Obscured By Clouds - PINK FLOYD***

Obscured By Clouds/When You're In/Burning Bridges/The Gold Its In The../Wots.. Uh The Deal/Mudmen/ Childhood's End/Free Four/Stay/Absolutely Curtains

Obscured By Clouds was the soundtrack to a now largely forgotten film and is mainly instrumental. Unfortunately Pink Floyd albums during this period were very uneven although this problem would be spectacularly rectified with their next release. (US:46 UK: 6)

“Yes it's another soundtrack, but much more structured into proper songs. It's as straight forward rock as you are likely to get with the Floyd.” “Obscured By Clouds is one of Pink Floyd's lesser known albums, and being a soundtrack to an obscure film, that's rather understandable. However it must also be said that it's just simply one of their weaker efforts. Musically it sounds a lot like the albums it was released between, with some rootsy elements of Meddle, as well as some of the spacey rock that made Dark Side Of The Moon so popular. At the same time, it sounds more like a collection of outtakes and jams than a proper album. A good portion is instrumental, which is natural being a soundtrack, and while these songs are good, particularly Mudmen, they seem a little unfinished.”

“Does it's job as a film soundtrack, but as an album it's tedious, long, pretentious and above all boring. It was a huge chore to sit through all of this; absolutely nothing stands out, and this is coming from someone who likes most of Pink Floyd's work.”

“This is one of the band's more consistent albums. Both the instrumentals and the ‘normal’ songs are well-crafted and the album flows nicely from beginning to end, without a song really feeling out of place.”

“One of the things I love about Pink Floyd is their unpredictability and experimentation. Obscured By Clouds goes against both of these traits and comes out as a bland product. Many of the songs are simply repeats of the one before, and the synthesizers are tedious. The album just doesn't go anywhere to retain interest.”

“This is a pretty decent but bland Pink Floyd album. Some of the tracks are reasonably good like Mudmen which is an amazing instrumental, Free Four is a darkly funny track, the haunting Childhood's End, and the tribal ambient like Absolutely Curtains. But besides these songs the album is pretty bland and boring.”

Demons & Wizards - URIAH HEEP****

The Wizard/Traveller In Time/Easy Livin'/Poet's Justice/Circle Of Hands/Rainbow Demon/All My Life/Paradise-The Spell

Demons & Wizards continued the creative streak of the progressive band Uriah Heep, inexplicably denigrated by some music critics of the time. The first two comments make the valid point that the tracks on many albums of this period contained songs with a distinct individuality. (US:23 UK:20)

“When so much music sounds so alike, it's refreshing to go back to a time and find an album where the tracks all sound different. There's a trademark sound going on, mainly thanks to the big organ, which is almost cathedral-like at times, but all instruments can be clearly heard in the mix along with some great harmonies.”

“I firmly believe that this is the ultimate Uriah Heep album. The songs are all great, highly memorable, very melodic and each sounds unique from one to the next. It is awesome when you dig out a 70s rock album, listen to it and every song sounds different. A lot of rock bands back then sounded different from each other, which you certainly can't really say about bands now.”

“David Byron is at his peak as a vocalist here and his smooth and powerful voice is a treat on every song. Ken Hensley's amazing organ playing overpowers everything in its path and Mick Box's guitar leads are just outstanding. And the songwriting is amazing. This was one of the first albums themed around magic, sorcery, and ancient British legends.”

“The album took me to the playground of the wizards and sages of old. The beautiful acoustic guitar work on the title cut still sends shivers through my spine. The depth of the music transcends the shallowness of today's music. It has the ability to not only place you on a magic carpet ride, but guide you along safely.”

“Somewhat more firmly metal-oriented than previous albums, but still mainly existing in the sphere of progressive rock, Demons & Wizards combines often-goofy lyrics with dynamic, emotionally powerful music that can't help but raise a grin despite the cheesiness on display. Many of the lyrics would be laughable were it not for the complete sincerity and overwhelming force of their delivery, whilst the musical ideas are the strongest and most diverse the band had attained to date, This is how Uriah Heep should be remembered; with heavy organ and songs about wizards.”

Exile On Main Street - THE ROLLING STONES****

Rocks Off/Rip This Joint/Shake Your Hips/Casino Boogie/Tumbling Dice/Sweet Virginia/Torn & Frayed/Sweet Black Angel/Loving Cup/Happy/Turd On The Run/Ventilator Blues/I Just Want To See His Face/Let It Loose/All Down The Line/Stop Breaking Down/Shine A Light/Soul Survivor

Exile On Main Street was the sole double studio album released by The Rolling Stones. With fewer pop touches than normal it is described as a hybrid of rock, blues, gospel and country all mixed up together. Includes the UK and US top ten hit Tumbling Dice. (US:1 UK:1)

“Exile doesn't exactly typify the band at a songwriting peak, because the songs are more centred around the stripped blues chant form - there's none of their more lyrical songs here. This stuff's more rooted in performance, how all that energy really sounds, than on any kind of strict aesthetic.”

“The Stones might have loved dirty blues from the beginning, but until Exile it was always mixed up with pop touches and sweet bits in the melodies. On the other hand this is gritty, raw, real and uncompromising. It's a still a hybrid of rock, blues, gospel and country all mixed up together, but this is not a commercial record by any measure.”

“It is here that the band seem to have the greatest mastery over the numerous influences. They do soulful numbers well, they do raunchy hard-edged rock well, the ballads are beautiful and heartfelt. If you don't love this album at first, persist with it.”

“Never before or since did the Stones manage to create such a consistent and compelling mood that lasts from the first song to the last. It is a very stark album, both musically and lyrically. The songs are grooves over which Mick and Keith simply testify as to what's rattling around their heads - encounters with women, thoughts on life as a rock and roller, spiritual, moral and political questions, from the sublime to the base. In its own way, this is a confessional album.”

“The Stones’ Exile On Main Street is a tricky album to grasp upon introduction. Through the years it has been hailed as the band’s defining record by countless critics and fans alike. Despite its critical mass, there still lives a relatively large group that believes this double sided monster is highly overrated.”

“It fuses every aspect of American roots rock and roll: gospel, blues, jazz, folk, and soul, and without a doubt it's their most innovative album.”

Honky Chateau - ELTON JOHN*****

Honky Cat/Mellow/I Think I'm Going To Kill Myself/Susie/Rocket Man/Salvation/Slave/Amy/Mona Lisas & Mad Hatters/Hercules

Honky Château heralds a series of albums in which showman Elton John conquers the rock and pop charts on both sides of the Atlantic. Includes the UK No. 2 hit Rocket Man and US No. 8 Honky Cat. (US:1 UK:2)

“Honky Chateau was the first album to finally contain an identifiable sound for Elton John. His previous albums meandered from country-rock to gospel to symphonic to hard-rock to pop, it was hard to tell just what type of music Elton was trying to sing. However, Honky Chateau defined a style that was definitely his own.”

