Sly & The Family Stone, “Everyday People”, 38. 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). Frankie Valli’s voice drove the song to No. 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. This is the lasting take though, pretty much a solo performance by Bobby Hatfield while the other Brother Bill Medley produced (although Phil Spector took the credit). Framed by producer Al DeLory’s wistful orchestration, Campbell’s honey-soaked croon perfectly captured the sadness of a long distance telephone lineman. 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. Home state radio backing made ‘The Witch’ a major local success and allowed the band to chuck out a few more grimy garage rock sides before a split in 1968 and a place in grunge folklore. Patsy Cline had a “one of the guys” reputation—she supposedly could drink, cuss, and fight with the best of them. —Max Blau, The Shangri-Las’ 1965 album Leader of the Pack never performed as well on the charts as the singles it spawned. A single is a type of music release defined by the British Official Charts Company (OCC) as … https://www.youtube.com/watch?v=KnDm3qr1Knk. But the special thing about this song is that it’s the most direct and rebellious song he’s ever penned. Turn! We’ve never met a human being who will admit to disliking this song (that’s your cue to take to the comments section if you exist, you poor, misguided souls), and for good reason; no matter how many times we hear this one, it simply doesn’t get old. That startling drumshot of an opening: Al Kooper’s beckoning, carnivalesque Hammond B-3 organ part and Michael Bloomfield’s electric-guitar curlicues run around Dylan’s own determined rhythmic playing. Is it a half-speed electric piano? Laughing Len once sang in a honey-smeared pop register before trilbies and dodgy accountants had taken their toll. TOP 100 FOLK HITS OF THE '50S AND '60S. Find album reviews, stream songs, credits and award information for 100 Greatest 50s & 60s Hits - Various Artists on AllMusic - 2011 Paste compiled the 100 best songs of the 1960s by whittling down a list of more than 500 songs. Buffalo Springfield, “For What It’s Worth”, 14. Originally planned as a backing track for Gladys Knight and the Pips, this slice of songwriting perfection caught the ears of Motown producer Berry Gordy as the ideal vehicle to catapult his new group into the world. Over here record buyers saw it as a jolly pop tune and sent it to No.1. Not released as a single until 2004, ‘River Man’ was, in the troubled Nick Drake’s eyes, the centrepiece of his debut album ‘Five Leaves Left. Not bad for a song reportedly written after Hendrix wanted to sit by a fireplace on a cold English day. Whether she stuck around is hazy, but – after Berry Gordy requested the tempo be raised – The Supremes bagged a fourth US No.1 with the song as Diana Ross gave it her beseeching all. Though Simon admitted later to being inspired to write that lyric after turning off the bathroom light during a songwriting session (for the bathroom often has the best acoustics), the song is a perceptive commentary on people’s inability to communicate. “A Day in the Life” is the consummate example of how perfectly their collaboration could work when the elements mashed. And Cooke, whose sweet, smooth voice flows as easily as the river he sings he was born by, embodies each of these former selves at once. Nancy Sinatra, “These Boots Are Made For Walkin’”, 96. It was a call to liberation. In this song, Sinatra sings about looking back on his life and his work: “I’ve lived a life that’s full / I traveled each and every highway / And more, much more than this, I did it my way.” While he still had many years to go after he recorded this song in 1969, the majority of his career and most well-known albums were in the rearview at that point, especially since his big band style had given way to the British invasion and rock ‘n roll. Showcasing his new, JB Horns assisted new direction with a slick funk loop, the song would signal a new turn not just for Brown but for R’n’B music as a whole. —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. Dave Davies’ lilting guitar chords corralled the tale of “Terry and Julie” (Terence Stamp and Julie Christie) and future histories yet to be written with a waltz-like grace and a timeless charm. She was thrilled. —Laura Stanley, The King of Soul was known at times as a gospel prodigy, a pop star, and a stirring soul singer, but with this song, he cemented his place as a voice in the Civil Rights Movement. An apt follow-up No. —Max Blau, © 2021 Paste Media Group. — Bonnie Stiernberg, This song is the consummate piece of early ‘60s pop. 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. 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. The arrangement of this song is flat out ridiculous with those incessant castanets and the string section that dips and dives through the song like an excited bird. If it was a balm, it failed, but if it was just another gentle song and career highlight for jazz pioneer Louis Armstrong, the tune was still a huge success. —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. 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. Little Stevie Wonder, “Fingertips Part 2”, 92. Here, the plea for reconciliation feels more agonized and terrified. Many musicologists trace them to the red raw chords of this track, the ludicrously heavy third single from The Kinks and the one that sent them stratospheric. The iconic single appeared on her 1969 masterpiece album Dusty in Memphis. The Stax house band found themselves with an iconic record themselves here, a simple 12-bar blues that thrives on in-built cool. Although its chart performance was modest, the song has deservedly been covered on countless occasions by everyone from Jimmy Somerville to Leonard Cohen. Fogerty gave the people a voice so unique and honest that you couldn’t ignore it. Peter, Paul and Mary, “If I Had A Hammer”, 42. Supposedly when a very inebriated Sonny Bono and his former musical/romantic partner Cher went on Letterman back in 1987, they weren’t expecting to get shoved unceremoniously into the spotlight once more to sing their signature pop classic “I Got You, Babe.” Prearranged or not, the moment when they both gave in and gave a delightful performance of the song made for some great television. The extra time, no doubt, added to the songs depth and drama, accentuated by mariachi-inspired horns and a striking string section. 