What are the reasons for which the Woodstock Festival (1969) has become an icon in popular culture unlike the Isle of Wight Festival (and specifically, the one which took place in 1970)? - Quora Quora 1960s Music What are the reasons for which the Woodstock Festival (1969) has become an icon in popular culture unlike the Isle of Wight Festival (and specifically, the one which took place in 1970)? The Isle of Wight Festival of 1970 had a larger audience and has hosted some of the biggest names of the era such as The Doors, The Who, Joni Mitchell, Procol Harum, ELP and Miles Davis. How come most people never heard of it while almost everyone has heard of Woodstock? Updated Dec 14, 2013 Why are some events remembered by history while other events are systematically forgotten? Answering this question is central to the study of what historians and sociologists call "collective memory." The Woodstock festival has become central to the collective memory of the 1960s (especially for U.S.

baby boomers) but the 1970 Isle of Wight festival isn't as widely known, even within its home country, despite having much larger crowds present. The sociologists Elizabeth Armstrong and Suzanna Crage addressed the question of why some historical events get remembered while others are forgotten. In attempting to answer the question, they argued that a historical event is more likely to become a part of collective memory if the following facts are true: The event is viewed as worthy of commemoration. Resources are available to record and commemorate the event. The event resonates or "strikes a chord" with other people. The commemoration becomes institutionalized over time. By applying this four-part analysis, it becomes clearer why Woodstock has had more impact on popular culture than the 1970 Isle of Wight festival. What's Worthy of Commemoration? Both the Woodstock and the 1970 Isle of Wight festivals were originally intended to be limited to an audience of paying ticket holders, but at both festivals, anarchist groups cut through boundary fences to let in people for free.

At Woodstock, it was a group called Up Against the Wall Motherfuckers that cut down the fences, while at the Isle of Wight, the fences were cut down by members of the French Situationists and the UK chapter of the White Panthers, led by the musician Mick Farren . The promoters of both the Woodstock and the 1970 Isle of Wight festivals lost money as thousands of people who had no intention of paying for tickets flooded in, but the backers of Woodstock had much more wherewithal to weather the financial losses. John P. Roberts and Joel Rosenman, the hippie entrepreneurs who provided the seed money for the Woodstock festival, had already built a successful recording studio in New York City that offset some of the losses they incurred when Woodstock turned into a free festival. In addition, Roberts had money from a family trust fund, which substantially reduced his financial risk. The decision to allow Woodstock to become a free event meant that Roberts and Rosenman did not get their money back on the festival until the 1980s, but this gave Roberts and Rosenman an strong economic incentive to encourage people to remember Woodstock.

Unlike Roberts and Rosenman, the Foulk Brothers, the men who bankrolled the 1970 Isle of Wight festival, did not have other successful business ventures that could offset their losses when gatecrashers turned the festival into a free event. Instead, Fiery Creatures, the company that Foulk Brothers created to put on the concerts and festivals they promoted, went bankrupt as a result of the Foulks' losses at Isle of Wight. Here's a listing I found for what appears to be a bankruptcy proceeding for Fiery Creatures: When the fences were cut down at Woodstock, the concert promoters certainly weren't happy, but their response was relatively laid back. As the announcer said over the Woodstock festival's PA system, It’s a free concert from now on. That doesn’t mean that anything goes. What that means is we’re going to put the music up here for free. What it means is that the people who’re... backing this thing, who put up the money for it, are going to take a bit of a bath. A big bath. That’s no hype, that’s truth. They’re going to get hurt.

By contrast, the response of Rikki Farr, the host at the 1970 Isle of Wight Festival, to watching the concert turn into a complete financial debacle was... shall we say... a little less gracious. The Woodstock festival organizers lost money on their festival, but they stayed optimistic that they could make money their back, as long as they encouraged people to remember Woodstock. The organizers of the 1970 Isle of Wight festival, on the other hand, wanted the festival to be forgotten. In the words of promoter Ron Foulk, "This is the last festival. Enough is enough. It began as a beautiful dream but it has got out of control and has become a monster." Capacity for Commemoration For the Woodstock organizers, the festival was something to celebrate, even if it cost them money for about 10 years. For the Isle of Wight organizers, the festival was something they'd rather forget. Yet even if the Isle of Wight organizers wanted to find a way to commemorate their festival, they still would have been at a distinct disadvantage compared to the Woodstock organizers.

For one thing, the first concert film devoted to the 1970 Isle of Wight festival did not appear until 1995, 25 years after the event took place. Murray Lerner, the documentarian who shot the concert footage at Isle of Wight, did not get any financial backing from the organizers of the festival or from any movie studios to pay for editing or distributing the film. Instead, Lerner did not have the resources to make the film until Castle Communications and BBC funded it in 1995 as part of a project to commemorate the 25th anniversary of the Isle of Wight festival. By contrast, Michael Wadleigh, the director of the famous documentary of Woodstock, had financial backing to edit and distribute his concert footage before the festival even started. Warner Brothers, a movie studio which also had a financial interest in the music business, provided $350,000 in seed money to make a documentary of the Woodstock festival. As a result, Warner Brothers had no incentive to suppress distribution of the Woodstock documentary, because they had already paid for the film.

Another factor that made the Woodstock documentary financially sustainable was that Wadleigh made an agreement to pay his crew on a "double or nothing" basis. If the documentary was a flop, the crew got nothing. If the documentary was a hit, the crew would get paid double. With Wadleigh's "double or nothing" incentive system in place, the crew (including a young filmmaker named Martin Scorsese) worked so efficiently at getting the film edited that the documentary was released in theaters only 7 months and 9 days after the festival ended. In addition to getting commemorated in a documentary, the Woodstock festival was also commemorated in song. Joni Mitchell missed the opportunity to appear at the Woodstock festival, because she had a scheduled appearance on the Dick Cavett Show, but she was eventually inspired to write a song about the festival after watching news coverage and listening to reports of the festival from Crosby, Stills, & Nash. Here's some footage of Joni Mitchell performing her song "Woodstock" at the Big Sur Folk Festival, slightly less than a month after the original Woodstock festival was over: Joni Mitchell's song became a hit in multiple versions.

Crosby, Stills, Nash, & Young released their own version of "Woodstock" in March 1970, the same month that the Woodstock documentary hit theaters. Joni Mitchell would then release her own version of "Woodstock" on her album, Ladies of the Canyon, in April 1970. Crosby, Stills, Nash & Young would have a #11 hit on the US charts with "Woodstock," and an instrumental version of the song by the Assembled Multitude would hit #79. In May 1970, two months after the release of the Woodstock documentary, the album Woodstock: Music from the Original Soundtrack and More came out, a massive 3-LP set that rocketed to the top of the Billboard album charts.

