Slowboat is a spectacular pop song from the pirouetting vocal line to the that plodding 70s pop piano and soaring chorus of 'sail me far away from you' to the oscillating Moog cadenza that makes me feel dizzy and sea sick; it's a slick soft rock ballad from the increasingly quirky theatrical pomp rock band who specialise in their very own brand of Euro-prog pop.
Thursday, 10 January 2019
Sparks (1972) Slowboat - LOST 70s GEMS
I already covered this debut album by sparks when it was released under the moniker Halfnelson in 71 before a 1972 re-release; I am covering the albums' best song that I never even mentioned in the prior post here;http://lost70sgems.blogspot.com/2018/11/halfneson-1972-biology-2-lost-70s-gems.html
Slowboat is a spectacular pop song from the pirouetting vocal line to the that plodding 70s pop piano and soaring chorus of 'sail me far away from you' to the oscillating Moog cadenza that makes me feel dizzy and sea sick; it's a slick soft rock ballad from the increasingly quirky theatrical pomp rock band who specialise in their very own brand of Euro-prog pop.
Slowboat is a spectacular pop song from the pirouetting vocal line to the that plodding 70s pop piano and soaring chorus of 'sail me far away from you' to the oscillating Moog cadenza that makes me feel dizzy and sea sick; it's a slick soft rock ballad from the increasingly quirky theatrical pomp rock band who specialise in their very own brand of Euro-prog pop.
Sparks (1974) Equator - LOST 70s GEMS
Spark's third album and first of two in 1974 was their most successful and fondly remembered with the bizarro glam rock coming to the fore via pop rock hooks. This Town Ain't Big Enough for The Both of Us was a memorable, cinematic track with a glassy synth progression playing like on a demented loop while Russell sings in his winsome delicate vocals before the title refrain which overlays a Native American tribal beat and is sung a little too briskly too convey the awesome name of the song. Amateur Hour was the second hit that starts with a lilting Japanese guitar riff; a circular heavy metal riff with an Oriental flavour before another of their syncopated passages. Russell's nasal falsetto soars over the jumped up Rock n Roll like a clear aria, though I'm not a fan of the overlapping chorus the melodious 'ooh' middle 8 is fantastic.
Falling In Love With Myself Again is oddball pop at it's cringingly quirkiness but starts with a swaying organ/guitar riff and the line "Kiss her Kiss her, friends do concur" is sung excellently in their Viennese waltz style. Here in Heaven is built over a Horror movie soundtrack and filled to the brim in a schlock rock fantasia as Russell's trembling, anxiety inducing vocals complement the spooky synth, as he coos in ghostly groans. Thank God it's not Christmas is an ecstatic tune full of melody and hard organ infused rock, the chugging beat and regal tone remind me of Marc Bolan; who Russell must have taken some of his crisp tremolo vocal from. Talent is an Asset starts with an arresting intro of handslaps, dawdling bass line and vibraphone twinkles and anchors another of their European folk ditties dripping in Glammed up theatrical vocal. The album is more cohesive than prior albums with a formula of overdriven guitars, organs and syncopated rhythms overlaid by their European whimsy that frankly can lack any real feeling and be a bit overdone like the overwrought track, Complaints and the sweet but forgettable In My Family. Equator is excellent with it's the high and hollow macabre vocal of Russell Mael set to a plodding classical piano; full of Russell's best high spirited vocals and a carousel melody of blaring keyboards and Asian response vocals all culminating in an Acapella section with the vocals isolated in the mix. Barbecutie is a New Wave sounding track with it's pre-punk guitars revving along with a piano in a muddy mix, while the final track Lost and Found has a church organ that sounds like the sound of a Cathedral at certain points and captivating slow down middle 8.
