"A CHANGE IS GONNA COME" OTIS REDDING (1965)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Otis Blue is considered by many to be one of the greatest albums ever recorded. A deep exploration of Redding’s bluesy, soulful demeanor, he sang some of his originals (including “Respect” before Aretha Franklin made it a household tune) as well as iconic standards like “Satisfaction”, “Rock Me Baby”, “My Girl” and “Down in the Valley”. There are also a handful of songs from fellow blues legend Sam Cooke who died a few months before the album was released. One of those Cooke treasures is the beautiful blues ballad “A Change is Gonna Come”.

The recording itself is quite a monumental listen. Redding holds nothing back, singing with conviction driven likely by his ability to relate to Cooke’s story, which is the most powerful aspect of the song. “A Change Is Gonna Come” isn’t just a catchy song. It’s a statement and a rant on the sad state of where things were back then in terms of racial equality. What makes the song even more meaningful is that the change hasn’t fully arrived yet. The emotions are still raw and very real more than 50 years later.

“There been times that I thought I couldn't last for long. But now I think I'm able to carry on. It's been a long, a long time coming. But I know a change gonna come, oh yes it will.”

"MORNING DEW" THE GRATEFUL DEAD (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Today the Mental Jukebox is playing a song from a band that simply can’t be given justice in this format. Listening to the Dead’s albums on Spotify I feel utterly gypped, knowing that I’m getting a tiny fraction of the experience, the magic that happens at a Dead concert where set list formations flow like water and improvisations come on like a flood. Spotify can’t capture the aura of a band so largely defined by its live shows, but it has given me the chance to get reacquainted with legendary albums like Workingman’s Dead, American Beauty and the self-titled debut album that spawned “Morning Dew”.

Music critics have often praised how the Dead is in a category all their own. Garcia, Weir, Pigpen, Lesh and Kreutzmann all brought different influences with them, the most obvious ones being blues, folk and country. They took those genres and layered on an electric guitar rock sound that’s highly experimental and improvisational. That’s the beauty of “Morning Dew”. It’s a pretty standard melody masterfully sung by Garcia and taken for several twists and turns with a dual guitar jam fest from Weir and Garcia, and a melodic, meandering bass line from Lesh that jumps into the upper octaves. Still, the individual members never sound like they’re competing with each other. They move and groove in one flow. It’s the beautiful magic of the Dead.

“I'll walk you out in the morning dew my honey. I guess it doesn't really matter anyway.”

"GIRL, YOU'LL BE A WOMAN SOON" NEIL DIAMOND (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Neil Diamond might be most well known for his two big hits: “Sweet Caroline” and “America”, songs that flooded living rooms and neighborhood bars across the country. But some of his greatest songs were ones that were more popularized by their covers. The Monkees made “I’m a Believer” a classic. UB40 brought “Red Red Wine” to the masses. And, of course, Urge Overkill ushered “Girl, You’ll Be A Woman Soon” into the mainstream consciousness as part of the Pulp Fiction movie soundtrack. But, as far as the latter, I’ll take the original over the cover any day.

There’s more to “Girl, You’ll Be a Woman Soon” than the catchy chorus. Diamond skillfully navigates through several tempo changes and strumming styles, weaving in both string arrangements and flamenco romanticism. In the song, it feels like the girl rushes through the red muleta and emerges as a woman on the other side. Somehow this song was completely off my radar until Urge Overkill recorded it for Pulp Fiction, making it a perfect track for the heroin overdose scene. It’s one of Diamond’s most unique recordings from a long, storied career.

“Girl, you'll be a woman soon. Please, come take my hand. Girl, you'll be a woman soon. Soon, you'll need a man.”

