Liam

274. ‘In The Ghetto’, Elvis Presley (1969) Influenced by: The Wind Cries Mary • The Jimi Hendrix Experience (1967) Influence on: The Sun Refused to Shine •Richard Hawley (2007) Covered by: Sammy Davis Jr. (1970) • Nick Cave & The Bad Seeds (1984) • The Cranberries (2001) Having not scored a US top three in four years, ‘In The Ghetto’ was Elvis back to form and back into the eye of the public once more. Not exactly known for his political songs, Elvis was convinced to sing the song as the producer mused about offering the song to another singer – a tactic that had been known to work in the past. Elvis provides a strong vocal that feels a fair bit away from the hip shaking and lip curling of yesteryear, whilst the female backing vocalist and the brief drum beats add a lot without overpowering the rest of the tune. 275. ‘Oh Well, part 1 and 2’, Fleetwood Mac (1969) Influenced by: Boom Boom • John Lee Hooker (1961) Influence on: Black Dog • Led Zeppelin (1971) Covered by: Big Country (1993) • Jimmy Page & The Black Crowes (2000) • Stephen Pearcy (2006) • Todd Wolfe & Under the Radar (2008) • The Rockets (2009) This is an interesting choice that feels a bit like the early Pink Floyd that found its way onto the list. When the later incarnation goes on to do different/more popular/better things (delete as applicable), it is always interesting to see what came before. Part 1 is blisteringly aggressive blues, whilst the second part focuses more on a slightly unnervy attempt at being spiritual. Peter Green wrote the song and this seemed to aim to catch both sides of his personality: the aggression with the peace. Part 1 is good; I can do without Part 2. 276. ‘The Real Thing’, Russell Morris (1969) I wasn’t quite sure what to expect when I read about this song, but it was six minutes I was happy to give over to it. A song written by Johnny Young, a singer who felt he wasn’t the right man to sing it, it was passed onto Russell Morris instead. Catchy from the opening bars onwards, mixing pop with psychedelic-rock and some really weird quirks throughout that made it stand out compared to other songs on the list, it was a huge hit in Australia, where Young came from.

271. ‘I’m Just a Prisoner (Of Your Good Lovin’), Candi Staton (1969) I’m not quite sure why, but I always assumed Candi Staton was a 70s/80s singer, rather than someone who made anything that was released in the 60s. Staton has a great ache and raspy-ness to her voice that helps to sell a narrative about standing by your man and longing for him not to leave. This up tempo song highlights a little the direction she would eventually go with disco-pleasers such as ‘Young Hearts Run Free’, whilst the instrumentation in general adds some soul to what could have otherwise been a maudlin song based on lyrics alone. 272. ‘She Moves Through The Fair’, Fairport Convention (1969) A traditional Irish folk song given new life as Fairport Convention (apparently) moved away from the US-centric take on folk and looked closer to home for inspiration. Sandy Denny is the singer here, a new addition to the band, and she is the star of the song with beautifully melodious vocals. The simple instrumentation adds a spectral feeling to the whole thing, with the original melody largely unchanged yet focus on the acoustic guitar and a wandering bass line. It makes me want to seek out more of their music, which is – I guess – one of the highest accolades I can personally give on this list. 273. ‘Many Rivers to Cross’, Jimmy Cliff (1969) Jimmy Cliff’s eponymous album had led with a couple of protest songs and a Cat Stevens cover in terms of singles, meaning this wasn’t actually released and it took its inclusion on a 1972 soundtrack for it to get its due. Cliff was searching for spiritual answers when the song was recorded, and the gospel element speaks to this being a song about Cliff’s own search. He converted to Islam shortly after this album was released, whilst the lyrics speak to a soul searching for meaning, yet defiantly so. A great song.

268. ‘Days’, The Kinks (1968) A song I know but had seemingly forgotten the existence of up until this very moment. I also definitely had no idea that this was a track by the Kinks. This was written at a time when Ray Davies was debating about going solo due to squabbling within the band, so acts somewhat as a goodbye that celebrates the good whilst not exactly seeing them in a rose tinted manner. The book points out that Davies tended towards the down-to-earth whilst others were indulging in psychedelic streams of conscious; if anything, it helps the work from the Kinks to stand out, giving it more of a timeless feeling in its execution. 269. ‘My Way’, Frank Sinatra (1969) There might not be a better match of singer, persona and song narrative than Frank Sinatra singing ‘My Way’. Written by Paul Anka and inspired by a French song called ‘Comme d’habitude’ that Anka actually disliked. Sinatra, just like Claude Francois, was experiencing heart ache due to a failed marriage, whilst also contemplating retirement. The unapologetic, nostalgic lyrics may have been written by Anka, but they feel so Sinatra, building up to the crescendo of instrument and vocal that signifies the finish. A great song for a reason. 270. ‘The First Time Ever I Saw Your Face’, Roberta Flack (1969) A love song written by Ewan MacColl upon being introduced to his soon-to-be third wife, Peggy Seeger, this was a different arrangement that took the song to new heights. Flack’s ethereal, yet powerful in places, voice and the minimalist instrumental creates a haziness, a dreamy tone that effectively conveys falling in love at first sight. A mixture of inclusion on ‘Play Misty for Me’ and a Grammy for Roberta Flack that came four years later turned the song into more of a standard than it was originally, but there are few songs as good at catching the moment when love strikes.

