Welcome To The Canteen - TRAFFIC****

Medicated Goo/Sad & Deep As You/40000 Headmen/Shouldn't Have Took More Than You Gave/Dear Mr Fantasy/Gimme Some Lovin'

Welcome To The Canteen was a live Traffic album recorded at the Fillmore East in November 1970. It was credited to individual performers rather than the group, and features the temporary return of Dave Mason. (US:26)

“I could listen to this album non stop for days. The fact that Dave Mason provides a couple of his solo songs build it up even more. The production is perfect for a live album from the early 70s and the selection of songs reflects the band at their prime. If you like your music live, this is a must have.”

“For me, Dear Mr. Fantasy is the essential track. I'm not usually a big fan of extended jams with wild solo flights, but this one works for me. The band keeps picking up steam, building the intensity, and Mason does a nice job pacing his solos so they don't all sound the same. This is a living, breathing version that destroys the preciousness of the original. It's easily the most powerful track Traffic ever put on record. The first four tracks are more alive than their studio counterparts as well.”

“Nothing beats a good live recording of a good band live and this is one of those. Lead guitar is very smooth and occasionally the keyboards soar. They were a very smooth band and that comes across on this recording.”

“I think it's a very tight set with a great choice of songs. Although Dave Mason had left the band, for some odd reason he still toured with them, and lends two songs Sad & Deep and Shouldn't Have Taken which work into Traffic's jam perfectly here.”

“Winwood is in excellent form, however the presence of Dave Mason seems to make a difference. In my view Traffic were better with Mason in the band. His guitar playing is excellent and he provides an interesting contrast to Winwood's organ. Mason brought with him two very good songs from his recent solo album.”

“One of the great live albums of the seventies. I picked this up almost as an afterthought and it turned out to be one of my favourite Traffic records.”

“Two of the more intriguing tracks on this disc are the Dave Mason compositions. Both are stellar works fresh from his solo debut album. It's marvellous to hear Dave perform these songs so near to their inception, and with such a fine line-up of backing musicians. The tempo is slow, but the emotion is high on each.”

Moving Waves - FOCUS*****

Hocus Pocus/Le Clochard/Janis/Moving Waves/Focus II/Eruption

Moving Waves was the acclaimed follow up album from the Dutch progressive group Focus. It was their international commercial breakthrough and includes the US and UK top 20 hit Hocus Pocus. Originally released as Focus 2 in Holland . (US:8 UK:2)

“This musical masterpiece is one of the most progressive albums made during that era, indeed Jan Akkerman's incisive and razor electric guitars are omnipresent: pure hard rock solos and barely less timid aggressive riffs. The drums are restless, very complex and fast. The keyboards mostly consist of organ, mellotron, piano and harmonium. The intensely yodelling of Thijs Van Leer on Hocus Pocus is legendary.”

“This is an absolutely stunning album, one of my all-time favourites. Stylistically, the music is in the main retrospective and pastoral with obvious references to jazz and to Bach - all seamlessly realised. Eruption is the tour de force, but the shorter tracks are all strong and enjoyable. There isn't a single weak moment and every element can be considered perfect - outstanding in every way.”

“This album was so well composed and executed that it has easily stood the test of time. It is excellent through and through; clever, exciting, beautiful and moving. These Dutch guys really knew what they were doing and they could certainly play. They were essentially an instrumental outfit with the melody carried by guitar, flute, keyboards and occasionally vocals. Focus didn't appear too swayed by music fashions or commercial pressures, which is why Moving Waves still sounds fresh and exciting today.”

“Moving Waves is a classic from Dutch progressive rock giants Focus. It's their magnum opus, the most focused of their entire career. The album's strengths rest in the muscular and frenetic guitar work of Jan Akkerman and the soaring vocals, superb keyboards and thrilling flute work of Thijs Van Leer.”

“This is a beautiful progressive rock album from Holland's premier band. Most of it is instrumental. Hocus Pocus is a stunning rock song featuring incendiary guitar from Jan Akkerman, some of the best I've ever heard. The rest are quite classically influenced, and much of it is almost ambient or new age.”

“Overall, gentle, sensitive progressive rock with many very sweet spots and a cohesive sound majoring in synthesisers, flute and crystalline electric guitar.”

Tupelo Honey - VAN MORRISON***

Wild Night/(Straight To Your Heart) Like A Cannonball)/Old Old Woodstock/Starting A New Life/You're My Woman/Tupelo Honey/I Wanna Roo You/When The Evening Sun Goes Down/Moonshine Whiskey

Tupelo Honey from the legendary Irish singer-songwriter Van Morrison is considered to be his most country music influenced release. The songs celebrate rural and family life. (US:27)

“For all of Van's inconsistencies, when he really pulls it together, he's capable of making some great music. This album, while not on par with his best, has enough of this greatness to at least place it in the higher end of his second tier of albums.”

“Tupelo Honey is his most upbeat, least moody, most radiant, rolling and rocking record. Wild Night runs circles around any cover versions, Starting A New Life is the perfect soundtrack for moving, You're My Woman and the title track are seriously sensual, and the last three tracks turn into blissful country. The record is shockingly underrated and overlooked.”

“Tupelo Honey should appeal to anyone who likes Van Morrison on any level. Not only are the songs more accessible than much of his later work, the fact that he was still in love at the time shines through in the music. The tone from start to finish is uplifting, joyful, and romantic.”

“Van goes more roots-rock on this, with nice country undertones more reminiscent of The Band. The songwriting isn't a let down either, Wild Night is awesome, You're My Woman is pretty lovely too and there's the magic title track plus an epic closer. A fine album with a laid-back flow, even if there are few obvious highlights.”

“Fans of country-rock will rejoice if they are otherwise unfamiliar with this artist's work. The warm, sunny feeling makes it perfect for drives in the country. On the longer pieces, Van sings with such restraint and everything unfolds so slowly. Utter joy, they are all highlights.”

“Tupelo Honey is an album which finds Morrison in good spirits reflected in his songs. The album doesn't sound like any previous release, and it hints at a fullfledged country effort. This set of songs is upbeat with catchy melodies. The title track is the crowning achievement, and perhaps the best love song he composed.”

“I've read that Tupelo Honey is Morrison's ‘country release’. While he pays some tribute to the culture and music of the US, he still stays true to his Celtic roots.”

Harmony - THREE DOG NIGHT***

Never Been To Spain/My Impersonal Life/An Old Fashioned Love Song/Never Dreamed You'd Leave In Summer/Jam/You/Night In The City/Murder In My Heart For The Judge/The Family Of Man/Poem: Mistakes & Illusions-Frame Of Mind

Three Dog Night continued their winning streak of hit albums with Harmony, based largely on their interpretations of other people’s songs. It contains no fewer than three US top twenty hits, An Old Fashioned Love Song, Never Been To Spain and The Family Of Man. (US:8)

“Commercial soul-pop that still retains the faint reverberations of a hard rock flavour their music used to have a few years earlier.”

“This is my favourite Three Dog Night album. To me it defines their sound and concept perfectly.”

“The band were still an inventive force when they made this album and though everything doesn't come off, good ideas abound and some fine music is made. It just doesn't quite hang together well enough to sustain repeated playing.”

“While Three Dog Night were known as more as a singles band, I thought they hit a home run with this album as it is their strongest original studio album. Not only does it include three of their better hits but it also includes some great album cuts that should be receiving airplay on classic rock stations. A forgotten early 1970s classic.”

