Spirits Having Flown - THE BEE GEES****

Tragedy/Too Much Heaven/Love You Inside Out/Reaching Out/Spirits Having Flown/Search Find/Stop (Think Again)Living Together/I’m Satisfied/Until

Spirits Having Flown was the last of The Bee Gee’s enormously successful disco era albums. From now on the hits would be much less frequent. This one features no fewer than three US No. 1 hits – Tragedy, Too Much Heaven and Love You Inside Out. (US:1 UK:1)

“The Bee Gees of course had a long heritage before their disco years, and they have talent to burn. They can sing in harmony as well as any of the top groups ever did. And Barry Gibb and that falsetto - my goodness, how did he sustain that for so long?”

“After the success of Saturday Night Fever The Bee Gees wanted to make a studio album thriving upon the same spirit. Tragedy is a groovy disco track sung in their recognizable falsetto voices. Too Much Heaven is a smooth ballad sung in their falsetto voices with vibrato. Dreamy sounds are created by keyboards, synthesizers and vibraphone. Strings, horns and funky bass riffs give it a fuller sound and a dynamic feeling. Love You Inside Out uses a quiet disco beat, smooth harmonies and tight vocals to evoke romance. Their experience in songwriting and their vocal quality sets them apart from other disco acts.”

“While not the strongest Bee Gees release, it still has well written songs and a balance to it. One can only imagine how hard it must of been to follow up the beast that was Saturday Night Fever. Tragedy is still one of my fist pumping favourites and Love You Inside Out is one of the better songs on here.”

“There's nothing groundbreaking about this album; but in essence, it aims to be nothing more than a pop LP and by that criteria, it succeeds completely. The production is impressive and the trio's vocals are always top-notch; a little falsetto-heavy, admittedly, but still a thing of great beauty.”

“A truly superb album, especially on their having to live up to the reputation they built up in the light of Saturday Night Fever. Unashamedly commercial with instantly hummable tunes.”

Minute By Minute - THE DOOBIE BROTHERS***

Here To Love You/What A Fool Believes/Minute By Minute/Dependin’ On You/Don’t Stop To Watch The Wheels/ Open Your Eyes/Sweet Feelin’/Steamer Lane Breakdown/You Never Change/How Do The Fools Survive

The Doobie Brothers transformation from a hard rocking band to a bland soul outfit reaches its apogee with Minute By Minute. The group is now under the control of Michael McDonald who has supplanted the original chief songwriter Tom Johnston. The end result was a Grammy for this US chart topping album helped along by the US No. 1 single What A Fool Believes, thus reflecting changing public musical tastes. (US:1)

“I am a little embarrassed to admit I own this terrible long play. At one time I was into the cool southern rock and the Doobies were a good southern rock band.. This ultra laid back lounge music is a disgrace; absolutely not southern rock in any way shape or form.”

“Its common knowledge that Michael McDonald led the Doobie Brothers into a keyboard-soaked R & B era far removed from the Tom Johnston guitar-based sound. I happen to like both incarnations though the McDonald era did tend to get a bit tedious. Overall, this isn't a bad set.”

“By this time, there is almost nothing that remains from the classic group that recorded the classic early albums. Indeed there is nothing going for this album unless you're into sickening AOR mush, with insufferable Michael McDonald vocals splattered all over it. Only fools would believe that this is a worthy album.”

“Grammy award winning album Minute By Minute is a definitive moment for a now schizophrenic band. Simmons holds onto the guitar-centric Doobie sound for approximately a third of the album, McDonald brings R & B/smooth jazz keyboard to the forefront of about half, and the rest is a melding of them together in an awesome fusion.”

“Overall, the record sounds just too much like a bunch of studio musicians churning out pedestrian blue eyed soul. Very bland effort from this once mighty band, despite the one monster found here.”

“Michael McDonald's gasping, soulful vocals here pack a major wallop and are simply infectious, and he handles the lead vocals on a handful of classic tracks.”

Armed Forces - ELVIS COSTELLO****

Accidents Will Happen/Senior Service/Oliver’s Army/Big Boys/Green Shirt/Party Girl/Goon Squad/Busy Bodies/ Sunday’s Best/Mood For Moderns/Chemistry Class/Two Little Hitlers

Elvis Costello reached the peak of his popularity and artistic credibility with the release of Armed Forces. The satire has been toned down and his subject matter broadened, as exemplified by the UK No. 2 hit Oliver’s Army. (US:10 UK:2)

“Here, sneering post-punk makes way for a sumptuous pop buffet, an album where even the most biting moments are driven by a strong sense of melody.”

“It's a bit front-loaded, Accidents Will Happen and Oliver's Army are absolute magic, but nothing that follows quite measures up to them. Nonetheless Armed Forces is a captivating closing chapter to his triptych of three great albums.”

“A fun and accessible pop rock album. Elvis delivers his own special brand of nerdy rock, with songs filled with catchy hooks and jolly lyrics. The songs are short, and there is a variation of ideas, both of positive points in this release.”

“The production is crisp and punchy, the guitars from the first two albums largely absent, making this more explicitly a new wave record. Whereas his earlier material espoused a bitter view of relationships, this album finds Costello offering more broad cultural commentary. As such, the record is less consistent, and often drags. As a listening experience, the tunes are often dampened by the unnecessary ambition behind them.”

“The barbs Costello tosses here are possibly more poisonous than the slices of pure rage that make up its predecessor, but he throws them a lot more delicately, masking them with chirpy, sparkling pop arrangements that might make you think this is a perfectly normal, feel-good album.”

“Not quite as good as his first two LPs, Elvis again displays his excellent songwriting skills. Combining punk attitude, new wave style, and catchy pop tunes he continues to amaze on an incredible run that cemented him as a punk/pop genius.”

“The intelligence mixed with anger strikes me most, and there is no need for vulgarity, unlike what we hear from today's rapping fools. The songs represent an artist at his peak, mostly short, sweet and brilliant.”

Back To Earth – CAT STEVENS***

Just Another Night/Daytime/Bad Brakes/Randy/The Artist/Last Love Song/Nascimento/Father/New York Times/Never

Back To Earth was the last release from Cat Stevens as he retired from the music business after his religious conversion. He was responsible for some of the finest songwriting during the previous decade. (US:33)

“Cat Stevens' last album was first released a year after he converted to Islam. He had seemingly been growing tired of the music business for a while and some of that was beginning to show up in his work. I find this album to be about half great and half filler. The album starts off strong with Just Another Night and Daytime, and overall it isn't as bad as some say, but it isn't a peak either.”

“The appropriately-titled Back To Earth was his parting gift: an album that saw the singer saying farewell to his fans, while obliquely explaining his decision to quit in songs such as Last Love Song and Just Another Night.”

“Back To Earth was recorded after he converted to Islam. He knew it was going to be his final album, so he brought back producer Paul Samwell-Smith, the man with whom he recorded his most popular and acclaimed work in the early 70s. It doesn't really recapture his classic folk sound, as much as it pares down the MOR production of the stuff he'd been making since Foreigner or thereabouts.”

“This one goes right down to it, no gimmicks or tricks, it's just in tone with all there is, no grand leaps no overflowing melody structures or waving emotions, it's a very fine accomplishment, working with detail and relaxed atmosphere. Very comforting, and well worth the time, a simplification of the basic stuff, and a carefree stroll into the relaxed funk and easy strumming melodies.”

