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

[ohtani's jacket]

I stumbled onto this just now. I hope you don't mind me chiming in. 

The first batch of songs I listed to was from 1916-1939. I was already familiar with all of the Blues artists. St. James Infirmary Blues is my favorite track from the selections they chose, although Strange Fruit is obviously an incredibly poignant song and Leadbelly is a personal favorite of mine. I just love that slow, melancholy sound in St. James Infirmary Blues. When you think of Louie Armstrong you think of the laugh and tunes like "It's a Wonderful World" (I absolutely love his James Bond theme song, We Have All The Time in the World), but this track is as bluesy as he got. 

I found Caruso's O Sole Mio quite moving even if that song has been used in a thousand parodies. I was also moved by Pokarekere Ana as I'm an expat Kiwi. 

There were a couple of tracks that interested me more than you. I was quite taken with Joe and Cleoma Falcon and The Carter Family, the latter because of Maybelle's guitar playing. I'd like to hear more from these artists. I was also impressed with Lydia Mendoza. I'm curious about Sol Hoopii's guitar playing as well.

Mbube was a revelation. I had no idea that song existed. 

 

[ohtani's jacket]

1940-1949

I thought they kind of short-changed the Ink Spots. They had plenty of better songs than that. I Don't Want to Set the World on Fire would be my choice.

Gloomy Sunday is a brilliant song. The best on the list so far. I was really taken with Joseito Fernandez' voice and have been trying to seek out more his stuff. The French songs were beautiful, and I really like that Nat King Cole song as well. It has a haunting melody and the structure is unlike anything else from the era. I love Louis Jordan, and that Hank Williams tune is one soulful country tune. 

Most of the music I like from this era is either jazz or blues and I think they did a fairly good job of representing both. I assume they didn't include any instrumental stuff hence no bebop or swing/big band stuff. I might have snuck in another Leadbelly song like The Midnight Special or some early electric blues.

[ohtani's jacket]

1950-1954

I think Jo Stanford was the first artist to make an English recording of Autumn Leaves, which is probably why they chose the track. One of the first Jazz records I ever brought was Cannonball Adderley's Somethin' Else, so I have soft spot for this tune. So many bittersweet, melancholic songs so far. 

I thought the Weavers did Goodnight, Irene justice. They did keep that one line about jumping into the river and drowning. They just cut the verse about taking morphine and dying  

I didn't know Mambo No. 5 was a thing. I am ashamed to admit I kept expecting to hear "A little bit of Monica in my life."

I like R&B and early rock, so I enjoyed Rocket 88, Elmore James, B.B. King, Big Joe Turner, and The Robins, but Rockin' Around the Clock... I absolutely love that song. The band are so tight. I like watching studio performances from this era rather than the records as you get to see the musicianship up close. I watched a performance of that Les Paul and Mary Ford tune where Paul's guitar playing was really notable. Apparently, he was the first person ever to use an eight track. How cool is that?

I think the sound quality on the Johnnie Ray video was poor. I tried a few others and it sounded better. The Johnnie Ray story is an interesting one and probably more noteworthy than his music.

How great were those Chet Walker songs? I need to dust off my Chet Walker albums after listening to those. I never really appreciated Walker during my big jazz phase. There were plenty of other Jazz vocalists and musicians I was into, but listening to him here I thought My Funny Valentine was raw, vulnerable, and refreshingly different from the crooners.  

Oh, and I love Singing in the Rain too.

Edited February 23, 2020 by ohtani's jacket

[Liam]

9 hours ago, ohtani's jacket said:

I think the sound quality on the Johnnie Ray video was poor. I tried a few others and it sounded better. The Johnnie Ray story is an interesting one and probably more noteworthy than his music.

I went back and had a listen and you are right. However, my method (not exactly scientific) is to search for the song along with the year, considering a lot of songs have been recorded more than once or been on remasters that will have cleaned the audio up. Looking at the comments on the video, I don't see anyone complaining about it sounding different to what they might expect, so yeah, I dunno really. 

Here is another video of te song for those who want to check it out. If anything, these better versions make the song more boring for me - the weird reverb-y noise was the bit that interested me the most.

[Liam]

121.      

‘Shakin’ All Over’, Johnny Kid and the Pirates (1960)

Influenced by: Whole Lotta Shakin’ Goin’ On• Jerry Lee Lewis (1957)   

Influence on: Back in Black • AC/DC (1980)   

Covered by: The Swinging Blue Jeans (1964) • The Guess Who (1965) • Suzi Quatro (1973) • Alvin Stardust (1979) • Cliff Richard (1981) • Mud (1982)

Unless I am misremembering which songs have come from the UK, this is one of the first rock and roll songs from this sceptred isle that feels legitimately cool. The US had already proved that they could do rock and roll, whilst a lot of what has come from the Brits thus far felt like pale imitation. This has the swagger, the sexiness, the mood. To me, the staccato picked guitar sound in particular sets the foundations upon which the rest can really soar. An excellent song in my opinion.

