1,001 songs to listen to before you die...

[Skummy]

Yes, the weird sound on 13th Floor Elevators' recordings is an electric jug player. Really adds a weird, watery rhythm to a lot of their work. I adore them.

 

[VerbalPuke]

1 hour ago, Skummy said:

Yes, the weird sound on 13th Floor Elevators' recordings is an electric jug player. Really adds a weird, watery rhythm to a lot of their work. I adore them.

 

I literally learned this a week ago. I've been listening to them for years now and it wasn't until I watched a ZZ Top documentary (yeah, kind of surprising they were such an influence on ZZ Top) and they showed the electric jug player.

They are great though. Surprised but not surprised they're on here?

[Skummy]

they're hugely influential on the American brand of psychedelia (which tended to be more rock-oriented, and arguably more intense/paranoid, than English psych, which tended to be more pastoral and folk-influenced), so I'm not surprised to see them make the list. 

We're really getting into stuff that I'd expect most people to know now, so what I'm really looking forward to now is some out of left-field and international choices that I might not know. 

[Liam]

5 hours ago, Skummy said:

Yes, the weird sound on 13th Floor Elevators' recordings is an electric jug player. Really adds a weird, watery rhythm to a lot of their work. I adore them.

 

...electric jug? My mind can't even comprehend that.

[MalaCloudy Black]

Quote

a crock-jug with a microphone held up to it while it was being blown, sounded somewhat like a cross between a Minimoog and cuica drum. In contrast to traditional musical jug technique, Hall did not blow into the jug to produce a tuba-like sound. Instead, he vocalized musical runs into the mouth of the jug, using the jug to create echo and distortion of his voice. 

 

[Liam]

193.      

‘Sunny Afternoon’, The Kinks (1966)

Influenced by: Let’s All Go down the Strand• Clarence Wainwright Murphy (composed 1904)   

Influence on: Everybody Knows (Except You) • The Divine Comedy (1997)   

Covered by: Bob Geldof (1992) • Jimmy Buffett (1994) • Stereophonics (1999)

A second entry for the Kinks that charts very different waters to ‘You Really Got Me’. Moving away from the rock of the first song to more music-hall stylings. Musically, the jangly nature of the piano evokes creates an oddly relaxing tone, though the lyrics do speak to things more severe than just lazing about. The implication here is to not necessarily follow the status quo and embrace the counterculture instead. What seems like a simple song is a greater whole than the sum of its parts.

194.      

‘Paint It Black’, The Rolling Stones (1966)

Inspired by: Ulysses • James Joyce (1922)   

Influence on: Thirteen • Big Star (1972)  

Covered by: Chris Farlowe (1966) • Eric Burdon & The Animals (1967) • After Hours (1987) • Echo & The Bunnymen (1988) • Deep Purple (1988) • Dominion (1998) • Acid Mothers Temple (2003)

Nihilistic, insistent, unnerving; ‘Paint It Black’ feels odd to consider as a single when you compare it to other songs that were being released around this time. However, it is an absolutely cracking song that starts up at a pace and never relents. What brought it together, giving the song that touch of psychedelia, was the sitar playing by Brian Jones, something acknowledge by both the band and the book. It adds a hint of menace to everything, even on top of lyrics that are unremitting in their negativity.

195.      

‘Summer in the City’, The Lovin’ Spoonful (1966)

A song that I realised I’d never heard the whole of until today. All I’d ever been exposed to was the introductory verse, therefore never getting to the point where things brighten up and the ‘summer in the city’ becomes better evoked by the melody. A catchy ear-worm with the dynamic shift between the two moods making this a more engaging song that it otherwise might have been, especially the use of the keyboard and snare during the verses.

[MalaCloudy Black]

One of my favorite covers of Paint It Black.

[Liam]

196.      

‘God Only Knows’, The Beach Boys (1966)

Just an absolute tune – well, as much of a tune as a song with what could be perceived as such a saccharine sentiment. This was a step above the surfer pop that the Beach Boys had become known for and the layering of sound here is ridiculously intricate (and clever) for what was essentially a pop song. Over twenty studio musicians added their own sound to Brian Wilson’s work and helped to sculpt a masterpiece that has an ethereal, spiritual tone throughout.

197.      

‘(I’m Not Your) Stepping Stone’, Paul Revere and the Raiders (1966)

The book suggests that the decision to attire themselves in Revolutionary War outfits ultimately cost Paul Revere and the Raiders when it came to their legacy. Still, what it did claim was that Mark Lindsay’s snarl, fuzzy organ and the jabbing guitar noise added up to a potential claim for being an early onset version of punk. The dynamics of the song heading into and out of the chorus are fun, with Lindsay’s lyrically delivery was dripping defiance.

