Budgie - BUDGIE***

Guts/Everything In My Heart/The Author/Nude Disintegrating Parachutist Woman/Rape Of The Locks/All Night Petrol/You & I/Homicidal Suicidal

Eponymous debut album from the Welsh heavy rock trio Budgie. They were popular on the concert circuit, but despite much favourable publicity, never quite made the commercial breakthrough that was predicted.

“One of the best hard rock/heavy metal debut albums in history. The Welsh power trio Budgie came roaring out of the gate swaggering with blood and thunder in '71, and at that time they had very little competition for their brand of bludgeoning heaviness.”

“Their songs are strange and have changes of tempo and atmosphere within their performances. The vocals are so off the wall they win you over after a spin of two. The riffs just never stop chugging until they start to add some mellow to the proceedings, which they do at all the right times.”

“Basically mix Led Zeppelin with Black Sabbath and you get Budgie. A power trio that lays down some solid drum breaks and original ideas. Overall, I would recommend giving this a listen if you are into early hard rock material.”

“Budgie's first album is not the easiest of listens as it is relentless heavy blues-rock. There are a couple of light interludes but for pretty much the rest of the album the bass grinds away in your head and the drums clatter along in accompaniment.”

“This album is seriously a hard rock classic since every second feels like it's totally kicking in the right gear, and that's the case with Budgie's debut.”

“The blues-rock template the band is working to may not sound overly innovative by today’s standards but given its surprisingly early release date of 1971 this qualified as cutting edge. The tracks are usually built around a good riff/hook but go beyond three to four minute rockers and often evolve into a more jam oriented session.”

“Budgie were always good at big riffs, and here, on this record, you've got some. The power of these tunes is well juxtaposed against some acoustic ballads, a trend that they continued with throughout their career.”

“It's not just typical guitar soloing that feels meaningless and doesn't go anywhere. Instead there is some very tight songwriting, and the guitar riffs are excellent. The vocal melodies are easily a step above most bands.”

If You Saw Thro' My Eyes - IAN MATTHEWS***

Desert Inn/Hearts/Never Ending/Reno Nevada/Little Known/Hinge/Hinge/Southern Wind/It Came Without Warning/You Couldn't Lose/Morgan The Pirate/Thro' My Eyes

After leaving Fairport Convention folk vocalist Ian Matthews set up the short lived Matthews’ Southern Comfort group. If You Saw Thro’ My Eyes is his debut as a solo artist.

“Fairport Convention's Ian Matthews presents a masterpiece of electric folk on this warm, intimate solo album. His haunting vocals, in particular, make him a competitor with Nick Drake for the best singer-songwriter in this particular style during the 1970s.”

“This is the inescapable sound of a tortured genius expressing heart wrenching poetry via the medium of song. Despite experiencing the staggering success of the chart topping Woodstock, Ian Matthews was something of a man on the edge, unable to possess the ability to connect with the small emotive audiences he once naturally embraced. This beautifully introspective offering may have consequently diminished Matthews newly found fan base, yet simultaneously confirmed his appeal as a bluesy bar-room troubadour.”

“This album is just about perfect. Incredibly well crafted and executed songs. And easily stands the test of time.”

“After a couple of fairly good albums with Matthews’ Southern Comfort, Ian Matthews delivered a masterpiece. With support by his old pal Richard Thompson from his Fairport Convention days, Matthews delivers a very solid performance. Most of the tracks are self written and the covers mainly date back to the early days in Fairport.”

“For those of us old enough to remember, the honest sound of this disc is very evocative of the 70s and that whole Fairport British folk/ country/rock era. Thoughtful lyrics, lovely playing, and 'that' sound. This guy has the kind of voice you'd expect to find in the angelic choir.”

“Subdued beauty from ex-Fairport Convention player shows him as an impressive, exceedingly well composed singer songwriter that takes in some lovely rootsy elements.”

“There's not a clunker amongst the tracks. Granted that a country-rock sound may not be for everybody, but there's something to be said about his songwriting, the strength of his voice here, and how well everything comes together.”

Mirror Man - CAPTAIN BEEFHEART**

Tarotplane/Kandy Corn/25th Century Quaker/Mirror Man

Mirror Man by the unpredictable and sometimes eccentric Captain Beefheart comprises four long blues jams. They were recorded several years earlier and intended for inclusion in an unreleased double album. (UK:49)

“Here, the group play long blues jams, all but one extending beyond ten minutes in length. Unlike other psychedelic blues from the period, guitar solos are not the focus. Most of the time, the rhythm section propels the action, in a sense foreshadowing the sound later dubbed Krautrock. The result is rather curious, relegating fairly straightforward, often directionless blues jams into otherworldly territory.”

