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Welcome my dear friends to the thread with the results of our poll of the best 100 songs of the 1960s. The songs coming from that decade were so good that usually top every all time list (for instance 40 songs of the Top 100 of Acclaimed Music main list come from that decade).
Please look at the pictures of those giants from the mid-sixties. John Lennon gazes to his right trying to aprehend the genius showcased in the intricate and literary lyrics of rock poet Bob Dylan. And Paul McCartney look to his left trying to capture the magic of studio wizard Brian Wilson, the creator and arranger of those wonderful teenage symphonies. And both Dylan and Wilson are looking with great admiration to that two brits in the middle, the most creative and succesful (both in artistic and commercial terms) singer-songwriter team in pop music ever.
Those were the 60s, so many great musicians admiring each other, trying to compete between them and, doing this, taking pop music further each time. There has been many great moments in rock history but nowhere near to the second half of the 60s.
Do you think I’m exaggerating? Well, just sit back, hold your mouse and begin to scroll down slowly through this thread. See the pictures, read the comments and don’t forget to click on the YouTube links to listen to the songs. I tried to include if possible the original studio version with images of the singer/band on stage (you know, look was so important during the 60s, in fact it still is). If this was not available I tried to include both studio and live versions.
A note for newcomers: this list is ellaborated with the Top 10 of previous polls for every year. You can find the previous polls in the following links: 1959-1961, 1962-1964, 1965, 1966, 1967, 1968 and 1969
Before beginning with the unveiling of the results let me thank the 20 voters that participated in this final stage (in alphabetical order Brad, Charlie Driggs, Chris, Chris K, Harold Wexler, Henrik, Henry, Honorio, Jackson, John, Listyguy, Miguel, Mindrocker, Nassim, nicolas, Otisredding, Rocky Raccoon, Romain, sonofsamiam and Stephan). But also to the 14 other ones that participated in the previous yearly song polls (in alphabetical order Alex D, BillAdama, Daniel, EMW, Frank, Fred, Georgie, Gillingham, Midaso, Moonbeam, Slick, SR, Sven and Zorg).
And, without further ado, enjoy the countdown. 100, 99, 98... liftoff...
100. The Ventures - Walk - Don't Run
Points: 447
Biggest fans: Charlie Driggs (#28 ), Brad (#58 ), Otisredding (#59)
Position in AM 3000: #208 of the 1960s and #813 of all time
Position in 1960 poll: #9
Style: Surf Rock
Written by Johnny Smith
Recorded by The Ventures on March 22, 1960 at Joe Boles' Studios, Seattle, Washington
Released on June 1960 on Blue Horizon label (Blue Horizon 101, extremely rare original release) and later on August 1960 on Dolton label (Dolton 25)
Highest chart position: #2 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: " "Walk Don't Run" is everything a moody rock'n'roll instrumental should be: taut, propulsive, with sinister, yet attractive, snaky guitar lines and hard power chords."
You Tube link
99. Gene Chandler - Duke of Earl
Points: 450
Biggest fans: Henry (#44), John (#46), Otisredding (#49)
Position in AM 3000: #147 of the 1960s and #496 of all time
Position in 1962 poll: #6
Style: Doo Wop
Written by Eugene Dixon (aka Gene Chandler), Earl Edwards and Bernice Williams
Recorded by Gene Chandler in late 1961 in Chicago, Illinois produced by Bill 'Bunky' Sheppard
Released on January 13, 1962 on Vee-Jay label (VJ 416)
Highest chart position: #1 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: " "Duke of Earl" is either one of the last doo wop classics or a link between doo wop and early-'60s soul, depending upon how you look at it. (...) Most listeners do remember it principally for the part of the song that's most doo woppish - the unforgettable opening chant, in which a hoarse low voice repeats "Duke, Duke, Duke, Duke of Earl" in a classic descending doo wop melody."
You Tube link
98. The Crystals - He's a Rebel
Points: 458
Biggest fans: Otisredding (#39), sonofsamiam (#42), John (#47)
Position in AM 3000: #112 of the 1960s and #325 of all time
Position in 1962 poll: #10
Style: Girl Group
Written by Gene Pitney
Recorded by Darlene Love backed by The Blossoms (but credited to The Crystals) on July 1962 at Gold Star Studios in Los Angeles, California produced by Phil Spector
Released on August 1962 on Philles Records (Philles 106)
Highest chart position: #1 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: " "He's a Rebel" was the record that elevated Spector from one of many middling hitmakers into an industry phenomenon, also blueprinting the "Wall of Sound" for which he's been lauded. (...) On "He's a Rebel," Love sang a tough, soulful, streetwise lyric guaranteed for youth appeal: the guy who marches to his own beat, and the girl who loves him all the more for it."
You Tube link
97. The Beatles - Love Me Do
Points: 470
Biggest fans: Miguel (#35), John (#45), Chris (#46)
Position in AM 3000: #377 of the 1960s and #1694 of all time
Position in 1962 poll: #5
Style: Merseybeat
Written by John Lennon and Paul McCartney
Recorded by The Beatles on September 11, 1962 at EMI Studios in London, England produced by George Martin
Released on October 5, 1962 on Parlophone label (45 R-4949)
Highest chart position: #1 on US Billboard Hot 100
Comments: Ringo Starr on an interview to Elliott Mintz broadcasted on August 28, 1977: "The first record, "Love Me Do," for me that was more important than anything else. That first piece of plastic. You can't believe how great that was. It was so wonderful. We were on a record!"
You Tube link
96. Little Eva - The Loco-Motion
Points: 471
Biggest fans: Otisredding (#31), Mindrocker (#42), Henry (#52)
Position in AM 3000: #120 of the 1960s and #678 of all time
Position in 1962 poll: #7
Style: Brill Building Pop
Written by Gerry Goffin and Carol King
Recorded by Little Eva on May 1962 at Dick Charles Studios and Mira Sound Studios in New York City produced by Gerry Goffin
Released on June 1962 on Dimension label (Dimension 1000)
Highest chart position: #1 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: "It's a well-known story that "The Loco-motion" originated when Goffin and King saw Little Eva, a babysitter for them, doing a dance at their house and devised a song to go with it. Originally Little Eva was intended only as the singer for the demo, but the demo worked out so well that it was released with a few overdubs as the single that went to the top of the charts."
You Tube link
You Tube link (TV performance of an edit version)
95. Elvis Presley - Return to Sender
Points: 478
Biggest fans: Miguel (#20), Chris K (#29), Charlie Driggs (#52)
Position in AM 3000: #513 of the 1960s and #2444 of all time
Position in 1962 poll: #8
Style: Pop Rock
Written by Otis Blackwell and Winfield Scott
Recorded by Elvis Presley on March 27, 1962 at Radio Recorders, Hollywood, California produced by Joseph Lilley
Released on October 1962 on RCA Victor label (RCA 47-8100)
Highest chart position: #2 on US Billboard Hot 100
Comments: Songfacts: "This song is about a guy who sends a letter to a girl, but she refuses to read it, instead writing "Return to Sender" on it and having it sent back to him. Our hero has a hard time believing she doesn't want to read the letter, so he sends it special delivery to make sure it arrives. When that letter gets sent back, he decides to hand-deliver it."
You Tube link
94. The Marcels - Blue Moon
Points: 483
Biggest fans: Honorio (#25), Chris (#34), Chris K (#37)
Position in AM 3000: #274 of the 1960s and #1137 of all time
Position in 1961 poll: #6
Style: Doo Wop
Written by Lorenz Hart and Richard Rodgers
Recorded by The Marcels on February 15, 1961 at RCA Studios, New York City produced by Stu Phillips
Released on February 1961 on Colpix label (Colpix CP 186)
Highest chart position: #1 on US Billboard Hot 100
Comments:
Honorio for Acclaimed Music Forum: "Probably the best bass (voice) line on doo-wop ever (well, along with "Surfin' Bird"). Bomp baba bomp bop dang dang a dang..."
You Tube link
93. The Everly Brothers - Cathy's Clown
Points: 487
Biggest fans: John (#15), Miguel (#42), Charlie Driggs (#51)
Position in AM 3000: #96 of the 1960s and #255 of all time
Position in 1960 poll: #6
Style: Close Harmony
Written by Don Everly and Phil Everly
Recorded by The Everly Brothers on March 18, 1960 at RCA Victor Studios, Nashville, Tennessee
Released on April 1960 on Warner Bros. label (Warner Bros. 5151)
Highest chart position: #1 on US Billboard Hot 100
Comments: Joel Withburn as quoted on Wikipedia: "It was their first single for Warner Bros., after spending three years on Archie Bleyer's Cadence label. "Cathy's Clown" sold eight-million copies worldwide, spending five weeks at number one on the U.S. Billboards Hot 100 chart and one week on the R&B charts."
You Tube link
You Tube link (1960 live version)
92. Rev. Gary Davis - Death Don't Have No Mercy
Points: 494
Biggest fans: nicolas (#12), sonofsamiam (#36), Listyguy (#53)
Position in AM 3000: not listed
Position in 1961 poll: #10
Style: Gospel Blues
Written by Gary Davis
Recorded by Blind Gary Davis on August 24, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey
Released on 1961 on Bluesville Records as sixth song on the album "Harlem Street Singer" (BVLP 1015)
Highest chart position: not charted
Comments:
nicolas for Acclaimed Music Forum: "A blind guitarist, preacher and street singer who started in the thirties, the six-string Ray Charles, here’s Reverend Gary Davis one of the main figures of the folk-blues revival of the sixties. A bitter song about death and desolation, a chunk of blues splendor and simplicity."
You Tube link
You Tube link (late 60s impressive live performance)
91. The Beach Boys - In My Room
Points: 505
Biggest fans: John (#16), Miguel (#18 ), Henrik (#54)
Position in AM 3000: #219 of the 1960s and #855 of all time
Position in 1963 poll: #10
Style: Pop
Written by Gary Usher and Brian Wilson
Recorded by The Beach Boys on July 16, 1963 at Western Recorders Studio, Hollywood, California produced by Brian Wilson
Released on September 16, 1963 on Capitol Records as the seventh song on the album "Surfer Girl" (Capitol T-1981) and on October 28, 1963 as the B-side of "Be True to Your School" (Capitol 5069)
Highest chart position: #23 on US Billboard Hot 100 (the A-side ranked #6)
Comments: Donald A. Guarisco for allmusic: "This sensitive pop gem was one of the first Beach Boys tracks to completely break out of the surf-and-drag mold. Indeed, the lyrics for "In My Room" tackle a subject that any teenager can relate to: the feelings of safety and comfort that can be found while relaxing in the sanctuary of one's bedroom."
You Tube link
You Tube link (1964 TV performance with different instrumental backing)
Please look at the pictures of those giants from the mid-sixties. John Lennon gazes to his right trying to apprehend the genius showcased in the intricate and literary lyrics of rock poet Bob Dylan. And Paul McCartney look to his left trying to capture the magic of studio wizard Brian Wilson, the creator and arranger of those wonderful teenage symphonies. And both Dylan and Wilson are looking with great admiration to that two brits in the middle, the most creative and succesful (both in artistic and commercial terms) singer-songwriter team in pop music ever.
Those were the 60s, so many great musicians admiring each other, trying to compete between them and, doing this, taking pop music further each time. There has been many great moments in rock history but nowhere near to the second half of the 60s.
Do you think I’m exaggerating? Well, just sit back, hold your mouse and begin to scroll down slowly through this thread. See the pictures, read the comments and don’t forget to click on the YouTube links to listen to the songs. I tried to include if possible the original studio version with images of the singer/band on stage (you know, look was so important during the 60s, in fact it still is). If this was not available I tried to include both studio and live versions.
I was hoping for pictures of Lou Reed and the beloved John Cale
Very interesting story about "Duke of Earl", John. A case of Pavlov reflex, of the conditioned stimulus, just like Beethoven's Ninth to that character on "A Clockwork Orange".
But you will find pictures of them for sure, there are three Velvet songs on the final tournamentOops, Chris, you’re absolutely right. Both of you signed as "Chris" on the mail and, allthough Chris K told me later that this was his nickname, it’s obvious that I exchanged the lists. Anyway this mistake does not change the results, I just changed the names on the top of the Excel file and it’s fixed now. So we got so far that you, Chris, was one of the biggest fans of "Return to Sender" (your #29) and "Blue Moon" (your #37),as you told before. While Chris K was fan of "Love Me Do" (his #46) and "Blue Moon" too (his #34). Sorry...
Hey, Dan M, great idea!! And many thanks for your kind words.
Let’s see the results: you guessed the correct songs (regardless of the positions) in an astonishing 43.33% (26 out of 60). You even guessed the correct position in 10 of these 26.
So your guesses were absolutely impressive, you really learned a lot about our tastes!
And tomorrow 91-81!
But you will find pictures of them for sure, there are three Velvet songs on the final tournamentHopefully, we'll see the VU pictures tomorrow.
Of course, I had all three VU in my bottom ten. Heroin was my highest rated VU song at 93.
I guess it shows that I'm just not that big a fan of noise, drone, screeching violas, drug-laden lyrics presented with talking/singing vocals, and purposeful off-key striking of the piano coupled with poor sound production.
But, it seems that I am in the minority among AMers.
Of course, I had all three VU in my bottom ten. Heroin was my highest rated VU song at 93.
I guess it shows that I'm just not that big a fan of noise, drone, screeching violas, drug-laden lyrics presented with talking/singing vocals, and purposeful off-key striking of the piano coupled with poor sound production.
But, it seems that I am in the minority among AMers.
I placed 9 of the 11 Beatles songs in the bottom 25, 5 of which in the bottom 10, but I don't keep mentioning that. Oh damn, now I did it anyway.
Well, probably it would have been easier for Dan M to guess our bottom 3.
By the way, Jackson, "The Lion Sleeps Tonight" was my #100 too. By the way, I think I’m going to post the individuals bottom positions after posting the highest ranked.
Hi Nicolas, it's great to have you back!
90. The Shadows - Apache
Points: 507
Biggest fans: Mindrocker (#31), Henrik (#35), Charlie Driggs (#39)
Position in AM 3000: #141 of the 1960s and #477 of all time
Position in 1960 poll: #7
Style: Instrumental Rock
Written by Jerry Lordan
Recorded by The Shadows on June 17, 1960 at EMI Studios, London, England produced by Norrie Paramor
Released on July 1960 on Columbia Records on UK (Columbia 45-DB 4484) and on ABC-Paramount label on USA (ABC 10138)
Highest chart position: #1 on UK Singles Chart (not charted on the US)
Comments: Dave Thompson for allmusic: "The Shadows' third single, and the performance upon which their entire reputation - and much of their repertoire - would be based, "Apache" was a pulse-pounding rip through a Jerry Lordan instrumental, all twanging guitars and tribal rhythms, which took the U.K. chart by storm in early 1960."
You Tube link
89. Johnny Kidd and the Pirates - Shakin' All Over
Points: 510
Biggest fans: Mindrocker (#19), nicolas (#20), Miguel (#46)
Position in AM 3000: #330 of the 1960s and #1390 of all time
Position in 1960 poll: #4
Style: Garage Rock
Written by Frederick Heath (aka Johnny Kidd)
Recorded by Johnny Kidd and the Pirates on May 13, 1960 at EMI Studios, London
Released on June 10, 1960 on His Master's Voice on UK (HMV 45-POP 753)
Highest chart position: #1 on UK Singles Chart (not charted on the US)
Comments: Bruce Eder for allmusic: " "Shakin' All Over" became the A-side of a number one single that became the first original rock song in England to achieve the status of an international rock standard. Driven by Caddy's guitar and a mournful, ominous lead vocal by Heath, the song topped the charts and completely astonished everybody who heard it that such a track could have come from an English rock & roll band."
Video link
88. Elvis Presley - Can't Help Falling in Love
Points: 513
Biggest fans: Henry (#33), Chris K (#36), Miguel (#37)
Position in AM 3000: #378 of the 1960s and #1696 of all time
Position in 1961 poll: #9
Style: Pop
Written by Luigi Creatore, Hugo Peretti and George David Weiss
Recorded by Elvis Presley on March 23, 1961 at Radio Recorders, Hollywood, California produced by Joseph Lilley
Released on October 1961 on RCA Victor label as the fifth song on "Blue Hawaii" album (RCA LSP-2426) and later as a single on November 20, 1961 (RCA 47-7968 )
Highest chart position: #1 on UK Singles Chart and #2 on US Billboard Hot 100
Comments: Songfacts: "This was Elvis' most popular and famous "love song," but it was not sung to his love interest in "Blue Hawaii" - It was sung to his grandmother on the occasion of her birthday. Elvis presented her with a music box, which she opened and it played the song, which Elvis then sang along with."
