Top 10 Best Hit Songs of 1978

Hello again folks. Now we move onto the best that 1978 had to offer. Before that, I think it might be lucrative to compare this year to other years I’ve covered. In contrast to 1962, where the bad music was terrible and I struggled to find songs that I’d call “good”, 1978 was the opposite. The bad songs from this year were not truly awful, and while I did manage to whittle down the list of contenders for the best list, I needed to make some painful cuts.

However, while I do think this was a year full of good music, I’m not exactly sure I’d call it a good year for music. The main reason for this is that there was little variety. Most of the songs we got were funk, disco, or rock songs. I’m not complaining about that; I love all three of these things. The problem is that with these specific kinds of songs dominating the charts, there was little room for evolution or growth. This year was firmly a product of its time and little else.

With all that said, sometimes trends can be fun to latch onto. If there’s anything I’ve learned from putting these lists together, it’s that even mindless pop music can still have merits. Trends of one decade help shape its history; they can inform future generations of the economical or social structure of the time, and could even help to shape their artistic inspiration. I can certainly think of a few ‘70s acts I’d like to see musicians of today take cues from. Speaking of which, let’s begin the countdown, starting with our honorable mentions:

Cheeseburger In Paradise (Jimmy Buffett) [--; 32; 4 weeks]

This is the kind of goofy pop song I can get behind. Jimmy Buffett always seemed to have a sense of self-awareness to him that I can appreciate. With this song’s country rock sound, and Jimmy Buffett’s balancing act between laid-back and desperate, ‘Cheeseburger In Paradise’ is a savory delight; Heaven on Earth with an onion slice.

Rivers of Babylon (Boney M.) [--; 30; 6 weeks]

This is a German disco cover of a Rastafarian song that lifts its text from the Hebrew Bible. Not sure what else there is to say about this besides it’s pretty awesome.

Desiree (Neil Diamond) [--; 16; 8 weeks]

Neil Diamond is a talented singer-songwriter. With this and ‘Sweet Caroline’ to go off of, I’d say the man knows how to write a powerful hook. I wouldn’t say this is as good as ‘Sweet Caroline’, but it certainly is a song I can appreciate.

Just What I Needed (The Cars) [--; 27; 7 weeks]

1978 was around the time that new wave was becoming a trend, but before the term was implemented. The Cars were one of the first acts of the genre to score a hit, and it’s a delight to listen to. The catchiness and the hook are the song’s main selling points, but I just enjoy all the little musical elements of this song, from the opening riff borrowed from the Ohio Players’ ‘Yummy Yummy Yummy’ to the keyboard riff performed by Greg Hawkes. It’s a solid pop song and earned its status as one of the initiators of the new wave trend.

Werewolves of London (Warren Zevon) [--; 21; 6 weeks]

This is just a fun song to sing along to. While the material is dark, there’s just something appealing about some of the lines in this song, like ‘Little old lady got mutilated late last night’. Just the way the tongue bounces between the L’s and T’s makes it pleasant to say.

Now then, get ready to dance across the floor as we count down…

…THE TOP 10 BEST HIT SONGS OF 1978!

#10.

Mike Chapman is a record producer and songwriter from Australia who was a big name for British pop music in the ‘70s. He helped write and produce songs for The Sweet, New World, Mud, Suzi Quatro, and Smokie, and even some ‘80s songs like ‘Mickey’ by Toni Basil, ‘Heart and Soul’ by Huey Lewis and the News, and ‘Love Is a Battlefield’ by Pat Benatar. While I get the feeling this next song isn’t one of his most remembered pieces, I think it deserves mention.

#10. Kiss You All Over (Exile) [5; 1; 17 weeks]

Exile is an American band originally founded as The Exiles in Richmond, Kentucky by J.P. Pennington. They met with Mike Chapman after he heard their demo and attended a concert in 1977. Having evidently liked what he heard, Chapman helped with writing and producing their most successful album, ‘Mixed Emotions’. This song was the first and biggest single off of that album, and it is easily the band’s best song.

All the little instrumental elements to this song contribute to the whole. From the smooth, grooving bass line, to the ambient keyboard melody, it just exudes a warm atmosphere. It never overpowers the singer, but it’s not watery or weak either. It’s in the background where it needs to be, but it still drives the song forward.

