Mungo Jerry (1972) Lookin for a Girl - LOST 70s GEMS

In 1972, Bolan was God, but Ray Dorset and his band Mungo Jerry could easily have competed with T Rex in terms of 50s rock n roll nostalgia, the same warbling, fanciful lead singers with nonsensical lyrics and Glam Rock panache but Mungo Jerry were a little more diverse and rootsy and never really threatened Bolan and Co as much as they should've; seen more as Hippie holdovers form the days of Lovin Spoonful. Guitaist Paul King had left before the colourfully decorated Boot Power was released, Lookin for a Girl is a relentlessly catchy pop tune with ghostly harmonies but a furiously upbeat standard pop rock sound and lyrics about finding love. The Demon is like an attempt at Uriah Heep or Yes styled Prog lyricism, heavy organ work and earnest deliveries, 46 and On is a dazzlingly simple guitar rock instrumental and Open Up, the closer is a cleverly worded spiritual tune wrapped up in a deep and dirty blues groove.. My Girl and Me is another smooth pop harmony song, while Sweet Mary Jane and Lady Rose are charming songs; the former bares great lyrics like "Of all the girls I've ever loved, I still want sweet Mary Jane " and "I think about the hot summer days, and of the cold mountain stream ,Of quiet meadows and green apple trees, and of my sweet Mary Jane". HINT; its not about a girl

Mungo Jerry (1971) Simple Things - LOST 70s GEMS

 The music is incredibly rootsy, fun and upbeat with a banjo and piano always present and the mix is always raw and upfront like the crowded room ballast of Give Me Love. You Don't Have to Be in the Army to Fight in the War is an organ drenched, trippy protest song with a strong lyric, while the simple rock n roll blues and harmonica drenched beat of Pigeon Stew is satisfying as is the joyful whistling in Take Me Back. 

Hey Rosalyn is a clean and clear tune with 60s Bubblegum electric piano, Bolan esque warbly vocal and silly poetry and some Thin Lizzy smooth guitar licks. Simple Things is a pleasant flower power pop song with beautiful flute melodies, Beatles chord progressions and corralling harmonies. Shorty George is yet another quirky old timey rockn roll meets jug band jaunt with the bizarre, but then again not so bizarre for this group, addition of a jewish harp. Outskirts of Town and is a successful mix of Fats Domino piano with Chuck Berry guitars.
On a Sunday with it's Banjo kick from In the Summertime and a transcendental whistling lead harmony is incredible. Keep Your Hands Off Her has a joyous country group vocals that sounds like a Bluegrass and folk rock Countrified T Rex. The We Shall Be Free is an accordion laced knees up like a lot of the songs balancing a Kinks styled dance hall revivalism with the early 70s retro-fetishism for the 50s in a Post Beatles/Glam Rock package; clean, clear, modern yet vintage and very quirky.

Mungo Jerry (1971) Coming Back to You - LOST 70s GEMS

Electronically Tested is Mungo Jerry's sophomore effort, continuing in their jug band blues folksiness full of Dylan harmonica, honky tonk piano, kazoos and Ray Dorset's minstrel vocals. She Rowed has a solid rock n roll groove complete with soaring lead vocals and a countrified solo, Baby Jump is a raucous, hideous blues rocker full of grubby details and a muddy vocal by Dorset. Follow Me Down's pastoral lyrics and Carribean pop vibe are melodic while Memories of a Stockbroker features Native American flute, vibrant barroom piano and a wistful vocal. But best is saved for the last track, Coming Back to You; a cheery farewell song with a poppy vocal

Mungo Jerry (1970) Johnny B. Badde - LOST 70s GEMS

Full of ragtime, skiffle based blues tunes and shanty like fun its a amiable listen but don't expect any of the songs to stir the soul. Johnny B. Badde is the only memorable or frankly melodic tune in this joyful but utterly flimsy singalong collection, Badde is features a clopping country rhytmm, banjos and Ray Dorset's static filtered warble and honky tonk janglyness. It sounds like T Rex largely due to the whimsy and Dorset's fanciful drawl and nonsense verses and sound effects as he fitfully makes all kinds of cowboy raquet, the country blues piano and demonic harmonica are excellent as is the slight distant recording of Dorset's vocal. Best is the raspberry blowing and bottle blowing isolated at the end before the frivolity comes to a close; shame that none of the other tunes of Mungo Jerry's 1970 album carry such a succinct snap.

Starbuck(1977) One of These Mornings - LOST 70s GEMS

A single release from Starbuck, One of These Mornings is one of their more subtle tracks not as overloaded with the cheesy 70s funk synths that Doobie Brothers and Steely Dan utilised far more sparingly. . It starts with a backing ARP Ensemble which sounds like a glassy organ or string section depending on how drunk you are while a spongy, squashy Moog plays some plodding notes before a whirl of blues guitar and a triangle ping and we're off into a call and response melody as the title is sung blankly by a deep voice before Bruce Blackman sings in response; alongside this is a pinging keyboard part
There are the distant scratch of a funk guitar for quiet storms sensuality, some fiery harmonies in the bridge there is a flamenco solo and a 'sea of moogs' solo that was the band's trademark along with the xylaphone .

Starbuck(1978) Take My Hand - LOST 70s GEMS

Taken from the Searching for a Thrill album of 78, the album contains Go Wild, a joker in the pack with it's louche lounge lizard croon from Bruce Blackman and hollow, tactile analogue synthesizer that sounds like Steel drum. But Take My Hand is the absolute scorcher of a gem with it's delicate, touching arpeggio led sentimentality. It's almost a subtle mournful country ballad, it starts with a dripping vocal over a watery guitararpeggio sequence, the chords are so heartrendingly melodic in their fluid minor key progression.
The crisp aching falsetto against the reverbed guitar and vibraphone pings create a heavy emotional atmosphere as the singer, not usual lead singer Bruce Blackman's southern barrelling voice , pleads for someone to 'ease my mind'. The subtle strings and organ along with the winsome 'ah' two part harmonies keep this song so effective, achieving a honesty in the pained delivery of the vocalist/s. It's so unlike the spritely jazzy blue eyed soul and bopping synth pop that was their hallmark.

Splinter (1979) Stateside Girl - LOST 70s GEMS

Splinter were a great group, an unheard of 70s folk rock duo based on George Harrison's Dark Horse label which also featured he talents of Five Stairsteps guitarist Keni Burke. They had some genuinely breathtaking vocals, supreme harmonies and knack for melodic ballads; Stateside girl is a great example of this with a the gentle piano led verse melody explaining "America is where you want to be", the Beatles-eque nasality of the lead vocal complete with the fluttery vibrato of the duo's harmonies make this pure folk pop perfection. The repeated refrain of "Stateside girl, why now?" is just so memorable it forms the key hook and is repeated with a childlike whine, soon the dramatic blues rock guitars wail, acoustic guitars and drums pound away to lift proceedings to a near power ballad level generating an anthemic furore out of the once restrained melody. This is best in the sweeping bridge as Purvis sings "With the Sun in your Eyes, Have You Finally Arrived?" it almost sounds like a song to themselves as they ultimately failed to achieve the success of their peers and labelmates despite effectively reproducing that California Sound.

Dr Hook (1975) The Millionaire - LOST 70s GEMS

Dr Hook started out very rootsy like the Doobies and then transitioned into sleeker soul as the decade wore on, far more successfully then the manufactured left turn the Doobies took with Michael Mcdonald which was effectively a whole new sound unrelated to the former lineups. This is a rollicking soul number with an infectious upbeat lyricism full of raggedy, twangy soul. The lyrics are the band's strong suit, similar to Black Oak Arkansas who also boasted wacky southern accents and truth telling lyrics full of satire. For example "And I got more Money, then a horse has hairs" is spat out as a droll declaration while there are other funny truisms, as the singer states "But I'll never be Robert Redford, Cause I'm much to fond of beer" which is my favourite line in a humorous tune probably written by humorist (clue is in the job title) Shel Silverstein, who penned a lot of the early albums, that or his sharp tongue rubbed off on the self parodying band.

Sex (1970) Come, Wake Up - LOST 70s GEMS

This is a Canadian Power trio called Sex who have a very Detroit sound ala MC5, Frost and The Amboy Dukes, a tough sound made up of bluesy hard rock guitar and very trembly bass and tight drumming. The vocals of Scratch My Back have a blank feel married with excellent drumming and a funky blues guitar style like Clapton with some wobbly string bends. Not Yet is filled with piercing lead guitar that goes from blues to Medieval sounding scales before the track proper kicks in and later highlights a superb bass only section. The sound maybe an onslaught but it is recorded pure and clean for maximum effect, the title and the cover of three long haired hippies running shirtless through a wheat field is not really indicative of the music within, it is an amusing representation of it's time. 

