VOX POP ALBUM GUIDE 1960-1979

Welcome to the Vox Pop Album Guide 1960-1979. With over 3400 album reviews this is the most comprehensive guide to 1960s and 1970s popular music ever, highlighting the musical achievements of this amazing period. The ambition of this music guide is to convey the genuine opinions of real people on the merits of notable UK and US music albums. Thus it contrasts with the outlook of many music industry pundits, who have too often pursued an agenda focussed more on promoting dubious cultural fashions or advancing short term commercial interests, rather than encouraging and nurturing musical excellence.

The guide aims to sort the wheat from the chaff. Each album is given a star rating influenced by the assessments and reviews. Qualities looked for to achieve the highest ratings are musicianship, musical structure and development, strong melody and harmony, distinctiveness, originality, creative arrangements and vocal ability. The more of these buttons that are pressed the higher the star rating achieved. Thus five star albums are regarded as outstanding, four star can be confidently recommended, three star are likely to appeal mostly to fans of the genre or artist, two star are considered to demonstrate limited musical quality, and the very few with just one star are deemed to have little or no musical value.

All US and UK top twenty albums from the period 1960-1973 are included, plus very many others selected for their individual contribution to the music scene of the era. Unfortunately, the level of creativity began to diminish from the mid 1970s onwards, and so the choice of albums to review from later years is necessarily more selective. It is clearly pointless and meaningless to review albums which are intrinsically worthless.

Each review contains an image of the LP cover, as it originally appeared when released. Also included is a list of individual tracks. A brief overview outlines the main features of interest of the album and details its chart placing and any hit singles included. The bulk of each entry is devoted to the comments of ordinary people on the qualities of the album. These views are given with style, sincerity, insight and conviction, and provide a uniquely valuable assessment and analysis of each album.

The albums are listed in rough chronological order of release, so the earliest posts are for 1960 and the latest for 1979.

Platinum – MIKE OLDFIELD***

Platinum/Woodhenge/Sally/Punkadiddle/I Got Rhythm

Multi instrumentalist Mike Oldfield confined himself to a single album with Platinum. Although critics appreciated the lengthy title track on side one, they were less enthusiastic about the shorter tracks on the second side. (UK:24)

“The four part Platinum instrumental piece is imaginative, fun, clever and a little different to his other work. Part one has a nice jaunty synth opening section which builds impressively. I also like the change in style and tempo with part three Charleston that is very clever. Part 4 brings it all to a dynamic conclusion.”

“The first side suite is tremendous, brilliant, amazing. The second side, not so much. It's pretty average, and brings the album experience down.”

“Platinum has a much more pop sound than Oldfield's previous albums and that is what holds it back. Also he left behind the one song style. Side A has four tracks that make one long song, but Side B is just four different tracks that aren’t that great.”

“Platinum is one of Oldfield's strongest works and is more rock-oriented than his earlier records. It has a lot of synth stuff as well, instead of the strong Celtic influences. This record, unlike most of his LP's is not entirely written by him. The first side, a typical Oldfield whole-side-length suite, is one of his best, with four distinctive parts that form a very consistent entirety. It has a healthy amount of prog, driven by his instantly recognizable guitar sound. At some parts, the album sounds playful and downright funny, and side two has some nice lead vocals too.”

“The first of albums where Mike explores music beyond the earthier instruments, and employs music both from older jazz and newer music in the years in the disco era blending them into his own wonderful brand of instrumental music. Ever present is Mike's signature guitar playing.”

“The first side, the Platinum suite, is a jaunt in four parts and comes very highly recommended. It has some great playing, melodies, arrangements and textures and bounces along very nicely - very easy to appreciate and perhaps even a good route into Oldfield's music for the uninitiated. In fact it is really the only reason to buy this album. Now onto the second side - a different story, Woodhenge, a new age like instrumental is quite minimalist but high on atmosphere. After that track, the remaining three cuts are probably the worst things that Oldfield ever did.”

Phoenix – DAN FOGELBERG***

Tullamore Dew/Phoenix/Gypsy Wind/The Last To Know/Face The Fire/Wishing On The Moon/Heart Hotels/Longer/Beggar's Game/Along The Road

US soft-rock singer songwriter reached the peak of his popularity with the well received Phoenix. However, he made only the slightest impression on the UK charts. Features the US No. 2 single Longer. (US:3 UK: 42)

“For one shining moment he released the brilliant and bright album Phoenix. The title song alone is one of inspiration and hope. Dan's voice is the best it has ever been, with his angelic presence over all these great songs.”

“This album fits perfectly between his seminal rock roots and his later ballad-heavy twilight, highlighting some of the best singles he ever made. The title anthem and its instrumental opener Tullamore Dew are guitar masterpieces. Great for country/soft rock listeners and guitar lovers alike.”

“It seems this is an album Fogelberg fans either love or hate. Phoenix has Dan venturing outside of his more acoustic based songs into more fully orchestrated and polished pop/country songs. For me, this musical direction is really appealing. This is one album that I can listen to from front to back without ever skipping a song.”

