Mountain Climbing! - MOUNTAIN****

Mississippi Queen/Theme For An Imaginary Western/Never In My Life/Silver Paper/For Yagur's Farm/To My Friend/The Laird/Sittin' On A Rainbow/Boys In The Band

Climbing! was the debut album from the New York hard rock group Mountain, and was a successor to Leslie West's solo release of the previous year. The group have often been compared to Cream, not always flatteringly. (US:17)

"The hard rock band Mountain's debut is an epic slice of guitar blast fury and dinosaurean 70s metal stomp courtesy of man-mountain guitar wunderkind Leslie West. Climbing! has the song, Mississippi Queen, that made Mountain famous. It's a pure blast of scathing power chordage and was one of the heaviest songs on the planet at the time of release."

"Mississippi Queen is considered to be a defining track of the classic rock genre. Unfortunately it seems to be the only song that people know from this band even tough their discography features many other gems. Besides the monumental opener the album delivers many other cool tracks."

"Mountain's debut album is a nice mix of blues rock, psychedelia and early heavy metal sound. The album starts with their biggest hit Mississippi Queen which is a pretty good song even if it's so very overplayed. However my favourite songs here include Theme For An Imaginary Western and For Yasgur's Farm which are both totally perfect hard rockers. The rest of the material is mostly solid too and there's not much to complain about here."

"The songs here are some of the most tasty you will ever hear in hard rock, and some of the heaviest as well; they border on classic heavy metal. The crunchy and searing tone in Leslie West's guitar is one of a fiery, yet somewhat controlled and harnessed passion. You know the famous hit Mississippi Queen, with it's opening cowbell hits, and that thick, searing, and equally melodic riff from Leslie West. And for the rest of the song, we are treated to more melodic riffs which burn with a searing intensity to match that of Leslie's heated, highly-passionate, throaty vocals."

"Mountain got way too much flack for being a 'Poor man's Cream', but to my mind they were a very distinctive band. Climbing was the first 'official' Mountain album, but in reality the second album, following up on Leslie West's solo album. Mountain Climbing! is full of great cuts from start to finish. The first half is full of classic rock and while the second half sees a slowing down of sort it is still good enough to not take the steam out of this record."

John B. Sebastian - JOHN SEBASTIAN***

Red Eye Express/She's A Lady/What She Thinks About/Magical Connection/You're A Big Boy Now/Rainbows All Over Your Blues/How Have You Been/Baby Don't Ya Get Crazy/The Room Nobody Lives In/Fa-Fana-Fa/I Had A Dream

This was the debut album from John Sebastian, the creative genius behind the mid 1960s pop-rock group The Lovin' Spoonful. Unfortunately, as a solo artist he seemed unable to recreate the inspiration that underpinned his group work. (US:20)

"An extension of his songs for The Lovin' Spoonful - lyrical innocence (back when there was innocence), hopes, dreams, happiness and just plain fun. Hippie mush for some folks, but you can't help but smile and feel good in hearing this stuff."

"This album isn't the best by John Sebastian but it's not bad either. Two tracks are head and shoulders above the rest, What She Thinks About and She's A Lady. Those two are lost late 60s-early 70s tracks that deserve rotation by the classic rock oldies stations. The rest of the album is OK but a tad boring."

"This self-titled release, while it serves well to showcase John B.'s faculty with numerous instruments and musical styles, is in the end just more of that competent aw-shucks pickin' and grinnin' that dominated the early seventies, with only the closing I Had A Dream rating amongst his finer moments."

"This is one of those albums that defines my college years. When I had this on vinyl I played both sides so much they almost wore through to the other side."

"A sublime songwriter and a superb storyteller, John Sebastian is somewhat forgotten and flung to the farside of folk/rock when he should be feted as a foremost writer of what was then." ,p> "This recording was full of great music and genuine warmth. It never got the recognition it deserved. You're A Big Boy Now was a perfect song for moving from HS to college. Whether it was a commercial success or not, it remains one of my favourite albums." ,p> "Just like I remember it. Every track brings back memories from a wonderful time in my life. To new listeners, who know and like Sebastian's work with the great Lovin' Spoonful, John B. was leap forward in song writing."

Greatest Hits - ANDY WILLIAMS*****

Born Free/Days Of Wine & Roses/Moon River/Dear Heart/The Hawaiian Wedding Song/More/Almost There/Charade/Happy Heart/Can't Get Used To Losing You/May Each Day

Andy Williams was the most consistently successful easy listening singer during the 1960s. However his musical style was steadily going out of fashion and by the end of the next decade his chart career was largely over. (US:42 UK:1)

"Andy's voice, for decades, was both strong and silky smooth. He had marvellous range, and you couldn't have made him miss a note and sing one off key if you pinched him by surprise mid-song."

"Here you have his famous performances of Born Free and Moon River. Other famous movie themes are Days Of Wine And Roses, Dear Heart, and Charade. Most of the music here moves along at a rather mellow tempo, but Happy Heart and Can't Get Used To Losing You both have sprightly up-tempo sections. The covers of Hawaiian Wedding Song and More are top notch."

"His style was laid back and his voice was natural: no gimmicks or artifices were used in recordings in those days. I love some of the most treasured movie themes: Charade, Moon River, More, Born Free: and its a treat to find these in one album."

"A wonderful and soothing voice of silk and comfort. If only they still made songs like this again. Happy Heart is a great song backed up by a lively orchestra. This legend in music may be gone, but never forgotten."

"Nothing can be said about Andy Williams that hasn't already been said. He was truly one of the greatest interpreters of song. I highly recommend this LP to anyone that loves music."

"The album opens with Andy crooning one of his signature songs, Born Free. Andy's vocals demonstrate his ability to sing in an operatic style like few other classic pop vocalists ever could. Days Of Wine And Roses features Andy's vocals squarely in the spotlight while the instrumental arrangement makes good use of the strings, brass and piano. Moreover, listen for Dear Heart; Andy makes this a great ballad and a sweet story both at once. More again features Andy's strong voice with its operatic qualities; and Andy never misses a beat. Charade is a great ballad from the movie of the same name; and Andy again sings this to perfection. I really like Can't Get Used To Losing You, sung with a slightly folksy twist which he pulls off rather well."

Black Sabbath - BLACK SABBATH*****

Black Sabbath/The Wizard/Behind The Wall Of Sleep/NIB/Evil Woman Don't Play Your Games With Me/Sleeping Village/Warning

Self titled debut album from the Midlands rock group Black Sabbath, who have been widely credited with launching the heavy metal genre. They would continue to enjoy massive support throughout the seventies and beyond. (US:23 UK:8)

"Black Sabbath is an excellent record that belongs in any serious 70s rock collection. The most striking thing about this eponymous debut is how the band's trademark sound appears almost fully formed. There's a marked indebtedness to 60s blues rock here that is largely absent on subsequent releases, but Black Sabbath still sounds utterly unlike anything else from early 1970. The eerily spacious guitar lines, occultist lyrics, and gothic ambience - this record must have come as a complete shock to listeners of the day."

"Black Sabbath open their self-titled album with the sound of a brooding thunderstorm and church bells, which go on to become a slow, heavy, six minute declaration that heavy metal has just been born. Indeed, looking at the various themes of heavy metal (mentioning the occult, a darker sound throughout), it becomes clear that Black Sabbath was the first metal album ever and also the darkest sound that had ever been produced by a band up until that point in 1970."

"Black Sabbath recorded their first LP and subsequently changed the face of rock music. They pushed aside the blues roots that dominated the UK rock scene of the day, and forged a sound built on a somewhat new idea: the riff. Other bands had played with the concept of a guitar riff being the central building block of a song, but Sabbath put the weight of the entire band behind it, all instruments present firing at full power at a small but imposing collection of chords. And believe it or not, that innovation is the essential component and differentiating factor of heavy metal music, especially the more 'extreme' sub-genres."

