60s music hits

60s music hits

But, the Godfather of Soul’s performance on The Ed Sullivan Show in 1966 helped secure this song’s importance simply because of the fancy footwork he showcases here. We recommend you to check other playlists or our favorite music charts. Originally called ‘Six Miles High’ in reference to the altitude of a commercial flight, ‘Eight Miles High”s less specific title had people thinking about drugs, and the song was duly banned in the States. Everyone from Blur to The Libertines owes a reasonable debt to this slice of wistful British storytelling. 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’. The 6/8 time signature and the renaissance feel of the instrumentation give the song the tone of a dirge but Cohen’s vocal performance – exploding into each refrain with a tangible sense of awe – is the essence of rock ’n roll. Find Pop Top 100 Songs Of The 1960's Decade here Classic 60's music is in popular demand All over the internet and on number one calendars, music of the 60's remains very popular. Co-written by then Manfred Mann singer – and also writer of ‘Handbags And Gladrags’ – Mike D’Abo, ‘Build Me Up Buttercup’ is still a ubiquitous wedding and movie soundtrack favourite 40-odd years on. —Robert Ham, Covered by the likes of Calexico and The Damned, “Alone Again Or” was written by Love guitarist Bryan MacLean, and intended for the band’s 1965 debut. —Kurt Suchman, “The Weight” remains The Band’s most well-known song to date, and who can complain with that? 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. Who hasn’t heard the popular hits from the 60s like “On Top of Spaghetti” by Tom Glazer and the Do-Re-Mi Children’s Chorus, and “Tie Me Kangaroo Down, Sport” by Rolf Harris? 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. Other timeless lyrics like, “And the people bowed and prayed / To the neon god they made” makes “The Sound of Silence” forever an important song in music’s history. Songwriter Rod Argent drives the song on with his electric piano while Colin Blunstone strains for the vocal as the song gives early warning of The Zombies’ accomplished pop skills, later realised on legendary album ‘Odessey And Oracle’. ‘The House Of The Rising Sun’ was only The Animals’ second single but it made their name, topping the charts at home and in the US. 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. It’s “Born in the U.S.A.” without the irony and misinterpretation. “A Change is Gonna Come” was released during the end of a tempestuous 1964. https://www.youtube.com/watch?v=K-wJNpWgss8. With the groovy panache of a jazz track, ‘She’s Not There’ gave St Albans rockers The Zombies a No.12 UK (and Top 10 US) hit with their debut single. Frankie Valli and the Four Seasons, “Can’t Take My Eyes Off Of You”, 82. 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 Stax house band found themselves with an iconic record themselves here, a simple 12-bar blues that thrives on in-built cool. The blues bled into hard rock. https://www.youtube.com/watch?v=EkPy18xW1j8. —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. It’s not a cry for help but a cry for ownership and pride. Forthright and literate with a flowery orchestration from producer John Simon, Cohen’s definitive version appeared on the troubadour’s classic debut ‘Songs Of Leonard Cohen’. My Girl The Temptations. The Righteous Brothers, “Unchained Melody”, 97. Tragic storytelling at its succinct best. The formal structure of a constant rhythmic ground can overcome any material. The music itself is simple, as most of Fogerty’s tunes are. They might have done the gritty thing with ‘Ball Of Confusion’ and ‘Papa Was A Rollin’ Stone’ or tried overwrought testifying on ‘Ain’t Too Proud To Beg’, but the Temptations song that gets reeled out most these days is this soppy, doo-wopping poem to a girl who makes everything all right. — Bonnie Stiernberg, “Hello, darkness, my old friend / I’ve come to talk with you again.” Arrested Development jokes aside, this lyric from “The Sound of Silence” is one of the most iconic song openers in music. From the hit machine and conveyor belt of in-house stars produced by Motown to the burgeoning, melon-twisting dawn of psychedelia, it was a decade of exploration and experimentation. Each song title contains a YouTube link to the original song. Released in 1965, John Coltrane’s A Love Supreme—led by the strength and cohesion of its title track—was certainly celestial. They were signed up by Wayne Bickerton – later the svengali behind The Rubettes – and, after some near misses, clocked up a minor hit with this dramatic slice of Northern Soul, a Top 40 entry back in their native States. While Otis Redding originally had a hit with this track in ’65, it would take two years, a phenomenal soul voice, some backing “sock it to me”s and a formidable “R-E-S-P-E-C-T” breakdown to really set the track on fire. Less breaking boundaries than headbutting them into submission, the MC5 exploded into a clueless ’69 with their debut album of