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Music Index

The starting point for an index of all my musical sections.


Historic Album Reviews

I am gradually building up my reviews of historic albums from America to U2


The Music Years

Albums reviewed by years from 1963 until the present day.


The Gig List

A list of concerts and gigs I have attended over the years with reviews when I can remember what they were like.


Music Writing

My music writing - both published and unpublished.


Here and Now

Details of Eastern Evening News Here and Now columns I was involved in.


2009 Album Reviews

Major 2009 albums reviewed and rated.


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Free music - Best of 2009


Free music - Best of 2010

My favourite tracks from 2010 compiled as a playlist.






The Music Years - 1969

The following albums were released in 1969 and have been reviewed thanks to the following legal music sites:


Tommy - The Who 9

Overture / It's a boy / 1921 / Amazing journey / Sparks / Eyesight to the blind (the hawker) / Christmas / Cousin Kevin / Acid Queen / Underture / Do you think it's alright / Fiddle about / Pinball wizard / There's a doctor / Go to the mirror / Tommy / Can you hear me / Smash the mirror / Sensation / Miracle cure / Sally Simpson / I'm free / Welcome / Tommy's holiday camp / We're not Gonna take it

This album probably more than any other got me into rock music and gave me the ability to in many ways think outside the musical box if you'll pardon the pun. I was absolutely astounded the first time I heard Tommy and it has remained one of my favourites ever since. It was just the concept of a rock opera that left me gobsmacked. Not only that but the excellent way Pete Townshend fused rock with classical music and the haunting way Roger Daltry delivered those See Me, Feel Me, Touch Me, Heal Me lyrics. Many fans of the Who (indeed probably most) seem to prefer Quadrophenia as being more worldly and more realistic and in many ways it was but Tommy has a magic all of its own. The plot may be slightly ridiculous but that is almost its main charm. It takes us away from reality for a while and surely that's what musical theatre is all about. It's one of those albums that I know so well that I can instantly sing virtually every track. The Who were pushing the rock boundaries (remember this was released a year before the golden 70s hit us). It was almost a farewell to the 1960s and a progression from everything that had been happening from 1965 onwards. It has its moments of high musical drama and even the more slightly silly songs had a starkness and blackness to them. And there are plenty of underlying themes from corruption to exploitation and disillusionment. Here the Who had done something distinctly different. It was to be a blueprint for much that followed.


In the Court of the Crimson King - King Crimson 8

21st Century Schizoid Man/I Talk to the Wind/ Epitaph/ Moonchild/ The Court of the Crimson King

One of the great prog albums of all time. There is a timeless feel about this album that mixes rock, prog with elements of jazz into a vast wall of sound that swirls around, making the title track and Epitaph two of the greatest rock tracks ever recorded. Within a very progressive framework KC have managed to fuse elements of rock on 21st Century Schizoid Man with peaceful ballads such as Moonchild and I Talk to the Wind. This was where music was at in the early 70s and it has quite rightly been heralded in many publications as one of the greatest rock albums of all time.


Space Oddity - David Bowie 7.5

Bowie cast off the mantel of Anthony Newley sound alike to produce what became his first genuine album after the novelty style songs that first brought him to the public's attention. I remember championing the man whilst at High School. Others were into the heavy stuff like Black Sabbath, Deep Purple and Jethro Tull (the so called underground). I preferred the more whimsical stuff like Bowie. And they laughed at me. But when this came out people began to listen and by the time Man Who Sold the World followed, there were a number of converts. Bowie was voted by artists in the New Musical Express as the most influential artist of all time. I tend to agree with that assessment simply because he has lasted longer than the Beatles and re-invented himself so many times. This is an important album in Bowie's evolution and it also stands as a decent effort in anybody's language. Space Oddity the single became enormously popular, but here Bowie shows that he is not afraid to set off into unchartered territory with Cygnet Committee building and building into a 10 minute epic. I remember insisting that a friend listen to Cygnet Committee. I think at the end of it he was pretty unmoved, but I just said wow. This was where I wanted pop/rock music to go. Elsewhere the album is full of little gems that show Bowie was a man of the people. God Knows I'm Good is the sad story of a hungry pensioner forced to shoplift, Memory of a Free Festival is a stripped down song that does exactly what it says on the tin. The space theme is also extended by Wild Eyed Boy From Freecloud. There are imperfections in this album but it was one of the reasons that I really got into music. A new Bowie album became an event and he was to go on to make three of the most perfect albums in the history of pop.


