Ten killer deep cuts that turn fifty this year

As a child of the ’70s and a connoisseur of all things rock and roll, I must say that this playlist takes me back to some of my most cherished memories. The music scene of that decade was truly magical, and these songs capture the essence of what made it so special.

Have you ever found yourself repeatedly debating a particular topic with acquaintances, loved ones, or even strangers? Recently, I came across an online list categorizing the “most influential” athletes across all sports. Predictably, Michael Jordan, Tiger Woods, and Wayne Gretzky were on it. However, it failed to include Edwin Moses and Aleksandr Karelin, two individuals I believe should be in the top ten. To me, this oversight calls into question the credibility of the list. If you’re curious, take a moment to look them up, but I assure you they deserve recognition for their exceptional athletic prowess. This argument is perhaps the one I have engaged in most frequently throughout my life.

But a close second would be what is and what isn’t a deep cut.

In my youth, we didn’t typically refer to it with that specific term. What we had were hits – those ever-played tunes on AM radio – versus everything else. For an album to be considered good, it only needed one track among the rest that was somewhat enjoyable.

50 years later these deep cuts are still brilliant

Goodness gracious, the debates I’ve engaged in over the past ten years with unknown music enthusiasts about what truly qualifies as a “deep track” can send my pulse racing merely at the mention of it. Fans often argue that because a song has been played live since 1971, with the exception of that notorious ’87 Winnipeg concert when the pipes burst and they had to cut the show short, it doesn’t qualify as a deep track!

As a gamer of music trivia, I’ve realized that my personal perspective on what constitutes a “deep cut” might be biased, seeing as I haven’t had the chance to attend every concert by every band since 1971, let alone being in Winnipeg. However, I can still establish my own definition of deep cuts based on the songs a particular band officially released as singles. If a song wasn’t released as a single, then, for me, it qualifies as a deep cut.

While my formula may not be flawless, I acknowledge its imperfections. Occasionally, tracks from albums that aren’t singles can still achieve significant popularity. Interestingly, Billy Joel released over half (more than five) of the songs from his groundbreaking 1977 album The Stranger as singles. However, neither “Vienna” nor “Scenes From an Italian Restaurant” were among these single releases. Instead, they became two of his most cherished songs, which, despite not fitting strictly into the category of “deep cuts,” could be seen as less mainstream yet still widely recognized tracks.

As a longtime music enthusiast who has spent countless hours delving into the rich history of blues and rock, I can confidently say that the list of songs that follows is nothing short of extraordinary. These tunes are not just tracks to be listened to casually; they’re stone-cold classics that transport you back in time, making you feel as if you were standing right there in the studio when they were recorded fifty years ago.

Each track originated from an album boasting one or more chart-topping hits back in the day. In 1974, each was worth multiple replays, and they still hold up well enough for a fresh listen today. We’re celebrating ten hidden gems that are turning half a century old this year. If you prefer a more straightforward description, think of them as ten remarkable tracks that remain just as impressive today as they were 50 years ago.

“SLEDGEHAMMER” by Bachman-Turner Overdrive

The third album by BTO, titled “Not Fragile,” saw its biggest success with the pop-rock track “You Ain’t Seen Nothing Yet.” This softer sound propelled the band from Manitoba to their first number-one hit. Additionally, a more traditional hard-hitting song by the band, “Roll On Down the Highway,” also reached the top ten. The track “Sledgehammer” offers a mix between these two styles.

The piece starts with Randy Bachman’s powerful guitar riffs, followed by slightly gentler, melodic vocals. However, when they reach the chorus, Fred Turner lets out a fierce growl or shout, taking the song back to the hard rock style BTO was famous for. There’s a captivating solo, heavy bass beats, more forceful vocals, and a continuous driving rhythm.

Other than “Hey You” from their 1975 album “Four Wheel Drive”, BTO’s only other chart-topper, “Sledgehammer” represents the essence of their musical origins. Although they may not have been the cream of the rock & roll crop, they were consistently solid and when they struck a chord, it was with force.

“CANDIDATE” by David Bowie

Many individuals believe that David Bowie’s 1974 album, “Diamond Dogs,” served as a transitional phase from his stellar “Ziggy Stardust” era in the early decades to the artistic peaks of “Station to Station” and “Low” in his later years. I must acknowledge that “Diamond Dogs” has its uneven and disorganized moments, as it struggles to define its conceptual foundation. While listeners often enjoy the popular track, “Rebel Rebel,” they frequently bypass the rest of the album.

If they opt for it, they might be lacking some striking tunes as “Candidate” is designed to function as a standalone piece but serves best as the center part of a three-track series, framed by two renditions of the song titled “Sweet Thing.” Bowie’s soulful sax introduces us before the rhythm sets in.

