Tunes Du Jour Presents 1960

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The year 1960 often gets passed over in rock history—a transitional time between the first burst of rock and roll and the cultural and musical revolutions just a few years away. But to call it sleepy is to miss the point. In fact, many of the year’s hits still reverberate today, not just as nostalgic touchstones but as enduring standards. “The Twist” by Chubby Checker launched a dance phenomenon that would ripple through pop culture for years. And “Save the Last Dance for Me” by the Drifters remains a masterclass in balancing heartbreak and sweetness—still played at weddings and in soundtracks, still finding new generations of listeners.

Ballads carried a lot of weight in 1960, and few did it better than Elvis Presley’s aching “Are You Lonesome Tonight?” or Roy Orbison’s “Only the Lonely,” which showcased his operatic vulnerability. Country narratives crossed into the mainstream with Marty Robbins’ “El Paso,” a story song that unspooled like a Western in miniature. At the other end of the spectrum, Maurice Williams & the Zodiacs’ “Stay” packed teenage yearning into a lean, irresistible one minute thirty-five seconds. And “Wonderful World” by Sam Cooke, though modest in ambition compared to some of his later work, remains a model of warmth and accessibility—a song that’s managed to feel timeless for more than six decades.

The sense of genre boundaries being tested is another hallmark of the year. Ray Charles brought gospel, blues, and pop together on his definitive reading of “Georgia on My Mind,” while Barrett Strong’s “Money (That’s What I Want)” helped lay the foundation for Motown’s impending ascent. Fats Domino’s “Walking to New Orleans” fused New Orleans rhythm with a subtle orchestral flourish, and Bobby Darin’s “Beyond the Sea” added a cosmopolitan swagger to the charts. These weren’t experiments for their own sake—they were evolutions of form, often rooted in deep tradition.

Rock’s wilder edges were still alive, though not always in the spotlight. Ike and Tina Turner’s “A Fool in Love” marked Tina’s explosive debut on the national stage—raw, commanding, and impossible to ignore. Instrumentals also carved out real estate, from the cinematic calm of Percy Faith’s “Theme From ‘A Summer Place’” to the proto-surf energy of The Ventures’ “Walk Don’t Run.” And in the novelty corner, “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini” and “Alley Oop” proved that humor and absurdity had a place in the pop ecosystem.

So while 1960 may not have produced a defining movement, it certainly produced defining songs. These weren’t just placeholders between rock and roll’s rise and the British Invasion—they were records that resonated, sometimes quietly at first, but with a staying power that’s hard to deny. Whether filtered through covers, samples, soundtracks, or simple endurance, many of these tracks are still with us. It wasn’t a year of reinvention—but it was a year of remarkable staying power.

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Tunes Du Jour Presents 1962

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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 Presents 1961

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The year 1961 didn’t roar in with a musical revolution—but in hindsight, that’s part of its charm. Instead, it offered a series of small but significant steps toward what would become a much louder, wilder, and more politically charged musical landscape. If the ’50s laid the foundation for rock and R&B, then ’61 felt like a transitional hallway: not quite out of the doo-wop era, but inching toward soul, girl groups, and the unmistakable rise of youth-driven pop. Listen closely, and you can hear a generation beginning to test its voice.

The playlist for this year paints a picture of variety and crossover. Ben E. King’s “Stand by Me” combines gospel roots with a pop sensibility, creating a timeless anthem of emotional resilience. Meanwhile, The Marcels inject a doo-wop jolt into “Blue Moon,” turning a Rodgers and Hart chestnut into something utterly of the moment. And “Shop Around” by The Miracles helps define the early Motown sound—polished, melodic, and unmistakably urban—hinting at the empire Berry Gordy was quietly building in Detroit.

Pop and R&B weren’t the only sounds of 1961. The jazz world was still vibrant, and John Coltrane’s take on “My Favorite Things” stretched the familiar into something exploratory and modal, giving the Broadway tune a hypnotic new dimension. Similarly, Art Blakey’s “A Night in Tunisia” offered a fiery reminder that hard bop was far from finished. This year wasn’t just about three-minute singles on AM radio; it also made room for longer-form musical statements that spoke to listeners seeking complexity.

And then there were the voices—so many distinct, unforgettable voices. Roy Orbison’s near-operatic Crying and Patsy Cline’s aching “Crazy” each showed that vulnerability could be commercially viable. The same went for Etta James, whose rendition of “At Last” remains one of the most iconic vocal performances ever recorded. Elsewhere, the lighter side of pop was thriving with Neil Sedaka’s “Calendar Girl” and Bobby Vee’s “Take Good Care of My Baby,” songs built for teenagers who were beginning to see themselves as a cultural force.

Taken together, the music of 1961 reflects a moment in flux: the last glimmers of the 1950s still lingered, but the seeds of what would define the 1960s were clearly being planted. Whether it was Ray Charles fusing gospel and R&B on “Hit the Road Jack,” or the early stirrings of girl-group grandeur from The Marvelettes and The Shirelles, this was a year where nothing yet dominated—but everything seemed possible.

