5 pop songs that defined the 1970s

To those connoisseurs of music, often referred to as musically refined individuals or audiophiles, mainstream pop music has historically been viewed as a form of mass sedation. These discerning listeners tend to shy away from what’s trending and instead opt for more sophisticated sounds. Bill Murray, in his character John Winger from the film Stripes, articulated this quite succinctly when he explained it to his soon-to-be-ex-girlfriend at the movie’s outset.

Tito Puente will no longer be alive, and you might say, ‘I’ve enjoyed his music for such a long time. He’s simply amazing.'”

nother option:

“When Tito Puente passes away, you might express your admiration by saying, ‘I’ve been a fan of his for years. He’s absolutely fantastic.’

1981 marked the timeframe, with the woman in reference tending to groove to the tunes of Hall & Oates or Juice Newton on her stereo.

John Winger is arguing with his girlfriend, expressing the view that Tito Puente surpasses any shallow pop music played on the radio – a sentiment many have shared. This opinion arises from the underlying belief that if something is widely popular, it may not be of high quality. It’s undeniably a form of elitism.

Pop songs of the 1970s that helped define the decade

Indeed, a kernel of validity exists within that prejudice. Popular music tends to resonate with the largest audience and softens the raw facets of creative evolution. Pop tunes are typically polished to perfection using cutting-edge technology, favoring perfection over human imperfections. This refinement can sometimes lead to monotonous, uninspiring output.

However, as you delve deeper into different music genres, you come to understand that each one contains precious jewels. Yet, they also have their fair share of mediocre pieces. Your preference might lean towards jazz over punk, or country over metal, but it’s possible to appreciate Black Flag or Shania Twain within those contrasting styles.

Today’s task involves selecting five iconic tunes from the ’70s that were widely played and undeniably great. This list is captivating because each song has left an impact on me at distinct stages in my life. Some resonated with me the moment I heard them as a child, while others grew on me over time, with one even earning my admiration just a couple of hours ago.

I suppose it just proves that you should never really close the door of music.

“Cracklin’ Rose” by Neil Diamond (1970)

It’s clear that “Sweet Caroline” will always be known as Neil Diamond’s iconic tune. Released in 1969, it’s a contagious hit that everyone loves to sing along with. Personally, I find “Cracklin’ Rosie,” his subsequent song, to be his masterpiece. The discussion about whether the song was inspired by a woman or a bottle of wine overlooks the essence of art. To me, it can embody both interpretations, which is how I prefer to perceive it.

Although I acknowledge the criticism that Diamond’s music might seem frivolous or excessive, especially in comparison to the Brill Building style he grew up with and his interpretation of Vegas-style glamour, I still find it effective in both “Sweet Caroline” and “Cracklin’ Rosie”. In fact, I think it works better than in some of his later hits from that decade.

By 1970, I’d been in the music scene for roughly a decade, but I wasn’t jaded yet. There was still a spark of joy within me. Fast forward a decade, and love would be more about heartache than harmony – a melancholic mix of love ballads and drinking tunes. But in 1970, I was still optimistic, believing I had all night to make the world right.

“ABC” by the Jackson Five (1970)

The genre of bubblegum pop was quite popular in the music scene when Berry Gordy introduced five brothers from Indiana to the world. This type of music was referred to as “bubblegum” because it was sweet, almost like candy, with songs like “Yummy, Yummy, Yummy” or “Sugar, Sugar.” A British band would adapt this basic style into glam rock a few years later and they were known as Sweet.

As a gamer, I’d spin it like this: Back in the day, when my tunes were crafted by the legends at Motown, The Jackson Five brought a dash of funky flavor to our sound, which earned us the nickname “bubblegum soul.

Instead of saying “But it was all pop, in that it was extraordinarily popular,” you could rephrase it as “The music was incredibly popular, being classified as pop.”

