“Sixty-nine was cheapo wine,
Have a good time,
What’s your sign
Float up to the Roundhouse
On a Sunday afternoon.”
Ian Hunter – “Saturday Gigs” Mott the Hoople
1969. What a time. Zeppelin climbs. Hendrix shines.
Mini skirts. Monty Python. Dwight D. R.I.P.
Arafat, PLO. Boeing fly a Jumbo.
Chappaquiddick. Scooby Doo. What did Kennedy do?
Neil Armstrong. One small step. Mohammed Ali’s bad rep.
Namath, Jets, New York Mets.
Troops in Ireland. Prince of Wales. Wind in Knox-Johnston’s sails.
Lazenby, Rigg. Barbie, Ken. Sesame Street, Jim Henson.
F.A. Cup. Tony Book. Striped shirts. Black & red.
Richard Nixon. Charles Manson, Sharon Tate is dead.
BT. QE II. Brian Jones, swimming pool.
Concorde, Charles De Gaulle. The ha’penny is no more.
Cambodia. IVF. Judy Garland’s death.
Bell bottoms. Abbey Road. Woodstock. Vietnam.
Gaddafi, Ho Chi Minh. Elvis is live again.
Wild Bunch. Wacky Races. Stonewall. North Sea Oil.
Two Little Boys. Hamburger Hill. Haunted Mansion is a thrill.
Kaftans. Kray Twins. Jackie Stewart wins.
Anne Jones. Rod Laver. Easy Rider. Joe Frazier.
Richard Burton, Elizabeth Taylor. Brady Brunch. Wendy’s lunch.
Hells Angels, Altamont. Midnight Cowboy. True Grit.
H.R. Pufnstuf: Can’t do a little, can’t do enough.
Lulu, Maurice Gibb. Butch and the Sundance Kid.
Corrie in colour. Tony Jacklin, Lytham St Annes. Disney has big plans.
Herbie. Clangers. Kes. Internet.
Mickey Mantle. Xerox. Eddy Merckx. Mouse Trap.
ATM. Tiny Tim. Paint Your Wagon.
Maggie Smith in her prime. AIDS starts its killing time.
Pele. Ford Capri. O.J. Simpson’s happy.
Pot Black. Golda Meir. Harvey Wallbanger.
Fondue. Ibuprofen. Stormont. Mary Hopkin.
Morrison, Miami. Slaughterhouse Five. McCartney Alive.
The origin and the end
1969 precedes the onset of my love of popular music by a couple of years and my only significant musical memory from the year itself is a song by a cartoon band and I don’t mean the Beatles, who I do recall seeing large carboard cut out cartoon versions of in the window of a shop in central Manchester that must have been promotional material for the Yellow Submarine soundtrack album that was released in January.
Subsequently, I have become rather more familiar with the music from 1969. Hardly a great surprise because one band cast a huge phallus shaped shadow over the year, bookending it with two titanic releases: the cunningly titled Led Zeppelin and Led Zeppelin II. Little did anyone realise when Zep’s debut album hit the U.S. stores in January (March in U.K.) that the successors to the Beatles as the biggest band in the world, and its greatest ever rock band, was emerging from the ashes of the Yardbirds. If the 60’s belonged to the Beatles, the rapidly approaching 70’s were dominated by Zeppelin.
Zep’s guitarist Jimmy Page originally made his name in musical circles as a session musician. The first single he appeared on was Decca release ‘Diamonds’ by Jet Harris and Tony Meehan, which hit number one on the UK Singles Chart in 1963. Nicknamed ‘Lil’ Jim Pea’, to avoid confusion with another celebrated session guitarist, Big Jim Sullivan, he built a formidable reputation as a session musician, playing on tracks that ranged from The Who’s Can’t Explain to Shirley Bassey’s Goldfinger and Petula Clark’s Downtown. By 1966, Page had had enough of session work and a week after he quit it, Paul Samwell-Smith left The Yardbirds and Page took his place, initially playing bass and eventually taking over sole lead guitar duties from Jeff Beck. The Yardbirds disbanded in 1968 and that prompted Page to create a new group, aided and abetted by the formidable figure of manager Peter Grant.
They first approached singer Terry Reid to front the band, but he declined. Reid did however recommend a 19-year-old up-and-comer from the Midlands named Robert Plant, who was the vocalist in a group named Hobstweedle. And, as luck would have it, Plant had a lifelong friend and sometime Brummie bandmate that happened to be destined to become rock’s most feted drummer. In a further bit of serendipity, another top session man, bassist and keyboard player, John Paul Jones heard about Page’s plans and called to offer his services.
This new fab foursome made their live debut in late ’68 as The New Yardbirds on a tour of Scandinavia. Allegedly following a comment by Keith Moon about going down like a lead ballon, Page changed the band name to Led Zeppelin.
