Thirds - JAMES GANG***

Walk Away/Yadig/Things I Could Be/Dreamin' In The Country/Its All The Same/Midnight Man/Again/White Man Black Man/Live My Life Again

The somewhat unoriginally titled Thirds was considered by some critics to be a step down from previous James Gang albums. Their leading light Joe Walsh would soon quit the group for a solo career. (US:27)

“Thirds wasn't nearly as good as the previous two albums. Although it had more than its share of successes, but song-for-song simply lacked the cohesion and sense of enthusiasm found on the earlier studio releases.”

“The last studio LP for James Gang with Joe Walsh and that's our loss. Power trio rock was rarely if ever better than this group. They were never the same after Walsh left and neither was Walsh.”

“Joe Walsh's last ride with The James Gang. After this they would release many more albums but they would never quite be the same, or have the same spark of creativity.”

“All in all, this third helping comes over as a lazy effort with poor songwriting lifted by pleasant, if unadventurous, music.”

“The final album of the best line-up of the James Gang is by far the weakest of the first three albums. The Joe Walsh penned cuts are the strongest, while the other members' contribution are about as middle-of-the-road as hard rock gets. Not a terrible album by any means, but still a disappointment.”

“While Walk Away, Midnight Man and Again stand as stellar pieces of rock history, they are all that hold this release together. The aforementioned songs are perfectly produced and delivered. While the other numbers are and played from the heart, the value and strength of these songs is far below par.”

“Thirds was the James Gang's third great album in a row. The centrepiece was the riff-rocker Walk Away, but the album shows the band moving in various different directions, a sign that they were being torn by internal dissension. Walsh would decamp soon after for a solo career and work with The Eagles. Nevertheless, this album is a must own for any fan of 60s and 70s rock.”

“It's not as strong as the first two releases, but it still has plenty going for it. Walk Away and Midnight Man were minor FM hits and are both are excellent songs.”

Poems Prayers & Promises - JOHN DENVER****

Poems Prayers & Promises/Let It Be/My Sweet Lady/Wooden Indian/Junk/Gospel Changes/Take Me Home Country Roads/I Guess He'd Rather Be In Colorado/Sunshine On My Shoulders/Around & Around/Fire & Rain/ The Box

Poems Prayers & Promises was the breakthrough album for folk-rock singer songwriter John Denver. He would remain one of the top selling artists for the rest of the decade. (US:15 UK:19)

“This album like all his other releases that I've heard is filled with beautiful natureinspired country/folk-pop with a few covers that he does really well.”

“Denver returns to a purely acoustic singer-songwriter approach on this album. It also contains the anthemic Take Me Home, Country Roads, the song most closely associated with him nowadays, but it's actually out of the step with the other material chosen for this record.”

“For the most part Poems, Prayers & Promises is characterised by laid back songs like My Sweet Lady, Sunshine On My Shoulders and the title track. It's all a little saccharine for my liking. I can enjoy John Denver when there's a little edge to the material or when he embraces subject matters that are a touch darker.”

“Denver's original songs, whether solo or accompanied by group arrangements, reflect a generational idealism in song, and may be seen as inspiration for the outdoor lifestyle and conservation movements. The pacifist outlook was also represented on this album in a rather unusual fashion with the spoken word, The Box, a powerful anti-war poem that is all too applicable in today's times.”

“This isn't so much sweet as wistful, and has held up well over the years. It has a couple of Denver's well-known tunes on it but what I find more moving are the Beatles covers. Let It Be serves up more pathos than the somewhat overwrought original and Junk is downright moving in its simplicity.”

“With the release of this album, John Denver delivered the songs that would soon propel him into superstardom. All the elements he then used to achieve such singular fame and fortune as a best selling singer are here. Denver almost single-handedly began the outdoor backpacking, hiking, and orienteering movements by popularizing the idea of nature as an important element in modern life.”

Sinatra & Company - FRANK SINATRA****

Drinking Water/Someone To Light Up My Life/Triste/Don't Ever Go Away/This Happy Madness/Wave/One Note Samba/I Will Drink The Wine/Close To You/Sunrise In The Morning/Bein' Green/My Sweet Lady/Leaving On A Jet Plane/Lady Day

Sinatra & Company was a hybrid album divided into two parts. The first was a revival of the collaboration with the bossa nova stylist Antonia Carlos Jobin. The less well received second side features the arrangements of Don Costa on some soft rock songs of the time. Includes the UK top twenty hit I Will Drink The Wine. (US:73 UK:9)

“Sinatra's voice is in top form and the arrangements are beautiful. Wave stands out as one of his all time best performances. As for the Don Costa arrangements that make up the second half, they could have been better. They are too mixed up and disturb the easy flow of Jobim's bossa nova.”

“The main attraction to this album is that the first seven cuts are the unreleased sequel to the earlier Jobim sessions. The other side consists of the usual Sinatra style songs with some odd tunes like Sunrise In The Morning, but the gem is his remake of Lady Day.”

“The side with Antonia Carlos Jobim is worth five stars, but not other side, although I Will Drink The Wine is a fine track. This album would have been really good if both sides were with Jobim.”

“In fact, it is like two EPs on one album. One is a spin-off of the earlier Jobim album, produced by Sonny Burke with really wonderful songs like Drinking Water and Wave, to name only those I love above all. The other is produced and arranged by Don Costa, with pop songs of the time, sung the Sinatra way.”

“There is bossa nova on side one, pop on side two. Responsible for the arrangements on the first is Deodato, who brings a lot of flavour to the sessions, with Don Costa for the second. Sinatra sounds as if he walks to the mike, gives it one try, sings and then walks away, and it's quite likely that's the way how the songs were recorded. It's side one which makes this release Sinatra's finest from the 70s.”

“As good as the previous album with Jobim was, these seven songs are even better. Unfortunately, Sinatra grafted some mediocre early 1970s soft rock tunes onto the second half. I Will Drink The Wine is not bad, but most of the rest are woeful. Sinatra sounds disinterested, and it's not surprising he 'retired' shortly afterwards.”

Tapestry - CAROLE KING*****

I Feel The Earth Move/So Far Away/Its Too Late/Home Again/Beautiful/Way Over Yonder/You've Got A Friend/Where You Lead/Will You Love Me Tomorrow/Smackwater Jack/Tapestry/(You Make Me Feel)Like A Natural Woman

Tapestry was the mega successful album that re-established the reputation of singer songwriter Carole King. Previously best known for her melodic pop hits of the early 1960s aimed at the teen market, her more mature work tended towards the introspective. Includes the US chart topping single It's Too Late,which reached No.6 in the UK.(US:1 UK:4)

“Carole King managed to issue an album of simple beauty and sincerity that ran counter to much of the music that was being produced during the Vietnam War era. The music and lyrics are pop with a hint of folk. This fusion of style and sound made it appealing to several generations of music fans, a rare achievement at the time.”

