Ashes Are Burning - RENAISSANCE***

Can You Understand/Let It Grow/On The Frontier/Carpet Of The Sun/At The Harbour/Ashes Are Burning

After many personnel changes the progressive folk band Renaissance had managed to finalise their distinctive sound with the release of Ashes Are Burning, aided by the vocals of Annie Haslam.(US:171)

“Very smooth progressive folk music that is a continuation of their previous work. Good musicianship and that beautiful voice, make this a nice LP to have.”

“This is where it really comes together for Renaissance after the non-stop personnel changes that they endured since their formation. Ann Haslam's second release finds her hitting her stride. It was also the first to feature a full orchestra, and so is a symphonic progressive album in the truest sense.”

“The formula falls into place, with stunning results first time around. A lush, luxuriant sound, something extremely rarely seen in music.” “Fairly brilliant symphonic, melodic prog, a little like contemporary Genesis but with female vocals. Annie Haslam possesses what may be the most exquisite female voice in pop music; crystalline and perfectly in tune.”

“The title track is one of the best ever written by the band, with long keyboard parts, very symphonic prog. The voice is again very good and shines on every track. The band are among the best from the prog old school.”

“A mix of stirring upbeat soft-rock, classic English folk-rock and epic prog, woven together with lovely mystical peace and love lyrics.” “The performances are wonderfully creative and skilful supporting the remarkable vocals of Annie Haslam. A unique band that sadly succumbed to the pressures of the recording industry to update their sound, which eventually led to them losing that which made them unique.”

“Classical folk-rock with a jazz influence. By the time of Ashes Are Burning they had finally developed their distinctive sound. No one before or since had blended soaring melodies, complex orchestration and the occasional classical quote with the modern stylings of rock and jazz like this. Of course, Annie Haslam's gorgeous voice and singing are alone worth the price, acting as an additional instrument, an integral part of the composition rather than following a vocal over the instruments.”

Pronounced - LYNYRD SKYNYRD***

I Ain't The One/Tuesdays Gone/Gimme Three Steps/Simple Man/Things Goin' On/Mississipi Kid/Poison Whiskey/Free Bird

Debut album from the southern rock band Lynyrd Skynyrd. They would maintain their popularity for the next four years until the tragic loss of members in a plane crash. Includes the lengthy US top 20 hit Free Bird. (US:27)

“Not many bands come out of the gate with their classic sound fully developed like this. What's even more amazing, is that some of the guys in the band were still teenagers. You wouldn't know it from listening though, they sound like seasoned veterans.”

“Some good blues rock here, mostly Simple Man and Gimme Three Steps, but it’s also blues rock, which means there’s only so much you can do with it. Most of the songs sound the same to me. And the few that didn’t include the overrated but still above average Free Bird.”

“Obviously it’s known for the rock out of Free Bird but Simple Man is another highlight. Mississippi Kid is in a bluegrass style, perhaps not my favourite genre but this one is catchy, and Things Goin’ On has a ragtime piano thrown into the mix. Every song has a different feel and it takes no time at all to get to know this album.”

“Lynyrd Skynyrd crafted their debut album along a simple but effective blueprint. Each side would have one extended song to show off their instrumental mastery and express somewhat more nuanced emotions in the lyrics. This would be rounded off with a clutch of somewhat more straightforward good time rock and roll numbers. Though the epic tracks stand head and shoulders above the shorter songs, the album remains an entertaining piece of southern rock for most of its running time, and occasionally grasps for classic status here and there.”

“I'm not usually a big fan of southern rock, but this album is something really special. Three great songs on here in Tuesday's Gone, Simple Man, and Free Bird make for a competent album. The other songs don't really hold their own comparatively.”

“The fact that this album, although their first, sounds so perfect, is because these guys have been together for a long time before making this record, playing gigs and rehearsing the songs. So they knew exactly what sound to lay down, and it came out perfect.”

