Those Who Are About To Die Salute You – COLOSSEUM***

Walking In The Park/Plenty Hard Luck/Mandarin/Debut/Beware The Ides Of March/The Road She Walked Before/Backwater Blues/Those About To Die

Those Who Are About To Die was the debut album from the British blues/jazz group Colosseum, who enjoyed a relatively short lived success at the turn of the decade. (UK:15)

"This one is an early example of prog jazz/rock fusion, and features some blues driven tracks and extended instrumental improvisation, though not much period flavour. This is not necessarily a bad thing, but it sounds ahead of it's time."

"Heckstall-Smith always knew how to keep a tight horn unit, and the Hammond organ adds to the unique quality. My only beef are the meandering blues vocals." "One of the quintessential prog bands and for instrumental ability they spread themselves a little thinly across albums."

"By Colosseum's standards, this record is quite poor. The melodies are weaker than usual, and the performance seems less intense, although the album has its moments. The closing track, Those About To Die, is exciting, and the same thing could be said about Beware The Ides Of March. The record as a whole, however, is inessential."

"Your basic British blues/jazz acid rock mix, with lots of honking sax and Hammond buzz, but little in the way of real songs. Plenty Hard Luck and Debut are both blues based noodlers, while Those About To Die uses a jazzy/R & B base to squeeze out some more solos, none of these being very attention holding. Sixties freaks might find something to salvage in these ruins, others might want to pass it by."

"This debut album is all you would expect from a band featuring musicians, most of whom had served their apprenticeships with the likes of Graham Bond and John Mayall. Colosseum used this grounding to create a fusion of blues, rock and jazz which was often copied but never bettered. From the opener, Walking In The Park to Those About To Die which closes the album, Hiseman and co. deliver a top quality set which, while tight, allows individuals room to experiment."

"The band is a modestly significant slice of rock history, though hardly revelatory."

The Gilded Palace Of Sin – THE FLYING BURRITO BROTHERS***

Christine’s Tune/Sin City/Do Right Woman/Dark End Of The Street/My Uncle/Wheels/Juanita/Hot Burrito No. 1/ Hot Burrito No. 2/Do You Know How It Feels/Hippie Boy

The Flying Burrito Brothers were a country rock band formed by two exmembers of The Byrds, best remembered for their influential but overrated debut album The Gilded Palace Of Sin. (US:164)

“It contains some good enjoyable country rock. Definitely pleasant to listen to, but nothing amazing. The singing is pretty good, and the band created some catchy melodies. There is a mix of more upbeat tunes but many ballads are also present, which can get a bit boring. Instrumentation ranges from guitars to violins, and at times it really sounds overly melodramatic.”

“I was very eager to hear this album, but it ends up disappointing me, perhaps because of unfulfilled expectations. Like many other overrated albums, the fame is greater than its originality. Country-rock well played and well sung, but no major attractions.”

“About three quarters great and one quarter dull. I love the sound of the authentic style country songs. I really wouldn't even call them country-rock but just old school honky-tonk style country, of which I'm a fan. Some of the more rock oriented tracks really aren't that good though and bring the album down a little.”

“The album is endlessly listenable: the melancholic beauty of the pedal steel guitar wrestles with an omnipresent sanguine energy on the standout Christine's Tune. Wheels is a superb country ballad with a tremolo effect that adds a pleasant piece of psychedelia. Dark End Of The Street is probably the closest thing on this album to rock 'n' roll, but it still retains a genuine rootsy charm. All of the songs here are at least above average and a few of them flirt with transcendence. Gram Parsons was and still is an unsung genius of American roots music.”

“There is no real revolutionary amalgam of sounds here, instead the listener may be surprised to hear that the shaggy hippies depicted on the cover are more often than not attempting to achieve authentic country sounds. The boys crank up the tempo on occasions, but overall the tunes are simple and the arrangements rustic.”

Taste – TASTE****

Blister On The Moon/Leaving Blues/Sugar Mama/Hail/Born On The Wrong Side Of Time/Dual Carriageway Pain/ Same Old Story/Catfish/I’m Moving On

Self titled debut album from the Irish blues rock trio Taste that launched guitarist Rory Gallagher, who would enjoy a successful solo career in the early 1970s. (US:133)

“The first 'taste' of Rory Gallagher given to the world. And, indeed, the focus really is on him and his guitar prowess. Most of the material showcased on their debut sticks to what was the ‘white’ sound of the times during the late 60s - bluesy jams like Catfish and the proto-hard rock of Blister On The Moon.”

“Taste was an electrifying band that somehow managed to avoid most of the typical 'white-guys-trying-too-hard' blues rock trappings to deliver several potent albums. Their immediate and intense style was more akin to Hendrix than just about anybody else - but with a driving, unified band sound.”

“This is a good hard rock blues album, Gallagher's guitar playing is top notch and he could write some good songs too. Born On The Wrong Side Of Time has a great riff and equally good lyrics and hook line making it a classic. Sugar Mama is a blues classic that all the legends would have been proud of. Overall its a consistent album, and a razor sharp debut, that launched Rory to stardom as one of the greatest blues players of the 1970s, with his distinctive sound and catchy riffing.”

“About half of it is traditional blues covers, and the other half is penned by Gallagher himself. And all of it is highly entertaining and delivered with enough ferocity. Rory doesn't go treading the blues with reverence - he plays it as dirty, loud and as fast as possible.”

“Here in the first album by Taste there is Rory Gallagher's masterful guitar playing, not only electric but acoustic and bottleneck. Six out of the nine tracks are written by Rory who was only nineteen at the time. Once you have heard this Taste album you will want to hear the others. Rory Gallagher was not only a great guitarist but was equally at home with harmonica and saxophone.”

“Mostly very heavy, blues driven power-trio hard rock, and reasonably consistent as well.”

Stand! – SLY & THE FAMILY STONE***

Stand/Don’t Call Me Nigger Whitey/I Want To Take You Higher/Somebody’s Watching You/Sing A Simple Song/Everyday People/Sex Machine/You Can Make It If You Try

Sly & The Family Stone played a key role in the development of a more funkier sound for soul music that became mainstream during the seventies. Alas, with its repetitive rhythm, this change of direction would have a seriously detrimental impact on the quality of popular music generally. Stand! includes the US No. 1 Everyday People. (US:13)

"Imagine how different music would've been without Sly and The Family Stone. There'd be no Prince, no Michael Jackson, and most of all no disco. The music changed the world as we know it, and put revolutionary politics into funk music. The music itself is some of the greatest dance music ever recorded. The band has incredible harmony. This is certainly a mixture of the music of the past and the future. Sly took R & B and soul, made it heavier and psychedelic with more random tempo changes, which paved the way for 70s funk and disco."

"For me the value of this funk masterpiece is really questionable. Sly turns almost every track into loose jam session just hoping that the power of musical craftsmanship alone will take these songs somewhere. But it doesn't. Sex Machine stands as a true momentum for failed ideas on how funk should sound. It is way too long without anything that could get the listener's attention."

"Stand! has a perfect opener with sweeping gospel vocals. Some parts feel a bit repetitive, and tracks like Whitey and Sex Machine leave me feeling bored near the end. Nevertheless, Stand! communicates some politically important messages still relevant today; it's moralising and also funky as hell."

"Sly & The Family Stone were one of the greatest bands of all time. Funky and hard, they played with a lot of soul as they mixed psychedelia, funk and melodic 60s rock together in a stew that was as appealing to Motown fans, black panthers and hippies alike. Packed with great tunes, smart production and incendiary playing the record goes for your heart and your feet in equal measure."

"Behind the funky sound and the catchy melodies, Sly Stone was writing songs with a cohesive social consciousness. Stand! is an overt effort to bridge the gap between black and white audiences, not to mention a precursor to the disco movement."

Volume 2 – THE SOFT MACHINE***

Pataphysical Introduction Pt 1/A Concise British Alphabet Pt 1/Hibou Anemone & Bear/A Concise British Alphabet Pt 2/Hulloder/Dada Was Here/Thank You Pierrot Lunaire/Have You Ever Bean Green/ Pataphysical Introduction Pt 2/Out Of Tunes/As Long As He Lies Perfectly Still/Dedicated To You But You Weren’t Listening/Fire Engine Passing With Bells Clanging/Pig/Orange Skin Food/A Door Opens & Closes/10:30 Returns To The Bedroom

Follow up album from Canterbury’s Soft Machine whose music might be described as progressive jazz fusion. It is highly experimental comprising two long instrumentals interspersed with shorter interludes.

