As a child of the 70s and 80s, I can truly say that music from this era holds a special place in my heart. The songs I grew up with are etched into my memory like the grooves on an old vinyl record. Let me take you on a musical journey through some of these timeless tunes.
The Long and Winding Road,” a 1970s pop-rock track associated with the Beatles (though it was released as they were disbanding), doesn’t appear on this list due to personal preference. I don’t particularly enjoy it, and neither did Paul McCartney, who felt that its producer, Phil Spector, overly produced a delicate ballad.
To put it another way, our recent exploration has been akin to traversing a lengthy and meandering path, mirroring the journey we’ve taken over the past month. We’ve delved into various genres that shaped the 1970s as an era of exceptional mainstream music. Starting with hard rock, which was essentially the backbone of the decade’s soundscape, we ventured into glam, prog, and punk. We dabbled in funk, country, folk, and even paid a fleeting tribute to disco, a genre that temporarily dominated popular music towards the end of the 70s.
Prior to concluding our study, we made a detour into each year’s top ten hits to find out which year boasted both the most successful (and least successful) popular songs of their time. Indeed, it has been quite an adventure – however, surprisingly enough, Journey does not appear on this list. Although they produced some well-known music during that decade, they didn’t achieve their peak popularity until the early ’80s. It’s also worth mentioning that I personally wasn’t a big fan of Journey, and since I am compiling the list, their absence is intentional.
Don’t call it soft-rock: These are 20 pop gems from the 1970s
In summary, today we wrap up with a category I’m labeling as “Soft Rock/Pop,” which encompasses a wide range of songs. You’ll soon notice that there’s some dance pop, folk rock, a few jazzy tunes, and even a couple of power ballads. Admittedly, some of these songs might seem a bit of a stretch for the “soft” in “soft rock,” but we have to include them. This concludes our list from the 70s. My editor and doctor have both made it clear that this is the last one.
“ABC” by the Jackson 5 (1970)
In late 1969, a group of five brothers from Indiana burst onto the pop music stage with “I Want You Back,” an irresistible tune that couldn’t be ignored. Impressed by their success, their Motown producers chose to recreate the magic by releasing another song titled “ABC.” They infused it with some distorted guitar sounds and made it even more enticing for dancing.
This setup additionally provided young superstar lead vocalist Michael, who was still a few months shy of being a teenager, with an opportunity to exhibit his theatrical abilities more prominently by incorporating brief conversations or exclamations. Few 11-year-olds could have delivered lines like “Sit down, girl – I think I love you – No, get up, girl – Show me what you can do” on the radio without being met with ridicule.
With the support of his brother’s harmonies and some exceptional Motown studio musicians, “ABC” dethroned the Beatles’ “Let It Be” at the top of the Billboard charts. Incredibly, they managed to repeat this feat with “The Love You Save.
“Cracklin’ Rosie” by Neil Diamond (1970)
Neil Diamond achieved numerous chart-toppers during the 1960s, among which “Sweet Caroline” is his most renowned hit. However, given the choice, I would have preferred “Rosie” to be his timeless classic, as I find it approximately three percent superior.
In essence, Neil Diamond reused a similar approach that worked with the Jacksons’ tunes, particularly “Sweet Caroline”. There’s speculation whether “Rosie” was penned about a bottle of wine or a girl; however, given Diamond’s skill as a writer, it’s likely he intended a double meaning. This is typical of talented writers.
As a fan, I must confess that Diamond’s music isn’t everyone’s cup of tea. There’s a theatrical quality to his best and even his worst songs that can sometimes be overwhelming, particularly in later years when he seems almost too much to bear. Yet, there’s no denying his infectious charm, and when he croons, “Oh, I love my Rosie child – You got the way to make me happy,” it’s hard not to tap your foot and smile. After all, isn’t that the magic of music?
“Moondance” by Van Morrison (1970)
To start with, Morrison debuted two tracks from his third solo album entitled “Moondance“. These were fantastic tunes – the lively, country-influenced “Come Running” and the soothing charm of “Crazy Love”. However, what truly piques interest are the extraordinary songs that didn’t make it as singles. Among them are the grand simplicity of “And It Stoned Me”, the jazz-infused “Caravan”, the enchanting folk ballad “Into the Mystic”, and finally, the track that would later become one of Morrison’s iconic hits, the cunningly jazzy “Moondance”.
