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article by: Michael Canter

20 April 2012

Friday Flashback 1969



FRIDAY FLASHBACK: Every Friday we set the Hot Tub Time Machine to one year in rock history and give you the best (and worst) music from that year, all day long beginning at 1:00 AM EST and running for 24 hours on Jivewired Radio powered by Live365.

This week: 1969
Next week: 1982


This week's edition of Friday Flashback is dedicated to the memory of Levon Helm, who passed away yesterday afternoon.


Mark Lavon "Levon" Helm 
(May 26, 1940 – April 19, 2012)

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Album art from 1969 - Click album cover to purchase at Amazon.com

 

1969 Album I Wish I Owned: Arthur or the Decline and Fall of the British Empire by The Kinks
1969 Album I'd Give Back If I Could: Bless Its Pointed Little Head by Jefferson Airplane
1969 Nominee For Worst Album Cover Ever: Blind Faith by Blind Faith
1969 Most Underrated Song: Gimme Gimme Good Lovin' by The Crazy Elephant
1969 Most Overrated Song: Na Na Hey Hey Kiss Him Goodbye by Steam
1969 Most Memorable Song: You Can't Always Get What You Want by The Rolling Stones
1969 Most Significant Song: Kick Out The Jams by MC5
1969 Most Forgotten Song: 21st Century Schizoid Man by King Crimson
1969 Fan's Choice For Most Popular Song: Aquarius/Let The Sunshine In by The 5th Dimension
1969 Album Of The Year: Abbey Road by The Beatles
1969 Most Likely To Start A Party Song: Thank You (falettinme Be Mice Elf Agin) by Sly & The Family Stone
1969 Please Don't Play Anymore Song: Sweet Caroline by Neil Diamond
1969 Song That I Like More than I Actually Should: Who's Lovin' You by The Jackson 5
Absolute Worst Song of 1969 That I Will Always Love: Sugar Sugar by The Archies
Overplayed In 1969: Neil Diamond
Not Played Enough In 1969: Sly & The Family Stone
1969 Song That I Tend to Leave on REPEAT: Don't Forget About Me by Dusty Springfield
1969 Album I Liked More Than I Thought I Would: Nashville Skyline by Bob Dylan
Greatest Single Chart Re-Entry from 1969: Folsom Prison Blues by Johnny Cash (1955)
Best Cover Song Of 1969: The Thrill Is Gone by B.B. King
An unheralded great album from 1969: Home by Delaney & Bonnie
An unheralded great single from 1969: Are You Lonely For Me Baby by Chuck Jackson
Best Soundtrack of 1969: Midnight Cowboy


Jivewired's Top Five Songs Of The Year
01. Something by The Beatles
02. You Can't Always Get What You Want by The Rolling Stones
03. Can't Find My Way Home by Blind Faith
04. Suite: Judy Blue Eyes by Crosby, Stills & Nash
05. To Be Alone With You by Bob Dylan

Jivewired's Top Five Six Albums Of The Year
01. Abbey Road by The Beatles
02. Let It Bleed by The Rolling Stones
03. Tommy by The Who
04. Nashville Skyline by Bob Dylan
05. Dusty In Memphis by Dusty Springfield
06. Chicago Transit Authority by Chicago Transit Authority (Chicago)



Woodstock and Viet Nam. Of course those two events best represent the music scene in 1969 and we'll get to that. Those events were colossal in scope and magnitude. But music was as virulent and volatile as the economic essence and sociopolitical strife of that year, and it's social attitude left an indelible mark on the future of popular music.

The Beatles, for all intents and purposes, were finished by the end of 1969. On July 4th of that year, while work on the Beatles final album was in progress, the first solo single by a Beatles member was released: John Lennon's Give Peace a Chance, credited to the Plastic Ono Band. The final mix of the Abbey Road track I Want You (She's So Heavy) on August 20, 1969 marked the last occasion on which all four Beatles worked together. Lennon announced his departure to the group on September 20th, but agreed to withhold a public announcement until after the release of Abbey Road.

