Beck Bogert & Appice - BECK BOGERT & APPICE***

Black Cat Moan/Lady/Oh To Love You/Superstition/Sweet Sweet Surrender/Why Should I Care/Lose Myself With You/Livin' Alone/I'm So Proud

A unique collaboration between Ex-Yardbirds guitarist Jeff Beck and two former members of Vanilla Fudge. Features a mixture of genres, including some ballads. (US:12 UK:28)

“Power trio hard rock at its best. A mixture of genres, and they are all great. Funk, soul, psych, bluesy hard rock are all over this LP. Toe-tappers are scattered throughout. Jeff Beck was rarely better. If early 70s rock turns you on, this album will too.”

“Tim Bogert and Carmine Appice, formerly with US psychedelic rock group Vanilla Fudge, and Jeff Beck, legendary guitar player with The Yardbirds, teamed up together to perform some blue-eyed soul-funk-blues-hard rock.”

“This album is a rather odd mixture of stomping proto-metal and some rather lame ballads. It seems strange that a power trio with this much raw firepower would put out so much soft material. It's almost like they were scared of what they could do. Buy it for the hard stuff.”

“Jeff Beck's opportunity to try something different and flex his guitar muscle in a power trio format. Beck Bogert & Appice is an excellent heavy rock album full of Beck's snarling furious guitars and Appice's absolutely crushing drums. These songs are mainly total avalanches of sheer blasting power, including a total demolishing of Stevie Wonder's Superstition.”

“On this LP, Beck returns to a much heavier sound. Though he had already progressed from this type of rock, he apparently decided to give it one last stab as a Cream type, power-trio. The result is an uneven mix of fast, hard rock, and soft and slow, almost spiritual ballads. Lacking any clearly dominant vocalist, there are, nevertheless, moments of nice vocal harmony, and of course, Beck's outstanding guitar work, featuring some slide.”

“Great guitar licks, tasty bass and driving drumming are the basic elements behind this recording, which also includes support from a bunch of musician friends. The tracks are mostly written by the trio, with some adaptations of tunes from other sources. The only drawback is the absence of a strong lead vocalist, but it is nevertheless a true classic rock memento.”

Larks’ Tongues In Aspect - KING CRIMSON***

Larks' Tongues In Aspic Part One/Book Of Saturday/Exiles/Easy Money/The Talking Drum/ Larks' Tongues In Aspic Part Two

Larks’ Tongues In Aspic was the first album release from King Crimson after extensive personnel changes including the recruitment of Bill Bruford from Yes. The number of experimental avant-garde tracks produced mixed reviews. (US:61 UK:20)

“The opening track, part one of the title track, seamlessly flies through ambience, jazz fusion, metal and horror movie music. Fripp goes completely insane on his guitar, going straight from beefy Black Sabbath riffing to convoluted atonal hyper-fast jazz-rock.”

“I love every single second of this album. Larks' Tongues In Aspic is one of my favourite progressive rock albums. With this record King Crimson experimented with a slightly more harder sound. This is often considered their heaviest album and it's no surprise. Especially as the opener and the closing tracks have some very heavy parts here and there.”

“It's not that it's awful, it's not even bad, it just isn't anything. There's experimental and there's tuneless, this is the latter. It works in the middle of The Court Of The Crimson King, because it's contextual, but it doesn't work here. Take away the four short tracks in the middle and you are left with pure disjointed noise.”

“The album doesn't sound very good. It is innovative, experimental, brave, left-field music definitely, even outside the box of the generic British prog rock. But music should always sound good as music, perhaps excluding some fragments that are intended to work some other way within a frame that essentially features good-sounding music. But this is not the case here.”

“Larks’ is an avant-garde masterpiece that is absolutely drenched in darkness as well as beauty. Kicking off with the blueprint to every extended instrumental King Crimson has done since is Part One. This song shows Fripp’s new found approach to songwriting, slowly building tension that ends with an explosive climax. The entire song is a roller coaster of sounds.”

“Larks' Tongues in Aspic sacrifices the sweetness of some songs in other King Crimson albums to create a rougher, more intricate and complex sound. If you like King Crimson's beautiful lyrical songs this is not your album.”

Ooh La La - THE FACES****

Silicone Grown/Cindy Incidentally/Flags & Banners/My Fault/Borstal Boys/Fly In The Ointment/If I'm On The Late Side/Glad & Sorry/Just Another Honky/Ooh La La

Ooh La La was the final studio album from the good time rockers The Faces. From now on lead singer Rod Stewart would focus on his increasingly successful solo career. Cindy Incidentally was a No. 2 UK hit single. (US:21 UK:1)

“The Faces' swansong after which they would limp along for a good while but never quite get it together enough to put out another studio album. This is a collection of neat little songs which continue their high songwriting standards. Though tensions were mounting in the band at this point, there's no sign of it on the record, though at the same time their rougher edges seem to be in the process of being surreptitiously smoothed over. Cindy Incidentally is a nice, catchy little song.”

“This album shows wear and tear within the band. Rod Stewart leads the pack, but when the leader is uninspired, it reflects on the rest of the group. He just wanted more for himself, and this (the inevitable demise of The Faces) is where the ego began to develop. Perhaps a telling story would be Ronnie Lane singing lead on the album's only truly great song, its title track.”

“Not bad, but you can tell Rod has become distracted with his solo career by this point (he was supposed to be lead vocal on Ooh La La, but didn't show up). If you like everything else by The Faces, pick this up.”

“It is far better than most of what you hear coming from the music industry now. Real musicians playing real instruments and catchy songs.”

“This is The Faces at their most lovable. The individual songs may not be as strong as on the previous outing (and some tracks sound almost unfinished) but they work together well and as a result are more than the sum of their individual parts; like every great album, the tracks seem to feed off each other. Whilst the first side is dominated by the Stewart/Wood combination, the second belongs to Ronnie Lane (even if you don’t hear much of his voice).”

“This is The Faces' tightest album, filled with rough, tough three-minute rock ‘n' roll. The arrangements are the best you'll find on any of their records, and the songs are more varied than usual in mood and tempo, spanning ballads, hard rock, piano-driven boogie rock and acoustic folk-rock.”

Houses Of The Holy - LED ZEPPELIN***

The Song Remains The Same/The Rain Song/Over The Hills & Far Away/The Crunge/Dancing Days/D'yer Maker/No Quarter/The Ocean

After four barnstorming albums from heavy rock giants Led Zeppelin, Houses Of The Holy came as something of a disappointment. The problem is that there are too many musical duds here. (US:1 UK:1)

“This album was so puzzling to me when it came out. The first four Zeppelin albums were so intense and compelling. This one sounded so weak and lifeless, as if they were no longer trying.”

“Led Zeppelin produced four truly great albums. What followed can only be described as inconsistent and sketchy. Some of the tracks on Houses Of The Holy are truly horrible, and the remainder are merely adequate. I would suggest Led Zeppelin's later work is for completists only, and is certainly in no way essential.”

“This album nailed absolutely everything: the songwriting is some of the most creative and interesting stuff they ever recorded, and represents the perfect middle ground between their early raw rock 'n' roll sound and the more intricate productions of their later career.”

“Houses Of The Holy takes a step further away from Led Zeppelin's bluesy beginnings and further into more ambitious explorations of different possible musical directions. A bit more awkward than its predecessor, there are a few misfires here - The Crunge is flat-out obnoxious, and D'yer Maker and Dancing Days are both pretty cheesy and forgettable. However there are also some truly brilliant moments containing some of Led Zeppelin's best and most creative music.”