You Tube link
You Tube link (movie version)
87. Ray Charles - Georgia on My Mind
Points: 520
Biggest fans: Otisredding (#19), Nassim (#27), Chris (#36)
Position in AM 3000: #115 of the 1960s and #341 of all time
Position in 1960 poll: #10
Style: Soul Jazz
Written by Hoagy Carmichael and Stuart Gorrell
Recorded by Ray Charles with orchestra an choir conducted by Ralph Burns on March 25, 1960 at Capitol Studios, New York City produced by Sid Feller
Released on September 1960 on ABC Paramount label (ABC-Paramount 10135)
Highest chart position: #1 on US Billboard Hot 100
Comments: Wikipedia: "On March 7, 1979, in a mutual symbol of reconciliation after conflict over civil rights issues, he (Ray Charles) performed it before the Georgia General Assembly (the state legislature). After this performance, the connection to the state was firmly made, and then the Assembly adopted it as the state song on April 24."
You Tube link
You Tube link (live version)
86. Quincy Jones - Soul Bossa Nova
Points: 525
Biggest fans: Charlie Driggs and Henrik (#22), Mindrocker (#28 )
Position in AM 3000: not listed
Position in 1962 poll: #9
Style: Big Band Bossa Nova
Written by Quincy Jones
Recorded by Quincy Jones and his Orchestra on September 13, 1962 at A&R Studios, New York City produced by Quincy Jones
Released on 1962 on Mercury label as the first song of "Big Band Bossa Nova" album (Mercury SR 60751)
Highest chart position: not charted
Comments: Scott Yanow for allmusic (about the album): "A byproduct of the bossa nova fad that followed the success of "Desafinado" (and preceded the famous recording "Getz/Gilberto"), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band."
You Tube link
You Tube link (Austin Powers 2 intro)
85. John Barry Orchestra - The James Bond Theme
Points: 535
Biggest fans: Henrik (#10), Mindrocker (#22), Charlie Driggs (#44)
Position in AM 3000: #363 of the 1960s and #1606 of all time
Position in 1962 poll: #4
Style: Film Soundtrack
Written by John Barry and Monty Norman
Recorded by The John Barry Seven and Orchestra on June 21, 1962 at CTS Studios, London, England
Released on October 1962 on UK Columbia label (45-DB 4898 )
Highest chart position: #13 on UK Singles Chart (not released as a single on the US)
Comments: Wikipedia: "The song uses a surf rock style. At the time of the first film's release, surf rock was a recent craze (...) The guitar riff heard in the original recording of the theme was played by Vic Flick on a ParagonDeluxe guitar (...) He was paid a one-off fee of £6 for recording the famous James Bond Theme riff."
You Tube link
84. Patsy Cline - Crazy
Points: 535
Biggest fans: Henrik (#18 ), Romain (#30), Rocky Raccoon (#34)
Position in AM 3000: #60 of the 1960s and #147 of all time
Position in 1961 poll: #7
Style: Countrypolitan
Written by Willie Nelson
Recorded by Patsy Cline on August 21, 1961 at Bradley Film & Recording Studios, Nashville, Tennessee produced by Owen Bradley
Released on October 16, 1961 on Decca US label (Decca 31317)
Highest chart position: #9 on US Billboard Hot 100 (#2 on US Billboard Hot Country Singles)
Comments: Stephen Thomas Erlewine for allmusic: "A lazy, late-night ballad, the song really defies easy description. Nelson's music borrows equally from jazz, classic pop and country -- with country not being nearly as prevalent as the jazz and pop. In many ways, it is constructed like a classic pop song. (...) Cline's classy original hit single remains the standard by which any version of "Crazy" is judged. (...) She understood the song as intimately as Nelson himself, knowing what lines to emphasize and how to navigate its tricky transitions with grace."
You Tube link
You Tube link (1962 live version)
83. The Beatles - Please Please Me
Points: 537
Biggest fans: Mindrocker (#20), Miguel (#35), Rocky Raccoon (#36)
Position in AM 3000: #255 of the 1960s and #1057 of all time
Position in 1963 poll: #9
Style: Merseybeat
Written by John Lennon and Paul McCartney
Recorded by The Beatles on November 26, 1962 at EMI Studios, London, England produced by George Martin
Released on January 11, 1963 on Parlophone label (45-R 4983)
Highest chart position: #2 on UK Singles Chart (it was #1 on NME chart) and #3 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: "Right from its very first bars, the song burst with a dynamism that was not just unheard of in British rock & roll, but had rarely been heard in rock music of any sort. After an ultra-catchy descending instrumental hook from John Lennon's harmonica, the group explodes into an exuberant, closely harmonized verse, like a rocked-up Everly Brothers. (...) The call and response between lead singer Lennon and the rest of the group raises the urgency yet further, resolved by the prototypically giddy ensemble harmonies as the singers deliver the title phrase. You can almost see the group shaking their moptops in euphoria at that point - a euphoria which is contagious."
You Tube link
You Tube link (1964 live version)
82. The Tokens - The Lion Sleeps Tonight
Points: 538
Biggest fans: Miguel (#4), Chris (#40), Mindrocker (#43)
Position in AM 3000: #539 of the 1960s and #2575 of all time
Position in 1961 poll: #8
Style: Doo World
Written by Solomon Linda (Luigi Creatore, Hugo Peretti and George David Weiss added new English lyrics)
Recorded by The Tokens on July 21, 1961 at RCA Studios, New York City produced by Luigi Creatore, Hugo Peretti and George David Weiss
Released on November 1961 on RCA Victor label (RCA 47-7954)
Highest chart position: #1 on US Billboard Hot 100
Comments: Songfacts: "The Tokens (...) auditioned for producers Hugo and Luigi (Peretti and Creatore) by singing "Wimoweh" to them. Hugh and Luigi were impressed by the performance but decided that the song needed new lyrics. With help from George Weiss, Hugo and Luigi rewrote the song, giving it the title "The Lion Sleeps Tonight." The Tokens thought this had been nothing more than an elaborate audition - "Who is gonna buy a song about a lion sleeping" was their general sentiment. They were so embarrassed with the new title and lyrics that they fought the release of the recording."
You Tube link
81. Henry Mancini - Moon River
Points: 554
Biggest fans: Honorio (#5), Chris K (#28 ), Miguel (#30)
Position in AM 3000: #151 of the 1960s and #549 of all time
Position in 1961 poll: #4
Style: Easy Listening
Written by Johnny Mercer and Henry Mancini
Recorded by Henry Mancini on December 8, 1960 at RCA Studios, Hollywood, California with orchestra conducted by Henry Mancini. I haven’t found information about the recording session of Audrey Hepburn's original (with Laurindo Almeida on guitar)
Released on October 9, 1961 on RCA Victor label (47-7916), the Audrey Hepburn's version was featured on the movie "Brekfast at Tiffany's" premiered on October 5, 1961 but was never released on record until 1993 (after Hepburn's death) on the album "Music From the Films of Audrey Hepburn"
Highest chart position: #11 on US Billboard Hot 100
Comments:
Honorio: "An unrepeatable conjunction. Truman Capote as the novel writer. Blake Edwards as the efficient director. Givenchy as the history-making costume designer. Henry Mancini as the composer of a score straight to eternity. And, of course, Audrey Hepburn creating a pop icon of her Holly Golightly. And singing sitting on her windowsill (while George Peppard is peeping) the most beautiful song ever, "Moon River"."
You Tube link
You Tube link (Audrey Hepburn movie version)
There it goes our first personal number one (at #80).
And the first song from the second half of the decade at #74 (although it was expectable that this song was going to be the lower ranked song of the 1965-1969 period, it received three #100 votes).
80. Bernard Herrmann - Psycho: Prelude
Points: 557
Biggest fans: Henrik (#1), Charlie Driggs (#16), Romain (#39)
Position in AM 3000: not listed
Position in 1960 poll: #5
Style: Film Soundtrack
Written by Bernard Herrmann
Recorded by unknown orchestra and conductor in 1960 (being the music featured on the movie that was never released oficially), later re-recorded by the National Philharmonic Orchestra on October 2, 1975 at Barking Assembly Hall, London, England conducted by Bernard Herrmann
Released in 1975 on Unicorn-Kanchana label (RHS 336), the first release of the original score was in 1998 as a bootleg CD
Highest chart position: not ranked
Comments: Wikipedia: "Hitchcock insisted that Bernard Herrmann write the score for Psycho, in spite of the composer's refusal to accept a reduced fee for the film's lower budget. (...) Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, disregarding Hitchcock's request for a jazz score. He thought of the single tone color of the all-string soundtrack as a way of reflecting the black and white cinematography of the film."
You Tube link (1960 original movie version of 1:50 of length)
You Tube link (1975 re-recording at a slightly slower tempo and a length of 2:11)
79. The Kingsmen - Louie Louie
Points: 569
Biggest fans: Romain (#20), Miguel (#23), Listyguy (#31)
Position in AM 3000: #7 of the 1960s and #11 of all time
Position in 1963 poll: #6
Style: Garage Rock
Written by Richard Berry
Recorded by The Kingsmen on April 6, 1963 at Northwestern Recording, Portland, Oregon produced by Ken Chase
Released on June 1963 on Jerden label (Jerden 712)
Highest chart position: #2 on US Billboard Hot 100
Comments:
Wikipedia: "The Kingsmen's studio version was recorded in one take. (...) A significant error on the Kingsmen's version occurs just after the lead guitar break; as the group were going by the Wailers' version, which has a brief restatement of the riff, two times over, before the lead vocalist comes back in, it would be expected that Ely would do the same. Ely, however, overshot his mark, coming in too soon, before the restatement of the riff; he realizes his mistake and stops the verse short, but the band doesn't realize that he's done so. As a quick fix, drummer Lynn Easton covers the pause with a drum fill, but before the verse has ended, the rest of the band goes into the chorus at the point where they expect it to be; they recover quickly. This error is now so embedded in the consciousness of some groups that they deliberately duplicate it when performing the song. "
Listyguy for Acclaimed Music Forum: "Pretty good."
You Tube link
You Tube link (1965 live version)
78. Roy Orbison - Only the Lonely (Know the Way I Feel)
Points: 575
Biggest fans: nicolas (#20), Honorio (#29), Otisredding (#30)
Position in AM 3000: #56 of the 1960s and #133 of all time
Position in 1960 poll: #1
Style: Rock Ballad
Written by Joe Melson and Roy Orbison
Recorded by Roy Orbison with Bob Moore's Orch. & Chorus on April 6, 1960 at RCA Studio B, Nashville, Tennessee produced by Fred Foster
Released on May 9, 1960 on Monument label (45-421)
Highest chart position: #1 on UK Singles Chart and #2 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: "When Orbison recorded "Only the Lonely" in 1960, he had only a couple of very moderate hits, and some moderate success as a songwriter, to show for about five years in the business. "Only the Lonely" changed all that, not just because it shot to number two, but also because it defined his image and musical identity. Prior to the song, Orbison had been typecast as an also-ran rockabilly singer at Sun Records. Although he wasn't a bad rockabilly act, "Only the Lonely" played to his true strengths: an operatic, pain-stricken pop/rock balladeer, a master of odes to heartbreak and maintaining dignity while fighting largely losing battles. "
You Tube link (TV appearance of an unseen Roy Orbison without sunglasses, with truncated beginning and ending)
You Tube link (complete original studio version)
77. The Shirelles - Will You Love Me Tomorrow
Points: 577
Biggest fans: Chris K (#16), Rocky Raccoon (#25), Otisredding (#28 )
Position in AM 3000: #43 of the 1960s and #101 of all time
Position in 1960 poll: #2
Style: Girl Group
Written by Gerry Goffin and Carol King
Recorded by The Shirelles on February 14, 1960 in New York City arranged by Carol King and produced by Luther Dixon
Released on November 7, 1960 on Scepter label (Scepter 1211)
Highest chart position: #1 on US Billboard Hot 100
Comments: Bill Janovitz for allmusic: "The song is a masterpiece of pop songcraft and is typical for the pair (Goffin & King) in its subtle lyrical and musical approach. The two deftly handle controversial subject matter: the long-term concerns of a young woman involved in a physical consummation of love. Goffin's lyrics address the issue in a direct manner, neither ham-fisted nor nudging with innuendo. (...) Doris Coley's lead vocal is a perfect girl-woman blend, expressing the tender post-adolescent mix of innocence and increasing adult awareness: "So tell me now and I won't ask again/Will you still love me tomorrow?" Her phrasing is cognizant of the underlying significance of the lines: Promise her lies, she seems to say. But at least say the words and she won't ask again - for she know that if she does, she may not hear the words she wants to hear; she also wants to succumb to the physical desire."
You Tube link
76. Bob Dylan - Blowin' in the Wind
Points: 593
Biggest fans: Stephan (#11), Chris (#21), Nassim (#22)
Position in AM 3000: #99 of the 1960s and #279 of all time
Position in 1963 poll: #3
Style: Protest Song
Written by Bob Dylan
Recorded by Bob Dylan on July 9, 1962 at Columbia Recording Studios, New York City produced by John Hammond
Released on May 27, 1963 on Columbia label, opening the album "The Freewheelin' Bob Dylan" (CS 8786) an later as a single on July 1963 (Columbia 4-42856)
Highest chart position: #22 on US Billboard 200 (the album, the single failed to chart despite getting to #2 with Peter, Paul & Mary version)
Comments: John Bush for allmusic: "Inarguably the peak of modern protest songwriting, "Blowin' in the Wind" transformed Bob Dylan from hipster folky to cultural sensation and provided the growing protest community with an anthem equally applicable to every kind of injustice ever visited upon the Earth. (...) As with most of his other classics, Dylan makes a complex song sound deceptively simple; in each of the three verses, he asks three rhetorical questions (i.e., "How many roads must a man walk down, before you call him a man?"), and answers each time with the chorus: "The answer, my friend, is blowin' in the wind/The answer is blowin' in the wind." While the questions speak to the unending record of injustice in the long history of the world, the answers reflect the Taoist mantra that the solution is obvious to all who truly think about it, yet impossible to grasp with any type of standard (i.e., written or expressed) explanation."
Video link
Video link (1963 live version)
75. The Righteous Brothers - You've Lost That Lovin' Feelin'
Points: 595
Biggest fans: Harold Wexler (#13), Chris (#31), Henry (#35)
Position in AM 3000: #15 of the 1960s and #24 of all time
Position in 1964 poll: #8
Style: Blue Eyed Soul
Written by Barry Mann, Phil Spector and Cynthia Weill
Recorded by The Righteous Brothers on August-November 1964 at Gold Star Studios, Los Angeles, California produced by Phil Spector
Released on December 6, 1964 on Philles Records (Philles 124)
Highest chart position: #1 on US Billboard Hot 100
Comments: Dave Thompson for allmusic: "All involved recalled that the recording lasted for an eternity – and, when they played the song back, it too went on forever, a four minute epic that traveled well beyond the 180 seconds-or-so that restricted most pop singles of the day. Spector, however, would not edit "You’ve Lost That Loving Feeling". What he was willing to do was reverse the last two digits of the song’s actual length, and give radio DJs the longest 3.05 of their lives. It was, apparently, some weeks before many program directors figured out why their tightly-programmed shows were suddenly over-running, but by then, "You’ve Lost That Loving Feeling" was already ground into the consciousness. It was not cut, it could not be cut, and on February 6, 1965, "You’ve Lost That Loving Feeling" officially became the longest record ever to top the Billboard chart."
You Tube link
74. Pharoah Sanders - The Creator Has a Masterplan
Points: 596
Biggest fans: sonofsamiam (#3), Jackson (#6), Charlie Driggs (#29)
Position in AM 3000: not listed
Position in 1969 poll: #9
Style: Spiritual Jazz
Written by Pharoah Sanders and Leon Thomas
Recorded by Pharoah Sanders on February 14, 1969 at RCA Studios, New York City produced by Bob Thiele
Released on May 1969 on Impulse! label as the opening track of the album "Karma" (Impulse! AS 9181)
Highest chart position: not charted
Comments: Thom Jurek for allmusic: " "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. (...) Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely."
