Wednesday 26 September 2018

John Denver (1974) The Music is You - LOST 70s GEMS

 John Denver's most country sounding album and yet his big hits drew on a universal folk balladry, like his followup single and biggest selling hit, I'm Sorry and this album's key track Annie's Song. These songs held more delicate arrangements and were less direct hooks than his early 70s breakthrough hits like Take Me Home Country Roads, Rocky Mountain High, etc. There are still traces in songs like Matthew but almost all of the album is uncharacteristic dry country storytelling songs with plonking bass and some bluegrass flavour. His country roots had never been so pronounced before and it is an acquired taste as the songs lack the drama and rock of his earlier work not to mention emotional sensitivity. Here the country functions as nostalgia and is incredibly descriptive once again lacking a key trait; the spirituality his songs evoked.


Here the songs are matter of fact and mined of the depth he once had almost like a new career, no wonder it was so successful it opened him up to the Country audiences. Some songs get through though, aside from the glorious epic suite of Annie's Song, there is Eclipse with it's lyrical pan flute intro and Denver's pining lyrics and dialled down folksy warble and lines like "I do believe I saw the Old Man Smile". This Old Guitar is another spectacularly floaty, finger-picked serenade full of undulating vocals and sweet lyrics about what his guitar has done for him; it's a friend on a cold night and his wingman in getting his lady, the titular Annie of Annie's Song. It's Up to You is a cosmic pop tune with a grooving hammer on-guitar figure, zinging Mark tree chimes, rugged banjo fretting and soaring notes.


The Music is You is by far the gem of this album and should've been a hit despite it's ridiculously short length, Denver's harmonising with a female singer, Julie Connor, is set to a backdrop of an endless a banjo picking line. The banjo glints away along side the two singers singing off each other in hallowed tones and operatic falsetto. 1.26 seconds of pure love all dressed in a whimsical childlike lullaby. However it was still the heavy country singles Thank God I'm a Country Boy and Back Home Again that performed better than Annie's Song and Sweet Surrender, with the album winning many Country Music awards too, speaking volumes abut his connection to the rustic Country community and their love of wholesome nostalgia.


Barefoot Jerry (1974) If There Were Only Time for Love - LOST 70s GEMS

Barefoot Jerry's Watchin TV Album(1974) is a positively hopeful set full of beauty such as Fuzz driven textures, Pastoral synths, Jazzy interludes of acoustic guitars and heavily twangy pedal steel shifting in and out. Check out Hay Queen's extremely syncopated discofied pedal steel and hard rock guitar phrase; with a swaggering Moog synthesizer part overlaid on top sounding like Mike Post's theme for the Rockford Files.

Pig Snoots and Nehi Red features a rich horn section reminiscent of Chicago, there is also great banjo driven lick alongside a squelchy disco swagger that was quite prescient for 74, two years before this disco sound exploded. The title track is indicative of the album with it's rock n roll laden content, angelic southern rock harmonies and funky swagger all wrapped up in one. While Two Mile Pike is a fantastic rip roaring, innovative instrumental with the distinctive feature being a tricky pedal steel slide where the huge gliding tone of the pedal steel plays alongside some frenetic picking to create one unique smooth, virtuoso part.

The highlights are There Must Be a Better Way with it's robust piano and deep confessional gospel spirit, the lap steel whirls so faintly to sweeten the edges of this dry tune, it takes on a Hawaiian aura before the final refrains pick up the tune.
Violets and Daffodils start with spindly Andalusian picking with a circular folk melody describing his love in corny terms but the murky 'sweet guitar' wails and the chorus ed folk guitars swiftly swiping chords and noodley note based turnarounds are my favourite musical techniques.







If There Were Only Time for Love is the best with an oscillating acoustic guitar descending in key to breezy, masculine and old times chorus vocals. It's a mixture of 70s singer songwriter with Disney tune and a tick-tocking guitar progression and even some more spacey, pedal steel.