"Black Sabbath is one of the great opening tracks in rock history. It's as dark as one can imagine. That thick, heavy Black Sabbath guitar sound is there right from the beginning, rising out of darkness like the undead from a blackened, stench-ridden tomb. Backed by those fat, sinister drums and the death bells that ring from the depths of Hell, and topped with Ozzy's deranged vocals, Black Sabbath serves notice that evil incarnate is indeed blanketing the earth."

Beard Of Stars - TYRANNOSAURUS REX***

Prelude/A Day Laye/The Woodland Bop/First Heart Mighty Dawn Dart/Pavilions Of Sun/Organ Blues/By The Light Of The Magical Moon/Wind Cheetah/A Beard Of Stars/Great Horse/Dragon's Ear/Lofty Skies/ Dove/Elemental Child

Beard Of Stars was the last of the four hippy dippy Tyrannosaurus Rex albums before Marc Bolan launched his new glam rock image. Mickey Finn replaces Steve Took as collaborator. (UK:21)

"The music of Tyrannosaurus Rex was a strange amalgam of folk, psychedelia, avant-garde and rock, completely outlandish and different from almost anything else on the British scene at the time. Bolan, who had one of the prettiest faces among his musical peers, was also blessed with probably the most appalling voice, which could wake dead listeners and sounded off tune at all times. And yet, as the saying goes, that peculiar voice was so ugly it became beautiful."

"Beard Of Stars shows a group that is beginning to transform and emerge from the hippie era to explore new territories. It features a relaxing intro that flows right into the acoustic strummings of the second track, one of the better openings to any album of the period. Marc Bolan's vocals are strange and beautiful. Some of the later highlights of the album include the title track and the very strange Great Horse where you can almost imagine Marc as some Celtic bard or medieval troubadour."

"On this album the music is slightly more accessible than the earlier material, with extensive usage of electric guitar, which also sounds quite weird, and more rock rhythms, resulting in more listeners getting interested in the group's music, which would later turn into a raging success, after Bolan changed the name to T. Rex."

"Freedom of artistic expression was never in better shape at this time but sadly disappeared soon after when the corporate management methods started to call the shots. In retrospect this was a musical experiment more than anything else. Regardless of the actual musical value, its historical importance signifies open-mindedness, experimentation and courage to express your ideas, all the qualities that contemporary music lacks so badly."

"Bolan goes electric, swapping his acoustic guitar for organ and electric guitar, and gets a new percussion partner in Mickey Finn; the result is that this Tyrannosaurus Rex album shows the first significant advance in the group's sound since their debut. The songs are also more diverse and better-written."

Hey Jude - THE BEATLES****

Can't Buy Me Love/I Should Have Known Better/Paperback Writer/Rain/Lady Madonna/Revolution/Hey Jude/Old Brown Shoe/Don't Let Me Down/Ballad Of John & Yoko

Hey Jude was a US only compilation of mostly late 1960s Beatles tracks previously unreleased on album. The cover was taken from the group's last photo shoot and shows them at their most hirsute. (US:2)

"All of these songs can be found on other releases but at the time that wasn't the case. This focuses pretty heavily on later period Beatles. So this is basically an earlier version of Past Masters."

"A good compilation album that, as well as some major hits, also includes rarer Beatles tracks that are hard to find elsewhere. All in all, a good balance and choice of songs for this album."

"Hey Jude was the album that turned me into a complete Beatles nut - especially side two. I still believe that Old Brown Shoe is one of Harrison's finest, that Hey Jude is one of McCartney's finest, and Rain is one of Lennon's finest. Add to this fact that there's nothing truly awful on it and you have a pretty decent compilation album that I have a particular nostalgic fondness for."

"The appointment of Alan Klein as the Beatles' new manager in late 1969 saw a sudden interest in pushing product and maximising profit taking precedence over quality control. One of the offshoots was this compilation. The band themselves had no input into the album except to veto the title 'The Beatles Again', which was Klein's preferred choice.”

"Culled from the Beatles catalogue of singles and their B sides that never made it to an LP prior to this. Remarkably it all fits together quite nicely and cohesively, considering the singles span their entire career. While these have all been released since in the Past Masters and other collections, they were never as good as when they were released in this particular package."

"It's simply an American record label cashing in on the sides that had only been previously issued on seven inch 45 rpm singles. Without meaning to, Capitol created the briefest yet most complete picture of the Beatles career. You start off at the optimistic peak of Beatlemania and close with the sarcastic bitter end with Lennon worrying about being crucified."

Morrison Hotel - THE DOORS*****

Land Ho/The Spy/Queen Of The Highway/Indian Summer/Maggie McGill/Roadhouse Blues/Waiting For The Sun/You Make Me Real/Peace Frog/Blue Sunday/Ship Of Fools

For their penultimate studio album Morrison Hotel, Jim Morrison and The Doors return to a bluesier rocking sound after a couple of incursions into pop territory. (US:4 UK:12)

"This is one of the band's more rocking efforts with some blues touches that point to later work. Roadhouse Blues is a strong rocker with great harmonica from John Sebastian, solid guitar riffs and bar-room piano from Manzarek. Waiting For The Sun has some interesting keyboard work, Peace Frog utilizes some bass, rare for much of their studio work. The Spy is a more bluesy number, showing the direction the band would go on for their next album."

"The Doors always had some blues tendencies on all their albums but on Morrison Hotel they really show it off on almost all the tracks. Many of the songs feature Robby's awesome guitar, John's powerful drums, and Ray switches on tracks from blues piano to his classic organ."

"A great Doors album, for me this only stands behind their debut as their most accomplished release. The bands just sounds focused here, delivering everything they are known for (which means upbeat tunes as well as more mellow bluesy songs) and doing it very well. I don't think that Morrison's glorious vocals need any introduction, nor the great piano/organ playing. The guitar stands out more in this one above the other instruments, there are some really good riffs in this release."

"It seems The Doors took the criticism of The Soft Parade to heart and decided to make a 'back to basics' album to follow it up with. The result is a shot in the arm for the band; Morrison Hotel includes several excellent songs, with just enough of a progressive edge (especially on the foreboding Waiting For The Sun) to show that they hadn't given up entirely on sonic experimentation. Jim Morrison sounds confident and full of vigour, and the band's sound is greatly improved by the loss of the string and horn sections from the previous album."

"Morrison Hotel opens a new chapter in The Doors history. Gone are the psychedelic trimmings of the first two albums. Gone also was the commercialism of the last two. This one is distinctly stripped down, and edgier."

The Fairest Of Them All - DOLLY PARTON****

Daddy Come And Get Me/Chas/When Possession Gets Too Strong/Before You Make Up Your Mind/I’m Doing This For Your Sake/But You Loved Me Then/Just The Way I Am/More Than Their Share/Mammie/Down From Dover/Robert

Recorded before she achieved international fame, Dolly Parton’s The Fairest Of Them All showcases her strong songwriting ability, as almost all the tracks are self penned.

“A wonderfully crazy album with equally mad cover that perfectly epitomized Dolly Parton's eccentric and sentimental world. Here she takes almost all songwriting responsibilities and comes up with quirky stories that are certainly not autobiographical.”

“The best of all is Down From Dover, this was never a hit but it has turned into Parton's cult classic and is truly one of the best songs she has ever written, a dramatic story and haunting song with excellent lyrics, strong melody and Dolly is heartbreakingly convincing. If you can pass over Parton's sugary little girl voice and funny image, this is really first sign that she could be great songwriter.”

“The songs are some of the best in Dolly's catalogue and many are ‘soap opera songs’ that involve heartache, giving children up for adoption and mental illness.”

“This is a strong candidate for the saddest album ever recorded, although there is one joyful, upbeat song here Just The Way I Am to provide a striking contrast to all the grief. Unsurprisingly, this artistically brilliant album was not a commercial success. At the time, Dolly Parton was only successful as Porter Wagoner's duet partner, but solo success came soon after. There are no covers here, with Dolly writing all but one of the songs, the exception being written by her uncle. Many of the songs are of a highly personal nature, offering insights into Dolly's childhood, adolescence and early adulthood.”

