It's Only Rock & Roll - THE ROLLING STONES***

If You Can't Rock Me/Ain't Too Proud To Beg/Its Only Rock & Roll (But I Like It)/Till The Next Goodbye/Time Waits For No One/Luxury/Dance Little Sister/If You Really Want To Be My Friend/Short & Curlies/Fingerprint File

By the time of release of It’s Only Rock & Roll the Rolling Stones were showing unmistakable signs of decline. The tedious and repetitive title track single did not help matters. (US:1 UK:2)

“For me this is the last great Rolling Stones recording. Some real toe tappers and some cool stuff make this a must for fans and rock lovers in general. This is Mick Taylor's album from start to finish. His guitar is fantastic and there is nothing like this on any of their recordings since.”

“With It's Only Rock & Roll it became quite clear that the Rolling Stones' classic days were behind them. While there are a few passable cuts, such the rollicking opener, the disc lacks the power and passion of their classic period.”

“A perfect example of the generic conservative dullness of great deal of mainstream rock in the mid-70s which albums like this, helped to spread.”

“It's Only Rock & Roll in some ways marked the end of an era for the Stones. It was their final album with Mick Taylor, and it began a decline for the band. Keith was absent for many of the sessions. Listening to it, it seemed the Stones were starting to lose their touch.”

“Some commentaries may feel that Its Only Rock & Roll is just a standard by the numbers release. However, in addition to the usual brand of in your face rock ‘n’ roll, there are some nice experimental pieces like the funky Fingerprint File, the tender acoustic gem Till The Next Goodbye, and the stunning Time Waits For No One.”

“An album that, while still sounding good, just wasn't up to the level of their classic era. Instead of coming up with four or five great cuts they were now getting a couple per album and they just didn't seem quite as strong. For me this is the weakest of all the Stones albums.”

“Not bad, but the Stones are going in the wrong direction now. Each album is a step down from its predecessor. The fact that they are pulling out old Temptations tunes might be evidence that they were beginning to run short on material. Nevertheless, the Stones still deliver with some of these songs.”

Veedon Fleece - VAN MORRISON***

Fair Play/Linden Arden Stole The Highlights/Who Was That Masked Man/Streets Of Arklow/You Don't Pull No Punches/Bulbs/Cul-De-Sac/Comfort You/Come Here My Love/Country Fair

Veedon Fleece has been described as bringing singer songwriter Van Morrison’s love of Irish and country music to the fore. Alas, the result is a lot of unmemorable tunes which might account for the relatively low chart placing. (US:53 UK:41)

“Van’s music is all about feeling, and this release touches some indefinable essence of gentle reflective beauty. His singing is also a very big part of his music and here he’s the nicest I’ve ever heard him, with lots of lovely falsetto. The overall effect is just a daydreaming afternoon.”

“An extremely intimate song-cycle, Veedon Fleece is similar in depth and mood as Astral Weeks, but it is no mere imitation. Where as the latter is a unclassifiable melding of folk, jazz and blues, Veedon Fleece brings Van's love of Irish music and country music to the fore. Instead of jazz-infused improvised magic, Veedon is a deliberate, thoughtful and unheralded masterpiece that casts a powerful spell.”

“Effortlessly cathartic and verbose, Veedon Fleece, sounds like the wiser, road-weary cousin of Astral Weeks. Van's stream of consciousness style speaks descriptively through characters, most notably Linden Arlen, a man misunderstood and consumed by his own nature. The beautiful companion piece, Who Was That Masked Man, is helplessly love-struck and yearning for the divine in hopes of reaching one's higher nature.”

“Beautifully delicate, but to be painfully honest I found it to be incredibly boring. I expected so much more, and I can't sit here pretending that I'm enjoying this drab release. The main problem is that Veedon Fleece has nothing memorable. Van Morrison's voice, which I've never had a problem with, is becoming increasingly annoying. The album is devoid of any good melodies and seems uninspired.”

“Veedon Fleece finds Van Morrison vocally returning to the stream of consciousness approach that was so distinctive on Astral Weeks, but this time set against a solid folk rock musical backdrop, often resorting to something as simple as a bare piano track to provide backing for his vocal performance. The change in tone is stark.”

“It's got strains of R & B, jazz, and even country running through it, and was a logical, if unexpected progression of Van's music at the time.”

Heroes Are Hard To Find- FLEETWOOD MAC***

Heroes Are Hard To Find/Coming Home/Angel/Bermuda Triangle/Come A Little Bit Closer/She's Changing Me/Bad Loser/Silver Heels/Prove Your Love/Born Enchanter/Safe Harbour

Heroes Are Hard To Find was the last of the pre Buckingham Nicks Fleetwood Mac albums. Few could have predicted the huge revival in fortune for this group that was just around the corner. (US:34)

“As usual, Welch contributes a great deal of the songwriting so expect the overall sound to be similar to somewhat stale pop sound on the group's previous few albums. Contrasting Welch is Christine McVie, the other major songwriter. Although not as strong as the tracks she will write later, they provide an alternative to the increasingly placid Welch numbers.”

“These Bob Welch era albums all start to sound the same to me after awhile. McVie's songs seem to follow a similar melody line each time, and Welch also seems to be repeating himself. It's not that this is bad, it's just not that memorable.”

“Danny Kirwan had left the band, which pretty much took on the appearance of being a Bob Welch solo effort. Welch seemed to come up short with the volume of output, so Christine McVie also penned a few tunes. Although his eerie Bermuda Triangle, catchy She's Changing Me and bluesy Born Enchanter rank among Welch's finest tunes, it's McVie who steals the show here. Her upbeat pop title track, Bad Loser and Prove Your Love sound as if they could fit into their next album, but the real highlight is her brilliant Come A Little Bit Closer. Some good songs, but uneven.”

“This is the last album with Bob Welch, and with the exception of a couple very sappy Christine McVie tracks, it feels like a Bob Welch solo album. He tackles ballads, progressive rock, funk and blues and proves that any rock sub genre can be reduced to bland hippie muzak.”

“It captures the group just before Bob Welch left and the group were to break big with Buckingham and Nicks coming in. Anyone who loves good 1970s rock music will love this album which is packed with great songs.”

“Wonderful vocals and very good musicianship make this a welcome addition to any collection especially those who've followed the fortunes of this remarkable band.”

Dragon Fly - JEFFERSON STARSHIP***

Ride The Tiger/That's For Sure/Be Young You/Caroline/Devil's Den/Come To Life/All Fly Away/Hyperdrive

Dragon Fly was the debut album from Jefferson Starship. They differed from Jefferson Airplane in eschewing hippy-dippy idealism, focussing instead on delivering a more mainstream rock sound. (US:11)

“The hard-rocking Ride The Tiger kicks of proceedings nicely with some great guitar solos. The material bounds along in pretty much the same radio friendly vein without anything being particularly outstanding, apart from the excellent Caroline. Grace Slick’s voice is as powerful as always.”

“Jefferson Starship is born. The transition from psychedelic welterweight to arena rock monsters begins here. Dragon Fly is a transitional album, but there are a couple of stone killers here. Ride The Tiger is simply a beast and Hyperdrive is utterly amazing with Caroline just beautiful. All things considered Jefferson Starship couldn't have asked for a much better debut.”

