Songs of the 60s: Exploring 100 Timeless Classics That Defined a Generation

The 1960s: a decade of seismic shifts, cultural revolutions, and, undeniably, groundbreaking music. Attempting to curate the best Songs Of The 60s is a formidable, perhaps impossible task. This list doesn’t claim to be the definitive top 100 songs of the 1960s. Instead, consider this a curated journey through a decade that irrevocably transformed music, offering a gateway to rediscover familiar favorites and unearth new sonic treasures.

uDiscover Best 60s Songs Graphic

Two key principles guided the selection of songs for this list of songs of the 60s. Firstly, each song chosen had to possess a significant popular impact, either upon its release during the sixties or in subsequent decades. This means that while exploring diverse genres, many selections achieved recognition on prominent charts like the Billboard charts. Secondly, to celebrate the breadth of talent that flourished in this era, we limited ourselves to including only one song per artist, aiming to pay homage to as many influential musicians as possible.

With these considerations in mind, we invite you to delve into this exploration of songs of the 60s and perhaps rediscover the magic of this transformative musical decade.

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

Roger Miller’s “King of the Road” is a quintessential tune for the wandering soul. This charming country-pop crossover hit casts a warm light on the life of a traveling man. The narrative follows a nomadic hobo, joyfully free from societal expectations and material possessions. The song’s most memorable lyric, “I’m a man of means, by no means, king of the road,” carries a subtle cynicism, celebrating the liberation found in rejecting conventional norms. Its smooth, whiskey-like melody and simple instrumentation have made it a favorite for covers across genres, with artists ranging from country icon Glen Campbell to rockabilly Reverend Horton Heat offering their interpretations. While diverse covers exist, Miller’s original, centered around his uniquely appealing voice, remains the definitive “King of the Road,” a true gem among songs of the 60s.

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

Georgie Fame and The Blue Flames masterfully blended pop sensibilities with the improvisational energy of jazz and the raw emotion of R&B. Audiences worldwide responded enthusiastically. Their rendition of “Yeh, Yeh” achieved chart-topping success in the UK, even displacing The Beatles’ “I Feel Fine” from the number one position after a five-week reign, demonstrating the wide appeal of songs of the 60s. Shortly after its UK dominance, “Yeh, Yeh” climbed to #21 on the Billboard Pop charts in the US, confirming its international appeal. The band’s distinctive sound solidified when Fame switched from piano to the Hammond organ, a change directly inspired by Booker T. & The M.G.’s instrumental classic “Green Onions,” adding a signature element to their songs of the 60s.

Yeh, Yeh

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

The instrumentation in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” is impeccably sharp and vibrant. The basslines sound pristine, as if recorded in a vacuum, while the infectious conga rhythm bursts forth with absolute clarity. All that was needed was Jackie Wilson’s vocal brilliance, and he more than delivered. The instrumental track for this 1967 hit was crafted by Gary Jackson, Raynard Miner, and Carl Smith. Initially intended for The Dells, it remained unreleased by them. Wilson initially approached the song as a ballad. It wasn’t until he transformed his performance into the high-energy, soul-infused rendition we know today that it was deemed ready for release, quickly becoming a defining classic amongst songs of the 60s.

97: Crying – Roy Orbison (1961)

Roy Orbison boasted a wealth of 60s hits, including the iconic “Oh, Pretty Woman.” However, “Crying” stands out for its raw emotional vulnerability and poignant delivery, representing the depth found in songs of the 60s. It opens with an unforgettable line, instantly recognizable even to those unfamiliar with the song: “I was alright for a while, I could smile for a while.” The song showcases Orbison at his most exposed, confessing hidden heartbreak and regret for a former love. It seamlessly fuses a classic rock ballad structure with lush orchestral strings and driving timpani, blending symphonic elements with the dramatic flair of Wild West film scores. “Crying” dominated charts in 1961, reaching the top spot in many countries, only prevented from Billboard’s number one position by Ray Charles’ monumental hit, “Hit The Road Jack.” Alongside Charles, Orbison was instrumental in ushering rock ‘n’ roll and R&B into a more sophisticated era, combining powerful melodies with grand arrangements and relatable lyrics, paving the way for future stars within songs of the 60s.

96: The Real Thing – Russell Morris (1969)

“The Real Thing,” penned by Johnny Young and produced by Ian “Molly” Meldrum, was initially conceived as a gentle soft-rock ballad, echoing the style of The Beatles’ “Strawberry Fields Forever.” However, Meldrum’s expansive studio vision transformed it into a pioneering studio masterpiece of the modern recording era, pushing the boundaries of songs of the 60s. Collaborating with engineer John Sayers, Meldrum pioneered numerous recording techniques, notably flanging, creating a swirling effect by playing two identical recordings slightly out of sync, and instrumental dropouts, which later became a signature technique in 70s Jamaican dub music. The inclusion of a sample from an archived Hitler Youth choir recording added to the song’s unsettling and groundbreaking nature. “The Real Thing” became one of the most experimental and forward-thinking rock songs of the 60s, continuing to captivate and astound listeners today with its innovative sound within songs of the 60s.

95: Suzanne – Leonard Cohen (1967)

Leonard Cohen forged a direct link between poetry and folk music, and “Suzanne,” a moving acoustic piece from his Songs of Leonard Cohen album, stands as a powerful example of this fusion within songs of the 60s. Cohen’s lyrics initially appeared as a poem in 1966. (Cohen repurposed the poem as he needed material for his debut album.) The song resonates with the intimacy of American folk icons like Bob Dylan and Stephen Stills, yet carries a distinct Canadian inflection and a delicate quality evident in Cohen’s fingerpicked guitar. “Suzanne” was inspired by Cohen’s platonic relationship with dancer Suzanne Verdal, one of the rare non-sexual relationships explored in his often romantic and sensual songwriting, adding a unique dimension to songs of the 60s.

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

“What a Wonderful World” is a testament to perseverance and stands as one of the most beloved pop ballads ever recorded, a highlight within songs of the 60s. Louis Armstrong began his recording career in 1923. Yet, in February 1968, at 66 years old, he released “What A Wonderful World,” which became the biggest hit of his incredibly influential career. Armstrong’s musical journey spanned Dixieland jazz to mainstream pop, and “What A Wonderful World” marked his greatest commercial success with his most intimate and heartfelt song. Amidst an increasingly troubled world, “What A Wonderful World” offered a message of reflection and hope, yearning for optimism. Armstrong, battling a heart condition, urged his audience to appreciate life’s simple joys and celebrate them alongside him, making it a poignant entry in songs of the 60s.

Louis Armstrong – What A Wonderful World (Official Video)

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

It might be surprising now, but Tom Jones was once considered too provocative for the BBC when he first emerged in the 60s with “It’s Not Unusual.” Consequently, pirate radio station Radio Caroline played a crucial role in driving the initial success of Jones’s debut single, a standout in songs of the 60s. This upbeat song about heartbreak became Jones’s second single for Decca Records and his first No. 1 hit. Rumor suggests that the guitarist responsible for the memorable squealing solo is none other than Jimmy Page. What is confirmed is the keyboard player: a then-struggling musician named Reginald Dwight, who would later achieve global fame as Elton John, adding an intriguing footnote to the history of songs of the 60s.

92: Daydream Believer – The Monkees (1967)

John Stewart penned “Daydream Believer” shortly before leaving the Kingston Trio, envisioning it as the third song in a trilogy capturing the ennui and monotony of suburban life. In this sense, he was an innovator, giving voice to suburban disillusionment and a longing for escape, a theme resonating within songs of the 60s. The song was initially rejected by both We Five and Spanky and Our Gang before finding its way to The Monkees through producer Chip Douglas, who encountered John Stewart at a social gathering. The group recorded it for their 1967 album, Pisces, Aquarius, Capricorn & Jones Ltd., but it was ultimately included on their 1968 album, The Birds, The Bees & The Monkees. Davy Jones’s seemingly ambivalent vocal delivery was actually a result of his boredom with the recording process – a happy accident that contributed to the song’s unique charm within songs of the 60s.

91: Runaway – Del Shannon (1961)

“Runaway” almost didn’t happen. Back in 1960, Charles Westover and keyboardist Max Crook secured a recording contract that initially proved disastrous. Perhaps overwhelmed by the pressures of the music industry in New York City, Crook and Westover (who had recently adopted the stage name Del Shannon) failed to impress Big Top Records executives. Following this setback, their manager urged them to rework and re-record an earlier song, “Little Runaway.” This revision proved transformative. “Little Runaway” evolved into “Runaway,” and Shannon’s iconic “wah-wah-wah” vocal performance became instantly recognizable and endlessly imitated, securing its place among memorable songs of the 60s.

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

“Is That All There Is?,” a unique blend of spoken word and a polished, show-tune inspired vocal melody, remains a powerful expression of nihilism, extending beyond the realm of The Big Lebowski. The song drew inspiration from Thomas Mann’s 1896 story “Disillusionment,” specifically the line, “Is that all there is to a fire?”. It borrowed from Kurt Weill’s theatrical compositions, merging theatrical performance with the pop maximalism that gained popularity in the late 60s. Randy Newman composed and conducted the song’s orchestral arrangement and played the piano introduction. The song confronts mortality directly, with Peggy Lee displaying a fearless acceptance of death, yet a reluctance to forgo life’s pleasures for the unknown, making it a thought-provoking addition to songs of the 60s.

