Back To The Egg – PAUL MCCARTNEY & WINGS***

Reception/Getting Closer/We're Open Tonight/Spin It On/Again & Again & Again/Old Siam Sir/Arrow Through Me/Rockestra Theme/To You/After The Ball-Million Miles/Winter Rose-Love Awake/The Broadcast/So Glad To See You Here/Baby's Request

Back To The Egg was the final Paul McCartney album to feature his backing band Wings. It is perhaps best remembered for the Rockestra track featuring a wealth of accompanying musicians. (US:8 UK:6)

“Back To The Egg was the final Wings album, revealing now more than ever that both Paul and John Lennon were incomplete without each other. Nevertheless, Paul’s fashioned yet another album filled with catchy little melodies that are rather sparse on narratives.”

“The problem here is that even though Paul sings well, a lot of the material just doesn't carry that much appeal. Much of side two slides into ballad heavy torpor.”

“McCartney's trying very hard to sound modern in the age of punk and new wave and even though some of this sucks, it turns out to be one of my favourite Wings releases. Underrated is not the right word here, as it's easy to see why some of this is often trashed. Surely not for everyone, but those who can appreciate some of the weird stuff will find this very enjoyable.”

“This is an unsatisfying mix of uninspired pop, lazy rockers and soul. Paul and his band attempt to rock a little harder than they had in their past, but they rarely manage to pull it off. Most of the time it just sounds like throw-away pop-rock. Paul roped in a few mates to help on Rockestra Theme.”

“In terms of uptempo material all of the songs here either rock very hard or have a heavy groove. The real highlight is Arrow Through Me, a haunting melodic mid-tempo lightly reggae styled soul/funk groove Pounding out pummelling riffs and thunderous drums he crafts some fine rockers, even teaming up with an all-star ‘rockestra’ including Pete Townsend, John Bonham, Dave Gilmour and more.”

“This is Paul's most underrated disc. He wanted to get back to the basics of rock and this is the product he created. It's his hardest rocking album. It's likely that the public had a negative reaction to this album because it didn't have most of the normal type of songs he records. That's sad because it's one of his best albums; not only that, but the version of Wings put together here was the most talented

Communiqué – DIRE STRAITS***

Once Upon A Time In The West/News/Where Do You Think You're Going/Communiqué/Ladywriter/Angel Of Mercy/Portobello Belle/Single-handed Sailor/Follow Me Home

Communiqué was the downbeat follow up album from the British blue-rock band Dire Straits led by guitarist Mark Knopfler. They would move on to greater heights in the coming decade. (US:11 UK:5)

“The band feature melancholy, almost sterile melodies as their trademark here. Needless to say that all compositions are led by Mark Knopfler's distinctive guitar works. This is nothing but perfect music to relax to. Vocal duties are chiefly background.”

“Not one of Dire Straits best appreciated recordings. the individual tracks don't make too much of an impression on their own, but taken as a whole, it transcends it's limitations and transforms into a really nice, effortless, relaxed rainy afternoon LP that just totally hits the spot as a cool, low key chill out.”

“Both guitars run with similar intensity throughout the album and the group rarely raises pulses. However, a combination of great melodies, intricate guitar lines and rhythms, and Mark’s wispy vocals, add a unique aura to the group's music that breaths life into their tracks.”

“Communiqué is one of those albums that can simply be described as more of the same. This is the Dire Straits recreating the bluesy rock sound that was all over their debut. For the most part they were quite successful as the songs are mostly enjoyable, although the quality varies.”

“If you want to see what all the fuss about Mark's guitar playing is you owe to yourself to get this record. The solos are guitar licks are simply otherworldly. Never has his guitar sounded better. His approach on this album is so subtle and smart and completely inoffensive. This is all about musicianship rather than headbands and stadium rock.”

“An album with sleepy guitar passages was destined to bore a few listeners. However, it's those same passages that set the foundation for others who like this groove. Certainly Mark Knopfler has a touch for his Stratocaster and although nothing really grabs you, there admittedly isn't anything objectionable here. Subtle laid-back material that requires the right mood for maximum listening pleasure.”

Discovery – ELECTRIC LIGHT ORCHESTRA****

Shine A Little Love/Confusion/Need Her Love/The Diary Of Horace Wimp/Last Train To London/Midnight Blue/On The Run/Wishing/Don't Bring Me Down

By the end of the decade ELO had been transformed from an innovative experimental rock band to a pop hit making machine with some disco elements. Discovery features the UK top ten hits Shine A Little Love, Diary Of Horace Wimp, Don’t Bring Me Down and Confusion. (US:5 UK:1)

“It's just pretty pop catchy, sometimes with strings or keyboards or vocals that reference art music tangentially. There is also a distinct disco vibe on a number of tracks, adding a boring, metronomic pulse to some of the songs, making them seem even less arty than they already did.”

