Hunky Dory - DAVID BOWIE*****

Changes/Oh You Pretty Things/Eight Line Poem/Life On Mars/Kooks/Quicksand/Fill Your Heart/Andy Warhol/ Song For Bob Dylan/Queen Bitch/The Bewlay Brothers

Hunky Dory was the third in a series of brilliant albums from David Bowie, but he was still struggling to achieve a lasting commercial breakthrough. Fortunately his next LP release would change all that and retrospectively propel his earlier albums into the charts, and place the single Life On Mars in the UK top three. (US:93 UK:3)

“Hunky Dory is one of Bowie's finest albums. The music is exciting and the lyrics are groundbreaking, yet sometimes confusing. This was Bowie at his most brilliant.”

“Hunky Dory is a colourful pop rock record with glam-rock, folk and art rock influences with a rich piano sound. High quality songs like the out of this world Life On Mars, the cheerful Changes or the melancholic Quicksand made this a real breakthrough for one of the greatest performer in pop business.”

“The birth of Bowie's glam era sees all the different strands of his past efforts coming together to create an album which would mould and shape fashions to come. It's the most confident and self-assured of Bowie's pre-Ziggy album releases.”

“The songs are beautifully developed with thought provoking lyrics and gorgeous melodies. Every time I come to this album, especially after not hearing it for a good while, I'm just thrown back on how excellent and how well it works.”

“A catchy pop album that is by turns exhilarating, folky and meditative. Almost every melody is memorable, without any need to skip. The first two tracks get the album off to a banging start before settling into a more mellow flow. The array of sounds that Bowie uses makes the album feel like taking a journey. This might be the quintessential album to showcase his songwriting and versatility.”

“Hunky Dory is much more acoustic based with lots of piano thrown in but most of all is an album of unbelievable songwriting, songs don't come much better than these. The album is really well structured as well, each side has happy and upbeat songs for the most part but it finishes off with a darker, emotive and more powerful song.”

“Bowie effortlessly moves from one musical genre to another. Only he could give us an album with something as though provoking as Changes or as silly as Kooks and make it all work. It rocks, it swings and it even makes you think.”

Electric Light Orchestra - ELECTRIC LIGHT ORCHESTRA*****

10538 Overture/Look At Me Now/Nellie Takes Her Bow/Battle Of Marston Moor/Ist Movement/Mr Radio/ Manhattan Rumble/Queen Of The Hours/Whisper In The Night

Self titled debut album from The Electric Light Orchestra created out of the ashes of The Move. Songwriting duties on this highly innovative release are shared by Roy Wood and Jeff Lynne, but the former would shortly leave to form Wizzard. Includes the UK top ten hit 10538 Overture. Released as No Answer in the States. (US:196 UK:32)

“The album consists of three different types of tracks. The first are songs in which the entire band pitches in and the classical and rock elements mingle together, to yield the seeds of what would become the band's classic-era approach. This is apparent on songs like the 10538 Overture, Mr Radio and a few others. The second are songs which are given over to classical instrumentation almost entirely, such as The Battle Of Marston Moor. The third are songs which imitate Beatles songs.”

“ELO having a go at progressive rock with some art rock and slight 60s influences as well. One thing is for certain, on this album you never know what to expect next.”

“Their debut album has pop/rock harmonies but the use of cellos and violins give the album a much darker tone than their later works. At times the cello gives the songs a beefy, powerful sound and you start to wonder if Bach came back from the dead to produce this album.”

“The ELO's debut album can best be described as heavy progressive chamber music. Certainly a sidestep from the sound of The Move, augmenting guitar, bass, and drums with cello, piano, oboe, bassoon, clarinet, recorders, French horn, hunting horn, and violin - mostly provided by Wood. A long, long way from the group’s later pop singles, throw this out in front of today's radio crowd and your station is likely to be removed from the presets.”

“The best ELO album, especially if you prefer Roy Wood to Jeff Lynne. Very different to what ELO would evolve into after Wood left and the band became famous. Something so special that it's no big surprise the magic couldn't last.”

“A shame Roy left after this, as it would have been interesting to see what would have happened if he stayed. Anyway, it's still a great chamber/baroque rock album.”

Music - CAROLE KING***

Brother Brother/Its Going To Take Some Time/Sweet Seasons/Some Kind Of Wonderful/Surely/Carry You Load/ Music/Song Of Long Ago/Brighter/Growing Away From Me/Too Much Rain/Back To California

Music was the quick follow up album from singer songwriter Carole King. Unfortunately the creative spark behind the top selling Tapestry was largely absent in the new LP. (US:1 UK:18)

“The first five tracks are as spellbinding and captivating as anything from the classic Tapestry. It definitely lags after that, with inferior filler songs making up much of the album’s lacklustre second side, including ill-advised stabs at country-rock.”

“Carole King released Music less than a year after Tapestry. Since its release, for better or worse, it has always been associated with her greatest work. When put in that context, it comes up a little short. When taken on its own merits, it was a brilliant album in its own right.”

“It is an intimate album that exudes warmth. Her vocals are passionate and soulful. The music is simple and the lyrics have intelligence about them. It’s not really a cohesive album as the material covers a number of musical styles and directions, but most of the songs, when taken individually, have a simple elegance.”

“Music is overshadowed and underappreciated but it remains a minor classic. If you have only been exposed to Carole King through Tapestry or one of her compilation albums, then this is a good place to begin to know her a little better.”

“Carole King's Music remains one of the most underrated seventies singer/songwriter albums. Tapestry was an almost impossible act to follow, but this is an outstanding collection of more great songs and winning performances. While it may not hit the peaks that Tapestry did, it is solid and consistent, with, to my ears, no filler. Sweet Seasons was a hit, and there are other highlights. The whole album projects the combination of warmth and intelligence that is the hallmark of Carole's best music.”

“With Music, King experiments with some new sounds and styles, such as the R & B track Brother Brother which opens the album. The title track is a truly uplifting jazz waltz with an incredible sax improvisation as the centrepiece. Throughout, she utilizes effectively a pair of strong female backup vocalists who strengthen King's own delivery and bring a richness and soulfulness to several tunes.”

