darlin’/Miles Away

Self titled only album release from the Colorado blues rock group Dragonfly. They employed a distorted guitar sound with some hard rock and a dose of psychedelia.

“Anyone who likes the high energy late 60s blues rock sound, simply has to get this, listen to it once, and have their minds blown. Not only are all the songs, completely amazing, but it's right up there with the best, for experimental effects as well, but these songs are all grounded in biker blues, fuzz glory. The vocals are fabulous. If any band today could pull this off, they would all make millions of dollars each.”

“The fuzz guitar is really well-done throughout, the vocals, drumming and even the 60s sounding keyboards are great. However, the best thing about the album is that the song-craft is excellent. These are songs that actually have high-quality composition, melody, production and are almost 'catchy' in terms of being likeable.”

“Dragonfly is fuzzed out psychedelia of the first order. If you like fuzz-laden music with a few quirky twists, this is an LP you must get.

“It encompasses the whole vibe of that era, very much of its time, and rocks with passion. Imaginative songs, with more than competent musicianship. If you really love that era's sound, it is in full force here.”

“Dragonfly's only studio album is a great hard rocking psychedelic record with really nice fuzz guitars and everything. Maybe it's not the greatest totality ever but it is certainly a highly enjoyable record for every psych fan out there.”

“This is mostly pedestrian hard rock, with some psychedelic studio flourishes (backwards tape loop, laughter, abrupt changes and weird passages). The playing and singing are good and the energy and drive are there. There is an undeniable spark, but the songs are just not very strong. Blue Monday and Enjoy Yourself are probably my favourites here since they stick to the successful uptempo, hard blues stoner rock formula, but then their efforts to expand the sound don't really come together. Dime-a-dozen stuff, really.”

Promises Promises – DIONNE WARWICK****

Promises Promises/This Girl Is In Love With You/Little Green Apples/Where Is Love/Who Is Gonna Love Me/ Whoever You Are I Love You/Where Am I Going/Wanting Things/Lonely In My Heart/Yesterday I Heard The Rain

Promises Promises consists of several Bacharach-David songs, along with covers of recent hits. The title track, taken from the Broadway musical, was a US No. 19 hit single and This Girl's In Love With You, a US No. 7. (US:18)

"This music is achingly beautiful. Each song epitomizes the classic Dionne Warwick 'sound', that brand of sweetly melancholy romantic melodies and arrangements."

"One of the most original voices and smartest phrasings I have ever heard in popular music. Her repertoire here takes the best and the worst from Bacharach & David team along with some other authors."

"No one, but no one, did (or does) Bacharach/David music like Ms. Dionne Warwick. This album captures the songwriters at their creative peak, and Dionne at the apex of her vocal and interpretive powers. There are also covers of popular songs of the day such as Where Am I Going that are superb. If Dionne isn't the Queen of Champagne Soul, I don't know who is. This is lounge music at its finest."

"Promises Promises is a real pearl, simply brilliant Bacharach-David at their best, and Bacharach's arrangements are pure fire. Also Bacharach-David's originals Who Is Gonna Love Me, and Whoever You Are I Love You and pure gems. Dionne, one of the greatest singers ever, makes a piece of easy-listening fluff into an emotional experience, finding the grit and soul of the lyrics and interpreting in her inimitable style, flawless timing and phrasing."

"She's retreated from the last album's orchestra excess to a refined, even-keeled stream of easy listening. It's nothing radically different than before (save the lite-soul groove of Little Green Apples), but her voice is certainly less dynamic. Instead of her classic tone, full of depth and presence, Warwick has opted for a more austere, distant sound. And while this change results in crisper fortes and a smoother higher register, her yearning lacks its former effortlessness."

"While it's generally superior late-'60s pop-soft soul (emphasis on pop and soft), a bunch of covers and show tunes come off as padding."