We all should dream to be as cool as Myke Scavone in this video.
How many essential 70s rock track could trace its origins back to at least 1939, with some scholars arguing that even that was an adaptation of a mid-18th-century marching cadence? Ram Jam’s cover of “Black Betty” is a staple of every “road rock” compilation album on the market, and for good reason: its driving beat, marked by a simple bass drum and cymbal couplet and punctuated by a grungy electric guitar riff marks time almost perfectly with the hashed lines down the center of the tarmac!
“Black Betty” is a song always in motion, and has always been associated with driving for me–especially long overnight road trips up, down, and across the entire North American continent. This track was also the namesake of my 2001 Mazda Miata–a name that conjured the attitude and the panache that newly single me was looking for in a faithful steed when I bought her in 2008. She lived up to her name, and helped me get to so many places not only in our travels, but in life as well. I’ll miss her, but I’m grateful for the time we had.
Seriously? I don’t think this challenge was made for someone like me who literally grew up listening to music mostly from the 1970s and 80s. Oh, the ancient nineteen-seventies!
If we’re going to go for the 70s, we’re going full seventies–as in 1970. Chicago is one of those bands that transcends decades by actively producing new albums with some regularity for over five decades, so it might not be fair to label them strictly “70s”. That being said, their heyday was certainly during the soulful decade of bell bottoms and braids.
Taking a bluesy 60s rock and roll pedigree and combining the big band sound of decades prior, Chicago was able to create a wholly new, experimental sound that would eventually influence big-name acts later in the decade such as Earth, Wind, and Fire and Genesis.
“25 or 6 to 4” is one of those classic tracks that really deserves an extended solo section to really let the diversity of instrumentation shine–not just lead guitar, but each horn and even the rhythm section all have distinctive parts in this piece. This was one of those songs that validated being a band nerd–even though we never did play anything half as cool in an official capacity!
Richard Nixon answers questions and sets the record straight in his reaction to Oliver Stone’s 1995 “Nixon” biopic.
A novelty piece in the old “break-in” style pioneered by Dickie Goodman and Bill Buchanan where song clips replace soundbytes from interviews or dialogue.I downloaded this from AOL in the mid-1990’s, and I don’t recall who uploaded it originally.If you or someone you know created this, please let me know so that I may give proper credit.Thanks!