“Unfairly tossed aside by many for not going places, and obviously Cat's most settled, relaxed and trouble free release, which is very laidback indeed. A perfect album to get settled in mind with, it's got a warmth not found on any other albums I've heard.”

“The instrumental track Nascimento is just a smooth, disco sounding, adult contemporary classic. It personifies what the 70s Los Angeles contemporary format sounded like. This was music for mature people.”

Shakedown Street – GRATEFUL DEAD***

Good Lovin’/France/Shakedown Street/Serengetti/Fire On The Mountain/I Need A Miracle/From The Heart Of Me/Stagger Lee/All New Minglewood Blues/If I Had The World To Give

The Grateful Dead embraced a variety of musical styles but Shakedown Street was the first which introduced a disco influence, a rather surprising innovation for a traditionally blues-rock band. (US:41)

“An underrated gem from the Grateful Dead. This album starts out very strong and stays close to that level throughout. The disco influence is slight, a little bit in the drumming and wah-wah guitar on the title track, but this is clean, catchy well played upbeat rock.”

“Shakedown Street's title track shows the Dead adapting shockingly well to the disco era, transforming their normal rhythmic interplay into a slick, grooving strut. The remainder of the album sees them tackling similarly funky sounds. The rough-edged blues of I Need A Miracle and the Caribbean tinged Fire On The Mountain would become set list staples, and their Latin-flavoured version of The Rascals' '60s rock classic Good Lovin' is one of the band's most beloved covers.”

“One thing that makes Shakedown Street so great is the fact that the band’s recent mix of blues and jazz, with their traditional rock sound, is now spiced up with a little production slickness and a lot of funk. The title track is a perfect example, it's silly, catchy and deeply into an R & B/funk flavour.”

“No matter what anyone thinks about Shakedown Street overall, it's impossible to deny the incredible melody that Fire On The Mountain possesses. I love it to pieces. The mood is really mellow and reminds me of the twilight hours when everything is settling down as you drive across the highway and just take it easy.”

“As a newly appointed 'Deadhead' I have to say that this album was a pleasant surprise. As you can tell from the reviews this is not one of the Dead's most likable albums. Maybe it's the purists that are still praising the material from the 60s and early 70s needlessly maligning this album, but for what ever reason just give it a chance.”

“Not a bad album at all. It's just that in comparison to everything the Grateful Dead did before this, it falls short. Don't expect several minutes of guitar jams.”

Backless - ERIC CLAPTON***

Walk Out In The Rain/Watch Out For Lucy/I'll Make Love To You Anytime/Roll It/Tell Me That You Love Me/If I Don't Be There By Morning/Early In The Morning/Promises/Golden Ring/Tulsa Time

The glory days with Cream are long gone for guitar ace Eric Clapton. What we have with Backless is yet another soporific album with scarcely any memorable tracks. (US:8 UK:18)

“Very typical, easy-rolling Clapton album of its time. Perhaps he could have waited a year or two for better inspiration instead of recording those similar-sounding albums year in and year out, but in all honesty its unrealistic to expect masterpiece every time.”

“Once again it seems aliens may have kidnapped our hero and replaced him with some complacent laid back very average guitar player. To go from The Yardbirds to Cream to this stuff is almost shameful. So much talent gone to waste.”

“An album that is not really able to keep my attention for very long. Seems like I have to listen too intently to it to pick up on Clapton's playing, and nothing much on the album really gets me. The songs are fairly general rock/blues sort of tunes, none of which really turn my ear.”

“Like many Clapton albums from this era it lacks a truly great song. Early In The Morning, easily the most blues inspired track on the album, is a glimpse into Clapton’s past stylings but still doesn’t show his masterful guitar work.”

“This is overall an enjoyable listen, even though it may be difficult to distinguish from a number of other Clapton albums from the same period. There are a couple of terrific songs with the love gone wrong theme of Promises and the rockabilly fun Tulsa Time.”

“This underappreciated classic shows Clapton developing into an all-round musician with R & B, soul, ballads and straight ahead rock n' roll. His playing is sensitive yet fiery and others on the sessions are crack musicians in their own rights.”

“Periodically throughout Eric Clapton's solo career, his music mellows out to such an extent that it barely resembles rock 'n' roll. Here the country is mellow, the blues are mellow, and even the rockers are mellow. This is easy listening for classic rock fans.”

Incantations - MIKE OLDFIELD***

Incantations Part One/Incantations Part Two/Incantations Part Three/Incantations Part Four

Incantations was an overlong and repetitive instrumental double album from Mike Oldfield. It would have clearly benefited by being condensed into a single album, similar to his previous releases. (UK:14)

“I think the running time is the major issue here. Any album clocking in over 70 minutes is going to find keeping the listener's attention a challenge at times, and the material here is repetitive enough that I don't find it rewarding to listen to the whole thing in one sitting compared to Tubular Bells. However, taken as individual tracks, the various parts of this whole are as good as ever.”

“Each part is distinctive, but they form a very consistent entirety, and it never sounds like a mere showcase of different instruments.” “You get double the amount of filler which fortunately is not that great an amount on any of Mike Oldfield's early albums. The other weakness is the propensity to lose the listener's attention which seems inevitable for an album of this length, especially one that relies a lot on ambience, textures and repetition.”

“Incantations is what you can safely call an ambitious affair. Four side long compositions are certain to conjure up expectations of progressive greatness. The musical concept is quite progressive as Mike Oldfield makes extensive use of the circle of fifths and makes it a mission to modulate through all twelve keys, before moving forward with the next section of a track. Some sections therefore seem very long, although they are played in different keys and therefore do evolve.”

“The biggest problem here is the lack of editing, selectivity, and conciseness. We end up with the same melodies repeated ad nauseum. After listening to so much of the same for so long, I ended up editing the long-winded melodies down to the real core of the music. It's probably less than half the length of the original score, but is more enjoyable.”

“This is still adventurous, romantic music but some of melodies just drag on and on. Some parts are good, but overall there's too much going wrong to make this a complete success. I can't help but feel that a little condensing here and trimming there would have made for a more accomplished album.”

Singles 1974-1978 - THE CARPENTERS****

Sweet Sweet Smile/Jambalaya/Can't Smile Without You/I Won't Last A Day Without You/Al You Get From Love Is A Love Song/Only Yesterday/Solitaire/Please Mr Postman/I Need To Be In Love/Happy/There's A Kind Of Hush/Calling Occupants Of Interplanetary Craft

Singles 1974-1978 was the companion compilation album to The Carpenters first released four years earlier. Whilst it doesn’t reach the heights of its predecessor, it is still nevertheless an enjoyable listen, featuring the pristine vocals of Karen Carpenter. (UK:2)

“The follow-up to the hugely successful 1969-1973 previous greatest hits collection, perhaps inevitably shows a dilution of the style and substance of its predecessor. It can't match the individual song quality of the earlier set, but has its moments all the same.”

“All around, a good album to listen to. Karen had such an unmistakeable and unforgettable voice. I think this collection exhibits more of her vocal range than the more popular earlier collection does. The Carpenters style was changing in the mid 70s and they were experimenting a bit with different sounds. Even so, this is easy to listen to and has some memorable songs.”