“Although Grace Slick and Paul Kantner are here, musically this isn't quite the Jefferson Airplane of old. Certainly there are the same vocal harmonies, but for the most part, they just became a typical mid '70s rock band here. This album does have some standout material, but a lot of non-memorable stuff as well.”

“Jefferson Airplane evolves into Jefferson Starship in this album that, despite the name change, seems a natural progression of the Airplane's cosmic minded, hippie drenched music. Marty Balin returns to the band with the stunning and dramatic rock epic Caroline, a progressive ballad that soars like a released bird into flight. Paul Katner's All Fly Away, is a hallucinogenic dream of other worldly horizons. Grace Slick's Devil's Den is a clever jaunting word play with fiddle.”

“Jefferson Starship's Dragon Fly must have looked very promising for fans of the recently disbanded Jefferson Airplane. This has a great buoyancy of sound and clarity of vision and purpose not seen by this group since Volunteers. The singing and instrumentation have bite, vigour and elegance. This is no nostalgia-for-the-sixties band here. This is the work of a new band with a refined direction. With long-estranged vocalist Marty Balin back in the fold on one killer track, Caroline, this album was assured some commercial success and lots of news coverage. Individual cuts are amongst the finest by either the Airplane or Starship.”

Eldorado - ELECTRIC LIGHT ORCHESTRA****

Eldorado Overture/Can't Get It Out Of My Head/Boy Blue/Laredo Tornado/Poor Boy (The Greenwood)/Mister Kingdom/Nobody's Child/Illusions In G Minor/Eldorado/Eldorado Finale

With the release of Eldorado ELO live up to their name by the inclusion of a real orchestra that provides a more symphonic sound. Features the US top ten hit Can’t Get It Out Of My Head. (US:16)

“It’s an overwhelming listen at first, constructed as a single, flowing piece of symphonic music from start to finish, shrieking electric violins lurking around every corner. But the songs connected by these strands of melody are rock-solid.”

“Hooks galore, the epic feel is present, but doesn't get in the way of neat rock-classical melodies. Simply wonderful.”

“For me this is where things really come together. When it comes to progressive rock, Electric Light Orchestra often fall flat but this is the one major exception. I think there's supposed to be some concept behind this, but who cares. Every song hits its mark and Jeff Lynne finally gets to really show off his production skills.”

“Jeff Lynne's songs are so good in a purely pop way. He throws the whole kitchen sink in here; lavish orchestrations, a choir singing backup, musical stylings borrowed from the soundtracks of old Hollywood. I disagree with those who find this to be a rather pompous affair; rather it does not take itself too seriously and is pure fun.”

“A lot of the songs on Eldorado have a very operatic feeling to them. I'm not generally a fan of symphonic styles of music, and this album does come across as slightly corny and cheesy. However, it also is very catchy. The presence of the orchestra throughout definitely provides a progressive feeling to it. Ultimately, ELO went in a direction that very few bands had gone in.”

“ELO were definitely a better band to listen to on the way up as opposed to after they made it big and sold out to insipid pop and disco. This album contains only one hit single, as opposed to several on their later efforts. It loses nothing by this and indeed gains integrity for not compromising the artistic intent.”

“It's a really good, pop/classical/prog, concept album, but a change in sound for ELO which favours bigger orchestration over the smaller ensemble sound that gave earlier releases a warmer feel.”

Serenade - NEIL DIAMOND****

I've Been This Way Before/Rosemary's Wine/Lady Magdalene/The Last Picasso/Longfellow Serenade/Yes I Will/ Reggae Strut/The Gift Of Song

Serenade has been described as the most introspective and reflective of all singer songwriter Neil Diamond’s albums. Features the US No. 5 hit single Longfellow Serenade. (US:3 UK:11)

“This is Neil at his most introspective, with probably the most personal songs of his career.”

“He has a great talent for writing beautiful songs, which at times touch the heart. This album is a fine example of this, and is at times just a secret joy to hear.”

“For me this may be his finest studio album. I admit to being a huge Diamond fan as his music has always spoken to me, but I like every cut.”

“This is probably my favourite Neil Diamond album. It's pretty mellow and introspective, with a lot of nice background string arrangements.”

“Neil's singing voice is at a mature stage and shows no signs of roughness or strain that came with his later recordings. It is very listenable, over and over again, and follows on the reflective mood of JLS. Neil's material on this album is not generally in the pop genre of his earlier hits.”

“Even though this album received very mixed reactions, I still regard it as one of Neil Diamond's best efforts. Yes, it is over-produced, and yes, the lyrics are over-the-top, but all eight tracks are timeless classics. Beautiful orchestral arrangements, a brilliant sound and Diamond's voice sounding better than ever.”

“Neil Diamond is a master of setting all moods. This beautiful collection has songs that do much to create a romantic tone. There is no doubt that he is an extraordinary performer, with a real talent that is proven time and again in his recordings.”

“The title of the album is very appropriate in that all songs are serenades of one sort or another. Its uniqueness is the very different styles of the serenades.”

Sally Can't Dance - LOU REED***

Ride Sally Ride/Animal Language/Baby Face/NY Stars/Kill Your Sons/Ennui/Sally Can't Dance/Billy

Sally Can’t Dance was the last high placed chart album from rock vocalist Lou Reed. He would record many more albums which appealed mostly to hard core fans. This release has been criticised for its overall bleakness of subject matter. (US:10)

“This would be your standard coked-out, overproduced '70s sleaze-rock disaster were it not for the fact that Lou spends the entire album making it clear that he hates absolutely everything and everyone. The lyrics, and barely disguised contempt in his voice, gives these songs a sting they might not otherwise have or deserve, and turns what would otherwise be a pretty mediocre album into something perversely fascinating.”

“There's some dreadful stuff on this record, including the title track. But there's also some surprisingly good material, too. I think Baby Face, whether or not tongue-in-cheek (and how can it not be) is pretty great.”

“Lou Reed's career was often a roller coaster of bad-to-worse but strangely enough this album, which the artiste himself hates, is one of his best. The top-flight studio musicians shape these barely there songs into something fairly decent, and Reed's fagged out delivery makes perfect sense in this context.”

“It sounds very tired, Reed's quavering voice doesn't really fit in with the arrangements, and the discord diverts attention away from the lyrics. Also, songs about the ravages of drugs, the horror of war and the sheer hell of just surviving in today's world have become such staples of Reed's catalogue we've become immune to their impact.”

“If ever there was an album that was entertaining in spite of itself, it's Sally Can't Dance. It's been well documented how disengaged from the music Lou was during the recording sessions, but I think it benefits a few of the songs. Ironically, it's especially helpful on Billy, an ode to a childhood friend whose experience in Vietnam scarred him. Lou's emotional distance gives the impression that he has been scarred as well, which gives the song that extra pathos to make it moving.”

“An atmosphere of decadence pervades the work. Sure, the attitude is cheap, nasty and cynical but it works in the context and Lou uses his best singing voice here for a change. The arrangements are fine and the music is very accessible overall.”