Black Moses - ISAAC HAYES**

Never Can Say Goodbye/Close To You/Nothing Takes The Place Of You/Man's Temptation/Never Gonna Give You Up/Ike's Rap II-Help Me Love/Need To Belong To Someone/Good Love 6-9969/Ike's Rap III-Your Love Is So Doggonne Good /For The Good Times/I'll Never Fall In Love Again/Part Time Love/Ike's Rap IV-A Brand New Me/Going In Circles

The Black Moses double album won a second Grammy award for soul artist Isaac Hayes, this time in the pop instrumental category. It again includes his idiosyncratic take on some pop standards. (US:10 UK:38)

“It's cool that he did another double album after Shaft that's not mainly instrumental, still some of the songs go on a little longer than I like. I don't particularly care for Isaac singing love songs really, which is what most of this album is. More so as when I listen to Isaac it's for the instrumentation.”

“I really enjoyed the ballads on here. Everything is really smooth and calming. I find it a bit long and there aren't any classic Isaac songs, just a bunch of decent easylistening ballads. It's pleasant but there isn't much more to this than that.”

“The vast majority of these two discs is given to slow, epic love songs, with the only really uptempo cut being the album highlight Good Love, a light-hearted funky track that is both catchy and groovy. Unfortunately, the endless slow grooves and strings start to drag sometimes, especially on the first disc.”

“On Black Moses, Isaac Hayes is at the height of his musical powers. He takes some classic song material and makes it his own, exploding the compositions, laying them out with confident care, and delivering to you the sort of soul that takes its time to good effect.”

“As with all his best work from the early 70s, he completely transforms the songs, turning them into extended super jams that go way past the original versions.”

“Black Moses would have been a near perfect record if it had been skimmed down to a single LP. Nevertheless, seeing as to how many gems there are, and considering that even the less spectacularly executed tunes still sound awfully sweet, its iconic status is much deserved.”

“This is yet another double album that would be much better condensed into a single disc. Without the lesser efforts this would be another undisputed classic. As it is, Black Moses is a flawed, indulgent release which is necessary for Hayes devotees, but would not be a great introduction to his work.”

Greatest Hits Vol. II - BOB DYLAN*****

Watching The River Flow/Don't Think Twice Its Alright/Lay Lady Lay/Stuck Inside Of A Mobile With The Memphis Blues/I'll Be Your Baby Tonight/All I Really Want To Do/My Back Pages/Maggie's Farm/Tonight I'll Be Staying Here With You/She Belongs To Me/All Along The Watchtower/The Mighty Quinn/Just Like Tom Thumb's Blues/A Hard Rain's A Gonna Fall/If Not For You/Its All Over Now Baby Blue/Tomorrow Is A Long Time/When I Paint My Masterpiece/I Shall Be Released/You Ain't Goin' Nowhere/Down In The Flood

The double album Greatest Hits Vol.2 was a highly significant release, since when combined with the first volume, it allowed the casual fan to obtain an extensive collection of Bob Dylan’s best songs from his most creative period. (US:14 UK:12)

“Every song on Volume 2 is a testament to Bob Dylan's brilliance. The songs range from folk-rock to pop-rock and country-rock. Dylan has raw emotion in his untrained voice. For me, he redefined the definition of singing.”

“Greatest Hits Volume 2 is not comparable to Volume 1 in terms of quality of material, though it is far more interesting for existing fans, or new fans who want to hear a little more of Dylan before delving into his back catalogue from this period.”

“There are many of the slower ballad type songs on this compilation and I daresay the picks are near perfect. All of the songs are classics, as much as I hate to use the term. I usually don't rate compilations, but this one stands on its own ground.”

“This is the only Dylan compilation put together by Bob himself, and it shows: it has a number of more obscure but essential selections, is beautifully sequenced, and manages to contain an entire side of otherwise unavailable songs.”

“Lots of unreleased nuggets to please the Dylan elitist, while still containing enough recognizable songs for rookies. This is one of the better Dylan collections out there.”

“Dylan's first Greatest Hits collection gathered most of his most well known songs from the 1960s, while this volume scoops up the rest. A number of these were big hits for other artists,. Selected from Dylan's incredible run of top notch 60s albums, this collection features both acoustic and electric tracks. There are sentimental romantic ballads and verbose tongue twisters. There are angry political rants and spiritually uplifting songs. Bob shows both his folkie side and his rock & roll side, and he's never been in better voice. This is the definitive collection from Dylan's classic period and is essential for any rock fan who does not own the original albums.”

Wild Life - WINGS***

Mumbo/Bip Bop/Love Is Strange/Wild Life/Some People Never Know/I Am Your Singer/Tomorrow/Dear Friend

Wild Life was the first release from Paul McCartney after he created his new backing group Wings. It is a very disappointing album, as most of the tracks appear slight and unfinished. (US:10 UK:11)

“While there were no big hits here, this album is nowhere near as dreadful as some would believe. No, it’s not his most consistent work either, but there is much one will find of interest on McCartney’s third post Beatles effort.”

“All the complaints about this one are true. Most of the tracks are more like work tapes than finished songs; pleasant miniatures, underdeveloped melodically and lyrically, stretched out for amusement's sake without anyone getting around to the editing room afterwards.”

“An unbelievably uneven album. Consists of absolutely unessential mumbo-jumbo at the beginning, mediocre stuff in the middle, and the last two songs, Tomorrow and Dear Friend, are actually really beautiful and sound like lost Beatles songs.”

“Coming off the splendid Ram, this is a massive disappointment. The first two tracks are among the most annoying songs Paul has ever written. Perhaps the weakest Wings album. A lot of this music just sounds off the cuff.”

“The first Wings album, Wild Life, is a breezy, even refreshing set of performances that comes closer to resembling demos than finished product. While this approach worked on Paul McCartney's first post-Beatles solo album, it falls flat here.”

