Jigsaw (1970) Blow Blow Thou' Winter Wind - LOST 70s GEMS

From 1970's Letherslade Farm album, pop disco behemoths Jigsaw started as a psych pop band, but with some funkiness thrown in indicative of their future and Des Dyers distinctive tenor. Say Hello To Mrs Jones is a gentle Moody Blues type of organ and mellotron drenched pop ballad starting with a increasing tremolo effected grasshopper chirp before adding ethereal guitars to a generic Cream lite psych rock tune. Blow Blow Thou' Winter Wind has the first signs of their later predilection for funky disco pop with wah wah and sax/ James Brown driven funk clashing with the quirky English Prog harmonies though the ghostly overdriven hammond organ solo really works, there is also some delicious blues guitar solo full of sweet countrified slides and some storming saxophone parts that are as majestic as trumpets.

England Dan and John Ford Colley (1976) Westward Wind - LOST 70s GEMS

In the summer of 76, soft rock was really taking off with the debut album by these two fine artists being almost the peak of the genre; with a mix of Elton John styled piano driven countrified ballads. However the band still retained some of their early A and M record Country Rock shuffle with the folk pickin, serene inimitable dual harmonies and gliding lead guitar twisting and twanging around Dan Seal's harmonious voice. Of course the hallmark of their sound was the twin lead guitar attack featured on the title track of their 1976 album Night Are Forever Without You; though the arrangements were a little too clean, the vocals' are immaculate in a good way particularly on this song's positively life affirming chorus.

JD Souther (1972) Some People Call It Music - LOST 70s GEMS

JD Souther, the underrated sixth Eagle in my mind released his debut solo record on Asylum roughly around the same time as the Eagles did but his friends ultimately eclipsed him with their full sound and harmony arrangements. But this song displays Souther's ability to blend rock and folk, sensitivity and conviction in this song that manages to mix of James Taylor singer songwriterisms with the harmonised,country rock beats of the day.

Jigsaw (1977) If I Have To Go Away - LOST 70s GEMS

While Jigsaw were a one hit wonder they did possess strong soul credentials, here the grand horn and strings draped production are blessed with the lead singer's powerful falsetto Gibb brother's croon. The coursing, deeply heartbreaking strings of this song are present in their biggest hit Sky High and other tunes. 'If I had to go away, there'll be time enough to say..' chorus lines are sung so sincerely and the horns, my god, add a lot.

Sammy Johns (1973) Early Morning Love - LOST 70s GEMS

Sammy Johns is to me the underrated star of Folk Rock, particularly in the mid 70s when the genre was taking a hit with only Glenn Campbell, John Denver to be of any real note. But John's material on his 1973 solo album captures the celestial spirit of 70s Folk Rock with it's misty pedal steel, wash of electric piano, revved up sunshine pop acoustic strums and angelic vocals. This punchy folk tune also manages to embrace the post hippie vibe of the early 70s, best exemplified by Chevy Van; Johns' big hit. It's the upfront acoustic guitar with it's ringin out like tinkerbells and harmonics alongside Johns' gossamer vocals so clear and soaring into astral plains.

Flying Burrito Brothers (1976) Wind and Rain - LOST 70s GEMS

'Can't know what I'm feeling. What the wind and the rain telling me' it was these lyrics and the dual acoustic hammer on/ pedal steel lick that drew me in along with Glib Guilleau' downhome voice singing about the transience of the Wind and Rain in an expertly produced track adapting the Burrito Brothers beyond it's two charismatic founders Chris Hillman and Gram Parsons.

Fleetwood Mac (1973) Emerald Eyes - LOST 70s GEMS

The opener to the greatest Fleetwood Mac Album in my opinion. Emerald Eyes sets the tone beautifully as well as providing the lyric line that would become the album's name' Mystery to Me'. This album was full of Bob Welch's sleepy song constructions, Santana guitar licks, Latin Acoustic Jazz workouts and touching country pop songs from Christine McVie. Emerald Eyes isn't the best song on the album, closing track Why is, but it has gorgeous opening of mystical piano chords and BB King styled guitar wails. The strong eastern tinge to the Piano chords, the jazzy tempo as well as the flamenco styled solo gives a World Music feel adding to the spookiness of the track.

The transcendental chorus singin of 'Find Emerald Eyes in the Night' are backed by dynamite drums that sound just like mortars going off in timed detonations. The track sparkles with these cacophonous drum echoing like eyes 'gleaming shiny and bright as if covered in silver', while the bass drum crackles and the bass guitar bubbles along to create a sense of Demonic blues.

Jigsaw (1975) Baby Don't Do It - LOST 70s GEMS

The smooth Nottingham based band behind chart hit Sky High which featured a strong Disco vibe, produced this Philly influenced track, it reminds me of fellow northerners The Real Thing but the melody is so-so until the chorus. The twinkling electric piano and continuous RnB scratch guitar are something to behold along with the strings, horns and congas which sound right out of a Philadelphia international production. Major props must go to them for a recreating an authentic sounding Thom Bell/Philly sound even though it is more at it's heart a pop rock tune.

Splinter (1975) Split Crow Road - LOST 70s GEMS

A duo from the mid 70s famous for a modest top 40 hit called Costafina Town and releasing several albums on George Harrison' Dark Horse record label I must admit I am biased to this group. I have their whole discography as their sound is my ideal 70s style, it has everything I like in One group which has yet to happen. They have folk-rock raw acoustic soft rock sound as well as funky disco tunes like England Dan and John Ford Coley singing Bee Gees and Eagles material.

I Apologize has the most soaring blue eyed soul vocals particularly in the second call and response verse as the falsetto singer' vocal gymnastics as he delivers the line 'I don't blame you anymoooreehorre'.

