Shotgun Willie - WILLIE NELSON***

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

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

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

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

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

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

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

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

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

Recorded Live - TEN YEARS AFTER****

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Smoker You Drink - JOE WALSH****

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

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

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

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

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

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

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

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

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

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

Farewell Andromeda - JOHN DENVER***

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

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

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

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

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

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

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

Fantasy - CAROLE KING***

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

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

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

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

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

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

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

Space Ritual - HAWKWIND***

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

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

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

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

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

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

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

Now & Then - THE CARPENTERS***

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

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

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

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

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

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

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

A Little Night Music - BROADWAY CAST****

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

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

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

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

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

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

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

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

Twice Removed From Yesterday - ROBIN TROWER***

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

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

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

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

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

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

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

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

Wizzard Brew - WIZZARD***

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

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

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

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

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

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

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

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

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

Behind Closed Doors - CHARLIE RICH****

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

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

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

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

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

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

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

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

Down The Road - MANASSAS***

Isn't It About Time/Lies/Pensamiento/So Many Times/Business On The Street/Do You Remember The Americans/Down The Road/City Junkies/Guaguancó De Veró/Rollin' My Stone

Down The Road was the second outing for the musical collective organised by Stephen Stills. Whilst the musicianship might be excellent, most of the songs are forgettable. (US:26 UK:33)

“It’s got pop, rock, country, blues, folk, bluegrass, Latin, and gospel, often co-mingling in the same song. It's a Stephen Stills album, for the most part (Chris Hillman gets a track), featuring the most versatile, instrumentally accomplished band he ever played in.”

“It mostly contains rather dull, if well played Latin influenced rock tracks that petered out pretty quickly. Isn't It About Time and Do You Remember The Americans are both pretty good though.”

“A complete disappointment. Isn't It About Time and Rollin' My Stone stand out but the rest are less than acceptable. A commercial flop, the first of many in Stills' history until CSN regrouped in early 1977. For hardcore fans only.”

“This Stephen Stills project pulls together a number of excellent musicians that perform well. The only problem is most of the songs, all originals, are weak.”

“If you could pinpoint where Stills lost his genius, it's somewhere between Manassas and Down The Road. There are a couple of lovely songs in Spanish here, but there's a wasted weariness to the whole affair, as if the band had spent too many nights in the hotel bar. For completists only.”

“The entire project seems thrown together like as if Stills and the boys were forced under contract to put something, anything, down on record. The lyrics are soporific, and the rest is beneath Stills to put out.”

“The songs are mostly forgettable. But the defining feature of this record is that it scarcely has a groove. It isn't that the tunes were conceived as grooveless (they sound promising), but that they are played in a loose, noodle-headed way.”

“Brilliant guitar playing, excellent all-around musicianship and singing, and fine, inventive songwriting make this a fine, enjoyable album. Overall though, it does sound a little thrown together.”

Desperado - THE EAGLES***

Doolin Dalton/Twenty One/Out Of Control/Tequila Sunrise/Desperado/Certain Kind Of Fool/Doolin Dalton (Instrumental)/Outlaw Man/Saturday Night/Bitter Creek/Doolin Dalton-Desperado (Reprise)

Desperado was the follow up album from the country-rock group The Eagles. It is somewhat uneven and their music is best sampled on one of the many compilations. (US:41 UK:39)

“A solid country-rock classic. It's hard to deny the talent this band had; all highly proficient musicians who could sing and write great songs on album after album. This may not be my favourite set of Eagles songs, but the music stands the test of time, especially when heard in its entirety. This stands as a sort of concept album, with an interesting flow from the softer/slower tracks, to the mid-tempo rockers, and back and forth. The acoustic nature is what creates a classic western atmosphere.”

“I would rather listen to tracks like Tequila Sunrise, Desperado and Outlaw Man on their own or with a collection of their greatest hits. The rest of the tracks on here can be classed as mediocre filler, meeting the concept of the album but coming off as quite unappealing.”

“The songs are sometimes plodding, especially the rock material which did not compare to some of the cutting edge rock and country rock of the day. Tequila Sunrise is a terrific song well played with a timeless sentiment that still appeals. The concept of a Western record is very well achieved here.”

“The western concept album works out quite well and the title track is a stone cold beauty. There feels like a fair bit of filler present here too though.”

“Desperado was a concept album that was an ode to the Old West as it followed the exploits of the Doolin-Dalton gang. Under the surface, however, it told of the trials and tribulations of a rock ‘n’ roll band. It’s almost a perfect country-rock album. The harmonies, the production, the lyrics and the musicianship are impeccable and have a polish that was unprecedented in country or rock music in its day.”