Morrison often praised the song, as it ranked among his top choices. Given that he didn’t release it as a single until much later in the decade suggests that he felt it might be too jazzy to achieve widespread popularity. He was attempting to restore his commercial appeal following the low sales experienced by his critically acclaimed album, Astral Weeks, several years prior.
From my perspective, it was merely an assumption. Nevertheless, it turned out that there was indeed a strong demand for this melodious jazz brand. Following its initial release as a single, it attracted even more interest when John Landis incorporated it into the soundtrack of his cult movie, “An American Werewolf in London.
“One Less Bell to Answer” by the Fifth Dimension (1970)
In 1969, The Fifth Dimension reached number one on the Billboard charts not once, but twice – first with their catchy medley of “Hair” and later with the soulful Laura Nyro song “Wedding Bell Blues.” At this stage in their career, the vocal group was evolving into a five-piece band, with a distinct lead singer. That lead singer was Marilyn McCoo.
The 1970 album titled “Portrait” deviated significantly from Van Morrison’s style, but it shared one characteristic with his famous album “Moondance“. The singles released prior to this album didn’t perform as well on the charts compared to a later release. Notably, “One Less Bell to Answer” was penned by the songwriting duo Burt Bachrach and Hal David. This track represented a departure towards a more refined sound, exhibiting a jazzier, leisurely tempo in contrast to the upbeat, poppy tunes that brought them initial fame.
Hailing from the duo Bachrach/David, renowned for their pop collaboration with Dionne Warwick, the performance demanded a powerful lead vocalist capable of handling Bachrach’s melodies, marked by range and rhythmic precision. Enter McCoo. Already gaining traction as an emerging talent, this song significantly boosted her fame. However, it ultimately contributed to the disbanding of the group. “One Less Bell to Answer” didn’t replicate the achievements of the Medley and “Wedding Bell Blues.” It peaked at number 2 but failed to maintain momentum.
“Bridge Over Troubled Waters” by Simon & Garfunkel (1970)
1970 saw both “ABC” and “Cracklin’ Rosie” make it into the Top 20 on Billboard’s list of the year’s top songs. At that time, “Moondance” hadn’t been released as a single, while “One Less Bell to Answer” was limited to the Adult Contemporary chart. Leading the pack for the entire year on Billboard was Simon & Garfunkel’s “Bridge Over Troubled Water.
If you’ve ever listened to Simon express his feelings about his voice in contrast with Art Garfunkel’s, the song takes on an extra layer of intrigue. When they started singing together, Simon’s mother pointed out that while Paul had a pleasant voice, Arthur was considered “excellent.” Over half a century later, this old memory continues to touch a nerve with Simon.
Why, as the highly accomplished duo was parting ways, did Paul Simon allow Art Garfunkel to sing one of his most profound compositions instead? Typically, Paul wrote and sang lead on their past songs, while Garfunkel took the lead less frequently but often showcased his high tenor in their iconic harmonies. The explanation is straightforward: Paul Simon has an exceptional understanding of music that’s hard to match by anyone.
He recognized that he might have performed “Bridge…” for a pleasant outcome, but his friend with an exceptional voice could transform it into something ethereal instead. That’s exactly what Garfunkel excels at. As he reaches the last verse and sings, “I’m sailing right behind,” those who listen are carried away.
“Imagine” by John Lennon (1971)
In comparison to ‘Bridge Over Troubled Water’ by Simon & Garfunkel, the song ‘Imagine’ by John Lennon carries a profound, hymn-like feel. However, unlike ‘Bridge’, ‘Imagine’ can be divisive among listeners due to certain aspects. For instance, the line ‘And no religion too’ has been a point of contention for some, as well as Lennon’s past persona. It’s important to remember that this is the same artist who wrote ‘I’d rather see you dead little girl than to see you with another man’, which was penned several years before ‘Imagine’. Additionally, there are those who critique the song for its seemingly simplistic argument and idealism. To put it simply, if you expect deep philosophical discourse in a three-minute pop tune, you might be setting yourself up for disappointment. Instead, consider exploring the works of Randy Newman.
