T Rex (1976) New York City

One of T Rex's last hits form the theatrical experimental Futuristic Dragons album this didn't sound like too drastic a stylistic change from past T Rex hits aside from the bubbling synthesizers that open the tune giving a futuristic feel. While he rest of the song is rooted in the past with it's jaunty 1940s honky-tonk vibe, it is driven once again by Marc Bolan's camp lyrics pretty much two lines repeated over and over like a cosmic poem. With sections of the usual eastern scales of the Raga orchestra that was part of the classic T Rex sound still featured prominently; though this 60's music was sounding quite old by the mid-70s. The rock' n roll element of the band was flatter in favour of more theatrical suites that have the feel of Pete Townshend's writing with intense soulful backing vocals from Gloria Jones. Though amongst the styles, the song, like most T Rex tunes, is held in place by the predominant tremolo vocals of Bolan and the energy and vigour he imbues in all his material.

Elvin Bishop (1976) Fooled Around and Fell in Love

Blues guitarist Bishops' hit was famously not sung by him the wailing tenor is supplied by Mickey Thomas, later of Starship. The song is made by a slow almost festive feel with the flute, organ and heavy drum work. The song is capped off by the use of slip note piano giving the song a laid back country groove.

Black Oak Arkansas (1971) Memories at the Window

This minor key masterpiece  comes from the oft overlooked southern rock band Black Oak Arkansas.  Looked down upon by critics due to Jim Dandy Mangrums' animated style of vocals,  though the three guitar band could really rock in a very immediate and raucous style on gems such as Hot and Nasty off their debut. Also from their talented debut album this song begins with some downbeat cross picking that sounds very modern and grungy for 1970. It reminds me of The Matrix soundtrack 'Clubbed to Death' and REM's Extreme Ways.

 Then we get some underlying eastern sounding slide guitar sliding back and forth as we lead into the touching ballad main section of the song. Lyrically beautiful it is about looking through a window hoping to see the memories of the past even though things have now changed.  A surprisingly mature lyric with a startling metaphor for a gritty southern rock band showing how misunderstood they really were and still are to this day.

Head East (1974) Never Been Any Reason

 Head East sound similar to their Illinois cousins Starcastle and REO Speedwagon with a Yes type of Prog Ballad sound from the former and a Heavy Rock n Roll sound from the latter. Their claim to fame is this terrific rocker, drenched in 70's rock elements such as Moogs and an indecipherable title message. Beginning with a rocking guitar rhytmm, the drummer competently doing the first few lines of each verse then the lead singer takes over, who sounds like a mix of Jon Anderson and Jim Dandy, before the group harmonises on the final line. The refrain 'Save my life I'm going down for the last time' sounds great with the anthemic vocals while the Moog flourishes successfully combine prog and hard rock with a light pop feel. It's hard to hate this melodic breezy rocker. IMO

Van Halen (1979) Women In Love

 That heavenly opening series of harmonic notes leading into a fury driven alternate rock song, it combined the best of their song writing with Eddie Van Halen's best playing  before the rock n roll excess of their 80's repertoire, when the sound was still fresh and talent unexplored. The whining backing vocals combined with the clear bass and airy distortion of EVH's guitar attack is stupendous and surely this pop rocker should have been the lead single from their underrated second album, Van Halen 2. Though this song is the whole package, it doesn't get better then that first 20 seconds and that incredible, enlightening few bars of guitar beauty that seems to take you on a journey through a portal to another land.

Led Zeppelin (1975) Wanton Song

 Again can't resist another Physical Graffiti gem after all its 40 years since it was released. So now firmly in a LZ mood this us a track never appreciated enough like so many other original Zep tracks; sometimes described as being too similar to a previous work, Immigrant Song. But while they are both riffs played an octave apart they're quite different the brusque attack then pause before another strike is a riff pattern that has been used hundreds of times in heavy metal since but aside from Deep Purples' Mistreated the pause had not been utilized as much in hard rock before. 

 Then take into account the Hendrix, Leslie amp based solo which is a great euphoric departure from the dark verses, where Plant at his most huskiest strain, a trademark sound of this particular album, sings passages about a wanton woman in an almost demonic fashion. The biggest shift is the funky break, where features a lush, slow jam guitar with a quick turnaround that didn't sound like any funk artist around; it reveals another string to Page's eclectic and extremely skilled bow. Not too mention also the reverse echo that links the chorus back to the hook was a new sonic idea back in 75, but too familiar today. It's pretty fresh and has lot of elements to a 4 minute rocker buried in a double album packed with creativity and imagination; unlike the majority of Double LPs.

Gram Parsons (1974) Brass Buttons

 Considered one of the founding fathers of country rock, Gram was a very influential artist who died tragically young at 26. His dream of 'Cosmic American Music' was to see more fusions than just rock and country, but also folk, rock and roll, Americana, Bluegrass and more. Best known for his stint in the Flying Burrito Brothers on such classic Country Rock songs such as Hot Burrito 1 and 2, Juanita and Christine's Tune where country rock truly began and for his influence on the latter, countrified Byrds line-ups. I chose this oft admired gem from his second and last solo album Return of the Grievous Angel, a touching, lilting tune dedicated to his late mother it captures his greatest talents as a heartbreak king with it's delicate, sombre voice cracking with pure heartache.

