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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My music writing - both published and unpublished.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 - 1971

The following albums were released in 1971 and have been reviewed thanks to the following legal music sites:

Napster We7 Spotify

The year 1971 was to me the finest in the history of rock music with some stunning albums as you will be able to see from the high marks given to albums issued during a sublime year when rock originality was to the fore whether it be the soft harmonies of the Carpenters, the prog rock and classical feel of Barclay James Harvest or the songwriting brilliance of David Bowie.


Barclay James Harvest - Once Again - 10

There may not be such a thing as the perfect piece of music or the perfect album and of course it's all down to personal taste and opinion. For me this is simply sublime. I have written more about this album than any other. It is simply by far and away my favourite album of all time as you will find if you follow my musical links throughout our pages. It is hard to put into words the importance of this album to me. It contains my favourite three BJH songs - Mocking Bird, She Said and Galadriel and has an overpowering beauty. It has an unthinkable beauty. I just have to listen to this album to be reduced to tears - and that doesn't happen lightly. There has never been an album to equal this one for mood setting. It reminds me vividly of a part of my life long since gone. I love to play it late at night on headphones and with all the lights off. Then the swirling melodies remind me of great times. To me this is as perfect as rock music gets. Virtually ignored by the critics, it is a wonderful collection of prog rock that in my eyes will never be equalled or surpassed.


David Bowie - Hunky Dory - 10

The first of Bowie's great trio of albums. I can't think of a mainstream artist who has produced three such perfect examples of their art in succession. Ziggy Stardust is generally accepted as the best of the three, but I disagree. For me Hunky Dory was the pinnacle of Bowie's songwriting ability. It is a quieter more sophisticated album than Man Who Sold The World. I first saw Bowie live in Harlow, Essex, somewhere between Hunky Dory and Ziggy Stardust. I have memories of Bowie playing the first half of the set at the piano featuring much of the material from Hunky Dory before unveiling the Spiders for an electric Ziggy set for the second half. This album attacks the senses like virtually no other. It has a feel of greatness about it. Great albums have no weaknesses. This is a great album. For sometime I never got past the first side of the album - it was that good. I continually played Changes, Oh You Pretty Things, Life on Mars, Kooks and then went back to play them again. It was only later on that I realised that there were gems on side two as well. Songs of passion - the art school feel of Andy Warhol and Song for Bob Dylan and The Bewley Brothers was just one of those songs that confused but amazed. Above all the thing that makes Hunky Dory a great album is the atmosphere it emits. Bowie has hauled himself back from the edge of insanity as suggested by the Man Who Sold The World and turned into the consummate songwriter - more outward going and less introverted and ready to move into the next phase of his life - a strange spaceman ready to change the rock map for ever. I almost look upon Hunky Dory as Bowie's folk album.


Rod Stewart - Every Picture Tells A Story - 9

"Raincoat" and "Gasoline Alley" were the build-up albums for this great rock anthem - one of the finest pure rock events of all time. This is where Stewart combined everything that was good about his persona at the time and reached heights that he would never again live up to. It trod the same mixture of rock, blues, folk and country but in a much more grown-up way and included three Stewart classics and a bunch of others that weren't far behind. The first two albums suggest a singer trying to come to terms with a style that would suit his throaty lyrics. Here he found that style with a vengeance. The cast list on this album reads like a who's who from 1970s rock and included The Faces, Maggie Bell, Madeleine Bell and the glorious mandolin playing of Ray Jackson from one of my all-time favourite groups Lindisfarne. Stewart's ability as a songwriter came on leaps and bounds, particularly with the two classics Maggie May (co-written with Martin Quittenton) and the glorious Mandolin Wind (my all time favourite Stewart track), the latter evoking so much atmosphere within its perfectly crafted five and a half minutes. The title track is another masterful, punchy and raunchy Stewart winner and elsewhere the album overflows with great songs that seem to mesh. He returns to the Dylan catalogue with "Tomorrow is a Long Time" does an excellent job on Arthur Crudup's "That's All Right" hacks into his arrangement of "Amazing Grace" and then finishes off with the stunning Tim Hardin "Reason to Believe." It seems incredible to think that "Maggie May" and "Reason to Believe" were released as a double A side single. Surely this has to be the two greatest songs ever put together on a 45. Without a doubt this was Stewart at his peak.