 The pile-driving beat and use of drawling wah wah particularly strong if nothing special, their trippy blues lyricism was no competition for The Stooges or Deep Purple. there is a fourth member, Pierre Ouellette who contributes flute to a few tracks like the Peruvian folk middle section to the Deep Purple sounding,monolithic speed rocker Come, Wake Up which features the slowed shuffle Ian Paice would use, the robotic rhythm chords, meowing eastern blues lines and endless legatos of Blackmore. The harmonica blues of Try with it's cowbell mixed upfront sticks out as does the low down dirty blues licks of Yves Rousseau's wily blues rock guitar. Night Symphony has the singer and bassist Robert Trepanier singing an Ian Gillan spritely vocal line as the band again goes down the Deep Purple brand of funky blues, Speed Metal, classical vamping and frankly instrumental 'jerking off' which now explains the title as there isn't much spirit to the performance. Its all monolithic blues full of ballast and instrumental efficacy but no real depth, worse there is a song called I Had to Rape Her buried under a lot of noise and distortion but at least I found out what was on this provocatively named album and group, not much originality.

Stealers Wheel (1974) Steamboat Row - LOST 70s GEMS

Starting off with some truly magnificent lap steel lines, multi-tracked and recorded with a penetrating clarity, the strains of the unique clean distorted slide playing of lap steel brings the track instantly to life. Gerry Rafferty taking this tune from The Humblebums (his jug band collaboration with Billy Connolly) and reworking it with a slick country rock treatment works wonders. His low rustic voice carries enough folk grit to carry the working class roots of this miners tale while Joe Egans' fantastic Dylanesque rasp adds a lot of colour and tonality to the group vocals. The highlight is still undoubtedly Rafferty's penchant for roots based melodies; the smooth vocal and lyrics unfolds with a winsome folk sense of dour delivery and a sense of despair and resignation, it's no wonder country guitar licks popped up in Rafferty work so often as he would fit right in with the Country scene and his lyricism matched the Eagles' in terms of visual storytelling. It's shame this is the only real melodic cut in a very downbeat sequel to their far more pop rock debut album, their 1972 self titled album featured far more acoustic guitar led compositions.

Steel (1971) Never on a Monday- LOST 70s GEMS

An album full of soulful vocals and guitar hysterics, it lives up to it's name in it's steely twangy guitar work and Soul Rock ballast.

 Never on a Monday, the 2nd track features Cream like dynamics but with a fantastic solo of euphoric notes full of sweet distortion and splendidly melodic vocal lines; it sounds like a fuzz storm with bittersweet vocals and bright fret work. Singer Carl Sims has an old fashioned blues voice that he brings to great use in this fresh material, but then there is Guitarist Steve Busfield who is clearly the 'star' of the show. Busfield is supremely talented, his Jimmy Page styled shredding at the run off of Road Runner is something, then there is Merry Go Round, undoubtedly a highlight, almost an 80s power ballad with it's meaty rhythm and soaring soulfulness of Sims. The little piano 'plinks' that end each phrase are a masterful counterpoint, while Busfield's sweet sustain during the second and third verses are incredibly memorable.

 Maybe features speed metal playing and drums that, forgive me, pack a punch in a very short generic organ based rocker, while Can't Watch One hand features the reverbed, metallic distortion on Busfields guitar that the band name hints at. Rosie Lee is built on Hendrix style of 'cat's meow' wailing and Sims fast paced melodies, Loving You is a gospel piano misstep, Driving Wheel is another guitar showcase of Busfield's punchy guitar harmonics and deranged pull offs. To You Who Are Watching, the closing track, is another worthy tune andthe final highlight with Sim's spiritual seemingly doubled vocals over a bed of doom laden fuzz chords much like Never on Monday and while he is original, no one, not even the electric drumming of the ever-reliable Jerry Norris, can take the limelight away from Busfield who really should be first listed as he dominates this singular effort.

Stealer's Wheel (1975) Benediction - LOST 70s GEMS

Benediction is by far the highlight of the third and final album by the troubled duo/ sometimes full fledged band; Stealers Wheel. But first lets look at the album whole, Found my way to You is an upbeat pop tune, while This Morning is a cosmic strummed pop ballad reminiscent of Badfinger or Big Star, Let Yourself Go has some spunky funky blues guitar notes but doesn't suit Rafferty's deep, nasal, un-inflected vocals. Home from Home is a blissful electric piano tune with delicate close harmonies from the duo that almost reach the peaks of their towering debut effort that was never equalled nor bettered. Go as You Please is another dismissive number with more funky rhythms, hard guitars and some fabulous power chord breaks. Don't Get Me Wrong is bluegrass with its violin and some seductive harmonies, funky tempos and noisy arrangement. Monday Morning is another uncouth rocker built around a supple refrain about how "Monday morning comes around too soon!"; a great truism but a bland statement in this generic stomper. The final track and the tite track reveals the daring Indian psychedelia hinted at on Another Meaning from their 72 magnus opus. The opening track as always in early 70s rock was the strongest; more melodic and polished, launching with a stratospheric guitar riff winding back and forth in a carousel style it's pure ecstasy personified through electric guitar revealing both Raferty and Egan'sknack for building solid pop songs around phenomenal instrumental hooks primarily the legendary sax part of Baker Street and the ripply guitar arpeggio of Back on the Road. But then Rafferty's winsome vocal so staid brings the song down for some harsh realities before Egan once again like the McCartney of the equation lifts proceedings with a stellar, positive harmony vocal; they were genuinely the closest approximation to a 70s version of Lennon McCartney with their split of composition and arrangement duties on each others songs and their occasional co writes it was a unique and unsung collaboration.

Farm (1971) Sunshine In My Window - LOST 70s GEMS

A Latin, Jazz Blues rocker from an unknown US group based in Illinois; I came across this youtube, with it's furious, utterly unrelenting drumming, frenetic blues shredding that resembles Santana's fluid tone and unremitting Samba percussion I was completely absorbed in this highly melodic tune. This is before the a soulful organ enters and the tempo steadily changes to a slow back beat that rock and soul groups alike were heavily employing in the late 60s; then the gorgeous aching vocal melody joins in and the guitars and organ play the same chords to blend together for some merely foundation for the vocals. The lead guitar from I assume the 1st guitarist listed Del Herbert, proceeds to obliterate everything with another furious display, it's dramatic, mellow and aggressive style of playing all at once.

Frijid Pink (1970) Music for the People - LOST 70s GEMS

Crying Shame is a rip off of Cream's Tale of Brave Ulysses, though this version is far superior with more sonic quality and volume than Cream's poorly recorded catalogue. Tell Me Why is another example of the 'raining down' of heavy guitar distortion, a bluesier version of the Stooges, the appeal of Gary Thompson's amateur, fuzz drenched blues playing married with the distant, Native American drum beat of Frijid Pink's long serving, founding member and talisman of the group Rick Stevers is excellent to me. But still if you include Music for the People, the 1971 single that featured Dawn of Tony Orlando and Dawn on backing vocals, it's still the best song on the album. The trembling, watery acoustic finger picking to the steady build up of volume and power in Kelly Green Aka Tony Beaudry's vocals before the coursing gospel vocals of Dawn, cooing in the big stacked chorus to the final trailing wah wah blues solo of Gary Thompson erupting in a cathartic sweep of notes. Exquisite. The rolling rhythm of Green's vocals as his croaky vocals state 'Music is the only thing existing in my life' he manages to engage and carry a lot of emotional heft and soulful conviction with his fairly limited rasp.

Rush (1975) By-Tor and The Snow Dog - LOST 70s GEMS

 Musically Fly By Night is my favourite hard rock album on a stylistic level with Alex Lifeson's ringing power chords played with in terse bursts with a arena ready level of reverb while Geddy Lee's trademark high pitched vocals are appropriately demonic and detached as he shrilly wails away all under the throbbing bombast of their new drummer Neil Peart. Peart's sci-fi futurism would contribute to the album's fantastical Prog lyricism, though I think the conceptual design of the album is a little all of the place but that would soon be improved on 2112. Erivaldo Felix, who would famously paint the Kiss Solo Albums,provided the blue and green album cover of an owl like beats standing in the snow with it's wingspan spread out before us and it's amber eyes lit like gems of Topaz. Best I Can is a highlight with it's rockin and rollin track full of groove broken up by the occasional 'splintering' double-stroke power chord and rollicking vocals and groove by Geddy Lee. another is the slamming power chord progression of the closer In the End which features the dynamics of a Houses of the Holy album track for all you Zepephiles out there.

 By-Tor is the album's centrepiece with it's many unnecessarily named sections, it's ultimately it's own little opera about an epic fight between a dog that was allegedly a 'Biter' renamed to the more futuristic By-Tor and an actual snow dog breed, but it's all about the music in my opinion over Peart's lyrics which could get very descriptive. The song, my favourite by the band alongside What You'e Doing from their debut, starts right out the gate with a roving, circular guitar pattern; Geddy's bass is weighs heavily in the mix alongside is spectacular strained falsetto that adds anotherworldly dimension to the lyrics with his euphoric delivery. Neil Peart's drumming is a focused assault sounding far more hollow and yet harder edged then any drummer before him, while Alex Lifeson's tonal guitar clangs and rings out in all directions with it's echoplex sounding so much grander than the standard chamber reverb effects of the day.
The strong delay of the guitar adds so much sweet grandeur to the crunching hard rock chorus as Lee spits out the title of the song like a children's tale. We get some fairly placid chords and a busy bass line to soothe us before an abrupt Lee 'yelp' leads us into the titular 'battle' of the two giants. Here Lifeson's guitar comes alive with some frantic blues licks to the backdrop of a heavily treated talkbox guitar part made to imitate By-Tor or the Snow dog. We are treated to a cacophony of whining Hendrix space licks in the background and growling talk box upfront that has been slowed to an absolute sludge to indicate a gruelling monster.

