Through The Past Darkly – THE ROLLING STONES*****

Jumpin’ Jack Flash/Mother’s Little Helper/2000 Light Years From Home/Let’s Spend The Night Together/You Better Move On/We Love You/Street Fighting Man/She’s A Rainbow/Ruby Tuesday/Dandelion/Sittin’ On The Fence/Honky Tonk Women US version includes Paint It Black/Have You Seen Your Mother Baby omits You Better Move On/Sittin’ On The Fence/We Love You

The second compilation LP from The Rolling Stones, Through The Past Darkly, comprises the group's essential tracks during the period from 1966 to the end of the decade. (US:2 UK:2)

“Through the Past, Darkly (Big Hits Vol. 2) focuses on The Rolling Stones as they were entering their prime era from around 1966. This is a perfect compilation, one that could be a good foundation for starting a Rolling Stones collection, or to just get the songs that were not released on albums.”

“It's a brilliant reminder of the essential ingredient Brian Jones brought to this band. The dreamy textures and imaginative instrumentation are eternally fresh, it all still sounds revelatory. Yes, a major part of the chemistry is Mick's charisma and Keith's bite, but the Brian era had colour and a beauty that went missing with his passing. All of these tracks belong in every music collection.”

“What a collection when it first came out - new age octagon shaped cover, heightened sensuality; this release truly captured The Stones at their height despite the uncert “This 1969 album was The Stones' second hits collection and reflects the styles and times of the late sixties. It is heavy with their brand of psychedelia in shimmering masterpieces like Dandelion, She's A Rainbow and Paint It Black. Also the poetic Ruby Tuesday, the raucous classic rock numbers like Jumpin' Jack Flash and Honky Tonk Women, while 2000 Light Years From Home has a spacey, atmospheric feel. Street Fighting Man with its menacing air reflects the times, while Have You Seen Your Mother Baby is a soulful power ballad with a devastating hook. Mother's Little Helper is a topical song about the abuse of prescription drugs.”

Through The Past Darkly is the second greatest hits collection from The Stones and as the title suggests, many of the songs take on a harder, darker edge. They are at their best, when they explore the dark underbelly of life and you get ample amounts of that vibe on this disc.”

Then Play On – FLEETWOOD MAC****

Coming Your Way/Closing My Eyes/Fighting For Madge/When You Say/Show Biz Blues/Under Way/One Sunny Day/Although The Sun Is Shining/Rattlesnake Shake/Without You/Searching For Madge/My Dream/Like Crying/ Before The Beginning

Then Play On was the final album from the Peter Green led Fleetwood Mac. After many personnel changes the group would remain in the doldrums for several years, before achieving massive commercial success in the mid 1970s with a very different sound. (US:109 UK:6)

“Then Play On is simply the apex of guitarist Peter Green's blues rock Fleetwood Mac. The combination of Peter Green and Danny Kirwan's guitars together is utterly devastating and makes this a tour-de-force from beginning to end. If you love blues rock you need this one.”

“It starts off very strong but ends up being a little uneven. There's a bit to many long instrumental sections which just aren't that interesting and don't seem to go anywhere. A few very good songs are to be found here though, and the album has a cool vibe and sound to it. This is an album that could have benefited from better songwriting, with a little less aimless jamming and extended instrumental sections.”

“This is the apex of the early Fleetwood Mac albums and is definitely the most complete of the work that featured Peter Green. While the first few albums contained basic and banal, repetitive blues themes, this one has got a more rounded production, is well composed and thought out and contains more expressive songs, as Fleetwood Mac moved away from the straight ahead blues that clogged up their earlier albums.”

“This is British blues at it's finest served up by Peter Green, with Fleetwood Mac at full stride. Just when everything was clickin' on all cylinders, it would soon fall apart with the strange departure of Green as the band reached its zenith. Oh what might have been.”

“Then Play On has to be one of the most significant and beautiful albums of all time. Fleetwood Mac were way ahead of the curve with this release, which included country, blues, haunting rock, both electric and acoustic, with some fine vocal harmonies that reach into and touch your very soul. A quietly superb album, that just grows and grows on you.”

Terry Reid – TERRY REID***

Superlungs My Supergirl/Silver White Light/July/Marking Time/Stay With Me Baby/Highway 61 Revisited-Friends/ May Fly/Speak Now Or Forever Hold Your Peace/Rich Kid Blues

The self titled second album from British rock vocalist and guitarist Terry Reid. Incredibly, it is reported that he declined invitations to join both Led Zeppelin and Deep Purple. (US:147)

“Every song is great especially Stay With Me Baby. His vocal range is amazing and the tone and the pure sound of his voice will knock you out.”

“Terry Reid is undoubtedly one of the best, least heard vocalists of the late 60s. At once powerful and subtle, the cuts on this album can only leave you scratching your head about why we never heard more from him. He's backed by a terrific band."

“This album is outstanding for someone so young. His talent and passion could not be held back, even by the absolutely shameful and shoddy production of Mickie Most. After thirty years I still put my vinyl copy on the turntable and play Speak Now Or Forever Hold Your Peace as loud as I can take it. Truly one of the great rock songs of any period.”

“Terry Reid is one of the greatest vocalists/songwriters of all-time. Its a shame he never broke through as he should have, or could have, if he had competent management. The stylistic range he displays from song to song and even within songs is incredible. The vocals stand out on every track.”

“His voice, flat out, is a powerhouse, and on this, his second album, Terry Reid, is full of heat. He has a pleading voice, brimming with feeling that just soars. This is an excellent album by an underrated and relatively unknown artist.”

“Similar in sound and style to the debut, but with no real standouts this time around. It's still fairly hard edged semi-commercial rock, featuring raspy vocals, and again, little period flavour.”

“Only 19 when he made this masterpiece. Just about every song is quality. His strength on this album is gut wrenching vocals on top of ringing power chords. Almost everyone who attempts to sing fails to hold a candle to this guy. He also wrote great songs, some of which can be found on this, his second album.”

Ssssh –TEN YEARS AFTER****

Bad Scene/Two Time Mama/Stoned Woman/Good Morning Little Schoolgirl/If You Should Love Me/I Don’t Know That You Don’t Know My Name/The Stomp/I Woke Up This Morning

Ten Years After put behind them some of the self indulgence of the previous album with Ssssh, a set of solid blues rock numbers performed with just a hint of psychedelia. (US:20 UK:4)

“Marvellous album. This is an iconic hard-blues-rock achievement. The band is mature and plays creative, catchy music without corny moments, but with slight addition of psychedelic flavour. Impressive, how self-confident the band sounds. There are no flaws on this LP."

