20 Worst Songs Of The 70s For Rock Fans

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We don’t usually do “worst songs” lists on this site because we respect all musicians and their work, no matter the style or genre. Nonetheless, this article takes a look at songs that got under the skin of rock fans—songs that dominated the airwaves or, in a sense, got in the way of good rock and roll music. While some of them weren’t necessarily bad songs, the fact that many of these on this list were played over and over again multiple times an hour on the radio just made people nuts. That’s the essence of this list: songs that proved to be pretty annoying and, in the end, became some of the most disliked tracks of a decade celebrated for some of the greatest music of all time. These songs got in the way so much that, in Chicago, fans famously gathered in a baseball stadium and burned records in protest of what they deemed the worst songs in history.

# 20 – Booty Time – Disco Express

Ugh what a way to start this list, but perfect in so many ways. I had to stop playing it while I was listening to it again to write about it. I just couldn’t take it. Featured in the 1977 film The Fist of Fear, Touch of Death, “Booty Time” by Disco Express was a comedic take on the disco craze. Its groove-driven melody and playful lyrics aimed to capture the dance floor energy of the era but leaned heavily into novelty. The track, while memorable for its campy style, did not achieve significant chart success. Thank goodness.

# 19 – “Let Her In” – John Travolta

Released in 1976, “Let Her In” was performed by John Travolta during the height of his fame on Welcome Back, Kotter. Written by Gary Benson and produced by Bob Reno and Mike Lembo, the soft pop ballad became a surprise hit, peaking at number 10 on the Billboard Hot 100. Despite its chart success, rock fans often criticized the song for its overly sentimental tone and Travolta’s limited vocal range. For many, it represented the commercialization of music aimed at leveraging celebrity rather than artistic merit. We love John Travolta as an actor and a person, but man, this song really got under our skin. Sorry, John. Loved Pulp Fiction and Welcome Back Kotter.  Ba ba ba ba ba Barbarino!

# 18 – Remember Your A Womble – The Wombles

Released in 1974, “Remember You’re a Womble” was performed by The Wombles, a British novelty group based on the beloved children’s book and television characters created by Elisabeth Beresford. Written and produced by Mike Batt, the song was part of a larger effort to bring the environmentally conscious, anthropomorphic Wombles to life through music. While it reached No. 3 on the UK Singles Chart and became a favorite among children, its cutesy, whimsical nature alienated rock fans who found it overly simplistic and gimmicky. To many, the song symbolized the commercialization of music, replacing depth and substance with catchy hooks aimed at younger audiences. Its repetitive, sing-song quality, while fitting for its target demographic, grated on listeners who favored the more innovative and hard-hitting rock anthems of the decade. Though nostalgic for some, “Remember You’re a Womble” earned its spot on this list for embodying the clash between novelty pop and serious rock during the 1970s.

# 17  – Disco Lucy (I Love Lucy Theme) – Wilton Place Street Band

The I Love Lucy television show is one of the most beloved and iconic programs in American history, with its theme song instantly recognizable to generations of viewers. That’s why Wilton Place Street Band’s decision to turn the classic theme into a disco track in 1976 felt like a betrayal to many fans. Riding the wave of disco’s dominance, the group reimagined the jaunty tune as “Disco Lucy,” blending the nostalgic melody with a dance beat. While the single gained moderate success, peaking at number 24 on the Billboard Hot 100, it left rock fans and television purists cringing at the commercialization of such a revered piece of pop culture. Similar to Meco’s disco rendition of the Star Wars theme, which appears later on this list, “Disco Lucy” exemplified the era’s tendency to cash in on nostalgia at the expense of artistic integrity.

