Caribou - ELTON JOHN****

The Bitch Is Back/Pinky/Grimsby/Dixie Lily/Solar Prestige A Gammon/You're So Static/I've Seen The Saucers/ Stinker/Don't Let The Sun Go Down On Me/Ticking

With Caribou Elton John delivers another album of outstanding songs let down by some eccentric lyrics and subject matter. Features the US top five hits Don’t Let The Sun Go Down On Me and The Bitch Is Back. (US:1 UK:1)

“What matters is the quality of the songs and this album does not disappoint. You have a huge variety of material here from one of his hardest songs, to some of his quietest, to some of his most melodramatic.”

“Having managed to crank out seven albums in a little under five years was bound to cause issues in the quality control department sooner or later, and sure enough this is a bit of a step down for Elton. There were a couple of hits, The Bitch Is Back was the rocker, Don't Let The Sun Go Down On Me the ballad, but the rest of the record was fleshed out with throwaways, novelties, experiments and just plain weirdness.”

“The positives outweigh the negatives. Caribou could have been better, had Elton just given it some proper attention. But the Elton John phenomenon had by this time grown so big that even the man himself had trouble keeping up.”

“By the time Caribou appeared, EJ was a fixture in the pop music stratosphere. This album was released as a launch pad for his much anticipated world concert tour, and given this backdrop, may explain the relative simplicity of many of the tunes. To be sure, this collection lacks the variety of tone and texture that made its immediate predecessor, such a satisfying listening experience, but one shouldn't sell Caribou short.”

“There are superb harmonies on I've Seen The Saucers, Pinky and Don't Let The Sun. There are also some classic stadium rockers: The Bitch Is Back, Stinker and I'm So Static. Elton and Taupin still manage to add a rather silly song in the mix, Solar Prestige A Gammon, a gibberish song about absolutely nothing, which Elton belts out the song at his cheeriest. Dixie Lily is a great country tune, showboat whistles and all, while the tragic Ticking has to be one of the best songs Elton and Taupin ever wrote, as close to a tear-jerker as anything they ever composed.”

“Two classic songs tower above the rest of the material. The Bitch Is Back is one of his best known and enduring rock songs. Don’t Let The Sun Go Down On Me is a timeless love song.”

Waterloo - ABBA***

Waterloo (Swedish)/Sitting In The Palmtree/King Kong Song/Hasta Manana/My Mama Said/Dance (While The Music Still Goes On)/Honey Honey/Watch Out/What About Livingstone/Gonna Sing You My Love Song/Suzy Hang Around/Waterloo (English)

Swedish pop group Abba came to the attention of British audiences with their barnstorming victory in the Eurovision Song Contest with Waterloo, which subsequently became a UK No.1 hit. (US:145 UK:28)

“A very uneven album, some of the tracks are perfect, simple delightful pop songs that are capable of bringing you instant happiness. Then there are some rather unremarkable ones. Overall, Abba are a very energetic band on this album, not very original but their pop enthusiasm is addictive.”

“Abba were well on their way to becoming the greatest group in the history of catchy and accessible pop. While their debut had a couple of great songs, Waterloo is clearly a stronger LP overall. Kicking off with a Swedish lyric version of their all-time classic title track, the album is an enjoyable listen with some exceptions to their now familiar sound; Sitting In The Palmtree is quirky little oddity, and we also get Abba's take on hard rock in Watch Out, a rather unusual track in their discography.”

“It's clear that by their second album, Abba had latched on to the magical formula that makes their music so special. While Waterloo isn't their best, it has enough classics to compare favourably to their later releases, and is a definite improvement over their debut. Of course, there's the title track, which is one of the group’s signature songs and one of the greatest pop songs ever recorded. But there's also the lovely Hasta Mañana, which features the glorious, bittersweet melancholy that they would become known for on later songs Honey Honey is a very catchy tune as well, while Watch Out is a brilliant rock song.”

“The songs on Waterloo already improve on those from the debut, perhaps because they are now definitely a group rather than a pair of couples having a good time just singing songs. Abba at this point had not yet found their feet; hence an album full of conflicting styles and genres. There is no real uniting factor, with all four members taking lead vocal duties on at least one song.”

“The band are terrific, but this is marred by inconsistency (the guys sing way too many songs) and some forgettable tunes. It sounds too imitative of other influences. They would have to wait until the next album for the pieces to come together.”

Mr Natural - THE BEE GEES***

Charade/Throw A Penny/Down The Road/Voices/Give A Hand Take A Hand/Dogs/Mr Natural/Lost In Your Love/I Can't Let You Go/Heavy Breathing/Had A Lot Of Love Last Night

By this time the Bee Gees had reached their mid 1970s nadir of unpopularity. Nobody could have predicted the amazing renaissance that was just around the corner. Mr Natural is a transitional album mixing ballads with their new R & B influenced sound. (US:178)

“A major departure from the early seventies Bee Gees albums which is in itself a relief. This is the Bee Gees' finest funk and R & B contribution that does not include the famous Barry Gibb falsetto.”