122.      

‘Non, Je ne regrette rien’, Edith Piaf (1960)

I sometimes find it hard to put my finger on what I like about the Piaf I have heard, but her multitude of musical fans helped (with David Bowie, Emmylou Harris and Lou Reed all quoted in the book). The big thing with Piaf is that you believe every word that comes out of her mouth, whether you understand it or not. When you add that believability to the soaring nature of the overall tune, it isn’t surprising to see why it became Piaf’s signature tune following its release.

123.      

‘Spanish Harlem’, Ben E. King (1961)

Marking his split from the Drifters with a name change and an attempt at a solo career led us to Ben E. King singing ‘Spanish Harlem’ as his first real hit post-break up. As addressed by the book and agreed by myself, there is a lot going on in a relatively short song between the percussion, vocalising, and King’s own delivery, and it all builds up effectively to create a sense of longing. This is a song about a place that King himself grew up and there is a tinge of that nostalgia permeating through everything in the three minute run time that I particularly enjoy.

[Liam]

124.      

‘Mad About The Boy’, Dinah Washington (1961)

Apparently at a time in her career where people were considering her somewhat of a sellout for moving away from the blues to ballads and torch songs, Washington recorded this in what was arguably the most lucrative period of her career. This was the second recording with nine years between them; this one was pitched squarely at a broader audience than the rather low key first attempt. Quincy Jones provides the lush melody upon which Washington lays her frustrations, her vocals both beautiful and caustic in equal measure. A strong outing, that’s for sure.

125.      

‘Lazy River’, Bobby Darin (1961)

I care a lot less for this song than I do for Darin’s version of ‘Mack The Knife’, though it is good to hear a song given the full swing treatment by someone who is clearly at the top of his game – if that is what you like, of course. That Darin chose to eschew rock and roll to continue his vein of pop-swing also earns some kudos from me. A mixture of artistic integrity and knowing what you are good at meant that Darin continued to pump out the hits irrelevant of the doubts of his record label. Fair play to the lad.

126.      

‘Back Door Man’, Howlin’ Wolf (1961)

A product of Willie Dixon’s run of post-war blues, Howlin’ Wolf was working his way through Dixon’s back catalogue when he struck success with ‘Back Door Man’. The raspy snarl of Wolf works excellently for a song that is creepy, predatory and sexual all in one. The insistent and driving nature of the guitar just adds to the uneasy tone set across the song as a whole. It is good to hear this more raw music juxtaposed against things such as the previous two songs, showcasing a wide variety of offerings for the old school music fan (or contemporary music fan of the time period).

[Liam]

127.      

‘The Red Rooster’, Howlin’ Wolf (1961)

A rare example (up until now) of subsequent songs by the same artist and from the same album. Also, up until now, a lot of enjoyment I’ve gained from songs has come from the feeling of noise or pace within the increasing shift towards rock and roll music. ‘The Red Rooster’ is slow and almost meditative in its plodding melody, whilst Wolf’s slide guitar is the standout sound as the lyrics metaphorically tell the story of an erring husband out on the prowl. A step below ‘Back Door Man’ for me, but an indication that perhaps ‘Howlin’ Wolf’ (1962), the eponymous album with both songs on, might be worth a listen.

128.      

‘Johnny Remember Me’, John Leyton (1961)

This is considered one of the prime examples of a ‘death disc’, a melodramatic genre of music that told tales of Romeo and Juliet-esque doomed love affairs. The song was banned for its lyrics that didn’t specifically reference the lady’s death, but with spectral female vocals, things left little to the imagination. What stands out to me here is the galloping guitar that underpins the whole song, grabbing the attention from the opening bars and driving the song along throughout. Chas (of Chas and Dave fame) laid down the bass, whilst the songwriter Geoff Goddard stated that Buddy Holly came to him in a dream with the song.

129.      

‘I Fall To Pieces’, Patsy Cline (1961)

Mixing the narrative tales of a country singer with the delivery of a pop singer, Cline’s career looked set to be an illustrious one before she unfortunately perished in a plane crash in 1963. ‘I Fall To Pieces’ was somewhat of a second start for Cline as she’d had some success in 1957, yet had struggled to replicate that with the singles that followed. This is a pleasing song, one that perhaps meant more to someone at the time period than now. In setting the bar for what a country music ballad might sound like, Cline’s style has become somewhat ubiquitous, dampening somewhat the impact for a modern audience.