“For those who like Dolly's traditional sound and story songs this could be the ultimate album. Although there were no major hit singles the album contains some of Dolly's best and proves what an excellent songwriter she is as she wrote all but one of the songs. The album may surprise some people as it is so dark and sad that it makes Johnny Cash and Tammy Wynette sound happy. The first track Daddy Come And Get Me is a song about a girl being placed in a mental institution by her cheating husband. It's an excellent heartbreak theme but the album just gets better and better. Most of these songs are sad with some surprising endings.”

We Are Everything You See - LOCOMOTIVE***

Overture/Mr Armageddon/Now Is The End The End Is When/Lay Me Down Gently/Nobody Asked You To Come/ You Must Be Joking/A Day In Shining Armour/The Loves Of August Abbey Part 1/Rain/The Loves Of August Abbey Part 2/Coming Down-Love Song For The Dead Che/The Loves Of August Abbey Part 3/Time Of Light & Darkness

The Birmingham band Locomotive originally focused mainly on ska music, but by the time of their only album release We Are Everything You See they had moved strongly in a progressive direction.

“We Are Everything You See was the only album by the jazz-rock/prog rock band Locomotive. It's definitely a good record and worth giving a try for those who consider themselves as jazz-rock or prog fans. The band mixes the elements from those genres pretty well and there are also mild psychedelic elements in some of the songs.”

“We Are Everything You See is obviously a conceptual album. It begins with an almost classical overture played by a string orchestra but the rest is richly arranged psychedelia performed with great panache and saturated with colourful jazzy passages.”

“Most songs still hold up well, and are very catchy especially Lay Me Down Gently and You Must Be Joking fuelled by Norman Haines unexpected falsettos. What I like best are the arrangements (both band and horn sections) which are simple and not overdone, a trademark of many prog LPs to show off musical prowess, instead of recording a good song.”

“Although sounding a little dated compared to some other bands that were able to incorporate the use of the mellotron and an ensemble of synthesizers some years later, Haines and Co still deliver some funky and chunky songs that hold up exceptionally well.”

“Great jazz-rock record, a little dated maybe, but if you love the period, have a listen. Solid rhythm, great saxophone, killer organ sound, and soul-flavoured vocals. The second side is much less interesting than the first half, though.”

“Locomotive throw all of their cards on the table by introducing the listener to a completely enjoyable smorgasbord of songs that cover many different styles and influences. The first thing I detected was the tight control they exhibited over their arrangements which add to the jazzy, psychedelic groove.”

Dragonfly - STRAWBS ***

The Weary Song/Dragonfly/I Turned My Face Into The Wind/Josephine For Better Or For Worse/Another Day/'Til The Sun Comes Shining Through/Young Again/The Vision Of The Lady Of The Lake/Close Your Eyes

Dragonfly was the follow up album from the folk band Strawbs led by Dave Cousins. They would soon achieve commercial success after the recruitment of new members, coupled to a more rock sound featuring electric guitar.

“This is probably the most underrated album by the Strawbs. The atmosphere is very laid back and the music has a sort of pastoral feeling. Dave Cousins really shines both as a performer and composer. It is hard to pick a favourite since all the tunes are strong, that represent Strawbs as an acoustic group.”

“This has always been an underrated Strawbs album, certainly not as dynamic as their later work, but possessing a quieter, rich, sombre charm. The band were still very much an acoustic group at this point, but already headed in the musical direction of their greatest fame, though they had yet to go electric. Perhaps that's one reason this earlier work isn't as well known as their classic albums.”

“This album is a more stripped down affair compared to their first. Tony Visconti's production give a more pastoral feeling than any other album from the band. There are no stand out tracks, since all the songs, written mostly by Dave Cousins, are of high standard.”

“After the lighter feel of the Strawbs' self-titled debut, they delivered a more serious record with Dragonfly, which is notable for being their first album to feature Rick Wakeman, who plays on a couple of tracks in a guest musician capacity. It is a step back from its predecessor with a darker tone that runs through the record and is certainly the band's folkiest album.”

“There's no doubt that there is some excellent songwriting on display once again on Dragonfly and the combination of acoustic guitars and cello is very engaging. However, many of these songs could do with some drums or percussion just to lift them a bit more, and some extra keyboards here and there would have given the material more depth and atmosphere.”

“Despite being a charming record, Dragonfly never really gets beyond second gear and serves as only a nice acoustic folk album to chill out to.”

Cressida - CRESSIDA***

To Play Your Little Game/Winter Is Coming Again/Time For Bed/Cressida/Home & Where I Long To Be/ Depression/One Of A Group/Lights In My Mind/The Only Earthman In Town/Spring 69/Down Down/Tomorrow Is A Whole New Day

Self titled debut album from the little known British progressive band Cressida, whose music featured Hammond organ, fuzz guitar and early use of the mellotron.

“Moody, atmospheric, melodic and thoroughly British. Play it on a rainy day and let the sounds of jazzy Hammond organ and electric guitar lull you into a state of warm, introspective joy.”

“Even calling this stuff art-rock would be stretching your imagination. Regular 60s psychedelic-folk without anything new in the songwriting department, and light years away from anything labelled as prog.”

“Cressida's self-titled debut is certainly among my most played progressive rock albums. That's because it is highly diverse and at the same time so amazingly easy to get inside to. The melodies are beautiful, instrumentation is strong and almost everything here is perfect. Just listen to those awesome guitars, wouldn't it be great if they had extended those solos a bit?”

“One of those special albums that are quintessential progressive rock, but which eschew grandiosity and pomposity, yet still retain a clear connection to the psychedelic underground.”

“Dominating instruments are the Hammond and guitar, sometimes played acoustically but an occasional harpsichord adds a very nice baroque flavour. Vocals by lead singer Angus Cullen are very palatable and fit nicely into the music.”

“Cressida's debut is full of swirling organ, jazzy percussion, great fuzz guitar and lots of swing. The title track is superb, with its great organ riff and snappy drums. There are also more melancholic moments such as Depression and Down Down.”

“Their sound still owns much to 60s flower power era. But this band incorporated quite well some classical and also jazzy elements in their mostly solemn compositions, rooted in the British folk tradition. All the songs presented here are pleasant and romantic.”

The Least We Can Do - VAN DER GRAAF GENERATOR***

Darkness/Refugees/White Hammer/Whatever Would Robert Have Said/Out Of My Book/After The Flood

The Manchester progressive band Van Der Graaf Generator enjoyed a cult following in the early 1970s but The Least We Can Do was their only album to dent the charts. Vocalist Peter Hammill would later enjoy some critical success as a solo artist. (UK:47)

“Their first real prog album is a lot darker and more sinister than nearly anything else that came out at the time. I wouldn't call any of this heavy metal but the doom organ ending to White Hammer is one of the heaviest moments on any prog album.”

“This album showcases the musical talents of each member, showing no problem taking on a fully developed darkened atmosphere replete with Gothic organs, dual saxes, full on jazz-fusion with layered symphonic effects and extremely pleasant melodic developments, with frenzied freak-outs appearing in the mix.”

“Like all Generator albums this one took me at least half a dozen listens before I started to ‘get it’. which is more a reflection of how much is going on rather than the tracks being difficult for the sake of difficult. I’m generally not a fan of the jazz fusion that pops up in their albums but I find it tolerable nonetheless.”

“The songs aren't quite there yet, and the whole thing feels a little unfinished. Hammill is captivating as usual, but sometimes the arrangements around him are not quite up to scratch. On the whole it's pretty strong, and a good indication of where they were heading.”

“This sounds dated and extremely dark because of its lyrically dominating nature, and also quite depressing because of Peter Hammill's distinctly fantastic lyric writing talents, not to mention all those unforgettable and emotional mood shifts taking place during his constantly changing vocal range.”