“It remains just about the perfect album. The music was uncomplicated but the lyrics gave everything a depth, and were also personal and universal at the same time. It all added up to an album that was laid-back, unpretentious, and an effortless listen.”

“A landmark in the singer/songwriter genre, and it still sounds fresh after all these years. It always takes me back to a simpler, seemingly better time. The songs are all well crafted and lyrically superb. The arrangements are just enough, not overdone.”

“Tapestry is one of only a handful of albums that contain only total winners. Many artists produce great albums, but there are always a couple of songs that I don't like as much as the others. Not so here, every song deserves five stars.”

“Carole King had already established herself as a great songwriter in the 1960s, but it wasn't until her landmark Tapestry that she made a name for herself as a musician. What makes this album so astonishing is that the songs are so unbelievably strong, there aren't any weak tracks as the craftsmanship is up with the very best.”

“Want to know what great pop songwriting is? Listen to this. I'm impressed with the elegant simplicity of her lyrics, just the right turn of phrase to make each song memorable.”

“Carole King is a uniquely gifted songwriter as evidenced by the fact that nearly every track on this album has been a staple on radio stations everywhere for more than forty years. There's also something very attractive about her voice and delivery.”

Best Of - THE GUESS WHO****

These Eyes/Laughing/Undun/No Time/American Woman/No Sugar Tonight-New Mother Nature/Hand Me Down World/Bus Rider/Share The Land/Do You Miss Me Darlin'/Hang On To Your Life

A timely compilation from the Canadian pop-rock group The Guess Who, as their chart success would soon take a dip. With just one top twenty entry they failed to make much impact in Britain. (US:12)

“Canadian classic rockers The Guess Who have had more than a hit or two in their day. I do like the hits, but I can't see myself wanting a bunch of studio albums which are likely half filler, so this is the best option as I see it. A casual fan will get all of the songs they remember.”

“I didn't realize The Guess Who were responsible for this much AM gold until I picked up this collection. A lot of these hits should ring familiar while the lesser known songs present a similar commercial concoction of pop, folk-rock, light psych and blue eyed soul. If you're not bothered by the mass appeal, calculated nature of these tunes it's a pretty enjoyable spin.”

“Unless you're a die-hard fan, this is all the Guess Who you'll ever need. Every song on side one is a five star classic, and the level of perfection only trails off slightly on side two. This is a must own, highly recommended.”

“Every track is a masterpiece. It's the kind of album that I play again and again, and never tire of. Truth be told, although The Guess Who were a great band, most of their albums were uneven. This collection, however, is masterful, all the great tracks from their early albums (most with Randy Bachman) collected together and thus made irresistible. The early Guess Who combined great lyrics and soulful singing.”

“It’s really a shame that the Guess Who did not get more notoriety. Whereas they were not together for a very long, the group put out some great hits. There is some excellent singing by Burton Cummings. One minute he's belting out a rocker, another he's singing a soulful ballad. The instrumental support and arrangements are grade A as well. If you are a fan of music from the sixties or seventies you owe it to yourself to pick up this collection.”

“With a flurry of best-selling rock hits over a short spate of several years, the Canadian group Guess Who topped the charts and were on the A-list for concerts and gigs. There is no denying the sheer hit producing power they possessed, or the magically rock music they left behind.”

Turn On The Sun - NANA MOUSKOURI***

Turn On The Sun/Down & Out & Far From Home/The Power & The Glory/Enas Mithos/Open Your Eyes/Your Heart Is Free/Mamma/The Wild Mountain Thyme/Bridge Over Troubled Water/Epilogue/Odos Oniron/Farewell

During the early 1970s Greek easy listening vocalist Nana Mouskouri was a regular fixture on British television. The sales of Turn On The Sun would have been helped by her media exposure. (UK:16)

“If you are of the age group that enjoyed seeing Nana on her BBC television shows, then this album is a great reminder of the sheer joy of life that she radiated.”

“Nana Mouskouri, along with other great artists, conveys the feeling that she is unique. It is not simply the beauty and metal of her voice, but her personality and intellect, the strength of character and seriousness of commitment to deliver something flawless. The result is sublime.”

“As usual Nana's voice manages to take you out of your world of worries.”

“Easy listening, you know she will hit the notes. Some lovely songs, a nice mix of classical and modern, she demonstrates her language abilities and interpretation of the music.”

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

The Doobie Brothers - THE DOOBIE BROTHERS*****

Nobody/Slippery St Paul/Greenwood Creek/It Won't Be Right/Travelin' Man/Feelin' Down Farther/The Master/ Growin' A Little Each Day/Beehive State/Closer Every Day/Chicago

Self titled debut from The Doobie Brothers, one of the most respected American rock groups of the 1970s. Inexplicably, this excellent album has been almost completely overlooked by music critics.

“This was a very pleasant surprise comprising mostly acoustic tunes with great Doobie harmonies present. Very little of the heavier sound they would later adopt.”

“This is a very solid album with some truly wondrous tracks. Closer Every Day is just amazing. The Doobies were well known for their rock anthems but what's only known to their true fans is the fact that they wrote haunting ballads like no one else.”

“With Johnston and Simmons responsible for all the material, this collection may come as something of a surprise to anyone raised on the band's mid-1970s hits. Melodies that climb into your head and won’t let go; surprisingly sweet harmony vocals, and a pounding rhythm section, were all in ample supply.”

“The relatively simple arrangements and production caught me off guard the first couple of times I heard the LP, but I'll readily admit that it's something that's grown on me over the years.”

“This is really a pretty good album. Kind of sounds like ‘Doobies light’. It is not as heavy hitting as their later Tom Johnston hits, more like the acoustic pop stuff after he left. With his influence though, which makes it very listenable. If you like the real early Doobies stuff, this is a must have.”

"Nobody has that classic Johnston-Simmons chemistry that built the foundation for their style that would be a major force in the 70s. Feelin' Down Farther and Travelin' Man are also standouts, but really, it's all good. Check out this little heard gem.”

“I was absolutely amazed and blown away by this little known debut that I only recently was able to find. Little is said, perhaps because it didn't yield a radio hit. But it stands up to some of their later releases that did enjoy radio exposure.”

“Every single song gets me dancing and feeling really good, because the songwriting right from the very beginning of their career was impressive Anyone who likes the older version of the band will surely enjoy this album. Ignore the fact there aren't any hit songs, and just focus on the great songwriting.”

