Incredible Songs: 1960s, Vol. 5

Reading Time: 18 min read

Incredible Songs: 1960s, Vol. 5 features some of the ‘60s finest songs by Joe Cocker, Joe Simon, The 5th Dimension, The Beatles, The Byrds, and The Supremes.

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. 5, following  Incredible Songs: 1960s, Vol. 1, Incredible Songs: 1960s, Vol. 2, Incredible Songs: 1960s, Vol. 3, and Incredible Songs: 1960s, Vol. 4. Incredible Songs: 1960s, Vol. 5 features some of the ‘60s finest songs by Joe Cocker, Joe Simon, The 5th Dimension, The Beatles, The Byrds, and The Supremes. So, let’s relive the turbulent 1960s with these epic musical classics!   

~ Table of Contents ~

1. The Rascals, “A Beautiful Morning”

2. The Supremes, “Stop! In The Name of Love”

3. The Byrds, “Turn! Turn! Turn! (To Everything There is a Season)”

4. Martha Reeves & The Vandellas, “Dancing in the Street”

5. Four Tops, “I Can’t Help Myself (Sugar Pie, Honey Bunch)”   

6. The Temptations, “Beauty is Only Skin Deep”

7. The Beatles, “Strawberry Fields Forever”

8. Bobby Vinton, “Mr. Lonely”

9. John Coltrane, “Giant Steps”

10. The 5th Dimension, “Wedding Bell Blues”

11. The Dave Brubeck Quartet, “Unsquare Dance”

12. The Mamas & The Papas, “California Dreamin’”

13. The Winstons, “Color Him Father”

14. Joe Simon, “Nine Pound Steel”

15. Joe Cocker, “Bye Bye Blackbird”

1. The Rascals, “A Beautiful Morning”

Time Peace: The Rascals’ Greatest Hits // Atlantic // 1990

“It’s a beautiful morning, ah / I think I’ll go outside a while and just smile.” The positive, feel-good vibes are alive and well on “A Beautiful Morning”, the 1968 classic by The Rascals. What better way to begin a beautiful playlist? The Rascals had been called The Young Rascals. “A Beautiful Morning” is credited to The Rascals. Felix Cavaliere and Eddie Brigati, vocalists for The Rascals, penned the blue-eyed soul classic. Unsurprisingly a pop hit, it peaked at no. 3 on the Billboard Hot 100 in 1968.

“If the weather’s fine and you got the time

It’s your chance to wake up and plan another brand-new day

Either way, it’s a beautiful morning, ah.”

Good, positive vibes were crucial to the success of “A Beautiful Morning.” So was the musical accompaniment. Enthusiastic from the onset, the ringing wind chimes set the tone. From there, the listener is blessed with a soulful drum and percussive groove, a big bass line, and sublime guitar and keys. Also amplifying “A Beautiful Morning” instrumentally are the bright, articulated horns. The lead vocals (Cavaliere) are sensational – assertive and gritty from the beginning. Adding to the excellence is a tuneful melody. Also, the harmonized background vocals are superb too, adding sweetness. Nearly 60 years after its release, “A Beautiful Morning” remains the ultimate, feel-good, morning vibe.

Appears in 🔻:

~ Table of Contents ~

2. The Supremes, “Stop! In The Name of Love”

More Hits by The Supremes // Motown // 1965

The Supremes, one of Motown’s iconic collectives, have 12 no. 1 hits to their name. That is nothing short of epic! Sadly, a Grammy has eluded Diana Ross, Florence Ballard, and Mary Wilson, among other members throughout the years. Even without that statuette, The Supremes don’t need the validation of an award as their timeless hits speak for themselves. Among those marvelous number ones is the show-stopping, “Stop! In The Name of Love”, which spent two weeks atop the Billboard Hot 100. Appearing as the fourth track from More Hits by The Supremes, which was released in 1965, it was penned by Brian Holland, Eddie Holland, and Lamont Dozier. What a team! Brian and Lamont also produced this exuberant classic.

“Stop in the name of love / Before you break my heart,” The Supremes sing utterly sublimely on the centerpiece, the chorus. They urge him to, “Think it over.” Sound advice! Beyond the tuneful chorus, the verses are superb too. The girls know this man isn’t faithful. Diana Ross sings, “I watch you walk down the street / Knowing your other love you’ll meet.” Adding to potentially devastating matters of the heart, “But this time, before you run to her / Leaving me alone and hurt / (Think it over).” Besides the fun songwriting and fabulous vocals by the group, the instrumental is marvelous too, including the use of organ, amplifying the soul, and the use of vibraphone and articulated horns. Honestly, there’s not much to ‘think over’ when it comes to the quality of “Stop! In The Name of Love” – it’s the cat’s meow!