As a dedicated fan, I can’t help but reflect on the enduring power of “Imagine” – Lennon’s first UK solo number-one hit and a top three chart sensation in the USA. This soft piano melody, crafted with a heartfelt yearning for unity and peace, has captivated listeners for generations. Its message, while perhaps idealistic, is delivered with such tender finesse that it continues to resonate deeply.
In a footnote, I’d like to mention my fondness for Randy Newman. He created several remarkable songs in the 1970s, one of which is a unique piece of political philosophy titled “Political Science.” The challenge with discussing Newman and lists such as this lies in the fact that most of his finest compositions were not major hits, and his only significant pop hit from the decade, “Short People” (1977), isn’t particularly strong musically.
“Rainy Days and Mondays” by the Carpenters (1971)
Between 1970 and 1974, Karen Carpenter and her brother Richard released three top charting singles and four more that reached the second spot. Out of these, “Rainy Days and Mondays,” one of the number twos, stands out as the finest and among the most exquisite soft pop songs from the 1970s. Their approach was straightforward.
Rogers Nichols composed a tender, emotional tune, while Paul Williams penned lyrics that skillfully avoided being overly sweet. This songwriting pair were responsible for the Carpenters’ first number-one single, “We’ve Only Just Begun,” and later wrote another top-20 hit for the duo titled “I Won’t Last a Day Without You.” They recognized Karen Carpenter’s talent.
Luckily, her brother also followed suit, keeping the composition uncomplicated. The backup chorus merely provides a fleeting emphasis for Karen’s main vocals, while a delightful saxophone melody embellishes the bridge. Apart from these elements, it is essentially Karen, and Karen Carpenter possessed one of the most soothing, sincere voices in pop music. There’s more to her than just pitch-perfection. If you were a teenager in the 1970s, you wouldn’t dare admit liking the Carpenters, but as an older man today, I can freely acknowledge that this soft pop couldn’t get much better.
“Brandy” by Looking Glass (1972)
The very first pop song I learned by heart is “Brandy,” and if you ask someone old enough to recall its debut, they’d likely still hum along with it. It’s a tune about a sailor’s life, told from his perspective, where he idealizes the women he meets in every port as understanding why he chooses to wander rather than stay with one.
The ’70s were the era when Brandy strived to comprehend. To be honest, it seems inappropriate to rework such a classic pop-rock hit like “Brandy.” As for what else I know about Looking Glass, all I can share is my impression of their original singer/composer, Elliot Lurie, performing “Brandy” via Zoom with a group of younger artists during the COVID-19 pandemic – it was quite impressive. Lastly, the fact that “Brandy” dethroned Gilbert O’Sullivan’s “Alone Again (Naturally)” from its long-standing number one position in the Summer of ’72 is something I’m truly thankful for.
“Doctor My Eyes” by Jackson Browne (1972)
By the end of the ’70s, I found myself completely captivated by Jackson Browne’s music. Kicking off with “The Pretender” in 1976, he produced an impressive series of four consecutive top-ten albums. Despite my usual reluctance to claim a preference for an artist’s early work, when it comes to Browne, I wholeheartedly embrace his ’70s hits. The songs like “Rock Me on the Water,” “Redneck Friend,” “Ready or Not,” and his rendition of the Eagles’ “Take It Easy” (a song he co-wrote) are undeniably fantastic tunes from that era.
I’m not quite convinced he surpassed “Doctor My Eyes” in any song, as it was his debut single and unexpectedly reached the top ten, making it one of only two songs by him to achieve this feat (the other being “Somebody’s Baby,” from the film Fast Times at Ridgemont High, in 1982). “Doctor My Eyes” is a timeless piece of soft pop, with its melancholic themes of love gone wrong disguised within an uplifting tune.
As a devoted admirer, I’d say it’s primarily Crosby, Stills, and Nash’s harmonies that resonate with me the most (the two who truly excel at harmonizing – no disrespect intended to Stephen Stills). The rhythm section is exceptional, thanks to session players supreme Russ Kunkel and Leland Sklar. To add a touch of rock & roll flavor without overshadowing the melodic pop essence, they’ve got guitarist Jesse Ed Davis on board.
