Friday 29 December 2017

Bobby Whitlock (1976) Brand New Song - LOST 70s GEMS

My last post of 2017 will be a return to how I started this year; with a Bobby Whitlock post.. so here it is.

From his rollicking 1976 Rock Your Sox Off album though not as good as his 1972 work Raw Velvet which was packed with weight acoustic soul tunes this is more focused around his soul croon and punchy, Latin organ based production. His whiskey voice reminds me of a southern Peter Criss which isn't a bad thing when paired with Zapata horns like on Sweet Mother's Fun.

Brand New Song is a frenetic upbeat rock n roller with a dynamite chorus, aerial organ sustains and bright acoustic guitar rhythms. It dosen't linger awkwardly like a lot of the tracks but stays tight and Whitlock doesn't ham it up too much til the guttural groan mid way through but we will pretend that didn't happen.
While the twangy steel guitar solo against a backdrop of cascading electric pianos in Its Been a Long Long Time is fantastic Brand New Song is just that; fresh. See you next year when I'll be fresher too.


Thursday 28 December 2017

Boz Scaggs (1977) Then She Walked Away - LOST 70s GEMS

A solid pop song from Boz who may not have the most popular voice but had one of the funkiest sounds with his smooth disco backing always a pleasure alongside other blue eyed disco bands like Bee Gees, Wild Cherry, Steely Dan and Player.


Monday 18 December 2017

Aerosmith (1976) Sick as A Dog - LOST 70s GEMS

Starting with a killer phased echoplex guitar part full of ringing acoustic picking like bells before the main jam rocks up. The melody is backed by some smooth 'Pleeeeeeeaaaaase' backing vocals while the chorus refrain is nearly comical with lines like 'Sick as a Dog, Cat got your Tongue, Sick as a Dog, Cause you really ain't that young'. The rollicking bass work thrumming along with the party rock anthem vocals and general raucous rhythm creates a strong, clear rock sound I love. The quiet Hi-Hat laden bridge is monumental, the rhythm section doesn't get enough credit with the classic 50s shuffle beat heightened by the use of handclaps towards the end.


Nite City (1978) The Dreamer - LOST 70s GEMS

From Ray Manzarek's band's second album. Golden Days Diamond Nights, (their final album) the track The Dreamer is a clavinet driven funker with a sweet serene bridge about how "you served me breakfast in bed..yo got me going out of my head" and a chorus about "We got time we're gonna make it, I think we're gonna make it!" and even some la,la,la backing vocals to add campy fun. While ray Manzarek provides the campy vocal, the bridge vocalist's voice is far better, its also nice the central clavinet boogie at the centre of the song heard isolated at 4:20 seconds and the lilting country-esque disco guitar licks; all very 70s sounding.


Sunday 17 December 2017

Rush (1974) What You're Doing - LOST 70s GEMS

This rampaging rock number, dominated with a Aerosmith sounding guitar with its rolling, trebly bass lead guitar riff . Of course, the album with it's complete ripoff of the Led Zeppelin sound and even look right down to the double neck guitar and dark and blonde haired frontmen wasn't fresh, but their was some very melodic arena rock. I also particularly love the original drummer John Rutsey's bombastic fills full of rollicking energy and devoid of any jazz sophistication or retro rock n roll; just pure thunder.

'Don't know what you're feeling but your feeling wrong' cries Geddy Lee in what is a fine Plant esque echoed banshee wail. Though later Rush would add a prog mystique this is still arena rock lacking a deeper quality..aw shucks its still sounds Olympic sized, I'll give it that, unfortunately it has the same power chord crushing style of Led Zeppelin I five years prior, the sound that Kiss were also mining for their similar sounding debut from the same year.




Main Ingredient (1970) Spinning Around (I Must Be Falling In Love) - LOST 70s GEMS

The title track of their 1970 album Spinning Around is a wonderful joyous concoction of strings, smoky horns, guitars and percussion all crashing in with the band's soothing harmonies and arrangements.


Wednesday 13 December 2017

David Gilmour (1978) No Way Out Of Here - LOST 70s GEMS

Vastly superior to the band Unicorn's original which had a rootsy feel, Gilmour instead focuses on the atmosphere of and strips it to its grungy melody with his liquid guitar lines and an organ providing a more weighty backdrop. The best is the wailing harmonica intro mimicking the back and froth/up and down melody that is significantly more emphasised here with Gilmour's downbeat vocal drawl.

The combo of Gilmour's power chords and deliberately restrained rock toughness would make this a grunge sound.


Friday 8 December 2017

Nite City (1977) Bitter Sky Blue - LOST 70s GEMS

 A jazzier arena rock sound than the Doors, not surprisingly its all a little too mellow with little keyboards support from Manzarek. But ultimately driven just as much by lead singer Noah James who would depart before their second album, which is a shame as his melodic vocals are engaging and central to the AOR material. This is a solid package of rock songs but they lack any discernible character or personality to make them edgy enough for critics, though song for song they are far more consistently than say Journey who struggled to keep the deep cuts as catchy as their hits. Also the warped organ on Love Will Make You Mellow sounding like its emerging in and out of water is cool sounding along with more laser blaster synth work would have made this album a little more interesting.

Bitter Sky Blue with its winsome melody of an ELO mix of RnB rhytmm of buoyant piano, frosty synths and heavily treated pop guitar. But the aerial synths of Summer Eyes and the heavy blues of Caught in a Panic are worthy of a listen too.


Wednesday 6 December 2017

Jeff Beck (1975) You Know What I Mean - LOST 70s GEMS

Diamond Dust has a pleasant string arrangement while Freeway Jam has multi-harmonised guitar part in the bridge, but my favourite is opener You Know What I Mean with it's cutthroat funky blues stings throughout. Jeff Beck ably creates a restrained funk sound with a lot of fresh jazz vamping to create a heavy yet melodic guitar track best exemplified by ..You Know What I Mean.


Tuesday 5 December 2017

Widowmaker (1976) Leave the Kids Alone - LOST 70s GEMS

 Widowmaker were a mid 70s supergroup fronted by Mott the Hoople's Ariel Bender (I.E. Luther Grosvenor) and Love Affair's Steve Ellis on chief wailing duties; the group is filled out by Hawkwind's lead guitarist, Lindisfarne's drummer.The band's sound comprises of Bad Company riffing and Early Rainbow folk rock but ultimately there's not nearly enough of their own personality to avoid faltering into the generic raunchy blues rock of the mid 70s bands before the explosion of New Wave, Heavy metal, Punk and Corporate rock of the late 70s that was just around the corner. There are a couple diverse moments such as the gospel backing vocals on Shine a Light on Me and the Graceful folk blues of Grosvenor's Pin A Rose On Me. There is highlights like the exuberant rocker of On The Road and the funky delight of Too Late [Live], one of three live tracks from a performance at the Paris Theatre in London included in pressings.

 Best is still the singalong/ clap along folk rock anthem, Leave the Kids Alone, with its' nice drawn out harmonies performed by Ariel and Ellis, but lets face it pairing that at first seemed very odd; a raucous blues guitarist and deep voiced, 60s soul singer seemed unbridgeable when you consider how restrained Ellis is in his demeanour compared to Bender. The mandolin solo is so filtered ad treated it sounds like an extraterrestrial telegram, but it works in what was the song that was singled out ironically as the biggest miss of the album in the Allmusic review.


Signed to Don Arden's Jet Records, Widowmaker's debut album charted in the US at #196 leading to tours with Nazareth and ELO before Ellis left, shame he was responsible for the most distinction in the group after Grosvenor.


Medicine Head (1974) I'm Your Man - LOST 70s GEMS

From their very pop single oriented album Two Man Band, full of funky RnB, this track sizzles with twangy slide guitars over a handclap beat and a chant of I'm your Man. John Fiddler's incredible voice is perfect as it creeps in with it's strong trebly quality, he exceeds in smooth and sexy rock tunes like this and even gets sensitive in the quiet castanets driven bridge. There is even a phone call sound effect and a wah wah sounding harmonica solo that is very country humbum and smooth for a mouth organ to sound.


Monday 4 December 2017

Neil Young (1977) Hey Babe - LOST 70s GEMS

A heartfelt laidback ballad, Hey Babe, carries that characteristic Neil Young folk, care free melody that characterised his Harvest/After the Goldrush early 70s country days. Neil's address of Hey Babe reminding me of Only Love Can Break Your Heart and his fine abilities for easygoing and effortless central melodies; a style of circular melodies like hippie's nursery rhyme.


