Boulders - ROY WOOD****

Songs Of Praise/Wake Up/Rock Down Low/Nancy Sing Me A Song/Dear Elaine/All The Way Over The Hill-Irish Loafer (& His Hen)/Miss Clarke & The Computer/When Gran'ma Plays The Banjo/Rockin' Shoes-She's Too Good For Me-Locomotive (Medley)

Boulders was the first solo album from Roy Wood. It was recorded during 1969 when he was still a member of The Move but not released until 1973. Includes the UK top 20 hit Dear Elaine. (US:176 UK:15)

“What's enchanting about this album is the way all of the bits pull together to form a cohesive whole, despite weakness in several areas. Wood's demeanour is humble even when delivering the most bombastic of his neo-classical fancies, and his light-hearted lyrics and willingness to experiment supply a feeling of looseness even when the production is tight and controlled.”

“The melodies and hooks are great, and the fact that he played every instrument and sang all the vocals is just as impressive. The only problem is that he changes his character so many times that it’s hard to take him seriously sometimes.”

“A really nice solo LP from the leader of The Move, recorded in 1969 when he was still fronting that band but not released until 1973 when they had already disbanded and Wood was starting his new group Wizzard. It's a true solo album in every respect - just about every single voice and instrument is handled by Roy Wood himself.”

“This might be the best parody record ever, because it doesn't cross the thin line and turn into self indulgent nonsense. The eccentric vocals, arrangements and hooks all add to the pleasure.”

“Roy Wood has had his hand in many a band including The Move, Wizzard, and ELO, but this album catches himself all by himself playing every part of this. A pretty impressive achievement, this is a guy who really doesn't need anyone else. Pretty enjoyable late era Beatles like rock, with some Bowie moments as well.”

“It is too bad this album didn't find an appreciative audience because Boulders is a masterpiece. Covering everything from his unique version of gospel to folk ballads tinged with psychedelia, Wood's music was always unique and demanding of his audience.”

“This, Roy's debut, is easily one of the best pop albums ever recorded. Fantastic, incredibly catchy tunes that will absolutely make your head spin.”

Genesis Live - GENESIS****

Watcher Of The Skies/Get Em' Out By Friday/The Return Of The Giant Hogweed/The Musical Box/The Knife

The first live release from the progressive band Genesis, and the only one to feature Peter Gabriel. Originally planned as a double album, many critics consider this to be too short. (US:105 UK:9)

“For many years this was the only available live document of Peter Gabriel's Genesis days. As such it is frustratingly short, released as a single vinyl LP. There's nothing wrong with the track list, but it's sad to think that Supper's Ready and others were left off because the record company was looking for a quick buck at the time.”

“Genesis Live is a great introduction to the band's early years. In terms of running time, it's less generous than their subsequent live albums. But in its ability to capture the power of Genesis live, it's unmatched.”

“This really is a good live album. The sound is pretty good, and none of the songs are bad choices. Still, it is too short. The obvious omission is Supper's Ready, but I guess the band wasn't quite ready for a double album yet. Songs are pretty faithful to the studio versions.”

“This is the definitive Genesis live album and the only one to capture the real spirit and raw energy of a gig without too many overdubs and polishing. The version of The Knife completely blows the studio version out of the water. A must have for any early Genesis fan.”

“One of the finest live albums I’ve heard, with its unique theatrical atmosphere. Peter Gabriel always had a totally mind-blowing way of getting the message and the feeling of a song across, despite Genesis being a band with huge instrumentalists and monumental song structures.”

“Genesis Live is the only live album in their catalogue from the Peter Gabriel era. It's a brilliant but much-too-brief live set, leaving the listener hungry for more. It also provides glimpses into what a grand showman Gabriel was as the group's flamboyant front man.”

“An honest live album which collects some of their best material, it was originally meant to be a double set to contain the 23-minute epic Supper's Ready, but then they changed their mind. Good executions, but a bit too close to the originals.”

Mott - MOTT THE HOOPLE****

All The Way From Memphis/Whizz Kid/Hymn For The Dudes/Honaloochie Boogie/Violence/Drivin' Sister/Ballad Of Mott The Hoople/I'm A Cadillac-El Camino Dolo Roso/I Wish I Was Your Mother

Mott was the follow up album after their commercial breakthrough delivered by David Bowie. It was their highest placed chart album and includes the major hits All The Way From Memphis and Honaloochie Boogie. (US:35 UK:7)

“By the time of Mott, the band had been reduced to a four-piece. While it’s certainly arguable that this is their best sounding album, it just may be their most accomplished in terms of songwriting and playing also.”

“One of their strongest albums with Hunter and company seldom having sounded as angry or driven. It also goes a long way to underscoring the fact they weren't a bunch of glam wannabes, but rather one of the era's tightest rock bands.”

“Mott, transcends the glam moves of the previous album by adopting a more tough rock ‘n' roll attitude, while still pilfering the conceptual aspects of Bowie's Ziggy Stardust. All The Way To Memphis is a fantastic opener, and probably Mott The Hoople's greatest song.”

“A self-reverential work that's equally as much about Ian Hunter and the band as it is their audience. Or you can see it as an ode to rock ‘n' roll itself. There have been few records that ever framed their era quite as well as this, yet I think one can listen to it with fresh ears and still find new connections. From start to finish it makes the case for rock's communal aspirations along with a celebration of youth in all its splendour and pitfalls.”

“A near perfect, unselfconscious portrait of a band painted from the inside looking out. Covering everything from the vagaries of touring, to groupies and wives, to fans and the band’s own difficulty coping with its new found success, this is an overlooked masterpiece.”

“Melodic, wistful and rocking, Mott remains the sole album where this star-struck band was able to put it all together. It oozes disillusionment, testament to their one step forward, two steps back existence as they continually battled indifference and inter-personnel conflicts.”

“The album is unified, and purely Mott. Everything that Hunter and Co. had been trying to get straight for the previous five years finally paid off.”

Styx II - STYX***

You Need Love/Lady/A Day/You Better Ask/Little Fugue In G/Father OSA/Earl Of Roseland/I'm Gonna Make You Feel It

Follow up album from the American rock band Styx who would become enormously popular towards the end of the decade. Featuring a mishmash of styles it includes the US No. 6 hit single Lady. (US:20)

“The unoriginally titled Styx II features the band’s breakthrough hit Lady but other than this hit single, the style and quality of the album is nearly identical with their previous Wooden Nickel label albums. Hard rock still provides the template for most of their tracks which, with one exception, are all original material.”

“At this point in their career it sounds like Styx still had aspirations of being a prog rock band as evidenced by the two longer cuts on the album, both of which are more movement based than straightforward hard rock. The end result is another album that fails to separate them from their peer group or indicate that they would be capable of anything more than being just another rock band.”

“This one, like its predecessor, is commercial prog-rock, with a hard edge to it, and featuring their annoying use of synthesizer and falsetto vocal harmony.”

“Styx II is definitely an improvement over the previous album, and in my opinion, the best of their Wooden Nickel releases. The musicianship has grown significantly, as has the songwriting. That said, it's still a bit patchy, but then again, that's something the band never quite seemed to get over.”

“Styx II is precisely what you would expect from a band that has yet to find its signature style - a hectic mishmash of styles executed to varying degrees of success. There are a number of good tracks here, easily the most famous of which is the arena rock staple Lady.”

“Casting aside modesty and embracing bombast, Styx's manifesto is in full effect, best realized in over the top pomp-rockers like Earl Of Roseland, all racing keyboard flourishes, heavy guitars, and assertive vocals. Of course, you can't forget the pervasive Lady, overplayed for certain, but nevertheless one of the grander statements working well in the context of an album full of them.”

