The best songs of the 60s? Trying to create a definitive list is like trying to catch smoke – nearly impossible. So, let’s be clear from the start: this isn’t the ultimate top 100 countdown. Instead, think of this as your personal time machine, offering a vibrant snapshot of a decade that revolutionized music and paving the way for countless genres to come. We aim to provide a pathway for your own 60s musical discovery.
uDiscover Best 60s Songs Graphic
Image: A colorful graphic featuring the text “uDiscover Best 60s Songs” overlaid on a vibrant, retro-style background, symbolizing the era’s musical revolution.
Two key principles guided our selection process. First, each song needed to have made a significant popular impact during the 60s or retain importance in the following decades. This means even the jazz tracks listed likely made waves on the Billboard charts. Second, to celebrate the breadth of talent, we limited ourselves to just one song per artist, giving a nod to as many incredible musicians as possible.
With the stage set, let’s dive into the sounds of the swinging sixties!
Want to explore more 60s music magic? Dive into our curated Spotify playlists: Volume 1 and Volume 2.
100: Roger Miller – King of the Road (1965)
Roger Miller’s “King of the Road” perfectly encapsulates the spirit of the wandering soul. This charming country-pop crossover hit tells the tale of a carefree hobo, unbound by responsibilities or material possessions. The song’s most memorable line, “I’m a man of means, by no means, king of the road,” offered a tongue-in-cheek cynicism, glorifying the liberation found in rejecting societal expectations. Its smooth, whiskey-like melody and simple instrumentation have made it a beloved tune for covers across genres, from country icons like Glen Campbell to rockabilly bands like Reverend Horton Heat. While many artists have put their spin on it, Miller’s original, anchored by his endearingly warm voice, remains the definitive “King of the Road.”
99: Georgie Fame & The Blue Flames – Yeh, Yeh (1964)
Georgie Fame and The Blue Flames masterfully blended pop, jazz, and R&B into a sound that resonated deeply with audiences. Their rendition of “Yeh, Yeh” famously dethroned the Beatles’ “I Feel Fine” from the top of the UK charts, ending the Fab Four’s five-week reign. Soon after conquering the UK, “Yeh, Yeh” climbed to #21 on the Billboard Pop charts in the US, proving its appeal was far from limited to British shores. The band truly found their signature sound when Fame swapped his piano for a Hammond organ, a direct inspiration from Booker T. & The M.G.’s iconic “Green Onions.”
Yeh, Yeh
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98: Jackie Wilson – (Your Love Keeps Lifting Me) Higher and Higher (1967)
The instrumentation of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” is pure sonic perfection. The bass lines are so clean they feel vacuum-sealed, while the unforgettable conga rhythm is crisp and dynamic. All that was needed was Wilson’s voice, and he more than delivered. The instrumental track for this 1967 smash hit was crafted by Gary Jackson, Raynard Miner, and Carl Smith. Initially offered to The Dells, it went unreleased. When Wilson stepped in, he initially interpreted it as a ballad. It wasn’t until he reimagined his performance with the high-energy, soul-charged delivery we know today that the song was deemed ready for release, becoming an instant 60s classic.
97: Roy Orbison – Crying (1961)
Roy Orbison boasted a treasure trove of 60s hits, including the iconic “Oh, Pretty Woman.” However, we chose “Crying” for its raw vulnerability, opening with a line etched in popular consciousness even for those unfamiliar with the song: “I was alright for a while, I could smile for a while.” “Crying” showcases Orbison at his most exposed, confessing hidden heartbreak and regret for a lost love. The song merges traditional rock balladry with sweeping orchestral strings and a driving timpani that evokes both symphonic grandeur and the drama of Wild West film scores. Dominating the charts in 1961, it was only prevented from reaching the Billboard number one spot by Ray Charles’s monumental “Hit The Road Jack.” Alongside Charles, Orbison was instrumental in ushering rock ‘n’ roll and R&B into a modern era, fusing soaring melodies with epic arrangements and relatable lyrics that paved the way for future mainstream stars.
96: Russell Morris – The Real Thing (1969)
Penned by Johnny Young and produced by Ian “Molly” Meldrum, “The Real Thing” began as a gentle soft-rock ballad, echoing The Beatles’ “Strawberry Fields Forever.” But Meldrum’s ambitious vision transformed the demo into a studio masterpiece of the modern age. Teaming up with engineer John Sayers, Meldrum pioneered groundbreaking recording techniques, notably flanging – layering two identical recordings slightly out of sync – and instrumental dropouts, later popularized by Jamaican dub artists in the 70s. Adding a sample from an archived Hitler Youth choir recording, “The Real Thing” emerged as one of the most experimental and pioneering rock songs of the 60s, still captivating listeners today.
95: Leonard Cohen – Suzanne (1967)
Leonard Cohen bridged the gap between poetry and folk music with unmatched grace. “Suzanne,” a poignant acoustic track from Songs of Leonard Cohen, exemplifies this, its lyrics originating as a 1966 poem. (Cohen repurposed the poem due to a shortage of material for his debut album.) The song tapped into the intimacy of American folk icons like Bob Dylan and Stephen Stills, yet with a distinct Canadian inflection and a delicate touch evident in his plucked guitar melodies. “Suzanne” was inspired by Cohen’s platonic relationship with dancer Suzanne Verdal, a rare non-sexual muse for the famously amorous songwriter.
94: Louis Armstrong – What A Wonderful World (1968)
“What a Wonderful World” is a testament to enduring hope and one of the most beautiful pop ballads ever recorded. Armstrong started his recording career in 1923, but it was February 1968, at 66 years old, when he released “What A Wonderful World.” This became the biggest hit of his incredibly influential career. Armstrong’s music spanned Dixieland jazz to mainstream pop, but “What A Wonderful World” was his most intimate and commercially successful. A reflective, hopeful song, it yearned for optimism in an increasingly troubled world. Battling a heart condition, Armstrong implored listeners to find joy in life’s simple pleasures, celebrating them with him one last time.
Louis Armstrong – What A Wonderful World (Official Video)
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Image: Louis Armstrong in a black and white official music video for “What A Wonderful World,” smiling warmly, embodying the song’s hopeful message.
93: Tom Jones – It’s Not Unusual (1965)
It may be surprising now, but Tom Jones was initially considered too provocative for the BBC when he debuted in the 60s with “It’s Not Unusual.” Pirate radio station Radio Caroline championed the song, driving its initial success. This upbeat anthem of heartbreak was Jones’s second single for Decca Records and his first No. 1 hit. Rumor has it that the fiery guitar solo is played by none other than Jimmy Page. Confirmed is the keyboardist: a then-struggling musician named Reginald Dwight, who would later achieve global stardom as Elton John.