Yes they do occasionally sound very beatlesque in some of their vocals like Lennon or Harrison' raspiness. But as a song I will choose Split Crow Road , a commercial folk rocker with their serene harmonies foregrounded as usual as well a bright acoustic strumming mixed nice and raw as a counterpoint, the memorable chorus of "I didn't think I'd cry when it came down. But how wrong can you be?" Stylistically, arrangement wise, production wise, songwriting wise and singing wise this duo are my cup of tea/spirit animal/my sound..shame no one really knows them. Just love the little playful chuckle at the end of the tune these guys know how good they sound.

Flint(1978) Too Soon To Tell - LOST 70s GEMS

When Grand Funk dissolved, frontman and guitarist Mark Farner started a solo career while the remaining trio formed Flint, named affectionately after their working class roots in Flint, Michigan and created this collection of rocking disco soul with more than a little debt to Motown and their former alliance. With drummer Don Brewer taking over lead vocal duties, this track features the keyboardist and often relegated fourth 'Grand Funker' member Craig Frost churning out funky clavinet sounding lines alongside the splitting guitar and organ work. Now lets get down with some funky chicken!

Dee Clark (1975) Ride A Wild Horse - LOST 70s GEMS

With a classic mid 70s disco start, klinky chicken scratch funk guitars strum in a smooth fashion while the inimitable Disco strings course so sweetly. Clark's chorus good time melody is cheerful, while the backing vocalist's 'giddyup' is very corny but somehow still sounds catchy like the whole song. There is an Conga percussion to this song that reminds me of the Carribean flavour of Rock the Boat, Clark's hits its stride at the end with a long note but it's that call of 'Ride a Wild Horse, saddle up get down to the source, if you can tame me, you can claim me; I'm yours ' brilliant. Like the best disco songs, this bounces along with elegant strings and funk guitars and an inspired melody line or two before they became more and more smooth and homogenised losing the eclecticism of the genre's Black, Latin and Gay community roots.

Magic Lantern (1972) Country Woman - LOST 70s GEMS

An ecstatic country rocker from this band from Lancashire or all places, it's horns, rolling rock guitar and lead singer's verve make up for the band's strong traditional sound and lack of innovation.

Chicory Tip (1972) Whats Your Name - LOST 70s GEMS

A bouncing Bubblegum bop with classic Chicory Tip singalong chores and synth innovation such as synth bass and incredible frenetic, digitised piano sounding keyboard parts playing in Bachian scales. Just imagine a more keyboard ready version of the Sweet or an early 70s Tremeloes and you pretty much got Chicory Tip.

Stevie Wonder (1973) Misstra Know It All - LOST 70s GEMS

This is a masterpiece never spoken about in the air as his biggest hits, this tune form Stevie Wonder's Innervisons album is formed on a laidback jazz piano progression and suitably slick beat. Wonder' s melody so hopeless yet confidently delievred with a deceptive glibness. The wearied observations about Misstra Know It All, a veiled dig at President Nixon still works on a deeper level such as Living in the City about timeless values of self respect and the individual over the stern authority..who don't know everything.

The gospel fervour of the ending with backing praises and Hail Marys help create a true protest classic that wont ever grow stale as Wonder exhibits his fiery proselytising yet deeply sensual growl singing "Take your hat off to the man who's got the plan!"; Truly Remarkable track one of the best gems I've ever heard.

The Frost (1970) A Long Way From Home - LOST 70s GEMS

Dick Wagner's Frost and Ursa Minor were terrific early 70s rock groups dabbling in Prog hard rock; just listen to his fluid guitar lines at the start of this track reminding me of his work on that famous intro guitar dual for that 1974 live rendition of Lou Reed's Sweet Jane. Awesome cover art aside this song has an piano based tune, but it's his startling epic solo full of Bowie's Glam Rock grandeur. The album's title track, Through The Eyes Of Love (God Help Us Please), has a great refrain and some spooky guitar and organ based work, Black as Night is holy pomp rock sung with crisp power, while It's So Hard has creepy funky blues interplay between guitar and drums.

Jigsaw (1974) Your Not The Only Girl - LOST 70s GEMS

From their 1974 album, I've Seen the Film, I've Read the Book, this Jigsaw moderate hit was full of upbeat rhythms and strong powerful singin, melodies and strings dripping in heartbreaking soulfulness; they were a Disco ballad band and the best at that genre of the more touching yet dance-able music.

Caravan (1971) Love to Love You (And Tonight Pigs Will Fly) -LOST 70s GEMS

You can't get a better album than Caravan's third album, 1971's In The Land Of Grey And Pink with it's mix of acoustic funk, quirky English Prog Pop and colourful song lyrics.
Love to Love You (And Tonight Pigs Will Fly) has the funky cowbell right form the start and cool swagger of a guitar chord progression while Pye Hastings sings dark lyrics such as "When we'd ride to a dock on bended knee / But you'd just smile and gently shake your head / And put a hole through me so I was dead ". The piano and guitar driven power chords yet Pye's mellow vocals make this commercial pop and avant garde rock; listen to the very catchy, two step chorus with it's hoedown hip swing of a melody making it very dance friendly. The breakdown drumming pattern and basic chords of his album made it far more commercially viable then there prior work, listen to the smooth organs and lead guitar solos are so pleasant to the ear and streamlined rhythms.

Poco (1974) Bitter Blue - LOST 70s GEMS

This tune from Poco's Contamos album is an underrated Timothy B Schmidt track where he sings over rootsy cowboy rock guitars in a way similar to Starin at the Sky and I Can See Everything; sought of a ridiculously clean, very high pitched falsetto with a slight breathiness that adds a husky sensuality to the countrified posturing. Then there is the stacked gospel chorus and the awesome bridge ' I look outside and find the rain..' with it's slightly down turn ooh's and tumbling modulation.