“This is my favourite Three Dog Night album. It contains some of the best recordings of their career. Of course the hits are here Never Been To Spain, Family Of Man and An Old Fashioned Love Song but there are others that are amazing also. Just give a listen to their remake of Stevie Wonder's Never Dreamed You'd Leave In Summer and Marvin Gaye's You. I also think My Impersonal Life is one of their best songs. Lots of gems here that didn't wind up on their original hits compilation.”

“Three Dog Night were the hottest thing going between 1969 and 1974, and this LP was in the midst of that hot streak. This contains some wonderful ballads along with some nice rockers and good poetic vibes.”

“The consistent hit makers of the early seventies continued their chart presence with Harmony, which spawned three big hits. The rest of the album offers some good tracks with only a couple of misfires.”

Going Back To Indiana - JACKSON 5***

I Want You Back/Maybe Tomorrow/The Day Basketball Was Saved/Stand/I Want To Take You Higher/Feelin' Alright/Walk On-The Love You Save (Medley)/Goin' Back To Indiana

The Jackson 5 live album Going Back To Indiana was a recording of their Gary, Indiana homecoming performance for the September 1971 TV special. It was the only live album featuring a young Michael Jackson. (US:16)

“I was a little disappointed. I like the live versions of I Want You Back and The Love You Save and their version of Sly & The Family Stone's Stand is excellent, but The Day Basketball Was Saved is pure annoying nonsense.”

“This live album has great harmonies by The Jackson 5. You can just feel the energy when you listen to this album. I just wish I could have seen them in concert.”

“One way or another, we could have done without this album, it was their fifth album in just over eighteen months and it seems that Berry Gordy was cashing in on the group before Michael's voice changed into a squeaky adolescent, and the pure childish tenor was lost forever.”

“The Jackson 5 experienced success right out of the box with their first four singles. To capitalize on their immense popularity, Motown produced a television special that centred around a homecoming concert they performed in their home state of Indiana. The resulting album, Goin' Back To Indiana, is a great snapshot of the band. They had cut their teeth on the road and despite their young ages, they exhibit an experienced professionalism.”

“The first three songs are from the special with stellar versions of I Want You Back and Maybe Tomorrow. The Day Basketball Was Saved is a goofy number that certainly loses something without the visual aid that television provided. It is excessively long and doesn't really work well on the album. Walk On is a funky, Isaac Hayes styled song that is combined with a rolling The Love You Save for a nicely contrasted medley. The album closes with a let it all hang out version of the title track.”

“The best thing about this album is hearing live versions of their songs. Michael is one of the few artists who sounded better live than in the actual recordings, because his creativity had no limits.”

Cahoots - THE BAND***

Life Is A Carnival/When I Paint My Masterpiece/Last Of The Blacksmiths/Where Do We Go From Here/4% Pantomime/Shootout In Chinatown/The Moon Struck One/Thinkin' Out Loud/Smoke Signal/Volcano/The River Hymn

By the time of the release of Cahoots the songwriting skills of The Band appeared to be in decline compared with their first two albums. It would be four years before they released any new compositions. (US:21 UK:41)

“While not The Band's strongest album, Cahoots is still worth listening to. Life Is A Carnival is a classic, and their arrangement of Dylan's When I Paint My Masterpiece makes this cover the definitive version.”

“Cahoots is one of the weakest albums in The Band’s catalogue. A weak Band album, however, is still a little above average. It may have been three straight years of incessant touring and recording but they appeared tired. Robbie Robertson again wrote or co-wrote all the songs on the album except for one Dylan tune. In some way it can be considered almost experimental as they would strike out in a number of directions with mixed results.”

“Unfairly overlooked, and undeserving of its bad reputation. Not nearly as good as its predecessors, true, but far from bad.”

“Nearly every track just oozes mediocrity, nothing is truly tied together into something worth treasuring, and certainly nothing like the magnificent first two LPs.”

“Without a doubt this is The Band's least interesting album. There is little emotion contained within the songs and the playing is rather poor, masked by horns to some extent, or even just brought down by the attitude of the whole session. Downbeat would have been a good word but personally it lacks the emotion to be so. And the truth is they try to sound upbeat through gritted teeth but it never works.”

“Cahoots has been unfairly maligned over the years. We should acknowledge that The Band weren't content to simply rehash the formula they'd discovered on the brown album and were eager to push onto new territory.”

“It is true that Cahoots is not in the same league as the first three, but that's all relative. This is a solid, sometimes spectacular album, that shows off the group's musical prowess by playing over 40 different instruments and Robbie Robertson's supreme wordsmanship. Life Is A Carnival is an aptly named as it has a carnival like sound with the cacophony of horns.”

Santana 3 - SANTANA****

Batuka/No One To Depend On/Taboo/Toussaint L'Overture/Everybody's Everything/Guajira/Jungle Strut/ Everything's Coming Our Way/Para Los Rumberos

Santana 3 was the last album of the group to feature the legendary Woodstock line-up. It was also the final release to feature mostly Latin influenced blues and rock before a change in direction to a more fusion based sound. (US:1 UK:6)

“After this album, line-up changes and a shift in direction towards a more fusionoriented sound would mean this is the last by the group to feature the blues and Latin tinged psych. All the potential of the previous two albums comes together here to yield a rich and endlessly rewarding collection of tracks. Santana's guitar work is, of course, legendary, and on this album he's on fine form once again, with the rest of the band playing their hearts out to match him.”

“Featuring lengthier instrumental passages than the more commercially accessible Abraxas, Santana 3 is the last release of the early 70s to maintain a semblance of rock form before he ventured off full time into jazz-fusion. Santana were one of the most innovative and devilishly seductive bands of all time.”

“Santana's third album is more of the same from the first two except fine tuned and perfected. I'm a huge fan of his early work but this is the album I'd be bringing to a desert island. If you want Latin rock or guitar playing, it doesn't get better than this.”

“Heavy on Latin percussion, and containing an exotic mix of electric guitars, organ and occasionally brass, this album clearly defines itself as early Santana. The style is unmistakable, being related to Abraxas but also exhibiting the fusion-jazz elements which will shine in the next release.”

“This album is wild, full of tropical heat and absolutely cool at the same time. It has jazzy moments and an almost progressive rock touch. Santana's guitar playing is flawless, piano and percussion are fantastic.”

“If you really want to hear a master guitar player who defined a style in top form this is the album to buy. His gripping and powerful, weepingly melodic, style is both exciting and beautiful at the same time. Taboo is positively thrilling as is the incredible interplay between the two guitar players on Toussaint L'Overture. The band are superb too and the wonderful Latin rhythms are a joy to listen.”

Rainbow Bridge - JIMI HENDRIX***

Dolly Dagger/Earth Blues/Pali Gap/Room Full Of Mirrors/Star Spangled Banner/Look Over Yonder/Hear My Train A Comin'/Hey Baby

Rainbow Bridge was a posthumous Jimi Hendrix album featuring unreleased tracks from the 1968-70 period. Contrary to the claims made on the cover it does not include any soundtrack songs. (US:15 UK:16)

“This one misses the mark by just a bit. The beautiful guitar is still there but the material is a little weak, hippy dippy stuff that seems a little contrived. Not a bad listen but not the bombastic stuff of some of his earlier work. This LP goes well with a buzz and a mellow attitude.”

“Surprisingly good collection of stuff recorded between 1968-1970. Side one is really good whilst side two contains only one complete studio cut, Look Over Yonder, featuring the original Experience. Hear My Train is a long blues jam and album closer and movie theme Hey Baby feels like a first take or demo. There's never been a shortage of Hendrix material to be cash-in worthy but, even though it feels like he's sleepwalking this stuff to some extent, it's still a fine record.”

