David Bowie (1975) Win - LOST 70s GEMS

An album full of Philly soul' s diverse arrangements, whilst also signposting the future in disco with the sweeping phased, funk guitar of the track Fascination with it's chanting chorus and waka waka swagger. Haunted flutterings of saxophones echo into oblivion, these ghostly lines fit with the hollow desperation of the track, a deep sensual album full of existential thoughts rather than romance/breakup material of most Philly soul. Though it must be said Bowie's limited rasp could sound a little too ill fitting with the funkier looser grooves and far more soulful backing singers, sometimes English rockers can't do everything and sounds strained on a lot of the work here. Still its all well written and arranged but if lacking some rock n roll punch and more differentiation of the gloomy Prog vision of most of the tracks, not enough bright, upbeat soul to balance it out and no real concept behind the album's songs but it is a unique collection of murky, mystifying urban soul that reminds me of the Todd Rundgren produced Hall and Oates album War Babies of 1974 with its Dystopian funk, and wacked out Progressive Pop.

The Spinners (1973) Ain't No Price On Happiness - LOST 70s GEMS

Mighty Love was a hallmark song that perfectly sums up The Spinner's brand of Philly soul which transplanted a gospel fervour and positive spirituality from their Motown days with gleaming strings and strident isolated piano chords to create probably the best Philly soul numbers before Disco would take over in the mid 70s, though sadly could not cross over like the similar sounding The Tramps into the new genre. On this album the best track crystal clear mix of vocals and vibes upfront whilst the MFSB strings remain the emotive undercurrent as they sway majestically in a way they only did on Spinner's songs. The sprightly horn section is brilliant as well as braying horns alongside the wistful delivery of the Spinners' dual lead vocalists of the smooth ladiback tones of Bobby Smith and the exuberant preach of Phillipe Wynn.

Slik (1976) Don't Take Your Love Away - LOST 70s GEMS

A collection of bubblegum melodies, the type of silly falsetto chorus driven rock of the Sweet with Bay City Roller's lightness in the lyrics and mix of pop and rock. Full of very simple hooks and that calypso rhythm that bubblegum music from the 60s and 70s tended to have a long with a Brian Connolly style drawled croon, pounding piano, upfront acoustic rhythm guitar and deadened tin box drums. There are punchy Moogs and funky scratch guitars for some cutting edge sounds from the mid seventies but is still dominated with playful instrumentals and Osmond Brothers arranged ballads.

Dont Take Your Love Away has that Osmonds/Bay City Rollers mix of terse but rote Glam Rock guitars and bubblegum pop vocals, but the acoustic verses of this track have a heavenly vocal laid on top. Also check out the modal harmonies of Forever and Ever and the ominous Spanish guitar and Moog driven ballad Requiem. While Again My Love has that nice mid 70s Disco sound not heard very often with echo drenched crooning and the kind of dated 70s pastel synthesizer and sweeping string laden disco balladry of tracks like Jigsaw's Sky High.

Smokey Robinson (1975) Quiet Storm - LOST 70s GEMS

The title track of Smokeys' third solo album, A Quiet Storm, the ground zero for the 'Quiet Storm' genre that featured artists like Luther Vandross, Al Green etc. Smokey remarkable tenor that launched hundreds of singers is still so unique as caresses you with it's indefinable quality. But on this occasion the whole package arouses you with it's pioneering blend of laidback soul and restrained funk balladry plus a temperate theme..they called quiet storm apparently
Then there is the unmistakable sweet, high pitched squeak of the Oberheimer synthesizer which would shine Prog and Disco in the late 70s adds a unique texture. It's angular long held notes sound like a digitally compressed wash similar to the smooth sustain of an organ.

It along with the 'wet' electric piano a strong swell of desire key to the Quiet storm format hinting at tropical weather conditions. The fluttering fills of Latin funk guitar and smooth flute only add to the strong romantic aura of the track. While the Oberheimer' long whining tone remains undiminished right to the end, where the basic rhythms fade away to the wind sound effects that have been the connecting thread of all the tracks on the album like a wintery motif. This Sci-fi coldness creates a contrasting desolate note of isolation, after all a 'quiet' storm will always be a lonely storm.

 

Geordie (1974) Got to Know - LOST 70s GEMS

From their 1974 album Don't Be Fooled By The Name, Georgie were the type of tough Glam Rockers with clean studio production that would influence the future Hair rockers of the 80s, the album is supercharged and full of loud vocals, heavy stomps and in this track sweet, high pitched and gooey sounding synthesizer parts poke through in extremely sonic fills. The electric guitars on display have a thunderous quality, they are cleanly recorded and sound huge. Then Brian Jonhston's exemplary vocals are brash enough to match the music, he handles ballad vocals on Little boy just as well with his deep northern accent giving a tougher vibe to the music as the electric power chords crash, the funky soul drumming rattles away etc.

King Crimson (1973) Easy Money - LOST 70s GEMS

Larks' Tongues in Aspic introduced David Cross's violin to the heaviest Prog band around, sorry Pink Floyd, They shed the jazz aspects for creating a further classical tone yet also keeping the rock and prog foundation strong. After their classic 1969 lineup based around Greg Lake and Ian McDonald as well as Michael Giles and Peter Sinfield had long since departed the group was starting to reclaim it's own identity with their mid 70s Prog run. It started with this album and led into Starless and Bible Black in 1974 and Red.

Some of the instrumental passages remind me of Tubular Bells with a clear cut production and virtuoso playing that didn't bear the murky, noisy chaotic textures of Psychedelia or Jazz. Instead a more atmospheric, sci-fi trip, the elephant sounding horns that ominously arise in Talking Drums and Exiles are very Prog and cinematic, while the title track combines this hard hitting prog rock with a Jazzy signature to create again a cinematic score or movement perfect as background for a scene from Soylent Green, Logan's Run etc.

That clear cut but odd sounding prog rock melody would be most commercially realised in Easy Money, a very pop track yet very brilliant song overall from this album. Powered by an incredible stomp of a rock riff complete with stamping feet like marching soldiers whilst the bell tolls and harmonies waver off. The quiet verses feature kooky sound effects like a snake rattle, splitting elastic and crunching sound for a heart break, it reminds me of 10cc like flourishes whilst a sparse reggae beat of guitar strikes and steel drum provides backing. There are ominous ringing sounds and unexpected dissonant crashes to go along with it, before Robert Fripp breaks out a jazzy and very robotic solo that goes along with the monolithic crunch of the song's central riff returning again from the beginning. There is some misty organ work too along with some arpeggios to colour the arrangement before a final rave up of bluesy wailing of both guitarist and vocalist and organs.

The Spinners (1972) It's A Shame - LOST 70s GEMS

Starting with a cheerful, jazzy doodle of a Electric Sitar part whilst an electric guitar strums breezily, this Stevie Wonder penned soul tune is enlivened by Philly Soul's maestro Thom Bell who keeps the vibe bright and sunny with that spectacular opening progression. The Spinners give an pumpingly energetic vocal performance, a hint of their future rousing soul music which would be truly unique, though this track barely features the inspiring Thom Bell horn lines and sweeping strings combo that underlined their later hits. Instead their is more of the rave up fervour of Motown, Stevie Wonder's label, in the performance over the smoother, velvet delivery of Philly's soul stars. Though there is no denying the classic Philly knack for arrangement is there right in that glorious first few bars.