the same name, and this nitrous calling card would stamp firm their legacy forever. If there’s one year that sums up the sixties the best, it’s 1967. Still, it’s a remarkable record, reminiscent of free jazz in its loose approach as The Byrds’ West Coast harmonic rock falls apart all around them. —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. But the special thing about this song is that it’s the most direct and rebellious song he’s ever penned. https://www.youtube.com/watch?v=ltRwmgYEUr8. The world's defining voice in music and pop culture since 1952. —Mark Lore, The Jimi Hendrix Experience never sounded better than they do on “Fire,” arguably the liveliest performance the trio ever put to tape. There’s a man with a gun over there, telling me I’ve got to beware. The Flirtations started life as The Gypsies before switching coquettishly in the mid-60s and trading the US for the UK in search of hits. 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. Yet another sterling pop track based on a dysfunctional relationship, Elvis’ final Number One was initially a flop for another songwriter, Mark James. Laughing Len once sang in a honey-smeared pop register before trilbies and dodgy accountants had taken their toll. But it never comes to rest. It may have been a hard left turn away from the blues-based rock and pop the group was doing up to that point, but that doesn’t diminish the song’s power one iota. And that’s very strange and also very sad. It took Gouldman to give that feeling a musical lift buoyed by little lyrical details (“Sometimes she’d shop / and she would show me what she bought”) and a shimmying rhythm. Listen to Hits Of The 60s, 70s, and 80s Songs by artists like Frankie Valli & The Four Seasons, Bill Medley, Chic, Little Eva, and Pink Floyd. https://www.youtube.com/watch?v=E2VCwBzGdPM. Throbbing, pounding, and dripping with latent energy it epitomises the lurid appeal of The Stooges at their very best. A golden age of AM Top 40. This mysterious, mariachi horn-drenched kickstarter from fantastic 1967 album ‘Forever Changes’ was almost not on it at all. Still a teenager, this was another 60s smash written by future 10cc-er Graham Gouldman in his downtime. Ike & Tina Turner, “River Deep – Mountain High”, 73. 1 singles by the time this single was released in 1968, but the country star’s incarceration a decade earlier gives this rueful number a particular authenticity. With its use of backwards tape, reverbed piano and hop-scotching rhythms this track was a psychedelic masterpiece from the tie-dye pen Syd Barrett. Here The Isley Brothers continue their own shouting theme (after 1959’s ‘Shout’), taking The Top Notes’ ‘Shake It Up, Baby’ and giving it some welly, eventually climbing into the US Top 20. More than the specifics of what he did, it’s important to him that he stayed true to himself. The Mamas and the Papas are extremely sensitive to their material and to the impact of their finished product (producer Lou Adler probably deserves quite a bit of the credit here); their whole gimmick, if you want to call it that, is complex harmonies, each group member singing on one or several tracks which, when all mixed together, produce a new sort of harmony, not at all choral. —Steve Rosen, It’s telling that, 40-plus years after its initial release, “Space Oddity” remains a weird, weird song. —Paste Archives, Even though Prince and Joan Jett later covered this song, it’s the 1968 original that really made its mark on the industry. Influenced by The Kinks’ ‘All Day And All Of The Night’, Pete Townshend’s choppy guitar has inspired The Clash and The Hives, while the song has been covered by David Bowie. —Brian Tremml, Gladys Knight & The Pips and countless others recorded their own admirable versions of this song, but the pain audible in Marvin Gaye’s rendition lends the lyrics some added pathos. — 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. Soul, blues, jazz, pop—put it in front of her, and she could sing it, breaking your heart on one track by sounding gritty, raw and broken before putting a big, stupid grin on your face on the next song with vocals that were smooth and pristine. “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. —Paste Archives, The Monkees didn’t form; the band was made – in this case for an American TV show inspired by The Beatles’ film A Hard Day’s Night. It took a 4am – 7am session at Tennessee’s American Sound Studio with Chip Morman to birth The King’s final calling card. Browse Music. —Nate Logsdon, The debut single from The Zombies put them on the charts in both the U.K. and the U.S. Songwriter Rod Argent’s keyboard and a choppy jazz beat open things up before the band’s familiar harmonies come in on the driving chorus. 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. When R&B legend, pianist, singer, and songwriter Ray Charles covered this old tune from the ‘30s, it leapt to the top of the charts in 1960. It wasn’t the record’s first single, but it’s no doubt the most enduring, and a permanent soundtrack to late-’60s counterculture. 