Resurrection Joe...
Well-Known Member
The Zombies started me off thinking about Donovan (not sure why)...I think he kicks in from '65ish though?
Rock Evolution – The History of Rock & Roll - 1986 - (page 212)
- Thread starter RobMCFC
- Start date
AlexWilliamsGloves
Well-Known Member
Honourable mention for the Dave Clark Five and their hit "Guardiola"?
Bill Walker
Well-Known Member
1964
What a year of music - simply breathtaking.
But first, some of the major non-music events of 64 are worth remembering.
1964 was a transformative year in the UK as the Swinging Sixties gained full momentum. British youth embraced change, rejecting old norms and created a vibrant, rebellious cultural identity. The country was defined by its groundbreaking music, new fashion trends, and emerging social movements. This was a period of boundless creativity and experimentation, where art, music, and fashion were not just entertainment, but tools of social expression and change. The "Swinging Sixties" in Britain marked a turning point in the modern cultural era, influencing generations to come. This period was marked by a sense of excitement, optimism, and experimentation that affected nearly every aspect of life in the UK.
In politics, the Labour Party, led by Harold Wilson, won the general election, with a majority of 5 seats ending 13 years of Conservative rule. This shift marked the beginning of modernisation efforts across Britain. We faced economic struggles, including inflation and high unemployment, leading to a need for serious economic reforms. Wilson’s Labour government inherited a balance of payments crisis and a weak economy, but efforts to modernise the economy would continue throughout the 1960s.
The Mods and Rockers youth subcultures clashed in Brighton (amongst other places). Meanwhile, the abolition of hanging was debated in Parliament, reflecting changing attitudes toward capital punishment. In technology, BBC2 launched, expanding television, and the Forth Road Bridge opened linking Fife with Edinburgh.
On Saddleworth Moor, some of the most heinous crimes of last century were being committed. My memory of the events are blurred by time but I think I can still see a fairly large group of folk winding their way past the house up the hill towards the foot of the moor to search.
Across the pond, the U.S. Congress passed the Civil Rights Act, outlawing discrimination and ending segregation, while the 24th Amendment abolished poll taxes, advancing voting rights. Dr. Martin Luther King Jr. received the Nobel Peace Prize for his nonviolent activism. Globally, the Vietnam War escalated following the Gulf of Tonkin incident, intensifying U.S. involvement. Buy way of background, in early August 1964, two U.S. destroyers stationed in the Gulf of Tonkin in Vietnam radioed that they had been fired upon by North Vietnamese forces. In response to these reported incidents, President Lyndon B. Johnson requested permission from the U.S. Congress to increase the U.S. military presence in Indochina. On August 7, 1964, Congress passed the Gulf of Tonkin Resolution, authorising President Johnson to take any measures he believed were necessary to retaliate and to promote the maintenance of international peace and security in southeast Asia. This resolution became the legal basis for the Johnson and Nixon Administrations prosecution of the Vietnam War.
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The Civil Rights Act is passed. LBJ with MLK.
In technology, IBM unveiled its influential System/360 computer and Tokyo hosted the first Olympics in Asia. Lynn Davies, Anne Packer and Mary Rand all won golds with Anne smashing the 800m world record despite never having run that distance competitively before.
In 1964, Manchester City faced challenges and transitions. The club was in the English Second Division, struggling after relegation from the First Division in 1963. Manager Les McDowall had recently left after a long tenure, leading to the appointment of new manager George Poyser. Under Poyser, City’s performances were mixed, and they didn’t secure promotion, finishing mid-table.
In club football, Liverpool F.C. won the Division 1 title, while West Ham United won the FA Cup, defeating Preston North End 3–2 in the final.
In the cinema, 1964 we had, Mary Poppins, My Fair Lady, Goldfinger, A Shot in the Dark and of course A Hard Days Night. Again, filmed musicals having a very strong showing.
So to the music;
What an iconic year with groundbreaking breakthroughs in almost all genres, songs that would become soundtracks to our lives and acts that remain popular and revered 60 years later. As a seven year old living in Saddleworth, this was a special year as it’s the first where I can vividly remember lots of the music produced.
In terms of headlines, pick your own: “Beatlemania hits the USA” “The rise and rise of The Beach Boys” “THE BRITS ARE COMING”. “Motown sweeps all before it” “Can an Englishman sing the Blues? Oh yes he can!” “Heavy Metal invented” and in other news….”Dick Van Dyke stuns critics and audiences with his emotional, subtle and nuanced performance as a dancing, singing, cockernee chimney sweep. Method acting at its very cutting edge”.
This year saw the British Invasion of America by multiple bands. At the forefront of course were the Beatles but The Stones, The Kinks, The Animals, Gerry and the Pacemakers, The Hollies, The Dave Clark Five and The Searchers all had success.
Like, 1963 there's still no 'great' albums. Singles ruled the roost. It was very difficult to narrow down the playlist so that it represented the year, covering all genres and included some of my very favourite songs, but here goes.
Pop/Rock (Part 1)
The Beatles
If 1963 saw the birth of Beatlemania, in 1964 it became a global phenomenon. The band ‘broke’ America and paved the way for a new generation of British acts this year and many years thereafter. The American stranglehold over popular music was broken forever. The Beatles achieved global superstardom, igniting "Beatlemania" and leading the British Invasion. They made a sensational U.S. debut with The Ed Sullivan Show, attracting 73 million viewers, and dominated the Billboard 100, famously holding the top five spots simultaneously in April. Their Albums were bestsellers, while their film A Hard Day’s Night was a critical and commercial success, blending humour, innovation, and hit songs like Can’t Buy Me Love. In the UK, the Beatles released 2 albums, A Hard Days Night and Beatles for Sale. In the States, those 2 plus another 4 albums were released. Reflecting the insatiable appetite for the Fab Four, 16 singles *(yes 16) were released across there UK and USA during the year. Their relentless touring spanned Europe, America, and Asia, drawing massive, frenzied crowds. The bands success had a profound impact on other contemporary artists. Both Dylan and Brian Wilson were inspired and influenced by their music. By year’s end, they were the best-selling act worldwide, solidifying their status as icons and paving the way for their artistic evolution.
Now there are a number of others on here far more qualified than me to write about the Beatles history and influence but I can still remember they caught the imagination of this seven year old and opened my mind to the excitement and joy of music for ever.
So what to pick for the playlist? So much choice but I have a clear favourite, ”And I Love Her" is a beautiful ballad written by Paul McCartney (though credited to the usual Lennon/McCartney songwriting partnership). It was released as part of A Hard Day's Night, the soundtrack album for their first feature film. The song stands out as one of the most tender and emotionally direct love songs in the Beatles’ early catalogue. The song was primarily written by McCartney during the band’s early touring days, inspired by his then-girlfriend, Jane Asher. McCartney later described the song as one of the first true expressions of love in his songwriting career, a departure from the more playful and carefree love songs of the earlier Beatles albums.
Musically, "And I Love Her" is a blend of soft folk and latin influences, featuring a delicate acoustic guitar line played by McCartney. The arrangement is relatively sparse, with the song beginning with a distinctive Spanish-style guitar riff (played by George Harrison) that provides a smooth, Latin-inspired flavour to the piece. Ringo Starr’s light, precise drumming complements the mood, while John Lennon provides a subtle harmony on backing vocals. Produced by George Martin, the song was carefully arranged to create an intimate, restrained atmosphere that allows the lyrics to take centre stage. The use of acoustic guitar and subtle percussion helps create a tender vibe, while the string section, added to some later versions, gave the track a sophisticated, cinematic feel.
Though “And I Love Her” was never released as a single in the U.S., it was a major hit in the UK, where it charted as part of the A Hard Day’s Night album. It became one of the favourite tracks from the album and remains a staple in The Beatles' catalog, praised for its emotional depth and timeless melody. The song is frequently cited as one of the band’s early masterpieces, and it’s still celebrated for its simplicity and beauty, far removed from the more complex and experimental songs that would define ‘The Beatles’ later work.
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Those cheeky 'mop tops' give Mohammed Ali a good thrashing.
The Beach Boys
So hands up. I am a complete Brian Wilson fanboy. To me he is a genius, nobody like him, nobody close.
If there is a god, and he made music then he would be Mozart and/or Brian depending on his mood.
So why would I major on BW in 1964? After all, his zenith is Pet Sounds which was released a couple of years later.
Although he made some brilliant music in 1964, it is how his life changed profoundly during that year that would form the foundation of the works of genius he would later complete.
After the success of ‘Surfin' U.S.A.’, Brian began to feel the immense pressure of leading the band, creating hit records, and touring. He was heavily involved with the Beach Boys, balancing worldwide tours and studio work, contributing to albums like ‘Shut Down Volume 2’ ‘All Summer Long’, and ‘The Beach Boys' Christmas Album’.
After a stressful Australasian tour, the band agreed to dismiss Brian's father, Murry, from his managerial role, though Murry still had influence on the band's decisions. By way of background, Murry engaged in abuse of his sons (physical and psychological ). Brian's deafness in one ear may have been caused by a blow from his father. He once said of his father, "He scared me so much I actually got scared into making good records."