Listyguy: "How long is this song????????????????"
You Tube link (Part 1)
You Tube link (Part 2)
You Tube link (Part 3)
73. Roy Orbison - Crying
Points: 596
Biggest fans: sonofsamiam (#19), nicolas (#24), Listyguy (#26)
Position in AM 3000: #110 of the 1960s and #320 of all time
Position in 1961 poll: #5
Style: Rock Ballad
Written by Joe Melson and Roy Orbison
Recorded by Roy Orbison with Bob Moore's Orchestra & Chorus on June 26, 1961 at RCA Studio B, Nashville, Tennessee produced by Fred Foster
Released on July 31, 1961 on Monument label (45-447)
Highest chart position: #2 on US Billboard Hot 100
Comments: Bill Dahl for allmusic: "Under no circumstances should Roy Orbison's "Crying" ever be listened to by anyone who's even remotely depressed. The grief, regret, and eternal damnation to an existence drenched in tears that Orbison vividly invests with typically breathtaking vocal bravado could be overwhelming enough to drive anyone so inclined to end it all. For more stable types, "Crying" is simply a beautiful albeit heart-wrenching ballad that opens with an innocuous rhythm carried by tom-tom and acoustic guitar (the latter likely the work of Orbison himself) and steadily builds via sweeping strings and a heavy dose of melodramatic intensity to a climax of utterly shattering proportions."
Listyguy: "One of Orbison's last (and best) hits."
You Tube link
You Tube link (1964 live version)
72. Bob Dylan - Don't Think Twice, It's All Right
Points: 599
Biggest fans: Brad (#19), Stephan (#26), Jackson and John (#31)
Position in AM 3000: #482 of the 1960s and #2249 of all time
Position in 1963 poll: #7
Style: Folk
Written by Bob Dylan
Recorded by Bob Dylan on November 14, 1962 at Columbia Recording Studio A, New York City produced by John Hammond
Released on May 27, 1963 on Columbia label as the seventh song (opening the B-side) on the album "The Freewheelin' Bob Dylan" (CS 8786)
Highest chart position: #22 on US Billboard 200 (the album)
Comments:
Wikipedia: "The song, written around the time that Suze Rotolo indefinitely prolonged her stay in Italy, is based on a melody taught to Dylan by folksinger Paul Clayton. (...) The original album version of the song is played in a fast, fingerstyle manner by, some speculate, Bruce Langhorne. (...) The song is clearly about the end of a relationship, discussing some of the conflicting emotions one might experience in love. It has four verses, each ending with the refrain, “Don’t think twice, it’s alright.” While this line might have multiple emotional connotations, the way it is sung seems to be bittersweet; Dylan is sad about the end of the relationship, but knows it is better that the love affair has ended."
Songfacts: "Dylan said of this track: "A lot of people make it sort of a love song - slow and easygoing. But it isn't a love song. It's a statement that maybe you can say something to make yourself feel better. It's as if you were talking to yourself.""
Video link
Video link (1965 live version)
71. Sam Cooke - Bring It on Home to Me
Points: 600
Biggest fans: John (#3), sonofsamiam (#16), Mindrocker (#36)
Position in AM 3000: #271 of the 1960s and #1118 of all time
Position in 1962 poll: #3
Style: Soul
Written by Sam Cooke
Recorded by Sam Cooke with orchestra conducted by Rene Hall on April 26, 1962 at RCA Studio 1, Hollywood, California produced by Hugo Peretti and Luigi Creatore
Released on May 8, 1962 on RCA Victor label (RCA 47-8036)
Highest chart position: #13 on US Billboard Hot 100 (and #2 on Billboard R&B Singles Chart)
Comments: William Ruhlmann for allmusic: " "Bring It on Home to Me" is one of Sam Cooke's greatest songs. Over a rolling rhythm that sounds like it could go on forever, a man asks a woman to come back to him, apologizing, forgiving her for her transgressions, and promising her presents if she will just bring her "sweet loving" on home to him. But though the lyrics had a pleading tone, the melody never emphasized its desperation. You almost felt that the woman would be compelled to return just by that steady, compelling rhythm."
You Tube link
You Tube link (1963 live version)
1. Jane Birkin et Serge Gainsbourg - Je t'aime... moi non plus
2. The Zombies - Time of the Season
3. The Beatles - In My Life
You are right.....well....almot....these three songs are in positions 9, 37 and 51.
74. Pharoah Sanders - The Creator Has a Masterplan
Points: 596
Biggest fans: sonofsamiam (#3), Jackson (#6), Charlie Driggs (#29)
I know that it's amazing that this song even made the list at all, but it's still way too low. This song is an absolute jazz masterpiece that provides an incredible experience with every listen. How many songs above it can you say that about?
With this group we say goodbye to the first year of the decade, 1960, with Cooke's "Wonderful World" as the best qualified for the year (it was #3 on the yearly poll after "Only the Lonely" and "Will You Love Me Tomorrow").
70. Bob Dylan - A Hard Rain's A-Gonna Fall
Points: 601
Biggest fans: Harold Wexler (#7), Otisredding (#20), John (#24)
Position in AM 3000: #451 of the 1960s and #2086 of all time
Position in 1963 poll: #8
Style: Protest Song
Written by Bob Dylan
Recorded by Bob Dylan on December 6, 1962 at Columbia Recording Studio A, New York City produced by John Hammond
Released on May 27, 1963 on Columbia label as the sixth song (closing the A-side) on the album "The Freewheelin' Bob Dylan" (CS 8786)
Highest chart position: #22 on US Billboard 200 (the album)
Comments: Dylan as quoted in Wikipedia: "About if he wrote "A Hard Rain" in response to the Cuban Missile Crisis: "Every line in it is actually the start of a whole new song. But when I wrote it, I thought I wouldn't have enough time alive to write all those songs so I put all I could into this one." (...) About if the refrain of the song refers to nuclear fallout: "No, it's not atomic rain, it's just a hard rain. It isn't the fallout rain. I mean some sort of end that's just gotta happen... In the last verse, when I say, 'the pellets of poison are flooding the waters', that means all the lies that people get told on their radios and in their newspapers." "
Video link
Video link (1964 live version)
69. Etta James - At Last
Points: 609
Biggest fans: Henrik (#19), Nassim and Rocky Raccoon (#24)
Position in AM 3000: #146 of the 1960s and #494 of all time
Position in 1960 poll: #8
Style: Soul Blues
Written by Mack Gordon and Harry Warren
Recorded by Etta James with Riley Hampton Orchestra on October 1960 probably at Chess Studios, Chicago, Illinois produced by Phil and Leonard Chess
Released on November 15, 1960 on Argo label as the seventh song of the album "At Last!" (Argo LP 4003) and later as a single on January 1961 (Argo 5380)
Highest chart position: #47 on US Billboard Hot 100 (and #2 on Billboard Hot R&B Sides)
Comments: Stephen Cook for allmusic: "James demonstrates her keen facility on the title track in particular, as she easily moves from powerful blues shouting to more subtle, airy phrasing; her Ruth Brown-inspired, bad-girl growl only adds to the intensity. James would go on to even greater success with later hits like "Tell Mama," but on "At Last" one hears the singer at her peak."
You Tube link
68. Johnny Cash - Ring of Fire
Points: 610
Biggest fans: Chris K (#13), Chris (#19), Brad (#31)
Position in AM 3000: #90 of the 1960s and #233 of all time
Position in 1963 poll: #4
Style: Tex-Mex
Written by June Carter and Merle Kilgore
Recorded by Johnny Cash on March 25, 1963 at Columbia Recording Studio, Hollywood, California produced by Don Law
Released on April 19, 1963 on Columbia Records (Columbia 4-42788 )
Highest chart position: #17 on US Billboard Hot 100 (and #1 on Billboard Hot Country Singles)
Comments: Stephen Thomas Erlewine for allmusic: "(...) it cemented the image of Johnny Cash, "the Man in Black" - not necessarily an outlaw, but certainly an outsider. In light of that, the mariachi horns that grace the song seem a little incongruous, but even while those horns sound a little dated, the song still sounds tough, particularly because the chorus about "I fell down in a burning ring of fire" sounds so ominous. It's easy to forget that the "Ring of Fire" is just a metaphor for falling in love because a "Ring of Fire" sounds so intimidating and dangerous. Falling into a "Ring of Fire" is something an outlaw would do, or at least it sounded that way, so the song gave Cash a cool, outsider reputation."
You Tube link
You Tube link (1963 live version)
67. The Beatles - She Loves You
Points: 613
Biggest fans: Chris and Mindrocker (#18 ), Henrik (#26)
Position in AM 3000: #44 of the 1960s and #103 of all time
Position in 1963 poll: #5
Style: Merseybeat
Written by John Lennon and Paul McCartney
Recorded by The Beatles on July 1, 1963 at EMI Studios, London, England produced by George Martin
Released on August 23, 1963 (UK) on Parlophone label (Parlophone R 5055) and on September 16, 1963 (USA) on Swan label (Swan S-4152)
Highest chart position: #1 both on US Billboard Hot 100 and UK Singles Chart (it was the best selling single in UK for 14 years, being surpassed in 1977 by the Wings' "Mull of Kintyre")
Comments: Richie Unterberger for allmusic: "From the opening drum roll, "She Loves You" takes no prisoners, immediately charging into its indelible "yeah, yeah, yeah" hook; it was George Martin's successful brainstorm to move the chorus to the very beginning of the song. (...) What really won over listeners' hearts, though, were the usual block harmonies, clever alternation of major and minor chords, and particularly the ends of the verses, in which the group simultaneously let out with explosive "woo"s. Lennon and McCartney were also especially proud of ending the choruses (and the song itself) on a sixth chord, which they initially believed had never been done before."
You Tube link
You Tube link (1963 historical live version)
66. Del Shannon - Runaway
Points: 618
Biggest fans: Mindrocker (#34), sonofsamiam (#35), Honorio (#36)
Position in AM 3000: #34 of the 1960s and #77 of all time
Position in 1961 poll: #1
Style: Pop
Written by Max Crook and Del Shannon
Recorded by Del Shannon on January 21, 1961 at Bell Sound Studios, New York City produced by Harry Balk
Released on February 14, 1961 on BigTop label (BigTop 45-3067)
Highest chart position: #1 on US Billboard Hot 100
Comments: Stewart Mason for allmusic: "Whenever anyone complains that rock and roll was dead before the Beatles revitalized it with "I Want To Hold Your Hand," the quickest way to end the argument is to play this masterful 1961 single. One of the all-time classic rock and roll singles, "Runaway" is brilliant in every sense of the word, from the haunted paranoia of Del Shannon's lyrics and the desperation of his vocals, particularly in the falsetto break of the chorus (...) to the magnificently futuristic Clavioline solo in the break. One of those rare rock and roll classics that has never sounded dated in the least, "Runaway" is one of the most perfect chart debuts of all time."
You Tube link
You Tube link (1965 TV performance)
65. Booker T. & the MG's - Green Onions
Points: 633
Biggest fans: Charlie Driggs (#4), Romain (#23), Listyguy (#35)
Position in AM 3000: #37 of the 1960s and #85 of all time
Position in 1962 poll: #1
Style: Rhythm & Blues
Written by Steve Cropper, Al Jackson Jr., Booker T. Jones and Lewis Steinberg
Recorded by Booker T. & the MG's in 1962 at Stax Studios, Memphis, Tennessee produced by Booker T. & the MG's
Released originally on May 1962 as B-side of "Behave Yourself" on Volt label (Volt 102) and later on August 24, 1962 on Stax label as A-side (Stax S-127)
Highest chart position: #3 on US Billboard Hot 100 (and #1 on Billboard Hot R&B Sides)
Comments: Richie Unterberger for allmusic: "Instrumentals were very big in rock music when "Green Onions" came out, and many stuck to conventional, even boring, major-keyed R&B-based riffs. "Green Onions" was immediately distinctive and different for its ominous three-note riffs and minor-colored, constant key changes. It was a sweet-sour blend akin to the "Green Onions" of the title, but very tough and creepy as well, like a hypnotic prelude to a night of prowling for action in dark alleys."
Listyguy: "Best Instrumental. Ever. Ever."
You Tube link
You Tube link (1966 live version)
64. Sam Cooke - Wonderful World
Points: 636
Biggest fans: Romain (#12), Miguel (#17), Chris and Henry (#26)
Position in AM 3000: #221 of the 1960s and #864 of all time
Position in 1960 poll: #3
Style: Soul Pop
Written by Lou Adler, Herb Alpert and Sam Cooke
Recorded by Sam Cooke on March 2, 1959 at Sound Enterprises, Hollywood, California produced by Rene Hall
Released on April 14, 1960 on Keen label (Keen 82112)
Highest chart position: #12 on US Billboard Hot 100 (and #2 on Billboard Hot R&B Sides)
Comments: Bill Janovitz for allmusic: "As with other early pop crossover songs from Cooke (who became a star first in the gospel genre), "Wonderful World" is firmly in the tradition of Tin Pan Alley and Brill Building songwriting, with a clever lyric that sticks closely to a metaphorical theme. (...) Recorded in 1959 - one of his last for the Keen label - the production is typical, for Cooke's recordings of the era: The Latin beat, played with a jaunty tempo, is strummed out on an acoustic guitar, drummed with brushes, and supported by an upright bass."
You Tube link
63. Bob Dylan - Mr. Tambourine Man
Points: 640
Biggest fans: Listyguy (#6), Brad (#18 ), Jackson (#27)
Position in AM 3000: #232 of the 1960s and #920 of all time
Position in 1965 poll: #10
Style: Folk
Written by Bob Dylan
Recorded by Bob Dylan on January 15, 1965 at Columbia Recording Studio A, New York City produced by Tom Wilson
Released on March 22, 1965 on Columbia label as the eigth song (opening the B-side) of "Bringing It All Back Home" album (CS 9128 )
Highest chart position: #6 on US Billboard 200 and #1 on UK Top 75 (the album)
Comments: William Ruhlmann for allmusic: "Such a song was and remains open to various interpretations. Was Dylan reflecting the desire he felt from his own audience, so that he, in effect, was the tambourine man? To what extent did such apparent predecessors as the Pied Piper of Hamlin and Jesus Christ figure into the song? In the wake of the proliferation of drugs in the 1960s, many people interpreted "Mr. Tambourine Man" as referring to drugs. Was the tambourine man a dealer and the narrator's request that he "take me on a trip" a desire to sample his wares?"
Listyguy: "The better of the two versions."
Video link
Video link (1964 Newport Festival live version, 6 months prior to the studio recording)
62. Led Zeppelin - Babe I'm Gonna Leave You
Points: 656
Biggest fans: Nassim (#7), nicolas (#11), Henry (#12)
Position in AM 3000: not listed
Position in 1969 poll: #4
Style: Hard Rock
Written by Anne Bredon in the late 50s, covered by Joan Baez on her 1962 album "Joan Baez in Concert Vol. 1" credited as traditional, covered also by Led Zeppelin from Joan Baez version and credited initially as "Trad. Arr. Page". According to Wikipedia "in the 1980s, Bredon was made aware of Led Zeppelin's version of the song. Since 1990 the Led Zeppelin version has been credited to Anne Bredon/Jimmy Page & Robert Plant, and Bredon received a substantial back-payment in royalties."
Recorded by Led Zeppelin on October 1968 at Olympic Studios, London, England produced by Jimmy Page
Released on January 12, 1969 on Atlantic label as the second song of "Led Zeppelin" album (Atlantic SD 8126)
Highest chart position: #10 on US Billboard 200 and #6 on UK Top 75 (the album)
Comments: Bill Janovitz for allmusic: "The song is based around a Jimmy Page minor-key acoustic figure over which vocalist Robert Plant croons a well-worn warning about being a rambling man. The rhythm section - one of the greatest and most influential in rock & roll history - of John Paul Jones on bass and John Bonham on drums, kicks in on an almost flamenco pre-chorus riff and, finally, a descending, syncopated, and hard-rocking chorus that incites Plant into his trademark upper-register howl."
Listyguy: "I can think of at least 5 60's Zep songs better than this one."
nicolas: "I've always had a special love for Led Zep's acoustic ballads. The guitar parts are always amazing. The kind of songs I tried to play on the guitar in my room when i was a teen."