“Though not his best, or even most coherent album, this is nonetheless a great collection of material recorded between 1968~70. It features mostly his blues rock driven stuff.”

“The performance of Hear My Train A Comin' is one of the few posthumous cuts that sends me to Venus and back. Star Spangled Banner is not the live Woodstock version but a truly horrible studio attempt, the rest is OK.”

“The most accessible Hendrix I've heard probably because it steers nearer to his blues roots and is more relaxed than the more adventurous studio albums, yet still exhibits his enormous talent. As an album it's a little patchy due to the nature of the project.”

“It’s been stitched together from studio and live material recorded in different years so it sounds a bit patchy and inconsistent. There’s one live track, but basically the songs are excellent and the versions are better than I’ve heard on other LPs.”

Electric Warrior - T REX****

Mambo Sun/Cosmic Dancer/Jeepster/Monolith/Lean Woman Blues/Get It On (Bang A Gong)/Planet Queen/ Girl/ The Motivator/Life's A Gas/Rip Off

With the release of Electric Warrior T Rex mania would take a hold of Britain’s young teen girls, as glam-rock began to take off. Includes the UK chart topper Get It On which reached No.10 in the States as Bang A Gong. (US:32 UK:1)

“Most of the album wavers between gleeful embrace of the new glam sound and trippy mystic meditations; if the Electric Warrior is doing anything here, he's pondering on whether or not to unsheath his guitar in and go to war in the first place. Those looking for the first fully and unabashedly hard rocking T. Rex album should go for the subsequent one, but this is actually the more interesting proposition. Bolan would never visit territory this oblique ever again.”

“Who needs a rich, complex epic when you can create the ultimate pop hook? Marc Bolan does that on Electric Warrior, song after song draws you in with hook after hook. It's a simple equation, and Marc Bolan delivers it with tight songwriting and some of the hookiest melodies and lyrics ever penned.”

“This was the second release from the band T Rex, who blossomed out of the psychedelic folk band Tyrannosaurus Rex, and like a rising phoenix, cast its ashes to the winds of time, to forever be shrouded in mystery. They then picked up the electric standard, driving it home with all of the power of a lightening storm, blacking out everything in their path.”

“From beginning to end, Electric Warrior lives up to its name as a thrilling electric pop album. While doubtless Bolan would have liked to have been taken more seriously by more mature rock fans, he still pitched this album perfectly as a loud and proud rock ‘n’ roll release, with just enough pop not to alienate his teenybopper audience.”

“Marc always assumed his boppy elfin style set to the simplest of boogie beats would be accepted by one and all as the works of a genius. Initially adored mainly by early teen girls, his music has grown in stature over the years as tastes changed leaving him high and dry as the sole purveyor of a peculiar style of rock that has over time proved remarkably difficult to reproduce.”

“The tunes are quite catchy, yet simple. But these songs, while pop in nature, don’t truly have a pop formula to them.”

Fog On The Tyne - LINDISFARNE*****

Meet Me On The Corner/Alright On The Night/Uncle Sam/Together Forever/January Song/Peter Brophy Don't Care/City Song/Passing Ghosts/Train In G Major/Fog On The Tyne

Fog On The Tyne was the excellent follow up album from the Geordie band Lindisfarne whose music incorporated a strong rock overlay onto an underlying folk sound. Includes the UK No. 5 hit single Meet Me On The Corner. (UK:1)

“Unquestionable is that they knew how to write catchy songs with strong refrains and tasty hooks; and nearly everyone would bring in new songs, adding to the diversity.”

“This album is a very pleasant surprise, being almost entirely acoustic guitar driven folk/rock with an extremely consistent quality of songwriting from start to finish.”

“It's a lovely album of ten wistful, mellow rocking folk-rock songs, gently catchy from start to finish. Three of the band share in the trademark raw, gravelly singing which was so much a part of Lindisfarne's distinctive style, with some real hollering way back in the mix if you listen carefully. Occasional laid-back blues elements with touches of harmonica and piano add to the carefree, happy hippie spirit which permeates the whole album.”

“Lindisfarne's combination of rich, instrumental passages is backed by strong harmonies in a very British and rollicking sensibility. The band's guitar, mandolin and a seeming hundred other stringed instrument attack, along with a great rhythm section on the bass and drums, gives them a sound that holds up well today.”

“This English folk-rock act was one of the big successes in the progressive era of the early 1970s. For the most part this album is a dreamy, drifty acoustic psych-folk exploration, much along the lines of the Incredible String Band. Often the lyrics are embarrassingly hippie-dippy, yet the album will grow on you, particularly the hit, Fog On The Tyne, which is the kind of tune that sticks in your mind for hours.”

“This is as much folk-rock as any Fairport Convention album but while the latter reflects a more genteel, middle England view, Fog On The Tyne is Northern through and through, is certainly more populist and gained the band a strong local following.”

“These guys were tight, multi-instrumentalists that played in the best of the tradition of English folk bands of the late 60s and early 70s.”

Imagine - JOHN LENNON*****

Imagine/Crippled Inside/Jealous Guy/Its So Hard/I Don't Wanna Be A Soldier Mama/Gimme Some Truth/Oh My Love/How Do You Sleep/How/Oh Yoko

John Lennon’s second solo album Imagine was both critically acclaimed and a huge commercial success. The US and UK top ten title track would in time become a global anthem to peace and idealism. (US:1 UK:1)

“The title track is an all time classic that really needs no introduction, a message of optimism that remains unmatched in music. Jealous Guy happens to be my favourite solo Lennon tune, beautiful and sombre. The closing Oh Yoko is so catchy, and there's a cool harmonica present as well.”

“This is obviously a much easier listen than the primal scream therapy that was Lennon's first solo outing. Don't make the mistake of thinking its easy listening however. Half the tracks here are tender and melodic; Jealous Guy is the one that steals the show here by being one of the best songs he's ever written. The troubled child is evident on the other half, the bitter, angry stuff that is so much a part of Lennon's songwriting. How Do You Sleep directs its fury at Macca, Crippled Inside, with its country vibe, and Oh Yoko put a smile on my face for being funny and lovely respectively.”

“Imagine is a magnificent collection of ten very varied and interesting songs. In the title track we have one of the most iconic songs ever recorded, it hits the spot on so many levels. And whilst this is the stand-out track, the remainder of this set ebbs and flows through some very interesting, beautiful, and in places, hard hitting, tracks.”

“This is his best studio album, being less aggressive than the previous one, and more listenable yet still meaningful. This was a classic and very creative period for John. The title track was the most famous song he has ever written and one of the most recognizable songs ever, the song became an anthem of the human race.”

“I think this is the peak of Lennon’s career, the music is fantastic and the album contains one of the best songs ever written; Imagine. Not only was it revolutionary for world peace at the time it was released, but the whole album is very musical from the beginning to the end. It's the work of a genius.”

“Imagine is the crown jewel of his solo recording career which still stands as his best and most popular album ever. The title track is to this day, an anthem for peace, and remains a classic rock radio staple.”

Pilgrimage - WISHBONE ASH****

Vas Dis/The Pilgrim/Jail Bait/Alone/Lullaby/Valediction/Where Were You Tomorrow

Pilgrimage was the follow up album from the British rock group Wishbone Ash with their distinctive twin guitar sound. It would provide them with their commercial breakthrough although they would never achieve front rank status. (US:174 UK:14)

“For their second album, Wishbone Ash move up from the simpler, less-focused sound of the debut, taking with them their signature twin-guitar approach, and crafted a much tighter work.”

