Lay me back (Lee/ LeFevre) (LP 2992 - 2996)

Alvin Lee & Mylon LeFevre  On the Road to Freedom (Vinyl, Chrysalis Records, 1974) ***  

Alvin Lee & Co  In Flight (Vinyl, Chrysalis Records, 1974) ***  

Alvin Lee  Rocket Fuel (Vinyl, RSO Records, 1978) ****  

Alvin Lee  RX5 (Vinyl, Avatar Records, 1981) ****  

Alvin Lee  Keep On Rockin' (CD, Seagull Records, 2000) ****

Genre: Country rock, rock

Places I remember: Real Groovy Records, Chaldon Books and Records, Amoeba Records, Melbourne record shop, The Warehouse.

Fab, and all the other pimply hyperboles: So Sad (No Love of His Own) - Hari Georgeson's song and he's playing guitar on it. (On the Road to Freedom)

Gear costume: The Devil's Screaming  (Rocket Fuel)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Alvin's first solo album away from Ten Years After is a laid back country rock affair with US gospel rock musician Mylon LeFevre and some famous guests, including George Harrison, Steve Winwood, Jim Capaldi, Ron Wood and Mick Fleetwood. So the music is superb!

Alvin downplayed the album at the time as, "[not] a commercial effort, just an LP recorded at home with some neighbours". Some neighbours!!

I like the fact that he tried something different, but he is a bit of a shadowy presence on the album. It's kind of anti- TYA music so there is none of Alvin's guitar flash evident. Instead, it's some very tasteful country rock.

Star turn is the George Harrison song - So Sad. George plays some brilliant slide guitar on it.

Still in 1974 and still a million miles away from TYA, In Flight is a double live album featuring some of the same musicians (although none of the famous neighbours). Alvin is in playful mode - some old rock and roll numbers and nothing from his album with LeFevre.

Mel Collins is the featured player on many of these songs and he doesn't disappoint on flute or sax. 

Rocket Fuel sees Alvin back in a rock band format, rather than with guests. Styled as Ten Years Later, the band is essentially a trio with Tom Compton (drums) and Mick Hawksworth (bass).

It's a really good set of songs and Alvin is on top form as Somebody Waltz indicates (sadly the album is not on Spotify). The trio is a format that suits him.

RX5 uses an expanded personnel (which includes Chris Stainton on keyboards) and Tom Compton retains the drum stool position. 

Given it's the eighties, Alvin and the band crank it up superbly right from the off, and maintain the energy levels throughout. It's impressive and almost gives me back some faith in the eighties as a musical decade. Almost.

Keep On Rockin' is a mightily impressive set as well. It comes as a double CD- Volume 1 and 2. Like his first album with LeFevre, there are some notable guest stars along the way, including Hari Georgeson again on three songs - some lovely slide guitar from George. Others include Clarence Clemons, Jon Lord, and Sam Brown.

Given it's a really long double CD (23 songs), the high quality is maintained well. When the band is on they are flying!! Apart from the title song, there are plenty of highlights including: Ain't Nobody's Business (an Alvin Lee song); The Bluest Blues; Boogie All Day; and I Want You (She's So Heavy) - his cover of Lennon's song is a guitar blitzkrieg.

Where do they all belong? Always keen to pick up anything by Alvin Lee (who died unexpectedly, aged 68, in 2013), although I'm not a completist. That said, there's a lot more coming when we get to Ten Years After - one of my favourite bands.

X-ray style (Joe Strummer) (LP 2063 - 2065)

Joe Strummer Assembly (Vinyl, Dark Horse Records, 2020) ****  

Joe Strummer Live At Music Millennium (Vinyl, Dark Horse Records, 2022) ***  

Various Dark Horse Records The Best Of 1974 - 1977 (Vinyl, Dark Horse Records, 2022) ***  

Genre: Dark Horse Records 

Places I remember: Wax and Beans (Bury) for the live Strummer album and the various compilation of seventies Dark Horse acts, JB Hi-Fi for Assembly

Fab, and all the other pimply hyperboles: Coma Girl (Assembly)

Gear costume: Forbidden City (Assembly)

Active compensatory factors: I don't usually highlight compilations on this countdown but these two are on Dark Horse Records and I get to make and break my own rules on this blog!