Led Zeppelin (1975) In The Light

 Having put off doing another Zeppelin gem as long as I could as a Zep head, I've decided I can't hold off any longer. I chose this ignored epic from their zenith that is 1975's Physical Graffiti album. A double that displayed the full width and breadth of what Zep could do, up until that point and that anything was possible with the diverse talent, impeccable musicianship and song craft the band displayed effortlessly. Though the other 8 plus minute showcases, Kashmir ('the riff to end all riffs') and In My Time of Dying, are what dominated the reviews; it is this 'big' gem that needs some appreciation. While not as immediate as an earth shaking Arab March or a dirty swamp-dredged, slide riff, In The Light begins with a sonic overture, a cathedral of Eastern drones made from a bowed acoustic guitar and synthesizer combo creating a intricate sonic landscape though it stretches out a bit too long even for building atmosphere.

 It then proceeds to descend into some crashing doom laden chords bringing the song more terrestrial with a swaggering Robert Plant vocal. The soft clavinet break where Plant sings the title line shows their music could be quite positive and uplifting. The Eastern-tinged fuzz synthesisers continue during the song with some strong echo while there is an ascending keyboard line that serves as a continual motif particularly during the ending; which features Page's 'meowing' guitars playing off each other. The layers of synths, keyboards and guitars create a subdued, 'underwater' feel giving the song a particular atmosphere distinct from any other tracks on the double album. Both Page and Plant consider it the best cut on a double album bursting with ground breaking compositions. It is certainly there with Ten Years Gone and Over the Hills as one of their most subtle and complex pieces.

Paul Davis (1976) Superstar

 An interesting ode to his fellow contemporaries, Paul Davis being one of the most under appreciated singer songwriters and soft rock artists of the 70s. The hit single from his album, Southern Tracks and Fantasies, that pays tribute to superstar singer songwriter combos such as Elton and Bernie,  Stevie Wonder, Joni Mitchell and name checking Linda Ronstadt' Heart Like A Wheel album.  It's an interesting idea for a pop song to reference other artists.  Ironically the song is best in its non referential side "The 6'98 sounds so great and I just can't wait to hear you sing it, come on and sing it." refrain. The driving bass line reminds me of the Knight Rider theme while the funky wah wah synthesisers add a Starbucks feel keeping this song rooted in the mid 70s.

Dirt Band (1978) You Can't Stop Loving Me Now

When the Nitty Gritty Dirt Band abbreviated their name in a mid 70s legal dispute their sound was also streamlined in favour of a soft AC sound. Following the lead of bands like America and Poco who also made a similar change at this time. The Dirt Band album is miles better than the bland Linda Ronstadt guested American Dream album the following year. But one song in particular stands out with its classic melodies and smooth tenor from Jeff Hanna with the country toned right down in what is an exquisite pop ballad.  Discovering songs like You Can't Stop Loving Me, that could have been hits but weren't even released as singles and aren't even acknowledged in contemporary reviews.  It really makes me wonder..

Journey (1978) Feeling that Way/ Anytime

Technically two compositions stitched together this was when Journey also had two talented singers in Steve Perry and Greg Rolie. Bouncing off each other their tag team vocals are incendiary in Feeling that Way. The chemistry works with Perry's theatrical,  husky wail tempered by Rolie's cool commanding tone. While the whole group vocals on the tagged on Anytime may not rock as hard as a Styx harmony it features another fantastic lead vocal this time just from Rolie.

Gene Clark (1974) No Other

From his 1974 solo album this masterpiece reminds me if his 1967 work with the Gosdin brothers. It's got grand arrangements like Life's greatest fool a gospel song about how loneliness makes you age. But those the well produced title track with its heavy bass driven sound and prog rock melody driving it. At the centre is Gene Clark's dark melancholic singer songwriter angst. A vivid parable by the most underrated Byrd who always flew solo; there's no other you could mistake this for.

Dennis Wilson (1977) Pacific Ocean Blue

The troubled Wilson brother's solo debut in 1977 is considered the best standalone effort by a Beach Boy. It's an experimental album of powerful songs in the confessional singer songwriter vein. The neo-funk of the title track displays his unique ideas in terms of production; from the faded gospel singers to the propulsive doo wop vocals to Wilsons' own signature raspy tone it's a fresh sound. The album is full of underrated material with a Tom Waits lyricism but more attention to melody and a Wall of Sound it contends with most of Brian's work. Ironically written along with Mike Love, who himself is an under appreciated member of the band and was behind a lot of their success too. The chorus hook of "It's no wonder the Pacific Ocean is blue" is a classic blues line and at 2 minutes 40 this is a tight funky blues song as well as an appropriate title track displaying the album's volcanic darkness and yet foot tapping sense of rhythm.

Doobie Brothers (1977) It Keeps You Runnin

 It Keeps You Runnin begins with a funky, syncopated keyboard rhythm, an unusual sound with a bouncy, fuzz synth part that then ends in a abrupt belch then repeats.We would hear this plodding rhythm in other McDonald tunes such as 'Losin End' on the next album which has similar synth belches. It is an interesting music idea to use this keyboard line to symbolise the dull mundaneness of life a theme soul music usually is based around. Sounding like Starbuck, it displayed the jazzy qualities of McDonald's music which had a more original approach than the previous synths parts on songs such as Natural Thing.  This locked in, plodding keyboard groove feels like a Super Mario theme, it matches the running of that character and the clean guitar licks that cut through sound like the sound of an energy boost; not to mention the fact this song is also based around running. 