[ohtani's jacket]

1955-1957

A lot of Frank Sinatra and Ella Fitzgerald in these selections. That's no surprise given they were two of the most important vocalists of the 20th century but I'm not sure that I agree with the song choices. I went through a large chunk of their discographies when we were doing the best of the 50s list, and I enjoyed their work a lot even if it is more polished than tortured vocalists like Holiday, but I don't think I would be in a hurry to seek out their work simply based on their selections. 

Tutti Frutti is a monster tune. I played the Platters at my wedding (Smoke Gets in Your Eyes), so I abide by that choice. A lot of great singers have covered Cry Me A River, but none of them touch London's version. I really love that Tennessee Ernie Ford cover. The original is a fine tune as well.

I was surprised that they chose a Bo Diddley song that didn't feature the Bo Diddley Beat, especially since they haven't featured a lot of Willie Dixon songs thus far.

I've really enjoyed the Cuban music so far. I feel like it's time to do a deep dive on Cuban music. 

I loved the restraint on that Gene Vincent song. That song oozed sex as much as anything Elvis released. He released some really good albums in the 50s. Really underrated talent. Johnny Burnette also fits that bill. 

Early Elvis is incredible. It's easy to get bored of a guy like Elvis and look for alternatives, but he was so effing cool. 

Blueberry Hill > Blue Monday and Great Balls of Fire > Whole Lot of Shakin' Goin' On. I love Jerry Lee Lewis. I adore each of the country albums he released later on. But I don't think the recording of Whole Lot of Shakin' Goin' on captured the frenzy of the live performances. You listen to Tutti Frutti and it's still a great track even if the live performances were no doubt better. I don't think that's the case with Jerry Lee's track. Mondays suck, but I don't think that's a stand out cut.

That Louvin Brothers song surprised me for its candid depiction of murdering a girl. 

The Cash songs are classics. I've always loved Folsom Prison Blues. I love the way Cash sings simple phrases with such utter conviction. 

I feel that Jimenez' music is something I could get into at the right time and place. He sang passionately. It's the same thing with Mahalia Jackson. She was an enormous talent but it's not every day that I'm in the mood to go to church. 

Screamin' Jay Hawkins -- I'm a big fan. I have listened to a ridiculous amount of his discography. It's kind of funny listening to Jay alongside guys like Fats Domino. Imagine if Fats had a gimmick like Screamin' Jay. 

I probably like that Louis Prima jam more than most, especially the "Ain't Got Nobody" half. It's a good album too. At first I was put off by Rock Island Line because it was weird to hear a Scot singing an American song but his rapid fire delivery won me over. That'll Be The Day has always been a pretty song. Little Darlin' feels like you're at a dinner so that's nice as well.

That Nat King Cole song does nothing for me, I'm sorry to say. I'm much higher on Sam Cooke. I love Sam Cooke. Recordings like You Send Me were meant to get him over with a white audience like Nat King Cole, but it's silky smooth. I prefer his rawer cuts and his live performances, but if you consider this mainstream pop then it is pretty as a peach.

 

 

[MORELOCK]

28 minutes ago, ohtani's jacket said:

That Louvin Brothers song surprised me for its candid depiction of murdering a girl. 

Knoxville Girl is part of a larger subgenre of songs rooted in European folk tradition that depict gruesome killings, called "murder ballads."

[OSJ]

On 2/20/2020 at 10:49 AM, Liam said:

109.      

 ‘Ne me quitte pas’, Jacques Brel (1959)

Influenced by: Les feuilles mortes • Yves Montand (1946)   

Influence on: Once Was • Marc & The Mambas (1983)   

Covered by: Nina Simone (1965) • Sandy Shaw (1967) • Scott Walker (recorded as “If You Go Away”) (1969) • Daniel Guichard (1972) • Serge Lama (1979)

Another one that comes across as ‘just a song’ to me, though I do like the impassioned nature of Brel’s voice as the song progresses. The accompaniment couldn’t be more simple and reflective of a melancholy that is fundamental to the song as a whole. Brel became more well known, or at least his songs did, when they were translated into English and sung by others,  though often without the lyrical wit that Brel apparently had.

110.      

