Though hailing from Hitsville U.S.A. in Detroit, the song has been covered by everyone from The Beatles to The Carpenters to The Saturdays. —Dacey Orr, As much as we love David Bowie and Mick Jagger, the fact that their ridiculous cover of this has nearly twice as many YouTube views as the classic original is an absolute crime. — Bonnie Stiernberg 28563, Aretha Franklin was originally offered a chance to record “Son of a Preacher Man” but turned it down, leaving it to become British pop diva Dusty Springfield’s trademark song. Marvin Gaye, “I Heard It Through The Grapevine”, 6.

As such, its attitude and subject matter aren’t the song’s most progressive aspect. Here, the plea for reconciliation feels more agonized and terrified. That startling drumshot of an opening: Al Kooper’s beckoning, carnivalesque Hammond B-3 organ part and Michael Bloomfield’s electric-guitar curlicues run around Dylan’s own determined rhythmic playing. “I Got You (I Feel Good)” is his highest-charting single, though, lead by Brown’s squeals, yelps, and shaking hips. After the track hit number one, The Temptations’ decidedly less gritty version was released, but by then, Starr’s take had already cemented its status as the definitive version. What did you do when you were 12?

—Hilary Saunders, King and Queen, consisting of duets between Stax stars Otis Redding and Carla Thomas, was the last album Redding would release in his lifetime. He sings phrases like “Mystery tramp?” “Chrome horse with your diplomat?” “Napoleon in rags?” as if they were a new language, a secret code, masquerading as popular song.

Released in 1965, John Coltrane’s A Love Supreme—led by the strength and cohesion of its title track—was certainly celestial. channel on AccuRadio and its music will be added to this one! —Robert Ham, Covered by the likes of Calexico and The Damned, “Alone Again Or” was written by Love guitarist Bryan MacLean, and intended for the band’s 1965 debut.

The arrangement of this song is flat out ridiculous with those incessant castanets and the string section that dips and dives through the song like an excited bird. 1Oldies All the music hits you keep in your memory 50s, 60s, 70s, 80s... Las canciones de tu vida, en tu radio 1 Oldies.

—Brian Tremml, Gladys Knight & The Pips and countless others recorded their own admirable versions of this song, but the pain audible in Marvin Gaye’s rendition lends the lyrics some added pathos. The music itself is simple, as most of Fogerty’s tunes are. “A Day in the Life” is the consummate example of how perfectly their collaboration could work when the elements mashed. Copyright © 2017 1 Oldies Las canciones que guardas en tu memoria, las escuchas aquí. Podcasts. Whether you’re taking a long trip up the coast or just driving up the road, make sure to have these songs on hand for a memorable time. And over which, Dylan’s strange lyrics seem triumphant, yet also full of warning, as his unglamorous voice brimming with attitude, holds onto syllables as if they were gleeful riders on a hurtling-downward roller-coaster.

One of our favorite performances of this song actually came almost 20 years later, though, after divorce and solo careers. Buffalo Springfield, “For What It’s Worth”, 14. Fogerty goes back and forth from point-of-views—from the millionaire’s son to the senator’s son to the folks born to wave the red, white and blue.

Simply choose any other As they move back for one last verse with Lennon, the transition is made with Lennon drifting off into a vocal daze, druggy and gorgeous, and it all leads to that long final chord, made from three pianos and a harmonium—the perfect, haunting end to the perfect song. I think it’s time we stop, children, what’s that sound? Yet, Nancy Sinatra’s 1966 country-pop single is so relatable that it’s been adapted into metal, punk, and dance tracks. The impact of this harmonic style, used effectively, is wondrous: “California Dreamin’” changes from a still image into a movie of emotion, tapping the listener on the shoulder and swirling him through the singers’ world.

—Holly Gleason, Stevie Wonder was just 12 years old when he recorded what would go on to become one of the first live songs to hit number one, making him the youngest person in history to top the Billboard Hot 100.

Phil Ochs, “I Ain’t Marching Anymore”, 52. As the orchestral strings and horns assemble and rise, Cooke proffers a timeless mantra in the refrain—part hope, part prayer, part demand—that a change is going to come.

—Steve Rosen, It’s telling that, 40-plus years after its initial release, “Space Oddity” remains a weird, weird song. I was already on the way to prison before I realized it, actually.” The marrying of sweet sentiments towards mama and the gruffness of life behind bars has lent the song a staying power in country music and popular culture at large, and the track has been covered by a multitude of acts, including The Grateful Dead, Reba McEntire and The Everly Brothers.

Pepper," and the Summer of Love, Recordings from the legendary Woodstock Festival stage, and more. — Bonnie Stiernberg, One of the first supergroups, Cream—composed of Jack Bruce, Ginger Baker and Eric Clapton—moved from blues to psychedelic rock with their second album Disraeli Gears. —Max Blau, © 2020 Paste Media Group.

