Every UK Number One Single From The 1960s Ranked

From ‘Do Wah Diddy Diddy’ to ‘Yellow Submarine’, I rank every British chart-topper from the swinging sixties.

I’ve already ranked every UK number one single from the 1950s. Now it’s time to fast-forward a decade to the 1960s. Still many moons before I was born, but a decade I’m much more familiar with. It had Motown. It had The Rolling Stones. It had Beatlemania! For the most part, British artists seemed to actually dominate the British charts. We even took over the American charts for a bit.

Despite being excited by the musical journey ahead, I was a lot more apprehensive about this list. The 50s had 94 singles to get through. This decade has almost double that number – 186 number ones! Listening to all these songs and ranking them from worst to best has taken a good few weeks. But the list is now complete. So let’s dive in…  

PS: A quick rule change. As with my 1950s list, I’ve included double A-sides as a single entry. But this time, I’ve decided to review both songs rather than just the first one. For example, for ‘Yellow Submarine/Eleanor Rigby’ I’ve taken into account both ‘Yellow Submarine’ and ‘Eleanor Rigby’ opposed to just ‘Yellow Submarine’.

The worst of the 60s…

Gary Puckett & The Union Gap's 'Young Girl' gets the award of worst UK number one of the 1960s.

186. ‘Young Girl’ – Gary Puckett & The Union Gap (4 weeks 1968) ‘Better run girl! You’re much too young girl!’ Yeah, there was no way a song about being in love with an underage girl was going to be ranked anywhere other than dead last.

185. ‘Wooden Heart’ – Elvis Presley (6 weeks 1961) Elvis singing in German over oom-pah-pah accordions. No thank you very much.

184. ‘Good Timin’ – Jimmy Jones (3 weeks 1960) The squawking ‘ticka-ticka-ticka-tick’ falsettos make me want to rip my ears off.

183. ‘Little Children’ – Billy J Kramer & The Dakotas (2 weeks 1964) This song is arguably creepier than ‘Young Girl’. The entire first verse sounds like it was written by The Child Catcher. As the song progresses, the context does appear to be more innocent, but lines like ‘if you snitch to your mother/ your father won’t understand’ still put doubt in my mind.

182. ‘Blue Moon’ – The Marcels (2 weeks 1961) Something about the bass singer’s derpy Patrick-Star vocal tone ruins this doo-wop song’s charm for me.  

181. ‘Out of Time’ – Chris Farlowe (1 week 1966) A great Rolling Stones song that Chris Farlowe has successfully managed to suck all the creativity and energy out of in this vapid cover. 

180. ‘Puppet On A String’ – Sandie Shaw (3 weeks 1967) The carnivalesque oom-pah instrumentation in this Eurovision entry is about as enjoyable as being kicked in the balls repeatedly by a clown. Even Sandie Shaw famously hated it claiming she was ‘instinctively repelled by its sexist drivel and cuckoo-clock tune’.

179. ‘All You Need Is Love’ – The Beatles (3 weeks 1967) Ranking a Beatles song this low feels wrong. Illegal, even. But I've always found this one to be a bit obnoxious. The lyrics are too simplistic and 7/4 time signature is unnecessary. It plays out like some clunky hippy nursery rhyme. 

The Sinatra-core revival…

Engelbert Humperdinck scored 2 number ones during the 60s.

178. ‘Release Me’ – Engelbert Humperdinck (6 weeks 1967) I was hoping we’d left behind all the Sinatra-style crooners in the 50s, but it looks like Sinatra-core made a comeback in the 60s, spearheaded by the only man to ever live with a name more ridiculous than Benedict Cumberbatch.

177. ‘I Pretend’ – Des O Connor (1 weeks 1968) The swinging sixties also saw this old-fashioned swing number from Des O Connor somehow topping the charts.  

176. ‘Distant Drums’ – Jim Reeves (5 weeks 1966) This Sinatra-core number tries to disguise itself as something more interesting with its ethereal drums and mariachi strings, but ultimately still sounds dreary and dated.      

175. ‘The Last Waltz’ – Engelbert Humperdinck (5 weeks 1967) I’ll give Camembert Pumpernickel some extra points for creativity for making this a waltz, but it’s still not my jam.

174. ‘Tears’ – Ken Dodd (5 weeks 1965) Ken Dodd was a comedian, which makes this serious crooner song a little odd. The trickling vocal melodies are catchy, but alas – this is still shitty Sinatra-core.

173. ‘Something Stupid’ – Frank Sinatra & Nancy Sinatra (2 weeks 1967) Yes, this one’s a classic. And it’s the real Sinatra. Not an imposter version. But have you ever noticed how inappropriate this song is for a father/daughter duet? So much so that it has long been nicknamed ‘the incest song’.

Cliff Richard’s reign of terror…

Cliff Richard achieved 7 number ones during this decade (and 14 number ones throughout his entire career).

172. ‘Please Don’t Tease’ – Cliff and The Shadows (3 weeks 1960) Cliff regularly complains about not being discussed enough for his influence on rock and roll. He certainly had a chokehold on the charts in the early 60s, but most of his hits just sound like boneless Elvis.

171. ‘I Love You’ – Cliff Richard and The Shadows (2 weeks 1960) The reverb makes this single a bit more enjoyably atmospheric, but ‘I Love You’ is probably the most generic song title/chorus imaginable. And the rest of the lyrics are equally trite: ‘Everyone knows one and one makes two/I’m the one and the other one’s you’.

170. ‘The Young Ones’ – Cliff Richard and The Shadows (6 weeks 1962) Alright, the strings and guitars in this one aren’t bad. But Cliff’s vocals still lack bite.

Rock and roll ain’t dead (but it may as well be)…

Eddie Cochran only managed 1 number one on the UK single charts.

169. ‘Three Steps To Heaven’ – Eddie Cochran (2 weeks 1960) By the early 1960s, most the rock and roll icons were either dead or were actively watering down their sound. This posthumous hit from Eddie Cochran feels like a blend of the two.

168. ‘Good Luck Charm’ – Elvis Presley (5 weeks 1962) Despite still sporting his trademark ‘uh-huh-huhs’, Elvis sounds lobotomised here compared to some of his 50s bangers like ‘Jailhouse Rock’.

167. ‘She’s Not You’ – Elvis Presley (3 weeks 1962) Aren’t these the exact same pianos as on ‘Good Luck Charm’? At least the ‘and when we’re daanciiing’ chorus sticks out a bit.

166. ‘Marie’s The Name (His Latest Flame)/Little Sister’ – Elvis Presley (4 weeks 1961) This sounds more like the energetic raunchy pelvis-thrusting Elvis I love. The first one on this double A-side has a nice pace to it, and the second one sees him scandalously singing about chasing two sisters. It’s a shame the riffs are a bit derivative.

Comedy records that have aged like milk…

'My Old Man's A Dustman' was Lonnie Donegan's 3rd and final UK number one. 

165. ‘Lily The Pink’ – The Scaffolds (4 weeks 1968/1969) This song’s ancient music hall humour fails to tickle me. Apparently, Paul McCartney’s brother was in this band (possibly where Paul got some of his goofier musical ideas from).