Immediately upon their return to London from that first tour, Page rushed the band into the studio and in the space of 30 hours and at a cost of £1,782 pounds recorded Zep’s debut album, which they then shopped around several major record labels, with Atlantic ultimately cutting a cheque for $200,000 to sign them. It was, at the time, the biggest advance ever given to a rock group.
Many critics were less than impressed when it was released, to the extent that the group barely spoke to the press thereafter, which rather added to their mystique, allure and aura. The album is in truth one of the greatest and most influential debuts of all time. And, it was a commercial success from its lift off, with sales now having risen to over 10 million copies. In 2014, Sheldon Pearce from Consequence of Sound described it as Zeppelin's "ode to rock's progressive metamorphosis" and "the first hard rock domino" for their future accomplishments: "Its orchestration delves adventurously through hard rock and heavy metal with bluesy undertones that often cause the chords to weep poignantly as if struck with malice".
While Zeppelin were just getting off the ground in early ’69, The Beatles were splintering. And while they didn’t go as high as an airship, they did get elevated to perform their final concert, a 42-minute gig on the roof of Apple Corps HQ in London.
John and Yoko (Ono), who took to staging bed-ins for peace, were certainly getting high; while George Harrison and Patti “Layla” Boyd made the news by getting fined for possession of illegal drugs after 120 cannabis joints were found at their home in Esher. Meanwhile Paul McCartney was forced to deny he had gone up to heaven following greatly exaggerated rumours of his death.
Despite friction within the band, the Beatles did go into the EMI Recording Studio at 3 Abbey Road, London to record their final album together (although not their final album release). The Abbey Road album with its iconic zebra crossing cover was released in September and has gone on to be their second most successful studio album (after Sgt. Pepper). Side 2 is famous for its medley of songs that flow seamlessly into one another. and is a testament to The Beatles' creativity and ability to blend different musical styles into a cohesive whole. The Abbey Road Medley remains one of the most celebrated parts of their discography. Although it wasn’t quite the end of the Beatles output, an era and decade were coming to a close.
The band that would rule the next decade may have just been warming up with a series of U.S. and European tours during the year, but their second release was a titanic monster that twice knocked Abbey Road off the top of the charts in the US. Led Zeppelin II exploded like the Hindenburg with a barrage of heavy rock – the like of which had never been heard before. Led off by the iconic riff of Whole Lotta Love, it’s a rock masterclass, blending blues, hard rock, and folk influences into a cohesive and groundbreaking album. The band's chemistry and individual talents shine throughout, making it a timeless classic. Critical opinion at the time was not overly complimentary but it topped the charts on both sides of the Atlantic and has always been a fan favourite. It is now widely recognised as one of the great rock albums.
One thing Zeppelin didn’t do in 1969, or any time, thereafter, was release a single in the UK so the dawn of album-oriented music was truly upon us.
Peace, mud and murder
Although ’69 was not the dawn of the music festival, it was perhaps the year when they really exploded and the most iconic festival of them all, and one of the events of the year, had a huge cultural impact that resulted in an entire generation being labelled the “Woodstock Generation”.
Woodstock, held from August 15 to 18, attracted an estimated 500,000 people. It was one of the largest music festivals in history and became a defining event for the counterculture movement of the 1960s. Performers included Richie Havens, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Santana, John Sebastian, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin, Sly and the Family Stone, The Who, Jefferson Airplane Joe Cocker, Country Joe MacDonald & The Fish, The Band, Crosby, Stills, Nash & Young, and Sha Na Na. The event famously closed with Jimi Hendrix and the Band of Gypsys (taking the stage at 9AM on the 18th).
Woodstock was preceded by festivals such as Newport, California, which briefly held the largest concert attendance record at 200,000. Jimi Hendrix received a staggering $120,000 for his appearance.
Denver Pop Festival, also headlined by Hendrix, Seattle Pop Festival, Atalanta, Atlantic City Pop Festival and Texas were other notable US outdoor gatherings.
In the UK, The Isle of Wight Festival saw Bob Dylan make his return to live performance after a three-year hiatus following a motorcycle accident.
The most notorious of these happenings was The Altamont Free Concert, which took place on 6 December at the Altamont Speedway in Tracy, California. It was intended to be a West Coast version of Woodstock, but it ended in tragedy and is often seen as the dark side of the 1960s counterculture movement.
The concert featured performances by Santana, Jefferson Airplane, The Flying Burrito Brothers, and Crosby, Stills, Nash & Young (CSNY), with The Rolling Stones closing the show. However, the event is infamous for its violent incidents, including the stabbing to death of Meredith Hunter by a member of the Hells Angels, who were hired as security. Three other deaths occurred due to a hit-and-run accident and a drowning incident.
