‘Tis the season.
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Tunes Du Jour Presents 1965
Have you ever looked at a playlist from a single year and felt a sense of disbelief? It’s one thing for a year to produce a few memorable hits, but it’s another for it to feel like a highlight reel of music history. Looking at the charts from 1965 is exactly that kind of experience. It wasn’t just a year of good songs; it was a pivotal moment when popular music seemed to mature in several different directions at once, producing an astonishing collection of classics that still resonate today.
On one hand, 1965 saw the art of the immaculately produced pop song reach a new peak. The Motown machine was in full, glorious swing, giving us the suave romance of The Temptations’ “My Girl” and the intricate heartbreak of Smokey Robinson’s “The Tracks of My Tears.” The Supremes demanded attention with the dramatic plea of “Stop! In the Name of Love,” a perfect example of studio craftsmanship meeting raw emotion. Across the Atlantic, Petula Clark’s “Downtown” offered a sweeping, cinematic vision of city life. These weren’t just catchy tunes; they were impeccably arranged, powerfully sung, and emotionally direct pieces of art that defined a certain kind of pop perfection.
At the very same time, a grittier, more defiant sound was taking hold. The Rolling Stones’ “(I Can’t Get No) Satisfaction” wasn’t just a hit song; it was a statement of intent, built around a fuzzy, unforgettable guitar riff that sounded like pure frustration. This raw energy was a common thread. From the garage-rock howl of Them’s “Gloria” to the stuttering, youthful angst of The Who’s “I Can’t Explain,” rock music was shedding its cleaner-cut image. This wasn’t the polished sound of the studio; it was the restless sound of the rehearsal room, and it was connecting with an entire generation.
Beyond the evolving sounds, the lyrical substance of popular music was deepening profoundly. Bob Dylan completely rewrote the rules with “Like a Rolling Stone,” a six-minute epic of poetic scorn that proved a hit single could be complex, challenging, and literary. That same year, The Byrds took Dylan’s words and electrified them, creating a new genre overnight with their shimmering version of “Mr. Tambourine Man.” This new lyrical consciousness also carried immense social weight. Sam Cooke’s posthumously released “A Change Is Gonna Come” and The Impressions’ hopeful “People Get Ready” became enduring anthems of the Civil Rights Movement, demonstrating that music could be both a comfort and a powerful call for progress.
What makes 1965 so striking is that none of these developments happened in isolation. It was a year of convergence, where you could hear the sweet soul of Marvin Gaye’s “How Sweet It Is (To Be Loved By You)” on the radio right next to the birth of funk in James Brown’s “Papa’s Got a Brand New Bag.” The carefree optimism of The Beach Boys’ “California Girls” shared the airwaves with the deep, aching soul of Otis Redding’s “I’ve Been Loving You Too Long.” The sheer volume of landmark recordings from this single 12-month period is a testament to a unique moment in time—a year when the boundaries of pop music were expanding in every direction, leaving us with a collection of songs that feel less like relics and more like foundation stones.
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Tunes Du Jour Presents 1963
If you could travel back in time and turn on a car radio in 1963, what would you hear? It was a year poised on the brink of profound change, both culturally and musically. Listening to the pop charts from that year is like opening a time capsule of a specific American moment, one just before the British Invasion, led by The Beatles, would arrive on our shores in January 1964 and rearrange the entire landscape. Using a playlist of the year’s biggest hits, we can get a clear picture of the sounds that defined the last year of this particular pop era.
Two major sounds seemed to rule the airwaves, both born from a distinctly American, youthful energy. From the West Coast came the sun-drenched anthems of surf rock. The Beach Boys offered a national invitation with “Surfin’ U.S.A.,” while their friendly rivals Jan & Dean created the idyllic “Surf City.” This wasn’t just a vocal trend; the raw, driving energy of instrumental hits like The Surfaris’ “Wipe Out” and The Chantays’ “Pipeline” provided a visceral, drum-and-guitar-heavy soundtrack for a generation. Complementing this was the sound of the girl groups, often channeling teenage drama through the ambitious production of Phil Spector’s “Wall of Sound” on tracks like The Ronettes’ “Be My Baby” and The Crystals’ “Da Doo Ron Ron.” From the defiant fun of Lesley Gore’s “It’s My Party” to the tough-girl stance of The Angels’ “My Boyfriend’s Back,” these songs were miniature soap operas set to a 4/4 beat.