164. ‘My Old Man’s A Dustman’ – Lonnie Donnegan (4 weeks 1960) An East End classic with lots of charming cockney lingo like ‘cor blimey trousers’ and ‘daisy roots’. And also some groan-worthy puns: ‘my dustbin’s absolutely full with toadstools. How do you know it’s full? Cause there’s not mushroom inside’ *ba dum tsss*

163. ‘Come Outside’ – Mike Sarne with Wendy Richard (2 weeks 1962) This is pretty much a Cockney-fied version of ‘Baby It’s Cold Outside’. Mike Sarne is eager for some ‘romancing’ and won’t take no for an answer. Wendy Richard eventually gives in after two minutes of replying ‘get lost’ and ‘lay off’, and they go outside for some ‘slap and tickle’. Because that’s how consent works, right?

Soppy pre-Beatles pop…

Anthony Newley attained 2 UK number ones during the 1960s.

162. ‘Do You Mind?’ – Anthony Newley (1 week 1960) The period between Buddy Holly and The Beatles was made up of lots of mushy watered-down pop ballads like this one. It’s too soppy for me, but this dude does have a much more interesting voice than Cliff Richard (apparently, Newley was an inspiration to Bowie).

161. ‘Starry Eyed’ – Michael Holliday (1 week 1960) This one’s another nauseatingly soppy number from the early 60s, but the spacey ‘bum-bum-bums’ and clickety percussion liven it up a bit.

160. ‘Poor Me’ – Adam Faith (2 weeks 1960) In my 50s number one rankings, I accused this dude of sounding like a bad Buddy Holly impersonator, and while that still stands, the plucky strings are very fun here.

159. ‘Why’ – Anthony Newley (4 weeks 1960) This one has some charming twinkly instrumentation. The ‘because I love youuuu’ lyrics are ridiculously mawkish though.

Humdrum harmonies…

The Seekers bagged 2 UK number ones during the 60s.

158. ‘Juliet’ – The Four Pennies (1 week 1964) The 60s had some impressive vocal harmony groups. But The Four Pennies were not one of them. They sound like a budget version of the Everly Brothers.  

157. ‘Silence Is Golden’ – The Tremeloes (3 weeks 1967) Meanwhile, these guys sound like a budget version of the Bee Gees, crossed with a church choir. It’s not working for me.

156. ‘I Know I’ll Never Find Another You’ –The Seekers (2 weeks 1965) Aussie folk group, The Seekers, deliver a combo of male and female vocals. However, the melodies don’t stick.

155. ‘The Carnival Is Over’ – The Seekers (3 weeks 1965) More pleasant but forgettable harmonies from The Seekers. Can you believe this beat The Who’s ‘My Generation’ to number one?

The year of the yodel…

Frank Ifield yodelled his way to the top of the UK charts 4 times.

154. ‘I Remember You’ – Frank Ifield (7 weeks 1962) Frank Ifield was known for his unique yodelling delivery – and I honestly can’t tell if it’s charming or annoying. What’s certain is the UK public loved it. 7 whole weeks at number one?? That’s bonkers.

153. ‘Lovesick Blues’ – Frank Ifield (5 weeks 1962) This one is even more yodelly, to the point that it’s almost cartoonish. The upbeat trumpets are fun enough to partially make up for it though.   

Not bad, not great…

Petula Clark sailed her way to number one twice.

152. ‘Well I Ask You’ – Eden Kane (1 week 1961) This might be the most shameless Elvis impersonation I’ve encountered so far while ranking these number ones. That said, I’m digging the swanky instrumentation, bitter breakup lyrics and gravel in his voice.

151. ‘Let The Heartaches Begin’ – Lord John Baldry (2 weeks 1967) Lord John Baldry’s croaking frog voice is not my thing. However, the song does have an enjoyably big chorus that makes you want to sway your arms.

150. ‘Sailor’ – Petula Clark (1 week 1961) The first number one of the 1960s by a woman (the early 60s charts was a sausage fest). It begins as a dull sea shanty with some folksy harmonica, but does pick up with its show-tune flavoured chorus (although it’s certainly no ‘Downtown’ – a song that never actually made it to number one in the UK).

149. ‘Are You Lonesome Tonight’ – Elvis Presley (4 weeks 1961) Elvis is in full lullaby mode here. The lovelorn spoken word passage in the second half is kinda interesting though and stops this being a complete slumber party.

148. ‘The Minute You’re Gone’ – Cliff Richard (1 week 1965) In amongst all the Beatles and Stones hits dominating 1965, this Cliff Richard song must have felt as dated as a horse and cart on a motorway. Yet I’ll take this over the previous Cliff entries – his delivery feels genuinely pained.

147. ‘With A Girl Like You’ – The Troggs (2 weeks 1966) Aside from its catchy ‘bad-a-bam-bam-bams’, this is a very garden-variety rock song for its time. ‘Wild Thing’ was a much more deserving chart-topper. 

146. ‘Walking Back To Happiness’ – Helen Shapiro (3 weeks 1961) This one dupes you into thinking it’s going to be a slow boring breakup ballad, before launching into a chirpy and upbeat song about making up again, although I was kinda hoping it would evolve more.

145. ‘Only The Lonely’ – Roy Orbison (2 weeks 1960) Shades-wearing proto-rock star Roy Orbison sounds convincingly lonely here. The instrumental stabs when he sings ‘there’s go my heart’ even make it sound like he’s literally being stabbed in the aorta. Nonetheless, the song never reaches that crescendo that other Roy Orbison hits would later reach. 

144. ‘You’re The Devil In Disguise’ – Elvis Presley (1 week 1963) Elvis was way past his peak at this point, however this is one of his more inventive singles of this period, constantly changing in tempo as Elvis schizophrenically switches between calling his girlfriend an ‘angel’ and a ‘devil’.    

143. ‘Tower of Strength’ - Frankie Vaughan (3 weeks 1961) These sassy vocals and horn blasts are exhilarating. Tom Jones would ultimately better this sound, but props to Frankie for laying the foundations.

142. ‘Strangers In The Night’ – Frank Sinatra (3 weeks 1966) I thought about including this with all the dull Sinatra-core songs, but this one feels like it’s a cut above the rest. I particularly like how Sinatra keeps it low-key and resists the big finish by adding some fade-out scat singing instead (even if it’s pretty low effort scat singing).

141. ‘I Can’t Stop Loving You’ – Ray Charles (2 weeks 1962) As emotionally raw as Ray Charles’ vocals are in this heartbroken love ballad, I can’t help but wince at the shrill backing vocals that sound like they were recorded in the 30s.

140. ‘Pretty Flamingo’ – Manfred Mann (3 weeks 1966) A very basic sunshine pop song from Manfred Mann. It does get more interesting once the recorders and ‘sha-la-la’s come in.  

139. ‘Mony Mony’ – Tommy James & The Shondells (1 weeks 1968) I honestly didn’t realise Billy Idol’s version was a cover. This version’s okay I guess, but without the synths it feels like it’s missing a key ingredient.     

138. ‘This Is My Song’ – Petula Clark (2 weeks 1967) Charlie Chaplin wrote this song. No, it’s not a comedy record. It’s, in fact, a very serious love ballad, accompanied by Italian tremolo guitars that make it sound like it’s being sung from a Venetian gondola. It’s a bit old fashioned, but Petula Clark sells it with her vibrant showtune delivery. 

137. ‘Diane’ – The Bachelors (1 week 1964) Despite the hillbilly twang at 1:00, these guys were from Ireland. I quite like the band’s harmonies, even if they sound like they’re failing to play catch-up with The Beatles. 

