Release Date: November 1977 Produced by Tight Corporation (Clarence Satchell) Genre: R&B, Soul, Funk Label: She Records (a subsidiary of Atlantic Records)
Trivia: “Riding High” is one of those classics that most people do not know exists, but those that know this album love it.
Dayton, Ohio band Faze-O released their debut album “Riding High” in 1977. They made their mark on the US charts reaching #98 on the US Top 100 albums chart as well as making it to #19 on the R&B albums chart. The lead single “Riding High” got them into the top 10 reaching #9 on the US R&B singles chart. Unfortunately, this success was not duplicated on their next two albums.
The album was produced by Tight Corporation which is actually the funk band Ohio Players lead by the production talents of Clarence Satchell.
Several of the songs on the album have a similar sound to Ohio Players’ signature sound such as “Funky Reputation,” “Toejam” and “Get Some Booty.”
"Riding High (1977)
The following is a user review I found on AllMusic:
Good ole dirty FUNK played like nobody's business, the album boasts the massive cut "Ridin High" which is their only huge hit and the album cuts Funky Reputation, Toe Jam, Get Some Booty & Test - This Is Faze-O. This album needs no introduction to the FUNK world as it was produced by the biggest FUNK band of the time "Ohio Players" now this is where we get to the reals, all these guys are great musicians in their own right and can throw down the FUNK but deeply listening to the sounds, one who knows their music can point out that they were deep rooted with the band who produced them. FUNK fans it's a must have but for newbies, this is the only one u need and ur good to go.
The following is a short review from Picadilly Records:
Having made an impact on the Billboard charts in 1978 with their most successful single “Riding High”, Faze-O stake their claim as masters of soulful, groovy funk music. Produced by Clarence Satchell of the Ohio Players, the whole album percolates with heavy guitar and a medley of fresh, funky keyboards.
The following is a review found on Funk My Soul:
A spacey soul classic with a sound that never gets old!
Faze-O will be forever remembered for their massive cut “Riding High” a stretched out slow funk jam that has amazing keyboards, floating guitars, and a super-dope groove that’s stayed fresh from the moment it was first set to wax back in 1977! This album’s the group’s first, and best — and it’s a really wonderful record that blends together funky fusion and heavy soul filled with killer cuts arranged by the Ohio Players, and with lots of great keyboards by the group! Includes, of course, the hit “Riding High” — plus “Toe Jam” and “Funky Reputation.
This group was produced by the Ohio Players and this album by these midwest funkers have all the earmarks of an Ohio Players production: deep and heavy drums and fills, funky ass bass, familiar horn lines, burbling keyboards, clavinets, and synths, and funky vocals. The track that gets the most attention from this album is “riding high”, an all time funk bomb! There wasn’t a time back in the late 70’s that you did not hear this cut on the radio or at one of your relatives or friends houses, especially at a late night party. This is a real mid-tempo smooth ride all the way until the end of the song. 2 songs on the album deserve special attention: the throbbing bass/synth funk of “funky reputation”, a blazing funk jam that you just have to blast out of your speakers on a hot saturday afternoon, and also “get some booty”(!) (yes, that is the title of this short,3 minute track! don’t worry, nothin’ nasty, just a fast paced funk frenzy with much emphasis on getting the boo-tay on the dance floor!). Other songs follow in the Ohio Player(s) style, but these 5 guys make a good funky sound all on their own.
The following review is December Decmber 3, 1977 issue of Billboard Magazine:
Five man disco/R&B group debuts on the new She label distributed by Atlantic. The sound is a cross between Slave and The Ohio Players who arranged all seven selections. Synthesizer, percussion, clavinet and guitar spark the instrumentals which range from out and out funk and R&B flavored mid-tempo ballads. Best Cuts: Riding High, Funky Reputation, Toe Jam.
The song “Riding High” is a classic R&B tune that is occasionally heard on the airwaves from time to time. Many consider it to be a Quiet Storm classic.
Trivia: Dean Friedman is one of those artists that pretty much has gone unnoticed by the masses but has maintained a healthy enough audience to continue releasing albums into this current decade and perform a steady stream of concerts to this very day.
Dean’s popularity began with the hit single “Ariel,” it was the first of two hits from Friedman's eponymous debut LP, Dean Friedman. "Ariel," however, was his only hit in North America. It reached number 26 on the U.S. Billboard Hot 100 chart, number 17 on the Cash Box Top 100 and number 19 in Canada. The song spent 22 weeks on the Billboard chart and 24 weeks on Cash Box.
"Ariel" has been described as a "quirkily irresistible and non-categorical pop song about a free spirited, music loving, vegetarian Jewish girl", from Paramus, New Jersey, where Friedman grew up. The lyrics describe the young girl from "deep in the bosom of suburbia," who sang "mighty fine," with "'Tears on My Pillow' and 'Ave Maria'" perhaps implying that he was Roman Catholic. It describes the girl Ariel, "standing by the [since dismantled] waterfall at Paramus Park", one of the many shopping malls in Paramus. The quarters she was collecting for "the friends of BAI" refers to the New York radio station WBAI, and their listener association, while the song also makes reference to "channel 2," which refers to local CBS affiliate WCBS-TV.
Chicago radio superstation WLS, which gave the song much airplay, ranked "Ariel" as the 60th most popular hit of 1977. It reached as high as number four on their survey of August 20, 1977.
Lifesong, the record label which produced "Ariel" insisted Friedman change the song's second verse, which refers to the eponymous Ariel as "a Jewish girl", believing that radio stations might use it as an excuse not to play the record. The third verse was also removed to make the single shorter for radio. The management company received threats from the Jewish Defense League protesting against the edit and, at Friedman's insistence; the original version was put on the album.
"Ariel" (1977)
“Woman Of Mine” a more serious adult contemporary tune was Friedman’s first chart appearance in the UK reaching #52 and also scored on the charts in Scotland at #47. The song combines acoustic guitar with a super-smooth classic rock styled electric guitar solo in the middle of the song. Many that have heard this song have felt the song should have been a top ten hit.