 Soon Peart gets involved with his tight drumming snapping us into a series of meaty drum rolls with a hissy phaser effect employed on them before an onslaught of staccato rhythm which is used to suggest combat. It all peters out into a spacey whine instead of a talkbox growl; the mighty Snowdog is the victor! But it's not all over as Lifeson resurrects the tune with some ambient guitar playing sounding like the 2112 discovery section, their are wind chimes to give a empty cathedral like atmosphere. Alex Lifeson's droning chords and Neil Pearts' jaw dropping meaty drum rolls lead us into a scorched blues rock bridge before a final reprise of the opening verse with it's poppy melody and fluid bass guitar riff as Lee's distinctive clear tone voice sweetly soars; we end with some circular fuzz guitar melodies and a final burst of Peart's drums to finish us off and I'm spent!

Eagles (1972) Take the Devil - LOST 70s GEMS

Eagles, the self titled debut album of the definitive Country Rock band of the 70s was possibly the most inventive album of 1972 with it's mix of smooth countrified Folk rock ballads and distorted guitar/ banjo bluegrass flavoured rock. I have chosen this remote and cold little Randy Meisner' track, one of three contributions alongside pop rocker Tryin and waltzy ballad Most of Us are Sad, Meisner was by far the most represented member on show ironically over Glenn Frey who was the lead singer on two of three hit singles off this album. Meisner's penchant for melodic pop rock and his Nebraskan wail was easily along with Frey the sound of the new band particularly as Meisner's high voice would be the fulcrum of the band's distinctive harmonies. Though he is undoubtedly with three writing credits and three lead vocal spots the star of the album, he is also incredibly underrated particularly on Take the Devil with it's fresh hard rock take on Country rock with it's foreboding spirit.

It starts with a lone, rugged acoustic guitar strumming away discontentedly alongside bassist Randy Meisner's wild vocals; a coyote like call of electric guitar whines in the background. Meisner's vocal melody, one I admit is a bit primitive in it's undulating manner with Meisner straining to go up an octave abruptly for the second half of the vocal lines. It's bitterly cold track draped in Glenn Frey's sparse and brooding fuzz guitar notes and mechanical blues playing; hanging over the track with an air of implacability . Frey's solo whines and cries in meaty pull offs while the shiny acoustic guitar glints away in the middle channel. Meisner's lyrics sound like the prose from a Cormac McCarthy novel like Blood Meridian with the 'religion and bloodshed' imagery of a savage tale from the old west. The marauding distorted guitar soon plays a descending set of power chords and drives the tempo up alongside Henley's rudimentary bar band rolls.

Halfneson (1972) Biology 2 - LOST 70s GEMS

Sparks, the famous 70s art rock band that featured a member with a full on Hitler moustache started out named Halfnelson with a self titled debut album released in 72. It is quite an astonishing album packed full of tight pop and quirky vocal, guitar and keyboard arrangements; with it's animated and European vocals, 50s pastiche, sturdy rock n roll, fanciful pop all in a haywire and uptight style it feels like the first fully formed New Wave work. It's uncanny and no wonder they were so popular during New Wave's heyday in the late 70s as they practically started it off four years before it emerged as a full genre. Of course there is more Prog influence and reliance on rock guitar than in alter NW bands but it sure is a milestone. Wonder Girl illustrates their jacked up bops and very aristocratic sounding RP lead vocalist Russell Mael with a stunted stop start melody with idiosyncratic almost French phrasing. Biology 2 carries a Talking Heads feel with sped up creepily sung falsetto while the guitar and keyboards play odd melody line to a tune about the bonding of DNA; it basically sounds like the Chipmunks meets the Big Bang Theory! There is an element of them taking the latter Beatles experimentation to new dimensions with a mix of reverbed sounds other memorable tune is High C with it's slight Prog organ and hard rock dynamics with it's highlight being the 'wahoo hoo' doowop part reminds of some cartoon with it's chirpy exuberance The album is filled head to tails with circular instrumental lines and very zany motifs not to mention Russell Mael's theatrical deliveries to make this a fresh Glam Rock work.

Jonathan Edwards (1971) Athens County- LOST 70s GEMS

Jonathan Edwards' 1971 debut album was the peak of Folk rock's pop side; it's leaner and more melodic than the early Byrds or latter day CSN. Jesse should've been a hit on it's own right with a strong narrative about the namesake of the song, it's delivered in childlike, nursery rhythm with folk guitars and gentle piano touches and Edwards' earnest vocal at the centre navigating the trials and tribulations of the titular figure like a novel; it ends on a beautifully sung 'la la'. Emma is much the same with a similar vocal melody but it is a far more melodic with a soulful tunefulness and catchier chord progression. It was the B side to the political tinged folk ballad Sunshine which was the album's big hit, but the romantic devotion of Emma with it's country folk pop melodic-ism, it too could've been a hit; the ending wails of the pedal steel are a fine addition too. Cold Snow is another bright bluegrass tinged folk ballad with another tight, pop melody and echoes of Stephen Still's phrasing in Edwards' hippy-esque observations and hopeful, affirmative stance; here snow acts as positive imagery to 'cover all the ground' with the sky 'shining white' Athens County was written with Joe 'Shaddap yer face' Dolce ironically and while it bears a quirky country turn it is a simple tune; the chorus is pure country pop with the dulcet delivery of 'Sweeet Maria'; though the harmonica solo is a bitter intrusion to the song's fast paced beat. 

Dusty morning starts with a dark melody and rugged acoustic guitars as Jonathan Edwards's smooth Americana vocal seeps in, like the whole album it's strength is in it's arrangement; tight, circular melodies, smooth pop vocals and energetic shuffles. Everybody knows her is another of the album's Crosby Stills and Nash influenced numbers with it's hollow tenor, 'la la' vocals and earthy acoustic guitars set to a rock beat. The kickass beat drives the song with defiant refrains of 'she wants you back again, try her love again' sung with some rock n roll or folk styled detachment and a clean but rustic sound. But I will choose Athens County by the slimmest margin for standing just a little out form the rest with it's clean cut country folk rock perfection and wicked melodies.

Jonathan Edwards (1972) Give Us a Song - LOST 70s GEMS

The 'Sunshine' hit maker Jonathan Edwards, not the Olympic rower, didn't have the same success with his 1972 ATCO relased sophomore effort the colourfully titled Honky-Tonk Stardust Cowboy. While the title track is straight up tongue in cheek novelty country the album still contains it's fair share of brisk folk pop. Stop And Start It All Again is a fast paced stop and start tune with acoustic licks galore, chiming away with Edwards upbeat positivism and simple but bright sound could easily classified this as 'Sunshine Pop'. Dues Day Bar continues in this semi- Bubblegum sound with some Mountain yodelling tucked in with the amiable strum. Everything starts with some delectable Pedal Steel playing while the song is based a around a circular vocal and contains some sweet backing harmony in a very traditional country sounding record. Dream Song starts with a pwoerful, inspsiring vocal by Edwards singing with determination before beautiful strings strain in a stirring and emotional waltz; the classical piano and the way he sings a little higher in the chorus is fantastic, while I could have done without the intrusion of the ill fitting harmonica solo.
Give Us a Song should've been his second big hit with it's slight pathos but incredibly melodic verse melody and chorus hooks; it's part old English folk dance, part California roots rock,part country western lament.

David Soul (1976) Kristofer David - LOST 70s GEMS

The star of Starsky and Hutch also had a huge hit with the definitive mid 70s soft rock ballad and smash hit Don't Give Up On Us; a Glenn Campbell easy listening number with big strings, defiant vocals and a saccharine flavour left in your mouth. It was a time where TV and movie stars Like John Travolta, Lynda Carter, Olivia Newton John etc. would release their own singles with heavily arranged AC pop ballad and schmaltzy messages, but this one turned out good mainly because David Soul wasn't a huge star at the time and the album is more reflective of musical trends at the time, this is a 76 album where the semi-Countrypolitan sound was still new and fresh as opposed to the discount disco records that some stars would cash in on later years. Many songs are honky tonk styled piano show tunes, very music hall and classic era, while the half baked song Landlord is a funky oddball number with it's buzzing percussion and offbeat delivery alongside whirring strings it sounds like a drugged up quirky sound. Seem to Miss So Much (Coalminer's Song) is more gentle folk pop ballad and at least closer to his big hit if not anywhere near commercial or lively enough, while Ex Lover and One More Mountain to Climb also bear piano and deeply resonant vocals carrying the plaintive air of Don't Give Up on Us. Topanga and Black Bean Soup have an acoustic Country jive to them with the latter bearing more of that funky old timey magic before ending with Kristofer David which is a fingerprinted acoustic tune complete with animated vocals acting out different voices. Ultimately Don't Give Up on Us, the closing track, is the only worthwhile tune here on an utterly forgettable album devoid of any of the pop hooks than that hit. But Black Bean Soup does have something, with it's violin, funky acoustic strum a countrified treatment of funk, in fact the plodding rhythm and hushed sensual vocals remind me of Leo Sayer You Make Me Feel Like Dancing form the same period. The duet is sung with passion particularly by Lynne Marta's raucously dispensed vocal, as they describe a relatively straightforward recipe with warbling swagger and some Down-home spirit as extra drums, louder violin and background chatter come in and join the party.