136. ‘Reach For The Stars/ Climb Ev’ry Mountain’ – Shirley Bassey (1 week 1961) ‘Goooldfingeeeer!’ That song sadly never topped the charts, but these hammy showtunes did. They’re not really my cuppa tea, but, still, what a voice!

135. ‘I’ve Gotta Get A Message To You’ – The Bee Gees (1 week 1968) This is a classic. But I’ve always been undecided as to how I feel about the Bee Gees’ vocals. Their quivering ‘ahhhhs’ and screechy falsettos are somehow captivating and irritating at the same time. So, I’m putting this track here, even though I’m sure some of you will think it’s too low. 

134. ‘You Don’t Know’ – Helen Shapiro (3 weeks 1961) At first, I thought this was just okay. But listening back, I can really hear the despair as she sings ‘you don’t knooow’. Should I have ranked this one higher too? Oh, I don’t know. I don’t knooow.

Naff/nuts novelty songs…

Esther and Abi Ofarim were one of several artists to score a number one novelty hit in the 60s. 

133. ‘Michael’ – The Highwaymen (1 week 1961) I listen to a lot of genres. However, I draw the line at sea shanties. The calming vocal delivery here does have Simon & Garfunkel vibes though, so I get the appeal. 

132. ‘You’re Driving Me Crazy’ - The Temperance Seven (1 week 1961) Is this the swinging sixties or the roaring twenties? This is proper old skool traditional jazz complete with old-timey cabaret vocals and crackling production. I don’t hate it, but I am confused what it’s doing at the top of the charts in 1961.

131. ‘Crying In The Chapel’ – Elvis Presley (2 weeks 1965) Gospel Elvis is certainly better than oom-pah Elvis. I much prefer rock and roll Elvis, but this is still enjoyably soothing and sounds like it may actually have been recorded in a chapel.

130. ‘Running Bear’ – Johnny Preston (2 weeks 1960) ‘Running Bear’ tells the tragic love story of two Native American lovers from opposing tribes. It’s basically a Native American Romeo and Juliet. I’m not sure how I feel about the mock ‘uga uga’ chants. Potentially racist? But they do make the song unique.   

129. ‘Two Little Boys’ – Rolf Harris (6 weeks 1969) Let’s forget Rolf Harris is a convicted nonce for a moment. ‘Two Little Boys’ tells the story of two friends who both grow up to be soldiers – one of them saving the other’s life. It’s sentimental music hall cheese, but also a charming and inspiring tale of brohood.

128. ‘The Ballad Of Bonnie & Clyde’ – Georgie Fame (1 week 1968) The 50s had ‘Mack The Knife’ and the 60s had ‘The Ballad of Bonnie & Clyde’. I can’t recall if any other serial-killer-themed songs made it to number one after this. Anyhow, I like how this song doesn’t try to glamourise its subjects and that it has a goofy Toy-Story-Soundtrack vibe to it, even if the sad trombone at the end is a bit much.

127. ‘Cinderella Rockefeller’ – Esther & Abi Ofaram (3 weeks 1968) 1968 was a bit of a wacky year for number ones. This entry consists of mock yodelling and cartoonish quivering vocals over saloon bar pianos. It’s very camp, but lines like ‘I love your face (it’s in the right place)’ did make me chuckle.

126. ‘The Legend of Xanadu’ – Dave Dee, Dozy, Beaky, Mick & Tich (1 week 1968) What the hell is this? Mariachi rock? It’s nuts and I love it. That said, the whip sound effects – which I thought were supposed to be laser guns at first – do get kinda annoying on repeat listens, which is the only reason this zany song isn’t ranked higher.

Covers that aren’t as good as the original…

Manfred Mann made it to number one 3 times (2 of those number ones were covers).

125. ‘Mighty Quinn’ – Manfred Mann (2 weeks 1968) ‘Mighty Quinn’ tells the off-the-wall story of a revered fictional Eskimo who for some bizarre reason is loved by all the pigeons. Manfred Man’s upbeat flute-heavy version is fun, but goofy – the Bob Dylan original is folksier and more mystical and overall more to my liking.

124. ‘It’s All Over Now’ - The Rolling Stones (1 week 1964) The Stones’ first number one was a Valentinos cover. It’s not as enjoyably groovy as the original and it contains a notoriously naff guitar solo that John Lennon even went as far as to call ‘crap’, but it does have a trailblazing ruggedness. 

123. ‘The Wayward Wind’ – Frank Ifield (3 weeks 1963) This country cover has some interesting cinematic instrumentation and Frank Ifield seems to have tamed his yodelling. But the Gogi Grant original with its ghostly choirs slaps harder.

122. ‘The Green Green Grass of Home’ – Tom Jones (7 weeks 1966) Here we have a big patriotic ballad about returning home in which Tom Jones’ belting voice is typically impressive. But I just checked out the original (another country song), and I think maybe the intimacy of that one pays off better – especially once we realise the song is actually about someone on death row.

121. ‘Moon River’ – Danny Williams (2 weeks 1961) Danny Williams (who Wikipedia claims is a boxer. Wait no, that’s the wrong Danny Williams. Here they are) delivers a convincingly emotional performance here, but it has nothing on the Audrey Hepburn version.

120. ‘Anyone Who Had A Heart’ – Cilla Black (3 weeks 1964) Dionne Warwick got well and truly shafted in the 60s – she never had a number one, and yet covers of three of her songs were chart-toppers, including this Cilla Black carbon copy of ‘Anyone Who Had A Heart’.

119. ‘Always Something There To Remind Me’ – Sandie Shaw (3 weeks 1964) This is leagues better than ‘Puppet On A String’ (#180), but Sandie Shaw’s performance still lacks that measured quality that Dionne Warwick had on the original.

118. ‘Make It Easy On Yourself’ – The Walker Brothers (1 week 1965) An epic baroque pop record. I can respect this more than the other Dionne Warwick covers, because The Walker Brothers have made it their own. But I still think the soulful original is superior.

117. ‘Do Wah Diddy Diddy’ – Manfred Mann (2 weeks 1964) Did you know ‘Do Wah Diddy Diddy’ was a cover? It was originally recorded by The Exciters and their version is, in my opinion, a lot more exciting. But, eh, this one’s not bad.

Cut the vocals! Time for some instrumentals…

The Shadows achieved 5 UK number ones during the 60s.

116. ‘Foot Tapper’ – The Shadows (1 week 1963) While the Shadows did produce some hits with Cliff Richard, they were also able to score a few number ones without him - such as this jaunty surf rock number (which indeed has my foot tapping).

115. ‘Dance On!’ – The Shadows (1 week 1963) In fact, I get the impression that Cliff was holding these guys back. Those bendy guitar notes and syncopated drums at the beginning are really cool. 

114. ‘Kon-Tiki’ – The Shadows (1 week 1961) One issue with the Shadows is that their tracks could be a little samey. Their riffs all sounded a bit alike, and while I prefer the riff in this one, I can’t really tell you why.

113. ‘Wonderful Land’ – The Shadows (8 weeks 1962) Another Shadows number one. This one’s ranked higher because it’s got strings and trumpets. It’s surf rock, but with a western vibe. Music for surfing cowboys? 

