In Concert - JANIS JOPLIN****

Down On Me/Bye Bye Baby/All Is Loneliness/Piece Of My Heart/Road Block/Flower In The Sun/Summertime/Ego Rock/Half Moon/Kozmic Blues/Move Over/Try (Just A Little Bit Harder)/Get It While You Can/ Ball & Chain

A posthumous double live album from the dynamic vocalist Janis Joplin. It is divided into two halves, the first from her time with Big Brother & The Holding Company, the second with her later backing band Full Tilt Boogie. (US:4 UK:30)

“A great double-disc live album. The first record includes her performances with Big Brother and the Holding Company and the second her live material with the Full Tilt Boogie band. Both are great performances with Joplin's raw vocals. This material is a must-listen for all the Joplin fans around the world.”

“Captured both with Big Brother and the Full Tilt Boogie Band they are testimony to the unrestrained passion Janis squeezed, stretched, tore to pieces and then injected with the energy of an hurricane and made unique every song she performed on stage.”

“Since Joplin was known primarily as a live performer, her studio work was often viewed as a kind of compromise at best. Cheap Thrills had some live vocals and simulated a Big Brother concert effectively, but it never claimed to be the genuine article. So Columbia assembled these tracks from several different live performances with Big Brother and Full Tilt Boogie.”

“Joplin In Concert is an exciting enough live set, and full of life. It starts off like all good live alums should with a rousing crowd pleasing anthem in Down On Me, which should be played loud for maximum effect, followed by one of my personal favourites Bye Bye Baby, a beautiful slow blues, Janis always sounded so smooth here.”

“There is a subtle difference between both groups on this album, Janis obviously showed her skills as being the voice that led the group rather than vice versa and Half Moon, one of the better songs on the Pearl album shines here in its live version as does Move Over. The two years difference have taken their toll on Joplin and she does sound slightly jaded and her voice, due to alcohol consumption, sounds weak, but she always had spirit and still gives her all and Kozmic Blues is a beautiful, personal and spiritual song. The album ends on a high note with a solid version of Ball & Chain which is indeed a show stopper and a very fitting way to end a memorable live album, a fitting tribute.”

Live In Europe - RORY GALLAGHER****

Messin' With The Kid/Laundromat/I Could've Had Religion/Pistol Slapper Blues/Going To My Home Town/In Your Town/Bullfrog Blues

Irish blues-rock guitarist Rory Gallagher was always more appreciated as a live artist. Most of these tracks are classic blues songs that he had not previously recorded in the studio. (US:101 UK:9)

“From the first song Messin’ With The Kid Rory's guitar comes out swinging. Backed by excellent bass and drums, this power trio delivers rock and blues at its best. Perhaps no song among this fine collection shows just what a high level of playing this trio was capable of than Bullfrog Blues.”

“There is simply no way that one can listen at any length to Rory play one scintillating solo after another and place him outside the top ten guitarists in the history of rock. He was never terribly popular and even now is not especially well known to the public at large, but the fact is that he had utter mastery over his primary instrument. And unlike most guitarists, Gallagher was a multi-instrumentalist.”

“The album captured Gallagher and his group in prime form. Pure blues; extended rave-ups such as Messin' With The Kid, Gallagher's own blazing Laundromat and the stark and haunting harmonica and slide-guitar driven I Could've Had Religion weren't exactly fancy, but more than compensated for the raw sound with their driving enthusiasm. Electric blues simply didn't get much better than the nearly ten minutes of In Your Town, or the mandolin powered Going To My Home Town.”

“From the pounding groove the band inflicts to the opening Messin’ With The Kid, to the short bass and drum solos in the infectious boogie of Bullfrog Blues, this album is a true live feast and a testament to the level of musical empathy these guys had reached. Besides the power trio relentless drive of the aforementioned, it also offers the dragged and punchy, slide guitar and harmonica driven I Could’ve Had Religion, the mandolin craze of Going To My Home Town and the solo acoustic folk blues guitar mastery of Pistol Slapper Blues.”

“It's difficult to hear what Rory is saying during this concert but his guitar playing, whether electric or acoustic, is worth every penny as always. The man was a genius on the instrument.”

“It was once said of Gallagher's live shows that they'd start with the encore and go on like that, this is how this record goes.”

Argus - WISHBONE ASH****

Time Was/Sometime World/Blowin' Free/The King Will Come/Leaf & Stream/Warrior/Throw Down The Sword

Argus is the most acclaimed and best known album from the British rock band Wishbone Ash noted for their innovative twin lead guitar sound. However, their commercial appeal would now gradually diminish. (US:169 UK:3)

“Wishbone Ash's most celebrated album is essentially a heavy folk-rock disc with an innovative twin lead guitar sound. The guitar heroics are impressive enough to make the album of interest to prog fans, and as far as classic rock albums in general go it's well worth your time.”

