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Every chart-topping hit of 1970, ranked from worst to best

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In simpler terms, 1970 is frequently regarded as a pivotal moment for rock & roll music. Although some might argue that 1969 and 1971 were even better, none had the same impact as 1970. The Beatles’ breakup alone would have made it stand out, but there was much more to it than just that event.

In a similar vein, Simon and Garfunkel disbanded as well. Notably, both The Beatles and Simon & Garfunkel achieved chart-topping success with their final singles that year. This got me wondering, what other tunes managed to reach the pinnacle in this fascinating year?

Just a handful of the 21 tracks honored were traditional rock songs. Instead, there was plenty of funk and soft pop tunes, which, while undeniably impacted by rock & roll’s rise to cultural prominence, might not fall under the ‘rock & roll’ category if we classified them today.

I chose to reevaluate the 21 popular songs from 1970, given a perspective of 55 years. These were the American public’s favorite tracks back then. Just like with many retrospectives, we might discover some fantastic tracks, as well as a few that leave us scratching our heads, wondering what they were thinking when they made them – they seem to challenge any semblance of logic or taste!

The number one hits of 1970, ranked worst to first

A tune might climb to the number one spot for just a week but then fade rapidly, preventing it from having a significant impact on the annual chart even though it briefly reached the peak. Alternatively, a highly successful song could be released towards the end of the year, giving it insufficient time to accumulate enough points to rank high in the year-end chart.

Nonetheless, it’s not surprising that many of these tracks ended up in the top-20 for the year. However, you might find that the Billboard rankings and those by Jonathan Eig don’t align often. In instances where there are discrepancies, I’ll make sure to mention Billboard’s placement to give you an idea of our differences.

Please note that the views I’m about to share are solely mine. I plan on providing an explanation for them, but it’s important to understand that there might be instances where you strongly disagree – perhaps even going so far as to criticize or label my ideas negatively.

If you concur with all the rankings, kindly reach out to me. It’s been a suspicion for quite some time that I have an unknown sibling somewhere in the world.

21. “Everything is Beautiful” by Ray Stevens (12th on year-end chart)

In 1970, country music was a dominant influence, yet its impact was gradually lessening. This shift is quite understandable. The producers on Music Row were growing more powerful in the Nashville recording scene, and they tended to resist change, preferring to stick with what they knew.

The term “Countrypolitan” emerged for this uniform style of country pop, characterized by string arrangements and backup vocalists, often dealing with themes such as faith, patriotism, and the sorrow of betrayal (sometimes even featuring a children’s choir). It was quite somber, but rest assured, the rule-breakers were on their way.

20. “Make it With You” by Bread (13th)

David Gates, lead singer of the delicate pop band Bread, was quite skilled as a songwriter. He penned the peculiar yet charming “Saturday’s Child” for the Monkees. However, for his own band, he mainly composed softer and more sentimental tunes. The epitome of this can be seen in the overly sweet “Make it With You.” Despite likely sealing numerous deals with his heartfelt singing in the past, one might wonder where Barry White was during those times, as his rich and soulful voice seemed to be missing.

19. “The Long & Winding Road” by the Beatles (41st)

While it’s unlikely people are eagerly defending Ray Stevens or Bread, we seem to be crossing a line into disrespect. Compared to the bands and songs that will rank higher, The Beatles at age 19 might appear outshone, especially considering this is a beautiful composition by Paul McCartney. Unfortunately, Phil Spector’s excessive production seems to have marred its purity.

It’s not just my opinion; even McCartney shared it. He found the excessive strings and grandiose atmosphere distracting from a relatively straightforward melody. Eventually, he released the more minimalistic version that Spector had constructed over, and it turns out to be superior. I recommend you give it a listen.

18. “My Sweet Lord” by George Harrison (not on the year-end top 100)

It seems there’s a lack of appreciation for the Beatles or their solo work, but let me clear things up: I’m actually quite fond of them, especially George Harrison. However, I have reservations when lesser works are elevated excessively. To be more specific, I take issue with “Now and Then.” While “My Sweet Lord” has gained notoriety for the lengthy legal battle it sparked, its fame pales in comparison to the impact of the song itself.

This tale isn’t relevant to discuss right now, let me put it that way. As for the tune, it’s passable, but it falls into a pitfall that affected some of Harrison’s most iconic compositions. Overly excessive repetition. A more concise version could be: “The narrative isn’t necessary here, and the song is decent, yet it shares an issue with some of Harrison’s well-known pieces – excessive repetition. Let me put it this way: ‘Got My Mind Set On You.’

17. “Raindrops Keep Fallin’ on My Head” by B. J. Thomas (4th)

As a gamer, I’d say this tune by Burt Bacharach and Hal David is quite catchy, especially since it became popular through the iconic film “Butch Cassidy and The Sundance Kid.” Now, when I call it “fairly average,” I don’t mean to belittle it. It was actually better than 95% of the songs being produced in that era. However, there’s a touch of whimsy to this song, which gives it a playful vibe. Yet, you can still hear those intricate rhythms that Bacharach is known for.

