Europe '72 - GRATEFUL DEAD***

Cumberland Blues/He's Gone/One More Saturday Night/Jack Straw/You Win Again/China Cat Sunflower/I Know You Rider/Brown Eyed Woman/Hurts Me Too/Ramble On Rose/Sugar Magnolia/Mr Charlie/Tennessee Jed/ Truckin'/Epilogue/Prelude/Morning Dew

Europe 72 was the third live album released by the Grateful Dead in as many years. This triple LP consists of several different performances from their recent European tour. (US:24)

“This collection of several different performances from the band’s European tour shows what great musicians they were. The band are tight, the music great, there is not much more you can ask from a live album.”

“It has been said the Dead were at their peak in 1972 and I can't find any arguments against that claim. This release is just one classic after another, and the more you continue to listen the more you will hear of their instrumental depth.”

“The set list is enjoyable, particularly on the first disc, which has always been the highlight for me. The vocals sound great and the playing is pretty much all top notch. Particularly on the first disc, the song lengths are much shorter, almost pop length really, which makes it pretty easily digestible to the casual Dead fan.”

“If you're new to live Grateful Dead this is a possible starting point. There's none of that long jamming that newcomers may find hard to get into, this is a Dead live album that's very easy to like.”

“Many argue that this album of live cuts from the Europe trip has been a little too cleaned up with studio overdubs and, as a serious fan, I am inclined to agree. However, anyone new to the band would be unlikely to notice this. This triple album contains many good versions of now classic songs, with a really warm sound.”

“Whoever chose the versions for this album knew the music well, they are performed with precision and force in just the right places. This is a good album for anyone who doesn't own any other Dead albums, as there are no weak spots.”

“This album has some great songs on it. The Grateful Dead were an amazing live band and this is a fine example of their live power.”

Don McLean - DON MCLEAN****

Dreidel/Bronco Bill's Lament/Oh My What A Shame/If We Try/The More You Pay/Narcisissima/Falling Through Time/On The Amazon/Birthday Song/The Pride Parade

This self titled release was the follow up to Don McLean’s huge hit single and album American Pie. Although it attracted positive reviews a fickle record buying public largely ignored it. (US:23)

“OK, so you've just recorded the most fascinating song of the decade, and become a sensation. Now what? Well, if you're smart, you won't try to do the same thing on your next album, and that just might be the key to the success of this fine album. Here you have ten excellent songs, performed very well, by a very gifted singer. Check this out, and you'll find that McLean's talent runs quite deep indeed.”

“This solid early McLean album justifies itself every time I listen. This is good time music with a point, Dreidel is a great cut and If We Try has become a standard. The LP is well worth searching for and taking real good care of once you’ve found it.”

“About on a par with American Pie as an album. All the tracks are very good, and there are a couple of standouts. Very enjoyable and essential for all fans, casual listeners as well.”

“Poor Don. Everyone went nuts over American Pie, and the rest of his career is barely known at all which is a shame as he is such a talented signer. Every song on Don McLean is beautiful and a joy to listen to. Do Don a favour and listen to this album.”

“From the dark and fateful look at human nature in the opening number of Dreidel, a song that shows just how accomplished a lyricist McLean is. With the more tragi-comic flair of Bronco Bill's Lament, the poignant Oh My What A Shame and the lovely melody and lyrics of If We Try, McLean was clearly stretching his wings here, and was unafraid to explore the limits of his style and substance without worrying about whether his newfound fans would follow suit.”

Not bad at all, really. The strongest songs are the more upbeat ones. The two side-openers, Dreidel and Nircisissima are both quite pleasing. Don's lyric writing is impressive and songwriting isn't bad either. But some songs like Oh My What a Shame are just such downers.”

The Magician's Birthday - URIAH HEEP****

Sunrise/Spider Woman/Blind Eye/Echoes In The Dark/Rain/Sweet Lorraine/Tales/The Magician's Birthday

The Magician’s Birthday found the progressive rock group Uriah Heep at the peak of their creative powers. The mystical elements introduced with the previous album are continued here. (US:31 UK:28)

“Though it may have been rushed it nearly matches its great predecessor. The band, and especially Hensley as a songwriter, were at the peak of their creativity and many of these songs have become classics and favourites.”

“It's one of their most worthwhile releases. The chemistry of the classic line-up is the best they ever had and there they are on top form. With this album they stabilized their reputation as a hard-rock group that can create magnificent music, but also be unique, having their own style that can't be copied successfully by anybody else. Some of their best songs are here like Sweet Lorraine and Sunrise, without any filler. The closer is a semi-progressive lengthy track with many changes and surprises that can be used to showcase both Hensley's songwriting and the whole band's wonderful performance.”