Appears in 🔻:

~ Table of Contents ~

3. The Byrds, “Turn! Turn! Turn! (To Everything There is a Season)”

Turn! Turn! Turn! // Sony Music Entertainment // 1965

So, let’s get a little ‘spiritual’ – a little Biblical – shall we? From the Ecclesiastes, specifically Ecclesiastes 3 (NIV): ¹There is a time for everything, and a season for every activity under the heavens: ²A time to be born and a time to die, a time to plant and a time to uproot, ³A time to kill and a time to heal… We aren’t intentionally promoting religion – make that decision for yourself – but we are providing the source of The Byrds’ 1965 classic, “Turn! Turn! Turn! (To Everything There is a Season).” Members of the legendary band, with the arrival of Turn! Turn! Turn! were Roger McGuinn, Gene Clark, David Crosby, Michael Clarke, and Chris Hillman. The folk-rock title track, written by the legendary Pete Seeger, is based on the text from Ecclesiastes 3 from the Old Testament. Whether you’re religious or not, this passage of scripture, and song itself, is prudent and thoughtful. Also, “Turn! Turn! Turn!” was a no. 1 hit on the Billboard Hot 100. It spent three weeks in the penthouse, the second of two no. 1 hits by the collective. If you’ve never encountered “Turn! Turn! Turn!” you’re missing out.

Appears in 🔻:

~ Table of Contents ~

4. Martha Reeves & The Vandellas, “Dancing in the Street”

Dance Party // Motown // 1965

“Calling out around the world / Are you ready for a brand-new beat?” Martha Reeves & The Vandellas, a seminal Motown collective, had a Dance Party in 1965. Woo! “Dancing in the Street”, the opening track from the album, was the biggest hit of the iconic girl group’s career. The infectious song was written by William “Mickey” Stevenson, Ivy Jo Hunter, and Marvin Gaye. Stevenson produced this gem that reached no. 2 on the Billboard Hot 100. “Summer’s here and the time is right / For dancing in the street.” Yes, ma’am! What makes “Dancing in the Street” the sugar honey iced tea? Martha Reeves is a compelling frontwoman, delivering dynamic, high-energy vocals. Given the style Martha Reeves & The Vandellas were renowned for, Reeves’ personality plays a pivotal role in the success of this cut. It’s a cutesy, playful, and tongue-in-cheek cut, tailormade for Reeves. “There’ll be laughing, singing, and music swinging / Dancing in the street,” Reeves sings in the second verse, citing the cities where these dances occur (Philadelphia, Baltimore, D.C., Motor City aka Detroit). Besides the verses, the pre-chorus and chorus mark some of Reeves’ top-notch moments. In the pre-chorus, she asserts “All we need is music, sweet music.” In the chorus, she delivers those timeless lyrics, “It doesn’t matter what you wear / Just as long as you are there / So come on, every guy, grab a girl / Everywhere around the world.”

It’s not all about Martha, of course! The Vandellas (Rosalind Ashford-Holmes and Betty Kelly) ‘hold it down’ with the background vocals – the harmonies, riffs, etc. Although “Dancing in the Street” lacks sophisticated sound quality taken for granted in the 21^st century, the instrumental backdrop rocks 🤘. There is ample fuel for The Vandellas’ fire. The rhythm section builds a fantastic anchor (specifically the drums) while the horns provide bite. The baritone saxophone brings it on those low notes! No lengthy analysis is necessary for “Dancing in the Street” which speaks for itself.

Appears in 🔻:

~ Table of Contents ~

5. Four Tops, “I Can’t Help Myself (Sugar Pie, Honey Bunch)”   

Four Tops Second Album // Motown // 1965

“Sugar pie, honey bunch / You know that I love you / I can’t help myself / I love you and nobody else.” #ICONIC chorus! Ah, “I Can’t Help Myself (Sugar Pie, Honey Bunch)” – one of, if not the greatest HONEY 🍯 songs of all-time! Four Tops were the stuff and “I Can’t Help Myself” ranks at the top of their illustrious catalog.  This mid-1960s joint, which appeared on Four Tops Second Album, peaked at no. 1 on the Billboard Hot 100 and remains the vibe of vibes nearly six decades later.  This Holland-Dozier-Holland (Brian Holland, Lamont Dozier, and Eddie Holland) composition is an innocent soul song about L-O-V-E. Even though “In and out my life / You come, and you go,” ultimately, “When you snap your fingers or wink your eye / I come a-running to you.” Why? Sheer love, baby! Backed by those incredible Motown musicians, and produced by Dozier and Brian Holland, “I Can’t Help Myself” is that oldie you find that you can’t help listening to because it’s so enduring and timeless.  

