Mungo Jerry (1972) Lookin for a Girl - LOST 70s GEMS

In 1972, Bolan was God, but Ray Dorset and his band Mungo Jerry could easily have competed with T Rex in terms of 50s rock n roll nostalgia, the same warbling, fanciful lead singers with nonsensical lyrics and Glam Rock panache but Mungo Jerry were a little more diverse and rootsy and never really threatened Bolan and Co as much as they should've; seen more as Hippie holdovers form the days of Lovin Spoonful. Guitaist Paul King had left before the colourfully decorated Boot Power was released, Lookin for a Girl is a relentlessly catchy pop tune with ghostly harmonies but a furiously upbeat standard pop rock sound and lyrics about finding love. The Demon is like an attempt at Uriah Heep or Yes styled Prog lyricism, heavy organ work and earnest deliveries, 46 and On is a dazzlingly simple guitar rock instrumental and Open Up, the closer is a cleverly worded spiritual tune wrapped up in a deep and dirty blues groove.. My Girl and Me is another smooth pop harmony song, while Sweet Mary Jane and Lady Rose are charming songs; the former bares great lyrics like "Of all the girls I've ever loved, I still want sweet Mary Jane " and "I think about the hot summer days, and of the cold mountain stream ,Of quiet meadows and green apple trees, and of my sweet Mary Jane". HINT; its not about a girl

Mungo Jerry (1971) Simple Things - LOST 70s GEMS

 The music is incredibly rootsy, fun and upbeat with a banjo and piano always present and the mix is always raw and upfront like the crowded room ballast of Give Me Love. You Don't Have to Be in the Army to Fight in the War is an organ drenched, trippy protest song with a strong lyric, while the simple rock n roll blues and harmonica drenched beat of Pigeon Stew is satisfying as is the joyful whistling in Take Me Back. 

Hey Rosalyn is a clean and clear tune with 60s Bubblegum electric piano, Bolan esque warbly vocal and silly poetry and some Thin Lizzy smooth guitar licks. Simple Things is a pleasant flower power pop song with beautiful flute melodies, Beatles chord progressions and corralling harmonies. Shorty George is yet another quirky old timey rockn roll meets jug band jaunt with the bizarre, but then again not so bizarre for this group, addition of a jewish harp. Outskirts of Town and is a successful mix of Fats Domino piano with Chuck Berry guitars.
On a Sunday with it's Banjo kick from In the Summertime and a transcendental whistling lead harmony is incredible. Keep Your Hands Off Her has a joyous country group vocals that sounds like a Bluegrass and folk rock Countrified T Rex. The We Shall Be Free is an accordion laced knees up like a lot of the songs balancing a Kinks styled dance hall revivalism with the early 70s retro-fetishism for the 50s in a Post Beatles/Glam Rock package; clean, clear, modern yet vintage and very quirky.

Mungo Jerry (1971) Coming Back to You - LOST 70s GEMS

Electronically Tested is Mungo Jerry's sophomore effort, continuing in their jug band blues folksiness full of Dylan harmonica, honky tonk piano, kazoos and Ray Dorset's minstrel vocals. She Rowed has a solid rock n roll groove complete with soaring lead vocals and a countrified solo, Baby Jump is a raucous, hideous blues rocker full of grubby details and a muddy vocal by Dorset. Follow Me Down's pastoral lyrics and Carribean pop vibe are melodic while Memories of a Stockbroker features Native American flute, vibrant barroom piano and a wistful vocal. But best is saved for the last track, Coming Back to You; a cheery farewell song with a poppy vocal

Mungo Jerry (1970) Johnny B. Badde - LOST 70s GEMS

Full of ragtime, skiffle based blues tunes and shanty like fun its a amiable listen but don't expect any of the songs to stir the soul. Johnny B. Badde is the only memorable or frankly melodic tune in this joyful but utterly flimsy singalong collection, Badde is features a clopping country rhytmm, banjos and Ray Dorset's static filtered warble and honky tonk janglyness. It sounds like T Rex largely due to the whimsy and Dorset's fanciful drawl and nonsense verses and sound effects as he fitfully makes all kinds of cowboy raquet, the country blues piano and demonic harmonica are excellent as is the slight distant recording of Dorset's vocal. Best is the raspberry blowing and bottle blowing isolated at the end before the frivolity comes to a close; shame that none of the other tunes of Mungo Jerry's 1970 album carry such a succinct snap.