Odessa - The Bee Gees - 7.5

Odessa (City of the Black Sea)/ You'll Never See My Face Again/ Black Diamond/ Marley Purt Drive/ Edison/ Melody Fair/ Suddenly/ Whisper Whisper/ Lamplight/ Sound of Love/ Give Your Best/ Seven Seas Symphony/ With All Nations/ I Laugh in Your Face/ Never Say Never Again/ First of May/ The British Opera *

* - Orignal 1969 track listings. The 2009 re-releases Odessa Deluxe and The Complete Odessa have stereo and mono versions of the album plus demos and previously unreleased tracks.

Some albums defy categorisation - none more so than Odessa, a beautiful hotch potch of pop, psychedelia, country and classical, originally released in 1969 amidst arguments between Barry and Robin Gibb over musical direction. In some ways that could be the reason for the uneven feel of this album. But it is exactly that uneven feel that makes it so impressive and impossible to pigeon-hole. The opening track deserves an essay on its own. It's a strange mixture of history, love and rejection. Then we get a smattering of pop songs, Beatles influenced songs and psychedelic pop before it all suddenly changes direction from Lamplight onwards. Lamplight is a typical soaring Robin Gibb song that was touted as the first single from the album but replaced by Barry Gibb's First of May. It gives way, for no apparent reason to another pop song Sound of Love and then a country hoe down in Give Your Best and then branches out into romantic full blooded classical with Seven Seas Symphony and With All Nations before returning to the song format and ending with the overblown classicism of The British Opera. First of May is also a delightful song. So many different styles on one album can be rather confusing but in the hands of real tunesmiths such as the Bee Gees it works really well and, despite being a double album, leaves us wanting more which is where the 2009 editions come in with their additional versions and tracks.


To Our Children's Children's Children - Moody Blues - 7.5

Higher and Higher/Eyes of a Child I/Floating/Eyes of a Child II/ I Never Thought I'd Live to be a Hundred/Beyond/Out and In/Gypsy (Of a Strange and Distant Time)/Eternity Road/Candle of Life/Sun is Still Shining/I Never Thought I'd Live to be a Million/Watching and Waiting

Strangely enough this album only got to number two despite having a much stronger line-up of songs - a number of which would become Moody Blues' classics. There is a much greater thematic feel to this album than the previous two. It was the first issue on the band's new label Threshold Records and had a fuller sound which apparently made it difficult to re-produce the sound in live concerts.The title is intriguing enough in itself. Were the band searching long into the future, prompted by the thoughts of space travel and the moon landing? Well of course they were. The album starts at a terrific pace with Higher and Higher and then the fine songwriting just continues with Eyes of a Child running straight into Floating and the whole thing is given a rather surreal feel by "I Never Thought I'd Live to be a Hundred." Gypsy, Eternity Road and Candle of Life are all extremely good songs and the album is rounded off with the wistful and truly beautiful Watching and Waiting which brings us down to earth very gently. The whole albums banks and soars.

Abbey Road (1969) - The Beatles - 7.5

Come Together/Something/Maxwell's Silver Hammer/Oh! Darling/Octopus's Garden/I Want You (She's So Heavy)/Here Comes the Sun/Because/You Never Give Me Your Money/Sun King/Mean Mr. Mustard/Polythene Pam/She Came in Through the Bathroom Window/Golden Slumbers/Carry That Weight/The End/Her Majesty 

Technically the Beatles last album but released before Let It Be there is an impishness to Abbey Road that makes it more akin to the White Album than Let It Be. George Harrison was emerging as a good songwriter in his own right with the classic "something" and elsewhere McCartney is in decent form with one of his whimsical offerings "Maxwell's Silver Hammer" and "Oh Darling" which showcased the rockier style that would become evident in much of his later solo work. To me Abbey Road has always been a fun album with the tracks just tacking into each other in seemless fashion. It was probably fitting that the band released Let It Be after Abbey Road otherwise we might have been left with the feeling that they were having too much fun to break up.