The label was George Harrison's boutique label after he left Apple Records, and his son Dhani has relaunched it in the 2020s with these albums. Seems there are going to be more from now on. Cat Stevens' latest is on Dark Horse.

So, let's start in the seventies via Christmas 2022 when I visited Wax and Beans in Bury. 

The Best of 1974-77 is a taster of some of the albums released while the original Dark Horse Records was functioning. Ravi Shankar, Attitudes, Splinter, Henry McCullough, and Stairsteps all get two tracks each, while Keni Burke and Jiva get one each.

Throwing them all together on one album reveals the clear strengths and weaknesses. Ravi and Splinter hold their own (Costafine Town is a superb song) but the rest are pleasant but underwhelming efforts from class musicians (that doesn't mean they write memorable songs or can sing).

And so to the Strummer albums. I was pleasantly surprised how much I enjoyed the Assembly compilation, and how many of the songs I knew already. I like the Clash, don't love them, so I normally wouldn't have bought Joe's solo albums without the Dark Horse incentive. In this case, I'm glad Dhani decided to compile/release them and keep Strummer's name out there and available to collectors.

The live album is brief (side 1 repeats on side 2) and it's okay but nothing special.

Where do they all belong? It's an on-going concern so there are other albums to collect in this imprint.

Everybody seems to think I'm lazy (the Beatles) (LP 1020)

John Lennon Plastic Ono Band   Imagine (Vinyl and CD, Apple Records, 1971) ****  

Genre: Beatle pop/rock, Apple Records

Places I remember: George Courts (K Rd); JB Hi Fi (CD); HMV (Oxford Street) - special edition

Fab, and all the other pimply hyperboles: Jealous Guy

Gear costume: Imagine 

Active compensatory factors: For a self-confessed lazy sod (I'm Only Sleeping, Watching The Wheels) he was certainly a busy musician. He didn't slow down at all when The Beatles wound up activities after they's passed the audition on the rooftop's final live performance.

Instead things kept going at a frenetic pace. Every year from 1968 onwards: solo albums; Yoko 'sister' albums; cameos; production for others; peace activities; agitation activities; art shows; films...it just boggles the mind how much this lazy sod was capable of doing up until the house-hubbie years starting in 1975.

Imagine (the song) is where I first sat up and took notice of solo Lennon. As a Fab, he'd mesmerized and captured my whole imagination on The Ed Sullivan Show (my eyes just kept going back to him!),  but the weird Lennon/Ono album phase and first true solo album in 197o had passed me by.

Then I bought Solid Gold Hits Vol 2. The one with Imagine on it. That did it. I had to have the album!

I played it so much in 1971/1972 that I wore out the grooves a tad.

The album has all the best and all the worst of John Lennon on display - he was, like many of us, a contradiction, an enigma, But, unlike many of us, he was also a true genius.

So, we get the sublime (the title track's love for mankind) and the petty (How Do I sleep's laceration of Macca). We get the tender (How?, Oh My Love) and the brutal (I Don't Want To Be A Soldier). We get the self-obsessed examination (Jealous Guy) and the deep consideration for others (Oh Yoko). We get the depressed and unsubtle (It's So Hard) and the wide eyed and hopeful (Imagine). We get the playful (Crippled Inside), and we get the plain and serious (Gimme Some Truth).

He was complicated, and that's why I love him and his work so much. That's why so many gravitated to him.

The musicians are brilliant too; something not often acknowledged was his ability to spot talent and keep loyal friends onboard (he discovered Paul McCartney after all). So, say hello to Klaus Voormann, Alan White, George Harrison, Jim Keltner, Nicky Hopkins. All appear again and again on his solo albums.

Sidebar: Given the use of the genius word, you may be wondering about the 4 stars. I have to deduct a star for the last two songs on side 1. I've just never liked them much and they seem to jar.

Where do they all belong? The political New York double album is up next.

Sweet music (Lon and Derrek Van Eaton) (LP 992)

Lon and Derrek Van Eaton  Brother (Vinyl, Apple Records - UK pressing, 1972) *** 

Genre: Apple Records, pop/rock

Places I remember: Marbeck's Records

Fab, and all the other pimply hyperboles: Help Us All

Gear costume: Without The Lord

Active compensatory factors: George Harrison heard a demo recording by the brothers and liked it enough to make the American brothers one of the last signings for Apple Records. 