“The album is filled with pop songs typical of The Carpenters, a mix of great originals and classic covers. The music here is brilliant although there are plenty of more comprehensive compilations available these days.”

“If only we had music like this being produced today, with such clear singing, wonderful melody and just an absolute joy to relax and listen to.”

“The second hits compilation by The Carpenters wasn't dealing from strength nearly as much as its predecessor. The years covered on The Singles 1974-1978, by contrast, represent the point where their really big hits had stopped. However, what is here comes off today as perfectly good, eminently listenable soft rock. It is great fun, even if the best material here isn't much more than an echo of the convergence of music, moment and talent represented by the duo's first four years of work.”

Blondes Have More Fun - ROD STEWART***

Da Ya Think I'm Sexy/Dirty Weekend/Ain't Love A Bitch/The Best Days Of My Life/Is That The Thanks I Get/ Attractive Female Wanted/Blondes (Have More Fun)/Last Summer/Standin' In The Shadows Of Love/Scarred & Scared

Rod Stewart built his reputation as a good time rock vocalist with The Faces. With Blondes Have More Fun he sells out to disco much to the dismay of critics. Features the US and UK No. 1 hit Da Ya Think I’m Sexy. (US:1 UK:3)

“Stylistically Blondes Have More Fun is all over the map. You've got disco, reggae, rock 'n' roll, country-rock and I'm sure I've missed a few genres. The impression I get was that Rod had a hit on his hands and he needed more songs to fill up the rest of the album.”

“Blondes Have More Fun is a perfect example of the shallow, hedonistic, and frankly embarrassing attitudes of the late 70s in general, and the disco era in particular. This album has all the depth of a thimble. Da Ya Think I'm Sexy is all the proof you need, but there are even more blatant examples of excess further into the album.”

“Rod Stewart goes disco, and it's really bad. I used to hate Da Ya Think I'm Sexy, but it's the promised land compared to the rest of this vain blunder of an album. It's the only track really worth giving a chance. As for the rest of the tracks, reading along to the lyrics while listening is good for a laugh.”

“This was not a good career move. What a change from the glory days of the early 1970s for Rod Stewart. Change is good, but not this kind of change.”

“Stewart goes disco, how embarrassing. This was the album that began to erode all the hard-earned credibility he had built up in the late 60s and early 70s.”

“As one of the most appalling sell-outs in music history, Da Ya Think I'm Sexy also ranks as one of the worst songs of the dreaded disco era of the late 70s. From here Rod Stewart headed rapidly downhill. This album is of significance only in that it documents this slide.”

“Da Ya Think I'm Sexy is the only disco song on the album, and while the rest of it isn't vintage Rod Stewart music, it's not bad. In fact there are some songs that are high quality. Also, if you take the big hit for what it is, it is a catchy piece of music.”

Greatest Hits Vol. 2 - BARBRA STREISAND*****

Love Theme From A Star Is Born/Love Theme From The Eyes Of Laura Mars/My Heart Belongs To Me/ Songbird/You Don't Bring Me Flowers/The Way We Were/Sweet Inspiration-Where You Lead/All In Love Is Fair/Superman/Stoney End

Renowned songstress Barbra Streisand’s second compilation album sold considerably better than her first, a testament to her enduring popularity. Greatest Hits Vol. 2 covers a period when she made some tentative moves towards embracing a more contemporary pop sound. (US:1 UK:1)

“This compilation covered her career from 1970 to 1978.The one new song became a signature ballad for her, of course I'm referring to You Don't Bring Me Flowers with Neil Diamond. This was an interesting time in her career where she experimented with various styles.”

“No need to introduce each of the songs individually. What's important is the total package: the even flow of lyric and melody, the voice that will be talked about long after we're all long departed from this world. Barbra's perfectionism is why the production and arrangements remain flawless. You can hear how each song has been personally sculpted by this songbird.”

“If this collection represents Barbra's best recordings from the 70s decade, you know she's in deep trouble. Not because she's not the fabulous singer we all know she is but because it's painfully obvious she's at best a mediocre pop stylist and arguably even out of her depth in this genre. If truth be told, Barbra, the singer of contemporary pop material, can't hold a candle to Barbra, the jazz and stage artiste.”

“This covers the most commercially successful period of her lengthy career. Many self-styled experts malign this time as being artistically deficient but, as we have all been told, beauty is in the eye, or ear, of the beholder.”

“In the final analysis, this collection is very much a matter of individual taste. Those who enjoy Streisand's unique vocal style will find it tremendously enjoyable. Others may not be so kind in their assessment.”

“This collection presents Barbra Streisand at her prime as a recording artist. The program is a flawless balance of actual chart hits and treasured album tracks that sound as if they should have been hits.”

Jazz - QUEEN*****

Mustapha/Fat Bottomed Girls/Jealousy/Bicycle Race/If You Can't Beat Them/Let Me Entertain You/Dead On Time/In Only Seven Days/Dreamer's Ball/Fun It/Leaving Home Ain't Easy/Don't Sop Me Now/Don't Stop That Jazz

Queen maintained their status as the premier rock band with the release of the misleadingly titled Jazz. It is a dazzling mixture of tracks in a variety of genres. Bicycle Race and Don’t Stop Me Now were UK top 20 hits. (US:6 UK:2)

“There is something for everyone on Jazz and it all comes together in a perfect way. The musicianship is second to none with each member at the top of his game. The vocals of all three major contributors are superb, with Freddie quite awesomely showing he can sing just about any type of song. The variety of the songs doesn’t intrude on each other, somehow they all tend to mesh together perfectly despite the wide range of influences that come into them.”

“Jazz is the culmination of Queen's super 70s trip. Extremely eclectic and manic it varies from hard rock to sweet ballads to pop rock to Arabic parodies to top 40 material. Somehow, the band managed to blend a library of musical genres into this collection. This LP sums up the free form exploratory nature of Queen's playful side. Impossible to categorise and yet eminently listenable.”

“With Jazz, the band delivered a record that remains cohesive despite being ridiculously diverse. The magic ingredient here is an overdose of bombast bordering on campiness. Queen had always been over-the-top, but here they practically become a parody of themselves.”

“Jazz marks an important transition in the development of Queen's music. At this point they were quite consciously stepping away from both glam rock and anthemic crowd pleasers, without having arrived at their future destination yet. This is not such a bad thing because, as it turns out, the transition would be more interesting than the destination.”

“This album could be considered as the bridge between the classic rock Queen sound of the seventies to the more commercial style of their eighties. Jazz is literally crammed with classic tracks, an essential listen for anyone interested in this classic British band.”

Inner Secrets - SANTANA***

Dealer-Spanish Rose/Move On/One Chain (Don't Make No Prison/Stormy/Well All Right/Open Invitation/Life Is A Lady-Holiday/The Facts Of Love/Wham

Inner Secrets is a mixed bag comprising some dubious covers and accusations of a commercial sell out. This does appear to be quite a departure from their original jazz-rock musical style. (US:27 UK:17)

“Typical Santana sound with that great guitar but the choice of tunes is a mystery. Sometimes I like covers by great musicians because they can put a new twist on the music. Well All Right is pretty good but the rest are mediocre.”