Five Leaves Left -  Nick Drake - 7

Time Has Told Me / River Man / Three Hours / Way To Blue / Day Is Done / Cello Song / The Thoughts Of Mary Jane / Man In A Shed / Fruit Tree / Saturday Sun.

Trying to assess an artist who produced just three studio albums in his lifetime is very difficult, particularly when that artist is now heralded as one of the biggest influences on British folk/rock music. Nick Drake was a tragic figure, who committed suicide at the age of 26. Like so many important artists through the history of music it was only after his death that his output grew in popularity. Today many artists of all genres herald him as an influence. Certainly he had a unique voice and interesting guitar style. Spread over only a four year period, Drake's studio albums show very little progression and leave you to wonder what he would have achieved if he had gone on. Would he have musically changed direction, would he have found acclaim? These are questions that will never be answered. Five Leaves Left has a sparse acoustic feel to it with few embellishments despite the presence of backing music from Fairport Convention. Drake's voice is pure and deep - quintessentially English in tone. There's a mix of folk and blues embedded in everything he does. On Way to Blue he also encompasses a classical chamber feel. Elsewhere there are groaning cellos that give the whole thing a rather morbid feel, but certainly do not detract from the power of the album. Overall there's a very satisfyingly rounded feel to the sound as if Drake has entered the arena already at the top of his game with songs of beauty like The Thoughts of Mary Jane.


Ticket To Ride - The Carpenters - 7

Invocation/Your Wonderful Parade/Someday/Get Together/All of My Life/Turn Away/Ticket to Ride/Don't Be Afraid/What's The Use/All I Can Do/Eve/Nowadays' Clancy Can't Even Sing/Benediction

Ticket to Ride was originally released in 1969 under the title "Offering" and met with little success due to the fact that the brother and sister duo were little known at the time and probably also the fact that the world and the world of music was going through a period of change. It came as something of a reverse shock therefore that in the middle of the "underground" movement in music, the struggle for identity, the violence of world events, came a pure pop sound - a fusion of the beautiful voice of Karen Carpenter and the lush arrangements of the very under-rated Richard. This was an embryo Carpenters album - fusing together original compositions by Richard Carpenter and John Bettis along with songs from Chet Powers "Get Together", Lennon and McCartney "Ticket to Ride" and Neil Young "Nowadays Clancy Can't Even Sing. There are undeniably moments of great beauty, particularly in "Someday" one of the most romantic songs written by Carpenter/Bettis and "Eve". Both will have you singing along. By and large I don't like covers of Beatles' songs when the originals are usually so much better.  So it is with Ticket To Ride which has never been my favourite Fab Four song anyway. Richard and Karen do manage to stamp their own identity on the song, however, by turning it into a slow baroque ballad. Overall there is a kind of timelessness about this album and the efforts of the duo to produce harmony at a time of mayhem.


Stand Up - Jethro Tull 7

New Day Yesterday / Jeffrey Goes To Leicester Square / Bouree / Back To The family / Look Into The Sun / Nothing Is Easy / Fat Man / We Used To Know / Reasons For Waiting / For A Thousand Mothers

For a start the album artwork won awards. The original LP opened up to reveal a flip up model of the band - imagine that happening today (of course it would be impossible in the CD format). Right from the start we know we are in slightly different territory here with Anderson firmly taking over the reigns. Interestingly the title track "New Day Yesterday" illustrates this perfectly. It still contains its blues roots but is much more of a rock piece. "Jeffrey Goes to Leicester Square" ventures into the folk-rock area that Tull will inhabit for much of their career. "Bouree" is one of the band's timeless offerings, based on a work by Bach. It will be well known to many for its appearances in a variety of television programmes over the years and shows Anderson's leanings towards a classical cannon. Look Into The Sun has a more acoustic and melodic feel to it and is countered by the electric feel to We Used to Know and the wistful Reasons for Waiting. This is a band almost emerging from a cocoon,


Chicago Transit Authority - Chicago - 7

Introduction/ Does Anybody Really Know What Time It is?/ Beginnings/ Questions 67 and 68/ Listen/ Poem 58/ Free Form Guitar/ South California Purples/ I'm a Man/ Prologue (August 29, 1968)/ Someday (August 29, 1968)/ Liberation