“Very strong totality from this awesome band once again. Some really nice blues rockers here including a strong cover version of Good Morning Little Schoolgirl. In some parts this album feels a bit loose but mostly it's just great. Very entertaining blues rock delivered in the Alvin Lee's classic style.”

“This is another fairly good Ten Years After album. They hadn't quite reached the heights of Cricklewood Green at this point but it is still solid blues prog rock typical of the time. There are no bad tracks on here, but similarly there are no great standouts either. Album closer I Woke Up This Morning would be my personal favourite.”

“If you're a fan of heavy blues-rock music with excellent hooks and riffs, this vintage TYA disc is made for you.”

“This could very well be the ultimate combination of blues and rock. I can only imagine how satisfying it must have been for those lucky enough to experience this terrific album back in 1969 when it was brand new. It takes the traditional style of hard rock blues to a much heavier level.”

“Speed, finesse, and soul, a rare combination. You can feel the emotion in every note he plays, as if his emotions came right out through his fingers. An incredible depth of feeling. It is beyond question that Lee is a terrific guitarist and that Ten Years After were a great band, but Lee's songwriting on this album is mostly very traditional blues/rock, and some songs may sound a little dated.”

Love Chronicles – AL STEWART***

In Brooklyn/Old Compton Street Blues/The Ballad Of Mary Foster/Life & Life Only/You Should Have Listened To Al/Love Chronicles

Love Chronicles was the follow up album from British folk rock singer songwriter Al Stewart. The detailed account of his love life was not to everyone’s taste.

“This is pretty much all acoustic guitar driven singer-songwriter style folk ballads. I'm sure it holds plenty of promise for his fans, or genre fans in general. I can enjoy a good folk/rock album too, but not this one. Not that it's particularly bad, just hopelessly mediocre to my ears.”

“A strong and enjoyable folk-rock album nearly ruined by the eighteen minute pile of rubbish that takes up the bulk of side two. My problem with early Al Stewart is his high lyrical pretension at such a young age. He really tries to wrap himself up in the illusion that he is world-weary, or more precisely love-weary well beyond his years and it's just laughably unconvincing. The things that play in his favour are a) his charmingly lisped vocals which somewhat incorrectly give the allusion of feyness and b) the rather superb backing from Jimmy Page and Richard Thompson.”

“This one attracts high praise from the Stewart faithful, but to my ears it hasn't aged all that well, and there's something slightly unsettling about seeing that much of the man's personal life. Call me a prude perhaps.”

“The album kicks off with the delightful In Brooklyn, which may be the best song on here. I honestly don't pay too much attention to Al's lyrics, but I'll just have to take his word for it that he did some mighty fantastic things while in Brooklyn. The thing is though, the album is really repetitive. After the first song, you just get more of the same. But the epic, nearly 18-minute long title track is worth noting. Just Al spewing out line after line without any significant instrumental breaks. I really can't think of any song that better fits the dictionary definition of 'self-indulgent'."

“I like Al Stewart, and the first half of this album is pretty enjoyable, though not his best. As usual, it is a bit on the melancholy side. The Ballad Of Mary Foster deftly interweaves wry and detailed commentary and first person observation of middle class 20th Century British life. However, the 18 minute title track is truly beyond ridiculous - maybe worth listening to once, for a laugh.”

Songs for A Tailor – JACK BRUCE***

Never Tell Your Mother She’s Out Of Tune/Theme For An Imaginary Western/Tickets To Water Falls/Weird Of Hermiston/Rope Ladder To The Moon/The Ministry Of Bag/He The Richmond/Boston Ball Game 1967/To Isengard/The Clearout

Songs For A Tailor was the debut solo album from Cream bassist Jack Bruce. It is unfortunately the case that none of the solo albums from former Cream members ever came close to the brilliance of those released by the group. (US:55 UK:6)

“This is one of those albums that never met my expectations and is still a bit of a disappointment. The bass playing is stellar, there are a few nice tracks but the rest is much akin to audio wallpaper. I really wanted to like it more, for what it's worth.”

“Three OK songs, the rest are some random dull British stuff. Still some good bass playing and rather entertaining.”

“Musically, this is as dry as the cover art would suggest. There are, however, some moments where I find myself saying this sounds like Cream. Bruce without Clapton, however, is an acquired taste. It's decent, mostly because he's a rock-solid bass player and vocalist.”

“By 1969 standards this is a very disappointing release, inferior in all departments to Cream. Poor sound quality, although the compositions show promise, and Cream could have made much more of them. The break up of this band was a disaster for Bruce, who promptly disappeared from the ranks of significant acts. I think this was his last ever appearance in the UK album charts.”

“The key to this album is that its not just mere rock, but a formulation of some great music, in the jazz/rock/blues form. It never gets pretentious - it is allowed to be progressive without going on too long. It knows when to stop and when to move on. And it knows when to be dramatic and when to be deep, insightful and, in the case of the first track, loud and fun.”

“On his first solo outing Jack Bruce eschews Cream's commercial accessibility for esoteric chord sequences and surreal lyrics. A complex album that covers a lot of ground, it demands intelligent listening. With his perfectly matched lyricist Pete Brown, he created a thoughtful, energetic, emotionally evocative collection of songs.”

Townes Van Zandt - TOWNES VAN ZANDT***

For The Sake Of The Song/Columbine/Waiting Around To Die/Don't Take It Too Bad/Colorado Girl/Lungs/I'll Be Here In The Morning/Fare The Well Miss Carousel/(Quicksilver Daydreams Of) Maria/None But The Rain

Self titled third album from the cult singer songwriter Townes Van Zandt. His style of music is difficult to pinpoint but is primarily country with the addition of some rock & roll, folk and blues.

"Van Zandt's songs are pared down to the pure essentials, a voice, an acoustic guitar, perhaps one more instrument, and it's just the strength of the melodies, the lyrics and his singing that turns this into magic."

"This album finds a more mature writer and singer as he debuts such classics as the seamless Don't You Take It Too Bad and the poetically lovely Quicksilver Daydreams Of Maria. He re-recorded a few songs that had appeared on his overproduced first album and they receive much better treatment here."

"This time around Townes decided to go with a more stripped-down approach. For the most part, these arrangements are purely acoustic in composition, which allows his voice to take centre stage; the emotion it conveys in carrying his hopeless lyrics is just magical."

"A great and pretty much flawless record from Townes Van Zandt. Actually more folk then country, stripped to the basics with just acoustic guitar, drums and a few other instruments, nothing to take away from Townes' songs which are the real star."

