Mike Post (1974) The Rockford Files

 Mike Post, a producer famous for arranging Classical Gas and the northern soul hit Afternoon of the Rhino, Post would bring his penchant for vibrant, big band horn suites to TV. Soon to become a big name in TV theme tunes in the 80s alogn with partner Pete Carpenter their names would be made with the theme music for America's Greatest Hero, Hill Street Blues, Magnum PI and Law and Order he would soon become synonymous with the minute and a half intros. With a deft skill in mixing diverse elements with a grand melody, here Post brings together a swaggering Minimoog lick that just oozes with the kind of cool reserved for rock stars it fits the lead character Jim Rockford; an effortlessly cool, charming and confident detective. The explosive drum fills punctuate through along with electric guitars and barrelling horns but it's the interplay and contrasts of the countrified harmonica with the slick, urban Moog riff both so rolling along smoothly and melodically in their own way. The buildup of the horn section trumpeting along to the single wah wah guitar is superb before the final return of that awesome all pervasive moog lick.


Mixing in Prog rock, country hoedown and Motown into a slick package that would announce Post's talents and the many faces of Jim Garner's Rockford, not to mention how cool it sounds. Such disparate elements you would never think would mesh and yet seem almost organic here.

Queen (1974) Seven Seas of Rhye

 Queen started out as a heavy prog band, combining the stacked high harmonies of a band like Styx with heavy metal riffing like Sweet, taking more pomp with more ornate arty aristocratic excess than the glam rockers or prog bands like Yes they soon became more of their own brand of regal pop metal. Only a small instrumental cut on their first album, Seven Seas of Rhye apepeared in full form on Queen II (1974), ironically despite it's Zeppelin-esque numbering this is where they, like another heavy band Rush, started to make the move from unoriginal ripping off Led Zep (NB :almost to the point where they should've sent some checks to Page and Plant) to rapidly discovering their own approach.

Their own sound particularly seemed to coalesce on this track; it's full of Sweet styled harmonies, speed metal riffs, Brian Mays' sea of multi tracked guitars and Freddie Mercury's strident vocals. Far more dynamic and better singers and song writers than novelty Glam act The Sweet, Queen were a natural successor to that whole scene with their sense of humour (the song ends with a jolly old singalong of 'I do like to be beside the seaside') combining with strong quality to produce garish but slightly less dated music.

Road (1972) Spaceship Earth

 There's certainly more than a passing resemblance to The Experience here in Noel Redding's early 70s power trio follow up, the bassist was trying to follow up playing alongside one of the best drummers and the best guitarist in the world three years after that groups' demise and the passing of Jimi Hendrix. It's a very rote effort with very occasional brilliance from the guitarist Les Sampson, while the heavy wah wah funkiness of Man Dressed in Red of their single, self titled LP has some of the liquid cool of Redding's former associates, Spaceship Earth is pure heavy rock madness in a good way; worth the trip if it proved Redding really needed his former bandmates a bit more than they needed him.
 It has that sledgehammer beat combined with wall of sound distortion, mixing heaviness and beauty in a manner not unlike that former trio but sadly not anywhere near as fresh or original with the same sci-fi imagery.

Ringo Starr (1978) Who Needs A Heart

With a dirty rock guitar mixed with sweet soul instances of saxophones and horns while Vini Poncia adds gentle baking vocals to this interesting track. The central melody is classic pop with Ringo's limited drawl drily delivering with a suggested regret, while his standard beat and the upbeat arrangement towards the end feel like classic Ringo. The best part is the chorus where the backing vocals ask a question before quickly comes in with the answer reminiscent of 'With a little help from my friends' bridge "Who needs a love like yours, that is bringin me down" Splendid and his best from his late 70 slump.

Ringo Starr (1972) Nashville Jam

A funky blues based jam with the some of Nashville's best musicians, there is occasional pedal steel licks fitting nicely into the compact beat driven by the Starr of the show. Ringo's rock steady beat and occasional fills and rolls are uncharacteristic of him but serve the heavy backbeat very well as everything from slide guitar, to acoustic and organ turn up in the mix. Ringo's foundation allows some fluid blues playing while the groove meanders into different portions naturally like when the piano takes the fore or when a country guitar interjects here and there with simple licks here and there. The fiddle works well with it's smooth soloing fitting in with the rest of this very funk infused Purdie-esque work out. This definitely stands out on the album, closing it with more weight and punch then the whole album of country standards could muster, the blend of funk rhythms with country twang is a delightful blues based extravaganza. While its hard to tell who plays what as there is credited a lot of musicians, such as two fiddle players, two pedal steel players and two guitarists, and two drummers so who even knows in the end who did what except its is inspired and natural. Interesting from a band so well known for song craft, writing and studio trickery that the best track on his second solo album is a vocal less jam: smooth and melodic.

Ringo Starr (1974) Back Off Boogaloo

This driving defiant rocker was a welcome surprise from Starr, with its strong slide guitar licks of his former band mate George Harrison, powerful vocal harmonies working with the Beatles-esque vibe of the lyrics and the pounding drum sound. It's a brutal rocker, heavy and yet with great rock n roll and pop elements; I also think Ringo in 1972 and 1973 was producing frankly some of the best of the Post Beatles solo stuff with his country album(Beaucoup of Blues) and all star rock variety album(Ringo) to come as well as his fabulous non album singles like this (and It Don't Come Easy).

Home (1972) Tramp

For a rare UK country rock band that started the 70s opening for Zeppelin, even had a song that seemingly chides 'Jim Page' to look back to his younger days, this isn't that colourful. While their bluesy cowboy style wasn't as soulful as other UK country acts of the time like Eggs Over Easy and Matthews Southern Comfort, this song features some excellent Allman Brothers 'Blue Sky' styled vamping on the electric guitar. There isn't much of a sound here except a vague mix of Poco and Pub Rock, though the choice of a Hammond Organ amp being used to create a liquid Hendrix sound for the crystalline rhythm guitar playing is inspired and features across all the album tracks from their humorously titled debut album Pause of a Hoarse Horse(1972).

