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songs from the 60s

What did you do when you were 12? “I Ain’t Marching Anymore” criticizes America’s futile Vietnam invasion with zing and zest over quick acoustic strumming in the tradition of folk heroes like Pete Seeger and Woody Guthie. Marvin Gaye and Tammi Terrell, “Ain’t No Mountain High Enough”, 34. “Like a Rolling Stone”’s refrain, “How does it feel / To be on your own? The Marvelettes, “Please Mr. Postman”, 94. —Robert Ham, “Good Vibrations” was Brian Wilson at his best, before he became his worst—a brilliant demonstration of what The Beach Boys may have done before mental illness derailed their frontman’s career soon after this song became released. Though seemingly saccharine thanks to Bobbie Gentry’s sweet soprano and the song’s repetitive structure, the lyrics actually detail a violent scene, as “Billie Joe McAllister jumped off the Tallahatchie Bridge.” Even still, the song spent four weeks at No.1 in 1967. The iconic single appeared on her 1969 masterpiece album Dusty in Memphis. Before there was a mainstream feminist movement, Loretta Lynn was tackling the hardcore throw-down. Pharrell to join Run the Jewels for "Holy Calamvote" airing Friday night! The Mamas & the Papas, “California Dreamin’”, 51. (“This album is eclectic?) Proby, Cliff Richard, the Shadows, and others, but unfortunately nothing from the Beatles, the Rolling Stones, the Who, the Kinks, the Byrds, Bob Dylan, or Motown, all of whom helped shape the feel and sound of the decade. Ike & Tina Turner, “River Deep – Mountain High”, 73. 1 in two separate runs (in 1960 and again in 1962, due to its revival in its pop culture). Turn!, _said. We may have hit a —Nick Marino, The magic of The Beatles is that two men with very different aesthetics, Lennon and McCartney somehow formed one of the most dynamic combinations in the history of rock and roll. —Hilary Saunders, Almost 50 years since the release of Big Brother and the Holding Company’s cover of “Piece of My Heart” and still no one can wail like Janis Joplin. The Velvet Underground, “Pale Blue Eyes”, 70. Everybody look what’s going down…” The title of the song is perfect: “For What It’s Worth.” There is no bitterness, no dialectic…just description, and a word of unspoken advice: hold back from the battle—look around—we’ve already won the War. “Space Oddity” certainly feels like two or three different parts of songs melded together. Since its release in 1966, countless bands have tried to imitate the album’s sound, and every psych-oriented group from The Jesus and Mary Chain to The Black Angels are in some way indebted to The Elevators and their visionary frontman Roky Erickson. — Bonnie Stiernberg, The MC5 group was known for their aggressive, political-fueled live shows that, along with fellow Michiganders the Stooges, set the stage for punk rock acts for years to come. Technically, “Crimson and Clover” was one of the first songs recorded on a 16-track tape, and Tommy James’ use of tremolo foreshadowed much of the acid rock and psych rock to follow. “Israelites” was one of native Jamaican Desmond Dekker’s first international hits and offered the world its first taste of this now-beloved genre. The ancient concept of the round figures importantly, as do the very modern innovations of the Beatles and the Beach Boys. After the track hit number one, The Temptations’ decidedly less gritty version was released, but by then, Starr’s take had already cemented its status as the definitive version. In fact, even in its much tamer studio version, The Stooges’ feedback-heavy force of a song still out-fought most hard-rockers in ’69, only being outdone by Detroit brothers The MC5. 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. Back in 2008, Diamond told us the history of the song, written for John F. Kennedy’s daughter Caroline: “It was her birthday and her husband [Edwin Schlossberg] called up and said, “Neil, could you sing happy birthday to Caroline?” I agreed to do it so we set up a cross-country satellite thing in my little studio here in LA. "Tossin' And Turnin'" - Bobby Lewis Hot 100 Peak Position: 1, Peak Date: July 15, 1961, 7. 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. —Hilary Saunders, Girl-group perfection, this song took The Marvelettes to the top of the charts right out of the gate. Smokey Robinson & The Miracles, “You Really Got A Hold on Me”, 30. Laden with clap-along drums and a flourishing string section, “Be My Baby” is a aural depiction of fresh, undying love; the kind that makes people nauseous both from it’s sickening sweetness and everyone desire to find the same. "(Sittin' On) The Dock Of The Bay" - Otis Redding Hot 100 Peak Position: 1, Peak Date: March 16, 1968, 20. 1 single and knocking “Penny Lane” out of the top spot. The electric guitar’s role in rock music would never be quite the same. experience. —Paul Williams, Ben E. King began his career in the late 1950s with The Drifters, singing on several hits including “There Goes My Baby” and “Save the Last Dance for Me,” but he went solo shortly after and this song became a hit in 1961. — Bonnie Stiernberg, No one wonders why bands still love to cover “I Wanna be Your Dog” in 2014. Whether the lyrics implied drug consumption (as listeners suspected) or a foggy-brained love song (as Hendrix claimed) is irrelevant. Though they would continue to record and tour following the release of The Psychedelic Sounds…, nothing they did came remotely close to having the impact and ferocious psychedelic energy of their debut and its incendiary single and leadoff track, “You’re Gonna Miss Me.”