“Uriah Heep were often acclaimed as one of the bands at the root of heavy metal but I find little evidence of this here. At its best it has a number of good melodious rock songs that tend towards pop, with a bit of fairly accessible prog thrown in.”

“The blazing Roger Dean cover equals the music here, prime early 70s semi-prog rock, full of ladies, wizards, drugs and keyboards. Heep's shorter songs all work well, but The Magician's Birthday does have some slower moments.”

“Let's face it Uriah Heep where unstoppable at this time, and here's another shining example of their mighty talent. The title track is all out early prog metal, and the whole package is a blast to listen to.”

“From the personal introspection of Rain to the psychedelic connotations of Tales, this band exhibited a high level of talent that makes their music still relevant, today.”

“In the same vein as their previous recording. They were at the height of their powers and their music reflected that heavy psych hard rock with great guitars and keyboards.”

Homecoming - AMERICA***

Ventura Highway/To Each His Own/Don't Cross The River/Moon Song/Only In Your Heart/Till The Sun Comes Up Again/Cornwall Blank/Head & Heart/California Revisited/Saturn Nights

Homecoming was the follow up album from the soft rock group America. Apart from their highly original first single, none of their later releases made much impact in the UK. This was in contrast to the US as shown by the No. 8 placing of Ventura Highway. (US:9 UK:21)

“They make a lot of simple soft-rock tunes that are perfectly fit for a road trip, but that's the problem: it's nothing more than some enjoyable background music. The album lacks originality and didn't stand out much from the rest of the similar acts of their time. It has a few great songs but overall is nothing special.”

“America, the band, peaked with this collection of faultless songs. The group occasionally hit these heights with the odd song on other albums but never to such effect and or in such abundance. It would be pointless to cite particular highlights as each and every song is perfect and none eclipses another.”

“This album is a nice, little acoustic record. It ups the ante on some songs and has some rocking moments. Check out Moon Song, with its rocking drums and driving guitar. They seem to be only known for their hits, but they also have some good unknown gems.”

“Homecoming is an acoustic assortment of thoughtful, well-written, professionally performed songs, embellished in the golden California sunset. It's one of their better albums and, along with their self-titled debut, is essential for America fans.”

“America second effort is nearly as good as their debut. Here the songs are a bit more pop and polished which is more accessible than the innovative guitar parts in their previous album. Nevertheless, all the songs here are excellent and catchy.”

“Homecoming builds on the sound and success of their first album, but it also takes a step towards the commercial soft rock sound that would eventually lead to their demise. Fortunately, it stays within the bounds of down-to-earth hippie relevancy and doesn't alienate the fans.”

Doremi Fasol Latido - HAWKWIND***

Doremi was the first album of space rockers Hawkwind to feature Lemmy as the replacement bass player. Although he stayed with the group for a few years, they were not a natural outlet for his talents, in contrast to his next band Motorhead. (UK:14)

“Typically for Hawkwind, the album is a sprawling, ambiguous astral road-trip in terms of structure - the songs are all distinct, but they flow into one another as once cohesive whole, which suits the pulsing bass and drums and the swirling, sweeping synthesisers.”

“Hawkwind were a great experimental rock band. They were able to juxtapose a primal, simplistic and quite frankly low-brow thud-chant on Time We Left This World Today with some mind-accosting dissonant experimental instrumentation.”

“Arguably the heaviest rock album of all time. Hawkwind's Doremi succeeds both as heavy metal and space-rock in equal measure. Lemmy's rumbling bass lines are augmented by fuzzed and wah-wah electric guitars, as thunderous drums keep the tribal beat going.”

“Brainstorm is a great freak-out hard rock riff-based space song, especially when the vocals stop, the guitar harmonics come in, and the noise generator merges with the organ. As strange chanting vocals join the mix, and the bass gets jazzy with notes that don't seem to belong to any harmonic pattern. Here, as elsewhere, Hawkwind kiss the cheeks of prog, nod in the direction of punk, and suitably update krautrock.”

“Hawkwind's third album sees the group struggling against difficult circumstances and turning these problems into opportunities. For starters, it's the first album with Lemmy on bass - an instrument he wasn't used to, having learned to play lead guitar, with the result that his playing is somewhat unorthodox on here.”