“Crocodile Rock” by Elton John (1972)
I recall the days when rock music was fresh and vibrant – Susie and I shared countless joyful moments… This lyric carries an additional emotional resonance if you knew a girl named Susie. However, its charm transcends that, making it one of the most memorable tributes to nostalgia from the rock era. It was released when Elton John held the title as the world’s top recording artist and marked his first number-one hit in America. Interestingly, it was also his finest achievement.
The tune was straightforward, featuring Elton’s piano and organ starting off briskly with a catchy, easy-to-remember melody. The lyrics were somewhat light, transitioning to a more substantial chorus where the electric guitar momentarily took center stage. Then, it repeats. There’s a touch of cheesiness in the organ and a hint of rockiness in the guitar, making it stick in your head like glue, and once you hear it, getting it out can be quite challenging.
“Killing Me Softly With His Song” by Roberta Flack (1973)
If you’re under fifty, it might ring a bell as a Fugees song, but if you’re a bit older, you recall Roberta Flack’s rendition. This one reached the top of the charts in the winter of ’73 and remained there until spring five weeks later. It ended up being Billboard’s third most popular song of 1973. An interesting fact I learned later was that Flack’s version was actually a cover.
A talented young artist named Lori Lieberman had already released an earlier version of a song, though it’s unclear whether she was inspired by Don McLean’s performance or not. However, there’s been quite a contentious debate about who actually penned the tune. While I believe Lieberman is likely the main writer, Charles Fox and Norman Gimbel are the ones officially credited as the songwriters due to their previous mentorship with her.
Lieberman’s voice is significantly different from Flack’s, who manages to give the song an effortless charm while maintaining the intense emotional depth. In contrast, “The First Time Ever I Saw Your Face” seemed overly dramatic to me. However, “Killing Me Softly…” addresses this issue. It receives a grand production, yet the production never drowns out Flack’s captivating vocals.
“Piano Man” by Billy Joel (1973)
Although Billy Joel penned superior songs during his career, none held as much significance as the title track from his second album. This song played a crucial role in boosting his earnings (it was Joel’s first top-20 single) and solidifying his public image. One of the other tracks on that album, “The Ballad of Billy the Kid,” showcased an inconsistent boastfulness that didn’t fully resonate.
In the movie “Piano Man,” the empathetic depiction of regular bar patrons, captivated by the title character’s performance on piano and vocals, is presented with a cinematic grandeur that enchants. The harmonious blend of accordion and harmonica, skillfully added to the comforting piano notes, adds depth. The soothing tones of Joel’s voice add a touch of warmth.
To what extent is this piece autobiographical? That’s not important. Joel wrote numerous songs that delved into his private life extensively, yet he always prioritized the song over personal anecdotes. Thus, while there might not be a real-life novelist named Paul or a waitress engaged in politics as we know them, Joel manages to bring these characters to life for us. “Vienna” and “New York State of Mind,” two songs rich with his own experiences, emerged during the 1970s, but it’s challenging not to acknowledge “Piano Man.” This song marked the beginning of a legendary career.
“Help Me” by Joni Mitchell (1974)
Joni Mitchell’s “Help Me” was the only one of her songs to reach number one on a major chart, and it did so on the Billboard Adult Contemporary list in 1974. It also made it to the top ten on the Billboard Hot 100 and became her highest-ranking song in Canada. However, my personal favorite from her album “Court and Spark” is “Raised on Robbery,” but that one’s a bit too rock & roll for this context, so I’ll go with “Help Me” instead.
Judy’s voice effortlessly weaves through intricate melodies while her song employs a captivating blend of acoustic strumming, saxophone by Tom Scott, and electric guitar by Larry Carlton. This unique vocal performance skips gracefully across scales, all the while maintaining the catchiness of pop music – a trick that’s not simple to execute but is central to much of Judy’s more approachable compositions.
As the tracks progress on “Court and Spark,” they take on a more somber tone, but for now, she maintains a carefree vibe. There’s an undercurrent of peril, subtly suggested by the song title. The intriguing opening line, “Help me, I think I’m falling in love again,” encapsulates the enigma beautifully – a testament to the artistry of skillful songwriters.
