Tunes Du Jour Presents 1962

The music of 1962 wasn’t so much at a crossroads as it was following several lively paths at once. What captivated the public ranged from soul ballads to novelty records to stirrings of folk activism. Instrumentals, dance crazes, and heartfelt pop all found room on the charts. It’s this eclecticism — rather than any one dominant trend — that best characterizes the year. Yet in small ways, a few songs hinted at larger shifts to come. For example, The Tornados’ “Telstar,” the first U.S. number one by a British group, captured a sense of futuristic possibility that would soon manifest more dramatically with the Beatles and the British Invasion.

Instrumentals found their way into the spotlight in very different forms. While “Telstar” beamed into space with its shimmering, otherworldly sound, Booker T. & the MG’s grounded listeners with the earthy groove of “Green Onions.” Meanwhile, Stan Getz and Charlie Byrd’s “Desafinado” introduced many American listeners to the smoother, jazz-inflected rhythms of bossa nova — a style that would quietly influence pop and jazz recordings throughout the decade. Taken together, these instrumentals showed how musical expression could take new forms without abandoning broad popular appeal, and how lyrics weren’t always necessary to convey strong emotion.

Soul music also solidified its foundation. Sam Cooke’s “Bring It on Home to Me” and Solomon Burke’s “Cry to Me” mixed gospel roots with secular longing in ways that would help define soul music itself. Girl groups and doo-wop continued to resonate, with The Crystals’ “He’s a Rebel” and The Shirelles’ “Soldier Boy” offering different takes on devotion and defiance. Dion’s “The Wanderer” carried forward some of doo-wop’s spirit, while Gene Chandler’s “Duke of Earl” stood proudly as a bridge from doo-wop’s earlier heyday into a new era of soul and R&B. Even novelty records had staying power — Bobby “Boris” Pickett’s “Monster Mash” reached number one and, thanks to perennial Hallowe’en airplay, remains a cultural touchstone.

Folk music, too, gained traction. Peter, Paul & Mary’s debut album, featuring “If I Had a Hammer,” became one of the year’s bestsellers, spending over a month at number one. Its clean harmonies and calls for justice would help set the stage for the socially conscious folk boom led by artists like Bob Dylan, whose own debut — mostly overlooked in 1962 — was just the beginning of a rapid ascent. Meanwhile, outside the U.S., Françoise Hardy’s “Tous Les Garçons Et Les Filles” offered a moody, introspective style that would come to influence the understated emotionality of later French pop and, indirectly, certain strands of indie pop decades later.

Some of 1962’s biggest hits have proven remarkably enduring. Elvis Presley’s “Can’t Help Falling in Love,” originally from the Blue Hawaii soundtrack, has since become one of his most covered and beloved songs. The Contours’ raucous “Do You Love Me” found new life decades later with Dirty Dancing, while Carole King, years before Tapestry, scored her first chart hit as a performer with “It Might as Well Rain Until September” — even as she continued to dominate as a songwriter, co-writing Little Eva’s infectious “The Loco-Motion.” These songs from 1962 don’t just capture a moment in time; they reveal a popular music scene that was broadening and diversifying while quietly laying the groundwork for upcoming revolutions, capturing both the fleeting spirit of its moment and the lasting power of pop at its best in a year where no single trend reigned supreme.

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Tunes Du Jour Celebrates International Be Kind To Lawyers Day

It started, as these things often do, with a law.

Or more accurately, with three: “Law of the Land” (Temptations), “The Laws Have Changed” (New Pornographers), and “You Can’t Rule Me” (Lucinda Williams). A trifecta of declarations, all suggesting that whether you’re enforcing the law or dodging it, someone’s about to get into trouble.

This playlist is my musical tribute to International Be Kind To Lawyers Day — a real holiday, celebrated annually on the second Tuesday in April, for reasons that are presumably legal. It’s not just about lawyers, though. This 30-track journey follows the trajectory of a full-blown legal drama: rules are established, rules are broken, crimes are committed, time is served, lawyers are called, and justice is… complicated.

We meet a few Fun Lovin’ Criminals, some Smooth Criminals, and even those who insist they’re just Criminal Minded. The lawbreakers get caught — there’s fighting, testifying, jail time, and at least one unfortunate visit to the Court of the Crimson King (which, I suspect, is not a traffic violation court).

And let’s not forget the lawyers themselves. They’re gun-toting in one song, love-struck in another, and altogether overburdened. But in honor of their service — and in defense of their billable hours — we end on a note of redemption: “Return to Innocence” by Enigma. Because if music has taught us anything, it’s that legal complications can always be resolved in just over four minutes.

So, whether you’re in the mood to break the law, beat the rap, or rap to the beat of the Fat Boys (or Snoop, Freddie Gibbs, Boogie Down Productions…), press play and pass the gavel. And if you happen to know a lawyer, consider saying something nice. After all, they know where all the paperwork is buried.

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Tunes Du Jour Presents 1966

By 1966, rock and pop music had reached a critical turning point. The early, relatively simple sounds of rock and roll were giving way to a more experimental, ambitious approach, yet the airwaves were still filled with instantly memorable melodies. The year saw the release of songs that would go on to define entire careers—The Beach Boys’ “Good Vibrations” took pop production to new heights, The Four Tops’ “Reach Out (I’ll Be There)” solidified Motown’s dominance, and The Rolling Stones’ “Paint It Black” pushed rock into darker, more dramatic territory. Meanwhile, The Monkees burst onto the scene with “I’m a Believer,” adding a dose of manufactured but undeniably catchy charm to the mix.