“Including two epics, Rivmic Melodies, which takes up the entire first side, and the mostly-instrumental Esther's Nose Job. Incorporating a heavy dose of jazz into their sound, The Softs defined their own unique variety of fusion.”

“I can understand being experimental. I can understand being cryptic or obtuse. But what are you shooting for when you recite the alphabet? The music is somewhat interesting. A fair attempt, but their Third is much better.”

“A stream-of-consciousness set to music. My favourite in their discography. Jazzy psychedelic, arrogantly intellectual and typically British.”

“The Soft Machine’s Volume Two is one of the most unique and eccentric British LPs from the late 60s. On this album they co-habit quite comfortably whereas, on Third, the house is partitioned and they live separately. Still, it's this blending of instrumental virtuosity and British absurdist humour that laid the foundation of the Canterbury style. Other groups may have done it better, but this was the blueprint.”

“This is not a very long album and can be experienced as one long track with interlocking parts. Instrumental passages and fragments act as a glue to pull together a handful of ingenious songs, incorporating them into something that is, perhaps, greater than the sum of its parts. Not that there's anything dressed-up about it, the avant-garde sections complement perfectly the more structured parts. It also helps that side one and two both start out with a common theme, and that Wyatt sometimes comments on the music.”

“Volume 2 perfectly balances the psychedelia of their debut with the jazz-rock leanings of the follow up Third.”

On The Threshold Of A Dream – THE MOODY BLUES*****

In The Beginning/Lovely To See You/Dear Diary/Send Me No Wine/To Share Our Love/So Deep Within You/ Never Comes The Day/Lazy Day/Are You Sitting Comfortably/The Dream/Have You Heard Part 1/The Voyage/ Have You Heard Part 2

On The Threshold Of A Dream shows The Moody Blues moving closer to the rock mainstream, with a little less of the mysticism of the two previous releases. (US:20 UK:1)

"All the tracks have the same vibe, that being a soft and melodic song that is fairly simple in structure but high in melodic content. The music is very much a product of it's age and highly imbued with a middle-class hippie ethic; spoken passages intertwine with lots of acoustic guitar, flute, mellotron and great harmony vocals."

"Perhaps the best structured Moody Blues' album, with a bunch of lighter songs preparing the ground for the magnificent peak of the Have You Heard/Voyage suite."

"The Moody Blues are one of those rare groups where the music transports you to a better place. The songs on this album do that as powerfully as any of their other albums, with no weak moments anywhere to affect the experience."

"After only a few listens On The Threshold Of A Dream became yet another fantastic listening experience courtesy of The Moodies. Of course, like all of their albums, the combination of excellent vocal harmonies, and heavy use of the mellotron won me over. Overall, this is a fine example of progressive rock and shows The Moodies delving ever further into the exploration of philosophical/spiritual themes."

"I am somewhat surprised that neither this, nor any Moody Blues album, is listed on the 'essential recordings' list. As much as any other album of the late 60s this album captures the feel of that time. Certainly far more contemplative that Hendrix or Zeppelin, Threshold Of A Dream demonstrates the spiritual essence of those days of uncertainty."

"Few in my generation have not experienced the magic of this album. Every song is gold, and the continuity between the songs is perfect. The blending of rock and roll with classic orchestral instruments is perfection. Every ballad is a work of beauty."

"The previous exotic eastern sound is absent in this album, replaced with lyrical melodies and, in some tracks, a stronger bass line."

My Way – FRANK SINATRA****

Watch What Happens/Didn’t We/Hallelujah I Love Her So/Yesterday/All My Tomorrows/My Way/A Day In The Life Of A Fool/For Once In My Life/If You Go Away/Mrs Robinson

For modern audiences My Way is undoubtedly Frank Sinatra's best known song, defining the singer's approach to life. The famous title track peaked at No. 5 in the UK during an exceptionally long chart run. (US:11 UK:2)

"By 1969 when this album was recorded, the market for standards had dwindled to near zero, the music business being completely dominated by rock. Sinatra, as did many of his contemporaries, tried their best to appeal to a younger audience, while at the same time, not deserting their base. The My Way album was one of the most successful attempts to blend contemporary material with the patented Sinatra style, being aided and abetted by some nice arrangements from Don Costa."

"My Way is not Sinatra's greatest album, but it is an absolutely essential purchase because it includes the song that defined his life, music and philosophy. There is no other song in the Sinatra discography that more perfectly defines, summarizes, and musically states what Frank was all about. Paul Anka wrote this song especially for Frank, and it immediately became the signature song for the rest of his career. This album was recorded in 1969, and it was an attempt by Frank to incorporate contemporary standards into his body of work. He covers songs by The Beatles, Rod McKuen and Paul Simon, but My Way is the song that makes this album an integral part of the Sinatra canon."

"This may not be one of Sinatra's better albums, but it certainly isn't his worst, if there is such a thing as a bad Sinatra album. The numbers are contemporary and Sinatra gives fine performances here. Some reviewers don’t much like Mrs. Robinson but I have to say that I do, and it is very much a Sinatra song. Sinatra sounds like he is having fun with the tune, and it's fun listening to him."

"My Way is essentially a successor, in terms of tone, orchestration and vocal performance, to its predecessor Cycles, a pleasing collection of songs, mostly contemporary, delivered with great style and panache. Sinatra's song choices, when he ventured into covering pop/rock hits, were not always felicitous but on this occasion he is spot on. The song My Way must be one of the three or four most famous recordings in popular music history."

Mendocino – SIR DOUGLAS QUINTET***

Mendocino/I Don’t Want/I Wanna Be Your Mama Again/At The Crossroads/If You Really Want Me To I’ll Go/And It Didn’t Even Being Me Down/Lawd I’m Just A Country Boy/She’s About A Mover/Texas Me/Oh Baby It Just Doesn’t Matter

The Texan rock group Sir Douglas Quintet enjoyed a short lived commercial revival with the minor hit single Mendocino. They were noted for melding Texan and Mexican music into a sub-genre known as Tex-Mex. (US:81)

“All the eclectic elements that Doug Sahm would return to again and again are here - Tex-Mex, country, blues, soul - with perhaps a stronger psychedelic rock influence than anything that came later. Although everything he recorded - at least that I've heard - is worth spending some time with, I don't think he ever reached the passion present in these songs, and it is beyond comprehension that he is not better known. There are no weak songs here, and each works in such a different way.”

“This is Tex-Mex with a garage sound. The mix is inventive. The sound is a lot more spare. The more I hear Mendocino the more I realize how inventive this music was. The mix of blues, garage and Mexican influences is quite a fusion.”

“Sir Doug was seminal to the revival and appreciation of Texas music in the 1970s and this is the precursor to and, maybe the best - certainly, the purest - manifestation of his vast body of work.”

“The music on this album is a mix of surprisingly many styles, but mostly country rock. That is slightly inaccurate though, because a lot of this material is something else. There are a few cuts of psychedelic rock/garage rock flavoured stuff and some minor soul moves in one or two songs.”

“Somewhat lightweight R & B and country flavoured pop, with guitar, that cheesy sounding organ they always use, but with a good period flavour.”

“At a time when psychedelia was burning out, Doug Sahm tossed out this wonderful anachronism. Sahm and the Quintet were always distinguished by their genrestraddling countrified soulful swamp rock, but here the diversity is in full bloom. Influences abound, from Ray Charles to the beautiful Tex-Mex styled ballads, to hard hitting honky-tonk, to horn-driven white soul garage rock.”

Beginnings - AMBROSE SLADE***

Genesis/Everybody's Next Ones/Knocking Nails Into My House/Roach Daddy/Ain't Got No Heart/Pity The Mother/Mad Dog Cole/Fly Me High/If This World Were Mine/Martha My Dear/Born To Be Wild/Journey To The Centre Of Your Mind

As the title would suggest Beginnings is the debut album from the Wolverhampton group that would soon shorten their name to Slade. Their change of direction would lead them to become the most popular group in Britain during the early seventies.