This debut album from Chicago couldn't have been easy listening back in 1969, but that's exactly what makes it so engaging and the fact it was so successful speaks volumes for the style of pomp rock that was around over 40 years ago. So many styles are encompassed here from rock and blues to a pounding brass beat that gave the band such an original sound. You don't have to look any further to the bombastic blowout of Poem 58 with its Hendrix overtones encompassed in a brass casing - this was heavy and heady stuff for a niche market. This was certainly music for the Woodstock generation and today has probably as much curio as musical value although Questions 67 and 68 remains one of my favourite pieces by the band. In many ways for a debut album this was stunning in a preposterous kind of way - even at times managing to sound like an American Emerson, Lake and Palmer (just listen to Free Form Guitar to see what I mean as it approaches train wreck intensity). If this kind of album was put out today (and I guess Mars Volta get somewhere close at times) it would be viewed as rather pretentious but also slightly mind blowing).


Renaissance - Renaissance - 7

Kings and Queens/Innocence/Island/Wanderer/Bullet

This remains an important album for me as it was one of the first strictly prog/classical cross over albums that I enjoyed and mainly for the excellent track Island which remains one of my favourites of this particular genre. This might be very early Renaissance but it does set out a style and template for future albums. Jane Relf's voice on Island is just about as good as it gets, blending in beautifully with the backing. It's an album that attacks almost from the off with Kings and Queens opening with a classical arpeggio feel although Keith Relf's vocals are not all that strong. The original line-up was soon to disintegrate, however, and re-align itself with something rather more permanent. At times this sounds a bit fiddly, but the playing is sharp and progressive even if it does steal from numerous classical genres. There is certainly enough light and stage to make it an important album of its time despite the fact that it only charted very low down.


Al Stewart - Love Chronicles - 7

In Brooklyn/ Old Compton Street Blues/ The Ballad of Mary Foster/ Life and Life Only/ You Should Have Listened to Al/ Love Chronicles.

There is something about this album. After Bedsitter Images Stewart was making a career of writing love songs that weren't really love songs. They were far too gritty, far too down to earth. Almost story songs rather with Stewart looking inwards. But could an album from 1969 really justify an 18 minute song in the shape of Love Chronicles. Maybe Stewart was ahead of his times - looking lovingly towards the folk/prog that was to evolve and develop in the early seventies. He does it with some success and the title track is never dull, going through enough twists and turns to keep it interesting and it is always the lyrics that will carry this song - lyrics of deep intensity and of a highly personal nature. And really it is the title track that makes this album such an enjoyable one. Of course we are no longer shocked by the use of the f word, although it is claimed that this was the first album to use the expletive. in the anything goes present time that doesn't seem of any interest apart from the historical perspective. In Brooklyn is another excellent Stewart song that has stood the test of time. Some of the other material has more of a filler feel about it. Nevertheless in its genre this is an important and lasting album.


Scott 4 - Scott Walker - 6.5

The Seventh Seal/On Your Own Again/The World's Strongest Man/Angels of Ashes/Boy Child/Hero of The War/The Old Man's Back Again (Dedicated to the Neo-Stalinist Regime)/Duchess/Get Behind Me/Rhymes of Goodbye

The natural progression for Walker was to produce an album entirely of original material and this he achieved with Scott 4. Thankfully the material was strong enough to make it a worthwhile project with songs like Angels of Ashes very effective despite really being a repetition of the same musical line. Walker was obviously gaining in strength as a songwriter, hence the decision to go solo and this ia the favourite album of many Walker fans. It is easy to see why. There are lush strings, but again a biting reality to the lyrics which are at times complex. There is a theatrical feel to many of the songs. They may still be slow but there is more of an element of passion about them than on Scott 3. Well crafted songs delivered in the customary manner.


