Geordie (1976) ?????- LOST 70s GEMS

A simple song by song rundown of Geordie's 1976 sophormore album Save the World; Goodbye Love is an Abba styled disco rocker while She's a Teaser has an awesome falsetto hook, Fire Queen is a chugging, heavy rocker full of Heavy Metal/ Pre-Maiden drive and snarl, I Cried Today is a flawless Reggae booster, while title track, Save the World, positively rocks with it's cynicism dressed in an upbeat chorus and a circular riff. Then there's is a bizarre Tom Jones Ripoff called of course She's a Lady, was this a subconscious lift as the chorus is almost worded the exact same? Light in the Window is a warning against stumbling from desperate romantic into stalker tendencies. So my choice is.. I Cried Today; when reggae by white rock artists works and doesn't sound forced and inauthentic.

Wild Oats (1977) Lady I'm Waitin - LOST 70s GEMS

A very Southern sounding, folk pop/rock album full of startlingly, dreamy, wide eyed balladry; dominated by glistening acoustic guitars, unusual jazzy solos, gentle pianos and the lead singer songwriter Marc Levy's nasally country accent. Gospel backing and interesting percussion choices are present throughout such as the big drum of dramatic love song Friendship (Is So Hard To Find).
All I Think About Is You dreamy pedal steel driven folk rocker, Heartache a nice smooth rocker with an usual mix of pounding rock rhythms, acoustic guitars , slightly phased harmonies, calypso interlude and a truly magnificent guitar solo that takes centre stage; one of the best I've heard. Lovely Woman sounds like a lullaby, while Take Off For The Sky continues to showcase the band's extremely talented jazz guitarist's vamping abilities and the closing track's mix of exotic percussion with country folk pop encapsulates the album's unique style.

 The sonic, outer space filtered pedal steel sounding like the THX sound logo peeps in and out of Lady I'm Waitin, a very uncomplicated tune full of excellent pop melodies and a Latin jazz coda. If only half the songs were as catchy as this maybe they would've been more marketable, though I must say most bands would kill for a guitarist like the one Wild Oats; who just happens to be Firefall's Jock Bartley, a successor to Tommy Bolin in Jazz Rock outfit Zephyr confirming his credentials immensely as a virtuoso. It does seem to be an album of cameos surrounding Marc Levy rather than a fixed unit which might explain things too.

Geordie (1978) Wonder Song - LOST 70s GEMS

From old Glam Rockers, Geordie, 1978's No Good Woman album was the last put out during the 'height' of their fame, Brian Johnston had already been replaced by Vic Malcolm who keeps people from really noticing any change of personnel as their fan base weren't growing to the same level as say Johnston's later group, ACDC. Ironically the flippant rock n roll of this album sounds the closest to Acca Dacca though it isn't my cup of tea mainly due to a lack of good material, a muddy mix and lacking their distinctive crunching Glam Rock.

One track that does sound like the original Geordie is You've Got It with it's stone age, crunching, monolithic power chords; even if the sweet feminine backing vocals sound like a bad Photoshop copy and paste with no real marriage of the two elements. It is also quite bad that Malcolm sounds so clearly bored and not invested on the track and the gospel singers sound so eager passionate that there is such a cringe worthy contrast. The multi-tracked synth lines of Give It All You Got are noteworthy, though the fat, heavily warped Moog of bizarro New Wave track Show Business doesn't work. Dollars- Deutsche marks has a nice mellow, singalong chorus and a strong ACDC groove, but nothing else. Sweet Little Rock n Roller has a punchy disco keyboard bass line mixed in with more awkward sax driven, rock n roll . Worse is Victoria a saccharine ballad that sounds terribly out of place on anything other than The Spy Who Loved Me soundtrack, it's yacht rock synth whooshes remind me of Clouds by David Gates, the only person who should attempt let alone can pull off a track like that.

Wonder Song starts with a cool loping synth effect before devolving into more of their hair raising, meat and potatoes rock full of organs, soaring synth drones and demonic guitars. The analog synth solo and organ work along with the tight drumming, including a gong and the widescreen Raga harmonies make this an interesting almost Prog, almost Metal. The draconian monk styled harmonies and the old timey jazz verses keep this song from feeling boring; but the whole album doesn't quite bear the crisp, streamlined production of their turbo charged 1974 debut when they sound like a progenitor of bands such as Survivor, Target, Night Ranger, Cobra and other early 80s pop/hard rock bands.