“The introduction to their disco era. They've departed from the minor country pop phase and entered the dance hall with funk lingering about, but no falsetto yet.”

“This represents a last nod to the dominion of the acoustic pop ballad and an excited, though not fully-formed, step towards the blockbusting R & B floor-fillers with which they'd soon remake their reputation. While certainly transitional, this is in many respects one of its odd strengths. Variety and a sense of experiment permeate it, along with an appealing restraint; few laboured ballads or falsetto hysterics here, just an appealing candour. A singularly understated, romantic album that deserves a special place in their pantheon.”

“With their audience having all but disappeared, Mr. Natural found The Bee Gees turning to producer Arif Mardin. The album is instantly recognizable as a Bee Gees product, but it marked a major change in direction for the brothers. If you want to hear the roots of what was to become their late 1970s chart domination, then this is the place to start. Exemplified by tracks such as Charade and Voices there are still plenty of the Gibbs' trademark big ballads, but the brothers seem to have decided that commercial survival required them to toughen up their sound.”

“It's a shame that this album suffered the fate that it did. The Bee Gees second RSO offering was another helping of some very good and well written songs. Once again, we're treated to some beautiful ballads. The brothers also deliver some fusion drenched R & B songs you can actually dance to.”

“It has a little bit of everything - fast, slow, and in between; gospel, soul, country, jazz, and rock. You name it Mr Natural has it. Some of the best vocal work ever recorded is right here.”

If You Love Me Let Me Know - OLIVIA NEWTON-JOHN****

If You Love Me Let Me Know/Mary Skeffington/Country Girl/I Honestly Love You/Free The People/The River's Too Wide/Home Ain't Home Anymore/God Only Knows/Changes/You Ain't Got The Right

If You Love Me Let Me Know heralded the immensely successful transition of Olivia Newton-John from pop singer to country star. This phase would only last a few years before she returned to pop. Featured here are the US No.1 I Honestly Love You and the No. 5 title track. (US:1)

“If You Love Me Let Me Know is probably the most interesting of Olivia Newton-John's country albums (or actually any of her pre-pop records), in part because it follows the spirit of her Australian records, pleasant selections given interesting arrangements that don't come close to real country but make for enjoyable listening. The title track and I Honestly Love You are definite winners, but the rest of the album has its moments.”

“I love to hear the country Olivia Newton John. This record was my first love of country music. There is something about her voice I have never found elsewhere, the same feeling of warm fuzziness as she does for me. It is something only she can do. This album is definitely from the 70s, with the way the background singers sing. Anyone who has lived though that era knows what I mean.”

“Every song is great. To this day I still feel this is her best album. If an Olivia Newton-John collection is planned, this should be the first purchase. All the tracks are very good. Olivia's ability to blend country with pop is very well represented.”

“Of Olivia's music that I know, these songs are her best. Not a bad song on the album. It is a shame it is not more readily available to new listeners.”

“This is my favourite Olivia LP, bar none. Every song is good. The highlight is of course Olivia's first US number one hit, I Honestly Love You. This song's lyrics are so strong and sad, and her vocals are so sensitive and caring, that it is easily the finest song she has ever recorded. But it is not a happy song.”

“Olivia Newton-John broke through in a big way with this album which quickly established her as a superstar to be reckoned with. It works on many levels, and is a strong chapter in Olivia's catalogue.”

Back Home Again - JOHN DENVER****

Back Home Again/On The Road/Grandma's Feather Bed/Matthew/Thank God I'm A Country Boy/The Music In You/Annie's Song/Its Up To You/Cool An' Green An' Shady/Eclipse/Sweet Surrender/This Old Guitar

Back Home Again was released when country-rock singer songwriter John Denver was at the peak of his popularity. It includes the US No.I hit singles Annie’s Song and Thank God I’m A Country Boy plus the No.5 title track. (US:1 UK:3)

“He was a sincere and talented artist. His songs give us a romantic and hopeful view of life, harking back to a simpler, less complicated time and the wide open spaces of the American landscape. This album is one of his best. It’s not all apple-pie stuff. One track, Eclipse, sings of environmental degradation, a theme Denver championed during his career. It’s a beautiful, sad and poignant number.”