“This is the best of Styx's pre-stardom albums. It contains Lady, a lovely ballad that would become a delayed hit and launch the band's success.”

Lord Of The Ages - MAGNA CARTA***

Wish It Was/To Old Friends/Lord Of The Ages/Isn't It Funny (And Not A Little Bit Strange(/Song Of Evening/ Father John/That Was Yesterday/Falkland Grene

Lord Of The Ages from the London progressive band Magna Carta is inspired and influenced by acoustic folk. They attracted a cult following but despite many releases their commercial success was limited.

“Magna Carta’s music is largely inspired and influenced by acoustic folk, often with a traditional feel and great vocal harmonies. They were part of the early progressive wave, but without actually fully stepping into the progressive realm.”

“This is a quasi-masterpiece of folk prog music full of refined details. The warm and pleasant acoustic bass contributes to give a slight jazzy tendency to the whole. The tracks are so good that even the country electric guitar parts are excellent. Everything is well put at the right time, at the right place: the palpable harmony is a strong point on this record. There are practically no psychedelic, spacey or experimental passages, everything is just down to earth; it is a pure, positive and sane music, excellent for your soul.”

“This is a very soft and quiet post-hippie English acoustic record. Side two is good because there is a bit of variety and the tunes are relatively short.”

“To Old Friends is one of my all time favourite songs, you just have to hear it - great writing and absolutely stunning. The title track Lord Of The Ages is a truly Magna Carta epic. It starts off as soft acoustic piece as the verses are spoken over a beautiful melody, with a haunting sung refrain.”

“The long title track is simply superb: fantastic lyrics, amazing harmonies. Their style is acoustic, folksy, quite a bit different. This is easy on the ear with lovely melodies and interesting lyrics. The band went through many changes in their line-up, but this one is particularly effective.”

“This band turned folk music inside out with this production and brought about an album the likes of which had never been heard before. Listen to Wish It Was a song about love and peace with fantastic lyrics.”

Live & Let Die - SOUNDTRACK***

Live & Let Die/Just A Closer Walk With Thee-New Second Line/Bond Meets Solitaire/Whisper Who Dares/ Snakes Alive/Baron Samedi's Dance Of Death/San Monique/Fillet Of Soul New Orleans-Live & Let Die-Fillet Of Soul Harlem/Bond Drops In/If He Finds It Kill Him/Trespassers Will Be Eaten/Solitaire Gets Her Cards/Sacrifice/James Bond Theme

Live & Let Die was the first James Bond film to star Roger Moore. Another innovation was the replacement of John Barry with George Martin as composer of the score. The title track was a US No.2 and UK No.9 hit single by Paul McCartney & Wings. (US:17)

“George Martin homes in on 007's narcotics booty call with John Barry away on leave. Immediately reunited with Paul McCartney for a sizzling opener, Live & Let Die with some quasi-romantic leanings Wings had teased out of him; it proved the quintessential anthem for Moore era Bond.”

“Live & Let Die boasts one of the best title songs in the entire series. Paul McCartney and Wings perform this slam-bang exciting title song with thrilling beats and a magnificent flow.”

“George Martin composes the score this time around in a very laid back lounge type style, which actually works for the film. He made his own version of the James Bond Theme, which can also be heard on several other tracks.”

“George Martin, the Beatles producer, took the helm from John Barry in scoring the eighth James Bond film soundtrack. Though no one has yet equalled Barry's compositions for Bond films, Martin's soundtrack was perfect for launching Roger Moore's first outing as Bond. Let us not forget Paul McCartney's brilliant theme of the same name.”

“Live & Let Die was the start of a new era in the James Bond universe, as Roger Moore replaced Sean Connery as Agent 007. Moore brought a new slant to the character, and there was a change in the music department as well. Mostly known up to this point, for his work as a producer for The Beatles iconic albums of the 60s, George Martin became the first after John Barry, to score a Bond soundtrack as the sole composer.”

“George Martin's music for James Bond was a departure from Barry's more traditional orchestral sound. Martin went in more of a funk and rock direction, getting in step with the tone of the film. Martin does a fine job of coming up with an original approach, and then blending in the James Bond Theme.”

The Marshall Tucker Band - THE MARSHALL TUCKER BAND***

Take The Highway/Can't You See/Losing You/Hillbilly Band/See You Later, I'm Gone/Ramblin'/My Jesus Told Me So/Ab's Song

Eponymous debut album from the southern rock Marshall Tucker Band, covering similar musical territory to the Allman Brothers but with more of a country input. (US:29)

“Blending aggressive guitars and soulful, rootsy vocals with jazzy saxophones and flutes, the album took Southern rock, and rock music in general, in new musical directions.”

“A great laid back album with real guitar playing, I wouldn't rate them as highly as Skynyrd or Allman Brothers but they're a fantastic band.”

“Comparisons are made to other southern rock artists like Lynyrd Skynrd and the Allmans. The first comparison doesn't work well most of the time, MTB are more country and folk oriented and overall a much better band. Their versatility can be compared to the Allmans, and on the strength of at least this album they could be the lone torchbearers for this oft-maligned genre.”

“Who would expect to hear a flute on a so called southern rock album? MTB were a fairly large ensemble that played well on this record. There is some fine instrumental work, especially by the lead guitarist who does some great runs in a number of places. The MTB have more of a country influenced background showing up on these songs, but one can tell that they would be quite prepared to take off on some extended jams.”

“The debut album from The Marshall Tucker Band is one of the greatest. This album brings out the sound that MTB did so well, from country, to rock, to blues, all rolled together into a southern sound.”

“The Marshall Tucker Band's debut album contains several essential Southern rock songs, including, especially, Take The Highway and Can't You See. There are a couple of songs here that aren't so terrific, but the true gems more than make up for any shortcomings in the other songs.”

Countdown To Ecstasy - STEELY DAN*****

Bodhisattva/Razor Boy/The Boston Rag/Your Gold Teeth/Show Biz Kids/My Old School/Pearl Of The Quarter/ King Of The World

Countdown To Ecstasy was the follow up album from the art rock group Steely Dan, showcasing the creative songwriting skills of Donald Fagen and Walter Becker. Although not as commercially successful as the debut, musically it is very much its equal. (US:35)

“Countdown To Ecstasy sees the duo of Becker and Fagen honing their cynical, often satirical wits and their songwriting abilities to produce a classic set of jazz-rock songs. The emphasis, as always, is on light rock with a few jazz elements creeping in here and there, but the sound they attain on this album will be of interest to most art rock aficionados.”

“Countdown To Ecstasy, Steely Dan's second album, remains one of their very best. Like much of the band's music, it makes heavy use of immediate, catchy hooks and melodies, but yet it contains subtleties that only repeated listening will bring out. The musicianship is impeccable, the rhythms delicious and the guitar playing smokes.”

“Countdown To Ecstasy has been labelled the album that hooked many a hardcore Steely Dan fan, and it's easy to know why. Although it wasn't initially as commercially successful as Can't Buy A Thrill, the songs contain many genre-hopping elements and feature more extensive soloing. The musicianship is top notch and the lyrics impenetrable as ever. The music contained a fine mix of rock, blues, funk and some nice, laid-back country-tinged elements.”

“It's a rock album to all intents and purposes, and retains the fun factor and the driving tempo of the debut, but you can really hear them starting to strain at the leash. Pianos and exotic percussion are starting to creep in, as are jazzy chord extensions and slightly more intricate structures.”