"Melancholic and simplistic, country-based folk album perfect for late nights. Solid through and through, best experienced as a whole."

"Full of memorable lines and great hooks, this is absolutely an underrated album from an artist too few have heard of. It has the distinct, robust sound of the American West, but it captures the pain and hardship of a real-life cowboy. All the while, it manages to be deeply poetic and moving."

"Townes Van Zandt was a singer-songwriter with fantastic poetic lyrics, yet you don't necessarily need to understand these lyrics in order to enjoy his music. Just his warm, emotive voice and the melodies of the songs are enough to create a beautiful melancholic atmosphere."

Santana – SANTANA****

Waiting/Evil Ways/Shades Of Time/Savor/Jingo/Persuasion/Treat/You Just Don’t Care/Soul Sacrifice

The eponymous debut album from the Latin-rock group Santana who made a big impression at the Woodstock festival. Santana includes the US No. 9 hit single Evil Ways. (US:4 UK:26)

“Santana's debut should be a stone classic and what prevents it is that it lacks focus, tending to aimlessly meander at times. But when the band is on, they're really on. There are several fiery Santana classics here, including the gorgeous piano-driven Treat, the incendiary Soul Sacrifice, and the tribal mesmerism of Jingo. Santana is a true early rock classic.”

“Virtually unknown before Woodstock, their thrilling performance of Soul Sacrifice turned them into an overnight sensation.”

“Santana start their career off in magnificent fashion with this excellent debut. The band's trademark mix of psychedelic hard rock with Latin rhythms is already fully formed albeit with a slightly bluesier edge than on subsequent releases.”

“Instrumentally fine: all the Latin, psych and blues elements come into play here, but this is just flat out unexceptional and even boring in places. Aside from perhaps the climax of Soul Sacrifice, this is completely unmoving and underwhelming.”

“When this album came out it introduced the public to the fundamentally new sound of Latin rock, with distinct elements of afro-Cuban music and rhythms, and more hidden elements of fusion jazz. Not only was it an entirely new sound; it was solid and intense, of an incredible high quality, and the synergetic fusion of the band members is really awesome.”

“Santana's 1969 debut album stands apart from most other rock and pop of the period in deploying a unique fusion of San Francisco rock, Latino rhythms and complex African-influenced percussion. This young band made a big impact with a fresh sound, often fast and furious, full of percussive sophistication, overlaid with the young Santana's wailing guitar which quickly became their trademark. Hard-edged songs, with more traditional verse-chorus structure, are mixed with heavily percussive numbers and the occasional slower-tempo numbers.”

Pussy Plays – PUSSY***

Come Back June/All Of My Life/We Built The Sun/Comets/Tragedy In F Minor/The Open Ground/Everybody’s Song/GEAB

Pussy Plays was the sole album release from the obscure Hertfordshire psychedelic group Pussy. They were an artificial group of musicians assembled to record the compositions of the producer.

“Haunting, while at the same time, beautiful and melancholic. It's experimental in the way that the arrangements are done but still tight. The vocalist fits these tracks beautifully, inflecting feeling, subtlety and nuance into every track. The guitar playing is nothing phenomenal but the melodic playing fits perfectly. A definite sense that these guys were after something a little different pervades this album.”

“Pussy Plays is decent late 60s British psych/prog rock. There are many good ideas scattered throughout the album, but it's lacking in the songwriting and arranging department, which makes it not that memorable.”

“With pixie-like vocals, Pussy's modus operandi throughout the album is a heavy, funereal keyboard style laced with freaky guitar solos. But this is by no means a dark and gloomy album. Off-kilter would be a better description.”

“This is the only album by the short lived but excellent British prog band Pussy, which is often considered as one of the greatest one-off gems of the genre. With the typical heavy keyboards (organ mostly), guitar solos and vocal harmonies, full of psychedelic influences and beautiful melodies, the album is truly magical and deserves its reputation.”

“While there are a couple of just OK tracks on this album, the rest are good enough to warrant getting it if you're into late 60s organ-driven rock. It's certainly an LP I enjoy giving a spin every now and then, with the classic The Open Ground almost worth the price of admission.”

“This is a decent album and a good example of a group that straddles the line between psych and prog. Keyboard driven rock songs, melodramatic vocals and harmonies, fine arrangements and some lovely melodic guitar work, make this definitely an album to check out.”

Two Ozs Of Plastic – MAN***

Prelude-The Storm/It Is As It Must Be/Spunk Box/My Name Is Jesus Smith/Parchment & Candles/Brother Arnold’s Red & White Striped Tent

Two Ozs Of Plastic was the follow up album from the Welsh progressive group Man. They were noted for their changing personnel as much as for their variety of musical styles.

“I always loved the mellow and haunting opening to this record with Prelude/The Storm creating an atmospheric ambience of the sea and cry of gulls, quite soothing just before the thrashing starts, and the hypnotic guitars lock in. Few bands of the 60s rocked this hard. All the tracks here are classic Man workouts.”

“On this, their second album, Man explored a number of different ideas and styles as they sought to define their own sound. The opening track, Prelude/The Storm sounds a lot like something by early Pink Floyd on one of their better days. After this, the music moves on to the more straightforward rock music that was to become the band's mainstay. There are a lot of rough edges to this LP, which is not really a surprise given that it dates from the earliest years of the band's career.”

“A much more diverse set, of primarily progressive driven material. The album opens with some decidedly classical sounds before developing into harder rock, and adding some semi-commercial AOR sounds to the mix as well. Clearly not very consistent either.”

“Highly varied in terms of style and form, from dreamy progressive rock to brutal blues rock. Some good tracks, some boring. Not an essential record, however the fans of early seventies rock may enjoy this.”

“Man seemed to be a band that were always changing styles. They mostly stick with a hard rock guitar sound on this album, a sort of British hard rock blues meets West Coast psychedelic guitar rock. They still make a few detours though, which is a good thing in adding a little variety to the riffs. The opening epic Prelude/The Storm does a pretty decent space rock style with piano and other sonic textures.”

“Although the band normally handled vocal harmonies well, the lead vocals on the hard rock material left a lot to be desired, sounding weak and dated. It's admirable that the band had a do-it-yourself attitude to their music, despite areas of weakness.”

