Here are the tracks that defined it… Words by Matthew Horton, Tim Chester, Priya Elan. Inspired by the films of Bunuel and quasi- Biblical in its lyrical bent, ‘The Weight’ became an anthem of American counterculture (see its use in Easy Rider and later Girl, Interrupted). “A Day in the Life” is the consummate example of how perfectly their collaboration could work when the elements mashed. As for the central metaphor, comparing love to a burning ring of fire was a creative, almost counterintuitive step that successfully brought together both the joy and the pain of falling hard for someone. This song fires twin darts at your heart from the beginning. Since covered by everyone from Megadeth to Jessica Simpson. Is it a harpsichord? Although the band broke up shortly after this song’s release, the arid R’n’B stylings of this track would live on decades after their demise. https://www.youtube.com/watch?v=g-D9xcZgKX4. Although songs like “Sunshine of Your Love” deliver a distinctly late-’60s psych sound, the band went on to become influential in the forming of metal, prog and jam bands. Unleashed in 1964, at a time when even The Beatles were still trading in ‘Eight Days A Week’-style pop hits, this track was a sexually-charged bolt from the blue that still sounds as vital and untamed 50 years later. Louis Armstrong, “What a Wonderful World”, 72. Until he died in massive accident, that is. Folk enjoyed a political revival, yet, the British Invasion was blessedly not political. There were points during that time when, despite the ire of rock ‘n’ roll hipsters, the so-called pre-fab four outsold their Liverpudlian predecessors, thanks in large part to the bouncing pop of 1966’s single “I’m A Believer.” Ultimately, The Monkees enjoy a kind of iconic pop culture status both because of and in spite of the unusual and even existential way the group came to be. Chip Taylor – brother of US actor Jon Voight – wrote ‘Wild Thing’, which was originally recorded by The Wild Ones. One of our favorite performances of this song actually came almost 20 years later, though, after divorce and solo careers. By NME. 1 single. But the musicianship and full-force funk makes it transcend the throwaway, as Sly Stone, guitarist Freddie Stone, bassist Larry Graham and hornsmith Cynthia Robinson all get a go on lead vocals and sweep the world up in the fun. — Zach Blumenfeld, “Rock and roll—it’s the only place you can scream like that without going to jail,” Sonics vocalist-keyboardist Gerry Roslie told me a few years ago. Find album reviews, stream songs, credits and award information for 100 Jukebox Hits: 50's & 60's - Various Artists on AllMusic - 1998 - Anyone tuning in and thinking that Sarandon… : 1: That's Amore: Dean Martin: 1953: Oldies: 2: Come Fly With Me: Frank Sinatra “Ground control to Major Tom” it begins, introducing the world not only to the first of his many characters but in many cases to the man himself. Naturally, that was a recommendation flagrantly disregarded. —Mark Lore, Stevie Wonder wrote the music for this song, but he went to Robinson for help with the lyrics. The real story is that the song had been around for about a decade before The Righteous Brothers decided to record it for their 1967 album Just Once In My Life. Dylan’s convention-defying song announced rock ‘n’ roll would become the voice—his voice—for disaffected Boomers out to revolutionize everything they could touch. The Who’s debut single – if we gloss over The High Numbers’ ‘Zoot Suit’ – is built on a clean, metallic riff that has cropped up time and again in rock (and dance) music. —Mark Lore, The Jimi Hendrix Experience never sounded better than they do on “Fire,” arguably the liveliest performance the trio ever put to tape. —Robert Ham, It’s hard to think of any one record that has influenced an entire genre as much as the 13th Floor Elevators’ seminal debut The Psychedelic Sounds of the 13th Floor Elevators influenced the future of psych rock. —Mark Lore, The Kinks’ 1964 breakthrough hit is widely (and rightly) considered an all-time great. A hymn-like universal anthem which King penned with songwriting legends Leiber and Stoller, that was not only later to be covered by Jimi Hendrix but also used for the classic coming of age film of the same name and would become a by-word for 50s nostalgia. — Bonnie Stiernberg, With the signature kick drum intro that has been emulated and imitated ad nauseum since, Phil Spector outdid himself when he wrote the girl-group classic “Be My Baby.” The only thing that could improve such a simplistically genius song is the impeccable vocal capacity of the remarkable Ronnie Spector and the Ronettes. Booker T and the MG’s, “Green Onions”, 74. It’s those first few moments after a bad breakup or the beginnings of a long distance relationship with an uncertain future. Has disenfranchisement ever sounded as guttural, raw, and downright cool as this? But