Iconic 1960’s Songs: Exploring a Decade of Musical Revolution

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Illustration: uDiscoverMusic

Defining the best songs of the 1960s is undeniably a formidable task, bordering on the impossible. Therefore, let’s preface this exploration by acknowledging that this compilation is not intended to be the definitive top 100 list of 1960’s songs. Instead, our aim is to provide a compelling glimpse into a decade that fundamentally reshaped the landscape of music, offering a curated pathway for both rediscovery and new musical adventures.

Two crucial principles guided the selection of songs for this list. Firstly, each song included was chosen for its demonstrable popular impact during the 1960s or its enduring significance in subsequent decades. This means that even the jazz selections featured here often achieved recognition on the Billboard charts, demonstrating their wider cultural resonance. Secondly, to celebrate the breadth of talent that defined the era, we have limited ourselves to a single song per artist, ensuring a tribute to as many influential musicians as possible.

With these parameters established, we invite you to delve into this curated journey through the sounds of a generation.

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

Roger Miller’s “King of the Road,” released in 1965, casts a warm and insightful light on the life of a wanderer. This charming country-pop crossover hit narrates the tale of a nomadic soul, a hobo unbound by societal expectations and material possessions. The song’s most memorable line, “I’m a man of means, by no means, king of the road,” delivers a subtly cynical yet celebratory perspective on the freedom found in rejecting conventional norms. Its effortlessly smooth melody and unpretentious instrumentation have made it a beloved choice for covers across genres, from country icons like Glen Campbell to rockabilly bands like Reverend Horton Heat. While the song’s minimalist style lends itself to diverse interpretations, Miller’s original, anchored by his uniquely captivating voice, remains the quintessential “King of the Road.”

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

Georgie Fame and The Blue Flames, fronted by Georgie Fame, masterfully blended pop sensibilities with the sophisticated rhythms of jazz and the raw energy of R&B. This potent combination resonated deeply with audiences. Their rendition of “Yeh, Yeh,” released in 1964, achieved the remarkable feat of dethroning The Beatles’ “I Feel Fine” from the top of the UK charts, ending the Fab Four’s impressive five-week reign. “Yeh, Yeh” quickly transcended its UK success, climbing to #21 on the Billboard Pop charts and establishing itself as more than just a British sensation. The band’s distinctive sound truly solidified when Fame transitioned from piano to the Hammond organ, a pivotal decision directly inspired by the instrumental groove of Booker T. & The M.G.’s iconic track “Green Onions.”

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

The instrumental arrangement of Jackie Wilson’s 1967 hit, “(Your Love Keeps Lifting Me) Higher and Higher,” is a masterclass in sonic clarity and precision. The bass line possesses a depth and resonance as if recorded in a pristine vacuum, while the instantly recognizable conga rhythm bursts forth with vibrant energy. For this track to truly soar, all that was needed was Jackie Wilson’s vocal brilliance. And deliver he did. The instrumental foundation of this soul classic was crafted by Gary Jackson, Raynard Miner, and Carl Smith. Initially offered to The Dells, the song remained unreleased until Wilson stepped in. His initial ballad-style interpretation was transformed into the electrifying, uptempo soul anthem we know today, solidifying its status as a defining song of the 60s.

97: Crying – Roy Orbison (1961)

Roy Orbison, a master of emotional resonance, had a deep catalog of 1960’s hits to choose from, including the iconic “Oh, Pretty Woman.” However, for this list, we selected “Crying,” a 1961 release that begins with a line instantly recognizable even to those unfamiliar with the song: “I was alright for a while, I could smile for a while.” “Crying” showcases Orbison at his most vulnerable, openly expressing the heartbreak and regret concealed from a former love. The song seamlessly merges a traditional rock ballad structure with sweeping orchestral strings and the dramatic pulse of timpani, creating a sonic landscape that blends symphonic grandeur with the cinematic drama of Wild West scores. “Crying” dominated the charts in 1961, consistently vying for the top spot, only to be held back from number one on the Billboard charts by Ray Charles and his equally iconic hit, “Hit The Road Jack.” Alongside Charles, Orbison played a pivotal role in modernizing rock ‘n’ roll and R&B, blending soaring melodies with epic arrangements and relatable lyrics that paved the way for future mainstream stars.

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, reminiscent of The Beatles’ “Strawberry Fields Forever.” However, the demo version was dramatically surpassed by Meldrum’s expansive and innovative production vision. Released in 1969, “The Real Thing” emerged as a pioneering studio masterpiece of the modern music era. Meldrum, alongside engineer John Sayers, spearheaded numerous groundbreaking recording techniques, including flanging, which involved layering two identical recordings played slightly out-of-sync, and instrumental dropouts, a technique that would later gain immense popularity with Jamaican dub artists in the 1970s. Adding to its unique sonic texture, the song incorporates a sample from an archival recording of a Hitler Youth choir. “The Real Thing” stands as one of the most experimental and forward-thinking rock songs of the 1960s, continuing to captivate and astound listeners today.

95: Suzanne – Leonard Cohen (1967)

Leonard Cohen, a master of lyrical depth, forged a direct path from poetry to the realm of folk music. “Suzanne,” a poignant acoustic track from his 1967 album Songs of Leonard Cohen, stands as a powerful example of this fusion. Cohen’s evocative lyrics first appeared as a poem in 1966. Faced with a shortage of material for his debut album, Cohen repurposed his poem for this now-iconic song. “Suzanne” draws from the intimate style of American folk artists like Bob Dylan and Stephen Stills, yet it carries a distinct Canadian inflection and a delicate sensibility, underscored by Cohen’s signature finger-picked guitar work. The song was inspired by Cohen’s platonic relationship with dancer Suzanne Verdal, one of the rare non-romantic relationships the notoriously romantic singer-songwriter explored in his extensive career.

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

“What a Wonderful World,” released in 1968, is a testament to the power of enduring optimism and stands as one of the most beloved pop ballads ever recorded. Louis Armstrong, a musical innovator since the 1920s, achieved the pinnacle of his commercial success with this timeless song. Having begun his recording career in 1923, Armstrong was 66 years old when “What A Wonderful World” became the biggest-selling song of his immensely influential career. Armstrong’s musical journey spanned from Dixieland jazz to mainstream pop, and “What A Wonderful World” marked his greatest hit with his most intimate and heartfelt song. This reflective and hopeful ballad emerged in February 1968, a time of increasing global fragility, yearning for simple joys and optimism. Armstrong, battling a heart condition, poignantly urged his audience to cherish life’s simple pleasures and celebrate them alongside him.

Image: Louis Armstrong in the official music video for “What a Wonderful World”, a song released in 1968 and becoming his biggest hit.

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

It may be surprising to learn that Tom Jones, with his undeniable charisma, was initially deemed too provocative for the BBC when he burst onto the scene in the 1960s with “It’s Not Unusual.” It was the independent pirate radio station Radio Caroline that played a crucial role in propelling the initial success of Jones’s debut hit, released in 1965. This upbeat anthem of heartbreak became Jones’s second single for Decca Records and his first chart-topping No. 1 hit. Rumor has it that the searing guitar solo is played by none other than Jimmy Page. What is confirmed is the presence of a then-struggling keyboardist named Reginald Dwight, who would later achieve global superstardom as Elton John.

92: Daydream Believer – The Monkees (1967)

John Stewart penned “Daydream Believer” shortly before departing from the Kingston Trio. This 1967 track was the third in a series of songs aimed at capturing the ennui and monotony of suburban existence. In this respect, Stewart was an innovator, giving voice to the often-unspoken feelings of suburban alienation, expressing a subtle cry for help, or perhaps, a yearning for escape back to the vibrant city life. Initially rejected by both We Five and Spanky and Our Gang, “Daydream Believer” eventually found its way to The Monkees through producer Chip Douglas, who encountered John Stewart at a social gathering. 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. Davy Jones’ seemingly ambivalent vocal delivery? It was reportedly a result of his own disinterest in the recording process—a serendipitous accident that contributed to the song’s unique charm and enduring appeal within pop music history.

91: Runaway – Del Shannon (1961)

“Runaway,” released in 1961, 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 big city, 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 manager encouraged them to revisit and rework an earlier song they had written, titled “Little Runaway.” This revision proved transformative. “Little Runaway” evolved into “Runaway,” and Shannon’s iconic “wah-wah-wah” vocal performance has become a defining characteristic, frequently imitated (often humorously) at family gatherings ever since.

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

“Is That All There Is?,” released in 1969 and blending spoken-word passages with a polished, show-tune-inspired melody, remains one of the most poignant expressions of nihilism in popular music, rivaling even the existential musings of The Big Lebowski. The song was inspired by the 1896 short story “Disillusionment” by Thomas Mann, specifically the line, “Is that all there is to a fire?” It draws stylistic influence from Kurt Weill’s theatrical compositions, merging the knowing wink of stage performance with the pop maximalism that was gaining prominence in the late 1960s. The song’s lush orchestral arrangement was composed and conducted by Randy Newman, who also contributed the piano introduction. “Is That All There Is?” offers a frank and unflinching contemplation of mortality, with Peggy Lee’s persona unafraid of the unknown yet reluctant to relinquish the pleasures and social joys of earthly life for the mysteries of the afterlife.

89: Oscillations – Silver Apples (1968)

So much of contemporary electronic and experimental rock music can trace its lineage back to the profoundly influential Silver Apples and their eponymous 1968 debut album. The band’s driving, hypnotic instrumental repetitions became a defining characteristic of krautrock in the years that followed, and the cyclical patterns of their grooves were instrumental in ushering in the dance music phenomenon that would later dominate global music scenes. While Simeon’s oscillators were central to their innovative sound, the fragile, almost ethereal vocals of singer Dan Taylor also proved deeply influential, inspiring vocalists like David Byrne. Although Silver Apples’ musical output was relatively concise, the vast and ever-expanding worlds they influenced are undeniable.

Image: Silver Apples performing “Oscillations”, a pioneering electronic rock song from their 1968 debut album.

88: Unchained Melody – Righteous Brothers (1965)

“Unchained Melody” initially appeared in 1955, featuring music composed by Alex North and lyrics by Hy Zaret. This composition was originally intended for a relatively obscure prison film titled Unchained before the Righteous Brothers rediscovered the tune and included it on their 1965 album Just Once In My Life. The song unfolds in two distinct movements. The first section progresses gently, evoking the image of a rowboat gliding peacefully across a tranquil pond. However, around the halfway point, the sonic landscape dramatically shifts as the song erupts with powerful drums and a resonant crash cymbal, accompanied by singer Bobby Hatfield’s increasingly impassioned vocal delivery. “Unchained Melody” was initially the b-side to the album’s lead single, “Hung On You,” which was produced by the legendary Phil Spector. Ironically, “Unchained,” produced by Hatfield’s singing partner, Bill Medley, achieved greater chart success than “Hung On You,” leading Spector to controversially claim credit for both tracks. Over time, the record has been set straight, and Medley has received rightful recognition for his crucial role in crafting this timeless classic.

87: Doctor Who – BBC Radiophonic Workshop (1963)

The BBC Radiophonic Workshop, established in 1958 to create sound effects for radio and television, rapidly evolved into Britain’s leading center for electronic sound innovation. The “Doctor Who” theme, which debuted with the iconic science fiction show in 1963, stands as a rare example of a soundtrack that both enhances its source material and transcends it as a standalone piece of music. While intrinsically linked to the show, its instantly recognizable melody has achieved an independent sphere of influence within popular culture. The initial sketch of the theme was composed 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 textures were meticulously crafted through splicing, slowing down, and speeding up white noise, a single plucked string, and basic harmonic waveforms derived from test-tone oscillators used for calibrating audio equipment and acoustic spaces. With this groundbreaking theme, Delia Derbyshire and the BBC Radiophonic Workshop not only revolutionized television soundtracks but also laid crucial groundwork for experimental electronic composers in the 1970s and 1980s.

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

“Everyday People,” released in 1968, is quintessential Sly Stone, embodying a plea for unity and peace within an irresistibly catchy musical framework. Sly Stone possessed a unique ability to capture the zeitgeist of the 1960s in song, building upon the free love movement to create a sound that was both inclusive and deeply groovy, resonating with the popular musical trends of the era. The Family Stone distinguished itself through 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 conventions, in contrast to much of the band’s more overtly psychedelic funk explorations. This track is a straightforward hit, demonstrating Sly Stone’s versatility and his capacity to create groundbreaking music across a range of styles.

85: To Love Somebody – Bee Gees (1967)

How quickly can you identify the Bee Gees’ 1967 classic, “To Love Somebody”? Is it in the first second, as the clean, resonant guitar chords gently envelop the silence? Or perhaps in the second second, with the warm, swelling strings that enter? For casual listeners, recognition might fully dawn by the third second, thanks to the distinctive, resonant drums that sound almost as if the group decided to record a waterlogged timpani. Regardless, the iconic opening notes of “To Love Somebody” are as timeless as the song itself. Listening to “To Love Somebody” is like sharing in a universal experience of love, heartbreak, and the spectrum of emotions that are often thought to be intensely personal and indescribable. It’s this shared human experience that makes “To Love Somebody” one of the most emotionally resonant and enduring songs of the 1960s.

Image: The Bee Gees performing “To Love Somebody”, a timeless classic released in 1967.

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

Dusty Springfield, a British artist with a deep affinity for blue-eyed soul, found herself perfectly positioned at a pivotal moment in music history. While recording her 1968 Atlantic Records debut in Memphis under the guidance of Jerry Wexler, songwriters John Hurley and Ronnie Wilkins had just penned “Son of a Preacher Man,” initially intended for Aretha Franklin. Wexler recognized the song’s immense potential and secured it for Springfield. It became a monumental hit for Dusty, experiencing periodic revivals in popular culture, most notably through its inclusion in Quentin Tarantino’s 1994 cinematic masterpiece, Pulp Fiction. The song endures as a cultural touchstone of the 1960s, a sultry and evocative portrayal of a forbidden love affair.

83: Armée Guinéenne – Bembeya Jazz National (1969)

Earning the nickname “Diamond Fingers” requires extraordinary guitar skill. Sekou Diabaté, the guitarist for Bembeya Jazz National, rightfully earned this title through his almost telepathic connection with his instrument. Listening to gems like “Armée Guinéenne,” released in 1969, the sheer virtuosity of Diabaté’s electrifying riffs seems to defy explanation, leading one to consider otherworldly forces at play. However, “Armée Guinéenne” is more than just a showcase of exceptional guitar work. This afrobeat sensation marked a cultural turning point in Guinea, with the band weaving potent political messages into their music. Formed during Guinea’s newfound independence, their songs resonate with the palpable joy and optimism of hard-won freedom.

82: Suspicious Minds – Elvis Presley (1969)

Here’s a proven strategy in the music industry: if a song initially flops, have the biggest star in the world record it. In 1968, songwriter Mark James wrote “Suspicious Minds” and, with considerable audacity, recorded his own version. It failed to gain traction. Elvis Presley then re-recorded it with producer Chips Moman. The song promptly soared to #1. While “Suspicious Minds” became one of Elvis’s signature hits, securing The King to record your song in that era was practically a guaranteed path to chart-topping success. The recording session for “Suspicious Minds” reportedly took place between 4 and 7 AM, which may account for the raw, almost desperate energy in Elvis’s vocal performance. Playing opposite The King on the track was Donna Jean Godchaux, who would later gain fame as a vocalist with The Grateful Dead.

81: Yègellé Tezeta – Mulatu Astatke (1969)

Mulatu Astatke stands as the undisputed father of Ethio-jazz, a genre that uniquely blends jazz harmonies, traditional Ethiopian musical scales and melodies, and Latin rhythms. The golden age of Ethiopian jazz flourished in the 1960s and 1970s, with Astatke at the forefront of this vibrant scene. Addis Ababa, the Ethiopian capital, was known as “Swinging Addis” during this period, recognized as one of the most musically innovative cities in the world. It’s no surprise that Astatke collaborated with jazz luminaries like John Coltrane during his visits to the United States. “Yègellé Tezeta,” released in 1969, is a standout track from this era, a sinuous, hypnotic groove built around an infectious horn melody. The song is featured in the Ethiopiques series, a celebrated compilation that chronicles the rich history of Ethiopian music since the emergence of Ethio-jazz.

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

Françoise Hardy’s 1962 release, “Tous les garçons et les filles,” meaning “To All The Boys and Girls,” has had an extraordinary journey. Almost immediately upon release, it became a massive hit in France. It was initially featured as a musical interlude during broadcast coverage of the 1962 French election referendum results. During these breaks, French audiences across the nation fell in love with Hardy’s enchanting voice and her groundbreaking style of yé-yé pop music, a genre blending rockabilly energy, jazz harmonies, folk storytelling, and pop accessibility. Adding to the song’s allure, the legendary Jimmy Page is rumored to have contributed to the guitar work on Hardy’s recording sessions.

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

Songwriter Sonny Bono penned the lyrics to “I Got You Babe,” released in 1965, late one night in his basement. When he awakened his wife, Cher, to sing her part, she initially resisted, expressing her dislike for the song and doubting its hit potential. She returned to bed unconvinced. However, by the next morning, her opinion had shifted. “I Got You Babe” became one of the most iconic duets of the 1960s, perfectly embodying the spirit of the free love movement. Featuring legendary drummer Hal Blaine and members of the renowned Wrecking Crew, the song became an anthem of the counterculture hippie movement, an irresistibly catchy ode to the enduring comfort of true love. Though Sonny and Cher’s marriage eventually ended, “I Got You Babe” remains timeless.