“On this album, he walked the fine line between being a commercial success and maintaining his originality. It just has a little bit of everything, one that is probably Fogelberg at his personal best.”

“This album is really the beginning of his commercial appeal. Yes, he had some hits before this but it was really Longer which launched Fogelberg onto the charts, and of course Heart Hotels came after that. I like these but it's really the other songs that shine. Phoenix really shows his rock side and does Wishing On The Moon.”

“Beautiful poetry, strong melodies, gorgeous arrangements of varying styles are what you will find here in abundance. Gypsy Wind is quite possibly one of the most beautiful and romantic country-folk ballads he has ever composed, and The Last To Know is a nice follow-up track that can be easily played back to back with it.”

“Phoenix drew from many of the era's singer-songwriter themes: acoustic ballads, socially-conscious rockers, sensitive lyrics and high harmonies.”

Freedom At Point Zero – JEFFERSON STARSHIP****

Jane/Lightning Rose/Things To Come/Awakening/Girl With The Hungry Eyes/Just The Same/Rock Music/Fading Lady Light/Freedom At Point Zero

Prior to the release of Freedom At Point Zero Jefferson Starship lost two of their regular vocalists, Grace Slick and Marty Balin. Despite this setback the new album included a fine selection of songs, including the US top 20 hit Jane. (US:10 UK:22)

“It’s more than ten years on from the chemically soaked days of White Rabbit and more than the name has been modernised. The reincarnation of Jefferson Airplane as Jefferson Starship (minus Grace Slick) resulted in one of the better, if not the most original, AOR albums of the period.”

“After recruiting Mickey Thomas the band began to write and record music with a harder, heavy-metal sound. This was probably the album that sounded the most like they're just having fun making music. The big hit was the Jane that starts off with a short keyboard intro and then hammers you with guitars.”

“Freedom At Point Zero included the mega-hit Jane, along with the pounding and straightforward Rock Music, the beautiful ballad Fading Lady Light and the AOR gems Just The Same and the almost-proggish Awakening, which all showcase Mickey's exceptional, breathtaking vocals.”

“It's a hard rock masterpiece, but without the female vocals it's missing one ingredient to keep it from perfection. The band never wrote better songs than they did here, especially on the astounding Awakening and the stomp-thud hard rock colossus Jane.”

“It is one the few albums from its time where every song drives itself. This is just sonically rich in rock and roll spirit.”

“This is the Jefferson Starship album for me. All the tracks are great, with very good vocal harmonies, strong melodies, a lot of nice guitar solos, and the band is driven forward by the drums.”

“The songs mixed pop sensibility with Kantner's stoner sci-fi sensibilities and the result is an album that, no matter how much trashing Thomas got by the time Grace returned and bailed yet again, is as good as any of the best Jefferson Starship albums.”

The Wall – PINK FLOYD*****

In The Flesh/The Thin Ice/Another Brick In The Wall (Part 1)/The Happiest Days Of Our Lives/Another Brick In The Wall (Part 2)/Mother/Goodbye Blue Sky/Empty Spaces/Young Lust/One Of My Turns/Don't Leave Me Now/Another Brick In The Wall (Part 3)/Goodbye Cruel World/Hey You/s There Anybody Out There/Nobody Home/Vera/Bring The Boys Back Home/Comfortably Numb/The Show Must Go On/In The Flesh/Run Like Hell/Waiting For The Worms/Stop/The Trial/Outside The Wall

After several uneven albums Pink Floyd return to peak form with the double LP The Wall. The underlying concept is based around the isolation experienced by a psychologically damaged rock star. Features the US and UK No. 1 hit Another Brick In The Wall (Part 2). (US:1 UK:3)

“The Wall is full of astounding songs that are among the most loved, most played, and most influential of all time. It should also be said this is easily one of the greatest concept albums in progressive rock history.”

“Although it's ridiculously overblown, it's still a really solid album on the whole. The Trial is a great song that fits the character's craziness perfectly.”

“This is one of those rare concept albums where the concept itself really works and flows all over from beginning to end. The best way to enjoy it and get it is to turn off the lights, reach for a really comfortable spot to lay down on, take off your shoes and listen to it all without a break.”

“The Wall is a sporadic mess of ideas that has given fans tons of material to speculate over. In all my years of being an obsessive music fan, I can't think of any other album that sounds like this. Even if you hate Roger Waters for his massive ego hampering Pink Floyd from moving forward, you have to admit that he has a good musical vision, even if it further split the band apart.”

“One of the greatest albums by one of the most important rock bands, this is genius and a conceptually driven masterpiece. Floyd’s specialty is concept albums and this one doesn't fail. Perhaps darker in themes than other albums, but there's beauty in that. An album everybody should listen to.”

