10 hidden gem albums from the 1970s that you missed

As a seasoned music aficionado who has been around the block more times than I care to remember, I must say that this journey through the annals of time and sound was nothing short of mesmerizing. Each album, like a chapter in the grand book of rock and roll history, transported me to a different era, evoking memories of sweaty club gigs, sun-drenched festivals, and late-night radio sessions.

In my youth, rock music was thriving. There was a well-known girl at my sixth school named Susie, but our interactions were limited. We didn’t often hold hands or play truant together. However, we did share the joy of singing Elton John’s “Crocodile Rock,” which was extremely popular at the time. This is the reason behind those song references, in case you weren’t aware.

In 1973, Elton John was reminiscing about the youthful days of rock and roll, but it wasn’t quite old yet. The rock and roll era truly began with Bill Haley & His Comets’ “Rock Around the Clock” in 1955. So, by 1973, rock was only 18 years old – just of legal drinking age in the U.S. – when Elton nostalgically sang about its youthful days.

Still, a debate raged on. Had rock & roll already sold its soul by 1973? Of course, it had. But no more so than any popular cultural product had done before and continues to do to this day. And the simple act of selling out to big corporate purse strings doesn’t condemn an artist of her work to sterile conformity. Joseph Haydn still wrote some pretty good music after signing on with the wealthy Esterhazy family. Maybe rock & roll had to do some soul-searching, but as a genre, it managed to stay vibrant throughout the 1970s.

These hidden gems from the 1970s are still worth listening to

Even though The Beatles left the music scene, numerous influential British bands persisted. Bands like The Rolling Stones, Led Zeppelin, and The Who maintained the spirit of classic rock. Bob Dylan’s enduring career paved the way for more singer-songwriters to make their mark in hard rock. Eventually, a talent from Asbury Park, NJ emerged as one of the “next Dylans,” merging the singer/songwriter style with rock music. Pink Floyd and Yes popularized progressive rock, while Black Sabbath played a significant role in the development of metal music.

As a gamer, I’d say: The music landscape in the 70s was diverse, but not without its flaws. Overcrowding seemed to water down the quality. However, this oversaturation paved the way for innovation. By the end of the 70s, punk rock and new wave were causing quite a stir. Funk and disco were proving that intricate dance rhythms could harmoniously blend with rock & roll. Fast forward to the end of the next decade, and those dance beats began an unstoppable expansion, eventually merging with and dominating traditional rock & roll.

As a music enthusiast, I can’t help but reminisce about the golden age of rock & roll – the 1970s. While it may no longer hold the same cultural influence it once did, its impact remains profound. If we were to rewind time, we’d find ourselves in an era where rock was not just alive and kicking, but also evolving at a rapid pace. That’s what I believe the 70s represented.

In various instances, some records may have garnered a few successes, yet failed to captivate the public’s interest due to several factors. These albums were produced by artists you might recall – or groups that remained obscure and unknown to many. For the majority of our exploration, we’ll delve into the realm of rock music with roots in R&B, though there may be a few exceptions that challenge and blur these genre lines. Keep in mind, even though we’re focusing on 70s old-time rock & roll, who knows what unexpected gems from the past and future might surface! (It’s important to note that neither Bob Seger, the Beatles, nor the Moody Blues will be part of the upcoming list of underrated albums from the 1970s.)

Dead Man by Josefus (1970)

In the late 1960s, they emerged from Texas, playing a potent mix of rock that was rooted in old-school R&B and progressive rock. For a brief moment, they took over where their fellow Texan pioneers, the 13th Floor Elevators, left off. Pete Bailey possessed the raw vocal power reminiscent of a blues shouter, and he also played harmonica. Dave Mitchell was capable of producing fiery guitar solos, but Josefus’s true driving force came from the rhythm section – Ray Turner on bass and Doug Till on drums.

They powerfully navigate through tracks such as “Crazy Man,” “Proposition,” and a powerful rendition of the Rolling Stones’ “Gimme Shelter,” followed by a long, bluesy, spacey, experimental instrumental jam – the 17-minute title track, providing ample opportunity for Mitchell to showcase his guitar skills. Josefus disbanded before the release of Dead Man, but they have reunited and performed together on various occasions in the years that followed.

Growers of Mushrooms by Leaf Hound (1971)

Leaf Hound bears a striking resemblance to Josefus, but with a distinct British twist. Their musical lineage traces back to the blues band Black Cat Bones, who were also instrumental in the emergence of Foghat, Free, and eventually, Bad Company. The more robust aspects of Black Cat Bones gave rise to Leaf Hound as a separate entity.

As a gamer, I’d put it like this: My vocalist chum Peter French and his axe-wielding cousin Mick Halls could crank out some heavy blues rock that was almost on par with the legends Led Zeppelin. Truth be told, they might have been just a bit behind in terms of innovation, with Mick not quite as groundbreaking as Jimmy Page, and my drummer Keith George Young lacking the sheer power to unleash the thunderous blasts like John Bonham could. However, being nearly as good as the greatest blues-rock band of all time isn’t something to sneeze at!

