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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1971
:: label.......> n/a
:: genre.......> classic rock
:: rip.date....> 04.05.2003
:: street.date.> 2003
:: source......> cdda
:: quality.....> 192kbps - full stereo
:: encoder.....> lame 3.92
:: playtime....> 73:43 min
::
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:: release notes.
::
:: 1971
:: In the late '60s, Sly Stone and Jimi Hendrix changed the
:: face of black popular music. Hendrix established the
:: guitar as a lead instrument. He improvised solos like a
:: blues or jazz player as well as yoked feedback and other
:: elements of psychedelia to black idioms. Jimi's success
:: was reflected primarily on the pop charts, although the
:: black audience did relate to his music. Sly's
:: polyrhythmic, contrapuntal soul music--with rhythm
:: instruments taking leads and lead instruments playing
:: rhythm--made it onto both the pop and soul charts and was
:: even more influential than Hendrix's brand of soul. By
:: 1971, their influences were fully absorbed into the black
:: mainstream.
::
:: Ironically, 1971 was also the year of Sly's last real
:: triumph. He was struggling with escalating drug use while
:: also fighting gallantly to reconcile his status as a
:: counterculture icon with his street sense. Sly was
:: feeling more allied to the increasing disillusionment and
:: militance of the black community. There's a Riot Goin'
:: On, his first album in 18 months, was druggy, depressed
:: and defiant; and it alienated many of his fans,
:: particularly whites. But its first single, Family Affair,
:: was a gem. Clearly the song spoke to Sly's need to close
:: ranks with the people he trusted, especially his band,
:: the Family Stone. But Sly, contrary as ever, insisted the
:: song had broader implications, which the pundits were
:: missing. "Song's about a family affair, whether it's a
:: result of genetic processes or a situation in the
:: environment," he flatly declared.
::
:: The changes in black music were well established by the
:: time they were adapted by Motown, the most mainstream and
:: conservative force in black pop. At Motown, the impetus
:: for change came from Stevie Wonder and Marvin Gaye, who
:: released landmark albums at about the same time. Both
:: produced themselves, which was new for Motown. Both
:: artists wrote most of their own songs and deviated
:: considerably from the classic Motown sound. Wonder's
:: Where I'm Coming From was released first, but Gaye's
:: What's Going On attracted the most attention.
::
:: What's Going On was a "song cycle," or concept album,
:: which used recent production innovations to expand the
:: song form rhythmically, melodically and thematically.
:: With its Latin beats and soft soul sound, the LP was
:: almost mood music, except that it concerned the everyday
:: frustrations of life in the decaying and increasingly
:: ignored black ghetto.
::
:: Gaye claimed he stumbled onto the idea for the song while
:: jiving around his house with some golfing buddies. But
:: the song actually originated one afternoon when Motown
:: staff writer Al Cleveland visited the home of Four Tops
:: member Renauldo "Obie" Benson. As they discussed world
:: problems, Benson absentmindedly improvised a soft,
:: troubled figure on acoustic guitar that seemed to echo
:: their conversation. Cleveland provided the final touch
:: three weeks later when he came up with the title phrase
:: as he sat in his car looking out over Lake Michigan in
:: Detroit.
::
:: The classic sound of Motown was holding up pretty well,
:: too. The Jackson 5 typified contemporary Motown with the
:: clamorous Never Can Say Goodbye, while the Temptations
:: hearkened back to the mid-'60s with the aching ballad
:: Just My Imagination. It was not merely nostalgia that led
:: them in that direction.
::
:: The Temptations had been singing topical material for two
:: years, but their most recent single, Ungena Za Ulimwengu
:: (Unite the World), was the first since 1964 to miss the
:: top 30. So producer Norman Whitfield asked co-writer
:: Barrett Strong to flesh out the year-old idea behind Just
:: My Imagination; then he assigned the lead to tenor Eddie
:: Kendricks, who had sung lead on the Temptations' very
:: first hit. Although the strategy worked, both Kendricks
:: and Paul Williams had left the group to pursue solo
:: careers by the time this ethereal fantasy about an
:: unattainable woman reached No. 1.
::
:: Looser, earthier and more country than the Motown sound
:: was Al Green's brand of Southern soul, produced by Willie
:: Mitchell in Memphis. Mitchell and Green had been working
:: together for two years, their gospel-based work
:: characterized by muted strings and sophisticated
:: melodies, but Tired of Being Alone was the first song
:: written by Green to chart. His vulnerable, sexually
:: ambivalent persona pointed the way toward a new kind of
:: soul man.