“Humor Me,” an album standout is described by Dean Friedman as a love song for hopeless romantics. The song blends an irresistible combination of acoustic guitar and electric keyboards with an understated backing vocal chorus. The song is somewhat similar to a Michael Franks tune.
Here's a little lesser known trivia... Tony Levin, who is best known for playing electric bass with famous musicians such as King Crimson and Peter Gabriel as well as contributing to more than 500 albums for artists such as Paul Simon, Cher, Alice Cooper, Bryan Ferry, Seal, James Taylor and Carly Simon, also performed electric bass on Dean's first two albums.
Trivia: “Rose Royce II: In Full Bloom” is the 1st true studio album by Rose Royce. Their first actual album was the Original Soundtrack album for the film “Car Wash” from which they achieved two major hit singles “Car Wash” and “I Wanna Get Next To You.” “In Full Bloom,” though it did not have any major hits in the US was a bigger hit than “Car Wash” in the US and was certified Platinum by the RIAA. This was their only platinum in the US.
The album is solid and is full of dance and quiet storm hits. “Ooh Boy” one of the albums rhythmic ballads gives us a Michael Jackson sort of feel.
“You’re My World, Girl” not released as a single is very similar to “I Wanna Get Next To You.” Most of the songs on the album feature the lead vocals of the incomparable Gwen Dickey but “You’re My World, Girl” features the vocals of Kenny Copeland as does “I Wanna Get Next To You.
“Do Your Dance” and “It Makes You Feel Like Dancin’” both follow in the same vein as “Car Wash” both made it to #20 on the US Dance/Disco charts. “Do Your Dance” made it to US #39, becoming Rose Royce’s 3rd US top 40 hit out of four total.
The album highlight “Wishing On A Star” ironically was not a hit in the US. It only made it to #101 on the US singles chart and #52 on the US R&B chart. As time has gone by the song though has become a classic in the US. In other parts of the world, the song was a huge hit reaching #1 in France and #3 in the UK. The song was certified Silver in the UK.
"Wishing on a Star" was written by former Undisputed Truth member Billie Rae Calvin. The song was covered by several artists and was finally a hit in the US in 1992 by the Cover Girls but it is the original version by Rose Royce that is now most recognized in the US and around the world.
Release Date: June 1977 Produced by Gary Klein, Charles Calello (produced “My Heart Belongs To Me) Genre: Pop, Easy Listening, Adult Contemporary Label: Columbia
Trivia: “Superman” is Barbra Streisand’s 19th studio album (if you include the soundtracks it is her 27th album). At this point in time “Streisand Superman” was her second most successful album worldwide topped only by 1976’s “A Star Is Born” soundtrack. As the years progressed other such as 1980’s “Guilty,” 1985’s “The Broadway Album” and 1997’s “Higher Ground” have outperformed “Streisand Superman.”
Having been released only 7 months after the “A Star Is Born” soundtrack, “Superman” follows with a similar pop-rock feel. Two of the song that showed up on the album (“Answer Me” and “Lullaby For Myself”) were written for “A Star Is Born” but did not make it into the movie. Streisand co-wrote “Answer Me” with Paul Williams and Kenny Ascher. Streisand also co-wrote the rock inspired “Don’t Believe What You Said.”
Many have stated Streisand’s cover of “New York State of Mind” fit her so well that it has become the definitive recording. Billy Joel, who wrote the song claimed, “I thought, ‘This is one of the greatest woman singers ever, doing … me? Me?’ I really loved it, though, because it kind of finally made me legitimate in this business to my mother.”
The first single release was the classic ballad “My Heart Belongs To Me” which was a huge success reaching the Top 5 in both the US and Canada. Columbia Records and Barbra put together a “publicity film” for “My Heart Belongs To Me.” It was shown at Columbia’s 1977 convention to industry insiders. Barbra lip-synched to the track. During the musical interlude, she “conducted” the orchestra, then started coughing from the smoke machines, all very comedic. At the end of the video, she spun toward the camera and made a funny face.
My Heart Belongs To Me (1977)
The second single, the title track “Superman,” was released about a year and a half after the album and did not fare to well, but was a moderate hit on Adult Contemporary radio.
Singles and Chart Positions: “Moody Blue” #4 (Belgium), #5 (New Zealand), #6 (UK, Norway), #9 (South Africa), #10 (Netherlands), #17 (Australia) #31 (US), #57 (Canada), #1 (US Country Songs), #2 (US Adult Contemporary, Canadian Adult Contemporary), #3 (Canadian Country Songs) “Way Down” #1 (Ireland, UK), #5 (France), #7 (New Zealand), #9 (Netherlands), #11 (Norway), #12 (Sweden, Spain), #13 (South Africa), #14 (Belgium), #15 (Canada, Germany), #18 (US), #94 (Switzerland), #1 (US Country Songs, Canadian Country Songs), #15 (US Adult Contemporary), #23 (Canadian Adult Contemporary) Singles Certifications:“Moody Blue” Gold (US), “Way Down” Gold (UK), Platinum (US) Other Charting Tracks: “She Thinks I Still Care” (#1 US Country Songs), “Pledging My Love” (#1 US Country Songs) Best Tracks: “If You Love Me (Let Me Know)”, “Let Me Be There,” “Way Down,” “Pledging My Love,” “Moody Blue,” “She Thinks I Still Care”
“Moody Blue” is a historical album. It has the distinction of being Elvis’ last completed and released album during his lifetime.
Moody Blue is the 43rd and final studio album by Elvis Presley (this is including his soundtrack albums), released by RCA Records the month before his death in August 1977. The album was a mixture of live and studio work, and included the four tracks from Presley's final studio recording sessions in October 1976 and two tracks left over from the previous Graceland session in February 1976. "Moody Blue" was a previously published hit song recorded at the earlier Graceland session and held over for this album. Also recorded at the February session was "She Thinks I Still Care". "Way Down" became a hit after Presley's death less than one month after this album's publication. The album was certified Gold and Platinum on September 12, 1977 and 2x Platinum on March 27, 1992 by the RIAA.