I suspect he liked being reminded of the soulful gospel vibe being generated by Delaney and Bonnie. And again - a lot of the songs sound like Harrison's own.

Ringo makes an appearance, along with Jim Gordon and Klaus Voormann who took over the production duties for George. So it naturally sounds Beatlesque in parts, in terms of the music.

Although it wasn't commercially successful at the time, its appeal has grown with the years. However, it's not an album I reach for on a regular basis!

Where do they all belong? Their only album for Apple Records, they subsequently moved back to the US and to A&M, but not Dark Horse, which is interesting. I didn't have any desire to collect their non Apple efforts.

Costafine Town (Splinter) (LP 986 - 988)

Splinter  The Place I Love (Vinyl, Dark Horse Records, 1974) ****

Splinter  Harder To Live (Vinyl, Dark Horse Records, 1975) ***  

Splinter  Two Man Band (Vinyl, Dark Horse Records, 1977) ** 

Genre: pop/ rock; Dark Horse Records 

Places I remember: George Courts' music bar (K Road); Marbeck's Records; Taste Records

Fab, and all the other pimply hyperboles: Costafine Town (The Place I Love)

Gear costume: Somebody's City (The Place I Love); Half Way There (Harder To Live)

Active compensatory factors: Splinter is a duo (Bill Elliott and Bob Purvis) with solid gold Beatle connections. Bill Elliott had already appeared on an Apple Records' single as Bill Elliott and The Plastic Oz Band doing a couple of Lennon songs.

After Apple Records folded George maintained his interest in Splinter - signing them to Dark Horse Records and he was all over the debut album - producing and playing loads of instruments. Somebody's City sounds like an outtake from All Things Must Pass (it's that good).

George drafted in a stellar crew of mates to play on the album - Alvin Lee, Billy Preston, Jim Keltner, Klaus Voormann and Willie Weeks. So - it sounds great. Bill and Bob contribute some memorable songs and sing well.  Costafine Town was a huge hit and deservedly so.

Second album, Harder To Live, follows the same blue print - snappy arrangements, nice harmony vocals, same George Harrison/Beatles lite sound, but limited participation from George this time (he only appears on one track). 

Although Half Way There is an excellent song, with a country/folk leanings, there was no big hit on this one.

Two Man Band, the third and final Dark Horse album for Splinter, was a good effort without being especially memorable. The presence of strings on a few tracks doesn't help but it's a melodic set of songs without any hit song being apparent. Still, if you want a pleasant soft rock album for those chill moments of an evening you could do a lot worse.

Where do they all belong? I haven't bothered with the albums after Two Man Band as they weren't on Dark Horse Records, nor did they get widespread distribution.

I am missing you (Ravi Shankar) (LP 907 - 908)

Shankar Family Friends   Shankar Family Friends (Vinyl, Dark Horse Records, 1974) ****  

Ravi Shankar  Ravi Shankar's Music Festival From India (Vinyl, Dark Horse Records, 1976) ***  

Genre: Dark Horse Records, world music

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: I Am Missing You (featuring Lakshmi Shankar on vocals)

Gear costume: Tarana/Chaturang 

Active compensatory factors: As a collector of Dark Horse Records I sometimes find myself going into musical areas that I otherwise would never find.

These Ravi Shankar albums join those on Apple Records in my collection as a consequence. They are fascinating glimpses into Indian culture and music in general. George was no mug.

My western ears like these albums as they use both traditional Indian instruments but in a song format, rather than a long form raga, alongside western musicians.

Shankar Family & Friends even had a song (I Am Missing You) released as a single and includes a number of western friends: Ringo Starr; Billy Preston; Tom Scott; and Jim Keltner were some to appear alongside the Shankar family. It all works in spectacular fashion. I especially like the music for a ballet which takes up all of side 2.

Music Festival From India is also produced by George, but this time it's just Indian musicians who appear. Ravi is joined by Lakshmi Shankar on vocals again and fellow legend - Alarakha (a.k.a. Alla Rakha) on tabla, for another collection of magical sounds.

