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

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

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

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

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


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

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

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

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

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

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


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

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

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


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



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


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



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

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

John Denver (1976) Pegasus - LOST 70s GEMS

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

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

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

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

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

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

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


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

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


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

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

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

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

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

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

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

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

The Dillards (1970) Rainmaker - LOST 70s GEMS

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

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

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

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

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

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

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

Orleans (1973) Mountain - LOST 70s GEMS

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


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


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

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


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

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

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

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

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

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

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

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

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

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

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

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