As our year-by-year series continues, we arrive at a year when blockbuster albums like Bob Dylan’s Blood on the Tracks, Led Zeppelin’s Physical Graffiti and Elton John’s Captain Fantastic and the Brown Dirt Cowboy ruled the charts. Some of the following outstanding—well, mostly—songs have been largely forgotten decades later. In some cases, they were significant hits but in the ensuing years have been overshadowed by other songs by the same artists.

These 12 tracks showcase the diversity and craftsmanship of mid-’70s music.

Carly Simon — “Attitude Dancing” (Playing Possum)

Peaking at #21 on the Hot 100, this sharp satire of mid-’70s dance trends and social fads features Simon on acoustic piano. Jim Gordon handles drums, while Carole King provides backing vocals. The pleasing track doesn’t get the respect of many of her other hits from the era.

The Isley Brothers — “Fight the Power” (The Heat Is On)

This politically charged anthem aimed directly at institutional frustration was a #1 R&B hit and reached #4 on the Hot 100. Ernie Isley’s blistering fuzz-toned guitar and Chris Jasper’s syncopated synthesizers give the record its heavy rock edge.

Head East — “Never Been Any Reason” (Flat as a Pancake)

Originally recorded independently, before A&M picked it up, the song became an FM staple despite peaking at only #68 on the pop chart. Its soaring Minimoog synthesizer intro and dual vocals from John Schlitt and Steve Huston remain instantly recognizable.

Stephen Stills — “Turn Back the Pages” (Stills)

Co-written with rock veteran Donnie Dacus, this reflective opener explores nostalgia and moving beyond past hardships. A Latin-flavored bridge, shimmering harmonies, and Stills’ tasteful guitar work didn’t help it on Top 40 radio, where it peaked at just #84.

Dwight Twilley Band — “I’m on Fire” (Single)

Recorded in Tulsa and released on Shelter Records, this power pop milestone reached #16 without major-label promotional backing. Its Sun Records-inspired slapback vocal echo and driving guitar riff capture the urgency of newfound romance.

Gloria Gaynor — “Never Can Say Goodbye” (Never Can Say Goodbye)

Gaynor transformed the Jackson 5 hit into a disco masterpiece, anchoring an album side mixed continuously for the dance floor. Driven by punchy horns, a relentless hi-hat groove and her powerhouse vocals, it climbed to #9 on the Hot 100. It was her only taste of pop success other than her 1978 tour-de-force “I Will Survive.”

Dickie Goodman — “Mr. Jaws” (Single)

Capitalizing on the success of Steven Spielberg’s summer blockbuster, Goodman used his trademark “break-in” sampling style to mock-interview characters with snippets of current pop hits. The novelty smash swam to #4 on the Hot 100.

Related: Our story of overlooked songs of 1970 features a cover of a Neil Young classic

Thin Lizzy — “Rosalie” (Fighting)

Phil Lynott’s band reinvented Bob Seger’s original into an arena-rock powerhouse. Scott Gorham and Brian Robertson’s twin guitars are joined by Faces keyboardist Ian McLagan on piano and Family’s Roger Chapman on backing vocals, while the lyrics salute legendary music director Rosalie Trombley of radio station CKLW.

Rufus featuring Chaka Khan — “Once You Get Started” (Rufusized)

Written by Gavin Christopher, this infectious Top 10 hit from the Chicago funk band celebrates rhythm and movement with Tony Maiden’s fuzz-toned guitar and Khan’s electrifying vocal. Members of Tower of Power performed the horn parts, while Kevin Murphy crafted the brass arrangement and Clare Fischer arranged the strings.

Alice Cooper — “Only Women Bleed” (Welcome to My Nightmare)

Co-written with Dick Wagner and produced by Bob Ezrin, this powerful ballad surprised listeners with its focus on an abusive relationship. It reached #12 on the Hot 100 and showcased the musical depth behind Cooper’s theatrical image. The tender vocal is even more relevatory when juxtaposed with some of his other songs from that era.

The Hudson Brothers — “Rendezvous” (Ba-Fa)

Yes, the trio of Bill, Brett and Mark really were brothers, hailing from Portland, Oregon, and for a brief time they even had their own TV series. [That’s them shown in the photo at the top of this story.] Produced by Bernie Taupin and co-written with Beach Boys member Bruce Johnston, this Beatlesque rocker reached #26 on the pop chart. Bright vocal harmonies and a driving guitar arrangement frame its romantic getaway theme.

Orleans — “Let There Be Music” (Let There Be Music)

Written by Larry Hoppen and Johanna Hall, this uplifting anthem celebrates the power of music and live performance. The John Hall-led band’s first charting single features tight interlocking guitars and a country-rock boogie groove. It’s generally overlooked since within months, they would score a pair of top 10 pop hits with “Dance With Me” and “Still the One.”

Related: Our story of overlooked songs of 1976 features tracks by Seals and Crofts and Poco