The first year of a new decade… who could have predicted Watergate, the oil crisis and the Star Wars phenomenon that were to come in the years ahead?, The plight of the Apollo 13 manned mission to the Moon had us riveted for days, after an oxygen tank exploded. Four students were shot and killed by the Ohio National Guard at Kent State University.
Jimi Hendrix and Janis Joplin died, weeks apart.
Recordings made by some of the most enduring classic rock artists dominated the list of 1970’s top-selling albums in the U.S. The chart, compiled by the former music industry trade magazine, many of the year’s biggest albums were actually released in 1969. The Rolling Stones‘ Let it Bleed, released in December 1969, includes “Gimme Shelter,” “Midnight Rambler” and “You Can’t Always Get What You Want.” Many of these albums from that year remain cornerstones of any essential classic rock record collection, with works by George Harrison, Traffic, the Rolling Stones, Joni Mitchell, Led Zeppelin, the Grateful Dead, Simon & Garfunkel, The Who, Chicago, CSN&Y, and more, sounding as fresh now as when we first removed the vinyl from the shrink-wrapped album jacket.
The Allman Brothers Band—Idlewild South Their second album (“Midnight Rider,” “In Memory of Elizabeth Reed”) rewrote all preceding notions of what rock from the South could be.
The Band—Stage Fright Less “rustic” than its predecessor, more rocking, somewhat darker, it set them up as more of a mainstream band and gave them some hot new material to try out onstage.
The Beatles’ “Let It Be“, recorded before Abbey Road but released after it, is where it all ended. Despite the group’s disfunction, the album includes such classics as the title track, “Get Back,” “The Long & Winding Road” and “Across the Universe,”.
Black Sabbath—“Paranoid” Their second album (the self-titled debut was released earlier in the year), this was the blueprint for heavy metal. Talk about rock anthems, this album was stacked with them.
The Byrds—“Untitled” Only Roger McGuinn remains from the early days, but the sound is still unmistakable on this half-studio/half-live double album.
Though it was released in April 1969, Chicago‘s debut two-record set, “Chicago Transit Authority”, continued to sell well enough to be 1970’s #11 biggest album. Its songs include “Questions 67 and 68,” “Does Anybody Really Know What Time It Is?” and “Beginnings.”
Chicago—”Chicago” Also known as Chicago II (after they dropped “Transit Authority” from their name), this double album was ambitious and wide-ranging. Includes “25 or 6 to 4,” “Make Me Smile” and “Colour My World.”
Eric Clapton—”Eric Clapton” After the Yardbirds, Bluesbreakers, Cream and Blind Faith all behind him, the guitarist/singer/songwriter decided it was time to make his own solo album tracks included “After Midnight,” “Blues Power”.
Joe Cocker—“Mad Dogs & Englishmen” The traveling road show to end all traveling road shows cut this live double set that personified the rock ’n’ soul party. Joe Cocker released “Mad Dogs & Englishmen“, a live double set that personified the rock ’n’ soul party.
The singer, just 25 when it was recorded, was joined by musical director Leon Russell and a “cast of thousands” that included superstar band Chris Stainton, Carl Radle, Jim Gordon and Rita Coolidge.
Creedence Clearwater Revival—“Cosmo’s Factory” Their fifth album was a monster seller, Their album “Cosmo’s Factory”, at continued Creedence Clearwater Revival’s remarkable stretch. The album’s track listing reads like a greatest hits collection with such favourites as “Travelin’ Band,” “Who’ll Stop the Rain,” “Up Around the Bend”.
“Willy and the Poor Boys” was Creedence Clearwater Revival‘s fourth of five albums released in less than two years. The 1969 album includes “Fortunate Son,” “Down on the Corner” and CCR’s covers of “The Midnight Special” and “Cotton Fields.”
