"Jumpin' Jack Flash" is a song by the English rock band the Rolling Stones, released as a non-album single in 1968. Called "supernatural Delta blues by way of Swinging London" by Rolling Stone magazine, the song was perceived by some as the band's return to their blues roots after the baroque pop and psychedelia heard on their preceding albums Aftermath (1966), Between the Buttons (1967) and especially Their Satanic Majesties Request (1967). One of the group's most popular and recognisable songs, it has been featured in films and covered by numerous performers, notably Thelma Houston, Aretha Franklin, Tina Turner, Peter Frampton, Johnny Winter, Leon Russell and Alex Chilton. To date, it is the band's most-performed song; they have played it over 1,100 times in concert.
"Can't Buy Me Love" is a song by the English rock band the Beatles that was released in March 1964 as the A-side of their sixth single. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The song was included on the group's album A Hard Day's Night and was featured in a scene in Richard Lester's film of the same title. The single topped charts in the United Kingdom, the United States, Australia, Ireland, New Zealand and Sweden. In the UK, it was the fourth highest selling single of the 1960s.
"Hawaii" is a song written by Brian Wilson and Mike Love for the American rock band the Beach Boys. It was recorded in July 1963 and released on their 1963 album Surfer Girl. It is one of the first Beach Boy songs that Hal Blaine played on, contributing timbales, but regular drummer Dennis Wilson still played. In January 1964, it was released as a single in Australia, becoming a top-10 hit. "Hawaii" made its way into the Beach Boys repertoire almost 50 years later.
"All Day and All of the Night" is a song by the English rock band the Kinks from 1964. Released as a single, it reached No. 2 in the UK on the Record Retailer chart and No. 7 on the US Billboard Hot 100 chart in 1965. The song was included on the Kinksize Hits EP in the UK and the Kinks' second American album, Kinks-Size (1965).
"She's a Rainbow" is a song by the Rolling Stones and was featured on their 1967 album Their Satanic Majesties Request. It has been called "the prettiest and most uncharacteristic song" that Mick Jagger and Keith Richards wrote for the Stones, although somewhat ambiguous in intention.
"Have You Seen Your Mother, Baby, Standing in the Shadow?" is a song by the English rock band the Rolling Stones. Written by Mick Jagger and Keith Richards, it was recorded in the late summer of 1966 during early sessions for what would become their Between the Buttons album. It was the first Stones single to be released simultaneously in both the UK and the US, and reached number five and number nine on those countries' charts, respectively.
"Flowers in the Rain" is a song by English rock band The Move. The song was released as a single and reached number two in 1967 on the UK Singles Chart, and number four in Ireland.
"For Your Love" is a rock song written by Graham Gouldman and recorded by English group the Yardbirds. Released in March 1965, it was their first top ten hit in both the UK and the US. The song was a departure from the group's blues roots in favour of a commercial pop rock sound. Guitarist Eric Clapton disapproved of the change and it influenced him to leave the group.
"Victoria" is a song written by Ray Davies of the Kinks. It is the opening track on the band's 1969 concept album Arthur .
"I'm Moving On" is a 1950 country standard written by Hank Snow. It was a success in the record charts and has been recorded by numerous musicians in a variety of styles.
"Set Me Free" is a song by Ray Davies, released first by the Kinks in 1965. Along with "Tired of Waiting for You", it is one of band's first attempts at a softer, more introspective sound. The song's B-side, "I Need You", makes prominent use of powerchords in the style of the Kinks' early, "raunchy" sound. "Set Me Free" was heard in the Ken Loach-directed Up the Junction, a BBC Wednesday Play which aired in November 1965; this marked the first appearance of a Kinks song on a film or TV soundtrack.
"Dead End Street" is a song by the British band the Kinks from 1966, written by main songwriter Ray Davies. Like many other songs written by Davies, it is to some degree influenced by British Music Hall. The bass playing was partly inspired by the "twangy" sound of Duane Eddy's guitar. It was originally released as a non-album single, but has since been included as one of several bonus tracks from the Face to Face CD. The song, like many others by the group, deals with the poverty and misery found in the lower classes of English society.
