Posted by: boromax | February 7, 2017

Nostalgic Dip Rejects, 1974 Part One

In this post I will be sharing my reasons for omitting fifteen of the first fifty songs on the 1974 Billboard Top 100 list; i.e., I chose not to share them on my Facebook timeline.

I choose songs for Nostalgic Dip from annual Top 100 Billboard charts.  I could share every song on every list, but for various reasons I choose not to share some of them.  This series of posts is my way of giving at least a modicum of recognition to the songs that I have rejected.  They were legitimate “hits,” after all.  The recognition I proffer here is somewhat back-handed, though, because I am telling you why I snubbed these songs.  You may or may not agree with my reasons, but no worries, they are MY reasons.  Nobody has to agree with them.  >> smiley face <<

Let’s do this!!

“Seasons in the Sun,” Terry Jacks ~ Can I just say, “Ew.”?  Sorry, but I just never cared for this song.  It does exactly nothing for me musically or lyrically.  In fact, it is morbid.  It is a song about death in “bubble-gum” style.  I repeat, “Ew.”

“One Hell of a Woman,” Mac Davis ~ I am not opposed to an occasional Mac Davis tune on my playlists, and a couple of the musical aspects of this track are intriguing.  I think I am just not drawn to this song.  It seems cliché and average.  Plus, although I am really not terribly prudish about such things personally, the use of even a ‘minor’ expletive causes me to react adversely.  ‘s just the way it is, y’all.

“Jungle Boogie,” Kool and the Gang ~ Repetitive. And not in a good way.  I guess the “grunt-scat” counterpoint is… um… amusing.  In general, though, it feels like someone is hitting me in the face with a metronome.

“Spiders and Snakes,” Jim Stafford ~ What can I say? The fuzz-wah guitar is fun.  But this talk-sing novelty is annoying.  AND it is about illicit sex, which is among my top peeves when it comes to popular music.  Call me whatever names you wish to call me.  I am convinced there are plenty of things to sing about without resorting to this topic; especially when you make it all creepy and try to make it acceptable by involving kids.

“Sideshow,” Blue Magic ~ First of all, …zzzzzz….  But not only that, this is one of those songs on the charts where I’m like, “Huh? Who ARE these guys?”  I think I have some vague, peripheral memory of hearing this tune on the radio a few times, but – I know I do not remember the name of the song or the group.

“Billy, Don’t Be a Hero,” Bo Donaldson & the Heywoods ~ What I remember about this song is that I totally disliked it from the first time I heard it.  I could NOT understand why anyone was buying the record.  I SO don’t remember “Bo Donaldson & the Heywoods.”  Turns out, in fact, that this song was recorded first by Paper Lace in the UK, as if that makes it any better.  The only other hit by Paper Lace is further down on this same rejection list.

“(You’re) Having My Baby,” Paul Anka ~ Honestly, I almost could not even bring myself to mention this song, even in this rejection post.  I think my discomfort with this song is that – in my view – this is such a personal message, it does not belong on the airwaves, especially being played over and over and over.  And over.  Eeesh.

“Boogie Down,” Eddie Kendricks ~ The orchestral and percussion elements of this track are pretty great, actually.  I think I set this one aside because it is “derivative.”  I mean, it feels like Eddie took a little bit of Stevie Wonder, some Isaac Hayes, a touch of Earth, Wind, and Fire, and a healthy dollop of Temptations, and came up with this commercial for disco-funk.  Of course, I could probably say something similar for about half of the songs that appear on the Top 100 at any given time.  Producers tend to glut the market with what they discover “the kids” are buying.  Alas.  This one doesn’t have anything unique to recommend it.

“Dark Lady,” Cher ~ Musically boring.  Lyrically scary.  Murderous, in fact.  Meh.

“Feel Like Makin’ Love,” Roberta Flack ~ This is a gorgeous song, musically.  I think I could listen to Roberta Flack sing anything.  Roberta.  Free-sing the dictionary, Girl.  I will listen to the whole thing.  This one, very romantic.  She has hit my hot button here, though.  Too sexy.  So, sue me.

“Rock Your Baby,” George McCrae ~ George, meet Roberta.  Y’all go sing about “doin’ it” to your hearts’ content.  I will not be sharing these songs with my Facebook friends.  Not because I think they would truly be horrified, but I try to maintain a certain level of decorum.  Ya feel me?  Is that hypocritical?  Silly?  I don’t know.  Just being honest.

“I’ve Got to Use My Imagination,” Gladys Knight & the Pips ~ So, OK.  This is not a bad song.  I probably should have gone ahead and shared it.  It’s GK & the Pips singing a song written by Gerry Goffin and Barry Goldberg.  How could it miss?  It didn’t miss. It was a verifiable hit.  Nevertheless,  I get tired of the drums and the overuse of the Pips.  Not one of my favorites.

“The Show Must Go On,” Three Dog Night ~ When these guys first hit the scene in the late 1960s (like, five years before this song hit the charts), they were among my favorites.  I couldn’t get enough of ‘em.  I had their poster on my bedroom wall between Steppenwolf and Led Zeppelin.  When this song came along, I realized they had passed into some place I did not care to follow.  This song just, um, how shall I say this?  It’s not good.  Strangely enough, the original version by the songwriter, Leo Sayer, is actually pretty good.

“Smokin’ in the Boys’ Room,” Brownsville Station ~ This song has a certain rebellious appeal, but I omitted it for a couple of reasons.  First, and primarily, because it is a weak derivation of Alice Cooper’s classic “School’s Out.”  But also, it takes the “I Hate School” anthem to whole new levels of “in-your-face-ness.”  It is catchy.  It is, admittedly, fun to sing along with.  I’m not going to plaster this message on my Facebook timeline, though.

“The Night Chicago Died,” Paper Lace ~ I don’t know.  Do I really have to explain myself on this one?  It kind of reminds me of “The Battle of New Orleans,” for some reason.  Now, Johnny Horton had a legitimate place in his era in popular music.  But I could never figure out why this song was so loved.  I think it is the awkward marriage of dramatic lyrical content and cheesy musical context that throws me off.  It was goofy while it was trying to be taken seriously.  No, thank you.

That’s it for now,

Sayonara et Shalom!

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