“While Countdown To Ecstasy did not prove the commercial hit that was hoped for, it remains at the highest level of Steely Dan's craft. The studio and performance excellence is in place, and Becker and Fagen's songwriting has graduated here from fine jazz/pop craftsmen to writers of real depth, elegance and wit. The chords and progressions are interesting and unique, but also accessible, with memorable harmonies, instrumental lines, and inventive melodies. Undoubtedly one of the best albums in the Steely Dan canon.”

Touch Me In the Morning - DIANA ROSS***

Touch Me In The Morning/All Of My Life/We Need You/Leave A Little Room/I Won't Last A Day Without You/Little Girl Blue/My Baby (My Baby My Own)/Imagine/Brown Baby-Save The Children (Medley)

Touch Me In The Morning features Diana Ross singing ballads including several well known covers. The magnificent title track topped the US singles chart and reached the UK top ten as did the excellent All Of My Life. (US:5 UK:7)

“Another classic Diana album. The beautiful title track is definitely one of her best songs. Her rendition of Imagine is also true winner. Her voice sounds so cool on it.”

“The title track s a masterpiece itself and is one of Diana's most memorable and timeless classics. The rhythm builds to the exciting chorus which she tackles with style and finesse.”

“Her voice on this album is incredibly velvety and sensual and it's rare to hear her sing in such a way. I'm sure she could have found better songs to suit such a warm register.”

“The album opens with that ever popular Ross ballad, Touch Me In The Morning which has to rank as one of the finest pop singles of the modern era. Diana demonstrated previously undiscovered nuances in her delivery, and displayed a talent for ballads that was fresh and exciting. Furthermore, her voice was incredibly smooth, supple and dreamy. It all makes for pleasant listening. There are no dance cuts here, just classy ballads.”

“The magnificent Touch Me In The Morning is an absolute cracking masterpiece and is one of Diana's most memorable classics. Another timeless ballad is the remarkably powerful, All Of My Life where her exuberant delivery ignites this breathtakingly beautiful ballad to startling effect.”

“The tile track is the epitome of a Diana Ross ballad, and it landed her another pop/R & B crossover hit. Diana was gaining more confidence as a vocalist, and this release contains some of her finest work from a cover of the Carpenter's, I Won't Last A Day Without You, to a moving take on the John Lennon masterpiece Imagine.”

“This collection is a pure set of ballads where Diana simply uses her vocal gifts emotionally to great result. No theatrics. No Diva songs. Instead, just raw and emotive Diana.”

A Passion Play - JETHRO TULL***

A Passion Play 1/The Story Of The Hare Who Lost His Spectacles Part 1/ The Story Of The Hare Who Lost His Spectacles Part 2/A Passion Play 2

With A Passion Play Jethro Tull attempt a second side long concept album. Unfortunately, instead of a creative masterpiece we get an exercise in self indulgence, not helped by the dire tale of the hare and his spectacles. (US:1 UK:13)

“In trying to improve upon his greatest triumph, Anderson committed the ultimate sin by reaching a little too far. Enter A Passion Play, easily the most demanding, frustrating and divisive entry in Jethro Tull's entire catalogue. I can think of no better word for A Passion Play than self-indulgent. Occasionally brilliant in spite of its obvious pretensions, but consistently overwrought.”

“It is not so much that the music here is bad (it is certainly performed with great technical skill), however, there is nothing on the album that comes close to being a memorable melody. Unlike the two Tull albums that came directly before it which are full of melodies and wonderful instrumental sections, the only thing I can ever remember about this album is The Story Of The Hare Who Lost His Spectacles, which unfortunately, as well as being the most memorable moment is also the worst.”

“Jethro Tull were under enormous pressure when it came to cooking up the follow-up to Thick As A Brick. In the end, they produced yet another album around the concept of one long song, and unfortunately this time around it feels rather forced - what was a good idea to do once seems to have been unsustainable as a model. In addition, this album has the infamous tale of the Hare Who Lost His Spectacles, an incredibly irritating and not very funny story which robs the album of all momentum.”

“Ian gets serious about prog-rock and shoots himself in the foot with this pretentious, meandering and contrived conceptual piece about Limbo. His affected vocal mannerisms are stupid, and even the attempt at levity, The Story Of The Hare Who Lost His Spectacles, falls on its face. The music is expertly performed and recorded, but the melodies really got away from him as he got carried away with the lyrics.”

“Tull have another try at the side-long concept LP after the superlative Thick As A Brick but this is a lot weaker. The endlessly changing bits and pieces never quite last long enough for me to get into the groove of the music. There are a few nice moments here and there, but the whole thing doesn't work as a complete entity.”

Queen - QUEEN****

Keep Yourself Alive/Doing All Right/Great King Rat/My Fairy King/Liar/The Night Comes Down/Modern Times Rock & Roll/Son & Daughter/Jesus/Seven Seas Of Rhye

A very solid debut from the glam-rock band Queen who would become the best known popular music act during the next decade, helped by the flamboyant vocalist Freddie Mercury. (US:83 UK:24)

“This is a pretty solid debut from Queen. More in their hard rock/glam rock style than their more obvious hits. This album set their template for their first three albums, rockers, ballads, drama and a Roger Taylor solo vocal.”

“Queen entered the scene in 1973 and fell into a grey area not covered by other bands of the era. While clearly based on Led Zeppelin style hard rock riffing, the band introduced a more progressive take on the harder edged sound of music, in effect creating some of the first blueprints of what progressive metal would become. With folklore inspired subjects and progressive time signatures, song structures and bizarre added segments, Queen created a sound unlike any other of the day. Freddie Mercury added a hint of glam rock with his flamboyant personality contrasted by the metallic prowess of Brian May’s rhythmic and energetic guitar.”

“The band had various influences and therefore the album is very diversified, featuring glam rock tunes, folk-rock songs and heavy metal titles as well. This album also introduced Freddie Mercury, one of the greatest vocalists ever to the world. But the rest of the band showed their enormous potential also. Guitarist Brian May had already found his unique style and Roger Taylor and bassist John Deacon both did a great job.”

“Queen is a product of its era, of a band trying to find its own sound. The songs here can be heard to be a meshing together of different types of music genres that were making themselves heard at the time. There is a hard rock element, driven by Roger Taylor's crashing drums and Brian May's superb guitar work. Along with this can be a quieter introspective tide, while the use of longer freeform instrumental jamming that was prevalent during the late 1960s and early 1970s is also in effect. This album is different, almost unique from the albums that followed.”

“This debut is quite interesting, as it shows many hints of what the band would later become, and it certainly does have their distinct sound, especially Freddie Mercury's unmatchable rock vocals.”

Chicago VI - CHICAGO***

Critics' Choice/Just You & Me/Darlin' Dear/Jenny/What's This World Comin' To/Something In This City Changes People/Hollywood/In Terms Of Two/Rediscovery/Feelin' Stronger Every Day

Chicago move further away from their jazz-rock roots towards a bland AOR style. Nevertheless, Chicago VI topped the US album chart, helped by two top ten singles Feelin’ Stronger Every Day and Just You & Me. (US:1)

“We all know that Chicago lost it somewhere. I'm afraid this is where it turns south for good. The bad stuff here are prime examples of the wretched MOR drivel to come. If you're seriously listening to Chicago, stop at Chicago V.”

“Chicago orientate towards a more pop, country and soul flavoured style, but even so maintaining their jazz influences.”

“Certainly not my favourite from them, but not a bad record, even if they had become less creative or innovative. Maybe the hitch could be the stupid love lyrics of most of these songs, but at least the fabulous horn section still shines.”

“Thank goodness that this was not a double set as it includes quite a bit of filler as it is. Just You & Me and Feelin' Stronger Every Day are the only tracks of interest.