Falling In Love With Myself Again is oddball pop at it's cringingly quirkiness but starts with a swaying organ/guitar riff and the line "Kiss her Kiss her, friends do concur" is sung excellently in their Viennese waltz style. Here in Heaven is built over a Horror movie soundtrack and filled to the brim in a schlock rock fantasia as Russell's trembling, anxiety inducing vocals complement the spooky synth, as he coos in ghostly groans. Thank God it's not Christmas is an ecstatic tune full of melody and hard organ infused rock, the chugging beat and regal tone remind me of Marc Bolan; who Russell must have taken some of his crisp tremolo vocal from. Talent is an Asset starts with an arresting intro of handslaps, dawdling bass line and vibraphone twinkles and anchors another of their European folk ditties dripping in Glammed up theatrical vocal. The album is more cohesive than prior albums with a formula of overdriven guitars, organs and syncopated rhythms overlaid by their European whimsy that frankly can lack any real feeling and be a bit overdone like the overwrought track, Complaints and the sweet but forgettable In My Family. Equator is excellent with it's the high and hollow macabre vocal of Russell Mael set to a plodding classical piano; full of Russell's best high spirited vocals and a carousel melody of blaring keyboards and Asian response vocals all culminating in an Acapella section with the vocals isolated in the mix. Barbecutie is a New Wave sounding track with it's pre-punk guitars revving along with a piano in a muddy mix, while the final track Lost and Found has a church organ that sounds like the sound of a Cathedral at certain points and captivating slow down middle 8.
Wednesday, 9 January 2019
Nilsson (1972) Lottery Song - LOST 70s GEMS
This sweet tune from Nilsson is so unlike him with a hopeful upbeat spring in his step urging a lover "if life is a gamble..let the Wheel of Fortune spin". The circular melody at the heart of the song is best served by Nilsson' unshowy performance, his vocal gently glides as he sings about potentially getting a trailer and going to Vegas or winning the Lottery in this barely two minute ode to 'taking a chance'.
Sunday, 6 January 2019
Sparks (1972) Whippings and Apologies - LOST 70s GEMS
1972's Wolf in Tweeter's Clothing was the official coming out party to the industry for Sparks after their promising self titled debut. Girl from Germany is another of their patented mix of 50s good time bops and European carousel melodies; the pretty chorus melody is delicious. Beaver O Lindy starts as Glam Waltz complete with church organs and cellos before an explosive drum roll leads us into a raucous T Rex styled hard rock song with shout out vocals, subtle bass rhythm, circus organ interludes and some smashing guitar slashes. Nothing is Sacred starts with a roundabout vocal and some robotic guitar part before a Baroque pop verse that reminds me of Nilsson, there is a jittery rocked out version of Moon over Kentucky, a quivering pop version of Do Re Mi with oompah rhythms mixing with punk rock guitar, wet steel drum parts.and a very long coda. Angus Desire is a delightful yearning song with a wishy washy organ cadenza and climbing backing vocals. Underground features Russell Mael's clearcut wavering falsetto at it's most strident surrounded by country bumping bass line and twinkling synth and guitars. Batteries not Included was a little ditty about being a kid done in their perverse, schizo-operatic style.
Whippings and Apologies follows on from Biology 2 from their first album with high pitched chipmunk vocals reappearing on this track with such a vaudeville falsetto absurdity to it; it's also very punk rock that this easily beats the formulaic Ramones tracks that were considered so 'revolutionary', give me a break I'll take Whippings and Apologies any day with it's jet packed animalistic garage rock!
Whippings and Apologies follows on from Biology 2 from their first album with high pitched chipmunk vocals reappearing on this track with such a vaudeville falsetto absurdity to it; it's also very punk rock that this easily beats the formulaic Ramones tracks that were considered so 'revolutionary', give me a break I'll take Whippings and Apologies any day with it's jet packed animalistic garage rock!