“This is a phenomenally great record, catching Wishbone Ash between the blues that dominated their debut and the rural prog guitar heaven of Argus. This one is largely instrumental, featuring some astoundingly deft and inventive melodic stuff.”

“For this second album, Wishbone Ash keep the bluesy feel of their self-titled debut, but the twin guitars sound subtler, more acoustic, and the whole affair is imbibed with certain jazzy and prog-rock intricacies.”

“This is an outstanding slice of what makes this band's two guitar attack so great to listen to. The guys play off of each other with total symbiotic ease, and even when they stretch their legs on a long solo, it never sounds long, just fresh.”

“An extremely solid, mostly instrumental and mostly acoustic Wishbone Ash throughout. It's definitely a bit more reserved than both their previous and following releases, but it mostly consistent as a whole.”

“This album comes from a time when musicians actually played rather than relying on studio technology over-sanitizing and sterilizing all the music, as seems to be the norm today.”

“If not for the inclusion of the interminably boring live ten minute blues jam Where Were You Tomorrow I might rate this higher. The rest of the tunes and the playing is otherwise of a very high order. This LP contains some of the most delicate guitar work the Ash would ever commit to vinyl.”

Teaser & The Firecat - CAT STEVENS*****

The Wind/Rubylove/If I Laugh/Changes IV/How Can I Tell You/Tuesday's Dead/Morning Has Broken/Bitterblue/ Moonshadow/Peace Train

Singer songwriter Cat Stevens provided another set of brilliant songs on Teaser & The Firecat. This was the album which returned him to the top of the charts after several years in the doldrums. (US:2 UK:3)

“A brilliant follow up to his previous album which still remains an icon of supreme songwriting. Recently recovered form tuberculosis, he changed his approach to writing lyrics, which became much more personal and introspective, as well as touching upon themes of social awareness. But his main strength was of course his incredible talent to carve unforgettable melodies, seemingly simplistic, but exquisitely crafted and touching. This album is full of such great songs, several of which have turned into evergreens.”

“In today's world there is so much vulgarity and meaningless music. Cat Stevens music is timeless.”

“Teaser & The Firecat is one of those albums that will undoubtedly last the test of time fantastically. It just has a universal feeling present throughout which achieves simplicity and profundity, in its music and lyrics. Not only that but all of the songs seem to speak to anyone who could possibly be listening. Cat Stevens is one of my favourite songwriters because he’s honest but not negative.”

“I wasn't born when this album came out, but I grew up listening to the timeless tunes of this prolific genius. He poured his heart out onto every song. It is very sad that he gave up this beautiful gift from God. Even though this musical master's career was short-lived, we'll be able to enjoy his creations for a lifetime and beyond. If anyone likes folk-rock music, this is definitely a piece for your collection.”

“Probably Cat Stevens' artistic peak before he got a bit too serious and conceptual, Teaser & The Firecat is best heard in close conjunction with its equally good predecessor. Both albums look alike with their artwork and sound similar in song selection and arrangements, making for a near-perfect set of identical twins.” “One of the better records of the singer songwriter genre with beautiful melodies. Cat Stevens turns in another classic album. He is one of the most underrated singers.”

The North Star Grassman - SANDY DENNY****

Late November/Blackwaterside/The Sea Captain/Down In The Flood/John The Gun/Next Time Around/The Optimist/Let's Jump The Broomstick/Wretched Wilbur/The North Star Grassman & The Ravens/Crazy Lady Blues

North Star Grassman was the debut album from the former Fairport Convention and Fotheringay vocalist Sandy Denny. It is considered to be more pop orientated than her folk group work. (UK:31)

“Sandy Denny released her first solo album after establishing a formidable reputation with Fairport Convention. The North Star Grassman offers a broader musical range than her Fairport albums, with material ranging from the traditional-sounding to the poppy to the progressive. It's held together by her vocals and excellent songwriting.”

“Some tracks are distinctly pop driven, and show Sandy in a different, albeit less flattering vein. But most of the others present her exquisite voice in the kind of framing that makes her just shine.”

“This album is considered to be one of the greatest folk-rock recordings of all times. The vast majority of the material comprises original songs written by Denny, beautifully performed by her and a superb band.”

“Most of Sandy Denny's songs tend to have the same basic sound, stately, haunting, almost dirge-like, but it's a really nice sound, especially when backed by much of Fairport Convention.”

“Most are Denny originals, and they're mostly dark and serious folk songs, occasionally with a sorrowful string backing, but above all else they're just good songs. Usually they're built around piano chords or acoustic guitar strums, but the chord changes aren't always the obvious ones.”

“Sandy Denny's first solo album continues her evolution from folk singer to fullfledged singer-songwriter. She has obviously matured as both singer and songwriter since her work with Fairport Convention, and the songs are more consistent than those on the Fotheringay album which preceded this.”

“Sandy Denny was without a doubt one of the greatest female vocalists of all time, but her writing set her apart. This album is one of the best in the writing department. There is a simplicity in the arrangements that makes sure they don't conflict with the words. The title song is awesome; the rest is classic Denny. I can't recommend this enough to anyone who has any kind of interest in English folk-rock.”

Second Album - CURVED AIR*****

Young Mother/Back Street Luv/Jumbo/You Know/Puppets/Everdance/Bright Summer's Day 1968/Piece Of Mind

Self explanatory title for this fine album from the British progressive band Curved Air, which is every bit as good as its predecessor. Includes the UK No. 4 hit single Back Street Luv. (UK:11)

“A very creative mix of pop, prog rock and envelope pushing moves (weird drum machines and synth stuff). The songs themselves are unusual and memorable, some of them very catchy. There are great riffs, and Sonja Kristina's voice is sometimes sensual, sometimes beautiful. Overall, totally compelling, forward-looking early 70s art rock.”

“Orchestral prog rock with emphasis on keyboards, piano and violin, fronted by a talented female singer. In fashion with other groups of the time, recommended to lovers of British progressive rock and classical prog.”

“The album found the band trying to expand their musical horizons churning out an eclectic mixture of styles that included surprisingly impressive stabs at pop and rock, as well as side two's more typical classical/progressive-tinged numbers.”

“As it contains the best examples of both of the band's progressive and poppy leanings, Second Album is probably the best starting point in the Curved Air discography. Recommended to all fans of progressive rock, or of 70s art rock in general.”

“Curved Air, a delightful British band that had their heyday in the early 70s, are often called progressive folk-rock. Actually, if one were to take into account all their major influences, the correct label might be to add classical-jazz, theatrical phantasmagorical musical band, sometimes including strings and horns. In short, there is no type of musical genre that the band did not incorporate into their rich sound-stew.”

“It’s very good that the two songwriters took a side each here, because they show different aspects of the band. Side one is mid left-field progressive, with the three rockers, hitting the spot just right; a slightly darkish, heavyish sound with Sonja Kristina’s intense but beautiful, clear English folk-rock voice being the perfect foil. Side two steps further into progressive territory, and flows well Piece Of Mind is an opus of dark, gothic, classically influenced fast-moving heavy prog; a textbook example at it's most ambitious yet still not overdone.”

Faust - FAUST**

Why Don't You Eat Carrots/Meadow Meal/Miss Fortune

Eponymous debut album from the German avant-garde band Faust. An influential part of the krautrock movement their work features dissonance, improvisation and experimental electronic sounds.