 But it's purpose here is to imitate the heart beat of someone in love but continually running away from it in fear. The bouncy fantasy video-game opening is overlaid with dark, intoning backing vocal refrains of the title during the chorus  reminding us of this songs' savage reality of sabotaged love. In marked contrast the verses give way to a more gospel organ work that matches McDonalds' irresistibly sensual lyrics. It's a dark song that bridged the more grittier blues of the Johnson era into the smooth, romantic soul of the McDonald version of the band.

Sweet (1978) Dream On‏

From their legendary Level-Headed album probably their best marking a late career maturity in its eclectic set which included renaissance instrumentation,  brass and disco it was a weird and wonderful collection by the former glam rockers. This touching piano ballad sung by Brian Connolly is the albums most toned down subtle piece. It's also pretty short but features underrated melodies in the piano and vocal work.

Sammy John (1973) Chevy Van

A little heard country rock hit, this ballad with its hooky chorus about hippie take of a girl sexually dominating a guy in his van as "she took control". There is no wordplay it's pretty straightforward, what attracted me to the song was it's melodic chorus and the airy guitar strum giving it a dream like feel.

Bread (1970) Look What You've Done‏

David Gates and Bread are like Marc Bolan and T Rex; it's not quite a solo artist with a backing band but they are easily more than the front man of a popular group they are their respective band's creative core. They are irreplaceable and behind a lot of the success and responsible for the sound. Gates however was not the only singer songwriter in Bread though he wrote and sang all the singles. Bread being a singles band to an extent made Gates too much the face of the band while Jimmy Griffin, a talented singer songwriter had his gems relegated to album fodder. 
 This gem still remains my favourite Bread song and Griffins best contribution.  The fact it was still not a single in favour of Gates lethargicly mellow pop tunes is disgraceful.  The song has some dynamic hooks with Griffins' paced melody over a original guitar strum. The breathless delivery of Griffins' worn down lover serves the exasperated tone of this bitter breakup song in a complex way that Gates often did with his deceptively romantic love songs.

John Henry Kurts (1972) Drift Away

The song Drift Away was a soul and rock classic when sung by Texan Dobie Gray. But this was the first released version and this more country rock version has a better guitar arrangement. And while JHK dose not possess the same vocal chops as Gray his vocals fit the melody better. A smooth less forced delivery that traces this soul number back to its laid back roots, which match the laid back lyrics that are the most crucial element of all versions of this song.

Rush (1976) Lessons

Starting with a frenetic jangly acoustic rhythm before devolving into giant distorted power chords,  from the slick to the crunch yet not sounding like many other Rush songs it's even got those Zeppelin dynamics not surprising considering their first album was a direct rip off of Zep's style, it was when they developed a sound of their own a heavy prog style. With the tight rhythm section and Geddy Lee's shrill vocals they proved they had their own personality and identity of their own before their early 80s success.

The Commodores (1974) Assembly Line

An album track from their Motown debut, Machine Gun, the album is an underrated funk rock gem in itself and differs greatly from Lionel Ritchie slow piano ballads which would later dominate the band. Co-written by Gloria Jones who originally sang Tainted Love in the 60s and was a part of T Rex in the 70s though her boyfriend Marc Bolan this song features musically a nice mix of a catchy chorus, dirge organs, ecstatic vocals and horns and a great drum break that has been sampled quite a bit. All about the social concious lyrics of Motown acts like the funkier Temptations, with lyrics about the assembly line and fixed route of people in terms of careers, discrimination and  about following their dreams. It's fun with an important message; "From the moment you're born you're on the assembly line, keeps on messing with your mind.". The song is packed with great memorable lyrics such as "To save our future children, the ones we haven't made" or "From the moment they're born, you know.. from the moment they're wrong, they're wrong". It's shame there weren't more songs like this from them as they entered the disco era.

The Doobie Brothers (1972) White Sun

This is an bewitching fingerpicked number by Tom Johnston it has an engrossing quality in its distinct rhytmm. A raw song with a minimalist feel that you wouldn't hear from the Mcdonald era.

The Doobie Brothers (1975) Neal's Fandango

A fast paced country number with a folksy almost nursery rhyme feel. It's catchy and name checks their hit song China Grove. 

Richie Furay (1979) Headin South

If Richie Furay wasn't as well known as his superstar former band mates Stephen Stills,  Neil Young,  Randy Meisner and Jim Messina it's because his style is probably too restrained though he has a melodic vocal and guitar style.  Unfortunately his solo songs never had the hit power of Young, Stills, The Eagles or Loggins & Messina but were equally valid. A solid soft rocker, Headin South is an excellent example of a Furay composition with some interesting guitar licks mimicking a pedal steel as well as the belter of a chorus, it is equally as satisfying as his contemporaries and is a skill he has possessed since the Buffalo Springfield days when he sang Do I Have To Come Right Out and Say It: no Ritchie you don't.