Of note; is the solid rhythm section featuring ACDC's future long term bassist Cliff Burton, while there is some Dickey Betts and Duane Allmans-esque jamming at the end of the song. Of more note; is the whole country rock genre was seized by The Eagles debut album in 1972 virtually wiping the floor commercially with all contenders in the genre as they hit the right balance of country and rock, this album tends to overdo the bluesy guitar licks and underdo the cowboy vibe making it sound like a half-hearted effort all round.

Kenny Loggins (1978) Easy Driver

From Kenny's second solo album (unless we consider Sittin In album his first, though technically it either a collaboration or the debut of the Loggins & Messina duo) it overall has a more keyboards and lush, middle of the road ballads. That is why Easy Driver stands out on this particular album with its throbbing, doo wop laden rock n roll jaunt; its highly melodic and a change of pace as well as a great vehicle for his soulfully, smoky voice.

Bill Wyman (1974) White Lightnin

Bill Wyman's 1974 debut album Monkey Grip contains the calypso related absurdities that you would expect from it's title, mixing animated vocals with bass driven rhythms with a range of influences from honky tonk and country to reggae and calypso heavy laidback grooves. The biggest surprise isn't the three dimensional and eclectic brand of rhythm and blues but Wyman's strong conviction, sen s of humour and passion for the material not to mention his exquisite song writing which is full of in your face black humour. It achieves many of the best aspects of a solo album, showing off hidden talents, changing their identity as well as building on skills they have already shown. In many ways the promise of his work on InAnotherLand is here expanded upon and we see great insight into his potential. While the opener track, I Wanna Get Me a Gun, is possibly the most representative track, White Lightnin mixes bluegrass and reggae almost indistinctly.

Kenny Loggins (1977) I Believe in Love

The most striking from Loggins' very first solo album, taking the smooth, eclectic arrangements of Loggins and Messina but heavily emphasising his soft soul style more. While the delightfully light jazzy verses are great, a bouncy samba feel it all powered by the dramatic flute based hook with it's wood wind groove sounding like a may pole dance a tight revolving riff of flute, piccolo, viola and who knows what else all to create a natural, acoustic flavoured tropical feel full of world music influences and a lot of passion. While there are some light funk material on the album and some great ballads this stands out as the most ear catching tune and easily the best to take away from it.

Mixing the old worldly charm of the medieval lettering he uses on his solo albums with the smooth sound displayed by the monochromatic and diffused aqua blue tint of the album cover; seductive and timeless.

Black Sabbath (1978) Air Dance

While the Never Say Die album is full of party hardy metal indicative of Glam metal acts of the next decade along with their 1978 opening act Van Halen, like the title track, Shock Wave and the Springsteen-esque triumphalism of A Hard Road, Air Dance is the best of the other side of the album. There is a more prog jazz feel to this and many other numbers that sets this LP apart from it's successors, while flute, medieval folk, synths and strings had factored into other Black Sabbath albums this one followed on from the dramatic, theatrical storytelling of Technical Ecstacy diverting the themes away from the politics and gloomy, fuzzed out metal they pioneered.

Here we start with some heavily rendered slide guitars before we get treated to a dizzying cocktail of lounge lizard piano and jazzy hi-hat playing from Bill Ward. Ozzy's dreamy vocals create a relaxing tune with Imomi's uncharacteristically smooth slide guitar interjects occasionally, the track is very airy and light in terms of tonally to the point it might float away, away away..

It's also got a very dance able rhythm lie a lot of Sabbath tracks did fitting the title even more, ending this prog-metal masterpiece with it's some tense Sci-Fi synth licks right out of the Twilight Zone amongst a samba beat at the end as Imomi deliciously wah-wahs out. It's a eclectic effort that works from a band very much misunderstood and an album very much misunderstood by the band themselves who hated it, it was of course the last of the classic lineup. Curiously the same piano runs appear in the following track ,Over You, in an almost identical jazzy hard rock progression.

Hall and Oates (1972) Waterwheel

From their experimental Folk debut album Darryl Hall's delicate falsetto carries a renaissance styled emphasis along side the albums' reflective arrangements of cocktail piano, finger-picking acoustics, stabbing strings and sturdy bass. High above all the clouds is Hall's characteristic vocals soaring incandescently alongside ringing piano flourishes all dressed in a classy arrangement. This neo-renaissance romantic and semi acoustic vibe would be a 100 million miles from their New Wave and indie pop personas a full decade later, but the offbeat harmonies and counter melodies that would be part of their HALLmark are present here.

Fleetwood Mac (1975) Landslide

Probably my favourite Mac tune and yet this incredibly touching folk ballad wasn't released as a single. Steve Nicks subdued melancholic melody hints at future Mac hit Sara. This tune hits you right in the heart with Nicks delicate delivery suggesting feelings rather than declaring them this song lack of a hook makes it far more timeless than their 1977 hits which would rock out a lot more. The mature subject makes it open interpretation and far more affecting than you would expect though Nicks songs like Dreams and Rhiannon like Bob Welch before were always quite mystical but packed with raw emotions.

Stories (1973) Bridges

From their Travelling Underground album, released with the accompanying Brother Louie single, a Hot Chocolate cover that only had one other song on this album that sounded remotely from the same genre; Mammy Blue which shared the deep piano dominated raspy RnB sound of their one hit. Whereas the album is full of crisp art rock, with pianos , acoustic guitars and electric guitars and psychedelic era harmonies there brush with success didn't represent the band's fuller sound. While the guitar on this track and singer Ian Lloyd's vocal still remain powerful and soulful there isn't so much of the sultry groove of Brother Louie just a lot of top notch, pristine sounding Prog rock though admittedly it does lack a little personality its refreshing, upbeat and heavily melodic heavy rock and miles away from that song they're known for!

The Alan Parsons Project (1977) I Robot

A funky prog song with strong dystopian qualities it has the sound of Todd Rundgren's Utopia with it's prominent bassline and Kraftwerk's cold urban synths giving a creepy eerie quality. The dated sound was meant to sound futuristic and while there are no lyrics the use of vibraphone and female aria vocals add some interesting personality while the phased synths keep a sinister undertone. Alan Parsons like much of the Prog Rock genre had some great melodies and instrumental lines but unfortunately too often the longer suites couldn't draw in as big an audience as the more mainstream likes of hard rock or even punk and New Wave that had begun developing around this point in time.