“And so we depart from the fabulous first four Led Zeppelin albums, and embark upon their experimental phase, in which they decided that playing straightforward hard rock simply wasn't enough any more.”

“This one might be the most inconsistent Led Zeppelin release I have heard. On one side you have some great tracks where they are able to mix folk and hard rock riffs, have great guitar work in them and even cool piano solos. Then you have some of the worst songs this band has produced such as The Crunge and D’yer Maker just a goofy reggae. Overall a pretty mediocre release, in which you will get the urge to skip the whole lame mid section.”

For Your Pleasure - ROXY MUSIC****

Do The Strand/Beauty Queen/Strictly Confidential/Editions Of You/In Every Dream Home An Heartache/The Bogus Man/Grey Lagoons/For Your Pleasure

For Your Pleasure was the follow up album from the art rock band Roxy Music. This would be the last to display the experimentalism of Brian Eno as front man Bryan Ferry took control of the group’s future direction. (US:193 UK:4)

“Roxy Music's second LP, and last with Eno, is quite possibly their greatest achievement. The entire album is wrought with tension and angst. Sonically it is fantastic, with Eno treating the various instruments electronically, which leads to a very alienated feeling by the listener.”

“This is pleasure listening to indeed. This time, Roxy Music, would make some of their most experimental work ever; there are many quality songs on this one. It may not have a stand-out hit single, but it is a joyful listening experience nonetheless. My favourite track is Grey Lagoons Ferry’s impeccable vocals, along with the outstanding work by the band, make this memorable.”

“Certainly up there as one of Roxy Music's finest long players. This is a great place to start for anyone wishing to investigate this classic British band for the first time. More polished than their debut, and more creative than later albums. For Your Pleasure features some lesser known, but all the same great, Roxy Music tracks.”

“For Your Pleasure is the album where glam rock is at its most glamorous and where it is lifted to the level of art rock. Generally speaking the entire collection is a powerful hymn to the nightlife.”

“Roxy's second and final with Brian Eno is arguably their best. Kicking things off with the perfectly pompous Do The Strand, the album is full of strange noises that land in between Ferry's traditional pop leanings and Eno's experimental uses of texture and mood. Throw in some great playing by Andrew MacKay's saxophone and you have the quintessential 70s glam rock album.”

“Weirdly wonderful and seductively strange, For Your Pleasure presents Roxy Music at their avant-garde best, before Brian Eno left. There are several stellar songs here; my favourites are Do The Strand and Editions Of You. The album is suffused with off-kilter music and vocals with odd obsessions. Whether you consider this glam, art-rock or progressive, For Your Pleasure is at the cutting edge.”

Foghat 2 - FOGHAT***

Ride Ride Ride/Feel So Bad/Long Way To Go/Its Too Late/What A Shame/Helpin' Hand/Road Fever/She's Gone/ Couldn't Make Her Stay

Follow up album from the British boogie-rock band Foghat. Like their parent group Savoy Brown they received little recognition in Britain yet achieved a sizeable following in the USA. (US:67)

“Toe-tappers abound on this terrific boogie blues-rock album. Wailing guitars and even some rocking organ fill this long play with heart pounding boogie blues.”

“The second self-titled Foghat album is better than the first. The band are clearly coming into their own, with great songs and a tight, hard sound.”

“Highlights this time include the clipped, almost synthy guitar fuzz on the melodic Long Way To Go and rhythmic beat dished out on Helpin' Hand, while the band expand their sound with female backing vocals on the open highway freedom of Ride Ride Ride and the horn pumped What A Shame. More likable, mass-appeal boogie for the working man.”

“Nice boogie record, with a couple of mellow pieces. Slightly better than what was to come with a bit more Savoy Brown in the mix.”

“This is a quality album from start to finish. I've often thought Foghat were one of the most overlooked bands of the 70s, and they rock with the best of them on this album, with their blend of re-worked blues, such as I Feel So Bad, and straight forward hard driving classics, such as Ride Ride Ride.”

“This album is full of straight ahead heavy blues-boogie rock, and probably their most energetic and heaviest album as a whole.”

“Foghat's second album is their first masterpiece. The opener Ride Ride Ride and What A Shame, both contain social commentary in their lyrics, and the rest of the album catches a band that's still young and hungry.”

“Feel So Bad is absolutely my favourite song of all, and that is saying something as they had so many good ones. It's Too Late is one of those haunting rock ballads that stays with you forever. If you like good old blues powered rock ‘n’ roll this is a must have for your collection.”

Lonesome On'ry & Mean - WAYLON JENNINGS***

Lonesome On'ry & Mean/Freedom To Stay/Lay It Down/Gone To Denver/Good Time Charlie's Got The Blues/ You Can Have Her/Pretend I Never Happened/Sam Francisco Mabel Joy/Sandy Sends Her Best/Me & Bobby McGee

Lonesome On’ry & Mean by the country star Waylon Jennings is considered a landmark album. Here he broke away from the packaged Nashville countrypolitan sound to produce what became known as outlaw music.

“A classic, one of the first true outlaw country albums and what a way to start things off. This album is a great introduction for those uninitiated with country music.”

“Waylon has a personality that shines through, and one that's endlessly inspiring and courageous. Although not a masterpiece, it's still very good.”

“About half the songs on this album were recorded before Waylon renegotiated his RCA contract, and the other half afterwards. Thus this could be considered his first true outlaw album; that is, the first one on which Waylon called his own shots. Regardless, the bottom line is that this record offers up some terrific songs.”

“Another Waylon masterpiece featuring the classic title track. There are absolutely no bad tracks on this album. Waylon is an absolute master and this is the album that let the world know it.”

“Lonesome On'ry & Mean was the album on which Waylon decisively broke away from the Nashville sound and started to define what outlaw music was about. Waylon was moving into uncharted territory, and a sound which I can only describe as the sound of raw freedom echoes from the Telecaster snarl of the first track.”

“This is the album where Waylon begins to break away from the packaged country sound towards his own style. Although he doesn't make a clean break, there are some songs that show his talent and what is to come. Of course, Lonesome On'ry & Mean is the ultimate Waylon song. “An amazing album that I'm proud to own. Each and every song is an instant classic. Waylon is in his prime here.”

Tyranny & Mutation - BLUE OYSTER CULT***

The Red & The Black/Od'd On Life Itself/Hot Rails To Hell/7 Screaming Diz-Busters/Baby Ice Dog/Wings Wetted Down/Teen Archer/Mistress Of The Salmon Salt (Quicklime Girl)

Tyranny & Mutation was the follow up album from the New York hard rock group Blue Oyster Cult. At this stage they were described as a speeded up version of Black Sabbath. (US:122)

“The band continue in the same style as the year before with heavy, straight forward rock music with a lot of interesting details, lyrics and performed atmospheres. This record has some really fine pieces.”

“These are starting to put it all together by this album. This LP rocks hard with spooky lyrics and raging guitars all over this recording. They have their own vibe and either you feel it or you don't and for me, I just love this stuff. Hot Rails To Hell is visceral and in your face, as hard rock should be.”

“Harsh and aggressive where its predecessor was moody and mysterious, Tyranny & Mutation shows Blue Oyster Cult taking their position as the American answer to Black Sabbath. Though they are faster paced than their British cousins and are more reminiscent of speed metal than doom metal on here.”