That just leaves the vocals and lyrics. The song’s written from the perspective of a man about to have sex with the woman he loves. The way he speaks to her, he clearly doesn’t just view her as an object to use for pleasure; she is his everything. The vocals, for the most part, are fairly soft and light, but not weak by any stretch. In fact, when it gets to the chorus, they gain a lot of power, especially on that last line, “Till the night closes in”.

Exile never achieved the same success they found with this song. Instead, they reinvented themselves as a country band in 1983 and managed several #1 songs on the US and Canadian country charts in the mid ‘80s. They disbanded in 1993 because of the pressures from their lack of continued success and the continuous loss of members, but they reunited two years later, and continued to perform on a regular basis after that. Their country material isn’t too bad, but I personally would stick to their rock material, especially ‘Kiss You All Over’.

#9.

1974 might have been the year that Billy Joel first saw commercial success, but it was hardly the “Year of Billy Joel”. Both chart successes he managed that year barely lasted in the top 40, and quickly disappeared, even if ‘Piano Man’ has endured long since then. 1978, however, saw him achieving much greater success, with five songs charting in the top 40, two of which peaked in the top 10. The song we’ll be looking at right now isn’t either of those though, but a different song, one that signified Joel’s moving out of the shadow of fluke success and moving up into the spotlight of living legend.

#9. Movin’ Out (Anthony’s Song) (Billy Joel) [--; 17; 8 weeks]

‘The Stranger’, Billy Joel’s fifth studio album was the one that officially put him on the map as a performer. ‘Just the Way You Are’ was the first single from that album, while ‘Scenes from an Italian Restaurant’ is probably considered its best song. However, if you ask me, the best single off of that album was, without question, ‘Movin’ Out (Anthony’s Song)’.

Joel’s greatest strength as a performer has always been his eye for details. It’s why he’s so good at telling stories through song; he knows how to lyrically paint a scene. That said, this is a surprisingly simple song in comparison, which I guess is why I like it. It shows brief snippets into some characters’ lives, though it provides enough details to give you a feel for their motivations and why they seem futile.

Also in contrast to his earlier work, which was primarily soft rock, ‘Movin’ Out’ moves into pure rock territory. While there is still piano on the song, it’s has other elements too, like guitars and horns. The instrumentation sounds fairly laid-back, which contrasts nicely with Billy Joel’s tenser, more dismissive tone.

I’m not trying to say that the other songs Billy Joel released around this time aren’t good also. ‘Only the Good Die Young’ almost got consideration for this list also, though I ultimately felt like I couldn’t completely connect with it. I just personally felt like this song spoke to me a bit more than the others did. It’s a masterwork of a song, but you ought to know by now.

#8.

Prior to doing these lists, I didn’t originally have any clue what made a country song “good” or “bad”. Now that I’ve exposed myself to more of the genre, I’m starting to get a better feel for what parts I like or dislike. For example, I like country music that tells well thought out, detailed stories, but I dislike that which tries to incorporate hip-hop slang. Of course, just being light-hearted and not taking itself too seriously isn’t a bad start.

#8. Here You Come Again (Dolly Parton) [60; 3; 6 weeks]

Ignoring the considerable plastic surgery she’s undergone, and the association of breasts with her public image, Dolly Parton is well known as a country singer. She achieved countless hits on the country charts, but saw little success on the hot 100, with only a small handful of songs charting. This was the first, and for good reason: because it’s amazing.

Compositionally, there’s not much to the song. The instrumentals are light and fluffy, and outside of numerous key changes, it doesn’t do much that’s all that interesting. On a musical level, it’s the country equivalent to bubblegum pop. That’s not a bad thing though; country pop can still be enjoyable, and while not super interesting, it’s still engaging.

Of course, the main thing that makes this song work is Dolly Parton herself. Her voice is gentle and relaxing to listen to, and she’s just a fun performer. The lyrics she’s singing wouldn’t be much to write home about in the hands of any other artist, but she adds a sort of magic to them, giving them an almost timeless quality.

That’s not to say Dolly Parton couldn’t sing music besides country pop. She’s had quite a few serious songs, such as ‘Starting Over Again’, and that was fantastic. Of course, the songs of hers that charted on Billboard were mostly leaning in a pop-ish direction. If that’s the closest we were getting to proper country music in 1978, I’m certainly not complaining.

#7.