Saturday 2 December 2017

Lindisfarne (1974) The Man Down There - LOST 70s GEMS

A rough and ready acoustic strum backed by occasional ringing, echoey electric guitar that reminds me of the Beatles' She Came in Through the Bathroom Window with it's power pop yet rootsy shanty vibe. Lyrically is quite powerful in its basis on wages, drugs and much more in this song packed with gutsy vocal delivery, and rockin guitars ending with drumming triplets, flamenco shredding and country licks.



Lindisfarne (1971) Together Forever - LOST 70s GEMS

A forlorn sounding, yet ultimately cheerful country strum, broken up by a harmonica and pedal steel. The carefree, adorable romance of the lyrics and the timeless folk melody is great particularly the way the singer proudly declares 'you and me sittin on a bench watching the day go by'


Lindisfarne (1978) Get Wise- LOST 70s GEMS

Celtic rockers Lindisfarne from Newcastle mixed supreme harmonies and acoustic guitars when Americans were dominating Folk rock. Some of their best material came at the end of 1978, the Back and Fourth major label release on Mercury with the result the successful single Run for Home. But Get Wise is a underrated release, starting with funky electric guitars and unbelievably alien sounding harmonica while the driving vocals are delivered with a slight Dylanesque drawled rebuke all to make an interesting package. The smooth country blues guitar fills work for me too!


Thursday 23 November 2017

Lowell George (1979) Twenty Million Things - LOST 70s GEMS

From the Lowell George solo album, Thank's I'll Eat It Here, Twenty Million Things is a Little Feat patented heartfelt ballad a worthy composition to commemorate the New Orleans rocker who defied labels. Starting with chiming acoustics and background chatter before Lowell's delicate whimper enters alongside some sweet Payne piano playing. It gravitates to a beautiful sentiment about having Twenty Million Things to do, while still thinking about an ex love. Symbolically the track ends with some more chatter before the fade keeping Lowell and Little Feats trademark dirty, gritty live sound in the mix.


Thursday 16 November 2017

Neil Young (1977) Will to Love - LOST 70s GEMS

A demo sounding record with its raw, unfiltered sound full of room ambience, we hear reggae organs and country folk picking with Neil's smooth underwater vocal delivery; so subdued and yet flows like a stream. There is some background chatter and frequent clicks and creeks to give a refreshingly live in sound, while Young waxes about how he could be 'a fire in the night', his mystical verses so lyrical there is a almost Peruvian folk melody to the trippy chorus to this very trippy song. But its that raw mix of in the moment guitar harmonics and occasional vibraphone 'boings' that contrasts with Neil's soothing voice; the progression particularly the repetitious call of 'got the will to love' seems to lull you in as Neil admits I seem 'ramble on and on and repeat myself'. A very hidden classic from American Stars n Bars (1977); my personal favourite Young album.


Diana Ross & Marvin Gaye (1973) Stop, Look, Listen (To Your Heart) - LOST 70s GEMS

 While this excellent collaboration between two of Motown's biggest solo singers is well produced its dominated by two Stylistics' covers, that not only outdo the originals but incorporate a Philly styled production showing where the musical tide was at the moment. While Motown still had strong artists like Stevie Wonder and the Commodores, the Philadelphia International Records boasted the top vocals groups of the day who dominated the soul charts in the early 70s. Its clear Berry Gordy wanted to capture a grand Philly sound in the just these two singles whilst the erst of the album has a more classic big band Motown sound
 It starts with a sweetly lyrical wah-wah guitar line and Gaye's inimitable wail before the thunderous piano progression enters; the whole package is decorated with coursing strings punctuated by twinkly vibraphones. The bright fluttering melody of piano, vibes are magical and far punchier than the sleepy smoothness of Philly Soul. Even the electric guitar and horns try to mimic the smoky bellow of the oboe; which featured in the Stylistics' recordings.

Both Ross and Gaye's vocals are caressing in a breathy manner while Gaye is earthy, Ross is incandescent and its this balance of strident choruses and deep solo spots that makes this album so endearing. But no matter what its the astonishing instrumental sound of this track, My Mistake and You are Everything which is what makes this such an important record. Its a perfect meeting point of the Detroit and Philly sounds bringing ghostly revered vocals, harpsichords, harmonicas, flighty strings, sweet wah-wah guitars, congas and vibraphones to create a colourful and unique brand of soul music. 
 The key link between these tracks are ghostly reverbed vocals, broken up piano beats, cascading string sections and a smooth wah wah guitar line; exquisite. I recommend you stop look and listen to My Mistake and You Are Everything from the same album for their gorgeous production.


Tuesday 14 November 2017

Head East (1974) Fly By Night Lady - LOST 70s GEMS

Full of frenetic acoustic strumming and punchy analogue keyboards with their sound of full bodied, delightfully homemade, throbbing electronics matching the theatrical, Geddy Lee soundalike and future Petra front man, John Schlitt.  This track is from their barnstorming, self produced and distributed debut album Flat as a Pancake, full of good time Prog boogie that would peak in the late 70s with Kansas, Ambrosia and Styx but unfortunately never quite lead them to superstars in their own right.

The funky Hendrix strum is also fantastic, though I will point out the title though reminds me of Rush's Fly by Night, this song predates that tune by a year. Though the two share a similar mix of fast paced drums and the identical tone and mannerisms of the lead singers.


Johnny Rivers (1977) Slow Dancin' (Swayin' to the Music) - LOST 70s GEMS

A comeback hit from a 60s pop star, this is a cool caressing, soft rocker full of Rivers cooing vocals and exquisite dynamics of funky rock and smooth soul. This type of velvety ballad wasn't a million miles away from the slow laidback love songs Jack Tempchin wrote for the Eagles and Glenn Frey's solo career but this RnB band structure is more engaging than the polished country rock artists he was associated with. River's swooning vocals are the key; Soul city indeed.


Moby's Grape (1971) Chinese Song - LOST 70s GEMS

Full of eastern sounds as a warped tape kicks us into a seemingly rote and monotonous little acoustic riff clearly played on a Shamisen before the imposing stomp of Eastern tinged strings and possibly a Tambura slide into the arrangement to great effect. The dirge is underlined by a funky back beat creating an instrumental dance track with a fresh modern sound. Its an easy mix of sweeping strings with a basic rock rhythm for an epic world music soundtrack. It has to be a precursor to the orchestrated, layered soundscapes of OK Computer or Fatboy Slim, it certainly has a 90s/2000s big beat remix sound to it.

Monday 13 November 2017

Shadowfax (1976) Song For My Brother - LOST 70s GEMS

A New Age and very heavy Jazzy, prog Rock band form the Windy City, Shadowfax's majestic covered album Watercourse Way is dripping in intricate and extremely tight arrangements. This beautiful but very hard hitting jazz fusion, the fusion in this case being with Prog rock. While Shape of You is a plaintive piano piece and the Turkish sounding folky title track are well structured and exquisitely played, the closer Song For My Brother is full of nifty moments from the stage setting chord progressions to the watery electric guitar, as clear a a clean water river like the one on the azure album cover. The guitar aches in a foreboding notes, the best is probably the crystal clear piano bridge that comes a few minutes in which is as delicate and immaculate a piano part I have ever heard and has a sprightly spirit to it as a returning moog drifts in playing the part of a horn before a string synth also joins it. The interplay between the neo-renaissance harpsichord and the lead guitar at the end is the cherry on top. Be warned it is a long mood piece and may not be everyone's cup of tea.


Ambrosia (1976) Harvey - LOST 70s GEMS

Ambrosia had shades of arena pop rock, such as those bands incorporated into the Corporate rock Label, like a more pop focused less violin version of Kansas. On their second album Somewhere I've Travelled, they ironically became less interesting but they did possess a cool, urban soft pop rock sound in the smooth RnB keyboards/lush harmonies combo that was their trademark. Whilst also boasting some long Bohemian Rhapsody-esque suites like Danse with George and Cowboy Star, which are steeped in dramatic shifts ranging from Chopin based interludes, calypso tempos, elephant sound effects, screeching strings sections, eery monologues, Bachian keyboard, cowboy ditties not to mention quirks like in hand claps, tin pot drum and purely acoustic or synthesizer driven passages. Some tracks here like Can't Let a Woman carry a pre Rush sound of anthemic synth rock full of symphonic grandeur best understated with giant string sections that were absent from their 74 debut.

