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:: release info.
::
:: artist......> va
:: title.......> ultimate seventies 1979
:: 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....> 70:04 min
::
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:: release notes.
::
:: 1979
:: In the early '70s, disco music was primarily aimed at
:: urban gays, blacks and Hispanics, especially on the East
:: Coast. Midway through the decade, disco had gone
:: commercial and national, and white artists were beginning
:: to toy with the form. By 1979, in the wake of Saturday
:: Night Fever, a film largely about disco music and
:: dancing, disco had become mainstream and a backlash was
:: beginning that included the public burnings of disco
:: records. Due to the role of their music in that popular
:: movie, the Bee Gees were the white group most associated
:: with disco. But the 1979 hits of Rod Stewart, an
:: established rocker, and Blondie, punkers gone pop, were
:: perhaps more emblematic of the music's across-the-board
:: prominence.
::
:: For his longtime fans, Do Ya Think I'm Sexy? was the last
:: nail in Rod Stewart's artistic coffin; his "sellout" to
:: disco was taken as proof that there was little the man
:: wouldn't do for a hit. And his fans weren't the only ones
:: upset. Brazilian songwriter Jorge Ben sued, claiming that
:: the song borrowed too freely from Taj Mahal, his tribute
:: to the young American blues recreationist. Stewart,
:: meanwhile, performed the tune on A Gift of Song--Music
:: for UNICEF, a benefit television special for needy
:: children, and donated royalties from the single to the
:: United Nations group. The concert had been conceived and
:: built around the Bee Gees by British impresario David
:: Frost. They performed Too Much Heaven and donated all
:: royalties from its release as well.
::
:: Blondie, fronted by Deborah Harry, a longtime downtown
:: Manhattan scenemaker who exploited her physical
:: similarities to Marilyn Monroe with overtly sexual
:: appeals to her audience, emerged from CBGB, the Bowery
:: dive that spawned the U.S. punk movement. One of the few
:: seminal punk groups with chart aspirations, Blondie had
:: been performing Heart of Glass for some time before
:: incorporating a disco beat into their original girl-group
:: sound for their Parallel Lines album. Harry wrote the
:: lyrics as a retort to the girl-group hits in which the
:: singer gives her life over to boys and love, and is left
:: empty-handed. Guitarist Chris Stein, Harry's boyfriend
:: and song-writing partner, always considered the song a
:: novelty item and had been reluctant to record it, even as
:: album filler.
::
:: The year also produced some disco anthems. Gloria
:: Gaynor's I Will Survive became the theme song at Studio
:: 54, the glitzy, exclusionary Manhattan club that
:: symbolized the music's excesses and celebrity fixations.
:: The song also marked a comeback for Gaynor, who'd been
:: known as the "Queen of Disco" in the early '70s. She
:: recorded I Will Survive for her album Love Tracks while
:: recovering from spinal surgery following an onstage fall.
:: Initially, this was the B side of Substitute, but disco
:: DJs flipped the single to create a new hit.
::
:: Sister Sledge was a group of four sisters from
:: Philadelphia who'd been around most of the decade with
:: scant results. Produced by the hot team of Nile Rodgers
:: and Bernard Edwards of Chic, We Are Family became the
:: Pittsburgh Pirates' theme song as that team came from
:: behind to take the World Series from the Baltimore
:: Orioles that fall. It also became the anthem of gay
:: activists marching on Washington, D.C.
::
:: The Pointer Sisters were yet another family group.
:: Launched in the early '70s as a scat-swing trio, they
:: expanded into a quartet and had pared back to three
:: members doing pop R&B by the time producer Richard Perry
:: signed them to his new Planet label and fixed them up
:: with Bruce Springsteen's Fire.
::
:: Producer Frederick Knight (a soul singer for the Stax
:: label who hit with I've Been Lonely for So Long in 1972)
:: wrote Ring My Bell for 11-year-old Stacy Lattisaw, who
:: was expected to sign with his production company. He
:: wrote it for her with the telephone in mind, but when
:: Lattisaw went with a major label instead, he sexed up the
:: idea for Anita Ward, a former gospel singer who agreed
:: reluctantly to sing it. Knight sang backup on this
:: version, which was one of the first records to use
:: synthesized drums, a practice that would become more
:: widespread as disco music became more pervasive.
