Over & Over – NANA MOUSKOURI***

Scarborough Fair-Canticle/The Last Thing On My Mind/The Lily Of The West/Try To Remember/Song For A Winter’s Night/Erene/The First Time Ever(I Saw Your Face)/Love Tastes Like Strawberries/The White Rose Of Athens/Over & Over/Cucurucucu Paloma/My Friend The Sea

Over & Over was the commercial breakthrough album from Greek chanteuse Nana Mouskouri, who regularly appeared on British TV shows during the late sixties, early seventies period. (UK:10)

"Originally released in 1969, it was Mouskouri's stunning English debut album. An amazing interpretation of Simon & Garfunkel's Scarborough Fair song, with soaring vocals and very cool acoustic guitar accompaniment, an example of Mouskouri's magnificent vocal achievement throughout this album."

"When I lived in San Francisco about 30 years ago a radio station played The Last Thing On My Mind from time to time. As soon as I heard the singer's name I went to the nearest record store and ordered the LP, Over & Over. Nana Mouskouri is still my favourite singer."

"Singing with such a feeling of experiences in every word of the poems. Nana is great, Nana is love. Nana seems to find the greatest musicians too. An album by a great artist - an album with good music to listen to and relax."

"This is Nana Mouskouri at her very best. Good quality songs, this is one album you will want in your collection, to play it over and over."

"This is easy listening that is hard not to listen to attentively; such is the beauty of her voice."

"One of the most beautiful voices of her generation this should be in the collection of everyone who likes good music."

"This lovely voice. It's rare nowadays to find such a clear and strong sounded vocal and I must admit have a goose bump each time I hear Nana Mouskouri. Excellent LP for a romantic evening."

Nashville Skyline – BOB DYLAN*****

Girl From The North Country/Nashville Skyline Rag/To Be Alone With You/I Threw It All Away/Peggy Day/Lay Lady Lay/One More Night/Tell Me That It Isn’t True/Country Pie/Tonight I’ll Be Staying Here With You

Bob Dylan demonstrates his creativity and versatility with Nashville Skyline an excellent collection of self penned country style songs. Contains the top ten hit single Lay Lady Lay. (US:3 UK:1)

"Perhaps the lightest and happiest album of Dylan's albums of the 1960s, Nashville Skyline begins with a collaboration with Johnny Cash and continues throughout to take the warm Americana sound of John Wesley Harding in a mildly country flavoured direction. Songs like Lay Lady Lay may not be a matter of serious protest, they may not be eloquent expressions of the complexities of romance, and they may not be obtuse and mystical poetry, but they're a bit of affectionate, romantic fun - and it's the playful romanticism of country music which Dylan seems to be out to recapture here. He does a credible job of doing so."

"The beauty and lasting quality of Nashville Skyline is found in the love songs. Lay Lady Lay is an enduring Dylan classic and was recognized as such upon its release. His use of words to portray this love story, and the understated smooth vocal, push this delicate song along and make it a pleasurable listen."

"On Nashville Skyline, Bob Dylan goes where no one expected him to go. He chooses not to amaze with his lyrics and focuses more on the atmosphere and the music. He treads country ground that is new to him, but it feels as if this is a strong album from a 1960s country artist that has been playing this style his entire life. This is one of the most consistent records in Dylan's career; there are no bad songs and plenty of highlights all around."

"I can't find anything wrong with this. At first I was thrown off by Dylan's voice, but by the end of the album, it just sounds lovely. This is the most fun I've had listening to a Dylan album ever, where he's focused on the music more so than the lyrics."

"Dylan in full southern swing. Completely different from any of his previous work. And his voice - he is true country on this one. The lyrics are straightforward and simple but they manage to work, often due to the strength of the music. This is a good-time album that begs to heard. Not politically oriented, or deep, just old fashioned fun."

Music Emporium – MUSIC EMPORIUM***

Nam Myo Renge Kyo/Velvet Sunsets/Prelude/Catatonic Variation/Times Like This/Gentle Thursday/Winds Have Changed/Cage/Sun Never Shines/Day Of Wrath

Self titled sole album from the California psychedelic group Music Emporium. They are distinctive for having a female drummer and both male and female vocalists.

“The sound the organist gets from his instrument is great, which helps this album capture the late sixties zeitgeist so well. The interchanging male and female vocals are interesting, and the drumming is on a par with the best of the era. Many people will find themselves enjoying this more than many an acknowledged psych classic.”

“By the year 1969 the reign of psychedelic rock as the world's dominant rock genre was already beginning to wane. Other genres were getting more popular as the hippie times were coming to an end. But there were still some bands who released amazing psych albums and one of the best is this example from Music Emporium.”

“The style is a mix of soft, but mostly hard, psych tinged, west coast flavoured rock, featuring male/female vocals, and excellent period flavour via extensive use of Voxx organ. This is one of the pillars of American psych, and should be in every collector of the genre's inventory.”

“Of all the psychedelic pressings to come out of America in the late 1960s, none were better than Music Emporium. Featuring two guys and two gals playing organ, guitar, bass and drums, they combined both high energy rock with a dreamy/trippy psychedelic vibe. Their brand of psychedelic was far more sophisticated than the average band of the day despite the fact that the majority of the tracks were under the four minute mark.”

“A cracking album of psych rock/pop, superbly conceived with lots of atmosphere. There are the typical psych elements - fuzz guitar and organ. The band are good, the vocals are excellent, and the arrangements show skill beyond their actual years. They surely were destined for the big time had they carried on.”

“Music Emporium should be called a sunshine-pop masterpiece but surprisingly is much more than that. With such translucent quality and crystalline songs this lonely album should be considered a true lost jewel of late 60s.”

Mountain – LESLIE WEST***

Blood Of The Sun/Long Red/Better Watch Out/Blind Man/Baby I’m Down/Dreams Of Milk & Honey/Storyteller Man/This Wheel’s On Fire/Look To The Wind/Southbound Train/Because You Are My Friend

Mountain was the debut album from the New York rock guitarist Leslie West. He was one of the co-founders of the successful early seventies hard rock group Mountain. (US:72)

“As a guitarist, West's calling card was chunky power chords, smooth distorted riffing, and precise, lyrical solos. As a singer, his rasping yelp was immediately recognizable and as Blind Man and (especially) Southbound Train revealed, he was a passable blues singer as well.”

“So while it is not Leslie West at his best, he had yet to hone his skills as a guitarist, this is some of his most freewheeling, let it hang-out there playing. A very good first record that would lead to much bigger and better things.”

