Each week, I am releasing a list of my 15 favorite songs from the first 15 summers I lived in my beloved hometown of Toms River, N.J. between 1974-88. That takes me from the summer I was 7 until the summer I was 21. Each song from each summer has a special meaning and I will try to convey them as best as I possibly can. So I will rank each summer's hit song memory from Nos. 15 through No. 1. Each song was a hit that peaked on the Billboard Hot 100 between Memorial Day Weekend and Labor Day Weekend.
This week, it's the Sounds of the Summer of '74:
15. Sundown—Gordon Lightfoot (#1, June)
Mellow rock had taken over the radio airwaves and no one could be as mellow as the Canadian folk singer-turned-pop star Gordon Lightfoot. This was his only No. 1 hit and it never seemed to fail that my transistor radio would play "Sundown" every time the dusk would arrive on my then-sleepy little Toms River neighborhood. His normally animated voice never wavered on this one, which may make it sound dull, but he always left me with that great line in the record, "Sometimes, I think it's a sin when I feel like I'm winnin' when I'm losin' again." Words one can take to heart.
14. Takin' Care Of Business—Bachman-Turner Overdrive (#12, August)
For years, this song has become a sports anthem. But in 1974, it was a great ridin' down the road song that came on WABC-AM, especially when the work day was done. Randy Bachman's lead vocals still sound direct and to the point when he sings, "Takin' care of business, everyday. Takin' care of business, every way. I've been taking care of business, it's all mine. Takin' carin' of business, and workin' overtime, workout!" Words a 7-year-old may not understand then, but someone in their 50s certainly knows the meaning of now. Good, heavy sound from the Canadian rockers.
13. Billy, Don't Be A Hero—Bo Donaldson & The Haywoods (#1, June)
Schmaltzy? Sure! A young man goes off to fight in the Civil War and all everyone, including his love, wants is for him to come back home safely after the conflict is over. Always loved the whistle of the record and the storytelling done by songwriters Mitch Murray and Pete Callander, told by lead singer Mike Gibbons (Bo Donaldson was actually the keyboardist of the group). Bubblegum pop perhaps, but it still sounds great -- or schmaltzy -- to this day. By the way, it would be years until I found out that a British group called Paper Lace had done the version of this song first. And speaking of which ...
12. The Night Chicago Died—Paper Lace (#1, August)
Here you go! Not "Billy, Don't Be A Hero," but at least Paper Lace got a piece of the American pop pie thanks to this tale about the night violence broke out on the streets of Chicago (some people may say it's still happening to this day), told from the same pens that penned "Billy, Don't Be A Hero," Mitch Murray and Pete Callendar. Drummer Phillip Wright was also the group's lead vocal and he gave what I always thought was a dramatic description of the details that led to the night the Windy City met its deadly demise. "There was shouting in the street, and the sound of running feet. Then I asked someone who said, "About a hundred cops are dead." You thought Mrs. O'Leary's cow made a return to kick over the lantern that destroyed the city all over again. Yes, fictitious, but there, for a moment, I wanted to read more about that night Chicago died. I was naïve back then.
11. Rock The Boat—The Hues Corporation (#1, July)
Some call this record the beginning of the Disco Era in that Summer of '74. There were other "disco" records before it, but hey, no one referred to those records as "disco." It was performed by a trio from Los Angeles who named itself after Howard Hughes, but just took the "g" and the "h" from the name. That song comes on the radio and you know the words to it. "So I like to know where you got the notion? Say I'd like to know where you got the notion? Rock the boat (Don't the rock the boat, baby), rock the boat (Don't tip the boat over), Rock the boat (Don't rock the boat, baby), rock the booooaaaaaatttt!" One of the all-time great summertime memories of my early upbringing. I always loved the horns that accompanied the vocals. A piece of pop -- and "disco" -- genius.
10. Rock Your Baby—George McRae (#1, July)
You can't think of "Rock The Boat" without "Rock Your Baby." There are a number of similarities. First, both songs start with the word "Rock" in them. Both are versions of what would be known as early Disco music. Both were by artists hitting the Top 40 for the first time. And one followed the other one to the No. 1 spot as "Rock Your Baby" replaced "Rock The Boat" at the top of the pop chart. I have always loved that opening, that quiet, percussive opening that reminds me of Timmy Thomas' 1973 smash "Why Can't We Live Together." Then you hear the whisper of that strummed guitar and the electronic keyboard that leads the way into a Disco classic. Great beat without ever sounding over the top and great guitar added in there. The keyboards were played by Harry Wayne Casey of the up-and-coming act K.C. & The Sunshine Band and the band's Jerome Smith delivers the guitar work. Another warm memory of summers forever gone by.
9. Band On The Run—Paul McCartney & Wings (#1, June)
Other than "Imagine" by John Lennon, "Band On The Run" is the best song done by any of the former Beatles solo. "Band On The Run" is brilliantly done in three parts by McCartney, the first of despair in being trapped behind bars and walls, the second part starting to rock out a little more with the plan of what that person is going to do once out of entrapment, saying "if we ever get out of here," and then the raucous third part leading to the "band on the run." McCartney is a great storyteller with the three parts of the record. He also delivers fantastic bass guitar work (one of his best, I believe) as well as co-electric guitar work with Denny Laine. Though a No. 1 hit before the summer (June 8, 1974), it still remains a summertime memory to me.
