Ten 1970s Songs Rock Fans Are Embarrassed To Say They Loved

Ten 1970s Songs We Are Embarrassed To Say We Loved

Feature Photo: Debby Wong / Shutterstock.com

Okay, time to fess up. Don’t try to act as cool as Fonzie, Barbarino, or The Big Ragu. It’s time to tell the truth. You know you loved these songs! Maybe it was before you became a big rock and roll fan, and you were only 10 years old then. Or maybe you were 17 or 18 years old, riding a Harley Davidson, hoping nobody would see your secret stash of Partridge Family cassettes. We know, and we know that you know we know. You know what I mean? So stand up and let it all out. You loved these songs, which is as cool as it gets!

# 10 – “Heartbeat – It’s a Lovebeat” – The De Franco Family

In 1973, “Heartbeat – It’s a Lovebeat” by The De Franco Family became an instant pop sensation, capturing the hearts of listeners with its vibrant energy and youthful charm. Written by Michael T. Kennedy and produced by Walt Meskell and Michael Lloyd, the track was recorded at Producer’s Workshop in Hollywood, California. Featuring the soaring vocals of 13-year-old Tony De Franco, this song epitomized the bubblegum pop aesthetic of the early 1970s, with its infectious rhythm and cheerful lyrics making it a staple on the radio and a hit across America.

For rock fans at the time, however, admitting to loving a song like “Heartbeat – It’s a Lovebeat” might have felt akin to betraying the edgier ethos of the era. Its sparkling production and teen-centric appeal were miles apart from the raw, rebellious tones of the hard rock and experimental sounds dominating the charts. Yet, the track’s undeniable hook and buoyant melody made it impossible to ignore, even for those reluctant to embrace its glossy charm. The song became an earworm that listeners couldn’t help but sing along to, its exuberance cutting through any resistance with pure pop joy.

“Heartbeat – It’s a Lovebeat” was a commercial juggernaut, reaching number three on the Billboard Hot 100 and earning a gold certification with over two million copies sold. Its lyrics, “It’s a heartbeat, it’s a lovebeat, and when we meet, it’s a good sensation,” paired with the fresh-faced appeal of the De Franco Family, cemented its place as a defining bubblegum anthem. Despite its critical dismissal as lightweight fluff, the track resonated with fans of all ages, proving that sometimes the simplest songs have the power to transcend cultural and genre boundaries. Today, it stands as a nostalgic reminder of the 1970s pop scene—one that even rock purists can secretly hum along to without judgment.

# 9 – “Gypsys, Tramps & Thieves” – Cher

Few songs in the 1970s captured a vivid story quite like Cher’s “Gypsys, Tramps & Thieves.” Released in September 1971 as the lead single from her album Gypsys, Tramps & Thieves, the song offered a dramatic blend of pop, folk, and theatrical flair that resonated with audiences. Written by Bob Stone and produced by Snuff Garrett, it was recorded in Los Angeles at RCA Studios during the summer of 1971. The arrangement featured lush instrumentation, including strings and brass, underscored by Cher’s unmistakably rich contralto voice. This song marked a turning point in her career, showcasing her talent for storytelling through music.

“Gypsys, Tramps & Thieves” became an instant sensation, climbing to number one on the Billboard Hot 100, where it stayed for two weeks. Its vivid narrative of a marginalized family navigating a world of prejudice and hardship set it apart from the typical pop fare of the time. While its themes struck a chord with listeners, its theatrical delivery and over-the-top dramatics left some rock fans hesitant to admit their admiration. At a time when hard rock and folk rock dominated the charts, a flamboyant song like this could be seen as too melodramatic for the more “serious” music circles. Yet its success was undeniable, with sales soaring to over a million copies and earning Cher her first RIAA Gold certification as a solo artist.

The lyrics paint a colorful portrait of a young girl raised in a traveling show, weaving tales of love, loss, and societal judgment. Lines like, “Picked up a boy just south of Mobile / Gave him a ride, filled him with a hot meal” evoke a sense of gritty realism, while the chorus is a defiant anthem for anyone who has ever felt judged or misunderstood. Despite its somber themes, the song’s infectious melody made it endlessly replayable. Compared to other tracks of its era, such as Donny Osmond’s “Go Away Little Girl,” it was bold and unafraid to delve into darker territory.

