50 Songs That Turn 50 in 2024 — Part 1
1974: A year when glam rock was in full swing and disco rhythms began their pulsating journey. In this era, marked by bell-bottoms and platform shoes, music was an immersive experience. David Bowie led the glam rock scene with his androgynous charm, while disco’s rhythmic beats echoed in nightclubs, setting the stage for a revolution in dance music. This was also the year that Philadelphia soul reached its commercial zenith, and a former Beatle, along with his band, embarked on a musical escapade. 1974 also marked the arrival of ABBA, a Swedish sensation that forever altered the pop music landscape after triumphing at the 1974 Eurovision Song Contest.
The diverse musical landscape of 1974 mirrored the dynamic societal changes, capturing the spirit of an era that was unafraid to experiment and express. Glam rock, with its flamboyant style and challenge to traditional gender norms, promoted unabashed self-expression. Disco, capturing the essence of the dance club era, united people in shared rhythmic experiences. Philadelphia soul, with its rich orchestrations and emotive vocals, provided a voice for the city’s thriving African American community.
As we step into 2024, let’s revisit and celebrate 50 of these iconic songs, marking their 50th anniversary.
Waterloo — ABBA
At approximately 8:35 local time on Saturday, April 6, 1974, the Swedish pop group ABBA took the stage at the 19th Eurovision Song Contest final in Brighton, UK, to perform ‘Waterloo,’ Sweden’s entry for that year’s contest. What followed was one of the most iconic and consequential performances in pop music history. It marked the beginning of a new era in pop music, catapulting ABBA into megastardom and establishing Sweden as a pop music powerhouse, the third biggest music exporter behind only the US and the UK.
With “Waterloo,” ABBA brought a fresh sound to the Eurovision stage, diverging from the dramatic ballads that had traditionally dominated the contest. This electrifying blend of pop and glam rock, featuring a catchy melody, vibrant harmonies, and a pulsating beat, captivated international audiences. The song’s clever use of the Battle of Waterloo as a metaphor for surrender in love added a layer of lyrical wit to its appeal.
ABBA’s performance, characterized by flashy costumes and engaging stage presence, marked a significant departure from the typical Eurovision style. This bold approach, combined with the upbeat tempo of “Waterloo,” set ABBA apart from other contestants. The song’s victory at Eurovision was a landmark event, not only earning Sweden its first win in the competition but also propelling ABBA onto the path to global fame.
“Waterloo” was written by band members Benny Anderson and Bjorn Ulvaeus, with lyrics by the band’s manager, Stig Anderson. It was the first record to be credited to the name ABBA and topped the charts across the globe, securing the number one spot in various countries such as the UK, West Germany, Switzerland, Denmark, Norway, Belgium, Ireland, and Finland. Its international success extended to the US, where it reached number 6 on the Billboard Hot 100, Australia (#4), and Canada (#7). The song’s immense popularity led to sales of over 6 million copies worldwide, making “Waterloo” the fourth biggest global hit of 1974. Furthermore, in a testament to its enduring legacy, “Waterloo’’ was voted as the best song in the Eurovision Song Contest’s history during its 50th anniversary celebration in 2005.
Among the top contenders that year was the host country, the UK, represented by Olivia Newton-John, who secured 4th place. Four years later, ABBA, along with Andy Gibb, appeared as special guests on Olivia Newton-John’s 1978 US TV special on ABC.
The “Waterloo” album, released concurrently, mirrored the song’s success. It topped the Swedish charts and performed well in other European countries, and in the UK, it became the first time a foreign Eurovision act had charted an album. Critical reception of the album was generally positive, with reviews praising its innovation and ABBA’s distinctive sound.
Rebel Rebel — David Bowie
“Rebel Rebel” by David Bowie, released on February 15, 1974, epitomizes the rebellious spirit of its era. It was the lead single from Bowie’s album “Diamond Dogs” and quickly became a glam anthem, symbolizing a defiant and non-conforming attitude. Bowie collaborated with guitarist Alan Parker who contributed a unique chord shape to the riff, adding depth and texture to Bowie’s initial idea. According to Parker, Bowie came up with the guitar riff in order to “piss off” Mick Jagger.