“The panning feedback and primitive samples guide you harshly into an announcement, with piano accompaniment. Then the horn hook takes hold, and fades off and on and moulds into new forms. Faust seems to be doing something particular to my neurons. Their English results in familiar words subverted and rendered meaningless, with the sounds and the emphasis placed on each word.”

“Krautrock is my least favourite progressive rock sub-genre and this album confirms it. The Faust album has very little interesting things to offer. On Why Don't You Eat Carrots, there are some dissonant elements that make this track the best of the three. One can notice the psychedelic voice, and some relaxing piano parts contrast with the overall gross sound and arrangements. Meadow Meal is very irritating and disoriented, with tons of bizarre sounds although the organ-like solo at the end is not bad. Finally, the last track, Miss Fortune, breaks the limits of what is bearable in terms of sounds, voices and effects: this track is very annoying and irritating, and consists of unprecedented cacophonic random arrangements that go nowhere.”

“Here on their first album Faust brings together extremely experimental and informed avant-garde sensibilities with psychedelic rock and roll to create a very unique album of goofily dark and twisted psychedelic carnival music, sound collages, psychedelic guitar freakouts, pastoral folksy bits, and sounds reminiscent of what would near the end of the 70s evolve into industrial music.”

“Think of it as a sonic puzzle, a disorienting kaleidoscope to get lost in. It's purposefully structured so that it takes many listens to make a mental roadmap of it in your head. It's the most forward thinking aspects of the rock music of the time, but brought further toward the edges of tonal and rhythmic abstraction.”

“Faust's debut album sounds chaotic at first, but care and dedicated listening reveals the carefully judged compositional calculations underlying everything. Maintaining a shrewd balance between being undauntingly experimental and keeping the listener's interest, it's a radical release. One of those albums that changed my views on what music could be, mind-blowing in a modern context. It is a voyage of sonic wonder that you will experience from the first song. Abstract and yet focused.”

Judee Sill - JUDEE SILL***

Crayon Angels/The Phantom Cowboy/The Archetypal Man/The Lamb Ran Away With The Crown/Lady-O/Jesus Was A Cross Maker/Ridge Rider/My Man On Love/Lopin' Along Through The Cosmos/Enchanted Sky Machines/Abracadabra

Self titled debut album from the obscure American singer songwriter Judee Sill. Her folk influenced songs incorporated a spiritual dimension exploring the meaning of life.

“With a voice twangy, warm, and honeyed, and a songwriting talent to match and surpass her peers, Judee Sill is no Joni Mitchell clone. Her music may sound relatively simple and fragile, but the structures and arrangements are airtight and she was a hugely impressive songwriter. It's a shame that this didn't sell well, but such is the case with many genuinely extraordinary records.”

“Unfortunately the only thing Judee Sill will ever be remembered for is this album's hit single Jesus Was A Cross Maker. Instead she should be remembered as one of the great songwriters of her generation, but unfortunately she's been forgotten since disappearing from the music scene in the early 70s.”

“This album is about as close to a spiritual experience as an atheist can get. Soaring, shimmering melodies that send chills down your spine, accentuated by layer upon layer of her southern drawl.”

“Her voice is so very tangible and comforting, and definitely carries this album. Everywhere there's this peculiar optimistic sheen that pervades the record, but it's a post-hippie optimism that's easy to swallow. Match that with some positively lovely baroque arrangements and double-tracked vocals, and Judee Sill hits upon a formula that works to her talents magnificently.”

“The songs, all originals, are folk-influenced (though classical, country and gospel aspects are there too), and many of the lyrics and titles use a strange mixture of religious and sensual imagery. Most striking of all are the intricate multi-tracked vocals laid down using elaborate counterpoint and rich harmony.”

“The songs are full of references to Christianity but at times it almost seems like they are there as a result of psychedelic influences rather than her spirituality. The musical side draws heavily from classical influences and also traditional folk music. Her singing's a little spotty and the songwriting and arrangements aren't breaking any new ground.”

Trafalgar - THE BEE GEES***

How Can You Mend A Broken Heart/Israel/The Greatest Man In The World/Its Just The Way/ Remembering/ Somebody Stop The Music/Trafalgar/Dont Wanna Live Inside Myself/When Do I/Dearest/Lion In Winter/Walking Back To Waterloo

The early 1970s were relative wilderness years for the Gibbs Brothers. However Trafalgar did yield the US No. 1 hit single How Can You Mend A Broken Heart to keep them firmly in the public consciousness. (US:34)

"How Can You Mend A Broken Heart is an excellent, beautifully crafted pop song. The trouble with Trafalgar is finding anything else to like beyond this first track.”

“Quite remarkable to note that this is the same group that would produce the likes of the heavily syncopated Jive Talkin' a few years down the road or, for that matter, had authored the masterful Words a few years prior. Back in the wilderness years of the early 70s, these guys could bore a diamond to pieces.”

“Trafalgar embodies an awkward period in the Bee Gees career; between the bright and concise late 60s stuff and before they discovered the joys of rhythm. In the interim, they had a soporific line in creaky, by-the-numbers balladry that pretty much guaranteed their declining interest.”

“This possibly could be referred to as Odessa lite. It goes through some of the same motions but lacks the muscle and it definitely is not as good. Take three or four of the best songs, and a few moments from some others, and you have excellent examples of the Bee Gees at their best.”

“The sound of Trafalgar really is astounding. The acoustic guitars, colourful bass, piano chords that alone direct your feelings, lead guitar that always come where it should, drums that you really listen to. It's all so clear and is a very well-crafted record. There's a space in the sound that I have never heard anywhere else.”

“Like all the other Bee Gees albums I've ever heard, this one is uneven. I really like about half the songs; the rest are either interesting failures or just not very memorable. Also, the unrelentingly lugubrious tone of the album ensures that I would never want to listen to more than about half of it at one sitting. The best tracks are How Can You Mend A Broken Heart, which ranks among their classic singles, and Remembering, a good old over-the-top ballad complete with huge vocal harmonies on the chorus.”

Himself - GILBERT O'SULLIVAN***

Intro/January Git/Bye Bye/Permissive Twit/Matrimony/Independent Air/Nothing Rhymed/Too Much Attention/ Susan Van Heusen/If I Don't Get You (Back Again)/Thunder & Lightning/Houdini Said/Doing The Best I Can/ Outro

Himself was the debut album from the Irish singer-songwriter Gilbert O’Sullivan who released a series of highly original and melodic British hit singles in the early 1970s. Includes the superlative UK top ten hit Nothing Rhymed. (US:9 UK:5)

“A nice debut album by an underappreciated pop artist, providing an interesting, varied and sometimes eccentric batch of catchy tunes. This is terrific songwriting, he has a lot of talent.”

“A good album for those who like off-kilter singer-songwriter songs that are sometimes ridiculous and sometimes incredibly touching.”

“Gilbert O’Sullivan is a great alternative to muzak, his quirky style and nonmainstream compositions and arrangements had me playing this over and over again. Highly recommended.”

“The album belongs to the song that made him - and the tune that made the public sit up and take notice. Nothing Rhymed is an extraordinary melody. Even now, the lyrics are sung back to him word-for-word at concerts by the audience.”

“O'Sullivan supplies surprisingly catchy songs, while his ballads breathe the atmosphere of the Irish west coast. My favourite song is Matrimony, not only for its samba-feel, but also for its lyrics: about being late for your own wedding. Although the album is definitely a product from the early 70s, it still sounds fresh today.”

“This was the beginning of a great musical career which was put on hold due to record company greed, but this is well worth a look.”

“This is refreshing in its observations and humour, with some very clever wordplay. In this modern age O'Sullivan probably seems twee and unfashionable to most, but if you are a true music lover, give this a go.”