What made “Gypsys, Tramps & Thieves” so popular—and perhaps so embarrassing for some to admit they loved—was its unabashed theatricality. It was the kind of song you might belt out in private, but hesitate to name-drop among fans of Led Zeppelin or The Rolling Stones. Still, Cher’s commanding performance made it impossible to ignore. Decades later, it remains a cultural touchstone, proof that even the most “uncool” songs can hold a permanent place in music history.

# 8 – “Daddy Don’t You Walk So Fast” – Wayne Newton

Wayne Newton’s “Daddy Don’t You Walk So Fast” is a heartfelt ballad that found a massive audience upon its release in 1972, yet it also landed squarely in the “guilty pleasure” category for many rock fans of the time. Written by Peter Callander and Geoff Stephens, the song was recorded at Warner Bros. Studios in Los Angeles and produced by Wesley Tuttle. It stood out in Newton’s catalog for its deeply emotional narrative, departing from the glitzy Las Vegas crooner image he was so well known for. While some saw it as a tender, tearjerking ballad, others dismissed it as overly sentimental, making it a song rock enthusiasts hesitated to publicly embrace.

The song tells the poignant story of a father leaving his family and the emotional plea of his daughter begging him to stay. Newton’s delivery is dramatic, with swelling strings and a soft, mournful tempo underscoring the heartbreak in the lyrics. The chorus, with the repeated line “Daddy, don’t you walk so fast,” tugs at the heartstrings in a way that was irresistible to mainstream audiences. The single was an undeniable success, reaching number four on the Billboard Hot 100 and becoming Newton’s biggest hit. Yet, its unabashed sentimentality made it easy for rock fans to downplay their appreciation, especially in an era dominated by Led Zeppelin, Pink Floyd, and The Rolling Stones.

One reason “Daddy Don’t You Walk So Fast” found itself in this “embarrassing to admit” territory is its polarizing earnestness. Songs like Cher’s “Gypsys, Tramps & Thieves” shared a theatrical quality but carried a grittier edge. In contrast, Newton’s performance leaned entirely into the ballad’s dramatic appeal, leaving little room for the subtlety rock fans might prefer. However, it is this very emotional rawness that struck a chord with listeners across generations. The vivid imagery of a small child running after her father made the song relatable for anyone who has ever faced family turmoil.

Despite its softer tone, “Daddy Don’t You Walk So Fast” earned its place in pop history as a commercial triumph and an enduring reminder of the power of a simple, heartfelt story. It’s the type of track that may not win you rock credibility, but one that still resonates deeply in moments of reflection. Like other entries on this list, its charm lies in its ability to connect universally, even if it leaves some fans reluctant to admit just how much they love it.

Read More: Top 10 Wayne Newton Songs

# 7 – “Have You Never Been Mellow” – Olivia Newton-John

Olivia Newton-John’s “Have You Never Been Mellow” epitomizes the gentle, easy-listening vibes of the mid-1970s, a stark contrast to the high-energy rock that dominated much of the era. Released in 1975 as the title track of her album Have You Never Been Mellow, the song was recorded in Los Angeles and produced by John Farrar, who had become a defining collaborator in crafting Newton-John’s sound. While its soothing melody and serene lyrics made it an instant hit, reaching number one on the Billboard Hot 100, its soft-rock style was often dismissed by rock fans as lightweight fare, leaving some embarrassed to admit their love for it.

The song’s delicate arrangement, built around acoustic guitars, soft strings, and Newton-John’s angelic vocals, created a dreamlike atmosphere that resonated with a broad audience. Farrar’s production emphasized clarity and warmth, underscoring the song’s themes of slowing down and finding peace. In a decade defined by rebellion and experimentation in rock, the song’s mellow appeal felt almost countercultural, positioning Newton-John as the queen of soft rock. However, for fans of bands like Led Zeppelin or Fleetwood Mac, openly enjoying this tranquil anthem could feel like betraying the edge and intensity that rock music celebrated.

