The year 1970 gave Top 40 and rock radio stations plenty to work with. The Rolling Stones, Creedence Clearwater Revival, Simon & Garfunkel, and the Guess Who all had major hits that year. But there was considerably more going on beneath those familiar titles.

Alongside the well-known hits were Top 10 singles, radio favorites and album cuts that once received plenty of airplay but have largely slipped from regular rotation. Here are 12 worth revisiting.

R. Dean Taylor—“Indiana Wants Me” (Indiana Wants Me)

One of the most unusual hit singles of the era, the song tells the story of a fugitive on the run after committing a crime of passion. Released on Motown’s Rare Earth label, it climbed to #5 in the U.S. and #2 in the U.K. Taylor had already established himself as a successful songwriter. The record became the defining hit of Taylor’s career and a rare example of a narrative song reaching the Top 10.

Kenny Rogers and the First Edition—“Something’s Burning” (Something’s Burning)

Written by Mac Davis and released in January 1970, the single initially encountered resistance from radio programmers, who considered its lyrics too suggestive. A performance on This Is Tom Jones helped boost its visibility on both sides of the Atlantic. It reached #11 on the Hot 100 and #8 in the U.K. Its dramatic production, including a backward heartbeat effect at the beginning, helped it stand apart from almost everything else on Top 40 radio.

Charles Wright & the Watts 103rd Street Rhythm Band — “Express Yourself” (Express Yourself)

This funk classic reached #12 on the Hot 100 and became the signature recording of Wright’s career. Its message of individuality helped give the record lasting appeal, while later sampling by N.W.A and other hip-hop artists introduced it to new generations. More than 50 years later, it still holds up surprisingly well.

The Gentrys—“Cinnamon Girl” (single)

Neil Young’s original version appeared on Everybody Knows This Is Nowhere in 1969. The following year, the Memphis group (best known for their 1965 hit “Keep on Dancing“) gave the song a tougher, garage-rock edge, even outperforming Young’s own single release on the Billboard chart.

The Guess Who—“Hand Me Down World” (Share the Land)

Overshadowed by such hits such “American Woman,” “No Time” and “Share the Land,” this Kurt Winter composition still reached #17 on the Billboard Hot 100. The song demonstrated that they remained a formidable singles band even after Randy Bachman departed. The band placed four singles in the U.S. Top 20 between 1970 and early 1971, and this was one of them.

Barbra Streisand—“Stoney End” (Stoney End)

Written by Laura Nyro and produced by Richard Perry, it reached #6 on the Hot 100 and helped reshape Streisand’s public image. The accompanying album climbed to #10 on the Billboard 200 and introduced many mainstream listeners to Nyro’s songwriting. The success of the single encouraged Streisand’s move toward more contemporary material.

Alive N Kickin’—“Tighter, Tighter” (single)

Co-written by Tommy James and Bob King, this bright and infectious single became one of the summer of 1970’s biggest surprises. It reached #7 on the Hot 100 and spent 14 weeks on the chart. No subsequent release came close to matching its success.

Hotlegs—“Neanderthal Man” (single)

Before they evolved into 10cc (with Graham Gouldman), Eric Stewart, Kevin Godley and Lol Creme scored an international hit with this stomping rocker. Originally recorded as a studio experiment at Strawberry Studios, the record climbed to #2 in the U.K. and entered the U.S. Top 40. The record previewed the inventive studio techniques that would later become part of 10cc’s identity.

Assembled Multitude—“Overture from Tommy” (single)

Produced by Bill Buster, this Philadelphia studio project transformed themes from The Who’s Tommy into a brass-heavy instrumental medley. Released while interest in the rock opera remained high, it reached #6 on the Hot 100. Few albums generated enough interest to inspire a hit instrumental medley, but Tommy was one of them.

Traffic—“Every Mother’s Son” (John Barleycorn Must Die)

The LP began as a planned Steve Winwood solo album before evolving into a full Traffic reunion. The album reached #5 on the 200 and #11 in the U.K. Mixing folk, jazz and rock influences, the track captures much of what made Traffic unique, and it remains a favorite among admirers of what is often regarded as the band’s finest album.

Derek and the Dominos—“Anyday” (Layla and Other Assorted Love Songs)

The Layla album produced one of rock’s most famous title tracks, but “Anyday” deserves attention of its own. Co-written by Eric Clapton and Bobby Whitlock, the song showcases the album’s powerful twin-guitar attack. Duane Allman joined the sessions after producer Tom Dowd introduced him to Clapton (a big fan of Allman’s work) in Miami, and the guitar interplay between Clapton and Allman drives much of the track.

Santana—“Incident at Neshabur” (Abraxas)

While “Black Magic Woman” and “Oye Como Va” became the album’s best-known songs, this instrumental remains one of the most adventurous performances on Abraxas. Co-written by Carlos Santana and keyboardist Alberto Gianquinto, it combines Latin rhythms, jazz influences, and dynamic guitar work into a thrilling five-minute showcase. It ranks among the strongest non-single tracks in Santana’s catalog.