112. ‘Diamonds’ – Jet Harris & Tony Meehan (3 weeks 1963) This is the first number one to feature a drum solo and also the first recording to feature Jimmy Page (he plays the background acoustic guitar). Impressive stuff, and again it’s got a cool western vibe. 

111. ‘On The Rebound’ – Floyd Cramer (1 week 1961) A decent rock and roll piano instrumental. It makes me want to move. It makes me want to boogie. It makes me want to twerk. Okay, maybe not that far.

110. ‘Nut Rocker’ – B. Bumble & The Stingers’ (1 week 1962) More rock and roll pianos. This time in the form of a creative Tchaikovsky interpolation.

109. ‘The Good, The Bad and The Ugly’ – Hugo Montenegro (4 weeks 1968) The soundtrack to The Good, The Bad and The Ugly is absolutely iconic! One of my favourite soundtracks. Except this is a measly cover. So, minus a few points there.

The Beatles did it better…

Gerry and the Pacemakers had 3 UK number one hits.

108. ‘How Do You Do It’ – Gerry and The Pacemakers (3 weeks 1963) Behold! The first Merseybeat number one. Sporting chirpy Liverpudlian vocals and a driving rugged drum beat, ‘How Do You Do It’ sounded like no other number one that had come before it. I’m loving the piano solo and intense snare rolls. But it’s a bit skeletal compared to some of The Beatles’ hits that would shortly follow it.

107. ‘Do You Love Me’ – Brian Poole and The Tremeloes (3 weeks 1963) This sounds just like The Beatles ‘Twist and Shout’. There’s even a part where Brian Poole demands ‘do the twist’. It gets no points for originality, but the energy is infectious.

106. ‘Glad All Over’ – The Dave Clark Five (2 weeks 1964) That pounding drum beat must have had people headbanging their mop tops, and the synchronised ‘mi-i-i-i-ine’ hook is fun too. But again, it’s not quite The Beatles’ level of songwriting.

105. ‘Needles and Pins’ – The Searchers (3 weeks 1964) We’re still not at Fab Four quality, but The Searchers do deliver some sweet vocal harmonies here, plus the drum fills at the end are pretty cool.

104. ‘A World Without Love’ – Peter & Gordon (2 weeks 1964) This could be a Beatles song – which makes sense because it was written by Paul McCartney. The singing is a little soft for me, but the harmonies are beautiful, and the organ’s a nice touch.

103. ‘Billy J Kramer & The Dakotas’ – Bad To Me (3 weeks 1963) Lennon and McCartney both wrote this song, and you can definitely hear it in the vocal melodies and chords. All that’s missing is Lennon and McCartney’s distinct vocal tones. Sorry Kramer, but your pipes aren’t doing it for me. 

102. ‘Concrete and Clay’ – Unit 4 + 2 (1 week 1965) Beat music with a Latin influence? I’m digging it. Vocally, this still doesn’t match up to the Beatles though. Also, I was hoping for more cowbell.  

Death discs…

The Everly Brothers enjoyed 4 UK number ones (3 of which were in the 1960s).

101. ‘Walk Right Back/Ebony Eyes’ – The Everly Brothers (3 weeks 1961) Let’s gloss over ‘Walk Right Back’ – a pleasant but uninteresting Everly Brothers single. ‘Ebony Eyes’ is the truly captivating half of this double A-side. Have you got your box of tissues ready? ‘Ebony Eyes’ is one of several ‘death discs’ that became popular in the early 60s – a tale of teenage romance that ends with one partner tragically dying. It starts off as a fairly mushy lullaby. But then the spoken word section comes in and hits you like a brick.

100. ‘Tell Laura I Love Her’ – Ricky Valance (3 weeks 1960) Whereas ‘Ebony Eyes’ featured a lover dying in a plane crash, this one features a lover dying in a stock car race. Musically, it’s a fairly standard Elvis-flavoured ballad, but the ‘tell Laura I lover heeer’ chorus is pretty haunting.

99. ‘Johnny Remember Me’ – John Leyton (4 weeks 1961) Speaking of ‘haunting’, this death disc features a deceased girlfriend coming back from the grave to haunt their lover. I’m absolutely loving the galloping guitars (pretty intense for 1961!) and the wailing reverb-slathered ‘jooooohnyyyyy, remeeeember meeee!’ chorus is brilliant (although the campness of it does dampen any intended emotional impact).

Beat music bops...

Herman's Hermits had 2 US number one hits, but only 1 UK number one.

98. ‘Don’t Throw Your Love Away’ – The Searchers (2 weeks 1964) Less than 100 tracks to go! This Merseybeat song from The Searchers has some beautiful harmonies. That’s kind of all it’s got going for it, but that’s good enough.

97. ‘From Me To You’ – The Beatles (7 weeks 1963) You guys heard of a band called The Beatles? This is their first ever number one. The lyrics are a bit twee, but the harmonies and ruggedness remind you that this ain’t no Anthony Newley track. Extra points for that catchy harmonica riff.

96. ‘I Like it’ – Gerry and the Pacemakers (4 weeks 1963) The lyrics are very simplistic – but I like it. I LIKE IT. Sometimes you don’t need flowery metaphors. Sometimes you just need to have a ton of swagger like Gerry.

95. ‘Have I The Right?’ – The Honeycombs (2 weeks 1964) Jeez, that stomping chorus is intense! Apparently, it was achieved by adding stamping feet to the mix, as well as banging a tambourine on the mic.

94. ‘I’m Into Something Good’ – Herman’s Hermits (2 weeks 1964) Herman’s Hermits were a lot tamer than their contemporaries (as the lyrics state, they’re into ‘holding hands’ not ‘one night stands’). But they made up of for this with some undeniably catchy vocal melodies. I can even hear some Beach Boys influence in there.

93. ‘I’m Alive’ – The Hollies (2 weeks 1965) This one starts fairly unassuming and then builds into an absolutely euphoric chorus. The brief double time drums at the end are a treat too.  

92. ‘Can’t Buy Me Love’ – The Beatles (3 weeks 1964) Although not one of their most memorable hits, this upbeat song about money not bringing happiness has a very undeniable liveliness to it. Paul even lets out a scream towards the end.

Pretty good! I give these a 7/10…

Sandie Shaw achieved 3 UK number ones during the 1960s. 

91. ‘Long Live Love’ – Sandie Shaw (3 weeks 1965) Sandie Shaw’s guiro-heavy calypso-pop number is very fun, even if I did keep expecting her to break into ‘It’s not unusual…’ (the instrumentation’s very similar).

90. ‘The Next Time/Bachelor Boy’ – Cliff Richard (3 weeks 1963) These two singles off the Summer Holiday soundtrack are genuinely not bad. Cliff’s singing from the heart here (he really did become a lifelong bachelor boy) and the lush instrumentation is gorgeous. 

89. ‘Confessin’ – Frank Ifield (2 weeks 1963) I can’t tell if I’ve gotten used to the yodelling, or the songwriting is simply better, but I must confess that I’m liking this.

88. ‘All Or Nothing’ – Small Faces (1 week 1966) A pretty decent rocker for 1966. The lead singer’s voice even sounds a bit like Freddie Mercury in the second half.

87. ‘Do It Again’ – The Beach Boys (1 week 1968) Tragically, the Beach Boys only had two UK number ones (another band beginning with ‘B’ kept beating them to the top of the charts). This is one of their more straightforward singles – a nostalgic throwback to their early surfer rock days – but it’s still a feelgood summery bop.    

