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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1976
:: 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....> 73:57 min
::
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:: release notes.
::
:: 1976
:: By 1975 disco was crossing from the R&B to the pop
:: charts, but 1976 was the year it truly arrived. Many
:: white artists began performing this heretofore black
:: music, and a number of novelty hits were spawned by acts
:: that quickly disappeared again. The grand entrance of
:: disco was illustrated by the emergence of Donna Summer,
:: who proved to be one of the genre's enduring stars.
::
:: Born LaDonna Gains in Boston in 1948, she joined the
:: Munich, Germany, cast of Hair in 1968 and went on to
:: perform in the Vienna Volksopera's productions of Porgy
:: and Bess and Showboat. By 1973, she was back in Munich,
:: performing in Godspell and singing backup vocals at
:: Musicland Studio, where she met owner and producer Pete
:: Bellotte and his partner Giorgio Moroder.
::
:: Both men were keeping a keen eye on America's disco
:: movement, which by 1975 was no longer the secret of urban
:: blacks and gays. That year they had Summer record Love to
:: Love You Baby, a heavy-breathing track inspired by the
:: recent European success of Je T'Aime . . . Moi Non Plus
:: by Jane Birkin and Serge Gainsbourg. This record of
:: frenzied whispers and orgasmic pants had been greeted
:: with mirth and scorn when released five years earlier.
::
:: Using new techniques spawned by the disco DJs, Moroder
:: mixed a 17-minute version of Summer's sighing, groaning
:: and gasping R&B tune for nonstop dancing. He leased it to
:: Neil Bogart of Casablanca Records in America, where a few
:: similar sexy tracks were underground disco hits. The
:: single wound up hitting No. 2 in the States, and it set
:: the image for both disco and Donna Summer, who ultimately
:: proved to be a more complex artist than the recording
:: suggested.
::
:: Meanwhile, Wild Cherry typified the white novelty aspects
:: of disco with Play That Funky Music. Leader Bob Parissi,
:: who took the group's name off a box of cough drops while
:: he was in the hospital, had already seen one incarnation
:: of his band dissolve; he was getting frustrated with
:: audiences on the Cleveland-to-Pittsburgh disco circuit
:: that the rockers were playing. Discussing the problem
:: backstage one night, drummer Ron Beitle repeated a cry
:: they often heard from the audience: "Play that funky
:: music." Only in jest, he added the phrase "white boy."
:: Parissi dashed off the song on a napkin at the disco
:: where his band was playing, and it was later recorded as
:: the B side to a cover version of the Commodores' / Feel
:: Sanctified. But the white-boy disco track got all the
:: radio action, providing Wild Cherry with the third
:: platinum single (one million units sold) ever as well as
:: their only Top 40 hit.
::
:: The Bee Gees were in the midst of a more enduring disco
:: string of singles. In 1975, the Main Course album,
:: produced by Arif Mardin, had yielded the Brothers Gibb
:: their first No. 1 single in four years. When they went
:: back into the studio, however, the politics of the record
:: company prevented them from again using Mardin (who was
:: signed exclusively to Atlantic). Unable to recapture the
:: charmed Mardin sound using producer Richard Perry, the
:: group went behind the board themselves, with assistance
:: from engineers Karl Richardson and Albhy Galuten, who
:: handled the all-important orchestrations. This team
:: clicked on Children of the World, with You Should Be
:: Dancing becoming the Bee Gees' third No. 1 single and
:: setting the stage for their contributions to Saturday
:: Night Fever a year later.
::
:: English guitarist Peter Frampton was the year's biggest
:: one-man phenomenon. A veteran of a teeny-bopper band, the
:: Herd, and the arena-rocking Humble Pie, Frampton toured
:: nonstop as a solo act, and in 1976 his work paid off. The
:: double-album Frampton Comes Alive, recorded live at
:: Winterland in San Francisco, sold an unprecedented ten
:: million copies, six million in America alone. Show Me the
:: Way featured one of Frampton's calling cards, the
:: "voice-box," which channeled guitar sounds through a
:: mouthpiece to form words.