4 Way Street - CROSBY STILLS NASH & YOUNG***

Suite: Judy Blue Eyes/On The Way Home/Teach Your Children/Triad/The Lee Shore/Chicago/Right Between The Eyes/Cowgirl In The Sand/Don't Let It Bring You Down/49 Bye Byes/Love The One You're With/Pre Road Downs/Long Time Gone/Southern Man/Ohio/Carry On/Find The Cost Of Freedom

4 Way Street was a disappointing double live album from the celebrated rock group Crosby Stills Nash and Young. Punters would be well advised to stick to the studio versions. Includes the US No. 14 hit Ohio.(US:1 UK:5)

“I love chilled out and harmonious CSN as much as anyone, but in a live setting the acoustic guitar sounds a bit limp and the renditions don't hold a candle to the studio versions. Disc two is the real revelation - Young and Stills cutting loose on guitar, duelling with screeching solos, lengthy jams and a real sense of power and groove.”

“4 Way Street is an embarrassment of riches, offering a range of both group and solo compositions played by a band at the top of their game. At the same time, it only underlines the divisions that Deja Vu made evident. These four guys had completely different songwriting approaches and aesthetic outlooks, and whilst for a time they were able to support each other's work, in the long term it didn't make for stability.”

“This is a lacklustre live LP with very little energy. It is really a presentation of four solo artists rather than one group. It's hard to totally dislike an album though when the songs are as good as they are. But almost all of them are better in the original studio recordings.”

“What struck many was the album's then unique format of one disc acoustic and the other electric. What is really interesting is that, of the twenty full songs, only five came from the group’s two earlier albums. The rest of the material came from their earlier bands or from their solo work.”

“The electric side is the epitome of rock era jamming. Great guitar sounds, heavy drums and bass, and interesting interplay among musicians. Some of the most creative use of wah pedal I have heard, and some great lead guitar play between Stills and Young.”

“Musically, these live versions are far inferior to their studio counterparts, even when they are vastly re-arranged. It's much more an attempt to showcase individual talents without the illusion of the group effort which held CSN's studio albums together.”

Elegy - THE NICE**

Hang On To A Dream/My Back Pages/Third Movement Pathetique/America (2nd Amendment)

Elegy was the final release from the progressive band Nice after they has split up. Dismissed as self indulgent and boring it is likely to appeal only to hard core fans of Keith Emerson’s bombastic ambitions. (UK:5)

“This was a posthumously released final LP consisting of unused live tracks and a couple of studio rejects including an awkward rendition of Bob Dylan's My Back Pages. They really scraped the bottom of the barrel for this one.”

“The last and the most self-indulgent Nice album, recommended only for huge Emerson fans.”

“Mostly boring live tracks from 1969, although if you are in the right mood, hard core fans of this band might be able to endure some of this.”

“Elegy represents everything bad about them. Unspeakably pretentious and overblown, nobody has ever sounded so puffed up and confident about something so totally useless. These songs are simplistic and go nowhere.”

“It's a live album divided roughly equally between four long tracks - all covers but of course Keith Emerson does stuff to them. My favourite is Hang On To A Dream which features a long jazzy piano workout with rather non-jazzy hypnotic bass underpinning. There are some catchy diversions into a more honky-tonk style. America is their cover of the West Side Story theme, and perhaps generally acknowledged as the band's greatest achievement. The composer Leonard Bernstein was so disgusted he successfully prevented them from playing it in the US. The rest of the album is pretty much long on bombast and short on brilliance.”

“The version of America is everything. As a kid listening to this album for the first time, I couldn’t imagine how he was getting those sounds out of the organ. I assumed he had some sort of moog involved. When a friend pointed out that on stage synths didn’t exist at the time this was recorded, I realized Keith's genius. There’s a fire and rage is his early playing that is as wicked as Hendrix.”

Up To Date - THE PARTRIDGE FAMILY***

I'll Meet You Halfway/You Are Always On My Mind/Doesn't Somebody Want To Be Wanted/I'm Here You're Here/Umbrella Man/Lay It On The Line/Morning Rider On The Road/That'll Be The Day/There's No Doubt In My Mind/She'd Rather Have The Rain/I'll Leave Myself A Little Time

Up To Date was the follow up album from The Partridge Family boosted by their popular TV programme. Although dismissed as bubblegum by music critics they released several fine melodic singles. (US:3 UK:46)

“The Partridges Up To Date album remains one of their earlier rocking albums at their best. Although the band only consisted of two singers, the arrangements and background singers are incredible. This LP, as well as the ones that followed, put the Partridge Family in a category of their own that far transcended the typical bubblegum of the time.”

“This is not bubblegum but some of the best pop music that came out of the 70s. Far superior to the manufactured pop groups before them, these gems still stand tall and have aged rather well. The packaging was always geared to snag the younger crowd but the true prizes here are the songs themselves. In my opinion, there is not one bad tune on this LP.”

“I'll Meet You Halfway starts the album off with a moving, poignant love ballad that The Partridge Family deliver with panache. Of all their songs, this clearly has to be one of my highly ranked favourites. I love how the song deals with love and how two people really can work out their differences to hope to be together as a couple. The musical arrangement is lush without ever drowning out David Cassidy and the others.”

“You Are Always On My Mind shines brightly as a very good song; David Cassidy and the rest perform this very well, and it moves me with the key changes and the tempo is just right. A lot of young people will identify with this song as they experience their first true love with all the obsessing that goes along with the joy.”

“Younger people should listen to this music; it's much better than what is offered to them by today's ‘artists’. The Partridge Family may be manufactured but they had a great sound and David Cassidy did a great job with the songs they recorded.”

“Pleasing easy listening pop sounds made by competent studio musicians after the acid wore off and the bills needed to be paid. Subtly subversive music that will always move those who were there.”

Aqualung - JETHRO TULL*****

Aqualung/Cross Eyed Mary/Cheap Day Return/Mother Goose/Wond'ring Aloud/Up To Me/My God/Hymn 43/ Slipstream/Locomotive Breath/Wind-Up

Aqualung continued the winning streak for progressive rock group Jethro Tull. Under the guidance of Ian Anderson they reached a creative peak in the early 1970s which, alas, turned out to be unsustainable. (US:7 UK:4)

“Aqualung proved that Jethro Tull could rock with the best of them, but rather than an all out assault on the ears that less skilful bands would have favoured, the heavy rockers are punctuated by a series of delicate acoustic tracks that display Anderson's more sensitive side.”

“Critics have often tried to pigeonhole Aqualung into one of several genres: concept album, progressive rock, folk-rock, et cetera, ad nauseam, but the brilliance of the album is that it transcended what was termed 'hard-rock' back in 1971, and offered a refreshing synthesis of several styles and moods.”

