Earth - JEFFERSON STARSHIP****

Love Too Good/Count On Me/Take Your Time/Crazy Feelin'/Skateboard/Fire/Show Yourself/Runaway/All Night Long

Jefferson Starship albums had a tendency to be somewhat uneven but this ended with Earth, the group’s most consistent release. Features the US No. 8 hit Count On Me and No. 12 Runaway. (US:5)

“If you are a true Jefferson Starship fan you must add this classic to your collection. The LP is full of the beautiful ballads and hard-rocking masterpieces that made the Starship one of the best bands of the 70s.”

“I wore my tape out from playing it so much. Songs like Count On Me and Runaway are timeless. If you are just discovering Jefferson Starship, this is a great way to start your collection.”

“This is the best and most underrated of all Jefferson Starship albums. Earth contains many fine moments. The hits Count On Me and Runaway are pleasant, lilting diversions, but the real goods are held in the songs by Grace Slick. Her cooing and growling on Love Too Good open the album with a funkiness not usually attributed to the Starship. Take Your Time is about as reflective and personal as Grace gets. Skateboard is an outright roller that blasts its way out of the speakers, and Grace truly wails. Of course, the album's centrepiece is Show Yourself that builds in intensity and musicianship from start to finish.”

“This is one of those few records where every song is good. Few of such recordings exist. My favourite is All Night Long, a progressive, spacey, late 70s version of acid-rock with a polished, glossy production, that sounds exactly like what 60s acid rock should have progressed to during the glossy disco era of the late 1970s.”

“Earth marks the end of an era for Jefferson Starship, both Marty Balin and Grace Slick would leave the band before the next album. Sonically, the trademark mid-'70s Starship sound is in full force, with the songs being terrific. This ends up being an irresistible, vastly underrated album.”

“Jefferson Starship's Earth is a sensational album, a feast of musical achievements conducted in a party-like spirit yet with the band incredibly tight and cohesive. We've got great vocals here, but the instrumental performances are every bit as good, and display marvellous cohesion. The compositions are, without exception, superb.”

City To City - GERRY RAFFERTY****

The Ark/Baker Street/Right Down The Line/City To City/Stealin' Time/Matttie's Rag/Whatever's Written In Your Heart/Home & Dry/Island/Waiting For The Day

City To City was the debut album from singer songwriter Gerry Rafferty, who a few years earlier enjoyed a top ten hit with Stealers Wheel. The excellent Baker Street was one of the best remembered songs from the late 1970s, reaching the top three in both the US and UK. (US:1 UK:6)

“I bought this for Baker Street I mean who didn't? Everything about that song is fantastic but I ended up liking a few of the other tunes. There is something very warm about Gerry's vocals and he was easily one of the finest songwriters of his generation.”

“Upon listening to this album it quickly becomes apparent that Rafferty has an excellent ear for melody. He appears to effortlessly turn his hand to whatever style he deems fit. This makes for an interesting listen as the album has many styles from folk to swing, all tied down by his melodic talent.”

“The arrangements and musicianship are simply stunning. There’s no doubt Rafferty was a real talent, albeit an erratic one and, despite some of the songs being a little too lengthy for their own good (particularly the closing duo), it’s a really good record.”

“This one has the classic Baker Street, about the restless person who desires to settle down but doesn't have the discipline to do so. It features blistering solos in saxophone and guitar, and Rafferty's laid-back vocal. The other hit was Right Down The Line a low-key standard issue love song.”

“Oldies radio stations have almost made the world tired of Baker Street, even though it has always been a great song. Right Down The Line may be a bit too sentimental for some people, although I loved it as a kid and still do. But what really sells this one is that all the songs are good, with great melodies, diverse lyrics and terrific arrangements. The styles vary quite a bit, all held together by Rafferty's voice, one of the most unique of the seventies, and the focus on the music as a whole rather than some star's instrument.”

“City To City was one of the best collections of music to come across to the States during the late 70s. Gerry Rafferty has a super smooth voice and is a great songwriter surrounded by great musicians.”

Watermark - ART GARFUNKEL****

Crying In My Sleep/Marionette/Shine It On Me/Watermark/Saturday Suit/All My Love’s Laughter/(What A) Wonderful World/Mr Shuck N Jive/Paper Chase/She Moved Through The Fair/Someone Else (1958)/Wooden Planes

Watermark is notable for the unique collaboration with songwriter Jimmy Webb. Garfunkel’s vocal style, together with the distinctive songs, yielded a perfectly matched combination in the judgement of some critics. (US:19 UK:25)

“Jimmy Webb’s odd writing style really fits Garfunkel’s personality. There's just something haunting about the way his beautiful high tenor blends with Jimmy's bizarre writing. The other songs are mostly pretty tunes, sung in a pretty way.”

