Horizon - THE CARPENTERS****

Aurora/Only Yesterday/Desperado/Please Mr Postman/I Can Dream Can't I/Solitaire/Happy/(I'm Caught Between) Goodbye & I Love You/Love Me For What I Am/Eventide

During the progressive rock era The Carpenters vocal duo were seriously uncool. Few of the critics appeared to appreciate the quality of Karen Carpenter’s voice. Horizon marked the end of their golden era and features the quality single Only Yesterday which reached the top ten on both sides of the Atlantic. (US:13 UK:1)

“Although The Carpenters' albums consisted mostly of covers, Richard's scattering of self-penned songs were the match of any of them, and on this LP Only Yesterday is the highlight, one of the most played songs of the year. Despite the easy listening associations, on this as with other Carpenters offerings, it is clear they are striving for something more substantial and serious. But when all is said and done, it's all about that distinctively rich and lustrous voice, even the way she takes in breath is gorgeous, with a wonderful tone and technique.”

“Vintage easy listening. Wonderful and powerful songs, beautiful arranged and performed. This is first class stuff. Don't be fooled by the name.”

“Horizon is a first class pop album. The songs are complex and deep. Karen's voice as always is perfect, full bodied with an amazing range of strength and tenderness.”

“These are some of the finest recordings The Carpenters ever made. This album stands out in my mind because of the warmth and presence of Karen's voice. Her lower register is showcased beautifully here.”

“This release represents the best work of the Carpenters and the turning point in their lives. The music does not sound dated and the overall performances are fresh and magical. After this their work seems formulaic and forced. Horizon is the Carpenters in top form, the work that followed lost the haunted, melancholy richness to be found here.”

“This album contains Karen's most heavenly recordings ever. Her voice is nothing short of angelic. I Can Dream Can't I is her most amazing performance ever. She sounds as if she was meant to sing all the songs of the big band era.”

“Karen Carpenter's vocals were set against a backdrop of some of the strongest arrangements they ever had.”

One Of These Nights - THE EAGLES*****

One Of These Nights/Too Many Hands/Hollywood Waltz/Journey Of The Sorcerer/Lyin' Eyes/Take It To The Limit/Visions/After The Thrill Is Gone/I Wish You Peace

One Of These Nights was the album where The Eagles transitioned from a country-rock group to embrace a mainstream AOR sound, becoming commercially gigantic in the process. Features the stupendous chart topping Take It To The Limit and No. 2 Lyin’ Eyes, probably the best ever telling a story song. (US:1 UK:8)

“Lyin’ Eyes and the anthemic Take It To The Limit are undoubted classics, but nearly all the songs are good here. The playing, harmonies etc are all top notch.”

“By this tine The Eagles were producing the type of polished rock that would serve them well for the rest of their career. While they would receive some criticism for their sound being a little too slick and technically correct, it would be popular and enduring regardless. One Of These Nights was one of the better albums of the seventies. Commercially and artistically, The Eagles would never look back. It remains essential not only to their catalogue but to the decade as well.”

“One Of These Nights effectively bridges the gap between the Eagles earlier country-rock albums, and their later AOR rock with country leanings styled albums. They are definitively showing some tendency towards the more AOR sound they were soon to develop, but the album is also full of a ton of the country-rock ballads they were famous for, including the incredible Lyin Eyes, the gorgeous Hollywood Waltz and the anthemic Take It To The Limit. For me however the highlight is the epic instrumental Journey Of The Sorcerer, which is mind-blowing.”

“The Eagles are moving further into their more successful guitar rock era, although there are still hints of their country beginnings in the harmony-laden story song Lyin' Eyes, a Grammy winner, plus the mandolin-tinged Hollywood Waltz.”

“The Eagles hit their stride with this album which defined their signature sound. They blend rock rhythms with a bit of country style lyrics and beats. The guitars are the heart of many of the songs giving many of the tunes a more country sounding edge.”

“The Eagles show on this album that they are one of the best harmonizing groups ever. Most of the songs demonstrate that they can bring all the vocal talents together in a blend that is good enough to showcase what they have, but not too over-the-top as to drown out each other or over-reach the material.”

Venus & Mars - PAUL MCCARTNEY***

Venus & Mars/Rock Show/Love In Song/You Gave Me The Answer/Magneto & Titanium Man/Letting Go/Venus & Mars Reprise/Spirits Of Ancient Egypt/Medicine Jar/Call Me Back Again/Listen To What The Man Said/Treat Her Gently-Lonely Old People/Crossroads Theme

The high expectations generated over the release of Paul McCartney’s Venus & Mars were never quite realised. Although by no means a weak album the only stand out track is the US chart topper Listen To What The Man Said. (US:1 UK:1)

“A big seller for McCartney and his fictional band - I say fictional because it was all about him. McCartney knows his way around melodies and is eager to prove himself, but when it comes down to it, it just doesn't make coherent statement or collection of memorable songs. If pressed to choose something from this album, only Listen To What The Man Said has a completely finished frame, the rest is unfortunately weak and lifeless.”

“A good record to be sure but a lot of these tracks don't do much for me. There is a lot of experimenting with different sounds and genres and it makes the whole package feel unfocused.”

“Venus & Mars is a very popular album with Wings fans but for some reason I have never enjoyed listening to it very much. I think the problem is that although there are no really bad tracks there are no truly outstanding ones either.”

“Some of the music on this album is pretty good, but why does Paul insist on writing such childishly silly lyrics, and sing them like they're the greatest things he's ever written? Magneto & Titanium Man is a prime example.”

“This has the feel of a concept album but I'm not sure what the concept is meant to be, unless it's pure, simple, fun pop. It opens atmospherically with Venus & Mars and Rock Show continuing with a string of fantastic tunes. There are a couple of slow ballads in the shape of Love In Song and Treat Her Gently which sit comfortably with the livelier numbers. Paul wrote some very catchy tunes for this album and the sound is well produced, making good, liberal use of brass and synthesizer effects.”

“He had already experienced with stylistic variations in some other albums, but this time he got it right: The strength lies not in the lyrics, but in the melodies and arrangements, very well-crafted, carefully thought through for each passage, and overall a nice experience that reveals secrets with each repeated listen.”

Captain Fantastic - ELTON JOHN*****

Captain Fantastic & The Brown Dirt Cowboy/Tower Of Babel/Bitter Fingers/Tell Me When The Whistle Blows/ Someone Saved My Life Tonight/(Gotta Get A) Meal Ticket/Better Off Dead/Writing/We All Fall In Love Sometimes/Curtains

The excellent Captain Fantastic was the last album from Elton John’s classic period when he was on top of his game. It is a concept album based around the composers’ early struggle in the music industry. (US:1 UK:2)

“This was the album where the song partnership realised that they had nothing left to prove and that they could pretty much do as they pleased. Hence, this is an almost self-congratulatory autobiographical concept album which told their story from their childhoods, through the struggle of their early musical forays, to the first steps along the golden road to success.”

“This is a concept album. He and his musical partner, Bernie Taupin, created this autobiographical opus about their early problems pursuing a career in music. As such it is an intimate and mature affair, with music and lyrics that are both complicated and sophisticated.”