Rush (1975) Beneath, Between & Behind - LOST 70s GEMS

A great example of a Rush song, a malevolent falsetto vocal by Geddy Lee and crashing rhythms of Alex Lifesons' power chords and Neil Peart's brutal drums. They assault you on a spatial level, Lee sings in a piercing, high spirited manner like Jon Anderson but on steroids, while Lifeson's slashing power chords cut through the mix with their heavy delay mixing well with Peart's array of cymbals smashing and machine gun rolls. It's an energetic display that rivals Zeppelin and Yes for it's Prog air and Hard Rock intensity; it's an incendiary melody at it's core that just screams 70s rock at it's very finest.

The Faragher Brothers (1978) Open Your Eyes - LOST 70s GEMS

The Faraghers were of more use as studio singers back in the day, but did release a string of white funk RnB albums in the 70s.  While it doesn't age as well as the Bee Gees or ring as authentic, they were the only other acts to perform this type of music other than the Bee Gees and Wild Cherry; i.e a more softer, rocking mainstream brand of funk, not necessarily disco but funk rock.

While often their melodies were catchy, the lyrics were terribly corny except for what should've been a hit single, today's song post called Open Your Eyes. A gem from their extremely mellow third album, it is a common heartfelt plea to a lover but effectively hit home with a killer central hook delivered in their strong falsettos. The full bodied atrue of their high harmonies reminding you why they were in demand session singers in the 70s soul scene, also working on solo albums for part time superheros such as Lynda Carter and ..ahem Peter Criss.

Stars (1979) Innocent Bystanders - LOST 70s GEMS

 The title track of Australian Country rock band Star's second album, Land of Fortune, has melodic circular rhythm full of late 70s pop rock, a melody Boston would have been green for with it's bright overdriven and acoustic rhythm guitar combo. Red Neck Boogie has one of the best boogie riffs I've heard while Gold fever has a mesmerising story about the gold rush against a shiny, smoothly distorted guitar punch and sweet laidback oriental but xenophobic bridge. The band improves on their 77 debut with less country pickin and mixing those lead vocals with more original guitar tones. In and Out of Love again displays some sweet guitar with a thick slide guitar and funk strum to elevate a more simple rocker with some cool lyrics 'I'm a victim of counterfeit sleep', while All Good Things Will Come To You in Time is a sweet one minute little ditty to keep listeners engaged. The record loses it moment with the by the numbers old time RnB workout I'm Ready which is disappointing.

 So if you're wondering, my choice for the album's gem is Innocent Bystanders, a gloriously weeper of a track with it's sensitive vocals that reminds me of the Old English receded pronunciation of high tenor, Prog rock singers like Peter Hammill, Jon Anderson, Geddy Lee etc. The sharp hard rock turns are fine and also like Rush in their slamming delay effect, while the superb lead solos along with the wistful jangle multi guitar verse progression which is the highlight. Lyrically it's all about participation in lvoe and is sung with true heart breaking conviction.

The Stairsteps (1976) Pasado - LOST 70s GEMS

Formerly the family Bubblegum group The Five Stairsteps, The rechristened Stairsteps released a mainstream funky album i the mid 70s in which is hidden this future hit. Written by group member James Burke and would later become a hit for the Pockets the following year, but their Quiet Storm version is too mellow, I much prefer the original by the Stairsteps. Of course famous for hits such as 'World of Fantasy' and 'Ooh Child', Pasado is an equally dreamy pop song filled with strong Latin and funk overtones, it has an early Earth Wind and Fire vibe of smooth sensual RnB balladry. The hook of the song is part in Spanish and part in English basically saying all things will pass, ironic as this was released through George 'All Things Must Pass'Harrison's Dark Horse record label; "Ya yo-ha pasado por esa cosa / Ive been all through this thing". Though the narrator states "But I cant afford to make the sacrifice, Cause I, cause I've been through this thing ", the Latin passion is evident in the restrained instrumental texture even if the lead vocals are more wearied. The slinky groove is accentuated by chiming acoustic guitars and flute like whirls of synthesizer, add in the crisscrossing vocals and the song turns into a remarkable cocktail of enveloping emotions. Keni Burke's lead vocals are nicely mixed low to capture the lower register of his vocals, while the tight drum work keeps this locked in the 'You were never here' bridge is striking as we are lead into a prominent salsa beat also drives the melody along in the final third of the song. It is a gloriously joyous summery song full of gorgeous harmonies and congas, it lulls you in a beautifully subtly way and the lyrics are delivered in understated sentiment.