“Take the first album, strip off some of the spooky and mysterious sheen, and then replace it with faster tempos and an overall more manic edge. The energy of these tracks is off the charts, which excuses the lack of variety.”

“Edging toward a more commercial sound, this one is still moderately heavy, with some boogie type material, and featuring great guitar. Still consistent, but a notch off the pace of their debut.”

“It has a powerfully sinister sound that the best hard rock/metal of this kind should have. Some of the lyrics have an occult flavour that suits the propulsive music.”

“While a bit less gothic than the first album, this second release from BOC is nonetheless considered a true hard rock classic. Starting off with a bang with The Red & The Black (one of the first true speed metal songs ever), the album grabs your attention and never lets go. Full of savage riffs, colourful keyboards and those mind bending lyrics Blue Oyster Cult are so famous for. This is a record without a single bad song. Classic hard rock/heavy metal.”

Heart Food - JUDEE SILL***

There's A Rugged Road/The Kiss/The Pearl/Down Where The Valley's Are Low/The Vigilante/Soldier Of The Heart/The Phoenix/When The Bridegroom Comes/The Donor

Heart Food was the second and final album from the American singer songwriter Judee Sill. Her songs were critically acclaimed but she failed to make any kind of commercial breakthrough.

“This really is something else. Judee Sill has a wonderful voice, very pretty and clear as a bell. Her songs are complex and lovely. This is one of the most moving albums I've heard in some time.”

“Heart Food is a supremely gentle album that breaks over you like the first rays of sunlight in the morning. It deals in shades of softness and warmth and a certain fuzzy contentedness.”

“Everything is based primarily on guitar and piano, but other stringed instruments get added to the music, giving her otherwise personal and intimate songs a grandiose sense. Sill's singing has a unique quality, often starting her verses at a quieter, softer timbre before baring her teeth and singing as though she is making a plea to God.”

“This legendary artist is so far not really inciting legendary feelings in me. I also don't get how this is supposed to be really heart wrenching since this album is actually filled with upbeat songs. That said, her voice is really beautiful, so clear and rich.” “Judee Sill has a very clean and emotive voice, and she really makes the best out of it. She also manages to write some really memorable melodies and lyrics, at times a bit corny but never without honesty.”

“Her voice is eerie, almost unreal, I've never heard anything quite like it. The musicality of the songs holds little interest for me, it is perfectly alright Californian seventies folk of a sort that is immediately familiar with nice steel guitar and very clear production, but it is the voice at the centre of that stands out and captivates.”

“What strikes me most is the sheer variety she takes on and, most importantly, performs well. From the opener, with its country-tinged folk, through to the blues-rock hybrid of Soldier Of The Heart, to Judee's takes on traditional tracks.”

“The music here is hard to describe and must be heard, carefully, to understand. It shares the multi-tracking vocal and harmonic style of early to mid-period Joni yet the music is organic, unique, utterly real and ethereal.”

A Wizard A True Star - TODD RUNDGREN***

International Feel/Never Never Land/Tic Tic Tic It Wears Off/You Need Your Head/Rock & Roll Pussy/Dogfight Giggle/You Don't Have To Camp Around/Flamingo/Zen Archer/Just Another Onionhead-Da Da Dali/Hits The Fan-Sunset Boulevard/Le Feel Internacionale/Sometimes I Don't Know What To Feel/Does Anybody Love You/I'm So Proud-Ooh Ooh Baby-La La Means I Love You-Cool Jerk (Medley)/Hungry For Love/I Don't Want To Tie You Down/Is It My Name/Just One Victory

A Wizard A True Star from former record producer Todd Rundgren is notable for the sheer number of tracks contained within a single album. This inevitably means that some of the songs are extremely short. (US:86)

“Side one is a sprawling palette of colours in all shapes and sizes if that makes any sense. Sometimes it borders on the insane and cacophonic, but never more than for a short period before it all comes together in some fantastic or beautiful fashion. Side two is catchy piano driven, with an almost Carole King feel to it.”

“Todd really was a wizard with this release. There are songs with something for everyone - jazz, Philly soul, Motown, hard rock, soft ballads, pop medleys - all twisted and blended into a crazed tapestry complete with enough studio trickery to impress the audiophile. The first few plays left me a little confused and disappointed, but over time I've come to appreciate this LP as a truly satisfying work.”

“Almost everything about A Wizard A True Star is unconventional. Aside from the malleable genre blowing and bizarre musical soundscapes, a large percentage of the disc consists of one minute tracks that flow seamlessly into one another. But don't let these rather short time lengths fool you, this album is a rich, gargantuan slice of audio schizophrenia, which requires close listening. There are so many subtle complexities buried beneath the hyperactive surface.”

“This album validates the adage ‘the whole is greater than the sum of its parts’. Truth be told, taken in bits, I really do not care for a fair amount of these tracks. But, when pieced together, as was the intent of the artist, the collage of sounds, melodic ideas, odd-ball embellishments and beyond-peculiar juxtaposition of musical approaches create a wonderful and singular musical journey.”

“As a whole album, it can be hard to digest. There are tracks of sheer brilliance and some that are head-scratchers. This album does show off his studio prowess and his technical skills though. Cryptic and uninviting; he often appears to be fighting his enormous melodic gifts to create jagged soundscapes and tape montages that belong more in the art music world than rock ‘n' roll.”

Octopus - GENTLE GIANT***

The Advent Of Panurge/Raconteur Troubadour/A Cry For Everyone/Knots/The Boys In The Band/Dog's Life/Think Of Me With Kindness/River

Octopus is regarded as the most rocking album from the British progressive band Gentle Giant. The title is reputedly not referring to the sea creature but to octo opus, a play on words meaning eight musical works. (US:170)

“An album truly worth revisiting again and again, Octopus showcases the sheer diversity of the band, as well as demonstrating that they can rock out and get wild.”

“This is highly intricate and complex progressive rock. Prog almost doesn't get anymore complicated than this. If you like simple music this could be your nemesis.”

“At a time when most progressive rock giants were releasing elaborate concept albums and side-long epics, Gentle Giant took the genre in an entirely different direction with Octopus. A punchy release with easily distinguishable compositions, the album is a manifesto for prog eclecticism. Terse yet relentlessly complex, hook-laden yet frequently atonal and always pushing the boundaries of what constitutes rock music, it is a progressive release in the truest sense of the word.”

“The tracks on this masterpiece are varied and even more complex in their composition and approach than anything they had tackled before that would provide the gateway to the run of brilliant albums that would follow.”

“Octopus is slightly more straightforward than Gentle Giant's previous albums. They're best known for their complex and symphonic progressive rock style. This is a completely progressive rock album too but it's also the most hard rocking this band ever released.”

“This is the epitome of Gentle Giant's career, and one of my favourite prog albums. It ends up sounding like a more tight and concise Acquiring The Taste, not quite as experimental but certainly still out there, even for prog rock. What makes this a step up is simply that the melodies are better, and they were at an all-time high in songwriting skills.”

“Good variety, interesting arrangements and excellent drumming.. The album is clinical and nerdy even by prog standards, but it works somehow.”

Grand Hotel - PROCOL HARUM****

Grand Hotel/Toujours L'amour/A Rum Tale/TV Caesar/A Souvenir Of London/Bringing Home The Bacon/For Liquorice John/Fires (Which Burn Brightly)/Robert's Box

Grand Hotel was the first studio release from the progressive band Procol Harum after the departure of guitarist Robin Trower to forge a solo career, so ending his bluesy rocker contributions. (US:21)

“The music on the album is still unmistakably the sound of Procol Harum. Gary Brooker´s strong voice, distinct vocal style with melodic and memorable vocal lines are as always the centre of attention, but if you focus on the instrumental side of the band's music there are great things to be discovered too.”