“Intended as a rock opera, this album is their most conceptual yet. With its intricate story and the symbolism of the wall that barricade the protagonist from society and eventually reality itself, this offered a new standard in the making of a concept album. It delivers a lot of odd imagery with the use of many metaphorical lyrics to describe the progression of the protagonist’s mind over the course of the story from his isolation to his mental decay.”

Deguello – ZZ TOP***

I Thank You/She Loves My Automobile/I'm Bad I'm Nationwide/A Fool For Your Stockings/Manic Mechanic/Dust My Broom/Lowdown In The Street/Hi Fi Mama/Cheap Sunglasses/Esther Be The One

Deguello was the lowest charting ZZ Top album since they achieved major commercial success. However, this boogie-rock band would recover their appeal to enjoy considerable popularity during the next decade. (US:24)

“Deguello is a fine album which boasts some of their best songs for years. Although not their best, it's a stoner’s treat of phased vocals and thumping bass which really rewards listening.”

“ZZ Top didn't need to reinvent themselves to release classics, and basically all their albums have the same formula, the only thing that is different is the songwriting consistency, because there is at least one total hit and sure concert song on every album. Here that total hit is Cheap Sunglasses, but the heavy blues of A Fool For Your Stockings is also great.”

“The trio line-up can be the source of incredible power if the musicians play tight, but on Degüello, they just don't. It's an album devoid of tension, punch and memorable songs. If that wasn't enough, this was the time in which disco crept into almost every album, including this one, and blues rock with synths, even if used sparingly, just doesn't make a lot of sense.”

“This was the first mediocre ZZ Top album, and the beginning of the end for this band. They moved away from the classic blues sound for a hybrid with modern overtones and a lot of self-parody. It is OK though, some riffs are there and some good songs but overall it lacks the old ZZ Top charisma.”

“Classic ZZ Top before all the electronic noise in the background; the gritty, raw rock sound that made them into the successful band. These guys are outstanding musicians and that is showcased in this album.”

“I'm not normally into Texas blues but this LP is the epitome of just that. Almost live 70s vibe for sure, very raw production, nice guitars and really superb rhythm section. You'll even get used to the voice which is really only suited to this kind of music”

“On this album they sound energized, ready to make music, try some new ideas, and have a bit of fun in the process.”

Setting Sons – THE JAM****

Girl On The Phone/Thick As Thieves/Private Hell/Little Boy Soldiers/Wasteland/Burning Sky/Smithers-Jones/Saturdays Kids/The Eton Rifles/Heatwave

Setting Sons demonstrated the increasing maturity and popularity of the beat group The Jam fronted by Paul Weller. They would maintain a high profile on the British music scene during the next few years. Features the UK No. 3 hit single The Eton Rifles. (US:137 UK:4)

“Musically the band are chain-saw sharp, and the production is raw and punchy. The gruff, vernacular vocals, together with the topical locality of the lyrics probably ensured that their success wouldn't travel far beyond Blighty. For those of us in the UK at the time, who saw this album establish the band, these were exciting times; the sense of anticipation with each new release palpable and usually worthwhile.”

“Originally conceived as a concept album about old friends reunited after many years to find they had nothing in common anymore Setting Sons doesn’t quite follow through on the premise of a song cycle, but it still makes for a fascinating listen.”

“For their first three albums, there were plenty of chestnuts, together with a lot of angst and promise. It all came together in this more mature, polished effort. The musicianship was far better and expanded beyond three chords, the arrangements were more complicated, the songs were longer, with more instrumental solos.”

“The production is brilliant, the choruses catchy and the riffs are tight. Weller is calmly passionate, deconstructing British society without hysterical finger pointing. The cello-led Smithers-Jones is a work of genius. The lyrics in general are just so understated and great.”

“On the verge of becoming Britain’s biggest band, the Jam’s Setting Sons melded sixties influences with the group’s ever maturing sound to create a highly entertaining album. While their earlier work clearly betrayed their love of The Who, this album was distinctly Kinks flavoured. Another sixties reminder was the fact that it was sequenced like a live set list with a light opener, the hit single at the end followed by an energetic rock ‘n’ roll encore.”

“Originally conceived as a concept album about friendship, politics and war, Weller thankfully ditched this approach and instead went about putting together an album of character vignettes, which were able to convey his message much more powerfully and succinctly.”

Greatest – BEE GEES*****

Jive Talkin'/Night Fever/Tragedy/You Should Be Dancing/Stayin' Alive/How Deep Is Your Love/Love So Right/ Too Much Heaven/(Our Love) Don't Throw It All Away/Fanny (Be Tender With My Love)/If I Can't Have You/You Stepped Into My Life/Love Me/More Than A Woman/Rest Your Love On Me/Nights On Broadway/Spirits (Having Flown)/Love You Inside Out/Wind Of Change/Children Of The World

This double LP compilation includes all the Bee Gees best songs from their enormously successful late 1970s disco period. Coupled with the two earlier greatest hits packages, together they provide a testament to the group’s huge contribution to popular music. (US:1 UK:6)

“This album perfectly assembles the nuggets from the Bee Gees' disco period, the best phase of their career. Every song, whether a hit or not, is as outstanding as its performance. The high quality of the arrangements and the musicianship are just breathtaking. And the grooves are irresistible as well as the harmonies, and the ballads are heart wrenching.”