“It may be a bit of a nostalgia trip, but in a way that's what Gilbert’s songs were always about. They are comforting, comfortable and beautiful all at the same time. They evoke memories of a simpler time and there is nothing wrong with that. The songs still stand up as being some of his best.”

Givin' It Back - THE ISLEY BROTHERS**

Ohio-Machine Gun/Fire & Rain/Lay Lady Lay/Spill The Wine/Nothing To Do But Today/Cold Bologna/Love The One You're With

On Givin’ It Back the soul outfit The Isley Brothers perform some unlikely covers of singer-songwriter soft rock hits. As might be expected they differ quite considerably from the originals. (US:71)

“I am very wary about cover versions and don't see the point in putting your own spin on a song. There are exceptions though and The Isley Brothers deserve a break. This is the Isleys doing to white music what white musicians did to black music. Not one song here is an original but it doesn't matter when the results are this good.”

“Self-produced, Givin' It Back was an interesting change of pace for The Isley Brothers. More than willing to adapt to changing public tastes, the album found the Isleys jumping aboard the popular bandwagon, turning in a series of 'Isleyized' versions of popular rock songs.”

“An interesting interlude - the Isleys go a kind of folk-soul-rock hybrid. It comes across like CSN get on their funky good foot - though it is considerably better than that sounds. It's acoustic guitars and bongos all the way. Better harmonies and all, what with it being the Isleys.”

“Souled up rock/pop covers aren't actually a break from the soul tradition as anyone who owns a 60s Motown album will know. The ten minute version of Lay Lady Lay is a bit unnecessary but there's the definitive version of Spill The Wine to make up for it.”

“Having complete creative control, the Brothers could do whatsoever they pleased. It is telling that they produced a record such as Givin' It Back - instead of resting on their laurels the trio opted to create an LP filled with cover material. Most times this is a bad idea, but in the case of the Isleys, it works brilliantly. In all, a remarkable record that despite its variety in styles sounds amazingly consistent and funky.”

“Their melding of Ohio and Machine Gun is nothing short of amazing as well as their observation on the times. The sensuous treatment of Lay Lady Lay is a far cry from Dylan's countrified original, and where Eric Burdon spoke the words to Spill The Wine, Ronald Isley sings it in his signature tenor, transforming it into an altogether new song. He also nails the deep sadness that James Taylor's Fire & Rain brings to listeners.”

Street Corner Talking - SAVOY BROWN***

Tell Mama/I Can't Get Next To You/Let It Rock/Time Does Tell/Street Corner Talking/All I Can Do/Wang Dang Doodle

Street Corner Talking was the first album released after three members of Savoy Brown quit the group to form rival blues-rock band Foghat. They were replaced by several members of Chicken Shack. (US:75)

“With this album, Savoy Brown are playing some rock, blues, boogie and even progressive-rock sometimes. The lead guitar is very present in all tracks and the whole album is very enjoyable.”

“The masterpiece of this album is surely All I Can Do, an eleven minutes piece in which the band play several instrumental solos, especially electric piano and guitar, with several rhythm changes. The progressive touch is palpable here.”

“This is another good blues rock LP from Savoy Brown. If you can't get into Tell Mama you don't like rock and roll. The guitar work on this recording is excellent.”

“I savour everything on offer here. From the country-rock/blues-rock feel of Tell Mama and the almost Deep Purple inspired Street Corner Talking, to the excellent renditions of I Can't Get Next To You and Wang Dang Doodle, the band sounds cohesive, top-notch, and excited about their offerings , likely due to the band's fresh line-up of musicians.”

“Street Corner Talking marks the apex of popularity achieved by this excellent blues and boogie outfit that never seemed to get their due. I think that's because they stayed true, or at least truer to the formula that got them there in the first place. It's that Chicago based blues/boogie that I love, and it's why these guys are always just fine to put on the box.”

“In the late 60s and early 70s, England was in the middle of a blues/hard rock obsession. Many bands were playing the blues heavy and hard. Savoy Brown were right in the middle of it all. The hard boogie and blues rock on this album will let you know where real heavy metal came from. This is one of Savoy Brown's best LPs.”

“Not one of these songs ever made the charts. You never hear any of them on any classic rock station. But each and every one of these tracks can stand alone and they are fantastic. I never tire of hearing this album.”

Live At The Isle Of Wight - TASTE****

What's Going On/Sugar Mama/Morning Sun/Sinner Boy/I Feel So Good/Catfish

Recorded at the legendary 1970 Isle of Wight music festival this live performance showcased the abilities of Taste’s virtuoso guitarist Rory Gallagher, who would soon depart the band for a successful solo career. (UK:41)

“A consistently great performance. There can be little doubt this band were among those whose star shined brightest while performing live.”

“A great show from Taste with a rawer sound than Rory's later songs, which I don't find to be all that bad. His great skills are evident here, and this wasn't even the top of his game. My only complaint with this is it could have been a longer set.”

“What a wonderful performance from Rory Gallagher and the boys, one of my favourite live albums, a toe-tapper for sure. Sometimes l just sit and listen to the drumming all the way through.”

“Essentially Taste were a live band and their awesome energy is well and truly captured here. The album starts off with What’s Going On, which has a killer riff. Rory Gallagher had a unique style of putting catchy, meaty blues riffs together along with some cool lyrics; this is a great way to start an album, or a live show for that matter. Feel So Good is an interesting workout of the old Bill Broonzy number and there is a cool version of Catfish which has some great jamming on it. As live albums go this is a pretty good one from a legendary concert and band, with blues heaviness and plenty of cool tight riffing.”

“This is a no holds barred blues rage from start to finish; these guys play with a passion and commitment that no longer seems to exist in rock music.”

“Taste were better than even Rory Gallagher's die-hard fans would credit. Maybe the rhythm section wasn't always able to stay with Gallagher's blues fancies, but when they had it locked in they were capable of some subtly incendiary music.”

St Radigunds - SPIROGYRA***

The Future Won't Be Long/Island/Magical Mary/Captain's Log/At Home In The World/Cogwheels Crutches & Cyanide/Time Will Tell/We Were A Happy Crew/Love Is A Funny Thing/Duke Of Beaufort

St Radigunds was the debut album from the Canterbury scene progressive folk band Spirogyra. The vocalist Barbara Gaskin would later collaborate with Dave Stewart achieving a UK No.1 hit single with their cover of Its My Party.

“Spirogyra are a group who most fans of the 1970s progressive-folk scene should pay close attention to. They showed a mastery of a range of moods, from scary stuff to happier, sunnier moments to songs of great melancholy. The keyboards and, in particular, his violin are the keys to the band's command of atmosphere, though the bassist’s performance is also particularly deserving of mention.”

“Orchestrated all acoustic psych/folk with both male and female vocals which stand out, but musically nothing tremendously impressive to be found here.”

“A good progressive folk album. Sometimes it reminds me of acts such as Comus and Curved Air. The album is unfortunately a bit uneven; the final tracks aren't as good as the rest, but it is still warmly recommended.”

“Spirogyra are master at the craft of building tension within a song, be it in short songs or in complex multi harmonies, rhythm changing tracks like Duke Of Beaufort, through a tasteful choice of instrumental colours, and a genuine sense of dynamics. This happens in every track of this folk masterpiece where there is no weak spot.”

