Incredible Songs: 1960s, Vol. 4

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Incredible Songs: 1960s, Vol. 4 features music courtesy of Arthur Conley, Donovan, Patti LaBelle, Sly & The Family Stone, The Supremes, and The Zombies.

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. 4, following  Incredible Songs: 1960s, Vol. 1, Incredible Songs: 1960s, Vol. 2, and Incredible Songs: 1960s, Vol. 3. Incredible Songs: 1960s, Vol. 4 features some of the 60s finest songs courtesy of Arthur Conley, Donovan, Patti LaBelle, Sly & The Family Stone, The Supremes, and The Zombies among others. So, let’s relive the turbulent 1960s with these epic musical classics!

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1. Arthur Conley, “Sweet Soul Music”

2. The Supremes, “Where Did Our Love Go”

3. Donovan, “Season of the Witch”

4. Mary Wells, “My Guy”

5. Sly & The Family Stone, “Everyday People”

6. Little Eva, “The Locomotion”

7. Four Tops, “Bernadette”

8. Patti LaBelle & The Bluebelles, “He”

9. Bee Gees, “Words”

10. Barbara Mason, “Yes, I’m Ready”

11. Johnny Cash, “Daddy Sang Bass”

12. Lesley Gore, “Sunshine, Lollipops and Rainbows”

13. The Zombies, “Time of the Season”

14. Diana Ross & The Supremes, “Someday We’ll Be Together”

15. Joe Simon, “The Chokin’ Kind”

1. Arthur Conley, “Sweet Soul Music”

Sweet Soul Music // Warner Music Group – X5 Music Group // 1967

“Do you like good music? / Huh, that sweet soul music / Just as long as it’s swingin’ / Oh yeah, oh yeah.” “Sweet Soul Music” marked the first and biggest hit by soul musician and Otis Redding protégé, Arthur Conley (1946 – 2003). How big was this ode to soul music? Well, the opener from his 1967 album, Sweet Soul Music, peaked at no. 2 on the Billboard Hot 100. Epic!

“Sweet Soul Music,” penned by Conley, Redding, and Sam Cooke would be the sole top 10 pop cut for Conley.  Notably, Cooke was deceased by the time “Sweet Soul Music” arrived (he died in 1964).  Cooke gets a writing credit thanks to a prominent interpolation of his song,  “Yeah Man” (“Do you like good music? / Crazy ‘bout music / Any old music / Yeah, yeah”).

“Sweet Soul Music” is the ultimate tribute.  Arthur Conley encourages dancing to the music – “Ah, going to a go-go.”  He also spotlights marvelous musicians – Lou Rawls, Sam and Dave, Wilson Pickett, Otis Redding (of course), and James Brown – and in some cases, their respective, groundbreaking songs.  A prime example: “Spotlight on Sam and Dave, y’all / Ah, don’t they look great, y’all / Singing, ‘Hold On I’m Coming’ / Oh yeah, oh yeah.” Oh yeah, indeed! There’s no way you listen to the vintage “Sweet Soul Music” and you don’t appreciate the great music that precedes, as well as the greatness of the song itself. “Sweet Soul Music” is one of the giant soul songs of the 1960s, period.

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2. The Supremes, “Where Did Our Love Go”

Where Did Our Love Go // Motown // 1964

“Baby, baby / Baby don’t leave me / Ooh, please don’t leave me / All by myself.” ICONIC to the nth degree – that’s Motown exemplified! “Where Did Our Love Go” marks one of 20 top 10 hits by the iconic Motown girl group, The Supremes. Everything The Supremes touched seemed to turn into gold. Making this two-and-a-half song even more elite is the fact that it’s the first of 12 no. 1 hits by the iconic collective. Specifically, the opening song from Where Did Our Love Go spent two weeks at no. 1 on the Billboard Hot 100 in 1964.  Who penned this masterpiece? Why, none other than Brian Holland, Eddie Holland, and Lamont Dozier aka Holland-Dozier-Holland! Brian and Lamont also produced it.

