Incredible Songs: 1960s, Vol. 2

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Incredible Songs: 1960s, Vol. 2 features music courtesy of The Beatles, The Dixie Cups, Fontella Bass, The Jackson 5, and Wilson Pickett.

Ah, the 1960s – what a time, what a time! What better way to reminisce on the decade than to highlight some of its best and most memorable songs.  Like the other editions of the decade series on The Musical Hype, there are far too many awesome musicians and songs to recognize in one musical compendium – at least with blurbs involved. We continue the process for the 60s with  Incredible Songs: 1960s, Vol. 2, following  Incredible Songs: 1960s, Vol. 1.  Incredible Songs: 1960s, Vol. 2 features some of the 60s finest songs courtesy of The Beatles, The Dixie Cups, Fontella Bass, The Jackson 5, and Wilson Pickett among others. So, let’s relive the turbulent 1960s with these epic musical classics!

1. The Dixie Cups, “Chapel of Love”

Chapel of Love • Sun Label Group, LLC • 1964

“Goin’ to the chapel / And we’re gonna get married.” Aww how sweet, The Dixie Cups. When is the wedding ? The collective continues singing on their 1964 classic, “Chapel of Love”: “Gee, I really love you / And we’re gonna get married / Goin’ to the chapel of love.” The Dixie Cups own the definitive version of “Chapel of Love” – the ‘original’ heard by the world. However, the actual original recording arrived in 1963 courtesy of Darlene Love . The Dixie Cups, of course, made this Jeff Barry / Ellie Greenwich / Phil Spector-penned cut a hit, peaking at no. 1 on the Billboard Hot 100.

What makes “Chapel of Love” a classic? Well, the vocals and vocal arrangement are a major selling point. The Dixie Cups sound terrific when singing in unison as well as when they break into the harmonies. The most memorable section of the song is the chorus, excerpted above. Notably, there is an innocence about this record that is idiomatic of vintage music from the 1950s and 60s. Furthermore, “Chapel of Love” is a prime example of the sound of soul music in the 60s: the horn arrangement and the articulated riffs, the rhythm section, including drums, the pronounced bass line, and the use of vibraphone. Furthermore, the melody is incredibly memorable, particularly the chorus. Regarding the songwriting, “Chapel of Love” is tongue in cheek – again, there’s a sense of innocence that contemporary music eschews. “Today’s the day we’ll say, ‘I do,’” The Dixie Cups sing in the first verse, adding, “And we’ll never be lonely anymore.” Sigh, if only love were as simple as the ladies make out to be here (“Bells will ring, the sun will shine, whoa / I’ll be his and he’ll be mine”). Simply put, they don’t make soul joints like “Chapel of Love” anymore.

Appears in :

The Dixie Cups, Chapel Of Love: Throwback Vibez ️ No. 110 (2023)

2. The Beatles, “Hey Jude”

1 • Apple Corps Ltd. • 2000

“Hey Jude, don’t make it bad / Take a sad song and make it better / Remember to let her into your heart / Then you can start to make it better.” The Beatles have hits upon hits upon hits, with 20 no. 1 hits. One of the very best songs in the stacked catalog from George Harrison, John Lennon, Paul McCartney, and Ringo Starr is “Hey Jude”.  “Hey Jude” was written by Lennon and McCartney and spent nine weeks at no. 1 on the pop charts.  A dominant and timeless record, numerous musicians have covered it, including Elvis Presley, Maynard Ferguson, and Wilson Pickett.  

Paul McCartney sounds terrific handling the lead on “Hey Jude.” For much of the song, he compels with an easy going sound that suits the message and theme of the song.  The background behind the song is captivating. McCartney had Lennon’s son, Jules (Julian) in mind when penning it. Julian’s parents were amid divorce, so, Paul intended to comfort him. On this epic, seven-minute-plus masterpiece, Jules becomes Jude: 

“And anytime you feel the pain, hey, Jude refrain 

Don’t carry the world upon your shoulders 

For well you know that it’s a fool who plays it cool 

By making his world a little colder 

Na-na-na-na-na, na-na-na-na.” 

Indeed! The outro of the song is epic to the nth degree. The supporting instrumental is ear-catching, while McCartney is more assertive and truly lets loose. “Hey Jude” has a strong case as The Beatles’ very best no. 1 hit. 