Flint (1978) Better You Than Me

As Grand Funk's engine, Bassist Mel Schacher, keyboardist Craig Frost and singer/drummer Don Brewer would reinvent themselves as 'Flint' with their former producer Frank Zapper's help with Zapp taking over for frontman Mark Farner' guitar leads. This new collaboration would feature dark lyrics such as 'You Make Me Wanna Kill' while Zapper's explosive licks bond well with the heavy RnB rhytmm section of Grand Funk if slightly lacking Mark Farner's soulful quality.

The Isley Brothers (1977) Voyage To Atlantis

 When funk groups like The Commodores and EWF broke out with Funkadelic sized versions of disco, The Isleys wisely went smoother yet keeping their talents in Raw 60's soul that they had over their competition, Voyage to Atlantis being a supreme example. The phased guitars create a Poseidon-esque soundscape, an ocean of emotion drenched in a meandering melody, characteristic of this album; note the sun kissed guitars of a track form the same album, Footsteps in the Dark, was sampled for Ice Cube's Today was a Good Day. Though they have some good funk and rock elements its this ballad that rises above all of the smoothness for a bit of their classic raw soul that set the world alight back in the early 60s.

Ron Isley's impassioned vocals caressing the listener along withe younger Isley's thick production, it already with its nautical theme, brother Ernie Isley's underwater filtered guitar work and reflective sentiment seem to hint at a quiet storm vibe, yet another genre they would create a hit in, 1983's Between The Sheets. The theme of returning home in and the mythological subject create a deeper experience than say the Commodores simple grooves. For all the embrace of funk, rock, quiet storm and smooth disco trends they remained a raw act; all their records are soul 101.

Tarney Spencer Band (1979) Don't

 From the British Pop Rock duo who had a couple hits in the very tail end of the 70s with a slight New Wave vibe. From their third and most successful album full of the soaring and bright pop guitar work and explosive drumming they were known for plus a nice upbeat melody accompanied by shouts of 'Don't' represents the band's catalogue pretty well. Interesting that this band actually broke up as their singles charted in 1979 just as success was seemingly dawning for them. They have elements of the same driving keyboard based soft rock of Sanford Townshend band and England Dan and John Ford Colley; Hmm some kind of trend that they all used the 'two person name' duo format as well.

Also the cheap paperback novel drawings of the album cover are inspired though if totally unconnected to the music inside.

Amboy Dukes (1974) Sweet Revenge

Though now rechristened as Ted Nugent and the Amboy Dukes after their now famous guitarist frontman's early 70s solo fame, this track features him blending Pete Townshend-esque windmill chords with some Pre- Van Halen fret work, its a heavier more subdued version of the band that had a psychedelic hit in the mid 60s. The best track could also be the instrumental Below the Belt that retains some of the band's psychedelic sound with the use of woodwind alongside a Dick Wagner/ Mark Farner Detroit sounding heavy metal playing by Nugent ; an authentic industrial sound similar to Sabbath, maybe Detroit and Birmingham should be twin cities.

Buckingham Nicks (1974) Without a Leg to Stand On

From their eponymous debut, unlike a lot of famous artists before they made it album's thus stands up to their best work introducing the direct folky rock sound of ballads packed with powerful vocals, guitar workouts and pop sensitivity. And while Nicks Crying in the Night maybe the strongest opener I've ever heard or there are other tracks that sound like Fleetwood Mac cutoffs it's this ridiculously short and catchy track featuring Lindsey schizophrenic delivery.

Sweet Sensation (1974) Sad Sweet Dreamer

A Philly sounding hit with an overabundance of 'sweet' balanced out by gentle jazz verses with nice saccharine strings being plucked along with lullaby styled choral vocals from this Manchester based soul group; while the lead singer's definitely channelling a young Michael Jackson. The slight repetitive and on the nose quality of the hit form this group which found fame first on a talent show (note to myself nothings changed.) meant they tried out to be Britain's' representative in the 1977 Eurovision but proved to have too much talent for the spot finishing 8th. Freakin sweet!

Supertramp (1974) Dreamer

 A largely forgotten hit single from 1974 when the Prog boom was slowing down in favour of soul and Disco trends but would hint at the Prog pop of the late 70s of which Supertramp would be one of the leading acts. This whimsical pop is driven by a grandiose prog verve from the scale of Roger Hodgson's character filled falsetto to the chamber reverb of the group harmonies to the little touches like the use of a vibraslap to add to the quirky, burllesque fun or the wistful wind chime coda.


Nothing can top the insistent Wurlitzer piano pulsing with a synthezised bass. The piano turns soft and oscillating Bohemian Rhapsody call and response section. The calls from other band mates such as 'come on and dream along' along with the band picking up and Hodgson's funky guitar scratching along. Its still very much an underappreciated 70s classic that stands up with no dated quality, supreme stereo quality, a modern yet timeless feel; just as great as Bohemian Rhapsody IMO.

Dan Fogelberg (1972) Long Way Home (live in the country)

From the singer songwriter and soft rock balladeer's debut this may be filled with gentle astral folk like Stars and Wysteria that would hint at his future direction of orchestrated love songs but I have chosen this track for its mix of his high vocals, piano rock rhythm and the the sparse country rock of some of the better tracks of this album, like Hickory Grove and Looking for a Lady.

Little Feat (1973) Two Trains

From the Cajun fried Dixie Chicken (1973) album, this is their best representation with this incredibly listenable collection of funky New Orleans soul music. The countrified blues outfit Little Feat take their rambunctious style to New Orleans style music, with its festive horns and piano dominated sound blending well with Lowell George's energy and their heavy boogie guitars. Particularly of note is Billy Payne's electric piano, along with  Lowell George's chicken scratch guitar playing, all draped with 'southern belle' backup singers.

Gerry Rafferty (1978) City to City

 The title track from his famous late 70s comeback album which spawned his latter day hit and the most iconic saxophone lick in history Baker Street. This country hoedown of a song chugs along with at a happy prospector pace with wailing harmonicas, the undercurrent of synths and even a bagpipe this has a rootsy jug band feel mixed with Rafferty's typically subdued, smoothed pop tenor that nicely counterpoints the jaunty vibe. The country overtones always present in his work capture a serious subject matter but in a more positive fashion similar to Baker Street, it also covers the same lonesome feeling of a man away from his family as this train pulls into to the station.