"It's certainly not mind blowing, but a very admirable debut, to say the least. Due to a considerable diversity of material, the album is difficult to pigeon-hole. On many of the cuts, one can hear a distinct mid-60s British sound with strong Who influences. Also present are some blues, rock and even some prog moves here and there, particularly on the instrumentals that begin each side."

"Propelled by Holder's craggy voice, musically the set was fairly diverse, the band taking stabs at a number of genres, including atmospheric instrumentals, conventional hard rock, psychedelia and even a Motown cover. While the LP is a minor collectable, it's hard to see what the excitement's about. The twelve tracks are certainly competent; occasionally quite entertaining. That said, the set wasn't particularly original, or memorable."

"Ambrose Slade presents a bunch of covers combined very boldly. Holder even sometimes doesn't sing like he swallowed a rasper before the recording. A very coloured record and not a bad one for a starting band, despite the fact that most songs are covers."

"As Ambrose Slade they are a hippy-ish, pre-Chas Chandler sixties group. Noddy sings out of tune on occasions. But all is forgiven: the songs ooze a special energy that eventually got transformed into the boot stomping Slade of the '70s. Although Beginnings is no classic, it is worth buying just for the novelty of hearing Slade cover The Beatles."

"This is Slade at their earliest, and it is obvious to the listener that there was a great deal of experimentation going on during recording, as if the band were still trying to define their own personal style. There is none of the light-hearted stomp along pop rock that most people associate with the band."

Memphis Underground – HERBIE MANN****

Memphis Underground/New Orleans/Hold On I’m Comin’/Chain Of Fools/Battle Hymn Of The Republic

Jazz flautist Herbie Mann consistently dented the lower reaches of the US album chart between 1962-1979 but without much impact on the top twenty. The only exception was Memphis Underground. (US:20)

"I can see why this went over so well with the public. Fun, lightweight soul/R & B covers (and one original in a similar vein) are done in an upbeat, funky style. The Memphis rhythm section is more than competent, laying down rock-solid soul grooves for the four main soloists; Herbie Mann, Roy Ayers, Larry Coryell and Sonny Sharrock. The main thing preventing this from a better rating are some of the tunes, which are somewhat on the bland side."

"A rather floating, relaxed and funky session with a steady groove and some great guitar. Quite enjoyable, Memphis Underground was the album that shook acoustic jazz, because it was the first 'closing of ranks' with rock, since (heavily distorted) electric instruments - formerly only used in rock - appeared for the first time in jazz."

"This album is priceless. It can be enjoyed by any true music fan, specifically since it bridges the gap between jazz and pop, or as here, jazz and soul. Imagine Booker T & The MGs with a flute player, and you're getting close to the sound of this amazing album. It's the kind of album that you can listen intently to every note, or put it on as background music, and it's all good. The songs have that driving soul feel to them."

"One of Herbie Mann's best albums. The title track Memphis Underground is a real soul-jazz high point. A seven minute solid driving tune, where the lead instruments never impose over the rhythm section. Rest of the album's pretty good too."

"This is a well-made late '60s jazz-pop album played by solid musicians and the title track is infectious and bears repeated listening. I think that Mann is not an all-time great flute player, but he is a very good one and he's at his best when he gets to work in an easy, lazy groove, like the title cut or Chain Of Fools. He has a nice languid style that brings out the essence of the tunes."

"Lots of R & B feel and some wondrous jazz riffs. The guitar and vibe sound great with Mann's flute, and the rhythm section is rock solid."

Let Us Go Into The House Of The Lord – THE EDWIN HAWKINS SINGERS***

Let Us Go Into The House Of The Lord/Jesus Lover Of My Soul/To My Father’s House/I’m Going Through/Oh Happy Day/I Heard The Voice Of Jesus/Early In The Morning/Joy Joy

The Californian gospel group The Edwin Hawkins Singers enjoyed a top five hit single on both sides of the Atlantic with Oh Happy Day. This boosted the sales of their album Let Us Go Into The House Of The Lord. Further chart success would elude them. (US:15)

"This LP will remind you of an actual service on Sunday morning in a Black church with a strong youth choir. You can almost see the sisters with their elaborate hats and little girls with Shirley Temple curls when you listen to this one. This was recorded live at the Ephisian Church of God in Christ in Berkely, Ca. in June 1968 on an old-fashioned Ampex recorder. Yes, crude technology for the audiophiles, but it gives a down-home feeling that's part of the charm. If you can listen to Oh Happy Day, In My Father's House, I'm Going Through etc. and still be in a bad mood, then you really have problems."

"Most folks of boomer age will instantly recognize Oh Happy Day as a popular radio tune. Moving into the album from track one you get a rich, mellow piano intro and choral blending of House Of The Lord, an instant balming wash of goodness. A couple of fast clappin' numbers later you are at my favourite Joy Joy. If you are looking for some Godly assistance, this tune is a magical blessing you should take a moment to enjoy. I get teary-eyed just thinking of how much you and I need this kind of music in our lives."

"One of the best black gospel albums ever. Feel the power, the spirit, the groove, the enthusiasm, the authenticity. Great stuff. You'll be humming all day. You won't stop playing it for months. It is one of those albums."

"This music consists mostly of a large gospel choir with various soloists, piano and organ. The hit track Oh Happy Day was huge for the group. The song is indeed uplifting, with a joyful performance by the singers and a lovely solo by a huskyvoiced female. Joy Joy is a piano-driven ballad about enduring the hardships of life and looking forward to the joy that comes afterward. It's one of my favourite songs. There isn't a bad song on the album, and I highly recommend it."

It’s Our Thing – THE ISLEY BROTHERS***

I Know Who You Been Socking It To/Somebody Been Messin’/Save Me/I Must Be Losing My Touch/Feel Like The World/Its Your Thing/Given The Women What They Want/Love Is What You Make It/Don’t Give It Away/He’s Got Your Love

It’s Our Thing, the first release on their own T-Neck label, allowed the soul group The Isley Brothers a much greater degree of artistic freedom. It features the Grammy winning US No. 2 hit single title track. (US:22)

“The band's instincts to move towards a funkier feel and a more prominent horn section appeared to intersect perfectly with popular tastes at the end of the sixties.”

“This is The Isley Brothers first release on their T-Neck label and it turned out to be a classic by them too.”

“Not a full on funk album in the way many might understand it. But with its mixture of gospel based Southern soul ballads, heavy grooving funk and uptempo horn based soul this is one of those records that made funk open to all.”

“This is one of many perfect Isley Brothers recordings. This is the early part of their career before the 70s funk becomes the common sound for The Isleys. The old school soul is nice and familiar, not a bad song in the bunch. The funky Isleys are much more fun, but the early recordings will not disappoint.”

“A great sweaty, hard rocking funk-soul album. It just swings so mightily.”

“The Brothers put their new found autonomy to hard socking, gospel, funk-filled use on their first T-Neck album. Built around the riveting, peerless title track this LP consists of more super sweaty funk workouts, some down home soul wailing and a few achingly beautiful slow ditties. A powerful, rough, funky album that spells out soul.”

“Creatively, this excellent LP put the siblings in the driver's seat - they did all of the producing and songwriting themselves. They enjoyed the type of artistic freedom that they could only dream about when they were with Motown. It's Your Thing was a commercial triumph as well as an artistic one.”

It’s A Beautiful Day – IT’S A BEAUTIFUL DAY***

White Bird/Hot Summer Day/Wasted Union Blues/Girl With No Eyes/Bombay Calling/Bulgaria/Time Is

The self titled debut album from the San Francisco progressive group It’s A Beautiful Day demonstrated plenty of hippy-dippy idealism but was let down by an absence of decent tunes. (US:47)

“Well, it may be a beautiful day but it's also a bit of a noodle after the first couple of songs. Whilst well played, the songs have a habit of overstaying their welcome; especially the final cut Time Is which includes the obligatory 1969 drum solo.”

“Distinctly west coast flavoured rock with male/female vocal duets, and featuring guitar, organ and electric violin, which yields a mild progressive element. Though some of these tracks are long and trippy, overall, psych influences are minimal.”