89: Oscillations – Silver Apples (1968)

Much of modern electronic and experimental rock can trace its origins back to the profoundly influential Silver Apples and their 1968 self-titled debut album. The band’s driving, hypnotic instrumental repetitions anticipated krautrock by half a decade, and the cyclical patterns of their grooves helped pave the way for the dance music explosion that followed, solidifying their importance within songs of the 60s. Simeon’s oscillators were central to their sound, but Dan Taylor’s thin, trembling vocals also proved influential, inspiring singers such as David Byrne. Though Silver Apples’ musical output was concise, their influence is vast and continues to expand, marking them as pioneers among songs of the 60s.

Oscillations

88: Unchained Melody – Righteous Brothers (1965)

“Unchained Melody” first appeared in 1955, composed by Alex North with lyrics by Hy Zaret. It was originally written for a relatively obscure prison film, Unchained, before the Righteous Brothers rediscovered it for their 60s album Just Once In My Life, elevating it to a defining song of the 60s. The song unfolds in two distinct parts. Initially, it moves gently, like a tranquil rowboat gliding across a still lake. But around the midpoint, the atmosphere shifts dramatically as drums enter with a thunderous crash cymbal, and singer Bobby Hatfield’s vocals intensify. “Unchained Melody” was initially the b-side to the album’s lead single, “Hung On You,” produced by Phil Spector. However, “Unchained,” produced by Hatfield’s singing partner, Bill Medley, outperformed “Hung On You” on the charts, leading Spector to controversially claim credit for both songs. Since then, the record has been corrected, and Medley has received rightful recognition for his production of this classic among songs of the 60s.

87: Doctor Who – BBC Radiophonic Workshop (1963)

The BBC Radiophonic Workshop, established in 1958 to create sound effects for radio and television, quickly became Britain’s leading laboratory for electronic sound innovation. The “Doctor Who” theme, which debuted with the show’s first broadcast in 1963, is a rare example of a soundtrack that both enhances and transcends its source material, making it a unique entry in songs of the 60s. While intrinsically linked to the show, its iconic melody has achieved independent pop culture status. Australian composer Ron Grainer sketched the theme, which was then entrusted to the Radiophonic Workshop for reimagining by Delia Derbyshire, who collaborated with sound engineer Dick Mills on the final version. They crafted the instrumental parts by manipulating white noise, a single plucked string, and simple harmonic waveforms from test-tone oscillators through splicing, slowing down, and speeding up techniques. With this theme, Delia Derbyshire and the BBC Radiophonic Workshop not only revolutionized television sound but also laid crucial foundations for experimental electronic composers in the 1970s and 1980s, solidifying its place within influential songs of the 60s.

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

“Everyday People” embodies Sly Stone’s signature style: advocating for peace with irresistible catchiness, making it a standout in songs of the 60s. Sly possessed a remarkable ability to encapsulate the essence of the 60s in song, building upon the free love movement to create an inclusive and groovy sound that resonated deeply with the era’s popular trends. The Family Stone stood out for its diverse lineup, including white musicians Greg Errico and Jerry Martini, as well as women like Rose Stone (Sly’s sister) and Cynthia Robinson. Musically, “Everyday People” distinguishes itself by engaging with pop more directly than much of the band’s psychedelic funk material. It’s a straightforward hit, demonstrating Sly’s ability to craft groundbreaking songs across diverse styles, contributing to the rich tapestry of songs of the 60s.

85: To Love Somebody – Bee Gees (1967)

How quickly can you recognize the Bee Gees’ “To Love Somebody”? Is it within the first second, as the clean guitar chords gently envelop the silence? Or perhaps in the second second, when the warm strings swell in? For some, recognition might come in the third second, with the entry of the resonant drums, sounding almost like waterlogged timpani, giving it a unique sonic signature within songs of the 60s. Regardless, the iconic opening notes of “To Love Somebody” are as timeless as the song itself. Listening to “To Love Somebody” is an experience of shared emotion, as if hearing your own feelings of love and heartbreak articulated in a way you thought was uniquely yours. This shared vulnerability is what makes “To Love Somebody” one of the most emotionally resonant songs of the 60s.

To Love Somebody

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

Dusty Springfield found herself in the opportune place at the perfect moment. The British soul music enthusiast was recording her 1968 Atlantic debut in Memphis under the guidance of Jerry Wexler. During this period, John Hurley and Ronnie Wilkins had written “Son of a Preacher Man” with Aretha Franklin in mind. Wexler, however, recognized its potential for Springfield and steered it her way. It became a massive hit, frequently revitalized by its appearances in pop culture, such as in Quentin Tarantino’s 1994 hit film, Pulp Fiction, ensuring its enduring status among songs of the 60s. The track remains a cultural touchstone of the 60s, a sultry song about the complicated allure of love with a rebellious young man, adding depth to the narrative of songs of the 60s.

83: Armée Guinéenne – Bembeya Jazz National (1969)

Earning the nickname “Diamond Fingers” is no small feat, and Sekou Diabaté, guitarist for Bembeya Jazz National, lived up to this title through his almost supernatural guitar skills. Listening to gems like “Armée Guinéenne,” Diabaté’s breathtaking riffs seem to defy explanation, suggesting an almost mystical connection to his instrument, making it a standout in songs of the 60s. However, “Armée Guinéenne” is more than just an exceptional guitar showcase. This 1969 Afrobeat sensation marked a pivotal moment in Guinean culture, with the band embedding their songs with powerful political messages. Formed during Guinea’s newfound independence, their music vibrated with the joy of hard-won freedom, adding a layer of socio-political significance to songs of the 60s.

82: Suspicious Minds – Elvis Presley (1969)

Here’s a proven formula: if a song initially flops, have the world’s biggest star re-record it, and watch it soar. In 1968, songwriter Mark James wrote “Suspicious Minds” and dared to record it himself. It failed to chart. Elvis Presley then re-recorded it with producer Chips Moman, and it promptly reached #1, becoming an iconic hit amongst songs of the 60s. While “Suspicious Minds” became one of Elvis’s signature songs, securing a recording by The King was almost guaranteed to catapult a song to the top of the charts. The recording session reportedly took place between 4 and 7 AM, which might account for the raw desperation in Elvis’s vocal performance. Donna Jean Godchaux, who later joined The Grateful Dead, provided backing vocals, adding an interesting connection to the era’s musical landscape within songs of the 60s.

81: Yègellé Tezeta – Mulatu Astatke (1969)

Mulatu Astatke is widely recognized as the father of Ethio-jazz, a genre blending jazz harmonies, traditional Ethiopian melodies, and Latin rhythms, creating a unique sound within songs of the 60s. The golden age of Ethiopian jazz flourished in the 1960s and 1970s, with Astatke at its forefront. Addis Ababa, the country’s capital, was known as “Swinging Addis” during this period, becoming one of the most musically innovative cities globally. It’s no surprise that Astatke collaborated with jazz legends like John Coltrane during his visits to the United States. “Yègellé Tezeta” stands as a highlight of this era, a subtly seductive, winding groove built around an unforgettable horn melody. The song is prominently featured in the Ethiopiques series, which documents Ethiopia’s rich musical heritage since the emergence of Ethio-jazz, showcasing its vital contribution to songs of the 60s.

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

Françoise Hardy’s “Tous les garçons et les filles” has had a remarkable journey. Translated to “To All The Boys and Girls,” it became an instant sensation in France upon its release in 1962, marking a significant moment in songs of the 60s. Originally conceived as musical interlude during breaks in the broadcast of results for a 1962 French election referendum, it captivated French audiences. Hardy’s charming voice and pioneering yé-yé pop style, a fusion of rockabilly, jazz, folk, and pop, resonated deeply. Adding to its allure, the legendary Jimmy Page reportedly contributed guitar work to Hardy’s recording sessions, enhancing the song’s musical pedigree within songs of the 60s.

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

Songwriter Sonny Bono crafted the lyrics for “I Got You Babe” late one night in his basement. When he awakened his wife, Cher, to sing her part, she initially resisted, expressing dislike for the song and doubt about its hit potential. She returned to bed unconvinced. However, the next morning, her opinion had shifted. “I Got You Babe” became one of the most iconic duets of the 60s, a perfect anthem for the free love movement. Recorded with legendary drummer Hal Blaine and members of the renowned Wrecking Crew, the song became almost synonymous with the counterculture hippie movement, an incredibly catchy celebration of the comfort of true love within songs of the 60s. Though Sonny and Cher’s marriage eventually ended, “I Got You Babe” remains timeless, a testament to their musical synergy and a classic among songs of the 60s.