“Although they were prog pioneers back in the 1960s who blazed a trail for subsequent acts, by this time Procol Harum were far from the cutting edge, with even major commercial acts like Yes and Genesis being substantially more experimental. Wisely, Procol stick here to what they know best and offer a refinement of their early proto-prog style, which clearly evolves their music whilst at the same time sticking to their strengths.”

“Procol Harum always had a paradigm which ranged from ballads, soul, gospel, rock and roll held together by Brooker’s great voice and the mixture of piano and organ. In previous recordings the genres were more or less separated into individual songs. Here the mixture is more dynamic.”

“A full orchestra is used on many of the tracks, producing a baroque symph rock sound that strays closer towards straightforward progressive rock than any of the band's earlier work. The departure of guitarist Robin Trower has also spared Grand Hotel from the bluesy rockers that oddly punctuated earlier LPs.”

“This is a highly glossy and refined album very well arranged, with rich different all kinds of sounds melting piano, organ, electric guitar, acoustic guitar, mandolin, symphonic orchestra, choir. There is not a single dull moment and most of the songs are highly inspired.”

“Every track is a jewel, and this one has always been one of my favourite Procol Harum LPs. Its grand on every level, magnificent perhaps, and caters to their strengths like no other. The album emanates a lush, languid, elegant decadence and despair. Brooker wrote some of his most memorable melodies for this LP, and Keith Reid penned indelible lyrics to further burn the tunes into a permanent memory.”

The Captain & Me - THE DOOBIE BROTHERS*****

Natural Thing/Long Train Runnin'/China Grove/Dark Eyed Cajun Woman/Clear As The Driven Snow/Without You/South City Midnight Lady/Evil Woman/Busted Down Around O'Connelly Corners/Ukiah/The Captain & Me

The Doobie Brothers cemented their burgeoning reputation as a hard driving rock act with the release of the excellent The Captain & Me. Features the US big hits Long Train Runnin’ and China Grove both written by Tom Johnston. (US:7)

“For those that are more concerned with music than with meaningless labels and looking cool, this is an album full of great playing and good songs. The band are extremely tight musically and the album is mixed to perfection. There's quite a bit of subtle interplay between the instruments which makes the songs not only more complex than they sound, but rewarding to listen to as well.”

“A rather eclectic bunch of songs with the catchiest ones being penned by lead guitarist Tom Johnston, among them Long Train Runnin', while the more intimate songs were written by Pat Simmons. All in all, a very smooth and pleasant listen.”

“Certainly their best effort, with the hit singles Long Train Runnin’ and China Grove. Both songs are dominated by a west coast flavoured music style and fine vocal harmonies. But this album has much more to offer, like the blues influenced Dark Eyed Cajun Woman or the hard rock numbers Without You and Evil Woman.”

“Truth is that there is not a bad cut here. The Tom Johnston era Doobies are more consistent, and more fun than the later Michael McDonald period. I would suggest that this is where you begin your journey if you are new to the group. Pure pop heaven with skill, a hard combination to beat.”

“A superb album, with vocal harmonies to die for. The arrangements are sophisticated and lush and, for me, this is the Doobies' artistic zenith, heights to which they will never again get close. This is a stunning achievement that I go back to often, even after all these years.”

“This album represents why the term classic rock was coined. It is solid, not a filler song on it. It was produced before greedy music executives realized they could get your money with not just a hook in the song but then use that song as a hook to sell an album. I now long for the days when music was a little more artist oriented and not completely money driven. However, if you have never heard this album you've missed a classic. It is a rare example of a ‘rock’ solid piece of music.”

Byrds - THE BYRDS***

Full Circle/Sweet Mary/Changing Heart/For Free/Born To Rock & Roll/Things Will Be Better/Cowgirl In The Sand/Long Live The King/Borrowing Time/Laughing/(See The Sky) About To Rain

Against all the odds the original five members of The Byrds got back together to record an album. However, the end result was disappointing, with no jangly songs and a reliance on covers from Neil Young and Joni Mitchell. (US:20 UK:31)

“Given the acrimonious circumstances surrounding the break-up of the original Byrds line-up, the fact the five principals agreed to reunite for this 1973 set is a minor miracle. While the results may not have come close to their prime mid-1960s catalogue, I'll step away from most of the critics and tell you the results weren't bad. A bit too country-tinged for my tastes, but still generally enjoyable.”

“This one was a bit of a surprise, the original Byrds reunite to record a new album, but it's rather a damp squib. Material wise it's pretty poor, with McGuinn and Crosby both holding back material for their own records, and the Neil Young covers sound flat and lifeless.” “A reunion album no one needed, with none of the jangle every one wanted and all of the sonic mush I've come to expect from country Byrds, no matter the line-up.”

“Although it gets bad press I quite like this album. There are no real stand-out tracks but likewise there aren't really any duds either. The highlights are Crosby's cover of For Free and the reworking of his solo track Laughing. In addition to these two tracks there are two Neil Young covers; this lack of original material somewhat weakens the album. This is by no means essential but worth checking out if you are a fan of the band.”

“This album was seen as a big disappointment upon its release. Expectations were high, since the original Byrds were getting back together to make a new album. But it's pretty spotty, although not wholly a disaster. The two Neil Young covers are quite nice, great songs done quite differently from the originals.”

“The sound here is beautifully acoustic with Chris Hillman's mandolin playing providing a signature sound for the album. What makes this special is the return of Gene Clark. All four of his contributions are no less than stellar and worth the price of the album alone. If the Byrds were an unknown group and this was their first album it would have been universally praised. What a pity this was to be their last release.”

Eat It - HUMBLE PIE***

Get Down To It/Good Booze & Bad Women/Is It For Love/Drugstore Cowboy/Black Coffee/I Believe To My Soul/Shut Up & Don't Interrupt Me/That's How Strong My Love Is/Say No More/Oh Bella (That's All Hers)Summer Song/Beckton Dumps/Up Our Sleeve/Honky Tonk Women/Road Runner

Eat It was the disappointing last high charting album from the blues-rock band Humble Pie. A double LP, it is part live and part studio, and includes some rather uncharacteristic female backing vocals. (US:13 UK:34)

“A double disc live/studio affair. The studio recordings feature female back-up singers, and is pretty poor to my ears. The live set also has some equally lousy moments, but a few bright spots as well. For me, the writing was on the wall.”

“A mixed bag with live tracks and studio takes randomly stretched across two albums. Lot's of generic blues jamming and standard covers that's competent without inspiring any form of awe unfortunately.”

“Another uneven affair from the post-Frampton line-up. The live sides are mediocre at best and the studio tracks meander without much direction. There are exceptions, however. Drugstore Cowboy & Beckton Dumps are worthy additions to the repertoire, as is classic acoustic ballad Say No More, one of Marriott's most honest and heartfelt moments.”

“Humble Pie stumble here a bit. The songs are all generally pretty good but the overall production is rather lousy. The muddy sound and Marriott's distant vocals make it hard to get into. I think they over-stretched themselves by making it a double album too, the live tracks are pure filler. Would have been better as a single album.”

“Continuing to show off the group's no-frills blues-based raunchy approach. With guitarist Peter Frampton long gone by the time Eat It was recorded, Steve Marriott shouldered the load, and carried the group with his soulful vocals, and get-down attitude.”

