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.