Horns don’t get a lot of credit for being one of the most crucial elements of rock music (mainly because they aren’t), but in the ’70s loads of soul/funk artists implemented them as a means of beefing up their records to the point where the excitement and vitality came spilling out of the speakers. Here are three of my favorite horn-heavy tracks from this era.

Joseph Henry - Who’s the King

I became aware of this song thanks to the original Funk Spectrum comp, and “Who’s the King” is still one of greatest James Brown rip-offs I’ve ever heard. A cynic might use that as grounds to write it off, but I prefer to interpret “Who’s the King” as a powerful tribute to the master. It really is terrific (and amusing when Henry yells things like “Good God!”). The horns carry the track from the beginning, but really come to the forefront when Brown shouts “Horns!” and the band takes off for good. “Who’s the King” is a relentless three-minute ride through some of the most fun sounds of the ’70s.

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The Lafayette Afro Rock Band - Hihache

“Hihache” has a little bit of everything. It starts out with Ernest’s Donable’s quintessential funk drumming that’s largely responsible for the Afro Rock Band’s status as a popular sample source for hip-hop producers. Then a slick bassline and cowbell come in, followed by some keyboards (which aren’t really my thing, but that’s just me). But Ronnie James Buttacavoli and Arthur Young’s horns are what stay with you. Not only do they supply “Hihache” with its most memorable hooks, but there’s a lot of concise, skillful improvisation interspersed throughout. An extended guitar solo takes over for a minute in the middle, but the horns (along with the drums) are what keep “Hihache” coherent, not to mention excellent.

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Tower of Power - You’re Still a Young Man

Tower of Power was perhaps the horns band of the ’70s. And admittedly, if I wanted to choose only one song that highlighted the supremacy of Tower of Power’s massive horns section, “You’re Still a Young Man” wouldn’t be the one. Aside from the brass explosions that open and close the song, they aren’t featured much more prominently than anything else. But that doesn’t keep “You’re Still a Young Man” from being a work of genius. The part where Rick Stevens pleads to his girl, saying, “I’m not a young man, baby, and I don’t feel that I’m wasting my time . . . You say that I’m wasting my time, well it’s my time, baby” is one of my favorite vocal performances ever. The horns work subtly in the background, carrying the tension until the song’s epic climax. “You’re Still a Young Man” is impassioned, humorous, and exactly what all soul ballads should sound like.

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