Why this may be the most uneventful Billboard week ever

Let me make it clear at the outset: This article will focus on ten songs that were once widely popular, but they aren’t to my liking. However, these tunes might resonate with you, and that’s perfectly fine. It just indicates we have differing musical preferences. No judgment is intended here.

Instead of claiming these songs are poor, I aim to suggest that collectively, these top 10 hits from Billboard in April 1975 have had a significant impact on pop music evolution – perhaps like a black hole, shaping the genre’s trajectory.

At that point in time, I was right in the thick of popular music’s golden era, squarely in my teenage years. Let me warn any young readers encountering this text: if ever we find ourselves waiting between performances at a concert, there’s a good chance I might draw you into one of my favorite hobbies.

Instead of bringing up old tunes from yesteryear at random, I’ll inquire if you’re familiar with certain songs that have passed through time. It might seem bothersome to you, but it assists me in determining the classic tracks that still resonate and those that have become forgotten.

The blandest week in pop music

You’ll notice that some of these tunes might be familiar if you’re older, though not all may resonate. If you’re younger, it’s likely none of them will seem familiar. However, if your father used to sing one of them in the car or something similar, there might be a connection. Otherwise, I think these songs have largely slipped from mainstream memory.

These songs might not be popular now, but they can still be exceptional and undiscovered gems. While I personally find these ten tracks ranging from average to appalling, I acknowledge that there are individuals who truly appreciate or even adore a few of them, as I mentioned earlier.

These tunes didn’t seem to significantly contribute to the evolution of popular music. Their influence on what came after was quite minimal.

By the mid-1970s, rock and roll was already getting old. We know that because as early as 1972, Elton could “remember when rock was young” in “Crocodile Rock.” (Elton will be showing up a little bit later in this article.)

For the preceding decade, Rock had held a commanding position on the Billboard charts, but its glory days seemed to be fading away. At this point, Disco was emerging, although it wasn’t completely dominant yet. Therefore, during the heart of the decade, you would find a mix of various songs and styles competing for America’s attention.

50 years back, in the heart of spring, these were the top tunes that ruled America’s airwaves, as we counted down, starting from number ten.

10. “Before the Next Teardrop Falls” by Freddy Fender

It seems more appropriate to start with this song first because among the songs I’m going to talk about, it appears least relevant to my main point. Although I’ve never been a fan of Freddy Fender’s falsetto, there’s no arguing his impact on a distinct genre of Latin-infused music. As a successful solo artist in the ’70s and later as part of Texas Tornados, Fender played a pivotal role in shaping Tex-Mex rock & roll. I’ll explain why this particular song, despite its popularity, holds less significance for my discussion.

Initially, this song isn’t as impressive as Fender’s other renowned hit from the same period, “Wasted Days and Wasted Nights.” However, it took quite a while for its significance to become apparent. During that time, Freddy Fender was somewhat of an exception within country music, much like Charley Pride being the sole African-American star in the genre.

At first, this song wasn’t as strong as another one Fender made popular during the same era. People didn’t immediately notice its impact, but over time it became significant. Back then, Freddy Fender and Charley Pride were unique in country music because they were among the few African-American artists in the genre.

9. “Emma” by Hot Chocolate

In 1975, Hot Chocolate’s “You Sexy Thing” garnered significantly greater impact as a hit compared to “Emma,” despite some arguing that “Emma” is a better tune. The issue with “Emma” stems largely from its disparity with the producer’s vision.

Mickie Most found significant success in the UK as early as the psychedelic ’60s, and by the mid-’70s, he was achieving greatness with glam music. However, this particular song is a more sincere and somber composition, focusing on themes of shattered dreams and suicide. The polished rhythm of the song seemed out of place given its subject matter. Although it enjoyed a brief surge in popularity, it failed to explore new territories for the band.

8. “What Am I Gonna Do With You” by Barry White

Barry White’s music has the power to evoke strong reactions in people. Some are captivated by him, while others might find his style of romance slightly over-the-top. The question arises as to whether he was a pioneer of disco or an artifact from a past era, harkening back to Kenny Gamble and Leon Huff’s Philly soul sound from the late ’60s and early ’70s.

Regardless of whether you admire him or find his music amusing, “What Am I Gonna Do With You” stands out a bit among the string of White’s hits. Compared to them, it has a more lively rhythm and a livelier beat. This distinctiveness sets it apart from the sweet melancholy of a classic like “Can’t Get Enough of Your Love, Babe” or the sensual funkiness of “Never Never Gonna Give Ya Up.

7. “Chevy Van” by Sammy Johns

The songs discussed so far might not be poor tunes per se, but allow me to express a differing viewpoint here. This particular jangle folk track seems to embody the genre’s less appealing aspects. What makes it more questionable is the advice within its lyrics for listeners to rest and dream about rock and roll music.

Is it rather unimportant? It seems that when Kris Kristofferson penned “Me and Bobby McGee” in the late ’60s, he raised the bar quite high for such songs. However, Sammy Johns appears to have lowered the overall quality a bit with “Chevy Van.” In a sense, this could be seen as a certain degree of significance.