Appears in :  

3. Martha Reeves & The Vandellas, “Jimmy Mack”

Watchout! • Motown • 1966

“Jimmy Mack, Jimmy / Oh, Jimmy Mack / When are you coming back?” Iconic Motown collective Martha Reeves & The Vandellas scored a hit with “Jimmy Mack”. “Jimmy Mack” appears on the trio’s 1966 album, Watchout!. “Jimmy Mack,” which is perhaps most renowned for its catchy, infectious chorus, impacted the pop charts, peaking at no. 10 on the Billboard Hot 100.  The sound is idiomatic of the 1960s through and through with its tongue-in-cheek lyrics and vintage production featuring rhythm section and horns (including baritone sax).  Penning this once shelved single is the iconic Motown team  Holland-Dozier-Holland (Brian Holland, Lamont Dozier, and Eddie Holland).  

So, what’s the narrative of “Jimmy Mack?” Well, Jimmy has left and yet to return to his lover (Martha, as she’s the lead singer ).  Martha misses him, but there is also a legitimate threat to their romance: “But this boy keeps coming around / He’s tryin’ to wear my resistance down.” Oh, snap ! Because Martha wants to do right by Jimmy, she asks him to come back, because “This loneliness I have within / Keeps reaching out to be his friend,” and, this new man “Jimmy, he talks just a sweet as you.” Ultimately, “Jimmy Mack” thrives because it’s fun and there’s a sense of innocence that so much of contemporary music lacks.  Imagine, if “Jimmy Mack” were written to fit in the 2020s, imagine how explicit it might be!  

Appears in :

Martha Reeves & The Vandellas, Jimmy Mack: Throwback Vibez ️ No. 89 (2023)

4. Edwin Starr, “Twenty Five Miles”

25 Miles • Motown • 1969 

“Come on feet, start movin’ / Got to get me there.” From the onset, Edwin Starr is on autopilot on the 1960s soul gem, “Twenty Five Miles”.  “Twenty Five Miles” commences his 1969 album, 25 Miles with a surefire bang.  Honestly, could 25 Miles be named after something else beyond this top-10 pop hit (no. 6 on the Billboard Hot 100)? NOPE – it is his second-highest charting single behind his best-known record, “War”.  In this hella funky soul cut, Starr is “Twenty five miles from home,” and has “been walking for three days / And two lonely nights.” Oh, nap!  Ultimately, despite his hurting feet and the time consumption, the fact that Edwin has an awesome woman waiting for him makes the journey worthwhile.  By the second verse, Starr has only fifteen miles, admitting, “I’ll be so glad to see my baby / And hold her in my arms one more time.” By verse three, he counts down from ten, reaching the five-mile mark, asserting, “Although my feet are tired / I can’t lose my stride / I got to get to my baby again.” Clearly, this woman is the sugar honey iced tea! Of course, the crème de la crème, the crowning achievement of “Twenty Five Miles” is the infectious chorus. Also, those authentic, expressive, and high-flying vocals by Mr. Starr do not hurt the cause either, especially backed by lit vintage production work (those horns).   

Appears in :  

5. Fontella Bass, “Rescue Me”

The New Look • UMG Recordings, Inc. • 1966

“Rescue me / Or take me in your arms / Rescue me / I want your tender charms.” One song solidified the musical legacy of Fontella Bass (1940 – 2012): “Rescue Me”.  The soul classic earned Bass her sole top-10 hit.  Ultimately, “Rescue Me” peaked at no. 4 on the Billboard Hot 100 in 1965.  Her next highest charting single on the pop charts? “Don’t Mess Up a Good Thing” (with Bobby McClure), which peaked at no. 33. “Rescue Me,” hence, is special – that once in a lifetime song.  It was written by Carl William Smith and Raynard Miner while Billy Davis served as the producer.    

So, why did Bass need rescuing? “I need you and your love too.” As is the case with many R&B/soul records, matters of the heart fuel the fire.  Fontella is lonely, and she wants him to save her.  “Come on and take my heart,” she sings in the second verse, “Take your love and conquer every part.” The chorus sums it up perfectly:  

“Come on baby, and rescue me 

Come on, baby, and rescue me 

‘Cause I need you by my side  

Can’t you see that I’m lonely?  

Rescue me.”  

“Rescue Me” is #ICONIC.  Hearing this nearly sixty-old gem from The New Look never gets old.  No, R&B and pop don’t sound like this anymore but, this song right here, it endures.  