“Elton's real commercial breakthrough into the pop mainstream came with this strong and varied set just about the time glam rock was taking off in Britain. With its concentration on commercialism and glitz, Elton certainly changed his game, moving away from singer-songwriter seriousness to the showman now writing sharp pop songs with big choruses aimed at the charts.”

“Gone is the piano balladeer and in its place was the rock artist. While he would continue to produce elegant and beautiful ballads, his up-tempo material would be more energetic than in the past and would have some musical bite.”

“This is the Elton John album where it all fits together perfectly. The hits, the ballads, the rockers, and the oddball songs roll out one after another, complimentary to one other to make it all click.”

“John's strength is in producing songs that are easily accessible, yet have an underlying musical complexity that rewards repeated listens. He was at the forefront of re-introducing the piano at a time when rock music was dominated solely by guitar work. If there is anyone left that hasn't been introduced to Elton John, Honky Chateau is arguably the best place to start.”

“Elton John and lyricist Bernie Taupin were reaching the top of their game, but were still willing to stretch that little further here and there to make a song truly special. This willingness to go beyond the call of duty is evident in two genuinely effecting numbers, Rocket Man and the pretty Mona Lisas & Mad Hatters. Both songs are absolute stunners and worthy of the price of the album alone.”

High Low & In Between - TOWNES VAN ZANDT***

Two Hands/You Are Not Needed Now/Greensboro Woman/Highway Kind/Standin'/No Deal/To Live Is To Fly/When He Offers His Hand/Mr Gold & Mr Mud/Blue Ridge Mountains/High Low & In Between

Country singer songwriter Townes Van Zandt enjoys a cult following but achieved minimal commercial success during his lifetime. High Low & In Between features elements of country, gospel, folk and rockabilly.

“As is the case with all the Van Zandt albums I've heard High Low & In Between is full of drifters and dreamers, losers and triers, and lyrically it's difficult to find fault. Musically though the album just fails to engage.”

“This album features a variety of music from the comical No Deal, to the religious Two Hands, and then on to what I have come to expect from this great man, heartfelt music and lyrics of a supremely talented songwriter.”

“Less country sounding than many of his albums, this one has a little more of a singer/songwriter folk sound to it. Of course the spectacular songwriting is still in place and that's what really matters in a Townes Van Zandt record.”

“Townes hits gospel, country, folk (both piano and acoustic guitar), and rockabilly notes on High Low & In Between, with each song backed with his trademark songwriting prowess. This album is a Townes Van Zandt kaleidoscope and, although it's not my favourite, it's a good way to introduce yourself to the artist.”

“Van Zandt is usually accompanied by some subtle acoustic guitar, often combined with some bass, or even bigger band arrangements. He certainly has a skill for melancholy songs like You Are Not Needed Now and the title track that really get under your skin with simple melodies and some occasionally chilling lyrics. He does include a few upbeat numbers, though, like the great and humorous No Deal and the groovy Standin’. There are a few weaker tracks, most notably the gospel tunes which lack the personality that Van Zandt is so capable of injecting into a great song. Overall, though, there are some great highlights.”

Golden Hour Of - SANDIE SHAW*****

Puppet On A String/Message Understood/Nothing Comes Easy/Had A Dream Last Night/Long Live Love/Stop Feeling Sorry For Yourself/Hide All Emotion/Tomorrow/You Won't Forget Me/Keep In Touch/I'll Stop At Nothing/ (There's) Always Something There To Remind Me/Tell The Boys/I'd Be Far Better Off Without You/No Moon/Girl Don't Come/Think Sometimes About Me/Long Walk Home/Don't You Count On It/I Don't Think You Want Me Anymore/Stop Before You Start/How Can You Tell/If You Ever Need Me

Sandie Shaw was one of the most popular female vocalists in Britain during the mid 1960s. However, she was probably promoted more for her image than her vocal talents. Nevertheless she was an appropriate vehicle for many excellent songs by Chris Andrews which were collected together for the first time on this budget release.

“Everything you ever need to hear from 1960s pop princess, famous for her looks and style but to be honest, as a singer she was below average. That she ended up often lumped up with Dusty Springfield and other 1960s girls is funny because Shaw was actually not a singer at all, she was more like a model who somehow got pulled into showbiz and managed to achieve some level of celebrity with her TV appearances and hit singles.”

“She doesn't possess a great voice but it has an attractive homespun quality which coyly insinuates greater depths. If you're on the lookout for a Sandie Shaw collection then I can't see this compilation being beaten.”

“Iconic British pop vocalist. Sandie Shaw's endearing and instantly recognizable voice and girl next door appeal, married to the suburban sixties through the songs of Chris Andrews, made her a huge star with a golden run of hits.”

“The best thing her manager did for Sandie was to make Chris Andrews her songwriter. Though her first hit was a Bacharach composition, she couldn’t depend on getting more of his songs. Andrews wrote almost all of Sandie’s hits and had a real sense of both what suited her voice and what the British public wanted to hear. She had the perfect voice for his songs.”

“I found the material consistently compelling for three reasons - strong songwriting, excellent production and evocative vocals. If you have an appreciation for 60s British female vocalists, Sandie Shaw stands with the best of them.”

“Sandie was best suited to up-tempo material and that is clearly reflected in this collection. Chris Andrews wrote most of Sandie's hits. This compilation contains everything that most people will ever want of Sandie's music.”

Rio Grande Mud - ZZ TOP***

Francine/Just Got Paid/Mushmouth Shoutin'/Ko Ko Blue/Chevrolet/Apologies To Pearly/Bar-B-Q/Sure Got Cold After The Rain Fell/Whiskey 'N' Mama/Down Brownie

Rio Grande Mud was the follow up album from the blues-rock trio ZZ Top and predates their distinctive long beards and sunglasses image. They would achieve their commercial breakthrough with the next album. (US:104)

“Hard bluesy riffs with unique style speaks for itself: This album is something great, full of superb songs, great riffs and solos and awesome teamwork from this trio.”

“Pretty much a blues rock dominated album with some nice tunes which gives us a foretaste what will come with their next records. Also some nice slide guitar work on Just Got Paid and catchy boogie rock on Bar-B-Q."

“At the time of this release ZZ Top still didn't wear those idiosyncratic Judaic beards, nor the impenetrable mirrorized sunglasses. They were however already cool back then, delivering a simple but effective boogie metal, featuring cooler-than-thou guitar signature and vocals.”

“On Rio Grande Mud, ZZ Top made some good roots-rock and blues-rock. Unfortunately, this is not as well known as it deserves to be. The lead guitarist, Billy Gibbons, is excellent on his instrument, and comes up with a lot of very exciting solos, which is shown off well in the instrumental Apologies To Pearly.”

“Not their first, but the first truly killer Top album, this one's got some absolutely rock-steady bluesy boogie. Gibbons' dirty blues guitar tone is perfect, his playing tasteful, and the groove here is a mile-wide, but still tight.”

