Take Me To Tomorrow - JOHN DENVER***

Take Me To Tomorrow/Isabel/Follow Me/Forest Lawn/Aspenglow/Amsterdam/Anthem-Revelation/Sticky Summer Weather/Carolina In My Mind/Jimmy Newman/Molly

Take Me To Tomorrow was the follow up album from folk-rock singer John Denver before he gained commercial success, at a time when he was still experimenting with different musical styles.

“Although separated from its predecessor by only a few months, Take Me To Tomorrow represents something of a departure from the folk-tinged material of Denver's debut album. There's a movement towards a more country-pop sound as well as a willingness to include some darker material. The results are a little patchy to say the least.”

“This may be a slightly messy affair but it's still difficult to dislike John Denver at this stage of his career. Whilst the arrangements blow hot and cold there is an appealing honesty and earnestness in his performances, as well as an appetite for testing out different styles and subject matters.”

“This early classic will come as a surprise to anyone expecting pretty folk music and 'listen to the wisdom of the children' lyrics usually associated with John Denver. This album, with its comparatively heavy folk-rock sound, is married to lyrics that strive for realism.”

“John was still an obscure artists struggling for that elusive breakthrough when he recorded this album, which still didn't give him the success he was looking for. However, there is plenty of great music here. John wrote six of the songs while Tom Paxton wrote two of the others. Jacques Brel and James Taylor also contributed songs. This is probably not where to start a John Denver collection, but if you are drawn to his music, you will probably enjoy this too.”

“This is a more serious continuation of John Denver's debut, with songs like Amsterdam and Jimmy Newman. Not a bad album.”

Cucumber Castle - THE BEE GEES***

If Only I Had My Mind On Something Else/IOIO/Then You Left Me/The Lord/I Was The Child/I Lay Down & Die/Sweetheart/Bury Me Down By The River/My Thing/The Chance Of Love/Turning Tide/Don't Forget To Remember

Cucumber Castle was released at the bleakest moment for The Bee Gees when they were reduced to the duo of Barry and Maurice Gibb. Searching for a new direction they started to dabble in some country & western. (US:94 UK:57)

“Despite a missing Robin and a horrible album cover, this is a great record. Barry and Maurice's country & western abilities are first realized here, and there are some strange but interesting pop gems as well.”

“Other than the absence of Robin's unique quivery falsetto, the overall results seldom strayed from the brothers' patented sound which meant lots of mid-tempo, heavily instrumented ballads.”

“Two Bee Gees are better than none, and although it is a little ballad heavy, Cucumber Castle is still a must for any fan of their early music.”

“A stop-gap album, which contains not-so-wonderful songs from the Brothers Gibb, as well as some genuine classics.”

“Cucumber Castle was the only album done by only two brothers. After a rift during the making of Odessa, Robin went solo. It is mainly a country style broken hearted sound, with a few stand outs.”

“Written and recorded by Barry and Maurice after Robin briefly left the group, this collection of songs showcases Maurice's skills as a musician, songwriter, arranger and a harmonist. It allows us to hear the beautiful but seldom heard blend of Barry and Maurice's voices. Not all of these songs rank among the strongest in the vast Bee Gees catalogue, but the harmonies are magical.”

“These sessions produced an odd combination of country-pop tunes and meandering MOR offerings, with little of the inspiration of previous Bee Gees music. Don't Forget To Remember has a memorable chorus, but you must suffer Barry's hillbilly-inflected vocals to get to it, and it's barely worth the bother.”

Ginger Baker's Air Force - GINGER BAKER***

Da Da Man/Early In The Morning/Don't Care/Toad/Aiko Biaye/Man Of Constant Sorrow/Do What You Like/Doin' It

After the departure of Eric Clapton from the very short-lived supergroup Blind Faith the three remaining members recruited several prominent musicians to join them in the ensemble Air Force, which added jazz and African music to the mix. (US:33 UK:37)

“First album by the legendary ensemble Air Force, formed by drummer Ginger Baker following the collapse of Blind Faith, to pursue the music he was truly interested in, which included jazz and African music. He managed to persuade a large number of British luminaries to join forces in this ambitious project.”

“The music is a wonderful mixture of jazz, rock and world music, performed with passion and virtuosity. The lengthy tracks allow for extended instrumental improvisations and the two drummers have ample opportunity to engage in mighty duels. In retrospect the album is visionary and educational, allowing a glimpse of a time when musical dreams were realized. This pioneering effort is a wonderful legacy for generations to come and includes many unforgettable moments.”

