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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1970
:: label.......> n/a
:: genre.......> classic rock
:: rip.date....> 04.06.2003
:: street.date.> 2003
:: source......> cdda
:: quality.....> 192kbps - full stereo
:: encoder.....> lame 3.92
:: playtime....> 74:14 min
::
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:: release notes.
::
:: 1970
:: Rock in 1970 was the sound of things beginning to fall
:: apart. The music--and the hype surrounding it--had
:: represented an unprecedented show of unity through the
:: rock boom of the late '60s. Whether it was true or not,
:: musicians and fans had all been perceived as sharing a
:: common vision, which grew out of the fact that as members
:: of the same generation they shared a common experience.
::
:: If any single event shattered that illusion, it was the
:: Rolling Stones' free concert at Altamont Speedway near
:: San Francisco on December 6, 1969. During the performance
:: a gun-waving black youth was knifed to death by Hell's
:: Angels serving as security guards. Three others died that
:: afternoon, as did the idea of a generation of gentle
:: hippies united behind their music, an image framed by the
:: events at the Woodstock festival earlier that year.
::
:: But the music would have fragmented anyway. By 1970,
:: after all, the Beatles were breaking up, and many other
:: musicians crucial to the '60s explosion were looking in
:: other directions. Mostly they were reacting to the
:: increasing unwieldiness of a music scene that seemed to
:: have grown too big and too loud.
::
:: Van Morrison, for example, had fronted the Irish group
:: Them, often lumped in with the British bands during the
:: original English Invasion. That group was short-lived,
:: but Morrison moved to America and delved into an
:: increasingly moody and singular brand of jazz-inflected
:: R&B. Critics considered his music to have reached its
:: apex with 1969's stunning Astral Weeks, but it didn't
:: yield commercial dividends until songs like Domino and
:: Blue Money were pulled from the album His Band and the
:: Street Choir.
::
:: Eric Clapton had been a member of the English blues-rock
:: trio, Cream, one of the first bands to achieve so-called
:: "supergroup" status. He then helped found Blind Faith,
:: the first working band consciously put together as a
:: "supergroup" (they broke up after one album). Clapton,
:: seeking anonymity and purity, then toured Europe as one
:: of many guest guitarists with Delaney and Bonnie, who had
:: fused country blues and gospel with a rock setting to
:: become the tastemaking act of the moment. That union also
:: yielded Clapton's first solo album and a hit single,
:: After Midnight, written by laid-back Oklahoman J.J. Cale
:: and recorded with Delaney and Bonnie and producer Leon
:: Russell.
::
:: The Grateful Dead, primary organizers of the disastrous
:: Altamont concert, had heretofore been known for their
:: long, spacey, electric jams. By 1970, though, the Dead
:: were arranging concise, well-rehearsed songs. Some of
:: their best work is on Workingman's Dead, an acoustic
:: album of countrified harmony tunes. Among these was Uncle
:: John's Band, which eschewed psychedelia while reinforcing
:: the San Francisco group's image as a "family band."
::
:: Unlike the Dead, James Taylor had not been a hit act in
:: the '60s. In fact, Fire and Rain, his breakthrough
:: recording, referred specifically to the failures of his
:: group, the Flying Machine, with its line "Sweet dreams
:: and flying machines in pieces on the ground." Taylor,
:: whose drug addictions were documented by himself and the
:: pop press for years, had spent time in a mental
:: institution with the Suzanne of this song. Taylor's style
:: opened doors for older acoustic artists writing
:: self-referential songs that were said to represent rock
:: growing up and taking itself seriously.
::
:: All these artists had strong spiritual bents, an
:: extension of '60s acid mysticism and the peace-and-love
:: philosophy. The most popular songs of 1970 were Simon and
:: Garfunkel's Bridge over Troubled Water and the Beatles'
:: Let It Be, and similar themes permeated the pop charts in
:: any number of other guises. Spirit in the Sky was a
:: witty, infectious cry for salvation by Norman Greenbaum.
:: He, along with the other members of the good-timey Dr.
:: West's Medicine Show and Junk Band, had hit with The
:: Eggplant That Ate Chicago in 1966. Greenbaum lived as a
:: chicken farmer in the hippie Promised Land of Marin
:: County, just north of San Francisco--in the town of
:: Petaluma, the self-proclaimed "Egg Capital of the World."
::
:: But the Hollies' He Ain't Heavy, He's My Brother best
:: demonstrates how fully hippie notions of brotherhood and
:: spirituality permeated the mainstream. The song was
:: cowritten by Tin Pan Alley types with few ties to rock.
:: Bobby Scott, who'd composed scores for movies, and Bob
:: Russell, the lyricist on Don't Get Around Much Anymore
:: and Brazil, were introduced to each other at a California
:: nightclub by Johnny Mercer. Though Russell was dying of
:: cancer and the pair met in person only three times, they
:: managed to turn out this song based on the slogan from a
:: Father Flanagan-Boys Town poster Scott recalled from his
:: Catholic childhood.
