In the early 1970s, cable networks were still a distant dream. The Big Three—ABC, CBS, and NBC—ruled the airwaves, pulling in roughly 90% of the TV audience. Networks needed massive viewership to survive the cut‑throat ratings battle, so they leaned on safe, crowd‑pleasing programming. To help draw in those eyeballs, they turned to unforgettable opening tunes. Below is our top 10 tv countdown of the decade’s most iconic theme songs, each a perfect musical snapshot of its show.
10. Happy Days: 1974–1984 – Top 10 TV Classic
Happy Days chronicled teenage life in 1955 Milwaukee, starring a fresh‑faced Ron Howard as Richie Cunningham. Richie’s pals—Potsie, Ralph Malph, and the cool‑cat Fonzie (Henry Winkler)—filled the screen with mischief and heart. The series spun off hits like Mork & Mindy and Laverne & Shirley.
During its first two seasons the show used Bill Haley & the Comets’ 1950s smash “Rock Around the Clock” as its opening, while “Happy Days” closed each episode. In 1976 the eponymous “Happy Days” theme took over the opening slot, kicking off with a jukebox spin of a genuine 45 rpm record. Its bouncy beat and sing‑along lyrics promised pure nostalgia, climbing to No. 25 on the Billboard chart. The tune was penned by seasoned TV songwriters Norman Gimbel and Charles Fox.
9. The Waltons: 1972–1981
The Waltons offered a counterpoint to the era’s social upheaval, delivering a rural, nostalgic portrait that still captured massive audiences, earning two Golden Globes and an Emmy. It traced creator Earl Hamner Jr.’s own childhood, based on his novel Spencer’s Mountain and its film adaptation.
The series launched from the 1971 CBS TV movie The Homecoming, introducing a large, tight‑knit family living on Walton’s Mountain during the Great Depression. John‑Boy Walton, the aspiring writer, led the seven‑child household, while the closing scene of children saying “good night” echoed Hamner’s real memories.
Composers Gerry Goldsmith and Alexander Courage crafted the haunting instrumental that defined the show, performed by the Daniel Caine Orchestra. Chuck Mangione’s flugelhorn added a poignant touch, and he later rose to fame with his hit “Feels So Good.”
8. The Muppet Show: 1976–1981
The Muppets—already beloved from PBS’s Sesame Street—made the leap to prime time under Jim Henson and Frank Oz, aiming for a variety show that appealed to kids and adults alike. Each week, Kermit the Frog hosted a half‑hour extravaganza featuring fellow Muppets and a celebrity guest, serving as a time capsule of 1970s talent.
Stars like Fozzie Bear, Miss Piggy, Animal, and the Swedish Chef filled the stage, while the cantankerous Statler and Waldorf heckled from the balcony. Filmed at ATV and distributed worldwide by Britain’s ITC Entertainment, the show became a global sensation.
Jim Henson and Sam Pottle wrote the catchy lyrics: “It’s time to put on makeup… It’s time to raise the curtain on the Muppet Show tonight!” The opening sequence zoomed into the letter “O” of the title, unveiling Kermit as the emcee.
7. M*A*S*H: 1972–1983
M*A*S*H followed a team of medical personnel at the 4077th Mobile Army Surgical Hospital during the Korean War. Adapted from Richard Hooker’s autobiographical novel and the famed film, the series amassed 14 Emmys over its long run.
The show highlighted surgeons Hawkeye Pierce and Trapper John McIntire’s attempts at “meatball surgery,” while characters like Major Hot Lips Houlihan and Major Frank Burns added tension. Radar O’Reilly’s early warnings and the camp’s quirky dynamics kept viewers engaged, even as the series outlasted the actual war threefold.
Johnny Mandel composed the beautiful melody originally used in the film’s infamous “last supper” scene. Though Robert Altman’s teenage son wrote lyrical verses that proved too explicit, producer Larry Gelbart chose an instrumental version performed by The Hollywood Prime Time Orchestra. Co‑writer Michael Altman earned over a million dollars in royalties for his contribution.
6. The Jeffersons: 1975–1985
Amid criticism from groups like the Black Panthers over stereotypical portrayals, Norman Lear responded by creating a affluent Black family in The Jeffersons, a spin‑off of All in the Family. George Jefferson owned a booming dry‑cleaning empire, allowing the family to “move on up” to Manhattan’s east side.