“Long jams probably not rehearsed very much, as witnessed by stumbles in the musical choreography here and there, feedback screams from the sound system, muffled intros, etc. But who can ignore the percussion locomotive of the drummers that drives this music along.”

“This live set features a stellar cast of performers, and has some very good moments, but also a lot of pointless blowing. Prog jazz/rock fusion featuring sax and flute and, oh yeah, drums. Mostly instrumental, with plenty of drum solos.”

“Although it is very messy on many levels, recording, production, playing etc. in parts it hits great highs now and then and is therefore worth a listen. The musicians are having a great time and occasionally flying by the seats of their pants.”

“The playing is loose and out of tune, and can seem like they're going on forever with not much actually happening within the framework other than a mad drum racket with competing horns.”

“This is a pretty wild album, at times sloppy and off-key, with self indulgent soloing and at other times has quirky jazzy, free-for-all jamming, but somehow it all works.”

I'll Never Fall In Love Again - DIONNE WARWICK****

The Wine Is Young/I'll Never Fall In Love Again/Raindrops Keep Falling On My Head/Loneliness Remembers What Happiness Forgets/Something/Paper Mache/Knowing When To Leave/Let Me Go To Him/Didn't We/My Way

The 1960s proved to be a very fertile decade for songstress Dionne Warwick and her Bacharach & David songwriting team. The 1970s would be nothing like as productive for either. The title track from the I'll Never Fall In Love Again LP reached No. 6 in the States. (US:23)

"It seems the transformation is complete. Dionne looks in the mirror, decides that she finally wants to become a prima donna, and proceeds to stamp every last drop of sweetness from her voice. The resultant husk will serve well for years of easy listening, but I remember when Dionne used to rejoice in the songs she sang."

"Dionne Warwick, Burt Bacharach and Hal David created many memorable hits and I'll Never Fall In Love Again album is just another great studio effort from 'the holy triad of pop'. Who was better than Dionne to sing the Bacharach/David catalogue? She had the talent and something special about her voice, that made her stand out among other female artists of the time."

"So many times people forget that a great singer doesn't have to scream her way through a song to get to people's minds and souls. This is the case with Dionne Warwick, a perfect interpreter of Bacharach/David's masterful material. The title track is by far the best known song on the album (which is no coincidence, because of its timeless pop charm), but what's more important there are some other gems, like Dionne's take on the evergreen My Way, the beautiful Paper Mache and the upbeat Loneliness Remembers What Happiness Forgets."

"No one does Bacharach/David music like Ms. Dionne Warwick. This captures the songwriters at their creative peak, and Dionne at the apex of her vocal and interpretive powers. There are also covers of popular songs of the day such as Didn't We that are superb. If Dionne isn't the Queen of Champagne Soul, I don't know who is. This is lounge music at its finest."

"Dionne is one of the greatest singers ever. She makes a piece of easy listening fluff into an emotional experience, finding the grit and soul of the lyrics and interpreting in her inimitable style, her flawless timing and phrasing."

Concerto For Group & Orchestra - DEEP PURPLE***

First Movement: Moderato-Allegro/Second Movement: Andante Part 1/Second Movement: Andante Conclusion/ Third Movement: Vivace-Presto

At the turn of the decade several attempts to try and bring about a fusion between progressive and classical music were attempted but, as here, not always successfully. Concerto For Group & Orchestra was the first album featuring the classic Deep Purple line up. (US:149 UK:26)

"A fine mixture of epic orchestral pieces and Mark I Deep Purple's Hammond-soaked psychedelia, it's hard to think of many other bands that tried this combination out as early as 1970. For what it is, it's definitely worth hearing, and any fan of Deep Purple should seek it out, if only to hear the band embarking on quite a wild experiment."

"An interesting experiment that never really seems to mesh at all. The orchestra play classical music, then the band plays rock, then the orchestra plays a bit more classical, then the band plays a bit more rock."

"I find it difficult to imagine many fans of Deep Purple's style of rock, being much interested in this overly ambitious project. Indeed, critical reaction to it at the time was almost universally negative, perhaps not so much for the initial performance, as for the resulting album. To me, those portions of the album where the rock group is performing are only better than average, while the orchestral passages are entirely dispensable. Interesting idea, but not adequately fleshed out."

"The legendary Mark II line up of the band makes its album debut here and while it isn't a true Purple album, each band member gets to shine in his own distinct way."

"This would seem to be an attempt at fusion between classical music and rock. It really doesn't succeed because the two forces involved spend very little time playing together. More like they wait for one another, play, and then retreat. Plus, side two has too many drum solos."