Starbuck(1977) One of These Mornings - LOST 70s GEMS

A single release from Starbuck, One of These Mornings is one of their more subtle tracks not as overloaded with the cheesy 70s funk synths that Doobie Brothers and Steely Dan utilised far more sparingly. . It starts with a backing ARP Ensemble which sounds like a glassy organ or string section depending on how drunk you are while a spongy, squashy Moog plays some plodding notes before a whirl of blues guitar and a triangle ping and we're off into a call and response melody as the title is sung blankly by a deep voice before Bruce Blackman sings in response; alongside this is a pinging keyboard part
There are the distant scratch of a funk guitar for quiet storms sensuality, some fiery harmonies in the bridge there is a flamenco solo and a 'sea of moogs' solo that was the band's trademark along with the xylaphone .

Starbuck(1978) Take My Hand - LOST 70s GEMS

Taken from the Searching for a Thrill album of 78, the album contains Go Wild, a joker in the pack with it's louche lounge lizard croon from Bruce Blackman and hollow, tactile analogue synthesizer that sounds like Steel drum. But Take My Hand is the absolute scorcher of a gem with it's delicate, touching arpeggio led sentimentality. It's almost a subtle mournful country ballad, it starts with a dripping vocal over a watery guitararpeggio sequence, the chords are so heartrendingly melodic in their fluid minor key progression.
The crisp aching falsetto against the reverbed guitar and vibraphone pings create a heavy emotional atmosphere as the singer, not usual lead singer Bruce Blackman's southern barrelling voice , pleads for someone to 'ease my mind'. The subtle strings and organ along with the winsome 'ah' two part harmonies keep this song so effective, achieving a honesty in the pained delivery of the vocalist/s. It's so unlike the spritely jazzy blue eyed soul and bopping synth pop that was their hallmark.

Splinter (1979) Stateside Girl - LOST 70s GEMS

Splinter were a great group, an unheard of 70s folk rock duo based on George Harrison's Dark Horse label which also featured he talents of Five Stairsteps guitarist Keni Burke. They had some genuinely breathtaking vocals, supreme harmonies and knack for melodic ballads; Stateside girl is a great example of this with a the gentle piano led verse melody explaining "America is where you want to be", the Beatles-eque nasality of the lead vocal complete with the fluttery vibrato of the duo's harmonies make this pure folk pop perfection. The repeated refrain of "Stateside girl, why now?" is just so memorable it forms the key hook and is repeated with a childlike whine, soon the dramatic blues rock guitars wail, acoustic guitars and drums pound away to lift proceedings to a near power ballad level generating an anthemic furore out of the once restrained melody. This is best in the sweeping bridge as Purvis sings "With the Sun in your Eyes, Have You Finally Arrived?" it almost sounds like a song to themselves as they ultimately failed to achieve the success of their peers and labelmates despite effectively reproducing that California Sound.

Dr Hook (1975) The Millionaire - LOST 70s GEMS

Dr Hook started out very rootsy like the Doobies and then transitioned into sleeker soul as the decade wore on, far more successfully then the manufactured left turn the Doobies took with Michael Mcdonald which was effectively a whole new sound unrelated to the former lineups. This is a rollicking soul number with an infectious upbeat lyricism full of raggedy, twangy soul. The lyrics are the band's strong suit, similar to Black Oak Arkansas who also boasted wacky southern accents and truth telling lyrics full of satire. For example "And I got more Money, then a horse has hairs" is spat out as a droll declaration while there are other funny truisms, as the singer states "But I'll never be Robert Redford, Cause I'm much to fond of beer" which is my favourite line in a humorous tune probably written by humorist (clue is in the job title) Shel Silverstein, who penned a lot of the early albums, that or his sharp tongue rubbed off on the self parodying band.