“Leslie West was probably one of the most passionate guitarists to ever step into a recording room, and one of the select few to ever transfer the music he felt onto a record. Though this album has a few unmemorable tracks overall it is still very good.”

“Starting with the first track, Blood Of The Sun, I was hooked. Leslie West has been a vastly unnoticed guitarist treasure. His throaty singing and driving guitar place him on the list of great ones.”

“It's filled with a blend of semi-commercial and semi-hard rock, but without much of a hint of the heavy sound that would later characterize Mountain.”

“It's Mountain's debut. Call it whatever you want, it sounds like Mountain. It's heavy, guitar oriented and grand.” ,p> “This recording sets the footsteps of power rock, to be followed by the landmark recordings by Mountain. West's unique throaty voice and incredible guitar virtuosity, strongly based in the blues tradition, sets him apart from most of his contemporaries and this little known gem is a great piece of rock history. Not to be missed.”

“Pretty solid power trio sounds that would soon turn into Mountain. It seems to wear thin after a few listens. Still a pretty nice album though, with a good thumping sound.”

The Meters – THE METERS***

Cissy Strut/Here Comes The Meter Man/Cardova/Light Wire/Art/Sophisticated Cissy/Ease Back/6V6 LA/Sehorns Farm/Ann/Stormy/Simple Song

The self titled debut album from the New Orleans instrumental R & B group The Meters. They are considered to be one of the most notable progenitors of funk music. (US:108)

“The Meters are the godfathers of funk. The songs on this album are some of the strongest, funkiest grooves I've ever heard. The drumming is superb, the guitar is the raw funk at its best, the bass is thick and the keyboard is great. Funky perfection. By the way, all the songs are instrumental.”

“The tunes are sparse, but each band member has his part, and they combine to form some of the funkiest grooves you'll ever hear. The drumming is incredible, the constant pulse never leaves, yet the syncopation keeps the beats from ever getting boring or repetitive.”

“A spare sound where every instrument is distinctly heard playing gravel raw primal funk. The sound is punctuated distinctive hiccupping on the guitar, the amazing stopand- start drums and punchy organ breaks.”

“Hands down, this is funk at its hip-shaking, head-bobbing, foot-tapping zenith. No need for lyrics of any kind. Just listen to the intro to Cissy Strut and get pumped.” “A band that never got its commercial due in its day. They were perhaps too funky then and make most modern R & B sound like Pat Boone.”

“What I love about this album is the beauty of its simplicity - the band serve up twelve indelibly fresh cuts of clean funk using only drums, bass, guitar and organ. Despite the limited instrumental palette, each song is brimming with melody, hooks, energy and variety. Because of the clarity in the band's approach, it's easy to discern the elemental form of funk that they're innovating. The first beat of the measure is almost always heavily, and the playing is so tight it's unbelievable."

“The kings of minimalist funk. They have been responsible for creating some of the most intense funky music this side of the galaxy. They cooked up numerous tight, sparse jams that hit big at the time of their first release.”

Mercator Projected – EAST OF EDEN***

Northern Hemisphere/Isadora/Waterways/CentaurWoman/Bathers/Communion/Moth/In The Stable Of The Sphinx

Mercator Projected was the debut album from the Bristol progressive band East Of Eden. Their music was a fusion of progressive, heavy rock and world music. And yes, they were the same group that would later have the stylistically untypical British hit single Jig-A-Jig.

“Mercator Projected is an excellent example of prog rock at its beginnings. You get psych, jazz-rock, and Middle Eastern styles. A couple of rockers, some jams, some atmospheric numbers, phased vocals and strange electronic effects.”

“These guys rock. They swing. The band is tighter than tight and unlike much of what I hear today as 'prog-rock', 'psych', or whatever you want to call it, this set of musical interludes is solid and grooving. They occasionally go a little wild, but they always bring it back in with a solid rocking beat.”

“This is an early progressive rock masterpiece that was released during the end of the psychedelic era. Psychedelic influences such as raga guitar solos, phasing, vocal distortion and mellotron are all over Mercator Projected. East Of Eden can certainly hold their own instrumentally. Northern Hemisphere is a great piece of hard rock with echoed vocals and fat guitar riffs. The band plays hard and heavy throughout - one of progressive rocks loudest moments.”

“Not exactly the masterpiece I was led to believe. It certainly has it's moments but there is not enough guitar for me.”

“The instrumentation is fairly unusual, and there are a few good ideas and long-form construction attempts in the direction that later progressive acts would do with much more class, but the whole thing lacks the sort of energy and vitality that is a must, especially for this kind of music.”

“It really isn't anything special. Rather low intensity prog, featuring electric violin and sax, which often yield a mild eastern flavour. The song writing is OK, but not great, and psych influences are minimal. They manage to blend jazz and rock without getting cheesy or perky like many of their contemporaries. Still, they get a point or two for originality; this sound wasn't exactly prevalent at the time.”

Last Exit – TRAFFIC***

Just For You/Shanghai Noodle Factory/Something’s Got A Hold Of My Toe/Withering Tree/Medicated Goo/ Feelin’ Good/Blind Men

Released after the departure of Dave Mason, Last Exit is part live and part left over studio tracks. For serious Traffic fans only since the best three studio tracks can now be found on the CD release of their second album. (US:19)

"This is the type of late-sixties album that reinforces the argument that the Muse was so abundant in that era, that even overlooked stuff sounds better conceived than any pop-rock offering today. The first side is a collection of really excellent three minute pop selections, each of which could have been hits. Stevie Winwood sounds better than ever, the music is psychedelic yet very tight, and the musicianship is first-rate. Every single song represents dynamic, well-crafted pop, with extremely strong melodies that you'll instantly process and always remember."

"Consistently good semi-commercial progressive flavoured pop, with some jazz elements. The live material on side two is comparatively weaker."

"The live portion of this album dragged on a bit too long. Of the studio half, the best bits are Shanghai Noodle Factory, Medicated Goo and Withering Tree. The title is appropriate, as it was Dave Mason's last with the band."

"A lot like Cream's Goodbye from the same year, in that it collects together a few odds and ends along with a fairly disposable live side."

"I cranked up Shanghai in my car and was completely blown away by the perfection of writing, playing, singing and sound of this masterpiece. I wish there was more 'hidden treasure' Traffic in the vault for future release, but the fact that there probably isn't only makes the available jewels that much more precious."

