25 killer singles that are 60 years old

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As a music aficionado with over five decades of listening under my belt, I must say 1964 was quite the year for tunes! It seems that every band worth their salt released something noteworthy.

Back in 1964, it was already ten years since Bill Haley and his band, The Comets, made “Rock Around the Clock” a chart-topping hit. By this time, Rock & Roll had become a significant cultural influence. Elvis Presley played a major role in establishing this. Some critics still believed that the new music was just a temporary trend, but many others shared Danny & the Juniors’ view from 1957, that “rock and roll is here to stay.”

Even so, Danny Rapp wouldn’t have foreseen the extraordinary events that unfolded in 1964. In February of that year, the Beatles performed “All My Loving” on The Ed Sullivan Show, and it was as if all the planets suddenly shifted position. This event sparked what became known as the British Invasion, a cultural phenomenon that transformed everything.

1964 marked a pivotal moment in cultural history, as both the Beatles and the Beach Boys had already released several albums prior. This year wasn’t just a sudden appearance; it could be argued that the subsequent year, 1965, was even more groundbreaking. We might delve deeper into that topic next year, to commemorate its 60th anniversary. However, by any standard, 1964 stood out as one of the most dynamic years in modern culture, with music serving as the central force driving this transformation.

25 songs turning 60 that are as brilliant today as they were in the 1960s

Sixty years on, we’re still examining and dissecting the events of that extraordinary year. To give you a flavor, here are 25 fantastic tracks released six decades ago. They span various genres, with many falling under rock & roll, but there are also blends. These songs might have originated from different musical backgrounds, yet they left an impact on rock music as well.

Normally, I only pick one song per artist for my lists. However, today, due to the immense popularity and rapid release pace of the British Invasion sound, I’ll make an exception. In 1964 alone, Capitol Records put out five different Beatles albums in the USA, as well as a few more in Canada, a testament to their extraordinary output during that time.

In other words, if a band put out multiple albums in the U.S. in 1964, they can have multiple songs on this list. The number of eligibility depends on the number of unique albums they released that year.

Rest assured, this won’t just be a plain list of Beatles, Beach Boys, or Stones songs. These bands released several albums that year, and they will certainly be part of our selection. However, we aim to delve deeper than their foundational recordings by exploring the wealth of music from 1964 as well. Luckily, there was a rich array of offerings in that year.

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JANUARY

“With God on Our Side” by Bob Dylan

1964 saw Bob Dylan putting out his third and fourth albums. His initial two offerings combined original compositions with traditional folk and blues tunes. Prior to the release of The Times They Are A-Changin’, Dylan had already begun exploring political themes, but this third album marked a full commitment to narrative and commentary reminiscent of Woody Guthrie’s work. Packed within its 45 minutes were about a dozen sharp songs.

As a fervent admirer, I’d say there’s nothing quite as straightforward and impactful as the poignant phrase, “With God on Our Side.” Just a guitar, harmonica, and a solitary voice. For many somber hours, I’ve pondered these words – Reflecting that Jesus Christ was abandoned by a kiss – But the responsibility of judgment falls upon us all. Each person must contemplate for themselves: Was Judas Iscariot guided by divine intervention?

FEBRUARY

“Devil With the Blue Dress” by Shorty Long

As for when Shorty Long initially released “Devil With the Blue Dress,” I’m not certain if it was specifically in February. I can’t pinpoint the exact release date, but I do know that it came out in 1964. Since I don’t have any other song from him that was released in February, I’ll place it there temporarily. Mitch Ryder would later achieve significant success with this song, and many others have enjoyed it since then.

But no one has ever topped Long’s original – a little slower, more languid, and funkier than Ryder’s garage rock version, it also boasts a great guitar solo. There’s just something hypnotic about the way Long sings “Perfume smellin’ like Chanel Number Five – Got to be the finest girl alive” that lets you know this is the guy who wrote the song. He knows exactly what he’s singing about.

MARCH

“Not Fade Away” by the Rolling Stones

In February of the UK, The Stones debuted their rendition of a Buddy Holly cover. However, their North American counterpart didn’t get this release until a month later. This was the band’s inaugural single in America. The original recording by Holly had been released as a B-side, and while its rhythm immediately caught on with listeners, it never officially charted.