As for the Isle of Wight concerts, there were no contemporary compilation albums to commemorate the festival, except for an album by CBS Records that combined music from the 1970 Isle of Wight festival with 1970 Atlanta International Pop Festival: Needless to say, the Isle of Wight/Atlanta Pop compilation did not sell as well as the Woodstock soundtrack LP, and I suspect that some record buyers may have caught on that CBS weighted the compilation in favor of artists who were already under contract with CBS or Columbia Records. The organizers of the 1970 Isle of Wight concert even attempted to pre-sell a musical commemoration of their own festival, but their efforts flopped miserably. The underground British psychedelic group, Fairfield Parlour, recorded an anthem for the Isle of Wight festival, "Let the World Wash In," under the pseudonym I Luv Wight, but the song never came close to hitting the UK or the US pop charts. Peter Daltrey, the lead singer of Fairfield Parlour, was actually not too pleased with how the organizers of the festival and their record company handled the "Let the World Wash In" single: I Luv Wight? Don`t ask me.

Where the idea came from for this stupid subterfuge I`ll never know. What was the point? Surely any band asked to write the theme song for Britain`s biggest festival would have capitalized mightily on the beneficial publicity, not skulked behind a twee pseudonym. "Let The World Wash In" was actually a decent slice of UK psych pop, but among all the hype, nobody actually bothered to listen to the song: Finally, only two months after the 1970 Isle of Wight festival was over, a song commemorating a music festival went to #1 on the UK pop charts, but it wasn't about the Isle of Wight. It was Matthews' Southern Comfort's cover version of "Woodstock." Striking a Chord The Woodstock festival resonated positively with both the fringes of the hippie counterculture and the mainstream of Middle America. Abbie Hoffman, a major spokesperson for uniting hippies and the antiwar New Left, released the book Woodstock Nation in October 1969, only two months after its namesake festival.

In the book, Hoffman used Woodstock as a metaphor for the type of utopian community that the US New Left and the counterculture could create as an alternative to mainstream American society. Interestingly enough, the Woodstock festival received almost as much admiration in the American mainstream media than it did in the counterculture. According to the August 29, 1969 issue of Life magazine, Counting on only 50,000 customers a day, the organizers had set up a fragile, unauthoritarian system to deal with them. Overrun, strained to its limits, the system somehow, amazingly, didn't break. For three days nearly half a million people lived elbow to elbow in the most exposed, crowded, rain-drenched uncomfortable kind of community, and there wasn't so much as a fistfight. By contrast, the 1970 Isle of Wight festival got no love from either the hippie counterculture or the Establishment.

One hippie got on stage at Isle of Wight and denounced the promoters for running a "psychedelic concentration camp." In a mirror image of the ugly response the promoters experienced from the UK counterculture, the British establishment ensured that there would not be another repeat of the festival by passing the 1971 Isle of Wight Act, which banned all unlicensed gatherings of more than 5,000 people on that island. Institutionalizing the Commemoration The Isle of Wight Act made it impossible for any commemoration of the 1970 Isle of Wight festival to be institutionalized. After all, you can't have a repeat of an Isle of Wight festival if you are legally prohibited by Parliament from having festivals on the Isle of Wight. Otherwise, you'd have a festival, but it certainly wouldn't be an Isle of Wight festival. The Woodstock festival named itself after Woodstock, New York, the small town upstate where Bob Dylan and the Band liked to record, but the festival itself wasn't actually in the town of Woodstock.

(Most American hippies didn't really notice or care that the original Woodstock festival wasn't actually in Woodstock, New York, as long as it was in the same regional area that Bob Dylan was rumored to be.) The original site for Woodstock was in Wallkill, New York, but local opposition forced the concert promoters to move the concert to Max Yasgur's dairy farm in Bethel, New York. The promoters negotiated the rights to use the venue for the original Woodstock festival directly with the dairy farmer Max Yasgur without getting blocked by local authorities. When the original promoters of the Woodstock festival held commemorative reunion concerts in 1979, 1989, 1994, 1999, and 2009, they were able find venues reasonably close to Woodstock or Bethel, New York, although they had to do some venue shopping in order to find somebody who would give them rights to hold a concert on their land. The promoters of the 1970 Isle Wight festival did not have the option of doing any venue shopping for holding any commemorative concerts, because the Isle of Wight Act prevented them from doing so.

In short, although it's debatable whether Woodstock or the Isle of Wight had the better line-up of performances, it isn't the performers that determine what gets remembered. The organizers of Woodstock looked on the event more fondly over the years and got more prosperous the more they could get people to remember it. The organizers of the 1970 Isle of Wight festival, on the other hand, viewed the concert as a debacle they'd rather see forgotten. Woodstock was commemorated almost immediately in film and song, while the film documenting the festival languished for 25 years and the song commemorating the event was edged out of the British pop charts by a cover version of "Woodstock." In America, the counterculture and the mainstream both had positive views about Woodstock that encouraged nostalgic reminiscences, while in the UK, the organizers of the Isle of Wight festival were unpopular with both the counterculture and the Establishment. Finally, the promoters of Woodstock institutionalized the commemoration of the festival with periodic reunion concerts and millions of dollars of merchandise with the Woodstock logo, while the promoters of the 1970 Isle of Wight festival had neither the money nor the desire to encourage its commemoration.

2k Views · View Upvotes · Answer requested by Written Sep 13, 2013 I'm not really a scholar of the big rock festivals of the late Sixties/early Seventies, but in my mind there is Monterey Pop, Woodstock, and then the Isle of Wight. Monterey Pop was kind of like a beacon that alerted restless young people across the country that something was happening in Northern California. It got things moving. Woodstock demonstrated that the newfangled counterculture had legs. People showed up far in numbers that far exceeded expectations. For all that, it was a peaceful if somewhat chaotic affair. Notoriety-wise, it didn't hurt that it happened in the populous Northeastern United States, not far from the taste- and opinion-making capital, New York. American bias will always skew things as long as the US is a leading cultural light. Now, keep in mind that Isle of Wight was preceded by Altamont, the Rolling Stones's disastrous free concert in the hills east of the Bay Area. 1970 also saw a number of rock 'n' roll casualties from too much heavy living.