‘Shouts Part 1 and 2’, The Isley Brothers (1959)

Influenced by: Lonely Teardrops • Jackie Wilson (1958)   

Influence on: White Lines (Don’t Don’t Do It) • Grandmaster Melle Mel (1983)   

Covered by: Lulu & The Luvvers (1964) • Joan Jett (1980) • Grandmaster Melle Mel (1983)

It is hard not to focus on this song in the light of Lulu’s version that I am significantly more aware of. However, this does offer both parts of the original song, thus including a big breakdown in Part 2 which is all about the call and response. Coming from gospel backgrounds, the writers were used to this style of vocal and it makes up the end minute or so of the song. The – perhaps apocryphal – origin of the song involved ‘You know you make me wanna shout’ being sung during an encore, with the crowd responding in kind. If that is the case, it wasn’t hard to see why – few songs have the ability to get people not only moving, but singing along as well.

111.      

‘Mack The Knife’, Bobby Darin (1959)

Considered by none other than Frank Sinatra as the definitive version of this song, Darin’s ‘Mack The Knife’ was a chart topper in both the UK and the US. This is a particular favourite song of my stepdad, so it already maintains positive memories for me. It is a swinging tune that tells a story of death and robbery, instantly making it a different kettle of fish compared to a fair few of the songs that were out at this time. Toe tapping, finger clicking, always swinging; the song is three minutes of gold.

Frank Sinatra was a wise man. There is no way that Bobby Darin can equal Sinatra's voice, just as there is no way that Sinatra could equal Darin's swagger and passion.

[OSJ]

2 hours ago, ohtani's jacket said:

Screamin' Jay Hawkins -- I'm a big fan. I have listened to a ridiculous amount of his discography. It's kind of funny listening to Jay alongside guys like Fats Domino. Imagine if Fats had a gimmick like Screamin' Jay. 

 

Many years ago I got to meet Screaming Jay and tell him "Your music changed my life!" His response was "You poor boy, you're going to hell!"

[Liam]

Realised I missed one out from earlier in copying over. Sorted it out in its post, but will give it its own due now.

 33.      

‘Good Rockin’ Tonight’, Roy Brown (1947)

A celebration of the new musical genres hitting the airwaves in the years post-war, ‘Good Rockin’ Tonight’ is another song that whilst feeling very much of its time, still feels very enjoyable today. When famous boogiewoogie pianist Cecil Gant heard the song, he was so taken by it that he got Brown to perform it down the phone to Jules Braun of DeLuxe Records. You can see why. Not aiming to knock what came before, but there is more of a vitality about ‘Good Rockin’ Tonight’, something that had been missing from some of the songs that have gone before.

I've also fixed a few where the Youtube account has suddenly disappeared.

[ohtani's jacket]

1958-1959

It's Only Make Believe is one of my all-time favourite songs and one I've been known to belt out in karaoke. The Glen Campbell version is the best, but I also like the versions by Andy Williams and Screamin' Jay Hawkins. Great song.

Johnny B. Goode and La Bamba are classics. It doesn't matter how many times I've heard them, they have the same excitement and energy. That Cliff Richard song wasn't bad but being sandwiched between those two classics didn't help it. 

Yakety Yak reminds me of my childhood. That song was used over and over when I was a kid. Surprisingly, it's not that annoying. Fun song. 

I liked At the Hop much more than you. At first it made me think of dinners and drive-in movies, but musically I think it's incredible. It combines rock "n roll, twelve-bar blues, boogie-woogie piano and doo-wop. By the end of it, I want to go to the hop. 

Stagger Lee is a raucous tune but I have to wonder if anyone was listening to the lyrics.  Mississippi John Hurt does the best version of this folk song. 

I like the ideas in Summertime Blues but I don't think Eddie Cochran was anything special. I felt the same way about the Ricky Nelson and Vince Taylor songs as well. The songs were fine but they didn't seem like standout artists. I wasn't really in the mood for proto-bossa nova, either, sorry Henry Salvador. 

I've loved Peggy Lee ever since I watched Johnny Guitar. Fever is a catchy song. 

Is it just me or is Sinatra's voice not suited for sad tunes? I'm sure it's just me. I keep thinking he should sing Fly Me to the Moon. 

I've never really gotten into Serge Gainsbourg. That was an interesting song, though. 

I agree that Volare was all chorus. 

That Everly Brothers' tune is such a pretty song. The Teddy Bears song is a song I swear I've heard sung better. 

I love the piano on What'd I Say. The Flamingos' I Only Have Eyes For You almost sounds like early 70s soul. I can imagine the Ohio Players or The Delfonics covering it.

Ne me quitte pas is my favorite song by Nina Simone. It took me a while to get into the Jacques Brel version, but slowly it drew me in. I actually think this was what Sinatra was going for in his albums for lonely people but he wasn't able to express a fraction of the pain that Brel puts into each line.