The Best Of – GENE PITNEY*****

Town Without Pity/The Man Who Shot Liberty Valance/Twenty Four Hours From Tulsa/Mecca/I’m Gonna Be Strong/It Hurts To Be In Love/I Must Be Seeing Things/Looking Thru The Eyes Of Love/Just One Smile/Nobody Needs Your Love/Backstage/Something’s Gotten Hold Of My Heart/Somewhere In The Country/In The Cold Light Of Day/Yours Until Tomorrow/Maria Elena

An excellent hit compilation of dramatic ballads from the powerfully voiced ballad singer Gene Pitney who talents are not as well known today as they should be. (UK:8)

“Gene Pitney is one of the most unsung heroes of good pop music. His voice was brilliant and the songs he interprets are great.”

“The songwriting company he kept throughout the 60s was amazing. Mann & Weil, Leiber & Stoller, Bacharach & David, Goffin & King, turned out some of their best work for him and almost always the Pitney version was definitive.”

“He always had a strong voice and great songwriters. He mostly recorded dramatic ballads, some of the best and after you heard it through you wonder why today he is rather obscure.”

“Even with two dozen charted singles to his credit, Pitney remains one of, if not the most, underrated and under recognized pop performers of the 1960s.”

“Behind that smooth tenor is a voice, that when the song calls for it, comes roaring out, ripping out every last shred of emotion imaginable. Unlike so many popular singers whose idea of creating musical drama is merely louder and louder screaming, Pitney's voice rose with power and pathos to a stunning climax.”

“As with many performers, changing musical tastes, and a drying up of suitable material, meant Pitney's string of outstanding recordings came to an end, and by the late 60s he was mostly forgotten by the music buying public. Before that though, he left a legacy of magnificent pop performances.”

“Many of his recordings demonstrate his ability to bring the listener into his world and make you share the emotionally wrenching experience he seems to be enduring. Even in his lighter, cheerier tunes, here is a voice that's serious about what it's doing. There is no fluff, no easy cruising through a melody.”

My Blue Ridge Mountain Boy – DOLLY PARTON****

In The Ghetto/Games People Play/’Til Death Us Do Part/Big Wind/Evening Shade/I’m Fed Up With You/My Blue Ridge Mountain Boy/Daddy/We Had All The Good Things Going/The Monkey’s Tale/Gypsy Joe & Me/Home For Pete’s Sake

During the late sixties country star Dolly Parton was very prolific, releasing duet albums with Porter Wagoner, as well as her own solo efforts. Her second 1969 release My Blue Ridge Mountain Boy is notable for the number of her own compositions. (US:194)

“The second 1969 album by Dolly Parton opens with sombre version of In The Ghetto that stands in contrast to next song, Games People Play, in happy, countrified dress. Porter Wagoner's hit Big Wind is a delicious, happy country gospel in her hands. Her own material is very interesting, apparently Parton really let her imagination run wild and she came up with several heavy drama stories. In all of this, Parton chirps like a birdie so it takes some time before the message of the lyrics actually sinks in.”

“This is Dolly becoming great. You have her distinctive voice with all the charm of that age. It includes five of her own songs; these are haunting numbers and we see all of the early talent of Dolly. For anyone who can get there hands on this gem, they will not regret it."

“At this stage of her career, she was still struggling to find her commercial breakthrough. It is a more consistent album than her somewhat uneven predecessors. However, none of the singles performed well on the charts, most likely due to their depressing and controversial, by 1969 standards, subject matter. Make no mistake, this album is no happy affair. The themes explored range from poverty, infidelity, and illegitimate birth to revenge, murder, suicide and prostitution.”

“There is no question that the choice of songs selected for Dolly’s early single releases was not exactly in synch with much of the late 1960s mainstream country music audience. However, I would argue that the sound of Dolly’s unusual voice was the primary problem with her initial acceptance. Many country radio programmers, as well as country fans, were not exactly captivated by Dolly’s rather odd vocal delivery. Her 'little girl' voice was a big change for country fans. The title song was the first single released but, despite its beautifulness about a young woman going to New Orleans to better herself, the track was a flop.”

New York Tendaberry – LAURA NYRO****

You Don’t Love When You Cry/Captain For Dark Mornings/Tom Cat Goodbye/Mercy On Broadway/Save The Country/Gibsom Street/Time & Love/The Man Who Sends Me Home/Sweet Lovin’ Baby/Captain Saint Lucifer/ New York Tendaberry

The tracks on New York Tendaberry presented a darker more pessimistic outlook from singer-songwriter Laura Nyro. It was her most commercially successful album. (US:32)

“A tough listen from a tough singer. I always get the impression that she set out to write happy songs, but ultimately they grow sadder the more she worked on them, both with her singing and lyrics. Occasionally there is a Broadway show stopper feel to some of the songs, like she is trying to pour hope into a bad situation, but ultimately these songs are down and dispirited, and the energy of Nyro’s voice can do little to pull them through. Well worth checking out though.”

“New York Tendaberry possesses some of the most personal, and painful, moments in music. Laura Nyro was not happy when she completed this record. And she would become even less so. But the staggering thing about it is that she bared herself emotionally to make this record with no holds barred, and consequently her vulnerability is glaring even, at times, desperate.”

“This took a whole year to record owing to Nyro's extraordinary perfectionism. It represents the same values as Eli but in a much more pure, stripped fashion. Gone are the opulent arrangements and vocal harmonies, or even the optimistic, joyful melodies. The vocal style remains, as does the love of change in rhythm and tempo, but this is an altogether darker and less immediate record.”

“It is odd that New York Tendaberry ever made it into the charts to begin with - even by today's standards it is alternative with a capitol 'A', a strange mix of jazz, blues, rock, pop, urban edges, and folk flourishes created largely by Laura and her piano, with little in the way of musical back-up, and still less in the way of vocal back-up."

“It is dramatic, intense, at times painfully quiet and more often than not bewilderingly freeform, almost expressionistic. Minimalist arrangements and the naked solitude of Nyro's voice made me reluctant to come back to the album. But come back I did, and every time something delicious emerges that makes me wonder how carefully I'd been listening the first time through.”

Tim Hardin 4 – TIM HARDIN***

Airmobile/Whiskey Whiskey/Seventh Son/How Long/Danville Dame/Ain’t Gonna Do Without Part I/Ain’t Gonna Do Without Part II/House Of The Rising Sun/Bo Diddley/I Can’t Slow Down/Hello Baby

Tim Hardin 4 was not a collection of new songs as the title might suggest but some earlier blues style recordings from five years earlier. It is a mix of original compositions and covers.

“This collection of demos, recorded in 1964 as an audition, was released in early 1969 as though it were a newly recorded album. The album holds some interest as a historical document. It's a batch of blues songs, mixing covers of Chess blues classics with Hardin’s original, though derivative, blues songs. The arrangements employ an understated, low-key folky mix, as opposed to a more overt Chicago electric blues sound. Still, there's more drive to the music than on a typical mid-'60s folk album. This is not essential listening by any means, but it's pleasant enough to hear on a lazy, cloud-covered afternoon.”