“It's a mixture of rock ‘n' roll and country, some tracks mostly rock, some mostly country. The opening track, Doolin-Dalton, is a beautiful ballad without being sappy, and the same goes for the famous title track. The tempo is sometimes slow, sometimes fast, and as usual, each member of the group does lead vocals on at least one track.”

Razamanaz - NAZARETH***

Razamanaz/Alcatraz/Vigilante Man/Woke Up This Morning/Night Woman/Bad Bad Boy/Sold My Soul/Too Bad Too Sad/Broken Down Angel

Third time lucky for the Scottish heavy rock band Nazareth as Razamanaz delivers their commercial breakthrough. Features the UK top ten hit singles Bad Bad Boy and Broken Down Angel. (US:157 UK:11)

“Razamanaz is a 70s rock workout that the uninitiated can easily fall in love with. The title track is pure head-down hard rock boogie bluster, and is one of the band’s calling cards. However it doesn’t over-shadow the rest of the album, which finds the group tackling some proto-power ballads, as well as well-hewn riff-rockers.”

“This is Nazareth at their peak as a band, and they cook. Razamanaz is one blistering, snarling gem after another. From the guitar fury of the title track, to the slowed down menace of Vigilante Man, to the street swagger stomp of Alcatraz. Culminating in Nazareth's greatest expression of the blues, the astounding Woke Up This Morning. This is nothing less than a hard rock gem.”

“A key stage in their journey to becoming a great hard rock act, Razamanaz shows considerable growth from their previous efforts. Tracks such as the high energy title track and the bluesy Vigilante Man are much more reminiscent of things still to come, but really every track on this one is strong.”

“After struggling through two less-than-stellar releases, Nazareth cranked up the distortion and released one of the finest slabs of 70s hard rock you'll ever hear. The production is perfect, helping these guys establish the formula that would carry them through the decade: bluesy, simple songs and throat-destroying vocals.”

“The amped-up Razamanaz is nothing short of awesome, a raucous gem from the Nazareth camp. The raging, three-minute-plus, Deep Purple influenced title track sets the stage for this masterpiece.”

“Nazareth were one of those good old hard and heavy rock 'n' blues bands that even heavy rock fans now tend to overlook. Razamanaz captures the band struggling for their first success, and was very well-received by rock audiences back then. It is a no-nonsense slab of hard rock.”

“The songs, well, they are all great. The overall feeling of the record is very southern. If I didn't know these guys were from Scotland, I would have guessed Texas.”

Call Me - AL GREEN****

Call Me(Come Back Home)/Have You Been Making Out OK/Stand Up/I So Lonesome I Could Cry/Your Love Is Like The Morning Sum/Here I Am(Com & Take Me)/Funny How Time Slips Away/You Ought To Be With Me/Jesus Is Waiting

Soul singer Al Green was enormously popular during the early 1970s with his distinctive vocal style. Call Me includes the US top ten hit singles Here I Am (Come & Take Me) and the title track. (US:10)

“Instead of coming to you, Al never raises his voice. He makes you lean close and really pay attention. He teases and seduces and withholds gratification until even the slightest breath is devastating.”

“The music is a sort of AM soul, with strings (but in small doses fortunately) and gospel style backing vocals, very light and easy. Al's singing style is also very soft, airy with plenty of gentle soothing falsetto, a very effortless feeling. It's a very nice album, simple to listen to, some great songs and good melodies.”

“Call Me may well be Al Green's creative peak. There weren't any major departures from the signature sound, rather on this one they perfected the approach. Green's silky smooth voice was in prime shape, injecting an almost intoxicating funkiness into material like the title track.”

“It’s a bit too repetitive. The soul is good, but there isn't any variety at all. If we had a few better songs on the album it would be much improved.”

“Al Green has one of the most hypnotising voices in soul, not because he wails constantly at the top of his lungs, but because he does the opposite. His soft vocal style is incredibly soothing, and here the minimal production really adds to this, with the organ in particular feeling like a warm blanket.”

“For an album labelled as soul this sure is weak. My main problem with Al Green is that the orchestration that backs up his voice seems flavourless fluff. There doesn't seem to be any actually formed songs here, and the backing orchestration is just plastic elevator music. They're selling the voice, and while Al Green's may be distinctive, it's not enough on its own. There needs to be good music in combination with it, and there isn't any. This is an album that's dry from the moment it starts.”

“This album really is a joy to listen to. Al Green's two tone voice is at once gentle on these tunes, then crying out like a minister in a gospel church with soulful wail. The songs are all strong.”

