Star Wars - SOUNDTRACK****

Main Title/Imperial Attack/Princess Leia's Theme/The Desert & The Robot Auction/Ben's Death & Fighter Attack/The Little People Work/Rescue Of The Princess/Inner City/Cantina Band/The Land Of The Sand People/Moue Robot & Blasting Off/The Return Home/The Walls Converge/The Princess Appears/The Last Battle/The Throne Room & End Title

This was the double LP Grammy winning album that launched the incredibly influential Star Wars movie franchise. Composed by John Williams the Main Title would provide him with a US No.10 hit. (US:2)

“The greatest movie soundtrack ever made. There's no getting past how incredible this music is. In fact, the music was a fairly big part of the reason the movie was so popular in the first place.”

“Hard not to give this an insanely high rating, because it's the sound of my childhood. What struck me as much as anything was the legitimacy that Williams' score gave the film. Any other composer would have been drawn in by the sci-fi and the futuristic setting and rely too heavily on what they thought was futuristic music.”

“The Star Wars Theme is perhaps the most recognized movie theme of all time, and I'll even wager the greatest instrumental movie theme ever created. Leia's Theme is a calm and beautiful song, while Cantina Band is the perfect bar band song. Every song fits so perfectly with the movie.”

“Star Wars both in music and in film, has managed to create a separate universe from our own. It is probably one of the best films ever made and the music is also some of the best ever composed. You can feel the intensity and ample fear in the battles captured here.”

“This is probably the greatest soundtrack ever. For that matter, this is some of the greatest music of the 20th century. Excellent writing, especially the melodies, excellent orchestration, and the reintroduction of the old idea of the leitmotif.”

“With all the new movies, the spin-offs, the TV commercials and remixes, sometimes it's hard to remember just how powerful the very first, original movie's music was. This was a grand, epic soundtrack. You have the sweeping power of the main theme, and the most famous song of all Cantina Band. Each song has texture and meaning built into each note.”

Nether Lands - DAN FOGELBERG***

Nether Lands/Once Upon A Time/Dancing Shoes/Lessons Learned/Loose Ends/Love Gone By/Promises Made/Give Me Some Time/Scarecrow's Dream/Sketches/False Faces

Soft rock singer songwriter Dan Fogelberg continued to attract public attention with the release of Nether Lands. During the next five years he would enjoy solid commercial success in the USA, but would remain little known in the UK. (US:13)

“Beautiful songs sung with feeling, quite special. The tracks Loose Ends and False Faces are his best work. This was Dan Fogelberg’s breakthrough album, but unfortunately he never reached these heights again.”

“There are some really good tunes on this LP, but it feels like it takes itself a little too seriously in places. I think the album's charm is the same as its downfall, namely the strings and apparent multiple production layers.”

“A couple of tracks are OK, but overall, I had difficulty following this from beginning to end, and also had problems figuring out when one track ended and the next started. It is similar sounding throughout the recording.”

“With it's over the top production, sappy strings, and sensitive guy lyrics, the best way to describe Nether Lands is Barry Manilow in blue jeans. The only two decent cuts are Loose Ends which is saved by some fine harmonies and excellent guitar. False Faces is also pretty good. Outside of these tracks this album is best kept in a Nether Land of its own.”

“The dreamy, haunting arrangements, that mostly comprise the stylings of multi-instrumentalist Fogelberg, are inspirational, breathtaking and unforgettable.”

“I am always impressed by the diversity and emotional power with which he writes and performs. He easily moves from soft ballads to driving rock and roll, with a little country and classical mixed in between. There is never a dull moment with Fogelberg. He is an awesome talent.” “The music is probing and inquisitive, dramatic and relieving. Here, Fogelberg has expanded the soft rock California sound of the late seventies by including an intelligent and poignant theme. It is melodic, luscious and discerning.”

I'm In You - PETER FRAMPTON***

I’m In You/(Putting My) Heart On The Line/St Thomas (Don’t You Know How I Feel)/You Won’t Be My Friend/You Don’t Have To Worry/Tried To Love/Rocky’s Hot Club/(I’m A (Road Runner)/Signed Sealed Delivered (I’m Yours)

After the massive success of his live album from the previous year expectations ran high for the next Peter Frampton release. Unfortunately, I’m In You was a disappointment in which his traditional rock musical style took a back seat to chasing the fickle teenage girls market. (US:2 UK:19)

“Frampton was walking a tightrope with this album, a fine line between catering to his teenybopper fandom and yet still wishing to further his rock-star credentials. In the end, although the album was commercially successful on first release, he satisfied neither faction and soon found himself back where he was in the early 70s with his future behind him.”