8. Don't Let The Sun Go Down On Me—Elton John (#2, July)
One of the greatest compositions put together by the legendary team of Elton John and Bernie Taupin, that feeling of loneliness is glorified in this monster hit that should have been No. 1. The slow-moving track gives indication as to the mood Sir Elton is feeling on this record, especially the line, "Losing everything is like the sun going down on me." It's desperation and isolation and even depression. But you're sucked in on how the Rocket Man is doing. Great musical backdrop by Sir Elton on piano and a warm, horns accompaniment arranged by Del Newman. You sure hope he got some help after hearing that song.
7. Annie's Song—John Denver (#1, July)
I have always considered "Annie's Song" one of the all-time greatest love songs ever composed. Interestingly, it was written while John Denver was going up a ski lift the previous summer, admiring the natural beauty surrounding him. Though this song was written for his wife Annie, you never hear her name uttered once by Denver on this song. It's the song that saved his marriage to her for at least nine more years. Everything on that particular record is simply gorgeous -- his angelic vocal, the strings behind him and the acoustic guitar. Want to hear that beauty explored further? Listen to flutist James Galway's instrumental version of that song. The musical backdrop alone makes "Annie's Song" the best song John Denver recorded.
6. Come Monday—Jimmy Buffett (#30, July)
Unabashedly, I make no apologies or qualms about it -- "Come Monday" is my favorite Jimmy Buffett. It's not quite tropical as much of his catalog … actually, it's more Rocky Mountains sounding like a John Denver song. But it's undoubtedly Buffett as he traipses throughout the country to be with his woman, but has the hardships of the road to deal with. He has his Hush Puppies on, so he guess he never was much for glitter Rock 'n Roll. Every song should have the tagline "Come Monday, it'll be all right." Mondays never seem to be that way. But this one works and is every bit a Buffett summertime song as "Margaritaville" and "Volcano." Grab a cheeseburger and enjoy every bit of this memory maker.
5. You Make Me Feel Brand New—The Stylistics (#2, June)
Easily, the best thing the Philadelphia-based group the Stylistics ever recorded. This is as slow-moving a song you'll get, but a great love song and a great song to slow dance to. Thom Bell, the song's producer out of Philadelphia International Records, and the late Linda Creed co-wrote this one that features not just one, but two lead voices. Normally, it was Russell Thompkins Jr. on lead vocals, but Thompkins' falsetto vocals were moved over by Airrion Love's alto at the start of each lyric. It's a great lyric and a beautiful love song that never fails to make me emotional every time I hear it.
4. Tell Me Something Good—Rufus (#3, August)
Ohhhh, my soul!!! My soul finger gets dipped deep into the pool because of this funky piece of R&B goodness. The oo-WAH-oo-WAH-oo-WAH-oo-WAH from the wah-wah pedal gets me going and then Chaka Khan's voice … so sexy, so sultry, so perfect for this particular song. It's a fun romp. It's the best way I can describe this song, especially at the chorus when everyone chimes, "Tell me something good!" followed by that wah-wah pedal's distorted, "Tell me, tell me, tell me." You can never go wrong when that song comes on the radio. The slinkiness of that song, written by none other than Stevie Wonder, is what you remember most. You wish there was 48 hours to each day as Ms. Khan sings and how long you wish this song could go on for. It was the perfect vehicle for the band and the perfect way for the summer to nearly come to an end.
3. Sideshow—Blue Magic (#8, August)
This is the greatest Stylistics song the Stylistics never recorded. As a matter of fact, I thought this might be the follow-up to "You Make Me Feel Brand New" and another Philly International Records classic. Instead, I found out it was by this R&B vocal group called Blue Magic, who weren't on Philly International Records, but were on Atco Records. That slow-moving instrumental leads to a carnival barker yelling out, "Hurry!! Hurry!! Step right up! See the saddest show in town for only 50 center!" That leads right into Ted Mills' tenor-soprano vocals that are so reminiscent of those done by Thompkins of the Stylistics. For a Stylistics knockoff, it's a wonderful and warm memory of what syrupy, good-sounding soul is all about. I never turn the radio off when this song comes on.
2. The Air That I Breathe—The Hollies (#6, July)
Eric Clapton once described Tony Hicks' opening, long-driven note to "The Air That I Breathe" as the most soulful opening note he has ever heard on any song ever. Allan Clarke's lead vocal is smooth an narrative and a pleasure to listen to from start to finish. But the payoff of this amazing piece of music -- one of the greatest songs ever recorded in my opinion -- is that 22-second bridge in which Clarke goes in and out with his last syllable of "breathe," Hicks plucks the lead guitar like he was delivering on a wah-wah pedal and then that powerful orchestra of strings and horns comes in to take you to another place -- maybe that place where you can breathe that air! That 22 seconds stops time and is a great example of why classical instruments and rock music can work in perfect harmony. It's done masterfully on this 4-minute, 13-second piece of pop music perfection.
1. Waterloo—ABBA (#6, August)
The song borne out from the Eurovision Song Contest in Brighton, England, in April 1974 was a worldwide smash that made its way to the U.S. a month later and would be a No. 6 hit by August, making it a summertime classic. It is one of pop music's guilty pleasures, along with ABBA's biggest hit ever, "Dancing Queen." This record starts like a ton of bricks coming at you, the pounding piano of Benny Andersson, the driving guitar work of Bjorn Ulvaeus, and the dynamic vocal harmonies of Agnetha Faltskog and Anni-Frid Lynstad. Yes, ABBA arrived thanks to this song, which still to this day, is my all-time favorite ABBA song. Its intensity, its fire, its drive is what reminds me of why pop music in the 1970s had moments of clarity such as "Waterloo."
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