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.

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.

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.

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.

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.

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).

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.

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.

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.