“The first side is quite brilliant. The deep bluesy riff to Just Got Paid is fantastic while the short pacing riff to Ko Ko Blue is really simple but also very catchy. Francine is just a simple but catchy rocker, while Mushmouth Shoutin' is a good blues stomp. Chevrolet is relatively inferior but still quite good. The instrumental Apologies To Pearly starts off the second side quite well. However Bar-B-Q suffers from muddy production, Sure Got Cold After The Rain Fell is a fairly cheesy ballad and the last two are just lame generic rockers.”

“Basic enough boogie and blues with a raw sound and rough production giving a bar-room feel to it. Billy Gibbons is a much underrated guitar player, he has a very distinctive style with his muted riffing and some cool slide playing.”

Waterloo Lily - CARAVAN***

Waterloo Lily/Nothing At All-Its Coming Soon-Nothing At All/Songs & Signs/Aristocracy/The Love In Your Eye-To Catch Me A Brother-Subsultus-Deboucement-Tilbury Kecks/The World Is Yours

Caravan, like many other Canterbury progressive bands, never succeeded very much commercially, despite their reputation for innovation and creativity. Waterloo Lily is more jazz influenced than previous releases thanks to the arrival of a new keyboardist.

“This album is slightly jazzier that the previous effort, due to the change of keyboardist, and is yet another masterpiece of the Canterbury sub-genre, which has lost absolutely nothing of its charm and wit over the years. This is classic prog of the highest calibre and an absolute must in any serious prog record collection.”

“They continue their move into more conventional directions. This one is semi-commercial soft rock with prog influences, guitar, keyboards, some flute and strings.”

“The most underrated of Caravan’s early albums. The addition of a new keyboard player brings the already mounting jazzy tendencies to the fore, and adds a bluesy touch. So, this is a different sort of Caravan album, but by no means bad.”

“This British prog band gets a new keyboardist and go for a much jazzier approach. Electric pianos replace the fuzzed out farfisa organ, plus some smooth and jazzy guitar parts. It's a change in sound and it works, still carrying the classic Caravan sound.”

“This recording has a decidedly jazzier feel than previous efforts but does not sway too far from Caravan's sound. As usual the musicianship is solid, as are the compositions. Following this effort Caravan would begin a slow but gradual decline in recording efforts with the comings and goings of members.”

“This is a very organized sounding band, even in their longer, improvised pieces. There is a strong jazz influence, but also some traces of classical and psychedelic rock. The lyrics range from hippie love type stuff to the bawdy title track. Pretty good stuff, and worth buying if you like progressive music.” “The music balances itself out rather nicely as an accessible album on many levels. The material ranges from rockers to love songs, over jazzy jams, which never let the overly catchy melodies get bogged down in repetition. This excellent balance between accessibility and technicality should have afforded them more popularity.”

The Road Goes Ever On - MOUNTAIN***

Long Red/Waiting to Take You Away/Crossroader/Nantucket Sleighride

The Road Goes Ever On was a live album from the American rock band Mountain taken from three separate recordings. The highlight is the 17 minutes long rendition of Nantucket Sleighride which takes up the second side. (US:63 UK:21)

“Mountain are not at their best on live recordings. This album is offered as verification. Though it does contain one of the better live versions on Nantucket Sleighride, the rest of it pales in comparison to the corresponding studio versions.”

“Not an essential hard rock live recording, as it's just not very exciting. The seventeen minutes Nantucket Sleighride has some moments, but I've heard much better hard rock tracks of that length.”

“Overall an excellent live album of a great American band in their prime, my biggest complaint is that the album is too short and with too many good songs not included.”

“Mountain always sounded better live than in the studio. Leslie West and the band gave a truly inspired performance on this record. Here you will find the absolute best renditions of Nantucket Sleighride and Long Red.”

“Side one opens with a superb rendition of Long Red from Leslie West's solo album Mountain which gave the group it's name. It is a great version of this rocker and leads nicely into the only brand new song on the album, the heavy ballad Waiting To Take You Away. The side ends with Crossroader a twelve bar with a bluesy feel. Side two contains only one track, but what a track. Nantucket Sleighride was expanded on stage to an improvised musical feast over seventeen minutes long, with all the band contributing to a workout which, despite its length, never gets dull.”

“Nantucket Sleighride is a legendary monster: this extensive workout of Mountain's centrepiece tune retains interest throughout, melodic variations on the theme traded between the bass, organ and lead, before bursting powerfully back into the chorus.”

“Though it lacks some of their more recognized tunes, it never the less manages to convey just about everything you need to know about the band. If you like the hard driving, pounding sound of Mountain you will love the live version of Nantucket Sleighride. It is a true Mountain jam session, starting slowly and building up to an unbelievable peak. Leslie West has never been better.”

The Only Truth - MORLY GREY***

Peace Officer/You Came To Me/Who Can I Say You Are/I'm Afraid/Our Time/After Me Again/A Feeling For You/The Only Truth

The Only Truth was the debut album from the American psychedelic rock band Morly Grey. Although released in 1972 it is believed that it was recorded some years earlier as it sounds more aligned to the music from that period.

“The hallmarks of Morly Grey are skilful finger-picking, good chord knowledge, and lovely, ethereal vocal melodies that help make the music sound more like 60s psychedelia than 70s hard rock. However, that's not to say that they don't play with plentiful spirit and some aggression.”

“Psychedelic pop/rock with a great sense for melodies and compositions with a quite spacey sound at times. High catchiness and good musicianship all the way through the album.”

“Very power-trio style hard rock, with some searing guitar passages and some prog influences.”

“Pretty cool garage psych rock, not bad at all. Relatively clean guitar sounds (for this genre anyway), but a fairly punchy sound anyhow. Nice songwriting with some good melancholy touches, and the drumming sounds awesome.”

“Really good trippy rural hard rock. Inventive arrangements, cranked guitars and spooky organ swirls are all here. Really groovy stuff with more than a slight downer feel to it.”

“The obvious hit here is the single, Who Can I Say You Are? which is the most psych song and the catchiest as well.”

“A spiritual journey through the angst and heartache of the late 60s. Morly Grey take you with them on a mystical jaunt though time and space with screeching guitar solos, melodic bass runs and frantic drum rolls. This truly is a classic.”

Right Now - WIZZ JONES***

Which Of Them You Love The Best/One Grain Of Sand/City Of The Angels/Raven/Right Now/Find A Man For You Girl/American Land/No More Time To Try/Mary Go Round/Deep Water

Wizz Jones was an English singer-songwriter and guitarist who began his recording career in the mid 1960s. Right Now is regarded as one of his best albums and was produced by folk musician John Renbourn who also provided some backing on sitar.

“For a British musician who comes from the folk scene, it sounds pretty much like a west coast country influenced release, very American. The sitar and harmonica contribution on Pete Seger's One Grain Of Sand by John Renbourn is marvellous. Most of the songs are written by Wizz himself or by Alan Tunbridge, a good friend.”

“Wizz Jones was one of the most important figures in the 60s-70s UK folk rock scene. After hearing this album you will understand why. He had an amazing acoustic guitar technique, and was unique in the way he experimented with different tunings. Includes originals and covers, some basically solo, and some with a band backing him (including John Renbourn on sitar on a couple of tracks). It also has a couple of eastern sounding songs.”

