The Best 60s Songs: A Definitive Guide to a Decade of Music Revolution

The 1960s. A decade synonymous with cultural upheaval, social transformation, and, undeniably, a seismic shift in the landscape of music. From the electrifying emergence of rock and roll’s second wave to the soulful sounds of Motown and the introspective narratives of folk, the sixties soundtracked a generation coming into its own, questioning norms, and pushing boundaries. Defining the best 60s songs is, of course, a subjective and near-impossible task. Any attempt to definitively rank the top 100, let alone declare a single “best,” would inevitably overlook countless gems and spark endless debate. Instead, this list serves as a vibrant tapestry, a carefully curated window into a decade that irrevocably changed music forever and continues to inspire artists and listeners today. Consider this not a rigid hierarchy, but an invitation to explore, rediscover, and appreciate the sheer breadth and brilliance of 1960s music. It’s a pathway for both seasoned enthusiasts and new listeners to delve into a musical era that remains as relevant and resonant as ever.

Before we embark on this sonic journey through the sixties, two crucial points warrant emphasis. Firstly, our selection prioritizes songs that resonated with a wide audience, achieving popular impact during their release decade or wielding significant influence in subsequent years. This naturally leads to a greater representation of genres that dominated the Billboard charts, including jazz that crossed over into mainstream popularity. Secondly, to celebrate the remarkable diversity of talent that flourished in the 60s, we’ve consciously limited ourselves to one song per artist. This decision, while undoubtedly challenging, allows us to pay tribute to a broader spectrum of musicians and bands who each contributed uniquely to this transformative era.

With these guiding principles established, we invite you to immerse yourself in this collection of best 60s songs. Prepare to be transported back in time, to rediscover familiar favorites, and perhaps unearth new anthems that will enrich your musical landscape. Let the exploration begin!

100: Roger Miller – King of the Road (1965)

Roger Miller’s “King of the Road,” released in 1965, stands as a timeless ode to the wanderer, a celebration of freedom found outside the conventional boundaries of society. This delightful country-pop crossover track paints a vivid portrait of a nomadic hobo, blissfully unburdened by obligations and material possessions. The song’s genius lies in its subtle cynicism, most famously articulated in the line, “I’m a man of means, by no means, king of the road.” This clever wordplay encapsulates a philosophy of reveling in the liberty of rejecting societal norms, finding riches not in wealth but in the open road itself. Built upon a melody as smooth as fine whiskey and instrumentation that is refreshingly straightforward, “King of the Road” possesses an enduring appeal that has made it a favorite for covers across genres. From country luminaries like Glen Campbell to rockabilly revivalists Reverend Horton Heat, artists of diverse styles have interpreted this classic. While the song’s stripped-down essence allows for varied readings, it is Miller’s original rendition, centered around his uniquely charming and beautifully understated voice, that remains the definitive “King of the Road,” a testament to simple pleasures and unconventional contentment.

99: Georgie Fame & The Blue Flames – Yeh, Yeh (1964)

98: Jackie Wilson – (Your Love Keeps Lifting Me) Higher and Higher (1967)

The instrumentation of Jackie Wilson’s 1967 hit, “(Your Love Keeps Lifting Me) Higher and Higher,” is a masterclass in sonic precision. Each element is rendered with remarkable clarity. The bassline resonates with a depth and purity as if recorded in a vacuum-sealed chamber, while the song’s signature conga groove bursts forth with vibrant energy, free of any muddiness or distortion. Into this impeccably crafted soundscape stepped Jackie Wilson, and he more than rose to the occasion. The instrumental track, the brainchild of Gary Jackson, Raynard Miner, and Carl Smith, was initially offered to The Dells but remained unreleased. Wilson initially approached the song as a ballad, but it was only when he reimagined his performance with the high-octane, soul-charged energy that defines the final version that the song was deemed ready for release. This transformation proved to be pure magic, propelling “(Your Love Keeps Lifting Me) Higher and Higher” into the pantheon of 60s classics, a testament to Wilson’s vocal prowess and the song’s irresistible rhythm.

97: Roy Orbison – Crying (1961)

Roy Orbison, the master of operatic heartbreak, possessed a deep catalog of 60s hits to choose from, including the swaggering “Oh, Pretty Woman.” Yet, for this list of best 60s songs, we opted for the emotionally raw and universally relatable “Crying,” released in 1961. The song opens with an iconic line, instantly recognizable even to those unfamiliar with the track: “I was alright for a while, I could smile for a while.” This simple yet profound statement sets the stage for Orbison at his most vulnerable, openly confessing the hidden depths of heartbreak and regret harbored for a former love. “Crying” skillfully blends the classic rock ballad structure with the grandeur of orchestral strings and the dramatic pulse of timpani, evoking a cinematic fusion of symphonic percussion and the sweeping soundscapes of Wild West film scores. The song dominated the charts in 1961, firmly establishing itself at the top, only being prevented from reaching the #1 spot on the Billboard list by the force of nature that was Ray Charles and his equally iconic hit, “Hit The Road Jack.” Alongside Charles, Orbison was instrumental in ushering rock and roll and R&B into a more sophisticated and modern era, seamlessly merging soaring melodies with epic musical arrangements and lyrics that resonated with a profound relatability, paving the way for future generations of stars to break through to the mainstream.

96: Russell Morris – The Real Thing (1969)

“The Real Thing,” written by Johnny Young and produced by the visionary Ian “Molly” Meldrum, stands as a landmark recording, a pioneering work of studio innovation released in 1969. Initially conceived as a gentle soft-rock ballad, reminiscent of The Beatles’ introspective “Strawberry Fields Forever,” the demo version was completely transformed by Meldrum’s expansive and experimental vision. “The Real Thing” evolved into one of the first true studio masterpieces of the modern music era. Collaborating with engineer John Sayers, Meldrum pioneered a remarkable array of recording techniques, far too numerous to fully list. Among the most groundbreaking were flanging, a technique involving playing two identical copies of a recording slightly out of phase to create a swirling, psychedelic effect, and instrumental dropouts, a technique that would later become hugely influential in the development of Jamaican dub music in the 1970s. Adding to its avant-garde nature, the final version incorporated a sample taken from an archived recording of a Hitler Youth choir, a jarring and unexpected element that further cemented the song’s unique character. “The Real Thing” was, and remains, one of the most sonically strange and profoundly pioneering rock songs of the 60s, continuing to astound listeners with its audacity and innovation even today.

95: Leonard Cohen – Suzanne (1967)

Leonard Cohen, the poet laureate of melancholic beauty, forged a direct and powerful link between the worlds of poetry and folk music. “Suzanne,” his hauntingly beautiful acoustic track from his 1967 debut album Songs of Leonard Cohen, stands as a quintessential example of this unique artistic fusion. Cohen’s evocative lyrics for “Suzanne” first appeared as a poem in 1966, a testament to his prolific creativity. In a moment of pragmatic resourcefulness, Cohen repurposed his poem when he found himself short of material for his forthcoming album, demonstrating the fluidity between his poetic and songwriting processes. The song resonated with the intimate and introspective style of American folk icons like Bob Dylan and Stephen Stills, yet Cohen infused it with a distinctly Canadian inflection and a delicate sensitivity that vibrated from his precisely plucked guitar notes. “Suzanne” was inspired by Cohen’s platonic relationship with dancer Suzanne Verdal, a muse who represented one of the rare non-sexual relationships that the notoriously romantic Cohen would explore in his songwriting throughout his career, adding a layer of poignant tenderness to this already captivating track.

94: Louis Armstrong – What A Wonderful World (1968)

“What a Wonderful World,” released in 1968, is not only one of the best pop ballads ever recorded, but also a profound lesson in perseverance and enduring artistry. Louis Armstrong, a musical titan whose career began with recordings in 1923, was already a legend by the time he recorded this iconic song. Yet, remarkably, it was in February of 1968, at the age of 66, that Armstrong released “What A Wonderful World,” which would become the biggest-selling single of his massively influential career. Armstrong’s musical journey spanned from Dixieland jazz to mainstream pop, and it was with “What A Wonderful World” that he achieved his greatest commercial success with his most deeply personal and intimate song. “What A Wonderful World” emerged as a reflective and profoundly hopeful number, yearning for optimism in a world increasingly marked by fragility and uncertainty. Armstrong, battling a heart condition at the time, delivered a heartfelt plea to his audience, urging them to recognize and cherish the simple pleasures of life, to celebrate them alongside him one last time. This poignant context imbues the song with even greater emotional resonance, solidifying its place as a timeless classic among the best 60s songs.

93: Tom Jones – It’s Not Unusual (1965)

It may be hard to fathom now, but when Tom Jones burst onto the music scene in the 1960s with “It’s Not Unusual,” his raw sexuality was deemed far too provocative for the sensibilities of the BBC. Consequently, it was the rebellious spirit of pirate radio station Radio Caroline that ignited the initial spark of success for Jones’s breakthrough hit. This upbeat tale of heartbreak, brimming with infectious energy, was Jones’s second single release for Decca Records and, crucially, his first No. 1 chart-topper. Rumor has persistently circulated that the blistering guitar solo that punctuates the track was the work of none other than Jimmy Page, though this remains unconfirmed. What is definitively established is the presence of a then-little-known, struggling musician named Reginald Dwight on keyboards. This Reginald Dwight would, of course, later achieve global superstardom under the name Elton John, adding another layer of fascinating musical history to the story of “It’s Not Unusual.”

92: The Monkees – Daydream Believer (1967)

John Stewart, shortly before departing from the Kingston Trio, penned “Daydream Believer” as the third installment in a trilogy of songs aimed at capturing the pervasive sense of malaise and quiet desperation simmering beneath the surface of suburban life. In this regard, Stewart was a musical innovator, giving voice to the often-unspoken anxieties of suburban existence, issuing a subtle cry for help – or, at the very least, a metaphorical helicopter ride back to the vibrancy of the city. Initially, “Daydream Believer” was turned down by both We Five and Spanky and Our Gang, before serendipitously finding its way into the hands of The Monkees through producer Chip Douglas, who encountered John Stewart at a casual party. The group recorded the song for their 1967 album, Pisces, Aquarius, Capricorn & Jones Ltd., but it was ultimately included on their 1968 record, The Birds, The Bees & The Monkees instead, showcasing its timeless appeal and perfect fit within The Monkees’ pop sensibilities. Adding an unexpected layer of charm to the track is Davy Jones’ seemingly ambivalent vocal delivery. This was not a deliberate artistic choice, but rather a byproduct of his growing disenchantment with the often-formulaic recording process – a happy accident that contributed to one of the most enduringly loved and best 60s songs.

91: Del Shannon – Runaway (1961)

The iconic hit “Runaway,” released in 1961, almost never came to fruition. Back in 1960, Charles Westover and keyboard player Max Crook secured a recording contract, but their initial recording session proved to be a resounding disaster. Perhaps overwhelmed by the pressures of the Big Apple, Crook and Westover (who had recently adopted the stage name Del Shannon) failed to impress the executives at Big Top Records. In the aftermath of this setback, their resourceful manager persuaded them to revisit and rewrite an earlier song they had composed, titled “Little Runaway.” This revision proved to be transformative. “Little Runaway” morphed into the unforgettable “Runaway,” and Del Shannon’s signature “wah-wah-wah” vocal performance became instantly iconic, endlessly imitated (often humorously) by relatives at family gatherings ever since. The song’s distinctive keyboard solo, played on a Clavioline by Max Crook, further solidified its unique sonic identity, making “Runaway” a standout track among the best 60s songs and a testament to the power of perseverance in the face of initial setbacks.