::
:: If Frampton was the guitar hero of the new generation of
:: arena-rock fans, Elton John was the pop songsmith. Like
:: Frampton, he was always more popular stateside. Don't Go
:: Breaking My Heart, his duet with Kiki Dee, was his first
:: British No. 1, although he'd had five No. 1 hits in
:: America. The record also marked his first appearance on
:: his own label, Rocket. He and his regular partner, Bernie
:: Taupin, wrote the song under the names Ann Orson and
:: Carte Blanche. As for Dee, she had previously been signed
:: to Motown. Although she made little noise there, she did
:: become friendly with British Motown executive John Reid,
:: who went on to manage Elton John, which is how the
:: pairing came to be. But when it was time for the real
:: glory--an appearance on The Muppet Show--she had to take
:: a back seat to Miss Piggy, who sang the duet with Elton.
::
:: Another great duo of the '70s was Daryl Hall and John
:: Oates. The inspiration for Sara Smile was Hall's
:: girlfriend, Sara Sandy Allen, a former airline stewardess
:: who was also the subject of Oates' Las Vegas Turnaround.
:: Oates first met her, by chance, in Manhattan and took her
:: back to the East 82nd Street apartment he shared with his
:: singing partner. Hall, who was in the process of breaking
:: up with his wife, fell for Sara instantly, and they were
:: soon living together. Hall didn't like the vocals on this
:: track, but when the first two singles from Daryl Hall and
:: John Oates failed to hit, he bowed to the better judgment
:: of a Cleveland DJ who'd been playing Sara Smile as an
:: album cut. Released as a single, the tune became Hall and
:: Oates' first Top 40 record.
::
:: Paul Simon's 50 Ways to Leave Your Lover was, he
:: insisted, "just a fluke thing I slipped into by
:: accident," but the single and the album it came from,
:: Still Crazy after All These Years, seemed to dwell on the
:: recent breakup of Simon's marriage. Linda Ronstadt scored
:: with her second remake of a Buddy Holly song; this time
:: it was That'll Be the Day, which the '50s rocker had
:: written based on a line spoken by John Wayne in John
:: Ford's classic western film The Searchers.
::
:: Among the year's oddities were former Raspberries leader
:: Eric Carmen's solo debut, All by Myself, based on a
:: Rachmaninoff melody; East Coast bar band Orleans' Still
:: the One, which promptly became the ABC-TV network's
:: theme; and good-time journeyman Elvin Bishop's Fooled
:: Around and Fell in Love, with lead vocals by future
:: Jefferson Starship singer Mickey Thomas. Bishop's
:: swaying, soul-style dance ballad made as much sense in
:: the year of the Hustle as a jug of moonshine at a
:: champagne soiree, but as the swan song for Southern rock
:: it couldn't have been more appropriate.
::
:: After a period of critical drubbings and vituperative
:: coverage of his jet-set romance with Swedish actress
:: Britt Eklund, Rod Stewart came back strong in 1976 with A
:: Night on the Town, which yielded three popular singles,
:: including Tonight's the Night (Gonna Be Alright).
:: Although banned in Britain because it concerned the
:: seduction of a virgin, it was the biggest American single
:: of the year, topping the charts for eight weeks. Since
:: the Faces, the group Stewart had sung with for six years
:: while pursuing a solo career on the side, also broke up
:: in 1976, the recording proved to be a crucial turning
:: point. But within two years, even Rod Stewart would be
:: cutting disco singles
::
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:: track listing.
::
:: 01. steve miller band - rock'n me
:: 02. the doobie brothers - takin' it to the streets
:: 03. elvin biship - fooled around and fell in love
:: 04. hall and oates - sara smile
:: 05. fleetwood mac - say you love me
:: 06. wild cherry - play that funky music
:: 07. the bee gees - you should be dancing
:: 08. peter frampton - show me the way
:: 09. elton john and kiki dee - don't go breaking my heart
:: 10. rod stewart - tonight's the night (gonna be alright)
:: 11. donna summer - love to love you baby
:: 12. orleans - still the one
:: 13. eric clapton - hello old friend
:: 14. seals and crofts,- get closer -
:: 15. paul simon - 50 ways to leave your lover
:: 16. linda ronstadt - linda - that'll be the day
:: 17. john sebastian - welcome back
:: 18. gary wright - dream weaver
:: 19. eric carmen - all by myself
:: 20. the spinners - the rubberband man
::
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