“Heavily instrumented, the orchestration and production are nevertheless so deftly handled that every song gets room to breathe and take flight. This album was the culmination of Elton's mega-success period of the early 70s, the heights of which it's probably fair to say he never reached again.”

“He may have released his fair share of memorable singles afterwards, but the album represents the last stand of Elton's classic period. Some genuinely great tracks can't quite cover the cracks that were beginning to appear.”

“This is the Elton John album with the most staying power. It's creative, immediate enough to make a person want to listen to it again, and good enough to sink in more and more with each listening.”

“This is a fine autobiographical album describing the early experiences of Elton and Bernie on the road to stardom. In many ways it is very typical of the time when popular music was becoming a touch self indulgent.”

“Captain Fantastic is one of Elton John’s best works. It conveys true emotion and original poetic thought far above more pedestrian fare often seen in other artists. This is Elton in top form doing what he does best, making great music.”

Fish Rising - STEVE HILLAGE***

Solar Musick Suite/Fish/Meditaion Of The Snake/The Salmon Song/Aftaglid

Fish Rising was the debut solo album from guitarist Steve Hillage who was formerly a member of the progressive band Gong. During the mid 1970s he received some critical acclaim as well as modest commercial success. (UK:33)

“For my money, this album offers up a vision of what Gong were trying to achieve better than any other album of theirs. Hillage quite simply offers up one of the finest, if not criminally overlooked albums of the prog genre. Centred around a loose theme of fish and water, he shows some incredible guitar skills, and even smarter studio skills to give the listener a truly unique trip. The two longer pieces which bookend the album are magnificent with their airy mix of phase shifted guitar and keyboard.”

“Fish Rising sounds a lot like Gong, but with much more emphasis on the guitar. While with Gong he was content to play second fiddle to all the craziness that was a feature of the band's sound. Here it is the other way around, Gong type sounds and textures mostly sit in the background embellishing Hillage's awesome guitar.”

“Quite a trippy album, that is very similar to Gong but with more focus on Steve Hillage, an underrated guitar player. If you like spacey prog, give this one a spin.”

“Fish Rising is the result of Hillage stepping into his own. It was still recorded with the remaining members of Gong but without the pressure of the Gong legacy hanging over him. Hillage was able to create something totally fresh, unique and more aligned with his own vision. An incredible debut, filled with exciting guitar sounds and solo work, amazing time signature changes and a wonderful spacey production.”

“Fish Rising serves as a continuation of the musical format presented on You by Gong. Just like its counterpart, the music here is very spacey with loads of atmospheric synthesizer work, technically superior drumming, virtuosic guitar work, and rumbling bass. However, the complexity of the ensemble work and arrangements has increased to a degree that is at times staggering. Conversely, the whimsical side of Gong is also present as on the shorter piece Fish. Steve Hillage is a gifted musician with considerable compositional skills and a great singing voice.”

“Hillage writes spacey psychedelic jams that rock really hard in spite of their cosmic layering, detail and ethereal hippy soundscapes.”

The Snow Goose - CAMEL***

The Great Marsh/Rhayader/Rhayader Goes To Town/Sanctuary/Fritha/The Snow Goose/ Friendship/ Migration/ Rhyader Alone/Flight Of The Snow Goose/Preparation/Dunkirk/Epitaph/Fritha Alone/La Princesse Perdu/The Great Marsh

The Snow Goose was the album that delivered the commercial recognition for the British progressive band Camel. An extended instrumental piece, it was inspired by the Paul Gallico novella of the same name. (US:162 UK: 22)

“One of the most impressive prog concept albums of all times, Camel's third album remains a beacon shading its light up to the desolated shores of today's music. Brilliantly composed, orchestrated and performed, this subtle music symbolizes everything that was the great musical eruption of the early 1970s.”

“A beautiful prog record, vocal-free and telling the tale of the Snow Goose. A masterpiece of the style, a band underrated and often overlooked, and this is one of their best, even without the vocals. Greatness from start to finish, with the title track and Rhayader among the best on hand.”

“This is a gorgeous album but it fell slightly short of captivating me. As an atmospheric instrumental experience, it is very successful, exploring much territory and maintaining a consistent quality without getting stuck in a single place for too long. The instruments are all played nearly flawlessly and render vocals completely unnecessary as they conjure up sweeping images and soundscapes. There are great melodies and often the musicianship seems sublime and effortless. Nonetheless I find myself feeling a little unsatisfied at times, like the promised climaxes are not quite realised or the soundscapes, while sweeping, lack true grandeur, or the music simply works better as a passive rather than active listen.”

“Snow Goose is Camel's crowning achievement. It is a rolling, flowing, majestic suite of tightly integrated instrumental passages which create an amazingly cohesive and satisfying whole.”

“The Snow Goose is an essential experience, evocative and emotional, ambitious in its concept and execution, but accessible as well. The band manage to sustain an entirely instrumental album by filling it with brief, memorable pieces, carried by their always measured performances. While most of the album is devoted to the familiar Camel sound, they are joined in places by a small woodwinds group, expanding the scope of the music.”

Diamonds & Rust - JOAN BAEZ****

Diamonds & Rust/Fountain Of Sorrow/Never Dreamed You'd Leave In Summer/Children & All That Jazz/Simple Twist Of Fate/Blue Sky/Hello In There/Jesse/Winds Of The Old Days/Dida/I Dream Of Jeannie - Danny Boy

Joan Baez was one of the leading lights in the folk revival of the 1960s, since when her popularity had declined somewhat. Diamonds & Rust was her most successful album in the 1970s as she branched out from pure folk to embrace a more commercial direction. (US:11)

“By now Baez has long since moved from straight folk to adult-oriented studio rock. Her nose for a good song remains strong though, and here she turns in some excellent covers. Add a number of her own songs, including the title track and a duet with Joni Mitchell, and you've got the strongest album she'd done in years.”

“Some of the songs fall into rock & roll based pop with country-folk. So it's not so nice. Anyway, the highlight melodic, groovy and orchestral parts are progressive enough to keep this album worth a listen.”

“The title track may be the best thing Joan Baez ever recorded, a hauntingly beautiful masterpiece in writing and execution, making the personal poetic. Winds Of The Old Days is another stunning original, and the record has some excellent covers. This has some incredible moments, but its an erratic album which prevents me from returning to it as often as the title track merits it.”

“The title track is great but the rest of it just doesn't match up. There are a few keepers, but most of the songs sound like complete throwaways.”

“This is Joan Baez' most commercial album and it's one of her best, although there are some unwise cover choices. If someone was to ask to hear some Joan Baez, I don't think I would put this on, as it isn't representative of her best known style.”

“The Joan Baez on this album is most undeniably and characteristically different from her early work from the 1960s. Here she is more confident, more worldly, and quite noticeably less idealistic and more tolerant of other people's frailties and vulnerabilities, perhaps even of her own.”

“The title track, Diamonds & Rust, is such a stirring reflection of a love that didn't quite work. Nobody was evil, nothing horrendous happened, but it didn’t quite work out, and it hurt. It's hard to find a song that really expresses that phenomenon with the kind of heartfelt pain and whimsy as this one.”

