Released: March 1967

Shocking in both its lyrical frankness and its musical sparseness, ‘Heroin’ was Lou Reed at his most cliff-edge doomed and romantic. Spitting the lyrics with a bit too much realness, the music spins into a frenzied “high” aided by Moe Tucker’s jiggling percussion and John Cale’s freakish viola. Hauntingly brilliant.

 
 
 

Released: May 1968

According to legend this track was inspired by Keith Richard’s gardener (along with the effect of quaffing too much acid ), The Stones’ ‘…Jack’ was led by Richards' propulsive, open tuned guitar riff which he likened to “levitation.” Meanwhile Jagger’s vocal was the perfect blend of bullish and petulant.

 
 
 

Released: June 1968

Proto-Krautrock duo the Silver Apples flew miles ahead of the pack with this stunningly unique track. Aided by a rudimentary synthesizer and a non-traditional song structure, ‘Oscillations’ appropriately enough, spoke of the beauty of the new, in an effortlessly forward- looking way.

 
 
 

Released: June 1965

Led by Jim McGuinn’s distinctive 12-string Rickenbacker, and Gene Clark’s pitch perfect lilt, this was originally the b-side to ‘All I Really Wanna Do’. With its gentle jangle and angelic harmonies this track set the template for all future alt-country jams.

 
 
 

Released: November 1967

Like an American version of Serge Gainsbourg and Brigitte Bardot, Nancy and Lee were a sultry pairing who radiated with danger and mysterious sexual allure. No less than on the mythology referencing ‘Some Velvet Morning’ which has gone on to become a much covered alternative duet (perhaps most famously by Primal Scream and Kate Moss).

 
 
 

Released: May 1967

A shimmering slice of 60s Britannica which honed in on a vision of the capital via the narrative grace of Ray Davies. Dave Davies’ lilting guitar chords corralled the tale of “Terry and Julie” (Terence Stamp and Julie Christie) and future histories yet to be written with a waltz-like grace and a timeless charm.

 
 
 

Released: March 1967

Based on the counter-culture novel by Leopold von Sacher-Masoch, the VU’s tale of S&M curdled with its own bedraggled charm, thrusting forth with John Cale’s droning viola and Lou Reed’s dully ceremonial vocal. Gothic before "goth" existed.

 
 
 

Released: August 1966

Penned by Motown dream-team of Holland/Dozier/Holland, Levi Stubbs sang this track with an urgency which was said to mimic Bob Dylan. The result was a Motown classic that pulsated with the knowledge of the depths of desperation and loneliness which found its beating, soulful heart beneath in the broad swells of the music.

 
 
 

Released: November 1966

Penned by Neil Diamond and played by session musicians, ‘I’m A Believer’ was a brilliant slice of 60s boyband pop, claiming its rightful place atop the US Billboard charts for seven glorious weeks. A cheery bolt of daydream escapism, amongst a background of social upheaval.

 
 
 

Released: June 1965

Following a legal battle with his label King Records, a reinvigorated James Brown re-emerged revitalized. Showcasing his new, JB Horns assisted new direction with a slick funk loop, the song would signal a new turn not just for Brown but for R'n'B music as a whole.

 
 
 
 
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