"This was supposed to be the farewell album of Traffic when it was released in 1969. Steve Winwood was on his way to the ill-fated Blind Faith and Dave Mason was already embarking on his solo career. Side one has a Dave Mason song to start it off, then a couple of vintage Steve Winwood - Jim Capaldi numbers that wouldn't have been out of place on the previous Traffic album."

Joseph & The Amazing Technicolor Dreamcoat – STUDIO ALBUM****

Jacob & Sons-Jacob’s Coat/Joseph’s Dreams/Poor Poor Joseph/Potiphar/Close Every Door/Go Go Go Joseph/ Poor Poor Pharaoh/Song Of The King (Seven Fat Cows)/Pharaoh’s Dreams Explained/Stone The Crows

The first public outing of the famous musical partnership between composer Andrew Lloyd Webber and lyricist Tim Rice came when they were commissioned by the head of music at Colet Court School, London, to write a religious concert for the school choir. The result was Joseph & The Amazing Technicolor Dreamcoat, which in an expanded form became a hit musical in the 1990s. However, this shorter studio recording of their work generated little interest at the time.

“This was Andrew Lloyd Webber's first all musical work and his first collaboration with his best lyricist Tim Rice. The plot is sourced from the well known biblical story of Joseph, the youngest son of Jacob, patriarch of Israel, and the coat of many colours that Jacob gave to Joseph as a sign that he is a special one among his sons.”

“This show is mostly aimed at kids, but can be viewed and heard by people of all ages. The songs are mostly pop and a merry note can be found in most of them. Also, this show is supposed to be fun, so there are numerous vocal styles in it. For example, there is a country song that the brothers sing; at another point they sing a French chanson with French accents. The pharaoh sings like Elvis and one song is in calypso tone. Overall, it forms a nice whole of diverse songs and singing styles. Tim Rice has written his funniest lyrics, blending beautifully with the score.”

“I was spellbound by their magical music. The LP featured professional singers supported by amateur school children, and is a great listen.”

“The variation in style between tracks, and the fun element which oozes out of each lyric help to make this a musical which can be enjoyed by people of all ages.”

“My favourite tune has to be Pharaoh’s 'Elvis' type song, when you listen to the lyrics, its incredible how much is squished into the song. The variations of the songs are incredible. The lyrics are really cheesy but are just great fun to listen to. I think Joseph was one of the best Lloyd-Webber/Rice musicals.”

The Young Mods’ Forgotten Story – THE IMPRESSIONS***

The Young Mods’ Forgotten Story/Choice Of Colours/The Girl I Find/Wherever You Leadeth Me/Deceiving Heart/ Seven Years/Love’s Miracle/Jealous Man/Soulful Love/Mighty Mighty (Spade & Whitey)

The Young Mods’ Forgotten Story was the second Impressions album on their Curtom label. Lead singer and songwriter Curtis Mayfield would enjoy a successful solo career in the early seventies. (US:104)

“This album displayed the usual breadth of the group’s talent and Mayfield's songwriting, giving us a glimpse of what was to come when he went solo in 1970. His songs began to display a hard funk undertone which was used as a canvas for the more profound socially conscious themes he would master.”

“Curtis concentrates mainly on lead himself, particularly on the many ballads. Sam and Fred's slow boiling contributions give Mayfield reason to push for less mawkish arrangements, letting quality writing work its way through.”

“Pretty good, but the short song lengths are stopping Mayfield from knocking out real classics. Nothing here flows as well as his later, lengthier solo material.”

“One of my favourite 60s soul records, The Young Mod's Forgotten Story is criminally short with only one cut breaking the three minute barrier. While the album mostly consists of light soul-pop with the odd political song thrown in, there are some definite hints of the wah-wah guitar and funkiness to come in lead songwriter Curtis Mayfield's solo career.”

“The album oozes lush string arrangements and energetic horns. One of the interesting things I find about it is how such clichéd and run-of-the-mill love songs like The Girl I Find are so enjoyable because of the arrangements. Every song has a great hook, and the melodies are as sweet as they come.”

“There are no real duds on this album. Choice Of Colours is probably the most famous, needs no introduction to people familiar with this group. Another example of the great Impressions doing subtle social commentary.”

“A perfect blend of soul ballads and political tracks that must have been groundbreaking for 1969. Curtis' arrangements are lush and beautiful as are his vocals and harmonies with the rest of the band.”

Hot Buttered Soul – ISAAC HAYES***

Walk On By/Hyperbolicsyllabicsesquedalmistic/One Woman/By The Time I Get To Phoenix

Hot Buttered Soul delivered the commercial breakthrough for soul musician Isaac Hayes. The album comprises four long jams, some of well known MOR songs. (US:8)

“For the most part, this is not an album for the casual music fan. With its long, gradual, slow building detailed epics of musical architecture Hot Buttered Soul is to be listened to by serious, attentive, patient and ardent lovers of song. If you are vigilant and appreciative of bass lines, chord progressions, drum fills, transitions, vocal pitch, tone and so on, this record is an extravaganza for your ears; a marvellous display of craftsmanship.”

“Although Walk On By has the reputation for being nasty funk, it's really very mild. The extended jams lack imagination, Isaac's organ keeps hitting the same two chords, the horns are repetitive and unimaginative. I like Isaac's singing, and the back-up singers sound pretty good. But come on, the extended rap on By The Time I Get To Phoenix is enjoyable today purely as kitsch, if that.”

“Isaac Hayes began his solo career proper with Hot Buttered Soul, arguably his best album and a monumental influence on R & B. The four song LP establishes the template for future Hayes' releases: strong grooves embellished by sweet strings and horns. The fuzz guitars of side one contrast nicely with the softer second side.”

“Hayes' second album is a gorgeous and heavy musical statement, with some beautiful strings, organs and minimal wah-wah drenched guitar playing that immediately hits you hard. The vocals are hypnotic and are coupled with great lyrics and delivery. This is a must hear for any self-respecting music lover.”

“When you consider that up until this point, Hayes was best known for writing nice tight singles that clocked in at well under three minutes; this album is to say the least unexpected. But song length isn't the only thing that separates this from anything else that was being done by soul artists at the time. In fact, Hayes seems to go completely beyond the formula he used as both a very successful writer and producer by using lush string arrangements, and sweet backing vocals that would have been absolutely out of place in any of his Stax efforts. But it really works.”