With the break up of the Beatles, the landscape of music quickly changed, giving birth to the great territorial realignment in popular music. Other factors contributed to the movement as well. Reaction to Bob Dylan's political brand of folk-rock and to San Francisco's free-form blend of jazz, folk and psychedelia, dubbed acid-rock, helped spur the realignment.  Territorial segregation involved just about every genre and every performer, and one that marked a sudden change in sound and format. Popular music retreated to its foundations, the well-structured, short, melodic song, and in doing so rediscovered country and blues.

At about the same time, artists like Marvin Gaye, Aretha Franklin, The Temptations and Smokey Robinson brought soul music to a more sophisticated white audience. Breaking the boundaries of it's intended target audience, the original Motown sound began to bridge the world of soul and pop, in much the same way that the Beatles had bridged the world of rock and pop. At the same time, under the influence of James Brown's savage grooves, the dance element of soul music broke through and crossed over into the mainstream, led by San Francisco's original black hippie, Sylvester "Sly" Stewart. Stewart's funk-and-groove treatise became the manifesto of that genre, and his band, Sly & The Family Stone, integrated black music and white audiences with a hybrid sound that was a roux of many influences and cultures, including old school R&B, Funk, Stax Soul and psychedelic rock music.

Thanks to the escalation of the Viet Nam War, music took on a new political awareness in 1969 and it's effect was certainly widespread across almost every genre. On the band's debut release, Chicago Transit Authority (aka Chicago) included chants from demonstrators outside the 1968 Democratic Convention that was held in Chicago, IL.



According to Chicago original founding member Robert Lamm: "I think just being alive in those times and watching that conflict in Asia unfold on television, because Lord knows we all sat around and watched a lot of television, and the culture shock of moving from Chicago to California were great influences. And then the alternative press, the L.A. Free Press, was very much into the hot topic of revolution. It seemed that the generation of which I was a member and the generation which was popularizing music had a connection, and so it seemed natural to give voice to some of that thinking. My opinions, and those of some of my contemporaries, felt really real. It was right that a lot of bands at the time were giving voice to the idea of the average person having a certain amount of power, and power maybe enough to stand up to the policies of the government and protest the war."

The LP itself included a dedication of political consciousness:

With this album we dedicate ourselves, our futures and our energies to the people of the revolution...And the revolution in all its forms.

As in most historical movements, much of the music of 1969 was both inspired and inspiring, and served as a rallying cry as well as a demand for action. The music of 1969 served as a uniting factor for a population that felt lied to and disenfranchised by leaders here at home and abroad. Fundamentally speaking, the songs of that year invoked a political agenda and used music as a call for reform. Ideally, music encapsulated a wide-reaching platform, guaranteed as a form of freedom of speech by the US Constitution. Musicians effectively used that platform for the first time as a liberal rhetoric to counterpoint the deliberate discourse of the overly conservative political establishment.


 

The revolutionary and peaceful protest ethos of 1969 culminated in the year's definitive triumph -- The Woodstock Music & Art Fair. Billed as "An Aquarian Exposition: 3 Days of Peace & Music", The Woodstock Music Festival was initiated through the efforts of Michael Lang, John Roberts, Joel Rosenman, and Artie Kornfeld. Roberts and Rosenman placed the following advertisement in The New York Times and The Wall Street Journal under the name of Challenge International, Ltd.: "Young men with unlimited capital looking for interesting, legitimate investment opportunities and business propositions" and Lang and Kornfield brought them the idea.

Held on Max Yasgur's farm in Bethel, NY, the organizers claimed time and again that they expected no more than 50,000 people. By the time the weekend was complete, more than 500,000 attendees enjoyed a sleepless, rain-soaked weekend of peace and love against the backdrop of free live music performed by 32 acts, despite widespread sanitation issues and food and water shortages.

And it worked.

