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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1972
:: 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....> 74:28 min
::
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:: release notes.
::
:: 1972
:: In the late '60s, the rise of progressive rock led to the
:: rise of FM radio. FM grew out of the Haight-Ashbury scene
:: in San Francisco and gave air play to experimental and
:: political records that would otherwise have gone unheard.
:: Labels quickly learned their acts didn't need a hit
:: single if they could instead get FM air play on album
:: cuts, and soon the album replaced the single as the basic
:: unit of rock. Soon after that, when its profitability
:: became more apparent, FM radio grew nearly as formulaic
:: and tightly controlled as AM, its playlists almost as
:: hard to crack.
::
:: By 1972, the single was becoming acceptable again. Rock
:: had fragmented into numerous factions, most of them in
:: reaction to the extended jams and virtuoso soloing of the
:: '60s bands, and yet nearly all of these factions
:: respected the 45 single. So, suddenly, did some of the
:: very '60s acts that had inspired this reaction. Nilsson,
:: Alice Cooper, and Derek and the Dominos perhaps best
:: defined the parameters of that growing trend. Harry
:: Nilsson was a clever writer, singer and arranger who
:: signed his first record contract in the early '60s.
:: Throughout most of the '60s, his material was recorded by
:: many others while he worked as a computer processor at a
:: bank in the San Fernando Valley. His first hit,
:: Everybody's Talkin', was written by someone else, Fred
:: Neil, and received major exposure as the theme from the
:: popular film Midnight Cowboy. Nilsson initially mistook
:: Without You, which he first heard while drinking at a
:: friend's house, for a John Lennon song. But it was
:: actually by Badfinger, Beatles soundalikes.
::
:: Clapton was the blues-rock guitarist of the '60s, an
:: artist who considered pop hits antithetical to good
:: music. After a bad experience with the 1969 supergroup
:: Blind Faith, he purposely adopted a less flashy profile,
:: working as a sideman for Delaney and Bonnie and Friends,
:: and then cutting a solo album influenced by their
:: gospel-rock stylings. This effort yielded Let It Rain,
:: which scored modestly as a single some two years after it
:: was first recorded. Let It Rain set the stage for Derek
:: and the Dominos. That group was intended, in Clapton's
:: words, to recapture "the spirit," if not the sound, of
:: '50s rock and included studio veterans Bobby Whitlock,
:: Jim Gordon and Carl Radle.
::
:: This album also featured appearances by Duane Allman,
:: former Muscle Shoals session whiz and now guitar hero of
:: the Allman Brothers Band. He and Clapton reached their
:: apex on Layla, which was Clapton's plea to Patti
:: Harrison, Beatle George's wife, with whom he had fallen
:: in love. The guitars duel in a frenzy and then mesh in
:: soft-spoken resignation. Ultimately the song's magic
:: worked; Patti Boyd Harrison eventually left her husband
:: for Clapton, finally marrying him in 1979. But Layla
:: failed as a single in 1970. By the time it hit in 1972,
:: Derek and the Dominos were long gone, and Clapton had
:: dropped out of the scene while he battled his drug
:: addiction.
::
:: Alice Cooper exemplified perhaps the most vehement
:: reaction to experimental rock. Alice Cooper was the name
:: of both the band and its lead singer, a Phoenix
:: minister's son whose real name was Vincent Furnier. The
:: band moved to Hollywood in 1968 and hooked up with Frank
:: Zappa, who released their first album on his own label,
:: Straight. It was loud, crude, bone-crunching rock with a
:: fascination for the macabre. The music was so out of step
:: with everything else happening in pop that it masked the
:: group's burning ambitions.
::
:: That drive led Cooper to relocate to Detroit, which had a
:: huge audience for hard rock--and which also, not
:: coincidentally, was on the Canadian border. The band
:: recorded in Canada with a Canadian producer, Bob Ezrin,
:: and took advantage of the new "Canadian content" law,
:: which required radio to devote a certain percentage of
:: its air play to native groups or groups that recorded in
:: Canada. Cooper received substantial air play, and of
:: course, his records were heard back across the border in
:: Detroit by kids who weren't getting that heavy sound from
:: anywhere else. School's Out, the title taken from a line
:: in a Bowery Boys movie, was the band's second hit,
:: updating a popular rock 'n' roll theme. By the next year,
:: Cooper was one of the biggest acts in the nation, touring
:: with a "shock rock" show (including a guillotine and boa
:: constrictor) designed to offend both parents and mature
:: rockers such as Clapton.