“A single album for once and it’s a classic. Virtually every track is strong and it ends with the best, Feelin' Stronger Every Day. Excellent sound quality and a nice muscular mix, especially the drums, with fine close harmony singing though fairly weak lead vocals and lyrics.”

“Oh dear, say goodbye to the once great and unique Chicago sound and say hello to MOR pop. How a band that could make such a stellar album upon début and then release this woeful trash is beyond me.”

“Chicago VI finds the boys moving plainly in the direction of pop, a sharp contrast from the jazz/rock that had typified their first four studio albums. Accordingly, this album is less adventurous and takes fewer chances than its more illustrious predecessors. There's plenty that's pleasing to the ear, but fewer moments that take you aback and make you say woah!

“This was where Chicago became a full fledged pop group. Not a bad album; the hits are still strong and there's a couple other decent tracks; but just a bit too much filler.”

Foreigner - CAT STEVENS*****

Foreigner Suite/The Hurt/How Many Times/Later/100 Dream

The highlight of Foreigner is unquestionably the song suite that fills the first side. This is a masterpiece and must rank as one of Cat Stevens most accomplished works. The shorter tracks on side two are also of very high quality. (US:3 UK:3)

“I love the long first track, which took up the entire first side of the LP, with its recurring themes and the sound based around electric piano rather than acoustic guitar.”

“An artistic highpoint for Cat Stevens, and a timelessly solid and capturing sound, the suite crosses between many different moods and, as with the arrangements, it's very touching.”

“The suite side of this record is absolutely transcendent music that makes me think of the higher, untapped, potentiality of humankind. Majesty and simplicity meeting at the first light of dawn.”

“He completely abandons his previous style of short, baroque style singer-songwriter music here and turns his attention towards focusing the whole first half of this album towards the title suite, which is significantly longer and doesn't depend as heavy on song craft as it does harmonic and melodic progression. The other half of the album features shorter songs but again they are similar in style.”

“It is indeed a suite in the truest sense with an introductory movement, various themes, and a clearly defined ending piece. As in a classical suite, the pieces have their own identity, but combine to form a single unit. It's really one of Steven's best works.”

“Many fans and critics considered that Cat Stevens overstepped with this album. I couldn't disagree more I recognize the title track for what it is - a masterpiece. I have been listening to this track for thirty years and I still discover musical nuances that I hadn't heard before. The arrangements, orchestrations, phrasings and lyrics in this opus are nothing less than genius.”

“I love this album; it was really interesting to see him dabbling in other musical styles. I never tire of Foreigner Suite, and all in all, this is a really underrated album.”

Love Devotion Surrender - CARLOS SANTANA & JOHN MCLAUGHLIN***

A Love Supreme/Naima/The Life Divine/Let Us Go Into The House Of The Lord/Meditation

Love Devotion Surrender was a unique collaboration bringing together the Latin sound of Santana and the jazz fusion of McLaughlin. The first two tracks are based on the compositions of jazz musician John Coltrane. (US:14 UK:7)

“This is partially Carlos Santana and John McLaughlin doing their own thing, but the first two tracks are both based on Coltrane's compositions and the whole album is more or less dedicated to him. Jamming is nice, but having really songs of your own is much better.”

“I enjoyed the contrast in the two men's playing, McLaughlin all clinical and intricate in style whilst Santana prefers more organic but highly fluid lines. Underneath is pretty much where both men were at, namely jazz fusion with a heavy spiritual undertow and a strong Coltrane influence.”

“The musicianship is outstanding on the album. Some of the greatest jazz rock/fusion players in the world are present. Paired with a great organic sound production and some intriguing songwriting Love Devotion Surrender is what I would call a jazz rock/fusion masterpiece.”

“The combination of Carlos Santana and John McLaughlin, together with members of both men's respective bands, producing an album revisiting the music of John Coltrane proves to be less than the sum of its parts. The fusion treatment of Coltrane's works is interesting, but can hardly stand up to Coltrane's original performances. As for the original pieces, you're left with the impression that both men were keeping the best material back for their day jobs. An interesting collaboration, but not an essential one.”

“This is about as high octane as a guitar album can get while remaining tasteful. McLaughlin and Santana, two masters, play with unbelievable intensity on this record. It's essentially just a jam, but the lack of preparation is not noticeable at all. There are lots of brilliant moments on here. The two short acoustic tracks may be out of place, but they're well arranged so I can't complain. McLaughlin brings the prog jazz element, while Santana provides the Latin flavour. Together, these two guitar masters trade licks, bouncing and feeding off one another in a frenzy stringed mania.”

Leon Live - LEON RUSSELL***

Mighty Quinn Medley/Shoot Out On The Plantation/Dixie Lullaby/Queen Of The Roller Derby/Roll Away The Stone/Its Been A Long Time Baby/Great Day/Alcatraz/Crystal Closet Queen/Prince Of Peace/Sweet Emily/ Stranger In A Strange Land/Out In The Woods/Some Day/Sweeping Through The City/Jumping Jack Flash-Youngblood Medley/Of The I Sing-Yes I Am Medley/Delta Lady/Its All Over Now Baby Blue

This triple live album from Leon Russell was recorded at the Long Beach Arena California at the height of his popularity. His performance has been described as gospel tinged boogie-woogie. (US:9)

“Russell gives out a country preacher gospel revival style with plenty of rock and roll. Also, the energy put forth in this album is simply incredible. Russell must have been totally exhausted at the end of this performance. It's a three record set mind you, but the pace just never slows down, and listening from beginning to end will leave the listener pretty exhausted as well, but in a good way.”

“Leon is our unknown national treasure. This set was at a time when Leon was at his most popular. If you are a fan of gospel tinged boogie-woogie, this album will not disappoint you. Leon and his travelling road show are at the top of their game, and you can expect that a musician of his calibre would surround himself with top-notch people. This live performance is tight and captures the essence of his live act. The medley will leave you breathless. This is good time rock and roll.”

“Leon Live is, without a doubt, the ultimate Leon Russell experience. Not only that, it is one of the all-time great expressions of American popular music. While it does not have the more detailed, polished sound of his outstanding studio recordings, and the sound quality leaves something to be desired, it captures Leon's manic energy as no other album can. The spirit of blues, gospel, and rock & roll are alive and kicking like a mule on crack in this incredible performance.”

“Some live recordings fall very short of the experience itself. This is not one of them. Although the experience of a live show is always better than hearing it at home, Leon Live is as close to the real thing as I have heard from any artist.”

“There is a lot of energy here, incredible passion, great musicianship. In fact it's a kind of a farewell to Leon Russell's most well known period in music, when he had a big band of musicians backing him. He changed his sound after this album.”

“This rocks from beginning to end. Leon is one of the last great rock and roll pianists. While he has a number of fine records, this is one of the best live rock albums ever.”

Tubular Bells - MIKE OLDFIELD*****

Tubular Bells Part One/Tubular Bells Part Two

Tubular Bells was the debut album from Mike Oldfield and is unquestionably his greatest. Sometimes compared to new age music, although in reality it is far better than this generally bland and forgettable genre. As a measure of its wide appeal this unique album stayed in the UK charts for many years. (US:3 UK:1)

“This album has the same feel as a classical work. Beautifully done, upbeat but not trite, moody but not dark and amusing but not corny. And it's not a virtuoso show either. The strength of this music is in the composition. The melodies are beautiful.”

“Tubular Bells is a very impressive album, if nothing else. Listening to Mike Oldfield play over thirteen instruments together shows his talent as a musician as well as his dedication. Some would argue that splicing together the numerous different songs together is unnecessary but I find that to be the selling point to the album, as some of the transitions are truly impressive. The segments range from moody guitar and piano pieces to the more comical ones.”

