Down The Road - MANASSAS***

Isn't It About Time/Lies/Pensamiento/So Many Times/Business On The Street/Do You Remember The Americans/Down The Road/City Junkies/Guaguancó De Veró/Rollin' My Stone

Down The Road was the second outing for the musical collective organised by Stephen Stills. Whilst the musicianship might be excellent, most of the songs are forgettable. (US:26 UK:33)

“It’s got pop, rock, country, blues, folk, bluegrass, Latin, and gospel, often co-mingling in the same song. It's a Stephen Stills album, for the most part (Chris Hillman gets a track), featuring the most versatile, instrumentally accomplished band he ever played in.”

“It mostly contains rather dull, if well played Latin influenced rock tracks that petered out pretty quickly. Isn't It About Time and Do You Remember The Americans are both pretty good though.”

“A complete disappointment. Isn't It About Time and Rollin' My Stone stand out but the rest are less than acceptable. A commercial flop, the first of many in Stills' history until CSN regrouped in early 1977. For hardcore fans only.”

“This Stephen Stills project pulls together a number of excellent musicians that perform well. The only problem is most of the songs, all originals, are weak.”

“If you could pinpoint where Stills lost his genius, it's somewhere between Manassas and Down The Road. There are a couple of lovely songs in Spanish here, but there's a wasted weariness to the whole affair, as if the band had spent too many nights in the hotel bar. For completists only.”

“The entire project seems thrown together like as if Stills and the boys were forced under contract to put something, anything, down on record. The lyrics are soporific, and the rest is beneath Stills to put out.”

“The songs are mostly forgettable. But the defining feature of this record is that it scarcely has a groove. It isn't that the tunes were conceived as grooveless (they sound promising), but that they are played in a loose, noodle-headed way.”

“Brilliant guitar playing, excellent all-around musicianship and singing, and fine, inventive songwriting make this a fine, enjoyable album. Overall though, it does sound a little thrown together.”

Desperado - THE EAGLES***

Doolin Dalton/Twenty One/Out Of Control/Tequila Sunrise/Desperado/Certain Kind Of Fool/Doolin Dalton (Instrumental)/Outlaw Man/Saturday Night/Bitter Creek/Doolin Dalton-Desperado (Reprise)

Desperado was the follow up album from the country-rock group The Eagles. It is somewhat uneven and their music is best sampled on one of the many compilations. (US:41 UK:39)

“A solid country-rock classic. It's hard to deny the talent this band had; all highly proficient musicians who could sing and write great songs on album after album. This may not be my favourite set of Eagles songs, but the music stands the test of time, especially when heard in its entirety. This stands as a sort of concept album, with an interesting flow from the softer/slower tracks, to the mid-tempo rockers, and back and forth. The acoustic nature is what creates a classic western atmosphere.”

“I would rather listen to tracks like Tequila Sunrise, Desperado and Outlaw Man on their own or with a collection of their greatest hits. The rest of the tracks on here can be classed as mediocre filler, meeting the concept of the album but coming off as quite unappealing.”

“The songs are sometimes plodding, especially the rock material which did not compare to some of the cutting edge rock and country rock of the day. Tequila Sunrise is a terrific song well played with a timeless sentiment that still appeals. The concept of a Western record is very well achieved here.”

“The western concept album works out quite well and the title track is a stone cold beauty. There feels like a fair bit of filler present here too though.”

“Desperado was a concept album that was an ode to the Old West as it followed the exploits of the Doolin-Dalton gang. Under the surface, however, it told of the trials and tribulations of a rock ‘n’ roll band. It’s almost a perfect country-rock album. The harmonies, the production, the lyrics and the musicianship are impeccable and have a polish that was unprecedented in country or rock music in its day.”

“It's a mixture of rock ‘n' roll and country, some tracks mostly rock, some mostly country. The opening track, Doolin-Dalton, is a beautiful ballad without being sappy, and the same goes for the famous title track. The tempo is sometimes slow, sometimes fast, and as usual, each member of the group does lead vocals on at least one track.”

Razamanaz - NAZARETH***

Razamanaz/Alcatraz/Vigilante Man/Woke Up This Morning/Night Woman/Bad Bad Boy/Sold My Soul/Too Bad Too Sad/Broken Down Angel

Third time lucky for the Scottish heavy rock band Nazareth as Razamanaz delivers their commercial breakthrough. Features the UK top ten hit singles Bad Bad Boy and Broken Down Angel. (US:157 UK:11)

“Razamanaz is a 70s rock workout that the uninitiated can easily fall in love with. The title track is pure head-down hard rock boogie bluster, and is one of the band’s calling cards. However it doesn’t over-shadow the rest of the album, which finds the group tackling some proto-power ballads, as well as well-hewn riff-rockers.”

