Caravan (1973) The Dog, The Dog, He's At It Again - LOST 70s GEMS

 Be Alright/Chance of a Lifetime is indicative of the album it comes from with the classic Caravan' dramatic choruses and circular riffs but a harder rock feel not heard on prior Caravan albums. The string laden motifs in the verse are a sign of their Prog credentials which were fading by the time of this record with their organ and pop based sound so much more simpler than heir jazz and classically influenced brethren from the Kent scene. Then again a flute and conga lead section soon enters reminding you of more pastoral jazz sound new to the group. Then a very Disco vibe appears with Clarinet and lush electric piano and funk guitars before ending back in the more calming acoustic folk section form earlier .

Surprise, Surprise is a another pleasant tune, hyperactive drums with hi-hat backing ambient whines from Geoff Richardson's Viola and more acoustified pop from Pye Hastings singin with delight in another breezy and attractive melody. The Dog, The Dog, He's at It Again is another good track from the 1973 album with it's soft group vocals, more brisk off the cuff harmony lines not to mention soaring viola fills and rock guitars and drums. The way they sing the hook of 'Medicine gone
Comin' on strong, Comin' on and on and on and on' so soulfully is my favourite part just before the pinched notes of the submerged, Martian cleanliness of an ARP synthesizer solo.

So good its just comin on so strong.

T Rex (1974) Galaxy - LOST 70s GEMS

This romp of a compact Glam rock tune,features a growling Bolan questioning in odd come on which Galaxy are you from? Then Gloria Jones enters in with the counter, softer cry of 'Your world, I mean your world', this is all I need and is one of the highlights of the alum with's snarling Bolan vocal and guitar but also a bizarre yet so fitting mandolin strum underlining the later cry so of 'your world' and some gentle phasing for a tripped out dream of a diversion.

Poco (1976) Starin at the Sky - LOST 70s GEMS

Timothy B Schmit really had a magical voice, and the beauty of it was only shown in a few tracks such as I Can See Everything's coda where his country pop falsetto really sounds ethereal in a soulful and human way. His warm yet very cool sounding vocal melody reminisces about a girl who he never could get it together with until 'then outta nowhere we got together cause we didn't try'. It doesn't last and he's left starin at the sky but it doesn't matter as Schmit's voice just delivers the verse lyrics with such a hushed elegance and cool romance that makes it sound so inviting.

Van Halen 2 (1979) Spanish Fly - LOST 70s GEMS

Who doesn't love Spanish Fly, the short two minute showcase of the great Eddie Van Halen's famous tapping technique put to acoustic guitars. Here his mix of his own shredding with flamenco styled pacing and feel works to magnificent effect and is far more impressive than Eruption; the fretting showcase of the band's 78 debut album. Just hearing that cycle of shredded acoustic strings hammer-on and pull off in a machine gun rattle in all it's perfect glory is pure musical heaven. This is what Beethoven must have sounded like when he played for the first time, who knew anyone could play that type of guitar lick on an acoustic guitar before this!

Milk n Cookies (1975) Chance to Play - LOST 70s GEMS

Who doesn't like a blast of irreverent teen punk? These longhaired dudes resembled visually and sound the Ramones and certainly had the Joey Ramone voice down too, they're from New York and so worshipped their idols but had youth on their side and created tight rock songs like Chance to Play that transport you to the mid to late 70s power pop/punk scene. the petulant indie voice, the Glam look of the band and cover art are all nice artefacts of a bygone time and place

Blue Oyster Cult (1976) ETI - LOST 70s GEMS

The track's title stands for Extra Terrestrial intelligence, just thought you should know that!

The talkbox opening, the rolling rhythm guitar crunch and Steven Tyler-esque singer makes me feel this sounds like Aerosmith but the whirring guitar liens and gospel stacked harmony lined chorus prove it's not. The glistening chords and supernatural sound effects of a theremin sounding lead guitar whisking off in oscillating vibrations establishes a very extra terrestrial spirit to this song along with Buck Dharma's piercingly perfect guitar trailblazing solo. In my notes from three years ago I wrote this was 'nice sounding'..indeed it is! How can you not like the animated 'Wait there's more' or the mention of a character called Balthazaar in the chorus; deep spiritual connection, man.