78: In C – Terry Riley (1968)

Terry Riley’s groundbreaking composition, “In C,” released in 1968, is structured around 53 short, numbered musical phrases, each with varying durations. Each phrase can be repeated an arbitrary number of times by each musician in the ensemble, granting individual players control over phrase selection and repetition. Musicians are encouraged to begin playing phrases at different times, creating a sonic tapestry that, in theory, approaches chaos. Yet, when executed effectively, it transforms into a mesmerizing, sprawling, and perpetually evolving work of art. Why is it included in a list of the best songs of the 1960s? Riley drew inspiration from the bold jazz innovations of artists like John Coltrane and Miles Davis, and his experimental approach profoundly influenced Pete Townshend of The Who. This lineage brought Riley’s avant-garde ideas to a mainstream rock audience, forever expanding the boundaries of rock ‘n’ roll.

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

As the 1960s recede further into history, the music associated with Charles Schulz’s beloved comic strip, Peanuts, has gained recognition as more than just a soundtrack. The music for Peanuts was composed and performed by Vince Guaraldi, a jazz pianist based in the San Francisco Bay Area, and his ensembles. Following his service in the Army as a cook during the Korean War, Guaraldi returned to the Bay Area and began performing in groups heavily influenced by Latin styles like bossa nova. Guaraldi’s work for Peanuts, especially “Linus & Lucy,” released in 1964, is deeply rooted in these influences, infusing his memorable piano melody with percussion that compels listeners to tap their feet. The main section of “Linus & Lucy” features a minimalist instrumentation of only piano, snare drum played with brushes, and hi-hat opening and closing during the chorus, proving that brilliance often emerges from simplicity.

Image: The Vince Guaraldi Trio performing “Linus and Lucy”, the iconic theme song for Peanuts, released in 1964.

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

Compiling this list was made easier by the fact that we didn’t have to grapple with choosing between Stevie Wonder’s remarkable output in the 1970s. While his run of songs in the 1960s was undeniably historic, the prospect of selecting between tracks from albums like Music of My Mind, Talking Book, and Innervisions is a challenge best avoided. “Uptight (Everything’s Alright),” released in 1965, is a quintessential pop-rock jam, with Wonder’s dynamic vocals taking center stage, punctuated by infectious horn lines. The drums possess a powerful, driving energy reminiscent of rock groups like Cream and The Jimi Hendrix Experience. It’s a flawlessly executed song, engaging and energetic, yet with ample space for Stevie Wonder to showcase his exceptional vocal range and power. The only slight misstep comes when Stevie sings “I’m just an average guy.” Being told untruths isn’t enjoyable.

75: El Watusi – Ray Barretto (1962)

New York City native Ray Barretto is celebrated as one of Latin music’s preeminent conga players. He rapidly gained recognition in New York throughout the 1950s for his virtuosic playing, leading to regular performances across the city with Latin musicians and jazz icons like Charlie Parker and Dizzy Gillespie. Barretto’s playing was characterized by its inventiveness, so when he formed his own group, even though “El Watusi,” released in 1962, emerged during a pachanga music craze, he infused it with his distinctive style. The title of this classic 60s Latin song references the towering Watusi tribesmen of Rwanda, who feature prominently in the song’s playful, nonsensical lyrics.

Image: Ray Barretto performing “El Watusi”, a Latin music classic from 1962, known for its energetic rhythm.

74: Under the Boardwalk – The Drifters (1964)

“Under the Boardwalk,” released in 1964, emerged from a tragic circumstance. The song was 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. Rather than postponing the studio session, the lead vocal part for “Under the Boardwalk” was entrusted to the group’s other vocalist, Johnny Moore. The resulting song is a perfect blend of pop and soul, but it is perhaps most celebrated for the numerous outstanding cover versions it has inspired. Artists who have recorded their interpretations of this hit 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.

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

Irma Thomas and The Rolling Stones both recorded versions of “Time Is On My Side,” released in 1964, yet the two renditions are strikingly different. The Rolling Stones delivered a thrilling rock interpretation of the Jerry Ragovoy-penned track, while Thomas’s version is dominated by her extraordinary vocal performance. Her voice subtly leads the backing choir, creating an impression 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 voices in soul music history, powerful yet remarkably precise. H.B Barnum arranged Thomas’s version of the song, and he enlisted Jimmy Norman to expand upon the lyrics. Legend has it that Norman completed writing the words mere moments before Thomas entered the recording studio.

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

“Mercy, Mercy, Mercy,” released in 1966, was an unexpected hit for The Cannonball Adderley Quintet, a slice of soul jazz that resonated with a broad audience thanks to its fusion of jazz structures and accessible pop melodies. The primary melodic force in the early part of the song is driven by Joe Zawinul on the Wurlitzer organ. (Intriguingly, the Wurlitzer he used on the track was once owned by Ray Charles.) The song achieved crossover success when The Buckinghams recorded a pop-rock version in 1967, though the original recording, with the palpable energy of a live audience likely fueled by an open bar, possesses a unique and captivating magic.

71: Mama Tried – Merle Haggard (1968)

Like all great country songs, Merle Haggard took some creative license in “Mama Tried,” released in 1968. He drew inspiration for the song from his own experience of being convicted of robbery and serving three years in San Quentin Prison. It is a poignant ode to the women who “worked hours without rest,” and a heartfelt apology from a son who consistently defied expectations. However, the narrative is only part of the song’s impact. Haggard’s signature blend of honky-tonk swing and Bakersfield country sounds in the 1960s laid the groundwork for the outlaw country movement of the 1970s, pioneered by artists like Waylon Jennings and Willie Nelson. Haggard’s characteristic blend of empathy, regret, and unwavering authenticity became defining elements of the genre.

Image: Merle Haggard performing “Mama Tried”, a classic country song released in 1968, inspired by his time in prison.

70: Brown Eyed Girl – Van Morrison (1967)

Van Morrison embarked on a remarkably productive two-day recording session in 1967, during which he recorded eight songs, enough for four singles. “Brown Eyed Girl,” a 1967 release, was painstakingly captured on the 22nd take of the first day, but the result was undeniably worth the effort. “Brown Eyed Girl” quickly became a cornerstone of his discography and a soft rock masterpiece that foreshadowed his later explorations into more orchestral and psychedelic soundscapes on Astral Weeks. Testament to its enduring appeal, “Brown Eyed Girl” has been covered by artists as diverse as Adele, Reel Big Fish, Steel Pulse, and U2.

69: Baby – Gal Costa (1969)

Gal Costa’s “Baby,” released in 1969, is a song rich with musical history. This Tropicália staple is the sonic equivalent of a perfect day at the beach, before the sun becomes too intense and the sunburn begins to peel. Painful analogies aside, Costa’s “Baby” was penned by Caetano Veloso and initially popularized by Os Mutantes, another leading light of the Tropicália movement. Costa’s version, released in 1969, features swirling strings that evoke the lush soundscapes of 1940s film scores, enveloping her captivating voice. Alongside Veloso, who provides backing harmonies, Costa crafted one of the defining songs of the Tropicália era.

Image: Gal Costa performing “Baby”, a defining song of the Tropicália movement, released in 1969.

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

Should “Waterloo Sunset” have been chosen instead? Perhaps. However, we wanted to highlight the consistent brilliance of Ray Davies as a songwriter, even from his earliest works. According to Davies, “You Really Got Me,” released in 1964, was among the first five songs he ever wrote. In its initial conception, the song was piano-based, leaning towards a lounge-jazz groove, a stark contrast to the high-energy version we know today. The song was inspired by a youthful infatuation, sparked one night when Davies was performing and noticed a girl in the audience who caught his eye. After his set, when he tried to find her, she had vanished. Much of the song’s mystique revolves around its iconic guitar solo, which Jon Lord of Deep Purple claimed was recorded by Jimmy Page before he joined the Yardbirds and eventually, Led Zeppelin. (This claim has consistently been denied by Page himself.)

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

Chickasaw County, Mississippi, Bobbie Gentry’s birthplace, is located approximately two hours from the famed Delta region. However, in “Ode to Billie Joe,” released in 1967, Gentry transcends her own origins to immerse herself in a narrative deeply rooted in Delta tragedy. “Ode to Billie Joe” is a quintessential folk song, rich in detail and imaginative in its perspective. Gentry places the listener within a family reacting to the news of a local boy jumping to his death from a bridge. Gentry sings from the perspective of the family’s daughter, whose empathy starkly contrasts with her family’s apparent indifference. It is an effortlessly powerful anthem of Southern tragedy, as much a short story as it is a four-minute folk tune.

