Colin Blunstone (1978) Photograph

A melodic Yacht Rock song from the former Zombies front man who continued to have a moderately successful solo career, this sweeping song doesn't complement his hushed tone but has a nice arrangement with a mellow synthesizer line.

Rolling Stones (1976) Fool to Cry

From their Black n Blue (1976) album, an unremarkable collections of songs displaying a lot of terse funk and reggae influenced jams; a mid point as they auditioned guitarists to replace Mick Taylor. The album was built around two touching keyboard ballads; Memory Motel and this touching tribute to Mick Jagger's daughter.
Beginning with a strong swell of Nicky Hopkins's String Synthesizer, before a mix of electric piano and organ provide a melancholic wash over this dreary tale. Jagger's uses a deep bluesmen's voice for the song as he spits out the story more in speech then singing. This leads to a nice transition to the angelic chorus of 'ooh daddy you're a fool to cry' The dialogue of the song gives it a nice feel, re imagining an important event possibly Jagger is the child..probably not but it's nice to interpret things like this.
Once again wrapped in a hazy, foggy vibe that defined their 70s output it lacks an assured guitar part from someone like Brian Jones or Mick Taylor who would take the song to an unlikely dimension. Thankfully though the band do just that as they pick up the pace for the outro as the song swings and churns into a swing punctuated by slide guitar licks and Hopkins' pervading String Synth sailing along; a roller coaster of moods composed expertly.
I'll admit when I first heard this song a few years ago it didn't strike me like Memory Motels' hesitant opening notes, I found it too bland but now I appreciate the unique 'quiet storm' atmosphere more due to the tasteful change of gears at the end similar to Zeppelin' Rain Song four years prior; specifically the floating string synth part by Nicky Hopkins. I also love the refreshingly raw subject that is all about parenthood over say the standard romance/heartbroken dilemma of 90% of lyrics.


A subtle slice of haunting easy listening that is in keeping with the wounded theme of the albums' other ballad and the title but you can't help feeling the tacky attempt at funk Hot Stuff, the cover of Cherry Oh Baby as well the other heavy songs don't feel as if they belong with the same time frame let alone album. They're not as memorable or as fitting to the mood and maybe should have been let off for the harder edged Some Girls album.

White Water (1973) (Caught Up In) White Water

This RCA act came from a similarly named 60's group in Providence RI called the Blue Jays with a funky horn sound not representative of the band name.  Their first album with an odd cover picture of an impaled nymph is a decent funk rock effort if a little bland and derivative lacking in any unique personality. The self titled track is a piano led love lost track with a nice seaside mix of plodding piano and surging trumpets in a rocked out soul number. 'Caught up in white water babe, Can't get back and can't get through' are the lyrics and I'm reminded of Stax production mixing with the Allman Brothers.

Feather (1970) Friends

A group from LA featuring John Townshend(of Sanford Townshend Band), this minor hit mixes a pastoral harmonies of sunshine pop with a sturdy RnB ryhthm section. While its a bit of a mess of trading vocals and group vocals you can clearly detect Townshend's masculine blues voice singin the refrain 'to talk it over'.

Kansas (1975) It's You

This track is representative of Steve Walsh contribution of rock to Kansas as well as the slightly more pop based material of the Masque album drifting away from the heavy prog of the Song for America album and the unique midwest boogie of their 1974.
This short but sweet rocker is drenched in Robby Steinhardts' violin and the chugging rhythm section of Dave Hope and Phil Ehart in this pretty straightforward track that sounds tailored for AM radio airplay as opposed to their usual repertoire.

Joe Walsh (1975) Help Me Thru the Night

A sign of things to come this devastatingly mellow track is Joe Walsh' audition for the Eagles. With Henley Frey et al on backing harmonies while Joe handles the acoustic guitars, solo and the startlingly restrained vocal performance that conveys this tragic loss of his daughter. This song proved he was capable of providing some developed singer songwriter balladry similar to the Eagles best known songs.

Poco (1974) Bitter Blue

From one of their best written albums, the Contamos album,  this Tim Schmidt gem has nice down trodden verses launching into a chorus powered by strong backing vocals. There is a nice bridge in this ode to a bittersweet romance that Poco did well balancing their country pop sound with a soulful intensity.

