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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1973
:: 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....> 72:22 min
::
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:: release notes.
::
:: 1973
:: While the years between 1972 and 1976-77 (the advent of
:: punk) are considered to be rock's dog days, interesting
:: music did emerge during this supposedly fallow period.
:: When old standbys fail to deliver, room opens up for new
:: bands, for one-hit wonders and for hit singles from
:: unlikely veterans. In other words, there is novelty,
:: which has always been essential to rock 'n' roll's
:: survival. Novelty visited 1973 time and time again.
::
:: Consider Stories, whose Brother Louie was the most
:: unlikely No. 1 song of 1973. This tale of a white man in
:: love with a black girl (which included in its hook a bow
:: to the frat-rock anthem Louie, Louie) was written and
:: originally recorded by Hot Chocolate, an interracial
:: British soul band. Hot Chocolate took their song to No. 7
:: on the charts in England early in 1973. Michael Brown,
:: the leader of Stories, was once a member of the '60s pop
:: band the Left Banke, who had hit with Pretty Ballerina
:: and Walk Away Renee. Brown had his group cut Brother
:: Louie for their second album with lead vocals by Ian
:: Lloyd. (Brown and Lloyd had been introduced to each other
:: by their fathers, who were violinists working the same
:: session.) Brown quit the group before the second album
:: was even finished, and Brother Louie proved to be
:: Stories' only Top-40 single.
::
:: Lou Reed, founding father of the Velvet Underground (the
:: first rock group to sing openly of heroin, sadomasochism
:: and homosexuality), bitterly parted ways with his band in
:: 1970. He retreated to England the next year to work on a
:: solo career and soon came under the spell of David Bowie,
:: who had made androgyny and other themes of the Velvets
:: fashionable to the general public. Transformer, Reed's
:: second solo album, was produced by Bowie and his
:: guitarist Mick Ronson and included Walk on the Wild Side.
:: The song was Reed's ode to Andy Warhol and the bohemian
:: New York crowd to whose lives the Velvets had supplied a
:: sound track.
::
:: Some bands prospered without hit singles. The Allman
:: Brothers, with their fluid, dual-guitar jams that
:: borrowed from blues and country, had personified Southern
:: rock since their 1969 debut album. In 1971, leader Duane
:: Allman, the finest guitarist in the South (if not the
:: world), died in a motorcycle accident. Almost exactly a
:: year later, bassist Berry Oakley died in a similar spill
:: just three blocks away. The survivors regrouped under the
:: leadership of Dickey Betts and Gregg Allman (Duane's
:: brother). Betts had a softer approach to guitar than
:: Duane, and he wrote the band's first chart single,
:: Ramblin' Man, which echoed a traditional Southern theme.
:: Brothers and Sisters, the No. 1 album that included the
:: hit, was dedicated to Oakley.
::
:: Deep Purple surfaced in 1968 as a pseudoclassical pop
:: band and then evolved into a heavy-metal guitar outfit
:: (fronted by Ritchie Blackmore). By the mid-'70s, the
:: Guinness Book of World Records had listed them as the
:: loudest band. Smoke on the Water, which was about a fire
:: that interrupted a live recording session in Montreux,
:: Switzerland, was their first Top-40 record since their
:: two singles in 1968, Hush and Kentucky Woman. The song
:: actually appeared in four different versions--long and
:: short studio takes, and long and short live takes.
::
:: Grand Funk Railroad was the era's reigning arena-rock
:: band. They were conceived in 1969 as a crude, bruising
:: power trio named after the Grand Trunk Railroad in their
:: native Flint, Michigan. In 1970, they sold out Shea
:: Stadium in New York City quicker than the Beatles had.
:: Grand Funk Railroad scored five gold albums in two years
:: in America while remaining unknown overseas. Then in
:: 1972, they dumped their Svengalian manager-producer Terry
:: Knight and added a keyboard player. They took on clever
:: popmeister Todd Rundgren as producer and cleaned up and
:: tightened their sound for the singles market.
::
:: We're an American Band was written by drummer Don Brewer
:: after a besotted late-night argument with tourmates
:: Humble Pie, in a bar in Baton Rouge, Louisiana. The song
:: touched off a string of successful collaborations with
:: Rundgren, although it was the only No. 1 single for Grand
:: Funk, as they now called themselves. The references to
:: all-night poker, hotel-wrecking and dalliances with a
:: Little Rock groupie just about summed up the early '70s
:: ethos of these rock marauders. (Rundgren, meanwhile, had
:: a left-field hit of his own when he remade Hello It's Me,
:: initially a hit in 1969 for Nazz, the Beatlesque
:: Philadelphia harmony group he helped found.)