Jacksons (1976) Blues Away - LOST 70s GEMS

From their self titled, Epic Records debut in 76 when the Jackson Five were rechristened to the far more plainer The Jacksons, were given a full Philly makeover as they decamped to Gamble and Huff's studios after leaving Motown Records. Despite making their name and sound with their Bubblegum Soul in the Motor City, I felt their new slick, sleepy smooth Philly inflected music on this album and afterwards would not sound like the Jacksons and was more laying the groundwork for Michael's future super-stardom. It frankly didn't work and while Enjoy Yourself, Good Times and Show You the Way to Go are very jazzy two steps that lack any fire or grit to match the punchy, energetic bubblegum soul they made during their formative years; ironically they mellowed as they progressed through to their late teens, never carrying the same rock and bounce of their early teens, not until their 1984 album Triumph.

While Dreamer works being gossamer smooth,most don't fit the young singin, dance act, but Blues Away is the best cut due solely Michael's supreme suave tenor. It's no surprise, the Michael penned tune marked the writing debut for the group and their songs would steadily improve in the early 80s as they recapture their early 1970s spirit and glory. Incidentally check out their last Motown album, Moving Violation, an update of the Sly styled Bubblegum Soul sound with new funkier playing while Dancing Machine and Get it Together were signs of the more layered, un-dynamic lite soul of their disappointing late 70s output.

Beckett (1974) A Rainbow's Gold- LOST 70s GEMS

 Hard rock band and underrated group Becket's 1974 album begins with an 54 second long ELO styled string ballad, even unusual for a hard rock band in the 70s. This proceeds into Rolling Thunder which starts with a demonic amount of delayed guitar effects that sounds like something that was revolutionary in the 90s, it also remind some of The Edge's playing while Terry Slesser sings like U2; maybe U2 heard this track and used it as a blueprint as it's scarily prescient of their sound. Not wasting an opportunity make every track shine, Rolling Thunder has some cutting string lines and a Deep Purple mark 4 styled chorus. 

 The Green Green Grass features the funkiest cut with it's James Brown rhythm, heavy metal chug of a riff that allows for a nice RnB flexibility and soulful wah wah soloing from guitarist Robert Barton. Later on there is a nice Clavinet break and a Hammond Organ treated vocals from a band that clearly thought funk and rock was going to be the next big thing in the mid 70s. The hit from the album was My Lady, essentially a Prog pop song with its multi-jangle harpsichord chord progressions, the folksy harmonies and the Jazzy backseat verses; it reminds me of a Bill Withers song meets a 60s flower power tune.

The gem for me is A Rainbow's Gold with it's speed drumming intro, funky rhythm line and squealing vocals of suggests Deep Purple' Mark 3 and 4 who were emerging at the time; a funky hard rock style that never really took off. Though the elongated harmonies of A Rainbow's Gold and pummelling bass line reminds me of Aerosmith and there is even a country rock lead guitar on it to further show off their diverse potential. Terry Slesser has elements of Ronnie James Dio, Steven Tyler and even pre-Bono but sounds unique for his time which is something, while producer Roger Chapman of Family does a fantastic work to make all the various elements work together. The mixing is excellent, the violin string plucks of Rainclouds, the jazzy notes of Life's a Cloud, the reverse echo piano vamp that starts Don't Tell Me I Wasn't Listening.

 Excellent use of delayed, heavily reverbed guitars, crisscrossing instruments and a strong funky rhythm section pervade throughout. There are shades of orchestral rock and hard rock; half the album is showcasing the string players who are an integral part of the band's sound as a dramatic sweep foundation for some soaring vocal and guitar lines. It's no surprise they opened for Ron Woods' Wizard, another cosmic big band sound as well as bluesy glam rockers like Slade and Ten Years After.

The Shoes (1979) Cruel You - LOST 70s GEMS

The Shoes' 1979 release Present Tense was facing an uphill challenge after blowing out the gate with their prior album Black Vinyl which contained a mountain of diverse, well produced and edgy power pop and psych rock. Your Very Eyes has a delicate, smooth acoustic melody, if only more pop songs carried such restrained emotion and craft. John Murphy writes some strong tunes like In My Arms Again, a kickass power pop song with shades of Foreigner. There are other influences in there; Now and Then is a hard rocking number with chugging rhythms and Aerosmith styled vocals, Every Girl has a Big Star sounding, crystal clear jangle and Three Times is dominated by a Badfinger mix of bouncy drum fills and hauntingly wistful vocals. My favourite and today's gem is Cruel You with it's perfect mix of their three dimensional, insanely pretty harmonies and a ton of energy that is lacking from most of the album. It's also well written, the lyrical strengths of this band are only matched by their tight pop rock rhythm section and John Murphy's songs. Every verse line ends in a beautiful sung line of 'I didn't know what to do?' capturing the helpless teenager accurately, power pop bands ultimately transport us back to our teen years for me its been seven long years since I was a teenager but these supple melodies, pure vocals and simple rhythms are enough to take me back.