The Wild, The Innocent & The E Street Shuffle - BRUCE SPRINGSTEEN***

The E Street Shuffle/4th Of July Asbury Park (Sandy)/Kitty's Back/Wild Billy's Circus Story/Incident On 57th Street/Rosalita (Come Out Tonight)/New York City Serenade

Follow up album from Bruce Springsteen in which he develops his ideas of blue collar rock. Unfortunately the tracks are far from memorable but he would hit a creative peak with his next album. (US:59)

“Springsteen sings an image of the American working class idealised, romanticised- framed by a perfect NJ band, raised on classic rock and roll, painting a true picture of working class soul.”

“The performances are outstanding, the lyrics are rich, intimate and inspired, and there's a passion in Springsteen's voice that makes you believe this is the last record he'll ever make. Even when Springsteen whispers you can feel the passion and power in his voice.”

“There are definitely flashes of the brilliance Bruce would show himself capable of on Born To Run, but we're not quite there yet. 4th Of July and Rosalita are standout tracks, both examples of the emotive songwriting that would dominate his next release.”

“An overstuffed, overdramatic song cycle about NYC thugs with hearts of gold and silly names. Like Dylan on West Side Story and saxophones.”

“The heart of rock & roll can be boiled down to a few chords, a catchy riff, and the right attitude. But if you want the heart, soul, mind, body, and spirit, this is where you'll find it. It rebels against every preconceived notion of what rock's limitations are supposed to be – structure, style and scope. It's Bruce's musical journey from the hangouts of his hometown in Jersey, as a guy with a dream, to the possibilities of what might be just over the river in New York City. Although no song addresses this head on, it is implicit in the overall concept, that this story-song album is ultimately Springsteen's autobiography.”

“The Wild, Innocent & E Street Shuffle finds Bruce reaching for something beyond his grasp and doing all he can to extend his reach lyrically, musically and as a performer.”

Angel Clare - ART GARFUNKEL****

Travelling Boy/Down In The Willow Garden/I Shall Sing/Old Man/Feuilles Oh-Do Space Men Pass Dead Souls On The Way To The Moon/All I Know/Mary Was Only A Child/Woyaya/Barbara Allen/Another Lullaby

Angel Clare was the solo debut album from Art Garfunkel, well over three years after his split with Paul Simon. Here he uses his exquisite voice to interpret several ballads, including the Jimmy Webb composed All I Know, a US No.9 hit single. (US:5 UK:14)

“This is a very pretty, romantic collection of music. As a expression of artistic taste and choice it definitely shows where Art Garfunkel was, and what he had to say before the industry turned him into just another ballad crooner. Perhaps this is the best thing he has ever done as solo artist - if occasionally it sounds overcooked and too soft in its loveliness. What else did you expect from a guy who was vocal centrepiece of legendary soft-rock duo? Compared to the rest of his discography this definitely stands head and shoulders above everything else.”

“Garfunkel found a solo voice, and found it masterfully. This album, showcasing, as it does, some great interpretations of Jimmy Webb, deserves far more recognition than it gets.”

“I enjoyed it quite a bit. Garfunkel has a great voice and the album is well put together. It showcases his voice very, very well.”

“Destined to be forever remembered as Paul Simon's sidekick, the fact remains that Garfunkel is nevertheless a very fine singer. Ultimately not as creative a force as his partner, but still a pleasant enough listen. It would be almost impossible to release a record as graceful and innocent as this first Garfunkel solo album nowadays.”

“Garfunkel's voice has always been noted for an almost inhuman delicacy, and here it is blessed with both the tones of a flawlessly played instrument and a tender humanity. The arrangements provide a perfect setting for both.”

“Ever since I first heard the album, I couldn't stop listening to it. His voice flows beautifully on all the high notes. Art Garfunkel has proved that he is a successful solo artist with this beautiful collection of ballads.”

“I am a hard rock music fan, but this is without a doubt the best music I've ever listened to. Every song is extraordinarily beautiful and lyrical. His interpretation is flawless. If you don't have it in your collection you are really missing out.”