Notably, “Where Did Our Love Go” features the iconic lineup comprised of Diana Ross, Mary Wilson, and Florence Ballard.  This would remain the lineup until 1967 when Ballard exited the collective. This iteration, which earned 10 of those 12 no. 1s, struck gold with this infectious, lighthearted joint.  It’s all about those pesky matters of the heart! “You came into my heart (Baby, baby) / So tenderly (Where did our love go?),” The Supremes sing, adding “With a burning love (Baby, baby) / That stings like a bee (Baby, baby, ooh, baby, baby).” Of course, the centerpiece is the chorus: “Ooh, baby, baby (Baby, baby) / Where did our love go? / Ooh, don’t you want me? (Baby, baby) / Don’t you want me no more? (Baby, baby, ooh, baby, baby).” Besides the enjoyable lead pipes of Diana Ross and the cute, playful backups by Wilson and Ballard, the instrumental is vintage – 60s soul, baby! Part of that vintage sound includes the saxophone solo, which provides a fabulous contrast.  More could be said of “Where Did Our Love Go”   but like so many classics, the music speaks for itself.

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Also check out :

Diana Ross & The Supremes, “Someday We’ll Be Together”

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3. Donovan, “Season of the Witch”

Sunshine Superman // Sony Music Entertainment, Inc. // 1966

“When I look out my window / Many sights to see / And when I look in my window / So many different people to be / That it’s strange, so strange.” Strange indeed, Donovan (Donovan Leitch) – witchy! “Season of the Witch” was written and performed by the Scottish musician, appearing as the sixth track on his 1966 album, Sunshine Superman. The record, produced by Mickie Most, exemplifies the psychedelia of the 1960s. Amazingly, Leitch charted 17 songs on the Billboard Hot 100, including four top 10 hits yet “Season of the Witch” was NOT one of them .

One aspect of “Season of the Witch” that stands out is its harmonic progression. It’s simple, featuring three chords: A (I), D (IV), and E (V). Of those three chords, the dominant, E, appears the least, and only in the chorus. The simplicity is part of the charm. Vocally, Donovan sounds authentic and expressive as he sings the paranoid lyrics, as evidenced by the lyrics in the first verse. The second verse is much like the first: “When I look over my shoulder / What do you think I see / Some other cat lookin’ over / His shoulder at me / And he’s strange, sure is strange.” Of course, the centerpiece is the chorus, which is energetic to the nth degree. Donovan informs us, “You’ve got to pick up every stitch,” later adding, the titular lyric, “Must be the season of the witch.” Also adding to the allure of this witching classic is the instrumental, which includes an organ solo. Ask yourself, what is more psychedelic than an organ? “Season of the Witch” is nothing short of epic – a 1960s rock classic!

Appears in :

Donovan Palaye Royale: Head 2 Head No. 17 (2024)

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4. Mary Wells, “My Guy”

Mary Wells Sings My Guy // Motown // 1964

“Nothing you could say could tear me away from my guy / Nothing you could do, ‘cause I’m stuck like glue to my guy.” This woman is in love with her boo something fierce! “My Guy” marks one of four top-10 hits by the late, great Mary Wells (1943 – 1992). Specifically, “My Guy” is the biggest song of the Motown singer’s career, spending two weeks at no. 1 hit on the Billboard Hot 100.  Furthermore, the highlight from her 1964 LP, Mary Wells Sings My Guy, is one of the most renowned songs of the 1960s. It should come as no surprise that it was written by a legend: Smokey Robinson, baby! “My Guy” is groovy from the onset.  The Motown vibes are loud and clear – the tight backing band and fabulous backing vocals.  Of course, Wells is in full-on, tongue-in-cheek mode.  Generally, “My Guy” is cutesy and playful. “No muscle-bound man could take my hand from my guy,” she asserts, adding, “No handsome face could ever take the place of my guy.” Robinson’s songwriting is self-explanatory, with Mary bringing the dedicated lyrics to life sensationally.  One more note. What about those jazz touches that appear at the end? Both string bass and Well’s playful vocals fuel the fire.  “There’s not a man today who take me away from my guy.” Word, Mary Wells, word.  “My Guy” = unforgettable, timeless classic. 

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5. Sly & The Family Stone, “Everyday People”

Stand // Sony Music Entertainment // 1969

“I am everyday people, yeah, yeah.” INDEED! “Everyday People” is iconic. It was a massive success for the legendary, interracial, funk/soul collective, Sly & The Family Stone. Notably, this brief, two-and-a-half-minute gem spent four weeks at no. 1 on the Billboard Hot 100 in 1969. This marked the first of three no. 1 pop hits by Sly Stone (Sylvester Stewart) and company. In addition to topping the charts, “Everyday People” was certified gold by the RIAA. Furthermore, its parent album, Stand, was eventually certified platinum (1986 to be precise). This big-time song was written and produced by Sly Stone.