“So bad it's good. It's like watching the first Star Trek series; I do it for the laughs, not because I want to go on an intergalactic journey. Time We Left This World Today is a good example of this with some pretty lame vocals. Brainstorm and Lord Of Light are mind-numbingly repetitive, yet I wouldn't change a thing about either. Keep an ear out for the One Change transition, a rare speck of beauty here.”

Slayed? - SLADE****

How D'You Ride/The Whole World's Goin' Crazee/Look At Last Nite/I Won't Let It 'Appen Agen/Move Over/Gudbuy T'Jane/Gudbuy Gudbuy/Mama Weer All Crazee Now/I Don' Mind/Let The Good Times Roll-Feel So Fine

During the course of 1972 the glam rock band Slade became pre-eminent in the British music scene, with Slayed? their top selling album. Features the UK No. 1 Mama Weer All Crazee Now and No. 2 Gudbuy T’Jane. (US:69 UK:1)

“Slade always struck me as a band you simply cannot hate - pure stomping hard rock 'n' roll that somehow manages to combine working class grit and glam appeal. A British band of the people. Great songs and even greater singles.”

“Vocalist Noddy Holder is in fine form and his nasally glam rock wail combined with a throat that was made for blues-rock just gel together in a rare fashion. Put simply though, everything just fell into place here, and even the mighty Slade themselves would never again even get close to masterfulness of this album.”

“Slade are offering us a hard rockin' gem here. Pretty legendary album by Noddy & the boys. I think every song is pretty good here and that makes this album great.”

“Slade were one of the most popular glam rock bands of the early 1970s, and Slayed? shows what the fuss was all about. As you can see, the band loves misspelling the names of their songs. There's an impressive cover of Janis Joplin's Move Over, Gudbuy T' Jane is a catchy little song while Mama Weer All Crazee Now is probably the most popular song off the album.”

“Stomp along kids. Completely over the top and silly, and that's what makes this record so good. Full of goofy struts and ridiculousness, and it’s fun. So take a break from the serious record analysis and scholarly evaluation, and just enjoy. After all, it was supposed to upset your parents, not you. Of course, I must admit, this is all the Slade you'll probably ever need.”

“Definitely a rock and roll band with powerful vocals, a very good rhythm section and a vibrant, driving feel, Slade were quite capable of making a classic album if they had concentrated their shots. Very limited in lyrical ambition and range, but very solid rhythm guitar, and the bass lines are often very effective. A fevered live feel, not far from hard rock and spirited 60s garage.”

Transformer - LOU REED****

Vicious/Andy's Chest/Perfect Day/Hangin' Round/Walk On The Wild Side/Make Up/Satellite Of Love/Wagon Wheel/New York Telephone Conversation/I'm So Free/Goodnight Ladies

Transformer was a quick follow up to Lou Reed’s lacklustre debut. With the help of David Bowie and Mick Ronson as producers, he created his most memorable album, steeped in decadence, as exemplified by the UK top ten hit Walk On The Wide Side. (US:29 UK:13)

“After an often-forgotten and rather ignored debut solo album, Lou Reed hit it out of the park with Transformer, embracing the arty glam rock aesthetic of number one Velvet Underground fan David Bowie and producing a series of songs celebrating the liberating effects of sexuality and walks on the wild side. Opening with a catty and mildly camp put-down (Vicious), continuing with a surreal tribute to Andy Warhol (Andy's Chest), and continuing through various other odes to debauchery and the lifestyles of the Factory luminaries, it's a wonderfully celebration of decadence.”

“Songs like Walk On The Wild Side and New York Telephone Conversation are some of the more campy compositions in the Reed canon. On the other hand Perfect Day is one of the most angelic and profound writings from Reed giving the listener never a dull moment to an album that is constantly satisfying through and through.”

“This is cool, funny and catchy and it oozes a sense of effortless coolness which is at the core of glam rock. There are so many songs which are just amazing, the kind that can stay in your head for days. The mood ranges from raunchy straight up rock to heartbreaking ballads. Some of the lyrics really are funny, generally in a surreal kind of way, and of course, when it rocks, it rocks.”

“Transformer seems to have been regarded as Lou Reed's most iconic album ever since its release in the early 70s. Walk into any record store today and amongst a plethora of compilations it is the one original studio album that you are likely to find still on sale. Doubtless the collaboration with David Bowie helped fuel interest in the record. There is also that unforgettable image of Reed on the front cover and of course songs that make it onto every one of those compilation albums.”

“The album is probably most famous for the hit Walk On The Wild Side. However most of it is unlike that classic rock song, with sweet ballads that lull us almost into complacency until they slap us in the face. One of the great things is how the music is so sweet and like show tunes but with lyrics subtly deviant and clever.”