Since Mick Ralphs, the guitarist/collaborator, was no longer present, Bowie expanded the musical elements to include saxophones, keyboards, and a sharp guitar, creating an atmosphere that mirrors a journey through a glaring, grimy city. The tale concludes with the lyrics “we buy drugs and watch a band – Then jump in the water holding hands.” It’s possible that these songs served as inspiration for Lou Reed’s Street Hassle, which was released a few years later and featured a similar song structure in its epic title track.

“IF WALLS COULD TALK” by Ry Cooder

Enthusiasts of slide guitar maestro Ry Cooder might highlight tracks like “Tattler” or “Ditty Wah Ditty” as popular tunes from his album of traditional blues renditions. However, a cover of Little Milton’s lively blues cautionary tune is undeniably the star attraction on this record. It showcases Ry’s exceptional slide guitar skills, combined with a catchy rhythm provided by veteran musicians Jim Keltner on drums and Russ Titelman on bass. Notably, Bobby King and Gene Mumford lend their classic vocal harmonies to the piece as well.

As a seasoned music enthusiast with decades of listening under my belt, I find it fascinating to delve into the intricacies of song lyrics and their interpretations. In my personal journey through music, I’ve come across a variety of songs that explore themes of secrecy and the hidden aspects of our lives – one such example being Ry Cooder’s “Get Rhythm Car” and Ashley McBryde’s “If These Walls Could Talk.”

“TRUDY” by the Charlie Daniels Band

In 1974, Charlie Daniels initially released “Fire on the Mountain” through a modest record label. Later, he re-released it on a larger platform a couple of years afterwards. The tracks “Long Haired Country Boy” and “The South’s Gonna Do It” gained widespread recognition as signature songs. However, for me, “Trudy” stands out as the quintessential Daniels piece. Unlike his most famous hit “Uneasy Rider,” Charlie can’t escape the law in this story. In essence, it’s a traditional country yarn that revolves around wine, ladies, gambling, and some shotgun action, without any underlying political message.

“Call up Trudy on the telephone – Send a letter in the mail – Tell her I’m hung up in Dallas – And they won’t let me out of this jail.” This is about as tight as the band ever sounded with Taz DiGregorio blasting away on his piano and the rhythm section pumping out an up-tempo blues groove that was just made for some barroom dancing. It even has a proper Southern rock boast: “It took half the cops in Dallas county – Just to put one cool-ass boy in jail.”

“LAY DOWN STAY DOWN” by Deep Purple

Here we delve into the significant sections of the list, which is referred to as Mark III Purple. If you’re unfamiliar with this term, don’t fret. Many brilliant minds have struggled to trace the evolution in membership and musical style of this iconic British rock band during its almost sixty-year journey producing hard rock.

As a longtime Deep Purple fan, I can confidently say that their “Burn” album stands out as one of my favorites due to its iconic title track and the shift in lead vocals from Ian Gillan to David Coverdale. Glenn Hughes’ bass playing was a great addition, but for me, it marked a significant change in the role of founding guitarist Ritchie Blackmore, whose presence was still felt on this powerful album. Having followed Deep Purple’s evolution over the years, I can appreciate the unique blend of styles and sounds that made “Burn” such an essential addition to their discography.

In this performance, Coverdale and Hughes take turns singing, while Ian Paice delivers an impressive drum performance. Midway through, Blackmore reaffirms his presence in the band with a lengthy, melodic, technically superior solo that lasts over a minute. This song, featuring the Mark III lineup of Deep Purple, is often the subject of intense debates about which version of the band was the best, but this performance certainly strengthens its case for the title.

“THE BALLAD OF CURTIS LOEW” by Lynyrd Skynyrd

From now on, we’ll move past the heavier items. In their place, we’ll enjoy one of the top southern rock blues songs from the ’70s that was outshone by Lynyrd Skynyrd’s hit “Sweet Home Alabama” from their album Second Helping. This lesser-known gem is definitely worth a listen!

As a devoted admirer, I’d say Ronnie Van Zandt’s voice echoes remarkably close to Gregg Allman’s subtle delivery. Allen Collins, our band’s guitarist extraordinaire and co-writer of the song with Ronnie, lays down an atmospheric slide that seems like a spectral tribute to the long-lost legend whom Ronnie sings about. Al Kooper, the mastermind behind the album production, adds some haunting background keys.

In a nutshell, “Second Helping” began and ended with “Sweet Home Alabama” and “Call Me the Breeze,” respectively. It featured energetic performances of songs like “Don’t Ask Me No Questions” and “The Needle and the Spoon.” However, what has truly expanded over the past five decades is the tranquil recollection of an undervalued dobro player. There have been numerous whispers about a movie adaptation in the air.

