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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1974
:: 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....> 72:35 min
::
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:: release notes.
::
:: 1974
:: In the wake of the '60s boom, rock began moving from
:: clubs, ballrooms and theaters into arenas and outdoor
:: stadiums. At the same time, it was growing louder and
:: harder, as if that were the only sound that could fill
:: these venues. The emergence of Bad Company illustrates
:: how powerful the impact of rock had become. Though not
:: the first "supergoup" (that term was coined around 1968
:: to describe various Al Kooper projects as well as the
:: group Blind Faith), this English quartet was arguably the
:: first group put together with the arena in mind.
::
:: Lead singer Paul Rodgers came from Free, as did drummer
:: Simon Kirke. Guitarist Mick Ralphs was the central player
:: in Mott the Hoople, and bassist Boz Burrell was a King
:: Crimson alumnus. They took their name from a 1972 Jeff
:: Bridges film, and their debut album, cut in 10 days in
:: Ronnie Lane's mobile studio, was a crunching
:: simplification of Led Zeppelin's British blues-rock
:: style. Not coincidentally, it was released on Led Zep's
:: Swan Song label, and Bad Company was managed by Zep's
:: head honcho, Peter Grant. Can't Get Enough helped make
:: them the most successful new band of 1974.
::
:: They were hardly alone, however. Grand Funk Railroad, one
:: of the first bands popular enough to fill the stadiums,
:: continued to penetrate the charts with remakes of proven
:: oldies. In fact, their version of The Loco-Motion was the
:: second song of the rock era to become No. 1 twice; Little
:: Eva, the babysitter of the song's writers, Gerry Goffin
:: and Carole King, had taken it all the way to the top in
:: 1962. (The other two-time chart topper, Go Away Little
:: Girl, by Steve Lawrence in 1962 and Donny Osmond in 1971,
:: was also written by Goffin and King.) During this period,
:: Grand Funk used The Loco-Motion as its concert encore
:: number, projecting film footage of a train collision
:: behind them as they played the song.
::
:: Arena-rock took other forms, too. Elton John, for
:: example, was no hard rocker, but his audience had grown
:: to the point where he could fill huge venues anyway. Some
:: of his triumphs were unlikely. The follow-up single to
:: Good-bye Yellow Brick Road's title tune was supposed to
:: be the Marilyn Monroe tribute Candle in the Wind, but a
:: black Detroit DJ began playing Bennie and the Jets from
:: the album. MCA then released the song stateside as the
:: new single with Candle in the Wind as the B side; it
:: became John's first soul hit as well as going No. 1. The
:: Bitch Is Back, by John's standards, rocked harder and was
:: perhaps even written with the arena in mind.
::
:: Eric Clapton's I Shot the Sheriff and the 461 Ocean
:: Boulevard album were the product of his return to the
:: studio for the first time in nearly four years, following
:: a heroin addiction he conquered with the help of a new
:: process called electro-acupuncture. The album was cut at
:: Criteria Studios in Miami (its title is the address of
:: the house where Clapton lived during the sessions).
:: Studio guitarist George Terry suggested that Clapton cut
:: Bob Marley's I Shot the Sheriff, a plausible move given
:: that Miami and London (where Clapton was from) were two
:: of the pop markets where reggae had some impact.
:: According to Marley, the enigmatic lyrics meant "I shot
:: wickedness." He wanted to use the word "police" instead
:: of sheriff but feared government reprisal. "But it's
:: still the same idea--justice!" he said. (He also revealed
:: that it was the sheriff who shot the deputy because the
:: latter was "a good guy.") Though Marley still had
:: problems getting air play for his own music (even in
:: Jamaica), Clapton's single helped popularize reggae
:: worldwide.
::
:: The Allman Brothers, heretofore the Southern
:: standard-bearers for arena-rock, were in the process of
:: breaking up, though the world-weary Midnight Rider, from
:: Gregg Allman's solo album, was a laid-back update of
:: their sound. The Allman Brothers' banner was picked up by
:: Lynyrd Skynyrd, the Jacksonville, Florida, rockers whose
:: first major exposure came when they opened gigs on the
:: Who's Quadrophenia tour. Sweet Home Alabama was Skynyrd
:: frontman Ronnie Van Zant's confused and soulstirring
:: response to Neil Young's chastising Southern Man. The
:: irony is that the two men admired each other immensely;
:: Van Zant was often spotted wearing Neil Young T-shirts,
:: and Young wrote several tunes intended for Skynyrd (none
:: were ever recorded). Wet Willie's Keep On Smilin', which
:: proved to be that band's only hit, went back to the bars
:: in representing the soul-oriented branch of Southern
:: rock.