 But the one that takes me is the short 1:29 acoustic, reverb soaked parable that sounds like a 2010s song, with its forced warbling and on the nose lyrics but it is still full of truisms I can relate. It is a companion to the 46 second And which is written by the drummer and is also far too short with it's own incandescent vocal delivery and perfect melody.
Full lyrics for Harvey is below;

All this time All this worry All this way to go For nothin' What's the sense Of the hurry? You tell me If you sense somethin' I dreamed a lot when I was younger I'm older now, and still I hunger For some understanding There's no understanding now Was there ever? One thin line Draws the border Between madness and the genius But no pen can erase it So we keep these things between us I dreamed a lot when I was younger I'm older now, and still I hunger For some understanding There's no understanding, now Was there ever? And my front brain would not accept my thinker See? No kiddin'




Ambrosia (1978) Not as You Were LOST 70s GEMS

From their third album the far more RnB and airey 1978 album Life Beyond LA, while the title track bares similar sounds to this song, I have chosen Not as You Were though the title track is equally clear cut mix of exuberant lead vocals and some powerful lead synthesizer jazz doodle licks dancing around the semi- New Wave hard rock of this album. Its eschews a lot of their 70s soft rock sound for a more hard hitting overdriven rock sound as airy harmonies and equally airey lead guitar ratchet back and forth in fat, airey upper register tones. The ending features shades of The Who and Rush with their astral Prog Pop style of playing of endless synthesizer and guitar hooks to a rock steady beat and strident vocals.


Friday 10 November 2017

The Temptations (1971) Superstar (Remember How You Got Where You Are) - LOST 70s GEMS

A ridiculously catchy funk rocker, the classic Motown group trade flawless vocals over a fluid funk bases off repentant piano and swirling wah wah guitar. The hook of the chorus, a question aimed at departed lead singers David Ruffin and Eddie Kendrick.


Thursday 9 November 2017

Starland Vocal Band (1976) Afternoon Delight - LOST 70s GEMS

Built on an airy foundation of glistening acoustic guitars runs, this foursome sing with sleepy eyed gossamer harmonies about afternoon 'action' in a saccharine but still largely wholesome pop song. The band carried a strong 'Carpenters' vibe as well as a host of other influences in their folk/country pop style but could belt out a deep ballad when needed.

A mix of strong ABBA styled double harmonies and laidback Bellamy brothers/ Sammy Johns styled folk rock arrangement with dazzling arpeggios and swift strums and even swells of swampy, cosmic pedal steel. The loud chirping bird whistles at the start create an additional level of cheesy 70s novelty that sums up the mid 70s folk rooted soft rock/Adult Contemporary sounds of artists like Glenn Campbell and John Denver (who they mentored under).


Wednesday 8 November 2017

David Shire (1977) Salsation - LOST 70s GEMS

A lesser known tune off the generation, scene defining Saturday Night Fever soundtrack is this David Shire instrumental of blaring horns, frenetic percussion, Zapata styled melodies and the usual urban Disco synth and sweeping string lines There is a traditional salsa beat to it all with the dancing rhythms of the horns and occasional flutes and electric pianos. Like a manifesto for the diversity of the Disco sound that could incorporate all ethnic music into a underlying rhythm, after all the album had great instrumentals far from the pop, rock and soul of the Bee Gees and Tavares with the Night on Disco Mountain. The latter a funkified adaption of a classic called Night on Blad Mountain, full of tom toms and cymbal driven groove to heighten the suite's doom laden original's strings. Later on there are some glassy synthesizers to mimic the stout, Russian melodies with modern zeal. The wah wah fills giving much needed colour to fill out the twirling and punching arrangements in much the same way Salsation mixes Disco strings to a vibrant salsa horn section.

It was truly universal music that was slammed by the homogeneous white Rock crowd who feel into more neater categories of New Wave and Arena in a post Punk deserted wasteland of the creativity of the the first half of 70s rock.


Saturday 4 November 2017

Ken Hensley (1973) When Evening Comes - LOST 70s GEMS

Bursting with an awesome wah wah blues guitar twanging away alongside a strong organ and the dripping bluesy tone of the track continues with a splendid verse sung by Uriah Heep's Ken Hensley in his smooth vocals. The lead guitar still shines with it's exuberant asides and licks before a high voiced pop chorus enters. But its still that well played rock guitar doodling along with ease and fluidity that makes this. Its the opening track of his debut solo album, packed with lots of rock goodness if lacking some of Uriah Heep's big band bite, it's an improvement in terms of songwriting form the Weed album of 1971 if lacking that group's dynamism.


Beach Boys (1971) Feel Flows - LOST 70s GEMS

Draped in backwards echo this is based around a plodding sunshine pop electric piano beat with a lot of tambourines, mountainous flute and even an over driven late 60s guitar solo. This could be form the 60s if it's tight, incredibly engaging pop structure labelled it with the 70s , mainly the central floaty sounding vocals and the occasional Sci-Fi synthesizer instrumentation. Possibly the best of the Beach Boys' experimental tracks, definitely the best written with its ascending melody delivered note perfectly by Carl Wilson as he steamy eyed recounts beautiful visions of 'Unfolding enveloping missiles of soul' and 'Unbending never ending tablets of time' or 'Encasing all embracing wreath of repose'. The ascending melody of Carl Wilson as he describes colourful images is breathtakingly beatlesque in its timeless catchiness and effortless romanticism. The Beach Boys psychedelic past made them ideal for the poppier side of the Progressive genre, I imagine they could'very morphed into an American 10cc. Sadly they never truly embraces their genre or merged it with their own style.



Friday 3 November 2017

Boone Creek (1978) One Way Track - LOST 70s GEMS

This track from Sugarhill Records act Boone Creek starts off with some exquisite banjo set to a roaring acoustic flatpick to some aching Appalachian close harmonies. The gorgeous country blues slide guitar is something special, in this short track the clear toned, twangy trickle of string bends and pulls are a delight. The gusto and emphasis of the vocals are also awesome particularly the way it goes steps down a gear just before the end.


Sunday 22 October 2017

David Bowie (1975) Win - LOST 70s GEMS

An album full of Philly soul' s diverse arrangements, whilst also signposting the future in disco with the sweeping phased, funk guitar of the track Fascination with it's chanting chorus and waka waka swagger. Haunted flutterings of saxophones echo into oblivion, these ghostly lines fit with the hollow desperation of the track, a deep sensual album full of existential thoughts rather than romance/breakup material of most Philly soul. Though it must be said Bowie's limited rasp could sound a little too ill fitting with the funkier looser grooves and far more soulful backing singers, sometimes English rockers can't do everything and sounds strained on a lot of the work here. Still its all well written and arranged but if lacking some rock n roll punch and more differentiation of the gloomy Prog vision of most of the tracks, not enough bright, upbeat soul to balance it out and no real concept behind the album's songs but it is a unique collection of murky, mystifying urban soul that reminds me of the Todd Rundgren produced Hall and Oates album War Babies of 1974 with its Dystopian funk, and wacked out Progressive Pop.


Thursday 19 October 2017

The Spinners (1973) Ain't No Price On Happiness - LOST 70s GEMS

Mighty Love was a hallmark song that perfectly sums up The Spinner's brand of Philly soul which transplanted a gospel fervour and positive spirituality from their Motown days with gleaming strings and strident isolated piano chords to create probably the best Philly soul numbers before Disco would take over in the mid 70s, though sadly could not cross over like the similar sounding The Tramps into the new genre. On this album the best track crystal clear mix of vocals and vibes upfront whilst the MFSB strings remain the emotive undercurrent as they sway majestically in a way they only did on Spinner's songs. The sprightly horn section is brilliant as well as braying horns alongside the wistful delivery of the Spinners' dual lead vocalists of the smooth ladiback tones of Bobby Smith and the exuberant preach of Phillipe Wynn.


Wednesday 18 October 2017

Slik (1976) Don't Take Your Love Away - LOST 70s GEMS

A collection of bubblegum melodies, the type of silly falsetto chorus driven rock of the Sweet with Bay City Roller's lightness in the lyrics and mix of pop and rock. Full of very simple hooks and that calypso rhythm that bubblegum music from the 60s and 70s tended to have a long with a Brian Connolly style drawled croon, pounding piano, upfront acoustic rhythm guitar and deadened tin box drums. There are punchy Moogs and funky scratch guitars for some cutting edge sounds from the mid seventies but is still dominated with playful instrumentals and Osmond Brothers arranged ballads.

Dont Take Your Love Away has that Osmonds/Bay City Rollers mix of terse but rote Glam Rock guitars and bubblegum pop vocals, but the acoustic verses of this track have a heavenly vocal laid on top. Also check out the modal harmonies of Forever and Ever and the ominous Spanish guitar and Moog driven ballad Requiem. While Again My Love has that nice mid 70s Disco sound not heard very often with echo drenched crooning and the kind of dated 70s pastel synthesizer and sweeping string laden disco balladry of tracks like Jigsaw's Sky High.