There Goes Rhymin' Simon - PAUL SIMON*****

Kodachrome/Tenderness/Take Me To The Mardi Gras/Something So Right/One Man's Ceiling Is Another Man's Floor/American Tune/Was A Sunny Day/Learn How To Fall/St Judy's Comet/Loves Me Like A Rock

Paul Simon delivers the goods with his finest album There Goes Rhymin’ Simon. It features a wide diversity of musical styles, all to a high standard of creativity. Includes Kodacrome and Loves Me Like A Rock, both US No. 2, and Take Me To The Mardi Gras, a UK No. 7. (US:2 UK:4)

“This album represented Paul Simon's realization of his full abilities, provocatively showcasing his unique talents and creative interests with an eclectic, wide-ranging, and gorgeously produced solo effort. From the haunting rhythms and wry lyrics of Kodachrome to the tender and sensitive emotions expressed so well in Something So Right, we sense more than a little autobiographical influence in all the songs. Simon's lyrical genius is displayed in spades here, and we can tell that this is an artist in full bloom and enjoying his singular ability to deliver a wide range of songs with a panorama of emotions and telling personal observations.”

“One of my favourite Paul Simon albums, where his song-writing is sharp, and the variety of styles covered satisfying, containing some inspired production choices.”

”There isn't a song I'd skip here, and while there is the odd whiff of MOR sterility and blandness, these are mostly banished by up-tempo arrangements and colourful additions to his musical palette.”

“There Goes Rhymin' Simon is his second solo album after the break-up of Simon and Garfunkel, and you can hear him moving away from that traditional sound here for the first time, incorporating gospel and jazz influences, mostly successfully. American Tune has always moved me profoundly, and Was A Sunny Day creates an absolutely wonderful warm loving strange happy breeze through my heart.”

“Paul Simon's finest solo album, with a great collection of songs beautifully produced. From the upbeat, cynical Kodachrome to the lovely closer Loves Me Like A Rock, he takes in a huge range of styles, from straight-up R & B to soul, blues, folk, country and even early reggae. The high point is definitely American Tune, with its lovely, Bach-inspired chord sequence and bittersweet, aching lyrics.”

“For the second time around Simon produces a superb album. He also experiments with different styles and whatever he does he certainly pulls it off.”

Wishbone Four - WISHBONE ASH****

So Many Things To Say/Ballad Of The Beacon/No Easy Road/Everybody Needs A Friend/Doctor/Sorrel/Sing Out The Song/Rock & Roll Widow

An uninspiring title and album cover from the progressive rock band Wishbone Ash. Nevertheless the songs are much better than what some critics would have us believe. (US:44 UK:12)

“Their sound continues to drift slowly in a commercial direction, and this one is fairly commercial sounding overall, but still possesses some decent material.”

“People loved the hard progressive rock sound found in Argus and the twin-guitars and amazing solos. Wishbone Four is a much lighter and gentler effort, and the solos are looser here. The twin-lead guitars are gone almost totally, but this is still not a bad album, by a long shot.”

”A fairly subdued effort from the 'Ash. The amps have been turned down and a brass section pop's up now and then to blow out the cobwebs. The songs are nice enough as background music but there's no real spark.”

“The up tempo Rock 'n' Roll Widow is the signature track that I am sure most would agree with. It is the last song and is set up by varying ballads like Sorrel and edgier tunes with Doctor getting some praises.”

“This album was a brave move following Argus, and one which did not go down well with many critics and fans who were expecting something similar. So is it worthy of the attacks it received at the time? Probably not but it is certainly not a classic. There are some fine tracks on the album, but it is marred by very poor production which makes many of the tracks sound muddy.”

“Unlike Wishbone's previous recordings, the songs are shorter and often catchier as well. But this attempt to shift from extended improvisations to riffs filled with hooks doubtless contributes to a number of problems that force listeners to focus on Wishbone's uneven songwriting rather than exquisite musicianship.”

“There are some great rockers on this album, alternating with some softer tracks, all of them sprinkled with anthemic solos from the dual guitars. The sound quality is not tremendous, particularly the drums, which are very dull and muffled.

Red Rose Speedway - PAUL MCCARTNEY & WINGS****

Big Barn Bed/My Love/Get On The Right Thing/One More Kiss/Little Lamb Dragonfly/Single Pigeon/When The Night/Loup (1st Indian On The Moon)/Hold Me Tight-Lazy Dynamite-Hands Of Love-Poer Cut (Medley)

With the emphasis on melody Red Rose Speedway heralds a return to form for Paul McCartney after the throwaway Wild Life. Features the US No. 1 and UK No. 9 hit single My Love. (US:1 UK:5)

“Red Rose Speedway is a frustrating album in that it has a bright spot or two - My Love has always been a favourite of mine, but it's very uneven, and many of the songs can be charitably categorized as mediocre at best. It's not that it is totally terrible, but it included a lot of songs that would have been throwaways if they had been recorded in a Beatles' session.”