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

“The “In” Crowd,” released in 1965, is one of the great instrumental songs of the 1960s, and Ramsey Lewis has a coffee shop server named Nettie Gray to thank. In 1965, The Ramsey Lewis Trio were in a Washington, D.C. coffee shop, struggling to choose a song to complete their setlist. 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 inform their follow-up live recording. Nettie, their server, approached 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 they closed their set at the Caverns with it that very night. It received an overwhelmingly positive audience response and eventually became a hit, charting on both the Billboard Hot 100 and R&B charts.

Image: The Ramsey Lewis Trio performing “The In Crowd”, a surprise instrumental hit from 1965, inspired by a coffee shop jukebox.

65: Louie Louie – The Kingsmen (1963)

The Kingsmen were playing garage rock before the genre even had a name. Their version of Richard Berry’s “Louie Louie,” released in 1963, happened almost by chance. 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 at the club consistently gravitated to the dance floor whenever the jukebox hit played, often giving it more attention than the band received. In response, the group’s singer, Jack Ely, convinced The Kingsmen to learn the song, which they quickly recorded after witnessing the same enthusiastic reaction on the dance floor.

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

In an article for Saturday Night magazine, renowned pianist Glenn Gould hailed Switched-On Bach, Wendy Carlos’s 1968 album, 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. The Moog synthesizer, at the time, was a notoriously temperamental instrument. 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 technical challenges, the resulting album became a sensation, topping the Billboard Classical chart for three consecutive years.

63: Subway Joe – Joe Bataan (1968)

Few songs of the 1960s capture the essence of a specific city quite like Joe Bataan’s “Subway Joe,” released in 1968, which vividly portrays New York City life. The “King of Latin Soul” was born in New York’s Spanish Harlem in 1942. Bataan brought his lived experiences to his music, crafting compelling narratives of working-class neighborhood life from the perspective of an engaged participant. Growing up in the tenements of El Barrio, he was immersed in a dynamic blend of pop, Latin rhythms, doo-wop harmonies, and R&B energy—all of which found their way into his music, particularly “Subway Joe.” The track pulsates with the vibrant energy of New York City, with Bataan essentially defining the Latin Soul genre as the song unfolds. It’s a humorous and relatable tale of a memorable subway ride, capturing a uniquely New York experience.

Image: Joe Bataan performing “Subway Joe”, a song from 1968 that perfectly captures the New York City experience.

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

“The Sound of Silence,” released in 1965, is a quintessential 1960s folk-pop song, though its journey to the version we know today was somewhat circuitous. An initial acoustic rendition was included on their 1964 album, Wednesday Morning, 3 A.M., which proved to be a commercial disappointment and led to Simon & Garfunkel briefly disbanding. However, in 1965, the song began to gain airplay on radio stations in Boston, Massachusetts, and throughout Florida. Tom Wilson, the song’s producer, remixed the track, overdubbing 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 iconic soundtrack to one of the most defining films of the 1960s, The Graduate.

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

Upon hearing the opening notes of Babatunde Olatunji’s “Jin-Go-Lo-Ba,” released in 1960, it becomes nearly impossible to remain still. If you have a pulse, you’re compelled to move—whether it’s a subtle foot tap or a full-bodied response to Olatunji and his chorus’s captivating call and response. Featured on Olatunji’s album Drums of Passion, “Jin-Go-Lo-Ba” exemplifies the enduring power of combining catchy vocals with a deeply infectious rhythm. The Nigerian drummer, activist, and educator’s “Jin-Go-Lo-Ba” was a standout track on a surprisingly successful album, widely credited as a key introduction to American audiences’ appreciation of “world music.”

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

“Time of the Season,” released in 1968, arrived too late to save The Zombies from disbanding. Frustrated by their limited commercial success, the group had already broken up when “Time of the Season” unexpectedly became a classic, a year after its initial release. Several other songs from their album Odessey and Oracle were released as singles prior to “Time of the Season.” Columbia Records initially doubted the album’s commercial potential, but they eventually threw their weight behind it at the urging of new A&R representative Al Kooper. Both the band and Kooper were ultimately vindicated, but only after Kooper championed “Time of the Season” and waited for the public to catch up to its unique pop-psych charm.

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

If mainstream American audiences were taken aback by The Byrds singing about being “eight miles high,” it’s difficult to imagine their reaction to Lou Reed singing about waiting on a street corner to purchase $26 worth of heroin in The Velvet Underground’s “I’m Waiting For The Man,” released in 1967. While it was among the first popular songs to glamorize drug dealing, it was also undeniably one of the most forward-thinking and undeniably cool rock songs of the 1960s. The guitar sound is raw and lo-fi, and Lou Reed’s detached coolness imbues the song with an ambivalent edge that predated the indie music scene of the 1980s and 90s. The Velvet Underground’s influence permeates nearly every corner of rock music. “I’m Waiting For The Man” is both a social commentary and a track that exudes an almost rebellious coolness, a rare and potent combination.

58: At Last – Etta James (1960)

There are moments in music history that approach perfection, but few surpass the brief, breathtaking pause in “At Last,” released in 1960, when the lingering resonance of the strings fades and Etta James’s voice emerges, a cappella, to deliver the opening line. Before the drums enter with their familiar swing rhythm, before the piano melody descends the scale, and before the strings respond to James’s yearning vocals, there is Etta, alone, at her absolute finest. There is an intimacy to this track, to Etta’s vocal performance, that feels almost impossible to replicate in contemporary music. She sings as if directly to you, dedicating this perfect love song to a shared, cherished moment.

Image: Etta James performing “At Last”, a timeless love song released in 1960, showcasing her powerful vocals.

57: Born to Be Wild – Steppenwolf (1968)

While Steppenwolf’s 1968 hit, “Born To Be Wild,” is a quintessential encapsulation of 1960s rock ‘n’ roll energy, it is perhaps most widely remembered for its iconic use in Easy Rider, the groundbreaking independent film that ignited a revolution in American filmmaking. However, reducing its significance to its cinematic association is an understatement. “Born To Be Wild” is also frequently cited as the first “metal” song, or at the very least, a primordial form of proto-metal. Crucially, it stands powerfully on its own as a classic piece of rock songwriting.

56: The Weight – The Band (1968)

With “The Weight,” released in 1968, The Band sought to bring surrealism into the mainstream, translating the richly symbolic cinematic styles of auteurs like Ingmar Bergman and Luis Buñuel into song form. The song is populated with colorful characters inspired by the group’s real-life encounters, and the chosen city setting, Nazareth, Pennsylvania, was selected because it was the home of Martin Guitars. Beyond its intriguing backstory, “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 intricate harmonies. While every member of the group could sing, unlike The Beach Boys’ technicolor vocal harmonies, The Band preferred a more raw and earthy vocal texture.

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

“The Girl From Ipanema,” released in 1964, is the definitive bossa nova jazz song of the 1960s. The song was originally composed in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes. English lyrics were later written by Norman Gimbel. The Stan Getz/João Gilberto version instantly became a hit, notably featuring the vocal debut of João’s wife, Astrud Gilberto. The song and the album marked a groundbreaking 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 Girl From Ipanema” achieved global popularity, earning a Grammy Award for Record of the Year.

54: Crazy – Patsy Cline (1961)

Patsy Cline’s 1961 single “I Fall to Pieces” was her first song to reach the top of the Billboard country chart. Shortly after this success, Cline was severely injured in a car accident, requiring a month-long hospital stay. Following her recovery, she released “Crazy,” one of the biggest hits country music had ever produced. It’s hard to know what impact the accident had on her, but Cline emerged from the hospital as a megastar. “Crazy” was originally penned by Willie Nelson, and Cline’s husband, Charlie Dick, urged her to record it. Cline initially 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 persuaded her to give it a try, and the result is undeniable. Patsy Cline was a leading female country star at a time when the concept was less common, carving her own path and influencing generations of women in country music.

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

It’s challenging to infuse a song with more overt eroticism than Serge Gainsbourg achieved with “Je t’aime… moi non plus,” released in 1969. The title, roughly translating to “I love you, me neither,” was originally written for Brigitte Bardot in 1967. Gainsbourg was in a relationship with Bardot, and she requested that he write the most romantic song imaginable. He created two: “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 implored Gainsbourg not to release it. Gainsbourg 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 1960s, with the palpable attraction between Birkin and Gainsbourg evident in every line they sing.

52: Bemba Colorá – Celia Cruz (1966)

Celia Cruz’s music compels you to dance, yet her songs also confront the political realities of 1960s Cuba. “Bemba Colorá,” released in 1966, is perhaps the most famous anti-racist rumba in music history, though these powerful themes might be initially obscured by the infectious energy of the horns and the call-and-response interplay between Cruz and her band. Cruz, 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 raises complex questions of identity and community, but on “Bemba Colorá,” recorded with Tito Puente, the Queen of Salsa infuses her inclusive hit with irresistible grooves.