“The album starts with two cuts of overlong, incoherent silliness, which doesn’t endear it to a lot of listeners, but it picks up later on in the record with some underrated tracks. McCartney’s voice is on top form here as well.”

“This rough, quirky album was made in about two weeks in order to get a band together. It is a series of simple songs made memorable by the fun and enthusiasm of the venture.”

“Not always pretty, its charm is in its very rawness, each song an uncut diamond, to all intents a live performance by a new band rather than something polished and refined by a rock aristocrat over months in the studio.”

E Pluribus Funk - GRAND FUNK***

Footstompin' Music/People Let's Stop The War/Upsetter/I Come Tumblin'/Save The Land/No Lies/Loneliness

E Pluribus Funk was another loud and proud heavy rock album from Grand Funk, the favourite band of early seventies US teenage white youth. Curiously, they hardly ever dented the UK charts. (US:5)

“An outstanding foot stomping and toe tapping hard rock LP that is in your face testosterone laden music.”

“Still quite typical of their sound, if not a little more commercially so, but also much more consistent this time around. Band is still hanging in there with a very listenable product.”

“This is without a doubt, unapologetic, in your face, get out of my way great rock. I mean blood, sweat, and tears, boogie down, good time, heart breaking rock.”

“On this album Grand Funk really rock, but the lyrics are completely ridiculous. If you can ignore the thoughtless socially minded early 70s cliches that dominate the lyrics and hear only the rocking energy, riffs and lean production, this album is pretty good. It's probably Grand Funk Railroad's best album, but that isn't saying a whole lot.”

“The tunes themselves aren't bad in a generic way, and there are times that the bass playing is pretty good. That is, however, the only real positives I can say about the band. The lyrics seem as if they were stolen from the poetry journal of a thirteen year old with a learning disorder. The singing is simply awful, the guitar playing is as amateurish as I've heard and the drumming is inept.”

“The Funk had just begun to stretch out their sound a bit, with side one in particular taking on a more hard funk sound. But this is still pretty heavy and loud, and Mel's bass is just as fat as ever. Side two returns to the classic hard rock sound for a couple of numbers before the orchestra starts up.”

“This album is a perfect example of when rock meant artistic instead of marketable. It started a new trend in rock music, the idea of using guitar chords that sound dissonant. This is my favourite Grand Funk album, it is very creatively produced, and has an enormous sound.”

“The album was loud and very political. This aside though, it rocks like no other GFR studio album. Only on Loneliness do they let up a bit adding in an orchestra that works well with the drums and bass.”

Fragile - YES*****

Roundabout/Cans & Brahms/We Have Heaven/South Side Of The Sky/Five Per Cent For Nothing/Long Distance Runaround/The Fish/Mood For A Day/Heart Of The Sunrise

Fragile was the album when the classic Yes sound reached its apex with the recruitment of keyboard wizard Rick Wakeman. The classic line-up deliver an album of high originality and creativity. (US:4 UK:7)

“While the classic Yes sound was already in place, the classic line-up was still missing one key ingredient. Enter cape-wearing, keyboard virtuoso Rick Wakeman, who had every bit of Keith Emerson's technical skill but a thousand times more taste and the ability to blend with other musicians. He propels the three prog epics that take up about half of this album's running time, with a good variety of synths.”

“Fragile is a complex and highly technical, but also very catchy, progressive rock record, a prototypical Yes album. After the band found its own voice on the superb Yes Album they perfected their sound and wrote evergreens like Roundabout and the truly monumental South Side Of The Sky. Each member shows his craft and calibre. A real must have if you're interested in classic '70s prog rock.”

“Rick Wakeman joins Yes for this album. Whilst the full-band compositions are legendary, and deservedly so - Roundabout, South Side Of The Sky, and Heart Of The Sunrise are upbeat, foreboding, and uplifting epics respectively, whilst Long Distance Runaround is a delicious slice of Yes style pop whose simple structure is spiced up by Rick's synth interjections and other instrumental outbursts. The album is interspersed with shorter tracks intended to showcase each individual member's own skills.”

“The album includes three longer numbers and a handful of shorter cuts which are all great fun. The opener Roundabout and the closer Heart Of The Sunrise are the best known songs here but the rest of the material is really solid too. Once again the instrumental work is impressive. Fragile deserves it's status as one of the classic progressive albums.”

“This is one of the best albums every produced. The musicians are among the most skilled on each respective instrument. The group led in the production of alternative rock, with synthesizers, high energy sound and winsome vocals. Fragile also marks a new beginning with Roger Dean hopping on board to create his fantasy inspired artwork.”

The Spotlight Kid - CAPTAIN BEEFHEART**

I'm Gonna Booglarize You Baby/White Jam/Blabber & Smoke/When It Blows It Stacks/Alice In Blunderland/The Spotlight Kid/Click Clack/Grow Fins/There Ain't No Santa Claus On The Evenin' Stage/Glider

Captain Beefheart’s albums seemed to alternate between the eccentric avant-garde and his interpretation of a blues-rock sound. Spotlight Kid embraced the latter to the disappointment of some fans. (US:131 UK:44)

“The album is a mix of blues-rock and some experimental style but I think this one fails to reach the quality of his previous work. Most of these songs are no more than OK and some are even good, but overall this album isn't so convincing.”

“A return to the twisted blues of pre-Trout Mask albums, The Spotlight Kid is an album of consolidation and taking stock for Beefheart rather than one in which he ploughs forward into new territory, though he is still leaning well towards the avant-garde side.”

“It's almost as if the previous two albums didn't happen. Gone are the ultra-energetic spiky avant-gardeisms in favour of a more earthy, blues-based approach.”

“With this release, he demonstrates that he is still capable of creating music beyond what he and his immediate band members want to hear. This one has a heavy blues rock sound, infinitely less avant-garde than previous releases.”

“There are a few standout tracks here with some restrained weirdness and a fair bit of interesting instrumental interplay (the xylophone is a great addition), but if you've heard the more famous Beefheart albums it's pretty disappointing. There isn't anything bad about any of it, but very little about this album is memorable.”