Paul Williams - Just an Old Fashioned Love Song - 8.5

Waking Up Alone/ I Never Had it So Good/ We've Only Just Begun/ That's Enough for Me/ A Perfect Love/ Just an Old Fashioned Love Song/ Let me Be the One/ Simple Man/ When I Was All Alone/ My Love and I/ Gone Forever

A lovely collection of under-stated ballads from a very fine songwriter who penned many hits for the Carpenters from We've Only Just Begun (the original of which is included here) to Rainy Days and Mondays. Along the way Williams also wrote the score to Bugsy and managed an appearance on the Muppet Show. There is a beautiful simplistic feel to the material here with a very laid back collection of songs that illustrate how the art of songwriting can be so wonderful.


Lindisfarne - Fog On the Tyne - 8

Meet Me on the Corner/ Alright on the Night/ Uncle Sam/ Together Forever/ January Song/ Peter Brophy Don't Care/ City Song/ Passing Ghosts/ Train in G Major/ Fog on the Tyne.

Gloriously Geordie, gloriously out of tune and another of my all time favourite records - a fusion between folk and rock but with a  identity all of its own from the opening harmonies of the brilliant single Meet Me on the Corner to the last chords of the title track. This album included manay of the most endearing Lindisfarne moments. Alan Hulls sharply observed songs, Ray Jacksons excellent musicianship were very much to the fore on analbum you felt warm and cosy about playing in the local pub at the beginning of the 1970s. Great albums have a feel of their own. This has feeling and atmosphere in spades


Carpenters - The Carpenters - 8

Rainy Days and Mondays/Saturday/Let Me Be the One/(A Place To) Hideaway/For All We Know/Superstar/Druscilla Penny/One Love/Bacharach and David Medley -Knowing When to Leave, Make It Easy on Yourself, (There's) Always Something There to Remind Me, I'll Never Fall in Love Again, Walk on By, Do You Know the Way to San Josť/Sometimes

I read one review that claimed The Carpenters were running out of material to mine by the time they approached their third album. This is just nonsense. Once again an album of superlative songs. Today we have an ever expanding conveyor belt of female singers torturing us with their strangled vocals that masquerade as soulful. Karen Carpenter had one of the most soulful voices of all time without ever attempting to be anything other than a superlative vocalist. Quite frankly she could sing the telephone directory and make it interesting. Rainy Days and Mondays is the kind of song that we can all relate to and once again showed how comfortably Karen and Richard could dovetail in with the work of Roger Nicholls and Paul Williams. Other songs on this album such as For All We Know and, Superstar (the latter which brought Leon Russell into the picture) are top notch Carpenters efforts. Amongst the original material One Love is outstanding and the duo also link in an excellent Bacharach/David medley that helps to give rather than take away identity. It is here that Richard Carpenter's arrangements come to the fore to give a fresh sound to some very well known songs. The album concludes with one of my favourite songs of all times - Henry Mancini's Sometimes where the lyrics say it all - Just look them up on the internet and luxuriate in some of the most inspiring words ever put to music.

Emerson, Lake and Palmer -  Emerson Lake and Palmer - 8

How often do we find with classic groups that their first album is arguably the best? That certainly holds true with what is a classic prog rock album before the flights of fancy overtook them and they began to produce rather bombastic over the top rock. It shows without doubt what a great band this trio could have been. Okay they stayed pretty good but at times they allowed their virtuosity to run away with them. Here it is more or less kept in check although there are signs at times of Keith Emerson running away with himself. Overall there's just enough discipline to keep this album together and that's what makes it an all time classic to be celebrated alongside the likes of Deep Purple in Rock. Many of these pieces are timeless and I'm a big fan of Greg Lake's voice which is absolutely sensational on the classic "Take a Pebble" which lasts well over 12 minutes but somehow never manages to run away with things and is beautifully brought back on track by Emerson's keyboards. "Lucky Man" isn't quite as effective but elsewhere there are certain hints of where the band is likely to go but in a more responsible less over the top style than on later albums. This will always be one of my favourite albums of all time and quite an achievement for an album released in 1970.


