B

Released in 2016, the ten tracks on the vinyl version of "Lost Tapes 1972-1974" apparently reflected demos and unfinished songs recorded for possible inclusion on the debut Stepson album. Drummer Len Fagen had the foresight to hold on to the master tapes for some four decades, which were then transferred to digital format and re-mastered by bassist Bruce Hauser. Sonically most are surprisingly strong, though the CD version of 'The Tears You Cried (Ain't Never Gonna Buy)' and '' were clearly never finished demos.

Anyone who enjoyed the 1974 Stepson album was likely to find these tracks equally impressive. Musically it was standard '70s hard rock with a nod to the usual suspects - Aerosmith, Bad Company, Free, Led Zeppelin. Falling under the old adage that imitation was the sincerest form of flattery, there may not have been a great deal of originality across these grooves, but there was no denying singer Jeff Hawks and the rest of the band (drummer Len Fagen, bassist Bruce Hauser, and lead guitarist Joey Newman) were energetic and enthusiastic disciples of the hard rock genre. As on the debut album, the band's "secret sauce" came in the form of Newman whose snarling, fuzz guitar leads made virtually every one of these songs worth a spin.

Maybe because it's a better reflection of the band's roots without the "commercial" touches ABC management forced on to the group, I actually like this set better than the 1976 studio album.

One of my favorite performances, 'Can't Help Myself' was another fuzz powered rocker that managed to retain a commercial edge - Hawks sounded like he was singing though a fog band of stale cigarette smoke, but the refrain was as sticky as fly paper. You had to wonder why this one was left in the recording can.

Sounding like something nabbed off a Bad Company album, the highlight on 'Flesh & Blood' came in the form of Joey Newman's dirty fuzz leads. Awesome slice of blues-rock. Former Smith front woman, the late Gayle McCormick, appropriated the song as the title track for her second solo album.

One of the tracks that sounded like an unfinished demo, 'The Tears You Cried (Ain't Never Gonna Buy)' was also one of the standout performances. Maybe because the band's patented hard rock recipe hadn't been added to the mix, what you got was a stripped down version of the band. Coupled with one of their prettiest melodies and some totally unexpected harmonies, the song was stunningly pretty.

A. Kicking off with a crunching riff by guitarist Joey Newman, ‘Danger Zone’ is the heaviest track Stepson ever cut, replete with an ominous atmosphere reflecting the seedy side of their native Los Angeles; ‘Streets of Alameda’ (1974) is an ode to vocalist Jeff Hawks’ hometown, featuring a liquor store holdup and a stolen Lincoln used as the getaway car. ‘F

Tc. The powerful opening track "Danger Zone" is screwed into your head, then you get hit with the excellent "Streets of Alameda" and ripping "Can't help myself". The songs on this LP are played with such awesome power that you cannot fail to be blown away. Possibly the best track on the album is the stunning MC 5-like "Midnight creep" which is a roller coaster ride into guitar madness. The recording is marred somewhat by inferior equipment and bad mixing, but it still is a splendidly thick slice of 70's hardrock served up in the Golden Eagle in the motorcity Detroit, Michigan.