“It is a pleasant album that has interesting snippets of ideas all over but nothing truly memorable. The final medley is the only thing I cared for here and is a lovely, happy and bouncy piece of music where several extremely sunny melodies are interwoven together.”

“After the disappointment of Wild Life he bounces back with an album that carries on from where Ram left off. Relying on his craftsmanship rather than searching for new inspiration he put together a set of songs that hang together as a whole and document the contentment of a man freed from his tangled past and excited about the future.”

“Where the album triumphs is on a melodic level, but except for a few very notable exceptions it stumbles lyrically. The opener Big Barn Bed, for example, has a great tune and is incredibly catchy, but there's not much substance to it beyond that.”

“I have been a huge Wings fan for a long time, and this has always been one of my favourites. It is musically interesting, with some classically goofy McCartney lyrics. Nothing groundbreaking, I admit, but full of entertaining and captivating melodies and diverse musical approaches.”

“If some people have such a problem with lightweight material then why are they listening to Paul McCartney in the first place? Little Lamb Dragonfly is a beautiful mini-epic, with great lush production and an emotional rare duet between Paul and Denny. Single Pigeon is also another beautiful piano ballad. The end medley is one of the few 70s suites that actually work completely without getting boring.”

Yessongs - YES****

Excerpt From The Firebird Suite/Siberian Khatru/Heart Of The Sunrise/Perpetual Change/And You & I/Mood For A Day/Excerpts From The Six Wives Of Henry VIII/Roundabout/I've Seen All Good People/Long Distance Runaround-The Fish/Close To The Edge/Yours Is No Disgrace/Starship Trooper

Yessongs is a triple live album from progressive band Yes which includes all their most highly regarded songs. It is well timed as the group’s creativity would decline in future studio albums. (US:12 UK:7)

“It's not perfect, but the inadequacies created by the limitations of playing live are part of Yessongs charm. While the songs occasionally miss small ingredients that flesh them out so well on the studio versions, the band's heaving energy more than makes up for this.”

“The fact is that Yes in their heyday sounded more vital live even than they did on record. Anyone who dismisses them as a band without heaviness cannot have heard some of the bludgeoning renditions present here.”

“As talented as the musicians are, the performances are usually 90% identical to the studio recordings, even when two-fifths of the group here weren't present on the original LPs.”

“I always thought this might be the ultimate Yes experience, but in reality it's somewhat lacking. Not so much in the performance, but rather the presentation. Yes being an ultra technical outfit, to my ears I prefer the more pristine quality of the studio performances.”

“A great innovative record that any serious rock fan should own. Nobody has surpassed what this group achieved in the early 1970s in terms of progressive rock.”

“At the height of their powers, Yes released this stunning triple live album. The sound quality is far from perfect, but the performance here is excellent. This album is made up entirely of songs from the previous three albums, ignoring their early work. It features Close To The Edge in its entirety, and strong showings of both The Yes Album and Fragile. This may be the best way to begin exploring Yes with all the classics are together in one place, clocking in at a little over two hours.”

“Despite the relatively poor sound, this is actually a very good live album. There's some nice guitar work from Steve Howe, some great mellotron from Rick Wakeman and the band's on fire featuring all of the classics from the band's early days.”

Aladdin Sane - DAVID BOWIE*****

Watch That Man/Aladdin Sane/Drive In Saturday/Panic In Detroit/Cracked Actor/Time/The Prettiest Star/Let's Spend The Night Together/The Jean Genie/Lady Grinning Soul

Aladdin Sane continues the excellent run of David Bowie’s classic albums. But with his creative talents performing at full throttle he really didn’t need to include a Rolling Stones cover. Features the UK top three hits The Jean Genie and Drive In Saturday. (US:17 UK:1)

“Aladdin Sane is a blast; a supercharged glam masterpiece stuffed full of songs that are every bit as good as those on Ziggy Stardust. It may not hang together as an album quite as well, but it’s still a dizzyingly exciting adrenalin rush that is enormous fun to listen to.”

“This album will just rock your socks off. How great that Bowie didn't come off the success of Ziggy Stardust by going further out into space. Instead, he takes a step back and just lays out the rock and roll.”

“It pretty much continues the Ziggy Stardust period of his career, where he still focused on delivering solid pop rock records. This doesn't really reach the heights of his last album, but I found it a more consistent listen from beginning to end.”

“This album belongs to that golden age where pop and easy listening were still strangers. Not simple at all at the first listening, because of the profusion of creative elements, but then turns better and better.”