The Stones added a tambourine and harmonica to emphasize that beat even more and cracked the top fifty in the States. The B-side on the American release had “I Wanna Be Your Man,” a Paul McCartney composition that the Beatles would also record. Holly and McCartney. The Stones only stole from – I mean, borrowed from – the very best.

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APRIL

“Viva Las Vegas” by Elvis Presley

By 1964, Elvis Presley remained a colossal figure, yet his shine had begun to dim slightly. In the late ’50s, he boasted more than a dozen chart-topping songs, but between 1963 and 1968, he didn’t produce any number-one hits. Instead, he was mostly involved in poor films and producing average singles. The exception to this trend was “Viva Las Vegas,” which included both the movie and the song.

In this movie scene, he performed alongside Ann-Margret, and was given an electrifying Doc Pomus tune to perform. “A shining city will ignite my – Ignite my very soul – Got a pile of cash ready to burn – raise the bets even higher.” It beautifully portrayed Las Vegas in 1964, and it continues to do so effectively sixty years after its creation.

“Walk on By” by Dionne Warwick

On her third album, titled “Make Way for Dionne Warwick“, Warwick teamed up once again with the songwriting-production duo of Burt Bacharach and Hal David. By this stage, their partnership was running smoothly as a well-oiled machine. The pair penned nine out of the twelve songs on the album, including hits such as “You’ll Never Get to Heaven if You Break My Heart” and “Wishin’ and Hopin'”. The song “Walk on By” highlighted Bacharach’s fondness for intricate rhythm patterns and high-flying melodies.

Warwick effortlessly conveyed an air of ease and permanence, unlike the raw vitality of The Beatles or The Stones. Despite its use of strings and brass, it didn’t feel dated in the slightest. Dusty Springfield could have added a touch of grit to “Wishin’ and Hopin'” that made it stand out, but when it came to “Walk on By,” no one could surpass Dionne Warwick’s performance.

“She Lied” by the Rockin’ Ramrods

1963 saw the Dave Clark Five release “Glad All Over.” Boston’s homegrown heroes, the Rockin’ Ramrods, reworked this tune and gave it a grittier edge, resulting in “She Lied” or, as I often recall it, “Mad All Over.” This raw, unpolished number tells the tale of heartbreak, foreshadowing the birth of punk rock. Much like the Rolling Stones, The Ramrods also remade McCartney’s “I Wanna Be Your Man” around the same period.

“Mississippi Goddamn” by Nina Simone

1964 saw Nina Simone unveil a live album, which was a collection of pieces performed at Carnegie Hall. Upon playing one of her freshly penned tunes, she declared, “The title of this piece is ‘Mississippi Goddam,’ and every single word holds true for me.” Later on, she clarified to her audience, “This is a theatrical number – though the play it belongs to hasn’t been scripted yet.”

Nina Simone powerfully etched history at Carnegie Hall by performing one of the iconic protest songs from the Civil Rights era. Accompanied by her persistent piano, a minimalist setup with drums and backup vocals, she passionately recited a list of injustices while humbly pleading for fairness. The song is both enraged and captivating, making it not only exceptional but also indispensable.

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MAY

“I Get Around” by the Beach Boys

Before “All Summer Long,” The Beach Boys had already put out five studio albums, but this track marked their initial significant reaction to the British invasion. Instead of venturing into unknown territories, they opted for what was familiar: cars, pretty girls, and harmonies that took flight. The lyrics were primarily penned by Brian Wilson and Mike Love, two key vocalists in the band at the time. In numerous aspects, this song showcases their individual talents at their finest.

Love, the primary vocalist, imbues a universally appealing charm. He seems to encapsulate the dreams of every typical American teen in his lyrics. The allure of speed and excitement is palpable. Truly, could there be a more quintessential representation of the American adolescent spirit than “We always ride my car since it’s never lost – And we’ve yet to miss with the girls we encounter”?

Later on, Brian Wilson infused it with towering harmonies and sharp beats, transforming a teenage brag into a revolutionary work in pop music culture.