As a gamer, I can’t help but be captivated by one of Phish’s iconic live covers – a tune that has stood the test of time. Though Joe Walsh, aka Van Zandt, only played it once in concert before his untimely demise, its legend continues to grow. Regardless of the lack of video footage, the band, or the unfortunate circumstances surrounding it, this song remains one of the finest pieces from that decade.

“E.E. LAWSON” by Ozark Mountain Daredevils

As a longtime fan of OMD (Orchestral Manoeuvres in the Dark), I must say that their second album, “It’ll Shine When it Shines,” was truly one of the standout releases of the decade for me. The album produced their biggest hit, “Jackie Blue,” which, surprisingly, didn’t sound much like the music OMD was known for at the time.

John Cash penned numerous tunes, yet rarely took the spotlight for lead vocals. On those rare occasions, his voice, a rich baritone reminiscent of the Earth’s depths, would resonate with the soulful intensity of the deepest swamps and blues.

As a longtime fan of country music, I have to say that “E.E. Lawson” by Johnny Cash is one of my all-time favorites. With its twangy guitar and deep, powerful voice, it takes me back to the days when I used to sit on the porch with my grandpa, listening to his old vinyl records. The song’s rhythm is infectious, and the story of E.E. Lawson is one that resonates with me – a man who lives life by his own rules and isn’t afraid to take risks. Cash’s harmonica adds a layer of depth to the song, but it’s really his voice that steals the show. I can picture myself in a smoky honky-tonk bar, swaying to the music as Cash croons about E.E. Lawson and his adventures. This song is a true testament to the spirit of the outlaw country genre, and it’s one that I will always cherish.

“STONE COLD CRAZY” by Queen

“One of the top tunes from the past ten years is ‘Killer Queen.’ Originating from the album ‘Sheer Heart Attack,’ it sparked a fresh sound that elevated glam rock into something more dramatic, all while delivering a harder rock vibe. This transformation might be attributed to the harmonious partnership between Freddy Mercury and Brian May.”

“Perhaps ‘Stone Cold Crazy’ served as an even more evident sign of their direction. It features May’s guitar playing a significant role in driving both the verse and solo portions. Simultaneously, Mercury’s vocal style hints at a possible future with songs like ‘Bohemian Rhapsody’, although not quite as elaborate. Remarkably, this song is just over two minutes long, yet it still manages to pack a punch.”

Among only a handful of songs, this one is attributed to all four band members. For those who love facts, Metallica’s cover can be found on the reverse side of the “Enter Sandman” single’s track list.

“DON’T THINK IT MATTERS” by Status Quo

As a die-hard fan, I can’t help but express my admiration for Status Quo’s album “Quo” and its modest hit, “Break the Rules.” This tune is a groovy mix of rock and pop that guitarist Francis Rossi belts out with his distinctive voice. He even throws in a captivating solo during the break. Interestingly, the band had initially planned to release “Backwater” as a single, but their record label turned it down. This track is a strong rocker, sung by bass player Alan Lancaster, who delivers it with a slightly slower pace compared to “Break the Rules,” but it’s no less impressive.

If they had just given me a call from across the ocean (I believe I was in sixth grade then), I could have advised them to choose “Don’t Think it Matters” over the other options. It’s relentlessly powerful, like an unyielding wave. If Joan Jett were a group of British lads in the early ’70s, this would be the song they would have performed.

“The song isn’t particularly unique or groundbreaking, and neither is the band as a whole. However, when they were at their peak, Status Quo could certainly rock as hard as anyone else, and they did on ‘Don’t Think it Matters.'”

“SET ME FREE” by Sweet

In the early ’70s, Sweet enjoyed a streak of fantastic glamorous chart-toppers, and they reached their zenith with the 1974 album, “Desolation Boulevard.” This album produced two top ten hits, namely “Ballroom Blitz” and “Fox on the Run,” as well as several other robust rock tracks.

As a passionate gamer, I’d put it like this: “Unleash Me” is an electrifying, in-your-face workout for speed enthusiasts, reminiscent of Sweet’s signature style. The guitar, bass, and drums charge ahead with the unyielding force of any heavy metal band, complete with ear-splitting vocals and a jaw-dropping solo. To top it off, there’s even a hint of speed funk in the finale. In Guardians of the Galaxy Vol 2, “Fox on the Run” made an appearance, and I have no complaints about that. However, Star-Lord should have chosen this song. He would have undeniably outshone his father in the rock scene.

2024-08-07 13:01