"INCENSE AND PEPPERMINTS" STRAWBERRY ALARM CLOCK (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

The 60’s sounded like a concoction of different genres – soul, doo-wop, garage rock, folk, proto-punk, straight-ahead rock and, of course, psychedelic rock. The latter is probably the genre that comes to mind first for many of us. The style of music was almost secondary to the culture, which included mind-expanding drugs and movements like Woodstock. This was the playground and realm for many big acts, including Jefferson Airplane, Jimi Hendrix, the Yardbirds, the Dead and a lesser-known band by the catchy, peculiar name of Strawberry Alarm Clock. They had a few songs on the radio, none bigger and more popular than “Incense and Peppermints”.

The first time I heard the song was 30 years after it hit the radio waves. The movie Austin Powers: International Man of Mystery was a mocking celebration of the 60’s – its spirit, fashion, vernacular and music. “Incense and Peppermints” is one of the soundtrack highlights, maybe only trumped by Quincy Jones “Soul Bossa Nova”. There’s a YouTube video of Strawberry Alarm Clock performing the song where something off is noticeable right away. Mark Weitz’s organ riff might’ve been the musical highlight of the track, but the drummer stole the spotlight. The drum kit was situated at the front of the stage with the guitarists, bassist and organist in the background. A few bars into the song we hear drummer Randy Seol delivering the first verse. It’s not the only time we heard a drummer sing by any stretch – Phil Collins, Don Henley and Roger Taylor all shared this somewhat unusual claim. But Seol’s setup created an unforgettable inverted poise for the song and the era.

"THESE DAYS" NICO (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Nico was a songwriter, singer, musician, actress, model, and – above all – a collaborator. Most commonly known for her work with The Velvet Underground throughout her career, The Velvet Underground & Nico album is a classic. Her lead vocals on “All Tomorrow’s Parties” are haunting and beautiful at the same time, but it’s her solo debut album Chelsea Girls where she truly shines. It’s a record which features The Velvet Underground quite prominently as well as songwriting and guitar-playing from Jackson Browne. “These Days” is one of those tracks, a song that Browne wrote when he was just 16 years old.

Jackson Browne’s recordings are underrated gems, but I still prefer Nico’s version. I certainly wouldn’t pick Nico to sing 10,000 Maniacs’ “These Are Days”, but she’s the perfect voice and persona for Browne’s songwriting masterpiece. A malaise hangs over the song like molasses, an emotional state in which Nico’s somber bent seems to feel perfectly at home. That feeling of not wanting to get out of bed is deeply entrenched in the vocals, Jackson Browne’s listless guitar arpeggios and a forlorn string arrangement.

“I'd stopped my dreaming. I won't do too much scheming these days.”

"TAKE CARE OF BUSINESS" NINA SIMONE (1965)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

A romantic fling during the summer before freshman year of college was one of those coming-of-age seasons for me. If someone were to make a movie about my life, that summer would undoubtedly be a part of the script. The girl had incredible taste in music. She introduced me to a wide variety of music, including a new up-and-coming band called Dee-Lite, the early catalog of Siouxsie & the Banshees. and the incomparable Nina Simone. I didn’t think about it at the time, but all these artists were female-led. If she hadn’t played those treasured Nina Simone records, it’s quite possible it would’ve take me decades to discover gems like “Take Care of Business”.

That voice. There’s nothing else like it. Simone’s fiery and feisty persona thankfully translated to equally fiery and feisty vocals. She gives heralded performances throughout the I Put A Spell On You album, including the title track, “Feeling Good”, “Ne Me Quitte Pas” and my favorite track: “Take Care of Business”. On the latter, she sings with a soulful swagger, while the string and horn arrangements create a tango-like quality to the song. “Take Care of Business” showcases the simple genius of using word repetitions to create strong melodies.

"SKY PILOT" ERIC BURDON & THE ANIMALS (1968)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

A friend from high school introduced me to The Animals with an enthusiasm that even exceeded his love for the biggest. classic rock icons like Zeppelin, Cream and the Stones. I think there were many reasons for this, but it was largely the power, swagger and testosterone-fueled vocals of Eric Burdon. Most casual listeners are familiar with their big hits: “House of the Rising Sun”, “Don’t Let Me Be Misunderstood” and “We Gotta Get Out of This Place”. But my friend encouraged me to go a little deeper. The song that I looked forward to playing most on my Animals mixtape was a minor hit toward the end of their years called “Sky Pilot”.