“Beautiful songs, Jimmy Webb's words and Art Garfunklel always unique voice, what a pair these two made. The music is spiritually moving to the inner soul.”

“Watermark is one of the most intelligent, lovely albums made in the 1970s, a reminder that not all was disco or sappy ballads. Garfunkel is one of the great interpreters of Webb's pensive and often demanding songs. Webb was involved in this production and it shows: the arrangements are classy and never intrusive.”

“Jimmy Webb is a fine songwriter and Art Garfunkel is a fine singer. The time and thought that has gone into this album makes it a truly memorable combination. Has anyone interpreted these songs better?”

“His interpretations of Jimmy Webb's songs on this album are first rate. These songs are a combination of perfectly matched word and melody, and Garfunkel executes the emotion needed to bring the songs to life. This is a first rate album with a lot of care put into the production.”

“Watermark is a great album. It is, by far, the best release of Art Garfunkel's solo career. It's one of those overlooked musical gems that never got the attention or recognition it deserved.”

“The sublime songwriting by Jimmy Webb, at the top of his game, is fantastic. Art perfectly capture's the angst ridden lyrics and his voice was never better. This is a classic that has never aged.”

The Album – ABBA****

Eagle/Take A Chance On Me/One Man One Woman/The Name Of The Game/Move On/Hole In Your Soul/Thank You For The Music/I Wonder (Departure)/I’m A Marionette

The Swedish pop group Abba reigned supreme in the UK singles charts during the late 1970s, although they were regarded as somewhat lightweight by rock critics. Features the UK No. 1 hits Take A Chance On Me and The Name Of The Game. (US:14 UK:1)

“This was likely the height of their creativity and a perfect demonstration of why they should be taken seriously as musicians. Just like the title infers, this is ‘The Album’ to own from the band.”

“If you are going to try an album from Abba, make it this one, there are no bad moments, only pure pleasure. This is without a doubt one of those albums that has held up with time, and is so rich that it should be hailed a classic.”

“In the second half of the seventies the songs of Björn and Benny had more depth and musical diversity than before. The vocal and instrumental sound of the Swedish pop band reached its peak.”

“This album is quite awesome. You get some really catchy singles on the first side that are wonderfully sung and full of simple yet superb rhythms. The second side contains tracks that, in my opinion, are even better. So why do hipsters hate this?”

“This was the album where Abba showed the world that they were a little more than just a pop band. Björn and Benny were the primary songwriters and here they display a knack for writing slightly more sophisticated numbers that cut down on the cheese.”

“It's unfortunate that Abba has such a questionable reputation because this is really timeless pop music. Beneath their shallow lyrics and glitzy veneer, there is some ridiculously well-crafted stuff here. The Name Of The Game is two complete songs in one, going through a typical verse to chorus build-up, only to suddenly meander off into a whole new bridge section before triumphantly returning to the chorus.”

“No other recording act has ever been able to write music like this. The melodies are unbeatable, full of hooks, a mixture of melancholy, sweetness, sadness, happiness and joy, sensuality, restraint and freedom. How can one write music any better?”

Running On Empty - JACKSON BROWNE***

Running On Empty/The Road/Rosie/You Love The Thunder/Cocaine/Shaky Town/Love Needs A Heart/Nothing But Time/The Load-Out/Stay

Singer songwriter Jackson Browne’s Running On Empty is a very unusual live album as all the tracks are previously unreleased, and are about life on the road. The title track reached No. 11 in the US singles chart. (US:3 UK:28)

“Writing an album on the road about life on the road. It sounds so obvious but I can't think of anything like that ever having been done before. So, the theme behind the album is set. It turns out that the execution is the key. This is a very good album.”

“Jackson Browne's Running On Empty is unlike any live album you are ever likely to have heard, containing all previously unheard material and recorded at various places on the road from the tour bus itself to hotel rooms, in rehearsal and lastly live on stage. It is a fascinating commentary about life on the road delivered with Browne's usual honesty.”

“While other artists' live albums are dull and overindulgent affairs, Jackson Browne turns in a lean and focused effort. With ten new songs, he crafts a very effective concept album.”

“Another Jackson Browne album that meanders towards inevitability. The difference with this one is that it is recorded in front of a live audience. Unfortunately, the usual excitement and atmosphere of a live show is lacking as it is much too safe and pedestrian. After the first three tracks which were all good I found my interest waning, and I wasn't left wanting more at the end.”

“It takes a truly unique genius to create something as intensely and fascinatingly boring as this masterpiece of utter banality, and to do it live is almost godlike.”