Hollies Sing Dylan – THE HOLLIES***

When The Ship Comes In/I’ll Be Your Baby Tonight/I Want You/Wheels On Fire/I Shall Be Released/Blowin’ In The Wind/Quit Your Low Down Ways/Just Like A Woman/The Times They Are A Changin’/All I Really Want To Do/My Back Pages/Mighty Quinn

Hollies Sing Dylan was a stylistic departure for The Hollies which provoked Graham Nash into leaving the group. Many pundits considered them to be too much a lightweight pop outfit to credibly do justice to the Dylan songs. (UK:3)

"Graham Nash has left the building and he's taken the creativity with him. Leaving the rest of The Hollies to their own treacly devices we are given this. The Hollies never covered Dylan before, or had any musical relation to him whatsoever. The results are reminiscent of the Chuckie Cheese house band. It's like if Harper's Bazaar recorded an album of Kinks covers."

"The Hollies were essentially a singles band, much more so than, for instance, The Kinks, who had both hit singles and did very well in the album section as well. This album in fact did not contain any hit singles. It sounds a bit cheesy at times, perhaps, but what they were best known for, harmony singing, they do very well here."

"I've always loved The Hollies sound but just wished their material was a little weightier. On the other hand, much as I admire Dylan I've usually tended to enjoy his work more when performed by other artists. So, in theory, this should be a perfect album for someone like me. In practice though, as is often the case, the theory doesn't quite work out."

"Needless to say that the vocals and harmonies can't be beat and how they've changed some of the vocal melodies is just great. They perform nearly every song in a different way compared to other versions. Allan Clarke's voice is superb which give these songs a new life. So this is more than just a set of covers but maybe a set of reinterpretations."

"I am not going to eulogise about Dylan here. Like all great artists he leaves his work open to reinterpretation. But the settings to these songs are poor and add nothing. Don't get me wrong I also love The Hollies. But there is a lack of passion in this album. Avoid and buy one of the numerous hits albums instead."

Happy Heart – ANDY WILLIAMS***

For Once In My Life/Where’s The Playground Susie/My Way/Wichita Linesman/Happy Heart/Gentle On My Mind/ Didn’t We/Memories/Little Green Apples/Here There & Everywhere/Abraham Martin & John

With the exception of the UK top twenty title track every song on Happy Heart is a cover of recent hits released by other artists, a formula which maintained his chart success. (US:9 UK:22)

"At this point in his career, the versatile Williams, who had found his greatest success covering movie theme songs, but also ranged from light rock to venerable standards, was completely devoted to recording his versions of current hits. It was a popular notion at the time that middle-of-the-road singers like him could maintain their popularity by turning to soft rock, and Williams proved that theory by reaching the top ten and earning gold records with these LPs, which featured his versions of songs better known in recordings by artists such as Glen Campbell and The Beatles, Williams changed the original arrangements only slightly; the big difference for his fans was that it was his voice they heard."

"The album Happy Heart found Andy working with producer Jerry Fuller, who guided Andy from the late 60s through the early 70s. Little Green Apples is the highlight, with Andy bringing much warmth and conviction. It must have made the author Bobby Russell proud. What a treat to have three Jimmy Webb compositions: Where's The Playground Susie, the most wonderful Wichita Lineman and Didn't We. An especially personal choice, which closes out the album poignantly, was Abraham Martin & John, as Williams was close friends with the Kennedy family."

"The outstanding track here is Abraham Martin & John. Andy covers this Motown classic superbly, even adding a bit about Bobby Kennedy to the three other martyrs. Andy has shown elsewhere that he can sing original material but on this collection, he demonstrates that he is quite content to record covers, stamping his own identity on each song."

"Didn't We is perhaps the zenith of the record. Sinatra's version is too tragic. Streisand's too dramatic. Andy Williams delivers the song like no other. Williams also delivers a heartfelt Memories."

"Some great Jimmy Webb songs. Also enjoy Andy's frolicking Gentle On My Mind, and his fervent ode to Sinatra as he sings My Way."

Everybody Knows This Is Nowhere – NEIL YOUNG****

Cinnamon Girl/Everybody Knows This Is Nowhere/Round & Round (It Won’t Be Long)/Down by The River/The Losing End (When You’re On)/Running Dry (Requiem For The Rockets)/Cowgirl In The Sand

After his disappointing debut LP Neil Young returns to form with his second effort, Everybody Knows This Is Nowhere, featuring some rock classics with a distinct country flavour. (US:34)

“Neil Young's second solo album is his first prepared in collaboration with Crazy Horse, and the debut of his renowned 'shakey' sound - a rough-about-the-edges, ragged, lo-fi approach. Though the standout tracks on both sides are the epic sideclosers (Down By The River and Cowgirl In The Sand), which show off Neil's impressive guitar mastery, there's plenty to love in the shorter songs too, with the opening one-two punch of the hard rocking Cinnamon Girl and the cynical title track being a particular treat.” ,p. “When he hits he really hits and on this album he does it brilliantly and frequently. Not his best but what he does is stunningly to the point and brilliant. He incorporates country, folk, blues and rock in an amazing fashion that comes to a culmination on Cowgirl In The Sand. This is how folk rock should be done.”

“Neil Young's first truly classic album. This has no filler, just great songs. You have to hear it to appreciate it. This album will appeal to both rock and country rock fans.”

“Neil Young does some of his finest guitar work here and manages to throw in some great songwriting. Down By The River is amazing and one of his most haunting songs. Cinnamon Girl is a hard rocking classic and on Cowgirl In The Sand Neil once again shows how good a guitarist he is. These three songs alone make this a classic but the fact the other songs are good too make this one great.”

“Neil Young is a genius and this album has at least a couple of terrific highlights (Cinnamon Girl and Down By The River) that tap into his creative greatness, but these tracks aside, I find this to be an otherwise fairly unremarkable album which is pedestrian and plodding in parts. Even Down By The River, which is cool for the most part, lacks the kind of dynamic ebb and flow that such a long track has the potential to deliver.”

Brother Love’s Travelling Salvation Show – NEIL DIAMOND****

Brother Love’s Travelling Salvation Show/Dig In/River Runs Newgrown Plums/Juliet/Long Gone/And The Grass Won’t Pay No Mind/Glory Road/Deep In The Morning/If I Never Knew Your Name/Memphis Streets/You’re So Sweet Horseflies Keep Hangin’ Round Your Face/Hurtin’ You Don’t Come Easy

Featuring the stirring spoof gospel title track, Neil Diamond’s Brother Love’s Travelling Salvation Show was re-released a few months later as Sweet Caroline. (US:82)

“Neil Diamond was pop from the start, and when he goes all red dirt cowboy, I just don't quite buy it. Still, if you can get past that, he does write some good tunes that have at least a nodding acquaintance with folk, blues and country. Overall, I give this a thumbs up.”