The album was originally released on blue vinyl. During this time period colored vinyl was very rare and it was assumed that the blue vinyl edition of this album would be a collectors item. However it is the first pressings of the black vinyl that have become collectible as these were pressed for a short time immediately before Presley's death. After his death RCA shifted back to the blue vinyl.
The album made it into the Top 40 before his passing and then made it to US #3 after his untimely death in August 1977.
The recording also featured J.D. Sumner singing the words "way on down" at the end of each chorus down to the note low C (C2). According to the Guinness Book of World Records it is the lowest recorded note ever produced by the human voice, first accomplished by Sumner in a 1966 recording of the hymn "Blessed Assurance."
"Moody Blue" was written by Mark James who also penned Elvis' "Suspicious Minds". "Moody Blue" was Presley's last No. 1 hit in his lifetime, topping the US Billboard Hot Country Singles chart in February 1977. “Way Down” also topped the Country chart but didn’t reach #1 until after Presley’s death.
RCA issued a very limited quantity of blue vinyl pressings of the 7" single "Moody Blue." I have seen mint copies of this issue going for as much as $400 US currency.
The guitar heavy “Way Down” was released as a single in June 1977 and initially reached #31 on the US chart just ten days before Elvis’ death (the same peak position of the single “Moody Blue” a few months earlier). After his passing the song immediately rose to #18 and stayed there for two weeks. The song was released Platinum and was his biggest selling hit since 1972’s “Burning Love.”
Release Date: February 4, 1977 Produced by Fleetwood Mac, Ken Caillat, Richard Dashut Genre: Soft-Rock, Pop-Rock, Pop, Classic Rock Label: Warner Brothers
Singles: “Go Your Own Way,” “Dreams,” “Don’t Stop,” “You Make Lovin’ Fun”
Singles Certifications: “Go Your Own Way”: Silver (UK), Gold (US), “Dreams”: Silver (UK), Gold (US)
Other Charting Tracks: "The Chain" #81 (UK), #93 (Ireland), #6 (US Rock Digital Tracks), "Songbird" #115 (UK), "Never Going Back Again" #35 (US Rock Digital Tracks) Best Tracks: All Tracks
By the time "Rumours" was released Fleetwood Mac had been in existence for near ten years and they did achieve success in the UK with four top ten hits and top ten top albums. But once 1971 rolled around the hits dried up for this British band lead by John McVie and Mick Fleetwood. What was the next move? They added a female vocalist, Christine mcVie (John's wife) and American guitarist, songwriter and singer Bob Welsh, who had been gaining a name with his band Head West. But not much really came of this new collaboration - although they were gaining a steady popularity in the US. Finally it was the end of 1974 and Bob Welch left the band. The band was in peril - they lost a bit of direction. It was New Year's Eve 1974 (going into 1975) that American's Lindsey Buckingham and Stevie Nicks joined the band. Lindsey Buckingham's and Stevie Nicks' influence was felt instaneously after joining. The album "Fleetwood Mac" was released in the summer of 1975 and was the band's first major worldwide hit. Though "Fleetwood Mac" was highly successful, it was the next album "Rumors" that went way over the top. It far surpassed all expectations.
When it came time for the band to record "Rumors" they were falling apart. 1975's "Fleetwood Mac" was such a huge success but with that success came turmoil. John and Christine's marriage ended, they began having problems in the summer of 1973 and as their music grew more successful the stress on their marriage also grew. Lindsey Buckingham's and Stevie Nicks' romantic relationship also ended. Their new found success and wealth led to heavy consumption of alcohol and drugs as well as deep misunderstandings. If that wasn't enough Mick Fleetwood and Stevie ended up having an affair - this just complicated things much further. With all this going on the challenges of recording an album seemed all the more heightened. Stevie Nicks had commented, "It took thirteen months to record and it took every bot of inner strength we had. It was very hard on us." Maybe it was all this drama that made "Rumours" the great album it is. The songs were brutally honest with the most personal and touching lyrics the band has written in their entire career - prior to and after "Rumors." As well the performances (both vocal and instrumentally) are deep and to the soul. The record has an inbred soul about it that soak right into your very being.
Christine McVie said, "We refused to let let our feelings derail our commitment to the music." In the end their commitment paid off with one of the most successful albums of the decade and of all-time. The album spent 31 non-consecutive weeks at #1 on the US albums chart and has sold more than 40 million copies worldwide. The album won the Album of The Year Grammy Award along with being nominated for a Grammy for Best Pop Performance by a Duo or Group with Vocals. It also won two American Music Awards and one Juno.
When it came time to edit the album and test running orders for side one and two once again drama arose. Seeing that in 1976/1977 vinyl albums were limited to around 20 minutes per side some songs had to be eliminated and/or cut down in length. One such song to be eliminated was Stevie Nicks' "Silver Springs." The original version was over six minutes long and it was decided the song was too long for the album. This was done without Stevie's knowledge. Ken Caillat and Lindsey Buckingham later took Stevie out to the studio parking lot to break the news. To appease her they told her they were replacing the song with "I Don't want To Know," a song she had written a few years earlier. Nicks was furious with this news as she really loved "Silver Springs" and felt it was one of her best works.
Two months before "Rumours" was released Lindsey Buckingham's "Go Your Own Way" was released as a single and the band chose "Silver Springs" as it's b-side, hoping this would make Stevie happy. Instead it added insult to injury. Nicks' "masterpiece" had been relegated to b-side status and at that the a-side, written by Buckingham, was less than complimentary to her with lines such as "you can go your own way" and "shacking up is all you want to do."
The release of "Go Your Own Way" saw an excited anticipation coming from Fleetwood Mac fans around the world. Fans got their first glance of what was just around the corner. This was the first Fleetwood Mac hit to be written by Lindsey Buckingham and to feature his lead vocals. In recording the drum parts for the song Lindsey Buckingham envisioned a pattern to similar to Charlie Watts' drum fills on the Rolling Stones' "Street Fighting Man." Buckingham passed this idea to drummer Mick Fleetwood. In the studio Fleetwood did his best to mimic what he heard. But the result was far from what Watts had played. Despite the quirky rhythm and disoriented style Buckingham felt Mick's drum work was a perfect fit for the song. Mick credited his dyslexia for the eclectic drum patterns.