“As a whole this is a pleasant, easy-on-the-ear, certainly a radio friendly album, but its creator is not quite at his best and it is certainly over-produced. There are better discoveries to be made in Jeff Lynne's back catalogue than this one.”

“Electric Light Orchestra had been flirting with disco since Evil Woman, and on two songs from Discovery they just drop any pretence and go for it.”

“Now down to four main members, and with the band’s customary strings gradually giving way to synthesizers, this remains one of Electric Light Orchestra's best albums. They embrace disco with the likes of the opening Shine A Little Love and the wonderful, breezy Last Train To London.”

“Jeff Lynne takes his rock juggernaut and trains it on the lowlier ambitions of disco and lounge, plus a few odd trinkets. All of it ages well, as a technical marvel. But in terms of rock credibility, it was absent since the day it was released. Having lopped off the string section, he had set in motion a process where, in the end, he was the only person left in the band.”

“They now have a bit of a reputation with many people as an overproduced, disco-influenced abomination. Much of the reason for that came with Discovery, an album made up predominately of ballads and dance tracks.”

“Lynne made the bizarre decision to replace the string players with keyboards, a move influenced by disco music. I don't mind too much the sound Discovery, which surprisingly is not that different from their other albums. Strong point is undoubtedly the singles, which were not only excellent, but also vary versatile.”

Night Owl – GERRY RAFFERTY****

Days Gone Down/Night Owl/The Way That You Do It/Why Won't You Talk To Me/Get It Right Next Time/Take The Money & Run/Family Tree/Already Gone/The Tourist/It's Gonna Be A Long Night

Night Owl was the follow up album from Scottish soft-rock singer songwriter Gerry Rafferty. Thanks to the title track No. 5 hit single he was able to maintain his high profile, but before long he would soon begin to fade. (US:29 UK:9)

“The pastel and maroon hues of the sleeve art adequately serve the songs reflective, downbeat and introspective nature.”

“The album starts brightly with Days Gone Down with its affirming lyric, soothing melody and strong chorus before the title track gives us an insight into the writer's growing drink problem. Warm and insidious as the melody is, Night Owl is a very unflattering self-portrait of the artist. Lush and melodic the music may be but listen closely and you'll hear a man struggling with his inner demons. Every song has a strong melody although Rafferty's propensity to overdo tends to homogenise and indeed blanch the songs of emotion.”

“This album is OK, but somewhat disappointing after City To City. Get It Right Next Time is a fantastic, but nearly forgotten minor hit from the album. There are some other good songs, especially The Way That You Do It. The first half of the album is stronger, while the second half gets less significant and a bit more boring.”

“All these years later, this album still stands up well. There aren't as many stand-out gems as City To City, Rafferty's pinnacle, but Night Owl Is consistently good. After many listens, I enjoy it as much as ever. Rafferty's voice is sweet and smooth and the production quality is excellent.”

“Punk and new wave were on the advent while progressive rock and classic rock were waning, and disco was dying an unnatural death of defiant struggle. Rock had fragmented into so many sub-genres when along came Gerry Rafferty. The Scottish born folky whose music often has a Celtic resonance hidden just beneath the surface.”

“Every bit as richly produced and played as City To City and even if it sometimes is a little too slick and overplayed its still packed with some amazing songwriting.”

Lodger – DAVID BOWIE***

Fantastic Voyage/African Night Flight/Move On/Yassassin/Red Sails/DJ/ Look Back In Anger/Boys Keep Swinging/Repetition/Red Money

Lodger was the final album of David Bowie’s Berlin trilogy collaboration with Brian Eno. Unfortunately it contains too much experimentalism from the latter, redeemed only by the UK No. 7 hit Boys Keep Swinging. (US:20 UK:4)

“Lodger is strong throughout. It opens with one of Bowie's most underrated songs, Fantastic Voyage, and is followed by the fantastically quirky African Night Flight (a song only Bowie and Brian Eno could come up with). These two songs are a lot to live up to for the rest of the album, which for the most part succeeds. The over-the-top histrionics of DJ and the tongue-in-cheek misogyny of Boys Keep Swinging are a couple of other highlights. Some experimentation was done, such as having musicians play unfamiliar instruments.”

