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Defining the best Songs From The 60s is a formidable, perhaps even impossible task. The 1960s were a decade of profound musical transformation, a period where genres blurred, new sounds emerged, and music became a powerful voice for social change. Therefore, this list doesn’t claim to be the definitive top 100 songs from the 60s. Instead, it aims to offer a curated exploration of a decade that revolutionized music and continues to inspire artists today. Think of it as a journey through sound, a pathway to rediscover or delve deeper into the incredible musical landscape of the sixties.
Two key principles guided the selection of songs for this list. Firstly, each song included has had a significant popular impact, either during the 60s or in the decades that followed. This means you’ll find a diverse range of genres, from rock and pop to soul, R&B, and even jazz tracks that crossed over into the Billboard charts. Secondly, to celebrate the breadth of talent during this era, we’ve limited ourselves to just one song per artist, ensuring a wider tribute to the many musicians who shaped the sound of the 60s.
With those guidelines in mind, we invite you to immerse yourself in this collection of exceptional songs from the 60s. Prepare to be transported back to a decade of innovation, passion, and unforgettable melodies.
Dive deeper into the sounds of the sixties with these Spotify playlists: Volume 1 and Volume 2.
100: Roger Miller – King of the Road (1965)
Roger Miller’s “King of the Road” is a quintessential anthem for the wanderer. This charming country-pop crossover hit portrays the life of a nomadic individual, free from societal constraints and material possessions. The song’s iconic line, “I’m a man of means, by no means, king of the road,” delivers a touch of cynicism, celebrating the liberation found in rejecting conventional norms. Its smooth, whiskey-like melody and simple instrumentation have made it a popular choice for covers across genres, with artists ranging from country legends like Glen Campbell to rockabilly bands like Reverend Horton Heat offering their interpretations. While diverse covers exist, Miller’s original, anchored by his uniquely appealing voice, remains the definitive “King of the Road,” a testament to the allure of freedom and simplicity.
99: Georgie Fame & The Blue Flames – Yeh, Yeh (1964)
Georgie Fame & The Blue Flames masterfully blended pop, jazz, and R&B, creating a sound that resonated deeply with audiences. Their rendition of “Yeh, Yeh” achieved chart-topping success in the UK, even surpassing The Beatles’ “I Feel Fine,” ending the Fab Four’s five-week reign. “Yeh, Yeh” wasn’t just a UK phenomenon; it climbed to #21 on the Billboard Pop charts in the US, proving its transatlantic appeal. A pivotal moment for the band was Fame’s switch from piano to the Hammond organ, a direct influence from Booker T. & The M.G.’s groundbreaking instrumental “Green Onions.” This instrumental shift became a defining characteristic of their sound, adding a soulful, jazz-infused edge to their pop sensibilities.
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 remarkably sharp and vibrant. The bassline sounds impeccably recorded, while the prominent conga rhythm is both crisp and punchy. All that was needed was Wilson’s vocal prowess, and he delivered spectacularly. Originally composed instrumentally by Gary Jackson, Raynard Miner, and Carl Smith, the song was initially presented to The Dells but remained unreleased. Wilson initially interpreted the song as a ballad. However, it was his reimagining of it as an energetic, soul-charged anthem that ultimately led to its release and cemented its status as a 60s classic. This transformation highlighted Wilson’s versatility and his ability to infuse a song with unparalleled energy and soul.
97: Roy Orbison – Crying (1961)
Roy Orbison boasted numerous hits throughout the 60s, including the iconic “Oh, Pretty Woman.” However, “Crying” earns its place here, opening with a line deeply ingrained in popular culture, 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 emotionally exposed, confessing hidden heartbreak and regret for a past relationship. The song merges traditional rock balladry with sweeping orchestral strings and impactful timpani, reminiscent of both symphonic compositions and the dramatic soundtracks of Western films. Dominating charts in 1961, it was only prevented from reaching the Billboard number one spot by Ray Charles’ monumental hit, “Hit The Road Jack.” Alongside Charles, Orbison was instrumental in modernizing rock ‘n’ roll and R&B, blending powerful melodies with grand arrangements and relatable lyrics that paved the way for future mainstream stars.
96: Russell Morris – The Real Thing (1969)
“The Real Thing,” penned by Johnny Young and produced by Ian “Molly” Meldrum, began as a gentle soft-rock ballad, echoing The Beatles’ “Strawberry Fields Forever.” However, Meldrum’s ambitious vision transformed it into a studio masterpiece, marking a pioneering moment in modern recording techniques. Meldrum, with engineer John Sayers, innovated numerous recording methods, notably flanging, where two identical recordings are played slightly out of sync, and instrumental dropouts, later popularized by Jamaican dub artists in the 70s. The inclusion of a sample from an archived Hitler Youth choir recording further solidified “The Real Thing” as one of the most unconventional and groundbreaking rock songs of the 60s, a track that continues to captivate and surprise listeners today with its sonic experimentation.
95: Leonard Cohen – Suzanne (1967)
Leonard Cohen seamlessly bridged the worlds of poetry and folk music. “Suzanne,” a poignant acoustic track from his album Songs of Leonard Cohen, exemplifies this fusion, with lyrics originating as a poem in 1966. (Cohen repurposed the poem due to a lack of material for his upcoming album.) The song drew from the intimate style of American folk icons like Bob Dylan and Stephen Stills, yet possessed a distinct Canadian inflection and a delicate quality emanating from his guitar work. “Suzanne” was inspired by Cohen’s platonic relationship with dancer Suzanne Verdal, a rare non-sexual relationship explored in his typically romantic repertoire. This focus on platonic intimacy set it apart from many love songs of the era.
94: Louis Armstrong – What A Wonderful World (1968)
“What a Wonderful World” is a testament to perseverance and a timeless pop ballad. Louis Armstrong began his recording career in 1923, but it was in February 1968, at the age of 66, that he released “What A Wonderful World.” This song became the biggest hit of his remarkably influential career. Armstrong’s music spanned from Dixieland jazz to mainstream pop, and “What A Wonderful World” became his most successful and intimate song. In an increasingly turbulent world, “What A Wonderful World” offered a message of reflection and hope. Armstrong, facing health challenges, implored listeners to appreciate life’s simple joys and celebrate them.