265. ‘Voodoo Child (Slight Return)’, Jimi Hendrix (1968) Influenced by: Mannish Boy • Muddy Waters (1955) Influence on: Theme from Shaft • Isaac Hayes (1971) Covered by: Stevie Ray Vaughan & Double Trouble (1984) • The Hamsters (1996) • Kenny Wayne Shepherd (1997) • Angélique Kidjo (1998) • Térez Montcalm (2006) • Jacques Stotzem (2009) It is hard to be a wrestling fan and not love this song. Even without that, the song just sounds so massive from the moment things kick in after the intro, screeching solos, wah-wah pedals and all. The lyrics themselves set the tone: ‘Well, I stand up next to a mountain and I chop it down with the edge of my hand’. He sounds like that is completely possible as the sheer feeling of size that this song creates never wavers. 267. ‘The Pusher’, Steppenwolf (1968) A song from the counterculture film ‘Easy Rider’, it was written by Hoyt Axton (great name) after a friend he knew died of an overdose. The lyrics make an interesting delineation between the dealer, with grass and dope, and the pusher, who is a monster who sells heroin, considered a much more serious issue. A pleasant enough rock song, one that feels that it gets its spot due to its head-on tackling of drugs and association with ‘Easy Rider’ as much as anything else, though the solo at around the four minute mark was pretty cool. 267. ‘The Weight’, The Band (1968) The book states that this song underperformed due to how it almost felt too old and comfortable, like a song of yesteryear that had been passed down through generations. It does feel curiously out of place compared to a chunk of the songs listed in and around it, but that isn’t necessarily a bad thing. In a time where noise, drugs, and psychedelia was the way forward, this must have felt like a pair of old slippers.

262. ‘Pressure Drop’, Toots and the Maytals (1968) Frederick ‘Toots’ Hibbert left prison after eighteen months for alleged marijuana possession and entered the studio to record the biggest album of his career. One that saw success on an international scale, the mix of Hibberts’ strong, uplifting vocals and a danceable ‘skank’ underneath it all make it a song that is hard not to groove along to in some capacity. Honestly, try not to move about listening to this song – it is almost impossible. 263. ‘Cyprus Avenue’, Van Morrison (1968) Another song that aims to evoke feelings associated with a specific place (though the road in Belfast was actually ‘Cypress Avenue’), there is something elegiac in the way this song sounds. Somewhat stream of consciousness in nature, it drifts along as Morrison talks about railroads, beauties in carriages and lonely train drivers. Morrison’s impassioned vocal delivery I think is one upon which your mileage may vary, but I personally like it. Apparently, this became a fixture of his live shows, though it involved the song shifting genres as it spiralled to a longer running time than the original. 264. ‘Hey Jude’, The Beatles (1968) Influenced by: Somewhere to Lay My Head • The Sensational Nightingales (1954) Influence on: Do You Realize?? • The Flaming Lips (2002) Covered by: Wilson Pickett (1968) • Ella Fitzgerald (1969) • Grateful Dead (1969) A song conceived by Paul McCartney as a balm to support Julian Lennon as his parents were getting a divorce, it is hard to dislike ‘Hey Jude’. Yes, it is long, and yes, the last bit goes on for a ridiculous amount of time, but it is another slice of pop that just feels timeless from the Beatles. It is also another song by them that I just didn’t realise how much went into making – a thirty six piece orchestra worked on the recording, with Lennon trying his best to get them to join in on the clapping and singing on the almost four minute long coda.

This has probably ended up in here before, or if it hasn't, is debatable as to how much of a 'good' promo it is. However, I've always seen the 'this is where the power lies' part of the promo quoted, whilst the rest of it is batshit insane in the greatest way. From the back and forth as to whether Hercules was a God, to hanging out in the Garden of Eden with 'my main squeeze eve', to the forty nights and days he 'hung and bung' on the Titanic, it is absolutely mental.

