This list was compiled by me, your Oldies Guide at About.com, from various sources -- chart positions, sales figures from time of release to the present day, critical standing, and historical importance. Only 45 rpm singles that peaked on the pop Top 40 in 1970 are eligible; artists are only allowed one entry per year in order to give a more balanced view of the cultural landscape. (Click on "compare prices" to find the song on CD, hear a clip of the song, and buy it if you like!)
recorded October 1969, San Francisco, CA
This double a-side provided Sly and his fam to hit simultaneous high points, delivering his most perfect utopian humanist vision on the former and more or less inventing the modern era of funk music with the former. Although he wasn't quite through with the charts yet, both songs sounded like goodbyes; one in feel, one in words. "Thank you for the party," indeed. The times kept right on changin'.More »
recorded 9 November 1969, Los Angeles, CA
This single gets trotted out as a generational anthem when the end of the Sixties is discussed, and rightly so -- the elegiac "Negro spiritual" feel of this epic ballad was constructed by Simon for Art's angelic tenor and also as a Spectorian exercise in the power of healing. Of course, like any truly timeless song, it works on any personal level you choose to assign to it, as well.More »
recorded September 1969, Los Angeles, CA
Laboriously worked over -- even more so than usual -- this debut from the World's Greatest Boy Band helped establish Hitsville West as Berry Gordy's new base of operations even as it introduced Diana Ross' discovery to the world. (Actually, Gladys Knight should get the credit.) One of the smoothest-running examples of The Funk Brothers' legendary interplay, topped off with an impassioned performance.More »
recorded March 1970, San Francisco, CA
Picking the greatest CCR single of 1970 (or 1969, or 1971) is kind of like picking a favorite supermodel. Yet when you consider both sides of the argument (single), you find Creedence's greatest party side here along with arguably their most accomplished foray into swamp-rock; all that's missing is a ballad. The ominous quality of the b and the country honk tribute of the a fit the sensibilities of the (Aquarian) age perfectly.More »
recorded 25 April 1970, Nashville, TN
The Godfather of Soul became the God of Funk with this single, the kickoff of his second era, where the Flames exited and the JBs more or less entered (Bootsy!). Slower and more ragged, James and company redefined the genre once again, dragging the groove out until the single was besotted and then dropping a bridge that felt cataclysmic even though it was announced. Truly epochal.More »
recorded May 1970, London, England
The Quiet One's exit from the Beatles and his startling, almost overnight maturity into a major solo artist are the real stories here, of course, but both sides are also indicative of George's way with a dirge/drone/raga. No one but he (and producer Phil Spector) could turn three chords into such a fascinating, evolving mandala -- of faith in the unobservable world, and, alternately, pain over the observable.More »
recorded 22 September 1966, Detroit, MI
The world had changed immeasurably in the four years since this prime slice of Motown was recorded, yet when UK scenesters unearthed this album track for their own intense amusement, the result was a worldwide smash, proving the durability (and universality) of the Sound of Young America. Stevie Wonder came up with the circusy intro; Smokey, intrigued, did the rest. (Hence Pagliacci.)More »
recorded April, May, September 1969; New York, NY, Los Angeles, CA, London, England
Zep were never much of a presence on AM radio, yet this (sometimes truncated) version of their breakthrough anthem was too forceful to deny: the blues blown up to Great Wall Of China size and spun through a orgasmic, post-psych black hole. Robert Plant's banshee wail was at its peak, but Jimmy Page's guitar matched him groan for shriek.More »
recorded 11 January 1970, London, England
One of rock's greatest voices debuted on this platter, five and a half minutes of strut, tension, release, and strut. A classically saucy and sassy version of the mating dance, with some newly-liberated nubile guffawing at Paul Rodgers' attempt at romanticizing his, er, impulses. Seldom had the sexual revolution seemed so nonthreatening, and so joyous. A blues-based romp, as if such a thing were possible.More »
recorded May 1969, Blaricum, Netherlands
Rock's great singles can come from oddball places, but the Netherlands? Yes, when the groove is this wickedly tight, and made up of such strange, seemingly disparate elements -- a harmonic convergence of cool. It also doesn't hurt to have your lead singer be a vamp, or to have an industry bigwig license this and two other Dutch songs for American consumption (the others: "Ma Belle Amie" and "Little Green Bag").More »
1. Sly and the Family Stone, "Thank You (Falettinme Be Mice Elf Agin)"
Epic 5-10555 (December 1969) b/w "Everybody Is A Star"recorded October 1969, San Francisco, CA