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. The iconic chorus features Diana Ross, Florence Ballard, and Mary Wilson all singing in unison, throwing up choreographed hand gestures that undoubtedly inspired the wrist-twisting of Beyoncé’s “Single Ladies (Put A Ring On It.” —Hilary Saunders, Well, lemme tell ya now: With that piano slide and a bassline that just can’t be beat, this one’s a shoe-in. The song is vocally percussive, yet smooth and swaying; its bold lyrics are both timely for the era, yet utterly timeless in an age where Black Lives Matter. Though hailing from Hitsville U.S.A. in Detroit, the song has been covered by everyone from The Beatles to The Carpenters to The Saturdays. Hauntingly brilliant. (But don’t worry, you can just click here to find our best-of lists for some of those bands like The Beach Boys, The Rolling Stones, The Beatles, The Kinks, and The Velvet Underground.) Creedance Clearwater Revival, “Fortunate Son”, 12. It became his only No. —Shane Ryan, Nearly 50 years after its release, “Respect” is still ubiquitous. 100 best tracks of the ’60s – Spotify playlist. —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. But it was Hampshire rockers The Troggs who made a proper go of it, detuning the guitars, throwing in an ocarina solo and attacking it with Reg Presley’s growling bravura – all in the service of grabbing a US No.1 single. A cheery bolt of daydream escapism, amongst a background of social upheaval. https://www.youtube.com/watch?v=aAdtUDaBfRA. 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. Written by future 10cc member Graham Gouldman, the song still works in the way that romantic movies still capture our attention. ‘To Love Somebody’ was originally intended for Otis Redding , but he died before he could tackle Barry and Robin Gibb’s latest masterpiece so the Bee Gees recorded it themselves. Sometimes ‘The Sounds Of Silence’, sometimes ‘The Sound Of Silence’, depending on which year you’re standing in, Simon And Garfunkel’s first US No.1 started life on the flop debut album ‘Wednesday Morning, 3am’ before being retooled for success without the duo’s permission by producer Tom Wilson. In 1968, “Fist City” was a revolution—a woman with no shame taking care of what’s hers. Trading lines with Mayfield is tenor Fred Cash, and there are strings and brass arranged by Chicago soul producer Johnny Pate to create a gorgeous love train that’s leaving today. —Robert Ham, While there remains some mystery surrounding Jerry Garcia of the Grateful Dead’s involvement with Jefferson Airplane’s folk-psychedelic classic Surrealistic Pillow, it’s certain that the album remains a premier example of the concise blends of the bohemian 1960s. That’s some vocal range. Nancy Sinatra, “These Boots Are Made For Walkin’”, 96. —Kurt Suchman, The early days of rock music found its many stars and wannabe stars digging through the treasure trove of folk and blues for inspiration. —Hilary Saunders, Girl-group perfection, this song took The Marvelettes to the top of the charts right out of the gate. What started out as a folk-rock style on the first album has been turned, via repetition, into a form. The mariachi horns are instantly recognizable, as is Cash’s idiosyncratic baritone. https://www.youtube.com/watch?v=Ymr092edNAA. Has disenfranchisement ever sounded as guttural, raw, and downright cool as this? And supposedly that television appearance wasn’t planned. “”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. Mellow as yellow custard, folk-rock supergroup Crosby, Stills and Nash’s ‘Wooden Ships’ hides its anti-war message in plain sight, drifting by on noodly guitars, caressed by Stephen Stills’ delicate organ-playing. And yet, in 1969, when bands such as Led Zeppelin and The Rolling Stones were playing stadiums with electric guitars, he got his band of violins and horns together to record this emotional song in his unique style that endures to this day. According to legend, Who manager Kit Lambert suggested that Roger Daltrey stuttered in order to sound “like a kid on speed.” Either way, it’s still a clarion call for a youth in revolt. It was too late, however, as Ms Springfield’s slinky horn-packed effort had already written itself into the history books. Cash boosted it with the mariachi horns that give it its overriding, buoyant character. But within the band’s own history, “Crimson and Clover” served as the turning point for more conceptual work. Listen online or download the iHeartRadio App. —Mark Lore, The Kinks’ 1964 breakthrough hit is widely (and rightly) considered an all-time great. Marvin Gaye, “I Heard It Through The Grapevine”, 6. Plus, it helped those boys in Remember The Titans work out their differences. Anything that requires a swagger, basically. Marty Balin and Grace Slick’s harmonization remains one of the first important guy/gal pairings that has influenced countless bands through the decades. One of our favorite performances of this song actually came almost 20 years later, though, after divorce and solo careers. — 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. The Rolling Stones, "(I Can't Get No) Satisfaction" It was perhaps the most important nap in … Desmond Dekker & The Aces, “Israelites”, 98. 