Monday 16 October 2017

Smokey Robinson (1975) Quiet Storm - LOST 70s GEMS

The title track of Smokeys' third solo album, A Quiet Storm, the ground zero for the 'Quiet Storm' genre that featured artists like Luther Vandross, Al Green etc. Smokey remarkable tenor that launched hundreds of singers is still so unique as caresses you with it's indefinable quality. But on this occasion the whole package arouses you with it's pioneering blend of laidback soul and restrained funk balladry plus a temperate theme..they called quiet storm apparently
Then there is the unmistakable sweet, high pitched squeak of the Oberheimer synthesizer which would shine Prog and Disco in the late 70s adds a unique texture. It's angular long held notes sound like a digitally compressed wash similar to the smooth sustain of an organ.

It along with the 'wet' electric piano a strong swell of desire key to the Quiet storm format hinting at tropical weather conditions. The fluttering fills of Latin funk guitar and smooth flute only add to the strong romantic aura of the track. While the Oberheimer' long whining tone remains undiminished right to the end, where the basic rhythms fade away to the wind sound effects that have been the connecting thread of all the tracks on the album like a wintery motif. This Sci-fi coldness creates a contrasting desolate note of isolation, after all a 'quiet' storm will always be a lonely storm.


 


Geordie (1974) Got to Know - LOST 70s GEMS

From their 1974 album Don't Be Fooled By The Name, Georgie were the type of tough Glam Rockers with clean studio production that would influence the future Hair rockers of the 80s, the album is supercharged and full of loud vocals, heavy stomps and in this track sweet, high pitched and gooey sounding synthesizer parts poke through in extremely sonic fills. The electric guitars on display have a thunderous quality, they are cleanly recorded and sound huge. Then Brian Jonhston's exemplary vocals are brash enough to match the music, he handles ballad vocals on Little boy just as well with his deep northern accent giving a tougher vibe to the music as the electric power chords crash, the funky soul drumming rattles away etc.


Saturday 14 October 2017

King Crimson (1973) Easy Money - LOST 70s GEMS

Larks' Tongues in Aspic introduced David Cross's violin to the heaviest Prog band around, sorry Pink Floyd, They shed the jazz aspects for creating a further classical tone yet also keeping the rock and prog foundation strong. After their classic 1969 lineup based around Greg Lake and Ian McDonald as well as Michael Giles and Peter Sinfield had long since departed the group was starting to reclaim it's own identity with their mid 70s Prog run. It started with this album and led into Starless and Bible Black in 1974 and Red.

Some of the instrumental passages remind me of Tubular Bells with a clear cut production and virtuoso playing that didn't bear the murky, noisy chaotic textures of Psychedelia or Jazz. Instead a more atmospheric, sci-fi trip, the elephant sounding horns that ominously arise in Talking Drums and Exiles are very Prog and cinematic, while the title track combines this hard hitting prog rock with a Jazzy signature to create again a cinematic score or movement perfect as background for a scene from Soylent Green, Logan's Run etc.

That clear cut but odd sounding prog rock melody would be most commercially realised in Easy Money, a very pop track yet very brilliant song overall from this album. Powered by an incredible stomp of a rock riff complete with stamping feet like marching soldiers whilst the bell tolls and harmonies waver off. The quiet verses feature kooky sound effects like a snake rattle, splitting elastic and crunching sound for a heart break, it reminds me of 10cc like flourishes whilst a sparse reggae beat of guitar strikes and steel drum provides backing. There are ominous ringing sounds and unexpected dissonant crashes to go along with it, before Robert Fripp breaks out a jazzy and very robotic solo that goes along with the monolithic crunch of the song's central riff returning again from the beginning. There is some misty organ work too along with some arpeggios to colour the arrangement before a final rave up of bluesy wailing of both guitarist and vocalist and organs.


Friday 13 October 2017

The Spinners (1972) It's A Shame - LOST 70s GEMS

Starting with a cheerful, jazzy doodle of a Electric Sitar part whilst an electric guitar strums breezily, this Stevie Wonder penned soul tune is enlivened by Philly Soul's maestro Thom Bell who keeps the vibe bright and sunny with that spectacular opening progression. The Spinners give an pumpingly energetic vocal performance, a hint of their future rousing soul music which would be truly unique, though this track barely features the inspiring Thom Bell horn lines and sweeping strings combo that underlined their later hits. Instead their is more of the rave up fervour of Motown, Stevie Wonder's label, in the performance over the smoother, velvet delivery of Philly's soul stars. Though there is no denying the classic Philly knack for arrangement is there right in that glorious first few bars.


Wednesday 11 October 2017

Bee Gees (1974) Down the Road - LOSt 70s GEMS

 Seguing in from the prior track, Throw a Penny, we get an awesome heavy mix of funky blues guitar similar to the scratchy, buzz guitar styling of David Bowie's Fame a year later. The combination of several guitars and piano gives the song a Kool and the Gang big group sound similar to the chugging funk of later track Heavy Breathing with it's strain of horns. The Bee Gees embraced funk and Blue Eyed Soul with enough pop, rock and country influences to produce a number of sounds not just Disco, while Heavy Breathing with it's rampant beat would be a clear sing of Proto-Disco, Down the Road mixes this unrelenting funky blues verses with an astral chorus of 'Down the Road' where the harmonies soar incandescently like a choir similar to Throw a Penny but more impressive. All the while the verse rhythm returns with a clavinet buried deep underneath the disco styled blues guitar phrases.

Barry Gibb's husky, country vocal works well with the soul material while the high falsetto choruses and heavy horns of the second verses give a strong Soul music influence. Then their is a Glam Rock style solo where minor keyed, downbeat guitar lines are played in harmony, not to mention the descending, nasally Moog lines used as a counterpoint in the chorus after the stunning harmonies. These descending analog synth lines with their sweet, fuzz sound create a new urban sound that worked in giving a Disco sound.

Mr Natural was where the Bee Gees talents in early 70s pop balladry combined with their new band's talent at extremely frenetic funk rock. The classic Bee Gees formula of mixing sweet melody lines in vocal harmonies and synthesizer parts mixed with downbeat funk rhythms.



Monday 9 October 2017

Medicine Head (1971) There's Always A Light - LOST 70s GEMS

From the hard rocking sophomore album Heavy on the Drum, this is is exactly that, a departure from the sleepy folk balladry of Medicine Head' debut New Bottles Old Medicine which is very heavy. The pounding sparse kick drum and chunky but rudimentary blues rock guitar of John Fiddler to the wailing Harmonica of his partner Hope Evans, this Staffordshire duo know how to create sizeable rock from sparse elements. The highlight for me from this really tough sounding album is this track primarily due to Fiddler's electric vocals, definitely treated in some way to accentuate his natural low register tremelo that sounds like a blend of Dylan and Bolan or even Gerry Rafferty it was a trademark of early 70s rockers. It's a laidback warble taken from the blues and folk rock but acts with such majesty in its sprawling reverb that it acts as a harmony with his own guitar.

Medicine Head remain whimsical and laconic whilst bopping like only the heavy 50s blues rockers could; they were a nice counterpart to the excesses of Marc Bolan and T Rex, but had a country feel which put them closer to Stealers Wheel, it would be more evident on their other albums.


Sunday 8 October 2017

Stills-Young Band (1976) Ocean Girl - LOST 70s GEMS

A romantic ditty that starts with standard 70s soft piano with a nice addition of a Stephen Still' raw wah wah guitar underlining the raging feelings with it's vapid strikes reminding us of that incredible interplay the two had on the first Buffalo Springfield album released ten years prior. The wah wahs' stretchy, acid drenched tone, though originally steeped in the funk and psychedelia genres it was a flexible device in 70s music popping up in country, pop, disco standards and all kinds of TV theme tunes. I think because it expressed a strong emotive quality from the menacing to the romantic it always sounded hormonal and rich in deep feelings..always.
Young sings in a delicate phrasing that is thankfully restrained and sounds like he is harmonising with The Eagles. Check out Midnight on the Bay for it's mix of Jay Ferguson style Island Soft Rock and the Bee Gees' style of lilting Disco pop.




Friday 6 October 2017

Armageddon (1975) Silver Tightrope - LOST 70s GEMS

 The Yardbirds frontman Keith Relf's last project was a n incredible supergroup featuring among others Bobby Caldwell a talented blues drummer, this track from this Stoner rock album carries a mellow spacey instrumental talent form his previous super group Captain Beyond which featured original Deep Purple lead singer Rod Evans.

The incandescent electric guitar ringing out in a hypnotic arpeggio pattern with Relf singin softly underneath the guitars which take prominence in the mix to interesting effect. Relf is far from his blues belting self here more channelling Yes' Jon Anderson in his delicate falsetto, while the band join in the harmonious vocals and a expertly psychedelic guitar solo plays distantly in a 'wet' very chilled out bridge section; pretty pioneering for its time. It was all cut too short for Relf in a tragic electrocution shortly after this album; however he had a respectable post Yardbirds career in folk rock Renaissance and Blues band Medicine Head while his former lead guitarists rose to group and solo fame and superstardom in the 70s. I still think this is his pinnacle outside of the Yardbirds which makes his passing even more unfortunate.