259. ‘Hard To Handle’, Otis Redding (1968) One of the last songs recorded by Redding before his premature death (indeed, this was released after the plane crash that killed him), this ended up coming from the same album that included ‘Sittin’ On The Dock Of The Bay’. This song seems to have been chosen due to it being proof that he was still able to put out a banging R&B tune even at a point where people were querying as to whether that was going to be his direction going forward. An up tempo song that was very openly about getting his freak on, it is one that didn’t leave much of an impression with me outside of it being a decent song. It came, it existed, it went. 260. ‘A Minha Menina’, Os Mutantes (1968) One of the more eye opening pieces of music in the 60s selections so far, primarily because it is a song from a band I’ve never heard of and sounds unlike anything I’ve ever heard before. A mix of psychedelia, bossa nova and samba, all mixed up with a desire to write pop songs, led to Os Mutantes, brothers Arnaldo and Sérgio Dias Baptista and singer Rita Lee. From the moment the fuzzy electric guitar comes in, this gripped me, and the whole upbeat tone and just overall liveliness of it all is wild. A band who went on to inspire David Byrne and Beck, so influential as well as catchy. 261. ‘Sympathy for the Devil’, The Rolling Stones (1968) I’ve never been a huge Rolling Stones fan, but I feel like I know a decent song when I hear one. This is good, irrelevant of my apathy to a lot of the group’s output. Such open references to the Devil were always going to cause an uproar at this point in time and it all just added to this creation of the bad boy image that became the norm in heavy rock over the decades to come. Underneath all of this shock and awe though is a really catchy song. Originally a ballad, the dark samba rhythm (so the book calls it) was suggested by Keith Richards and just drives the song forward in a hypnotic fashion.

256. ‘Ain’t Got No; I Got Life’, Nina Simone (1968) Influenced by: I Got a Woman • Ray Charles (1954) Influence on: You Remind Me • Mary J. Blige (1991) Covered by: Julie Driscoll, Brian Auger & Trinity (1970) • Red Box (1986) • Jim Guthrie (2004) • Le Volume Courbe (2005) • Mika (2008) A song that I always thought was greatly affirmational without really knowing the story behind it. Two songs from ‘Hair’, a musical about peace, love and freedom, smashed together during turbulent times for black people in America (Martin Luther King Jr. was assassinated this year as well). What might have otherwise have been throwaway songs on the musical (having listened, they lack the punchiness of Simone’s treatment) were turned into a song that acted as somewhat more of a call to arms than the original might have been intended as. Simplistic, yet catchy. 257. ‘Piece of my Heart’, Big Brother and the Holding Company (1968) Influenced by: Strange Brew • Cream (1967) Influence on: You Had Me • Joss Stone (2004) Covered by: Marmalade (1968) • Dusty Springfield (1968) • Bryan Ferry (1973) • Bonnie Tyler (1977) • Etta James (1978) • Sammy Hagar (1981) • Faith Hill (1994) • Beverley Knight (2006) A song that has been covered by everyone and their mother, meaning I’d never actually heard the this version. I can see why this one is held in such high regard (a cover itself). A standard soul version by Emma Franklin was transformed with heart wrenching delivery by Janis Joplin (a take really sung from the heart, or at least it felt so) alongside the screaming guitar sounds. This is a much more raw version of this song than I’ve ever heard before, yet it needs that to make it truly work. You should be able to feel the pain of the persona singing the song, and Joplin delivered. 258. ‘Say It Loud – I’m Black and I’m Proud’, James Brown (1968) During the aforementioned turbulent time for black people in America, I was not aware that the choices of James Brown hadn’t always painted him in the best light. He was criticised for performing for the U.S. Army in Vietnam for one example of his ‘transgressions’ in the eyes of some. This was a redemption song for him as much as anything; a chance to use his platform as an entertainer to show solidarity with his people. It’s James Brown – it is always going to be funky; it wasn’t always going to come with such an overt political stance.

253. ‘Wichita Lineman’, Glen Campbell (1968) There is something about place that often creates a great song – Route 66, Waterloo Sunset, and many more. There is an old souled nature to this song that was surprisingly written by Jimmy Webb when he was just twenty-one. Campbell had been a guitar for hire for a while, yet this hit just as his solo career really took off. It hits feelings of longing and nostalgia all at once, whilst being eternally singable. 254. ‘I Heard It Through The Grapevine’, Marvin Gaye (1968) Speaking of songs that are ‘singable’, Gaye’s ‘I Heard It Through The Grapevine’ is another member of the club. Naturally, it’d be hard to do Gaye’s work justice, but it is definitely fun to try. The fourth take on this song (not all were released), this found success after a faster version by Gladys Knight and the Pips was No. 2 in the US charts. More passionate than the Pips with a more urgent feeling, the Gaye version went to the top of the charts both sides of the Atlantic and remains a classic. 255. ‘America’, Simon and Garfunkel (1968) The second song of the three that focuses on place as its real focus, though perhaps a song with a more negative take overall. Layered instrumentation, incorporating guitar, pipe organ and jazz fills, accompany a narrative of a road trip from Saginaw to New York, one that leaves the persona ‘empty and aching’ by the end. However, the lushness of the melody throughout represents the hope of youth in a fashion that helps to create a beautiful song overall. I’ve never heard this song, but am glad I have through this project.