"Go Your Own Way" was Buckingham's message song to Stevie Nicks. In short he was telling her "go ahead date other men and live your miserable life. Buckingham was not one to mince words. He was pretty forward about how he felt and made it known to Stevie.
Lindsey Buckingham wrote or co-wrote four songs on the album and sang or shared lead vocals on six songs. Buckingham's voice was heard on the album more than anybody else's. He had the fortune of having the first single release and the opening track on the album. "Second Hand News," which began it's life as an acoustic demo titled "Strummer," saw "Rumours" beginning the tale of the break-up of the Nicks-Buckingham romance. Stevie Nicks commented that Lindsey's songs may have been a bit on the angry side, but they were honest. The first lyrics, "I know there's nothing to say, someone has taken my place," set the mood for the song. The aggressive drum beat symbolizes the songs angst. Buckingham wanted to infuse a slight disco beat similar to the chugging rhythms he heard in the Bee Gees' 1975 hit "Jive Talking'." Buckingham tried several different way to replicate that sound. He ended up pounding on the seat of a naugahyde chair in the studio and discovered the perfect time and sound for the song.
Lindsey Buckingham's "Second Hand News" was followed by Stevie Nicks' "Dreams," which in many ways was an answer to songs to the Buckingham song. Maybe Nicks' motive was not as intentional. In an effort to not rock the boat anymore than it had already been shaken Buckingham pretty much kept "Second Hand News" a secret from Stevie - until the last minute. Stevie's message wasn't quite as "in your face" as Lindsey's was. Stevie said she was trying to be philosophical and he was just plain mad. She used quite a bit of symbolism in her phrasing, but the message still came across loud and clear. In the opening line Stevie says, "Now here you go again, you say you want your freedom." Makes one wonder was it Mr. Buckingham that originate this breakup? Stevie follows it up with, "Well who am I to keep you down?" Possibly the split was a mutual agreement.
"Dreams" (1977)
Despite the fact that Stevie Nicks' presence and voice with Fleetwood Mac was a major driver of the success for both "Fleetwood Mac" and "Rumors," her participation was actually very low. She was the only band member that did not play an instrument on the album. She experienced a fair amount of down time between her parts. In the meantime Stevie would walk over to an unused studio down the hall from the Record Plant studio Fleetwood Mac recorded their sessions. This studio had been built for Sly Stone. Nicks would take her crocheting, electric piano, books and art as sources of stimulation. As she sat on a big black velvet bed that was set up that studio with red wall surrounding her, she wrote "Dreams," within ten minutes. Nicks often called "Go Your Own Way" and "Dreams" twin songs as they both chronicled the struggle to untangle their toxic romantic partnership from their wildly successful professional one.
"Dreams" was the second song on the album and became the second single. Where "Go Your Own Way" was a huge and memorable hit, "Dreams" was an even bigger hit sailing quickly to #1 and has the status of being Fleetwood Mac's only hit to top the US charts (the song their first of two #1 hits in Canada). This had to have been a great source of vindication for Stevie in that her song connected with more music listeners than Lindsey's did and though in many ways she was overshadowed by Christine McVie it was Stevie that wrote and sang the band's biggest hit.
The Buckingham/Nicks drama continued with the next song "Never Going Back Again." The lyrics were sparse in this song but once again in Lindsey Buckingham's style they were to the point. Basically he was talking about eh hurt and pain he experienced in love and that he will never go down that road again. The song was used as the b-side to "You Make Loving fun" on the UK pressing of the single.
"Don't Stop," the album's third single release was written and sung by Christine McVie (she shared the lead vocals with Lindsey Buckingham). This song ended up being her biggest hit and may possibly be Fleetwood Mac's best known song overall. "Don't Stop" already a huge hit and known worldwide gained even more notoriety when US President Bill Clinton used the song as his campaign theme during his 1992 presidential campaign and was prominently featured at the 1992 Democratic national Convention. When Clinton won he convinced the group (who had disbanded) to reunite and perform at his inaugural ball in January 1993.
"Don't Stop" (1977)
"Don't Stop" reflects Christine's views after her eight year marriage to Fleetwood Mac bassist John McVie ended. She took an optimistic approach realizing that yesterday's gone so keep on moving forward - don't stop thinking about tomorrow - don't stop it'll soon be here - don't you live in the past. This was a healthy song with a good healthy outlook about what the future has in store if you just keep on going forward and letting go of the past. This message she said was more directed to John to let him know that time will heal the wounds. Christine commented, "I'm definitely not a pessimist."
"Rumours" originally was going to be named "Yesterday's Gone" after the line in the song "Don't Stop." John McVie came up with the title "Rumours" after realizing there was a lot of talk going around in Hollywood about the personal drama Fleetwood Mac was experiencing.
Next up we find "Go Your Own Way" which was discussed earlier in this post. Nicks however commented, "I very much resented him (Lindsey Buckingham) telling the world that 'packing up, shacking' with other men was all I wanted to do.
The delicately penned Christine McVie tune "Songbird" closed side one of "Rumors" with a sense of beauty and feeling of passion. Though it was not released as a single "Songbird" is one of the most emotionally powerful songs on the album. Christine McVie was reaching inside for a state of mind that was missing in Fleetwood Mac at the moment. They were a unit that was able to produce a product but were lacking in the side of a true emotional bond and devotion to the heart and soul of the people with which they worked and had once loved. The professionalism was there, the angst was there, the love of the art was there... but the love of each was missing. Christine McVie wrote "Songbird" to recapture that love.
Christine said that during the recording of "Rumors", "Songbird" held Fleetwood Mac together during their hard times. Once they heard the song, they reflected on how much they had been through together and how much love they shared.