“Memphis” by Johnny Rivers

I’m excited to delve into the story behind the song “Memphis,” originally titled “Memphis, Tennessee.” For now, let me share a captivating cover by guitarist Johnny Rivers. He released his rendition, now simply known as “Memphis,” on one of his live recordings from the legendary Whiskey a Go Go nightclub. This track marked the beginning of one of those live albums. Later in the set, he paid tribute to blues legends Rufus Thomas and Lloyd Price with additional covers.

Initially, he opted for a Chuck Berry tune to kick things off, which was a clever decision. He began by strumming a catchy guitar riff, followed by his distinctive twang as he launched into a tale about a fractured family and a father grieving over a broken heart. Throughout the pauses, you can almost sense the crowd mirroring his rhythm with their own energy.

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JUNE

“Under the Boardwalk” by the Drifters

When the sun blazes intensely, making the tar on the rooftop melt – And your shoes become scorching hot, leaving you longing for feet that could withstand fire – This is how the Drifters continue their earlier hit “Up On the Roof.” If it’s not broken… This song was penned by Kenny Young and Arthur Resnick, a duo less renowned than the songwriting team of “Up On the Roof,” Carole King and Gerry Goffin. However, they managed to produce several minor hits.

“Under the Boardwalk” stood out as the top choice due to its excellent quality. Johnny Moore took the lead in singing, while smooth production skillfully combined a calypso beat with string accompaniment. This blend never felt excessive or overly produced, and instead, it subtly enhanced the charming vocals without stealing the spotlight.”

“It’s All Over Now” by the Rolling Stones

Previously, they took inspiration from Buddy Holly’s tunes. However, this specific song was originally performed by Bobby Womack and the Valentinos. Womack’s original rendition had a soulful, bluesy edge that fit perfectly, but the Rolling Stones added an electric feel to make their arrangement more impactful. Although Mick Jagger may not be able to mimic Womack exactly, he certainly has the ability to bring out his own raw emotion.

Keith Richards adds an appealing early solo. Over time, countless artists have attempted to reinterpret Mick Jagger’s original. Among them, Johnny Rivers released his rendition the subsequent year on his first studio album.

“House of the Rising Sun” by the Animals

On his debut album, Bob Dylan reworked an old, well-known tale of a disreputable house. Joan Baez had previously interpreted it, as had Woody Guthrie before her. However, nobody anticipated the innovative spin that Eric Burdon and The Animals would give to it in 1964. This wasn’t exactly fresh territory for Burdon.

At first glance, you wouldn’t guess that such a common-looking man would possess a deeply moving voice capable of delivering a powerful rendition of “House of the Rising Sun.” Yet, he delivers an exceptional performance, with Alan Price’s organ providing dramatic support. This song reached number one in the US and was a top ten hit across the globe.

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JULY

“She’s Not There” by the Zombies

The song “She’s Not There” served as the Zombies’ debut single, released a year before their first album, Begin Here. Rod Argent, who penned the track and played the electric piano solo, was responsible for its composition. Lead vocals were handled by Colin Blunstone. This structure was consistent across all of the Zombies’ hits such as “Tell Her No” and “Time of the Season.”

Argent’s works had a pop vibe, yet they often delved into more complex and psychedelic arrangements and instrumentation. Santana found great success with “She’s Not There,” but there’s an exquisite fragility to the best Zombies songs, and their debut track was a flawless embodiment of this quality.

“Wendy” by the Beach Boys

Discussing pop tunes that explore fresh concepts, let’s revisit Brian Wilson once more. Similar to “I Get Around,” this piece was also jointly penned by Mike Love, who took on lead vocals again. This composition marks one of their early attempts at expressing heartbreak, and unlike the bravado of “I Get Around,” it lacks such an upbeat vibe – a change that harmonizes well with its lofty melodies. Interestingly, Love’s lead parts are quite minimal in this recording, while Brian Wilson’s falsetto takes center stage.

“A Hard Day’s Night/Things We Said Today” by the Beatles

At last, we arrive at the Beatles! As you’ve been patiently waiting, I’ll treat you to a two-sided hit. “A Hard Day’s Night” was one of their toughest tunes from their early days. This song was unveiled alongside their pioneering film of the same name and marked the second of three number-one hits they achieved in the USA during 1964. (“Can’t Buy Me Love” preceded it, with “I Feel Fine” following closely behind.)