“The Air That I Breathe” by the Hollies (1974)
I openly acknowledge my complex feelings towards The Hollies’ most recent significant hit – a mix of admiration and frustration might have resonated with singer Allan Clarke as well. Interestingly, Clarke wasn’t the songwriter; it was Albert Hammond who penned it, first appearing on his debut album in 1973. However, by 1974, Clarke found himself caught between a rock and a hard place. His original bandmate and Hollies co-founder, Graham Nash, had departed from the group in the late ’60s and was thriving both as a solo artist and with Crosby, Stills, and Nash.
Clarke yearned for something comparable since Nash was no longer contributing to the Hollies’ hit production. However, Clarke’s solo ventures didn’t take off as expected, leading him to reunite with his initial band. Their final success came with “The Air That I Breathe,” which charted in the top ten in the U.S., reaching number one in numerous countries.
In this case, the song initially didn’t resonate with me because I thought the chorus was too exaggerated. However, each time I give it another listen, I become captivated by it. Clark’s vocals have a dreamy quality, and the band creates an almost haunting atmosphere that mirrors Joni Mitchell’s emotion in “Help Me,” despite originating from a completely different musical space.
This song expresses love, yet it carries an undercurrent of unease about surrendering oneself fully to another person. When I feel the arrangement becomes overly dramatic, all I have to do is compare it with the original Hammond version. His interpretation is remarkably straightforward, featuring only an acoustic guitar and a cello. Frankly, it can grow monotonous. However, The Hollies add more depth to it.
“50 Ways to Leave Your Lover” by Paul Simon (1975)
Typically, I limit each list to a single song per artist, but if I didn’t, many of my lists would consist mainly of songs by Lou Reed and Elvis Costello. However, since Art Garfunkel was the lead singer on “Bridge Over Troubled Water,” I’m making an exception for one of Paul Simon’s top solo hits. There’s a striking parallel in Paul Simon’s early solo career chart achievements.
Following his separation from Garfunkel, Paul Simon released his debut solo album that reached the fourth spot on the album charts and produced a number four hit single titled “Mother and Child Reunion.” His subsequent album, There Goes Rhymin’ Simon, climbed to number two on the charts and included two songs that peaked at number two – “Kodachrome” and “Loves Me Like a Rock.” Eventually, he achieved the top spot on both the album chart with Still Crazy After All These Years and on the singles chart with “50 Ways to Leave Your Lover.
It opens with one of the most iconic pop music drum grooves, courtesy of Steve Gadd. Then Simon’s lyrical wit takes over as he dissects the breakdown of a romance. Patti Austin, Phoebe Snow, and Valerie Simpson (of Ashford & Simpson acclaim), sing backup on the chorus. The song has a deceptively tricky rhythm and a borderline silly message. It might have failed. But it didn’t.
“Dancing Queen” by ABBA (1976)
Instead of adding this to the disco supplement of my funk composition, I opted not to categorize it as such. Instead, I view it as a remarkable dance pop song. Right from the start, it’s bold – the chorus is front and center, grabbing your attention. The strings and synths are artfully blended, never overpowering the catchy melody but instead swirling around it subtly in the background.
You may not find me able to provide extensive insights about the song “Dancing Queen.” Either you’re already a fan, in which case you cherish it, or you’re not, and I can’t change your feelings towards it. To put it in the words of Toni Collette from her 1994 film, Muriel’s Wedding, “In my hometown, I would spend hours listening to ABBA songs. But since meeting you and moving to Sydney, I haven’t listened to a single one. That’s because my life is just as delightful as an ABBA song. It’s as good as ‘Dancing Queen!’
“Margaritaville” by Jimmy Buffett (1977)
For approximately a decade, Jimmy Buffett had been slowly but surely amassing a dedicated fan base before releasing his seventh album titled “Changes in Attitude, Changes in Latitude“. Some of his best songs were featured on his earlier albums. The enchanting “Come Monday”, arguably one of the most beautiful songs he ever penned, had already enjoyed modest success a few years prior. However, it was the song “Margaritaville” that ultimately caused a significant breakthrough in Buffett’s career. I can’t quite pinpoint why this particular track gained widespread popularity, but it did.