Any tune gains an extra charm when Paul Newman humorously rides a bike, as depicted in the film. In essence, it was like a spontaneous music video from 1970. However, the song could have been even more captivating if not for B.J. Thomas, a delightful yet commonplace country pop vocalist. His performance is passable, but it’s evident why the composing duo preferred Dionne Warwick to sing most of their compositions due to her unique style.

16. “Ain’t No Mountain High Enough” by Diana Ross (6th)

This could be likened to the Motown-style version of country pop. Let’s call it “Motownpop.” While it was Diana Ross’s first solo hit following her departure from the Supremes, the heavily produced melodrama, characterized by numerous spoken word verses from Ross, strings, and backing choirs, detracts from the song rather than enhances it. Is there such a thing as Motownpop?

To truly appreciate the original version of “Long & Winding Road,” I strongly recommend giving it a listen. The duet between Marvin Gaye and Tammi Terrell from 1967 is generally considered superior to any other rendition.

15. “(They Long to Be) Close to You” by the Carpenters (2nd)

The runner-up hit tune of the year by Billboard is the moderately successful Carpenters’ song. This Bacharach/David creation is pleasantly melodious but lacks depth for Karen Carpenter to fully explore. Despite this, she manages to convey “sweetness” effectively, making the song effective. However, when given a truly exceptional song like “Rainy Days and Mondays” or “Superstar,” the Carpenters were top-tier soft pop artists of their era. In this case, they are merely commendable.

14. “I Think I Love You” by the Partridge Family (not on year-end top 100)

It’s clear to me what you’re expressing. Your words are like echoes through my FIOS connection. You’ve placed the Partridge Family, a fictional TV band, five steps ahead of the Beatles in your personal ranking. And yes, that’s accurate because this tune is truly delightful, with David Cassidy’s rendition being quite captivating, reminiscent of bubblegum pop at its best.

Louis Shelton, Larry Knechtel, and Hal Blaine are some of the legendary musicians who often work as backup for Cassidy. Not all “fake” bands are inherently poor quality; just look at the devoted fanbase of a K-Pop Demon Hunter.

13. “Venus” by Shocking Blue (33rd)

Shocking Blue, a band from the Netherlands, didn’t achieve significant success in the U.S. initially, but they truly took off with the irresistible, upbeat rhythm of their song “Venus.” The track features an energetic acoustic guitar, a persistent organ, and Mariska Veres’ distinctive Germanic vocal delivery. This song is considered one of the best examples of acoustic folk dance music. Unfortunately, Bananarama’s lively cover from 1986 doesn’t quite match up.

Venus, which was launched in the middle of 1969, didn’t reach number one on the U.S. charts until February 1970. By the end of 1970, it had been ranked as the 33rd most popular song of the year.

12. “War” by Edwin Starr (5th)

It came as a surprise that Edwin Starr’s most popular song, “War,” ranked fifth for the entire year. Although he had released “Twenty Five Miles” several years prior, it was his only notable hit. Originally written by Norman Whitfield and Barrett Strong for The Temptations, the jazz-infused, strongly anti-war anthem was deemed risky. As a result, Motown’s Berry Gordy was hesitant to assign it to his top male artists.

In this instance, Starr boldly took over and delivered an outstanding performance of the song. The quality of the production is exceptional. Furthermore, it successfully encapsulated its time period. Had The Temptations released it, it would have been successful, but not more so than what Starr achieved.

11. “Let It Be” by the Beatles (9th)

I added a different Beatles tune, as well as one by George Harrison, lower down on the list. I’ve given extra attention to “Let It Be.” I imagine you might not be thrilled, but this song holds significant value for many fans and I find it incredibly moving.

To put it simply, it’s a bit too delicate or overly refined for my liking. Moving into the top half of the number one hits from 1970, as anticipated, these tracks are all excellent. You can certainly move this song higher if you wish, but I believe this placement is fitting for very good – yet not exceptional – Beatles songs.

10. “Mama Told Me (Not to Come)” by Three Dog Night (11th)

I previously mentioned that some songs are improved by being simplified, but not always. For example, Three Dog Night transformed a simple Randy Newman piano tune into a grand orgy-themed epic when they sang it. Even today, I can recall the haunting electric piano notes played by Jimmy Greenspoon from that song in my dreams.

9. “I’ll Be There” by the Jackson 5 (7th)

I’ve found that the rankings of “I’ll Be There” and “Mama Told Me (Not to Come)” by Billboard are quite similar to my own. However, there’s a significant contrast here. In just under a year, from December 1969 to October 1970, this band, originating from Indiana, released four albums with Motown Records. This particular song was from their third album, appropriately named the “Third Album”.