Late For The Sky - JACKSON BROWNE***

Late For The Sky/Fountain Of Sorrow/Farther On/The Late Show/The Road & The Sky/For A Dancer/Walking Slow/Before The Deluge

Singer songwriter Jackson Browne consolidated his growing reputation with the release of his third album Late For The Sky. Unfortunately most of the songs are ponderous and forgettable. (US:14)

“This entire genre of music holds no appeal for me. The focus is on the words, with the music little more than a pleasant backdrop to the singer's ruminations about love, life and death. Even the melodies take a backseat.”

“The lyrics are always thoughtful and introspective, which is a trademark of the artist, but here they are especially so.”

“Jackson Browne had everything going for him on this album. The singing is good, the passion is there; the backing is superb yet subtle. Everything works as he deals with the usual theme of love, life and loss. With the exception of a few songs too dragged out, the album is a classic of the singer-songwriter genre.”

“Well-played but very dull and static set of songs that picks up ever so slightly on side two. The only legitimate reason for listening to this is the opening title track.”

“Jackson Browne's defining moment came with this sombre, emotionally charged, heartbreaker of an album. Few artists have conveyed the highs and lows that come with love as wonderfully well as he does here. But beware this is a very gloomy, existential work that can seem slow, laid back and ponderous to the casual listener.”

“Jackson Browne is one of the most introspective and reflective songwriters in music. On his breakthrough album, Late For The Sky, he questions mortality and what lies beyond this life. The titles of the songs are allusions to death or dying. The subject matter sounds like it would make for an uncomfortable listen, but Browne is so sincere and pours his emotions into the music, that you are swept up by its plaintiveness.”

“I am a big fan of Jackson Browne and this one is my favourites. Each song is a work of art, the lyrics are powerful and eloquent, backed by music that conveys perfectly the mood of each song.”

A Stranger In My Own Backyard - GILBERT O'SULLIVAN***

Number 4/A Woman's Place/No More/Its So Easy To Be Sad/My Father/The Marriage Machine/If You Ever/The Thing Is/Just Like Me/Victor E/I Wonder Would You Mind/15 Times/Nothing To Do About Much/Tried To Get You To Love Me/Always Somebody

A Stranger In My Own Backyard was the weakest of singer songwriter Gilbert O’Sullivan’s albums, containing no hits. The provocative A Woman’s Place rightly drew the ire of feminists when released as a single. (UK:9)

“Pleasant on the whole, but too many forgettable tracks drift by. A Woman's Place is a reactionary disgrace. If You Ever and a few others are worth persevering for.”

“Gilbert went to the States to record this album but forgot to pack some decent songs.”

“This album is full of witty, carefully-crafted songs and very successfully blends his very British dancehall sensibility with a smooth West Coast feel.”

“This is one of my favourite Gilbert O'Sullivan albums. Every song is not just original but a beautifully crafted masterpiece. The arrangements of all the songs are highly sophisticated and multi-faceted.”

“A striking feature of this album is the childlike sense of humour and the warmly nostalgic melodies - the opening song Number 4 and Victor E are reminiscent of Sesame Street and other songs share the same childhood theme.”

“The patchiest of O'Sullivan's early albums, Stranger occasionally finds its footing and delivers a witty and well-crafted song or two. It's So Easy to Be Sad merges traditional British dancehall gallop and American West Coast smoothness to great effect, and contains some of the best examples of well-planned lyrical phrasing he ever put on record. My Father more closely follows the established template of his earlier outings, with its single piano and woozy horn providing just the right atmosphere for a tipsy ode to dear old dad.”

“O'Sullivan's songwriting often has the uncanny ability to illuminate and find humour in the everyday trials of common folk.”

Just A Boy - LEO SAYER****

Telepath/Train/The Bells Of St Marys/One Man Band/In My Life/When I Came Home This Morning/Long Tall Glasses/Another Time/Solo/Giving It All Away

The reputation and commercial success of singer songwriter Leo Sayer grew enormously with the release of his follow up album Just A Boy. This was helped by his innovative UK top ten singles One Man Band and Long Tall Glasses. (US:16 UK:4)

“A very listenable, mature set from Leo Sayer. Organic, almost rustic in its production, with a pleasing mix of acoustic instruments, plus banjo and steel guitar, organ, ever-present piano and pleasant bursts of woodwind. They're all put to the service of a variety of sturdy and occasionally very good songs.”

“A lot of these songs were premiered by Roger Daltrey on his debut solo album, but Sayer's own versions have validity by dint of more heightened expression, combined with a more down-home production. I'm not completely convinced by Leo's vocals; he tends to sound overwrought when striving for emotional expression and can sound like a little boy lost at times, but at least he does always sing from the heart.”

“This is the peak of Leo Sayer's career, vastly improved production and far better songs than on Silverbird. Three major hits and virtually every track is above average.”

“Unfortunately, if any of today's artists put out an album like this, most people would not understand it. The dynamics and production are surreal, as it plays like a rock opera, perhaps a smart man's show tune collection. Just A Boy, is a hidden, mostly unknown gem. As a musician, this record speaks to me; as a listener, it moves me, so why can't people make records like this anymore? The lyrics are so sincere and real.”

“Just A Boy contains the entire spectrum of musical styles with Leo's unique lyrics and vocals to connect it all. As with any Leo album, there is a certain amount of vaudeville present, but also included are some ballads, some almost psychedelic rock and a certain amount of straight out rock. Thus, this album runs the gamut, while still maintaining a consistent vision.”

“This is full of great songs by Sayer and his then writing and playing partner David Courtney, all centred around life as a working entertainer.”

Red - KING CRIMSON***

Red/Fallen Angel/One More Red Nightmare/Providence/Starless

Red was the last album release from the progressive band King Crimson before they broke up. Although it was critically well received, like most of their work, it includes lengthy periods of self indulgence. (US:66 UK:45)

“King Crimson are widely seen as the band that has kicked off the progressive rock movement and as one of the driving forces of the genre. They established themselves as true pioneers and leaders of this defining sound of the early 70s on which’s experimentation and breakthroughs, in both technical and musical terms, the world of music still feeds today.”

“The sound of this record is magnificent. Rich, full-blooded, powerful but not artificially pumped up: muscular like a gymnast, not like a body-builder. As an example of the sound engineer’s art, it's second to none. The music isn't bad either, yet somehow it utterly fails to grab or interest me on any level.”

“Sorry, I like prog and hard rock but no matter how hard I try I just don't get this. Too self-indulgent and how about some tunes?”

“Without a doubt one of the best King Crimson albums. A great mixture of progressive rock, hard rock, experimental and jazz fusion that creates a splendid piece of art. The rare weak moment on this album is the song Providence, not as strong and as solid as the other tracks.”

“From start to finish, the listener goes through an immense journey of hope. The depressing lyrics embed themselves into the listener while the guitars continue to play, searching for an answer. What is the answer to this hopelessness? Carefully constructed cacophonous, but beautiful melodies and solos, of course, that suggest that there is no escape.”

“Though thinly disguised as progressive, this is practically a hard rock album, their heaviest to date. It's primarily guitar driven, with some reed passages.”

“If progressive rock went to sleep, and had a nightmare, this is what it would sound like.”