“Very solid progressive rock that has strong folk influences to it. Ian Anderson has a very nice vocal range, which makes this album feel rather much like a whole long story, filled with various moments and excitement as well as feelings. Musically this is very tightly played progressive rock with some nice almost experimental moments, which still are very structured and well played.”

“There are a handful of albums in the annals of rock that simply could not have been better. This is one of them. From the opening riff to the final fade one can only marvel at the complete and total excellence of the entirety of this album.”

“Aqualung is not really a concept record, although many of the songs seem to focus on themes of free-spirited romanticism and religious hypocrisy. Tracks like My God and the title track pull the listener this way and that through tangled webs of odd chord changes, blues riffs, and acoustic moodiness.”

“The quintessential Jethro Tull album, offering a succinct overview of all their strengths. The flute is used tastefully and the music is ripe with memorable, pounding riffs that at times sound almost like proto-heavy metal at its best.”

“It has all the aspects that make up a truly great album. It is majestic and yet intimate, has great power and gentle subtlety. There is far more acoustic guitar than I remember being the case, which is what I loved about the band in their heyday.”

Suicide - STRAY***

Son Of The Father/Nature's Way/Where Do Our Children Belong/Jericho/Run Mister Run/Dearest Eloise/Do You Miss Me/Suicide

Suicide was the follow up album from London based rock group Stray. Despite their brand of melodic hook-laden hard rock being popular on the local club scene, they failed to gain much commercial acceptance.

“A good follow-up to their first release. There is some fantastic jamming hard rock and some great crunching lead guitar. Also a little touch of prog/psych here and there but not much, just mostly in your face hard guitar driven rock.”

“Worth a half star extra for its consistency, bringing it up to the same level as their debut, but their second album is ever-so-slightly off the pace. It still has plenty of solid power-trio style guitar driven hard rock, but mixed with a few much more commercially oriented cuts. But there can be little doubt that if you liked their first, this one will surely please as well.”

“Almost the powerhouse the debut was but not quite. There are plenty of great hard rocking jams, but oddly enough it is two ballads that stand out, Dearest Eloise and the beautiful Where Do Our Children Belong.”

“Overall a very typical early 70s hard rock album. You will get exactly what you expect - hard rock with some mixture of boogie, progressive, psychedelia and pub rock.”

“They were in the early seventies a very good live act - hard rock with melodic underpinnings. This is by far their best album and captures some of their presence on stage. Great burning guitar and entwined vocals. There is some whimsy, but it is the rock that drives through - Jericho is like a bulldozer as is the multi-layered Do You Miss Me. Though it is the title track Suicide which is the stand out. Although suffering some naff lyrics, it is the sound wallop which bleeds this track to intensity, and then gives you a good kicking before leaving the stage with amps fizzing and crackling like burned out winos at Mardi Gras.”

Crazy Horse - CRAZY HORSE***

Gone Dead Train/Dance Dane Dance/Look At All The Things/Beggars Day/I Don't Want To Talk About It/ Downtown/Carolay/Dirty Dirty/Nobody/I'll Get By/Crow Jane Lady

Self titled debut album from the American rock group Crazy Horse who are best known as the backing band for Neil Young. The track I Don’t Want to Talk About It would later become a UK No.1 hit when covered by Rod Stewart. (US:84)

“Crazy Horse the album, while lacking in a strong lead vocal, makes up for it with some great sounding stacked harmony lines, cool guitar riffage, driving bass and heavy rockin’ drums. It’s definitely a West Coast sound with a psych/blues vibe.”

“Crazy Horse rode the wave of Neil Young’s popularity to release their own brand of Americana folk rock that, while not being in the league of Young’s songwriting talent, stands up on its own musically. It’s no masterpiece but if you’re a fan of the work of Neil Young’s Crazy Horse albums, then you will find something on here to enjoy.”

“Better know as Neil Young’s backing band when he was deafening the fans with his brand of 70s styled country rock, this is their first solo album and it rocks from start to finish. Lots of great guitar and better than average singing and songwriting.”

“I like Crazy Horse, but there's a reason they're a backing band. Without Neil Young they would have languished into mediocre bar band obscurity a long time ago. While this album has its moments, the songs never seem to reach out and grab you.”

“The band without Neil deliver an excellent album full of great roots-rock. From the intro of Gone Dead Train on, it's just a marvellous listen. They are in top form and clearly having a lot of fun.”

“Crazy Horse's self-titled debut album is a fine example of an early seventies rock. It has a nice selection of songs, the majority composed by guitarist Danny Whitten, who sings lead on most of the tracks.”

“Crazy Horse are generally prized for their character more than their talent, but Danny Whitten had a flare for writing catchy songs, and Nils Lofgren and Jack Nitzsche were brought in to flesh out the band's sound. The result is an album oozing character while being talented enough to be more than just a novelty.”

Growers Of Mushroom - LEAF HOUND***

Freelance Fiend/Sad Road To The Sea/Drowned My Life In Fear/Work My Body/Stray/With A Minute To Go/ Growers Of Mushroom/Stagnant Pool/Sawdust Caesar

After a change of vocalist the hard rock group Black Cat Bones adopted the name Leaf Hound for the release of their second album Growers Of Mushroom. Their sound is considered to be very Led Zeppelin influenced.

“Zeppelin influenced hard rock with really great guitar especially Freelance Fiend where the guitar has a kind of metallic sound. The first three songs are hard rock classics, after that the songwriting becomes a bit average with the exception of the psychedelic Growers Of Mushroom track.”

“Take Led Zeppelin, add some blues and a rather psychedelic sound and you describe Leaf Hound. Brilliant blues-rock with a nice psychedelic and experimental touch to it. Although the guitar at times sounds quite thin, the soloing and jamming are really good. And the vocals just suit the music about perfectly.”

“There are some nice blues-rock numbers in this 'lost classic'. Unfortunately they are interspersed with some pretty average material. The opener, Freelance Fiend, with a regulation blues hook and accomplished guitar solo, promises good things to come.”

“The band's only album contained an acid guitar based psychedelic sludge fest of blues based rock. The vocals fit the mood perfectly. The set has some solid acid guitar playing but nothing really fancy.”

“A solid album, I've heard it described as Led Zeppelin without the affected vocals, which is a pretty apt description. The title track is a fun song with psych lyrics, but the rest of the album is really straight rock, if you want to get fancy you could call it postpsych or proto-metal or proto-stoner rock.”

“I expected something more psychedelic with the cover art showing the band standing in a field of mushrooms and rainbows, but this record is actually some hard hitting Led Zepplin style rock. If you're a fan of 70s English hard rock you will like this a lot.”

“This is a very solid release if you are looking for the heavier side of early 70s hard rock albums. Yes, it sounds very much like Led Zeppelin, especially the first track, but this album still has so much originality that it surely can stand on its own.”