Grand Funk (1976) Love is Dyin

From their morbid and underrated Born to Die album where they posed in coffins this is a dark relentless guitar attack with Sabbath levels of menace and fatalism in the guitars including a blistering solo by Mark Farner with Don Brewer' proclamation as the title the song is a damning statement of fact to a lover.

Rush (1975) Fly By Night

Starting with shimmering guitar lines from Alex Lifeson with Geddy Lee's brutal bass and Neil Peart's vivid imagery steppin in to create a mid 70s hard rock classic. It all combines in this hook laden track with it's sidewinder rhythm and intricate guitar licks all draped in Geddy Lee's giddy high vocals delivering Neil Peart's spiriting sentiments. Together, Peart's words and the tremendous gusto of the energetic performance capture the exhilarating thrill ride of youth;"My ship's is a comin and I just can't pretend". Its also capped off with a great dialled down bridge where Geddy's vocals become phased and more intimate with the help of a Hammond Amp.

There's a certain sense of wide eyed wonder to the song underlined by the bright shimmering guitar work and high vocals; all ringing in unison with a celestial glow.

Though it's Lifeson's embellishments that make the song for me like the brisk downstrokes after the chorus is spat out by Lee, or the tumbling arpeggios make this a crystal ship of creativity, elegance and hard hitting rock n roll. Rush were emerging from the Zeppelin copycat claims that verged on full blown plagiarism into their own interesting kaleidoscopic vision of epic progressive rock a la Yes but with far more punch and grandeur and less classical sensibilities more deriving from Sci-Fi than fantasy, a vision they would soon be bringing to life on their ambitious concept album 2112.

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Flying Burrito Brothers (1976) Northbound Bus

A great upbeat rocker with a mix of rootsy bluegrass and solid rhythm section and piano. The pop harmonies are the best in this track all about escape and nostalgia "And I think of how it used to be, when we all played together just for fun; nobody had to come on strong", "Now I've got to get away, I can't see what is coming, I think I've been around too long" and "I think about the way, I was made for my troubles, it don't seem right so I got to sing this song"


 This was the album when the Burritos went for the Eagles approach of multiple lead singers and toning down the country/bluegrass overtones in favour of the kind of rock steady pop rhythms more common in mainstream rock and soul music. 
After all in the past four years the Eagles overtook them and all country rock artists in sales, virtually going airborne themselves with the multi platinum Greatest Hits 71-75 album selling a million copies a month for almost two years. All competition in countrified rock couldn't help but pale though this a rare track is hook laden enough to merit mainstream attention

Mott the Hoople (1974) Trudi's Song

One of many excellent ballads from the heavily underrated English rock group, too often pidgeon-holed as one hit wonders of the Glam Rock age when in actual fact they started as very talented dark blues rock outfit, heavy with great songwriting before transforming with the times with the help of the Bowie penned hit All the Young dudes. After that track they became adept at laidback acoustic ballads ala the Eagles with a deep maudlin atmosphere, powered by the guitar licks of Mick Ralphs and the Dylanesque confessional songwriting of the enigmatic Ian Hunter. This belongs to those songs along the lines of The Angel of Eighth Avenue, I Wish I was Your Mother with it's dark, unhurried bass drum beat and lyrical content.From the Ralphs'less The Hoople album, the ballads shine stronger than the rockers with their intimate feel as the band entered a more ponderous, nostalgic period. The finger picked guitars and their signature use of organ add a fatalistic feel to their music echoing the solemn sentiment of All The Young Dudes, the best being the glum "Woooah ho" vocal refrains. 

Manassas (1972) Anyway

Anyway is definitley the best track on this double album full of rock, folk, country, jazz all wrapped in heavy soul, rock n roll and latin influences. It's like a gospel folk big band version of CSN. While the harmonies are good its mainly a Still's focused album of his laidback folk rock and more heavier tracks which don't work when compared to the effortless and inventive melodies of the folk songs. Song of Love along with nice moments in other songs such as the synth in Move Around and select moments in the last side appropriately labelled Rock N Roll is here to stay are the best of this collections heavier music. Anyway with it's calypso beat mixing with fuzzed out guitars and it's circular melodies captures the band's upbeat fusions. Also check out the folky soft soul of Colorado and Johnny's Garden.

Rose Royce (1976) I Wanna Get Next To You

From the Car Wash hitmakers this song carries some Motown vibes in it's atmospheric organ and piano drenched sound with an indelible melody and a classic Temptations style progression. The singer's pleading vocals are also a delight with the classic soul baking chorus.

Jackson Five (1973) Get it Together

From the namesake album, its a forgettable set but it is this title track that really carries Sly Stone styled rebellious funk in the verses with the horns and the strutting reggae guitars with MJ's typically supreme vocals that manage to be smooth yet rough. As the Jacksons matured they pursued the harder rocking sound they were looking for since their first album's cover of Stand!

PS only the single version is worth it for its clearer mix and focus on Michael's vocals and teh backing guitars.

The Band (1972) Get Up Jake

From the Rock of Ages live album, it started as a B side but has the melodic, hook-laden memorability of a A side, this is more funky and has more colourful organ work; hmm sounds like purple! The hook is so ridiculously catchy they start humming it at the end, while the lyrics feature some great downbeat subject matter about a perennial loser called Jake. The mix of funk rock with the rootsy part of the equation would lead to some great music with the Bee Gees and the Doobies discovered the mix of country and funk is ridiculously successful.

Byrds (1970) Just Like a Woman

Roger McGuinn's Dylan esque vocals are far more melodic and emotive than the counterculture' poet laureate and so delivers an exquisite crystal clear folk guitar version powered by a organ and rock rhythm section of Skip Battin and the frenetic groove of Gene Parsons. Here the tender vocals bring the human warmth and romance to the fore lacking from Dylan original that lead to the foolish misinterpretation of the song as some sort of  misogynist put down, which it clearly is not.