Chi Lites (1976) Happy Being Lonely

 We mentioned this in the Eugene Record post (http://lost70sgems.blogspot.co.uk/2016/06/eugene-record-1978-trying-to-get-to-you.html) earlier this month it's the last great Chi Lites single. The title track, produced after Record's departure in 1975 and lacking his caressing falsetto this track is structured round some nice melodies. From the slow draining delivery of the verses to increasing sweetness of the vocals into the bright chorus.  It also centres on a refreshingly different subject then the typical heartbreak and resulting desolate feeling of most Philly Soul.

 Instead the lyrics reflect on the singers bemusement at how comfortable he is after the breakup as the hook articulates beautifully; "I was happy being Lonely, don't know how? I was happy being Lonely..until now" All the Philly hallmarks of soothing strings mixed with jangly psychedelic guitars are present here as the world turned to disco sounds.

Bobby Womack (1975) Superstar‏

A twinkling inspirational message that is about Bobby as it is to young dreamers. It has that magical Philly slow jam sound with the interesting use of pedal steel and his signature harp to create a dreamy twilight feel. Best is the violin or viola that is prominent at 1.40 (turns out after having a look at the credits it's a horn). But all that doesn't matter when you have Bobby's passionate vocals full of sincerity and charisma at the centre. 

The Faragher Brothers (1977) You Know That

The Faraghers were a group of fraternal singers who became session musicians whilst making a couple good blue eyed soul records. They also play instruments like the Osmonds and are the ones playing on the Brady Bunch theme tune though their vocals were replaced. The closing track from their second album Family Ties (1977) this acapella track showcases their gospel harmonies and contains more raw soul then the polished yacht rock they were making. Their doo wop techniques and the twangy lead vocals are all captured live in a beautifully smooth yet raw performance.

Bad Company (1976) Silver Blue and Gold

 Admittedly not a big fan of Bad Company, seemingly mentored by Led Zeppelin on their Swan Song label though lacking that groups' dynamic arrangements, diverse track listings and abilities in non blues material. There are great lyrics in this pop song such as 'My Rainbow is overdue','Don't forsake me cause I love you' and the funky chorus of 'Give me Silver. Blue and Gold. The colour of the Sky I'm told.'

 It's got great melodies and has more personality than their hard rock could muster. It shows Paul Rodgers sensitive song craft and his talented subtle delivery which took a backseat in Bad Company's attempt at generic blues rock lacking their former bands more soulful qualities

Rolling Stones (1973) Can You Hear The Music

An odd one in the Stones catalogue, it starts with some typical Latin combo of percussion and piercing flute  that was clearly the influence of Mick Taylor, whose  fascination with music of Latin America due to his Jazz background is well documented. And while this is great as the Stones embraced the eclecticism in an attempt to copy Zeppelin, eclecticism came naturally to Zep. The native  beat is soon transplanted for typical 70s Stones Electric piano ballad feel blending the soft soulful vocals by Jagger with the double tracked guitar figure. 

The strong trippy filter of distortion and Jagger's droning vocals all end up masking the original Latin flavour. Its a messy mix with occasional traces of the highly atmospheric flute wasted as it is deeply submerged under the Stone's typical muddy rhythm/upbeat swagger. If the flutes cut through the heavy arrangement it would've been more unique but unfortunately the Stones were out of their depth in merging their rock sound with other cultures; unlike the Mighty Zep, but they sure knew how to pull off that 'smooth yet also rough' dichotomy and how to create a hypnotic groove better than anyone.

Eugene Record (1978) Trying to Get To You

 Eugene Record was practically the Chi Lites in much the same way Marc Bolan was T Rex. Though Red, Squirrel and Marshall helped create their signature layered, harmonies, it was Record's sweet falsetto and yearning soul songs that powered them to success along with their choral abilities (you get the feeling these guys were better suited to being a straightforward doo wop group).

 However when Record left in 1976 you knew his album would be more important to Chi Lites fans then the Record less offering in 1976; Happy Being Lonely (actually has a few good songs and definitely named after its best track).

 Record's second album produced this great song that rivals anything off the last two Chi Lites albums which didn't possess Records' knack for crafting vivid soul songs full of intense passion and thick, sweet Philly arrangements with some underlying Chicago grit.