“Considered part of the Berlin trilogy, it's Bowie at his most experimental and non-tuneful. This no doubt will put many people off. Add to that a shift in style with every song, weird electronic production and baffling multi-tracked vocals, means that you've got one of the least commercial of his albums.”

“Boys Keep Swinging is the one thing that keeps this from being a complete waste of time. I'll never understand the praise Brian Eno gets for his work.”

“A different kind of experimentation from the other Berlin albums, with more in common with new wave than ambient or krautrock. It’s a wacky record, which must have reasonably fun to make and is definitely fun to listen to, but with no real classic songs it lacks the aura of some of his other albums, not least the two before.”

“The final piece of the so-called Berlin trilogy, Lodger presents a wide range of styles and approaches that David Bowie effortlessly makes his own. Not only does the pop sensibility shine strongly, but the use of world-influenced styles and experimental production is brilliantly applied with help from Brian Eno.”

“Lodger is definitely not the kind or record that hits you from the beginning. It starts with songs inspired by African and Middle East influences, with Bowie again reacting to what was going on in pop music. As the album continues, it sounds more and more in line with the art rock he'd been recording in the previous years. Lodger is a quirky collection of songs that don't have longevity written across them.”

Flag – JAMES TAYLOR***

Company Man/Johnnie Comes Back/Day Tripper/I Will Not Lie For You/Brother Trucker/Is That The Way You Look/BSUR/Rainy Day Man/Millworker/Up On The Roof/Chanson Francaise/Sleep Come Free Me

Singer-songwriter James Taylor managed to retain his popularity despite some sub par albums. Flag is representative of this trend, not helped by the inclusion of some unnecessary covers. (US:10)

“Taylor himself says he really wasn't paying much attention to his musical career back when Flag was made, and it shows. This is the kind of lazy, saccharine soft rock that people unfairly think he does all the time. Your first impression of the album will be just how slow it is; it'll put you to sleep, and not in a good way.”

“The production is wonderful. The songs are forgettable. It's still unquestionably JT, but there's no fire in this record, and it's not an essential album.”

“While this particular album was nowhere near as popular as some of his other releases, I consider it to be proof positive of Taylor's enduring ability to produce a continuing stream of distinctive songs. With breathless ease he delivers such memorable songs as Rainy Day Man and Millworker, a terrific cover of Up On The Roof, and a number of lesser known but still very interesting and captivating songs.”

“This is hodgepodge release with some pointless covers, a remake of his own song Rainy Day Man, songs written for the failed Broadway musical Working, as well as a few new good compositions. Although, the album is enjoyable it is recommended for the hardcore James Taylor fans only, such as me.”

“I happen to like Flag. I don't really understand the antipathy toward it by some. I like his version of Day Tripper. To me, he makes it his own. It is edgy and burning. It's a departure from the Beatles version, and perhaps this may be the problem for some.”

“This record has been met with a mixed reception from most fans; indeed, it is a kind of mixed bag sonically as well as in terms of quality. Flag isn't a masterpiece, but it still has enough interesting tracks to warrant more than a few listens.”

“This is album is a hidden gem. Unfortunately, it seems that most folks used to the classic JT sound don't get it. It strays into experimentation, and so a lot of the songs don't fit the James Taylor mould. Maybe one of the biggest issues people see with this album is that it is all over the board stylistically.”

Voulez-Vous – ABBA****

As Good As New/Voulez-Vous/I Have A Dream/Angel Eyes/The King Has Lost His Crown/Does Your Mother Know/If It Wasn't For The Nights/Chiquitita/Lovers (Live A Little Longer)/Kisses Of Fire

The lightweight Swedish pop group Abba continued to ride the crest of a wave with Voulez-Vous as they maintained their dominance of the UK charts. Chiquitita, Does Your Mother Know, I Have A Dream and the title track were all UK top five hits. (US:19 UK:1)

“After a string of international hits, Abba had polished its trademark Eurodisco-cum-American pop sound to an almost blinding sheen. Voulez-Vous represents some of the last creative gleanings in this direction; subsequent releases by the Swedish foursome would betray more of a modern rock influence. If the formula is familiar here, it still delivers an exhilarating rush.”

“This is hands down my favourite Abba album. The iconic roster of peak singles secures that position on its own, but then the non singles come in and continue to blow me away.”

“It never drops below a very consistent level of quality, the first Abba album to make it to the end without some silly song to detract from the overall quality.”

“While Abba has great harmonizing which leads to many beautiful ballads, they completely omit the slow-beautiful song style and opt to release an LP full of fast-paced and groovy Europop. This makes you want to get into your car and go driving while singing your heart out as loud as you can.”