Otis Clay (1972) Holding on to a Dying Love

 From his Trying to Life My Life Without You LP a classic in Memphis soul this is a near perfect song. The lyrics are crystallise the feeling,  delivered with lean without overdoing it nailing the situation accurately; when a love affair loses its sparkle. The great Stax horns play a dirge pattern over some bittersweet strings weep, it creates a yearning feel as this song eulogises the relationship. The usual organ and backing choir work well with the melancholic subject while Clay's aching vocals hit it home.

Ringo Starr (1971) It Don't Come Easy

A glam rock song complete with horns, a slight power pop feel possibly from the contributions of Badfinger and George Harrison's production roughly around the time they worked on the seminal Straight Up album. It's got a catchy melody and a solid beat with star studded help from Gary Wright and his former bandmate Harrison's playing .

Jim Croce (1973) Operator

The tragic singer songwriters more commercial effort has a great soft rock melodicism emerging from some truly wonderful finger picked guitar playing. While the idea of addressing a telephone operator may sound corny and dated, Croce's heartfelt lyrics and cool delivery make this an exceptional pop song.

Little Feat (1972) Trouble‏

From their countrified reboot of an album Sailin Shoes, while known for the Trucker anthem Willin with its strong southern gospel feel with a folk backing this nice ballad has a similar vibe of upbeat resilience with most of the same elements with the wonderful addition of Bill Payne's accordion.

T Rex (1972) Life's a Gas

A mordant strum that sounds more like Bowie's playing on Space Oddity than his early acoustic work in the 60s in the duo Tyrannosauras rex, the hippie precursor to Bolan' full glam rock n roll band. The refrain of 'it really don't matter at all' is excellent mixing with Bolans' fanciful lyrics at always undercut the serious tone of the instrument backing.

Sweet (1979) Big Apple Waltz

A rousing soft rocker with a passing country feel to the plush guitar keyboards ensemble and lyrical linked to the Eagles Hollywood Waltz. It's another terrific song from their late 70s era when they embarked on diverse progressive and ballad heavy material.  It saw their songwriting at its peak away from the glam rock and bubblegum novelty of their commercial successful days. In fact front man Brian Connolly had quit the band before they recorded the Cut Above the Rest (1979) this comes from tellingly revealing the amount of talent still left in this group even after losing their main singer and creating a multi layered sound as a three piece.

Randy Meisner (1978) I Really Want You Here Tonight

 From the Former Eagles bassist's streamlined solo debut, the one with the great cover of him in the seat of a vintage car, the album captures a lot of his diverse talent as well as what he lacked. However this track with its strong 80s vibe mixing with atmospheric though dated mellow Moog its still a free fallin pop rocker, the kind that wouldn't have worked on an Eagles album but shows his feel for good grooves and solid song writing material. It mixes odd panning of keyboards, backing vocals and an odd sounding guitar that sounds like it was played under water to create a memorable track. The hearty passion still in his voice, always more raw than the slicker vocals of Eagles leaders Frey and Henley.

Kansas (1974) Apercu

 On their 1974 debut, this rare American Prog band debuted a violin and organ drenched boogie rock sound filled with mythological and nautical imagery with soaring vocals and symphonic grandeur. This wholesome sextet of young Mid-westerners would mix ascending and descending scales with chugging rock n roll, this included plenty of harmonising instruments in movements and suites from classical music with RnB rhythms and martian sounding synthesizers in a pretty unique package that could've only found success in the 70s.

 Apercu is the best overall example of this style that established them as an American 'Yes', though low on commercial accessibility the instrumental side of things is just jaw dropping; the crystal clear violin cuts through the dense sound. Though lacking in the lyrical department as opposed to the conceptual themes of Pink Floyd, the use of synth and violins playing together is enough to make this an interesting entrance into the bustling Prog scene of the early 70s. Their songwriting would soon improve from the half-hearted attempt at a radio single Can I Tell You, finding a neat balance between their pop and rock n roll sensibilities and the grandness of their proggier sound on later albums in the mid 70s. 

Richie Furay (1976) Mighty Maker‏

Starting with a southern rock guitar intro before entering the lightly funky electric guitar driven verses before amping up in the chorus with some sweeping strings. The song soon slows down for a quiet storm use of electric piano as Furay's wails hoarsely before reentering the upbeat string laden chorus. The songs then ends in a series of dramatic notes of some squelching moog and bass lines reminiscent of the album opener Look at the Sun. A fast paced soft rocker with shades of soulful singing, Bee Gees' rhythm guitar and classic Disco strings before the Progressive climax. Sweet my favourite Richie Furay solo song!

Byrds (1971) I Trust

The lead off single from the oft maligned Byrdmaniax album which suffered a muddy mix with studio overdubbing overwhelming gospel choral vocals and almost burying Clarence White's B Bender Tone. While the quality of the album still holds in some places, White's rendition of Jamaica Say You Will and the maudlin My Destiny.

I Trust is the best and worst of the album with its odd metallic death mask cover actually accurately representing the hollow commercialised product with only an empty shell of their country bluegrass sound. Though admittedly it's this melodic smoothen out single that captures Roger McGuinn's best latter day writing with the grandeur similar to Chestnut Mare.

Poco (1971) Bad Weather

 From their vastly underrated, Steve Cropper produced album From the Inside. It's my favourite of theirs mainly due to their strong songwriting however Cropper manages also find the right balance in the group toning down the the thickly layered guitars and adding more emphasis to the central melodies as well as less country western vibes. It's a shame this wasn't a their commercial breakthrough which wouldn't occur till ten years into the bands life; when they completely abandoned any overt country influence.

 Unfortunately it seems toning down the country in country rock leads to its biggest successes such as Firefall and the Dirt Band' slicker late 70s incarnation.  Bad Weather sounds like Poco but with some strong outside contribution to its sound. Driven by the chewed up baritone vocals by Paul Cotton in this emotive track full of a depth of feeling and powerful delivery lacking from a lot of their laid back country rock peers.

Atlanta Rhythm Section (1976) Dog Days

 The former session men excelled at a lush mix of smooth keyboards and southern fried blues like an Allman Brothers for the 80s. But Dog Days is the title track of their 1976 breakthrough, it features sharper stabs of strings and horns with Live and Let Die James Bond theme vibe. It's a thick intoxicating ode to Dog Days capturing the draining heat of long summer afternoons in the lead vocals of  Ronnie Hammond and ponderous jazz piano.