Where do they all belong? And that's it for Ravi. Next up when I return to Dark Horse Records are three albums by Splinter.

Learning how to love you (George Harrison) (LP 900 - 905)

George Harrison  Thirty Three & 1/3 (Vinyl, Dark Horse Records, 1976) ****  

George Harrison  George Harrison (Vinyl, Dark Horse Records, 1979) *****  

George Harrison  Somewhere In England (Vinyl, Dark Horse Records, 1981) ***

George Harrison  Gone Troppo (Vinyl, Dark Horse Records, 1982) ***  

George Harrison  Cloud Nine (Vinyl, Dark Horse Records, 1987) ****  

George Harrison  Live In Japan (Vinyl and Cassette, Dark Horse Records, 1992 - 2017 pressing) ****  

Genre: Beatle related pop, Dark Horse Records  

Places I remember: Mostly Marbecks Records, Live In Japan vinyl is from HMV in Oxford St.

Fab, and all the other pimply hyperboles: All Those Years Ago

Gear costume: Crackerbox Palace, Blow Away, When We Was Fab, This Song

Active compensatory factors: George's rebirth on Dark Horse Records after the dire Extra Texture (his last on Apple Records) was remarkable. 

Thirty-Three & 1/3 is a terrific bunch of playful, tuneful, fun songs. This Song is a very typical Harrison song in the spirit of Only A Northern Song, Taxman, Old Brown Shoe and so on. He has a gift for a kind of self-deprecating response to challenging situations. Crackerbox Palace is a joyous homage to Friar Park (great video too).

Mostly though, Thirty-Three & 1/3 is a love letter to Olivia. I think we can point to her as the inspiration for the lightness of touch throughout the album.

Other songs on the album speak to his core beliefs, but there is no heavy handedness about See Yourself, or It's What You Value.

George Harrison is even better! A belter of a soft rock album. For me it's a five star effort - every song shines forth brilliantly and George seems very happy and content throughout, thanks to Olivia and Dhani's arrival. 

The next two - Somewhere In England and Gone Troppo have their moments as George settles in, but, post John Lennon's murder, they are understandably missing the joy of Thirty Three & 1/3 and George Harrison. Having said that, they have both grown on me over the years. I was initially luke warm about them as albums, but listening to them now is quite rewarding.

Cloud Nine is a return to some of the joy of playing he had in the old days (the usual crew are supplemented by Jeff Lynne's creative presence) and, of course, there are the big hits! Got My Mind Set On You and When We Was Fab are glorious examples of what makes George Harrison fab, gear and those other pimply hyperboles. 

He even smiles on the cover shock horror!

The Live In Japan double album is a curiosity. Eric Clapton had persuaded his old mate back to the stage in 1991 - a mere twenty years after The Concert For Bangladesh. The Traveling Wilbury's had just done their final album and it appears that that experience had emboldened George to hit the boards again.

He still sounds tentative in his stage announcements, describing the concert as a 'nice experience', but Eric, George and the band treat Japanese fans to some of George's Beatle classics along the way, as well as a greatest hits show of his solo records. As a final document, it certainly fits the bill (if you'll pardon the pun).

Where do they all belong? On to the GOAT next time around as I travel through the Beatles as solo artists.

Not alone anymore (Traveling Wilburys) (LP 873 - 874)

Traveling Wilburys  The Traveling Wilburys Vol. 1  (CD and Vinyl, Wilbury Records, 1988) *****  

Traveling Wilburys  The Traveling Wilburys Vol. 3  (Vinyl, Wilbury Records, 1990) *** 

Genre: Beatles pop/rock (filled under Harrison in my collection)

Places I remember: Marbecks Records; Record store in Nelson for Vol 3.

Fab, and all the other pimply hyperboles: Handle Me With Care (featuring Nelson Wilbury)

Gear costume: Not Alone Anymore (featuring Lefty Wilbury)

Active compensatory factors: Growing out of George's need for a B-side following his Cloud Nine album - Handle Me With Care kicked off the whole Traveling Wilbury's schtick. 

The subsequent album called Volume 1 from this multi-national supergroup (Dylan, Petty, Harrison, Orbison, Lynne) was a delightful surprise when it emerged in 1988.

