Death Walks Behind You - ATOMIC ROOSTER****

Death Walks Behind You/VUG/Tomorrow Night/7 Streets/Sleeping For Years/I Can't Take No More/Nobody Else/ Gershatzer

Death Walks Behind You was the follow up album from the British progressive band Atomic Rooster who achieved some commercial success in the early 1970s. Includes the UK No.11 hit single Tomorrow Night. (US:90 UK:12)

“Death Walks Behind You is probably their most famous offering, and it starts off promising with the title track. After that the album unfortunately fails to deliver, even if the sound is raw and cool, with a sinister horror movie piano and heavy riffing. If you're an enthusiast of British hard rock, you'll probably like this album, but I had expected more from it.”

“The album is pretty good overall, with plenty of light and shade particularly on side two, sombre gothic keyboard passages alternating with the heavy interludes.”

“Death Walks Behind You is definitely the band’s finest hour and one of the most remarkable hard rock LPs from this time. The band was way ahead of its time and one of the heaviest bands around. They played riff based, organ driven, angry hard rock with lots of progressive influences. This album is definitely a must hear if you consider yourself as fan of 70s hard rock.”

“Atomic Rooster's masterpiece, Death Walks Behind You is the best example of everything that made them such a fine band. Amazing sharp organ and piano are laced throughout, as are the wonderful vocals and powerful guitars. And the songwriting is just superb. Atomic Rooster were one of the greatest English bands of the 70s that walked the line between proto-metal, hard rock, and heavy progressive rock, and did it very well. This is a total masterpiece, with no weak tracks.”

“Death Walks Behind You was the second album by Atomic Rooster. This LP is far heavier than their debut and the songwriting is stronger this time. It is no surprise that the album has received lots of critical acclaim over the years. I consider it to a true progressive rock classic.”

“A solid early 1970s prog rock offering. There is a very strong hard rock influence to their sound. The vocals are very theatrical and can become loud in certain sections. It offers a vast array of instruments, from the usual rock ones to flutes, pianos and organs.”

It'll All Work Out In Boomland - T2***

In Circles/JLT/No More White Horses/Morning

It’ll All Work Out In Boomland was the sole 1970s album release from the obscure British progressive band T2. Despite positive reviews it achieved little commercial success and the group disbanded during the recording of the next album.

“It'll All Workout In Boomland combines the heaviness of Black Sabbath with the lyrical beauty of Love's Forever Changes. They are all superb musicians who manage to make a heavy progressive album that is an absolute joy to listen to.”

“This is definitely among the greatest albums of the whole 1970s. T2's masterpiece offers a fantastic combination of heavy psychedelia, progressive and hard rock.”

"No More White Horses could very well be one of the greatest songs ever written and the other three cuts aren't any weaker. The album is a complete pleasure for every fan of this kind of music.”

“Although I don't think it is quite the lost classic that it is made out to be, it's certainly an interesting prog rock take on a hard psych sound, particularly notable for having substantially less focus on keyboards and more on lead guitar than many groups of the era. The vocal harmonies on show are interesting too, though here I think they suffer from the slightly muzzy sound quality.”

“T2 offers us some ultimate quality heavy psych/progressive rock music with these four long numbers. The shortest of the cuts here is almost six minutes long while the longest piece here forms the whole of side two by itself. I can't name my favourite track since these are all so perfect. I'm a psych/prog fan and in my opinion this is one of the strongest albums within these genres.”

“Nothing earth shattering here but it's a nice rock album with very progressive leanings. If you prefer songs to suites and overplaying musicians but like good rock music then I say don't be afraid. I don't get a tired head listening to this, it keeps me interested throughout without making me wonder how long it's going to go on. For a progressive album, that's about as high praise as I can give.”

“The best part, after the guitar playing is the vocals that exactly suit the music. It would have been a perfect album, except for the too long twenty minute Morning. All of the other songs are great, especially No More White Horses."

Sugarloaf - SUGARLOAF***

Green Eyed Lady/The Train Kept A Rollin'/Bach Doors Man-Chest Fever/West Of Tomorrow/Gold & The Blues/ Things Gonna Change Some

The eponymous debut album from the Denver rock band Sugarloaf, which includes an extended version of the US No. 3 hit Green Eyed Lady. They would go on to enjoy only limited commercial success before splitting. (US:24)

“This self-titled debut is well measured, focused and proficient if, in common with many debuts of the day, it is also overtly pan-genre, wobbling from progressive to blues to close-part harmonised folk-rock.”

“The group had one hit. It is hard to understand how they came out with Green Eyed Lady when the rest of the music is so incredibly generic and uninspired. However, the technical musicianship is definitely competent.”

