Throughout history, there are times when music undergoes a complete revolution, times where it takes a new direction entirely. The biggest change of the modern era came in the 1960’s. From the British Invasion, to the introduction of concept albums, several new genres of music and so much more, the songs, albums and artists of the 60s all redefined music and their influences can be heard in the music of today. But, as we here at The Indiependent will tell you, there’s nothing quite like the classics.
Songs
California Dreamin’ // The Mamas And The Papas
“All the leaves are brown and the sky is grey / I’ve been for a walk on a winter’s day / I’d be safe and warm if I was in L.A. / California dreamin’ on such a winter’s day”, croon The Mamas And The Papas on their 1965 hit ‘California Dreamin’’. The quartet’s hauntingly gorgeous ode to Los Angeles on a chilly winter’s day in New York is one of the most iconic songs of the 1960s counterculture movement, and one of the most covered songs of the decade. Written in 1963 after band member John Phillips (AKA Papa John) dreamt it up, and clocking in at only 2 minutes and 38 seconds, the song peaked at #4 three years later.
Folksy yet wistful with an unmistakable pop edge and harmonies to rival The Beach Boys (who, incidentally, covered the track in 1986), the vocals are hypnotising and timeless, and the listener is transported and can almost feel the ache for the West Coast sunshine from the biting East Coast cold. Plus, it’s got to be one of the only songs on Rolling Stone’s list of the 500 Greatest Songs of All Time to feature a flute solo. ‘California Dreamin’’ is delightfully evocative, and simply to die for.
Words by Kristen Sinclair
Georgia On My Mind // Ray Charles
Although originally being written in 1930 by Carmichael and Gorrell, a notable thirty years later, Ray Charles mastered his own rendition of the track in only four takes. With lyrics that expose such earnestness, it’s possible that the piece was written about a woman, as opposed to the state of Georgia. Despite this ambiguity, whether about home or a lover, the mutual tender of belonging and unconditional fondness is central to the track. The mellow and charming jazz rhythm gratefully partners Charles’ vocals, which bare affections of losing peace in a world where sentimental presence is lost.
The track was released on Charles’ album, The Genius Hits The Road, which focussed on illustrating various areas within America. During the time of the Civil Rights Movement, Georgian-born Charles was banned from playing in the state as a result of segregation. It was only until the early 1990s that he was granted to play the track, which later became the official state song. Through his sincere performances and despite critical public opinion, Charles was able to connect both white and blacks together through his arduous talent. He became a voice for the rights of mankind, during an era that constantly reminded him of his racial differences.
Words by Lydia Ibrahim
Sympathy For The Devil // The Rolling Stones
With the kind of longevity and consistent success that The Rolling Stones have had, it is hard to pick just one track from so many. Hits like ‘Wild Horses’ and ‘Brown Sugar’ didn’t arrive until after the 60’s, but the one that stands out to most people is the 1968 classic, ‘Sympathy For The Devil’. For people who don’t really know the song, the lyrics “pleased to meet you / hope you guess my name” still ring out in even the furthest corners of the mind, but for people who do know the song – and there are many – the simple percussion and honky tonk piano give this rock and roll song a kind of groove that you just can’t ignore. Ironic then, that it has such a sadistic theme as to be about the devil himself. Indeed, it is all sung from the first person view of Satan, giving a whole new perspective on events of the past, which (understandably) created a rift in opinion from fans.
But whatever your view on the controversial idea of the song, the feel good instrumentation, the relaxed, improvised feeling and Mick Jagger’s fitting rock and roll vocals create something of a 60’s masterpiece. It does a rare thing of getting better with every listen and you never stop wanting to get up, dance and be happy with the song that Rolling Stone magazine placed number 32 in their 500 greatest songs of all time list. Hint: the high position on the list is for very good reason.
Words by Ashley Moss
Albums
The Velvet Underground and Nico // The Velvet Underground
The debut album from New York punks, The Velvet Underground and Andy Warhol’s German superstar, Nico sold 30,000 copies in the five years following its release. But as stated by Brian Eno ‘I think everyone who bought one of those 30,000 copies started a band.’ The album was widely different to the peace and love attitude being promoted by the likes of The Beatles at the time. Instead, Lou Reed’s lyricism focused on sadomasochism on the experimental ‘Venus in Furs’ and the use of hard drugs in the aptly named ‘Heroin’ and ‘I’m Waiting for the Man’. The Velvet Underground and Nico is the “Great Gatsby” of records in that it explores the excessive decadence of the wealthy and jaded as seen in ‘All Tomorrow’s Parties’ and its consequences. It created the core from which all future punk rock has stemmed, and can be seen in the likes of the Strokes, Elbow and Radiohead’s work. The juxtaposition of the fragile and beautiful, emphasised by the soft tone Nico’s Germanic vocals and the rawness of Lou Reed’s vision and lifestyle blend to create an intense album filled with the experimental styles and melodies. There’s a reason that infamous music journalist Lester Bangs, described the Velvets as the beginning of modern music and I would suggest that this album proves it.