Sex (1970) Come, Wake Up - LOST 70s GEMS

This is a Canadian Power trio called Sex who have a very Detroit sound ala MC5, Frost and The Amboy Dukes, a tough sound made up of bluesy hard rock guitar and very trembly bass and tight drumming. The vocals of Scratch My Back have a blank feel married with excellent drumming and a funky blues guitar style like Clapton with some wobbly string bends. Not Yet is filled with piercing lead guitar that goes from blues to Medieval sounding scales before the track proper kicks in and later highlights a superb bass only section. The sound maybe an onslaught but it is recorded pure and clean for maximum effect, the title and the cover of three long haired hippies running shirtless through a wheat field is not really indicative of the music within, it is an amusing representation of it's time. 

 The pile-driving beat and use of drawling wah wah particularly strong if nothing special, their trippy blues lyricism was no competition for The Stooges or Deep Purple. there is a fourth member, Pierre Ouellette who contributes flute to a few tracks like the Peruvian folk middle section to the Deep Purple sounding,monolithic speed rocker Come, Wake Up which features the slowed shuffle Ian Paice would use, the robotic rhythm chords, meowing eastern blues lines and endless legatos of Blackmore. The harmonica blues of Try with it's cowbell mixed upfront sticks out as does the low down dirty blues licks of Yves Rousseau's wily blues rock guitar. Night Symphony has the singer and bassist Robert Trepanier singing an Ian Gillan spritely vocal line as the band again goes down the Deep Purple brand of funky blues, Speed Metal, classical vamping and frankly instrumental 'jerking off' which now explains the title as there isn't much spirit to the performance. Its all monolithic blues full of ballast and instrumental efficacy but no real depth, worse there is a song called I Had to Rape Her buried under a lot of noise and distortion but at least I found out what was on this provocatively named album and group, not much originality.

Stealers Wheel (1974) Steamboat Row - LOST 70s GEMS

Starting off with some truly magnificent lap steel lines, multi-tracked and recorded with a penetrating clarity, the strains of the unique clean distorted slide playing of lap steel brings the track instantly to life. Gerry Rafferty taking this tune from The Humblebums (his jug band collaboration with Billy Connolly) and reworking it with a slick country rock treatment works wonders. His low rustic voice carries enough folk grit to carry the working class roots of this miners tale while Joe Egans' fantastic Dylanesque rasp adds a lot of colour and tonality to the group vocals. The highlight is still undoubtedly Rafferty's penchant for roots based melodies; the smooth vocal and lyrics unfolds with a winsome folk sense of dour delivery and a sense of despair and resignation, it's no wonder country guitar licks popped up in Rafferty work so often as he would fit right in with the Country scene and his lyricism matched the Eagles' in terms of visual storytelling. It's shame this is the only real melodic cut in a very downbeat sequel to their far more pop rock debut album, their 1972 self titled album featured far more acoustic guitar led compositions.

Steel (1971) Never on a Monday- LOST 70s GEMS

An album full of soulful vocals and guitar hysterics, it lives up to it's name in it's steely twangy guitar work and Soul Rock ballast.

 Never on a Monday, the 2nd track features Cream like dynamics but with a fantastic solo of euphoric notes full of sweet distortion and splendidly melodic vocal lines; it sounds like a fuzz storm with bittersweet vocals and bright fret work. Singer Carl Sims has an old fashioned blues voice that he brings to great use in this fresh material, but then there is Guitarist Steve Busfield who is clearly the 'star' of the show. Busfield is supremely talented, his Jimmy Page styled shredding at the run off of Road Runner is something, then there is Merry Go Round, undoubtedly a highlight, almost an 80s power ballad with it's meaty rhythm and soaring soulfulness of Sims. The little piano 'plinks' that end each phrase are a masterful counterpoint, while Busfield's sweet sustain during the second and third verses are incredibly memorable.