Walls & Bridges - JOHN LENNON***

Going Down On Love/Whatever Gets You Thru The Night/Old Dirt Road/What You Got/Bless You/Scared/#9 Dream/Surprise Surprise (Sweet Bird Of Paradox)/Steel & Glass/Beef Jerky/Nobody Loves You (When You're Down & Out)/Ya Ya

Walls & Bridges was another uneven album from John Lennon and would be his last release of original material for five years. Features the US No. 1 hit Whatever Gets You Thru The Night and #9 Dream which peaked at No. 9. (US:1 UK:6)

“His post-Imagine albums are practically impossible to listen to in one sitting because of the combination of his apparent histrionic personality disorder, his growing deficit of melodies and original ideas, which he tries to reconcile by throwing as many strings and horns into the mix as he can find, ultimately forcing the music into sounding like a cheesy mid-70s soul album.”

“Boring, uneventful, pop-rock is the perfect way to describe this album. Some good song sprinkled throughout, but nothing that will floor you aside from maybe Nobody Loves You. Lots of piano driven songs combined with some horns and you get a pretty average album.”

“Whatever Gets You Through The Night was his only solo number one and for good reason, its one of his best. #9 Dream is the album’s highest peak, with beautiful vocals and weird lyrical phrasings that only Lennon could create”.

“John sounds tired in this last album before he removed himself from the public eye to be a father and husband. He was capable of haunting melodies, soulful insight into the human condition and just plain fun music. He well deserved a rest for the next five years."

“The sound is very mid-70s: lushly arranged, at times overproduced, very much a period piece, but now that it has gathered some patina, it doesn't look too bad.”

“While a bit uneven with some forgettable material and an explicitly 70s sound, Walls & Bridges is well worth tracking down. It's not close to his best work, but like everything he did a thoroughly emotional and gripping effort.”

“While Walls & Bridges doesn't measure up to Lennon's first two solo albums, it more than compensates with melodic, rich songs that feature some of the most interesting arrangements from his solo career. While the music is a bit inconsistent, the best tracks here compare well to his best material as a solo artist.”

Smiler - ROD STEWART***

Sweet Little Rock & Roller/Lochinvar/Farewell/Sailor/Bring It On Home To Me-You Send Me/Let Me Be Your Car/(You Make Me Feel) Like A Natural Man/Dixie Toot/Hard Road/I've Grown Accustomed To Her Face/Girl From The North Country/Mine For Me

Smiler was the last album of Rod Stewart on the Mercury label and is a disappointment. It consists mostly of covers although one exception is the UK top ten hit Farewell. (US:13 UK:1)

“Rod’s farewell to Blighty and to The Faces and it's by far the weakest of his early solo albums on Mercury that are his strongest work.”

“Smiler is actually quite listenable, though there appears to be no distinct artistic vision, rhyme, or reason to the track selection or sequencing, as it consists of only three Rod Stewart originals and far more obvious covers than previous efforts.”

“This was really the beginning of the end for Rod Stewart as a credible rock performer before the rot really set in. The spandex and leopard skin years were coming and the cracks were beginning to show.”

“The only good thing about Smiler is that it grows in stature next to everything he released after it.”

“Smiler is by far the weakest album that Rod Stewart released on the Mercury label. It has some excellent performances, but it is rather spotty. The album starts off with a ripping song, Sweet Little Rock 'N' Roller but then falls off. The rest of the album is up and down. This could have been a lot better, but it is not a wasted effort.”

“This is the way Rod should sound. It kicks of with a blistering Sweet Little Rock 'N’ Roller and Farewell a classic song. Every minute on this LP is worth the price. It rocks, it swings and the ballads are filled with soul. There are original songs by Paul McCartney and Elton John who both also guest.”

“This was recorded back when Rod and Ronnie were rockers and balladeers. His duet with Elton John has me tapping my toes. Listening to this, I 'm taken back to the early 70s when rock was genuine and fun.”

“One of the things that I love about these older Rod Stewart albums is that he always has a great mix of material. His soulful singing on these really livens you up, or touches your heart in some way.”

Feats Don't Fail Me Now - LITTLE FEAT****

Rock & Roll Doctor/Oh Atlanta/Skin It Back/Down The Road/Spanish Moon/Feats Don't Fail Me Now/The Fan/ Cold Cold Cold-Tripe Face Boogie

Feats Don’t Fail Me Now was the album that brought critical and commercial success for the southern rock band Little Feat, that would continue for the rest of the decade. (US:36)

“Another laid back country, funky, southern boogie album by Little Feat. By the release of this album they had effortlessly perfected their trademark sound, You can choose any track here as a perfect example of what this band was all about.”

“A much more muscular record than the proceeding ones as Little Feat’s constant touring sharpened their act to unbelievable levels. Here slide guitars, horns, clavinets, organs, pianos and even synthesiser sounds come at you as one supple, funky wall of sound. This band could do almost anything.”

“This Little Feat album has got a real slick production which fits their funky sound well; nice and crisp, lovely guitar tone, but it is still a relatively average album. I'm just not getting any sense of excitement from this band in any shape or form.”

“I'm curious to know why this album isn't accorded greater critical respect when compared to earlier Little Feat efforts. Feats Don't Fail Me Now is far less subdued and the truest example of Little Feat's incredible musical diversity and skill. There isn't a weak cut here and Cold Cold Cold/Tripe Face Boogie is mind-blowing from beginning to end.”

“Little Feat were the kind of band that appeal on many levels. For the dancer it is the boogie-woogie funk-stomp and rollicking blues that keeps you on your feet and moving. For the road warrior it is some of the best car tunes you could hope for. For musicians it is overwhelmingly good craftsmanship, without seeming effort.”

“The music is fine, featuring Little Feat in all their greasy glory, with interesting arrangements and deceptive playing that comes off so effortlessly that it sometimes hides what truly outstanding musicians they are.”

“The music in these grooves is nothing short of beautiful art. Lowell George created original, deep south rhythms and harmonies that were often imitated but never duplicated.”

Wrap Around Joy - CAROLE KING***

Nightingale/Change In Mind Change Of Heart/Jazzman/You Go You're Way I'll Go Mine/You're Something New/We Are All In This Together/Wrap Around Joy/You Gentle Me/My Lovin' Eyes/Sweet Adonis/A Night This Side Of Dying/The Best Is Yet To Come

Wrap Around Joy returned singer songwriter Carole King to the top of the US album charts despite the uneven content. Features the US top ten hit singles Jazzman and Nightingale. (US:1)

“The biggest change from previous releases was her use of lyricist Dave Palmer on all of the tracks. It would signal the beginning of her depending on outside lyricists to a larger extent than in the past. While the album had a cohesiveness that was missing from some of her previous releases, it was not as intimate or personal as the words were no longer her own. Still, it was a polished album that remains an enjoyable listen.”

“The album returned her to the musical mainstream as Jazzman and Nightingale both became hit singles and received extensive radio airplay.”

“Wrap Around Joy is often overlooked in her large catalogue of releases. It may not be her most creative or interesting album but when taken on its own merits it emerges as polished and in some places sophisticated pop. It is perfect for a lazy afternoon listen.”

“You really can’t argue with the first three tracks, which are knocked right out of the ballpark in tried and true Carole King fashion. Nightingale and Jazzman were her biggest hits for years and deservedly so. The album fairly unravels after that, littered with inferior songs. Part of the blame must go to the lyricist David Palmer. It’s not that he’s a bad lyricist, it’s just that his florid, poetic style is all wrong for Carole. His words tend to lack the personal touch that previously came so easily to her.”

