Five awesomely underappreciated blues-rock albums from the 1970s

Initially, blues music originated from the American South, primarily through acoustic guitars and pianos, but later found its way up north and transformed into an electric sound. Despite these changes, the fundamental essence of blues remained unaltered. It retained a rhythmic quality, a raw edge, and a casual appeal that mirrored the lives of the working classes. If the emphasis was placed on the rhythm to make it more danceable, people started referring to it as Rhythm & Blues.

There have been numerous scholarly works exploring various aspects of blues music and its creators. While I haven’t delved into these studies, I am aware they exist. My understanding of the subject is limited to what Buddy DeSilva and Lew Brown wrote a century ago: “They found peculiar tunes in the wind rustling through trees – And that was where the blues began – From a prison cell came a sorrowful cry from a forlorn woman – And they incorporated that into their blues music.

What you’re saying can be rephrased as follows: In reality, the history is quite impressive. The blues, whether they are rhythmic or not, were born from a deep-seated human desire for freedom, much like the unspoiled world that sometimes mirrors and taunts us.

Five under-the-radar fantastic blues-rock albums from the 1970s

Initially, R&B-style blues were instrumental in giving birth to rock and roll. It started with artists like Robert Johnson and B.B. King, who influenced Elvis Presley and Jerry Lee Lewis. By the 1960s, British bands had built upon this foundation, using the blues as the cornerstone for the most influential musical movement between the end of World War II and late in the 20th century.

In simpler terms, during their early days, The Beatles and The Rolling Stones were popular, along with bands like The Yardbirds and John Mayall. While they were innovating music with distortion, volume, and speed, these elements might have felt foreign to artists such as Willie Dixon or Muddy Waters who were rooted in traditional blues sounds.

By the late 1960s, there was a significant shift. While traditional blues-rock didn’t fade away entirely, it started to take a backseat as various genres rose to prominence. Folk-rock and pop-rock flourished, so did progressive, glam, and innovative electronic music. Kraftwerk, Carole King, and J. Geils all released their debut albums in 1970, contributing to the diversity of sounds. R&B had a place in the rock genre, but it was expanding at an impressive pace in numerous directions.

Let’s consider Fleetwood Mac as an example. This band started back in the 1960s with a focus on blues-infused rock ‘n’ roll. With guitarists Peter Green and Jeremy Spencer, they churned out three straight top-ten albums. However, Green eventually decided to leave the band.

As a gamer, I have to admit, the fourth release, “Kiln House,” didn’t quite hit the mark. Our lead singer, Spencer, bid us farewell after that one. To fill in the gap, we welcomed two new members with a more pop-oriented flair – Bob Welch on guitar and Christine McVie at the keys. The following album, “Future Games,” veered away from our blues roots towards a more progressive vibe. Unfortunately, it didn’t resonate as strongly with listeners. It seemed like we were losing touch with our old fanbase.

Over time, their subsequent albums shifted Fleetwood Mac’s genre towards pop rock. Then, by bringing in Lindsey Buckingham and Stevie Nicks to replace earlier members, they experienced an extraordinary transformation. This move propelled them not just within blues rock but to the pinnacle of global pop-rock stardom, a status they still hold today as history makers.

Today, let’s delve into the ’70s and five albums that played a significant role in preserving blues rock. It’s unclear how widely recognized these bands are today, but their devotees hold them dear. However, I suspect there are many music enthusiasts who may have overlooked or never heard of them. If you appreciate traditional R&B-influenced rock, such as the early Rolling Stones tunes, the ’70s output of J. Geils, and Stevie Ray Vaughan’s work from the ’80s, then these five albums are a must-listen for you.

Teenage Head by the Flamin’ Groovies (1971)

1970 saw a wave of groundbreaking music emerging from the San Francisco Bay Area. However, The Flamin’ Groovies stood out as they weren’t part of this revolution; instead, they embodied traditional, old-school vibes. Singer Roy Loney and guitarist Cyril Jordan were essentially an American version of Mick Jagger and Keith Richards, excelling in the realm of blues rock, matching or even surpassing many others in their craft.

At that particular point in time, they lacked someone like Brian Jones to encourage them to venture beyond the blues. Nevertheless, if you’re after some top-notch blues-rooted rock music, it’s hard to beat the original lineup of The Groovies.

Let’s delve deeper into uncharted territories, but if you’re after classic blues-rock, you won’t find a better group than the original lineup of The Groovies.

The third album by them was titled “Teenage Head.” It starts off with the gritty blues tune “High Flyin’ Baby,” which showcases Jordan’s iconic riff. The song “City Lights” has a strong resemblance to the Rolling Stones, as Jordan’s acoustic slide guitar sounds remarkably similar to Keith’s, and Loney’s vocals possess a spirit that mirrors Mick’s, even though his voice isn’t an exact match.

They perform a couple of vigorous covers, one being Randy Newman’s “Have You Seen My Baby,” and another being Robert Johnson’s classic acoustic piece, “32-20.” While Loney might not quite equal Johnson’s original version of “32-20 Blues,” he certainly demonstrates his ability to embody Elvis in the cover, “Evil Hearted Ada.” This album comprises nine tracks of pure blues rock delight.

After leaving Teenage Head, both Loney and original guitarist Tim Lynch parted ways with the band. Despite this, The Groovies continued as a solid unit, however they moved away from their initial blues-influenced style towards a more power pop and proto-punk sound.

Nantucket Sleighride by Mountain (1971)

Fans of hard rock music continue to hold dear Mountain’s iconic hit “Mississippi Queen,” which was featured on their first album, Climbing!, released in 1970. The subsequent album, Nantucket Sleighride, expanded the sound a bit with some progressive tunes like the title track and an Allman Brothers-inspired jam (“My Lady”). However, the essence of the album still leans towards classic R&B.