Shout reminds me of Animal House. Great call and response song. Mac the Knife reminds me of Mac Tonight, that crescent moon head that did McDonald's commercials in the 80s. Classic tune. Louie Armstrong does a good version of this song. Ella Fitzgerald too. Check out her live version:

I had never heard that Diahann Carroll track before. Nice and sultry. 

Edited February 27, 2020 by ohtani's jacket

[ohtani's jacket]

1960

The Billy Fury tune was a mellow rocker, but nothing I'll remember after this list is over.

I have nothing against that Drifters tune. I've grown up with it all my life. But everyone knows the best Drifters tune is This Magic Moment. 

I try to keep an open mind about World Music so I didn't mind the big detour they took here. I'd have to say the Esma Redzepova tune was my favourite.

I realize that Will You Still Love Me Tomorrow was groundbreaking and important but it's not a toe tapper for me. 

Love Hurts is not really a great Everly Brothers song. It's a great Roy Orbinson song. It's a great Gram Parsons song, and it's an even better Nazareth song, but it's a bit too floaty when the Everly Brothers sing it.

Another Ella song?

I can't remember ever hearing that Johnny Kidd and the Pirates song. I loved the eye patch. Probably the best track from 1960 chosen by the authors.

Edith Piaf sure could sing. 

I can understand why they left off Sam Cooke's Wonderful World and Chain Gang from the 1960 picks but not Roy Orbison's Only the Lonely. 

[OSJ]

On 2/24/2020 at 5:39 AM, ohtani's jacket said:

 

That Nat King Cole song does nothing for me, I'm sorry to say. I'm much higher on Sam Cooke. I love Sam Cooke. Recordings like You Send Me were meant to get him over with a white audience like Nat King Cole, but it's silky smooth. I prefer his rawer cuts and his live performances, but if you consider this mainstream pop then it is pretty as a peach.

 

 

I am of an age to have had parents that were nutty about Nat King Cole, like you I'm a Sam Cooke guy. Nat King Cole was a black man trying to get over with a middle-class white audience, Sam Cooke gave no fucks, he just made great music.

[Liam]

130.      

‘Stand By Me’, Ben E King (1961)

There can’t be anyone on the planet who dislikes this song, can there? King is a great vocalist and has an earnestness that makes what could otherwise by a bit of a saccharine tune work on every level. The instrumentation en masse was an attempt to affect a Afro-Cuban style, whilst it really highlights how much can be done with simple melodies done well. The cello in particular carries the load and builds effectively alongside King’s vocals.

131.      

‘Blue Moon’, The Marcels (1961)

A very playful take on a Rodgers and Hart song, it isn’t hard to see why this was a success back in 1961. The doo-wop vocal stylings were dynamic to go along with what was already a catchy tune and it gave The Marcels a hit. Not much more I can add to this one.

132.      

‘Crazy’, Patsy Cline (1961)

Some more Patsy Cline for her fans out there. This one feels much more ‘pop’ then country, though it was written by Willie Nelson who went on to become a country star in his own right. Cline’s delivery is soulful and sad, the unarguable star of the show, though the lyrics themselves aren’t to be sniffed at. A mournful song about lost love, it became the song most associated with Cline after her death in 1963. As a memorial to what she was capable of, it couldn’t get much better.

[Liam]

133.      

‘Tous Les Garcons Et Les Filles’, Francoise Hardy (1962)

Inside the book, they talk about how Hardy was a singer that could be enjoyed even if you didn’t know French, and that is clear from this song. Her simple, yet elegant, vocals tell a story of the couples that she sees around her as she waits for love, with lyrics that are melancholy in a manner that feels a little at odds with the delivery. This juxtaposition works to sell the idea of a song that celebrates the love around her, yet bemoans her own non-existent romance. A B side that went on to have much more success than the song it was initially paired with, Hardy went on to be touted by acts such as Bob Dylan and Blur.

134.      

‘You’ve Really Got A Hold On Me’, The Miracles (1962)

Sometimes it is a turn of phrase that makes a song. To suggest it is only that for ‘You’ve Really Got A Hold On Me’ would diminish some beautiful harmonising played across a soulful melody, but the ‘I don’t like you but I love you’ refrain, with the various changes throughout the song, is golden. It does so much to sell the central narrative of a man who knows a woman is bad for him, but can’t help himself. Smoky Robinson is the writer and main singer – I’ll be honest, the falsetto from Robinson had me initially believing that it was a woman singing, especially as the single had a woman in the group. It is clean yet yearning throughout, so perfect for the tone of the song.

135.      