ELO (1979) Midnight Blue

An 80s sounding song but with a 70s level of subtlety and seriousness,  this was shockingly never even a single. But it's easily ELO's best track with it's icy atmosphere and it's cool and clear synths while Jeff Lynne's dialed down voice is somewhere deep in the middle.  It's a heartfelt song that once again displays ELO'S criminally underrated production skills, just listen to the phased strings of Strange Magic. Their songs  each have their own  beguiling effects and emotions with the high pitched glam backing vocals ala Sweet and Queen as heard here and in Mr Blue Sky. I'm just glad it was released just before the 70s ended so I could write a post on it though it still sounds like the best 80s pop song I've ever heard.

Eagles (1974) Ol 55

A cover of a Tom Waits song it is often derided by many for being made into a slick commercial SoCal song lacking Waits' trademark soul baring gin soaked croak. Though I feel the raw emotions are still in this pop version in Glenn Frey's wounded vocals yearning for more time with a woman who has kicked him out early; the hurt and regret so palpable in his sweet voice. He sings along with Henley as he did on my favourite Eagles gems such as Doolin Dalton, After The Thrill is Gone, What Do I Do With My Heart and Teenage Jail.  Henley is on the more upbeat bridge, while the classic Eagles harmony stacks on the final refrains are a marked improvement on Waits original. 
A song I listened to almost daily basis when I was 22 and 23 it is very melodic and listen-able to the point of being timeless and being an ear worm.  This is also in part to the great consistent production of Eagles songs since their start with the clean pedal steel in the background and the marching band beat it's flawless in my biased opinion.

Chi Lites (1970) To Change My Love

Starting with a slinky beat administered by guitar strikes this song has a Heard it Through the Grapevine feel (a song they did a upbeat cover of on their album). As with all the Chi Lites songs Eugene Records yearning tenor is always engaging with great lyrics "There is a shortage of love, that's how they feel within" and "the world is coming to an end". The fantastic melody of the chorus with its descending down to earth rhythm and message means for me this is the most underrated soul gem I have come across. Undoubtedly a classic from the first listen that could stand with some of the best of Motown as well as Chi Lites early 70s hits.

Ned Doheny (1978) Think Like a Lover

A nice acoustic disco song heightened by Doheny's sultry r'n'b falsetto and soul backing singers and belchs of wah wah which places it in a certain time. Also featuring powerhouse saxophones it is far from Doheny's start as the first artist signed to David Geffens Asylum records a haven of folksy LA singer songwriters. Doheny like many of his label mates wrote songs for others like Dave Mason Average White Band and even Chaka Khan revealing his grounding was more in jazz and soul over folk and country.  His funky disco tunes always sounded great and melodic particularly with the prominent acoustic guitar which didn't appear often in disco.

The Hollywood Stars (1974) Escape‏

A great example 70s Glam Rock with this polished sound from an unknown group from The Hollywood Stars, Glam rock band with an arena sound similar to other proto-glam metal bands like Kiss and Starz. Ironically this band originated the song King of the Night-Time World that would be appropriated by Paul Stanley of Kiss for their landmark Destroyer album. Kiss are a band in heavy debt to their similar sounding, contemporaries The Hollywood Stars, who have probably more in common with the New York Dolls. The band included Kim Fowley who would later manager The Runaways. 'Escape' the song I have chosen displays a more ambitious song structure than the rote Kiss tune with a sparkling mellow bridge. With its call and response vocals and tight guitar crunch this is a memorable gem.

The Tymes (1974) Ms Grace

An insanely catchy tune about an enchanting woman it reminds me of The Tams, complete with  doo wop backing vocals and a lot of atmosphere.  The result is an underrated and unloved soul number about devotion and great lyrics like "The rivers turn in their beds".

Target (1976) Let Me Live

A hard rock band with a 'Nazareth' power ballad sound, this song is a great example, it is driven by heavy descending arpeggios and the incredible vocals of a young Jimi Jamison, later of Survivor and writing and performing the classic Baywatch theme. The delay on the guitars and their whining signals and strong reverb give this song a nice atmosphere and actually reminds me of 'I'm Always Here' Baywatch theme.

The Rolling Stones (1972) Let it Loose

 Another underrated gem from what many people consider to be the Stones' best album, the country blues double album Exile on Main Street. This one, like many Stones gems, starts with a iconic, memorable loop of music, such as the haunting the piano vamps of Monkey Man or pulsing trumpets of Stop Breaking Down, here we get a dreamy texture of Hammond organ effected guitars and Jagger's aped drawl. The way the song swells with gospel choirs and Jagger's coursed vocals laying bare his demons in this song. The depression, drugs and alcohol have never been so vividly realised in music as The Stones always could; "You're in the bar, and you're gettin drunk!". The despair displayed in the song is what made the Stone's earthy blues so well loved.

Climax Blues Band (1976) Couldn't Get It Right

A song with a great chorus featuring very high backing vocals and great guitar and sax lines.  A hit during its time though since forgotten it has a disco vibe with lyrics about something meaningful though not too sure.

Fleetwood Mac (1973) Believe Me

 Before Buckingham Nicks became the frontman and woman of 60s British group Fleetwood Mac they actually were transforming into a pop rock band with Bob Welch fronting the band and setting the groundwork for their late 70's comeback. But Christine McVie was also fronting many of the songs before being relegated to third vocalist after Buckingham Nicks. This is one of many great sweet pop songs she crafted that could easily stand with their later output. Believe Me has great dynamics as a slow piano fade in kicks into gear into the song's central rhythm it features great lines such as "Is it really such a sin to love you"; a rock n roll song with a female perspective is refreshing change from the male adolescence that usually dominates the genre.