“This is probably my least favourite Beefheart album. Overall it suffers as it is not as wildly uninhibited and creative as previous efforts, nor is it as catchy and straightforward as you might expect. It is also often so slow as to be at the point of being boring, which is quite a negative achievement for him.”

“Probably Beefheart's worst. Dead sound, too slow, dull, boring, the voice and the harmonica is too loud. And what happened to those gorgeous guitars?”

Meaty Beaty Big & Bouncy - THE WHO*****

I Can't Explain/The Kid's Are Alright/Happy Jack/I Can See For Miles/Pictures Of Lily/My Generation/The Seeker/Anyway Anyhow Anywhere/Pinball Wizard/A Legal Matter/Boris The Spider/Magic Bus/Substitute/I'm A Boy

The oddly titled Meaty Beaty Big & Bouncy was warmly welcomed by record collectors as it allowed The Who’s many fine singles to be heard on an LP for the first time. (US:11 UK:9)

“If you're not up for the filler on some of their 60s albums, this compilation more or less gives you all their essential pre-Who's Next tracks.”

“Sums up the early Who like no other album or compilation can. Many of their classic early singles, interesting alternative versions, plus they threw in the all too awesome Boris The Spider as well. An obvious essential not only for Who fans, but rock fans in general, this is sheer perfection.”

“This is the ultimate Who collection, and if you only own one of their albums, I suggest that this be it, capturing not quite all, but most of their finest moments of the formative years of their career.”

“This disc remains the ultimate Who compilation. It simply collects nearly all of the singles the band released between 1965 and 1970. As most of these songs didn't appear on the band's regular albums this is an essential purchase for every fan. Apart from the strange Boris The Spider all of this is classic material, with the best bits being as good as rock music can get.”

“Absolute stone cold classic collection that gathers all the great adrenalin fuelled power of one of the greatest singles bands of all time. It's a huge bonus that it doesn’t include the flaccid stadium rock they produced later.”

“Meaty Beaty Big & Bouncy documents their finest moments and so far as their early singles are concerned, it provides a fairly complete account of what they were all about. They were mod, they were beat, they were heavy, they occasionally veered towards psychedelia, and by the close of their first decade they had left a mark on popular music that to some extent still acts as a rock template for all aspiring bands.”

“This is a must have for every Who fan, whether you are a casual fan, new fan, or long time die-hard fan, this is one record every single fan needs to own. It still holds up and is the most comprehensive early years collection of The Who.”

Brain Capers - MOTT THE HOOPLE***

Death May Be Your Santa Claus/Your Own Backyard/Darkness Darkness/The Journey/Sweet Angeline/Second Love/The Moon Upstairs/The Wheel Of The Quivering Meat Conception

Brain Capers was the last album from the first incarnation of Mott The Hoople. Like its predecessors it was a commercial failure, but after splitting up and reforming the group would attract a saviour.

“Brain Capers, is a pretty chaotic release, filled with lush sounding yet hard edged ballads like the almost near epic The Journey which features some of front man Ian Hunter’s greatest qualities, as well as hard bar room rockers like the less than stellar opening track Death May Be Your Santa Claus.”

“It's an album made by a band that was all but finished, so all caution was thrown to the wind. Finally they made an album that was closer to their live sound and what they were known for at the time. It is chaotic, it is all over the place, it's messy, they are a band who no longer care what anyone thinks, an I don't care attitude that makes this album stand out as one of Mott's finest.”

“You'd swear you were listening to a metal band, except they have melody and more talent than that. It's an audio onslaught for most of the album, dipping into folky territory or piano based ballads only briefly before coming back to the sludge.”

“What a classic this one is. Mott the Hoople not only prefigured the punk sound but drew a line in the sand, daring their more timid contemporaries to follow along. Few did, and the group would soon mellow considerably when paired with their soon-tobe mentor David Bowie.”

“An interesting album by Ian and the gang, pre-glam. The band sounds a lot like The Faces, the music is great, if a tad sloppy, but that's what makes it fun and hardrocking. Ian Hunter's voice isn't the greatest, but it works on this album.”

“Call it proto-punk or proto-metal or whatever you want, but Mott The Hoople's fourth album is all about intense rock 'n' roll. They somehow managed to be both melodic and articulate while delivering a sonic pummelling that bordered on sheer chaos.”

“The Journey is maybe the greatest track from the boys, a totally raw and raucous listening experience, manic and hectic in its delivery that audibly gains momentum with its pace until its demise.”

The Morning After - J. GEILS BAND***

I Don't Need You No More/Whammer Jammer/So Sharp/The Usual Place/Gotta Have Your Love/Looking For A Love/Gonna Find Me A New Love/Cry One More Time/Floyd's Hotel/It Ain't What You Do (Its How You Do It)

The Morning After was the follow up album from the heavy rock band fronted by guitarist John Geils. They began as a blues/R & B band but soon moved to a more mainstream rock sound. (US:64)

“Very similar album to the Geils debut with lots of high energy R & B and some searing blues. Very much music for the urban culture of the 1970s.”

“The Morning After follows the same format as the band's debut. An incredibly tight, hard rocking, rhythm and blues collective with very little quality material. I love the simplicity of J. Geils and Peter Wolf has an amazing voice, but these guys can't seem to write anything worth remembering.”

“This is a great party album. The J Geils Band offered an incredible amount of energy on this album and it is one that will make you feel happy.”

“The early material is the rawest bluesiest stuff out there and definitely contains some of their greatest work. My favourite is the last track which is so fast and incredible you will be stupefied in total amazement upon hearing it for the first time.”

“A studio rock and blues showcase, with a heavy emphasis on keeping it sleazy and raw. I like to spin side two first, with Lookin For A Love, the bands first big single heading it off, making its way into the ballad but gritty Cry One More Time. Each one is a solid slice of a rock band giving us a great show.”