"White Bird is the definitive track on It's A Beautiful Day's debut record. The only other notable bit is Bombay Calling which deeply influenced Deep Purple's Child In Time. The album is a bit hippy, trippy and extremely mellow, and it is nice to hear a pop record with the violin in the forefront.”

“There isn't too much to like here. White Bird is an OK track, and Bombay Calling is very well done. Unfortunately there isn't much else here that is memorable.”

“Forgotten for a good reason, because they sound incredibly average. In fact, it sounds just like a folked up version of Deep Purple. This band goes into long extended progressive folk jams, instead of heavy metal jams. Equally boring though.”

“The album starts with the group's signature song, the bossa nova-inflected White Bird. Hot Summer Day is perhaps the least distinctive track, but still good, with a nice flow to it. Wasted Union Blues is the closest thing to a standard rock song, and seems a bit jarring, but it does provide variety. Girl With No Eyes is a quiet, eerie waltz, with lyrics that have the feeling of dream imagery. On Side B, the prog takes over. Bombay Calling is instrumental, with a vaguely Middle Eastern feel. Bulgaria is very slow and dreamlike, and Time Is is hard-driving and frantic.”

“One of the best artefacts of the long-haired age of rock. Lots of great violin work, good vocals, melodies and jamming guitar.”

Hits Of Gold – THE MAMAS & THE PAPAS*****

California Dreamin’/Dedicated To The One I Love/Safe In My Garden/Dream A Little Dream Of Me/Spanish Harlem/My Girl/Do You Wanna Dance/Monday Monday/Dancing In The Street/You Baby/I Saw You Again Last Night/Creeque Alley/California Earthquake/Twist & Shout/Look Through My Window/Glad To Be Unhappy

Hits Of Gold was the first of many compilation albums from The Mamas & The Papas, the hippy harmony group right slap bang at the centre of the sixties music revolution. (UK:7)

"There are names in music that stand amongst the giants. Great songs that eventually become classics, because they are literally a piece of artwork, audio art. The Mamas and The Papas are for sure, one of those artists that can claim the title of immortal rock gods, the sweetness of Mama Cass, the wonderful harmonies and haunting lyrics are forever captured here on this album. The Mamas & The Papas have withstood the test of time and still sound amazing."

"The Mamas & The Papas sound helped define the 1960s. Their breezy folk classics had a bit of San Francisco psychedelia woven in and, despite the sweet harmonies, there was also a noticeably dark feel to some of their more popular work. California Dreamin' and Monday Monday both utilized enough minors to give them a spooky edge. Dedicated To The One I Love is almost ironic for its tenderness, considering the turmoil that rumbled through the band's interrelationships. Listening to this collection reveals that the late great Mama Cass was their heart and soul."

"The Mamas & The Papas had, and still have, one of the best sounds in folk rock. When you play their music, it has a uniqueness that makes you want to sit back and reminisce about a time when music was re-defining itself. Each song makes you want to hear it over and over again. Great group for all ages to enjoy, including future generations."

"Take a trip back and enjoy the wonderful music and harmony of one of the greatest singing groups to ever stand before a microphone. I cannot imagine anyone not enjoying these magical sounds."

"The Mamas & The Papas were a great Southern California band that routinely cranked out timeless tunes that resonate with young people of any time. Even today this music has an appeal to young people. They had a sound all their own, a unique blend, a harmony of at times melancholy beauty."

Hawaii Five-0 – THE VENTURES***

Hawaii Five-0/Lovin’ Things/Galveston/The Letter/Don’t Give In To Him/Theme From A Summer Place/Spooky- Traces-Stormy(Medley)/Aquarius-Let The Sun Shine In(Medley)/Games People Play/I Can Hear Music/Dizzy

Hawaii Five-0 was the final top twenty album from the world's most successful instrumental group The Ventures, sales boosted by the top five theme tune to the TV series. (US:11)

"Hawaii Five-0 was The Ventures second biggest hit of all time, so it was natural to title an album after it. The album generally employs a 'softer' sound than the group had previously employed, plus there is a horn section. The album overall is not that exciting, although they do a good version of Aquarius/Let The Sunshine In, as well as the classic title track."

"A comparatively weak selection of material, and the addition of horns in the production, yield one of their poorest offerings to date."

"The songs from the Hawaii Five-0 record are all very well arranged with a full horn section."

"Hawaii Five-0 was part of a string of albums by The Ventures in which their style, along with their personnel was changing. Guitarist, Nokie Edwards left and Gerry McGee came in and The Ventures new sound was born. It was not much different from their old style, but anyone could tell the differences between the Telstar and Hawaii Five-0 albums. This was the third change in The Ventures musical style. They went from surf, to pop/rock, and then to more aggressive, but tame rock. This wouldn't be the last change. Anyway, this album isn't that bad, and an early Ventures fan would like it too. The group does a beautiful version of Aquarius/Let The Sunshine In."

Folkjokeopus – ROY HARPER***

Sgt Sunshine/She’s The One/In The Time Of Water/Composer Of Life/One For All/Exercising Some Control/ McGoohan’s Blues/Manana

Folkjokeopus was the third album from British folk rock singer Roy Harper. The extended track McGoohan’s Blues was a tribute to the actor Patrick McGoohan, star of the inscrutable TV series The Prisoner.

“Roy's third, and while nowhere near being his best album, it remains a personal favourite particularly for McGoohan's Blues inspired by The Prisoner. A couple of tracks here are a bit weak but that doesn't matter.”

“A bit of an improvement over its predecessor, this is still folk driven rock, but with some prog flavour and strongly reminiscent of early Bowie.”

“This is one of my favourite Roy albums. I love Sgt Sunshine and the sprawling McGoohan's Blues the best. It flows well from beginning to end. It's still a transitional album, but the experimental tracks (Composer Of Life/In The Time Of Water) wear their influences on their sleeves (Incredible String Band predominantly) and thus seem the weakest songs here in hindsight. But all in all a very fine effort, and a very listenable one.”

“A good album from Roy, strictly division one, but none the less still better than most of his peers. Not capable of making a dull album, full of quirky songs and bitter words with real venom on his political outings.”

“This is the album that established a personality for Harper. Despite the usual standout tracks, this album lacks a lot of steam and flow of some of Roy's other releases. It hasn't stood the test of time terribly well, nor is it a very chic relic from the past. Sgt. Sunshine and Exercising Some Control are my picks on this one, though a lot of Harper fans point to McGoohan's Blues.”

“Roy Harper's third album, Folkjokeopus, is everything its three-part title makes it out to be, mostly folk music, sometimes with a bit of folk rock, it contains a song that can only be described as an 'opus', and it's full of jokes. In many ways, this formula isn't very different from most Roy Harper classics, but this time around the joke material is spotty and, while the opus is classic, Folkjokeopus is wanting for more strong songs than it actually has.”

Suite For Susan Moore – TIM HARDIN***

First Love Song/Everything Good Becomes More True/Question Of Birth/Once Touched By Flame/Last Sweet Moments/Magician/Loneliness She Knows/The Country I’m Livin’ In/One One The Perfect Sum/Susan

Suite For Susan Moore was the first album from folk singer songwriter Tim Hardin after moving to the Columbia label. Unfortunately the move does not appear to have stimulated his creativity judged by this introspective and disjointed release. (US:129)

“One of those records I was the most disappointed by, too introspective, not enough instrumentation, too difficult to come into, too disjointed with nothing catchy. I prefer all his other output.”

“I have to be honest and say I struggled with this a little. Partly down to the spoken word segments which I don't think do the album any favours at all, particularly the last part Susan which is plain awful. There is no doubt that Tim Hardin was a fine songwriter, but I think I may just have to bracket him with the performers whose songs I prefer covered by others.”

“Dense, volatile, hurt or broken. This Suite For Susan Moore can be associated with all these adjectives. This musical exorcism bubbles over with pain in every groove. Pain with no filter or control. This was supposed to be an elaborated concept album about love and hate, benefiting from a misty atmosphere filled with echo, but doesn't survive the recitations - tedious rather than poetic, nor, and this is the worst, the more than nine minutes of One One The Perfect Sum. Awful, to put it simply. Yet, the record is quite interesting. A hazy artefact.”

