A monster album, the one that put them back in the spotlight and signaled that Norman Whitfield had saved the day. Damon Harris had replaced Eddie Kendricks, and there were many doubters convinced the band was finished. Instead, Whitfield revitalized them via the majestic single, "Papa Was a Rollin' Stone." Despite its length, Whitfield's decision to open with an extensive, multi-layered musical suite and tease listeners was a master stroke. By the time Dennis Edwards' voice came rushing in, no one would dare turn it off. The single, as well as "Law of the Land" and others, ended the funeral arrangements that had been prepared for the Temptations. The album was included in the book 1001 Albums You Must Hear Before You Die.

With their first records, Ride created a unique Wall of Sound that relied on massive, trembling distortion in the vein of My Bloody Valentine but with a simpler, more direct melodic approach. The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed. Along with their initial influence, My Bloody Valentine, Ride stood apart from the shoegazing pack, primarily because of their keen sense of songcraft and dynamics. For a while, Ride were proclaimed the last great hope of British rock, but they fell from the spotlight nearly as quickly as they entered it.

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch's and John Renbourn's acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) – easily one of the most inventive on the planet – shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.

Decameron produced four albums between 1973 and 1976 (Some discographies listed a recording called "Beyond the Light" but this never saw release). This long CD contains all of the third disk and a most of the worthiest pieces on the fourth. Considering their short recording career, Decameron exhibited a fairly wide range of musical styles and talent as they flitted from label to label. But it was all loosely in the British folk rock realm with more than a casual nod to the lighter elements of progressive rock in vogue at the time. The enigmatic style of that genre is displayed in the stunning "All the Best Wishes", the reverent "The Ungodly", the intensely melodic "Journey's End" bathed in mellotron, and "The Deal". The lighter pieces are equally engaging, such as "Saturday" about rolling down the windows and blasting the stereo and shouting obscenities at the market crowd, "Road to the Sea" with its rollicking rhythms and musical and lyrical allusions to the nautical, "Fallen Over", and "Tomorrow's pantomime".