“An unusual album by Tim Hardin's standards, with straight ahead blues writing and playing, with the standout track in minor blues, House Of The Rising Sun. Even though a collection of demo recordings, it's essential for the understanding of the many facets of the performer.”

“Drawn from mid 60s demos Hardin recorded when trying to obtain a recording deal, backed by a full band, this was one of his most varied releases. Showcasing Hardin at his most playful, Airmobile was a wonderful leadoff selection. Others showcased a surprisingly competent feel for the blues. Among the few missteps are the dull Danville Dame and a death march tempo House Of The Rising Sun.”

“Tim Hardin's version of the blues deviates a bit from his earlier more folky albums. Every song on the album is a blues progression featuring Tim's gritty voice bouncing off an unknown blues harp. Most of the songs are penned by Hardin, but he throws in covers of Bo Diddley and House Of The Rising Sun that fit right in. Not exactly groundbreaking but it certainly demonstrates the breadth of Hardin's talents.”

“Tim Hardin 4 present Tim the bluesman. Though he's best known for soft, introspective folk-rock tunes, the blues was an important part of Hardin's musical makeup. While the songs aren't as distinctive or idiosyncratic as those found on 3, this is still Hardin in his prime.”

Hank Marvin – HANK MARVIN***

Aquarius/Born Free/This Guy’s In Love With You/Tokyo Guitar/Chameleon/Lara’s Theme/The Big Country/Love & Occasional Rain/Georgia On My Mind/The Windmills Of Your Mind/Sacha/High Sierra

This debut solo album from The Shadows lead guitarist Hank Marvin is now largely forgotten. This LP provided the template for future Shadows albums - instrumental versions of well known hits. The best Shadows music is almost completely confined to their pre-1966 releases. (UK:14)

“I wouldn't be without it. This is Hank at his very best - superb selection of material from various sources (including his own compositions). Brilliant guitar work with a big and atmospheric backing that really works. Sacha tops the lot - and Hank was still playing it up to his final tour.”

“It is Hank at his best with some moody pieces like The Big Country and some new self written pieces. This is a must for any Hank fan.”

Green River – CREEDENCE CLEARWATER REVIVAL****

Green River/Commotion/Tombstone Shadow/Wrote A Song For Everyone/Bad Moon Rising/Lodi/Cross Tie Walker/Sinister Purpose/The Night Time Is The Right Time

The turn of the decade was a prolific time for the rock group Creedence Clearwater Revival, with many big hit singles and albums. Green River features the US No. 2 title track single plus Bad Moon Rising, a UK chart topper and No. 2 in the States. (US:1 UK:20)

“Green River is their first completely original effort as a band. Gone are the lengthy jams, replaced by concisely written and arranged songs that reflect Fogerty's evocations of an idealized South. The album opens with the title track's sumptuous memory of a mythical childhood, a song so deeply soaked in Southern swamps that it's hard to imagine it being written in the urban hills of California's Bay area.”

“If you have listened to any of CCR big albums you pretty much know what to expect here, they stick to the same happy and really catchy upbeat rock tunes. The singing is great, and there are some surprisingly good guitar moments on this one. Overall, this is a really fun and lightweight rocker, particularly if you enjoy classic rock.”

“I don't know what's more impressive - the sheer amount of material that Creedence Clearwater Revival released in 1969, or the fact that all of it was so good. In the case of Green River, what we have here is an absolutely blinding album, where every single song qualifies as an album highlight. It's the perfect place to start exploring the band's material.”

“As American as apple pie, Creedence were one of the greatest examples of authentic State-side roots music in the 60s. Green River ramps up their sound and intensifies the themes found on their previous releases. It is a very dark album, and John Fogerty begins to include anti-war and anti-government messages which became more prevalent and strident on later albums.”

“Creedence eliminate the long jams and go for a short rocking album. I am not sure just how good Fogerty is at writing songs, there are obvious standouts like Green River and Bad Moon Rising and other less known greats like Wrote A Song For Everyone. However, it seems to me that many songs miss that special something that makes them memorable and great.”

A Gift From Euphoria – EUPHORIA***

Lisa/Stone River Hill Song/Did You Get The Letter/Through A Window/You Miss Pflugg/Lady Bedford/Suicide On The Hillside/Sweet Fanny Adams/I’ll Be Home To You/Sunshine Woman/Hollyville Trail/Docker’s Son/Something For The Milkman/Too Young To Know/World

A Gift was the sole album from the psychedelic Texan studio duo Euphoria. It encompasses a variety of different styles including bluegrass, country, baroque pop and psychedelic rock.

“A varied collection of music that really gets you thinking at times. Incredible guitar and bass playing. These two lads put together quite a collection of original material. Moves from orchestral to country to rock with transitions of interest. All the genre's that are represented on this album are played to perfection. The more you hear it, the more it amazes and delights the listener.”

“This is an interesting time piece. They knew how to make a decent groove, and the harmonies were pretty cool, with some decent songwriting too.”

“Plenty to admire in this but I find it a hard one to love. After the first couple of tracks the juxtaposition of styles is not so jarring, and you have to admire the ambition, but there is something slightly cold about the enterprise.”

“It's a mix of strongly country flavoured rock featuring steel guitar and some ballads, and some harder psychedelic rock featuring fuzz guitar, lots of sound effects, forwards and backwards tape loops, and dreamy vocals. Despite all this, the majority of psych flavour is often hidden, daring the listener to seek it out.”

“A chalk and cheese mixture of dud country and 'interesting' psychedelia by a duo of hustlers who somehow cobbled this together privately and persuaded a major label to release it. One of those albums that has to re-programmed to make it listenable.”

“Really unique orchestral pop/country rock psychedelia. Most of the songs showcase the country or orchestral side of rock with some good string arrangements and twanging guitars. The best and most psychedelic song is Did You Get That Letter."

"This is a winning mix of country honky-tonk, psychedelia and symphonic pop. It's as individualistic, unique and original as one could hope to hear."

Five Leaves Left – NICK DRAKE****

Time Has Told Me/River Man/Three Hours/Way To Blue/Day Is Done/Cello Song/The Thoughts Of Mary Jane/ Man In A Shed/Fruit Tree/Saturday Sun

Five Leaves Left was the debut album from British singer songwriter Nick Drake. The music is acoustic folk of an introspective and sometimes melancholic nature.

