You know the feeling. Those first few gospel-infused piano chords hit, a choir starts humming, and suddenly you’re transported to 1970s Chicago. Most people think of the good times tv theme as just another catchy sitcom jingle from the era of bell-bottoms and shag carpet. They’re wrong. It’s actually one of the most socially significant pieces of music in television history, masking a gritty reality behind a mask of upbeat soul.
It’s iconic. It’s soulful. Honestly, it’s also one of the most misunderstood songs ever to grace a network broadcast.
Most 70s shows gave you the premise in the lyrics—think The Brady Bunch or Gilligan’s Island. They were literal. The Good Times theme, written by Alan and Marilyn Bergman with music by Dave Grusin, did something different. It captured a mood. Specifically, it captured the tension of the Black experience in urban America during a decade of massive economic transition.
The Mystery of the "Easy Credit" Lyric
For decades, fans argued over what the hell the choir was actually saying in the second verse. If you grew up watching reruns on TV One or Nick at Nite, you probably heard "Hangin' in a chow line" or "Hangin' in the garden."
Neither is right.
The actual lyric is "Hangin' in a jury." Or is it? Even the lead singers, Jim Gilstrap and Blinky Williams, have had various interpretations over the years. The official sheet music lists it as "Hangin' in a lady," which makes almost zero sense in context. However, most television historians and the Bergmans themselves have clarified the line is "Hangin' in a jury." It refers to the civic duty and the legal struggles that were a constant backdrop for families living in the projects.
Then there’s the "Easy Credit" line.
"Easy credit rip-offs!"
It’s shouted with a mix of joy and frustration. This wasn't just a random complaint. In the 1970s, predatory lending in inner cities was rampant. By including this in the good times tv theme, the creators were sneaking a massive piece of social commentary into every single household in America, every Tuesday night at 8:00 PM.
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Dave Grusin and the Sound of 1974
Dave Grusin is a legend. You might know him from The Graduate or his heavy-hitting jazz fusion career. When he sat down to compose the music for Good Times, he didn't go for a traditional orchestral sitcom sound. He went for the church.
The song is a secular gospel hymn.
It starts with that rolling piano—the kind you’d hear in a Baptist church on a Sunday morning in the South Side. It sets a foundation of hope. But the bassline? That’s pure funk. It’s heavy, slightly distorted, and grounded. This duality is what makes the song work. It mirrors the Evans family’s life: trying to keep the faith while the world tries to drag them down.
Jim Gilstrap and Blinky Williams provided the vocals. Gilstrap is a session titan—he’s the guy singing the opening lines of Stevie Wonder’s "You Are the Sunshine of My Life." Williams was a Motown veteran. Together, they created a wall of sound that felt lived-in. It didn't sound like a studio session; it sounded like a block party that started after a long shift at the factory.
Why the closing credits sound so different
Have you ever noticed how the ending version feels... sadder?
The opening theme is all about "keeping your head above water." It's an anthem of survival. But the closing credits, often referred to as "The Houston Verse," take a more somber tone. "Just lookin' for a bright day / Way to go!"
It’s a plea.
While the intro gets you hyped for J.J.’s "Dyn-o-mite!" catchphrases, the outro reminds you that at the end of the half-hour, the Evans family is still in the Cabrini-Green projects. The "Good Times" they are singing about aren't a present reality; they are a future goal. They are "scratchin' and survivin'"—a phrase that has become shorthand for the working-class struggle.
The Lyrics as a Socio-Economic Snapshot
Let’s look at the words. Really look at them.
- "Temporary lay-offs" - This hit home in 1974. The U.S. was in the middle of a recession. Unemployment was spiking, especially in industrial cities like Chicago.
- "Good Times!" - Notice how the choir responds to every hardship with this phrase. It’s ironic. It’s defiant. It’s basically saying, "Yeah, the rent is late and the heat is off, but we’re still here."
- "Ain't we lucky we got 'em" - This is the core of the show. The "them" is family. It’s the only thing that isn't temporary or a rip-off.
The good times tv theme wasn't just background noise. It was a protest song hidden in plain sight. It used the language of the Black church to validate the experiences of millions of people who rarely saw their specific financial anxieties reflected on screen.
Compare this to the theme for The Jeffersons. Both shows were Norman Lear hits. But where The Jeffersons celebrated "moving on up" to a "deluxe apartment in the sky," Good Times stayed in the mud. The music reflected that. One is a celebratory strut; the other is a rhythmic grind.
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The Legacy of the "Good Times" Sound
You can still hear the influence of this theme today. When Dave and Common sampled soul records for their Chicago-centric tracks in the early 2000s, they were pulling from the sonic palette Grusin established.
It’s a masterclass in economy. In under sixty seconds, the song establishes the setting, the conflict, the emotional core, and the cultural identity of the show. Most modern shows don't even have theme songs anymore—they have five-second title cards. We’ve lost the ability to prime an audience the way this song did.
Interestingly, the song has been covered and referenced by everyone from gospel artists to rappers. It’s a cultural touchstone because it doesn't lie. It doesn't pretend that things are perfect. It just says that things are "okay for now."
Identifying the real "Good Times"
When you search for the good times tv theme, you’ll find plenty of covers, but the original 1974 recording remains the gold standard. There were slight variations in the mix as the seasons went on—the bass became a bit more prominent in later years—but the heart stayed the same.
Some people confuse it with the theme from What’s Happening!! because of the similar era and vibe. But What’s Happening!! is purely instrumental and much "bouncier." Good Times has a weight to it. A gravitas.
It’s the difference between a Saturday afternoon and a Monday morning.
How to Appreciate the Theme Today
To really "get" the song, you have to listen to it away from the TV. Put on a high-quality version with headphones.
Listen to the grit in Blinky Williams' voice when she hits the high notes. Listen to the way the piano player (likely Grusin himself) syncopates the rhythm. It’s not a "clean" pop song. It’s messy. It’s soulful. It’s human.
The good times tv theme reminds us that art doesn't have to be "happy" to be uplifting. Sometimes, just acknowledging that life is a "rip-off" or a "jury" is enough to make people feel seen.
If you’re a musician or a student of television history, analyze the structure. It’s a standard A-B soul structure but with a gospel "call and response" that engages the viewer. You aren't just watching the Evans family; you’re part of the congregation.
Actionable Insights for Fans and Creators:
- Listen for the "Hidden" Lyrics: Next time you hear the theme, listen specifically for "Easy credit rip-offs" and "Hangin' in a jury." Understanding these lines changes your perspective on the show’s tone.
- Study the Grusin Catalog: If you like the musicality of the theme, explore Dave Grusin’s 1970s work. It provides the blueprint for the "urban sophisticated" sound that dominated the decade.
- Recognize the Irony: Use the song as a case study in how to use irony in branding. The title "Good Times" juxtaposed with lyrics about lay-offs is a powerful storytelling tool.
- Support Original Vocalists: Look up the solo work of Jim Gilstrap and Blinky Williams. They were the backbone of the Motown and session scenes but rarely got the solo spotlight they deserved.
The theme isn't just a nostalgic trip. It’s a document of a specific time and place in American history, proving that even a 60-second sitcom intro can be a profound work of art.