90: Peggy Lee – Is That All There Is? (1969)

“Is That All There Is?,” released in 1969, is a unique and compelling piece that artfully blends spoken word segments with a polished, show-tune inspired vocal melody. It stands as one of the most profound and elegantly delivered testaments to nihilism in popular music, echoing the existential questioning found in works like The Big Lebowski. The song’s genesis can be traced to the 1896 story “Disillusionment” by Thomas Mann, specifically, the poignant line, “Is that all there is to a fire?” The song’s musical inspiration draws from the stage compositions of Kurt Weill, merging the theatrical wink-wink performance style with the burgeoning trend of pop maximalism that was gaining momentum in the late 60s. The song’s lush orchestral arrangement was composed and conducted by Randy Newman, who also contributed the distinctive piano introduction. “Is That All There Is?” fearlessly confronts the topic of death with a frank and unflinching gaze, with Peggy Lee embodying a character unafraid of mortality, yet unwilling to relinquish the joys and pleasures of life for the sake of eternal mystery. This bold and unconventional approach cemented its place among the best 60s songs, showcasing Lee’s versatility and willingness to explore complex themes.

89: Silver Apples – Oscillations (1968)

So much of modern electronic and experimental rock music can trace its lineage back to the monumentally important Silver Apples and their self-titled debut album released in 1968. The band’s signature sound, characterized by propulsive and hypnotic instrumental repetitions, became a foundational element of krautrock just a few years later. The circular, mesmerizing patterns of their grooves played a crucial role in ushering in the dance music craze that would later dominate the cultural landscape. Simeon’s innovative use of oscillators was, of course, central to their sound, but the trembling, almost fragile vocal delivery of singer Dan Taylor also proved highly influential, foreshadowing singers like David Byrne. While Silver Apples’ music occupied a relatively compact sonic space, the vast and ever-expanding worlds they influenced are undeniable. “Oscillations,” a standout track from their debut, perfectly encapsulates their groundbreaking approach, securing their legacy among the best 60s songs for their pioneering spirit and lasting impact on music innovation.

88: Righteous Brothers – Unchained Melody (1965)

“Unchained Melody” boasts a rich history, predating the 1960s. The music, composed by Alex North with lyrics by Hy Zaret, originally appeared in 1955 for a relatively obscure prison film titled Unchained. It was the Righteous Brothers who plucked this gem from relative obscurity for their album Just Once In My Life, released in the 60s, transforming it into a global phenomenon. The song unfolds in two distinct movements. The first section flows gently, like a rowboat gliding peacefully across a tranquil pond, creating a sense of serene intimacy. However, approximately halfway through, the musical skies dramatically open up. The song explodes with emotional intensity as the drums enter with a thunderous crash cymbal, and singer Bobby Hatfield’s vocal delivery grows in power and passion, reaching soaring heights. “Unchained Melody” was initially relegated to the b-side of the album’s lead single, “Hung On You,” which was produced by the legendary Phil Spector. Remarkably, “Unchained,” produced by Hatfield’s singing partner, Bill Medley, achieved greater chart success than “Hung On You.” Despite this, Spector initially attempted to take credit for both songs. However, history has since corrected this misattribution, rightfully acknowledging Medley’s crucial role in crafting this timeless ballad and one of the best 60s songs.

87: BBC Radiophonic Workshop – Doctor Who (1963)

The BBC Radiophonic Workshop, established in 1958, was created to pioneer sound effects for radio and television, and quickly evolved into Britain’s leading laboratory for electronic sound exploration. The “Doctor Who” theme, which debuted alongside the show’s inaugural run in 1963, stands as a rare example of a soundtrack that both perfectly complements its visual counterpart and transcends it as an iconic piece of music in its own right. The composition is intrinsically linked to the Doctor Who series, yet its instantly recognizable melody has achieved a separate and enduring presence within popular culture. The initial sketch of the theme was penned by Australian composer Ron Grainer and then entrusted to the Radiophonic Workshop for reimagining by Delia Derbyshire, who collaborated with sound engineer Dick Mills on the final version. The instrumental components were ingeniously crafted through splicing, slowing down, and speeding up unconventional sound sources: white noise, a single plucked string, and simple harmonic waveforms generated by test-tone oscillators typically used for calibrating equipment and acoustic spaces. With the “Doctor Who” theme, Delia Derbyshire and the BBC Radiophonic Workshop not only revolutionized television soundtracks but also laid crucial groundwork for experimental electronic composers who would emerge in the 1970s and 1980s, solidifying its place among the best 60s songs for its innovation and cultural impact.

86: Sly and the Family Stone – Everyday People (1968)

“Everyday People,” released in 1968, is quintessential Sly Stone – an irresistibly catchy anthem that passionately advocates for peace and unity. Sly possessed an unparalleled ability to capture the zeitgeist of the 60s within his music, building upon the ideals of the free love movement to create a sound that was both inclusive and deeply groovy, resonating perfectly with the era’s popular musical currents. The Family Stone was groundbreaking in its diverse lineup, featuring white musicians like Greg Errico and Jerry Martini alongside women like Rose Stone (Sly’s sister) and Cynthia Robinson. Musically, “Everyday People” stands out for its direct engagement with pop sensibilities, more so than much of the band’s typically psychedelic funk explorations. It is a straightforward, undeniably catchy hit, demonstrating Sly’s remarkable versatility as a songwriter, capable of crafting groundbreaking music across a spectrum of styles. This accessibility, combined with its message of universal acceptance, contributed to its enduring popularity and its place among the best 60s songs.

85: Bee Gees – To Love Somebody (1967)

How quickly can you recognize the opening notes of the Bee Gees’ timeless ballad, “To Love Somebody,” released in 1967? Is it instantaneous, within the first second, as the clean, resonant guitar chords slowly encircle the silence? Or perhaps in the second second, with the warm, enveloping swell of strings that enters the soundscape? For more casual listeners, recognition might fully dawn in the third second, triggered by the distinctive, hollow richness of the drums, sounding almost as if the group opted to record a waterlogged timpani. Regardless of the precise moment of recognition, the iconic opening notes of “To Love Somebody” are as enduring and timeless as the song itself. Listening to “To Love Somebody” is akin to sharing a deeply personal experience of love, heartbreak, and the complex emotions in between. It articulates feelings previously thought to be uniquely individual and perhaps impossible to adequately express. It fosters a sense of shared human experience, which is precisely why “To Love Somebody” remains one of the most profoundly powerful and best 60s songs, capable of eliciting deep emotional resonance across generations.

84: Dusty Springfield – Son of a Preacher Man (1968)

Dusty Springfield’s career trajectory often involved a remarkable element of serendipity, and the story behind “Son of a Preacher Man,” released in 1968, is no exception. The British-born singer, a dedicated devotee of blue-eyed soul, was recording her 1968 Atlantic Records debut in Memphis, collaborating with the legendary producer Jerry Wexler. During this fertile period, songwriters John Hurley and Ronnie Wilkins had penned “Son of a Preacher Man,” initially intended for Aretha Franklin. Wexler, recognizing the song’s inherent potential, secured it for Springfield. The result was a monumental hit, achieving enduring popularity and occasionally experiencing renewed surges in cultural relevance through prominent appearances in pop culture, notably in Quentin Tarantino’s 1994 cinematic smash, Pulp Fiction. The track remains one of the defining cultural touchstones of the 60s, a sultry and evocative song exploring the complexities of love between Dusty’s character and a charmingly rebellious young man. Its timeless appeal solidifies its place among the best 60s songs, a testament to Springfield’s vocal delivery and the song’s enduring narrative.

83: Bembeya Jazz National – Armée Guinéenne (1969)

Earning the nickname “Diamond Fingers” is no small feat, and Sekou Diabaté, the guitarist for Bembeya Jazz National, lived up to this moniker with dazzling virtuosity. Listening to a track like “Armée Guinéenne,” released in 1969, the only plausible explanation for Diabaté’s spine-tingling guitar riffs is to attribute them to some otherworldly force, a level of skill that defies easy comprehension. However, “Armée Guinéenne” is far more than just a showcase for a stellar guitar line. This 1969 Afrobeat sensation marked a pivotal moment in Guinean culture, with the band consciously infusing their music with potent political messages. Bembeya Jazz National was formed during Guinea’s nascent independence, and their songs vibrated with the palpable joy and optimism of hard-earned freedom. “Armée Guinéenne,” in particular, became an anthem of national pride and a symbol of Guinea’s cultural reawakening, securing its place among the best 60s songs as both a musical and cultural landmark.

82: Elvis Presley – Suspicious Minds (1969)

Here’s a valuable tip for aspiring songwriters: if you record a song that commercially flops, try to have the biggest star in the world re-record it. Seemingly simple, right? Back in 1968, songwriter Mark James penned “Suspicious Minds” and had the audacity to record it himself. It failed to gain traction. Elvis Presley then re-recorded it with producer Chips Moman. It promptly soared to #1. Granted, “Suspicious Minds” became one of Elvis’s biggest hits of all time, but even then, securing a recording of your song by The King was practically a guaranteed ticket to the top of the national charts. Legend has it that “Suspicious Minds” was recorded during the pre-dawn hours, between 4 and 7 AM, which might account for the raw, electric desperation palpable in Elvis’s vocal performance. Playing The King’s vocal counterpart on the track was Donna Jean Godchaux, who would later join the ranks of The Grateful Dead, adding another layer of musical intrigue to this iconic recording and one of the best 60s songs.

81: Mulatu Astatke – Yègellé Tezeta (1969)

Mulatu Astatke reigns supreme as the undisputed king of Ethio-jazz, a captivating genre that seamlessly blends jazz harmonies and improvisation with traditional Ethiopian musical scales and rhythms, often incorporating Latin percussion elements. The golden age of Ethiopian jazz flourished in the 1960s and 1970s, with Astatke at the very forefront of this vibrant scene. During this era, Ethiopia’s capital city, Addis Ababa, was affectionately nicknamed “Swinging Addis,” recognized as one of the most musically innovative and dynamic cities on Earth. It is no surprise that Astatke collaborated with jazz luminaries like John Coltrane during his visits to the United States, a testament to his global musical reach. “Yègellé Tezeta,” released in 1969, is a standout track from this fertile period, a slinking, serpentine groove anchored by an infectiously hypnotic horn line. The song is prominently featured in the Ethiopiques series, a critically acclaimed collection that has chronicled the rich tapestry of Ethiopian music since the emergence of Ethio-jazz, solidifying its place among the best 60s songs as a cornerstone of this genre.

80: Françoise Hardy – Tous Les Garcons et Les Filles (1962)

Françoise Hardy’s “Tous les garçons et les filles,” released in 1962, boasts a remarkable and enduring life. Translated to English as “To All The Boys and Girls,” the song became an instant and massive hit in France upon its release. Its initial exposure was quite unique: it served as a musical interlude during television broadcasts while election referendum results were being tallied in France in 1962. During each broadcast break, French audiences across the nation were captivated by Hardy’s charmingly delicate voice and her groundbreaking style of yé-yé pop music, a genre-bending fusion of rockabilly energy, jazz sophistication, folk intimacy, and pop accessibility. Adding to the song’s allure, the distinctive guitar tones on “Tous Les…” may be attributed to none other than the legendary Jimmy Page, who reportedly contributed to Hardy’s recording sessions, enriching this already iconic track and one of the best 60s songs.

79: Sonny & Cher – I Got You Babe (1965)

Songwriter Sonny Bono penned the lyrics to “I Got You Babe,” released in 1965, late one night in the basement. When he excitedly woke up his wife, Cher, to sing her vocal part, her initial reaction was far from enthusiastic. She reportedly refused, declaring she hated the song and doubted its hit potential. She then promptly went back to sleep. However, upon waking the next morning, her perspective had dramatically shifted. She had completely changed her mind. “I Got You Babe” went on to become one of the most iconic and enduring duets of the 60s, a song perfectly embodying the spirit of the free love movement that characterized the era. Recorded with legendary drummer Hal Blaine and members of the renowned studio musicians collective, The Wrecking Crew, the song practically became an extended anthem of the counterculture hippie movement, an infectiously catchy ode to the comforting embrace of true love. Though Sonny and Cher’s marriage ultimately did not endure, “I Got You Babe” remains timeless, a testament to their musical chemistry and its place among the best 60s songs.