“This is the record which I like the most of all the Wizz albums. Right Now is even a bit more subtle in the arrangements and has some sitar involvement, which is great.”

“The sitar parts by John Renbourn who plays on this album are majestic, especially on One Grain Of Sand which has a dark beauty to it. The electric guitar parts go well with the acoustic parts, played by Jones himself, which of course remain the highlight of this album, and of his entire career as a revered acoustic guitar player.”

“Right Now is widely considered to be the finest album of his lengthy career, with a clutch of peerless original songs blending seamlessly with traditional material as well as a masterful interpretation of Pete Seeger's One Grain Of Sand.”

Dr John's Gumbo - DR JOHN***

Iko Iko/Blow Wind Blow/Big Chief/Somebody Changed The Lock/Mess Around/Let The Good Times Roll/Junko Partner/Stack-A-Lee/Tipitina/Those Lonely Lonely Nights/Huey Smith Medley/Little Liza Jane

For Gumbo Dr John the Night Tripper moves away from voodoo and psychedelia to record his interpretation of some classic New Orleans standards from the fifties and early sixties. (US:112)

“Gone is the Night Tripper and the voodoo. In its place is homage to the great music that influenced him.”

“Dr John moves away from voodoo and psychedelia and instead indulges in a set of classic songs celebrating the musical tapestry from his hometown of New Orleans.”

The arrangements are warm and swinging and the good doctor's raspy voiced takes on the likes of Big Chief and Junko Partner are a lot of fun and packed with energy and affection.”

“This is the Dr John album to own and it is an incredible collection of songs. Playing fluid licks over his funky left hand bass lines, a tight rhythm section, and tasty horn arrangements, you'll feel like you're right on Bourbon Street.”

“This album serves as an excellent showcase for Dr. John's keyboard skills. Gumbo is just short of classic status and one of the few cover albums that would make it onto that list for me.”

“Only one original song in this album of cover versions of fifties and early sixties New Orleans standards. The vocals are extremely poor, croaked and mostly unintelligible and the sound quality is indifferent, with not even the piano being well recorded and an over-loud compressed bass that detracts from the period feel. The simplicity of the songs is exposed without the compensating warmth and charm of the originals.”

“Sure his voice is gravelly and seems completely off, but somehow it just doesn't matter. These songs are all in good fun, and Blow Wind Blow seems like it should be playing in the background of my life. Happy carefree type stuff with some great musicianship going on as well.”

“This is New Orleans R & B with muscle and bite, with wonderful, punchy arrangements and inspiring musicianship. The song selection is near perfect, each gem tailor-made to showcase Dr. John's multi-faceted talent.”

Jazz Blues Fusion - JOHN MAYALL***

Country Road/Messin' Around/Good Times Boogie/Change Your Ways/Dry Throat/Exercise In C Major For Harmonica/Got To Be This Way

The title Jazz Blues Fusion describes what John Mayall was trying to achieve on this live recording. However, commentators considered it more blues than jazz. Backing provided by Blue Mitchell on trumpet and Freddie Robinson on guitar. (US:64)

“A perfect live recording from Mayall and his band. He has gathered a great backing band once again. This album is one of the more jazz-based albums ever recorded and I like this jazz-blues sound a lot.”

“It’s such great fusion. Mayall is one of the finest musicians ever and here he led this band to an awesome performance.”

“This is a set of excellent musicians doing what they do best. However the fusion here is not all that present, it starts out very bluesy, jazz only begins to shine through half into the album.”

“This album jumps all the way through. An excellent band, particularly the trumpet of Blue Mitchell while the guitar of Freddie Robinson is stellar, perhaps the best of a long list of great guitar players that have played on Mayall records. Truly a fusion of jazz and blues.”

“While this album isn't as ground breaking as Mayall would have you believe in the liner notes, it's nonetheless a fine album. Mayall hooked up with the excellent trumpet man Blue Mitchell and Jazz Blues Fusion was the result. Mitchell's playing here is nothing short of outstanding, and Mayall weighs in with what might be his best guitar playing ever. Granted there's a lot more blues than jazz here, but I think if it were the other way around, it wouldn't be as good.”

“There is something about this record that just works. It is a combination of Mayall's legendary ability to gather great talent and an exceptional live performance that really cooks. The Good Times Boogie cut is magical in its ability to remove you from reality.”

“The album title is a bit misleading, the tracks are mostly blues in rhythm and chord progressions, but with jazz overtones expertly scattered about. This is John Mayall's finest work.”

Blue Oyster Cult - BLUE OYSTER CULT***

Transmaniacon MC/I'm On The Lamb But I Ain't No Sheep/Then Came The Last Days Of May/Stairway To The Stars/Before The Kiss A Redcap/Screams/She's As Beautiful As A Foot/Cities On Flame With Rock & Roll/Workshop Of The Telescopes/Redeemed

Self titled well regarded debut album from the New York rock band Blue Oyster Cult. During the next decade they would build up a consistent fan base on both sides of the Atlantic. (US:172)

“Take a singer with a fascinating voice, an underrated guitar hero, two mind-warped brothers on the drums and on the bass, respectively, and a magic assistant on the keyboards: here you have the best American hard rock album of the decade.”

“Blue Oyster Cult had one of the greatest heavy metal debut albums in history which goes right for the jugular. It's a pale, debauched and ancient evil vampire that wants to take your life and leave you wasted at the roadside.”

“Blue Oyster Cult's debut is a very solid package with several highlights. My personal favourites include the beautiful Then Came The Last Days Of May and the really psychedelic Screams but most of the other songs are great too. The best known song is without a doubt Cities On Flame which is one of their signature songs. The biggest problem is that some of these songs are a bit too short.”

“The debut Blue Oyster Cult album leans more towards a hard rock approach than the proto-metal that would be unleashed on the next disc. In terms of atmosphere it occupies a very similar place - murky, moody, with dark shadows and sinister goings-on just out of sight.”

“Simply a great album with more original ideas than most acts have in their entire career. Every song works. I would not call this band heavy metal, it's more dark boogie rock with very tongue-in-cheek lyrics. So it's more fun than meaningful. Such a good time appreciating the playing, and escaping into lyrics that no one really understands, but who cares.”

“The heavy metal monster of the 70s is born, Blue Oyster Cult's debut burns with a lambent and evil aura that's unlike anything else in rock or metal history. From the thunderous opening assault you realize this is a band that has something very different to say. This is a classic of 1970s heavy metal, and truly a masterpiece.”

Willis Alan Ramsay - WILLIS ALAN RAMSEY***

Ballad Of Spider John/Muskrat Candlelight/Geraldine & The Honeybee/Wishbone/Satin Sheets/Goodbye Old Missoula/Painted Lady/Watermelon Man/Boy From Oklahoma/Angel Eyes/Northeast Texas Women

Eponymous sole album release from Texan country artist Willis Alan Ramsey. He enjoys a cult following from fans of Americana and his music comprises elements from folk, country and blues.