“At this point he could still sing the highs and he seemed to have an endless reservoir of songs to draw from. Besides the electrifying title track and the underappreciated, should have been a hit, Glory Road, he connected on a handful of simple romantic tunes like Juliet and Grass Won’t Pay No Mind. Diamond still showed the magic he had in his Bang Records days.”

“You're So Sweet dumbs down an otherwise solid album with a silly novelty track. But you have to take Diamond warts and all, the corn is part of what makes him. And The Grass Won't Pay No Mind is a good ballad, but of course the title track is the real barn-burning classic here.”

“This is first-rate countrypolitan pop, with Diamond delving further into the stylistic ingredients of the genre. The 'gospel' title song, the lazy blues of Dig In and Deep In The Morning and the straight country of Long Gone all profit from the considered songwriting technique of the master craftsman. His raspy baritone is also on peak form, especially on the gorgeous Glory Road and the beautiful ballad And The Grass Won't Pay No Mind."

“Although not an exceptional album, it manages to be consistently enjoyable and fun. The simplicity of the songs, both thematically (new love, wandering throughout the country, revival preaching), and instrumentally (classical guitar, drums, faint strings, moog) blend perfectly with Neil's deep, raspy, impassioned voice. Throughout, it clearly showcases the early Diamond's inborn talent for song composition.”

Home – DELANEY & BONNIE***

Its Been A Long Time Coming/A Right Now Love/We Can Love/My Baby Specializes/Everybody Loves A Winner/ Things Get Better/Just Plain Beautiful/Hard To Say Goodbye/Pour Your Love & Me/Piece Of My Heart

Home was the debut album from the well connected American husband and wife duo Delaney and Bonnie. Their music encompassed blues, R & B, rock & roll and gospel that became known as Southern boogie.

“This debut from the husband and wife team gives us only a preview of what was to come. You would think that being recorded on the Stax label this would be a fullblooded soul/rock mix, but not quite. There are some good songs, good playing, and you can tell there is something there. However, it seems to lack the energy and confidence of their next albums.”

“I think people write them off as a by-product of having Eric Clapton as a voluntary and willing sidekick. They are indebted to him for elevating their public recognition in the day, but if you listen to later albums, it's more Leon Russell, and the golden rhythm combo of Radle/Gordon that really knocked this outfit up a notch or two. Listen to this, and investigate further. Such an underrated band.”

“Delaney and Bonnie add some good songs to the R & B canon and they sing them with conviction. Most songs by definition are duets and they are obviously comfortable together, and with this music. Just check out the Stax band with Steve Cropper, Duck Dunn common throughout, Booker T, Isaac Hayes and Leon Russell splitting keyboards on various recording sessions. Bonnie's vocals are superb and the arrangements are excellent on most tracks.”

“Remembered by legions of classic rock fans for their late 60s collaborations with Eric Clapton and George Harrison, Delaney and Bonnie are known for their unique blend of rock 'n' roll, blues, country, gospel and roadhouse R & B.”

“Recorded for the Stax label, this duo has much a much more genuine feel for the blues than most blues-rockers. Of course, blues-rock isn't the only element here. Old-school R & B and gritty Memphis soul also figure heavily in the sound of this LP.”

“The mercurial couple rip through a set of heartfelt, gut-wrenching Southern soul, with some rock & roll attitude. The sound is raw, the songs are great, and it is a pleasure to listen to the singing of both Delaney and Bonnie, each a gifted vocalist.”

Clouds – JONI MITCHELL*****

Tin Angel/Chelsea Morning/I Don’t Know Where I Stand/That Song About The Midway/Roses Blue/The Gallery/I Think I Understand/Songs To Aging Children Come/The Fiddle & The Drum/Both Sides Now

Joni Mitchell’s second album Clouds cemented her reputation as one of the most distinctive and innovative singer songwriters from the late 1960s. The Grammy winning album includes the much covered Both Sides Now. (US:31)

“Clouds is Joni's glorious second album, featuring the classic Both Sides Now, but there are other brilliant songs as well. This is Joni's last album comprising just her and acoustic guitar. As always it features Joni's trademark brilliant lyrics.”

“Joni Mitchell’s masterpiece Clouds is an album filled with extraordinary musicality. Her scholarly and yet inventive voice sweeps easily from key to key, only accompanied by her own fabulous guitar work. The rich melodies are somehow veiled behind supposed simplicity. The compositions grow without end like healthy and dense vegetation.”

“There are few albums that are near essential, but this is one of them. Understanding this album outside of the context of the 60s is nearly impossible, but loving these songs transcends time and space. This body of work will stand on its own, equalled by but a few, yet never eclipsed.”

“Instrumentally the album is extremely sparse, with just the voice and the guitar doing all the work. Both Sides Now and Chelsea Morning were the two songs which really propelled her into the public eye on a more commercial front.”

“Joni Mitchell is a genius who stands on her own. Her music and lyrics meld into a seamless, living, breathing whole - taking on a magical essence that's greater than the sum of its parts. And those parts are some of the most brilliantly advanced and artful musings you will find in popular music.”

“As an artist, Mitchell shows a big leap in charisma. No longer the distant whimsical youth of her first album, she is now bold, forthcoming, whilst still retaining that voice. This time around she learned to save her soprano for when it really counts, and when to fade back to a whisper to allow a song to build. Also, her instrumentation is improving, though she still clings exclusively to acoustic guitar.”

Chicago Transit Authority – CHICAGO****

Introduction/Does Anybody Really Know What Time It Is/Beginnings/Questions 67 & 68/Listen/Poem 58/Free Form Guitar/South California Purples/I’m A Man/Prologue August 29, 1968/Someday August 29, 1968/Liberation

Contrasting debut double album from the seven man jazz-rock ensemble Chicago. The dynamic opening tracks are subverted by the unlistenable Free Form Guitar and the tedious Democratic convention diatribe. Chicago Transit Authority includes the US No. 7 singles Does Anybody Know What Time It Is and Beginnings. (US:17)

"This album still holds up magnificently well, presenting Chicago in all of their musical glory, as the band weaves jazz, rock, experimental prog-rock and pop into a great, cooking confection, and it shows just how musically diverse Chicago were all those years ago. Great songs, including the classic hits Does Anybody Really Know What Time It Is and the gorgeous Beginnings, as well as other 'rock-band-with-hornsection' gems. The band sound like a pumped-up, well-oiled machine, and their musicianship and vocal prowess is stunning. The only debit to the album, in my opinion, is Free Form Guitar."