At the same time, a different kind of sound was solidifying its place at the heart of American music, broadcasting from Detroit and other soul music hubs. Motown was hitting its stride, producing hits that were both commercially successful and artistically sophisticated. You could feel the undeniable energy of Martha Reeves & The Vandellas on “(Love Is Like A) Heat Wave” or get lost in the smooth, clever plea of Smokey Robinson & the Miracles’ “You’ve Really Got a Hold on Me.” A teenage prodigy named Stevie Wonder even captured the explosive energy of his live performances on “Fingertips, Pts. 1 & 2.” It wasn’t just Motown, either. The soulful storytelling of groups like The Drifters on “Up on the Roof” and the raw, emotional performance of Garnet Mimms on “Cry Baby” showed the depth and variety within R&B and soul music.
Beyond these dominant movements, the Top 40 of 1963 was remarkably eclectic. The folk revival crashed onto the pop charts with Peter, Paul and Mary’s earnest version of Bob Dylan’s “Blowin’ In The Wind,” introducing a new layer of social consciousness to mainstream radio. Unclassifiable artists with singular visions also found massive success. Roy Orbison’s haunting, operatic ballad “In Dreams” and Johnny Cash’s iconic, mariachi-inflected “Ring of Fire” were worlds unto themselves. The charts even made room for the wonderfully unexpected: Kyu Sakamoto’s “Sukiyaki,” a beautiful Japanese-language ballad that became a number-one hit, and “Dominique” by The Singing Nun, also a number-one hit, proved that a great melody could transcend any language barrier. And in a class all its own was the wonderfully raw and raucous “Louie, Louie” by The Kingsmen, a garage-rock precursor that parents hated and kids loved.
Looking back, the collection of hits from 1963 represents a high point for a certain kind of American-made pop music. It was a world of surf guitars, dramatic girl-group harmonies, sophisticated soul, and a surprising number of unique one-offs. Every song on the radio, from Andy Williams’ smooth crooning to the gritty simplicity of “Louie, Louie,” was part of the same popular conversation. It was a vibrant and diverse scene, but one operating on its own terms. It had no idea that four young men from Liverpool were about to board a plane, bringing with them a sound that would change the rules for everyone.
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Tunes Du Jour Presents 1961
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 1967
Nineteen sixty-seven stands as a pivotal moment in the evolution of popular music, a year when artistic boundaries expanded dramatically across multiple genres. The musical landscape was transformed by groundbreaking releases from established artists and remarkable debuts from newcomers who would become legends. From Aretha Franklin’s powerful rendition of “Respect” to Pink Floyd’s psychedelic “See Emily Play,” the year produced an extraordinary collection of songs that continue to resonate decades later.
Soul music experienced a remarkable surge, with Aretha Franklin’s definitive version of “Respect” establishing her as the genre’s preeminent female voice. The raw emotion of Otis Redding’s “Try a Little Tenderness,” the exuberance of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher,” and the groove-driven “Soul Man” by Sam & Dave showcased the genre’s diversity and emotional range. Motown continued its dominance with several more hits for Diana Ross & the Supremes, including “The Happening,” while Smokey Robinson & the Miracles added “I Second That Emotion” to their growing catalog of hits. Marvin Gaye enjoyed multiple chart successes in 1967, with “Your Precious Love” being just one of several duets with Tammi Terrell that would define this productive period.
Meanwhile, rock music underwent seismic shifts as experimentation became the norm. The Beatles had an astonishingly prolific year, releasing the landmark album Sgt. Pepper’s Lonely Hearts Club Band while also producing standalone singles of remarkable quality like “Strawberry Fields Forever” and “Penny Lane.” The Doors’ extended opus “Light My Fire” and The Jimi Hendrix Experience’s revolutionary “Purple Haze” redefined what electric guitars could accomplish. The Rolling Stones contributed the melancholic beauty of “Ruby Tuesday,” which ironically became the bigger hit after radio stations deemed its intended A-side, “Let’s Spend the Night Together,” too controversial for airplay. The Who’s powerhouse “I Can See for Miles” and Buffalo Springfield’s protest anthem “For What It’s Worth” reflected rock’s increasing social consciousness. Perhaps most radical was The Velvet Underground’s “Heroin,” which brought an unprecedented rawness to discussions of addiction.
