Many critics cite the period from the late 1960s into the early 1970s as one of the most creative and prolific in modern music. Knowing that I have a special fascination with music from off the beaten path, a friend from my college years challenged me to create a special fringe list of obscure tracks from that era.
The resulting list includes ten rare tracks from well-known groups Procol Harum, Deep Purple, and Grand Funk Railroad, as well as lesser-known artists Sweetwater, Keef Hartley Band, Harvey Mandel, Savoy Brown, Pentangle, West Coast Pop Art Experimental Band, and Tonto’s Expanding Head Band. Each one offers unique compositional and engineering nuances that are likely to stimulate waves of appreciation.
- “My Crystal Spider” by Sweetwater (1968). This LA-based band is credited with developing an early psychedelic rock-folk style similar to that of Jefferson Airplane, but without an electric guitarist. Lead singer Nansi Nevins sounds so much like Grace Slick on this track, and August Burns plays electric cello in a style similar to Papa John Creach on electric violin. For several years, I listened to a tape recording of “Spider” thinking it was the Airplane! Notable features on this track are the Middle Eastern harmonic minor mode played on electric cello, and inventive drumming exploring eighth notes with “quick-splash” techniques that became part of the legendary Motown sound. Very unusual track!
- “One Way Street” by Harvey Mandel (1971). Known for his fiery fretwork, Harvey delivers a splendid fusion of jazz, rock, and blues elements. Both acoustic and electric guitar riffs take us into a swirl driven further by Howard Wales on organ and spectacular drum fills by world-class percussionist Earl Palmer. The pace is upbeat, and the delivery is superb. Harvey propels this tune with gutsy, powerhouse lead guitar lines joined by deep bass lines, Hammond B3 organ, and epic drumming. I wish I could have seen this performance live!
- “The Shield” by Deep Purple (1968). Featuring Jon Lord (organ), Ritchie Blackmore (guitar), Ian Paice (drums), and Rod Evans (vocals), the band creates a song unlike any they did before or after. Notice the sophisticated percussion varieties, catchy organ riffs, and splendid guitar work. All instruments are clearly and sonically separated. Enjoy John Lennon-style manual unison double-tracking of the lead vocal lines by Rod Evans. Notice the frequent use of a classical technique called Picardy third that involves switching a chord from minor to major and then back to minor, giving the song a touch of class!”
- “I Can Feel Him in the Morning” by Grand Funk Railroad (1971). An introspective track from a normally hard-rocking band, this song begins with spoken words from children describing their concepts of God. We are quickly taken to a place where hope exists for moving away from war to a better world. Listen closely to the beautiful, inspiring lyrics. Hear how singer-guitarist Mark Farner and drummer Don Brewer express the sheer wonder and “coolness” of the Almighty’s magical creation. A brilliant reflection on the presence of God.
- “Born to Die” by Keef Hartley Band (1969). My favorite all-time electric blues ballad, this haunting 10-minute song with downbeat blues electric guitar from Miller Anderson tells a heart-wrenching story about the disappointments of love and life. Notice the “must-have” Hammond B3 organ in the spirit of the Allman Brothers song “It’s Not My Cross to Bear.” Play these two songs in succession for a real treat.
- “Stay While the Night Is Young” by Savoy Brown (1969). The smoky blues songs on the Raw Sienna LP represent some of the band’s very best work. After the opening descending bass line and chord progression, notice the inventive drumming on a tightened snare-drum head on 16th notes at the bottom of each line. There is no “room” in this recording, only scary-tight engineering that demands good musicianship. Sink deeply into the relaxed, serene mood and “just experience the moment / Instead of thinking what’s to come.”
- “Hole in the Coal” by Pentangle (1968). The UK folk, jazz, and rock fusion group features the acoustic guitar talents of John Renbourn and Bert Jansch on this five-minute instrumental stroll accompanied by upright bass and tasteful percussion. We hear flavors of old English ballads, ’60s folk stylizing, and jazz improvisational techniques. Pentangle gives us delightful breathing room with no mud and absolute sonic clarity. Stereo definition and separation facilitate a “sit back and relax” mood. Listen closely to the Renaissance influences played cleanly with an array of articulated percussive techniques on bright acoustic guitar strings. You might find yourself sitting up close to take in the picking, strumming, and arpeggiated chords. Savor the back-and-forth interactive exchanges between Renbourn and Jansch’s guitars and tom drums.
- “Smell of Incense” by the West Coast Pop Art Experimental Band (1968). This is one of the era’s very best recordings, with clear fidelity and stereo separation. The middle instrumental transports the listener into a psychedelic dream world. Upper-register guitar strings and accompanying low-frequency bass lines move in an alternate upward-downward stairstep pattern on a simple major-second interval. This track is wholly representative of counter-culture hippiedom—a classic track from this era.
- “Song for a Dreamer” by Procol Harum (1971). A tribute to Jimi Hendrix, this track is one of the few space-rock epics that actually transport the listener to distant realms. Some say this song from the Broken Barricades LP launched Robin Trower and his Fender Strat guitar into the stratosphere. Robin creates powerhouse, semi-distorted sonics on the same make and model of the Fender Strat that Jimi used. Savor the fading instrumental finale that transports us into deep space. You’ll find this track on YouTube.
- “Riversong” by Tonto’s Expanding Head Band (1970). On their Zero Time LP, UK duo Malcolm Cecil and Robert Margouleff were the first to produce deep bass tones on a synthesizer and exotic computer-altered vocals sung by Tama Starr: “I carry life with me wherever I go / And there’s no end or beginning / Though I am not a circle.” Back in the day when my brother and I discovered this music, we marveled at its sonic genius . . . and it continues to amaze us today.
Enjoy full free tracks from my shared Spotify playlist under DJ Andy Bargerstock under the name “10 Epic Lost Tracks: ’67–’71.” A couple of the tracks are not available; find them on iTunes or YouTube.