“Yes you do have to appreciate disco to enjoy some of this album. Abba have a formula that works, that is also quite ageless.” “At this period disco had taken over the planet. In the UK and to some degree Europe there was a battle raging in the singles and album charts between the two musical revolutions of the 70s. Punk and disco were making all the waves, and it just seemed that Abba were merely looking on from the sidelines. Their style and sound had been swept aside by people wanting to dance, and by those who were loud and angry. Clearly something had to be done so Voulez-Vous was eagerly awaited but fans were disappointed in what they got, as the disco feel didn't altogether suit Abba.”

Black Rose – THIN LIZZY****

Do Anything You Want To/Toughest Street In Town/S & M/Waiting For An Alibi/Sarah/Got To Give It Up/Get Out Of Here/With Love/Black Rose

The Irish hard rock band Thin Lizzy fronted by Phil Lynott maintained their creative peak with Black Rose. Waiting For An Alibi and Do Anything You Want To were the UK hits. (US:81 UK:2)

“At a time when most other acts in the genre sounded creatively burnt out, bloated, out of touch, and corporatized, Thin Lizzy sound confident and focused. It is not a game-changing masterpiece of the genre, but it is at the very least a pleasant listen, and one of the last truly fine hard rock albums to be made before the genre collapsed into '80s hair metal and corporate rock.”

“Very competent 70s hard rock release, which still manages to sound relatively fresh and makes for a really fun listen. The songs have really catchy hooks, the guitar playing is great and the vocals are pretty iconic. It does have a couple of bad moments, such as S & M, but these are overshadowed by the vast majority of hard rock goodness.”

“Thin Lizzy were always a fine band and Black Rose could be argued as their finest all round album. Lynott always had a flair for the epic with his lyrics and would become remembered as one of hard rocks best storytellers. When the songs were able to match the greatness of the ideas themselves then Thin Lizzy without doubt made some of the greatest hard rock epics of all, and several of them are here.”

“Black Rose is another masterpiece from the often overlooked Thin Lizzy. The album is their most mature recording, and is strong from start to the final note of the epic seven-minute title track that closes out the mesmerizing LP. The fact that Lizzy never broke out big in the USA remains a travesty. Philip Lynott and company deserved much more attention on this side of the Atlantic.”

“This is the best Thin Lizzy album ever made. No question, this was the band at their strongest and sadly they didn't get enough time to be this strong again. This was also the only full studio album that features Gary Moore on guitar and his influence is strong in the best way possible. The opener Do Anything You Want To absolutely struts with swagger and confidence, and the guitars on it are huge.”

Outlandos D’Amour – POLICE***

Next To You/So Lonely/Roxanne/Hole In My Life/Peanuts/Can't Stand Losing You/Truth Hits EverybodyBorn In The 50s/Be My Girl/Sally/Masoko Tanga

Outlandos D’Amour was the debut album of Police who would become one of the most successful British bands during the following few years. Their albums were very uneven, in contrast to the singles which were first rate, such as the UK hits Roxanne, Can’t Stand Losing You and So Lonely. (US:23 UK:6)

“The mix of pop, jangly new wave/punk, and reggae elements is still original and authentic). Of course, some of the songs, especially on side two, have not much substance and get pretty boring, but this is a pop album, after all, so what do you expect.”

“An excellent debut, to some they would get better after this, after they left their punk roots behind. Others think less of their later efforts for being too bombastic and for not having the raw energy of this debut.”

“The Police had two things going for them: catchiness and an ability to be repetitive without being boring. Combine the two and you have some great pop songs.”

“A short, sharp and energetic debut. I could go on about the rawness of it all, or the repetitive lyrics, but let's face it, it's an auspicious effort, full of accomplished musicianship, and foreshadows great things to come. While the singles are the standouts there are some flat moments too.”

“Born out of the tail end of the British punk scene, this debut album is a severely underrated offering. Sting gives us a hint of his great lyric writing abilities, so evident on future albums, on tracks like Roxanne and Born In The 50s. It becomes very clear as one listens to the tracks here that this is not your usual run-of-the-mill punk band with lame, brain-dead lyrics but great musicianship with complex stylings and arrangements.”

“At the time it was released it was significant. Nobody had ever heard reggae jams in rock songs before.”

“The Police for me were an infuriating band, as they had arguably one of the greatest run of singles in any band's history, with not a duff track in sight. Their albums however were littered with rubbish.”