Brian’s increasing anxiety and nervous breakdowns were exacerbated by the relentless touring schedule, which he found mentally and physically exhausting. Following a panic attack on board a flight Brian stopped touring with the band, leaving his brothers Carl and Dennis, along with Al Jardine and Mike Love, to perform live. This withdrawal from touring to focus on his mental health gave him the space and time to begin experimenting with more complex arrangements and production techniques in the studio. While his mental health struggles were intensifying, his creativity was flourishing. The tension between his personal challenges and his artistic ambitions would later lead to the creation of some of the band's most groundbreaking work. Thereafter Brian would play the odd gig to fill in for other Band members but he would not return to playing tours until 1976 and then pretty seldom. I had the privilege to see the great man once, in 2004 when he played ‘Pet Sounds’ and more in front of an enraptured audience in Glasgow.
The rise of Beatlemania deeply unsettled Wilson, who felt the Beatles’ success overshadowed the Beach Boys' dominance as America's top vocal group. Wilson later described how this “shook him up,” leading him to push the Beach Boys harder.
Released in May 1964 as the lead single from their album All Summer Long, “I Get Around” became their first No.1 hit in the United States, marking a major milestone in the band’s career. The song was written by Brian and Mike Love, and its creation marked a departure from the surf-themed songs the band had been known for in the early years of their career. As the band’s musical style was evolving, Brian had started to become more experimental with his production techniques, wanting to create a more mature sound while still keeping the energetic spirit of The Beach Boys intact. Mike Love, known for his vocal contributions and often working with Brian on lyrics, helped shape the song’s structure.
The recording of “I Get Around” took place at Western Recording Studios in Hollywood in March 1964. It was a challenging yet innovative session, as Brian Wilson, by this point, had become more involved in every aspect of the band's sound, often taking on the role of producer and orchestrator. One of the most striking features of “I Get Around” is its complex vocal arrangement. The song features lush harmonies, which were a hallmark of The Beach Boys' sound, but Brian Wilson pushed the band’s vocal harmonies to new levels of intricacy. The instrumental arrangement also reflects Brian’s growing sophistication in production. The song is driven by his catchy piano riff which forms the backbone of the track. Also a key feature of the song is its use of a distinctive lead line from his electric bass, which adds a subtle but effective element to the track’s overall feel.
Brian Wilson was heavily influenced by Phil Spector’s “Wall of Sound” technique, where dense layers of sound are created through the combination of multiple instruments and vocal tracks. He brought this approach to the production making it a more polished, full-sounding track compared to previous Beach Boys songs. He also used his studio expertise to create a more layered sound, adding subtle backing vocal parts and instrumental fills that gave the track depth and texture. The production process was also notable for its technical aspects. The band recorded using multi-track tape technology, which allowed for a more complex arrangement. This was still relatively new for rock bands in the 1960s, and The Beach Boys were pioneers in utilising studio techniques that were more common in orchestral music. When released as a single in May 1964 (backed with “Don’t Worry Baby”), it became an instant hit, reaching No. 1 on the Billboard Hot 100 in the United States. It was the first Beach Boys song to top the charts.
"Look Mom, we're on the Ed Sullivan show and we're wearing the shirts you got us for Christmas"
The Kinks
The Kinks were an English rock band formed in London in 1963 by brothers Ray and Dave Davies, and Pete Quaife. They are regarded as one of the most influential rock bands (ever). The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965.
1964 was the year of The Kinks breakthrough. Their first two singles (“long Tall Sally” and “You still want me”), released in the first half of 1964 were flops tot the extent that Pye Records threatened to annul the group's contract unless their third single was a success.
“You Really Got Me” their third, is viewed as one of the most influential rock songs ever recorded. It’s often credited as a defining moment in the development of hard rock and heavy metal due to its raw energy, distinctive riff, and groundbreaking sound.
The song is notable for its aggressive, electrifying sound that was a departure from much of the pop and rock music of the early 1960s. The Ray Davies song was influenced by American Blues and The Kingsman’s version of Louie Louie was recorded on 15 June 1964 at Pye Studios with a slower and more produced feel than the final single. Davies wanted to rerecord the song using a lean, raw sound, but Pye refused to fund another session; Davies was adamant, so the producer Shel Talmy broke the stalemate by underwriting the session himself. The band used an independent recording studio and completed the recording in two takes on 15 July. The single was released in August 1964; supported by a performance on the television show Ready Steady Go! and extensive pirate radio coverage, it entered the UK charts on 15 August, reaching number one on 19 September. Hastily imported by the American label Reprise Records, where the band was signed by legendary executive Mo Ostin,"You Really Got Me" also made the Top 10 in the United States.
The loud, distorted guitar riff and solo was almost an accident. Dave Davies, the band's guitarist, was experimenting with his amp when he cut the speaker’s cone with a razor blade to make it sound more distorted. The result was a fuzzed-out, crunchy tone that gave the riff its signature sound. This wasn't a typical "guitar distortion" effect; it was a makeshift hack that became revolutionary.
Producer Shel Talmy helped capture that sound on tape, but he wasn’t initially convinced it would work. The recording was done quickly, with little fuss. The Kinks played the song live in the studio, with the riff driving the track from start to finish. The track was recorded with minimal overdubs, and the rawness of the recording adds to its energy. In fact, much of the Kinks' early appeal lay in their lo-fi, stripped-down approach compared to the lush productions of some of their contemporaries, like the Beatles or the Beach Boys.
It was a defining moment not just for The Kinks but for the development of rock music as a whole. It’s credited with influencing not only the hard rock and metal genres but also the whole “garage rock” movement that would follow in the 1960s. Bands like The Who, Led Zeppelin, and Van Halen (who famously covered the song in the late '70s) have cited “You Really Got Me”as a direct influence. Its impact is still felt today, with its riff being one of the most recognisable in rock history.
After its release, the Kinks recorded most of the tracks for their debut LP, simply titled Kinks. Consisting largely of covers and revamped traditional songs, it was released on 2 October 1964, reaching number four on the UK chart. "All Day and All of the Night", another Ray Davies hard rock tune, was released three weeks later as the group's fourth single, reaching number two in the UK and number seven in the US.
Chuck Berry
I find it difficult to categorise this song. Is it rock n roll? Jazz?, R and B? Blues?
No idea. Answers on a postcard please. Whatever, I love it.
"You Never Can Tell” was written and performed by Chuck Berry, and it was first released as a single in 1964. It became one of his more memorable tracks, partly because of its infectious rhythm and storytelling style. The song was a departure from some of his earlier, more rock-and-roll-driven hits like *"Johnny B. Goode"* or *"Maybellene"* in that it had a jazzy, swing feel, largely due the way it was structured.
In the studio, "You Never Can Tell" was recorded with a laid-back, almost jazzy feel, giving it a unique swing rhythm. The track features Berry's signature guitar riffs, but it also incorporates a jazzy piano line, which was a bit of a departure from the more straightforward rock 'n' roll sound he was known for. Chuck Berry's playful and slightly tongue-in-cheek storytelling style is enhanced by the song's smooth, danceable rhythm, which made it popular on dance floors.
The song was recorded at Chess Records the same label behind much of Berry’s early work, and it has that classic 1960s Chicago sound with tight rhythms and clean production. The light, swing-like feel of the music paired well with the charming, almost cinematic lyrics, making it stand out in Berry's catalog.
Though it wasn’t as commercially huge as some of his other hits, "You Never Can Tell" gained significant popularity over time, becoming a favourite in Berry's catalog and influencing many artists. Its use in pop culture, notably in Quentin Tarantino's Pulp Fiction (1994) during the iconic dance scene between John Travolta and Uma Thurman, helped solidify its legacy.
Motown
Motown had hits-many big hits prior to 1964, but it's easy to think of this year as the year when the label truly took off. It's the year that Motown became more than a successful independent label and became a phenomenon, churning out hits at a blinding speed, defining the era as much as the Beatles-driven British Invasion. As with any massive success, this was not an overnight sensation but rather the result of years and years of work, with all of the separate pieces falling into place at the same time. Berry Gordy refined his crossover concepts and sharpened his business acumen, while the house band gelled, creating a unified sound for most of the Motown/Tamla singles, bringing muscle and soul to the compositions of the stable of writers. Gordy began to recede as a writer, but Smokey Robinson and Marvin Gaye continued to pen hits, both for themselves and for other artists, but their contributions tended to be overshadowed by the astonishing partnership of Brian Holland, Lamont Dozier, and Eddie Holland, whose productions and compositions formed the core of the Motown sound during these peak years
Throughout 1964, Holland, Dozier Holland churned out song after song, songs that didn't become hits but became anthems, turning groups into superstars in the process. Chief among them were the Supremes, who had "Where Did Our Love Go," "Come See About Me," and "Baby Love" this year, hits that turned them into the biggest American recording artist of the year, but 1964 was also the year of Martha & the Vandellas' "Dancing in the Streets," Mary Wells' "My Guy," Marvin Gaye's "You're a Wonderful One," "Baby Don't You Do It," and "How Sweet It Is (To Be Loved by You)," the Four Tops' "Baby I Need Your Loving," and the Temptations' "The Way You Do the Things You Do" and "My Girl," all songs that defined the era.
