30 Culturally, Historically, and Aesthetically Significant Recordings for the National Recording Registry

Ozmoe’s prescient picks for posterity

Which 30 recordings are culturally, historically, or aesthetically significant enough to be nominated for inclusion in the National Recording Registry?

That’s the quandary I faced recently when a friend at the Library of Congress told me that the registry was accepting candidates for its 2025 class. According to the nominating criteria, I could’ve picked up to 50 entrants. 

But with an eye toward doing a blog on my choices, I kept it to just the 30 given below.

All follow the rules of being and a single item or group of related items that can contain more than just music and at least ten years old. They also didn’t have be from the United States, either.

Here’s the complete listing that I reviewed to make sure I didn’t pick any repeat recordings or performers and try to avoid doing the same with songwriters and producers. I also consulted this list of artists not in the registry – so far.

With all that in mind, here’s what I believe are deserving choices for consideration this year and why I think so, in chronological order.

1942

This number serves as a reminder of the love Humphrey Bogart’s Rick had with Ingrid Bergman’s Ilsa in one of cinema’s most memorable moments ever.

When Dooley Wilson’s Sam plays it again when Ilsa returns, Rick is livid, trying to forget their affair. But they rekindle, and their theme song draws them close again. An incredible and indelible use of romantic music.

1945

As World War II wound down, one popular tune for returning GIs and their families was this moving ballad:

An aural fantasy of what great promise the future held. It marked the emergence of Day as one of the biggest post-war singers ever. At the same time, it signaled the beginning of the end of the “big band” sound dominating the pop chart.

1948

This was one of three Best Song Oscar winners composed by Jay Evans with lyrics by his partner, Ray Evans.

I’d argue it’s their most sophisticated one as well. Shore was another powerhouse soloist at the time, and she offers one of her best vocals here.

1951

Mitch Miller is in the registry for having produced “Chances Are” for Johnny Mathis in 1957 but this effort better reflects his general style and sound.

Yes, the harpsichord and other instrumentation may seem gimmicky, but it captures and propels the spirit of the tune. To her credit, Clooney sells the song strongly throughout, and it made her a star.

1955

The Platters were the original artists presenting this doo wop favorite:

Which would have several other versions later make the top 10 of the pop chart, as this one did. This remains the best version, of course. Keeping the vocal break by lead singer and tenor Tony Williams was a wise choice, and it launched the Platters into becoming one of the most successful groups ever.

1955

Monitor was the last gasp of big-time network radio entertainment.

As TV encroached upon and eroded the radio audience, it offered a live, fast-moving collection of news, songs, commentary, interviews and scripted presentations to weekend listeners. It ran up to 40 hours in the 1950s and hung on until 1975, when local NBC affiliates were demanding more time for their own programming. It hugely influenced National Public Radio, whose All Things Considered debut broadcast from 1971 is in the registry. So, why not do the same for the original?

1959

A doo wop take on a 1934 hit from the movie Dames, this version surpassed the others in its venerability thanks to its great sound.

It stood out by combining an assured lead vocal by high tenor Terry Johnson, the backing punctuation of the “doo wop shu bop” throughout and the ethereal reverb of the production. Johnson said the record, which just missed the pop top 10 in 1959, made him more money in later years thanks to constant repeat airplay. This one has definitely not disappeared from view.

1960

Even among hundreds of contenders, it’s hard to think another score from a western film that best captures the feeling of the genre.

In his book The Film Encyclopedia, Ephriam Katz described Bernstein’s scores as having “zestful vibrance and full-bodied melodiousness,” and this is a prime example of his approach, gripping from start to end. I once wrote a letter to Bernstein praising this score as the best I’d ever heard, and he sent me back a note of appreciation. So, I guess I’m biased for this to be inducted.

1960

Ben E. King makes the registry with his solo effort Stand by Me, but the group from which he emerged deserves a nod as well.

The contrast between the upbeat, string-heavy melody and the poignant lyrics sung by King as lead vocalist is stark and affecting, something that most of its many remakes lack. This would also let the registry give a nod to its prolific songwriters, the team of Doc Pomus and Mort Shuman.

