Jump to content
DVDVR Message Board

1,001 songs to listen to before you die...


Liam

Recommended Posts

In an effort to get up to speed with the other forum where I am posting these, I thought I might as well just post the next lot - apologies for posting so many in such a quick space of time.

193.      

‘Sunny Afternoon’, The Kinks (1966)

Influenced by: Let’s All Go down the Strand• Clarence Wainwright Murphy (composed 1904)   

Influence on: Everybody Knows (Except You) • The Divine Comedy (1997)   

Covered by: Bob Geldof (1992) • Jimmy Buffett (1994) • Stereophonics (1999)

A second entry for the Kinks that charts very different waters to ‘You Really Got Me’. Moving away from the rock of the first song to more music-hall stylings. Musically, the jangly nature of the piano evokes creates an oddly relaxing tone, though the lyrics do speak to things more severe than just lazing about. The implication here is to not necessarily follow the status quo and embrace the counterculture instead. What seems like a simple song is a greater whole than the sum of its parts.

194.      

‘Paint It Black’, The Rolling Stones (1966)

Inspired by: Ulysses • James Joyce (1922)   

Influence on: Thirteen • Big Star (1972)  

Covered by: Chris Farlowe (1966) • Eric Burdon & The Animals (1967) • After Hours (1987) • Echo & The Bunnymen (1988) • Deep Purple (1988) • Dominion (1998) • Acid Mothers Temple (2003)

Nihilistic, insistent, unnerving; ‘Paint It Black’ feels odd to consider as a single when you compare it to other songs that were being released around this time. However, it is an absolutely cracking song that starts up at a pace and never relents. What brought it together, giving the song that touch of psychedelia, was the sitar playing by Brian Jones, something acknowledge by both the band and the book. It adds a hint of menace to everything, even on top of lyrics that are unremitting in their negativity.

195.      

‘Summer in the City’, The Lovin’ Spoonful (1966)

A song that I realised I’d never heard the whole of until today. All I’d ever been exposed to was the introductory verse, therefore never getting to the point where things brighten up and the ‘summer in the city’ becomes better evoked by the melody. A catchy ear-worm with the dynamic shift between the two moods making this a more engaging song that it otherwise might have been, especially the use of the keyboard and snare during the verses.

Link to comment
Share on other sites

196.      

‘God Only Knows’, The Beach Boys (1966)

Just an absolute tune – well, as much of a tune as a song with what could be perceived as such a saccharine sentiment. This was a step above the surfer pop that the Beach Boys had become known for and the layering of sound here is ridiculously intricate (and clever) for what was essentially a pop song. Over twenty studio musicians added their own sound to Brian Wilson’s work and helped to sculpt a masterpiece that has an ethereal, spiritual tone throughout.

197.      

‘(I’m Not Your) Stepping Stone’, Paul Revere and the Raiders (1966)

The book suggests that the decision to attire themselves in Revolutionary War outfits ultimately cost Paul Revere and the Raiders when it came to their legacy. Still, what it did claim was that Mark Lindsay’s snarl, fuzzy organ and the jabbing guitar noise added up to a potential claim for being an early onset version of punk. The dynamics of the song heading into and out of the chorus are fun, with Lindsay’s lyrically delivery was dripping defiance.

198.     

‘Mas que nada’, Sergio Mendes and Brazil 66 (1966)

One of those songs that transcends time and borders as it has had success globally. Not the first version of this song, but the most popular. Lani Hall, the vocalist, sang the Portuguese words phonetically so well that people assumed she knew the language – which she didn’t. Swinging, lively, sexy; a top song that has had significant longevity.

Link to comment
Share on other sites

199.      

‘El Muerto Vivo’, Peret (1966)

Part of my interest when it comes to music from other cultures on this list is as to whether I will recognise it or not. This definitely sounds like a tune I’m aware of, yet I also feel a little bit like this rumba flamenco style (stolen from the book) can occasionally sound very samey. That isn’t to knock the song whatsoever; the flamenco guitar and layered vocals work together to create a very catchy tune. On the list primarily for its influence perhaps, it is still worth a few minutes of your time.

200.      

‘Tomorrow Is A Long Time’, Elvis Presley (1966)

Presley is the perfect example of an artist that I’ve not really heard as much of as I feel I should have done. This is actually a Bob Dylan cover song, an artist that Presley covered at least four time. Though I’ve not listened to Presley that much, this definitely feels at odds with my expectations of his sound. A lot more ‘country’ in tone and with a long running time, there is a mournfulness that challenges Presley’s usual rock and roll swagger. It doesn’t do much for me truth be told, but it was Dylan’s favourite version of the song, so that’s something.

