Posts Tagged ‘Stampeders’

Ten From The Seventies

June 28, 2013

Originally posted May 27, 2009

It’s been a while since I’ve looked at some of the numbers surrounding the mp3 collection, so I thought I’d do that today. (Actually, I did a post of that sort in February, but it disappeared that day; those things do happen from time to time.)

As of this morning, the collection (I’d considered calling it a “library,” but that sounds a bit, well, pretentious) contains 37,849 mp3s. The earliest recorded is “Poor Mourner,” performed by the Dinwiddie Colored Quartet in Philadelphia on November 29, 1902. I have a number of things recorded (or at least released) this year, the most recent purchase being Bob Dylan’s Together Through Life, which I got early this month (and quite enjoy).

Most of the music comes from the 1960s and 1970s, which shouldn’t be a surprise to anyone who stops by here. Here’s a breakdown by decade from the middle of the Twentieth Century onward:

1950s: 1,152
1960s: 8,820
1970s: 13,445
1980s: 3,327
1990s: 4,525
2000s: 5,319

As I expected – and said above – the 1960s and the 1970s dominate, because that’s where my musical heart and major interests lie. And I have demonstrably less interest in the 1980s than in the music that’s come along since, which is no surprise. Taking things a step further, I thought it might be instructive – or at least interesting – to pull the Seventies apart and see how each year is represented in the collection:

1970: 2,627
1971: 2,513
1972: 2,175
1973: 1,556
1974: 1,107
1975: 1,038
1976: 802
1977: 674
1978: 528
1979: 425

Well, that’s about how I thought it would curve. Maybe I’ll look at other decades in the future. But for now, here’s one recording from each year of the 1970s, selected more or less randomly.

Ten From The Seventies
1970: “Friend of the Devil” by the Grateful Dead from American Beauty
1971: “Finish Me Off” by the Soul Children from Best of Two Worlds
1972: “By Today” by Batdorf & Rodney from Batdorf & Rodney
1973: “Come Strollin’ Now” by Danny Kortchmar from Kootch
1974: “Ramona” by the Stampeders from New Day
1975: “Get Dancin’” by Van McCoy & The Soul City Symphony from Disco Baby
1976: “I Got Mine” by Ry Cooder from Chicken Skin Music
1977: “People With Feeling” by the Three Degrees from Standing Up For Love
1978: “Rover” by Jethro Tull from Heavy Horses
1979: “One Way Or Another” by Blondie, Chrysalis 2336

The best known of those, likely, are the two that bookend the group: the Grateful Dead’s “Friend of the Devil” and the Blondie single.

The Soul Children have popped up here from time to time. “Finish Me Off” is a great vocal workout by a group that I think was in the shadows as Memphis-based Stax began to fade in the early 1970s.

Batdorf & Rodney was a singer-songwriter duo that had a couple of good but not great albums during the years when there were similar duos on every record label and in every barroom. Batdorf & Rodney wasn’t among the best of them, but neither was the duo among the worst.

Danny Kortchmar was one of the more prolific session guitarists of the 1970s; his list of credits is impressive. For his 1973 solo album, he pulled together a number of the other top session musicians, including Craig Doerge on keyboards and horn player Jim Horn. (I think that’s Horn on the extended solo in “Come Strollin’ Now,” but it could be Doug Richardson.)

The Stampeders of “Ramona” are the same Stampeders who did “Sweet City Woman,” a No. 8 hit in 1971. The banjo is gone, and so is the quirky charm that it lent to the group’s sound. “Ramona” sounds like the work of any other mid-Seventies band. Oh, well.

Two of these are aimed at getting us out of our chairs and onto the dance floor. The Van McCoy track does a better job of that than does the track by the Three Degrees, maybe because McCoy has no other aim than to get us dancing. The Three Degrees, on the other hand, were trying to put across a serious message in the lyrics. By that era of the Seventies, though, it was pretty much about the boogie, not the words.

The Ry Cooder is your basic Ry Cooder track: rootsy and a little sardonic and fun. This one comes from one of his better – and most varied – albums. The Jethro Tull track comes from an album I tend to forget about when I consider the group. And every time I’m reminded of it, I remember that Heavy Horses has aged better, it seems, than most things in the Tull catalog, certainly better than Aqualung (which I love anyway).

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