Wednesday 4 October 2017

Hall and Oates (1975) Ennui on the Mountain - LOST 70s GEMS

A rip roaring, jet fuelled stomper of a rock song, while this bears a circular riff backed by saxophone, honky tonk piano and a fat electric guitar tone and some hard rock guitar strikes that Progressive Pop bands like 10cc, ELO and Queen used to really ram home the strong melodic sense of this song. Capturing the non stop party of touring and being at the top or the zenith of their careers as Hall wails soulfully and Oates pounds away at the furious guitar attack that recalls the stomp pf the Beatles' Oh Darling and other stunted bops from the 50s and of course the 50s retro of Glam Rocker T Rex and Sweet. Its fitting with the glam cover of this their self titled 'silver' album

Theres some meta references to their own career such as 'AM airplay', 'a cadillac' and 'a mountain in Montana' . These accoutrements would all be gained after this album; with Hall and his manager Tommy Mottola buying identical black and silver Seville Cadillacs with their first six figure paycheck after Sara Smile, not to mention their chart and radio dominance in the years to come and Halls' retreat in the woods that he used as the setting of the groundbreaking online series Darylls' House. All these things truly makin their dreams come true, ooh ooh hoo ooh..sorry


Hall and Oates (1974) Can't Stop the Music (He Played It Much Too Long) - LOST 70s GEMS

This song is to me the third of a trio of potential hit singles that Hall and Oates recorded during their early 70s three album run on Atlantic Records; the other two being Goodnight and Goodmorning from their rootsy folk debut, Whole Oates(1972) and When the Morning Comes from their less folky classic soul follow up Abandoned Luncheonette(1973). While those two singles are very commercial sounding post-Hippy folk rock tunes, this track is more novel in it's sound; though When the Morning Comes was book-ended with that Wah-Wah treated Oboe that created an exotic, otherworldly texture.

Can't Stop the Music is the lead track off third album, War Babies(1974) their very psychedelic attempt at progressive rock. This is probably the most commercial sounding song of a very dark and eerie concept album about.. I'm not sure what. What I do know is this track has a airy pre-80s synth pop sound, the mellow wash of several analog synthesizers overlapping each other. Oates comes in with a story of an old performer who was 'star of the stage' but can't cut it anymore over a bright electric piano chord progression. I should point out everything in this album is heavily phased or treated. After the chorus refrain where he states that he can't even remember the ending to the song; possible musings on their own career, for now they were safely at the other end of it; practically at the starting line.

It's a John Oates track that showed he was an equal to Hall in their massively underappreciated period in the 70s where they reigned as soul superstars. The album has the psychedelia and soul combo of Sly and the Family Stone but ups the cold dystopian eeriness with a lot of analog synths and minor keyed piano mood pieces like 70's Scenario and Screaming through December. Meanwhile there's enough tight commercial material in the funkier rock tracks like Better Watch Your Back and Much Too Soon. But best is still this number..(you can't play it too long)


Tuesday 3 October 2017

Ambrosia (1975) Holdin on to Yesterday - LOSt 70s GEMS

Such a seductive little number form this soulful Prog rock band who would take their mellow vocals and keyboard rock to the Soft Rock genre where they were more at home and their delicate close harmonies and silky arrangements were better suited.

The band kicks in with a relaxed interplay between some jazz piano chords and a humming bass line throbbing underneath; it creates a slick old school, Brill Building groove. The restraint of the track becomes so sensuous without becoming comatose, laidback but firm all building a smooth foundation allowing us to bask in the glorious and well above average harmonies; particularly for a prog band. The extraordinary, two part harmony vocals enter in and rise above the mellow instrumental track, distinctive for the way they go up an octave on the first half of 'Hoooldin Ooon'. The soaring supple falsettos of Guitarist David Pack and Bassist Joe Puerta on the Os is so complex and sounds so original every-time you hear it.

Pack then sings the organ and choir drenched solo verses that reminds you they had the grandeur of a prog band though the smooth harmonies were still more influenced by RnB then bands like Yes. The addition of a Violin break is a neat prog touch while the organ gives a incredibly sexy blues feel by the shimmering end of the song. A smooth yet transformative ballad full of the best blues, gospel and prog playing you've ever heard.


Monday 2 October 2017

Boston (1976) Let Me Take You Home Tonight - LOST 70s GEMS

A funky acoustic opening with Tom Scholtz's wacky music experiments creating an unusual mix of guitars. An ascending arpeggio with a watery electric guitar, some distant blues slide and a acoustic guitar playing a quick turnaround.

The verses are very Beatles esque breezy acoustic strums and exuberant harmonies which carry into the electric power chord driven anthemic chorus.

An array of guitar sounds come through in bridge as the solos alternate from one instrument to another. First a very clean blues slide guitar, then a water filtered guitar before a couple, thicker harmonised hard rock guitars. Up their with Foreplay/Long Time and More Than a Feeling from this immaculate and overdubbed paradise of an album; not bad for a debut particularly when you consider it started as a one person band.

PS Brad Delp is ridiculously good particularly in his ending wails, at a time when there were many multi octave singers, he had a cool vocal style, another instrument Scholtz had at his disposal.


Sunday 24 September 2017

Barry White and Love Unlimited Orchestra (1974) What a Groove - LOST 70s GEMS

Barry White, was an up and coming soulful crooner of some of the most romantic arrangements ever heard, also a talented composer teamed up with a very talented group of musicians, singers and players to create the Rhapsody in White album, released in January of 74 it was ground Zero for the nascent Disco sound; dripping in interplay between funky guitars and sweeping strings it set off the whole genre that would boom in four years time on the Saturday Night Fever soundtrack. While Love Theme was it's big hit and set the standard for it's funk infused, dance floor filler vibe mixed with the romantic, heavily layered production techniques of Philly Soul; a marriage made in paradise as delicate guitar parts meld with hi-hats and swells of strings.

What a Groove is an extraordinary track from the gem filled album that is steeped with deep tracks of inventive funky soul and late 60s early 70s bubblegum strings and horns parts to create a rousing set of tunes. What a Groove starts off with a drum count in and a haunting strain of Hitchcockian horns straining like a train whistle out of breath like a suspenseful Bond tune. An insistent piano and strings laden rhythm kicks in under an electric guitar line that recalls Credence Clearwater Revival's Fortunate One in its clean, sliding blues rock tone.

Finally the sprightly strings sweep in alongside a bright, effervescent harpsichord chord progression creating a aural palace of love. The strings dance around in a sweet 70s disco groove before the rock guitars rejoin the song in more overdubbed layers playing a more circular groove and a cowbell is introduced for extra depth. Not long the horns power in stacks to this rock passage holding supreme notes , the strings coursing under and the guitars still riff away in as the fade and the droning horns of the beginning re enter. It's a delicious instrumental, telling missing the big guy's vocals but still holding a solid beat and magic s do all the tracks, particularly look out for the single note stab of strings that is the foundation of Baby Blues and Rhapsody in White's romantic melody.


Saturday 23 September 2017

Deep Purple (1974) What's Goins On Here - LOST 70s GEMS

An incredible little track from the mighty Burn album of 74, it was the debut and zenith of Deep Purple' Mark 3 lineup; a blues and funk version of the classic metal band. It is built around an epic Ritchie Blackmore riff, a heart stopping little guitar figure that rings back and forth before a tangle intricate line of jazzy guitar notes are played in an incredible fire run into a honky tonk piano verse.

The verses feature new vocalists David Coverdale and Glenn Hughes trading couplets of getting home drunk and confused with no shame questioning 'Whats Going On Here?' over Blackmore's defiant riff.

On this album, the riffs were more bluesy/hard rock and therefore more melodic than the early metal they pioneered with the prior lineup. While Coverdale and Hughes take their distinct styles as perfect tradeoff partners; Coverdale with the guttural, deep blues voice usually starting us off before Hughes's falsetto soul drips in some sensual funkiness to proceedings. Coverdale's low range and Hughes Gillianesque highs match together for wonderfully rich harmonies on the choruses a la the Sam and Dave or Derek and The Dominoes ideas of dual front-men. It was an underrated partnership and a thoroughly unappreciated lineup of the band that I consider to be DP's best mix of talents and where their best songs lie; check out the songs on Stormbringer, the 1975 followup to Burn, they are the best they ever wrote.


Friday 22 September 2017

Kansas (1974) Death Of Mother Nature Suite - LOST 70s GEMS

 Based around a theme of protecting the planet, the debut Kansas album was poetic and lyrical about the Earth in all it's quaint majesty on songs like Lonely Wind, Apercu and the Journey to Mariabronn. The folky delight, the raucous country boogie and Prog passages.
 