::
:: The overwhelming success of the Hollies' song was proof
:: that the contrived pop song could still dominate sales,
:: even if "underground" rock got all the attention. One
:: group that played well-crafted pop was Three Dog Night,
:: whose Mama Told Me (Not to Come) (first recorded three
:: years earlier by Eric Burdon) was written by Randy
:: Newman. The smartest, least contrived pop songwriter
:: working in Los Angeles, Newman had little success with
:: his own songs. Meanwhile, Blues Image's Ride Captain Ride
:: had nothing to do with the blues; The Rapper was the sole
:: hit for a group, the Jaggerz, named after the lead singer
:: of the Rolling Stones; and the Guess Who, a Canadian band
:: together for 11 years, gained its first No. 1 record by
:: tapping into the protest market with the scornful
:: American Woman. English singer Joe Cocker mounted one of
:: the year's biggest tours after he and Leon Russell, in
:: effect, swiped the hip Delaney and Bonnie gang and
:: expanded it to some 40 members. With this group, Cocker
:: remade the Box Tops' soulful teen hit of 1967, The
:: Letter.
::
:: In black music, new directions were being forged by
:: guitarist Jimi Hendrix and by Sly and the Family Stone.
:: The Family Stone was led by a former, all-night soul
:: deejay from Oakland, Sylvester Stewart, who had also
:: produced some of the seminal mid-'60s bands from San
:: Francisco. Sly's flamboyant group of men and women,
:: blacks and whites, perhaps best personified the '60s
:: ideal of unity, and his polyrhythmic soul music was, as
:: one of his album titles boasted, "a whole new thing." He
:: was the undisputed sorcerer of the Woodstock festival.
:: Sly Stewart's Thank You (Falletin Me Be Mice Elf Agin)
:: turned out to be a transitional, albeit great work. Even
:: as the song reinforced hippie positivism, its violent
:: imagery recalled Stewart's high-school days as a Northern
:: California gang leader. The song also pointed toward the
:: rage that provided the foundation for his 1972 album,
:: There's a Riot Goin' On, born out of the struggle for his
:: soul between himself, show business, black militants,
:: drugs and the white counterculture.
::
:: Motown remained firmly rooted in its own past but mindful
:: of Sly's rhythmic revolution and the need for more
:: topical music. The Jackson 5's ABC was a blatantly
:: imitative follow-up to their first single, I Want You
:: Back, but with all that sass and snap, nobody was
:: complaining. War was first cut by the Temptations for the
:: album Psychedelic Shack. This was during the peak of the
:: anti-Vietnam era; Motown was bombarded with letters
:: urging them to release the song as a single, but the
:: company did not want to saddle the Tempts with a
:: countercultural image. Writer-producers Norman Whitfield
:: and Barrett Strong, therefore, cut War with Edwin Starr,
:: who had recently settled a lengthy legal action against
:: the label and was looking for a hit.
::
:: Smokey Robinson and the Miracles' The Tears of a Clown
:: followed a more circuitous route to the top of the
:: charts. Motown producer Henry Robinson and Stevie Wonder
:: had the instrumental track but could not come up with
:: lyrics. They gave the song to Smokey, who was reminded of
:: Pagliacci by the calliope sounds (Pagliacci lives in
:: legend as the circus clown who makes everyone laugh and
:: then retreats to his dressing room to cry alone). Smokey
:: and the Miracles didn't like the song, but included it on
:: their 1967 album, Make It Happen, as filler. It
:: languished there until 1970, when a British Motown
:: executive, looking for a follow-up to the Miracles' The
:: Tracks of My Tears, realized the label already had a
:: "Tears" tune by the group. He pulled the song off the old
:: album and it quickly conquered first England, then
:: America. Ironically, though Smokey Robinson was
:: considered by many to be the leading song-poet of the
:: decade, this was his first No. 1 record as an artist.
::
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:: track listing.
::
:: 01. creedence clearwater revival - up around the bend
:: 02. edwin starr - war
:: 03. van morrison - domino
:: 04. three dog night - mama told me (not to come)
:: 05. jaggerz - rapper
:: 06. grateful dead - uncle john's band
:: 07. norman greenbaum - spirit in the sky
:: 08. joe cocker - letter
:: 09. santana - black magic woman
:: 10. moments - love on a two way street
:: 11. hollies - he ain't heavy, he's my brothe
:: 12. jackson five - abc
:: 13. guess who - american woman
:: 14. eric clapton - after midnight
:: 15. sugarloaf - green-eyed lady
:: 16. james taylor - fire and rain
:: 17. smokey robinson & the miracles - tears of a clown
:: 18. bee gees - lonely days
:: 19. blues image - ride captain ride
:: 20. free - all right now
:: 21. sly and the family stone - thank you
::
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