Ah, typical. I posted it elsewhere that day, didn't post it here, and forgot to rectify it. Will fix later.

250. ‘The Snake’, Al Wilson (1968) A narrative about a woman who took in a snake, only to be bitten as the reptile reverted to type, this is fun from the opening notes. This was a cover, but apparently turned this into more of a stomper than the original bossa nova stylings. The horns dart around excitedly, Wilson hisses his way through the narrative-cum-warning, whilst the drumming rolls incorporated a full octave kit of five drums rather than the usual five. The book speaks of how popular this was on dance floors and it isn’t hard to understand why. A complete tune. 251. ‘Oh Happy Day’, The Edwin Hawkins Singers (1968) The Northern California State Youth Choir needed money, so commissioned Century Record Productions to record a live performance that only saw five hundred pressings. This song was one of the outcomes as another underground radio sensation was picked up, leading to this being released as a single and the choir name changed to be named after the choir leader. The singles sold millions worldwide and earned Hawkins a Grammy. I’m giving the background to this more than talking about the song as it speaks for itself. Very few things sound better than a choir in full flow, and that is what ‘Oh Happy Day’ offered. 252. ‘Israelites’, Desmond Dekker and the Aces (1968) Going back to the very first song on this list, this is a song I primarily know due to its bastardisation and use for an advert. However, this does this ground breaking song a complete disservice. Going to No. 1 in the charts in the UK and No.9 in the Billboard charts, it was one of the first examples of ska/reggae crossing over into other countries as well as it charted No. 1 in West Germany, Sweden and the Netherlands as well. It spoke to the power of an engaging vocal delivery and melody – the lyrics themselves were (and still are) fairly impenetrable for non-Jamaican speakers. However, that didn’t stop the success of the song one bit.

247. ‘Cold Sweat’, James Brown and The Famous Flames (1967) I pass this one over completely to the book as they link this step in Brown’s career to time he spent in Africa, incorporating polyrhythmic influences from music of that continent. This was apparently just a jam session more than anything and the focus was on the instruments rather than Brown’s lyrics or even really his delivery. The drums are the star, though there is an argument that every bit of instrumentation, percussive or not, aimed towards a more percussive sound. Blasts of the sax and the bass strumming make an interesting case for this. 248. ‘The First Cut is the Deepest’, P.P. Arnold (1967) Influenced by: Don’t Let Me Be Misunderstood • Nina Simone (1964) Influence on: Back to Black • Amy Winehouse (2006) Covered by: Rod Stewart (1976) • Martin Simpson (1983) • Bad Manners (1993) • Bonfire (1998) • Sheryl Crow (2003) • David Essex (2003) Signed to Mick Jagger’s Immediate label off the back of her performance as an Ikette (Tina and Ike’s backing vocalists), Arnold’s take on a song penned by Cat Steven’s was considered the definitive version by the songwriter. I really enjoy this song, though this is the first time I’ve ever heard the original…it worries me a little that it might be Sheryl Crow’s version I’ve historically enjoyed, but ah well. Arnold’s vocals are beautifully powerful, really selling the narrative of a woman who was trying to find the strength to love again, whilst this has a more up tempo sound than some covers, including strings, horns and harps. 249. 'I Say A Little Prayer’, Aretha Franklin (1967) Influenced by: How I Got Over • Mahalia Jackson (1961) Influence on: Close Your Eyes and Remember • Minnie Riperton (1970) Covered by: The Dells (1972) • Susan Cadogan (1975) • Al Green (1978) • Bomb the Bass (1988) This must have been a tough choice as Dionne Warwick released the song a year earlier, yet the book declared that Franklin’s was the better version. That Burt Bacharach considered it the best interpretation of one of his songs probably speaks volumes. Considering the Warwick version to be too fast in terms of the tempo, Franklin’s changed melody and powerful pipes created another great take on the song. The dynamic shifts in terms of the chorus to verse have always worked for me no matter what version I listen to - it is up to you as to whether the book got the choice right (spoiler: they did).