“The material is a mix of blues-rock and psychedelic rock and includes even some jam band feeling which wasn't that typical of Beefheart. I really can't call any of these songs a highlight because they're all very good and none rises above the others in quality.”

“A collection of extremely long blues jams. They do all have that Beefheartian lope but you'd have to be a Beefheart maniac to sit through this. I've had it for many years and I still haven't managed to listen to it all the way through.”

“Four tracks that were proposed for an unreleased double album after Safe As Milk but were not released until much later. It’s a shame as Mirror Man is pretty persuasive in convincing you what an amazing band and vision Beefheart had. The epic jams Tarotplane and the title track see them driving the old blues music in all kinds of directions, fuelled by some incredible drum patterns and whiplash slide guitars. The Captain’s harp and oboe playing adds an interesting dimension to the sound opening things into an almost free jazz context.”

“The absolute pinnacle of psychedelic blues jams. The lengthy numbers are all based on inspired swampy blues grooves, with simple and rare solos, that are primitive and mesmerizing. Slide guitar, lumpy rhythms, the bluesy harp drizzling all over the place randomly, but founded in a blues pattern that never gets boring.”

“I got a little excited when I saw the track lengths on Mirror Man, as I've always wanted to hear the Captain and his band play lengthy compositions. Unfortunately, none of these four tracks go anywhere exciting or adventurous. There's hardly any actual noodling or improvisation, just monotonous repetition. The title track was pretty cool, and I'll regard it as an exception, but the rest are fairly dull.”

Spring - SPRING***

The Prisoner (Eight By Ten)/Grail/Boats/Shipwrecked Soldier/Golden Fleece/Inside Out/Song To Absent Friends (The Island)/Gazing

Eponymous sole album release from the Leicester progressive rock band Spring. They featured no fewer than three mellotron players to enhance their distinctive sound.

“Whatever could you do wrong with a progressive rock band featuring three members playing the wonderful mellotron? Absolutely nothing at all. This is a lost gem to discover and explore.”

“Spring released just this one LP in their short active period in the early 1970s. The album is full of folk influenced progressive rock with lots of mellotron and good guitar work. I really dig the way this album mixes the prog rock style with folk sound.”

“The music is mostly mellow and very song oriented but deceptively dense with a multitude of challenging subtleties and wide swathes of analogue sound.”

“In many ways, Spring's debut is notable as the mellotron album, which may be enough to attract aficionados of the instrument (which produces totally unique sounds originally meant to mimic orchestral instruments, flutes and choirs). However, Spring is more than just a Mellotron showcase; it's an early prog tour de force that sports tightly written but experimental songs, some gnarly guitar, and an excellent lead singer with an incomparable voice.”

“The content here is not the most audaciously complex prog of this vintage, but is notable because of the band's extensive use of mellotron - and unlike many groups, who stuck mainly to the iconic choir sound it provides, Spring bring a variety of tape sets to bear, making good use of the eerie flute and violin sets.”

“The fact that they were actually able to get all those mellotrons to sound so sweet and harmonious is practically a miracle, since they were very difficult to keep in tune and working order. The singer has a strange accent and the songs meander in midtempo prog-land, slightly lacking in hooks making them hard to remember.”

“Spring were one of the first groups to incorporate the mellotron into their sound right from their conception. But the arrangements are not just all mellotron; there's plenty of acoustic six and twelve-string guitar, a good balance of driving blues-rock electric guitar, and gritty Hammond organ as well as bass and drums. However, the vocals may be an acquired taste for some.”

Asylum - CRESSIDA***

Asylum/Munich/Goodbye Post Office Tower Goodbye/Survivor/Reprieved/Lisa/Summer Weekend Of A Lifetime/ Let Them Come When They Will

Asylum was the second and final album from the British progressive group Cressida. Their music appears to contain some jazz elements filtered through Canterbury scene influences.

“Cressida has succeeded better with the songwriting here on their second album. These eight songs are all effective prog pieces with some jazz and psychedelic elements.”

“Cressida's second album slipped out posthumously, the band having broken up a few months before. That's a shame, because it sounds like they were going in a very interesting direction with this one, both allowing in some jazz-rock influences filtered via the Canterbury scene as well as playing up the psychedelic side of their sound.”

“It's all very pleasant, ordinary early 70s rock with lots of piano, symphonic flourishes and Canterbury elements. Altogether it's an area of music I find very comfortable and enjoyable, but it strikes me as a substandard example of its genre. It doesn't have any exciting parts, just a fairly even, mellow, melodic flowing sound.”

“With clear jazz influences, a fantastic mellotron presence, some of the most skilfully implemented orchestration I've heard in a rock album, tasteful solos, and an excellent vocalist, it's just an all around great package of smooth early 70s prog.”