Undisputed star turn of the bunch was Roy Orbison (Lefty Wilbury). His vocals lift every song he approaches on the album. The over-riding feelings throughout are ones of spontaneous joy/happiness/fun/brotherhood (hence the Ramones style names).

They probably had a lot of fun singing and playing together on Volume 3 (there was no Volume 2 from these cheeky chappies) but, compared to Volume 1, it doesn't quite sound like that.

Maybe the fact Roy O had passed away (Lefty had left the building), or maybe because the songs weren't as strong, or maybe second album syndrome or maybe it was because George's songs weren't the lynchpins this time. Maybe all of the above. Who knows. But it wasn't a patch on Volume 1.

Where do they all belong? A lot more than a footnote on their careers - Traveling Wilburys fashioned a really distinctive group sound. That said, it sits at the end of the George Harrison section in my collection.

Bye bye love (The Everly Brothers) (LP 838- 840)

George Harrison  Living In The Material World (Vinyl, Apple Records, 1973) ****  

George Harrison   Dark Horse (Vinyl, Apple Records, 1974) *** 

George Harrison   Extra Texture (Vinyl, Apple Records, 1975) **   

Genre: Beatle pop/ rock

Places I remember: Imported Material World from the US, DJ Records (Otahuhu) for the other two.

Fab, and all the other pimply hyperboles: Give Me Love (Give Me Peace On Earth)

Gear costume: Be Here Now; You

Active compensatory factors: It's a case of diminishing returns over these three albums - his last three for Apple Records.

Sadly, 1973 to 75 were roller coaster years in his personal and musical life - a series of crises in his relationships, spiritual wavering, that US tour, and setting up Dark Horse Records all coloured these albums.

I'm a big fan of LITMW - it touches on some important subjects and although both Dark Horse and Extra Texture are really well played and produced (by George), there is something about Material World that attracts me (like no other).

I'm also not averse to Dark Horse - both of these '73 to '74 albums show a human side to George, in that he could be hurt (and he could hurt others).

Extra Texture is not an album I feel much affection for, outside of the relatively upbeat single - You. The rest of the album lacks inspiration in my opinion and is too slickly Americanised for my taste. 

There's a real downer vibe to the album (even Dark Horse has singalongs after Pattie had finally had enough and left him for Ron Wood and then Eric Clapton).

The eaten apple core on the label sums up both the label that I adore and George's career in 1975 - both were at a low ebb.

Where do they all belong? Next up - his albums for Dark Horse Records. Of those six albums, there are four crackers and two duds coming - not a bad return for the years from 1976 to 2002.

Dawn to dusk (Ravi Shankar) (LP 812)

Ravi Shankar  Raga (Vinyl, Apple Records, 1971) ***

Genre: Apple Records 

Places I remember: Noel Forth sent this to me about 40 years ago for screen printing shirts for him (thanks Noel). Those shirts are long gone I guess (though they live on in photos of Noel drumming for Tortis and Vertical Hold) but I still have Raga.

Fab, and all the other pimply hyperboles: Dawn to Dusk

Gear costume: Ravi teaches George (not from the soundtrack but cool to watch)

Active compensatory factors: It's a soundtrack to a documentary film about Ravi Shankar, produced by George Harrison. Apple Films provided financial support and then the soundtrack came out on Apple Records.

The whole project led to George and Ravi putting the concert for Bangla Desh together (see my previous post down below).

The film is one thing, the soundtrack is another. In this case, it reminds me of Wonderwall (George's first album - not Oasis) in that it is made up of short pieces, of excerpts rather than complete side long songs. In that way it's a nice set to have as the range is broad.

Where do they all belong? Apple Records, man. The magic endures!!

Awaiting on you all (George Harrison) (LP 811)

George Harrison and Friends  The Concert For Bangla Desh (Vinyl, Apple Records - NZ pressing, 1971) *****  

Genre: Beatle pop/rock

Places I remember: DJ Records (Otahuhu)

Fab, and all the other pimply hyperboles: It Don't Come Easy (Ringo et al)

Gear costume: Here Comes The Sun (George and Pete Ham)

Active compensatory factors: Along with the triple All Things Must Pass, this was easily the most lavish purchase I made as a young teenager back in 1971.