“I still can't believe what a lame follow-up to the double-live this was, especially given how relatively good and rocking its studio predecessor Frampton was.”

“With this album, Peter Frampton faced the fundamental problem of how to adequately follow such a smash as Frampton Comes Alive, which had taken the world by storm the previous year. Typically, many critics were quick to dismiss the new record as being an inadequate, rushed and a lightweight follow-up.”

“The music did not particularly attempt to replicate the sound and style of the live album, although the lively pairing of two old Motown songs did reflect Peter's enjoyment of performing. Rather than opening with an upbeat track, the album's first song was the memorable synthesizer laden ballad I'm In You. The rest of the album unfolded with upbeat tracks strongly featuring distinctive synthesizer sounds.”

“Despite the relative sappiness of the title track, it's still a classic piece of 70s glossy balladeering that had the young girls swooning, evolving into a powerhouse toward the end. But just in case, the remainder of the album displays remarkably good taste and dynamic, imaginative songwriting.”

“This album was basically a misguided attempt to become a pretty boy sex symbol and while it did sell quite a few copies, it was almost shamelessly devoid of any of Frampton's earlier wit and charm. The title track was a hit, and was snapped up by teenage girls looking for the latest pin up to swoon over. Otherwise, the songs are lifeless and emotionless.”

Izitso - CAT STEVENS***

(Remember The Days Of The) Old Schoolyard/Life/Killin’ Time/Kypros/Bonfire/(I Never Wanted)To Be A Star/ Crazy/Sweet Jamaica/Was Dog A Doughnut/Child For A Day

Singer songwriter Cat Stevens released some of the best pop-rock albums during the 1970s, but alas Izitso is not one of them. This is an uneven release which unusually for this artist features synthesisers. (US:7 UK:18)

“Perhaps it's his worst work, but it includes two of my favourite tracks: Old Schoolyard and the instrumental Kypros, which refers of course to his country Cyprus.”

“One excellent pop track Old Schoolyard, which keeps better company on any number of compilations, and lots of horrible, unlistenable junk. The Worst of Cat Stevens would have been a better title.”

“The only remarkable song here is the beautiful (I Never Wanted) To Be a Star with a fine tune and great lyrics. Absolutely unacceptable: the instrumental Was Dog A Doughnut.”

“Mediocrity abounds on this album. For the most part, the songs manage to sound both flimsy and over-baked. Izitso may be Stevens' most keyboard oriented album. There are lots of synthesizers here and even a drum machine on the instrumental Kypros.”

“This album was quite a musical departure for Stevens, filled with synthesizers and often much more upbeat pop/rock with a bit harder edge than a lot of his work. While this album doesn't have his traditional sound to it, I think he adapted well to the use of synthesizers. This is a great timepiece of the era. He was a true original, and his presence in the music world is certainly missed.”

“This album gets a lot of flack for embracing Cat's soulful side as opposed to mellow folk, and thereby going against his musical grain to some ears. But there's a lot of quality music on here that could all too easily be overlooked.”

“I'm a big Cat Stevens fan, but this was a big disappointment to me. Except for three really great songs (Old School Yard, To Be A Star and Child For A Day) the material is lousy.”

Book Of Dreams - THE STEVE MILLER BAND***

Threshold/Jet Airliner/Winter Time/Swingtown/True Fine Love/Wish Upon A Star/Jungle Love/Electro Lux Imbroglio/Sacrifice/The Stake/My Own Space/Babes In The Wood

Book Of Dreams has many similarities to the previous Steve Miller album, unsurprisingly as they both appear to have been recorded at the same session. Features the US No. 8 hit Jet Airliner. (US:2 UK:12)

“Following hot on the heels of the exhilarating Fly Like An Eagle, Steve Miller returned with the equally impressive Book Of Dreams. What is particularly noteworthy about both these albums is the versatility of his guitar playing and ability to switch effortlessly between musical styles.”

“Filled with classics and some other typical Steve Miller space music, it remains one of my favourite albums from the 70s and is the quintessential Steve Miller Band record. Jet Airliner, Swingtown, and Jungle Love dominated the airwaves that year and still remain accessible and enjoyable when heard today. The rest of the tracks are also strong, and the flow of the music as a whole works much better than most other Steve Miller albums.”

“It is well known that Miller cleverly recorded both this and its predecessor at the same sessions and carved the material up into two separate albums for subsequent release. Unsurprising therefore that the material on both is interchangeable and similarly constructed, with three killer pop singles, some blues, some corny country and little synthesiser inserts that he liked to elevate with slightly pretentious titles.”