Although Sly Stone and company kept things short on “Everyday People,” it sticks just like super glue! The musical backdrop is stellar, setting the tone for funk music through and through. What makes it so funky? It’s the guitars (Freddie Stone and Sly), the keyboards (Rose Stone and Sly), the bass line (Larry Graham), the drums (Greg Errico) – everything! Also, what about them biting horns? The late Cynthia Robinson on trumpet and Jerry Martini on sax? Awesomeness! Furthermore, the vocals are sweet, particularly the most dynamic, gritty moments by Sly. Of course, the chorus, in all its simplicity, is huge. Still, the verse and bridge sections yield their share of excellence, highlighting the social consciousness vibes of the music at that time. “There is a blue one who can’t accept the green one / For living with a fat one, trying to be a skinny one,” The Family Stone sings, continuing, “And different strokes for different folks / And so on and so on and scooby dooby doo-bee.” To reiterate, “Everyday People” is iconic – a classic that speaks for itself.

Appears in :

Sly & The Family Stone, Everyday People: Throwback Vibez 23 (2024)

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6. Little Eva, “The Locomotion”

The Locomotion // Rhino // 1962

“Everybody’s doin’ a brand new dance, now / (Come on, baby, do the Loco-Motion).” Sometimes, the first hit of your career is your biggest and best-known hit. That is the case when it comes to the late Little Eva (Eva Narcissus Boyd, 1943 – 2003). “The Locomotion” (often stylized as “The Loco-Motion”) appears as the opening track on her 1962 album, Llllloco-Motion. “The Loco-Motion” was her sole top 10 hit, reaching no. 1 on the Billboard Hot 100. The novel, dance-themed soul cut was penned by pop royalty: Carole King and her ex-husband, the late Gerry Goffin. The song was intended for Dee Dee Sharp (Ms. “Mashed Potato Time”), but she opted against it. Ultimately, it was Boyd’s gain, at least for a short spell of fame in the 1960s. Notably, Boyd was King/Goffin’s babysitter.

“You gotta swing your hips now

Come on, baby

Jump up, jump back

Well, I think you’ve got the knack

Whoa, whoa.”

Whoa, indeed, Little Eva! “The Loco-Motion” clocks in under two-and-a-half minutes in duration. A playful song, depth is not the modus operandi – this one is all about a trendy dance. It’s on-brand with many ‘60s songs that introduce a fun dance. Even though Little Eva wasn’t intended to be the voice heard on the recording, her lead vocals, as a teenager, are compelling. Furthermore, she’s supported by strong background vocals. Beyond the lyrics, the melody is tuneful to the nth degree – infectious to this day. Another highlight? The saxophone solo by Artie Kaplan. “Easier than learnin’ your ABCs,” everybody was encouraged to “come on, come on / Do the Loco-Motion with me.” Little Eva never scored a bigger hit than “The Locomotion”, but the infectious song is forever enshrined in music history.

Appears in :

Little Eva, The Locomotion: Throwback Vibez 68 (2024)

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7. Four Tops, “Bernadette”

Reach Out // Motown // 1967

A signature introduction goes a long way. “Bernadette” has one of those that makes it distinct. The classic from the iconic soul collective, Four Tops, appears as the 9^th track from their 1967 LP, Reach Out. “Bernadette” was written by the iconic team of Brian Holland, Eddie Holland, and Lamont Dozier. Furthermore, Dozier and Brian Holland produced the hit, which peaked at no. 4 on the Billboard Hot 100. The instrumental is stellar, thanks especially to the epic groove and robust bass line. The arrangement and production are on point.

The songwriting is another selling point of “Bernadette.” The theme is love, and Four Tops has plenty of love for Bernadette. “Some go on searching their whole life through / And never find the love I’ve found in you,” Levi Stubbs sings in the first verse. He excels as the lead vocalist, delivering a commanding, exuberant, and ultra-soulful performance. In the second verse, he sings, “Some other men, they long to control you… / But how can they control you, Bernadette? / When they cannot control themselves, Bernadette.” Beyond Stubbs’ lead, there are fabulous background vocals. The chorus is key as there is no shortage of mention of – you guessed it – Bernadette. Equally alluring is the bridge, which contrasts and separates itself melodically and harmonically from the verses and chorus.

“In your arms, I find the kind of peace of mind

The world is searching for

But you, you give me the joy this heart of mine

Has always been longing for.”

Four Tops were the stuff, PERIOD. “Bernadette” ranks among their greatest hits of all time. This elite cut speaks for itself.