“This is Nazareth at their peak as a band, and they cook. Razamanaz is one blistering, snarling gem after another. From the guitar fury of the title track, to the slowed down menace of Vigilante Man, to the street swagger stomp of Alcatraz. Culminating in Nazareth's greatest expression of the blues, the astounding Woke Up This Morning. This is nothing less than a hard rock gem.”

“A key stage in their journey to becoming a great hard rock act, Razamanaz shows considerable growth from their previous efforts. Tracks such as the high energy title track and the bluesy Vigilante Man are much more reminiscent of things still to come, but really every track on this one is strong.”

“After struggling through two less-than-stellar releases, Nazareth cranked up the distortion and released one of the finest slabs of 70s hard rock you'll ever hear. The production is perfect, helping these guys establish the formula that would carry them through the decade: bluesy, simple songs and throat-destroying vocals.”

“The amped-up Razamanaz is nothing short of awesome, a raucous gem from the Nazareth camp. The raging, three-minute-plus, Deep Purple influenced title track sets the stage for this masterpiece.”

“Nazareth were one of those good old hard and heavy rock 'n' blues bands that even heavy rock fans now tend to overlook. Razamanaz captures the band struggling for their first success, and was very well-received by rock audiences back then. It is a no-nonsense slab of hard rock.”

“The songs, well, they are all great. The overall feeling of the record is very southern. If I didn't know these guys were from Scotland, I would have guessed Texas.”

Call Me - AL GREEN****

Call Me(Come Back Home)/Have You Been Making Out OK/Stand Up/I So Lonesome I Could Cry/Your Love Is Like The Morning Sum/Here I Am(Com & Take Me)/Funny How Time Slips Away/You Ought To Be With Me/Jesus Is Waiting

Soul singer Al Green was enormously popular during the early 1970s with his distinctive vocal style. Call Me includes the US top ten hit singles Here I Am (Come & Take Me) and the title track. (US:10)

“Instead of coming to you, Al never raises his voice. He makes you lean close and really pay attention. He teases and seduces and withholds gratification until even the slightest breath is devastating.”

“The music is a sort of AM soul, with strings (but in small doses fortunately) and gospel style backing vocals, very light and easy. Al's singing style is also very soft, airy with plenty of gentle soothing falsetto, a very effortless feeling. It's a very nice album, simple to listen to, some great songs and good melodies.”

“Call Me may well be Al Green's creative peak. There weren't any major departures from the signature sound, rather on this one they perfected the approach. Green's silky smooth voice was in prime shape, injecting an almost intoxicating funkiness into material like the title track.”

“It’s a bit too repetitive. The soul is good, but there isn't any variety at all. If we had a few better songs on the album it would be much improved.”

“Al Green has one of the most hypnotising voices in soul, not because he wails constantly at the top of his lungs, but because he does the opposite. His soft vocal style is incredibly soothing, and here the minimal production really adds to this, with the organ in particular feeling like a warm blanket.”

“For an album labelled as soul this sure is weak. My main problem with Al Green is that the orchestration that backs up his voice seems flavourless fluff. There doesn't seem to be any actually formed songs here, and the backing orchestration is just plastic elevator music. They're selling the voice, and while Al Green's may be distinctive, it's not enough on its own. There needs to be good music in combination with it, and there isn't any. This is an album that's dry from the moment it starts.”

“This album really is a joy to listen to. Al Green's two tone voice is at once gentle on these tunes, then crying out like a minister in a gospel church with soulful wail. The songs are all strong.”

There Goes Rhymin' Simon - PAUL SIMON*****

Kodachrome/Tenderness/Take Me To The Mardi Gras/Something So Right/One Man's Ceiling Is Another Man's Floor/American Tune/Was A Sunny Day/Learn How To Fall/St Judy's Comet/Loves Me Like A Rock

Paul Simon delivers the goods with his finest album There Goes Rhymin’ Simon. It features a wide diversity of musical styles, all to a high standard of creativity. Includes Kodacrome and Loves Me Like A Rock, both US No. 2, and Take Me To The Mardi Gras, a UK No. 7. (US:2 UK:4)

“This album represented Paul Simon's realization of his full abilities, provocatively showcasing his unique talents and creative interests with an eclectic, wide-ranging, and gorgeously produced solo effort. From the haunting rhythms and wry lyrics of Kodachrome to the tender and sensitive emotions expressed so well in Something So Right, we sense more than a little autobiographical influence in all the songs. Simon's lyrical genius is displayed in spades here, and we can tell that this is an artist in full bloom and enjoying his singular ability to deliver a wide range of songs with a panorama of emotions and telling personal observations.”

“One of my favourite Paul Simon albums, where his song-writing is sharp, and the variety of styles covered satisfying, containing some inspired production choices.”

”There isn't a song I'd skip here, and while there is the odd whiff of MOR sterility and blandness, these are mostly banished by up-tempo arrangements and colourful additions to his musical palette.”

