Chi Lites (1975) I'm Not a Gambler

 From the Chicago vocal group's eight album,  Half a Love, this track features exquisite production from the choral vocals to the fuzz guitars and the plucked mandolin. Like many Chi Lites songs, it's their extraordinary backing vocals that seemingly capture our attention, but Eugene Record's passionate falsetto is beautiful in this heartbreak song. But the mix of low electric guitars and the acoustic plucking high and clear is incredible.

Hall and Oates (1974) Can't Stop the Music

 Off of their third album, the progressive rock and concept album, War Babies, Can't Stop the Music is one of many underrated songs by 70s Hall and Oates when their music was more soulful and eclectic. This was their first album to feature synthesizers so prominently in their music, being 1974 this was seen as cutting edge. Produced by Todd Rundgren and with some other excellent songs such as Hall's Better Watch Your Back, this albums should have been more popular but ended up finishing their time at Atlantic records.
 It is Oates tune about an ageing pop star that is the best written song, Oates's soulful voice and song writing more present in their 70's work than during their 80's super-stardom when he took a an effective back seat. Featuring an Miami Vice sounding synth and a Latin coda it is a exuberant pop gem from the duo's most underrated work.

Blue Magic (1975) Just Don't Want To Be Lonely

 Today's lost 70s classic is from the Philadelphia group's third studio album, the almost concept album of 13 Blue Magic Lane, an album built on haunting ballads centering on loneliness and heartbreak. Blue Magic, are an underrated Philly vocal group, specializing in melancholic ballads, this 7 minute track is possibly their greatest moment. While the song is more famous as a cut down, more upbeat single by The Main Ingredient, it originated with Blue Magic in 1975 and features the heart aching vocals by Wendell Sawyer. practically sing the same two lines for the majority of the song to a excellent slow burning effect. The repeated lines of "I'd rather be loved, needed, depended on to give a love I can't give, when you're gone"carry different menaing in the different ways he sings it while the colourful Philly arrangement of stings, vibraphones, electric sitar etc. also swell dramatically underneath the luscious vocals as with most Philly Soul.

Spooky Tooth (1969) That Was Only Yesterday

 Spooky Two (1969) is considered the best studio effort by heavy Blues group, Spooky Tooth but it's their country inflected rocker that  I am drawing attention to today. Written by Gary 'Dreamweaver' Wright, who would later have a extremely successful solo career, it features some great guitar and piano work as the song drones on like a 'late night train'; it also captures Mike Harrison at his most pop vocals.

Looking Glass (1972) Golden Rainbow

 The New Jersey band, Looking Glass, are of course famous for the no 1 hit 'Brandy', but it is this bright, country tune on the same debut album that I have chosen. Written by lead singer/guitarist Eliott Lurie, this may not boast any horns or the Rn B feel of their signature song but has it's own pop feel; which is why it was released as their debut single, only to be overshadowed by Brandy.

Thunderclap Newman (1970) The Reason

 The one hit wonder group Thunderclap Newman, who were created and produced by Pete Townsend, had one of 1969's biggest hits with the revolution anthem 'Something in the Air' but only recorded one album; 1970's Hollywood Dream.  The Reason wasn't it's single but captures some of the feel of their previous hit with acoustic guitars, Speedy Keen's high vocals, Dixieland piano from their namesake Pianist, Andy Newman and an excellent 60's rock n roll guitar solo from future Wings guitarist Jimmy McCulloch.

Eggs Over Easy (1972) Face Down in the Meadow

 Eggs over East were a American country rock band that toured Britain in the early 70s in a pub circuit pioneering the pub rock scene of the  mid 70s with this unique approach and their roots rock and roll. From their debut album, Good N Cheap, produced by Link Wray in New York. Face Down in the Meadow features an Eagles Poco type sound with darker lyrics, this a poignant and hypnotic tale of a friend's suicide. Home to You and Pistol on the Shelf are two other great songs they wrote, their rootsy, straightforward rock and roll would feature the kind of sound other Pub rockers would aim for. Though it's not the pub rockers such as Night Flight or Bar in my Car, that are the best songs but the more Southern California Soft Rock ballads, ironic for what they would be remembered for in history.

Richie Furay (1978) This Magic Moment

 Another cover this is Richie Furay's take on the classic Drifters' song, it is off his 1978 solo album, Dance a Little Light. This is probably still the highlight though their are some fine songs on the album in a commercial soft rock feel such as the epic closer, Stand Your Guard.  This more AM pop version of the song is also layered with Sherman Brothers' strings adding a little Disney magic to it, however it's the striking keyboard notes during the 'sweeter than wine..' bridge section and the almost ghostly Doo-wop vocals that give this it's own flavour. The element that makes this such as good cover is Furay's impassioned tenor with it's soft rock sensibilities making this cover stand out, almost as good as the original.