I could have chosen any of these for the Playlist but “My Girl” just squeezes it.
“My Girl” by The Temptations, released in 1964, is one of the most iconic songs in the history of Motown and soul music. Written by Smokey Robinson and Ronnie White of the Miracles, and produced by Robinson, the song became a defining moment for both the group and the label. It's a smooth, sweet love ballad that helped cement The Temptations as one of the leading Motown acts.
“My Girl” was originally written as a way for Smokey Robinson to showcase David Ruffin's powerful lead vocals. Robinson, who had previously written for other Motown acts, crafted the song with a melody that was easy to remember but layered with emotional depth. The production was designed to highlight Ruffin's voice, supported by The Temptations signature harmonies and the lush instrumental arrangement typical of Motown's sound. The song features a prominent bass line played by James Jamerson, one of Motown's most revered session musicians, and an unforgettable horn section that adds to the energy.
Upon its release, “My Girl” became a massive hit, reaching No.1 on the Billboard Hot 100 and No 1.on the R&B charts, and is often regarded as one of the greatest songs in pop and soul music history. Its success helped The Temptations gain broader recognition, transitioning from a popular Motown act to an enduring musical force.
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The Temptations show off to their girl by seeing how long they could stand on one leg
Country/Folk
In 1964, country music balanced tradition with modern influences. The Nashville Sound, led by artists like Jim Reeves (Welcome to My World), brought smooth, pop-inspired arrangements. Johnny Cash dominated with Understand Your Man, and George Jones delivered the lively The Race Is On. Rising stars like Loretta Lynn (Wine, Women, and Song) and Connie Smith (Once a Day) highlighted women’s growing presence. The year saw country evolving, blending rural roots with crossover appeal, and setting the stage for future innovations.
Meanwhile, As Another Side of Bob Dylan was prepared for release, Dylan premiered his new songs at the Newport Folk Festival in July. The festival also marked Dylan's first meeting with Johnny Cash; Dylan was already an admirer of Cash's music, and vice versa. The two spent a night jamming together in Joan Baezs room at the Viking Motor Inn. According to Cash, "we were so happy to [finally] meet each other that we were jumping on the beds like kids." The next day, Cash performed Dylan's “”Don’t Think Twice Its All Right’ as part of his set, telling the audience that "we've been doing it on our shows all over the country, trying to tell the folks about Bob, that we think he's the best songwriter of the age since Pete Seeger ... Sure do."
Though the audience at Newport seemed to enjoy Dylan's new material, the folk press did not. Critics criticised Dylan's direction and accused Dylan of succumbing to the pressures/temptations of fame. In an open letter to Dylan published in the November issue of Sing Out!, Silber wrote "your new songs seem to be all inner-directed now, inner-probing, self-conscious" and, based on what he saw at Newport, "that some of the paraphernalia of fame [was] getting in your way." Horowitz called the songs an "unqualified failure of taste and self-critical awareness."
The album was a step back commercially, failing to make the Top 40, indicating that record consumers may have had a problem as well. Dylan soon defended his work, writing to columnist Ralph Gleason that "the songs are insanely honest, not meaning to twist any heads an written only for the reason that i myself me alone wanted and needed t write them."
In 1964, Simon & Garfunkel were in the early stages of their musical career, still finding their footing as a duo. Although they would go on to become one of the most influential folk-rock acts of the 1960s, that year was pivotal in shaping their sound and public recognition. Their big breakthrough came when they signed with Columbia Records under their own names (previously they performed as ’Tom and Jerry’. They released their debut album Wednesday Morning, 3 A.M. in October 1964, which initially flopped commercially. The album contained folk-inspired songs, but it did not make a significant impact at the time. The record was produced by Tom Wilson, who would later play a key role in their sound development.
The most notable track from the album, “The Sound of Silence”, was originally a stripped-down acoustic song. However, in a stroke of serendipity, producer Tom Wilson, hearing the potential of the song, had the track re-recorded with a new arrangement—adding electric guitar, bass, and drums—against Simon’s initial wishes. This reworking was a defining moment for the duo, blending folk and rock in a way that would soon become their signature style. By the end of 1964, “The Sound of Silence”had become a surprise hit. After being re-released as a single in 1965, the song climbed the charts and eventually reached No. 1 on the *Billboard Hot 100* in January 1966. Its success helped catapult Simon & Garfunkel into the national spotlight. While the song's folk roots were still evident, the added instrumentation appealed to the growing popularity of electric rock music during the mid-‘60s. At this point, Simon & Garfunkel were still relatively unknown, but their success was just beginning to build momentum. They spent much of 1964 continuing to work on their craft, perform small shows, and fine-tune their musical identity. 1964 was a formative year for the duo. While they didn’t achieve major commercial success in 1964, their debut album Wednesday Morning, 3 A.M. set the stage for what was to come. The success of “The Sound of Silence”, especially after its unexpected reworking, marked the beginning of their rise to fame, and they would go on to become one of the most influential musical duos of the 1960s.
The Blues
In 1964, blues music experienced a pivotal moment as traditional styles influenced the burgeoning British Invasion and American rock scenes. In the U.S., blues legends like Muddy Waters, Howlin’ Wolf, and B.B. King continued to record and perform, keeping the Chicago electric blues alive. Albums like Howlin’ Wolf’s The Real Folk Blues and singles such as B.B. King’s Rock Me Baby showcased the genre's enduring appeal.
Meanwhile, the blues found new life in the U.K., where bands like The Stones, The Animals, and John Mayall & the Bluesbreakers reinterpreted classic American blues, introducing it to younger audiences. Eric Clapton, still with The Yardbirds in 1964, emerged as a standout blues guitarist.
For me, there can only be one track to represent the Blues in 1964.
The Animals
Known for their soulful, blues-inspired sound, their version of The House of the Rising Sun topped charts in both the UK and the U.S.. Their self-titled debut album (The Animals), released in the U.S. in September 1964.
The Animals’ 1964 version of "House of the Rising Sun" is a defining moment in rock history, particularly in the British Invasion era. The arrangement that they developed for this traditional folk song was groundbreaking, blending blues, folk, and rock elements, and it became a key part of their signature sound.
Alan Price's distinctive organ riff is one of the defining features of this version. Whilst Eric Burdon’s vocal performance is raw and emotionally charged. The structure of the song stays relatively close to traditional folk versions, but the addition of electric instruments and the organ gives it a more dramatic, bluesy feel.
Producer Mickie Most was responsible for the song’s production. The session was reportedly rushed because of a tight deadline, but the performance came out so well that it was quickly chosen as a single. The energy of the band, particularly the powerful and expressive keyboard work by Alan Price, was a key part of the track’s success. Price’s organ solo was so integral to the song's feel that, during later versions, the organ part became more associated with the song than any other instrument.
Interestingly, the song was initially recorded without much polish, which actually worked in its favour. The rawness of the recording made it feel more authentic, especially as it drew from the American folk-blues tradition, which was often characterised by rough, unrefined sound.
When The Animals released "House of the Rising Sun" in 1964, the British Invasion was in full swing. The Animals were unique in their ability to merge American blues and folk with British rock. Their version of "House of the Rising Sun" marked a crossover moment where traditional folk music was adapted for a rock audience. The song had been popular in folk circles before, especially through versions by Lead Belly and Bob Dylan but it had never been quite as electrified or as dramatic as The Animals' interpretation. According to Burdon, The Stones were consumed by jealousy of this recording. (Not sure if they actually admitted that).
Alan Price, the band's keyboardist and the main force behind the song’s arrangement, was crucial to the band’s sound. However, his growing dissatisfaction with the direction of the band led him to leave in 1965, shortly after the success of "House of the Rising Sun." Price was reportedly unhappy with the commercial success of the band and its increasingly pop-oriented direction, which he felt was moving away from his own musical interests. His departure marked a turning point for the band, and The Animals would go on to experience lineup changes.
There is another spin on their history though which pushes Price forward as one of the greatest c*nts in rock music. Famously, The Animals manager claimed there was only room on the song registration form for one name - Price, that resulted in Price getting all royalties for the recording (remember he didn’t write it - it was a classic). Price then left the Band to their own devices and Burden repeatedly tried to persuade him to share for decades. He refused. According to the other band members, the arguments over this was one of the main reasons the band broke up.
"You guys might think this song is going to make you millionaires, but......."
Thought Alan with a twinkle in his eye.
Jazz
In 1964, jazz was undergoing significant evolution, blending traditional forms with avant-garde experimentation. John Coltrane released “Crescent”, a deeply spiritual and introspective work, while also debuting parts of “A Love Supreme” his groundbreaking suite that would be fully recorded later that year. Miles Davis, transitioning toward his electric period, released “Miles in Tokyo”, featuring saxophonist Sam Rivers.