“This is the band that gave us Green Eyed Lady, which is included on this album where you get the song in its entirety (it's a shame too many stations play the edited version). But then I found the rest of the album very messy. Some good songs are mixed in with a bunch of not-so-good stuff.”

“Sugarloaf were a band that should have done a little more homework before they rushed into the studio to record this album. If they either trimmed off the excess fat, or perhaps make the extended cuts go somewhere, then I would rate this album higher. I got the feeling this was rushed, and it's a miracle that Liberty Records allowed it to be released. Basically, buy this album if you want to hear Green Eyed Lady in its entirety.”

“Sugarloaf were one of those one-hit wonders that few outside of the underground set even knew had an LP. Despite the fact that the edited version of Green Eyed Lady became a decent sized hit, the album has always been a comparatively tough item to find, due to Liberty's limited promotion. From the sound of the hit one might assume this band were a heavy prog/psych outfit. But most of the rest of the material can be more accurately described as semi-hard prog rock, with psych influences and semi-commercial orientation, plus an emphasis on the Hammond organ.”

“Great music for those of us that enjoy real musical talent, featuring driving tasteful bass, ever present keyboards and guitars that are very good with tight precision.”

The Last Puff - SPOOKY TOOTH***

I Am The Walrus/The Wrong Time/Something To Say/Nobody There At All/Down River/Son Of Your Father/The Last Puff

Following personnel departures Spooky Tooth vocalist Mike Harrison recruited members of Joe Cocker’s Grease Band to fill the vacancies, who influenced the sound of the group’s third album The Last Puff. (US:84)

“Last Puff returns to the bluesy hard rock of Two, but here, the sound is fuller and more elaborate. Thicker keyboards and more emphasis on female backup vocals make this sound somewhat like Joe Cocker’s work of the period - a lot of the same players were used. This, though, has a hard rock edge.”

“This record starts out in prime fashion with a whacked out cover of The Beatles I Am The Walrus and then moves into the chunky blues rock of The Wrong Time. After these two tracks things slip into a pretty average blues-rock sound that doesn't thrill me that much.”

“Nothing could live up to Two but this is still an excellent LP. The keyboards alone are ethereal and psychy. The vocals as usual are outstanding and the guitar, when it gets a chance, is fantastic.”

“The Last Puff is a very solid and very good album of keyboard driven English hard/blues rock. There are some fantastic songs here, like the doom-ridden cover of The Beatles I Am The Walrus.”

“Since there was no resident songwriter aboard, Mike Harrison decided to record a series of arrangements and adaptations of existing rock repertoire. His choice of material is impeccable and the bands interpretations truly inspired, resulting in an excellent piece of music, different from the original incarnation of Spooky Tooth, but nevertheless highly satisfactory and worth listening to. The overall sound is quite similar to the band previously, and any Spooky Tooth fan will find this album most enjoyable.”

“This album starts off well, but trails off quickly, becoming the kind of not so much here or not so much there general rock record that only serves to bore.”

“It's mostly a nice introspective chill out LP. If you are expecting the full on attack of Spooky Tooth's earlier releases you will be disappointed. This is more like the country-ish/rustic stuff that was popular for a couple of years in the early 70s.”

Just For Love - QUICKSILVER MESSENGER SERVICE***

Wolf Run Part 1/Just For Love Part 1/Cobra/The Hat/Freeway Flyer/Gone Again/Fresh Air/Just For Love Part 2/ Wolf Run Part 2

After several personnel changes Quicksilver Messenger Service on Just For Love move away from their original psychedelic folk-rock sound to a more blues-rock style. (US:27)

“Just For Love has some really perfect moments. For example The Hat, Gone Again and their biggest hit Fresh Air, which is just unbelievable. The shorter songs are nice too and they fit the album even if they're not as mind-blowing.”

“Just For Love comes across as a band going through changes and organising their sound. Although there are some good moments - the guitar playing is always enjoyable - but some of the ideas are stretched out rather than built and constructed upon to make a stronger album. In those days bands really were pumping out albums at a fast rate which surely has an effect on the writing.”

“This album heralded a new direction for Quicksilver with Dino Valenti returning after doing time for a drug bust. While this may not be their strongest album I would have to say it's worth buying for the song Fresh Air which became an anthem of the time.”

“Certainly QMS represented the best of "jam rock" with their style of two guitar, point and counterpoint method of playing. Whether intentional or not they touched the very essence of classical music structure and connotation, which resulted in a musical conversation rather than merely a song.”