Fuzz synths also make an additional appearance showing the bands' cutting edge credentials as well as their exquisite taste for instruments; from twinkly vibraphones, a sea of fuzzy keyboards to that fabulously distorted pedal steel whining dissonantly or gliding in bass heavy slides. Check out the ending phrase as the pedal steel graciously winds down, the acoustic finishes it's last notes of the scale, harmonies coo, and a synth let's out one last soft pulse wave before a smattering of piano touches bring it to an end. The lyrics are a fine but a little too jesusy for me, theres a portion of "he died for our sins' in the song but the sleepy almost dreary vocals master the tone of how to make more time for love in life.

Commodores (1976) Captain Quickdraw - LOST 70s GEMS

The Commodores 1976 collection, Hot on the Tracks was a strong, heavy funk leaning album and probably their last before their classic Ballad phase would begin, one thing always missing particularly from their commercial peak were clavinet instrumentals penned by Milan Williams, the founding keyboardist of the group who kick started the band's career with the Billy Preston sounding track Machine Gun on their 74 debut.

But before we get to the highlight let's examine the album proper, there is Girl, I Think the World About You which manages to mix the sultry Disco sound with Lionel Ritchie's soul sensibilities and a heavy funk guitar and horn backing. High on Sunshine sounds exactly like Ron Ayer's Moog driven sunshine jams, Just to Be Close to You is like a very gospel soul take on the Carpenters, Fancy Dancer and Come Inside both feature a pre-Brickhouse, tight bass groove. The entrance of strings and angelic choral stacks for their new ballad sound was intermingling peacefully with their pumping horn driven sound creating a bizarre AC Easy Listening sound that's dripping in big band funk.


After Rapid Fire and Machine Gun on the first album and I'm Ready and Cebu on their next albums, Captain Quickdraw is the last in the Milan Williams' canon heavy instrumental jams. His contribution was original but sadly hardly ever given much space on the albums, here the tracks starts with a slapping drum beat as the standard funk rhythms slide in, primarily clavinet, horns and bass. Then some of William's quirkiness comes through as a synthesizer plays a short CB radio ident which sounds like a high pitched whistle; a short little motif that precedes William's spoken word verses where in his thick Alabama accent delivers some wry social commentary on a crackly Trucker CB radio. Then comes the soulful Sly Stone styled funk chorus with pumping horns before Williams returns drawling on about 'that Watergate city' up on 'that big house on the hill', it's very 1976 as he states his position on the corrupt government in a creative way through the voice of a Captain Quick draw, a CB name. The squealing, pitchy CB radio whistle signal reproduced through synthesizer is awesome along with the melodious funk chords; the song ends in several overlapping CB transmissions talking over each other, maybe in some political dig, who knows the funk still works!


The Dillards (1970) Copperfields - LOST 70s GEMS

Not much to say other than this is a smooth flower power sunshine pop tune and title track of the fifth album by the legendary country rock pioneers The Dillards. 

In Our Time features some sweet acoustic blues guitar playing and mandolin strumming and Yes styled high harmonies, The Old Man at the Mill is a banjo rocker, with some line dancing instructions and some easyging falsetto harmonies and strong Southern accent to it. Ebo Walker has a celestial banjo driven shuffle with storytelling lyrics and sensational layered harmonies, Brother John is a sixties sounding effort with Bossa Nova bass and Latin rhythms complete with jazzy flamenco licks and awesome dual harmonies. Touch Her if You Can is a sappy pop song with very soft crooning and gentle harmonies and string/flute backing. Best is the lyric depth and the majestic strings coursing in at various parts like a full orchestra eliciting strong emotions of nostalgia. West Montana Hannah combines the soft soothing deep pop of some of the tracks with the banjo shuffles of the other tracks, it has rocking bluegrass, funky back beat and deep emotional content but none of these tracks top Copperfields.

