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.