“Here, Cressida seem to be consciously aware that they are a progressive rock band and have provided longer and more dense compositions. The good news is they never lost sight of the song. Blessed with a dynamic singer, Cressida by rights should have been one of the big names from the English prog scene.”

“Munich deserved better luck. This song, with perfect orchestral inserts, is the best of a great album and is at the same level of the best known progressive suite. Another top moment of this album is Summer Weekend Of A Lifetime, with a fantastic and suggestive intro. Vocal melodies by Angus Cullen make this album a masterpiece. The compositions are so much better then in their first album.”

“If you like Hammond organ/piano/electric guitar driven early 70s rock with some jazz leanings, then this is for you. The singer has a good sense of melody and an interesting, pleasant voice that doesn't annoy. It's not complex music, but it's still enjoyable, especially the occasional shift into jazzier territory.”

Rory Gallagher - RORY GALLAGHER****

Laundromat/Just The Smile/I Fall Apart/Wave Myself Goodbye/Hands Up/Sinner Boy/For The Last Time/Its You/I'm Not Surprised/Can't Believe Its True

Self titled debut solo album from Irish blues-rock guitarist Rory Gallagher after he left Taste. He would continue to enjoy UK album chart success for the rest of the decade. (UK:32)

“Fans of blues-rock, and especially traditional USA blues, will be blown away with these songs, although the casual listener may find this too much traditional blues orientated.”

“A wonderful record, perfectly gauged. Its range keeps you interested throughout. You sense how much Gallagher was in tune with his music; he really knew when to hold back and when to blast it out. A superb, sensitive musician.”

“Straight up blues with no filler. Electric roadhouse anthems and acoustic heartbreakers are the name of the game here, and he would only get better with each new album.”

“Rory Gallagher is an extremely talented guitarist with a beautiful voice - although later albums and especially live albums have something that this likeable debut does not, variety. By the last four songs the routine has been laid down and it starts to get samey. However Gallagher has an unavoidable charm and this gives the album bags more longevity.”

“Gallagher's guitar playing isn't as showcased here as it is on later releases. Certainly there are some tasty, refined bluesy into jazzy guitar stylings to be enjoyed on this record, but there are also some fine songs flavoured with the sweet, earnest, tuneful vocals.”

“With just the right mixture of grit, material, and relentless delivery Rory Gallagher set a standard on his debut that should have been envied by almost everyone. There is not much to complain about on this one. If you like a driving bass with heaping portions of lead runs there is little room for disappointment.”

“Rory Gallagher is one of those oft forgotten artists who occasionally resurface into the consciousness and you find yourself questioning why you let it be so long between plays. This is a great album with every track worth the time to listen.”

Stormcock - ROY HARPER***

Hors' D'Ouevres/The Same Old Rock/One Man Rock & Roll Band/Me & My Woman

Folk-rock singer songwriter Roy Harper’s Stormcock consists of four extended tracks, mostly with just guitar accompaniment. Jimmy Page puts in a guest appearance on acoustic guitar.

“This is an amazing album - every song is relevant and it is definitely Roy Harper's masterpiece. Whether backed by a strings or just Jimmy Page the music flows with intelligent emotional expressions.”

“It's not overly elaborate but there is some great picking if you care to listen carefully. He has a great voice as well, ideally suited for acoustic music like this. It is both haunting and beautiful and at times a little venomous.”

“Roy Harper's Stormcock consists of a mere four extended tracks, and most of the running time offers the singer and his guitar unaccompanied (with a few interventions from other instruments here and there,). Despite this the album never feels sparse or minimalist, and Harper's song structures don't outstay their welcome either, working in enough progressive inventiveness that they are able to sustain their baroque charms over their full running times. Jimmy Page guests here, though he doesn't make his presence felt that much.”

“This is a great folk album. Delicate, the lyrics make Harper look intelligent and wellspoken, and the way his voice echoes and the almost whispering tone of his vocals make Stormcock a very haunting listen that enshrouds you like a mist before you can even realize it's gotten a hold of you.”

“One man, his guitar and his ideas. There are many albums that fit this description, but very few reach the effortless mastery of Stormcock - intimate and powerful, dark and uplifting. Only very sparse backing instruments here and there in all the right places. This is as spacious as any folk album but is packed full of sonic subtleties and inspiring lyrics. A journey that pulls you into its heady world from start to finish.”

“The undoubted highlight of this album is Jimmy Page's acoustic guitar solo at the end of the second track. Apart from that it's pretty unexciting fare: stream-ofconsciousness folk which could well have been influenced by contemporaries The Incredible String Band, though Harper doesn't seem nearly as eccentric. The mood is largely meditative, sometimes mournful. Harper's singing is a little shaky at times but, for the most part, his voice is nice enough to listen to.”