Lyrically, “Have You Never Been Mellow” invites listeners to reflect on their own lives, asking whether they’ve ever truly embraced relaxation and contentment. Lines like “Have you never been happy just to hear your song?” serve as a gentle reminder to savor life’s simple pleasures. While it shares an emotional resonance with “Daddy Don’t You Walk So Fast” by Wayne Newton in its introspective tone, Newton-John’s delivery trades in overt drama for understated elegance. Its popularity was undeniable, earning a Grammy nomination and further cementing Newton-John’s status as a pop superstar.

Despite its soft reputation, the song’s enduring charm lies in its ability to transport listeners to a calmer, simpler place. “Have You Never Been Mellow” remains a time capsule of 1970s pop, showcasing Olivia Newton-John’s talent for crafting music that is both comforting and captivating. For many, it’s a guilty pleasure they’d rather keep quiet about, but its beauty is impossible to ignore.

Read More: Top 10 Olivia Newton-John Songs

# 6 – “More Than A Woman” – The Bee Gees

The Bee Gees’ “More Than A Woman” is a quintessential track of the disco era, encapsulating the romance and groove that defined 1970s pop culture. Featured on the Saturday Night Fever soundtrack, which was recorded between 1977 and 1978 and produced by the Bee Gees themselves alongside Albhy Galuten and Karl Richardson, the song became an anthem of the dancefloor. Despite its undeniable charm, many rock fans were hesitant to admit their admiration for it, as the track’s slick production and association with disco’s flashy aesthetic often clashed with the raw energy of rock’s ethos.

Musically, “More Than A Woman” is a showcase of the Bee Gees’ unparalleled ability to blend lush harmonies with irresistible rhythms. Barry, Robin, and Maurice Gibb crafted a smooth, melodic sound over a tight, funk-inspired bassline and shimmering strings, all hallmarks of the disco genre. The song’s emotional depth is anchored in its lyrics, which celebrate a transcendent love, with lines like “More than a woman to me” capturing a feeling both profound and universal. The track’s seamless fusion of romance and rhythm secured its spot as one of the most memorable moments on the Saturday Night Fever soundtrack.

While immensely popular, the track was a source of quiet embarrassment for rock aficionados who might have gravitated toward grittier tunes by Led Zeppelin or Fleetwood Mac. Similar to the hesitation that surrounded songs like Olivia Newton-John’s “Have You Never Been Mellow”, rock fans were cautious about embracing the unabashed sentimentality and glittering production of disco hits like “More Than A Woman”. Yet, its enduring legacy speaks volumes; the song’s timeless appeal continues to inspire covers and tributes, proving that even the most dance-centric music can resonate deeply across generations.

Read More: Top 10 Bee Gees Songs

# 5 – “Undercover Angel” – Alan O’Day

Alan O’Day’s “Undercover Angel” is a slice of 1970s pop that charmed its way to the top of the charts, despite being a song that rock fans might have hesitated to confess their love for. Released in 1977, the track was a self-written and produced effort that epitomized the era’s penchant for lighthearted, story-driven songs. Recorded at Sound Labs in Los Angeles, the song’s whimsical lyrics and catchy melody captured listeners’ imaginations, earning it a No. 1 spot on the Billboard Hot 100. However, its overt pop sensibility and dreamy narrative left it somewhat at odds with the era’s rock purists.

The song’s lyrics weave a fantastical tale of a romantic encounter with a mysterious “angel” in the night, blurring the lines between dream and reality. O’Day’s earnest delivery, paired with the song’s playful, almost childlike storytelling, contributed to its massive appeal. The production—featuring lush harmonies, a bouncing piano line, and a laid-back rhythm section—adds to the song’s charm but also aligns it more with soft rock and pop than the gritty rebellion of rock and roll. This juxtaposition is perhaps why some fans kept their affection for the song under wraps, similar to the quiet fondness for tracks like Cher’s “Gypsys, Tramps & Thieves”.

