Sail Away - RANDY NEWMAN****

Sail Away/Lonely At The Top/He Gives Us All Our Love/Last Night I Had A Dream/Simon Smith & His Amazing Dancing Bear/Old Man/Political Science/Burn On/Memo To My Son/Dayton Ohio 1903/You Can Leave Your Hat On/God's Song (That's Why I Love Mankind)

Sail Away is considered the best album release from the sardonic American songwriter Randy Newman. Always more popular with the critics than the public he addresses controversial subjects like slavery and nuclear war. The quirky Simon Smith & His Amazing Dancing Bear was a hit in the UK five years earlier for Alan Price. (US:163)

“When Sail Away is good, it's very good. Political Science and Sail Away are both hilarious vignettes of American history that make you wonder why nobody writes these kinds of songs any more.”

“Sail Away is Randy Newman at the top of his game, writing and performing from the perspective of characters that it is almost impossible to sympathise with, yet you can't help but sing along with, thus leading you to question your own moral standards, which is something that very few songwriters ever manage to do. There's also lightness and frivolity as well, with Simon Smith & His Amazing Dancing Bear.”

“Some writers are funny. But Randy Newman isn't quite. He's sardonic and sarcastic with a pen dipped in bile. Yet you'll find yourself chuckling before you stop and realise the joke is on you. That's the genius of the man. On this, his best album, he gently tortures the world. Who else would couple such beautiful music to a song sung by a trader conning slaves onto his ship, as in Sail Away? Who else can have you singing lustily along to a ditty about nuclear annihilation?

“He is a master satirist with a gentle, but penetrating style that is shown to good advantage here in perhaps his most characteristic album. In the title tune, Newman subtly assumes the character of a black slave trader to satirize and at the same time slyly celebrate the American experience.”

“Randy Newman's simple songwriting, yet full of character and thematically very bold, is great. Sometimes, classicist music like Sail Away is really needed. That's why I love this album as it is filled with highly enjoyable melodies that explore traditional styles like ragtime and cabaret music. Newman's weary and whiny voice is very charming and surprisingly soulful and the way he represents the song's characters is really captivating.”

The Eagles - THE EAGLES****

Take It Easy/Witchy Woman/Chug All Night/Most Of Us Are Sad/Nightingale/Train Leaves Here In The Morning/ Take The Devil/Earlybird/Peaceful Easy Feeling/Tryin'

Self titled debut album from The Eagles, who before very long would become the most successful US band throughout the remainder of the decade. This release is more country than rock and includes the US top 20 hits Take It Easy and Witchy Woman. (US:22)

“This might just be their only true country-rock album, since they would increasingly move in the direction of mainstream AOR, though they wouldn't entirely eschew their country-rock background. If you are only familiar with Eagles songs played on FM radio, this album's all round country-tinged sound will come as a bit of a surprise.”

“The Eagles’ debut, unlike their later work, is actually a country-rock album. No blues, no AOR, just country and rock. And it’s pretty good at that. Take It Easy and Witchy Woman are classics, but songs like Take The Devil are not bad either.”

“Listening to their first self-titled album made me realize how accustomed I had become to their greatest hits. It also made me realize that many of their less famous songs were very strong in and of themselves and deserved more lasting attention than they receive. Eagles find the group’s beautiful harmonies already in place.”

“The Eagles in their earliest incarnation were firmly rooted in the country rock of Southern California, similar to Gram Parsons and the Burritos. Three big hits here, but the rest of it is also great, although nowhere near as solid an album as those they would release in later years.”

“The Eagles debut is a pretty good start, the band has a distinctive approach, though the stronger country flavour suggests that they are relying more on Bernie Leadon and Randy Meisner than on Don Henley. There's a consistency problem with the set, the best tracks are the hits. It’s a promising debut, but with the exception of the singles, nothing matches the band's best work.”

The instrumental work here is superb, with Leadon's bluegrass instincts and his Clarence White-style country-rock guitar breaks particularly impressive. This is a good solid debut with every track a classic. As well as the hits there are some real gems here.”

Lou Reed - LOU REED***

I Can't Stand It/Going Down/Walk & Talk It/Lisa Says/Berlin/I Love You/Wild Child/Love Makes You Feel/Ride Into The Sun/Ocean

Eponymous debut album from the former Velvet Underground leading light Lou Reed. This is a disappointing release with too many tracks performed better in alternative versions. (US:189)

“Reed’s return to recording after a prolonged period of inactivity resulted in an album that’s arguably lacking creative impetus, being made mostly of rehashes of his former group’s late material, and given a rather drab treatment with flat production and slightly hackneyed studio musician backing.”

“Fans of Reed will be more familiar with the Velvet's own versions Can't Stand It and Ocean, released sometime after this release. They're better versions with a more organic, jamming quality which is missing from this debut, even if the record does include a couple of catchy tunes, Love Makes You Feel and Wild Child, for instance.”

“There’s a reason why it’s a footnote in Lou’s catalogue, it’s a series of Velvets outtakes attempted with a more commercial sound. He sounds directionless and in need of a new phase with some brand new songs.”

“Berlin is a splendid ballad which is probably the pearl of his solo career, but not in this version: here the song is completely ruined by the messy arrangement and the dull vocal performance. Wild Child is the only enjoyable moment in this collection, with smart lyrics giving the feeling the guy is finally awake and having a bit of fun.”

“The songs on Lou Reed are mostly leftover Velvet Underground tracks, and while the material is good, the performances and production couldn't have been more inappropriate. Reed himself doesn't seem to have his heart in the music, and a bizarre backing band was not the right choice for Lou's songs at all. That would be easy to overlook, but the majority of these songs were done much better in earlier or later versions. Berlin doesn't have the intensity of the later version and most of the songs VU had recorded previously sound like bad cover versions, lacking bite and energy. Any songs exclusive to Lou Reed weren't much to write home about.”

“Lou Reed is more a historical curiosity than a powerhouse of artistic expression. It's difficult to listen without casting your mind on the past and to the future; there are hints of both.”

Live - THE OSMONDS***

My World Is Empty Without You-I'm Gonna Make You Love Me/I Can't Get Next To You (Medley)/Double Lovin'/Your Song/Sweet & Innocent/You've Lost That Lovin' Feelin'/Proud Mary-Free/Go Away Little Girl/ Sometimes I Feel Like A Motherless Child-Where Could I Go But To Lord-Every Time I Feel The Spirit (Medley)/We Gotta Live Together/Trouble-I Got A Woman/Hey Girl/Down By The Lazy River/Yo-Yo/One Bad Apple

The first live album from the bubble gum boy band The Osmonds. Recorded at the Forum, Los Angeles in December 1971, it captures the mania of teen girl fans at the height of their popularity. (US:13 UK:13)

“This supposedly live album is infamous for not being that live. At the time of it's recording the brothers were all sick and the results were so disappointing that they were made to re-do some of their vocals. You can tell, as many of the performances have a double-tracked sound to them. Still, it sounded like a good show and I was surprised to find out from the sleeve notes that the album was a double LP in America whilst in the UK it was edited' to fit on a single album.”

“I read there were technically difficulties and the tracks were re-recorded in the studio. Don't know if this is true, but it stills sounds live in concert and contains songs from the time that weren't Osmond records. It's a fine selection of tunes and I highly recommend it for its rare recordings.”

“I just thought they were some cheesy 70s act - and that's what blind prejudice will do. But then by accident and just for the heck of it I listened to this album, and what a groove. These white boys with soul could rip it up.”

“Osmonds Live is solid document of Osmania at its most delirious. With audiences less choreographed and malleable than they would become in later years this is the sound of teenage mania at its purest and its rawest, a never ending barrage of screaming, keening ecstasy that is already peaking before the band even takes the stage. It continues on its merry, maddening way long after the last roadie has left the building.”

“The Motown medley opens the show with all the pizzazz that its studio incarnation was lacking; further medleys later in the set capture the band hitting gospel and (briefly) rock & roll with equally passion. In between times, meanwhile, a barely audible Donny squeaks gallantly through his hits, and the girls just keep on squealing. It's an awesome sound.”

Live Cream Vol. 2 - CREAM****

Deserted Cities Of The Heart/White Room/Politician/Tales Of Brave Ulysses/Sunshine Of Your Love/Steppin' Out

Follow up live album from the blues-rock trio Cream who had disbanded three years earlier. This release is considered an improvement on its predecessor and brings to the fore the guitar of Eric Clapton. (US:27 UK:15)

“Containing just six tracks, this record delivers all the good aspects about Cream. Bruce’s bass is much more audible, volatile and adventurous than on any studio recording. Clapton is loud and excited, and Baker shows how he brings jazz into hard rock.”

“Cream live were terrific. Volume 2 catches the band really into it and cooking. Bluesy acid rock was rarely played any better. It wouldn't be long before aliens kidnapped Eric Clapton and replaced him with mediocre country bluesman.”

A much better selection of songs here than on the first volume. Cream were a sensational band live, and this set proves it. I have always said Cream's dinosaurean thud was a huge influence on the birth of heavy metal, and if you want proof just listen to Sunshine Of Your Love and White Room.”

“This is Cream in their purest form, performing live. Unquestionably one of their most consistent sets, virtually every track rips, doing the corresponding studio version of each cut justice. I'll take this over Volume 1 any day.”

“Overall this is a good album that presents an accurate picture of Cream's live work. There's some great improvisation and jamming at times, so frantic it reminds me of a dog fight. Steppin' Out features an outstanding guitar performance by Clapton and Baker's drumming is fierce.”

“The way these guys jam on their extended live cuts is full of jazz-like fluidity, bluesy rhythm, and the intensity of hard rock. It all comes together on this disk. Clapton's solos are extraterrestrial, and Bruce's voice is in good form.”

“A great live album; yet it feels only partially complete. The songs chosen here completely focus on Clapton. None of the jams allow Baker or Bruce to shine through as the elite talents they are. Instead, every song showcases Clapton via extended solos with only supporting roles for the bass and drums.”

Amazing Grace - ARETHA FRANKLIN***

Mary Don't You Weep/Precious Lord Take My Hand-You've Got A Friend/Old Landmark/Give Yourself To Jesus/ How I Got Over/What A Friend We Have In Jesus/Amazing Grace/Precious Memories/Climbing Higher Mountains/Remarks By Reverend C L Franklin/God Will Take Care Of You/Wholly Holy/You'll Never Walk Alone/Never Grow Old

Aretha Franklin returns to her southern gospel roots with the double album Amazing Grace. Recorded live from the New Temple Missionary Baptist Church Los Angeles she is backed by The Southern California Community Choir. (US:7)

“Here, Franklin, along with James Cleveland & The Southern California Community Choir, let some of the most performed traditional gospel songs unfurl in very patient arrangements, allowing the singers and the band to sincerely backup Franklin's booming, devotional voice, never allowing her to become too self-indulgent. The most impressive thing about the arrangements is that they forsake speed, often a hallmark of the more sanctified gospel recordings, for musical exploration.”

“Aretha takes us to her roots and shows us where that amazing voice came from - the church. I have never known a record have so many spine-tingling moments as this one. It's relentless in its ability to squeeze every last drop of emotion from these traditional gospel songs. The choir, the band and Aretha's voice all combine to produce one of the truly great live recordings. I challenge anyone not to be moved by the music here.”

“Aretha returns back to her roots by singing gospel, and predictably it's one of the best records you will hear in the genre, mainly because no how lacking in faith you are when Aretha sings, you know the gospel singer is still at the front of it all.”

“This is quite probably the most commercially unapproachable release of her illustrious career. It has no elements of pop or scattered elements of secular soul, but is through-and-through genuine southern gospel.”

“This album is fantastic, but it is not for everybody but one for those who love to listen to Aretha's voice. Being a tremendously gifted technical singer, this live set gives Aretha an opportunity to show off every trick in her book. But on this album in particular, her technical talent never overshadows the feeling and emotional impact of the songs, as it sometimes does at other points in her career. The album is a live recording from a Los Angeles Baptist church.”

Lookin' Through The Windows - JACKSON 5***

Ain't Nothing Like The Real Thing/Lookin' Through The Windows/Don't Let Your Baby Catch You/To Know/ Doctor My Eyes/Little Bitty Pretty One/E-Ne-Me-Ne-Mi-Ne-Moe (The Choice Is Yours To Pull)/If I Have To Move A Mountain/Don't Want To See You Tomorrow/Children Of The Light/I Can Only Give You Love

The Jackson 5 maintained the high frequency of their album releases with Lookin’ Through The Windows. However, this would be the last to feature Michael Jackson as a child singer. Includes the US top 20 singles Little Bitty Pretty One and the title track, the latter reaching No. 9 in the UK. (US:7 UK:16)

“It's what you might expect from a Motown album, a few well done covers with the hit singles thrown in for good measure. The Jackson 5 weren't really aimed at the album buying market, but that doesn't really mean that the quality suffered as a result.”

“Michael's voice was on the verge of breaking and these recordings amount to the last recordings of him with his childish voice. Don't be put off by that, though, because he was a special case with an extremely soulful and passionate voice, despite his tender years.”

“All in all, most of the songs are in a similar style to each other and it flows nicely into a solid album. There has definitely been some progress made from their first four albums, which had tended to rely on the youth of the group, whereas the later recording were geared toward honing the style of The Jacksons.”

"Children Of The Light is where the J5 meet the Partridge Family, stylistically speaking. This is typical of the shiny happy people early 70s poppy upbeat peace and love songs, that those from the era would have heard on AM radio before going to school, or in the background music of a teenage Saturday morning cartoon.”

“Lookin' Through The Windows was the last top ten album by the band for Motown and it showed a maturation in the band's sound. Michael's voice was changing, so the teenybopper angle that some previous songs took no longer fits.”

“Though the songs on Lookin' Through The Windows were a bit more serious than those that made them stars two years earlier, The Jackson 5 were still frustrated with the soon to be dated songs that were being fed to them. Despite this, it was still a decent album with many of the songs accommodating themselves well to Michael's slightly changing voice.”