Appears in :

Four Tops, Bernadette: Throwback Vibez 78 (2028)

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8. Patti LaBelle & The Bluebelles, “He”

Over The Rainbow // Atlantic // 1966

“He can turn the tides and calm the angry sea / He alone decides who writes a symphony.” The HE that Patti LaBelle & The Bluebelles reference on “He”, is God.  Amen! “He,” which appears as the ninth track on their 1966 album, Over The Rainbow, was not an original for the collective.  The oft-covered song was penned by Jack Richards and Richard Mullan in the 1950s. Even though it is a cover, Patti LaBelle & The Bluebelles truly make the record their own. “He” features gorgeous orchestration with its use of piano, strings, and eventually, a rhythm section.  The introduction suggests that “He” is going to have more of a classical vibe – a bit more of a traditional sound.  The addition of the rhythm gives the song the best of both worlds – a refined, traditional ‘vocal’ cut and that classic, 60s soul record.  Patti LaBelle shines, serving up refined lead vocals.  Her tone is utterly stupendous.  Furthermore, The Bluebelles are on-point with the background vocals, bringing the heat. The authenticity served up by the performers just adds to the spiritual nature of the lyrics. Among the best moments occurs at the end: “Though it makes Him sad to see the way we live / He’ll always say, ‘I forgive’.” “He” is epic! 

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9. Bee Gees, “Words”

Horizontal // Barry Gibb / The Estate of Robin Gibb and Yvonne Gibb // 1968

“It’s only words, and words are all I have to take your heart away.” “Words” predates disco-era Bee Gees – it arrives long before their Saturday Night Fever days, let alone the ultra-sleek, “Too Much Heaven”. “Words” appears on their 1968 album, Horizontal. An early hit for the Gibb brothers, “Words” peaked at no. 15 on the Billboard Hot 100. It was penned by Barry Gibb, Maurice Gibb, and Robin Gibb, while they produced alongside Robert Stigwood. Interestingly, the chorus, excerpted above, appears later in the song, following three verses.

The lyrics shine on “Words.” That shouldn’t come as a surprise, considering the title of the song. “Smile an everlasting smile / A smile can bring you near to me,” Barry sings in the first verse. In the second, he asserts, “The world has lost its glory / Let’s start a brand-new story / Now my love, right now.” The vision of love is lit. In the third and final verse, the dedication is at an all-time high: “Talk in everlasting words / And dedicate them all to me / And I will give you all my life / I’m here if you should call to me.” Ooh-wee! Bee Gees hints at skepticism regarding these words, but ultimately, from their perspective, reiterating the chorus, “It’s only words, and words are all I have / To take your heart away.” “Words” showcases the sheer brilliance of Bee Gees early on. The vocals are elite, and the sound of the record is marvelous too, with its dominating piano and lush, orchestral touches. “Words” is a gorgeous pop gem.

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10. Barbara Mason, “Yes, I’m Ready”

Yes, I’m Ready // Jamie Record Co. // 1965

“(Are you ready?) Yes, I’m ready.” Oh, if only love were as innocent as it’s presented in the sweet ‘60s classic, “Yes, I’m Ready”. “Yes, I’m Ready”, fittingly, serves as the opener of… Yes I’m Ready, the 1965 album by Barbara Mason. Notably, Mason earned the biggest hit of her career with this record, which focuses on L-O-V-E. Also notable, Barbara was a mere teenager when she recorded and released this gem. How successful was this song? Well, “Ready” peaked at no. 5 on the Billboard Hot 100. On the R&B charts, “Yes, I’m Ready” peaked at no. 2. “I don’t even know how to love / Just the way you want me to,” Mason sings in the first verse of “Yes, I’m Ready.” Despite her naivety regarding love, she adds, “But I’m ready (ready) to learn (to learn).” Sweet! The sentiment is similar in the second verse, where Barbara embraces learning what it means to fall in love. The concept of the song isn’t complicated, but, even as innocent as it is, it’s relatable – at least when you’re young, find yourself crushing hard, and ready for some action! Besides a solid vocals performance, including accentuating backing vocals, the music is sweet. “Yes, I’m Ready” gets off to a rousing start thanks to the lush sounds of the orchestra. This song has that vintage, 60s soul sound that never grows old – it’s refreshing to hear six decades later.