Initially, the tune of the song was like a harsh, resonant alarm bell signaling awakening; something momentous was imminent. For the American version, “I Should Have Known Better” was the catchy pop tune on the other side. However, in Britain, listeners were gifted with “Things We Said Today,” a melancholic love ballad that foreshadowed Paul McCartney’s endless reservoir of melodious pop tunes. But it seems we’re far from saying goodbye to the Beatles from Liverpool.

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AUGUST

“You Really Got Me” by the Kinks

If “She Lied” was a rudimentary forerunner of punk rock, then “You Really Got Me” by the Kinks represents a significant advancement. The simple chord progression created by Dave Davies quickly gained notoriety. Although Ray Davies later composed much more intricate songs, he might never have written one as influential as this one.

Dave performs an iconic, chaotic solo that encapsulates the essence of early rock music just as effectively as the initial powerful chords. This song became incredibly popular, leading Ray and Dave to essentially repeat their approach a few months later in “All Day and All of the Night.”

“You Never Can Tell” by Chuck Berry

John Lennon proposed at one point that the genre of rock and roll should be named after Chuck Berry, a notion that many early rock musicians would support. This is because Berry was instrumental in creating upbeat guitar-driven blues, characterized by catchy riffs that underscored a simple, repetitive melody line. He had been pioneering this style from the dawn of rock and roll, and by 1964, other artists were covering his original compositions, sometimes achieving even greater popularity. Remarkably, Berry continued to innovate despite this.

1964 marked the year he released the album titled “St Louis to Liverpool“, symbolizing the emerging music trends from America. Tracks like “Go Bobby Soxer”, a revised version of “Memphis, Tennessee” named “Little Marie”, and the magnificent “No Particular Place to Go” showcased Berry’s continued dominance in rock & roll, despite what the Billboard charts might suggest. I hold a special affection for “You Never Can Tell”, which gained popularity through its appearance in Quentin Tarantino’s film, “Pulp Fiction“. If you ever find yourself dining at Jack Rabbit Slim’s, this song is likely to be playing on the jukebox.

“It Ain’t Me, Babe” by Bob Dylan

In February, “The Times They Are a-Changin'” was released. By August, however, “Another Side of Bob Dylan” demonstrated that he wasn’t merely a protest singer. While the second ’64 album contained political songs, it was largely overshadowed by more introspective compositions. In this album, Dylan proved his ability to write profound relationship songs that surpassed the conventional “moon-June” formulas.

The record starts and ends with the lively, playful “All I Really Want to Do” and the introspective, thoughtful “It Ain’t Me Babe.” Lyrics such as “Step out of my window – Go at your own pace – I’m not the one you want darling – I’m not the one you need,” hint at a fresh take on folk rock. At this point, Dylan hadn’t yet switched to electric and caused a sensation, but signs of change are evident.

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SEPTEMBER

“Remember (Walking in the Sand)” by the Shangri-Las

Earlier in the year, the Dixie Cups saw success with “Chapel of Love”. This paved the way for other girl groups. However, it was the Shangri-Las, a duo of sisters, who were about to prove that women could deliver hard rock tunes the following year. Interestingly, before they did so, they introduced a gritty edge to the generally sweet repertoire typically performed by girl groups.

As a passionate music enthusiast, I can’t help but share my excitement about the New York band, formed by the talented duo Mary and Betty Weiss, along with Marge and Mary Ann Ganser. Their song “Leader of the Pack” was undeniably a massive hit, but it’s their subsequent release, “Remember,” that truly leaves me in awe. This masterpiece transcends the boundaries of ordinary pop music, offering an epic scale that is simply breathtaking. In my opinion, it epitomizes the very essence of pop opera at its finest.

OCTOBER

“The Sounds of Silence” by Simon & Garfunkel

As a long-time fan of Paul Simon’s music, I have always appreciated the raw simplicity of his early works. The original version of one of his earliest triumphs, found on their debut album “Wednesday Morning, 3 A.M.”, showcases the duo at their most authentic and unadorned. This stripped-down rendition, with just the boys singing over a couple of acoustic guitars and a bass, is a testament to their talent and the power of minimalism in music. It’s a refreshing change from the more elaborate versions that would come later, and I believe it speaks volumes about their dedication to their craft and their ability to captivate audiences with just the bare essentials.