Deep Purple (1974) What's Goin On

Another Mark 3 gem this is a short rocker built around a Richie Blackmore stuttered riff and some more tag team vocals by the underrated duo of Coverdale Hughes.  However it is the honky tonky piano work Jon Lord taking a rare break from his trusty organ.  It's his clanky keys add to the humour good time feeling of this song, a rare mood for Purple song.

Deep Purple (1975) The Gypsy

Starting off with a stately Deep Purple riff before Hughes and Coverdale harmonise the lead vocals to get advice from a gypsy fortune teller. The combination of a wah wah with an organ gives that great riff distinct majesty almost Prog and very different to the blues riffing of Jimmy Page and the Doom laden fuzz riffs of Tommy Iomi.

Hall and Oates (1974) Better Watch Your Back

Almost a pop song mixing dreamy prog chorus textures with a terse electric guitar rhythm for the verses almost mirroring the dynamic shifts of a marriage from paradise to a nightmare and back. The lyrics are all about a husband called Jack who acts like a child while the wife holds everything together, slightly one sided and a cliché it still adds to the vitriol that fuels the verses before the choral harmonies during the hook. Just another gem from 70s H and O that shows when their peak output was.

Bloodstone(1975) My Little Lady

Starting like a Rat Pack number, then the bass builds to a guitar break before launching into the Boz Scaggs sounding flutes and percussion of the song.  The lead singers catchy falsetto, the festive bells and the songs infectious beats make this a golden gem from an oft- under admired band.

Blue Magic (1976) See the Bedroom

An elegant mix of Moogs and Flute work mingling together with the standard philly soul setup of horns and saxophone under a nice Motown melody. Another gem from my favourite Philly group though the album it's from 1976's Mystic Dragons didn't have the same indelible original compositions that they output so effortlessly on their first three.

T Rex (1974) The Avengers (superbad)

A funkier direction by Bolan as he entered his mid 70's period which wasn't as popular as the super stardom of his early 70's T-Rextacy moment. It was also a time where he was still finding him self musically as the Glam trend started fade before punk , new wave and pub rock took over. Though Marc Bolan went down the funky disco route, in this song he says now "Funky born free". 

 This gem has a very heavy rock chant of 'Get This!' that I love. Zinc Alloy and the Hidden Riders of Tomorrow isn't that great in terms of songs with the exception of Galaxy and Whatever Happened to the Teenage Dream. Of course being Marc Bolan the lyrics are every quirky indeed, the title seems to reference two pop culture movies of the present day which should attract some young folk to this song from the past, it's actually about a Superbad tiger and the Avengers of title possibly referring to some sort of avenging angel all linking into a caveman imagery of the song, it's all very inimitable as it's all delivered over his usual heavy guitar bop with some funk flourishes as T Rex heads into a new era of diminished fortunes.  

Bobby Blue Bland (1974) I Wouldn't Treat a Dog

Today's gem is a Soul classic by Bobby Bland that I've only just discovered, even though I've known of his more popular hit Ain't No Love for over five years, reviewed back in August and can be read here http://lost70sgems.blogspot.co.uk/2015/08/whitesnake-1978-aint-no-love-in-heart.html; this is just as good. 

 His follow up hit begins with a subtle layer of fatalistic horns. Though it's Bland, who we sadly lost in 2013 to little fanfare, whose vocals with a prominent crack in his voice that give an earthy quality to this song. Never a powerhouse vocalist full of screams and histrionics his gravely texture is the perfect amount of Blues, Gospel and Soul and he remains underrated to this day, along with this gem.

Paice Ashton Lord (1976) Remember the Good Times

After Deep Purples funky demise in 1976 the remaining members went onto different projects. Glenn Hughes made a solo record called Play It Out while David Coverdale inadvertently created one of the most iconic bands of the next decade with his titular 1978 debut album Whitesnake. Tommy Bolin unfortunately would only release one more album before his premature death. Meanwhile organist and drummer Jon Lord and Ian Paice formed a super group with singer Tony Ashton. The result is promising but a little too muddled without the kind of direct sound that launched DP Mark 2. Though this gem from their sole LP, Malice in Wonderland, is a soul number with a disco/techno feel and was easily an extension of where Mark 4 Purple would have gone if Jon Lord had taken more control.

Doctor Father (1970) Umbopo

Mid 70s art rockers 10 cc, known for the transatlantic soft rock hit "I'm Not in Love", had a long chequered career of differing combinations and collaborations before debuting as a whole in 1973. At one point in 1970, three of the band's classic foursome were in a configuration known as Doctor Father, this was one of many aliases they sued to release experimental singles form their base in Stockport, Manchester's Strawberry Studios. They used names such as Hotlegs and New Wave Band for single releases and used Doctor Father for the release of this track that is a slower, reworked version of an earlier track released under the band name Crazy Elephant in 1969. Got that right?

Well the song itself is fantastic and even got the attention of Neil Sedaka who would produced an album with the future 10 cc members in Stockport based on this very song. The song is a glistening strum of a track all about being in the jungle embarking on a treacherous journey to find the Umbopo,which reminds me of Bob Dylan's The Mighty Quinn. It may be a type of elephant, though it may not exist as is stated in the closing refrain; "There ain't no Umbopo!". The song features great falsetto vocals from Kevin Godley, though it didn't catch on with the public like later releases it is a crafted song with a nice melody but more less commercial lyrics; a sign of their later work.