92: The Monkees – Daydream Believer (1967)
John Stewart penned “Daydream Believer” shortly before leaving the Kingston Trio, the third in a series of songs exploring the ennui and monotony of suburban life. In this, he was a pioneer, giving voice to suburban discontent, a cry for escape back to the city. Rejected by We Five and Spanky and Our Gang, the song landed with The Monkees via producer Chip Douglas, who encountered Stewart at a party. Recorded for their 1967 album, Pisces, Aquarius, Capricorn & Jones Ltd., it was ultimately featured on their 1968 record, The Birds, The Bees & The Monkees. Davy Jones’s seemingly ambivalent delivery? It was actually a result of his frustration with the recording process – a serendipitous accident in pop history.
91: Del Shannon – Runaway (1961)
“Runaway” almost didn’t happen. Back in 1960, Charles Westover and keyboardist Max Crook secured a recording contract that went south. Perhaps overwhelmed by New York City, Crook and Westover (soon to be known as Del Shannon) failed to impress Big Top Records. In the aftermath, their manager urged them to rewrite and re-record an earlier song, “Little Runaway.” The rest is history. “Little Runaway” became “Runaway,” and Shannon’s iconic “wah-wah-wah” vocal performance has been playfully imitated at family gatherings ever since.
90: Peggy Lee – Is That All There Is? (1969)
“Is That All There Is?,” blending spoken word with a glamorous, show-tune-inspired melody, remains a powerful statement of nihilism, predating The Big Lebowski. Inspired by Thomas Mann’s 1896 story “Disillusionment,” specifically the line, “Is that all there is to a fire?” the song drew from Kurt Weill’s theatrical compositions, mixing theatrical flair with late 60s pop maximalism. Randy Newman composed and conducted the orchestral arrangement, also playing the piano intro. The song frankly confronts mortality, with Peggy Lee unafraid of the unknown, yet unwilling to trade earthly pleasures for eternal mystery.
89: Silver Apples – Oscillations (1968)
Modern electronic and experimental rock owes a huge debt to the groundbreaking Silver Apples and their 1968 self-titled debut. Their driving, hypnotic instrumental repetitions foreshadowed krautrock, while their cyclical grooves helped ignite the later dance music craze. Simeon’s oscillators were key, but singer Dan Taylor’s trembling, understated vocals also inspired artists like David Byrne. Though Silver Apples’ sonic world was compact, its influence is vast and still expanding.
Oscillations
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88: Righteous Brothers – Unchained Melody (1965)
“Unchained Melody” originally appeared in 1955, with music by Alex North and lyrics by Hy Zaret, for the little-known prison film, Unchained. The Righteous Brothers resurrected it from obscurity for their 60s album Just Once In My Life. The song unfolds in two parts: a gentle, rowing-boat-like opening, then a dramatic explosion as drums enter with a thunderous cymbal crash and Bobby Hatfield’s vocals intensify. “Unchained Melody” was the b-side to “Hung On You,” produced by Phil Spector. “Unchained,” produced by Hatfield’s singing partner, Bill Medley, surprisingly charted higher, yet Spector took credit for both. History has since corrected the record, recognizing Medley’s rightful contribution.
87: BBC Radiophonic Workshop – Doctor Who (1963)
The BBC Radiophonic Workshop, established in 1958 for radio and TV effects, became Britain’s pioneering electronic sound laboratory. The “Doctor Who” theme, debuting with the show in 1963, is a rare soundtrack that both complements and transcends its source. While integral to the show, its iconic melody has its own place in pop culture. Australian composer Ron Grainer sketched the theme, which Delia Derbyshire of the Radiophonic Workshop reimagined, collaborating with sound engineer Dick Mills. Instrumental parts were created by splicing, slowing, and speeding up white noise, a plucked string, and test-tone oscillators used for equipment calibration. Derbyshire and the BBC Radiophonic Workshop not only transformed television history but also laid the groundwork for experimental electronic composers of the 70s and 80s.
86: Sly and the Family Stone – Everyday People (1968)
“Everyday People” is classic Sly Stone: a plea for peace, irresistibly catchy. Sly captured the 60s zeitgeist, building on the free love movement to create an inclusive, groovy sound that mirrored the era’s popular vibes. The Family Stone was unique for its diverse lineup, including white musicians Greg Errico and Jerry Martini, and women like Rose Stone (Sly’s sister) and Cynthia Robinson. Musically, “Everyday People” is more directly pop than much of their psychedelic funk. A straightforward hit, it proved Sly’s songwriting versatility.
85: Bee Gees – To Love Somebody (1967)
How quickly do you recognize the Bee Gees’ “To Love Somebody”? Is it the first second, with clean guitar chords emerging from silence? Or second two, with swelling strings? For some, recognition might come in the third second, with the rich, waterlogged-timpani-like drums. Regardless, the opening notes are timeless. Listening to “To Love Somebody” is experiencing shared emotions – love, heartbreak – in a way you thought unique and indescribable. This shared experience makes “To Love Somebody” a truly powerful 60s song.
To Love Somebody
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Image: The Bee Gees performing “To Love Somebody” in a 1960s video, their earnest expressions conveying the song’s emotional depth.
84: Dusty Springfield – Son of a Preacher Man (1968)
Dusty Springfield was perfectly positioned. The British blue-eyed soul icon was recording her 1968 Atlantic debut in Memphis with Jerry Wexler. John Hurley and Ronnie Wilkins had written “Son of a Preacher Man” for Aretha Franklin. Wexler, liking the track, gave it to Springfield. It became a massive hit, revived by appearances in pop culture, like Quentin Tarantino’s Pulp Fiction. The track remains a 60s touchstone, a sultry song about forbidden love.
83: Bembeya Jazz National – Armée Guinéenne (1969)
Sekou Diabaté, guitarist for Bembeya Jazz National, earned the nickname “Diamond Fingers” for a reason. Listening to “Armée Guinéenne,” Diabaté’s breathtaking riff seems almost supernatural. But “Armée Guinéenne” is more than guitar virtuosity. This 1969 afrobeat sensation marked a cultural turning point in Guinea, with the band weaving political messages into their music. Formed during Guinea’s independence, their songs pulsate with the joy of hard-won freedom.
82: Elvis Presley – Suspicious Minds (1969)
Here’s a formula: record a song that flops, then have the world’s biggest star re-record it. Songwriter Mark James wrote and recorded “Suspicious Minds” in 1968. It bombed. Elvis re-recorded it with producer Chips Moman. It promptly hit #1. “Suspicious Minds” became one of Elvis’s biggest hits. Getting The King to record your song was a guaranteed chart-topper. Reportedly recorded between 4 and 7 AM, the recording captures Elvis’s raw desperation. Donna Jean Godchaux, later of The Grateful Dead, sang backing vocals.