“Considered to be their most consistent album, Spirogyra's debut, has proved its timeless quality. The male, Dylanesque vocals might be something for an acquired taste, however you might allow it some time to flourish. Barbara Gaskin's voice on the other hand is top of the bill and about the finest of its kind. A very diverse album of staggering beauty and intense, heart-felt musicianship. The viola sounds particularly sinister; the acoustic guitar exceptionally driven. An important progressive-folk disc that deserves to stand in the spotlights.”

“This music has a lyrical, compositional quality, and would have to be considered as 'acid folk-rock, not too weird, but with touches of middle eastern, classical, and medieval influence. The music can be jarring or dreamy, acidly bitter, or gently evocative of green fields and forests, the ocean, and of the magick of days gone by, or perhaps pointed comments on love, or the social order. The lyrics are written with wit, sarcasm, intelligence and a sense of wonder.”

Pawn Hearts - VAN DER GRAAF GENERATOR***

Lemmings (Including Gog)/Man Erg/a Plague Of Lighthouse Keepers

Pawn Hearts from the progressive British band Van Der Graaf Generator comprises three extended tracks, the final one involving much studio experimentation that was impossible to recreate in a live setting.

“Pawn Hearts makes good on the promise of its predecessors, insofar as the band manages to flesh out Hammill's lyrical and songwriting vision more cohesively, and provide some of the most interesting, intense and engaging music they'd so far committed to tape.”

“Pawn Hearts is without a doubt one of the greatest progressive rock albums ever released. Although it only has three songs, every one is a knockout; they are all wonderful and expansive multi-part epics. The greatest is the lengthy A Plague Of Lighthouse Keepers which is one of the most amazing songs you'll ever hear.”

“The big problem is that this is an extremely dense, layered album, to the point where I'd honestly consider it cluttered. VDGG just went really, really crazy with the overdubbing on this. It’s all very chaotic and metaphysical I still have no idea exactly what's going on, and at this point I guess I probably never will.”

“This is difficult listening and themes of despair and paranoia abound, which are wonderfully brought to life in all of their twisted glory with Hamill's anguished lyrics.”

“This album is brooding, arty and intellectual and a whole host of other adjectives, but even if you hate the genre you should give this one a chance. The songwriting is great, with soaring, beautiful melodies interspersed with difficult, harsh, almost freeform instrumental passages. Peter's voice can be shrill and desperate, or soft and beautiful, and that goes for all the other instruments as well.”

“Generally a bit more adventurous where they gladly attack you with a brash, provocative style of crashing and collapsing waves of atonal screeching musical neurosis. Side by side with this you can expect weirdly non-directional wanderings into a land of noisy, minimal keyboard and percussion obscurity.”

”What you get is highly experimental progressive rock (almost psychedelic at times), which combines complex structures with melodies and at the same time quite nice noisiness. Well written, and the production supports the sound really well.”

Live In Concert - JAMES GANG****

Stop/You're Gonna Need Me/Take A Look Around/Tend My Garden/Ashes The Rain & I/Walk Away/Lost Woman

Recorded at Carnegie Hall in May 1971 this was the only live album from The James Gang to feature their ace guitarist Joe Walsh, who would leave the band later in the year. (US:24)

“Superb live set that showcases the immense talent this band had and clarifies for younger fans what the hype was all about.”

“Joe Walsh's solo work has been erratic at best, and with The Eagles he was coasting. However, on this James Gang live set he is at the peak of his powers as a stunningly versatile rock guitarist.”

“Blistering rock and roll. Hard to listen and enjoy studio James Gang recordings when there is this brilliant live offering. Power trios rule.”

“It seemed Joe Walsh was James Gang, although he is accompanied with hard driving rock rhythms with bass and drums. This is fun to go back to and still sounds very good with the power chords of Stop. There are a couple of slower original songs with Tend My Garden and Ashes The Rain & I, which are quite good. Some of the extended pieces seem a little overly indulgent now, but it was the blues-rock of the era and Joe Walsh and the boys could play.”

“Live In Concert is a seven song disc that shows off the raw energy of the Ohio based power trio. While the production value for the set is just above bootleg quality, the James Gang lay down a spirited ridin'-shotgun performance.”

“This is quite simply one the best progressive blues-rock live performances ever recorded. With the powerful riffs and sustained bends, wah-wah and delay effects, Walsh did it all and did it well. The tone on his guitar had just enough distortion to play the notes clean, but when he cranked up the volume, it had you shakin’ in your boots.”

“Joe was in a unique grove. He derives the maximum feeling from his playing and doesn’t miss or waste any notes. His tone and attack are perfect for this genre, whilst his use of special effects, wah-wah and echoplex, is perfect very dramatic, and not cloying or cheap.”

Gypsys Tramps & Thieves - CHER***

The Way Of Love/Gypsys Tramps & Thieves/He'll Never Know/Fire & Rain/When You Find Out Where You're Goin'/He Ain't Heavy He's My Brother/I Hate To Sleep Alone/I'm In The Middle/Touch & Go/One Honest Man

Famed songstress Cher made the first of her many comebacks with the rousing US chart topping single Gypsys Tramps & Thieves, reaching No. 4 in the UK. This deserved international success boosted the chart placing of the accompanying album, which also includes the US No. 7 The Way Of Love. (US:16)

“The first two songs are great, Fire & Rain and One Honest Man are good, but the rest is monotonous. The truth is that lead title single saves this album.”

“Cher recorded a timeless album that remains the foundation of her career. This album contains Cher's most famous song, the title track Gypsys Tramps & Thieves, as well as the huge hit The Way Of Love. This is an emotion packed album delivered with gusto. If you're looking for the disco-queen, she's not here. However, if you're looking for some of Cher's most amazing vocal performances, you'll find them on this album.”

“A 70s pop classic. Before she went disco, 80s rock and 90s dance she recorded classic pop. He'll Never Know is a power ballad with a story, I Hate To Sleep Alone is pop, a fun little song reminiscent of Sonny and Cher. You have the big hits, Gypsys Tramps & Thieves and The Way Of Love. Also some of the best rock covers. He Ain't Heavy has been covered by everyone but Cher puts her own spin to it with her specific low range. Fire & Rain is also nice.”

“Cher performs her usual very best on this album; she never lets go of a single superfluous note and has never sounded better. Her voice is rich, vibrant and full of genuine passion as she sings these songs.”

“The album opens with The Way Of Love; this passionate song features Cher really opening up and letting true emotion come out to make this a highlight of the album. The music accompanies her perfectly and this number is a true masterpiece. Gypsys Tramps & Thieves is equally well done; she sings this faultlessly and it holds its own very well.”

“Television was a perfect showcase for this exotic diva and Cher's solos were the highlight. Every song here is sung with complete feeling. Cher is right on target every time, and it was very clear that this lady was going to be around for a long time.”

Surf's Up - THE BEACH BOYS*****

Don't Go Near The Water/Long Promised Road/Take A Load Off Your Feet/Disney Girls (1957)/Student Demonstration Time/Feel Flows/Looking At Tomorrow/A Day In The Life Of A Tree/'Til I Die/Surf's Up

Surf’s Up was the most creative album from The Beach Boys during the 1970s and triggered a revival in their popularity. The title track was originally intended for the aborted Smile project. (US:29 UK:15)

“This is my pick for the best post Pet Sounds albums. Each member of the band contributes some of their finest material. The real jewels are the three Brian Wilson penned tracks at the end, which prove again that he was the one that took a decent band and made them something special.”

“Surf's Up remains a great album with some utterly fantastic songs and exhibits the changing, progressive sound of the early 70s Beach Boys. Carrying the legendary track's namesake, this ended up becoming one of their darker records.”