6. “Supernatural Thing -Part 1” by Ben E. King

Instead of saying it that way, you could rephrase as follows: Ben E. King, famous for timeless classics like “Stand By Me,” “This Magic Moment,” “Save the Last Dance for Me,” and “Spanish Harlem” (with “Freakin'” being a modern addition), might have been better off avoiding a slow disco song titled “Supernatural Thing.

King’s vocal talents are admirable, yet it’s important to note that this particular song doesn’t enhance his legacy significantly. In contrast, during the same period, Stevie Wonder made monumental strides with compositions like these, causing King’s song to pale in comparison and fade rather swiftly.

5. “He Don’t Love You (Like I Love You)” by Tony Orlando & Dawn

In the ’70s, Tony Orlando gained popularity under various group names like Dawn, Dawn featuring Tony Orlando, or Tony Orlando & Dawn. He produced a sequence of polished, infectious, yet easily forgettable pop tunes during this period. The songs “Knock Three Times” and “Tie a Yellow Ribbon Round the Old Oak Tree” were innocuous number one hits.

He Won’t Love You…”, though his third and biggest hit, is less appealing than the first two. Compare Jerry Butler’s original version from 1960 (originally titled “He Will Break Your Heart”) to Orlando’s cover, and it sounds like elevator music. However, contrary to what you might think, this song’s significance lies in its creation, but don’t be fooled… it’s not a good one.

4. “No No Song/snookeroo” by Ringo Starr

In simpler terms, Ringo Starr, a former member of The Beatles, was the first among them to achieve significant success on music charts in the early ’70s, an impressive feat at that time. His old-school cover versions of songs like “You’re Sixteen” and “Only You” had a charming appeal, while his original compositions, frequently co-written with his former bandmates, were strong pop rock numbers.

The “No No Song” wasn’t really about anything specific; instead, it was a playful, humorous take on the use of marijuana, alcohol, and cocaine within the music business. Such songs are often fleeting in their impact.

3. “Lovin’ You” by Minnie Riperton

Riperton was an exceptionally talented jazz vocalist of her time, whose life was prematurely ended by cancer. Not long after achieving great success with a notable single, she passed away. The opening of this song, a collaborative effort between the singer and Stevie Wonder, is particularly enchanting.

Initially, she commences showcasing her extensive five-octave vocal ability, leaving the tune’s beauty somewhat overshadowed. Notably, it’s during the last minute of the song that her vocal acrobatics take place, and she uses her whistle register only sparingly, twice in total. However, those vocal gymnastics became a defining aspect of the song, turning it into something unique – almost gimmicky. Keep in mind, novelty items can be hit or miss. They often don’t have far-reaching effects beyond their immediate popularity.

2. “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” by B.J. Thomas

Thomas was undeniably the quintessential unremarkable, average country pop singer from the 1970s. He possessed an agreeable appearance and a voice to match. Thomas had serendipitously landed the Bacharach/David composition “Raindrops Keep Fallin’ on My Head” for the movie Butch Cassidy and the Sundance Kid several years prior. This was followed by a string of songs that were nowhere near as sophisticated, and this particular one was as innocuously pleasant as they come.

Given the rapid transformation happening within the realm of countrypolitan pop due to the rise of outlaw country music, this tune seemed remarkably outdated even before its release date.

1. “Philadelphia Freedom” by Elton John

Initially, I started off discussing an unusual case, and you might think my conclusion is similarly uncommon. However, let me clarify that this isn’t about my personal feelings towards the song. Many people indeed appreciate it, finding it catchy and upbeat. Moreover, its association with tennis legend Billie Jean King provides a compelling narrative. Nonetheless, I don’t see it as an outlier in any way.

In my opinion, this signals the decline of Elton John’s prominent status as a significant artist during the 1970s. He had enjoyed immense success in the early part of the decade, regularly topping album and singles charts. “Philadelphia Freedom,” which was his fourth number one song, may have been popular at the time, but it wasn’t necessarily what he would ultimately become famous for.

The songs on his album, which showcase more complex and personal character sketches in collaboration with Bernie Taupin, can be considered Elton’s tribute to music enthusiasts. Despite its appeal, “Philadelphia Freedom” paved the way for the less thoughtful pop hits like “Island Girl” and “Don’t Go Breaking My Heart,” which went on to become number one hits following it.

Just a couple of weeks after that, some great songs such as “Jackie Blue” by Ozark Mountain Daredevils and “Shining Star” by Earth, Wind & Fire made their way into the top ten. This means that although the era was nearly devoid of hits, it wasn’t entirely barren.

A couple weeks later, “Jackie Blue” by Ozark Mountain Daredevils and “Shining Star” by Earth, Wind & Fire managed to break into the top ten, showing that even though the era was mostly lacking in hits, it wasn’t completely devoid of them.

2025-09-06 13:01