10cc - 10CC*****

Rubber Bullets/Donna/Johnny Don't Do It/Sand In My Face/Speed Kills/The Dean & I/Ships Don't Disappear (Do They)/The Hospital Song/Fresh Air For My Mama/Headline Hustler

Self titled debut album from 10cc the most intelligent and innovative popular music group to appear in the mid 1970s. Features the UK No.1 Rubber Bullets, No. 2 Donna and No 10 The Dean & I. (UK:36)

“Formed by a quartet of individually proven hit writers, multi-instrumentalists, singers and producers, 10cc boasted an enviable pedigree and with an opening salvo of top ten hits, everything pointed to the band’s debut album being a big hit. That it spluttered in the lower reaches of the top 40 almost defies belief, especially as it’s actually pretty good.”

“Some people might be so surprised this album is so great but one must remember that these guys were seasoned pros. They knew what they're doing from the start. This is their catchiest collection of music and some say it's their best.”

“Before they added clever to clever and went a bit pseudo, 10cc were a fun band with a predilection for rock and roll revival, Americana and puns. This, their first album, has a pleasing simplicity about it and makes a good introduction to the band. With three top ten hits present it's an easy album to get into. The rest of the tracks are good fun, well played, arranged and sung.”

“A really funny, catchy album, and so off the wall. The band's prowess seems to have been forgotten; they wrote brilliant songs, had amazing voices, and could actually play their instruments.”

“10cc's debut album is a much forgotten art pop gem from the early 70s, now considered a faintly uncool listen. It is a timely reminder of the bands obvious genius with melody and witty wordplay, pop up there with the very best.”

“What a great collection of songs they are. Four guys who can all write and sing in the same band at the same time. The lyrics are imaginative, funny, clever and ironic, an unbeatable combination. There's not a weak track here. Vastly underrated in the UK and criminally neglected in the USA.”When recalling 10cc it's easy to concentrate on the fabulous harmonies, the superb musicianship or the pristine production. Their ability to parody diverse musical styles and write incisive, acerbic lyrics is easy to overlook because the pop hooks bite so deeply you're carried away by the melody.”

Goat's Head Soup - THE ROLLING STONES***

Dancing With Mr D/100 Years Ago/Coming Down Again/Doo Doo Doo Doo Doo (Heartbreaker)/Angie/Silver Train/Hide Your Love/Winter/Can You Hear The Music/Star Star

Goat’s Head Soup was released ten years after The Rolling Stones achieved commercial prominence. It topped both the US and UK album charts demonstrating the group’s enduring popularity. It features the US chart topper and UK No. 5 Angie. The final comment below reveals the diminution in popular musical quality which occurred about this time. Although there would still be some fine album releases, they would gradually become less frequent. This will be reflected in the reduced number of albums selected for review. (US:1 UK:1)

“The timeless Angie is easily the best thing here but as a ballad; it's clear the golden age has ended and the band was entering a new stage. What Goats Head Soup does show is a band that is much more versatile than most might think. It's not at the top of the heap but it's a very listenable album.”

“Nearly every song on this is strong melodically and lyrically. The only weaker tracks are Silver Train which is workmanlike but nothing outstanding, and Star Star which is dragged down by the uncharacteristically offensive and cloddish lyrics.”

“I loved the early Stones. They were dangerous, anti-social, bluesy, everything The Beatles at the time were not. But, that was then and by this time they had become almost a caricature of their earlier self. This is not terrible music, just mediocre and that is not what I expected from the Stones.”

“This is the first failure of the Stones' career, and it really hurt at the time of release. The music scene was drying up in 1973 anyway, and then this lacklustre, dull, tired effort came out and it was so disappointing. It is not so much that the songs are slight, although some are, but so many are performed in a tired out way, with sophisticated polish but without the passion that had been at the heart of their work up to this point. This is the first boring Stones album. Those of us who loved them from the beginning knew that it would never be the same again, and in fact it wasn't.”

“Goats Head Soup signifies a major breakdown in quality control, not just for the band, but for everyone, meaning 'people with certain countercultural inclinations at a certain point in history.' The burning embers of the 1960s were exhausted and extinguished by late 1973, and the arrival of Soup, was where it became clear: the masterpieces would no longer keep coming. They were burned out.”