78: Terry Riley – In C (1968)

Terry Riley’s groundbreaking composition, “In C,” released in 1968, is structured around 53 short, numbered musical phrases, each with a variable duration. Each phrase can be repeated an arbitrary number of times by each musician within the ensemble, granting individual players control over phrase selection and repetition. Musicians are encouraged to initiate phrases at different times, creating a layered and evolving sonic texture. In theory, this framework might seem to invite musical chaos, but when executed effectively, it coalesces into a wondrous, sprawling, and constantly evolving body of sound. Why does this experimental piece find its place on a list of best 60s songs? Riley drew direct inspiration from the pioneering jazz innovations of artists like John Coltrane and Miles Davis. His late 60s musical explorations profoundly influenced Pete Townshend of The Who. This lineage brought Riley’s avant-garde ideas to a mainstream rock audience, permanently expanding the boundaries of rock and roll and demonstrating the interconnectedness of musical innovation across genres.

77: Vince Guaraldi Trio – Linus & Lucy (1964)

As the 1960s recede further into history, the music intrinsically linked to Charles Schulz’s iconic comic strip, Peanuts, has gained recognition as more than just a soundtrack. The music for Peanuts was composed and recorded by Vince Guaraldi, a Bay Area-based jazz pianist, and his various ensembles. After serving in the Army as a cook during the Korean War, Guaraldi returned to the Bay Area and began performing in groups deeply influenced by Latin styles, particularly bossa nova. Guaraldi infused his work for Peanuts, especially “Linus & Lucy,” released in 1964, with these Latin rhythmic sensibilities, crafting a catchy piano melody propelled by percussion that makes foot-tapping practically involuntary. The main section of “Linus & Lucy” features a remarkably minimalist instrumentation: piano, snare drum played with brushes, and a hi-hat opening and closing during the chorus. This simplicity underscores the truth that musical genius often emerges from elegant restraint, making it a timeless instrumental among the best 60s songs.

76: Stevie Wonder – Uptight (Everything’s Alright) (1965)

Perhaps the easiest aspect of compiling this list of best 60s songs is the fortunate absence of needing to choose between Stevie Wonder’s monumental contributions to music in the 1970s. This is not to diminish the historic significance of his 60s output, but the prospect of selecting a single track from the staggering depth of albums like Music of My Mind, Talking Book, and Innervisions is a task best left for another day. “Uptight (Everything’s Alright),” released in 1965, is a quintessential pop-rock jam, with Wonder’s phenomenal voice taking center stage, occasionally yielding to an infectiously energetic horn line. The drumming is dynamic and forceful, reminiscent of rock groups like Cream and The Jimi Hendrix Experience. It is a flawlessly executed song, engaging and vibrant, yet providing ample space for Stevie to showcase his powerful and versatile vocals. The song’s only slight misstep occurs when Stevie sings “I’m just an average guy.” This playful self-deprecation from a musical prodigy is charming, but hardly believable.

75: Ray Barretto – El Watusi (1962)

New York City-born Ray Barretto is rightfully recognized as one of Latin music’s most influential and virtuosic conga players. He rapidly gained prominence in New York throughout the 1950s for his exceptional playing, leading to regular performances across the city with leading Latin musicians as well as jazz giants like Charlie Parker and Dizzy Gillespie. Barretto’s playing style was inherently inventive, so when he formed his own group, even though “El Watusi,” released in 1962, tapped into the popular pachanga music craze, he infused it with his distinct musical personality. The title of this classic 60s Latin song alludes to the tall Watusi tribesmen of Rwanda, who are referenced in the song’s somewhat nonsensical lyrics. Despite the lyrical whimsy, the infectious rhythm and Barretto’s conga mastery made “El Watusi” a crossover hit and a defining track in the Latin music scene of the 60s, securing its place among the best 60s songs.

74: The Drifters – Under the Boardwalk (1964)

“Under the Boardwalk,” released in 1964, emerged from a backdrop of unexpected tragedy. The song was initially scheduled to be recorded on May 21st, 1964, but the band’s lead singer, Rudy Lewis, tragically died of a suspected heroin overdose the night before the session. Rather than postponing the recording, the lead vocal part on “Under the Boardwalk” was entrusted to the group’s other vocalist, Johnny Moore. The resulting song is a perfect blend of pop and soul sensibilities, but it is perhaps most celebrated for the remarkable array of cover versions it has inspired. Artists who have reimagined this classic include Billy Joel, Bette Midler, Sam & Dave, Tom Tom Club, The Rolling Stones, Billy Joe Royal, Bruce Willis, Bad Boys Blue, John Mellencamp, and Lynn Anderson. Remarkably, every single version listed above achieved chart success, either in the United States or internationally, demonstrating the song’s universal appeal and enduring quality, making it a standout among the best 60s songs.

73: Irma Thomas – Time Is On My Side (1964)

Irma Thomas and The Rolling Stones both recorded versions of “Time Is On My Side,” released in 1964, and the two renditions could hardly be more sonically distinct. The Stones delivered a thrilling, rock-infused interpretation of the Jerry Ragovoy-penned track, while Thomas’s version is dominated by her breathtaking vocal performance. Her voice subtly leads the backing choir, creating the sonic image of a sprinter pulling ahead of the pack. Yet, there is no sense of strain in Thomas’s voice. She possesses one of the most iconic and powerful vocal instruments in soul music history, both immensely powerful and remarkably precise. H.B Barnum arranged Thomas’s version of the song, and he enlisted Jimmy Norman to expand upon the lyrics. According to legend, Norman completed the lyrical additions just moments before Thomas entered the recording studio, adding a touch of spontaneous creativity to the making of this soul classic and one of the best 60s songs.

72: The Cannonball Adderley Quintet – Mercy, Mercy, Mercy (1966)

“Mercy, Mercy, Mercy,” released in 1966, was an unexpected crossover hit for the Cannonball Adderley Quintet, a captivating slice of soul jazz that resonated with a broad audience thanks to its seamless fusion of jazz structures and pop melodies. That memorable melody is largely propelled in the initial stages of the song by Joe Zawinul’s Wurlitzer electric piano. (Intriguingly, the Wurlitzer he played on the track was once owned by none other than Ray Charles.) The song achieved further crossover success when The Buckinghams recorded a pop-rock version in 1967. However, the original Cannonball Adderley Quintet rendition, recorded live with the palpable energy of an audience perhaps fueled by an open bar, conjures a unique and special kind of musical magic, making it a standout instrumental among the best 60s songs.

71: Merle Haggard – Mama Tried (1968)

Like all truly great country songs, Merle Haggard injected a touch of exaggeration into “Mama Tried,” released in 1968. He drew inspiration for the song from his own experiences, specifically his conviction for robbery and subsequent three-year incarceration in San Quentin Prison. It is a poignant ode to mothers, to the women who “worked hours without rest,” and a heartfelt apology from a son who consistently chose to misbehave. However, the narrative is only one facet of the song’s power. Haggard’s signature blend of honky-tonk swing and the Bakersfield sound that defined 60s country music laid the essential groundwork for the outlaw country movement of the 1970s, pioneered by artists like Waylon Jennings and Willie Nelson. Haggard’s distinctive musical voice, characterized by empathy, remorse, and an unwavering authenticity, became a defining element of the genre, making “Mama Tried” a cornerstone among the best 60s songs.

70: Van Morrison – Brown Eyed Girl (1967)

In 1967, Van Morrison embarked on a remarkably productive two-day recording session, during which he laid down eight songs, enough material for four singles. “Brown Eyed Girl,” one of the tracks captured during this period, was painstakingly perfected on the 22nd take on the first day, but the final result undeniably justified the effort. “Brown Eyed Girl,” released in 1967, quickly became a cornerstone of Morrison’s discography and a soft rock masterpiece that served as a precursor to his later explorations into more orchestrated, psychedelic soundscapes on the iconic Astral Weeks album. A testament to its timeless quality, “Brown Eyed Girl” has been covered by artists spanning a vast spectrum of genres, including Adele, Reel Big Fish, Steel Pulse, and U2, demonstrating its enduring appeal and its place among the best 60s songs.

69: Gal Costa – Baby (1969)

Gal Costa’s “Baby,” released in 1969, is a song steeped in musical history. This Tropicália staple sonically embodies the essence of a perfect day at the beach, evoking the initial blissful warmth before the sun’s intensity leads to sunburn. Painful sunburn analogies aside, Costa’s “Baby,” penned by Caetano Veloso, was initially popularized by another luminary of the Tropicália scene, Os Mutantes. Costa’s 1969 rendition features swirling strings that entwine around her voice, sounding as though they were directly lifted from a spotting session for a 1940s film score, adding a touch of vintage Hollywood glamour to the Tropicália sound. Alongside Veloso, who provides harmonies backing up Costa’s stellar vocals, Costa created one of the defining songs of the Tropicália movement, a vibrant and essential track among the best 60s songs.

68: The Kinks – You Really Got Me (1964)

Should “Waterloo Sunset” perhaps be considered The Kinks’ definitive 60s song? Arguably. However, for this list of best 60s songs, we opted to highlight the extraordinary songwriting talent of Ray Davies from his earliest days. According to Davies himself, “You Really Got Me,” released in 1964, was among the first five songs he ever composed. In its original conception, the song was piano-based, settling into a lounge-jazz groove far removed from the raw, electrifying version that became a rock anthem. The song’s lyrical inspiration stemmed from the pangs of college-era infatuation, specifically a night when Davies was performing and noticed a girl in the audience who caught his eye. By the time his set concluded and he went to find her, she had vanished. Much of the song’s enduring mystique revolves around its iconic guitar solo, which Jon Lord of Deep Purple claimed was recorded by Jimmy Page before Page joined the Yardbirds and, subsequently, Led Zeppelin. (This claim, however, has always been consistently denied by Page himself.)

67: Bobbie Gentry – Ode to Billie Joe (1967)

Chickasaw County, Mississippi, Bobbie Gentry’s birthplace, lies approximately two hours from the famed Mississippi Delta. However, on “Ode to Billie Joe,” released in 1967, Gentry forgoes direct autobiographical details, instead immersing herself in a compelling narrative centered around a Delta tragedy. “Ode to Billie Joe” is a quintessential folk song, rich in evocative details and told from a uniquely imaginative perspective. Gentry places the listener within a family’s intimate reaction to the news of a local boy jumping to his death from a bridge. Gentry narrates from the point of view of the family’s daughter, whose quiet empathy stands in stark contrast to her family’s seeming indifference to the unfolding tragedy. It is an effortlessly powerful anthem of Southern Gothic tragedy, as much a short story set to music as it is a four-minute folk tune, securing its place among the best 60s songs for its lyrical depth and evocative storytelling.

66: The Ramsey Lewis Trio – The “In” Crowd (1965)

“The ‘In’ Crowd,” released in 1965, stands as one of the great instrumental songs of the 60s, and Ramsey Lewis essentially owes its creation to a coffee shop server named Nettie Gray. In 1965, The Ramsey Lewis Trio was in a Washington, D.C. coffee shop, wrestling with the challenge of finding a song to add to their setlist to round it out. The group was booked for a residency at Bohemian Caverns, the same venue where they had recorded a live album the previous year. The setlist they were crafting was intended to form the basis of their follow-up live album. Nettie, their server at the time, walked over to the coffee shop jukebox and played “The In Crowd” by Dobie Gray, a popular hit at the time. Lewis and his band quickly worked out a rendition of the song, and they concluded their set at the Caverns with it that very night. It received an overwhelmingly enthusiastic audience response and eventually became a hit, charting on both the Billboard Hot 100 and R&B charts, demonstrating the serendipitous nature of musical inspiration and earning its place among the best 60s songs.