Bread (1972) Make it by Yourself

A Gates/Griffin tune from America' finest yacht rockers, this track deserves more attention for it's raw folksy feel, subtle stripped down arrangement and adult themes touching on independence and making it on your own. It's a great forgotten track that shows the smooth rockers could churn out deep affecting tunes with more original themes than the sickly romantic songs that brought them their biggest commercial success. 

Rolling Stones (1973) 100 Years Ago

 A mystical sounding little number as a jazzy clavinet lead rhythm comes in with Jagger's sings confidently about walking through the woods one day. Charlie Watts adds a strong funky back beat as Richards and Jagger ponder marvellously "Don't you think,  it's sometimes wise not to grow up". Before getting darker in the wah wah guitar sections before the slide back down to the laidback beat if the start; 'Excuse me while I hideaway' they slur before once again the song picks up for some more fast paced, dark satanic blues complete with Jaggers' possessed howl. The heavy funk vibe worked for the Stones here and on Fingerprint File but certainly not on the terse Hot Stuff.

Ozark Mountain Daredevils(1975) Mr Powell

Another Larry Lee track this is incredibly cool high tenor vocal over a bed of dramatic mandolin, gliding arrangements of flute and choral backing vocals; and not forgetting that harpsichord opening. 
Larry Lee is an underrated talent in the roosty and very bluegrass dominated group who could create tunes that were laidback yet striking. His vocals on this Jackie Blue are the very definition of subtle with a calming and very unique voice filled with nuance. It's no wonder along with his songwriting abilities he would bring the group it's biggest commercial success,  he has songs that in my opinion are more interesting and have aged better than say some of the over played Eagles singles such as Lyin Eyes and Tequila Sunrise.

Badfinger (1979) Love is gonna come at last

From their 1979 album, Air Waves, appropriately titled as Badfinger's sound is rejuvenated with a New Wave flavour, working well with their arena pop rock style. This like a lot of their work holds a strong Beatles flavour, as always this is an underrated 'shoulda been a hit' type of song with a slight REO Speedwagon feel with the acoustic electric composition.

David Gates (1978) Drifter

A hit single if ever I heard one, this David Gates solo track, from his 78 Goodbye Girl Soundtrack album,bared a lot of country rock hallmarks in the brisk acoustic guitar shuffle beat and laid back vocals as well as a brilliant violin /electric guitar part where the two play together though intentionally not fully in sync more following each other. Drifting like the catchy hook of the song relates, free of the mellow, schmaltz that could occasionally seep into some of Gates' solo work. Instead a heartfelt ode to travelling delivered without the histrionic falsetto that Gates also indulged in at the expense of the complex emotions of his ballads.

Gerry Rafferty (1971) Didn't I

 From Rafferty's first solo album Can I Have My Money Back, using the band that would become Stealer's Wheel, this song has the strong country overtones that marked that band's work and would continue to crop up in his solo career like in City to City. There's still a folksy whimsy sound to it but also some of the fun and lightheartedness that would become less and less as his career went on. SO worth listening to for the range of influences and consistent quality of the album track by track from a still much underappreciated artist who proved himself time and time again.

Bloodstone (1972) Friendship‏

The 'Natural High' hit makers were a vocal group who picked up instruments and  became a mix of Sly Stone aggressive funk with a Temptations style group interplay on their debut album. This track off the Decca release is the best example with it's positive encouraging message and electric vocal operatics and mixture of a wicked groove of delicious funk guitars and a solid drummer as the band plays at its full powers.

Barry Gibb (1970) One Bad Thing

The catchiest tune from the never released first debut album The Kid's No Good, a mixture of their 60's ballad sound a new country direction that would appear on the following Bee Gees album Life in a Tin Can (1973). It's a mild album with this by far the most memorable along with the dark C and W track Clyde O Reilly. Nevertheless this is a fine single at the least with a strong back beat as well as a great refrain of "One Bad Thing leads to another, you don't need one more surplus lover. Leave me alone, I'm cold like stone."

Icarus (1972) Silver Surfer

From their 1972 album The Marvel World of Icarus, an album that used the classic canon of Marvel Comic book characters as the basis for a heavy Jazzy, Prog rock album in which each character is devoted a theme song; whether serious or mocking is uncertain but lightweight in comparison to the heavy musical arrangements of smooth flute, throbbing bass and crunching guitar. Strings and saxophones complete the staccato, tributes to each superhero encapsulating them with basic lyrics and stronger focus on the structure of the song. The key characters of the Marvel universe are here with odes ranging form the Hulk to Daredevil and including a super charged intro to Thor. The arrangements are quite samey but do feature nice tempo changes to establish each figure, Black Panther is  quite measured while Spiderman's bounds about at some pace. Of course Marvel caught on to this in the States and put a halt to what was a promising group particularly in their creative song ideas. All are cloaked in the bluesy vocals of the lead singer who conveys the gamut of emotions and precise characterisations quite well

The Fantastic Four is well Fantastic, The Thing is funny and, as they all are, adept at storytelling and setup thought The Man Without Fear has a nice quiet piano mid section but undoubtedly the psychedelic Silver Surfer is the best with its subdued mix of cascading flute and phased electric guitar into a swirling, hypnotic prog rocker that best captures the superhero's essence far more subtlety sounding like a band's  composition over a TV Theme Tune reject like the majority of the album. 

Ozark Mountain Daredevils (1976) Watermill‏

A mid 70s country rock group that excelled in the smooth pop tunes as well as quirky bluegrass aspects of the genre. With the reverbed vocals and twinkling piano lick mimicking a water trough this belongs to the former. Featuring aqueous harmonies and the vocals of one of their many singers  leading the tune before it descends into a Hawaiian pedal steel lilt where an saxophone drifts in; its an intoxicating mix as the song plays out like a slow stream

Led Zeppelin (1975) Night Flight‏

 Beginning with a startlingly pretty opening as Jimmy Page's glistening guitar strums a progression alongside John Paul Jones's bright organ in what was a rare JPJ dominated track. The influence of the heavily phased opening bars of this can be heard later in Brit Pop songs such as Telling Stories by The Charlatans and Waterfall by the Stone Roses and gives the song a distinctive sound that would have fitted in Untitled Fourth album, of which it was left off, or even the effervescent sounds of their fifth album.  The pop sheen soon descends into a stilted country boogie with a strong Southern Rock vibe, Plant singing in a 'downhome' manner about.. not sure what, possibly combat troops on a night flight to a battle zone as there is an allusion to evading the US Military Draft; still active in 1971 when the track was recorded.