A lot of people were disillusioned about a countercultural "new age" because Vietnam was still going on, and the societal rifts exemplified by the MLK and RFK shootings and riots of '68 were still there. So while you could quibble about the relative merits of the lineups, venues, crowds etc., the Isle of Wight festival of 1970 was starting to look like just another really good rock show, not an event of overarching significance. 167 Views · View Upvotes · Answer requested by Updated Aug 12, 2015 The movie did have a great deal to do with Woodstock becoming so iconic. The movie had a way of putting you in the heart of the action at Woodstock. After watching it, many folks have said they felt like they were there too, except not so muddy as a result. I have an additional rather radical theory about why so many more people than expected showed up at Woodstock. Every now and then an energy that on some level might be called a kind of self-fulfillment brings about a sort of temporal feed-back loop. Cause and effect go out the window.

Such space/time moments become so pivotal that like the proverbial moth drawn to the flame, such an event quite naturally attracts the temporally displaced, IE Time Travelers. If Time travel ever will exist, then unquestionably Woodstock 1969 would be in the top 10 bucket lists of just about every time traveler that will ever be. I know if I could travel back in time, that would be the first time trip I'd like to take, right to just before Richie Havens took the stage on Friday. Just how many of that great throng of citizens of Woodstock Nation were temporally displaced that weekend +? Think about it, but not too hard. ;o) And now I've done it; not traveled back in time myself, but I wrote a story, first intended to be a short story, but it just kept growing, so now it is a book, and also an e-book. I titled it Tripping on Woodstock, and it is all about time travelers at Woodstock.

It is available at CreateSpace as a trade paperback: UK Number One Songs of the 70s UK Number One Songs of the 70s Updated on November 15, 2015 Source The 1970s Number One Songs on Video 1970s popular music in the UK proved that variety is the spice of life, and the Number One hit songs of the decade reflect this phenomenon. From 1970 onwards, the music scene in Britain changed dramatically and a myriad of musical styles reinforced the varying tastes of the average record buyer. Some of the most popular styles that took the British charts by storm were Glam Rock at the beginning of the decade, progressing to Disco and Punk Rock towards the end. In between saw novelty records, the progression of the rock single and the continuing evolution of teen pop, represented by the likes of David Cassidy, Donny Osmond and the Bay City Rollers. Most of these styles and artists were very popular for a time, and their records sold by the shed load. To see the musical changes across the decade is a fascinating exercise, and so this page brings together all the Number One hits from the UK in a video package, together with some short comments regarding each one.

The source for this compilation is the Record Retailer/Music Week chart, which was broadcast by the BBC each Sunday evening. Source Matthews' Southern Comfort UK Number One Hits of 1970 31st Jan (5 weeks) Edison Lighthouse - Love Grows (Where My Rosemary Goes): Only ever UK Number One for this studio act. Lead singer Tony Burrows also sang on hits for many other groups. 7th Mar (3 weeks) Lee Marvin - Wandrin' Star: Only UK Number One for this actor with a song from the film Paint Your Wagon. 28th Mar (3 weeks) Simon & Garfunkel - Bridge Over Troubled Water: Surprisingly, the duo's only ever UK Number One. Only Art Garfunkel sings on this classic, but Paul Simon went on to greater solo success, even though he never had a UK Number One again, while Garfunkel did. 18th Apr (2 weeks) Dana - All Kinds Of Everything: First Eurovision Song Contest winner for Ireland. Her chart career was short-lived and this was her only UK Number One.

2nd May (2 weeks) Norman Greenbaum - Spirit In The Sky: Only ever UK Number One for Greenbaum with a self-penned song. Doctor & The Medics took the track to Number One again in 1986. 16th May (3 weeks) England World Cup Squad - Back Home: Mexico World Cup Football sing-along by the 1970 England team. 6th Jun (1 week) Christie - Yellow River: Only ever UK Number One for Jeff Christie with a song he wrote for the Tremeloes. They turned it down, so he recorded it himself. 13th Jun (7 weeks) Mungo Jerry - In The Summertime: First UK Number One for this group led by Ray Dorset. 1st Aug (6 weeks) Elvis Presley - The Wonder Of You: Elvis revived his career in Las Vegas and this was a live recording from his show. At this point, he was only one behind the Beatles as this was his 16th UK Number One.

12th Sep (1 week) Smokey Robinson & The Miracles - Tears Of A Clown: First UK Number One for Motown singer Smokey Robinson who would have to wait another 11 years before hitting the top spot again. 19th Sep (6 weeks) Freda Payne - Band Of Gold: Only ever UK Number One for this American actress. 31st Oct (3 weeks) Matthews' Southern Comfort - Woodstock: Written by Canadian folk legend Joni Mitchell, MSC's only UK Number One was about the famous rock festival of 1969. 21st Nov (1 week) Jimi Hendrix - Voodoo Chile: Posthumous Number One for the American guitar legend who died in London a couple of months earlier. 28th Nov (6 weeks) Dave Edmunds - I Hear You Knockin': Only ever UK Number One for Dave Edmunds who had further hit single success later in the Seventies. Source Slade UK Number One Hits of 1971 January 5 ( 3 weeks) Clive Dunn - Grandad: Only UK Number One for this Dad's Army star who gained sales on the back of seasonal sentimentality.

January 26 (5 weeks) George Harrison - My Sweet Lord: First UK Number One for the ex-Beatle. Following the song's release, musical similarities between it and The Chiffons' hit He's So Fine led to a lengthy legal battle over the rights to the composition. March 2 (2 weeks) Mungo Jerry - Baby Jump: Written by the group's lead vocalist and guitarist Ray Dorset, it was a maxi-single playing at 33rpm. Second and last Number One for the band. March 16 (6 weeks) T. Rex - Hot Love: The group's first UK Number One. It fared less well in the USA where it peaked at Number 72. It was also the first T. Rex single to feature both a bass guitar and drums. April 27 (2 weeks) Dave and Ansil Collins - Double Barrel: Jamaican duo who scored only the second West Indian reggae chart topper. It became the first reggae single to reach the Top 30 of the US Billboard Hot 100 peaking at number 22.

May 11 (5 weeks) Dawn - Knock Three Times: Tony Orlando had retired from singing when he was persuaded to front Dawn for studio recordings. Their first UK Number One. June 15 (5 weeks) Middle of the Road - Chirpy Chirpy Cheep Cheep: It nearly flopped in the UK as Mac and Katie Kissoon released a version just before. MOTR got the greater airplay and sold in bundles. The Kissoon's version reached number 20 on the US Billboard Hot 100, but failed to impress in the UK. July 20 (4 weeks) T. Rex - Get It On: The second UK Number One from Marc Bolan's band, selling nearly a million copies. Re-titled Bang a Gong in the US, it peaked on the Billboard Hot 100 at Number 10 in January 1972, becoming the group's only major US hit. August 17 (4 weeks) Diana Ross - I'm Still Waiting: A first solo Number One for Diana Ross. It was a minor success in the US reaching Number 63 on the Billboard Hot 100 singles chart.