::
:: Among other significant newcomers, the Raspberries
:: emerged from Cleveland with Go All the Way and a leader,
:: Eric Carmen, who regarded the studio pop of the early
:: '60s as the Holy Grail. The Doobie Brothers ("doobie"
:: being slang for marijuana joint) came from the
:: blue-collar town of San Jose, California, with a
:: reputation as a Hell's Angels party band. The Doobie's
:: ability to play boogie with folk harmonies and their
:: appreciation for production values endeared them to
:: mainstream rock fans. With Listen to the Music, they
:: added to the growing body of rock songs about rock.
:: Argent was led by Rod Argent, veteran of the British
:: Invasion group the Zombies, which broke up in 1968. He
:: formed his namesake band two years later and wrote Hold
:: Your Head Up with former Zombie Chris White. As a sign of
:: the times, the song was initially released as a single
:: over six minutes long; when it began attracting
:: attention, the single was shortened to a more
:: conventional length to insure its success.
::
:: The soft, acoustic band America consisted of three
:: military brats living in London. A Horse with No Name, a
:: dead ringer for a Neil Young song, was inspired by member
:: Dewey Bunnell's homesickness for the desert a few hours
:: away from Vandenberg Air Force Base in San Luis Obispo,
:: California, where his father had once been stationed. The
:: Moody Blue's Nights in White Satin was hardly new; it had
:: stiffed as a single in America (but not England) in 1968.
:: But two 1972 Moody Blues tours and a growing audience for
:: art-rock made the song popular the second time around.
::
:: In black music, the Chi-Lites, together since 1960,
:: finally took their sensitive-guy persona to the top of
:: the charts with the poignant Oh Girl. Back Stabbers was
:: the first, and arguably the best, in a series of topical
:: records by the O'Jays that featured the blossoming Gamble
:: and Huff production sound of Philadelphia, which defined
:: mid-'70s soul and disco. Bill Withers' folkish Lean on Me
:: was written for his fellow workers at the Boeing plant
:: where, until the year before, he had manufactured toilet
:: seats for airplanes. The Staple Singers, once gospel
:: purists and standard-bearers of the civil rights
:: movement, consolidated their hold on the new genre of
:: "inspirational pop," or "secular gospel," with songs such
:: as I'll Take You There. Al Green's sensual, pleading
:: male, who had much in common with that of the Chi-Lites,
:: urged, Let's Stay Together. Crooner Johnny Nash
:: introduced Americans to reggae with I Can See Clearly
:: Now, which was cut with members of the Wailers as
:: sidemen. (Reggae superstar Bob Marley used money he
:: earned as a staff writer for Nash to start his own Tuff
:: Gong label.)
::
:: And then there was Three Dog Night's Black and White.
:: This tune went back to 1955 when Earl Robinson and David
:: Arkin (father of actor Alan Arkin) wrote it to celebrate
:: the Supreme Court's Brown v. Board of Education ruling
:: banning segregation in public schools. Sammy Davis Jr.
:: cut Black and White shortly after it was written for an
:: EP issued by the Anti-Defamation League of B'nai B'rith.
:: Three Dog Night, however, learned the song from a version
:: they heard on the radio by the Jamaican reggae band
:: Greyhound. After their version was released, Earl
:: Robinson, who had been blacklisted during the McCarthy
:: Era, found himself at the top of the rock 'n' roll
:: charts--further proof that the 45 single ruled once
:: again.
::
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:: track listing.
::
:: 01. staple singers - i'll take you there
:: 02. eric clapton - let it rain
:: 03. al green - let's stay together
:: 04. doobie brothers - listen to the music
:: 05. argent - hold your head up
:: 06. chi lites - oh girl
:: 07. three dog night - black and white
:: 08. hollies - long cool woman (in a black dress)
:: 09. ojays - back stabbers
:: 10. elton john - rocket man
:: 11. alice cooper - school's out
:: 12. bill withers - lean on me
:: 13. raspberries - go all the way
:: 14. america - a horse with no name
:: 15. moody blues - nights in white satin
:: 16. johnny nash - i can see clearly now
:: 17. nilsson - without you
:: 18. todd rundgren - i saw the light
:: 19. derek and the dominos - layla
::
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