Batdorf and Rodney (1975) Caught in the Rain - LOST 70s GEMS

From their third and final album this duo produced a neat little song, starting with a thoughtful, touching vocal complete with delicate folk pickin. On a quest for meaning in this melancholic, existential track full of beautiful melodic-isms and beautiful lyricism it's worth the listen best is when the thudding basslines, electric piano and Wah-Wah guitar as well as tasteful thunderstorm sound effects that all enter in the song's middle passage.

Milkwood (1972) Makeshift Pawn - LOST 70s GEMS

From their debut album How's The Weather off Paramount Records, this Boston folk trio would soon evolve into New Wave pop artists The Cars; this is a very countrified downhome, straitlaced folk rock album full of acoustic skills and no intention of the quirky electric new wave power pop they would succeed in by the end of the decade. While album opener With you with me is good it's Makeshift Pawn and Winter Song, the more country rock tunes with their expressive singing that are better, some of the power pop and cross harmonies of their later success as The Cars are present here but not even a tenth of the creativity they would alter display. The good vibes of the warm harmonies and flexible electric guitars give Makeshift Pawn an edge with it's middle of the road early 70s laidback acoustics.

The Osmonds (1973) Mirror Mirror - LOST 70s GEMS

 From their most adventurous album, the eclectic concept album The Plan, built around subtle messages from the Mormon religion the album with rock and their brand of bubblegum pop balladry. Dominated by a piercing harmonica throughout the dance number along with a jewish harp sounding bassline makes this a cool piece of funkied-countrified experimentation with the brother's clean harmonies.

This funky number in it's odd 5/8 time signature (according to a youtube comment) is pretty Bee Gees level funk rock that shows their skills, while Let Me In is a great song this track with dojo funkiness and inward looking lyrics are exciting.

Fandango (1977) City of Angels - LOST 70s GEMS

Like Journeys tribute to San Francisco, Lights, Fandango pay homage to the town they got their start and fan base. Like that group they had a strong power ballad sound built around a soaring lead singer and powerful keyboards and lead guitar crunch. This from their second album had a nice harmony part but lacked the songwriting prowess of their 77 debut which had a Foreigner feel with songs like Jesse and Will, Devil Rain and the gorgeous Helpless Heart.

Batdorf & Rodney (1971) Oh My Surprise - LOST 70s GEMS

Off the Shelf, the first of three albums by this funky folk rock duo, weren't huge sellers, but I took interest as Batdorf would go onto form Silver, a one off country rock band with an interesting sound and a song in the latest Guardians of the Galaxy soundtrack; so here I am. While the album is jam packed with Latin and rock based diversions and mild melodies, this opening track with it's sprightly rhythm is the best; it seems back in the 70s any album you pick the opening song is always the most striking, no surprise. The soulful vocals with it's longing for the innocence and simplicity of childhood is understandable along with some more flamenco licks, particularly ramping up the blueseyness towards the end.

Eagles (1979) Teenage Jail - LOST 70s GEMS

From their last album of the 70s, the dark tinged, hard rock and ballad heavy The Long Run, Teenage Jail is a flawed song from a flawed album but it still stands as highly underrated within the band' catalogue. What I love about it is that despite it's lack of taste, complexity or the very on the nose and on the beat directness it's still a guilty pleasure I can't stop listening to.

The ballsy guitars come in a Black Sabbath-esque droning figure, sliding in achingly wearied way while Glenn Frey's nasally and intoning vocals sing over it alone with a remarkable quality to sound like a chorus. Frey is the chieftain of this track, a rare contribution from him during the second half of the 70s where he took a backseat, for some this is an explanation why. That nasally tone of his voice fits the up and down melodies and the undulating vibe of this odd tune; part satanic hard rock, odd Moog solo and bluesy coda.
 Don Henley's vocals on the sparse verse is uncharacteristically animated and draped in a ghostly echo, sharing some of the slapstick delivery of another Eagles oddity on this album, The Greeks Don't Want No Freaks, he noticeably takes a sharp intake of breath at one point. Once Henley is done, Frey returns with a equally buzzed Mini-moog solo, increasing and decreasing in pitch with some long held notes that audibly waver as they are pressed down; quirky. Then the song picks up with Don Felder launching into a truly scorched earth solo, simple but full of drama and intensity sought how I would describe this song. Warning: Don't expect any hidden layers to this tune.

Richard Wright (1978) Funky Deux - LOST 70s GEMS

If the debut album from Pink Floyd Keyboardist Rick Wright was a little less inventive and underwhelming than a member of Pink Floyd should be it certainly is a terrific mood piece. The least pretentious of the bunch with late night lounge vibe to it, the funky guitars, mixed with a ever present electric piano and unrepentant sax works. The synth moments also shine, as for the Wet Dreams album, not so much a wet dream as a pleasant one nothing special. The serene music matching the serene art work that I must admit I love.