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11. Johnny Cash, “Daddy Sang Bass”

The Holy Land // Sony Music Entertainment // 1969

“I remember when I was a lad / Times were hard and things were bad / But there’s a silver lining behind every cloud.” Oh, the positivity, Johnny Cash! The late country music icon is renowned for a slew of hits. Among them is “Daddy Sang Bass” written by Carl Perkins. Cash’s version was the first released though many artists have covered the brief but potent classic. While “Daddy Sang Bass” missed the top 40, it reached no. 42 on the Billboard Hot 100 in 1969.

“Daddy sang bass, mama sang tenor / Me and little brother would join right in there / Singing seems to help a troubled soul.” The chorus is the centerpiece – the crème de la crème – of “Daddy Sang Bass.” Here, Cash gets the assist from his background singers (including June Carter Cash). The voice types are dramatized – a fitting, cool effect. That is not the only intriguing part of the chorus, however. Notably, it features an interpolation from The Carter Family, “Can the Circle Be Unbroken” dating back to 1935 (the hymn is known as “Will The Circle Be Unbroken?”). Cash and his supporting cast sing, “No the circle won’t be broken / By and by, Lord, by and by.” Beyond the choruses, Cash shines with his exquisite, rich baritone in the verses. In the second, he recollects the past: “Now little brother has done gone on / But I’ll rejoin in a song / We’ll be together again up yonder in a little while.” “Daddy Sang Bass” remains awesome, nearly 60 years after its release. The simple accompaniment and production (Bob Johnson) is sufficient to fuel the iconic musician’s fire.

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12. Lesley Gore, “Sunshine, Lollipops and Rainbows”

Lesley Gore Sings of Mixed-Up Hearts // Mercury // 1963

“Sunshine, lollipops, and rainbows / Everything that’s wonderful is what I feel when we’re together.” Aww ! “Sunshine, Lollipops and Rainbows” is the fifth track on Lesley Gore Sings of Mixed-Up Hearts, the 1963 album by Lesley Gore. A brief number, “Sunshine, Lollipops and Rainbows” runs just north of one minute and a half. Regardless, that’s ample time for Gore to ‘do her thing.’ “Sunshine…” was penned by Howard Liebling and Marvin Hamlisch. Musical legend Quincy Jones produced. A pop hit, it peaked at no. 13 on the Billboard Hot 100. Notably, in Lesley Gore Sings of Mixed-Up Hearts, “Sunshine” precedes a bigger hit, “You Don’t Own Me”.

“Sunshine, Lollipops and Rainbows” is fun… and innocent. When Lesley Gore released it, she was a teenager. Bubblegum pop wasn’t around in the early 1960s, but cutesy, playful, and tongue-in-cheek music was prevalent. “Sunshine…” features a quick tempo with an epic groove established from the beginning. Supporting Gore is a sound orchestration, especially those articulated horns. Shout out to the background vocals too, which are lush and add to the depth of the sound. Of course, Gore is the star, singing about young love! “Sunshine, lollipops, and rainbows / Everything that’s wonderful is sure to come your way / When you’re in love to stay,” she asserts on this ultra-sunny cut. A few more notes. There is a well-executed modulation, something seldom heard in modern pop. And fittingly, the brief but fun and memorable “Sunshine, Lollipops and Rainbows” gets a dramatic, grand ending.

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13. The Zombies, “Time of the Season”

Odessey and Oracle // Zombies Partners // 1968

“It’s the time of the season / When the love runs high.” Indeed! The Zombies released a song for the ages with “Time of the Season”, the closing track of their 1968 album, Odessey and Oracle. “Time of the Season” was a huge success in the U.S., reaching no. 3 on the Billboard Hot 100. Shockingly, the song didn’t chart in their native country, England ! Rod Argent penned this sexy (“Give it to me easy / And let me try with pleasured hands”), important, psychedelic classic. Colin Blunstone sings the lead. Part of the charm is the instrumental. The groove is infectious. The bass line is often compared to the Ben. E. King classic, “Stand By Me”. Also, the breathy vocal effects are part of the charm. The section to beat is the chorus! There are slight lyrical variations, but one lyric remains tried and true: “It’s the time of the season for loving.” The harmonized vocals and emphasis on this titular lyric make the song. Besides the chorus, the second verse, which is repeated following a cooking organ solo by Argent , stands out. “What’s your name? / Who’s your daddy? / Is he rich like me?” Blunstone sings, continuing, “Has he taken / Any time / To show you what you need to live?” Notably, the lyric alludes to a famous lyric from the George Gershwin, Porgy and Bess classic, “Summertime” (“Oh, your daddy’s rich / And your ma is good lookin’’”). Given the unique sound of the instrumental and the timeless chorus, it’s not surprising that “Time of the Season” has been sampled by many musicians. The final pop hit by The Zombies, the band ‘put their foot’ into this one.