“The heavy, at times cacophonous sound on the album is dominated largely by Peter Hammill's remarkable vocals, which range from a heavy metal rasp to a high pitched choir boy vocal style. The music is very odd, in parts dark, but yet very complex for the times, progressive all the way, with some fantastic lyrics.”

Bill Fay - BILL FAY***

Garden Song/The Sun Is Bored/We Want You To Stay/Narrow Way/We Have Laid Here/Sing Us One Of You Songs May/Gentle Willie/Methane River/The Room/Goodnight Stan/Cannons Plain/Be Not So Fearful/Down To The Bridge

Self titled debut album from obscure British singer songwriter Bill Fay. Although demonstrating songwriting originality, critics claimed his weak vocals were overwhelmed by the heavy lush orchestration.

“Bill Fay's self-titled is overwhelmingly dripping with orchestrations that completely take my attention away from the words. It's also remarkably odd that his voice is drowned by these stuffy arrangements, which is perhaps all very well as he is a rather poor vocalist.”

“A good collection of singer-songwriter tunes with ornate orchestration. This doesn't set my world on fire, but I'd be hard-pressed to identify a bad track.”

“Bill Fay seems such a tragic figure. The album always sustains a pretty sombre feeling, but Bill keeps it covered up with the smile of his big, horny baroque arrangements.”

“I wasn't sure about this album once I started listening to it, but with each song Bill Fay's compositions and voice got progressively more beautiful and passionate. This is a wonderful music experience from start to finish. His voice or music may not be everyone's cup of tea, because his singing style is a bit odd. The arrangements are so gorgeous, though.”

“Not a very good singer or musically interesting, and not that good as a songwriter. Whatever his ideas were, he had trouble conveying them in a meaningful way.”

“This really is a lost gem if you appreciate English late sixties psychedelic folk. It's quite beautiful in its pastoral vision of northern Englishness, very jazzy at times, very orchestrated - maybe a bit too much at times - but Bill Fay's distinctive vocals are so full of emotion.”

“Throughout most of this album, Fay wears the mantle of perpetual outsider, dissatisfied with what life has to offer. A lot of very interesting and worthwhile songs are undone by overblown production, with string arrangements that mostly seem out of place half the time, and a "psychedelic" guitar which has no business being there. Fay has an engaging voice and seems enough of his own man in songwriting.”

Snafu - EAST OF EDEN***

Have To Whack It Up/Leaping Beauties For Rudy-Marcus Junior/Xhorkham-Ramadhan-In The Snow For A Blow- Part 1-Better Git It In Your Soul-Part III/Uno Transito Clapori/Gum Arabic-Confucius/Nymphenburger/Habibi Baby-Boehm Constructor-Beast Of Sweden/Traditional

Snafu was the follow up album from the versatile British progressive band East Of Eden. They were one of the first to tap into musical influences from around the world. (UK:29)

“East Of Eden refined the approach started on the debut and literally jazzed it up a few notches. Alternating between bluesy and ska guitar, free-form jazz and catchy jazz-fusion with ethnic world music incorporated into the fabric, the band was one of the very first to incorporate influences and rhythms from around the world. In addition we also get violin, flute, saxes, various other wind instruments and percussion. Several other unorthodox experiments really add spice to an already strong album.”

“East of Eden's Snafu is a compelling overlooked gem from the golden age of prog. The band are at their best when they get into intense, extended jams, which the long running time of the tracks offers plentiful scope. The inventiveness on display means the album offers a stimulating mental workout for the attentive listener.”

“A more experimental follow-up album, with jazz, psych, world and progressive influences. Difficult to pigeonhole and not the masterpiece of the debut, but still a must own. Too bad they stopped innovating here.”

“Continuing in a similar vein as their first, this one is much more progressive, with stronger jazz influences, yet still not particularly compelling.”

“This is an interesting band for people who like progressive rock jams, written in a multi-part way that seems to flow naturally. They played a completely unique amalgam of rock, jazz and world music. The resulting material is truly mesmerizing, switching rapidly between purely melodic passages into electrifying improvisations, sometimes almost free form.”

“Prog rock with the emphasis on rock feels a little too redundantly jam oriented and psychedelically dated, when not briefly outshining dated shackles with inspired fusion work. Fans of the more extroverted antics of older progressive bands looking for more material could do worse.”

Back In The USA - MC5**

Tutti-Frutti/Tonight/Teenage Lust/Let Me Try/Looking At You/High School/Call Me Animal/The American Ruse/ Shakin' Street/The Human Being Lawnmower/Back In The USA

After moving to the Atlantic label, with a new producer, MC5 toned down their raw sound a little for their second album Back In The USA. Their proto-punk sound was very much a minority taste in the progressive era. (US:137)

“Another classic rock 'n' roll album from the MC5. The tinny production makes it closer to power pop than proto-punk, but it still rocks with a vengeance.”

“After the ferocious cacophony of Kick Out The Jams, it seemed as though MC5 decided to take it a little slower, introducing more of a blues and rockabilly influence. It's still pretty grimy garage rock in places, but there's a definite tone down. In some ways this is a good thing, as it's a little less of a mess than the debut.”

“This one is a mix of punk and commercially oriented R & B pop. It can be argued that placing this band in a studio environment totally sucked the energy, if not the life, out of their performance. Of course, that's a matter of personal opinion, but I feel they still manage to present something for their fans to enjoy.”

“An attractive set of hard edged rock ‘n' roll songs, mixing covers with originals. Not as innovative or exciting as their debut, but a fine tribute to garage punk, and evidence that they were more than just semi-political incendiaries.”

“In an attempt to get back to their roots, the band are too light on the guitar growl and the attempt at playing it straight translates into the MC5 playing it flat.”

“Quickly signed to Atlantic Records and teamed with producer Jon Landau, the raw power is scaled back for a more conventional rock sound, which especially works on a pair of covers, Tutti Frutti and Back In The USA.”

“It's the most powerful pop I've ever heard. Great lyrics too, especially on American Ruse, a tirade against middle America that no one had the guts to put on record at the time. Punk owes heavily to this record obviously. Every song is catchy, this is feel good music all the way.”

“While not as slick as, say, Alice Cooper, their songs of teenage angst are much better, and should have connected with a young audience had this album been promoted properly.”

Shazam - THE MOVE***

Hello Susie/Beautiful Daughter/Cherry Blossom Clinic Revisited/Fields Of People/Don't Make My Baby Blue/The Last Thing On My Mind

Shazam was the follow up album from the Birmingham band The Move led by Roy Wood. Although they were consistently successful in the UK charts at this time, their pop orientated image dented their album sales appeal.

“This album featured plenty of what The Move were best known for, experimental psychedelic pop with bits of prog-rock and classical thrown in. The package was rounded out with healthy doses of psychedelic prog-rock.”

“A schizophrenic album if there ever was one, Shazam mixes weird classical pop and proto metal crunch with almost crooner and lounge pop.”

“There are touches of cabaret, some bits that sound like fellow Brummies Black Sabbath, but the overall impression of Shazam is that ELO started here.”

“The Move suffered from an identity crisis. They couldn't quite decide whether they were a serious rock band, comedy outfit or rock 'n' roll revival act. This held them back from the wider acclaim that they deserved.”

“Cherry Blossom Clinic and Fields Of People are the highlights. It is the crazy epic overly ambitious side of The Move that elevates them above the pack. Their shorter, more conventional psych-pop songs are great, but it's the ones that take risks which make them something special.”

“Such an interesting cross-section of genres and styles, ahead of it's time while still sounding rooted in its place in the past. All of the classical motifs that Roy Wood put in here are worth the effort.”

“Shazam is one of the craziest rock albums you are likely to come across. The music is a bizarre blend of psychedelic-pop, some form of proto-progressive/metal and very tongue-in-cheek lyrics. While it certainly ushered in a heavier sound, it still retained their psychedelic pop roots.”

“Shazam represented a transition of sorts for the band. While it certainly ushered in a heavier sound, it still retained their psychedelic pop roots in songs like Beautiful Daughter and Fields Of People.”