# 16 – Basketball Jones – Cheech And Chong

Released in 1973 as part of Cheech and Chong’s Los Cochinos album, “Basketball Jones” is a comedic parody of the soul ballad “Love Jones” by Brighter Side of Darkness. Written and performed by the iconic comedy duo Cheech Marin and Tommy Chong, the track features Cheech in character as Tyrone Shoelaces, lamenting his obsessive love for basketball. The song gained attention for its satirical lyrics, exaggerated delivery, and surprisingly elaborate production, featuring backing vocals from artists like George Harrison, Carole King, and Billy Preston.

It was unbelievable that the song reached No. 15 on the Billboard Hot 100  For listeners who craved rock music’s raw intensity or lyrical depth, “Basketball Jones” seemed to mock the very art form they cherished. Though a cult favorite for its humor, the song’s heavy airplay and novelty nature earned it a place among tracks that frustrated serious rock enthusiasts during the 1970s.

# 15 – Young Love – Donny Osmond

There were a lot of songs that Donny Osmond released as singles that we could have placed on this list but this was one that really hit hard, Released in 1973, Donny Osmond’s rendition of “Young Love” is a cover of the 1956 chart-topping hit originally recorded by Sonny James and later by Tab Hunter. Featured on Osmond’s A Time for Us album, this sugary take on young romance showcased his clean-cut teen idol persona, which endeared him to fans but alienated many rock enthusiasts.

The song climbed to No. 23 on the Billboard Hot 100 and performed well in the UK, peaking at No. 1. For those who embraced the rebellious spirit of rock, “Young Love” epitomized the type of lightweight pop that saturated the airwaves, drawing ire from listeners who felt it overshadowed more substantial music. If you looking to drive somebody absolutely crazy this is all you have to do. Make them listen to this song one time all the way through. That will get the ball rolling. However, as soon as it’s done hit play again, and then you will see the definition of total insanity.

# 14 – That’s Rock And Roll – Shaun Cassidy

It’s not the song that we don’t like about this one, because this was a great song written by Eric Carmen who released it on his 1976  debut album. No, this one gets placement on this list because of Shaun Cassidy’s recording of it. Now maybe if I was a 12-year-old girl at the time like all the other 12-year-old young females who fell in love with Shaun Cassidy I might be upset at seeing this song on this list. But I was a 15 year old rock and roll fan and  stuff like this was just criminal to me. Cassidy’s rendition reached No. 3 on the Billboard Hot 100.

# 13 – If  – Telly Savalas

The late Telly Savalas was a great actor. From his iconic rules on the Silver Screen to his legendary portrayal of a television detective named Kojak, Telly Savalas brought great joy to fans of Cinema and TV. While William Shatner released many albums filled with spoken word Renditions of famous songs it was always a tongue-in-cheek wink of an eye style to what shine that was doing. At least that’s what we all assumed. Nonetheless, if you just watch the video below of Telly Savalas’ rendition of the much-loved bread song “If,” you’ll see that he was quite serious at it. That’s all I’m going to say about this one.

# 12 – D.I.V.O.R.C.E – Billy Connolly

Billy Connolly’s 1975 parody of Tammy Wynette’s classic country ballad “D-I-V-O-R-C-E” took the heartfelt original and turned it into a comedic novelty hit. Connolly reimagined the song, swapping Wynette’s tale of marital heartbreak with absurd scenarios involving a dog and its misbehavior, injecting his signature irreverent humor into every line.

Connolly’s version reached No. 1 on the UK Singles Chart Its comedic approach won Connolly a legion of fans, proving that humor, even when polarizing, could carve out its own niche in music history. It’s amazing how songs like this in the mid-70s became such a big hit.

# 11 – Johnny Reggae – The Piglets

This was one of those singles that you might have smashed with your pet rock before you got past the first thirty seconds. (Yeah I know the Pet Rock came out a few years after this), but you get the point. Released in 1971, “Johnny Reggae” was a novelty song performed by The Piglets, a studio group assembled by British producer Jonathan King. The track was a cheeky attempt to parody the ska and reggae sounds popular in the UK at the time, though its exaggerated accents and lyrics felt more like a caricature than a homage. Despite—or perhaps because of—its oddity, the song climbed to No. 3 on the UK Singles Chart, becoming an unlikely hit.