Grand Funk (1972) Someone

Based around a circular bass rhythm Mark Farner' sighing vocals repeat a simple and very true statement of most love when he questions "Why oh why should I care for someone, who doesn't care for me". The earth shattering revelation is so old and yet has never been expressed so succinctly.

The Rubettes (1977) Baby I Know

A band famed for their outfits and strong 50's influenced doo wop sound, but get past the caps and synchronised dance moves and they had some great vocals. This is a gem from their late 70's period with a country rock sound that had been all the rage earlier in the decade. With its lethargic pace and aggressive backing vocal, Baby I Know is quite a departure from their usual sound, with their second lead vocalist, Tony Thorpe taking lead duties, it's an underrated AC pop tune from an glam act that were known for less understated material.

Grand Funk (1972) Rain Keeps Fallin

Grand Funk didn't actually play funk music more a 60s type of rock n roll with a subtle funk rhythm.  Along with To Get Back, Rain Keeps Falling In is of the funkiest offering from a band I only recently discovered. With its heavy wah wah sound it is the funkiest they ever got.. contrary to my last post. 

T Rex (1974) Sound Pit

A dirty raucous rocker with 'beep beep' backing vocals though it's the backing gospel chant that gives this little heard T Rex gem a special quality and the revved up rock n roll spirit of their early 70s popularity. From his 1974 album Zinc Alloy and the Hidden Riders of Tomorrow, it was the start of his mid 70s rejuvenation with a raucous funkier sound with fuzz guitars and even more grit and edge than his glam rock era.

Blue Magic (1974) Stop to Start

A searing elegy to redemption as the group does what it does best capturing gritty yearning with dreamy textures. Listen to the 1976 live version from the Latin Casino for a great extended jam of it proving why despite their funk disco hits like We're on the Right Track they are at their best when at their smoothest. The strings coursing underneath the harmony drenched chorus is fantastic and captures the heartache exquisitely.

England Dan and John Ford Colley (1976) Nights are Forever Without You

Just as good as their signature hit I'd Really Love to See You Tonight, this is a great combination of unison guitars sensitive lyrics and power ballad rock.

Looking Glass (1972) Jenny Lynne

A hoedown power pop song that's fast and direct its great rock not roller with a fantastic hook of "Jenny Lynne let me in Jenny Lynne"

Grand Funk (1974) To Get Back In

The only explicitly funky song that the Railroad put out with heavy horn overdubs and some James Brown strumming from guitarist Mark Farner and swathes of distorted organ work from latest addition Craig Frost.

Hall and Oates (1974) War Baby‏ Son of Zorro

Another gem from their oft forgotten early 70s run that is eclipsed by their late 70s early 80s dominance this is from their odd third prog album War Babies. Produced by Todd Rungrens expert hands after he crafted Badfinger's best album he added a Utopia sound to the political material. A concept album capturing the Nixonian paranoid times it would be the first to included a largely synth driven sound eschewing the folk of their first two efforts. It is a bit avant garde and lacks their usual Philly soul and RnB feeling with more prog sounds. The title track is the best example of this beginning with an air raid siren and containing a middle section where broadcast excerpts play in a static suggesting nuclear holocaust. It also contains one of my personal favourite guitar solos, though quite short and to the point it has thick guitar tone.

Starz (1977) Cherry Baby

 Starz were late 70s band in the mould of Kiss style arena theatrics. Not really that much of a surprise considering they were managed by Kiss choreographer Sean Delaney. Though they never really became that big the albums contain some great glam rock anthems such as the pop gem Cherry Baby with its overlapping riffs. The band is a mix of rock and pop metal including lead singers Michael Lee Smith's powerful voice. The band interestingly had their roots in the Boston band Looking Glass who had the classic 72 hit "Brandy (you're a fine girl)"; they have the same rhythm section.

The Grateful Dead (1974) Scarlet Begonias

After Keith Richards trashing of the band in the past week, it's important to show a leaner, more commercial gem from the ultimate jam band. Driven by Jerry Garcia's yearning pop vocals and Latin inflected rhythm guitars with a slight reggae offbeat to it, this short four minute song is about meeting a bewitching female hippie. It captures a flower power feel and is certainly worth a listen to reveal the Dead's more polished work with a short no frills guitar solo this one largely has no instrumental sections to it.

The Rolling Stones (1973) Coming Down Again

 The Stones are by no means underrated but they do have a vast array of gems from their 70's period. They were the best drugged out trippy songs mixed with jagged rock n roll guitars keeping a oddly lethargic mood that worked on songs such as the hazy Winter and particularly on this tune from Goats Head Soup. The clear piano sets off the song to an upbeat start before Richard's vocals come in with a slight country western deepness cutting through before the chorus refrain brilliantly captures the feeling of being intoxicated and slowly cutting yourself off. The isolating feel of the mix is something the Stones were great at on songs such as Sweet Virginia creating an almost palpable claustrophobic experience on an aural level.