September 14 (3 weeks) The Tams - Hey Girl, Don't Bother Me: It was originally released in 1964 and became a minor hit on the Billboard Hot 100, reaching Number 41. It became a favourite on the Northern Soul scene in the UK which led to its Number One position. October 5 (5 weeks) Rod Stewart - Maggie May: It was initially released in the UK as the B-side of the single Reason to Believe, but DJs preferred Maggie May and, after two weeks in the chart, the song became the A-side. It simultaneously topped the charts in the United States. November 9 (4 weeks) Slade - Coz I Luv You: It was the band's second hit song in the UK and the first of six Number One singles. December 7 (4 weeks) Benny Hill - Ernie (The Fastest Milkman In The West): Comedy single, the song concerned the fictional exploits of Ernie, a milkman who drove a horse-drawn milk cart and his war with the bread delivery man: Two-Ton Ted from Teddington.

Source Alice Cooper UK Number One Hits of 1972 January 4 (4 weeks) The New Seekers - I'd Like To Teach The World To Sing (In Perfect Harmony): A 1971 Coca-Cola TV commercial featured young people from around the world singing on a hilltop and was so popular that the song (without the Coke references) became a hit in its own right. Another recording was issued by The Hillside Singers, but this failed to sell in the UK. February 1 (2 weeks) T. Rex - Telegram Sam: Third UK Number One single for T. Rex., but it only reached Number 67 on the US Billboard Hot 100. February 15 (3 weeks) Chicory Tip - Son of My Father: The first UK Number One single to prominently feature a synthesizer, in this case a Moog synthesizer. Originally a song by Giorgio Moroder, he re-recorded it shortly after, but it failed to chart in the UK, though it made the Top 50 in the United States. March 7 (5 weeks) Harry Nilsson - Without You: Suicide inspired song written by two members of Badfinger, who both later committed suicide.

April 11 (5 weeks) The Pipes & Drums & Military Band of The Royal Scots Dragoon Guards - Amazing Grace: The old favourite traditional hymn as played by this Scottish military bagpipe band. It was the best-selling single of the year in the UK. May 16 (4 weeks) T. Rex - Metal Guru: Apparently, the song is about a car and became the group's fourth and final UK Number One. It did not chart in the USA. June 13 (2 weeks) Don McLean - Vincent: Don McLean wrote this song as a tribute to artist Vincent Van Gogh. It reached Number 12 in the US. June 27 (1 week) Slade - Take Me Bak 'Ome: Second UK Number One for the glam rockers, featuring Noddy Holder on vocals. July 4 (5 weeks) Donny Osmond - Puppy Love: Revival of the song written and recorded by Paul Anka in the '60s, this was Osmond's first UK Number One. August 8 (3 weeks) Alice Cooper - School's Out: Only ever UK Number One for shock rocker Alice Cooper with this classic rock tune.

August 29 (1 week) Rod Stewart - You Wear It Well: From the album Never a Dull Moment, this was Rod's second UK Number One. September 5 (3 weeks) Slade - Mama Weer All Crazee Now: Slade was on a roll! This was their third Number One single in a matter of months. September 26 (2 weeks) David Cassidy - How Can I Be Sure?: First UK Number One for this star of US TV series The Partridge Family. His solo career was more successful in the UK than at home. October 10 (4 weeks) Lieutenant Pigeon - Mouldy Old Dough: It is the only UK Number One single to feature mother and son and became one of the more unusual chart topping singles of the 1970s. It sold 790,000 copies and was the third biggest selling single of 1972. November 7 (2 weeks) Gilbert O'Sullivan - Clair: First UK Number One for this Irishman who dressed as a 1920s worker in a flat cap, braces and baggy trousers.

November 21 (4 weeks) Chuck Berry - My Ding-a-Ling: Pioneer of R&B and rock 'n' roll, whose only UK Number One was this live, innuendo-laden novelty song recorded in Coventry, England. December 19 (5 weeks) Little Jimmy Osmond - Long Haired Lover From Liverpool: Jimmy became the youngest person to ever reach Number One on the UK singles chart aged 9 years 8 months. Often cited as one of the worst singles to get to Number One. Source Suzi Quatro UK Number One Hits of 1973 January 23 (5 weeks) The Sweet - Blockbuster!: It made Number One in the Netherlands, Germany and Ireland, but fared less well in the USA where it peaked at Number 73 on the Billboard Hot 100. Plenty of No. 2 singles for The Sweet, but this was their only Number One. February 26 (4 weeks) Slade - Cum on Feel the Noize: Slade's fourth Number One single in the UK and the first to enter straight at the top.

Revived in 1983 by Heavy Metal band Quiet Riot, their version went on to peak at Number 5 on the Billboard Hot 100 that November. March 26 (1 week) Donny Osmond - The Twelfth of Never: Popular song originally recorded by Johnny Mathis. Osmond's version spent a single week at Number One, while in the USA it peaked at Number 8. April 3 (2 weeks) Gilbert O'Sullivan - Get Down: Second and final Number One for the Irishman, who had a handful of other Top 20 hits. April 15 (4 weeks) Dawn featuring Tony Orlando - Tie A Yellow Ribbon 'Round The Ole Oak Tree: The best selling single of 1973 in the UK. It sold shed loads in the USA too, where it also hit the top spot of the singles chart. May 13 (4 weeks) Wizzard - See My Baby Jive: Written and produced by bandleader Roy Wood, the record owes much to Phil Spector's Wall of Sound.

June 12 (1 week) Suzi Quatro - Can the Can: Can the Can was the second single by Quatro and her first to reach Number One. It also reached Number One on the Japanese, European and Australian charts in whose market Quatro achieved her most consistent success throughout her career as a recording artist. June 19 (1 week) 10cc - Rubber Bullets: The band's first Number One single in the United Kingdom, being a tongue in cheek homage to the movie Jailhouse Rock. June 26 (3 weeks) Slade - Skweeze Me Pleeze Me: Fifth Number One single for Slade. July 17 (1 week) Peters and Lee - Welcome Home: The duo's only Number One single coming after their success on the TV talent show Opportunity Knocks. July 24 (4 weeks) Gary Glitter - I'm the Leader of the Gang (I Am): The song is a glam rock anthem, typical of (the now-disgraced) Glitter's early seventies recordings. August 21 (4 weeks) Donny Osmond - Young Love: The oft recorded ballad gave the teen heartthrob yet another best selling single.