Ummagumma - Pink Floyd - 6

Astronomy Domine/Careful with That Axe, Eugene/Set the Controls for the Heart of the Sun/A Saucerful of Secrets/ Sysyphus/Grantchester Meadows/Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict/The Narrow Way/The Grand Vizier's Garden Party

As soon as we hear the jangling sounds of Astronomy Domine we know that we are in familiar territory here. Ummagumma remains a rather strange record. The band had cast aside Syd Barrett and produced a much heavier feel, although the opening track was penned by Barrett. This was a band in transition but one happy enough with their early material to produce an LP (yes there was life before the CD) that included a whole disc of live material culled from either their first two albums or, in the case of "Careful with that Axe Eugene", from a single. Recorded at Birmingham and Manchester, the first half of Ummagumma has an almost frightening feel about it. Live the band were even more intense than on record and the grouping together of the first four tracks is almost sinister in feel. So what about disc two which showcases the individual talents of the band sans Syd? It kicks off with Richard Wright's Sysyphus which almost has a tone poem feel about it. Partly classical, partly self indulgent it does at times seem to lose its way. By way of contrast it is followed by Roger Waters' Grantchester Meadows - his back to nature song that does have a great deal in common with previous Syd Barrett compositions. Again its slightly self indulgent in a different way. Waters also contributes "Several Species" one of his most ridiculous compositions - only good for a laugh if enjoying a few beers with friends. It is essentially a series of noises. Dave Gilmour's The Narrow Way is slightly more palatable but once again wanders around and Nick Mason's The Grand Vizier's Garden Party is probably best forgotten, Essentially this is a two part project - the excellent and moody live album and the less than impressive studio effort that does very little to enhance the band's reputation and at times is just too off the wall for comfort. it was almost as if the individual band members were equally out of control with nobody to bring them back together.

Soundtrack From More - Pink Floyd - 6

Cirrus Minor/The Nile Song/Crying Song/Up the Khyber/Green is the Colour/Cymbaline/Main Theme/Ibiza Bar/More Blues/Quicksilver/A Spanish Piece/Dramatic Theme

Syd Barrett was completely adrift from the band by the time they recorded this soundtrack for the Barbet Schroeder directed film which dealt with heroin addiction on the island of Ibiza - a pretty depressing subject of spiralling abuse. This is definitely a Floyd album rather than a soundtrack in the accepted sense of the word. Schroeder wanted music that sounded as if somebody had just turned on the radio in the background. Floyd definitely achieved this with a mish mash of songs, instrumentals and a big variety of material that sets Cirrus Minor and The Nile Song side by side to show the band's developing versatility. Cirrus Minor is quintessential Floyd complete with birdsong and dreamy passages that make it one of my favourite Floyd tracks. The Nile Song is almost post grunge in its feel and could even stand as a precursor to Nirvana. Elsewhere it's a mix of the dreamy visualistic music that the band was beginning to employ, along with the kitchen sink music that seems to include virtually every crash, bang and wallop possible. Many people ignore this album, but there is considerable merit here if you take the time to listen closely.

Phallus Dei - 6

Kanaan/Dem Guten, Schonen, Wahren/Luzifer's Ghilom/Henriette Krotenschwanz/Phallus Dei

You certainly wouldn't file this under easy listening. The album that was at the forefront of starting off Krautrock is a strange affair, but somehow still appealing despite the rattling noises, the high pitched vocals and the genuine feeling that just about everything is out of control. The album title means God's Penis and Amon Duul came out of a Munich commune. Goodness alone knows what went on there. Some of the commune workers went on to found the Red Army Faction, a prominent left wing terror group often better known as the Baader Meinhof Group. So don't expect pastoral music. This is heavy and almost violent in itself. The commune was initially a music based concept, but it appears that some were more musical than others and these eventually split and formed Amon Duul II. Phallus Dei was their first album and made up of much of their live work. It's a strange hedonistic set dominated by the complex title track which lasts for well over 20 minutes. The original side one of the album is broken into four strange pieces, but somehow the whole thing hags together pretty well and it's the kind of album that seems to have a purpose and one which does survive numerous plays. Certainly of a time and place and political and musical ideology.


Valentyne Suite - Colosseum - 6

The Kettle/ Elegy/Butty's Blues/The Machine Demands a Sacrifice/Valentyne Suite

The relevance of this album comes more in the fact that it was the first release on the Vertigo label than in the music itself. That said it certainly is a pretty good example of Jazz/Rock/Prog fusion from the late sixties/early seventies. Colosseum were never a band that were going to progress as they were stuck in something of an artistic time warp. There is much to commend Valentyne Suite, however, although you need to be in a specific frame of mind to enjoy it and it has to be played loud with no distractions. This certainly isn't background music. Overblown yes but its saving grace is that it can still be listened to and enjoyed today as an art form that has often been copied and perhaps done better. It has been dismissed as being basic but I certainly wouldn't go that far. There is plenty here to pick out and the lengthy Valentyne Suite which is divided into three sections is pretty rewarding if you stick with it blending the tuneful with the experimental. 


