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.

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.

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

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.

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.

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.

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.

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

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!

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).

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.

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.

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.

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.