Michael Omartian (1974) The Rest Is Up To You

 Michael Omartian of CCM fame and the producer of Christopher Cross's Early 80's hits and of Alan O Day's 1977 no 1 hit 'Undercover Angel' released a 1974 solo album built around his keyboard skills. It boats great compositions and proves he was capable of being an artist in his own right, including funky horns and disco beats, it is the song 'The Rest Is Up To You' that is still the best with it's Calypso flavoured boogie and Omartian's Steely Dan- esque vocals it's great find.

Shipley and Brewer (1972) 'Don't Want to Die in Georgia'

  Shipley and Brewer will always be remembered for 'One Toke over the Line' a comic, folk song with a psychedelic feel to it. But they have another song worthy of recognition, 'Don't Want to Die in Georgia', is another song with great overlapping vocals, of which the duo specialize in, but this time for a more dramatic effect as the pair make clear their lack of fondness for ending up in the titular state. The ending, reminiscent of the ending of One Toke, is an excellent moment as they play off each other vocally singing two contrasting lines. It's so short you have to take a moment and give it a listen to this outlaw song.

Mick Ronson (1974) Growing up and I'm Fine

 Bowie collaborator and lead guitarist, Mick Ronson was a big part of Bowie's successful Glam Rock phase contributing innovative guitar licks and production. So in 1974 he released his own solo album called Slaughter on 10th Avenue; it featured some Bowie-esque tunes particularly this collaboration. Growing and Up and I'm Fine features an wet piano drenched in re verb and a stomping, brash chorus that is insanely catchy and full of bravado. A hidden Glam rock gem that certainly rocks and a testament to Ronson's own song writing and individual talents the album is worth a listen.

David Matthews (1977) Space Oddity

 David Matthews, not the one you're thinking of, released a jazz fusion album called Dune; an album full of disco renditions of Sci-Fi soundtracks such as Silent Running and Star Wars themes before Meeco would do the same thing. It also featured interesting jazzy instrumentals that would be sampled decades later but it is the spellbinding cover of David Bowie's 1969 classic with its ethereal female soprano voices that is the real gem of this album. The album boats strong saxophone and guitar work to augment to space compositions was unfortunately not as successful as other disco albums of it's time.

Bloodstone (1975) 'Wasted Time'

 Check out this deep cut from Bloodstone's seeming concept album Riddle of the Sphinx, a concept album due to the linked philosophical thoughts between the tracks. If you like guitar rock, funk and soulful vocals there are many Bloodstone songs that you'll wanna hear. Wasted time, while you're at it check out the underrated Eagles ballad of the same name, mixes a catchy guitar rhythm and gospel vocals but it's just the tip of the iceberg, I would suggest listening to their first two albums if this takes your fancy.

Paul Davis (1969) Mississippi River

 Paul Davis had some big AM soft rock hits in the second half of the 70's and early 80's such as I Go Crazy and Cool Night and many more. But here on his 1969 Bang Records' debut he had another deserved hit. Mixing a reggae sounding organ with an acoustic guitar motif it starts strongly and like a lot of his early work has a soulful feel; he covers a Bert Berns tune on this album too. While the song has a strong country western feel, the building vocals in the bridge and the rousing chorus that declares "But the Mississippi River's just get's wider everyday!" has an almost Motown presence to it. The epic scale of this song with it's gospel backing singers means it surely should have been remembered as well as his later work.

The Byrds (1970) Truck Stop Girl

 On their 1970 Untitled album, when several untitled albums began cropping up, the Byrds covered the Little Feat song Truck Stop Girl giving it a stronger country edge. The dominance of the bass and piano capture it's laid back feel, though Clarence White guitar styling are also effective it is actually his lead vocals that make this track. A distinctive vocal he delivers which aches and yearns in a intentionally strained style, he is probably one of country rock's most underrated vocalists; often remembered for his contributions to country guitar playing such as his flatpicking style and the invention of the B string Bender. White's observer recounts the dark parable of a young man who falls in love with a truck stop girl only for it to end in tragedy on the merciless highway.

Ian Matthews (1971) 'Hearts'

 Hearts is buried on side one of Ian Matthews 1971 solo album If You Saw Thro' My Eyes, but it is a real gem of a tune. It subtly draws in the listener with its open, bitter-sweet delivery. This was from his second album after leaving the folk rock group, Fairport Convention, I came across this album from a rare interview at the time of Robert Plant and Jimmy Page were praising it.

Fools Gold (1976) 'Choices' and 'One by One'

I've chosen two songs for this first post, both deep cuts on Fool's Gold's debut 1976 album; a country rock group who began as Dan Fogelberg's backup band in 1974. This Illinois group also famously included Tom Kelly who would write a string of hits in the 80s with Billy Steinberg including Madonnas' 'Like a Virgin' and The Bangles' 'Eternal Flame'. These two songs feature a nice breezy, pop feel with great lyrics and melodies far from the more Yacht Rock feel of the bulk of their work. Choices in particular features great lyrics like 'Accept or deny your own existence, because there's no livin in between' while One by One has a great wistful melody; It's a shame they only made two albums.

Choices - Fool's Gold

One by One - Fools Gold