198.     

‘Mas que nada’, Sergio Mendes and Brazil 66 (1966)

One of those songs that transcends time and borders as it has had success globally. Not the first version of this song, but the most popular. Lani Hall, the vocalist, sang the Portuguese words phonetically so well that people assumed she knew the language – which she didn’t. Swinging, lively, sexy; a top song that has had significant longevity.

Edited March 24, 2020 by Liam

[Malenko]

Sorry for nitpicking but it's Mendes.

Also I ended up liking that song because of the 1998 Nike airport commercial with the Brazilian national team. I loved that commercial back then.

I know it has nothing to do with music but yeah. My mind travels to that time period whenever I hear that song (granted, not too often) and I'm happy for a bit, so... thumbs up!

 

One last thing, I don't think you have linked the right song there.

[Liam]

3 hours ago, Malenko said:

Sorry for nitpicking but it's Mendes.

Also I ended up liking that song because of the 1998 Nike airport commercial with the Brazilian national team. I loved that commercial back then.

I know it has nothing to do with music but yeah. My mind travels to that time period whenever I hear that song (granted, not too often) and I'm happy for a bit, so... thumbs up!

 

One last thing, I don't think you have linked the right song there.

Fixed the various issues. Cheers.

[Bobfoc]

3 hours ago, Malenko said:

Also I ended up liking that song because of the 1998 Nike airport commercial with the Brazilian national team. I loved that commercial back then.

Definitely. Ronaldo kicking the ball around the airport is one of the standout memories of the 1998 World Cup build-up for me.

 

[Liam]

199.      

‘El Muerto Vivo’, Peret (1966)

Part of my interest when it comes to music from other cultures on this list is as to whether I will recognise it or not. This definitely sounds like a tune I’m aware of, yet I also feel a little bit like this rumba flamenco style (stolen from the book) can occasionally sound very samey. That isn’t to knock the song whatsoever; the flamenco guitar and layered vocals work together to create a very catchy tune. On the list primarily for its influence perhaps, it is still worth a few minutes of your time.

200.      

‘Tomorrow Is A Long Time’, Elvis Presley (1966)

Presley is the perfect example of an artist that I’ve not really heard as much of as I feel I should have done. This is actually a Bob Dylan cover song, an artist that Presley covered at least four time. Though I’ve not listened to Presley that much, this definitely feels at odds with my expectations of his sound. A lot more ‘country’ in tone and with a long running time, there is a mournfulness that challenges Presley’s usual rock and roll swagger. It doesn’t do much for me truth be told, but it was Dylan’s favourite version of the song, so that’s something.

201.      

‘Eleanor Rigby’, The Beatles (1966)

Influenced by: Vivaldi   

Influence on: A Rose for Emily • The Zombies (1968)  

Covered by: The Standells (1966) • Richie Havens (1967) • Vanilla Fudge (1967) • P. P. Arnold (1968) • Aretha Franklin (1969) • Four Tops (1969) • John Denver (1970) • The Crusaders (1974)

My own personal favourite Beatles song (next to ‘Norwegian Wood’) is up at 201. Somewhat hilariously, this was placed on the opposite of a single with ‘Yellow Submarine’, two very different songs tonally. Having mentioned how much was going on with ‘Ticket to Ride’, this takes things up a notch with the echoing vocal runs, the harmonising and the violin work. A rare example of a Beatles song where none of them played an instrument, ‘Eleanor Rigby’ stands head and shoulders above some of the more dated pop that the Beatles put out into the world and is testament to the quality of McCartney’s songwriting at times.

[MalaCloudy Black]

Eleanor Rigby is dope as fuck.

[Liam]

202.      

‘River Deep-Mountain High’, Ike and Tina Turner (1966)

Influenced by: Be My Baby • The Ronettes (1963)   

Influence on: Born to Run • Bruce Springsteen (1975)   

Covered by: The Easybeats (1967) • Harry Nilsson (1967) • The Supremes & The Four Tops (1970) • Erasure (1988) • Neil Diamond (1993) • Céline Dion (1996)

The book claims this as the definitive Phil Spector ‘wall of sound’ song and it is probably hard to argue. Anchored by Turner’s powerful vocals that stir and build to the verse, the backing music swells as well before bursting into life. Ike was effectively paid $20,000 not to perform on this and its lack of success meant that Spector packed things up and went home having staked his financial future on it. Considering all of that, it is an absolute belter of a tune and it isn’t surprising that Turner still incorporated it as one of his signature live songs.

203.      