Gorilla - JAMES TAYLOR***

Mexico/Music/How Sweet It Is (To Be Loved By You)/Wandering/Gorilla/You Make It Easy/I Was A Fool To Care/ Lighthouse/Angry Blues/Love Songs/Sarah Maria

For the reasons given by the last reviewer Gorilla is a disappointing release compared with the best James Taylor albums. The cover of How Sweet It Is was a No. 5 US hit single. (US:6)

“Gorilla offers a bunch of quiet, seemingly simple JT songs that manage without overproduction. One of his better albums.”

“This record does nothing to correct my impression that behind Taylor's warm, smooth vocals and pleasant guitar playing, there isn't much interesting musically here. Lyrically, there are some interesting moments though.”

“With a voice as clear as a bell, James Taylor's Gorilla is a great listen in virtually every cut. From his vibrant Mexico, to his beautifully structured harmonies in Lighthouse, and the unique title cut, this album has the intimate feel that only truly gifted musicians can achieve.”

“Like most of JT's work, this album contains easy listening soft rock. It marked a change of direction for him in that it lacks the introspective, personal quality of his earlier albums. Still, it contains some very good music, backed up by some of the greatest musicians around. Like always, it has JT's beautifully sweet voice and laid back six string acoustic guitar.”

“James Taylor knows how to use his soft country rock talents to the very best of his abilities, and this LP shows those talents admirably.”

“There is something really smooth and seductive about the songs on this album. How Sweet It Is was the big hit on here, but every track is solid to great also. Some of the songs don't knock you out immediately, but with repeated listens they seep into your soul and stick in your head. Which, to me, is the mark of great music.”

“I was very familiar with Mexico but less so with the title track and other songs from this album. Maybe it's because I love Sweet Baby James and Mud Slide so much, and compared them to Gorilla so I was a little disappointed in this release.”

Fandango! - ZZ TOP***

Thunderbird/Jailhouse Rock/Backdoor Medley/Nasty Dogs & Funky Kings/Blue Jean Blues/Balinese/Mexican Blackbird/Heard It On The X/Tush

Fandango! was a half live/half studio release from the Texan blues-rock band ZZ Top. The live medley was recorded at The Warehouse, New Orleans in April 1974. Album features the US top 20 hit Tush. (US:10 UK:60)

“The live show is just stunning and probably one of the hottest ever done by the band. The only regret is that there are only three live tracks. The studio tracks are excellent too. My ZZ Top all-time favourite is Blue Jean Blues one of the greatest blues masterpieces ever written, with gorgeous guitar playing.”

“Fandango! is a pretty cool album; the first half captures this tight little trio live at the Warehouse in New Orleans. The second half finds the boys in the studio pumping out six of the absolutely finest selection of songs recorded during their heyday. The live half is less than stellar as the performances are erratic. It is the second half of studio tracks that makes this album worth checking out.”

“It is something of a mixed bag as it combines live cuts with studio songs. The mix doesn't help the album flow. The studio cuts are first rate including the propulsive hit single Tush, the solid Hear It On The X and one the band's best and most underrated songs Balinese. The live songs are good and show off the band's musical prowess, but they would have been better served releasing a separate live album.”

“I normally have an inbred dislike of live recordings, but the live side of ZZ Top's Fandango! is quite good. The studio side was the prime meat and bones of ZZ's patented bluesy swagger, featuring a mixture of R & B saturated tunes and raucous rockers, culminating in the raunchy Tush.”

“A lop-sided border-crossing between ZZ Top's early trio of hard blues-busters and the mellower, eclectic releases to follow, the half-live/half-studio Fandango! feels a little tossed-off but is not without it's rewards. The live side finds us arriving late to a gig at The Warehouse, New Orleans, just as the band sweeps off the stage with a run through a slew of rock 'n' blues covers in jammed-out medley fashion,. Side two is back in the studio and back to that ZZ magic.”

“Side One recorded live features a lot of jamming without too much to get excited about. Side Two however is jam-packed with classic ZZ Top swagger.”

Warrior On the Edge Of Time - HAWKWIND***

Assault & Battery/The Golden Void/The Wizard Blew His Horn/Opa-Loka/The Demented Man/Magnu/Standing At The Edge/Spiral Galaxy 29848/Warriors/Dying Seas/Kings Of Speed

Warrior On The Edge Of Time was the last classic era album from the space- rockers Hawkwind. Their bass player Lemmy would shortly leave the group to found Motorhead. (US:150 UK:13)

“This is one of the most complex and progressive of Hawkwind’s albums. From the raw straight-ahead rock of Assault & Battery and Kings Of Speed, which bookend the album, to the Krautrock extremes of Opa-Loka, the space rock of The Golden Void, and numerous other tracks, the album is a true tour de force for the entire band, with every instrumentalist working at the peak of their powers.”

“Of their Lemmy-era records, Warrior On The Edge Of Time features the best production and finest instrumental craftsmanship. It is anchored by the longer tracks; the lyrics are loaded with fantasy adventure sci-fi concept album nonsense, but they are never a distraction.”

“This is the final album of five in a row that I consider the base from which any Hawkwind collection should be built. On Warrior On The Edge Of Time, the band shifts to a slightly more prog direction, with cleaner sound, but make no mistake, this is still Hawkwind at their finest. Magnu absolutely soars and Opa-Loka pulses.”

“The commercial virus has begun to consume them. They are now making music to make money, instead of making music to create art, and it shows in the quality of their product. They obviously must know what most people wanted to hear, and they've been fairly successful over the years. But it has cost them the loyalty of their early fans drawn to their underground appeal.”

“This is psychedelic space-rock with heart, melody, space and poetry. It is expansive and moving and is really of its time. A solid rock band with a superb mellotron, a heavenly flute and a scorching violin contribute to awesome powerful music. The band never sounded so good.”

“I enjoy Hawkwind's brand of space prog; most of the songs are basically one riff that get jammed upon and layered with synth textures.”

Four Wheel Drive - BACHMAN TURNER OVERDRIVE***

Four Wheel Drive/She's A Devil/Hey You/Flat Broke Love/She's Keepin Time/Quick Change Artist/Lowland Fling/ Don't Let The Blues Get You Down

Four Wheel Drive was the quick follow up to hard rock Bachman Turner Overdrive’s top selling album. Critics suggested they should have waited a bit longer to garner some stronger material. (US:5)

“The follow up to the chart topping Not Fragile was a bit of a letdown. The album was pretty much made up of outtakes from the earlier sessions. It's really unfortunate that this was a rush job although it has its moments. Highlights include the title track and the single Hey You.”

“Even though a fairly strong hard rock album, Four Wheel Drive suggests that BTO are slowly beginning to falter. The majority of the songs were reportedly rejects from the Not Fragile sessions, and one can detect that this album was put together very quickly. It would likely have been much better if the group had waited until some stronger material was available.”

“This is pretty dumb radio-friendly hard rock, but quite well done with lots of strong riffs and hooks. There's also something a bit unique about the singing. It's basically a standard early 70s heavy blues-rock sound taken in a more poppy direction.”

