What makes a great song? It can be a lot of different things to different people and no list will please everybody. Since there are already so many lists of the greatest songs, albums, etc., I propose something a bit different: those little moments, those exquisite details, that make a song worth listening to over and over again. Some songs on my list are not well-known but that's part of the fun - discovering new gems. Your mileage may vary, but these are my picks; check them out and see if you agree!
Ray Charles - HIT THE ROAD, JACK: Ray's responses to the Raylettes singing the chorus lines are some of the best screams I've ever heard.
Sam Cooke - CUPID: The "whoosh" to emphasize the firing of Cupid's arrow was a stroke of genius.
The Beatles - ALL MY LOVING: Paul's walking bass line, John's breakneck rhythm guitar and George's terse but just right lead break make this one of the most joyful performances ever recorded. By the way, trivia buffs, this was the first song the Beatles ever played on The Ed Sullivan Show - not one of their singles. Gutsy move!
Van Morrison - BROWN EYED GIRL: The oh-so-tasty acoustic lead guitar lines running through the song are why I keep coming back for another listen.
The Beach Boys - GOD ONLY KNOWS: The wraparound harmony round that ends the song is why nobody has ever topped Brian Wilson's ability to arrange vocal harmonies.
Bob Dylan - BLOWIN' IN THE WIND: Written nearly 50 years ago and nobody has topped the lyrics of this song that chronicles man's inhumanity to man.
Janis Ian - GETTING OVER YOU: The best breakup song I've ever heard from an under-rated songwriter.
Nils Lofgren - SOME MUST DREAM: Recorded live with no overdubs, the acoustic guitar solo that ends the song is deliciously played. Neil Young, Ringo Starr and Bruce Springsteen weren't wrong in wanting to play with this guy.
Cheryl Wheeler - MUSIC IN MY ROOM: This is the song for every aspiring musician who's ever played along to a record trying to learn how to play it.
Little Feat - A APOLITICAL BLUES: The live version has the nastiest guitar rave-up ending I've ever heard. The dueling slide guitars cut like razors.
Paul McCartney - HERE TODAY: Paul's grief over John's death resulted in his best song after the death of the Beatles. Incredibly moving.
Eric Clapton - RAMBLING ON MY MIND: The live version from E.C. WAS HERE, where he calls out key change after key change for his guitar solo while building it to a climax. Jeff Beck was impressed - 'nuff said.
Mamas & Papas: DEDICATED TO THE ONE I LOVE: I know it's an old Shirelles tune but how can you argue with those 4-part harmonies belting out the chorus?
Mary Black - SUMMER SENT YOU: A waltz in the guise of a pop song. One of the musicians lets out a "whoop" as the song nears the end.
Neil Young - HARVEST MOON: What sounds like an extended high-hat sizzle is really a straw broom sweeping the floor and being miked. You gotta love low-tech special effects!
The Beatles - SOMETHING, DON'T LET ME DOWN: Paul's melodic, counterpoint bass playing on both of these songs elevates them to another level. The bass lines are almost symphonic.
Led Zeppelin - STAIRWAY TO HEAVEN: It's been played to death but the ascending acoustic guitar line in the verse is still a thing of beauty.
Christine Lavin - ALL I HAVE TO DO IS DREAM / A SUMMER SONG: What A great idea to make a medley of these great songs and when she modulates into a different key in the last verse it blows the roof off.
Beach Boys - KISS ME BABY: The most overlooked gem in the Beach Boys catalog; it was buried on Side 2 of their TODAY! album. The equal to anything on PET SOUNDS or SMILE.
The Who - Keith Moon's drums: The energy on all those Who classics was generated by Moon's hyperactive, whirling dervish drumming style, yet it never sounded like it was overplayed. To this day nobody sounds like "The Moon."
That's twenty examples - a bit more, actually - and I could easily come up with twenty more for a completely different list. Listen to your favorite records and make your own list of those musical moments that keep you coming back for more. Listening for those little subtle elements will give you a whole new level of appreciation! Enjoy!
Ray Charles - HIT THE ROAD, JACK: Ray's responses to the Raylettes singing the chorus lines are some of the best screams I've ever heard.
Sam Cooke - CUPID: The "whoosh" to emphasize the firing of Cupid's arrow was a stroke of genius.
The Beatles - ALL MY LOVING: Paul's walking bass line, John's breakneck rhythm guitar and George's terse but just right lead break make this one of the most joyful performances ever recorded. By the way, trivia buffs, this was the first song the Beatles ever played on The Ed Sullivan Show - not one of their singles. Gutsy move!
Van Morrison - BROWN EYED GIRL: The oh-so-tasty acoustic lead guitar lines running through the song are why I keep coming back for another listen.
The Beach Boys - GOD ONLY KNOWS: The wraparound harmony round that ends the song is why nobody has ever topped Brian Wilson's ability to arrange vocal harmonies.
Bob Dylan - BLOWIN' IN THE WIND: Written nearly 50 years ago and nobody has topped the lyrics of this song that chronicles man's inhumanity to man.
Janis Ian - GETTING OVER YOU: The best breakup song I've ever heard from an under-rated songwriter.
Nils Lofgren - SOME MUST DREAM: Recorded live with no overdubs, the acoustic guitar solo that ends the song is deliciously played. Neil Young, Ringo Starr and Bruce Springsteen weren't wrong in wanting to play with this guy.
Cheryl Wheeler - MUSIC IN MY ROOM: This is the song for every aspiring musician who's ever played along to a record trying to learn how to play it.
Little Feat - A APOLITICAL BLUES: The live version has the nastiest guitar rave-up ending I've ever heard. The dueling slide guitars cut like razors.
Paul McCartney - HERE TODAY: Paul's grief over John's death resulted in his best song after the death of the Beatles. Incredibly moving.
Eric Clapton - RAMBLING ON MY MIND: The live version from E.C. WAS HERE, where he calls out key change after key change for his guitar solo while building it to a climax. Jeff Beck was impressed - 'nuff said.
Mamas & Papas: DEDICATED TO THE ONE I LOVE: I know it's an old Shirelles tune but how can you argue with those 4-part harmonies belting out the chorus?
Mary Black - SUMMER SENT YOU: A waltz in the guise of a pop song. One of the musicians lets out a "whoop" as the song nears the end.
Neil Young - HARVEST MOON: What sounds like an extended high-hat sizzle is really a straw broom sweeping the floor and being miked. You gotta love low-tech special effects!
The Beatles - SOMETHING, DON'T LET ME DOWN: Paul's melodic, counterpoint bass playing on both of these songs elevates them to another level. The bass lines are almost symphonic.
Led Zeppelin - STAIRWAY TO HEAVEN: It's been played to death but the ascending acoustic guitar line in the verse is still a thing of beauty.
Christine Lavin - ALL I HAVE TO DO IS DREAM / A SUMMER SONG: What A great idea to make a medley of these great songs and when she modulates into a different key in the last verse it blows the roof off.
Beach Boys - KISS ME BABY: The most overlooked gem in the Beach Boys catalog; it was buried on Side 2 of their TODAY! album. The equal to anything on PET SOUNDS or SMILE.
The Who - Keith Moon's drums: The energy on all those Who classics was generated by Moon's hyperactive, whirling dervish drumming style, yet it never sounded like it was overplayed. To this day nobody sounds like "The Moon."
That's twenty examples - a bit more, actually - and I could easily come up with twenty more for a completely different list. Listen to your favorite records and make your own list of those musical moments that keep you coming back for more. Listening for those little subtle elements will give you a whole new level of appreciation! Enjoy!
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