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14. Diana Ross & The Supremes, “Someday We’ll Be Together”

**Diana Ross & The Supremes // Cream of the Crop // Motown // 1969**

“Someday we’ll be together…” Diana Ross (emphasis on her) went out with a bang – at least as a member of The Supremes. “Someday We’ll Be Together” marked the final no. 1 hit of (1) the 1960s as well as (2) for The Supremes. “Someday We’ll Be Together” marked the 12^th of 12 no. 1 hit singles by the collective. Impressive! Appearing as the opening track of their 1969 album, Cream of the Crop, this Harvey Fuqua, Jackey Beavers, and Johnny Bristol-penned record dates back to 1961, originally recorded by Johnny & Jackey. While it is credited to The Supremes, “Someday We’ll Be Together” is essentially a solo Diana Ross record with background vocals, none of which are The Supremes!

“Someday We’ll Be Together” is a marvelous way to conclude the 1960s as well as one of its most important musical groups. Ross sings marvelously without breaking a sweat. Matters of the heart fuel the fire, as is often the case of many soul songs. “You’re far away / From me, my love,” she sings in the first verse, continuing, “And just as sure, my, my baby / As there are stars above / Wanna say, wanna say, wanna say it.” What does she wanna say exactly? The titular lyric – “Someday, we’ll be together.” The second verse is penned similarly, as she speaks about how special this man is – he owns her heart. In the third, she longs for him – “Ooh, just to kiss your sweet, sweet lips, baby / Hold you ever, ever so tight…” She’s hopeful that she will, backed by soulful background vocals and a radiant instrumental. Refined and sophisticated to the nth degree, Diana Ross & The Supremes nail it on the timeless “Someday We’ll Be Together” which still wows approaching 60 years later.

Appears in :

Diana Ross & The Supremes, Someday We’ll Be Together: Throwback Vibez 58 (2024)

Also check out :

The Supremes, “Where Did Our Love Go”

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15. Joe Simon, “The Chokin’ Kind”

The Chokin’ Kind // Sony Music Entertainment // 1969

“I gave you my heart / But you wanted my mind,” Joe Simon sings, adding, “Your love scared me to death, girl / Oh, it’s the chokin’ kind.” That is some love that the late, great soul musician sings about on “The Chokin’ Kind”. “The Chokin’ Kind” appears as the fifth track on The Chokin’ Kind, the 1969 album by Simon. It was penned by Harlan Howard and produced by John Richbourg. Notably, Waylon Jennings and The Waylors originally sang it. Numerous covers followed, including Simon’s hit record which reached no. 13 on the Billboard Hot 100 in May 1969. Simon also won the sole Grammy of his career for “The Chokin’ Kind” (Best R&B Vocal Performance, Male).

Although brief, “The Chokin’ Kind” packs a significant punch. It is groovy to the nth degree from the onset. The arrangement and production are marvelous. Instrumental highlights include the drums/percussion, robust and active bass line, rhythmic guitar, warm organ, and articulated horns. Simon delivers easygoing vocals. A smooth, and utterly soulful singer, he sounds as if he barely breaks a sweat. Still, Simon brings ample swagger without doing too much; it feels natural without dare forcing the issue. “You can kill a man / With a bottle of poison or a knife,” he asserts in the second verse, adding, “It’ll hurt him more to take his pride / And ruin his life / Oh it’s a shame girl.” Besides honest lyrics, tuneful melodies, and top-notch vocals, the key modulation is superbly executed. Key changes up the ante. That is the case on the unforgettable 60s classic, “The Chokin’ Kind”, one of the best songs from the Joe Simon catalog.

Appears in :

Joe Simon, The Chokin’ Kind: Throwback Vibez 74 (2024)

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Incredible Songs: 1960s, Vol. 4 (2024) [: Brent Faulkner / The Musical Hype; Atlantic, Barry Gibb, The Estate of Robin Gibb and Yvonne Gibb, Jamie Record Co., Mercury, Motown, Rhino, Sony Music Entertainment, Warner Music Group – X5 Music Group, Zombies Partners; InspiredImages, Vika_Glitter from Pixabay]

Incredible Songs: 1960s, Vol. 4 | Playlist

Published by the musical hype on September 6, 2024September 6, 2024