‘Boom Boom’, John Lee Hooker (1962)

There is no subtlety with this song, but it is all the better for it. Repetitive in places, yet building momentum all along until the closing lyrics that have Hooker almost growling the delivery. This is described as R&B porn and you can see why. Two and a half minutes, in, out and shake it all about. Some of the most fun you can have with your clothes on.

[Liam]

136.      

‘He’s A Rebel’, The Crystals (1962)

In terms of sound and lyrical content, ‘He’s A Rebel’ broke the mould as it was one of the earliest conceptual attempts at Phil Spector’s ‘wall of sound’ style, alongside controversial lyrics about the girl liking the bad boy. This isn’t actually The Crystals; issues with timing meant that Spector used the Blossoms and attached The Crystals name to it. The song is pleasant enough, though more because of the interesting shift towards girl pop acts than anything really tangible about the song. This feels prototypical of something that is yet to come and will be better.

137.      

‘Do You Love Me’, The Contours (1962)

Another song that had something of an identity crisis – it was meant for the Temptations, yet when they couldn’t be found, it was handed to the Contours instead. This is a classic to the point where you can’t really imagine it sounding any other way than what the Contours offered up. Audience interaction is often a winner, whilst Billy Gordon’s lyrical delivery had a great, screechy element that just worked alongside the playful rhythm and all that dancing.

138.      

‘Your Cheating Heart’, Ray Charles (1962)

What makes this an interesting song is that it comes from an album (actually, a second album) of Charles performing country songs with his own soulful touch. This is originally a Hank Williams tune and it is precisely that it doesn’t sound much like a song that comes from the country and western oeuvre that makes it a curiosity at least. Would I care as much about the song without that bit of genre shifting? Probably not. But there’s no doubt that Charles can deliver a big vocal when needed.

[Liam]

139.

‘Cry Baby’, Garnet Mimms and the Enchanters (1963)

I’ve spoken about range before in these little bits of writing and there are few who have been as impressive as Garnet Mimms. From a gospel background, his move from baritone (according to the book) to an effortless falsetto, with accompanied female vocals (a troupe that included Dione Warwick at some point), is impressive. Though his background may have been one of faith, this song is all about a boy being there for a girl who is with a worse boy; an interesting narrative take filled with yearning for someone who seems so near, but yet so far. For some reason, I expected to be underwhelmed by this – I couldn’t have been further from the truth.

140.      

‘La javanaise’, Juliette Greco (1963)

Having found his way onto this list before, Serge Gainsbourg now pops up as a songwriter. Whilst perfectly pleasant as a song, primarily due to Greco’s sultry vocal delivery, this is another song that arguably has more interest in the story behind it. ‘Javanaise’ was a nonsense slang used by French people which saw people put the ‘av’ sound into the middle of words to make them hard to understand. With that in mind, Gainsbourg included as many words with the ‘av’ sound as he could into the lyrics. Playful, if a little lost on a non-Francophone.

141.      

‘Harlem Shuffle’, Bob and Earl (1963)

A song perhaps more famous now for the opening fanfare being utilised in House of Pain’s ‘Jump Around’, it followed a common trope of the time in terms of naming various dance moves that the listener was expected to do. Various dances are listed, alongside the ‘Slauson Shuffle Time’, the dance that gives the song its name. The horns and the pleading tone of the vocals all build up to a song that is definitely catchy, if a little less inspiring than some songs that have turned up on the list thus far.

[ohtani's jacket]

1961 

Finally, some Howlin' Wolf. It's about time. I think they snuck tin an extra song to make up for it. Wang Dang Doodle is probably his catchiest tune from this year.

Spanish Harlem is a pleasant tune but it pales in comparison to Stand By Me.

I can't help but feel there are better Dinah Washington songs than that. I actually think that was a poor choice for readers who may not have heard her before. I suppose my favourite Dinah Washington song is the mash-up with Max Richter, which doesn't really count as a proper song, but check it out:

The Bobby Darin song was okay, but I just remembered he sung Dream Lover. C'mon, where is Dream Lover?

Johnny Remember Me felt like a spaghetti western theme. Not a bad thing to sound like.

The Patsy Cline songs were fine. She sings the best rendition of that Willy Nelson song. 

Blue Moon threw me for a loop. I thought I was listening to The Residents at first. It was a different take on a jazz standard, that's for sure, but I dug it. 