Then again, I change my mind and Kristofer David has a pure innocence to it as David sounds like John Denver, the addition of sound effects such as the continuous little chuckles, the animated growl, 'in character' responses from a female vocalist, the out of song interjection about "Love?!" which he shouts really loud make this a silly closer to Dr Hook. Soul has vibes of his mid 70s peers the John Denver and Leo Sayer's smooth AOR ballads and the quirky roots music of Dr Hook but nothing is better than a song like Kristofer David. Here he is singing a tune about the 'ladybug of love,' a lyric a little too earnest for an adult, and so it is recorded as if played live to a giggling classroom of children. Over the course of the song we get acted out asides occurring mid song by a female while Soul himself breaks away from gently singing to making his own farcical comments before it ends perfectly with the group of children joining in 'las las' before a gaggle of scattered applause; it's whimsical and not too serious like the whole album minus the big, big hit of course which completely does not belong here.

Pilot (1975) You're Devotion - LOST 70s GEMS

 Pilot's second album wasn't all that great, their third album Morin Heights was the peak of their songwriting and arrangement, but Second Flight had a few melodic cuts. 

 This sophomore album is far more arranged punchier melodic than the first and packed full of hooks; vocals, keyboard and guitar wise, You're my No 1 with it's sweet multi-Moog grooves and sugary bubblegum vocal melodies are an example of this while the quiet acoustic/piano moments deliver a bit emotional weight in between the lightweight strings laden parts. With the ballooning synths, the hand claps, airy production and effervescent harmonies make this like a cheap but enjoyable ELO lite, Call Me Round continues in that ELO tradition of romantic Beatles styled verses, clear-cut acoustic guitars, glistening arpeggios and ringing harmonies. 55° North 3° West is full of very animated Moogs with the dials used to full effect as they glide in an thick but bright major tone, sliding from note to note and fluctuating in sustains for a 'wishy washy' style set to a disco beat; it's like the Bee Gees meets Starbuck with the keyboard bass led rhythm of the former and the saccharine analogue synthesizer lines of the latter. Do Me Good has a fantastic hook, an ascending vocal line sung with David Paton's characteristic pinched high tenor and continues with Badfinger type of harmonies and more Beatles' styled piano marches, while Bad to Me has an even catchier set of pop melodies set to a sturdy beat as sweet strings, gutiars chime and stir in a Baroque/Prog Pop package.

Passion Piece is a very Beatles style mix of old timey, singalong music hall parody with 20s swing and growly, theatrical vocals and Beatleqsue harmonies; the topping are chirpy horns and strings that carry the tune along with the wonderful refrain of 'she get's the best of me'. Dear Artist is another plonking Beatles-ques piano ballad, more intimate with a gentle but hopeful vocal from Paton providing the foundation of the song and some great line deliveries such as 'paint me a picture call it HELL'. Dear Artist is the second best song on the album but the very best is without a doubt You're Devotion which starts with some urban piano and big snarling guitar work and some very Badfinger sounding vocals, it almost sounds like Come and Get It from that band, is it Tom Evans singing the soaring lead vocal with it's bratty nasality and matter of fact punch; only the warped bass synth groaning in the background and the backwards echoed vocals at the end occasionally remind us this was mid 70s prog and not a Badfinger outtake from their early 70s peak. Well there you go I don't no what to make of this album other than it's very Beatles sounding and very bubblegum light but not to special songwriting wise!

Joni Mitchell (1970) Mornin Morgantown - LOST 70s GEMS

Ladies of the Canyon is along with Blue represents the height of Joni Mitchell's folk pop phase before the jazz experimentation and this track is a delightful tune that evokes bucolic splendour with it's delicate phrasing and lilting tone. Mitchell's incandescent vocal is matched by the strains of a Dulcimer and waterfall piano fills as she describes either a modern community or a Hippie camp.

America (1972) To Each His Own - LOST 70s GEMS

The circular repeating lines by Beckley, the twilight backing and the slow finger picked verses reveals how they seamlessly blended folk into pop balladry far more than their rootsier cousins Crosby Stills and Nash. You just can't beat that incredible chorus with a stack of lyrics that roll off the tongue in a smooth laidback melody; you get the feeling he could sing this in a loop for eternity.


I'm gonna miss you, yes, I will
No matter who you are, I'll love you still
For my life is my conscience, the seeds I sow
I just wanted to let you know

Pilot (1974) High in to the Sky - LOST 70s GEMS

Pilot, famous for the huge hits Magic and January debuted in late 74 with From the Album of the Same Name; not that's the actual title. It bared a awesome hand drawn art deco shaded image of the band wearing fanciful scarfs to a backdrop of a puffy cloudy sky resembling a modern art version of a World War Two propaganda poster, the music inside is just as whimsical with a clear cut Beatles pop sounding record. While opening with the hit Magic, an ode to the often unsung joy of late morning lie ins, it was the perfect bridge of Post Hippy laidback quirky pop and 70s Arena Rock hits of bands like Foreigner and Styx. Sooner or Later has strong verses and the piano and vocals are equally crystalline and full bodied while the Sgt Pepper tune Girl Next Door has a strong chorus but the melodies never quite hit the heights of the opening track. Heavily distorted slide guitars crunch away along with the percussive honky piano work and tightly compacted drum work. There is a lot of Beatles or even Wings in the group's sound and occasionally some other prog groups but the band it seemingly most likely influenced was Ambrosia, the Prog Pop outfit that would debut a year later with their own very Beatles-esque brand of keyboard pop rock, however they were far more successful on the chart with hits like How Much I Am, The Biggest Part of Me and Holdin on to Yesterday; Ambrosia would embrace the late 70s Soft Rock balladry that would herald the 80s while Pilot were more drawn to the offbeat, far punchier beat pop of the early 70s that looked more to the 60s.

The trouble a lot of these songs feature very rudimentary and boringly steady beats while the melodies are a little too bubblegum and lightweight for the 70s lacking any real depth; while that's no surprise considering the lyrics of Magic and the repetitious nature of January


High in to the Sky is a brief look at what they could've been with the big intoning, reverb drenched Glam vocals reminding me of She Came Through the Bathroom Window while the multi tracked Moogs play a sweet counterpoint to the whining guitars; the high pitched harmonies and prominent backing doo wop vocals are the rare connection to the Magic as they are not present elsewhere on the record to nearly enough the same degree. The upbeat Just a Smile features glistening semi-acoustic guitar arpeggios pinging away and sunny pop vocals but not a very strong melody again. There is a slightly Prog majesty of Sky Blue mixes treated vocals, big power ballad drums, pirouetting strings, snickering horns, finger picking and Hawaiian sounding slide parts. Lucky for Some has an airy sound with wet, piano notes and big boxy acoustic guitar and drums and more moaning lead guitar and a Peruvian sounding flute solo with a willowy echo to it. While the closer Lovely Lady Smile continues the South American folk sound of the Lucky for Some even with Spanish lyrics and a strong AC pop sound that most certainly was the focused sound Ambrosia took to heart as they must have been influenced by this record.

Eddie Kendricks (1978) How's Your Love Life Baby - LOST 70s GEMS

 Vintage 78 was Eddie Kendrick's album starts with How's Your Love Life Baby which kicks proceedings off with the delightful Jackson Five mix of congas and vibraphones before a flurry of vocals, flutes and wah wah guitars sweep in. The rumbling drum rolls in Tony Macaulay's The Best of Strangers combined with the twinkly vibes and chimes keep things bright and sparkly on this Carpenters sounding cut.Don't Underestimate the Power of Love is another song full of zinging strings and winsome tenor vocals from Kendricks, soulful choruses and big doom laden drums.
Ain't No Smoke Without Fire is a disco cut with Motown sound that by 78 was at least ten years old and out of date but still pretty groovy, If It Takes All Night is a slow jam where Kendrick's delivery is exposed as a little too meek, while One of the Poorest People is an delicious mixed soul song with upfront waka waka guitar, sweet strings far back and Kendricks backed by his chorus singers in the middle singing with gospel spirituality as wah wah guitars and toms roll on. Whip is a strange one as it starts with an odd bullfrog vocie doing a countdown before launching into it's heavy Disco beat, the social conscious lyrics not fitting the elements of a soulful disco tune with it's huge horns and sultry backing vocals. The chorus of Your Wish IS My Command is catchy, it goes "Just like a genie Your Wish is My Command, And if you leave me you only have to clap your hands" by the sweetest gospel singers and backed by a twinkly, quiet storm meets Disney music bed, but Maybe I'm a Fool to Love You sounds like an exact copy, same tempo and production elements.