First off, I'm going to try my hardest not to throw out a million other bands to try to give you an idea of the STEPSON sound. Yes, it is heavy...But the factor that for me puts these "lost" tracks over the top is the sheer groove, songwriting, and musicianship. So take stoned out grooves, wicked hot guitars, classic heavy blues-based riffs, strangely captivating lyrics, Jeff Hawk's seemingly effortlessly cool vocals, and you have the unique, yet very early 70's sound of STEPSON. Fans of bands like CACTUS, early GRAND FUNK, GRANICUS, MC5, STONEWALL, HIGHWAY ROBBERY, etc. will dig this band, however STEPSON has a distinctly West Coast (L.A.) sound. And by that I'm NOT referring to the 60's West Coat psych-rock of Big Brother & The Holding Company, The Grateful Dead, Jefferson Airplane, Moby Grape, etc., (although there are a few faint hints of the classic TOUCH sound), but rather to the dangerous, sleazy, wild, urban landscapes of the city and the hedonistic impulses of the time. The 1969 self-titled TOUCH LP (which featured 3 of the 4 members of STEPSON: vocalist Jeff Hawks, guitarist Joey Newman, and bassist Bruce Hauser) was a flat-out masterpiece that has never received its proper due. Likewise, with a little luck STEPSON could have become one of the premier hard rock bands of the early-mid 70's. But unfortunately, all we were left with was one self-titled LP, which only hinted at what could've been, despite being a very good album. Which is what makes "The Lost Tapes: 1972-1974" all the more important. Honestly I prefer these raw tunes to STEPSON's excellent official LP. "Danger Zone" is just a monster of amphetamine-powered post-psych hard rock, verging on proto-metal (almost sounding like some obscure druggy NWOBHM single), while "Midnight Creep" is so freakin' awesome, with its malevolent, yet, oh so groovy and nasty, funky vibe. There's a tinge of a sound that would later be described as Southern Rock (albeit super heavy) and the song features a simply stellar guitar solo from Joey Newman. This song is a bona fide lost classic of 70's hard rock and a must hear! "Streets Of Alameda" is almost too good to believe! An awesome blend of menace and melody with dark lyrics with a kind of THIN LIZZY-"Johnny" or "Suicide" vibe (although this tune was recorded before either of those classic tunes). "Can't Help Myself" has razor sharp, fuzzed out guitar tones and relies on a smokin' groove to propel the song into stoner heaven. This is classic indie American hard rock/proto metal at its best with an almost PAT TRAVERS meets POOBAH vibe. "Flesh And Blood" is a fairly straight forward riff-rocker which really shows off Jeff Hawks' excellent vocals. Again, an almost Hendrixian-groove drives much of the song which builds into a scorching heavy ending. "Don't Say Goodbye (Say Goodnight)" is an excellent, mellow, almost MAHOGANY RUSH meets BUDGIE "ballad". Very well-written this tune demonstrates how dynamic this band truly was and hints at the infinite possibilities had the band only had better luck. "S.H.A.K.E." is all attitude, with a killer riff and heavy groove. It also features an awesome melodic chorus. Again Hawks' vocals don't just shine they're like a spotlight. A truly great voice. The song kicks into a wicked double time blow-out ending filled with tasty guitar licks, a bit of tambourine, and great backing vocals. "Mississippi Dirt Road" is a straight forward rocker kind of like MAGI or DRYEWATER. Great guitar throughout and a rock solid rhythm. "Rock'd To My Very Soul" is a full-steam-ahead rocker with a catchy chorus and tons of guitar. "Bad Situation" (while of lesser recording quality than the records other tracks) is simply awesome, with Jeff Hawks confident vocals riding atop of a very earthy groove featuring some wild guitar soloing and killer backing vocals. Even despite its audio limitations its nothing short of kickass. So in the end what we have with STEPSON-"The Lost Tapes: 1972-1974" is a collection of excellent songs basically in demo form. That in itself is shocking as virtually EVERY song on this album would've sounded great on a classic AEROSMITH LP. STEPSON really were ahead of their time in a sense. While yes, it is 70's hard rock, the songs are simply so rad that to think these tunes were born at the birth of the 70's and mostly recorded in '72 just seems strange. It's like the band was TOO good....A bit too electrified, maybe a bit too wild sounding, definitely high as all hell! In conclusion, had these songs been re-recorded with a big budget and big name producer they MIGHT have sounded better. Certainly after 40 years the tapes these tunes were taken from betray their age. Yet the quality of them is still surprisingly excellent. Which brings me to the thought that maybe in a way it's best that we have only these raw, no holding back, amps to 11, versions rather than a slickly produced LP. Certainly that would've been of benefit to STEPSON, but like GRANICUS for example, some bands were just too cool for their time. Hell, STEPSON is still too cool, even 40 years later.