“Wrap Around Joy is top-notch from start to finish. More instruments are added into the mix giving it a more polished feel, and musically it all sounds great. The production doesn't take away from the songs in any way. Carole has always had a way with a good melody, making the songs easy to remember. The lyrics are meaningful and down to earth.”

“This endeavour was aided tremendously by the huge hit single Jazzman, with a memorable sax performance, but Wrap Around Joy has many other fine songs.”

When The Eagle Flies - TRAFFIC***

Something New/Dream Gerrard/Graveyard People/Walking In The Wind/Memories Of A Rock & Roller/ Love/ When The Eagle Flies

When The Eagle Flies was the final album from the progressive group Traffic. Like its immediate predecessors it is a lacklustre effort. The group never recovered from the departure of Dave Mason who contributed so positively to their impressive first two albums. (US:9 UK:31)

“When The Eagle Flies was the end of the line for one of rock’s most inventive and progressive bands. Not a great album by their standards but still a good listen. They had it all going on for awhile but the creative juices, by this long play, had dried up.”

“A solid, but certainly not grabbing jazz-pop record that won't offer you anything you haven't heard before in a better variant.”

“By the sound of this final Traffic release, it really was time for them to pack it in. It’s somewhat laid back, prog flavoured pop, with some jazz elements. It sounds a lot like a Steve Winwood solo LP, but with better material.”

“When The Eagle Flies contains another seven Winwood/Capaldi compositions an, whilst the overall quality may not be as high as on previous albums, there is still enough to make listening to it forty minutes well spent.”

“This record takes a while to appreciate, but once you warm to the understated nuances this set becomes something you will want to savour again and again.”

“This is a mixed bag, some of the material is exceptional and a return to the band's roots while other songs come across as trite, poorly written filler. The title track is exceptionally good and most of the rest are memorable as well.”

“When The Eagle Flies has to be the most mesmerising album in the whole Traffic catalogue. Free spirited jazz improvisations with vocals. The centrepiece Dream Gerrard is the absolute pinnacle of Traffic achievement. Several of the songs are flowing, serene and full of wit.”

“Many of these songs represent a period when Traffic's music was getting longer in length. Everything has an extremely strong structure to it that really allows the band to stretch out without losing sight of the groove and song craft. And that makes this a highly fitting finale to their legacy.”

Hall Of The Mountain Grill - HAWKWIND***

The Psychedelic Warlords (Disappear In Smoke)/Wind Of Change/D-Rider/Web Weaver/You'd Better Believe It/Hall Of The Mountain Grill/Lost Johnny/Goat Willow/Paradox

Hall Of The Mountain Grill is considered to be the most consisted album release of the space-rockers Hawkwind. Here they embrace a harder rock approach with glam influences. (US:110 UK:16)

“This album is more progressive and psychedelic oriented than space rock oriented. Some may even say that this is more commercial than their previous albums but I don't see this album that way. A highly entertaining LP with lots of powerful songs.”

“Although Hawkwind's previous two studio albums were excellent, neither succeeded at capturing the power and might of their live set; Hall Of The Mountain Grill, however, pulled this off masterfully. The album juxtaposes some of the most complex and intricate material they had cooked up to date, like the title track, with some of their heaviest rockers, like the Lemmy penned Lost Johnny.”

“Hall Of The Mountain Grill is utterly superb, hard-hitting astral rock. While Hawkwind's earlier albums were heavy but more cosmic, here the band have adopted some hard rock and glam influences, with more bite to the riffs and less ethereal vocals. This is evident form the opener Psychedelic Warlords, which mixes folksy space-rock with harder edged glam. An epic tune, one of their best.”

“The openers of each side rank among my favourites of the band and the album has a good flow to it. It's a solid slab of 70s hard rock, which is something I usually don't like. This has just enough spacey bits and psych touches to make it stand out.”

“Overall, the album has a clear, crisp and fittingly spacious production quality, thankfully not tipping over into an echo-drenched mush, each instrument clear and distinct. If you love space-rock, this is an essential album for your library.”

“This is the quintessential Hawkwind album, plenty of that ethereal space-rock sound. The Grill has it all, from the pounding heavy metal of the earlier Space Ritual through to the gorgeous synth washed sounds that would define their later works. For a Hawkwind beginner I would suggest this album as a taster, and you can hear the new direction that the band were heading in.”

“Most of Hawkwind's records have a tendency to sound very muddy and not very varied. This is an exception, a good hard rock psych album that sounds good.”

Hergest Ridge - MIKE OLDFIELD***

Part One/Part Two

Hergest Ridge was the follow up album from the multi instrumentalist Mike Oldfield. Unfortunately, meandering and unfocussed, it is rather a let down compared with its highly original predecessor. (US:87 UK:1)

“Hergest Ridge does not seem to have very big aspirations. There are no accumulations of instruments, no sophisticated arrangements, no funny or hit parts, just a restrained theme which is reiterated in numerous variations and, apart from the fast guitar section in part two, there prevails a calm, pastoral mood.”

“Mellow progressive rock with some symphonic and folk inspirations. Great melodies, rather mellow atmosphere, and at times it also feels like some kind of minimalist classical music. Feels quite experimental in a way, although it's rather well structured. Oldfield doing what he knows best with good results.”

“Hergest Ridge is more pastoral in nature than its predecessor, nostalgic and occasionally twee. But there's no mistaking Oldfield's perfect command of mood and ability to sustain tension across the course of an album.”

“If you are in the mood for something relaxing that doesn't require a whole lot of concentration, then this will fit the bill quite nicely. There's really nothing wrong with the performance, it's just that once a theme gets established, Oldfield just doesn't take it anywhere. He simply moves on to begin another theme, or returns to a previous one. After a while it becomes predictable, which leads to boredom.”

“Hergest Ridge is a very organic sounding album of mellow atmospheres and rustic charm. However I didn't find it particularly memorable, and somewhat boring in places, although there are some very enjoyable parts. Overall the album lacks distinction and offers very little to draw you back very often.”

“Here some of Oldfield's themes go on way too long. I can't deny that it's all well done, but being so close to new age music this is simply not for me.”

“Musically it is a stunning instrumental composed of two long tracks which both evoke a rich feeling of summertime and nature that is both warm and organic.”

“It is both soothing and stimulating, ideal for a meditative state. The long surge of developing melodies seem to echo the flow of an unspoiled, archaic landscape.”

Turn Of The Cards - RENAISSANCE***

Running Hard/I Think Of You/Things I Don't Understand/Black Flame/Cold Is Being/Mother Russia

The progressive folk-rock group Renaissance went through many personnel changes during their existence. However with the highly regarded Turn Of The Cards they retained the same line-up as their previous album, featuring the distinctive voice of Annie Haslam. US:94)

“Many try to bring back the magic spirit of 70s with their music today, but only bands that actually created and played at that time really had it.”

“This is the album where Renaissance fully came of age. Most likely due to the fact that for once they had two consecutive albums with the same line-up. This stability meant that they could finally focus on the music at hand.”

“Annie Haslam's voice is fantastic and it really brings these lyrics alive. I think this album is almost perfect, and is essential for any true progressive rock fan.”