September 18 (1 week) Wizzard - Angel Fingers: Wizzard's second UK Number One single. Stylistically, it continued in the same Phil Spector-influenced Wall of Sound genre as their earlier hit See My Baby Jive. September 25 (4 weeks) Simon Park Orchestra - Eye Level (Theme From Van Der Valk): The tune became very popular with TV audiences and, in a move which was unusual at the time for television themes, Columbia Records issued it on a single record. Total sales were 1,005,500. October 23 (3 weeks) David Cassidy - Daydreamer/The Puppy Song: This was Cassidy's second and final Number One single in the UK. November 13 (4 weeks) Gary Glitter - I Love You Love Me Love: Glitter's second UK Number One single. December 11 (5 weeks) Slade - Merry Xmas Everybody: The band's sixth and final Number One single in the UK. The song continues to re-enter the UK Top 75 singles chart every Christmas, selling over one million copies in the process.

Source George McCrae UK Number One Hits of 1974 January 15 (1 week) The New Seekers - You Won't Find Another Fool Like Me: The band's second and final Number One single. January 22 (4 weeks) Mud - Tiger Feet: First Number One song for the very popular Glam Rockers and the biggest selling track of the year. February 19 (2 weeks) Suzi Quatro - Devil Gate Drive: It was the second Number One in a row for the ChinniChap writing and production team and Quatro's second UK Number One. March 5 (1 week) Alvin Stardust - Jealous Mind: Only Number One from the moody Stardust - born Bernard Jewry. March 12 (3 weeks) Paper Lace - Billy Don't Be a Hero: Paper Lace had the chart-topper in the UK, but their version stalled at Number 96 on the Billboard Hot 100. Bo Donaldson and the Heywoods took the song to Number One in the USA.

April 2 (4 weeks) Terry Jacks - Seasons in the Sun: The recording was based on a song called Le Moribond (The Dying Man) by Jacques Brel. The song had been recorded by The Fortunes in 1968 and by Pearls Before Swine in 1970 - but became a worldwide hit for Terry Jacks. April 30 (2 weeks) ABBA - Waterloo: This was the song that won ABBA the 1974 Eurovision Song Contest and began their path to worldwide fame. May 14 (4 weeks) The Rubettes - Sugar Baby Love: Debut single for this band that was originally offered to Carl Wayne to record, but he turned it down. June 11 (1 week) Ray Stevens - The Streak: Single that capitalized on the then popular craze of streaking. June 18 (1 week) Gary Glitter - Always Yours: Glitter's third and final Number One single in the UK. June 25 (4 weeks) Charles Aznavour - She: The song was recorded by Aznavour in several different languages, namely French, Italian, Spanish and German.

Elvis Costello recorded a cover version in 1999. July 23 (3 weeks) George McCrae - Rock Your Baby: One of the landmark recordings of early Disco music. In total it sold over 11 million copies internationally. August 13 (2 weeks) The Three Degrees - When Will I See You Again: One of the most successful recordings in the Philly Soul sound. It sold 28 million copies in total internationally. August 27 (3 weeks) The Osmonds - Love Me For A Reason: Written by Johnny Bristol, the song was revived by Boyzone in 1994, becoming their breakthrough single in the UK. September 17 (3 weeks) Carl Douglas - Kung Fu Fighting: Recorded in 10 minutes as a B-side, it sold 10 million worldwide and was his only ever UK Number One.

October 8 (1 week) John Denver - Annie's Song: This was Denver's only solo hit in the UK - an ode to Denver's then-wife, Annie Denver October 15 (1 week) Sweet Sensation - Sad Sweet Dreamer: The second single from the British soul group, reaching number 14 on the Billboard Hot 100 the following spring. October 22 (3 weeks) Ken Boothe - Everything I Own: Jamaican reggae artist with a song by David Gates of Bread. The Bread version only made No.32 in the UK, but Boy George took the song to Number One again in 1987. November 12 (3 weeks) David Essex - Gonna Make You A Star: A first UK Number One for David Essex. He found stardom as an actor before breaking into the charts with Rock On. December 3 (2 weeks) Barry White - You're the First, the Last, My Everything: Originally written as a country song with the title You're My First, You're My Last, My In-Between, this was White's only UK Number One.

December 17 (4 weeks) Mud - Lonely This Christmas: Another classic Christmas favourite that is still seasonally popular each year in the UK. Source David Bowie UK Number One Hits of 1975 January 18 (1 week) Status Quo - Down Down: Status Quo had 22 Top 10 UK hits between 1968 and 1996, and this was their only non-collaborated UK Number One. January 25 (1 week) The Tymes - Ms Grace: Could only peak at No.91 on the Billboard Hot 100 singles chart, this song by the US soul group was their fourth and biggest UK hit. February 1 (3 weeks) Pilot - January: Only ever UK Number One for this Scottish group whose two follow-ups failed to make the Top 30. February 22 (2 weeks) Steve Harley & Cockney Rebel - Make Me Smile (Come Up and See Me): Steve Harley has stated that the lyrics are vindictively directed at his former band members whom he felt had abandoned him. The group's only UK Number One.

March 8 (2 weeks) Telly Savalas - If: Another Bread song that failed to chart in the UK by that band, but Savalas of Kojak fame managed to talk his way to Number One. March 22 (6 weeks) Bay City Rollers - Bye Bye Baby: Scottish band that dressed in tartan and built up a fanatical teen following took this Frankie Valli song to the top. The best-selling single of 1975. May 3 (2 weeks) Mud - Oh Boy: Mud's third and final UK Number One came with a virtually a cappella cover of the Buddy Holly hit from 1958. May 17 (3 weeks) Tammy Wynette - Stand by Your Man: 1968 US Country Number One that went to the top when it was finally released in the UK in 1975. June 7 (3 weeks) Windsor Davies & Don Estelle - Whispering Grass: Davies and Estelle were actors in the successful BBC sit-com It Ain't Half Hot Mum. The record is a version of the song which was originally recorded by the Ink Spots in 1944.

June 28 (2 weeks) 10cc - I'm Not in Love: A second UK Number One for the band with this classic love song, incorporating its innovative production. The recording includes multiple overdubs of the voices of the band singing a single note in unison. July 12 (1 week) Johnny Nash - Tears on My Pillow: American who specialised in soft reggae arrangements. Had much success in the UK , although this was his only UK Number One. July 19 (3 weeks) Bay City Rollers - Give a Little Love: Rollermania was in full flight by this time, but this was the band's second and final UK Number One single. August 9 (1 week) Typically Tropical - Barbados: Two recording engineers created this reggae dance hit and became One Hit Wonders in the process. In 1999, a reworked version of the song, renamed We're Going To Ibiza!, also reached the UK Number One spot for The Vengaboys.