“What great memories they brought up. Having listened to this music profusely in the 70s, the songs are ingrained into my both my heart and mind.” “When you listen to these songs, they earmark a period of music. The landmark Saturday Night Fever album, and the Bee Gees number one hits from that period, are all here and have aged better than most of us would have ever predicted.”

“Barry Gibb's falsetto had developed into an instrument unto itself, yet Robin and Maurice had their own leads along with extraordinary harmonizing abilities. Children Of The World probably best displays that interplay the brothers shared.”

“There is something appealing about this compilation. It sets its own mood because the songs all fit together so well. If you are only interested in the Bee Gees for their disco music or if (like me) you appreciate being able to play their disco music separately from all their other stuff, this is ideal.”

“It's truly incredible how smooth of a transition this band made from their original sound to this sound, all the while maintaining their incredible writing and singing skills, in some ways enhancing both.”

“This was the period when the Bee Gees adopted their trademark sound and became identified at the forefront of the disco movement.”

Greatest Hits Vol. 2 – ABBA****

Gimme Gimme Gimme/Knowing Me Knowing You/Take A Chance On Me/Money Money Money/Rock Me/Eagle/ Angeleyes/Dancing Queen/Does Your Mother Know/Chiquitita/Summer Night City/I Wonder (Departure)/The Name Of The Game/Thank You For The Music

The Swedish pop group Abba were the dominant chart act in the UK during the second half of the 1970s. This second compilation maintains the standard of the first. (US:46 UK:1)

“Usually I'm not a big fan of compilations, but Abba were essentially a singles band so I don't think their artistic vision is compromised too severely by listening to their songs outside of the context of the original album. The track selection on here is pretty solid.”

“If they had combined the best hit songs from this album with those from the first greatest hits album they would have had a superior release.” “As with all Abba albums; you will want to play this over and over again, and sing along, because we all seem to know the words without having to learn them.”

“This was the first LP I purchased as a teen in the '70s. I loved it then and love it now. A classic pop album, a collection of their early hits and best songs.”

“Each song took me back to my childhood, when I knew them all by heart. You don't realize how many memories you store until they come flooding back as if they were just made yesterday.”

“This compilation represents Abba at their pop best before they sacrificed their glitter pop/Eurosong edge for the twin evils of show tune-ism and ersatz disco, not to mention the final horror of adult sophistication.”

“Whilst there is very little one can say about any Abba album to add to what everybody knows already, namely sheer brilliance, it has to be said that they surprised many with this one by adding four non-hit tracks to this compilation. Although there had been several included on the first Greatest Hits album that had not been singles in the UK, but they had been hits elsewhere. However, here we have four, including a couple of 'B' sides.”

Wet – BARBRA STREISAND****

Wet/Come Rain Or Come Shine/Splish Splash/On Rainy Afternoons/After The Rain/No More Tears (Enough Is Enough)/Niagara/I Ain't Gonna Cry Tonight/Kiss Me In The Rain

Barbra Streisand’s album Wet is highly unusual in that all of the songs include a reference to water. For the first time she records some disco tracks, most notably the US No. 1 duet with Donna Summer No More Tears. (US:7 UK:25)

“By the late seventies most singers were recording disco albums, and Barbra Streisand decided to join in by releasing Wet, a concept album where the songs all refer to water. The idea sounds ludicrous, but anything Barbra records is great, so only she could get away with recording such a record.”

“Wet is a somewhat underrated Barbra Streisand album with the theme of water in all of the songs. It's actually a fine concept album that stands the test of time. She is in excellent form here; her voice is as clear as a bell and she can hit any note she desires. The duet she performs with Donna Summer, No More Tears, made the airwaves sizzle back when released and played in clubs everywhere.”

“On Rainy Afternoons has become my favourite Streisand song. The lyrics, the voice, the arrangements entangle me into a painful and wonderful past romance. I find no escape when I'm listening to this piece. After The Rain offers a wonderful counterbalance, once again romance has wings and wonderment.”

“Wet is an interesting mix of songs that range from lush ballads, such as the title cut, to pop to rock and disco. This album covered each musical genre flawlessly. Not just because of Streisand's impeccable voice, but because the song choices and arrangements are top-notch.”

“This album is notable for many things, the least interesting being her disco duet with Donna Summer. Unlike the purists, I don't mind this foray, or her takes on Splish Splash and I Aint Gonna Cry Tonight, since they are yet again proof of Barbra's eclectic choices. However for me, the big plus of the album are the orchestrated arrangements of the ballads.”