You Tube link
You Tube link (1969 live version)
61. Dionne Warwick - Walk on By
Points: 670
Biggest fans: sonofsamiam (#11), Charlie Driggs (#13), Honorio (#17)
Position in AM 3000: #47 of the 1960s and #109 of all time
Position in 1964 poll: #4
Style: Brill Building
Written by Burt Bacharach and Hal David
Recorded by Dionne Warwick on November 1963 at Bell Sound Studios, New York City produced by Burt Bacharach and Hal David
Released on April 26, 1964 on Scepter label (Scepter 1274)
Highest chart position: #6 on US Billboard Hot 100 (and #1 on Billboard Hot R&B Sides)
Comments: Jason Ankeny for allmusic: "Perhaps the most balanced collaboration in their catalog, "Walk on By" (a beautifully wrought look at the public face of private heartbreak) captures all three at the top of their respective games: Warwick's vocal is tough yet tender, David's lyrics are direct yet devastating, and Bacharach's music - distinguished by its stop-and-go woodblock rhythm, mournfully lush bridge, and that unforgettable flügelhorn - is dynamic yet nuanced. (...) "Walk on By" still seems like a microcosm of Bacharach and David's genius, both with and without Warwick - its poignancy and elegance are unmatched, and for all its structural complexity and textural intricacy, it speaks most directly to the heart."
Honorio: "A lesson on style directly from the Brill Building. The perfect conjunction of songwriting (Bacharach/David) and performance (Warwick). Class."
You Tube link
Of course, I had all three VU in my bottom ten. Heroin was my highest rated VU song at 93.
I guess it shows that I'm just not that big a fan of noise, drone, screeching violas, drug-laden lyrics presented with talking/singing vocals, and purposeful off-key striking of the piano coupled with poor sound production.
But, it seems that I am in the minority among AMers.
I placed 9 of the 11 Beatles songs in the bottom 25, 5 of which in the bottom 10, but I don't keep mentioning that. Oh damn, now I did it anyway.
I wonder how far VU will climb in the singles poll. There seem to be a very large faction of folks in these polls who love noise, drone and songs about drug addiction
Any predictions for Heroin in the top 10 of the decade?
Where else (other than these polls this year) has VU ever done so well?
Obviously I'm not going to reveal the final positions of the three Velvet songs but... "Heroin" as the best ranked Velvet song? Or it's going to be "Sunday Morning" as Listyguy suggests? Or maybe "Venus in Furs" is going to be the poll surprise? Well, well, well, you can place your bets...
Hey, Henry, nice list of songs about drugs, I didn't knew some of them. This could be a quite interesting subject for a new thread. If you don't mind I'm going to reproduce a funny list from Rockdelux. César Estabiel published in Rockdelux special issue on #200 his personal list with albums reproducing the effects of some drugs (he specified that "the association does not imply that the artist wrote or recorded the album under the effects of this substance"). Shamely he only included albums released during the lifetime of the magazine (1984-2002 then), otherwise it could have been better. Anyway here it is:
- Alcohol: GAVIN BRYARS / TOM WAITS "Jesus' Blood Never Failed Me Yet" (1993)
- Cocaine: PRIMAL SCREAM "Exterminator" (2000)
- Heroin: SPACEMEN 3 "The Perfect Prescription" (1987)
- Ketamine: APHEX TWIN "Drukqs" (2001)
- LSD: MERCURY REV "Boces" (1993)
- Marihuana: FILA BRAZILLIA "Luck Be a Weirdo Tonight" (1997)
- MDMA (ecstasy): ORBITAL "Orbital (2)" (1993)
A You Tube link of that moving Gavin Bryars piece. Please allow me to copy a statement from Bryars about the genesis of the song:
"In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song - sometimes bits of opera, sometimes sentimental ballads - and one, who in fact did not drink, sang a religious song "Jesus' Blood Never Failed Me Yet". This was not ultimately used in the film and I was given all the unused sections of tape, including this one.
When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song - 13 bars in length - formed an effective loop which repeated in a slightly unpredictable way. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back I found the normally lively room unnaturally subdued. People were moving about much more slowly than usual and a few were sitting alone, quietly weeping.
I was puzzled until I realised that the tape was still playing and that they had been overcome by the old man's singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the tramp's nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism."
Oops, sorry for getting the thing so far away from the original subject: the songs from the 60s. Or not? Music + drugs = 60s, am I right?
So ten more songs and we're on the Top 50 (after this I'm going to take a short break, I'm going to France to see les Chateaux de la Loire). A top 50 with only 6 songs from the 1960-1964 period (but what a great six!).
... And there goes John and Chris number ones.
60. Jacques Brel - Amsterdam
Points: 671
Biggest fans: nicolas (#3), Nassim (#8), Otisreddding (#27)
Position in AM 3000: not listed
Position in 1964 poll: #10
Style: Chanson
Written by Jacques Brel (with music inspired by the traditional English folk song "Greensleeves")
Recorded by Jacques Brel on October 17, 1964 at Théâtre de l'Olympia, Paris, France with Gérard Jouannest et son Ensemble and the Grand Orchestre de l'Olympia conducted by François Rauber
Released on December 1964 on Barclay label opening the 10" album "Olympia 64" (Barclay 80 243 S)
Highest chart position: not available
Comments: Dave Thompson for allmusic: " "Amsterdam" is another of those Jacques Brel songs that have ascended to legend more for the power (or, at least, the commercial potency) of subsequent English-language covers, than for its importance to Brel's own canon. Indeed, this lament for the seamen who call the Dutch city home was never even accorded a studio recording by Brel - his only released version is that which opens the 1964 Live at the Paris Olympia album. Nevertheless, it is a powerful song, and one of his crudest, as any realistic look at the dockside life of its protagonists must be - whores, alcohol and vomit all pass through a lyric that earned considerable censure at the time."
nicolas: "Do I have the right to say that is by far the best Jacques Brel song ? Recorded live and never cut in the studio afterwards, it's the fantasised ode of a young bourgeois son of Bruxelles to the rough spontaneity of the working class, a kind of freedom that he'll never reach in spite of his costant efforts. "They piss like I cry on unfaithful women"... For those unaware, the live album Olympia 64 (sadly absent from the final albums list) is a pure wonder."
You Tube link (1964 original live version)
59. Glen Campbell - Wichita Lineman
Points: 674
Biggest fans: sonofsamiam (#2), nicolas (#5), Henrik (#15)
Position in AM 3000: #47 of the 1960s and #109 of all time
Position in 1968 poll: #8
Style: Country Pop
Written by Jimmy Webb
Recorded by Glen Campbell in 1968 at Capitol Recording Studio, Hollywood, California produced by Al De Lory
Released on October 1968 on Capitol label (Capitol 2302)
Highest chart position: #3 on US Billboard Hot 100 (and #1 on Billboard Hot Country Singles)
Comments: Ed Hogan for allmusic: "Songwriter Jimmy Webb was driving along the Kansas-Oklahoma border when he saw a lonesome telephone lineman working solemnly atop a telephone pole when he got the idea for "Wichita Lineman." Glen Campbell had previously had a number 26 pop hit with the Webb song "By the Time I Get to Phoenix" and the songwriter thought "Wichita Lineman" would be perfect for him."
Novafunny: "In the first recording, by Glen Campbell, a notable feature of Al de Lory's orchestral arrangement is that the violins and a Gulbransen Synthesizer mimic the sounds that a lineman might hear when attaching a telephone earpiece to a long stretch of raw telephone or telegraph line."
nicolas: "The forgotten masterpiece of the 60's. Glenn Campbell, who played with the Beach Boys, is a wonderful singer, between pop and country. And what a melody ! Don't miss this great video from the 2000s, in which Glenn is recording with Stone Temple Pilots. You Tube link"
You Tube link
You Tube link (1969 TV performance)
58. The Beach Boys - Don't Worry Baby
Points: 679
Biggest fans: John (#1), Miguel (#13), Jackson (#16)
Position in AM 3000: #61 of the 1960s and #149 of all time
Position in 1964 poll: #7
Style: Sunshine Pop
Written by Roger Christian and Brian Wilson
Recorded by The Beach Boys on February 20, 1964 at Western Recorders Studios, Hollywood, California produced by Brian Wilson
Released on May 11, 1964 on Capitol label as B-side of "I Get Around"(Capitol 5174)
Highest chart position: #24 on US Billboard Hot 100 (the A-side went to #1)
Comments: Donald A Guarisco for allmusic: "The Beach Boys' recording perfectly captures the song's mixture of swooning emotions and heartfelt romance with a stylish Brian Wilson vocal arrangement: the group's multi-tracked harmonies blend choir-like purity with full-blooded emotion and Brian Wilson's falsetto lead gives the song just the right touch of vulnerability. The instrumentation is kept simple but does its job nicely: throbbing piano lines, insistent drumming, and plucked guitar notes quietly build a necessary tension beneath the deep-dish harmonies. Simply put, the sophistication that infuses every angle of "Don't Worry Baby" makes it one of the Beach Boys' towering achievements."
You Tube link
You Tube link (1964 TV appearance)
57. The Beach Boys - I Get Around
Points: 685
Biggest fans: Miguel (#10), Stephan (#20), Honorio (#21)
Position in AM 3000: #94 of the 1960s and #250 of all time
Position in 1964 poll: #3
Style: Surf Rock
Written by Mike Love and Brian Wilson
Recorded by The Beach Boys on April 2, 1964 (instrumental) and April 10, 1964 (vocals) at Western Recorders Studios, Hollywood, California produced by Brian Wilson
Released on May 11, 1964 on Capitol label (Capitol 5174)
Highest chart position: #1 on US Billboard Hot 100
Comments: Donald A Guarisco for allmusic: "This pop gem, the Beach Boys' first number one hit, found the group's style growing exponentially in many different areas. In the lyrical area, it was notable for the autobiographical touch it brought to its sun-and-fun narrative. On the surface, it presents an early-'60s teen male fantasy of being part of a cool crowd but a look beneath the surface reveals the tension of that awkward age between childhood and adulthood (...) The melody for "I Get Around" lives up to this layered narrative with an equally complex tune that juxtaposes swaggering rock-styled verse melodies with a sweet, purely pop chorus that ascends to heavenly heights. (...) The vocals are what push the song into the stratosphere: the song kicks of with a stunning multi-part a cappella vocal intro and the rest of the song builds tension and color by pitting Mike Love's nasal growl on the verses against Wilson's heavenly falsetto on the chorus."
Honorio: "It sounds fresh and spontaneous but yet meticulosuly crafted and tightly assembled. This is how the endless summers sounds."
You Tube link
You Tube link (1964 awesome live version)
56. Ben E. King - Stand By Me
Points: 689
Biggest fans: Romain (#6), Rocky Raccoon (#21), sonofsamiam (#23)
Position in AM 3000: #31 of the 1960s and #67 of all time
Position in 1961 poll: #3
Style: Soul Pop
Written by Ben E. King, Jerry Leiber and Mike Stoller
Recorded by Ben E. King on October 27, 1960 at Atlantic Records Studio, New York City produced by Jerry Leiber and Mike Stoller
Released on May 8, 1961 on ATCO label (Atco 6194)
Highest chart position: #4 on US Billboard Hot 100 (and #1 on Billboard Hot R&B Sides)
Comments: Donald A Guarisco for allmusic: " "Stand By Me" sounds like it wasn't written, that it just always existed - it wasn't heard until Ben E. King released it as a single in the spring of 1961. (...) It had the same elegance as "Spanish Harlem," but there was a big difference. It was slower, statelier, anchored by one of the most memorable non-blues walking bass lines in history and King's warm, refined delivery. His performance is surrounded by a superb, subtle arrangement, where the majestic orchestra doesn't sweep in until the bridge where it cleverly disguises a key change. Best of all, "Stand By Me" played like a love song, but it wasn't. It was a testament to friendship, one of the best of its kind in pop history. Perhaps that's why it was also one of the most endearing songs of the rock era."
You Tube link
You Tube link (1960s TV appearance)
55. Dick Dale and the Del-Tones - Miserlou
Points: 697
Biggest fans: Henrik (#2), Mindrocker (#6), Honorio (#26)
Position in AM 3000: #431 of the 1960s and #2006 of all time
Position in 1962 poll: #2
Style: Surf Rock
Written by unknown composer, traditional Greek folk song (first performed by Michalis Patrinos rebetiko band in 1927). The Dale version was credited to Milton Leeds, Nicholas Rubanis, Chaim Tauber and Fred Wise.
Recorded by Dick Dale and the Del-Tones in 1962 produced by Jim Monsour (Dale's father)
Released on May 1962 on Deltone label (Deltone 5019)
Highest chart position: not ranked
Comments: Wikipedia: "The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962. During a performance, Dale was bet by a young fan that he could not play a song on only one string of his guitar. Dale's father and uncles were Lebanese-American musicians, and Dale remembered seeing his uncle play "Misirlou" on one string of the oud. He vastly increased the song's tempo to make it into rock'n'roll. It was Dale's version that introduced "Misirlou" to a wider audience in the United States as "Miserlou"."
You Tube link
You Tube link (1963 "A Swinging Affair" movie version)
54. The Zombies - She's Not There
Points: 699
Biggest fans: John (#5), Otisredding (#22), Charlie Driggs (#23)
Position in AM 3000: #173 of the 1960s and #626 of all time
Position in 1964 poll: #6
Style: Mod
Written by Rod Argent
Recorded by The Zombies on June 12, 1964 at Decca Studios, London, England produced by Ken Jones
Released on July 24, 1964 on Decca label (Decca F 11940)
Highest chart position: #2 on US Billboard Hot 100
Comments: William Ruhlmann for allmusic: " "She's Not There" is the kind of song that makes you think its composer is a major talent destined for a long and prolific career, which is not quite what happened. In 1964, Rod Argent, the keyboard player in the Zombies, was challenged by U.K. Decca Records producer Ken Jones to write a hit record for his group, which had just won a talent contest leading to a contract with the label. He came up with "She's Not There," a spooky minor-key tune with a lyric in which the singer takes out his frustration over a duplicitous (and, of course, absent) woman on a friend who failed to warn him about her in the first place. The Zombies gave the song a recording that mixed Argent's jazzy electric piano playing and Colin Blunstone's ethereal vocal with a turn toward Merseybeat rave-up on the choruses."
You Tube link
You Tube link (1965 live version)
53. John Coltrane - My Favorite Things
Points: 711
Biggest fans: sonofsamiam (#6), nicolas (#7), Honorio (#22)
Position in AM 3000: #361 of the 1960s and #1597 of all time
Position in 1961 poll: #2
Style: Modal Jazz
Written by Richard Rodgers and Oscar Hammerstein II
Recorded by John Coltrane on October 21, 1960 at Atlantic Studios, New York City produced by Nesuhi Ertegün
Released on March 1961 on Atlantic label opening the album of the same name (Atlantic SD 1361) and on April 1961 as a single divided in two parts (Atlantic 45-5012)
Highest chart position: not charted
Comments: Lindsay Planer for allmusic: "The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio - most notably Tyner - gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking."
Honorio: "The importance of the performer. I can't stand the song as sung by Julie Andrews but the Coltrane version send shivers down my spine."
nicolas: "With his unusual soprano sax, Coltrane plays on "Favorite Things" a music out of nowhere, with a totally new sound. This song was love at first listening for me."
You Tube link (Part 1)
You Tube link (Part 2)
You Tube link (1961 live version)
52. Procol Harum - A Whiter Shade of Pale
Points: 713
Biggest fans: Charlie Driggs (#7), Brad and Romain (#27)
Position in AM 3000: #51 of the 1960s and #117 of all time
Position in 1967 poll: #6
Style: Progressive Rock
Written by Gary Brooker, Matthew Fisher and Keith Reid
Recorded by Procol Harum on April 1967 at Olympic Studios, London, England produced by Denny Cordell
Released on May 12, 1967 on Deram label (Deram DM 126)
Highest chart position: #1 on UK Singles Chart and #5 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: "With their 1967 debut single "A Whiter Shade of Pale," Procol Harum managed a remarkable feat attempted, but unattained, by many many rock groups: creating a classic and huge-selling record that genuinely did not sound like any previous rock recording. (...) "A Whiter Shade of Pale" married classical and rock music, and was a key building block of progressive rock, even though it was very much a psychedelic keystone as well. The principal hook of "A Whiter Shade of Pale" (...) is its cathedral-toned organ riff, loosely based on Bach's Air on a G String. The vocal verses are yet more loosely based on that melody, though the lyrics are extremely obscure for a pop song. Obviously influenced by the free-association imagery of Bob Dylan, it did not necessarily but could have been impressions of a drug experience (...) Gary Brooker sings like a psychedelic Ray Charles, and really wrenches into the depths of his bellow when the tempo briefly stutters before the line "and so it was," accompanied by a similarly wrenching swirl of the organ."