The chaotic and violent atmosphere at Altamont marked a stark contrast to the peace and love of Woodstock and is often referred to as the end of the idealistic 1960’s.
Stone dead forever
The Grim Reaper seemed to shadow the Stones in 1969. Brian Jones, a founding member of the band, tragically died on 3 July at the fated age of 27. He was found at the bottom of the swimming pool at his home in East Sussex. The official cause of death was drowning, but the circumstances surrounding his death have been the subject of much speculation and controversy over the years.
Jones had been struggling with alcohol and drug abuse, and his relationship with the band had deteriorated, leading to his dismissal from The Rolling Stones just weeks before his death. There have been various theories and allegations, including claims of foul play, but no conclusive evidence has ever been presented to support these claims.
Despite the mystery surrounding his death, Brian Jones's contributions to rock music and his role in forming one of the most iconic bands in history are undeniable.
Just two days after Jones’ untimely demise, The Stones played a free concert in London’s Hyde Park. It was their first public performance in over two years.
The concert drew an estimated 250,000 to 500,000 people. Mick Jagger paid tribute to Jones by reading a poem by Percy Bysshe Shelley and releasing thousands of white butterflies into the crowd.
Jones’ replacement in the band, recruited from the John Mayall Band, Mick Taylor made his stage debut with them at the concert.
The following day, the band released Honky Tonk Women as a standalone single. Keith Richards is quoted as saying: “[It’s] one of those tracks that you knew was a number one before you’d finished the mother—er.” It went to No.1 in seven countries and that would be the last time in their home country. It’s a quintessential Rolling Stones track that captures the band's signature blend of rock, blues, and country influences. The song was inspired by a trip Mick Jagger and Keith Richards took to Brazil, where they were inspired by the cowboys working on a ranch. The track features a distinctive cowbell riff played by producer Jimmy Miller, which adds to its funky and raunchy vibe. Mick Taylor's guitar work brings a fresh energy to the song, making it a defining moment in the band's evolution. The lyrics, penned by Jagger and Richards, are a playful and somewhat risqué tribute to the women of the Old West. It remains one of their most beloved and enduring hits. It’s also the first Stones record that I bought; albeit a few years after its release.
A country version of the song, titled Country Honk, was included on Let It Bleed, The Rolling Stones eighth studio album released towards the end of the year. This album marked a return to their blues-oriented roots, with influences from gospel, country blues, and country rock.
Let It Bleed features iconic tracks like the all-conquering Gimme Shelter, You Can't Always Get What You Want, and Midnight Rambler. The album was produced by Jimmy Miller and recorded at various studios, including Olympic Studios in London and Sunset Sound in Los Angeles.
Despite the turmoil within the band during its recording, with Brian Jones being fired and replaced by Mick Taylor, the album was a commercial success and is considered one of the greatest rock albums of all time. It reached number one in the UK and number three in the US.
Born in the bush
The last of the Big Four British rock (‘n’ roll) bands of the Sixties also released a classic album in 1969. Tommy was The Who’s magnum opus. A groundbreaking rock opera that was the band's fourth studio album and marked a significant departure from their previous work, showcasing their ambition and creativity. The double album tells the story of Tommy, a "deaf, dumb, and blind boy" who becomes a pinball champion and spiritual leader. The album features a mix of rock, classical, and psychedelic influences, with standout tracks like Pinball Wizard, I'm Free, and The Acid Queen. The music is both powerful and intricate, with Pete Townshend's innovative songwriting and the band's dynamic performances shining through. The story of Tommy is both dark and uplifting, exploring themes of trauma, redemption, and spiritual awakening. The album's success helped to establish The Who as one of the most important rock bands of the era and paved the way for future concept albums.
Born on the bayou
Among rock bands from the other side of the Atlantic, Creedence Clearwater Revival (CCR), led by the still rocking John Fogerty, had a remarkable year, releasing two highly successful albums. Bayou Country was released in January and features hits like Proud Mary and Born on the Bayou. It was a commercial success that helped establish CCR's signature swamp rock sound. Green River meandered along in August and showcased classics like Green River, Bad Moon Rising and Lodi. It topped the Billboard 200 chart and further cemented the band's popularity, as did their appearance at Woodstock.
Progress
Led Zeppelin were not the only major band to release a self-titled debut album in 1969. The Stooges, The Allman Brothers Band, Mott the Hoople, The Meters, Santana, Crosby, Stills & Nash, and Yes all followed suit.
Yes’s fellow prog rockers King Crimson bucked the trend slightly by titling their debut In the Court of the Crimson King. This album is often regarded as one of the earliest, most influential and finest progressive rock albums of all time. In 2015, Rolling Stone ranked it number two on their list of the "50 Greatest Prog Rock Albums of All Time." The album's originality and complexity, blending of rock, jazz, classical, and symphonic influences was as eclectic as it was groundbreaking and set the stage for future progressive rock bands. The opening track, 21st Century Schizoid Man, is a standout with Robert Fripp’s powerful guitar riffs, Greg Lake’s haunting vocals and a memorable saxophone solo by Ian McDonald. Lake would go on to join prog rock titans Emerson, Lake & Palmer (ELP) and McDonald was a founder member of AOR giants Foreigner.
