Popular music, like many other aspects of the arts, is
subject to myths and misconceptions. Perhaps its greatest myth is the myth of
punk. This goes like this. After the explosion of creativity in the sixties and
early seventies, the decade slid into a slow decline into mediocrity from which
it was rescued by the volcanic eruption of punk. Like all myths, there is a
kernel of fact which cannot be dismissed out of hand. I begin therefore by
admitting that there were some grounds for criticism in 1975.
Firstly, I concede, the novelty single. There are no less
than eleven of these in the top 100 best-selling singles of 1975; the highest,
at number 3, being Whispering Grass
by Windsor Davis and Don Estelle,
stars of the hit show It aint half hot mum. Other (dis)honourable mentions go to
Jasper Carrott (Funky Moped), Billy Connolly
(DIVORCE) and the Goodies (Funky Gibbon). Whilst it is easy to decry these and other songs,
they added to the gaiety of the nation and were part of the mix of some of the
most diverse lists of songs ever in the chart.
Secondly, with some reservations, I concede the dance craze
songs. From Van McCoys The Hustle, Kenny’s The Bump, and Hamilton Bohannon’s Disco Stomp to the re-released Let’s Twist Again by Chubby Checker, these may have lacked
musical depth but they were dance floor fillers and shifted a lot of units. I
would class them as twinkling stars in 1975’s constellation of music.
Thirdly, the lightweights- songs of no great musical quality
that haven’t stood the test of time. I would include the output of bands like Mud, Showaddywaddy and the Rubettes, all bands I enjoyed as a
teenager before moving on more challenging fare. All good clean fun but with a
tendency to undercut their own credibility with their outfits and their larking
around.
From here on in, though, it gets more difficult to be
critical. My teenage self may have sympathy with the view that many of the acts
of these years were getting too old, a deficiency that punk very effectively
rectified. Many of these were also from genres other than pop; and yet, and
yet, just listing their songs, so many of them have stood the test of time.
There’s Glen Campbell with Rhinestone Cowboy, Art Garfunkel with I only
have eyes for you, Frankie Valli
with my eyes adored you and even Billy Jo Spears with Blanket on the ground, all songs you’ll
still hear on many a radio station.
The year had its share of big hitters too, none bigger than Bohemian Rhapsody, Sailing and Space Oddity (do
I need to list the artists? Really?) But there was a lot else going on that
merits a mention. In this top 100 you can see early signs of the rise of Reggae
as a force. Susan Cadogan’s intense Hurts So Good, Johnny Nash’s Tears On My
Pillow and John Holt with his
version of Help Me Make It Through The Night
were harbingers of things to come. Alongside them was a late flowering of pure
soul that has left us with songs to make your heart ache with joy. The Chi-lites Have you seen her with its spoken intro, Gladys Knight and the Pips You’re
The Best Thing That Ever Happened To Me and The Way We Were, The
Stylistics I Can’t Give You Anything
But My Love and Sing Baby Sing,
each one smoother than melted chocolate.
Still not convinced? Then let me offer three songs from 1975
that have echoed down the years and are still wildly popular. For this was the
year of Gloria Gaynor’s I will survive, and furthermore of Steve Harley and Cockney Rebel’s Come up and see me make me smile, together
with Roxy Music’s Love is the Drug. Surely these three
would be worth the price of admission? So that’s 1975 in terms of the best
sellers. But of course there is more to music than hit singles………..but that’s
for another post.
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