Stealers Wheel (1974) Over My Head - LOST 70s GEMS

From their sophomore album, Ferguslie Park, gone was their debut's upbeat folksy, semi acoustic hoedowns, replaced by harder rock and grim piano ballads hinting at Gerry Rafferty's solo career as well as his inner demons such as alcoholism seeping into the band's music was a sense of despair and deep melancholy. However this building strings ballad built on pounded piano notes and a wall of sound production of strings and electric guitar that almost muffle Gerry Rafferty's vocals.

But you can't muffle that melody, so upbeat the lyrics but so low key are the vocals, Rafferty often sang in close to a monotone with the slightest inflection saying so much more than the more histrionic singers could muster naturally. Never overblown in his music, Rafferty manages to he keeps things so intimate amongst the big sounding production.

Bellamy Brothers (1978) Mornin Mockingbird - LOST 70s GEMS

Mornin' Mockingbird starts with some bird song chirps, the sound effects work alongside the entrancing guitar figure, while the lead singer draws you in with a pleasant little ditty sung with a sombre depth in his voice. Then the transient woodwind solo enters and everything is great. Is there a hint of Native American flute music in this sweet pastoral circular progression? From their 1978 Beautiful Friends album, another tougher, again sombre tune is the deep river rootsy soul of It's Just the Gypsy in Your Soul and some dreamy percussion and acoustics alongside a watery dual lead guitar

Blue (1979) Without You - LOST 70s GEMS

On their fourth and final album, Fools Party, Blue had lost their sound which started out so pure and downright intimate on their blues filtered pop rock debut album. They never had enough of their own voice unfortunately with pianos, heavy guitar solos and restrained vocals being at the centre as well as a unhealthy penchant for moderate sounding bubblegum pop tunes. By the late 70s they were now a generic power pop band lost in a sea of more interesting New Wave and New Romantic acts and seemed increasingly banal with their streamlined, early 70s melodies.

Mexico is a formulaic country rock song the Dirt band would produce. While the dated sound of sweeping, disco strings, cutting edge for 75 but in 79 post-Giorgio Moroder's Donna Summer Techno masterworks; they appear on country rock song, Long Enough and Love Sings with it's pretty chorus. is a gentle love song complete with ambient guitar work and a sweet ending refrain of the title.

Kenny Loggins (1977) Lady Luck - LOST 70s GEMS

From Kenny's debut solo album, Celebrate Me Home, this features his fiery voice in full force alongside an equally ferocious mandolins strummed in a rustic fashion reminiscent of an English folk song, while there are hints of his usual jazzy soft soul in the slower parts. His mix of rootsyness from his Loggins and Messina days to his new RnB soul superstar solo career works, particularly the wacky synthesizer which fits the mood of the track mainly due to Loggins' own unpredictable vocals; you never know what influence he may chuck in next. This is the opening track and while the sweet synthesizer is a hint of the future, the furious acoustic strum and tablas can hint at the album's undoubted highlight; the flute maypole yet Moroccan flavoured roots rock of I Believe in Love (a vanilla title for a colourful melange of a song)

Blue (1973) Timi's Black Arrow - LOST 70s GEMS

Blue were signed to Elton John's Rocket Record for this astonishing 1973 debut pop rock album full of downbeat ballads and deceptive, middle of the road folk rockers.