Appears in :  

6. The Friends of Distinction, “Going in Circles”

Grazin’ • Sony Music Entertainment • 1969

“I’m an ever-rollin’ wheel, without a destination real / I’m an ever-spinning top, whirling around till I drop.” Soul collective The Friends of Distinction ( Floyd Butler, Jessica Cleaves, Harry Elston, and Barbara Love), who were active in the late 1960s and disbanded in the 1970s, scored a hit with “Going in Circles”. “Going in Circles” appeared in the collective’s 1969 album, Grazin’. The single peaked at no. 15 on the pop charts, earning gold certification from the RIAA.  Notably, numerous musicians have covered the gem penned by Jerry Peters and Anita Poree including Isaac Hayes, The Gap Band, and Luther Vandross. 

As the excerpted lyrics suggest, The Friends are in a vicious circle.  In the second verse, the collective asserts, “I’m a faceless clock, with timeless hopes that never stop.” The effect of love is written all over this one, best summarized by the chorus: “You got me going in circles (oh round and round I go).” The poetic lyrics are high-flying vocals are utterly sublime.  Adding to the sheer excellence of  “Going in Circles” is the lush production work ( John Florez), which was idiomatic of late 1960s-70s soul sound.  The orchestration is incredible. The Friends of Distinction may have been a short-lived soul collective, but the Los Angeles quartet ‘got it done’ releasing a couple of hits including “Going in Circles”.  Sure, it’s a fifty-plus year-old song that sounds nothing like the music of the 2020s. Honestly, that’s a beautiful, truly refreshing thing. 

Appears in : 

7. Brenda Holloway, “Every Little Bit Hurts”

Every Little Bit Hurts • Motown • 1964 

“Every little bit hurts / Every little bit hurts.” Hmm, why Brenda Holloway, why? “Every night I wonder why / You treat me cold / You won’t let me go.” Yep, just as I suspected – those pesky matters of the heart! “Every Little Bit Hurts” is the biggest hit of the Motown singer/songwriter, peaking at no. 13 on the pop charts. “Every Little Bit Hurts” appears on Holloway’s album of the same title, fittingly.  Soulfulness is the key word when characterizing this record, which is not a cutesy, tongue-in-cheek vintage soul cut, something some early Motown cuts are renowned for, particularly from female artists. Holloway sings beautifully, but also packs a punch vocally. Her instrument is dynamic perfectly adorning the lush backdrop, which includes gospel-tinged piano and lush strings.  Listening to “Every Little Bit Hurts,” you can hear the pain.  She asserts, “My love is strong for you / I’d do wrong for you,” but does not get the same energy from him, evidenced by the lyrics, “I can’t take this / Loneliness you’ve given me / I can’t go on / Giving my life away.” She has a point.  That said, the fact that she begs is bothersome:  

“Oh, come back to me 

Darling, you’ll see 

I can give you all the 

Things that you wanted before 

If you will stay with me.”  

Love is a five-letter word that begins with a B and ends in an itch.  We know and understand this far too well, worldwide.  That said, Brenda Holloway does a magnificent job of capturing this on “Every Little Bit Hurts”. 

Appears in :  

8. Wilson Pickett, “Mustang Sally”

The Wicked Pickett • Atlantic • 1966

“Mustang Sally, guess you better slow your Mustang down.” Iconic, iconic, ICONIC! Wilson Pickett (1941 – 2006) had a surefire, timeless gem on his hands with “Mustang Sally” – that is an understatement!  “Mustang Sally” commenced the southern soul singer’s 1966 album, The Wicked Pickett. Wicked, Mr. Pickett was indeed as “Mustang Sally” finds him delivering a wild, gritty performance intact with some sick wails. His attitude and energy are incredibly infectious, as is the music.  The groove is potent from the beginning, with one of the sickest bass lines in the soul book.  “You been running all over the town now / Oh, I guess I’ll have to put your flat feet on the ground.” Yes, yes, yes!

The second verse is as intriguing as the first, particularly the first half.  Pickett informs the audience, “I bought you a brand-new Mustang / A nineteen sixty-five / Now you come around signifying a woman / You don’t wanna let me ride.” Oh, snap! While the Ford Mustang was a big deal when this song was released, clearly, Wilson is speaking beyond the sweet sports car.  Someone else will be riding with Sally, or perhaps, driving Sally… Anyways, beyond the sexual innuendo, one of the most memorable lyrics of “Mustang Sally” appears in the chorus. Pickett sings assertively, “Listen, all you want to do is ride around Sally,” supported by background vocalists responding, “Ride, Sally, ride.” He concludes the charming section, singing, “One of these early mornings / You gonna be wiping your weeping eyes / What I said now.”  What a great song!  “Mustang Sally” is one of the best songs of the soul catalog in my eyes.  The fact that it settled for a no. 23 peak on the pop charts is criminal.  Of course, chart success doesn’t tell the whole story about so many classics.  “Mustang Sally” has far surpassed that moderate success.  If nothing else, during my days in high school band, it was always one of my favorites and that was in the early aughts, more than 30 years after it was released.   