Now for some stuff they didn't include:

Run Around Sue and The Wanderer, Dion
Runaway, Del Sharon
At Last, Etta James
Crying and Running Scared, Roy Orbison
Hit the Road Jack, Ray Charles
Watch Your Step, Bobby Parker
You Don't Miss Your Water, William Bell
Turn On Your Love Light and I Pity the Fool, Bobby Bland
Jump in the Line, Harry Belafonte
Crying in the Rain, Everly Brothers
Quarter to Three, Gary U.S. Bonds
It's Your Voodoo Working, Charles Sheffield
Misery, Barrett Strong
Bright Lights, Big City, Jimmy Reed
I'm Blue (The Gong-Gong Song), The Ikettes
Sea of Heartbreak, Don Gibson

Dion is one of my favourite performers from this era, and I'm surprised they haven't picked The Big O yet. 

[ohtani's jacket]

1962

I liked all of the song choices here. I'm not well acquainted with French pop so I hadn't heard Hardy before. I'll definitely check out her album from this year. 

You've Really Got a Hold on me has that great refrain, and I LOVE Smokey Robinson. Do You Love Me is another one of the songs that has featured in countless films and television shows but is still a blast. You could say the same for He's a Rebel, which also holds up. 

The Ray Charles song is a nice cover, but I'm not sure I would have included it given some of the monster soul records from this year:

Bring it on Home to Me, Sam Cooke
Cry to Me, Solomon Burke
These Arms of Mine, Otis Redding
I Found a Love, The Falcons 

Other songs I like from 1962:

The End of the World, Skeeter Davis
My Baby Just Cares for Me, Nina Simone
Twistin' the Night Away, Sam Cooke
Rhythm of the Rain, The Cascades
Stubborn Kind of Fellow, Marvin Gaye
You Can't Judge a Book by its Cover, Bo Diddley
Tell Him, The Exciters
Look on Yonder Wall & Stranger Blues, Elmore James
She Thinks I Still Care, George Jones
Something's Got a Hold on Me, Etta James
Let's Stick Together, Wilbert Harrison
Trouble of the World, Mahalia Jackson
You'll Be Mine, Howlin' Wolf

[Liam]

142.      

‘On Broadway’, The Drifters (1963)

Another song that went through a transformation before it ended up in the hands of The Drifters. A song short on a studio session, they were sent ‘On Broadway’ as it had been recorded by other artists, only to make the main protagonist a man who was already struggling in Broadway rather than a woman looking to head out there and make it big, as well as simplifying the time signature. It definitely made a difference as the upbeat tone that was prevalent in the originals becomes more about the desire to make it, even when the chips are down – something that is easily to empathise with. There’s a coolness to the song that permeates it in a way it didn’t before as well; sometimes, simpler is just better.

(The Cookies’ version, for comparison)

143.      

‘Louie Louie’, The Kingsmen (1963)

Another song that can rightly be attributed the word ‘classic’ when discussing it, it is one of the most covered songs of all time. This was garage punk/rock before that was really a thing, with the production and performance the right side of ramshackle. The lyrics are basically indecipherable, whilst there is an incessant feel to the music with the jabbing keyboard sound and a frenetic guitar solo in the middle of things. This felt raw, but in a way that spoke to a way that music could be – unpolished and primal.

144.      

‘One Fine Day’, The Chiffons (1963)

Influenced by: Will You Love Me Tomorrow • The Shirelles (1960)   

Influence on: Sweet Blindness • Laura Nyro (1968)  

Covered by: The Mindbenders (1966) • Cliff Richard (1967) • Rita Coolidge (1979) • Carole King (1980) • Natalie Merchant (1996)

A song that was taken by the production team, The Tokens, as a way to build on the success of similarly titled ‘He’s So Fine’, ‘One Fine Day’ was another example of a song that just happened to fall into the right place at the right time. Lively, upbeat, harmonious – the song is a great two minute slab of pop, with Carole King doing the grunt work on piano from which the rest of the vocal work can be layered. Nothing mind blowing but a worthy listen.

[Liam]

145.      

‘In Dreams’, Roy Orbison (1963)

Influenced by: Surrender • Elvis Presley (1961)   

Influence on: Wicked Game • Chris Isaak (1989)   

Covered by: Tom Jones (1971) • Chris de Burgh (1995) • John Terra (1999) • Jan Keizer (2001) • Big Fat Snake with TCB Band & Sweet Inspirations (2003)

Orbison is an interesting singer for me inasmuch as I am a huge fan of how his voice sounds, yet I haven’t actually heard a lot of his songs. Naturally, ‘In Dreams’ is in the list of songs I have heard and it is a masterful slice of music, moving all over the place and eschewing standard pop structure over the course of a short three minute run time. Orbison’s range is on full show on a song that he claimed came to him literally in a dream – it went on to be his signature song for the rest of his career.

146.      