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Tunes Du Jour Presents Sam Cooke

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Few voices in American music carry the weight and influence of Sam Cooke’s. From his earliest recordings with the Soul Stirrers to his final sessions, Cooke demonstrated a remarkable ability to move between gospel, R&B, and pop with uncommon grace. His hits like “You Send Me,” “Wonderful World,” and “Twistin’ the Night Away” weren’t just popular songs – they helped establish the blueprint for what would become soul music.

What set Cooke apart was his ability to infuse even the lightest material with emotional depth. Songs like “Cupid” and “Another Saturday Night” showcase his playful side, while “Chain Gang” demonstrates his talent for turning serious subject matter into compelling popular music. His voice could shift from tender to exuberant in a single phrase, evident in classics like “Bring It on Home to Me” and “Nothing Can Change This Love.”

The breadth of Cooke’s musical journey is apparent in his catalog. His gospel roots shine through in “Touch the Hem of His Garment,” recorded with the Soul Stirrers, while his pop sensibilities emerge in hits like “Only Sixteen” and “Having a Party.” He could handle everything from the blues standard “Little Red Rooster” to the country classic “Tennessee Waltz,” making each song distinctively his own. This versatility wasn’t just showing off – it was a demonstration of his deep understanding of American musical traditions.

Perhaps most significantly, Cooke’s work culminated in “A Change Is Gonna Come,” released shortly after his death in 1964. The song, inspired by the civil rights movement, stands as one of the most powerful artistic statements of its era. While it differs markedly from lighter fare like “Everybody Loves to Cha Cha Cha” or “Win Your Love For Me,” it represents the ultimate expression of Cooke’s ability to channel deep emotional and social truths through his music.

Looking at songs like “Sad Mood,” “Get Yourself Another Fool,” and “That’s Where It’s At,” we can hear how Cooke’s influence continues to reverberate through contemporary music. His distinctive vocal style – with its subtle inflections and seemingly effortless control – has influenced generations of singers. More than just a collection of hits, his body of work represents a crucial bridge between gospel, R&B, and the emergence of soul music, establishing patterns that musicians continue to follow today.

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Tunes Du Jour Presents 1957

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The year 1957 stands as a pivotal moment in the evolution of popular music, where rock ‘n’ roll, rhythm and blues, and even a touch of jazz converged to create a soundtrack that would resonate for decades. The hits of the year showcase not only the diverse range of genres but also the rise of some of the most influential voices in music history. A prime example is The Crickets’ “That’ll Be the Day,” a track that embodies the early rock ‘n’ roll spirit, blending Buddy Holly’s unmistakable vocal delivery with a catchy, driving beat. It’s a song that helped shape the sound of the era.

Elvis Presley’s “Jailhouse Rock” is another cornerstone of 1957, with its infectious energy and rebellious attitude. Presley was at the height of his powers, blending rock, blues, and a hint of swagger that would influence generations of performers. Meanwhile, Fats Domino’s “Blueberry Hill” offered a smoother, more melodic contrast. Domino’s effortless combination of rhythm and blues with pop sensibility helped bridge the gap between different audiences, securing his place as one of the genre’s pioneers.

But 1957 wasn’t just about rock ‘n’ roll—it was a year that embraced the full spectrum of American music. Take Harry Belafonte’s “Day-O (Banana Boat Song),” a calypso tune that brought Caribbean sounds to mainstream audiences. Similarly, the soulful ballad “You Send Me” by Sam Cooke introduced a voice that would soon come to define soul music. Cooke’s ability to combine gospel roots with pop elegance opened the doors for future R&B artists.

The variety of sounds continued with tracks like “Whole Lotta Shakin’ Goin’ On” by Jerry Lee Lewis and “Lucille” by Little Richard, both of which pushed the boundaries of what rock music could be with their raw energy and wild performances. On the other end of the spectrum, Ella Fitzgerald and Louis Armstrong’s rendition of “Summertime” added a jazzy sophistication to the year’s musical offerings, reminding listeners that timeless standards still had a place in the changing musical landscape.

Ninety fifty-seven was a year when rock ‘n’ roll solidified its place in popular culture, while artists from various genres continued to innovate and inspire. Whether through the heartfelt croon of Johnny Mathis on “Chances Are” or the rough-edged blues of Muddy Waters’ “Got My Mojo Working,” the music of this year still echoes today as a testament to a time when creativity flourished across musical boundaries.

Your (Almost) Daily Playlist: 11-25-23

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Born out of lyrics Percy Sledge improvised during a performance after his girlfriend left him, “When A Man Loves A Woman” went on to become a true classic. Sledge let his keyboard and bass players have the full writing credit. On Sledge’s first recording of the song, the horns were out of tune, so Sledge did another take. His record company accidentally released the first version as a single. I don’t think they regret that error.  

The late Percy Sledge was born on this date in 1940. His best-known song kicks off today’s playlist.

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Your (Almost) Daily Playlist: 9-9-23

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The first session of the recording of “(Sittin’ On) The Dock of the Bay” took place on November 22, 1967. A second session took place on December 7 of that year. The distinctive whistling at the end of the record was improvised by Otis Redding during recording, serving as a placeholder for a planned third verse that he never got to write before his passing in a plane crash on December 10.

The late great Otis Redding was born on this date in 1941. Lotsa Otis on today’s playlist.

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