The track was an anti-war song written during the time of the Vietnam War. But it wasn’t about an Air Force pilot, it was an ode to a military chaplain. “How high can you fly. You never, never, never reach the sky”. The track carries intrigue from both an instrumental and production perspective. “Sky Pilot” soars on a bed of reverb and flanging complete with guitar solo, a string arrangement, bagpipe interlude and a host of war-themed audio samples. Then, of course, there’s the underrated, masterful lead vocals from Burdon. The song is a feast for the ears. I loved “Sky Pilot” from the very first listen and that love has never died.

“He mumbles a prayer and it ends with a smile. The order is given, they move down the line. But he's still behind and he'll meditate. But it won't stop the bleeding or ease the hate.”

"EVIL WAYS" SANTANA (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

The strengths of jam bands are never fully realized in a recording studio. They only really happen in concert – from the Dead to Phish to Santana. However, while producer Bill Graham tried to lead the band to record in a more conventional way, the spirit of improvisation is still very much apparent on this self-titled debut album. To prove this point, there are a few instrumental tracks on the album, and there’s also the iconic cover “Evil Ways”, the most familiar track of the bunch.

It’s unmistakably a latin rock song with an infectious rhythm driven by congas and timbales instead of a traditional drum kit. It may be the flavor of the song. But the most distinct aspect of “Evil Ways” is the juxtaposition of two monster instrumental solos: Greg Rolle’s Hammond organ solo and Carlos Santana’s guitar solo. The two epic moments have a call-and-response feel to them, like a jazz arrangement. Santana may be the one musician most associated with the recording, but Rolie was the man in my opinion. After all, he was the one singing lead vocals on the track – and if I had to put my money on it, the Hammond organ beat the electric guitar by a landslide.

“You've got to change your evil ways, baby, before I stop loving you.”

"HELPLESSLY HOPING" CROSBY, STILLS & NASH (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Today I’m going with a song from another brilliant debut album. The self-titled record from Crosby, Stills & Nash is a thing of beauty. A case of the whole being greater than the sum of its parts. Each member of the band brought different skills and sounds to the table, which led to an album that fused country, folk and even jazz into traditional rock. And then, of course, there are the harmonies. Gorgeous, sharp harmonies – perhaps epitomized in the classic song “Helplessly Hoping”.

The fact this track was a b-side to the first single is proof of the sheer depth and excellence on the album as a whole. “Helplessly Hoping” is timeless. The kind of song you want to pass down to your children – and hopefully they’ll want to do the same with their children. The song is a reminder that there’s light and beauty even in our darkest hour. Instrumentally it’s as minimalist as it gets, featuring a single acoustic guitar. This gives the harmonies their due time in the spotlight. David Crosby, Stephen Stills and Graham Nash are not only in unison, they’re in unity.

“They are one person. They are two alone. They are three together. They are for each other.”

"MASTER SONG" LEONARD COHEN (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Songs of Leonard Cohen is one of the most mature, most impressive debut albums ever recorded. His storytelling and haunting vocals are beautiful, delightful gifts to discerning music fans. His melodies and instrumentation aren’t immediately accessible. They carry a bit of nuance and require a closer listen. These great qualities were all there from the very beginning. “Suzanne”, “So Long, Marianne” and “Sisters of Mercy” were probably the more well-known tracks from the album, but my favorite is the quiet, understated “Master Song”.

The song’s lyrics are an old mysterious story. Cohen himself was always vague about who the song was about, although there’s a thought out there that the song was about Cohen’s girlfriend Marianne, himself and the master - a spiritual guru that Marianne befriended. The lack of clarity is the strength of the song, as it eggs on the listener to keep listening for clues. Are these people real? Are they just fictitious characters? Why is the main character called a master? The mystery is shuffled about in Cohen’s classical guitar riff and a series of strings and Middle Eastern instruments. The quiet strength of “Master Song” is that each verse reads like a chapter in a book that you simply can’t put down.