What made “Undercover Angel” so undeniably appealing was its unabashed commitment to its quirky narrative and catchy hook. Its success highlighted O’Day’s knack for crafting hits, which he also demonstrated as a songwriter for artists like the Righteous Brothers. Despite its perceived lack of “rock credibility,” the song’s infectious melody and imaginative lyrics resonated with listeners, cementing its place in pop culture.

# 4 – If I Can’t Have You – Yvonne Elliman

Yvonne Elliman’s “If I Can’t Have You” is a shining gem from the disco era, wrapped in lush production and raw emotional power. Released in 1977 as part of the Saturday Night Fever soundtrack, the song was written by Barry, Robin, and Maurice Gibb of the Bee Gees, whose influence is unmistakable in its soulful melody and intricate harmonies. Produced by Freddie Perren at Criteria Studios in Miami, the track soared to No. 1 on the Billboard Hot 100 in 1978, solidifying its place as a disco classic. For rock fans of the time, however, embracing this glittering anthem might have seemed like a betrayal of their allegiance to heavier guitar riffs and rebellious lyrics.

Elliman’s vocal performance on “If I Can’t Have You” is the emotional core of the song. Her voice carries a mix of vulnerability and determination, delivering lyrics that encapsulate heartbreak with lines like, “If I can’t have you, I don’t want nobody, baby.” The backing instrumentation, complete with sweeping strings, funky guitar riffs, and a pulsating beat, underscores the song’s disco pedigree. The emotional depth of Elliman’s delivery elevates the track beyond the dance floor, making it both a tearjerker and a crowd-pleaser. Much like Alan O’Day’s “Undercover Angel,” this song struck a chord with listeners who appreciated its melodic strength but perhaps kept their admiration private amidst the rock-centric culture of the late 1970s.

Part of what makes “If I Can’t Have You” so memorable is its balance of glossy production and heartfelt emotion. Its association with Saturday Night Fever also tied it to the cultural explosion of disco, which, by 1978, had polarized audiences

# 3 –“Copacabana (At the Copa)” – Barry Manilow

Barry Manilow’s “Copacabana (At the Copa)” is a dazzling slice of 1970s pop escapism, blending storytelling with disco-era rhythms to create an unforgettable hit. Released in 1978 as part of Manilow’s Even Now album, the song was co-written by Manilow, Jack Feldman, and Bruce Sussman, and recorded at A&M Studios in Los Angeles. Produced by Manilow and Ron Dante, “Copacabana” became a cultural phenomenon, reaching No. 8 on the Billboard Hot 100 and earning Manilow a Grammy Award for Best Male Pop Vocal Performance. Despite its success, many rock fans may have been reluctant to admit their admiration for this flamboyant, theatrical number, as its lighthearted charm starkly contrasted with the grittier sounds of the rock genre.

The song’s lyrics transport listeners to the glitzy world of the iconic Copacabana nightclub in New York City, weaving a tale of romance, jealousy, and tragedy centered around Lola, Tony, and Rico. With its infectious chorus—“At the Copa, Copacabana, the hottest spot north of Havana”—and vivid narrative, “Copacabana” draws listeners into its dramatic storyline. The instrumentation, featuring a driving disco beat, lush strings, and a Latin-inspired flair, heightens the song’s cinematic appeal. Similar to the allure of Yvonne Elliman’s “If I Can’t Have You,” the track thrives on its ability to transport audiences to another time and place, even if admitting a love for its campy exuberance was a challenge for diehard rock enthusiasts.

What makes “Copacabana” both a triumph and a source of potential embarrassment lies in its unabashed theatricality. In an era when rock music was synonymous with rebellion and authenticity, Manilow’s penchant for showmanship and Broadway-style storytelling made his work an easy target for critics and purists. Yet, the song’s enduring popularity underscores its universal appeal and the undeniable charisma of its execution. Like “Have You Never Been Mellow” by Olivia Newton-John, “Copacabana” thrives on its ability to craft an emotional connection, blending fun and drama into a timeless piece of pop history. Today, it stands as a testament to Manilow’s genius for crafting songs that resonate far beyond their initial reception.