—Ryan Bort, When Patti Smith name-checks this song in her book Just Kids as something important she heard on the radio in the late ‘60s, well, that must mean it’s culturally significant. Plus, it helped those boys in Remember The Titans work out their differences. But the new era arrived quickly. Here are the 100 best songs from the ‘60s. And as we all know, the song went on to be a huge hit, giving this California-based pop group their lone No. Chubby Checker's rock-indebted dance track "The Twist," the only song ever to hit No. The poignant effect of the flute is a tribute both to the orchestration and to John Phillips, who arranged (and wrote) the song. —Ron Hart, This song became a big deal even before the 13th state in the union officially decreed it the official state song in 1979. — Bonnie Stiernberg, “Walkin’” certainly marks the height of Cline’s crossover success, ranking high on both country and pop charts—peaking at No. But the prominence of the form undermines our knowing anything about all that. Want to get started? © 2020 Billboard. The '60s was the first full decade of rock and roll, and the top twenty singles of the decade reflect a battle between old and new forms. “I Got You (I Feel Good)” is his highest-charting single, though, lead by Brown’s squeals, yelps, and shaking hips. —Tyler Kane, It wasn’t the first entry in the psychedelic rock canon, but by March of 1967 no song had gone quite so far in creating a nightmarish alternate universe as “Purple Haze.” Structurally simple yet harmonically complex, it was a plodding, bad trip anthem that turned the blues inside-out and invented heavy metal doom riffage in the process. - Louis Armstrong And The All Stars Hot 100 Peak Position: 1, Peak Date: May 9, 1964, 16. Try temporarily disabling it. This song in particular, the first song off 1966’s album of the same name, was an especially soulful and successful example of their musical spark. Through all its agitation—the off-kilter drum fills, furious horn solos, and rolling bass lines—there’s an underlying heartbeat centering the rhythm when it almost falters. —Katie King, No single song captures The Velvet Underground’s ethos more perfectly than “Heroin.” Contrary to popular belief, it’s not an endorsement of the drug (you only need to listen to Reed’s wry, self-deprecating laugh after he sings “it’s my wife, and it’s my life” to glean that much), but it’s also not an after-school special. Fun fact: On drums is none other than Marvin Gaye. 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. This was only a prelude to the true greatness to come. How could you not feel good with all those saxes and bass?—Hilary Saunders, Stephen Stills wrote his first major topical song since “Hard Rain” with this song, the first Buffalo Springfield single to make the charts. — Bonnie Stiernberg, Everyone from The Beatles to She & Him has covered this track, but no one can touch the original. —Steve Rosen, It’s telling that, 40-plus years after its initial release, “Space Oddity” remains a weird, weird song. — Zach Blumenfeld, This platinum-selling 1969 single was one of Neil Diamond’s biggest hits. 787,428 listeners, The Beatles 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. —Max Blau, Etta James was one of those rare singers who absolutely defied genre. Laughing Len once sang in a honey-smeared pop register before trilbies and dodgy accountants had taken their toll. — Bonnie Stiernberg, SNAP! “I turned 21 in prison doing life without parole / No one could steer me right, but mama tried—mama tried” may not have been strictly autobiographical—Haggard never served a life sentence, after all—but he did his share of hard time for offenses beginning in his teenage years. Written in honor of Simone’s friend Lorraine Hansberry, author of the play A Raisin in the Sun (which, consequently, takes its name from Langston Hughes’ poem “Harlem”), the song became an anthem of the Civil Rights Movement. The call-and-response of lines like “What’s your name? Even though he’s gone on to write literally thousands of great songs since then, nothing has ever surpassed the sincerity and passion the 21- year-old musician poured into every track on the record. By itself, it’s no more than a melancholic mood piece, but then, after a sudden transition made from harsh glissandos, it changes into what sounds like a separate song—McCartney, churning out one of the light, gorgeous melodies he seemed to summon at will. The marriage—not so much. True to the title and the song’s worshipful spirit, it moves up into the stratosphere with each passing minute with the help of Jackie Wilson’s unbound falsetto and a bridge section that lets the horns burst out like a heavenly call to action.

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