If we start thinking about 1973 rock music highlights, among the first songs that might jump into our heads could be “Angie,” “Dream On” and “We‘re an American Band.” We‘ve been hearing these regularly for years on classic rock radio stations, and they can very much define the music year for us.

We‘ve taken a good look at worthy, but overlooked, tracks from 1972 (Bill Withers, Chicago) and 1974 (Supertramp, the Doobie Brothers) already, so 1973 fits the pattern snugly. We immediately recall the big tunes that scaled the singles chart, but inevitably there are plenty of other gems bubbling under.

Among these were some charting singles and some others that had longevity Stateside via their successful albums and FM Radio. But others weren’t released as singles or didn‘t even chart. Here are 12 such tracks worthy of a repeated listen.

“20th Century Boy”—T. Rex

Like most of their first dozen or so singles, the song was a significant hit in their native England. This stand-alone single was soon to become a Marc Bolan signature song, peaking at #3 in the U.K. The riff lands, the riff stays, the glam band didn‘t overthink it. But though it reached the Top 10 in a few other markets, it never even charted in the U.S.

“All the Way from Memphis”—Mott the Hoople

Loosely based on a mishap that a group had on the road, the Ian Hunter-penned song was a Top 10 U.K. single, but it never charted in the States. (While they earned a number of significant hits in their native U.K., in the U.S. they were one-hit wonders, with “All the Young Dudes” reaching a modest #37 on the Hot 100.) It had an easy swing to it that fit the band‘s glam period.

“The Ballroom Blitz”—Sweet

Lead vocalist Brian Connolly introduces the song by checking in with the band members. Not many songs of this time kicked off with this much bang, bursting right into one of the most indelible glam-rock hooks. It went to #2 in the U.K. in ‘73, and became one of three singles to reach the top five of the Hot 100. Despite that transatlantic success, the group has been often overlooked in the U.S.

“Rock On”—David Essex

Another British act with a boatload of U.K. hits (with 10 Top 10 singles there) but relegated to one-hit wonder status in the U.S. This 1973 single, which Essex wrote, was an international smash, noted for the sparse backing instrumentation (including what one journalist described as its “rubbery bassline”) and his spoken vocal delivery.

“Shambala”—Three Dog Night

Released in 1973 toward the end of the band’s peak of popularity, it reached #3 on the Billboard Hot 100. Cory Wells’ lead vocal possesses an effortless groove that‘s indicative of the hitmakers’ discography and rests among their greatest hits, though it may not be in your immediate recall among their massive smashes.

“Showdown”—Electric Light Orchestra

This early track, featuring ELO‘s signature blend of rock rhythm and orchestration, broke the Top 20 in the U.K. and mid-chart in the U.S. You can feel the full balance of string arrangements and groove. Within a year, mastermind Jeff Lynne and company would score their first U.S. Top 10.

“My Old School”—Steely Dan

With a driving rhythm section and clever lyrical details, this 1973 song from Countdown to Ecstasy made its way to #63 in Billboard, though it’s been an FM radio favorite. The song has a signature bright horn arrangement, complete with a catchy chorus of “Oh, no, guilty as charged.” And that’s Jeff “Skunk” Baxter on the recording’s guitar solos as well as on their The Midnight Special appearance the same year.

“Stealin’”—Uriah Heep

This one marked a foray into the British band‘s more straightforward writing style (courtesy of Ken Hensley), eventually cracking (barely) the Billboard Hot 100. The chorus kicks in early on the catchy number but the song has gotten a bit lost in their more cited works.

“Blue Collar”—Bachman-Turner Overdrive

This 1973 single was BTO’s first to chart in the U.S. Written and sung by Fred Turner, the focus is a simple, straight driving beat, reminiscent of Santana. One year later, they began their significant Top 40 radio breakthrough with a series of hits, beginning with “Let it Ride.”

“God Gave Rock and Roll To You”—Argent

It was written by the band’s guitarist Russ Ballard as a slow build that swells to anthemic proportions; a U.K. #18 single that became one of the group‘s calling cards. It remained relevant in cover versions by Petra and KISS over the years. But in the States, the song never clicked on pop radio.

“Keep Yourself Alive”—Queen

On the band’s debut single, you can already hear the layering of the arrangement. Though it failed to chart—anywhere—one can look back at it now to see the underlying genius and what was to come.

“Doo Doo Doo Doo Doo (Heartbreaker)”—The Rolling Stones

With a powerful groove and cutting lyrics, the song made its way to #15 in the U.S., the only territory where it was released as a single. It’s been long overshadowed on the Goats Head Soup album by “Angie” (which topped the chart in most territories) or even the explicit “Star Star,” leaving this track on the fringes.