The Madcap Laughs - SYD BARRETT***

Terrapin/No Good Trying/Love You/No Man's Land/Dark Globe/Here I Go/Octopus/Golden Hair/Long Gone/She Took A Long Cold Look/Feel/If Its In You/Late Night

The Madcap Laughs was the debut album from disturbed genius Syd Barrett after being ejected from Pink Floyd for behavioural problems. His former colleagues provided assistance for this solo effort. (US:163 UK:40)

“The Madcap Laughs is a spare, stripped down album, with heavy emphasis on lyrics. Many of the tracks contain nothing but Barrett's voice and acoustic guitar. The lyrics are very mystical and whimsical, taking cues from traditional British folk in addition to his psychedelic peers. As you might expect from Barrett, it's an inconsistent album but with some really beautiful moments.”

“He has an unmatchable gift for simple, catchy yet unique and off-kilter melodies and he's incredibly underrated as a lyricist. Dylan imitating surrealist lyricists often sound like they're throwing arbitrary images together but Syd sticks with consistent (typically dark) moods and always lets his emotions shine through.”

“The Madcap Laughs sounds like a complete drag, comprised of incohesive songs with poor production, questionable musicianship and annoyingly monotonic vocals.”

“I've seen this touted as a full blown masterpiece and also as absolute dreck. Well, it's neither. Nothing great, nothing bad, everything is just about in the middle. Syd has a reputation for being insane but this really isn't that crazy an album. It's not disturbing, challenging or scary. It's merely Syd playing songs, some of them melodic, others not so much. The tracks alternate between Syd playing by himself and being accompanied by a full band.”

“The songs are mostly pretty short but the five minute opener Terrapin is a great starter. No Good Trying might be my ultimate favourite here and Octopus is also a really nice track. Mostly these songs work very well but there are also some more mediocre parts.”

“Syd Barrett was a poet and genius of the highest order. Fragmented and tattered, the songs on this album lay it all out on the table. This is the reflection of a man who was dying on the inside and whose reality was slipping away literally as he sang.”

“No Good Trying and Octopus are songs that typify the great ex-Pink Floyd front man. Weird lyrics, strange musical loops and surprising twists.”

An Old Raincoat - ROD STEWART****

Street Fighting Man/Man Of Constant Sorrow/Blind Prayer/Handbags & Gladrags/An Old Raincoat Won't Ever Let You Down/I Wouldn't Ever Change A Thing/Cindy's Lament/Dirty Old Town

An Old Raincoat was the album which launched the solo career of 1970s superstar Rod Stewart. His releases on the Vertigo label were held in much greater esteem by music critics than his later more bland material. (US:139)

“Released way before he turned into a crooner for suburban moms, at a time when he still had soul. Just listen to the Ron Wood's bass solo at the end of Street Fighting Man with Hopkins’ piano bringing it all home, a snippet of classic rock at its best.”

“There is no messing about here; he blends rock, blues and folk remarkably well and with a sense of experience. A blueprint for his brilliant later works; raunchy and groovy on the rocking tracks, heartfelt and sensitive on the folky tracks, and of course that distinctive smoky voice.”

“Instrumentally you can hear that his band understands rock better than most. Handbags & Gladrags is a classic, intricately flourished with piano, and Stewart's performance is sincere and full of emotion.”

“During the era when Rod was acting as frontman for The Faces, who in turn were moonlighting as session musicians on Rod's solo albums, there was an interesting demarcation between the two. The Faces albums would tend to have the rockers, whilst the more sensitive material and cover versions would go on his solo album. This folky, soulful brand of blues rock stands in interesting contrast to The Faces material from the same era, and also demonstrates that Rod's solo career wasn't all bad - at least, not at first.”

“Rod Stewart was well known in the early stages of his career for loud and sloppy (in a good way) rock music. His solo debut is noted for its warm acoustic ballads. Fans are in for a treat and the glorious Handbags And Gladrags is done as only Stewart could.”

“Before he squandered his talent and reputation, Rod Stewart had an extraordinary gift for songwriting and for selecting other songwriters' material that showcased his vocal abilities. The songs on this album are some of the best he ever produced - powerful, sensitive and nuanced. He also knew how to pick a band that provided the incredibly tight, but slightly boozy-feeling, rhythm section.”

Greatest Hits - BARBRA STREISAND*****

People/Second Hand Rose/Why Did I Choose You/He Touched Me/Free Again/Don't Rain On My Parade/My Colouring Book/Sam You Made The Pants Too Long/My Man/Gotta Move/Happy Days Are Here Again

Barbra Streisand’s first compilation of songs taken from her Sixties repertoire. Although her albums were consistently very successful, most of the singles failed to register in the upper reaches of the charts. (US:32 UK:44)

“For those who enjoy Barbra Streisand's unique voice and dynamic delivery, this album is excellent. It is a fairly comprehensive collection of her best material from 1964 to 1969.There are only two top 40 cuts, Second Hand Rose and the wonderful People, her only top ten offering of the period. However, it must be noted that with artists who are more accurately considered easy listening than pop, chart position is a very misleading gauge of the quality of their songs.”

“People starts off the LP with a smash hit for Streisand; she sounds like pure silk on this number and there couldn't be a better interpretation. The strings are very beautiful and I like the harp too. Second Hand Rose is an older number that gets a ragtime flavoured musical arrangement. However, what really impresses me the most would have to be Don't Rain On My Parade from Funny Girl. Barbra opens up and lifts this tune to new heights. It is truly one of her best masterpieces ever.”

“At a time when Barbra Streisand's career was in decline, what turned out to be only her first greatest hits album seemed to serve as both a summing up and a signing off of her 1960s recordings. Streisand was not primarily a singles artist; but in that time, she scored seven gold top ten albums. For casual fans, this made for a good sampling of her most prominent '60s work. At the time it seemed likely that this was all the hits there would be. Instead the 1960s proved to be only the first chapter in Streisand's career.”

“What can I say about Barbra Streisand which hasn't yet been said so many times? Her voice was simply the best ever recorded. Not even trained, how she managed to interpret a song at such an early age is beyond comprehension to me. One of the things that makes this LP special is the assortment of songs chosen to be on it. They showcase very well her immense talents, from a beautiful voice to her great range, as well as her almost magical ability to make the listener feel the raw emotions.”

Hello I'm Johnny Cash - JOHNNY CASH****

Southwind/The Devil To Pay/'Cause I Love You/See Ruby Fall/Route No 1 Box 144/Sing A Travelling Song/If I Were A Carpenter/To Beat The Devil/Blistered/Wrinkled Crinkled Wadded Dollar Bill/I've Got A Thing About Trains/Jesus Was A Carpenter

During this period the reputation of country star Johnny Cash had soared following his two acclaimed prison albums. The follow up studio album Hello I'm Johnny Cash became one of his most successful. (US:6 UK:6)

"A real solid album that would set the tone for Cash in the 70s - lots of honky-tonk piano rolls and a slow move to more singer-songwriter country material. It's got his take on a bunch of great contemporary classics - To Beat The Devil, If I Were A Carpenter and Southwind, a great opener.”

“One of the best Cash albums. Most of the songs have a rockin' edge and his version of Blistered is unbeatable."

"Hello, I'm Johnny Cash is one of his more listenable albums of the era, one that another reviewer described as setting the tone for Cash's output for the rest of the decade. Much of the material is good but not great, but there also is a noticeable lack of any major missteps. One clear highlight is a duet with June Carter on Tim Hardin's If I Were A Carpenter. It's a song that is perfectly suited to the singers and the one that really reflects the best of the simple but refined production style, with clear yet soft tones and varied yet unobtrusive accompaniment. This is an enjoyable one for the Cash fan."

"This was an album of all new songs. Some written by Johnny and some by others. It was a worthy effort. It reminds me so much of his TV show from the late 60s and early 70s."

"We hear Cash singing some of the most original country music ever recorded. The subject matter of the songs richly deviates from the usual country topics which elevates the record beyond most country albums."