While there are some genre exercises better left alone such as mild country rocker Let Me Know and cornball blue eyed reggae attempt that is the imaginatively titled Skye Banana Boat Song, this album is built on solid deeper songs such as Red Light Song and the vastly underrated classic I Wish I Could Fly (which I explore in the following blog post;) The Way Things Are is full of misty eyed organ work and wearied, distant vocals, feeling genuinely like something from yesteryear. There is a strong air of disappointment and jadedness in this debut album form 1973, where the Glaswegian band excel at their namesake; blue melancholy tinged pop rock balladry like downbeat version of Blue Mink. Sunset Regret is another good example with it's choral vibe, Dylanesque vocals and more drained emotion running through out the dull wash of an arrangement; it's like a more beat oriented version of Stealer's Wheel, The Tremeloes or Marmalade (no surprise Marmalade guitarist Hugh Nicholson is the lead singer of Blue).
Throughout young Jimmy McCullough's lead guitar fuses fuzz drenched blues licks in to add a further weight to the record' strong dose of sadness.

Timi's Black Arrow is the gem however with it's perfect simple folk rock verses where the singer makes a harmony assisted plea to a lover in a winsome voice before the gentle chorus strides in a hopeful tone. McCullough's guitar pierces through in another well crafted solo that never overstays it's welcome, Thanks Jimmy!

Bellamy Brothers (1979) You Made Me - LOST 70s GEMS

From their 1979 Plain and Fancy album comes a new collection from the Bellamy Brothers; a laidback country soft rock duo with a strong folk rock foundation.
You Made Me is built on phased guitars and a disco rhythm, meanwhile Memorabilia is a more lilting country tune that refers to Elvis; both songs feature a twangy, slide hard rock guitar some interesting muted harmonics to broaden their sound beyond the smooth acoustic strums. Vocally they remind me of England Dan and John Ford Colley but no as strong or unique as singers or songwriters though the bridge of Memorabilia is heartbreaking. Hard Rockin is exactly that with a barrelling vocal and terse guitars cutting through the smooth harmonies which don't seem to fit but the upbeat melodies are still great, though I still think the best song off Plain and Fancy is You Made Me.

Blue Mink (1972) Morning Dew - LOST 70s GEMS

Blue Mink were the most funkiest and soulful of the Bubblegum groups similar to Brotherhood of Man but more heavier such as The Grass Roots or Stone the Crows. On their ' Live' At The Talk Of The Town, there is a great track that displays their heavier less crafted pop side, Morning Dew starts with odd squeaks like Funkadelic's work before entering a high energy funk jam. As always this is full of soulful shout out vocals from Madelaine Bell as well as tight jungle beats and liberal amounts of organ electric piano and neat funky blues guitar licks.

Stepson (1974) Suffer - LOST 70s GEMS

A unheralded Psych rock album from 1974, full of rampaging fuzzed out boogies ranging in styles form Velvet Underground to Hendrix's live jams. While the singer reminds me of many different singers, most bizarre is the doo wop accented slow jazzy blues of I Apologize,with his smooth soul talking. Suffer is the peak with it's squelching wah wah guitar truly sounding equal parts funky and heavy, inspiring harmonies, alongside a rough rock rhythm and sounding spine tingling soulful in the colourful passionate lyrics.

Trapeze (1970) Suicide - LOST 70s GEMS

Trapeze's 1970 self titled album was a mix of early Prog Rock but with far more Cream influences then say the baroque Mark 1 lineup of Deep Purple and contained a number of startling songs.
Verily Verily is the midsection of a longer track called Fairy Tale/ Verily Verily/ Fairy Tale, but it's not the tight RnB rock bookends of Fairytale with's Sly funk sing along that was that struck me but Verily Verily a whimsical gentle ditty. Verily verily is reflective of the gorgeous harmonies of Birmingham's best vocal band in the 60s, The Montanas; two members of Trapeze had come from that band. Though Trapeze originally started as a five piece it was the Hughes/Galley/Holland triumvirate that stuck while the aforementioned former Montanas, John Jones and Terry Rowley departed but not before leaving their strong harmonies on display on this debut album particularly Verily Verily and on Over. 