Although the festival was remarkably peaceful given the number of people and the conditions involved, there were two recorded fatalities: one from what was believed to be a heroin overdose and another caused in an accident when a tractor ran over an attendee sleeping in a nearby hayfield. There also were two births recorded at the event (one in a car caught in traffic and another in a hospital after an airlift by helicopter). Testimony in the Woodstock documentary film supports the overdose and run-over deaths and at least one birth, along with many logistical headaches. The facilities were not equipped to provide for the number of people attending; hundreds of thousands found themselves in a struggle against bad weather, water shortages, lack of food, poor sanitation and few first-aid facilities.

Yet, in tune with the idealistic hopes of 1969, Woodstock satisfied most attendees. There was a sense of social harmony and love for humanity. The quality of music, and the overwhelming mass of people, many sporting bohemian dress, behavior, and attitudes helped to make The Woodstock Music Fest one of the most enduring events of all time.

After the concert, Max Yasgur saw it as a victory for peace and love. He spoke of how a half-million people facing disaster, riot, looting, and catastrophe spent the three days with music and peace on their minds. He stated, "if we join them, we can turn those adversities that are the problems of America today into a hope for a brighter and more peaceful future..."

Gone Too Soon:
  • Judy Garland (June 22)
  • Brian Jones (July 3)
  • Tommy Edwards (October 22)
  • Magic Sam (December 1)

I Can See Why Joe Cocker Gave Up His Modeling Career:



That first picture is the cover art for King Crimson's album In The Court Of King Crimson.

That second picture is the cover art for Joe Cocker's album With A Little Help From My Friends.

Both are horrid depictions that represent unseemly cover art, some of the worst ever if you think about it.  And yet they share eery similarities, too eery in fact that I can't help but wonder.............

Can album covers be separated at birth?

Gimme Shelter:


 
The Altamont Speedway Free Concert was held on Saturday, December 6, 1969, at the Altamont Speedway in Northern California. Headlined and organized by The Rolling Stones, it also featured Santana, Jefferson Airplane, The Flying Burrito Brothers, and Crosby, Stills, Nash & Young, with the Rolling Stones taking the stage as the headlining act. The Grateful Dead were also scheduled to perform, but declined to play shortly before their scheduled appearance due to the increasing violence at the venue. “That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play,” someone was quoted in Rolling Stone.

The most infamous musical event of 1969 became the antithesis of the Woodstock generation's espoused ethos of free love and peace. At the concert in Altamont, a fan was stabbed to death by a member of Hell's Angels.

By some accounts, the Hell's Angels were hired as security by the management of the Rolling Stones for $500 worth of beer — a story that has been denied by parties who were directly involved. According to Rolling Stones' road manager Sam Cutler, "the only agreement there ever was ... the Angels would make sure nobody tampered with the generators, but that was the extent of it. But there was no way 'They're going to be the police force' or anything like that. That's all bollocks."

Lead singer Mick Jagger of the Rolling Stones, who had already been punched by a concert goer within seconds of emerging from his helicopter, was visibly intimidated by the unruly situation, urging everyone to "Just be cool down in the front there, don't push around." Within a minute of starting their third song, Sympathy for the Devil, a fight erupted in the front of the crowd, at the foot of the stage. After a lengthy pause and another appeal for calm, the band restarted Sympathy and continued their set with less incident until the start of Under My Thumb. Some of the Hells Angels got into a scuffle with Meredith Hunter, age 18, when he attempted to get onstage with other fans.  

Footage from the documentary shows Hunter (seen in the film in a bright lime-green suit) drawing a long-barreled revolver from his jacket, and Hells Angel Alan Passaro, armed with a knife, running at Hunter from the side, parrying the gun with his left hand and stabbing him with his right.

Hunter's autopsy confirmed he was high on methamphetamine when he died.

"That's one small step for a man, one giant leap for mankind."

  

.....and for David Bowie, the launch of a career that has lasted 40+ years.