“It opens with the catchy R & B of I Don't Need You No More, followed by the excellent, harp-driven instrumental Whammer Jammer. Even though this is hardly innovative music, the J. Geils Band makes it all sound fresh and energetic.”

"The Morning After is their second studio release and shows a band in firm control of their sound and direction. It is a delight hearing Peter Wolf's vocals and J. Geil's restrained guitar, which goes right through you on Cry One More Time."

Other Short Stories - BARCLAY JAMES HARVEST***

Medicine Man/Someone There You Know/Harry's Song/Ursula (The Swansea Song)/Little Lapwing/Song With No Meaning/Blue Johns Blues/The Poet/After The Day

Other Short Stories is considered a disappointing release by the progressive band Barclay James Harvest, who would always be dogged by their reputation for uneven albums.

“Other Short Stories is an ambitious effort and it had the potential to be special. But somehow the band managed to make this LP a pretty mediocre totality. The best songs here are the opener Medicine Man and the closer After The Day which is a very good song. The rest of the material is weaker.”

“On this the band's third release the wheels spectacularly fall off as all those old accusations of being a poor mans Moody Blues begin to hit home, and the band lose much of the heaviness and baroque leanings that had made their first two releases worthwhile.”

“Certainly not my favourite by them, this one has a decidedly semi-commercial sound, featuring diverse material ranging from soft ballads to hard rock, none of which I find particularly compelling.”

“The third Barclay James Harvest offering starts of with a classic. The album version of Medicine Man may not have the sheer power of the live version, but it is still a truly thrilling experience. It then dips in quality, giving the listener some beautiful music, but also a feeling that something is missing.”

“Like a lot of BJH albums, this one has its ups and downs. Apart from the big stain in the middle called Blue Johns Blues, there’s nothing really bad about this one, but there are a number of mediocre tunes that rather blunt its impact.”

“Other Short Stories starts off strong with the first two tracks but unfortunately, those much of the rest consists of unmemorable symphonic pop tunes that sound somewhere between Moody Blues and CSN. One of the few bright spots from later is Blue John Blues - the only attempt at an extended piece, but even this gets a bit bogged down in the second half.”

“The shame is that they never really made it into the big leagues of the prog supergroups of the 70s. One of rock's great mysteries, yet perversely, this may have been ultimately to the fan's advantage since there was never the drop off in quality from one album to the next that usually accompanies superstardom.”

Cold Spring Harbor - BILLY JOEL***

She's Got A Way/You Can Make Me Free/Everybody Loves You Now/Why Judy Why/Falling Of The Rain/You Look So Good To Me/Tomorrow Is Today/Nocturne/Got To Begin Again

Cold Spring Harbor was the debut album from the New York singer songwriter and pianist Billy Joel. Although he would take a few years to achieve commercial success, by the end of the decade he had become one of the hottest popular music performers.

“For the most part this is a sombre, melancholy and reflective album. Whereas the Billy Joel that most music listeners know has songs that are upbeat, the majority of songs here are set back, happy to float out at you rather than jump out. What you will hear is that wonderful piano sound that dominated the 1970s. When the piano takes centre stage, with the drums and bass playing as the background, and Billy's vocals crooning over the top, that is when his songs, and this album, sounds best.”

“This album is full of things that are nothing like the better known happy-go-lucky Billy Joel, full of smiles and humour. This album is not like that at all. Billy Joel fans hate it because it is not what they expect.”

“It's not loaded with radio hits like his later LPs, but that's part of the charm. I felt I was getting a glimpse of the past, while still being quite aware of the future. I like listening to this knowing that it was the first public steps taken by a then unheralded artist, who would later become one the world's most respected musicians.”

“Much of this album paints Joel as a tender balladeer, which is fine, except for one problem - he hadn't yet developed a diverse songwriting approach, so almost none of these tunes stand out from one another.”

“Billy Joel suffered his share of hard knocks growing up in the music business, but the focused sound of Cold Spring Harbor proves that those travails didn't keep him down. This is a sparse, beautiful album that showcases a budding artist with loads of talent and an innate tenderness within a rough-and-tumble exterior. If you like piano and enjoy singing along to catchy songs, you'll love this album.”

“It's almost unrecognisable as Billy Joel, as it's filled with little innocent gems largely performed solo at a piano. To me it's the clarity of the uncluttered piano playing that makes Cold Spring Harbor such an enjoyable listen. It tumbles, it shimmers, it perfectly compliments both the lyrics and the vocals. If you ever doubted Joel's skill as a piano player, here is proof that he knew what he was doing.”

Frisco Mabel Joy - MICKEY NEWBURY***

An American Trilogy/How Many Times/Interlude/The Future's Not What It Used To Be/Mobile Blue/Frisco Depot/You're Not My Same Sweet Baby/Interlude/Remember The Good/Swiss Cottage Place/How I Love Them Old Songs

Frisco Mabel Joy was the most highly regarded album from the Houston country singer-songwriter Mickey Newbury. It opens with his best known song American Trilogy, later covered by Elvis Presley. (US:58)

“Mickey Newbury was one of the finest songwriters/artists in an era filled with great writers, and Frisco Mabel Joy would be the crown jewel of any artist's oeuvre. The record is the music equivalent of a painting, on first hearing the guitars and a few distinctive songs get noticed, soon the pieces fall into place and the richness of the details emerge. As a singer, Newbury communicates his songs better than any of the many cover versions, with a beautiful voice that grabs your attention and compels you to listen.”

“The album opens with Newbury's arrangement of American Trilogy, a suite containing three songs that have their origin in the Civil War. Newbury's version, full of soft strings, guitars, haunting harmonica bleeding into a muted brass section, is full of drama and pathos.”

“Frisco Mabel Joy moves into a series of songs that talk of dislocation, emptiness, and endless searching through regret, remorse, and ultimately acceptance and resignation. Newbury's vocal abilities are just astonishing; he has a different voice for literally every song.”

“Overwhelming walls of sound contrast with skeletal but beautiful songs in this amazing album that is rooted in country but transcends genre.”