Image: Celia Cruz performing “Bemba Colora”, a powerful anti-racist rumba released in 1966, showcasing her salsa queen status.

51: Space Oddity – David Bowie (1969)

Listeners might be forgiven for initially increasing the volume when starting “Space Oddity,” released in 1969, only to have their ears suddenly filled with the chorus’s explosive sound. David Bowie’s 1969 hit often begins more quietly than anticipated, gradually building towards one of the most iconic choruses in rock history. The song was inspired by Stanley Kubrick’s film, 2001: A Space Odyssey, released a year prior. While Kubrick’s film is characterized by its sterile precision, Bowie’s song is free-spirited and ecstatic. The drums maintain a loose military march rhythm, while Bowie counts down and urges listeners to take their protein pills. The impending “liftoff” is anticipated, yet it never loses its impact. The stereo mix separates his vocal performance into each ear, placing the listener in the role of an astronaut being congratulated by David Bowie on a successful moon landing.

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

“Turn away from each other, take three steps forward, turn around, draw.” Though Ennio Morricone’s theme from The Good, The Bad & The Ugly, released in 1966, relies on wordless vocals to evoke the grandeur of the American West, the opening whistled melody instantly conjures the final showdown in a Sergio Leone Western. “The Good, The Bad & The Ugly (Main Theme)” has become synonymous with Western soundtracks as a whole, solidifying its place among the best songs of the 1960s. In 1966, the soundtrack reached number four on the Billboard charts, largely due to the chaotic brilliance of the whistles, galloping rhythms, and yelps that define Morricone’s composition. Few soundtrack moments in film history match its sheer emotional intensity.

49: Ring of Fire – Johnny Cash (1963)

While falling into a ring of fire might seem ominous, it’s far from the intended meaning of June Carter Cash and Merle Kilgore when they wrote this seminal hit. The love song was initially recorded by June’s sister, Anita Carter, but it failed to achieve commercial success. Johnny Cash, however, decided to reinterpret it after hearing a mariachi band arrangement in a dream. Cash recorded the song as envisioned in his dream, and the result, released in 1963, is a country-western song decades ahead of its time. It blends traditional country structure with a blurring of genre boundaries, making it a crossover hit among country fans and Latin music enthusiasts alike.

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

Christopher Walken’s iconic “more cowbell” Saturday Night Live sketch might never have happened if he had simply attended the recording session for Hugh Masekela’s 1968 hit, “Grazing in the Grass.” The song opens with sixteenth notes played on a cowbell, before the drums enter with a half-time feel, followed by horns atop a skittering piano line. It’s a masterclass in rhythmic tension, with Masekela’s brilliant trumpet playing soaring above the structured chaos. The song reached number one on the Billboard charts in the United States, despite being added as the last track to Masekela’s debut album because the label deemed the record three minutes short of a full LP length. Alongside Masekela, Greenwich Village legend Bruce Langhorne and jazz bass icon Henry Franklin completed the all-star lineup for this track.

Image: Hugh Masekela performing “Grazing in the Grass”, a cowbell-driven hit from 1968 that topped the Billboard charts.

47: Fist City – Loretta Lynn (1968)

Loretta Lynn established 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. “Fist City,” Loretta Lynn’s 1968 release, an anthem for women who would defend their relationships against predatory rivals, was a radical song from a leading figure in country music. In the 1960s, country music was largely a male-dominated genre, and physical confrontation was typically portrayed as a masculine domain. Loretta Lynn challenged these norms, swaggering onto the scene with a powerful voice and a willingness to stand her ground. Those in the male-dominated music establishment who disliked her arrival had to contend with her growing success, or risk facing the same fate as the women in “Fist City”: ending up on the ground with a bruised lip.

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

“The Tracks of My Tears,” released in 1965, is a miraculous hit born in the legendary Motown hit factory. The lyrical concept, however, originated in 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.” The track, with its iconic opening guitar riff and doo-wop style vocals, became one of the most poignant songs about heartbreak in a genre rich with them. Its enduring impact is undeniable: it 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 included by Rolling Stone at #50 in their “The 500 Greatest Songs of All Time.”

45: Aquele Abraço – Gilberto Gil (1969)

During the opening verse of Gilberto Gil’s 1969 samba sensation, “Aquele Abraço,” Gil’s guitar playing possesses an almost fragile delicacy. His gentle strumming creates an impression of barely touching the strings. However, as the extended chorus arrives, accompanied by whistles, backing vocals, and a vibrant array of percussion, Gil’s guitar playing transforms, becoming more assertive and rhythmic. Gil is a master of musical dynamics, expertly utilizing volume and crescendos to emphasize emotion and the narrative arc of his songs. “Aquele Abraço,” one of the most famous samba songs ever recorded, was written during a period of military dictatorship and cultural censorship in Brazil. Gil had recently been released from military prison and placed under house arrest, where he penned “Aquele Abraço.” Following his exile to Europe in 1970, the song remained immensely popular in Brazil, becoming a rallying cry for political activists seeking change.

44: Eight Miles High – The Byrds (1966)

The Byrds featured some of the most gifted songwriters in American music history, including the consistently underrated Gene Clark, Jim (Roger) McGuinn, and David Crosby. They pioneered psychedelic rock heavily influenced by Indian ragas, which were gaining popularity through sitar virtuoso Ravi Shankar and John Coltrane’s explorations of the style. “Eight Miles High,” released in 1966, may seem relatively innocuous by 21st-century standards, but in the 1960s, the song was banned from American radio due to its lyrics, which were interpreted as drug references. However, the controversy surrounding the song is less significant than the musical style it helped to define, blending the psych-rock of bands like The Beatles with the jazz-influenced experimentation that was emerging in the jazz world.

43: Pata Pata – Miriam Makeba (1967)

Long before rap songs became fodder for aspiring dance choreographers, South African artist Miriam Makeba adapted the traditional “Pata Pata” dance for her own song. The song’s title, “Pata Pata,” translates to “touch touch” in the Xhosa language, in which the song was originally written and sung in 1959. “Pata Pata” was also a popular dance style in the shebeens (informal taverns) of Johannesburg’s Townships. It was in this vibrant setting that Makeba found inspiration for the track, which she initially recorded with her band The Skylarks. After achieving recognition in the United States, she re-recorded the song in 1967 with Jerry Ragovoy, and it quickly became a hit. Makeba’s 1960s version of “Pata Pata” fused the driving African rhythms of her upbringing with subtle samba grooves and an infectious vocal melody.

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

To be young and in love is a euphoric experience. Conversely, to be young and heartbroken feels like an unparalleled tragedy. No group captured the emotional extremes of young love quite like The Shangri-Las and their 1964 hit, “Leader of the Pack.” The song was co-written by George “Shadow” Morton with Jeff Barry and Ellie Greenwich. Originally intended for The Goodies, it was given to The Shangri-Las, who needed a 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 sound effects like motorcycle revs and creative percussion.

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

“Stand By Your Man,” released in 1969, carries considerable cultural weight, which often overshadows the fact that Wynette’s most popular hit is simply one of the best country songs ever written. While the song became a lightning rod upon its release in the late 1960s, coinciding with the rise of the American feminism movement, Wynette consistently maintained that the song was less about female subservience and more about overlooking imperfections in loved ones. The song was reportedly written in just 15 minutes by Wynette and her producer, Billy Sherrill, and the singer initially expressed reservations because it differed significantly from her previous work and included a high note she found challenging to reach. Despite her initial hesitations, “Stand By Your Man” became an iconic and pivotal song in country music history, and remains Wynette’s most popular song to date.

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

Sometimes, a simple walk in the park can spark a groundbreaking idea. At least, according to Desmond Dekker. The reggae icon conceived the idea for his masterpiece, “Israelites,” released in 1968, while overhearing an argument in a park. He was enjoying popcorn when a couple began arguing about financial matters. Dekker focused on the sentiment of working hard for insufficient pay, and by the time he returned home from his walk, the song was complete. “Israelites” remains one of the most successful reggae songs of all time, breaking into the Billboard charts and introducing rocksteady vibes to a global audience in 1968.

39: Wichita Lineman – Glen Campbell (1968)

Glen Campbell often sang about places. His 1968 hit, “Wichita Lineman,” was, of course, about Wichita, Kansas, and his subsequent hit, “Galveston,” focused on the coastal Texas city. Campbell’s fascination with these themes stemmed from his belief that places deeply reflected the character of their inhabitants. 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 it crucially lacked a middle section. Campbell conceived the idea of filling this space with an unforgettable guitar solo. It was a nod to Campbell’s early career as a session musician with the famed Wrecking Crew, many of whom he recruited to perform on “Wichita Lineman.”

Image: Glen Campbell performing “Wichita Lineman”, a song from 1968 inspired by rural landscapes and featuring a memorable guitar solo.