65: The Kingsmen – Louie Louie (1963)

The Kingsmen were playing garage rock essentially before the term even existed. Their iconic version of Richard Berry’s “Louie Louie,” released in 1963, happened almost by chance. In 1962, while performing a gig at the Pypo Club in Seaside, Oregon, the band repeatedly heard Rockin’ Robin Roberts’s rendition of “Louie Louie” being played on the club’s jukebox, often for hours at a stretch. Patrons at the club would consistently flock to the dance floor whenever the jukebox played the song, giving the jukebox hit far more attention than the band ever received for their live performances. In response, the group’s singer, Jack Ely, convinced The Kingsmen to learn the song themselves. They quickly recorded it after witnessing the same enthusiastic reaction on the dance floor when they played it live. The raw energy and slightly mumbled lyrics of The Kingsmen’s “Louie Louie” became a garage rock standard and a cultural phenomenon, solidifying its place among the best 60s songs.

64: Wendy Carlos – Two-Part Invention in F Major (1968)

In an article published in Saturday Night magazine, famed pianist Glenn Gould hailed Switched-On Bach, released in 1968, as “one of the most startling achievements of the recording industry in this generation.” This groundbreaking album, featuring meticulously crafted Bach compositions realized by Wendy Carlos on the then-novel Moog synthesizer, reportedly took approximately five months and a staggering one thousand hours to produce. The Moog synthesizer, at that time, was a notoriously temperamental and unpredictable instrument. According to Amanda Sewell’s biography of Carlos, the composer could often “produce a measure or two of music before the synthesizer went out of tune,” requiring constant adjustments and meticulous attention to detail. Despite these technical challenges, the resulting album became a sensation, topping the Billboard Classical chart for an unprecedented three consecutive years. Carlos’s innovative approach to classical music using electronic instruments was revolutionary, securing Switched-On Bach and “Two-Part Invention in F Major” a place among the best 60s songs for its pioneering spirit and lasting impact on electronic music.

63: Joe Bataan – Subway Joe (1968)

Few songs of the 60s capture the vibrant essence of a specific city quite like Joe Bataan’s “Subway Joe,” released in 1968, so vividly portrays New York City. The self-proclaimed “King of Latin Soul” was born in New York’s Spanish Harlem in 1942, and his music authentically reflected the realities of life in his working-class neighborhood, told from the perspective of a deeply engaged participant. Joe grew up in the tenements of El Barrio, where he was exposed to a dynamic mix of musical styles: pop, Latin rhythms, doo-wop harmonies, and R&B soulfulness – all of which found their way into his music, particularly evident in “Subway Joe.” The track pulsates with the raw energy of New York City, with Bataan effectively defining the Latin Soul genre as the song unfolds. It is a humorous and relatable tale of a memorable subway journey, capturing a quintessential New York experience, making it a unique and evocative track among the best 60s songs.

62: Simon & Garfunkel – The Sound Of Silence (1965)

“The Sound of Silence,” released in 1965, is a quintessential 60s folk-pop song, although its journey to the iconic version we know today was not entirely straightforward. An initial acoustic rendition was included on their 1964 album, Wednesday Morning, 3 A.M. The album, unfortunately, was a commercial failure, leading to the breakup of Simon & Garfunkel. However, in 1965, the song began to gain traction and airplay at radio stations in Boston, Massachusetts, and across Florida. Tom Wilson, the song’s producer, took the initiative to remix the track, overdubbing electric instruments and drums without informing Simon & Garfunkel. This remixed version was released as a single in September 1965, catching the duo completely by surprise. Two years later, “The Sound of Silence” achieved even greater cultural impact when it became a defining song in one of the most important films of the 1960s, The Graduate, solidifying its status as a classic and one of the best 60s songs.

61: Babatunde Olatunji – Jin-Go-Lo-Ba (1960)

After hearing the opening notes of Babatunde Olatunji’s “Jin-Go-Lo-Ba,” released in 1960, it becomes almost physically impossible to remain still. If you possess a pulse, you are virtually guaranteed to start moving – whether it’s a subtle foot tap or a full-bodied engagement with Olatunji and his chorus’s infectious call and response. The song, featured on Olatunji’s groundbreaking album Drums of Passion, powerfully demonstrates the enduring appeal of the time-tested combination of catchy vocals and a deeply groovy rhythm. The Nigerian drummer, activist, and educator’s “Jin-Go-Lo-Ba” was a standout track on a surprisingly commercially successful record, one widely credited with playing a key role in introducing and cultivating American appreciation for “world music,” and securing its place among the best 60s songs for its cultural significance and rhythmic power.

60: The Zombies – Time of the Season (1968)

“Time of the Season,” released in 1968, arrived too late to save The Zombies from disbanding. Frustrated by their lack of consistent commercial success, the group had already broken up when “Time of the Season” unexpectedly became a classic, a year after its initial release. Several singles from their album Odessey and Oracle had been released prior to “Time of the Season,” but none had achieved significant chart impact. Columbia Records initially expressed skepticism about the album’s commercial potential, but they ultimately threw their weight behind it at the urging of new A&R representative Al Kooper. The band and Kooper were eventually vindicated, but only after Kooper championed “Time of the Season”… and patiently waited for the public to catch up to its unique blend of pop and psychedelic charm. The song’s belated success became a testament to its enduring quality and its rightful place among the best 60s songs.

59: The Velvet Underground – I’m Waiting For The Man (1967)

If the average American citizen in the 1960s was unnerved by The Byrds singing about being “eight miles high,” it’s difficult to imagine their reaction to Lou Reed’s starkly direct lyrics in “I’m Waiting For The Man,” released in 1967, about standing on a street corner waiting to purchase 26 dollars worth of heroin. While it was undeniably one of the first popular songs to overtly glamorize drug dealing, it was also undeniably one of the most forward-thinking and effortlessly cool rock songs of the 60s. The guitar sound is deliberately raw and lo-fi, and Lou Reed’s detached cool vocal delivery imbues the song with an ambivalent edge that predated the indie rock era of the 1980s and 90s. The Velvet Underground’s influence permeates virtually every corner of rock music that followed. “I’m Waiting For The Man” is both a stark social commentary and a track that exudes an almost defiant coolness, a rare and potent combination that secured its place among the best 60s songs for its groundbreaking and enduring impact.

58: Etta James – At Last (1960)

There are moments in music history that transcend perfection, and the brief, breathtaking pause in “At Last,” released in 1960, before Etta James’s voice emerges, acapella, to deliver the opening line, is undoubtedly one of them. Before the drums enter with that familiar swung rhythm, before the piano gracefully descends the scale like a mountain climber returning from a summit, before the strings respond to James’s yearning vocal calls, there is simply Etta, alone, at her absolute finest. There is an unparalleled intimacy to this track, to Etta’s vocal performance, that is virtually impossible to replicate in contemporary music. She sounds as though she is singing directly to you, dedicating this quintessential love song to a deeply personal moment you once shared. This sense of direct connection and raw emotion is what elevates “At Last” beyond a mere song and into the realm of timeless masterpiece, firmly establishing its place among the best 60s songs.

57: Steppenwolf – Born to Be Wild (1968)

While Steppenwolf’s iconic song “Born To Be Wild,” released in 1968, is a remarkable encapsulation of 60s rock and roll energy, it is often primarily remembered for its pivotal use in Easy Rider, the seminal and groundbreaking indie film that sparked a revolution in American filmmaking. However, reducing “Born To Be Wild” solely to its cinematic association does it a disservice. It is also frequently cited as the first true “metal” song, or at the very least, a crucial proto-metal precursor. Crucially, “Born To Be Wild” stands powerfully on its own as a classic piece of rock songwriting, its raw energy, defiant lyrics, and iconic guitar riff making it a definitive anthem of rebellion and freedom, solidifying its place among the best 60s songs.

56: The Band – The Weight (1968)

With “The Weight,” released in 1968, The Band daringly attempted to introduce surrealism into the mainstream musical landscape, translating the richly symbolic and often enigmatic film work of auteurs like Ingmar Bergman and Luis Buñuel into song form. The song is populated by a cast of colorful characters drawn from the group’s real-life experiences, and the chosen city setting, Nazareth, Pennsylvania, was deliberately selected because it was the home of Martin Guitars. However, beyond its intriguing backstory, “The Weight” also functions flawlessly as an extraordinary folk-rock song, a genre in which The Band consistently excelled. Drummer Levon Helm handles the lead vocals, while Rick Danko anchors the bass and takes on the fourth verse. Like the majority of The Band’s songs, “The Weight” is powerfully propelled by their signature harmonies. Every member of the group possessed vocal talent, but unlike The Beach Boys, who layered their vocal parts in technicolor sweetness, The Band favored a more rugged and earthy vocal approach, injecting their performances with a touch of grit and tobacco-tinged authenticity, making “The Weight” a unique and enduring track among the best 60s songs.

55: Stan Getz & João Gilberto feat. Antonio Carlos Jobim – The Girl From Ipanema (1964)

“The Girl From Ipanema,” released in 1964, is undeniably the definitive bossa nova jazz song of the 60s. The song’s origins date back to 1962, with music composed by Antônio Carlos Jobim and original Portuguese lyrics by Vinícius de Moraes. English lyrics were later penned by Norman Gimbel, broadening its international appeal. The Stan Getz/João Gilberto version achieved immediate and widespread popularity, notably featuring the vocal debut of João’s wife, Astrud Gilberto, whose understated and breathy vocals became instantly iconic. The song and the album it came from marked a groundbreaking and culturally significant collaboration between American saxophonist Getz and Brazilian musical icon Gilberto, effectively introducing bossa nova to a global audience. The version we commonly know and love is actually an edited version of the track featured on the album, which also included the original Portuguese lyrics sung by João Gilberto. “The Girl From Ipanema” became a global phenomenon, taking home a Grammy Award for Record of the Year and solidifying its status as one of the best 60s songs.

54: Patsy Cline – Crazy (1961)

Patsy Cline’s 1961 single “I Fall to Pieces” marked her first song to reach the top of the Billboard country chart, a significant milestone in her burgeoning career. However, shortly after this success, Cline was severely injured in a car accident, requiring a month-long hospital stay. Following her recovery, she released “Crazy,” also in 1961, which would become one of the biggest hits country music had ever witnessed. It’s impossible to know the specific impact of that hospital stay, but Cline emerged a megastar, her voice imbued with even greater depth and emotional resonance. “Crazy” was originally written by Willie Nelson, and Cline’s husband, Charlie Dick, urged her to record it. Cline initially resisted, reportedly stating, “I don’t care what you say. I don’t like it and I ain’t gonna record it. And that’s that.” However, upon arriving at the recording studio, Dick persuaded her to at least try recording it. The result speaks for itself. Patsy Cline became a defining female country star at a time when the genre was heavily male-dominated, carving out her own lane and profoundly influencing generations of women ready to share their voices through song, making “Crazy” a timeless classic and one of the best 60s songs.

53: Jane Birkin and Serge Gainsbourg – Je t’aime… moi non plus (1969)

It is difficult to infuse a song with a higher level of erotic energy than Serge Gainsbourg achieved with “Je t’aime… moi non plus,” released in 1969. The track, roughly translated as “I love you, me neither,” was originally written for Brigitte Bardot in 1967. Gainsbourg was in a relationship with Bardot at the time, and she requested him to write the most romantic song imaginable. He composed two songs: “Je t’aime” and “Bonnie and Clyde.” After Gainsbourg attempted to record “Je t’aime” with Bardot, news of the collaboration reached her husband, who vehemently opposed its release. Bardot implored Gainsbourg not to release it, and he acquiesced. However, he revisited the song a year later when he began a relationship with Jane Birkin. Their version of “Je t’aime… moi non plus” is one of the most sexually charged pop songs of the 60s, with the palpable attraction between Birkin and Gainsbourg permeating every line they sing. Its controversial nature and undeniable sensuality cemented its place among the best 60s songs.