“An intensely personal album full of dark and disturbing reflections on love and family, the results often sounded like little more than a series of improvised rehearsals that Hardin and company had stitched together to form an album. There wasn't a great deal of conventional material to be found here.”

“The music that this man made, and the way he sang, defied all classification. He could veer towards folk, blues and jazz with wonderful results and at the same time he could combine all of them in a rather singular blend accompanied by his distinctive voice. This album shows that even when under a dry spell Tim was a very sensitive and complex songwriter. Complex in the sense that his voice is added as an extra instrument and can carry a simple tune to incredible heights.”

Green Is Blues – AL GREEN***

One Woman/Talk To Me/My Girl/The Letter/I Stand Accused/Gotta Find A New World/What Am I Gonna Do With Myself/Tomorrow’s Dream/Get Back Baby/Get Back/Summertime

Green Is Blues was distinctive American soul artist Al Green's first album on the Hi label. His innovative musical approach would result in a huge surge in popularity during the early seventies. (US:19)

“Very nice and gritty Hi debut. This has some original songs along with lots of soul. I just love this sound with the groovy Memphis horns. His hits would appear on later albums, but this album here is just as great as those.”

“I'm probably being a little hard on him here, but Al Green is not yet Al Green, rather a pretty strong soul singer putting himself through the paces, emulating his heroes and covering a wide variety of material. The stylistic shifts tend to show off his incipient skills as well as those of producer Willie Mitchell, but it's clear they're both trying to emulate the Stax sound and have yet to find Green's true calling. Nevertheless, this is a nice early disc, worthwhile for admirers of his ’70s sound.”

“While it wasn't Green's best release, 1969's Green Is Blues deserved notice as the true start of what would be an amazing partnership with producer/writer Mitchell, The Memphis Horns and The Hi Rhythm Section. The album has more than it's share of treasures and is well worth checking out. It doesn’t sound anything like the silky smooth 'love man' persona Green rode to mega sales in the mid-1970s.”

“This album has got some stylish interpretations of classics like My Girl, Get Back, Summertime, The Letter and Talk To Me that truly put a fresh spin on them. The other material is pretty decent Motown like arranged soul songs and all sound nicely performed. Definitely some interesting choices for the way things are arranged and they pretty much all work really well. Obviously Al's awesome voice is the reason for tuning in here, and considering this is one of his first releases it's pretty competent. It's just that compared to the personality that he developed on his follow up or even his classic works, this just doesn't quite measure up.”

“A grittier side of Al, before the slinky Philly sound gelled. This sounds like Al fronting the Stax house band. The covers are so-so, but overall, this is Al with some edge. A refreshing taste of the emerging artist, just before the hit machine kicked in.”

Family Entertainment – FAMILY****

The Weaver’s Answer/Observations From A Hill/Hung Up Down/Summer 67/How-Hi-The-Li/Second Generation Woman/From Past Archives/Dim/Processions/Face In The Cloud/Emotions

Family Entertainment was the follow up album from idiosyncratic British progressive group Family and is similar in character to their first. Future releases would not be to the same standard. (UK:6)

"Family were an act with an enormous amount of potential, but they mixed the very good by sailing far too close to the forgettable on a few occasions. The combination of musicians on their second album weave a fine blend of instrumentation, but the truth is the band truly peaked after two albums. Family Entertainment is a collection of semi psyched up progressive rock, with some finely layered tunes merged with a kind of filler, a real disposable filler, but luckily the good moments on this effort make it a worthwhile album and outweigh the weak spots."

"The group picks up where Music In A Doll's House left off, moving beyond psychedelia and pushing toward folk, country, and straight rock - very diverse influences here. Second Generation Woman is a fast, irresistible rocker that shows just how they could tackle any kind of music with great skill and dexterity. Other favourites are The Weaver's Answer and Hung Up Down - both show Roger Chapman's bleating growl in spades."

"To succeed during that time, a band had to really deliver the goods; be exciting, different, consistent and play with unparalleled enthusiasm. Family never sacrificed any of these prerequisites for commercialism or predictability and delivered an essential and riveting set of songs that wove their magic spell."

"A fine follow-up to their debut, perhaps just a wee bit off the pace, but quite delightful nonetheless. Again, very diverse, with styles ranging from standard rock, to pop, to country, and even eastern flavoured material, psych influences and some use of strings, all with good period trappings."

"As progressive rock evolved, one section turned to the complex structure, another to the magniloquent atmosphere. Family belonged in the latter group, typified by the theatrical flavoured progressive rock of The Weaver's Answer, a treat also evident in the folk-rock Observations From A Hill, which was played from the perspective of the performing troupe."

Our Mother The Mountain - TOWNES VAN ZANDT***

Be Here To Love Me/Kathleen/She Came & She Touched Me/Like A Summer Thursday/Our Mother The Mountain/Second Lovers Song/St John The Gambler/Tecumseh Valley/Snake Mountain Blues/My Proud Mountains/Why She's Acting This Way

Townes Van Zandt was a Texan singer songwriter who achieved cult status in the late 1960s without gaining wider popular recognition. His second album Our Mother The Mountain began the start of his most creative period.

"Lyrically Van Zandt swings between Dylan and Hank Williams but vocally I'm constantly reminded of Glen Campbell, a strange mix maybe but never an awkward one. Once again the album is populated by a group of misfits, outsiders, losers and dropouts, but this time there's a more pronounced link to love. Love lost, love unrequited, broken hearts, love regretted, love desired. Our Mother The Mountain is a very emotional album."

"This is Townes Van Zandt's masterpiece and one of the finest collections of music ever released. There is not a trace of filler, and many of the songs are classics. Tecumseh Valley and St. John the Gambler have to be two of the most masterful story songs out there. Relationships and their attendant complexities are well documented in several songs. Our Mother The Mountain sounds like a spooky folk song from the seventeenth century; Kathleen is just plain harrowing."

"It is a combination of the seriousness and depression of Cohen and the jovial, blissful happy tone of young Bob Dylan. By '69 country music was so far on the back burner that many hippies had forgotten where a good portion of their rock & roll originally came from. It'd be a stretch to say that Our Mother The Mountain changed all that, or made a very big impact on the masses at all, but the people who heard this record, were changed forever."

"This is a very delicately produced album full of deep, dark and sensual music all led beautifully by Townes Van Zandt true and rich voice. This is just American singer songwriter music of great style, great taste and of the highest order."

"Our Mother The Mountain contains some of the most haunting country songs ever made. Even though Van Zandt's lyrics are highly poetic and it's sometimes hard to understand their meaning, he still manages to make his music compelling, just by the strength of his warm voice and melodies."

Faintly Blowing – KALEIDOSCOPE (UK)***

Faintly Blowing/Poem/Snapdragon/A Story From Tom Bitz/(Love Song) For Annie/If You So Wish/Opinion/Bless The Executioner/Black Fjord/The Feathered Tiger/I’ll Kiss You Once/Music

Faintly Blowing was the second and final album from the British psychedelic group Kaleidoscope. Like many bands of the period critical praise failed to translate into record sales.

“Mid-tempo on the verge of laid-back psych freakbeat reminiscent of the early Bee Gees. I like Kaleidoscope a lot and thought the arrangements and performances were very original. The title tune and Snapdragon are the tracks to watch.”

“Look at the album cover, look at the year. Yes, it sounds exactly like you would imagine. British hippies with a lot of drugs, with a bit of a fetish for folk music and orchestral arrangements, hanging out in the mist and dressing up as birds. Songs about magic zoos, wandering minstrels, flowers and dragons.”

“Faintly Blowing could be described as a missing link between psychedelic pop and early progressive folk. The quaint English vocals, classical guitar and strings are mellow and slightly twee, but there’s a true pioneering spirit here, a wondrous serve of serious art. Full of melody, my favourite tracks are Black Fjord and the heart-warmingly whimsical Feathered Tiger, the weirdly arranged title track and If You So Wish, which does remind of The Bee Gees, but with more muscle.”