Christine wrote the song during a time of solitude in about thirty minute when she woke up at 3:30 in the morning with the idea in her head. She said it was alike gift from an angel. It's as if the song was a short and gentle prayer of love - love that she wished upon those around her and for herself. During the recording session, producer Ken Caillat wanted to capture the song's warmhearted melancholic energy and felt the song needed the ambience of a concert hall. The song was recorded in a one-night session in Berkeley at the University of California's Zellerbach Auditorium. Ken Caillat decided the song needed to remain as McVie played it for him initially - with a stripped down production - McVie's voice and her piano. In order to set the mood Caillat ordered a nine-foot Steinway piano to be set up in the auditorium and as a surprise for Christine had requested a bouquet of roses to placed on Christine's piano with three colored spotlights to illuminate them from above. When Christine arrived the house lights were dimmed so all she could see were the flowers and piano. She nearly broke into tears then started to play.
"Songbird" charted on the US Rock Digital Tracks chart in 2011 most likely due to a cover version done on the popular TV program "Glee."
Flipping the record over we find "The Chain" opening Side Two. "The Chain" is the only song that is written by all five members of the band - Lindsey Buckingham, Christine McVie, Stevie Nicks, Mick Fleetwood and John McVie. The song was a complicated undertaking as it was based on instrumentation from an unreleased Christine McVie demo called "Keep Me There" and a recording by Stevie Nicks which were both recut and heavily remixed and blended into the song. John McVie added his solo using a fretless bass guitar. The song was a combination of varying sources. Finally the lyrics came. Stevie brought some lyrics to the studio for the song which she felt would work really well. Mick Fleetwood and Lindsey Buckingham liked what he saw and went to work to piece it together. Lindsey arranged and made a song out of all the bits and pieces the band had recorded over the past several months. The band ended up calling it "The Chain" because it was a bunch of pieces linked together.
"The Chain" (1977)
"The Chain" charted in 2009 in both the UK and Ireland after it had been reinstated as the BBC Formula One theme.
"You Make Loving Fun" was the fourth and last single released from "Rumors." Despite the fact that the album had already sold millions of copies throughout the US, "You Make Loving Fun" was still a huge hit and sold well reaching #9 in the US and #7 in Canada. The song was another one of Christine McVie's uplifting tunes. She wrote it about her boyfriend at the time, Curry Grant, who was the lighting director for Fleetwood Mac. In order to avoid any emotional flair up Christine told then husband John McVie that the song was about her dog. John later found out it was about Grant, with whom Christine was having an affair.
The next track "I Don't Want To Know" was written by Stevie Nicks in 1974 before joining Fleetwood Mac. Buckingham and Nicks never recorded the Buddy Holly influenced song officially but did perform it live in concert a few times.
The story of "I Don't Want To Know" begins with the song "Silver Springs. Written by Stevie Nicks "Silver Springs" was left off the album due to the fact, that at over six minutes, it was simply too long. Back in the seventies on a vinyl album you could fit only about 22 minutes of music per side. In order to include "Silver Springs" the band would have had to cut at least 30 seconds off of all the other songs on the album. The band and producers really wanted to see the song included on the album but it was not feasible. Instead without Stevie's knowledge it was decided to include "I Don't Want To Know." They were hoping to please Nicks by including another of her songs. Instead she was upset that she had been kept in the dark until the last minute. The news was broken to her when it was time to record the vocals.
"Silver Springs" was used for the b-side of the album's first single "Go Your Own Way" and received some attention and airplay at that point.
Christine McVie had a gift for writing songs that tug at those heart strings and "Oh Daddy" is one of those wonderfully beautiful songs. This poignant song was written about Mick Fleetwood and his wife Jenny Boyd, who had just gotten back together. The band's nickname for Mick was "The Big Daddy" as he was the only father in the band, with two daughters. Stevie Nicks wrote the lines, "and I can't walk away from you baby, if I tried." In 1979 Natalie Cole recorded an effectively moving rendition of the song.
Listening to "Rumours" in it's entirety back in 1977 was an experience, it was a journey through life and emotion. Each song brought out different sorts of emotions. There was pain, hurt, anger, joy, love, beauty and more pain. But more fulfilling than even the journey of emotions was the music itself, the fine tuned musicianship, the powerful vocals and the energy brought forth through the music. Each song built from the one before it. There was not one loser in the bunch. And here we are at the end of this exceptional album. We have just finished listening to ten excellent songs and we are now at the last song of the album. Will expectations are high - will Fleetwood Mac impress or will the album end on an even keel - not really impressing but also not really disappointing?
This brings us to "Gold Dust Woman," the end of the album. It's hard to top ten top rate songs but Fleetwood Mac did it - they truly saved the best for last. I feel the two biggest prizes in an album are the opening track and the closing track. The opener sets the mood of the album and the closing track leaves the lasting impression. The two newest members had those honors - Lindsey Buckingham had the opener while Stevie Nicks got the closing. This is not to play down any of the other songs because they are all equally great but there is usually a reason for the choices of opening and closing songs (anyway in albums that are carefully crafted - and it is evident that "Rumours" was a carefully crafted album).
"Gold Dust Woman" was written by Stevie Nicks and she also sings the soulful lead vocal. The song was inspired by Los Angeles and the hardships of living in such a metropolis. The lyrics focus on her cocaine addiction. The song is built on a free jazz frame in which each musician in which each musician develops their own progressions in the song.
In a 2017 Rolling Stone Magazine review of "Rumours" Andrew Unterberger wrote, "Nicks has openly admitted that she has no idea what Rumors' mystical closing track is even about, which is probably one of the reasons it's played such a large part in building the frontwoman's own gypsy-woman mythology. With it's reset-like production, guitar riffs spilling from everywhere like sand through the song's fingers, and Stevie's uniquely possessed vocals, Gold Dust Woman is as alluring and enigmatic as it's singer - a note of anti-closure for the LP to end on, the mysteries of love and life forever unknowable."
Now the album is over and we ponder do we play it again or neatly tuck it back in it's case and reminisce on each great tune. Ah why not let's play it again... it really is that great.
“Funkentelechy Vs. the Placebo Syndrome” is the sixth studio album by Parliament, released in 1977. The album is considered to be one of the best in Parliament's catalog. It is a loose concept album warning the listener of falling into the 'Placebo Syndrome', which according to George Clinton is consumerism, and listening to disco music, which he saw as a simplification of funk music in attempt to gain commercial success. “Funkentelechy Vs. the Placebo Syndrome” is the third installment in the album trilogy which began with 1976's "Mothership Connection" and continued with "The Clones Of Dr. Funkenstein." "Mothership Connection" was the beginning of their science fiction era in which Parliament restructured their sound, style and look to fit their electric attitude of the future.