“One of a handful of certified classic rock albums. Perfect in every sense of the word, with a singular sense of purpose and direction most others lack. This is the real deal.”

“Intelligent songs, beautifully structured yet still powerful, fluently and masterfully played. Listen to how the rhythm section reels in the twin guitars every time they threaten to noodle, in that gorgeous harmony that became the Ash trademark.”

“This is a milestone of the hard rock genre with emphasis on the melodic side of the music. Not as heavy as Sabbath or Deep Purple but in terms of melodic consciousness this one is far better. The dual guitars are close to perfection and the song craft reveals a classy quality. I don't see this as progressive rock but as a flawless piece of excellent hard rock music.”

“Every song on the album is incredible. The melodies and harmonies are infectious and the musicianship is impeccable. Even the vocals (never their strongest suit) sound good. But it's the double leads on Argus that make this the best twin guitar album ever.”

“Aside from the fact that some of the songs are fairly long, there is very little about this album that is progressive. It's really more hard rock with some grandiose themes and a few slightly longer songs. There's some decent playing, with OK guitar here and there, and a few catchy hooks and melodies, but I was struck by how generic the whole thing sounds for something with such a reputation as a classic.”

“Good and mellow tunes for relaxing to and winding down the day. There are some heavier parts too, and give the songs a nice warm feel. I personally would have preferred more heaviness, psych and darkness.”

Bolan Boogie - T REX***

Get It On/Beltane Walk/The King Of The Mountain Cometh/Jewel/She Was Born To Be My Unicorn/ Dove/Woodland Rock/Ride A White Swan/Raw Ramp/Jeepster/Fist Heart Mighty Dawn Dart/By The Light Of A Magical Moon/Summertime Blues/Hot Love

Bolan Boogie was an opportunist compilation released at the height of T. Rex mania. If featured some of his recent glam-rock hits, but also provided his newly acquired teen girl fans with an opportunity to hear his earlier hippy trippy material. (UK:1)

“A very varied and somewhat incoherent mixture is presented on this fine compilation, depicting Marc Bolan's unusual transformation from hippie fantasy bard to glittering pop giant.”

“Issued at the height of Bolan mania, this compilation united his early hit singles plus b-sides and a few assorted album tracks from his last, transitional Tyrannosaurus Rex releases and the first two T. Rex albums. This means that the listener encounters Bolan's primitively recorded spaced-out myth-psychedelic-folk as well as the rougher, reduced and simplistic boogie-pop that made him famous.”

“A canny compilation aimed at the unexpected chart success of Marc Bolan after plugging away on the British music scene since the mid-60s. Suddenly, almost overnight he went from acoustic underground cult act to electric teenybopper idol.”

“This early compilation stands out as an absolute gemstone in the career of Marc Bolan, and has well endured the ravages of time. Tracks such as By The Light Of A Magical Moon and She Was Born To Be My Unicorn, are steeped in Celtic myth and Tolkein fantasy from the peak of latter day Tyrannosarus Rex. Then we move on to the delightful halcyon days of electric T-Rex.”

“Bolan was pure dazzling genius, and combined with the expertise of producer Tony Visconti, he could do no wrong in the early 70s. Overall a splendid, flawless insight into Bolan's art and unique talent.”

“Bolan Boogie was released just as T. Rextasy was sweeping England, the album shot to number one in the UK. The album includes the band's first glam rock but also contains Bolan’s earlier acoustic work in Tyrannosaurus Rex, which was an early incarnation of T. Rex before he discovered glam rock. The album makes for a great contrast in listening as the band shifted styles and musical gears.”

World Of - THE TORNADOS*****

Telstar/Love & Fury/Popeye Twist/Globetrotter/Robot/Jungle Fever/The Ice Cream Man/Dragonfly/Monte Carlo/ Blue Blue Blue Beat/Exodus/Hot Pot

This budget album includes all of The Tornados hit singles, plus some B sides and later releases. They had a highly innovative sound created by the legendary producer Joe Meek. Only one of those shown on the misleading cover was from the original classic line-up.

“Telstar is a soaring, unstable bottle-rocket of a song. There's a naive optimism here, this song speaks of astronauts, satellites and signals beamed into deep space. This was basically a visionary and glorious slice of early '60s pop that will be instantly familiar to millions.”

“Telstar is a soaring wonder of a song, a utopian hymn to 1960s Britain, to the generation who'd never had it so good.”