"There is plenty to fault here. It seems that Jon Lord's composition style is a bit on the naive side. There are certain passages which, while sounding perfectly acceptable being played by a rock band, end up coming off a bit trite and simplistic when played by a whole orchestra."

"This is a valid experiment, and has its moments. However, the recording is spoiled by an under-rehearsed and unenthusiastic orchestra."

Eric Burdon Declares War - ERIC BURDON & WAR****

The Vision Of Rassan/Tobacco Road/Spill The Wine/Blues For Memphis Slim/You're No Stranger

Eric Burdon Declares War was the first of two collaborations between the former Animals lead singer and the black American soul-jazz group War. Includes the US No. 3 hit single Spill The Wine. (US:18 UK:50)

"A stalwart brew of soul, funk, Latin, blues and jazz with Burdon producing one of his finest vocal performances to enhance the final product. War are absolutely knock out players as well, flexible and robust. As a result the powerful protest of Tobacco Road and the stunning epic Blues For Memphis Slim are both equally effective. Most will know this for the big hit Spill The Wine which in the context of the album is a rather slight, brief groove intermission between the more substantial stuff."

"To say that Eric Burdon was adrift in 1970 would be putting it mildly. He was making absolutely horrible albums, unable to find direction between the psychedelic music of the day, and the blues that were so much a part of his music with The Animals. Then he hooked up with War. Looking back this relationship helped them more than it helped him, but they did put together this excellent album. What War brought to the table was a mix of African, South American, and rock and roll sensibilities that worked. Burdon's soul was always there, and he really jumps to the occasion on every cut. The hit of course is Spill The Wine, a song which to this day stands out as totally fresh and unique."

"1970's Eric Burdon Declares War has always struck me as a mixed success. While the focus was clearly meant to be on Burdon, the real stars were War. Not only did the band pen most of the material, but their enthusiastic and frequently funky performances repeatedly saved the album from complete collapse. To be perfectly fair, Burdon deserved some credit for turning in what may have been his best post Animals performances. His ragged voice actually sounded pretty good on this one and he brought considerable energy to some of the material."

"Leaving The Animals behind Eric Burdon re-creates his blues with a funky spin on this classic album. The similarities between both bands are only in having Burdon as their vocalist. Blues For Memphis Slim is considerably close to what he's known for, but the addition of horns and such put a totally different spin on that sound."

"Excellent album, full of tight grooves, sharp playing, and of course Eric Burdon's excellent vocals. Works as blues, works as funk, works as R & B."

Candles In The Rain - MELANIE****

Candles In The Rain/Lay Down/Carolina In My Mind/Citiest People/What Have They Done To My Song Ma/Alexander Beetle/The Good Guys/Lovin' Baby Girl/Ruby Tuesday/Leftover Wine

Idealistic singer songwriter Melanie achieved her commercial breakthrough with Candles In The Rain, epitomizing the era of love and peace. Features the UK No. 9 cover of Ruby Tuesday and the US No. 6 Lay Down. (US:17 UK:5)

"Melanie has an awesome voice and she has no problem belting it out. The track Lay Down is amazing and she does a great take on Ruby Tuesday." "Definitely one of the most unique albums of the 1970s, full of power, passion and compassion. Melanie has such a beautiful voice and this album is great example of the fade from the 1960s into the 1970s."

"A striking and warm album. This has aged well, with only a very few somewhat lame hippy moments. Her Ruby Tuesday is truly remarkable."

"A lovely folk album, why it's so forgotten is a complete mystery to me. A couple of nice covers, Ruby Tuesday and Carolina On My Mind; the rest is all Melanie's work. Hippie appeals for peace and love are mixed with a bucket load of angst, with her voice having a beautiful fragile childlike quality, which often rises to really belt it out, making her one of my all time favourite singers."

"Nice little chunk of psychedelic pop. Lay Down and the title track are standouts but it's all good."

"By far the best album of Melanie's early period. Significantly more sophisticated than her previous efforts in terms of both writing and instrumentation. Lay Down rightfully brought Melanie to a much wider audience than she had previously enjoyed. It also garnered what may have been the highest level of respect of her career. It contains her first big hit, the stirring, gospel flavoured anthem to the Woodstock generation, but it's truly solid throughout.”

"Listen to the title track and you'll be taken back to the Woodstock era. Melanie has an occasionally raspy voice, but she delivers folk music with real verve. The title track is especially nice with the Eddie Hawkins Singers, a gospel group."

"Candles in the Rain and Lay Down touch me deeply and shiver my spine. The two closing tracks, Ruby Tuesday and Leftover Wine, have the same quality."