The album spawned the R&B number #1 single in "Flash Light", which features a funky synthesizer bass line played in a Minimoog by keyboardist Bernie Worrell. The legendary Bootsy Collins provided some no frills simply energetic drumming while Catfish Collins (Bootsy's younger brother Phelps) gave the song it's electrifyingly amazing guitar performance. The line; "Everybody's got a little light under the sun," neatly describes the song's meaning of freedom and victory against the oppressors. "Flash Light" encapsulates the overall theme of the album of the ideal "us" struggling for freedom in a world run by an oppressive "them."
"Flashlight" (1977)
"Flash Light" was originally written for Bootsy Collins' first album, "Stretchin' Out In Bootsy's Rubber Band." But he didn't like the song so he passed on it. This was a huge missed opportunity for Bootsy as he never scored a hit as big as "Flash Light." George Clinton, with Parliament, turned this song into a funk anthem that still lives on to this day.
“Bop Gun,” the album's first single, starts with a brisk guitar figure and beat then turns into an instant party on all fronts, with great lead vocals and an addictive chorus, the Horny Horns and company hit the grooves and blast them hard with their earthy horns while Bernie Worrel's synthesizer fills electrify the song. Though "Flashlight" was the bigger hit, it seems critics favor "Bop Gun" as being the more innovative of the two.
Singer and guitarist Glen Goins provided the funkalicious lead vocal for "Bop Gun." Goins was prominently featured on three Parliament albums before his untimely passing at the young age of 24 in 1978 due to Hodgkins Lymphoma. Goins also played on Funkadelic albums from the same time period.
The third single "Funkentelechy" was not such the success as "Bop Gun" or "Flash Light" but still is a masterpiece of music that received a fair amount of airplay.
“Funkentelechy vs. the Placebo Syndrome” became Parliament's fourth consecutive gold album and second platinum album. It tied as being their highest charting album with 1975's "Mothership Connection," both albums made it to #13 in the US.
All 'n All is the eighth studio album by the American band Earth, Wind & Fire, released in 1977 on Columbia Records. It is one of the group's best known albums and has been certified triple platinum in the United States for sales of three million copies by the RIAA, gold in Canada by Music Canada and silver in the UK by the British Phonographic Industry. All 'n All reached #3 on the Pop Album chart and stayed at #1 on the Black Album chart for nine weeks. All 'n All was also the bestselling R&B album of 1978.
The album won two Grammy Awards one for Best R&B Vocal Performance By A Duo, Group Or Chorus and the song "Runnin'" won for Best R&B Instrumental. All 'N All also garnered an American Music Award nomination for Favorite Album- Soul/Rhythm & Blues.
The funk-filled R&B track "Serpentine Fire" was the first single from the album and was the album's biggest hit in the US reaching #13 on the Billboard singles chart and seven weeks at #1 on the US R&B chart. Philip Bailey's congas drums and the full horn section give the song a slight Latin R&B jazz style. Written by EWF members Maurice White and Verdine White with Reginald Sonny Burke, the lead vocal was taken by Philip Bailey as at the time Bailey was gaining more prominence with the band in performing more lead vocals. The Serpentine Fire is a yoga concept, Maurice White explained, "The Kundalini principle has to do with the fluid in your spine. After 29 days, if used properly it can be converted into a higher consciousness of energy, which means you can step up or step down, it's your choice. It's called a serpent, because if you tipped the spine out of the body and looked at it, it would look like a serpent - and the fluid is the fire in the spine." "Serpentine Fire" was born out of Maurice and Verdine's spiritual and positive energy.
The second single from the album, "Fantasy," was a much bigger hit throughout the world than "Serpentine Fire," except in the US where it charted considerably lower at #32 on the Billboard singles chart and #12 on the R&B chart. Despite the lower chart position the song was certified Gold by the RIAA. "Fantasy" was written by Maurice and Verdine White this time with the assistance of Eddie Del Barrio. Del Barrio, a jazz and funk musician, songwriter, arranger and producer, also co-wrote the Earth Wind & Fire songs "Runnin'," and "Star." "fantasy" was described by many as Earth, Wind and Fire's transition into disco with a smooth groove to it.
"Fantasy" (1977)
The next two singles "Jupiter" and "Magic Mind," were both semi-hits in the UK charting at #41 and #54 respectively.
"Love's Holiday" and the beautiful "I'll Write A Song For You" both received radio airplay, despite not being released as a-side singles. "Love's Holiday" was used as the b-side to the single "Magic Mind."
Release Date: November 1977 Produced by Allen Jones Genre: Soul/Funk Label: Mercury Records Chart Positions: #47 (US). #7 (US R&B) Certifications: Gold (US)
Singles: “Let’s Have Some Fun” #102 (US), #11 (US R&B), “Attitudes” #22 (US R&B)
“Flying High On Your Love” is the seventh studio album released by The Bar-Kays in November 1977. It was the first album by the band to be certified Gold by the Recording Industry Association of America for sales of more than 500,000 copies in the United States. Song for song, it is considered by many fans to be the Bar-Kays' best album overall.
The Bar-Kays delivered a juicy set of funk movers accented by disco beats along with a splash of smooth groove quiet storm ballads. “Flying High On Your Love” offered a tremendous mix of R&B.
The Bar-Kays were fully committed to their funk forbears while never taking their eyes off the shifting musical climate. Thus, they were able to make the leap from funk to disco in a way that almost no other bands could match. The Bar-Kays' late-'70s sounds, then, were not one or the other, but a seamless blend of both. A fine mix and a glorious achievement.
The first single from the album, “Let’s Have Some Fun,” stomps the disco beat down with some pretty heavy funk riffing garnered the band a good amount of airplay on funk, soul and R&B radio stations around the US. The song reached #11 on the US R&B charts and bubbled under the Billboard Top 100 making it to #102. The song is still played on funk and disco station on a regular basis.