Louis Armstrong – What A Wonderful World (Official Video)
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93: Tom Jones – It’s Not Unusual (1965)
It may be surprising now, but Tom Jones was initially deemed too provocative for the BBC when he burst onto the scene in the 60s with “It’s Not Unusual.” Pirate radio station Radio Caroline played a crucial role in driving the song’s early success. This upbeat song about heartbreak was Jones’s second single for Decca Records and his first chart-topper. Rumor has it that Jimmy Page played the distinctive guitar solo. What is confirmed is the presence of a then-struggling keyboardist named Reginald Dwight, who would later achieve global fame as Elton John. This early collaboration highlights the interconnectedness of the burgeoning British music scene.
92: The Monkees – Daydream Believer (1967)
John Stewart penned “Daydream Believer” shortly before leaving the Kingston Trio, completing a trilogy of songs exploring suburban ennui. He was a pioneer in giving voice to the quiet desperation of suburban life. Initially rejected by We Five and Spanky and Our Gang, the song found its way to The Monkees through producer Chip Douglas, who encountered Stewart at a party. Recorded for their 1967 album, Pisces, Aquarius, Capricorn & Jones Ltd., it was ultimately included on their 1968 release, The Birds, The Bees & The Monkees. Davy Jones’s seemingly detached vocal delivery, a result of his boredom with the recording process, became one of pop music’s happy accidents, perfectly capturing the song’s dreamy, slightly melancholic mood.
91: Del Shannon – Runaway (1961)
“Runaway” almost didn’t happen. In 1960, Charles Westover and keyboardist Max Crook secured a recording contract that initially proved disastrous. Perhaps overwhelmed by the New York City music scene, Crook and Westover (who adopted the stage name Del Shannon) failed to impress Big Top Records executives. Following this setback, their manager encouraged them to rework an earlier song, “Little Runaway.” “Little Runaway” evolved into “Runaway,” and Shannon’s signature “wah-wah-wah” vocal performance became instantly iconic, frequently imitated at family gatherings ever since. This vocal styling, combined with the song’s dramatic melody, cemented its place in 60s pop history.
90: Peggy Lee – Is That All There Is? (1969)
“Is That All There Is?,” a blend of spoken word and a theatrical vocal melody, stands as a remarkable testament to nihilism outside of 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 stage compositions, merging theatrical performance with late 60s pop maximalism. Randy Newman composed and conducted the orchestral arrangement and played the piano intro. The song frankly confronts mortality, with Peggy Lee unafraid of death, yet reluctant to relinquish life’s pleasures for the unknown. Her performance is both world-weary and defiant, making it a uniquely compelling song.
89: Silver Apples – Oscillations (1968)
Much of modern electronic and experimental rock can be traced back to Silver Apples and their monumental 1968 self-titled debut. Their driving, hypnotic instrumental repetitions foreshadowed krautrock, and their cyclical grooves contributed to the dance music craze. Simeon’s oscillators were central to their sound, but Dan Taylor’s trembling, minimalist vocals also influenced singers like David Byrne. Though Silver Apples’ musical output was concise, their impact on subsequent musical landscapes is vast and ever-expanding, shaping genres from electronic music to post-punk.
Oscillations
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88: Righteous Brothers – Unchained Melody (1965)
“Unchained Melody” originally appeared in 1955 (music by Alex North, lyrics by Hy Zaret) for the film Unchained. The Righteous Brothers rediscovered it for their 60s album Just Once In My Life. The song unfolds in two parts: a gentle, serene beginning, and a powerful explosion as drums and Bobby Hatfield’s vocals intensify. “Unchained Melody” was the b-side to “Hung On You,” produced by Phil Spector. However, “Unchained,” produced by Bill Medley, the other Righteous Brother, achieved greater chart success. Despite this, Spector initially took credit for both songs. Medley has since received due recognition for his production, solidifying “Unchained Melody’s” place as a 60s classic.
87: BBC Radiophonic Workshop – Doctor Who (1963)
The BBC Radiophonic Workshop, established in 1958, became Britain’s leading electronic sound laboratory. The “Doctor Who” theme, debuting in 1963, is a rare soundtrack that both enhances and transcends its show. Its melody is iconic within pop culture. Australian composer Ron Grainer sketched the theme, which Delia Derbyshire and sound engineer Dick Mills reimagined at the Radiophonic Workshop. They used splicing, slowing down, and speeding up white noise, a plucked string, and test-tone oscillators. Derbyshire and the Workshop revolutionized television sound and laid the groundwork for experimental electronic composers in the 70s and 80s, proving the power of innovative sound design.
86: Sly and the Family Stone – Everyday People (1968)
“Everyday People” embodies Sly Stone’s call for peace and infectious catchiness. Sly captured the 60s spirit, building on the free love movement to create inclusive, groovy music. The Family Stone uniquely featured white players (Greg Errico, Jerry Martini) and women (Rose Stone, Cynthia Robinson). Musically, “Everyday People” is more pop-oriented than their psychedelic funk. It’s a straightforward hit, showing Sly’s versatility. The song’s message of unity and acceptance resonated deeply during a time of social change.
85: Bee Gees – To Love Somebody (1967)
How quickly can you recognize the Bee Gees’ “To Love Somebody”? Is it the opening guitar chords, the strings, or the distinct drums? Regardless, the opening is timeless. “To Love Somebody” allows listeners to share in universal feelings of love and heartbreak. It’s a shared emotional experience, making it a powerful 60s song. The raw emotion in the Gibb brothers’ vocals, combined with the song’s simple yet effective arrangement, gives it enduring appeal.
To Love Somebody
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84: Dusty Springfield – Son of a Preacher Man (1968)
Dusty Springfield was in the right place at the right time. The British soul enthusiast recorded 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 song, gave it to Springfield. It became a massive hit, revitalized by Pulp Fiction in 1994. The sultry song about forbidden love is a 60s cultural touchstone. Springfield’s soulful delivery and the song’s evocative lyrics made it an instant classic.
83: Bembeya Jazz National – Armée Guinéenne (1969)
Sekou Diabaté, “Diamond Fingers,” guitarist for Bembeya Jazz National, earned his nickname. “Armée Guinéenne” showcases his otherworldly guitar skills. The 1969 afrobeat hit was more than just guitar prowess. It marked a turning point in Guinean culture, infused with political messages reflecting Guinea’s independence. Their music celebrated hard-won freedom. The song’s infectious rhythm and Diabaté’s dazzling guitar work made it a standout of the Afrobeat genre.
82: Elvis Presley – Suspicious Minds (1969)
Tip: If your song flops, get Elvis Presley to re-record it. Mark James wrote and recorded “Suspicious Minds” in 1968, but it failed. Elvis re-recorded it with Chips Moman, and it went to #1, becoming one of Elvis’s biggest hits. Getting The King to record your song guaranteed chart success. Recorded between 4 and 7 AM, the electric desperation in Elvis’s voice is palpable. Donna Jean Godchaux, later of The Grateful Dead, provided backing vocals. This late-night recording session added to the song’s raw, emotional intensity.