81: Mulatu Astatke – Yègellé Tezeta (1969)
Mulatu Astatke is the king of Ethio-jazz, blending jazz, Ethiopian tradition, and Latin rhythms. Ethio-jazz flourished in the 60s and 70s, with Astatke at its forefront. Addis Ababa, “Swinging Addis,” was a global music innovation hub. Astatke collaborated with jazz legends like John Coltrane in the US. “Yègellé Tezeta,” a highlight of that era, features a slinking, infectious horn line. It’s featured in the Ethiopiques series, chronicling Ethiopia’s sound since Ethio-jazz’s birth.
80: Françoise Hardy – Tous Les Garcons et Les Filles (1962)
Françoise Hardy’s “Tous les garçons et les filles” (“To All The Boys and Girls”) became an instant hit in France in 1962. Initially a musical interlude during 1962 election referendum results, it captivated France with Hardy’s voice and yé-yé pop style, blending rockabilly, jazz, folk, and pop. Legendary guitarist Jimmy Page contributed to Hardy’s recording sessions, adding to the song’s allure.
79: Sonny & Cher – I Got You Babe (1965)
Sonny Bono wrote “I Got You Babe” lyrics late one night. Waking Cher to sing her part, she initially refused, disliking it and doubting its hit potential. She went back to bed. The next morning, she changed her mind. “I Got You Babe” became a defining 60s duet and anthem for the free love movement. Recorded with drummer Hal Blaine and the Wrecking Crew, it became an anthem for the counterculture hippie movement, celebrating true love. Though Sonny and Cher’s marriage didn’t last, “I Got You Babe” endures.
78: Terry Riley – In C (1968)
Terry Riley’s “In C” comprises 53 short, numbered musical phrases of varying lengths. Musicians repeat phrases at will, controlling their sequence and timing. Theoretically chaotic, in practice, it becomes a beautiful, evolving work. Why is it among the best 60s songs? Riley was inspired by jazz innovators like John Coltrane and Miles Davis, and his late 60s music profoundly influenced The Who’s Pete Townshend, bringing Riley’s experimental ideas to a mainstream audience, forever expanding rock ‘n’ roll’s boundaries.
77: Vince Guaraldi Trio – Linus & Lucy (1964)
As the 60s fade, Charles Schulz’s Peanuts music is recognized beyond soundtrack status. Vince Guaraldi, a Bay Area jazz pianist, composed and recorded Peanuts music. After serving in the Korean War, Guaraldi played in Latin-influenced groups. His Peanuts work, especially “Linus & Lucy,” blends these influences, fusing catchy piano melodies with foot-tapping percussion. “Linus & Lucy”’s main section features only piano, brushed snare drum, and hi-hat, proving genius in simplicity.
Vince Guaraldi Trio – Linus And Lucy
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Image: The Vince Guaraldi Trio performing “Linus and Lucy” in a vintage clip, their jazzy piano melody instantly recognizable and joyful.
76: Stevie Wonder – Uptight (Everything’s Alright) (1965)
Choosing a Stevie Wonder 70s song is tough. His 60s output, while historic, doesn’t force the same impossible choices as Music of My Mind, Talking Book, and Innervisions. “Uptight” is a direct pop-rock jam, Wonder’s voice commanding attention, punctuated by an infectious horn line. Drums bang and clash like Cream or The Jimi Hendrix Experience. A perfectly executed, energetic song, showcasing Stevie’s powerful vocals. The only questionable line: “I’m just an average guy.” We know better.
75: Ray Barretto – El Watusi (1962)
NYC-born Ray Barretto was a Latin music conga master. Gaining fame in 50s New York, he played with Latin musicians and jazz greats like Charlie Parker and Dizzy Gillespie. Barretto’s inventive playing shone when he led his own group. Despite “El Watusi” being part of a pachanga craze, he infused it with his unique flair. The title references the Watusi tribesmen of Rwanda, featured in the nonsensical lyrics.
Ray Barretto – El Watusi
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74: The Drifters – Under the Boardwalk (1964)
“Under the Boardwalk” emerged from tragedy. Scheduled for recording on May 21, 1964, lead singer Rudy Lewis died of a suspected overdose the night before. Instead of rescheduling, Johnny Moore, the other vocalist, took the lead on “Under the Boardwalk.” A perfect pop-soul blend, it’s celebrated for its numerous covers. Artists like 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 have all covered it, remarkably, each version charting in the US or abroad.
73: Irma Thomas – Time Is On My Side (1964)
Irma Thomas and The Rolling Stones both recorded “Time Is On My Side,” but sound worlds apart. The Stones delivered a thrilling rock version of Jerry Ragovoy’s track, while Thomas’s version is defined by her stunning vocal performance. Her voice slightly leads the backing choir, like a sprinter ahead of the pack. Thomas’s voice is legendary in soul, powerful yet precise. H.B Barnum arranged Thomas’s version, enlisting Jimmy Norman to flesh out the lyrics, reportedly finished moments before Thomas entered the studio.
72: The Cannonball Adderley Quintet – Mercy, Mercy, Mercy (1966)
“Mercy, Mercy, Mercy” was an unexpected hit for the Cannonball Adderley Quintet, soul jazz bridging jazz structures and pop melodies. Joe Zawinul’s Wurlitzer melody is central. (It once belonged to Ray Charles.) The song became a crossover hit when The Buckinghams covered it in 1967. But the original, with its live audience fueled by an open bar, has a unique magic.
71: Merle Haggard – Mama Tried (1968)
Like great country songs, Merle Haggard exaggerated in “Mama Tried.” Inspired by his robbery conviction and three years in San Quentin, it’s a poignant ode to hardworking mothers and an apology from a wayward son. But the narrative is only part of it. Haggard’s blend of honky-tonk swing and Bakersfield country set the stage for 70s outlaws like Waylon Jennings and Willie Nelson. Haggard’s empathy, remorse, and unyielding nature became genre staples.
Mama Tried (Remastered 2001)
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Image: Merle Haggard performing “Mama Tried” in a classic video, his sincere delivery emphasizing the song’s heartfelt narrative.
70: Van Morrison – Brown Eyed Girl (1967)
Van Morrison recorded eight songs in a two-day 1967 session, yielding four singles. “Brown Eyed Girl” emerged on the 22nd take of the first day, a soft rock masterpiece and precursor to his orchestral psychedelic Astral Weeks. Its timelessness is proven by covers from Adele, Reel Big Fish, Steel Pulse, and U2.
69: Gal Costa – Baby (1969)
Gal Costa’s “Baby” is rich with history. A Tropicália staple, it’s like a perfect beach day, before sunburn. Painful analogy aside, Costa’s “Baby,” penned by Caetano Veloso, was made famous by Os Mutantes. Costa’s 1969 version features swirling strings like a 40s film score. With Veloso’s harmonies, Costa created a Tropicália masterpiece.