Fate For Breakfast - ART GARFUNKEL***

In A Little While (I'll Be On My Way)/ Since I Don't Have You/And I Know/Sail On A Rainbow/Miss You Nights/Finally Found A Reason/Beyond The Tears/Oh How Happy/When Someone Doesn't Want You/Take Me Away

The oddly titled Fate For Breakfast provided Art Garfunkel with his second UK chart topping single Bright Eyes. He would continue to release albums but with significantly less commercial success. (US:67 UK:2)

“Overproduced, with lots of echoing on which I don't like and sometimes an annoying choir. But on the other hand Bright Eyes is a great song and was a major hit.”

“Fate For Breakfast is one of my absolute favourites. Art is, of course, in fine voice as usual, and I think the producer pushed all the right buttons on this project. Far from being sappy, the arrangements compliment his beautiful tenor voice. While I am hard pressed to pick a favourite song, I have to go with Miss You Nights. Art really hits this one out of the park.”

“Many of our great artists are disappearing, either because no one thinks that they are marketable any more: a note to them, we are still here, and we still love and want to buy these artists’ products. The enrichment their songs gave to our lives cannot be forgotten as well as the memories. Their music brings us back to a time, when music has a message, and it touched our hearts, souls and our very lives.”

“This is a quality recording in all aspects. A great selection of songs (all by different songwriters), excellent arrangements, quality studio musicians, and Art is in fine vocal form. The songs run the gamut of emotions, from the exuberance of Oh How Happy to the despair of When Someone Doesn't Want You. But it is a little known gem that steals the show, Miss You Nights is one of my all-time favourite songs, and Garfunkel nails it perfectly.”

“This is my favourite album by Art Garfunkel, though it is critically seen as a flop. From the hip (for Art at least) opening song, to the electric guitar riddled Take Me Away, everything here is done well, though it seems to contradict itself at times. Also present are some of Art's 50s remakes including the classic Since I Don't Have You and the light-hearted Oh How Happy.”

“A beautiful collection of songs. Garfunkel's vocals here are their zenith, so you have a rich, full voice giving full credit to these songs and arrangements.”

Overkill – MOTORHEAD***

Overkill/Stay Clean/I Won’t Pay Your Price/I’ll Be Your Sister/Capricorn/No Class/Damage Case/Tear Ya Down/ Metropolis/Limb From Limb

Overkill was the follow up album from the driving heavy metal group Motorhead fronted by the legendary guitarist Lemmy. It has to be admitted that musical subtlety was never on the menu. (UK:24)

“The songs are typical Motörhead, with simplistic riffs and structure throughout. There aren't any breaks or unnecessary parts, they know that their fast pace is their greatest asset. This is first and foremost a very fun band to listen to and they spare no expense to keep it that way on this album.”

“A powerhouse of speed and weight that opens with perhaps the heaviest song written in that moment in time. Pounding constant double bass leaves a fantastic first impression, and surely set the standard for the songs to come. Unfortunately, the majority of the album is more mid-paced, standard heavy metal, and lacks the riffs or melody found in their contemporaries to carry it. When Motorhead go full throttle, they rock, but elsewhere, they fall into mediocrity.”

“I've always adored he title track, and while it's twice as long as it needs to be, it's still a great song. Unfortunately, there's only one other standout in this entire album. Overkill and No Class are great, but everything else is extremely dull and forgettable. None of them are bad, but none are memorable in any way either.”

“Motörhead, the loudest band in the world, with the power and force of a hundred pneumatic drills, destroyed the nation over and again and no-one, repeat no-one, remained unaffected by them, everyone was torn limb from limb.”

“This follow up effort from Motörhead is a loud, adrenaline filled heavy metal classic. On the debut their style was less coherent; it was more like a hard rock, punk and heavy metal mixture. But here everything is in its place. The title pumping track with thunderous drumming was an absolute measure of heaviness. The anthems with boogie vibe like No Class or Damage Case also rip hard.”

“An album that every self respecting rocker and metal head needs to listen to. This is the band that influenced many of the metal bands that I enjoy to this day. Everything about this album is just perfect; Lemmy's vocals and bass playing, the riffs and the drumming, it's all simply, dirty raw rock ‘n’ roll.”

Very Best Of - LEO SAYER*****

When I Need You/You Make Me Feel Like Dancing/Raining In My Heart/How Much Love/Dancing The Night Away/Thunder In My Heart/I Can’t Stop Loving You/One Man Band/Giving It All Away/Train/Let It Be/Long Tall Glasses/Moonlighting/The Show Must Go On

Singer songwriter Leo Sayer was one of the most creative and individualistic musicians during the second half of the 1970s. This very successful compilation was well timed as the hits would soon dry up. (UK:1)

“I didn't realize how talented Leo Sayer was until I bought this collection. It is easy to listen to, has very good songs, and I enjoy his music now more than ever.”