August 16 (3 weeks) The Stylistics - I Can't Give You Anything (But My Love): The split from producer Thom Bell proved disastrous for the group in the US, but The Stylistics continued to be popular in the UK. This was their first and only UK Number One single. September 6 (4 weeks) Rod Stewart - Sailing: Having been a hit twice, this classic anthem remains Stewart's biggest-selling single in the UK. October 4 (3 weeks) David Essex - Hold Me Close: Essex was at the height of his popularity at this time. This was his second and final UK Number One. October 25 (2 weeks) Art Garfunkel - I Only Have Eyes for You: Having separated from Paul Simon, Garfunkel recorded mostly MOR standards. This was his first solo UK Number One. November 8 (2 weeks) David Bowie - Space Oddity: Bowie made No.5 with this track alluding to drug use in 1969, but had more luck with the re-issue, making this his first UK Number One.

November 22 (1 week) Billy Connolly - D.I.V.O.R.C.E.: Wonderful parody of the Tammy Wynette song of the same name by this internationally renowned Scottish comedian. November 29 (9 weeks) Queen - Bohemian Rhapsody: SEE DESCRIPTION BELOW. Queen: Bohemian Rhapsody - Number One: December 1975 An all-time classic Queen song, Bohemian Rhapsody was accompanied by the following video and was the first Number One to benefit from sustained TV exposure. It spent nine long weeks at the top of the charts and was the year's Christmas Number One. In 1991, the record returned to the Number One spot following the death of lead singer, Freddie Mercury. Source Chicago UK Number One Hits of 1976 January 31 (2 weeks) ABBA - Mamma Mia: Two years after their first UK Number One and Eurovision hit, ABBA were back with their second UK Number One. February 14 (1 week) Slik - Forever and Ever: Band led by Midge Ure.

He went on to groups Visage and Ultravox, but his next Number One was a solo effort in 1985. February 21 (2 weeks) The Four Seasons - December, 1963 (Oh, What a Night): Written by original-Four Seasons keyboard player Bob Gaudio and his future wife Judy Parker, this was the the follow-up to the hit Who Loves You. The Four Seasons only UK Number One hit. March 6 (3 weeks) Tina Charles - I Love To Love (But My Baby Loves To Dance): This was the first of Charles' seven Top 40 chart singles. However, it was also her only Number One in the UK Singles Chart. March 27 (6 weeks) Brotherhood of Man - Save Your Kisses for Me: Winning song of the Eurovision Song Contest 1976, the best-selling single of 1976 and the group's first UK Number One. May 8 (4 weeks) ABBA - Fernando: Originally written for ABBA member Anni-Frid Lyngstad, ABBA's third UK Number One became a worldwide hit as ABBA-mania was at its height. June 5 (1 week) J.J.

Barrie - No Charge: Awful sentimental slush by this Canadian, who thankfully never graced the UK Singles Chart ever again. June 12 (2 weeks) The Wurzels - Combine Harvester (Brand New Key): A reworking of Melanie's hit from 1971-72 with new rustic-themed lyrics. June 26 (3 weeks) The Real Thing - You To Me Are Everything: Landmark record that was the first single by a black British band to top the singles chart. Several cover versions released in the US prevented it being a major success there. July 17 (1 week) Demis Roussos - The Roussos Phenomenon EP: Forever and Ever became the most played track on this EP from the Greek star prone to wearing kaftans. July 24 (6 weeks) Elton John & Kiki Dee - Don't Go Breaking My Heart: Elton John's first Number One single in the UK, but he would not enjoy a solo British chart-topper until 1990. September 4 (6 weeks) ABBA - Dancing Queen: ABBA's only American chart-topper from April 1977 was their fourth in the UK.

October 11 (4 weeks) Pussycat - Mississippi: First Dutch act to make the UK top spot. Success was short lived however and this was their only UK Number One. November 13 (3 weeks) Chicago - If You Leave Me Now: Chicago's biggest hit worldwide, after topping the charts in the US and Australia as well. It went on to win two Grammy Awards. December 4 (3 weeks) Showaddywaddy - Under the Moon of Love: A minor hit in the USA in 1961 for Curtis Lee, this revival was the group's only UK Number One. December 25 (3 weeks) Johnny Mathis - When a Child is Born (Soleado): Now a Christmas standard, it sold 850,000 copies and became Mathis' sole UK Number One. Source Donna Summer UK Number One Hits of 1977 January 15 (4 weeks) David Soul - Don't Give Up On Us: One half of top TV cop show Starsky & Hutch who was a singer before he became an actor. Best selling single of 1977 and his first UK Number One.

February 12 (1 week) Julie Covington - Don't Cry For Me Argentina: Julie Covington first sang this song for the original 1976 studio release of the album Evita, but declined the stage role. February 19 (3 weeks) Leo Sayer - When I Need You: After three of his earlier singles had stalled at No.2, this became a massive worldwide hit and Sayer's only UK Number One single. March 12 (3 weeks) The Manhattan Transfer - Chanson d'amour: Only ever UK Number One for this MOR mixed harmony group who worked in New York gay bars, singing 40s and 50s swing classics. April 2 (5 weeks) ABBA - Knowing Me, Knowing You: Their previous release had stalled at No.3, but they returned for another run of chart toppers with this, their 5th UK Number One. May 7 (2 weeks) Deniece Williams - Free: She was in Stevie Wonder's backing group in the early 70s and this was her only UK Number One.

May 21 (4 weeks) Rod Stewart - I Don't Want to Talk About It /The First Cut is the Deepest: Rod's 4th UK Number One. June 18 (1 week) Kenny Rogers - Lucille: An international hit, it reached Number One on the Billboard Country Singles chart and No.5 on the Billboard Hot 100. This hit gave him stardom in the UK. June 25 (1 week) The Jacksons - Show You the Way To Go: Four members of the Jackson Five, including Michael. This was their only UK Number One following their departure from Motown. July 2 (3 weeks) Hot Chocolate - So You Win Again: They had 30 hits from 1970 to 1984, but this was the band's sole UK Number One single. July 23 (4 weeks) Donna Summer - I Feel Love: It has been said that this is the first disco-style song recorded with an entirely synthesized backing track and was enormously influential in the development of disco, electronica and techno music. This was Summer's only UK Number One.