244. ‘A Whiter Shade of Pale’, Procol Harum (1967) A perfectly good song, though one that found its way onto the list perhaps more for its inauspicious beginnings and eventual lawsuits about who wrote it in the first instance. It was only when the song was leaked to pirate radio that the record company even deemed it worthy of putting out as a single. Perhaps unsurprisingly, the odd lyrics mixed with the organ playing confused them as to whether it was worthwhile to release. The response was huge; the single was pressed; it went to No. 1 in the UK. This stands out as a crazy song to even be considered ‘pop’, but underneath it all it is very catchy – the wail into the chorus and the chorus itself perfect examples. 245. ‘The Tears of a Clown’, Smokey Robinson and the Miracles (1967) A perfect example of a song that I was aware of and liked what I’d heard, but had no idea actually what it was about until this project. With music written by Stevie Wonder that he couldn’t quite find the words for, Smokey Robinson pointed out its ‘circus’ sound and a classic was born. Like several songs on the list, it was only a few years after its release on an album that it really took off beyond that. Thanks to a secretary at EMI in the UK, it went to No. 1 in 1970, whilst a changed version ended up hitting the US top spot three months later. Lyrically interesting, with great delivery by Robinson and the hooky introductions that is reprised multiple times, it is a great slice of sound. 246. ‘Sunshine Of Your Love’, Cream (1967) I’ll be honest, I only heard of this song when I played it on Guitar Hero III. However, it was a clear standout track from that version of the game and it remains a powerful tune every time I’ve listened to it since. The book celebrates it as being an amalgamation of blues, jazz and rock, with a touch of the psychedelic sound that was prevalent at the time. Simple in some aspects, complex in others, its thrumming bass and crunchy guitar work (including a good solo in the midst of it all) are a platform upon which the dark overarching feeling of the song is allowed to thrive.

241. ‘Alone Again Or’, Love (1967) Influenced by: Lieutenant Kije Suite • Composed by Sergei Prokoviev (1933) Influence on: Nantes • Beirut (2007) Covered by: UFO (1977) • The Damned (1987) • Sarah Brightman (1990) • The Boo Radleys (1992) • The Oblivians (1993) • Calexico (2003) There is a driving intensity during the vocals to this song that I just love, whilst what is there not to enjoy about a mariachi horn section? This was apparently a contentious song as the writer, Bryan Maclean, had his vocals remixed and replaced with Arthur Lee’s harmony vocal, something which Maclean unsurprisingly didn’t like. This also picked up much more traction in the years after its release considering it was 99th on the Billboard charts as a single. There is a bleakness within the psychedelic flourishes that is just great. 242. ‘Tin Soldier’, Small Faces (1967) Influenced by: Little Girl • John Mayall & The Bluesbreakers (1966) Influence on: Would You Believe • Billy Nicholls (1968) Covered by: Quiet Riot (1977) • The Hypstrz (1979) • Todd Rundgren (1983) Written by Steve Marriott in an attempt to impress a girl that would eventually become his wife, this is a loud and noisy offering that stands the test of time. More interestingly, Marriott’s vocals (1.35 onwards in the posted video) speak to the style of 70s and 80s rock/metal bands to come. A song that the book described as a return to their mod-soul routes, it isn’t difficult to see the influence this might have had as we headed into the next decade. 243. ‘See Emily Play’, Pink Floyd (1967) Influenced by: Strawberry Fields Forever • The Beatles (1967) Influence on: Shine On You Crazy Diamond • Pink Floyd (1975) Covered by: David Bowie (1973) • The Grapes of Wrath (1994) • Martha Wainwright (2008) Another band I perhaps should have spent more time listening to in the past, this is admittedly Pink Floyd at a point in their career where they were still pitching their music somewhat more at a pop-based audience. Outside of being a fun pop song, this seemed mainly put on the list as it gave Floyd some success at a point where they were already choosing to play music that was worlds away from ‘See Emily Play’. Live crowds were unhappy when they realised pretty quickly that the rest of their set was a much more experimental sound.

238. ‘Respect’, Aretha Franklin (1967) Is there going to be a more powerful vocal on this list? It is debatable but Franklin puts in her claim with ‘Respect’. According to the book, this was the song that practically invented a Grammy category as Franklin won the inaugural Best Female R&B Vocal Performance in 1968. As a black woman in a time of upheaval in the US, Franklin delivered this cover song from the heart and it has understandably gone down in history as an absolute classic. 239. ‘Montague Terrace (In Blue)’, Scott Walker (1967) A song from Walker’s first album since his split from The Walker Brothers more than likely spurred on by the uninspiring musical direction of the trio, this is a lush arrangement of a song written by Walker himself. This was around the time that Walker was into the music of Jacques Brel and this wider experimentation that moved away from the pop stylings of his original work with the Walker Brothers spoke to this interest. The cinematic nature of this song is something that really stands out; the instrumentation pulsing whilst Walker croons sonorously over the top. Excellent. 240. ‘A Day in the Life’, The Beatles (1967) The more I go down this list, the more I realise how little of the Beatles’ really interesting work that I’ve heard. That isn’t to knock the rest of what they’ve done, and I have definitely heard this before, but I don't think I’ve ever heard it to completion. An odd mix of two songs (if I believe the Youtube comments I read, it was indeed two unfinished songs slung together) that somehow works, though it is Lennon’s sections that do most of the legwork for me. The orchestral surge to lead into the middle eight and repeated towards the end is really intense, involving a forty piece orchestra playing every from lowest to highest over twenty four bars. That’s a lot of noise by the end and an interesting inclusion into what is ostensibly a pop song.