Appears in :

Wilson Pickett, Mustang Sally: Throwback Vibez No. 121 (2022)

9. The Jackson 5, “Who’s Lovin’ You”

Diana Ross Presents the Jackson 5 • Motown • 1969 

“When I (when I) had you (had you) / I treated you bad / And wrong, my dear / And girl since / Since you went away…” These blues-laden lyrics, depicting heartbreak and regret, hail from a surefire, Motown classic, “Who’s Lovin’ You”.  “Who’s Lovin’ You” was written by one of Motown’s most accomplished and iconic artists, singer/songwriter Smokey Robinson.  Furthermore, the original version, was recorded by him and his collective, The Miracles, commencing their 1961 album, Hi We’re The Miracles.  That said, even though this is Smokey’s song through and through, the definitive recording of this oft-covered song belongs to one 11-year-old unlike any other: Michael Jackson.  Young Michael kills it on the lead of this 1969 The Jackson 5 masterpiece, which graces their album, Diana Ross Presents the Jackson 5.  

Even though Michael Jackson was a mere kid singing about heartbreak, he sings it with an authenticity that transcends his youth and inexperience.  His tone is beautiful and mesmerizing.  Furthermore, his brothers do a bang-up job of supporting with soulful background vocals.  The updated production ( Bobby Taylor) from the early 60s rendition easily breathes new life into a near-decade-old song.  The strings add drama, the groove cooks, and the bass line is EVERYTHING.  Furthermore, those vocal runs – the melisma – is a huge selling point.  Throw in Michael’s ad-libs, and “Who’s Lovin’ You,” a song filled with love pain, sounds like heaven on earth.  Such a talent! The best lyrics, of course, arrive on the chorus – among my favorites of all-time:    

“Don’t you know I 

Sit around 

With my head hangin’ down 

And I wonder 

Who’s lovin’ you.” 

Appears in :  

10. Johnnie Taylor, “Who’s Making Love”

Who’s Making Love… • Fantasy, Inc. / Stax • 1968

“What I’m gonna, gonna ask you now / You better think about it twice.” Hmm, what were you going to ask, Johnnie Taylor? Well, “While you’re out cheatin’ on your woman / There is something you never even thought of / And that is: / Who’s making love to your old lady / While you were out making love?” Ooh wee, Johnnie! That legitimate question and memorable lyrics hail from the 1968 soul gem, “Who’s Making Love”, which appears on the album, also titled, Who’s Making Love…  

Taylor, The Philosopher of Soul, was an incredibly talented, dynamic soul singer.  He shines with his assertive, gritty vocals on top-five, Billboard Hot 100 hit that encompasses cheating and sex. While making love is intriguing, what is even more interesting is how Taylor seems to defend women being cheated on. 

“I’ve seen so, so many fellows 

All in that same old bag 

Thinkin’ that a woman is made to 

To be beat on and treated so bad 

Oh, fellows, let me ask you somethin’ 

I’m sure that you never even dreamed of 

And that is: 

Who’s making love to your old lady 

While you were out making love?” 

He makes a terrific point! Tit for tat! Somehow, he never won a Grammy, sigh.  It’s worth noting, however, “Who’s Making Love” was one of three contenders for the highly coveted award, so there’s that.

Appears in :  

11. Etta James, “I’d Rather Go Blind”

Tell Mama • UMG Recordings, Inc. • 1968

“I would rather, I would rather go blind boy / Than to see you walk away from me child.”  Those lyrics hail from the timeless, Etta James classic, “I’d Rather Go Blind”.  The late, great blues and R&B musician earned a surefire hit with this gem from her 1968 album, Tell Mama. “Something deep down in my soul said, ‘Cry girl,’ / When I saw you and that girl, walking around.” Intriguing.  James sings with incredible expression and nuance. Furthermore, the music – the arrangement and production – are simply beautiful.  The vintage soul aesthetic is idiomatic of 1960s blues/soul. 

