Country Life - ROXY MUSIC****

The Thrill Of It All/Three & Nine/All I Want Is You/Out Of The Blue/If It Takes All Night/Bitter Sweet/Triptych/ Casanova/A Really Good Time/Prairie Rose

Roxy Music were riding the crest of a wave at the time of the release of Country Life. They had put aside their art-rock credentials, to adopt a more glam rock sound. Features the UK hit single All I Want Is You. (US:37 UK:3)

“In tracks one to four we have the classic Roxy Music sound, great vocals, interesting lyrics, funky guitar and some very jazzy arrangements. Perhaps this is them at the height of their creative powers, confident enough to push out some very uncompromising sounds. It's great that such a band could have been so commercially successful in the early seventies.”

“No one other than Bryan Ferry could sing with this much smug conviction, so full of himself and his own style and still make me like it. Yes, Ferry had that unique ability.”

“Its pretty standard glam music played safely. It’s not quite as unique or interesting as their previous two albums, and without Brian Eno Roxy Music were a lot less noteworthy. Still it’s not bad, just not as memorable and with more filler.”

“Roxy Music had proved that they could produce an interesting progressive-glam amalgam without Brian Eno, and on Country Life they perfected it. Bryan Ferry goes full crooner more often than on any previous album, but the band's art rock credentials never take a dent.”

“The overall impression I get from Country Life is of band going through the motions a little bit, seemingly unconcerned that the spark that made them so vital in the first place was visibly fading before their eyes.”

“The musicianship is still tops, and Ferry's vocals are magnificent, but they still couldn't put all the pieces together to make an essential classic.”

“Roxy Music's Country Life is a superb listen. Take all the musical elements of 70s era Pink Floyd: screaming guitar solos, horn sections, keyboards, hypnotizing bass lines, and melody driven vocals. But instead of sprawled-out, epic, ten minute tracks; compact it into shorter structured pop songs.”

“This is Roxy Music's most overtly rock album. Whether this was as a reaction to their prior art-rock leanings, an attempt to become more commercial, or because Bryan Ferry was hearkening back to his soul and pop roots is immaterial.”

Stormbringer - DEEP PURPLE***

Stormbringer/Love Don't Mean A Thing/Holy Man/Hold On/Lady Double Dealer/You Can't Do It Right/High Ball Shooter/The Gypsy/Soldier Of Fortune

Stormbringer was the second Deep Purple album fronted by replacement vocalist David Coverdale. Although he was an excellent hard rock singer most fans preferred the earlier classic line up. (US:20 UK:6)

“The problem for rock fans is there's just not much to get excited about. Stormbringer is a reasonable intro but not in the class of past rock classics. It's an indictment that my favourite tracks on this album are not even rockers.”

“It's a good album but if it wasn't for Ritchie Blackmore's distinctive guitar playing it wouldn't sound at all like Deep Purple. Still, it’s a good solid effort which definitely grew on me after repeated plays. I also think it set a template for David Coverdale's early Whitesnake sound.”

“Stormbringer was a different type of Deep Purple album, as subtle funk and soul elements were present. The frenetic paced rock of their previous early releases was toned down, and the vocal combination of David Coverdale and Glenn Hughes continued to add harmonies and a vocal style that was new to the band’s music.”

“Sounding soulful but faintly neutered, the mighty rock 'n' roll juggernaut quite distractingly slowed. Apart from the remarkable keys of Lord it sounds like an entirely different band. Not terrible but it could've been significantly more interesting.”

“It's the final nail in their coffin for me. The shift to commerciality is now complete, and they sound utterly typical for their vintage.” “The first thing fans will notice is the lack of driving riffs and solo sections which were closely associated with Deep Purple. The songs are a lot shorter and more laid back, particularly the first half of the album.”

“Whatever magic the new line-up had with Burn this was not duplicated here. There are some standout songs, especially the title track, which is as stunning and propulsive as anything Purple did in this era. Great lyrics and singing from Coverdale with a supernatural theme, and Blackmore exhibits another flawless display of power metal.”

Sheer Heart Attack - QUEEN*****

Brighton Rock/Killer Queen/Tenement Funster/Flick Of The Wrist/Lily Of The Valley/Now I'm Here/In The Lap Of The Gods/Stone Cold Crazy/Dear Friends/Misfire/Bring Back That Leroy Brown/She Makes Me (Stormtrooper In Stilletos)/In The Lap Of The Gods Revisited

Sheer Heart Attack cemented the reputation of Queen as the most creative rock act to appear in the mid 1970s. Features two excellent hit singles, Killer Queen and Now I’m Here. (US:12 UK:2)

“It may be their heaviest overall. Freddy Mercury's superb layered vocals combined with the sense of melody of the group, as well some very smart arrangements, make this a great classic hard rock album.”