The year’s diversity extended far beyond these genres. The Monkees transcended their manufactured origins with the wistful “Daydream Believer,” while Van Morrison crafted the timeless “Brown Eyed Girl.” Bobbie Gentry’s Southern Gothic narrative “Ode to Billie Joe” demonstrated songwriting’s storytelling potential, and Procol Harum’s “A Whiter Shade of Pale” merged classical influences with rock sensibilities. Jefferson Airplane’s “White Rabbit” and Pink Floyd’s “See Emily Play” pushed psychedelic music further into the mainstream, establishing both bands as significant forces in the burgeoning psychedelic scene.
What made 1967 truly remarkable was how these diverse sounds coexisted and influenced each other, creating a musical conversation that crossed genre lines. This was the year when album-oriented rock solidified, soul music reached new emotional depths, and psychedelia flowered into mainstream consciousness. The thirty songs listed here barely scratch the surface of a year that saw popular music mature into an art form capable of expressing the full spectrum of human experience. Many artists were at their creative peaks, producing multiple hit singles and groundbreaking albums within this single exceptional year. These recordings capture a moment when musical innovation accelerated at an unprecedented pace, leaving an enduring legacy that continues to inspire and influence musicians more than half a century later.
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Tunes Du Jour Presents Holland-Dozier-Holland
Brian Holland, Lamont Dozier, and Eddie Holland, collectively known as Holland-Dozier-Holland (H-D-H), are synonymous with the sound of Motown. Their string of hits in the 1960s and beyond fueled the success of the record label, shaping popular music and paving the way for R&B to dominate the airwaves. Each song on this playlist, from The Four Tops’ powerful “Reach Out (I’ll Be There)” to The Supremes’ iconic “Where Did Our Love Go,” credits one or more members of H-D-H. With a blend of melody, rhythm, and hooks that remain timeless, the team’s work redefined what hit songwriting could accomplish.
This songwriting trio didn’t merely write songs—they crafted narratives of love, heartbreak, and resilience that resonated with audiences across generations. Tracks like “This Old Heart of Mine (Is Weak for You)” by The Isley Brothers and Marvin Gaye’s “Can I Get a Witness” reveal the emotional depth in their compositions, supported by rhythms and production styles that have endured decades of cover versions. Their songs often feel instantly recognizable, whether it’s the infectious chorus of Chairmen of the Board’s “Give Me Just a Little More Time” or the stomping beat of Junior Walker & the All-Stars’ “(I’m A) Road Runner.”
The irony, however, is that Eddie Holland, despite being a key member of the team, had only one top 40 pop single as a solo artist, “Jamie”—and it wasn’t written by any member of Holland-Dozier-Holland. Instead, it was penned by Barrett Strong and William “Mickey” Stevenson, fellow Motown talents who contributed in their own right to the label’s powerhouse status. Though Eddie found his calling behind the scenes rather than as a performer, his experience as an artist gave him unique insight into the singer’s perspective, a quality that helped make H-D-H’s songs vocally compelling and relatable.
Beyond Motown, the trio’s influence stretched into rock, pop, and soul genres, as evident from covers and reinterpretations by artists like The Rolling Stones, Rod Stewart, and Bananarama. These renditions, like Linda Ronstadt’s cover of “Heat Wave” or James Taylor’s soulful take on “How Sweet It Is (To Be Loved by You),” show how their music transcended genre boundaries. Each version emphasizes the versatility of H-D-H’s songwriting, capable of adapting to various musical expressions while retaining its core appeal.
Ultimately, the legacy of Holland-Dozier-Holland isn’t just in their impressive catalog but in their contributions to the very essence of popular music. They captured the spirit of a generation through music that continues to find new audiences, sounding as fresh today as it did over half a century ago. Their work endures, a testament to their genius, and is rightly celebrated by the many artists who’ve covered and revived their timeless songs.
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Tunes Du Jour Presents Smokey Robinson
Smokey Robinson is one of the most influential and beloved figures in the history of American music. He is not only a legendary singer, songwriter, and producer, but also a humanitarian who has used his fame and fortune to support various causes.
William “Smokey” Robinson was born in Detroit, Michigan, in 1940. He grew up in a musical environment, listening to the likes of Nolan Strong, Hank Ballard, and Jackie Wilson. He formed his first vocal group, the Five Chimes, while in high school, and later changed their name to the Miracles. He met Berry Gordy Jr., the founder of Motown Records, in 1957, and became one of his first artists and collaborators. He also suggested the name Motown, in honor of the Motor City.