Copperfields

The soothing yet earthy lead voice, the clear tenor close harmony, mix of bluegrass picking and baroque orchestra. It's a bridge between the upbeat springtime arrangements of the 60s to the downbeat wintery of the 70s. 'All the Copperfields are going back to the towns where they were born, do you have Copperfield to play in when you're getting old?', the lyrics aren't superfluous but are sung in an hearty choral style of many of the album tracks, they were a superb vocal group and arrangers alongside their obvious bluegrass chops; undoubtedly the first big Country Rock group. Listen to how the timeless strings that envelope the chorus and the wearied dispassionate vocal as his age catches up to him; deep lyrics set to well crafted pop melodies, tight musicianship and best of all.. stirring string sections.

Friday 21 September 2018

Player (1977) Tryin to Write a Hit Song - LOST 70s GEMS

 I love 70s pop rockers, Player's debut album, released in 1977, its a diverse set of matrial that encompasses soft rock in many variants. The xylophone of Goodbye (That's All I Ever Heard) is reminiscent of latter day America and Starbuck's brand of easy listening/yacht rock, while Melanie and Cancellation contains the hard edged arena rock of their latter albums. The big hits, Baby Come Back and This Time I'm in It For Love are based around harmony punctuated balladry and soothing, romantic sentiments. All of this underlined by the odd funky guitars scratch, or the deep, twangy synthesizers often found in the work of Gino Vannelli and Boz Scaggs' brand of smooth disco pop; two artists they opened for. This album manages to merge arena rock, soft rock, yacht rock, Countrypolitan and soul all dressed in a wide ranging funky ballad sound.

 The anomalous, country rock song, Tryin to Write a Hit Song closes an album filled with funky soft rock, disco ballads, jazzy instrumentals and hard rock vocals. It's a mellow ballad that builds from sporadic flamenco guitar to sweeping strings to heavy guitars; all underlining the engaging lead vocals of JC Crowley, the band's second singer; whose manly vocals and high falsetto were such a near match for the lead singer, Peter Beckett, that it's hard to tell whose singing which song without the help of liner notes.

 Crowley shines on songs like Love is Where you Find it and the Oberheimer driven/Hall and Oates styled blue eyed soul of Come on Out; and particularly here, bringing conviction to the R. L. Mahonin tune about a staff songwriter failing to connect with his emotional state. The best lyric is the line 
"I should have listened when you said I wouldn't be Some kind of hero, I would be only me
You should have told me there were some better than I, I'm learning the hard way that what I got no one will buy"
. It's great line about being humbled as well as the dual feelings of inferiority and insecurity; it reminds me of the Eagles' New Kid in Town, on the theme of being 'replaced' and Gordon Lightfoot's If I Could Read Your Mind, on the line about trying to be the 'hero'. Ironically two 'hit songs' the singer would've loved to have written no doubt :P


Thursday 20 September 2018

Flying Burrito Brothers (1971) Just Can't Be - LOST 70s GEMS

A rare RnB flavoured track from the hillbilly rockers, the sultry blues lick has a country twang while Chris Hillman harmonises with his bandmates for smokey Robinson high tenor vocal soothing you in while the big chorus is classic country rock rousing big vocals. The twin guitars sounds come from electric and pedal wailing away dissonantly with restraint. It's so unusual for the Burritos to show such menacing hard rock and soul experimentation though they did start off with hard edged psychedelia they soon became commercial ballad group.


Tuesday 18 September 2018

Ace Frehley (1978) New York Groove - LOST 70s GEMS

To finish off today I take a quick lightning tour of Ace Frehley's incredible solo album, a truly original effort that blew out the gates or more fittingly for the Spaceman rocketed off with some fantastic late 70s hard rock let's take a look; first Rip It Out is powered by Ace's snarling growl and has a guitar synth backing during the solo while Snowblind is built around a raunchy, funky streamlined Black Sabbath riff. Ozone and Whats on your mind are heavy acoustic backed rockers worthy of classic Zeppelin or Sabbath in their creative playing, while Wiped Out is a sci-fi metallic rocker with rolling tom toms and penetrative Santana-esque slide guitar, I'm in Need of Love is a spatial echo laden grunge rocker with greatly executed Bowie vocals by Ace. But my pick is still the best selling single New York Groove a cover of tune originally released by Glam Rock band Hello who added harmonica to an already downbeat song.