August 20 (1 week) Brotherhood of Man - Angelo: The group's second UK Number One, sounding very similar to ABBA's style. August 27 (1 week) The Floaters - Float On: True One Hit Wonders - one Number One single and nothing else from this soul group from Detroit, Michigan, USA. September 3 (5 weeks) Elvis Presley - Way Down: The last single released before his death on August 16, 1977 and it became his 17th UK Number One song. October 8 (3 weeks) David Soul - Silver Lady: The single fared less well in the US, peaking at only No.52, but we loved him in the UK - so much so that this was his second Number One single. October 29 for (1 week) Baccara - Yes Sir, I Can Boogie: This single did not chart in the United States despite receiving major airplay in several markets. It was the first Spanish act to have a UK Number One and also the first female duo to do so.

November 5 (4 weeks) ABBA - The Name Of The Game: A 6th Number One for the band and their 3rd in this year, following a successful world tour. December 3 (9 weeks) Wings - Mull of Kintyre / Girls' School: The first single to sell over two million copies in the UK. The UK's best-selling single of all time, until overtaken by Band Aid's Do They Know It's Christmas in 1984 and one of the UK's best-selling non-charity singles, beaten only by Queen's Bohemian Rhapsody. Source Boomtown Rats UK Number One Hits of 1978 February 4 (1 week) Althea & Donna - Uptown Top Ranking: Two Jamaican teenagers who put some Caribbean slang to existing music for this One Hit Wonder. Althea & Donna became the youngest female duo to reach the pinnacle of the UK chart. February 11 (1 week) Brotherhood of Man - Figaro: The song spent one week on top of the charts in the UK and became one of the twenty best selling singles of the year. This was to be Brotherhood of Man's final Number One single.

February 18 (3 weeks) ABBA - Take A Chance On Me: A 7th UK Number One for the Swedish foursome with another unforgettable ABBA classic. March 11 (4 weeks) Kate Bush - Wuthering Heights: In reaching Number One, Bush became the first woman to write and perform a UK chart-topper, propelling the singer to fame. However, this was Kate's only UK Number One single, despite her numerous chart hits over the years. April 8 (3 weeks) Brian and Michael - Matchstalk Men & Matchstalk Cats & Dogs (Lowry's Song): A One Hit Wonder with a song celebrating the life and work of the painter, L S Lowry. The backing vocals are by the St Winifred's School Choir, who had a Number One in 1980. April 29 (2 weeks) The Bee Gees - Night Fever: A third Number One for the Bee Gees in the UK, from the soundtrack to Saturday Night Fever, relaunching their careers as kings of disco. May 13 (5 weeks) Boney M - Rivers of Babylon: First UK Number One for this Caribbean act which recorded in Germany.

This was the best selling UK single of 1978 and was also the group's only significant US chart entry, peaking at No.30 in the Pop charts. June 17 (9 weeks) John Travolta & Olivia Newton-John - You're the One That I Want: This song came from the soundtrack to Grease and the film and music from it dominated the second half of 1978. It is number six on the list of best-selling singles in the UK, where it has sold over 1,975,000 copies. August 19 (5 weeks) The Commodores - Three Times A Lady: Led by Lionel Richie, who wrote the song, the group had considerable success until Richie went solo in 1982. This was their only UK Number One. September 23 (1 week) 10cc - Dreadlock Holiday: A third and final UK Number One for 10cc. By this time Godley and Creme had left the group and the hits quickly stopped. The lyrics, about a white man lost in Jamaica, were based on a true story told by Moody Blues vocalist Justin Hayward about an experience he'd had in Barbados.

September 30 (7 weeks) John Travolta & Olivia Newton-John - Summer Nights: Another classic track from the film Grease. The soundtrack album was the second best selling of 1978, beaten only by Saturday Night Fever. November 18 (2 weeks) The Boomtown Rats - Rat Trap: A first Number One for the Irish punk band led by Sir Bob Geldof. It is notable as it was the first official UK chart topping single by a punk or new wave act. December 2 (1 week) Rod Stewart - Da Ya Think I'm Sexy?: A fifth Number One for Rod with a song that became the center of a confirmed plagiarism lawsuit by Brazilian musician Jorge Ben Jor. December 9 (4 weeks) Boney M - Mary's Boy Child / Oh My Lord: A second and final Number One for Boney M with this cover version of a 1957 chart topper by Harry Belafonte. Source Pink Floyd UK Number One Hits of 1979 January 6 (3 weeks) The Village People - Y.M.C.A.: Only UK Number One for the boys, with this classic disco hit from the New Yorkers who started out in the Big Apple's gay bars.

January 27 (1 week) Ian Dury & The Blockheads - Hit Me With Your Rhythm Stick: The only UK Number One of Ian Dury's remarkable career, ironically with more of a novelty song than for what he was best known. February 3 (4 weeks) Blondie - Heart of Glass: One of the best known Blondie recordings, this was a first UK Number One for the band fronted by the enigmatic Debbie Harry. March 3 (2 weeks) The Bee Gees - Tragedy: Yet another UK Number One for the now reinvented disco act. This was from the group's chart topping album, Spirits Having Flown. March 17 (4 weeks) Gloria Gaynor - I Will Survive: Established US diva who finally got her only UK Number One with this disco classic. It received the Grammy Award for Best Disco Recording in 1980. April 14 (6 weeks) Art Garfunkel - Bright Eyes: It was written for the soundtrack of the movie Watership Down and Garfunkel scored his second and final UK Number One with this tearjerker.

It sold over one million copies, becoming the biggest selling single of 1979 in the UK. May 26 (3 weeks) Blondie - Sunday Girl: Never released as a single in the US, this became the band's second UK Number One. June 16 (2 weeks) Anita Ward - Ring My Bell: Only major hit (on both sides of the Atlantic) for this gospel singer from Memphis TN. June 30 (4 weeks) Tubeway Army - Are "Friends" Electric?: A first UK Number One for Gary Numan under this pseudonym, the single is notable for being the first electronic/synthesizer-based record to become a hit in the post-punk era. July 28 (4 weeks) The Boomtown Rats - I Don't Like Mondays: Bob Geldof wrote the song based on the shooting spree of 16-year-old Brenda Ann Spencer, who fired at children playing in a school playground across the street from her home in San Diego, California.