This double a-side provided Sly and his fam to hit simultaneous high points, delivering his most perfect utopian humanist vision on the former and more or less inventing the modern era of funk music with the former. Although he wasn't quite through with the charts yet, both songs sounded like goodbyes; one in feel, one in words. "Thank you for the party," indeed. The times kept right on changin'.More »
2. Simon and Garfunkel, "Bridge Over Troubled Water"
Columbia 4-45079 (February 1970) b/w "Keep The Customer Satisfied"recorded 9 November 1969, Los Angeles, CA
This single gets trotted out as a generational anthem when the end of the Sixties is discussed, and rightly so -- the elegiac "Negro spiritual" feel of this epic ballad was constructed by Simon for Art's angelic tenor and also as a Spectorian exercise in the power of healing. Of course, like any truly timeless song, it works on any personal level you choose to assign to it, as well.More »
3. The Jackson 5, "I Want You Back"
Motown 1157 (7 October 1969) b/w "Who's Lovin' You"recorded September 1969, Los Angeles, CA
Laboriously worked over -- even more so than usual -- this debut from the World's Greatest Boy Band helped establish Hitsville West as Berry Gordy's new base of operations even as it introduced Diana Ross' discovery to the world. (Actually, Gladys Knight should get the credit.) One of the smoothest-running examples of The Funk Brothers' legendary interplay, topped off with an impassioned performance.More »
4. Creedence Clearwater Revival, "Up Around the Bend" b/w "Run Through The Jungle"
Fantasy 641 (May 1970)recorded March 1970, San Francisco, CA
Picking the greatest CCR single of 1970 (or 1969, or 1971) is kind of like picking a favorite supermodel. Yet when you consider both sides of the argument (single), you find Creedence's greatest party side here along with arguably their most accomplished foray into swamp-rock; all that's missing is a ballad. The ominous quality of the b and the country honk tribute of the a fit the sensibilities of the (Aquarian) age perfectly.More »
5. James Brown, "Get Up (I Feel Like Being A) Sex Machine (Part 1)"
King 6318 (June 1970) b/w "Get Up (I Feel Like Being A) Sex Machine (Part 2)"recorded 25 April 1970, Nashville, TN
The Godfather of Soul became the God of Funk with this single, the kickoff of his second era, where the Flames exited and the JBs more or less entered (Bootsy!). Slower and more ragged, James and company redefined the genre once again, dragging the groove out until the single was besotted and then dropping a bridge that felt cataclysmic even though it was announced. Truly epochal.More »
6. George Harrison, "My Sweet Lord" b/w "Isn't It A Pity"
Apple 2995 (23 November 1970) b/w "Isn't It a Pity"recorded May 1970, London, England
The Quiet One's exit from the Beatles and his startling, almost overnight maturity into a major solo artist are the real stories here, of course, but both sides are also indicative of George's way with a dirge/drone/raga. No one but he (and producer Phil Spector) could turn three chords into such a fascinating, evolving mandala -- of faith in the unobservable world, and, alternately, pain over the observable.More »
7. Smokey Robinson and the Miracles, "The Tears Of A Clown"
Tamla 54199 (September 1970) b/w "The Love I Saw In You Was Just A Mirage"recorded 22 September 1966, Detroit, MI
The world had changed immeasurably in the four years since this prime slice of Motown was recorded, yet when UK scenesters unearthed this album track for their own intense amusement, the result was a worldwide smash, proving the durability (and universality) of the Sound of Young America. Stevie Wonder came up with the circusy intro; Smokey, intrigued, did the rest. (Hence Pagliacci.)More »
8. Led Zeppelin, "Whole Lotta Love"
Atlantic 2690 (7 November 1969) b/w "Living Loving Maid (She's Just A Woman)"recorded April, May, September 1969; New York, NY, Los Angeles, CA, London, England
Zep were never much of a presence on AM radio, yet this (sometimes truncated) version of their breakthrough anthem was too forceful to deny: the blues blown up to Great Wall Of China size and spun through a orgasmic, post-psych black hole. Robert Plant's banshee wail was at its peak, but Jimmy Page's guitar matched him groan for shriek.More »
9. Free, "All Right Now"
A&M 1206 (May 1970) b/w "Mouthful Of Grass"recorded 11 January 1970, London, England
One of rock's greatest voices debuted on this platter, five and a half minutes of strut, tension, release, and strut. A classically saucy and sassy version of the mating dance, with some newly-liberated nubile guffawing at Paul Rodgers' attempt at romanticizing his, er, impulses. Seldom had the sexual revolution seemed so nonthreatening, and so joyous. A blues-based romp, as if such a thing were possible.More »
10. The Shocking Blue, "Venus"
Colossus 108 (February 1970) b/w "Hot Sand"recorded May 1969, Blaricum, Netherlands
Rock's great singles can come from oddball places, but the Netherlands? Yes, when the groove is this wickedly tight, and made up of such strange, seemingly disparate elements -- a harmonic convergence of cool. It also doesn't hurt to have your lead singer be a vamp, or to have an industry bigwig license this and two other Dutch songs for American consumption (the others: "Ma Belle Amie" and "Little Green Bag").More »
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