Don McLean - American Pie - 8

American Pie/ Till Tomorrow/ Vincent/ Crossroads/ Winterwood/ Empty Chairs/ Everybody Loves Me Baby/ Sister Fatima/ The Grave/ Babylon

Occasionally a song comes along that is so unique in its delivery, its originality and its power. Such was the case with American Pie. I first heard this song in a pub in Harlow, Essex, whilst at journalism college. Somebody put it on the jukebox. I was amazed. Here was a song of epic proportions, a song that said so much, a song with so many interpretations that somehow seemed to sum up music of the 1970s - but music from before and music to follow. Few songs deserve to be called epic - American Pie certainly does. It's simply one of those songs that you soon learn by heart, soon becomes part of the psyche but still sounds fresh on very play. And the thing about this album is the other songs all have their own power and relevance. There's considerable beauty here in the form of the wonderful Vincent and the almost incomparable Crossroads and also social conscience with the Grave. Once again McLean

Moody Blues - Every Good Boy Deserves Favour -  7.5

Procession/The Story in Your Eyes/Our Guessing Game/Emily's Song/After You Came/One More Time to Live/Nice to Be Here/You Can Never Go Home/My Song

The swirling melodies return as the Moody Blues seem to ramp things up again after the relative sparseness of the previous album. There are some corkers here with the band proving vocally very strong indeed. There is a pastoral feel to Emily's Song - a lovely piece. Elsewhere it s whimsical trip of swirling mellotron and guitars - almost the quintessential Moody Blues sound and in many ways this was probably more representative of the whole raft of band styles than practically any other album. Plenty of classical overtones as well with a fine ending in the form of "My Song" - this was certainly one of their strongest albums.


Pink Floyd - Meddle - 7.5

One of these Days/ A Pillow of Winds/ Fearless/ San Tropaz/ Seamus/ Echoes

Sometimes memories can deceive. Whilst people were singing the praises of Dark Side of the Moon and Wish You Were Here I always viewed Meddle as my favourite Floyd album. That was due as much to the sands of time as the music - in other words I remembered it from an era that held particularly happy memories for me. So how would it sit when I returned to it for the first time in many years? The tone of the album is set by the opening track - one of those that starts so quietly you wonder whether there is something wrong with the computer or the stereo. Then it gives way to one of those rollicking instrumental passages that hurtle along, gathering pace as it goes and giving way to real rock riffs and occasional caveman like grunts. It all gives way to another piece of Dave Gilmour/Roger Water's whimsy in the quietly beautiful A Pillow of Winds - the kind of soothing music that became something of a signature for the band. Fearless is a rather throwaway song that for some strange reason ends with the Anfield football choir singing "You'll Never Walk Alone." San Tropaz sounds as if it could come from the Syd Barrett era and Seamus is a silly blues song complete with dogs howling. Which just leaves us with Echoes - another magnum opus of 23 minutes plus. In true Floyd style it starts quietly and then builds with some lovely melodic vocals. Overall I would describe Meddle as a very low key harmonius album with a distinctive feeling of peace about it - some outstanding music, some more throwaway. Returning to it is like meeting an old friend, although over the years it may have lost some of its power it's still a fair achievement.