The track kicks off with boots stomping and laps patting in close formation, setting the tempo to that of a March. The talk box guitar enters with the gurgling rhythm guitar line before some added slides and riffing thicken the mix. Ace nails the vocals of the Russ Ballard penned tune with his dazed and confused delivery faint in the mix seeping in and out. Then the chest pounding chorus is unleashed with gospel fervour from the backing singers. This was truly an anthem and that opening truly solidifies this as a classic and worthy of being the highest charting single from the solo albums, when you take into account the near consensus that Ace's solo album was the best, only second to Gene's in terms of sales though he did an awful.of publicity appearances and promotions compared to the rest, it makes one thing clear; put of this lunatic conceived but brilliantly unique idea to release four solo albums on the same day 40 years ago.. Ace won.


Paul Stanley (1978) Hold Me, Touch Me (Think of Me When We're Apart) - LOST 70s GEMS

Paul's solo album was the one that slowly grew on me so I would like to go into depth on this one and the numerous cuts to look out for before I get into the gem. The best track on Paul Stanley's very Kiss sounding solo record is the epic track Take Me Away (Together as One), primarily because it's misty eyed opening recalls Zeppelin's mystique and their brand of semi-acoustic, worldly ballads, ala the Rain Song. Though this album is more skin deep than that cut would suggest, with the bulk of the record made up of adolescent pop rock tunes ala..well Kiss; best exemplified by the cocky come on of Wouldn't You Like to Know Me or the laidback swagger of It's Alright where the narrator has no qualms with 'stay for the night'. 

 While the chorus to Love in Chains may be mind numbingly bombastic, the whimpering backing vocals of 'enough', in a girly response to Stanley's question of "Isn't it time?", is quite addictive a touch to an otherwise dour album cut. While those songs live on fat guitar tones wailing away and chunky power chords, Ain't Quite Right is built on a Oriental sounding blues lick based around a hammer on groove and some hi-hat action reminiscent of the opening of Cold Gin. The riff soon gets slinkier with a jazzy cocktail piano before the familiar power chord stomp enters as the hook. The lyrics deal with love that ain't quite right which makes it a little gritty, while Bob Kulick's very flamenco jazz solo is so wiry and sensual in it's thin, clean tone full of unnatural reverb. Then finally before we get to the album's gem we have, Goodbye, a strong power pop effort with a very 80s New Wave sounding opening full of slashing chords and a guitar riff based around double stops, before ending up in some solid riffing and Kiss power rhythms.


But for all the strengths of the album, I still quite enjoy the anomalous single release; an unabashedly saccharine pop ballad, a million miles from Kiss but not so far from Stanley's sultry power pop affections, that would occasionally surface in the band's catalogue. It has a wordy title, pretty much the whole chorus written out with parenthesis included which is a bit of an eye roll when that happens particularly as the add on of (Think of Me When We're Apart) is an unnecessary elaboration of Hold Me, Touch Me; we get the picture Paul!

 So this astounding track starts with some hesitant, high end finger-picking playing that creates a pensive, moonlit mood alongside a piano arpeggio. Paul's voice swoons in a slow burn romantic verse before the chorus swoops in on a bed of soothing harmonies; it's very soft and very polished around the edges as Paul sings with genuine tenderness. The choral 'ahs' are spectacular as they modulate up a key for added beauty, all before a paralysingly gorgeous guitar solo by Stanley cuts through building proceedings to a alleviating climax. The bright fuzz tone of the lead guitar is tempered by emotive string bends like the 'heartstrings' of desire being tugged at. The track glows with it's varnished production quality and the 'cascading' mix of a capoed, nylon string guitar, baby grand piano and an enormous choral backing can't help but sweep you away; hell even Kiss fans should appreciate love songs once in a while and the quality of writing and production doesn't get better than this.