“Aladdin Sane is the perfect counterpart to Ziggy Stardust; to put it quite simply, whilst the latter was about the dream of being a futuristic rock star, Aladdin Sane was about the reality of it. Composed during a tour of America, Bowie infuses his glam rock model with a rich variety of Americana, adding a generous dose of hard rock to the mix. The result is an album which is a perfect counterpart to its predecessor. A fine entry to Bowie's run of classic albums.”

“This album is glam rock at it's finest. I don't even know if it is a concept album. All I care about is how good these songs are. This album is pop magic and David Bowie is just a genius. That's how good he is, and this album is one of his best.”

“Bowie himself is totally on top of his game here, the ultimate rock star in full throttle. One thing that makes Bowie great is his willingness to be completely original and different from the norm.”

1967-1970 - THE BEATLES*****

Strawberry Fields Forever/Penny Lane/Sgt Pepper's Lonely Hearts Club Band/With A Little Help From My Friends/Lucy In The Sky With Diamonds/A Day In The Life/All You Need Is Love/I Am The Walrus/Hello Goodbye/The Fool On The Hill/Magical Mystery Tour/Lady Madonna/Hey Jude/Revolution/Back In The USSR/While My Guitar Gently Weeps/Ob-La-Di Ob-La-Da/Get Back/Don't Let Me Down/The Ballad Of John & Yoko/Old Brown Shoe/Here Comes The Sun/Come Together/Something/Octopus's Garden/Let It Be/Across The Universe/The Long & Winding Road

1967-1970 was the second of the simultaneously released double album Beatles compilations. Covering what many consider to be the group’s most creative period, it outsold the earlier period album. (US:1 UK:2)

“Despite producing some of the best pop music in the previous years, and were well on their way to becoming studio geniuses on the last compilation, it was in the years 1967 to 1970 that this band became the revered the geniuses that they are now.”

“It’s easy to say that the Red and Blue albums were a cheap marketing scheme to cash in on The Beatles’ name, released three years after the group’s demise. But because they were the first official releases I consider them to be their best compilations.”

“1967-1970 is a great collection of the later hits of The Beatles. All the big hits are here as well as some not as well known songs, so it's very enjoyable and an excellent representation of this era of their music.”

“This is only for people who don't want to spend the money on real Beatles albums, as it can never truly do justice to the Beatles catalogue. Of course, every song is great, but you are better off buying any one of their studio albums.”

“As everybody knows, there are no weak tracks on this album. All of them are worth five stars. You can’t overrate the Beatles. Their success didn't come for no reason. But don't buy this album! Save your money for their studio albums.”

“If you are interested in obtaining the Beatles most famous songs from this period I would suggest picking this up. However there are so many other album tracks that deserve to be here.”

“If you can’t afford to buy all the Beatles studio albums, then this is a good second choice. However, you will miss out on some great music, but will still get a lot of bang for your buck.”

1962-1966 - THE BEATLES*****

Love Me Do/Please Please Me/From Me To You/She Loves You/I Want To Hold Your Hand/All My Loving/Can't Buy Me Love/A Hard Day's Night/And I Love Her/Eight Days A Week/I Feel Fine/Ticket To Ride/Yesterday/ Help/You've Got To Hide Your Love Away/We Can Work It Out/Day Tripper/Drive My Car/Norwegian Wood/ Nowhere Man/Michelle/In My Life/Girl/Paperback Writer/Eleanor Rigby/Yellow Submarine

An excellent compilation of the Beatles early years, it includes all their hit singles and some of their more famous album tracks. Nevertheless, a much better buy would be the original studio albums from this period. (US:3 UK:3)

“The Beatles are one of the few bands that can fill up this much space and be consistently brilliant throughout, with not a single dud or less than great song to be found. If anything it's not enough, as there are plenty of lesser known songs from this period that are equally as amazing as these but had to be left out.”

“This is the best introduction to The Beatles. It contains all the early hits and for many of us is the soundtrack to our lives. Fond memories aside, the music is faultless from start to finish and cements their status as the greatest band in pop and rock history.” “Not needed if you have the studio albums but this is the perfect starting place for newcomers.”

“The Beatles are absolutely irresistible in this format, their early hits and important album tracks rushing by in infectious glee, rewriting the rules of rock with each single, each song building upon the strengths of its predecessor and opening up new territory.”

“I can't imagine a better compilation of the first years of Beatle-mania. There is a reason that they still sell records today and tribute bands still play their music. No matter how much hype or mythology there is about them, one fact remains, they were a really fine band.”

“The Beatles were and will always be the greatest band ever. It is not possible to put all of their best songs on one package because all their songs are fantastic and worth listening to. This double LP captures only a tiny fraction of the Beatles magic.”

“As with all Beatles compilations, you are better off buying one (or all) of their albums, but if you want to make a young child appreciate all that pop music can be, this would make a wonderful present.”