The avant-garde movement thrived with Eric Dolphy’s “Out to Lunch!”, a pioneering free-jazz album, and Ornette Coleman continued exploring harmolodics. Meanwhile, Charles Mingus blended politics and music with works like Mingus Plays Piano.
Bossa nova’s influence endured, with Stan Getz and João Gilberto’s “Getz/Gilberto” introducing “The Girl from Ipanema” to worldwide acclaim. Swing veterans like Duke Ellington remained active, with Ellington’s “Ellington ’65” showcasing big band adaptations of contemporary standards.
For my Jazz track I have picked something a little more populist though;
“Hello, Dolly!”, recorded by Louis Armstrong, blends Broadway with jazz, showcasing Armstrong’s distinctive style. Though originally written for the musical “Hello, Dolly!”, Armstrong’s version infused the song with jazz influences, particularly through his vocal delivery, which featured improvisational flourishes. His trumpet playing, rooted in New Orleans jazz, added a signature sound, and his vocal phrasing echoed the spontaneous nature of a jazz performance. The arrangement included a brass section and swing rhythm, elements central to jazz and big band music. The call-and-response structure between Armstrong and the backing vocals also reflects jazz traditions. Armstrong’s exuberant personality brought a fresh, joyful energy to the song, making it accessible to both jazz and pop audiences. His version became a massive hit, reaching No. 1 on the *Billboard Hot 100*, and helped bridge the gap between jazz and mainstream pop.
Pop (part 2)
In the year that TOTP was born, 1964 is just too rich to not mention numerous acts that had hits this year. Some of the groups we have mentioned but for more mainstream pop, The Righteous Brothers, Pet Clarke, Dean Martin, The Big O, Streisand, Gene Pitney, Peter and Gordon, Dusty, Herman and the Hermits (shout out to Carol King for writing the song). The list goes on. Of all these worthy contenders, I have chosen one. Both for the sophistication of the writing, lyrics, arrangement and vocal delivery:
“Walk On By” is a 1964 hit song performed by Dionne Warwick, written by Burt Bacharach and Hal David. The song is one of Warwick’s signature tracks and showcases the sophisticated pop-soul style that Bacharach and David were known for. The lyrical theme of painful yet dignified separation is complemented by Warwick’s rich, soulful voice, which conveys deep emotional complexity. The song features Burt’s signature lush orchestral arrangement, combining strings, brass, and a slow, waltz-like rhythm, creating an atmospheric and dramatic mood. Bacharach’s use of unusual chord changes and time signatures added a sense of sophistication to the pop ballad, while the orchestration gave it a cinematic quality. Warwick’s vocal delivery, poised and evocative, was a key factor in the song’s emotional impact. Released in April 1964, it became a major hit, reaching #6 on the Billboard Hot 100 and topping the *Billboard R&B chart*. Its success helped solidify Warwick’s place as one of the era's leading vocalists. The song remains a classic and has been covered by numerous artists, continuing to influence pop and soul music. The record was also produced by Bacharach/David. Both were responsible for shaping its unique sound. Bacharach, known for his intricate arrangements, and David, renowned for his emotionally resonant lyrics, were a powerhouse songwriting duo in the 1960s. Their collaboration with Dionne Warwick was central to her success, and their production of “Walk On By” helped define the sophisticated pop-soul style that became their signature. Bacharach also arranged the orchestral backing for the track, giving it its lush, cinematic feel.
Soul
Finally, it would be remiss of me not to include the legendary soul singer Sam Cooke who has already featured in the write ups of the early 60’s. Considered as one of the greatest to have ever lived
“A Change Is Gonna Come” is one of Sam Cooke’s most iconic and impactful songs, released in 1964. Written by Cooke, the song is a powerful anthem of hope and resilience during the Civil Rights Movement, reflecting both his personal struggles and the larger societal issues facing African Americans at the time. Cooke was inspired to write the song after experiencing racism firsthand during a trip to the South. He had been turned away from a motel because of his race, an experience that deeply affected him. The song’s lyrics express his feelings of despair but also his hope that change was on the horizon. Cooke was also influenced by Bob Dylan’s socially conscious songwriting, especially “Blowin’ in the Wind.”
The song’s message was not just about the fight for civil rights but also about the broader human experience of facing adversity and seeking change. In a 1964 interview, Cooke mentioned that the song was about "the kind of change that people who are oppressed dream about." Released in the wake of events like the March on Washington and the bombing of the 16th Street Baptist Church in Birmingham, Alabama, the song became an anthem of the Civil Rights Movement. Though it was not an immediate commercial hit, “A Change Is Gonna Come” gained recognition over time, becoming one of Cooke's most beloved tracks. It has been covered by numerous artists and remains one of the most enduring songs in the soul and protest music genres.
The song was inducted into the *Grammy Hall of Fame* in 2000 and is regularly included in lists of the greatest songs of all time. Its emotional depth, social relevance, and Cooke’s powerful performance make it a timeless piece of music history.
Sam Cooke was shot and killed on December 11, 1964, at the Hacienda Motel in Los Angeles. The motel manager, Bertha Franklin, claimed she shot Cooke in self-defence after he forced his way into her office, demanding to know the whereabouts of a woman who had accompanied him. Franklin said she feared for her life and shot Cooke, who later died from a gunshot wound to the chest. A coroner's inquest concluded the shooting was justifiable homicide, but some of Cooke's family and supporters disputed this, questioning the official version of events. The incident remains shrouded in mystery, with some suggesting possible involvement of Cooke's manager, Allen Klein, though no evidence of a conspiracy has been found.
What a talent to have died so young.
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So there it is. 1964 in all its glory. It was a real labour of love pulling this together - a year that I can still remember pretty well, full of adventure, optimism and fantastic music that would last me a lifetime.
Play list
- And I Love Her (the Beatles)
- I Get Around (The Beach Boys)
- You Really Got Me (The Kinks)
- House of the Rising sun (The Animals)
- You Never can tell (Chuck Berry)
- My Girl (The Temptations)
- The Sound of Silence (S and G)
- Hello Dolly (Louis Armstrong
- Walk on by (Dionne Warwick)
- A Change is Gonna Come (Sam Cooke)
As I don't have Spotify, @threespires has kindly agreed to maintain the playlist for the next couple of weeks.
Incredibly good write up Saddleworth, agree with everything.
I would add, You've Lost That Lovin' Feelin' by the Righteous Brothers.
This version is a landmark, produced and written by Phil Spector, is cited by some music critics as the ultimate expression and illustration of his Wall of sound recording technique.
The record was a critical and commercial success on its release, reaching number one in early February 1965 in both the United States and the United Kingdom.
Saddleworth2
Well-Known Member
Thanks Bill much appreciated. It is a track that deserves to be on the list and I thought hard about its inclusion, as I did the Zombies. Thanks for nominating it.
Stay, very good harmonies
RobMCFC
Well-Known Member
We've already had it in the playlist for 1963.
I'm not usually a big Who cheerleader but one of their first singles, "I Can't Explain", is surely worthy of mention, popular as it was on Radio Caroline at the time. Jimmy Page played guitar on the B-Side "Bald Headed Woman".
"I Can't Explain" - The Who
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AlexWilliamsGloves
Well-Known Member
Damn, my googling of Songs of 1964 proved to be inaccurate :-(
Saddleworth2
Well-Known Member
One thing I didn’t mention was 1964 saw the formation of a very heavily Beatles influenced The Byrds. More of them in 1965 I have no doubt
Saddleworth2
Well-Known Member
They did have hits in 64. I just couldn’t remember them.
Black&White&BlueMoon Town
Well-Known Member
I almost nominated this, but I saw the general wiki fine print of "1965", then I read further after your nomination and see now the Who hit the US first before the UK!
Who knew and I can't explain, indeed? ;-)
"I Can't Explain" is a song by English rock band the Who, written by Pete Townshend and produced by Shel Talmy. It was released as a single in the United States on 19 December 1964 by Decca and on 15 January 1965 in the United Kingdom by Brunswick. It was the band's second single release and first under the Who name.
mancity111
Well-Known Member
- Joined
- 28 Dec 2013
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1964
What a year of music - simply breathtaking.
But first, some of the major non-music events of 64 are worth remembering.
1964 was a transformative year in the UK as the Swinging Sixties gained full momentum. British youth embraced change, rejecting old norms and created a vibrant, rebellious cultural identity. The country was defined by its groundbreaking music, new fashion trends, and emerging social movements. This was a period of boundless creativity and experimentation, where art, music, and fashion were not just entertainment, but tools of social expression and change. The "Swinging Sixties" in Britain marked a turning point in the modern cultural era, influencing generations to come. This period was marked by a sense of excitement, optimism, and experimentation that affected nearly every aspect of life in the UK.