Gene Simmons (1978) Always Near You/Nowhere to Hide - LOST 70s GEMS

Probably my least favourite of the solo albums, Gene Simmons prioritised sound effects, like the cinematic opening and more sonics over the songs, with only a few catchy melodies in between a lot of filler hard rock and pop songs and a whole ton of celebrity cameos. This track is technically two tracks featuring a repeating finger picked scale, whirring pedal steel guitar whining off into the distance, Simmons singing disengaged from it all as strings shore up the rest. The incredible guitar harmonics are clearcut and pierce through your headphones, while the beat picks up on the piano to the second half of the song Nowhere to Hide.

The choirs kick in as does the Philharmonic orchestra as Simmons wails in falsetto about 'don't try to hide' it's menacing message draped in a chorus of 'ahs'. It's like a power ballad as the drumming intensifies, hand claps enter and Simmons' screams in joyful, ecstatic yelps in an ironic salvation; clearly his song is about sex whilst in the middle of an evangelical chorus is the last place you could sing the virtues of that!

It's the biggest moment on any of the solo albums with it's grand, church like aura and atmospheric rhythms created by the drummer and singers, all building up to Simmons' greatest vocals; his wails are so powerful and unique, I've never been so moved by such shrieking before, boy does it work. And finally a credit to the producer, Sean Delaney who by far does the best job out of the four producers used on the four solo albums, he creates a mighty large soundscape that can zero in on a instrument so easy; he was practically one of the stars of the solo albums himself as he co wrote some of the best ballads on Peter Criss' album too in one of the few overlaps between solo albums.


Peter Criss (1978) Kiss the Girl Goodbye - LOST 70s GEMS



Today may seem like any other day, but it is the 40th anniversary of the Kiss Solo Albums; on the 18th of September 1978, their record label released four solo albums by the four members of the band.

The albums were each very different from each other, featured none of the band members in any other than their own and all wore matching black, back-lit portrait album covers to suggest you had to own them all. This concept of an active band having all it's members make and release solo albums with no contribution from the others and released at the same time has never happened before or since..

So today I will do a blog post for each one and I will start off with my personal favourite, Peter Criss's RnB, 50s rock n roll and schmaltzy ballad heavy collection. I have chosen by far the most subtle thing he ever sang, the gentle, whimsical folk tune Kiss the Girl Goodbye. Written with Stan Penridge, his old writing buddy who wrote Kiss' biggest hit Beth, this starts off under a sea of finger picked guitars. Apparently this is the first Kiss related tune to feature a diminished chord, their musicianship was limited to meat and potatoes hard rock power chords. Here Criss employs a ghostly falsetto that weaves in and out before the rousing chorus where sings so beautifully the line "We've been apart so many times before, one more time won't change things, I'll even love you more"; he sings it with such a wearied ache in his voice and ghostly sheen to make this a haunting track along with the circular melodies of the acoustic guitars playing their jangle chords and flamenco lines like a festive carousel. Frankly it has a mature, sophisticated soft rock vibe that would be expected by a John Denver or England Dan and John Ford Colley, it' deeper than the simple 4/4 rock n roll material Criss was known for; he was known for incredibly simple drum patterns for just as simple hard rock riffs in Kiss not 12 strings and flamenco noodling.


Monday 17 September 2018

Barefoot Jerry (1971) Hospitality Song - LOST 70s GEMS

 Barefoot Jerry a long term southern/country rock band had a debut album in 1971 called Southern Delight that bore one of my favourite album covers of all time; it was a still of the band walkin up a dirt road in their plaid shirts carrying whiskey and even a coffee mug seemingly unprepared for the shot. but that's not all hanging above them is a publicity still, a group shot with dividing white lines in between each band member that runs from the top to the bottom of the cover perfectly dividing up the band members in the photo with themselves in the picture below, walkin up that hill. And where you would expect their individual name tags you get in white letters the band name repeated several times, marking the group more important in some respects though the white lines and the combined use of head shots and a relatively close group shot would suggest otherwise.
The striking cover with the use of closeups of a band, framed like they were Mount Rushmore, on their debut album no less, prompted me to check out the music within..and I wasn't disappointed!