“Sheer Heart Attack was rarely off my turntable. It was a revelation; a collection of songs whose sheer diversity made it something of a phenomenon.”

“Queen's third album sees them begin their transition from bombastic proto-metal monster to a glammed-up hard rock unit. The two most famous songs from here neatly sum up the album's various contradictions - Killer Queen is a craftily honed slice of glam-pop brilliance, whilst Now I'm Here showcases Freddie's vocal wizardry as he intones strange lyrics over an alternating spacey and heavy musical backing.”

“Like most of Queen´s releases Sheer Heart Attack is of a quite eclectic nature. In addition to the hard rocking tracks, the album features both epic, theatrical, progressive and ballad type elements. Everything is delivered with great skill both instrumentally and vocally. The powerful and organic sound production further enhances the listening experience.”

“Sheer Heart Attack is the first truly great Queen album. It covers a variety of musical styles and remains consistent throughout. It's doesn't overdo the bizarre campiness or succumb to overproducing.”

“If you're a fan of Queen's flamboyant mixture of hard rock and exquisite melodic diversity, then this album is hard to surpass. It rocks out from the very beginning, with Freddie's falsetto punctuations backed by Brian May's hyperactive ultra-heavy guitar.”

“Sheer Heart Attack established their creative musical stamp. Brian's guitar solo multi-tracked sound is aligned with the intense theatrical vocal harmonies

Borboletta - SANTANA***

Spring Manifestations/Canto De Los Floros/Life Is Anew/Give & Take/One With The Sun/Aspirations/Practice What You Preach/Mirage/Here & Now/Flor De Canela/Promise Of A Fisherman/Borbolletta

Borboletta seems to have divided the critics. Some consider it to be too mainstream with slick disco, whilst others described it as Latin jazz influenced rock at its best. (US:20 UK:18)

“With Borboletta Santana continued on his journey through the fusing of jazz with rock and allowing his spirituality to shine through.”

“Their material is starting to slip a bit. Honestly, there just is nothing here to get into. Borboletta is pleasant enough but it could have been so much better.”

“This is not Santana's finest, but fortunately it's still quite good. There's an interesting soul/disco angle throughout. Some have found it to be an enjoyable twist on the Santana formula; others have recoiled at it, and pegged Borboletta as the moment Santana become too mainstream.”

“It seems to constantly hover between plunging into Latin-tinged fusion on the one hand and moving back towards a more mainstream sound on the other.”

“Very jazz fusion sounding stuff that is pretty good. Carlos Santana's guitar is a big part once again and he really knows how to use it.”

“This is my least favourite Santana album, it has major amounts of slick 70s disco type stuff that dilutes the raw sound, power and energy Santana usually displays.”

“This is an amazing album which features some of their most awe inspiring and exhilarating guitar work ever.”

“This is Latin jazz influenced rock at its best. Sometimes when Santana has tried to be experimental he could get a little tiresome, but the music on this record grabs your attention and never lets up. This album, which weaves its way through various moods, is alternately serene, funky but always interesting.”

“This is one of my favourite Santana works because it is romantic and spiritual. The Brazilian influence is also strong which gives Santana a different rhythm. The only let down is that the lyrics got a little preachy, but otherwise a beautiful piece of work.”

Mother Lode - LOGGINS & MESSINA***

Growin'/Be Free/Changes/Brighter Days/Time To Space/Lately My Love/Move On/Get A Hold/Keep Me In Mind/Fever Dream

The soft rock duo Loggins & Messina were at the peak of their popularity in the USA at the time of the release of Mother Lode. However they never charted in the UK where they were little known. (US:8)

“Kenny Loggins and Jim Messina produced some of the best smooth music of the 70s. Many tried and succeeded commercially, but few managed to also succeed artistically. This is probably my favourite album by them and the last really good one, as they went gradually downhill after this. The arrangements and production are impeccable as usual, the harmonies and songwriting are some of their best as well, with many beautiful complex orchestrations and refined song structures.”

“This record has a wonderful musicality, with very good musicians on diverse instruments that are put together nicely on well written songs. Jim Messina's soloing on guitar on Move On is very good and his mandolin on Be Free is a revelation with such fine picking.”