“At the time it probably seemed quite futuristic, now it just sounds ever so retro-futuristic. As a flashback to a time when TV was black-and-white and the weapons race was going at full throttle, this is second to none.”

“Meek was a great producer who created music that was raw, quirky and incredibly inventive. This collection is way more fun than anything put together from the Phil Spector’s Wall of Sound approach.”

“The surreal organ sound mixed with a galloping rhythm and a catchy melody catapulted Telstar to the top of the charts on both sides of the Atlantic. This was a fantastic track with really new sound.”

“Record producer Joe Meek had plenty of success in the early sixties, but none of artists became consistent hit makers. In this, the Tornados were typical. They had one huge international hit that went all the way to number one in Britain and America, but while they had other hits in Britain, they are only really remembered for one track, which is of course Telstar.”

“There is something sweeping and eerie to this organ music, combined with harps and fleeting background voices that made Telstar the first UK No.1 in the US. If you listen to this LP you get the chance to hear many more similar tunes, each a bit different, but all wonderful.”

Recall The Beginning - STEVE MILLER BAND***

Welcome/Enter Maurice/High On You Mama/Heal Your Heart/The Sun Is Going Down/Somebody Somewhere Help Me/Love's Riddle/Fandango/Nothing Lasts/Journey From Eden

Recall The Beginning was released during a slump in the fortunes of Steve Miller. It was his last to feature prominently his blues-rock sound before he transitioned to more radio friendly songs. (US:109)

“This was Miller’s last LP before finding the formula that would bring him massive commercial success starting with The Joker. Structurally, it follows a format often seen in progressive rock of the era, in which side one is relatively conventional while side two is used to stretch out more.”

“The record before he found his commercial groove, it showed all the signs of good things to come without any radio hits.”

“Side one is above average song craft, but side two is something else again. Stellar writing and arrangements that float by in a dreamlike sequence that's capped with the superb Journey From Eden. It's the closest he would ever come to a suite of material that's almost art.”

“Quite an eclectic collection of tunes with a lot of musicianship that I think had gone unappreciated when this album came out.”

“This was the last album before Miller went radio friendly pop. But there was a time Steve led a San Francisco psychedelic rock group. This album is split between a tribute to early rock styles and a farewell to his particular style of bluesy acid rock. This mix of styles probably didn't do album sales any favours which is too bad since it contains some of his finest work.”

“This is a real evergreen favourite for me; side two in particular is simply gorgeous. This album is so much better than later, more commercial Steve Miller. A real shame that this never received the praise it deserved when first issued.”

“Released during the less known years of Steve Miller. Not psychedelic, or disco-pop, just blues-rock with several good songs.”

“The second side of this album has always been one of my favourite song sequences. Starting with Lover's Riddle each song dreamingly leads into the next until it closes with the hauntingly beautiful Journey From Eden.”

In Spite Of Harry's Toenail - GNIDROLOG***

Long Live Man Dead/Peter/Snails/Time & Space/Who Spoke/In Spite Of Harry's Toenail

Strangely titled debut album from the British progressive rock group with the unpronounceable name Gnidrolog. They expressed themselves through a wide range of musical styles, making it difficult to pin them down to any particular genre.

“It's easy to categorize Gnidrolog's sound as a cross between Van Der Graaf Generator, Lizard era King Crimson, and early Gentle Giant, but this music is in no way derivative. Emotionally intense and at times frighteningly difficult, on their very first record the band has succeeded in crafting a unique brand of eclectic prog that repeatedly challenges the listener without resorting to overly baroque instrumentation.”

“These guys can create all the atmospheres they want, from cello and flute, baroque like reminiscences as in Peter, to wild free guitar, horn and oboe improvisations over a bashing rhythm section at the tail end of Snails, or finger-picked, folksy inspired acoustic guitar parts as on Who Spoke, but always deliberately keeping the sound spectrum free from overdubs so nothing gets lost.”

“A pretty messy and inconsistent album. One moment they're playing some oddball rock music, sometimes even getting weird to the point of sounding like some mad men abusing their instruments, other times there’s some pretty jazzy folk, then some oddball psychedelia, etc.”

“The title track which closes the album is easily the best song here. Time & Space is also OK but most of the other material sounds rather boring. Even if this album has two clear highlights its still way too inconsistent.”

“The compositional side of the album is a mix of different eclectic prog-rock, with various moods that range from pastoral folk to heavy guitar riffs, not exactly what you would expect from an obscure band buried under the shades of time.”

“Features fairly non-commercial and often discordant prog-rock, with some hard rock passages, all in a concept album style.”

“The sole purpose of every song is to contort the ideas of harmony and dissonance. The tracks have distinctive melodies yet executed in a way that gives it a discordant type of sound.”