The Temptations (1971) Ball of Confusion - LOST 70s GEMS

In memory of Dennis Edwards, I wanted to make a post of my favourite later day Temptations song; along the lines of their funkier, edgier songs best defined by epic single, Papa was a Rolling Stone. Starting with a delayed count off, tension is created form the start as a heavily distorted synthesizer menacingly enters in and out like a octopus wriggling around in deep waters. A sturdy funk guitar strums in and the vocals take no prisoners slamming phoney politicians, drug pushers, overpopulation and other issues big in the early 70s and still oh so relevant today; in fact the only dated aspects are the name checks of 'Hippies living in the hills' and the 'Beatles' last record'. The trading vocals accentuate the rage of what is essentially a protest song, but the timeless lyrics represent a more universal statement on Big Society and Inner City frustrations.

Though the socially conscious lyrics are what powers this heavy rock soul arrangement which erupts with the chorus of "Ball of Confusion, That's what the world is today", it's all reminiscent of songs such as Edwin Starr's War (a song frequently mistaken for a late 60s/early 70s Temptations cut) and Chi Lites' Give More Power to the People; all grooving soul songs packed with tag team vocals, roaring horns and hard rock rhythms. The palpable emotion behind songs stir some strong feelings immediately in the listener; songs like these are far superior to any heavy rock or metal song with it's modern day proclamation.

To illustrate my point I'll leave the lyrics underneath here in full to truly enjoy the wonder of this masterpiece;

People movin' out, people movin' in.

Why, because of the color of their skin.

Run, run, run, but you sho' can't hide

An eye for an eye, a tooth for a tooth.

Vote for me and I'll set you free

Rap on, brother, rap on.

Well, the only person talkin' 'bout love thy brother is the preacher

And it seems nobody's interested in learning but the teacher

Segregation, determination, demonstration, integration, aggravation,

humiliation, obligation to our nation

Ball Of Confusion that's what the world is today (yeah, yeah)

The sale of pills is at an all time high

young folks walkin' 'round with their heads in the sky

Cities aflame in the summer time, and oh the beat goes on

Eve of destruction, tax deduction,

City inspectors, bill collectors,

Evolution, revolution, gun control, the sound of soul,

Shootin' rockets to the moon, kids growin' up too soon

Politicians say more taxes will solve ev'rything, and the band played on.

Round and round and around we go, where the world's headed nobody knows.

Great googa mooga, can't you hear me talkin' to you, just a

Ball of Confusion that's what the world is today. (yeah, yeah)

Fear in the air, tension ev'rywhere

Unemployment rising fast, the Beatle's new record's a gas,

and the only safe place to live is on an Indian reservation,

and the band played on

Eve of destruction, tax deduction,

City inspectors, bill collectors, mod clothes in demand,

population out of hand, suicide too many bills, hippies movin' to the hills

People all over the world are shouting end the war and the band played on.

Round and round and around we go, where the world's headed nobody knows.

Great googa mooga, can't you hear me talkin' to you, just a

Ball of Confusion that's what the world is today

Let me hear you, let me hear you, let me hear you

Ball Of Confusion that's what the world is today


Written by Norman Whitfield and Barrett Strong

Brinsley Schwarz (1972) Unknown Number - LOST 70s GEMS

Silver Pistol is a quiet, slight album full of liquid, Allmanesque country slide guitar and standard jaunty shuffles and rootsy harmonies; there is light fluff like the pleasant folk tunes, Eqypt or Nightgale's or light upbeat fun like Niki Hoeke Speedway, Unknown Number. Rockin Chair is a pretty piano based instrumental, while Range War has a great lyric as they ask "Silver Surfer won't you come and save me?"; the band would later write a song called Wonder Woman. While they still over rely on the unconvincing downhome vocals, overdose of organs and rock n roll rhythms to create a fairly timeless yet unoriginal style; they weren't the Band ultimately who imbued their music with funkiness and soul. My choice number is Unknown Number with it's commanding attention grabbing piano at it's heart merging seamlessly with their easygoing harmonies and a slide guitar solo; it captures the spirit of the album best with it's good time, country rock based around bluesy slide guitar and twin harmonies!