38: Sunshine of Your Love – Cream (1967)

If you’ve ever made a mistake, find solace in the fact that you likely weren’t as wrong as Ahmet Ertegun and Jerry Wexler were in 1967. Cream, riding high after their debut album, Fresh Cream, were preparing their second LP for Ertegun’s Atlantic Records. The duo reportedly hated Cream’s new hard-rocking, ear-splitting sound, with Wexler even dismissing the demos as “psychedelic hogwash.” Wexler’s assessment was clearly incorrect, as “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. While Eric Clapton’s playing and singing undoubtedly played a role in changing Ertegun and Wexler’s minds, it was Booker T. Jones and Otis Redding’s endorsement of “Sunshine Of Your Love” that ultimately convinced them of their initial misjudgment.

37: Walk On By – Isaac Hayes (1969)

The number of legendary figures associated with “Walk on By” is astonishing. Originally composed by Burt Bacharach with lyrics by Hal David for singer Dionne Warwick in 1963, it’s hard to imagine improving on the original. However, Isaac Hayes, released his version in 1969, transformed the song into a sensual, baby-making love jam. Beyond its impressive origins, Hayes’ 1969 rendition became a staple for rap producers, who sampled it countless times. Notable MCs who have rapped over sections of “Walk on By” include 2Pac, The Notorious B.I.G., MF DOOM, and the Wu-Tang Clan. Hayes’ version of “Walk on By” is a rare hit that stands on its own merits while also serving as a crucial element in the history of another genre.

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

While many associate Buffalo Springfield’s “For What It’s Worth,” released in 1966, with anti-war sentiments, Stephen Stills’ original intention was more localized. He was inspired to write the song by the Sunset Strip curfew riots in November 1966, which pitted police against young adults protesting the status quo. Regardless of its initial inspiration, Stills’ composition resonated deeply. The 1966 song, featuring Neil Young on guitar, is both catchy and politically potent. The chorus urges awareness, yet it’s also remarkably easy to sing along to. “For What It’s Worth” began as a response to unrest on the Sunset Strip but has become one of the most enduring songs of the 1960s and an anthem for peace activists worldwide.

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 album Samba Esquema Novo in 1963, Brazil’s fourth-largest newspaper predicted that the record would quickly disappear from stores, mirroring the fate of Ben’s previous 78s. However, the paper failed to foresee the profound impact Ben’s album—and “Mas, Que Nada!” in particular—would have on the future of samba music. The album’s title, translating to New Style Samba, clearly signaled its aspirations. Ben introduced a fresh perspective to the genre, a style that would influence a new generation of samba and South American musicians.

Image: Jorge Ben performing “Mas, Que Nada!”, a samba classic from 1963 that redefined the genre.

34: Light My Fire – The Doors (1967)

Like many songs by The Doors, “Light My Fire,” released in 1967, drew from diverse musical influences. Originally written by guitarist Robby Krieger, it was inspired by the melody of “Hey Joe” and the lyrical themes of The Rolling Stones’ “Play with Fire.” Drummer John Densmore suggested incorporating a Latin rhythm. Shortly after, organist Ray Manzarek added the Bach-influenced introductory organ motif. Densmore then proposed opening with a single snare drum hit. Furthermore, the entire solo section was inspired by John Coltrane’s cover version of “My Favorite Things.” This eclectic approach was characteristic of The Doors’ magnetic psych-pop music. They acted as a musical blender, combining ingredients from across the rock, jazz, and blues scenes to create something unique and impossible to replicate.

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

There are two types of people: those who recognize Booker T. And The MG’s “Green Onions,” released in 1962, and those who know the song but are unfamiliar with its title. The track is one of the most recognizable instrumental pieces in American music history, a simple blues riff that somehow never loses its appeal. The musicians take turns improvising over the consistent rhythm. First, an organ solo, then a distinctive guitar yelp, then back to the organ, then back to the guitar. It’s a simple formula, but simplicity is often the most challenging thing to achieve. The infectious melody that propels the song forward was written by Booker T. Jones when he was just 17 years old. While most teenagers were just learning to drive, Booker T. was redefining American R&B for generations to come.

32: Tropicália – Caetano Veloso (1968)

The scratchy strings swirl overhead, evoking a surreal soundtrack for Alfred Hitchcock’s The Birds. It immediately signals entry into a new and unfamiliar musical territory, in this case, Brazil, the homeland of Caetano Veloso. Veloso was a pioneering figure in the Tropicália movement, which filtered diverse genres from both Eastern and Western musical traditions through a Brazilian lens. “Tropicália,” released in 1968, bursts with energy, a truly groundbreaking sound upon its release. The song takes a moment to build momentum, but once Veloso’s sweet and melodic voice joins the instrumental rush, it becomes clear why he, and “Tropicália,” were central to the burgeoning movement of the same name.

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

Janis Joplin’s spirit was imbued with the blues, which is why she so effortlessly channeled it into a sprawling form of rock ‘n’ roll on 1960s classics like “Piece of My Heart,” released in 1967. Joplin’s interpretation of the track was so unique and original 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 pain and triumph of the blues into the song, a skill she honed by studying early blues singers like Bessie Smith.

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

Believe it or not, “I Want You Back,” released in 1969, was the first national single released by The Jackson 5. It arrived via Motown on October 7, 1969, and became the band’s first No. 1 hit just a few months later. It marked a new era, signaling the arrival of Michael Jackson, who would fundamentally alter the course of music, first with his siblings and later as the most successful solo artist in pop history. “I Want You Back” was performed on the band’s first television appearances, including The Hollywood Palace hosted by Diana Ross and their groundbreaking performance on The Ed Sullivan Show. However, “I Want You Back” almost didn’t reach The Jackson 5. It was initially considered for Gladys Knight & the Pips and later for Diana Ross herself.

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

John and Michelle Phillips were huddled in their New York City apartment, seeking warmth and trying to escape the biting cold seeping in from the city streets. This feeling of bleakness ultimately gave rise to “California Dreamin’,” released in 1965, a song as essential to the mythology of sunny Los Angeles and the Bay Area as any ever recorded. The Mamas & The Papas, with the Phillipses as primary songwriters, created a song that tapped into both the idea of Manifest Destiny and 1960s California as a haven for new ideas, diverse cultures, and a unique sense of harmony.

Image: The Mamas & The Papas performing “California Dreamin'”, an iconic song from 1965 evoking the sunny spirit of California.

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

That descending guitar line is instantly recognizable. There’s something captivating about the way it slides towards its concluding note—a note that feels both inevitable and surprising upon arrival. “These Boots Are Made For Walkin’,” released in 1965, was originally written by Lee Hazlewood, who initially intended to record it himself. Nancy Sinatra, however, playing on the stereotype of female country singers as sweet and unassuming, convinced Hazlewood that “Boots” would be too intimidating coming from a man. This proved to be a fortuitous decision: “These Boots Are Made For Walkin’” remains one of the most iconic country songs of all time, covered by artists across genres, yet rarely truly replicated.

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

Bob Gaudio, a founding member of the Four Seasons and co-writer of “Can’t Take My Eyes Off You,” released in 1967, recalled the song as nearly fading into obscurity. Recorded in 1967, Gaudio and Frankie Valli hoped that CKLW, a radio station serving the Detroit metro area, would add the song to its rotation, practically guaranteeing some level of success. However, Paul Drew, the station’s program director, initially rejected the tune. It wasn’t until he saw Valli perform it live that he decided to add it to the station’s playlist, and upon its first broadcast, the song became a massive hit. “Can’t Take My Eyes Off You” has transcended time and even space. This 1960s classic was used by NASA as a wake-up song on the STS-126 Space Shuttle mission in 2008.

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 with the same sentiment back in 1967. Pabon sang the vocals for the song, while the instrumentals were performed by the Pete Rodriguez Orchestra. “I Like It Like That,” released in 1967, is perhaps best known for its pioneering blend of English lyrics, call-and-response vocals, samba rhythms, and Cuban melodies, creating a catchy and eclectic mix of styles. The song’s undeniably infectious melody has made it a popular choice for covers, samples, and rearrangements, with The Blackout All-Stars releasing a notable version and Burger King adapting the refrain for a commercial campaign.

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

“54-46 That’s My Number,” released in 1968, was one of the first reggae songs to achieve widespread popularity outside of Jamaica and is still considered a pivotal moment in the globalization of the genre. Toots Hibbert’s vocal delivery is relaxed and playful, while the drums are massive and jangly. The lyrics describe Toots’ time in prison after being arrested for marijuana possession, though the song’s positive vibes don’t betray the hardship of incarceration. Regardless, the song helped define the 1960s rocksteady scene in Jamaica and is widely seen as a precursor to the highly influential dub style of reggae, which would later play a significant role in the evolution of American electronic music in the 1990s and 2000s.

