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.