even if this 1963 single should actually just be taken at face value, “I Want To Hold Your Hand” exemplifies the era’s joyful pop rock, noted by kitschy handclaps, a swinging backbeat and perfect Fab Four harmonies. It’s a song that serves as a portrait of a specific scene, expertly reflecting a certain time and place when hedonistic socialites, intellectuals and bohemians converged on The Factory to challenge social norms, demand acceptance and be codependent—and it does it all with only two chords. https://www.youtube.com/watch?v=ykU8iSKkJR0. Fifty years later, the chemistry between organist Booker T. Jones and guitarist Steve Cropper still feels like it’s happening live. — Bonnie Stiernberg, The passion in frontman Levi Stubbs’ vocals is palpable, but in case you didn’t pick up on it, he drives it home with the line “You mean more to me than a woman was ever meant to be.” — Bonnie Stiernberg, If this song sounds suspiciously like a Motown rip-off, fear not. ‘Beggars Banquet’’s opener was Jagger and Richards at their finest; the former swiping bits of Baudelaire for a dance with the devil and the latter suggesting it be set to a samba rhythm. Smokey Robinson was the quite the Motown mogul, becoming a VP after encouraging Berry Gordy to set up the label in the first place, then piling on hit after hit as a writer/producer and lead singer of The Miracles. That Bowie makes it seem so seamless is a sign of his mastery. The debut single from Tacoma, Washington’s The Sonics is creepy as its title suggests, romping along on a honking riff intercut with frenzied surf guitar freakouts. Released in 1965, John Coltrane’s A Love Supreme—led by the strength and cohesion of its title track—was certainly celestial. —Matt Fink, Like many of the early garage-rock standout songs, “Wild Thing” is a cover: written by Chip Taylor, New York City band The Wild Ones first recorded the song in 1965. Of course the six minute monster went on to become a worldwide hit and one of the most influential pieces of music of all time. Van claimed he never saw a penny of royalties and the contract he naively signed rendered him liable for all expenses incurred during the recording process, which is probably a big reason why he doesn’t consider it one of his favorite songs from the catalog. Bryan MacLean worked it up for Love’s 1966 debut album, but didn’t get around to completing it for another year or so – and this time he barely appeared on it, finding his vocal wiped in favour of Arthur Lee’s harmony lines. That is, the Byrds’ music has that sort of dependable self-energizing kineticism. All Rights Reserved, 100. Grace Slick perfectly captured the mid-60s hope that narcotics could change perceptions and the world. View (or listen) to the best hits from the '60s here! — Bonnie Stiernberg, “Walkin’” certainly marks the height of Cline’s crossover success, ranking high on both country and pop charts—peaking at No. — Bonnie Stiernberg, This 1964 single maybe have been the last time Roy Orbison reached the top of the charts in the U.S., but the impact it had on the pop music world was marked. This was only a prelude to the true greatness to come. The opening lick over the quick bass/snare drum combo is instantly recognizable. Released initially against the wishes of Motown man Berry Gordy, its lyrics are an embittered document of an infidelity, but its vocals are pure honeyed, Marvin sweetness. Hard to wipe that image of Patrick Swayze, Demi Moore and the potter’s wheel in 1990’s Ghost, but ‘Unchained Melody’ was almost a cliché even as far back as 1965, having been subjected to numerous versions already. The 1960s are often considered the best decade for music in America. Song Title Song Artist Year Genre; Top songs of the 1960's is updated by the minute by … Try to listen to this song, even in our current cynical and overstretched times, and remain unmoved or unemotional. Priority's Chart Toppers series is an excellent budget-line collection, offering a strong selection of 15 original hits, grouped by a specific theme and decade, on each disc. Crosby, Stills & Nash, “Wooden Ships”, 49. The song starts with Lennon’s reflections on the news of the day, tinged with his usual dark outlook. They were also playing what was essentially punk rock in the small town of Tacoma, Wash. one year before bands like The Seeds and the 13th Floor Elevators had done anything, three years before the Brits gave us The Pretty Things or The Deviants, and almost five years before The Stooges and MC5 blew up Detroit. —Hilary Saunders, Haggard had already landed four No. —Max Blau, © 2021 Paste Media Group. —Josh Jackson, Supposedly, this ballad was written as a response to the turbulent times when the Civil Rights Movement and anti-war protests were reaching their peak temperatures. Little Stevie Wonder, “Fingertips Part 2”, 92. (“This album is eclectic?) —Bonnie Stiernberg, This legendary