Nobody Knows is a odd little soul number built on a bed of perfectly harmonised 'oohs' while a deep barrelled voice sings in tandem with spongy lead guitar; both vamping along in 1.20 barbershop flavoured ditty. Smokies is rootsy chugging folk rocker with fanciful na na na singing and more deep twangy lead vocals. Though halfway through a Moog and organ create a sudden wash along with some more elevated group vocals like a distorted choir. The band liked to indulge in these keyboard moments from time to time and it didn't always mesh into the fabric of the song.


Thats' OK He'll Be Your Brother Soon is a slow rock showcase with steady, dramatic work from the drummer and the backing pianist who expertly amp up the tension in the track. While the lead guitar is all funky blues with fluid lines drenched in fuzz tone and it's all capped off by the robust galloping bass and the heavenly sweet harmonies returning in full gospel message singing the title together in a hopeful weariness.

Anyone of these songs could have been the highlight; they are all well arranged mixing exquisite trebbly downhome lead vocals with sweet harmonies, enormous synth washes, gospel power, flowing lead guitar and rock steady drumming.
But as was the case with many early 70s unknowns the opening track is the strongest. Here that is the mistitled Hospitality Song, which is still impressive despite the strength of the prior tracks and correctly sets you up for the ambitious soul/prog/country rock album to follow.

Starting with another gospel opening full of splintering lead guitar licks to a rumbling piano and pleasant, rustic harmonica. Then comes the verse structure with a hoe down oriented drum beat with the 'smooth as honey', baritone singer caresses you with a circular melody singin in an accommodating low register.
Then the response vocal sung in a higher, strained Southern voice chiming in with "We don't care what state you come from? We don't care what state you're mind is in"


Then there is a quiet pop bridge with twinkly vibraphone and tender harmonies of "its right before your eyes, the key is in the answer. The secret to the skies"; the gentle melody counteracted with more the drummers' double time shuffle works so well. I wish this track lasted longer it's mix of groove, rock and sweet soul is done so tastefully and never outstays its welcome. From the meaty, high register lead guitar playing soaring notes to the mix of steady drumming, angelic harmonies and gruff lead singers is all my favourite 70s sounds in one band; incredible!

They remind me of the Ozark Mountain Daredevils with their mix of Southern Rock, Country rock and bluegrass ballads and particularly in the baritone singers and high harmonies. They are like Desperado era Eagles mixed with Ozark Mountain Daredevils groovers and some Hall and Oates harmony and synth laden soul.


Sunday 16 September 2018

Little Feat (1971) Bride of Jesus - LOST 70s GEMS

This is a beautiful ballad from legendary jazz band Little Feat; sung with inimitable grace by lead singer Lowell George in his ragged yet soulful vocal. Billy Payne's church organ and country piano gave Little Feat a sweet backing to launch more quirky erratic vocals and guitar work, but here it's the lyrics that are the real standout along with George's odd little inflections and turns but specifically the big ending that reminds me of the chord changes of Seal's Kiss on a Rose. The lyrics as indicated by the title are jesuit; with it's talk of a beautiful maiden, the line "entertaining angels unaware" and seeing beauty in the darkest of places. It more grabs me by George's fluid melodies full of grit and yet anonymous southern character; it hints at a deranged yet smooth pastor telling modern day sermons..ok maybe that's overdoing it a bit but there is a gritty gospel feel to their music, I'm not imagining that!


Friday 14 September 2018

Stephen Stills (1971) Marianne - LOST 70s GEMS


 Stephen Stills's second solo album was unimaginatively titled Stills 2 and was full of floaty folk rock paeans; Sugar Babe is a definite highlight with its grand piano intro complete with a long droning fuzz guitar note to a disappointing gospel chorus, but a pleasant bridge melody with spritely organ and beautiful link back to the sincere verses. While Change Partners is built on a whimsical melody resembling an old dance as Stills describes the dance of ending relationships as well as describing girls who grow up in private country clubs fitting the gentle, ornate romantic tone. Stills' cracked baritone couldn't sound more boyish then on this waltz based tune.

 Only Sugar Babe comes closest to matching the power of the opener to his last solo album; the hippie anthem/gospel rock of Love the One You're With. But I have chosen the single, Marianne as my pick for this albums gem with its bouncy glam rock Shuffle and ethereal croon from Stills reminding me of Mud' Tiger Feet. So cool and seductive a track vocal and simple.




John Denver (1973) Farewell Andromeda (Welcome to My Morning) - LOST 70s GEMS

John Denver's Farewell Andromeda (Welcome to My Morning) is one of the upbeat songs on the album named after it, with a joyful, multi-layers of choral voices and a circular melody akin to Rocky Mountain High. Very Flower-Power era/ Sunshine Pop a few years late.

Berkeley Woman is a standard folk song with a hypnotic progression, it's direct lyrics remind me of good blues song particular the line ''she screamed and she cried 'you dont give me near all the lovin that you should! But you're ready to go and lay with her; you're just no damn good!'" I'd Rather Be a Cowboy (Lady's Chains) has serene harmonies and heavy folk rock arrangement.

 Please Daddy and River of Love are two fine examples of the pronounced country beat to his music that would prove successful the following years' Back Home Again. Whiskey Basin Blues features some startling mountain music in the form of a haunted, echoed yodelling break by Denver demonstrating his strong vocal chords. Sweet Misery is smooth soul music complete with Denver in full country accent, Zachary And Jennifer is a tender, finger picked ode to happiness and eternity. while We Don't Live Here No More is well written tune full of Denver's languishing voice.


Tuesday 11 September 2018

Elton John (1970) Burn Down the Mission - LOST 70s GEMS

 The highlight of the country tinged Tumbleweed Connection, Elton' melodic slow build that he would perfect on hits like Tiny Dancer and Rocket Man is present here with a saloon bar piano and wonderfully simple drum beat as Elton wails away in his full falsetto whine. Then a samba inflected string coursed section kicks in before returning to his placid playing as the sturdy drums and acoustic guitar back his plea to 'bring your family to the riverside'. Though occasionally he over does his country twang, his smooth multi-tracked tenor anchored many of hits that wouldn't have the same effect with a too showy voice. You also can't beat the chorus with it's euphoric call to 'Burn down the mission, If we're gonna stay alive, Watch the black smoke fly to heaven, See the red flame light the sky, Burn down the mission, Burn it down to stay alive'


The Brazilian Conga beat and roving bass guitar work well together as the song speeds up to a sweeping, Sgt Pepper esque finale of the song and the album proper; it's the most memorable moment on the album.


Thursday 6 September 2018

John Denver (1972) Season Suite: Summer- LOST 70s GEMS


John Denver's Rocky Mountain High album in 72 was a big hit though not exactly his finest album with it's heavy reliance on cover tunes. Season Suite: Summer is the highlight of the albums's repetitive second half; full of nature segments, or basically a bunch of songs called suites and named after the seasons. By far the freshest is the summer suite with it's bouncy energy. The only other lively track on the ballad and orchestration heavy album is Prisoners; with it's frenetic folk work reminding me of Stephen Stills, and it's inspirational lyrics about a working life's hardships and yearning for home. A lot of this album, including it's big hit and opening title track; Rocky Mountain High, is about returning home or at least longing for it.

While Prisoners is a good track, I prefer Season Suite: Summer for my blog post as its is a rousing number with a slight disco shuffle to it's main hook complete with big piano chords dominating the beat. Denver's rootsy voice sings with a lullaby lilt before the spirited, multi-tracked harmonies kick off the honky tonk chorus and heavy acoustic chords end each chorus with a funky turnaround in tandem with the main piano parts. 


Wednesday 5 September 2018

Bronco (1972) Sudden Street - LOST 70s GEMS

 From British Country Rock band Bronco's second and more arranged album, Sudden Street is their finest offering marrying frontman Jess Roden's requisite vocal style with an impeccable 60s folk rock structure. It reminds me of the 60s band, Love, with it's Latin folk feel as the acoustic guitar led rhythm goes from soft and gentle to upbeat and fervent The lead vocal by Jess Roden is extraordinary, a bluesy tenor that aches and cracks so soulfully in a style I used to describe as 'Torn and Frayed' after the Rolling Stones song.