::
:: There were still a number of novelties, none bigger than
:: Billy Swan's fluid, rockabilly-based grove I Can Help.
:: When he was 16, Swan wrote a poem for English class
:: called Lover Please that became a Clyde McPhatter hit in
:: 1962. Swan made his way to Memphis and then Nashville,
:: where he played guitar in the first edition of Kinky
:: Friedman's Texas Jewboys and in Kris Kristofferson's
:: band. (He also inherited Kristofferson's job as custodian
:: at the CBS studios on Music Row.) He composed I Can Help
:: more or less on the spot after Kristofferson and Rita
:: Coolidge gave him an organ as a wedding present,
:: recording the tune in two takes (without overdubs).
::
:: Brownsville Station's Smokin' in the Boys' Room was
:: writer-guitarist Cub Koda's tribute to his childhood
:: practice of sneaking cigarettes on Friday nights at the
:: Clinton Theater in Detroit. Rikki Don't Lose That Number
:: made explicit the cerebral Steely Dan's debt to classic
:: jazz. British teen heartthrob David Essex made his debut
:: with Rock On, which exploited the nostalgia themes of his
:: plays and his two movies, 1973's That'll Be the Day (with
:: Ringo Starr and Keith Moon) and 1975's Stardust (with
:: Ringo Starr and Dave Edmunds). The infectious Come and
:: Get Your Love was the sole top-10 hit for Redbone, a band
:: made up of American Indians (their name is a Cajun
:: epithet for half-breed), who sometimes wore traditional
:: Native American garb onstage. The lascivious Midnight at
:: the Oasis proved to be Maria Muldaur's only top-10
:: record; previously, she had been virtually unknown
:: outside folk circles. And Help Me caught the reigning
:: queen of folk, Joni Mitchell, switching to electric
:: instruments to create a more sophisticated pop sound.
::
:: The year's biggest novelty in black music was Carl
:: Douglas's Kung Fu Fighting. Douglas was born in Jamaica
:: but educated in the U.S. and England. Indian-born
:: producer Biddu hired him to sing a Larry Weiss tune for
:: release as a British single because the pair had worked
:: together a couple of years earlier on the sound track to
:: Richard Roundtree's film Embassy. Stuck for a B side,
:: they cut Kung Fu Fighting, which Douglas, long a judo
:: fan, had written for the newest martial arts fad and its
:: icon, Bruce Lee. It was the B side that broke through in
:: British dance clubs and then hopped across the Atlantic
:: to America.
::
:: During the summer, the Spinners opened a five-week
:: theater tour, including some Las Vegas dates, for Dionne
:: Warwick. That gave producer Thom Bell the idea of teaming
:: them up for Then Came You, which gave each act its first
:: No. 1 pop record ever.
::
:: In October 1974, Al Green, then at the peak of his
:: popularity, was taking a shower in his Memphis home when
:: ex-girlfriend Mary Woodson burst in, threw hot grits on
:: him and then shot herself to death. Green suffered
:: second-degree burns. When he was ordained pastor of the
:: Full Gospel Tabernacle Church in 1976, this event was
:: cited as the turning point in his life. Although Green
:: always maintained that his spiritual transformation was
:: already well under way by then, Sha-La-La (Make Me
:: Happy), released only a week after the tragedy, did turn
:: out to be one of the last purely secular singles of his
:: tumultuous career.
::
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:: track listing.
::
:: 01. bad company - can't get enough
:: 02. al wilson - show and tell
:: 03. redbone - come and get your love
:: 04. eric clapton - i shot the sheriff
:: 05. joni mitchell - help me
:: 06. billy swan - i can help
:: 07. la-la (make me happy) - al green - sha
:: 08. hues corporation - rock the boat
:: 09. elton john - bennie and the jets
:: 10. gregg allman - midnight rider
:: 11. lynyrd skynyrd - sweet home alabama
:: 12. grand funk - the locomotion
:: 13. brownsville station - smokin' in the boys' room
:: 14. steely dan - rikki don't lose that number
:: 15. david essex - rock on
:: 16. maria muldaur - midnight at the oasis
:: 17. carl douglas - kung fu fighting
:: 18. wet willie - keep on smilin'
:: 19. dionne warwick & the spinners - then came you
:: 20. elton john - the bitch is back
::
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