Mississippi (1973) Do I - LOST 70s GEMS

Tracklist very rootsy, country shuffles, slow paced, filled with rustic imagery and the most angelic, barbershop styled vocal harmony stacks you ever heard; maybe they should have tried their hand at Doo Wop. For example Mr. Moondog sweetest harmonies you'd ever her right form the soul that they claim in the song 'they'll never get'. Some Latin percussion can be found also in quite a few of the tracks as well as sweet toned electric guitar leads. Listen to the scorching fuzz solo on the ecological themed, bright piano ballad Save the Land; and that's the opener. Some of the lead vocals don't necessarily engage you but some of the bleak matter of fact deliveries work such as on the corny titled When You're Old, don't get me wrong it works in due part to the laidback melody. The Kings of the World has some powerful harmonies and is worth it just for that r the hauntingly reverbed, wah wah solo sounding like an ancient magical spell be cast through the years fitting in with the centuries old tale. 

 Though the harmonies are great, Mississippi can't compete with other Australian 70s country rock bands such as Stars and Little River Band. All Through the Day is my second favourite from their 1973 album, with it's sing song melody and caressing, high quality lead vocal backed by sweet strings and complete with a cosmic coda complete with a aerial flute solo and darting piano notes.
My favourite is the bluegrass, Do I which starts with a rush of fast acoustics/percussion and lyrical guitar licks. The lead vocal is once again suitably smooth and full bodied before a tenor and soprano saxophone duel occurs, both lyrical and mixed low for a gentler, mystical flute quality.

Stars (1977) Jupiter Creek - LOST 70s GEMS

 Stars were an Australian country, rock band from outside my usual knowledge zones of the UK and America, this band hailing from Adelaide produced a couple albums in the 70s though were never close to dethroning the Little River Band, the most prominent of Australia's country scene if you like to call it that. First off check out the awesome golden sunlight album cover one of the best photographs I've seen, but now to the music within. 

 Working my way chronologically through this record to get a flavour for the band, the album opener, Back Again reminding me of Joe Lynn Turner's band Fandango, mixing gospel and stadium rock into the equation. Let's Get Moving has that funky beat that a lot of Country Rock bands took from the Doobie Brother's cue, though the chorus is gentle and pretty sounding. The music has rage, from Mighty Rock's exuberant party rock is positioned next to the ballad West Is The Way which borders on easy listening while title track Paradise shares the same qualities of Let's Get Moving with a funky rhythm and a nice, laidback soul harmony.

 The band has a strong Doobie styled fast and funky backbeat all over the album from the bluegrass pickin Song For The Road and even the soothing pop of Looking After Yourself still still bears a revved RnB chug. Jupiter Creek is for me the gem as it's the most unassuming track on a rambunctious record full of showoff country leads, engaging melodies and a funky cocktail of country, bluegrass ballads and arena rock punchiness. Full of a catchy acoustic strum, some Dylanesque harmonica wailing, but it's the jazzy lines of the song that give away to some epic soloing a superb, restrained vocal delivery: layed-back!

Henry Gross (1974) Tomorrow's Memory Lane LOST 70s GEMS

The 1974 debut long player release, Plug Me into Something, did just that for Henry Gross, an eclectic, southern rocker with an astonishing voice and soft rock abilities to boot.The album features a track called One More Tomorrow is a slashing 70s hard rocker full of little nods to 50s guitar rhythms and 60s Beach Boy harmonies; not surprising seeing as he knew Carl Wilson and wrote his biggest hit, Shannon after Carl's dog. There is also the folk AC song, The Ever Lovin' Days where Henry sounds remarkably similar to Robin Gibb with his falsetto vibrato taking centre stage alongside folk guitars and violas in a pleasant springtime arrangement.

 Then there is our runner up gem from the 1974 album, Southern Band, a great rock n roll vehicle showcase for Gross' totally unique falsetto wail, like a martian banshee or a demonic dog. The only thing more demonic is the livewire guitar playing, full of heavy distortion and tactile playing and great use of pauses for maximum effect. But the gem undoubtedly is Tomorrow's Memory Lane, a very solid rock power chord song that makes excellent use of cowbell, gospel 'Hallelujah' backing vocals and ecstatic vibratos form Henry Gross; the same falsetto that electrified Southern Band and even Shannon's soaring chorus. How can you not like a song that proclaims their love for Stax soulstars Sam and Dave as the song repeats often and in the glorious coda;"God Bless Sam and Dave" God Bless indeed, ridiculously exuberant mix of rock and soul tribute whilst remaining original.