A good book that is a let down considering what it could have been is probably about as spot on as you can get. Just saw there is an Andre the Giant book due out in the next few days

Interesting. Was it the plan all along from April 86 though? Or did the decision to turn him heel come later in the year - perhaps after they'd run the Machines feud? I'm aware there may be no clear time exactly, I've just never really heard too much about that decision.

Question that has been bouncing around my head for a bit - considering they ran an angle to have Andre the Giant suspended in 1986 pretty much immediately after Wrestlemania II, at what point did they decide that they'd bring him back (if you ignore the Machines run) as a heel? It is great, year long booking, but I can't help but feel that it is more than likely that they stumbled into it more than got their by choice.

235. ‘Ode to Billie Joe’, Bobbie Gentry (1967) A song that seemed to get lot of traction primarily due the narrative it tells, Gentry was from Mississippi and channelled that into her debut single. This was another example of a B side that got more interest than the intended single as it got eight Grammy nominations. A casually re-told story of Billy Joe’s suicide, there is a sinister tone interwoven into the simple singer/songwriter setup. Nothing stands out musically for me, but sometimes people just really like a song that tells a dark story. 236. ‘The Dark End of the Street’, James Carr (1967) My first (and probably only) involvement with this song was the cover that appears in ‘The Commitments’. That is a great film with a great soundtrack, yet this song was one of the lesser lights for me. An oddly proud delivery of a lyric admitting to adultery, it has since become a soul classic. The writer set out to write the best song about cheating ever – I’ll leave it up to you to decide whether you think they succeeded or not. 237. ‘Suzanne’, Leonard Cohen (1967) Outside of checking out the original version of ‘Hallelujah’ a few times, I’ve never actually listened to anything by Leonard Cohen. A song for Suzanne Verdal, a woman that he had a ‘meaningful spiritual connection’ with (according to the book), this is an ode to her beauty alongside a wider exploration of nature and philosophical ideas. I’d always been of the idea that Cohen was more about the lyrics than the delivery, but I think his delivery, coupled with the lyrics and the rising intensity of the melody add together to create a real thing of beauty. I guess somewhat like Suzanne, if the story is true.

232. ‘Venus In Furs’, The Velvet Underground (1967) The second song from ‘The Velvet Underground and Nico’ and the one that I know significantly better than ‘Heroin’. The books spent time here talking about the importance of Andy Warhol; not inasmuch as any real involvement with the songs, but that he scared off label executives who might have otherwise requested changes. Considering the screechy viola, the dirgy guitar and the constantly bleak-sounding lyrics, it wouldn’t necessarily have been the album it was without someone putting their foot down. Although there is a lot of what might be considered less than nice sounds thrown together, the song is surprisingly melodious and the chorus sections in particular invite some singing along. 233. ‘Fire’, Jimi Hendrix (1967) Influenced by: The Red Rooster • Howlin’ Wolf (1961) Influence on: Sex on Fire • Kings of Leon (2008) Covered by: Five by Five (1967) • Red Hot Chili Peppers (1988) • Trick Bag (1990) • Kingston Wall (1992) • Nigel Kennedy (1993) • The New Mastersounds (2001) • Joan as Police Woman (2009) Perhaps I wasn’t looking in the right place, but I could only find a live version of this song in my extensive searches (…on Youtube and Youtube alone). Whilst his last song on the list may have been extolling the virtues of drugs, ‘Fire’ is all about sex. Within that is a raucous tempo, some excellent drumming and Hendrix’s solo taking it to all the way to the climax. Sometimes a song is just fun; ‘Fire’ is that song. 234. ‘Waterloo Sunset’, The Kinks (1967) Influenced by: Penny Lane • The Beatles (1967) Influence on: For Tomorrow • Blur (1993) Covered by: Affairs of the Heart (1983) • Cathy Dennis (1996) • Fastbacks (2001) • David Bowie (2003) • David Essex (2003) • Scrabbel (2005) • Def Leppard (2006) • MiG (2007) • The Rushes (2007) They love the Kinks it would seem. Having debated writing a song called ‘Liverpool Sunset’, Ray Davies eventually changed his mind to write about Waterloo, a place that held special meaning to him as a Londoner from the region. This is a great slice of pop-rock as Davis’ manages to conjure up a slightly melancholy tone that also alongside the love story that is being told. As with many songs, it’s the chorus that really makes the song and this one is no exception: a catchy lyric, some simple yet effective guitar – it becomes a hard chorus to shake.