The Miracles gave Motown its first number one hit with “Shop Around” in 1960, and went on to score many more classics, such as “You’ve Really Got a Hold on Me,” “The Tracks of My Tears,” “I Second That Emotion,” and “The Tears of a Clown.” Smokey Robinson was the lead singer and the main songwriter of the group, as well as a prolific producer for other Motown acts, such as Mary Wells, the Temptations, the Supremes, and the Marvelettes. He wrote and produced some of the most iconic songs of the Motown era, such as “My Guy,” “My Girl,” “The Way You Do the Things You Do,” and “The Hunter Gets Captured by the Game.”
Smokey Robinson left the Miracles in 1972 to pursue a solo career, and continued to create hits, such as “Quiet Storm,” “Cruisin’”, “Being with You,” and “One Heartbeat.” He also became the vice president of Motown, and helped to nurture the careers of new artists, such as Lionel Richie, Rick James, and Teena Marie. He was inducted into the Rock and Roll Hall of Fame twice, as a solo artist and as a member of the Miracles. He also received a Grammy Lifetime Achievement Award, a Kennedy Center Honor, and a Library of Congress Gershwin Prize for his contributions to popular music.
Smokey Robinson has written and sung some of the most romantic songs ever. He has also shown his love for humanity by supporting various charities and causes, such as the Barbara Davis Center for Childhood Diabetes, the Boys & Girls Clubs of America, the Elton John AIDS Foundation, the Gabrielle’s Angel Foundation, the Miami Children’s Hospital Foundation, UNICEF, and the United Negro College Fund. He has also invested in his hometown of Detroit by donating to the Motown Museum and supporting arts and music programs for young people.
Smokey Robinson is a living legend who has enriched our lives with his music and his love. He is a role model for aspiring artists and a source of inspiration for generations of fans. He is a treasure of American culture and a gift to the world. Let us celebrate his legacy by listening to thirty of his best songs as a vocalist, which are featured in the playlist below. Enjoy!
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Your (Almost) Daily Playlist: 2-2-24
The Honey Cone was the first act signed to Hot Wax Records, a label started in 1968 by Eddie and Brian Holland and Lamont Dozier, who previously were staff writers and producers at Motown Records and in that role wrote twelve number one singles between 1962 and 1967, two performed by The Four Tops and the other ten by The Supremes, with lead vocals by Diana Ross, who would soon leave the trio and be replaced by Jean Terrell in 1970, with Terrell being replaced in 1973 by Scherrie Payne, who before then was the singer in a group called Glass House, also signed to Hot Wax Records, who recorded “Want Ads” prior to The Honey Cone, but neither Scherrie nor the track’s producer, Greg Perry, liked their version, leading Scherrie to re-record the song with her sister Freda, who had a number 3 record in 1970 with “Band of Gold,” a song co-penned by Holland-Dozier-Holland under assumed names, but the sisters’ version of “Want Ads” was also discarded, which then led Scherrie to suggest to Perry that he try the song again with Edna Wright singing, Wright being the lead singer for The Honey Cone and the sister of Darlene Wright, the singer for the group The Blossoms, and while you may not recognize the names Darlene Wright or The Blossoms, you may know their music, for producer Phil Spector renamed Darlene Wright Darlene Love (without her knowledge) and released records by The Blossoms under the name The Crystals, who hit number 1 with “He’s a Rebel,” and should not be but will be confused with another group called The Crystals, also produced by Phil Spector at the same time he was working with Wright/Love and The Blossoms, but let’s get back to Edna Wright, who recorded “Want Ads” with backing vocals by the other two members of The Honey Cone, Shellie Clark, who a couple of years earlier was singing backup for Ike and Tina Turner, and Carolyn Willis, who toured as a member of Bob B. Soxx & the Blue Jeans, a group whose records were produced by Phil Spector and featured vocals from Darlene Wright/Love. In June of 1971 The Honey Cone took “Want Ads” to number 1. (This paragraph is pulled from my long-awaited (by me, anyway) book, which I’m trying to get out this year.)
The late Edna Wright of The Honey Cone was born on this date in 1945. A couple of the group’s best-known songs, including “Want Ads,” are on today’s playlist.
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