“Steve Miller lives somewhat of a dual musical existence, solidly forging his reputation as a blues man, but he also has his lightly tinged psychedelic side, stringing together dreamy romantic wasted numbers that come off smoothly, cleanly, and more often than not intoxicatingly. Even within this quasi psychedelic nature, he still manages to lace unexpected songs together. Some are on the verge of rocking, while others are as effortless and gentle as smoke, and still able to hold them all in check, fully in control.”

“Book Of Dreams is one consistently strong recording. There is a great balance between driving electric guitar rockers and acoustic songs with an emphasis on special effects. Jet Airliner and Jungle Love were two good choices for singles but there are plenty of other catchy hidden gems.”

Time Loves A Hero - LITTLE FEAT***

Hi Roller/Time Loves A Hero/Rocket In My Pocket/Day At The Dog Races/Old Folks Boogie/Red Streamliner/ New Delhi Freight Train/Keepin’ Up With The Joneses/Missin’ You

Critics were disappointed with blues-rock Little Feat’s Time Loves A Hero as the input from the main songwriter and vocalist Lowell George was much diminished. (US:34 UK:8)

“I think the whole record could have been so much better, but nevertheless it has some fine songs. The title track is catchy, Rocket In My Pocket has a funk-rock quality that drives it at full throttle. Old Folks Boogie is a lot of fun and A Day At The Dog Races is a highlight showing that Little Feat were more than capable of trying out other forms of experimentation.”

“Not one of the better Little Feat albums. This is OK, but the band sounds a bit tired here. Lowell George is on his downward spiral leaving the band without a lot of good material to record. There are some good moments but they are few and far between.”

“This album is given a bad name by many, mainly because of Lowell George's dwindling contributions to the band he once spearheaded. However, I don't think it's fair to compare this album to their earlier work because they were beginning to go in a new direction. The whole first side is stellar, and features several of their best songs: Time Loves A Hero gels into a mellow-yet-funky, driving groove, and all in all is a sublime song.”

“Lowell George was on the decline, contributing only two tunes, the best of which is the rocker Rocket In My Pocket. The big problem is that they sound more like The Doobie Brothers, than the Little Feat I'd come to know and love.”

“Time Loves A Hero continues Little Feat's downward trajectory from the dizzying height of Dixie Chicken. Lowell George is essentially gone, jazz-fusion noodling replaces funky Southern grooves, and electronically synthesized sounds smother the rich, organic timbre of real instruments.”

“This is a decent album but really nothing more. The standout tracks are killer and would prove to be even better onstage. The rest is ho-hum, heard-it-all-before type stuff.”

At The Hollywood Bowl - THE BEATLES****

Twist & Shout/She’s A Woman/Dizzy Miss Lizzy/Ticket To Ride/Can’t Buy Me Love/Things We Said Today/Roll Over Beethoven/Boys/A Hard Day’s Night/Help/All My Loving/She Loves You/Long Tall Sally

Somewhat belatedly At The Hollywood Bowl was the first Beatles live release. The songs are all taken from the 1963-65 period. Although of significant historical interest, the group’s performance is rather drowned out by the screaming of fans. (US:2 UK:1)

“As one might easily understand, the recording quality was (to put it mildly) quite inferior, whereas the girls' screaming was quite superior. That said, once your ears get attuned to the noise, there's no doubt about it - it's definitely a live Beatles performance, signed, sealed, and delivered.”

“The band battled fans for the spotlight on that and it really shines a bright light as to what Beatlemania was.”

“If one were to describe this meeting between The Beatles and their fans as a battle, the fans clearly win. There are several reasons for this. The most important being that at the time, live concert equipment was a far cry from what it later became.”

“Because The Beatles were nothing more than a straight-up pop band at this point, Live At The Hollywood Bowl ends up being moderately underwhelming. The live arrangements hardly vary from the studio versions. At the time, though, that’s what concert attendees demanded. On these terms, the shows were a success. The Fabs are pretty tight musically, but one area in which they struggle throughout the set is their vocals. It is hard for them to approximate the harmonies found on their records.”

“The overall energy is absolutely insane, almost incomparable. It's like listening to space shuttle taking off, it's a blast, the fire is bursting right from everywhere and you're right in the centre of action.”

“What does come through is the incredible energy they could generate in live performance. Most of these songs are taken at a faster tempo and are done in a more basic way. There was no room for subtlety during these concerts.”

“Considering the Fab Four could barely hear themselves it's incredible that they were able to play and sing as well as they did. Their voices are ragged and hoarse at times, but it only adds to the appeal.”