“I have a peculiar weakness for British psychedelia and this sates my appetite for this kind of music. There is a lot of whimsy, broad instrumentation, Alice in Wonderland type lyrics and studio effects that come with Faintly Blowing. If that is your bag, like mine, then you are pretty sure to like this.”

“Beautifully melodic and quite complex material, featuring strong psychedelic ties, is excellently performed by the band members. Although a complete commercial failure at the time of its release, in retrospect this little gem is now considered a classic of the era and a must have by any serious collector.”

“The sound wobbles and blurs and threatens to topple over in a jumble. The jags of guitar tend to surge out of the throbbing centre of songs rather than drive the actual momentum. The folk tracks are however very folksy and pared down, albeit not without the bleary tinting of an unfettered psychedelic sensibility.”

In Concert – THE COWSILLS***

Hair/Monday Monday/Walk Away Renee/Please Mr Postman/Hello Hello/The Cruel War/Good Vibrations/Act Naturally/The Sunshine Of Your Love/Paperback Writer/Reach Out(I’ll Be There)/Good Golly Miss Molly-Devil With A Blue Dress(Medley)

Largely unknown in Britain, the family pop group The Cowsills had some limited success in their native USA during the late sixties. Their highest placed album In Concert was unusual in omitting most of their own hits. (US:16)

"It shows The Cowsills for what they were, a talented but not great pop/rock band. This is a live LP and contains twelve songs ranging in style from early 60s Please Mr. Postman to a version of Cream's Sunshine Of Your Love. Of course it contains The Cowsills one big hit, the theme song from the Broadway rock musical Hair. It is the kind of album you listen to when you just want to hear some good pop/rock music without really having to bother to listen. Put it on the turntable and start cleaning the house."

"A little disappointed that there were no live performances of actual Cowsills hits. But once I listened to it, I thought, who cares? These kids, while not exactly session musician material, were pretty damn good at covers."

"The Cowsills live LP was recorded at the height of their popularity in 1969 and features each member of the band performing cover versions of popular songs of the era. The performances are good and nostalgic - a fun LP that garners multiple listenings, and is enjoyable to those who remember the band or who are interested in 1960s nostalgia."

"The Cowsills are recorded doing covers by The Mamas and The Papas, The Beach Boys and many other artists of the times. They even throw in a few Motown greats which are just superbly done. With ever new track, you get to hear more of this talented family's musical and vocal abilities. The amazing fact about this terrific compilation is that the ages of the performers were 8 to 19."

"They were a pretty good live act, as this album demonstrates, and their harmonies were great on stage and on record. Still, most of the songs here cannot be improved upon, and thus, only Cowsills fans will get a kick out of hearing them."

Happy Sad – TIM BUCKLEY****

Strange Feelin’/Buzzin’ Fly/Love From Room 109 At The Islander/Dream Letter/Gypsy Woman/Sing A Song For You

For his third album Happy Sad Tim Buckley introduces some jazz influences into his folk orientated songs. Largely overlooked at the time this would be his most commercially successful LP. (US:81)

“This is where he really finds his true voice, heading into jazz territory with an open heart. From the first note to the last, his emotions are naked, deep, filled with yearning, loss, soaring joy and regret, often at the same time. And that magnificent voice. It plumbs the depths, it touches the skin of heaven, and it conveys the experience of several lifetimes as it caresses and shapes each word like a master sculptor. The music itself is a match for its singer, melodic and inventive, surprising the listener with sudden unexpected changes and shifts. But for all the experimentation going on, the songs themselves never get lost. This is a timeless work, one to be heard again and again.”

“Tim's voice floats like some sort of a trumpet improvisation, meaning every last word. It's calm but edgy. There's virtually no percussion but it carries itself just fine. Happy Sad is a classic to me. I'm sure it will continue to be overlooked, but that doesn't change how much it means to me.”

“This is such a lovely album. It's also one of those that I enjoy more at night than in the daytime. There’s a moodiness to the whole thing that just fits the darkness. The instrumentation is top notch, and Buckley's words, or better yet, poetry are both introspective and interesting.”

“A dreamy, jazz-tinged folk masterwork. Tim's voice paints the album, an idiosyncratic, rending croon, and it is this album which begins his series of experimentations with his voice as an instrument.”

“This is music for a series of dreams, lovely romantic dreams, dreams of loss and regret, dreams of redemption, dreams that remain vividly imprinted on your mind upon waking in the half-light of dawn.”

“Happy Sad is folk rock, but it is folk rock starting to mutate. Buckley opens up the chords, making them long hallways on which he can paint.”

A Gathering Of Promises – BUBBLE PUPPY****

Hot Smoke & Sassafras/Todd’s Tune/I’ve Got To Reach You/Lonely/Gathering Of Promises/Hurry Sundown/ Elizabeth/Its Safe To Say/Road To St Stephens/Beginning

A Gathering Of Promises was sole album release from the Texan psychedelic group Bubble Puppy. They are best remembered for their US top twenty hit Hot Smoke & Sassafras. (US:174)

“The music opens up with an excellently catchy pop track with quite psychedelic influences. And it gets better, by the third track I knew that I was listening to an album that was a bit ahead of it's time. The rest continues in the psych pop/rock way to the end.”

“There's some really nice, melodic psychedelic rock here. There are quiet a few highlights. Hot Smoke rocks as hard, maybe a bit harder than anything else on offer and that riff is tasty. I’ve Got To Reach You has a great atmosphere to it with a subtle catchy melody. Other favourites are Elizabeth and Road To St. Stephens.”

“Bubble Puppy's only studio disc is a very fine psychedelic rock album with some really awesome standout cuts. A sadly forgotten band and album too. This is a pretty melodic psych release but still effective. The harmonies are so nice in here.”

"A Gathering Of Promises featured a timely mixture of conventional rock and psychedelia. Mixing occasionally incoherent lyrics with attractive guitar propelled melodies and sweet harmonies, the album isn’t without charm, particularly the hit single Hot Smoke & Sassafras, the title track and Hurry Sundown.”

“Quintessential vibey psych, dominated by a tour de force lead guitar performance that is almost a master class in various guitar styles of the late sixties. Straight from the bottle, live in the studio sound. The hit is not notably stronger than the rest which includes at least six hot tracks.”

“Bubble Puppy had a smash hit in 1969 with Hot Smoke & Sassafras, which was a rock track loaded with smokin' guitars and excellent harmonizing. The remaining songs are a combination of melodic rockers and some well crafted slower songs.”

"Hot Smoke & Sassafras is one of the best psychedelic songs of the 1960s, a classic visionary masterpiece with the precision of a Swiss watch.”

If Only For A Moment – BLOSSOM TOES***

Peace Loving Man/Kiss Of Confusion/Listen To The Silence/Love Bomb/Billy Boo The Gunman/Indian Summer/ Just Above My Hobby Horse’s Head/Wait A Minute

If Only For A Moment was the second and final album from the British pop group Blossom Toes. This one is harder rocking than its more psychedelic predecessor.

“This is a good psychedelic hard rock album; progressive song structures, excellent twin guitar interplay, and unpredictability make this album a true classic. Love Bomb is possibly my favourite tune.”

“After their delightful debut Blossom Toes changed their naive-side and became a remarkable underground act with tighter arrangements. The avant-garde experimentalism is still intact and the lyrics reflect the social buried-dream of the sixties.”

“Blossom Toes have some more subtle, jazzier material here, and also work with art rock time changes that were moving through the underground of the late 1960s English rock scene.”

“A total shift in sound for their second album, moving from psych/baroque pop on their debut to heavy, fuzzy rock on their last effort. This is quite solid and very Cream-esque. It's definitely weird to hear how much they transformed between albums, but this is certainly an admirable effort.”

“Blossom Toes second album starts out as if it were going to continue from where their first left off, but the heavy rock riff that jumps in heralds the new, mature sound of a band that has moved away from flower power into something quite different.”

“Definitely sounds like a different band. That said, I like both albums equally and think they are both great. Depends on my mood but this one has a drive that's not found anywhere on the earlier release. Great guitar interplay.”

“I love the first Blossom Toes album so much that this release came as a bit of a shock. It's so different; it's hard to believe that this is the same band. Whereas their debut album was a masterpiece of psychedelic pop, this album is prog-rock, almost like heavy metal in places.”