Bryter Later - NICK DRAKE****

Introduction/Hazey Jane II/At The Chime Of A City Clock/One Of These Things First/Hazey Jane I/Bryter Later/Fly/Poor Boy/Northern Sky/Sunday

Singer-songwriter Nick Drake’s second album Bryter Later has been described as an awkward mix of folk and cocktail jazz. Despite the assistance of Fairport Convention he never achieved commercial success during his lifetime.

“Never been a huge fan of cocktail-lounge-jazz whatever music this is, but thankfully Nick Drake's crushing depression and hopelessness manage to crawl through the jungles of happy uplifting string arrangements, and make this one worth listening to.”

“I can vouch for Bryter Layter as a spectacular record. It has such an air of originality and cutting purity that it brings me close to tears each time I hear it. His enchanting voice, along with the intriguing instrumental arrangement, pulls you in immediately.”

“Bryter Layter is a more playful and less melancholic record than Drake's previous one. Nice folky arrangements, a more jazzy approach and great lyrics make these songs so good. A gentle and polished but still very sad LP. Another gem from Nick Drake's painfully short discography.”

“A great album with only a few flaws, the orchestrations leave the guitar buried. While the songs are beautiful, I would have much preferred a version with just Nick Drake and a guitar. However, this album is still definitely worth checking out.”

“Nick had his own poetic voice from the beginning, and his legacy is being rediscovered by a new generation of musicians. This album is the perfect entry point to investigate Drake's magic. The variety, sympathetic production and breathtakingly beautiful songs of Bryter Layter make it my favourite by this gifted artist.”

“Yes, it is overproduced. The horns often eclipse and cover the delicate fine cracks of Nick Drake's songs which are his strongest facet and appeal. But they don't completely cover the great songs underneath, and Bryter Layter at its core is still the sound of an excellent folk artist.”

“Nick teaches you how to slow down the rhythm of the world, pay attention to little things, colours, sounds, trees, tiny animals... but some people find it very depressive. I find it relaxing and spiritually enriching. Just in terms of emotion, it all flows seamlessly with a gentle summer feel. I believe Nick probably offered this album as an antidote to the stress of city life.”

The Point - NILSSON***

Everything's Got 'Em/Me & My Arrow/Poli High/Think About Your Troubles/Life Line/POV Waltz/Are You Sleeping

The Point was the soundtrack to a children’s animation sung, composed and narrated by Harry Nilsson. He would later bring it to the Mermaid Theatre in London as a stage show. (US:25 UK:46)

“Three or four of these tracks are certified Harry classics, while the remainder are a pleasure due to the high flying vocal and orchestrations. When listened to this way, The Point demonstrates that Nilsson possessed an assured artistic touch at this point in his career.”

“I remember watching The Point in cartoon format with Ringo narrating the story in between Nilsson's carefully crafted songs which show that he can sing and write creatively.”

“While I love the originals dearly there's a price to pay. Half the album serves its purpose as a soundtrack, but the other half is narrations of what is happening in the film. While it's nice they got Harry to do these narrations it does somewhat ruin the flow of the album given they form every other track.”

“A cute record with Harry writing some good tunes and delivering some nice narration for this children's story that has a sweet lesson and some universal laughs.”

“This record features probably Nilsson's best side - he's just genius when he gets to mesh his sly, winking sense of humour with his unabashed love for pure pop. That said, I had to dock the album a point or so because of the narrations.”

“This is a soundtrack to a children's animation that still holds up to this day, about a little boy without a point born into a town of pointy headed people. Very psychedelic and brave in its crazy composition.”

“The story and the characters are a lot of fun and will appeal to kids and adults alike. The narration between songs is engaging and entertaining and does more than just tell a story. Although this album is mostly geared towards children, there seems to be a deeper wisdom under the surface that people of all ages can learn from.” “A really brilliant idea and a great listening experience, but not great music. Only two songs are truly above the average.”

Manna - BREAD***

Let Your Love Go/Take Comfort/Too Much Love/If/Be Kind To Me/He's A Good Lad/She Was My Lady/Live In Your Love/What A Change/I Say Again/Come Again/Truckin'

The soft-rock group Bread fronted by David Gates consolidated their commercial breakthrough with their third album Manna. Features the US No. 4 hit single If which would later deliver an unlikely chart topping hit in Britain for TV detective Telly Savalas. (US:21)

“Besides the monster hit If, there are a couple of lesser-known tracks worth checking out: He's A Good Lad is quite Beatle-ish, and She Was My Lady has a soaring melody and rich harmonies. Again, David Gates proves to be an ace songwriter.”

“The legendary love ballad If alone is almost enough to justify the album's heavenly appeal. Songs such as the harpsichord driven rocker Let Your Love Go and the church-like organ solos on the ethereal What A Change, as well as the album's centrepiece Come Again, ultimately give this album a warm baroque feel that makes it a wonderful first choice among Bread's studio efforts.”

“Not one weak song on here. It opens with two tracks which give a false impression, that this might be a heavier album. Let Your Love Go is one of their best rockers, showing Gates could do other styles, not just ballads. Take Comfort goes from bluesy to ballad in the middle, and it really works.”

“I have to admit I love Bread. The hit If is here, but there are also songs you won't find anywhere else such as What A Change, and the beautiful piano and violin in Come Again.”

“This is my favourite of the original studio albums by 70s pop-rock band Bread. Gates was in fine melodic form here, with his sweet tenor voice soaring on songs like If and What A Change. This is a good album for those who want to dig deeper than the 'best of' collections, there are a lot of very diverse and interesting styles on here, yet the album still flows together nicely. They were actually a much more diverse band than is generally known, always including some hard rockers to balance out the ballads.”

Live - TASTE****

Sugar Mama/Gamblin' Blues/I Feel So Good (Part One)/I Feel So Good (Part Two)/Catfish/Same Old Story

Live album release form the Irish blues rock group Taste, recorded at the Montreux Jazz Festival shortly before they split in 1970. Guitarist Rory Gallagher would go on to enjoy a successful solo career. (UK:14)

“Musically, it's their standard brand of power-trio hard blues rock.”

“Rory is amazing on stage. This live album proves it. It’s a pity that this release is so short, I would have listened to much more of this.”

“A good album; Gamblin' Blues is a particular favourite and Rory's version of Catfish is well worth a listen. It rocks as hard as the studio albums, but not too different.”

“As they did so many times before, Taste did not disappoint. A truly remarkable performance from this powerful trio, recorded live in a Swiss casino. Gallagher’s guitar as usual is stunning and razor sharp, alongside the heavy support, playing their usual set, apparently their last concert together.”