Baby
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68: The Kinks – You Really Got Me (1964)
Should it have been “Waterloo Sunset”? Maybe. But highlighting Ray Davies’s early songwriting genius with “You Really Got Me” is important. Davies says it was among his first five songs. Originally piano-based, a lounge-jazz groove, far from today’s version. Inspired by college infatuation, Davies saw a girl in the crowd at a gig. After his set, she vanished. The iconic guitar solo is shrouded in mystery. Jon Lord of Deep Purple claimed Jimmy Page recorded it before joining the Yardbirds and Led Zeppelin (Page denies this).
67: Bobbie Gentry – Ode to Billie Joe (1967)
Chickasaw County, Mississippi, near the Delta, inspires Bobbie Gentry’s “Ode to Billie Joe,” a Delta tragedy narrative. A perfect folk song, rich in detail, imaginative perspective. Gentry portrays a family reacting to a local boy’s suicide jump from a bridge. Singing as the family’s daughter, her empathy contrasts her family’s indifference. A powerful anthem of Southern tragedy, novelistic in scope in four minutes.
66: The Ramsey Lewis Trio – The “In” Crowd
One of the great instrumental 60s songs, thanks to a coffee shop server named Nettie Gray. In 1965, the Ramsey Lewis Trio, stumped for a song for their setlist, were in a DC coffee shop. Booked at Bohemian Caverns, where they’d recorded a live album, they needed a track for the follow-up live album. Nettie played Dobie Gray’s “The In Crowd” on the jukebox. Lewis worked out a version, ending their Caverns set with it. Huge applause led to a hit, charting on Billboard Hot 100 and R&B charts.
The “In” Crowd
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65: The Kingsmen – Louie Louie (1963)
The Kingsmen played garage rock before the term existed. Their “Louie Louie” version happened almost by chance. In 1962, at the Pypo Club in Seaside, Oregon, they heard Rockin’ Robin Roberts’s “Louie Louie” on repeat on the jukebox. Club-goers loved it more than the band. Singer Jack Ely convinced the Kingsmen to learn it. They quickly recorded it after seeing the same dancefloor reaction.
64: Wendy Carlos – Two-Part Invention in F Major
Pianist Glenn Gould called Switched-On Bach “one of the most startling achievements of the recording industry in this generation.” Wendy Carlos’s album, Bach compositions meticulously crafted on the Moog synthesizer, took five months and a thousand hours to produce. The Moog was temperamental. Carlos could “produce a measure or two of music before the synthesizer went out of tune.” Yet, it became a sensation, topping Billboard’s Classical chart for three years.
63: Joe Bataan – Subway Joe (1968)
Few songs capture a city like Joe Bataan’s “Subway Joe” illustrates New York City. The King of Latin Soul, born in Spanish Harlem in 1942, brought his working-class reality to tape. Growing up in El Barrio tenements, he absorbed pop, Latin, doo-wop, and R&B, all in his music, especially “Subway Joe.” It pulses with New York energy, defining Latin Soul. A humorous tale of a subway trip, quintessentially New York.
Joe Bataan – Subway Joe
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62: Simon & Garfunkel – The Sound Of Silence (1965)
“The Sound of Silence” is 60s folk-pop perfection, though it took time to reach its current form. An acoustic version was on their 1964 Wednesday Morning, 3 A.M., a commercial flop leading to Simon & Garfunkel’s breakup. But in 1965, Boston and Florida radio stations aired the song. Producer Tom Wilson remixed it, adding electric instruments and drums, releasing it as a single in September 1965 without informing Simon & Garfunkel. Two years later, it soundtracked The Graduate, a defining 60s film.
61: Babatunde Olatunji – Jin-Go-Lo-Ba (1960)
Babatunde Olatunji’s “Jin-Go-Lo-Ba” is irresistible. If you have blood, you’ll move – a foot tap or full-throated call-and-response. From Olatunji’s Drums of Passion, it shows the power of catchy vocals and rhythm. The Nigerian drummer, activist, and educator’s “Jin-Go-Lo-Ba” was a standout on a surprisingly successful album, a key introduction of “world music” to America.
60: The Zombies – Time of the Season
“Time of the Season” arrived too late for The Zombies. Frustrated by lack of success, they disbanded, just as “Time of the Season” became a classic a year after release. Several Odessey and Oracle songs preceded “Time of the Season” as singles. Columbia Records doubted the album, but new A&R rep Al Kooper championed it, fighting for “Time” and waiting for the public to embrace its pop-psych charm.
59: The Velvet Underground – I’m Waiting For The Man (1967)
If The Byrds singing about “eight miles high” freaked out America, Lou Reed singing about buying heroin was unimaginable. One of the first to glamorize drug dealing, it was also a forward-thinking, cool 60s rock song. Lo-fi guitar crunches, Lou Reed’s cool detachment foreshadowed 80s and 90s indie. The Velvet Underground’s fingerprints are everywhere in rock. Social commentary and too-cool-for-school attitude, a rare mix.
58: Etta James – At Last (1960)
Few musical moments match the brief silence in “At Last” before Etta James’s voice emerges, acapella, into “At Last.” Before drums, piano, and strings, there’s Etta, alone, at her finest. An intimacy to her voice, almost impossible to replicate today. She sings directly to you, dedicating this perfect love song to a shared moment.
At Last
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Image: Etta James singing “At Last” in a live performance, her powerful voice and emotional delivery captivating the audience.
57: Steppenwolf – Born to Be Wild (1968)
Steppenwolf’s “Born To Be Wild,” 60s rock encapsulated, is remembered for Easy Rider, the indie film revolution starter. But it’s more than that: often called the first “metal” song, or proto-metal, and a classic rock song in its own right.
56: The Band – The Weight (1968)
With “The Weight,” The Band brought surrealism to mainstream, translating Ingmar Bergman and Luis Buñuel into song. Populated by real-life characters, Nazareth, Pennsylvania, setting chosen because it was Martin Guitars’ home. But “The Weight” is also extraordinary folk-rock, one of many from The Band. Levon Helm sings lead, Rick Danko plays bass and sings verse four. Harmonies drove The Band’s songs. Every member could sing, but unlike The Beach Boys’ technicolor vocals, The Band’s were rougher, with grit.
55: Stan Getz & João Gilberto feat. Antonio Carlos Jobim – The Girl From Ipanema (1964)
“The Girl From Ipanema,” definitive 60s bossa nova jazz. Written in 1962 by Antônio Carlos Jobim (music), Vinícius de Moraes (Portuguese lyrics), Norman Gimbel (English lyrics later). The Stan Getz/João Gilberto version was an instant hit, featuring João’s wife, Astrud Gilberto’s vocal debut. A groundbreaking collaboration between American saxophonist Getz and Brazilian icon Gilberto. The hit version is shortened from the album version with Portuguese lyrics by João Gilberto. A global hit, Grammy for Record of the Year.