“He was starving in some deep mystery like a man who is sure what is true.”

"WHERE DID OUR LOVE GO" THE SUPREMES (1964)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

One of the more interesting and controversial dynamics in music history is the pre-determination of which songs will make it and which ones won’t. Throughout history, artists have reluctantly released certain songs, the thinking being that they simply didn’t measure up. In fact, several classics almost didn’t get recorded. Springsteen’s “Born to Run”, Marvin Gaye’s “What’s Going On”, the Stones’. “(I Can’t Get No) Satisfaction”, and Wilco’s entire Yankee Hotel Foxtrot album all fit that bill. So does a monster pop-soul hit called “Where Did Our Love Go” by The Supremes.

As the story goes, when songwriter Brian Holland shared it at first, the girl group was disappointed. They wanted something more upbeat and catchier. They didn’t believe it could be a hit. But they also felt they didn’t have a choice. So, reluctantly they recorded the song with Diana Ross on lead vocals. But once they got the song down pat in the studio they knew they had something special. We know how the story ends. “Where Did Our Love Go” climbed to #1 on the Billboard charts – and the song and its unforgettable lyrics are universally known and loved. I still remember seeing commercials on TV for 60’s soul pop CD. compilations – my first glimpse into this wonderful classic. Ross sings like an angel and the baritone sax solo roars like a lion.

“I've got this burning, burning yearning feelin' inside me.”

"NO FUN" THE STOOGES (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Of the band, music critic Mark Deming of AllMusic once brilliantly stated this, "Part of the fun of The Stooges is, then as now, the band managed the difficult feat of sounding ahead of their time and entirely out of their time, all at once.” What an accurate statement. These guys were total outsiders during their time. They sounded strange, almost childish at times. But, who knew, they would help shape the sound of punk rock. Songs like “I Wanna Be Your Dog” and “1969” are proto-punk anthems, and “No Fun”, in my mind, should be given the same stature.

At times throughout the song, Iggy Pop’s vocals sound more like whining and screaming than actual singing. Ron Asheton’s distortion-soaked guitar riffs seemingly reflect back this same juvenile approach. The hooks sound like moans and groans. It’s raw, lo-fi music fun that chooses an unlikely source as its key rhythm base: Scott Asheton’s handclaps. The clapping is more pronounced than his drum kit. With “No Fun”, it seems like there isn’t much to dissect. It’s just a fun, don’t-give-a-S#it song that just so happens to sound eerily similar to a whole rock movement that would arrive on the scene about five years later.

“Well maybe go out, maybe stay home. Maybe call Mom on the telephone.”

"SAN QUENTIN" JOHNNY CASH (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Most music artists tend to have a favorite venue or at least a favorite type of venue to perform in. Jerry Garcia once famously said that only two theaters mattered: The Fillmore and The Capitol. Each venue space carries its own history, aura, and stories. For Johnny Cash, prisons were places where his audiences experienced redemption during some of his most famous concerts – and I wonder if these state penitentiaries allowed Cash to experience an equal amount of redemption himself. At Folsom Prison was Cash’s most renowned album from his four-part prison series, making At San Quentin a bit of an underrated gem.

The title track isn’t one of the more well known songs on his set list by any stretch. But judging from the roars, whistles and applause from the crowd, it was right up there with “Folsom Prison Blues” and “I Walk the Line”. Cash was giving much more than just a great performance. He took a much more empathetic stance, making every syllable in the lyrics an acknowledgement of what these inmates were up against. He made “San Quentin” their song, not his own song. In writing it and going behind prison doors to perform it, Cash leveled the playing field – essentially declaring the inmates as his equals. The song resonated with them so much, he went ahead and played it twice.

“San Quentin, I hate every inch of you. You've cut me and you scarred me through and through. Mister. Congressman you can't understand. San Quentin, what good do you think you do?”