 Starting with a funky Deep Purple riff of smashing guitar and organ interplay before subsiding into a quiet passage about Mother Nature imagery. Before it launches into the riff again complete with a ascending calls of 'yeah, yeah, yeah', Robby Steinhardt, the violinist and second lead singer, almost comically declares in a gruff cheesy tone "And now she's gonna die!" it's one of the least subtle things about the nuanced album that is bathed in gentle violin folk as much as sprightly classical big band playing and down home boogie.

There is some more Deep Purple-esque heavy riffing, speed drumming and distorted organ solos and persistent bass foundation. Steinhardt even hits some Ian Gillan styled falsetto wailing nearing the end to cap off the comparisons. An acoustic guitar is glades in brightly and strummed with full effect as the band join in a Bolero movement complete with symphonic organs before a pause and a crescendo. A truly unsophisticated rock suite from a very classical steeped southern rock band


Thursday 21 September 2017

Little Feat (1974) The Fan - LOST 70s GEMS

Little Feat were reaching their stride in the early 70s, after the heavy horn funk of 1973's Dixie Chicken and 1974's Feat Don't Fail Me Now with it's more Jazzy funk workouts. They always balanced soft balladry, southern fried rock n roll and atmospheric electric piano and funk breakdowns. A band that could be wacky and cool but also real and emotional were working at their height on this record with Rock and Roll Doctor's melodic rock balladry and The Fan.


The Fan is a superb little rock track starting with a Yes like symphonic organ before launching into a more Bachian rock riff. The two part vocal harmonies are smooth and slide along nicely with this track before another dark ominous patch where featuring Eastern Bluesy guitar licks whirring off in operatic string bends and legatos. A Oberheimer synth cuts in a dizzying array of sustain, phased panning and oscillating notes. Though this musical delight underscores some horrifying lyrics telling a crude tale of a cheerleader's fall from grace into drugs, heartache and scandal.


Wednesday 20 September 2017

Neil Young (1974) Walk On - LOST 70s GEMS

From his On The Beach album, while not his most striking, awe inspiring work, Walk On like most of the tunes are inherently listenable, with less political punch in the lyrics Walk On is an especial delight reminding me of James Taylor's Walking Man mixed with some upbeat funky blues playing. The walking bass line and heavy clownish wah-wah pedal put to full effect for a strutter.



Saturday 16 September 2017

Roxy Music (1974) Triptych - LOST 70s GEMS

Full of strutting and preening pop rock, slashing rock n roll married with elegant and artsy gentlemen vocals of Bryan Ferry, Roxy Music were the epitome of the early 70s rock scene in Britain; part prog, part glam, part 50s rock n roll. While I could've chose the wild Rock n Roll Sax number Prairie Rose (which I strongly suggest you look up too), I'll go for the timeless prog track Triptych. A strong Eno influence here, as we start off with a brief clavinet part before and interplay between majestic horn like synths and a circular medieval harpsichord riff.

The chorus is filled with droning modal harmonies fitting in between the intricate harpsichords and clavinets and blaring horns. The ancient instrumental sounds match the lyrics of being sure the sun shall rise again


Angel (1974) Good Time Fanny- LOST 70s GEMS

Angel sounds like The Sweet which is no surprise as its an Andy Scott song full of Sweet's trademark high pitched harmony stacks and a Brian Connolly soundalike singer..Actually aside from their faces; the fringe hairstyles and the denim/leather clad style matches Sweet' look to a tee like a clone group. Makes sense as their managers were Andy Scott and Mick Tucker but did they have to be damn near identical!? Oh well the jet fuel guitar lines are so revved up particularly in the whining distortion wall of sound ending. This turbo charged bubblegum/glam rocker was a little late in 74 even when Sweet went more heavy metal too.


Friday 15 September 2017

Chicory Tip (1974) Take Your Time Caroline - LOST 70s GEMS

From teeny bopping Glam Rockers, Chicory Tip, it starts with a serene 50s doo wop harmony line before replaced by a modern synth part more adapt to prog. The organ and group vocals urging Caroline to take her time is dreamy and sweet. The Bach synth part has an incandescent feel like an organ version of a Oberheimer and so works with the ballad pop. The vocals are exuberant and rousing with a Four Seasons vibe to the oohs full of modulating and enthusiastic passion reminiscent of 50s pop but also early Beatles beat music too.


Thursday 14 September 2017

Eagles (1974) Already Gone - LOST 70s GEMS

With each album the Eagles chose a different genre, the 72 self titled debut was breezy California country rock, Desperado was a more ballad and folk based, One of These Nights was their ultimate soft rock collection, Hotel California was built around more piano and keyboard songs and The Long Run was a soulful arena rock album; third album, On The Border was their stab at hard rock. This the opening track and lead single signalled their intentions of beefing up their California sound with less acoustic guitars and more chugging rock n roll lines and while it's a buried mix the track still powers along with Glenn Frey's clear vocals. It starts with a killer guitar line by new member Don Felder who also engages Frey in an exuberant duel in the middle of the song playing with ecstatic flair alternating between a prolonged string bend and a more country blues trickle of notes.

 Carrying more bite than before as Frey shrugs off a girlfriend who is already about to dump him, the key to the song is in the soothing bridge as Frey turns around from the heavy bravado of the verses/choruses with a heartfelt sentiment that he wasn't completely without blame achingly prescribing to his ex that 'Heaven knows' it wasn't her who let him down.
 What starts out as a brash adolescent breakup song ends in a more mature statement that 'Often times it happens, that we live our lives in chains and we never even knew we held the key' before one round of the rousing countrified chorus of' 'I'm Already Gone, and I'm feelin strong! I will sing my Victory song!'. The song was mixed very well by producer Bill Symzcyks, he correctly emphasises the country pop vocal harmonies in the bridge and chorus while letting the heavy rock drive the verses. It's an astounding mix of pop and rock and rootsy country vibes to create a heavy country rock sound the band was after though the success f their Greatest Hits collection suggests the semi acoustic country rock of their first two records and One of These Nights was the more popular combination. Though this proves to be their most underrated single only reaching no 32 unlike their many chart topping hits


Wednesday 13 September 2017

The Doobie Brothers (1974) Song To See You Through - LOST 70s GEMS

Starting with two memorable moments, a funky slide guitar swinging while The legendary Memphis Horns blurt in some bawdy, Jazz chords. Tom Johnston's strong RnB delivery is centre of the mix, with that limited range rasp full of natural rootsy soul; a perfect voice for the rootsy and soulful brand of rock the Doobies payed at this time in their careers. The back and forth rhythms are pure and smooth while the lyrics of almost giving up and exhaustion are great fro the gospel rousing chorus with the Doobies providing sparse harmonies that slot in between the pounding horns to effectively maximise the big sound of this song. The excellent bridge has a hard driving funk guitar equal parts rock and funk that summarises the best of the Doobies; whether Southern Rock or Blue-eyed Soul they were 100% Raw!


Tuesday 12 September 2017

Joe Walsh (1974) Help Me Through the Night - LOST 70s GEMS

Practically an Eagles audition tape, this glistening folk rock ballad was the exact type of harmony and acoustic guitar drenched melody done so well by the California hitmakers, it's no surprise they guested on the backing vocals; you could recognise those characteristic 'oohs' anywhere. The spiritual vibe is great and reminds me of what a good songwriter Joe Walsh is as well as a player, just check out Pretty Maids in a Row on the Hotel California album. But best is Walsh's superbly dour delivery capturing the frustration of the lyrics "Making up for the time is just the price you pay, then they take the prize away and it just ain't fair".

The layered production is what makes it really shine, a top class ballad outlier on a top class rocker album, So What(1974).


Friday 8 September 2017

KISS (1974) Love Theme from KISS - LOST 70s GEMS

This 2 minute instrumental from Kiss's 1974 debut album features harmonised guitars dancing along in their beautifully duelling wails; ascending in a meticulous series of note pulls while the drums are pounded away in a restrained fashion. The title is a parody of a how 70s movie score were named, its ironic as this album doesn't have many love songs and it is the smoothest track in a heavy set. The bouncy bass note shuffle is great but the slashing power chords with their faux reverb is what I like best while the whole groove is a guilty pleasure. Though there's not much romance, as always there is a strong sensual vibe as the track walks along into a slightly darker passage; ominous Black Sabbath chords and twangy harmonics, it's by far a gem from Kiss's overlooked debut.


Thursday 7 September 2017

Ian Matthews (1974) A Wailing Goodbye - LOST 70s GEMS

Ian Matthews 1974 slick country rock album with it's weird title (Some Days You Eat the Bear), in it he uses his vocals to add a original feel to covers of Tom Waits' Ol 55 and Gene Clark's Tried So Hard. But this original is the standout, highly melodic for a song with a bleak premises; describing a lover's funeral.