It came in a box for one thing! Wowsers. A triple record set! And it had a big colour 63-page booklet. Ecstasy. And it was on Apple Records! Oh boy! 

It seemed impossible that I could actually own it but yet here it was playing on my Garrard SP 25 Mk 3 turntable in my bedroom at 18 Korma Ave., Auckland, New Zealand.

It's an expansive set that shows George's generosity of spirit - not only for the people of Bangla Desh (that almost goes without saying) but he allows Bob Dylan and Ravi Shankar a third of the triple album, plus Ringo, Leon Russell, and Billy Preston also feature. No hogging the limelight for George - the supposed quiet Beatle who put out two triple albums in the early seventies.

The set itself weaves a certain type of magic over its six sides. It seemed vast to me in 1971 and I was staggered when the film of the concert came out on DVD and they were shown all playing close together on a small stage.

Where do they all belong? It's a landmark benefit concert and although I seldom play it these days, it is a lavish bedrock of my collection.

Ain't that cute (Doris Troy) (LP 778)

Doris Troy  Doris Troy (CD and Vinyl, Apple Records, 1970) ****

Genre: Apple Records 

Places I remember: Real Groovy Records for both formats (five bonus tracks on the CD)

Fab, and all the other pimply hyperboles: Gonna Get My Baby Back

Gear costume: Get Back (Bonus track on the CD)

Active compensatory factors: This is one terrific album and I have no idea why it wasn't a huge seller in 1970. Seriously - the players and the playing alone would make people sit up and take notice I would have thought.

I mean - George, Peter Frampton, Steve Stills and Eric Clapton on guitars; Billy Preston, Leon Russell, Bobby Whitlock on keyboards; Klaus Voormann on bass; Ringo, Alan White, Jim Gordon on drums!!!! All that, and Doris Troy's vocals are superb!

Even if you are not impressed by that, the songs are great too - every single one pops and shines.

All this makes Doris Troy a strong candidate for best Apple Records album.

Where do they all belong? That's it for Apple Records on CD - more to come when I return to the vinyl collection.

Looking for my life (George Harrison) (LP 777)

George Harrison  Brainwashed  (CD and Vinyl, Dark Horse Records, 2002) **** 

Genre: Beatle pop/rock 

Places I remember: JB Hi Fi for the vinyl; The Warehouse (Cambridge) for the CD

Fab, and all the other pimply hyperboles: Marwa Blues

Gear costume: Any Road

Active compensatory factors: I've returned to the CD collection again and this is first up (although I also have it on vinyl). 

Hari Georgeson's final album is actually a damn fine record. One of his best I warrant.

It took a while to finish it, given his previous album, Cloud Nine, came out 15 years before Brainwashed (which was released a year after George passed away in 2001).

His son Dhani and producer Jeff Lynne finished the album off to George's specifications and it sounds terrific.

Where do they all belong? We'll return to George (and The Concert For Bangladesh) when we get back to the vinyl. 

Don't be sad (Jiva) (LP 743)

Jiva  Jiva (Vinyl, Dark Horse Records, 1975) **  

Genre: Dark Horse Records/ pop-rock

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles/ Gear costume: It pretty much all sounds the same. Something's Goin On Inside LA was the single and lead track on their sole album so let's go with that. 

Active compensatory factors: I'm sure they look back at that cover and cringe. Four American guys with their shirts off saying, "please take us seriously".

Jiva, from California, comprised: Michael Lanning, Guitar, Vocals; James Strauss, Bass, Vocals; Thomas Hilton, Guitar, Vocals; and Michael Reed, Drums, Percussion.

The music I've summed up before when writing about Dark Horse label product. I was a tad harsh then, but listening to it again made me think of a descriptor I've heard used in my English teacher role while marking essays - competent stodge.

It's reasonably well played and competently sung but there is nothing out of the ordinary happening here. Lord knows what George heard from this first American band to get a Dark Horse spot that made him think - I've got to put that out!

Where do they all belong? Alongside the other Dark Horse albums that are, on the whole, not a patch on the Apple Records roster.