“Rebel Rebel” achieved considerable chart success, reaching number five in the UK Singles Chart and number 64 on the US Billboard Hot 100. The song’s reception among critics and fans was overwhelmingly positive. It was lauded as a fitting farewell to Bowie’s glam era and as a precursor to the punk movement. The US release of “Rebel Rebel” featured a different mix, described as more uptempo and dense, with added elements like acoustic guitar and a new arrangement that buried the signature riff beneath phasing effects. However, this version was eventually replaced by the UK single version.
“Rebel Rebel” is also notable for Bowie’s innovative approach to music and image. The song introduced what author Nicholas Pegg called Bowie’s short-lived “pirate image,” characterized by a spotted neckerchief and a black eye-patch, which Bowie wore during a lip-synced performance on the Dutch television program Top Pop.
Bowie’s influence and contribution to music were far-reaching, and “Rebel Rebel” stands as a testament to his enduring impact on music. The song has been widely acclaimed and is remembered as one of the most iconic tracks of the 70s.
The Bitch is Back — Elton John
“The Bitch Is Back” by Elton John, released in September 1974 as the second single from his album “Caribou,” is a classic example of John’s unique blend of rock and flamboyance. This hard rock song, co-written with Bernie Taupin ,reached number 1 in Canada, number 4 in the United States, and number 15 in the United Kingdom.
The song’s creation involved notable musical talents, with Ray Cooper on tambourine, Davey Johnstone on electric guitars, and Dee Murray on bass, among others. Notably, Dusty Springfield contributed backing vocals, adding a distinctive touch to the track. The bold, unapologetic lyrics and Elton John’s dynamic performance made it an anthem of its time and a highlight in his illustrious career.
“The Bitch Is Back” has been covered by various artists over the years, including Miley Cyrus, Tina Turner, and Taron Egerton, the latter for the 2019 Elton John biopic “Rocketman.” Its enduring popularity is a testament to Elton John’s lasting influence on the music industry. The song remains a standout in his discography, exemplifying his flair for combining catchy rock music with a theatrical presentation.
Tell Me Something Good — Rufus & Chaka Khan
A funk masterpiece, “Tell Me Something Good” features Chaka Khan’s soulful vocals and Rufus’s groovy instrumentals. The song’s blend of funk and soul, along with Khan’s powerful performance, makes it a standout track of the era.
The song is known for its funky guitar riffs, smooth bassline, and Khan’s dynamic vocal range. Its sultry, groove-inducing melody is a perfect example of 70s funk at its best.
This track, written by Stevie Wonder, helped catapult Chaka Khan to stardom and became a defining song of her career. It’s a testament to her powerful presence in the music industry. The single peaked at #3 on the Billboard Hot 100 chart.
Kung Fu Fighting — Carl Douglas
Carl Douglas’s “Kung Fu Fighting” is a prime example of how a song can transcend its initial expectations to become a defining piece of musical and cultural history. The song would become an emblematic disco sensation and a testament to the power of music in capturing the zeitgeist of its era.
Released in the backdrop of a growing fascination with martial arts, exemplified by films like Bruce Lee’s “Enter The Dragon”, “Kung Fu Fighting” was initially considered a novelty song. It was written and recorded as a B-side in just a few minutes, with Douglas and producer Biddu assuming it would go unnoticed. The song’s lyrics and style perfectly encapsulated the kung fu craze of the time, tapping into the growing popularity of martial arts movies and the allure of action and adventure that they brought. This blending of music and martial arts culture made “Kung Fu Fighting” a significant part of the ’70s cultural fabric.
“Kung Fu Fighting” topped the charts in 14 countries, including the US (Billboard Hot 100), the UK, Australia, Austria, Belgium, Canada, France, Ireland, the Netherlands and New Zealand, South Africa, and West Germany. With global sales of 11 million copies, it is one of the biggest-selling singles of all time and the best selling single of 1974.
“Kung Fu Fighting” symbolizes a unique moment in cultural history and the song remains a beloved classic, instantly recognizable and often associated with the era’s nostalgia.
This Town Ain’t Big Enough for Both of Us — Sparks
“This Town Ain’t Big Enough for Both of Us” by Sparks, released in April 1974, stands out for its theatrical style and falsetto vocals. Written by keyboardist Ron Mael, the song blends theatrical rock and pop, marked by Russell Mael’s remarkable falsetto vocals.
The song’s blend of glam rock with operatic elements illustrates Sparks’ unique sound and audacious approach to music. The recording of the song, particularly its signature gunshot sound, was carefully crafted. Sparks went through an extensive library to find just the right sound, ensuring the gunshot did not make the song feel like a novelty but instead added to its dramatic flair.