52: Celia Cruz – Bemba Colorá (1966)

Celia Cruz’s music possesses the power to make you dance, but her songs also often compel you to confront the complex political realities of 1960s Cuba. “Bemba Colorá,” released in 1966, is arguably the most famous anti-racist rumba in music history, yet these powerful themes are subtly woven into the infectious energy of the horns and the vibrant call-and-response interplay between Cruz and her backing band. Cruz, affectionately known as the “Queen of Salsa,” left her native Cuba in the early 1960s, becoming a prominent voice for the Cuban exile community. Her life story is a compelling narrative that raises profound questions of identity and community. On “Bemba Colorá,” created in collaboration with Tito Puente, the Queen of Salsa infuses her inclusive hit with irresistible grooves, making it a song that is both celebratory and socially conscious, securing its place among the best 60s songs for its musicality and message.

51: David Bowie – Space Oddity (1969)

Listeners might be forgiven for initially turning up the volume on their headphones when pressing play on “Space Oddity,” released in 1969, only to have their ears unexpectedly blasted when the chorus erupts. David Bowie’s 1969 hit intentionally begins more quietly and subtly than one might anticipate, deliberately taking its time to build towards one of the most iconic choruses in rock history. The song was directly inspired by Stanley Kubrick’s groundbreaking film, 2001: A Space Odyssey, released the previous year. However, where Kubrick’s cinematic vision is often characterized as sterile and exacting, Bowie’s musical interpretation is decidedly freewheeling and ecstatic. The drums establish a loose variation of a military march rhythm, while Bowie counts down to liftoff and urges us to take our protein pills, creating a sense of playful theatricality. The anticipation builds, and even though listeners know what’s coming when Bowie sings, “liftoff,” the chorus never loses its impact. The stereo mix ingeniously splits his vocal performance into each ear, and suddenly, you are transported into the role of an astronaut, with David Bowie personally congratulating you on a successful moon landing, making “Space Oddity” a truly immersive and best 60s song.

50: Ennio Morricone – The Good, The Bad & The Ugly (Main Theme) (1966)

“Turn away from each other, take three steps forward, turn around, draw.” Though Ennio Morricone’s main theme from The Good, The Bad & The Ugly, released in 1966, relies primarily on wordless vocals to conjure the vastness and grandeur of the American West, the instantly recognizable opening whistled warble of the theme immediately evokes the climactic final showdown in a Sergio Leone Western. “The Good, The Bad & The Ugly (Main Theme)” has become a quintessential representation of Western soundtracks as a whole, and it undeniably earns its place on this list of best 60s songs. In 1966, the soundtrack album reached number four on the Billboard charts, largely due to the chaotic brilliance of the whistles, galloping rhythms, and distinctive yelps that populate Morricone’s composition. Few soundtrack moments in film history match its sheer emotional force and iconic impact, making it a defining musical moment of the 60s.

49: Johnny Cash – Ring of Fire (1963)

While the phrase “falling into a ring of fire” might initially sound like an ominous and dangerous proposition, it is far from the intended meaning that June Carter Cash and Merle Kilgore had in mind when they co-wrote this seminal hit, released in 1963. The song is, in fact, a love song, originally recorded by June’s sister, Anita Carter. Although Anita’s version failed to achieve commercial success, Johnny Cash decided to record his own rendition after he vividly dreamt of hearing the song backed by a mariachi band. Cash recorded the song precisely as envisioned in his dream, and the result is a country-western song that was decades ahead of its time in its innovative fusion of genres. It seamlessly blends traditional country song structures with a blurring of genre boundaries, making it an all-time crossover hit appealing to both country music fans and devotees of Latin music alike, and securing its place among the best 60s songs for its originality and enduring appeal.

48: Hugh Masekela – Grazing in the Grass (1968)

Christopher Walken’s iconic “more cowbell” sketch on Saturday Night Live might never have happened if he had simply been present at the recording session for Hugh Masekela’s bell-laden 1968 hit, “Grazing in the Grass.” The song opens with sixteenth notes played on the cowbell, immediately establishing its rhythmic signature, before the drums enter with a half-time feel and the horns arrive atop a skittering piano line, creating a complex and captivating rhythmic interplay. It is a masterclass in rhythmic tension, with Masekela’s brilliant trumpet playing dancing effortlessly above the rhythmic complexity below. The song remarkably reached number one on the Billboard charts in the United States, despite being the last track added to Masekela’s debut album. The label deemed the album three minutes too short of a full LP runtime, leading to the last-minute inclusion of “Grazing in the Grass.” Alongside Masekela, Greenwich Village legend Bruce Langhorne and jazz bass icon Henry Franklin completed the all-star lineup for this instrumental gem, making it a unique and best 60s song.

47: Loretta Lynn – Fist City (1968)

Loretta Lynn established a clear set of rules in her 1968 hit, “Fist City.” Don’t look at her man, don’t touch her man, don’t even think about her man… unless you are prepared to face the consequences of a physical altercation, of course. “Fist City,” Lynn’s unapologetic ode to women who resort to physical confrontation to protect their relationships from predatory women while they are away on tour, was a radical song, particularly coming from a prominent star in country music. In the 1960s, country music was largely considered a man’s genre, and physical fighting was certainly perceived as a man’s domain. Loretta Lynn boldly challenged these gendered conventions, swaggering onto the scene with a metaphorical (and perhaps literal) mean left hook and a voice as sweet as honey. The members of the established boys club within country music who may have initially disliked her arrival had no choice but to contend with her rapid ascent, unless they wanted to suffer the same fate as the women of “Fist City”: left on the ground with a bloodied lip. Lynn’s assertive and humorous approach to female empowerment in country music solidified “Fist City” as a standout among the best 60s songs.

46: The Miracles – The Tracks Of My Tears (1965)

“The Tracks of My Tears,” released in 1965, is a truly miraculous hit, born within the legendary hit factory of Motown Records, arguably the greatest in soul music history. However, the initial lyrical inspiration for this iconic song arose in a decidedly less glamorous location: Smokey Robinson’s bathroom. “One day I was shaving, and I looked in the mirror,” he recounted to NPR in 2014. “And I said what if a person had cried so much until, if you look closely at their face, you could see tracks that their tears had made.” This simple yet powerful image sparked the creation of lyrics that would become timeless. The track, with its unforgettable opening guitar riff and classic doo-wop vocal stylings, became one of the most poignant and enduring songs about heartbreak in a world saturated with them. But don’t just take our word for it: “The Tracks of My Tears” has been inducted into The GRAMMY Hall of Fame, ranked by the Recording Industry Association of America as the 127th best “Songs of the Century,” and Rolling Stone included the track at #50 in their prestigious “The 500 Greatest Songs of All Time,” cementing its place among the best 60s songs.

45: Gilberto Gil – Aquele Abraço (1969)

During the opening verse of Gilberto Gil’s 1969 samba sensation, “Aquele Abraço,” Gil treats his guitar with remarkable delicacy, almost as if it were made of fragile glass. There is no other explanation for the subtle and nuanced twang of his strumming. It sounds as if he is barely playing at all. But then, the song transitions into an extended chorus, accompanied by whistles, backing vocals, and a vibrant array of percussion instruments, and suddenly, Gil treats his instrument with considerably more force, as if it had somehow wronged him in a past life. All of this to say, Gil is a master of dynamic manipulation, skillfully employing volume and crescendos to emphasize the emotional nuances and shifting moods within his songs. “Aquele Abraço,” arguably one of the most famous samba songs ever recorded, was written during a period of intense military dictatorship and cultural censorship in Brazil. Gil had recently been released from a military prison and placed under house arrest when he penned “Aquele Abraço.” After being exiled to Europe in 1970, the song remained a massive hit in Brazil, becoming a powerful rallying cry for political activists within the country eager for social and political change, and solidifying its place among the best 60s songs as both a musical and cultural touchstone.

44: The Byrds – Eight Miles High (1966)

The Byrds were comprised of some of the most gifted songwriters in American music history, including the consistently underrated Gene Clark, Jim (Roger) McGuinn, and David Crosby. They pioneered a style of psychedelic rock that was heavily influenced by Indian ragas, which were gaining popularity at the time through the sitar virtuosity of Ravi Shankar and John Coltrane’s exploration of the style within jazz. “Eight Miles High,” released in 1966, might sound relatively innocuous by 21st-century standards, but back in the 1960s, the song was controversially banned from American radio airwaves due to perceived drug references within its lyrics. However, the controversy surrounding the song is less significant than the innovative musical style it helped to usher in. “Eight Miles High” effectively blended the psychedelic rock sounds of bands like The Beatles with the experimental spirit emerging within the jazz world, creating a unique and influential sonic landscape, and making it a groundbreaking and best 60s song.

43: Miriam Makeba – Pata Pata (1967)

Long before rap songs became common source material for aspiring dance choreographers, South African artist Miriam Makeba took the traditional “Pata Pata” dance and transformed it into her own globally recognized song. The song’s title, “Pata Pata,” directly translates to “touch touch” in the Xhosa language, the language in which the song was originally written and first sung in 1959. “Pata Pata” was also a popular dance style prevalent in the shebeens (informal bars) of Johannesburg’s Townships. It was within this vibrant cultural context that Makeba found her inspiration for the track, which she initially recorded with her band The Skylarks. After gaining international recognition and establishing herself in the United States, she re-recorded the song in 1967 with producer Jerry Ragovoy, and it quickly became a global hit. Makeba’s 1960s version of “Pata Pata” seamlessly blended the propulsive African rhythms of her childhood with subtle samba grooves and an irresistibly catchy vocal melody, creating a uniquely global sound and one of the best 60s songs.

42: The Shangri-Las – Leader of the Pack (1964)

To be young and in love is an unparalleled feeling of euphoria. Conversely, to be young and heartbroken can feel like an unprecedented tragedy, never before replicated in the entire history of the planet. No musical act captures these emotional extremes, the dizzying highs and crushing lows of young love, quite like The Shangri-Las and their iconic hit “Leader of the Pack,” released in 1964. The song was originally co-written by George “Shadow” Morton along with Jeff Barry and Ellie Greenwich. Initially intended for The Goodies, it was ultimately given to The Shangri-Las, who needed a strong follow-up to their previous hit, “Remember (Walking in the Sand).” “Leader of the Pack” became an instant classic, not least because of its innovative use of found sounds, such as motorcycle engine revs, and its inventive percussion arrangements. The melodramatic narrative of forbidden love and teenage angst, combined with its innovative sound design, solidified its place among the best 60s songs.

41: Tammy Wynette – Stand By Your Man (1969)

“Stand By Your Man,” released in 1969, carries significant cultural weight, often overshadowing the simple fact that Wynette’s most popular hit is, quite simply, one of the best country songs ever written. Undeniably, the song became a lightning rod upon its release in the late 60s, coinciding with the burgeoning American feminist movement that gained further momentum in the following decade. However, Wynette consistently maintained that the song was less about female subservience and more about the universal human experience of overlooking flaws in those you love, a testament to the complexities of romantic relationships. The song was reportedly written in a mere 15 minutes by Wynette and her producer, Billy Sherrill. Wynette initially expressed hesitation about the song, feeling it was a clear outlier in her discography up to that point – and even included a high note that she found challenging to reach consistently. Despite her initial reservations, “Stand By Your Man” rapidly became an iconic inflection point in country music, and to this day, remains Wynette’s most popular and enduring song, securing its place among the best 60s songs.

40: Desmond Dekker & The Aces – Israelites (1968)

Sometimes, a leisurely walk in the park can spark your greatest creative ideas. At least, that is the case for reggae icon Desmond Dekker. Dekker stated that the inspiration for his masterpiece, “Israelites,” released in 1968, originated from overhearing an argument in a park. While eating popcorn and minding his own business, he witnessed a couple arguing about financial matters, specifically the amount of money being exchanged. Dekker distilled this overheard exchange into the core sentiment of working tirelessly all day for insufficient pay, a universally relatable experience. By the time he returned home from his park outing, the song “Israelites” was fully formed in his mind. It remains one of the most successful reggae songs of all time, infiltrating the Billboard charts and introducing rocksteady vibes to a largely unfamiliar audience in 1968, thereby playing a pivotal role in the globalization of reggae music and earning its place among the best 60s songs.