86. ‘It’s Over’ –  Roy Orbison (2 weeks 1964) This is no ‘Pretty Woman’. But, my god, what a climax! The way he belts ‘it’s oooooveeeeer!’ at the end gave me chills.

85. ‘Congratulations’ – Cliff Richard (2 weeks 1968) Congratulations Cliff for climbing back to the top of the charts in the late 60s. Everyone knows this one! It’s hokey, but hooky, and I’ve always liked the bit where it gradually speeds up at the end.

84. ‘A Whiter Shade Of Pale’ – Procol Harum (6 weeks 1967) Procol Harum’s famous organ dirge does drag a little. But it’s very unique and has some interesting cryptic lyrics about dancing the light fandango and feeling seasick.

83. ‘Something In The Air’ – Thunderclap Newman (3 weeks 1969) This song has an absolutely crazy piano solo towards the end. I wish the vocals were stronger, but otherwise its solid.

 82. ‘Hello, Goodbye’ – The Beatles (7 weeks 1967) Paul wrote this song, and you can tell. The lyrics are goofy as hell. John didn’t like it. But I personally dig this: the vocal melodies, the polka bass riff and the eccentric ‘aloha’ outro are all very fun.

81. ‘Where Do You Go To My Lovely’ – Peter Sarstedt (4 weeks 1969) Aside from some brief accordions and strings, this one is mostly vocals and acoustic guitar. This puts the spotlight on Peter Sarstedt’s beguiling lyrics – the French tale of a mysterious love interest called Marie Claire. I’m kinda disappointed Peter Sarstedt wasn’t actually French though. He loses some points for that.

80. ‘Je T’aime… Moi Non Plus’ – Serge Gainsbourg & Jane Birkin (1 week 1969) Speaking of which, here’s a UK number one by two actual French singers sung entirely in French. I was stumped as to where to place this, because it’s an impressively edgy song – even by today’s standards. At the same time, the realistic orgasm noises towards the end (which are what make it so edgy) are kinda uncomfortable to listen to. What was Jane doing in that recording booth?

Italian interpolations…

Cilla Black topped the UK charts 2 times.

79. ‘If Paradise Is Half As Nice’ – Amen Corner (2 weeks 1969) This one is very catchy! I thought it was an original, but it turns out it’s an Anglicised rip-off of an Italian pop song titled ‘Il Paradiso’ by Patty Pravo – one of several 60s hits nabbed from the Italians.

78. ‘You’re My World’ – Cilla Black (4 weeks 1964) Cilla Black’s ‘You’re My World’ was also a rework of an Italian pop song, ‘Il Mio Mondo’ by Umberto Bindi. She makes it her own though and it’s a very beautiful song, even if I’m not entirely keen on the way her voice gets more nasal at it builds.

77. ‘It’s Now Or Never’ – Elvis Presley (8 weeks 1960) Elvis was also stealing songs from the Italians. This one’s a rework of an opera oldie from the 1800s, ‘O Sole Mio’. However, Elvis puts his own spin on it, delivering it with his trademark croon.  

More covers! This time better than the original…

The Byrds flew to the top of the UK charts just once with their single 'Mr Tambourine Man'.

76. ‘Mr Tambourine Man’ – The Byrds (2 weeks 1965) This was a Bob Dylan cover, and it beats the original in my opinion because it actually has a tambourine in it. The jangly guitars that The Byrds add are also very pretty. 

75. ‘The Sun Ain’t Gonna Shine Anymore’ – The Walker Brothers (4 weeks 1966) A Frankie Valli cover. The Walker Brothers made it sound a lot more epic. It’s also funny how they recorded a song called ‘The Sun Ain’t Gonna Shine Anymore’ straight after moving from the US to Britain. 

74. ‘Sweets For My Sweet’ – The Searchers (3 weeks 1963) This Drifters cover by Merseybeat band The Searchers sounds so groovy for 1963. I also like how they scrapped the shrill falsettos in the original, while keeping the sugary ‘oooo-oo-oooh’ harmonies.

73. ‘Little Red Rooster’ – The Rolling Stones (1 week 1964) The Rolling Stones managed to get an all-out blues song to number one. It’s got some cracking slide guitar and kooky cock-themed lyrics. 

72. ‘Michelle’ – The Overlanders (3 weeks 1965) I was going to comment that this sounded very Beatles-esque and then realised it is a Beatles cover. It’s a bit more atmospheric than the original in my opinion.

71. ‘Go Now!’ – Moody Blues (1 week 1965) The Moody Blues recorded the most famous version of ‘Go Now’ (originally a Bessie Banks song), adding more powerful harmonies and an exclamation mark to the title. 

70. ‘With A Little Help From My Friends’ – Joe Cocker (1 week 1968) Joe Cocker’s rock/gospel cover of The Beatles’ ‘With A Little Help From My Friends’ is a little bombastic, but very enjoyable. The clean production and Jimmy Page’s guitar playing made me think this was released in the 70s.

69. ‘Ob La Di, Ob La Da’ – Marmalade (3 weeks 1969) Who the fuck are Marmalade? Oh well, they’ve done a good job with this Beatles song. I love the original, but this feels even more upbeat.

Elvis songs that are actually enjoyable…

The UK couldn't stop falling in love with Elvis Presley during the 60s - he had 11 number ones! 

68. ‘I Can’t Help Falling In Love With You/Rock a Hula Baby’ – Elvis Presley (4 weeks 1962) Elvis had some pretty underwhelming number ones in the 60s. But he also had a few undisputed smashes - like this double A-side from 1962. The first half is an iconic serious ballad about falling in love backed by piano arpeggios. The second half is a lesser-known unserious rock-and-roller about wanting to bang a hula dancer backed by loopy slide ukelele.

67. ‘Surrender’ – Elvis Presley (4 weeks 1961) This single sounds like if Elvis recorded a Bond theme. The fact this came out before the James Bond movies even makes me wonder if this was an inspiration to the Bond movies.  

66. ‘Return to Sender’ – Elvis Presley (3 weeks 1962) ‘Return To Sender’ is Elvis at his most catchy. And it’s got a unique premise, which Elvis energetically unveils as the song goes on: ‘we had a quarrel/ a lover’s spat/ I write I’m sorry/ but my letter keeps coming back’. The highest ranking Elvis song on this list.  

Things are heating up! I give these an 8/10...

The Rolling Stones had the satisfaction of scoring 8 UK number ones during the 60s.

65. ‘The Last Time’ – The Rolling Stones (3 weeks 1965) We’re getting into the really good number ones now. And still 65 songs to go! This Stones classic has an iconic riff and Jagger’s vocals at the end are pretty aggressive for their time.

64. ‘Baby Now That I’ve Found You’ – The Foundations (2 weeks 1967) The Foundations’ debut single was the first UK number one by a multiracial group. Their sound was pretty much a British emulation of American Motown bands, but it’s a damn good emulation. 

63. ‘King Of The Road’ – Roger Miller (1 week 1965) Anyone remember the cute 90s road safety TV advert with the hedgehogs? That’s the only reason I’m ranking this song this high.

62. ‘San Francisco (Be Sure To Wear Flowers In Your Hair)’ – Scott McKenzie (4 weeks 1967) This is the ultimate hippy rally anthem right here. The song that kickstarted the Summer of Love. Much better than The Beatles’ ‘All You Need I Love’ (see #179).