Chart-wise, the song enjoyed considerable success, especially in the UK where it reached number two on the singles chart. It has been covered by various artists over the years, each bringing their own interpretation to this classic track. Siouxsie and the Banshees included a rendition of the song on their 1987 covers album “Through the Looking Glass” and in 2005, Justin Hawkins, under the alias British Whale, released a version that peaked at number six on the UK Singles Chart.
I’ve Got the Music in Me — Kiki Dee
British singer Kiki Dee (born Pauline Matthews) scored her first US hit with “I’ve Got the Music in Me”, a jubilant celebration of the power of music and an instant classic that still has us tapping our feet. The song is a brilliant blend of pop and soul, showcasing Dee’s dynamic vocals and infectious energy. The melody, driven by a spirited piano and a punchy brass section, is a reflection of the era’s love for lively, feel-good music and makes you want to dance every time. No wonder the song features on so many workout playlists.
The single was a hit on both sides of the Atlantic, reaching #12 on Billboard Hot 100 and #19 on the UK chart. Two years later Kiki Dee would join forces with Elton John for one of the biggest selling singles of the 1970s,“Don’t Go breaking my Heart”.
Love Me for a Reason — The Osmonds
The Osmonds’ “Love Me for a Reason” is a soulful, harmonious track that highlights the group’s signature style. Released in August of 1974, this song stands out for its lush arrangements and the Osmonds’ tight vocal harmonies. It’s a perfect blend of pop and soul, with a touch of the sentimental balladry that was popular at the time. The song’s message about seeking genuine love resonates deeply, making it a timeless piece.
Dark Lady — Cher
“Dark Lady” by Cher is a song that captures the essence of narrative-driven pop music with its intriguing storyline and dramatic delivery. It became a significant hit for Cher, reaching number 1 on the US Billboard Hot 100 and achieving top 10 status in various countries like Norway, Canada, South Africa, and Denmark. The success of “Dark Lady” contributed to Cher’s status as a pop icon, showcasing her ability to tell a story through music and connect with audiences worldwide.
Written by Johnny Durrill and produced by Snuff Garrett, “Dark Lady” tells a captivating story of a woman who visits a fortune teller, only to discover a betrayal by her lover. The narrative takes a dark turn, leading to a dramatic climax that highlights the song’s theatrical qualities. This narrative style, combined with Cher’s powerful vocal performance, made “Dark Lady” a standout track of the time.
“Dark Lady” is also remembered for its unique musical arrangement and Cher’s emotive interpretation of the lyrics, which brought the song’s narrative to life. Its distinctive blend of pop and narrative storytelling set a precedent for future hits in Cher’s career and solidified her reputation as a versatile and dynamic artist.
Dancing Machine — The Jackson 5
“Dancing Machine” by The Jackson 5 is a funk-infused track that emerged during a transformative period for the group, highlighting their evolution towards a more dance-oriented sound. It topped the US Billboard Hot Soul Singles chart and secured the #2 spot on the Billboard Hot 100 and in Canada’s RPM 100.
The song was the first single from the band’s 9th studio album, also titled “Dancing Machine”, and is a fusion of R&B, Pop/Rock, Motown, Soul, and Funk, recorded at the renowned Motown Recording Studios in Hollywood, CA.
“Dancing Machine” became synonymous with Michael Jackson’s robot dance, a move he debuted on television while performing this song, cementing his reputation as not just a singer but a sensational performer.
Band on the Run — Wings
“Band on the Run” by Wings is an epic musical journey that exemplifies McCartney’s artistic brilliance during his Wings era. This track, from the album of the same name, embodies a spirit of freedom and escape, a theme that resonates through its entire composition.
The creation of “Band on the Run” was an adventure in itself. McCartney, keen to record outside the UK, chose Lagos, Nigeria, for its potential as an exotic recording location. However, the reality in Lagos was far from glamorous. The band faced numerous challenges, including a subpar recording studio and a harrowing robbery where McCartney and his wife Linda were robbed of their demo tapes at knifepoint. This theft forced McCartney to recall and alter the song’s lyrics from memory, inadvertently shaping them to reflect the band’s situation, “stuck inside the four walls” of a challenging environment.