“I found this to be a great introduction to early Rory Gallagher work. Great blues-rock from one of the pillars of the genre. My only wish is that it was longer.”

“Fabulous powerhouse trio recorded at the Montreux Jazz Festival in the early 70s. Rory Gallagher has never received the accolades he truly deserved for his emotive mix of blues, rock and jazz guitar. OK, he couldn't sing, but boy could he play.”

Johnny Winter And.... Live - JOHNNY WINTER****

Good Morning Little Schoolgirl/Its My Own Fault/Jumpin' Jack Flash/Great Balls Of Fire-Long Tall Sally-Whole Lotta Shakin' Goin' On (Medley)/Mean Town Blues/Johnny B Goode

A critically acclaimed live album from the blues guitarist Johnny Winter, supported by guitarist Rick Derringer. Unusually it features a rock & roll medley. (US:40 UK:20)

“What immediately impresses me about this album is the amount of energy Winter exudes. You get some of this energy from his studio recordings, especially the pre- Derringer albums, but it is the studio, not a live set. The vocals on the rock and roll medley are insane, especially when the group gets into Long Tall Sally.”

“What we have here is the short lived Johnny Winter And band, and live. A collection of recordings taking from one of the tours the band did while the great Rick Derringer was still playing dual guitar with Johnny. Opening with Good Morning Little School Girl just sets the tone. You can tell this is going to be a good time all the way through. There is an amazing extended version of B.B. King's Its My Own Fault which Winter had already made his own in the studio, and then manages somehow to make it his own all over again here. The guitar solo and interplay between Winter and Derringer is nothing short of breathtaking.”

“While there is only one original song here (Mean Town Blues, and it comes off sounding like a blues classic), the choice of covers is exceptional. I had forgotten how important Rick Derringer was to this band. He is the perfect foil for Johnny matching him lick for lick on guitar, playing flawless rhythm, and even singing lead on some of the rock & roll medley. This is an excellent band - probably the best Winter ever toured with.”

“A fine live album from a great guitarist. On this set, Johnny Winter plays a lot of rock and roll in addition to the blues that we're used to. All the songs smoke, except maybe the medley which drags a little. Everything else is white hot, and the live environment seems to invigorate him.”

“The energy captured on this live session is unbelievable. Rarely have I heard two guitarists propel and counter one another like Winter and Derringer do here. Some of the material may be overly familiar, but after hearing these versions of the songs, most others pale in comparison.”

Love It To Death - ALICE COOPER****

Caught In A Dream/I'm Eighteen/Long Way To Go/Black Juju/Is It My Body/Hallowed Be My Name/Second Coming/Ballad Of Dwight Fry/Sun Arise

After the musical experimentation of their first two albums Alice Cooper released Love It To Death which would encapsulate their own brand of heavy rock combined with outrageous imagery. (US:35 UK:28)

“It's certainly the first manifestation of a particularly American brand of glam rock, trashy and self-consciously so, controversial in the way it marketed songs with highly sexualised or violent content to teens, and above all playing some down and dirty rock & roll. Not the band's best, but it's the album that put them on the map.”

“Love It To Death is the band’s first genuinely recognisable album in the style that they would very much make their own. It’s a loud, dirty and at times quite unsettling rock and roll album, which is everything an Alice Cooper fan wants.”

“You have the major label debut of a truly unique band, with songs that still sound new and original today. Most of the elements that made the Alice Cooper band such a popular 70s act are in place here.”

“The album is mostly simple hard rock tunes, heavily leaning towards garage and glam, yet every track is executed almost flawlessly.”

“Love It To Death was the first real classic Alice Cooper LP. Loose, brazen hard rock with glam and garage rock influences and his first super hit I'm Eighteen. The weird elements of the first two albums didn't disappear; there are many of them in songs like the schizoid Ballad Of Dwight Fry, or in nightmarish Black Juju. Not their best album but maybe the most direct and honest.”

"Love It To Death was an album that brought the genre of harder, heavier rock music and brought it into the mainstream. The singles and shorter tracks were both catchy and different to what had come before - I'm Eighteen becoming a classic in its own right. The album was still psychedelically influenced, and the sound is clearly of a band being tethered back from the indulgence of their earlier works.”

“I really fail to see what Alice Cooper has done to receive such wide critical acclaim. There is nothing here but standard by the numbers hard rock. Perhaps it was not so standard at the time, or there was something else to this artist beside the music, but either way it doesn’t make for a very good listen.”

Love's Lines Angles & Rhymes - THE 5TH DIMENSION***

Time & Love/Love's Lines Angles & Rhymes/What Does It Take/Guess Who/Viva Tirado/Light Sings/The Rainmaker/He's A Runner/The Singer/Every Night

The 5th Dimension’s releases here start to become a little formulaic, resulting in the pop harmony group’s last top twenty album of new material, Love’s Lines Angles & Rhymes. The title track was a US top twenty hit. (US:17)

“Aware that tidy politics wasn't going anywhere, The 5th Dimension retreat to safety: a batch of the most simplistic melodies of their entire career, further spoilt by untold levels of shrill vocal drip.”

“While there are a couple of good songs here, this record is for the most part a waste of the group's great voices. Most of the vocal arrangements are lacklustre and unimaginative, and too many of the compositions just sit there.”

“A lot of familiar songs, but also some unfamiliar songs. If you are a 5th Dimension nut like myself, that’s what you’re after. Has anybody ever done that mixture of pop and soul as well as this group?”

“If you are a fan of the 5th Dimension, this album is a no-brainer. But it is also a time capsule of their happy 5th sound. I love this LP, I discover new things in it with every listen.”

“Love's Lines, Angles & Rhymes seems slightly less dated. Among the standouts are another pair of Laura Nyro covers, Time & Love as well as the yearning He's A Runner. The title track was the only single to make much of an impact. Deeper album cuts worth spinning are the remakes of Junior Walker's What Does It Take, a spirited update of Nilsson's The Rainmaker, and last but far from least is their take on Paul McCartney's Every Night.”

Electronically Tested - MUNGO JERRY***

She Rowed/I Just Wanna Make Love To You/In The Summertime/Somebody Stole My Wife/Baby Jump/Follow Me Down/Memoirs Of A Stockbroker/You Better Leave That Whisky Alone/Coming Back To You

Electronically Tested was the follow up album release from the difficult to categorise British pop-rock group Mungo Jerry, who were too poppy to be rock and to rocking too be pop. It features the UK No. 1 dynamic hit Baby Jump (UK:14)

“This is campy, vaudeville style skiffle/pop, with kazoo. What to say about the music on this record? It’s a little bit better than I feared but not as good as I hoped.”