“This was the rushed follow up to a hit album. The basic song structures are accentuated by there being no time to compose anything better. So its bluster and bombast to hide the shortcomings in the songwriting department.”

“Pushed by the record company for a follow up to Not Fragile BTO quickly recorded Four Wheel Drive. It's a competent mixed bag rock and roll album, but some of the songwriting is a bit weak.”

“While BTO may not have invented the power chord, they certainly perfected it or, at the very least, brought it to an art form. Following on the heels of their masterpiece, Four Wheel Drive came very close, to equalling the heights of sonic bombast they unleashed on the previous album.”

“This is hard crunching, driving music from a band who never got the recognition they deserved. With so much fluff coming out on the radio in the early 70s, these guys kicked hard. This music just can't be duplicated today. They had the perfect combination of talent and naiveté that makes for a powerful musical experience.”

Stampede - THE DOOBIE BROTHERS*****

Sweet Maxine/Neal's Fandango/Texas Lullaby/Music Man/Stat Key Soquel Rag/Take Me In Your Arms/I Cheat The Hangman/Précis/Rainy Day Crossroad Blues/I Been Workin' On You/Double Dealin' Four Flusher

Stampede was the final Doobie Brothers to feature a major songwriting role for Tom Johnson. They would come under the influence of Michael Macdonald and transform from a hard rocking band to a bland soul outfit. (US:4 UK:14)

“A very nice classic rocker, the Doobies had a great sound, very smooth and bluesy. This was a concept album of sorts, and you can hear that they ran with the theme quite nicely. These guys are just easy breezy listening, and sometimes that's just what the doctor ordered. I Cheat The Hangman is the standout here.”

“Despite the lack of any really distinctive original material I think that this final album by the original Doobies' is perhaps their best. The band seem to have a bit of an identity crisis coming across at times like a Southern boogie band and then at others like a CSN clone.”

“This is an under-rated album with solid musicianship through and through. Good electric and acoustic guitar, some great driving music and wonderful ballads.”

“I have always loved the Doobies, but this album is one of their best. In my personal opinion Michael McDonald, although he has a great voice, ruined the group. It brought them into the bland soul era, a place where they should never have been.”

“For those who disliked what would become of the Doobie sound, dominated by the hazy rock-jazz-funk feel of Michael McDonald, Stampede will forever stand as the last gasp of Tom Johnston, though he did hang around for several albums in a lesser role. I think the Johnston-era Doobies were better than what came later.”

“The Stampede album would have to be one of the best Doobie Brothers albums ever, and the last to feature lead singer/guitarist Tom Johnston before he was forced, rather against his will, to make way for Michael McDonald."

“This one was pretty close to perfect, there is some great music on here. You have several of their trademark crunchy rockers, a cool cover of a soul classic, some interesting longer tunes with a somewhat lonesome folk vibe, and a delicious little instrumental. All in all, a very solid, underrated album that still sounds great today.”

Playing Possum - CARLY SIMON***

After The Storm/Love Out In The Streets/Look Me In The Eyes/More & More/Slave/Attitude Dancing/Sons Of Summer/Waterfall/Are You Ticklish/Playing Possum

Critics were divided on the merits of singer songwriter Carly Simon’s Playing Possum, some considering it to be a deterioration compared with previous releases. It features, Attitude Dancing, a unique duet with Carole King which narrowly failed to reach the US top twenty. (US:10)

“I'm not sure I've seen possums doing whatever it is Simon is doing on the cover. Anyway, this album sort of began her tumble from favour as it's pretty ordinary. The atypical Attitude Dancing isn't great but is weirdly entrancing in a guilty pleasure way, and is the best thing here.”

“By now the slickness is taking over and the songs aren't as good as previously, although Waterfalls is a lost gem. But whose idea was it to take Simon and Carole King and have them duet on the limp disco parody Attitude Dancing?”

“Playing Possum shows Carly at her most melodic, turning out some of the most beautiful songs in her catalogue. Some reviews have labelled the album's songs as generic schmaltz, but if you're a good listener, you will hear a series of love songs that seem to follow a pattern.”

“Overall, the album shares with us Carly's emotions, viewpoints, and perspectives as a woman. As a guy who grew up listening to her music I appreciate her straightforward and honest lyrical style.”

“What we have, musically, with Playing Possum is a mature, liberated, sophisticated woman's acknowledgement of her own wants and needs. The artist has laid out the blueprint of her desires.”

”Carly's singing on this recording is much more raw and gritty, quite suited for the subject matter, and her songwriting continues to be fascinating both in structure and the way she chooses to present herself.”

“The song Waterfall is lush, gorgeous and just so amazingly beautiful. Slave demonstrates raw singing power and haunting lyrics. Attitude Dancing, with Carole King rocking out on the backup vocals, is pure fun.”

Ian Hunter - IAN HUNTER***

Once Bitten Twice Shy/Who Do You Love/Lounge Lizard/Boy/3000 Miles From Here/The Truth The Whole Truth Nuthin' But The Truth/It Ain't Easy When You Fall/Shades Off/I Get So Excited

Self titled debut album from the former Mott The Hoople vocalist. Unlike the later glam rock group albums this solo effort is a hard rock release. Features the UK No. 14 hit single Once Bitten Twice Shy. (US:50 UK:21)

“This is as profound an example of self reflection. Very few artists can claim such honesty as this album affords the listener. Forget that it wasn't a Mott album, it was and is, a great album.”

“Ian Hunter's solo debut was his first proper release teamed with Mick Ronson, and it's an expansive hard rock album. From the opening brilliance of Once Bitten Twice Shy to the emotional balladry of Boy, this is that rarest of things: a solo album that may even surpass the output of the artist's legendary original band. Mick Ronson's guitar playing is characteristically stellar throughout, and Ian Hunter seemed to positively exult in his newfound freedom from the whole glam scene.”

“Ian Hunter featuring Mick Ronson is one of the finest albums to come out of the seventies. Not only are the songs tight, spirited, and well played, but they seem to have stood the test of time. Though Hunter may not be a 70s rock and roll poetic genius, he can still write a genuinely captivating song.”

“Mick Ronson's guitar tone sounds like its going to tear through the speaker grills. The rock is solid and classic without being a retread or nostalgia piece. The beats stomp and the piano pounds. He's on fire most of the way, with painful sincerity and the tales of downtrodden rock and roll life that drove the best of Mott.”

“Hunter's lyrics are always great, especially when coupled with that inimitable tuneless voice, one of the few rock singers who couldn't sing at all and yet somehow not only made it work, but made it better than many who could.”

“This is a very good no-frills, basic rock album with no weak tracks that require skipping. The songs are mostly hard and heavy with a couple of emotion filled ballads in the mix. But this one misses some of the spontaneity and earnestness of the best Mott The Hoople material. Even so, it's an honest sounding album with Hunter vocalizing as passionately as ever.”

Hair Of The Dog - NAZARETH***

Hair Of The Dog/Miss Misery/Guilty/Changin' Times/Beggars Day/Rose In The Heather/Whisky Drinkin' Women/Please Don't Judas Me

Although the well received Hair Of The Dog failed to chart in the UK it became the Scottish hard rock group Nazareth’s top seller in the States. However, their hits would soon start to dry up. (US:17)

“Dan McCafferty's punishing raw whisky-soaked voice plus stellar songwriting make this effort easily one of the best hard rock albums released in the mid-seventies.”