Friday, 4 January 2019
Mungo Jerry (1977) Gone to Malaya - LOST 70s GEMS
From Mungo' 1977 album, Lovin' in the Alleys & Fightin' in the Streets,I Could Never Start Lovin You is a different lyric, the song is a funky hard rocker with an incredible call and response between Dorset and the scintillating guitar player; elsewhere organ is added for effect along with punchy group vocals but it's the use of tempo changes that keeps this number dynamic as well as the guitarists' excellent work. The Grease is another stalwart rack with a Louie Louie styled riff but slower and funkier laying the bedrock for this track, the tight hi-hat drumming keeps the whole thing grounded as the guitar plays the riff up and down in a circular melody and a delicate piano twinkles away in the fills. Heavy Foot Stomp is another by the numbers 50s number, with epic fuzz tone and comical baritone harmony vocals, Can't Keep It Down is a swirling funky number built on a endlessly rotating synth lick; the synth sounds like Steely Dan while the spacey blues guitar sounds like Carlos Santana while Dorset's vocals also ebb and flow in intensity.
Gone to Malaya is a complete Springsteen ripoff with half spoken verses and frenzied pop rock accompaniment, the electric organ solo is so soothing it's all forgivable as he reproduces that Born to Run sound of a highly emotive, movie score, there is a grand drama to the mix of wailing guitar phrases and layers of organs and keyboards and the aggressive contrast of relentless Mick Fleetwood styled drumming. The last two numbers both sound like Medicine Head with barrelling fuzz blues bops, ultimately the band really have an identity built on their sense of humour rather than specific aural techniques like Dr Hook, after all they pay too much homage to 50s rock n blues and never fully embraced the rootsy sound of their biggest hit!
Gone to Malaya is a complete Springsteen ripoff with half spoken verses and frenzied pop rock accompaniment, the electric organ solo is so soothing it's all forgivable as he reproduces that Born to Run sound of a highly emotive, movie score, there is a grand drama to the mix of wailing guitar phrases and layers of organs and keyboards and the aggressive contrast of relentless Mick Fleetwood styled drumming. The last two numbers both sound like Medicine Head with barrelling fuzz blues bops, ultimately the band really have an identity built on their sense of humour rather than specific aural techniques like Dr Hook, after all they pay too much homage to 50s rock n blues and never fully embraced the rootsy sound of their biggest hit!
Thursday, 3 January 2019
Mungo Jerry (1974) Summers' Gone - LOST 70s GEMS
Wild Love a acoustic bopper with a great screamin call and response chorus 'waaaah, give me wild love'. There is some upbeat bounce to the song while the first three tracks are generic rock n roll with ragged belting form ray Dorset this has proper energy including the reverbed call of 'Hey!' towards the end. O Reilly and the Sun is Shining are slurred messes of songs, the latter reminding you how close they could stick to the old fashioned blues and rock n roll sounds without deviation or originality
Summer's Gone is the most interesting it is almost musically an exact remake of their big hit form four years prior, IN The summertime, but now with a slightly different inflection in the guitar parts and vocal melody, and more delightful mix of piano though the noises Dorset makes are the same as are the inclusion of the same low grade imitation of a car engine revving. The big difference is of course the lyrics which are the reverse of the original focusing on the summer ending and features great lyrics about "Summers gone, comes the rain..Christmas time will soon be here"Back to Work and Back to School" and "Living just for the Week End" it's almost more impressive on all levels, an improvement of the original.
Don't Stop is a an awesome Chuck Berry type of fast paced roller with Dorset's grooving vocals and backing calls of Dont Stop and a cool guitar and piano solo. Going Back Home is a more Glam rock and fresher mix of surfing backing vocals, fantastic backing rhythms, the piano solo even sounds different with it's clear toned elegance, Dorset's melody is delicious as is the clanky guitars. No Girl Reaction is also an improvement with haunting fuzz and wah distortion on the guitars in this very Psych rock sounding tune with Dorset practically aping Jim Morrison whilst draped in a ghostly hallow; wonderful. Little Miss Hipshake is about the 30th ripoff of Chuck Berry's formula I can take but the lyrics are still catchy as he describes a racy girl growing up fast. I Don't Wanna Go Back To School is the last song, starting with a school bell, when it was a basic ball in a cup bell, it features soulful Horns and Dorset singing in a lazy drawl perfect fro the lyrics about wanting have more fun than return after the summer picking up where Summers Gone started.