“His music combines all kinds of elements from folk, country and blues, the kind of music we'd now call Americana. His songwriting is very strong. Every track is a winner, but Muskrat Candlelight with its Eagles like harmonies, the folky Satin Sheets and the Woody Guthrie tribute Boy From Oklahoma stand out. The arrangements are also never less than interesting.”

“It's one of the true classics, a must-own even if you don't think you like country or folk. Ramsey's songwriting ability and unique voice really make this record stand out.”

“This record is truly a masterpiece. Every cut is a real gem. Angel Eyes and Northeast Texas Women are my favourites. Goodbye Old Missoula is one of those songs you never forget.”

“About halfway through the album it occurs that you're listening to a country record and liking it. The musicianship is fantastic. There isn't an annoying abundance of steel guitar. The final track is the most entertaining.”

“This album has the sincerity and honesty of one of the most talented songwriters of a generation. Besides Spider John, my favourite has to be Geraldine or Northeast Texas Women. If you have never heard of this music, do yourself a favour and get it.”

“His musical genius has never been recognized. Each of his songs will take up residence in your mind, if your ear is open. There is a haunting quality to the straight forward lyrics. His soulful voice tells the listener that a human being has tried to face life, and come out of it with his values intact. The inability to categorize Ramsey, shows a genuine artist at work. Do yourself a favour; get Willis into your collection.”

Sailin' Shoes - LITTLE FEAT***

Easy To Slip/Cold Cold Cold/Trouble/Tripe Face Boogie/Willin'/A Apolitical Blues/Sailin' Shoes/Teenage Nervous Breakdown/Got No Shadow/Cat Fever/Texas Road Café

Sailin’ Shoes was the follow up album from the Los Angeles rock band Little Feat. It received a degree of critical acclaim at the time that would be translated into commercial success within a few years.

“Little Feat follow up their great debut album with a little more polish, and it works because while they smooth out some edges, but don't mess with the soulful heart of their music.”

"Sailin’ Shoes sees the band expand their sound and influences, skipping across genres with effortless ease. If the debut had suffered from the odd misstep then the follow up is marred by no such faults, it's as near perfect as 70s rock music has to offer.”

“It contains some of the catchiest southern rock songs you'll ever hear. There's not a single track that’s filler, and you come to believe that every track is played for a purpose and resonates with a deeper meaning.”

“This is as close to a perfect album as Little Feat recorded. Definitely their best work. In time they would record more adventurous and experimental tracks, but this is the album where it all came together. Great writing and playing with amazing vocals, it's all here, and proves why Little Feat are perhaps the most underrated band of all time.”

“Instantly likeable bluesy rock, country blues, piano boogie, country, raw blues, with a ballad, and a furious rocker. The moment you hear the fabulous intro of Easy To Slip, you know that Sailin' Shoes is the record to put on when you want to introduce Little Feat to someone unfamiliar with the band.”

“The songs have very memorable melodies, great arrangements and lasting power. A mix between ballads and rockers, the band does both well which helps to balance out the album.”

“Little Feat really got going on the second record, and it shows on this one. A great mix of blues, rock, gospel and more.”

Still Bill - BILL WITHERS***

Lonely Town/Lonely Street/Let Me In Your Life/Who Is He (And What Is He To You)/Use Me/Lean On Me/Kissing My Love/I Don't Know/Another Day To Run/I Don't Want You On My Mind/Take It All In & Check It All Out

Still Bill was the follow up album from relaxed soul artist Bill Withers. It ranges from love ballads to arousing funk and touching laments. Includes the US No. 1 Lean On Me and No.2 Use Me. (US:4)

“Bill takes it to the next level. His second LP is slightly more arranged and geared toward a soul audience than his underrated yet smashing debut, but he still retains his charismatic style of understatement, and gets you on your feet wherever you are, grooving to his irresistible rhythms.”

"Lean On Me is the ballad you know. It works so well due to Wither's voice. I love his kind of singing. He knows that he does not have the natural growl of a Wilson Picket or the amazing balladry of Otis Redding. But he sings with the intimacy of talking, raising his voice with such ease of the notes. This is not showmanship, but direct communication.”

“Not only because the hit singles Use Me and Lean On Me are included, its more the tight and funky arrangement and the excellent songwriting which enthrals the listener. From beautiful smooth love ballads and arousing funk, to sad and touching laments, this record has got it all, and stands among the best soul albums of the 1970s.”

“This hasn't aged a day, being brooding folk-soft rock-soul that is intimate, beautifully performed, and a wonderful showcase for Withers' voice.”

“It's difficult to imagine anyone not responding positively to the earnest sentiments and warm tone of both the music and Wither's voice. There's nothing scary here, but there's also nothing that's too trite. This is deeply human music that actually makes me think of rainbows and silver linings and other mainstream sentiments without wanting to gag or put on my hipper-than-thou shoes.”

“The record's a perfect summation of all that made Bill so great - raw real vocals, sweet soulful production, excellent songwriting and effective use of acoustic guitar to give a nice down home feeling. Plus, the arrangements are funky in the best parts.”

Jeff Beck Group - JEFF BECK GROUP***

Ice Cream Cakes/Glad All Over/Tonight I'll Be Staying Here With You/Sugar Cane/I Can't Give Back The Love I Feel For You/Going Down/I Got To Have A Song/Highways/Definitely Maybe

Virtuoso guitarist Jeff Beck’s albums were always more popular in the USA than in his home country. This one was recorded in Memphis and his group broke up shortly after release. (US:19

“The main problem with this album is the lead singer, who sounds like he is doing anything he can to sound both soulful and heavy. The result is too close to a spoiled middle class teenager whining about not having Mum's permission to go to Woodstock. Sometimes the song material is not very good either, and the nearly seven minutes Going Down is definitely where those downsides meet.”

“Pretty good but like all Jeff Beck Group albums, it just doesn't manage to be able to attain true classic status or greatness. They simply never had the power, innovation, songwriting or chemistry that made groups like Cream and Led Zeppelin great.”

“The band's decision to record this album in Memphis, has proceeded to change their sound noticeably from their previous release. It is much less heavy, and the material is mostly soft, soul flavoured rock, with some blues, featuring slide and some wah-wah, guitar. Though the emphasis seems to have been lifted from Beck's playing, it is only his input that salvages much of this record. Still good, it is clearly off the pace of its predecessor.”

“A good, jamming record with a jazz-fusion, blues kind of vibe. Some of Jeff's nicest guitar solos and licks are here. A nice record that's not one of the best of all time.”

”Jeff Beck's playing is superb throughout but unfortunately the majority of songs are weak. Going Down and Definitely Maybe are the only worthwhile songs for me.”

“Cozy Powell lays down some sweet grooves on this very blues/soul flavoured album. Beck seems somewhat restrained, maybe saving himself for his extra-terrestrial jazz explorations to come.”

“I love Jeff Beck but not this album. The material is not so good. The guitar is still there but not much else.”