Tracks such as “Freelance Fiend,” “Stray,” and “Drowned My Life in Fear,” backed by Stuart Brooks’ unique bass tones, are equally impressive when compared to other bands’ best work. Similarly, Leaf Hound, much like Josefus, was nearing its end when they debuted with “Growers of Mushrooms.” However, they too reemerged in the early 2000s, continuing exactly where they had stopped over three decades ago.

Kapt. Kopter & the (Fabulous) Twirly Birds by Randy California (1972)

Initially, it’s important to note that his real name wasn’t Randy California. Since the band leader already had two Randys in his group, young Randy Wolfe, who was from Los Angeles, was given the stage name Randy California. At that time, he was just 16 years old. Notably, the band leader with whom the teenager played guitar parts was known as Jimmy James, but later became famous as Jimi Hendrix.

When Hendrix departed for London, California regrouped in Southern California and established Spirit, one of the top rock bands during the late ’60s and early ’70s. Following several studio releases, California put out a solo album. Noel Redding, bassist from the Jimi Hendrix Experience, contributed to some songs, as did his stepfather, Ed Cassidy, who was Spirit’s drummer on certain tracks. However, it was predominantly Randy’s work, with him providing vocals and powerful guitar playing on hard-hitting tunes like “Downer” and softer space rock numbers such as “Devil.” He penned approximately half the songs and also delivered some excellent cover versions.

His “I Don’t Want Nobody” fuzzes up James Brown, while Paul Simon’s “Mother and Child Reunion” becomes a trippy journey through wah-wah land. He throws in a couple of Beatles tunes as well. “Day Tripper” is perfectly OK – though not special. But he tosses some rockabilly into “Rain” that redefines the entire song, with help from Redding’s drummer pal Les Sampson.

Jerusalem by Jerusalem (1972)

“Uncle Metal, often overlooked. Jerusalem, unlike other British bands, didn’t endure – they were the pioneers who laid the foundation for heavy riffing and piercing vocals that would shape a new genre. Yet, listening to Bob Cooke and Bill Hinde trade riffs on their album opener “Frustration,” one can’t help but imagine a band with potential as massive as Sabbath or Maiden. This is followed by “Hooded Eagle,” a track that intensifies the guitar assault even more.

The music doesn’t stop, not even during the final grandiose track “She Came Like a Bat From Hell,” where Lynden Williams holds his own against Ozzy Osbourne’s performances. Ian Gillan, from Deep Purple, produced this album – their sole full-length release. Unfortunately, they disbanded shortly following its debut.

Sneaking Sally Through the Alley by Robert Palmer (1974)

For a brief span, let’s shift our focus from the intense R&B rock we’ve been exploring, to explore a different strain of 70s rock & roll. While Robert Palmer is mainly recognized for his MTV-era pop hits from the next decade, in 1974, he was simply an English youngster with soul, resembling a modernized Tom Jones. However, his solo debut in the same year was truly magical.

He went to New Orleans and teamed up with local R&B and funk luminaries like Allen Toussaint and the Meters. He also got major support from Little Feat frontman/guitarist Lowell George. Palmer wrote most of the songs, including the breezy “Hey Julia” and the funky ode to having a good time, “How Much Fun.” And he wisely recorded George’s “Sailin’ Shoes” along with two Toussaint numbers, the title track, and the subdued funk “From a Whisper to a Scream.” Palmer’s voice is assured throughout. He did not hit it big until the ‘80s, but his place in modern pop music was on very firm ground.

The Modern Lovers by The Modern Lovers (1976)

Instead of getting mixed up with “Jonathan Richman and the Modern Lovers,” another excellent release from the same origin, this early record from the most dedicated follower of Lou Reed and the Velvet Underground boasts an intriguing backstory. As we’ve mentioned, several bands that came before were disintegrating when they released the album in question. Richman took it a step further.

This compilation album came out over a year after The Modern Lovers, a band he established five years prior, disbanded. Each song on this album was actually recorded at least four years before its release. John Cale, a co-founder of Velvet Underground with experience in bands dealing with personality clashes, produced many of these tracks.

Those tracks are terrific examples of basic rock, fitting flawlessly with Richman’s distinctive nasal voice, while bassist Ernie Brooks and drummer David Robinson, who later joined the Cars, provide a strong rhythm. Richman demonstrated that simple songs could achieve greatness through their cleverness and intelligence, as shown in tunes like “Pablo Picasso” and “Someone I Care About.” Opening and closing the album are two powerful rockers, “Roadrunner” and “Modern World,” even though they’re stripped down.