“The album has an aquatic theme throughout, as each song incorporates water themes. The title track is a really tender ballad, quite beautiful. On Rainy Afternoons and After The Rain are also songs you will love. The highlight though is the closing track Kiss Me In The Rain, one of her best songs. This is a must for Barbra fans.”

One Step Beyond – MADNESS****

One Step Beyond/My Girl/Night Boat To Cairo/Believe Me/Land Of Hope & Glory/The Prince/Tarzan's Nuts/In The Middle Of The Night/Bed & Breakfast/Razor Blade Alley/Swan Lake/Rockin' In A/Mummy's Boy/Madness/Chipmunks Are Go

The North London group Madness started their recording career as a 2 Tone band, but soon became a successful mainstream pop group, albeit with a zany image. One Step Beyond was their debut and features the excellent UK No. 3 hit My Girl. (US:128 UK:2)

“Musically speaking, the album is quite daring. There is a bit of reggae, a bit of east European music, a bit of punk, some rock steady beats, and in Swan Lake they even make a cracking version of a classical music piece. It's daring in the sense that it's never stiff, never boring. There is always something that fills it with restless exuberance, and that is no doubt what makes them so appealing.”

“A truly remarkable debut album. Being in my early teens at the time of release you had to know all the lyrics, and had mastered the moves, or else you were a total loser. That's the power this album wielded over impressionable youth.”

“Madness connected with British people in all kinds of ways, their zany image, the fun and sheer bright eyed enthusiasm they brought to ska tunes, and of course the songwriting. Listen to My Girl and Bed & Breakfast and appreciate the very classic English flavour that runs through their work.”

“Their influences were clearly ska, reggae and rock steady, but they also took from punk a frenetic musical delivery. They had a schoolboy cheeky, grinning humour and a penchant for the madcap.”

“At heart, for at least this release, Madness were a pop band masquerading as a ska band because, well, it would have been foolish not to ride the 2-Tone wave. An astonishing debut, considering the band’s working class image, providing a lyrical counterpoint to their more serious 2-Tone brethren.”

“Perhaps the purest expression of Madness's original 2-Tone sound, One Step Beyond brings a variety of good-natured, good-humoured pop-ska to bear and marks one of those occasions where the band's distinctive sense of humour doesn't become cloying. It's by no means perfect and there's some filler here and there, but at its best it places Madness at the absolute peak of the late 1970s British ska revival.”

Specials – SPECIALS****

A Message To You Rudy/Do The Dog/It's Up To You/Nite Klub/Doesn't Make It Alright/Concrete Jungle/Too Hot/Monkey Man/(Dawning Of A) New Era/Blank Expression/Stupid Marriage/Too Much Too Young/Little Bitch/You're Wondering Now

At the end of the 1970s a number of new bands appeared on the British music scene under the 2 Tone banner. The first and most representative was the Specials and this is their eponymous debut album. Features the UK Top Ten hit A Message To You Rudy. (US:84 UK:4)

“The Special’s debut album is the best example of the 2 Tone genre, the one that takes up the Jamaican reggae and ska, combining them with influences from the punk explosion. Being one of the first interracial bands, they achieve a typical English sound that combines cheerful rhythms with a sophisticated melancholy, applying it to other artist’s compositions plus some of their own gems.”

“The 2 Tone ska bands were one of the more surprising but welcome phenomena that emerged in the British musical scene after the punk era. They tended to have two different gears: quirky feel-good times and biting political commentary, with most groups on the scene dipping into both. Whereas Madness were thick on the jokes the Specials were big on social commentary.”

“This is a pretty fun album, a mixture of upbeat late 70s ska and new wave sounding rock. It’s pretty catchy with some horns and is one of those albums you put on when you are in a fun mood. It’s nothing groundbreaking, but its still has that upbeat late 70s sound and, even though no songs are quite up to Ghost Town level, it still is a really enjoyable listen.”

“A true classic of the ska genre, the Specials self-titled debut album is a must-have for any serious fan of the 2 Tone scene or for any keen student of the recent social history of multicultural Britain.”

“On this album you find a band with two voices, one black, one decidedly white but both undoubtedly British and unhappy. Not that the music is unhappy it isn't, it's a pounding concoction of bluebeat, ska, roots reggae, rockabilly and punk, a euphoric combination of influences and instruments locked into place by swirling keyboard.”

“Their version of ska was a lot less jazzy than the original incarnation, drawing in strong elements of punk, and shifting the instrumental emphasis from the horns to the guitars. You won't find a lot of brass in this album.”

Tusk – FLEETWOOD MAC*****

Over & Over/The Ledge/Think About Me/Save Me A Place/Sara/What Makes You Think You're The One/ Storms/That's All For Everyone/Not That Funny/Sisters Of The Moon/Angel/That's Enough For Me/Brown Eyes/Never Make Me Cry/I Know I'm Not Wrong/Honey Hi/Beautiful Child/Walk A Thin Line/Tusk/Never Forget

Tusk proved that a double album does not necessarily have to include some filler. The revitalised Fleetwood Mac were on a roll, which would continue well into the next decade. The title track and Sara were the US top ten hits. (US:4 UK:1)

“This album is a real delight, every song is a stunning little jewel of self contained beauty and fragility, beautifully crafted and realised by Fleetwood Mac. Tusk is an album which has captivated my heart. I would never have believed that I would enjoy a mainstream rock album so much as I enjoyed this one.”