61. ‘Massachusetts’ – Bee Gees (4 weeks 1967) ‘Massachusetts’ contrastingly marks the end of the Summer of Love - the moment when thousands of young hippies ran out of money, food and drugs, and had to return home from San Francisco to states like Massachusetts. The Bee Gees had never even stepped foot in Massachusetts when they wrote this song. But regardless of being lyrical fraudsters, their emotional conviction and merciful lack of falsettos make this one of my favourite Bee Gees songs.

60. ‘Somebody Help Me’ – The Spencer David Group (2 weeks 1966) Who? I’ve never heard of these guys in my life, but they’re killing it. The soulful vocals sound so good, and that groovy riff is fantastic.

59. ‘Keep On Running’ – The Spencer Davis Group (1 week 1966) Another one from The Spencer Davis Group. The stomping bass-heavy intro to this one is so intense. I definitely need to check out more of this band when I’m done with this list. They rock.

58. ‘Get Away’ – Georgie Fame & The Blue Flames (1 week 1966) With its sax honks and organ solo, this is a typically playful song from Georgie Flame. This time without the corniness of ‘The Ballad of Bonnie & Clyde’ (#128).

57. ‘I Got You Babe’ – Sonny & Cher (2 weeks 1965) The famous duet that woke Billy Murray up every day in Groundhog Day. The vocal chemistry is electric, the Tudor-sounding oboe riff is charming and the fake ending is a cool touch.

56. ‘Lady Madonna’ – The Beatles (2 weeks 1968) Expect a lot of Beatles songs from here on in.  I wanted to spread them out more throughout this list, but these guys wouldn’t stop dropping bangers - like this rollicking rock and roll number which features a groovy bassline, sax solo and John and Paul doing their best vocal impression of a trumpet.

55. ‘I Feel Fine’ – The Beatles (5 weeks 1965) A fine Beatles song with a fine riff. It also opens with the first recorded use of feedback in a hit song.

54. ‘You’ve Lost That Loving Feeling’ – The Righteous Brothers (2 weeks 1965) Phil Spektor was a killer producer (in more ways than one). This is probably the most famous example of his ‘wall of sound’ production and it really makes this blue-eye soul breakup ballad feel all the more moving.

53. ‘Honky Tonk Women’ – The Rolling Stones (5 weeks 1969) Can a song be sleazy in a good way? ‘Honky Tonk Women’ seems to achieve it with its bluesy riff, funky cowbells and randy lyrics.

52. ‘Paperback Writer’ – The Beatles (2 weeks 1966) This Fab Four hit about an aspiring author signalled a transition away from love songs and features some satisfyingly rockier guitars.

51. ‘Dizzy’ – Tommy Roe (1 week 1969) With its multiple dizzying key changes, I’ve always found this bubblegum pop song to be a blast.  Into the top 50 we go…

Apocalypse now...

'Bad Moon Rising' was the only Creedence Clearwater Revival hit to rise to the top of the UK charts.

50. ‘In The Year 2525’ – Zager & Evans (3 weeks 1969) 1969 had two back-to-back number ones with dystopian lyrics, ‘In The Year 2525’ and ‘Bad Moon Rising’.  The first one is probably the most menacing mariachi song I’ve heard and features lyrics that foretell the future millennium by millennium. This line feels scarily prescient in the current era of AI: ‘In the year 5555/ your arms hanging limp at your sides, your legs got nothing to do/ some machine’s doing that for you’

49. ‘Bad Moon Rising’ – Creedence Clearwater Revival (3 weeks 1969) The instrumentation in this apocalyptic anthem is jollier than ‘In The Year 2525’. In fact, because of this, I don’t think I’d ever realised how gloomy the lyrics are. It’s a juxtaposition that I think ‘Fortunate Son’ pulls off well too (a song that sadly never charted in the UK).

Hmm, maybe an 8.5/10...

No artist was beating the The Beatles in the 1960s. They had 17 number ones!

48. ‘Sugar Sugar’ – The Archies (8 weeks 1969) Along with being the first UK number one from a cartoon band, this is also widely regarded as the epitome of bubblegum pop. Even if it is aimed at kids, you can’t deny the ‘sugar, sugar’ hook and organ riff are addictive.

47. ‘The Ballad of John and Yoko’ – The Beatles (3 weeks 1969) Recorded during John and Yoko’s honeymoon, ‘The Ballad of John and Yoko’ is a response to all the clawing publicity surrounding their wedding. I like how John deliberately pushes the media’s buttons with lines like ‘they’re going to crucify me’, having already got in trouble for claiming the Beatles were ‘more popular than Jesus’.

46. ‘Get Back’ – The Beatles (6 weeks 1969) The Peter Jackson ‘Get Back’ documentary allowed us a glimpse into the making of this song - which is arguably the bluesiest single of The Beatles’ career with some fantastic keys from Billy Preston.

45. ‘Baby, Come Back’ – The Equals (3 weeks 1968) The Equals ‘Baby, Come Back’ is a fun mishmash of ska vocals, rock guitars and Motown-style drums.  Plus, the chorus is an earworm.

44. ‘Get Off Of My Cloud’ – The Rolling Stones (3 weeks 1965) ‘Get Off Of My Cloud’ is about trying to enjoy life on cloud 9 but constantly being bugged by sponsors and the media. It’s one of the first hit songs about the trappings of superstardom, delivered passionately by Jagger and featuring some catchy snare rolls.

43. ‘Help!’ – The Beatles (3 weeks 1965) This one’s also about the struggles of fame. In this case, the lyrics are even more despondent, with John Lennon seeming to direct this line at his fans: ‘Help me if you can, I’m feeling down/ And I do appreciate you being around’. Extra points for that cool spiralling guitar riff.

42. ‘Jumpin Jack Flash’ – The Rolling Stones (2 weeks 1968) ‘I was born in a crossfire hurricane/ And I howled at my ma in the driving rain’.  What a badass opening line. And we get a surfeit of tasty bluesy riffs here. This is top quality Stones.

41. ‘Hey Jude’ – The Beatles (2 weeks 1968) This epic piano ballad might be the most iconic Beatles song besides ‘Yesterday’ (which was never released as a single in the UK). Yes, the ending does go on a bit. But those endless ‘na na na naaa’s are part of what makes this song so iconic – and so good!

Time for some more instrumentals…

The Tornados took the UK by storm with their 1 and only number one, 'Telstar'.

40. ‘Apache’ – The Shadows (5 weeks 1960) This famous instrumental by The Shadows will always be leagues above the rest of their discography in my opinion. Its galloping drums and whammy-bar-laced main riff will eternally be cool.

39. ‘Telstar’ – The Tornados (5 weeks 1962) What is that sound? ‘Telstar’ still sounds strange today due to its use of Clavioline – one of the first ever synthesizers. The whole track sounds like a flying saucer landing and taking off, and it’s amazing that such an experimental single could chart at number one.

38. ‘Albatross’ – Fleetwood Mac (1 week 1969) This has got to be one of the most soothing guitar instrumentals ever put on wax. Listening to it really does make me feel like I’m an albatross gliding over the sea into the sunset.

9/10! We’re into banger territory…

The Supremes surprisingly only had 1 UK number one in the 1960s.