"There's a song about the death of Viet Nam soldier, a girlfriend turned prostitute, a warning to a wayward love that she's still got 'the Devil to pay' and a straight up love song. There's a song that's arguably the best duet with June Carter, a hot song about arousal, a train song, a song written by Kris Kristofferson, and a song about Jesus. What's not to love about this ground breaking album?"

American Woman - THE GUESS WHO****

American Woman/No Time/Talisman/No Sugar Tonight-New Mother Nature/969 (The Oldest Man)/When Friends Fall Out/8.15/Proper Stranger/Humpty's Blues - American Woman (epilogue)

American Woman was the highest charting album from the Canadian rock group The Guess Who. Features the US No. 1 title track hit single plus the US No. 5 No Time. (US:9)

"Their best studio album - a mix of hard rock and lounge music, as usual, but this time there are more toe-tappers. Some catchy tunes, with a massive lead guitar."

"By the time of this album's release, they were at the height of their commercial potency. The album is somewhat diverse, but containing primarily pop and hard rock, with plenty of good period flavour."

"The hits are here on The Guess Who's best-selling album, but really that's all this album packs. The rest is simply poppy filler with the final track adding a fraction of soul from the group."

"It's too bad that too many people simply regard The Guess Who as a singles oriented band geared for AM radio airplay. They were obviously wanting FM credibility, and they succeeded quite well with this, their third album for RCA. I really think some of their albums are really grossly overlooked, most people would pick up a Greatest Hits package over an album like this one."

"For the most part, all the psych explorations of Wheatfield Soul were abandoned for boogie and blues, with a little folk mixed in for good measure. Talisman is a pretty little acoustic number, a song I believe only the Bachman/Cummings songwriting partnership could produce. Bachman was soon to be gone though, taking care of business elsewhere. Other highlights include 8:15, with its funk grooves, and the guitar work on Proper Stranger."

"What you have here is a very solid album by a band that most consider a singles group. They're not. The talents of Burton Cummings and Randy Bachman combine to deliver a solid performance from start to finish. You know the hits and they're every bit as good as you remember. But this album isn't hits and filler. The Guess Who were an excellent band, and this is their best album."

This album came out during the rock era, back when the idea was to sound fresh and unique, as opposed to the way it is now, everyone trying to sound like the last guy that got famous. This album had a very unique sound."

This Girl's In Love With You - ARETHA FRANKLIN***

Son Of A Preacher Man/Share Your Love With Me/The Dark End Of The Street/Let It Be/Eleanor Rigby/This Girl's In Love With You/It Ain't Fair/The Weight/Call Me/Sit Down & Cry

Renowned soul singer Aretha Franklin entered the seventies at the top of her game following the release of a string of strong albums. In the new decade she appeared to lose direction, embracing some unsuitable musical styles a few of which are found on This Girl's In Love With You. (US:17)

"Stepping away from the jazz moves of her prior studio release, the collection offered up a mixture of popular pop and soul covers, most given a distinctive Franklin reading. Much of the collection has a kind of dark and disturbed vibe (It Ain't Fair, Dark End Of The Street and Sit Down And Cry), but then, those are the kind of circumstances that have always made for some of Franklin's best work."

"Though clearly better than her last, there's simply hardly anything here of real note. Just a bunch of weak and rushed songs, many of which disappoint, leaving the listener wanting more from these renditions. There's some enjoyment to be found in Call Me (an Aretha original), regardless of how simplistic and gushy it is."

"There is an argument that after Lady Soul Franklin went into decline: the evidence here is that she made a patchy, uneven album, one that seemed to be attempting to reach new audiences while being a little uncertain, but one that includes a number of remarkable performances. For me, Dark End Of The Street and Sit Down & Cry could be included on any compilation of Aretha Franklin’s greatest performances. Despite its unevenness this album still shows that Aretha Franklin was a great soul singer."

"Back in the day, when Aretha Franklin covered another artist's record, they had to run for cover. Franklin was never an imitator. When she re-did another artist's song, she transformed it from the ordinary to extraordinary and from good to great."

"An interesting album that strikes a chord of heartache, sorrow and misery. I really wish that she would play the piano more and accompany herself. When this happens the magic that only Aretha can do makes the hair on your arms fizzle."

"Instead of triumph, though, we get rushed, stop-and-go phrasing with weak rhythms and a glaring absence of horns. Some of the ballads are evocative in the right places, but Franklin's not meant to have a backing sound this forgettable."

Try A Little Kindness - GLEN CAMPBELL***

Try A Little Kindness/Both Sides Now/For My Woman's Love/Country Girl/All The Way/Where Do You Go/Honey Come Back/Folk Singer/Love Is Not A Game/Once More With Feeling/And The World Keeps Spinning/Home Again

Country-pop singer Glen Campbell started the new decade at the top of his game but his popularity would begin to slowly wane. Try A Little Kindness includes the UK No. 4 and US No. 19 hit single Honey Come Back. (US:12 UK:37)

"This album is so much more than the two super hits Try A Little Kindness and Honey Come Back. Folk Singer, Home Again and Love Is Not A Game are three more reasons Glen Campbell is a national treasure. The album is an essential addition to any Glen Campbell collection."

“I was ten years old when this originally came out and Honey Come Back is the first Glen Campbell song I remember hearing on the radio. He does a good job on Both Sides Now. The rest of the album is good without any really great songs, but nothing bad either."

"Honey Come Back is a fantastic, inspirational song with a really positive message mixed into a great tune that you can sing out loud."

"Glen Campbell had a lot of hits that were just plain beautiful. This is only one of many. Too bad simple kindness seems to be going out of style."

"Glen Campbell’s legacy of great music will endure for ages to come. He has a host of fans that love his multi-talented performances."

"Honey Come Back is a truly beautiful song written for Glen Campbell by that master of song writers Jimmy Webb who has written so many great songs. Glen Campbell's performance is just great; I think Honey Come Back is an example of true song writing brilliance."

"I probably have not heard Honey Come Back for years, but recalled it, while listening to another Webb tune. It's just extraordinary, I cannot get it out of my head, even trying to sleep for the last few nights, over and over it goes, like a juke box in my brain."

Bridge Over Troubled Water - SIMON & GARFUNKEL*****

Bridge Over Troubled Water/El Condor Pasa/Cecilia/Keep The Customer Satisfied/So Long Frank Lloyd Wright/The Boxer/Baby Driver/The Only Living Boy In New York/Why Don't You Write Me/Bye Bye Love/Song For The Asking

The folk-rock duo Simon & Garfunkel went out with a bang with this acclaimed collection of songs. Bridge Over Troubled Water stayed high on the UK album chart for several years and includes the US and UK chart topping title track plus the top ten hits The Boxer and Cecilia. (US:1 UK:1)

"S & G's finest hour, Bridge Over Troubled Water is one of the most powerful folk albums I've listened to and is a very fitting farewell to the duo."

"Despite some weighty and often bleak concerns, Bridge Over Troubled Water is a beautiful and surprisingly joyous work from its powerful orchestral arrangements to its gentle acoustic strumming. The towering title track opens the album in fine style and remains one of the duo’s most treasured recordings. Starting quietly and swelling to a crescendo at the end of each verse, the lyrical concerns of battling through hard times and eventually reaping your reward were complemented by some words of exceptionally deep friendship and sacrifice."

"Simon and Garfunkel create a true masterpiece for their last album. Every song is truly great. Anyone who isn't moved by the title track is no human and may be a robot. I'm not going to bore you by writing about every song so I'll just repeat myself and say every song is wonderful. Highly recommended to any music lover. You are bound to fine something beautiful on this album. Check this out."

"Bridge Over Troubled Water is one of the most transcendently beautiful pieces of music ever recorded by anyone in any genre. Building perfectly from its spare, plangent opening piano chords to the gentle thunder, lush orchestration and celestial falsetto of its final verse, this is a song that makes the simple act of comforting another human being sound like a grand and transcendent struggle."