“It's the last album where the band's three songwriters shared much common ground. While Buckingham is the guy who gets all the attention - he writes the most songs, produces, plays stinging guitar and arranges everything - the contributions of Nicks and McVie are just as crucial in setting the mood of the album.”

“This album is criminally underrated; it is arguably where the band reached their purest artistic form, with a sophisticated, unique approach to songwriting and production. The experimental direction in which Buckingham led the band proved to be a major success. The entire album is stellar on every possible level, comprising the works of three amazing songwriters and singers, a double album without any filler, and almost every song is pure greatness.”

“A magnificent double album that reveals multitudinous layers of earth quaking sensitivity. It eschews the shining pop monuments of Rumours and instead aims for something deeper, broader, less showy but more resonant. A delicate balance is struck between shimmering soft-rock balladry, courtesy of the two ladies, and jagged experimentation courtesy of Buckingham that is sustained wonderfully throughout.”

“The three songwriters have a lot of ideas, finding themselves clashing and colliding against each other in a glorious, fabulous manner. We have witchy balladry, dreamy hippy croons, country punk, adult contemporary rock numbers and so much more. Tusk is filled to the brim with evocative sounds.”

“Another brilliant example of an artist not accepting the status quo, proving that depth or experimentation in lyricism and musicianship makes for greatness.”

Storm Watch – JETHRO TULL***

North Sea Oil/Orion/Home/Dark Ages/Warm Sporran/Something's On The Move/Old Ghosts/Dun Ringill/Flying Dutchman/Elegy

Jethro Tull, in the first few years of their career, were one of the most innovative rock bands, thanks to the creative genius of Ian Anderson. However, with Storm Watch, the inspiration has become seriously diminished. (US:22 UK:27)

“A rather disjointed, depressing album that lacks atmosphere, enthusiasm and heart. It has that ‘why are we doing this’ sort of vibe. Treading water? More like paddling here.”

“Stormwatch is not their best recording. Sloppy and disinterested seem to be the best way to describe the quality and their effort. Jethro Tull, as a unit, had made some great long plays, but like many prog rock bands by this time they really had nothing much left.”

“I feel that Tull were getting burnt out because of constant touring and album making, long with the changing musical climate and the death of their bass player John Glascock. Things were hard so I think they needed a drastic change in style. This was a goodbye to their classic straight ahead folk-rock sound. All in all this is just a mediocre album that might have been something great.”

“The musicianship is superior to all but a select few bands, and there are many stunning moments. However, one does notice a perceptible drop-off in energy level from one album to the next.”

“The music is as great as always, with Anderson writing the bulk of the material and the band members doing a splendid job, with Anderson playing the bass parts on top of his usual duties as singer, acoustic guitarist and flautist. The album also includes some elaborate orchestral arrangements, which by that time were an integral part of many prog albums, expanding the sound beyond the usual rock instruments.”

“Stormwatch ends the trilogy of albums dealing with man's relationship with nature. The overall mood of the record, established by the cover shot, is a cold one. Anderson sings point of view of someone watching an approaching storm, as in the character on the cover. Throughout the songs, he is warning everyone to stop abusing nature or they will live in eternal winter and darkness.”

Lovehunter – WHITESNAKE***

Long Way From Home/ Walking In The Shadow Of The Blues/Help Me Thro' The Day/Medicine Man/You 'n' Me/ Mean Business/Love Hunter/Outlaw/Rock 'n' roll Women/We Wish You Well

Lovehunter was the follow up album from the UK blues-rock band Whitesnake fronted by former Deep Purple vocalist David Coverdale. They would enjoy considerable success in the next decade. (UK:29)

“In my opinion it is the best Whitesnake album with great guitar work by both guitarists, a great vocal performance by David Coverdale and the input of Jon Lord is also very good: he didn’t try to make the same kind of organ play he did with Purple and stayed in the background.”

“The opening track, Long Way From Home, ranks among Whitesnake's best ever songs. The whole album is immensely enjoyable and more than worthy of David Coverdale's best days with Deep Purple.”

“Lovehunter is Whitesnake’s and David Coverdale's defining moment and a blues-rock statement to the ages. It is an epic album unmarred by any weak tracks or filler. This band was extraordinarily tight and at the peak of their prowess and it showed.”

“Not blues-rock, per se, although bluesy, but more like boogie-driven hard rock, with the killer title track, plus Walking In The Shadow Of The Blues and the crowd salute We Wish You Well.”

“Macho hard rock for a testosterone deficient audience, Lovehunter represents one of the last flickers of energy in a mortally wounded genre.”

