Hindi Songs 1960 To 1970
Sep 25, 2018 - Find the best Bollywood songs of the '70s (I have listed the songs alphabetically)! Also, find information about the top music albums (videos.
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A list of films produced by the Bollywood film industry based in Mumbai in 1960
Highest-grossing films[edit]
The ten highest-grossing films at the Indian Box Office in 1960:[1]
Rank | Title | Cast |
1. | Mughal-e-Azam | Dilip Kumar, Madhubala |
2. | Barsaat Ki Raat | Bharat Bhushan, Madhubala |
3. | Kohinoor | Dilip Kumar, Meena Kumari |
4. | Chaudhvin Ka Chand | Guru Dutt, Waheeda Rehman |
5. | Jis Desh Mein Ganga Behti Hai | Raj Kapoor, Padmini |
6. | Dil Apna Aur Preet Parayi | Raaj Kumar, Meena Kumari |
7. | Love in Simla | Joy Mukherjee, Sadhana |
8. | Ghunghat | Bharat Bhushan, Pradeep Kumar, Asha Parekh, Bina Rai |
9. | Kanoon | Ashok Kumar, Rajendra Kumar, Nanda |
10. | Kala Bazar | Dev Anand, Waheeda Rehman |
A-D[edit]
Title | Director | Cast | Genre | Notes |
---|---|---|---|---|
36 Chaugali Lane | ||||
Aai Phirse Bahar | A. Bhimsingh | Sivaji Ganesan, Padmini, Ragini, Raja Sulochana | Family Drama | Music by Vedpal Sharma. Dubbed in Hindi from Tamil |
Aanchal | Vasant Joglekar | Ashok Kumar, Nanda, Lalita Pawar, Nirupa Roy | Family Drama | Nanda won the Filmfare Best Supporting Actress Award. Music: C. Ramchandra Lyrics: Vasant Joglekar. |
Abdulla | Aakkoo | Shakila, Mahipal, Hiralal, Ajit, Helen | Fantasy Adventure | Music: Bulo C. Rani Lyrics: Shewan Rizvi |
Alam Ara Ki Beti | Nanubhai Vakil | Daljeet, Naina, Shashikala, Tun Tun | Fantasy | Music by Vipin Datta, lyrics by Noor Devasi, Anwar Farukhabadi |
Airmail | B. J. Patel | Ranjan, Malini, Mirajkar | Action | Music: S. Kwatra Lyrics: Anand Bakshi |
Amar Prem | Ramanna | Shivaji Ganesan, Savitri, B.M. Vyas | Drama | Music: Sanmukh Babu. Lyrics: Vinod Sharma, Kavi Pradeep. Dubbed in Hindi from Tamil |
Angulimal | Vijay Bhatt | Nimmi, Bharat Bhushan, Anita Guha, Prem Adib, Ulhas, Achala Sachdev, Manmohan Krishna, Helen | Adventure Drama | Music: Anil Biswas, Lyrics: Bharat Vyas |
Anuradha | Hrishikesh Mukherjee | Balraj Sahni, Leela Naidu, Abhi Bhattacharya, Ranu, Nazir Hussain, Mukri, Asit Sen, Bhudo Advani, Rashid Khan | Family Social | Entered in the 11th Berlin International Film Festival, Music: Ravi Shankar Lyrics:Shailendra |
Apna Ghar | Ram Pahwa | Premnath, Shyama, Nanda, Moti Sagar, Leela Mishra, Kammo, Krishan Dhawan | Family Social | Music: Ravi, lyrics: Prem Dhawan |
Apna Haath Jagannath | Mohan Sehgal | Kishore Kumar, Sayeeda, Nazir Hussain, Sabita Chatterjee, Leela Chitnis | Comedy Romance | Music: S. D. Burman Lyrics: Kaifi Azmi, story-Rajinder Singh Bedi |
Babar | Hemen Gupta | Shubha Khote, Sulochana Choudhury, Gajanan Jagirdar, Azra | Historical | Music by Roshan. Lyrics by Sahir Ludhianvi |
Bade Ghar Ki Bahu | Kundan Kumar | Abhi Bhattacharya, Geeta Bali, Kuldeep Kaur, Sunder | Family Drama | Music: Chitragupta. Lyrics: Tanvir Naqvi |
Bahaana | Kumar | Meena Kumari, Sajjan, Anwar Hussain, Krishna Kumari, Kumar, Pramila, Azurie, Sheela Vaz | Social | Music: Madan Mohan Lyrics: Rajendra Krishan |
Bahadur Lutera | Kay Cee Kay | Ram Mohan, Manju, Kamal Mehra, Radhika | Action Adventure | Music: B. N. Bali |
Banjarin | Jaswant Zaveri | Kanchan Kamini, Manhar Desai, Lalita Kumari | Drama Action | Music: Pardeshi Lyrics: Pt. Madhur |
Baraat | K. Amarnath | Ajit, Shakila, Salim Khan, Mukri | Romance, Drama | Music: Chitragupta. Lyrics: Majrooh Sultanpuri |
Barood | Aspi Irani | Sheikh Mukhtar, Kumkum, Sudhir, Honey Irani, Mukri, Veena, Tun Tun. | Social Drama | Music by Khayyam. Lyrics by Hasrat Jaipuri |
Barsaat Ki Raat | P. L. Santoshi | Bharat Bhushan, Madhubala, Shyama, Chandrashekhar, K.N. Singh | Musical Romance | Music by Roshan. Lyrics by Sahir Ludhianvi |
Basant (1960 film) | Bibhuti Mitra | Pran, Nutan, Shammi Kapoor, Minoo Mumtaz, Kammo, Murad, Johnny Walker, Cuckoo | Romance Drama | Music by O. P. Nayyar. Lyrics by Qamar Jalalabadi |
Bewaqoof | I. S. Johar | Pran, I. S. Johar, Mala Sinha, Kishore Kumar, Helen | Comedy Romance | Music by S. D. Burman. Lyrics by Majrooh Sultanpuri |
Bhakta Raj | V. M. Vyas | Sulochana, Shahu Modak, Trilok Kapoor, Lalita Pawar, Dara Singh | Devotional | Music by Avinash Vyas. Lyrics by Bharat Vyas |
Bhakti Mahima | K. Shankar | A. Nageswara Rao, B. Saroja Devi, Jamuna, Gopi Krishna | Devotional | Dubbed in Hindi. Music by Dilip Roy. Lyrics By Saraswati Kumar Deepak |
Bindya | Krishnan-Panju | Padmini, Balraj Sahni, Vijaya Choudhary, Minu Mumtaz, Lalita Pawar, Rajendra Nath, Om Prakash, | Family Drama | Music by Iqbal Qureshi, Lyrics by Rajendra Krishan |
Black Rider | Mehmood | Kamran, Krishna Kumari, Nazma, Habib | Action | Music by Harbans Lal. Lyrics by Naqsh Lyallpuri |