1962

1963

These hits came out around the same time, and their lyrics reflect the nascent women’s movement.

The records show that the up-and-coming singers had more to offer than sweet love songs—although they could deliver those as well. Strong early efforts by two standout artists, with Warwick’s effort having an effective racial justice edge as well courtesy of her longtime collaborators, composer Burt Bacharach and lyricist Hal David.

1963

• Bob B. Soxx and the Blue Jeans’ spirited take on “Here Comes Santa Claus.”
• The Ronettes happily ting-a-ling-a-linging their way through “Sleigh Ride.”
• Darlene Love’s powerhouse delivery of “Christmas (Baby Please Come Home).”

They’re all here and still getting heavy airplay each Yuletide season more than 60 years later. Need I add more why this merits inclusion?

1964

The British Invasion of the American pop chart in 1964 brought in so many great, hard-rocking songs, and this is one of the best.

Dave Davies’ gruff opening guitar riff at the outset arrested the attention of many young listeners, some of whom became rockers themselves trying to emulate it. The lyrics by Dave’s brother Ray, the group’s sharp instrumentation and Shel Talmy’s great production all come together for two and a half minutes to make a brilliant banger.

1965

“All the leaves are brown/And the sky is gray …” is one of the most memorable opening lines of 1960s pop hits.

This quartet, led by the fabulous Cass Elliot, gorgeously put that and other sentiments across in sparkling harmony throughout the record. The famed California session musicians known as The Wrecking Crew perfectly complement the evocative mood. Hard to imagine the 1960s without this sound.

1967

Her album Tapestry gets Carole King in the registry, but she could stand some representation with her writing partner from the 1960s, Gerry Goffin.

This sly sendup of suburban life was one of the best joint efforts. Producer Chip Douglas took it and pushed the made-for-TV rock group into a wilder sound than their previous hits, complete with a fast tempo and lots of reverb at the end. With a solid vocal by Mickey Dolenz, the result is a summer song with a bit of a bite that’s still a joy to hear.

1967

Progressive rock, art rock, symphonic rock, whatever you call it, Nights in White Satin is simply an amazing aural experience.

The Moody Blues added an orchestral accompaniment to a song with vivid verses by Justin Hayward that made the record, well, moody and blues-ish. In its own way, it pushed rock musicians to be more adventurous in their singles, and it did so without feeling forced. Quite impressive.

1968

The seasoned reporter editorialized at the end of his telecast that the U.S. needed to end the Vietnam War.

He said that after having visited the battlefront, he felt that the conflict was unwinnable. Cronkite didn’t result in a pullout, but he did play a factor in convincing President Lyndon B. Johnson that he shouldn’t run for re-election in part due to this public opinion. An eye-opening moment in American history.

1970

Most of the hits for singer-songwriter James Taylor were written by others.

This was an exception, a deeply affecting composition involving him processing the death of a friend, the dissolution of a band and his own drug addiction. That’s a lot to juggle in a pop song, but he carries it off masterfully, thanks in part to stellar work by producer Peter Asher to make it commercial without taking away its power. I’ve got James’ famous ex-wife Carly Simon represented a few entries after this too.

1971

The singer died before this became a hit.

The songwriter, Kris Kristofferson, outlived her by more than three times and would write many others, yet none quite surpassed this one. It’s a moving tale about two drifters on a highway who connect before parting, which sounds like a classically American scenario to me. Joplin’s voice wonderfully conveys the meaning of it all.

If accepted, this would put Kristofferson in the registry alongside his fellow members of the Highwaymen country supergroup, Johnny Cash and Willie Nelson. The other member missing from the registry is Waylon Jennings, and I’ll get to him shortly.

1971

The story of a groupie’s love coming from a squeaky-clean brother-and-sister duo of the 1970s? Yep, it happened.

And it’s stirring to hear even if the content seems an odd fit for the Carpenters. What really sets it apart is Karen’s assured lead, possibly her best vocal work ever, and her brother Richard’s Grammy-nominated arrangement that effortlessly glides between mellow and brassy in its dynamics. An adventurous gamble that paid off.