201.      

‘Eleanor Rigby’, The Beatles (1966)

Influenced by: Vivaldi   

Influence on: A Rose for Emily • The Zombies (1968)  

Covered by: The Standells (1966) • Richie Havens (1967) • Vanilla Fudge (1967) • P. P. Arnold (1968) • Aretha Franklin (1969) • Four Tops (1969) • John Denver (1970) • The Crusaders (1974)

My own personal favourite Beatles song (next to ‘Norwegian Wood’) is up at 201. Somewhat hilariously, this was placed on the opposite of a single with ‘Yellow Submarine’, two very different songs tonally. Having mentioned how much was going on with ‘Ticket to Ride’, this takes things up a notch with the echoing vocal runs, the harmonising and the violin work. A rare example of a Beatles song where none of them played an instrument, ‘Eleanor Rigby’ stands head and shoulders above some of the more dated pop that the Beatles put out into the world and is testament to the quality of McCartney’s songwriting at times.

Link to comment
Share on other sites

‘River Deep-Mountain High’, Ike and Tina Turner (1966)

Influenced by: Be My Baby • The Ronettes (1963)   

Influence on: Born to Run • Bruce Springsteen (1975)   

Covered by: The Easybeats (1967) • Harry Nilsson (1967) • The Supremes & The Four Tops (1970) • Erasure (1988) • Neil Diamond (1993) • Céline Dion (1996)

The book claims this as the definitive Phil Spector ‘wall of sound’ song and it is probably hard to argue. Anchored by Turner’s powerful vocals that stir and build to the verse, the backing music swells as well before bursting into life. Ike was effectively paid $20,000 not to perform on this and its lack of success meant that Spector packed things up and went home having staked his financial future on it. Considering all of that, it is an absolute belter of a tune and it isn’t surprising that Turner still incorporated it as one of his signature live songs.

203.      

‘7 and 7 Is’, Love (1966)

Influenced by: Get Off of My Cloud • The Rolling Stones (1965)   

Influence on: Skeleton Key • The Coral (2002)   

Covered by: Alice Cooper (1981) • Billy Bragg (1990) • The Ramones (1993) • The Electric Prunes (2001) • Amoeba (2004) • Rush (2004)

A band and a song that I’ve never heard of, though the names of some of the bands that covered this song speaks volumes about their influence/interest. Turning from a folk song when written by the lead singer into a galloping folky-punk with barely audible lyrics, it was the bands only top 40 hit. The build to the ‘explosion’ (a slowed down gunshot noise) is a great touch as things threaten to go completely off of the rails. A really good song that I’m glad to have unearthed.

204.      

’96 Tears’, ? and The Mysterians (1966)

An apparent favourite amongst a number of garage bands, as well as Bruce Springsteen (who was able to launch into a cover of this by request on a 2009 tour), this is an interesting slice of 60s…rock? What is most interesting is ?, the lead singer who claimed to be 10,000 years old. I feel this is the first time I really am aware of someone presenting themselves as a persona rather than themselves. The organ grooves and the vocals are hooky enough to make this an interesting song, if one that feels a little dated and of its time in spots.

Edited by Liam
Link to comment
Share on other sites

205.      

‘Pushin’ Too Hard’, The Seeds (1966)

There’s a beautiful, barely supressed anger about ‘Pushin’ Too Hard’ that I really enjoyed. Written in ten minutes by Sky Saxon, the lead singer, it is about as simplistic in delivery as it must have been in conception. That isn’t to say there isn’t skill here, but the little solos, the rudimentary drumming and the janky but kinda cool electric piano are a good example of the whole being greater than the sum of its parts.

206.      

‘Psychotic Reaction’, The Count Five (1966)

I always feel that you have to have some balls to prominently feature a harmonica in any song. However, when you have the swagger and sonic noise that The Count Five were offering, I guess you wouldn’t really care what I think. The percussion is hypnotic as are the changes in tempo; this all allowed them to mess around with it live and make it even crazier in nature. Having had success with this song, they were offered lots of bookings, yet turned them down to go to college. Brave men.

207.      

‘Reach Out (I’ll Be There)’, The Four Tops (1966)

There are just some songs on this list (some have gone, some surely still to come) where it is hard to get past the fact that these are just absolute bangers. I can pick out the woodwind intro, the percussion as it builds to the vocals, the sudden kick into the crux of the tune, the tambourine work or the excellent harmonies, but none of that does justice to an absolute belter of a tune. According to the book, this was primarily a departure from their original sound especially in the edgier vocals of Levi Stubbs – whatever it was, it worked as this was their second US No. 1.