The series broke cultural ground by depicting a wealthy Black household and featuring a mixed‑race marriage through Lionel Jefferson. Its witty writing softened any societal shock for viewers.
The theme song, co‑written by Ja’net DuBois and Jeff Barry, exuded gospel vigor. DuBois’s powerful lead, backed by a 35‑member choir, piano, and hand‑claps, delivered the iconic “We’re moving on up” line. Oren Waters joined for the triumphant “Now we up in the big leagues” duet, capturing the Jeffersons’ joy.
5. Welcome Back, Kotter: 1975–1979
The premise of Welcome Back, Kotter was clear: veteran teacher Gabe Kaplan (who also co‑created the series) returns to his alma mater, Buchanan High, to mentor a class of underachieving “Sweathogs.”
Among the Sweathogs, future star John Travolta shone as Vinnie Barbarino, delivering memorable zingers like “Up your nose with a rubber hose!” The show tackled serious topics—violence, teen pregnancy, drug abuse—while maintaining a comedic tone.
John Sebastian of The Lovin’ Spoonful wrote and performed the theme. Initially titled “Welcome Back, Kotter,” Sebastian struggled to rhyme with “Kotter,” so he crafted a nostalgic ode to an unnamed man returning home. The song topped the Billboard chart in 1976. The series was originally to be named Kotter, but the combined title proved perfect.
4. The Rockford Files: 1974–1980
James Garner’s first solo TV starring role came with The Rockford Files, where he played Jim Rockford, a down‑on‑his‑luck private eye in Los Angeles operating out of a mobile home.
Each episode opened with a beep from an answering‑machine message—usually a creditor’s reminder—followed by the energetic theme. The instrumental blended a Minimoog synth, flutes, French horns, trombones, and a blues harmonica, with Dan Ferguson’s electric guitar bridge. Composers Mike Post and Pete Carpenter earned a Grammy and a top‑10 Billboard spot in 1975, marking the first hit featuring a Minimoog.
3. Dallas: 1978–1991
Dallas pioneered the prime‑time soap opera, debuting as a miniseries in April 1978 before expanding to a 13‑season weekly saga. Creator David Jacobs crafted a drama centered on oil tycoon J.R. Ewing’s battles to protect the family’s oil empire from rivals like the Barnes clan.
The show’s defining moment—“Who Shot J.R.?”—became television history, delivering the most‑watched episode ever. Dallas aired in over 130 countries and earned four Emmys.
Jerrold Immel composed the instrumental theme, marrying orchestral cowboy motifs with synthesizer flourishes, evoking Texas’s vast ranches, oil wealth, and political intrigue, reminiscent of Aaron Copland’s style.
2. All in the Family: 1971–1979
Norman Lear and Bud Yorkin launched All in the Family, adapting the British series Till Death Do Us Part. Set in Queens, New York, it followed outspoken dockworker Archie Bunker (Carroll O’Connor), his wife Edith, daughter Gloria, and son‑in‑law Mike.
The show’s razor‑sharp humor tackled politics head‑on, with Archie and Mike’s clashes delivering laughs that softened the underlying commentary. At its peak, half the TV audience tuned in, cementing its cultural impact.
Charles Strouse and Lee Adams wrote “Those Were the Days.” The opening pans from Manhattan to Queens, settling on 704 Hauser Street where Archie and Edith reminisce over a piano rendition of the song, originally a cost‑saving measure that became a TV‑theme masterpiece.
1. The Mary Tyler Moore Show: 1970–1977
Mary Richards, a single thirty‑something in Minneapolis, joins WJM as a TV producer under Lou Grant, marking TV history as the first unmarried female lead living alone. Creator Grant Tinker and Mary Tyler Moore approached social issues subtly, letting Mary interact as an equal with Lou, Murray, and Ted, while building deep friendships with Rhoda and Phyllis.
“Who can turn the world on with her smile?
Who can take a nothing day
And suddenly make it all seem worthwhile?”
Sonny Curtis composed “Love Is All Around,” a tune that instantly sticks in listeners’ heads. After a rough audition, Curtis’s performance won over a skeptical executive, sealing the song’s place. Each episode opened with a montage of Twin Cities scenes—Lake of the Isles, Nicollet Mall, an escalator ride, a balcony dinner at IDS Crystal Court, and the iconic hat‑toss. A statue now commemorates Mary’s hat‑toss outside the old Dayton’s Department Store.