Words by Isabella Marcantonio
Sgt. Pepper’s Lonely Hearts Club Band // The Beatles
It is often argued by many that of all the amazing music to come out of the 1960’s, none was better culminated or more revolutionary than the music of The Beatles, an idea that is epitomised within 1967’s Sgt. Pepper’s Lonely Hearts Club Band. After enjoying massive success stateside and already having seven studio albums under their belt, the Fab Four went to work on the album whilst under the influence of drugs and having retired from touring, leading to heavy use of what little production effects were available to them at the time. This, along with the use of far eastern instruments on songs like ‘Within You Without You’ created an album that captured the psychedelic rock that the band had subtly experimented with throughout the mid 60’s. It’s no surprise then, that this album became the musical brand of “The Summer of Love” in 1967.
The experimentation of the album’s sound was a conscious one from The Beatles, who wanted to get away from the constraints of producing music for the purpose of live performances, and it was none other than Paul McCartney who came up with the idea of using alter egos to do just that. Thus the idea of a true concept album was born, replacing the idea that an album is little more than a compilation of a few songs, and it is an idea that has carried through so heavily into today’s music. I suppose then, that Sgt. Pepper truly is a revolution in music, from the 60’s right through to today and probably further.
Words by Ashley Moss
Artists
The Kinks
One of the most popular and well-remembered bands of the sixties and seventies, the Muswell Hill foursome have blessed our ears with some of the most memorable tracks of the 20th century. Formed by brothers Ray and Dave Davies (the only two members to remain for the entirety of the band’s 32-year career) with Pete Quaife in 1963, they became The Kinks we know and love – after settling on a name, and a drummer in Mick Avory – a year later. One of the most powerful groups in the musical British Invasion of the US, they’re hailed as one of the most influential rock groups of the era, despite several lineup changes and an eventual split in 1996. Some of their best-loved tracks are also some of the most popular in the history of British music; ‘Waterloo Sunset’, ‘You Really Got Me’, ‘All Day and All of the Night’ and ‘Sunny Afternoon’ are just a few of the unique rock-and-roll hits that have captured the hearts of old and new fans alike.
To this day, the band’s fan base is huge, with both original fans from their heyday and new recruits that have discovered the group in the half-century since their formation. Now with a successful West End jukebox musical under their belts and introducing the band to even more new fans, The Kinks continue to be one of the greatest hits of the 1960s.
Words by Amie Bailey
13th Floor Elevators
The psychedelic movement was pivotal to 60s music. Music of the early 60s was characterised by classic rock & roll, sugary girl groups and, of course, The Beatles – but from the mid-60s, people wanted more hedonism, and musicians began experimenting with new effects; thus came the advent of ‘garage’ bands. One of these bands were the 13th Floor Elevators, who became known as innovators of 60s psychedelia.
I first heard the band when I was little; they feature on a compilation album named Nuggets: Original Artyfacts from the First Psychedelic Era. This album is a ‘groundbreaking’ conglomerate of garage/acid rock singles recorded from 1965-68, encouraging a flowering of independent record labels to release weird and wonderful trippy rock music. The first release came with liner notes by its compiler, Lenny Kaye, which included one of the first uses of ‘punk rock’ as a term, highlighting its major influence on the evolution of punk as a genre.
The Elevators are sometimes acknowledged as one of the very first psychedelic rock bands. Their most widely recognised song is ‘You’re Gonna Miss Me’ – a bitingly raw and searing track which epitomises 60s psychedelia. This track established their signature sound, including fuzz-tones and an ‘electric jug’, which can be heard on much of their discography. Unsurprisingly, they were advocates of LSD, and most of their recording was done under its influence. Even if they had only released ‘You’re Gonna Miss Me’, lead singer Roky Erickson’s distinctive screams are enough to show anyone that this band shaped 60s acid rock. I urge you to listen to it immediately.
Words by Zia Larty-Healy
Otis Redding
Of all the great music careers of the 60’s, none was so tragically short-lived than that of soul man Otis Redding. The chance to produce his wonderful music only lasted five short years, but within those years and even beyond them, his music continued to define what it meant to be a soul artist. Redding was signed to the famous Stax label in Memphis in 1962 after co-owner Jim Stewart was blown away with ‘These Arms Of Mine’, a song of beautiful simplicity that captured the raw emotion of Redding’s vocals and went on to sell over 800,000 copies.
Redding should not be taken as just another successful 60’s artist, however. As a black man, to be as commercially popular as he was in a time where the Civil Rights Movement and segregation was so rife was a phenomenal achievement. It was even more so, when you consider how he sung about the movement and brought people together when his music could have just as easily divided them. Unfortunately, after other big successes like his signature song ‘Try A Little tenderness’, he never got the chance to go any further. A plane crash in 1967 saw his life end and the world was left to mourn a still budding talent with so much left to give. But while Redding himself wasn’t there to carry on his success, his legacy and the power of his music continued with the posthumous song ‘(Sittin’ On) The Dock Of The Bay’, which was his only number one song. His legacy lived on then, and it still lives on today.
Words by Ashley Moss
[Compiled by Ashley Moss]