Regardless of if you like him or you hate him, I think we can all agree that Barry Manilow is a bit of a dork. Many of his songs have that ‘70s schmaltz that doesn’t appeal to everyone, and even I, a man with a surprisingly high tolerance for cheese, think that he might overdo it sometimes. He’s the perfect example of an artist who isn’t cool to listen to, and yet…

#7. Copacabana (Barry Manilow) [74; 8; 9 weeks]

If there’s anything Barry Manilow has going for him, it’s that he’s a showman. He’s able to present a song with the bombast and energy of a stage magician. This doesn’t always work in his favor; some emotions the man doesn’t wear well. Such is not the case here though; his strengths are all on display on ‘Copacabana’, and it’s likely his best song.

Let’s start by looking at the lyrics and subject matter. ‘Copacabana’ tells the story of a showgirl at the titular 1940s nightclub, and her sweetheart, a bartender that also works there. One night, a mobster takes interest in her, but overplays his hand while trying to seduce her. The bartender attacks, there’s a brawl and a shooting, and in the end the bartender is killed. Thirty years later, the club has become a discotheque, and the showgirl has gone mad with grief from the loss of her love, still wearing her glamorous showgirl attire and getting drunk each night.

Barry Manilow isn’t quite as good at telling a story through song as Billy Joel, and he still has a hint of his usual cheese factor here. Fortunately, he makes up for it with a level of class and sophistication that one wouldn’t expect from a song like this, especially not from him. In addition, while the song isn’t quite as detailed as a Billy Joel song would be, it makes up for it with its atmosphere. With minimal imagery, it’s still able to paint enough of a picture that the listener can visualize the scenes as they play out.

Unfortunately, much like with Linda Ronstadt and ‘Ooh Baby Baby’, this isn’t a proper reflection of Barry Manilow’s output. He tended to release the kind of softer, blander side of ‘70s pop music. That said, this is a refreshing departure from that. It’s a pleasant surprise to see Manilow delving into this kind of material.

#6.

Now that I think about it, that last song was kind of a downer. It’s a song about losing one’s love and, as a result, one’s grip on sanity. If only the next song were something that could brighten the mood, something uplifting, celebratory, and empowering. Who could we turn to for something like that in 1978?

#6. We Are the Champions (Queen) [25; 4; 12 weeks]

Who else but Queen, right? I considered giving this spot to ‘We Will Rock You’, which shared this song’s position on the year-end hot 100, but ultimately felt that the overexposure kind of wore it out on me. Also, ‘We Will Rock You’ was technically the B-side to this song, so I felt ‘We Are the Champions’ was the song that earned that position.

Let’s start by talking about the production and instrumentation. It’s primarily built on Freddie Mercury’s piano line, with Roger Taylor and John Deacon backing it on drums and bass. Brian May’s guitar parts were overdubbed, and start out subtle, but gradually build up to a kind of solo that plays alongside the final chorus. It also uses jazz chords, which would’ve been fitting if this song had been featured on the album ‘Jazz’, which they released later this year.

Freddie Mercury sings of reflections on the past, particularly the various things that lead up to the declaration of the chorus. It was apparently built on audience response, with the band wanting to write a unifying, positive song that would inspire crowds to wave and sing along. Fittingly, a scientific study conducted in 2011 confirmed that this was the catchiest song in the history of popular music.

Granted, since it’s a Queen song, it still has a lot of ego in it, as was to be expected of Freddie Mercury, but it feels deserving of the self-congratulation it receives. Also, it doesn’t feel like the singer is rubbing their success in the faces of the listeners, but elevating them to join in the celebration, and I don’t object to this at all. You are the champions, Queen; may you wear that status with pride.

#5.

Now, ladies and gentlemen, I present to you another journey into the world of lead singers of bands going solo! Today’s entry is the front woman of the 1970s funk band Rufus, the Queen of Funk herself, Mrs. Chaka Khan!

#5. I’m Every Woman (Chaka Khan) [--; 21; 8 weeks]

Honestly, when I think of lead performers of bands starting solo careers, for the most part, it fills me with dread. Peter Cetera of Chicago, Gwen Stefani of No Doubt, and both Fergie and will.i.am of the Black Eyed Peas are perfect examples of how this can go horrifically wrong. Then I need to remember that other artists branching off and doing their own thing has also given us songs from Rob Thomas, Tarja, and all three members of the Fugees that I liked, and adding to that list is ‘I’m Every Woman’ by Chaka Khan.