Psychedelia was creeping into mainstream music, foreshadowing the sonic explorations that would fully take hold in the coming years. The Byrds’ “Eight Miles High” and The 13th Floor Elevators’ “You’re Gonna Miss Me” hinted at a new, mind-expanding direction for rock, while The Beatles’ “Paperback Writer” and its B-side, “Rain,” found the band toying with the limits of studio technology. The Who’s “My Generation,” released in late 1965 but peaking on the US charts in ’66, captured the rebellious energy of youth culture, while ? and the Mysterians’ “96 Tears” gave garage rock one of its most enduring anthems.

Soul music was also in full bloom, delivering some of its most powerful and enduring records. Percy Sledge’s “When a Man Loves a Woman” became an instant classic, dripping with raw emotion. Jimmy Ruffin’s “What Becomes of the Brokenhearted” and The Supremes’ “You Can’t Hurry Love” showcased Motown’s knack for blending heartache and joy in equal measure. Meanwhile, James Brown’s “It’s a Man’s Man’s Man’s World” was a testament to his singular ability to infuse deep soul with commentary. Over in the R&B realm, Ike & Tina Turner’s “River Deep – Mountain High”—though not a hit in the U.S. at the time—demonstrated producer Phil Spector’s bombastic “Wall of Sound” approach at its most overwhelming.

The year also had its share of songs that were simply too infectious to ignore. The Lovin’ Spoonful’s “Summer in the City” painted a sweltering urban landscape with its mix of laid-back verses and explosive choruses. Nancy Sinatra’s “These Boots Are Made for Walkin’” turned a simple, stomping beat into a statement of defiant cool. The Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore” and The Left Banke’s “Walk Away Renée” delivered lush, baroque pop melancholy, while Eddie Floyd’s “Knock on Wood” became one of the defining records of Stax-style Southern soul.

Perhaps what’s most striking about 1966 in retrospect is just how many of these songs have endured. Whether through original recordings, countless covers, or their presence in film and television, these records still resonate. From the garage rock sneer of The Bobby Fuller Four’s “I Fought the Law” to the hypnotic stomp of The Troggs’ “Wild Thing,” the music of 1966 wasn’t just a snapshot of its time—it was the foundation for what was to come.

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Tunes Du Jour Presents 1986

Looking back at 1986, what stands out isn’t just the quality of the music, but how effortlessly genres merged and boundaries dissolved. Run-D.M.C. and Aerosmith’s “Walk This Way” wasn’t just a collaboration – it was a statement about how rock and hip-hop could amplify each other’s strengths. Prince, at the height of his powers, stripped everything down to bare essentials with “Kiss,” proving his superstardom could take any form. Robert Palmer’s “Addicted to Love” became inescapable, powered by one of the era’s most iconic videos, while Peter Gabriel’s “Sledgehammer” merged art rock with soul and funk, accompanied by groundbreaking stop-motion animation.

The women of pop music wielded particular influence that year. Madonna continued pushing buttons with “Papa Don’t Preach,” tackling teenage pregnancy in a way that sparked national conversation. Whitney Houston’s “How Will I Know” showcased her extraordinary vocal range while proving dance-pop could be both sophisticated and irresistible. Janet Jackson asked “What Have You Done for Me Lately,” establishing herself as a force independent of her famous family. Cyndi Lauper’s “True Colors” transcended its moment, becoming an enduring anthem of self-acceptance that would be covered for decades to come.

The underground was rising to the surface, but keeping its edge. The Smiths’ “There Is A Light That Never Goes Out” brought literary depth to alternative rock, while New Order’s “Bizarre Love Triangle” helped blueprint the future of electronic dance music. The Pet Shop Boys’ “West End Girls” married street-smart observations with pristine synth-pop, and Public Image Ltd.’s “Rise” proved post-punk could evolve without losing its bite. Even The Cure, with “In Between Days,” found a way to make melancholy sound surprisingly radio-friendly.

Soul and R&B were experiencing their own renaissance. Anita Baker’s “Sweet Love” brought sophisticated quiet storm to the mainstream, while Cameo’s “Word Up!” demonstrated funk’s continuing vitality. Grace Jones’ “Slave to the Rhythm” showcased the artist’s commanding presence, and James Brown reminded everyone he was still the Godfather of Soul with “Living in America.” The year also saw George Michael step out of Wham!’s shadow with “A Different Corner,” proving he could hold his own as a solo artist.

The year proved fertile ground for both established and emerging voices. Bruce Springsteen’s “My Hometown” painted a portrait of a changing America, while Billy Bragg’s “Levi Stubbs’ Tears” showed how personal stories could carry political weight. Elvis Costello’s “I Want You” pushed the boundaries of what a love song could express, and R.E.M.’s “Fall on Me” managed to be both cryptic and urgently relevant. Meanwhile, LL Cool J’s “I Can’t Live Without My Radio” brought hip-hop closer to the mainstream while maintaining its street credibility. In retrospect, 1986 wasn’t just a great year for music – it was a moment when artists across the spectrum proved that innovation and accessibility weren’t mutually exclusive.

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Your (Almost) Daily Playlist: 11-3-24

Adam Ant was born Stuart Leslie Goddard on this date in 1954. Supposedly, the name “Adam” was inspired by the biblical first man, symbolizing a fresh start after a serious bout of depression and a suicide attempt, while “Ant” reflected his desire for his band to embody industriousness and resilience, akin to ants in nature.

A handful of tracks from Mr. Ant are included on today’s playlist.

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