“Lovehunter continues a long tradition of heavy rock tinged with a smoky blues atmosphere and, as you would expect, Whitesnake do it with some style. When it comes to what's become known as classic rock there are few vocalists that can hold a candle to David Coverdale.”

“This is a bluesy rock album with some really great songs. The classic here is Walking In The Shadow Of The Blues, with fantastic guitar work. Help Me Through The Day is another slow blues song which is brought alive by David Coverdale. The other songs are traditional 70s rock mixed with simple, pleasant arrangements having the regular Coverdale lyrics of love and sensuality.”

Bomber – MOTORHEAD***

Dead Men Tell No Tales/Lawman/Sweet Revenge/Sharpshooter/Poison/Stone Dead Forever/All The Aces/Step Down/Talking Head/Bomber

Bomber was the second Motorhead release of the year and like its predecessor was not noted for its subtlety. Alas, the final comment below could apply to many heavy metal groups of the period. (UK:12)

“Perhaps it doesn’t have that stand out magic that some other Motörhead albums have, but it has those three original rockers cranking away at full throttle in their prime, and you can’t ask for much more than that. It might be in the shade compared with some of their other albums, but it still has more than enough to satisfy fans of the band.”

“It comes at you like a freight train for the most part, blasting you with it's metallic mayhem whilst the slower more bluesy moments show a kinship with Sabbath.”

“Traditional early Motörhead, mixing hard rock riffing with some heavy metal influences. Also some of the guitar playing follows quite much blues scales and patterns as well. The album manages to combine faster and slower tracks in a good balance.”

“Bomber opens with the ultra heavy Dead Men Tell No Tales and closes with the bombastic title track. In between the album is full of loud heavy Motorhead madness that should please anyone into this kind of rock ‘n’ roll mayhem.”

“The music on the album is garage rock ‘n’ roll with a metal edge. Motörhead had enjoyed a lot of success with Overkill and saw no reason to change a winning formula. But I guess you could say that about their whole career. The tracks are generally a bit less memorable than on the predecessor though, and there are only a few of what I would call classic Motörhead tracks.”

“As subtle as a blunderbuss and as melodic as a cat-fight it's a feat of some magnitude making this cacophony work, but work it surely does. Equally there is no variation. This is a case of when you've heard one song by Motorhead you've heard them all. But their ability to hold together buzzing guitars, hoarse vocals and thunderous drums never fails to amaze.”

Keep The Fire – KENNY LOGGINS***

Love Has Come Of Age/Mr Night/This Is It/Junkanoo Holiday/Now & Then/Who's Right Who's Wrong/Keep The Fire/Give It Half A Chance/Will It Last

Soft-rock singer songwriter maintained his successful solo career with Keep The Fire. This Is It was a US No. 11 hit single, with Michael McDonald of the Doobie Brothers on backing vocals. (US:16)

“The production is filled with reverbs and technological effects, but the music is rather tacky. Not so romantic as it tries to be. But there are some good songs, like Mr. Night and the last three tracks, even though Will It Last suddenly decides it will pretend it's over and then it comes back in a differently cheesy way.”

“The goofy cover aside, this is pretty good late-70s pop/rock. It doesn't feel as over-produced as much of Kenny's later material does. Love Has Come Of Age is a good opener and the title track is worthy of attention too. The gem of the album is the tender ballad Now & Then. Overall, a really enjoyable record.”

“Probably Loggins's most consistent album. He plays with so many styles on this one, and his voice and production is off the charts. Now & Then has some of the most beautiful songwriting I've ever heard.”

“Since he began his solo career Kenny Loggins had been able to ably blend pop, jazz-funk and soul into a sleek and distinctive sound, all while basking under the name of west coast rock or soft rock. After his previous album Kenny jettisoned his producer for the better known Tom Dowd. This doesn't matter much in terms of his music because this album delivered Loggins most consistent and fluid album since his wonderful debut.”

“It's an effective sample of Loggins proficiency as an entertaining pop musician and composer. The tracks range from upbeat dance songs to tender heartfelt (somewhat schmaltzy) ballads.”

“Keep The Fire the title song demonstrates Kenny's new style, but is not by any means noteworthy, in comparison to his other works here. Overall, as always, this album offers a good listening experience, and is interesting and varied with the music styles offered, as he always does.”

Mr Universe – GILLAN***

Second Sight/Secret Of The Dance/She Tears Me Down/Roller/Mr Universe/Vengeance/Puget Sound/Dead Of Night/Message In A Bottle/Fighting Man

Mr Universe was the first album of the heavy rock group Gillan, promoted under that name. Fronted by the former lead singer of Deep Purple, it echoes the sound of the earlier group. (UK:11)

“Mr. Universe is the album that signalled Ian Gillan's return to a Deep Purple-like heavy rock sound, after his interesting but ultimately weak records with the Ian Gillan Band.”