Portrait Of Donny - DONNY OSMOND***

Puppy Love/Hey Girl/Going Going Gone (To Somebody Else)/I've Got Plans For You/Promise Me/Let My People Go/All I Have To Do Is Dream/Hey There Lonely Girl/Big Man/Love Me/This Guy's In Love With You

Portrait was Donny Osmond’s breakthrough album in the UK. For the next couple of years he would be massively popular with Britain’s pre-teen girls. Includes the UK No.1 and US No.3 Puppy Love. (US:6 UK:5)

“Includes his career song Puppy Love along with fun tunes like the highly catchy Going Going Gone along with his lovely ultra-smooth take of This Guy's In Love With You. It's a superb album, really and I'm delighted to hear one of my favourite Donny songs, Let My People Go.”

“These songs are great to listen to anytime. Donny makes them all sound special with his natural talent even though he was so young when they were recorded. It really shows you just how much genius Donny had.”

“There's not a bad track here; and Donny does a fine job of handling so many covers with panache, all the while playing with the tempo and keys a bit to put his own stamp on these numbers. Puppy Love is a beautiful start to the album; the lush musical arrangement really helps to make this stunning. The others all shine bright in Donny's capable hands; he sings with all his heart and soul and just one listen proves it.”

“As usual, most of the songs are remakes of 50s and early 60s hits. The thing is, Donny’s versions were always better than the originals. He is such a good singer, how can anyone who likes pop music not be impressed and charmed by him? He is simply amazing and more talented than any other young performer in history.”

“These songs may not stand among the greatest artistic achievements in the Osmond family canon, but they are well-produced, professionally enacted and, as easy listening love songs go, utterly immune to criticism.”

Phantasmagoria - CURVED AIR***

Marie Antoinette/Melinda (More Or Less)/Not Quite The Same/Cheetah/Ultra Vivaldi/Phantasmagoria/Whose Shoulder Are You Looking Over Anyway/Over & Above/Once A Ghost Always A Ghost

Phantasmagoria was a disappointing third album from the classically influenced progressive group Curved Air. None of the tracks reached the standard of their first two releases. (UK:20)

“Hugely disappointing, lightweight and second rate. I expected something more tuneful and less hippyish. It doesn't swing, it doesn't groove, it is sounds school-lacking in charisma totally.”

“Mostly this is intellectual melodic rock, which makes a couple of experiments seem even weirder (the grotesque musique concrete Whose Shoulder). The highlight though is Over & Above, a tour-de-force of stylistic transformations: from Broadway, to manic gypsy violins, to hyperactive brass, to fluid Canterbury jam, to spy-soundtrack, and so on.”

“The first two tracks, closer to serious progressive folk/rock, are the strongest cuts, particularly the sublimely beautiful, soft and delicate Melinda. The rest are a strange collection of musical curios, a markedly soft-sounding somewhat playful light pop, not withstanding progressive musical development and the ever-immaculate violin of Daryl. The title track is poppy but reasonably catchy Whose Shoulder is a slice of experimental ambience, not especially grating but not arresting either. Overall, despite plenty of subtle dark vibes through the lyrics, this is emotionally and musically a rather light disappointment.”

“All the energy and joy is totally missing, why couldn't they have fun and let go? Melinda is the only good song, it's a nice ballad that suits Sonja Kristina's voice. The others are more or less irritating or insignificant.”

“The haunting acoustic piece Melinda replaces the standard guitar solo with a gorgeous violin solo over delicate acoustic picking. If the tragedy Sonja sings of doesn't get to you, this solo certainly will. The electric violin is in fact all over this album and gives it a fairly unique sound. The Phantasmagoria suite that fills the second half of the album holds together as a musical over the course of four different thematic changes.”

Live In Concert With The Edmonton Symphony Orchestra - PROCOL HARUM****

Conquistador/Whaling Stories/A Salty Dog/All This & More/In Held 'Twas I

Progressive British band Procol Harum team up with the Edmonton Symphony Orchestra to deliver their most successful US album. Recorded live at the Northern Alberta Jubilee Auditorium, Edmonton in November 1971. (US:5 UK:48)

“Many rock acts have at various points in time worked with a classical orchestra and some have failed miserably, but here the collaboration mostly works. Some of the compositions are given a boost that lifts them to a higher level than the original studio versions. The orchestration works with the compositions and not against them which is generally the problem on other failed attempts at pairing a rock act with a classical orchestra.”

“This is Procol Harum presented in the perfect context for their musical aims and objectives. Prog-rock, symphonic rock - name the band's milieu, and it is here, with a symphony orchestra, allowing the band's musical roots to be highlighted in all their classical glory. There have been many abortive attempts at fusing rock and classical music in a live venue, but most have failed. In contrast here Procol Harum succeed brilliantly, as their music was already scored for an orchestra.”

“Not many rock bands can pull off playing with an orchestra, but Procol Harum definitely can. In fact, the orchestra really enhances the sound, and makes it so much more full and alive. After hearing this album, I actually find it harder to listen to their regular studio work without the orchestra.”

“This was a very ambitious undertaking and consists of a series of Procol Harum earlier compositions arranged especially for a symphony orchestra playing with a rock group. Although not the first such attempt, this was by far one of the best efforts ever attempted. The band's music suits the classical idiom better then any music written by their contemporaries.”

“This type of venture has been tried many times with disappointing results. The key here is that there are very few groups whose music fits as well with an orchestra as Procol Harum. Overall, this is a great example of how classical and rock can work together without becoming an overblown mess.”

Roberta Flack & Donny Hathaway - ROBERTA FLACK & DONNY HATHAWAY***

I (Who Have Nothing)/You've Got A Friend/Baby I Love You/Be Real Black For Me/You've Lost That Loving Feeling/For All We Know/Where Is The Love/When Love Has Grown/Come Ye Disconsolate/Mood

This was the first collaboration between soul artists Roberta Flack and Donny Hathaway. Some critics consider it to be too mawkish and ballad heavy that did not do full justice to their talents. Includes the US top 5 his single Where Is The Love. (US:3 UK:31)

“Where Is The Love is the only song that stands out to me, it has a great classic soul feel. The rest just don't come close sadly. Not terrible by any stretch, but hardly an album that deserves repeated listens.”

“I love Donny Hathaway's solo records, and I can tolerate Roberta Flack, but besides the pleasant, well executed vocals on this one, it leaves me cold. In hindsight, it could be argued that this album set a dangerous precedent for ballad heavy, somnolent soul. This is background music, as opposed to music that you can put on, absorb and enjoy.”

“I tried my best to like this record but with the exception of a couple of songs it's too mawkish. Although, there's nothing too bad about it, as both Hathaway and Flack are great performers, the line-up of musicians is above any reproach, the arrangements are quite interesting. All this suggests that this is an important soul record, but it's not.”

“If you're attracted to the silk-meets-grit and thoughtfulness of Hathaway's own records, beware, this is much lighter in tone and for the most part he's restricted to harmony vocals. That said, if it's a slightly gooey confection there's still something strangely appealing; partly it's the playing, which is both restrained and funky, and the gentle, wistful mood. Plus Where Is The Love, which has to be the most cheerful song about a bitter break-up ever.”