This song, “I’ll Be There,” represented a shift from their previous singles and demonstrated two key points. Initially, it signified that Berry Gordy aimed to extract maximum potential from this group. More importantly, Michael Jackson, at the tender age of eleven, showcased his exceptional vocal prowess, making him the most outstanding young pop singer at the time. Remarkably, “I’ll Be There” saw Michael selling a heartfelt romantic ballad – something typically achieved by more experienced artists – all before he turned twelve.

8. “Cracklin’ Rosie” by Neil Diamond (17th)

As a gamer, let me confess – I’ve got a soft spot for a tune now and then, right? And no, comparing this to the Partridge Family is a stretch; it’s more like comparing apples to oranges. “Cracklin’ Rosie” by Neil Diamond, though, is an exceptional gem that showcases his unique style, leaning heavily into sweetness. I adore the rhythmic verse that gallops along, and the simmering bridge that never quite reaches a chorus – it’s intriguing! The lyrics are delightfully ambiguous, leaving me wondering if Rosie is a lady or a vintage wine. Frankly, this song shouldn’t have worked, but somehow, it did. How can you not appreciate that?

7. “American Woman” by The Guess Who (3rd)

Back in ’99, Lenny Kravitz gave a new spin to this track, and honestly, his rendition is outstanding. However, let’s not forget the amazing fusion of swampy and psychedelic vibes that The Guess Who originally created. This unique blend was crafted around Burton Cummings’ raw vocals and Randy Bachman’s soulful guitar work. As a gamer, I can appreciate the timeless quality of their original arrangement.

Similar to Edwin Starr’s “War,” this held significant political consequences in 1970. The refusal of a Canadian band to accept an American woman symbolized the northern neighbors distancing themselves from a contentious American foreign policy.

6. “I Want You Back” by the Jackson 5 (28th)

5. “The Tears of a Clown” by Smokey Robinson & the Miracles (not in year-end top-100)

By the time Smokey Robinson eventually claimed the number one spot, he had been playfully dancing with chart success for an entire decade. In 1960, “Shop Around” reached the second position on the charts, and numerous other songs of his lingered near the top ten.

Back in 1967, I stumbled upon “The Tears of a Clown,” a captivating tune that Stevie Wonder helped pen. Initially, it seemed to be overlooked when it was first unveiled. However, three years later, a fresh take on the track took flight. Now, there’s no doubt in my mind – this is the most striking pop song reference to Pagliacci you’ll find anywhere!

4. “Bridge Over Troubled Waters” by Simon & Garfunkel (1st)

As a devoted fan, I’m thrilled to share that “Bridge Over Troubled Water” held the top spot on Billboard’s chart in 1970. This iconic tune scooped up four Grammys, including both Song and Record of the Year. Remarkably, it was their third and final number one single from an album they recorded together. Among Paul Simon’s masterpieces, “Bridge Over Troubled Water” stands out as one of the rare occasions where he acknowledged Art Garfunkel as the superior choice to carry the lead vocals. Garfunkel, in turn, provided harmonies for most of our group’s songs.

In this context, he presents an extraordinary opening line that ascends to great heights, inviting his beloved to “set sail on silver.

3. “ABC” by the Jackson 5 (15th)

As a die-hard fan, if “I Want You Back” served as an enticing sneak peek, the title track from The Jacksons’ second album solidified their long-term presence in the music industry. Frankly, it’s tough to pick between this song and another that I rank closely, but this one kicks off with a grungy guitar riff that demonstrates they were capable of delivering hard rock tunes rather than just sweet bubblegum pop.

One intriguing aspect of the piece lies in its clever juxtaposition – transforming a typical teenage love song into academic language. This is only one of the elements that contribute to its success. However, the break section doesn’t resonate with me as much, despite Michael delivering it exceptionally well. Perhaps this is why I find myself slightly preferring another piece just slightly above it.

2. “The Love You Save” by the Jackson 5 (16th)

This song climbed to the number one position after “I Want You Back” and “ABC,” largely by continuing the formula of an incredibly infectious melody, exceptional instrumentation, and a captivating lead vocal. As to why it ranks higher than others, it’s hard to say for certain. Perhaps it’s due to the fact that it offers Jermaine some of his best harmonies in contrast to Michael’s lead vocals. That seems like a plausible explanation.

1. “Thank You (Falettinme Be Mice Elf Agin)” by Sly and the Family Stone (19th)

During this time, Stevie Wonder was gearing up to dominate the pop music scene, yet as he was still maturing into the artist we know today, it was Sly Stone who truly reigned supreme. Together with James Brown, Sly Stone played a crucial role in popularizing funk music and demonstrated an exceptional talent for blending love songs, protest anthems, and social commentaries into one irresistible dance mix.

The Family Stone was nearing its break-up, and “Thank You” marked their last significant achievement before primarily becoming Sly Stone’s solo project. In this song, everyone contributes, with Larry Graham delivering an exceptionally funky bass line. Admittedly, the name of the song is one I frequently need to look up to spell correctly, but considering its quality, it seems a reasonable trade-off.

Here are my top picks from 1970. Feel free to rearrange them according to your preferences in creating your own list.

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2025-07-24 13:01

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