Leonard Cohen - Songs of Love and Hate - 6.5

Avalanche/Last Year's Man/Dress Rehearsal Rag/Diamonds in the Mine/Love Calls You by Your Name/Famous Blue Raincoat/Sing Another Song, Boys/Joan of Arc

Cohen could never be accused of being prolific in the songwriting stakes. His first album for two years contains just eight tracks. Perhaps a more personal album than the first two. There is plenty of self loathing in songs like "Dress Rehearsal Rag" where Cohen's delivery seems even more aggressive than usual. At times he sounds as if he is spitting rather than singing the lines as on "Diamonds in the Mine." It sounds strange that at times Cohen includes a female choir to help spit out the venom. Songs of Love and Hate might be a little too stark for many and perhaps I include myself amongst these. There are plenty of highlights including one of his best loved and most engaging songs "Famous Blue Raincoat" with it's wonderful New York imagery. Overall it's rather a harsh album with moments of beauty - perhaps these are at times too few.


Moving Waves - Focus - 6.5

Hocus Pocus/Le Clochard/Janis/Moving Waves/ Focus II/ Eruption

Hocus Pocus must be one of the strangest tracks of all time. I have never made up my mind whether I like it for its originality or loathe it as being just a ridiculous piece of music with its yodelling vocals. It remains the band's best known piece of music so I suppose that must say something. Elsewhere Moving Waves is dominated by the 23 minute piece Eruption with its mix of jazz and classical influences and some wonderful Jan Akkerman guitar work. The album as a whole falls somewhere between classical and prog rock - good enough as a starter but not quite appetising enough as a main course.

Billy Joel - Cold Spring Harbour - 6

She's Got a Way/ You Can Make Me Free/ Everybody Loves You Now/ Why Judy Why/ Falling of the Rain/ Turn Around/ You Look So Good to Me/ Tomorrow is Today/ Nocturne/ Got to Begin Again.

Pretty is not a word that should really be used to describe rock music, but it perfectly describes Billy Joel's first solo album - a mix of love songs, classical textures and embryonic songwriting. Originally the album was recorded at the wrong speed, changing Joel's voice in such a way that he was disillusioned and angry at the finished product. Indeed it does sound like a very youthful Joel - as indeed it was. Laid back would be another description for an album that boasts a classic Joel track in She's Got a Way. It pretty much stays in the same vein with Nocturne a classical piano piece and Tomorrow is Today being likeable. And likeable is the word to overall describe an album that contains little of the fire or attack that came to his music in the future. It does show Joel as a decent songwriter and promises better to come. It took him some time to become established as a bona fide singer-songwriter and Cold Spring Harbour shows a man able to write solid if unexciting material.


Paul McCartney - Ram  - 6

Ram doesn't make an auspicious start as McCartney hurls his vocals into Too Many People - another mundane rocker that degenerates into a mess. So where does the album go from there? The answer is to a mundane Blues number entitled 3 Legs. So from that point it can only be an upward journey. And from the point where the album decides its going to turn to more quirky McCartney ballads and almost vaudevillian songs things do improve. Ram On re-established the solo McCartney credentials to an extent and I have a soft spot for Heart of the Country, the nonsense of Monkberry Moon Delight (despite the horribly strangled vocals) and The Back Seat of My Car. The highlight of the album, however, is one of those Macca songs that still go round my head every so often well over 30 years after it was written. I refer to Uncle Albert/Admiral Halsey. Overall its' another hotch potch of material and no real departure from the previous album. McCartney has hit a formula and he's going to stick with it.


Chicago III - Chicago - 6

Sing a Mean Tune Kid/ Loneliness Is Just A Word/ What Else Can I Say/ I Don't Want Your Money/ Travel Suite (Flight 602, Motorboat to Mars, Free, Free Country, At the Sunrise, Happy Cause I'm Going Home/ Mother/ Lowdown/ An Hour in the Shower (A Hard Risin Morning Without Breakfast, Off to Work, Fallin Out, Dreamin Home, Morning Blues Again)/ Elegy (When All the Laughter Dies in Sorrow, Canon, Once Upon a Time, Progress, The Approaching Storm, Man vs Man: The End

Sustaining three double albums in two years must have been a great burden to the band who were also touring non stop. And the cracks were beginning to show. There was plenty of funk about Chicago III but at times the band were trying to sound different and trying to prove on tracks like I Don't Want Your Money that they were really having a good old time. Elsewhere Travel Suite documents a feeling of homesickness with the opening piece "Flight 602" seeing Chicago trying to sound like Crosby, Stills and Nash with close harmony. Then on At the Sunrise the style is more akin to late era Beatles with a brass section. Overall it just feels as if there is too much filler material here to justify a double album.