Not bad for a song reportedly written after Hendrix wanted to sit by a fireplace on a cold English day.

The Shirelles, “Will You Love Me Tomorrow”, 55. Among them were the twist (Chubby Checker), surf music (The Beach Boys), soul (James Brown), bubble-gum (The Royal Guardsmen), psychedelia (The Who), folk rock (Bob Dylan), and other rock-related forms of music. When you want to hear the best '60s radio stations online with unlimited skips, tune in and turn on to AccuRadio!

—Kurt Suchman, The early days of rock music found its many stars and wannabe stars digging through the treasure trove of folk and blues for inspiration. Although we at Paste had previously compiled the 60 Best Albums of the 1960s, we felt that a number of songs were missing. Fun fact: On drums is none other than Marvin Gaye.

—Kyle McKenney, As the American public and mass media learned in the ‘60s, one of the best ways to protest unsavory governmental decisions was through song. This cover of an old Pete Seeger tune was one of the many hits off the trio’s self-titled 1962 debut album.

Desmond Dekker & The Aces, “Israelites”, 98.

Whether the lyrics implied drug consumption (as listeners suspected) or a foggy-brained love song (as Hendrix claimed) is irrelevant. — Bonnie Stiernberg, Originally titled “Brown Skinned Girl,” this Calypso-kissed AOR staple about an alleged interracial tryst and deemed too hot for pop radio upon its release was without question the biggest hit from Morrison’s ill-fated tenure with groundbreaking producer/songwriter Bert Berns and his Bang Records label. You can blend together multiple channels on AccuRadio.

In 1968, “Fist City” was a revolution—a woman with no shame taking care of what’s hers.

In 2013, patients in Michigan thought Farid Fata was that doctor. The opening lick over the quick bass/snare drum combo is instantly recognizable. Beyond Richards’ iconic riff (which he claims came to him in a dream), there’s Mick Jagger—part bluesman, part Marilyn Monroe—in top form, pouting out verses about being sexually frustrated and fed up with commercialism.

— Bonnie Stiernberg, The MC5 group was known for their aggressive, political-fueled live shows that, along with fellow Michiganders the Stooges, set the stage for punk rock acts for years to come. Technically, “Crimson and Clover” was one of the first songs recorded on a 16-track tape, and Tommy James’ use of tremolo foreshadowed much of the acid rock and psych rock to follow. That is, the Byrds’ music has that sort of dependable self-energizing kineticism.

James Brown, “I Got You (I Feel Good)”, 16.

There were points during that time when, despite the ire of rock ‘n’ roll hipsters, the so-called pre-fab four outsold their Liverpudlian predecessors, thanks in large part to the bouncing pop of 1966’s single “I’m A Believer.” Ultimately, The Monkees enjoy a kind of iconic pop culture status both because of and in spite of the unusual and even existential way the group came to be. We have all, at one point or another, longed to stumble upon that special someone in “meet cute” fashion. They may have been beaten to the punch by Nina Simone and Bob Dylan, who both recorded versions of the song earlier, but it’s The Animals whose rendition dominated the hearts of listeners for decades to come. — Bonnie Stiernberg, No one wonders why bands still love to cover “I Wanna be Your Dog” in 2014. Dylan’s convention-defying song announced rock ‘n’ roll would become the voice—his voice—for disaffected Boomers out to revolutionize everything they could touch. Co-written by the artist with his longtime collaborator Bill Dees, the tune remains iconic thanks to its perfect structure, the range of emotions it hits on (joy, sadness, lust, envy, and more) in just under three minutes, and that opening guitar hook that will remain part of the rock canon until this planet disintegrates.

The song ratchets up with intensity and emotion in much the same way that their ‘64 hit “You’ve Lost That Lovin’ Feelin’” did, but for much different aims. It’s not a cry for help but a cry for ownership and pride. With a chorus that boasts she’s going to grab that hussy “by the hair a your hand / and lift you off of the ground,” this is worthy of the WWF, and Lynn ain’t playing.

View (or listen) to the best hits from the '60s here!

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—Hilary Saunders, Girl-group perfection, this song took The Marvelettes to the top of the charts right out of the gate.

With “At Last,” the title track of her 1961 album, she delivers arguably one of the most iconic songs of all time.

—Mark Lore, Stevie Wonder wrote the music for this song, but he went to Robinson for help with the lyrics. In 2015, the US Library of Congress added “Stand By Me” to the National Recording Registry, declaring that “it was King’s incandescent vocal that made it a classic.” —Danielle Ryan, It’s impossible to get a proper education on the Vietnam War without listening to this iconic and subversive song.

The soft layer of sound created by Simon’s guitar is pierced by fierce beats on a snare drum that makes one of the best instrumental moments from any Simon & Garfunkel song.