Ten stone cold 1970s bangers that time has forgotten

It’s great to see your enthusiasm for these lesser-known gems from the progressive rock scene of the 1970s! I’m here to help answer any questions or provide more context if needed. Let me clarify a few things about the songs you mentioned:

I’ve been quite critical of the music scene in the 1970s recently, even going as far as making some harsh comments about some of its most popular hits. I’ve taken my fair share of shots at yacht rock and other genres that were big during that time. But let me clarify, my criticisms come from a place of deep affection for the music of this decade. I believe it’s important to acknowledge the mistakes so that we can truly appreciate the achievements that followed. After all, every era has its share of ups and downs.

Today, I’ll create an alternative list in response to my previous “Ten Worst Number One Hits.” Instead of following a predictable title pattern, I thought about calling it the “Ten Top-Notch Number One Hits” for a fresh and catchy label.

In the past week, I came to the conclusion that creating any such list would merely include the commonly recognized hits. These well-known tunes have graced countless lists before, numbering in the thousands. The internet is saturated enough with essays expounding on why “Let’s Get It On” and “Superstition” are excellent songs.

Ten gems from the 1970s that time has forgotten

Instead of doing what everyone else is doing at the last minute, I thought I’d go against the flow and explore some truly exceptional yet less popular songs from the past decade.

These songs didn’t garner negative reactions, instead, they went largely unnoticed. A small following appreciated each one, yet they failed to garner the broad acclaim and recognition that makes a song popular. Their lack of popularity stemmed from their obscurity.

Annually, countless numbers of tunes go unnoticed and overlooked. These are pieces of music produced by artists lacking the necessary industry support to gain broader recognition. They remain hidden gems, escaping the cultural mainstream.

In the 1970s decade, we’ll be exploring a diverse selection of ten songs. These tunes span genres such as progressive rock, jazz, blues, and folk. Surprisingly, they’ve fallen into obscurity over time. Rest assured, if you appreciate music in its purest form, these songs will not disappoint. I typically include disclaimers when compiling a list like this, but today, I am confident that every single track will resonate with your musical sensibilities.

“WHEN ALICE COMES BACK TO THE FARM” – The Move (1970)

When “When Alice Comes Back to the Farm” was included in The Move’s third album, “Looking On,” they had already achieved five top-five hits in the UK charts. However, despite this success, they never managed to make an impact in the US charts. The album did produce one minor hit for them in the UK with the song “Brontosaurus.” Mysteriously, “Alice” failed to chart in the UK as well.

Roy Wood, the charismatic lead singer, was a pioneering British figure who skillfully merged pop melodies with raw bluesy guitar riffs and an inventive spirit. His bandmates, Rick Price on bass, and Jeff Lynne on piano, added essential textures to Wood’s wild sonic landscape. Wood’s guitar, cello, and other unspecified instruments danced atop the relentless bassline, while Price’s foundation held it all together. Lynne’s new addition to the band brought delightful piano accents that enriched their music.

As a fan, I’d describe it this way: I was on the brink of leading The Move in an entirely new direction, which unfortunately meant disbanding the group and giving birth to something new that would go on to achieve massive success in America – Electric Light Orchestra. In our final album “Alice,” fans can savor the raw blues rock sound we were known for before we made the transition.

“HARD RAIN FALLIN’” – Sir Lord Baltimore (1970)

As a young fan growing up near Maryland, I was disappointed to discover that Sir Lord Baltimore, one of my favorite early American rock bands, wasn’t actually based in the state’s largest city. Instead, they originated from Brooklyn. However, my disappointment soon faded as I realized that they were among the pioneers of genuine hard rock and roll music in America.

Sir Lord Baltimore made a significant mark in metal music history as pioneers. Their debut album, “Kingdom Come,” is renowned for being the first to be labeled as heavy metal in print. Throughout their short-lived career, they shared stages with rock legends such as Black Sabbath and J. Geils. Essentially a power trio, Sir Lord Baltimore’s sound was powered by Louis Dambra’s electrifying guitar riffs and Gary Justin’s intense bass lines.

John Guarneri, also known as John Garner, was known for his quintessential metallic vocal style, characterized by its deep, growling tones capable of holding their own against the onslaught of guitar riffs, while still retaining a melodic quality that could gracefully lead a song. Following the release of their second album in 1971, SLB became relatively forgotten figures in the music scene. Yet, they continue to resonate with metal music enthusiasts even today.

”STRANGER IN BLUE SUEDE SHOES” – Kevin Ayers (1971)

If some held the belief that Sir Lord Baltimore was an Americanized variant of Led Zeppelin, then Kevin Ayers could just as easily be considered the British counterpart to Lou Reed. This isn’t solely due to his collaborations with John Cale and Nico, who had previously worked with Reed. Ayers played a significant role in the emergence of Soft Machine, an influential English fusion band whose impact extended beyond their commercial achievements. Although Soft Machine’s sound didn’t mirror Reed’s Velvet Underground, their legendary status bore similarities.