::
:: As the follow-up to Shake Your Groove Thing, the ballad
:: Reunited sealed the comeback of '60s soul duet Peaches
:: and Herb. Actually, Linda Greene was the third Peaches
:: enlisted by Herb Fame, who himself had spent most of the
:: decade outside the music business working as a cop in
:: Washington, D.C.
::
:: One of the year's biggest successes was also one of its
:: shortest-lived and inspired a backlash of its own. The
:: Knack was known as a "skinny-tie band" and was heavily
:: promoted as the new Beatles, both for their look and
:: sound. Punks reviled the power-pop group for allegedly
:: taming the angry sound of punk rock to make it acceptable
:: to radio and record labels, and their derision fueled a
:: "Knuck the Knack" movement. The Knack cut their album
:: (produced by Mike Chapman, who also worked with Blondie)
:: in 11 days for just $18,000, and My Sharona, with lyrics
:: by lead singer Doug Fieger about his new girlfriend, was
:: a runaway hit.
::
:: With What a Fool Believes, singer-songwriter Michael
:: McDonald, who had joined the band in 1975, completed his
:: transformation of the Doobie Brothers into a slick
:: blue-eyed soul band. McDonald began writing the song on a
:: flight from New York to Los Angeles when he imagined a
:: pair of former lovers meeting in a restaurant--one of
:: them remembering their affair as the highlight of his
:: life, the other seeing it as a meaningless fling. But
:: McDonald couldn't flesh out the idea until he hooked up,
:: at the suggestion of Doobies bassist Tiran Porter, with
:: singer-songwriter Kenny Loggins. Loggins provided the
:: bridge one afternoon at McDonald's beach house, and the
:: two finished the song over the phone later in the week.
::
:: J.D. Souther was an L.A. songwriter and a favorite of
:: Linda Ronstadt and Bonnie Raitt. Earlier in the decade,
:: Souther had worked with the Souther-Hillman-Furay Band, a
:: country-rock supergroup put together by Tinseltown mogul
:: David Geffen. They'd had one quick hit (Fallin' in Love)
:: in 1974 and faded fast. You're Only Lonely was Souther's
:: first and only solo hit.
::
:: America's Cheap Trick and England's Electric Light
:: Orchestra represented different aspects of commercial
:: rock. Cheap Trick, a suburban Illinois band with a goofy
:: image and arena-rock longings, had been plugging away for
:: several years with no luck outside of Japan, where they
:: were superstars. In 1978 they cut a live album for
:: release in Japan only, but it sold well enough as an
:: import that Cheap Trick at Budokan was soon issued in
:: America. The album yielded I Want You to Want Me and went
:: platinum in the States, but it was triple platinum in the
:: Land of the Rising Sun.
::
:: Britain's Electric Light Orchestra, a Move spin-off which
:: modernized Beatlesque melodies and harmonies with strings
:: and synthesizers, had always been more popular in America
:: than in England since forming in 1971. The band had a
:: steady string of hits starting in 1975, and in 1978 they
:: launched an ambitious tour, opening shows by emerging
:: from a laser-equipped spaceship. But they relied so
:: heavily on taped backing tracks α la American Bandstand
:: that critics accused them of lip synching their lyrics. A
:: chastened ELO took the year off, though lack of touring
:: didn't keep Don't Bring Me Down, dedicated to the Skylab
:: space program, from becoming their biggest American hit
:: ever. Somehow, in the year of disco music, a sound that
:: used taped backing tracks in place of live bands, the
:: criticism leveled at ELO was ironic.
::
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:: track listing.
::
:: 01. chic - good times
:: 02. the pointer sisters - fire
:: 03. sister sledge - we are family
:: 04. j.d. souther - you're only lonely
:: 05. cheap trick - i want you to want me
:: 06. the bee gees - too much heaven
:: 07. electric light orchestra - don't bring me down
:: 08. anita ward - ring my bell
:: 09. peaches and herb - reunited
:: 10. donna summer - bad girls
:: 11. rod stewart - do ya think i'm sexy
:: 12. gloria gaynor - i will survive
:: 13. bad company - rock 'n roll fantasy
:: 14. blondie - heart of glass
:: 15. the bee gees - tragedy
:: 16. the knack - my sharona
:: 17. eric clapton - promises
:: 18. the doobie brothers - what a fool believes
::
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