In politics, the Labour Party, led by Harold Wilson, won the general election, with a majority of 5 seats ending 13 years of Conservative rule. This shift marked the beginning of modernisation efforts across Britain. We faced economic struggles, including inflation and high unemployment, leading to a need for serious economic reforms. Wilson’s Labour government inherited a balance of payments crisis and a weak economy, but efforts to modernise the economy would continue throughout the 1960s.
The Mods and Rockers youth subcultures clashed in Brighton (amongst other places). Meanwhile, the abolition of hanging was debated in Parliament, reflecting changing attitudes toward capital punishment. In technology, BBC2 launched, expanding television, and the Forth Road Bridge opened linking Fife with Edinburgh.
On Saddleworth Moor, some of the most heinous crimes of last century were being committed. My memory of the events are blurred by time but I think I can still see a fairly large group of folk winding their way past the house up the hill towards the foot of the moor to search.
Across the pond, the U.S. Congress passed the Civil Rights Act, outlawing discrimination and ending segregation, while the 24th Amendment abolished poll taxes, advancing voting rights. Dr. Martin Luther King Jr. received the Nobel Peace Prize for his nonviolent activism. Globally, the Vietnam War escalated following the Gulf of Tonkin incident, intensifying U.S. involvement. Buy way of background, in early August 1964, two U.S. destroyers stationed in the Gulf of Tonkin in Vietnam radioed that they had been fired upon by North Vietnamese forces. In response to these reported incidents, President Lyndon B. Johnson requested permission from the U.S. Congress to increase the U.S. military presence in Indochina. On August 7, 1964, Congress passed the Gulf of Tonkin Resolution, authorising President Johnson to take any measures he believed were necessary to retaliate and to promote the maintenance of international peace and security in southeast Asia. This resolution became the legal basis for the Johnson and Nixon Administrations prosecution of the Vietnam War.
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The Civil Rights Act is passed. LBJ with MLK.
In technology, IBM unveiled its influential System/360 computer and Tokyo hosted the first Olympics in Asia. Lynn Davies, Anne Packer and Mary Rand all won golds with Anne smashing the 800m world record despite never having run that distance competitively before.
In 1964, Manchester City faced challenges and transitions. The club was in the English Second Division, struggling after relegation from the First Division in 1963. Manager Les McDowall had recently left after a long tenure, leading to the appointment of new manager George Poyser. Under Poyser, City’s performances were mixed, and they didn’t secure promotion, finishing mid-table.
In club football, Liverpool F.C. won the Division 1 title, while West Ham United won the FA Cup, defeating Preston North End 3–2 in the final.
In the cinema, 1964 we had, Mary Poppins, My Fair Lady, Goldfinger, A Shot in the Dark and of course A Hard Days Night. Again, filmed musicals having a very strong showing.
So to the music;
What an iconic year with groundbreaking breakthroughs in almost all genres, songs that would become soundtracks to our lives and acts that remain popular and revered 60 years later. As a seven year old living in Saddleworth, this was a special year as it’s the first where I can vividly remember lots of the music produced.
In terms of headlines, pick your own: “Beatlemania hits the USA” “The rise and rise of The Beach Boys” “THE BRITS ARE COMING”. “Motown sweeps all before it” “Can an Englishman sing the Blues? Oh yes he can!” “Heavy Metal invented” and in other news….”Dick Van Dyke stuns critics and audiences with his emotional, subtle and nuanced performance as a dancing, singing, cockernee chimney sweep. Method acting at its very cutting edge”.
This year saw the British Invasion of America by multiple bands. At the forefront of course were the Beatles but The Stones, The Kinks, The Animals, Gerry and the Pacemakers, The Hollies, The Dave Clark Five and The Searchers all had success.
Like, 1963 there's still no 'great' albums. Singles ruled the roost. It was very difficult to narrow down the playlist so that it represented the year, covering all genres and included some of my very favourite songs, but here goes.
Pop/Rock (Part 1)
The Beatles
If 1963 saw the birth of Beatlemania, in 1964 it became a global phenomenon. The band ‘broke’ America and paved the way for a new generation of British acts this year and many years thereafter. The American stranglehold over popular music was broken forever. The Beatles achieved global superstardom, igniting "Beatlemania" and leading the British Invasion. They made a sensational U.S. debut with The Ed Sullivan Show, attracting 73 million viewers, and dominated the Billboard 100, famously holding the top five spots simultaneously in April. Their Albums were bestsellers, while their film A Hard Day’s Night was a critical and commercial success, blending humour, innovation, and hit songs like Can’t Buy Me Love. In the UK, the Beatles released 2 albums, A Hard Days Night and Beatles for Sale. In the States, those 2 plus another 4 albums were released. Reflecting the insatiable appetite for the Fab Four, 16 singles *(yes 16) were released across there UK and USA during the year. Their relentless touring spanned Europe, America, and Asia, drawing massive, frenzied crowds. The bands success had a profound impact on other contemporary artists. Both Dylan and Brian Wilson were inspired and influenced by their music. By year’s end, they were the best-selling act worldwide, solidifying their status as icons and paving the way for their artistic evolution.
Now there are a number of others on here far more qualified than me to write about the Beatles history and influence but I can still remember they caught the imagination of this seven year old and opened my mind to the excitement and joy of music for ever.
So what to pick for the playlist? So much choice but I have a clear favourite, ”And I Love Her" is a beautiful ballad written by Paul McCartney (though credited to the usual Lennon/McCartney songwriting partnership). It was released as part of A Hard Day's Night, the soundtrack album for their first feature film. The song stands out as one of the most tender and emotionally direct love songs in the Beatles’ early catalogue. The song was primarily written by McCartney during the band’s early touring days, inspired by his then-girlfriend, Jane Asher. McCartney later described the song as one of the first true expressions of love in his songwriting career, a departure from the more playful and carefree love songs of the earlier Beatles albums.
Musically, "And I Love Her" is a blend of soft folk and latin influences, featuring a delicate acoustic guitar line played by McCartney. The arrangement is relatively sparse, with the song beginning with a distinctive Spanish-style guitar riff (played by George Harrison) that provides a smooth, Latin-inspired flavour to the piece. Ringo Starr’s light, precise drumming complements the mood, while John Lennon provides a subtle harmony on backing vocals. Produced by George Martin, the song was carefully arranged to create an intimate, restrained atmosphere that allows the lyrics to take centre stage. The use of acoustic guitar and subtle percussion helps create a tender vibe, while the string section, added to some later versions, gave the track a sophisticated, cinematic feel.
Though “And I Love Her” was never released as a single in the U.S., it was a major hit in the UK, where it charted as part of the A Hard Day’s Night album. It became one of the favourite tracks from the album and remains a staple in The Beatles' catalog, praised for its emotional depth and timeless melody. The song is frequently cited as one of the band’s early masterpieces, and it’s still celebrated for its simplicity and beauty, far removed from the more complex and experimental songs that would define ‘The Beatles’ later work.
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Those cheeky 'mop tops' give Mohammed Ali a good thrashing.
The Beach Boys
So hands up. I am a complete Brian Wilson fanboy. To me he is a genius, nobody like him, nobody close.
If there is a god, and he made music then he would be Mozart and/or Brian depending on his mood.
So why would I major on BW in 1964? After all, his zenith is Pet Sounds which was released a couple of years later.
Although he made some brilliant music in 1964, it is how his life changed profoundly during that year that would form the foundation of the works of genius he would later complete.
After the success of ‘Surfin' U.S.A.’, Brian began to feel the immense pressure of leading the band, creating hit records, and touring. He was heavily involved with the Beach Boys, balancing worldwide tours and studio work, contributing to albums like ‘Shut Down Volume 2’ ‘All Summer Long’, and ‘The Beach Boys' Christmas Album’.
After a stressful Australasian tour, the band agreed to dismiss Brian's father, Murry, from his managerial role, though Murry still had influence on the band's decisions. By way of background, Murry engaged in abuse of his sons (physical and psychological ). Brian's deafness in one ear may have been caused by a blow from his father. He once said of his father, "He scared me so much I actually got scared into making good records."
Brian’s increasing anxiety and nervous breakdowns were exacerbated by the relentless touring schedule, which he found mentally and physically exhausting. Following a panic attack on board a flight Brian stopped touring with the band, leaving his brothers Carl and Dennis, along with Al Jardine and Mike Love, to perform live. This withdrawal from touring to focus on his mental health gave him the space and time to begin experimenting with more complex arrangements and production techniques in the studio. While his mental health struggles were intensifying, his creativity was flourishing. The tension between his personal challenges and his artistic ambitions would later lead to the creation of some of the band's most groundbreaking work. Thereafter Brian would play the odd gig to fill in for other Band members but he would not return to playing tours until 1976 and then pretty seldom. I had the privilege to see the great man once, in 2004 when he played ‘Pet Sounds’ and more in front of an enraptured audience in Glasgow.
The rise of Beatlemania deeply unsettled Wilson, who felt the Beatles’ success overshadowed the Beach Boys' dominance as America's top vocal group. Wilson later described how this “shook him up,” leading him to push the Beach Boys harder.