Ring Ring -ABBA***

Ring Ring (Swedish)/Another Town Another Train/Disillusion/People Need Love/I Saw It In The Mirror/Nina Pretty Ballerina/ Love Isn't Easy/Me & Bobby & Bobby's Brother/He Is Your Brother/Ring Ring/(English)I Am Just A Girl/Rock & Roll Band

Ring Ring was the debut album from the Swedish pop group Abba who would rule the British singles chart during the second half of the seventies. They had yet to find their winning formula here.

“Most of what's here is pleasantly upbeat Euro-pop, with unusually good playing and a lot of spirit, all showing mainstream American and British influences.”

“Ring Ring isn't Abba's finest moment, but then, very few debut albums are perfect. Usually, you can tell the band is trying to find their identity, and that's certainly true of this album. It's a little too folksy and light-hearted for my taste, but two songs make this album a must-listen: the title track, which ranks among their best tunes, and Disillusion, which is the only Abba song penned by Agnetha Fältskog and is a beautiful ballad.”

“Debut from the soon-to-be international superstars. Not only have Benny and Bjorn not found their songwriting magic yet but they also sing way too much. Don't worry, they start figuring out the winning formula by the next album. The title track Ring Ring is all you really need to know here.”

“The Abba debut isn't all that impressive, a lot of polish remains to be done to create something I'd listen to over and over. As a pop record it is good though.”

“The lyrics are twee and the instrumentation fairly simple, but it's so catchy and so melodious that it remains a charming listen for all who just want some undemanding pop.”

“Catchy, relentlessly cute and cheesy bubblegum pop that doesn't even give much of a hint to where they would be a couple years later. It's mediocre, but it's also very consistent and in the right mood, fun.”

“At the time known as Agnetha Bjorn Benny and Frida the group messed around with different techniques to find the perfect sound. A few songs such as Ring Ring showed that this rookie group could go far if they worked more on their melody. Definitely not a very good Abba album but still they were only just starting out.”

Penguin - FLEETWOOD MAC***

Remember Me/Bright Fire/Dissatisfied/(I'm A Roadrunner)The Derelict/Revelation/Did You Ever Love Me/Night Watch/Caught In The Rain

Between the departure of Peter Green and the arrival of Buckingham Nicks five years later Fleetwood Mac went through several personnel changes. Penguin continues the transition towards a mainstream pop rock sound. (US:49)

“Nothing special and it looks like the band is trying to find their sound. Christine McVie has the strongest songs on this album. Basically a new guitarist and vocalist have changed the overall vibe of the band.”

“Penguin saw another slew of personnel changes - Danny Kirwan replaced by guitarist Bob Weston and former Savoy Brown singer Dave Walker, who was certainly a talented singer, but his blues and country leanings definitely made it an odd choice.”

“Penguin finds Fleetwood Mac caught in musical transition. With Peter Green long departed, the group's albums have been gradually transitioning towards pop music but they have yet to find their identity. One can hear the shift towards even more radio friendly cuts than what was found on their previous release, but most of these cuts fail to impress. Singers Welch, McVie, and Walker trade lead roles throughout Penguin. With very different singing voices and styles, this does disrupt the flow of the album somewhat.”

“It certainly looked as if the band wanted to move in a more mainstream direction and the music on Penguin is certainly middle of the road and very tepid. Bob Welch's tracks are the stronger here but they too lack energy.”

“Once again, Fleetwood Mac find themselves in a period of transition, and it really shows here. Still there are some really enjoyable songs here, in particular the Bob Welch compositions. Night Watch is my favourite, as it's a fine example of the mysterious quality of songs that he brought to the group.”

“Overall this is a fairly average record, however, it does contain some really marvellous Christine McVie tracks that are as good as anything that she did later. Remember Me and Dissatisfied are both great, bittersweet songs in Christine's trademark minor key.”

River - TERRY REID***

Dean/Avenue/Things To Try/Live Life/River/Dream/Milestones

Rock guitarist and vocalist Terry Reid was a fixture on the British music scene during the late sixties and early seventies. He supported many established musicians but never managed to forge a successful career himself. (US:172)

“This album is definitely a change of pace for him, a much more laid back affair with the whole of the second side given over to all acoustic tunes. A slow burner and definitely a grower, which will reward the listener with repeated plays.”

“Signalling an abrupt change in direction from earlier LPs, this one is far more rural flavoured rock, unfortunately mixed with some comparatively lame acoustic guitar driven folk. Though it obviously holds significant appeal to fans of the genre I was somewhat under-whelmed, yet, it has its moments.”

“Side one features some undistinguished blues rock, mildly entertaining in places. Reid is certainly a great vocalist but it sounds undercooked like the products of a jam session. The second half is more what I was looking for with relaxed acoustic guitars, bossa nova bongos and introspective sounding lyrics.”

