The 1950s and ’60s were decades marked by exhilarating highs and heartbreaking lows; this list explores some of the best tragic songs from this era.
Many male listeners of 70s radio shows were overcome with emotion when this song played on the radio, even with its muted honky-tonk beat and soothing honky-tonk melody, when its story of dysfunctional family struggles eventually took its toll.
The Kinks
The Kinks were an iconic British rock group who established themselves with two early hit singles (You Really Got Me and What’s So Bad About Feeling Good). Tired of Waiting for You was their follow-up effort that demonstrated their ability to shift gears effectively; Dave Davies’ electric guitar pulse still exists but more emphasis is put on Ray’s plaintive melody here than on Dave Davies’ electric guitar pulse – this song still remains one of their classic songs and remains relevant today.
Following their charming ode to country roots on Muswell Hillbillies, the band experienced an extended dry spell due to drug and family problems, evidenced in subpar live performances and average concept albums released during this time.
Something changed, however, and The Kinks emerged from this period as a revitalized force. Their album entitled the Kinks Are the Village Green Preservation Society perfectly captures this transformation from garage ravers to sublime, slightly arty popsters. Though there are ups and downs – songs chronicling big rock stars swapping places with regular people are standard Kinks fare – there is enough good stuff here that makes listening worth your while.
Only minor complaints: the album seems somewhat disjointed compared to their earlier work, with both excellent moments and much filler material. Reissue includes soundtrack versions of its best tracks but that alone cannot make up for its lackluster qualities; still one of their better releases from the 70s!
The Beatles
Before John Lennon, Paul McCartney, George Harrison and Ringo Starr became one of the world’s greatest bands, they were four precocious teenagers from Liverpool with an affinity for American rock and roll who performed locally in 1957 – but never could have predicted becoming forces for social transformation.
Their first manager, Brian Epstein, recognized their potential and submitted letters and tape recordings to major music labels. Parlophone signed them, while producer George Martin began shaping them with class and professionalism which they may not have found otherwise.
Initial years into their recording careers, the Beatles seemed adept at producing any romantic cliche into an amazing tune. Unfortunately, as years passed and internal quality control disintegrated, more subpar songs like this began surfacing in their repertoire.
McCartney wrote this song that easily fits the classification of “granny music.” It sounds dated and dull, which makes it hard to comprehend why it made the band’s first album – B-side to an existing hit perhaps? As an indication of decreasing standards within their ranks.
The Beatles first had success in America in 1965, with several top American hits and explosive popularity by year’s end. Yet despite this meteoric rise in their fame, they continued to struggle with self-confidence regarding their musical skills; that can be seen here with this lackluster tune, an awkward pop track stretching nearly three minutes long.
The Beatles released this groovy McCartney composition as their second American single of 1966 and their most successful in America, becoming their second American hit of 1966. Though its guitar work is impressive, its lyrics lack emotional impact compared to earlier performances by Lennon and McCartney at live shows; Lennon attempted to capture some of this spontaneity here but ultimately failed. Though not their weakest studio track per se; points have been deducted for featuring Rudy Vallee mic effects at its opening.
John Lennon
John Lennon grew up listening to simple rock songs such as Gene Vincent’s “Be-Bop-A-Lula”, Lee Dorsey’s ‘Ya Ya” and Larry Williams’ “Bony Moronie”, all of which contained childishly playful elements that disregarded any sense of propriety; these were songs of teenagers determined to disrupt society around them, often at odds with adults; Lennon himself understood this, although initially his handlers encouraged him to remain silent on controversial matters; eventually his intelligence and desire to engage with issues confronting his generation made such a strategy unsustainable.
By the time Lennon reached his mid-20s, he had already amassed much of the wisdom necessary to become one of the most prominent and powerful advocates for peace and non-violence during his era. This understanding informed his lyrics – from utopian album titles to clever political jabs at others.
Imagine, Lennon’s most widely recognized work, is testament to this legacy, while other works also bear testimony to it. Co-written with Yoko, his song ‘Woman Is The Nigger Of The World’ became one of the first feminist anthems ever released by an established male rock artist – serving both as political provocation and showing his growing awareness of women in his life.
The song, ‘It’s Not Me It’s You,’ resonates with this central idea. Lennon’s shift away from his usual assertive persona towards one more vulnerable and troubled is an example of his personal struggle to accept his diminished sense of self-worth and accept being seen as less than perfect in order to find love.
Of course he was correct; the final stanza of the song is powerfully moving; its message being both sad and hopeful at once; an everlasting reminder that life, rather than us personally, are responsible for any misfortune that occurs in life.
The Rolling Stones
The Stones were one of the greatest rock bands ever, crafting legendary albums that captured and defined rock ‘n’ roll’s essence. Beggars Banquet, Let It Bleed, Sticky Fingers and Exile on Main St are four essential albums that demonstrate this evolution; elements from each are seen throughout. Beggars Banquet marks an early step from folk-rock (a la “Lady Jane”) through psychedelic blues on Beggars to druggy aftermath of the ’60s dominating Exile on Main St.
Even though Jumpin’ Jack Flash was a hit single, its album cover was controversial due to its depiction of the band in drag. The song itself told of drug-taking and sexual abuse which resonated strongly with an audience still reeling from Watergate. Although The Stones continued their popularity through most of the early 1970s critics began questioning their ability, and by the end of that decade many speculated they may break up.
This acoustic track from their Beggars Banquet oddity set feels similar to country music, with tablas and slide guitar providing accompaniment, but what really sets this song apart is Mick Jagger’s heartbreaking tale of working class life that resonates throughout this song. Jagger sings of women working factory days while partying hard every night while never seeming to find peace within herself; an emotive ballad that shows The Rolling Stones were more than just loud rockers.
Reworking Willie Dixon’s country-and-blues hit, “Howlin’ Wolf”, this classic Stones cover demonstrates their unparalleled talent at creating classic covers. A stunning blend of country, gospel, R&B and rock with Mick Jagger sounding as though he were Lord of the Manor; Richards’ bad-trip riff is made all the more disorientating by Jones’ Mellotron, saxophone and flute additions; it is American music heard through their unflowery psychedelic prism with their outsider perspective making this timeless classic; additionally this recording also marks their debut inclusion of brass horns as an exclusive recording feature for brass horns in addition!