 For starters, there’s the lyrics and subject matter. The song speaks of the singer always being there for the listener, granting them their deepest desires. For those who listen to more modern music, she’s a genie in a bottle; you’ve got to rub her the right way. Fortunately, while Christina Aguilera’s version of this message was quick to wear out on me, Chaka’s is delivered with the idea that she legitimately wants to see you achieve your wishes, and not that she’s solely in it for sex.

In addition, there’s Chaka Khan’s voice, which emanates power and command. She was to the ‘70s what Whitney Houston would go on to be for the ‘80s and ‘90s. Interestingly, Whitney did her own cover of this song, though I felt like it was kind of out of place for her. She was just too innocent for a song like this, while Chaka is more mature and dominant.

Do I think it was a mistake for Chaka Khan to break off from Rufus? Well, I wouldn’t necessarily say so. She made plenty of decent songs in her solo career, and it never felt like she was giving up her artistic integrity. Is it a shame that Rufus ceased consistent success once she officially left the group? Definitely, but if Chaka Khan was providing music like this, I’m not exactly complaining.

#4.

I think the Electric Light Orchestra is a seriously underappreciated band. All of their songs have this sense of bigness and emotion in a way rarely seen in most bands of the time, save for perhaps Queen. ‘Mr. Blue Sky’ would’ve been my choice for #1 hands down, if it had been a bigger hit. In lieu of that, I went with this:

#4. Sweet Talkin’ Woman (Electric Light Orchestra) [86; 17; 12 weeks]

ELO frontman Jeff Lynne considers the band’s seventh studio album, ‘Out of the Blue’, to be one of their crowning achievements. It was certainly one of the band’s most successful albums, peaking in the top ten in almost every country it charted in. As for this song specifically, while it didn’t chart as high as ‘Turn to Stone’, and isn’t quite as good as ‘Mr. Blue Sky’, I still think it deserves mention in its own right.

To begin with, it’s worth noting that this song was originally called ‘Dead End Street’. After Jeff Lynne wrote the lyrics and recorded the vocal track, he listened to it the next day and realized he hated it. So he had the vocal track erased and rewrote the lyrics. Some of the lines from the original version might have survived the transition though, such as the opening to the third verse: “I’ve been livin’ on a dead end street”.

Of course, the lyrics aren’t what truly make this song special; that would be the production and instrumentation. ELO weren’t the first band to incorporate an orchestral sound, but they were the best of the ones that did at the time. What’s especially noteworthy is the use of the Vocoder 2000, which several songs off of ‘Out of the Blue’ used. I bring it up because ELO were one of the first acts to extensively make use of the vocoder.

They followed this album up with ‘Discovery’. I didn’t mind the singles that much, but they feel a bit less ambitious compared to those from ‘Out of the Blue’. To make matters worse, the singles they released after that were off the soundtrack for ‘Xanadu’, which, by all accounts, was a disaster. Well, at least we still have songs like ‘Sweet Talkin’ Woman’ to fondly remember ELO when they were at their peak.

#3.

Most people seem to be more familiar with artists based on songs than on their style. So, even if you aren’t familiar with music of the ‘60s and ‘70s, chances are you know this next song, even if you don’t know the band.

#3. Stayin’ Alive (The Bee Gees) [4; 1; 21 weeks]

Of course, if you’ve been reading these lists, you likely are familiar with the Bee Gees. After all, I’ve mentioned them before on other lists, so I’ve already indicated a liking for them. So I guess it was only a matter of time before I put a song of theirs on a list proper, and I can’t think of a more fitting choice than what’s likely their most signature tune.

‘Stayin’ Alive’ was written for the soundtrack of the film ‘Saturday Night Fever’ during its early planning stages. The lyrics describe the struggle of survival, specifically in the streets of New York. The reference to the New York Times reflects how the film’s starting idea was a New York cover story about discomania. The bridge’s plea for help from those whose lives are going nowhere adds to the song’s tension and desperation.

In terms of the instrumentation and vocals, ‘Stayin’ Alive’ has a lot going on, but each part serves a purpose. The strings arrangements support the melody, the iconic guitar part hits the listener right off the bat and sticks in the brain, and the drum line keeps the song moving forward at a steady beat. Vocally, the Bee Gees themselves use three-part harmony, with Barry Gibb singing his trademark falsetto on most of the song, save for the bridge.