Released in May 1964 as the lead single from their album All Summer Long, “I Get Around” became their first No.1 hit in the United States, marking a major milestone in the band’s career. The song was written by Brian and Mike Love, and its creation marked a departure from the surf-themed songs the band had been known for in the early years of their career. As the band’s musical style was evolving, Brian had started to become more experimental with his production techniques, wanting to create a more mature sound while still keeping the energetic spirit of The Beach Boys intact. Mike Love, known for his vocal contributions and often working with Brian on lyrics, helped shape the song’s structure.
The recording of “I Get Around” took place at Western Recording Studios in Hollywood in March 1964. It was a challenging yet innovative session, as Brian Wilson, by this point, had become more involved in every aspect of the band's sound, often taking on the role of producer and orchestrator. One of the most striking features of “I Get Around” is its complex vocal arrangement. The song features lush harmonies, which were a hallmark of The Beach Boys' sound, but Brian Wilson pushed the band’s vocal harmonies to new levels of intricacy. The instrumental arrangement also reflects Brian’s growing sophistication in production. The song is driven by his catchy piano riff which forms the backbone of the track. Also a key feature of the song is its use of a distinctive lead line from his electric bass, which adds a subtle but effective element to the track’s overall feel.
Brian Wilson was heavily influenced by Phil Spector’s “Wall of Sound” technique, where dense layers of sound are created through the combination of multiple instruments and vocal tracks. He brought this approach to the production making it a more polished, full-sounding track compared to previous Beach Boys songs. He also used his studio expertise to create a more layered sound, adding subtle backing vocal parts and instrumental fills that gave the track depth and texture. The production process was also notable for its technical aspects. The band recorded using multi-track tape technology, which allowed for a more complex arrangement. This was still relatively new for rock bands in the 1960s, and The Beach Boys were pioneers in utilising studio techniques that were more common in orchestral music. When released as a single in May 1964 (backed with “Don’t Worry Baby”), it became an instant hit, reaching No. 1 on the Billboard Hot 100 in the United States. It was the first Beach Boys song to top the charts.
"Look Mom, we're on the Ed Sullivan show and we're wearing the shirts you got us for Christmas"
The Kinks
The Kinks were an English rock band formed in London in 1963 by brothers Ray and Dave Davies, and Pete Quaife. They are regarded as one of the most influential rock bands (ever). The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965.
1964 was the year of The Kinks breakthrough. Their first two singles (“long Tall Sally” and “You still want me”), released in the first half of 1964 were flops tot the extent that Pye Records threatened to annul the group's contract unless their third single was a success.
“You Really Got Me” their third, is viewed as one of the most influential rock songs ever recorded. It’s often credited as a defining moment in the development of hard rock and heavy metal due to its raw energy, distinctive riff, and groundbreaking sound.
The song is notable for its aggressive, electrifying sound that was a departure from much of the pop and rock music of the early 1960s. The Ray Davies song was influenced by American Blues and The Kingsman’s version of Louie Louie was recorded on 15 June 1964 at Pye Studios with a slower and more produced feel than the final single. Davies wanted to rerecord the song using a lean, raw sound, but Pye refused to fund another session; Davies was adamant, so the producer Shel Talmy broke the stalemate by underwriting the session himself. The band used an independent recording studio and completed the recording in two takes on 15 July. The single was released in August 1964; supported by a performance on the television show Ready Steady Go! and extensive pirate radio coverage, it entered the UK charts on 15 August, reaching number one on 19 September. Hastily imported by the American label Reprise Records, where the band was signed by legendary executive Mo Ostin,"You Really Got Me" also made the Top 10 in the United States.
The loud, distorted guitar riff and solo was almost an accident. Dave Davies, the band's guitarist, was experimenting with his amp when he cut the speaker’s cone with a razor blade to make it sound more distorted. The result was a fuzzed-out, crunchy tone that gave the riff its signature sound. This wasn't a typical "guitar distortion" effect; it was a makeshift hack that became revolutionary.
Producer Shel Talmy helped capture that sound on tape, but he wasn’t initially convinced it would work. The recording was done quickly, with little fuss. The Kinks played the song live in the studio, with the riff driving the track from start to finish. The track was recorded with minimal overdubs, and the rawness of the recording adds to its energy. In fact, much of the Kinks' early appeal lay in their lo-fi, stripped-down approach compared to the lush productions of some of their contemporaries, like the Beatles or the Beach Boys.
It was a defining moment not just for The Kinks but for the development of rock music as a whole. It’s credited with influencing not only the hard rock and metal genres but also the whole “garage rock” movement that would follow in the 1960s. Bands like The Who, Led Zeppelin, and Van Halen (who famously covered the song in the late '70s) have cited “You Really Got Me”as a direct influence. Its impact is still felt today, with its riff being one of the most recognisable in rock history.
After its release, the Kinks recorded most of the tracks for their debut LP, simply titled Kinks. Consisting largely of covers and revamped traditional songs, it was released on 2 October 1964, reaching number four on the UK chart. "All Day and All of the Night", another Ray Davies hard rock tune, was released three weeks later as the group's fourth single, reaching number two in the UK and number seven in the US.
Chuck Berry
I find it difficult to categorise this song. Is it rock n roll? Jazz?, R and B? Blues?
No idea. Answers on a postcard please. Whatever, I love it.
"You Never Can Tell” was written and performed by Chuck Berry, and it was first released as a single in 1964. It became one of his more memorable tracks, partly because of its infectious rhythm and storytelling style. The song was a departure from some of his earlier, more rock-and-roll-driven hits like *"Johnny B. Goode"* or *"Maybellene"* in that it had a jazzy, swing feel, largely due the way it was structured.
In the studio, "You Never Can Tell" was recorded with a laid-back, almost jazzy feel, giving it a unique swing rhythm. The track features Berry's signature guitar riffs, but it also incorporates a jazzy piano line, which was a bit of a departure from the more straightforward rock 'n' roll sound he was known for. Chuck Berry's playful and slightly tongue-in-cheek storytelling style is enhanced by the song's smooth, danceable rhythm, which made it popular on dance floors.
The song was recorded at Chess Records the same label behind much of Berry’s early work, and it has that classic 1960s Chicago sound with tight rhythms and clean production. The light, swing-like feel of the music paired well with the charming, almost cinematic lyrics, making it stand out in Berry's catalog.
Though it wasn’t as commercially huge as some of his other hits, "You Never Can Tell" gained significant popularity over time, becoming a favourite in Berry's catalog and influencing many artists. Its use in pop culture, notably in Quentin Tarantino's Pulp Fiction (1994) during the iconic dance scene between John Travolta and Uma Thurman, helped solidify its legacy.
Motown
Motown had hits-many big hits prior to 1964, but it's easy to think of this year as the year when the label truly took off. It's the year that Motown became more than a successful independent label and became a phenomenon, churning out hits at a blinding speed, defining the era as much as the Beatles-driven British Invasion. As with any massive success, this was not an overnight sensation but rather the result of years and years of work, with all of the separate pieces falling into place at the same time. Berry Gordy refined his crossover concepts and sharpened his business acumen, while the house band gelled, creating a unified sound for most of the Motown/Tamla singles, bringing muscle and soul to the compositions of the stable of writers. Gordy began to recede as a writer, but Smokey Robinson and Marvin Gaye continued to pen hits, both for themselves and for other artists, but their contributions tended to be overshadowed by the astonishing partnership of Brian Holland, Lamont Dozier, and Eddie Holland, whose productions and compositions formed the core of the Motown sound during these peak years
Throughout 1964, Holland, Dozier Holland churned out song after song, songs that didn't become hits but became anthems, turning groups into superstars in the process. Chief among them were the Supremes, who had "Where Did Our Love Go," "Come See About Me," and "Baby Love" this year, hits that turned them into the biggest American recording artist of the year, but 1964 was also the year of Martha & the Vandellas' "Dancing in the Streets," Mary Wells' "My Guy," Marvin Gaye's "You're a Wonderful One," "Baby Don't You Do It," and "How Sweet It Is (To Be Loved by You)," the Four Tops' "Baby I Need Your Loving," and the Temptations' "The Way You Do the Things You Do" and "My Girl," all songs that defined the era.
I could have chosen any of these for the Playlist but “My Girl” just squeezes it.
“My Girl” by The Temptations, released in 1964, is one of the most iconic songs in the history of Motown and soul music. Written by Smokey Robinson and Ronnie White of the Miracles, and produced by Robinson, the song became a defining moment for both the group and the label. It's a smooth, sweet love ballad that helped cement The Temptations as one of the leading Motown acts.
“My Girl” was originally written as a way for Smokey Robinson to showcase David Ruffin's powerful lead vocals. Robinson, who had previously written for other Motown acts, crafted the song with a melody that was easy to remember but layered with emotional depth. The production was designed to highlight Ruffin's voice, supported by The Temptations signature harmonies and the lush instrumental arrangement typical of Motown's sound. The song features a prominent bass line played by James Jamerson, one of Motown's most revered session musicians, and an unforgettable horn section that adds to the energy.