“There Goes Rhymin' Simon is his second solo album after the break-up of Simon and Garfunkel, and you can hear him moving away from that traditional sound here for the first time, incorporating gospel and jazz influences, mostly successfully. American Tune has always moved me profoundly, and Was A Sunny Day creates an absolutely wonderful warm loving strange happy breeze through my heart.”

“Paul Simon's finest solo album, with a great collection of songs beautifully produced. From the upbeat, cynical Kodachrome to the lovely closer Loves Me Like A Rock, he takes in a huge range of styles, from straight-up R & B to soul, blues, folk, country and even early reggae. The high point is definitely American Tune, with its lovely, Bach-inspired chord sequence and bittersweet, aching lyrics.”

“For the second time around Simon produces a superb album. He also experiments with different styles and whatever he does he certainly pulls it off.”

Wishbone Four - WISHBONE ASH****

So Many Things To Say/Ballad Of The Beacon/No Easy Road/Everybody Needs A Friend/Doctor/Sorrel/Sing Out The Song/Rock & Roll Widow

An uninspiring title and album cover from the progressive rock band Wishbone Ash. Nevertheless the songs are much better than what some critics would have us believe. (US:44 UK:12)

“Their sound continues to drift slowly in a commercial direction, and this one is fairly commercial sounding overall, but still possesses some decent material.”

“People loved the hard progressive rock sound found in Argus and the twin-guitars and amazing solos. Wishbone Four is a much lighter and gentler effort, and the solos are looser here. The twin-lead guitars are gone almost totally, but this is still not a bad album, by a long shot.”

”A fairly subdued effort from the 'Ash. The amps have been turned down and a brass section pop's up now and then to blow out the cobwebs. The songs are nice enough as background music but there's no real spark.”

“The up tempo Rock 'n' Roll Widow is the signature track that I am sure most would agree with. It is the last song and is set up by varying ballads like Sorrel and edgier tunes with Doctor getting some praises.”

“This album was a brave move following Argus, and one which did not go down well with many critics and fans who were expecting something similar. So is it worthy of the attacks it received at the time? Probably not but it is certainly not a classic. There are some fine tracks on the album, but it is marred by very poor production which makes many of the tracks sound muddy.”

“Unlike Wishbone's previous recordings, the songs are shorter and often catchier as well. But this attempt to shift from extended improvisations to riffs filled with hooks doubtless contributes to a number of problems that force listeners to focus on Wishbone's uneven songwriting rather than exquisite musicianship.”

“There are some great rockers on this album, alternating with some softer tracks, all of them sprinkled with anthemic solos from the dual guitars. The sound quality is not tremendous, particularly the drums, which are very dull and muffled.

Red Rose Speedway - PAUL MCCARTNEY & WINGS****

Big Barn Bed/My Love/Get On The Right Thing/One More Kiss/Little Lamb Dragonfly/Single Pigeon/When The Night/Loup (1st Indian On The Moon)/Hold Me Tight-Lazy Dynamite-Hands Of Love-Poer Cut (Medley)

With the emphasis on melody Red Rose Speedway heralds a return to form for Paul McCartney after the throwaway Wild Life. Features the US No. 1 and UK No. 9 hit single My Love. (US:1 UK:5)

“Red Rose Speedway is a frustrating album in that it has a bright spot or two - My Love has always been a favourite of mine, but it's very uneven, and many of the songs can be charitably categorized as mediocre at best. It's not that it is totally terrible, but it included a lot of songs that would have been throwaways if they had been recorded in a Beatles' session.”

“It is a pleasant album that has interesting snippets of ideas all over but nothing truly memorable. The final medley is the only thing I cared for here and is a lovely, happy and bouncy piece of music where several extremely sunny melodies are interwoven together.”

“After the disappointment of Wild Life he bounces back with an album that carries on from where Ram left off. Relying on his craftsmanship rather than searching for new inspiration he put together a set of songs that hang together as a whole and document the contentment of a man freed from his tangled past and excited about the future.”

“Where the album triumphs is on a melodic level, but except for a few very notable exceptions it stumbles lyrically. The opener Big Barn Bed, for example, has a great tune and is incredibly catchy, but there's not much substance to it beyond that.”

“I have been a huge Wings fan for a long time, and this has always been one of my favourites. It is musically interesting, with some classically goofy McCartney lyrics. Nothing groundbreaking, I admit, but full of entertaining and captivating melodies and diverse musical approaches.”

“If some people have such a problem with lightweight material then why are they listening to Paul McCartney in the first place? Little Lamb Dragonfly is a beautiful mini-epic, with great lush production and an emotional rare duet between Paul and Denny. Single Pigeon is also another beautiful piano ballad. The end medley is one of the few 70s suites that actually work completely without getting boring.”