The band has stated that they have mixed feelings about this song. On the one hand, it helped bring them fame and won them the Grammy for Best Arrangement for Voices in 1979. On the other hand, it also pigeonholed the group as a disco act despite them seeing success prior to this performing other genres of music. Even so, whether you’re a brother or whether you’re a mother, I think the rest of us can all agree that this is an awesome song.

#2.

I wasn’t expecting to cover this artist again so soon. I’m not complaining, of course, but it’s still a surprise.

#2. Two Out of Three Ain’t Bad (Meat Loaf) [30; 11; 13 weeks]

When I talked about Meat Loaf on my ‘best of 1993’ list, I neglected to mention one of the main components that comes with most of his good songs: Jim Steinman. Simply put, the man is a genius. If you’re wondering who he is, he was the composer and/or producer on such albums as Meat Loaf’s ‘Bat Out of Hell’ and ‘Bat Out of Hell II: Back into Hell’, and Bonnie Tyler’s ‘Faster Than the Speed of Night’ and ‘Secret Dreams and Forbidden Fire’. Some of the songs he’s worked on include Air Supply’s ‘Making Love Out of Nothing at All’, Bonnie Tyler’s ‘Total Eclipse of the Heart’ and ‘Holding Out for a Hero’ and Celine Dion’s ‘It’s All Coming Back to Me Now’.

Jim Steinman’s work seems to consist mainly of these lengthy songs, anywhere from seven to twelve minutes, which are just packed with raw emotion and intensity, while keeping everything at face value. There isn’t a hint of sarcasm or winking at the audience anywhere in his songs. When he makes a song about the pain of heartache or a declaration of affection and commitment, you know he’s being completely honest about it.

As for ‘Two Out of Three Ain’t Bad’, this was what Meat Loaf and Jim Steinman put together when they were told to write a simple love song. In that regard, I guess it kind of failed at that, but it makes up for it by being this incredible, tear-jerking tragedy about just how much Meat Loaf doesn’t love you. He’s driven to the pits of absolute despair by his lack of love for you. It’s not just that he doesn’t love you either; he also can’t stand to be without you. He’s caught in a paradox where he doesn’t love you enough to want to stay but he still needs you enough that he can’t bear to leave.

One could argue that this is kind of a joke song, what with the clearly hollow statement of “Don’t be sad/’Cause two out of three ain’t bad”. Even if that is the case though, it’s a cruel joke, one that indicates just how empty and meaningless the relationship is. This is such a soul-crushing presentation that doesn’t even pretend to be a love song, but that just makes it all the more breathtaking to listen to again and again. Despite all of this though, there was still one song I thought was better.

#1.

Something I did appreciate about 1978 was the prominence of rock music. Nowadays you rarely, if ever, hear any rock on the radio. Even when you do, it’s only because they collaborated with an EDM group, or a hip-hop song happened to sample one. Of course, while I was relieved to hear the likes of Queen and ELO from this year, this was the qualifying song that I thought best suited the top of this list.

#1. Hold the Line (Toto) [--; 8; 9 weeks]

The Bobby Kimball years truly were the peak period for Toto. Almost none of the music from after his departure is worth listening to. ‘Africa’ and ‘Rosanna’ might have been the songs that helped reestablish Toto as a hit-making band, but if you ask me, it was ‘Hold the Line’ that was their greatest work.

The band’s drummer, Jeff Porcaro, described the song as “a perfect example of what people will describe as your heavy metal chord guitar licks, your great triplet A-notes on the piano, your ‘Sly’-hot-fun-in-the-summertime groove, all mishmashed together with a boy from New Orleans singing”. I honestly think that sums up the song fairly well. The piano keeps the tempo, the guitar licks add that forward momentum, Bobby Kimball’s vocals carry the melody, and the whole thing is combined into a fun summer jam.

Of course, what specifically wins me over with this song is the chorus. It’s this bombastic, powerhouse of a melody accented by the guitars and the vocal harmonies. This almost sounds like something Queen might’ve released, especially considering the guitar solo after the second chorus! The lyrics don’t seem to mean anything, but it’s another one of those cases where they don’t need to because the instrumentation and production speak for themselves.

With how many acts have taken cues from ‘70s music in recent years, I feel like it’s a shame we haven’t seen any trying their hand at something like this, at least not in the mainstream. Modern pop music is so broody and serious that it can’t just take a moment to relax and have fun with itself. ‘Hold the Line’ does just that though, and it’s for this reason that it is my choice for the best hit song of 1978.