duet ranks among the best of all time—Motown or otherwise—and it wouldn’t have been possible without the help of songwriter Nick Ashford. “Dazed and Confused,” one of the lead, legendary originals from the band’s self-titled debut, however, helped lay down the groundwork for a storied decade to come. Like many Cream songs, ‘White Room’ was written by bassist and vocalist Jack Bruce with the English poet Pete Brown. The song ratchets up with intensity and emotion in much the same way that their ‘64 hit “You’ve Lost That Lovin’ Feelin’” did, but for much different aims. Having finished an exhaustive tour of England he’d lost interest in the music game, but the creation of this track – one of his finest moments made even better with Al Kooper’s signature organ line – reinvigorated his love for music. However, bands with votes for multiple songs were limited to two tracks each. Columbia Records was more than happy to bring in members of the Wrecking Crew for session work to help supplement their meager earnings from Berry Gordy. Brian Wilson probably won’t mind sitting pretty one stop below this track – he thinks it’s the finest pop song ever written. Gladys Knight followed him up, while Creedence Clearwater Revival turned it into a brilliant folk rock freakout. Nice bell work on the cymbals too. Dusty Springfield, “Son of a Preacher Man”, 76. Find the latest in 60s music at Last.fm. It’s one of the better love songs of the ‘60s because of its doe-eyed simplicity, the ease of its melody, and, of course, the power of Valli’s voice when he belts the iconic “I LOVE YOU BABY!” “Can’t Take My Eyes Off You” will remain a classic until drunk grooms stop singing it at weddings, which is to say that it will always be a classic. As the ultimate stamp of grungy approval it would later be squished into submission by Iggy Pop. Originally written by Richard Berry in 1955, The Kingsmen put the track through the inner garage band grinder and created this walloping jive. Led by Jim McGuinn’s distinctive 12-string Rickenbacker, and Gene Clark’s pitch perfect lilt, this was originally the b-side to ‘All I Really Wanna Do’. And it helped bring their second guitarist Jimmy Page into the fold. Phil Ochs, the Texan-born singer, self-described social democrat, and revolutionary, epitomized this. On which pounding drums, Jagger drawl and the first sitar to feature on a Number One record combine for an indie disco favourite for now and all time. ‘Cinnamon Girl’ was later covered by Smashing Pumpkins and Motörhead. With a chorus that boasts she’s going to grab that hussy “by the hair a your hand / and lift you off of the ground,” this is worthy of the WWF, and Lynn ain’t playing. Wilson reportedly listened to this track 100 times a day, and thanks to its irresistible charm and deceptive simplicity, it wouldn’t be much of a hardship. Whether you were Team Beatles or Team Stones, the two bands still stand as arguably the biggest this country has ever produced, but there were more to these years than just John and Jagger. Below you will find a ranking of our favorite love songs from the 1960s that will fill dance floors for years to come. She sings, “You been making your brags about town/ That you been lovin’ my man/ But the man I love, when he picks up trash/ He puts it in a garbage can.”, Owning her man “ain’t” a “saint,” Lynn has no trouble suggesting to the brazen gal stay clear. A lover letter to a real life dancer and traveler but also to the ethereal beauty of Montreal, this track began as a poem (‘Suzanne Takes You Down’) before being recorded by Judy Collins. As the orchestral strings and horns assemble and rise, Cooke proffers a timeless mantra in the refrain—part hope, part prayer, part demand—that a change is going to come. With the backing of The Wrecking Crew (including the twin electric and double bass lines of Carol Kaye and Chuck Berghofer that give the track its distinctive sliding runs), Sinatra and Lee Hazelwood created a classic. A counter-culture classic. The soft layer of sound created by Simon’s guitar is pierced by fierce beats on a snare drum that makes one of the best instrumental moments from any Simon & Garfunkel song. One of the few tracks composed by Nanker – Phelge, which was the collective pseudonym the Stones used when all five of them – Jagger, Jones, Richards, Watts and Wyman – contributed to the writing (and more importantly shared the royalties). “”Some things we fudged on slightly to make it rhyme, but the majority of it’s pretty accurate, I guess,” Haggard told NPR of the song in 2010. Dutch psych rockers Shocking Blue would score a US Billboard Hot 100 No.1 with 1970’s ‘Venus’ (covered so memorably by Bananarama 16 years later), but ‘Send Me A Postcard’ is a darker proposition altogether, singer Mariska Veres evoking Julie Driscoll or Jefferson Airplane’s Grace Slick as she hollers over fuzzed guitar and the obligatory swirling