81: Mulatu Astatke – Yègellé Tezeta (1969)
Mulatu Astatke, king of Ethio-jazz, blends jazz, Ethiopian sounds, and Latin rhythms. 1960s-70s Addis Ababa, “Swinging Addis,” was a musical hub. Astatke collaborated with John Coltrane. “Yègellé Tezeta” is a standout, a slinking groove with an infectious horn line, featured in the Ethiopiques series. The song exemplifies the unique and innovative sound of Ethio-jazz that emerged from Addis Ababa during this period.
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”) was a massive 1962 French hit, initially used as a musical interlude during election results. French audiences fell for Hardy’s voice and yé-yé pop style, blending rockabilly, jazz, folk, and pop. Jimmy Page contributed to Hardy’s sessions. The song’s simple charm and Hardy’s captivating voice made it a defining track of the yé-yé movement.
79: Sonny & Cher – I Got You Babe (1965)
Sonny Bono wrote “I Got You Babe” lyrics late one night. Cher initially disliked it, but changed her mind. It became a 60s duet, perfect for the free love era. Recorded with Hal Blaine and The Wrecking Crew, it was an ode to true love within the hippie counterculture. Though their marriage ended, “I Got You Babe” endures as a timeless duet. The song’s message of unwavering love and support resonated with the era’s ideals.
78: Terry Riley – In C (1968)
Terry Riley’s “In C” uses 53 short musical phrases, each repeated variably. Musicians control phrase repetition and timing, creating a sprawling, evolving work. Inspired by jazz innovations like Coltrane and Miles Davis, Riley’s late 60s music influenced The Who’s Pete Townshend, bringing experimental ideas to the mainstream and changing rock ‘n’ roll limits. “In C” pushed the boundaries of musical structure and improvisation, influencing generations of musicians.
77: Vince Guaraldi Trio – Linus & Lucy (1964)
Vince Guaraldi Trio’s Peanuts music transcends soundtrack status. Guaraldi, a Bay Area jazz pianist, composed and recorded Peanuts music. Influenced by bossa nova, “Linus & Lucy” blends a catchy piano melody with Latin percussion. Using piano, snare drum, and hi-hat, its simplicity is genius. The song’s whimsical and instantly recognizable melody has become synonymous with the Peanuts characters and universe.
Vince Guaraldi Trio – Linus And Lucy
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76: Stevie Wonder – Uptight (Everything’s Alright) (1965)
Stevie Wonder’s 60s output, while historic, precedes his 70s masterpieces. “Uptight” is a pop-rock jam showcasing Wonder’s voice and infectious horns. Drums evoke Cream and Jimi Hendrix Experience. Energetic and engaging, it allows Stevie’s vocals to shine. The only flaw is Stevie singing “I’m just an average guy” – clearly untrue. “Uptight” captured the youthful energy and optimism of the mid-60s.
75: Ray Barretto – El Watusi (1962)
NYC-born Ray Barretto, a Latin music conga master, gained fame in the 50s playing with Latin and jazz greats like Charlie Parker and Dizzy Gillespie. “El Watusi,” despite being part of the pachanga craze, bears Barretto’s unique spin. The title refers to Rwandan Watusi tribesmen, reflected in nonsensical lyrics. Barretto’s inventive playing and the song’s infectious rhythm made it a Latin music classic of the 60s.
Ray Barretto – El Watusi
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74: The Drifters – Under the Boardwalk (1964)
“Under the Boardwalk” emerged from tragedy. Recording was set for May 21, 1964, but lead singer Rudy Lewis died the night before. Johnny Moore took over lead vocals. The pop-soul song is known for its covers, including Billy Joel, Bette Midler, The Rolling Stones, and John Mellencamp. Remarkably, each version charted. The song’s romantic imagery and soulful melody contributed to its enduring popularity and numerous interpretations.
73: Irma Thomas – Time Is On My Side (1964)
Irma Thomas and The Rolling Stones both recorded “Time Is On My Side,” but sound different. Stones’ rock version contrasts Thomas’s vocal-led rendition. Her voice leads the backing choir, showcasing her powerful and precise soul voice. H.B Barnum arranged Thomas’s version, and Jimmy Norman fleshed out lyrics moments before recording. Thomas’s soulful and slightly melancholic interpretation gives the song a different emotional weight than the Stones’ version.
72: The Cannonball Adderley Quintet – Mercy, Mercy, Mercy (1966)
“Mercy, Mercy, Mercy,” a soul jazz hit for Cannonball Adderley Quintet, blended jazz and pop. Joe Zawinul’s Wurlitzer (once Ray Charles’s) drives the melody. The Buckinghams’ 1967 cover made it a crossover hit, but the original, with a live audience, has unique magic. The song’s gospel-infused melody and catchy rhythm appealed to a broad audience beyond jazz enthusiasts.
71: Merle Haggard – Mama Tried (1968)
Merle Haggard’s “Mama Tried,” like great country songs, exaggerates slightly. Inspired by his San Quentin prison term for robbery, it’s an ode to his hardworking mother and an apology for his behavior. Haggard’s honky-tonk swing and Bakersfield country sound paved the way for 70s outlaws like Waylon Jennings and Willie Nelson. His empathy, remorse, and defiance became genre staples. “Mama Tried” captures the themes of regret and redemption common in country music.
Mama Tried (Remastered 2001)
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70: Van Morrison – Brown Eyed Girl (1967)
Van Morrison recorded “Brown Eyed Girl” during a two-day session in 1967. The 22nd take on day one yielded a soft rock masterpiece, foreshadowing his orchestral psychedelic direction on Astral Weeks. Covers by Adele, Steel Pulse, and U2 attest to its timelessness. The song’s upbeat melody and nostalgic lyrics have made it a perennial favorite.
69: Gal Costa – Baby (1969)
Gal Costa’s “Baby,” a Tropicália staple, evokes a perfect beach day. Written by Caetano Veloso and made famous by Os Mutantes, Costa’s 1969 version features swirling strings like a 40s film score. Veloso provides harmonies, creating a Tropicália classic. The song’s breezy and melodic style is representative of the Tropicália movement’s fusion of Brazilian and international musical styles.