 Maybe features speed metal playing and drums that, forgive me, pack a punch in a very short generic organ based rocker, while Can't Watch One hand features the reverbed, metallic distortion on Busfields guitar that the band name hints at. Rosie Lee is built on Hendrix style of 'cat's meow' wailing and Sims fast paced melodies, Loving You is a gospel piano misstep, Driving Wheel is another guitar showcase of Busfield's punchy guitar harmonics and deranged pull offs. To You Who Are Watching, the closing track, is another worthy tune andthe final highlight with Sim's spiritual seemingly doubled vocals over a bed of doom laden fuzz chords much like Never on Monday and while he is original, no one, not even the electric drumming of the ever-reliable Jerry Norris, can take the limelight away from Busfield who really should be first listed as he dominates this singular effort.

Stealer's Wheel (1975) Benediction - LOST 70s GEMS

Benediction is by far the highlight of the third and final album by the troubled duo/ sometimes full fledged band; Stealers Wheel. But first lets look at the album whole, Found my way to You is an upbeat pop tune, while This Morning is a cosmic strummed pop ballad reminiscent of Badfinger or Big Star, Let Yourself Go has some spunky funky blues guitar notes but doesn't suit Rafferty's deep, nasal, un-inflected vocals. Home from Home is a blissful electric piano tune with delicate close harmonies from the duo that almost reach the peaks of their towering debut effort that was never equalled nor bettered. Go as You Please is another dismissive number with more funky rhythms, hard guitars and some fabulous power chord breaks. Don't Get Me Wrong is bluegrass with its violin and some seductive harmonies, funky tempos and noisy arrangement. Monday Morning is another uncouth rocker built around a supple refrain about how "Monday morning comes around too soon!"; a great truism but a bland statement in this generic stomper. The final track and the tite track reveals the daring Indian psychedelia hinted at on Another Meaning from their 72 magnus opus. The opening track as always in early 70s rock was the strongest; more melodic and polished, launching with a stratospheric guitar riff winding back and forth in a carousel style it's pure ecstasy personified through electric guitar revealing both Raferty and Egan'sknack for building solid pop songs around phenomenal instrumental hooks primarily the legendary sax part of Baker Street and the ripply guitar arpeggio of Back on the Road. But then Rafferty's winsome vocal so staid brings the song down for some harsh realities before Egan once again like the McCartney of the equation lifts proceedings with a stellar, positive harmony vocal; they were genuinely the closest approximation to a 70s version of Lennon McCartney with their split of composition and arrangement duties on each others songs and their occasional co writes it was a unique and unsung collaboration.

Farm (1971) Sunshine In My Window - LOST 70s GEMS

A Latin, Jazz Blues rocker from an unknown US group based in Illinois; I came across this youtube, with it's furious, utterly unrelenting drumming, frenetic blues shredding that resembles Santana's fluid tone and unremitting Samba percussion I was completely absorbed in this highly melodic tune. This is before the a soulful organ enters and the tempo steadily changes to a slow back beat that rock and soul groups alike were heavily employing in the late 60s; then the gorgeous aching vocal melody joins in and the guitars and organ play the same chords to blend together for some merely foundation for the vocals. The lead guitar from I assume the 1st guitarist listed Del Herbert, proceeds to obliterate everything with another furious display, it's dramatic, mellow and aggressive style of playing all at once.

Frijid Pink (1970) Music for the People - LOST 70s GEMS

Crying Shame is a rip off of Cream's Tale of Brave Ulysses, though this version is far superior with more sonic quality and volume than Cream's poorly recorded catalogue. Tell Me Why is another example of the 'raining down' of heavy guitar distortion, a bluesier version of the Stooges, the appeal of Gary Thompson's amateur, fuzz drenched blues playing married with the distant, Native American drum beat of Frijid Pink's long serving, founding member and talisman of the group Rick Stevers is excellent to me. But still if you include Music for the People, the 1971 single that featured Dawn of Tony Orlando and Dawn on backing vocals, it's still the best song on the album. The trembling, watery acoustic finger picking to the steady build up of volume and power in Kelly Green Aka Tony Beaudry's vocals before the coursing gospel vocals of Dawn, cooing in the big stacked chorus to the final trailing wah wah blues solo of Gary Thompson erupting in a cathartic sweep of notes. Exquisite. The rolling rhythm of Green's vocals as his croaky vocals state 'Music is the only thing existing in my life' he manages to engage and carry a lot of emotional heft and soulful conviction with his fairly limited rasp.