“The way the lead guitarist plays on this album is out of this world; way above and beyond the realm of typical rock guitar playing. From the powerful thrilling boogie glides on Freeway Flyer to the intoxicatingly beautiful and sensual melodic whispers and caresses on Gone Again, his guitar consistently and spontaneously delivers what seems to be just the right sound for the moment and the context, with never a dull moment.”

“Unlike the psychedelic folk-rock of their earlier releases, Just For Love features the bluesy keyboard work of session-man Nicky Hopkins. As a result, this album is less San Francisco acid-rock, and more progressive blues-rock. A great American release for fans of the British sound.”

Barrel - LEE MICHAELS***

Mad Dog/What Now America/Uummmm My Lady/Thumbs/When Johnny Comes Marching Home/Murder In My Heart (For The Judge)/Day Of Change/Think I'll Cry/Games/Didn't Know What I Had/As Long As I Can

Barrel continued the commercial growth of singer songwriter Lee Michaels, helped out again by his drummer sidekick Frosty. He is remembered for his virtuosity on the Hammond organ. (US:51)

“I find it hard to categorize this music. It's closest to singer songwriter, but with a more 60s vibe. If you can imagine the barrelhouse keyboard player in a saloon in the old west playing occasionally funky, mellow 60s music with piano, Hammond organ and harpsichord, you get the idea.”

“Lee had a real talent for writing nice melancholic ballad tracks and he continues here with What Now America and I'll Think l'll Cry. However the best song for the newcomer is the Hammond organ driven Day Of Change, which is probably the easiest track to latch onto.”

“The rock duo of Lee Michaels and Frosty on drums are back. This is by far the best album the duo ever put out, with great songs like the radio friendly Mad Dog. Another song that meets the great category is the anti-war What Now America, a love song any woman would like to have sung to her.”

"Day Of Change was prophetic in that the music culture was sitting at the precipice of change when this recording was hitting American streets. The song is haunting and driving at the same time. It makes us remember what it was like to actually be entertained by the music we bought, interesting to listen to, as well as making a statement.”

“This is a classic 60s hippy record. For those familiar with Lee's hits and are curious for more, this is the pinnacle of his career and should not be missed. When you listen to songs like What Now America and the stories it tells, I can almost feel my (long gone) freak flag flying one more time.”

“Not many people have heard of Lee Michaels. However, he is a very talented musician, his piano playing is great. In this album, he puts in a few funky rhythms, which really get things moving. Mad Dog is a classic. It's solid. If you like piano, or the Hammond organ, or just classic rock, you'll like Lee Michaels.”

Chapter Two - ROBERTA FLACK****

Reverend Lee/Do What You Gotta Do/Just Like A Woman/Let It Be Me/Gone Away/Until Its Time For You To Go/The Impossible Dream/Business Goes On As Usual

Chapter Two, the follow up album from jazz-soul singer Roberta Flack, relies rather heavily on contemporary MOR songs, for which she provides her own individualistic interpretations. (US:33)

"This is an album to slow down. If you're not willing to slow down, this is not your kind of album. The mood is ballad-esque. Roberta Flack has a beautiful voice. You can always understand what she's singing, and she's got perfect pitch. And she has all the time in the world to get her message across. Roberta Flack belongs to the soul genre just as much as to the singer/songwriter genre."

"Turn the lights out, light a fire in the fireplace, select your favourite bottle of wine, kick the kids out, curl up on the couch with your loved one, put this album on and enjoy. Reverend Lee, with good reason, is the classic of this album. You'll feel Roberta's warm breath on your neck as she sings of sin and lust. It'll take you back in time to that someone whom you couldn't resist, even though you knew better."

"The brilliant First Take was a tough act to follow, so it's all the more incredible that Roberta Flack actually succeeds in capturing the same high with her performance and musicianship on Chapter Two. I know it's easy to be cynical how any contemporary black artiste can offer a fresh perspective on familiar songs like Let It Be Me, The Impossible Dream and Until It's Time For You To Go which by 1970 had become standards included in the repertoire of cabaret artists. This LP proved beyond all doubt that Roberta Flack is an uncommonly gifted diva with the talent to transform just about anything from pop fodder to folk and blues standards into pure hymns of praise."

"A collection of beautiful ballads with spare, but superb musical accompaniment. Her voice is, all at once, tender, classy, soulful and plaintive. Many of these songs have been done to death, but in the hands of Ms. Flack they are fresh, powerful and dwarf all other versions by comparison. Highly recommended."

"Eight timeless pieces, this is arguably Roberta at her hauntingly best. A masterpiece and a must have for any serious collector. It is impossible to classify her style. She is not a true soul singer and not a jazz musician; she just emphasizes the melody of songs and underplays her music with a quietness and gentleness."