Jimmy Webb - And So On - 5.5

Met Her on a Plane/ All Night Show/ All My Love's Laughter, Highpockets/ Marionette/ Laspitch/ One Lady/ If Ships Were Made to Sail/ Pocketful of Keys/ See You Then

The question about And So On is whether the songs would be stronger. To have to say this about one of the great songwriters of the 20th (and 21st) centuries is rather sad. Not surprisingly Words and Music didn't sell well and anybody expecting epics in the MacArthur Park mould would again be disappointed, although there was a marked improvement here with the likes of Met Her On A Plane and All My Love's Laughter being fully fledged Webb ballads. The problem is that when he tried to go up tempo on songs like All Night Show and Highpockets, the result was throwaway horrible tracks. Highpockets is a particular example of Webb trying too hard. A harsh intro and verse gives away to a  velvety chorus that just doesn't work. Marionette is a pretty song, but Laspitch is hard and unworthy. One Lady is decent and If Ships Were Made to Sail was destined to become one of Webb's best songs. But it's so much better in the hands of Scott Walker. Overall it's an improvement on Words and Music - but only just


The Faces - A Nod's As Good As A Wink to a Blind Horse - 5

Miss Judy's Farm/ you're So Rude/ Love Lives Here/ Last Orders Please/ Stay With Me/ Debris. Memphis/ Too Bad/ That's All You Need

Of course there's very little difference between this and a Rod Stewart solo album. This one is firmly in Every Picture and Gasoline Alley territory with throaty rockers like Miss Judy's Farm and their big selling single Stay With Me. Problem is that Rod was embarking on a solo career at this point and it showed with some fairly lame material on display and when Rod wasn't vocalising it really didn't cut much mustard. Still as an historic recording it does have its merits.


The Byrds - Byrdmaniax - 4.5

Glory Glory/ Pale Blue/ I Trust/ Tunnel of Love/ Citizen Kane/ I Wanna Grow Up to be a Politician/ Absolute Happiness/  Green Apple Quick Step/ My Destiny/ Kathleen's Song/ Jamaica Say You Will

Over dubbing is probably responsible for the luke warm reception this Byrd's album met with - that and a poor selection of songs. Tracks such as Citizen Kane and I Wanna Grow up to be a Politician are just poor and overblown and Green Apple Quick Step shouldn't have been included on this or any other Byrd's album. The first two of these would be more in step with the Bonzo Dog Doo Dah Band than one of the great all time folk/rock album. Not surprisingly this didn't chart in the UK. It gets off to a bad start with the cod Christian number Glory Glory and never really recovers thanks to some overblown instrumentation, supposedly added against the group's wishes and whilst they were on the road. Basically this album is full of dull second rate songs. Kathleen's song is kind of pretty but apart from that there is little to recommend this.

Emerson, Lake and Palmer - Tarkus - 4

There are those that will claim this album was a milestone in prog rock and that the title track which paints vast panoramas across almost 21 minutes of soundscape set the standards for long pieces. Sadly I can't agree. As much as I love the first album, this was a huge disappointment. The title track originally took up one half of the album and, whilst there is some surface charm to it, Emerson's keyboards threaten to get out of control and turn a unique sounding band into a self indulgent one. It's all abut the futility of war - but didn't so many albums tred that path in the early 70s. Okay I suppose it would cause a stir in the rock defining days of 1971 but there's just too much filler. The second side tries to inject some charm into proceedings but sadly there's some nonsensical stuff like Jeremy Bender and sad attempts to write a rock n roll piece. Always close the album with a strong track seems not to have been followed here as "Are You Ready Eddy" is hugely disappointing. Elswhere the lyrics on "The Only Way" could make you cringe "Can you believe, God makes you breathe/Why did he lose six million Jews -" Oh dear!