There's something about the juxtaposition of the last song with the two that came before it. Very different, but all very good.

Link to comment
Share on other sites

19 hours ago, ohtani's jacket said:

Sweet. I listened to the EP it comes from. Saw the Cramps live once when I was just a kid. 

Saw the Cramps over two dozen times and they got better every single time! Damn, I miss Lux...

Link to comment
Share on other sites

208.      

‘Good Vibrations’, The Beach Boys (1966)

It probably speaks to how good a song ‘Good Vibrations’ is that I completely underestimated how complex it was. An attempt by Brian Wilson to capture the sounds in his head would take eight months and several studios to get right. There is so much going on here, but at heart it is just an excellent slab of pop that has hooks for days. It is another song that does a lot in a relative short run time as there are chunks of music, almost like chapters, each with its own interesting elements. To go from surf pop/rock to this speaks volumes about the musical talent of Wilson.

209.      

‘Dead End Street’, The Kinks (1966)

The books claims the Kinks were the most sonically challenging UK band at this time alongside the Beatles. Without being able to verify that, this song that tells a story of poverty yet with an element of jauntiness in the tune is definitely interesting when held up to some of the purer pop offerings. Paving the way for The Smiths, Madness and Pulp in this social commentary-style (again, according to the book), the shouted backing vocals, trumpet solo and hand claps add a touch of swing to an otherwise tonally negative song. An interesting juxtaposition of ideas, that’s for sure.

210.      

‘The Sun Ain’t Gonna Shine Anymore’, The Walker Brothers (1966)

A song that sounds like it has Phil Spector’s stamp all over it as the layers of sound and vocals continue to build in lusher and lusher arrangements. The star here is Scott Walker, and it isn’t surprising to know that he was the one that went on to the most success as a singles artist, though departing significantly from this style of music. The lovelorn and angsty teen had a new anthem to sing and dance along to, sung by three guys who may not have been brothers, but could belt out a tune; they weren’t half bad looking either, which helped.

Link to comment
Share on other sites

211.      

‘Season of the Witch’, Donovan (1966)

This is a fair step away from the songs I might have expected from the band/man who did ‘Mellow Yellow’. A slightly psychedelic take on the poppier end of rock, yet menacing from beginning to end, this is an excellent song that I’ve never heard of whatsoever.  Another example of a song that utilises the build from the verse to the chorus effectively as the volume (and I believe the speed, or perhaps that’s just an auditory hallucination) increases into the pretty simplistic vocal refrain, before settling back down again for the next stage. This sounds timeless and could be positioned in other decades with ease.

212.      

‘Friday On My Mind’, The Easybeats (1966)

Influenced by: The Swingle Singers   

Influence on: The Sound of the Suburbs • The Members (1979)   

Covered by: The Shadows (1967) • David Bowie (1973) • London (1977) • Peter Frampton (1998) • Richard Thompson (2003) • Ben Lee (2008)

This is dubbed ‘power pop’ and you can hear why that is the case. It has more in keeping with some of the early 60s output and is two minutes of hooky melodies that celebrate living for the weekend. The guitars set the tone with a sense of urgency that is furthered by the vocals – they almost feel like they are trying to outrun the rest of the song. This was one of the only songs to have any success in the UK for the band as issues with contracts and drugs left them foundering. An interesting sidenote – the guitarist George Young’s siblings, Angus and Malcolm, went on to more fame as part of AC/DC.

213.      

‘I’m A Believer’, The Monkees (1966)

Influenced by: Cherry Cherry • Neil Diamond (1966)   

Influence on: Sugar Sugar • The Archies (1969)   

Covered by: The Ventures (1967) • The Four Tops (1967) • Wanda Jackson (1968) • Robert Wyatt (1974) • Tin Huey (1979) • The Frank and Walters (1992) • Sugar Beats (1997) • The Patron Saints (2008)

For those who are a fan of Neil Diamond’s output in the 60s and 70s, you can immediately tell that this was penned by him. The Monkees were a very successful attempt to cash in on Beatlemania and the excitement of (primarily) teenage girl music fans. This is sweetly saccharine pop, but is hard to not enjoy or sing along to. A bit like some of Diamond’s other successful tunes, then.

Edited by Liam
Link to comment
Share on other sites

On 3/27/2020 at 10:52 AM, Liam said:

Still, what it did claim was that Mark Lindsay’s snarl, fuzzy organ and the jabbing guitar noise added up to a potential claim for being an early onset version of punk.