78: In C – Terry Riley (1968)

Terry Riley’s “In C” is composed of 53 short, numbered musical phrases, each with varying durations. Each phrase can be repeated any number of times by each musician in the ensemble, and musicians independently decide which phrase to play and when. While seemingly chaotic in concept, when performed effectively, it transforms into a beautiful, expansive, and constantly evolving musical experience. Why include it in a list of songs of the 60s? Riley’s inspiration came from the bold jazz innovations of artists like John Coltrane and Miles Davis, and his late 60s music significantly influenced Pete Townshend of The Who. This connection brought Riley’s experimental ideas to a wider mainstream audience, forever expanding the boundaries of rock ‘n’ roll and its incorporation of avant-garde concepts within songs of the 60s.

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

As the 60s fade further into history, the music associated with Charles Schulz’s beloved comic strip, Peanuts, is increasingly appreciated as more than just soundtrack music. The Peanuts music was composed and performed by Vince Guaraldi, a jazz pianist based in the Bay Area, and his ensembles, adding a distinct flavor to songs of the 60s. After serving in the Army as a cook during the Korean War, Guaraldi returned to the Bay Area and played in groups influenced by Latin styles like bossa nova. Guaraldi incorporated these influences into his Peanuts work, particularly “Linus & Lucy,” infusing its catchy piano melody with foot-tapping percussion. “Linus & Lucy’s” main section features only piano, brushed snare drum, and a hi-hat opening and closing during the chorus, demonstrating that brilliance often arises from simplicity, a key characteristic of timeless songs of the 60s.

Vince Guaraldi Trio – Linus And Lucy

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

One of the easiest aspects of compiling this list of songs of the 60s was that we didn’t have to choose between Stevie Wonder’s iconic 1970s music. While his 60s output was historically significant, the task of selecting from albums like Music of My Mind, Talking Book, and Innervisions would have been intensely difficult. “Uptight” is a straightforward pop-rock anthem, with Wonder’s dynamic vocals taking center stage, occasionally punctuated by an infectious horn melody. The drumming is energetic and assertive, reminiscent of rock bands like Cream and The Jimi Hendrix Experience. It’s a perfectly executed song, engaging and lively, yet providing ample space for Stevie to showcase his powerful vocal talents, solidifying its place among energetic songs of the 60s. The only debatable line is when Stevie sings “I’m just an average guy.” It’s a charming understatement, considering his extraordinary talent.

75: El Watusi – Ray Barretto (1962)

New York City-born Ray Barretto is celebrated as one of Latin music’s greatest conga players. He rapidly gained recognition in New York during the 1950s for his playing, leading to regular performances across the city with Latin musicians and jazz luminaries like Charlie Parker and Dizzy Gillespie. Barretto’s inventive playing style led him to form his own group. While “El Watusi” emerged during a craze for Pachanga music, Barretto infused it with his unique musical personality, creating a distinctive entry in songs of the 60s. The title of this classic 60s Latin song refers to the tall Watusi tribesmen of Rwanda, who are mentioned in the song’s playful, nonsensical lyrics, adding to its quirky charm within songs of the 60s.

Ray Barretto – El Watusi

74: Under the Boardwalk – The Drifters (1964)

“Under the Boardwalk” arose from a somber circumstance. The recording session was scheduled for May 21st, 1964, but Rudy Lewis, the band’s lead singer, tragically died of a suspected heroin overdose the night before. Instead of postponing the session, the lead vocal duties for “Under the Boardwalk” were reassigned to Johnny Moore, the group’s other vocalist. The song is a flawless blend of pop and soul, but perhaps best known for the numerous cover versions it inspired, marking its broad appeal within songs of the 60s. Artists who have covered it 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 version listed achieved chart success in the United States or internationally, highlighting the song’s enduring popularity among songs of the 60s.

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

Irma Thomas and The Rolling Stones both recorded versions of “Time Is On My Side,” yet their interpretations are strikingly different. The Stones delivered a thrilling rock rendition of the Jerry Ragovoy composition, while Thomas’ version is dominated by her exceptional vocal performance, making it a standout in songs of the 60s. Her voice slightly precedes the backing choir, creating an image of a runner outpacing the pack. But there’s no artifice in Thomas’s voice; she possesses one of soul music’s most iconic voices, powerful yet remarkably precise. H.B Barnum arranged Thomas’ version, and Jimmy Norman contributed to fleshing out the lyrics. Legend has it that Norman completed the lyrics just moments before Thomas entered the recording studio, adding a sense of spontaneity to this classic among songs of the 60s.

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

“Mercy, Mercy, Mercy” became an unexpected hit for the Cannonball Adderley Quintet, a slice of soul jazz that resonated with a wide audience thanks to its fusion of jazz structures and pop melodies, securing its place among accessible songs of the 60s. Joe Zawinul largely drives the melody, particularly in the early part of the song. (The Wurlitzer organ he played on the track was once owned by Ray Charles.) The song achieved crossover success when The Buckinghams recorded a pop version in 1967, but the original, recorded live with an audience energized by an open bar, possesses a unique and captivating magic, making it a memorable entry in songs of the 60s.

71: Mama Tried – Merle Haggard (1968)

Like many great country songs, Merle Haggard took some liberties with the truth in “Mama Tried.” He drew inspiration for the song from his own experience of being convicted of robbery and serving three years in San Quentin Prison. It’s a poignant tribute to mothers who “worked hours without rest” and a heartfelt apology from a son who refused to conform, resonating deeply within songs of the 60s. However, the narrative is only part of the song’s power. Haggard’s blend of honky-tonk swing and Bakersfield country sounds in the 60s paved the way for 70s outlaws like Waylon Jennings and Willie Nelson. Haggard’s signature combination of empathy, regret, and unwavering self-identity became hallmarks of the genre, making “Mama Tried” a cornerstone among songs of the 60s.

Mama Tried (Remastered 2001)

70: Brown Eyed Girl – Van Morrison (1967)

Van Morrison embarked on a productive two-day recording session in 1967, during which he recorded eight songs, which were then released as four singles. “Brown Eyed Girl” was captured on the 22nd take on the first day, but the result was undeniably worth the effort. “Brown Eyed Girl” quickly became a staple in his discography and a soft rock masterpiece, foreshadowing his later exploration of more orchestral and psychedelic sounds on Astral Weeks, cementing its place within songs of the 60s. Its timeless appeal is evidenced by covers from artists as diverse as Adele, Reel Big Fish, Steel Pulse, and U2, demonstrating its wide-ranging influence among songs of the 60s.

69: Baby – Gal Costa (1969)

Gal Costa’s “Baby” is rich with musical history. This Tropicália classic is the auditory equivalent of a perfect beach day, before sunburn and peeling begin, capturing the idyllic essence of songs of the 60s. Painful analogies aside, Costa’s “Baby,” written by Caetano Veloso, was initially popularized by Os Mutantes, another key figure in the Tropicália scene. Costa’s version, released in 1969, features swirling strings that sound as if they were lifted from a 1940s film score. Alongside Veloso, who provides harmonies to complement Costa’s stellar vocals, they created one of the defining songs of the Tropicália movement, a vibrant contribution to songs of the 60s.

Baby

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

Should “Waterloo Sunset” have been chosen instead? Perhaps. But we wanted to highlight the early brilliance of Ray Davies as a songwriter with “You Really Got Me,” demonstrating the range within songs of the 60s. According to Davies, “You Really Got Me” was among the first five songs he ever wrote. Originally conceived as a piano-based lounge-jazz piece, it drastically evolved into the hard-rocking version we know today. The song was inspired by college infatuation, a specific night when Davies performed and noticed a girl in the audience who caught his eye. After his set, when he sought her out, she had vanished. Much of the song’s mystique revolves around its iconic guitar solo. Jon Lord of Deep Purple claimed Jimmy Page recorded it before joining the Yardbirds and later Led Zeppelin. (Page has consistently denied this claim.), adding to the lore surrounding songs of the 60s.

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

While Chickasaw County, Mississippi, Bobbie Gentry’s birthplace, is a couple of hours from the famed Delta, “Ode to Billie Joe” immerses listeners in a Delta narrative of tragedy. “Ode to Billie Joe” is a perfect example of folk storytelling in song, rich in detail and imaginative in perspective, setting it apart within songs of the 60s. Gentry places us within a family’s reaction to a local boy’s suicide jump from a bridge. She sings from the perspective of the family’s daughter, whose empathy contrasts sharply with her family’s indifference. It’s a powerfully understated anthem of Southern tragedy, functioning as much as a short story as a four-minute folk song, contributing to the narrative depth found in songs of the 60s.

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

This is one of the great instrumental songs of the 60s, and Ramsey Lewis owes a debt to a coffee shop server named Nettie Gray. In 1965, the Ramsey Lewis Trio was in a Washington, D.C. coffee shop, struggling to choose a song to complete their set list. They were scheduled to perform at Bohemian Caverns, the same venue where they had recorded a live album the previous year, and they were planning their setlist for a follow-up live album. Nettie, their server, went to the jukebox and played “The In Crowd” by Dobie Gray, a popular hit at the time. Lewis and his band quickly worked out their own rendition and included it in their set at the Caverns that night. It was met with enthusiastic applause and eventually became a hit, charting on both the Billboard Hot 100 and R&B charts, highlighting the unexpected paths to success within songs of the 60s.