Black Tiger | Akkoo | Nadira, Azad, Habib, Nazma | Action | Music: Bulo C. Rani Lyrics: Tabish Kanpuri, Saba Afghani |
Bombai Ka Babu | Raj Khosla | Dev Anand, Suchitra Sen, Nazir Hussain, Achala Sachdev, Manohar Deepak | Crime Drama | Music by S. D. Burman, Lyrics by Majrooh Sultanpuri |
Bombay Central | R. K. Balam | Samar Roy, Krishna Kumari | Action | Music by Shyam Babu Pathak, Lyrics by R. K. Balam |
Captain India | C. Kent | Kamran, Mehmood, Krishna Kumari | Action | Music: Hemant Kedar Lyrics: Rajaram Saki |
Chand Mere Aja | Ram Daryani | Nanda, Bharat Bhushan, Lalita Pawar, Maruti | Drama Social | Music by Chitragupta. Lyrics by Prem Dhawan |
Chandramukhi | K. Thakur | Manhar Desai, Kavita, B.M Vyas, Maruti | Romance Costume Drama | Music by S. N. Tripathi. Lyrics by Bharat Vyas |
Chaudhvin Ka Chand | M. Sadiq | Guru Dutt, Rehman, Waheeda Rehman, Johnny Walker | Romance Social Drama | Entered in the 2nd Moscow International Film Festival. Music: Ravi Lyrics: Shakeel Badayuni |
Chhabili | Shobhna Samarth | Nutan, Tanuja, Kaysi Mehra, Helen, K. N. Singh | Social Drama | Music by Snehal Bhatkar, lyrics by S Ratan. Nutan sang 'ae mere humsafar' |
Chhalia | Manmohan Desai | Raj Kapoor, Nutan, Pran, Rehman, Shobhna Samarth | Social Romance | Music: Kalyanji Anandji, assisted by Lakshmikant-Pyarelal. Lyrics by Qamar Jalalabadi |
College Girl | T. Prakash Rao | Shammi Kapoor, Vyjayanthimala, Om Prakash, Tabassum, Nana Palsikar, Achala Sachdev | Romance Drama | Music: Shankar Jaikishan Lyrics: Rajendra Krishan |
Delhi Junction | Mohammed Hussain | Ajit, Shakila, Nishi, Pran, Cuckoo | Action Adventure | Music by Kalyanji Anandji. Lyrics by Gulshan Bawra |
Dil Apna Aur Preet Parai | Kishore Sahu | Raaj Kumar, Meena Kumari, Nadira, Tun Tun, Helen, Om Prakash | Romantic Drama | Music by Shankar-Jaikishen, lyrics by Shailendra. Famous song: Ajeeb Dastan Hai Yeh |
Dil Bhi Tera Hum Bhi Tere | Arjun Hingorani | Dharmendra, Arjun Hingorani, Balraj Sahni, Kumkum | Drama Social | Music by Kalyanji Anandji, lyrics by Shamim Jaipuri, K L Pardesi. Debut movie of Dharmendra |
Do Aadmi | Dwarka Khosla | Jairaj, Shashikala, Jeevankala | Social Drama | Music by S. N. Tripathi, lyrics by Prem Dhawan |
Do Dost | K. Anand | Kamran, Chitra, Mehmood, Helen | Social Action | Music by S. Mohinder, lyrics by Bharat Vyas |
Dr. Shaitan | Shriram Bohra | Premnath, Shakila, Sheikh Mukhtar, Tiwari | Thriller Action | Music by N. Datta. Lyrics by Jan Nisar Akhtar |
Duniya Jhukti Hai | JBH Wadia | Sunil Dutt, Shyama, Kumkum, Daisy Irani, Agha | Family Social | Music: Hemant Kumar Lyrics:Rajendra Krishan |
E-M[edit]
Title | Director | Cast | Genre | Notes |
---|---|---|---|---|
Eid Mubarak | Khwaja Ahmad Abbas | Children Festival | Short Film category | |
Ek Ke Baad Ek | Raj Rishi | Dev Anand, Tarla Mehta, Sharda, Prabhu Dayal | Family Drama | Music by S. D. Burman, lyrics: Kaifi Azmi |
Ek Phool Char Kaante | Bhappi Sonie | Sunil Dutt, Waheeda Rehman, Johnny Walker, Gopi and Tun Tun. | Family Comedy Romance | Music: Shankar Jaikishan Lyrics: Shailendra, Hasrat Jaipuri |
Gambler | Dwarka Khosla | Prem Nath, Shakila, Pran, K. N. Singh | Action Thriller | Music: Chitragupta Lyrics: Prem Dhawan |
Ghar Ki Laaj | Om Prakash | Sohrab Modi, Nirupa Roy, Kumkum, Madan Puri | Family Drama | Rajendra Krishan-Ravi |
Ghunghat | Ramanand Sagar | Bharat Bhushan, Leela Chitnis, Pradeep Kumar, Bina Rai, Asha Parekh, Helen, Rajendra Nath, Rehman, Agha | Family Drama Social | Music: Ravi Lyrics: Shakeel Badayuni |
Girl Friend | Satyen Bose | Waheeda Rehman, Kishore Kumar, Daisy Irani, Nazir Hussain, Bipin Gupta | Romance Family Social | Music: Hemant Kumar Lyrics: Sahir Ludhianvi |
Hanuman Pathal Vijayam | ||||
Honeymoon | Lekhraj Bhakri | Manoj Kumar, Sayeeda Khan, Vijaya Choudhury | Family Drama | Music: Salil Chowdhury Lyrics: Shailendra |
Hum Hindustani | Ram Mukherjee | Sunil Dutt, Joy Mukherjee, Asha Parekh, Prem Chopra, Helen, Leela Chitnis, Sanjeev Kumar | Family Social Drama | Popular song: Chhodo Kal Ki Baaten, Kal Ki Baat Puraani Music: Usha Khanna Lyrics: Prem Dhawan |
Jaali Note | Shakti Samanta | Dev Anand, Madhubala, Om Prakash, Madan Puri, Helen | Crime Social Romance | Music: O P Nayyar Lyrics: Raja Mehdi Ali Khan |
Jis Desh Men Ganga Behti Hai | Radhu Karmakar | Raj Kapoor, Padmini, Pran, Lalita Pawar | Social | Music: Shankar Jaikishan Lyrics: Shailendra |
Jo Huwa So Bhool Ja | Y. Pethkar | Nanda, Shashikala, Raja Gosavi, Vivek, Nalini Chonkar | Social | Music: B N Bali Lyrics: Hari Malik |
Kala Aadmi | Ved Madan | Ashok Kumar, Shyama, Johnny Walker, Mehmood, Minu Mumtaz | Thriller Drama | Music: Dattaram Wadkar Lyrics: Hasrat Jaipuri |