Raga Manj Khamaj (Ravi Shankar) (LP 742)

Ravi Shankar & Ali Akbar Khan  In Concert 1972 (Vinyl, Apple Records, 1972) ***** 

Genre: Apple Records 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles/ Gear costume: Raga Manj Khamaj  (it's split over two sides - sides 3 and 4 but it's drone effect is very hipnotic and very rewarding if you've had a tough week)

Active compensatory factors: I don't play this album often but every time I do it affects me deeply - very soothing and contemplative.

Ravi's spirituality and calmness was a great inspiration to George Harrison and countless others. I don't pretend to understand this music or the meanings behind it, but I do really enjoy allowing it into my life from time to time.

Where do they all belong? Prominent position in my Apple Records collection.

Behind that locked door (George Harrison) (LP 741)

George Harrison  All Things Must Pass (Vinyl, Apple Records, 1970) ***** 

Genre: Apple Records/ pop-rock

Places I remember: DJ Records (Otahuhu). This is one of those albums I saved up for and dad got for me on his way home from work in Otahuhu while I was at school.

Fab, and all the other pimply hyperboles: Awaiting On You All

Gear costume: Ballad Of Sir Frankie Crisp (Let It Roll)

Active compensatory factors: For three sides this is peerless, brilliant music from George and friends. The fourth side is, quite frankly, filler. I Dig Love and a reworked Isn't It A Pity don't cut it really, but by side 4 you are past caring because the quality is so consistently high on sides 1 to 3.

The jam album (sides 5 and 6) I can do without - it's jamming after all, and I don't really think about it as part of ATMP, but it's nice to have all the same. 

It's those first 3 sides that do it. All killer! 

Beginning with the Dylan co-written I'd Have You Anytime, through the pop master classes of What Is Life?, My Sweet Lord (regardless of subsequent baggage this is a GH song - end of), Isn't It A Pity, Apple Scruffs and on to the other worldly Hear Me Lord, Beware Of Darkness and, always my favourite track - Awaiting On You All.

The variety and consistency is outstanding - the tracks I haven't mentioned already would be another artist's greatest moments. 

Obviously, there were hints in The Beatles (Something, Here Comes The Sun) that George was special, but clearly this amount of stunning songs in one place was a major surprise. Lennon/McCartney were the genius Beatles weren't they? Ringo and George were the lucky ones weren't they? Well, that was the received wisdom for a while.

Haha!! No way - George and, yes, Ringo, have unique talents as musicians and writers. All Things Must Pass is just the first outstanding example of that in George's case.

Where do they all belong? I haven't bothered with the reissue editions - I don't want to detract from the original experience of this classic album. Don't want to see behind the curtain for this one.

Let me in (Gary Brooker) (LP 711 - 712)

Gary Brooker  No More Fear Of Flying (Vinyl, Chrysalis Records, 1979) *** 

Gary Brooker  Lead Me To The Water (Vinyl, Mercury Records, 1982) *** 

Genre: Prog rock (even though these albums are more mainstream rock in their approach, Gary's albums are housed in the prog section thanks to his association with prog giants Procol Harum). 

Places I remember: Slow Boat Records (Wellington)/ Real Groovy Records (Auckland)

Fab, and all the other pimply hyperboles: Give Me Something To Remember You By

Gear costume: Say It Ain't So Joe 

Active compensatory factors: These are Gary Brooker's first two solo albums after Procol Harum went into hiatus after their Something Magic album in 1977 (they'd reform eventually in the 1990's).

Gary has one of those voices that is instantly recognisable. It's a blessing, as he can inflect even the most ordinary of lyrics with meaning and nuance.

First album - No More Fear Of Flying, maintains a high standard. Sidebar: Bruce Lynch is on bass - he's a Kiwi, known for his marriage to Suzanne and his session work in many arenas - notably Cat Stevens and Kate Bush among many others.

Lead Me To The Water has loads of famous friends lending a hand. Most notably George Harrison, Eric Clapton and Phil Collins. Unfortunately this bunch got together in 1982 for this album, so it's got that eighties production sound, complete with synths,  and it all sounds a little too comfortable. These guys, by this stage, had little to prove.

Gary's vocals remain fantastic however. Hard to muck them up!

Where do they all belong? I'm yet to get his third solo album - 1985's Echoes In The Night and the live album from 1996 - Within Our House