“Inner Secrets shows Santana moving in a more pop oriented direction, with several songs made famous by Traffic appearing alongside the hot rocker Open Invitation. It forces you to recognise what a great guitar player Carlos Santana really was.”

“Santana completely sold out here, delivering an awful collection of mainly arena-rockers. Even at his prime, Santana couldn't write lyrics, and this is just a mess of clichés set to an awkwardly thumping, bombastic pop-metal backdrop.”

“Carlos Santana was a working, continually evolving musician and most of his recordings reflect to a certain degree the times in which they are released. Inner Secrets is a little funky here, a little disco there, and it may not have all the Latin touch we hope for, but that was the way of the late 70s. He didn't immerse himself in the style of the day; but merely sampled it as he has sampled diverse styles throughout his career.”

“This is probably the band's most underrated work, and a great way to introduce new fans to Santana's music. From my point of view they don't put a foot wrong on this one: from the hard punch of Open Invitation to the smooth caress of Stormy, the lyrical cleverness, compulsive bass, and vocal depth sustain a creation of genuine, unpretentious beauty.”

“Why did Santana have to sell out and go commercial? Completely gone are the Latin rhythms, the Spanish vibes, the many creative layers of beautiful guitar solos, the distinctive songwriting qualities. It's all been tossed aside to focus on producing hit-oriented generic radio fodder. This album fits comfortably into Santana's steady deterioration during the second half of the 1970s.”

All Mod Cons - THE JAM****

All Mod Cons/To Be Someone/Mr Clean/David Watts/English Rose/In The Crowd/Billy Hunt/Its Too Bad/Fly/The Place I Love/A Bomb In Wardour Street/Down In The Tube Station At Midnight

All Mod Cons was the second album from the mod revival band The Jam and was a big improvement on their debut. Led by Paul Weller they would become one of the most prominent rock acts in the UK during the next few years. Features the UK top 20 hit Down In The Tube Station At Midnight. (UK:6)

“That's the conundrum of All Mod Cons - a simple question about Weller's allegiances that never gets properly answered. Even the album's two best songs sit on either side of the divide. English Rose is a delicate, pretty acoustic ballad, but Down In The Tube Station At Midnight is a different beast altogether - a tale of far right politics and gang violence.”

“Paul Weller became a real songwriter and the result is the seminal All Mod Cons. This is genius. Every 70s mod group wanted to emulate the sound, but none of them could touch the songwriting level.”

“In the age of new wave and punk rock, The Jam decided to meet in the middle. Songs like Billy Hunt and the title track show the punk side, while songs such as the beautiful English Rose display the true genius of this band.”

“This is, by all accounts, The Jam's masterpiece. It's clear the songwriting has improved by leaps and bounds. The music has also developed: most of the raggedness is gone and the musical ideas are more complicated.”

“One of the best albums to come out of the British new wave movement. Paul Weller suddenly hits maturity both lyrically and musically, to produce an album which sums up a lot of the mixed up emotions of what it was like to be young in Britain in the late 1970s.”

“A Bomb In Wardour Street and especially Down In The Tube Station At Midnight are classic Jam; flowing streams of superb lyrics set to simple but insistently catchy, rock tunes.”

“The Jam bounced back in a major way with this razor sharp collection of pop-punk gems. Weller ably demonstrates his growth as a songwriter, lyricist and guitarist on this album. Perhaps their strongest set of songs.”

If You Can't Stand The Heat - STATUS QUO***

Again & Again/I'm Giving Up My Worryin'/Gonna Teach You To Love Me/Someone Show Me Home/Long Legged Linda/Oh What A Night/Accident Prone/Stones/Let Me Fly/Like A Good Girl

Despite the high chart placing fans appear to be disappointed with If You Can’t Stand The Heat. The complaints are that there are too many synths, the inclusion of female backing vocals, and a jarring disco sound with horns. The single release Again & Again reached No. 13 in the UK. (UK:3)

“It didn't quite sport the same sterile production as its predecessor, as the guitars were louder and crunchier, while the rhythm section did have more of a spontaneous feel to it. To counter these improvements though, the band deemed it necessary to smother large swathes of the album with overbearing synth and worse. The inclusion of female backing singers and even the occasional horn section, neither of which had any place on a Quo album.”

“As a whole, the album is very dated - lots of late 70s disco influences with the horns and backing singers and some of the drum sounds, but in a way that adds to the album's charm. Certainly a good few of these songs stink, but they're easy to forgive if they're treated merely as artefacts of the time in which they were created.”

“It always disappoints me to read that this is one of Quo's lesser albums. In my opinion there isn’t a poor track here. In addition there is a variety of styles throughout. I think it is better than some of the earlier ones being a more complete album. If you are a Quo fan and don’t own this I think you need to reconsider.”

“With this release, the wheels were starting to come off the Status Quo express. Part of the problem is the production, a lot of the traditional Quo sound seemed to have been taken away. Some songs are weaker too, certainly not up to Quo's previous standard. Not that it is a bad album, far from it; Again & Again is a top class tune.”

“The sound is heavily produced and cleaned up. Ultimately, they were trying too hard to blend their boogie sound with a then up to date mix, with only partial success.”

“Opening with a typical Quo belter Again & Again, complete with guitar heroics solo from Rossi, you are unprepared for some of the clunkers which follow. Ultimately this is a disappointing album, with lacklustre performance, average songs, let down by electronic drums and percussion.”

A Single Man - ELTON JOHN***

Shine On Through/Return To Paradise/I Don't Care/Big Dipper/It Ain't Gonna Be Easy/Part Time Love/Georgia/Shooting Star/Madness/Reverie/Song For Guy

With the release of A Single Man there was further confirmation that Elton John’s songwriting had become uneven compared with that of his classic period of a few years earlier. However, the hit single Part Time Love still maintained his high standard. (US:15 UK:8)

“Elton John had split with long time lyricist Bernie Taupin and A Single Man marked the beginning of a new phase in his career. While he would continue to be a top live attraction, but his new albums wouldn’t sell as well as those released during his classic period. Nor would they be as artistically strong. This is but one in a series of ’70s and ’80s albums that contained a few good songs and a lot of average ones. New lyricist Gary Osborne, while competent, was not of the calibre of Taupin.”

“Song For Guy is powerfully affecting closer. Due to its meditative melody and unstoppable chord progression, the mood is positively ethereal. But apart from one murmured lyric toward the end it's not really a song, so minus marks for that.”

“This is pretty forgettable, mostly because Elton's dropped the eclectic pop that made him famous, embracing a kind of light pop-soul instead. It works on Part-Time Love, but the rest is fairly average.”

“The main problem here is the songs themselves - while Elton touches nicely on several styles (southern in Georgia, mid-tempo 70s rock in It Ain't Gonna Be Easy) most of the tunes are good but certainly not great. Nothing here is up to par with what Elton so often achieved previously.”

“The production is poor, the lyrics feeble, and the entire effort uninspired. I have never understood the fascination with Song For Guy; it is a tediously repetitive jingle that makes me cringe.”

“Here Elton experiments with various musical styles, ranging from the jazz-laden Big Dipper to the countrified Georgia. There's also straight-ahead rock featured in I Don't Care and Part Time Love. The pyrotechnical, yet powerful Madness breathes more life, while the melancholic It Ain't Gonna Be Easy tends to bring the album down just a bit. The lovely piano encompassed instrumental Song For Guy provides both a sentimental and rousing finish to a stellar, finely crafted album.”