“River is an adventurous, yet understated trip through the many moods of Terry Reid. A highly personal album, the two solo acoustic tracks that end the album are just lovely, a perfect showcase for his voice. Too bad the album isn't longer, because the band tracks are also good and jamming.”

“To some it may sound boring and just another singer/songwriter album but to me it stands out and is by far the best Terry Reid album. This is the music of a man who has thought long and hard about his life and drawn conclusions some years earlier than expected.”

“Reid's vocals are so powerful and soulful over a perfect bluesy groove and understated slide guitar. It will almost convince you that you're in an alternate universe, because the power of the music is so undeniable that it just floors everyone who hears it.”

“The instrumentation is thick and heavily layered throughout - so whilst the melodies are rich, they are buried deep in long, seemingly unstructured songs that appear intentionally to weave themselves in knots. It's a record that demands repeated listens to unpick what is going on, but overall it's all a beautiful noise.”

Parcel Of Rogues - STEELEYE SPAN***

One Misty Moisty Morning/Alison Gross/The Bold Poachers/The Ups & Downs/Robbery With Violins/The Wee Wee Man/The Weaver & The Factory Maid/Rogues In A Nation/Cam Ye O'er Frae France/Hares On The Mountain

By the time of the release of Parcel Of Rogues Steeleye Span had developed into the premier British folk group. Helped by the voice of Maddy Prior they would maintain this position during the next few years. (UK:26)

“Maddy Prior's voice is one of the most peculiar of the whole English folk revival: much more crystalline than velvety, it makes every song shine of a solar allure which deeply contrasts with the wonderful dryness of the strongly rhythm-based arrangements.”

“It is in pretty much the same vein as the preceding albums and is in fact probably a bit varied sounding. There also seem to be a few attempts at being more hip so you get the wah-wah guitars on Alison Gross, a proper drum kit on The Wee Wee Man and of course the full on wah-wah fuzz of Robbery With Violins.”

“Good bold production and playing, but it marks their transition into full-blown ring-around-the-rosy folk, and was consequently my last stop with Steeleye. It does however contain my favourite song of theirs, Cam Ye O'er Frae France, which is an out-and-out brooding, jagged heavy folk-rock song.”

“All the songs are traditional ballads and reels of olde England. There is some lovely harmony singing, and violin. For the most part, the strategic influx of power chords and electric guitars complement, rather than intrude.”

“The shortcomings of Parcel Of Rogues are made up for by the discordant yet wonderful penultimate track Cam O'er Ye Frae France which mixes heavy guitar with acoustic folk, yet Maddy's very soft vocals seem to work amazingly well. The instrumental Robbery With Violins showed the band could move effectively into rock territory, but Alison Gross sounded rather flat due to the lack of atmosphere.”

“Probably the most direct and accessible of Steeleye Span's many fine albums, this starts out in fine style with the sprightly One Misty Moisty Morning, with Maddy in typically powerful and melodic voice, solid support from the band and some elegant wah-wah guitar.”

“This includes all the elements that I love about Steeleye Span: intricate instrumental lines, wonderful harmony, songs with both history and humour and Maddy's voice.”

Still Alive & Well - JOHNNY WINTER****

Rock Me Baby/Can't You Feel It/Cheap Tequila/All Tore Down/Rock & Roll/Silver Train/Ain't Nothing To Me/Still Alive & Well/Too Much Seconal/Let It Bleed

Still Alive & Well from the acclaimed blues-rock guitarist Johnny Winter finds him branching out more into rock & roll territory. Always something of a cult figure he would never enjoy this level of commercial success again. (US:22)

“A monster from start to finish. Winter is ablaze with rock 'n’ roll guitars and riffs. Not a bad cut anywhere, the guitars cut and snarl, and the whole slab sounds great.”

“Introducing new elements to his well known and beloved pure blues style. The country-flavoured Ain't Nothing To Me and the west coast rock influenced Cheap Tequila demonstrated his new versatility.”

“Winter branches out a little here with west coast Eagles type rock with Cheap Tequila and straight up country on Ain't Nothing To Me. Then we get some flat out hard rock, like on the killer title track. But don't worry the blues aren't gone just give the opener or the acoustic Too Much Seconal a listen.”

“Well it's hard to go wrong with Johnny Winter, although here he strays a little too far from the blues that he's best at, and ends up doing more rock 'n' roll type stuff. Still he knows how to rock, and his guitar playing is always great to listen to. The best song here is the one that sounds the most like his old stuff, Rock Me Baby.”