Baby
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68: The Kinks – You Really Got Me (1964)
“You Really Got Me” showcases Ray Davies’ early songwriting brilliance. Davies says it was among his first five songs, originally piano-based lounge-jazz. Inspired by college infatuation with a girl who disappeared after his set, its mystery centers on the guitar solo, rumored to be by Jimmy Page (denied by Page). The song’s raw energy and iconic riff became a blueprint for hard rock and punk.
67: Bobbie Gentry – Ode to Billie Joe (1967)
Bobbie Gentry’s “Ode to Billie Joe” sets a Delta tragedy in Chickasaw County, Mississippi. A perfect folk song, rich in detail and perspective, it depicts a family’s reaction to a local boy’s suicide. Gentry sings from the daughter’s empathetic POV, contrasting her family’s indifference. A powerful anthem of Southern tragedy, it’s a novel in song form. The song’s narrative depth and Gentry’s evocative storytelling set it apart.
66: The Ramsey Lewis Trio – The “In” Crowd (1965)
Ramsey Lewis Trio’s “The ‘In’ Crowd” owes thanks to a coffee shop server, Nettie Gray. Stuck for a song, the trio heard Dobie Gray’s “The In Crowd” on a jukebox in Washington, D.C. They worked out a version, played it at Bohemian Caverns, and it became a hit, charting on Billboard Hot 100 and R&B charts. The song’s sophisticated jazz arrangement and upbeat vibe made it a popular instrumental hit.
The “In” Crowd
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65: The Kingsmen – Louie Louie (1963)
The Kingsmen played garage rock before it was named. Their “Louie Louie” version was accidental. At a 1962 Oregon gig, they heard Rockin’ Robin Roberts’s “Louie Louie” on repeat on the jukebox. Singer Jack Ely convinced them to learn it, recording it quickly after seeing the dancefloor reaction. The song’s raw, energetic garage rock sound became hugely influential.
64: Wendy Carlos – Two-Part Invention in F Major (1968)
Glenn Gould called Wendy Carlos’s Switched-On Bach “one of the most startling achievements of the recording industry in this generation.” Bach compositions meticulously crafted on the Moog synthesizer took five months and 1000 hours to produce. The finicky instrument would go out of tune quickly. The result topped Billboard Classical chart for three years. Carlos’s pioneering use of the synthesizer revolutionized electronic music and classical music interpretation.
63: Joe Bataan – Subway Joe (1968)
Joe Bataan’s “Subway Joe” captures New York City. “King of Latin Soul,” born in Spanish Harlem, wove tales of working-class life. Growing up in El Barrio, he absorbed pop, Latin, doo-wop, and R&B, all in “Subway Joe.” The song pulses with New York energy, defining Latin Soul. A humorous subway tale, it’s quintessentially New York. Bataan’s fusion of Latin rhythms and soul melodies created a unique and vibrant sound.
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 its success was gradual. An acoustic version was on their 1964 album, Wednesday Morning, 3 A.M., a commercial flop leading to their breakup. In 1965, radio airplay in Boston and Florida grew. Producer Tom Wilson remixed it with electric instruments and drums, releasing it as a single without their knowledge. It became a hit and soundtracked The Graduate. The song’s haunting melody and introspective lyrics resonated with the era’s mood.
61: Babatunde Olatunji – Jin-Go-Lo-Ba (1960)
Babatunde Olatunji’s “Jin-Go-Lo-Ba” is impossible to resist. From Drums of Passion, it shows the power of catchy vocals and rhythm. The Nigerian drummer and educator’s song, on a surprisingly successful album, introduced American audiences to “world music.” Its call-and-response vocals and driving percussion made it a standout track.
60: The Zombies – Time of the Season (1968)
“Time of the Season” was too late to save The Zombies. They disbanded, only for it to become a classic a year later. Columbia Records was initially skeptical of Odessey and Oracle, but A&R rep Al Kooper championed it. “Time of the Season” became a hit, vindicating them and Kooper’s faith in its pop-psych charms. The song’s psychedelic sound and romantic lyrics captured the late 60s zeitgeist.
59: The Velvet Underground – I’m Waiting For The Man (1967)
If The Byrds’ “Eight Miles High” freaked out Americans, The Velvet Underground’s Lou Reed singing about buying heroin was another level. Glamorizing drugs, it was also forward-thinking, cool rock. Lo-fi guitar crunches, Reed’s cool ambivalence predated 80s/90s indie. The Velvet Underground’s fingerprints are everywhere in rock. Social commentary and too-cool-for-school, it’s a rare mix. The song’s gritty realism and urban themes were groundbreaking for the time.
58: Etta James – At Last (1960)
Etta James’ “At Last” has perfect moments. The brief silence after strings cease, then James’s acapella voice opens “At Last.” Before drums, piano, strings, there’s Etta, alone, at her finest. Intimacy in her voice is irreplaceable. She sings directly to you, dedicating this perfect love song. James’s powerful and emotive vocal performance is the heart of this timeless classic.
At Last
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57: Steppenwolf – Born to Be Wild (1968)
Steppenwolf’s “Born To Be Wild” is 60s rock encapsulation, remembered for Easy Rider. But it’s more than that: cited as the first “metal” song or proto-metal, and a classic rock song. Its driving rhythm and rebellious lyrics made it an anthem of the counterculture.
56: The Band – The Weight (1968)
The Band’s “The Weight” brought surrealism to mainstream, translating Ingmar Bergman and Luis Buñuel into song. Characters from real life, Nazareth, Pennsylvania setting (home of Martin Guitars). But it’s also folk-rock. Levon Helm sings lead, Rick Danko on bass, fourth verse. Harmonies propel it. While The Beach Boys’ harmonies were technicolor, The Band’s were rougher, with grit. “The Weight” is known for its enigmatic lyrics and rich musical tapestry.
55: Stan Getz & João Gilberto feat. Antonio Carlos Jobim – The Girl From Ipanema (1964)
“The Girl From Ipanema” is definitive bossa nova jazz of the 60s. Written in 1962 (Jobim music, de Moraes Portuguese lyrics, Gimbel English lyrics). Stan Getz/João Gilberto version was a hit, featuring Astrud Gilberto’s vocal debut. A groundbreaking collaboration, it won a Grammy for Record of the Year. The song’s gentle rhythm and Astrud Gilberto’s soft vocals became synonymous with bossa nova.
54: Patsy Cline – Crazy (1961)
Patsy Cline’s 1961 “I Fall to Pieces” topped Billboard country. Injured in a car accident, she released “Crazy” after recovery, a country mega-hit. Something happened in that hospital; she emerged a superstar. Written by Willie Nelson, her husband Charlie Dick urged her to record it. Initially refusing, she relented, creating a country icon. Cline paved the way for women in country music.
53: Jane Birkin and Serge Gainsbourg – Je t’aime… moi non plus (1969)
Serge Gainsbourg infused “Je t’aime… moi non plus” with erotic energy. Written for Brigitte Bardot in 1967, Bardot asked for the most romantic song. He wrote “Je t’aime” and “Bonnie and Clyde.” Bardot’s husband intervened, preventing release. Gainsbourg revisited it with Jane Birkin. Their version is sexually charged, their attraction palpable. The song’s breathy vocals and suggestive lyrics made it both controversial and iconic.
52: Celia Cruz – Bemba Colorá (1966)
Celia Cruz’s “Bemba Colorá” makes you dance and confront 60s Cuban politics. A famous anti-racist rumba, its themes are hidden in horns and call-and-response. “Queen of Salsa” left Cuba in the early 60s, becoming a Cuban exile spokesperson. With Tito Puente, “Bemba Colorá” is an inclusive, groovy hit. Cruz’s powerful voice and the song’s infectious rhythms made it a salsa anthem.
Celia Cruz – Bemba Colora
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51: David Bowie – Space Oddity (1969)
David Bowie’s “Space Oddity” (1969) builds quietly to its chorus. Inspired by 2001: A Space Odyssey, Bowie is ecstatic, Kubrick sterile. Military march drums, Bowie counts down, protein pills. “Liftoff” is inevitable, yet thrilling. Stereo mix splits vocals, you’re an astronaut, Bowie congratulates your moon landing. The song’s space-themed lyrics and Bowie’s dramatic performance resonated with the moon landing era.
50: Ennio Morricone – The Good, The Bad & The Ugly (Main Theme) (1966)
Ennio Morricone’s The Good, The Bad & The Ugly theme evokes the West through wordless vocals. The whistled opening recalls Sergio Leone Western showdowns. It represents Western soundtracks, charting at #4 in 1966 due to whistles, gallops, yelps. Its emotional force is unmatched. The theme’s iconic melody and use of unconventional sounds made it instantly recognizable.
49: Johnny Cash – Ring of Fire (1963)
Johnny Cash’s “Ring of Fire,” despite its ominous title, is a love song by June Carter Cash and Merle Kilgore. Originally recorded by Anita Carter, it flopped. Johnny, after dreaming of it with a mariachi band, re-recorded it. A country-western song ahead of its time, blending country with genres, a crossover hit for country and Latin fans. The song’s mariachi horns and Cash’s distinctive vocals created a unique sound.
48: Hugh Masekela – Grazing in the Grass (1968)
Hugh Masekela’s “Grazing in the Grass” (1968) starts with cowbell 16th notes, then half-time drums, horns, skittering piano. A rhythmic tension masterclass, Masekela’s trumpet dances above. #1 on Billboard, it was added last to his debut album to fill LP runtime. Bruce Langhorne and Henry Franklin completed the all-star cast. The song’s infectious groove and Masekela’s trumpet playing made it a global hit.
Grazing In The Grass
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47: Loretta Lynn – Fist City (1968)
Loretta Lynn’s “Fist City” (1968) sets rules: don’t look, touch, or think about her man, or face her fists. Radical for a 60s country star in a male genre, she swaggered in with a sweet voice and mean left hook. Boys’ club members had to accept her rise. “Fist City” challenged traditional gender roles in country music with its assertive lyrics.
46: The Miracles – The Tracks Of My Tears (1965)
The Miracles’ “The Tracks of My Tears” is a hit born in soul music’s greatest factory. Lyrics began in Smokey Robinson’s bathroom, seeing tear tracks in the mirror. Iconic guitar intro, doo-wop vocals, it’s a top heartbreak song. GRAMMY Hall of Fame, RIAA “Songs of the Century,” Rolling Stone #50 “500 Greatest Songs.” The song’s poignant lyrics and Smokey Robinson’s soulful vocals made it a Motown classic.
45: Gilberto Gil – Aquele Abraço (1969)
Gilberto Gil’s 1969 “Aquele Abraço” starts with delicate guitar, then extended chorus, whistles, vocals, percussion. Master of manipulation, using volume and crescendos. “Aquele,” a famous samba, was written during Brazilian dictatorship, after Gil’s prison and house arrest. Exiled to Europe in 1970, it became a hit in Brazil, a political rallying cry. The song’s joyful melody and defiant spirit resonated with those seeking political change.
44: The Byrds – Eight Miles High (1966)
The Byrds, including Gene Clark, Jim (Roger) McGuinn, David Crosby, made Indian raga-influenced psychedelic rock. “Eight Miles High” (1966) was banned from US radio for lyrics. But its style, blending psych-rock and jazz experimention, is more interesting than the controversy. The song’s psychedelic sound and ambiguous lyrics sparked controversy and cemented its place in rock history.
43: Miriam Makeba – Pata Pata (1967)
Miriam Makeba’s “Pata Pata” (1967) used the traditional “Pata Pata” dance. “Pata Pata” means “touch touch” in Xhosa, originally written and sung in 1959, a dance in Johannesburg shebeens. Originally with The Skylarks, re-recorded in 1967 with Jerry Ragovoy, it became a hit. Blending African rhythms, samba grooves, infectious vocals. Makeba’s globalized version of the song brought African music to a wider audience.
42: The Shangri-Las – Leader of the Pack (1964)
Shangri-Las’ “Leader of the Pack” captures young love and heartbreak. Written by George “Shadow” Morton, Jeff Barry, Ellie Greenwich, originally for The Goodies, given to Shangri-Las as follow-up to “Remember (Walking in the Sand).” Instant classic, using motorcycle revs and inventive percussion. The song’s dramatic narrative and sound effects made it a defining “death disc” of the era.
41: Tammy Wynette – Stand By Your Man (1969)
Tammy Wynette’s “Stand By Your Man” is culturally loaded, overshadowing its quality as a country song. A lightning rod in the late 60s as feminism rose, Wynette said it was about overlooking flaws in love, not subservience. Written in 15 minutes with Billy Sherrill, she was hesitant, but it became iconic, her biggest hit. The song’s controversial message and Wynette’s powerful vocals ensured its lasting impact.
40: Desmond Dekker & The Aces – Israelites (1968)
Desmond Dekker’s “Israelites” (1968) was among the first reggae hits outside Jamaica. Idea from overhearing a park argument about money. Sentiment: working hard for little pay. One of reggae’s most successful songs, charting on Billboard, bringing rocksteady to new audiences. The song’s social commentary and Dekker’s distinctive vocals helped popularize reggae globally.