“Not only are the songs unfocused, most of the studio tracks are among the worst mixed songs ever issued by a major label. Why they felt the need to issue a two LP set is beyond me. A single LP of the best tracks, then it would not be such a throwaway release.”

“Marriott moved into a bluesy mode on this one with backup blues singers. Each side reflects a particular feel and the last side is live. This has some great stuff on it and should not be overlooked.”

ELO 2 - ELECTRIC LIGHT ORCHESTRA***

In Old England Town/Momma/Roll Over Beethoven/From The Sun To The World/Kuiama

ELO 2 is where Jeff Lynne took control of the band after the departure of Roy Wood to form Wizzard. The result is a more mainstream and less innovative and diverse sound. The cover of Roll Over Beethoven was a UK No. 6 hit. (US:62 UK:35)

“Never before on an ELO album has ambitiousness paid off so well; the more strings and piano orientated sound is interesting, and you never tire whilst you are listening, thanks to creative structures and instrumental initiative. The diversity between tracks is also to be admired.” “This sounds extremely good. While ELO's second album isn't quite as daring as the first, nor as melodic as the third, it features a number of classic Lynne songs.”

“It's at this point in ELO's story that Jeff Lynne took complete artistic control of the band. The friendship between Lynne and Roy Wood was under huge pressure as they began work on this album, with Wood attaining the lion's share of the attention from the music press. With both songwriters attempting to pull the band in opposing directions, it was inevitable that someone had to go and, eventually, Wood graciously bowed out.”

“Lynne's perception at the time was that, to be taken seriously as an artist, you had to compose extremely long songs, which he did. For some, this album is something of an endurance test. This is a shame, as once you get over the sheer width of these songs, it's easy to feel the quality.”

“This the first ELO album fully under the control of Jeff Lynne. With the absence of Roy Wood, the album is a chaotic mess. All of the songs are way too long and sound like they have been fleshed out simply for the sake of filling space on the record. This is not necessarily a bad album, though it is certainly an ill conceived one.”

“Unfortunately, though the longer-form songs on here definitely make this one of the band's more progressive efforts, they also make it one of the more forgettable.”

“This whole album has a very experimental air, and saw the band stretching its legs like never before or since. If the only ELO you know is from pop radio, you might give ELO 2 a spin as it contains some really fine progressive rock.”

Dark Side Of The Moon - PINK FLOYD*****

Speak To Me-Breathe In The Air/On The Run/Time/The Great Gig In The Sky/Money/Us & Them/Any Colour You Like/Brain Damage/Eclipse

After years of releasing uneven and sometimes self indulgent albums Pink Floyd finally get their act together to produce their acclaimed masterpiece Dark Side Of The Moon. (US:1 UK:2)

“This is a popular and revered album because millions of people feel, that it contains some of the most precisely and overtly atmospheric music ever recorded; music you can wander around and get lost in. These millions are not wrong.”

“Pink Floyd were masters of producing blissful passages that anyone could enjoy, without sacrificing their artistic integrity or stifling their creativity, and Dark Side Of The Moon proves this point better than any of their other albums. This album is a sublime, lucid experience with fluid, awe-inspiring guitar solos, jazzy saxophone parts, smooth, funky bass lines, and hazy, psychedelic auras.”

“The genius of Dark Side Of The Moon lies in one important fact: that whilst the rest of the progressive rock world was pushing as hard as it could for more complexity, more time signatures, longer songs and more obscure lyrics, the Floyd decided to take precisely the opposite approach. They didn't abandon complexity or experimentalism or prog completely, but they were careful to incorporate no more complexity than what a song strictly needed, and likewise the lyrics were more direct and less abstract.”

“No other album fits together so perfectly getting all the high and lows right. It yells at you, screams at you, laughs at you all the while saving you from the sinking ship you call your life. It takes you out of your home to the end of the universe, to hell then to heaven, all the way back to your beating heart.”

“A musically conceptual album, rather than a story based one, every track on this prog-rock masterpiece is perfect, each fitting perfectly with the next. The production, musicianship and every song are perfect.”

“How could you not savour every minute of this music? In short, I could listen to this album every day for weeks and never get bored. I notice something new every time I play it and that's what keeps me coming back. This is one of the greatest albums of all time. If you want an LP which you can play it all the way through, this one is it.”

Tanx - T.REX***

Tenement Lady/Rapids/Mister Mister/Broken Hearted Blues/Shock Rock/Country Honey/Electric Slim & The Factory Hen/Mad Donna/Born To Boogie/Life Is Strange/The Street & Babe Shadow/Highway Knees/Left Hand Luke & The Beggar Boys

For nearly three years the glam rock group T. Rex had enjoyed enormous teenybop adulation in Britain. However, soon after the release of Tanx Bolanmania began to abate, a process accelerated by the increasingly repetitive nature of his music. (US:102 UK:4)

“Tanx would prove to be the last great T. Rex album. Bolan and his crew of glitter splattered rock ‘n' rollers would go on to make a few more records before his death. But nothing after Tanx would come anywhere near the quality of this."

“Starting to slip a bit. Everything is starting to sound the same. Still, not a bad album and it still rocks in a glam kind of way. Their previous recordings are better but this is still a good listen.”

“Here's a little secret. All of T. Rex's songs sound alike. Fortunately it's a good song, and Bolan tries to branch out his sound on Tanx with the use of a little bit of soul singers peppered in the background.”

“Marc Bolan's voice is almost arrogantly perfect for his tunes. His exaggerating way to sing cuts through the rich sound tapestries effortlessly, breathing mystery and sensuality to soaring melodies, while his lyrics remain innovative and strange.”

“Right about here Bolan lost the plot. Or at least started repeating him self too blatantly. Has its moments, but not that many, but still enough to give it a spin every few years.”

“There must be times in every artist's career when they begin to question the validity of their music and style and there is no better example of a performer in such a dilemma than T.Rex's Tanx. Whether it was Bolan's attempt to throw off the shackles of the teenybopper image, or a conscious effort to distance himself from the excesses of other full-on glam acts, or a cynical response to catch the prevailing trend for black music - who knows? Whatever, it simply didn't work”

“Tanx presents a fascinating mixture of sounds and styles. The most familiar tracks are those that borrow from the framework of previous efforts, big glam bombast. Fun and memorable as these songs are, they are overshadowed by the tracks that see the band stretching itself.”

Masterpiece - THE TEMPTATIONS***

Hey Girl (I Like Your Style)/Masterpiece/Ma/Law Of The Land/Plastic Man/Hurry Tomorrow

Masterpiece has been criticised for sounding like a Norman Whitfield solo album with The Temptations as backing vocalists. A truncated version of the lengthy title track would reach No.7 in the US singles chart. (US:7)

“The title track is a big workout by the genius producer Norman Whitfield, where the Tempts voices are not heard a lot among this long suite of wah-wah guitar effects, psychedelic violins, plonking bass, congas and Fender Rhodes.”

“Here we have The Temptations flirting with a proto-disco sound in their wealthy mixture of funk, soul, psychedelia and quiet storm. The long sequence Masterpiece deserves its title as it is a progressive incredible danceable monster. The opener Hey Girl (I Like Your Style) is funny enough to hold attention but it's the low point on the album, a refreshingly happy and lighter one.”

“For a while a Temps album featured a long cut that gave the group room to show their musicality while the band was allowed to jam. The title cut from this release was an excellent forerunner to extended remixes to come in the 70s disco era. Although the album does not qualify as a classic from the group, it still has its moments.”

