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DISCID=a10ab00c
DTITLE=Various Artists / Singers And Songwriters: Late '70s - Disc 1 o
DTITLE=f 2
DYEAR=2000
DGENRE=Rock
TTITLE0=Little River Band / Lonesome Loser
TTITLE1=Atlanta Rhythm Section / So In To You
TTITLE2=Peter Frampton / Baby, I Love Your Way
TTITLE3=Daryl Hall and John Oates / Rich Girl
TTITLE4=Elton John / Sorry Seems To Be The Hardest Word
TTITLE5=Rita Coolidge / We're All Alone
TTITLE6=10cc / The Things We Do For Love
TTITLE7=Rupert Holmes / Escape (The Pia Colada Song)
TTITLE8=John Denver / Fly Away
TTITLE9=Leo Sayer / When I Need You
TTITLE10=Michael Johnson / Bluer Than Blue
TTITLE11=Mary MacGregor / Torn Between Two Lovers
EXTD=Singers And Songwriters: Late '70s - Disc 1 of 2\n2000 Time-Life,
EXTD= Inc.\n\nOriginally Released 2000\n\nAMG EXPERT REVIEW: Time-Life
EXTD= Music's Singers & Songwriters series of 24-track, two-disc sets 
EXTD=uses as its jumping-off place the transition that took place in t
EXTD=he 1960s from a two-tier system of popular music in which non-sin
EXTD=ging songwriters contributed material that was then performed by 
EXTD=non-writing singers to one in which the two jobs were often combi
EXTD=ned. By the early '70s, a generation of "singer/songwriters" had 
EXTD=taken over the music business, and the result was some highly per
EXTD=sonal songwriting often sung by vocalists who wouldn't have been 
EXTD=able to escape from their own showers a decade earlier. But the s
EXTD=eries isn't called Singer/Songwriters; it's called Singers & Song
EXTD=writers, and that's an important difference. While some volumes h
EXTD=ave been heavy on the work of definitive singer/songwriters like 
EXTD=James Taylor and Carole King, that's simply because the time peri
EXTD=ods being covered found those people high in the charts. Basicall
EXTD=y, the Singers & Songwriters compilations gather together ballad 
EXTD=hits, whether those songs can be defined properly as singer/songw
EXTD=riter music or not. After issuing five volumes each devoted to a 
EXTD=two-year period in the '70s, Time-Life returned for three more vo
EXTD=lumes, making a second pass at the early, middle, and late years 
EXTD=of the decade. This one, devoted to the late '70s (that's 1976-19
EXTD=79), collects a bunch of soft rock/adult contemporary hits (all o
EXTD=f which reached the Top Ten on at least one of the national chart
EXTD=s, with the exception of Peter Frampton's "Baby, I Love Your Way,
EXTD=" which made the Top 20). Acoustic guitar or piano are the domina
EXTD=nt instruments in the arrangements, which also tend to feature an
EXTD= electric guitar/electric bass/drums rhythm section, with the occ
EXTD=asional keyboard and/or saxophone added for color. Two-thirds of 
EXTD=the selections were written by the recording artists themselves, 
EXTD=and the other third were written by people who were performers as
EXTD= well as writers, though in some cases, especially the Nashville-
EXTD=based composers like Charles "Randy" Goodrum (who wrote "Bluer Th
EXTD=an Blue" for Michael Johnson and "You Needed Me" for Anne Murray)
EXTD= and Richard Leigh (who wrote "Don't It Make My Brown Eyes Blue" 
EXTD=for Crystal Gayle), they are not people who ever achieved a natio
EXTD=nal profile as recording artists themselves. But the distinction 
EXTD=between the traditional Tin Pan Alley style and the new trend of 
EXTD=self-writing performers was nearly lost as far as the Top 40 was 
EXTD=concerned by the late '70s. The hallmark of singer/songwriter mus
EXTD=ic may be a unique perspective often expressed in subject matter 
EXTD=other than romantic love, but this album consists almost entirely
EXTD= of love songs, ranging from the self-pitying ("Sorry Seems to Be
EXTD= the Hardest Word," "Never Gonna Fall in Love Again") to the chee
EXTD=rily erotic ("Afternoon Delight"). Songs like "Escape (The Pia C
EXTD=olada Song)" and "Torn Between Two Lovers" approach romance from 
EXTD=unusual angles reflecting the changing mores of the time, but the
EXTD=y're still love songs. The only real exception, which turns up as
EXTD= the final track, is Randy Newman's satiric "Short People." Given
EXTD= the compilers' focus on the top of the charts, one could hardly 
EXTD=expect anything different. There isn't much singer/songwriter mus
EXTD=ic on Singers & Songwriters: Late '70s, at least in the sense tha
EXTD=t the term was defined in the early '70s, but there is a lot of p
EXTD=opular soft rock music from the late '70s.  -- William Ruhlmann
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