39: Glen Campbell – Wichita Lineman (1968)
Glen Campbell sang about places. “Wichita Lineman” (1968) and “Galveston” later. Places reflecting people’s character. Jimmy Webb wrote “Lineman,” inspired by Washita County, Oklahoma. Webb’s version lacked a middle section. Campbell added an iconic guitar solo, recalling his Wrecking Crew session days. The song’s melancholic melody and Campbell’s heartfelt vocals are deeply affecting.
Wichita Lineman (Remastered 2001)
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38: Cream – Sunshine of Your Love (1967)
Ahmet Ertegun and Jerry Wexler of Atlantic Records initially disliked Cream’s “Sunshine of Your Love” (1967), calling demos “psychedelic hogwash.” They were wrong. Booker T. Jones and Otis Redding co-signed it, convincing Ertegun and Wexler of their mistake. Clapton’s playing and singing helped, but the co-signings were key. The song’s powerful riff and psychedelic blues sound became a defining moment for Cream.
37: Isaac Hayes – Walk On By (1969)
“Walk on By” has legendary names: Burt Bacharach, Hal David wrote it for Dionne Warwick in 1963. Isaac Hayes (1969) turned it into a sultry love jam. Beyond its creators, Hayes’s version was sampled by 2Pac, Notorious B.I.G., MF DOOM, Wu-Tang Clan. A hit on its own and crucial to rap history. Hayes’s extended, soulful rendition transformed the song into a different genre entirely.
36: Buffalo Springfield – For What It’s Worth (1966)
Buffalo Springfield’s “For What It’s Worth” (1966) is often seen as anti-war, but Stephen Stills meant it for the Sunset Strip curfew riots in 1966 (cops vs. young adults). Regardless, its impact is clear. Neil Young on guitar, catchy and powerful. Chorus urges awareness, easy to sing along. Response to Sunset Strip chaos, now a peace anthem. The song’s understated instrumentation and Stills’s poignant lyrics gave it broad appeal.
35: Jorge Ben – Mas, Que Nada! (1963)
O Estado de S. Paulo newspaper wrongly predicted Jorge Ben’s Samba Esquema Novo (1963) would disappear. But “Mas, Que Nada!” shaped samba’s future. New Style Samba album title is clear. Ben brought a new samba style, influencing generations. The song’s upbeat tempo and catchy melody made it a global samba hit.
Mas, Que Nada!
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34: The Doors – Light My Fire (1967)
The Doors’ “Light My Fire” (1967) drew from diverse sources. Robby Krieger wrote it, inspired by “Hey Joe” melody and Rolling Stones’ “Play with Fire” lyrics. John Densmore suggested Latin rhythm. Ray Manzarek added Bach-influenced organ intro. Densmore then suggested a snare drum opening. Solo section inspired by John Coltrane’s “My Favorite Things.” The Doors blended rock, jazz, blues into unique psych-pop. The song’s dramatic structure and Jim Morrison’s intense vocals made it a Doors signature.
33: Booker T. And The MG’s – Green Onions (1962)
Two types of people: know Booker T. & The MG’s “Green Onions” (1962), or know the song but not the name. A recognizable blues line that never ages. Organ solo, guitar yelp, organ again, guitar again. Simple formula, but simplicity is hard. Infectious melody written by Booker T. at 17, redefining R&B. The song’s simple yet powerful groove made it an instrumental classic.
32: Caetano Veloso – Tropicália (1968)
Caetano Veloso’s “Tropicália” (1968) starts with scratchy strings, like Hitchcock’s The Birds. Foreign territory, Brazil. Veloso pioneered Tropicália, filtering Eastern and Western genres through Brazil. Energetic, revelatory in 1968. Slow start, then Veloso’s voice joins instruments, showing why he and “Tropicália” were central to the movement. The song’s experimental sound and Veloso’s poetic lyrics defined the Tropicália aesthetic.
31: Big Brother & The Holding Company – Piece of My Heart (1967)
Janis Joplin channeled blues into rock on 60s classics like “Piece of My Heart” (1967). Her take was unique, so original Erma Franklin (who released it first in 1967) didn’t recognize it on radio. Joplin infused blues pain and triumph, emulating Bessie Smith. Joplin’s raw and powerful vocals transformed the song into a rock anthem.
30: The Jackson 5 – I Want You Back (1969)
“I Want You Back” was The Jackson 5’s first national single (1969), their first #1 hit months later. Signaled Michael Jackson’s arrival, altering music history. Performed on Diana Ross’s Hollywood Palace and The Ed Sullivan Show. Almost didn’t reach The Jackson 5, considered for Gladys Knight & the Pips and Diana Ross first. The song’s youthful energy and Michael Jackson’s precocious talent launched the Jackson 5 to stardom.
29: The Mamas & The Papas – California Dreamin’ (1965)
John and Michelle Phillips in NYC apartment, cold, spawned “California Dreamin’” (1965). Crucial to LA and Bay Area mythos. The Mamas & The Papas tapped into Manifest Destiny and 60s California as haven for new ideas, cultures, harmony. The song’s wistful melody and evocative lyrics captured the allure of California.
California Dreamin’
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28: Nancy Sinatra – These Boots Are Made For Walkin’ (1965)
Nancy Sinatra’s “These Boots Are Made For Walkin’” (1965) has an unforgettable descending guitar line. Originally for Lee Hazlewood, who thought of recording it himself. Nancy convinced him it’d be too intimidating from a man, playing into sweet female country singer trope. Iconic country song, covered across genres, rarely replicated. The song’s assertive lyrics and Nancy Sinatra’s cool delivery challenged gender stereotypes.
27: Frankie Valli – Can’t Take My Eyes Off You (1967)
Frankie Valli’s “Can’t Take My Eyes Off You” (1967) almost disappeared. Bob Gaudio relied on CKLW Detroit radio. Program director Paul Drew initially passed, then saw Valli live and added it. Mega-hit after first spin. Transcended time, used by NASA on STS-126 Space Shuttle in 2008. The song’s upbeat tempo and Valli’s soaring vocals have made it an enduring classic.
26: Pete Rodriguez – I Like It Like That (1967)
Before Cardi B’s “I Like It,” Tony Pabon and Manny Rodriguez wrote “I Like It Like That” in 1967. Pabon sang, Pete Rodriguez Orchestra played. Pioneering blend: English lyrics, call-and-response, samba, Cuban melodies. Catchy hodgepodge, covered, sampled, re-arranged, used in Burger King ads. The song’s fusion of Latin and pop elements created a unique and infectious sound.