Sweet Freedom - URIAH HEEP****

Dreamer/Stealin/One Day/Sweet Freedom/If I Had Time/Seven Stars/Circus/Pilgrim

Sweet Freedom was another strong album from the British progressive band Uriah Heep who bizarrely never found favour with the critics. Contrary to some of the comments below their classic period would continue for another couple of years. (US:33 UK:18)

“Sweet Freedom easily ranks as one of the better early Heep albums. A few rockers, a couple leaning on the epic side and somewhat less prog make this one a winner.”

“A great progressive rock record. It has always been one of my all time favourites and it is quite underrated compared to their other work. Stealin' is the hit off this album, but to me every song works.”

“Here we have a mix of what Uriah Heep were known for: hard rock and art rock with massive wall of keys and high-pitched chorus. Sometimes it sounds beautiful, sometimes a bit cheesy. My personal favourite is the gentle acoustic ballad Circus.”

“Sweet Freedom was the near end of classic Uriah Heep. Though they'd go on producing solid albums the magic would gradually disappear. Still there are some amazing songs here, including their greatest song, the stunning epic Stealin’, and also the gorgeous Seven Stars. Overall this is a solid album, but a transition between when Uriah Heep were a legend and when they became just another band.”

“Sweet Freedom is another classic from the golden period of Uriah Heep, with a mix of epic songs, traditional 70s rock and ballads. What distinguishes this record is one song that is one of the best I ever heard, Circus. I never tire listening to this gorgeous, brilliantly written song.”

“A very strong Heep album with a mature sound. Stealin’ is one of their biggest trade mark songs in a progressive sense with brilliant vocals by Byron as usual. The weakest track is definitely Seven Stars with that alphabet-citing chorus. Every Heep record must own a track, usually at the end of the record, that over blows all the other songs. Here it is Pilgrim, a real progressive epic with a very strong leading theme, a fantasy classic.”

“Byron's powerful vocals and Hensley's Hammond organ accent tracks driven by the strong six string work of the stocky Box, and the locked-in backing rhythm section. The seven-minute Pilgrim stands as a career defining song.

Bachman-Turner Overdrive - BACHMAN-TURNER OVERDRIVE***

Gimme Your Money Please/Hold Back The Water/Blue Collar/Little Gandy Dancer/Stayed Awake All Night/Down & Out Man/Don't Get Yourself In Trouble/Thank You For The Feelin'

Self titled debut album from hard rockers Bachman-Turner Overdrive, formed by former Guess Who guitarist Randy Bachman. They would achieve their commercial breakthrough with the next album. (US:70)

“Bachman Turner Overdrive's debut set was a melange of blue collar-style boogie, competent hard rock, and even a jazzy bossa nova number in Blue Collar.”

“Bachman Turner Overdrive's self titled debut long play is good solid testosterone rock. Great lead guitar, solid bass lines and a sturdy drummer are all there. This music is not intellectual or progressive in anyway, just good steady boogie rock.”

“Bachman-Turner Overdrive's debut is a wonderful slice of super hard and chunky yet hooky and sublime 70s hard rock heaven. They really know how to write gems and every song is spectacular. The album starts with a real one two punch in Gimme Your Money Please and Hold Back The Water. Blue Collar has a wonderfully mysterious air about it, and Stayed Awake All Night is a riff monster.”

“A good debut album. All the elements are here, the pot needed a little bit of stirring. Gimme Your Money Please and Hold Back The Water provide a strong opening before the blues-jazz of Blue Collar takes us to a completely different place all together. After the change of pace the album settles back in to the rock and roll groove and pretty much stays there.”

“The big boys from Bachman-Turner Overdrive started grindin' gears with over-the-road blues-based hard rockin' cuts on their self-titled debut.” “BTO do one of the best jobs of using the rock guitar to its full potential than any group in history. They also mix it with melodic arrangements, and the result is several all-time gems.”

“The band had much bigger hits later on, and maybe some still rank among their best, but for sheer power, tunefulness, and energy, this debut album is the one to get. Not a dud track in the whole bunch.”