54: Patsy Cline – Crazy (1961)
Patsy Cline’s 1961 “I Fall to Pieces” topped Billboard’s country chart. Soon after, a car accident hospitalized her for a month. After recovery, she released “Crazy,” country’s biggest hit yet. Post-hospital Cline was a megastar. Willie Nelson wrote “Crazy.” Her husband, Charlie Dick, urged her to record it. Cline initially refused. “I don’t like it and I ain’t gonna record it. And that’s that,” she reportedly said. At the studio, Dick convinced her. Result: self-explanatory. Patsy Cline, a female country star before it was common, paved the way for generations of women singers.
53: Jane Birkin and Serge Gainsbourg – Je t’aime… moi non plus
Serge Gainsbourg infused “Je t’aime… moi non plus” with unparalleled erotic energy. Originally written for Brigitte Bardot in 1967, then Gainsbourg’s girlfriend, who asked for the most romantic song. He wrote two: “Je t’aime” and “Bonnie and Clyde.” After Gainsbourg tried recording “Je t’aime” with Bardot, her husband intervened, and she begged Gainsbourg not to release it. He agreed but revisited it with Jane Birkin a year later. Their version, one of the most sexually charged 60s pop songs, their attraction palpable in every line.
52: Celia Cruz – Bemba Colorá (1966)
Celia Cruz makes you dance, but also confronts 60s Cuban politics. “Bemba Colorá” (1966), perhaps the most famous anti-racist rumba, though its themes might be lost in horns and call-and-response. Cruz, “Queen of Salsa,” left Cuba in the early 60s, becoming a spokesperson for exiled Cubans. Her history raises identity and community questions. On “Bemba Colorá,” with Tito Puente, the Queen of Salsa delivers an inclusive, undeniably groovy hit.
Celia Cruz – Bemba Colora
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51: David Bowie – Space Oddity (1969)
“Space Oddity” starts quietly, then the chorus explodes. David Bowie’s 1969 hit takes time building to one of rock’s greatest choruses. Inspired by Stanley Kubrick’s 2001: A Space Odyssey. Kubrick is sterile, Bowie is ecstatic, free-wheeling. Military-march drums, Bowie’s countdown and protein pill urging. “Liftoff” never gets old. Stereo mix splits vocals in each ear. Suddenly, you’re an astronaut, Bowie congratulating your moon landing.
50: Ennio Morricone – The Good, The Bad & The Ugly (Main Theme) (1966)
“The Good, The Bad & The Ugly (Main Theme)” by Ennio Morricone, synonymous with Western soundtracks. Opening whistle immediately evokes Sergio Leone’s Westerns’ final showdowns. A metonym for Western soundtracks, it belongs on a 60s best songs list. In 1966, the soundtrack reached #4 on Billboard, due to whistles, gallops, and yelps. Few soundtrack moments match its emotional force.
49: Johnny Cash – Ring of Fire (1963)
Falling into a ring of fire sounds ominous, but June Carter Cash and Merle Kilgore meant love when writing it. Originally recorded by June’s sister, Anita Carter, it flopped. Johnny, after dreaming of it with a mariachi band, took a stab. Cash recorded it as dreamt, a country-western song ahead of its time. Blending country with genre-blurring elements, a crossover hit for country and Latin music fans.
48: Hugh Masekela – Grazing in the Grass (1968)
Christopher Walken yelling “more cowbell” on SNL wouldn’t have happened if he’d been at Hugh Masekela’s “Grazing in the Grass” session. Cowbell 16th notes open it, then half-time drums, horns, and skittering piano. A rhythmic tension masterclass, Masekela’s trumpet dances above. Number one on Billboard, though last added to his debut album, deemed three minutes too short. Greenwich Village legend Bruce Langhorne and jazz bass legend Henry Franklin completed the all-star cast.
Grazing In The Grass
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47: Loretta Lynn – Fist City (1968)
Loretta Lynn’s rules: don’t look, touch, or think about her man, unless you want a fight. “Fist City,” Lynn’s anthem for women who threaten her marriage while she tours, was radical for country. In the 60s, country was male-dominated, fighting was a man’s game. Loretta changed that, swaggering in with a left hook and sweet voice. The boys club had to deal with her rise, or face the “Fist City” fate: bloodied lip on the ground.
46: The Miracles – The Tracks Of My Tears (1965)
“The Tracks of My Tears,” a miraculous hit from soul’s greatest hit factory. Lyrics started in Smokey Robinson’s bathroom. “One day I was shaving, looked in the mirror,” he told NPR. “What if someone cried so much, you could see tear tracks?” Iconic guitar intro, doo-wop vocals, one of heartbreak’s best songs. GRAMMY Hall of Fame, RIAA’s “Songs of the Century” #127, Rolling Stone #50 “500 Greatest Songs of All Time.”
45: Gilberto Gil – Aquele Abraço (1969)
In Gilberto Gil’s 1969 samba sensation, “Aquele Abraço,” the guitar in verse one is like glass, delicately strummed. Then, an extended chorus with whistles, backing vocals, percussion, and suddenly, Gil attacks the guitar. Masterful manipulation of volume and crescendos to emphasize emotion. “Aquele,” perhaps samba’s most famous song, written during Brazilian military dictatorship and censorship. Gil had just left military prison, under house arrest, when he wrote it. Exiled to Europe in 1970, it remained a Brazilian hit, a rallying cry for change.
44: The Byrds – Eight Miles High (1966)
The Byrds, including Gene Clark, Jim (Roger) McGuinn, and David Crosby, made Indian raga-influenced psychedelic rock, popularized by Ravi Shankar and John Coltrane. “Eight Miles High,” innocuous now, was banned from US radio in the 60s for its lyrics. But the drama is less interesting than the style it ushered in, blending psych-rock and jazz experimentation.
43: Miriam Makeba – Pata Pata (1967)
Before rap dance challenges, South African Miriam Makeba used the “Pata Pata” dance for her song. “Pata Pata,” “touch touch” in Xhosa, a dance in Johannesburg shebeens. Makeba recorded it with The Skylarks in 1959. Making a name in the US, she re-recorded it in 1967 with Jerry Ragovoy, a hit. Makeba’s 60s version blended African rhythms, samba, and an infectious vocal line.
42: The Shangri-Las – Leader of the Pack (1964)
Young love, best feeling. Young heartbreak, ultimate tragedy. The Shangri-Las and “Leader of the Pack” capture both. Written by George “Shadow” Morton, Jeff Barry, and Ellie Greenwich, originally for The Goodies, given to The Shangri-Las as a follow-up to “Remember (Walking in the Sand).” Instant classic, innovative use of motorcycle revs and percussion.
