At the start of 1970 the Bee Gees did not exist. The two Gibbbrothers albums recorded in 1969 were released early in the year, oneby Barry and Maurice as the Bee Gees, the other by Robin. For theformer, Barry and Maurice made some publicity appearances together.But at the same time, all three brothers were working separately onnew albums. Except for one single each by Maurice and Barry, nothingof the three albums was released.

Barry began recording his solo album with these four songs. Theywent onto 2-inch 16-track tape, very early use of this new format.Robin and Maurice continued to use 8-track, and even the Bee Geesalbum later this year was made on 8-track. The personnel are notknown, other than Barry on lead and backing vocals and guitar, andBill Shepherd handling the orchestral accompaniment.

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A followup session a week later listed no artist, but the producercredit this time is Maurice and Robin. Nothing is know about thesesongs, including the extent to which they feature both of thebrothers.

This consistently good set of songs should have sold much better thanit did, but by this date interest in the Bee Gees was waning. Five ofthe songs were marked as being from the television spectacularCucumber Castle, and all the photographs on the front and backcover and inside gatefold are from it, but any marketing tie-in valuewas lost since the program had still not been shown.

After the Marbles, Graham Bonnet picked up vocal and acting jobs for afew years until his career took off in the later 1970s. He hasrecorded more than two dozen albums as a solo or band member. TrevorGordon recorded one solo album, Alphabet, in 1970, whichincluded his two Marbles compositions. He soon left show business andinstead taught music for many years.

The strangest release in Bee Gees discography was a two-LP set thatquietly found its way to store shelves in Europe in the second half of1970. The contents were twenty-four previously unknown recordingsfrom 1966. The label in Germany was Karussell and in France Triumph,both of them Polydor budget labels. The songs were all rechannelledinto mock stereo. The album was available for just a short time.

Inception / Nostalgia was long known to collectors as therarest of all Bee Gees albums, and highly desirable because of all thesongs found on no other album. Within a few years of release usedcopies were sold for over $700. Less wealthy collectors jumped on anysignificant reissue of any of the songs, which were as follows.

Copies on King appear to be from 1970 while the copies on Agape appearto be from 1971. Both were labels of Starday-King, an independentlabel specializing in country and rhythm and blues. How the song gotto Nashville is likewise unknown.

Publication of the first volume of Mick Fleetwood\u2019s memoir Love That Burns led to a series of articles discussing the book and the pre-1974 versions of Fleetwood Mac. Fleetwood\u2019s first volume ends at the end of 1974, as he introduces new band members Stevie Nicks and Lindsey Buckingham to the group\u2019s keyboard player, Christine McVie. McVie was a Mac veteran already, having joined unofficially with Kiln House in 1970. McVie had proven to be. a strong band member, writing some good songs, becoming the group\u2019s only female vocalist, and adding musically with her keyboard work.

During this time period, Christine McVie contributed 15 songs to the Fleetwood Mac catalog. While many have not been part of the group\u2019s set lists for many years, they form a solid body of work that shows she was writing great material long before Buckingham and Nicks joined the band.

McVie played as a session pianist on some Mac songs from the Peter Green era. She was a member of another blues group, The Chicken Shack, and a fan of Fleetwood Mac. When Green left the group she played piano and sang backup vocals, uncredited, on the group\u2019s 1970 album Kiln House; she also drew the album cover. Kiln House is a transformational record, with Jeremy Spencer writing mostly \u201950s rockabilly and Nashville rock songs, while Danny Kirwan helps move the band further into the rock vibe they had sparked on the last Green album, Then Play On.

Christine contributes two songs to the album. The opener \u201CMorning Rain\u201D establishes that mid-tempo groove that she works with so well. While there is a mellow vibe overall in the harmonized vocals, the song has drive. It doesn\u2019t take too much imagination to hear the nascent sounds of post-75 Mac, as Welch and Kirwan spiral their guitars around each other and McVie offers bluesy piano detailing.

Welch and Kirwan continue to offer new sounds and the songwriting is good: \u201CSunny Side of Heaven\u201D and \u201CThe Ghost\u201D are excellent, and the title track, as well as Welch\u2019s \u201CSentimental Lady\u201D, are both classic rock FM staples. \u201CHomeward Bound\u201D isn\u2019t one of McVie\u2019s better songs, but it is more uptempo than a lot of her work and she does some good piano playing. Her other song \u201CSpare Me a Little of Your Love\u201D is also a Mac radio classic as well as part of their set list from 1972-1977, bridging the gap between the middle period Mac and the classic lineup. The song was also covered by Johnny Rivers and Jackie Deshannon.