“Whitfield and The Temptations set out to make their most ambitious project to date, but in many ways, Masterpiece sounded more like a Norman Whitfield solo album with the Temps adding occasional vocals. The album's long, carefully layered tunes, complete with sweeping string charts and cleanly punctuated horn lines, have the widescreen splendour of a big budget movie. While it's inarguably impressive to hear, the featured artists often seem to be lost in the shuffle. It doesn't help that while the album is musically impressive, several of the songs are lyrically cut-rate.”

“The Tempts start off right away with a bang. Richard Street shows he is an able replacement for the late, great Paul Williams. The lead singing is great as always, as well as, those harmonies, and the social significance of each of these songs should speak for itself. Those social messages are as important today, as they were when The Tempts recorded them.”

Billion Dollar Babies - ALICE COOPER****

Hello Hurray/Raped & Freezin'/Elected/Billion Dollar Babies/Unfinished Sweet/No More Mr Nice Guy/Generation Landslide/Sick Things/Mary Ann/I Love The Dead

Billion Dollar Babies captured the heavy rock group Alice Cooper at their peak. Cooper the singer would soon disband the band to switch the focus towards himself. Features the UK top ten hits Elected, Hello Hurray and No More Mr Nice Guy, plus the US top ten title track. (US:1 UK:1)

“As any Cooper or hard rock fan will tell you, Billion Dollar Babies is a great album. The idea was to be self-mocking as they regarded themselves as just a few kids getting paid millions of dollars to do what they love.”

“At the time Billion Dollar Babies was released Alice Cooper were still a group but, in reality, the other members, whilst contributing to the writing credits, were beginning to be pushed aside. Also determined was the band's primary function which was to entertain by going out of their way to shock their audience to the core.”

“Billion Dollar Babies expands their style a bit further with a more polished sound, greater orchestration and straightforward songwriting. The quirkiness and theatrically is still very strong on this release and is entertaining and enjoyable.”

“Billion Dollar Babies combined the brass/strings/orchestra Alice Cooper had acquired for the previous album and brought back their true shock rock approach. In places this works well, especially with the closing number. However, the arrangements suffer the same flaw as School's Out where the excess and extravagance can be overwhelming and perhaps a little dated at times.”

“In a lyrical sense, the album is almost even-handedly split between songs about the startling success of the group (or success in general) and songs that capitalise on the sick, demented and twisted perversions of who knows what.”

“This album by Alice Cooper was the apex of the band's career before their lead singer took the name and left. There are four outstanding tracks on here starting with Hello Hurray, then Elected, followed by the title track, and ending with No More Mr. Nice Guy. This isn't music that will change your life, but if you're in the mood to rock out, this album will definitely do the trick.”

“The album provides a sleeker and more refined iteration of the glam trash the band had peddled since Love It To Death, and that's all it needs to be.”

In Concert - DEREK & THE DOMINOS****

Why Does Love Got To Be So Sad/Got To Get Better In A Little While/Let It Rain/Presence Of The Lord/Tell The Truth/Bottle Of Red Wine/Roll It Over/Blues Power-Have You Ever Loved A Woman

A live double album by Derek & The Dominos recorded at the Fillmore East in October 1970. Why was Eric Clapton always more creative when part of a group compared with his often turgid solo releases? (US:20 UK:36)

“Any great band should be better live in concert than in the studio and this release is no exception. Terrific renditions of some really cool southern rock tunes from the studio album, back when Eric Clapton was one of the best blues/rock guitarists on the planet. I would have loved to have been at this concert.”

“Clapton was surely on fire that evening, and for once, he really seems to realize that it's his guitar work that people really want to hear. He just burns all night long. And the selection of songs is more like a true best-of by this band. This is, without doubt, the strongest release in their discography. Anyone looking to investigate this band for the first time would do well to start here. Consistently good, this has everything you need, all in one location.”

“Over the years, Clapton has released so much mediocre studio stuff that it's great to hear him in peak form, jamming and soloing, forging blues into rock.”

“This is the absolute pinnacle of live rock guitar playing. Anybody who claims that Clapton's guitar work was uninspired or uninteresting after he left Cream have never listened to this album. His soloing is absolutely incendiary. This is the best live album in my entire collection.”

“It's too bad the Dominos had to end so soon. In spite of things sometimes meandering and getting lost in the really long songs, the band shines on this two-hour release. Clapton shows an improvisational edge and stylistic lyricism he only hints at in the studio.”

“Overall this is a cool piece of history and totally worth several listens if you enjoyed the original studio album by Derek & The Dominos, or are a fan of Clapton's great guitar god period.”

“Why Does Love Got To Be So Sad is the highlight here. They slowed down the breakneck tempo of the studio version and stretched it out; it's by no means empty noodling and looses nothing of the emotional impact of the original.”

True Stories & Other Dreams - JUDY COLLINS****

Cook With Honey/So Begins The Task/Fishermen Song/The Dealer (Down & Losin')/Secret Garden/Holly Ann/ The Hostage/Song For Martin/Che

Folk singer Judy Collins achieved her reputation as an interpreter of other people’s songs. However on True Stories & Other Dreams over half the tracks are her own compositions. (US:27)

“This LP is a wonderful introduction to anyone unfamiliar with the amazing range of Judy Collins talents as a singer, songwriter, and arranger of her own work. Early in her career she sang songs written almost exclusively by others. Yet here she shows just how accomplished a songwriter and lyricist she became over the span of her career. This song cycle stands as a timely reminder of why Judy has a place reserved in the pantheon of folk greats.”

“I always thought of this as Judy Collins's saddest album. This is indeed an album of its times. Cook With Honey is certainly catchy, fitting right in with other 'nature-pop' songs of the era. For me, the landmark song is Secret Gardens, the poetry of this song, the perfect melding of music and lyrics, still stuns me.”

“Judy Collins has the rare talent of taking ordinary words and making them into something magical and beautiful. Her very personal lyrics, though never maudlin, achieve the universal.”

“Ironically, given Collins' brilliant singing voice, she took more than a decade to find her voice as a songwriter. She'd dabbled with an original song or two on earlier albums, but for this release she wrote over half the tracks. The years that she'd been carefully selecting and sympathetically interpreting others' material paid off in the imagination of her pen.”

“Collins' songwriting on this album shows her to be an inspired, sometimes brilliant composer. For the remaining songs, she selected prime material. This is one of Judy’s major releases and it deserved to be much more commercially successful than it was at the time. It shows her off as both a premier songwriter and interpreter of contemporary material.”

Lifemask - ROY HARPER***

Highway Blues/All Ireland/Little Lady/Bank Of The Dead/South Africa/The Lord's Prayer

Lifemask from folk artist Roy Harper encompasses a variety of different styles, featuring the use of the then novel synthesizer, backing from Jimmy Page, and some tracks written for a movie.

“After Stormcock, Harper moves a bit closer to alternative rock music - electronic effects, electric guitars, overdubbed vocals, a pinch of synthesizer. But it's still idiosyncratic and hard to tag, that's part of the fun, it's fresh, original and unconsumed. This is a good choice when I need a change of mood.”

“I would have to rate it a few points below its more famous descendent because of the rambling second side and less cohesion in general. There was also more sensitivity in the arrangements as well, but I can't fault him for wanting to experiment with synths, etc.”