The Progressive Blues Experiment – JOHNNY WINTER****

Rollin’ & Tumblin’/Tribute To Muddy/I Got Love If You Want It/Bad Luck & Trouble/Help Me/Mean Town Blues/ Broke Down Engine/Black Cat Bone/Its My Own Fault/Forty-Four

The Progressive Blues Experiment was American blues guitarist Johnny Winter’s first album, recorded two years earlier. It comprises mostly blues standards with a few originals. (US:40)

“Raw, hard chargin' Texas Blues. Johnny Winter delivers in spades on this excellent album. Recorded in 1967, and released two years later, the album is a collection of mostly standards, and four originals. The main point here though is the guitar slingin' from Winter. Fast and fluid throughout, whether it's electric or the National Steel, Winter plays in flawless style from start to finish.”

“With a title like Progressive Blues Experiment and given the 1967/1969 time frame, a pretension alert would be understandable, but fear not, there is nothing here but the real thing. The originals sound like they could be standards as well, fitting in perfectly next to the others. The guitar playing leaves no doubts in the listener's ears. It's all Johnny Winter.”

“It's not his high sounded voice that makes this album a gem, it's the virtuoso guitar playing that gives it a place in the annals of blues rock. Song highlights are the Muddy Waters original Rollin' & Tumblin', the self-penned and traditional interpreted Bad Luck & Trouble and the rockin' Mean Town Blues, the brilliant delivered version of the B.B. King classic It's My Own Fault and the catchy Howlin' Wolf blues Forty- Four.”

“This is a superb recording and presents Winter already at the top of his powers, playing here in a trio setting. There are only very few guitar players as good as Winter, when it comes to playing the blues and mixing it with rock, so this is simply a classic of the genre and an absolute must for every blues-rock fan.”

“Winter's debut is a good blues album but in my opinion not one of his strongest albums. Six cover songs is a bit too much even though his covers are usually very classy. His guitar skills are on the spotlight of course and he makes a great job in that section. Johnny has never been a good vocalist with his raw voice but I'm not bothered about it. He shows his real talent with the electric guitar.”

Wheatfield Soul – THE GUESS WHO***

These Eyes/Pink Wine Sparkles In The Glass/I Found Her In A Star/Friends Of Mine/When You Touch Me/A Wednesday In Your Garden/Lightfoot/Love & A Yellow Rose/Maple Fudge/We’re Coming To Dinner

Wheatfield Soul was the first album from the Canadian pop-rock group to feature new vocalist Burton Cummings. It includes the US No. 6 hit single These Eyes. (US:45)

“The first Guess Who album for a major label finds them bursting with ideas, and with potential hit singles. The result is an amalgam of pop-rock with soulful, jazzy, and psychedelic touches, played by musicians who were skilled beyond their years.”

“Good period flavour and great fuzz guitar on some tracks yields a highly inconsistent LP, with about half really good, and the other half quite mediocre.”

“There's a great variety of rock songs on here and many sides of The Guess Who people really haven't heard before. The vocals are superb and the band gels nicely together. Nothing seems forced, and all the pieces fall into place perfectly. One of the highlights is Friends Of Mine, a truly great 60s psychedelic rock song.”

“The Guess Who were staples of AM radio in the 60s, and they only later crossed over into FM or AOR territory. Such distinctions seem archaic and irrelevant now, but my point is that AM meant pop and this album is full of pop experimentation. It's a diverse album, with no one song that really resembles the next. Most recognizable is These Eyes with a youthful Burton Cummings belting out those soulful lines. Everything else seems really poppy and well constructed.”

“Starting off with the seminal Guess Who hit These Eyes, the first side is a consistently good listen, complete with one of the biggest Doors knock off songs Friends Of Mine which actually isn't half bad. The second side though is nothing but filler and can be skipped for the most part.”

“The Guess Who were a virtual hit making machine in the 60s through mid 70s. Led by Burton Cummings smoky, soulful vocals and Randy Bachman's instinctive tunes, this band had hooks and pop sensibility to burn."

“Released during the height of the 60s psychedelic era, Wheatfield Soul benefits from studio experimentation where others have failed to impress.”

The Velvet Underground – THE VELVET UNDERGROUND***

Candy Says/What Goes On/Some Kinda Love/Pale Blue Eyes/Jesus/Beginning To See The Light/I’m Set Free/ That’s The Story Of My Life/The Murder Mystery/After Hours

Following the departure of John Cale the third Velvets’ album sees the group returning to a more mainstream sound. Despite their fame and reputation The Velvet Underground struggled on the US album chart. (US:197)

“John Cale left The Velvet Underground after their second album, and his absence shows on their eponymous third album. He was the avant-garde musician to Lou Reed's avant-garde lyricist. Cale's departure did not result in a decline in the quality of the Velvets' records, but that was to some extent the result. The tension between the two pushed both of them to their limits, resulting in the most far out popular music ever recorded at the time. With Cale's departure, Reed chilled out quite a bit.”

“With the departure of John Cale from their line up, The Velvets’ third studio album is a generally quiet sounding one. Tracks like What Goes On interrupt the low key atmosphere, but even they are fairly straightforward late 60s rock songs. Lou Reed repositioned himself as a more conventional songwriter, aiming to get an intimate effect, possibly a nostalgic one, portrayed by ballads such as Pale Blue Eyes and Candy Says. Though this album is perhaps the most dramatically low key album in the band’s career, it’s also the most solidly enduring because of the blend of tracks.”

“One of the most unapologetically safe releases in history. Virtually no risks taken throughout, not even so much as a flashy riff or risky drum fill is to be found. Perhaps the spoken word in The Murder Mystery could count as a bit of a risk. Anyhow, it's pretty consistent as far as quality goes - straight through, it's very well done for standard style (somewhat soft) rock.”

“It could be the loss of John Cale, or it could be the result of a conscious aesthetic decision, but The Velvets are blander than ever here. None of the songs are bad, none are excellent. The lilting, twee feel is pleasant, and the immaculate sequencing makes this an enjoyable but forgettable listen.”

“Even straight-laced pop fans will likely enjoy this particular album - and as such it is the perfect place for the uninitiated to begin a journey into The Velvet Underground. Everything about it is beautifully done, and it is a welcome twist to the band's earlier, much edgier sound.”

Soulful – DIONNE WARWICK***

You’ve Lost That Lovin’ Feeling/I’m Your Puppet/People Got To Be Free/You’re All I Need To Get By/We Can Work It Out/A Hard Day’s Night/Do Right Woman Do Right Man/I’ve Been Loving You Too Long/People Get Ready/Hey Jude

For Soulful Dionne Warwick moves away from her trademark reliance on Bacharach & David songs towards R & B standards, mixed with some Beatles covers. (US:11)

"This is a cover album by Ms. Warwick on smash hits from soul music and pop. Simply one of her best albums. The opening track is the impressive You've Lost That Loving Feeling. And even the Beatles' originals Hey Jude and We Can Work It Out sound fresh and true."

"If you ever wondered how Dionne would sound singing R & B tunes during the late 60s and early 70s, this set is for you. She does a great job. These are not hardcore, gutsy soul interpretations. Rather, it is a well-balanced mix of classic soul and the laid-back elegance that Dionne is famous for. The arrangements are sufficiently different that virtually all of these familiar songs sound fresh and never stale."

"Dionne is better known for her pop hits with a touch of soul, but this late sixties release is pure soul, demonstrating her vocal power and superb interpretative skills. A real treat if you have never heard her belt it out like this. An underrated gem." "The lyrics and sounds are still so relevant. I love this record and Dionne's voice and the songs of the 60s and 70s. I really am not a fan of her pop stuff even though I realize she's got a great voice. This is how I love to hear Dionne Warwick. Song after song, every one is wonderful. I sing along and feel rejuvenated."

"If recent albums documented a move towards joyless divahood, the gospel choruses and urgent horns of Soulful act as a welcome corrective. The best songs here are the ones that fully commit to the titular style; the organ/drum groove on We Can Work It Out might not have the original's plucky grace, but it's a hell of a lot more fun. And Dionne lets loose in a steady, powerful tone that her early years just couldn't muster. Of course, given Dionne's pop star status, a certain degree of easy listening concession is expected. That doesn't make the weak drumming and underuse of horns on I'm Your Puppet any less frustrating. Still, safe soul covers are a much better fit than Broadway bluster."

