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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1978
:: 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....> 72:13 min
::
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:: release notes.
::
:: 1978
:: By 1978, disco music had been garnering occasional
:: crossover hits, but Chic's Le Freak was the first by a
:: black group to inject elements of rock into the idiom and
:: make it truly hip. The single wound up selling four
:: million copies. The masterminds behind Chic were Bernard
:: Edwards (who played bass) and Nile Rodgers (guitar). They
:: met while jamming in New York City jazz clubs in 1970,
:: and by 1972 had formed a fusion trio called the Big Apple
:: Band, which took its sense of theatricality from
:: Britain's Roxy Music. In 1976, they formed Allah and the
:: Knife-Wielding Punks, a male and female punk-rock outfit
:: that went nowhere fast and promptly disbanded.
::
:: Rodgers and Edwards moved toward disco not because they
:: liked the music but because it seemed like the only way
:: for blacks to win a recording contract. They adopted an
:: international, high-fashion approach that they felt would
:: prevent them from being racially pigeonholed. Their demo
:: was rejected by every label in New York before Atlantic
:: president Jerry Greenberg took a personal interest and
:: signed them.
::
:: By the time the single Le Freak was released, Chic had
:: settled into a three-man, two-woman format augmented by
:: studio musicians. This record took a popular
:: gay-disco-rap phrase and turned it into slang, gave it an
:: international flavor and created a new dance craze. Their
:: minimalist sound--guitar/bass interplay, scratchy
:: funk-pop guitar lines, a wash of strings and female
:: voices that only seemed half there--became so popular
:: that Rodgers and Edwards became one of New York's hottest
:: production teams for black and white artists.
::
:: The Bee Gees had written a tune called Night Fever that
:: seemed a perfect fit for the John Travolta disco movie,
:: Saturday Night Fever, produced by their manager Robert
:: Stigwood. But Stigwood thought the title sounded
:: pornographic. He had heard the group perform a song in
:: Bermuda called Saturday Night, Saturday Night, which
:: evolved into Stayin' Alive. Manager and band decided to
:: combine the "Saturday Night" title with the name of the
:: new song and call the film Saturday Night Fever. By the
:: end of the year, it was one of the biggest grossing
:: movies in history. The Bee Gees set new records for
:: producing No. 1 hits for themselves and for other
:: Stigwood acts such as Yvonne Elliman.
::
:: Mike Chapman was another producer who had a good year in
:: 1978. The Australian had been best known for
:: collaborating with producer Nicky Chinn on recordings by
:: British glam-rock stars such as Suzi Quatro (actually an
:: American expatriate), Sweet, Gary Glitter and Mud. In
:: 1975 he moved to Los Angeles, where he came across a demo
:: tape by a Kentucky band called the Exiles. Liking what he
:: heard, Chapman scouted the group at the grand opening of
:: an apartment complex in Lexington, Kentucky. He changed
:: their name to Exile and gave them Kiss You All Over,
:: which he described as a crass pastiche of soft rock and
:: middle-of-the-road pop, with a fashionable snatch of
:: disco.
::
:: Chapman also produced Nick Glider's Hot Child in the
:: City. Glider, a veteran of the Canadian band Sweeney
:: Todd, had moved to L.A., where he noticed many young
:: prostitutes and their pimps on Hollywood Boulevard. But
:: he was unable to turn his tale of a streetwise Lolita
:: into an effective song until he rewrote it from the point
:: of view of an aging lecher.
::
:: Not all music in 1978, however, was influenced by disco.
:: Eccentric L.A. musicians managed unprecedented commercial
:: success. Steely Dan--by now consisting of Donald Fagen,
:: Walter Becker and various studio musicians--had their
:: first platinum album with Aja, which yielded three hit
:: singles, including Peg. Warren Zevon set himself apart
:: from the wave of Hollywood singer-songwriters by writing
:: tough, skewed songs on complicated subjects. Linda
:: Ronstadt cut two of his tunes in 1976 and two more in
:: 1977. His friend Jackson Browne persuaded the one-time
:: bandleader for the Everly Brothers to return from Spain,
:: where he was living, and record a solo album in 1976.
:: Browne produced Zevon's critically acclaimed debut, put
:: it wasn't until 1978 that the singer-pianist reached a
:: mass audience with Werewolves of London.