The “In” Crowd

65: Louie Louie – The Kingsmen (1963)

The Kingsmen played garage rock before the term existed. Their version of Richard Berry’s “Louie Louie” happened almost by chance, becoming a raw and energetic entry in songs of the 60s. In 1962, while performing at the Pypo Club in Seaside, Oregon, the band repeatedly heard Rockin’ Robin Roberts’s version of “Louie Louie” playing on the jukebox. Patrons consistently flocked to the dance floor when it played, giving the jukebox hit more attention than the band received. In response, the group’s singer, Jack Ely, convinced The Kingsmen to learn the song. They quickly recorded it after witnessing the same enthusiastic reaction on the dance floor, capturing the raw energy of garage rock within songs of the 60s.

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

In a Saturday Night magazine article, famed pianist Glenn Gould hailed Switched-On Bach as “one of the most startling achievements of the recording industry in this generation.” The album, featuring Bach compositions meticulously realized by Wendy Carlos on the Moog synthesizer, took approximately five months and a thousand hours to produce, representing a groundbreaking fusion of classical music and electronic innovation within songs of the 60s. The Moog, a new instrument at the time, was notoriously temperamental. According to Amanda Sewell’s biography of Carlos, the composer could “produce a measure or two of music before the synthesizer went out of tune.” Despite these challenges, the album became a sensation, topping the Billboard Classical chart for three consecutive years, demonstrating the adventurous spirit of songs of the 60s.

63: Subway Joe – Joe Bataan (1968)

Few songs of the 60s capture the essence of a specific city as vividly as Joe Bataan’s “Subway Joe” portrays New York City, making it a unique urban portrait among songs of the 60s. The King of Latin Soul was born in New York’s Spanish Harlem in 1942. Bataan brought his lived experience to his music, crafting vivid narratives of life in his working-class neighborhood from a deeply personal perspective. Growing up in the tenements of El Barrio, he was immersed in a vibrant mix of pop, Latin music, doo-wop, and R&B – all of which found their way into his music, especially “Subway Joe.” The track pulsates with New York City energy. Bataan essentially defined the Latin Soul genre as the song unfolds. It’s a humorous story about a memorable subway ride, capturing a uniquely New York experience within songs of the 60s.

Joe Bataan – Subway Joe

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

“The Sound of Silence” is a quintessential 60s folk-pop song, though its path to the version we know today was somewhat circuitous, adding to its intriguing history within songs of the 60s. An initial acoustic version was included on their 1964 album, Wednesday Morning, 3 A.M. The album was a commercial disappointment, leading to Simon & Garfunkel’s breakup. However, in 1965, the song gained traction at radio stations in Boston, Massachusetts, and across Florida. Tom Wilson, the song’s producer, remixed the track, adding electric instruments and drums. This remixed version was released as a single in September 1965 without Simon & Garfunkel’s prior knowledge. Two years later, it became the soundtrack for The Graduate, one of the defining films of the 1960s, solidifying its iconic status among songs of the 60s.

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

Listening to the opening bars of Babatunde Olatunji’s “Jin-Go-Lo-Ba,” it’s almost impossible to remain still, showcasing the infectious rhythmic power found in songs of the 60s. If you have any sense of rhythm, you’ll find yourself moving – whether tapping a foot or fully embracing Olatunji and his chorus’s call and response. Featured on Olatunji’s album Drums of Passion, the song exemplifies the timeless power of combining catchy vocals with an irresistible groove. The Nigerian drummer, activist, and educator’s “Jin-Go-Lo-Ba” was a standout track on a surprisingly successful album, widely regarded as a crucial introduction of “world music” to American audiences, broadening the musical landscape within songs of the 60s.

60: Time of the Season – The Zombies

“Time of the Season” arrived too late to save The Zombies from disbanding. Discouraged by their lack of mainstream success, the group broke up, only to have “Time of the Season” become a classic a year after its release, marking a bittersweet turn in the story of songs of the 60s. Several other songs from Odessey and Oracle were released as singles before “Time of the Season.” Columbia Records initially doubted the album’s commercial potential but supported it at the insistence of new A&R representative Al Kooper. Both the band and Kooper were eventually vindicated, but only after Kooper championed “Time of the Season” and waited for the public to catch up to its pop-psych charms, highlighting the sometimes delayed recognition of songs of the 60s.

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

If mainstream America was startled by The Byrds singing about being “eight miles high,” their reaction to Lou Reed singing about waiting on a corner to buy heroin is hard to imagine, marking a stark contrast within songs of the 60s. While it was among the first popular songs to glamorize drug dealing, it was also a remarkably forward-thinking and cool rock song of the 60s. The guitar sound is lo-fi and gritty, and Lou Reed’s detached coolness lends the song an ambivalent edge that predates the indie era of the 80s and 90s. The Velvet Underground’s influence is undeniable across rock music. It functions as both social commentary and a defiantly cool track, a rare combination that defines a key aspect of songs of the 60s.

58: At Last – Etta James (1960)

There are moments of perfection in music history, and few surpass the brief pause in “At Last” when the string vibrations fade and Etta James’s voice emerges, a cappella, launching into the opening line, a moment of pure vocal brilliance within songs of the 60s. Before the drums establish the familiar swung rhythm, before the piano descends the scale like a climber returning from a summit, before the strings respond to James’s yearning vocals, there’s Etta, alone, at her absolute best. The intimacy of this track, of Etta’s voice, is almost impossible to replicate in contemporary music. She sounds as if she’s singing directly to you, dedicating this perfect love song to a shared moment, creating an unparalleled personal connection within songs of the 60s.

At Last

57: Born to Be Wild – Steppenwolf (1968)

While Steppenwolf’s “Born To Be Wild” is a remarkable encapsulation of 60s rock ‘n’ roll energy, it’s often primarily remembered for its use in Easy Rider, the groundbreaking indie film that sparked a revolution in American cinema, adding to its cultural impact beyond songs of the 60s. However, this overshadows its significance as a standalone rock anthem: “Born To Be Wild” is also frequently cited as the first “metal” song, or at least a proto-metal precursor. Crucially, it stands powerfully on its own as a classic piece of rock songwriting, solidifying its place within influential songs of the 60s.

56: The Weight – The Band (1968)

With “The Weight,” The Band aimed to bring surrealism into the mainstream, translating the richly symbolic cinematic styles of directors like Ingmar Bergman and Luis Buñuel into song form, a unique artistic ambition within songs of the 60s. The song features colorful characters drawn from the group’s real-life experiences, and the setting, Nazareth, Pennsylvania, was chosen because it’s home to Martin Guitars. Beyond its conceptual depth, “The Weight” is also an exceptional folk-rock song, a genre in which The Band excelled. Drummer Levon Helm handles the lead vocals, while Rick Danko plays bass and takes the fourth verse. Like many songs by The Band, “The Weight” is driven by harmonies. Every member could sing, but unlike The Beach Boys’ technicolor vocal harmonies, The Band favored a rougher, more earthy vocal blend, adding to their signature sound within songs of the 60s.

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

“The Girl From Ipanema” is the definitive bossa nova jazz song of the 60s. Originally written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes, English lyrics were later added by Norman Gimbel, broadening its appeal within songs of the 60s. The Stan Getz/João Gilberto version immediately became a hit, marking the vocal debut of João’s wife, Astrud Gilberto. The song and album represented a landmark collaboration between American saxophonist Getz and Brazilian icon Gilberto. The version we know and love is actually an edited version of the album track, which also included the Portuguese lyrics sung by João Gilberto. The song became a global phenomenon, winning a Grammy for Record of the Year, recognizing its international impact among songs of the 60s.

54: Crazy – Patsy Cline (1961)

Patsy Cline’s 1961 single “I Fall to Pieces” was her first song to top the Billboard country chart, marking a turning point in her career among songs of the 60s. Shortly after its success, Cline was seriously injured in a car accident, requiring a month-long hospital stay. Following her recovery, she released “Crazy,” which became one of country music’s biggest hits. It’s as if something transformative happened during her hospital stay, propelling her to superstardom. The song was originally written by Willie Nelson, and Cline’s husband, Charlie Dick, urged her to record it. Initially, Cline resisted, reportedly saying, “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 studio, Dick convinced her to try it, and the result is undeniable. Patsy Cline became a leading female country star at a time when the genre was male-dominated, paving the way for future generations of women in country music with songs of the 60s.

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

It’s hard to infuse a song with more erotic energy than Serge Gainsbourg achieved with “Je t’aime… moi non plus,” making it a daring and sensual entry in songs of the 60s. The track, roughly translating to “I love you, me neither,” was initially written for Brigitte Bardot in 1967. Gainsbourg, dating Bardot at the time, was asked by her to write the most romantic song possible. He created two: “Je t’aime” and “Bonnie and Clyde.” After Gainsbourg attempted to record “Je t’aime” with Bardot, news reached her husband, who pressured her to ask Gainsbourg not to release it. He complied but revisited the song a year later when he began dating Jane Birkin. Their version is one of the most sexually charged pop songs of the 60s, with Birkin and Gainsbourg’s palpable attraction evident in every line, pushing boundaries within songs of the 60s.