Comes A Time - NEIL YOUNG***

Goin' Back/Comes A Time/Look Out For My Love/Lotta Love/Peace Of Mind/Human Highway/Already One/Field Of Opportunity/Motorcycle Mama/Four Strong Winds

Comes A Time is a relaxed country tinged album from prolific singer songwriter Neil Young, comprising mostly easy on the ear but rather forgettable songs. (US:7 UK:42)

“It is a pleasant listen, with a few stand-out tracks. The entire work has a breezy, mellow quality which suits me perfectly on a lazy Sunday. Some of the tracks are a little forgettable, but the music is generally excellent. This is one of those albums that could be put on in the background, or listened to closely with equal pleasure.”

“I believe this is the happiest recording Neil has ever done. If you are like me and prefer folky Neil then you won't be disappointed.”

“It's always been one of my favourite releases from Neil. It's pretty relaxed with some very nice melodies and memorable songs. It has a very folky and almost country sound.”

“This is a very relaxing and laid back album, perfect for those hazy, lazy sunny afternoons, or perhaps a backing track for Sunday mornings when reading the papers. Has a mostly country flavour to it, which adds to the kicking back mood.”

“As you might guess from the cover photo, this is basically Neil being laid back and having fun. The material is mostly acoustic with a country-folk flavour. The songs are pleasant, and each has its moments, but none of them end up particularly memorable or moving. It feels like a collection of miniatures, congenial but not challenging in any meaningful way.”

“The album doesn't feature the droning, crashing guitars that typify the Crazy Horse sound, but instead has softer sounds and lush melodies.”

“Merely good Neil Young material is often miles better than music by many other artists, but this does have a few moments when things get a little sleepy. The best overall aspect of this album is the harmonies between Young and Nicolette Larson. This is not his best album, but it certainly has plenty of musical reasons that warrant playing it again and again.”

Wavelength – VAN MORRISON***

Kingdom Hall/Checkin’ It Out/Natalia/Venice USA/Lifetimes/Wavelength/Santa Fe-Beautiful Obsession/Hungry For Your Love/Take It Where You Find It

Wavelength is considered to be one of singer-songwriter Van Morrison’s weaker albums. Fans were not impressed by the introduction of the then fashionable synths, or the quality of the female backing vocals. (US:28 UK:27)

“The cover shows we are approaching the 80s and the sounds on this are in line with that fact: more synths, less grit than any of his previous albums. It goes down pretty well, but it's mostly average bar-rock, although the last song is really nice.”

“A lot of what is contained here is simply very dull. He had the ability to write memorable songs and during the eighties, some superb arrangements. However, I found him pretty hit and miss and I'm afraid that, for me, this is mostly ‘miss’.”

“My problem with Wavelength as an album lies with the first side, which plays things a little too much by the book. There is something uninspiring or drab about the product, despite decent tracks like Kingdom Hall.”

“Wavelength is an album of melodic rock and soul that ranks amongst Van Morrison best albums. Kingdom Hall is a full bodied rock song with a great hook and rousing vocals. Checkin' It Out is a lilting mid-tempo ballad with baroque instrumental passages, Natalia is a meandering love song and Venice USA has a bouncy reggae rhythm, lovely organ and an addictive sing-along chorus.”

“Not one of Van’s best I’m afraid. Basically the problem with Wavelength is it’s over reliance on synths and cloying female vocalists to carry the melodies. However Kingdom Hall and Checking It Out are lovely material, and the record closes strongly with a trio of great songs.”

“This isn't one of his best albums, but it's still fairly enjoyable. The title track is easily the best thing here; it was a minor hit single and still gets plenty of FM airplay. The opener, Kingdom Hall is a rollicking cut, and Van's singing is absolutely euphoric. The sleepers, though, are two low-key but excellent adult love songs: Checkin' It Out and Hungry For Your Love.”

Trouble – WHITESNAKE***

Take Me With You/Love To Keep You Warm/Lie Down (A Modern Love Song)/Day Tripper/Nighthawk (Vampire Blues)/The Time Is Right For Love/Trouble/Belgian Tom’s Hat Trick/Free Flight/Free Flight/Don’t Mess With Me

Trouble was the debut album from the hard rock band Whitesnake founded by the former Deep Purple vocalist David Coverdale. Despite this shaky start they would release some classic tracks in the next decade. (UK:50)

“The tracks are fine, but almost all are way longer than they should be and it gets rather boring and repetitive. If the tracks were shorter it would have been better.”

“As a release, this is pretty decent. It's not incredibly memorable outside of a few tracks. It's certainly not offensive (musically), but there just isn't much substance to back up the style on display here. Guitars and organs are blazing, but they aren't organized or arranged in a way that really plays to their strengths outside of solos.”

“Trouble, their debut, is different from the polished, glam metal sound of their best known hits. It's actually a surprisingly good collection of straight-forward blues-rock. David Coverdale sounds fantastic here, his raspy voice complements the music.”

“This album showcases the reasons why David Coverdale never made it big in the years between Deep Purple and his pop metal days. You have to love the voice (one of the best in rock history), but you also have to hate the clichéd blues-rock, the uninspired arrangements and the often stupid lyrics.”

“Trouble is a fair to middling album from a band looking to find their feet. It's in no way essential but it does have a certain nostalgic charm.”

“Blending blues with the sound popularized by Zeppelin and Deep Purple, this is a record for Whitesnake fans to hear. This is not the radio friendly Americanized Whitesnake, but the hard-rocking original. No teased hair or spandex here, just straightforward rock and roll.”

“The problem seems to be a lack of ambition and innovation which has always been my concern with the band. So, even though some of the material identifies Whitesnake as a force to be reckoned with, the inclusion of a lacklustre cover of Day Tripper and a very ordinary instrumental, Belgian Tom's Hat Trick, are indicative of a blasé, if not downright lazy, attitude.”

52nd Street - BILLY JOEL****

Big Shot/Honesty/My Life/Zanzibar/Stiletto/Rosalinda's Eyes/Half A Mile Away/Until The Night/52nd Street

52nd Street consolidated the reputation of pianist Billy Joel as one of the best composers to emerge in the late 1970s, a position he would maintain for some years. Features The US No. 3 hit My Life. (US:1 UK:10)

“While this is a good album it doesn't live up to its predecessor, but that was always going to be a huge task. What 52nd Street offers is some more very good songs, that use the same pedigree as what has come before. Taken on face value without any negativity, this album is an enjoyable and interesting listen.”

“52nd Street contains a little jazz, a little rock ‘n’ roll, and a lot of pure pop. It would also feature some of the best piano playing of his career. He showed much creative growth while maintaining his commercial appeal, which is difficult at best. Big Shot and My Life are both rock oriented up-tempo tracks. The first has an odd cadence and a guitar edge to back his vocal. The second includes some more guitar riffs that support his lyrics of moving on with life.”

“Some of Billy's finest work surfaced on 52nd Street. It's not as good as its predecessor, but similar in terms of grittiness and quality. Big Shot is as good as anything he ever recorded, while Stiletto is one of his most under-rated songs.”

