I’ve been listening to various editions of Rhino’s old twenty-volume Didn’t it Blow Your Mind series for the last few weeks. The series is an excellent overview of 70s soul, and perhaps unique in that emphasizes the breadth and depth of the genre rather than the preeminence of big names like Al Green, Marvin Gaye, Stevie Wonder.
Some of those names are present, but, in this context, their records flow by in a river that’s far deeper than any handful of geniuses could have either created or maintained by themselves. Given time I’ll want to write about it at length some day, because the scope really is staggering. I’m not going to say the 70s were the greatest decade for black music–that would be a hard case to prove, given what had gone on during every decade back to the 20s. But if “greatness” were simply measured by now many fine records were made, and how much those records managed to say, then I’ll say it would probably take longer to get to the bottom of the soul 70s than any other decade of black music.
For instance, you can be nodding along, to something like Volume 13 of Didn’t it Blow Your Mind, still knocked out by the hits you know by heart–“Rock the Boat,” “Rock Your Baby,” “Hollywood Swinging,” “Side Show”–and then have your entire perception (er, “mind”) opened up (er, “blown”)–by nothing more than some old pros doing what they do. And if you think, as I do, that these deceptively modest records, huge hits on the R&B chart which also made the pop charts, carry the weight of history as much as big and fabulous crossover smashes like “Tell Me Something Good” (which follows them on Volume 13), you might experience nothing less than an ephipany.