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

It’s all about patience. Love doesn’t come easily. This sound advice is made even more compelling by Diana Ross’s voice in The Supremes’ 1966 hit, “You Can’t Hurry Love,” one of the most important voices in R&B and soul. “You Can’t Hurry Love” was written by the renowned Motown production team Holland–Dozier–Holland and was an immediate and overwhelming success, topping the Billboard pop singles chart. With instrumentation provided by The Funk Brothers, The Supremes’ message about allowing love to unfold in its own time is one of the defining songs of 1960s Motown, standing out among other classics like “Where Did Our Love Go?” and “Stop! In The Name Of Love.”

23: My Way – Frank Sinatra (1969)

The only thing more captivating than Frank Sinatra’s blue eyes is his velvety voice. Despite making his name performing with big bands, the nuances of Sinatra’s voice were always most apparent on simpler tunes, such as the brilliant “My Way,” released in 1969. Sinatra owes thanks to Paul Anka for this indelible 1960s song. Anka heard the original French version while vacationing in the South of France and immediately flew to Paris to negotiate the rights to the composition. From there, Sinatra showcased his vocal range, moving seamlessly from quiet introspection to powerful, full-throated belting.

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

The creation of Sam Cooke’s “A Change Is Gonna Come,” released in 1964, is steeped in history. The backstory involves Cooke attempting to reserve a motel room with his wife Barbara, only to be refused service upon arrival because they were Black. After protesting, they left the property, honking their car horn and shouting in protest. By the time they reached another motel, police had arrived and arrested Cooke for disturbing the peace. This incident, combined with Cooke’s admiration for Bob Dylan’s protest song “Blowin’ In The Wind” and the fact that such a powerful protest anthem could be written by a white artist, prompted Cooke to address racial issues in his own songwriting. He believed this decision might cost him a significant portion of his white audience, but Cooke was determined to write his richly atmospheric, string-laden classic, determined to speak his mind and demand change. We are all fortunate that he did.

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

Few songs have captured the essence of Jamaican music as effectively as Alton Ellis’ “I’m Still In Love With You,” released in 1967. Both upon its initial release and in contemporary times, this earworm from “The King of Rocksteady” has had a profound impact on the evolution of reggae, rocksteady, and their influence on mainstream music culture. The song’s beat has been used by numerous artists since Ellis’ original, 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, yet few renditions match the impact of Ellis’s original.

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

“River Deep Mountain High,” released in 1966, begins simply enough. Tina Turner’s vocal talent is immediately apparent, but initially, amidst backing vocals and a swirling instrumental arrangement, it doesn’t particularly stand out from her other iconic performances. However, around thirty seconds into the song, something shifts, and her voice explodes with neon brilliance. Suddenly, it becomes clear why she was considered the preeminent vocalist of her generation. It’s a dazzling, career-defining performance—slightly raspy, intensely emotional. Produced by Phil Spector, the recording of “River Deep Mountain High” cost $22,000 in 1966, making it one of the most expensive songs of the decade. To achieve Spector’s signature wall-of-sound style, he employed 21 session musicians to accompany Turner. Her vocal recording was a particularly grueling process, and Turner recounted that she was sweating so profusely that she ended up recording in her bra. This legendary song, shrouded in drama and lore, remains one of the greatest moments of Turner’s career, a remarkable achievement considering her extensive catalog of hits.

19: Fortunate Son – Creedence Clearwater Revival (1969)

Which film immediately comes to mind when you hear John Fogerty’s distinctive, yelping vocal delivery at the start of Creedence Clearwater Revival’s “Fortunate Son,” released in 1969? Is it Forrest Gump? Suicide Squad? Logan Lucky? Regardless, “Fortunate Son” holds the rare distinction of being a genuine hit both for the band and within the film industry. Widely regarded as one of the most significant protest songs in American history, “Fortunate Son” burns with passion and cathartic energy. Even after countless uses in films, it never loses its raw power.

Image: Creedence Clearwater Revival performing “Fortunate Son”, an iconic protest song from 1969, widely used in films.

18: White Rabbit – Jefferson Airplane (1967)

“White Rabbit,” released in 1967, is structured like a mountain ascent. It’s a constant climb, building tension until reaching a peak… and then it ends. Inspired by Alice In Wonderland, Grace Slick wrote the lyrics to challenge parents who read such fantastical stories to their children and then expressed confusion when those children began experimenting with drugs. (“Go ask Alice, I think she’ll know” is a lyric that has become synonymous with the 1960s.) The song juxtaposes building tension against the ethereal presence of Slick’s voice, creating a dynamic contrast that culminates in the iconic, ecstatic chorus that everyone recognizes (but few can truly sing).

17: Sweet Caroline – Neil Diamond (1969)

Neil Diamond has offered varying accounts of the inspiration behind “Sweet Caroline,” released in 1969. At times, he has stated that the classic 1960s song was inspired by a young Caroline Kennedy, celebrating youthful joy. At other times, Diamond has claimed it was a tribute to his wife Marcia, but he needed a three-syllable name. Regardless of its true origin, “Sweet Caroline” has become an enduring anthem, though New York Yankees fans worldwide may dread hearing it. The song has been adopted by Boston Red Sox fans at Fenway Park, played before the team bats in the bottom of the 8th inning. It’s a rare sports anthem that has no direct connection to sports, an adaptable megahit written for a woman yet transformed into a song for universal singalongs.

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 same year. However, it practically became a Ray Charles original after he included it on his 1960 album, The Genius Hits The Road. Charles’s version is simply one of the most beloved songs in American history, inspiring covers by artists from Willie Nelson to Michael Bolton and jazz guitarist Wes Montgomery. Willie Nelson performed it at Charles’ funeral, creating one of the most emotionally resonant renditions of the song. Charles’s voice soars in the original recording, set against his smooth piano chords, backing vocals, and a swelling string arrangement. Charles’s version was officially declared the State Song of Georgia in 1979, formally recognizing the state’s most significant musical contribution.

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

Following the release of Bob Dylan’s soft-rock album John Wesley Harding in 1967, publicist Michael Goldstein, working for Dylan’s manager Albert Grossman, gave Jimi Hendrix a copy of the record. Hendrix then took one of the songs, “All Along the Watchtower,” and transformed it into a psychedelic explosion. Hendrix initially recruited Traffic’s Dave Mason to play 12-string guitar, but after bassist Noel Redding left the session in frustration, Hendrix reassigned Mason to bass. It’s rare to make chaos sound so effortless, but few could achieve this transformation more readily than Hendrix.

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

We debated between this track and “Ain’t No Mountain High Enough” with Tammi Terrell, but ultimately felt that “I Heard It Through The Grapevine,” released in 1968, represented Marvin Gaye’s defining moment of the 1960s. Ironically, it was almost never released as a single. Marvin Gaye’s “I Heard It Through The Grapevine” was, in typical Motown fashion, recorded by several of the label’s artists. Gladys Knight and the Pips had already made it a hit, so Berry Gordy initially declined to release Gaye’s version as a standalone single. However, once it appeared on Gaye’s album In the Groove, radio DJs played it incessantly. Gordy relented, and the song soared to the top of the charts, eventually becoming Motown’s best-selling single to that point. The song it surpassed for that title? Another 1960s classic: “I Heard It Through the Grapevine” by Gladys Knight and the Pips.

Image: Marvin Gaye performing “I Heard It Through The Grapevine”, a Motown classic from 1968 that became his biggest hit.

13: A Minha Menina – Os Mutantes (1968)

Os Mutantes remain ahead of their time. “A Minha Menina,” released in 1968, feels like a song from the future, arriving in the late 1960s. The group clearly demonstrated that bands like The Beatles had global reach and that new groups could integrate these influences into innovative musical forms. Os Mutantes, a South American band, transformed a Jorge Ben original into a high-energy track, complete with a Hendrix-inspired guitar solo and vocals reminiscent of a barbershop quartet. Os Mutantes disregarded musical boundaries, breaking down preconceived notions to reveal the transformative power of music.

Image: Os Mutantes performing “A Minha Menina”, a futuristic-sounding song from 1968 that showcased their innovative style.

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

“Dancing in the Street,” released in 1964, began with modest intentions. The song, written by William “Mickey” Stevenson, Ivy Jo Hunter, and Marvin Gaye, was partly inspired by Stevenson observing children cooling off in the spray of a broken fire hydrant in Detroit. However, racial tensions in the mid-1960s led Black activists to adopt the song as a protest anthem, urging demonstrators to take to the streets in resistance against Jim Crow-era laws. The song was immensely popular upon its initial release, but its enduring power stems partly from its association with one of the most significant periods in American history.

Image: Martha Reeves and the Vandellas performing “Dancing in the Street”, a song from 1964 that became a protest anthem.