Mac Gayden (1975) Sweet Serenity - LOST 70s GEMS

A gentle tune based around a funky acoustic strum, Gayden's brown note deep voice and some Prog overdubs such as doom laden piano stings, oboe, strings and some that cackling instrument that sounds like a Indian shenai.

Eddie Hazel (1977) So Goes The Story - LOST 70s GEMS

On Eddie Hazel's77 solo album, Game, Dames and Guitar Thangs; every song is phenemonal.

Frantic Moment starts with stunning reverse echoed guitar licks, panning around in a sonic soup, strident female backing vocals hypnotically sing as a tight and explosive drum beat and drawling bass guitar induce you further. So Goes The Story explodes with meaty wah wah guitar rocking out as the backing vocals sing a sped up rap line, as always a the beat is strong and some sticky wah wah synth or guitar parts dress up the rest of the song nu funk textures creating a full landscape if a little busy on this track. Hazel's clockwork, mechanical blues guitar playing often devolves in to liquid jazz lines but is always a treat for the ear particularly when balanced with the 'wet' squelchy, wah wah bass plodding along and the compact, biscuit box drums. The itty bitty blues notes that Hazel unravels in the solo in the Beatles cover of I Want You (She's So Heavy) are fresh, absorbing and feature the right amount of legato and shredding as a climax as his solo gets more intricate. On the cover the backing vocals are in sync with guitar and piano as they reinvigorate it with their hypnotic mixture of lilting harmonies, fluid blues playing and a punchy rhythm section to create a funk rock sound that packs a punch but is also very smooth with a dark undertone.

As with a lot of his work on this album, the reverb is increased at specific parts of his guitar work mid solo for added impact. His fat tone and fluid playing only gets cuts deeper with these touches of chamber reverb emphasising the thick, tactile fretwork. I covered California Dreaming in a past post but Physical Love is a strong substitute for that epic Mamas and Papas cover that bookends this revelation of an album; here he employs a Hendrix styled use of a Hammond Organ filter and the drawling distortion as Hazel makes impressive use of pulls and slides to a syncopated electric piano groove. An analog synthesizer meows away in duck like wheezes adding an eccentric tone as Hazel's guitar is bizarrely pushed so far back in the mix its hardly audible above the rhythm section. On What About It Hazel's playing is more obviously funk with accented parts and more percussive sparse playing

Eddie Kendricks (1976) The Sweeter You Treat Her - LOST 70s GEMS

He's a Friend mixes punchy horns and sprightly Motown melody with Philadelphia International Strings; it's discofied in parts and is draped in Kendricks' mellow falsetto. The horns are smoky and stacked and high register for that classic 70s soul sound, while the chorus reveals a Christian element to the title; makes sense, he is your friend! The Sweeter You Treat Her starts with the most gorgeous rendering of harps and electric sitar along with dreamy horns as Kendricks falsetto floats in; it's beautiful as the chorus slides in with a aching vocal line. Never Gonna Leave You bears a similar gossamer sheen drawn from Philly Soul's majestic arrangements, as does A Part of Me which starts with some fantastic crisscrossing harp trills, while the supreme harmony laden I Won't Take No features a strong Jackson Five sound. Chains is classic sou with sprightly beat driving strings playing a syncopated scale up, undercut by slicing string sections, It's Not What You Got is another of his penchant for long phrases for titles and is a jam based around a guttural clavinet boogie, buzzing horns and multi-tracked, flowery synth parts and On My Way Home is upbeat and big and with a lovely harmonised message.

Area Code 615 (1970) Scotland - LOST 70s GEMS

This oddly titled supergroup provided  us with a Progressive bluegrass record full to the brim with rocking banjos, gentle Pianos and funky pedal steel lines; Area 615 featured the cream of Nashville's new young players who bore just as much allegiance to rock, soul and funk as country and bluegrass.
Scotland starts with a hard rocking groove broken up by piercing violins playing a Celtic march. The Beat then drives on to feature a melodic back and forth call and response section between harmonica and various instruments. Some bubbling Wurlitzer piano chord progression changes things up for the emotional break before a fuzz guitar stabs through it in reaction. The percussion heightens as a Sam and Dave horn sounding part occurs as guitars wail away and banjos pluck in the middle and drums are bashed in a frenetic frenzy as the band winds down this melange. Always the Same is anything but with it's plucked strings and plonked piano notes start the tune with a melancholic circular arpeggio; instantly memorable. Judy is a heartbreaking classical piano piece that sounds so much like a masterpiece with the accompanying dirge of strings it can't be original.

Sausalito features a raucous Hendrix chord driven funk shuffle along the heavy psychrock rhythm of the Yardbirds' famous dual guitar attack Ten years Happenings Ago. Stone Fox Chase is the most notable for the famous harmonica 'twizzle' that became the short call sign for the Old Gray Whistle Test. But Fox Chase is a incredibly soulful with it's maracas backing to the harmonica work that vamps off while more complex percussive layers enter in to bring some Wild African textures in to surround the stoic, drawl of the harmonica. The rampant cowbell around 2 minutes with placid Kalimba melodies in the background as a counter point is fantastic as is the final run through improvisations by the harmonica player where he draws on the opening stutter to even more syncopated, approximating the timbre of a harpsichord at one point.
 Russian Red has a haunting yet jangly banjo bouncy up and down in banjo rolls and even features a string run down as orchestration enters the magnificent track. Katy Hill is a even more impressive instrumental with a more dazzling banjo lick based around in twirling harmonisation with a violin before a peculiar downbeat pedal steel solo. The standard late 60s blues guitar and soulful rasp vocals also enter and some more harmonica but it's all forgettable funk jam in comparison to the itty bitty country stuff, such as the violins dancing strings and the pedal steel's minute fretwork; it's just breathtaking in a speed funky bluegrass jam sought of way.


The album get's more incredible as it goes along, Welephant Walk starts with a heavy wah wah guitar twanging away with a hammer-on part that is then taken over by a pedal steel; the tight drum beat and the attitude dripping from the various parts of this song is something to behold particularly the electric guitar's stomping groove work matching the shuffle beat as is the ending guitar wail and the immediate reaction of those in the studio control room left in at the end, audibly blown away by the take as we were too. The whole band deserves a round of applause after such an electrifying live work as this album Trip in the Country, but as with any team their are superstars; Weldon Myrick is a fantastic steel player, Wayne Moss would go on to form one of my favourite bands Barefoot Jerry and were my entry to this album, the bass player Norbert Puttnam would see the most success with his work as a producer but all these guys kept the playing charged and not rooted to any genre but to whatever would blow your mind.

Roger Daltrey (1975) Hearts Right - LOST 70s GEMS

Daltrey's second solo album proved if nothing else he knew how to pick a creative cover, here he is depicted in a photo brushed shot as a Centaur raising his front hoofs up for a gallop it work with his curly blonder mane as he fits that of a bare chested of statue-esque Greek god. There is a strong disco vibe on Paul Korda's Hearts Right features a saxophone solo, some reggae organ work and a serene bed of sweet 'oohs' backed by twinkly vibes and a wah wah clavinet; and this is just the middle section before clapping back to the songs' main body. It is made up of a hard hitting Urban groove with punchy horns/piano, gospel choir backing, hard hitting drums, heavy guitars etc. Proud is the next memorable RnB flavoured cut with a wah wah guitar struck in measured beats, some soulful horns licks and Daltrey on screamingly good form on the chorus, the deadening beat breaks into a orgasmic chorus with backing vocals and horns reigned before returning to the syncopated beat which owes more to hard rock than funk. The Blackmore styled guitar solo whines with the hurt and reverb in equal doses in what is a very authentic soul number with excellent use of tasteful reverb, wah wah and magnificent horn work. It's followed up with World Over a funky mid 70s disco track with hand claps and preppy piano chord progression along the lines of Love Will Keep Us Together or Elton John but it starts with a ring of the maracas and the most deliciously funky blues guitar solo with it's light, Hendrix/Ernie Isleys filtered underwater wah wah swagger to it.

Near to Surrender continues the more melodicism of this album as opposed to the mournfulness of the prior album, this track is another Elton styled ballad with rag time chords and Hawaiian slide solo. Walking the Dog is a straight edged funk song with call and response vocals describing a dance move called Walking the Dog, it features a saxophone solo while the main rhytmm is cowbell and slide guitar led but Daltrey's vocals are unbearable in their odd 'tannoy 'filter. Milk Train is vastly improved with a lean blues solo and downtrodden dancehall vocal matching the plodding country rock beat. The closer I Was Born to Sing Your Song is formulaic but the dramatic strings sweep in with rugged low register drags that tug at your soul.