52: Bemba Colorá – Celia Cruz (1966)

Celia Cruz’s music makes you dance, but also confronts you with the political realities of 1960s Cuba, adding depth and context to songs of the 60s. “Bemba Colorá,” released in 1966, is perhaps 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 call-and-response between Cruz and her band. Cruz, known as the “Queen of Salsa,” left Cuba in the early 1960s, becoming a prominent voice for the Cuban exile community. Her story is intertwined with questions of identity and community, but on “Bemba Colorá,” created with Tito Puente, the Queen of Salsa infuses her inclusive hit with irresistible rhythms, making it a politically charged yet danceable entry in songs of the 60s.

Celia Cruz – Bemba Colora

51: Space Oddity – David Bowie (1969)

You might be tempted to increase the volume when you first play “Space Oddity,” only to be overwhelmed when the chorus erupts, showcasing David Bowie’s dynamic range within songs of the 60s. David Bowie’s 1969 hit intentionally starts quietly, building anticipation before unleashing one of rock history’s greatest choruses. The song was inspired by Stanley Kubrick’s film, 2001: A Space Odyssey, released a year earlier. While Kubrick’s film is sterile and precise, Bowie’s song is liberating and ecstatic. The drums play a loose military march rhythm, while Bowie counts down and encourages us to take our protein pills. The “liftoff” moment is anticipated, yet never loses its impact. The stereo mix splits his vocals across channels, immersing you in the astronaut experience, with David Bowie congratulating you on a successful moon landing, making it a uniquely immersive song of the 60s.

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

Turn away, take three steps, turn, draw. Although Ennio Morricone’s theme from The Good, The Bad & The Ugly uses wordless vocals to evoke the grandeur of the West, the opening whistled melody instantly conjures the final showdown in a Sergio Leone Western, making it a cinematic masterpiece within songs of the 60s. “The Good, The Bad & The Ugly (Main Theme)” has become synonymous with Western soundtracks. In 1966, the soundtrack reached number four on the Billboard charts, largely due to the chaotic brilliance of the whistles, gallops, and yelps that permeate Morricone’s composition. Few soundtrack moments in film history match its raw emotional power, cementing its place as an iconic instrumental among songs of the 60s.

49: Ring of Fire – Johnny Cash (1963)

While “falling into a ring of fire” sounds ominous, it’s far from what June Carter Cash and Merle Kilgore intended when they wrote this iconic hit, adding a layer of romantic irony to songs of the 60s. Originally a love song, it was first recorded by June’s sister, Anita Carter. Although Anita’s version didn’t achieve commercial success, Johnny Cash decided to record it after envisioning a mariachi band backing the song in a dream. Cash recorded it as his dream dictated, resulting in a country-western song decades ahead of its time. It blends traditional country structure with genre-bending elements, becoming a crossover hit beloved by country fans and Latin music enthusiasts alike, demonstrating the genre fluidity found in songs of the 60s.

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

Christopher Walken’s “more cowbell” Saturday Night Live sketch might never have happened if he had been involved in Hugh Masekela’s bell-rich 1968 hit, “Grazing in the Grass,” a song defined by its rhythmic innovation within songs of the 60s. The song opens with 16th notes played on a cowbell before the drums enter with a half-time feel, and horns layer over a skittering piano line. It’s a masterclass in rhythmic tension, with Masekela’s brilliant trumpet playing soaring above the rhythmic complexity. The song reached number one on the Billboard charts in the US, despite being the last track added to Masekela’s debut album, included only because the label considered the album three minutes too short. Alongside Masekela, Greenwich Village legend Bruce Langhorne and jazz bass icon Henry Franklin completed the all-star lineup, enhancing the song’s musical depth within songs of the 60s.

Grazing In The Grass

47: Fist City – Loretta Lynn (1968)

Loretta Lynn had clear boundaries: don’t look at her man, don’t touch her man, don’t even think about her man… unless you’re prepared for a physical confrontation, a bold declaration within songs of the 60s. “Fist City,” Lynn’s unapologetic anthem for women who threaten her marriage while she’s on tour, was a radical song for a country music star. In the 60s, country music was largely a male domain, and fighting was considered a masculine activity. Loretta challenged these norms, swaggering into the scene with a fierce attitude and a voice as sweet as honey. Those in the male-dominated establishment who disapproved had to contend with her rise, or risk facing the same fate as the women in “Fist City”: defeated and on the ground, demonstrating the assertive female voice in songs of the 60s.

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

“The Tracks of My Tears” is a miraculous hit, originating from the legendary Motown hit factory, a source of countless songs of the 60s. However, the lyrical inspiration struck Smokey Robinson in his bathroom. “One day I was shaving, and I looked in the mirror,” he told 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.” The track, with its iconic opening guitar riff and doo-wop vocal style, became one of the greatest songs about heartbreak in a genre saturated with them, marking its emotional resonance within songs of the 60s. Its impact is undeniable: inducted into The GRAMMY Hall of Fame, ranked by the RIAA as the 127th best “Songs of the Century,” and included by Rolling Stone at #50 in their “The 500 Greatest Songs of All Time.”

45: Aquele Abraço – Gilberto Gil (1969)

In the opening verse of Gilberto Gil’s 1969 samba sensation, “Aquele Abraço,” Gil treats his guitar as if it were made of delicate glass, reflecting the song’s nuanced dynamics within songs of the 60s. The delicate twang of his strumming creates an almost ethereal quality. It’s as if he’s barely playing at all. Then, an expansive chorus erupts, accompanied by whistles, backing vocals, and a flurry of percussion. Suddenly, Gil attacks his instrument with intensity, as if it had wronged him. Gil is a master of dynamics, using volume and crescendos to amplify emotion and drive the song’s progression. “Aquele Abraço,” perhaps one of the most famous samba songs ever, was written during Brazil’s military dictatorship and cultural censorship. Gil had just been released from military prison and placed under house arrest when he wrote “Aquele Abraço.” Exiled to Europe in 1970, the song became a massive hit in Brazil, becoming a rallying anthem for political activists seeking change, adding a layer of political significance to songs of the 60s.

44: Eight Miles High – The Byrds (1966)

The Byrds featured some of the most talented songwriters in American music history, including the often-underappreciated Gene Clark, Jim (Roger) McGuinn, and David Crosby, shaping the sound of songs of the 60s. They pioneered psychedelic rock heavily influenced by Indian ragas, popularized by sitar player Ravi Shankar and John Coltrane’s explorations of the style. “Eight Miles High,” by contemporary standards, seems innocuous, but in the 60s, it was banned from American radio due to its suggestive lyrics, adding to its rebellious mystique within songs of the 60s. However, the controversy surrounding the song is less significant than the style it helped introduce, blending the psych-rock of bands like The Beatles with jazz experimentation, marking a crucial fusion within songs of the 60s.

43: Pata Pata – Miriam Makeba (1967)

Long before rap songs became choreography fodder, South African artist Miriam Makeba adapted the traditional “Pata Pata” dance for her song, creating a globally resonant hit within songs of the 60s. The song’s title, “Pata Pata,” means “touch touch” in Xhosa, the language of its original 1959 version. “Pata Pata” was also a popular dance in Johannesburg’s township shebeens. Makeba drew inspiration from this dance for the track, initially recording it with her band The Skylarks. After gaining prominence in the US, she re-recorded the song in 1967 with Jerry Ragovoy, and it quickly became a hit. Makeba’s 60s version blended the driving African rhythms of her upbringing with subtle samba grooves and an infectious vocal melody, creating a vibrant cross-cultural sound among songs of the 60s.

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

To be young and in love is exhilarating. To be young and heartbroken feels like unparalleled tragedy. No one captures the highs and lows of this cycle quite like The Shangri-Las in their hit “Leader of the Pack,” a quintessential teen drama in songs of the 60s. The song was written by George “Shadow” Morton with Jeff Barry and Ellie Greenwich, initially intended for The Goodies but given to The Shangri-Las, who needed a follow-up to “Remember (Walking in the Sand).” It became an instant classic, largely due to its innovative use of sound effects like motorcycle revs and creative percussion, enhancing the dramatic narrative within songs of the 60s.

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

“Stand By Your Man” carries significant cultural weight, which sometimes overshadows the fact that Wynette’s most famous hit is simply one of the best country songs ever written, a cornerstone among songs of the 60s. While controversial upon release in the late 60s as American feminism gained momentum, Wynette maintained that the song was about overlooking flaws in loved ones, not subservience. Reportedly written in just 15 minutes by Wynette and her producer, Billy Sherrill, she initially hesitated, considering it an outlier in her discography and noting its challenging high note. However, it quickly became an iconic and pivotal song in country music and Wynette’s most popular song to date, demonstrating the enduring power of relatable themes in songs of the 60s.

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

Sometimes, a simple walk in the park can spark your greatest idea. At least, according to Desmond Dekker. The reggae icon conceived the idea for his masterpiece, “Israelites,” while overhearing an argument in a park, marking an unexpected origin for songs of the 60s. While enjoying popcorn, he overheard a couple arguing about finances. Dekker focused on the sentiment of working hard for insufficient pay, and by the time he returned home, the song was complete. It remains one of the most successful reggae songs of all time, charting on the Billboard charts and introducing rocksteady rhythms to a new audience in 1968, broadening the global reach of songs of the 60s.

39: Wichita Lineman – Glen Campbell (1968)

Glen Campbell often sang about places. 1968’s “Wichita Lineman” focused on Wichita, and his subsequent hit, “Galveston,” on the Texas coastal city. Campbell’s fascination with these themes stemmed from how places reflect the character of their inhabitants, a thoughtful approach within songs of the 60s. Written by Jimmy Webb, “Lineman” was inspired by a drive through Washita County in rural Oklahoma. Webb presented a nearly complete version to Capitol Records, but it lacked a middle section. Campbell conceived the idea of filling this space with an unforgettable guitar solo, showcasing his instrumental talent within songs of the 60s. It recalled Campbell’s early career as a session musician with the Wrecking Crew, many of whom he enlisted for “Lineman.”

Wichita Lineman (Remastered 2001)

38: Sunshine of Your Love – Cream (1967)

If you’ve ever made a significant mistake, take comfort that it’s probably not as significant as Ahmet Ertegun and Jerry Wexler’s error in 1967. Cream, following their debut Fresh Cream, were preparing their second LP for Ertegun’s Atlantic Records. The duo despised Cream’s new hard-rocking, ear-splitting sound, with Wexler even dismissing the demos as “psychedelic hogwash,” a critical misjudgment regarding songs of the 60s. Wexler was demonstrably wrong, as “Sunshine of Your Love” was not only included on the band’s second album, Disraeli Gears, but also released as a single. While Eric Clapton’s playing and singing undoubtedly contributed to Ertegun and Wexler reconsidering, it was Booker T. Jones and Otis Redding’s endorsement of “Sunshine Of Your Love” that ultimately convinced them of their mistake, recognizing the song’s groundbreaking sound among songs of the 60s.

37: Walk On By – Isaac Hayes (1969)

The number of legendary names associated with “Walk on By” is astonishing. Originally composed by Burt Bacharach with lyrics by Hal David for Dionne Warwick in 1963, it’s a hard act to follow, yet Isaac Hayes transformed it into something entirely new and iconic within songs of the 60s. Isaac Hayes turned the song into a sensual, slow-burning love jam. Beyond its impressive creators, Hayes’ 1969 version became a staple for rap producers, who sampled it extensively. Notable MCs who have sampled “Walk on By” include 2Pac, The Notorious B.I.G., MF DOOM, and the Wu-Tang Clan. Hayes’ rendition of “Walk on By” is a rare hit that stands on its own and as a crucial element in another genre’s history, demonstrating its enduring influence across genres within songs of the 60s.

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

Most people associate Buffalo Springfield’s “For What It’s Worth” with anti-war sentiments, but Stephen Stills’s initial inspiration was more localized, reflecting the specific socio-political climate that informed songs of the 60s. He wrote it in response to the Sunset Strip curfew riots in November 1966, where police clashed with young adults protesting the status quo. Regardless of its specific origins, Stills’s composition resonated deeply. The 1966 song, featuring Neil Young on guitar, is both catchy and powerful. The chorus urges awareness, yet is incredibly singable. “For What It’s Worth” began as a reaction to Sunset Strip unrest but became a global anthem, a touchstone for peace activists worldwide, solidifying its place among protest songs of the 60s.

35: Mas, Que Nada! – Jorge Ben (1963)

Oh, how wrong O Estado de S. Paulo newspaper was! Upon the release of Jorge Ben’s seminal Samba Esquema Novo, Brazil’s fourth-largest newspaper predicted it would quickly vanish from stores, like Ben’s previous 78s. But the paper failed to foresee the profound impact Ben’s album—and “Mas, Que Nada!” in particular—would have on samba music’s future, marking a turning point within songs of the 60s. The album title, translating to New Style Samba, clearly stated its intentions. Ben introduced a fresh perspective to the genre, influencing a new generation of samba and South American musicians, and “Mas, Que Nada!” became a defining track in this samba revolution within songs of the 60s.

Mas, Que Nada!

34: Light My Fire – The Doors (1967)

Like many Doors songs, “Light My Fire” drew from diverse influences, showcasing the band’s eclectic approach to songs of the 60s. Guitarist Robby Krieger initially wrote the song, inspired by the melody of “Hey Joe” and lyrics from The Rolling Stones’ “Play with Fire.” Drummer John Densmore suggested a Latin rhythm. Organist Ray Manzarek added the Bach-inspired introductory organ motif. Densmore then proposed opening with a single snare drum hit. The solo section was inspired by John Coltrane’s version of “My Favorite Things.” This exemplifies The Doors’ magnetic psych-pop: blending elements from rock, jazz, and blues into something unique and inimitable, a signature sound within songs of the 60s.

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

There are two types of people: those who know Booker T. & The MG’s “Green Onions,” and those who recognize the song but don’t know its title, highlighting its ubiquity among songs of the 60s. The track is one of the most recognizable in American music history, a simple blues riff that never ages. The musicians take turns improvising over the rhythm: first, an organ solo, then a guitar yelp, back to organ, then guitar again. A simple formula, yet simplicity is often the hardest thing to achieve. The infectious melody was written by Booker T. at just 17. While most teenagers learn to drive, Booker was redefining American R&B for generations, creating a timeless instrumental within songs of the 60s.

32: Tropicália – Caetano Veloso (1968)

Scratchy strings swirl overhead, like a dissonant soundtrack to an Alfred Hitchcock film. It’s immediately clear you’re in a new, foreign territory, perhaps Brazil, the homeland of Caetano Veloso, a pioneer in songs of the 60s. Veloso was a central figure in the Tropicália movement, blending Eastern and Western genres through a Brazilian lens. The track bursts with energy, a truly revolutionary sound in 1968. The song builds slowly, but when Veloso’s sweet voice joins the instrumental rush, it’s clear why he and “Tropicália” were essential to the movement of the same name, representing a cultural and musical shift within songs of the 60s.

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

Janis Joplin carried the blues in her soul, which she channeled into a raw form of rock ‘n’ roll on 60s classics like “Piece of My Heart,” a song embodying her powerful stage presence within songs of the 60s. Joplin’s interpretation was so unique that Erma Franklin, who first released the song in 1967, didn’t recognize it as her own when she heard Joplin’s version on the radio. Joplin infused the song with blues pain and triumph, drawing inspiration from early blues stars like Bessie Smith, adding a raw emotional depth to songs of the 60s.

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

Believe it or not, “I Want You Back” was the Jackson 5’s first national single, launching their phenomenal career and marking a significant debut within songs of the 60s. Released by Motown on October 7, 1969, it became their first No. 1 hit within months. It heralded the arrival of Michael Jackson, who would transform music, initially with his siblings and later as a solo artist. “I Want You Back” was performed on their first TV appearances, including Diana Ross’s The Hollywood Palace and their groundbreaking Ed Sullivan Show performance. The song almost didn’t reach The Jackson 5. It was initially considered for Gladys Knight & the Pips and then Diana Ross, highlighting the collaborative and sometimes serendipitous nature of hit songs of the 60s.

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

John and Michelle Phillips, huddled in their cold New York City apartment, longing for warmth, inadvertently created “California Dreamin’,” a song as crucial to the myth of sunny California as any ever recorded, becoming a defining anthem among songs of the 60s. The Mamas & The Papas (with the Phillipses as primary songwriters) crafted a song that tapped into both the idea of Manifest Destiny and 60s California as a haven for new ideas, cultures, and harmony. “California Dreamin’” evokes the allure of California and the era’s utopian aspirations, making it an iconic representation of songs of the 60s.

California Dreamin’

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

That descending guitar riff is instantly recognizable. Its slinky descent to the final note, always anticipated yet still surprising, is a defining element of songs of the 60s. “These Boots” was initially written for Lee Hazlewood, who planned to record it himself. Nancy Sinatra, however, playing into the stereotype of demure female country singers, convinced Hazlewood that “Boots” would be too intimidating coming from a man. It proved to be for the best: “These Boots Are Made For Walkin’” remains one of country music’s most iconic songs, covered across genres but rarely equaled, solidifying its place among powerful female-fronted songs of the 60s.

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

Bob Gaudio, a Four Seasons original member and co-writer of “Can’t Take My Eyes Off You,” recalled it as a song that almost vanished unnoticed, a near-miss in the history of songs of the 60s. Recorded in 1967, Gaudio and Valli relied on CKLW, a Detroit radio station, for airplay to ensure success. However, Paul Drew, the station’s program director, initially rejected the song. It wasn’t until Drew saw Valli perform it live that he changed his mind and added it to the station’s playlist. Upon its first broadcast, it became a massive hit. “Can’t Take My Eyes Off You” has transcended time, and even space. NASA used this 60s classic as a wake-up song on the STS-126 Space Shuttle mission in 2008, demonstrating its universal appeal extending beyond songs of the 60s.