Brothers & Sisters - THE ALLMAN BROTHERS BAND****

Wasted Words/Ramblin' Man/Come & Go Blues/Jelly Jelly/Southbound/Jessica/Pony Boy

Prior to the release of Brothers & Sisters the Allmans had tragically lost Duane Allman & Berry Oakley in motorcycle accidents. Despite these setbacks this release topped the US album chart with Ramblin’Man reaching No. 2 in the singles chart. (US:1 UK:42)

“It is a bit surprising how good this album is considering the passing of Duane Allman and Berry Oakley. It would have probably been easier to disband than continue without two of the founding members. Instead, the group steps it up and produced Brothers & Sisters. In particular, the efforts of Dickey Betts should be noted as he takes the Allmans guitar playing in a different direction. He also is responsible for more than half of the tracks on this album, including Ramblin' Man.”

“The Allman Brothers Band were never known for their amazing studio albums, but they were necessary as a foundation for their live releases. There is a solid foundation underpinning this album, with upbeat and faster paced country songs, slower blues inspired ballads, and all the room for extended improvisation. However, that room is often times left empty compared to their previous albums.”

“The album sees them develop slightly from the dual-guitar southern rock blues-jam sound that they had done so much to popularise. Here they begin to assimilate a slightly more rootsy country-rock sound, with Gregg Allman’s opening Wasted Words being one of the finest examples of this revised sound. The whole album has an unmistakably American 70s rock vibe, at an audio junction where multicultural long-haired hippydom, blues-rock, country-rock and FM radio rock meet for a jam.”

“Competently played and sung but rather unexciting southern blues, verging more towards country-rock. That said Jessica is one of the sunniest tracks ever made, guaranteed to put you in a good mood, and Ramblin’ Man is superb as well. But as a whole the album didn't blow me away.”

“The Allman's give it a shot without Duane. You have to give them credit for going on, but this is the last album where they had even a little of the creative spark they'd once had. Brothers & Sisters has two gems, great as almost anything the Allmans ever did, Ramblin' Man and Jessica, and a solid rocker in Southbound. The rest vary from decent to mediocre.”

Hard Nose The Highway - VAN MORRISON***

Snow In San Anselmo/Warm Love/Hard Nose The Highway/Wild Children/The Great Deception/Bein' Green/ Autumn Song/Purple Heather

Hard Nose The Highway follows the trend of Van Morrison’s early 1970s albums in that the chart placing is lower than its predecessor. This confirms the views of some critics that his songwriting is beginning to decline. (US:27 UK:22)

“Opener is really weird, operatic country-soul-jazz. Apart from this it's more of the same stuff he does so well, maybe a bit more jazzy and jamming at times and less magic, but the ten minute jazz piece Autumn Song makes me lower the rating. A great album to play in the background, but it's hard to find any highlights here.”

“Had Morrison continued the direction that he showed on the opening track it would've been a very interesting record indeed, but immediately Warm Love makes things sound trite. The title track is good, but it is too long with repetitive choruses. Great Deception starts off sounding like the great lost Van song, but winds up sounding like a confused rant. On the other side, Bein' Green is fun and sounds fine with its brass and bold arrangements. Overall, this is a minor effort.”

“One of his more understated early 70s releases. It features the absolutely amazing Snow In San Anselmo, which I am at a loss to describe, only to say that it contains a jarring mix of rock, jazz and a classical choir that floors me every time I hear it.”

“I love Van Morrison when he's mellow, but he's relaxed to the point of comatose on this roadblock to an otherwise great run of music.”

“Could easily be re-titled “Snow in San Anselmo and other stories”, such is the shadow cast by the opening song over the rest. The breakneck jazz refrain, the soaring choral backing and the lyric rising from slumber to clamour conspire to produce an incredible five minute symphony. What follows is standard sweet-but-unremarkable fare.”

“Although I am a fan of all of Van's many periods, moods and styles, I find myself coming back to this album again and again. There's just a certain depth and spirituality to the music, a passion in the playing that makes this one stand out as a deeply personal and expressive piece of music-making. For me, this album begins Van's long spiritual quest, in which shorter song structures were abandoned for more open, personal tone poems.”