On July 20, 1969, just before 9:00 PM CST, U.S. astronaut Neil Armstrong became the first person to step foot on the moon. The estimated global audience at that moment was about 450 million viewers and/or listeners.

As he eased his way to the bottom of the ladder, Armstrong said "I'm going to step off the LEM now" and then turned and set his left boot on the surface. He then spoke the famous words "That's one small step for [a] man, one giant leap for mankind." 

There was some controversy as to what Armstrong actually said.

Armstrong had decided on this statement following a train of thought that he had had after launch and during the hours after landing. Armstrong said later that he accidentally dropped the "a", from his remark, rendering the phrase a contradiction (as man in such use is synonymous with mankind) and later said he "would hope that history would grant me leeway for dropping the syllable and understand that it was certainly intended, even if it was not said – although it might actually have been." 

David Bowie's Space Oddity became a huge hit following this event. The song, the story of an astronaut named Major Tom who went into space and, entranced by the beauty of seeing Earth from such a great distance, consequently let himself float off into space, never again to return, was Bowie's first hit single. Space Oddity was chosen by the BBC as the theme song for the television station's coverage of Armstrong's moon landing. The song established a devoted fanbase for Bowie, launched his career and helped move progressive music into the mainstream.  

Rock pioneers 10 years ahead of their time:



The MC5, founded in the Detroit area, was arguably the world's first punk band. The band's very promising beginning earned them a cover appearance on Rolling Stone magazine in 1969 even before their live debut album, Kick Out The Jams was released. The MC5 had developed a reputation for energetic and polemical live performances, and influenced bands from The Stooges to The Sex Pistols and The Clash. Their initial success was ultimately short-lived, as the world just wasn't ready for proto-punk in 1969. Within just a few years of their dissolution in 1972, the band was often cited as one of the most important and influential American hard rock groups of their era.

Imitation is the sincerest form of flattery:



Singer Vickie Jones was arrested on fraud charges for impersonating Aretha Franklin in concert at Fort Myers, Florida. Jones, a penniless mother of four, claimed she was forced into impersonating the Queen Of Soul by the concert's promoter, Lavell Hardy. Franklin had had a history of being a no-show, and promoters, wanting to protect their profits, came up with the idea to substitute Jones for Franklin.

Jones was given a wig and looked and sounded like Franklin enough to fool an audience of over 1,000 fans that gave her a standing ovation after her sixth and final song. Attorneys for Aretha Franklin exposed the fraud and had Jones arrested for the performance. She was later released without bail by an Ocala, FL judge. Lavell Hardy was later arrested and charged for misleading advertising.

Surprisingly, nobody in attendance that day ever asked for their money back.

Go forth, for you are the future of rock & roll.....



The following bands all formed in 1969: The Allman Brothers Band, ZZ Top, UFO, Supertramp, Thin Lizzy, Earth Wind & Fire, Hall & Oates, Judas Priest, Thunderclap Newman, Faces, Uriah Heep, Humble Pie, April Wine and Brotherhood Of Man. On the flip side, 1969 also gave us The Hues Corporation, The Carpenters, The New Seekers and The Pointer Sisters.

Playlist Adds For 1969 (by Release Date):

****Release dates are to the best of my knowledge and in most cases represent the release date of the album from which the single derived. In cases of singles and/or B-Side releases only, we use the official single release date for the A-Side.****


October 1968 (and earlier):
001. Love Child by Diana Ross & The Supremes
002. For Once In My Life by Stevie Wonder
003. Israelites by Desmond Dekker
004. With A Little Help From My Friends by Joe Cocker
005. I Heard It Through The Grapevine by Marvin Gaye
006. The Fish Cheer/Feel Like I'm Fixin' To Die Rag by Country Joe McDonald & The Fish

  • Because of delays in scheduled acts getting to Yasgur's Farm, Country Joe gave an unexpected and unplanned performance of the song  The Fish Cheer/Feel LIke I'm Fixin' To Die Rag on the stage of the Woodstock Festival as a stop-gap between two other performers. Country Joe was reportedly frozen in fear by the enormity of the audience, which was about 300,000 at the time of his performance. Nobody was paying attention, so he managed to gain wide and steady attention by giving his "Fuck Cheer".  Originally released in 1967, The song was never a big hit, but was nonetheless well-known, and at Woodstock the audience can clearly be heard singing along.