::
:: Bill Withers, an aerospace industry mechanic, developed
:: an insinuating brand of soul-folk with Ain't No Sunshine.
:: And Ike and Tina Turner, their hipness established for
:: the white crowd after they opened on the Rolling Stones'
:: tour in 1969, transformed Creedence Clearwater Revival's
:: bar standard, Proud Mary, into churning blues-rock.
:: Perhaps Ike's early days as a Mississippi Delta
:: bandleader and talent scout gave him a special affinity
:: for the song. Creedence's leader and the song's author,
:: John Fogerty, had meant for it to be about a washerwoman;
:: but the chords he played as he started making up words
:: reminded him of a paddle wheel, which in turn reminded
:: him of a riverboat chugging down the Mississippi.
::
:: Rod Stewart's (I Know) I'm Losing You, originally
:: recorded by the Temptations, was one of the first of a
:: deluge of white covers of Motown songs. But it was his
:: Maggie May, a tale of a young man and the big-hearted
:: older woman who introduced him to the ways of the world,
:: that kicked Stewart's solo career into high gear (and in
:: so doing hastened the demise of the Faces, the rock band
:: he also fronted during this period).
::
:: The experimental wing of rock held its own. Santana
:: translated salsa artist Tito Puente's Oye Como Va for the
:: hip audience. Lee Michaels, a former cocktail-lounge
:: pianist, thrilled rock ballroom audiences with his
:: overamplified Hammond organ in Do You Know What I Mean.
:: And the Grateful Dead's Truckin' was nothing less than
:: the-story-so-far of San Francisco's psychedelic avatars.
::
:: But the virtues of the standard pop song and AM radio
:: were also being reasserted. Elton John, one of the year's
:: biggest new pop stars, inadvertently found his lyricist,
:: Bernie Taupin, when both failed auditions with Liberty
:: Records in London. The talent scout, who liked nothing
:: about Reginald Dwight (Elton's real name) except his
:: piano melodies and nothing about Taupin except his
:: lyrics, suggested that the two start working together. So
:: they did, after a fashion. Taupin wrote lovey-dovey
:: lyrics and sent them to Elton, who put them to
:: middle-of-the-road music. They did this for two years
:: without ever meeting. Then in 1968, their publisher told
:: them to start writing more rock-oriented material for
:: Elton to perform. After success with an album and several
:: singles in England, Elton finally broke into the American
:: charts with Your Song.
::
:: James Taylor's You've Got a Friend was written by Carole
:: King, a brilliant songwriter of the Brill Building era
:: who in 1970, after years of false starts, launched a
:: singing career of her own. Her second album, Tapestry,
:: which contains her version of Taylor's hit, moved 15
:: million units to become the best-selling album up to that
:: point in history. King toured in 1971 as Taylor's opening
:: act.
::
:: Another songwriter, Hoyt Axton, had similar success with
:: Three Dog Night. Axton wrote Joy to the World as part of
:: the sound track to The Happy Song, an animated television
:: special that never went into production. He then took the
:: song to Three Dog Night, and although he hated their
:: version, it proved the popular group's biggest-selling
:: single.
::
:: The Bee-Gees--brothers Robin, Maurice and Barry Gibb--had
:: been working together in Australia and England since 1956
:: when Robin quit in a tiff in 1969. How Can You Mend a
:: Broken Heart was pulled from Two Years On, the first
:: album they recorded after his return, and it became the
:: group's first No. 1 single.
::
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:: track listing.
::
:: 01. marvin gaye - what's going on
:: 02. alice cooper - eighteen
:: 03. al green - tired of being alone
:: 04. rod stewart - (i know) i'm losing you
:: 05. the bee gees - how can you mend a broken heart
:: 06. santana - oye como va
:: 07. van morrison - wild night
:: 08. the temptations - just my imagination
:: (running away with me)
:: 09. stephen stills - love the one you're with
:: 10. elton john - your song
:: 11. bill withers - ain't no sunshine
:: 12. ike and tina turner - proud mary
:: 13. james taylor - you've got a friend
:: 14. rod stewart - maggie may
:: 15. lee michaels - do you know what i mean
:: 16. the jackson five - never can say goodbye
:: 17. gordon lightfoot - if you could read my mind
:: 18. the grateful dead - truckin'
:: 19. three dog night - joy to the world
:: 20. sly and the family stone - family affair
:: 21. creedence clearwater revival - have you ever seen the
:: rain
::
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