“This album was released when John was at the apex of his popularity, and the songs served to propel him firmly into the stratosphere. From the comical Thank God I'm A Country Boy to the incredible smash hit Annie's Song, John Denver showcased his incredible talents here. Denver almost single-handedly began the outdoor backpacking, hiking, and orienteering movements by popularizing the idea of nature as an important element in modern life. From Sweet Surrender to This Old Guitar, Denver's songs soar in their description of the beauties of a simple and natural life and in being close to the great wide-open.”

“This is the album that made JD world famous, and although more mainstream than any of the preceding albums, it contains not a single bad track. The imagery is strictly US countryside, but it gained an international appeal. No other album ever sounded like this again. Not the pinnacle of his works but the best known and a great one to listen to.”

“John never liked to be typecast but he was a country boy at heart and it was never more obvious than on this album. Whatever you may think of his other releases, this album is country. It was his best-seller and it contains his best-selling single, Annie's Song, and my favourite song of his, Back Home Again, together with many other classic songs.”

“If you only get one John Denver album, make it this one. He's at the top of his game here; straddling folk, rock and country, and it all sounds great.”

Wonderworld - URIAH HEEP***

Wonderworld/Suicidal Man/The Shadows & The Wind/So Tired/The Easy Road/Something Or Nothing/I Won't Mind/We Got We/Dreams

Wonderworld features the classic line-up of the progressive band Uriah Heep for the last time. The title track is a contender for one of their strongest compositions. (US:38 UK:23)

“The problem with this album is that the band's once-consistent songwriting gifts have taken yet another step back. Perhaps the strain of releasing one album a year had finally caught up with them, but much of this record is desperately lacking in memorable hooks.”

“Heep's final potentially strong set, there are some bland moments but on the whole nothing fatally mediocre. Wonderworld shows the depth of their versatility, the title track and The Easy Road are haunting piercing ballads, while I Won't Mind is a slow blues piece whilst Suicidal Man and Something Or Nothing both rate as two of Heep's strongest rockers.”

“This album has a dark and moody atmosphere, but the songs, though still good, are not to the high level of previous albums.”

“Things start out good with the title track, and well.... that's about it. The band sounds good, Byron in particular but this album sounds rushed and down right embarrassing at times.”

“While it's not one of their best albums overall , there are a number of excellent tunes here. Suicidal Man features a menacing riff throughout it, and The Shadows & The Wind is the perfect example of the band's intricate five-part harmonies.”

“The title track still remains a gem and is a very powerful opener as all of the classic Heep elements are intact: a soaring vocal from Byron, Hensley's piano and keyboards melding perfectly for colour and texture, and the strength of the group collectively as a whole makes this song an instant classic. Suicidal Man is a mid-paced rocker that has a bit of darkness to it with the harmony chorus and some great guitar leads.”

“After their best years Uriah Heep released another very good album, Wonderworld, with a good selection of songs, and featuring their classic line-up for the last time.”

Between Today & Yesterday - ALAN PRICE****

Left Over People/Away Away/Between Today & Yesterday/In Times Like These/Under The Sun/Jarrow Song/City Lights/Look At My Face/Angel Eyes/You're Telling Me/Dream Of Delight/Between Today & Yesterday

Between Today & Yesterday provides a semi-autobiographical account of life in North East England. Features the lengthy and somewhat sentimentalised Jarrow Song, a UK No.6 hit single. (UK:9)

“Side one is outstanding, with complex, accomplished baroque arrangements (brass bands, bassoons etc) and Price seems to heading towards a masterpiece. Side two is so run of the mill, that the overall album seems good rather than brilliant. He has a weak voice but uses it extremely well.”

“Between Today & Yesterday is an adult album that confronts ageism like no other, and wears its heart on its sleeve with unabashed sincerity. Alan Price's harrowing, bleak, semi-autobiographical account of Geordie poverty-stricken Northern England, is about as personal and realistic in musical and lyrical terms as it gets.”

“The hit single Jarrow Song which at first comes across as an almost novelty song, with further plays the lyrical depth becomes glowingly realized. It's an amazing piece of music that paints a scene of the division between the north and the south of England in Price's younger days.”

“Price re-visits his North East roots and comes up with an album which is a bit spotty but on which the best parts are magnificent.”

“Alan Price doesn't put a foot wrong throughout the entire album. A stunning collection of emotional, nostalgic songs that tear at the listeners heartstrings. Absolutely wonderful.”

“Despite the unevenness of this work, it's a vital part of any Alan Price library. The title track is a masterpiece, while the rest of the album never quite hits that height. As usual with Price's work, the musicianship is first rate throughout.”

“Although there is a theme, or a concept, in that side one is yesterday and side two is today, the songs stand up on their own although the hit single Jarrow Song is not the strongest cut. Great arrangements and terrific guitar work. The songs are catchy, the lyrics are meaningful and the album stands up as Alan Price's greatest work.”