39: Glen Campbell – Wichita Lineman (1968)

Glen Campbell possessed a penchant for singing about specific places. His 1968 hit “Wichita Lineman” was, of course, centered around Wichita, Kansas, and his subsequent hit, “Galveston,” focused on the coastal Texas city of Galveston. Campbell’s attraction to these geographical themes stemmed from his belief that places profoundly reflected the character of the people who inhabited them, a sense of place deeply embedded in his music. Written by Jimmy Webb, “Wichita Lineman” was inspired by a drive through Washita County in rural southwestern Oklahoma. Webb delivered a completed version of the song to Capitol Records, but his version crucially lacked a middle instrumental section. Campbell conceived the idea to fill this void with an unforgettable guitar solo. This instrumental addition was a deliberate callback to Campbell’s early career as a highly sought-after session player with the famed Wrecking Crew, many of whom he personally recruited to perform on “Wichita Lineman,” making it a truly collaborative and best 60s song.

38: Cream – Sunshine of Your Love (1967)

If you have ever made a significant error in judgment, you can take some solace in the fact that you likely weren’t as demonstrably wrong as Ahmet Ertegun and Jerry Wexler were back in 1967. Cream, riding the momentum of their debut album, Fresh Cream, were preparing their second LP for Ertegun’s Atlantic Records. The duo reportedly hated Cream’s new, harder-edged, and sonically intense rock sound, with Wexler even infamously dismissing the demos as “psychedelic hogwash.” Wexler’s initial assessment proved spectacularly incorrect. “Sunshine of Your Love,” released in 1967, was not only included on the band’s eventual second album, Disraeli Gears, but was also released as a single, becoming a defining anthem of the psychedelic rock era. While Eric Clapton’s virtuosic guitar playing and distinctive vocals undoubtedly played a significant role in eventually convincing Ertegun and Wexler that they had misjudged the song’s potential, it was the co-signing of “Sunshine Of Your Love” by Booker T. Jones and Otis Redding that ultimately swayed Ertegun and Wexler to recognize their initial error, securing its place among the best 60s songs as a testament to its enduring power.

37: Isaac Hayes – Walk On By (1969)

The sheer number of legendary names associated with “Walk on By” is truly staggering. It was originally composed by Burt Bacharach, with lyrics by Hal David, for singer Dionne Warwick in 1963. Hard to improve upon, right? Tell that to Isaac Hayes, who transformed the song into a baby-making love jam, sultry and sizzling, released in 1969. Beyond its world-class songwriting and original performance by Warwick, Hayes’s 1969 rendition became a foundational track for rap producers, who sampled it countless times. Notable MCs who have rhymed over sections of “Walk on By” include 2Pac, The Notorious B.I.G., MF DOOM, and the Wu-Tang Clan. Hayes’s version of “Walk on By” is a rare hit that exists both as a standalone masterpiece and as a crucial building block within the history of another genre, making it a uniquely influential and best 60s song.

36: Buffalo Springfield – For What It’s Worth (1966)

Most listeners associate Buffalo Springfield’s “For What It’s Worth,” released in 1966, with anti-war sentiments, but Stephen Stills’s original intentions were considerably more localized in scope. He was primarily inspired to write the song by the Sunset Strip curfew riots in November 1966, which pitted law enforcement against young adults protesting against the status quo. Regardless of Stills’s initial inspiration, it is easy to understand why his composition resonated so deeply and broadly. The 1966 song, featuring Neil Young on guitar, is both incredibly catchy and profoundly powerful. The chorus implores listeners to pay attention and be aware, but it is also remarkably easy to sing along to. “For What It’s Worth” was initially conceived as a direct response to civil unrest on the Sunset Strip, but it has since transcended its specific origins, becoming one of the best 60s songs and a timeless anthem for peace activists and social justice movements around the world.

35: Jorge Ben – Mas, Que Nada! (1963)

Oh, how wrong O Estado de S. Paulo newspaper proved to be! Upon the release of Jorge Ben’s seminal album Samba Esquema Novo, released in 1963, Brazil’s fourth-largest newspaper confidently predicted that the record would quickly vanish from store shelves, mirroring the commercial fate of Ben’s previous 78 rpm releases. However, the newspaper failed to foresee the profound impact that Ben’s album – and “Mas, Que Nada!” in particular – would have on shaping the future trajectory of samba music. The album’s title, directly translating to New Style Samba, explicitly declared its artistic aspirations. Ben introduced a fresh and innovative perspective to the genre, a style that would profoundly influence a new generation of samba musicians and South American artists. “Mas, Que Nada!” became an instant classic and a defining track in the bossa nova and samba scenes of the 60s, securing its place among the best 60s songs.

34: The Doors – Light My Fire (1967)

Like many iconic songs by The Doors, “Light My Fire,” released in 1967, drew from a diverse range of musical influences. The song was initially written by guitarist Robby Krieger, who drew melodic inspiration from “Hey Joe” and lyrical inspiration from The Rolling Stones’ “Play with Fire.” Then, drummer John Densmore suggested incorporating a Latin rhythm into the arrangement. Shortly thereafter, organist Ray Manzarek added the Bach-inspired introductory organ motif, expanding the song’s sonic palette even further. Densmore circled back with another suggestion: opening the song with a single, impactful snare drum hit. Adding another layer of eclecticism, the entire solo section was inspired by John Coltrane’s improvisational cover version of “My Favorite Things.” This multifaceted and collaborative creative process was characteristic of The Doors’ magnetic psych-pop music. They functioned as a musical blender, taking diverse ingredients from across the rock, jazz, and blues scenes, and transforming them into something otherworldly and virtually impossible to replicate, making “Light My Fire” a unique and best 60s song.

33: Booker T. And The MG’s – Green Onions (1962)

There are essentially two categories of people in the world: those who are familiar with Booker T. & The MG’s instrumental classic “Green Onions,” released in 1962, and those who recognize the song instantly but are simply unaware of its official title or artist. The track is one of the most instantly recognizable instrumental pieces in American music history, a deceptively simple blues riff that somehow never loses its freshness or appeal. The players take turns improvising and vamping over the song’s foundational rhythm. First, an organ solo takes center stage, followed by the distinctive squawking yelp of a guitar, then back to the organ, then back to the guitar, creating a dynamic and engaging instrumental conversation. It is a remarkably simple musical formula, but as is often the case, simplicity is often the most challenging element to achieve effectively. The infectious melody that propels the song forward was composed by Booker T. Jones when he was only 17 years old. While most teenagers were just learning to drive, Booker T. was redefining American R&B for generations to come, with “Green Onions” becoming a timeless and best 60s song.

32: Caetano Veloso – Tropicália (1968)

The scratchy, almost dissonant strings swirl overhead, evoking the unsettling sonic atmosphere of a missing music cue from Alfred Hitchcock’s suspense thriller The Birds. It immediately becomes clear that you are entering a new and unfamiliar sonic territory, likely Brazil, the homeland of Caetano Veloso. Veloso was a pioneering figure in the Tropicália movement, a culturally and musically significant movement that filtered diverse genres from both Eastern and Western musical traditions through a uniquely Brazilian lens. The track bursts with raw energy, a truly revelatory sound upon its release in 1968. The song takes a moment to fully ignite, but once Veloso’s sweet and subtly sugary voice joins the instrumental rush, it becomes undeniably clear why he, and his song “Tropicália,” were so integral to the burgeoning Tropicália movement of the same name. “Tropicália” itself became an anthem for the movement and a defining and best 60s song.

31: Big Brother & The Holding Company – Piece of My Heart (1967)

Janis Joplin inherently possessed the blues within her spirit, which explains why she so effortlessly channeled its raw emotion into a sprawling and powerful form of rock and roll on 60s classics like “Piece of My Heart,” released in 1967. Joplin’s interpretation of the track was so distinctive and original that Erma Franklin, who first released the song in 1967, reportedly did not recognize it as her own composition when she first heard Joplin’s version on the radio. Joplin infused the pain and triumph inherent in the blues genre into the song, a skill she honed by drawing inspiration from early blues icons like Bessie Smith. Joplin’s raw vocal power and emotional depth transformed “Piece of My Heart” into a rock anthem and one of the best 60s songs.

30: The Jackson 5 – I Want You Back (1969)

Believe it or not, “I Want You Back,” released in 1969, was the very first national single released by The Jackson 5. It was released via Motown Records on October 7, 1969, and rapidly became the first No. 1 hit for the band just a few months later, marking the beginning of a new era in popular music. It signaled the arrival of Michael Jackson, who would single-handedly alter the course of music, initially with his siblings and later as the most successful solo artist in pop history. “I Want You Back” was prominently performed during the band’s initial television appearances, including on Diana Ross’s The Hollywood Palace and their groundbreaking performance on The Ed Sullivan Show, instantly catapulting them into the national spotlight. However, “I Want You Back” almost didn’t make its way to The Jackson 5. It was initially considered for Gladys Knight & the Pips and subsequently for Diana Ross, before ultimately finding its perfect home with the young Jackson 5, launching their legendary career and making “I Want You Back” a best 60s song.

29: The Mamas & The Papas – California Dreamin’ (1965)

John and Michelle Phillips were huddled together in their New York City apartment, seeking warmth and attempting to escape the piercing cold seeping in from the city streets. This experience of shared discomfort and longing for warmer climes ultimately proved creatively fruitful, as that very feeling of winter hopelessness spawned “California Dreamin’,” released in 1965, a song as intrinsically linked to the mythos of sunny Los Angeles and the Bay Area as anything ever recorded. The Mamas & The Papas (with the Phillips’s as the primary songwriters) crafted a song that tapped into both the historical concept of Manifest Destiny and the 1960s perception of California as a haven for new ideas, diverse cultures, and a sense of harmony seemingly unattainable elsewhere in the world. “California Dreamin’” became an anthem for the California dream and a best 60s song.

28: Nancy Sinatra – These Boots Are Made For Walkin’ (1965)

That iconic descending guitar line in “These Boots Are Made For Walkin’,” released in 1965, is virtually impossible to forget. There is something inherently captivating about the way it subtly slinks towards its concluding note – a note that you anticipate but still find surprisingly impactful when it arrives. “These Boots” was originally written by Lee Hazlewood, who initially intended to record the song himself. However, Nancy Sinatra astutely played into the prevailing trope of female country singers being perceived as sweet and unassuming, convincingly arguing to Hazlewood that “Boots” would be far too intimidating coming from a male performer. This strategic insight proved to be remarkably accurate. “These Boots Are Made For Walkin’” became one of the most iconic country songs of all time, covered by artists across diverse genres, yet rarely truly replicated in its definitive form. Nancy Sinatra’s assertive performance and the song’s empowering message cemented its place as a best 60s song.

27: Frankie Valli – Can’t Take My Eyes Off You (1967)

Bob Gaudio, an original member of The Four Seasons and co-writer of “Can’t Take My Eyes Off You,” released in 1967, consistently recalled the song as one that nearly faded into obscurity. Recorded in 1967, Gaudio and Frankie Valli were relying on CKLW, a radio station serving the metro Detroit area, to include the song in its rotation, which would virtually guarantee a certain level of commercial success. However, Paul Drew, program director at the station, initially declined to play the tune. It wasn’t until Drew witnessed Valli perform the song live that he changed his mind and decided to add it to the station’s playlist. Upon its first radio spin, the song became an instant mega-hit. “Can’t Take My Eyes Off You” has transcended time, and even more recently, space. The 60s classic was used by NASA as a wake-up song on the STS-126 Space Shuttle mission in 2008, demonstrating its enduring appeal and its place among the best 60s songs.