Unfortunately, Kirwan was fired mid-tour, making this his last Mac album. While Welch and McVie were excellent songwriters, Kirwan contributed a lot of unique songs and he also had a great ear, layering guitars and voices in much the way that Lindsey Buckingham did in the post-\u201975 lineup. He was replaced by guitarist Bob Weston and vocalist Dave Walker, who had been in the group Savoy Brown. While the resulting album, Penguin, was the group\u2019s best-selling album to date in the US (making it into the top 50), it\u2019s overall sound is less textured and doesn\u2019t hold together as well as Bare Trees.

These songs find her stretching out a bit in terms of style. The title track is a catchy blues pop number with nice background vocals and a punchy horn chart. \u201CBad Loser\u201D has a rhythmic feel and sound that is a different flavor for McVie, while the other two tracks are ballads that get the full widescreen treatment, complete with a string section.

Buckingham and Nicks joined Fleetwood Mac on New Year\u2019s Eve, 1974. When the new group got down to recording their first album together, McVie contributed four strong songs as well as co-writing \u201CWorld Turnin\u201D with Buckingham. Besides her songwriting, she offered great keyboard work that supported having only one guitarist and her voice fit with Buckingham and Nicks like a glove.

The list on this page is for all #1 hit Pop singles for 1970 using proprietary methods. The results in this chart are not affiliated with any mainstream or commercial chart and may not reflect charts seen elsewhere.

Music from Japan in the 1970s proved just how far and wide rock music from America and the UK had spread in the 1960s. Groups like RC Succession became massively popular in Japan as they interpreted the genre through the music they grew up listening to. The Sadistic Mika Band churned out classic rock-influenced pop jams and even styled their band name as a play on the Plastic Ono Band. Pop acts like Yumi Ari and the mononymous Alice proved that pop music had a home in places outside of the US and UK, while Kaientai grew to be one of the biggest bands in the country thanks to their brilliant blend of traditional Japanese melodies and modern instrumentation.

Time for the 2nd post in this series taking a look at popular music during the Vietnam War and suggestions for a playlist that you can listen to while you play wargames covering the time. In Part 1 we looked at music from 1964 to 1969 and it included 11 songs. Part 2 will take a look at music from 1970-1975 and includes 12 songs. As I mentioned in Part 1, I tend to gravitate more to the folk rock side of the genre, although a good guitar riff is also very appealing to me, with some of my favorite artists of the time being Boy Dylan, Neil Young (Crosby, Stills, Nash and Young), The Rolling Stones and Creedence Clearwater Revival. Please let me know what songs you enjoy from the period.

Also, one final caveat. I know that some of the songs that I have included on this list are decidedly anti-war. This post is not a political statement and I am not trying to take a position. I support my country and the men and women who have fought and still fight to keep it free.

I simply love this song. I actually admittedly am a huge fan of Crosby, Stills, Nash and Young, and later Neil Young rock is some of my most listened to music from the period. In fact, I just bought a Neil Young Greatest Hits album from Walmart in that $5.00 bin and have downloaded it to my phone and added most of those songs to this list.

Ohio is a protest song and counterculture anthem written and composed by Neil Young in reaction to the Kent State shootings of May 4, 1970 after after seeing the photos of the incident in Life Magazine.

I have listened to this song about a 1,000 times and absolutely love it. I watched The Vietnam War Documentary film by Ken Burns a few years ago and was very touched by the segment on the Kent States Shootings and this song. Those were really turbulent times, probably very similar to our current situation, and songs like this frame up the feeling of that time very well.

Thank you for reading this post and its first part as well. I hope that you had memory come back to you about how you felt when you heard these songs so many years ago. Music is such a powerful thing and had the ability to teleport us back to our youth. Please let me know what songs you would have included on this list.

In 1970, the music landscape witnessed a seismic shift with unforgettable melodies reigning supreme. Unveiling the essence of that transformative year, delve into the timeless harmonies that defined an era.

Written by radio and music industry veteran Ed Osborne, each overview highlights the important trends and some of the representative songs and artists that shaped the music landscape and occupied the Top 40 charts during this decade of music. 0852c4b9a8

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