“Brilliantly played and assembled by Oldfield Tubular Bells goes through a whole variety of different musical phases and ideas in an almost symphonic style. The opening theme is one of the most stunningly recognisable pieces in musical history and the album as a whole is undeniably a high water mark for prog-rock.”

“The first half is classic from the opening Exorcist jingle to the closing Viv Stanshall/choral section. The first phase holds together as a piece with the movements flowing together well and holding the attention. The second half is far more pastoral and ambient in mood and, whilst enjoyable, is a little more disjointed and less attention grabbing, but an interesting listen none the less.”

“You could break it down and dissect the parts and music but it is best just to listen to it as a whole and enjoy the seamless movement and brilliant musicianship of a truly great album. The music is quite simply fantastic. Although the theme is repeated again and again it never becomes boring. On the contrary the music becomes ever more beautiful as you hear it again and again.”

“This album should be regarded as a masterpiece of all times, not just the rock era. It could even stand alongside music from the classical masters. Its changing and evolving moods prove that you don't need lyrics to create a story.”

Living In the Material World - GEORGE HARRISON*****

Give Me Love (Give Me Peace On Earth)/Sue Me Sue You Blues/The Light That Has Lighted The World/Don't Let Me Wait Too Long/Who Can See It/Living In The Material World/The Lord Loves The One (That Loves The Lord)/Be Here Now/Try Some Buy Some/The Day The World Gets 'Round/That Is All

After a long wait George Harrison’s follow up solo album Living In The Material World finally appeared. Although it did not find favour with some critics it is fully the equal of its acclaimed predecessor. Give Me Love topped the US singles chart and reached No. 8 in the UK. (US:1 UK:2)

“Living In The Material World, is a success by any measure. After unleashing his massive backlog of material on All Things Must Pass, Harrison is more deliberate here. Many of the songs are political, but only insofar as they relate to his life. His continued and complicated relationship with Eastern religion is widely explored.”

“This album is beautiful from start to finish. The songs are produced well and performed flawlessly. Give Me Love is a standout classic. The Light That Has Lighted The World is one of the most beautiful melodies you will ever hear. The religious theme wears thin at times and makes you sort of tune out and listen to the music and not the lyrics. But all in all a great effort.”

“Living In The Material World has a very peaceful, spiritual feel and is one of my favourite George Harrison solo albums. The production is also much simpler than on All Things Must Pass, making George's vocals and guitar sound clearer. There are a lot of gentle ballads here and a few upbeat songs.”

“On this album, Harrison sings and plays with a more desperate, poignant sound than ever before or after. One does not have to be a spiritual person to appreciate that here is a man using his musical gifts to try as hard as he can to make a difference. He was not just trying to sell records or trying to revel in self-glorification, he was using music to put out a genuine message, something hard to find in any musical era, but especially the current one.”

“This is the kind of album that I would recommend for those who are always in a hurry, frustrated, a little lost with their lives, still thinking they are doing everything right and however searching for something new. This is a glimpse of a better world.”

“They don't make albums like this anymore. It is not a commercial album but one where George can express his feelings and tell his audience how he was travelling and what he was thinking. Meaningful music that is missed for sure.”

Gryphon - GRYPHON***

Kemp's Jig/Sir Gavin Grimbold/Touch & Go/Three Jolly Butchers/Pastime With Good Company/The Unquiet Grave/Estampie/Crossing The Stiles/The Astrologer/ Tea Wrecks/Juniper Suite/The Devil & The Farmer's Wife

Self titled debut from the English progressive folk group Gryphon. They included graduates of the Royal College of Music and were distinctive for recreating a medieval folk style.

“On this debut they were in full retro English folk mode staying very faithful to the original compositions. Almost everything on the album is acoustic and the heavy use of recorders, crumhorns and bassoon gives a most genuine period feel that instantly places you in the time of the Tudors.”

“Taken by itself, due to its repetitiveness in style and instrumentation, this album is nothing more than a quaint portrait of the type of music preferred by our ancestors many centuries ago. Musicianship-wise, the band is terrific, members really showing their mastery of their ancient instruments.”

“It's a little funny how they are tagged as progressive rock when in fact much of their music dates back 500 or more years. The first Gryphon album is a collection of odd little folk tunes and the occasional instrumental that foreshadows their later stuff.”

“Gryphon shared a deep love of early music, Renaissance and medieval church music, as well as British folk, which determined the group's musical direction. Combining these elements with some contemporary rock elements, they managed to achieve a completely unique sound and musical vision.” “It blends medieval instrumentation with some excellent tunes, mostly interpretations of ancient songs performed with great balance of reverence and flair.”

“The songs on offer here are medieval folk music, all of it pretty authentic, some of it quite entertaining but alas listening to the album in one sitting is one monotonous listening experience indeed. Most of the songs are authentic medieval tunes that may as well have been sung at banquets for Henry VIII. Gryphon gain several merit points for authenticity but this is more of a curiosity than something that one would want to listen to on a regular basis.”

“Fantastic album with traditional songs given an Elizabethan type twist that is original, humorous and musically superb. The essence of the album is similar throughout, but the tracks are different enough to provide a delightful overall feel.”

Shotgun Willie - WILLIE NELSON***

Shotgun Willie/Whiskey River/Sad Songs & Waltzes/Local Memory/Slow Down Old World/Stay All Night (Stay A Little Longer)/Devil In A Sleepin' Bag/She's Not For You/Bubbles In My Beer/You Look Like The Devil/So Much To Do/A Song For You

Shotgun Willie was first album release of country legend Willie Nelson on the Atlantic label after tiring of the corporate Nashville music scene and moving to Austin, Texas. During this time he would develop the outlaw style of country music.

“His ability to convey a wide variety of emotions is nothing short of amazing, such as the underrated You Look Like The Devil. A lot of these songs are mellowed out, more so than most outlaw albums of the time.”

“There have been better voices in country music, but never a better vocalist than Willie Nelson. He knows exactly what he wants out of each line to maximize the effect of the lyrics, and his phrasing is inventive and unique. Although he is widely lauded for his song-writing ability, it is his delivery that makes the songs stand out.”

“Willie was in his prime here, forging his way between country, jazz, folk, and rootsy rock, on his way to the top of the music world and to a deserved iconic status.”

“The magnificent Shotgun Willie finds Willie Nelson in a witty but self-deprecating mood, painting an unglamorous picture of himself in the title track and opining that probably nobody will want to hear this material anyway. The fact is that this is a great collection of material, much of it in a rather maudlin vein admittedly, but the atmosphere puts me in mind of late nights alone after a night on the town, when you're at the stage of drunkenness conducive to philosophising and melancholy.”

“Self-aware, honest and witty, this is Willie at his career peak. There's not a weak song here, but Local Memory and You Look Like The Devil, combine sadness and dark humour to reach the sublime.”

“This album is a typical sad eyed ‘you left me’ country album, with a few exceptions. Both Shotgun Willie and Stay A Little Longer offer something new and refreshing. Whiskey River is an awesome song, but like the rest of the album, it lacks originality. This is a good fun album, but don't expect anything groundbreaking.”

“It is a fantastic recording from a time when outlaw country was in its infancy. Though there aren't that many songs with the outlaw attitude, the sound is there and if you like the Waylon and Willie material you will like this one.”