“These guys are no one hit wonders but are great musicians who skiffle, countrify and rock your socks off from time to time.”

“The roots of their music grew out of jug/skiffle bands; they played rough, aggressive and energetic rock. It was unpolished, spontaneous, based on very simple riffs - but the melodies were outstanding. They were living testimony that in order to write and perform powerful music one doesn’t need high-tech gadgets and tons of equipment.”

“There really are some gems here, especially She Rowed which should have been a single, Sadly the original incarnation only lasted for one more album, but during this relatively short time some wonderful foot-tappin’ music was produced.”

“Mungo Jerry's second album hit the stores in the wake of a massive hit single, the lascivious Baby Jump, still one of the rawest records ever to land regular daytime airplay. The full album proved that the hit was no fluke. Indeed, while Mungo Jerry road-tested the sheer musical versatility of the still infant band, Electronically Tested hit the highway with both feet on the accelerator.”

The Compleat - TOM PAXTON****

Clarissa Jones/The Things I Notice Now/Jennifer’s Rabbit I Give You The Morning/The Marvellous Toy/Leaving London/Angie/All Night Long/Bayonet Rap/Talking Vietnam Pot Luck Blues/Jimmy Newman/Outward Bound/ Morning Again/Can’t Help But Wonder Where I’m Bound/My Lady’s A Wild Flying Dove/Now That I’ve Taken My Life/About The Chicken/Ballad Of Spiro Agnew/Mr Blue/Wish I Had A Troubadour/Ev’ry Time (When We Are Gone)/Cindy’s Crying Hooker/Ramblin’ Boy/The Last Thing On My Mind

The oddly spelt double album Compleat was a live retrospective of veteran British folk singer Tom Paxton. It was recorded over two nights in June 1970 at the New York folk venue The Bitter End. (UK:18)

“Already a ten year musical veteran by the time he made this recording - Tom Paxton was comfortable with his songs, his voice, his conscience and knew exactly how to perform to a literate audience. There's a fabulous intimacy about the gig - and his repartee with the enthralled crowd oozes out of every track.”

“The ballads are especially pretty - All Night Long and the plaintive Leaving London - a tune about longing for a girl, returning to her and flying home. The lovely Angie benefits hugely from the beautifully complimentary piano playing of David Horowitz. Disc two continues with more of the same.”

“A live album which features all the Paxton classics. It's a double album and may seem a bit monotonous to some.”

“This is pretty close to definitive when it comes to the range of the folk singer's interests at the time. It's all here, from the pointed satire of Talking Vietnam Pot Luck Blues and Wish I Had A Troubadour and the more subtle but no less biting social commentary of Clarissa Jones and Jimmy Newman, all the way to the touching children's song Jennifer's Rabbit, the romantic tenderness of My Lady's A Wild Flying Dove and the closing The Last Thing On My Mind.”

“The arrangements range from solo acoustic performances to a handful of songs with a semi-electric, drummer less band. Paxton's banter throughout is light and humorous, and there's an appealing, easy going feel to the album that makes its epic length seem considerably shorter.”

“Paxton’s humour, compelling wit and grasp of the thoughts of everyday people, his writing and singing about topical subjects, reaching out to people and helping to rid that feeling of utter isolation, is a gift”

Split - GROUNDHOGS****

Split Part One/Split Part Two/Split Part Three/Split Part Four/Cherry Red/A Year In The Life/Junkman/Ground Hog

Split was the best remembered and most commercial album release from the blues-rock group Groundhogs. Side one features the title track split into four separate parts. (UK:5)

“A fusion of hard rock and hairy progressive rock released at the moment that both of them exploded in popularity.”

“Split is a set of well played, proggy blues rock sometimes reminiscent of Cream. Cherry Red is the stand out performance whilst Ground Hog shows you what they sounded like playing straight blues.”

“This is a great addition to any blues/psych rock record collection out there. Especially the first side which includes four different parts of the title track but the side two includes very nice moments too. Great guitar sound throughout the whole length of the record, and they have succeeded with the songwriting as well.”

“One of the more exciting blues-rock albums I have heard which from the onset, demands all your attention. It’s a consistently great record.”

“The album Split is a veritable masterpiece in the field of progressive rock. From the writing to production, each and every track deserves a well placed position on this album. For many rock artists, this has been one of rocks benchmarks and is the apex of McPhee's recording career.”

“A blues band morphs into a heavy rock trio. A band which although well known, never achieved the level of success of many of their contemporaries. The standout of course is the hard driven, pummelling, Cherry Red which is to any rock fan ageless classic, although the Split parts are pretty good, as is the blues orientated Ground Hog.”

“Split is not the best place for a newcomer to the Groundhogs to start, as it’s pretty dense and heavy going stuff, though the more prog-inclined will find much to admire, especially given the limitations of the power-trio format.”

“The first side is Split, a conceptual piece divided into four very distinct songs, and probably the heaviest and most psychedelic Groundhogs music ever, maybe a little too much so.”

Long Player - THE FACES****

Bad 'N' Ruin/Tell Everyone/Sweet Lady Mary/Richmond/Maybe I'm Amazed/Had Me A Real Good Time/On The Beach/I Feel So Good/Jerusalem

Long Player was the second album release from the hard rocking Faces featuring vocalist Rod Stewart in his prime. His solo career would soon achieve lift off leading to an eventual taming of his sound. (US:29 UK:31)

“A somewhat tighter and less ramshackle version of the debut album, with a really nice cover of Maybe I'm Amazed acting as its lynchpin. This was back in the day when a prominent Rod Stewart was a benefit and not a detriment to a song.”

“Not their best effort but it's still not bad. Had Me A Real Good Time sends off a great vibe and there are some toe-tappers on this LP. The band gets raunchy and rowdy with some cool guitar riffs on most tracks. Rod’s vocals don't grate my nerves yet.”

“A real step up from the debut but it is still padded out with filler. Bad ‘N’ Ruin is a real favourite of mine from the group with the funkiest riff any band could ever lay out, with a coruscating vocal from Rod.”

“The boys have found their groove and on Maybe I'm Amazed show just how really good they could be. They were probably playing footy and knocking back the odd brandy or ten at the time they recorded it too.”

“On Long Player the Faces sound more bluesy, and at times more like Rod Stewart's handpicked touring band. Ronnie Lane stands out with a couple of great tunes, a shared vocal with Rod on a great cover of McCartney's classic Maybe I'm Amazed, and his always wonderful bass, the spine of all Faces records. This was back in the days when Rod Stewart still had some soul and could sing folk, rock, R & B and pub tunes all on the same album without missing a step. He's in fine form here, as he was on most Faces records.”