This composition showcases Buffett’s witty puns and weary but hopeful emotions. It paints a vivid picture of a fantastical lifestyle, capturing both its dull monotony and magical allure. Essentially, it’s an exceptionally crafted piece of music.
Although many of Buffett’s tunes were similar, what made “Margaritaville” stand out as his signature piece might be attributed to its title, which encapsulates a lifestyle and is synonymous with everything associated with Buffett. In essence, “Margaritaville” symbolizes more than just a song; it’s a way of life.
“Accidentally Like a Martyr” by Warren Zevon (1978)
I’ve selected this song partly as a tribute to Zevon, though it’s been over two decades since he passed away. Given that much time has elapsed, it’s unlikely he still cares about it now. His album “Excitable Boy” served as his biggest breakthrough, largely due to the popularity of its iconic track, “Werewolves of London.
The earworm, being a novelty, became a source of irritation for Zevon, despite his eventual acceptance. Similar to Thom Yorke, he found himself growing weary of “Creep” because its success overshadowed all the other work he had done.
I’m quite fond of “Werewolves of London,” but Excitable Boy is brimming with fantastic tracks, except for one on side 2 that you can skip if you have the vinyl. It includes solid rock numbers such as the title track and “Lawyers, Guns, and Money.” It also offers almost unbearably beautiful songs like “Veracruz” and “Tenderness on the Block.” Additionally, it features the epic cinematic piece “Roland the Headless Thompson Gunner.” Lastly, it boasts “Accidentally Like a Martyr,” one of the most touching and wistful heartbreak songs of the decade.
“Goodbye Girl” by Squeeze (1978)
On the opposite side of the spectrum, we find the exquisite pop music by Glenn Tilbrook and Chris Difford. Initially, their record label tried to label them as the next Lennon and McCartney, but that was more of a stretch than reality. However, they still created numerous outstanding singles, which danced around the reign of disco without fully succumbing to it.
Without a doubt, the song “Goodbye Girl” boldly showcases its synthesizers, serving as a backdrop for Tilbrook’s infectious, cheerful tune. Contrastingly, Difford’s lyrics depict a sorrowful tale of a tryst with a married man and a questionable character that ultimately leads to his downfall. Despite this, he seems more puzzled than enraged by the situation. Squeeze was renowned for their ability to capture romantic perplexity in a melody that’s hard to escape from.
“You’re the One That I Want” by John Travolta and Olivia Newton-John from Grease (1978)
Originally, ‘You’re the One That I Want’ wasn’t part of the stage version of Grease. Instead, it was penned by John Farrar, a frequent collaborator with one of the film’s stars, Olivia Newton-John, for the movie. Despite not being originally from the movie, it became a massive hit on its own and served as a powerful finale. Its charm was so captivating that many viewers overlooked the confusing ending in the film, which seemed out of place. However, the song effectively overshadowed any confusion about the ending.
The musical “Grease” was absolutely massive, with people I know having watched it an astonishing 50,000 times or so. Admittedly, I haven’t reached that number, but I could probably recite the entire script by heart. I’m well-versed in all its songs. The nostalgic atmosphere made a song like “You’re the One That I Want” feel lively without appearing too disco-like. Back then, this was important, and it remains relevant today.
The song remains popular because it intentionally evokes an earlier time, not just representing its own era. In simpler terms, “You’re the One That I Want” didn’t follow the trend of the typical disco songs from the late ’70s. The need for me to coin words like “dancey” and “disco” only serves to highlight this complexity.
Initially, there are twenty songs in the playlist. However, I noticed too late that I wanted one song from each year, and there’s none from 1979. So, to make it right, I’ve added Rickie Lee Jones’ jazz-pop hit “Chuck E’s in Love” from 1979 as an extra. But I won’t say much more about it since I’m aiming for brevity.
By the way, I didn’t intend to upset any Journey enthusiasts. Let me clarify that “Wheel in the Sky” is indeed a good tune. However, perhaps its appeal lies in the fact that it might not strictly fall under the categories of soft rock or pop music.
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2024-11-04 14:32