“Any album that contains and takes its title from a song as transcendent, beautiful and inspiring as Surf's Up almost instantly attains greater value. Originally written for the legendary Smile project, this song has beguiling lyrics, a seamless three part structure and stunning vocals.”

“This album was very much the band's long-awaited follow up to the acclaimed Pet Sounds. Flowing in and out of Beach Boys trademarks, mixing it up with some psychedelic, blues rock and a vague but detectable theme and flow to the album as a whole, Surf's Up serves as the Beach Boys' final bow, their golden sunset, set to the sound of the majestic, mesmerizing title track.”

“Overall it remains brilliant. It contains several of the most beautiful songs the Beach Boys ever wrote. Including Wilson's magnum opus Surf's Up, which I feel is possibly the most perfect song ever created.”

"Surf's Up is a seriously underrated recording that is among The Beach Boys' greatest, even if it isn't among the band's most popular. Over the years it has cemented its relatively obscure status because, despite its title, it has no songs about surfing and fast cars. It was released when The Beach Boys were at a commercial ebb and in conflict over which direction the group should take.”

Greatest Hits - ARETHA FRANKLIN****

Spanish Harlem/Chain Of Fools/Don't Play That Song/I Say A Little Prayer/Dr Feelgood/Let It Be/Do Right Woman Do Right Man/Bridge Over Troubled Water/Respect/Baby I Love You/(You Make Me Feel) Like A Natural Woman/I Never Loved A Man (The Way I Loved You)/You're All I Need To Get By/Call Me

Aretha Franklin released a second compilation package only two years after the first, resulting in about half the Greatest Hits tracks having already appeared on the earlier Aretha’s Gold. (US:19)

“It includes her most important Atlantic hits plus lesser pop covers in about equal proportion.”

“She has probably the best voice in the history of music, so much soul. My problem with this compilation is that it comes too soon after Aretha's Gold, which pretty much covers her 60s output on Atlantic. It’s a shame some of her intervening hits are missing from this compilation.”

“Aretha really is everything she is made out to be. Her vocals are unbelievable.”

“Aretha Franklin's voice is an instrument of such exquisite expression that it has been matched only a few times in the 20th century. Borrowing from jazz, soul, R & B, rock, pop and, of course, gospel, accompanying herself on piano, she created an artistic vision that was wholly realized. Greatest Hits includes most of her chart singles from those incomparable Atlantic years, as well as some non charting classics."

“Quite surprising to me was the fact that Aretha managed only one No.1 pop hit during her career and that one was her 1967 smash Respect. The story was a bit different though on the soul/R & B charts where Aretha had a total of twenty No.1 singles during her phenomenal career.”

“In this here today, gone today music industry of the 21st century many young people probably consider Aretha Franklin as a singer who had been coasting the fame train on her hit Respect and not much more. Aretha is in a class by herself. During her artistic pinnacle in the 60s and 70s, few could top Franklin.”

“Aretha takes material made famous by other artists and remakes them into her own. You will hit the repeat button for Don't Play That Song, a foot stomping, hand clapping remake of the old Ben E. King hit.”

Barbra Joan Streisand - BARBRA STREISAND****

Beautiful/Love/Where You Lead/I Never Meant To Hurt You/One Les Bell To Answer-A House Is Not A Home/ Space Captain/Since I Fell For You/Mother/The Summer Knows/I Mean To Shine/You've Got A Friend

Barbra Streisand entered the 1970s with her traditional MOR material rapidly going out of fashion. To remain relevant she changed her style to include interpretations of recent pop hits, some of which feature on Barbra Joan Streisand. (US:11)

“If you are true Streisand fan, or simply want to see how diverse she was in the seventies, you should pick up Barbra Joan Streisand which heads off straight into rock. Barbra provides the definitive versions of Carole King's Beautiful, Where You Lead, and You've Got A Friend as well as delivering covers of John Lennon's Mother and Love that surpass the originals. For those who also love the old torch style Streisand, there are old-fashioned piano-based ballads like I Never Meant To Hurt You and Since I Fell For You. However, the majority of the material here is rock based, such as her stunning version of Space Captain."

“While criticized at the time of its release for attempting to mix too many different styles of musical genres into one album, Barbra Joan Streisand has nevertheless endured as one of the brightest gems in Streisand's massive catalogue. Sequencing soft ballads next to mild rockers may have seemed disorientating; however time has uncovered and enhanced the disc's unique sense of dizzying cohesiveness.”

“Barbra Joan Streisand was the classic superstar's first major success in the MOR/AOR market. For its time period, it could easily fit a rock label, especially considering Barbra's status as a more traditional vocalist.”

“This is an incredible mix of everything this wondrous singer does best. John Lennon’s masterful Love is haunting and mesmerizing, and Mother is a truly extraordinary vocal sung with heart-stopping passion. Laura Nyro's gorgeous I Never Meant To Hurt You is a very fine song which is deeply moving and the composer herself must have enjoyed this heartfelt performance. One Less Bell To Answer/A House Is Not A Home is a dazzling tour-de-force medley where Barbra's gorgeous voice soars to amazing heights and the effect is so stunning that this becomes one of her greatest ever recorded performances. Plus Barbra knows how to rock out with a brilliant take on Elton John's Space Captain. Barbra was at her creative and vocal peak throughout this wondrous collection so if you love great singing do not miss this.”

Blessed Are - JOAN BAEZ***

Blessed Are/The Night They Drove Old Dixie Down/The Salt Of The Earth/Three Horses/The Brand New Tennessee Waltz/Last Lonely & Wretched/Lincoln Freed Me Today (The Slave)/Outside The Nashville City Limits/San Francisco Mabel Joy/When Time Is Stolen/Heaven Help Us All/Angeline/Help Me Make It Through The Night/Let It Be/Put Your Hand In The Hand/Gabriel & Me/Milanese Waltz-Marie Flore/The Hitchhiker's Song/The 33rd Of August/Fifteen Months/Marie Dolores/Deportee (Plane Wreck At Los Gatos)

The double LP Blessed Are was Joan Baez’s most commercially successful album since her mid 1960s protest songs heyday. It features several of her own compositions together with interpretations from a diverse cross-section of songwriters. Includes the US & UK top ten cover The Night They Drove Old Dixie Down. (US:11)

“One of Joan's most audacious albums, a double LP release featuring nine original tunes reflecting her newfound confidence as a songwriter as well as songs by Lennon-McCartney, Jagger-Richards, Robbie Robertson, Mickey Newbury, Jesse Winchester and Kris Kristofferson.”

“From the guitar chords of the opening of Blessed Are through the final song, this music and performance are not only beautiful, they bring back fond memories of the meaningful 1960s and 1970s - a period of incredible change for our culture. Joan Baez, through her music and persona, was and is a reminder of all that was good about that time.”

“This is one of her best sets as it has several hits and lesser known gems and very few low spots, A must have if you love her voice and her poetry.”

“This music stirs the soul, is melodic and engaging, but carries messages about the very meaning of our lives as well. For all that, somehow it is the Marie Flore medley which has the most impact for me. Superficially a wistful account of a chance meeting in a distant city, it is a metaphor for the brevity of life, the precious gift of every friendship, and the profound emotional connection we could make with each other if we would choose to do so.”

“I bought this album and became a Baez fan forever. I normally don't like cover versions, but Joan changed my mind. Her auto biographical songwriting style provided a snap shot of who she was where she had been and where she was going.”

“Joan Baez's musical interpretations have always been a favourite of mine, since the time of my youth, and she's one of the very few artists whose covers I can live with.”