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.