‘Sally Go ‘Round The Roses’, The Jaynetts

There is a creepiness about this song that elevates it above the normal pop song. A particular favourite of Andy Warhol, the warning given by the Jaynetts to the titular Sally is never entirely explained, giving things an eerie tone alongside its generally catchy melody and strong vocal performances. To me, the best pop often has that foreboding sense, a depth behind the saccharine style that suggests that things might not quite be as they seem. This hits it out of the park.

147.      

‘Be My Baby’, The Ronettes (1963)

Are there any better slices of pop than this? Everything works here – the intro, the drums, the castanets, the harmonising and Ronnie Spector’s main vocals over the top. The book talks about this forcing Brian Wilson to stop driving when it was played over the radio, such a transcendent piece of music it was as far as he was concerned. It is hard to argue, especially when compared the music around it. It jumps out of the speakers even today, fully formed and ready to wow.

[Liam]

148.      

‘Surfin’ Bird’, The Trashmen (1963)

A song that somewhat feels like a novelty, whilst also feeling a little bit on the timeless side as it doesn’t easily fit into the style of music from this time period. Created by the Trashmen messing around live with two songs (‘The Bird is the Word’ and ‘Papa-Oom-Mow-Mow’), they were convinced to record it as a single. There is a vibrancy and an energy that makes this likeable, if unlikely to be a song that people would return to on a regular basis.

149.      

‘Sapore di sale’, Gina Paoli (1963)

Written during a time when Paoli was having an extra-marital affair that eventually led to him trying to kill himself the same year, this is a bittersweet song that perhaps hints at some of his losses and regrets, though the tone is more often than not one that feels sweet in nature. Translated as ‘Taste of Salt’, most of the song focuses on the enjoyment of love and lazy days on the beach. However, it also offers up a sense of the bitterness that comes with loss. A pleasant song that soars in parts, but doesn’t particularly impress beyond an interesting backstory.

150.      

‘The Leader of the Pack’, The Shangri-Las (1964)

Another song that has a lot of interesting tales around the recording, primarily focusing on label honchos rejecting it and illicit recording sessions. Mainly they have been debunked, though the tale of a teenage romance that ends up with the titular biker ending up crashing his motorbike and dying in the last verse. More conversational than a lot of songs up until this point and with suitably sad lead vocals, this still feels like it lacks something to push it beyond just being good - not that that is a bad thing necessarily.

[ohtani's jacket]

1963 

1963 was the year of Beatlemania and Blowin' in the Wind. Interesting that they overlooked those things. 

Cry Baby is one of my favorite soul songs. I'm pleasantly surprised that they chose it. It's such a beautiful song. The stripped back accompaniment, the backup gospel vocalists, the incredible vocal from Mimms... That blues/gospel spoken word verse and the bridge that builds to the chorus... I actually think it's one of the best songs on the list so far. 

The French song was interesting. Gainsbourg actually released his own version of the song around the same time. Both versions are good. I guess they get a bit of a pass because they're in a language I don't understand (a bit like the Italian song they chose), but they were pleasant to listen to.

Louie, Louie and Surfin' Bird felt like the beginnings of garage rock, proto-punk, whatever you want to call it. They're cool songs. 

Finally, a Big O song! What a voice. The ending of that song gives me goosebumps.

Harlem Shuffle was fun, but man, that House of Pain sample makes it difficult to take seriously at first. I liked how bluesy this was. It kept seeming like they'd go up tempo then they'd pull it back and get down and dirty. Nice push and pull. I dug it.

There were so many girl groups making the charts in 1963. It's crazy when you look at the list of songs they left out. You know them all by heart. It's hard to choose one over the other. They're all catchy and memorable. I suppose Be My Baby is the cream of the crop, but Heatwave by Martha Reeves and the Vandellas is an ass shaker.

I liked that Drifters song. It told a nice story, if that makes sense, but I'd probably give it the chop.

There are a lot of 1963 songs they could have included -- songs like Ring of Fire and I Only Wanna Be With You. Here are some songs that I like:

Mas, que nada! Jorges Ben 
Can I Get a Witness, Marvin Gaye
Another Saturday Night, Sam Cooke
Help Me, Sonny Boy Williamson
If You Need Me, Solomon Burke 
Ruler of My Heart, Irma Thomas
Greenback Dollar, The Kingston Trio
Nobody But Me, The Isley Brothers
Part Time Love, Little Johnny Taylor
Misery, The Dynamics
I (Who Have Nothing), Ben E. King

And two songs I think people should definitely try:

Screamin', wild rock 'n roll

And this exquisitely beautiful soul tune from transgender singer Jackie Shane: