Boulders - ROY WOOD****

Songs Of Praise/Wake Up/Rock Down Low/Nancy Sing Me A Song/Dear Elaine/All The Way Over The Hill-Irish Loafer (& His Hen)/Miss Clarke & The Computer/When Gran'ma Plays The Banjo/Rockin' Shoes-She's Too Good For Me-Locomotive (Medley)

Boulders was the first solo album from Roy Wood. It was recorded during 1969 when he was still a member of The Move but not released until 1973. Includes the UK top 20 hit Dear Elaine. (US:176 UK:15)

“What's enchanting about this album is the way all of the bits pull together to form a cohesive whole, despite weakness in several areas. Wood's demeanour is humble even when delivering the most bombastic of his neo-classical fancies, and his light-hearted lyrics and willingness to experiment supply a feeling of looseness even when the production is tight and controlled.”

“The melodies and hooks are great, and the fact that he played every instrument and sang all the vocals is just as impressive. The only problem is that he changes his character so many times that it’s hard to take him seriously sometimes.”

“A really nice solo LP from the leader of The Move, recorded in 1969 when he was still fronting that band but not released until 1973 when they had already disbanded and Wood was starting his new group Wizzard. It's a true solo album in every respect - just about every single voice and instrument is handled by Roy Wood himself.”

“This might be the best parody record ever, because it doesn't cross the thin line and turn into self indulgent nonsense. The eccentric vocals, arrangements and hooks all add to the pleasure.”

“Roy Wood has had his hand in many a band including The Move, Wizzard, and ELO, but this album catches himself all by himself playing every part of this. A pretty impressive achievement, this is a guy who really doesn't need anyone else. Pretty enjoyable late era Beatles like rock, with some Bowie moments as well.”

“It is too bad this album didn't find an appreciative audience because Boulders is a masterpiece. Covering everything from his unique version of gospel to folk ballads tinged with psychedelia, Wood's music was always unique and demanding of his audience.”

“This, Roy's debut, is easily one of the best pop albums ever recorded. Fantastic, incredibly catchy tunes that will absolutely make your head spin.”

Genesis Live - GENESIS****

Watcher Of The Skies/Get Em' Out By Friday/The Return Of The Giant Hogweed/The Musical Box/The Knife

The first live release from the progressive band Genesis, and the only one to feature Peter Gabriel. Originally planned as a double album, many critics consider this to be too short. (US:105 UK:9)

“For many years this was the only available live document of Peter Gabriel's Genesis days. As such it is frustratingly short, released as a single vinyl LP. There's nothing wrong with the track list, but it's sad to think that Supper's Ready and others were left off because the record company was looking for a quick buck at the time.”

“Genesis Live is a great introduction to the band's early years. In terms of running time, it's less generous than their subsequent live albums. But in its ability to capture the power of Genesis live, it's unmatched.”

“This really is a good live album. The sound is pretty good, and none of the songs are bad choices. Still, it is too short. The obvious omission is Supper's Ready, but I guess the band wasn't quite ready for a double album yet. Songs are pretty faithful to the studio versions.”

“This is the definitive Genesis live album and the only one to capture the real spirit and raw energy of a gig without too many overdubs and polishing. The version of The Knife completely blows the studio version out of the water. A must have for any early Genesis fan.”

“One of the finest live albums I’ve heard, with its unique theatrical atmosphere. Peter Gabriel always had a totally mind-blowing way of getting the message and the feeling of a song across, despite Genesis being a band with huge instrumentalists and monumental song structures.”

“Genesis Live is the only live album in their catalogue from the Peter Gabriel era. It's a brilliant but much-too-brief live set, leaving the listener hungry for more. It also provides glimpses into what a grand showman Gabriel was as the group's flamboyant front man.”

“An honest live album which collects some of their best material, it was originally meant to be a double set to contain the 23-minute epic Supper's Ready, but then they changed their mind. Good executions, but a bit too close to the originals.”

Mott - MOTT THE HOOPLE****

All The Way From Memphis/Whizz Kid/Hymn For The Dudes/Honaloochie Boogie/Violence/Drivin' Sister/Ballad Of Mott The Hoople/I'm A Cadillac-El Camino Dolo Roso/I Wish I Was Your Mother

Mott was the follow up album after their commercial breakthrough delivered by David Bowie. It was their highest placed chart album and includes the major hits All The Way From Memphis and Honaloochie Boogie. (US:35 UK:7)

“By the time of Mott, the band had been reduced to a four-piece. While it’s certainly arguable that this is their best sounding album, it just may be their most accomplished in terms of songwriting and playing also.”

“One of their strongest albums with Hunter and company seldom having sounded as angry or driven. It also goes a long way to underscoring the fact they weren't a bunch of glam wannabes, but rather one of the era's tightest rock bands.”

“Mott, transcends the glam moves of the previous album by adopting a more tough rock ‘n' roll attitude, while still pilfering the conceptual aspects of Bowie's Ziggy Stardust. All The Way To Memphis is a fantastic opener, and probably Mott The Hoople's greatest song.”

“A self-reverential work that's equally as much about Ian Hunter and the band as it is their audience. Or you can see it as an ode to rock ‘n' roll itself. There have been few records that ever framed their era quite as well as this, yet I think one can listen to it with fresh ears and still find new connections. From start to finish it makes the case for rock's communal aspirations along with a celebration of youth in all its splendour and pitfalls.”

“A near perfect, unselfconscious portrait of a band painted from the inside looking out. Covering everything from the vagaries of touring, to groupies and wives, to fans and the band’s own difficulty coping with its new found success, this is an overlooked masterpiece.”

“Melodic, wistful and rocking, Mott remains the sole album where this star-struck band was able to put it all together. It oozes disillusionment, testament to their one step forward, two steps back existence as they continually battled indifference and inter-personnel conflicts.”

“The album is unified, and purely Mott. Everything that Hunter and Co. had been trying to get straight for the previous five years finally paid off.”

Styx II - STYX***

You Need Love/Lady/A Day/You Better Ask/Little Fugue In G/Father OSA/Earl Of Roseland/I'm Gonna Make You Feel It

Follow up album from the American rock band Styx who would become enormously popular towards the end of the decade. Featuring a mishmash of styles it includes the US No. 6 hit single Lady. (US:20)

“The unoriginally titled Styx II features the band’s breakthrough hit Lady but other than this hit single, the style and quality of the album is nearly identical with their previous Wooden Nickel label albums. Hard rock still provides the template for most of their tracks which, with one exception, are all original material.”

“At this point in their career it sounds like Styx still had aspirations of being a prog rock band as evidenced by the two longer cuts on the album, both of which are more movement based than straightforward hard rock. The end result is another album that fails to separate them from their peer group or indicate that they would be capable of anything more than being just another rock band.”

“This one, like its predecessor, is commercial prog-rock, with a hard edge to it, and featuring their annoying use of synthesizer and falsetto vocal harmony.”

“Styx II is definitely an improvement over the previous album, and in my opinion, the best of their Wooden Nickel releases. The musicianship has grown significantly, as has the songwriting. That said, it's still a bit patchy, but then again, that's something the band never quite seemed to get over.”

“Styx II is precisely what you would expect from a band that has yet to find its signature style - a hectic mishmash of styles executed to varying degrees of success. There are a number of good tracks here, easily the most famous of which is the arena rock staple Lady.”

“Casting aside modesty and embracing bombast, Styx's manifesto is in full effect, best realized in over the top pomp-rockers like Earl Of Roseland, all racing keyboard flourishes, heavy guitars, and assertive vocals. Of course, you can't forget the pervasive Lady, overplayed for certain, but nevertheless one of the grander statements working well in the context of an album full of them.”

“This is the best of Styx's pre-stardom albums. It contains Lady, a lovely ballad that would become a delayed hit and launch the band's success.”

Lord Of The Ages - MAGNA CARTA***

Wish It Was/To Old Friends/Lord Of The Ages/Isn't It Funny (And Not A Little Bit Strange(/Song Of Evening/ Father John/That Was Yesterday/Falkland Grene

Lord Of The Ages from the London progressive band Magna Carta is inspired and influenced by acoustic folk. They attracted a cult following but despite many releases their commercial success was limited.

“Magna Carta’s music is largely inspired and influenced by acoustic folk, often with a traditional feel and great vocal harmonies. They were part of the early progressive wave, but without actually fully stepping into the progressive realm.”

“This is a quasi-masterpiece of folk prog music full of refined details. The warm and pleasant acoustic bass contributes to give a slight jazzy tendency to the whole. The tracks are so good that even the country electric guitar parts are excellent. Everything is well put at the right time, at the right place: the palpable harmony is a strong point on this record. There are practically no psychedelic, spacey or experimental passages, everything is just down to earth; it is a pure, positive and sane music, excellent for your soul.”

“This is a very soft and quiet post-hippie English acoustic record. Side two is good because there is a bit of variety and the tunes are relatively short.”

“To Old Friends is one of my all time favourite songs, you just have to hear it - great writing and absolutely stunning. The title track Lord Of The Ages is a truly Magna Carta epic. It starts off as soft acoustic piece as the verses are spoken over a beautiful melody, with a haunting sung refrain.”

“The long title track is simply superb: fantastic lyrics, amazing harmonies. Their style is acoustic, folksy, quite a bit different. This is easy on the ear with lovely melodies and interesting lyrics. The band went through many changes in their line-up, but this one is particularly effective.”

“This band turned folk music inside out with this production and brought about an album the likes of which had never been heard before. Listen to Wish It Was a song about love and peace with fantastic lyrics.”

Live & Let Die - SOUNDTRACK***

Live & Let Die/Just A Closer Walk With Thee-New Second Line/Bond Meets Solitaire/Whisper Who Dares/ Snakes Alive/Baron Samedi's Dance Of Death/San Monique/Fillet Of Soul New Orleans-Live & Let Die-Fillet Of Soul Harlem/Bond Drops In/If He Finds It Kill Him/Trespassers Will Be Eaten/Solitaire Gets Her Cards/Sacrifice/James Bond Theme

Live & Let Die was the first James Bond film to star Roger Moore. Another innovation was the replacement of John Barry with George Martin as composer of the score. The title track was a US No.2 and UK No.9 hit single by Paul McCartney & Wings. (US:17)

“George Martin homes in on 007's narcotics booty call with John Barry away on leave. Immediately reunited with Paul McCartney for a sizzling opener, Live & Let Die with some quasi-romantic leanings Wings had teased out of him; it proved the quintessential anthem for Moore era Bond.”

“Live & Let Die boasts one of the best title songs in the entire series. Paul McCartney and Wings perform this slam-bang exciting title song with thrilling beats and a magnificent flow.”

“George Martin composes the score this time around in a very laid back lounge type style, which actually works for the film. He made his own version of the James Bond Theme, which can also be heard on several other tracks.”

“George Martin, the Beatles producer, took the helm from John Barry in scoring the eighth James Bond film soundtrack. Though no one has yet equalled Barry's compositions for Bond films, Martin's soundtrack was perfect for launching Roger Moore's first outing as Bond. Let us not forget Paul McCartney's brilliant theme of the same name.”

“Live & Let Die was the start of a new era in the James Bond universe, as Roger Moore replaced Sean Connery as Agent 007. Moore brought a new slant to the character, and there was a change in the music department as well. Mostly known up to this point, for his work as a producer for The Beatles iconic albums of the 60s, George Martin became the first after John Barry, to score a Bond soundtrack as the sole composer.”

“George Martin's music for James Bond was a departure from Barry's more traditional orchestral sound. Martin went in more of a funk and rock direction, getting in step with the tone of the film. Martin does a fine job of coming up with an original approach, and then blending in the James Bond Theme.”

The Marshall Tucker Band - THE MARSHALL TUCKER BAND***

Take The Highway/Can't You See/Losing You/Hillbilly Band/See You Later, I'm Gone/Ramblin'/My Jesus Told Me So/Ab's Song

Eponymous debut album from the southern rock Marshall Tucker Band, covering similar musical territory to the Allman Brothers but with more of a country input. (US:29)

“Blending aggressive guitars and soulful, rootsy vocals with jazzy saxophones and flutes, the album took Southern rock, and rock music in general, in new musical directions.”

“A great laid back album with real guitar playing, I wouldn't rate them as highly as Skynyrd or Allman Brothers but they're a fantastic band.”

“Comparisons are made to other southern rock artists like Lynyrd Skynrd and the Allmans. The first comparison doesn't work well most of the time, MTB are more country and folk oriented and overall a much better band. Their versatility can be compared to the Allmans, and on the strength of at least this album they could be the lone torchbearers for this oft-maligned genre.”

“Who would expect to hear a flute on a so called southern rock album? MTB were a fairly large ensemble that played well on this record. There is some fine instrumental work, especially by the lead guitarist who does some great runs in a number of places. The MTB have more of a country influenced background showing up on these songs, but one can tell that they would be quite prepared to take off on some extended jams.”

“The debut album from The Marshall Tucker Band is one of the greatest. This album brings out the sound that MTB did so well, from country, to rock, to blues, all rolled together into a southern sound.”

“The Marshall Tucker Band's debut album contains several essential Southern rock songs, including, especially, Take The Highway and Can't You See. There are a couple of songs here that aren't so terrific, but the true gems more than make up for any shortcomings in the other songs.”