Crosby, Stills, Nash & Young—“Déjà Vu” The poster boys for the rock supergroup upped their game with the addition of Neil Young. topped themselves when the supergroup trio released one of the most acclaimed albums of 1969? for 1970, add a fourth member for your follow-up. So, Crosby, Stills and Nash became Crosby, Stills, Nash & Young.
Their “Déjà Vu” reached #1 in the U.S. (#7 for the year) and yielded three hit singles: “Our House,” “Teach Your Children” and “Woodstock,” plus a great lead-off track, “Carry On.” And how cool was that Civil War-era photo and the original leatherette paper used for the album cover?.
Derek and the Dominos—“Layla and Other Assorted Love Songs” Eric Clapton’s short-lived group created an all-time classic with this studio set. The title track was inspired by the guitarist’s infatuation with Pattie Boyd, George Harrison’s wife.
The Doors—“Morrison Hotel” Their fifth (of six) studio album, it was less meandering and experimental than its predecessor. Its lead track, “Roadhouse Blues,” became an radio staple.
Bob Dylan—”New Morning” Following the head-scratcher that was “Self Portrait“, Dylan’s 11th studio album wasn’t as country as “Nashville Skyline“, and wasn’t folk, but it surely wasn’t like his ’60s rock either.
Aretha Franklin—”Spirit in the Dark” At the time it wasn’t one of her biggest sellers, but many now consider it among her finest works.
Free—“Fire and Water” For “All Right Now” alone, the rock song of the year, it would become a rock classic, but this album that served as the breakthrough for the Paul Rodgers-fronted British quartet is solid from start to finish.
George Harrison—“All Things Must Pass” He’d released two experimental solo albums that received little notice. Then came this triple-LP that showed, even more than his work with the Beatles, that he was a true leader.
Jimi Hendrix—“Band of Gypsys”—After three albums with the Experience, he wanted something different. Working with bassist Billy Cox and drummer Buddy Miles, he cut this live New Year’s Eve show in New York that presented a whole new side. Sadly, he’d passed away before the end of the year.
Jethro Tull—“Benefit” They started out as a jazz-rock band in Britain—their leader even played a flute!—but by their third album they’d hardened up somewhat, featuring tougher guitar lines and darker lyrical themes.
The Kinks—“Lola Versus Powerman and the Moneygoround, Part One” With albums like “Village Green Preservation Society” and “Arthur”, Ray Davies proved one of our most astute observers and craftsmen. On his latest concept album, he takes aim at everything from the music biz to society itself, and the band delivers a tour de force.
Led Zeppelin—“Led Zeppelin III “II” was a hard act to follow, so Zeppelin was wise not to go in the same direction, instead incorporating more acoustic elements into songs that tended more toward the poetic and introspective than bludgeoning hard rock.
John Lennon—“Plastic Ono Band” His debut solo album (not counting three with Yoko) was raw and confessional in spots, vulnerable and tender in others. Songs like “Working Class Hero” and “Mother” were among his most poignant post-Beatles work.
Paul McCartney recorded his solo debut largely in secrecy at his home recording studio in London. It’s a true solo album as he played all the instruments. (His wife, Linda, sang harmony.) The LP, with such songs as “Maybe I’m Amazed,” “Every Night” and “That Would Be Something,” reached #1 and was the year’s #6 overall. The “reverse” album cover, shot by Linda McCartney, features a fruit bowl on the front, with a photo of a bearded McCartney – with baby Mary in tow – on the back.
Joni Mitchell—“Ladies of the Canyon” She’d begun developing a devoted audience, and her peers raved about her, but this third album served notice that a major star had arrived. Includes classics like “Woodstock,” “Big Yellow Taxi” and “For Free.”
Van Morrison—“Moondance” His 1968 “Astral Weeks” was intricate and dense even though it was entirely acoustic. Here the Irish enigma morphs into a full-blown major singer-songwriter. Every song is a gem, including the title track, “Crazy Love” and “Into the Mystic.” The also-excellent “His Band and Street Choir” would follow later in the year.