The remake will include electric guitar and drum elements. If you’re looking for an electrified rendition of “The Sound of Silence” from Simon’s first album, some of his other original pieces, such as the charming “Bleecker Street,” could serve as suitable alternatives. (Note that I have used “The Sound of Silence” in singular form to maintain consistency with the original text.)

NOVEMBER

“Getting Mighty Crowded” by Betty Everett

In my previous reference, I casually chose “Devil With the Blue Dress” for March. Now, I’m repeating this approach because I haven’t prepared an entry for November yet, and I don’t have a specific date set for Betty Everett’s soulful song about discarding toxic relationships and finding a more suitable partner – her funky “Getting Mighty Crowded”.

In November, Everett is often categorized as a “one-hit wonder” due to her not reaching the same level of success as “The Shoop Shoop Song.” However, the song “Getting Mighty Crowded,” penned by Van McCoy who would later achieve success with “The Hustle,” demonstrated that she was much more than that.

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DECEMBER

“A Change is Gonna Come” by Sam Cooke

1965 came too soon for Sam Cooke, who passed away before it arrived. His powerful single, a heartfelt plea for change, was released just ten days after his untimely death, creating a striking contrast with the unfortunate events surrounding his demise. The strings used in this song, which made many contemporary tracks sound dated, imbued it with an enduring quality. Additionally, Cooke’s voice had never been more expressive or yearning than in this recording. Over two dozen artists contributed to its creation, but Cooke’s powerful vocals remained the central focus amidst the grandiose production.

“I Can’t Explain” by the Who

By the end of 1964, The Beatles, The Stones, The Dave Clark Five, and The Kinks had all made their mark on the music charts. Towards the tail-end of this period, The Who sneaked into the scene with their debut non-album single released in December. Notably, Pete Townsend admitted that the rhythm for his composition was largely inspired by “You Really Got Me,” a song by The Kinks.

However, Townsend slightly extends the lyrics, and it’s debatable whether Jimmy Page performed the brief, spiky solo before the end. It depends on whom you trust. The single struggled to reach the charts in the U.S., but it was evident that a fresh rock ‘n’ roll force had emerged.

“Laugh Laugh” by the Beau Brummels

1964 saw the release of a single by The Beau Brummels rather than their first album, which wouldn’t come until 1965. Kicking off with a melancholic harmonica played by Declan Mulligan, the song starts in a sultry tone. Sal Valentino, the lead vocalist, then begins to croon with his flawless baritone voice. While Ron Elliott penned the tune, the guitar doesn’t take center stage. Instead, it’s the harmonica and the vocals that hold the most weight in this composition.

Among all the songs listed here, it’s unique because it was played in an episode of “The Flintstones”. Interestingly, that performance was credited to The Beau Brummelstones.

“No Reply” by the Beatles

In my previous notes, I neglected to mention a point: several critics believed The Beau Brummels resembled The Beatles in sound. However, I personally don’t find that similarity (it might be more apparent in tracks such as “Just a Little”). To me, The Beatles were distinctively their own. Even bands that tried to emulate them didn’t quite capture their essence. Their harmonies were nearly impossible to replicate, and no one crafted pop melodies like Paul McCartney and John Lennon did. This composition is a work by John Lennon.

As a devoted music enthusiast who has spent countless hours immersed in the magical world of The Beatles, I find myself reminiscing about their iconic album “Beatle for Sale.” This particular song that opened the record, often overlooked amidst the brilliance of their discography, was a testament to their unparalleled talent.

“Ferry Cross the Mersey” by Gerry & the Pacemakers

We’re closing our list with a sentimental, dramatic, and beautiful love song that actually could have been mistaken for the early Beatles. Gerry Marsden and his mates were from Liverpool and had associations with Brian Epstein and George Martin – just like the Beatles. Marsden didn’t write it as a love song to a girl but to a place. Ray Davies must have had this song in mind when writing “Waterloo Sunset,” among the most romantic ballads written in the early rock era.

All in all, not a bad year.

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2024-08-23 13:02