"CORCOVADO" GETZ/GILBERTO/GILBERTO/JOBIM

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I was first introduced to Getz/Gilberto and the iconic “The Girl From Ipanema” from an old girlfriend. I was a recent college grad living in New York City. Life was moving so fast. But that Bossa Nova record helped slow things down a little for me. It helped me to see the old beauty of New York – to appreciate all the landmarks, personas and stories that helped shape it. During that time I was listening to a lot of Euro dance variations like the Daft Punk world of French house. It was the soundtrack of the clubs my crew frequented. So, listening to Getz/Gilberto in my old girlfriend’s upper westside prewar apartment was a welcome reprieve. Everyone knows “The Girl From Ipanema”, but the record has many other gems, including “Corcovado”.

“Corcovado” is a beautiful mesh of two worlds. Written by Antonio Carlos Jobim, it has been rearranged and recorded by several dozen artists from all kinds of genres. On this version, Stan Getz’s smooth sax adds a smoky jazz room feel to the Bossa Nova bed from Jobim’s piano and Joao Gilberto’s acoustic guitar. Gilberto’s wife Astrud joins him on vocals that are as majestic as the quiet nights and stars that are paid homage to in the lyrics. “Corcovado” is a beautiful love song that intermingles various cultures and genres to establish an unforgettable mood.

“Da janela vê-se o Corcovado. O Redentor que lindo.”

"PAINT IT BLACK" THE ROLLING STONES (1966)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

There are music fans that swear by the Rolling Stones, calling them the greatest band of all time. For reasons I don’t fully understand, there was always something preventing me from fully exploring their music. One thing that has certainly brought on this indifference is the prevalence of too much straight-ahead rock on their biggest hits. The songs were catchy, but too expected, and I quickly became too bored of them with no interest in going deeper into the band’s catalog. But there’s one song that was always an anomaly for me: “Paint It Black”.

It didn’t sound like anything else that I’ve heard before. It almost didn’t sound like rock were it not for Jagger’s vocals in the chorus. “Paint It Black” is a song with various influences, including Indian, Middle Eastern and Eastern European dispositions. Jagger and Richards wrote the song, but Brian Jones has the most significant impact on the track with his sitar riff. The song pulled the curtain wide open to musical expressions that were new to me. It left an impression that has stayed with me since the very first day I heard it, which was likely as part of some movie soundtrack.

“I have to turn my head until my darkness goes.”

"VISIONS OF JOHANNA" BOB DYLAN (1966)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

One of these days I need to sit down with a proper Dylan fan and ask them, “What makes him the legend you think he is?” I just think I don’t completely get Dylan. But that doesn’t stop me from liking a small crop of his songs. I think “All Along the Watchtower” and “Hurricane” are some of the greatest songs ever written. And “Mr. Tambourine Man” I’ll forever associate with the birth of my oldest child who I would try to rock to sleep with that song. Right behind these classics is the Blonde on Blonde track “Visions of Johanna”.

The song has this dual life as prose and poetry. Prose, because it’s an ongoing story that continues to unfold on the writer’s stroll through the city. Poetry, because it’s written like a poem that doesn’t need music to accompany it. Whether you hate Dylan, or don’t completely understand him (like me), “Visions of Johanna” is all the evidence you need to know that the man was indisputably a tremendously gifted songwriter. I don’t love his entire body of work – and sometimes I just can’t stand his nasal delivery. But I do respect his abilities, his contributions to music and well-crafted songs like “Visions of Johanna”.

“We sit here stranded, though we're all doing our best to deny it. And Louise holds a handful of rain, tempting you to defy it.”

"LITTLE WING" THE JIMI HENDRIX EXPERIENCE (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

While I was in high school, I had various introductions to classic rock. Friends introduced me to Zeppelin. A radio station introduced to bands like Cream, The Doors, among others. And my younger brother (I know, usually it’s the other way around). introduced me to an ultra-talented guitarist who was a mediocre singer, but had these amazing playing skills, lit his axe on fire and navigated his way around blues and rock nearly effortlessly. His more brash bangers were the songs I liked best initially, but it’s the quiet strength of “Little Wing” that has made it one of the most enduring Hendrix recordings for me personally.

