Previously, we began the 1975 Hideaway 100 countdown with songs 100 through 91. We now continue with songs 90 through 81, including three songs on 45s with the distinctive rainbow-colored labels of ABC/Dot Records.
"Third Rate Romance" by the Amazing Rhythm Aces is a classic example of 1970s country-pop with a distinct narrative flair. The song's shuffling, laid-back melody is driven by soft instrumentation, creating a smoky, late-night atmosphere. Songwriter Russel Smith's warm, slightly weary tone enhances the detailed realism and emotional depth of his lyrics. The strength of "Third Rate Romance" lies in its storytelling, vividly depicting a clandestine, low-key affair and a sense of resigned acceptance.
Christine McVie's "Over My Head" is the very definition of Fleetwood Mac's softer sound, characterized by its gentle, flowing melody, McVie's warm, understated vocals, and smooth, almost ethereal instrumentation. I love the song's simplicity and its ability to evoke a sense of quiet introspection and emotional vulnerability. From its slow fade-in, "Over My Head" invites me to slow down and reflect, and I find myself turning to it repeatedly as the world changes around me.
Phoebe Snow's "Poetry Man" is a captivating and soulful ballad that showcases her extraordinary vocal range and emotional depth. The song blends folk, jazz, and blues influences, creating a unique and intimate listening experience. I'm reminded of Joni Mitchell or Van Morrison or specific songs like "Chuck E's In Love" or "Midnight At The Oasis" when Snow's song comes on. Like the two songs above, the instrumentation is sparse and understated, allowing the vocals to carry a powerful emotional intensity and convey a sense of longing and fascination. Though I ignored it growing up, "Poetry Man" is a go-to chill-out song for this aging listener, who eagerly loses himself in the song's timeless beauty.
The live rendition of "Thank God I'm a Country Boy" is a foot-stomping celebration and a thoroughly infectious performance. It transforms the original studio version's folksy charm into a full-blown hoedown, fueled by the energy of the live audience and Denver's own irresistible enthusiasm. He masterfully engages the crowd, creating a sense of shared joy and participation. The song's tempo is pushed into a bluegrass-infused romp, with a prominent fiddle performance taking center stage, adding a layer of barn-burning intensity to the song. I enjoy it wholeheartedly, and it leaves me breathless each time I hear it.
There's a review of "Fly, Robin, Fly" somewhere that simply calls the song "minimalist words, maximum groove", and I agree wholeheartedly. The Grammy Award-winning song has all the ingredients of a dance floor frenzy: a thumping bassline, a four-on-the-floor beat, chanted vocals, and soaring, lush string arrangements. They all add up to one of the finest slices of (Euro)disco ever committed to tape.
The final song on the Outlaws' first album, "Green Grass and High Tides", is a bona fide southern rock anthem, eternally running neck-and-neck with Skynyrd's immortal "Free Bird" as rock's greatest eulogy. I came to the Outlaws album for "There Goes Another Love Song" and stayed for the album's closer, a guitar throwdown epic the likes of which I hadn't experienced since "Stairway To Heaven" or the previously mentioned "Free Bird". If you need a stronger fix, seek out the live version on Bring It Back Alive, but do yourself a favor and hydrate before you drop the needle on that one.
If there is a better jukebox song than "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song", I've yet to hear it. I've read that this song holds the record for a Billboard Number One Song with the longest title. In my book, that record belongs to this uh record from 1981. Dad loved the late Sixties/early Seventies stuff that Thomas released as I have fond memories of many B.J. Thomas songs, yet I don't think he ever picked up this 45 or the parent album, Reunion. I do recall the song being all over the radio at the time. No doubt, it's one of 1975's huge country crossovers and possibly the easiest song to sing along with ever recorded, as the hook is almost subliminal.
Shortly after changing his name to Freddy Fender, he wrote and originally recorded "Wasted Days and Wasted Nights" in 1959. "Before The Next Teardrop Falls" was Fender's first big country and pop hit in 1974. His second big crossover hit was his re-recording of "Wasted Days and Wasted Nights". Both singles got lots of plays on the Cow Talk Jukebox. Dad had the eight-track tape of Before The Next Teardrop Falls, which featured both songs.
"Bad Time" is an uncharacteristic ballad from the band formerly known as Grand Funk Railroad. The song turned out to be the trio's final hit, though they kept on touring, recording, breaking up, and reforming. They never did record or perform under the moniker Grand which seemed to be where they were heading based on their nomenclature. While "Bad Time" fails the high school prom theme test, I bet it was a slow jam at a lot of dances.
Bad Company's "Feel Like Makin' Love" has an identical title to Roberta Flack's hit from the previous year, though I, for one, have never confused the two songs. I have a good friend who despises Bad Company and cites their formation as the beginning of corporate rock that ultimately "killed radio, record sales, and the world as we know it". Needless to say, he's hoping they don't get inducted into the Rock Hall of Fame this year, though he concedes that they probably will because the institution "wouldn't know rock music if it sat on their laps and licked their faces." I like Bad Company and have always thought this song had a bit of southern rock flavor to it despite its British origins. "Feel Like Makin' Love" may have been one of the prototypical power ballads, with tender lyrics for the ladies and heavy rock riffs for the dudes.
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