26: Pete Rodriguez – I Like It Like That (1967)

Believe it or not, before Cardi B’s contemporary hit “I Like It,” there were two songwriters, Tony Pabon and Manny Rodriguez, who created a song expressing their preferences way back in 1967. Pabon performed the vocals for the original “I Like It Like That,” released in 1967, while the instrumental backing was provided by the Pete Rodriguez Orchestra. The song is perhaps most notable for its pioneering blend of English lyrics, call-and-response vocals, samba rhythms, and Cuban melodies, effectively mashing together a diverse range of musical styles into an undeniably catchy and innovative hodgepodge. The song’s irresistibly catchy melody has made it a popular source for covers, samples, and rearrangements, with The Blackout All-Stars releasing a notable version, and even Burger King adopting the song’s refrain for one of their advertising campaigns, highlighting its enduring appeal and place among the best 60s songs.

25: Toots and the Maytals – 54-46 That’s My Number (1968)

“54-46 That’s My Number,” released in 1968, was one of the first reggae songs to gain widespread popularity outside of Jamaica, and is still widely regarded as a defining moment in the globalization of the genre. Toots Hibbert’s vocal delivery is characteristically relaxed and playful, while the drums possess a massive and slightly jangly quality. The lyrics directly reference Toots’s time in prison after being arrested for marijuana possession, although the song’s overall positive vibes don’t fully betray the potential depression associated with incarceration. Regardless, the song played a crucial role in defining the 60s rocksteady scene in Jamaica and is widely recognized as a precursor to the highly influential dub style of reggae, which would subsequently play a significant role in the evolution of American electronic music in the 1990s and 2000s, making it a pioneering and best 60s song.

24: The Supremes – You Can’t Hurry Love (1966)

It’s all about patience. Love doesn’t come easily. This sound advice is made even more resonant coming from the iconic voice of The Supremes’ Diana Ross, one of the most important vocalists in R&B and soul music history. “You Can’t Hurry Love,” released in 1966, was written by the famed Motown production team, Holland–Dozier–Holland, and achieved immediate and staggering commercial success, topping the Billboard pop singles chart. With instrumentation provided by the legendary Funk Brothers, The Supremes’ timeless message about allowing love to unfold in its own time is one of the quintessential songs from 60s Motown, standing out even among a vast catalog of classics like “Where Did Our Love Go?” and “Stop! In The Name Of Love,” and solidifying its place among the best 60s songs.

23: Frank Sinatra – My Way (1969)

The only thing arguably more magnetic than Frank Sinatra’s famously blue eyes is his incomparably smooth velvet voice. Despite initially making his name performing alongside big bands, the subtle nuances and emotional depth of Sinatra’s vocal delivery were consistently highlighted on simpler musical arrangements, such as the brilliant “My Way,” released in 1969. Sinatra essentially owes the creation of this indelible 60s song to Paul Anka. Anka reportedly heard the original French version of the song while vacationing in the South of France and immediately flew to Paris to negotiate the rights to adapt the composition. From there, Sinatra masterfully showcased his vocal range, moving seamlessly from quiet, introspective observations to powerful, full-throated belting, making “My Way” a signature song and one of the best 60s songs.

22: Sam Cooke – A Change Is Gonna Come (1964)

The story behind the creation of Sam Cooke’s “A Change Is Gonna Come,” released in 1964, is rich with historical and social significance. The backstory involves Cooke attempting to reserve a motel room with his wife Barbara, only to be denied upon arrival because they were Black. They left the property after Cooke protested, honking their car horn and shouting expletives as they drove away. By the time they reached another motel, the police had arrived and arrested Cooke for disturbing the peace. This deeply personal experience of racial discrimination, combined with Cooke’s profound emotional response to Bob Dylan’s protest anthem “Blowin’ In The Wind” and the realization that such a powerful song of protest could be created by a white artist, ultimately compelled Cooke to directly address racial issues in his own songwriting. This decision, he believed, would likely cost him a significant portion of his white audience, but Cooke was determined to write his richly atmospheric and string-laden classic, resolved to speak his mind and demand social change. We are all fortunate that he did. “A Change Is Gonna Come” became a civil rights anthem and a best 60s song.

21: Alton Ellis – I’m Still In Love With You (1967)

Few songs have so perfectly captured the essence of Jamaican music as Alton Ellis’s “I’m Still In Love With You,” released in 1967. Both upon its initial release in 1967 and in more recent times, this earworm of a track from “The King of Rocksteady” has had a monumental impact on the evolution of reggae, rocksteady, and their various iterations within mainstream music culture. The song’s infectious beat has been widely used by numerous artists since Ellis’s original release, including Althea and Donna’s 1977 worldwide hit “Uptown Top Ranking” and Sean Paul’s cover version from 2002. “I’m Still In Love With You” is a timeless classic that has inspired generations of musicians, but few renditions resonate quite as powerfully as Ellis’s original recording, making it a cornerstone of Jamaican music and a best 60s song.

20: Ike & Tina Turner – River Deep Mountain High (1966)

“River Deep Mountain High,” released in 1966, begins deceptively simply. Tina Turner’s vocal performance is undeniably stunning from the outset, but initially, atop backing vocals and a somewhat subdued instrumental arrangement, it doesn’t immediately stand out from other iconic performances by the celebrated singer. However, approximately thirty seconds into the song, something dramatically shifts, and her voice ignites like a neon billboard suddenly illuminating the night sky. Suddenly, it becomes unequivocally clear why she was widely considered the preeminent vocalist of her generation. It is a sterling, star-making performance, simultaneously raspy and intensely emotional, showcasing the full spectrum of her vocal capabilities. The song, produced by Phil Spector, incurred a recording cost of $22,000 in 1966, making it one of the most expensive songs of the 60s era. To achieve Spector’s signature “wall-of-sound” production style, he employed 21 session musicians to accompany Turner. Her vocal recording session was particularly grueling, and Turner recounted that she was sweating so profusely that she ultimately ended up recording in only her bra. The song, shrouded in legend and production drama, remains one of the defining moments of Turner’s extraordinary career, an astounding achievement considering the sheer volume of hits she was associated with, and solidifying its place among the best 60s songs.

19: Creedence Clearwater Revival – Fortunate Son (1969)

Which film immediately comes to mind when you hear John Fogerty’s distinctive yelping vocal delivery in the opening moments of Creedence Clearwater Revival’s “Fortunate Son,” released in 1969? Is it Forrest Gump? Suicide Squad? Logan Lucky? Regardless of the specific film association, “Fortunate Son” holds the rare distinction of being a genuine hit both for the band and within the film industry itself. Widely regarded as one of the most potent protest songs in American history, “Fortunate Son” sears with raw passion and cathartic release. And despite its countless uses in film soundtracks, it has never lost its original power and impact, remaining a timeless anthem of social commentary and a best 60s song.

18: Jefferson Airplane – White Rabbit (1967)

“White Rabbit,” released in 1967, is structured like a deliberate mountain climb. It’s all uphill, uphill, uphill, meticulously building tension and anticipation, and then, suddenly, you reach the summit… and it’s over. Directly inspired by Lewis Carroll’s Alice In Wonderland, Grace Slick wrote the lyrics as a subtle critique of parents who readily read their children novels like Alice but then expressed bewilderment when those same children began experimenting with psychedelic drugs. (“Go ask Alice, I think she’ll know” is a lyric that has undeniably become synonymous with the 60s counterculture.) The song masterfully juxtaposes mounting tension against the ethereal and almost wraith-like presence of Slick’s vocal performance, creating a dynamic opposition that culminates in the ecstatic final chorus that everyone recognizes (but few possess the vocal range to truly sing along with effectively), making “White Rabbit” a psychedelic rock classic and a best 60s song.

17: Neil Diamond – Sweet Caroline (1969)

Neil Diamond needs to definitively clarify the true origins of his iconic hit, “Sweet Caroline,” released in 1969. The legendary singer has offered somewhat inconsistent accounts of the song’s inspiration over time. At one point, he claimed the classic 60s song was inspired by a young Caroline Kennedy, with the triumphant tune celebrating the unbridled joy of youth. Later, Diamond asserted that the song was actually a tribute to his wife Marcia, but he needed a name with three syllables that sounded right within the melody. Regardless of its precise origin story, “Sweet Caroline” has become an enduring anthem and a song that New York Yankees fans across the globe absolutely dread. The song has been adopted by the Fenway Park faithful as a pre-game ritual, played before the Boston Red Sox head to bat in the bottom of the 8th inning. It is a rare sports anthem that has nothing to do with sports in its lyrical content, a remarkably elastic megahit initially written for a woman but transformed into something universally singable and a best 60s song.

16: Ray Charles – Georgia on My Mind (1960)

“Georgia on My Mind” was originally composed in 1930 by Hoagy Carmichael and Stuart Gorrell, and first recorded that same year by Carmichael himself. However, the song practically became a Ray Charles original after he included it on his 1960 album, The Genius Hits The Road. Charles’s rendition is quite simply one of the most beloved and enduring songs in American music history, inspiring countless covers from artists as diverse as Willie Nelson, Michael Bolton, and jazz guitarist Wes Montgomery. Nelson notably performed a deeply moving rendition of the song at Charles’s funeral, which quickly became one of the most emotionally resonant performances of “Georgia on My Mind” ever captured. Charles’s vocal performance in the original version booms powerfully through the mix, soaring above his smooth piano chords, backing vocals, and a lush arrangement of swelling strings. Charles’s version of “Georgia on My Mind” was officially designated the State Song of Georgia in 1979, bestowing official recognition upon the state’s most important musical moment and a best 60s song.

15: Jimi Hendrix – All Along the Watchtower (1968)

Following the release of Bob Dylan’s understated soft-rock album John Wesley Harding in 1967, publicist Michael Goldstein, who worked for Dylan’s manager Albert Grossman, gave Jimi Hendrix a copy of the record. Hendrix subsequently took one of the album’s tracks, “All Along the Watchtower,” released in 1968, essentially attached a series of sonic bottle rockets to it, and launched it into the musical stratosphere. Hendrix initially recruited Traffic luminary Dave Mason to play 12-string guitar on the track, but after bassist Noel Redding abruptly left the recording session in frustration, Hendrix audibly shifted gears, moving Mason to bass duties instead. It is remarkably challenging to make musical chaos sound so effortlessly controlled and purposeful, but few artists could pull off this kind of sonic transformation more seamlessly and effectively than Hendrix, making “All Along the Watchtower” a definitive Hendrix track and a best 60s song.

14: Marvin Gaye – I Heard It Through The Grapevine (1968)

We debated between selecting this track and “Ain’t No Mountain High Enough” with Tammi Terrell, but ultimately concluded that “I Heard It Through The Grapevine,” released in 1968, represents the definitive Marvin Gaye moment of the 1960s. Ironically, this was not initially intended to be the case. Marvin Gaye’s version of “I Heard It Through The Grapevine” was almost never released as a single. The song, in typical Motown fashion, was recorded by a number of artists on the label. Gladys Knight and the Pips had already made it a significant hit. Consequently, Motown head Berry Gordy initially passed on releasing Gaye’s version as a stand-alone single. However, once Gaye’s version appeared on his album In the Groove, radio DJs relentlessly played it. Gordy ultimately relented, releasing it as a single, and the song rapidly ascended to the top of the charts, eventually becoming the biggest-selling single in Motown’s history up to that point. Intriguingly, the song it surpassed for that title? Another version of “I Heard It Through the Grapevine,” by Gladys Knight and the Pips, highlighting the song’s inherent power and its place as a best 60s song in either rendition.

13: Os Mutantes – A Minha Menina (1968)

Os Mutantes remain remarkably ahead of the curve even in the modern era. “A Minha Menina,” released in 1968, sounds like a song from the future, despite being released in the late 60s. The group provided clear evidence that bands like The Beatles had achieved global popularity and that new musical acts could effectively interpolate these established styles into staggeringly original and innovative ideas. Here was a South American band fearlessly transforming a Jorge Ben original into a sonic freight train, complete with a Hendrix-esque guitar solo and vocal harmonies that at times subtly resembled a barbershop quartet. Os Mutantes treated musical boundaries with a playful disregard, stomping over every preconceived notion and expectation on their way to an ecstatic musical truth about the boundless power of music, making “A Minha Menina” a groundbreaking and best 60s song.