Monkey Island by the J. Geils Band (1977)

From 1970, The J. Geils Band consistently produced high-quality blues rock, with the band’s sound heavily influenced by Geils’ guitar skills and Peter Wolf’s confident stage presence as the lead vocalist. They achieved some level of success, but were generally known for their diligent work ethic rather than taking a more relaxed approach. Critics recognized their dedicated fan base and an air of confidence, yet they never fully appreciated or adored them.

In their seventh studio album, titled “Monkey Island,” the band aimed to bring some freshness to their sound. Kicking off with the powerful funk of “Surrender” and softening into the heartfelt ballad “You’re the Only One”, the album then ventured through various styles. Ranging from the delightfully cheerful “I Do” to the eccentrically wide-reaching title track, the latter might have pushed boundaries a tad too much. However, they compensate with the spectacular New Orleans-inspired explosion “I’m Not Rough”, which allows Wolf to express his Louis Armstrong influence.

In the past, the album “Monkey Island” left both critics and audiences puzzled. However, a couple of years later, J. Geils found success with songs like “Love Stink” and “Freeze Frame,” which ultimately propelled them to rock stardom in the early 1980s. Yet, as time went on, it became apparent that “Monkey Island” showcased a wider range of talent from the Massachusetts-based band.

From Rats to Riches by Good Rats (1978)

Stories about New York are mostly unfamiliar beyond its five districts. If Big Star is too mainstream for your taste, try Good Rats instead. Peppi Marchello was an excellent rock vocalist, and his brother Mickey excelled on guitar. They declared their aspirations in the opening track “Taking it to Detroit.

Despite the unusual choice for a band, dreaming of departing New York City for the lush landscapes of Detroit, it underscores the Rats’ intense desire to surpass their local fame and achieve a greater stature beyond New York City. Regrettably, despite sharing stages with many prominent acts, they failed to cultivate a substantial following outside NYC.

Reframing their music, they had the potential to achieve even greater heights with tunes like “Mr. Mechanic” that spark energy and “Coo Coo Coo Blues” that stick in your head. However, I wonder if their witty sarcasm would resonate as strongly nowadays – “Loathe your mothers, loathe your fathers – Loathe the obnoxious kids who called you fat – Loathe the greedy oil companies, loathe the deceitful refugees – Yet don’t loathe the ones who give you rock and roll.” Such is the essence of The Rats.

Top Priority by Rory Gallagher (1979)

Back in the day, I found myself captivated by the mesmerizing riffs and soulful solos of one Rory Gallagher – a true rock ‘n’ roll guitar god. Many fellow musicians have hailed him as an inspiration, and for decades, he delivered top-tier blues rock that echoed through countless venues. However, his untimely death in 1995 at the age of 47 was due to complications arising from overuse of prescription drugs. Top Priority, one of his later works, was released a few years following his most widely acclaimed album, Calling Card.

As a music enthusiast, I’m not saying that “Top Priority” was a superior album, but it might serve as a more profound representation of Gallagher’s artistic prowess. By reducing the band to a classic power trio, he managed to generate an immense sound solely from his guitar and occasionally other strings. The man was a maestro with anything that had strings attached.

Gerry McAvoy lays down a strong bass foundation, enabling Gallagher to explore freely, and Ted McKenna, known for his work with numerous artists, skillfully adds the right cymbal hits at key moments. “Wayward Child” is a fantastic rock treasure, while “Bad Penny” appears to emerge from an ancient blues-rock source. Top Priority, like all of Gallagher’s top work, maintains its weight without ever feeling heavy-handed.

The Raincoats by the Raincoats (1979)

We end our list with an album that’s particularly punk and unique, being the only one created by women. The Raincoats might not have had a long career, but their impact was immense. Kurt Cobain and numerous post-punk bands of the 1980s, which branched out in various directions, were among their admirers.

Initially, when I first got hold of their album, “Fairytale in the Supermarket” by The Raincoats wasn’t part of it. However, in every reissue since, this iconic track has been the opening number. The original record kicked off with “No Side to Fall In,” a track that showcases Vicky Aspinall’s violin in a delightful blend of vocal harmonies. From there, they served up one distinctive tune after another. “Adventures Close to Home” could fool you into thinking it’s a ’60s garage rocker, but don’t be deceived, it’s not even remotely similar.

Leading towards the widely recognized track, their unique versions include the eerie and captivating “Off Duty Trip,” the persistent, siren-like “Black and White,” followed by an eccentric cover of The Kinks’ song “Lola.” They also experiment with a distinct twist on swamp rock in “You’re a Million,” utilizing the violin once more.

After a brief run, The Raincoats fell out of use, but Cobain’s praise reignited interest in them during the ’90s. Not only did they inspire punk and grunge groups, but their art school background also made them a direct precursor to bands like the B-52s. It’s worth noting that this largely self-taught group of women from London had a significant impact not just on Athens and Seattle, but also on the global indie rock scene as a whole.

2024-12-05 14:01