 Jess Roden follows the tune's undulating rhythms, wave after wave of chord strums, as the sensitive verses lead to a tormented, dance-able chorus with a distinct salsa tempo. However despite the shifts in tone, it's all mixed in a low key manner without any stark contrasts, this works so well and yet it would mean it  would never be a hit single due to it's lack of a central hook. The laidback nature of the whole arrangement with it's feverish beat that picks up in the chorus and flamenco electric guitar licks deliver a strong Latin vibe to backdrop the affecting lyrical content which is the heart of the song. Roden croons soothingly about 'cold winter evenings' as he meanders along Sudden Street, where he can't resist temptation and over and over again states with multi-tracked harmonies 'You Know How I Feel' as to the organ and salsa percussion. Roden tries to justify his act of infidelity in the absence of a lover, clearly in denial as his vocal speeds up he is harmonised with his bandmates in hallowed 'oohs' as he comes clean and confesses his deep buried feelings.

 Roden's vocal here still one of my favourites with it's deep barrelled, cracked quality that sounds so ghostly and haunted with loneliness, despair, acceptance against a flamenco jam of strutting acoustic guitars, bubbly bass lines and carnivalesque drumming.


John Denver (1971) She Won't Let Me Fly Away - LOST 70s GEMS

John Denver's Aerie album opens with a nature based bluegrass tune called Starwood in Aspen and a softened soft rock dragged out version of Buddy Holly's demented Everyday; its hard to like it now as a straightforward love song minus the inherent menace of Holly's original thigh slapping arrangement. Other highlights of Aerie is, the chirpy closing instrumental,Tools, the sweeping Prog ballad The Eagle and the Hawk complete with galloping acoustic guitar and a couple of Bill Danoff tunes.

The first Danoff composition is She Won't Let Me Fly Away is a a badass folk tune with a slow verses and funky turnarounds. The second is Readjustment Blues is about tough sociopolitical times and is a storytelling/analogy soul tune, it's enlivened by the twinkling chimes that enter three quarters of the way in that merge with Denver's good ol boy pipes and incandescent 12 string guitar.
It's an album full of Denver's post hippy spiritual new age folk . and I still the best overall tune is She Won't Let Me Fly Away, not too overwrought or soberas some of the tracks, the just the right level of restraint.


Monday 3 September 2018

John Denver (1971) Wooden Indian - LOST 70s GEMS

A furious belter with a powerful message of solidarity set against a rugged full bodied strum and starting with whirling funk licks; all draped in Denver's mulittracked throaty wail it's superb and the rockiest of the many sunny flower folk pop tracks from his most appreciated album.


Jackson Browne (1972) Under the Falling Sky - LOST 70s GEMS


How can it have been this long for me to do a Jackson Browne post its only been 3 years and 565 posts later?

His debut belongs in the easy listening vibe of Bread, America and Eagles ballads with it's lush mix of gospel piano and folk guitar dressed in supple vocals and laidback delivery. Browne, author of Take It Easy, wrote songs with the same laidback nonplussed swagger of Glenn Frey,such as the opening of Under the Falling Sky. Starting with a jaunty organ, gradually augmented by tablas and acoustic guitars and speedy percussion, you're still totally enamoured and entranced by Browne reigned in vocal performance. There is a countrified pull off based guitar solo and some smattering of his piano but the frenetic acoustic/tablas start to pick up like an unplugged version of Deep Purple's rhythm section backing Browne. The organ and Browne' spiritual bent meant he carried a more James Taylor gospel folk vibe but managed to stay more consistent than Taylor as the 70s progressed.

It's musically speaking, the most memorable track from the album along with the buoyant opening notes of Doctor My Eyes; which is basically a deep, pop song. The album was famously given the name 'Saturate Before Using' instead of being self titled due to the burlap sack designed cover which features those instructions prominently , an interesting explanation could be given for that title being the real, deserved name considering Jackson's fascination with water analogies.