#10 – “Don’t Give Up on Us” – David Soul

“Don’t Give Up on Us,” released in 1976, was a surprise hit for David Soul, better known at the time as Hutch from the TV series Starsky & Hutch. Written by Tony Macaulay, the song became a worldwide sensation, topping the charts in both the US and the UK. Its lush orchestration and earnest lyrics about reconciliation struck a chord with many listeners, but it also drew criticism from rock fans for its overly sentimental tone and polished pop-ballad style. While Soul’s smooth delivery captivated a broad audience, for fans of edgier rock music, the song symbolized the softening of the radio landscape and the dominance of saccharine hits during the late 1970s.

# 9 – “Get Dancin'” – Disco Tex and the Sex-O-Lettes

“Get Dancin’,” performed by Disco Tex and the Sex-O-Lettes, is a flamboyant disco track that epitomized the campy excess of the mid-1970s dance craze. Released in 1974, the song became a surprise hit, peaking at number 10 on the Billboard Hot 100. Written by Bob Crewe and Kenny Nolan, “Get Dancin'” is filled with over-the-top spoken interjections and a relentless beat designed for the dancefloor. While its exuberance found a niche among disco enthusiasts, rock fans were less than thrilled by its theatrical style and perceived lack of substance. For many, it felt like a novelty act overstaying its welcome, making it a polarizing entry in an already divisive genre. Despite its chart success, the song’s exaggerated antics often left rock audiences rolling their eyes rather than tapping their feet.

# 8 – “Feelings” – Morris Albert

“Feelings,” written and performed by Brazilian singer-songwriter Morris Albert, became an international hit after its release in 1974. The song reached number 6 on the Billboard Hot 100 in the United States and charted highly worldwide. Known for its overly sentimental lyrics and dramatic melody, it quickly became synonymous with saccharine balladry. While its appeal lay in its emotional delivery and romantic theme, many rock fans found it cloying and overly melodramatic. Its frequent use in talent shows, commercials, and parodies further cemented its reputation as a song that overstayed its welcome, making it a classic example of a track that divided audiences despite its commercial success.

# 7 – “Run Joey Run” – David Geddes

“Run Joey Run,” performed by David Geddes and released in 1975, became an unexpected hit, peaking at number 4 on the Billboard Hot 100. Written by Paul Vance and Jack Perry, the song tells a melodramatic story of star-crossed teenage lovers caught in a tragic conflict. Featuring spoken dialogue and a chorus sung by a female vocalist (portraying the doomed Julie), the track’s over-the-top narrative and theatrical delivery earned it a loyal following but also made it a target for criticism. Many rock fans found its melodrama excessive and its production clunky, categorizing it as a novelty hit that lacked the edge and authenticity of the era’s defining rock anthems. Despite its divisiveness, “Run Joey Run” remains a peculiar artifact of 1970s pop culture. It also wins the award for the worst music video ever made.  I feel like I am getting angrier with each song I write about on this list.

# 6 – “Afternoon Delight” – Starland Vocal Band

“Afternoon Delight,” released in 1976 by the Starland Vocal Band, is undeniably catchy, with its breezy harmonies and suggestive lyrics about midday romance. Written by band member Bill Danoff, the song achieved massive commercial success, reaching number 1 on the Billboard Hot 100 and earning a Grammy Award for Best Arrangement for Voices. However, its pervasive airplay and overly saccharine delivery made it a frequent source of irritation for rock fans who preferred edgier, more authentic sounds. While its lighthearted tone and polished production cemented its place in pop history Additionally how many times did this song pop into your head when luck may have found your way in the middle of the afternoon? Good Grief it still does…..