“If you like Leo Sayer, you will absolutely love this collection. This has all the classics that we know, and some that we've never heard. You will hear all the textures that make him the one of a kind that we know and love.”

“A huge star in the 70s yet often over looked when that decade is dissected by so called experts. He was an original performer who released catchy pop singles yet his albums offered up a much more serious side to his nature. This is as good a compilation that you could ever wish to own.”

“Sayer has a strange kind of voice and it takes a little getting used to. It is not unpleasant and he sounds a bit different from song to song, unlike some artists where every song sounds the same. There is enough variety here to please just about anyone.”

“Sayer's versatility is what's immediately obvious on this compilation. Aside from its obvious nostalgic charm, this sketches a portrait of a singer not only loaded with talent and ability, but also with resourcefulness, dedication, and an ability to remake himself.”

“A comprehensive collection of songs from a most under-rated singer/songwriter. there are no unworthy fillers here. What a great artist and song writer.”

“Great songs, I didn't realise he had made such good music. It is very easy to listen to the whole album without jumping to the obvious, better known tracks.”

“This greatest hits collection does a good job of representing the different faces of Leo Sayer.”

Breakfast In America – SUPERTRAMP*****

Gone Hollywood/The Logical Song/Goodbye Stranger/Breakfast In America/Oh Darling/Take The Long Way Home/Lord It Is Mine/Just Another Nervous Wreck/Casual Conversations/Child Of Vision

The progressive group Supertramp reached their creative and commercial peak with Breakfast In America. This success was achieved by adopting a shorter pop format with less musical complexity. The Logical Song, Goodbye Stranger and Take The Long Way Home were all top ten hits. (US:1 UK:3)

“Where the music differs (or seems to) from their other albums is that there is a consistency that never dips for one second. There are no highs and lows, no clunky or awkward moments and no sections that make me think that they have not worked. It is full of memorable, punchy songs and is, to my ears, a superb achievement. If only every artist could make just one album this homogeneous.”

“This is probably the last truly great classic rock album, which not only closes the 1970s but if fact (and in retrospect) the entire rock era. Everything recorded after this album would be more or less a lame imitation of the glorious past.”

“Fantastic album, more poppy than their earlier works but still great to listen to. One thing that's always attracted me to this band is their lyrics and it's nice to see that even in more poppy escapades the band does not fail to impress in this aspect. They retain their close attention to detail and carefully composed songs, which is also a plus. There isn't a single dud, or even average song on this album.”

“The record contains all of Supertramp's trademark musical features - studio-perfected rock, rhythm and blues grace, symphonic stylings, and a faceless magic all their own.”

“Supertramp were quite happy to go down the pop route to commercial success, filling their albums with radio-friendly shorter numbers, which sure enough when lifted as singles hit the charts and spring-boarded them to ever greater heights.”

“Supertramp continued their shuffle towards the mainstream with this finely crafted art-pop album. They only became successful once they dropped their aspirations to complexity and started crafting lovingly polished art rock hits.”

“What an enchanting album. From the totally delightful vocals, to the pure innocent sounds of the keyboards, these are powerful dynamic songs. The opening title track sets up the visual playful and yet cutting lyrics for the entire album.”

George Harrison - GEORGE HARRISON***

Love Comes To Everyone/Not Guilty/Here Comes The Moon/Soft Hearted Hana/Blow Away/Faster/Dark Sweet Lady/Your Love Is Forever/Soft Touch/If You Believe

This somewhat delayed, and not particularly memorable, eponymous album from George Harrison has been described as mellow soft rock. Blow Away was a US No. 16 hit single. (US:14 UK:39)

“This is Harrison at his warmest and gentlest; soft rock it may be, and a long way from the punk of the time, but on its own terms it succeeds beautifully. Anyone who doesn't smile upon hearing Blow Away must have a heart of lead.”

“It lacks any of the lyrical greatness we got from him before, no ingenuity to speak of. This is some mellow rock music and not the good kind. It has a few fun songs but everything's fairly musically unimaginative.”

“George Harrison is a subtle, sweet-natured album filled with charms and warm musings about newfound love. He was clearly in a good place, and his inspiration shines through in the gentle melodies and laid-back sound. Slick acoustic and slide guitars are at front and centre. Never the strongest vocalist, he supports his voice here with thoughtful arrangements.”

