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.