Tres Hombres - ZZ TOP***

Waitin' For The Bus/Jesus Just Left Chicago/Beer Drinkers & Hell Raisers/Master Of Sparks/Hot Blue & Righteous/Move Me On Down The Line/Precious & Grace/La Grange/Shiek/Have You Heard

Tres Hombres provided boogie-rock trio ZZ Top with their commercial breakthrough. Despite their limited musical range they would remain consistently popular with American audiences for the next decade. (US:8)

“Good, greasy, well played southern boogie/blues-rock from the top. They are really getting into their stride now, the band is tighter and punchier from the first note.”

“This could be their best studio recording. Rockin’ southern blues with some absolutely fantastic guitar and well written tunes. If you have never heard ZZ Top, this is the place to start.”

“It offers the perfect blend of rock and blues. The songs manage to gather a pretty unique sound while remaining interesting and enjoyable at the same time. What really holds the spotlight is the amazing guitar work throughout. There are some real jaw dropping moments ranging from the catchy riffs to the melting solos. This is an album that is all about hard rock fun, and it accomplishes just that. There is only the issue of lack of variety.”

“The name of the game is southern rock and Tres Hombres is a definitive album of the genre. Billy Gibbons' bluesy guitar wails like no other, his voice is perfect for this kind of music and the rock solid rhythm section adds a powerful performance.”

“There are some mildly interesting guitar solos, but when it comes down to it, ZZ Top remain dull, no matter what instruments they're using.” “From start-to-close, Tres Hombres is a gritty, down 'n' dirty set of cookin' cuts that signalled the arrival of ZZ Top as a power to be reckoned with. Shootin' off their guns and smokin' from the off, the down-home Top trio packed their unique brand of Texas style three chord blue-collar rock, blooze 'n' roadhouse boogie.”

“There is not a single weak moment on Tres Hombres. Every cut is top notch. There's quite a bit of variety too, from the mid-tempo blues of Jesus Just Left Chicago to the hard rock of Beer Drinkers & Hell Raisers to the Memphis soul of Hot Blue & Righteous to the John Lee Hooker boogie of La Grange. Even the lesser known cuts are excellent.”

Innervisions - STEVIE WONDER****

Too High/Visions/Living For The City/Golden Lady/Higher Ground/Jesus Children Of America/All In Love Is Fair/Don't You Worry 'Bout A Thing/He's Misstra Know It All

Soul legend Stevie Wonder was riding the crest of a wave during the seventies, although it could be argued that his reputation was rather overrated. Innervisions features the US top ten hits Higher Ground and Living For The City. (US:4 UK:8)

“There is very little exuberance here, nor joy. The light-hearted playfulness of 'Little' Stevie's sweet Motown blockbusters is all but gone. In its place comes a raw, down to earth, at times angry or despondent mood that taps into the darker sides of American society.”

“Boring, tepid soul that mistakes itself for something great. Gaudy keys abound over Wonder sounding as if he's about to fall asleep at the wheel. The songs are all slow-tempo vaguely optimistic piano-driven pieces that barely bother to punch their target, which is oppression.”

“Far too dated and plastic sounding to be deserving of its incredibly overblown reputation. The entire product was composed with a single synthesiser, and it sure sounds like it. Featuring culturally important messages in the lyrics might give Stevie a slightly messianic vibe, but that isn't going to garner this album any further points.”

“Innervisions is a soulful and creative record which sees Stevie Wonder at the peak of his creative powers and sees him producing, composing, arranging, singing and, on several tracks, playing all the accompanying instruments. This is what makes this such a genius work of art which should be admired by everyone.”

“I can pretty much understand why many people love this, and I respect the whole personal visionary creative aspect and the talent and passion behind it, but ultimately it's really just wimpy, slick 70s funk pop radio fodder.”

“One of those albums that is absolutely perfect in every way, from the lyrical content to the production and beyond. Better yet, it's full of both heart and soul, while at the same time managing to provoke thought and reminiscing. This is music at its finest, and it's all the work of just one man. Even taken in individual parts, the album is breathtaking, but taken as a whole, it is something truly magnificent.”