"Let's Have Some Fun" (1977)
“Attitudes,” the second single was less popular reaching #22 on the US R&B charts and missing the pop charts all together. “Attitudes” is one of those cozy warm funk-filled slow jam ballads that should have charted much higher and belongs alongside songs such as the Commodores’ “Just To Be Close To You.” The song grooves smoothly with a nice funk bass line and a touch of brass that makes the song the perfect blend to spend some time sipping wine in front of a warm fireplace with the one you love.
The opening track “Shut The Funk Up,” despite not being released as a single achieved a good amount of airplay in nightclubs as well as R&B radio stations. Many feel this should have been a single. The song grooves with a funk slide that moves with the disco sounds of the day. A near perfect disco song accented with the funk horn trio of Charles "Scoop" Allen, Harvey "Joe" Henderson, and Frank "Captain Disaster" Thompson and dominated by vocalist Larry "D" Dodson's call to "get on up or just shut the funk up," it's immediately apparent that disco never sounded so good -- or so funky.
The album closes with a compelling quiet storm of funk and horns wrapped with a slow dance disco rhythm. “”Flying High On Your Love” burned up the dance floor during the slow dance section of the night. A favorite not only in dance clubs but also R&B radio. This is another song many fans felt would have been a great single and definitely a strong way to close an album full of gems.
The following is a review from Billboard Magazine's November 19, 1977 issue. The album was one of Billboard's Recommended LPs of the week: This group seems to have mellowed both vocally and instrumentally. At the same time it maintains it's strong energetic force with horns still the dominating instrument. Vocals and instruments are also clearer and more identifiable. Tunes range from ballads to uptempo numbers. Best Cuts: "Standing On The Outside," "Can't Keep My Hands Off Of You," "Let's Have Some Fun," "Flying High On Your Love"
Release Date: May 14, 1977 Produced by Mike Flicker Genre: Hard Rock, Folk Rock, Classic Rock Label: Portrait Chart Positions: #9 (US, Netherlands), #22 (Australia), #34 (UK, Germany), #44 (Sweden) Certifications: 3xPlatinum (US), 2xPlatinum (Canada)
Heart intended Magazine to be the official follow-up album to the debut Dreamboat Annie. However a contract dispute with their label Mushroom Records, resulted in the group signing with the newly formed Portrait Records, a division of CBS Records (now Sony/BMG).
The Mushroom contract called for two albums and the label took the position that they were owed a second one. On that basis, Mushroom attempted to prevent the release of Little Queen and any other work by Heart. The dispute dragged on and ended with the court deciding that Heart was free to sign with a new label but added that Mushroom was indeed owed a second album.
Little Queen was released 14 May 1977 and Magazine was re-released 22 April 1978. With the hit single "Barracuda", Little Queen outsold Magazine handily, eventually achieving 3x Platinum status.
After acquiring a substantial following with Dreamboat Annie, Heart solidified its niche in the hard rock and arena rock worlds with the equally impressive Little Queen. Once again, loud-and-proud, Led Zeppelin-influenced hard rock was the thing that brought Heart the most attention. Two sisters – Ann and Nancy Wilson – take over hard rock, led by Ann's supreme pipes and Nancy's ax-picking finesse. While "Barracuda" and "Kick It Out" are the type of sweaty rockers one thought of first when Heart's name was mentioned, hard rock by no means dominates this album. In fact, much of Little Queen consists of such folk-influenced, acoustic-oriented fare as "Treat Me Well" and "Cry to Me."
Led Zeppelin influences abound, from Wilson's "Summer-of-My-Smiles" phrasing on "Dream of the Archer" down to guitarist Roger Fisher's Page-ish intro on "Go On Cry" and his ferocious riffing on "Barracuda" and the title track. The latter are the roughest and best tracks on record.
Written by Ann and Nancy Wilson together with guitarist Roger Fisher and drummer Michael DeRosier the lead single “Barracuda” is an aggressive early try at heavy metal, but some refer to it as a heavy hard rock number notable for a galloping guitar riff and its use of natural harmonics. Upon its release "Barracuda" became Heart's second top-20 hit in the U.S., peaking at #11 on the Billboard Hot 100. The song has become the band's signature song and is a staple on American classic rock radio playlists. In other parts of the world it was a much bigger hit reaching #1 in South Africa, #2 in Canada and #8 in Germany.
Barracuda (1977)
Ann Wilson revealed in interviews that the song was about Heart's anger towards Mushroom Records' attempted publicity stunt involving her and her sister Nancy Wilson in a made-up incestuous affair. The song particularly focuses on Ann's rage towards a man who came up to her after a concert asking how her "lover" was. She initially thought he was talking about her boyfriend, band manager Michael Fisher. After he revealed he was talking about her sister Nancy, Ann became angry and went back to her hotel room to write the original lyrics of the song. Producer Mike Flicker added that Mushroom was so obtuse in the contract negotiations that Heart decided to discard the album they were working on, Magazine - which the label still released in an unfinished form - and instead sign with the newly formed Portrait Records to make another record, Little Queen. As Flicker put it, "'Barracuda' was created conceptually out of a lot of this record business drama. Barracuda could be anyone from the local promotion man to the president of a record company. That is the barracuda. It was born out of that whole experience."
“Little Queen” was released as the second single from the band's second album Little Queen in 1977. The song is a midtempo rock and roll number similar in style to Heart's past hit "Magic Man." Though the song has become a classic tune for Heart fans it did not fare well as a single charting at #62 in the US and #58 in Canada.
“Kick It Out” another hard rocker was the band’s third single from the album charted even lower than “Little Queen” while the smooth rocking folk-tinged fourth single “Love Alive” missed the charts completely.
Album highlight “Dream of the Archer” displays the band’s versatility with a medieval sort of mood.