37. ‘She’s Got A Ticket To Ride’ – The Beatles (3 weeks 1965) Ringo’s stilted drum beat and the droning guitars give this song a uniquely hypnotic vibe – which is thrillingly disrupted at the end with that brief double-time ‘my baby don’t care’ part at the end.

36. ‘Poetry In Motion’ – Johnny Tillotson (2 weeks 1961) With it’s passionate ‘a-whoah-whoah-whoah’ vocals and swanky saxophone, this is the type of pop bop that conjures images of Grease-style school proms and vintage diners where everyone’s drinking milkshake. It’s so energetic and feelgood that I don’t even care about the soppy-ass lyrics. 

35. ‘Summer Holiday’ – Cliff Richard and The Shadows (3 weeks 1963) I’ve spent a good chunk of this list dissing Cliff, but this is the quintessential British summer holiday anthem. You can’t listen to those opening guitars and strings without feeling some kind of nostalgia. It’s Cliff’s biggest hit, and it’s deserved.  

34. ‘Everlasting Love’ – Love Affair (2 weeks 1968) Frontman Steve Ellis was only 17 when he sung this song, which is mental considering how mature his voice sounds. The chorus is a belter, and the bass riff goes hard too.

33. ‘Cathy’s Clown’ – The Everly Brothers (7 weeks 1960) The Everly Brothers took their vocal harmonising skills to another level with this one. The wobbling elongation of ‘lo-o-o-o-ove’ and the way in which one of the brothers holds the same note while the other descends really gives it its own flair.

32. ‘It’s Not Unusual’ – Tom Jones (1 week 1965) ‘It’s Not Unusual’ is only 2 minutes long, and yet it packs in so much energy. The lyrics are admittedly quite melodramatic ‘it’s not unusual to see me cry, I wanna die’, but Tom Jones sells them by singing the hell out of them.

31. ‘I Want To Hold Your Hand’ – The Beatles (5 weeks 1963) A song about wanting to hold a girl’s hand shouldn’t rock as hard as this does. I love the vocal harmonies, the guitar chords, the bass riff and the overall energy. Urban legend has it that this was the song that introduced the Beatles to drugs: Bob Dylan misheard the lyric ‘I can’t hide’ as ‘I get high’ and consequently offered The Fab Four a joint at a party, but Ringo didn’t know he had to pass it around, so he smoked the whole thing.

30. ‘She Loves You’ – The Beatles (6 weeks 1963) Like ‘I Want To Hold Your Hand’, this early Beatles hit immediately grabs you with its energy and melodies. But I think the harmonies in this one are even more exuberant (especially the iconic ‘yeah yeah yeah’s). And perspective of the song is interesting – are they being a supportive friend, or is there a tinge of jealousy there?

29. ‘I’ll Never Fall In Love Again’ – Bobbie Gentry (1 week 1969) ‘What do you get when you kiss a guy? You get enough germs to catch pneumonia’ I love this line! This anti-love song was originally written and recorded by Burt Bacharach and also covered by Dionne Warwick, but Bobbie Gentry’s version with its unique gravelly voice and bright piano is the best.

28. ‘Tired of Waiting For You’ – The Kinks (1 week 1965) Is it outrageous to say that The Kinks’ early stuff is better than The Beatles’ early stuff? This song has some fantastic transitions and hypnotic vocals.

27. ‘Baby Love’ – The Supremes (2 weeks 1964) This upbeat Motown classic has some surprisingly tragic lyrics. What’s even more tragic is the fact that this was the only Supremes song to top the UK charts!

26. ‘Day Tripper/We Can Work It Out’ - The Beatles (5 weeks 1965) A really fun double A-side from The Beatles. ‘Day Tripper’ contains possibly the band’s greatest guitar riff. The time signature changes and vocal harmonies in ‘We Can Work It Out’ are also really cool.

25. ‘Those Were The Days’ – Mary Hopkin (6 weeks 1968) Based on a traditional Russian tavern tune, ‘Those Were The Days’ is an unlikely Cold-War-era UK number one. But the ‘da-da-da’s and balalaikas are so infectious that even Queen Lizzie must have found it hard not to Cossack dance along to this one. 

24. ‘I Can’t Get No Satisfaction’ – The Rolling Stones (2 weeks 1965) The Stones were probably getting more satisfaction than most in 1965. But regardless, Jagger’s exasperated vocal delivery, the relentless snare and the dirty riff make this a convincing ode to sexual frustration.

23. ‘Blackberry Way’ – The Move (1 weeks 1969) This sounds like a Beatles song, except darker and stompier. In fact, forgive my Millennial naivety, but I was convinced this was a Beatles song, and had no idea ELO and Wizzard co-founder also had another band called The Move.

22. ‘Sunny Afternoon’ – The Kinks (2 weeks 1966) ‘The tax man’s taken all my dough/ and left me in my stately home’. The Kinks were masters of satire and this is one of the best examples of this. The perfect song for listening to while lazing around on a lawn chair in the sun and musing about first world problems.

21. ‘Fire’ – The Crazy World Of Arthur Brown (1 week 1968) We’ve had some campy horrors on this list already towards the beginning, but how about some good campy horror? With its hell references, manic vocal delivery and Bach-esqe organs, this audacious number one narrowly misses out on a top 20 spot.

The top 20...

20. ‘Yellow Submarine/Eleanor Rigby’ – The Beatles (4 weeks 1966)

  

The Beatles’ loopiest double A-side! Both of these are incredibly unique number ones. ‘Yellow Submarine’ is a rare case of chart-topping children’s song that has charm thanks to an equally rare and catchy vocal performance from Ringo.  ‘Eleanor Rigby’ is meanwhile quite the tone shift, trading bouncing guitars for stabbing violins with some very dark lyrics about dying alone.

19. ‘Israelites’ – Desmond Dekker & The Aces (1 week 1969)

‘Israelites’ was the first reggae single to hit number one. And it tackles some pretty heavy subject matter for a chart-topper – it’s a song about how Rastafarians were marginalised and how finding work was so hard that many had to fight the temptation to become criminals like ‘Bonnie & Clyde’ (the second 60s number one to mention Bonnie and Clyde). Of course, the guitars are so upbeat that it’s still danceable.  

18. ‘You’ll Never Walk Alone’ – Gerry and The Pacemakers (4 weeks 1963)

It’s become a football anthem and has spawned several charity single covers (two of which would make it to number one in subsequent decades). But despite its overexposure, I think ‘You’ll Never Walk Alone’ is still a masterpiece. This magnificent slow-building ballad was a big change of pace from Gerry and The Pacemakers’ happy-chappy beat singles. But Gerry is still convincing as a serious crooner. What I think makes this song quite unique is how it builds and builds, but pulls away at the last minute, resisting the cliché of the big cheesy finish.

17. ‘You Don’t Have To Say You Love Me’ – Dusty Springfield (1 week 1966)

Another iconic ballad from the 60s. Unlike ‘You’ll Never Walk Alone’, this one pulls no punches at the end - the way Dusty belts out ‘believe meeee’ at the end is about as climatic as a song can get. Yet she sings it with such a genuine sense of despair and desperation, that you truly believe her. I’m shocked that this was the only Dusty Springfield single that made it to number one, but also glad that this was the song to achieve it.

16. ‘What A Wonderful World’ – Louis Armstrong (4 weeks 1968)

When jazz legend Louis Armstrong recorded this song, he was in his late 60s and his health was failing. He had stopped touring, and he died only a couple years after. ‘What A Wonderful World’ is a song about embracing the beauty of the world in the eve of your life. I’m moved by it every time I hear it, and I love Armstrong’s unique deep gravelly voice.