November 1968:
007. Going Up The Country by Canned Heat
008. Crosstown Traffic by The Jimmy Hendrix Experience
009. The Village Green Preservation Society by The Kinks
010. Everyday People by Sly & The Family Stone

December 1968:
011. Street Fighting Man by The Rolling Stones
012. Sympathy For The Devil by The Roliing Stones
013. These Eyes by The Guess Who

January 1969:
014. Polk Salad Annie by Tony Joe White
015. White Room by Cream
016. Crossroads by Cream
017. Hair by The Cowsills
018. Good Times Bad Times by Led Zeppelin
019. Communication Breakdown by Led Zeppelin
020. Your Time Is Gonna Come by Led Zeppelin
021. I Don't Know Why by Stevie Wonder
022. My Cherie Amour by Stevie Wonder

  • The Cowsills were a family band, formed in 1965 by brothers Bill, Bob, Barry and John.  After their initial success the brothers were joined by siblings Susan and Paul, and eventually their mom, Barbara, joined the band as well.  The Cowsills became the inspiration for the 1970s TV show The Partridge Family.  The song Hair was the band's most successful single.
  • Led Zeppelin's first album was initially panned by Rolling Stone Magazine.  The review asserted that the band offered "little that its twin, the Jeff Beck Group, didn't say as well or better three months ago... It would seem that if they are to fill the void created by the demise of Cream, they will have to find a producer, editor and some material worthy of their collective talents."  To make matters worse, the merciless article labeled Plant "as foppish as Rod Stewart, but nowhere near so exciting."  Yet in 2003 Rolling Stone ranked the album #29 on it's list of 500 Greatest Albums of All Time. 

February 1969: 
023. Traces by The Classics IV
024. Do It Again by The Beach Boys
025. The Nitty Gritty by Gladys Knight & The Pips
026. Galveston by Glen Campbell
027. It's Private Tonight by Arthur Adams
028. Carolina In My Mind by James Taylor

March 1969:
029. Let Me! by Paul Revere & The Raiders
030. Gimme Gimme Good Lovin' by The Crazy Elephant
031. Are You Lonely For Me Baby by Chuck Jackson
032. Baby, I'll Get It by Chuck Jackson
033. Pale Blue Eyes by The Velvet Underground
034. Put A Little Love In Your Heart by Jackie DeShannon
035. Son Of A Preacher Man by Dusty Springfield
036. Don't Forget About Me by Dusty Springfield
037. California Soul by Marlena Shaw

April 1969:
038. The Boxer by Simon & Garfunkel
039. Keep The Customer Satisfied by Simon & Garfunkel
040. Girl From The North Country by Bob Dylan
041. To Be Alone With You by Bob Dylan
042. Lay Lady Lay by Bob Dylan
043. In The Ghetto by Elvis Presley
044. Raindrops Keep Fallin' On My Head by B.J. Thomas
045. Feelin' Alright by Joe Cocker
046. In The Beginning by The Moody Blues
047. Lovely To See You by The Moody Blues
048. Does Anybody Really Know What Time It Is? by Chicago Transit Authority
049. Beginnings by Chicago Transit Authority
050. Questions 67 & 68 by Chicago Transit Authority
051. I'm A Man by Chicago Transit Authority

  • Bob Dylan and Johnny Cash recorded an entire album's worth of duets of country standards during the Nashville Skyline sessions, which remains unreleased. An unauthorized selection from those duets circulates among Dylan collectors and has been commercially bootlegged. It is sometimes described as an unreleased LP, but there is no hard evidence of its exact source.
  • Upon the band's 1967 inception, Chicago Transit Authority was initially called The Missing Links. The band then changed its name to The Big Thing (occasionally performed in areas outside Chicago and Milwaukee as The Big Sounds due to some venues complaining about the double entendre that the name The Big Thing also alluded to), before adopting the moniker The Chicago Transit Authority when producer James Guerico took them on in 1968. While the band toured their first album, legal action was threatened by the actual Chicago Transit Authority (Chicago's mass transit system), forcing the group to reduce their name to, simply, Chicago.