 Over is a rousing late 60s rocker with strong backing 'aahs' and dynamic back beat blues rock choruses and psych pop verses based on Tyrannosaurus Rex Eastern Twanging acoustic guitars and sunshine organs. It is a very 60s sounding album to it's disadvantage as the quality sounds like a cheap bubblegum record in it's flatness, however there are some more crisper productions such as It's My life with it's excellent mixing of crystal clear finger pickin, delicate vocals and bombastic drums. Then when we get to the epic wailing chorus so anthem with guitar wailing dis contently with the group's passion and determination it is quite simply the most memorable point in the whole album.

Suicide is an incredible track with a spooky harmony and sinister combination of an organ slowly creeping in and some fat guitar/ bass rock. The 60s spirit of bouncy, funkified organ drenched hard rock was still in fashion at the time of this album's release and it works well if it lacks the weight of the cleaner Production of early 70s rockers like Pink Floyd, Sabbath etc. its my life

 

Caravan (1970) And I Wish I Were Stoned/Don't Worry - LOST 70s GEMS

Caravan's sophomore album was released in the fall of 1970 and was called; If I Could Do It All Over Again I'd Do It All Over You. I could spend the whole post talking about this magnificent title which sounds like a lewd flirt or unromantic , drunken flirt. It's also a song on the proceeding album and it's a funky little number, the plodding organ line, crisscrossing vocals asking 'Who do you think you are?', Pye Hasting's Sam Cooke RnB styled vocals delivered in a cracked falsetto, while the whole rhythm is steeped in classic 60s grooviness with David Sinclair's overdriven Hammond the star of the show.
And I Wish I Were Stoned/Don't Worry is a beautiful little song with it's flowing vocal lines, a listlessly, dazed pop song. The fluid lead guitar solo is a spectacular treat before we return to Richard Sinclair's opening, circular melody again and Pye's subsequent dreamy chorus.

Gene Clark (1977) Hear the Wind - LOST 70s GEMS

From 1977's Two Sides to Every Story, a latter day effort from tragic Byrds founder Gene Clark that was one of his deepest efforts. His sombre baritone delivers a slightly whimsical ballad draped in pedal steel and other hallmarks of country gospel ballads, his chorus of 'hearing the wind as it cries' is beautifully sung but the bridge of 'But if this world has redemption is soulful with the backing falsetto oohs making it sound so strong. Also the lyric line about 'Put your head on my shoulder dry the tears from your eye' is another such soft sentiment that he delivers with such intent that it sounds fresh.

T Rex (1974) Change - LOST 70s GEMS

From T Rex' 1974 record, Zinc Alloy and the Hidden Riders of Tomorrow – A Creamed Cage in August, a terse hyper distorted glam rock emphasised by light soul and funk influences. Dominated by Sound Pit and Avengers (superbad), two heavy soul numbers and Teenage Dream, this was Bolan's mid 70s more soul inflected heavy glam rock phase that didn't take off. Unfortunately as Change is a phenomenal little track with it's marauding baseline and doom laden guitar chords and cymbal taps. Marc Bolan's verse is punctuated by little guitar figures as he mourns change and how he has experienced so much heartache he could 'write a book '. The ominous chorus vocals warn that change is coming just like the sun and 'you better run'. The guitars are excellent but it's the walking bass line crawling like a tarantula all over this track alongside Gloria Jones' sensual backing aahs and syrupy harmonies which win me over.