25: Toots and the Maytals – 54-46 That’s My Number (1968)
Toots and the Maytals’ “54-46 That’s My Number” (1968) was early reggae popular outside Jamaica. Defining moment for genre globalization. Toots’ relaxed delivery, massive jangly drums. Lyrics describe his prison time for marijuana, positive vibes hiding depression. Defined 60s rocksteady, precursor to dub reggae. The song’s upbeat rhythm and Toots’s charismatic vocals helped popularize reggae internationally.
24: The Supremes – You Can’t Hurry Love (1966)
The Supremes’ “You Can’t Hurry Love” (1966) is about patience. Sound advice from Diana Ross. Written by Motown’s Holland–Dozier–Holland, immediate hit, topped Billboard pop. Funk Brothers instrumentation, tale of letting love arrive is seminal Motown, among classics like “Where Did Our Love Go?” The song’s message of patience and The Supremes’ polished harmonies made it a Motown signature.
23: Frank Sinatra – My Way (1969)
Frank Sinatra’s “My Way” (1969) highlights his velvet voice, despite big band fame. Paul Anka heard the French original, negotiated rights. Sinatra flexed his range, from quiet to belting. The song’s defiant lyrics and Sinatra’s dramatic delivery made it his signature anthem.
22: Sam Cooke – A Change Is Gonna Come (1964)
Sam Cooke’s “A Change Is Gonna Come” (1964) is historically rich. Backstory: motel room denied due to race, police arrest for disturbing peace after protest. Inspired by Bob Dylan’s “Blowin’ In The Wind,” and a white man making a protest anthem, Cooke engaged with racial issues. Risky for white audience, he wrote this atmospheric, string-laden classic, demanding change. Fortunate he did. The song’s powerful message and Cooke’s soulful vocals made it a civil rights anthem.
21: Alton Ellis – I’m Still In Love With You (1967)
Alton Ellis’ “I’m Still In Love With You” (1967) captures Jamaican music ethos. “King of Rocksteady” hit had huge impact on reggae, rocksteady, and iterations in mainstream music. Beat used by Althea and Donna’s “Uptown Top Ranking” (1977) and Sean Paul’s 2002 cover. Timeless classic, inspiring generations, but Ellis’s original hits hardest. The song’s smooth rhythm and Ellis’s heartfelt vocals became a rocksteady standard.
20: Ike & Tina Turner – River Deep Mountain High (1966)
Ike & Tina Turner’s “River Deep Mountain High” (1966) starts simply, Tina’s voice stunning but not initially distinct. Then, at 30 seconds, her voice explodes. Premier vocalist of her generation. Sterling, star-turning performance, raspy, emotional. Phil Spector production cost $22,000 (expensive for 60s). 21 session musicians, wall-of-sound. Grueling vocal recording, Turner sweated so much she recorded in her bra. Legendary, dramatic, a career highlight. The song’s wall of sound production and Tina Turner’s explosive vocals created a powerful and iconic track.
19: Creedence Clearwater Revival – Fortunate Son (1969)
Creedence Clearwater Revival’s “Fortunate Son” (1969) evokes movies like Forrest Gump, Suicide Squad, Logan Lucky. Hit for the band and film industry. Great American protest song, searing with passion and catharsis. Countless film uses, never losing power. The song’s raw energy and anti-establishment lyrics resonated with the anti-war movement.
Creedence Clearwater Revival – Fortunate Son (Official Music Video)
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18: Jefferson Airplane – White Rabbit (1967)
Jefferson Airplane’s “White Rabbit” (1967) is structured like a mountain climb, uphill then peak, then over. Inspired by Alice In Wonderland, Grace Slick wrote lyrics chastising parents reading Alice then puzzled by kids taking drugs. “Go ask Alice, I think she’ll know” defined the 60s. Tension against Slick’s wraith-like voice, to ecstatic chorus. The song’s psychedelic imagery and Grace Slick’s commanding vocals made it a counterculture anthem.
17: Neil Diamond – Sweet Caroline (1969)
Neil Diamond’s “Sweet Caroline” (1969) origin story shifts. Caroline Kennedy inspiration, then wife Marcia, needing three syllables. Enduring anthem, New York Yankees fans dread it. Boston Red Sox Fenway Park anthem before bottom of 8th inning. Sports song unrelated to sports, megahit written for a woman, singalong anthem. The song’s upbeat tempo and singalong chorus have made it a crowd favorite at sporting events and beyond.
16: Ray Charles – Georgia on My Mind (1960)
Ray Charles’ “Georgia on My Mind” (1960) was originally written in 1930 by Hoagy Carmichael and Stuart Gorrell, recorded by Carmichael that year. Charles’ version on The Genius Hits The Road (1960) became definitive. One of America’s most popular songs, covered by Willie Nelson, Michael Bolton, Wes Montgomery. Nelson performed it at Charles’ funeral. Charles’ booming voice, piano, backing vocals, strings. Georgia State Song in 1979. Charles’s soulful rendition transformed the song into a timeless classic.
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 bottle rockets, sent it to the moon. Dave Mason (Traffic) on 12-string, then bass after Noel Redding left. Chaos sounds effortless. Few could transform like Hendrix. Hendrix’s explosive guitar work and psychedelic interpretation redefined Dylan’s folk song.
14: Marvin Gaye – I Heard It Through The Grapevine (1968)
Marvin Gaye’s “I Heard It Through The Grapevine” (1968) almost wasn’t a single. Motown song recorded by many. Gladys Knight and the Pips hit version led Berry Gordy to pass on Gaye’s single. When on Gaye’s In the Groove, DJs played it constantly. Gordy relented, #1 hit, Motown’s biggest single to that point. Replaced Gladys Knight’s “Grapevine” for that title. Gaye’s soulful and dramatic rendition became the definitive version of the song.
I Heard It Through The Grapevine
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13: Os Mutantes – A Minha Menina (1968)
Os Mutantes’ “A Minha Menina” (1968) is futuristic, from the late 60s. Showed Beatles’ global impact, new groups interpolating styles. South American band turning Jorge Ben original into a freight train. Hendrix-esque guitar solo, barbershop quartet vocals. Os Mutantes broke borders, ecstatic truth about music’s power. The song’s psychedelic sound and innovative arrangement showcased Os Mutantes’ unique style.