Wings - Wild Life - 4

Mumbo/ Bip Bop/ Love is Strange/ Wild Life/ Some People Never Know/ I Am Your Singer/ Bip Bop Link/ Tomorrow/ Dear Friend/ Mumbo Link.

This was the first album under the Wings heading and it really does defy description at times. McCartney seems to want to dish the Beatles legacy by producing an album full of strangled vocals and lightweight material. It's as if he wants to make a point - although of course there were hints of what was to come with the Beatles White Album. This doesn't have any of the charm of that, however. McCartney has a new band, he wants to stamp his authority on things but it's almost as if the wheels have come off and he really doesn't want to fix what is broken. So we get strangulated attitude infested vocals on the opening two nonsense tracks and if you want to know where Wings were lyrically at this time just listen to the almost nursery rhyme feel of the title track. Some People Never Know is a rather tedious quasi ballad and Tomorrow is almost in the same vein. There's plenty of huffing and puffing and whilst the album doesn't actually fall into the truly awful category, it's a million miles from what one could reasonably expect from one of our generation's great songwriters. I would label this musical waffle.

17-11-70 - Elton John - 3.5

Take Me to the Pilot/Honky Tonk Women/Sixty Years On/Can I Put You On/Bad Side of the Moon/Burn Down the Mission

I have never been a fan of Elton John's as a live artist or of his more rockier/bluesy side. The problem is when appearing live John somehow strangulates the songs. This live collection was from a radio broadcast taped on November 17th, 1970 (hence the title). The original album consisted of just six tracks. The original broadcast ran for an hour but just 40 minutes were picked for the album. To me it's a disappointment throughout. There is little subtlety. If you like the singer screaming in a banshee kind of way it could be for you, otherwise it's more of an historical interest than a musical one, although there is some merit in the track Sixty Years On as a period piece.