15. ‘I’m A Believer’ – The Monkees (4 weeks 1967)

Could the Monkees play their own instruments? Despite the accusations at the time that they couldn’t, there is evidence to show that they could. I believe they were talented musicians. I’M A BELIEVER! And despite being manufactured as an American copy of the Beatles, I believe they were more than just Beatles rip-offs. This 1967 Shrek-endorsed banger does have some Beatles-y elements, but the organs and ‘I’m a believer’ hook give the song a unique gospel feel that doesn’t feel Beatles-y at all. So yeah, I’m ranking it up here.

14. ‘Yeh, Yeh’ – Georgie Fame & The Blue Flames (2 weeks 1965)

‘Yeh, Yeh’ was originally composed as a Latin jazz instrumental. The choice to put vocals over the top transformed it into this catchy underrated hit from 1965. I absolutely love the energy to this song and the cheeky lyrics. It’s a song about wanting sex, but not directly asking for it, instead letting his girl take the lead (take note, Mike Sarne (#163)).

13. ‘Where Are You Now?’ – Jackie Trent (1 week 1965)

I wasn’t familiar with this song, and wow - it’s phenomenal! It’s a soulful pop song that erupts into this huge chorus: ‘where are you nooooow, my love?!’. The whole song oozes with class – I love the precise but emotive delivery and the lush glitzy strings. Jackie Trent didn’t have any other big hits in the 60s, but she did go on to write and record the theme tune for Neighbours in the 80s.

12. ‘A Hard Day’s Night’ – The Beatles (3 weeks 1964)

I ummed and ahhed as to which Beatles number one to rank highest, but this one ultimately won my vote. It’s one of their most straightforward songs in some regards, but there are many small details that make it so great: the cowbell during the bridge, the edgily suggestive way Lennon sings ‘will make me feel alright’, the whole oxymoron concept of ‘a hard day’s night’ and the mysterious opening/closing chord (which has a whole Wikipedia section dedicated to it!).

11. ‘Temptation’ – The Everly Brothers (2 weeks 1961)

Most of the Everly Brothers singles were quite slow and gentle. But this one is quite intense! It opens with thunderous drums and urgent ‘yeah, yeah, yeah, ah’ vocals and transitions into a rock and roll passage with some dramatic rising and falling harmonised vocals. It’s barely over 2 minutes, but quite a rollercoaster, and definitely my favourite song from the brother duo.

10. ‘Reach Out (I’ll Be There)’ – Four Tops (3 weeks 1966)

Few Motown singles carry such a sense of desperation as ‘Reach Out (I’ll Be There)’. This is partly because lead singer Levi Stubbs was deliberately made to sing at the top of his vocal range, which resulted in an audibly strained performance. The group weren’t entirely convinced by the recording, but it was released anyway. I think it sounds great and I can see why it became their biggest hit.

9. ‘Runaway’ – Del Shannon (3 weeks 1961)

There are two reasons I’ve ranked this one so high. The first reason is the chorus - Del Shannon’s baby-like ‘wa-wa-wa-wa-wander’ hook is one of the catchiest hooks from the rock and roll era. The second reason I’ve ranked this song so high is because it has a goddamn synth solo in it. In 1961! You could technically call this the first ever synthpop number one.

8. ‘These Boots Were Made For Walkin’ – Nancy Sinatra (4 weeks 1966)

Women were expected to sing submissive love songs in the 50s. But this all changed in the 60s. ‘These Boots Were Made For Walkin’ is a song about not being walked over by men, instead encouraging women kick their lying cheating husbands to the curb. Proto-Beyonce material! Her confident delivery and the swaggering instrumentation give it such a cool atmosphere.

7. ‘Shakin All Over’ – Johnny Kid and The Pirates (1 week 1960)

When did ‘rock and roll’ lose its ‘roll’? ‘Shaking All Over’ seems like it’s almost there. The riffs are distinct and it’s got a cracking guitar solo. In fact, the guitars feel so inventive for 1960 (especially that twangy guitar chord at 0:25). The angsty vocals only add to the ‘rock’ feeling.  Extra points for the fact that these guys were British and performed live dressed as pirates.

6. ‘You Really Got Me’ – The Kinks (2 weeks 1964)

Here we have a number one that is unequivocally a ‘rock’ song. And it was released all the way back in 1964. The Kinks turned the distortion up and helped introduce the ‘power chord’ to millions of budding guitarists. It isn’t too far off what some garage rock bands are still putting out today. A timeless rock hit.

5. ‘I Heard It Through The Grapevine (3 weeks 1969)

Marvin Gaye was not the first artist to sing ‘I Heard It Through the Grapevine’. Neither was he the last. But his version remains the best with its passionate vocal performance and slinky instrumentation. It’s the definition of ‘soul’. Motown founder Berry Gordy adamantly refused to release this song as a single for almost a year. It wasn’t until the release of Gaye’s album Into The Groove that Gordy agreed to release it as a single after radio DJs started playing the song from the album anyway.

4. ‘Oh, Pretty Woman’ – Roy Orbison (3 weeks 1964)

It opens with an iconic riff – one that teases us with a few false starts before it really gets going. Then we’re straight into the hook: ‘pretty woman, walking down the street’. That’s really all this song is about: a pretty woman walking down the street. But Orbison turns it into emotionally captivating story featuring a surprise horny growl, a beautiful woe-is-me bridge and a dramatic cliffhanger ending. It’s a masterclass in songwriting.

3. ‘Paint It Black’ – The Rolling Stones (1 week 1966)

Another iconic riff! This time on a sitar. While most bands were still figuring out this whole rock thing, the Stones were already pushing boundaries by experimenting with alternative instruments. The lyrics are remarkably dark for 1966, building up to a menacing climax of funereal humming and Jagger fatalistically yelling ‘I wanna see the sun/ blotted out from the sky’. It’s a number one that’s ahead of its time on multiple levels.   

2. ‘Good Vibrations’ – The Beach Boys (2 weeks 1966)

At the time of its release, ‘Good Vibrations’ was the most expensive single ever recorded. Brian Wilson spent 90 hours in the studio crafting and tweaking it with the help of various guest musicians. And it all paid off, because this song is phenomenal. There’s so much going on in this three-and-a-half minute-long acid-trip-themed rhapsody: theremins, strings and a random harmonica section. And the vocal harmonies are insane!

1. ‘House of The Rising Sun’ – The Animals (1 week 1964)

Here it is. The greatest number of the 60s. And it’s *dun dun* a cover song! Before The Animals got their hands on it, ‘The House Of The Rising Sun’ was an old folk/blues standard covered by everyone from Nina Simone to Bob Dylan. But The Animals added electric guitars and Hammond organs. And the result was what could be considered the first ever rock song without any roll. Eric Burdon’s vocal performance is so powerful and the instrumental build-up remains intense to this day. And I’ve only just discovered the song is about a brothel - which is pretty edgy for a number one. An original song it may not be, but it’s still musically groundbreaking and an invigorating performance that I believe deserves the top spot on this list.

Wow, that’s got to be my wordiest blog post to date. Next up is the 70s – which had even more chart-toppers! What do you think was the best UK number 1 of the 60s?