229. ‘White Rabbit’, Jefferson Airplane (1967) Influenced by: Sketches of Spain • Miles Davis (1960) Influence on: Where Is My Mind? • Pixies (1988) Covered by: George Benson (1971) • The Damned (1980) • Sanctuary (1988) • The Murmurs (1995) • Shakespear’s Sister (2004) • Lana Lane (2006) • Patti Smith (2007) One of the best things about this whole project is finding out the names of songs you’ve heard somewhere, someplace before, but have never really sought out the name or even the band. Jefferson Airplane are a group I only really know due to Jim Carrey and ‘The Cable Guy’, so to be able to put them to another song I know is pretty cool. Mixing an exploration of the effect of psychedelic drugs with Alice in Wonderland earned them their second top 10 single. It is a song that continues to build momentum through Grace Slick’s strong vocals which help to create an eerie tone, yet the song also retains an element of soul/rhythm coming from the percussion and bass. A solid outing for the band and a solid song on the list. 230. ‘Purple Haze’, Jimi Hendrix (1967) Influenced by: The Times They Are A-Changin’ • Bob Dylan (1964) Influence on: Hey Dude • Kula Shaker (1996) Covered by: Soft Cell (1983) • Kronos Quartet (1986) • Frank Zappa (1991) • The Cure (1993) • Paul Rodgers and Company (1993) At the risk of getting some less than popular responses, I’ve never been the hugest of Jimi Hendrix fans. It is rare that I’ve ever note enjoyed a song when I’ve heard it, but I’ve never felt the need to go out and really explore beyond the classics. The book talks about this song being one of the earlier proponents of an overdriven guitar (I’ll be honest – I have no idea what that means), but what is clear is how punch the wailing and crunching guitar is. Add in lyrics that also explore drugs and it isn’t surprising that Hendrix was lauded as highly as he was by a certain subculture that existed around this time. Hendrix’s guitar playing is his thing, yet it is worth mentioning that he had a decent voice as well. 231. ‘I’m A Man’, Spencer Davis Group (1967) For ‘I’m a Man’, read ‘White Rabbit’ – another song I knew of, but had never really put a name/band to it. Lively from the opening, this is primarily a great showcase of Steve Winwood’s vocal stylings. At only eighteen when this was produced, his Ray Charles-esque high tenor (apparently) stood out compared to other bands of this ilk during this time period. He quit three months later to form the band Traffic, leaving this also as a slice of history as much as anything else. Other props should go to the spooky vocalising that accompanies the verses, as well as Spencer Davis’ intermittent rhythm guitar.

226.. ‘I’d Rather Go Blind’, Etta James (1967) Having fought a heroin addiction and spent time in a psychiatric ward, this was Etta James’ comeback album and the standout track from it. It is achingly beautiful in its simplicity; the simple drumming and strumming allowing James to pour her heart out about a lost love. Though the song itself wasn’t a hit as it was a B Side to another song from the album, it helped to carry James back into the public conscious and it isn’t hard to see why. 227. ‘(Your Love Keeps Lifting Me) Higher and Higher’, Jackie Wilson (1967) There are probably very few songs that will end up on this lift that can match up to the outright joy and exuberance on record here. Another song (after the last one) that aimed to see the singer break out of a slump, this did end up being a hit as it went to No.1 in the US R&B Charts. Apparently Wilson originally tried to sing this as a ballad, but once Carl Davis (the producer) told him the way he thought it would work better, Wilson went back in and did it in one take. Pure joy in musical form. 228. ‘Strawberry Fields Forever’, The Beatles (1967) Influenced by: Mr. Tambourine Man • Bob Dylan (1965) Influence on: Rainy Day, Dream Away • The Jimi Hendrix Experience (1968) Covered by: Richie Havens (1969) • Todd Rundgren (1976) • The Runaways (1980) Whilst this is not my favourite Beatles song, it does have one of my favourite introductions. Not actually on a Beatles album, this was paired with ‘Penny Lane’ in a double A side and was the first Beatles single since ‘Please Please Me’ to miss out on the top spot (coming in No. 2). This is John Lennon with time on his hands and a metric fucktonne of weed, leading to the psychedelic sound and introspective lyrics. The Beatles continued experimentation with instruments is also clear here as you get to hear some mellotron and swordmandal across the four minute running time.