Kala Bazar | Vijay Anand | Dev Anand, Waheeda Rehman, Nanda, Vijay Anand, Chetan Anand, Madan Puri, Leela Chitnis | Romance Drama | Music: S. D. Burman Lyrics: Shailendra |
Kalpana | Rakhan | Ashok Kumar, Padmini, Ragini, Iftekhar, Achala Sachdev | Drama Romance | Music: O.P Nayyar Lyrics: Raja Mehendi Ali Khan, Qamar Jalalabadi, Jan Nissar Akhtar, Hasrat Jaipuri |
Kanoon | B. R. Chopra | Rajendra Kumar, Nanda, Ashok Kumar, Mehmood, Shashikala, Jeevan, Om Prakash | Crime Courtroom Drama | Music: Salil Choudhury There were no songs in the movie. B. R. Chopra won the Filmfare Award for Best Director (1962) for Kanoon |
Kohinoor | S. U. Sunny | Dilip Kumar, Meena Kumari, Jeevan, Mukri, Tun Tun, Leela Chitnis | Costume Drama | Music: Naushad Lyrics: Shakeel Badayuni |
Lady Of The Lake | A. M. Khan | Nilima, Azad, Krishna Kumari | Costume Thriller Action | Music: Suresh Talwar Lyrics: Anjaan, Saba Afghani, Munshi Nayab |
Lal Quila | Nanabhai Bhatt | Jairaj, Nirupa Roy, Kumar, Helen, Kamal Kapoor | Historical Musical Romance | Music: S. N. Tripathi Lyrics: Bahadur Shah Zafar, Bharat Vyas |
Love in Simla | R. K. Nayyar | Joy Mukherjee, Sadhana, Shobhna Samarth, Durga Khote | Romance | Music: Iqbal Qureshi Lyrics: Rajendra Krishan |
Maa Baap | V. M .Vyas | Rajendra Kumar, Kamini Kaushal, Pran | Family Social Drama | Music: Chitragupta Lyrics: Rajendra Krishan |
Manzil | Mandi Burman | Dev Anand, Nutan, Krishan Dhawan, Achala Sachdev and K. N. Singh | Romance Musical | Music: S.D. Burman Lyrics: Majrooh Sultanpuri |
Masoom | Satyen Bose | Ashok Kumar, Sarosh Irani, Honey Irani and Mohan Choti. | Family Children | Screenwriter Ruby Sen won the Filmfare Award for Best Story. Nominated for Filmfare Award for Best Movie Music: Robin Banerjee, Hemant Kumar for Nani Teri Morni Ko Lyrics: Shailendra |
Maya Machhendra | Babubhai Mistri | Nirupa Roy, Manhar Desai, Raj Kumar | Mythology Costume | Music: Ramlal-Heerapanna Lyrics: Pt. Madhur, Deepak, Keshav |
Mehlon Ke Khwab | Muhafiz Haider | Madhubala, Chanchal, Kishore Kumar, Pradeep Kumar, Om Prakash, Pran, K.N. Singh | Comedy Suspense Romance | Music: S. Mohinder Lyrics: Anand Bakshi |
Mera Ghar Mere Bachche | Sohrab Modi | Subiraj, Sohrab Modi, Soodesh Kumar, Naaz, Daisy Irani, Nana Palsikar, Sulochana | Family Drama | Music: Sardar Malik Lyrics: Hasrat Jaipuri |
Miss Goodnight | Jugal Kishore | Nishi, Jairaj, Veena, Tiwari | Action Romance | Music: Hansraj Behl Lyrics: Prem Dhawan |
Mitti Mein Sona | Jugal Kishore | Mala Sinha, Pradeep Kumar, Agha, Sabita Chatterjee | Social Romance | Music: O. P. Nayyar Lyrics: Raja Mehdi Ali Khan, Qamar Jalalabadi, S. H. Bihari |
Miyan Biwi Razi | Jyoti Swaroop | Mehmood, Kamini Kadam, Shreekant Gaurab, Seema, Sabita Chatterjee, David, Manorama | Family Social | Music: S. D. Burman Lyrics: Shailendra |
Mohabbat Ki Jeet | B. S. Ranga | Ranjan, Raja Sulochana, Sowcar Janaki, Cuckoo | Romance Action Costume | Music: Mohammed Shafi Lyrics: Shri Ram Saaz |
Mud Mud Ke Na Dekh | Ramayan Tiwari | Bharat Bhushan, Anita Guha, Mehmood, Jeevan, Prem Chopra, Helen | Romance Social | Music: Hansraj Behl Lyrics: Prem Dhawan |
Mughal-e-Azam | K. Asif | Prithviraj Kapoor, Dilip Kumar, Madhubala, Durga Khote, Ajit, Jalal Agha | Historical Costume Romance | Music: Naushad Lyrics: Shakeel Badayuni. It won the National Film Award for Best Feature Film in Hindi. The film also won three Filmfare Awards: Best Film, Best Cinematography, and Best Dialogue |
N-Z[edit]
Title | Director | Cast | Genre | Notes |
---|---|---|---|---|
Nache Nagin Baje Been | Tara Harish | Chandrashekhar, Kumkum, K. N. Singh, Sunder, Helen, Agha | Costume Drama | Music: Chitragupta Lyrics: Majrooh Sultanpuri |
Nai Maa | P. L. Santoshi | Balraj Sahni, Shyama, Daisy Irani, Maruti, Sheela Kashmiri | Family Drama | Music: Ravi Lyrics: Sarvar |
Nakhrewali | N. Buli | Daljeet, Radhika, Bhagwan | Romance Social | Music: Chitragupta, Nirmal Kumar |
Parakh | Bimal Roy | Sadhana, Motilal, Durga Khote, Leela Chitnis, Nishi | Social Satire Drama | Music: Salil Choudhury Lyrics: Shailendra. Bimal Roy won the Filmfare Best Director Award; Motilal the Filmfare Best Supporting Actor Award and George D'Cruz the Filmfare Best Sound Award |
Patang | Suraj Prakash, Hargovind Duggal | Mala Sinha, Rajendra Kumar, Achala Sachdev, Leela Mishra | Family Drama Crime | Music: Chitragupta Lyrics: Rajendra Krishan |
Pedro | Akkoo | Azad, Chitra, V M Vyas, Tiwari, Pedro:monkey | Action | Music: Bulo C. Rani Lyrics: Khawar Zamaa |
Phool Aur Kaliyan | Ram Gabale | Hemant, Nitin, Dattaram, Ramesh | Children Social | Won the Gold Medal for best children's film at the National Awards. Music: Shivram Krishna Lyrics: Bharat Vyas |
Police Detective | Nanubhai Bhatt | Shyama, Soodesh Kumar, Jayshree Gadkar, Anwar, Shammi, David | Social Action | Music: Chitragupta Lyrics: Majrooh Sultanpuri |
Qatil | Mohammed Hussain | Prem Nath, Chitra, Shyam Kumar, Kamal Mehra | Action | Music: Nashad (Shaukat Ali Dehlavi) Lyrics: Khumar Barabankvi, Faruk Kaiser |
Rangeela Raja | Ismail | Mahipal, Shashikala, Kumkum, Bhagwan | Music: Pandit Shivram Lyrics: Asad Bhopali | |
Return of Mr. Superman | Manmohan Sabir | Jairaj, Sheila Ramani, Shammi, Majnu, Helen, David | Action | Music: Anil Biswas Lyrics: Manmohan Sabir, Pyarelal Santoshi, Kaif Irfani |
Road No. 303 | Dharam Kumar | Mehmood, Shubha Khote, Bhagwan, K. N. Singh | Action | Music: C. Arjun Lyrics: Jan Nisar Akhtar |
Saranga | Dhirubhai Desai | Soodesh Kumar, Jayshree Gadkar, Nilofar, Jankidas. B. M. Vyas | Drama | Music: Sardar Malik Lyrics: Bharat Vyas |
Sarhad | Shanker Mukerji | Dev Anand, Suchitra Sen, Ragini, Anwar Hussein, Lalita Pawar, Dhumal | Social Romance Drama | Music: C. Ramchandra Lyrics: Majrooh Sultanpuri |
Shan-e-Hind | Mohan Sinha | Nigar Sultana, Daljeet, Kumkum | Action Costume | Music: Sudipto Bannerjee Lyrics: Pratap |
Shriman Satyawadi | S. M. Abbas | Raj Kapoor, Shakila, Mehmood, Nasir Hussain | Social Drama | Music: Dattaram Lyrics: Hasrat Jaipuri, Gulzar, Gulshan Bawra |
Singapore | Shakti Samanta | Shammi Kapoor, Padmini, Maria Menado, Shashikala, Helen | Thriller Romance | Music: Shankar Jaikishan Lyrics: Shailendra, Hasrat Jaipuri |
Superman | Mohammed Hussain, Anant Thakur | Jairaj, Nirupa Roy, Helen, Neeta | Action | Music: Sardar Malik Lyrics: Prem Dhawan |
Teer Aur Talwar | Mohamed Hussain | Kamran, Kamal Mehra, Rajan Kapoor | Action Drama | Music: Nisar Lyrics: Faruk Kaiser |
Trunk Call | Balraj Mehta | Shyama, Abhi Bhattacharya, Pran, Helen, Shammi | Action Drama | Music: Ravi Lyrics: Qamar Jalalabadi |
Tu Nahin Aur Sahi | Brij | Pradeep Kumar, Kumkum, Nishi, Ratan Kumar, Minoo Mumtaz | Social Romance | Music: Ravi Lyrics: Majrooh Sultanpuri |
Usne Kaha Tha | Moni Bhattacharjee | Sunil Dutt, Nanda, Indrani Mukherjee, Rajendra Nath, Durga Khote | Romance Drama War | Music: Salil Chowdhury Lyrics: Shailendra |
Veer Durgadas | Ramchandra Thakur | Jairaj, Nirupa Roy, B. M. Vyas, Manhar Desai | Historical Social Drama | Music: S. N. Tripathi Lyrics: Bharat Vyas |
Veer Purush | Phani Mazumdar | Children Social | Based on a poem by Rabindranath Tagore | |
Zalim Tera Jawab Nahin | Ramanlal Desai | Chitra, Azad, Agha, Saroj Khan | Action | Music: S. D. Batish Lyrics: Shadab, Farid Tonki, Aziz Siddiqui |
Zameen Ke Tare | Chandulal J. Shah | Daisy Irani, Honey Irani, Motilal, Achala Sachdev, Anwar, Kumud Tripathi, Agha, Charlie, Bhagwan | Social Children Drama | Music: S. Mohinder Lyrics: Pandit Madhur |
Zimbo Comes To Town (Zimbo Shaher Mein) | Nanubhai Bhatt | Azad, Chitra, Shammi, Bhagwan, Nilofar | Action | Music: Chitragupta Lyrics: Prem Dhawan |
INDIA
References[edit]
- ^Box Office India. 'Top Earners 1960'. boxofficeindia.com. Archived from the original on 12 February 2010. Retrieved 10 July 2008.
External links[edit]
- Bollywood films of 1960 at the Internet Movie Database
- Indian Film Songs from the Year 1960 - A look back at 1960 with a special focus on Hindi film songs
The 1970s was arguably the single decade of the 20th century when recorded music was most central to culture. There were, of course, fewer kinds of media competing for the average consumer’s time—television meant just a handful of channels, video games were the size of refrigerators and could be found in arcades. As the used vinyl bins of the world are still telling us, records were the thing. Labels were flush with cash, sales of LPs and singles were brisk, and record stores were everywhere. Home stereos were a standard part of middle-class culture. Analog recording technology was at its zenith, FM radio was ascendant, and the AM dial still focused on music. The children of the baby boom were coming into their late twenties and thirties—young enough to still be serious music consumers, but old enough to have their own generation of children who were starting to buy music.
And then there was the music itself. Disco, an entire cultural movement fueled by a genre of music—with massive impact on fashion, film, TV and advertising—was utterly ubiquitous. Rock music emerged from the ’60s as to go-to choice of white youth culture. Soul and funk were reaching new levels of artistry. Punk, the first serious backlash against the rock mainstream, came into its own. Records from Jamaica were making their way to the UK and, eventually, the U.S., changing sounds and urging a new kind of political consciousness. As culture moved in every direction at once, there were more great songs than anyone could count.
As voted by our full time staff and contributors, these are Pitchfork's 200 best songs of the 1970s.
Listen to the best songs of the 1970s on Apple Music and Spotify.
- Island (1979)
- Marianne Faithfull
“Broken English”
There’s no shame in being a muse—preening in silk robes on the couch, tousled hair parting to reveal full lips pouting around a cigarette, tossing off bon mots of aching elegance that nestle into the subconscious and reappear as pop hits. If that’s how Mick Jagger wanted to spend his days, more power to him. Marianne Faithfull was most famous in the ’60s as the blonde, boho moll of the Rolling Stones frontman, whose career was twined to his and widely assumed dependent on his gifts: her version of the Stones’ “As Tears Go By” was a hit in England; her near-fatal heroin overdose became “Wild Horses,” and her literary interests begat “Sympathy for the Devil;” she co-wrote “Sister Morphine.” But Jagger was also something of Faithfull’s muse, inspiring many entries in her prodigious Decca Records output of the late 1960s.
By the end of the 1970s, a decade in which she’d weathered drug abuse and homelessness (and long ended her high-profile love), Faithfull refused to be diminished for one more day. Broken English, her first rock record in 12 years, was the comeback triumph no one expected, not least in how gritty it was. The chilling title track is a prophetic merging of punk and dance, with lyrics that plumb the depths of her losses. “Could have come through anytime/Cold lonely, puritan,” she intones harshly, gliding into a bloodless snarl that would make Johnny Rotten flinch. “What are you fighting for?/It’s not my security.” It’s a terse, battle-scarred declaration of autonomy with hairpin melodic turns, early in its embrace of dance music’s dark possibilities. “Broken English” is the portrait of a true survivor, starting a new era on her terms, alone. –Stacey Anderson
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Listen:Marianne Faithfull: “Broken English”
See also: Lene Lovich: “Lucky Number” / Amanda Lear: “Follow Me”
- Elektra (1979)
- Patrice Rushen
“Haven’t You Heard”
Even as her sensibilities shifted from jazz to fusion to R&B and disco, Patrice Rushen focused on her keyboards while everything else swirled around them. On “Haven’t You Heard,” the piano is an anchor for the song. This can make it feel like an early skeleton of house music, which is appropriate—it was a touchstone of Larry Levan’s sets at the Paradise Garage, and was eventually reborn as gospel house in Kirk Franklin’s 2005 single “Looking for You.”
“Haven’t You Heard” is a formally perfect expression of disco. The best disco songs imply infinity in both their length and groove, and always feel as if they’re attached to a black hole. “Haven’t You Heard” enhances time until it feels like the glitter of a cityscape unfurling through a cab window. It manages this even as the lyric itself is private—the literal text of a classified ad. “It only says ‘I’m looking for the perfect guy,’” Rushen sings, searching for connection not through direct communication but with ambient speech. This kind of intimacy, personified by the whispery translucence of Rushen’s voice, is just as easily exported to the dance floor. –Brad Nelson
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Listen:Patrice Rushen: “Haven’t You Heard”
See also: Anita Ward: “Ring My Bell” / “Herb Alpert: Rise”
- RCA Victor (1975)
- Waylon Jennings
“Are You Sure Hank Done It This Way”
Like the best outlaw country, “Are You Sure Hank Done It This Way?” looks backwards and forwards simultaneously, finding inspiration in the past even as it wonders what’s around the next curve in the road. Jennings and his peers were traditionalists who bucked the very notion of tradition. All of them had been manhandled by the industry, but few bristled against the mainstream quite as strongly as Jennings, who found himself on a series of poorly planned tours that left him deep in debt to his label and addicted to amphetamines.
If this were just a song about all the “rhinestone suits and new shiny cars” that defined country music around the bicentennial, it would have been only a minor antagonism. But outlaw country rarely gets credit for its humor or its self-deprecation, and what lends the song its gravity, aside from the world-weariness of Waylon’s vocals, is his sly assessment of his own place in the industry. Despite the hits he’d been notching for a decade, he was still just another road warrior who idolized Hank Sr. but still saw him as an almost hilariously impossible standard against which to measure himself or anybody else. –Stephen Deusner
Listen:Waylon Jennings: “Are You Sure Hank Done It This Way?”
See also: Willie Nelson: “Whiskey River” / Jerry Reed: “Amos Moses”
- Nessa (1970)
- Art Ensemble of Chicago
“Théme de Yoyo”
A healthy portion of Chicago’s musical avant-garde decamped for France in 1969, but the group that made the biggest splash in Paris was the Art Ensemble of Chicago. The band’s exuberant stage show reinforced its members’ organizing slogan—“Great Black Music: Ancient to the Future”—with bassist Malachi Favors often dressed like an Egyptian shaman and saxophonist Roscoe Mitchell donning the garb of a contemporary urbanite. Over the course of a dozen-plus records cut in the 1970s, the band’s sound made good on the malleability suggested by this varied public image, as they created delicate improvisations and noise blowouts alike.
On “Théme de Yoyo,” the opening song on a soundtrack to a now-forgotten film, the Art Ensemble’s rhythm section offers up a funk groove. When the group’s notoriously wild horn players enter, they begin by playing things pretty straight—only reaching for avant-garde theatrics in brief pauses of the swinging, mod theme. Guest vocalist Fontella Bass—the wife of Art Ensemble trumpeter Lester Bowie—contributes soulful phrasings that sound downright commercial until you focus on the absurdist lyrics (“Your fanny’s like two sperm whales floating down the Seine”). No matter how out there each instrumentalist ventures, every feature spot contains references to the track’s pop-song foundation. As a piece of free-jazz funk that predates Ornette Coleman’s Prime Time band, “Théme de Yoyo” is an early reflection of the benefits the Art Ensemble reaped from their refusal to be tied to a single genre. –Seth Colter Walls
Listen:Art Ensemble of Chicago: “Théme de Yoyo”
See also: Brigitte Fontaine, Areski Belkacem & Art Ensemble of Chicago: “Comme à la Radio” / Pharoah Sanders: “Love Is Everywhere”
- Philips (1976)
- Jorge Ben
“Taj Mahal”
Jorge Ben’s “Taj Mahal” is ostensibly about the famous tomb in Agra, India. The building was created by the Mughal emperor Shah Jahan, as a tribute to his fourth wife, Mumtaz Mahal, after her death during the birth of the couple’s 14th child. “Foi a mais linda historia de amor,” sings the Brazilian singer Ben: “It was the most pretty story of love.” The couple’s romance must have been strong stuff: the tomb was commissioned the year after her death, in 1632, and wasn't finished until 1653, at a cost of approximately $827 million in today’s dollars.
Ben’s original version of the song, recorded for his 1972 album Ben, is a subdued gem. But the version recorded for his massive 1976 crossover album Africa Brasil exudes joy, sparks flying from every exuberant note. The record would end up getting Rod Stewart—whose “Do Ya Think I’m Sexy?” bore a strong resemblance—sued. It’s not difficult, though, to see what Stewart saw in its jubilant DNA (unconsciously, according to his autobiography). “Taj Mahal” captures an unselfconscious excitement, a purity of a deeply familiar feeling, yet projects it at a scale that can cross decades—perhaps centuries. –David Drake
Listen:Jorge Ben: “Taj Mahal”
See also: Jorge Ben: “Ponta De Lanca Africano (Umbabarauma)” / Tim Maia: “No Caminho Do Bem”
- Upsetter (177)
- Lee Perry & the Full Experiences
“Disco Devil”
This track is really three ’70s reggae classics in one: Max Romeo’s “Chase the Devil,” Prince Jazzbo’s “Croaking Lizard,” and Lee Perry’s mix of both with his own vocals. All this and more gets tossed in the pot in the nearly seven-minute-long “Disco Devil.”
“Disco” doesn’t reference the flashy dance genre of the same name but rather the concept of the “discomix,” a 12” vinyl format that contains a vocal song seamlessly followed by a dub remix or a deejay version (meaning a rapped performance over the rhythm track). Perry essentially released a dub version of the Romeo and Jazzbo tracks, then followed it with a dub of the dub. It’s a particularly effective example of Perry’s innovative, eccentric production style that transforms the studio into an instrument itself. The approach to “Disco Devil” demonstrates the many ways he was able to pull pieces of a song apart and put them back together, add snippets of lyrics and sounds, and shape deep bass and rippling guitar to glide as if underwater. –Erin Macleod
Listen:Lee Perry & the Full Experiences: “Disco Devil”
See also: Max Romeo: “Chase the Devil” / Augustus Pablo: “Kings Tubbys Meets Rockers Uptown”
- Atlantic (1972)
- Manu Dibango
“Soul Makossa”
A decade before Michael Jackson lifted it for “Wanna Be Startin’ Somethin’,” and long before Rihanna sampled Jackson’s version in “Don’t Stop the Music” (and both got sued for uncleared usage), “Soul Makossa” was a disco scene staple. It started as the B-side to a hymn Manu Dibango wrote for his native Cameroon’s football team in honor of their country hosting the 1972 Africa Cup of Nations. By then, the jazz saxophonist was already well established, but the record was a huge flop. In his autobiography, Dibango recalls how kids and adults alike ridiculed his stuttering repetition of that now-familiar refrain: “Ma-ma-ko ma-ma-sa mako-makossa!” It was only when he rerecorded it in Paris, and that version fell into the hands of New York Loft DJ David Mancuso and radio DJ Frankie Crocker, that it spread like wildfire, even cracking the American Top 40.
Historically, makossa, the popular Cameroonian dance music, is a mix of soukous, highlife, and traditional Douala dance rhythms. Dibango douses it in soul, funk, and jazz to the point that “Soul Makossa” is more funky proto-disco than it is makossa. But that reimagining is also what made the song such a phenomenon; it played to people’s ideas of what a cosmopolitan African continent sounded like, presented in a format they were familiar with. In the decades to come, “Soul Makossa” would be sampled countless times over, including by the Fugees on The Score and Kanye on My Beautiful Dark Twisted Fantasy. “Soul Makossa” remains brilliant in its musical malleability. –Minna Zhou
Listen: Manu Dibango: Soul Makossa
See also: Chakachas: “Jungle Fever” / Lafayette Afro Rock Band: “Darkest Light”
- ZE (1979)
- James Chance & the Contortions
“Contort Yourself”
The no wave scene in late ’70s New York was notorious for its room-clearing nihilism. Noisy, confrontational bands such asMars,DNA, and Teenage Jesus & the Jerks looked to bury the corpse of rock’n’roll by rejecting its rules. Yet one of the most iconic no wave tunes, James Chance & the Contortions’ “Contort Yourself,” is less an anti-song than a body-moving dance-craze ditty. “Now is time to lose all control/Distort your body, twist your soul,” Chance yelps over the tightly wound groove of his quintet, who sound like an unhinged version of James Brown’s band the J.B.’s.
But as “Contort Yourself” progresses, Chance’s destructive attitude creeps in. His screams get longer (“Forget about your future!”), his saxophone gets noisier, and slide guitars scrape across the song like rakes over concrete. By the end, Chance advocates total annihilation: “Once you forget your affection for the human race/Reduce yourself to zero, and then you’ll fall in place.”
Still, “Contort Yourself” is nihilism you can dance to, and it typified the Contortions’ unique mix of punk, funk, and jazz. That mix would influence many danceable early ’80s New York bands—Bush Tetras,ESG,Liquid Liquid—and point toward the disco scene that eventually took over Manhattan. But no one could replicate the sharp mania of “Contort Yourself,” a song that still twists and shouts. –Marc Masters
Listen:James Chance & the Contortions: “Contort Yourself”
See also: A Certain Ratio: “Do the Du (Casse)” / Teenage Jesus & The Jerks: “Orphans”
- Island (1973)
- Brian Eno
“Baby’s on Fire”
“Baby's on Fire” is barely a song, in the conventional sense—two chords mercilessly alternating for five minutes, a single snatch of melody repeated with almost no variation, a lyric that sidles around clear sense, and a guitar solo that takes up more than half of its running time. It divided the listeners of Eno’s first solo album, Here Come the Warm Jets, into those who got it and those who were left eating its ashes.
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For all its minimalism, there's a lot going on in this song: a celebration of a catastrophe happening in plain view, knotty wordplay and snappy onomatopoeia, and the vicious camp of Eno’s vocal (there’s an arch, shivering grin behind the way he enunciates, “This kind of experience/Is necessary for her learning”). The track’s centerpiece is the conflagration of Robert Fripp and Paul Rudolph’s all-devouring instrumental break with Eno’s “treatments” spraying fuel all over it. Before “Baby’s on Fire” and Warm Jets, Eno had been the eccentric, glammy keyboardist in Roxy Music; after them, he became known as the ingenious weirdo who thought about sound in ways nobody else did. –Douglas Wolk
All punjabi songs free download. Listen:Brian Eno: “Baby's on Fire”
See also: Brian Eno: “Here Come the Warm Jets” / Brian Eno: “Third Uncle”
- Continental (1976)
- Tom Zé
“Doi”
The story goes that, sometime in the mid-’80s, David Byrne found Estudando o Samba (“Studying Samba”) in a record store in Rio De Janeiro. He assumed it would be like the rest of the samba records he was collecting, but its cover gave a hint of something subversive: the image of a barbed wire fence scrawled across a white surface. Of course, Byrne became so obsessed with the record, he tracked Zé down and asked if he could release the album in the States, as the first dispatch of his then-new Luaka Bop records. Soon after, Zé was enjoying overdue fame as samba’s best deconstructionist.
Zé grew up in the Hinterlands of Bahia, Brazil, in a village so remote that it didn’t get electricity until he was 17; soon after, he studied modernist composition and hooked up with the tropicalistas in urban Salvador. Zé’s music reflects both these worlds; it’s rooted in rural tradition and laced with a cynical cosmopolitanism. “Doi,” from 1976’s triumphant Estudando o Samba, strikes a perfect balance: its percussion forms from earthy, machinelike clanks, and a minimalist guitar is the only other actual instrument on the song. Its thrust comes from a chorus that feels universal, primordial even, and Zé allows himself to disappear into it. It’s a strange and satisfying effect, and a rigorously intelligent way to balance formal experimentation with heritage. “Doi” exists in some nether-zone between the past and the future, and nothing in music sounds like this, still. –Kevin Lozano
Listen:Tom Zé: “Doi”
See also: Tom Zé: “Um Oh! E Um Ah!” / Secos & Molhados: “Sangue Latino”
- Just Sunshine (1974)
- Betty Davis
“He Was a Big Freak”
Betty Davis’ voice is where pleasure meets pain, so of course she had to cut a song about S&M. People speculated whether “He Was a Big Freak” concerned her ex-husband, Miles Davis, or her rumored (and denied) lover, Jimi Hendrix. It wasn’t about either, Davis said, though she admitted that her dominatrix’s “turquoise chain” was a reference to Hendrix’s favorite color. Gossip aside, Davis’ act was scandalizing because it starred a powerful young black woman in control of her own desires.
On “Freak,” she takes on various roles in order to meet her partner’s needs—housewife, geisha, mother—but sounds so intoxicated by her power that his satisfaction becomes secondary. Her delivery evokes a woman possessed as she roars and vamps through her seduction. Davis keeps switching gears until a new darkness emerges from her throat, and a storm rises from the guitar. Her pointillist funk thrust loses its precision and starts stumbling in the perilous ascent towards climax. Eventually, “Freak” fades out, though Davis is still roaring as the mix dims. It feels like she’s just getting started. –Laura Snapes
Listen:Betty Davis: “He Was a Big Freak”
See also: Betty Davis: “Anti-Love Song” / Millie Jackson:“ If Loving You Is Wrong (I Don't Wanna Be Right)”
- Kudu (1977)
- Idris Muhammad
“Could Heaven Ever Be Like This”
Born Leo Morris, drummer Idris Muhammad played with dozens of jazz giants before and after taking his Muslim name, but found his artistic voice at Kudu, CTI’s soul crossover label, where he collaborated with David Matthews, a keyboardist who arranged and co-wrote several James Brown hits. You don’t have to have a degree in composition like Matthews did to wrap your head around the melodic composure of “Could Heaven Ever Be Like This,” their peak achievement together and Muhammad’s biggest hit. Singular, spiritual, and straight-up gorgeous, “Heaven” silences even the staunchest disco-hater.
Elements of the song have been repeatedly sampled and replayed, but its bittersweet harmonies are best experienced the way DJs played it back in the spring of 1977 and for many years to come: from its first effusive note to its very end. Over the course of eight-and-a-half minutes, “Heaven” takes dancers on an exquisite journey, the arrangement soaring from ethereal harp to Brecker Brothers horn blasts to raucous rock guitar. Too otherworldly to be championed by every DJ, “Heaven” was nevertheless so beloved by those who did that it reached No. 2 on Billboard’s dance chart. The only subsequent record to truly do it justice, Jamie xx’s “Loud Places” honors that it’s not simply a dance song, but also a prayer. –Barry Walters
Listen:Idris Muhammad: “Could Heaven Ever Be Like This”
See also: Candido: “Thousand Finger Man” / Kiki Gyan: “Disco Dancer”
- Upsetter (1976)
- Junior Murvin
“Police & Thieves”
Falsetto is frequently used in reggae, but not often is there a track as gently piercing as Junior Murvin’s 1976 classic. As resonant now as it was then, Murvin’s song about the militarization of police reflects reality far beyond Jamaica, leveling the playing field between the illegal and the legal. “All the peacemakers turn war officers,” sings a prescient Murvin. “Police and thieves in the streets, oh yeah/Scaring the nation with their guns and ammunition.” It was an important soundtrack of protest when it was released in London in the summer of 1976, during racial tensions that led to riots during the Notting Hill Festival and unrest in Brixton.
The track has been re-recorded a number of times, most famously by the Clash on their debut album. However, the original, recorded in the legendary Black Ark studio, is a textbook Lee Perry production. There’s that perfect amount of echo, carrying Murvin’s vocal improvisations and the humming chorus along, making them bounce off the walls and charge ever forward. –Erin Macleod
Listen:Junior Murvin: “Police & Thieves”
See also: Junior Murvin: “Cool Out Son” / Horace Andy: “Skylarking”
- Cotillion (1977)
- Cerrone
“Supernature”
On his previous Eurodisco hits, the French drummer Marc Cerrone mirrored Giorgio Moroder’s long, sensual suites with Donna Summer while accentuating both their symphonic splendor and kickdrum wallops. For the title track of his second 1977 album, he took a page from Summer’s “I Feel Love” and similarly traded soaring strings for undulating synths, but did so without the overt sex. Instead, he and cowriter Alain Winsniak introduced an unprecedented strain of dystopian disco dread. Neither Kraftwerk nor Berlin-era Bowie had an immediate international dancefloor impact as profound as “Supernature.”
Years before GMOs became a food source and organic crops a common alternative, “Supernature” sang of an imagined past when science introduced agricultural breakthroughs with unanticipated consequences. “The potions that we made touched the creatures down below/And they grew up in a way that we’d never seen before,” warns English session vocalist Kay Garner with a star-quality growl oozing menace and authority. As the track grows more sinister, mutant monsters take their revenge until humanity reverts to a primitive state where it must once again earn its place.
How did such a deep sci-fi theme find its way into an album that sold huge numbers and paved the way for space disco, techno, acid house, and other dark dance floor strains? The future new wave icon Lene Lovich wrote these uncredited ecological lyrics. She’d soon use her fame to raise consciousness for animal rights. –Barry Walters
Listen:Cerrone: “Supernature”
See also: Space: “Carry On, Turn Me On” / Gino Soccio: “Dancer”
- SOLAR (1979)
- The Whispers
“And the Beat Goes On”
The Whispers formed in Los Angeles in the mid-’60s and were hardly seen as cutting-edge by the time they released “And the Beat Goes On” in 1979. But they were in fact pushing boundaries, thanks in large part to the genius of SOLAR label producer Leon Sylvers, who, along with record producer Kashif, was one of the most important composers in late-’70s/early-’80s R&B. Together, on opposite sides of the country—Kashif in New York, Sylvers in Los Angeles—the two charted a path post-disco, incorporating new electronic elements and playing with grooves.