Summer's Gone is the most interesting it is almost musically an exact remake of their big hit form four years prior, IN The summertime, but now with a slightly different inflection in the guitar parts and vocal melody, and more delightful mix of piano though the noises Dorset makes are the same as are the inclusion of the same low grade imitation of a car engine revving. The big difference is of course the lyrics which are the reverse of the original focusing on the summer ending and features great lyrics about "Summers gone, comes the rain..Christmas time will soon be here"Back to Work and Back to School" and "Living just for the Week End" it's almost more impressive on all levels, an improvement of the original.
Don't Stop is a an awesome Chuck Berry type of fast paced roller with Dorset's grooving vocals and backing calls of Dont Stop and a cool guitar and piano solo. Going Back Home is a more Glam rock and fresher mix of surfing backing vocals, fantastic backing rhythms, the piano solo even sounds different with it's clear toned elegance, Dorset's melody is delicious as is the clanky guitars. No Girl Reaction is also an improvement with haunting fuzz and wah distortion on the guitars in this very Psych rock sounding tune with Dorset practically aping Jim Morrison whilst draped in a ghostly hallow; wonderful. Little Miss Hipshake is about the 30th ripoff of Chuck Berry's formula I can take but the lyrics are still catchy as he describes a racy girl growing up fast. I Don't Wanna Go Back To School is the last song, starting with a school bell, when it was a basic ball in a cup bell, it features soulful Horns and Dorset singing in a lazy drawl perfect fro the lyrics about wanting have more fun than return after the summer picking up where Summers Gone started.
Wednesday, 2 January 2019
Mungo Jerry (1976) Never Mind I've Still Got My Rock n Roll- LOST 70s GEMS
Impala Saga was one of Mungo's last albums from the 70s, released in 76 it represents a fresh start, Hello Nadine is a crisp modern sounding metallic mandolin strum full of Greek folk styled rhytmm, a piano track that sounds like a steel drum, Dorset's romantic pop melody and a McCartney-esque tune. The propulsive opening track is followed by sleepy country rock Nevermind I've Still Got my Rock n Roll where Dorset's carefree vocal is hollow but heartfelt as he pines for Rock n Roll's roots, it is followed by two misnomers though; Too Fast is actually too fast, and Ain't Too Bad is actually bad, both are derivative filler. What follows are more 50s Rock N Roll tunes resouped up with new lyrics but the same formula, wasting the vinyl space when their originality came from their roots material. The first fresh track for a while is the ninth track, hit Me with it's chugging speed metal tempo and thick wah wah making up for the retro material, Dorset's unhinged nonsense vocals add adrenaline to the standard 70s hard rock sound of the song. Quiet Man starts with a slow melodic rockabilly guitar part before the soothing vocal led rhytmm drifts in, where he states he sometimes he likes to relax and be a quiet man; another fresh lyrical stance. The last track It's a secret links back to the opening track, Hello Nadine, the same metallic strum of a mandolin but with some minor keyed piano accents, low key Dorset vocal, shamanistic backing vocals make it sound like a haunted house of a tune; the crisp, light stringed playing of the mandolin adds a dark flavour. The title track starts with some staccato guitar playing with a very oriental vibe in their high and whiny tone, it's an arresting sound as hard rock crunch is melded with some ancient medieval melody; blues guitar wailing and marching drum beat mix with an eastern scale fitting the odd title which based on the album cover is based on a make of car called an impala. The repetitive staccato guitar and pianos underline Dorset's direct vocal before breaking into a soaring into the instrumental hook; the thin whine of one of the guitars with it's sweet distortion ends up sounding close to a violin at one point during the song's solo, and a synthesizer during other parts.
Still the only real melodic gem for is the second track Nevermind I've Still Got my Rock n Roll, it even gets a reprise as the 11th track due to the short length.
Still the only real melodic gem for is the second track Nevermind I've Still Got my Rock n Roll, it even gets a reprise as the 11th track due to the short length.
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