“Renaissance were one of the greatest progressive folk bands of all time. No one ever combined folk with progressive rock like they did, and Turn Of The Cards was their masterpiece. What set Renaissance apart was they had one of the most amazing vocalists in history, the incredible Annie Haslam, whose voice is simply stunning and amazingly powerful. The band's all time greatest song is here in the long and wondrous epic Mother Russia.”

“Not exactly the sort of album that makes cash registers ring, but the formula of simple acoustic guitar songs bolstered by imaginative orchestration and delightful piano playing makes for a very rewarding listen.”

“Some might describe the entire album as downright depressing, and this isn't entirely inaccurate. The haunting tone however, doesn't detract from the pure beauty of either the whole or its individual parts. This is certainly a masterpiece in its own right and offers listeners a level of excellence that the band never managed to equal in any of their subsequent releases.”

“Through the years there have been many great female singers, with powerful, angelic voices. However, none have ever topped Annie Haslam when she was with Renaissance. Her voice had a magical quality and a smoothness that few others had. Though she had no formal training, her voice, seemed to be the most perfectly pure voice of all.”

Not Fragile - BACHMAN-TURNER OVERDRIVE****

Not Fragile/Rock Is My Life/Roll On Down The Highway/You Ain't Seen Nothing Yet/Free Wheelin'/ Sledgehammer/Blue Moanin'/Second Hand/Givin' It All Away

The heavy rock group Bachman-Turner Overdrive reached a commercial and creative peak with the release of Not Fragile. Features the driving rocker You Ain’t Seen Nothing Yet, No. 1 in the US and No. 2 in the UK. (US:1 UK:12)

“This is the strongest release in the group’s catalogue. It is loud and heavy and every track is pretty much a winner. Bachman's guitar playing is at a peak here along with the vocals of himself and Turner.”

“One of the most aptly-named albums in history, this bruising collection of crunchy and heavy rockers is anything but fragile. The only reason Bachman-Turner Overdrive's third album isn't ranked as high as their first two is the fact that the songwriting is a bit weaker in spots and they were running out of things to say.”

“Being rougher in places but with some acoustic elements and pleasant vocal parts, BTO manage to create something solid and very enjoyable. All pieces stand as good in my view, with not a weak moment. One of the best BTO albums.”

“Not Fragile is loaded down with big, rigid, gear grinding rockin' tracks. There is nothing delicate on offer here, as the no-frills BTO deliver a crate full of lumbering tracks, on an album that climbed to the top of the charts.”

“The title track is a massive and mean bass driven cut that pushes the woofers in a major way, while the foot-to-the-floor Roll On Down The Highway and the stuttering You Ain't Seen Nothin' Yet received extensive radio attention. Other prime numbers from this big chugging, truck stop LP include the amped-up instrumental Free Wheelin', the cowbell clunking Second Hand, and the aptly named Sledgehammer, which hits like a tire iron upside the head.”

“After a few false starts, Bachman-Turner Overdrive deliver the goods big time. This nails the blueprint of rock 'n' roll for all to hear. Perfect from beginning to end, this album shines in ways we had not thought of before. From the opening chords of Not Fragile to the jazz stylings of Rock Is My Life to the thundering Turner track Roll On Down The Highway, this album promises so much one wonders if they can sustain it. But it does not let up and just continues to snowball.”

Introducing Eddy & The Falcons - WIZZARD***

Intro/Eddy's Rock/Brand New 88/You Got Me Runnin'/I Dun Lotsa Cryin' Over You/This Is The Story Of My Love (Baby)/Everyday I Wonder/Crazy Jeans/Come Back Karen/We're Gonna Rock & Roll Tonight

Introducing Eddy & The Falcons is a tribute album to the artists of the 1950s and 1960s by the front man of Wizzard, Roy Wood. These are all pastiches of the earlier musical genre and so there are no cover versions. (UK:19)

“Despite the overall strength of the craftsmanship and the front man's endearing personality, Introducing Eddy & The Falcons is somewhat underwhelming when taken as a whole, more of a boogie soundtrack with occasional gems than a conceptual tour de force.”

“An admirable collection of rock 'n’ roll pastiches, but overall an unsatisfying album lacking the production that made the Wizzard singles so enjoyable.”

“On this, the most cohesive album of Roy Wood's career, he hit upon an idea to celebrate the music and artists that inspired him in the 1950s and 1960s. And so, with entirely new and original material, Wood and band set out to pay a sonic tribute to those artists. Not only is it credible in terms of approximating the vibes, but there are some excellent tunes here. This Is The Story Of My Love is an absolutely gorgeous perfect pop song as is Everyday I Wonder.”

“Eddy's Rock is the greatest prog-rock song the eponymous Duane Eddy never wrote, similar to Peter Gunn with gratuitously shifting time signatures, and every production flourish the mid-70's had to offer. It's an interesting idea, the most unique and aesthetically subversive song on the album.”

“It is steeped in rock and roll. Roy Wood produced an excellent album, plagiarising the styles of many of the big names of the late 50s and early 60s.”

“This is great fun, stuffed with good tunes and a vast improvement on the experimental Wizzard's Brew. The album is a series of rock 'n' roll pastiches, often better than the artists being parodied. The record exemplifies how the 1970s were in love with the 1950s. It should be an essential purchase.”

“Every track on this album is a gem, it’s the one that got away that no one at the time realized just how good it was. If you are a teddy boy or rock and roll fan you are going to love this to bits. This is Roy's tribute to that great era.”

Welcome Back My Friends - EMERSON LAKE & PALMER***

Hoedown/Jerusalem/Tocccata/Tarkus/Take A Pebble/Piano Improvisations/Take A Pebble(Conclusion)/Jeremy Bender-The Sheriff/Karn Evil 9 Ist Impression/ Karn Evil 9 2nd Impression/ Karn Evil 9 3rd Impression

Welcome Back My Friends was a triple first live album from the progressive trio Emerson Lake & Palmer. Recorded in February 1974 at the Anaheim Convention Centre, California. (US:4 UK:5)

“There is just not enough time in your life to listen to this in its entirety. I am actually curious to meet anyone who sincerely enjoys this without a hint of pretension. It is all just too long, weird and boring.”

“The LP gatefold has the giant letters E L and P adorning the three record sleeves, in case you were wondering why there wasn't a fourth LP here. Listening to this all at once feels like running a marathon, in that it's exhausting, but also good for your health. Keith really was a mind-blowing talent.”

“Almost like a career retrospective, this album contains incredibly accurate live versions of the corresponding studio tracks. Over the course of six sides, the record is typically inconsistent, but overall, possibly their most comprehensive collection.”

“Aside from the long-winded track list and extended improvisations, the playing is tight and each member is in excellent form. The songs, already mind-blowingly complicated on the original albums, are played verbatim here, and a little faster. This may be an ego trip, but it's not an undeserved one.”

“A very long title for a very long record. Six sides of ELP in concert, much of it entertaining, much of it not. I like things best when they keep things more straight forward like the first part of Tarkus. Some wild keyboard/synth work throughout, but even that gets too much on certain pieces.”