Roger Daltrey (1973) The Story So Far- LOST 70s GEMS

Daltrey, is the debut solo album of Who vocalist Roger Daltrey and features an interesting cover photo with Daltrey's pearly blue eyes and cherubic curls framed in a locket with his given sunny back lit like it's on fire and a Greco-Roman lettered design where Daltrey printed around the circular head shot like a coin or a design found in a temple. The Way of the World is a classical mix of Daltrey's operatic growl, classical piano and very bluegrass guitar solo and violin work. You are Yourself features dramatic use of reverbed drenched vocals and the usal Elton John soft rock mix of piano strings that Daltrey and many others were aping in 73; John's peak. Countrified solos persist in this song too, while the lyrics concern the message of staying true to yourself but the gigantic chamber reverbed section makes him sound like he is fading away, trapped and full of pathos. His bluesy vocals are sung with an erratic gusto in the big band, horn driven melange that is It's a Hard Life; the flute and heavy strings reflect the rugged, downtrodden nature of the song. Giving it All Away is one of many of the songs written by future superstar Leo Sayer and while the two artists are so different their mix of earnest boyish nature is comparable and the chorus is sung with exuberant by Daltrey.


All the songs are connected and seem to flow in and out of each other in tempos of their similar tempos and feels, it's all orchestrated balladry but it works with the array of songwriting talent from Dave Courtney and the occasional break like Ska Reggae beat and furious saxophone lines of The Story So Far, or the splintering, meowing multi-guitar solo, organ vamps and shimmering acoustic strumming of Reasons; I thought it was an outtake called There is Love, that Jimmy Page played on but the lead on Reasons sounds so much like Page's on Joe Cocker's cover of With a Little Help from my Friends, which this tune sounds like a ripoff of.

Barefoot Jerry (1973) One Woman - LOST 70s GEMS

Barefoot's second self titled album was released on Warner Bros after the promising young Country Rockers were dropped by Capital after one album, this work is full adventurous Prog experimentation if a little overdone. Right so where do we begin? Castle Rock is an excellent opener with funky piano backing to a fuzz toned Southern rock guitar duet-ting and harmonising with a piping Moog going off in roundabout classical music runs; the ending bawling notes from the Moog during the song's coda is one of the album highlights. In God We Trust features the band's trademark deep barrelled drawling lead vocals, anonymous, laidback and detached often singin with mantra like apathy which fits the lyrics based on the treatment of Native Americans and worship of God and it's connection to violent acts to a backdrop of Jazzy slide guitar. The quiet mostlyAccapella and tubular bell bridge reminds me of Yes and Prog artists of the early 70s and definitely no American Country rock group. Message is a blues with an apolitical tone about the song having no meaning or ''message', just intended for 'boogie' and 'some other time' they will 'enlighten your mind'; the last bit sung in a dragged out harmony before a sturdy, dance-floor breakdown of hi-hat and funky blues licks, atmospheric piano before ending abruptly to confirm it's disposable nature ironically failing to find it's groove.


One Woman is a fantastic ode to Monogamy with a fast paced acoustic strum, a thick drawl vocal and feisty pedal steel and very punchy high harmonies during the chorus. The catchy central melody is hummed along at the end by the singer in one of many oddball moments on this album. Big Band Horns also make an appearance in a bit of an unnecessary, 10cc quirk they pop in twice for a glamorous effect in a mostly acoustic folk based song.



Friends features a warm, twilight vocal backed by more folk guitars and more circular melodies, except here we get spooky pedal steel work along side intense washes of big, fuzzy Eastern sounding synthesizers ringing out like a gong. The synthesizer is panned in the mix creating an extremely disconcerting intrusion in the track but completes the haunted nature of the track. What completes the weirdness is the coruscating climax of synthesizers and strings that completes this mini Prog workout though it is rather strange with the cooing, Southern vocals and lyrics about the benefits of Friends in 'high places' goes over my head in this heady, tribal ritual of a song.


Snuff Queen is a delightful 55 seconds of charming lap steel playing at it's best full of vacuum packed slide work displaying the paradox of the instrument; with it's smooth distortion and playing style of of spurts and sustains. Little Maggie starts in classic ballad piano on a sea of undulating fuzz Moogs before a short bass line leads us to an upbeat folk chords and lilting group vocals; once again the lap steel adds a great deal of lap steel fills. Warm is in the vein of Friends with the exact same formula; folk melody, rugged vocal, huge overwhelming fuzz synthesizer, here the acoustic chiming is faster and the synth dances along a little better with rhythm and still is odd in it's Medieval motifs as are the descriptive lyrics and the return of the synth for one last little climatic burst at the end. As I listen through this album it is a very strange, trippy production for the Southern rockers, different to much of their other work which would be either more funky or more folky depending on their mood but never again this Prog; though it fulfils the experimentation of their debut.



Ain't it Nice Here once again feels like deja vu picking up with the arrangement of Friends and Warm; let's see, circular acoustic riff, positive spirituality, brooding double-tracked lead vocals but alas no synthesizer just ringing bells and the echoes of a ghostly pedal steel. Ebeneezer reminds me of a the band Kansas with it's crystal clear balance of poignant piano, acoustic guitar, pedal steel and an aching Fuzz Moog, the heart and emotion of the song is apparent particularly when the watery organ part fades in the background. Big choral harmonies come in to bring to a close quite an experience; a Prog/Ballad/Trippy Folk album that contains a lot of synth work for an Americana act based in Nashville.

I'll choose One Woman as the gem as it is head and shoudlers above the rest on a songwriting basis.

John Denver (1976) Pegasus - LOST 70s GEMS

Spirit is the third of John Denver's mid 70s trilogy of albums that marked his peak; Back Home Again and Windsong contained heavy bouts of Country tunes but resonated with me on the ringing Mountain ballads full of sweeping strings. Spirit is adorned in Native American imagery with Denver sitting in grassland wearing an embroidered shirt, one could almost call it cultural appropriation as he has no known Native American heritage , not nearly enough for this exploitative cover. Hitchhiker starts off as a strong bluegrass tune with a pronounced 'hick' accent in Denver's voice but it has a thoughtful depth to it and strong backing vocals. Come and Let Me Look in Your Eyes is the album opener and like many of his songs's the chorus is delivered too flat and wordy while the chorus is far more expressive, there is some sweet pedal steel and mandolin parts, while the weeping viola and ever pervasive woodwinds are excellent. Eli's Song features some flamenco licks in an affirmative song sung with subdued confidence by Denver.

 Wrangle Mountain Song is a peak in Denver's yodelling skills with a breathtaking vocal line opening the song and a pop melody that follows full of chugging banjo and bass led arrangement. In the Grand Way opens with a more Soft Rock piano lick and strummed guitar and straightforward wailing, it's followed by the old timey jazz of Polka Dots and Moonbeams which manages to be romantic and soft but none of the vocal ballast of his other songs. Denver's proteges, The Starland Vocal Band lift Baby You Look Good to Me Tonight, they were having their time in the sun the summer of Spirit's release with their debut hit Afternoon Delight; which hinted at Denver's early Folk Rock but with far more pop conciseness. There is boring country songs like Makes me Giggle and San Antonio Rose, in fact the last one to have effect on me is Pegasus with it's children choir laden chorus, cowboy balladry full of sparse folk extemporising and Denver singing in low register in a circular rhythm along with spiritual imagery of the winged horse its the closest to making sense of the album title and cover. It's a precursor to his lighter work in the 80s and reminds me of some of his Prog folk in the early 70s, the banjo break sound like tantric blues that would be played around a Navajo campfire.

John Denver (1975) Cowboy's Delight - LOST 70s GEMS

Windsong is the title track of John Denver's 1975 smash hit album, released in the aftermath of the wholesome county record 74's Back Home Again, here the music more folk driven and spiritual as the big hit of that prior album, Annie's Song. Windsong has a cooing sound to it particularly in the semi-yodelling 'oohing' that starts it off, while Spirit sounds like a Philadelphia produced song with sweet majestic strings, though the upbeat drumming and banjo rolling keep it rock based. The strings in Spirit remind me of 70s soul numbers like When Will I See You Again, while the cosmic drawl of the pedal steel fits in well with Denver's vocals the only thing forgettable about the epic production. Looking for Space features a peaceful, beauty of an arrangement of alongside Denver's incandescent lead vocal as he brings that gritty yet hallowed vocal to the lead into the chorus; this is also one of the more melodic cuts on the album. Love is Everywhere is mildly engaging fast paced country tune, but Two Shots has a more catchy chorus with emphasis on the title 'I took Two Shots' and Fly Away stands out with it's female backing vocal and multi-tracked harmonies singing in tandem adding a strong lullaby quality.