"Simon and Garfunkel brought down the curtain on their successful 60s career with a swan-song album which they knew, as they recorded it, would be their last studio set and which correspondingly saw them go out on a high, both artistically and commercially. Paul Simon's writing had by now fully matured and demonstrates his extreme versatility with a cornucopia of styles present. Starting off at the top with the universally acknowledged classic title track and smash hit it contains several other superb pieces."

On The Boards - TASTE****

What's Going On/Railway & Gun/Its Happened Before It'll Happen Again/If The Day Was Any Longer/Morning Sun/Eat My Words/On The Boards/If I Don't Sing I'll Cry/See Here/I'll Remember

On The Boards was the second and final studio album from Irish rock trio Taste. Guitarist Rory Gallagher would shortly depart to pursue a successful solo career. (UK:18)

"Gallagher’s second record, On The Boards, with his power trio Taste, is one of hard rock’s understated gems, a fiery, raw blend of blues-rock, jazz, folk, country, and sophisticated progressive rock. All three players shine in this stripped down affair. The opening track, What’s Going On is a biting, hard rockin’ ominous number about social discord and the mixed signals of the times that are expressed through Gallagher’s gruff voice."

"Rory Gallagher was a guitar player’s guitarist, but to the general public he was one of the most overlooked guitar players of all time; who knows why; maybe he just wasn’t 'psychedelic' enough. On The Boards is a remarkable album; a true testament to his masterful six string navigation and his brilliant song craft."

"Before his solo career Rory Gallagher was a member of Taste. His blues rock guitar playing is every bit as good on this LP as any he made later with his solo stuff. If you listen real hard you can hear his soul screaming out of his guitar.”

"Perhaps the songwriting on On The Boards isn't always as groundbreaking as on some other random blues album of the time, but there's just something about this man that keeps me coming back to him. The album here is a fairly conventional mix of hard rocking and more traditional takes in the blues-rock paradigm. The only thing that was a bit of out of place are some jazzed up tracks."

"This album is more diverse than Taste's debut album. Gallagher and company venture further from traditional blues-rock on a number of the tracks, even venturing into a jazz tinged number. Don't expect a host of loud, in-your-face blues-rock cuts that were found on their debut. Instead, On The Boards is more subdued, placing a greater emphasis on songwriting."

"Ever so slightly more consistent than their debut, I found this one also just a hair off the pace. It's still very good though, mostly progressive blues rock with some major jazz moves and featuring sax this time.*

A Song For Me - FAMILY***

Drowned In Wine/Some Poor Soul/Love Is A Sleeper/Stop For The Traffic-Through The Heart Of Me/Wheels/Songs For Sinking Lovers/Hey-Let It Rock/The Cat & The Rat/93's OK J/A Song For Me

A Song For Me was the third album release from the British progressive group Family, following some significant personnel changes. The pundits concluded that the new line up failed to reach the creative highs of the original. (UK:4)

"Family were a very strange band with a vocalist that took some getting used to. They played some cool prog rock and the guitar player is very good, but this may be their weakest release."

"In an effort to keep abreast of changing musical tastes, they have banished most traces of psych influences, moving more solidly in a progressive direction, but still with considerable diversity, including country flavour. Their overall appeal has begun a slow, but steady decline as well."

"Family's third album, A Song For Me takes on a slightly more aggressive sound, sometimes at the cost of the refinement and charm of their first two albums. Bassist and violinist Rick Grech, who left mid-1969 to join Blind Faith, has been replaced by John 'Willi' Weider, and saxophonist Jim King has been replaced by John 'Poli' Palmer on flute, vibes and keyboards. While Weider sounds fully integrated into this new version of Family, the presence of Palmer's flute sounds very much out of place and sometimes weak due to the fact that most of the songs were written with King's baritone sax parts in mind. Overall this is a good album, although nowhere near as strong or consistent as its two predecessors."

"This might well be the best of the early Family recordings. A combination of hard rock (bordering on metal) and wistful folk A Song For Me veers toward early progressive rock, but isn't as nakedly indulgent as some early prog-rock recordings. Perhaps their most experimental record, it seems as though the credo in making this disc was that anything went, and on tracks like Drowned In Wine, it works quite well."

"A Song For Me is generally heavier and rawer - more rock and blues and less psychedelia than the previous two albums, but still comes out as a good and natural extension of these. The songwriting is still fine and original, and the two new members, Poli Palmer and John Weider, are fine substitutes for Grech and King."

Shady Grove - QUICKSILVER MESSENGER SERVICE***

Shady Grove/Flute Song/3 Or 4 Feet From Home/Too Far/Holy Moly/Joseph's Coat/Flashing Lonesome/Word's Can't Say/Edward (The Mad Shirt Grinder)

Shady Grove was regarded as a somewhat disappointing third album from the San Francisco progressive band Quicksilver Messenger Service. However, the addition of virtuoso pianist Nicky Hopkins seems to have improved matters. (US:25)

“Alas, good things usually come to an end. In less than a year's time, they have gone from a quality, underground West Coast outfit, to just another commercial rock band. This one features electric piano and various other trappings of the genre.”

“Now this one was a little let down. After their first two magnificent records they released Shady Grove which was not as jam band oriented as their first two. This is a psychedelic rock album, but not so very special.”

“This is a mixed album. The best parts are so incredibly mind blowing so as to forgive the muddle of tossed out ballads in the middle. What saves this is Nicky Hopkin's piano playing, which on the closing epic Edward changes from one virtuoso boogie-woogie to another, constantly raising the stakes until you think they can't possibly push it any further, but it just intensifies again and again.”

“After the pounding opener, you've got high quality songs from start to finish, especially Edward which showcases the band's wonderful musical chemistry, not to mention Nicky Hopkins' organ freak-out which totally dominates the track.”

“This album has none of the feel of the first two but it stands on its own as a fine recording. From the opening Hopkins blast on Shady Grove, right up to the grandiloquent Hopkins opus Edward, this has a lot going on musically. Many Quicksilver enthusiasts dismiss this album because Hopkins so thoroughly dominates the proceedings as to make the band almost secondary. That may be true, but the results are still extraordinary.”

“The piano work on this album is absolutely phenomenal. This album is a musician's dream. The intense instrumental lines, especially in Edward and Shady Grove, really make this collection a must have.”

Frijid Pink - FRIJID PINK***

God Gave Me To You/Crying Shame/I'm On My Way/Drivin' Blues/Tell Me Why/End Of The Line/House Of The Rising Sun/I Want To Be Your Lover/Boozin' Blues

Eponymous debut album from the Detroit rock group Frijid Pink who achieved worldwide commercial success with their cover of House Of The Rising Sun, a top ten hit in both the US & UK. (US:11)

"A good album all round although the stand out track is of course their version of House Of The Rising Sun, a mega heavy trip-tastic take and a superb single that quite rightly put them on the map."

"This debut album by Frijid Pink is a very fine working mix of blues, rock and psychedelia. These nine songs are all more or less impressive, but the biggest standout moments might be the last two fantastic pieces. Although I enjoyed this LP very much I don't consider it as a masterpiece. It's a very balanced disc and worth giving a try for anyone who enjoys blues-rock or psychedelic-rock.”

"Love The Animals' version of House Of The Rising Sun and I also love Frijid Pink's version. Blazing acid guitar and a whole different vibe for that track. The rest of the recording rocks out as well."

"Most of the material on this one is blues based, featuring genuinely well crafted songs, with some psych influences, and all around good, hard, driving rock. Reasonably consistent too."

"Straight out of a Detroit garage, this album offers swampy blues-rock with fuzzy guitar sounds and rumbling drums. Children of their times, the group put a bit of more hippie-esque rock into the mix with the opener God Gave Me You."

"Alternating boogie and heavy, sludgy proto-metal, Frijid Pink's self titled release is a must own for those with an interest in the period. Every 'Yah' and 'Gut-ta' uttered (and there are a lot of them), every overdriven, fuzz-drenched chord is worth the price of admission."