Appears in 🔻:  

~ Table of Contents ~

6. The Temptations, “Beauty is Only Skin Deep”

50^th Anniversary: The Singles Collection 1961-1971 // Motown // 2011

“Now good looks I’ve learned to live without / ‘Cause now I know it’s love that only counts.” “Beauty is Only Skin Deep” commences assertively with biting trumpets and a heavy-handed drum roll. Soon enough, this brief but potent gem from The Temptations settles into a cool, classy groove. “Beauty is Only Skin Deep” was written by Eddie Holland and Norman Whitfield. Whitfield also produced the classic. The instrumental arrangement is superb. The rhythm section cooks while the horns up the ante with those articulated riffs. Notably, The Temptations weren’t the first to record this cut. Smokey Robinson & The Miracles took those honors. Even so, The Temptations released it as a single and made it a hit. “Beauty” peaked at no. 3 on the Billboard Hot 100 in 1966.

Who handles lead vocals on “Beauty is Only Skin Deep” for the iconic Motown collective? That would be the dynamic David Ruffin. Ruffin is on his ‘A game’ delivering soulful, gritty lead vocals. The Temptations back him superbly, keeping the same energy, especially in the chorus. Ruffin has tuneful melodies to work with and memorable and thoughtful lyrics (“A pretty face may be some guy’s taste / But I’ll take lovin’ in its place”). Of course, the crème de la crème is the chorus, among the catchiest of the group’s career:

“‘Cause I know that

Beauty is only skin-deep

Yeah, yeah, yeah

I know that

Beauty’s only skin-deep

Oh, yeah.”

Oh, yeah, indeed! “Beauty is Only Skin Deep” is utterly delightful – The Temptations at their best!

Appears in 🔻:

The Temptations, Beauty is Only Skin Deep: Throwback Vibez 🕶️🎶 91 (2024)

~ Table of Contents ~

7. The Beatles, “Strawberry Fields Forever”

Magical Mystery Tour // Universal // 1967

“Strawberry Fields Forever,” the eighth track from Magical Mystery Tour (1967), marks a more complex record by The Beatles. “Strawberry Fields Forever” is not nearly as simple as some of their four-chord songs. The sound itself plays a sizable role in the innovativeness and overall success of the record. Notably, “Strawberry Fields Forever” uses the mellotron, specifically the famous flute sound that can be found in DAWs and synthesizers widespread these days. It’s one of many colors that shape this particular record. Alongside the mellotron, the timbre is further accentuated with trumpet, cello, and perhaps most intriguingly, swarmandal (an Indian harp). Adding to the intrigue, there’s awesome timbrel contrast throughout the song. Of course, it’s not only the instrumental that draws great attention to “Strawberry Fields Forever.” The vocals by John Lennon are on point, as always. The melody of this tune easily gets stuck in one’s head. Furthermore, the lyrics are nothing short of excellent in their own right – dreamy, reflective, trippy.

“Let me take you down, ‘cause I’m going to

Strawberry Fields

Nothing is real, and nothing to get hung about

Strawberry Fields forever.”

Appears in 🔻:

~ Table of Contents ~

8. Bobby Vinton, “Mr. Lonely”

Roses Are Red // Salt & Pepper // 1962

“Lonely, I’m Mr. Lonely / I have nobody for my own.” “Mr. Lonely” by Bobby Vinton was originally recorded in 1962. It didn’t become a hit until 1964 – let that sink in. Although “Mr. Lonely” appeared on his 1962 album, Roses Are Red, it was not released as a single. That was not the choice of Vinton but rather, the record label. Vinton penned the eventual, beloved classic with Gene Allan. In 1964, reprised on the album, Mr. Lonely, “Mr. Lonely” reached no. 1 on the Billboard Hot 100 in December 1964. It marked the fourth and final no. 1 hit for Vinton.