To Review

2 Years On - The Bee Gees
 200 Motels - Frank Zappa
 4 Way Street - Crosby, Stills, Nash and Young
 666 - Aphrodite's Child
 A Space in Time - Ten Years After
 Aerial Pandemonium Ballet - Harry Nilsson
 Alarm Clock - Richie Havens
 Angel Delight - Fairport Convention
 Anticipation - Carly Simon
 Aqualung - Jethro Tull
 The Ballad of Todd Rundgren - Todd Rundgren
 Bark - Jefferson Airplane
 Be Glad for the Song Has No Ending - Incredible String Band
 The Black-Man's Burdon - Eric Burdon and War
 Black Moses - Isaac Hayes
 Blessed Are... - Joan Baez
 Blue - Joni Mitchell
 Blue ÷yster Cult - Blue ÷yster Cult 
 Bonnie Raitt - Bonnie Raitt
 Boz Scaggs & Band - Boz Scaggs
 Broken Barricades - Procol Harum
 Cahoots - The Band
 Can I Have My Money Back - Gerry Rafferty
 Carly Simon - Carly Simon  
 Chicago at Carnegie Hall - Chicago
 The Concert for Bangladesh - George Harrison and Friends
 Crazy Horse - Crazy Horse
 Cruel Sister - Pentangle
 The Cry of Love - Jimi Hendrix
 Distant Light - The Hollies
 The Doobie Brothers - The Doobie Brothers
 Edgar Winter's White Trash - Edgar Winter
 The Electric Light Orchestra - Electric Light Orchestra
 Electric Warrior - T. Rex
 Electronically Tested - Mungo Jerry
 Farther Along - The Byrds
 Faust - Faust
 Fearless - Family
 Fillmore East - June 1971 - The Mothers of Invention
 Fireball - Deep Purple
 Fly - Yoko Ono
 The Flying Burrito Brothers - The Flying Burrito Brothers
 Fourth - Soft Machine
 Fragile - Yes
 Free Live! - Free 
 Funny How Sweet Co-Co Can Be - The Sweet
 Future Games - Fleetwood Mac
 Golden Biscuits - Three Dog Night
 Gonna Take A Miracle - Laura Nyro
 Gunfight at Carnegie Hall - Phil Ochs
 Harmony - Three Dog Night
 Harmony Row - Jack Bruce
  Hot Rocks 1964-1971 - The Rolling Stones
  If I Could Only Remember My Name - David Crosby
 Illusion - Renaissance 
 Imagine - John Lennon
 In Search of a Song - Tom T. Hall
 In Search of Space - Hawkwind
 In the Land of Grey and Pink - Caravan
  Islands - King Crimson
 Jesus Christ Superstar - Original Studio Cast
 John Prine - John Prine
 Johnny Winter And Live! - Johnny Winter
 Killer - Alice Cooper
 L.A. Woman - The Doors
 Led Zeppelin IV (officially untitled fourth album) - Led Zeppelin
 Leon Russell and the Shelter People - Leon Russell
 Liquid Acrobat as Regards the Air - Incredible String Band
 Little Feat - Little Feat
 Live at Massey Hall 1971 (2007 release) - Neil Young
 Lizard - King Crimson
 Long Player - The Faces
 Love It To Death - Alice Cooper
 Love's Lines, Angles and Rhymes - The Fifth Dimension
 The Low Spark of High Heeled Boys - Traffic
 Madman Across the Water - Elton John
 Manna - Bread
 Master of Reality - Black Sabbath
 Meaty Beaty Big and Bouncy - The Who
 Message From the Country - The Move
 Mirror Man - Captain Beefheart and his Magic Band
 Moving Waves - Focus
 Mud Slide Slim and the Blue Horizon - James Taylor
 Music - Carole King
 Muswell Hillbillies - The Kinks
 Nilsson Schmilsson - Harry Nilsson
 The North Star Grassman and the Raven - Sandy Denny
 Nursery Cryme - Genesis
 Oblivion Express - Brian Auger
 Other Voices - The Doors
 Pawn Hearts - Van der Graaf Generator
 Pearl - Janis Joplin
 People Like Us - The Mamas and the Papas
 Pilgrimage - Wishbone Ash
 Please to See the King - Steeleye Span
 Poems, Prayers and Promises - John Denver
 The Point! - Harry Nilsson
 Rainbow Bridge - Jimi Hendrix
  Reflections - Pentangle
 Relics - Pink Floyd
 REO Speedwagon - REO Speedwagon
 Rock On - Humble Pie
 Rock Love - Steve Miller Band
 Santana III - Santana
 Shaft - Isaac Hayes
 She Used To Want To Be A Ballerina - Buffy Sainte-Marie
 Smash Your Head Against the Wall - John Entwistle
 So Long, Bannatyne - The Guess Who
 Songs for Beginners - Graham Nash
 Soul Rebels - Bob Marley and the Wailers
 Soul Revolution - Bob Marley and The Wailers
 Soul Revolution II - Bob Marley and the Wailers
 Split - The Groundhogs
 Starsailor - Tim Buckley
 Stephen Stills 2 - Stephen Stills
 Steppenwolf Live - Steppenwolf
 Sticky Fingers - The Rolling Stones
 Stones - Neil Diamond
 Straight Up - Badfinger
 Surf's Up - The Beach Boys
 Survival - Grand Funk Railroad
 Tapestry - Carole King
  Teaser and the Firecat - Cat Stevens
 Teenage Head - Flamin' Groovies
 Things We Like - Jack Bruce
  To Be Continued - Isaac Hayes
 Trafalgar - The Bee Gees
 Tumbleweed Connection - Elton John
 Tupelo Honey - Van Morrison
  War - War
 Welcome to the Canteen(live) - Traffic

 Whales and Nightingales - Judy Collins
 Whatevershebringswesing - Kevin Ayers
 Who's Next - The Who
 Wildlife - Mott the Hoople
 The Yes Album - Yes
 You Don't Have To Be In The Army - Mungo Jerry
 ZZ Top's First Album - ZZ Top