The song’s structure is a three-part medley, blending various musical styles. It begins with a slower, reflective melody, shifts into a more upbeat middle section, and concludes with an anthemic finale. This medley format gives “Band on the Run” its unique character, distinguishing it from typical rock songs of its time. Upon its release, “Band on the Run” achieved significant success, reaching the top of the charts in the US and Canada, and becoming a top ten hit in the UK and several European countries. The song has been acclaimed for its lyrical content, innovative structure, and enduring appeal, marking it as a highlight in McCartney’s solo career.
I Will Always Love You — Dolly Parton
Dolly Parton wrote the poignant “I Will Always Love You” for her one-time partner and mentor, Porter Wagoner, as they ended their seven-year professional partnership. The song speaks volumes about the elegance of parting with respect and dignity. Dolly Parton crafted this song with a depth of emotion that resonates with listeners even today.
When it was first released in 1974, the song soared to number one on the Billboard Hot Country Songs chart. In 1982, Parton re-recorded the song for the movie “The Best Little Whorehouse in Texas,” where it once again topped the charts. This unique achievement made her the first country artist to hit number one with the same song twice.
However, the song reached new heights of global fame when Whitney Houston recorded it for the 1992 film “The Bodyguard.” Houston’s soul-ballad rendition was a massive success, topping the charts in almost all countries and becoming the best-selling single by a woman in the U.S. It won several awards, including the Grammy Award for Record of the Year and Best Pop Vocal Performance, Female in 1994.
Parton’s own experience with the song includes an interesting anecdote about Elvis Presley. Presley expressed interest in recording “I Will Always Love You,” but the deal fell through when Parton refused to concede half of the publishing rights, a standard request for songs recorded by Elvis.
You Haven’t Done Nothin — Stevie Wonder
“You Haven’t Done Nothin’” by Stevie Wonder is a funk-infused track with a political message, its groovy beat and direct lyrics reflecting the turbulent social atmosphere of the time. The song, which features the Jackson 5 on backing vocals, became Wonder’s fourth number 1 hit on the Billboard Hot 100 and his tenth number 1 soul hit.
The track emerged during a period of intense political scrutiny and societal unrest, particularly reflecting the disillusionment with the Nixon administration and its handling of significant social issues. The song’s release coincided with the crescendo of the Watergate scandal, adding a layer of pointed criticism aimed directly at Richard Nixon, evidenced by Wonder’s lyrics: “I’m sick and tired of all their lies,” and “Everybody promises you everything, but in the end, nothing comes out of it”.
The song resonated deeply with audiences at its release and became an anthem for change and accountability. Its relevance has persisted over the years, as the themes of political accountability and social justice remain universal and timeless.
I Honestly Love You — Olivia Newton-John
Olivia Newton-John’s “I Honestly Love You” stands as a quintessential ballad of its time, combining heartfelt lyrics with Newton-John’s distinctly gentle vocals, showcasing her ability to convey deep emotion through music. It is a poignant song that beautifully captures the essence of love and emotion, making it a timeless classic.
The track was ONJ’s first number one hit on the Billboard Hot 100, a milestone she would achieve 5 times throughout her illustrious career. At the 1975 Grammy Awards, “I Honestly Love You” garnered significant recognition, clinching awards for both Record of the Year and Best Pop Vocal Performance. This dual triumph underscores the song’s exceptional quality and Newton-John’s remarkable vocal prowess.
Seasons in the Sun — Terry Jacks
“Seasons in the Sun ‘’ by Terry Jacks, released in January 1974, is a ballad known for its touching narrative and memorable melody, epitomizing the folk-pop style of the era. The song’s narrative of love, loss, and the passage of time, continues to resonate with listeners and holds a special place in music history as a timeless classic.
Originally penned in French by Jacques Brel as “Le Moribond” in 1961, the song underwent transformation through Rod McKuen’s English translation and The Kingston Trio’s first English-language version. Terry Jacks personalized the song, significantly altering the lyrics, particularly the last verse, to reflect the poignant farewell to a close friend facing the inevitable due to leukemia.
The piano and double bass parts in the second verse, contributed by a young David Foster, added depth to the rendition. Despite its contemporary success and massive sales, some critics in later years viewed the song as overly sentimental. Nevertheless, its impact on music and culture remains undeniable.
The single, released on Jacks’ label Goldfish Records, topped the charts in 14 countries, including the US, UK and West Germany, and became a defining song of the era, selling over 8 million copies globally. It was the second best selling single of 1974 in the world.