“Johnny is one of the most underrated guitar players that ever picked up a six-string. While deeply rooted in the blues, he delivers some rippin' stripped-down rock and roll on this album. Production is held to a very minimum of overdubs, and it's basically Johnny with his bass player and drummer. No effects, no slick production tricks, just good old rock and roll. He's one of those rare guys that can just plug the guitar into and amp and rip it up. In addition to his masterful playing, Johnny serves up some of his patented gritty, soulful vocals.”

“On Still Alive & Well, not only does Johnny play the blues in an authentically rugged way, but he plays high energy rock ‘n' roll and hippie barstool country the same way. Blistering guitar licks and screaming vocals abound. Winter does two Rolling Stones covers, Let It Bleed and Silver Train, and they're both just as good as the originals. Too Much Seconal is down and dirty acoustic blues, with acoustic slide, mandolin, flute and lyrics from life on the wrong side.”

Bloodshot - J. GEILS BAND****

(Ain't Nothing But A) House Party/Make Up Your Mind/Back To Get Ya/Struttin' With My Baby/Don't Try To Hide It/Southside Shuffle/Hold You Loving/Start All Over Again/Give It To Me

The release of Bloodshot propelled the J Geils Band into the higher reaches of the US album chart for the first time. Through constant touring the band were appreciated for their energetic live shows. (US:10)

“This J. Geils Band's release is arguably the greatest example ever of the type of music that they built their career on, excellent, high energy party rock and R & B that swings so hard it hurts. Bloodshot is full of some of their most signature songs.”

“For fans of this band, and their type of signature funky R & B bar band style rock, this album seems to have all the right moves. By this release, they were clearly moving in a much more commercial direction than previous outings, but were still enjoyable. This is highly produced bar band driven commercial rock, with funk flavour on some cuts, and featuring guitar, harmonica, and Wolfe's distinctive vocals. I guarantee if you listen to it enough, it'll grow on you.”

“This was a peak moment, combining a well-picked cover of Ain't Nothin' But A House Party with eight originals. The balance towards original compositions shows the band to have absorbed their influences, rather than aping them. The songs range from all-out rockers to funky shuffles to emotional ballads. Throughout the band provides terrific support.”

“Their sound was definitive 'House Band' music for industrial North-eastern and Midwest America during the 1970s. It was full on R & B honky-tonk soul-rock for blue collar and college party USA, and it is a great sound. Anyone who saw J. Geils in their day will speak of them with mist in their eyes for they had a live act like few others. This album captures a lot of that energy which is kinetic.”

“It's one of those rare albums that starts off like a house on fire with one of the great party anthems of all time, grabs you by your feet, and doesn't let up for the whole tight performance. No track is a throw away or filler. The record is a perfect blend of Detroit R & B, soul and bar band music.”

Diamond Girl - SEALS & CROFTS***

Diamond Girl/Ruby Jean & Billie Lee/Intone My Servant/We May Never Pass This Way (Again)/Nine Houses/ Standin' On A Mountain Top/Its Gonna Come Down (On You)/Jessica/Dust On My Saddle/Wisdom

Diamond Girl was the most commercially successful album from the soft rock duo Seals & Crofts. Although very prominent in the USA during the early seventies they made minimal impact upon the British rock scene. The title track was a US No. 6 hit. (US:4)

“This is soft rock that seems just a pale imitation of Steely Dan and The Eagles, with vocals that sound vaguely like James Taylor and lots of lyrics about rivers, trees and rolling hills. The hippie attitude seems more phoney than an honest sentiment, and to boot there really isn't much good music here at all. The title track and Intone My Servant are the only cuts here worth hearing, and even they aren't really anything special. As for the rest, there's a lot of just plain, white-bread songs that aren't memorable and don't have any staying power.”

“Soft rock at it's best and beautiful in many ways, from the lyrics, through the music, to the now seemingly naive world view of peace and love. Sweet harmonies and great tunes complete the package.”

“Seals and Crofts were a unique soft rock duo whose songs reflected the flavour of the US West Coast heartland. Diamond Girl was one of their best albums. Beautiful harmonies and arrangements can be found in almost every song. Both singers were of the Baha’i faith, and their religious beliefs of peace and world harmony underpin many of the songs.”

“Diamond Girl was a combination of AM radio pop, folk and country. Where Summer Breeze had more acoustic folk songs, this album appealed to just about everyone. Superb harmonizing, songwriting and acoustic and mandolin guitars all added to the appeal of this duo.”

“This album represents a near perfect synthesis of folk, country, rock and pop. Lyrically infused with the very best of New Age sensibility and showering the ear with crystalline harmonies, utterly fabulous string playing and remarkable contributions from the sidemen, this work reminds us of how successfully far-reaching the pop music of this era actually was and conversely, how far the modern genre has generally fallen.”