"I-Feel-Like-I'm-Fixin'-to-Die Rag" is a song by the American psychedelic rock band Country Joe and the Fish, written by Country Joe McDonald, and first released as the opening track on the extended play Rag Baby Talking Issue No. 1, in October 1965. "I-Feel-Like-I'm-Fixin'-to-Die Rag"'s dark humor and satire made it one of the most recognized protest songs against the Vietnam War. Critics cite the composition as a classic of the counterculture era.
"Silence Is Golden" is a song initially recorded by the American rock band the Four Seasons. Written by Bob Crewe and Bob Gaudio, Philips Records released it in 1964 as the B-side of the U.S. number 1 single "Rag Doll", which was also written by Crewe/Gaudio. The Tremeloes' 1967 cover version reached number 1 on the UK Singles Chart and number 11 on the US charts.
"Bachelor Boy" is a song by Cliff Richard and the Shadows, written by Richard and Bruce Welch. It became a hit when it was released as the B-side of Richard's single "The Next Time". Both sides of the single were regarded as having chart potential so both sides were promoted and in many markets "Bachelor Boy" became the bigger hit. The single spent three weeks at No. 1 in the UK Singles Chart in January 1963 and was a major hit internationally, although it only reached No. 99 in the US. Both sides of the single were included on the accompanying soundtrack album Summer Holiday. On the soundtrack album the Michael Sammes Singers were credited as backing singers, although they were not credited on the single.
"(You're the) Devil in Disguise" is a 1963 single by Elvis Presley. It was written by Bill Giant, Bernie Baum and Florence Kaye and was published by Elvis Presley Music in June 1963. The song peaked at No. 3 in the US on the Billboard singles chart on August 10, 1963, and No. 9 on the Billboard Rhythm and Blues singles chart, becoming his last top ten single on those charts. The single was certified "Gold" by the RIAA for sales in excess of 500,000 units in the US. The song also topped Japan's Utamatic record chart in the fall of 1963. In June 1963, when the song was debuted to a British audience on the BBC television show Juke Box Jury, celebrity guest John Lennon, leader of The Beatles, voted the song "a miss" stating on the new song that Elvis Presley was "like Bing Crosby now". The song went on to reach No. 1 in the UK for a single week.
"Let's Dance" is a 1962 hit single by Chris Montez, written and produced by Jim Lee.
"Crazy 'Bout My Baby" is a song first written and recorded by musician Robert Mosley in 1963. His third solo single, it failed to chart, leading to it becoming his final single released. Initially an obscure single, it was brought to light by mainstream acts such as The Swinging Blue Jeans and Tages, the latter of which charted in Sweden with it.
"Don't Turn Your Back" is a song written by bass guitarist Göran Lagerberg and guitarist Anders Töpel, first recorded by their band Tages in 1965. Produced by the Violents Rune Wallebom, the song would be featured as the lead track from their debut EP Tages released three weeks later
"Semi-Detached, Suburban Mr. James" is a song written by songwriters Geoff Stephens and John Carter, recorded by English pop group Manfred Mann in 1966. Stephens and Carter, who were writers for a publishing company on Denmark Street, London, wrote the song in a style different from their usual compositions, as love was not the prevalent theme. Introduced to the song by producer Shel Talmy, Manfred Mann recorded it at Philips Studio in August 1966. Released by Fontana Records on 21 October 1966, the song was backed by drummer Mike Hugg's composition "Morning After The Party" as the group's second single on the label. Keyboardist Manfred Mann plays the Mellotron on the recording; it was one of the earliest recordings featuring the instrument. Following a trend set by Bob Dylan, the song tackles the subject of life in British middle class suburbia from the perspective of a narrator, who laments the loss of a lover after her marriage to another man.