You Tube link
You Tube link (1967 live version)
51. The Beatles - For No One
Points: 717
Biggest fans: Chris (#1), Henry (#15), nicolas (#16)
Position in AM 3000: bubbling under
Position in 1966 poll: #7
Style: Baroque Pop
Written by John Lennon and Paul McCartney
Recorded by The Beatles on May 9, 16 and 19, 1966 at EMI Studios, London, England produced by George Martin
Released on August 5, 1966 on Parlophone label as the tenth song on "Revolver" albums (Parlophone PCS 7009)
Highest chart position: #1 on US Billboard 200 (the album)
Comments: Thomas Ward for allmusic: "One of Paul McCartney’s great ballads with The Beatles, “For No One” is a simply beautiful song, full of idiosyncratic McCartney touches, yet undeniably inspired. Usually assumed to have been written about Jane Asher, “For No One” contains a beautifully poised vocal – “Your day breaks/Your mind aches/You find that all her words of kindness linger on/when she no longer needs you”. This is a mature, confident lyric from McCartney, but it doesn’t compare to the melody, which is one of the most inspired of the singer’s whole career. The descending bass line is also a treat, creating a pivot for the rather advanced harmonies. The French Horn solo, in which McCartney pushed the soloist beyond the instrument’s natural range is similarly inspired. Simply one of the most delicate and fine ballads of the Beatles entire canon."
nicolas: "It's one of my favorite separation songs."
You Tube link
A Whiter Shade Of Pale beaten out by For No One
That's one explanation for why a song can do well in Bracketology (or even better in all-time polls where people strictly vote their favorites) and not as well where everyone votes for everything.
The real question about this song is :"How this song can be found in anybody's top 5000 ?".
For me, if I can make a comparison, when I listen this kind of songs, it's like watching Santa Barbara in TV. I have the same kind of feelings.
It's so .....cheesy
That's one explanation for why a song can do well in Bracketology (or even better in all-time polls where people strictly vote their favorites) and not as well where everyone votes for everything.
The real question about this song is :"How this song can be found in anybody's top 5000 ?".
For me, if I can make a comparison, when I listen this kind of songs, it's like watching Santa Barbara in TV. I have the same kind of feelings.
It's so .....cheesy
I, and many many others, will have to agree to disagree. And I'm sure I'd feel the same way about some of your favorites, to be quite honest...
That's one explanation for why a song can do well in Bracketology (or even better in all-time polls where people strictly vote their favorites) and not as well where everyone votes for everything.
The real question about this song is :"How this song can be found in anybody's top 5000 ?".
For me, if I can make a comparison, when I listen this kind of songs, it's like watching Santa Barbara in TV. I have the same kind of feelings.
It's so .....cheesy
There probably is a big divide on the song. I'm sure I ranked it close to 100 for the same reasons Romain doesn't like it.
And (after a pleasant vacation in France) here we go again...
About "Wichita Lineman" it was not to high on my list too but probably it was because of too much competition. The song is great, the string arrangement mimicking the sounds of the telephone line were innovative and, in Dylan Jones words for The Independent, it was "the first existential country song".
Great group now...
50. Bob Dylan - Visions of Johanna
Points: 719
Biggest fans: Chris K (#7), Otisredding (#11), Stephan (#13), Listyguy (#18)
Position in AM 3000: #169 of the 1960s and #596 of all time
Position in 1966 poll: #10
Style: Folk Rock
Written by Bob Dylan
Recorded by Bob Dylan on February 14, 1966 at Columbia Recording Studios, Nashville, Tennessee produced by Bob Johnston
Released on May 16, 1966 on Columbia label as the third song on "Blonde on Blonde" album (Columbia C2L 41)
Highest chart position: #9 on US Billboard 200 (the album) and #3 on UK 75
Comments: Bill Janovitz for allmusic: "A sprawling (7:27) epic with no traditional pop chorus, "Visions of Johanna" is a view of an unattainable woman set against the backdrop of a mostly nocturnal downtown Manhattan. The lyrics are impressionistic, stream-of-consciousness, druggy, and surreal. The images are fleeting. The singer seems trapped with "Louise" while he desires and seems to chase the allusive Johanna. The journey takes Dylan through lofts, the D train, a museum, empty lots, and through snippets of overheard conversation, as well as a discussion with some "little boy lost," who "takes himself so seriously," and who is "so useless and all/muttering small talk at the wall" (this could possibly be a swipe at a critic). Meanwhile, through all the mundane and absurd, "these visions of Johanna" are haunting the singer."
Listyguy: "Some of Dylan's best lyrics, like he had any bad ones."
You Tube link
Video link (1966 'Royal Albert Hall' live version)
49. The Stooges - I Wanna Be Your Dog
Points: 730
Biggest fans: Jackson (#8 ), Honorio (#14), Chris K (#19), Mindrocker (#21)
Position in AM 3000: #104 of the 1960s and #302 of all time
Position in 1969 poll: #8
Style: Proto-Punk
Written by Dave Alexander, Ron Asheton, Scott Asheton and James Osterberg (aka Iggy Pop)
Recorded by The Stooges on April 1-10, 1969 at Hit Factory Studios, New York City produced by John Cale
Released on August 5, 1969 on Elektra label as the second song on "The Stooges" album (Elektra EKS 74051) and later as a single on October 1969 (EK 45664)
Highest chart position: #106 on US Billboard 200 (the album), the single did not chart
Comments: Dave Thompson for allmusic: "The opening guitar is overpowering, the central riff is a churning leviathan. But it is the one finger piano that dominates "I Wanna Be Your Dog," a self-confessedly messed-up love song that makes even the Velvet Underground's sagas of sexual deviation and disgrace sound somehow tame. There, after all, the beaters and the beaten sound almost guilty about their pleasures. Iggy Pop, on the other hand, revels in his subservience -- "I'll lay right down in my favorite place"."
Honorio: "Rock & roll should always be like that: wild, dirty, loud, vicious, sweaty, furious, raw and dangerous. Search and destroy."
You Tube link
You Tube link (1979 live version)
48. Stan Getz/João Gilberto - The Girl From Ipanema
Points: 732
Biggest fans: Otisredding (#9), Honorio and sonofsamiam (#12), John (#13)
Position in AM 3000: #153 of the 1960s and #553 of all time
Position in 1964 poll: #5
Style: Jazz Samba
Written by Antônio Carlos Jobim and Vinícius de Moraes, with English lyrics by Norman Gimbel
Recorded by Stan Getz and João Gilberto (featuring Antônio Carlos Jobim and introducing Astrud Gilberto) on March 18-19, 1963 at A&R Recording Studios, New York City produced by Creed Taylor
Released on March 1964 on Verve label opening the album "Getz/Gilberto" (Verve V6-8545) in a complete 5'25" version and later in an edit version (2'44") as a single on June 1964 (Verve VK-10322) credited to Getz/Gilberto, vocal by Astrud Gilberto
Highest chart position: #2 on US Billboard 200 (the album) and #5 on US Billboard Hit 100 (and #1 on Adult Contemporary Chart)
Comments: Bill Janovitz for allmusic: "It is amusing to note that "The Girl From Ipanema" did not include the famous sultry vocals of Gilberto's wife, Astrud, until the last minute. Indeed, she was not even credited on the original release of the record. Over the lilting samba rhythms and around Getz's cool sax lines, Joao Gilberto had laid down his Portuguese lyrics on the track in his trademark soft and simple voice, but producer Creed Taylor, sensing the commercial possibilities of the song, requested an English adaptation of some of the lines. Astrud, who was just along for the visit to New York, was the only Brazilian who understood English enough to sing the adaptation by famed lyricist Norman Gimbel. With no musical background, she stepped to the microphone and sang the words Gimbel had adapted (they are not a literal translation) with an authentic sense of innocence and austerity, the perfect mood for the lyrics."
Listyguy: "I've got a Brazilian friend who loves this song."
Honorio: "Vinícius de Moraes and Antônio Carlos Jobim used to go to Ipanema Beach to chat and have some drinks at the terrace of the Veloso Bar. One fine day that graceful garota (girl) passed by and right there they laid down that tune. It’s amazing that such a daily affair (who had not fallen immediately in love with some pretty thing walking?) gave birth to a superb song that swings and sways just like the hips of Helô Pinheiro, the name of that real girl from Ipanema."
You Tube link
You Tube link (1964 single edit)
You Tube link (1964 live version by Astrud Gilberto and Stan Getz)
47. The Zombies - Hung Up on a Dream
Points: 736
Biggest fans: Charlie Driggs (#2), Brad (#3), Jackson and sonofsamiam (#9)
Position in AM 3000: not listed
Position in 1968 poll: #6
Style: Baroque Pop
Written by Rod Argent
Recorded by The Zombies on June 1967 at EMI Studios, London, England produced by The Zombies
Released on April 19, 1968 on CBS label as the seventh song (closing the A-side) on the album "Odessey and Oracle" (CBS S63280), it was released on the US on Date label on June 1968 (Date TES 4013)
Highest chart position: #95 on US Billboard 200 (the album)
Comments: Matthew Greenwald for allmusic: "Filled with an incredible atmosphere, "Hung Up on a Dream" closed out side one of the Zombies' Odessey & Oracle album with a bang. Although easily one of the group's trippiest songs, it was not inspired by LSD, as the group was notoriously straight. The melody moves with a breezy grace before breaking into a heavy, psychedelic bridge and chorus. The dynamics are pretty breathtaking and showed the group's ability to take on current musical trends without having to resort to self-parody."
You Tube link
46. Bob Dylan - Subterranean Homesick Blues
Points: 740
Biggest fans: Stephan (#4), Charlie Driggs and Jackson (#15), Otisredding and Rocky Raccoon (#16)
Position in AM 3000: #57 of the 1960s and #135 of all time
Position in 1965 poll: #8
Style: Blues Rock
Written by Bob Dylan
Recorded by Bob Dylan on January 14, 1965 at Columbia Recording Studios, New York City produced by Tom Wilson
Released on March 8, 1965 on Columbia label (Columbia 4-43242)
Highest chart position: #39 on US Billboard Hot 100 and #9 on UK Top 75
Comments: William Ruhlmann for allmusic: "It seems fair to say that, when it was released in March 1965, Bob Dylan's "Subterranean Homesick Blues" was totally unexpected by most people, that it sounded like nothing anybody had ever heard before, and that it utterly transformed Bob Dylan's career and the history of popular music along with it. (...) It wasn't a protest song in the way that some of Dylan's earlier songs had been, but the lyrics clearly expressed social discontent, with lines like "Twenty years of schoolin'/And they put you on the day shift." Dylan spat out the words in a staccato rhythm while the band rollicked along in a ramshackle manner. The whole thing was oddly exhilarating, but "Subterranean Homesick Blues" was easily the strangest single Columbia Records had ever released."
You Tube link (the first "modern" video clip directed by Arthur D. Pennebaker)
Glad you liked it, Dan M. Here it is a glimpse of Helô Pinheiro...
And, Romain, we did not visit so many castles to do a Top 10 but surely I can do a Top 5:
1. Chambord (spectacular, a delicious day with the rented bykes).
2. Chennonceau (not by the river but over the river).
3. Villandry (fantastic gardens).
4. Langeais (a medieval castle).
5. Ussé (the 'Sleeping Beauty' castle).
Some beautiful images of Chambord and Chenonceau:
The #45 should be Top 25 in my humble opinion (and Nassim's of course)...
45. Nick Drake - River Man
Points: 741
Biggest fans: Nassim (#1), Henrik (#5), sonofsamiam (#10), Honorio (#19)
Position in AM 3000: #226 of the 1960s and #890 of all time
Position in 1969 poll: #5
Style: Chamber Folk
Written by Nick Drake
Recorded by Nick Drake on 1969 (probaby June) at Sound Techniques, London, England produced by Robert Kirby and John Boyd (with string arrangement by Harry Robinson)
Released on September 1, 1969 on Island label as the second song of the album "Five Leaves Left" (Columbia 4-43242)
Highest chart position: not charted
Comments: Nico Castro for Super 45 (English translation by Honorio Barranco): "Everything was perfect till they came to "River Man". The second song from the album was, according to Boyd, the centre piece of the album. Despite being one of the few songs played on a standard tuning, the 5/4 timing was too much for Robert Kirby. (...) Boyd suggested immediately Harry Robison, an experienced composer of musicals and sountracks for movies and TV. The producer travelled with Drake to visit him at Barnes Common, a rural place out of London outskirts now a natural reserve. There Drake played the song and told him what he wanted. (...) The recording was made live, with Nick Drake surrounded by twelve musisians conducted by Robinson. The arrangements had a preponderance of the violas in order to give to "River Man" the warmth and strenght that Drake required. The session would be remembered for years by Boyd and Wood (the recording engineer) as one of the most intense musical moments of their lives."
Honorio: "The whispered Darke voice, the softly strummed guitars, the delicate but ominous strings, the dark and autumnal ambiance. So beautiful that it hurts."
You Tube link
44. The Jimi Hendrix Experience - Hey Joe
Points: 741
Biggest fans: Chris K (#8 ), Romain (#13), nicolas (#19), John (#20)
Position in AM 3000: #87 of the 1960s and #229 of all time
Position in 1966 poll: #8
Style: Blues Rock
Written by Billy Roberts (but often credited to Dino Valenti), according to Wikipedia some sources "claim that Roberts assigned the rights to the song to his friend Valenti while Valenti was in jail, in order to give him some income upon release". On Hendrix single it was credited as "Trad. arr. Hendrix"
Recorded by The Jimi Hendrix Experience on October 23, 1966 at De Lane Lea Studios, London, England produced by Chas Chandler
Released on December 16, 1966 on UK on Polydor label (Polydor 56.139) and on USA on May 1, 1967 on Reprise label (Reprise 0572)
Highest chart position: #6 on UK Top 75, failed to chart on the USA
Comments: John Bush for allmusic: "On October 23, 1966, three weeks after the Jimi Hendrix Experience formed, the trio entered the studio for the first time. Hendrix, bassist Noel Redding, and drummer Mitch Mitchell recorded a song that manager Chas Chandler heard Hendrix playing in New York, a slowed-down version of the hit making waves for the Leaves in America. Though singer/songwriter Tim Rose deserves credit for being the first to divert from the fast-paced garage reading of the song, Hendrix made it his own as soon as his single was released (according to Mitchell, the first version recorded was the one used for the master). With Mitchell's lone snares sounding like shots from a gun, and Redding's walking bass echoing the on-the-move nature of the song, Hendrix delivers the vocal (one of his first, after a long history of backup roles) with a fitting type of careless unease."
Listyguy: "You can't mess with Jimi."
You Tube link
You Tube link (the legendary 1967 live performance at Monterey Festival with the teeth and behind-his-back solos)
43. The Beatles - A Hard Day's Night
Points: 745
Biggest fans: Henry and Mindrocker (#8 ), John (#18 ), Henrik (#25)
Position in AM 3000: #131 of the 1960s and #434 of all time
Position in 1964 poll: #9
Style: Pop Rock
Written by John Lennon and Paul McCartney
Recorded by The Beatles on April 16, 1964 at EMI Studios, London, England produced by George Martin (it was composed, rehearsed and recorded in less than 24 hours)
Released first on the USA on United Artists label opening the album "Original Motion Picture Sound Track: A Hard Day's Night" (UAS 6366) and later as a single on July 10, 1964 on UK on Parlophone label (Parlophone R 5160) and on USA on July 13, 1964 on Capitol label (Capitol 5222)
Highest chart position: #1 on US Billboard Hot 100 and on UK Top 75
Comments: John Bush for allmusic: "Perhaps no sonic flourish epitomizes the spirit of the Beatles - and indeed the entire British Invasion - more than the jubilant 12-string guitar chord that opens "A Hard Day's Night." (That George Harrison chord, incidentally, is Gm7 add 11.) It was that chord, and song, which introduced the movie of the same name, a film that in turn embodied Beatlemania at its apogee. (...) The song itself mirrored the Beatles' boundless enthusiasm more than almost anything else Lennon-McCartney wrote, particularly when McCartney joined Lennon in the closing lines of the verse, singing of getting home to their loves and feeling alright with a joy and anticipation that is downright fierce. Effective juxtaposition of bridge and verse is a Beatles specialty, but on "A Hard Day's Night" they outdid even themselves, as the Lennon-sung verse yields to a more wistful, haunting bridge sung by McCartney. McCartney is one of the greatest upper-register singers in rock & roll, and he was rarely better or more effervescent than he was when he reached the bridge's climax in "A Hard Day's Night"."
