Lowell George (1979) Twenty Million Things - LOST 70s GEMS

From the Lowell George solo album, Thank's I'll Eat It Here, Twenty Million Things is a Little Feat patented heartfelt ballad a worthy composition to commemorate the New Orleans rocker who defied labels. Starting with chiming acoustics and background chatter before Lowell's delicate whimper enters alongside some sweet Payne piano playing. It gravitates to a beautiful sentiment about having Twenty Million Things to do, while still thinking about an ex love. Symbolically the track ends with some more chatter before the fade keeping Lowell and Little Feats trademark dirty, gritty live sound in the mix.

Neil Young (1977) Will to Love - LOST 70s GEMS

A demo sounding record with its raw, unfiltered sound full of room ambience, we hear reggae organs and country folk picking with Neil's smooth underwater vocal delivery; so subdued and yet flows like a stream. There is some background chatter and frequent clicks and creeks to give a refreshingly live in sound, while Young waxes about how he could be 'a fire in the night', his mystical verses so lyrical there is a almost Peruvian folk melody to the trippy chorus to this very trippy song. But its that raw mix of in the moment guitar harmonics and occasional vibraphone 'boings' that contrasts with Neil's soothing voice; the progression particularly the repetitious call of 'got the will to love' seems to lull you in as Neil admits I seem 'ramble on and on and repeat myself'. A very hidden classic from American Stars n Bars (1977); my personal favourite Young album.

Diana Ross & Marvin Gaye (1973) Stop, Look, Listen (To Your Heart) - LOST 70s GEMS

 While this excellent collaboration between two of Motown's biggest solo singers is well produced its dominated by two Stylistics' covers, that not only outdo the originals but incorporate a Philly styled production showing where the musical tide was at the moment. While Motown still had strong artists like Stevie Wonder and the Commodores, the Philadelphia International Records boasted the top vocals groups of the day who dominated the soul charts in the early 70s. Its clear Berry Gordy wanted to capture a grand Philly sound in the just these two singles whilst the erst of the album has a more classic big band Motown sound

 It starts with a sweetly lyrical wah-wah guitar line and Gaye's inimitable wail before the thunderous piano progression enters; the whole package is decorated with coursing strings punctuated by twinkly vibraphones. The bright fluttering melody of piano, vibes are magical and far punchier than the sleepy smoothness of Philly Soul. Even the electric guitar and horns try to mimic the smoky bellow of the oboe; which featured in the Stylistics' recordings.

Both Ross and Gaye's vocals are caressing in a breathy manner while Gaye is earthy, Ross is incandescent and its this balance of strident choruses and deep solo spots that makes this album so endearing. But no matter what its the astonishing instrumental sound of this track, My Mistake and You are Everything which is what makes this such an important record. Its a perfect meeting point of the Detroit and Philly sounds bringing ghostly revered vocals, harpsichords, harmonicas, flighty strings, sweet wah-wah guitars, congas and vibraphones to create a colourful and unique brand of soul music. 

 The key link between these tracks are ghostly reverbed vocals, broken up piano beats, cascading string sections and a smooth wah wah guitar line; exquisite. I recommend you stop look and listen to My Mistake and You Are Everything from the same album for their gorgeous production.

Head East (1974) Fly By Night Lady - LOST 70s GEMS

Full of frenetic acoustic strumming and punchy analogue keyboards with their sound of full bodied, delightfully homemade, throbbing electronics matching the theatrical, Geddy Lee soundalike and future Petra front man, John Schlitt.  This track is from their barnstorming, self produced and distributed debut album Flat as a Pancake, full of good time Prog boogie that would peak in the late 70s with Kansas, Ambrosia and Styx but unfortunately never quite lead them to superstars in their own right.

The funky Hendrix strum is also fantastic, though I will point out the title though reminds me of Rush's Fly by Night, this song predates that tune by a year. Though the two share a similar mix of fast paced drums and the identical tone and mannerisms of the lead singers.

Johnny Rivers (1977) Slow Dancin' (Swayin' to the Music) - LOST 70s GEMS

A comeback hit from a 60s pop star, this is a cool caressing, soft rocker full of Rivers cooing vocals and exquisite dynamics of funky rock and smooth soul. This type of velvety ballad wasn't a million miles away from the slow laidback love songs Jack Tempchin wrote for the Eagles and Glenn Frey's solo career but this RnB band structure is more engaging than the polished country rock artists he was associated with. River's swooning vocals are the key; Soul city indeed.

Moby's Grape (1971) Chinese Song - LOST 70s GEMS

Full of eastern sounds as a warped tape kicks us into a seemingly rote and monotonous little acoustic riff clearly played on a Shamisen before the imposing stomp of Eastern tinged strings and possibly a Tambura slide into the arrangement to great effect. The dirge is underlined by a funky back beat creating an instrumental dance track with a fresh modern sound. Its an easy mix of sweeping strings with a basic rock rhythm for an epic world music soundtrack. It has to be a precursor to the orchestrated, layered soundscapes of OK Computer or Fatboy Slim, it certainly has a 90s/2000s big beat remix sound to it.

Shadowfax (1976) Song For My Brother - LOST 70s GEMS

A New Age and very heavy Jazzy, prog Rock band form the Windy City, Shadowfax's majestic covered album Watercourse Way is dripping in intricate and extremely tight arrangements. This beautiful but very hard hitting jazz fusion, the fusion in this case being with Prog rock. While Shape of You is a plaintive piano piece and the Turkish sounding folky title track are well structured and exquisitely played, the closer Song For My Brother is full of nifty moments from the stage setting chord progressions to the watery electric guitar, as clear a a clean water river like the one on the azure album cover. The guitar aches in a foreboding notes, the best is probably the crystal clear piano bridge that comes a few minutes in which is as delicate and immaculate a piano part I have ever heard and has a sprightly spirit to it as a returning moog drifts in playing the part of a horn before a string synth also joins it. The interplay between the neo-renaissance harpsichord and the lead guitar at the end is the cherry on top. Be warned it is a long mood piece and may not be everyone's cup of tea.