Cowboy's Delight is a slow, melodic number reminding me of The Music is You from the prior album with it's carousel melody playing out like a charming, bluegrass waltz accompanied by congas, not to mention once again his hollerin vocal that transforms into such a soothing harmony vocal in the chorus is exceptional. I'm Sorry was technically his biggest chart hit despite people being far more familiar with Take Me Home Country Roads, Rocky Mountain High and Annie's Song form his underrated early 70s Folk Rock phase; it was big easy listening semi- Country tunes with folk picking that ultimately got him commercial dominance and I'm Sorry illustrates this with his familiar strings and bellowing vocals that occasionally make you lethargic and lack a bit of snap to them. Calypso was another hit understandably with it's rousing old worldly spirit full of Denver's of emotive yodelling alongside the sailing strings and a Disney mix of tolling bells, spellbinding wind chimes, stirring strings and a hot blooded/Andalusian guitar strumming

Stephen Stills (1976) Ring of Love - LOST 70s GEMS

Illegal Stills was cool looking album with the appearance of being printed on a bottle of Moonshine, released in the wake of the infamous Stills Young band disaster, this is another folk rock effort full his big gospel ballads/frentic rockers with a distinctly Latin delivery, all drenched in organ and percussion work as if he was trying to mimic the magic of Santana. His work was always raw, eclectic and melodic in the 70s so I can't understand the bad reviews and lack of commercial success, I prefer his solo career to Manassas, which I felt was too misguided amongst the many personnel. Whereas here and on his other solo albums that featured his Manassas band mates like Joe Lala, they were under his command and stylistic vice grip.


Midnight In Paris starts with a really danceable organ and bass riff that goes back on it's self, before going into a ringing piano verse where Guitarist ad future Terry Kath replacement Donnie Dacus sings, just before a really rock chorus and a second verse where Stills sings in French. The harmonies are high and tight and very rockin while the conga is must for Stills' work. The reggae organ, a clearer Hammond and a third more church organ all trade off over the course of the track.

 Closer To You also starts with a beautifully watery organ and glistening guitars and more Donnie Dacus who collaborates again, the immaculate harmonies and clear acoustics are fantastic. No Me Niegas is an example of Stills' embracing his Latin background with a Tango beat full of piano, percussion and a ghostly and out of place synthesizer playing in a very glassy filter in what is a traditional sounding track; full of Cuban percussion, Mariachi singin and Argentine rhytmms. The closer Circlin is another showcase for the harmonies and strong vocals of Dacus which is laughable when this is a solo album for another artist, it reminds me of Leo Sayers work of Roger Daltrey's solo album. Stills' vocals are incandescent and angelic in reverb smoothness while the chorus is upbeat, downhome inflected and syncopated.


Ring of Love is the only real solid tune i the pack that doesn't fade into the background with it' minimalist soul guitar chords full of bluesy twang with Dacus's vocals once again effortlessly entice the listener sounding fresh and clear toned next to Stills' rich but familiar voice. The soaring chorus is excellent if a little lightweight, Stills' lyrics were never that groundbreaking, but Dacus has a nice accent tone.

Barefoot Jerry (1977) Headin for the Hills - LOST 70s GEMS

The Barefootin album was the sixth and final album by Barefoot Jerry capping of a six year period, however it was also arguably their strongest. In fact their last two albums are their most complete works on a musical and songwriting basis. 

 Headin for the Hills is bluegrass ditty with buzzy harmonica and persistent banjo running through it and some truly liquid, Duane Allman Pedal steel patterns. The downhome coutnry vocal is placid while the lyrics are very timely about the "Welfare state and escalating bills" "No need for tranquilliser pills" and claiming inner city folks are 'reaping what they sown' with the true answer being the countryside, waking up to the sun "shining on your windowsill" It's still relevant as he talks about 'ulcer and migraines won't get you anywhere, your doctors and your analysts won't help you keep your hair' , whilst also railing against 'hookers and pimps' and even 'ripoff loans'' "parking spots downtown" etc. all delivered in a carefree set of vocals.

Tokin' Ticket is has an its upbeat early 70s Beach Boys rock style on a song all about harsh punishments for marijuana possession taking it state by state; like a druggie edition of the Beach Boys 'California Girls making the style of the song a lever refrence or an affectionate pastiche like The Beatles' Back in the USSR; the message is "it don't matter what you smoke, its where you smoke it at" 

Keep On Funkin' has, as you guessed it, a good funky 'chaka chaka' rhythm style married with their angelic country rock voices and glam rock n roll swagger. The title track has a really syncopated riff, its all old school 50s swing and RnB dressed in clean 70s rock production with some great circular turnaround licks at the end of each verse; their speciality. Sentimental Man is an even toned folk rocker with Stephen Stills sounding vocal and cutting pedal steel licks with descending arpeggios and melodies that remind me of Rush in their softer moments.  Diana is another clear folk song which always matched their uncluttered vocals with a supporting backing of acoustic picking.

There's some nonsense rock n roll and disco in the album as well, but that incredible pedal steel tone always pokes through with it's smooth, laser cut lines playing jazz inspired, itty-bitty notes in lightning fast fills or some tasty mini solos or intricate riffs to animate the songs. Though Highland Grass is an instrumental miss hit from my perspective with it's irritating little run of notes based on a descending scale sounding more monotone and childish than impressive. 

 Hiroshima Hole features more of their Prog fascination with global events in the past, this features a Bill Withers styled arrangement with preaching lyrics about the cost of energy of jangly acoustic chords strummed breezily with a hi-hat beat and some truly three dimensional synth patches. To just briefly catalogue; we get some screaming synth parts interwoven with some meowing pedal steel, a more spooky/glassy synth and even some droning fuzz Moog doing a 'THX' styled vamp into the stratosphere, though on a smaller scale than that Styx sample used for Lucas films logo. The song ends with a gong to complete the song title reference that frankly goes over my head with its atomic worries, it's good but I'm going for Headin with it's timeless lyrics that are really effecting to me here in the Big Smoke!

The Dillards (1970) Rainmaker - LOST 70s GEMS

OK so again I did a post where I focused on an album and missed one of the best songs from it, last month I reviewed Copperfields album by The Dillards, but I didn't mention the track Rainmaker, instead going for the title track as the gem. But now I have heard Rainmaker (a song written by Harry Nilsson of all people) again I am choosing it as the better song, just fractionally better with it's drawling pedal steel riff starting it off, we get an upbeat folk rocker with a chugging acoustic strum, a melodic lead vocal and dynamite backing vocals providing a descending doo wop call of "ah..ah ha". Ok it's hard to transcribe the wordless backing harmonies, but it's a positive tune based around banishing the rain and the chorus and pedal steel riff also mimic this descending, walking rhythm of the backing vocals.

OK, the main hook/riff/whatever musically, rhythmically, vocally sounds a lot like the hard rock chords of Fun Lovin Criminal's hit Scooby Snacks.. hang on minute..how did they get a hold of the riff..hang on did they listen to Copperfields too?  It was originally a Nilsson number and B side to Everybody' Talkin, and while his 1969 version has the stronger lead vocal particularly the ending wails, this is a more fuller arrangement.

Player (1977) Goodbye (That's All I Ever Heard) - LOST 70s GEMS

Player's debut 1977 release is a mixed bag; not in terms of quality but in terms of style and I love it! There is the Countrypolitan closer, Tryin to Write a Hit Song, though that wasn't written by the band, there are tough rock tunes (Melanie and Cancellation) that sound like Foreigner or the Little River Band and then there are more Bee Gees Disco flavoured tracks and California Soft rock/pop rock. The hit single Baby Come Back and the opener Come On Out feature a strong layered keyboard and harmony sound reminiscent of Hall and Oates' Silver album, Come on Out has a bronco rhythm full of Prog turnarounds full of many notes (like the sparkling 'wind-chimes sounding' keyboard under the line 'Come on outside') with a rugged lead vocal, packed with a litany of synthesizers vamps(clavinets,); not to mention a throbbing bass-line taken from She's Gone.

 In fact the stop watch sounding keyboard ticking away during the opening of This Time I'm in it for Love sounds like it was taken directly from the opening of Hall and Oates' Gino (the Manager). A lot of the lead vocals have the deep gruffness of Steely Dan, while Movin Up has the punchy high harmonies of Poco with the raucous, chicken scratch guitar of uptempo funk bands like The Commodores or Wild Cherry. Love is Where you Find It has the thin falsetto chorus of Hall and Oates and the sweet funk rhythm guitar of songs like Back Together Again or Every time I look at You; it generally reminds me of again of mid 70s Hall and Oates. Every Which Way is supremely mellow with a Michael McDonald era Doobie Brothers patented funky 'Mario Kart' keyboard part, but it starts with a luscious multi tracked, synth part warbling in and out alongside a vibraphone part, a combo of instruments popularised by Yacht Rockers Starbuck.

 Goodbye That's All I've Ever Heard is a hidden gem on this diverse and promising debut album with it's combination of pretty much all the above elements in one track it is unique. The song starts similar to the openings of Every Which Way and Come on Out, with stacks of sweet but regal keyboard chords and lilting guitar sustains before entering the verses with another Steely Dan half spoken word verse.
 This tune reminds me of the folk rock band, America, particularly in their less acoustic days in the latter half of the 70s such as Woman Tonight, Are You There, Slow Down where there is a twangy guitar or jazzy synth lick every few bars; in Goodbye it's a tremelo-ed, digital synthesizer like a ripple or electric eel that dominates the verses. The chorus is built around a stacked harmony rendition of the title before a mini bridge section based around a hard rock guitar figure sliding back and forth in call and response to a circular vocal melody that starts with "Love is Strange.."
 