May 1969:
052. My Whole World Ended (The Moment You Left Me) by David Ruffin
053. Good Morning Starshine by Oliver
054. Something In The Air by Thunderclap Newman
055. Chelsea Morning by Joni Mitchell
056. Both Sides Now by Joni Mitchell
057. A Long Road Ahead by Delaney & Bonnie
058. We Can Love by Delaney & Bonnie
059. Look What We Have Found by Delaney & Bonnie
060. Pour Your Love On Me by Delaney & Bonnie
061. Down By The River by Neil Young
062. Brother Love's Traveling Salvation Show by Neil Diamond
063. Pinball Wizard by The Who
064. I'm Free by The Who
065. We're Not Gonna Take It by The Who
066. Everybody's Talkin' by Harry Nilsson
067. Doggone Right by Smokey Robinson & The Miracles
068. Long Time Gone by Crosby Stills & Nash
069. Wooden Ships by Crosby Stills & Nash
070. Suite: Judy Blue Eyes by Crosby Stills & Nash
071. Marrakesh Express by Crosby Stills & Nash
072. The Ballad Of Jon & Yoko by The Beatles

  • Harry Nilsson was considered an amazing composer, yet his biggest recorded hit was written by Fred Neil.  Everybody's Talkin' was released by Nilsson as the theme to the movie Midnight Cowboy.   Denise Sullivan describes Neil's version as "positively spooky and Spartan" by comparison to Nilsson's better-known cover, whose arrangement she felt captured the "freedom, shrouded in regret and loss, implied in the lyric."  Nilsson's cover sold over one million copies, reaching #6 on the Billboard Pop Singles chart.

June 1969:
073. Skyline Pigeon by Elton John
074. Spirit In The Sky by Norman Greenbaum
075. Coming Into Los Angeles by Arlo Guthrie
076. Soul Deep by The Box Tops
077. One by Three Dog Night
078. Breakaway by The Beach Boys
079. Crystal Blue Persuasion by Tommy James & The Shondells
080. What Does It Take (To Win Your Love) by Jr. Walker & The All-Stars
081. China Cat Sunflower/I Know You Rider by The Grateful Dead
082. He Ain't Heavy, He's My Brother by The Hollies
083. Take A Letter Maria by R.B. Greaves

  • Harry Nilsson authored Three Dog Night's hit One, a song that reached #5 on Billboard's Pop Singles chart. The song is known for its opening lyric "One is the loneliest number that you'll ever do." It appeared initially on Aerial Ballet, Nilsson's third album. Nilsson wrote the song after calling someone and getting a busy signal. He stayed on the line listening while writing the initial lines to the song. The busy signal became the basis of the opening notes of the song.

July 1969:
084. The Weight by The Band
085. Ask The Lonely by Billy Eckstine
086. You Can't Always Get What You Want by The Rolling Stones
087. Honky Tonk Women by The Rolling Stones
088. Give Peace A Chance by The Plastic Ono Band
089. In Bed by Wes Henderson
090. Space Oddity by David Bowie
091. Touch Me by The Doors
092. Easy Ride by The Doors
093. A Boy Named Sue by Johnny Cash
094. Sugar Sugar by The Archies
095. I Can't Get Next To You by The Temptations
096. I Want You Back by The Jackson 5
097. Who's Lovin' You by The Jackson 5

  • A set of studio musicians were assembled by Don Kirshner in 1968 to perform various songs as the fictitious group The Archies. The most famous is Sugar Sugar, written by Jeff Barry and Andy Kim, which went to #1 in 1969, selling over six million copies. Male vocals for the recording were provided by The Cuff Links' lead singer Ron Dante and female duet vocals were provided by Toni Wine.  The Archies' records were initially released on the Calendar Records label, but the name was shortly thereafter changed to Kirshner Records.