"The whole first record is great with three classic singles, and even the album tracks generally work. It's the second part where it goes off the rails. Yes, Terry Kath was a decent guitar player. Is that really an excuse for almost seven minutes of unlistenable feedback? Happily, South California Purples isn't bad and their cover of I'm A Man is excellent. Unfortunately, the last side is an absolutely unlistenable pastiche of songs about the riots at the Democratic convention in Chicago in 1968. It's hard for instrumental tracks to be self-righteous, but they somehow manage it."

"As much as this album is powered by excellent vocals from Robert Lamm throughout, and Terry Kath laying down some of the most solid guitar playing, the real strength and glue of the band is the horn section which is nearly omni-present and simply put fantastic."

"Few bands have produced a greater quantity of banal pop music than Chicago, so it's always a shock to play this album and remember just how cutting edge they were, how confident, brash and aggressive they sounded, in their first release."

"What would Chicago be without the signature horn section dynamics which they do with such power and style."

King Of The Black Sunrise – THUNDER & ROSES***

White Lace & Strange/I Loved A Woman/Country Life/Red House/Moon Child/Dear Dream Maker/King Of The Black Sunrise/Open Up Your Eyes

King Of The Black Sunrise was the sole album release from the Philadelphia heavy rock group Thunder & Roses. Their music is a cross between Cream and Black Sabbath.

“This was the sound that Black Sabbath was looking for, but I know for a fact, Thunder & Roses had it first. The bluesy riffing on this album is top notch.”

“Very impressive three piece Philadelphia band's only album, covering a good range of heavy blues based psych rock, mellow psych rock, and even a country influenced song. Excellent drumming throughout, and a guitarist who was way underappreciated.”

“An awesome example of my favourite sub-genre: psych/hard rock. This is power-trio driven rock with some prog influences.”

“This is the only LP they ever released. Thunder and Roses are a very unknown band and that isn't any wonder, because at the time of its release, King of the Black Sunrise didn't stand out as anything special. So why are they nothing special? Well their sound is so Hendrix-influenced that many people would consider them as some kind of imitators.”

“There are only eight tracks here and most of them are quite awesome, offering us some high quality heavy psych with strong blues vibes. But there are also a couple of flaws. For example, the song Country Life is total filler and clearly the weakest song here. But anyway, I like this album a lot and I bet that if you like psychedelic rock at all, you will enjoy this too.”

“Totally forgotten masterpiece. The raw live sound from this power trio should be heard by far more people. Really good drummer.”

“White Lace & Strange is the best song on the album. Not far removed from the loud, pulverizing metal Blue Cheer was exploring. King Of The Black Sunrise shifts somewhat aimlessly between blues-based hard rock and extended psychedelic jams. The band also offers up a serviceable cover of Jimi Hendrix's Red House."

A Salty Dog – PROCOL HARUM*****

A Salty Dog/The Milk Of Human Kindness/Too Much Between Us/The Devil Came From Kansas/Boredom/Juicy John Pink/Wreck Of The Hesperus/All This & More/Crucifiction Lane/Pilgrim’s Progress

With its distinctive spoof cigarette packet cover, and diverse contents, A Salty Dog was considered by many Procol Harum fans to be the group’s finest moment. (US:32 UK:27)

“Considered the ultimate Procol Harum album, A Salty Dog is where it all came together for the band. Anyone back in the spring of '69 expecting to hear a typical rock album when putting needle to vinyl was in for a severe shock. The stately orchestration, and Gary Brooker's mournful vocals on the opening title track, signalled a truly unique sonic experience about to unfold. A loosely based concept album about sailors and the sea, A Salty Dog contains melancholy odes, seafaring epics and classic Procol rockers.”

“A mighty amalgam of prog, psychedelia, blues and classical elements, A Salty Dog succeeds on several levels. The title song is one of the best songs Harum ever composed. The nautical theme continues on The Wreck Of The Hesperus, while Pilgrim's Progress takes us on a different kind of journey. Robin Trower does a gritty vocal turn on the bluesy Crucifixion Lane, and the song Milk Of Human Kindness is one of those songs that fades out far too early.”

“Everything comes together on A Salty Dog. Nearly every track is a standout, with the title track being one of the most powerful rock songs ever recorded. The variety of genres (blues, rock, pop, R & B) and arrangements are very impressive. Procol Harum are often described as a prog rock band, but they were always much more versatile than that. I've always been a little surprised that A Salty Dog didn't garner more credit over the years.”

“One of the pioneers of the much maligned progressive genre, Procol Harum proved early on that it was possible to bring classical stylings and elaborate arrangements into rock without sounding bombastic or pretentious. Few other bands managed to do so, and even Procol themselves didn't always live up to their own standards after this one. But however briefly, here they proved it could be done.”

“If there's one album which proves Procol Harum were more than just prog rock, or a vehicle for Gary Brooker and Keith Reid's songs, this is it.”

Johnny Winter - JOHNNY WINTER****

I’m Yours & I’m Hers/Be Careful With A Fool/Dallas/Mean Mistreater/Leland Mississippi Blues/Good Morning Little School Girl/When You Got A Good Friend/I’ll Drown In My Tears/Back Down Friend

Self titled follow up album from blues guitarist Johnny Winter after he was snapped up by the Columbia label. He avoided toning down his performance to make concessions to pop sensibilities. (US:24)

“Johnny Winters first LP for the Columbia label, contains a surprisingly broad variety of blues styles. Here is the hard driven Mean Mistreater with Willie Dixon on acoustic bass and Walter 'Shakey' Horton on blues harp, the self-penned Dallas where Johnny gives us a fine demonstration of his abilities on the dobro, or the Ray Charles influenced I'll Drown In My Tears, with his brother Edgar on piano, some fellows on the brass section and a female background vocal trio.”

“Mr Winter is not reinventing the blues here, but he definitely adds a unique voice and some raw performances to the canon. The opener is excellent and I'll Drown In My Tears is an interesting side to him, though it runs a little slack in places.”

"Of Johnny Winter's first three albums, this one is the most consistently enjoyable There are a couple of real nice acoustic blues tracks here that give a nice balance with the electric tracks. Johnny Winter really is a wizard with a slide and hearing him use it on the acoustic is a nice treat.”