Goodbye also has the serene, mellow sunset mood of America and the harmonies sound especially angelic n this cut resembling America' harmonious vocal blend. The quiet bridge is very reminiscent of Kenny Loggin's baroque sounds with it's gentle/night time mix of playful flute, oscillating vibraphone and plucked flamenco strings; it's a Prog touch as well as very Adult Contemporary and the ending is a brief reprise of these elements with a short phrase played back and over again by the ripply, tremelo synthesizer, the vibes and the flute. It's impressive, the vibes would return on Wait Until Tomorrow from their heavier follow up album, 78's Danger Zone and even Kites on their recent album, 2013's Too Many Reasons.
It's a solid pop rocker with shades of America and others like Kenny Loggins, while the band had more in common with latter 70s blue eyed soul artists like Doobies, Orleans and particularly synth soul-stars like Ambrosia and Hall &Oates and especially the artists with deep vocals and smooth layered keyboards like Steely Dan and Gino Vannelli. They weren't very original but they were interesting, Play on Player, Play on

Orleans (1973) Mountain - LOST 70s GEMS

Orleans' debut album was packed with fully funked up guitar stylings married with hollow high harmonies, reminiscent of California acts like Beach Boys/America, though uncharacteristic of their future Yacht rock hits which were full of smooth folk and jazz arrangements. The album carries a twilight vibe that laidback blue eyed soul artists seems to be forever trapped in. Wanderlust is a funk number with generic instrumentation but a forthright beat and duelling hard rock guitars pinch soloing while singer guitarist John Hall affects a slight Stevie Wonder inflection.


Ticonderoga Moon is a dreamy pop song with flowery electric guitar playing fluid runs, there are also some ethereal harmonics, folksy acoustic guitars, clear tenor vocals, some sighing harmonies and finally heartfelt lyrics all delivered as creamily smooth as the arrangement.
The solo is so heartily played to add some raw passion to this soothing number. The vocals by John Hall are delivered in a pure falsetto with a sweetly wide eyed simplicity to it reminding me particularly of Kenny Loggins's children albums of the 90s in the naive tone.


It's almost the gem if not for the song, Mountain, with it's hypnotic seduction of the listener. It starts with a soft, fuzzy, strung out groove of a pair of chiming guitars and a pair of pianos overlapping each other; but it's the unhurried groove that wins me over as well as the singer, I think it could be Wells Kelly whose drums are miked up far away to capture the ambience of a small room, particularly noticeable from his thudding bass drumrolls.

The sleepy melody is lean and to the point as the singer sings in a honeyed tone "And I thought that you were coming up,But I can see you want me back down, If you do you got a surprise
'Cause I can never back down in your eyes", "Now I guess we're growing up
And I can feel a big jump in my heart" and the whole final stanza;


But now I'll stay here on my mountain
And howl at the the moon
And be thankful for the way things are
I just hope they don't change too soon
But nothing ever stays the same
And if it did it would be a damn shame
So I'll keep on singing the same old song

The vocal melody is the thing that makes this song so great, the lilting lines as the singer describes in a relaxed, smiley vocal the ups and downs and general trajectory of a relationship he has seen many times before; he has scaled that mountain many times and this is reiterated by the ending refrains of 'It's the Same old song, it's the same, it's the same' cutting off the word 'song' from the end very abruptly over and over again like a record skipping. The romantic vibe is complete with the featheriness of the lead vocals and the lush mix that makes this not sound jaded but calming; almost lulling you to sleep. The rich, intoxicating mix is made up of a faint, baritone vocal emanating from the central channel, while guitars chime and a couple vaudeville pianos tinker away on the left and right channels.
I made a mistake in an earlier blog post, choosing the gem from this album as It All Comes Back and only name checking this tune when this is the tune I listen to most out of all Orleans tracks; so I have righted that wrong with this post revisiting their funky 1973 debut album.

Barefoot Jerry (1975) Slowin' Down - LOST 70s GEMS

As you can guess from the title, Barefoot Jerry's 1975 album,You Can't Get Off With Your Shoes On, is a funky discofied release; yet it contains many strong moments, usually when they slow things down.
 Sinkin' In The Sea is a 'by the numbers' dance floor number with a King Harvest vibe but the astonishing change of gears for the middle 8 is such a downturn as the singer sings about the mountains falling to the water with a sudden sombreness. You Can't Get Off With Your Shoes On starts off with placid ambient guitars before devolving into a simple funky hoedown with a choppy pace, back and forth beat, chunky guitars, bouncy bass and raspy vocals; it reminds me of Firefall's attempts at funky numbers, like Firefall's No Way Out, usually spearheaded by bassist Larry Burnett. West Side Of Mississippi is another old school funk track but with some drooping pedal steel licks and another fantastic bridge like Sinkin in the Sea; it's another slow sombre break in a seemingly superficial, cornball funk track. The lyrics in these achingly nostalgic breaks about the West Side of Mississippi, he sings "never knew that my childhood was soooo fine, I want to live it again!" The pedal steel solo that follows is so disco duck funky it is irresistible.

However aside from these dated, dance tracks there are some prog numbers, chiefly Hero Frodo, a strange Lord of the Rings themed number that surprisingly works. It is however totally out of place on this album and is a bit of a stretch by a Southern Rock though they clearly had Prog tastes too. The tune is full of mystical touches such as glistening tubular bells and sweet pedal steel licks curling in the background. The trademark deep barrelled lead vocal is crisp even if it's closer to Bing Crosby' White Christmas than say Peter Gabriel. There are Mellotrons, flutes and even an ARP at the end but check out the sting of scorching organ work at 1.34 and tell me they were an average Southern rock band.

Ali Baba is a funny track with its meandering Arabian intro but the song hard rock beat drives in with a rugged vocal as defiant as the rolling piano and syncopated guitars. It shows the band's variety and worldliness; it is the same conflict the world over as he talks of 'What on Earth were they fighting for?' they could be singing a treatise on any war.
 But Ali Baba isn't the gem instead it's Slowin Down with its amiable descending acoustic Shuffle mixing joyful lyrics piano fills and an awesome non-plussed drawl of a lead vocal.

Barefoot Jerry (1976) You Can't Say It All - LOST 70s GEMS

 The Keys to the Country (1976) album by Barefoot Jerry is one of their strongest from my perspective, look at the array of material and tell me I'm wrong! Uncle Pen has a cool, duelling pedal steel part- the steel being the band's finest weapon along with their spongy, high pitched lead guitar and baritone singers. They were one of the freshest country rock bands around, it's a shame they never got their due but I am glad that they persevered despite a lack of commercial success and produced seven albums over the course of the seventies. These collections are great undiscovered gems for country Rock Aficionados like me and it is a better appreciation than say the hipster love of an underground act who only released one EP and were 'ahead of their time'. 

 There is a good cover of Georgia on my Mind which suits the band's old school soul spirit, but check out that phenomenal Pedal Steel opening, so graceful and so sad sounding with it's lumbering sliding figure, going through the motions in harmonised, pinging slides like widescreen curtains of sound; with some lines resembling sonic meows. Woes of the Road is catchy 70s Rock with a disco beat and their incandescent vocals, while Summit Ridge Drive has the most incredible riff with a squealing harmonica and pedal steel playing the same high octave jazz riff. Battle of New Orleans is a strong tune that pulls off hoedown vibes and pulverising lead guitar tones that manages to add hard rock to a energetic country pop melody. Wilma Lou is a supremely catchy number full of hoedown rhythms, hard rock guitars and animated twangy southern vocals. Tonite's the Nite I Do is excellent for it's dual pedal steel solo which sounds like the Allman Brothers reincarnated with it's delicious, seagull squark and that pitchy, clean notes ringing out so smoothly in unison like a mix of guitar and organ.

My gem pick is You Can't Say It All solely because of that cosmic baritone vocal, with powerful vibrato and a slight treated quality to it; maybe it's slightly phased but it has a crisp, clean feel to it as well as smooth and full bodied as the Pedal Steel.

Uriah Heep (1972) Traveller in Time - LOST 70s GEMS

One of Uriah Heep's most famous songs, it starts with a crushing blend of descending, wah wah guitar phrases that end in clashing open chords. Then some drums settle in with a neat beat as David Byron's flawless clear toned falsetto that was godly cuts through in soothing vocal line alongside more squelching/bullfrog wah wah guitar . The aching beauty in his voice is operatically delivered in the sparkling verses before the striding chorus and a return to the crashing wah wah chords again. The ending is a pure rave up, a call and response between a rampaging 'lunatics-out-of-the-asylum' beat and some truly scorching lead guitar runs; they are some of the most spellbinding guitar fills like scurrying hammer ons, foghorn sustains, The blaring alarm sounding guitar/organ riff of the ending, the crashing downward wah wah chord progression; it all sounds like a spaceship hurtling down to earth though this is from their breakthrough album Demons and Wizards which has a more Swords and Sandals/fantasy theme as indicated by the cutout figures on the album cover.