Tunes Du Jour Presents 1966

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By 1966, rock and pop music had reached a critical turning point. The early, relatively simple sounds of rock and roll were giving way to a more experimental, ambitious approach, yet the airwaves were still filled with instantly memorable melodies. The year saw the release of songs that would go on to define entire careers—The Beach Boys’ “Good Vibrations” took pop production to new heights, The Four Tops’ “Reach Out (I’ll Be There)” solidified Motown’s dominance, and The Rolling Stones’ “Paint It Black” pushed rock into darker, more dramatic territory. Meanwhile, The Monkees burst onto the scene with “I’m a Believer,” adding a dose of manufactured but undeniably catchy charm to the mix.

Psychedelia was creeping into mainstream music, foreshadowing the sonic explorations that would fully take hold in the coming years. The Byrds’ “Eight Miles High” and The 13th Floor Elevators’ “You’re Gonna Miss Me” hinted at a new, mind-expanding direction for rock, while The Beatles’ “Paperback Writer” and its B-side, “Rain,” found the band toying with the limits of studio technology. The Who’s “My Generation,” released in late 1965 but peaking on the US charts in ’66, captured the rebellious energy of youth culture, while ? and the Mysterians’ “96 Tears” gave garage rock one of its most enduring anthems.

Soul music was also in full bloom, delivering some of its most powerful and enduring records. Percy Sledge’s “When a Man Loves a Woman” became an instant classic, dripping with raw emotion. Jimmy Ruffin’s “What Becomes of the Brokenhearted” and The Supremes’ “You Can’t Hurry Love” showcased Motown’s knack for blending heartache and joy in equal measure. Meanwhile, James Brown’s “It’s a Man’s Man’s Man’s World” was a testament to his singular ability to infuse deep soul with commentary. Over in the R&B realm, Ike & Tina Turner’s “River Deep – Mountain High”—though not a hit in the U.S. at the time—demonstrated producer Phil Spector’s bombastic “Wall of Sound” approach at its most overwhelming.

The year also had its share of songs that were simply too infectious to ignore. The Lovin’ Spoonful’s “Summer in the City” painted a sweltering urban landscape with its mix of laid-back verses and explosive choruses. Nancy Sinatra’s “These Boots Are Made for Walkin’” turned a simple, stomping beat into a statement of defiant cool. The Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore” and The Left Banke’s “Walk Away Renée” delivered lush, baroque pop melancholy, while Eddie Floyd’s “Knock on Wood” became one of the defining records of Stax-style Southern soul.

Perhaps what’s most striking about 1966 in retrospect is just how many of these songs have endured. Whether through original recordings, countless covers, or their presence in film and television, these records still resonate. From the garage rock sneer of The Bobby Fuller Four’s “I Fought the Law” to the hypnotic stomp of The Troggs’ “Wild Thing,” the music of 1966 wasn’t just a snapshot of its time—it was the foundation for what was to come.

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Tunes Du Jour Presents 1971

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The music of 1971 was shaped by a world in transition. The optimism of the ’60s had given way to a more complicated reality—political upheaval, the Vietnam War, and shifting cultural norms weighed heavily on society. In response, many artists channeled these changes into their music, whether through protest, storytelling, or deeply personal reflection. The result was a year that produced enduring songs across multiple genres, from confessional singer-songwriter fare to hard-hitting rock and infectious soul.

Some of the most memorable hits of the year leaned into personal themes rather than overt social commentary. Carole King’s “It’s Too Late” and Elton John’s “Your Song” exemplified the rise of the singer-songwriter era, blending lyrical vulnerability with sophisticated melodies. Al Green’s “Tired of Being Alone” showcased his effortless mix of longing and smooth Southern soul, while Rod Stewart’s “Maggie May” became his breakthrough solo hit, telling the story of youthful romance with a blend of folk and rock. At the same time, Marvin Gaye’s “What’s Going On” took a broader view, addressing war, inequality, and injustice in a way that felt both urgent and timeless.