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. Covered in 1988 by Red Hot Chili Peppers, who could hardly have resisted. 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. The opening track on Lenny Kaye’s ‘Nuggets’, his essential compilation of late-60s garage and psych rock, ‘I Had Too Much To Dream (Last Night)’ was written by professional songwriting team Annette Tucker and Nancie Mantz but musses up its classic structure with needling, distorted guitar from Ken Williams – recorded backwards – and a growling lead vocal from James Lowe. The marriage—not so much. The Beatles, “I Want to Hold Your Hand”, 41. With “At Last,” the title track of her 1961 album, she delivers arguably one of the most iconic songs of all time. —Kyle McKenney, As the American public and mass media learned in the ‘60s, one of the best ways to protest unsavory governmental decisions was through song. 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. She was thrilled. Creedence Clearwater Revival’s sprightly Cajun blues was apparently a bit of soothsaying inspired by recent political occurrences. The veteran bandleader and jazz trumpeter was second choice to Tony Bennett, but he ‘made it his own’, delivering a song of hope to a backdrop of domestic upheaval. I live in New York, which is cold and sucks, and I’d be warm in LA. This paean to the grisly aftermath of an unforgiving curry – or tribute to love’s steamy embrace, whatever you fancy – was written by Johnny Cash’s future wife June Carter with Merle Kilgore, and originally recorded by June’s sister Anita. It’s become a virtue. — Zach Blumenfeld, This platinum-selling 1969 single was one of Neil Diamond’s biggest hits. 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. This paean to the grisly aftermath of an unforgiving curry – or tribute to … — Bonnie Stiernberg, The first of two appearances James Brown made on The Ed Sullivan Show included this song and “Papa’s Got A Brand New Back” (see below) back in 1966. 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. As invitations to the dancefloor go, they don’t come more compelling. Chip Taylor – brother of US actor Jon Voight – wrote ‘Wild Thing’, which was originally recorded by The Wild Ones. — Bonnie Stiernberg, Everyone from The Beatles to She & Him has covered this track, but no one can touch the original. “There’s something happening here; what it is ain’t exactly clear. Smokey Robinson did it first. The news went everywhere…I was overwhelmed by it.”, This song incorporates so many important elements of R&B in the ‘60s—the call and response of “All you wanna do is ride around Sally” and “Ride, Sally, ride,” the 12-bar blues, and the brass funkiness. The Slits, meanwhile, post-punked the shit out of it. 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. “Israelites” was one of native Jamaican Desmond Dekker’s first international hits and offered the world its first taste of this now-beloved genre. Prescient indeed. 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. Otis Redding, “(Sittin’ On) The Dock of the Bay”, 17. All Rights Reserved, 100. Mid-1967, as the Summer Of Love approached, and The Small Faces’ got ready to meet their Nice, over the pond the Velvets were tripping up to Harlem to score $26 worth of smack. ‘Cinnamon Girl’ was later covered by Smashing Pumpkins and Motörhead. The poignant effect of the flute is a tribute both to the orchestration and to John Phillips, who arranged (and wrote) the song. But quite simply, “God Only Knows” is the group’s best song on its best album. The radio might play an R&B song right after a surfer tune, as long as they were both popular. Phil Ochs, “I Ain’t Marching Anymore”, 52. This song fires twin darts at your heart from the beginning. It’s inspired countless “singing into a hairbrush” moments, in film and real life alike. We were sure Rick Wakeman wouldn’t make it anywhere near this list, but here he is, sat behind the Mellotron for Bowie’s classic early single. —Robert Ham, There is a reason everyone in the karaoke booth fights over covering this classic tear-jerker and if we have to tell you, well, you just wouldn’t understand. Fifty years later, the chemistry between organist Booker T. Jones and guitarist Steve Cropper still feels like it’s happening live. —Tyler Kane, One of the quintessential ’60s songs, “Time of the Season” is easily identifiable from Chris White’s simple and sturdy bass line, which gives space for Rod Argent’s psychedelic scribble. Released at the butt end of the 60s, Jagger and Richards captured the changing moods of the time, as race riots, Charles Manson and Vietnam had soured the hippie dream. 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. 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