On the Threshold of A Dream - Moody Blues - 6

In the Beginning/Lovely to See You/Dear Diary/Send Me No Wine/To Share Our Love/
So Deep Within You/Never Comes the Day/Lazy Day/Are You Sitting Comfortably?/
The Dream/Have You Heard (Part 1)/The Voyage/Have You Heard (Part 2).

There is a decided jauntiness to the Moodies dream album that continued where "In Search of  The Lost Chord" left off. All the singalong harmonies were here. The result was quite simply a UK number one album. which is something of a surprise as the material on this album is arguably not as strong as the previous and certainly not as powerful as the offerings still to come. Never Comes the Day is a very pretty ballad with Justin Hayward's vocals giving way to an almost jazz fuelled singalong section. Lazy Day somehow summed up the feel of the group at this and many other times during their career. Elsewhere there were some lower points, that prevented this from being a really good album. But you just knew there was something slightly better just around the corner. Sometimes when the reality of life kicks in, all we are really left with is the dream!

Scott 3  - Scott Walker - 5.5

It's Raining Today/Copenhagen/Rosemary/Big Louise/We Came Through/Butterfly/Two Ragged Soldiers/30 Century Man/Winter Night/Two Weeks Since You've Gone/Sons Of/Funeral Tango/If You Go Away

Perhaps there is too much of a disparity on this album between Walker's own writing which now takes the majority of the album and the final three offerings which once again are interpretations of Jacques Brel/Mort Shuman numbers. Perhaps it's just that the original songs seem just a little too cozy, slightly lacking in spark - too much love and life included methinks. That's not to say that the material is poor, it just needs some re-defining. We Came Through ends with some unsteady thumps and bangs. 30 Century Man is Walker's attempts to be more off the wall and contemporary but sadly doesn't work well. Winter Night is a very slow song. The best songs without doubt on this album are the Brel offerings which start slowly and then gather in pace with Sons Of outstanding as is also one of Brel's best loved songs "If You Go Away."


Everybody Knows This Is Nowhere - Neil Young - 3.5

Shortly after his first album Young released a rather patchy album that's real claim to fame was the first appearance of Crazy Horse. The voice is more assured than on the opener but that takes away some of the quirkiness that made the opener sound fresher than a rather stodgy offering in which Young seems to be desperately trying to make a niche for himself. There's definitely a cowboy feel to this one but many of the songs fail to work despite this albums popularity. It was for me an artist in search of a style and ...


Those Who Are About to Die We Salute You - Colosseum 3.5

Walking in the Park/Plenty Hard Luck/Mandarin/Debut/Beware the Ides of March/The Road She Walked Before/Blackwater Blues/ Those About to Die

Colosseum's 1969 debut is a ragged affair meant to showcase the individual musicianship which immediately gave it a fractured feel with only Beware the Ides of March having any great merit. Even then it managed at times to sound like Procol Harum's Whiter Shade Of Pale. This was too much of an experimental jazz album to be effective and sounded like a group of musicians trying desperately to find their way.