“Highway Blues is an excellent opener, with music and lyric reeling together in movement and curiosity. Bank Of The Dead is a furious rocker with Jimmy Page on lead, and lyrics railing against image with no substance. South Africa is a gorgeous ballad about a place Roy had never visited and with which he equates with loves and times lost and yet to come.”

“This is a strangely introspective album. Side one includes tracks written for the film Made, in which Harper played a rock star. It's a mixed bag, starting with the biting pile-driver Highway Blues and progressing to the startlingly lyrical South Africa. But this is just a curtain-raiser for The Lord's Prayer, an astonishing magnum opus that manages to encompass the entire human condition in its 25 minute journey. On the way we're treated to some of Harper's most spine-tingling soaring vocals, backed by inspired lead guitar from Jimmy Page. The lyrics are an exceptionally brave approach to the description of mankind and its uniqueness.”

“Although it is technically folk music this album transcends boundaries. I recall it as being like a new state of consciousness.”

“Roy Harper was the quintessential English singer-songwriter, sadly maligned and misunderstood simply because he wouldn't play record company games to further his musical career.”

Life In A Tin Can - THE BEE GEES***

Saw A New Morning/I Don't Wanna Be The One/South Dakota Morning/Living In Chicago/While I Play/My Life Has Been A Song/Come Home Johnny Bride/Method To My Madness

Life In A Tin Can was another poorly performing album during the Bee Gees early 1970s period in the doldrums, this time without the consolation of a hit single. This is considered to be their most country release. (US:69)

“Hardly inspired. Saw A New Morning and Living In Chicago are both pleasant, the rest are pedestrian and inoffensive at best.” “Complete saccharine country junk where you can count decent musical ideas on the fingers of one hand.”

“This music will sound a little mouldy to most, but those of us with an interest in tasteful sixties-style string arrangements and crafted-sounding ballads will possibly hang on to this oddity.”

“Overall typical early Bee Gees sound - strings, acoustic guitars, symphonic arrangements, great vocals. But the songs are missing heartbreaking and memorable melodies. Not even one standout song here.”

“Hedging more towards country, The Bee Gees crafted some fine acoustic work here with, South Dakota Morning, Living In Chicago and the upbeat rocker, Come Home Johnny Bride.”

“It is unlike any other project they have produced and is worthy of a listen. Sometimes a bit too country for its own good, but easy, sweet music nonetheless.”

“Once again, another underrated effort by the Bee Gees. Their first RSO album was an example of the brothers displaying that they weren't afraid to experiment. Here the brothers show that they can play folk-rock and country as good as any American artist.”

“This is a must for any Bee Gee fan. It combines the sweet soulful voice of Barry and the beautiful vibrato of Robin. That added to a lot of acoustic and piano, makes this album right up there with their best.”

Moonshine - BERT JANSCH***

Yarrow/Brought With The Rain/The January Man/Night Time Blues/Moonshine/The First Time Ever I Saw Your Face/Rambleaway/Twa Corbies/Oh My Father

Moonshine was the first solo album released by Bert Jansch after the break up of the folk group Pentangle. It comprises a mixture of his own compositions, traditional material and covers.

“If you like Pentangle and you don't mind pure folk without progressive or psychedelic elements in it, you will absolutely love this. Moonshine is a magical record with a warm feeling to it, just the music you need for a cold autumn or winter night. Bert had a beautiful voice and his guitar playing was amazing.”

“Superbly crafted, especially the opener Yarrow which contains some of the most wonderfully flowing/intricate ensemble playing that you're likely to hear anywhere, and The January Man which is the most poignantly understated and beautiful track that I've heard in a while.”

“Its easily one of Bert's best albums, full of imaginary lyrics, stripped down compositions, delicate singing, and heartfelt lyrics. Some of the songs were written by Jansch himself, some traditional and some are covers, all of them very beautiful.”

“The opening track, Yarrow, is a stunning arrangement of a traditional song spiced up with a beautiful ninth chord tonality. Other highlights include The January Man which contains probably some of the most beautiful lyrics you'll ever hear, as well as a gorgeous musical arrangement of guitar and harp. Twa Corbies, a traditional Scottish song, is full of power and Bert’s voice and guitar work both shine.”

“It combines nostalgic medievalism with a visionary appreciation for the works of contemporary songwriting. The songs seem to rise from some old and fragrant mist, revealing glimpses of strange and beautiful landscapes, mortality and its darkness, and mythic depths of a world that lives apart from its human tenants. This is all accomplished with an almost homespun straightforwardness.”

“Moonshine is an album where jazz, British folk and blues come together in a typically unconscious Jansch way. No other artist has the instinct for this kind of balancing act where one of the most important ingredients is good taste. From the opening gentle approach of Yarrow through to the fabulous electric groove on Oh My Father with its sting in the tail lyrics, Moonshine is a mesmerizing masterpiece, a timeless tale of the human condition; past, present and future

Planxty - PLANXTY****

Raggle Taggle Gypsy-Tabhair Dom Do Lamh/Arthur McBride/Planxty Irwin/Sweet Thames Flow Softly/Junior Crehan's Favourite-Corney Is Coming/The West Coast Of Clare/The Jolly Beggar/Only Our Rivers/Si Bheag Si Mnor/Follow Me Up To Carlow/Merrily Kissed The Quaker/The Blacksmith

Self titled debut album from the Irish folk group Planxty. This well received release featured a variety of traditional and modern Irish folk songs and tunes. Although this was recorded in London, they made relatively little impact in Britain.

“One of the most engrossing folk albums I've ever heard. It runs the gamut too, between lively fun stuff to listen to in the pub to eerily beautiful material to meditate about.”

“These guys were a cracking group of instrumentalists (as their stomping reels plainly prove) and featured soulful vocalists rendering ballads almost unbearably poignant.”

“This is the peak of Celtic music and my only gripe with it is that it set the bar so high that nobody in the genre could and still can’t ever hope to match it.”

“There is an amazing amalgamation of energy, sounds and styles on this album. I cannot but imagine the impact it had on the world of traditional music. This is just bursting with energy and virtuoso musicianship the likes of which has been rarely heard before in this genre of traditional music.”

“Combining traditional jigs, reels, airs and songs with some of the best work of Ireland's fine folk-revival songwriters, Planxty gave the world living proof that folk music could be every bit as exciting as rock and roll. Astoundingly talented, infinitely inventive and respectfully traditional, Planxty were a deceptively powerful band.”

“Simply the best Irish music record I've ever heard, mixing traditional reels and tunes with latter-day folk revival compositions. From the rousing to the touching, this album delivers everything you might desire with crystal clear production highlighting the extraordinary musicianship of all involved. Everything about this record screams passion, expertise and authenticity. It is that good.”

“A ground shattering masterpiece from the Emerald Isle that stoked the fires of revival in traditional music and reminded us Irish of what a powerful culture we are so lucky to be part of.”

Camel - CAMEL***

Slow Yourself Down/Mystic Queen/Six Ate/Separation/Never Let Go/Curiosity/Arubaluba

Eponymous debut album from the British progressive group Camel. Although this release was not commercially successful, after a change of label and some acclaimed live performances, they would achieve some recognition later in the decade.

“Camel are one of the better prog bands from the 70s that often gets overlooked by some of the bigger names. This particular album may not be my favourite but does contain some amazing tracks. Mystic Queen is the perfect mix of instrumental and psychedelic beauty which can get pretty epic. The closing track, Arubabluba, is also noteworthy for its prog inspired blues jam. Other than that this is just a good album by a band that can do a lot better.”