Rock music remained as dominant as ever, though it took on new forms. Led Zeppelin’s “Immigrant Song” showcased their thunderous power, while The Who’s “Won’t Get Fooled Again” harnessed synthesizers and political defiance to craft an enduring anthem. The Rolling Stones’ “Brown Sugar,” released without much controversy at the time, has since been reevaluated due to its lyrical content. Meanwhile, The Doors painted a dark, atmospheric landscape on “Riders on the Storm,” and Paul & Linda McCartney’s “Uncle Albert/Admiral Halsey” leaned into whimsical experimentation, proving that rock still had room for playfulness.

Soul and funk made significant strides in 1971, with Sly & The Family Stone’s “Family Affair” pioneering a more subdued, groove-heavy sound. The Staple Singers’ “Respect Yourself” and Curtis Mayfield’s “Move On Up” carried messages of empowerment, while Honey Cone’s “Want Ads” and Jean Knight’s “Mr. Big Stuff” infused attitude into their infectious rhythms. The Jackson 5’s “Never Can Say Goodbye” demonstrated a maturing sound beyond their bubblegum pop beginnings, while Cher’s “Gypsies, Tramps and Thieves” and Melanie’s “Brand New Key” brought storytelling into the pop realm with memorable melodies and an enduring campiness.

Fifty-plus years later, the music of 1971 still resonates. Whether through the social commentary of “What’s Going On,” the country-rock warmth of “Me and Bobby McGee,” or the swampy energy of Ike & Tina Turner’s “Proud Mary,” these songs remain essential listening. They serve as both a time capsule and a reminder that great music doesn’t just reflect its era—it continues to shape the generations that follow.

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Tunes Du Jour Presents The Smokey Robinson Songbook

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ABC wasn’t wrong—when Smokey sings, everything is wonderful. But just as impressive as his voice is his pen. Smokey Robinson didn’t just write hit songs; he crafted narratives, emotions, and melodies so timeless that they continue to be recorded and reinterpreted decades later. His songwriting, marked by poetic lyricism and effortless hooks, helped define the Motown sound and set a gold standard for pop and R&B composition.

His songs weren’t just catchy; they were masterclasses in storytelling. “My Girl” gave The Temptations a signature hit with a lyric so simple yet evocative that it remains a cultural touchstone. “My Guy” did the same for Mary Wells, its playful devotion making it an anthem of unwavering love. Whether it was the swagger of “Get Ready,” the tenderness of “Ooh Baby Baby,” or the clever metaphor of “The Hunter Gets Captured by the Game,” Smokey knew how to tap into universal feelings and dress them in melodies that lingered.

His influence extended far beyond Motown, as shown by the sheer range of artists who have covered his work. The Beatles took on “You Really Got a Hold on Me,” Elvis Costello recorded “From Head to Toe,” The Rolling Stones tackled “Going to a Go-Go,” D’Angelo put his own spin on “Cruisin’,” and Peter Tosh reimagined “(You Gotta Walk And) Don’t Look Back.” Whether through his own performances or the countless reinterpretations of his songs, Smokey Robinson’s writing continues to resonate, proving that while it’s great when Smokey sings, it’s just as magical when Smokey writes.

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Tunes Du Jour Presents The Temptations

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Few groups have shaped American popular music as profoundly as The Temptations. From their early days of smooth doo-wop harmonies to their ventures into psychedelic soul and funk, the group’s journey mirrors the cultural and musical evolution of the 1960s and ’70s. Starting with the innocent romance of “The Way You Do the Things You Do” and “My Girl,” the Temptations created a template for vocal group harmony that would influence generations of artists.

The group’s ability to adapt and grow became evident as the social climate of America changed. By the late 1960s, they were tackling complex social issues in songs like “Ball of Confusion” and “Cloud Nine,” pushing the boundaries of what soul music could express. Their collaboration with producer Norman Whitfield led to groundbreaking tracks like “Papa Was a Rollin’ Stone” and “Psychedelic Shack,” which incorporated extended instrumental sections, innovative studio techniques, and provocative lyrics that addressed the turbulent times.

