The Greatest Songs Of the Seventies

Performer: Barry Manilow
Engineer: Barry Manilow; Bill Schnee; Steve Churchyard; Chris Brooke; Bruce Botnick; David Benson; Koji Egawa; David Channing; Tawgs Salter; Scott Erickson; Greg Bartheld; Tommy Vicari; Paul Smith; Bill Schnee; Steve Churchyard; Chris Brooke; Bruce Botnick; Steve Genewick; Koji Egawa; Aaron Walk; David Channing; Tawgs Salter; Darius Fong; Tyler Gordon; Justin Pintar
Producer: Barry Manilow; Eddie Arkin; David Benson; Walter Afanasieff; Scott Erickson; Ken Berry; Barry Manilow; Clive Davis; Eddie Arkin; Walter Afanasieff; Scott Erickson; David Benson; Ken Barry
Distributor: BMG (distributor)

Notes: Personnel: Barry Manilow (piano); Barry Manilow; Michael Landau, Mike Landau (guitar); Nina Evtuhov, Nina Eutuhov (violin); Timothy Loo, Paula Hochhalter, Christina Soule, Trevor Handy, Jon Walz, Larry Corbett, David Speltz, John Krovoza, Roger Lebow (cello); Walter Afanasieff (keyboards, programming, drum programming); Chuck Berghofer, Drew Dembowski, Oscar Hidalgo (double bass); Dave Carpenter, ian martin (bass guitar); Jason Migas Morales, Jason Morales (background vocals); Ken Berry, Tim Pierce, George Doering, Mike Lent (guitar); Julie Berghofer, Gayle Levant (harp); Assa Drori, Alyssa Park, Lisa Dondlinger, Miran Kojian, Dynell Weber, Ron Folsom, Jennifer Munday, Brian Benning, Rebecca Bunnell, Jennifer Walton, Irina Voloshina, Songa Lee, Anatoly Rosinsky, Yan To, Cynthia Moussas, Paul Tseitlin, Johana Krejci, Audrey Solomon, Joel Derouin, Kevin Connolly, Patricia Johnson , Raymond Kobler, Margaret Wooten, Yue Deng, Neel Hammond, Darius Campo, Liane Mautner, Josephina Vergara, Miwako Watanabe, Ronald Clark, Samuel Fischer, Haim Shtrum (violin); Caroline Buckman, Ray Tlscher, Kenneth Burward-Hoy, Harry Shirinian, Alma Fernandez, Samuel Formicola, Andrew Duckles (viola); Gary Foster, Greg Huckins, Sheridon Stokes, Brandon Fields (flute); Phillip OConnor (clarinet); Joe Stone, David Kossoff (oboe); Chris Gray, Larry McGuire, Warren Leuning, Gary Grant (trumpet); Paul Klintworth, Jim Atkinson, Dana Kelley, Steve Becknell (French horn); Steve Baxter, Charles Loper, Chauncey Welsch, Craig Gosnell (trombone); Scott Erickson (piano, keyboards, background vocals); Ron Pedley (piano, keyboards); Kevin Bassinson, Randy Kerber, Ron Walters (piano); Russ McKinnon (drums); Dan Greco, David Rozenblatt, Alex Acu�a, Luis Conte, Paulinho Da Costa (percussion); Tyler Gordon (programming); Karen Harper, Angie Jeree Singers, David Loucks, Tiffany Smith, Ron Dante, Susie Stevens , Tim Davis , Randy Crenshaw, Bill Cantos, Mabvuto Carpenter (background vocals). Audio Mixer: Bill Schnee. Editors: Barry Manilow; Bill Schnee; David Benson; Koji Egawa; Scott Erickson; Greg Bartheld; Tommy Vicari. Photographer: Jeff Katz. Arrangers: Barry Manilow; Walter Afanasieff; Russ McKinnon; Scott Erickson; Mike Lent; Kevin Bassinson; Ken Berry; Ron Pedley; Ian Martin ; Jorge Calandrelli. The logical follow-up to Barry Manilow's two previous volumes of favorites from the 1950s and '60s, GREATEST SONGS OF THE 1970S acknowledges Manilow's own contributions to the AM airwaves of the decade by including a six-song bonus EP of new, intimate acoustic recordings of a half-dozen of his biggest hits from the decade, including "Even Now" and a waggish reworking of the disco smash "Copacabana." The body of the album is a well-chosen selection heavy on ballads, including a lovely duet with Melissa Manchester on Carole King's "You've Got A Friend" and a warm take on the Bee Gees' "How Can You Mend A Broken Heart." Containing tracks that would have fit comfortably on any of Manilow's own 1970s albums, this is the most personal and effective of his decade-by-decade songbook sets.

To many the very embodiment of the soft rock and middle-of-the-road genres, Barry Manilow became an international superstar in the 1970s with a string of hits combining heart-on-sleeve sentiment and finely crafted songs with slick, highly orchestrated production. His ultra-showbiz image (which was likely influenced by his early days as musical director for Bette Midler), appealed to an extremely wide audience. Although Manilow has long been regarded as the antithesis of hip, there is no denying his considerable talent, and his fans are among the most loyal (some might say fanatical) in pop music.

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