“You've got to be in the mood because this is one downbeat, mellow and atmospheric affair, but if you get into his head, I can't imagine a much better album. It has very little to do with country music.”

“A treasure and lost classic. Despite having written countless hits for others Newbury ranks right up there among those who paved the way, but never received their due in terms of media attention.”

“Keep in mind that this is a work very rooted in country music, which to even some folkies is a turnoff. But his soulful voice and fine guitar work should be enough to move you if you have a pulse.”

Nazareth - NAZARETH***

Witchdoctor Woman/Dear John/Empty Arms Empty Heart/I Had A Dream/Red Light Lady/Fat Man/Country Girl/ Morning Dew/King Is Dead

Eponymous debut album from the Scottish hard rock band Nazareth. They took their name from Nazareth in Pennsylvania, mentioned at the beginning of The Band's classic song The Weight.

“The real Nazareth are not here yet and this release shows that. The material is all over the place and honestly not very good with one exception, Morning Dew.”

“A great debut with many variations between hard rock, folk and psychedelic rock. Even to this day it is still stands strong, but it is very different from all the albums that came afterwards.”

“Nazareth had some pretty rocking singles during the mid-seventies but this predictably folky blues rock debut LP puts me to sleep.”

“Nazareth have put out some very average records in their time (and I'm being nice here), but this debut is a pretty safe bet. Plenty of hard rock, some boogie, ballads, country rock etc. Sure their biting off more than they can chew, but it's at least heading in the right direction.”

“This is their masterful debut album that has never got the recognition it deserves. None of their later albums can match the diversity and intrigue of this one. In short, it's a masterpiece. It has a little of everything - country, boogie rock, hard rock, beautiful ballads and orchestrated epics.”

“Their debut album, featuring very bluesy-hard rock. A seven minute excellent version of Morning Dew is a must for Nazareth fans. The whole album is strong and worth picking up.”

“Their songwriting was top notch right from the very beginning. I can't think of a single weak point. When a band starts off this strongly that usually means they will go on to have a successful career. That stands true for Nazareth.”

“Surprisingly strong for a debut, this is a very bluesy mix of hard rock and folk with a couple of covers thrown in for good measure. Included here of note is their punishing cover of Morning Dew, which is the best version of the song ever cut. The distorted bass sounds straight out of hell and it just drives the song. The rest of the album is pretty solid as well.”

Do You Like It Here Now - MAN***

Angel Easy/All Good Clean Fun/We're Only Children/Many Are Called But Few Get Up/Manillo/Love Your Life

Do You Like It Here Now was one of a series of albums released in the late 1960s and early 1970s by the prolific Welsh rock band Man. Unfortunately, they never quite managed to make a major impact on the charts.

“All of the songs on this LP are more or less impressive. If you're into guitar driven prog/psych rock this album is worth a listen.”

“Another really good LP by this band. Well played heavy psych prog rock music with a few toe tappers.”

“Clearly, their most consistently good release yet, this one is prog rock, and pretty good at that. Most of these tracks run together, yielding long, trippy suites that feature good guitar, organ, and plenty of psych influences.”

“Original, well written, very listenable extended psych prog with excellent lyrics. Not as good as some of their later work, but that's hardly a criticism. The rushed production adds to the charm. All six songs are remarkably consistent and are of a very high standard.”

“The ensemble playing is blistering in parts and each tune takes unexpected yet delightful twists and turns. The guitar playing is staggering throughout along with some tremendous drumming.”

“This might be the wildest Man record yet. Once again they take elements of classic San Francisco psych bands and add in some twisting prog-rock touches. A unique and enjoyable listen, and certainly one of this band’s best.”

Spirit Of Love - C.O.B***

Spirit Of Love/Music Of Ages/Soft Touches Of Love/Banjo Land/Wade In The Water/Scranky Black Farmer/ Evening Air/Serpent's Kiss/Sweet Slavery/When He Came Home

Spirit Of Love was the debut album from the psychedelic folk group Clive’s Original Band to give them their full title. Clive Palmer was a founding member of The Incredible String Band but left before they embraced psychedelia.

“Acoustic guitar driven, semi-folk with psych influences, quite naturally sounding very similar to The Incredible String Band. This is a sound I don't normally get very excited about, but this LP includes a real surprise in Serpent's Kiss.”

“Clive Palmer was a founding member of the Incredible String Band, and appeared on the first album. For this release he's gathered a similar batch of mates to collaborate with, and although a fine effort, he can't match the outfit he left behind. The first half of this release is a grand mix of harmonized weird folk ditties, but the deeper we get into the album things tend to run out of steam. I'd still rate most of this pretty high though.”

“The songs have a drone like quality with fixed chords over moving bass lines or the slide notes of the dulcitar. More lively are the opening Spirit Of Love with a hymn like vibe with strummed acoustic, punching piano chords, celestial choirs and an acoustic solo, and the lyrically disturbing Sweet Slavery with 12-string strumming and haunting cello, organ and vocal lines.”

“This is certainly folk, it’s pretty twisted and dark and is the perfect accompaniment to the String Band, although the title track is actually fairly straight ahead sing-along folk. Once past that song, you get into some really dark, ancient sounding music, dominated by voice, acoustic guitar, the odd distant, echoey recorder and the group's very own instrument - the dulcitar - an altered dulcimar that creates a sitarlike sound.”

“It's low-key, almost to the point of being subdued, melodic British folk with that quasi-psychedelic mystical tinge characteristic of ISB. Yet the vocals are more tuneful and soothing if, undeniably, less adventurous. The arrangements are nicely varied, too, something else that sets this apart from the standard British folk record.”

All Day Music - WAR***

All Day Music/Get Down/That's What Love Will Do/There Must Be A Reason/Nappy Head/Slippin' Into Darkness/ Baby Brother

All Day Music was the highly successful follow up album from the Californian group War. Their music has been described as crossover that fuses together elements of rock, funk jazz, Latin, R & B and even reggae. (US:16)

“It's definitely got its fair share of what you might call a hippy dippy sound, and, inasmuch as funk might be a dated genre to begin with, this is definitely tied to a certain era (it has 1970s West Coast written all over it). It isn't the group's most consistent release, as they were just beginning to hit their stride, but the songs are mostly well written, even if they do sometimes go on a bit. I don't really care much for the closing live jam, but Get Down is a fine example of the funky group sing-alongs these guys are known for.”