Recorded Live - TEN YEARS AFTER****

One Of These Days/You Give Me Loving/Good Morning Little Schoolgirl/Hobbit/Help Me/Classical Thing/Scat Thing/I Can't Keep From Cryin' Sometimes/Silly Thing/Slow Blues In C/I'm Going Home/Choo Choo Mama

Double album first live release from the heavy rock band Ten Years After fronted by guitar wizard Alvin Lee. Recorded from concerts at Amsterdam, Rotterdam, Frankfurt and Paris. (US:39 UK:36)

“This is a good recording of a great band live. Each member was a master of their instrument and in a live setting they get to rock out and they do.”

“Few can deny this outfit were truly at home on the stage. Great, live, hard blues rock, with some boogie material as well.”

“There was something about their live albums that just lays waste to the studio stuff. Maybe it's because the band knew what a live audience wanted, and delivered it in spades. Nobody went to see Ten Years After with the intention of mellowing out. They wanted straight on rockin' blues, and that's what Alvin and the boys delivered every single time. This is a very good representation of how it was.”

“Its not just pyrotechnics as Alvin, unlike many modern guitar virtuosos, really plays from the heart. As a vocalist he is not that great, but personally I dig his style. His backing band is good too, and from years and years together playing on the road, they are tight.”

“Although a bit uneven, this is a good testament to this fine band. Alvin Lee could wail on guitar as well as anyone from his time.”

“This live recording is of superb sound and quality, and it has captured the raw performance essence of one of the world's greatest heavy blues-rock bands. Alvin Lee's Gibson guitar tone comes out solid, warm and flowingly through his Marshall stacks. Recorded in Europe where the rock fans are known more for listening than making noise, the band displays a tight repertoire of rocked up British blues, fronted by Lee's guitar extravaganza.”

“This is frequently overlooked by even knowledgeable listeners, which is a pity as it is easily one of the best live blues or rock albums ever. The song selection is good. The versions are frequently definitive and the sound is wonderful.”

“The quartet stretches out here, jamming ably with their straightforward and driving style, with a tight-but-loose rhythm section and tasty organ as well.”

A Little Touch Of Schmilsson In The Night - NILSSON***

Lazy Moon/For Me & My Gal/It Had To Be You/Always/Makin' Whoopee/You Made Me Love You/Lullaby In Ragtime/I Wonder Who's Kissing Her Now/What'll I Do/Nevertheless (I'm In Love With You)/This Is All I Ask/As Time Goes By

Nilsson’s A Little Touch… was an unusual album for the period as it consists entirely of old standards that had become highly unfashionable in the rock era. Orchestral arrangements are courtesy of Gordon Jenkins. (US:46 UK:20)

“Cover albums of standards in the early 70s were not that common. Yet this stuff suits Harry's sweet tones pretty perfectly highlighting what a loss it was when he sabotaged his own vocals later on.”

“Sinatra arranger Gordon Jenkins supplies a strikingly segued orchestral arrangement that at times is a little too flowery but mostly is dreamily decorative. To Nilsson's credit he has as much fun with the format as he remains respectful to the songs.”

“It is notable for being one of the first albums of standards created by a notable rock or pop act. This album is made even more notable for being created in Nilsson's supposed classic period.”

“It's hard to imagine an album more out of step with the time; this kind of music hadn't been remotely popular since Barbra Streisand's early work. This is worth hearing for fans as its maybe the best showcase of Harry's gorgeous singing voice.”

“If you're into Nilsson, the standards, or just artists with great voices, this album is for you. He is accompanied by lush orchestration and provides some of the smoothest, purest vocals committed to record. As a whole it's a very mellow, romantic album.”

“The songs blend seamlessly into one another and Harry's vocals are so reserved and tasteful. He never showboats on the album and yet he will blow you away.”

“When this was released in the early '70s - a collection of songs that were already decades old, carefully arranged by Sinatra's best ballad arranger Gorden Jenkins - it wasn't clear if this was intended as a loving tribute or an ironic statement.”

“What beautiful music this is. Well chosen standards from throughout the first half of the 20th century, tremendously well orchestrated by a master, and sung with passion and precision by a man of great vocal talent.”

The Smoker You Drink - JOE WALSH****

Rocky Mountain Way/Bookends/Wolf/Midnight Movies/Happy Ways/Meadows/Dreams/Days Gone By/Daydream (Prayer)

The Smoker You Drink was the follow up solo album from guitarist Joe Walsh between him leaving the James Gang and joining The Eagles. Considered to be an improvement on his debut it mixes elements of folk, jazz and blues with the overall rock sound. (US:6)

“The definitive Joe Walsh album, this pretty much sums up everything that makes him so great. The album is strong from start to finish.”

“This album was Joe’s second solo release, yet one hundred and eighty degrees in difference. The quality was better, Joe’s influences were still intact, but here he explores folk, jazz, blues and I might be mistaken, but there’s a Caribbean sound in there as well.”

“This is a stellar follow-up to his initial solo release and it is funky as can be. Lots of his great guitar, with some outstanding keyboards. Meadows is a cool track but Rocky Mountain Way was an anthem for the stoned and mellow counter culture at that time, and what a great time it was.”

“Continuing in a similar vibe to his first, this was a pretty cool record back then. Of course by now, its signature tune is all but worn out from overplay on classic rock radio, but the rest are worth checking out as well.”

“Rocky Mountain Way's incredible riff-bashing made Joe Walsh a legend. Meadows makes my ears think they've found nirvana. Almost a masterpiece.”

“It's an oft-used rock and roll album cliché, putting the only good song on an album first. That's what you get here. Rocky Mountain Way has extended slide guitar soloing, making you hope that the entire album is a blues-rock classic. After that, take a nap.”

“Unfortunately it doesn't hold up that well. Rocky Mountain Way is a classic and sounds great, but that's about it for side one, although side two is much better.”

“This is Joe Walsh's best album, and not just because it kicks off with the classic hit Rocky Mountain Way. In later years, Walsh would derail his career with sloppy songwriting and lame jokiness. But here his guitar is still as crisp as the fine batch of songs he chooses to apply it to.”

Farewell Andromeda - JOHN DENVER***

I'd Rather Be A Cowboy (Lady's Chains)/Berkeley Woman/Please Daddy/Angel From Montgomery/River Of Love/Rocky Mountain Suite (Cold Nights In Canada)/Whiskey Basin Blues/Sweet Misery/Zachary & Jennifer/We Don't Live Here No More/Farewell Andromeda (Welcome To My Morning)

Farewell Andromeda from country-rock singer songwriter John Denver was rather less successful than his other albums from this period, probably due to the lack of a hit single. It includes songs relating to the great outdoors and environmental concerns. (US:16)

“This album was released when John was at the apex of his popularity, and the songs served to continue his ride into the stratosphere. From the wry and yet poignant I'd Rather Be A Cowboy to the incredible smash hit Farewell Andromeda, John Denver showcases his incredible talents here. He was instrumental in firmly fixing the younger generation's sights and sensibilities upon the outdoors in general and on environmental issues in particular.”

“This has the unique feel of a real folk album, every track smoothly introduces the next, and John is right on target with each of them. John opens with a riveting performance of one of his finest compositions, I'd Rather Be A Cowboy. As the album continues you are treated to a wide variety of great tunes, from a cover of John Prine's Angels From Montgomery to the album's closing title track Farewell Andromeda. What separates this album is John's relaxed set of folk songs. You get the feeling that he is singing just for you. This is what he would play if he were with you in the mountains on a picnic.”

“Here you will find all that made John Denver and his music special, his love of nature and the environment and his knowledge of the human condition, without the sappy sentimentality that marred too many of his later albums.”

“The material is a real departure from what he usually records. There is a John Prine song in there, a Christmas song, a song about the Canadian Rockies, and it all fits together to form a relaxing, interesting record. I highly recommend Farewell Andromeda to any John Denver fan. It's different, and you'll be playing it over and over, just as I have.”