Songs From A Room – LEONARD COHEN***

Bird On A Wire/Story Of Isaac/A Bunch Of Lonesome Heroes/The Partisan/Seems So Long Ago Nancy/The Old Revolution/The Butcher/You Know Who I Am/Lady Midnight/Tonight Will Be Fine

Songs From A Room was the follow up album from Leonard Cohen, with a collection of similar sounding songs sung in a monotonous drone to a sparse backing. (US:63 UK:2)

"I would be lying if I said I wasn't disappointed. Some of these songs probably look better on page than they sound to the ear. The arrangements lack the creativity to support the grandiose depth of the lyrics."

"I found this album a bit boring and sometimes even annoying. At one point I couldn't stand it anymore and turned it off. I don't know exactly what triggers this. Maybe I will give it another try in a year or so."

"This is dark even by his standards, a remarkable look at Vietnam and the 1960s generation gap from the enigmatic Canadian. While there is nothing overtly topical about the then current issues at hand, youth alienation and war are addressed metaphorically throughout the set."

"This is my first exposure to Leonard Cohen, and I'm pretty impressed. Songs From A Room can best be described as a haunting, quiet atmosphere combined with a sad style of softly sung folk-rock including acoustic guitars and other pleasant arrangements. It's pretty good, though I have to be in a certain mood in order to really appreciate it."

"With Songs From A Room Cohen writes with conviction and his vocals are impeccable. What I love about him is that he believes what he sings about. Story Of Isaac is a great track which harkens back to the Old Testament in a very subtle and well done way. The Partisan is a great track that talks about World War Two. This song is not written by Cohen but he does a great rendition of it."

"Leonard has always been late night listening and never more than here. The vocals are mostly quiet, low-key and, for Leonard, more on key than not. The arrangements are equally simple. And the mood, despite five songs of revolution and other violence, is consistently introspective."

Scott 3 – SCOTT WALKER*****

Its Raining Today/Copenhagen/Rosemary/Big Louise/We Came Through/Butterfly/Two Ragged Soldiers/30th Century Man/Winter Night/Two Weeks Since You’ve Been Gone/Sons Of/Funeral Tango/If You Go Away

This was the third of the acclaimed late sixties albums from Scott Walker, Scott 3 featured songs of a more melancholic nature and is considered to be his most depressing. (UK:3)

"A beautifully melancholic album. There's nothing as brilliant as the highlights on his first two albums but the consistency of mood and quality makes this a much greater album. It's hard to pick highlights when everything is so good; the strings and Walker's voice just click on every song. I have officially been converted."

"My favourite of all Scott's albums, it haunts and amuses in equal measure. All these songs are so lyrically intelligent and emotionally evocative that his late 60s peers seem almost infantile by comparison. In addition, never has Scott's voice been better complemented than by the arrangements on this particular record."

"This one always gets characterised as his depressing album but in many ways its also his most beautiful. As with all his early work the strings are marvellous and add great colour to the singer's voice. The songs aren't quite as catchy or tuneful as the previous two albums, instead they become more sombre and introspective."

"This one is blackly lush, drowned in the creeping loveliness of huge ambient orchestras. The album opener, It's Raining Today, is true genius, with a nasty horror movie discord of strings, which remains hissing in the background like white noise, while a beautiful melody contrasts over the top. The Brel covers tacked on the end are all standouts. And need I say that Walker's voice is glorious?"

"Scott 3 offered a diverse, but largely melancholy album with charismatic crooning from Scott over eloquent late sixties baroque arrangements. It's Raining Today is pure atmosphere and a chiller. Lyrically the album is very visual and offers a great compliment to the delivery and demeanour that shines no matter the selection. As someone who actually appreciates more acquired vocal flavours and 60s lounge and soundtrack, this is a close to the heart favourite."

"Some of the best orchestral arrangements ever heard on a pop LP. This album is a triumph."

Escalator – SAM GOPAL***

Cold Embrace/The Dark Lord/The Sky Is Burning/You’re Alone Now/Grass/Its Only Love/Escalator/Angry Faces/ Midsummer Nights Dream/Season Of The Witch/Yesterlove

Escalator was the sole album release from the British psychedelic rock group Sam Gopal. Lead vocalist Lemmy would move to progressive group Hawkwind before finding fame with heavy metal Motorhead.

“Best described as psychedelia with plenty of tabla being supplied by group founder Sam Gopal. It's noted that Lemmy is on lead vocals as well as lead guitar and bass. Very nice scratching post for the future infamous Hawkwind/Motorhead mainman. The tunes that stand out are Cold Embrace, the very cool The Sky Is Burning, Grass and their cover of Donovan's Season Of The Witch.”

“Amazing drum pounding by Sam, mixed with Lemmy's whiskey-drained vocals, makes this album one of my top favourites.”

“This is no classic but back when you actually had to know how to play to have a band, these guys sure did. Oddly, you would never know this is Lemmy. Good bass, but none of the drive he had in Hawkwind and then put on meth for Motorhead.”

“Vocal duties are here carried by Lemmy, known in those days as Ian Willis. He plays guitar but the bass is being thumped by some other drudge. The whole idea of the group itself is built around tabla player Gopal - why he never had a drummer in to fill out the sound is a mystery. So the whole album has a bizarre 'gig-in-a-squat' feel to it, but this is nowhere near as hippy-drippy as it could have been. The atmosphere of murk that surrounds this is quite extraordinary.”

“Very nice album from the late sixties. Low budget production but the quality in the compositions is there. You've got everything you could possibly expect: fuzz guitar and bass, great melodies, great groove. Percussions are simply stunning, especially on the two last tracks. The harmonies are all original, it could be a source of inspiration for many bands.”

“This is the only album by the short-live British band Sam Gopal named after the leader and tabla player. The band combined psychedelic, hard rock and world music influences (Indian mainly) to create a one-off gem, which remains a great example of the imagination and artistic freedom given to the bands at the time.”

Hand Sown Home Grown – LINDA RONSTADT***

Baby You’ve Been On My Mind/Silver Threads & Golden Needles/Bet No One Ever Hurt This Bad/A Number & A Name/The Only Mama That’ll Walk The Line/The Long Way Around/Break My Mind/I’ll Be Your Baby Tonight/Its About Time/We Need A Lot More Of Jesus/The Dolphins

Hand Sown Home Grown was the solo debut album from American pop vocalist Linda Ronstadt after leaving The Stone Poneys. Her career would take off in a big way in the mid seventies.

“It is her beginning as a solo artist and while it doesn't have the timeless sound of her mid to late 70s classics, still it's very strong effort that shows the potential of young Ronstadt's voice. And that voice itself is the main attraction here full of emotions, incredibly strong yet sometimes tender and subtle. A Number & A Name, The Long Way Around and It's About Time are first class songs that in better times would have been chart toppers. Silver Threads & Golden Needles and Break My Mind showed that Ronstadt was on a way to become new country queen.”

“She never quite caught this much raw energy on a record again, as she splashes through country and folk with a fuzz tone pedal steel and 60s folk rock strings. No masterpiece to be sure, but none of these songs are bad, and she rocks out on Silver Threads & Golden Needles and Break My Mind.”

“Linda Ronstadt's debut album as a solo artist sees her moving away from the more folk oriented music of The Stone Poneys towards the country rock that would bring her massive commercial success in the mid-1970s. But Ronstadt took a long time to fine tune her style and this is a largely unfocused record. You can hear the potential that Linda had, but she’s not quite there yet.”

“While this is not a typical Ronstadt album, nor one recorded when she was really in her prime, it is a very early solo album that shows her potential for cranking out hits, as well as those seemingly effortless and sometimes facile interpretations of other people's songs, showing just how distinctive an artist she was.”

“Ronstadt here does a star turn with other people's songs. She shows here just how versatile and eclectic her approach to some interesting material could be. Linda pulls out all of the stops. This was her first album that really showcased her tremendous abilities.”