“A recording of ELP during their mammoth world tour originally released as a triple album. The most interesting piece is a very different version of Tarkus to that of the studio recording. Here they extend the end instrumental section by about six minutes as Emerson gives a tour de force on the synths. There's also a super fast version of Hoedown.”

“The critics say ELP represent the excess, pomposity and pretentiousness of the prog music scene. Maybe this is true, but one thing is for sure, they were the greatest live rock experience you could ever witness.”

On The Beach - NEIL YOUNG***

Walk On/See The Sky About To Rain/Revolution Blues/For The Turnstiles/Vampire Blues/On The Beach/Motion Pictures/Ambulance Blues

After several excellent albums the release of On The Beach must have come as a disappointment to Neil Young fans. Darker and bleaker than previously, overall most of these songs are mediocre. (US:16 UK:42)

“On here, Young was still coping with the loss of two of his friends to their various addictions, as well as the sudden fame that had been bestowed upon him. The strident, bouncy and riffy opening of Walk On aside, the bulk of On The Beach is about his frequently blues-soaked musings on fame and empty relationships.”

“Stark, desolate, burning with a lovely inner luminosity, dangerous, jaded. All of these could perfectly describe On The Beach. The album's shockingly cynical and hostile centrepiece, Revolution Blues, with it's songs about hippies in dune buggies sallying forth to butcher movie stars was nothing less than incendiary in California in the wake of the Manson atrocities. But then you have Walk On, which is as wonderful as a breeze on a summer's day. Then Neil darkens the tone again with the dark and lonesome For The Turnstiles.”

“This is a really good album, finding Neil in acoustic mode and most of the songs are very laid back musically, but downbeat lyrically.”

“It has such a dark yet melodic tone throughout, and as always the blues undertones which I love from Neil. The best thing here are his lyrics though.”

“Something of a disappointment, in that I was led to believe that this is one his more consistently good albums. For The Turnstiles, Ambulance Blues, and Motion Pictures are up there with his best songs, but the rest are just OK.”

“With On The Beach, Neil Young sent a signal to the millions of fans he accumulated with classic recordings that he was no longer interested in them, he was going to follow his own path. He didn't change his music all that much; at this point, it was still acoustic and electric guitars, country-western touches and the same vocal style. But the subject matter and outlook became much bleaker, and the rhythms and tunes far less engaging than the country-rock beats and sing-along melodies of his earlier work.”

The Souther-Hillman-Furay Band – THE SOUTHER- HILLMAN-FURAY BAND***

Fallin' In Love/Heavenly Fire/The Heartbreaker/Believe Me/Border Town/Safe At Home/Pretty Goodbye/Rise & Fall/The Flight Of The Dove/Deep Dark & Dreamless

First of two albums from the country-rock Souther-Hillman-Furay Band whose members were all established musicians. Disagreements would soon lead to the break up of the band. (US:11)

“Although there are no real surprises or masterpieces on this album, it's still quite underrated. Chris Hillman is back in good form. I really like Heavenly Fire and Rise & Fall. Richie Furay's songs are not as good as the better ones he wrote and sang for Poco or Springfield, but they're all above average. J D Souther is the weakest link, although his contributions are far from bad, they just aren't that memorable.”

“The album is exactly what you would expect: some nice, easy going west coast rock with some nice harmonies in the style of The Byrds. The songs are mostly disappointing and the album never really takes off. It's J D Souther who comes up with the most memorable songs: Border Town and the fine ballads Pretty Goodbyes and Deep Dark & Dreamless. They are not enough to make the album great, all of the members have done better elsewhere.”

“Setting aside the level of professionalism in execution and delivery, we can look at the quality in song writing. Each song writer has tremendous experience, and placed on the table three or four of their best for this album. J D Souther presents his classic ballad style, Richie Furay presents his signature work, and Chris Hillman throws in his solid rock based compositions.”

“When David Geffen finished putting his super group together by coaxing Richie Furay to leave Poco, he must have had high hopes for his creation. Although the group never broke through commercially, or gelled as a unit, you would never know it from this sparkling debut album.”

“The musicianship is strong, the vocals personal and evocative, the songs great. There were three strong personalities which had a hard time coming together, which explains why the group didn't last long.”

“If you are into the Eagles, Byrds, Poco or any other country rock band, this is a must for your collection. It contains great ballads as well as out and out rock and roll.”

From The Mars Hotel - GRATEFUL DEAD***

US Blues/China Doll/Unbroken Chain/Loose Lucy/Scarlet Begonias/Pride Of Cucamonga/Money Money/Ship Of Fools

Although the Grateful Dead still retained a sizable following during the mid 1970s, their studio releases were uneven. From The Mars Hotel largely consists of forgettable songs. (US:16 UK:47)

“From The Mars Hotel follows the same kind of path as it's predecessor. The material is mostly folk-rock with elements from country and psychedelia. All of these songs are reasonably OK but none of them really stand out.”

“This album plods along slowly. It's not really a long album but after listening you'll feel as though hours have gone by.” “Pointless, artless jamming with not a bit of edge or creativity to be found. This is what hippies listened to as they transformed into yuppies in the mid-70s.”

“While the Dead never really shone quite as brightly in the studio as they did live, they pretty much nail everything here. The crystal clear production is a big asset on this one, allowing the warmth of Unbroken Chain to come through strongly, and also emphasizing the fragile psychedelia of China Doll.”

“Showcasing the band’s fascinating trademark brand of high-pitched improvisational artistry and free-spirited rock and roll, From The Mars Hotel gives us a stylish serendipity listening experience with wonderful solos, as the band members allow themselves to shine.”

“This album captures the band at the end of a brutal period of touring. The contribution of Phil Lesh is exciting and invaluable to the arrangement and feel of many of the songs. Scarlet Begonias and Unbroken Chain are worth the purchase price of this album. The eerie yet calming voice of Garcia on China Doll shows that even in the studio the Dead were artists to be reckoned with.”

“Another great album from a legendary band. You can really hear Robert Hunter's dry sense of humour on US Blues but also his more poetic side on Ship Of Fools. Jerry also shines of course on Scarlet Begonias which is one of my favourites. Phil Lesh is excellent on his spacey Unbroken Chain and Bob Weir hits the nail right on the head on Money Money.”

461 Ocean Boulevard - ERIC CLAPTON***

Motherless Children/Give Me Strength/Willie & The Hand Jive/Get Ready/I Shot The Sheriff/I Can't Hold Out/Please Be With Me/Let It Grow/Steady Rollin' Man/Mainline Florida

461 Ocean Boulevard was Eric Clapton’s second solo album released four years after his debut. Unfortunately it is the case that his solo work is usually less inspired than his group releases, particularly Cream. Features the US No. 1 cover of I Shot The Sheriff. (US:1 UK:3)

“This is pretty much the best place to start if you wish to get into Clapton. Good strong album with many likeable tunes, including the cover of I Shot The Sheriff.”

“461 Ocean Boulevard is worlds away from his Cream stuff; this is mellow laid back smooth blues with some spectacular guitar. Some of the lyrics are a little silly but at this stage of his career nobody listened to Eric Clapton for his lyrics.”

“Eric Clapton very laid back and mellow. This is an entire world of stylistic difference from Cream. If you want a rock album with a great chill groove you couldn't do any better than 461 Ocean Boulevard. It isn't a masterpiece, but it's close.”

“It has many of the same problems that make most of this artist's work patchy -inconsistent lead vocals, heavy reliance on classic blues covers and a couple of tracks that are too laid back to be effective. However, this album has strengths that overcome these problems - the band is tight, Clapton's playing is brilliant though understated at times, and the cover material is exceptionally well chosen.”

“There is a good variety of styles from bluesier pieces like I Can't Hold Out to the classic reggae rhythms of Clapton's cover of Bob Marley's I Shot The Sheriff. Clapton lays down some nice guitar riffs throughout, although the one thing that seems to be missing is a fiery guitar solo.”

“The whole mood of the album is very laid back and loose - everyone knows that Clapton and the band are capable of much more complex work, but they choose to avoid flashy excess, and opt instead for simplicity. The resulting album is very warm, friendly and intimate.”

“A quiet tone exists on this recording. Let It Grow is the standout song and a few others have ear catching moments as well. However, the lack of enough rock tunes here make this an average recording when compared to Eric's work as a whole.”

Walking Man - JAMES TAYLOR***

Walking Man/Rock & Roll Is Music Now/Let It All Fall Down/Me & My Guitar/Daddy's Baby/Ain't No Song/Hello Old Friend/Migration/The Promised Land/Fading Away

Singer songwriter James Taylor remained popular in the States throughout the 1970s despite his best work being contained in his first two Warner albums. Walking Man is typical of the bland and forgettable nature of his later releases. (US:13)

“Pretty much what you would expect - mellow, easy going, singer songwriter stuff with super slick playing and production. Some of the songs individually are really good, but others show a really bad lapse in taste, the Berry cover and Rock & Roll Is Music Now in particular. Played in sequence it just all blurs together pleasantly, but I can't help but feel the better songs deserved something more here.”

“Plenty of pleasing stuff, especially if you appreciate subtle harmonic and melodic touches, of which there are many, even if this record doesn't represent the very best the artist has to offer in this regard.”

“One thing that seems to have changed is the ‘one man and his guitar’ format having given way to heavier orchestration and use of a horn section. This was never one of James Taylor's most popular albums and doesn't have any well known tunes and hits some of his albums possess.”

“While this album did not receive great critical acclaim, it is one of my favourite JT albums. The music is so soothing, it takes me to where I am most comfortable.”

“It has some of Taylor's best ballads, which have an interesting, understated melodic quality, they're not-quite-pop pop songs. Things slide a little bit at the end but on the whole this LP still possesses the peculiar Taylor charm and intimacy that few other artists can touch, even at their best.”

“One can also tell that this album is quite personal based on the poignant and direct lyrics.. It also displays Taylor's quintessential compositional form; he uses lots of overlaying textures with a wide variety of tasteful light rock. There's a strong jazzy feeling throughout the album and sometimes, the jazz takes risky, surprising and beautiful turns.”

Another Time Another Place - BRYAN FERRY***

The In Crowd/Smoke Can Get In Your Eyes/Walk A Mile In My Shoes/Funny How Time Slips Away/You Are My Sunshine What A Wonderful World/It Ain't Me Babe/Fingerpoppin'/Help Me Make It Through The Night/Another Time Another Place

Another Time Another Place was the second album of covers from Roxy Music vocalist Bryan Ferry, which consolidated his transition into a lounge lizard crooner. The In Crowd and Smoke Gets In Your Eyes were both UK top 20 hits. (UK:4)

“Ferry's second excursion into covers sees him concentrate on 60s soul, country and Tin Pan Alley standards with variable results. When it's good, like on the crunching version of The In Crowd and the grandiose version of Smoke Gets In Your Eyes, it's very good, but elsewhere he falters, his vocal stylings completely unsuited to the country tracks.”

“This nearly all covers album finds Ferry dodging a potential dud, elevating Another Time Another Place to more than a novelty set by injecting a healthy dose of mid-period Roxy vibe into the better tracks, coloured not only by his lounge lizard vocals, but by cool instrumental backings.”

“This is one strange album. I'm not really sure what to make of it, and I think that's a good thing. Sometimes, I find myself oddly moved by the songs. Ferry's quavering take on Smoke Gets In Your Eyes is weird, but almost definitive. Sometimes, I find myself laughing; Ferry sings What A Wonderful World like he's mad at the song. You Are My Sunshine displays the silly-serious dichotomy within the same song: at times, it's touching, at times laughable. It seems like Ferry set out to prove that some songs are just so good, no matter how strangely you sing them, you can't diminish their power. That sentiment, in fact, sums up this album.”

“Bryan Ferry's second solo album is a bit uneven in the quality of song choices. Most of these selections are rather boring, even with Ferry's unique arrangements and vocal stylings. But though a little uninspired, there are some songs that make this worth purchasing. The best are the first and last. The In Crowd is handled perfectly with just the right amount of camp and humour. Finally, the title track is one of Bryan's best original songs with its unusual time changes and a catchy melody.”

“Ferry makes a good job of Smoke Gets In Your Eyes and then croons his way through the rest of the set. I could do without You Are My Sunshine, but overall a very decent record that is perfect late night listening.”

Before The Flood - BOB DYLAN & THE BAND****

Most Likely You Go Your Way (And I'll Go Mine)/Lay Lady Lay/Rainy Day Women/Knockin' On Heavens Door/It Ain't Me Babe/Ballad Of A Thin Man/Up On Cripple Creek/I Shall Be Released/Endless Highway/The Night They Drove Old Dixie Down/Stage Fright/Don't Think Twice Its Alright/Just Like A Woman/Its Alright Ma (I'm Only Bleeding)/The Shape I'm In/When You Awake/The Weight/All Along The Watchtower/Highway 61 Revisited/Like A Rolling Stone/Blowin' In The Wind

Before The Flood is a live double album recorded during Bob Dylan’s 1974 comeback tour backed by The Band. It was his first live release and provides an opportunity to hear alternative versions of some of his best known songs. (US:3 UK:8)

“It’s a live album with a bunch of Bob Dylan’s best songs plus a couple of masterpieces by The Band sprinkled in. Obviously it’s going to be good. As far as live albums go, it’s decent, but there isn’t anything special about it in that regard. The music is killer, the delivery is good, but it could be better.”

“Dylan's first live concert album documents his wildly successful 1974 tour, his first after an eight year hiatus. Unfortunately, these performances have all the subtlety of a sledge hammer, with Dylan bellowing every line over The Band's anaemic noodling. Dylan's brief but fiery solo acoustic set on the third side is the only redeeming part of the album.”

“Bob Dylan shares the stage with The Band on this two disc live album. Dylan reinterprets many of his hits with mixed results. It may not always be excellent but it is always interesting.”

“This is a true collaboration by these artists with both Dylan and The Band in top form on this record. The song selection is excellent, although leans towards the classics of both. The music is weighted to the great sound of The Band with the idiosyncratic charm of their instrumentation.”

“The Dylan songs are all the extremely popular ones that everybody has heard a million times before, but no matter how many times I hear them, they are still great. This live album also includes some songs from The Band which are mostly good too with a few exceptions.”

“The music is not superior to the studio tracks, but its another decent look at the ones you've most likely exhausted playing. You can hear some real personality coming out of the songs.”