“It's a little bit of a mixed bag, with two live numbers, some hard rock, and a couple of tender ballads. Rod Stewart sings one of them, the charming Tell Everyone, and Ronnie Lane takes a lead vocal on the other, the country-ish Richmond, but both of them are penned by Lane, the band's excellent ballad writer. A live rendition of Big Bill Broonzy's I Feel So Good is good but much too long at almost nine minutes. The other live number, a gritty take on Paul McCartney's Maybe I'm Amazed is really great, as is the folkish Sweet Lady Mary and the delightful, tough rocker Had Me A Real Good Time.”

If I Could Only Remember My Name - DAVID CROSBY***

Music Is Love/Cowboy Movie/Tamalpais High (At About 3)/Laughing/What Are Their Names/Traction In The Rain/Song With No Words (Tree With No Leaves)/Orleans/I'd Swear There Was Somebody Here

The solo debut from David Crosby helped out by a wide cross-section of his West Coast chums. Unfortunately, the end result is disappointing as many of the songs appear only half formed. (US:12 UK:12)

“Crosby goes it alone here but still decides to bring in a whole slew of people, from Neil Young, Graham Nash and members of Grateful Dead to Joni Mitchell, Grace Slick and David Freiberg. So, he is hardly alone but this is still David's show. I love the hazy, laidback vibe presented here, it is almost like the dawn just before the sun goes down.”

“No one else ever really nailed down the hippie, post-Western sound Crosby explores here. He took pieces of everything he'd done from that point and drenched it all in acid, creating a record that buzzes with serene, psychedelic ecstasy.”

“An amazing, atmospheric album. Individually only a few of the songs stand out (in fact a number appear incomplete). But as a full album it really flows and almost has a spiritual quality to it.”

“Normally, an album this unfocused, containing several half-formed and/or improvised songs wouldn't get so much praise. However, I'm guessing most of this record's supporters are really attached to all the hippie harmony beauty that's so prevalent in nearly every song.”

“Crosby released this single solo album, a mystical affair with mostly wordless tunes which takes a bit of time to get used to. The album sounds as if Crosby expanded his Deja Vu track to the length of a full record. Most people can either take or leave the album, but overall it is an agreeable summation of the Age of Aquarius.”

“There may be some fine performances from the musicians involved and some enjoyable vocal harmonies. But in the end it's the songs themselves that matter and these all leave me quickly bored. Whether the songs are way too long or very short, they all have a simple musical theme which is repeated over and over again and turned into an entire song.”

“For anyone who truly appreciates the scope, verve, and power of sixties music, Crosby weaves a series of thoughtful, mystic, and mysterious moods with this music and shows why he has so many friends in the music business.”

Cry Of Love - JIMI HENDRIX****

Freedom/Drifting/Ezy Ryder/Night Bird Flying/My Friend/Straight Ahead/Astro Man/Angel/In From The Storm/ Belly Button Window

Released shortly after his untimely death Cry Of Love was the last authorised Jimmy Hendrix album. It would be followed by numerous posthumous releases of gradually diminishing quality of material. (US:3 UK:2)

“This album may be regarded as a new step forward, a new experimentalism. What seems to be new is the extent that Hendrix has used overdubs, recording track after track of guitar and laying them one on top of the other. At the best this creates a rich texture of noise where, on repeated listenings, we can follow different strands. But too often the result is a congealed toffee of sound where the different strands just merge into one noise.”

“The Cry Of Love was the first of seemingly hundreds of posthumous Jimi Hendrix releases. We here get a glimpse into what a more mature Jimi Hendrix would have sounded like. The brash, cocky, wiry Hendrix that manifested itself on the three legendary albums with the Experience is largely a thing of the past. Hendrix generally sounds exhausted and perhaps even a bit confused about what direction to take in these recordings. The psychedelic quality of his previous recordings is still present, but minimized. Funky rhythms tend to dominate the proceedings.”

“This was his final legitimate solo album, which was incomplete at the time of his death, and finished with producers and studio musicians. It represents the evolution of this guitar great to attempt more melodic, pop style tunes as opposed to relying mostly on pyrotechnic guitar solos.”

“This is just full of great psychedelic blues. His guitar playing and songwriting is top notch here. If you love Hendrix and all you know are the famous songs listening to this will blow you away.”

“This is a gentler, less frenetic Jimi Hendrix, but he's every bit as glorious as on his previous incarnations. A few of the songs are true gems, such as Angel and Drifting. Overall, the feeling is stoned, trippy, and dreamy, but it's also an album with a lot of heart, one that goes straight for the emotional jugular.”

“This is a much more tamed collection than anything he did before. There is a very dream like stoned quality to the songs, but there is also a fantastic clarity in the music that makes Cry Of Love different to previous releases.”

The Yes Album - YES*****

Yours Is No Disgrace/The Clap/Starship Trooper/I'ver Seen All Good People/A Venture/Perpetual Change

The Yes Album was the first from the British progressive group Yes to feature their mature definitive sound of Jon Anderson’s ethereal vocals, backed by complex arrangements and memorable melodies. (US:40 UK:4)

“The Yes Album is their first real serious classic. They left behind psychedelic elements of the previous LPs and highlighted progressive elements and complex song structures. It's a real milestone both in the history of progressive rock and also in Yes' career. It's an excellent start to get to know one of the greatest progressive rock bands of all time.”

“Yes represent the kind of progressive rock I enjoy listening to with great melodies, various instruments blending together to create a very nice smooth sound. The band are tight, everything involved more or less fits perfectly into the whole.”

"The Yes Album is the band's breakthrough release and might even be their best effort, very close to it. It is full of excellent vocal harmonies combined with awesome instrumental work, which are good reasons to give this album a high rating.”

“Here, the progressive concept expands compared to the modest experimentations of the previous two LPs. The songs are much more stretched out, the songwriting is still very melodic, as Yes will always be, but here it is almost always top-notch. All of the melodies are great; the structure of these songs is always epic regardless of their lengths. The wonderful alternation between the strong bass-lines, the soaring keyboard solos, and the spacey guitars, is always present.”

“The entire album from start to finish flows so wonderfully. The musicianship is brilliant. Steve Howe’s debut was on this record and from day one he proves his merit as one of the most underrated and overlooked guitarists in history. The solo on Starship Trooper alone is a testimonial to that. Chris Squire is arguably the best bassist in rock history and Bill Bruford is among rock’s most overlooked drummers. Finally Jon Anderson's vocals are the best he ever recorded, partly due to the level of restraint he exhibits here.”

“Steve Howe came in and was the catalyst that Jon Anderson needed to explore longer songs while providing guitar pyrotechnics. With this set the band finally achieved their goal of playing complex arrangements but utilizing catchy and memorable harmonies which remain in your head long after the song is finished.”