“Progressive rock enjoyed it's most successful period in the early to mid 1970s when many groups released high quality albums one after another. Camel's debut album is an enjoyable journey full of pretty great progressive rock numbers. This release isn't one of their most appreciated efforts but I found it very entertaining.”

“This album showed an open-minded band full of skills and ambition but with a somewhat undeveloped personal style. Camel is a mix of classic rock tunes with smooth progressive elements. The musicianship is based on calm, melodic guitars, fantastic Hammond organ parts, while the rhythm section is very tight. Sometimes it seems like the band is in a mood for jamming, flirting with Canterbury prog and jazz. This was a very strong start and, though not exactly an adventurous release, I recommend this one highly to all lovers of progressive rock.”

“By 1973 progressive rock had already been well established, with many classic albums rocking the charts, critical acclaim for the genre had never been higher. Being a late comer to this party Camel strived to make an impression. Unfortunately their debut is a real mixed bag, a mostly lukewarm experience in one sense, and pretty average if entertaining album in the other.”

“Their first album and it's already got all I love about Camel: great guitar and keyboard solos, great compositions, great rhythm changes, and great bass player and drummer. And I think the fact that they each of them sing one or two songs gives the album diversity. This is Camel at their jazziest, jammiest, and best. No silly prog-rock pretensions here, just funky rhythms, sweet melodies, and typically understated lyrics.”

Dixie Chicken - LITTLE FEAT***

Dixie Chicken/Two Trains/Roll Um Easy/On Your Way Down/Kiss It Off/Fool Yourself/Walkin' All Night/Fat Man In The Bathtub/Juliette/Lafayette Railroad

After several personnel changes since the last album the classic line up of Little Feat recorded Dixie Chicken. Although still commercially unsuccessful the change in the band’s style would soon gain them wider recognition.

“The songwriting is really great, and it is hard to pinpoint the band to a single genre since they shift their style a lot from song to song. They are all very catchy and enjoyable, and that’s really what matters the most here.”

“Thanks in large parts to a beefed up rhythm section Dixie Chicken sees the Feat ditch much of the blues influences so prevalent on the band's first two albums, instead dipping into the sounds and rhythms of New Orleans and the deep south to give the band a funkier, jazzier sound. Matched to the band's idiosyncratic arrangements and George's surrealistic lyrics and melodies, this makes for a unique and potent blend.”

“Dixie Chicken was a turning point in Feat's career, the first featuring the expanded six-piece line-up as they set apart the raw experimentalism and diverse textures of the first two LPs to concentrate more on an exotic stew of pop, funk and soul-laced boogie.”

“Little Feat change direction and exchange lots of the country rock surrealism that made their debut such an incredible record for mellow mid seventies jazz flourishes, faux southernisms, and FM pop hooks. The songs tend to veer in one of two ways: catchy Lowell George gems such as Dixie Chicken and Fat Man In The Bath Tub, or blasé exercises such as Juliette, sounding like a Fleetwood Mac outtake.”

“What makes this album a winner is the direction it pointed the group in. Never again would they be considered the non-southern, southern rock band. They became a funky groove machine that played all styles of music and played them well.”

“Almost every song on this southern-fried record is easy to enjoy, easy to tap your feet and bop along to. But it's Roll Um Easy that remains the most important tune in the mix; a lovely little ballad that opened up my ignorant ears to how beautiful country music can sound.”

“Often imitated, but never duplicated, The Feat serve up a spicy mix of delta blues, funk, and New Orleans party music with seamless transitions between styles.”

Solid Air - JOHN MARTYN***

Solid Air/Over The Hill/Don't Want To Know/I'd Rather Be The Devil/Go Down Easy/Dreams By The Sea/May You Never/The Man In The Station/The Easy Blues

Singer songwriter John Martyn was a difficult artist to categorise. He began as a folk musician but his later work, including Solid Air, incorporated jazz, blues and rock influences.

“Solid Air is a good example of a record's mood winning over its songs. With a few notable exceptions, the songs aren't the strongest, but the mood conjured by their cumulative effect is strong and convincing.”

“Martyn divides his attention on Solid Air between jazzy, atmospheric pieces and more stripped down folk songs that recall his earlier work. Of the former, the title track is probably the most effective, with its wafting sax and vibraphone lines and Martyn's newfound slurring vocal style.”

“A fusion of folk, blues, progressive rock and jazz all buttered up in soothing, relaxed white-man soul, with a pinch of sugar. A very worthy listen.”

“Smoky and laid back, Solid Air is difficult to put into any one genre, blurring blues, folk, jazz and progressive rock, with more emphasis on the progressive. It is probably one of the most laid back albums I have heard.”

“From the outset, Solid Air is addictive. John Martyn isn't only talented on guitar and as a songwriter, he's also got one of the most original voices ever. It's a perfect example of a voice becoming part of the music.”

“Far and away Martyn’s best collection of songs. Beautiful warm jazz/blues inflected folk, and in Go Down Easy and May You Never two of the most seductive songs ever written. Martyn makes the making of great music sound so relaxed and natural.”

“This is far and away his best: every song is memorable, from the bluesy title tune and the sensuous Go Down Easy to the melancholy Man In The Station. May You Never is a wonderful evocation of what friendship is all about and the final track showcases Martyn's guitar skills well.”

“This LP is an unsung treasure. John Martyn displays a masterful talent for songwriting on this album and the production and arrangements are top notch also. I'm impressed with the two tones he possessed vocally: the relaxed and almost airy sounding style contrasting with the raspy growl of which he was also capable.”

Paris 1919 - JOHN CALE***

Child's Christmas In Wales/Hanky Panky Nohow/The Endless Plain Of Fortune/Andalucia/Macbeth/Paris 1919/Graham Greene/Half Past France/Antarctica Starts Here

John Cale was best known for the more experimental and avant-garde elements of the Velvet Undergound sound. On Paris 1919 he embraces a more mainstream style with a disparate range of songs.

“The lyrics are matched with music that triggers the imagination and emotional senses, as well crafted pop met with classical influences while managing to capture some of Cale's odd charm.”

“It might be a shock to hear this if you mainly know John Cale for his avant-garde work with Velvet Underground, but I think this is ultimately a sign of his genius. He chose to make a really lovely sounding album with some bizarre lyrics that can slip right by you if you're not paying attention.”

“John Cale's softer side has often been on display, but Paris 1919 is really his only album where it's given total free rein. The gorgeous baroque/chamber pop arrangements, the wistful air to songs like Andalucia and Half Past France, the quirkiness of Graham Greene show there's something so touchingly vulnerable about the record that it's only on the third or fourth listen that one realises just how dark it really is.”

“This record is pleasant, but hardly attention grabbing. Part of the problem is Cale's voice, which is not remotely expressive. I've always found vocals to be an important unifying element in music, so when the vocals are bland, it's a lot harder to grab attention.”

“On Paris 1919 John Cale offers up a disparate range of songs in a range of styles that collectively evoke an air of mildly wistful nostalgia but otherwise don't seem to have very much in common. Those who know him from the Velvet Underground may find the album disappointingly conventional, and it seems to consciously balance Cale's art rock aspirations against a rather bland production. Whenever the two are in tension, blandness wins.”

“The songs are built upon some lovely, memorable melodies and arrangements. Cale's lyrics are as wry and intelligent as on any of his more raucous releases; there's insight, humour and irony in these tunes. He comments on a range of subjects - loneliness, history, morality, longing, love, pretension, art, religion, etc.”