As a gamer immersed in music, I’d put it this way: After Ayers broke off on his own musical journey, he delved deeper into fusion. On the track “Stranger in Blue Suede Shoes,” he embraces a gritty rhythm akin to Reed’s “I’m Waiting for My Man.” He shares the tale of a hippie misfit ensnared in corporate life through this rhythm. Vocally, his tone brings to mind a deeper-pitched, British version of Lou Reed, but with a more pronounced sense of humor added to the mix.

In the musical realm, classically educated pianist David Bedford is given free rein during the second part of the song, resulting in a unique fusion of music hall and boogie-woogie styles. Mike Oldfield, who played the guitar but took a backseat, allowed this piano to take center stage in terms of sound dominance. A notable distinction between Ayers and Reed lies in their unwavering determination to achieve success.

In contrast to Reed’s unyielding determination, Ayers openly acknowledged his lack of drive to become a rock star. The majority of his solo output embodies this relaxed demeanor. However, on “Stranger…,” there is a hint of the more tenacious Kevin Ayers that emerges.

“THE NIGHT I GOT OUT OF JAIL” – Ten Wheel Drive (1971)

Known as Ten Wheel Drive featuring Genya Ravan, this band was viewed as a female-fronted alternative to Blood Sweat & Tears. Their unique blend of jazz and blues rock was accentuated by the inclusion of horns. With Genya providing vocals akin to Janis Joplin’s raw power, and Aram Schefrin and Michael Zagar composing potent rock numbers that seemed both innovative and timeless, Ten Wheel Drive delivered an authentic classic sound.

In “The Night I Got Out of Jail,” the opening track, Schefrin sets the tone with a captivating blues guitar intro. Following suit, Ravan’s powerful vocals take center stage, eliciting an intense response from the horn section. A brief respite comes in the form of Zagar’s organ solo, which momentarily eases the intensity. As the horns regain their footing, three trumpets, a trombone, and a saxophone combine their efforts to mirror Ravan’s vocal prowess.

Although she had the ability to sing softly and sweetly, Ravan shone most brilliantly when unleashed without restraint, as evidenced on the track “The Night I Got Out of Jail.” She would maintain friendly relationships with Schefrin and Zagar, but wouldn’t be content there for long and embarked on a solo path. In an attempt to fill her shoes, her partners considered continuing with Ten Wheel Drive, but ultimately chose to disband the group in 1974.

“TROMBONE GULCH” – Audience (1972)

In the early days, Audience existed for a brief period, yet they managed to share stages with music giants such as Led Zeppelin and Rod Stewart. This British band stood out by adding horns to their rock and roll tunes, leaning more towards traditional blues-rock rather than the jazier styles of groups like Chicago and Blood Sweat & Tears. Their dedicated saxophonist was Keith Gemmell, but starting with their fourth album titled “Lunch“, they began inviting various horn players to contribute and enrich their sound.

As a gamer, I’d describe the audience as an unusual band in the hard rock scene since they didn’t have an electric guitarist. Instead, frontman and songwriter Howard Werth played an acoustic, giving their music a distinct bluegrass flavor. They embraced this lively bluegrass sound with urban horns on “Trombone Gulch,” which could easily fit in a Coen Brothers’ neo-western film score. Considering they hailed from East London, it was quite impressive.

After a few years had passed since their collaboration on “Lunch” in the early 1970s, the group’s members parted ways and pursued individual projects. However, none of them achieved greater success than they had as a team during that time.

“YOU ARE THE MUSIC” – Trapeze (1972)

As a big fan of Trapeze’s music, I can tell you that the last track on their final album, titled “You Are the Music … We’re Just the Band,” was a truly captivating piece. This track marked the end of an era for this iconic power trio, comprised of Glenn Hughes (vocals and bass), Mel Galley (guitar), and Dave Holland (drums). Although they had previously included a saxophonist and keyboardist in their lineup, by the time they released their third and last album, Trapeze’s sound had evolved into a raw and powerful trio performance.

In several of the other songs from “You Are the Music…” album, they invited guests such as Rod Argent for piano playing and Jimmy Hastings for saxophone solos. However, on the title track, they opted for a more straightforward approach with only the original band members present, showcasing Trapeze at their finest.

In the late ’60s, Galley, a guitarist I had the pleasure of encountering later on with Deep Purple and Black Sabbath, was considered equal to Clapton and Hendrix in terms of raw talent by yours truly, Hughes. When an opportunity presented itself for me to join him, I made the bold decision to leave my own band and learn to play bass instead. Although we were British musicians, Galley and his bandmates brought a distinct Memphis vibe to their music, which is evident in their finest works.

“The constant rhythm of ‘You are the Music’ is a harmonious blend from all three instruments, with Huges providing the melodic vocals. While lyrics exist for this track, they take a backseat as listeners are primarily drawn to the Memphis blues rock sound, expertly executed by these young musicians from the West Midlands.”

“DISTANT SUN” – Captain Beyond (1973)

The debut album of Captain Beyond, titled the same as the band’s name, was released in 1972 and gained significant popularity amongst progressive rock enthusiasts. In contrast, their second album, named “Sufficiently Breathless“, met with mixed reactions. Notably, original drummer Bobby Caldwell, who had collaborated on the composition of the debut’s tracks with lead vocalist Rod Evans, had departed from the band. For this follow-up record, all band members contributed songs and concepts, although only bassist Lee Dorman was officially credited. Captain Beyond’s history was marked by continuous legal issues with their former groups and recording companies.