Sanford and Townsend Band (1977) Smoke of a Distant Fire

A 1977 blue eyed soul hit from a duo who while influenced by New Orleans RnB had a sound all of their with quiet storm keyboards, lively sax and horns plus colourful lyrics about complex relationships. From its opening guitar lick and an exquisite marriage of guitar and sax it is clear this No 9 Billboard hit would become a nu-soul classic. However the imagery based lyrics are the real gem; from the chorus about a 'mist in your eyes from the smoke of a distant fire' to talk of dreamboats, bittersweet whine and 'rain on the fire of my soul' it's a great master class in song-writing.  Sanford and Townsend first met as band members in a Southern Psychedelic rock act during the 60s, which ironically mirrors how England Dan and John Ford Colley also first got met; their late 70s yacht rock duo contemporaries.

Fleetwood Mac (1974) Come a Little Bit Closer

From their last album before their famous Buckingham Nicks era comes this Christine Mcvie song which echoes her all important hits once Buckingham Nicks joined and long serving front man bob welsh left to pursue his own very successful solo career. It has the same melodic feel of Everywhere and Don't Stop but with a pedal steel adding a country vibe to gentle pop tune. This is one of many middle era Mac gems many belonging to Christine and Bob Welch; the two most underrated members in Mac history.

Robert John (1979) Takin My Love For Granted

 Robert John had a hit in the 50s as a child star under a different name as Bobby Pedrick Jr, his real name. The song 'White Bucks and Saddle Shoes' was a hit as a 12 year old, a singer with a strong falsetto and child prodigy; his biggest hit however was in 1979, with Sad Eyes. This song is from the same self titled album, older and with a bona fide, self penned soft rock hit. Takin My Love For Granted is probably the other good song from the unremarkable album where on some cuts he sounds exactly like Barry Gibb however the immaculate keyboards and exquisite melody make it nice gem.

Styx (1978) It's OK

 From the theatrical, prog rockers of the late 70s/80s who were considered an acquired taste and arguably part of the corporate rock of image of the late 70s groups such as Journey and Foreigner. It's OK has a message of being yourself and is an individualistic message complete with the bands extended proggy musical passages and proves they weren't that corporate in terms of creative output. With reggae sounding rhythm guitars and as always Dennis DeYoungs' confident operatic soprano. Starting with a shouted out count in, this song is one of many that display Styx's desire to embrace many vibes and styles such as the poppy use of a Oberheimer synthesizer by DeYoung along with a church organ section. All wrapped in the band's usual arena rock assault, corporate or not the music was always indefinable and artistic and every track a musical tour de-force.

Dave Mason (1977) What Do We Got Here?

 From his enormously successful 77 solo album Let It Flow, an album best remembered for his best selling single, We Just Disagree, What Do We Got Here? is penned by the same author, his guitarist Jim Krueger. An unromantic affair is described by  Mason, his acoustic strumming and matter of fact delivery is supported by flute and sax in typical Yacht rock style. The chorus features sweeping disco strings and triumphant electric guitar as he declares proudly how 'I think they call it love!' Another underrated Mason song that remains  ambiguous about romance; another of his gems from that great decade of music of which he was key artist.

Bee Gees (1974) I Can't Let You Go

 Today's our 70s gem is from the Gibb Brother's criminally underrated, Mr Natural album, the first one to delve into RnB, soul and Funk music. Full of gems, the first of many to address in later posts this is the burning,rocking ballad that already has melodic shades of alter ballads such as More than a Woman but with far more ferocity than their later slick, disco phase; this is in my opinion them at their most primal and their creative peak. Playing better than ever before with a new line-up and a new sound I Can't Let You Go is a storming elegy to not being able to let go it displayed brother Barry shift to front man and remarkable writer of lyrics and a vocal delivery far more convincing than his trademark strained falsetto of the late 70s.

Kansas (1975) All The World

 From their third album, the American Prog act Kansas were in search of a hit single to placate their patron and label head, Don Kirshner. That is probably why this and it's predecessor Song for America, showcase shorter songs with more overtly heavy rock and pop moments then their debut or their longer suites.All The World is probably the best with it's 'We Are The World' message conveyed with a great joyous vocals by Steve Walsh before giving way to a much heavies guitar rock section. The song is Kansas at their most accessible with minimal Violin accompaniment from Robby Steinhardt who also shares lead vocals duties on this song; should have been thier breakthrough but possibly it's too long at 7 minutes, however Carry on My Wayward Son was now just around the corner and Kirshner would have the hit single he desired.

The Hues Corporation (1973) Freedom for the Stallion

 This early song by the Hues Corporation sounds like a Carpenters easy listening hit, this was in 1973 before their major proto-disco hit Rock the Boat hit in 1974. The follow up to Rock the Boat was Rockin Soul,  which is pretty much the same song with different lyrics. The gospel mixed with traditional easy listening trumpets and flutes is a nice different sounding soul ballad.  With a Jackson Five sound that also makes it  an appealing song from a group that are definitely a one hit wonder, then again what a hit that was..

Atlanta Rhythm Section (1975) All Night Rain

A quiet storm number from ARS, a Southern Rock band that took over from bands like the Allmans and Lynrd Skynrd in the second half of the 70s. Their form of gritty blues was often filtered with a smooth soft rock vibe as is displayed in much of their work particularly this number. All Night Rain was their smoothest number with a loose jazzy arrangement of acoustic guitars and their fluid slide guitars and keyboards. It's an ode to bad weather, as singer Rodney Justo croons in a Adult Contemporary style about how all night rain is made 'for all night love'.