Black Oak Arkansas (1971) Hot and Nasty - LOST 70s GEMS

Ah Hot and Nasty, probably the most famous tune produced by this innovative Southern band, who had a predilection for unique funky rock songs and deep fried southern accents. In the latter's case its frontman and David Lee Roth progenitor Jim Dandy Mangrum who is responsible for some of the at times insufferable bull frog Good Ol Boy vocal manner though it adds a lightness and heart to their deceptively simple tunes. But first a simple tune. Hot and Nasty revolves around one of the most complete guitar parts that this should really be an instrumental as Jim dandy practically just repeats the song name all over the song. The funky Bernard Purdie drum beat heralds an laid back bass line with some clean clanky funky guitar chords. The lead guitar line that plays over this is central to the song in it's defiant moan, full of vibrato and attitude; a descending fire run of meowing bends.
While I could do without the 'They Say Jim Dandy is my name..' but the squeal in his delivery of 'Hot and Nasty' sounds well just like the title suggest, as well as his high pitched moan leading into an equally orgasmic storm of their three guitars wailing away in a endless storm of passionate notes bends. They wisely chose this to be the title track of their impressive debut, even if the title isn't commercial it certainly represents the cream of the crop and who can judge a song by it's title, particularly when it fits.
Oh lord, I need a hankerchief to fan myself off after this amount of concentrated pure funk!

Gene Clark (1977) Past Address - LOST 70s GEMS

This is an intriguing epic from Gene Clarks' last great solo album, 1977's Two Sides to Every Story, as it starts wonderfully. The intro starts with the metallic flutter of a dulcimer before the pedal steel whines in drowsy, murky lines that create a sense of pining; it's a great piece of playing and arrangement with a strong Appalachian tone. The song proceeds to share the dark wonderment of Clark's talent for folk influenced, melancholy drenched songs of longing. Here a pedal steel adds some panache while Clark sings in winding melodies over a gospel piano and strings foundation. The double stop country guitar solo is exquisite and replicated by the piano and then the strings.

Poco (1976) Too Many Nights Too Long - LOST 70s GEMS

Too Many Nights Too Long may be Too Long a Title for Tuhin but It Is a Good song even if the song itself also goes on a couple minutes too long without variation. The six minute track starts with some spirited flamenco playing to a Andalusian waltz as Tim Schmit sings in that astral cowboy voice of his, he swoons eagerly with youthful determination. The little elements of violin and the prominent Andulsian guitar fills and stuttered strum go
along with the sudden stop start structure and the
The Spanish verse however is the most cringeworthy and horrible piece of Cultural Appropriation and shouldn't have been tried due to it's embarrassing abruptness and in authenticity to make it sound natural instead of corny. dear god can I remove the hands from my ears now?

Funky Kings (1976) Nothing was Exchanged - LOST 70s GEMS

A laid back country rock song by the Funky Kings a short lived outfit bolstered by three extraordinary singer songwriters; essentially left overs form the early 70s Troubadour scene. Most notable is Jack Tempchin, who wrote a couple Eagles hits and the classic swaying love song Slow Dancing which first appeared on this album. While they fall in the Soft Rock category they have a strong folk rock acoustic showmanship ala America and this track highlights their electric funky side too, which is good as they're allegedly kings of it.

Starting with a slick, slide guitar lick and then blooming into a charming country rocker along the lines of Pure Prairie League, they mostly lacked a strong image above all else, when it came to singin, playing and writing they had it!

Bee Gees (1976) Lovers - LOST 70s GEMS

The definitive track of the Children of the World album and the Bee Gees discography in the 70s with it's lush soft rock ballad structure call and responding with a stop and go funk beat. The overlapping chorus vocals that first featured in the chorus of Heavy Breathing from 1974's Mr Natural album with the echo of 'Heavy Breathing in the dark' and would also feature to an extreme fashion in Stop, Find from 1979's Spirits Have Flown album. It's sweet and caressing here with the lovely triple echos of 'we'll be lovers, lovers, lovers' with a beautiful sentiment delivered with special emphasis as opposed to the incandescent shrieking of "Search..FIIInd!". Here we Barry's growling white boy blues voices for some faux funk verses and Robin's falsetto loveliness trade back and forth through out verse and chorus but the reverbed, overlapped chorus is something of true vocal and studio splendour; so romantic sounding.


Some serene keyboard lines open the song with some equally smooth wah wah funky guitar; this mix of funk and ballad, disco and pop and white and black styles were the key to the Bee Gees' appeal bringin their orchestrated romantic Soft balladry to Funky mid-70s disco of the order of KC and the Sunshine band and Kool and the Gang.