41: Tammy Wynette – Stand By Your Man (1969)
“Stand By Your Man,” culturally loaded, but simply one of country’s best songs. Controversial upon release in the late 60s as feminism rose, Wynette said it was about overlooking flaws in love, not subservience. Written in 15 minutes by Wynette and producer Billy Sherrill, she was hesitant, considering it an outlier and difficult to sing. It became a country music icon, Wynette’s most popular song.
40: Desmond Dekker & The Aces – Israelites (1968)
Sometimes a park walk sparks genius. Desmond Dekker got the idea for “Israelites” overhearing a park argument about money. Working all day for little pay, he thought, and “Israelites” was born. A reggae hit, infiltrating Billboard, bringing rocksteady to a new audience in 1968.
39: Glen Campbell – Wichita Lineman (1968)
Glen Campbell sang about places. 1968’s “Wichita Lineman,” then “Galveston.” Places expressed character. Jimmy Webb wrote “Lineman” inspired by Washita County, Oklahoma. Webb’s version lacked a middle section. Campbell added an all-time guitar solo, recalling his Wrecking Crew session days, recruiting them for “Lineman.”
Wichita Lineman (Remastered 2001)
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38: Cream – Sunshine of Your Love (1967)
If you’ve erred, you probably weren’t as wrong as Ahmet Ertegun and Jerry Wexler in 1967. Cream, post-Fresh Cream, prepped their second LP for Atlantic. Ertegun and Wexler hated Cream’s new hard rock sound, Wexler calling demos “psychedelic hogwash.” Wrong. “Sunshine of Your Love” made Disraeli Gears and became a single. Clapton’s playing and singing helped, but Booker T. Jones and Otis Redding co-signing “Sunshine Of Your Love” convinced Ertegun and Wexler of their mistake.
37: Isaac Hayes – Walk On By (1969)
“Walk on By” has legendary names attached. Burt Bacharach (composer), Hal David (lyrics), Dionne Warwick (original singer, 1963). Hard to top? Tell Isaac Hayes, who made it a sultry love jam. Beyond credits, Hayes’s 1969 version became a rap producer staple, sampled by 2Pac, The Notorious B.I.G., MF DOOM, Wu-Tang Clan. Hayes’s “Walk on By” exists as a hit and a crucial part of rap history.
36: Buffalo Springfield – For What It’s Worth (1966)
Buffalo Springfield’s “For What It’s Worth” is associated with anti-war, but Stephen Stills meant it smaller scale. Inspired by 1966 Sunset Strip curfew riots, cops vs. youth rebels. Intent aside, its impact is clear. The 1966 song, with Neil Young on guitar, is catchy and powerful. Chorus urges awareness, easy to sing along to. “For What It’s Worth,” from Sunset Strip chaos, is now a 60s best song and peace anthem.
35: Jorge Ben – Mas, Que Nada! (1963)
O Estado de S. Paulo newspaper was wrong. Upon Jorge Ben’s Samba Esquema Novo, they predicted it would vanish like his 78s. They missed how profoundly Ben’s album, especially “Mas, Que Nada!,” would shape samba. Samba Esquema Novo (“New Style Samba”) aimed to innovate. Ben brought a new perspective, influencing future samba and South American players.
Mas, Que Nada!
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34: The Doors – Light My Fire (1967)
The Doors’ “Light My Fire” drew from diverse sources. Guitarist Robby Krieger, inspired by “Hey Joe” melody and Rolling Stones’ “Play with Fire” lyrics. Drummer John Densmore suggested Latin rhythm. Organist Ray Manzarek added Bach-influenced intro motif. Densmore suggested snare drum intro. Solo section inspired by John Coltrane’s “My Favorite Things.” The Doors’ magnetic psych-pop: blending rock, jazz, blues into something unique and unreplicable.
33: Booker T. And The MG’s – Green Onions (1962)
Two types of people: those who know Booker T. And The MG’s “Green Onions,” and those who know it but not the name. One of American music’s most recognizable tracks, a simple blues line never aging. Players vamp in turns. Organ solo, guitar yelp, organ, guitar. Simple formula, simplicity hardest to achieve. Infectious melody by 17-year-old Booker T. While others learned to drive, Booker redefined R&B for generations.
32: Caetano Veloso – Tropicália (1968)
Scratchy strings swirl, like missing music from Hitchcock’s The Birds. You’re in a new, foreign place, Brazil, Caetano Veloso’s homeland. Veloso, Tropicália pioneer, filtered genres through a Brazilian lens. “Tropicália,” released 1968, bursts with energy, revelatory. Song builds, then Veloso’s sweet voice joins, showing why he and “Tropicália” were central to the movement.
31: Big Brother & The Holding Company – Piece of My Heart (1967)
Janis Joplin had the blues in her soul, channeling it into rock ‘n’ roll on 60s classics like “Piece of My Heart.” Joplin’s take was so original, Erma Franklin, who first released it in 1967, didn’t recognize it on the radio. Joplin infused blues pain and triumph, inspired by Bessie Smith.
30: The Jackson 5 – I Want You Back (1969)
“I Want You Back,” the Jackson 5’s first national single, via Motown, October 7, 1969, their first No. 1 hit months later. Signaled Michael Jackson’s arrival, who changed music, first with siblings, then as a solo star. “I Want You Back” was performed on TV debuts, like Diana Ross’s Hollywood Palace and Ed Sullivan Show. Almost didn’t reach The Jackson 5: considered for Gladys Knight & the Pips, then Diana Ross.
29: The Mamas & The Papas – California Dreamin’ (1965)
John and Michelle Phillips in their NYC apartment, cold seeping in, inspired “California Dreamin’.” Hopelessness birthed a tune crucial to LA and Bay Area mythos. The Mama & Papas (Phillips main songwriters) tapped into Manifest Destiny and 60s California as a haven for new ideas, cultures, harmony.
California Dreamin’
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Image: The Mamas & the Papas in a promotional shot for “California Dreamin’,” their harmonies and relaxed vibe embodying the song’s dreamy essence.
28: Nancy Sinatra – These Boots Are Made For Walkin’ (1965)
Unforgettable descending guitar line. Slings towards its note, surprising yet expected. “These Boots” written for Lee Hazlewood, who planned to record it. Nancy, playing on sweet female country singer trope, convinced Hazlewood “Boots” would be too intimidating from a man. For the best: “These Boots Are Made For Walkin’” iconic country, covered across genres, rarely replicated.
27: Frankie Valli – Can’t Take My Eyes Off You (1967)
Bob Gaudio, Four Seasons member, co-writer of “Can’t Take My Eyes Off You,” thought it would be forgotten. Recorded 1967, relying on CKLW Detroit radio for success. Program director Paul Drew initially passed. Seeing Valli perform live changed his mind, adding it. First spin, mega-hit. “Can’t Take My Eyes Off You” transcends time, even space. NASA used it as a wake-up song on STS-126 Space Shuttle mission in 2008.
26: Pete Rodriguez – I Like It Like That (1967)
Before Cardi B’s “I Like It,” Tony Pabon and Manny Rodriguez wrote a song about liking things in 1967. Pabon sang, Pete Rodriguez Orchestra played. Pioneering blend of English lyrics, call-and-response, samba rhythms, Cuban melodies. Unimpeachable melody led to covers, samples, re-arrangements. Blackout All-Stars version, Burger King commercial refrain.
25: Toots and the Maytals – 54-46 That’s My Number (1968)
“54-46 That’s My Number,” early reggae hit outside Jamaica, defining genre globalization. Toots’s relaxed delivery, massive, jangly drums. Lyrics describe Toots’s prison time for marijuana possession, positive vibes masking depression. Defined 60s Jamaican rocksteady, precursor to dub reggae, influential in 90s/2000s American electronic music.
24: The Supremes – You Can’t Hurry Love (1966)
Patience. Love doesn’t come easy. Sound advice from The Supremes’ Diana Ross. “You Can’t Hurry Love,” by Motown’s Holland–Dozier–Holland, instant hit, Billboard pop singles chart-topper. Funk Brothers instrumentation, Supremes’ love-arriving-in-time tale, 60s Motown classic, among “Where Did Our Love Go?” and “Stop! In The Name Of Love.”
23: Frank Sinatra – My Way (1969)
Frank Sinatra’s blue eyes and velvet voice. While known for big bands, Sinatra’s subtleties shone in simpler tunes, like 1969’s “My Way.” Thanks Paul Anka. Anka heard the French original on vacation in France, flew to Paris for rights. Sinatra flexed his voice, from quiet to belting.
22: Sam Cooke – A Change Is Gonna Come (1964)
Sam Cooke’s “A Change Is Gonna Come” is historically rich. Backstory: Cooke and wife Barbara denied motel room for being Black. They left after Cooke protested, honking, shouting. At another motel, police arrested Cooke for disturbing peace. Plus, Cooke’s awe of Bob Dylan’s “Blowin’ In The Wind,” a white man’s protest anthem, pushed Cooke to address race as a songwriter. Decision risked losing white audience, but Cooke wrote his atmospheric, string-laden classic, demanding change. We’re lucky he did.
21: Alton Ellis – I’m Still In Love With You (1967)
Alton Ellis’s “I’m Still In Love With You” captures Jamaican music’s ethos. Upon 1967 release and today, “The King of Rocksteady”’s track hugely impacted reggae, rocksteady, and mainstream iterations. Its beat used by many, including Althea and Donna’s 1977 “Uptown Top Ranking” and Sean Paul’s 2002 cover. “I’m Still In Love With You,” timeless, inspiring generations, but Ellis’s original is unmatched.
20: Ike & Tina Turner – River Deep Mountain High (1966)
“River Deep Mountain High” starts simply. Tina Turner’s voice stunning, but with backing vocals and buzzing instruments, not immediately distinct. Then, thirty seconds in, her voice ignites. Premier vocalist of her generation becomes clear. Star-turning performance, raspy, emotional. Produced by Phil Spector, $22,000 in 1966, a most expensive 60s song. Spector’s wall-of-sound: 21 session musicians. Turner’s grueling vocal recording, sweating profusely, recording in her bra. Legendary, dramatic, a Turner career highlight, among many hits.
19: Creedence Clearwater Revival – Fortunate Son (1969)
Which movie when you hear John Fogerty’s yelp in Creedence Clearwater Revival’s “Fortunate Son”? Forrest Gump? Suicide Squad? Logan Lucky? “Fortunate Son,” hit for band and film. Great American protest songs, searing passion and catharsis. Used countless times in films, never losing power.
Creedence Clearwater Revival – Fortunate Son (Official Music Video)
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Image: Creedence Clearwater Revival performing “Fortunate Son” in a vintage music video, their energetic performance amplifying the song’s protest message.
18: Jefferson Airplane – White Rabbit (1967)
“White Rabbit” is structured like a mountain climb. Uphill, uphill, peak… then over. 1967 release, inspired by Alice In Wonderland. Grace Slick wrote lyrics criticizing parents reading Alice then puzzled by kids’ drug use. (“Go ask Alice, I think she’ll know,” 60s defining lyric.) Song stacks tension against Slick’s wraith-like voice, until the ecstatic chorus everyone knows (few can sing).
17: Neil Diamond – Sweet Caroline (1969)
Neil Diamond needs to clarify “Sweet Caroline” origins. Sometimes, inspired by young Caroline Kennedy, youth’s joy. Later, tribute to wife Marcia, needed three-syllable name. Regardless, “Sweet Caroline” endures, a song New York Yankees fans dread. Boston Red Sox fans adopt it at Fenway Park before the 8th inning. Sports song with nothing to do with sports, elastic megahit, written for a woman, for everyone to sing.
16: Ray Charles – Georgia on My Mind (1960)
“Georgia on My Mind” originally 1930 by Hoagy Carmichael and Stuart Gorrell, first recorded by Carmichael. But Ray Charles made it his own on 1960’s The Genius Hits The Road. Charles’ version, American music icon, covered by Willie Nelson, Michael Bolton, Wes Montgomery. Nelson performed it at Charles’ funeral, a powerful rendition. Charles’ voice booms over piano, backing vocals, strings. Georgia State Song in 1979, official title to the state’s musical peak.
15: Jimi Hendrix – All Along the Watchtower (1968)
After Bob Dylan’s John Wesley Harding (1967), publicist Michael Goldstein gave Jimi Hendrix a copy. Hendrix took “All Along the Watchtower,” added rockets, sent it to the moon. Hendrix initially recruited Traffic’s Dave Mason on 12-string guitar, but bassist Noel Redding left frustrated, Hendrix switched Mason to bass. Making chaos sound effortless, Hendrix pulled off transformation.
14: Marvin Gaye – I Heard It Through The Grapevine (1968)
Wavered between this and “Ain’t No Mountain High Enough” with Tammi Terrell, but this is Marvin’s 60s moment. Almost wasn’t released as a single. Marvin Gaye’s “I Heard It Through The Grapevine,” typical Motown, recorded by many. Gladys Knight and the Pips hit, Berry Gordy passed on Gaye’s single release. On Gaye’s In the Groove, DJs played it constantly. Gordy relented, chart-topper, Motown’s biggest single (then). Replaced “I Heard It Through the Grapevine” by Gladys Knight and the Pips for that title.
I Heard It Through The Grapevine
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Image: Marvin Gaye performing “I Heard It Through The Grapevine” in a soulful performance, his emotive voice conveying the song’s heartbreak.
13: Os Mutantes – A Minha Menina (1968)
Os Mutantes are still ahead of now. “A Minha Menina,” a song from the future, released in the late 60s. Proof of The Beatles’ global impact, new bands interpolating styles into new ideas. South American band, turning Jorge Ben original into a freight train, Hendrix-esque guitar solo, barbershop quartet vocals. Os Mutantes ignored borders, ecstatic truth about music’s power.
A Minha Menina
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12: Martha and the Vandellas – Dancing in the Street (1964)
“Dancing in the Street” started modestly. William “Mickey” Stevenson, Ivy Jo Hunter, Marvin Gaye, partly inspired by kids cooling off at a Detroit fire hydrant. But mid-60s racial tension led Black activists to adopt it as a protest anthem, urging street demonstrations against Jim Crow. Popular initially, its staying power comes from representing a crucial American era.
Dancing In The Street
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11: Otis Redding – (Sittin’ On) the Dock of the Bay (1968)
Short, melancholic classic “(Sittin’ On) the Dock of the Bay” recorded weeks before a plane crash took Otis Redding’s life. Incredible swan song for a Stax Records 60s builder. Simple subject – watching tide, reflecting on life – universal, listener interprets it. Whistling coda open-ended, carefree or lonely, depending on mood. (Co-writer Steve Cropper says it happened because Redding forgot ad-libs.)
Otis Redding – (Sittin’ On) The Dock Of The Bay (Official Music Video)
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10: The Who – My Generation (1965)
Pete Townshend’s Packard hearse offended Queen Elizabeth. Queen demanded it towed. Townshend channeled this into “My Generation,” 60s anthem for outsiders seeking acceptance. Less about fitting in, more about being allowed not to fit in. Lyrically, rock history changed. Roger Daltry’s sneer delivering “I hope I die before I get old” has been rebellious teen mantra since. Early Who Mod output, indebted to American R&B, call-and-response lyrics. Daltry’s stutter debated: Mod on meth impersonation? Regardless, impactful vocal tic. Era-defining, anthem for the community-less.
My Generation (2014 Stereo Mix)
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09: The Ronettes – Be My Baby (1963)
Stomp. Stomp stomp clap. Stomp. Stomp stomp clap. Drum pattern etched in American culture, like Elvis or the flag. Hal Blaine drums, imitated by many, few match Blaine’s snare tone. Written by Phil Spector, Jeff Barry, Ellie Greenwich. The Ronettes, led by Ronnie Spector, brought it to life, innocent young love. Spector called his production “Wagnerian approach to rock & roll,” evolving into “wall of sound.” “Be My Baby,” early Phil Spector full orchestra use, a recurring theme.
08: The Temptations – My Girl (1965)
“My Girl” is a kitchen sink composition. Film-score strings, king-entering horns, country-western guitar line. “My Girl,” first Temptations single with David Ruffin lead vocals, what an intro. Originally for the Miracles, Smokey Robinson planned Ruffin vocals. Temptations convinced Robinson to let them have it, a wound healed by Smokey’s career.
07: James Brown – I Got You (I Feel Good) (1965)
Is there a more iconic musical moment than Brown’s intro to his best-known song? Moments as iconic, but none more. Brown redefined 60s cool, infiltrating rock and soul with self-loving funk. Self-care before the term. Brown pioneered funk, emphasizing beat one, unlike rock’s beats two and four. “Funk” in “funky,” changed music with this song, “Papa’s Got A Brand New Bag,” and more.
I Got You (I Feel Good)
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06: Bob Dylan – Like a Rolling Stone (1965)
Snare hits, bass drum pulse, curtains. Brief moment before music history changes. Bob Dylan’s 1965 “Like A Rolling Stone.” Dylan started it after a grueling UK tour, aggressive energy driving the organ line. Tambourine accents upbeat, ragtime piano anachronistic quality. Instrumentation perfect folk-rock, Dylan’s performance steals the show. “You say you never compromise” and “How does it feeeeeel?” defined generational resistance.
05: Aretha Franklin – (You Make Me Feel Like) a Natural Woman (1967)
Hear Aretha Franklin’s gospel origins in “(You Make Me Feel Like) a Natural Woman.” Anthony Heilbut: “Beatles trafficked gurus, Aretha excavated gospel roots, her Jesus against their Maharishi.” “Woman” by Carole King and Gerry Goffin, with Jerry Wexler, but Aretha dramatizes it, pushing, pulling. Aretha’s bridge hold, intensity before even bigger final chorus… that’s why it’s a 60s best song.
Aretha Franklin – (You Make Me Feel Like) A Natural Woman (Official Audio)
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04: The Rolling Stones – (I Can’t Get No) Satisfaction (1965)
Choosing one Rolling Stones 60s song is impossible, but “Satisfaction” wins due to story, impact, legacy. Story? Keith Richards writes songs in his sleep better than most awake. Richards wrote “(I Can’t Get No) Satisfaction” riff, demoed it without realizing. Demo: two minutes of acoustic guitar “Satisfaction” riff, then recorder drop, Richards asleep. Single released June 1965, on US Out of Our Heads July 1965. UK: pirate radio only, deemed too sexually suggestive for commercial radio.
The Rolling Stones – (I Can’t Get No) Satisfaction (Official Lyric Video)
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03: The Beach Boys – Good Vibrations (1966)
Initially Jan & Dean-esque, surfing, cars, girls, The Beach Boys proved deeper artistry with Pet Sounds and “God Only Knows.” “Good Vibrations,” 60s pop masterpiece, Beach Boys’ miracle, topping Pet Sounds. Most expensive song recorded then. Brian Wilson’s production swirled, presaging studio-as-instrument artists. Brian’s idea, Mike Love’s lyrics, group’s “psychedelic anthem or flower power offering.” What an offering.
The Beach Boys – Good Vibrations (Official Music Video)
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02: The Beatles – Come Together (1969)
Classic drum fill intro, crunchy guitars, iconic vocals – hard to beat “Come Together.” Many Beatles songs could be here. But “Come Together” is worthy. 60s backstory: Timothy Leary asked for a song for his California governor campaign against Ronald Reagan, ended when Leary jailed for marijuana. Written by John Lennon, credited to Lennon-McCartney. Lennon self-portrait, confirmed by Beatles historian Jonathan Gould.
The Beatles – Come Together
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01: Nina Simone – Sinnerman (1962)
Skittering hi-hats, haunted piano, galloping guitar; Nina Simone’s “Sinnerman,” her most powerful vocal performance. “Sinnerman,” American music icon, race, religion, music anthem. Sun’s energy, monk’s restraint. Ten minutes, no wasted moment. Claps in breakdown, every “power” Simone sings. Simone understood music’s power best, “Sinnerman” is art at its peak.
Sinnerman
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Think we missed one of the best songs of the 60s? Let us know in the comments below.