::
:: Dr. John had begun his career as a New Orleans session
:: guitarist and pianist in the mid-'50s. He had released a
:: few singles under his real name of Mac Rebennack before
:: moving to Los Angeles in the mid-'60s. By the end of that
:: decade, he had donned robes and a headdress to masquerade
:: as "Dr. John the Night Tripper," who mixed mysterious
:: musical textures with New Orleans voodoo lyrics to become
:: an underground sensation. In 1972, he shelved the hokum
:: and released a tribute to the classic Crescent City R&B
:: sound of Fats Domino, Smiley Lewis and Professor
:: Longhair. He came back the next year with In the Right
:: Place, produced by Allen Toussaint. With the Meters as
:: backup band, the album yielded a fluke hit, Right Place,
:: Wrong Time.
::
:: In black music, the trends were toward seminal disco,
:: middle-of-the-road soul and the topical song; sometimes
:: those trends overlapped. After 1972's hard-edged Back
:: Stabbers, the O'Jays seemed to be more forgiving on Love
:: Train. The song actually contained a plea for unity in
:: Third World trouble spots.
::
:: Gladys Knight and the Pips, who made their debut in 1961,
:: scored their 25th chart entry and their first No. 1 with
:: the soft, silky Midnight Train to Georgia. Jim Weatherly,
:: who wrote the song based on a conversation with a friend,
:: had recorded it first as a country-pop ballad called
:: Midnight Plane to Houston for an independent label.
:: Atlanta producer Sonny Limbo rewrote the lyrics for Cissy
:: Houston (mother of Whitney, first cousin to Dionne
:: Warwick), whose version Gladys Knight, an Atlanta native
:: herself, eclipsed.
::
:: The Spinners, who had been around (as the Detroit
:: Spinners) since 1957, came to Atlantic Records courtesy
:: of Aretha Franklin and quickly hooked up with producer
:: Thom Bell. With Phillipe Wynne taking over leads, the
:: group updated the traditional black harmony sound on
:: their 1973 album, The Spinners, which spawned four hit
:: singles, including Could It Be I'm Falling in Love. Their
:: fellow Motown alumni, the Four Tops, were in the midst of
:: updating their classic sound on such sides as Ain't No
:: Woman. Curtis Mayfield, the lead voice and writer behind
:: the Impressions from 1958 to 1970, contributed the title
:: song to the "blaxploitation" flick Superfly, which
:: glorified a dope dealer about whom Curtis was ambivalent.
::
:: And then there was Marvin Gaye. His Let's Get It On album
:: was a celebration of eros that sought to reconcile his
:: notion of perfect sex, and perfect love, with his strict
:: Apostolic upbringing. As Gaye was recording co-producer
:: Ed Townsend's title song, Townsend's friend Janis Hunter,
:: the daughter of jazz hipster Slim Gaillard, visited the
:: studio. At 16, Janis was 17 years younger than Gaye, then
:: still enmeshed in a bad marriage with a woman (Anna
:: Gordy, Motown president Berry Gordy's sister) 17 years
:: his senior. But Gaye loved Janis at first sight and
:: directed the song to her as a plea for transcendent sex
:: and love. Marvin and Janis were soon inseparable, and
:: they married in 1977.
::
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:: track listing.
::
:: 01. paul simon - loves me like a rock
:: 02. curtis mayfield - superfly
:: 03. grand funk railroad - we're an american band
:: 04. elton john - goodbye yellow brick road
:: 05. spinners - could it be i'm falling in love
:: 06. o'jays - love train
:: 07. stories - brother louie
:: 08. doobie brothers - long train runnin'
:: 09. 4 tops - ain't no woman (like the one i got)
:: 10. gladys knight and the pips - midnight train to georgia
:: 11. dr john - right place, wrong time
:: 12. war - the cisco kid
:: 13. todd rundgren - hello it's me
:: 14. seals and crofts - diamond girl
:: 15. stealers wheel - stuck in the middle with you
:: 16. deep purple - smoke on the water
:: 17. allman brothers - ramblin' man
:: 18. marvin gaye - let's get it on
:: 19. lou reed - walk on the wild side
::
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