"Five Leaves Left is simply a masterpiece. There isn't a bad or even a mediocre track on this album. Every single note is imbued with a beauty that few artists ever attain. From the wonderful opener Time Has Told Me to the bluesy Saturday Sun the album maintains excellent quality. All Drake's guitar playing and singing is fantastic, but what really makes this is the collection of melancholic string-laden songs that make up the meat of the album.”

“Nick Drake's debut album is a brilliant collection of songs, each of which would be an essential entry to any 'Best of' compilation. In that respect, Nick's debut is depressive, introspective singer-songwriter folk mostly disconnected from the general trends in contemporary folk of the time.”

“Just about as perfect as an album can get, and by far his best work in the studio, Drake never sounded as lush or as focused on his subsequent albums. The arrangements are just so wonderfully done, and Drake's voice is also at its best.”

“He's getting there, but the later albums are much better. This isn't a bad record, it's easy to listen to and there are some gems here and there, but the it doesn't shine like his later releases.”

“Unlike most modern recordings this is not over-produced and has a lovely uncluttered feel to it. The string arrangements are tastefully done and the backing musicians are some of the era’s finest such as Richard Thompson on guitar.”

“Nick Drake's wonderfully warm voice and beautiful guitar make this one of the most pleasant albums to listen to that's ever been recorded.”

“He has fresh ideas and supplies an interesting repertoire of chords. He has a weak voice but the feelings he provokes with it are anything but. He proves himself an excellent arranger of music as well.”

Crow Music – CROW***

Evil Woman/White Eyes/Thoughts/Da Da Song/Busy Day/Time To Make A Turn/Rollin’/Listen To The Bop/Gonna Leave A Mark/Sleepy Woman

Crow Music was the debut album from the Minneapolis hard rock group Crow. It includes the US top twenty hit single Evil Woman later covered by Black Sabbath as their first single. (US:69)

“An agreeable, loose, late 60s old school hard rock LP which is quite an enjoyable listen. The Mexican style horns on Evil Woman are unusual and a big surprise on this sort of music, but somehow seem to work.”

“Soul driven semi-commercial hard rock. Similar at times to Steppenwolf with horns. It goes through numerous tonal shifts, including 50s rock 'n' roll, soul, acoustic, psychedelic, blues and a kind of pre-funk jazzy hard rock.”

“It's unfortunate that Crow are primarily known as a one hit wonder. And not really a huge smash hit at that. After cracking the top 20 with Evil Woman Don't Play Your Games With Me, Crow was poised to fly further with several follow up releases. Sounding a bit like Steppenwolf, the band left us with a legacy of great biker rock. Recording for a very small label with little promotion, the subsequent songs just didn't advance the group, although several of them shimmer with golden rock.”

“Why did this band not make it to the top? The vocals are demanding and strong. The songs go deep.”

“The musicianship and interplay between the band members is excellent: and these guys could really write songs.”

“Crow probably don't make many top ten favourites list, but they did have their moment in the sun - in this case the gloriously heavy Evil Woman. Even the addition of a sloppy horn arrangement couldn't spoil the track.”

Canned Wheat – THE GUESS WHO***

No Time/Minstrel Boy/Laughing/Undun/6am Or Nearer/Old Joe/Of A Dropping Pin/Key/Fair Warning

The second album from the Canadian soft rock group The Guess Who after joining the RCA label. Canned Wheat includes the US No. 10 hit single Laughing. (US:91)

"Canned Wheat is an impressive effort by The Guess Who even though it didn't achieve a high chart placing in the US at the time of release. The set featured the notable hit Laughing, the soft jazz rock gem Undun and the criminally underrated Of A Dropping Pin.”

“There's no question that Burton Cummings was a great, distinctive vocalist. He just needed to be reigned in from getting carried away. The band indulge their more 'jammy' side here on the eleven minute Key, with some stellar drumming and guitar work. At this point, their British Invasion influences were well merged with a more jazzy pop song sensibility, with a hint of their later more hard rock sound.”

“Another poor release from an otherwise good band. The Guess Who had a skill for songs but not for albums. They just can’t produce a true album, its more of a collection of decent songs to back the singles. With that said there are two good tracks: the first is the undeniable whimsy of Undun, a spectacular song that flows very majestically. Laughing is the other radio frequent. In conclusion, this is a rather bland album with only a few highlights.”

“Contains the two hits Laughing and Undun, plus the original version of No Time before it was shortened for AM radio. The entire second side is more of the band playing their brand of hard-folkish-poppy-and even jazzy-rock.”

“Most of the songs on this album aren't very exciting, but the few exceptions make it very worthwhile. Of A Dropping Pin is an undiscovered gem, Undun is generally considered to be one of the group's best, and I much prefer this version of No Time because the strummed acoustic guitar chords are clearer, the guitar solo is extended, and the ending is more climactic than in the top 40 version.”

“While this album might have not convinced the public that The Guess Who were anything more than an AM-oriented pop/rock band at the time, this album and band really deserve much more than that status.”

Live – GLEN CAMPBELL****

More-There’s A Place For Us (Medley)/Didn’t We/Dreams Of The Everyday Housewife/By The Time I Get To Phoenix/For Once In My Life/Its Over/Gentle On My Mind/Where’s The Playground Susie/Dock Of The Bay/If You Go Away/Walk Right In/The Impossible Dream

This first live album from popular country star Glen Campbell, recorded at the Garden States Art Centre, Holmdel, New Jersey in 1968, omits some of his later big hits. (US:13 UK:16)

“This is a near perfect and absolutely enjoyable performance by one of the greatest country-rock crossover artists. If you are a Glen Campbell fan, this is one of the best live recordings of all time. If you are not a Glen Campbell fan, this recording can help you appreciate something that was magical back in the time when live recordings weren't valued as much as they are today.”

“This album is wonderful listening and contains everything from pop to bluegrass. Glen's vocals are outstanding and his musical versatility amazing. It will be a standard for years to come.”

“Glen's personality really shines through in his songs and audience interaction on this album. This is a classic live performance by Glen in his prime.” ,p> “Campbell was at the top of his game at this concert, and the energy and quality of his voice comes through on this recording. It doesn't have some of his biggest hits, but the sheer power and range of his voice more than makes up for it.” ,p> “I could tell you just how great this album is. If you're a Glen Campbell fan, you'll want this album. If you're curious or just getting into him and want a good album to start with, you should try this album.”

“This LP has some great guitar intros that most guitar players will love whether you play folk, country or jazz. Folk lovers will probably enjoy Glen's version of Walk Right In and jazz enthusiasts might enjoy the guitar notes in Glen's cover of For Once In My Life. Also, there are a couple of old banjo tunes as well. And, of course, it doesn't hurt that this LP has lush orchestral arrangements from the Garden State Orchestra.”