“The first side is on par with anything from The Stranger, but the second side lacks the intensity. It opens with the boisterous, Big Shot, a scathing attack on a show-boater, who turns out to be the singer himself. Honesty is one of those pretty little pop ballads that Joel excels at. The biggest hit from the album was My Life. The track boasts an irresistible melody, and is the best song to be found here. Zanzibar, is a bouncy number that pays homage to Steely Dan. Stiletto and Rosalinda's Eyes keep the pace going. Until The Night is good 1960s homage, but it tends to drag on a bit longer than I would like.”

“Billy Joel is capable of writing incredible songs, so it always annoys me to find obvious filler on even his best albums.”

“The eclectic nature of Joel's recordings is one of their great strengths, and the versatility of the artist is evident on this album.”

Hot Streets - CHICAGO***

Alive Again/The Greatest Love On Earth/Little Miss Lovin'/Hot Streets/Take A Chance/Gone Long Gone/Ain't It Time/Love Was New/No Tell Lover/Show Me The Way

Hot Streets is distinctive in that it is the first Chicago album to be given a name rather than a number, and it features members of the band on the cover. However, it is a further descent into blandness, despite the two US top 20 hits Alive Again and No Tell Lover. (US:12)

“Hot Streets marks the beginning of the sappy Chicago that some have come to know and hate. Personally, I don't mind them.”

“Alive Again was quite good for a 'rocking' Chicago song, while No Tell Lover definitely points to where they were headed. Not quite to the level of banality they would reach over the next few years, but making a leap in that direction.”

“Chicago decided to ditch their earlier image, beginning from the album cover and title (Hot Streets, not 'XII'), changing the producer and the studio, and finishing the process with a new, softer and more commercial musical touch. It is no masterpiece. Instead, our ears are graced with a better-than-average set of late '70s soul-flavoured pop-rock songs with excursions into rock or jazz-rock now and then.”

“Chicago survived the death of guitarist Terry Kath well, as new recruit Donny Dacus proves himself a funkier, more rhythmic player for the most part of the majestic pop rocker Alive Again, the jazzy funk-rock of the title cut and the oddball closer Show Me The Way, with another great Cetera ballad in No Tell Lover to top things off.”

“Chicago's twelfth album has several firsts. It's their first not to be numerically titled, the first to feature a group photo on the cover, the first album without James Guercio as their manager/producer. It's also the first without Terry Kath. The album isn't that bad but I recommend it only to fans as it's not one of their better works.”

“Not only had the band changed, but their musical environment had as well. Shorter, more concise songs seemed the order of the day in the pop world as it was caught in the interesting maelstrom between progressive rock, punk and disco all peaking at roughly the same time. It found them going in a more pop/jazz/funk type of direction with some rock sprinkled in on several tracks, rather than the usual mixture the band offered in each song.”

Time Passages - AL STEWART***

Time Passages/Valentina Way/Life In Dark Water/A Man For All Seasons/Almost Lucy/The Palace Of Versailles/Timeless Skies/Song On The Radio/End Of The Day

Veteran singer-songwriter Al Stewart was at the height of his popularity at the time of the release of Time Passages, but his appeal would soon quickly diminish. Features the US No. 7 title track. (US:10 UK:39)

“This is my favourite Al Stewart album. It's got everything in the right measure. No filler, superb production by Alan Parsons, inspired songwriting throughout with melancholy, yet feel-good music.”

“The title track is one of Al Stewart's best songs with great guitar playing and alto sax solo. Valentina Way is the closest he has ever come to rock and roll, while Life In Dark Water sounds like a song by the Alan Parsons Project.”

“Here we have Al Stewart continuing with the successful formula of Year Of The Cat. All in all, I find this album pretty equal in quality. Literate songwriting, such as Life In Dark Water and The Palace Of Versailles is Al's specialty, and he doesn't disappoint here. His explorations of love, and especially the sad, and lost kind are also evident here, as in Valentina Way or Almost Lucy. Though the production is a little too slick, this is probably his last great album.”

“By the time Al Stewart got to this album, his creative juices iced over to be replaced by this easy listening background music. This seemed to happen to many folk-based musicians around this time.”

“From the opening track to the end, he just keeps getting better. Al Stewart was smart and lucky enough to have Alan Parsons again produce this album and have a great collection of very talented musicians to work with.”

“If you like acoustic music that is well-crafted and highly melodic, you will thoroughly enjoy this excellent set of compositions. It is a shame that more people don't know about this incredibly talented and intelligent songwriter.”

“If only Al Stewart and Alan Parsons were working together again - they were perfect musical soul mates. Al is really a folkie troubadour, and I'm convinced that these tunes wouldn't be anywhere near as fleshed out if it weren't for Alan Parsons musical guidance and sound expertise. The end result is a sonic masterpiece.”

Living In The USA - LINDA RONSTADT***

Back In The USA/When I Grow To Old To Dream/Just One Look/Alison/White Rhythm & Blues/All That You Dream/Ooh Baby Baby/Mohammed's Radio/Blowing Away/Love Me Tender

Interpretive vocalist Linda Ronstadt maintained her enormous popularity in the USA with Living In The USA, an album demonstrating a wide range of musical styles. Features the US No. 7 hit Ooh Baby Baby. (US:1 UK:39)

“On Living In The USA Ronstadt begins to slip a little. The album lacks the strong foundation on which her previous albums had been built, while she tried to merge into a stronger rock territory with a greater interpretive range in terms of song selection. Instead of country-flavoured songs, Ronstadt draws from new wave, Elvis Costello's Allison, and pre-rock When I Grow Too Old To Dream. While any fan of her 1970s albums won't be disappointed, the record doesn't catch fire as it should.”

“Another great Linda Ronstadt album. Although the formula is very simple - let's take a couple of great songs, record them with some excellent musicians, write some good arrangements not too far removed from the original - it always leads to some very enjoyable music. Linda Ronstadt definitely has an ear for great songs and on this album she once again shows how she can make them completely her own.”

“Hugely popular in its day this album isn't nearly as good as Linda's previous rock-oriented efforts. Too many styles are attempted, and the results are distinctly under-cooked.”

“This is full of great pop/rock songs and Linda Rondstadt has such a beautiful voice that she gives new life to all these oldies but goodies. I really respect her for her versatility. She doesn't stick with one particular style; she tries all kinds of genres.”

“Most of Linda Ronstadt's music leans too much towards the easy listening side for my tastes, but this album rocks much harder than most of her stuff, while occasionally providing soft vocal brilliance on tracks like Blowing Away or Love Me Tender. This is an incredibly diverse album, from the beginnings of rock & roll (Chuck Berry), to the new contemporary artists like Elvis Costello.”

“The entire album screams with energy that brings all of the music to life. Ronstadt's voice is powerful, confident, and unique as she mixes old time rock and roll with ballads of sadness and lost love.”

Never Say Die - BLACK SABBATH***

Never Say Die/Johnny Blade/Junior's Eyes/A Hard Road/Shock Wave/Air Dance/Over To You/Breakout/Swinging To Chain

Never Say Die was the final Black Sabbath album to feature Ozzy Osbourne. Fans were disappointed that it departed from their doomy heavy metal sound to include some pop and jazz elements. (US:69 UK:12)

“This album is a both a drastic departure from Black Sabbath's earlier slow, massively heavy, doomyl style and a bridge to the faster and more propulsive metallic sound of the Dio era. It is also very experimental and is almost progressive rock.”