August 1969:
098. Jingo by Santana
099. Evil Ways by Santana
100. Soul Sacrifice by Santana
101. Can't Find My Way Home by Blind Faith
102. Hot Fun In The Summertime by Sly & The Family Stone
103. Twenty Five Miles by Edwin Starr
104. Oh How Happy by Edwin Starr

  • The Woodstock performance of the song Soul Sacrifice is often remembered for Michael Schrieve's elaborate drum solo.  Schrieve had just turned twenty, making him one of the youngest performers at Woodstock.  The performance also features Carlos Santana playing two long solos that epitomize his hard-driven, ultra-fast Latin rock-blues sound. Santana has since admitted he was under the influence of LSD during the performance of the song. "Damn! Why did I take LSD before I went on, you know? The guitar neck...it felt like an electronic snake that wouldn't stand still. That's why I'm making ugly faces trying to make the snake stand still so I can like play it..."

September 1969:
105. No Time by The Guess Who
106. I'll Never Fall In Love Again by Bobbie Gentry
107. Laughing by The Guess Who
108. Undun by The Guess Who
109. Try (Just A Little Bit Harder) by Janis Joplin
110. Wedding Bell Blues by The Fifth Dimension
111. Up On Cripple Creek by The Band
112. The Night They Drove Old Dixie Down by The Band
113. King Harvest (Has Surely Come) by The Band
114. Something by The Beatles
115. Here Comes The Sun by The Beatles
116. Because by The Beatles
117. You Never Give Me Your Money by The Beatles
118. Sun King by The Beatles
119. Mean Mr. Mustard by The Beatles
120. Polythene Pam by The Beatles
121. She Came In Through The Bathroom Window by The Beatles
122. Golden Slumbers by The Beatles
123. Carry That Weight by The Beatles
124. The End by The Beatles
125. Her Majesty by The Beatles

October 1969:
126. Leaving On A Jet Plane by Peter Paul & Mary
127. Someday We'll Be Together by Diana Ross & The Supremes
128. Whole Lotta Love by Led Zeppelin
129. What Is And What Should Never Be by Led Zeppelin
130. Thank You by Led Zeppelin

  • Leaving on a Jet Plane was originally released to little fanfare in 1967 on Peter, Paul & Mary's album entitled Album 1700.  It was re-released in 1969 and held the number one slot for three weeks.  The song was written by John Denver in 1966 and was originally titled Oh Babe I Hate To Go.

November 1969:
131. Na Na Hey Hey Kiss Him Goodbye by Steam
132. Volunteers by Jefferson Airplane
133. In Memory Of Elizabeth Reed by The Allman Brothers Band
134. Dreams by The Allman Brothers Band
135. Rainy Night In Georgia by Brook Benton
136. Walk A Mile In My Shoes by Joe South

December 1969:
137. Thank You (falettinme Be Mice Elf Agin) by Sly & The Family Stone
138. The Thrill Is Gone by B.B. King
139. Let It Bleed by The Rolling Stones
140. Monkey Man by The Rolling Stones
141. God Bless The Child by Blood Sweat &Tears
142. Spinning Wheel by Blood Sweat & Tears
143. And When I Die by Blood Sweat & Tears
144. Holly Holy by Neil Diamond
145. Look-Ka Py Py by The Meters
146. How Can I Forget? by Marvin Gaye
147. Little Green Bag by The George Baker Selection
148. Psychedelic Shack by The Temptations

Previous In This Series: Friday Flashback 1974

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