In it's May 21, 1977 issue Billboard Magazine featured "Little Queen" as one of four Spotlight Albums in their new release section. The following is the review that appeared: Following it's phenomenal debut album and single success on the small Mushroom label, Heart's switch to the small-roster CBS Portrait label finds the Northwestern sextet irrefutably proving that sisters Ann and Nancy Wilson can sing, write and play rock with all the hard drive and mystically lush overtones Fleetwood Mac is renowned for. Heart's music has complex textures and turbulent energy. The Wilson ladies are complete rockers without putting on any fake pseudo-macho butchiness. The Mike Flicker production brings lavish to the string-picking and synthesizer virtuosity of this brilliant group. Best Cuts: Barracuda, Little Queen, Dream Archer
Release Date: February 25, 1977 Produced by Bob Ezrin Genre: Progressive Rock, Art Rock, Prog Rock Label: Charisma, Atco Chart Positions: #1 (Holland), #5 (Norway, France, Italy), #7 (UK), #8 (Sweden), #9 (Germany, Netherlands), #10 (Austria), #25 (Australia), #30 (Canada), #38 (New Zealand, US) Certifications: Gold (UK, France, Germany)
Peter Gabriel is the first studio album by English rock musician Peter Gabriel and the first of four with the same eponymous title. Released on 25 February 1977, it was produced by Bob Ezrin (Ezrin is best remembered for producing Alice Cooper’s classic albums through the 1970s and Pink Floyd’s “The Wall”). Gabriel and Ezrin assembled a team of musicians, including King Crimson main-man Robert Fripp, to record the album. Upon the album's release, Gabriel began touring with a seven-piece band under his own name.
The album was recorded in the wintertime in Toronto where Bob Ezrin was based at the time. Gabriel got to know the area by riding a bicycle from place to place.
This album is often called either Peter Gabriel 1 or Car, referring to the album cover by London artist Peter Christopherson when he was associated with the London artists group Hipgnosis. The car was a Lancia Flavia owned by Hipgnosis founder Storm Thorgerson. One of the first ideas Gabriel had for the cover was to use mirrored contact lenses. It took him a while to find someone that would make the lenses for him. Gabriel said, "They were painful to wear, but the effect was fantastic."
Peter Gabriel's first self-titled album served as his creative exodus from Genesis (no pun intended ... OK, kinda). It's a purposefully eclectic, anything-flies approach to songcraft, venturing from hard-hitting rock ("Modern Love") to quirky art-rock (the vastly underrated "Moribund The Burgermeister") to pastoral folk-pop (the lovely "Solsbury Hill," which serves as a thinly veiled kiss-off to his former band) to, umm, barbershop quartet crooning ("Excuse Me"). No other Gabriel album is quite so diverse in stylistic content. Overall, Car is a fascinating first chapter.
Peter Gabriel commented on his website: “I really wanted the first record to be different from what I’d done with Genesis so we were trying to do things in different styles. A bit of barbershop, which Tony Levin helped with, there were more bluesy things, a variety of songs and arrangements that were consciously trying to provide something different than what I’d done before.”
Peter Gabriel’s debut solo single was “Solsbury Hill,” Gabriel has said of the song's meaning, "It's about being prepared to lose what you have for what you might get ... It's about letting go." Former bandmate Tony Banks acknowledges that the song reflects Gabriel's decision to break ties with Genesis, but it can be also applied in a broader sense. The song was a huge hit in Europe having reached the Top 20 in France, Poland, Holland, Netherlands, UK, Belgium and Germany. In the US the song only reached #68.
"Solsbury Hill" (1977)
Built around an acoustic guitar riff, this song is much more simple and toned-down from his extravagant work with Genesis. At one point Gabriel was going to leave the song off of the album but in the end decided to include it. Gabriel considers “Solsbury Hill one of his favorites. It's almost always included in his live shows. Solsbury Hill is located near Bath, England, where Gabriel would often walk or jog.
The second and final single, the surging rocker “Modern Love, ” failed to chart anywhere despite a music video that was made to promote the song. The video was shot in a shopping mall that was in the process of being built. Most of the video is filmed on a moving escalator (which Gabriel felt was very “in the future” at the time).
One of the album’s popular cuts “Slowburn” takes Peter Gabriel back to familiar ground with elements of his earlier orchestral work with Genesis.
In the song "Down The Dolce Vita" Gabriel introduces the characters Aeron and Gorham who set out on a journey across the sea. They would become part of Gabriel's story of Mozo, a mercurial stranger who would come and go, changing people's lives. Mozo would show up again in "On The Air," "Exposure," "Red Rain" and "That Voice Again."
One of the most interesting songs, lyrically, is "Here Comes The Flood." Gabriel is speaking about a mental flood, "a release, a wash over the mind." He presents an image of a society where people can read each other's minds. Gabriel says the song was inspired by a dream he had.
The album was recorded with Brian Eno and Tony Visconti, "Heroes" continued the ambient experiments of Bowie's previous album Low (released earlier that year) and featured the contributions of guitarist Robert Fripp. Of the three albums, it was the only one wholly recorded in Berlin.
Upon its release, it was met with positive critical reception and was named NME Album of the Year. The title track remains one of Bowie's best known and acclaimed songs. David Bowie composed all the lyrics and music with the exception of “Heroes,” “Moss Garden” and “Neuköln” were co-written with Brain Eno and “The Secret Life of the Arabia” co-written by Brian Eno and Puerto Rican guitarist Carlos Alomar.
Every track on the album was a first take. According to producer Brian Eno, the first take of every song ultimately need up being the best one.
Two singles were released from the album; “Heroes” which was a hit throughout the world and though it is considered a classic in the US the song never made it on to the US singles charts. Written by written by Bowie and Brian Eno, “Heroes” was inspired by the sight of Bowie's manager Tony Visconti embracing his girlfriend by the Berlin Wall, the song tells the story of two lovers, one from East and one from West Berlin. Visconti can be heard in the song banging on a metal ashtray that was found in the studio. The song was also released in German and French. The German version is called "Helden" and the French is called "Heros."
"Heroes"
The second single “Beauty and the Beast” was a minor hit in select countries in Europe.
One of the album's most popular tracks "V-2 Scneider" was written as a tribute to Florian Scnieder, a co-founder of the German electronic band Kraftwerk. Bowie has said Kraftwerk influenced him heavily in producing his Berlin albums.