“Johnny Winter's debut on Columbia records is a very solid blues album, but certainly not in the realm of his previous release, The Progressive Blues Experiment. The two albums are similar in structure; Winter performs three of his own creations and fills the rest of the album with covers. He also splits the guitar duties between acoustic slide and electric. Although I do not find that the tracks on Johnny Winter are as hard or as heavy as some on his previous release, the intensity is still there. His guitar work is just as fast and in control, and his vocals are every bit as gritty.”

“While white blues singers in the late 60s were trying to make the blues more palatable to mainstream pop audiences by toning them down a little, Winter makes no concessions to pop sensibility at all. His guitar playing is pure and savage, yet he never resorts to meaningless shredding, and his prowess on the acoustic slide guitar is impressive. I simply never tire of listening to this visceral, heartfelt rendition of the blues.”

Greatest Hits – THE BUCKINGHAMS****

Don’t You Care/Lawdy Miss Clawdy/Back In Love Again/Why Don’t You Love Me/I’ll Go Crazy/Susan/Mercy Mercy Mercy/And Our Love/Hey Baby (They’re Playing Our Song/Foreign Policy/Kind Of A Drag

Well timed compilation album from the Chicago harmony pop group The Buckinghams. They had several US hit singles in the late sixties, including the chart topping Kind Of A Drag. (US:73)

“Kind Of A Drag is definitely one of the best rock and roll torch songs of the golden era of rock and roll. The Buckinghams harmonize very well and the music that goes with their singing fits in perfectly.”

“I always had a soft spot for The Buckinghams as they had a good pop sense. All in all, a good album.”

“This is, plain and simple, a feel good album, taking the listener back to less complicated days. The band were similar to early Chicago, but you wouldn't know it from this collection, which sticks to the pop material. The hits are here, though.”

“It appears that Columbia was looking for more progressive groups at the time, as the pop scene was changing to the rock scene. The Bucks were not a festival band and fell into hard times. Columbia should be ashamed of themselves for abandoning this great and talented group, since they sold so much vinyl in '67-'68.”

“The Buckinghams were all over the radio from 1967 to 1969. There is no getting away from the fact that The Buckinghams are from Chicago. All these songs are good examples of the beat, the production, the vocal and brass arrangements that accompany these pop hits, dubbed the Chicago sound.”

“This recording harkens back to a time when melody and pop music were always an end product of what would soon become a hit.”

“This is the essential Buckinghams' album to own as it contains all of their biggest hits. This Chicago quintet hit their peak in 1967 with the number one hit Kind Of A Drag which still sounds great today. The vocals, the great harmonies, the use of brass, and the hit tunes make this a solid choice.”

The Age Of Aquarius - THE 5TH DIMENSION****

Aquarius-Let The Sunshine In(Medley)/Blowing Away/Skinny Man/Wedding Bell Blues/Don’tcha Hear Me Callin’ To Ya/The Hideaway/Workin’ On A Groovy Thing/Let It Be Me/Sunshine Of Your Love/The Winds Of Heaven/ Those Were The Days/Let The Sunshine In(Reprise)

Soul harmony group The 5th Dimension were at the height of their popularity with the release of The Age Of Aquarius. Includes the US chart topping singles Aquarius/Let The Sun Shine In and Wedding Bell Blues, plus the US No. 20 Workin' On A Groovy Thing. (US:2)

"While there are so many truly wonderful 5th Dimension recordings, this one is by far the best. There is not one bad song on this album. Of special merit are the songs Hideaway, a Jimmy Webb tune given a jazzy, infectious treatment and Sunshine Of Your Love, a masterful remake of the Cream classic. I seem to love it more now than I did years ago when it was first released; and it still seems so fresh today. They just don't make songs or albums like this anymore. And there are certainly no groups like The 5th Dimension anymore."

"A tour de force of excellent singing and vibrant musicianship, The Age Of Aquarius finds The 5th Dimension soaring vocally through some standout material, including songs by Laura Nyro, Jimmy Webb and Neil Sedaka. The entire album reminds us that while much great musicianship surfaced in the late 1960s, great singing was also emerging."

"As safe and square as an album could be in 1969, but pulled off so skilfully and with so many tunes from my youth that I can't help but dig this a bit."

"Not nearly as square as others would have you believe, there's a nice soul-psych vibe and many great songs. The singing is top notch. No, it's not as funky as Sly Stone, but it's catchy light (i.e., commercial) hippy-trippy stuff."

"This is a solid pop-soul album, well produced and pretty, that takes a risk here and there (the cover of Sunshine Of Your Love) but is otherwise formulaic - not that it's a bad formula. This is definitely aimed at an AM-pop crowd."

"The 5th Dimension were one of the better, if not the best, vocal groups of their day and their sound is as fresh and uplifting today as it was back in '69."

Elephant Mountain – THE YOUNGBLOODS****

Darkness Darkness/Smug/On Sir Francis Drake/Sunlight/Double Sunlight/Beautiful/Turn It Over/Rain Song/ Trillium/Quicksand/Black Mountain Breakdown/Sham

Elephant Mountain was the third album from the country rock group The Youngbloods. They received a significant amount of critical acclaim but only limited commercial success. (US:118)

“A bit of a comeback compared to their previous outing, this one recalls the garage flavour of their first. It's got better production and better songwriting, but some horns detract from the overall impact a little.”

“This is mostly nice mellow folk with some baroque pop touches. A couple of tracks have some pale psych elements but the best parts of the LP are the great laid back hippie chill-out tracks like On Sir Francis Drake and Trillium.”

“This is really a perfect album for a beautiful sunny summer day. I knew of Jessie Collin Young long before I knew of The Youngbloods. Pity, because nothing he did solo really stands up to this, even though there are similar elements throughout.”

“An excellent showcase of The Youngbloods' idiosyncratic country-rock. Mixtures of jazz, folk and rock are dispersed throughout giving this legendary effort a feeling of ambience. The startling opening Darkness Darkness clues the listener that this is not going to be any ordinary album. The remaining songs continue the momentum. Good musicianship prevails throughout.”

“It has got to be the most eclectic album of it's day. It was definitely ahead of it's time. It has some jazz, blues, country, rock and Celtic influences, not to mention Jesse's exquisite voice. Music of the 60s at it's best, but not outdated.”