2 and No. It’s since been covered by The Vines and speed-metallers Helloween. —Robert Ham, The 1965 single cut of “Papa’s Got A Brand New Bag” became a smash because of James Brown’s introduction of funk elements. That’s what the guy on the back of their second album _ Turn! This one came from the end of Graham Gouldman, later one quarter of 10cc, who was inspired by gazing at the – yes – bus stop on his way to work. —Max Blau, Our favorite moment comes around the three-minute mark, when Page concludes an extended trippy breakdown with peals of electric guitar that make the song’s signature riff seem boring by comparison. It’s hard to believe the (slightly craggy) Peter Pan of country Willie Nelson was around and writing this old standard at the start of the 60s, but there he was and here was Patsy Cline delivering the performance she’d end up remembered for, a raw, honest but understated turn that came just two years before her death in a plane crash. Turn!, _said. ‘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. 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. With its gentle jangle and angelic harmonies this track set the template for all future alt-country jams. Rank Song Title Song Artist Year Genre; Top songs of the 1950's is updated by the minute by Gigbuilder - The world's most popular Event Management System. If you enjoyed listening to this one, maybe you will like: 1. 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. They may have been beaten to the punch by Nina Simone and Bob Dylan, who both recorded versions of the song earlier, but it’s The Animals whose rendition dominated the hearts of listeners for decades to come. —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. Over the course of several weeks, thousands of SoulTrackers nominated and then voted on the Greatest Soul Songs of the 1960s. In the end this just missed out on the UK top spot to The Beatles’ ‘Help!’. 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). https://www.youtube.com/watch?v=pkae0-TgrRU. In 2015, the US Library of Congress added “Stand By Me” to the National Recording Registry, declaring that “it was King’s incandescent vocal that made it a classic.” —Danielle Ryan, It’s impossible to get a proper education on the Vietnam War without listening to this iconic and subversive song. On Stand!, Sly & the Family Stone achieved a near-perfect balance, especially with songs like “Everyday People” that epitomized the refinement of their earlier work. 100 best tracks of the ’60s – Spotify playlist. The formal structure of a constant rhythmic ground can overcome any material. In the Name of Love”, 19. And yet the sing-along chorus – a rarity in Hendrix’s catalog — outshines everything. Divested of any visual accompaniment, “Born” still sounds as fierce as ever with a searing guitar hook and growling vocal performance by John Kay that laid the template for hard rock and heavy metal. Proto-Krautrock duo the Silver Apples flew miles ahead of the pack with this stunningly unique track. It was too late, however, as Ms Springfield’s slinky horn-packed effort had already written itself into the history books. Nina Simone, “To Be Young, Gifted, and Black”, 40. The impact of this harmonic style, used effectively, is wondrous: “California Dreamin’” changes from a still image into a movie of emotion, tapping the listener on the shoulder and swirling him through the singers’ world. I was an unknown songwriter at the time and it was just an idea I had. 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. Producer Mickie Most had selected this traditional New Orleans folk song – an unusual choice for a consolidating hit, but one which was handled in style by the weathered howl of Eric Burdon and Alan Price’s ebbing and flowing Hammond organ. 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. — Bonnie Stiernberg, Originally titled “Brown Skinned Girl,” this Calypso-kissed AOR staple about an alleged interracial tryst and deemed too hot for pop radio upon its release was without question the biggest hit from Morrison’s ill-fated tenure with groundbreaking producer/songwriter Bert Berns and his Bang Records label. https://www.youtube.com/watch?v=hugY9CwhfzE. The Marvelettes, “Please Mr. Postman”, 94. It was billed as a change of direction for Tommy James and lives up to it, burning slowly but intensely with its tremolo guitar signature and James’s yearning vocal. “A Change is Gonna Come” was released during the end of a tempestuous 1964. Who’s your daddy?” gives the song an added risqué allure. The closing track on seminal 1968 LP ‘Odyssey And Oracle’, ‘Time Of The Season’ was perhaps The Zombies finest moment. It stands alone as a nostalgic ode to home, one of his truly universal themes. Her performance embodies joy, romance and triumph. 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. I asked if they’d mind if I sang “Sweet Caroline.” So the connection was made to this gathering at the New York Public Library. With two dozen people voting for more than 500 songs, we whittled the list down to the top 100 hits of the ‘60s. Noel Redding’s bass bobs and weaves around howling guitar leads. “I was probably the most incorrigible child you could ever meet. In other words, it’s a perfect approximation of the rapid heartbeat and soaring emotions of someone in love. From the immortal songwriting/production team of Holland Dozier Holland, ‘Stop In The Name Of Love’ got its title from a rather melodramatic plea to a girlfriend by Lamont Dozier. You’re at Brian Wilson’s mercy from then on as he tips out tumbling drums and sweet harmonies relentlessly for the next three minutes. 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. 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. Their catalog included their infamous, yet, most famous, f-bomb-dropping “Kick Out the Jams”—a hard-rocking tune that’s been covered by the likes of Rage Against the Machine and Pearl Jam. 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. —Robert Ham, The key to loving this song is to falling hard for the very end when lead Angel Peggy Santiglia moves past the restraint she’s exhibited for the rest of the song and starts singing for the rafters. 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. This is a list of the best songs of the 60's decade (1960 to 1969) As the ultimate stamp of grungy approval it would later be squished into submission by Iggy Pop. Simon & Garfunkel, “The Sound of Silence”. They didn’t complain about the results, and the song found its true resonance in 1967’s The Graduate. This sped up live version is one of the all-time great performances. Hammond organs, Milton-inspired lyricism (“trip the light fandango”) and nods to Bach might not seem the perfect recipe for a hit, but 1967 was a more forgiving place than 2012, and Procul Harum’s debut single was a mega, mega hit. And the vocal is framed with precision and love by the instrumental solos: guitar at the opening, electric violin and flute in the middle of the song. “Space Oddity” certainly feels like two or three different parts of songs melded together.