Upon its release, “My Girl” became a massive hit, reaching No.1 on the Billboard Hot 100 and No 1.on the R&B charts, and is often regarded as one of the greatest songs in pop and soul music history. Its success helped The Temptations gain broader recognition, transitioning from a popular Motown act to an enduring musical force.
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The Temptations show off to their girl by seeing how long they could stand on one leg
Country/Folk
In 1964, country music balanced tradition with modern influences. The Nashville Sound, led by artists like Jim Reeves (Welcome to My World), brought smooth, pop-inspired arrangements. Johnny Cash dominated with Understand Your Man, and George Jones delivered the lively The Race Is On. Rising stars like Loretta Lynn (Wine, Women, and Song) and Connie Smith (Once a Day) highlighted women’s growing presence. The year saw country evolving, blending rural roots with crossover appeal, and setting the stage for future innovations.
Meanwhile, As Another Side of Bob Dylan was prepared for release, Dylan premiered his new songs at the Newport Folk Festival in July. The festival also marked Dylan's first meeting with Johnny Cash; Dylan was already an admirer of Cash's music, and vice versa. The two spent a night jamming together in Joan Baezs room at the Viking Motor Inn. According to Cash, "we were so happy to [finally] meet each other that we were jumping on the beds like kids." The next day, Cash performed Dylan's “”Don’t Think Twice Its All Right’ as part of his set, telling the audience that "we've been doing it on our shows all over the country, trying to tell the folks about Bob, that we think he's the best songwriter of the age since Pete Seeger ... Sure do."
Though the audience at Newport seemed to enjoy Dylan's new material, the folk press did not. Critics criticised Dylan's direction and accused Dylan of succumbing to the pressures/temptations of fame. In an open letter to Dylan published in the November issue of Sing Out!, Silber wrote "your new songs seem to be all inner-directed now, inner-probing, self-conscious" and, based on what he saw at Newport, "that some of the paraphernalia of fame [was] getting in your way." Horowitz called the songs an "unqualified failure of taste and self-critical awareness."
The album was a step back commercially, failing to make the Top 40, indicating that record consumers may have had a problem as well. Dylan soon defended his work, writing to columnist Ralph Gleason that "the songs are insanely honest, not meaning to twist any heads an written only for the reason that i myself me alone wanted and needed t write them."
In 1964, Simon & Garfunkel were in the early stages of their musical career, still finding their footing as a duo. Although they would go on to become one of the most influential folk-rock acts of the 1960s, that year was pivotal in shaping their sound and public recognition. Their big breakthrough came when they signed with Columbia Records under their own names (previously they performed as ’Tom and Jerry’. They released their debut album Wednesday Morning, 3 A.M. in October 1964, which initially flopped commercially. The album contained folk-inspired songs, but it did not make a significant impact at the time. The record was produced by Tom Wilson, who would later play a key role in their sound development.
The most notable track from the album, “The Sound of Silence”, was originally a stripped-down acoustic song. However, in a stroke of serendipity, producer Tom Wilson, hearing the potential of the song, had the track re-recorded with a new arrangement—adding electric guitar, bass, and drums—against Simon’s initial wishes. This reworking was a defining moment for the duo, blending folk and rock in a way that would soon become their signature style. By the end of 1964, “The Sound of Silence”had become a surprise hit. After being re-released as a single in 1965, the song climbed the charts and eventually reached No. 1 on the *Billboard Hot 100* in January 1966. Its success helped catapult Simon & Garfunkel into the national spotlight. While the song's folk roots were still evident, the added instrumentation appealed to the growing popularity of electric rock music during the mid-‘60s. At this point, Simon & Garfunkel were still relatively unknown, but their success was just beginning to build momentum. They spent much of 1964 continuing to work on their craft, perform small shows, and fine-tune their musical identity. 1964 was a formative year for the duo. While they didn’t achieve major commercial success in 1964, their debut album Wednesday Morning, 3 A.M. set the stage for what was to come. The success of “The Sound of Silence”, especially after its unexpected reworking, marked the beginning of their rise to fame, and they would go on to become one of the most influential musical duos of the 1960s.
The Blues
In 1964, blues music experienced a pivotal moment as traditional styles influenced the burgeoning British Invasion and American rock scenes. In the U.S., blues legends like Muddy Waters, Howlin’ Wolf, and B.B. King continued to record and perform, keeping the Chicago electric blues alive. Albums like Howlin’ Wolf’s The Real Folk Blues and singles such as B.B. King’s Rock Me Baby showcased the genre's enduring appeal.
Meanwhile, the blues found new life in the U.K., where bands like The Stones, The Animals, and John Mayall & the Bluesbreakers reinterpreted classic American blues, introducing it to younger audiences. Eric Clapton, still with The Yardbirds in 1964, emerged as a standout blues guitarist.
For me, there can only be one track to represent the Blues in 1964.
The Animals
Known for their soulful, blues-inspired sound, their version of The House of the Rising Sun topped charts in both the UK and the U.S.. Their self-titled debut album (The Animals), released in the U.S. in September 1964.
The Animals’ 1964 version of "House of the Rising Sun" is a defining moment in rock history, particularly in the British Invasion era. The arrangement that they developed for this traditional folk song was groundbreaking, blending blues, folk, and rock elements, and it became a key part of their signature sound.
Alan Price's distinctive organ riff is one of the defining features of this version. Whilst Eric Burdon’s vocal performance is raw and emotionally charged. The structure of the song stays relatively close to traditional folk versions, but the addition of electric instruments and the organ gives it a more dramatic, bluesy feel.
Producer Mickie Most was responsible for the song’s production. The session was reportedly rushed because of a tight deadline, but the performance came out so well that it was quickly chosen as a single. The energy of the band, particularly the powerful and expressive keyboard work by Alan Price, was a key part of the track’s success. Price’s organ solo was so integral to the song's feel that, during later versions, the organ part became more associated with the song than any other instrument.
Interestingly, the song was initially recorded without much polish, which actually worked in its favour. The rawness of the recording made it feel more authentic, especially as it drew from the American folk-blues tradition, which was often characterised by rough, unrefined sound.
When The Animals released "House of the Rising Sun" in 1964, the British Invasion was in full swing. The Animals were unique in their ability to merge American blues and folk with British rock. Their version of "House of the Rising Sun" marked a crossover moment where traditional folk music was adapted for a rock audience. The song had been popular in folk circles before, especially through versions by Lead Belly and Bob Dylan but it had never been quite as electrified or as dramatic as The Animals' interpretation. According to Burdon, The Stones were consumed by jealousy of this recording. (Not sure if they actually admitted that).
Alan Price, the band's keyboardist and the main force behind the song’s arrangement, was crucial to the band’s sound. However, his growing dissatisfaction with the direction of the band led him to leave in 1965, shortly after the success of "House of the Rising Sun." Price was reportedly unhappy with the commercial success of the band and its increasingly pop-oriented direction, which he felt was moving away from his own musical interests. His departure marked a turning point for the band, and The Animals would go on to experience lineup changes.
There is another spin on their history though which pushes Price forward as one of the greatest c*nts in rock music. Famously, The Animals manager claimed there was only room on the song registration form for one name - Price, that resulted in Price getting all royalties for the recording (remember he didn’t write it - it was a classic). Price then left the Band to their own devices and Burden repeatedly tried to persuade him to share for decades. He refused. According to the other band members, the arguments over this was one of the main reasons the band broke up.
"You guys might think this song is going to make you millionaires, but......."
Thought Alan with a twinkle in his eye.
Jazz
In 1964, jazz was undergoing significant evolution, blending traditional forms with avant-garde experimentation. John Coltrane released “Crescent”, a deeply spiritual and introspective work, while also debuting parts of “A Love Supreme” his groundbreaking suite that would be fully recorded later that year. Miles Davis, transitioning toward his electric period, released “Miles in Tokyo”, featuring saxophonist Sam Rivers.
The avant-garde movement thrived with Eric Dolphy’s “Out to Lunch!”, a pioneering free-jazz album, and Ornette Coleman continued exploring harmolodics. Meanwhile, Charles Mingus blended politics and music with works like Mingus Plays Piano.
Bossa nova’s influence endured, with Stan Getz and João Gilberto’s “Getz/Gilberto” introducing “The Girl from Ipanema” to worldwide acclaim. Swing veterans like Duke Ellington remained active, with Ellington’s “Ellington ’65” showcasing big band adaptations of contemporary standards.
For my Jazz track I have picked something a little more populist though;
“Hello, Dolly!”, recorded by Louis Armstrong, blends Broadway with jazz, showcasing Armstrong’s distinctive style. Though originally written for the musical “Hello, Dolly!”, Armstrong’s version infused the song with jazz influences, particularly through his vocal delivery, which featured improvisational flourishes. His trumpet playing, rooted in New Orleans jazz, added a signature sound, and his vocal phrasing echoed the spontaneous nature of a jazz performance. The arrangement included a brass section and swing rhythm, elements central to jazz and big band music. The call-and-response structure between Armstrong and the backing vocals also reflects jazz traditions. Armstrong’s exuberant personality brought a fresh, joyful energy to the song, making it accessible to both jazz and pop audiences. His version became a massive hit, reaching No. 1 on the *Billboard Hot 100*, and helped bridge the gap between jazz and mainstream pop.