“George goes all soft rock and it mostly suits him. Loads of keyboards provide a really lush sound around his beautiful guitar playing and vocals. The songs sound really joyous; you get the feeling that with his new family Harrison was entering a really contented phase in his life.”

“George Harrison is a mellow, laid-back album, consisting mainly of ballads. The first half of the album is excellent. Love Comes To Everyone, with its gentle disco beat sets the mood for the rest of the album. Not Guilty is a dark and moody song, and I also like Here Comes The Moon, not as good as Here Comes The Sun and it does become slightly repetitive, but it's pleasant enough to listen to. Soft-Hearted Hana stands out as entirely different from all the other tracks and has funny lyrics and a strong melody. However, Blow Away is probably my favourite song here, it's upbeat, optimistic and catchy. The second half of the album is not quite as strong.”

“I always wondered why Harrison never made more albums like this. Very relaxing and captivating, its the kind of album where you disconnect yourself from the outside world of technology and sit back and listen from beginning to end.”

Enlightened Rogues - THE ALLMAN BROTHERS***

Crazy Love/Can’t Take It With You/Pegasus/Need Your Love So Bad/Blind Love/Try It One More Time/Just Ain’t Easy/Sail Away

The southern blues-rock band The Allman Brothers had not released an album in four years but they still retained a loyal following. However, Enlightened Rogues would be the last time that they enjoyed a placing in the upper reaches of the charts. (US:9)

“After four years off, the boys return with this typical Allman Brothers southern blues rock long play. This is not a great album but it does have good dual guitar work. Pegasus is a fine jam and sounds great with a buzz and headphones.”

“Enlightened Rogues was a great comeback for the Allman Brothers Band after an acrimonious split in 1976. Guitarist Dickey Betts is energized by new guitarist Dan Toler's presence, and he and organist Gregg Allman really shine both vocally and instrumentally.”

“Most of this sounds like a band trying recapture lightning in a bottle. They get close a few times, but in the end they just miss it.”

“Not exactly a standout in the Allmans' catalogue and far from essential, but certainly worth owning for Crazy Love and Pegasus. The highlight, however, is the soulful ballad, Just Ain't Easy, anchored by one of Gregg's best vocal performances.”

“Enlightened Rogues is very similar in sound to Brothers & Sisters, although perhaps a bit less bluesy. Dickey Betts shoulders most of the compositional work here and it is fairly obvious which tracks were penned by him when listening.”

“The Allman Brothers reunited during late 1978 and entered the recording studio to produce their first studio album in four years. What emerged was a very good, if not excellent album. If you want to experience some good music by the group, but are not in the mood for their longer, drawn-out, improvisational material, then Enlightened Rogues is an album for you.”

“It may have been four years since their last album, but Dickey Betts was still the focal point of the band. He wrote or co-wrote five of the eight tracks, provided the lead guitar work, and shared lead vocal duties with Gregg Allman. There may not be many tracks considered essential, but this is populated with a number of consistently good songs.”

Desolation Angels - BAD COMPANY***

Rock & Roll Fantasy/Crazy Circles/Gone Gone Gone/Evil Wind/Early In The Morning/Lonely For Your Love/Oh Atlanta/Take The Time/Rhythm Machine/She Brings Me Love

The uneven and lacklustre Desolation Angels was the final big seller from the British blues-rock band Bad Company, helped by the US No.13 hit Rock & Roll Fantasy. (US:3 UK:10)

“The album kicks off with a great track in Rock & Roll Fantasy followed by another beautiful song Crazy Circles, but then fades away. I feel there are too many slow songs where the band lyrically is trying to be bluesy, but the music doesn't match it and there is lack of consistency in sound.”

“The rot is starting to set in. Very middle of the road mediocre blues hard-rock is what you get here. That great touch that they once had is pretty much gone.”

“Rock & Roll Fantasy and Gone Gone Gone are all time crankin' party tunes. As for the rest, it was a good attempt to stay in the public eye in those dark days of disco and punk. But you can only go to the well so many times. Not enough here worth recommending.”

“A decent hard rock/blues rock album. All of the songs are pretty good, but the problem is that none of the songs are great. However, If you like Bad Company I think you would like this album as well. Guitar work is decent, Rock & Roll Fantasy is a great opener and starts this album right. Rhythm Machine changes it up a bit with a disco-ish vibe going on here.”

“Most of the praise for Desolation Angels is due to the huge success of Rock & Roll Fantasy their biggest hit in a long time. The production is more crisp and radio-friendly than the muddiness of the last two albums, but it also reeks of late 70s arena rock.”