“The title track still holds up well. But the rest of the album does nothing for me. It's pleasant enough in a 70s soft rock sort of way. But I cannot fathom how it was so popular. It's just so mellow.”

“You've got to give him credit for trying something new with a live album. None of these songs had been released on a Jackson Browne album up until this point, and it's a concept album about life on the road. Not half bad, but I can think of better singer-songwriters.”

Saturday Night Fever - SOUNDTRACK****

Stayin' Alive/How Deep Is Your Love/Night Fever/More Than A Woman/If I Can't Have You/A Fifth Of Beethoven/ More Than A Woman/Manhattan Skyline/Calypso Breakdown/Night On Disco Mountain/Open Sesame/Jive Talkin'/You Should Be Dancing/Boogie Shoes/Salsation/K-Jee/Disco Inferno

The Grammy winning double LP soundtrack Saturday Night Fever was the best selling album of the late 1970s, topping the US album chart for nearly six months and the UK chart for almost as long. Features the Bee Gees best remembered disco songs, the US No. 1 hits Stayin’ Alive, How Deep Is Your Love and Night Fever. (US:1 UK:1)

“A great soundtrack to a great film. It's crystal clear in retrospect, that the intensely negative reaction to disco was just the panic of male rock fans challenged by a new order. Yes, the best tracks are supplied by the Bee Gees, but most all of the material just glides a long wonderfully. Just try not grooving.”

“Lets not mince words, The Bee Gee's stuff here is just amazing and the best disco music you are likely to hear. Sadly though the other tracks are a bit hit and miss and take the cheese quota to worryingly high levels at times.”

“Saturday Night Fever isn't so much a soundtrack as a genre-defining compilation. Although the LP is ostensibly just a collection of assorted songs, the movie itself has become so iconic that it almost serves to define the disco movement.”

“Saturday Night Fever, although dated, has some great material and captures the essence of the disco era. The Bee Gees provide the album's strongest tracks while the rest play like a less than cohesive mix-tape, only two of the five instrumental tracks holding up really well. Some tracks are just too disco dependent and end up drowning in a haze of polyester leisure suits, gold chains and platform shoes.”

“If you're going to have at least one disco album in your collection, you might as well make it this one. All the hits that made disco so big in the first place are on this album. Pretty much all the Bee Gees material are stone cold classics. Unfortunately the instrumentals weigh it down quite a bit - they're not bad, but they don't translate well to record. Saturday Night Fever is the definitive disco album; it's very rare for just one LP to represent a musical cultural phenomenon.”

“Love it or hate it, whether you were there or not, disco was not just a fad in the late 70s, it became a worldwide obsession. This album was the zenith of the movement.”

Slowhand - ERIC CLAPTON***

Cocaine/Wonderful Tonight/Lay Down Sally/Next Time You See Her/We're All The Way/The Core/May You Never/Mean Old Frisco/Peaches & Diesel

Slowhand, like many solo Eric Clapton albums, is rather uneven with too many forgettable tracks, yet it sold very well in the USA, helped by the No. 3 hit single Lay Down Sally. (US:2 UK:23)

“The problem with Eric Clapton isn't that he's boring (though he unquestionably is), it's that he's pompous enough to believe his own hype and internalize it. Listen to Slowhand and ask yourself if you've ever heard any song as shamelessly cheesy and earnest as Wonderful Tonight anywhere else.”

“Containing two well known hit singles and another of his signature tunes, Slowhand is definitely one of his better albums. With covers of songs by JJ Cale and Don Williams, Clapton sidesteps the blues to some degree, particularly by adding some country to the mix. While some purists may bemoan the lack of blues or even passion here, I think the producer Glyn Johns, does a fine job in coaxing a good album from Eric.”

“This music has no substance. The lyrics have just as much weight as any corny pop song. The album seemed contrived and formulaic. In the end this remains not that good, since it's just so forgettable. Would anyone care about Slowhand if it wasn't by Clapton? I think we all know the answer to that.”

“There is some lively stuff with a few toe tappers here and there. Of all his solo releases I think this is Eric Clapton's best, primarily because most is just mediocre.”

“This doesn’t exactly forge any new grounds in the world of rock unlike any of Clapton’s ‘60s bands. The whole album is safe and marketable. Get this out at parties if you need some safe rock music, but don’t be surprised if Slowhand ends up collecting dust for years at a time.”

“It's very laid back and not very exciting, but it plods along at an even pace that you can settle into if you're of a mind to.”

“Slowhand is clearly one of Eric Clapton's stronger solo releases. Whereas there are plenty of guitar solos and effects, many of these tunes are quite pleasing. A solid if not overly spectacular release that showcases the mellow side of Eric Clapton.”