You Tube link (the brilliant opening credits of the movie directed by Richard Lester)
You Tube link (1964 live version)
42. The Doors - Light My Fire
Points: 761
Biggest fans: nicolas (#4), Charlie Driggs (#11), Romain (#18 ), Jackson and Rocky Raccoon (#19)
Position in AM 3000: #19 of the 1960s and #34 of all time
Position in 1967 poll: #5
Style: Psychedelic Rock
Written by John Densmore, Robby Krieger, Ray Manzarek and Jim Morrison
Recorded by The Doors on August 24-31, 1966 at Sunset Sound Recorders, Hollywood, California produced by Paul A. Rothchild
Released on January 4, 1967 on Elektra label on a complete version (lasting 7'08") as the sixth song (closing the A-side) of the album "The Doors" (EKS 74007) and later in an edited version (lasting 2'52") as a single on April 1967 (EK-45615)
Highest chart position: #1 on US Billboard Hot 100
Comments: Lindsay Planer for allmusic: "The track that propelled the Doors onto the charts and into the collective consciousness of rock ‘n’ roll. The undeniably catchy melody and pulsating Bossa Nova rhythms support Morrison’s obvious and blatantly sexual lyrics. Although the song is officially credited to the band, it was actually guitarist Robbie Krieger who came up with the “C’mon baby, light my fire …” hook. The performance however is a group effort in the classic sense, as they symbiotically propel each other into some remarkably intense and emotionally charged interaction. This is not only true of the studio version, as the presence of a live audience often intensified the band’s resolve. Specifically, the instrumental trio’s improvisational skills are honed when coupled with their uncanny ability to instinctually support Morrison’s mostly non-verbal and inaudible cues. (...) The track has a colourful performance history as well - highlighted by their first - and likewise their last - appearance on the Ed Sullivan Show. Legend has it that after promising - and subsequently reneging - to replace the word “higher”, during the live coast-to-coast broadcast, the Doors were ex communicated from ever appearing on the weekly variety show again."
nicolas: "While UK had Jagger, America find its ultimate sex-symbol in Jim Morrison, an adept of lascivious poses and leather pants, the one who will recycle the beatnik poets of the 50s for dumbfounded students. And a great performer and singer, haunted by the real blues. But the Doors are not just Lizard Jim. The instrumental part on this huge song is simply jaw-droppingly gorgeous."
You Tube link
You Tube link (1967 live version on the Ed Sullivan show)
41. The Kinks - You Really Got Me
Points: 765
Biggest fans: Henry (#6), Miguel (#7), Stephan (#17), Romain (#19)
Position in AM 3000: #11 of the 1960s and #18 of all time
Position in 1964 poll: #2
Style: Mod
Written by Ray Davies
Recorded by The Kinks on July 12, 1964 at IBC Studios, London, England produced by Shel Talmy (a previous slower version, recorded on June 15 at Pye Studios, was rejected)
Released on August 4, 1964 on UK on Pye label (Pye 7N.15673) and on USA on August 26, 1964 on Reprise label (Reprise 0306)
Highest chart position: #1 on UK Top 75 and #7 US Billboard Hot 100
Comments: Denise Sullivan for allmusic: "The Kinks originally recorded "You Really Got Me" in 1964, but elected to cut it again; the second version is the one we've come to know and love. To explain why and how this song works would be against its very nature; it operates on a purely visceral level. Those chords, the riff, and the sentiment "you really got me" are basically all you need to understand its essence. At the time, it was likened to a play on the ambiguous "Louie Louie," another classic from the era. But a few facts are in order: Dave Davies' fuzz-tone guitar was a groundbreaking sound at the time, achieved by him cutting the speaker of his amp with a razor blade and poking pins into it."
Listyguy: "Amazing guitar solo."
You Tube link
You Tube link (1964 live version)
Of course, I had all three VU in my bottom ten. Heroin was my highest rated VU song at 93.
I guess it shows that I'm just not that big a fan of noise, drone, screeching violas, drug-laden lyrics presented with talking/singing vocals, and purposeful off-key striking of the piano coupled with poor sound production.
But, it seems that I am in the minority among AMers.
I placed 9 of the 11 Beatles songs in the bottom 25, 5 of which in the bottom 10, but I don't keep mentioning that. Oh damn, now I did it anyway.
Stephan - You may get it. But, it still amuses me that the AMers are so enthralled with the VU. So, pardon me for sharing my amusement
I wonder if there are many other polls where the VU album is rated as the best of the 1960's, or where 3 of the top 40 songs of the 1960's were performed by VU.
Stephan - You may get it. But, it still amuses me that the AMers are so enthralled with the VU. So, pardon me for sharing my amusement
I wonder if there are many other polls where the VU album is rated as the best of the 1960's, or where 3 of the top 40 songs of the 1960's were performed by VU.
Only Venus in Furs surprises me - I don't think it's very surprising at all to see Sunday Morning and Heroin in the top 40
I wonder if there are many other polls where the VU album is rated as the best of the 1960's, or where 3 of the top 40 songs of the 1960's were performed by VU.
http://rateyourmusic.com/customchart?page=1&chart_type=top&type=album&year=1960s&genre_include=1&genres=&include=both&origin_countries=&limit=none&countries=
It's not the #1 album (VU and Nico is #3) but they do have 3 albums in the top 40 on RYM.
The singles chart has two VU songs in the top 100 but the VU didn't put out many singles. If they had I'm pretty sure RYM which takes votes from all kinds of listeners from all over the world would have at least 3 VU songs in the top 40. Face it Henry, you are in the minority when it comes to the Velvets as much as you think otherwise!
But, it seems that I am in the minority among AMers.
It's incredible how the music can be appreciated differently.
I found The VU songs hyper melodic, touching, pleasing to the hear...when Dylan for example attack me. It is cultural ?
Here it is (to Henry's delight) the first Velvet song to come out.
40. The Jimi Hendrix Experience - Voodoo Child (Slight Return)
Points: 772
Biggest fans: Romain (#2), Harold Wexler (#8 ), Listyguy (#14), Henry (#22)
Position in AM 3000: #86 of the 1960s and #225 of all time
Position in 1968 poll: #7
Style: Acid Rock
Written by Jimi Hendrix
Recorded by The Jimi Hendrix Experience on May 3, 1968 at Record Plant Studios, New York City produced by Jimi Hendrix
Released on October 16, 1968 on USA on Reprise label and on October 25, 1968 on UK on Track label as the sixteenth (and last) song on the double album "Electric Ladyland" (Reprise 2RS 6307 and Track 613008/9) and later as a single released on UK on November 1970 (Track 2095001)
Highest chart position: #1 on UK Top 75 (the single) and #1 on US Billboard Top 200 and #6 on UK Albums Chart (the album)
Comments: William Ruhlmann for allmusic: " "Voodoo Child (Slight Return)" is both one of Jimi Hendrix's best-known and influential songs and, at the same time, one of his most confusing, with the title being rendered several different ways. There are two similarly named tracks listed on the Jimi Hendrix Experience's third album, Electric Ladyland, "Voodoo Chile," a 15-minute recording that took up most of the first side of the first disc on the original double-LP release, and "Voodoo Child (Slight Return)," a five-plus-minute song that ends the album. That's right, the first one is spelled "Chile" with an "e," and the second "Child" with a "d." (...) Both tracks were recorded on the same day, May 3, 1968, albeit at different recording sessions, at the Record Plant in New York. Hendrix arrived at the studio early in the morning following a night spent at Steve Paul's the Scene, a nearby club. He and Noel Redding of the Jimi Hendrix Experience had had a falling-out the day before, and he had drafted Jack Casady, bass player for Jefferson Airplane, for the session, as well as Steve Winwood, organist for Traffic, along with regular Experience drummer Mitch Mitchell. This pickup group recorded the lengthy "Voodoo Chile," which was designed to sound like even more of an after-hours jam than it really was, as Hendrix later overdubbed crowd sounds to complete the club atmosphere, finishing the session at 9:45 a.m. Later on May 3, Hendrix returned to the Record Plant with Mitchell and a reconciled Redding. The group's publicist had arranged for ABC-TV to film the group recording, and they obligingly cut "Voodoo Child (Slight Return)" before the cameras. (...) For this version, Hendrix began with a new guitar riff played with a wah-wah pedal."
Listyguy: "The greatest guitar solos on earth."
You Tube link (edit)
You Tube link (Voodoo Chile)
You Tube link (1969 live version)
39. Roy Orbison - In Dreams
Points: 775
Biggest fans: Otisredding (#1), John (#4), nicolas (#8 ), Miguel (#21)
Position in AM 3000: #156 of the 1960s and #566 of all time
Position in 1963 poll: #2
Style: Dream Pop
Written by Roy Orbison
Recorded by Roy Orbison on January 4, 1963 at Monument Records Studios, Hendersonville, Tennessee produced by Fred Foster
Released on February, 1963 on Monument label (Monument 45-806)
Highest chart position: #7 on US Billboard Hot 100
Comments: Wikipedia: " "In Dreams", like many of Orbison's songs, rejects the verse-chorus-verse-bridge-chorus structure of the majority of rock and roll fare. Instead it mirrors the procession of falling asleep and becoming immersed in an elusive fantasy. It begins like a lullaby with minimal acoustic guitar strums, with Orbison introducing the listener to "A candy-colored clown they call the sandman" half-spoken and half-sung in a Sprechgesang fashion common in operas and other musical theater performances. The sandman puts him to sleep, where he begins singing about dreams of his lover. Drums pick up the rhythm to follow Orbison's lyrics further into subconsciousness, and a piano joins as the lyrics recount how Orbison spends time with her, accompanied by breathy backup singers. (...) Using a five- to eight-note range, Orbison's voice rises as he wakes up to find his lover gone. The song trips; the music stops and a staccato tattoo replaces it, as he cries when remembering she has left him. The climax is a powerful crescendo as he cries "It's too bad that all these things / Can only happen in my dreams", and the resolution follows his voice from falsetto to the final note an octave below as he sings "Only in dreams / In beautiful dreams", as all the instruments and singers conclude with him abruptly. The song never repeats a section. In two minutes and forty-eight seconds, it goes through seven movements with distinct melodies and chord progressions."
Honorio: "A candy-colored clown. A touch of (blue) velvet. You're mine. All the time. It's too bad that all these things can only happen in dreams."
nicolas: "Along with Brel, Orbison is the great romantic singer of the early sixties. A possum with an angel’s voice. Divine melodies, immaculate arrangements. This song, his best IMO, was re-discovered thanks to David Lynch. Don’t miss the great live album «A Black and White Night» in which he plays this song and all his classics with his pupils (Springsteen, Waits, Costello, Browne)."
You Tube link
You Tube link (David Lynch turned "In Dreams" into a nightmare for his "Blue Velvet")
You Tube link (1988 "A Black and White Night" live version)
38. Simon & Garfunkel - America
Points: 779
Biggest fans: Brad (#4), Honorio and Miguel (#6), John (#7)
Position in AM 3000: #260 of the 1960s and #1087 of all time
Position in 1968 poll: #9
Style: Singer Songwriter
Written by Paul Simon
Recorded by Simon & Garfunkel on February 2, 1968 at Columbia Studios, Hollywood, California produced by Paul Simon, Art Garfunkel and Roy Halee
Released on April 3, 1968 on Columbia label as the third song on "Bookends" album (Columbia KCS 9529), not released as a single until September 1972 (Columbia 4-45663)
Highest chart position: #25 on UK Top 75 (the single) and #1 on US Billboard Top 200 and on UK Albums Chart (the album)
Comments: Bill Janovitz for allmusic: "Simon was observing the trends of his generation - the physical restlessness and spiritual bankruptcy that the wanderlust signified. Simon, having received training in Brill Building songwriting as a young demo-singer-for-hire, merges - in the song's masterful third verse - his Bob Dylan-spurred ambition as an "important" songwriter with his commercial and traditional pop songcraft: "'Kathy, I'm lost,' I said, though I knew she was sleeping/I'm empty and aching and I don't know why/Counting the cars on the New Jersey Turnpike/They've all gone to look for America." The first line seems like yet another bit of innocuous dialogue between fellow travelers. But with the next line, the song climaxes lyrically; it might simply be a tinge that a relationship is coming to an end, but on a larger scale, Simon feels an emptiness, realizing - in the depressing light of the New Jersey Turnpike - the pointlessness of his travel and his search, which is not fulfilling his inner ache. He might even possibly be predicting a similar dead end for his peers. But it is not just a personal disappointment; the narrator goes looking for an America that Walt Whitman and Jack Kerouac have found before him, and he finds no such place; tritely speaking, there is no "there" there."
Romain: "Why this song of Simon & Garfunkel ? Where is the good songs of these fabulous guys?"
Honorio: "Paul Simon describes the journey of a young couple in a bus trip to "look for America" in which reappears Kathy (Simon’s ex-girlfriend and protagonist of other songs). The song runs with a gentle tone till it gets filled with unease ("I’m empty and aching and I don’t know why") when they realize their trip is useless because "they’ve all come to look for America"."
You Tube link
You Tube link (1981 Concert in Central Park live version)
37. The Velvet Underground & Nico - Venus in Furs
Points: 789
Biggest fans: Chris K (#2), Mindrocker (#7), Jackson (#13), Brad (#17)
Position in AM 3000: #402 of the 1960s and #1788 of all time
Position in 1967 poll: #8
Style: Art Rock
Written by Lou Reed
Recorded by The Velvet Underground & Nico on May 1966 at TTG Studios, Hollywood, California produced by Andy Warhol and Tom Wilson
Released on March 12, 1967 on Verve label as the fourth song on the album "The Velvet Underground & Nico" (Verve V6-5008 )
Highest chart position: #182 on US Billboard Top 200 (the album)
Comments: Dave Thompson for allmusic: "One of the most distinctive songs on the first Velvet Underground album, "Venus in Furs" is a haunting, ethereal viola-led paean to S & M, powered by funeral drums and Lou Reed's most sneeringly disinterested monotone - even weird sex has seldom sounded so cold and calculated although, as guitarist Sterling Morrison pointed out, "musically it's so shocking, it could have been about anything. That's what frightened people." Reed himself continued, "the prosaic truth about "Venus in Furs" is that I'd just read this book by Sacher-Masoch, and I thought it would make a great song title, so I had to write a song to go with it." He denied, however, that it was at all autobiographical. "It's not necessarily what I'm into." (...) However, when the band began shopping around for a record deal, at least one record label (Atlantic) insisted that "Venus in Furs" be dropped from the repertoire before they'd even consider signing the band, while another (Elektra) demanded that the band dispense with the viola - which amounted to much the same thing. Thankfully Verve, the band's eventual home, were less squeamish, although a version of "Venus in Furs" without the viola does exist on bootleg, recorded at Poor Richards in Chicago, with Cale taking over lead vocals from the absent (through illness) Reed."
You Tube link
You Tube link (1965 demo without viola and with Cale on vocals)
You Tube link (1966 Exploding Plastic Inevitable live version)
36. The Zombies - Time of the Season
Points: 794
Biggest fans: Charlie Driggs (#8 ), Brad (#10), John and Mindrocker (#12)
Position in AM 3000: bubbling under
Position in 1968 poll: #10
Style: Sunshine Pop
Written by Rod Argent
Recorded by The Zombies on August 1967 at EMI Studios, London, England produced by The Zombies
Released on March 1968 on the UK on CBS label (CBS 3380) and on April 1968 on the USA on Date label (Date 2-1604)
Highest chart position: #3 on US Billboard Hot 100 (not the original 1968 single but a re-release on February 1969 as Date 2-1628 )
Comments: Matthew Greenwald for allmusic: " A virtual mini-suite, "Time of the Season" is one of the most remembered Zombies songs of all time, and for good reason. Musically, the song has some unique and unusual influences (especially for the time), like the Afro motif, which underpins the song, along with a vague jazz feeling. Lyrically, it echoes some of the concepts on the other Odessey & Oracle songs, especially the change of seasons. The song has been covered by several artists, namely Argent. The Zombies' version has an interesting chart history, especially in the U.S., where it was released as a posthumous single almost two years after it was recorded, providing the group with an excellent, fitting closing hit to their career. This fact alone puts the concept that almost all of their music was slightly ahead of its time in place."