“Never Say Die was the last Black Sabbath's album with Ozzy Osbourne, and it is often deemed one of the weakest LPs of the band featuring the original line-up, though it actually showcases a mature band producing a very solid effort. The style shows a mixture of progressive rock with heavy metal and jazzy touches, featuring excellent keyboards that give this disc a prog and even spacey atmosphere.”

“Never Say Die is an abortive and hollow album to my ears. I don't know, what happened to them, perhaps tensions were rising too high or it was the end of the rapport. In fact, the material here is very poor and disappointing indeed; there is not one good song here.”

“With a band as huge as Black Sabbath, you know what you want from a new release; and this is definitely the opposite of that. The riffs and hooks are flagrantly poppy, the keys are seeing a more generous use, and the overall atmosphere just reeks of decay. They play with a couple of fun ideas, but other than that, you are just left wondering why you are wasting your time with this garbage.”

“The final Sabbath album with Ozzy is by far the worst, with only one good track, Junior's Eyes. The title track is terribly poppy, and the LP finally collapses into a mess of jazz. For completists only.”

“Unfortunately, by now Ozzy didn’t care all that much and the songs are not particularly Sabbath sounding. Junior's Eyes, Johnny Blade, and the title track are good, but not classic Sabbath songs. This album is not that bad but pales in comparison to the early gems.”

Tormato - YES***

Future Times/Rejoice/Don't Kill The Whale/Madrigal/Release Release/Arriving UFO/Circus Of Heaven/Onward/ On The Silent Wings Of Freedom

Yes were one of the most innovative progressive bands during the early 1970s. But their inspiration gradually faded and by the time of Tormato they had become a caricature of their former self. (US:10 UK:8)

“The songs meander and then weakly flop down. It genuinely feels like nothing happens throughout, even while stuff is clearly happening. The songs almost sound like bluffs, like the band threatens you with songs and then doesn't actually produce any.”

“On this album Yes sound so uninspired and bored. Their classic style is there but the songwriting is pretty mediocre.”

“Rick Wakeman is having a field day here with his ridiculous campy synth melodies. Despite a few moments of solid musicianship, which leads to the false assumption that this album really won't be bad at all, there's honestly barely anything else here but the cheese.”

“Virtuoso they may be, but who wants to listen to musicians without inspiration or passion? Listening to Tormato, I get the mental image of a band playing with their backs turned to one another. There's the general impression they're working together towards the same goal, but there's no collusion or chemistry between any of the musicians here.”

“Tormato is just very insignificant sounding and bland by every definition. It's an album you play, than forget what you've been listening after it’s over. That's pretty bad for Yes, who wrote some of the best melodies in prog music. Yes were on the way downhill from this point.”

“Absolutely no wonder they broke up after this. It's a mystery that a band that came up with so many classics would record something as horrible as this.”

“Even a bad album by Yes is better by far than a good album by most groups, due to their superior musicianship. That being said, if you have experienced the jaw-dropping mastery of their classic years, this album is a significant letdown.”

Leo Sayer - LEO SAYER***

Stormy Weather/Dancing The Night Away/I Can't Stop Loving You/La Booga Rooga/Raining In My Heart/ Something Fine/Running To My Freedom/Frankie Lee/Don't Look Away/No Looking Back

A belated eponymous album from singer songwriter Leo Sayer given that he was coming to the end of his commercial success. Highlight is the impressive UK top ten hit I Can’t Stop Loving You. (US:101 UK:15)

“It's rather good, well apart from one or two tracks, and catches Leo a little after the excesses of his disco phase, the best songs being the more understated ones.”

“The album Leo Sayer combines gorgeous ballads, country sounds, rock and even a track co-written with Ghostbusters songwriter Ray Parker Jr.”

“His eponymous Leo Sayer album is less than good. Dancing The Night Away was fairly average as a single, though still good. I Can’t Stop Loving You was also good, but seemed to be going too MOR for my liking. The rest of the tracks are below par apart from the brilliant Frankie Lee.”

“Leo Sayer brings together just about everything, great lyrics, musicians and songs. The album has a strong country-folk feel although at times it diverts into rock and funk. A truly diverse album which shows Leo at the height of his career and talent.”

“Once upon a time Leo ruled the world. He was truly one of Britain’s finest exports and If you take a listen or two to this album you may understand why.”

“The songs are well-crafted, the musicianship is excellent and Leo's voice is on top form. He really was quite an under-rated talent.”

“Though I much prefer listening to Sayer performing his own material, this effort is the most tasteful of his cover oriented albums. It's consistent, varied, intimate and smooth, but unable to reach the heights of his early albums. He's at his best dealing with the more reflective material. The rock songs are above average though earthy rather than exciting. There are also the hit ballads which sugar the proceedings, though whether we need another Buddy Holly cover is debatable.”

The Bride Stripped Bare - BRYAN FERRY***

Sign Of The Times/Can't Let Go/Hold On (I'm Coming)/The Same Old Blues/When She Walks In The Room/Take Me To The River/What Goes On/Carrickfergus/That's How Strong My Love Is/This Island Earth

The Bride Stripped Bare was another solo album from Brian Ferry which disappoints due to the high proportion of covers and the lack of his own original compositions. He would reform Roxy Music the following year. (US:159 UK:13)

“A highly interesting and unexpected album, where Ferry basically goes all serious and genuine - and it works, without ever getting boring or predictable. Even when it doesn't push the boundaries, it sits within them very nicely and shows that Bryan Ferry can still put a cool and unique spin on pop/rock conventions even while striving to tone down the irony.”

“An album that I have enjoyed getting to know much more than I expected. The four tracks penned by Bryan Ferry are all very good songs, up there with his best. I am not too keen on the 'soul man' type tracks but the other cover versions here are good, particularly The Same Old Blues Bryan Ferry's take on Carrickfergus is also worth a listen. All in all, a good album with the best tracks here being the songs composed by the great man himself.”

“Starts out with the rollicking Sign Of The Times but quickly deteriorates from there (unless you're into needless covers).”

“The lead track is a solid rock rhythm, and the second is a stunning rock classic, worthy of turning the volume knob up. The remakes of old classics are superb, especially a version of Take Me To The River that is perhaps the best ever done, and a melancholy Carrickfergus that you cannot help but love.”

“While a return of sorts to the hybrid covers/originals formula of earlier records, this is also a step forward stylistically. Simultaneously painful and uplifting, Ferry once again shows others how to express complicated emotions and still be immensely entertaining.”

“This album has all of Ferry's trademarks: meticulous production, unique arrangements, excellent musicianship and a prevalent sense of romantic longing. What sets it apart from all of his other work is how eclectic and more raw than usual it is.”

Bloody Tourists - 10CC*****

Dreadlock Holiday/For You & I/Take These Chains/Shock On The Tube/Last Night/The Anonymous Alcoholic/ Reds In My Bed/Life Line/Tokyo/Old Mister Time/From Rochdale To Ocho Rios/Everything You Want To Know About

Bloody Tourists was alas the last commercially successful album from the sophisticated pop group 10cc. Their musical diversity was somewhat reduced by the loss of two members, but the ability to write clever and distinctive songs remained. The band bowed out in style with the UK No. 1 hit Dreadlock Holiday. (US:69 UK:3)

“The overall quality of the songs is good, and there are no dud tracks. They made high quality, invariably commercial, and simply good pop music. If you want to get a good feel for their output, you might try this album.”