“Much of the War album All Day Music is just the kind of music I would normally like. There is a problem, however, which is that the songwriting is not very good. The title track is a great song, and after that my expectations were high. Get Down sounds like a more ordinary funk number, and while it is alright, That's What Love Will Do sounds more inspired but gets way too over lengthy. This is underlined by the jam track that follows.”

“The songs seem uninspired, the grooves are too soft to work, there is less energy than in the debut album, and the edgy jazz feel has gone. The tracks, especially on the second side, are way too long, and they carry to their ending in a somewhat tired way.”

“This is quite a funky album, but it doesn't grab in any way that makes you jump up and pay attention. The soul is here but at the end of the day there's just not enough.” “Stoned soul music of the finest kind. Great album moving from laid back to funky to jazzy to soulful, sometime all in one song. Funky and socially conscious, what more do you need for a good soul album?”

“War take the funk of Sly and The Family Stone, the Latin percussion of groups of the day like Santana and Malo, the social conscious of Marvin Gaye, and mix it all together into a party that makes you dance and think at the same time. The title track is cool as a summer breeze, while songs like Slippin' Into Darkness and Get Down are rife with the social discontent of the day.”

One Year - COLIN BLUNSTONE***

She Loves The Way They Love Her/Misty Roses/Smokey Day/Caroline Goodbye/Though You Are Far Away/ Mary Won't You Warm My Bed/Her Song/I Can't Live Without You/Let Me Come Closer To You/Say You Don't Mind

Colin Blunstone was the vocalist with the noted British 1960s pop group The Zombies. On his debut album One Year he is reunited with their main songwriter Rod Argent. Includes the plaintive UK No.15 hit Say You Don’t Mind which deserved a higher chart placing.

“He is reunited with the principal creative force of The Zombies, Rod Argent and Chris White, and they crafted this very loose concept album. Argent and White show the same flair for pop craft they displayed in the previous band, and Colin's voice is in as good shape as it ever was. In fact, some of his best vocal performances are found in these tracks. He also displays a great knack for songwriting that had not been acknowledged previously. Not one second of this album is wasted. It's an absolute must hear for fans of The Zombies.”

“This is one of those albums that, even as you hear each song for the first time, makes you feel that you are meeting again with an old friend or, more accurately, that you has just met a kindred spirit.”

“One Year is an eclectic mix of ideas and styles creating this extraordinary and introspective package. Although the familiar Zombies sound shines through on some of the more pop or upbeat tracks, it seems as though these moments are merely to break up the heavily orchestral and strings based arrangements, with baroque sounding ballads that make up the bulk of the record.”

“The debut solo album from the lead vocalist of The Zombies. This isn't totally like his former group, leaning far heavier on baroque, although shades of his former group shine through. Colin offers up his first written songs here, along with material from other choice songwriters and it all leads to a really gorgeous album.”

“Yes, it's pretty and soothing, but too often prissy and cloying, with most of the tracks seeing Blunstone's breathy close-miked lead vocals set to a string quartet backing, occasionally expanded to include harp and flute. Ultimately you feel you're listening to a recital rather than a pop record, plus the twee-ness of much of the lyrics only adds to the student bed-sit atmosphere.”

No Roses - SHIRLEY COLLINS & THE ALBION COUNTRY BAND***

Claudy Banks/The Little Gipsy Girl/Banks Of The Bann/Murder Of Maria Marten/Van Dieman's Land/Just As The Tide Was A Flowing/The White Hare/Hal-An-Tow/Poor Murdered Woman

By the time of the release of No Roses the English traditional folk singer Shirley Collins had been recording for more than a decade. No fewer than 27 musicians provided the backing credited to The Albion Country Band.

“An essential album for anyone interested in English folk-rock. Shirley Collins is the quintessential English female folk voice, her sound and voice was steeped in the English tradition. There is a real love of the music she was making here with her then recording partner Ashley Hutchings. This sits alongside Liege & Leaf as an essential part of any folk-rock collection. In fact, Fairport Convention are to be found supporting Shirley on this collection of songs.”

“Shirley Collins goes folk-rock, abandoning the approach of her previous two albums which employed a mini-orchestra of medieval instruments. Here, with her then husband Ashley Hutchings, formerly of Fairport Convention, she assembles a who's who of contemporary English folk music and records an album that's definitely grounded in the early 70s English folk revival scene. This is one of the most accomplished folk-rock albums I've ever heard. Shirley is a bastion of good taste.”

“More than one person has been disappointed with this work. Shirley Collin's singing is such that either you really like it or really hate it. She's an acquired taste, so repeated listening might win you over. Despite the predominance of Fairport players, the song arrangements and playing are more reminiscent of Steeleye's first album. If you like that, this should be a sure thing. The arrangements vary between pleasant and engaging. Thompson's guitar is represented well in the mix and will give the listener another opportunity to hear the master's earlier playing. I personally like the album, but understand its detractors' criticisms.”

“I return to it again and again - uplifting, sad and liltingly happy in equal measures. Shirley Collins' outstanding voice is strong and true. Listen to the melodic beauty that underpins the tragic sadness of the words on Banks Of The Bann or Van Dieman's Land. You'll understand the fundamental English connection with traditional Irish and American ballads. Such quality, depth and musicianship, with variety and inspired innovation for it's time.”