With Dylanesque harmonica and driving pace it reminds me of Like a Rolling Stone plus some summery guitars and electric piano embellishments for a robust wall of sound production. Matthews trademark ethereal ballad vocals work extremely well for a detached almost sedated delivery fitting the almost morbid but painfully realistic detail. Matthews captures the poignant and bizarre mix of emotions of a funeral with the upbeat arrangement as he describes the scene; faces that 'nobody knew', people around 'crying their eyes out for you'. The best is the line of this wailing goodbye is 'most everyone agreed: what a beautiful day' solidifying the odd concept of a funeral; almost like a party missing the guest of honour; permanently.

 A sombre but profound little track that will stay with you long after hearing it's apt descriptions of a wake, combined with Ian Matthews' omnipresent vocals, that sound multi tracked and have a heavily delayed echo at a specific point, while that harmonica wails on defiantly in it's song.


Sunday 3 September 2017

Blue Magic (1974) Stringing Me Along - LOST 70s GEMS

From the punchy horn lines of Looking For a Friend to the Wah Wah-ed Minimoog stabs from You Won't Have to Tell Me Goodbye to the sprightly plucked strings of this track, The Magic of the Blue is a more magical set of highly produced and diverse array of pillowy soft ballads and funky upbeat jazz pop.
 The group was best with breathy vocals and 'labour of love' styled yearning against flavourful arrangements of horns strings and vibes usually distinguished by Bobby Eli's creative uses of electric sitars, moogs and wah wah/fuzz tone pedals. Though both this album and their debut could end songs in little funky two steps like this song and Love Has Found Its Way To Me which could easily have featured on the 1974 debut alongside Look Me Up and Welcome to the Club.

 Here we start with a heavy guitar reverberation to mimic the sound of heart strings before a dazzlingly daisy field of plucked strings pop up all over the track. The heavy orchestration by Norman Harris creates a huge Disco sound and sets the commanding tone of the chorus. In stark contrast is reedy falsetto of Ted 'The Wizard' Mills', he hits an exceptionally high note in the 'You're Just' of "You're Just, stringing me along how can I go wrong?" The song ends in another Blue Magic patented Latin funk breakdown; the wah wah chicken scratch, the group vocals and the rolling strings sweeping us into a strangely grande lounge room workout. 

PS 'Lounge room workout' is referring to a jazz lounge in case that didn't sound right.


Friday 1 September 2017

Incredible Bongo Band (1974) Kiburi - LOST 70s GEMS

From their follow up album The Return of the Incredible Bongo Band, a tight funky percussive unit storm out the gate with this track, apocryphally it could have featured Ringo Starr. Kiburi starts off with an incredible wah wah ed orgasm with funky fuzz tone duck sounds all building up to a strong early Disco vibe similar to Barry White and the Love Unlimited Orchestra combo; their are African ladies singing in graceful ways with a behind the beat guitar groove and full on percussion. The double hit guitar part at the end of every other phrase is very much a early disco trope but the floor is for the various acoustic drums, from xylophone to maracas. Kiburi loosely translates to pride in Swahili and this was a band whose recorded performances stand proud.


Monday 28 August 2017

Dan Fogelberg (1977) Lessons Learned - LOST 70s GEMS

Nestled between the old swing-around-the-maypole folk of Dancing Shoes with it's delicately plucked mandolin plus finger maracas and the deadening waltz of Loose Ends' bluesy hard rock dirge is a return to the simple country rock genre with the five minute track, Lessons Learned.
 If each song on the towering Nether lands album plays our like a dance then Lessons Learned is a safe, laidback number full of floral electric piano textures and rootsy acoustic timings.

Mixing a country ballad with an upbeat romantic vibe as Dan warns of the dangers of repeating mistakes and burning bridges. The jazzy verses give way to great lines sung with a pressing urgency grabbing  your attention such as; 'well aware of the consequences, should the dream fall through' or 'wanting to try something new. These insights and the whole song actually act as a warning.

The songs' soft rose tinted feel reminds me of a ranch romance, though the lyrics are intelligent rather than the schmaltz or increasing reliance on the word 'love' as would occur later on in his work; 'is the knowledge gained worth the price of the pain; are the spoils worth the cost of the hunt?!'. 

A delightfully restrained change of pace from the grand orchestral arrangements, frenetic folk rock and glistening pop rock of the astonishing musical statement that is the Nether Lands..

Saturday 26 August 2017

Dan Fogelberg (1977) Nether Lands LOST 70s GEMS

In honour of this being the 40th anniversary of his magnus opus the Nether lands album and the fact I'm currently in the Netherlands and have been discovering this album this year it's fitting to tackle the title track. While some may see it along with False Faces for its bloated string section it creates unique atmosphere


There are trumpets, horns and war drums alongside the strings for a majestic quality with a strong regal or medieval connotation. This gives the album it's own audio stamp separate from his other releases.
Divorced from any yacht rock, folk or soul parameters the song starts with an ornate arrangement of pleasant springtime flute and strings easing us in with a little piano line.


The lyrics are simple but powerful as all Dan yearns for are the simple things like 'a lover' and 'some friends' but at the same time craves to 'do something I never have done'. It climaxes in a realisation that there are two paths your can go by in the long run, one risky and one safe, and the risky route is always the hardest but most rewarding too.


The key musical cue is the crashing drums that occur among a flurry of strings followed by the scurrying slash of violas; an immaculate if indulgent stroke of Disney-esque beauty and grandeur. After this album he could go no further his peak had been reached 'out in the Nether lands'


Blue Magic (1975) The Loneliest House on the Block - LOST 70s GEMS

This is the opening track off Philly soul group Blue Magic's third album, 13 Blue Magic Lane; a more dance and RnB oriented collection full of punchy dated synthesizers, heavy funk horns and sound effects like a train whistle and a witches' cackle.

While the songs aren't as solid as their sophomore album, The Magic of the Blue or their 1974 debut the highlight tracks tend to be the early disco sounds of We're on the Right Track and The Magic of the Blue (not sure if this was left off its namesake album). These heavy synthesizer and horn dance floor fillers full of ethereal vocals may have helped with the burgeoning disco crowd but ultimately wouldn't fit with the group or audiences. That same old problem too soul for disco and too disco for soul.
 They are a ballad group and although the slow, bossa nova/ upbeat funk rock of Stop And Get Ahold Yourself is well executed, their velvet  harmonies didn't gel with heavy funk arrangements as well as they did on the lush, Philadelphia International produced  instrumentals.

The Loneliest House on the Block is the best with its sparkling array of ringing electric sitars and keyboards as well as rasping horns, coruscating strings and glittering vibes. They all strike twice like a doorbell motif running through the song musically telling the story of a lonely man waiting for a lover to return and ring the bell to come in.

 The hook of describing the house where the windows remain closed and the doors locked is a nice simple visual idea. The address of the house is the album title, 13 Blue Magic Lane; its an expressionistic touch if a little corny, that the street would be named after the group. While the fact it's No 13 displays the group's long running theme of being cursed in love that is the subject of their biggest hits Sideshow and Three Ring Circus as well as this album (check out other album highlight Born on Halloween).

The light Italian stringed Pizzicato is a beautiful and unique addition capturing the heartache exquisitely. While the weepy bridge is enlivened by Ted Mills' soaring falsetto, the tearful couplet is tight and sums up the desperation perfectly as follows;

I'll watch the street from end to end Waiting for the day to let you into

The song fades out in a wistful coda as the address is sung out against a dreamy backdrop of plucked strings, endless glissandos, Pizzicato strums and more Philly flourishes.
  It's the first of many cool sonic uses of outros/ intros, a more prog or pysch rock thing to do. One example is when a short choral rendition of 'The Magic of the Blue, Captivating You', the refrain of the prior song starts off the next track, I Like You. While you can hear ghostly female vocalists and more effects like wolf cries throughout this three dimensional package; its a colourful, Pink Floyd esque effort and a heavily underrated philly styled disco album.


Thursday 24 August 2017

Big Star (1973) Hot Burrito #2 - LOST 70s GEMS

Power pop band Big Star' live hard rock rendition of the Flying Burrito Brother's Hot Burrito No 2 displays the tight but loose group as well as their rock chops. The soulful version displays the solid drummer and on point bassist interplay and keeps things fun.