Blues Obituary – GROUNDHOGS****

BDD/Daze Of The Weak/Times/Mistreated/Express Man/Natchez Burning/Light Was The Day

Blues Obituary was the follow up album from the London blues rock group The Groundhogs. They would enjoy a huge surge in support from British fans during the early 1970s.

“This is the only Groundhogs album that I've ever liked. All of the others, released after this, were attempts by Tony McPhee and his mates to cater for the prog-rock college student market. This, however, is a set of brilliantly basic snippets of blues music, with Tony’s mournful vocals and clever, unpretentious, little guitar riffs decorating the whole thing. Properly good, honest British blues.”

“Good solid bass-guitar-drums blues (with a slight edge towards prog, but not much), the trio are obviously well in tune with each other. The riffs and tunes blast along with huge energy, and in the rather angular (but great) Groundhogs style.”

“A significant improvement, from a rock standpoint, over their debut, but still not quite up to the par of it's follow-up. At least they are clearly moving in a positive direction. This is fairly straight forward blues oriented hard rock, though somewhat lacking in period flavour.”

“This is the kind of stuff that could lead to an excessive live jam. It is great blues rock from the roots of great blues rock music.”

“Here the Hogs begin their journey toward greatness, moving outside of the blues into new and different waters. But the accent here is still on their muse, and it wouldn't be until the next record that they'd really break loose. Get this and hear a band on the brink of brilliance.”

“A timeless classic. Warning to any guitarist; after hearing this you'll want to either sit down and practice or hang it up. McPhee is so good it'll leave your head spinning. An essential listen.”

“This album captures them moving away from their traditional blues format into different territory. Rock music was becoming more virtuoso driven at this time, and the Groundhogs reflected the new sound with their own, still heavily blues-inflected take on it.”

The Association – THE ASSOCIATION***

Look At Me Look At You/Yes I Will/Love Affair/The Nest/What Were The Words/Are You Ready For That/ Duboque Blues/Under Branches/Up For Europe/Broccoli/Goodbye Forever/Boy On The Mountain

Self titled album from the vocal harmony group The Association that would be the last to achieve a respectable US chart placing. They would release a couple more albums to only limited public interest. (US:32)

“My only problem with this album is that some of the tracks are too sugary sweet or too gentle for my liking, although it is a good album to relax to.”

“Here we find mostly soft, semi-folk sounding vocal harmony pop, some of it featuring a country flavour. At times, though, it seems as if some of the harmonies are missing something. For me, no real standouts on this one.”

“By the time this album was released, The Association had run their course as a hit producing band. That is unfortunate as there is some fine material here. Overall, a pretty good album, though far from their best.”

“The album, The Association, was the beginning of an attempt to modify their sound as the music world changed around them. Look At Me Look At You is catchy and probably the best tune on the album, and Dubuque Blues comes close. The rest of the songs range from average to good but when taken as a collective whole they hold together well.”

“This album has its moments, but you can hear the treacle starting to seep through the cracks to take over their sound. Producing no hit singles, it marked the end of The Association's classic period.”

“Comprised of nearly all original material The Association seemed eager to wipe clean the slick, canned sound of the previous two albums. This resulted in what is considered by many as their best album vocally, with painstaking care being given to vocal arrangements and harmonies, always an Association trademark.”

“The Association marked the beginning of the downward arc for the band commercially: there were no hit singles, and record sales weren't too hot, either. But creatively, the band had never been better. By this time, they had branched out into creating songs that were a bit more sophisticated and arty.”

Area Code 615 – AREA CODE 615***

Southern Comfort/I’ve Been Loving You Too Long/Hey Jude/Nashville 9 NY 1/Lady Madonna/Ruby/Crazy Arms- Get Back/Why Ask Why/Lil’ Maggie/Classical Gas/Just Like A Woman

The eponymous debut album from the Nashville country rock group Area Code 615. Formed from Nashville session players who got together to record mostly instrumental music with influences from country, bluegrass, R & B and rock & roll. (US:191)

“I would not try to categorize this as the Nashville sound, country or bluegrass or whatever. This is simply great music, played by accomplished musicians.”

“Uptempo banjo-pop, good musicians, mostly instrumentals. It hasn't got one bad track on it. It's bluegrass, country, rock and ballads and it still holds up against any music today.”

“Great psych/bluegrass music. Would have preferred more vocals on the album, but overall good music.”

“This is some of the best music you will ever hear. Great, pristine, foot-tapping, tunes. If you appreciate lovely, happy, easy, groovin’ music, you must add this to your collection.”

“Some of Nashville's best session musicians joined together to form the Area Code 615 band. The pickin' is first-rate all the way through. Bobby Thompson's banjo version of Mason William's Classical Gas is great.”

“In order to truly enjoy this music, you have to be on the same wavelength, either enjoying the group's undeniable instrumental skills, or enjoying the records because they're so clearly of their time. No other era would have country studio musicians jamming out on Beatles tunes, or turning in trippy, mind-bending instrumental interludes with fuzz-toned guitars. It's interesting as a period piece, as well as an example of their virtuosity, but in each case, it winds up as a bit of a dated artefact.”

“What a great album. It's difficult to categorize, really. I wouldn’t call it bluegrass, exactly, maybe 'rockgrass'. Just when you think it's going to be dull, the music takes off, lead by Bobby Thompson's righteous banjo picking, into a funky mix of Southern rock, soul and bluegrass. Every song is good, there are no clunkers.”

Love & Poetry – ANDWELLAS DREAM***

The Days Grow Stronger For Love/Sunday/Lost A Number Found A King/Man Without A Name/Clockwork Man/Cocaine/Shades Of Grey/High On A Mountain/Andwella/Midday Sun/Take My Road/Felix/Goodbye

Love & Poetry was the debut album from the Irish psychedelic group Andwellas Dream. It includes a range of influences from rock, jazz to blues and eastern style all mixed together.

“Feedback and strings, acoustic and electric guitars, fast and slower tempo tunes, always meaningful lyrics, all these elements and more are part of Love & Poetry. Simply put, this is truly a classic album. It is as relevant as ever, sounding crisp and fresh. Timeless may be the best one word description. From hard rocking to achingly haunting, the entire musical gamut lies within the confines of this LP.”

“There is not a lot of rock on here. More folky than rock-filled. You get a nice blast of what the sixties were about. You have to pay attention and be knowledgeable about music to appreciate Love & Poetry.”