 It does suffer from a repetitive verse that frankly becomes embarrassing with Plant's accentuated grunts at the very end. But the track is sparkling with those magic intervals of phased guitar and organ wokr, once again a mellowish rocker from a heavy band that knew how to balance diverse elements such as country, Southern Rock and even an early example of Alternative Rock in the classic opening. Truly Unforgettable Zep gem that I have wanted to do for sometime

The Lovelites (1977)How Can I Tell My Mum and Dad

I started this blog a year ago now over 212 posts and 4000 page views later, I've certainly looked at a wide spectrum of great underrated music from what was the best decade for music in my opinion.

 To cap off one year of the blog and kick off the next I will look at this irresistible soul number. With the lead vocalist Patti Hamilton smooth delivery over a funky slide guitar rhythm. This manages to merge the gospel device of ' call and response' vocals that you would here in a Motown hit with the smoother, more vivid 70s style of storytelling.

 It's a breathtaking number as the teen singer shares her dilemma of being pregnant with a man who wants nothing to do with her and wondering about her parents reaction when she tells them. The strife, hurt and regret are so palpable in her restrained vocal performance. The song practically hits you with its smooth melodic and engaging tale.

Humble Pie (1971) Down Home Again

 My first Humble Pie post, I must admit knowing little about them but what's clear is Peter Frampton's rock n roll chops mixing with Steve Marriott's already established soulful blues howl and songwriter prowess would be a powerful little act. This classic countrified hard rocker has some strutting Zeppelin power chords before entering a fun chorus of "There's a young girl there she's a part of my life, says I'm 'her only', I call her my 'wife'" and the final refrains of "Don't want your money honey. Just want your lovin honey"

Doobie Brothers (1971) Feelin Further Down‏

 The Doobie Brothers 1971 debut album is considered a slight, poorly mixed effort by some with nothing exceptional, though I would describe it as a key starting point where they immediately cultivated their reverberated, heavily acoustic sound of countrified R n B with strong doses Pat Simmons' folk picking and Tom Johnsons' chugging guitars. Their roughness is somewhat smoothed down, but the exquisite mixing of the electric and acoustic sounds is one result of the poor production which I think  of as a happy accident if it doesn't help identify whether they are more folk rock, funk rock or smooth soul. 
 This track displays this nice melding of acoustic/ electric with some winsome, elongated harmonies, showing off their delicate side more than later Johnson era albums would it is also subtly restrained from their later overt ventures into funk and soul. The rhythm is practically the Listen to the Music riff with a different set of lyrics but its all pleasurable to the ear. You can choose any track from this consistent effort really, its just interesting seeing where this diverse group would venture 'further down'.

Led Zeppelin (1975) Houses of the Holy

A extremely smooth groove from the biggest band of the 70s, it is peculiar for several reasons the first of which is its crammed into the legendary double album and the pinnacle of their career; Physical Graffiti. Arguably the closest they came to a pop single with its smooth repetitive verses, built around the lead vocals with no guitar solo or extended instrumental break this could of been a radio single easy. Side note: it would've been interesting if Jimmy Page put out the shorter album cuts out to promote the album's compositional depth even if it went against their ethos of making an album a singular work.


 Oh well the other peculiarity is this song dedicated, to their local fan base(their devoted masses being affectionately named in the title), is that this was the namesake track of their preceding album. An in joke done by many other 70s artists like David Bowie and the track Ziggy Stardust, those damn 70s artists! It's all elementary as this track with its sturdy funk rock rhythm snakes along with their usual sensuality. Plant's laid back vocals flirting with the listener before the dynamics pickup with Bonhams cowbell, backing oohs and Plant intensifying come-ons. This track like many others got virtually no attention but it had more melody and energy to it than say the country rock influenced California sound also prevalent at the time.

Yes (1977) Wondrous Stories

 Jon Anderson is front and centre in this Yes single from 1977, it's one of his patented folk tales, this finds him at his peak with a wondrously soaring lead vocal over a bed of spellbinding acoustic strum. The Classic lineup of 1972 is reunited here after a three year hiatus for a succinct radio-friendly album, Going for the One(1977). Steve Howe capably handles the fantastical arrangement of Vachalia, while Chris Squire's close harmony adds a genuine choral depth, while the layered PolyMoog flourishes of Rick Wakeman help give the package a symphonic grandeur that came effortlessly to this group.  A band that systematically displayed Prog Rock's best and worst tendencies got the right ingredients and measurements for this concise album with strong pop and rock hooks combined with enough experimental material that would have been irresistible to rock fans not bowled over by punk.

Loggins and Messina (1976) Wasting Our Time

 From their last studio album, Native Sons, this jazzy track was a Loggins co write with John Townshend of the Sanford Townshend Band, a group who would effectively continue Loggins' brand of woodwind blue eyed soul with a Southern rock tilt. This song captures Loggins' sensuality in its arrangement before breaking into the catchy chorus of 'Theirs no sense in wasting our time', while nice its not on the compositional or instrumental level as their best work that managed to mix blue eyed soul with the dynamic contrasts of baroque folk, pastoral easy listening and rocking guitars.

Black Sabbath (1973) Who Are You‏

 Based around a Martian sounding Moog synthesizer lick, playing a simple three note pattern, you'd think this was an oddity in Sabbath's canon but actually they busted out the synths,acoustic guitars, Mellotrons and even flutes quite regularly during their semi- progressive phase in the mid 70s.