Eddie Hazel (1977) California Dreamin

Eddie Hazel, lead guitar on the famous Parliament Funkadelic masterpiece, Maggot Brain had his own solo album in 1977. The modestly titled Games, Dames and Guitar Thangs is full of great guitar work in his inimitable funky, chicken scratch guitar style. Backed by his fellow band members from Funkadelic the results are incredible, his rendition of the Mamas and Papas tune features some of his most clean guitar runs with great restrained vocals from him and the Brides of Funkenstein. A ghostly
piano figure builds considerable drama and tension in the music throughout is the real genius of a forgotten guitar hero on an album no longer available.

Black Sabbath (1976) It's Alright

 From their often forgotten 70s album, Technical Ecstasy (always loved that name, it reminds me of Physical Graffiti) it featured the first non Ozzy vocals with Bill Ward taking up lead vocals and nailing them in this deep, heartfelt piano ballad. A strong departure from their usual repertoire and  echoing the earlier odd departures such as  1972's Changes, another piano ballad and the acoustic and keyboard contributions to recent albums. It features a dazling guitar solo from Iommi picking up the beat in the mid section but this is a storming show-piece for Ward and the band's more delicate ballad side. The lyrics no doubt reflected the band's lacklustre slump in the mid 70s, uninspired and disillusioned as put brilliantly in lines such as 'they are always seeking but they'll never find it' and 'Give it all and ask for no return and very soon you'll see and you'll begin to learn, that it's alright'.

Jackson 5 (1971) Honey Chile

 Off their 1971 album Maybe Tomorrow, The Jacksons covered this song, originally performed by Motown label mates Martha and the Vandellas. The song is bright pop song opening with a farmyard feel complete with a cockerel crowing and country and western harmonica before some bombastic drums lead the song into it's orchestra lined groove. This with most Jackson 5 songs are showcases for the powerful vocals of a young Michael Jackson that belied his years. Still incredible that he was only 12 when delivering this stinging soul material about infidelity.

Whitesnake (1978) Ain't no Love in the Heart of the City‏

David Coverdale had been pricked from obscurity for the lead vocalist role in Deep Purple, so after that outfit crashed and burned after three more albums he had enough credibility as a rock performer to hit our on his own with his first album White Snake.  When he decided to use his backing band for his two solo albums a hard rock act in their own right to rival former band mate Richie Blackmore's Rainbow. On their Snakebite EP that started off their long career in the rock business the future glam metal act would create an soulful, hard rocking cover f the Bobby Blue Bland's masterpiece. The laid-back groove of the guitars combined with Coverdale's best vocals, a soulful delivery that doesn't simply imitate black soul singers but sounds more natural and restrained. His voice has never sounded more clear and aching with genuine blues.

Bob Welch (1977) Sentimental Lady

 Welch had been a guitarist in the pre- Buckingham Nicks incarnation of Fleetwood Mac and had started another group called Paris after his stint with Mac. It was while starting his solo career with his 77 album Paris, originally meant to be material for a third album with his titular band, that he decided to revive this song he wrote originally for Fleetwood Mac. The song works well here in a Dave Mason sounding ballad form that fit the late 70s soft rock that was big at the time. Above the guitar work of the song is the excellent crossing vocal lines particular the repeating lyric 'And all of the things that I said that I wanted, Come rushing by in my head when I'm with you, 14 joys and a will to be merry..' Backed by members of Fleetwood Mac, particularly Christine McVie, this version of the song sounds right at home as opposed to the less intense 72 Mac version and showed that Mac may have had some exceptional, song-writing talent already in the band before Buckingham Nicks turned up.

Badfinger (1971) I'd Die Babe

 From their best album, 1971's Straight Up, it's another lost album of 70's gems from the group once tipped to follow on form The Beatles. Signed to the Beatles record company, Apple, produced by George Harrison and with Paul McCartney writing their first hit, Come and Get It, they had a lot to live up to. And though some of their songs sound like the Beatles mainly due to the vocals, the Welsh outfit had their own style best represented on this album. It is called Power Pop and along with The Who and Big Star were one of the earliest examples and arguably the best mixing heavy guitar riffs and solos with pop harmonies and light melodies.

 Their song I'd Die Babe is good example of the mix of light and dark in power pop such as the glistening acoustic guitars, mixed with the heavy guitar licks and hard rock changes of pace. The lyrics are directly about dying for lost love, sung earnestly form lead vocalist Pete Ham who would tragically take his own life four years after this album.

The Bee Gees (1973) Method to my Madness

The closing track to their country tinged 1973 album, Life in a Tin Can, famously a commercial failure that forced the brothers to reinvigorate their careers with a switch from melodramatic piano ballads, to guitar driven funk. But before they reignited with a new RnB identity they were trying out a country and western feel complete with acoustic guitars and harmonicas. The album has its moments on songs such as Living in Chicago and While I Play, though neither were the single release; the most complete composition was the closing track  Method to my Madness. Starting of with maudlin electric piano and occasionally triple tracked vocals, it is dominated by superb delivery from Robin Gibb though Barry Gibb also comes in at the bridge. Song that displays the brother's tremendously powerful execution that could also be chamelionic from country to disco there weren't many genres they couldn't do convincingly. This song does justice to the dramatic ballads they could excel at later on such songs as I Can't Let you Go.