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

Before Cardi B’s “I Like It,” songwriters Tony Pabon and Manny Rodriguez created a song about personal preferences way back in 1967, a pioneering blend of styles within songs of the 60s. Pabon sang vocals, with instrumentals by the Pete Rodriguez Orchestra. The song is famous for its innovative mix of English lyrics, call-and-response vocals, samba rhythms, and Cuban melodies, creating an undeniably catchy fusion. Its irresistible melody has led to countless covers, samples, and rearrangements, including a version by The Blackout All-Stars and Burger King’s commercial adaptation, showcasing its enduring and adaptable nature among songs of the 60s.

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

“54-46 That’s My Number” was among the first reggae songs to achieve broad popularity outside Jamaica, and is still considered a defining moment in the genre’s globalization, expanding the reach of songs of the 60s. Toots’s delivery is relaxed and playful, the drums are resonant and jangly. The lyrics recount Toots’s prison time for marijuana possession, yet the positive vibes belie the potential despair of incarceration. The song helped define Jamaica’s 60s rocksteady scene and is seen as a precursor to the influential dub style of reggae, which significantly shaped American electronic music in the 90s and 2000s, demonstrating the cross-genre influence of songs of the 60s.

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

Patience is key. Love doesn’t come easily. This sound advice is made even sweeter by Diana Ross of The Supremes, one of R&B and soul’s most important voices, delivering timeless wisdom within songs of the 60s. “You Can’t Hurry Love,” written by Motown’s famed Holland–Dozier–Holland production team, was an immediate success, topping the Billboard pop singles chart. With instrumentation by The Funk Brothers, The Supremes’ message about allowing love to unfold in its own time is a quintessential 60s Motown song, a standout among classics like “Where Did Our Love Go?” and “Stop! In The Name Of Love,” solidifying Motown’s dominance within songs of the 60s.

23: My Way – Frank Sinatra (1969)

Only Frank Sinatra’s velvety voice rivals the magnetism of his blue eyes, especially evident in the subtle nuances of his simpler tunes, like the brilliant “My Way” from 1969, a defining vocal performance among songs of the 60s. While he made his name with big band performances, Sinatra’s vocal subtleties shone brightest in simpler arrangements. Sinatra owes Paul Anka for this indelible 60s song. Anka heard the original French version while vacationing in the South of France and immediately flew to Paris to secure the rights. Sinatra then showcased his vocal range, moving from quiet introspection to powerful belting, making “My Way” a vocal showcase within songs of the 60s.

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

The creation story of Sam Cooke’s “A Change Is Gonna Come” is steeped in history, reflecting the socio-political context that shaped songs of the 60s. Cooke reserved a motel room with his wife Barbara, only to be denied service because they were Black. After protesting, they were forced to leave. At another motel, police arrested Cooke for disturbing the peace. This incident, combined with his admiration for Bob Dylan’s “Blowin’ In The Wind” and the impact of a white artist creating such a powerful protest song, spurred Cooke to address racial issues in his songwriting. Despite fearing it would alienate his white audience, Cooke wrote this richly atmospheric, string-laden classic, determined to speak out for change. We are all fortunate he did, as it became a timeless anthem among songs of the 60s.

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

Few songs capture the essence of Jamaican music like Alton Ellis’s “I’m Still In Love With You,” a cornerstone of the genre and a classic among songs of the 60s. Upon its 1967 release and in modern times, this earworm from “The King of Rocksteady” has profoundly influenced reggae, rocksteady, and their mainstream iterations. Its beat has been widely sampled, including Althea and Donna’s 1977 hit “Uptown Top Ranking” and Sean Paul’s 2002 cover. “I’m Still In Love With You” is a timeless classic that has inspired generations, but few renditions match the impact of Ellis’s original, solidifying its place as a foundational track within songs of the 60s.

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

“River Deep Mountain High” begins modestly. Tina Turner’s vocals are undeniably powerful, but initially blend with backing vocals and instrumentation, a subtle start for a song that becomes a vocal tour-de-force within songs of the 60s. But around thirty seconds in, her voice ignites, becoming as vibrant as a neon billboard. It becomes clear why she was considered her generation’s premier vocalist. It’s a star-making performance—slightly raspy, intensely emotional. Produced by Phil Spector, it cost $22,000 in 1966, making it one of the 60s’ most expensive songs. Spector employed 21 session musicians to achieve his signature wall of sound. Turner’s vocal recording was grueling; she reportedly recorded in her bra due to profuse sweating. This legendary song, shrouded in drama, remains a highlight of Turner’s career, an extraordinary feat given her numerous hits, and a testament to the power of songs of the 60s.

19: Fortunate Son – Creedence Clearwater Revival (1969)

What film comes to mind when you hear John Fogerty’s opening yelp in Creedence Clearwater Revival’s “Fortunate Son”? Forrest Gump? Suicide Squad? Logan Lucky? Regardless, “Fortunate Son” is a genuine hit both for the band and in film, a song that transcends its origins to become a defining protest anthem among songs of the 60s. Widely regarded as a great American protest song, “Fortunate Son” burns with passion and catharsis. Despite countless film uses, it never loses its power, remaining a potent message against inequality and war, solidifying its place as a powerful voice within songs of the 60s.

Creedence Clearwater Revival – Fortunate Son (Official Music Video)

18: White Rabbit – Jefferson Airplane (1967)

“White Rabbit” is structured like a gradual ascent. It builds tension steadily, reaching a peak before abruptly ending, a dynamic and psychedelic journey within songs of the 60s. Released in 1967 and inspired by Alice In Wonderland, Grace Slick wrote the lyrics to challenge parents who read such novels to their children, yet were perplexed when those children experimented with drugs. (“Go ask Alice, I think she’ll know” is a line that encapsulates the 60s.) The song contrasts the mounting tension with Slick’s ethereal vocals, culminating in the ecstatic chorus, making it an unforgettable and iconic track among songs of the 60s.

17: Sweet Caroline – Neil Diamond (1969)

Neil Diamond needs to clarify the true story behind “Sweet Caroline,” a song with shifting origins but enduring popularity among songs of the 60s. The iconic singer has given conflicting accounts of its inspiration. Initially, he claimed it was inspired by a young Caroline Kennedy, celebrating youthful joy. Later, Diamond stated it was for his wife Marcia, needing a three-syllable name. Regardless of its origin, “Sweet Caroline” has become an enduring anthem, surprisingly disliked by New York Yankees fans and beloved by Boston Red Sox fans, becoming a Fenway Park tradition in the 8th inning. It’s a rare sports anthem unrelated to sports, a universally singable megahit, proving its broad appeal beyond its personal inspiration within songs of the 60s.

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

“Georgia on My Mind” was originally written in 1930 by Hoagy Carmichael and Stuart Gorrell, and first recorded by Carmichael that year. However, it became virtually synonymous with Ray Charles after he included it on his 1960 album, The Genius Hits The Road, transforming it into a definitive track among songs of the 60s. Charles’s version is simply one of the most popular American songs, inspiring covers by Willie Nelson, Michael Bolton, and Wes Montgomery. Nelson performed it at Charles’s funeral, in a particularly moving rendition. Charles’s voice dominates the mix, atop smooth piano chords, backing vocals, and swelling strings. Charles’s version was officially declared Georgia’s State Song in 1979, formalizing its status as the state’s most important musical moment, solidifying its place as a cultural touchstone within songs of the 60s.

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

After Bob Dylan’s soft-rock album John Wesley Harding in 1967, publicist Michael Goldstein gave Jimi Hendrix a copy. Hendrix took one song, “All Along the Watchtower,” and amplified it into a sonic explosion, demonstrating his transformative genius within songs of the 60s. Hendrix initially recruited Traffic’s Dave Mason on 12-string guitar, but after bassist Noel Redding left a session frustrated, Hendrix audibly shifted Mason to bass. It’s rare to make chaos sound so effortless, but Hendrix excelled at transforming songs, making “All Along the Watchtower” a definitive example of his innovative approach to songs of the 60s.

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

We debated between this and “Ain’t No Mountain High Enough” with Tammi Terrell, but “I Heard It Through The Grapevine” felt like Marvin Gaye’s defining 60s moment, a song that showcases his vocal and interpretive brilliance within songs of the 60s. Ironically, Marvin Gaye’s “I Heard It Through The Grapevine” almost wasn’t released as a single. Motown artists recorded it multiple times. Gladys Knight & the Pips made it a hit, leading Berry Gordy to initially pass on Gaye’s version as a single. However, after it was included on Gaye’s In the Groove album, DJs played it incessantly. Gordy relented, and it topped charts, becoming Motown’s best-selling single to date. The song it surpassed? Gladys Knight and the Pips’ “I Heard It Through the Grapevine,” highlighting the song’s journey and impact within songs of the 60s.