“Mr. Lonely” is one of Vinton’s best hits. The theme is straightforward. Bobby is lonely. Why is he so lonely? “Now I’m a soldier, a lonely soldier,” he sings, adding, “Away from home through no wish of my own.” He misses home while completing service in the U.S. Army. He sings about loneliness and longing for home expressively with his smooth tenor and ripe falsetto. He’s backed by an orchestra which only sweetens this sincere, thoughtful ballad. “Letters, never a letter / I get no letters in the mail,” he sings in the second verse, adding, “I’ve been forgotten.” Aww, so sad 😭. His sadness through song resonated in the 1960s and endures today. “Mr. Lonely” didn’t get its just due early on, but eventually earned the success it deserved initially.

Appears in 🔻:

~ Table of Contents ~

9. John Coltrane, “Giant Steps”

Giant Steps // Rhino // 1960

Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7 | amin7 D7 |… Those are some gnarly chord changes that hail from a once-in-a-lifetime jazz classic from a once-in-a-lifetime jazz musician. John Coltrane (1926 – 1967) was one of the most influential and talented musicians of all time, regardless of genre. Whenever Coltrane played the saxophone, it sounded like a spiritual, transcendent experience – it ‘hit different’ as they say. One of his most beloved songs is “Giant Steps”, the opener from his 1960 landmark album, Giant Steps. Trane penned this complex jazz standard, which is remarkably difficult to improvise over. Why? It’s non-standard chord changes (excerpted above) coupled with a quick tempo. “Giant Steps” isn’t a blues record built on the standard I, IV, and V progression; it’s far more advanced! The circle of fifths is still in play, mind you, as well as the common ii – V- I progression, but in an adventurous, higher level, innovative sort of way. After all, there’s a reason why a gifted jazz pianist Tommy Flanagan fails to deliver a solo that’s as rousing as Trane’s. No shade, of course!

Is Flanagan’s piano solo on “Giant Steps” an epic fail? No, of course, not – he’s Tommy Flanagan! However, Flanagan’s solo is more memorable for the fact that it pales in comparison to the epic solo it follows, courtesy of Trane. Honestly, anybody who followed Coltrane on tenor saxophone had an uphill battle. Hence, the big takeaway isn’t Flanagan – he was a legend regardless of this ‘average’ solo – it’s about TRANE. Backed by the sizzling hot drum groove (Art Taylor) and an active bass line (Paul Chambers), John is on autopilot. Even sixty-plus years after “Giant Steps” arrived, listening back to Trane’s solo, it’s other-worldly – utterly genius. The riffs are prodigious, fitting perfectly atop those complex chord changes. So much can be said and analyzed in depth regarding “Giant Steps” – it is giant, giant song. That said, for the music lover who isn’t a music theory buff, acknowledging and appreciating the genius of Coltrane on this song that was far ahead of its time is sufficient.

Appears in 🔻:

~ Table of Contents ~

10. The 5^th Dimension, “Wedding Bell Blues”

The Age of Aquarius // Sony Music Entertainment // 1969

“Bill, I love you so, I always will / I look at you and see the passion eyes of May.” Was Marilyn McCoo singing to her future husband, Billy Davis Jr. on “Wedding Bell Blues”? Yes. Both members of the iconic, eclectic soul collective were engaged when the song was released. But, this beloved The 5^th Dimension classic is a cover 🤯. “Wedding Bell Blues” was written and originally performed by the late Laura Nyro (1947 – 1997). Nyro, a fantastic songwriter, provided the Grammy-winning soul collective with several songs with “Wedding Bell Blues” earning top honors. ‘Bill’ was the potential groom addressed in her original. Still, Marilyn addressing her eventual husband (they married the same year) is an irresistibly sweet storyline. The fourth track from the collective’s 1969 album, The Age of Aquarius, earned them their second no. 1 hit following their ‘ace-in-the-hole,’ “Aquarius / Let The Sunshine In (The Flesh Failures)”.