“Bloody Tourists is a continuation of the compositionally clever and lyrically tongue in cheek pop music that the band are known and loved for. It’s slightly more mainstream oriented, but the trademark vocal harmonies and choirs are still there in abundance. The slightly silly Caribbean/reggae influenced Dreadlock Holiday is a track that is sometimes much criticised, but looked upon objectively it’s a catchy, memorable and very well produced pop song.”

“10cc wrote perfect pop songs every time. Less sardonic that Steely Dan, their American counterparts, 10cc's music tended to mix affecting love songs with satire.”

“This brand of smart sophisticated music may well be over the heads of today's younger audience, who slobber over Lady Gaga or any number of faceless metal core bands that all sound exactly alike. For those with appreciation for real musicianship and humour however, 10cc are a great band to check out.”

“During the late 70s it was hard to escape the tuneless drivel of punk and the monotonous cacophony of disco drums. 10cc breathed fresh air into the music scene with Bloody Tourists. The album abounds with jaunty harmonies in cleverly crafted songs which defy you not to sing along. Stewart and Gouldman pen some virtually unsurpassable 10cc classics, which they perform with gusto and technical expertise.”

“There is something intriguing about this batch of downbeat, mysterious tunes. Lots of wounded stories told here. Those who delighted in the earlier albums, particularly the eccentric contributions of Godley and Creme, may not be too pleased with these selections, with their often MOR stylings.”

Parallel Lines - BLONDIE*****

Hanging On The Telephone/One Way Or Another/Picture This/Fade Away & Radiate/Pretty Baby/I Know But I Don't Know/11:59/Will Anything Happen/Sunday Girl/Heart Of Glass/I'm Gonna Love You To/Just Go Away

The American pop group Blondie, fronted by the photogenic Debbie Harry, were huge in the UK during the final years of the 1970s. Their most critically acclaimed album was Parallel Lines which remained in the UK album charts for over two years. Features the UK No. 1 hits Heart Of Glass and Sunday Girl plus the lesser hits Hanging On The Telephone and Picture This. (US:6 UK:1)

“As pop-tastic as Parallel Lines may be, it still carries the punk rock attitude and street smart swagger that Debbie and the boys have always been known for. Throughout the album we see the band go everywhere from good to fantastic, but never venture anywhere near anything less than good.”

“Although the hit singles are the obvious standout cuts some of the lesser known tracks are not far behind in terms of quality, and they may suffer a bit from being surrounded by such well known classics.”

“Parallel Lines is home to some of the best pop songs of all time. Most of the album is full of pop rock/new wave tunes. Basically well written rock songs with a fantastic pop sensibility and accessibility.”

“Blondie had a knack for immediate hooks, for cheeky grandeur and for accommodating a number of pop rock-styles with an imperative punky attitude in an up-dated new wave (and slightly glam rock) sound. They also had the single most commanding female pop rock singer of their era. Debbie Harry’s stage persona here is the archetype of that smart no-nonsense girl bossing the boys around.”

“One of the most perfect pop albums, which could only have sounded so great thanks to their punk background tightened up by Mike Chapman. Debbie was the most effervescent pop singer bar none, and has not been surpassed. The band make up the whole and it wouldn't have worked without them.” “They started off as a punk band, but in this album, they were all over the music map, from pop to disco to rock.”

“Blondie's best album, full of melodic post-punk pop confections. They had some individual highlights before and after, but never so many on one album.”

Don't Look Back - BOSTON****

Don't Look Back/The Journey/Its Easy/A Man I'll Never Be/Feelin' Satisfied/Party/Used To Bad News/Don't Be Afraid

Don’t Look Back was the successful follow up LP from the melodic rock band Boston that topped the US album charts and featured the US No. 4 title track hit single. Fans would have to wait another eight years for the next release. (US:1 UK:9)

“Many bands have proven time and time again that it's almost impossible to follow up a smash album with another. Boston tried to defy that and came up short. This is still a great album, with the great Boston sound, but there's no More Than A Feeling to take it over the top.”

“This is another wonderful release from Boston and if you like the first album then the songs here will certainly be enjoyed. Yes, they don't reinvent the wheel, and maybe the material isn't as strong as the debut, but it is still very good and better than a lot of other rock music.”

“Boston's second album echoes the first in its make-up, great vocal harmonies and guitar work that is very melodic. Again the paint-by-numbers rockers add nothing and only detract.”

“Boston followed up their classic eponymous debut with an extremely pedestrian set of tunes, most of which sound like they could be outtakes from the Boston sessions. The only two tracks here that I see myself coming back to are Don't Look Back and Feelin' Satisfied.”

“The individual tracks from Don't Look Back suffer from sanitized production and rigid performances. Rock 'n' roll just isn't supposed to come off sounding this sterile and stiff.”

“Boston's second album Don't Look Back isn't as good as the debut, but is still good. The title track is a classic as well as Feelin' Satisfied, and A Man I'll Never Be. If you liked the first album you'll enjoy this one as they are both pretty similar in sound.”

“An extension of the same themes and songs expressed in their highly successful debut. Some of it works but some of it does not because of a total lack of spontaneity.”

Who Are You - THE WHO***

New Song/Had Enough/905/Sister Disco/Music Must Change/Trick Of The Light/Guitar & Pen/Love Is Coming Down/Who Are You

Who Are You was a disappointing sub par last album from the original line-up of The Who after the sad demise of Keith Moon. The title track was a top 20 hit in both the US and UK. (US:2 UK:6)

“This album is a lame duck, and makes a sad epitaph for Keith Moon, as this was his last album with the group before moving on to the great gig in the sky. The title track aside, this album is pretty much a dismal failure.”

“What a miserable album. The closing title track remains powerful, but it's the only thing on here that even comes close to the power of the band's best work. The title track salvages the end, in part because it actually has some dynamic range, but overall, this is a sad coda to the original quartet's long run together.”

“This album is inconsistent, the playing is completely unremarkable, Daltrey's singing is becoming a hoarse self-caricature, and worst of all the songwriting is just mediocre. I can still enjoy most of this but the characteristics that made The Who's prime output so special are pretty much gone. What you have left are some decent tunes and lyrics performed by a mostly competent band.”

“In one respect this album is a forerunner of the eighties. Unfortunately, The Who demonstrate that they had gone from being pioneers in the best possible sense to breaking ground in the worst possible way. They should have had the sense to know better that broad sweeps of synths was a misguided attempt to enliven hopelessly uninteresting numbers.”

“The prominent synthesisers are immediately apparent on opener New Song, chirping along tackily and overshadowing all the other instrumentation. Of course, it'd be wrong to blame the failure entirely on the synths, they just make an already poor song even worse.”

“Unfortunately the music on Who Are You is as tired as the men playing it. None of the songs rate among their best and to be fair none are particularly bad either. But the performances sound phoned in, and the mix and arrangements are simultaneously weak and overblown. There is an overabundance of synthesizers that sap the energy right out of almost every track.”