"It's timeless music. Great harmony and melody, melded with a lead guitar that rips through you and a bass that beckons to your primordial roots. The drum solos will make you slap your thighs, but you'll be challenged to keep up. What there is of keyboards isn't bothersome like some groups from the same period. This may seem superfluous, but the lyrics are very poetical."

Raindrops Keep Fallin' On My Head - B. J. THOMAS***

Little Green Apples/Raindrops Keep Fallin' On My Head/This Guy's In Love With You/If You Ever Leave Me/Guess I'll Pack My Things/If You Must Leave My Life/The Greatest Love/Do What You Gotta Do/Mr Mailman/Suspicious Minds

Texan raised country pop singer B. J. Thomas enjoyed a consistent run of hits in the States during the Seventies. His first number one hit single Raindrops Keep Falling On My Head featured in the western Butch Cassidy & The Sundance Kid and was one of the last hit compositions from Burt Bacharach. (US:12)

"This was the theme song for Butch Cassidy and the Sundance Kid movie. Hal David and Burt Bacharach wrote some good ones together."

"Melds piano, strings, horns and his olive green tenor into one. Well-woven in sound and story. He makes it sound effortless."

"I don't know anyone who would not whistle or sing to this tune. I think it is a wonderful song."

"I learned this song in school and it was the go to song during rainstorms. It was often on the radio and quite cheerful. Recommended to those who let the rain bring them down (this will give you a different perspective) and to those who want a cheerful song."

"B J wasn't a mainstream rocker and, to his credit, he didn't try to be. He knew where his strength was and stuck to it; gentle, catchy melodies, heart-felt, insightful lyrics and a dramatic, genuine delivery that gave his music more power than any number of guitars, keyboards or amps could provide."

"His most famous song, the Bacharach-David Raindrops Keep Fallin' On My Head was the No. 1 song of 1970 and probably the song B.J. Thomas is most identified with. It would go on to sell over a millions copies."

"Record store owners have a difficult time trying to figure out where to place B.J. Thomas records. Sometimes you find in him the country section, other times in the pop area. And that pretty well sums up his career." "B. J. Thomas - he was simply a good mainstream pop singer, which pleases some listeners but not others."

Greatest Hits - THE VOGUES****

Turn Around Look At Me/Earth Angel/You're The One/Green Fields/No Not Much/See That Girl/My Special Angel/Moments To Remember/Magic Town/Woman Helping Man/Five O'Clock World/Till

The Vogues were a Pennsylvania pop-AOR group who achieved consistent success in the American singles chart during the mid 1960s. Despite their melodic songs, chart success completely eluded them across the water. (US:148)

“Whether hitting it big with an original song like Five O'Clock World or remaking a classic like Special Angel, The Vogues could harmonize with the best of them.”

“I had always thought of The Vogues as being too middle of the road. But as I've gotten older and mellower in my tastes - and as I get more and more disappointed by the current offerings of pop music, I have been searching for groups from the 60s that I might have overlooked at the time. The Vogues are a classic example of this - I never fully appreciated them until now.”

“I have not been as excited about a rediscovered group in quite a long time. All of the songs are excellent. The four-part vocal harmonies and the musical production are top rate. Some of the songs are refreshingly sentimental, expressing values and feelings that might be considered to be of another, more innocent era.”

“These are outstanding mellow songs, that brought back many memories of sweetness and love. They were one of my favourite groups from back in the day.”

“The Vogues were a group that brought so many memories from my early youthful years. A must have for those listeners who appreciate romantic ballads.”

“Their harmony is unsurpassed; the lyrics are pure and emotional. This is a fantastic compilation of beautiful music and I heartily recommend it to those who are fans of close harmony groups.”

“These oldies but goodies are a welcome treat for those of us of a certain generation who can only take so much of contemporary music.”

“Those who loved to listen to oldies radio stations that played largely Sixties music were very familiar with You’re The One and Five O’Clock World, which are considered rock classics today. The Vogues were much more than a two-hit wonder, though.”

Flat Baroque & Berserk - ROY HARPER***

Don't You Grieve/I Hate The White Man/Feelin' All The Saturday/How Does It Feel/Goodbye/Another Day/ Davey/East Of The Sun/Tom Tiddler's Ground/Francesca/Song Of The Ages/Hell's Angels

1970 was a good year for folk-rock singer Roy Harper as he achieved his highest chart placing with Flat Baroque & Berserk, plus the ultimate accolade of a tribute track on the latest Led Zeppelin album. The Nice helped out with some of the backing here. (UK:20)

“The rich intense English folk-rock sound is present through most of the tracks, as powerful as the best acoustic moments of any of the best proto-folk prog groups.”

“Flat Baroque And Berserk mostly features the acoustic folkie side of Roy Harper, though a couple of tracks rock. The closing Hell’s Angels does so quite heavily with Keith Emerson’s guest performance on keyboards. The album isn’t exactly a consistent work with Harper all over the map in terms of his mood and the different feelings conveyed by the various songs. Nearly all of the music is of high quality though.”

“The album contains occasional commentary from Harper as well as off hand studio remarks and laughter included for effect. All of it is cool enough to hear a few times, but becomes tiring upon repeated spins. Regardless, this is one of Harper’s better early albums with the strongest five tunes being extraordinarily moving.”

“Here is a musician and poet who has travelled a long way from his acoustic roots. This album represents the acoustic side edged with an electro quality that at certain moments simply lifts it out of the familiar and into a more dynamic landscape. It represents a ground shift in Roy's writing, due in part to the luxury of recording in a quality studio, but also because at this time Roy Harper was writing and playing with confidence.”

“A man who writes lyrics like this and plays music as honest and intense must be trustworthy and deservers my total admiration and respect. The music is at the same time humble and sweet.”

“Every song has something interesting and unique to offer, and with the exception of Hell’s Angels they have a folk tinge to them, although you can't exactly call this a folk album even though it is primarily him and his guitar. He puts in such a brute honesty to his music that make no mistake this is really how he felt when he was making this music.”

The Fabulous Charlie Rich - CHARLIE RICH****

I Almost Lost My Mind/Life Has Its Little Ups & Downs/San Francisco Is A Lonely Town/Sittin' & Thinkin'/July 12th 1939/Bright Lights Big City-Hush Hush-Baby What You Want Me To Do-Ain't That Loving You Baby (Medley)/ Raggedy Ann/Have You Ever Been Lonely/A Picture Of You/Love Awaits For Me/It Makes Me Wanta Cry

Despite critical acclaim country singer Charlie Rich had many years in the commercial wilderness before achieving fame in the mid 1970s. Fabulous was another of his albums which failed to make any impact on the charts.

“Charlie Rich's unique blend of country, jazz and blues was probably never better showcased than on this album of top-notch material. There was a certain reserve to his style which got in the way somewhat, but even so this is a fine record.”

“The music is as fresh as the day Charlie cut these songs. Once or twice in a lifetime, a song comes along and hits you so hard you remember exactly where you were, and what you were doing, when you first heard it. Life Has Its Little Ups And Downs was like that for me.”

“No one ever sang more soulfully, more sweetly or with more passion than Charlie Rich. His talents are on display here. Yet this is just a typical studio album for him. Although it was cut in Nashville with Billy Sherrill as producer, it is nothing like the albums he cut with him after hitting the big time in 1973. Here Sherrill was content to let Charlie do some of his favourite Jimmie Reed and Ivory Joe Turner songs, and the country songs Sherrill brought somehow fit in. Charlie sang these with so much passion they sounded right on an album with blues and jazz stylings. I wish I could do justice to this music and tell you how great it is.”

“Included in this album is Life Has It's Little Ups And Downs. Written by Charlie's wife Margaret Ann, this is one of the greatest songs I ever heard in the many years I've been listening to music. It's just so special.”

“Charlie Rich was so excellent; this really should have been titled 'The Excellent Charlie Rich'. I can already imagine this album with that title. Unfortunately, this second album with Billy Sherrill for Epic Records, like the previous one, made little commercial noise.”