In the late 1960s, Felix Pappalardi, who was one of the co-founders, bassist, and vocalists, was responsible for producing the legendary British blues-rock group Cream. When he joined forces with guitar virtuoso Leslie West, they crafted some of the hardest rocking blues music ever made. The first track, “Don’t Look Around,” blasts off from the start in a style that prefigures heavy metal. For those who still need more blues influence, songs like “You Can’t Get Away!”, “Tired Angel,” and “The Great Train Robbery” are just a few tracks ahead.

Instead of going on lengthy digressions, West’s guitar playing stays sharp and evocative, imbuing every note with a rich dose of traditional blues. The song “The Animal Trainer and the Toad” represents an initial fusion of blues rock and pop rock genres, a style that would later be widely adopted by groups like Little Feat during the same period.

Instead of touring with Mountain, Pappalardi preferred focusing on production work and eventually left the band, which disbanded a few years later. West, meanwhile, kept playing guitar in different groups until his passing in 2020. However, Pappalardi’s life ended tragically when he was fatally shot by his wife in 1983. It was reported that drug abuse significantly contributed to this unfortunate incident.

Down by the Jetty by Dr. Feelgood (1975)

In the ’70s, it wasn’t like The Stone had completely forsaken blues-based rock. Not at all! Similar to other British bands, they kept the blues alive and kicking. When Dr. Feelgood dropped their first album, Down by the Jetty, it became crystal clear that the blues was very much alive. Guitarist Wilko Johnson set the stage ablaze with his fiery performances, whether it was originals like “Roxette” or “All Through the City”, or covers such as John Lee Hooker’s “Boom Boom Boom Boom” and a live medley of “Bonie Moronie” and “Tequila.” As a fan, I can attest that the blues was thriving under their skilled hands!

Lee Brilleaux’s vocals may not have been particularly extraordinary, but he made a significant impact with his harmonica playing, which became a powerful element on “Boom Boom Boom Boom” and “That Ain’t No Way to Behave.” As the album nears its end, Dr. Feelgood adds a couple of captivating cover songs.

In a more relaxed and understandable manner: You’ll find the rhythmic dance move of “Cheque Book” by the underappreciated blues guitarist Mickey Jupp. Moreover, Johnson delivers an impressive instrumental performance on “Oyeh!”, a composition penned by Mick Green, who could potentially make an appearance further down this list.

In the late ’70s, Dr. Feelgood achieved remarkable fame. Their album Stupidity, performed live, reached the top spot in the UK charts. They even shared stages with a rising act, The Ramones, as their opening act in the US. However, Johnson and Brilleaux eventually parted ways. Despite continuing to perform with different members, the band never quite recaptured that initial success.

Life on the Line by Eddie & the Hot Rods (1977)

Eddie and his band, Eddie & the Hot Rods, frequently shared stages with groups like the Sex Pistols and the Ramones during the late ’70s. Due to this, they were occasionally referred to as early pioneers of punk rock. However, it’s worth noting that their most popular song, “Do Anything You Want to Do,” leaned more towards Big Star-style power pop music.

In the Rods band, every member had a knack for composing songs, but when guitarist Graeme Douglas was in charge of writing, they leaned more towards power pop. However, bassist Paul Gray’s compositions such as “Telephone Girl” and “(I Don’t Know) What’s Really Going On,” showcased their roots in blues music.

Originally, Dave Higgs, one of the founding guitarists, had performed alongside Lee Brilleaux, the vocalist for Dr. Feelgood. Therefore, it’s not surprising that his composition “Beginning of the End” carries a strong blues influence. The standout track on their second album, Life on the Line, is particularly intriguing because it showcases a collaboration between Douglas and Gray. This union is evident in the title track, which blends a traditional blues rhythm with power pop elements, as well as in the instrumental “We Sing the Cross,” which leans more towards Gray’s blues leanings.

Towards the end of the 1970s, Gray joined the post-punk group The Damned as their bassist. However, legal disputes with record labels affected Douglas’ role within the band. They released one more album in 1981 that didn’t achieve much popularity, leading to the band’s disbandment later in the decade. Over the years, they reunited and produced additional albums, but with the death of vocalist Barrie Masters in 2019, none of the original members from their peak years were left in the current lineup.

Out of Their Skulls by the Pirates (1977)

Reminiscent of an era when blues rock dominated, The Pirates were once the supporting act for ’60s singer Johnny Kidd. They achieved great success with his 1960 hit “Shakin’ All Over.” As his original backing trio moved on to other ventures, Kidd recruited bass player Johnny Spence, drummer Frank Fraley, and guitar virtuoso Mick Green to form his new band, known as Johnny Kidd & the Pirates. Tragically, Kidd passed away in a car accident at 30 years old in 1966. Afterward, The Pirates disbanded.

They came back together, with Spencer assuming the lead vocals for a marvelous recollection. The initial part of the album boasts six live tracks, kickstarting with an iconic original Johnny Kidd song “Please Don’t Touch.” Furthermore, Green gives a lively performance on Henry Mancini’s “Peter Gunn Theme,” showcasing his impressive guitar skills and utilizing every tool in his considerable collection.

They additionally cover “Shakin’ All Over” and the timeless “Milk Cow Blues,” which moves with the force of a freight train. The second side of the album consists of studio recordings for “Drinkin’ Wine, Spo-dee-o-dee,” “That’s the Way You Are,” and “You Don’t Own Me” (not the Leslie Gore version). Blue rock anthems – all of them.

Following the disbandment of the second iteration of the Pirate group, prominently known guitarist Green persisted with a diverse array of rock musicians throughout his career. In the final stage of his life, he found himself collaborating with Van Morrison during that period.

2025-02-08 14:01