What set the Temptations apart was not just their musical versatility but also the distinctive voices within the group. David Ruffin’s gritty lead on “Ain’t Too Proud to Beg” during his tenure with the group, Eddie Kendricks’ falsetto on “Just My Imagination,” and Dennis Edwards’ powerful delivery on “Papa Was a Rollin’ Stone” showcased their individual talents. After leaving the group, these singers found solo success – Ruffin with “My Whole World Ended (The Moment You Left Me),” Kendricks with “Keep On Truckin'” and Edwards with “Don’t Look Any Further” – proving the exceptional talent that had made the group so powerful.

Their influence extended beyond their own recordings. The group’s collaboration with Diana Ross and the Supremes on “I’m Gonna Make You Love Me” demonstrated the creative synergy within Motown Records. Songs like “War” and “Law of the Land” proved their willingness to engage with political themes, with the latter and “Papa Was a Rollin’ Stone” helping establish the extended-play, orchestrated sound that would become a blueprint for disco. Ironically, the disco movement they helped inspire would later contribute to their commercial decline in the mid-1970s.

Looking at their body of work, from the optimistic “Get Ready” to the elaborate “Masterpiece,” the Temptations demonstrated remarkable artistic range. Their evolution wasn’t just about changing with the times – it was about helping to define those times through music that combined technical excellence with genuine emotional depth. The group’s legacy lives on not just in their hits, but in their demonstration that popular music could be both commercially successful and artistically ambitious.

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Tunes Du Jour Presents Holland-Dozier-Holland

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Brian Holland, Lamont Dozier, and Eddie Holland, collectively known as Holland-Dozier-Holland (H-D-H), are synonymous with the sound of Motown. Their string of hits in the 1960s and beyond fueled the success of the record label, shaping popular music and paving the way for R&B to dominate the airwaves. Each song on this playlist, from The Four Tops’ powerful “Reach Out (I’ll Be There)” to The Supremes’ iconic “Where Did Our Love Go,” credits one or more members of H-D-H. With a blend of melody, rhythm, and hooks that remain timeless, the team’s work redefined what hit songwriting could accomplish.

This songwriting trio didn’t merely write songs—they crafted narratives of love, heartbreak, and resilience that resonated with audiences across generations. Tracks like “This Old Heart of Mine (Is Weak for You)” by The Isley Brothers and Marvin Gaye’s “Can I Get a Witness” reveal the emotional depth in their compositions, supported by rhythms and production styles that have endured decades of cover versions. Their songs often feel instantly recognizable, whether it’s the infectious chorus of Chairmen of the Board’s “Give Me Just a Little More Time” or the stomping beat of Junior Walker & the All-Stars’ “(I’m A) Road Runner.”

The irony, however, is that Eddie Holland, despite being a key member of the team, had only one top 40 pop single as a solo artist, “Jamie”—and it wasn’t written by any member of Holland-Dozier-Holland. Instead, it was penned by Barrett Strong and William “Mickey” Stevenson, fellow Motown talents who contributed in their own right to the label’s powerhouse status. Though Eddie found his calling behind the scenes rather than as a performer, his experience as an artist gave him unique insight into the singer’s perspective, a quality that helped make H-D-H’s songs vocally compelling and relatable.

Beyond Motown, the trio’s influence stretched into rock, pop, and soul genres, as evident from covers and reinterpretations by artists like The Rolling Stones, Rod Stewart, and Bananarama. These renditions, like Linda Ronstadt’s cover of “Heat Wave” or James Taylor’s soulful take on “How Sweet It Is (To Be Loved by You),” show how their music transcended genre boundaries. Each version emphasizes the versatility of H-D-H’s songwriting, capable of adapting to various musical expressions while retaining its core appeal.

Ultimately, the legacy of Holland-Dozier-Holland isn’t just in their impressive catalog but in their contributions to the very essence of popular music. They captured the spirit of a generation through music that continues to find new audiences, sounding as fresh today as it did over half a century ago. Their work endures, a testament to their genius, and is rightly celebrated by the many artists who’ve covered and revived their timeless songs.

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