Aereo-Plain - JOHN HARTFORD***

Turn Your Radio On/Steamboat Whistle Blues/Back In The Good Ole Days/Up On The Hill Where They Do The Boogie/Boogie/First Girl I Loved/Presbyterian Guitar/With A Vamp In The Middle/Symphony Hall Rag/Because Of You/Steam Powered Aereo Plane/Holding/Tear Down The Grand Old Opry/Leather Britches/Station Break/Turn Your Radio On

John Hartford was an American country and bluegrass musician recognised for his masterly of the fiddle and banjo. Aereo-Plain was his most highly regarded album, but he is best remembered for the Grammy winning song Gentle On My Mind. (US:193)

“John Hartford has a way of taking us beyond the plastic confines of post-modern America and back to a world of muddy rivers, rolling green hills, and the syncopated rhythm of old fiddlers twisting tunes out of the air and into our consciousness. This album is one of the most original in the bluegrass/old time pantheon. It's one of those rare opportunities to experience first-hand the reflections of a true old soul looking out at an ever ‘progressing’ America, and the silliness with which John tells the story is both delightful and comforting.”

“You have to love any album that can include a song as beautiful as Presbyterian Guitar and one as silly as Boogie. This is like having a few of your really talented neighbours stop over on a warm, breezy evening down by the river. You sip, you listen, you laugh, you smile, you dream, you remember what it means to be human.”

“This is probably the pinnacle of his career, the awesome Aereo-Plain. It’s a shame he isn't using his fiddle much at this stage, but this is a real banjo plucking bluegrass album. If you are dismissive of country music this is the man to make the step with a lyrical genius and what a voice, often deep, sometimes falsetto, always intriguing.”

“From the sound of John's banjo to his wonderful crazy lyrics, it's a bluegrass extravaganza. I love the music, the lyrics and they do a great job of giving it a lot of energy.”

“Aereo-Plain is an album that I become thoroughly obsessed with for periods every few years. Each time I hear something new, or a fresh emotion results. This album is unspeakably beautiful.”

“This album marked one of the first attempts to link traditional bluegrass styles with modern themes and lyrics. The musicianship set standards of excellence that compare favourably with any album before or since. This album shines with a purity of thought and musicianship.”

Bless The Weather - JOHN MARTYN***

Go Easy/Bless The Weather/Sugar Lump/Walk To The Water/Just Now/Head & Heart/Let The Good Things Come/Back Down The River/Glistening Glyndebourne/Singin' In The Rain

Bless The Weather is considered to be one of the most acclaimed releases from folk singer-songwriter John Martyn, and remained a strong favourite among his fans.

“What is needed to make an excellent folk album? It just needs talent. One should avoid fashions and just follow one’s feelings and then the songs will be genuine and true. Bless The Weather is exactly this kind of album – sincere and authentic.”

“This is one album that never gets old. It is laid back and atmospheric, ideal for late night listening, and was also the last time John sang in a clear natural voice before changing his vocal style to a gruff, slurring drawl.”

“Martyn is at his best when the sound is stripped down, as is most of the album. The only electric number, Sugar Lump is for me, the weakest cut. The album is very well produced, the musicianship is excellent, the lyrics smart and heartfelt, and he is an outstanding singer.”

“Martyn was really coming into his own as a songwriter during this period, and there are songs on Bless The Weather which are stunning. I don't think I have ever listened to Just Now the one time without repeating it again; a beautiful and soulful vocal with piano and guitar arrangement.”

“With the help of much of the line up of Fairport Convention and the increasing influence of Danny Thompson on bass, John Martyn's unique folk-rock and jazz fusion finds its own place on this album. The echoplex, slightly-slurred lyrics and superb musicianship deliver a set of innovative and carefully crafted songs.”

“It begins with the languorous Go Easy which takes me into a wonderful calm state. His pure yet rough voice, multi-tracked and solo is a wondrous instrument.”

“What comes through from the album as a whole is spontaneity. There is an underlying simplicity in each tune, and every song sounds as if composed on the spot, on impulse. The arrangements are basic, and sparse - just acoustic guitars, bass and drums on most of the songs. This is not to overlook the fact that the people playing with John Martyn on this album are luminaries in their own right. Do not be fooled by the apparent simplicity of these wonderful songs, they deserve repeated listening.”

Liquid Acrobat - THE INCREDIBLE STRING BAND***

Talking Of The End/Dear Old Battlefield/Cosmic Boy/Worlds They Rise & Fall/Evolution Rag/Painted Chariot/Adam & Eve/Red Hair/Her Till Here Is There/Tree/Jigs & Reels/Darling Belle

By the time of this release the highly inventive folk group The Incredible String Band were in decline, both commercially and artistically. Liquid Acrobat was their last to make any chart impact, but managed to register some recovery in creativity. (US:189 UK:46)

“This just sounds like a band hitting a creative brick wall and not really knowing how to get around it. There's some quality music here, but given how strong just about every album preceding this is, I can't say this is worth searching out.”

“This is clearly the first ISB where they sound less than inspired, but it’s frustrating more than it is a bad album because there are some great songs here. It’s clearly an attempt to contemporise their sound a little, but unfortunately they fall just a little short.”

“On material like the opener Talking Of The End Williamson seemed content to continue mining the group's quirky mix of folk and early world music influences. Perhaps not as intriguing as some of his earlier work, the set had it's moments including the semi-martial Dear Old Battlefield, while Adam & Eve incorporated one of the first reggae influences. In contrast, tracks like Painted Chariot and Worlds They Rise & Fall found Heron opting for a more conventional rock sound. Again, the results weren't perfect, but it's weird enough to warrant a couple of spins.”

“Liquid Acrobat is aptly titled, as it positively drips with drama, atmosphere, and musical daring-do. Some moments are beautiful, others border on grating, and some of the songs are really funny, but all of this comes together as one marvellous, trippy, fantastical tour-de-force.”

“I'm surprised this album isn't considered one of their classics; great pieces from all members and a massive group composition to wrap it all up. The music is superb, one of the last great ISB albums, ranging from delicate folk to full-out rock, culminating in the masterpiece Darling Belle.”

“Whimsical tracks alternate against soft but powerful ballads. A selection of traditional jigs is counterpoint to the bouncy, reggae-influenced Adam & Eve, and it's all tied together with a bigger dose of rock than anywhere else in their discography.”