‘7 and 7 Is’, Love (1966)

Influenced by: Get Off of My Cloud • The Rolling Stones (1965)   

Influence on: Skeleton Key • The Coral (2002)   

Covered by: Alice Cooper (1981) • Billy Bragg (1990) • The Ramones (1993) • The Electric Prunes (2001) • Amoeba (2004) • Rush (2004)

A band and a song that I’ve never heard of, though the names of some of the bands that covered this song speaks volumes about their influence/interest. Turning from a folk song when written by the lead singer into a galloping folky-punk with barely audible lyrics, it was the bands only top 40 hit. The build to the ‘explosion’ (a slowed down gunshot noise) is a great touch as things threaten to go completely off of the rails. A really good song that I’m glad to have unearthed.

204.      

’96 Tears’, ? and The Mysterians (1966)

An apparent favourite amongst a number of garage bands, as well as Bruce Springsteen (who was able to launch into a cover of this by request on a 2009 tour), this is an interesting slice of 60s…rock? What is most interesting is ?, the lead singer who claimed to be 10,000 years old. I feel this is the first time I really am aware of someone presenting themselves as a persona rather than themselves. The organ grooves and the vocals are hooky enough to make this an interesting song, if one that feels a little dated and of its time in spots.

Edited April 14, 2020 by Liam

[VerbalPuke]

The Weirdos also do a great cover of 7 and 7 is. That's a cool song, as is 96 Tears. ? had his name legally changed to ?. They're a local favorite, and have a pretty good catalog other than 96 Tears.

Also want to comment on Paul Revere and the Raiders. I like them a lot and some have said they were the American Rolling Stones. Steppin' Stone is a good one, though I'm surprised its not Kicks on this list.

[Skummy]

"96 Tears" is also referenced in the Cramps' "Human Fly", with the line "ninety-six tears in ninety-six eyes", which a friend of mine misremembered as "Fifty-Six Tears", which subsequently ended up as the name of our shortlived band. 

I don't know much Love - they pop up on compilations, though I never liked anything enough to look further into them - "7 and 7 Is" is superb, though, and I honestly didn't realise it was as early a release as this. I'd have placed it later in the decade - which doesn't sound like much, but pop music was developing at such an accelerated pace that 1966 to 1968 could be world's apart.

 

I honestly never knew that Stepping Stone was a Paul Revere song! Revere is someone I know by reputation, usually as a bit of a punchline/novelty act, and I'm not really aware of them ever having made much of an impression in the UK. The song I know better as a Monkees song, and then the later Sex Pistols cover. 

"God Only Knows" I think is honestly one of the greatest pop songs ever. Brian Wilson was, briefly, a genius.

[GoGo Yubari]

I love "96 Tears." It's got great, seedy energy to it, like you'd expect to hear it in a club that looks alright on the surface but something really fucking shady is going on behind the scenes.

[Liam]

205.      

‘Pushin’ Too Hard’, The Seeds (1966)

There’s a beautiful, barely supressed anger about ‘Pushin’ Too Hard’ that I really enjoyed. Written in ten minutes by Sky Saxon, the lead singer, it is about as simplistic in delivery as it must have been in conception. That isn’t to say there isn’t skill here, but the little solos, the rudimentary drumming and the janky but kinda cool electric piano are a good example of the whole being greater than the sum of its parts.

206.      

‘Psychotic Reaction’, The Count Five (1966)

I always feel that you have to have some balls to prominently feature a harmonica in any song. However, when you have the swagger and sonic noise that The Count Five were offering, I guess you wouldn’t really care what I think. The percussion is hypnotic as are the changes in tempo; this all allowed them to mess around with it live and make it even crazier in nature. Having had success with this song, they were offered lots of bookings, yet turned them down to go to college. Brave men.

207.      

‘Reach Out (I’ll Be There)’, The Four Tops (1966)

There are just some songs on this list (some have gone, some surely still to come) where it is hard to get past the fact that these are just absolute bangers. I can pick out the woodwind intro, the percussion as it builds to the vocals, the sudden kick into the crux of the tune, the tambourine work or the excellent harmonies, but none of that does justice to an absolute belter of a tune. According to the book, this was primarily a departure from their original sound especially in the edgier vocals of Levi Stubbs – whatever it was, it worked as this was their second US No. 1.

There's something about the juxtaposition of the last song with the two that came before it. Very different, but all very good.

[VerbalPuke]

Thats a fucking great trio right there. The Seeds and Count Five are classic psychedelic/garage acts you'll find on many garage compilations, cool stuff.

And the Four Tops I fucking adore. I love motown and these guys have a few of my favorites from the motown era.

[Skummy]

A weird thing about Reach Out is that the producer told Levi Stubbs to "sing it like Dylan". It sounds crazy until you're specifically listening out for it, but the elongated vowel sounds at the end of lines - most notable on "gone" and "confusion" early on - are incredibly Dylanesque.