“An overlooked gem. Every single track blends the best features of 1970s hard rock with some elaborate prog-rock passages.”

“Hair Of The Dog doesn't have anything resembling a weak song, but what it does have is one hard hitting, earth-shaking, bone crunching song after another. And every one is perfectly balanced between Danny McCafferty menacing, growling vocals and Manny Charlton's snarling, crushing and searing guitars.”

“A fine album from start to finish and truly one of the heaviest ever. Top volume is totally necessary if one is to fully appreciate the feral savagery of songs like Miss Misery and Changin' Times. All the cuts are essential. However, the one that is just flat out awe inspiring and in a league all of its own is the prog epic Please Don't Judas Me. The other-worldly percussion, spacey synths, and fierce guitar work make this one a deep and powerful piece of music.”

“Nazareth’s most metallic moment, this one is a true classic of 70s hard rock. The title track, with its screaming refrain, is one of the best hard rock groovers ever written, covered by everyone.”

“Nazareth’s Hair Of The Dog is a masterpiece. One great song after another. The kind of album you can put on and listen to all the way through without skipping tracks.”

“This streamlined all the important aspects that characterized gritty, riff-driven rock, with a great level of accessibility. The album is full of talking guitar techniques, powerhouse structures, and most importantly, a flexibility that is rarely found in most heavy metal albums, ballads that mean something and rockers that meant even more. Nazareth were one of the few bands that could pull off an equal balance of driving rock and power ballads that didn't sound overdone and empty.”

I'll Play For You - SEALS & CROFTS***

I'll Play For You/Golden Rainbow/Castles In The Sand/Blue Bonnet Nation/Ugly City/Wayland The Rabbit/Freaks Fret/Truth Is But A Woman/Fire & Vengeance

The soft rock duo Seals & Crofts enjoyed considerable popularity in the States during the early 1970s although by the time of I’ll Play For You they had begun to fade a little. Nevertheless the title track single reached the US top 20. (US:30)

“I'd rate this release up there with Diamond Girl. It's packed full of melodic folk/pop tracks of various tempos. I'll Play For You is the best known track but many others make good listening.”

“I'll Play For You was very poppy but it was also quite diverse. From the emotional song-writer styled ballad Wayland The Rabbit, to the Latin grooved Freak's Fret, Seals and Crofts venture into several different music genres that really work on this album.”

“On Wayland The Rabbit the orchestral introduction will give you goose bumps, and after the mostly acoustical main part of the song, the orchestra comes back and builds a beautiful ending. The words and meaning are moving as well. The other songs are excellent, too. It was one of the few albums that I would play all the way through without skipping.”

“I'll Play For You contains two hit singles, Castles In The Sand and the title track. Besides these two great tunes, this record has my all-time favourite Seals & Crofts, song on it Wayland The Rabbit. With very pretty orchestration, heartfelt singing and harmonies, and light brilliant acoustic guitars, the duo deliver their shining moment.”

“Wayland is one of the most deeply spiritual and moving pieces I have ever heard. This vintage recording demonstrates why this pair rocketed to fame. Absolute gold.”

Judith - JUDY COLLINS****

The Moon Is A Harsh Mistress/Angel Spread Your Wings/Houses/The Loving Of The Game/Song For Duke/Send In The Clowns/Salt Of The Earth/Brother Can You Spare A Dime/City Of New Orleans/I'll Be Seeing You/Pirate Ships/Born To The Breed

Judith was the most commercially successful album released in the UK by folk artist Judy Collins. Her interpretation of the Grammy winning song Send In The Clowns reached No. 6 in the UK and was written by Stephen Sondheim. (US:17 UK:7)

“It's nice to hear songs put forth without irony but with a truckload of talent. This kind of record doesn't really exist anymore.”

“She's utterly tremendous; precise, icy vocals, careful backing and songs, both covers and originals, thoughtful and well considered.”

“Judith is one of those efforts where everything seems to come together just right, the musicianship, Judy's voice and song selection, all add up to a tremendous album. The tracks covers a range that few popular artists would put on a single album, from Great Depression era blues to Broadway, from biographical story-telling and country-folk to rock and roll. Whether written by Judy herself or others each song is excellent both in itself and as part of a collective whole.”

“How do you describe Judith to someone who has yet to encounter this classic recording? Perhaps the best tribute is that this is the album I turn to when I want to dream. The best numbers, of course, are those written by Judy herself. Perfect orchestration, poetic lyrics and vocals, in an album I could not live without.”

“The lyrics, the arrangements and the voice combine to create a poetic delight. My favourite Judy Collins penned song is Houses. The covers are fantastic, particularly Webb's The Moon's A Harsh Mistress. This is an album to play over and over again.”

“Judith is one of those great albums that you listen to and find yourself thinking, I wish they still made them like this.”

“She brings all of her diversity to the plate, creating a pastiche that really defines the title. Her professional beginnings in pure folk are here, joined by her classical, pop, rock, country and theatre leanings in a perfectly seamless blend. Judy Collins is such a strong musical presence that she is able to take this wide gamut of musical styles and make each song her own.”

Toys In The Attic - AEROSMITH****

Toys In The Attic/Uncle Salty/Adam's Apple/Walk This Way/Big Ten Inch Record/Sweet Emotion/No More No More/Round & Round/You See Me Crying

Toys In The Attic was the breakthrough album for the US hard rock group Aerosmith. They would maintain their commercial success for well over a decade despite diminishing critical approval. Features the US top ten hit Walk This Way. (US:11)

“The diverse Toys In The Attic is solid from the moment the fast 'n' furious title track screams from the speakers, to the closing note of the moving ballad You See Me Crying. This is perfection from the young and hungry Aerosmith.”

“Although Toys In The Attic was Aerosmith’s breakthrough album, in truth it was a pretty unusual work. There were a number of dark moments, but the sprightly rock sound often detracted from the meanings of the lyrics. There was also a sprinkling of experimentation which prevented the album from rocking as hard as it might have done.”

“There are wonderful guitar riffs, some tasty bass lines and the vocals are great as well. All the songs are keepers and this is a nice one to put on if you feel like some classic rock and roll.”

“Aerosmith always knew how to write catchy songs that could fill an arena full of screaming fans but here is a little known secret: these guys were actually really talented at their instruments and this shows them at the pinnacle of their abilities.”

“By the time of this release, their sound is getting ever more commercial, yet it is still heavy, hard rockin' and good. The quality song writing carries the day here.”

“The gloriously sleazy Sweet Emotion is worth the price of the album alone. The rest is a pretty hit and miss affair with Toys In The Attic and Walk This Way floating like cream to the top of the bowl.”

“Toys In The Attic perfected Aerosmith's brand of hard rock, R & B and heaviness, thus giving the band its commercial breakthrough. The highlights are the super funky Walk This Way, the grinding, lusty Sweet Emotion, the catchy No More No More, the punkish title track, the menacing Round & Round, and the beautiful closing ballad You See Me Crying. There's simply not a weak cut to be found here.”