12: Martha and the Vandellas – Dancing in the Street (1964)

“Dancing in the Street,” released in 1964, began with relatively modest intentions. The song, co-written by William “Mickey” Stevenson, Ivy Jo Hunter, and Marvin Gaye, was partially inspired by Stevenson observing children cooling themselves off by playing with a burst fire hydrant in Detroit during a hot summer day. However, the escalating racial tensions of the mid-1960s led Black activists to adopt the song as a powerful protest anthem, urging demonstrators to take to the streets in resistance to the discriminatory Jim Crow-era laws. The song achieved immense popularity upon its initial release, but a significant part of its enduring legacy stems from the way it came to represent one of the most pivotal and transformative eras in American history, making it a civil rights anthem and a best 60s song.

11: Otis Redding – (Sittin’ On) the Dock of the Bay (1968)

The concise and melancholically beautiful classic “(Sittin’ On) the Dock of the Bay,” released in 1968, was recorded just weeks before a tragic plane crash claimed Otis Redding’s life. It served as an incredibly poignant swan song for an artist who was instrumental in building Stax Records into a soul music powerhouse throughout the 1960s. Its seemingly simple subject matter – someone passively observing the tide rolling in and out, reflecting on the complexities of their life – is universally relatable, allowing listeners to project their own experiences and emotions onto the song’s narrative framework. The whistling coda, a signature element of the track, is similarly open-ended in its emotional interpretation, sounding simultaneously carefree and profoundly lonely, depending on the listener’s individual frame of mind. (According to co-writer Steve Cropper, the whistling coda only emerged because Redding couldn’t recall the specific ad-libs he had intended to add to the song’s conclusion.) “(Sittin’ On) the Dock of the Bay” became a posthumous hit and a testament to Redding’s artistry, securing its place among the best 60s songs.

10: The Who – My Generation (1965)

Pete Townshend’s Packard hearse apparently gave Queen Elizabeth decidedly bad vibes. Townshend’s vehicle was reportedly deemed such an eyesore by Queen Elizabeth that, after repeatedly passing it during her daily commute, she demanded that it be towed away. Townshend channeled this perceived injustice and sense of generational frustration into the song “My Generation,” released in 1965, a defining 60s anthem for outsiders everywhere seeking acceptance and understanding. The song is less about fitting in and conforming to societal norms than it is about being granted the freedom to not fit in. Lyrically, “My Generation” fundamentally changed the landscape of rock and roll, and Roger Daltrey’s signature sneering delivery of the line, “I hope I die before I get old,” has been echoed by rebellious teenagers directing their frustrations towards their parents ever since its release. Like much of The Who’s early Mod-influenced output, the song is heavily indebted to American rhythm and blues, most notably in the call-and-response arrangement of the lyrics. Daltrey’s occasional stutter in his vocal delivery has also been subject to ongoing debate, with some suggesting it is an intentional impersonation of a Mod youth under the influence of amphetamines. Regardless of Daltrey’s precise intent, it is undeniably one of the most impactful and memorable vocal tics to emerge from the 60s. “My Generation” is an era-defining song, an anthem for anyone who feels marginalized or lacks a sense of community, and a best 60s song.

09: The Ronettes – Be My Baby (1963)

Stomp. Stomp stomp clap. Stomp. Stomp stomp clap. The instantly recognizable drum pattern in “Be My Baby,” released in 1963, has been indelibly etched into American popular culture, as iconic as Elvis Presley or the American flag itself. Played by legendary drummer Hal Blaine, this drum intro has been endlessly imitated by countless musicians, but few have ever truly replicated the specific tone Blaine achieved with his snare drum on this recording. The song was co-written by Phil Spector, Jeff Barry, and Ellie Greenwich. The Ronettes, fronted by the captivating Ronnie Spector, brought the song’s romantic and yearning essence to life, infusing it with the innocence and passionate intensity of young love. Spector famously described his production approach as “a Wagnerian approach to rock & roll,” which ultimately evolved into his signature “wall of sound” production style. “Be My Baby” marked one of the first instances where Phil Spector utilized a full orchestra within his recording productions, a sonic characteristic that the producer would consistently revisit and refine throughout his career, making “Be My Baby” a production marvel and a best 60s song.

08: The Temptations – My Girl (1965)

“My Girl,” released in 1965, is a veritable kitchen sink of musical elements, skillfully combined to create a timeless classic. It features film-score-worthy strings, regal horns befitting a king’s courtly entrance, and a plucky guitar line that wouldn’t sound out of place within a country-western song. “My Girl” was the first Temptations single to prominently feature David Ruffin on lead vocals, and what a powerful and unforgettable introduction it proved to be. The iconic 60s song was initially intended for The Miracles, with Smokey Robinson originally planning to recruit Ruffin to sing the lead vocals on the track. However, the members of The Temptations persuasively convinced Robinson to let them record it themselves, a creative decision that Smokey Robinson seemingly overcame rather quickly, considering the remarkable solo career he would subsequently embark on. “My Girl” became a signature song for The Temptations and a best 60s song.

07: James Brown – I Got You (I Feel Good) (1965)

Is there a more instantly recognizable and iconic moment in music history than James Brown’s electrifying introduction to his most universally known song, “I Got You (I Feel Good),” released in 1965? While there are certainly moments as iconic in music history, it is difficult to pinpoint one that is demonstrably more impactful. Brown redefined the very essence of cool in the 1960s with this song, infiltrating mainstream rock and soul music with his intoxicating and unapologetically self-loving brand of funk. It was essentially self-care before the term even existed in common parlance. Brown played a pivotal role in pioneering the burgeoning funk genre by emphasizing the “one” beat of each bar, in stark contrast to rock songs, which typically emphasized beats two and four. This seemingly subtle rhythmic distinction literally put the “funk” in “funky,” forever altering the course of modern music with songs like “I Got You (I Feel Good),” “Papa’s Got A Brand New Bag,” and countless others, making “I Feel Good” a definitive funk anthem and a best 60s song.

06: Bob Dylan – Like a Rolling Stone (1965)

The snare drum hits with a sharp crack, followed by a quick, percussive pulse of a bass drum, and then… everything changes. There is a brief moment to orient yourself before music history is irrevocably altered for good. That is precisely what Bob Dylan accomplished with “Like A Rolling Stone,” released in 1965. Dylan began writing this confrontational and revolutionary track after a particularly grueling UK tour, and it is this palpable sense of aggressive energy that propels the meandering warmth of the organ line into uncharted sonic territory. The tambourine subtly accentuates the upbeat tempo, while the ragtime-style piano line injects an anachronistic quality into the arrangement. While the instrumentation is a perfect embodiment of folk-rock fusion, it is Dylan’s vocal performance that truly steals the show. The lines “you say you never compromise” and the iconic question “How does it feeeeeel?” became defining statements of resistance for an entire generation, making “Like a Rolling Stone” a protest anthem and a best 60s song.

05: Aretha Franklin – (You Make Me Feel Like) a Natural Woman (1967)

It is impossible to miss the deeply rooted gospel origins of Aretha Franklin’s indelible performance of “(You Make Me Feel Like) a Natural Woman,” released in 1967. In the words of author Anthony Heilbut, “While the Beatles trafficked in gurus, Aretha excavated gospel roots, her Jesus against their Maharishi.” “Woman” was co-written by Carole King and Gerry Goffin, with an assist from Atlantic Records head Jerry Wexler, but it is Aretha Franklin who expertly dramatizes the song’s emotional core, skillfully pushing and pulling at the listener’s heartstrings. When Aretha powerfully sustains notes in the bridge, maintaining the intense emotional energy of the preceding chorus before soaring even higher in the final chorus… well, that is precisely what elevates this song to the pantheon of best 60s songs.

04: The Rolling Stones – (I Can’t Get No) Satisfaction (1965)

Selecting a single Rolling Stones song to represent the band’s vast contributions to 60s music on this list is a near-impossible task. However, given the constraint of limiting ourselves to one song per artist, “Satisfaction,” released in 1965, feels like the most fitting choice, owing to its compelling backstory, immense cultural impact, and enduring legacy. The backstory is legendary: Keith Richards, it seems, can compose iconic riffs even in his sleep, surpassing the creative output of most musicians while fully awake. Richards reportedly conceived the riff for “(I Can’t Get No) Satisfaction” in his sleep and recorded a rough demo on his portable tape recorder without fully realizing it. The demo consisted of approximately two minutes of acoustic guitar playing the now-iconic “Satisfaction” riff before you can distinctly hear Richards drop the recorder and drift back to sleep. The single was released in June of 1965 and included on the band’s US release from July of that year, Out of Our Heads. Back in their native UK, however, the song was initially only accessible to listeners tuned into pirate radio stations, as it was deemed too sexually suggestive for mainstream commercial audiences, adding to its rebellious allure and cementing its place as a best 60s song.

03: The Beach Boys – Good Vibrations (1966)

Initially perceived as a surf-rock group primarily focused on themes of surfing, cars, and girls, The Beach Boys definitively proved their artistic depth and ambition with Pet Sounds and songs like “God Only Knows.” “Good Vibrations,” released in 1966, is a quintessential 60s pop masterpiece from The Beach Boys, a sonic miracle of a song that somehow even surpassed the artistic heights of the group’s legendary Pet Sounds album. Unsurprisingly, at the time of its creation, “Good Vibrations” was one of the most expensive songs ever recorded, and its sonic complexity and innovation audibly reflected this investment. Beach Boy Brian Wilson’s groundbreaking production style created a swirling, intricately layered soundscape that presaged generations of artists who would subsequently utilize the recording studio itself as a musical instrument. Brian Wilson conceived the foundational musical idea for the song, and Mike Love later penned the lyrics, famously calling it the group’s “psychedelic anthem or flower power offering.” What an offering it truly was. “Good Vibrations” became a production landmark and a best 60s song.

02: The Beatles – Come Together (1969)

Between the instantly recognizable drum fill introduction, the raw crunch of the guitars, and the iconic vocals, it is difficult to find a song that surpasses the sheer impact of “Come Together,” released in 1969. We readily acknowledge that there are at least 25 other Beatles songs that could justifiably be included on this list of best 60s songs. However, “Come Together” is undeniably worthy of its high ranking. The song possesses a quintessentially 60s backstory: it was initially inspired by a request from Timothy Leary to write a campaign song for his gubernatorial run in California against Ronald Reagan, a campaign that abruptly ended when Leary was imprisoned for marijuana possession. Although primarily written by John Lennon, the song was officially credited to both Lennon and Paul McCartney. However, upon listening to the lyrics, it becomes clear that Lennon is once again crafting a playfully self-deprecating self-portrait, a notion further confirmed by renowned Beatles historian Jonathan Gould, making “Come Together” a classic Beatles track and a best 60s song.

01: Nina Simone – Sinnerman (1962)

The skittering hi-hats, the profoundly haunted piano line, the relentlessly galloping guitar rhythm; all meticulously set the stage for Nina Simone’s breathtaking vocal performance on “Sinnerman,” released in 1962, a song that showcases the icon at her absolute vocal peak. “Sinnerman” is unequivocally one of the most important songs in American music history, a stirring anthem exploring themes of race, religion, and the transformative power of music itself. It possesses the raw energy of the sun, yet also the meditative restraint of a cloistered monk. At ten minutes in length, it doesn’t waste a single moment. Every handclap during the breakdown, every powerfully delivered “power” Simone sings, feels meticulously placed and emotionally charged. Nina Simone grasped the profound power of music more deeply and intuitively than perhaps any other artist, and “Sinnerman” stands as a definitive example of art reaching its absolute apex, and therefore, in our estimation, the best 60s song.

Do you think we overlooked one of the best songs of the 60s? Let us know your thoughts in the comments below!