The songwriting is marvelous. Laura Nyro was ‘the stuff,’ and, rightfully, posthumously inducted into the Songwriters Hall of Fame. “Oh, but am I ever gonna see my wedding day?” McCoo asks, adding, “I’d never scheme or lie, Bill, there’s been no fooling / But kisses and love won’t carry me till you marry me, Bill.” Bill had to marry Marilyn – it was inevitable! Notably, Davis Jr. and McCoo would have success as a duo post-5^th Dimension. Besides urging Bill to “take those wedding vows,” the musicianship of “Wedding Bell Blues” shines. It’s groovy and ‘sunny’ from the get-go. The piano is crucial to the accompaniment. Additionally, sweet orchestration ups the ante – soaring strings, bright, biting horns, and mallets. The lead vocals are authentic, commanding, fun, and playful. The 5^th Dimensions backing vocals are assertive – a fabulous response to the lead. With tuneful melodies and encouraging matrimony (“Oh, come on Bill” and “Come on and marry me, Bill / I got the wedding bell blues”), “Wedding Bell Blues” was an inevitable chart-topper on the pop charts.

Appears in 🔻:

~ Table of Contents ~

11. The Dave Brubeck Quartet, “Unsquare Dance”

Time Further Out // Sony Music Entertainment Inc. // 1961

Jazz pianist and composer Dave Brubeck (1920 – 2012) had no shortage of innovative spirit as a musician. He opted against the tried and true and pushed boundaries. One such way he did so was by exploring nontraditional and asymmetric meters. In 1961, The Dave Brubeck Quartet – Brubeck, Paul Desmond (saxophone), Joe Morello (drums), and Eugene Wright (bass) – released Time Further Out, which features the 7/4 masterpiece, “Unsquare Dance”.

“Unsquare Dance” runs merely two minutes in duration. Wright provides a mighty foundation with the string bass highlighting key beats – one, three, and five. It’s not only Wright who maintains a groove. Handclaps play a pivotal role – part of the charm of “Unsquare Dance.” Who performs those claps? Did Desmond clap since he didn’t play alto sax on it? Eventually, Brubeck enters the mix incorporating the blues (it’s still built on a blues progression) and country/western flavor. Eventually, Joe Morello brings the drums in alongside the handclaps, but doesn’t embrace the whole kit – it’s the rim of the snare action, baby! Minimalist yet brilliant musically, “Unsquare Dance” ranks among the best songs of the Dave Brubeck catalog.

Appears in 🔻:

~ Table of Contents ~

12. The Mamas & The Papas, California Dreamin’

If You Can Believe Your Eyes And Ears // MCA // 1966

“All the leaves are brown (All the leaves are brown) / And the sky is gray (And the sky is gray) / I’ve been for a walk (I’ve been for a walk) / On a winter’s day (On a winter’s day).” Those iconic, memorable lyrics hail from “California Dreamin’”, written by John Phillips and Michelle Phillips. Lou Adler produced this beloved The Mamas & The Papas classic, released in 1965. Ultimately, it appears on the folk-rock/pop band’s 1966 album, If You Can Believe Your Eyes And Ears. “California Dreamin’” was originally recorded by Barry McGuire in 1965. However, The Mamas & The Papas’ version was the first released. A big hit, it peaked at no. 4 on the Billboard Hot 100.

So, what makes “California Dreamin’” ‘the cat’s meow’ – the ‘sugar honey iced tea’? EVERYTHING, honestly. It exemplifies the 1960s pop sound. It begins with one of the most memorable guitar riffs of all time. The minor key is established from the get-go. Also established early is the infectious groove. Beyond that, “California Dreamin’” delivers tuneful melodies, awesome vocal harmonies, and impeccable use of the call-and-response style.

“Stopped into a church

I passed along the way

Well, I got down on my knees (Got down on my knees)

And I pretend to pray (I pretend to pray).”

Denny Doherty handles the lead vocals superbly. John Phillips, Michelle Phillips, and Cass Elliott (Mama Cass) soundly support with their backing vocals. One of the most unique sounds heard on “California Dreamin’” is a flute solo. It’s not just any flute that Bud Shank plays – it’s an alto flute. The lower-sounding instrument is perfect for this minor-key, folk rock/pop gem. “California Dreamin’” is often cited as one of the greatest songs ever. That should come as no surprise. Take one listen and its magic is revealed. It’s cliché to say but the music speaks for itself.

Appears in 🔻:

~ Table of Contents ~

13. The Winstons, “Color Him Father”

Color Him Father // Metromedia // 1969

“There’s a man at my house, he’s so big and strong / He goes to work each day, and he stays all day long.” That’s admirable.  Furthermore, “He comes home each night, looking tired and beat,” he never frowns, asking “How’s my child?” As these lyrics suggest, The Winstons deliver a special record that highlights how special a loving, dedicated father is on “Color Him Father” from their 1969 album of the same title. “I think I’ll color this man father / I think I’ll color him love.”  The chorus is incredibly memorable and more importantly, thoughtful and touching.   Making “Color Him Father” even more thoughtful is the fact that we learn this man who is ‘colored’ father isn’t the biological father! See Exhibit B, the second verse:

“Our real old man, he got killed in the war  

And she knows she and seven kids couldn’t of gotten very far  

She said she thought that she could never love again  

And then there he stood with that big wide grin  

He married my mother, and he took us in  

And now we belong to the man with that big wide grin.”