Nuthin' Fancy - LYNYRD SKYNYRD***

Saturday Night Special/Cheatin' Woman/Railroad Song/I'm A Country Boy/On The Hunt/Am I Losin'/Made In The Shade/Whiskey Rock A Roller

By the time of the release of Nuthin’ Fancy Lynyrd Skynyrd were considered to be the foremost exponents of Southern rock. Unfortunately, except for the hits, most of their tracks seem to be interchangeable. (US:9 UK:43)

“With the hard-biting, guitar driven Saturday Night Special leading off, Lynyrd Skynryd, proved they were more than Led Zeppelin for the rebel flag wavin' 'n' moonshine runnin', rural rednecks. There was never nuthin' fancy 'bout these whiskey drinkin' rock 'n' rollers. After payin' their dues, Skynyrd simply stuck to their guns and became Southern rock legends.”

“Not as good as the first two but still pretty solid. Saturday Night Special is the only classic tune here, but some of the other songs, although worthwhile, have the feel of a band that may have been going through a writing slump.”

“Being a long time Lynyrd Skynyrd fan I can honestly say that this release doesn't stand up very well to the two previous albums. It is much weaker musically and lacks the overall rocking sound that Skynyrd are known for.”

“Usually considered their weakest. It's not their best, but there is a good raunchy feel from start to finish that seems to have a dark, yet no nonsense boogie.”

“Due to incredible pressure from their record label, Lynyrd Skynyrd were in a big time rush to record and release this LP. The title seems to come from the attitude the band members took in writing and recording this music. These songs are certainly very listenable, and some have catchy elements about them. However, when compared to their previous s

“It feels more like a blues album rather than a rock record. Cheatin’ Woman is a low-down blues song. I'm A Country Boy and On The Hunt are both strongly guitar-driven songs. Am I Losin’ may be the best track which features some nice acoustic guitar. Made In The Shade is a bluegrass number, you will find yourself singing it.”

“The third album in two years is also the first major drop in quality. This one feels a bit like a rush-job but there are still some tracks of noteworthiness.”

Blow By Blow - JEFF BECK***

You Know What I Mean/She's A Woman/Constipated Duck/Air Blower/Scatterbrain/Cause We've Ended As Lovers/Thelonius/Freeway Jam/Diamond Dust

Jeff Beck is better known as a blues-rock guitarist but on Blow By Blow he dabbles in jazz rock fusion. This purely instrumental release was his best selling album. (US:4)

“It's funk, fusion and jazz, with healthy doses of rock and blues. The great thing about the band is that they're all very good at their respective instruments. Of course we all know that Beck is going to be great, but its surprising when fellow band members can equal the equivalent of his talent on their own instruments. This is, in my opinion, Beck's best album, one that showcases his versatility and intelligent playing. All these songs sound like jams, but without the rawness.”

“Jeff's most consistent record ever, dropping the vocals altogether was definitely a smart move. Here, his playing really shines on a great collection of concise instrumental rock- funk pieces with a great band.”

"Jeff Beck brought the guitar to the forefront here, in fusion like no one had ever done before. Blow By Blow is full of one amazing song after another.”

“Blow By Blow is a fine album. Its main problem is obvious: instrumental jazz-rock is not the catchiest of music styles. You can listen to the music, notice that you dig the music, and next moment notice that you are not listening at all.”

“Beck reinvents himself with some impressively smooth instrumental jazz/funk/fusion. Some of his guitar work here is just mind boggling in quality and all over the shop stylistically.”

“A decent jazz rock fusion album with some astounding guitar work from Jeff Beck. His guitar just rips through these instrumental tracks. He reinvented his career with this LP.”

“It is a good blues-rock guitar album, but this definitely is not to my taste. I found it pretty much a boring listen, though the best moments were the slower songs whilst the more upbeat songs felt pretty old and out of style.”

“I want good songs and nice melodies. You won't find them here. This is a pretty boring record and I can't help but to think of muzak when I listen to it.”

Katy Lied - STEELY DAN*****

Black Friday/Bad Sneakers/Rose Darling/Daddy Don't Live In That New York City No More/Doctor Wu/Everyone's Gone To The Movies/Your Gold Teeth II/Chain Lightning/Any World/Throw Back The Little Ones

By the time of the release of Katy Lied Steely Dan were restricted to the songwriting duo of Becker and Fagen, although they still used backing vocalists such as the somewhat divisive Michael McDonald. (US:13 UK:13)

“Perfectly produced and beautifully performed pop jazz-rock, with razor-sharp lyrics and finely-polished compositions. These are what you want when you hear a Steely Dan album, and that's what Katy Lied delivers in spades.”

“Though it takes some time to sink in, Katy Lied is a great listen from start to finish. Tracks range from the serious, to the disturbing, to the unknown, but they are all done with a degree of musicianship that makes them not only respectable, but utterly habit forming.”

“Becker and Fagen ease up a bit on the eclecticism of their previous album, and seem to fall back a bit on their usual tendencies. But it's an exquisite refinement of those tendencies. Their familiar styles are as well written as always, and sound super enhanced musically with a production sheen that advanced even their own slick standards.”

“Katy Lied marked the critical turning point at which Becker and Fagen decided to quit touring and make Steely Dan into strictly a studio outfit. It is also introduced the talents of backup singer extraordinaire Michael McDonald, whose presence lifted several songs to dizzying new heights. He was one of many hired musicians carefully selected to make the songs as flawless as possible, a brand of meticulous studio perfectionism that would become synonymous with the Steely Dan sound.”

“Katy Lied is a supremely sophisticated and successful record with some of the band's best songwriting and most intriguing numbers. The jazz influences of bloom here, and there is more of a cohesive and consistent quality to the material.”

“The lyrics are just as clever as one might expect, but there is an easy accessibility that can be missing when Becker and Fagen get too clever for their own good. From the wildly prophetic Black Friday through the catchy Bad Sneakers, the gorgeous but silly Doctor Wu, and one of my personal all time favourites in Any World. I have only one minor quibble, not being a fan of Michael Macdonald I find his backing vocals intrusive, given his distinctive voice.”

Straight Shooter - BAD COMPANY***

Good Lovin' Gone Bad/Feel Like Makin' Love/Weep No More/Shooting Star/Deal With The Preacher/Wild Fire Woman/Anna/Call On Me

Straight Shooter was the follow up album from the British rock group Bad Company and was even more generic than its predecessor. Features the US top ten hit Feel Like Makin’ Love. (US:3 UK:3)

“With Straight Shooter there is not much drop off from their debut. Was there ever a better ice breaker than Feel Like Makin Love, straight ahead, well played minimalist blues rock. A joy to listen to and sing along to all these years later.”

“Mostly it's workmanlike blues R & B, with macho lyrics invariably about good women, bad women or hot women, with one other clichéd effort about stardom. It's not unpleasant, but even with occasional added strings, keyboards or backing vocals, there's not a great deal of variety here.”

“The main difference between Straight Shooter and the debut album is that the sound has definitely moved more towards the stadium/arena rock sound, and away from the lingering Free influences which were evident on the debut.”