“Here's my guilty pleasure. I think Angel From Montgomery is the single best track JD recorded. It's a revelation, song and singer, that still knocks me out.”

Fantasy - CAROLE KING***

Fantasy Beginning/You've Been Around Too Long/Being At War With Each Other/Directions/That's How Things Go Down/Weekdays/Haywood/A Quiet Place To Live/Welfare Symphony/You Light Up My Life/Corazon/Believe In Humanity/Fantasy End

Fantasy heralded a change of direction for singer songwriter Carole King in which she moves away from introspective songs to create a concept album addressing the social problems of urban America. (US:6)

“Fantasy was a concept album for the ear and senses. The songs transition seamlessly into one another, which created a cohesive whole despite the wide range of styles and sounds. The blending of soul, pop, jazz and folk made it a laid-back and subtle listening experience. The music overshadows the lyrics in many places, which are simpler and more straightforward than in the past.”

“It is a very sophisticated album in its construction and presentation. The soul-styling of Welfare Symphony transitions into the string-laden You Light Up My Life, which moves on to the Latin-sounding Corazon and then onto the jazzy Believe In Humanity. And so it went throughout the album. It was all quite clever. While the tracks can stand on their own, when taken in succession, they have an added depth and formed a memorable whole.”

“With this album, King moved into more experimental (for her) realms. Writing the entire album herself, without an outside lyricist, she moves away from the introspective songs of Tapestry and its immediate follow-ups to examine the lives of others, in particular of those less fortunate. It’s presented as a concept album of two unbroken suites of songs that all segue together. Moving beyond the spare arrangements of its predecessors, for Fantasy Carole scored brass and string arrangements and experimented with Latin and funk styles.”

“The songs are mostly weak, tepid West-Coast adult-alternative rock with a couple intriguing feints toward funk. Corazon is Latin-nursery-rhyme drivel. The everywoman qualities that made Tapestry so appealing can't translate to this record.”

“After the radio-friendly pop of her previous four albums Fantasy marked a radical change of direction for Carole King. Instead of being a collection of relatively unrelated songs, it is a concept album, addressing the social problems of urban America. The album holds together successfully throughout, with a unity in musical style and at times quite a soulful feel.”

Space Ritual - HAWKWIND***

Earth Calling/Born To Go/Down Through The Night/The Awakening/Lord Of Light/The Black Corridor/Space Is Deep/Electronic No.1/Orgone Accumulator/Upside Down/10 Seconds Of Forever/Brainstorm/7 By 7/Sonic Attack/ Time We Left This World Today/Master Of The Universe/Welcome To The Future

The double LP Space Ritual was the first live release from the space-rock pioneers. Hawkwind. Recorded in 1972 at the Brixton Sundown and Liverpool stadium it showcases the distinctive bass playing of new member Lemmy. (US:179 UK:9)

“It is generally recognised that this is the place to start and (for some) the place to end with Hawkwind, as it acts as a greatest hits package of the period when Lemmy was anchoring the band with a huge (and creative) bass end.”

“Whereas many psychedelic groups of the early 1970s were either going explicitly in a prog-rock direction or more focused on texture than anything resembling rock music, Hawkwind, on their massive live double-LP Space Ritual, rock first and add texture later. Thanks in large part to recent recruit Lemmy, a rudimentary guitarist moved over to bass when he joined Hawkwind, his fundamentally solid slabs of rhythm guitar-style bass strumming behind the rest of the group allow them to, when the moment is right, explore the edges of psychedelia, generating swirling keyboard, guitar, saxophone and flute solos atop the group's driving rhythm section.”

“What we have here is the usual Hawkwind tripped-out space rock, but it's given such a thunderous, bombastic rendition that it's hard not to see most of these songs as the definitive versions of the material in question. Here, spaciness is achieved not through gentle, tranquil synth lines, but through sheer noise and hypnotic rhythms.”

“For many, this is the ultimate expression of space-rock, and the ultimate summary of still-somewhat-underrated cosmic rock legends Hawkwind. They take their already epic inspired space-rock, and put it in a live setting, with thunderous echoing vocals, twisted guitars and extended psychedelic jams. While they were already a great band, and would continue to be so, Space Ritual is essentially the album that consolidated them as masters of space-rock.”

“Hawkwind weren't the only band to mix prog-rock, heavy metal, stoner-rock, space- rock, hippy ideologies and lots and lots of acid, but they were the best at it. As a result Space Ritual is an all-out audio assault. This is a journey through a sea of spacey noises, with islands of spoken word and hard riffs poking up once in a while.”

Now & Then - THE CARPENTERS***

Sing/This Masquerade/Heather/Jambalaya/I Can't Make Music/Yesterday Once More/Fun Fun Fun - The End Of The World-Da Doo Ron Ron-Deadman's Curve-Johnny Angel-The Night Has A Thousand Eyes-Our Day Will Come-One Fine Day (Medley)/Yesterday Once More (Reprise)

At the time of release of Now & Then The Carpenters were at the peak of their popularity. However, this album cannot be recommended as a large chunk consists of sixties covers. Nevertheless it features two fine top three singles, Yesterday Once More and Sing. (US:2 UK:2)

“The Carpenters appear to be experts at taking out all the energy from these old classics. Take a listen to the original Da Doo Ron Ron by The Crystals or One Fine Day by The Chiffons, then listen to this; in both cases, it will be obvious what a dirge these covers are.”

“The Carpenters and their impeccable musical talent were truly underrated and much ignored by snobbish fans during the 1970s. However, their music has stood the test of time and this LP is the perfect example of their pop perfection. The musical arrangements provided by Richard are mind blowing and the vocal styling of Karen is timeless, honest and has become classic.”

“Richard's instinct for what makes a hit song was right on with Sing, a song originally written for the children's programme Sesame Street. The other tracks that make up side one show not only how varied Richard and Karen's taste in music was, but also how versatile they were as artists. What comes through is that every song feels right. Karen's voice just glides from one genre to the next, all the while carried by Richard's arrangements which are perfect for each song. However, whilst I love Yesterday Once More, which is, regrettably the only Carpenter penned tune on this set, the rest of side two has always been a disappointment.”

“It is basically a collection of 60s covers performed by The Carpenters, all linked together by some wacky west coast DJ. It is fun and Karen's voice suits the tunes they take on. Throw in a few originals and you have a great pop album.”

“It shows off the talents of The Carpenters superbly. There are so many great songs and the musical arrangements are so tasteful. The suite of pieces originally put together for the second side, beginning and ending with Yesterday Once More, includes some of the best interpretations of 60s songs you are likely to hear.”

A Little Night Music - BROADWAY CAST****

Overture & Night Waltz/Now/Later/Soon/The Glamorous Life/Remember/You Must Meet My Wife/Liaisons/In Praise Of Women/Every Day A Little Death/A Weekend In The Country/The Sun Won't Set/It Would Have Been Wonderful/Perpetual Anticipation/Send In The Clowns/The Miller's Son/Finale & Night Waltz

The Grammy winning musical A Little Night Music starred Glynis Johns and Len Cariou. It opened on Broadway at the Shubert Theatre and ran for 601 performances. Music and lyrics are by Stephen Sondeim. It features the song Send In The Clowns, later a hit for Judy Collins. (US:94)

“This is an incredible recording of one of the best Sondheim shows with the loveliest music. The voices are all incredibly distinctive, not all beautiful but totally riveting, showing that it takes more than a pretty voice to put over a song.”