“Probably one of the best rock albums of the 60s. Provides great listening music for any activity. While many remember The Youngbloods for Get Together, Elephant Mountain goes far beyond the commercial hit which receives so much air time. Those of us that remember the real sixties can relate to these songs and the memories produced by this album.”

“All the songs have great melodies, and original chord progressions, showing that Young either had musical training or great instincts.”

With A Little Help From My Friends – JOE COCKER***

Feeling Alright/Bye Bye Blackbird/Change In Louise/Marjorine/Just Like A Woman/Do I Still Figure In Your Life/Sandpaper Cadillac/Don’t Let Me Be Misunderstood/With A Little Help From My Friends/I Shall Be Released

With A Little Help From My Friends was the debut album from the Sheffield vocalist noted for his peculiar hand movements and anguished vocals. The title track cover was a UK No. 1 hit single. (US:35)

“Although he had been treading the boards since the early 60s, this was Cocker's debut and just reading down the writing credits, it was plain that all was not well. Granted, even the top artists occasionally padded out their own material with judiciously chosen covers, but Cocker's writing credits on this were sparse to say the least. Cocker throws his singularly recognisable vocals into each one, but for me, this LP demonstrates why Joe Cocker was always going to fall short of greatness.”

“While a potent vocalist, Cocker's voice rarely leant itself to subtlety, particularly at this stage of his career. While he may have the definitive male white soul voice, he has a habit of over-emoting, something which makes it very difficult to invest any belief in what he is singing.”

“In all, this is a very consistent album. Joe Cocker's singing is absolutely top-notch and his choice of songs is superb. I can recommend this.”

“Everybody knows Joe Cocker, especially because of his cover version of the Beatles classic, With A Little Help From My Friends, which is also the title of his debut album. Take a look at the track listing. Yes, seven covers out of ten. Two Bob Dylan covers, one Beatles cover and so on. And this is debut album. So I won’t be giving it many stars even though Jimmy Page plays the axe on five songs.”

“There are a number of reason's that Joe Cocker never made another album as good as this soulful debut. First of all, he was in the best shape he'd be in for a long time. Also, he would never again assemble such a group of musicians as appear on this one. The songs are good, with lots of covers.”

“You can judge this LP by its cover. He sings like he looks: unapologetically. He's never fakes for a second. Some good songs with great attitude.”

A Warm Shade Of Ivory – HENRY MANCINI****

In The Wee Small Hours Of The Morning/Cycles/Moment To Moment/A Day In The Life Of A Fool/Watch What Happens/By The Time I Get To Phoenix/Love Theme From Romeo & Juliet/The Windmills Of Your Mind/When I Look In Your Eyes/Meditation/Dream A Little Dream Of Me

Henry Mancini's first release as a piano soloist was also his last LP which reached the top twenty. A Warm Shade Of Ivory includes the US No. 1 single Love Theme From Romeo & Juliet. (US:5)

"An interesting departure for composer/arranger Henry Mancini. The album focuses on his skill as a piano soloist, although he fills some of his usual roles as well, since he also wrote the arrangements. He had a hand in composing only one melody, Moment To Moment, and instead concerned himself with interpreting other composers' melodies. His lush orchestrations are reminiscent of Mantovani, as piano notes sparkle on the surface of immense waves of strings. The album's concept may have been a novel one for Mancini, but the music is not fundamentally different from his typical fare, and encompasses his usual assortment of traditional and adult pop melodies and film themes."

"A Warm Shade Of Ivory is a lovely, contemplative collection that combines Mancini's skills in new and unequivocally successful ways."

"This album is best known for the Love Theme From Romeo & Juliet, which is justly beautiful and deserves your attention. But here's the thing: Mancini was a pianist. He composed his music on piano - which benefits it a lot. The tonal and dynamic range of his best stuff comes from the versatility of the piano as an instrument, for sure. The concept behind this album was to showcase his touch and virtuosity on piano. And it does. But, in the late 1960s, this type of music was not appreciated by many."

"This particular recording I consider lush and romantic. You could always count on Henry Mancini to produce some great easy listening music."

"This album is the most melodic, soothing music I have ever listened to, and one that I continue to return to - it is that pretty. I cannot recommend this one enough, if you want to relax or be calmed. If heavy metal is more your style, this is not the one for you."

Uncle Meat – THE MOTHERS OF INVENTION**

Uncle Meat Main Title Theme/The Voice Of Cheese/Nine Types Of Industrial Pollution/Zolar Czakl/Dog Breath In The Year Of The Plague/The Legend Of The Golden Arches/Louie Louie/The Dog Breath Variations/Sleeping In A Jar/Our Bizarre Relationship/The Uncle Meat Variations/Electric Aunt Jemima/Prelude To King Kong/God Bless America/A Pound For A Brown On The Bus/Ian Underwood Whips It Out/Mr Green Genes/We Can Shoot You/If We’d All Been Living in California/The Air/Project X/Cruising For Burgers/King Kong (song suite)

Uncle Meat was a double album of avant-garde pretension from Frank Zappa & The Mothers. It is unsurprising that the content is as ugly and unappealing as the cover art. (US:43)

“The Mothers of Invention's Uncle Meat is easily one of the most avant-garde pieces of music ever widely distributed by a major record label. Not all of its experiments are successful, but how many other rock acts would dare to fuse influences ranging from Johann Sebastian Bach, Arnold Schonberg and Edgard Varese to William Burroughs, The Kingsmen and Eric Dolphy? Combining musique concrete, live recordings, interviews, instrumental compositions and instrumental solos, Uncle Meat is always fascinating.”

“Great double album shows Zappa's growing prowess as a composer and guitarist, with complex neo-classical instrumentals with great melodies and extended bluesy solos. The material is consistently strong, the edited assemblages build well, the spoken interludes are intriguing, and Frank begins his long practice of placing studio and live recordings back to back. A great success from beginning to end.”

“I'd love to rate this higher but I'm not really a fan of the way Zappa sabotages his own work. Most of the good tracks have several bad ideas, some thrown in for no other purpose than to challenge the listener.”

“If you want to be listening to Uncle Meat on a regular basis, be prepared to cull this release a lot. Way too much garbage for it to be a classic by any stretch.”

“This album is freak music, a mish-mash of songs, jams, concert tapes, skits, and whatever else they felt like chucking in.”

“To me, Zappa's music has always sounded like it came from someone who both hated music and hated people. Why should anybody listen to or care about this.”

“Perhaps Zappa's strangest, most avant-garde work, but definitely one of his best.”