“This is it the definitive album that represents the classic line up at the peak of their collective prowess. The classic songs, the mood and the feel that epitomises everything that was great about the band is evident on every song here.”

“Bad Company continue on their quest to further their career without ever having to innovate or develop a single original idea. Still, if any Bad Company album is considered essential, it would be this one, holding as it does their two finest moments: the oft-covered Feel Like Makin' Love and Shooting Star. After that, aside from maybe Good Lovin' Gone Bad, the rest are duller than a rubber knife.”

“Straight Shooter is superb example of well played hard rock. Melodies and lyrics are working perfect together and give you an unforgivable sound and feeling of the 70s.”

“Nice, solid, radio friendly mid-70s rock. Not a work of art, but enjoyable enough. I like Shooting Star even though it's incredibly clichéd and a bit dumb.”

“Without the musical inspiration they had in the debut, their combination of macho attitude and generic rock is a torture.”

Chicago VIII - CHICAGO***

Anyway You Want/Brand New Love Affair/Never Been In Love Before/Hideaway/Till We Meet Again/Harry Truman/Oh Thank You Great Spirit/Long Time No See/Ain't It Blue/Old Days

The jazz-rock ensemble Chicago still managed to top the US album charts despite the increasing blandness of their sound. This one includes the US No. 5 Old Days and No. 13 Harry Truman. (US:1)

“Nothing on here is particularly bad, although apart from Old Days, nothing is particularly interesting either.”

“All things considered this is a very solid effort, even with a misstep here and there. This has plenty to love, though I wouldn't recommend it for a casual fan.”

“Chicago have always been known as a premier horn band, but a big part of their signature sound was the amazing guitar playing and lead vocals of Terry Kath. This was the last album he recorded with the band.”

“While it still sounded like Chicago, this album pretty much does away with the experimentalism they had been known for when they started out. Still, Chicago VIII shows definite signs of artistic growth; there is a good mix of everything from R & B to hard rock, to ragtime and to string-drenched balladry.”

“Other than Old Days and possibly Harry Truman this is disappointing. It must be considered as the transition album that would never again see Chicago write songs as good, and forget everything that followed.”

“It's not one of their critically acclaimed albums, but there are some really great songs on this album. Brand New Love Affair is a great jazz song featuring Terry Kath's soulful vocals. Anyway You Want, the first cut on the album, gets things rolling in an upbeat style. Terry Kath has a great, but short, guitar solo on this song.”

“After the slightly generic opening track, Brand New Love Affair is a great track all over. Never Been In Love Before is so catchy that I mistakenly considered it a hit single at my first listen. Then comes Hideaway, where the guitar sound is not extremely heavy. Till We Meet Again is a brief, very beautiful number, while Oh, Thank You Great Spirit is very lengthy, psychedelic and jammy. Long Time No See feels like filler, but contains a great middle part that gets the song going. Ain't It Blue is very funky jazz-rock, and finally, Old Days closes the album in a catchy way.”

There's One In Every Crowd - ERIC CLAPTON***

We've Been Told (Jesus Coming Soon)/Swing Low Sweet Chariot/Little Rachel/Don't Blame Me/The Sky Is Crying/Singin' The Blues/Better Make It Through Today/Pretty Blue Eyes/High/Opposites

There’s One In Every Crowd is one of the lesser known Eric Clapton albums and was a relative commercial failure. Recorded in Jamaica it introduced reggae influences into his sound. (US:21 UK:15)

“While it doesn't contain the all out guitar fire of other Clapton albums, it possesses a quiet fire that simmers into quite a tasty stew. A little gospel, a little reggae, and a lot of blues, Clapton has an often overlooked gem to offer here. The vocals are very laid back, but still contain a kind of sorrow with some serious blues going on.”

“What we have here is more limp reggae, gentle laidback grooves and a few really terrible originals. All done at a very slow speed; this remains one of the doziest records Clapton ever made. The high point is a tasteful remake of The Sky Is Crying, but on the whole this is tedium personified.”

“The reggae songs aren't bad, but they're not really his thing. The other songs are nice, and they carry the formula of his later 70s sound. Not a complete loss, just a big miss with few hits.”

“This recording has gospel, reggae and acoustic flavourings as well as a touch of the blues. Eric's singing is a muffled but his tone does compliment the songs very well.”

“It marks the beginning of Clapton's career when he decided that he no longer wanted to be known just as a bluesy lead guitarist. On this album there's barely a flicker of a blues solo to be heard. What you get instead is a series of songs some good, one or two mediocre, and a mixture of gospel, reggae and light pop. Most of the songs in this set are composed by Clapton, who plays in a very laid-back style.”

“No major radio singles, but plenty of mellow blues (and even a little gospel), funky riffs, moving ballads and tasteful musicianship.”

“Having become enamoured with reggae after riding Bob Marley's I Shot The Sheriff to the top of the charts around the world, E.C. chose to record in Kingston, Jamaica. Slowhand successfully dipped his toe into the reggae pool, and even managed to add an impressive Jamaican patois to his vocal style.”

Best Of - THE STYLISTICS*****

You Make Me Feel Brand New/Betcha By Golly Wow/Rockin' Roll Baby/Break Up To Make Up/You're A Big Girl Now/I'm Stone In Love With You/Heavy Fallin' Out/Lets Put It All Together/You Are Everything/People Make The World Go Round

The Stylistics were the pre-eminent soul group during the mid 1970s and they were particularly popular in the UK where this Best Of collection was the top selling album of 1975. More comprehensive compilations are available today which include their later hits. (US:41 UK:1)

“A mid 70s compilation of their early sweet soul years, mainly with producer Thom Bell. Almost all of their earlier hits are here. It lacks a few essentials, but the material they did include is absolutely first-rate.”

“They sure don't make music like this anymore. The Stylistics were an incredible group, and they released some of the most romantic and heartbreaking songs ever recorded. You Make Me Feel Brand New is one of those slow jams that can make even the hardest of hearts believe in love, while You Are Everything still sounds gorgeous after all these years.”

“I like this group, they represent everything good about music. They sing from the heart, and they sing because they like to.”

“Let me just get to the point. This album is excellent. The Stylistics were very smooth and romantic, and this music really sets the right mood.”

“The Stylistics were a classy group with both soul and musical marketability. They performed beautiful, memorable hits that are really emotionally moving.”

“There's hardly a need to post a review of a greatest hits album like this, you already know you're in for some sublime music.”

“The Stylistics were one of the best soul groups to come out of the early 70s. They're harmonious vocals are the greatest. Their lead singer has a high pitched voice, but it's beautiful. Most of their more popular songs are ballads and are beautifully done.”

“One of the most melodious groups in the game. This is what real music is like. It has a story and a harmony to go along with it.”

Myths & Legends Of King Arthur - RICK WAKEMAN*****

Arthur/Lady Of The Lake/Guinevere/Sir Lancelot & The Black Knight/Merlin The Magician/Sir Galahad/The Last Battle

After two failed attempts keyboard wizard Rick Wakeman releases an album worthy of his talents. The Myths & Legends Of King Arthur is a tour-de-force and his best album by a wide margin. (US:3 UK:2)

“This is among his best works. The orchestral arrangements are as usual grandiose, with rich keyboard textures, melodic lines and warm pleasant vocals. All pieces are great with a plus on Merlin The Magician.”