 Ozzy sings with himself backing him up, it soon gets weirder as it takes a detour wherein Tony Iommi plays a sombre piano progression with a Mellotron backing; while the Moogs play a nice lead line over it that builds up into a bolero before returning to the main riff again. Now with the two acid drenched Moogs playing in each channel, the stereo quality of the track with the echo threshold ringing out in each ear is mind altering to say the least.  The warped effect of the synthesizer sucks you in and combined with Bill Ward's doom laden beat and Ozzy's stricken vocals means this works without the standard Iommi fuzz tone. It ends on a dissonant oscillating fade out; it's Black Sabbath going Sci-Fi!

 Embracing new technology and diverse genre shifts to get across their own message that is more likely about the threat of governments or nuclear weapons rather than the you know..Satan. It sees them at their most adventurous with a Yes like mid section symphony, heavy on the keyboards but with that Sabbath patented despair and destruction all over it. Its similar to another paranoia based track, 1975's Am I Going Insane which shares a similar melody, the two part harmonies, the Moogs and the bolero rhythms.

Dave Mason (1972) Misty Morning Stranger

Sample of a piano riff and horns set the foundation of this Dave Mason gem. The interplay of funky horns and a resolute piano is great along with the harmonies of 'misty morning stranger'. However it's Masons clean and thick aerial guitar tone that is so pleasing to the ear along with the piano horn based backing track.

Colin Blunstone (1978) Photograph

A melodic Yacht Rock song from the former Zombies front man who continued to have a moderately successful solo career, this sweeping song doesn't complement his hushed tone but has a nice arrangement with a mellow synthesizer line.

Rolling Stones (1976) Fool to Cry

From their Black n Blue (1976) album, an unremarkable collections of songs displaying a lot of terse funk and reggae influenced jams; a mid point as they auditioned guitarists to replace Mick Taylor. The album was built around two touching keyboard ballads; Memory Motel and this touching tribute to Mick Jagger's daughter.
Beginning with a strong swell of Nicky Hopkins's String Synthesizer, before a mix of electric piano and organ provide a melancholic wash over this dreary tale. Jagger's uses a deep bluesmen's voice for the song as he spits out the story more in speech then singing. This leads to a nice transition to the angelic chorus of 'ooh daddy you're a fool to cry' The dialogue of the song gives it a nice feel, re imagining an important event possibly Jagger is the child..probably not but it's nice to interpret things like this.
Once again wrapped in a hazy, foggy vibe that defined their 70s output it lacks an assured guitar part from someone like Brian Jones or Mick Taylor who would take the song to an unlikely dimension. Thankfully though the band do just that as they pick up the pace for the outro as the song swings and churns into a swing punctuated by slide guitar licks and Hopkins' pervading String Synth sailing along; a roller coaster of moods composed expertly.
I'll admit when I first heard this song a few years ago it didn't strike me like Memory Motels' hesitant opening notes, I found it too bland but now I appreciate the unique 'quiet storm' atmosphere more due to the tasteful change of gears at the end similar to Zeppelin' Rain Song four years prior; specifically the floating string synth part by Nicky Hopkins. I also love the refreshingly raw subject that is all about parenthood over say the standard romance/heartbroken dilemma of 90% of lyrics.


A subtle slice of haunting easy listening that is in keeping with the wounded theme of the albums' other ballad and the title but you can't help feeling the tacky attempt at funk Hot Stuff, the cover of Cherry Oh Baby as well the other heavy songs don't feel as if they belong with the same time frame let alone album. They're not as memorable or as fitting to the mood and maybe should have been let off for the harder edged Some Girls album.

White Water (1973) (Caught Up In) White Water

This RCA act came from a similarly named 60's group in Providence RI called the Blue Jays with a funky horn sound not representative of the band name.  Their first album with an odd cover picture of an impaled nymph is a decent funk rock effort if a little bland and derivative lacking in any unique personality. The self titled track is a piano led love lost track with a nice seaside mix of plodding piano and surging trumpets in a rocked out soul number. 'Caught up in white water babe, Can't get back and can't get through' are the lyrics and I'm reminded of Stax production mixing with the Allman Brothers.

Feather (1970) Friends

A group from LA featuring John Townshend(of Sanford Townshend Band), this minor hit mixes a pastoral harmonies of sunshine pop with a sturdy RnB ryhthm section. While its a bit of a mess of trading vocals and group vocals you can clearly detect Townshend's masculine blues voice singin the refrain 'to talk it over'.

Kansas (1975) It's You

This track is representative of Steve Walsh contribution of rock to Kansas as well as the slightly more pop based material of the Masque album drifting away from the heavy prog of the Song for America album and the unique midwest boogie of their 1974.
This short but sweet rocker is drenched in Robby Steinhardts' violin and the chugging rhythm section of Dave Hope and Phil Ehart in this pretty straightforward track that sounds tailored for AM radio airplay as opposed to their usual repertoire.

Joe Walsh (1975) Help Me Thru the Night

A sign of things to come this devastatingly mellow track is Joe Walsh' audition for the Eagles. With Henley Frey et al on backing harmonies while Joe handles the acoustic guitars, solo and the startlingly restrained vocal performance that conveys this tragic loss of his daughter. This song proved he was capable of providing some developed singer songwriter balladry similar to the Eagles best known songs.

Poco (1974) Bitter Blue

From one of their best written albums, the Contamos album,  this Tim Schmidt gem has nice down trodden verses launching into a chorus powered by strong backing vocals. There is a nice bridge in this ode to a bittersweet romance that Poco did well balancing their country pop sound with a soulful intensity.

Chi Lites (1976) Happy Being Lonely

 We mentioned this in the Eugene Record post (http://lost70sgems.blogspot.co.uk/2016/06/eugene-record-1978-trying-to-get-to-you.html) earlier this month it's the last great Chi Lites single. The title track, produced after Record's departure in 1975 and lacking his caressing falsetto this track is structured round some nice melodies. From the slow draining delivery of the verses to increasing sweetness of the vocals into the bright chorus.  It also centres on a refreshingly different subject then the typical heartbreak and resulting desolate feeling of most Philly Soul.

 Instead the lyrics reflect on the singers bemusement at how comfortable he is after the breakup as the hook articulates beautifully; "I was happy being Lonely, don't know how? I was happy being Lonely..until now" All the Philly hallmarks of soothing strings mixed with jangly psychedelic guitars are present here as the world turned to disco sounds.