# 5 – “Torn Between Two Lovers” – Mary MacGregor

Released in late 1976, Mary MacGregor’s “Torn Between Two Lovers” became a soft rock ballad that dominated the airwaves, climbing to number one on the Billboard Hot 100 and Adult Contemporary charts in early 1977. Written by Peter Yarrow of Peter, Paul and Mary and lyricist Phil Jarrell, the song’s tender tale of a woman torn between two loves resonated with mainstream audiences. However, its overly sentimental tone and polished orchestration frustrated rock fans who preferred rawer, more rebellious sounds. The song’s heavy radio rotation exemplified the kind of overly dramatic pop that often overshadowed rock music in the late 1970s, leaving many listeners yearning for edgier fare. While it earned MacGregor her place in music history as a one-hit wonder, the song’s omnipresence made it a point of contention for fans of harder, grittier tunes.

# 4 – “Convoy” – C.W. McCall

C.W. McCall’s “Convoy,” released in 1975, tapped into the CB radio craze of the 1970s and became an unexpected chart-topper, reaching number one on the Billboard Hot 100. Written by McCall and Chip Davis, the song tells the whimsical tale of a group of truckers forming a massive convoy to defy the authorities. While its novelty and cultural relevance resonated with the general public, rock fans found its overtly gimmicky nature grating. The song’s campy tone and spoken-word verses set to a country beat felt out of place amid the rock anthems of the era, leading many to dismiss it as a fleeting novelty that overshadowed more substantial music. Despite its enduring place as a kitschy cultural artifact, “Convoy” remains a divisive entry in 1970s pop music.

# 3 – “You Light Up My Life” – Debby Boone

Debby Boone’s “You Light Up My Life,” released in 1977, became an inescapable soft rock phenomenon, spending ten weeks at number one on the Billboard Hot 100. Written by Joe Brooks for the film of the same name, the song’s soaring melody and heartfelt lyrics resonated with a broad audience, but its overexposure on the airwaves left many rock fans feeling alienated. The song’s syrupy sentimentality and polished delivery starkly contrasted with the raw energy of rock music, frustrating listeners who craved grit and edge over glossy ballads. Despite its undeniable commercial success and cultural impact, “You Light Up My Life” became emblematic of a more sanitized and saccharine direction in music that many rock fans found difficult to embrace.

# 2 – “Disco Duck” – Rick Dees

Rick Dees’ novelty hit “Disco Duck” soared to the top of the Billboard Hot 100 in 1976, becoming an unavoidable anthem of the disco craze. The song’s quirky premise, featuring a Donald Duck-inspired voice set to a disco beat, amused some listeners but drove many rock fans to the brink. Its lighthearted absurdity symbolized the commercial excess of disco, alienating fans of serious music genres. “Disco Duck” was such a cultural flashpoint that it became emblematic of the backlash against disco music, culminating in events like the infamous 1979 Disco Demolition Night at Chicago’s Comiskey Park. Records were burned in protest, with “Disco Duck” among the songs that epitomized disco fatigue, forever marking it as a song that tested the patience of music lovers everywhere. If you watch the video below, make sure you have a barf bag right next to you.

# 1 – “Star Wars Theme/Cantina Band” (Meco Version)

Released in 1977, Meco’s disco-infused take on John Williams’s iconic Star Wars score was a chart-topping hit, reaching No. 1 on the Billboard Hot 100. While it captured the zeitgeist of Star Wars mania and showcased Meco’s talent for reimagining orchestral music with a danceable groove, it left both rock fans and devoted Star Wars enthusiasts feeling betrayed. The transformation of such a revered and cinematic composition into a pulsating disco track epitomized the excesses of the disco era, taking the genre’s commercial overreach to new heights. For many, this rendition represented disco’s encroachment into sacred cultural territory, proving that even Star Wars wasn’t immune to the trend. This one crossed way over the line and that’s why it claims the number one spot!

20 Worst Songs Of The 70s For Rock Fans article published on Classic RockHistory.com© 2024