The Minor Threat cover of this made it a staple in punk ever since. 

That low sound in the 13th Floor Elevators song is indeed the electric jug. Singer and guitarist Roky Erickson went on to be one of the greatest (and most troubled) rock musicians ever, notorious for hospitalizations, drugs, electroshock therapy, and finally schizophrenia beyond his incredible songs. His passing was a great loss. 

And I have to say, I love having accidentally called both the Seeds and Count Five being in this list haha

Link to comment
Share on other sites

214.      

‘Dirty Water’, The Standells (1966)

A simple garage rock song that has lived on in its use with the Boston Red Sox (up until 2010 at least). The writer was mugged on a bridge in Boston; there is dirty water and pollution in Boston – that’s about it really. I’m actually struggling with regards to what I can say about it. It’s a decent enough song that is on the list seemingly for its cultural significance to one city in particular.

215.      

‘I Feel Free’, Cream (1966)

A rock supergroup’s second single that needed to deliver after a poor first one, this is a fun burst of pop rock. Jack Bruce’s voice in particular is a real pleasure to listen to and this song gives him ample opportunity to showcase his pipes. The percussion and strings add a feeling of pace that compliments the positive message of the lyrics. I’ve only ever heard once song by Cream – that might need to change.

216.      

‘You Just Keep Me Hangin’ On’, The Supremes (1966)

This is an odd one. I feel that I’ve listened to so many variations of this without hearing the original that I’m surprised by how lacking in oomph the vocals have. Naturally, they can definitely song, but I expected a bit more punch. Naturally, the vocals are well sung, but yeah – just something slightly lacking until the second half of the song at least. The book talks about how this was the route in to a slightly harder edged, psychedelic soul influenced by rock, something heard with the Morse code-esque guitar and furthered (apparently) with the late 60s work by The Temptations.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

1966

You can feel the psychedelic influence creeping into a lot of these songs. That leads to a cliched sound at times, but I liked most of these choices. There were some sneaky re-releases, though. Interesting that they snubbed The Velvet Underground.

That Jacques Dutronc song was cool. I swear when this is all said and done I'm doing a deep dive on French pop. Stay with Me shouldn't have worked but ended up being  epic. The chorus was a belter. 

Umm Kulthum is an artist I knew nothing about before this book (or thread, really.) Reading up about her, she seems like an absolute titan of the music world. Originally, I thought the song was a nice bit of exposure to something I might otherwise only hear in an old film, but now I am intrigued by the woman. I like the fact that she sang genuine Arabic songs while other musicians were trying to copy Western songs.

I LOVE Roky Erickson. You're Gonna Miss Me is a great song. The Who and The Byrds I can give or take. Paint it Black has been hashed to death. I like that they recognized the complexity of the Beach Boy's music and they seem to share a lot of people's opinion that for a brief period Ray Davies of the Kinks' songwriting was on par with Lennon and McCartney. 

I didn't get the Elvis pick. Did they choose it because he was singing a Dylan song? I like the Odetta version better. I also prefer the Jorge Ben version of  Mas que nada. I really liked the Peret song. That was a cheerful, uplifting song. 

Lots of classic garage rock in this batch. A bit of Motown and an interesting Beatles choice there at the end. 

Two of my favorite artists didn't make the cut.

Sam and Dave need to be seen live too. 

Would have picked this over some of the Motown choices so far:

The great Lee Dorsey needed to be included too:

There was a lot of great garage rock from this year, as well as garage punk:

I Had Too Much to Dream (Last Night), The Electric Prunes
Undecided, The Masters Apprentices
Trouble Comin' Every Day, The Mothers of Invention
Going All the Way, The Squires
(We Ain't Got) Nothin' Yet, The Blues Magoo
Talk Talk, The Music Machine
Come See Me, The Pretty Things}
Save My Soul, The Wimple Wench
Can't Tame Me, The Benders
Don't Look Back, The Remains
Project Blue, The Banshees
Primitive, The Groupies
Voices Green and Purple, The Bees
Security, Thane Russal & Three
Bad Girl, The Zakary Thaks
Jack the Ripper, One Way Street
Journey to Tyme, Kenny and The Kasuals
Last Time Round, The Del-Vetts

...the list goes on and on.

I think I would have picked Hendrix' Hey Joe, myself. Koko Taylor sings a pretty fantastic version of Wang Dang Doodle with Willie Dixon from this year. 

I was really taken with this Small Faces song recently:

And this was the oddest song I discovered:

 

Edited by ohtani's jacket
  • Like 2
Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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?

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

 

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

 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).

 

Edited by Liam
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...