“This show is one of the most amazing ever written. Stephen Sondheim's score is moving and intelligent and his lyrics are intriguing and provoking. The cast led by Glynis Johns and Len Cariou are amazing. Glynis John’s rendition of Send In The Clowns is one of the most wonderful versions of this song.”

“Like all the best Sondheim, this is a musical experience that only gets better and better with each listening. If you are a lover of rich, meaningful Broadway classics, this is a recording you must own. The original Broadway cast were flawless and all the cast performances are exceptional, I particularly enjoy Len Cariou with his deep, clear, and expressive voice and the marvellous, daffy, throaty, urbane Glynis Johns sounding every bit the distracted diva of the world.”

“The score is a wonderfully witty piece, following the foibles of the rich upper class in love. If you're a musical theatre fan, I highly recommend this LP. The singing is flawless, the meaning and feeling really come through, it's like heaven.”

“A Little Night Music has never been in better hands than with the original Broadway cast headed by Glynis Johns and Len Cariou. Sondheim's most intricate and beguiling score is sung with passion, wit and care by this superb cast.”

“This is the best recording of one of the finest musicals of all time. Romantic, lyrical, midsummer-magical, and beautifully sung. This is a long, complex waltz of sun and shadow, sweetness and sorrow, youth, life and death. Part of the attraction is the paradoxical juxtaposition of such lovely music with the deep and sometimes terrible actions and emotions of the characters: envy, lust, despair, infidelity and greed.”

Twice Removed From Yesterday - ROBIN TROWER***

Can't Wait Much Longer/Daydream/Hannah/Man Of The World/I Can't Stand It/Rock Me Baby/Twice Removed From Yesterday/Sinner's Song/Ballerina

Twice Removed From Yesterday is the solo debut album from the former Procol Harum guitarist Robin Trower. His departure came as no surprise as his more blues based sound was not an easy fit within a predominantly keyboard band. (US:106)

“Robin Trower's first solo album after leaving Procol Harum, shows him carrying on the musical style of Jimi Hendrix in the best possible way, stripping it to its bare essentials and adding R & B, soul, and funk influences to his hard rock. The result is a great album that still sounds timeless today.”

“Robin Trower steps out on his own and delivers a quite surprising slab of hard guitar oriented rock that's quite different from Procol Harum, who at heart were always a keyboard driven band. Twice Removed From Yesterday is anything but; this is loud and hard guitar rock. Trower unleashes an arsenal of thick and heavy chordal slabs, fiery and fluid Jimi Hendrix style runs, and sustain drenched gorgeously melodic lines.”

“What instantly strikes me about this album is the mood. It's dreamy yes, but underneath the beautiful guitar playing and vocal melodies I sense a fairly melancholy and depressing vibe. It's like being in heaven alone.”

“This is where it all began. I have been a fan of the work of Robin Trower since his days as a guitarist with the legendary Procol Harum. From the very beginning, you could hear in his play that he had something special, and that there was a musical pioneer yearning to blaze his own trail. Trower became more assertive in his influence on Procol Harum's sound until one fine day he took the leap that was to launch him into musical immortality.”

“If you enjoy real rock, or 70s rock or hard rock or even blues-rock, this is a must have. Starting off with a trio of what would become Trower's trademark sound, slow ethereal blues songs, mystic in nature. It’s a page out of Hendrix's book for sure. Trower though, takes the format and totally makes it his own.”

“What a debut. Robin Trower was in Procol Harum where his guitar was confined and controlled but given his freedom to rock, he really erupts.”

Wizzard Brew - WIZZARD***

You Can Dance The Rock & Roll/Meet Me At The Jailhouse/Jolly Cup Of Tea/Buffalo Station-Get On Down To Memphis/Gotta Crush (About You)/Wear A Fast Gun

After a short spell in ELO the former Move vocalist Roy Wood launched the new glam-rock group Wizzard. They quickly made their mark, with no fewer than four hit singles reaching the higher reaches of the UK singles chart in 1973, none of which appear on the debut album Wizzard Brew. (UK:29)

“I was surprised at how ridiculously heavy this gets. It is so aggressive at times that it's almost overwhelming, between the crushing guitar, deliberate noise and smatterings of free jazz.”

“This is glam rock at its artiest, noisiest, most psychedelic and, I suppose it goes without saying, most pretentious. It's an exhausting album, one most won't make it through, as any pop moments are fleeting or summarily brutalized by free jazz sax and waves of psychedelic sludge.”

“It's not fine work at all - the arrangements are towering chaotic heaps, with myriad instruments competing for the listener's attention - but then this is Roy Wood at his most unapologetic. Each track is different, but an air of decadent excess pervades throughout. It's hard to describe. The individual musicians are all highly proficient, but the conductor seems to have left the room.”

“It still sounds like nothing else before or since – this is the other extreme to the whimsy of Roy Wood’s solo Boulders album, with thunderous, almost cacophonic riffs and a few other diverse elements thrown in for good measure. Taken as a whole, you probably have to be a fan to get the full benefit of this album.”

“Wizzard Brew begins with a massive drum attack and there is a heavy stress on the brass throughout the entire album. Meet Me At The Jailhouse is mostly a duel between two saxophones. All the instruments, as well as the vocals, sound at the extreme limits of their possibilities, so the album gives an impression that it is the overture to the end of the world.”

“You want it, you name it, it is on this album. Much too convoluted for me and way too many horns. Basically, just a cacophony of noise.”

“The whole album is just crazed - even the Elvis pastiche Gotta Crush (About You) rambles around, covered in multiple layers of vocals, guitars, brass and piano.”

Behind Closed Doors - CHARLIE RICH****

Behind Closed Doors/If You Wouldn't Be My Lady/You Never Really Wanted Me/A Sunday Kind Of Woman/ Peace On You/The Most Beautiful Girl/I Take It On Home/'Til I Can't Take It Anymore/We Love Each Other/I'm Not Going Hungry Anymore/Nothing In The World (To Do With Me)

After many years struggling for national recognition country singer Charlie Rich struck gold with the acclaimed Behind Closed Doors. Features the US No. 1 and UK No. 2 hit single The Most Beautiful Girl. (US:8 UK:4)

“Accepting the greatness of these ballads was a milestone in my ability to accept and consider country music outside of Hank and Cash. So perfect the voice and the production. This is sappy as sappy gets.”

“I can't deny that this is Charlie Rich's best album. It's certainly his most famous record, and the one that propelled him to great fame and success in the country music field in the mid-'70s.”

“After his career had stalled, Charlie Rich, under the guidance of veteran country producer Billy Sherrill, refashioned his sound, adopting the countrypolitan style that was chic in Nashville ten years earlier. The result, Behind Closed Doors, transforms Rich into a male Patsy Cline. Sure, his voice is nowhere near as good as hers. But it manages to be an effective instrument nonetheless when backed with light strings and a honky-tonk piano. Like most good country it focuses on heartbreak.”

“Extremely strong songwriting throughout with no filler whatsoever. All the songs have very memorable melodies, some of them will continue to play in your mind while the record is long over, whether you want it or not.”

“Through age and experience, his success seemed to come through his sincere and commanding voice, sounding resigned to life's roller coaster but not drowning in his own syrupy sorrows.”

“Though Rich and Sherrill had been working on their sound for several years, the resulting albums were a hit-and-miss give-and-take between Rich's multi-genre leanings and Sherrill's pop sound. On Behind Closed Doors, Rich more fully surrendered to the role of country-pop crooner, finding a level of comfort that allowed him to star amidst Sherrill's layered, complex productions. It was a balance that became the template for 70s country pop recordings. In addition to the seamlessness of their combined sounds, producer and artist found superb material, offering smooth country and politely bluesy tunes that showed off Rich's soulful side.”