The album's cover art, created by Barry Godber, features a striking image that became iconic in its own right.
In the Court of the Crimson King reached number five on the UK Albums Chart and number 28 on the US Billboard 200. I t was certified Gold by the RIAA.
Black Country communion
On the Country scene, Tammy Wynette was standing by her man, but The Man was still in black despite ending up in gaol, although not as a convict. Johnny Cash at San Quentin was a major album and one that I have a soft spot for because it was the first pre-recorded cassette that my dad bought. I played it many times on our little stand-alone tape deck. I loved the cross-over hit single from the album, a quintessential story with a moral country song, A Boy Named Sue, which made it all the way to #2 on the Billboard chart. ‘How do you do, my name is Sue’ is one of the great punch rhymes.
Black power
1969 was a pivotal year for black music, marked by significant events and releases that shaped the landscape of music.
"Black Woodstock": The Harlem Cultural Festival, held over six weekends in the summer of 1969, featured performances by iconic artists like Stevie Wonder, Nina Simone, Sly and the Family Stone, B.B. King, The Staple Singers, The 5th Dimension, and Gladys Knight & the Pips. The festival attracted nearly 300,000 attendees and showcased a wide range of black music styles.
Major albums included:
Stand! by Sly and the Family Stone includes classics like Everyday People and Sing a Simple Song, and is celebrated for its innovative blend of funk, soul, and rock.
Hot Buttered Soul by Isaac Hayes is known for its extended tracks and lush arrangements, including the hit Walk on By.
The music of 1969 played a crucial role in the Civil Rights Movement and the Black Power movement, reflecting the social and political changes of the time. Artists used their music to address issues like racial inequality, war, and environmental concerns, making a lasting impact on society.
Perhaps the event with the most impact in the year was the first moon landing and our first song on the playlist is inextricably linked with that event. Space Oddity by David Bowie captured the zeitgeist of the moment. The song was released just nine days before the Apollo 11 mission launched. This timing helped the song gain significant attention as the world was captivated by the space race. The BBC used Space Oddity in their coverage of the event, despite its somewhat melancholic and eerie tone. The song's narrative about Major Tom, an astronaut lost in space, resonated with the public's fascination with space exploration and was inspired by Stanley Kubrick's film 2001: A Space Odyssey and the ongoing space race.
The Playlist (all the right songs not necessarily in the right order)
Also rocketing into uncharted territory was the year’s biggest hit, the first number 1 on the Billboard Hot 100 chart by a cartoon band. Sugar, Sugar by The Archies became a massive hit, selling over six million copies. The song is a quintessential example of bubble-gum pop.
And moving to the bigger screen, Nilsson’s version of Everybody’s Talkin from the Midnight Cowboy soundtrack was a big hit.
When everybody is talking, you won’t have a Communication Breakdown, but we must have one on this play list courtesy of Led Zeppelin. Taken for their debut, this riff driven short burst of energy is an early metal masterpiece. One track for their follow-up just isn’t enough so it has to be two from II. The riff on Whole Lotta Love is even better, so good it was adopted for the theme to Top of the Pops in its glory years - it’s iconic and had to be on the playlist. I also wanted to add something a little less obvious, the Tolkien inspired rock ‘n’ stroll of Ramble On really has a sense of the 60’s transitioning into 70’s.
Another band that warrants a threesome is The Beatles, where I have eschewed such classics as Octopus’ Garden and Maxwell’s Silver Hammer for the lesser known Something, Get Back and Come Together, a hat trick worthy of Francis Lee.
I have limited my selection of Rolling Stones classics to just two, the chart-topping single Honky Tonk Women and the one with the greatest introduction of any song ever, the impeccable Gimme Shelter – it really doesn’t get any better.
Completing tracks from the big four, I’ve chosen a magical number from The Who: Pinball Wizard.
Jingo was the percussion heavy first single from Latin Rock band Santana. King Crimson’s 21st Century Schizoid Man is another debutant that couldn’t be ignored.
From a plethora of possible CCR tracks, I’ve rolled out Proud Mary. And I couldn’t leave A Boy Named Sue behind.
Finally, 1969 saw Elvis make a return to live performance with a series of shows in Las Vegas and this live version of Suspicious Minds is an example of the King at his best.
And to say goodbye to the playlist, a track from Cream’s final album: Badge, which features possibly the greatest guitar refrain of them all.
1969 brought a decade of transition in music to an end and Led the way to the a decade of musical magnificence.