“And the Beat Goes On” was one of Sylvers’ most successful records as a producer, hitting No. 19 on the Hot 100. The groove was so modern, it was the product of a Will Smith one-track-jack in the late ’90s, when the rapper’s “Miami” lifted liberally from the post-disco classic; the record had aged well, its quick strings and electronic textures as fresh as they day they were recorded. –David Drake
Listen:The Whispers: “And the Beat Goes On”
See also: Detroit Emeralds: “Feel the Need in Me” / Leon Haywood: “I Want' A Do Something Freaky To You”
- Tamla (1976)
- Thelma Houston
“Don’t Leave Me This Way”
“Don’t Leave Me This Way” first took shape in 1975 in a more modest arrangement, as a Harold Melvin and the Blue Notes song sung by Teddy Pendergrass. Pendergrass’s tender vocals keep the songs as two distinct components—a verse and a chorus separated neatly by scale and intensity. When Thelma Houston recorded the song for Motown a year later, her arrangement reached for the sky; the version accelerates steadily, a gentle melancholy lifting off into the denser and more pressurized atmosphere of disco. Throughout, Rhodes piano shimmers like light filtering through clouds.
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Houston’s performance is remarkable: her vocals are as composed as they are exposed, stable as they are sensitive. “I can’t survive,” Houston sings, her voice occasionally collapsing into a whisper. “I can’t stay alive/Without your love.” It’s this complexity that, years later, led the song to be embraced as a metaphor for the devastation of AIDS in the gay community. –Brad Nelson
Listen:Thelma Houston: “Don’t Leave Me This Way”
See also: Harold Melvin & The Bluenotes: “Don't Leave Me This Way” / Evelyn 'Champagne' King: “Shame”
- Atlantic (1972)
- The Spinners
“Could It Be I’m Falling in Love“
It’s ironic that one of the all-time greatest Philly soul acts weren’t even from Philadelphia. The Spinners hailed from Detroit—they were even billed as “the Detroit Spinners” in the UK—and like most of the city’s top talent at the time, they recorded on Motown, where they landed the Stevie Wonder-penned hit “It’s a Shame.” But it was only after signing to Atlantic Records that they truly found their voice. Under the guidance of super-producer Thom Bell, they embodied the sound of ’70s Philadelphia soul: lush, sensual, and ridiculously generous, all strings and bells and orchestral grandeur.
That’s a lot to juggle, and some of Bell’s lesser productions collapsed under the weight of their arrangements, especially once disco pressured them to become busier and busier, but the Spinners had the delicate touch to pull it all off. Just years earlier, they’d been shouting and wailing, but the best moments of “Could It Be I’m Falling in Love” are practically whispered; every time lead vocalist Bobbie Smith is offered the opportunity to go loud, he goes soft, letting Bell’s dulcet accompaniments do the singing for him. The restraint adds even more depth to his coos of, “I don't need all those things that used to bring me joy/You've made me such a happy boy.” The ’70s yielded countless songs about falling in love, but few are as blissful as this. –Evan Rytlewski
Listen:The Spinners: “Could It Be I’m Falling in Love”
See also: Spinners: “I'll Be Around” / Isley Brothers: “(At Your Best) You Are Love”
- Bearsville (1973)
- Todd Rundgren
“International Feel”
Not many can challenge Todd Rundgren as the foremost architect of ’70s rock. As a producer, he shaped defining albums for Grand Funk Railroad, Hall & Oates, and Meat Loaf..but also the New York Dolls, Patti Smith, and the Tubes. In his simultaneous solo career, he stayed one step ahead of the trends he solidified with other artists, veering between soft-rock rebellion, prog fantasias, and experiments in song suites and remakes.
Triangulating Rundgren’s busy decade is nearly impossible, but “International Feel”—the lead track from his frenetic A Wizard, A True Star—does a fine job. Recorded at the ad-hoc Secret Sound studio Rundgren built in a New York City loft, the song balances between his audiophile obsessions and pop instincts. It’s Philly soul in a spacesuit, fading in with revving engine sound effects, tickled from all sides by synthesizer sprites, propelled by heavily filtered drums that sound lifted from a Led ZeppelinIV session. The use of “International Feel” in Daft Punk’s 2006 film Electroma only confirmed its otherworldly futurism, and that Rundgren was ahead of his time even as he played a preeminent role in defining it. –Rob Mitchum
Listen:Todd Rundgren: “International Feel”
See also: The Move: “Feel Too Good” / Dennis Wilson: “Pacific Ocean Blues”
Old Hindi Songs 1960 To 1970 Mp3
- Rough Trade (1979)
- Delta 5:
“Mind Your Own Business”
When guitarist Julz Sale, bassist Ros Allen, and other bassist Bethan Peters came together to form Delta 5 in 1979, they decided to double up on the low end because, as Allen has said, “neither of us played guitar, and we thought it would make the music more exciting.” They were not wrong.
Part of a contingent of Leeds art instigators that included Mekons and Gang of Four, the socialist funk-punk pioneers released their iconic debut single on Rough Trade just as the ’70s were petering out. The song opens with a tense soda-counter come-on that bleeds feminist sarcasm: “Can I have a taste of your ice cream?” the three women deadpan in unison. “Can I lick the crumbs from your table? Can I interfere in your crisis?” They gnarl knots of guitar noise until the whole song sounds like a collective effort to suffocate those same questions, but only after telling the leader of the pack to fuck right off: “No, mind your own business!” This one genius idea on loop set Delta 5 on their way. –Jenn Pelly
Listen:Delta 5: “Mind Your Own Business”
See also: Mekons: “Where Were You” / Slits: “I Heard It Through the Grapevine”
- Warner Bros. (1970)
- Van Morrison
“Caravan”
“Caravan” fits into an established tradition of songs about listening, a metatextual lyric about gathering with friends and dancing to a song on the radio, made into a song one might gather with friends and dance to. When it appears on a classic rock radio playlist, the lyric becomes abruptly instructional. “Turn it up!” Van exhorts. “Little bit higher! Radio!” Syntax crumbles in the whirl and flutter of his emotions. “Caravan” has a kind of rhomboid structure, its energies constantly building toward an acute angle; the individual instruments in the song—including Van Morrison’s voice—combine and swell into a wordless chorus: “La la la la la la la.” This is, essentially, the vocabulary of rhythm and blues, which Morrison, on “Caravan”’s album Moondance, had finally, almost seamlessly absorbed into his own music, and of which “Caravan” is its most excited expression. –Brad Nelson
Listen:Van Morrison: “Caravan”
See also: Van Morrison: “Into the Mystic” / Randy Newman: “Sail Away”