Honorio: "Summer (of 1967) was the time of the season for loving. But not for them, they were disbanded long ago when the song began to climb the charts."
You Tube link
You Tube link (2008 40th Anniversay Concert live version)
I encourage all AM'ers to listen "In Dreams" and sing the song with Roy Orbison (but in reality it is impossible). This really is a drug. It is unlike any other musical experience. In a survey a few years ago I heard this wonderful song carefully and understood that it is the best song of all time.
After that, I read the story of Roy Orbison and is so incredibly sad ...
Roy, I love you
Translation by google, sorry
otis redding 
Oh yes, I know, and I’m sorry for that. Probably (and knowing my very limited amount of spare time) I should’nt have volunteered for ruling theses polls, or else I could have did it in a simpler way. But what can I do? I’m afraid it’s the only way I can do things. At least I hope all of you are enjoying the show despite the long gaps between the posts.
"Yeah, that's one where I'm a biggest fan. Uh, no...OK, it was only my #28. Well, yeah I couldn't have put it ahead of those other great songs..."
Yes, I got the same feeling again and again. I still can’t believe I was not one of the biggest fans of “In Dreams”, “Time of the Season” or... “California Dreamin’”
Beautiful words, Otis, thanks a lot.
No respect for Aretha. She did not lose so many positions as The Kingsmen (if we compare our list with the critics) but she fall to #34 from the AM #4.
35. Bob Dylan - Desolation Row
Points: 805
Biggest fans: Stephan (#2), Otisredding (#6), John (#14), sonofsamiam (#15)
Position in AM 3000: #192 of the 1960s and #729 of all time
Position in 1965 poll: #4
Style: Contemporary Folk
Written by Bob Dylan
Recorded by Bob Dylan on August 4, 1965 at Columbia Studios, New York City produced by Bob Johnston
Released on August 30, 1965 on Columbia label as the ninth song (and closing track) of the album "Highway 61 Revisited" (Columbia CL 2389)
Highest chart position: #3 on US Billboard Top 200 (the album)
Comments: All quotes taken from Wikipedia:
Polizzotti: "The song opens with a report that "they're selling postcards of the hanging", and notes "the circus is in town". Some critics have connected this song with the lynching of three black men in Duluth. The men were employed by a travelling circus and had been accused of raping a white woman. On the night of June 15, 1920, they were removed from custody and hanged on the corner of First Street and Second Avenue East. Photos of the lynching were sold as postcards."
Andy Gill: "An 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic characters, some historical (Einstein, Nero), some biblical (Noah, Cain and Abel), some fictional (Ophelia, Romeo, Cinderella), some literary (T.S. Eliot and Ezra Pound), and some who fit into none of the above categories, notably Dr. Filth and his dubious nurse."
Bob Dylan in 1969 about the influence of Allen Ginsberg on his songs: "I think he did at a certain period. That period of... "Desolation Row", that kind of New York type period, when all the songs were just city songs. His poetry is city poetry. Sounds like the city."
Video link
Video link (first ever live performance on NYC before being released on record, the audience started laughing thinking that it was a funny song but the laughs got fewer and fewer as the song progressed)
34. Aretha Franklin - Respect
Points: 812
Biggest fans: Henry (#4), Romain (#7), Otisredding (#8 ), Rocky Raccoon (#14)
Position in AM 3000: #4 of the 1960s and #5 of all time
Position in 1967 poll: #7
Style: Soul
Written by Otis Redding
Recorded by Aretha Franklin on February 14, 1967 at Atlantic Records Studios, New York City produced by Jerry Wexler
Released on March 10, 1967 on Atlantic label as the opening track of the album "I Never Loved a Man the Way I Love You" (Atlantic SD 8139) and later as a single on April 16, 1967 (Atlantic 2403)
Highest chart position: #1 on US Billboard Hot 100 (the single) and #2 on US Billboard Top 200 (the album)
Comments: Ed Hogan for allmusic: " "That girl stole that song from me," Otis Redding says during a clip in a VH-1 special on Aretha Franklin that aired in spring 2001. The "stolen" song is Redding's own "Respect." No doubt the "theft" was made up for by the hefty writer royalties the Memphis soul great earned from the million-plus sales of the single. Though Redding had a 1965 number five R&B hit with the song, it would be Franklin's version which earned the most "respect." Recorded in February 1967, the recording session boasted the same Muscle Shoals rhythm section that had played on her million-selling Atlantic Records debut single, "I Never Loved a Man (The Way That I Love You." Franklin and her sister/frequent collaborator Carolyn Franklin are credited with coming up with the song's signature "sock it to me" break. Saxman King Curtis supplied the fat, cohesive key-changing solo which is akin to his work on Sam and Dave's "When Something Is Wrong With My Baby." With input from Arif Mardin and engineer Tom Dowd, the Jerry Wexler-produced "Respect" held the number one R&B spot for an astounding eight weeks and number one pop for two weeks in spring 1967."
You Tube link
You Tube link (1968 live performance)
33. The Beatles - In My Life
Points: 818
Biggest fans: Chris K and Harold Wexler (#6), Brad and Chris (#16)
Position in AM 3000: #67 of the 1960s and #171 of all time
Position in 1965 poll: #9
Style: Pop Rock
Written by John Lennon and Paul McCartney
Recorded by The Beatles on October 18, 1965 at EMI Studios, London, England produced by George Martin
Released on December 5, 1965 on Parlophone label as the eleventh song on the album "Rubber Soul" (PCS 3075), released on the USA on December 6, 1965 on Capitol label (Capitol ST-2442)
Highest chart position: #1 on US Billboard Top 200 and on UK Albums Chart (the album)
Comments: Thomas Ward for allmusic: " "In My Life" is perhaps the finest song on Rubber Soul, and one of The Beatles' greatest compositions. Usually assumed to have been written in the most part by John Lennon (although McCartney has disputed this), "In My Life" is an ode to childhood, and the band's native Liverpool. The lyrics are heartbreaking – "There are places I remember, all my life though some have changed/Some forever not for better, some have gone and some remain" are just the opening lines, and the song progresses through a series of lovely images, before it turns into a love song by it's conclusion. The chord progression is unorthodox yet utterly transcendent, and the organ break, played by George Martin is quite audacious. "In My Life" is simply one of the best songs The Beatles ever wrote."
You Tube link
You Tube link (1974 live version by George Harrison)
32. Four Tops - Reach Out I'll Be There
Points: 818
Biggest fans: Listyguy (#9), Otisredding (#10), sonofsamiam (#13), Harold Wexler (#14)
Position in AM 3000: #21 of the 1960s and #36 of all time
Position in 1966 poll: #9
Style: Pop Soul
Written by Lamont Dozier, Brian Holland and Edward Holland Jr.
Recorded by Four Tops on July 6, 1966 at Hitsville USA (Studio A), Detroit, Michigan produced by Brian Holland and Lamont Dozier
Released on August 18, 1966 on Motown label (Motown 1098 )
Highest chart position: #1 on US Billboard Hot 100
Comments: Jason Ankeny for allmusic: "A hallmark of the Motown sound is the dramatic introduction (think the Jackson 5's "I Want You Back" or the Temptations' "Papa Was a Rolling Stone"), but no record builds with quite so much anticipation quite so quickly as the Four Tops' 1966 number one "Reach Out, I'll Be There." The eerie foreboding of the strings, the spectral intangibility of the flute, the clip-clopping rhythm -- it all gives way to the most forceful yet nakedly emotional vocal performance Levi Stubbs ever committed to vinyl. A massive record in its scope and sound, "Reach Out" is as primal an experience as any in the Motown catalog; with the other three Tops harmonizing like guardian angels behind him, Stubbs is the proverbial light at the end of the tunnel, vanquishing heartbreak and misery the likes of which you wouldn't wish on your worst enemy. The high-water mark of the Holland-Dozier-Holland production team, it's possibly the closest Motown ever came to pure gospel, not only sonically but spiritually as well."
Listyguy: "This song puts so many emotions into a 3 mintue song, it's unbelievable."
You Tube link
You Tube link (1966 live version at the Ed Sullivan Show)
You Tube link (a capella version showcasing the incredible vocal abilities of the quartet)
31. The Mama's and the Papa's - California Dreamin'
Points: 820
Biggest fans: Brad (#7), Henrik (#13), Harold Wexler (#15), Miguel and Mindrocker (#16)
Position in AM 3000: #40 of the 1960s and #96 of all time
Position in 1965 poll: #6
Style: Sunshine Pop
Written by John Phillips and Michelle Phillips
Recorded by The Mama's and the Papa's on 1965 at Western Studios, Los Angeles, California produced by Lou Adler
Released on November 1965 on Dunhill label (D-4020)
Highest chart position: #4 on US Billboard Hot 100
Comments: Matthew Greenwald for allmusic: "Written on a freezing New York winter evening long before the Mamas & the Papas ever existed, "California Dreamin'" neatly encapsulated the feeling of longing as well as a desire to lead a freer, more spiritually fulfilling life. What a '60s dream! Well, it certainly came true, and not just for the members of the Mamas, but for a lot of people who first heard the song back in the winter of 1966. The song's easy grace and subtle message is positively irresistible, and brought home even more by the Mamas & Papas' awesome vocal pyrotechnics. One of the first records that the group ever cut, the song was actually first recorded by Barry McGuire - utilizing the same track (sans Bud Shank's elegant flute solo) - and was slated to be the follow-up to his hit "Eve of Destruction" until Denny Doherty gave the vocal a shot. The rest, of course, is history. In general construction, it's basically a minor-key ballad. However, the descending chord progression (suggested by session guitarist P.F. Sloan) is vaguely reminiscent of "Walk Don't Run" and gives the song a minor surf/rock feel. The song was not only one of the most often-played records of its day, but it has proven itself to be one that can truly be described as timeless."
Listyguy: " Let the sunshine in. This dream of California (from the New York City winters) seem more real than the real California."
You Tube link
You Tube link (1967 live version at Monterey Festival)
Sex.
And drugs.
And rock 'n' roll (of course).
30. Jane Birkin avec Serge Gainsbourg - Je t'aime... moi non plus
Points: 828
Biggest fans: Henrik (#3), Otisredding (#7), Romain (#9), Miguel (#14)
Position in AM 3000: #102 of the 1960s and #207 of all time
Position in 1969 poll: #10
Style: French Pop
Written by Serge Gainsbourg
Recorded by Jane Birkin et Serge Gainsbourg on December 16-18, 1968 at Fontana Studios, London, England produced by Arthur Greeenslade
Released on February 1969 on Fontana label (Fontana 260.196)
Highest chart position: #1 on UK Top 75 and #69 on Billboard Hot 100 ("the New York Times called this a "poetic fluke", and Gainsbourg's reaction was "Superbe, superbe!" " according to Wikipedia)
Comments: Nicolas Lejeune for Echoes of France: "In the beautiful French movie from 2010 "Gainsbourg, Vie héroïque" (...), there is this beautiful scene in which Gainsbourg, who is in bed with Bardot, gets up from the bed and goes to the piano to play a new song he has just written for her. And it is "Je t'aime". This scene was related by BB herself in her memoirs. And it is true that the song was written for her. Maybe that's why Gainsbourg wrote "Je t'aime, moi non plus" which means "I love you, me neither", because he knew that BB, who was married, would eventually leave him one day or another. Bardot recorded the song but finally refused to publish it, by fear of scandal. So Gainsbourg gave it to Birkin, his next and true love that he met in 1968. Birkin tells that when she played the record to her mother, she didn't understand the lyrics and said it was a very beautiful tune!! Because of its sexual content ( "I go and I come/in between your loins, and Birkin's groans) the song was forbidden in Italy, and in France it couldn't be played on the radio before 11 PM... but became a huge hit everywhere. Scandal is good for money."
Honorio: "Time has tempered the shock but it still creates an uncomfortable situation if it sounds, let’s say, on the car radio while you’re driving with your mother."
You Tube link
29. The Miracles - The Tracks of My Tears
Points: 836
Biggest fans: Miguel (#5), John (#6), sonofsamiam (#14), Listyguy (#17)
Position in AM 3000: #24 of the 1960s and #40 of all time
Position in 1965 poll: #7
Style: Motown
Written by Warren 'Pete' Moore, William 'Smokey' Robinson and Marv Tarplin
Recorded by The Miracles on spring of 1965 at Hitsville USA Studio A, Detroit, Michigan produced by Smokey Robinson
Released on June 23, 1965 on Tamla label (Tamla T-54118 )
Highest chart position: #16 on US Billboard Hot 100 (and #2 on Billboard Hot R&B Sides)
Comments: Stephen Thomas Erlewine for allmusic: "Smokey Robinson wrote more than his fair share of classic songs, but "Tracks of My Tears" holds a special place among his hits. Although the song didn't crack the pop Top 15 upon its release as a single in the summer of 1965, as the years passed, it revealed itself as perhaps his definitive ballad, rivaling even "You've Really Got a Hold on Me." Why is that? It's a matter of grace or poetry. Bob Dylan once called Robinson America's greatest living poet, and while he may have said this with his tongue firmly in cheek, he wasn't far from wrong. This song is proof positive that Robinson found poetry not only in lyrics, but also in the music itself. Writing with Warren Moore, Robinson created a song that is so natural, it seems to have always been there. Look closer, and the song seems trickier - the words are shaded with telling detail and clever rhymes ("Although she may look cute/She's just a substitute") and the music positively aches with longing. Backed by the Miracles, Robinson delivered the definitive reading of the song with the original hit single."
Listyguy: "Pretty good, like the chorus a lot."
You Tube link
28. The Velvet Underground & Nico - Heroin
Points: 838
Biggest fans: Jackson (#2), Harold Wexler (#5), Romain (#10), Stephan (#15)
Position in AM 3000: #71 of the 1960s and #187 of all time
Position in 1967 poll: #4
Style: Art Rock
Written by Lou Reed
Recorded by The Velvet Underground & Nico on May 1966 at TTG Studios, Hollywood, California produced by Andy Warhol and Tom Wilson
Released on March 12, 1967 on Verve label as the seventh song (opening the B-side) on the album "The Velvet Underground & Nico" (Verve V6-5008 )
Highest chart position: #182 on US Billboard Top 200 (the album)
Comments: Mark Deming for allmusic: "In 1966, when the Byrds' "Eight Miles High" and Bob Dylan's "Rainy Day Women #12 and 35" were generating no small controversy for daring to flirt with the subject of recreation drug use, the Velvet Underground crossed a then-unthinkable threshold and began performing a song called "Heroin." (...) While "Heroin" hardly endorses drug use, it doesn't clearly condemn it, either, which made it all the more troubling in the eyes of many listeners; at a time when marijuana was still legally classified as a narcotic, the notion of a rock & roll song discussing a dangerous drug without openly condemning it was practically the same thing as a ringing endorsement. Musically, "Heroin" was every bit as challenging as it was thematically; few rock songs of the period made better or more intelligent use of dynamics, and the slow build through the verses into the manic frenzy of the song's conclusion sounded like nothing else in rock music at the time. In addition, John Cale's screeching, atonal viola helped introduce the use of serious dissonance to pop music; along with Roger McGuinn's guitar breaks in "Eight Miles High," it was one of the first examples of the lessons of free jazz or the avant-garde finding a willing student in rock music."
Listyguy: "Screeching violas."
