1969 was a year of extremes. Man conquered space, politics shifted dramatically, and the music world experienced both euphoric highs and tragic lows. Amidst the legendary Woodstock and the Beatles’ final bow, a countercultural revolution was peaking. Yet, even the brightest eras cast long shadows.
As the decade drew to a close, the once-revolutionary spirit of the 60s began to wane. Rock, psychedelia, and folk still reigned supreme, but the winds of change were stirring. Here, we’re going to rediscover the forgotten corners of 1969’s music scene.
We’ll journey through a decade defined by its groundbreaking achievements and explore the songs that, in hindsight, might have been better left unreleased. Get ready to question your love for certain artists and genres as we count down the 10 worst songs of ’69.
10. “Dizzy” – Tommy Roe
The 60s were awash with sugary pop confections, and Tommy Roe’s “Dizzy” is a sickening example. While most people have a soft spot for these types of songs, there’s something undeniably cloying about this particular track. It’s the sonic equivalent of a cotton candy cloud, sweet and fluffy but ultimately lacking substance.
Apart from the words, the song’s arrangement is just as annoying. When used changing keys can take a song to new heights. But in “Dizzy”, they’re scattered all over the place making a mess that’s more disorienting than captivating.
9. “Crimson And Clover” – Tommy James And The Shondells
“Crimson and Clover” is a song that sits comfortably in the annals of overplayed classics. While its predecessor, “Hanky Panky”, at least had the audacity to be utterly absurd, this track is a more insidious offender. It’s a song that promises psychedelic exploration but delivers a sonic swamp.
The instrumentation is a muddy mess, as if the engineer had traded their headphones for a pair of sunglasses and a joint. And as for the lyrics, well, let’s just say “crimson and clover” is not a compelling narrative. It’s like a child discovered the joy of rhyming and decided to write a song about it.
8. “Jean” – Oliver
Who would have thought a singer would go by the single name of Oliver? Well, that’s what we’re dealing with here. His song, “Jean”, was the theme to the 1969 film, The Prime of Miss Jean Brodie. It’s a curious choice for a year that gave us Woodstock and the moon landing.
Imagine a time capsule from the 1950s, plucked out and dropped into 1969. That’s essentially “Jean”. It’s a ballad, drenched in acoustic guitars and harp, with lyrics so generic they could be a placeholder. A number two hit? It’s a baffling testament to the music industry’s occasional lapses in judgment.
7. “Indian Giver” – 1910 Fruitgum Company
1910 Fruitgum Company. Seriously? It sounds more like a produce distributor than a band. Their final chart-topper, “Indian Giver”. is a prime example of why. The title alone is a red flag, a glaring example of insensitivity that’s hard to ignore, even by today’s standards. Beyond the offensive implications, the song itself is a vapid, manufactured pop confection. It’s like a factory-produced smile plastered on a cardboard cutout.
Think of “Indian Giver” as the musical version of a paper plane – it’s weak, easy to forget, and has no real purpose. This shows that even the weirdest band names can create music that’s just as strange.
6. “Gitarzan” – Ray Stevens
Ray Stevens, the king of questionable comedy songs, strikes again with “Gitarzan”. It’s a musical collision between Tarzan and a guitar, a concept so absurd it feels like a fever dream induced by a particularly potent dose of tranquilizer.
Stevens inhabits the role of Tarzan with all the subtlety of a bull in a china shop. His vocal gymnastics are more akin to a circus act than a musical performance. To top it off, the backing track is a lazy, half-hearted attempt at jungle ambiance. “Gitarzan” is the gold standard of why some ideas should remain firmly in the realm of bad jokes.
5. “I’m Gonna Make You Mine” – Lou Christie
Lou Christie’s “I’m Gonna Make You Mine” is a chilling example of how music can normalize disturbing behavior. Beneath its glossy pop exterior lies a deeply unsettling narrative of obsession and possessiveness. The lyrics are downright creepy, portraying a man who sees a woman not as an equal but as a prize to be won.
But really alarming in this song is the repetition of the notion of “making” somebody yours. It really could become a reminder that songs can be a shaper of cultural attitudes and emotional relationship norms.
4. “Little Woman” – Bobby Sherman
Imagine a song so dripping with entitlement that it makes you question the singer’s upbringing. Bobby Sherman’s “Little Woman” is that song. It’s a prime example of a man believing the world owes him something, especially a woman who should have better options.
The lyrics are a masterclass in audacity, as the singer attempts to convince a woman to abandon her life for his. There’s an underlying assumption of superiority, as if his world is inherently better than hers.
3. “The Worst That Could Happen” – The Brooklyn Bridge
“The Worst That Could Happen” by Johnny Maestro & The Brooklyn Bridge is a song that takes a perfectly reasonable premise and turns it into a puddle of self-pity. The song starts with a relatable scenario – a man losing the woman he loves to another – but quickly derails into a melodramatic whine fest.
The chorus, where the singer declares his heartbreak as “the worst that could happen”, is a cringe-inducing moment of peak self-absorption. It’s a jarring disconnect from reality, as if the singer is unaware of actual suffering in the world. The song ultimately comes across as a petulant child’s tantrum, rather than a heartfelt expression of loss.
2. “This Girl Is a Woman Now” – Gary Puckett & The Union Gap
Gary Puckett & The Union’s “This Girl Is A Woman Now” is a deeply unsettling song cloaked in innocuous pop packaging. The lyrics, veiled in ambiguity, hint at a disturbing reality. The phrase “this girl is a woman now” is loaded with potential interpretations, but the song’s undertones suggest a far more sinister meaning.
As the lyrics unfold, the song takes a darker turn. References to a “sweet and velvet night” and a “child who died” paint a harrowing picture. The song’s conclusion is a chilling affirmation of a predatory act, disguised as a celebration of womanhood. It’s a grotesque exploitation of a vulnerable subject, presented with a veneer of romanticism.
1. “Ruby, Don’t Take Your Love To Town” – Kenny Rogers
“Ruby, Don’t Take Your Love to Town” is a song that initially pulls at heartstrings with its portrayal of a war veteran’s vulnerability. Kenny Rogers’ smooth vocals and the song’s country ballad format create a sense of empathy for the paralyzed protagonist. However, the veneer of pathos quickly crumbles when the lyrics take a sinister turn.
The line “And if I could move I’d get my gun and put her in the ground” is a shocking revelation of a mind consumed by darkness. It transforms the song from a tragic ballad into a disturbing portrait of a man consumed by jealousy and rage. The threat of violence is both explicit and chilling, making the song a deeply unsettling listen.