::
:: Randy Newman, the nephew of Alfred and Lionel Newman, who
:: scored music for numerous films, had been writing hits
:: for others since the early '60s, and had recorded his own
:: debut album in 1968 when he was a staff arranger at
:: Warner Brothers. His cynical, insightful
:: tunes--invariably about winners who end up losing and
:: losers who end up winning--were melodic, artfully
:: arranged and rife with hooks, but they were hardly pop
:: fare. Short People was meant to satirize bigotry, a
:: perennial Newman theme which had been growing in
:: importance for him, as evidenced by his 1974 ode to the
:: South, Good Old Boys. Short People, like much of his
:: material, was widely misunderstood--and the object of
:: angry boycotts. But the average-height (5 feet, 11
:: inches) Newman neither apologized for the song nor tried
:: to exploit the new audience it attracted.
::
:: Patti Smith, the queen of the New York City punk scene,
:: was another unlikely hit-maker. Smith, a poet and rock
:: critic who had collaborated with playwright Sam Shepherd,
:: turned to music with an independent label single in 1974
:: and made her album debut with Horses the next year. Her
:: streetwise mysticism, along with her appreciation for
:: three chords and a big beat, sustained her underground
:: reputation until she fell off the stage during a
:: performance in Florida and was hospitalized in 1977. She
:: recorded her next album, Easter, in a studio down the
:: hall from Bruce Springsteen, himself still just a
:: critic's darling. Smith's producer Jimmy Iovine
:: introduced the two, and Springsteen gave her Because the
:: Night, which she revised and parlayed into her first hit
:: single. She then went into retirement until the late
:: '80s. Ironically, this marked the first time the Boss'
:: name reached the top 20.
::
:: Queen and Kansas had more in common than a cursory listen
:: might indicate. The former were pre-punk Englishmen who
:: combined glitter and metal with harmonies to create an
:: arty arena-rock hybrid. We Are the Champions joined with
:: We Will Rock You as a double-sided single that went
:: platinum. Kansas was originally conceived as a marriage
:: of Midwestern metal and English progressive rock, though
:: by the time they recorded Dust in the Wind they had moved
:: beyond Anglo-boogie into something they considered more
:: metaphysical.
::
:: Many old and familiar sounds, too, were on the radio and
:: the charts in 1978. With Use Ta Be My Girl, the O'Jays
:: made their move from the topical songs back to romance;
:: that summer, they celebrated their 20th anniversary with
:: a show at L.A.'s Greek Theater. Eric Clapton wrote Lay
:: Down Sally in the style of soft-country crooner Don
:: Williams, with whom he formed a mutual admiration
:: society. A modest country hit for Clapton, the single was
:: covered by country singers Red Sovine and Jerry Paris.
:: Joe Walsh, who had replaced guitarist Bernie Leadon in
:: the Eagles just in time to add some overdue muscle to the
:: group on its 1976 album, Hotel California, mocked
:: superstar decadence with Life's Been Good. Speaking of
:: which, even Rod Stewart admitted that his You're in My
:: Heart was a calculated attempt to placate former lover
:: Britt Ekland, who had filed a $12 million palimony suit
:: against him. It worked, and once she withdrew the suit
:: the cavalier Rod the Mod cheerfully claimed, "It wasn't
:: totally about Britt . . . It could have been anybody I
:: met in that period--and there were a lot of them."
::
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..
:: track listing.
::
:: 01. warren zevon - werewolves of london
:: 02. eddie money - baby hold on
:: 03. patti smith group - because the night
:: 04. meat loaf - two out of three ain't bad
:: 05. nick gilder - hot child in the city
:: 06. eric clapton - lay down sally
:: 07. foreigner - hot blooded
:: 08. joe walsh - life's been good
:: 09. steely dan - peg
:: 10. o'jays - use ta be my girl
:: 11. queen - we are the champions
:: 12. bee gees - night fever
:: 13. alicia bridges - i love the nightlife
:: 14. exile - kiss you all over
:: 15. randy newman - short people
:: 16. kansas - dust in the wind
:: 17. chic - le freak
:: 18. foreigner - double vision
:: 19. rod stewart - you're in my heart (the final acclaim)
:: 20. linda ronstadt - ooh baby baby
::
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