The band’s album, Sufficiently Breathless, took a slightly more conventional approach with longer and more cohesive tracks. However, there was no lack of innovation as Caldwell was replaced by a standard drummer, in addition to a new percussionist who added various Latin rhythms using diverse instruments. Reese Wynans joined the band on electric piano, giving off a faint reminder of Santana’s sound for some listeners.

On the captivating track “Distant Sun,” an exceptional work of art rock unfolds. The piece initiates with Wynans’ piano playing energetically against Dorman’s powerful bassline. Next, the guitar introduces Evans’ confident vocals, which are crucial given the turmoil described in the lyrics. Following the second verse, a shift in tone reminiscent of the band’s debut album takes place, leading the song into a more serene Latin bridge. However, the drums, presumably timbales, continue to drive the rhythm even during this slower segment, maintaining the momentum of the composition.

Over time, the melody transforms once more into a guitar-dominated session that leads to the conclusion. Following “Sufficiently Breathless,” Evans, one of Deep Purple’s co-founders who was later succeeded by Ian Gillan, effectively retired from the music industry.

“SHE’S A DANCER” – Crack the Sky (1975)

As a dedicated gamer and avid fan of music, I’ll share my take on Crack the Sky’s debut album and the song “She’s a Dancer” that continues to spark intriguing debates among listeners. When I first discovered this album, it immediately captured my attention and built a small but devoted following for me – one that remains loyal to this day.

This composition possesses an uneven flow and captivating harmonies, showcased in certain ethereal sections. The late virtuoso David Sanborn, who sadly passed away in May, contributes his skills on the horn, joined by Michael and Randy Brecker. For those intrigued enough to pay attention to John Palumbo’s lyrics, they will discover an inventively crafted narrative that seamlessly connects “Lola” by the Kinks and Squirrel Nut Zippers’ “Danny Diamond.” as a progressive jazz-dance fusion.

“PANIC IN THE WORLD” – Be Bop Deluxe (1978)

Back in the day, Be Bop Deluxe were considered innovative but perhaps too far ahead of their time. If they had emerged a decade later, they could have been key players in the Britpop scene of the 1990s. Instead, this British band was known for experimenting with electronic sounds and unconventional song structures which left some of their initial supporters feeling disappointed. To them, “Panic in the World,” the first single off their last album, seemed like a sell-out to the New Wave trend.

Reflecting on William Nelson and his band’s music with the perspective of over five decades, it appears they were treading similar ground as David Byrne and the Talking Heads, excelling in their unique way. “Panic…” kicks off reminiscent of sixties garage rock, but the synthesizers swiftly transport us to the future.

In more natural and easy-to-read language: Today, Nelson’s voice, which was once criticized for its cold and mechanical sound, is considered typical of New Wave professionals. He is now regarded as one of the best New Wave rockers from the late 1970s. After Breaking Bad Habits disbanded, Nelson hopped from band to band and worked on solo projects, always pushing for new musical discoveries.

“THE BASH” – Dixie Dregs (1979)

Steve Morse is a musical melting pot, richer and more varied than most other guitarists worldwide. His inspirations span from classical composer Johann Sebastian Bach to blues virtuoso Albert Lee, making it rare for a genre to escape his innovative playing and songwriting. Beyond being recognized as Deep Purple’s enduring guitarist, Morse made his debut with the Dixie Dregs, a groundbreaking fusion band of the 1970s known for their genre-defying eclecticism.

As a passionate gamer immersed in music, I can share my personal experience with The Dregs’ unique sound. This band was born from my time at the University of Miami in the late ’70s, where I soaked up diverse jazz influences from friends like Pat Metheny, Jaco Pastorius, and Hiram Bullock. With a curiosity that fueled a gamer’s quest for discovery, we combined seemingly disparate elements – classical, rock, bluegrass, jazz – in our musical melting pot.

And according to bassist Andy West’s account, those were actually a pair of classic country tunes that the entire band casually combined to keep their musical energy going. The rhythm section, consisting of bass, drums, and keyboards, maintained a consistent beat. In contrast, Morse on guitar and fiddler Allen Sloan engaged in an electrifying duel. Over approximately four minutes, they exchanged intricate melodies and quick bursts until they harmoniously merged their parts towards the end.

As a passionate gamer and music enthusiast, I’d describe it this way: The Dixie Dregs created some truly remarkable blends of rock, country, and jazz tunes. However, none of their works brought them as much joy and excitement as “The Bash.”

As a passionate gamer and music enthusiast, I want to share my risk-free offer with you. If for any reason you’re not thrilled with any of these tracks, including “Crack the Sky,” just let me know, and in return, I will happily provide you with an alternative, equally impressive forgotten hit from the ’70s – completely free of charge. The musical landscape of that era was incredibly rich; disco and yacht rock were just a small part of it.

2024-07-14 13:31