To Be Reviewed
  • A way of Life - The Family Dogg
  • The Allman Brothers Band - The Allman Brothers Band
  • Aoxomoxoa - Grateful Dead
  • Arthur or the Decline and Fall of the British Empire - The Kinks
  • As I Am - The Troggs
  • At San Quentin - Johnny Cash
  • Ball - Iron Butterfly
  • Ballad of Easy Rider - The Byrds
  • The Band - The Band
  • Barabajagal - Donovan
  • Basket of Light - Pentangle
  • Bayou Country - Creedence Clearwater Revival
  • Bless Its Pointed Little Head - Jefferson Airplane
  • Blind Faith - Blind Faith
  • Blood, Sweat and Tears - Bl;ood, Sweat and tears
  • Blue Matter - Savoy Brown
  • Blues Obituary - The Groundhogs
  • The Book of Taliesyn - Deep Purple
  • The Brothers Isley - The Isley Brothers
  • Brother Love's Travelling Salvation Show - Neil Diamond
  • The Charlatans - The Charlatans
  • Clouds - Joni Mitchell
  • Concerto For Group and Orchestra - Deep Purple and the Royal Philharmonic Orchestra
  • Concerto in B. Goode - Chuck Berry
  • Crosby, Stills and Nash - Crosby, Stills and Nash
  • David's Album - Joan Baez
  • Deep Purple III - Deep Purple
  • The Doobie Brothers - The Doobie Brothers
  • Dr Byrds and Mr Hyde - The Byrds
  • Dusty in Memphis - Dusty Springfield
  • Easy - Marvin Gaye
  • Empty Sky - Elton John
  • English Rose - Fleetwood Mac
  • Family Entertainment - Family
  • Four in Blue - Smokey Robinson and the Miracles
  • Free - Free
  • From Elvis to Memphis - Elvis Presley
  • From Genesis to Revelation - Genesis
  • From Memphis to Vegas/From Vegas to Memphis - Elvis Presley
  • Give it Away - The Chi Lites
  • Goodbye - Cream
  • Grand Canyon Suite - Johnny Cash
  • Grand Funk - Grand Funk Railroad
  • Green River - Creedence Clearwater Revival
  • He Ain't Heavy He's My Brother - The Hollies
  • Hollies Sing Dylan - The Hollies
  • Hollies Sing Hollies - The Hollies
  • The Holy Land - Johnny Cash
  • Hot Rats - Frank Zappa
  • I Got Dem Ol Kozmic Blues Again Mama - Janis Joplin
  • Instant Replay - The Monkees
  • I Say a Little Prayer - Aretha Franklin
  • It's Our Thing - The Isley Brothers
  • Jackson - Johnny Cash
  • Johnny Cash - Johnny Cash
  • Joy of a Toy - Kevin Ayers
  • Kick Out the Jams - MC5
  • Led Zeppelin - Led Zeppelin
  • Led Zeppelin 2 - Led Zeppelin
  • Let it Bleed - Rolling Stones
  • Live Dead - Grateful Dead
  • Live at the Yankee Stadium - Isley Brothers
  • A Man Alone - Frank Sinatra
  • Moby Grape 69 - Moby Grape
  • The Monkees Present - The Monkees
  • Monster Movie - Can
  • More of Old Golden Throat - Johnny Cash
  • Mothermania - The Mothers of Invention
  • Mott the Hoople - Mott the Hoople
  • MPG - Marvin Gaye
  • My Brother the Wind Volume 1 - Sun Ra
  • My Brother the Wind Volume 2 - Sun Ra
  • My Cherie Amour - Stevie Wonder
  • My Own Peculiar Way - Willie Nelson
  • My Way - Frank Sinatra
  • Nashville Skyline - Bob Dylan
  • Neil Young - Neil Young
  • New York Tendaberry - Laura Nyro
  • The Nice - The Nice
  • On Time - Grand Funk Railroad
  • Preflyte - The Byrds
  • Pretties for You - Alice Cooper
  • Rehearsals for Retirement - Phil Ochs
  • Rhymes and Reason - John Denver
  • A Salty Dog - Procol Harum
  • At San Quentin - Johnny Cash
  • Santan - Santana
  • The Soft Parade - The Doors
  • Soul Shakedown - Bob Marley and the Wailers
  • The Sound of Sexy Soul - The Delfonics
  • Spooky Two - Spooky Tooth
  • The Stooges - The Stooges
  • Surround Yourself with Cilla - Cilla Black
  • Then Play On - Fleetwood Mac
  • Touching You, Touching Me - Neil Diamond
  • Trogglomania - The Troggs
  • Truly Fine Citizen - Moby Grape
  • Turtle Soup - The Turtles
  • 20/20 - Beach Boys
  • Uncle Meat - The Mothers of Invention
  • Unhalfbricking - Fairport Convention
  • The Velvet Underground - Velvet Underground
  • Volunteers - Jefferson Airplane
  • Walking in Space - Quincey Jones
  • What We Did On Our Holidays - Fairport Convention.
  • Willy and the Poor Boys - Creedence Clearwater Revival
  • Words and Music by Bob Dylan - The Hollies
  • Wanted Dead or Alive - Warren Zevon
  • Yellow Submarine - The Beatles
  • Yes - Yes