“As the 1970s dragged toward their inevitable close, Bad Company slowly began their downhill slide with Desolation Angels. Not to say that it is a totally bad album, but there are more turkeys on this set than diamonds.”

“Desolation Angels is a return to form for the band. Containing the standard heavy-blues rock the band give some of the tracks a more pop feel that was needed back in the late 70s. Rock & Roll Fantasy starts the album out in style and gives the rest of the songs a high standard to shoot for which they easily achieve.”

Their 20 Greatest Hits - THE THREE DEGREES****

When Will I See You Again/Can’t You See What You’re Doing To Me/Toast Of Love/We’re All Alone/Long Lost Lover/Get Your Love Back/I Like Being A Woman/What I Did For Love/Standing Up For Love/Take Good Care Of Yourself/Dirty Ol’ Man/Loving Cup/A Woman Needs A Good Man/TSOP/Another Heartache/Distant Lover/Together/Here I Am/Year Of Decision/Love Train

The Philadelphia girl group The Three Degrees released some of the most melodic soul tracks of the 1970s. They were more consistently popular in the UK than their home country, their best known song being the UK No. 1 When Will I See You Again. (UK:8)

“Some great Gamble & Huff songs and production, but still not enough variation to sustain interest for twenty tracks. It would have been better to trim it.”

“The Three Degrees for me was what The Supremes were to others. Love these ladies and the Sound of Philadelphia. Best girl group out there.” “All the key tracks you could probably want are here. The Three Degrees are timeless.”

“The Three Degrees were one of the most successful groups to emerge from the Philadelphia soul scene in the seventies. Their American success was limited to their Philly sound period but they continued to have success in Europe, particularly Britain, for a few years after that. Their music is a wonderful mix of ballads and up-tempo material, but may generally be described as easy-listening disco music.”

“Every track on this disc features exceptional harmonies and musical arrangements. I never caught myself thinking about the fact that these songs were produced in the 70s. As someone who loves music, I appreciate the timeless quality of this music.”

“The Three Degrees were originally a sixties girl group out of Philadelphia, However, all these songs are taken from the seventies, when the group was signed to Philadelphia International Records and their albums were being produced by Gamble & Huff. At that point the Three Degrees were now doing lush disco songs. Then they got to sing with MFSB on TSOP (The Sound of Philadelphia) and that same summer they hit the charts with their mega-hit, When Will I See You Again that became their signature song.”

“In terms of the disco sound these songs have a certain touch of elegance with a smoother sound than a lot of their contemporaries. As is often the case with groups like this, the hits are not necessarily the best.”

Manifesto - ROXY MUSIC***

Manifesto/Trash/Angel Eyes/Still Falls The Rain/Stronger Through The Years/Ain’t That So/My Little Girl/Dance Away/Cry Cry Cry/Spin Me Round

After a gap of four years the art-rock group Roxy Music announce their return with Manifesto. It is a rather uneven album with a couple of excellent singles outshining the remainder of the tracks. Features the romantic UK No. 2 Dance Away plus the UK No. 4 Angel Eyes. (US:23 UK:7)

“Side one starts the album (recorded after a four year hiatus) in excellent energetic fashion, having obviously grown slicker from their incorporation of disco and soul. However, the record quickly loses steam.”

“Roxy Music were certainly not operating at the height of their powers when they made this rather monotonous and disappointingly dull album. Not an awful record necessarily, but it obviously pales in comparison to their earlier albums which were produced with more energy and conviction.”

“The strongest song is still Dance Away. There is no denying that Ferry has always known how to write the perfect pop song. Although it sounds nothing like Roxy Music, I can't help but enjoy its wonderful melody and great heart-broken lyrics:”

“Nothing is terrible here but it’s just rather dull. And from Roxy Music I don't want dullness, I want off the wall weirdness or seductive new wave. Apart from Angel Eyes and Dance Away the rest is throwaway. It’s not terrible by any means but once you compare it to their albums before this you realise how weak it is.”

“Dance Away, is a simple, infectious and heartbreaking ballad that shows why Ferry was so good at writing these types of songs, and why his songwriting style inspired a whole onslaught of clones in the years to follow.”

“This album very nicely has one foot in the older catalogue, and one in the later period. It also still has many of the original band members to continue the creative and cool sound that is distinctive of the band.”

“Manifesto, Roxy Music's first album in nearly four years after the fine run ending with Siren, does not measure up. Neither the supposedly more European sounding East Side or the slick and poppy West Side themes, deliver enough great songs or moments to make this a favourite of mine.”