Sunday 20 August 2017

Byrds (1973) Full Circle - LOST 70s GEMS

From their 1973 reunion album, the original quintet, sought of a folk rock Rolling Stones, could never relive their special place in history in 1965, with swoopy hair, roots based music dressed on contemporary pop, shimmering harmonies and jangly guitars. They cut an impressive look with their strong Dylan lyrics backed by a mixture of commercial and edgy sounds wrapped in a teeny bopper image, what they failed to do is be as consistent as the Eagles or Buffalo Springfield in terms of albums. Here its ever present that some were better song writers and others better interpreters, Gene Clark and Chris Hillman being slightly better at song writing while McGuinn and Crosby better at the singing and recording side of things. Here in a very simple tune Clark shows off his knack for summing up sentiments in neat melodies and tight choruses, and not only possessing underrated restrained folky-soul singing. This is a perfect mix of Byrdsian pop, country rock and his confessional solo material, Hillamn has some great tunes on the reunion album too, shame they could never do another full reunion tour in the 80s, by the 90s its best member had passed on and the rift between McGuinn and Crosby has never healed nor could either be tied down to a band ever again. Shame, really


Friday 18 August 2017

Rupert Holmes (1979) Answering Machine - LOST 70s GEMS


From his disco pop album Partners in Crime came the marvellous Escape (Pina Colada Song), a great calling card tune and the last no 1 of the 1970s.

All the songs have soft FM Pop sound full of lush keyboards, disco beats and a whole lot of crooning though it lacks the energy, animation and clever structure of his hit. There is a lot of dialogue and Moog keyboards to make the rest of this soft rock stand out in a genre known for very louche and bland material. So it's refreshing the sound effects and keyboard pomp of songs like Answering Machine, Drop It or Him which add almost spoken scenarios to thick guitar, synths, answering machines, telephones etc.; but this romantic pop still doesn't live up to the hard hitting sonic quality of the Pina Colada Song, such as the abrupt stop-start rhythm, the rousing chorus and the spectacular guitar solo with it's sweet over driven tone that was recently looped for an exquisite Virgin Media advert of a mammoth breaching through a sparkly azure ocean.

I think is Get Outta Yourself is melodically the best particularly the horns singing the extraordinary title, a cool complex moment. Lunch Hour is a calypso influenced pop track with a comedic bent, but the best outside of Escape is Answering Machine as it's the closest to that song's snapshot narrative sense. Starting with some very Digitised sounding dial tone mixing with a Caribbean beat, funky scratch guitars. There is even Gino Vannelli styled ARP synths punching in on the lead up to the chorus just before the we hear the tone; Homes then launches into his 30 second declaration of love before the tone cuts him off back into the verses.

Its a great and interesting idea in the Yacht Rock genre, the keypad sound thatinfiltrates the funky rhythms is great as is the inclusion of the standard answering machine message into the body of the song. The cruel twist as he sings theAnswering machine message, his voice coming out from the crackly filter of a receiver or taped message is nice and the song doesn't outstay its welcome either at 3:29minutes. It just misses the cool stop-start beat of the album's hit single..shame.

Tuesday 15 August 2017

The Rolling Stones (1971) Moonlight Mile - LOST 70s GEMS

 This ballad is the closer to a phenomenal album and by far my favourite Stones album 1971's Sticky Fingers. It's a beguiling track and mixes oriental, Indian and Middle Eastern scales. Like a lot of the album it follows a Zeppelin level of heaviness, who were dominating the America at the time outselling the Stones incidentally.

It starts with a lilting double stop acoustic guitar motif that is doubled by Mick Jagger vocally before the upper register piano begins chiming like a gong creating a Japanese backdrop. The ninth chord slide is a blues staple that mixes particularly well with pitched asian textures; on a sidenote BB King wailing along with an eastern backing would have been interesting to hear. A timpani drum roll ushers us into the narrative, the image of a cool wintry night with a 'head full of snow' is painted through the sparse instrumentation and one of Jaggers' most restrained performances; think a darker, more Asian version You Can't Always Get What You Want.
  The song picks up with the "sound of strangers sending nothing to my soul" as a string orchestra dirge heavily in a raga style along meaty hard rock guitar we learn it's "it's just another mad, mad day on the road". A mix of country blues slide guitar and tinkling psychedelic touches create a frosty, off kilter-ed tale of the road. The best line is when Jagger sings " I am sleeping under strange strange skies", a sincere moment against an epic backdrop of sweeping strings and droning horns .

The song becomes less placid and erupts into a bridge where a hard rock guitar figure strikes back and forth and is joined by the intensifying orchestra. It was this short guitar attack, striking in Asian flavoured high pitched bursts, that was written by Keith Richards as the 'Japanese Thing' snippet. But it was Mick Taylor and Mick Jagger who developed it into this composition by fleshing it out for the opening verses making it slower, melodious, and playing it acoustically; it actually sounds more Indian. 
 Richards' small contribution became the launching pad for the whole song. It is at heart a Jagger/Taylor tune like many from this period where Richards was taking a backseat; it was this new songwriting partnership that added the touching delicate verses and stirring hard rock hooks to the song while Richards' little jagged, swaggering guitar snippet that mimicked the sweet lilting tone of Japanese music was the catalyst for the songs rockier second half.


Mick Taylors playing is the final part of this criminally underrated gem, his taste for pentatonic blues would create juicy fretwork that would sound like fireworks; ecstatic and dexterous. Taylors' Latin and eastern based legatos were based on Jazz and would progress from one lick to another, improving or extemporising into new directions from the songs basis. It's a style that made him a showman almost working the song up into a frenzy like the rave ups of the Yardbirds. Here his sweet melodic touch creates a 'cool down' with the piano, the easing strings and even some flute producing a mystical outro reminiscent of the pastoral, folk music of the Andes.

It all finishes quietly back how it started; an acoustic hammer on piece complete with descending Japanese piano notes and even bearing a strong Rage melody in Jaggers' falsetto warbling. This eastern tinged epic bears the strings based drama of Friends off Led Zeppelin III, but a very Stonesish flavour of southern fried blues and successfully embellishing with Indian, Japanese and even Andian textures wonderful!

The Sylvers (1973) Love Me, Love Me Not - LOST 70s GEMS

Their dance and funk infused The Sylvers II collection, a followup that continued the Jackson Five style bubblegum soul sound of their debut but increasingly bringing elements of their own style complete with strong layers of percussion and an edgier funk label. The material was grittier if not as well written as their debut, and the family group bubblegum act was getting old in 73 even though they were only on their second album, they needed a drastic overhaul. Thankfully their are enough songs with a maturer theme here including songs of romantic devotion to keep up with the adult sounds that were developing such as jazz fusion, there is additions of funky guitars and cocktail piano playing amongst the album tracks. The starts with a gentle vibe arrangement playing a toy music box like melody before their one of a kind harmonic abilities enter in a long with a Purdie-esque drum beat that gives off a strong proto-hip hop vibe as a lot of funk from this period would.


The Rolling Stones (1976) Memory Motel - LOST 70s GEMS

 Definitely the most striking tune the Stones produced during the mid 70s, Memory Motel dominates the album where it is a class above the other tunes. Exceptions could be outlaw rocker Hand of Fate, one of their baddest tunes full of swagger and Black and Blue's twin ballad Fool to Cry with it's melancholic washed organs.
 But this Jagger Richards ballad is still the more iconic and engaging track from the forgettable 76 album as it starts off with some hesitant piano notes. I think of its minor keyed 'teardrop' progression sounding like the opening theme song to a 80s soap opera. I always imagine a graphic of crashing waves when the song plays as titles for "The Days of our Lives" dissolve in overhead shots of ocean spray as credits dissolve in and out.
 The cold synthesizer punches in we hear about Jaggers' lonely thoughts about a peachy kind called Hannah, the detached sentiments match the subtle almost waltz of piano and keyboard. The delicate lyrics start off with the tender descriptions of Hannah before diverging into a running commentary on his desolate surroundings. Incidentally the Memory Motel is a real motel in Montauk New York and was a stop on their tour though it still exists today the place doesn't have good reviews but has its place in Rock n Roll History.

Keith Richards' repeated bridge is the true highlight, amongst Mick' wandering observations, as he remarks on a girl who has a mind of her own and puts it to good use and is truly 'one of a kind'. Most likely referring to Hannah is off to play her song about a distant memory of love while Mick is stuck in ephemeral motels with his cohorts in an ongoing party. Hannah is free and he envies that, not too mention she could be a memory from long ago maybe the innocent romantic early days. Any way you interpret it, Keiths' simple reoccurring couplet is a moment of clarity in this heavy concoction of touching piano, metallic synthesizer and synthesised strings; the latter being used over an actual orchestra is a telling detail to keep the song enclosed and intimate.

The Sha La Las towards the end don't work for me nor the lacklustre choruses of 'you're just a memory'. But the songs power is in its subtle grooves- that's what makes the Stones former while my favourite artists Led Zep had hummable riffs the Stones sought off snuck in and grew on you and this is the best example from a low key period of the band.