“The songwriting on this album is extraordinarily good, with a wide variety of styles, and it is certainly in a category higher than your average psych album. This was a talented group of real musicians who produced an album of lasting quality that compares favourably with many a famous classic from the same period.”

“Love & Poetry was one of those albums that raised psychedelic rock high and made it domineering genre of the time. It is diverse and melodious and as the title suggests it is lovely and poetic.”

“While it's often labelled as psychedelic it's only that in parts. It's also straight melodic rock and has some proto prog type influences as well, so its quite a lot of things. The songwriting is fairly ambitious and is for the most part a success.” “To begin, this album's more folk than psychedelic in its melodies and harmonies. It's an interesting album. But you just have to put aside half of the tracks. Some of them just aren't good, are tacky or sound as they weren't finished.”

“To me it all seems mediocre and without character. This sweetened smoothness has nothing to do with psychedelic music; it’s just another trivial pop album. Its obscurity is understandable. Let's keep it that way.”

Andromeda – ANDROMEDA***

Too Old/Day Of The Change/And Now The Sun Shines/Turn To Dust/Return To Sanity/The Reason/I Can Stop The Sun/When To Stop

Self titled sole album from the British psychedelic rock group Andromeda. Their lead singer would move on to form the moderately successful early 1970s rock group Atomic Rooster.

“Although this band only recorded one album they are definitely no one-hit wonder. It's remarkable how creative the songs are on this album and how modern and fresh many of them still sound. Andromeda are by far one of the best hard-blues rock/psychedelic bands I've ever heard. Although they have a tendency to jam and go over the top at times, most of the songs are excellent. From ballads to hard blues, this is definitely worth buying for anyone who appreciates good, pre-'70s hard rock.”

“These are songs that showcase John DuCann just prior to joining up with Atomic Rooster. I don't think I'm making an overstatement when I say that DuCann is quite a talented songwriter as well as performer. A true slice of psychedelic heaven with plenty of brilliant guitar work.” ,p> “Andromeda were a spectacular band who felt like they wanted to take The Hollies vocal style and combine it with some extremely heavy blues rock and psychedelic elements, and it works pretty well. The melodies are quite catchy, the guitar playing is always top notch, and the rhythm section sounds really cool when the band wants to jam out a little.”

“The end of the 60s must've been quite a time. So much great music, so many bands' drank from the same trough under the spell of some mystic adventurous muse. Who created what first becomes meaningless. All were under the influence. Andromeda were one of those bands. Psychedelic, progressive, hard rock - the listener is taken on a musical journey sometimes ethereal, sometimes unpolished.”

“The music in this album is heavy psychedelic/progressive rock with very guitar driven sound on some of the tracks. Return To Sanity is a fine example, but I could pick just about any of these because the songs are all very neat. Although the overall sound is pretty heavy psych oriented, there are some beautiful gentle parts as well, which give this album a nice balance and more diversity.”

The Damnation Of Adam Blessing – THE DAMNATION OF ADAM BLESSING***

Cookbook/Morning Dew/Le Voyage/You Don’t Love Me/Strings & Things/Last Train To Clarksville/Dreams/Hold On/Lonely

Self titled debut album from the now largely forgotten Cleveland rock group The Damnation Of Adam Blessing. Consists of a mixture of psychedelia, blues, folk and pop. (US:181)

“The Damnation of Adam Blessing is considered their best album out of four produced from 1969-1972. They are all heads over heels when compared to a lot of current 'big name' staples of classic rock radio.”

“What a steal. It hits all the right spots. Their cover of Morning Dew is for my money, the best version I've heard. It makes the hair stand up on my arms. The guitar playing throughout is top notch and the producer did a fine job of creating a sound that locks right in with the bands sound. Dark, claustrophobic, ominous, making those soaring moments throughout the LP even more dramatic.”

“Hard to say exactly why I like this album so much, but I do. It just seems to push all the right buttons for me. Though from Cleveland, they really have the Texas sound down pat. This is psych tinged, mostly fairly hard rock, with the obligatory soft cuts thrown in, and featuring some great wah-wah guitar work. Perhaps their strongest feature is the vocal harmonies, haunting at times, and their excellent songwriting. All in all, this album deserves a much better reputation than it currently enjoys among collectors of underground rock.”

“A fairly worthwhile but inconsistent record, bridging the late psychedelic and early hard rock eras, with occasional strong traces of blues-rock, psychedelia, folk-rock, and pop.”

“The songs are well-crafted, but nothing stands out for me. I wouldn't even classify this as hard rock. Heavy-blues based psychedelia and they do the job well. One of those albums where the sum of the parts is less than the whole."

“Not all humdrum. Cookbook has some fun lyrics about loneliness, Hold On got my toes tapping. The lyrics carry more emotional depth than most albums of the time.”

Subway To The Country – DAVID ACKLES***

Main Line Saloon/That’s No Reason To Cry/Candy Man/Out On The Road/Cabin On The Mountain/Woman River/Inmates Of The Institution/Subway To The Country

Subway To The Country was the second album from American singer songwriter David Ackles. He is recognised, but not always appreciated, for his elaborate musical style with strong theatrical influences.

“Ackles gets categorized as a folk musician, but he is an anomaly in many respects. He was a pianist who sang in the manner of a cabaret performer, in a rich baritone voice. Each Ackles song is a carefully polished narrative. After listening to an Ackles album, you feel as if you've just been treated to a fine set of short stories by a master writer.”

“I respect David Ackles enormously and feel lucky to have discovered his music. These songs are dense and complex but not as engaging as on his self-titled first album or the later American Gothic. Although this is a good album, it's very idiosyncratic and I would suggest not a good place to start for the uninitiated.” “The songs have depths that other more acclaimed singer/songwriters could only dream of. All eight songs are brilliant. Sometimes the devil doesn't have all the best tunes.”

“I really want to like David Ackles records, I really do. But this heavy, show-tuney, overwrought productions make listening to this record a chore.”

“I think Ackles made a mistake with the over elaborate theatrical arrangements which make a lot of the tracks an ordeal to listen to, particularly when coupled with his attempts to croon his way through the record. That said he is a fantastic lyricist as the unsettling Candy Man more than proves, whilst the Main Line Saloon cabaret stylings work out as a fine opener to the record. But somehow its not enough to make me want to return to this record often, as I find much of it energy-sapping.”

“It's still a unique offering of the Ackles style, which is certainly an acquired taste, but this is not one you'll want to spin very often. The arrangements are oddly jarring with the attempts to wed blues and mild rock instrumental flavourings, to his increasingly more obvious music hall and theatrical stylings, that fall flat most of the time.”