There’s a recording of the song at the Monterey Pop Festival where Hendrix says: “I got the idea like, when we were in Monterey and I was just looking at everything around. So I figured that I take everything I see around and put it maybe in the form of a girl maybe, somethin' like that, you know, and call it 'Little Wing', and then it will just fly away.” This, to me, captures the creativity and essence of the psychedelic movement. The mood and atmosphere was so strong, they deserved to be personified through a gorgeous blues guitar riff, the unexpected glockenspiel and an incredible imagination.

“Take anything you want from me. Anything. Fly on little wing.”

"I'M WAITING FOR THE MAN" THE VELVET UNDERGROUND & NICO

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I can’t pay homage to the 60’s without paying homage to one of the most influential and daring bands to come out of that period. Hearing albums like The Velvet Underground & Nico collaboration and White Light/White Heat, I’m struck by what these guys were doing and when they did it. They were about ten years ahead of everyone else. There are entire genres that may not have come to fruition had The Velvet Underground not laid the groundwork, including garage rock, punk rock and new wave. I can hear elements of these styles in their anthem “I’m Waiting For the Man”.

“I’m Waiting For the Man” is a raw, gutsy rock song with that characteristic Lou Reed approach of half-singing, half-intoning. The song is like a foreshadowing of what was to come. In those five minutes, we hear the raw distortion that would typify garage rock, the simple chord structures of punk rock and the infectious hooks of new wave. It’s a way early glimpse of the sounds we would later hear from bands like The Stooges, The Sex Pistols, The Cars among others. It’s not often that we look back at a song that helps us to look forward.

“Until tomorrow, but that's just some other time. I'm waiting for my man.”

"CACTUS TREE" JONI MITCHELL (1968)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

In music, there are lyricists. And then there are storytellers. Joni Mitchell always struck me as being one of the latter. Mitchell is heralded as one of the greatest songwriters of our time. But she’s more than that. Her songs are like stories put to melodies. They paint a picture for us, like all the great novels do. Blue is often considered her crowning achievement, and it’s listed on many “great albums of all time” lists. But the lesser known “Song to a Seagull” contains a few gems, including the understated and gorgeous “Cactus Tree”.

“Cactus Tree” is like a book with five chapters. It paints the portraits of four characters with exceptional musicality. The sailor. The climber. The writer. The woman who’s being pursued by all three men. And then there’s the fifth chapter that introduces many more men still – from the jester to the dreamer. What made Mitchell a great storyteller is that she did far more than just introduce a few characters and a plot. She made us empathize with her characters even with just a single verse dedicated to each. That’s some powerful songwriting.

“There's a lady in the city and she thinks she loves them all.”

"SPACE ODDITY" DAVID BOWIE (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Songwriter. Performer. Artist. Cultural icon. Like his characters, David Bowie has taken on many different forms through his career. One of my deepest regrets is not seeing him live. I read somewhere that when his debut album bombed, he redid everything. Found a new manager and found new ways to create, promote and perform. One of the ways Bowie has distinguished himself from his rock & roll peers is by expanding beyond music and exploring different art forms, most notably fashion and film. A perfect example of this is “Space Oddity”, a song that I’m featuring for the second time on Mental Jukebox.

Bowie was always a master at creating characters – even embodying them at times – from Aladdin Sane to Ziggy Stardust. On “Space Oddity”, we met Major Tom, a fictional astronaut who launched into space with much promise, but ultimately faced his own demise by the end of the five minute song. “Space Oddity” was an imaginative story that pointed us to a universe where electric guitar rock can co-exist with a string symphony. It’s also a song that extended beyond sound wave through a promotional film, an unusual approach at the time. It was Bowie constantly innovating even as a relatively new artist.

“Ground Control to Major Tom. Take your protein pills and put your helmet on.”