“Avoiding the artistic excesses that would threaten to topple his later works, Stevie perfected his sound, production and vocal delivery on these nine flawless numbers.”

Long Hard Climb - HELEN REDDY***

Leave Me Alone (Ruby Red Dress)/Lovin' You/A Bit OK/Don't Mess With A Woman/Delta Dawn/The West Wind Circus/If We Could Still Be Friends/Long Hard Climb/Until Its Time For You To Go/The Old Fashioned Way

With her distinctive voice Helen Reddy enjoyed considerable success in the USA during the early 1970s. Long Hard Climb features the US No.1 Delta Dawn and No.3 Leave Me Alone. (US:8)

Two big hits highlight this album, Delta Dawn and Leave Me Alone, but there are so many fine cuts that I recommend this collection highly. Helen's singing is both powerful and subtle. When you hear her voice you know instantly it's her - not many singers can be identified by their voice. Her West Wind Circus is especially haunting and tells a story which makes you imagine it in your head like a movie.”

“Her vocal styling made an impact on the pop sound for female vocalists in the early 70s. This LP is an educational experience in the sound of that period - pure pop that could be mellow.”

“Sans beating the drum of the Top Ten hits from this album the majority of the non single tracks are absolute gems by top notch songwriters of the time.”

“She was such a huge seller in the seventies. I have never understood why she is so underrated. I just love these old songs which take me back there. She has the voice of an angel.”

“So different and refreshing, that pure voice still gets me with its inflection of humour. Nothing beats Helen Reddy for picking me up at the end of hard day. I love A Bit OK played loud in the car and Long Hard Climb is a sumptuous ballad.”

“For those who like the record for its sound, its layered, early 70s soft rock, AM pop, MOR sound, this is quite enjoyable, particularly because the quality of the songs is quite consistent.”

“Ironically for a singer so associated with a tale of empowerment, Reddy isn't a particularly assertive vocalist; she tends to blend into the production of the record. This is not necessarily a bad thing, since it enhances the enjoyment as sheer sound and as a period piece, since they certainly stopped arranging and producing records like this a few years after it was released.”

We're An American Band - GRAND FUNK***

We're An American Band/Stop Lookin' Back/Creepin'/Black Licorice/The Railroad/Ain't Got Nobody/Walk Like A Man (You Can Call Me Your Man)/Loneliest Rider

With the release of We’re An American Band Grand Funk achieved peak popularity with their adolescent male fan base. Some critics dismissed this as too commercial, but the title track still topped the US singles chart. (US:2)

“A great deal more melodic than their earlier offerings but still good. Their chunkier offerings are a little faceless here but the longer slower ones have a grand and sweeping solidity.”

“They were getting a bit too much on the polished, slickly, commercial side by this album. I love the opening track but everything that follows pales in comparison. They're all good enough tunes, but they seem to be lacking something. Still a fun listen overall though.”

“Consistently decent, but by no means great, semi-commercial hard rock, with a somewhat heavy sound. But what is lacking here, and what prevents it from being great, is any really interesting material. Rundgren's rather commercial production makes it sound really slick, but there doesn't seem to be much of a foundation in the song writing department.”

“Why does everyone say Grand Funk are not original? Can someone name a band with better straightforward rock, fine songwriting and excellent playing? It is not really subtle, I admit, but I do like this very much.”

“This is the album where Grand Funk Railroad turned commercial. The funk is still there, though not as noticeable as before. The hard rock is still there, but again, it was more noticeable on previous albums. What this album does very well is succeed in sheer amazing songwriting. You can practically sing along to any one of these vocal melodies, and the album feels like it would work really well at a party.”

“Grand Funk Railroad often lost the respect of the critics, but never of their fans. Employing the production talents of Todd Rundgren, and a introducing full time keyboardist, Mark, Don and Mel came up with a highly successful meeting of commercial ditties, with a hard rockin' edge. The best example, Creepin', has an almost mystical background, with strongly hypnotic vocal, that no hard rock fan should be able to resist. Although the title track, We're An American Band, has become a rock and roll anthem, little else on the album will disappoint.”