“This is simply the best classic rock album ever. A wonderful blend of styles and execution and a must have for the serious audiophile.”

“Musically this is one of Wakeman's more mature works, performed under a grandiose symphonic rock style and based on an arsenal of different keyboards. It retains the keyboard wizard's familiar epic style with fairytale passages followed by bombastic orchestrations and flashy solos. The music sounds very deep, mature and consistent with an extremely balanced sound between orchestral movements, romantic piano lines, sharp Moog synth moves and classical inspired moments of pure elegance.”

“I really like this album, pure genuine 100% prog rock: orchestras, keyboard solos, choirs, concept album. What more do you want? And then there's Guinevere, one of those lovely songs that once I get it in my mind, I can't get it out again. It's like a Jacobean banquet, rich and to be savoured.”

“My favourite Wakeman album, combining energy and melody in an amazing way. Every character has their own distinctive sound created by the synths magician.”

“What do you get when you combine classical music with progressive rock? Why, you get one of the most brilliant pieces of musical genius ever put on record, by one of rock's most gifted keyboardists.”

“Definitely one of Rick Wakeman's best albums, this is a truly perfect blend between symphonic and rock sounds. His Minimoog solos here are simply outstanding. In various passages he also devises wonderful and very atmospheric combinations of keyboard sounds. Many compositions on this album are truly great and full of inspiration, listen for instance to Merlin The Magician and The Last Battle.”

Young Americans - DAVID BOWIE**

Young Americans/Win/Fascination/Right/Somebody Up There Likes Me/Across The Universe/Can You Hear Me/Fame

After a string of excellent albums from David Bowie hopes were sky high that Young Americans would continue his winning run. Sadly, his fans would have been massively disappointed with this hopelessly bland soul release. (US:9 UK:2)

“Well some of Bowie's hard-core fans don't like this one because they fell in love with his earlier work. But remember you have to take each of his albums as a separate entity, because Bowie does what he likes when he likes. Young Americans is a masterpiece crossover album and shows just how far his talents can stretch.”

“It's a great blend of Bowie's ability to maintain an impeccable sense of what is truly good music mixed with his undying need to experiment with different sounds, instruments, musicians and genres.”

“Coming hot off the heels of a string of successful glam rock albums, this record features a wild change in direction to soul and funk territory. Spearheaded by Fame, there's more funk where that came from in the form of Fascination, a potent slab of sloppy bass, slinky guitar riffs and massive choruses. The title track goes a long way in providing this record with its fair share of danceable tunes.”

“While Young Americans is an interesting experiment and has its moments, most of the album comes across as bland and emotionless. Bowie couldn't have picked a better way to describe this album as plastic soul.”

“I wonder why a pop-rock genius would want to create this kind of rubbish soul music. No power, no good melodies and no suitable background rock musicians.”

“It is significantly worse than any of his others from the 1970s, lacking Bowie's creative vision and personality. There aren't any really fabulous lyrics or interesting musical ideas here.”

“Young Americans is what you'd expect to get if you took David Bowie to an American recording studio and had the producers give him suggestions on what would make a hit record. It’s a very disco/funk sounding album, and you can tell that he is trying to play to the popular trends in America.”

Pieces Of The Sky - EMMYLOU HARRIS****

Bluebird Wine/Too Far Gone/If I Could Only Win Your Love/Boulder To Birmingham/Before Believing/Bottle Let Me Down/Sleepless Nights/Coat Of Many Colours/For No One/Queen Of The Silver Dollar

Pieces Of The Sky was the debut album from folk artist Emmylou Harris who had previously collaborated with Gram Parsons. She has been praised for the skilled interpretations of her covers of other people's songs. (US:45)

“In which Emmylou carried forward the work her friend Gram Parsons had started by making country music a respectable art form again in the eyes of a much wider audience.”

“Although it is written almost entirely by others, Emmylou Harris will bring you to tears with Pieces Of The Sky. It is like the soundtrack to the country music fairy tale that is Emmylou Harris and Gram Parsons, whose tutelage is very apparent on the album.”

“I saw Emmylou and her original Hot Band when they first came to England and it was the best concert I have ever seen. They mostly played tracks from this great album. Boulder To Birmingham is one of the all time great songs; her feelings about her loss of the great Gram Parsons.” “Her first serious solo effort. Emmylou Harris has an incredibly gorgeous voice and her song choice is impeccable.”

“Pieces Of The Sky is my favourite of Emmylou’s early records even if it is in more of a traditional country music vein and not as adventurous as the albums that would follow. She’s never bettered many of the vocal performances here. It all works and makes for an extremely pleasing listen.”

“A fine blend of ballads and upbeat numbers make this a treat of a recording. Every time Emmylou covers a song she makes the composer look like a genius. In actual fact, she's the genius, and she simply works wonders with music of all shapes and sizes.”

“I am a major fan of Emmylou Harris and have most of her albums. The purity of her delivery and glorious arrangements provide a life enhancing experience and each track is different and intriguing. What more could one want?”

Between The Lines - JANIS IAN***

When The Party's Over/At Seventeen/From Me To You/Bright Lights & Promises/In The Winter/Watercolours/ Between The Lines/The Come On/Light A Light/Tea & Sympathy/Lover's Lullaby

Singer songwriter Janis Ian first came to public prominence in 1967 as a teenager with her US hit Society’s Child. She then largely disappeared from view until the release of her chart topping album Between The Lines in 1975, helped by the US No. 3 hit single At Seventeen. (US:1)

“One of her best albums in terms of consistency and in the quality of the highlights, with songs full of emotional intensity and craftiness. There's also a bit of filler but not too much and not really annoying. Lyrically, she makes some mistakes typical of young writers: being solemn, overusing metaphors and trying to say too much.”

“At Seventeen might just be the most realistic song ever written about adolescence. But there are many other good tunes to be found here.”

“This has memorable songs. An emotional pop album fuelled by blues and jazz. She had a good voice and did her own compositions, which are pretty OK.”

“Many of the songs have the poignancy of someone who has too often experienced the underside of human relationships. Her lyrics could stand alone as poetry, but since the music is enjoyable and takes some unexpected turns, this is the complete package.”

“Between The Lines is a timeless work of art from one of America's most gifted songwriters. No writer has ever articulated loneliness, unrequited love or profound, secret feelings the way Ian does. The songs strike deep, melancholic chords in the soul, yet their effect is to soothe and reassure in an almost mystical way.”

“Some call this suicide music because of its melancholy. This is true, but her gift of crafting words into blue, poignant lyrics will strum the heart of any reflective listener.”

“Janis Ian is no sob sister, and her music knows many more moods than the melancholy for which she has been as much celebrated as maligned; and even that melancholy comes in strains that explore the spirit, the heart, and the soul.”

“This album defined a generation's angst. At Seventeen remains a succinct and moving testimony to the pain of being outside of the ‘in’ kids, but it is only one of several perfect tracks.”