organ. I was an unknown songwriter at the time and it was just an idea I had. 26th March 2012. It’s performed on a bleak scale by Manchester’s finest The Hollies but is an ever-turning song of hope about the nice young lady in the queue who, by August, “was mine“. It’s since been covered by The Vines and speed-metallers Helloween. While many of Bowie’s best are based around the gradual build or surprising the listener, this is by far the one that does it best. Like an American version of Serge Gainsbourg and Brigitte Bardot, Nancy and Lee were a sultry pairing who radiated with danger and mysterious sexual allure. When you want to hear the best '60s radio stations online with unlimited skips, tune in and turn on to AccuRadio! Sorry, late ‘60s parents. https://www.youtube.com/watch?v=pkae0-TgrRU. Gothic before “goth” existed. No less than on the mythology referencing ‘Some Velvet Morning’ which has gone on to become a much covered alternative duet (perhaps most famously by Primal Scream and Kate Moss). There was also a lot of musical styles that emerged in the 60’s. The Beatles, “I Want to Hold Your Hand”, 41. Appropriately, their first single, “California Dreamin’,” is a paean to that state, and is still, for my money, the finest song they have recorded. A stabbing at their infamous Altamont gig added an extra dimension of bitter twang as the soulful crisis of the track signaled the end of an innocent era. You can now listen to our playlist below on Spotify! https://www.youtube.com/watch?v=VN_Aq2W2Yi0. Enjoy the best music of the '60s for free. 1. Throbbing, pounding, and dripping with latent energy it epitomises the lurid appeal of The Stooges at their very best. But it never comes to rest. —Beca Grimm, One of the leading groups of the early ‘60s, Peter, Paul and Mary took inspiration from old-timey folk groups and reinvigorated it with pop harmonies fitting for the day. Against the walking bass, it’s Booker T. Jones’s Hammond organ that steals the show, providing a slink that habitually pops up in adverts and movies including Get Shorty and American Graffiti. Some insist that punk rock started in the U.K. in the ’70s; the Sonics tell us otherwise. Although its chart performance was modest, the song has deservedly been covered on countless occasions by everyone from Jimmy Somerville to Leonard Cohen. Otis Redding, “(Sittin’ On) The Dock of the Bay”, 17. That voice—sounding pissed and possessed—lit up the band’s two releases, 1965’s Here Are The Sonics and Boom, released the following year. It also gave the world one of the catchiest love songs in the world that’s capable of turning a small group of people into a rousing choir once the chorus kicks in. Including rock ‘n’ roll, itself. Listen free to Various Artists – 101 60s Party Hits (Can't Take My Eyes Off You, Things and more). Before there was a mainstream feminist movement, Loretta Lynn was tackling the hardcore throw-down. Musically, the song mimics the narrator’s high, starting off slowly, then picking up speed and building to a frenzied crescendo (highlighted by John Cale’s viola screeches) before coming back down again in the end. The bestselling single from the band that gave us UK No.1 (and later Billy Idol single) ‘Mony Mony’, ‘Crimson And Clover’ occupies a strong, silent place in rock history. Inspired by Stanley Kubrick’s 1968 masterpiece 2001: A Space Odyssey, the song spins the tale of “Major Tom” an unfortunate astronaunt trapped drifiting in space. A scrambling epic, the truth of “Emily”’s existence ( was she real or just a hallucination?) The Sonics were uglier, louder and scarier than anything that had floated this way during the British Invasion. Neil Young’s first single with backing band Crazy Horse is a nice juxtaposition of the prim harmonies of Buffalo Springfield and Young’s later searing rock. Not bad for a song reportedly written after Hendrix wanted to sit by a fireplace on a cold English day. Teenage garage rock crew The Count Five used to stride out on stage dressed as Count Dracula (geddit?) For a hopeful and everlasting sentiment, the song’s final line reads, “I am leaving, I am leaving / But the fighter still remains.” —Laura Stanley, Has there been any song from the ‘60s that has been more watered down and neutered by its continued use in commercials, TV shows, and films than “Born To Be Wild?” There are likely arguments to be made for a lot of tunes from that decade, but the unbound spirit and thudding oomph of this song has lost all its meaning as a result. In the meantime he hepped up his riff with a fuzzbox to keep it warm until the real players came along. Some fascinating kitchen sink realism from Paul McCartney. With 50 years of study, it’s easy today to see the song’s surrealistic lyrics for what they were—a knowing retort, but empathetic, to a privileged woman who has had her comeuppance. 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