“Flack and Hathaway were born to sing together. Their voices blend perfectly here and their phrasing is perfectly matched. The material selected is very good as well, if a bit ballad heavy. It's a pity that they weren't able to do more work together. Recommended for anyone interested in '70s soul ballads.”

In Concert - JANIS JOPLIN****

Down On Me/Bye Bye Baby/All Is Loneliness/Piece Of My Heart/Road Block/Flower In The Sun/Summertime/Ego Rock/Half Moon/Kozmic Blues/Move Over/Try (Just A Little Bit Harder)/Get It While You Can/ Ball & Chain

A posthumous double live album from the dynamic vocalist Janis Joplin. It is divided into two halves, the first from her time with Big Brother & The Holding Company, the second with her later backing band Full Tilt Boogie. (US:4 UK:30)

“A great double-disc live album. The first record includes her performances with Big Brother and the Holding Company and the second her live material with the Full Tilt Boogie band. Both are great performances with Joplin's raw vocals. This material is a must-listen for all the Joplin fans around the world.”

“Captured both with Big Brother and the Full Tilt Boogie Band they are testimony to the unrestrained passion Janis squeezed, stretched, tore to pieces and then injected with the energy of an hurricane and made unique every song she performed on stage.”

“Since Joplin was known primarily as a live performer, her studio work was often viewed as a kind of compromise at best. Cheap Thrills had some live vocals and simulated a Big Brother concert effectively, but it never claimed to be the genuine article. So Columbia assembled these tracks from several different live performances with Big Brother and Full Tilt Boogie.”

“Joplin In Concert is an exciting enough live set, and full of life. It starts off like all good live alums should with a rousing crowd pleasing anthem in Down On Me, which should be played loud for maximum effect, followed by one of my personal favourites Bye Bye Baby, a beautiful slow blues, Janis always sounded so smooth here.”

“There is a subtle difference between both groups on this album, Janis obviously showed her skills as being the voice that led the group rather than vice versa and Half Moon, one of the better songs on the Pearl album shines here in its live version as does Move Over. The two years difference have taken their toll on Joplin and she does sound slightly jaded and her voice, due to alcohol consumption, sounds weak, but she always had spirit and still gives her all and Kozmic Blues is a beautiful, personal and spiritual song. The album ends on a high note with a solid version of Ball & Chain which is indeed a show stopper and a very fitting way to end a memorable live album, a fitting tribute.”

Live In Europe - RORY GALLAGHER****

Messin' With The Kid/Laundromat/I Could've Had Religion/Pistol Slapper Blues/Going To My Home Town/In Your Town/Bullfrog Blues

Irish blues-rock guitarist Rory Gallagher was always more appreciated as a live artist. Most of these tracks are classic blues songs that he had not previously recorded in the studio. (US:101 UK:9)

“From the first song Messin’ With The Kid Rory's guitar comes out swinging. Backed by excellent bass and drums, this power trio delivers rock and blues at its best. Perhaps no song among this fine collection shows just what a high level of playing this trio was capable of than Bullfrog Blues.”

“There is simply no way that one can listen at any length to Rory play one scintillating solo after another and place him outside the top ten guitarists in the history of rock. He was never terribly popular and even now is not especially well known to the public at large, but the fact is that he had utter mastery over his primary instrument. And unlike most guitarists, Gallagher was a multi-instrumentalist.”

“The album captured Gallagher and his group in prime form. Pure blues; extended rave-ups such as Messin' With The Kid, Gallagher's own blazing Laundromat and the stark and haunting harmonica and slide-guitar driven I Could've Had Religion weren't exactly fancy, but more than compensated for the raw sound with their driving enthusiasm. Electric blues simply didn't get much better than the nearly ten minutes of In Your Town, or the mandolin powered Going To My Home Town.”

“From the pounding groove the band inflicts to the opening Messin’ With The Kid, to the short bass and drum solos in the infectious boogie of Bullfrog Blues, this album is a true live feast and a testament to the level of musical empathy these guys had reached. Besides the power trio relentless drive of the aforementioned, it also offers the dragged and punchy, slide guitar and harmonica driven I Could’ve Had Religion, the mandolin craze of Going To My Home Town and the solo acoustic folk blues guitar mastery of Pistol Slapper Blues.”

“It's difficult to hear what Rory is saying during this concert but his guitar playing, whether electric or acoustic, is worth every penny as always. The man was a genius on the instrument.”

“It was once said of Gallagher's live shows that they'd start with the encore and go on like that, this is how this record goes.”

Argus - WISHBONE ASH****

Time Was/Sometime World/Blowin' Free/The King Will Come/Leaf & Stream/Warrior/Throw Down The Sword

Argus is the most acclaimed and best known album from the British rock band Wishbone Ash noted for their innovative twin lead guitar sound. However, their commercial appeal would now gradually diminish. (US:169 UK:3)

“Wishbone Ash's most celebrated album is essentially a heavy folk-rock disc with an innovative twin lead guitar sound. The guitar heroics are impressive enough to make the album of interest to prog fans, and as far as classic rock albums in general go it's well worth your time.”

“One of a handful of certified classic rock albums. Perfect in every sense of the word, with a singular sense of purpose and direction most others lack. This is the real deal.”

“Intelligent songs, beautifully structured yet still powerful, fluently and masterfully played. Listen to how the rhythm section reels in the twin guitars every time they threaten to noodle, in that gorgeous harmony that became the Ash trademark.”

“This is a milestone of the hard rock genre with emphasis on the melodic side of the music. Not as heavy as Sabbath or Deep Purple but in terms of melodic consciousness this one is far better. The dual guitars are close to perfection and the song craft reveals a classy quality. I don't see this as progressive rock but as a flawless piece of excellent hard rock music.”

“Every song on the album is incredible. The melodies and harmonies are infectious and the musicianship is impeccable. Even the vocals (never their strongest suit) sound good. But it's the double leads on Argus that make this the best twin guitar album ever.”

“Aside from the fact that some of the songs are fairly long, there is very little about this album that is progressive. It's really more hard rock with some grandiose themes and a few slightly longer songs. There's some decent playing, with OK guitar here and there, and a few catchy hooks and melodies, but I was struck by how generic the whole thing sounds for something with such a reputation as a classic.”

“Good and mellow tunes for relaxing to and winding down the day. There are some heavier parts too, and give the songs a nice warm feel. I personally would have preferred more heaviness, psych and darkness.”

Bolan Boogie - T REX***

Get It On/Beltane Walk/The King Of The Mountain Cometh/Jewel/She Was Born To Be My Unicorn/ Dove/Woodland Rock/Ride A White Swan/Raw Ramp/Jeepster/Fist Heart Mighty Dawn Dart/By The Light Of A Magical Moon/Summertime Blues/Hot Love

Bolan Boogie was an opportunist compilation released at the height of T. Rex mania. If featured some of his recent glam-rock hits, but also provided his newly acquired teen girl fans with an opportunity to hear his earlier hippy trippy material. (UK:1)

“A very varied and somewhat incoherent mixture is presented on this fine compilation, depicting Marc Bolan's unusual transformation from hippie fantasy bard to glittering pop giant.”