Wow, the feels, the feels, the feels given off this top 10 hit (reached no. 7 on the Billboard Hot 100). Also, deservedly, The Winstons were nominated for a Grammy for Best R&B Performance by a Duo or Group.      

Appears in 🔻:   

~ Table of Contents ~

14. Joe Simon, “Nine Pound Steel”

No Sad Songs // Sound Stage 7^TM// 1967

“Through these walls / I see the sun / I’m here because / The wrong I’ve done.” Uh-oh, Joe Simon – sounds like a sad song to me! “Nine Pound Steel” is the sixth track from his 1968 album, No Sad Songs. Not sad? That’s debatable. In the first verse, he admits, “I stole from her / Oh when I should’ve stood up like a man / You see, I’ve got to say good morning / To a nine-pound steel.” Although not a top 40 hit for the southern soul singer, it impacted the pop charts, reaching no. 70 on the Billboard Hot 100 in 1967. “Nine Pound Steel” was written by Dan Penn and Wayne Carson. Simon delivers commanding vocals, steeped in soul, specifically that southern soul. He sings authentically with incredible expression and nuance from the beginning. Beyond his epic lead, the supporting vocals are utterly sublime. Thematically, he’s paying for his wrongdoing in the slammer aka prison. Not only has his incarceration affected him, but it’s affecting his girl. “I know someday / I’ll be free (someday) / Please darling / Oh honey, wait for me.” “Nine Pound Steel” has marvelous production including exuberant rhythmic piano, robust bass line, and a consistent, anchoring drum groove. “Nine Pound Steel” is another timeless gem from Simon’s collection.

Appears in 🔻:

Joe Simon, Nine Pound Steel: Throwback Vibez 🕶️🎶 84 (2024)

~ Table of Contents ~

15. Joe Cocker, “Bye Bye Blackbird”

With a Little Help From My Friends // A&M / UMG Recordings, Inc. // 1969

“Pack up all my cares and woes / Feeling low, here I go / I should have dialed (Bye, bye, blackbird) …” Joe Cocker was the definition of a male powerhouse. That man could flat-out sing 💪! “Bye Bye Blackbird” is NOT a Joe Cocker original. Sure, Joe makes this Mort Dixon and Ray Henderson-penned number his own, but it was first recorded in 1926 🤯! The first hit version also arrived in 1926, courtesy of Gene Austin. It has been covered hundreds and hundreds of times. This standard appears as the second track on his 1969 album, With a Little Help From My Friends. There is a more iconic cover from the LP but “Bye Bye Blackbird” in his hands is EPIC.

Denny Cordell produced “Bye Bye Blackbird,” which features a bluesy, soulful instrumental. The piano leads the charge initially. However, “Bye Bye Blackbird” becomes even grander with the organ entering the mix as well as an incredible guitar solo by the one-and-only Jimmy Page around the 1:40 mark. The star of the show, Mr. Cocker, gives his all to the vocals, singing commandingly, soulfully, and infusing grit. Besides his dynamic, nuanced lead, the background vocals bring the heat too. Again, this is not an original written for Cocker, but he makes it sound original. It’s easy to buy what he sells as he sings: “Nobody seems to love / Or understand me / And horrid hard luck stories / They keep on handin’ me.” Indeed, Joe, indeed. “Bye Bye Blackbird” = sensational.

Appears in 🔻:

~ Table of Contents ~ // ~ intro ~

Incredible Songs: 1960s, Vol. 5 (2024) [📷: Brent Faulkner / The Musical Hype; Atlantic, MCA, Metromedia, Motown, Sony Music Entertainment, Sound Stage 7^TM, UMG Recordings, Inc., Universal; cottonbro studio from Pexels; Clker-Free-Vector-Images, Gordon Johnson, InspiredImages, Jo Justino, Stuart Hampton, Vika_Glitter from Pixabay]

Incredible Songs: 1960s, Vol. 5 | Playlist 🎧

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