Her explanation for her actions was "I don't like Mondays." August 25 (4 weeks) Cliff Richard - We Don't Talk Anymore: After a lean time throughout most of the 1970s, this first UK Number One for 11 years (Richard's 10th so far) started another run of Top 10 hits throughout the 80s. September 22 (1 week) Gary Numan - Cars: Now recording under his own name, this was Numan's second and final UK Number One. September 29 (3 weeks) The Police - Message In A Bottle: A first UK Number One for the trio led by singer / songwriter Sting, who went on to even greater success. October 20 (1 week) The Buggles - Video Killed the Radio Star: (The) Buggles consisted of Trevor Horn, Geoff Downes and Bruce Woolley. This single celebrates the golden days of radio and ironically (or intentionally) became the first music video shown on MTV. October 27 (3 weeks) Lena Martell - One Day At A Time: This single was an unlikely success as it came during the height of disco and new wave.

Martell's follow-up singles failed to chart, so she has the dubious honour of being classified as a One Hit Wonder. November 17 (3 weeks) Dr Hook - When You're In Love With A Beautiful Woman: US group that found favour in the UK with a series of melodic love songs, although this was their only UK Number One. December 8 (1 week) The Police - Walking on the Moon: A second Number One for The Police, with a song that surprisingly didn't chart in the US. December 15 (5 weeks) Pink Floyd - Another Brick in the Wall: In the UK, it was Floyd's first single since 1968's Point Me at the Sky and became one of the band's most well-known songs. It was their biggest hit to date and was banned in several countries because of its lyrical content. It became the final UK Number One of the 1970s. More Music of the 1970s These are some of the best love songs of the 21st century...so far! Are You A Fan of Seventies Music?

37 comments John Dyhouse 2 years ago from UK Wow what music and what a lens thanks for the memories, the early years were much more important to me (wrt music) and I was left behind as the decade progressed. But still I have to admit there was a lot of good tunes MJ Martin 2 years ago from Washington State Well now this little tour was simply amazing. You would have thought my family from the 70's was from the UK or something. Those girls and guys loved to sing all of these it seems to us. This is a wonderful lens to be showing around to the babies born in those late 70's, wow. Job well done. congrats on your Purple Star for sure. Great videos, still humming the tunes. RichLeighHD 4 years ago Brilliant lens, clearly a lot of work has gone into this one! Just wanted to say though that 'Merry Xmas Everybody' has actually been back in the charts every year since 2006; one of the band's to have benefitted from download singles, clearly!

emmakeynes 4 years ago Every UK Number One Song: Woodstock | Talk About Pop Music Talk About Pop Music Google, Apple, Spotify, YouTube – Everybody Talk About, Pop Music Main Menu · by Steve · in 1970 , Every UK Number One Song , Music . · “Woodstock” by Matthews’ Southern Comfort was number one on 31st October 1970 and stayed there for three weeks. This definitely has a 70s hippy feel to it and just makes me wish I was able to go back and live through some of these times “Joni Mitchell originally wrote the song from what she had heard from then-boyfriend, Graham Nash, about the Woodstock Music and Art Festival. She had not been there herself, since she was told by a manager that it would be more advantageous for her to appear on The Dick Cavett Show. She wrote it in a hotel room in New York City, watching televised reports of the festival. “The deprivation of not being able to go provided me with an intense angle on Woodstock,” she told an interviewer shortly after the event.

David Crosby, interviewed for the documentary Joni Mitchell: Woman of Heart and Mind, stated that Mitchell had captured the feeling and importance of the Woodstock festival better than anyone who had been there. The lyrics tell a story about a spiritual journey to Max Yasgur’s farm, the place of the festival, and makes prominent use of religious imagery, comparing the festival place with the Garden of Eden (“…and we’ve got to get ourselves back to the garden”). The saga commences with the narrator’s encounter of a fellow traveler (“Well, I came upon a child of God, he was walking along the road”) and concludes at their ultimate destination (“by the time we got to Woodstock, we were half a million strong…”). There are also references to the Vietnam War (“bombers flying shotgun in the sky”). “Woodstock” became an international hit in 1970–71 via a version by Matthews Southern Comfort whose frontman Iain Matthews recalled, “We had to do four songs on a BBC [Radio] lunchtime show.

We worked up an arrangement for ‘Woodstock'” – which Matthews knew from Mitchell’s Ladies of the Canyon album – “and the response was so good that we [recorded and released it] as a single. Andy Leigh, the group’s bassist, said, “We took [the song] apart and reassembled it and we knew we had something. We were an album band. We didn’t do singles. But we knew this…was something special…The record company said they would only release [our version] if [Crosby, Stills, Nash & Young] did not have a [UK] hit with theirs”. After the CSN&Y version failed to reach the UK charts “[MCA] reluctantly released ours because of that agreement but they wouldn’t spend a penny on promotion…But our managers, who were excellent, hired a PR, a songplugger.

Tony Blackburn, who had the breakfast show on Radio 1, played ‘Woodstock’ and kept playing it and other DJs started doing the same.” Issued 24 July 1970, “Woodstock” debuted on the UK Top 50 on 26 September 1970 and reached #1 on 31 October 1970 remaining there for two additional weeks. It also afforded Matthews’ Southern Comfort an international hit, charting in Austria (#15), Canada (#5), Germany (#27), Finland (#23), Ireland (#2), the Netherlands (#17), Norway (#2), Poland (#2), Sweden (#2), South Africa (#3) and the US (#23)“ The talkaboutpopmusic Every UK Number One is now on Spotify. Relive, enjoy and share every song featured up until the latest post… spotify:user:talkaboutpopmusic.net:playlist:1CLRsP5OailXH0Rno6OTkb Matthews Southern Comfort - Woodstock - YouTube Matthews Southern Comfort - Woodstock Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Mar 6, 2007 Woodstock, written by Joni Mitchell. Later That Same Year is the Studio album by Ian Matthews Recorded 1970 & Released 1970 by Country Rock/Folk Rock musician Ian Matthews' band Matthews' Southern Comfort. This was Ian's third album after his departure from Fairport Convention. Iain Matthews (known in the 1960s first as Ian McDonald, and from the late 1960s until 1989 as Ian Matthews)is an English musician and songwriter. He was born Iain Matthew McDonald, 16 June 1946,Scunthorpe, Lincolnshire, England. Influenced by both rock and roll and folk music,he has performed mainly as a solo act,although he was a member of Fairport Convention during the early period when they were heavily influenced by American West Coast folk rock. He later had a solo career and fronted the bands Plainsong and Matthews Southern Comfort. Matthews grew up in a working-class family in Scunthorpe England.

He sang with several minor bands during the British pop music explosion of the mid-1960s.He moved to London in 1966, taking a job in a Carnaby Street shoe shop. He recorded a couple of singles there in 1967 with a pop band called Pyramid. From Wikipedia

Question: Which group had a 1970 UK hit with Woodstock?
Answer: MATTHEWS SOUTHERN COMFORT