“Issued at the height of Bolan mania, this compilation united his early hit singles plus b-sides and a few assorted album tracks from his last, transitional Tyrannosaurus Rex releases and the first two T. Rex albums. This means that the listener encounters Bolan's primitively recorded spaced-out myth-psychedelic-folk as well as the rougher, reduced and simplistic boogie-pop that made him famous.”

“A canny compilation aimed at the unexpected chart success of Marc Bolan after plugging away on the British music scene since the mid-60s. Suddenly, almost overnight he went from acoustic underground cult act to electric teenybopper idol.”

“This early compilation stands out as an absolute gemstone in the career of Marc Bolan, and has well endured the ravages of time. Tracks such as By The Light Of A Magical Moon and She Was Born To Be My Unicorn, are steeped in Celtic myth and Tolkein fantasy from the peak of latter day Tyrannosarus Rex. Then we move on to the delightful halcyon days of electric T-Rex.”

“Bolan was pure dazzling genius, and combined with the expertise of producer Tony Visconti, he could do no wrong in the early 70s. Overall a splendid, flawless insight into Bolan's art and unique talent.”

“Bolan Boogie was released just as T. Rextasy was sweeping England, the album shot to number one in the UK. The album includes the band's first glam rock but also contains Bolan’s earlier acoustic work in Tyrannosaurus Rex, which was an early incarnation of T. Rex before he discovered glam rock. The album makes for a great contrast in listening as the band shifted styles and musical gears.”

World Of - THE TORNADOS*****

Telstar/Love & Fury/Popeye Twist/Globetrotter/Robot/Jungle Fever/The Ice Cream Man/Dragonfly/Monte Carlo/ Blue Blue Blue Beat/Exodus/Hot Pot

This budget album includes all of The Tornados hit singles, plus some B sides and later releases. They had a highly innovative sound created by the legendary producer Joe Meek. Only one of those shown on the misleading cover was from the original classic line-up.

“Telstar is a soaring, unstable bottle-rocket of a song. There's a naive optimism here, this song speaks of astronauts, satellites and signals beamed into deep space. This was basically a visionary and glorious slice of early '60s pop that will be instantly familiar to millions.”

“Telstar is a soaring wonder of a song, a utopian hymn to 1960s Britain, to the generation who'd never had it so good.”

“At the time it probably seemed quite futuristic, now it just sounds ever so retro-futuristic. As a flashback to a time when TV was black-and-white and the weapons race was going at full throttle, this is second to none.”

“Meek was a great producer who created music that was raw, quirky and incredibly inventive. This collection is way more fun than anything put together from the Phil Spector’s Wall of Sound approach.”

“The surreal organ sound mixed with a galloping rhythm and a catchy melody catapulted Telstar to the top of the charts on both sides of the Atlantic. This was a fantastic track with really new sound.”

“Record producer Joe Meek had plenty of success in the early sixties, but none of artists became consistent hit makers. In this, the Tornados were typical. They had one huge international hit that went all the way to number one in Britain and America, but while they had other hits in Britain, they are only really remembered for one track, which is of course Telstar.”

“There is something sweeping and eerie to this organ music, combined with harps and fleeting background voices that made Telstar the first UK No.1 in the US. If you listen to this LP you get the chance to hear many more similar tunes, each a bit different, but all wonderful.”

Recall The Beginning - STEVE MILLER BAND***

Welcome/Enter Maurice/High On You Mama/Heal Your Heart/The Sun Is Going Down/Somebody Somewhere Help Me/Love's Riddle/Fandango/Nothing Lasts/Journey From Eden

Recall The Beginning was released during a slump in the fortunes of Steve Miller. It was his last to feature prominently his blues-rock sound before he transitioned to more radio friendly songs. (US:109)

“This was Miller’s last LP before finding the formula that would bring him massive commercial success starting with The Joker. Structurally, it follows a format often seen in progressive rock of the era, in which side one is relatively conventional while side two is used to stretch out more.”

“The record before he found his commercial groove, it showed all the signs of good things to come without any radio hits.”

“Side one is above average song craft, but side two is something else again. Stellar writing and arrangements that float by in a dreamlike sequence that's capped with the superb Journey From Eden. It's the closest he would ever come to a suite of material that's almost art.”

“Quite an eclectic collection of tunes with a lot of musicianship that I think had gone unappreciated when this album came out.”

“This was the last album before Miller went radio friendly pop. But there was a time Steve led a San Francisco psychedelic rock group. This album is split between a tribute to early rock styles and a farewell to his particular style of bluesy acid rock. This mix of styles probably didn't do album sales any favours which is too bad since it contains some of his finest work.”

“This is a real evergreen favourite for me; side two in particular is simply gorgeous. This album is so much better than later, more commercial Steve Miller. A real shame that this never received the praise it deserved when first issued.”

“Released during the less known years of Steve Miller. Not psychedelic, or disco-pop, just blues-rock with several good songs.”

“The second side of this album has always been one of my favourite song sequences. Starting with Lover's Riddle each song dreamingly leads into the next until it closes with the hauntingly beautiful Journey From Eden.”

In Spite Of Harry's Toenail - GNIDROLOG***

Long Live Man Dead/Peter/Snails/Time & Space/Who Spoke/In Spite Of Harry's Toenail

Strangely titled debut album from the British progressive rock group with the unpronounceable name Gnidrolog. They expressed themselves through a wide range of musical styles, making it difficult to pin them down to any particular genre.

“It's easy to categorize Gnidrolog's sound as a cross between Van Der Graaf Generator, Lizard era King Crimson, and early Gentle Giant, but this music is in no way derivative. Emotionally intense and at times frighteningly difficult, on their very first record the band has succeeded in crafting a unique brand of eclectic prog that repeatedly challenges the listener without resorting to overly baroque instrumentation.”

“These guys can create all the atmospheres they want, from cello and flute, baroque like reminiscences as in Peter, to wild free guitar, horn and oboe improvisations over a bashing rhythm section at the tail end of Snails, or finger-picked, folksy inspired acoustic guitar parts as on Who Spoke, but always deliberately keeping the sound spectrum free from overdubs so nothing gets lost.”

“A pretty messy and inconsistent album. One moment they're playing some oddball rock music, sometimes even getting weird to the point of sounding like some mad men abusing their instruments, other times there’s some pretty jazzy folk, then some oddball psychedelia, etc.”

“The title track which closes the album is easily the best song here. Time & Space is also OK but most of the other material sounds rather boring. Even if this album has two clear highlights its still way too inconsistent.”

“The compositional side of the album is a mix of different eclectic prog-rock, with various moods that range from pastoral folk to heavy guitar riffs, not exactly what you would expect from an obscure band buried under the shades of time.”

“Features fairly non-commercial and often discordant prog-rock, with some hard rock passages, all in a concept album style.”

“The sole purpose of every song is to contort the ideas of harmony and dissonance. The tracks have distinctive melodies yet executed in a way that gives it a discordant type of sound.”