I Heard It Through The Grapevine

13: A Minha Menina – Os Mutantes (1968)

Os Mutantes remain ahead of their time. “A Minha Menina,” released in the late 60s, sounds like a song from the future, demonstrating their visionary approach within songs of the 60s. The band exemplified the global reach of bands like The Beatles, showing how new groups could adapt these styles into innovative forms. Here was a South American band transforming a Jorge Ben original into a high-energy track, featuring a Hendrix-esque guitar solo and barbershop quartet-like vocals. Os Mutantes disregarded musical boundaries, pushing past conventions to achieve an ecstatic truth about music’s power, making “A Minha Menina” a testament to musical innovation among songs of the 60s.

A Minha Menina

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

“Dancing in the Street” began with modest intentions. Written by William “Mickey” Stevenson, Ivy Jo Hunter, and Marvin Gaye, it was partly inspired by Stevenson seeing kids cooling off by a busted Detroit fire hydrant, a simple urban scene that became a powerful anthem within songs of the 60s. However, amid racial tensions in the mid-60s, Black activists adopted it as a protest anthem, urging demonstrators to take to the streets against Jim Crow laws. While initially popular upon release, its enduring power stems from its association with a pivotal era in American history, transforming it into a symbol of protest and resilience within songs of the 60s.

Dancing In The Street

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

The brief, melancholic classic “(Sittin’ On) the Dock of the Bay” was recorded just weeks before a plane crash tragically took Otis Redding’s life. It served as an incredible swan song for an artist who helped build Stax Records in the 60s, becoming a poignant farewell within songs of the 60s. Its seemingly simple theme—contemplating life while watching the tide—is universal, allowing listeners to project their own experiences. The whistling coda is similarly ambiguous, sounding carefree or lonely depending on interpretation. (Co-writer Steve Cropper said it arose because Redding forgot the ad-libs he planned to add.), adding to the song’s open-ended emotional impact within songs of the 60s.

Otis Redding – (Sittin’ On) The Dock Of The Bay (Official Music Video)

10: My Generation – The Who (1965)

Pete Townshend’s Packard hearse offended Queen Elizabeth. So much so that, after seeing it on her daily drive, she demanded it be removed. Townshend channeled this perceived injustice into “My Generation,” a 60s anthem for outsiders seeking acceptance, a rebellious cry within songs of the 60s. The song is less about fitting in than being allowed to not fit in. Lyrically, it revolutionized rock ‘n’ roll, and Roger Daltrey’s sneering delivery of “I hope I die before I get old” has since echoed through generations of rebellious youth. Like much of The Who’s early Mod output, it’s indebted to American R&B, notably in its call-and-response lyrics. Daltrey’s stutter has sparked debate, with some suggesting it’s a Mod impersonation under the influence of amphetamines. Regardless of intent, it’s one of the 60s’ most iconic vocal tics, making “My Generation” an era-defining anthem for the disenfranchised among songs of the 60s.

My Generation (2014 Stereo Mix)

09: Be My Baby – The Ronettes (1963)

Stomp. Stomp stomp clap. Stomp. Stomp stomp clap. This drum pattern is etched into American culture like Elvis or the flag, an instantly recognizable rhythm within songs of the 60s. Played by Hal Blaine, it has been widely imitated, but few capture Blaine’s snare drum tone. Written by Phil Spector, Jeff Barry, and Ellie Greenwich, The Ronettes, led by Ronnie Spector, brought it to life, infusing it with youthful love. Spector described his production as “a Wagnerian approach to rock & roll,” evolving into his “wall of sound” style. “Be My Baby” was among the first times Spector used a full orchestra, a technique he frequently revisited, creating a lush sonic landscape within songs of the 60s.

08: My Girl – The Temptations (1965)

“My Girl” is a kitchen sink composition, incorporating diverse elements to create a rich and layered sound within songs of the 60s. It features film-score-worthy strings, regal horns, and a country-esque plucky guitar line. “My Girl” was The Temptations’ first single featuring David Ruffin on lead vocals, a remarkable introduction. Originally written for The Miracles, with Smokey Robinson intending to have Ruffin sing lead, The Temptations convinced Robinson to let them record it, a decision that quickly proved successful. “My Girl” became a defining hit for The Temptations and for Motown, showcasing the label’s masterful songwriting and vocal talent within songs of the 60s.

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

Is there a more iconic musical moment than James Brown’s introduction to his best-known song? Certainly equally iconic moments exist, but few surpass its sheer impact, marking a high point in energetic songs of the 60s. Brown redefined cool in the 60s with this song, infiltrating mainstream rock and soul with his infectious self-loving funk. It was self-care before the term existed. Brown helped pioneer funk by emphasizing the “one” beat, unlike rock’s emphasis on beats two and four. This shift literally put the “funk” in “funky,” forever changing modern music with songs like this, “Papa’s Got A Brand New Bag,” and many others, making James Brown a transformative figure within songs of the 60s.

I Got You (I Feel Good)

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

Snare hits, a bass drum pulse, then everything changes. A brief moment to prepare before music history is rewritten. That’s Bob Dylan’s achievement with 1965’s “Like A Rolling Stone,” a revolutionary track among songs of the 60s. Dylan began writing this confrontational song after a grueling UK tour, its aggressive energy driving the meandering organ line into uncharted territory. Tambourine subtly accents the upbeat, while ragtime piano adds anachronistic charm. While the instrumentation perfectly blends folk-rock, Dylan’s performance steals the show. Lines like “you say you never compromise” and “How does it feeeeeel?” defined a generation’s resistance, making “Like a Rolling Stone” an anthem of defiance within songs of the 60s.

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

Aretha Franklin’s gospel roots are palpable in her definitive performance of “(You Make Me Feel Like) a Natural Woman,” a song that showcases her unparalleled vocal power within songs of the 60s. In the words of author Anthony Heilbut, “While the Beatles trafficked in gurus, Aretha excavated gospel roots, her Jesus against their Maharishi.” Written by Carole King and Gerry Goffin, with input from Atlantic’s Jerry Wexler, Aretha expertly dramatizes it, pushing and pulling dynamics. Her sustained intensity in the bridge before an even grander final chorus makes this one of the best songs of the 60s, a vocal masterpiece among songs of the 60s.

Aretha Franklin – (You Make Me Feel Like) A Natural Woman (Official Audio)

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

Choosing one Rolling Stones song to represent them on a 60s list is impossible, but “Satisfaction” feels most fitting due to its story, impact, and legacy, a quintessential rock anthem among songs of the 60s. The story? Keith Richards apparently writes better songs asleep than most do awake. Richards wrote the riff for “(I Can’t Get No) Satisfaction” and demoed it on tape, unaware. The demo featured two minutes of acoustic guitar playing the riff before Richards dropped the recorder and fell back asleep. Released in June 1965, it appeared on the US album Out of Our Heads that July. In the UK, it was initially restricted to pirate radio due to its sexually suggestive lyrics. “(I Can’t Get No) Satisfaction” became a defining song of the 60s, embodying rock rebellion and solidifying The Rolling Stones as counterculture icons within songs of the 60s.

The Rolling Stones – (I Can’t Get No) Satisfaction (Official Lyric Video)

03: Good Vibrations – The Beach Boys (1966)

Initially seen as a surf rock group obsessed with cars and girls, The Beach Boys revealed their artistic depth with Pet Sounds and songs like “God Only Knows.” “Good Vibrations” is a 60s pop masterpiece, surpassing even Pet Sounds’ heights, a sonic marvel among songs of the 60s. It was, then, one of the most expensive songs ever recorded, and it sounds like it. Brian Wilson’s production created a swirling, immersive sound, presaging studio-as-instrument techniques. Brian conceived the basic idea, and Mike Love wrote the lyrics, calling it the group’s “psychedelic anthem or flower power offering.” It was an extraordinary offering, a testament to studio innovation and pop artistry within songs of the 60s.

The Beach Boys – Good Vibrations (Official Music Video)

02: Come Together – The Beatles (1969)

Between the classic drum fill intro, crunchy guitars, and iconic vocals, “Come Together” is nearly perfect, a testament to The Beatles’ enduring genius within songs of the 60s. While countless Beatles songs could be listed, “Come Together” is undeniably worthy. It has a very 60s backstory: inspired by Timothy Leary’s request for a campaign song for his California gubernatorial run against Ronald Reagan (which ended when Leary was jailed for marijuana possession). Written by John Lennon but credited to Lennon-McCartney, its lyrics are a whimsical self-portrait, confirmed by Beatles historian Jonathan Gould. “Come Together” is a masterclass in rock songwriting and performance, solidifying The Beatles’ legendary status within songs of the 60s.

The Beatles – Come Together

01: Sinnerman – Nina Simone (1962)

Skittering hi-hats, haunting piano, galloping guitar—all set the stage for Nina Simone on “Sinnerman,” showcasing her most powerful vocal performance and making it the pinnacle among songs of the 60s. “Sinnerman” is a landmark in American music, a stirring anthem on race, religion, and music itself. It has the sun’s energy and a monk’s restraint. At ten minutes, it’s perfectly paced. Every clap, every “power” Simone sings resonates deeply. Simone grasped music’s power like no other, and “Sinnerman” is art at its zenith, a transcendent masterpiece among songs of the 60s.

Sinnerman

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