The Rolling Stones—“Get Yer Ya-Ya’s Out” The Stones’ 1969 tour of the U.S. was an event of gargantuan significance in the rock world, and the souvenir recording is still considered by many to be among rock’s most perfect live albums.
Leon Russell—Leon Russell—He was already a studio veteran by 1970, having played on dozens of hit records as a member of the Wrecking Crew. But it wasn’t until he released this debut solo album, containing classic hits like “A Song for You,” “Delta Lady” and “Roll Away the Stone,” that we experienced the full breadth of his talents as singer, songwriter and instrumentalist.
Santana—“Abraxas” Santana‘s self-titled debut was released two weeks after they electrified the crowd at Woodstock in August 1969. Thanks to their reception and the big single, “Evil Ways,” “Abraxas” a perfect marriage of rock and Latin rhythms, all fronted by one of the most original guitarists on the scene. The follow-up refined the approach, giving us hits like “Black Magic Woman” and “Oye Como Va.”
The debate of what is the best live rock album is sure to include The Who‘s electrifying “Live at Leeds”. The original release featured just six tracks though the concert featured a far, far lengthier performance that included the entire “Tommy” rock opera. Its no-frills cover was designed to resemble an album bootleg.
Simon and Garfunkel—“Bridge Over Troubled Water” Their farewell studio set remains one of their finest, a diverse and powerful creation. The title track alone is a masterwork, and it’s kept company by other ace tunes like “The Boxer” and “The Only Living Boy in New York.”
Spirit—“Twelve Dreams of Dr. Sardonicus” has become a classic album, Although it didn’t fare as well on the charts as their three previous releases, the California band’s ’70 effort continued to display solid musicianship and songwriting: “Nature’s Way” and “Mr. Skin” are memorable tracks.
Cat Stevens—“Tea For the Tillerman” Following Mona Bone Jakon, released earlier in the year, the British singer-songwriter truly began to find his voice on this one, which included literate but radio-friendly songs like “Wild World” and “Father and Son.”
Rod Stewart—”Gasoline Alley” His tenure as vocalist for the Jeff Beck Group brought him recognition, but who knew that he had such depth and versatility in him? The title track and “Cut Across Shorty” are two highlights. That same year the debut by Faces, with Stewart singing lead, was also issued.
James Taylor—”Sweet Baby James” Discovered in the U.K., he cut an album for the Beatles’ Apple Records, then came home, where he made this sophomore gem. Produced by Peter Asher, it went a long way toward defining the singer-songwriter movement of the decade ahead.
Traffic—“John Barleycorn Must Die” Traffic was down to a trio by now, with Steve Winwood, Chris Wood and Jim Capaldi, and they used the occasion to indulge in more jamming. But some of the songs—including “Glad” and “Empty Pages”—were among their most accessible.
1969’s Woodstock festival received plenty of coverage on the nightly news and daily newspapers. But it wasn’t until the Woodstock film was released in March 1970 that millions got to see what the experience of being there was like. And in May, the 3-LP set was released on Atlantic’s Cotillion label. And though it was significantly truncated from the hours upon hours of landmark performances, it was the only way for music fans to discover and relish the festival’s songs. The album was at top spot in the charts and was the year’s 4th biggest seller pretty incredible for a 3 Lp set.
The Velvet Underground—“Loaded” This would be the end for the New York City band that became much more influential after it split up. “Loaded” isn’t as ear-opening as their debut or White Light/White Heat, but songs like “Sweet Jane” and “Rock & Roll” are now firmly ensconced in the rock lexicon.
Neil Young—“After the Gold Rush”—Throughout his career, the Canadian has thrived on challenging himself to keep trying different things. But at this early date it was something of a surprise when his third solo release, which followed the first raucous Crazy Horse LP, was mostly on the soft side—except for the finger-pointing anthem “Southern Man,” that is.
The Fat Angel Sings 