“On the first Gillan album with new members and the name Gillan we can hear more hard rock and maybe some heavy metal. Maybe one of the best from this era.”

“Backed by a band consisting of the cream of new British heavy metal, this should have been a fine opportunity to see how the past blended with the present. But, instead of new blood it swiftly becomes anaemic old hat. Mr Universe is a second rate effort, for which uneven production does nothing to improve.”

“Most likely Gillan's strongest album, and also sounding the most similar to Deep Purple. In fact some this sounds like it might have been recorded by them.”

“Mr. Universe is where the new rhythm section takes over the sound and maybe the cause for the new direction. A powerful locomotive injection to the music. None of the jazz-fusion flavouring we got previously. What we get here is full on Highway Star type high energy rock with guitar athletics.”

“The solo career of Ian Gillan has produced some interesting material. Mr Universe has become a staple in my collection; I love the sound and the musical style presented here.”

“Ian Gillan released earlier albums under the name Ian Gillan Band, but this was the first full-length issued as simply Gillan. Secret Of The Dance busts loose at the beginning like Speed King, and the whole thing feels like a vintage, top-notch Deep Purple album. Ian's voice is in peak form, delivering some otherworldly high notes and shrieks. It's very hard rock, and might have a hint of a speed metal vibe here and there. Overall, I was surprised by how heavy it is.”

Whatever You Want – STATUS QUO****

Whatever You Want/Shady Lady/Who Asked You/Your Smiling Face/Living On An Island/Come Rock With Me/Rockin' On/Runaway/High Flyer/Breaking Away

After a couple of albums which disappointed their fans Status Quo return to their trademark boogie sound with Whatever You Want. Features the UK No. 4 title track and the rather untypical slower top 20 single Living On An Island. (UK:3)

“After a couple of disappointing releases Quo returned with an album more reminiscent of their 75-76 sound. Whatever You Want rocks hard once again and it sounds like there’s a better vibe within the band.”

“The title track was a huge hit. Living On An Island is probably the best ballad from the band. The harmonies in particular are very nicely done and the longer album version is superior to the single.”

“This is a good record front to back. The band give the people what they want and the title track is probably their most known song. So this album rejuvenated the band’s popularity around the world. Living On An Island is a must hear track. Just a great song and one of my all-time favourites for sure. Great harmony and a little outside the box for Status Quo.”

“This was a much needed improvement from the band. Their previous two releases were lacking consistency and strength. This album brought some of that back.”

“This is one of the best albums that the band released during their long and illustrious career. The album rocks along at a fanatic pace, every song is strong and the re-mastering sounds excellent. The band listened to their fans and Whatever You Want was the outcome much to their pleasure. The band went back to and turned out this humdinger of thumping twelve bar boogie.”

“I've always been a big Quo fan but it has to be said that this is without doubt, one of the best albums they ever produced. Every track is a classic and I can listen to it over and over. Sadly this is the last decent album from Quo which is tragic really. I always hope that they will recapture their former glory but then they go and produce another embarrassing album.”

“Having lost their way somewhat with their previous two albums, Quo got back on track with this consistently solid, vibrant release.”

Victim Of Love – ELTON JOHN**

Johnny B. Goode/Warm Love In A Cold World/Born Bad/Thunder In The Night/Spotlight/Street Boogie/Victim Of Love

Victim Of Love is widely regarded as Elton John’s worst album. Uniquely, his only contribution is as a vocalist, and to compound matters all the songs are similarly sounding disco tracks, none of which he wrote himself. (US:35 UK:41)

“It was the height of the disco era and Elton John made the poor decision to move his sound away from his pop/rock base and conform it to the popular music style of the day. Elton John and disco are two words that should never appear in the same sentence. It was a depressing and cheesy release. He did not take writing credits on any of the seven tracks.”

“I still don't believe this album exists. It must have been a bad disco dream. Elton was certainly the victim of something, but I'm not sure what.”

“Elton John's pathetic attempts at disco are just laughable, nothing but one meaningless disco song after another. These songs weren't written in any meaningful sense, they were manufactured.”

“The disco genre doesn’t suit Elton at all, and this isn’t even good disco music. Every song sounds the same, follows the exact same structure, and musically aren’t that interesting. The fact that every song segues directly into the next makes this worse, because it pretty much all becomes one giant song.”

“Elton John plays no instruments here and he wrote no music. Even his long standing backing band was absent. It can only be assumed that this wretched piece of detritus is one of rock and roll's many label failings. Some executive somewhere dreamed a dream of the greatest disco album ever released, and just happened to have the man to do it.”

“For someone who had made a successful career of being a singer-songwriter, to take part in this travesty cannot even be excused on the grounds that everyone else was doing it. John writes none of this, nor does he play any instrument. He just sings to seven disco tracks, all with the exact same booming beat throughout.”

“I didn’t mind much when he changed his band, or when he wrote songs with lyricists other than Bernie Taupin - but Elton and disco? Well, I have my limits.”