# 2 – The Night Chicago Died – Paper Lace

“The Night Chicago Died” by Paper Lace, released in 1974, is a quintessential example of 1970s pop-rock melodrama, blending historical fiction with a catchy tune that captivated audiences worldwide. Written by Peter Callander and Mitch Murray, the song was recorded in London and produced by Callander at the height of Paper Lace’s brief but memorable success. Featured on the album Paper Lace and Other Bits of Material, the track became an instant hit, reaching No. 1 on the Billboard Hot 100 in the United States and climbing to No. 3 in the United Kingdom. Despite its chart-topping popularity, many rock fans found themselves sheepishly enjoying this heavily fictionalized gangster ballad.

The song’s narrative, loosely inspired by the Prohibition-era gang violence in Chicago, paints a vivid but historically inaccurate picture of a battle between Al Capone’s gang and law enforcement. Opening with dramatic lyrics—“Daddy was a cop on the East Side of Chicago”—the story unfolds with a mix of tragedy and triumph, culminating in a bittersweet reunion between father and son. The infectious chorus, layered with harmonies and dramatic pauses, ensures that the song remains lodged in listeners’ memories long after its three-minute runtime. However, its over-the-top storytelling and theatrical delivery might explain why some listeners felt hesitant to admit their fondness for this pop confection.

Critics often dismissed “The Night Chicago Died” for its historical liberties and perceived lack of depth, likening its melodramatic style to that of Barry Manilow’s “Copacabana (At the Copa).” Yet, much like Manilow’s hit, the song’s charm lies in its unapologetic embrace of narrative spectacle. Its upbeat rhythm and catchy hooks contrast sharply with the darker themes of gang violence and loss, creating a juxtaposition that resonates with audiences who appreciate a good story, regardless of its factual accuracy. Today, “The Night Chicago Died” endures as a guilty pleasure, a reminder of a time when pop music wasn’t afraid to wear its theatrical heart on its sleeve.

# 1 – I Think I Love You – The Partridge Family

“I Think I Love You” by The Partridge Family, released in 1970, epitomizes the bubblegum pop phenomenon of the decade. Written by Tony Romeo and produced by Wes Farrell, the track was recorded at Western Recorders in Los Angeles, featuring David Cassidy on lead vocals alongside session musicians known as The Wrecking Crew. This song served as the debut single for The Partridge Family and was included on their first album, The Partridge Family Album. It achieved monumental success, topping the Billboard Hot 100 for three weeks and solidifying its place as a cultural touchstone of the early 1970s. For many rock fans, however, admitting affection for such a saccharine anthem was akin to breaking an unspoken code of credibility.

The song’s lyrics capture the hesitancy and euphoria of unexpected love, with Cassidy’s sincere vocal delivery elevating its emotional resonance. Lines such as “I don’t know what I’m up against, I don’t know what it’s all about” encapsulate the relatable uncertainty of falling in love. Yet, the overtly polished production and association with a fictional TV family made it a guilty pleasure for listeners, particularly those steeped in the grittier sounds of rock. While rock fans might balk at the unabashed sweetness of “I Think I Love You,” its infectious melody and heartfelt charm made it inescapable at the time.

As the closing entry on this list, “I Think I Love You” wraps up the journey through a decade of songs that stirred both joy and discomfort among music fans. Much like “Heartbeat – It’s a Lovebeat” by The De Franco Family, it embraced a family-friendly pop aesthetic that many viewed as the antithesis of rock’s rebellious spirit. However, the song’s enduring popularity speaks to its universal appeal and the undeniable talents of David Cassidy. Whether admitted freely or hidden as a private indulgence, “I Think I Love You” remains a beloved artifact of 1970s pop culture, a testament to the power of melody and emotion over genre boundaries. This song reminds us that sometimes, even the most sugar-coated tracks have a way of capturing hearts.

Read More: Top 10 Partridge Family Songs

DMCA.com Protection Status