Mott the Hoople (1971) It Must Be Love

From the acoustic flavoured Wildlife album this was just before Bowie's All the Young Dudes launched them into Glam Rock fame.  Though the album is heavy influenced by English folk this Mick Ralph's led tune is distinctly American Country with its rootsy shuffle, wirring pedal steel licks and Ralph's restrained delivery.. Mott manage to make the American country flavour sound natural by marrying it with a more authentic Beatlesque pop melody.

Rolling Stones (1976) Memory Motel

 The most striking track from this filler filled mess of funk, reggae and delicate balladry. The song stands out from the start with a touching piano progression that sounds like the theme tune to a primetime soap opera like Days of our Lives. The doubling of a fender Rhodes and a synthesiser makes for a subtly affecting motif that recalls crashing waves and an ocean breeze that is a nice bed for Jaggers' signature style of meandering storytelling. Here he seemingly describes getting over an ex whilst in a drugged out haze of touring and traveling and carries a ghostly chorus that explicitly states this, it also sounds enough like the album's other haunting ballad Fool to Cry.

The best part undoubtedly is when the song picks up briefly with Keith coming in on lead vocals repeating the immortal words of "She gotta mind of her own and she use it well;  she's a one of kind". The song along Hand of Fate are the only rewarding tracks from the transitional Black and Blue album.

Led Zeppelin (1973) Dancing Days

A gem from the eclectic Houses of the Holy (1973), the song is indicative of the album's bright upbeat feel and world music sophistication. They matured a lot on this record with the catchy riffs replaced with more indelible progressions and a more symphonic layered approach similar to Yes, one of their biggest rivals. 

 Dancing Days manages to feature a strong Indian style riff without dated 60s references to it being Raga but closer to the Tambura a more authentic instrument. Zeppelin typically incorporate it into their own style seamlessly with Plant's laid back strutting vocals fluctuating with Page slide licks to emphasise this pop rock quality. Is it power pop, Indian Reggae or just simple example of a mid 70s Zeppelin groover along the lines of mid tempo rockers like Sick Again, The Rover, Dyer Maker and Houses of the Holy.

Kiss (1975) Comin Home

Another Kiss gem they had some melodic cuts like Mainline and this cut on their otherwise sub par Hotter Than Hell album. A follow up to their sublime 1974 debut though lacking in memorable riffs or songs this pop tune is a Paul Stanley strutter but also has some of the upbeat anthemic feel of their biggest crowd pleasers that were to come in 75 and 76. It worked well as an acoustic version they used to open their Unplugged reunion in the 90's, the clear acoustics a vast improvement on the murkiness of the original Kerner and Wise mix which were often compressed the dynamic range of the Pre Alive era Kiss recordings.

Starland Vocal Band (1976) Starting All Over Again

The Afternoon Delight hit makers may have been a one hit wonder group by all accounts but that just makes them ripe for a few posts of their lesser known songs. Their big vocal arrangements built around two female singers supported by the songwriting and vocals of their partners along with their late 70s timing means you could call them an American ABBA. A folky singer songwriter ABBA to be precise and this piano driven pop song is uplifting and irresistibly catchy. It should have been bigger than AD with extraordinary lead vocals by Margot Chapman who sings some scat and operatic notes in the infectious tag.

Sweet (1977) Stairway to the Stars

An underrated tune, like all these posts, this one captures the heavy glam pop that Sweet revelled in with their stratospheric harmonies capable of touching the moon.  This one starts with a heavily stunted bop (ala T Rex) before the smooth lead in to the chorus where they sing to a cold lover how they'll never make it to heaven. The absurdly shrill vocals and its odd moralistic tone make this sound like a jacked up 10cc.

Either way the song features the acoustic break that became recurrent during this heavier mid 70s phase of their careers
They had broken from the bubblegum material of Chinn and Chapman now the thick guitars and considerable bombast made them sound like a Queen meets Black Sabbath.

But at the end of the day you knew from their trademark falsettos who you were listening to no matter what they are playing, a remarkable feature of many 70s groups; Ah what an incredibly creative 10 years we had there, what a trip it must have been..