“ABC was remarkably similar to their debut hit “I Want You Back”, but with more freedom and an emphasis on Michael’s soaring high tenor harmonizing beautifully with Jermaine’s deep baritone.”

Lastly, for the third sentence, you could rephrase it as: “Session musicians like bassist Wilton Felder, drummer Gene Pello, and guitarist Louis Shelton contributed significantly to the funky feel of the track.

The Wrecking Crew refers to a group of Los Angeles session musicians, many of whom contributed to the recording of the Neil Diamond song (though not necessarily the same individuals).

“Rainy Days and Mondays” by Carpenters (1971)

In 1970, the duo Paul Williams and Roger Nichols penned “We’ve Only Just Begun” specifically for Karen and Richard Carpenter. This song swiftly ascended to the second spot on the Billboard pop chart. The next year, they collaborated once more with the Carpenters, producing “Rainy Days and Mondays,” which also reached the same high position on the chart.

On the other hand, “Rainy Days and Mondays” represented progress. It stands as one of the most movingly beautiful pop tunes from that decade.

Starting with the melancholic notes from a harmonica, the heartfelt narrative unfolds through Karen’s exceptional vocal performance. Interpreting Williams’ words that struck a balance between being timely and timeless – “I talk to myself and feel old, sometimes I wish to give up, nothing seems to align” – despite being just 21 years old, Karen embodied the wisdom of someone who had lived many lives in her voice and delivery.

For the most part, her brother’s usual ornate composition leans towards a muted tone. He skillfully maintains the strings in a soft key and strategically employs Bob Messenger’s sax solo to create a pleasing impact. It’s not hard to identify where the session musicians were drawn from; indeed, it appears we have more of the Wrecking Crew at work here.

The main issue arising during production occurs when Richard gives the backing vocalists too much leeway, making them somewhat dominant in the middle section. Frankly, with a voice as powerful as Karen’s, such indulgence is completely unwarranted.

“Alone Again (Naturally)” by Gilbert O’Sullivan (1972)

Just in case you’re curious, this is the tune that I recently grew fond of. As a child, I found it incredibly catchy. And O’Sullivan had that charming Irish lilt. However, even at a young age, I understood that it was somewhat sentimental and melodramatic (though nothing compared to the sickly sweetness of his other popular hit “Clair.”).

Why does a melancholic, emotional pop song about suicide and life’s purposelessness find its place on this list? That’s exactly why – because of that intriguing tension. It’s striking, much like Foster the People adding a catchy pop vibe to the unspoken tragedy in “Pumped Up Kicks,” or Springsteen creating anthems from the rocky reality of “Born in the U.S.A.

Something about this song touched a chord during a very dark hour for the nation.

It seems my newfound admiration stems from experiencing two contrasting versions of the same song within a short time frame – Vonda Shepard’s soulful, spiritual rendition followed by the Dollyrots’ punk rock interpretation. This timeless melody allows for diverse interpretations.

“Then Came You” by Dionne Warwick and the Spinners (1974)

By mid-decade, disco was on the rise, yet quality soul music still had a place. The titan of Philadelphia Soul, Thom Bell, brought together two prominent songwriters, resulting in an enchanting fusion.

At a specific point in time, Dionne Warwick, known as “Warwicke” then, was capable of singing anything. She demonstrated this ability by gracefully managing the intricate rhythms of Burt Bachrach and Hal David during the late ’60s. Simultaneously, The Spinners showed they could intensify the drama without sacrificing the rhythm on another Thom Bell composition titled “I’ll Be Around.

In a theatrical setting, the piano forms the basis of Bell’s performance, followed by the inclusion of grand string melodies and groovy guitar riffs. Just like two skilled partners in a dance, Duckworth and Smith harmonize brilliantly, complementing each other perfectly.

Although numerous excellent pop tunes emerged later in the decade, the dominance of disco beats overshadowed a significant portion of the genre. Consequently, this era warrants its own distinct list.

2025-05-17 13:00