“All the songs are pleasant enough to listen to. A very easy listening feel to it, with nice music and vocals, but nothing to make it memorable.” “Loggins and Messina were part of the laid back 70s pop scene. The difference is that for the most part, these guys pulled it off pretty well. Loggins here does a fine job of singing, and only goes over the top a couple of times. The musicianship is undeniably good, and Messina was always an excellent producer.”

“My favourite Loggins and Messina album. This is not the sort of breezy pop music this duo is known for. Rather, Mother Lode features some complex, intricate instrumental passages that primarily showcase country instruments, but with an effect that is closer to world music, sometimes with a vaguely middle-eastern feel.”

“Their music never dies, it only gets better with the years. The Mother Lode LP in particular has some really awesome songs that you will become addicted to, and you will want to play it over and over again.”

Crime Of The Century - SUPERTRAMP*****

School/Bloody Well Right/Hide In Your Shell/Asylum/Dreamer/Rudy/If Everyone Was Listening/Crime Of The Century

After a couple of failed attempts the British progressive group Supertramp achieved their commercial breakthrough with Crime Of The Century. Features the UK No.13 hit single Dreamer. (US:38 UK:4)

“Most important for the album's success is the brave step deciding not to go for an all-out prog rock approach. Instead they took lessons from prog, but rather than trying to imitate their heroes, they crafted their own sound, bringing in prog-like instrumentation and complexity only when the material demanded it. As a result, each of the songs is a perfectly crafted pop-prog gem, undeniably catchy but at the same time with enough art rock twists to be of interest to prog fans.”

“How I wish I could have been there, growing up with albums of this kind, dreamy tones, sweet guitar solos, piano flows and funny but true lyrics, with echoes of pure brilliance.”

“Yes, this is definitely one of the classics, entirely deserving of its reputation. The big question is of course, is this prog or pop? You could call it highly ambitious, thought-provoking, superbly crafted pop. Or you could just call it outright prog, but with the discipline of pop sensibility. Certainly a ‘not a weak moment’ type of album.”

“Crime Of The Century came from out of nowhere, propelling Supertramp to stardom. A band that had shown little promise on their first two releases suddenly released a concept album that stood out with its clean production, catchy tunes and tales of alienation, madness and loss of soul.”

“Musically, this is one of the best prog rock albums I've heard, and I'm not sure there's any point in trying to describe it as anything else. Supertramp never seem to get mentioned when people discuss the genre, choosing instead to classify them under the broad umbrella of pop rather than rock. Everything about the music on here - the production, instrumentation, structure of songs, chord progressions, even the pitch of the vocals - is undeniably prog. And it's great.”

“From the blazing opening harmonica note to the final, beautiful symphonic instrumental, Supertramp created a majestic, maddeningly dark look at human emotions. The band overshadow their sometimes nonsensical wit by supporting it with lush melodies, harmonies and lyrics.”

War Child - JETHRO TULL***

War Child/Queen & Country/Ladies/Back Door Angels/Sea Lion/Skating Away On The Thin Ice Of A New Day/Bungle In The Jungle/Only Solitaire/The Third Hoorah/Two Fingers

After two albums of extended suites, the first as a triumph, the second as farce, Jethro Tull reverted to short tracks. Alas, with the exception of the title track, the songs here can only be considered as average. (US:2 UK:14)

“Not an obvious classic, but not a commercial or critical disaster either, this is mostly a forgotten album.”

“The overall feeling is of intense disappointment, especially as the early stages of their career were so impressive. It wasn't all downhill from this point forwards, but for me, there would be no more Jethro Tull albums that came anywhere near the quality of those heady days when they had few equals.”

“This really isn't anything special considering Tull had given us some of the best progressive music. War Child just isn't very memorable or captivating. It just feels like a filler album, it has some moments, but mostly it can be left forgotten.”

“After the negative reception of their previous release, Jethro Tull decided to record a an album that was bit more simple. When it comes to the quality of the music this is a step backwards.”

“Tull's first studio album of conventional songs (as opposed to album-length suites) since Aqualung sees the band taking a more hard rock slant. This can't quite cover for the shakiness of the material, or disguise the fact that the group's knack for writing shorter, pithier songs had atrophied.”

“A fairly average Tull record. There are some good tracks thrown in with a fair bit of dull stuff. The title track is quite good, and although there are no terrible songs quite a few of them drag.”

“I have no idea what happened to Jethro Tull mid-way through their career. It must have been a really traumatic experience whatever it was, because everything up until Thick As A Brick was really great. Sadly, most subsequent releases such as this are a bit of a disappointment.”