A Minha Menina
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12: Martha and the Vandellas – Dancing in the Street (1964)
Martha and the Vandellas’ “Dancing in the Street” (1964) began modestly. William “Mickey” Stevenson, Ivy Jo Hunter, Marvin Gaye inspired by Detroit kids cooling off with a busted fire hydrant. Racial tension in mid-60s led Black activists to adopt it as protest anthem, urging street demonstrations against Jim Crow laws. Popular on release, staying power from representing a key American era. The song’s upbeat tempo and celebratory lyrics became associated with the civil rights movement.
Dancing In The Street
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11: Otis Redding – (Sittin’ On) the Dock of the Bay (1968)
Otis Redding’s “(Sittin’ On) the Dock of the Bay” (1968) was recorded weeks before his plane crash death. Swan song for Stax Records builder. Simple subject – watching tide, reflecting on life – universal. Whistling coda open-ended, carefree or lonely. (Co-writer Steve Cropper said it was because Redding forgot ad-libs). The song’s melancholic beauty and Redding’s soulful vocals made it a poignant farewell.
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 bothered Queen Elizabeth, demanding it towed. Townshend channeled this into The Who’s “My Generation” (1965), a 60s anthem for outsiders. Less about fitting in, more about not fitting in. Lyrically changed rock history. Roger Daltrey’s sneer, “I hope I die before I get old,” rebellious teen anthem. Mod output indebted to American R&B, call-and-response lyrics. Daltrey’s stutter debated, Mod meth impersonation? Era-defining, anthem for the community-less. The song’s raw energy and rebellious lyrics captured the spirit of youth rebellion in the 60s.
My Generation (2014 Stereo Mix)
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09: The Ronettes – Be My Baby (1963)
The Ronettes’ “Be My Baby” (1963) iconic drum pattern: Stomp. Stomp stomp clap. Hal Blaine drums. Imitated by many, Blaine’s snare tone unmatched. Written by Phil Spector, Jeff Barry, Ellie Greenwich. Ronettes, led by Ronnie Spector, brought it to life, innocent passion. Spector’s “Wagnerian approach to rock & roll,” “wall of sound.” First time Spector used full orchestra, a recurring theme. The song’s iconic drum intro and wall of sound production created a timeless pop masterpiece.
08: The Temptations – My Girl (1965)
The Temptations’ “My Girl” (1965) is a kitchen sink composition. Film-score strings, king-entering-court horns, country-western guitar. First Temptations single with David Ruffin lead vocals, great intro. Written for the Miracles, Smokey Robinson planned Ruffin vocals. Temptations convinced Robinson to let them have it, wound healed fast considering Smokey’s career. The song’s lush orchestration and David Ruffin’s smooth vocals made it a Temptations signature.
07: James Brown – I Got You (I Feel Good) (1965)
James Brown’s “I Got You (I Feel Good)” (1965) iconic intro. Redefined 60s cool, infiltrated mainstream rock and soul with self-loving funk. Self-care before the term. Pioneered funk, emphasizing the one beat, not two and four like rock. “Funk” in “funky,” changed modern music with this, “Papa’s Got A Brand New Bag,” and more. The song’s infectious energy and James Brown’s dynamic performance made it a funk anthem.
I Got You (I Feel Good)
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06: Bob Dylan – Like a Rolling Stone (1965)
Bob Dylan’s “Like A Rolling Stone” (1965) snare, bass drum pulse, curtains. Brief moment before music history changed. Written after grueling UK tour, aggressive energy moves organ line. Tambourine accents upbeat, ragtime piano anachronistic. Folk-rock instrumentation, Dylan’s performance steals show. “You say you never compromise,” “How does it feeeeeel?” defined a generation’s resistance. The song’s groundbreaking length and Dylan’s confrontational lyrics revolutionized popular music.
05: Aretha Franklin – (You Make Me Feel Like) a Natural Woman (1967)
Aretha Franklin’s gospel origins clear in “(You Make Me Feel Like) a Natural Woman” (1967). Anthony Heilbut: “Beatles trafficked in gurus, Aretha excavated gospel roots, her Jesus against their Maharishi.” Written by Carole King, Gerry Goffin, Jerry Wexler, Aretha expertly dramatizes it. Bridge intensity, bigger final chorus. One of the best 60s songs. Franklin’s powerful vocals and the song’s emotional depth made it a soul masterpiece.
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)
Picking one Rolling Stones song is hard, but “(I Can’t Get No) Satisfaction” (1965) best represents the band’s 60s impact. Keith Richards wrote the riff in his sleep, recorded a demo without realizing. Demo had 2 minutes of riff before Richards dropped recorder and fell asleep. Released June 1965, on US Out of Our Heads album. UK only pirate radio due to sexual suggestiveness. The song’s iconic riff and rebellious lyrics defined the Rolling Stones’ sound and attitude.
The Rolling Stones – (I Can’t Get No) Satisfaction (Official Lyric Video)
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03: The Beach Boys – Good Vibrations (1966)
The Beach Boys, initially seen as surf/car/girl band, proved artistry with Pet Sounds and “God Only Knows.” “Good Vibrations” (1966) is a 60s pop masterpiece, topping Pet Sounds. Most expensive song recorded then, sounded like it. Brian Wilson’s production swirled, twirled, presaging studio-as-instrument artists. Brian’s idea, Mike Love lyrics, “psychedelic anthem or flower power offering.” What an offering. The song’s innovative production and psychedelic soundscapes pushed the boundaries of pop music.
The Beach Boys – Good Vibrations (Official Music Video)
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02: The Beatles – Come Together (1969)
The Beatles’ “Come Together” (1969) has a classic drum fill intro, crunchy guitars, iconic vocals. 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 due to marijuana arrest). Written by John Lennon, credited to Lennon-McCartney. Lennon self-portrait, confirmed by Beatles historian Jonathan Gould. The song’s cryptic lyrics and driving rhythm made it a Beatles classic.
The Beatles – Come Together
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01: Nina Simone – Sinnerman (1962)
Nina Simone’s “Sinnerman” (1962) has skittering hi-hats, haunted piano, galloping guitar, setting stage for her powerful vocals. One of American music’s most important songs, on race, religion, music. Sun’s energy, monk’s restraint. Ten minutes, no wasted moments. Every clap, every “power” Simone sings. Simone grasped music’s power best, “Sinnerman” is art at its apex. The song’s intense energy and Simone’s commanding vocals make it a masterpiece of protest and soul.
Sinnerman
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Did we miss any of your favorite songs from the 60s? Share your thoughts in the comments below!