From my perspective, thematically, “I’d Rather Go Blind” appears to be about a defunct romantic relationship.  Early on, all indications suggest that that’s the direction Etta James (and her songwriters) were opting for.  “Something told me it was over,” she sings in the first line of the first verse, continuing, “When I saw you and her talking.” That adds up perfectly to an ended relationship.  However, throwing in lyrics like child and even the repeated use of boy open up “I’d Rather Go Blind” to a potentially different interpretation. This is owed to the clever nature of the lyrics.  The other interpretation is perhaps a mother is losing her son and that’s what’s made her feel sad.  I find it to be a slight stretch but songs like “I’d Rather Go Blind” that offer multiple possibilities are truly brilliant.    

Appears in :  

12. Eddie Holman, “Hey There Lonely Girl”

I Love You • Geffen • 1969

“Hey there, lonely girl / Lonely girl / Let me make your broken heart like new / Hey there, lonely girl / Lonely girl / Don’t you know this lonely boy loves you?” Remember, sometimes, it only takes one hit to solidify your musical legacy. For Eddie Holman, the one song that solidified his legacy is “Hey There Lonely Girl”. It was written by Earl Shuman and Leon Carr. Interestingly, it is a COVER! Before there was lonely girl, there was “Hey There Lonely Boy” courtesy of Ruby and The Romantics. While Ruby and The Romantics earned success with “Lonely Boy,” “Hey There Lonely Girl” courtesy of Holman made a bigger splash, peaking at no. 2 on the Billboard Hot 100, spending 14 weeks on the chart. It marks the sole top-10 hit of his career (three other songs charted on the pop charts with less success). 

On “Hey There Lonely Girl,” the incredibly talented singer wows with one of the sweetest tenor vocals you’ll ever hear.  Holman’s voice alone is a big reason why “Hey There Lonely Girl” ranks among the truly great songs from the soul catalog. It appears as the seventh track on his 1969 album, I Love You.  Peter De Angelis is responsible for the production. Like so many soul cuts from the late 1960s entering the 1970s, the orchestration and overall sound is lush, with symphonic cues.  This is the perfect fuel for Holman’s fire, as he woos this lonely girl with his angelic pipes. “Oh, how I long to take your hand,” he sings to his brokenhearted prospect, adding, “And say, ‘Don’t cry’ / I’ll kiss your tears away.” Later, in the second verse, Holman adds, “No one can kiss your lips the way I will.” It’s worth noting that he gets some help from some superb background vocalists, beginning with the second verse.  All told, “Hey There Lonely Girl” is simply magnificent. 

Appears in :

Eddie Holman, Hey There Lonely Girl: Throwback Vibez No. 137 (2022)

13. Solomon Burke, “If You Need Me”

If You Need Me • Atlantic • 1963

“If you need me, I want you to call me / Said if you need me, all ya gotta do is call me,” the late, great Solomon Burke sings on his no. 2 R&B hit, “If You Need Me”. As is so often the case, the Grammy-winning musician was NOT the original person to record “If You Need Me.” The original artist, and co-writer was none other than another soul icon, Wilson Pickett.  Even though Pickett often had the Midas Touch with many hits to his name, in this case, it was Burke who made “If You Need Me” a certified soul classic.  He continues singing, with incredible soulfulness, “Don’t wait too long if things go wrong / I’ll be home (I’ll be home).” 

So, what’s the premise of “If You Need Me”? Matters of the heart is the theme with potential reconciliation the goal, and perhaps, the expectation from Solomon Burke.  The relationship has ended, however, Solomon ‘leaves the door open,’ if you well.  Essentially, if she needs him, he advises her to call, and he’ll be there.  Honestly, he asserts, “And I’ll hurry home / Where I belong.” Of course, we get a snapshot into what might’ve gone awry: “People always said, darlin’ / That I didn’t mean you no good / And you would need me someday.” Hmm, interesting! He continues singing, “Way deep down in my heart / I know I’ve done the best I could / That’s why I know that one of these days / It won’t be long, you’ll come…” Fill in the ellipsis! 

Appears in :  

Incredible Songs: 1960s, Vol. 2 (2023) [: Brent Faulkner / The Musical Hype; Apple Corps Ltd., Atlantic, Fantasy, Inc. / Stax, Geffen, Motown, Sun Label Group, LLC, UMG Recordings, Inc.; thank you for like from Pixabay]

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