Blue Jays - JUSTIN HAYWARD & JOHN LODGE*****

This Morning/Remember Me (My Friend)/My Brother/You/Nights Winters Years/Saved By The Music/I Dreamed Last Night/Who Are You Now/Maybe/When You Wake Up

During the six year gap between Moody Blues album releases the individual members each released their own solo albums. The most commercially successful of these was the excellent Blue Jays. (US:16 UK:4)

“A very relaxing album. I Dreamed Last Night, is a highlight but there are several other tracks which just make the complete listening experience a marvellous whole. Put this on, kick back and just drift away to the soft, golden tones.”

“The overall effect is close enough to the duo's Moodies compositions that the album will appeal to listeners of that band. Indeed, it's a sufficiently good companion to their Moody Blues work that few fans would want to be without it, but it's definitely its own entity at the same time.”

“Many of these tracks would have been great with the Moody Blues. Despite the use of some well-done orchestration, I'd love to hear that signature mellotron of Mike Pinder unfolding its graceful space-velvet all over this album.”

“It may lack the key components of the Moodies albums (flute, mellotron, etc.) but this would be the first, last and only time the Hayward/Lodge team sounded so rich, earthy and warm.”

“My favourite aspect of the Moody Blues music has been Justin Hayward's guitar playing. And here, it's available like never before. You probably have to have at least a passing interest in The Moody Blues to totally appreciate this album, but if you do, it's worth the trip.”

“The depth and beauty of this music only grows stronger. For those who like the hard-rockin' side of the Moody Blues, Blue Jays will be a bit of a change. For those who love Justin Hayward's profound ballads and John Lodge's airy harmonies, this disc is like finding buried treasure.”

“Blue Jays is a soaring, magical piece of work. It touches my spirit in a way that few albums have. There is a bold, rich over-the-top mysticism and emotionalism in their music that rises far above mere words.”

“The album is an epic from beginning to end. It's like watching a movie in your mind.”

The Original Soundtrack - 10CC*****

Une Nuit A Paris/I'm Not In Love/Blackmail/The Second Sitting For The Last Supper/Brand New Day/Flying Junk/Life Is A Minestrone/The Film Of My Love

The art rock group 10cc continued to maintain their high standard of creativity with The Original Soundtrack, helped by no fewer than four inventive songwriters. Features the UK No. 7 hit Life Is A Minestrone and probably their best known song the UK No. 1 I’m Not In Love. (US:15 UK:4)

“The Original Soundtrack makes a fair claim to be their career high, featuring two big hit singles, a three part mini-opera and a host of other good tracks besides. Criticised at the time for being just too clever and lacking passion, there are grounds for the prosecution but most will surely kick back and enjoy the word-play and melody on display here.”

“I love this album and played it a lot in my mid-teen years on initial release. It still stands up today and shows that intelligence need not be a drawback to making good rock music.”

“First of all, it has the band's absolute classic I'm Not In Love. Second, the clear French influenced song Une Nuit A Paris is another genius song. Also another classic is Life Is A Minestrone. This is an absolute essential if you love the music of the mid-70s; I praise this album highly and it's creativeness.”

“The Original Soundtrack is a strangely overlooked work, fiercely artistic and perhaps a little too clever for it's own good. It does however deserve something of renaissance; it's a hugely bright, intelligent, thought provoking work of art that is far removed from some of the facile dross of that decade. The fact that 10cc managed all this whilst still maintaining popularity as a singles band is fairly unique.”

“10cc really were unique in combining so much humour within so many excellent pop songs. This album surprised me with just how inspired it is. It says it all that their most memorable song, I'm Not In Love, can't really be considered the strongest track on the album. It has it all really: great tunes, lush production, funny lyrics and over the top parodies about music and movies.”

“10cc in their heyday were unsurpassed in creative, experimental songwriting. The beauty of their vocals, the skill of their musicianship, the wryness of their wit, the edginess of their rock, the sadness of their melancholy, the adventurousness of their extended theatrical pieces, all add up to pure creative musical genius.”

Cold On The Shoulder - GORDON LIGHTFOOT***

Bend In The Water/Rainy Day People/Cold On The Shoulder/The Soul Is The Rock/Bells Of The Evening/ Rainbow Trout/A Tree To Weak To Stand/All The Lovely Ladies/Fine As Fine Can Be/Cherokee Band/Now & Then/Slide On Over

Folk-rock singer Gordon Lightfoot’s Cold On The Shoulder has been described as an introspective album, from an artist with a voice that is heavenly and melancholy at the same time. (US:10)

“My favourite song on this album is Now & Then, which has dreamily poetic lyrics and a terrific lilting melody. A song that I never used to like much but appreciate more and more lately is Cherokee Bend, a story song that takes many listens to get the gist of the lyrics. Slide On Over is probably the funkiest song Gordon has released to date; you can almost dance to it. Other favourites include the chivalrous tribute to women All The Lovely Ladies.”

“Cold On The Shoulder is no mere rehash of Sundown. Whereas the latter's overall motif was restlessness and movement, this is a much more introspective album, with an underlying motif that is essentially on the outside looking in.”

“This is one of Lightfoot's best and most popular albums, produced when he was at the height of his incredible popularity in the mid 1970s. For a while he could seemingly do nothing wrong. In fact, he produced so many superior albums, populated by such uniformly outstanding songs, that we've become inured to the fact that he is such a singular talent. Every single song on this album is extremely well written, sung and arranged.”

“Each song on this album has a feeling of its own. My favourite by far is Bells Of The Evening. The simple accompaniment of piano with Lightfoot's voice is heavenly and melancholy at the same time. It evokes such feelings that stay with you forever.”

“I marvel at the way he blends the music with the lyrics so well, it's like clockwork. Virtually every song here deserves a five star rating. I've listened to this album so many times, I've memorised the lyrics to every song; I've done the same with his other albums. My favourite is All The Lovely Ladies, a provocative song about people who must deal with heartache, hardship, loneliness and injustice.”

“My favourite Lightfoot song is Bells Of The Evening, it's a simple arrangement, starting out with just a few piano chords, but he manages to sound achingly lonely.”

Welcome To My Nightmare - ALICE COOPER****

Welcome To My Nightmare/Devil's Food/The Black Widow/Some Folks/Only Women Bleed/Department Of Youth/Cold Ethyl/Years Ago/Steven/The Awakening/Escape

Although the name remains the same Welcome To My Nightmare is the first solo album from Alice Cooper as an individual rather than as part of a group. Features the somewhat unrepresentative US No.12 hit Only Women Bleed. (US:5 UK:19)

“Alice Cooper's first album as a solo artist. This is a great concept album, the songs form a journey through the nightmares of a young boy named Steven. Here are no weak tracks at all. All songs are connected to each other in some way. The whole album is a wonderful shock rock opera classic.”

“This album is not devoid of the ridiculous excesses that often turned Alice Cooper into a parody of himself, but there are enough good songs to guarantee an exciting listening experience.”

“It depends on your mood, this almost has a Rocky Horror sort of vibe, with cheesy 70s horror themed glam songs. If you are a fan of Alice Cooper this is prime material, but as more of a casual fan, I do find this to be a bit excessive at times.”

“I love Alice Cooper's music for its sense of humour, hooks and sheer joy, not its theatricality. This album generally sticks to the latter without offering much of the former, and without including the handful of all-time classics any good Alice Cooper album requires. I will say, however, that this is his most versatile and creative album, and that lyrically it's surprisingly good.”

“Alice is, as always, inventive, eclectic, and full entertaining, demonstrating that even his dark lyrics can be applied to a number of musical styles.”

“Alice Cooper's debut album as a solo artist is a lot of fun. It's a campy, creepy classic. The inclusion of the ballad Only Women Bleed, which was the album's big hit, tells us that perhaps he was willing to sacrifice a piece of his gross-out persona for commercial success.”

“Cooper (the man) now minus Cooper (the band) delves even further into his theatrics. This one is some kind of conceptual piece tailor made for his outrageously campy horror stage show. As with all Cooper releases, what it comes down to is great songs, and Alice turns in some monsters.”

For Earth Below - ROBIN TROWER****

Shame The Devil/Its Only Money/Confessin' Midnight/Fine Day/Alethea/A Tale Untold/Gonna Be More Suspicious/For Earth Below

Blues-rock guitarist Robin Trower was not an easy fit with the progressive band Procol Harum, so it was no big surprise when he departed. What was more surprising was his successful solo career with albums such as For Earth Below, particularly in the USA. (US:5 UK:26)

“Sounding much like a virtual continuation of his flagship release, Bridge Of Sighs, it could be argued that this was an all-out attempt to replicate it. The sound is literally the same, and it follows the same systematic and formulaic approach to song writing. Unfortunately, this one is significantly off the pace, lacking the catchy and infectious hooks of its earlier sibling.”

“Robin Trower's guitar is just as sharp, thick, and drenched in reverb awesomeness here as on Bridge Of Sighs. These songs simply cook, and Robin's guitar burns lambently as the noonday Sahara sun.”

“For Earth Below is a nearly excellent record that tries too hard to repeat the winning formula of Bridge Of Sighs. There are enough of funky grooves, gut-wrenching guitar solos and ethereal vibes to satisfy anyone who loved the first two records. What it lacks is any highly memorable standout tracks. For that reason, this album feels like something of a letdown.”

“For Earth Below may not be as good as its predecessor Bridge Of Sighs but it is reflective of an exceptional talent who manages to impress with the guitar without ever coming across as flashy.”

“Criminally underrated, For Earth Below features Trower stretching out a little with some of his best material. He is the king of spacey heavy guitar, that is somehow also light and ethereal. He can play as delicate as a master painter's brush stroke, bringing out all the brilliance, texture and artistry he commands. Colouring your world with his long luxurious notes and filling your muse with dreamy music landscapes. He can also come down with thunderously heavy riffery, shooting momentously funky rhythms straight through you ears and out your feet.”

“Musically Trower continues to perfect his blues rock sensibilities all the way, adding his punchy pseudo-psychy guitar work. Every song on this album is a stone cold rocker and for Trower fans this is pure gold.”

Physical Graffiti - LED ZEPPELIN***

Custard Pie/The Rover/In My Time Of Dying/Houses Of The Holy/Trampled Under Foot/Kashmir/In The Light/ Bron-Yr-Aur/Down By The Seaside/Ten Years Gone/Night Flight/The Wanton Song/Boogie With Stu/Black Country Woman/Sick Again

Physical Graffiti was the only studio double album released by Led Zeppelin. Unfortunately, it is largely uninspired, with the inclusion of much filler, so a single album would have made more sense. (US:1 UK:1)

“Led Zeppelin were beginning to realise that their brand of blues-rock would be on its way out soon, and so trying to shake things up by being really over-indulgent and managing to be less listenable.”

“The songs vary from blues rock to heavy metal and even folk, and you can really feel the classic Zeppelin touch and sound in here. Some monumental historical masterpieces can be found like Kashmir, In The Light and their arrangement of a traditional gospel song In My Time Of Dying. On the other hand the album includes some shorter rockers and blues pieces which all work very well of course.”

“Unfortunately, there is a lot that I don't really like about this album. For one, the filler tracks are bland, and there are a lot of them. Also I felt that there were too many tracks and that it was too long overall. With all that being said, the good outweighs the bad and I enjoyed most of the album.”

“This diverse twin LP set from the mighty Led Zeppelin has no competition. Jimmy Page's production is perfect throughout the inspired recording, and the songwriting covers a wide spectrum of styles. This is a legendary band at the height of their amazing, high-flying career.”

“It is full of awesome songs that rock really hard. The musicianship is mind-blowing, and the entire band achieve some of their greatest work here. Robert Plant's singing is beyond fantastic throughout. Most of the songs are wonderful, and there is absolutely no filler. The best track here is definitely Kashmir; what an incredible, emotional song, beyond epic in every way.”

“Like most double albums, it can get a little excessive. Kashmir is essential and possibly the best song the group ever recorded, a majestic epic that fuses rock, blues, and Middle Eastern influences, all the things they are known to do best.”

“Another one of those double long plays that should have been cut down to one. There is a lot of filler and I mean a lot but what is not filler is spectacular.”

On The Level - STATUS QUO****

The mid 1970s was a highly successful period for the British boogie rock band Status Quo. They enjoyed three UK chart topping albums including On The Level, which included their only UK No. 1 single Down Down. (UK:1)

“What is perhaps most surprising about the success of Down Down is that on listening to its accompanying album, On The Level, it’s not by any means the most commercial track on it. In fact any number of the others had enough potential to be lifted as a single, due largely to the fact that once again the commercial song writing team of Rossi/Young dominates the album. As commercial as the album is, it is also perhaps their most visceral.”

“This is another solid album by Status Quo. Their straight ahead hard rock guitar assault just pushes all the right buttons with me.”

“These guys made no pretence of being sophisticated musicians trying to expand musical boundaries and expose fans to new ideas and concepts.”

“This album is proof positive that the Quo can rock as hard as anybody you care to name. Down Down, Little Lady and their blistering cover of Chuck Berry's Bye Bye Johnny will melt your speakers.”

“From Rick's opening power riff of Little Lady, through Francis' gut wrenching Most Of The Time the album starts strongly. It features their first number one British single and one of the best examples of what became the definitive Quo sound in Down Down.”

“These guys deserve more praise than I can ever give. This album rocks from beginning to end and barely lets you catch your breath. If you're looking for sappy ballads or navel gazing songs, go somewhere else.”

“Quo made a classic hard rockin' LP here. Its boogie rock and has many fine tracks including the number one hit single Down Down one of the best boogie songs ever written.”

Commoner's Crown - STEELEYE SPAN***

Little Sir Hugh/Bach Goes To Limerick/Long Lankin/Dogs & Ferrets/Galtee Farmer/Demon Lover/Elf Call/Weary Cutters/New York Girls

Steeleye Span were the pre-eminent British folk group during the mid 1970s, aided by the incredible voice of Maddy Prior. Commoner’s Crown features a mix of traditional folk songs together with some novelty items. (UK:21)

“Commoner's Crown is my favourite of the albums I’ve heard by the group. Not a bad song here; even the minor ones have a pleasing quality. This one isn’t the most rock oriented or the most folky of the band’s output. It’s somewhere in the middle. Great guitar, drumming, fiddling and bass playing abound, and Maddy Prior is at her absolute best vocally.”

“Giving Little Sir Hugh and Demon Lover irresistible choruses was a good idea. But the best is Long Lankin; Maddy Prior's vocals in the slower sections are tops, especially the high harmonies. Every song here is great, even the campier ones have their moments.”

“One thing about Old English folk tunes is that they can all sound the same after awhile. What the group managed to do during this period was arrange these songs into either rollicking or haunting modern folk songs using various timbres of the instruments of their time while performing them in the spirit of a former time. Every song comes off well, especially the sublimely haunting Long Lankin and the a cappella Weary Cutters. The ensemble singing during the chorus of Demon Lover punctuated by the electric guitar statement is sweet. Galtee Farmer manages to be both haunting and rollicking at once, driven by a superb guitar and bass line. New York Girls may seem out of place but it serves to end the album on a humorous note after the more severe and sombre tunes that precede it.”

“An uneven album, the problem is that two of the tracks, Little Sir Hugh and Long Lankin, are so good that the rest suffer significantly in comparison.”

“This contains one of the most anthemic of all Steeleye Span songs Long Lankin, probably one of their best-loved songs of blood-letting and general creepiness Dogs & Ferrets is an example of their more adventurous vocal work, with its syncopated rhythms and staggered harmonies. The star for me however, is Bach Goes To Limerick, a wonderful baroque spoof blended with an Irish jig, featuring superb violin and mandolin. Some of the rest could be called filler by the ungenerous.”

Have You Never Been Mellow - OLIVIA NEWTON-JOHN***

Have You Never Been Mellow/Loving Arms/Lifestream/Goodbye Again/Water Under The Bridge/I Never Did Sing You A Love Song/Its So Easy/The Air That I Breathe/Follow Me/And In The Morning/Please Mr Please

Have You Never Been Mellow was the second album of Olivia Newton-John’s highly successful country phase, which like its predecessor topped the US album charts. Features the US No.1 title track single and No. 3 Please Mr Please. (US:1 UK:37)

“Olivia sings with such a lovely voice and these songs touch me in a strange way.”

“For the first time John Farrar takes over production of the entire album. He had a knack for knowing what works well for Olivia and was able to take almost any song and suit it to her pitch-perfect vocals. Have You Never Been Mellow remains a timeless piece of flawless pop music that is sure to fit any mood.”

“This album contains three big American hits and is of high quality throughout. In style, it is very typical of Olivia's early music, with a nice mix of ballads and upbeat songs.”

“If you've ever wondered why long-time fans of Olivia Newton-John are so passionate about her, give Have You Never Been Mellow a spin. Here, she truly comes into her own with an eclectic mix of pop that defines the word mellow, country-rock and standards.”

“This is clearly Olivia's best album. Her voice is so full of emotion and vulnerability. She definitely knows how to interpret a song and make it her own as every track is beautiful and haunting. She has one of the best voices in the business ever. This is her masterpiece and you have to listen to it to really appreciate her talent.”

“Have You Never Been Mellow is very good overall, but not her best. It has some of my favourite songs, the title track and Please Mister Please, but also a lot of very slow, sleepy songs that might be just a bit too mellow. Her voice is amazing, there is a sort of magic intangible quality that I find captivating.”

“Olivia Newton-John's second US #1 album is a mixed affair. The title track is by far the strongest cut, a beautifully melodic tune that shows Olivia's soaring vocals off to the max.”

Blood On the Tracks - BOB DYLAN*****

Tangled Up In Blue/Simple Twist Of Faith/You're A Big Girl Now/Idiot Wind/You're Gonna Make Me Lonesome When You Go/Meet Me In The Morning/Lily Rosemary & The Jack Of Hearts/If You See Her Say Hello/Shelter From The Storm/Buckets Of Rain

Blood On The Tracks was considered by the critics to be Bob Dylan’s best album since his heyday in the Sixties. It focuses on emotions and personal relationship problems. (US:1 UK:4)

“Musically speaking, Dylan is getting back to his roots here, swapping the country and rock stylings he had been experimenting with for a while, in favour of folk, mostly with a rhythm section, occasionally with a piano or an organ and just once with an electric guitar. Dylan’s melodies are always at their best when he’s working acoustically.”

“While this was a painful time in Dylan's life, it created some incredible work. Blood On The Tracks gives us something to relate to. When everything seems great with everybody else's life and wrong with yours, then it's time to buy this album. Dylan comes through with the courage to say what's bothering him and mention his insecurities. This becomes an emotional search for truth, done with seriousness, humility and integrity.”

“After a rambling half-decade that had confounded even his most ardent fans, he came back and turned out one of the most flawless singer-songwriter albums of all time. While his previous few albums had seemed all but directionless, this one was filled with intensity and purpose, containing some of the most passionate and finely honed love songs in his canon.”

“Never before has Dylan been this personal and so in tune with listeners. His voice is astounding; every tempo change, eccentric burst, and quiet layover, give the songs a meaning that's never existed before.”

“Blood On The Tracks was a return to form for Dylan. After years of mediocre reception to his albums, this one was universally praised. I'm not the biggest folk-rock fan yet even I can say this album is amazing.”

“The ultimate break-up album. If you're engaged with the music it'll take you on a tour of every failed relationship, romantic or otherwise, that has taken place in your life. It analyzes what went wrong from every possible direction.”

Dark Horse - GEORGE HARRISON***

Hari's On Tour (Express)/Simply Shady/So Sad/Bye Bye Love/Maya Love/Ding Dong Ding Dong/Dark Horse/Far East Man/ It Is He

After two well received albums George Harrison’s third release Dark Horse came as a disappointment. Apart from the title track the songs here are largely mediocre and uninspired. (US:4)

“The song Dark Horse is a very good one. The problem is that the rest of the album is either very mediocre or outright bad. The problem with George Harrison's solo albums is that the Hare Krishna stuff gets old and fast. It's great that he found something that gave him peace, but his albums can get a little boring when the lyrics of many of the songs are Hare Krishna themed.”

“Harrison's third post-Beatles studio album, Dark Horse, wasn't just a disappointment; it was borderline embarrassing due to weak songs and an obviously hoarse Harrison struggling to get through it.”

“The title track was a hit and in many ways sums up George and many peoples perception of him in the wake of the Beatles split. It is a bouncy, bluesy tune, sung in a hoarse voice. Truth of the matter was that this vocal gave the song a lot more character and his words more conviction.”

“Recording an entire album while suffering from flu was not the best idea. But George was also suffering from depression in the wake of his marriage bust-up and from writer's block. You can tell listening to the album; it's dour as anything.”

“Dark Horse is a mixed batch. George's knack for lovely, occasionally haunting melodies is ever-present even if the lyrics are sappy and pointless throughout. The abundance of mediocre material means this album doesn't stand a chance under weight of the terrible production and half-hearted performance.”

“The music is vibrant and upbeat with great bass, keyboards and slide guitar contrasting with the lyrics which are blunt, honest and foreboding.” “A much better album than people believe. The music and musicianship is excellent, George's vocals are loose and hoarse, which is very cool, not a detriment. Slide guitars everywhere and great brass also.”

So What - JOE WALSH***

Welcome To The Club/Falling Down/Pavane/Time Out/All Night Laundry Mat Blues/Turn To Stone/Help Me Through The Night/County Fair/Song For Emma

Critics noticed a slight fall of in quality with Joe Walsh’s third album So What. Although he would shortly join The Eagles he continued to release successful solo albums. (US:11)

“To me, this long play is a slight fall off in quality. The humour and his great guitar are still there but the material is not. Like most of Joe Walsh's solo career, there is the good, the bad, and the ugly.”

“This LP includes a couple of aces in Time Out and Turn To Stone, but everything has its merits even including the mawkish Song For Emma.”

“The first half of album shows promise, displaying splendid execution by Walsh and his band. But the second side is where the stronger material lies. Turn To Stone of course is excellent and the soft guitars of Help Me Through The Night bridges nicely into the extended County Fair.”

“Abandoning most of the proggy mood and ambition of the first two albums, Walsh tries to put together a record of pure rock 'n' roll, which is what suits him better.”

“Most fans agree that Walsh's true peak was in the 70s, and this is an excellent snapshot of him in top form. This album falls under the category of rock but is a collection of quite a few genres.”

“This is a classy set, although it does lack the creativity and variety of his first two solo outings. It's a recording that shows off his guitar prowess more than any other and there is a good mix of up tempo bluesy numbers.”

“So What has some strong songs, the usual high-quality musicianship and great production. His remake of Turn To Stone is a clear improvement on the original. Time Out, with its terse, anchoring riff, is as good a Walsh song as can be found, and Help Me Through The Night is a sublime and enduring example of his tender heart.”

“Joe Walsh is an eclectic artist that has been through a wide range of music in his career, and this album reflects some of that. His personality comes through his guitar in amazing ways.”

Souvenirs - DAN FOGELBERG****

Part Of The Plan/Illinois/Changing Horses/Better Change/Souvenirs/The Long Way/As The Raven Flies/Song From The Half Mountain/Morning Sky/(Someone's Been) Telling You Stories/There's A Place In The World For A Gambler

Singer songwriter Dan Fogelberg’s follow up album Souvenirs catapulted him into the upper echelons of the US album chart. He would maintain this level of commercial success for the next decade. (US:17)

“There are some OK songs on this album, but when Fogelberg pours on the sensitive guy schlock it can really get out of hand so be warned. Still, there are some songs with actual guts to them and they stand out well above the rest. Illinois sticks the closest to the MOR format of the good tunes, but manages to go a step beyond with good lyrics, and smart production. However, there are still lots of those over the top moments that turn to pure saccharine.”

“Dan Fogelberg is a singer-songwriter who has his creative feet in several musical worlds, spanning rock, pop, country and folk. He has never been a flashy artist, coming across as almost shy and more focused on his art than on being caught up in the media hype that so seems to snare so many musicians. Fogelberg is a throw back to the days when music was more honest and familiar, a modern minstrel singing to please himself and whatever audience will listen.”

“Fogelberg's first real taste of commercial success, this album features what many still consider his signature song, Part Of The Plan. It moves gently through the first side, Illinois expresses a wistful longing for home, while the title track is a walk down memory lane. Side two rocks a bit more, with the somewhat caustic As The Raven Flies warning of the pitfalls of relationships. Morning Sky is pure bluegrass. The list of musicians who contributed to this album reads like a virtual who's who of the folk-rock genre. This album is an essential part of any Fogelberg collection.”

“Dan Fogelberg combines multiple talents as well as any artist I have ever heard. Just check all the instruments he plays, combined with fine lyrics and a remarkable ability to cross multiple styles with equal sincerity.”

“The album's ethereal, almost spiritual frankness continues long after its last notes fade. Combine Dan's clear, sensitive voice with his deft handling of numerous instruments, and you come away with the sensation that this musical poet has just touched your heart.”

In Flame - SLADE****

How Does It Feel/Them Kinda Monkeys Can't Swing/So Far So Good/Summer Song (Wishing You Were Here)/ OK Yesterday Was Yesterday/Far Far Away/This Girl/Lay It Down/Heaven Knows/Standin' On The Corner

It was a curious fact that as the songwriting skills of the glam rock group Slade improved their popularity declined. So their soundtrack album In Flame was never the huge smash they anticipated, despite the inclusion of two excellent UK hit singles Far Far Away and How Does It Feel. (US:93 UK:6)

“Almost Slade's swan-song so far as the UK album charts were concerned. Slade In Flame is a pretty good soundtrack when it was released, but sadly evidenced their fall from commercial grace.”

“This is a pretty solid set of typical Slade boogie-fare, leavened by the two best songs they ever wrote, the singles Far Far Away, a rousing yet affecting traveller's lament and especially the elegiac How Does It Feel, with its serious, thoughtful lyric and haunting piano motif.”

“Outstanding soundtrack for a murky but otherwise top cult movie. Slade hitting some kind of peak here and influencing all sorts of future music with yet another album full of great songs, gentle ballads and all out roof raisers.”

“With Flame Slade fully embrace the art of true pop song craftsmanship without losing their raw edge. This wasn't as successful as some of their previous albums but its still a rock & roll masterpiece.”

“The film surprised their fans (and detractors) with its gritty, realistic approach to working class life in Britain. The soundtrack album revealed new depth to the Slade sound, with emphasis on piano, acoustic guitars, and horn arrangements, but the riffs, stupidly singable choruses, and general joie de vivre are still here in spades.”

“Slade mania had hit its peak by the middle of 1974 and like many successful rock bands Slade entered the world of celluloid with their feature film debut Flame by the end of that year. The album was a departure from the band's recent success as it seemed much more serious with little if any of the gimmicky song misspellings or stompers that signified the band's heyday.”

“This is a great album, full of great big, full-throated tunes. The lead track, How Does It Feel benefits from a brass section and a lovely, delicate flute, as well as Noddy Holder showing the more melodic side to his voice.”

Heart Like A Wheel - LINDA RONSTADT****

You're No Good/It Doesn't Matter Anymore/Faithless Love/Dark End Of The Street/Heart Like A Wheel/When Will I Be Loved/Willing/I Can't Help It/Keep Me From Blowing Away/You Can Close Your Eyes

After several years of trying Linda Ronstadt finally achieved the big time with the release of Heart Like A Wheel. Consists largely of covers, including the US No. 1 You’re No Good and No. 2 When Will I Be Loved. (US:1)

“Ronstadt provides the perfect fusion of country, rock, and mainstream pop on this, her defining album. A great selection of wonderfully re-imagined covers makes things all the more memorable.”

“This record has the band and the production to do Linda's voice justice. Its a songbook of golden 70s pop-country warmth, yet goes to show the timelessness of the music as well, as singer/songwriters still repeat the formula today, though few can aspire to her voice.”

“Does it get any better than this woman's voice? Every song is delivered with the purest, most unbridled emotion. Linda has one of the all-time most powerful voices. She kills it on every track.”

“Although Heart Like A Wheel may seem a bit slow and too soft at times, Ronstadt's emotional delivery of each song take it to another level that no one else could.”

“Linda Ronstadt has always been skilful at picking good songs and able to make them completely her own. This is probably her best album. Apart from some well known pop hits it also contains some great ballads. Ronstadt repeated this formula for the albums that came after it, but it was never quite as original as here. An essential album for everybody who likes music,.”

“Even though there are a lot of cover songs on this, Rondstadt makes them her own and does so with an amazing voice. A world of harmony.”

“It sounds decent but the main problem is that of all the cover songs on this album, not one of them sounds better than the original. So, what's the point?”

“A classic singer's album, Heart Like A Wheel bears up under repeated listenings. The tasteful arrangements fit around Linda's flawless vocals so securely that the time spent listening to it flows by as if it weren't there.”

Miles Of Aisles - JONI MITCHELL****

You Turn Me On I'm A Radio/Big Yellow Taxi/Rainy Night House/Woodstock/Cactus Tree/Cold Blue Steel & Sweet Fire/Woman Of Heart & Mind/A Case Of You/Blue/Circle Game/People's Parties/All I Want/Real Good For Free/Both Sides Now/Carey/The Last Time I Saw Richard/Jericho/Love Or Money

Miles Of Aisles was the first live album from the folk-rock singer songwriter Joni Mitchell. It comes towards the end of her most creative period, and the songs make an interesting comparison with the studio versions. (US:2 UK:34)

“The songs are true to the spirit of the studio recordings, but take on a life of there own with Joni's superb delivery and a masterful job by her backing band.”

“The selection of material offers a fantastic overview of Mitchell’s highlights up to that point. Backed up by a competent band, her sound is richer and more boastful. The main reason for this, however, is not the arrangements alone, but rather the fact that she had begun to sing in the lower regions of her voice range. On the one hand this makes her feel less fragile and hippie-girlish, but on the other hand, she sounds more self-confident, more versatile and somehow more emancipated than before.”

“Her ability to go from disenchanted cynicism to freeing grace is part of what has kept me a fan. You can find some Joni to comfort you during your blackest moods or grief. And you can find some to help you soar over the treetops when life feels beautiful and everything is right in the world.”

“Joni's a nervous live performer and is at her best in front of small audiences. On this tour she was playing huge arenas and sounds terrified a lot of the time. While guitarist Robben Ford adds some much-needed grit, the LA Express' super-slick backing verges on soulless. Plus, the electric arrangements add little to the previously released acoustic songs, indeed, in some cases the songs now lumber where once they waltzed.”

“All of the ingredients for a classic album are there, and Miles Of Aisles is certainly a stunning collection of songs with winning performances. But sometimes the band and Mitchell don't quite meld, where her voice is strangled by the unwelcome rhythmic structure. Also, the band sometimes veer too close to a standard mid-'70s LA jazz session sound, which does not necessarily suit Mitchell's complex pieces. Nevertheless, it's a thoroughly enjoyable album with some highly skilled performances and imaginative re-arrangements of originally solo-based material.”

The Lamb Lies Down On Broadway - GENESIS*****

The Lamb Lies Down On Broadway/Fly On A Windshield/Broadway Melody Of 1974/Cuckoo Cocoon/In The Cage/The Grand Parade Of Lifeless Packaging/Back In NYC/Hairless Heart/Counting Out Time/Carpet Crawlers/ The Chamber Of 32 Doors/Lilywhite Lilith/The Waiting Room/Anyway/Here Comes The Supernatural Anaesthetist/The Lamia/Silent Sorrow In Empty Boats/The Colony Of Slippermen/Ravine/The Light Dies Down On Broadway/Riding The Scree/In The Rapids/It

The double LP The Lamb Lies Down On Broadway was the last Genesis album to feature Peter Gabriel. It is a complex and challenging work that is well worth persevering with. (US:41 UK:10)

“The real magic of the album lies in its elegant, seamless blending of concise, highly melodic songs, with the spirit of adventure and experimentation. The music is hook filled yet never resorts to cheap, formulaic props or structures. This album stands as a prime example of why, what is now derisively called prog rock, deserves to be re-evaluated by any serious music lover.”

“Every time I listen to The Lamb Lies Down On Broadway, I always do it from beginning to end and never skip any of the tracks, that's how amazing it is; it really feels like a weird dreamlike journey into unknown lands.”

“This is how a concept album should be done. Whether the listener is always 100% sure of what is happening and what it represents is beside the point. Peter's dramatic performance and the band's atmospherics allow the alternate reality to ensnare the listener.”

“The music is beyond reproach, being every bit as melodic as their previous efforts. While the arrangements are heavier on the synthesizers, we're very far away from the dull, soulless automaton music of the band's later years.”

“This is Genesis at their peak, as well as their most experimental. Everything on this record works. The story is absolutely nonsensical, but also incredibly vivid. The pinnacle of the group’s output.”

“The problems with this album are that it is organized thematically around Gabriel's nearly indecipherable story of Rael, and the songs are way too wordy and don't leave enough room for the band to stretch out and play. Otherwise, this is classic Genesis with amazing melodic themes and incredible performances from the band.”

“A showcase for the virtuoso musicianship of this most British of progressive bands, featuring some of the most awesomely tight ensemble playing.”

Relayer - YES***

The Gates Of Delirium/Sound Chaser/To Be Over

Progressive group Yes return to the single album format with Relayer but the inspiration has gone. As one reviewer observed, this is the evil twin of Close To The Edge. (US:5 UK:4)

“Relayer isn't my favourite album by the band, but it has a special quality, an ambience all of its own. The sound is metallic; cold and tinny for the most part, but with some notably warmer moments. There's also a good chunk of noise on the album and forays into a more jazzy exploration, something Yes can do with ease, unlike some of their more pedestrian contemporaries of the period.”

“Some of the most insane stuff I've heard from this band. Sound Chaser is just mental and pretty brutal actually. The Gates Of Delirium is one of those prog epics that actually works and justifies its length, although a good chunk of it is a jazz fusion workout, rather than symphonic grandiosity. Not such a fan of To Be Over though.”

“Probably the most intense Yes recording ever. Gates Of Delirium is a fantastic epic, much better than the overlong, overwrought stuff on Topographic Oceans. The star here though, is Sound Chaser. What a song. Squire and White are pulverizing on this one, and Moraz turns in a killer solo. How Anderson came up with a good melody over this madness, I don't know.”

“By this time Yes' years of inspiration were gone, as Relayer is just another demonstration of unimaginative technical playing prowess. But good music also needs heart and this doesn't have it.”

“The cold technical musical prowess does put a bit of a smokescreen over the accessibility of the music here but nevertheless it's frequently quite entertaining in it's complexity.”

“Relayer has been considered Close To The Edge’s evil twin, a more savage, wild, and ugly version of the magnum opus. If you like your prog nice and calm with plenty of relaxing mellotron and flutes, a good chunk of this won't be for you: many moments here are almost obnoxiously loud and quirky, the instrumentation messy, the overall feel is quite unsettling, even the calmer moments have a strong tension to them that build up to loud bursts of chaos.”

Streetlife Serenade – BILLY JOEL***

Streetlife Serenader/Los Angelenos/The Great Suburban Showdown/Root Beer Rag/Roberta/The Entertainer/ Last Of The Big Time Spenders/Weekend Song/Souvenir/The Mexican Connection

With Streetlife Serenade the profile of singer songwriter Billy Joel continued to increase. However, he was still a few years away yet from his sensational breakthrough into public consciousness. (US:35)

“You can't question the musicianship on the album, but it does feel as though there is something missing in the song writing. The Entertainer is the absolute stand out song, but the others all have little to distinguish themselves from the ordinary.”

“As a singer songwriter Billy's albums are weak when his writing is weak, and there are fewer gems on this album that most. This is far better than any of Joel's later work, but it's a mis-fire on the route to success.”

“Streetlife Serenade would find him moving away from the basic simplicity of earlier LPs, and experimenting with a number of styles. The finished product would have a polish and lyrical sophistication that looks ahead to his future work”

“It's weird now to think that there was a point where he thought it was a good idea to head out to LA in order to further his career, given how much his music is now associated with New York. Still, I can't help liking the album; it's extremely light-weight fare, even more so than is typical of Joel.”

“Definitely a step backwards after Piano Man. Two of the songs are instrumentals, and many of the rest are not quite up to the standard set on the previous album, which leads me to believe this was a bit of a rush job. The instrumentals aren't bad, but I am guessing they would not have been included if Joel had had couple more proper songs written and ready to record.”

“Unfortunately, Joel's song Streetlife Serenader is quite possibly his most overlooked piece. With a beautiful score matched with incredible lyrics, it encapsulates all that Billy's music stands for: passion and emotion.”

“Listening to this album, one is struck by the amazing variety of the songs Billy presents. Streetlife Serenade as an album certainly has more scope and variance than previously, containing a mix of hard rock, classical, instrumentals, ballads, and even a ragtime piece. It is very enjoyable listening.”

Mirage - CAMEL****

Freefall/Supertwister/Nimrodel-The Procession-The White Rider/Earthrise/Lady Fantasy

Mirage was the well received follow up album from the British progressive group Camel. They would achieve commercial recognition in the UK with their following releases. (US:149)

“The melodic and catchy arrangements, the variation, the individual instrumental work, especially guitar and keyboards, the amazing drumming and the song-writing, that's just out of this world, not forgetting the impeccable sense of melody either.”

“The soloing here is top notch, the songwriting and riffing is well written and memorable, and each song stands on its own merits. Additionally, the final track is a masterpiece of prog and can rival any Yes epic.”

“The songs vary a lot throughout, which is something I find to be very appealing. The band demonstrates excellent creativity and consistency on all the tracks, solid through-and-through.”

“Mirage is an absolute prog masterpiece. All the songs are well crafted, memorable, and packed with loads of emotion. The White Rider suite is inspired, the lyrics and the music to it are brilliant, and it climaxes with some sneaky atmospheric slide playing. It also contains wonderful chord progressions and majestic melodies. This album also has their infamous Lady Fantasy suite, which is also amazing.”

“Mirage is a standout record because of how melodic and accessible it is, while still completely maintaining a progressive sound throughout. It is an album that exercises the mind and soul on equal levels; an important feat in a genre that many people seem to think lack emphasis on the latter.”

“The songs range from highly energetic to stunningly beautiful, and all share outstanding musicianship. This album should be a cornerstone in any progressive rock collection.”

“This is a truly classic prog album, with all the elements that define the genre such as the presence of suites, very frequent keyboards, interesting song titles and lyrics. The songs are all beautiful, some have a stronger feeling and some have calmer moments.”

Waitress In A Donut Shop - MARIA MULDAUR***

Squeeze Me/Gringo En Mexico/Cool River/I'm A Woman/Sweetheart/Honey Babe Blues/If You Haven't Any Hay/ Oh Papa/It Ain't The Meat (Its The Motion)/Brickyard Blues/Travelin' Shoes

Waitress In A Donut Shop was the quick follow up album from Maria Muldaur. Unlike the debut it lacked a hit single but showcased her talent for interpreting a variety of different musical genres. (US:23)

“Some great tracks and different styles from Maria Muldaur, from blues to jazz to folk and even country/bluegrass. The supporting case of musicians is excellent.”

“Waitress In A Donut Shop is incredibly varied. Maria Muldaur was unusual, certainly for the early 70s, in that she did not write her own songs, but she is a superb interpretive singer and this is a great album.” <> “You aren't missing much by not checking her out. Her voice isn't that great, lyrics are cheesy, and instrumentation is bland. I didn't like this album much. Gringo En Mexico was a decent song and the only one I slightly enjoyed.”

“Each song offers something completely different and all of it is worth listening to. Maria Muldaur can pull off country, jazz, blues, ballads and more. My favourite track is Honey Babe Blues, but really every song is great and even though the track selection is eclectic, Maria's voice ties them all together very nicely.”

“For the second time in a row, Maria Muldaur surrounds herself with some fine musicians, some excellent songs, and a good producer, and puts together a very satisfying album with a nice variety of styles.”

“This is my favourite Maria Muldaur album. The music is superb. There is a lot of jazz with some blues and pop. The backup musicians are remarkable who really belt it out, and Muldaur's voice is equal to the incredible instrumental music. She can sing with power and authority, yet keep a feminine perspective in any arrangement.” <> “As good as I remembered it, and what a guest roster. The title track Sweetheart is mesmerizing and smooth. But my favourite is Gringo En Mexico, with a beautiful haunting melody and accompaniment, a real showcase for Muldaur's sultry voice.”

Night Life - THIN LIZZY***

She Knows/Night Life/Its Only Money/Still In Love With You/Frankie Carroll/Showdown/Banshee/Philomena/Sha-La-La/Dear Heart

Night Life was a transitional album from Thin Lizzy. After the recruitment of new guitarists they moved away from their traditional style towards the twin guitar sound that would become their trademark.

“It's a very solid album; what I like about Night Life is that it is a nice mix between the early Thin Lizzy and the beginning of the new style featuring the gorgeous twin guitar attack that they would become best known for. It's a transition album, basically, but it still sounds great.”

“Night Life still has that traditional Irish feel and folklore song writing that truly defined Thin Lizzy's first few records, while adding a harder rock feel, and a looser rhythm that would define their future albums alongside a killer twin guitar attack.”

“In many ways Night Life is the most interesting Thin Lizzy album. At this time, the band were in transition from the style of their first three albums, and heading towards the classic Thin Lizzy sound we all surely love in the albums that were to follow.”

“The signature twin lead guitar attack that the band would become famous for just a year later, is a part of the band's sound but not as dominant as on later albums. There are a couple of hard rockers, and also some pretty soft rock tracks, plus the bluesy title track and the soul tinged Showdown, so Night Life is a pretty varied.”

“While Night Life never really makes it out of first gear, it's still a testament to Lynott's talent as a songwriter that as one of their more unremarkable collections, it is still a solid listen.”

“It is a far cry from the harder rocking Lizzy LPs that were to follow, but Night Life has a great variety of songs, from the jazz-influenced title track, to the plaintive and sad Frankie Carroll, to the funky Showdown. Phil Lynott's song-writing is melodic and lyrical; few others could bring a story to life through music as well as he could.”

“A watershed record, this is the first release the band did with new guitarists thus introducing the world to the classic Lizzy line-up that would make such an impact over the next four years. That being said, this was a band still trying to find its way after a massive shake-up. So in turn, the band was trying many different styles and sounds at once, and the result is a mixed-bag, but what a bag it is.”

There's The Rub - WISHBONE ASH****

Silver Shoes/Don't Come Back/Persephone/Hometown/Lady Jay/FUBB

There’s The Rub was the last top 20 album from the British heavy rockers Wishbone Ash. Although they had some short lived commercial success in the early 1970s, they remained relatively unfashionable with the pundits. (US:88 UK:16)

“There's The Rub is notable for a pair of the most moving songs Wishbone Ash ever released, the achingly elegiac Persephone, and the wonderfully bittersweet Silver Shoes. Then there are the burning rockers Don't Come Back and Hometown. This is one of my favourite Ash albums, and is definitely one of their highest quality.”

“A nicely varied album, right from the relatively fast Don't Come Back, the perfect ballad Lady Jay, the upbeat Hometown and the excellent instrumental FUBB at the end. The songs blend in with each other well, despite the differences.”

“From the rocking Don't Come Back to the ethereal beauty of Persephone, this album covers a lot of ground. The extended instrumental FUBB shows a maturity and ability to write complex music that few other bands were capable of.”

“There's The Rub is a must-have for anyone who appreciates masterpieces that will stand the test of time, regardless of what the critics think should be cool. Every note means something, not one is stale or clichéd. The tones are heavenly, yet still rock in all the right ways. The opener Silver Shoes sounds like no other song ever written, and is delivered with incredible confidence and flair, which sets the tone for the rest.”

“You won't find better guitar work anywhere and the sound is as fresh as if it were recorded yesterday. You'd have to be asleep not to find this album utterly superb.”

“There's The Rub is a combination of the classic Wishbone sound and their self perceived ‘Live Rock Blues Band’ approach that they tried on Wishbone Four. It is a bit of a hybrid straddling both sounds.”

“If you like your guitar solos indescribably beautiful and your songwriting tearful and moving, well look no further than this extremely underrated masterpiece.”

“Not terrible, the Wishbone sound is there but the songs really aren't, most of them just dragged into inoffensive noodling territory. The opener Silver Shoes is a highlight as it is moderately memorable, if not a little thin and cheesy.”

Country Life - ROXY MUSIC****

The Thrill Of It All/Three & Nine/All I Want Is You/Out Of The Blue/If It Takes All Night/Bitter Sweet/Triptych/ Casanova/A Really Good Time/Prairie Rose

Roxy Music were riding the crest of a wave at the time of the release of Country Life. They had put aside their art-rock credentials, to adopt a more glam rock sound. Features the UK hit single All I Want Is You. (US:37 UK:3)

“In tracks one to four we have the classic Roxy Music sound, great vocals, interesting lyrics, funky guitar and some very jazzy arrangements. Perhaps this is them at the height of their creative powers, confident enough to push out some very uncompromising sounds. It's great that such a band could have been so commercially successful in the early seventies.”

“No one other than Bryan Ferry could sing with this much smug conviction, so full of himself and his own style and still make me like it. Yes, Ferry had that unique ability.”

“Its pretty standard glam music played safely. It’s not quite as unique or interesting as their previous two albums, and without Brian Eno Roxy Music were a lot less noteworthy. Still it’s not bad, just not as memorable and with more filler.”

“Roxy Music had proved that they could produce an interesting progressive-glam amalgam without Brian Eno, and on Country Life they perfected it. Bryan Ferry goes full crooner more often than on any previous album, but the band's art rock credentials never take a dent.”

“The overall impression I get from Country Life is of band going through the motions a little bit, seemingly unconcerned that the spark that made them so vital in the first place was visibly fading before their eyes.”

“The musicianship is still tops, and Ferry's vocals are magnificent, but they still couldn't put all the pieces together to make an essential classic.”

“Roxy Music's Country Life is a superb listen. Take all the musical elements of 70s era Pink Floyd: screaming guitar solos, horn sections, keyboards, hypnotizing bass lines, and melody driven vocals. But instead of sprawled-out, epic, ten minute tracks; compact it into shorter structured pop songs.”

“This is Roxy Music's most overtly rock album. Whether this was as a reaction to their prior art-rock leanings, an attempt to become more commercial, or because Bryan Ferry was hearkening back to his soul and pop roots is immaterial.”

Stormbringer - DEEP PURPLE***

Stormbringer/Love Don't Mean A Thing/Holy Man/Hold On/Lady Double Dealer/You Can't Do It Right/High Ball Shooter/The Gypsy/Soldier Of Fortune

Stormbringer was the second Deep Purple album fronted by replacement vocalist David Coverdale. Although he was an excellent hard rock singer most fans preferred the earlier classic line up. (US:20 UK:6)

“The problem for rock fans is there's just not much to get excited about. Stormbringer is a reasonable intro but not in the class of past rock classics. It's an indictment that my favourite tracks on this album are not even rockers.”

“It's a good album but if it wasn't for Ritchie Blackmore's distinctive guitar playing it wouldn't sound at all like Deep Purple. Still, it’s a good solid effort which definitely grew on me after repeated plays. I also think it set a template for David Coverdale's early Whitesnake sound.”

“Stormbringer was a different type of Deep Purple album, as subtle funk and soul elements were present. The frenetic paced rock of their previous early releases was toned down, and the vocal combination of David Coverdale and Glenn Hughes continued to add harmonies and a vocal style that was new to the band’s music.”

“Sounding soulful but faintly neutered, the mighty rock 'n' roll juggernaut quite distractingly slowed. Apart from the remarkable keys of Lord it sounds like an entirely different band. Not terrible but it could've been significantly more interesting.”

“It's the final nail in their coffin for me. The shift to commerciality is now complete, and they sound utterly typical for their vintage.” “The first thing fans will notice is the lack of driving riffs and solo sections which were closely associated with Deep Purple. The songs are a lot shorter and more laid back, particularly the first half of the album.”

“Whatever magic the new line-up had with Burn this was not duplicated here. There are some standout songs, especially the title track, which is as stunning and propulsive as anything Purple did in this era. Great lyrics and singing from Coverdale with a supernatural theme, and Blackmore exhibits another flawless display of power metal.”

Sheer Heart Attack - QUEEN*****

Brighton Rock/Killer Queen/Tenement Funster/Flick Of The Wrist/Lily Of The Valley/Now I'm Here/In The Lap Of The Gods/Stone Cold Crazy/Dear Friends/Misfire/Bring Back That Leroy Brown/She Makes Me (Stormtrooper In Stilletos)/In The Lap Of The Gods Revisited

Sheer Heart Attack cemented the reputation of Queen as the most creative rock act to appear in the mid 1970s. Features two excellent hit singles, Killer Queen and Now I’m Here. (US:12 UK:2)

“It may be their heaviest overall. Freddy Mercury's superb layered vocals combined with the sense of melody of the group, as well some very smart arrangements, make this a great classic hard rock album.”

“Sheer Heart Attack was rarely off my turntable. It was a revelation; a collection of songs whose sheer diversity made it something of a phenomenon.”

“Queen's third album sees them begin their transition from bombastic proto-metal monster to a glammed-up hard rock unit. The two most famous songs from here neatly sum up the album's various contradictions - Killer Queen is a craftily honed slice of glam-pop brilliance, whilst Now I'm Here showcases Freddie's vocal wizardry as he intones strange lyrics over an alternating spacey and heavy musical backing.”

“Like most of Queen´s releases Sheer Heart Attack is of a quite eclectic nature. In addition to the hard rocking tracks, the album features both epic, theatrical, progressive and ballad type elements. Everything is delivered with great skill both instrumentally and vocally. The powerful and organic sound production further enhances the listening experience.”

“Sheer Heart Attack is the first truly great Queen album. It covers a variety of musical styles and remains consistent throughout. It's doesn't overdo the bizarre campiness or succumb to overproducing.”

“If you're a fan of Queen's flamboyant mixture of hard rock and exquisite melodic diversity, then this album is hard to surpass. It rocks out from the very beginning, with Freddie's falsetto punctuations backed by Brian May's hyperactive ultra-heavy guitar.”

“Sheer Heart Attack established their creative musical stamp. Brian's guitar solo multi-tracked sound is aligned with the intense theatrical vocal harmonies

Borboletta - SANTANA***

Spring Manifestations/Canto De Los Floros/Life Is Anew/Give & Take/One With The Sun/Aspirations/Practice What You Preach/Mirage/Here & Now/Flor De Canela/Promise Of A Fisherman/Borbolletta

Borboletta seems to have divided the critics. Some consider it to be too mainstream with slick disco, whilst others described it as Latin jazz influenced rock at its best. (US:20 UK:18)

“With Borboletta Santana continued on his journey through the fusing of jazz with rock and allowing his spirituality to shine through.”

“Their material is starting to slip a bit. Honestly, there just is nothing here to get into. Borboletta is pleasant enough but it could have been so much better.”

“This is not Santana's finest, but fortunately it's still quite good. There's an interesting soul/disco angle throughout. Some have found it to be an enjoyable twist on the Santana formula; others have recoiled at it, and pegged Borboletta as the moment Santana become too mainstream.”

“It seems to constantly hover between plunging into Latin-tinged fusion on the one hand and moving back towards a more mainstream sound on the other.”

“Very jazz fusion sounding stuff that is pretty good. Carlos Santana's guitar is a big part once again and he really knows how to use it.”

“This is my least favourite Santana album, it has major amounts of slick 70s disco type stuff that dilutes the raw sound, power and energy Santana usually displays.”

“This is an amazing album which features some of their most awe inspiring and exhilarating guitar work ever.”

“This is Latin jazz influenced rock at its best. Sometimes when Santana has tried to be experimental he could get a little tiresome, but the music on this record grabs your attention and never lets up. This album, which weaves its way through various moods, is alternately serene, funky but always interesting.”

“This is one of my favourite Santana works because it is romantic and spiritual. The Brazilian influence is also strong which gives Santana a different rhythm. The only let down is that the lyrics got a little preachy, but otherwise a beautiful piece of work.”

Mother Lode - LOGGINS & MESSINA***

Growin'/Be Free/Changes/Brighter Days/Time To Space/Lately My Love/Move On/Get A Hold/Keep Me In Mind/Fever Dream

The soft rock duo Loggins & Messina were at the peak of their popularity in the USA at the time of the release of Mother Lode. However they never charted in the UK where they were little known. (US:8)

“Kenny Loggins and Jim Messina produced some of the best smooth music of the 70s. Many tried and succeeded commercially, but few managed to also succeed artistically. This is probably my favourite album by them and the last really good one, as they went gradually downhill after this. The arrangements and production are impeccable as usual, the harmonies and songwriting are some of their best as well, with many beautiful complex orchestrations and refined song structures.”

“This record has a wonderful musicality, with very good musicians on diverse instruments that are put together nicely on well written songs. Jim Messina's soloing on guitar on Move On is very good and his mandolin on Be Free is a revelation with such fine picking.”

“All the songs are pleasant enough to listen to. A very easy listening feel to it, with nice music and vocals, but nothing to make it memorable.” “Loggins and Messina were part of the laid back 70s pop scene. The difference is that for the most part, these guys pulled it off pretty well. Loggins here does a fine job of singing, and only goes over the top a couple of times. The musicianship is undeniably good, and Messina was always an excellent producer.”

“My favourite Loggins and Messina album. This is not the sort of breezy pop music this duo is known for. Rather, Mother Lode features some complex, intricate instrumental passages that primarily showcase country instruments, but with an effect that is closer to world music, sometimes with a vaguely middle-eastern feel.”

“Their music never dies, it only gets better with the years. The Mother Lode LP in particular has some really awesome songs that you will become addicted to, and you will want to play it over and over again.”

Crime Of The Century - SUPERTRAMP*****

School/Bloody Well Right/Hide In Your Shell/Asylum/Dreamer/Rudy/If Everyone Was Listening/Crime Of The Century

After a couple of failed attempts the British progressive group Supertramp achieved their commercial breakthrough with Crime Of The Century. Features the UK No.13 hit single Dreamer. (US:38 UK:4)

“Most important for the album's success is the brave step deciding not to go for an all-out prog rock approach. Instead they took lessons from prog, but rather than trying to imitate their heroes, they crafted their own sound, bringing in prog-like instrumentation and complexity only when the material demanded it. As a result, each of the songs is a perfectly crafted pop-prog gem, undeniably catchy but at the same time with enough art rock twists to be of interest to prog fans.”

“How I wish I could have been there, growing up with albums of this kind, dreamy tones, sweet guitar solos, piano flows and funny but true lyrics, with echoes of pure brilliance.”

“Yes, this is definitely one of the classics, entirely deserving of its reputation. The big question is of course, is this prog or pop? You could call it highly ambitious, thought-provoking, superbly crafted pop. Or you could just call it outright prog, but with the discipline of pop sensibility. Certainly a ‘not a weak moment’ type of album.”

“Crime Of The Century came from out of nowhere, propelling Supertramp to stardom. A band that had shown little promise on their first two releases suddenly released a concept album that stood out with its clean production, catchy tunes and tales of alienation, madness and loss of soul.”

“Musically, this is one of the best prog rock albums I've heard, and I'm not sure there's any point in trying to describe it as anything else. Supertramp never seem to get mentioned when people discuss the genre, choosing instead to classify them under the broad umbrella of pop rather than rock. Everything about the music on here - the production, instrumentation, structure of songs, chord progressions, even the pitch of the vocals - is undeniably prog. And it's great.”

“From the blazing opening harmonica note to the final, beautiful symphonic instrumental, Supertramp created a majestic, maddeningly dark look at human emotions. The band overshadow their sometimes nonsensical wit by supporting it with lush melodies, harmonies and lyrics.”

War Child - JETHRO TULL***

War Child/Queen & Country/Ladies/Back Door Angels/Sea Lion/Skating Away On The Thin Ice Of A New Day/Bungle In The Jungle/Only Solitaire/The Third Hoorah/Two Fingers

After two albums of extended suites, the first as a triumph, the second as farce, Jethro Tull reverted to short tracks. Alas, with the exception of the title track, the songs here can only be considered as average. (US:2 UK:14)

“Not an obvious classic, but not a commercial or critical disaster either, this is mostly a forgotten album.”

“The overall feeling is of intense disappointment, especially as the early stages of their career were so impressive. It wasn't all downhill from this point forwards, but for me, there would be no more Jethro Tull albums that came anywhere near the quality of those heady days when they had few equals.”

“This really isn't anything special considering Tull had given us some of the best progressive music. War Child just isn't very memorable or captivating. It just feels like a filler album, it has some moments, but mostly it can be left forgotten.”

“After the negative reception of their previous release, Jethro Tull decided to record a an album that was bit more simple. When it comes to the quality of the music this is a step backwards.”

“Tull's first studio album of conventional songs (as opposed to album-length suites) since Aqualung sees the band taking a more hard rock slant. This can't quite cover for the shakiness of the material, or disguise the fact that the group's knack for writing shorter, pithier songs had atrophied.”

“A fairly average Tull record. There are some good tracks thrown in with a fair bit of dull stuff. The title track is quite good, and although there are no terrible songs quite a few of them drag.”

“I have no idea what happened to Jethro Tull mid-way through their career. It must have been a really traumatic experience whatever it was, because everything up until Thick As A Brick was really great. Sadly, most subsequent releases such as this are a bit of a disappointment.”