You Tube link
You Tube link ("Le Bataclan '72" live version)
27. The Jimi Hendrix Experience - Purple Haze
Points: 841
Biggest fans: Chris (#6), Otisredding (#13), Mindrocker (#14), Rocky Raccoon (#17)
Position in AM 3000: #22 of the 1960s and #38 of all time
Position in 1967 poll: #9
Style: Acid Rock
Written by Jimi Hendrix
Recorded by The Jimi Hendrix Experience on January 11, 1967 at De Lane Lea Studios, London, England and on February 3, 1967 at Olympic Studios, London, England produced by Chas Chandler
Released on March 17, 1967 on the UK on Track label (Track 604001) and on June 19, 1967 on the USA on Reprise label (Reprise 0597)
Highest chart position: #3 on UK Top 75 and #65 on Billboard Hot 100
Comments: William Ruhlmann for allmusic: " "Purple Haze" was an early signature song for Jimi Hendrix and remains his best-known composition. After years as a journeyman musician, the 23-year-old Hendrix was taken to England in September 1966 by his new manager, Chas Chandler, who helped him put together Jimi Hendrix Experience, a power trio. (...) According to Chandler, he heard Hendrix playing the riff that became the basis of the music for "Purple Haze" that month and encouraged him to finish writing it for the Experience's second single. (...) Originally, the lyrics were a long poem headed "Purple Haze - Jesus Saves", from which Hendrix extracted the three verses used in the song. Some accounts have said that he was on LSD when he wrote the lyrics, but Chandler disputed that. Nevertheless, the words, while nominally referring to a mental disorder caused by a spell put on the narrator by a girl, are easily interpretable as being about a drug experience. Whatever the cause, the narrator is disoriented and upset. But the lyrics are less important than the relentlessly driving, if relatively slow-paced underlying music, which provides a good platform for some of Hendrix's inventive guitar playing."
Listyguy: "My second favorite from the album."
You Tube link
You Tube link (1967 live at the Marquee Club)
26. The Beatles - Golden Slumbers/Carry That Weight/The End
Points: 851
Biggest fans: nicolas (#2), Nassim (#4), Henry (#9), Harold Wexler (#11)
Position in AM 3000: bubbling under
Position in 1969 poll: #7
Style: Pop Rock
Written by John Lennon and Paul McCartney
Recorded by The Beatles on July 2, 23 and 30 and August 5, 7, 8, 15 and 18, 1969 at EMI Studios, London, England produced by George Martin
Released on September 26, 1969 on Apple label as a medley (the songs 14th to 16th followed by a hidden track) that closed the album "Abbey Road” (Apple PCS 7088 )
Highest chart position: #1 on US Billboard Top 200 and on UK albums chart (the album)
Comments: Richie Unterberger for allmusic: " "The End" is an aptly titled song, coming at the end of the medley that (almost) finishes Abbey Road, and the end of the last album the Beatles recorded, though that neat ending was spoiled when Let It Be (begun and recorded for the most part before Abbey Road) became the last Beatles album actually released. (...) Then comes a real surprise: the first and only Starr drum solo on a Beatles record, though a pretty brief one by the standards of the psychedelic era. In fact, much of "The End" could be viewed as the group's take on the improvised jamming common to heavy rock of the late '60s, though as usual the Beatles did it with far more economic precision than anyone else. (...) McCartney, John Lennon, and George Harrison all take turns on lead guitar, spitting out a variety of riffs that are both terse and powerful, not to mention with an imaginative variety of slightly distorted textures. The jam, if it could even be called that, doesn't last too long, as a stuttering guitar riff suddenly stops on a dime to be replaced by a staccato repeating piano note. That leaves the way clear for McCartney to come in with one sweet final lyric, and one of the most famous and most quoted of all the Beatles wrote: that in the end, the love you take is equal to the love you make. It wasn't always a sentiment practiced by the Beatles as they bickered through much of 1969 and broke up in 1970, granted, but it's a nice ideal with which few could argue."
nicolas: "The Beatles' swan song. Although it was written by McCartney, the collective solo in the end is very moving in its way."
You Tube link
And drugs.
And rock 'n' roll (of course).
As I predicted, "Sunday Mornings" won the VU battle, and "All Along the Watchtower" won the Jimi battle (thankfully).
28. The Velvet Underground & Nico - Heroin
27. The Jimi Hendrix Experience - Purple Haze
26. The Beatles - Golden Slumbers/Carry That Weight/The End
Seriously though, "Purple Haze" isn't anywhere near Jimi Hendrix's best song (I wouldn't put it top 15), and "Golden Slumbers/Carry That Weight/The End" isn't only not a song, it's not even the best song you could form out of the Abbey Road medley.
"Heroin," meanwhile, is an emotional and lyrical masterpiece.
Good to see "Tracks of My Tears" up this high at least. And while the performance "Je t'aime" isn't that much of a surprise for this forum, our high regard of it is definitely unique (in a good way).
The Top 25
After these next 5 we're over with Motown. It's funny that each one of the four Motown songs on our Top 100 came from by the main 4 composer-producer teams of that legendary label: Smokey Robinson ("The Tracks of My Tears", 1965), Holland-Dozier-Holland ("Reach Out I'll Be There", 1966), Whitfield-Strong ("I Heard It Through the Grapevine", 1968) and The Corporation ("I Want You Back", 1969).
25. The Band - The Weight
Points: 853
Biggest fans: Stephan (#9), Henry (#10), Harold Wexler (#12), Rocky Raccoon (#13), Chris K (#14)
Position in AM 3000: #74 of the 1960s and #190 of all time
Position in 1968 poll: #5
Style: Roots Rock
Written by Robbie Robertson
Recorded by The Band on January 12, 1968 at A&R Recorders Studio A, New York City produced by John Simon
Released on June 24, 1968 on Capitol label as the fifth song (closing the A-side) of the album "Music From Big Pink" (Capitol SKAO-2955) and later in August 1968 as a single credited to "Jaime Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson, Levon Helm" (Capitol 2269)
Highest chart position: #63 on US Billboard Hot 100 and #21 on UK Top 75 (the single), #30 on US Billboard Top 200 (the album)
Comments: Jason Ankeny for allmusic: "The Band's best-known and most enduring recording, "The Weight," is perhaps their most successful attempt at the creation of a new American mythology, a winding, impressionistic story song cut from the rural traditions of roots music - folk, country, and gospel - but re-imagined from a distinctly postmodern vantage point. "The Weight"'s writer, Robbie Robertson, once claimed the song was inspired by the work of surrealist filmmaker Luis Buñuel, who did pictures like Viridiana and Nazarin, which explored the "impossibility of sainthood"; however, while the song's first line - "I pulled into Nazareth" - immediately casts a spiritual light, the Nazareth in question is not the birthplace of Christ but rather the Pennsylvania town home to the Martin guitar factory. The landscape shifts similarly throughout, variously suggesting a Deep South setting and a Wild West milieu as well, but wrought throughout with anachronistic quirks which, like the films of Buñuel, together evoke a time and place removed from conventional reality. That said, Robertson's Nazareth does exist on a spiritual plane - one of the song's characters, ol' Luke, is "waitin' on the Judgment Day," while another, Carmen, walks with the Devil (...) Ultimately, "The Weight" of the title appears to concern the mounting burdens and demands of society which no one individual can reasonably shoulder, but even that seems oversimplified; the song operates on far too many levels (musical, narrative, and symbolic) to fit any single interpretation."
You Tube link
You Tube link (1969 live at Woodstock)
24. The Beatles - Eleanor Rigby
Points: 863
Biggest fans: Nassim and nicolas (#6), Romain (#11), Listyguy (#13), Mindrocker (#17)
Position in AM 3000: #116 of the 1960s and #347 of all time
Position in 1966 poll: #4
Style: Baroque Pop
Written by John Lennon and Paul McCartney
Recorded by The Beatles on April 28-29 and June 6, 1966 at EMI Studios, London, England produced by George Martin
Released on August 5, 1966 on the UK on Parlophonel label simultaneously as a double-side A single with "Yellow Submarine" (Parlophone R 5493) and as the second song on the album "Revolver" (Parlophone PCS 7009), it was released on the USA three days later, on August 8, 1966 on Capitol label (single Capitol 5175, album Capitol ST-2576)
Highest chart position: #1 on UK Top 75 and #11 on US Billboard Hot 100 (the single), #1 on US Billboard Top 200 and on UK Albums Chart (the album)
Comments: Richie Unterberger for allmusic: "Writing-wise, it was principally the work of Paul McCartney, who gave the piece one of his most outstanding sad melodies. In the main the lyrics were the sketch of lonely spinster Eleanor Rigby, although another lonely elderly figure, Father McKenzie, also has a prominent role. In a broader sense, the Beatles could be commenting here on the alienation of people in the modern world as a whole, with a pessimism that is rare in a Beatles track (and rarer still in a McCartney-dominated one). What are these characters doing their small tasks for, and what is the point: those are the questions asked by the song, albeit in an understated tone. Pessimism about the worth of organized religion is implied in the desolate portrait of Father McKenzie and the finality of the phrase "no one was saved." Far more controversial a critique of organized religion, when you think about it, than John Lennon's famous statement of the period that the Beatles were more popular than Jesus (which landed him in a great deal of trouble). It was most unusual, then and now, in such a youth-oriented medium as rock for a group to be singing about the neglected concerns and fates of the elderly, and was thus just one example of why the Beatles' appeal reached so far beyond the traditional rock audience. The desolation of Rigby and McKenzie's lives was brilliantly amplified by the arrangement, for which producer George Martin must take much credit. Its strident strings produce emphatic, dramatic beats in the manner of a Bernard Herrmann soundtrack (Martin has admitted to being influenced by Herrmann's score for the Francois Truffaut film Fahrenheit 451 when devising "Eleanor Rigby"'s score), while the tempo variations subtly complement the lyric. Listen to how the strings increase in speed at the point where Father McKenzie is seen working, for instance."
Listyguy: "Great stringwork."
nicolas: "One of my very favorite Beatles songs. George Martin's string arrangements are fabulous, and the lyrics' social commentary is quite unusual for the Beatles at that time."
You Tube link
23. The Who - My Generation
Points: 875
Biggest fans: Rocky Raccoon (#3), Listyguy (#5), Stephan (#6), Mindrocker (#10), Nassim (#17)
Position in AM 3000: #8 of the 1960s and #12 of all time
Position in 1965 poll: #5
Style: Mod
Written by Pete Townshend
Recorded by The Who on October 13, 1965 at IBC Studios, London, England produced by Shel Talmy
Released on October 29, 1965 on the UK on Brunswick label (Brunswick 05944) and on November 20, 1965 on the USA on Decca label (Decca 31877)
Highest chart position: #2 on UK Top 75 and #74 on US Billboard Hot 100
Comments: Richie Unterberger for allmusic: " "My Generation" is the most famous Who song, and a good nominee for rock's most explosive expression of adolescent rebellion. Guitar feedback, crashing drums, power chords - all had already been heard on Who records, particularly on the 1965 single preceding "My Generation," "Anyway, Anyhow, Anywhere." "My Generation" delivered all of this and more with a fury and trenchant defiance that could not be matched, let alone exceeded, by any competitors. (...) The verses are call responses between Roger Daltrey, with his memorable stutter and sputter on numerous key words, answered by harmonized "talkin' bout my generation" chants from the band. That stuttering was enough on its own to ensure people took notice of this song. Some thought it was an emulation of blocked-up mod pill-heads, as had been the case with "I Can't Explain." In a more universal sense, it mirrors the barely articulated frustration of youth, especially when Daltrey stutters on a word that begins with f, though this turns out not to be the actual f-word. And there was that unforgettable assertion of hoping to die before getting old, although the Who, of course, would still be playing the number more than 30 years later, even after the guy who drummed on the track had been in the grave for more than 20 years."
Listyguy: "WHAT?!?! Only one Who song? At least it's my favorite by them."
You Tube link (great!)
You Tube link (mythical 1967 TV performance, according to Wikipedia "the performance of "My Generation" on the Smothers Brothers Comedy Hour was another defining moment in the television comedy series. As they often did during that period, The Who destroyed their instruments at the conclusion of their performance. However, a stage hand, at the request of Keith Moon, had overloaded Moon's kick drum with explosives. When they were detonated, the explosion was so intense that Moon was injured by cymbal shrapnel and bandmate Pete Townshend's hearing was permanently damaged").
22. The Jackson 5 - I Want You Back
Points: 888
Biggest fans: John (#2), Listyguy (#7), Nassim (#11), Chris K and Otisredding (#15)
Position in AM 3000: #17 of the 1960s and #32 of all time
Position in 1969 poll: #6
Style: Bubblegum
Written by The Corporation (Berry Gordy Jr., Alphonzo Mizell, Freddie Perren and Deke Richards)
Recorded by The Jackson 5 on July, 1969 at The Sound Factory, Hollywood, California produced by The Corporation
Released on October 7, 1969 on Motown label (Motown M 1157)
Highest chart position: #1 on US Billboard Hot 100
Comments: Ed Hogan for allmusic: "The Jackson 5's "I Want You Back" is a textbook example of how to start a pop music career. Their first nationally released single took the brothers to the top of both the R&B and pop charts. Originally written as "I Wanna Be Free," "I Want You Back" was written by Freddie Perren, Fonce Mizell, and Deke Richards, who along with Berry Gordy became known as the Motown songwriting/arranging/producing collective the Corporation. Perren, Mizell, and Richards thought the song would be great for Motown acts Gladys Knight and the Pips or Diana Ross. After approaching label president Gordy, it was rewritten for a five-member teenaged brothers singing group from Gary, IN, he'd just signed. Gordy wanted the group to be an updated version of Frankie Lymon and the Teenagers ("Why Do Fools Fall in Love") and this song seemed to be the perfect career-launching vehicle. The recording session for the extremely energetic "I Want You Back" lists Perren and Mizell on piano, Crusaders bassist Wilton Felder, guitarists David T. Walker, Louis Shelton, and Don Peake doubling the bass line, and drummer Gene Pello. With an introduction by Diana Ross, the Jackson 5 performed the song on ABC-TV's The Hollywood Palace in the fall of 1969."
Listyguy: "Insanely catchy and upbeat."
You Tube link
You Tube link (1969 on Hollywood Palace TV show)
21. Marvin Gaye - I Heard It Through the Grapevine
Points: 894
Biggest fans: Romain (#5), Rocky Raccoon (#12), nicolas (#15), Henrik and Henry (#16)
Position in AM 3000: #6 of the 1960s and #8 of all time
Position in 1968 poll: #4
Style: Psychedelic Soul
Written by Barret Strong and Norman Whitfield
Recorded by Marvin Gaye on April 10, 1967 at Hitsville USA, Detroit, Michigan produced by Norman Whitfield
Released on October 30, 1968 on Tamla label (Tamla T 54176)
Highest chart position: #1 on US Billboard Hot 100 and on UK Top 75
Comments: Jason Ankeny for allmusic: "Marvin Gaye's "I Heard It Through the Grapevine" is Motown's greatest record - really, what's better? Even obscured by years of oldies radio overkill and Big Chill nostalgia it retains a hypnotic power unmatched by any of the label's other classics, articulating the turmoil and anguish of a soul torn apart at the seams with a clarity unmatched in the annals of popular music. On its surface a desperate plea to salvage a relationship gone terribly wrong, "Grapevine" progressively probes much deeper to convey complete emotional free-fall: haunted by lies, taunted by gossip and shattered by loss, Gaye's torment is palpable, and his performance - the signature sophistication and elegance of his voice ravaged by fear and doubt - is devastating. The repetitive electric piano figure and voodoo rhythms which open the song ominously foreshadow the troubles on the horizon; sinister and serpentine, Norman Whitfield's production twists the knife even further into Gaye's back, orchestrating a rumor-mill chorus of whispers and echoes which reiterate the singer's shame and humiliation over and over again."
Listyguy: "This song always make me wonder: Who's the original version by?"
nicolas: "Berry Gordy didn’t like this number written by Norman Whitfield and Barrett Strong. Of the three Motown artists who recorded it (Smokey, Marvin and Gladys) it’s Gaye’s version, herald of psychedelic soul, who had the biggest success. Gordy, who hadn’t wished to release the song as a single, had to think better of it when DJs and listeners from all around the country called for it. As a result: a sales record for Motown. Whitfield had Marvin sing the song in an unusually high tone. Marvin had found his vocal signature, and shines with all his elegance on this seminal song."
You Tube link
You Tube link (1968 live version)
28. The Velvet Underground & Nico - Heroin
27. The Jimi Hendrix Experience - Purple Haze
26. The Beatles - Golden Slumbers/Carry That Weight/The End
Thanks for sharing your opinion Jackson. I'd rather listen to the Beatles and Hendrix tunes repeatedly before enduring another listen of Heroin.
Seriously though, "Purple Haze" isn't anywhere near Jimi Hendrix's best song (I wouldn't put it top 15), and "Golden Slumbers/Carry That Weight/The End" isn't only not a song, it's not even the best song you could form out of the Abbey Road medley.
"Heroin," meanwhile, is an emotional and lyrical masterpiece.
Good to see "Tracks of My Tears" up this high at least. And while the performance "Je t'aime" isn't that much of a surprise for this forum, our high regard of it is definitely unique (in a good way).