223. ‘Chelsea Girls’, Nico (1967) It feels weird to me having a Nico song come up immediately after the things I (and perhaps many others) know her best for – her collaboration work with the Velvet Underground. Telling the tale of Hotel Chelsea, a place that used to play host to a number of drugged up inhabitants, it stands out primarily because Nico herself isn’t a great singer by any stretch of the imagination. Sparse flute and strings add a little bit of interest to the song overall, yet Nico herself hated it (they were added without her permission). More on the list perhaps as a snapshot of a time than due to its quality as a song. 224. ‘For What It’s Worth’, The Buffalo Springfield (1967) One of those songs that I’ve heard before, but could never have told you who it was. Written by Stephen Stills as a journalistic take on a riot that the singer witnessed, one that wasn’t afraid to take a pot shot or two at the police themselves for their role. A simple song, but a powerful one – not a lot more I can add to that. 225. The Look of Love’, Dusty Springfield (1967) Sashaying its way out of the speakers and into your ears, ‘The Look of Love’ is sensuous from beginning to end. Written by Burt Bacharach and sung by Springfield, this was a meeting of two perfectionists for the only song they recorded. The swell to the chorus and the relative simplicity of the piano arrangement both work in the song’s favour, with Springfield’s vocals an absolute (and seemingly effortless) delight. By far the best thing to come out of the original Casino Royale, surely?

220. ‘Electricity’, Captain Beefheart and His Magic Band (1967) Somewhere in my attic, I have this album. I’ve never listened to it, but that speaks more to random periods of time where I will buy CDs, books and films without finding the time to actually give them a go. This is a wild song though which underneath its general oddity has a hell of a lot going on. Between the creepy vocal delivery (mainly the repetition of the songs title), the use of the theremin, excessive (but not in a bad way) high hat work by the drummer and the general bluesy tone that underpins it all, it sounds almost fit to burst. Many people talked about how influential Captain Beefheart was and it is hard to tell by one song alone, but this is definitely an eye/ear opening slice of music. 221. ‘Corcovoda’, Frank Sinatra and Antônio Carlos Jobim (1967) Seemingly on the list as the definitive version of a popular song, one that helped to popularise the ‘bossa nova’ style in the English-speaking world. It has been a while since Frank Sinatra was on the list and this is a step away from what we (or more importantly, I) might have expected from him. He is much more understated, letting the music do the work but hitting every tone and shift that is required. I like that bossa nova sound, though it lacks the edges that I enjoy and helps to give something more staying power personally. 222. ‘Heroin’, The Velvet Underground (1967) This is also in my attic, but unlike Captain Beefheart, I have listened to this album numerous times. Several songs have danced around it, but this is about as unambiguously about drugs as you can get. It neither seems to glamorise, nor decry it; it just tries poetically explore the idea of taking heroin. The shifts in pace feel like it aims to try and recreate what I can only imagine is the feeling of taking the drug, with the drumming getting more incessant and the guitar increasing in intensity. What is perhaps most interesting is John Cale’s electric viola (I’ll be honest, the book identified that for me) as its one chord holds the song together until a flurry of screeching gives our first taste of real dissonance within a song. So well put together.

217. ‘Happening Ten Years Time Ago’, The Yardbirds (1966) Apparently the only Yardbirds single that had both Jimmy Page and Jeff Beck playing guitar, so it is unsurprising that the guitar work in this is great. The use of reverb helps to create a trippy, psychedelic feel that compliments lyrics that may or may not be about reincarnation. This was a commercial dog compared to a previous run of five top ten singles in the UK, but I guess this was more about what it represented than sales. Sonically, there is a lot more going on in the background as sirens and car engines help to create a whirling dervish of a tune. 218. ‘Tomorrow Never Knows’, The Beatles (1966) This is as mind-altering for me now as it was for an audience of Beatles fans in the 60s, I can only imagine. I’ve never heard this before, not being someone who has delved significantly into their back catalogue, so to hear something SOOO trippy from them was a surprise. I’ve used the word a few times with other songs but this does feel somewhat timeless – some of the psycadelic twinges perhaps date it, yet I could imagine it being played as a remix at a dance club tomorrow (well, when the pandemic is less of an issue…). The experimentation in terms of music puts them worlds away from where they were mere years ago. 219. ‘The End’, The Doors (1967) The first song to even come close to pushing Nina Simone’s ‘Sinnerman’ for the longest thus far. An epic, coming in at eleven minutes plus, it is ambitious from beginning to end, though perhaps too clearly a sign that the drugs don’t always work. This started as a three minute pop song, but before the album was recorded, had blown up to its run time after various live performances had seen it spiral out of control. Like a long book that has passed into the literary canon, you feel like you should at least applaud the deed whether you genuinely think the song is good or not. It is fine. That’s about the sum total of my thoughts on it, but to commit to this song in such a fashion, or be drugged up enough to conceive of it, deserves some plaudits.