Pop (part 2)
In the year that TOTP was born, 1964 is just too rich to not mention numerous acts that had hits this year. Some of the groups we have mentioned but for more mainstream pop, The Righteous Brothers, Pet Clarke, Dean Martin, The Big O, Streisand, Gene Pitney, Peter and Gordon, Dusty, Herman and the Hermits (shout out to Carol King for writing the song). The list goes on. Of all these worthy contenders, I have chosen one. Both for the sophistication of the writing, lyrics, arrangement and vocal delivery:
“Walk On By” is a 1964 hit song performed by Dionne Warwick, written by Burt Bacharach and Hal David. The song is one of Warwick’s signature tracks and showcases the sophisticated pop-soul style that Bacharach and David were known for. The lyrical theme of painful yet dignified separation is complemented by Warwick’s rich, soulful voice, which conveys deep emotional complexity. The song features Burt’s signature lush orchestral arrangement, combining strings, brass, and a slow, waltz-like rhythm, creating an atmospheric and dramatic mood. Bacharach’s use of unusual chord changes and time signatures added a sense of sophistication to the pop ballad, while the orchestration gave it a cinematic quality. Warwick’s vocal delivery, poised and evocative, was a key factor in the song’s emotional impact. Released in April 1964, it became a major hit, reaching #6 on the Billboard Hot 100 and topping the *Billboard R&B chart*. Its success helped solidify Warwick’s place as one of the era's leading vocalists. The song remains a classic and has been covered by numerous artists, continuing to influence pop and soul music. The record was also produced by Bacharach/David. Both were responsible for shaping its unique sound. Bacharach, known for his intricate arrangements, and David, renowned for his emotionally resonant lyrics, were a powerhouse songwriting duo in the 1960s. Their collaboration with Dionne Warwick was central to her success, and their production of “Walk On By” helped define the sophisticated pop-soul style that became their signature. Bacharach also arranged the orchestral backing for the track, giving it its lush, cinematic feel.
Soul
Finally, it would be remiss of me not to include the legendary soul singer Sam Cooke who has already featured in the write ups of the early 60’s. Considered as one of the greatest to have ever lived
“A Change Is Gonna Come” is one of Sam Cooke’s most iconic and impactful songs, released in 1964. Written by Cooke, the song is a powerful anthem of hope and resilience during the Civil Rights Movement, reflecting both his personal struggles and the larger societal issues facing African Americans at the time. Cooke was inspired to write the song after experiencing racism firsthand during a trip to the South. He had been turned away from a motel because of his race, an experience that deeply affected him. The song’s lyrics express his feelings of despair but also his hope that change was on the horizon. Cooke was also influenced by Bob Dylan’s socially conscious songwriting, especially “Blowin’ in the Wind.”
The song’s message was not just about the fight for civil rights but also about the broader human experience of facing adversity and seeking change. In a 1964 interview, Cooke mentioned that the song was about "the kind of change that people who are oppressed dream about." Released in the wake of events like the March on Washington and the bombing of the 16th Street Baptist Church in Birmingham, Alabama, the song became an anthem of the Civil Rights Movement. Though it was not an immediate commercial hit, “A Change Is Gonna Come” gained recognition over time, becoming one of Cooke's most beloved tracks. It has been covered by numerous artists and remains one of the most enduring songs in the soul and protest music genres.
The song was inducted into the *Grammy Hall of Fame* in 2000 and is regularly included in lists of the greatest songs of all time. Its emotional depth, social relevance, and Cooke’s powerful performance make it a timeless piece of music history.
Sam Cooke was shot and killed on December 11, 1964, at the Hacienda Motel in Los Angeles. The motel manager, Bertha Franklin, claimed she shot Cooke in self-defence after he forced his way into her office, demanding to know the whereabouts of a woman who had accompanied him. Franklin said she feared for her life and shot Cooke, who later died from a gunshot wound to the chest. A coroner's inquest concluded the shooting was justifiable homicide, but some of Cooke's family and supporters disputed this, questioning the official version of events. The incident remains shrouded in mystery, with some suggesting possible involvement of Cooke's manager, Allen Klein, though no evidence of a conspiracy has been found.
What a talent to have died so young.
View attachment 144688
So there it is. 1964 in all its glory. It was a real labour of love pulling this together - a year that I can still remember pretty well, full of adventure, optimism and fantastic music that would last me a lifetime.
Play list
- And I Love Her (the Beatles)
- I Get Around (The Beach Boys)
- You Really Got Me (The Kinks)
- House of the Rising sun (The Animals)
- You Never can tell (Chuck Berry)
- My Girl (The Temptations)
- The Sound of Silence (S and G)
- Hello Dolly (Louis Armstrong
- Walk on by (Dionne Warwick)
- A Change is Gonna Come (Sam Cooke)
As I don't have Spotify, @threespires has kindly agreed to maintain the playlist for the next couple of weeks.
Brilliant summary Saddleworth simply brilliant.
Agreed Magnificent post. I was 14 years old in 1964 and even then wondered if the Beatles could possibly keep improving on their already incredible string of hits….and they did. Hard Days Night and Revolver utter masterpieces.
Just to add that it is noticeable all the songs had a strong melody. Admittedly I am now a FOC but the lack of melody and repetitiveness of much modern “music” in contrast to the 60s is notable.
A couple of years ago I was listening to the radio in the car and after 20 minutes or so of thump bang bang thump the DJ played Strawberry Fields Forever. At the end of the track there was a moment of silence and the DJ was clearly gobsmacked by the quality of the track compared to the previous dross. So lucky to have been a teenager in the 1960s.
Saddleworth2
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I am like you, by nature a FOC that likes what he knows and knows what he likes. The music threads on Blue Moon have opened my eyes to so much more music that I have missed over the years. That, and my teenage granddaughters. Old, new and in between. There is so much quality to enjoy. Hope you stick around these threads and post more. :-)
Will do and thanks for the kind words. My son, now 40 has switched me on to some excellent recent stuff but Beatles, Stones, S&G, Beach Boys - what a time. There were two sampler albums in the late 60’s Rock Machine turns you on and Rock Machine I love you both fantastic. But I’m straying off 1964 topic but these artists provided the soundtrack to my life :-))
mancity111
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You bet , musically I wouldn't have wished to be in my so called formative at any other time.
As i become a very old FOC I must admit some of the music I thought was dross before the R&R revolution sung by crooners and played by the swing bands and jazz bands of earlier days appeals to me , more and more.
You are right melody . harmony . licks and riffs are what makes most music lovers boat to float.
I don't listen to the radio FM or AM anymore outside some more of the lesser listened to that play some Americana , Grunge and Country music not often heard in OZ anymore.
I can't remember when A Man needs a Maid for example from Neil Young's masterpiece Harvest was last played on mainstream.
mancity111
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I am still a sucker for great musicals and musical theatre and in 1964 they hadn't quite left us yet to the confines of history to be overrun with records producers and agents with more to come in the swinging sixties.
So back I go to a Styne and Merrill number simply titled People sung by Barbara or should I say Barbra Streisand almost Canada's first lady but wisely turned down the marriage proposal , one of the few Jewish " superstars " who didn't want to change her name despite the calling of the powers that be and did so with her first name somewhat cheekily to snub them and of course the rest is history.
My first choice for 1964 is People by Barbra Streisand.
So back I go to a Styne and Merrill number simply titled People sung by Barbara or should I say Barbra Streisand almost Canada's first lady but wisely turned down the marriage proposal , one of the few Jewish " superstars " who didn't want to change her name despite the calling of the powers that be and did so with her first name somewhat cheekily to snub them and of course the rest is history.
My first choice for 1964 is People by Barbra Streisand.
threespires
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For '63 I restrained myself from picking something from Jimmy Guiffre's Freefall album but then regretted doing so. So this time I'm heading in that direction albeit a bit less hardcore. By the mid 60's avant garde jazz was in full flow and progressing nice(ly). '64 saw the release of what is seen as one of the great avant garde jazz albums, Out To Lunch by Eric Dolphy. If you fancy something a bit Ron Burgundy then listen to track 3 Gazzelloni, but I'm going for the album opener.
Hat and Beard - Eric Dolphy
Hat and Beard - Eric Dolphy
threespires
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Nothing to nominate yet on this front but it's worth noting that a young lad from Salford called Graham wrote his first major song in '64. Unfortunately the geniuses at Columbia decided 'For Your Love' wasn't much cop and wouldn't release it. Luckily this didn't deter him and he managed to have quite a good career as both performer and more importantly song writer too.
A fine and prolific songwriter, Mr. Gouldman.
threespires
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Indeed. It was your mention of The Hollies that made me think of him. I know we've not got there yet, but Bus Stop is just a fantastic pop song.