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

The concise and melancholic classic “(Sittin’ On) the Dock of the Bay,” released in 1968, 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 was instrumental in building Stax Records in the 1960s. Its seemingly simple theme—observing the tide and reflecting on life—is universally relatable, allowing listeners to project their own experiences and emotions onto the song. The whistling coda adds to its open-ended nature, sounding both carefree and lonely depending on one’s mood. (According to co-writer Steve Cropper, the whistling arose simply because Redding couldn’t recall the ad-libs he intended to add to the song.)

Image: Otis Redding in the official music video for “(Sittin’ On) The Dock Of The Bay”, his posthumously released classic from 1968.

10: My Generation – The Who (1965)

Pete Townshend’s Packard hearse reportedly gave Queen Elizabeth a negative impression. Townshend’s vehicle was deemed such an eyesore that Queen Elizabeth, after repeatedly seeing it on her daily commute, demanded its removal. Townshend channeled this perceived injustice into the song “My Generation,” released in 1965, a 1960s anthem for outsiders seeking acceptance. The song’s message is less about fitting in and more about being allowed not to fit in. Lyrically, “My Generation” revolutionized rock ‘n’ roll, and Roger Daltrey’s sneering delivery of the line, “I hope I die before I get old,” has resonated with rebellious teenagers ever since. Like much of The Who’s early Mod-influenced output, the song is indebted to American rhythm and blues, particularly in its call-and-response lyrical arrangement. Daltrey’s occasional stutter has been debated, with some suggesting it’s an imitation of a Mod under the influence of amphetamines. Regardless of Daltrey’s intent, it’s one of the most impactful vocal tics to emerge from the 1960s. “My Generation” is an era-defining song, an anthem for anyone who feels excluded.

Image: The Who performing “My Generation”, a rebellious anthem from 1965, known for its iconic stuttering vocals.

9: Be My Baby – The Ronettes (1963)

Stomp. Stomp stomp clap. Stomp. Stomp stomp clap. This drum pattern, played by Hal Blaine, has become indelibly etched into American popular culture, as recognizable as Elvis Presley or the American flag. It has been imitated by countless musicians, but few have replicated the unique tone Blaine achieved with his snare drum. “Be My Baby,” released in 1963, was written by Phil Spector, Jeff Barry, and Ellie Greenwich. The Ronettes, fronted by Ronnie Spector, brought the song to life, infusing it with the innocence and passion of young love. Spector described his production approach as “a Wagnerian approach to rock & roll,” which evolved into his signature “wall of sound” style. “Be My Baby” was one of the first instances where Phil Spector used a full orchestra in his recordings, a technique he would repeatedly employ.

8: My Girl – The Temptations (1965)

“My Girl,” released in 1965, is a kitchen sink composition, incorporating diverse sonic elements. It features film-score-worthy strings, regal horns, and a plucky guitar line that wouldn’t be out of place in a country-western song. “My Girl” was the first Temptations single to feature David Ruffin on lead vocals, and it was an unforgettable introduction. This iconic 1960s song was initially intended for The Miracles, with Smokey Robinson planning to recruit Ruffin to sing lead vocals. However, The Temptations convinced Robinson to let them record it, a decision that Robinson likely didn’t regret given his subsequent successful career.

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

Is there a more iconic moment in music history than James Brown’s introduction to his best-known song, “I Got You (I Feel Good),” released in 1965? While there are certainly moments as iconic, it’s hard to find one that is more impactful. Brown redefined cool in the 1960s with this song, permeating mainstream rock and soul with his intoxicating brand of self-affirming funk music. It was self-care before the term existed. Brown helped pioneer the developing funk genre by emphasizing the “one” beat of each bar, in contrast to rock songs, which typically emphasized beats two and four. This distinction literally put the “funk” in “funky” and forever altered the course of modern music with songs like this, “Papa’s Got A Brand New Bag,” and many others.

Image: James Brown performing “I Got You (I Feel Good)”, his signature funk anthem from 1965, known for its iconic intro.

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

The snare drum hits, followed by a quick pulse of the bass drum, and then everything changes. There’s a brief moment to orient yourself before music history is irrevocably altered. That’s what Bob Dylan achieved with “Like A Rolling Stone,” released in 1965. Dylan began writing this confrontational track after a particularly grueling UK tour, and this raw energy drives the meandering warmth of the organ line into uncharted territory. The tambourine subtly accents the upbeat, while the ragtime-style piano line lends the song an anachronistic quality. While the instrumentation is a perfect example of folk-rock fusion, Dylan’s vocal performance is the true highlight. The lines “you say you never compromise” and “How does it feeeeeel?” defined the rebellious spirit of an entire generation.

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

It’s easy to discern the gospel roots of Aretha Franklin in her definitive performance of “(You Make Me Feel Like) a Natural Woman,” released in 1967. To quote author Anthony Heilbut, “While the Beatles trafficked in gurus, Aretha excavated gospel roots, her Jesus against their Maharishi.” “Natural Woman” was written by Carole King and Gerry Goffin, with input from Atlantic Records head Jerry Wexler, but it is Aretha Franklin who masterfully dramatizes it, building and releasing emotional intensity. The way Aretha sustains notes during the bridge, maintaining the previous chorus’s power before reaching even greater heights in the final chorus… That’s what elevates this song to one of the best songs of the 1960s.

Image: Aretha Franklin performing “(You Make Me Feel Like) A Natural Woman”, a gospel-infused masterpiece from 1967, showcasing her vocal power.

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

Choosing a single Rolling Stones song to represent the band on this 1960s list is nearly impossible, but if limited to just one, “Satisfaction,” released in 1965, feels like the most fitting choice due to its history, impact, and cultural legacy. The backstory? Keith Richards can reportedly write hit songs in his sleep better than most can while fully awake. Richards apparently conceived the riff for “(I Can’t Get No) Satisfaction” in his sleep and recorded a rough demo on his tape recorder without fully realizing it. The demo captured about two minutes of acoustic guitar playing the “Satisfaction” riff before you can hear Richards drop the recorder and fall back asleep. The single was released in June 1965 and included in the band’s July 1965 US release, Out of Our Heads. However, in the UK, the song was initially only accessible through pirate radio stations, as it was deemed too sexually suggestive for commercial airwaves.

Image: The Rolling Stones performing “(I Can’t Get No) Satisfaction”, a defining rock anthem from 1965, initially deemed too suggestive.

3: Good Vibrations – The Beach Boys (1966)

Initially perceived as a Jan & Dean-esque group focused on surfing, cars, and girls, The Beach Boys demonstrated their deeper artistic capabilities with Pet Sounds and songs like “God Only Knows.” “Good Vibrations,” released in 1966, is a 1960s pop masterpiece from The Beach Boys, a song that arguably surpasses even the heights of their legendary Pet Sounds album. Unsurprisingly, it was one of the most expensive songs ever recorded at the time, and it sounds like it. Brian Wilson’s production created a swirling, kaleidoscopic sound that foreshadowed generations of artists who would use the studio as an instrument. Brian Wilson conceived the basic musical idea for the song, and Mike Love later wrote the lyrics, describing it as the group’s “psychedelic anthem or flower power offering.” What an offering it was.

Image: The Beach Boys performing “Good Vibrations”, a psychedelic pop masterpiece from 1966, showcasing innovative studio production.

2: Come Together – The Beatles (1969)

Between the iconic drum fill intro, crunchy guitars, and distinctive vocals, it’s difficult to surpass “Come Together,” released in 1969. We acknowledge that there are approximately 25 other Beatles songs that could arguably be included here. However, “Come Together” is undeniably worthy of this high ranking. The song has a quintessentially 1960s backstory: it was inspired by a request from Timothy Leary to write a campaign song for his gubernatorial run against Ronald Reagan in California, a campaign that quickly ended when Leary was imprisoned for marijuana possession. Though written primarily by John Lennon, the song is credited to both Lennon and Paul McCartney. Listening to the lyrics, it’s clear that Lennon is once again creating a playful self-portrait, a notion confirmed by Beatles historian Jonathan Gould.

Image: The Beatles performing “Come Together”, a 1969 classic with a psychedelic edge, inspired by Timothy Leary.

1: Sinnerman – Nina Simone (1962)

The skittering hi-hats, the deeply haunting piano melody, the galloping guitar rhythm; all set the stage for Nina Simone’s performance in “Sinnerman,” released in 1962, a song that showcases one of her most powerful vocal performances. “Sinnerman” is one of the most important songs in American music history, a stirring anthem addressing race, religion, and music itself. It possesses the raw energy of the sun combined with monastic restraint. At ten minutes in length, it doesn’t waste a single moment. Every handclap during the breakdown, every “power” Simone belts out. Nina Simone understood the power of music more profoundly than almost anyone, and “Sinnerman” represents art at its absolute zenith.

Image: Nina Simone performing “Sinnerman”, a powerful and iconic song from 1962, addressing race, religion, and music.

Think we overlooked one of the best songs of the 60s? Share your thoughts in the comments below.