1971

Well, this is quite a way to make a debut in the pop top 10.

The lyrics have Simon weighing her upcoming marriage against a litany of fears such as her parents’ unhappy union to her own doubts before finally giving into the idea. But with her introspective delivery coupled with a sparse backing featuring a plinking piano and strings, one ends the song doubting that she’s truly happy and wise in what she’s doing. Quite an intriguing thought provoker to kick off a distinctive career.

1973

It wasn’t written for the group, but man, Gladys Knight and the Pips did a perfect job of making this their own. The gospel-tinged back-and-forth response between the lead and her brothers is smooth and confident. So is Gladys concluding that despite her man being beaten down, she’d rather live in his world than without him alone. If this makes the registry, it will also give a deserved mention to Tony Camillo, one of the 1970s most prolific music producers.

1976

“If you lived in the suburbs, you were issued it. It came in the mail with samples of Tide [detergent],” quips Mike Myers’ character in the 1993 film Wayne’s World 2.

The comment feels only slightly exaggerated to anyone alive when this LP topped the chart. Baby I Love Your Way, Do You Feel Like We Do and Show Me the Way were all top 15 hits in constant airplay that year. It’s not the best live album, but it may be the most loved one by Americans. Frampton, a British native, moved to the United States in the aftermath of its success.

1977

The number one country song of 1977 with six weeks atop that chart was this mellow pop crossover.

The effort featured a man telling his wife that their efforts to “keep up with the Joneses” had made them forget the things in life that really matter. It not only name-dropped Jennings’ fellow “outlaw” country singer Willie Nelson but included him as a backing vocalist near the end. Jennings didn’t write it nor much care for it, but thanks to his great vocal, it will always be recognized and associated with him.

1980

How do you pick one episode of the favorite countdown program for many Baby Boomers and GenXers?

I could’ve done its debut on the first weekend of July in 1970, but it’s kind of creaky compared to what was coming. The trivia lover in me adores the “Top 40 Disappearing Acts of the Rock Era” offering on July 7, 1973, and “The #1 Songs on the 4th of July 1937-1976” American bicentennial special on July 3, 1976. But many records played on both are pretty obscure.

That’s not the case with this special, where lots of trivia appears with mostly classic tunes as the answer to various chart feats, many of which still exist. As always, Casey sounds assured and inviting to listeners as he presents facts easily and warmly, proving he’s one of the best deejays of all time.

1985

A duo formed in Bath, England, produced one of the most American-sounding songs ever:

Even if many listeners didn’t realize that the lyrics criticized the Cold War involving the country at the time. Its clever use of synthesizers with a shuffle rhythm made it arresting to hear on a car radio, and the video being shot largely in the California desert solidified its connection with U.S. listeners. It still gets heavy airplay today.

1989

The ultimate musical survivor, Cher returned to the pop chart with this, her first hit in nine years, and arguably her signature tune.

She sings the hell out of the tune, mustering both passion and nuance to every line. Longtime followers could read things into it regarding her personal life as well. Including this on the registry would also be its first mark of appreciation for longtime superstar composer Diane Warren.

2003

A hip hop song with a sense of humor and abandonment not always associated with the genre, this has become a staple at many weddings and celebrations. Try not to dance or sing along with its catchy arrangement and pleasant harmonies. It moves fast yet gives singer and songwriter Andre Benjamin plenty of room to breathe where needed. It’s a real crowd pleaser that deserves a spot on the registry.

2010

Another genre buster, this crossed a bluesy vocal with an upbeat pop melody and became a worldwide sensation.

This top “rejected lover” lament had Adele give a powerful vocal rebuttal to the man who dropped her and lets him know what he’s missed out by doing so. She knows exactly when to hold back and when to let loose wailing here, and that technique alone makes this a keeper.

2014

Any song that appreciates and pays tribute to a genre while tweaking it to update to modern sensibilities merits attention in my book.

Everything here flows together organically even amid shifting tempos, and it became a worldwide smash. Additionally, the collaboration between British-born Ronson and Hawaiian-born Mars is the type of cultural exchange that needs to be emulated.

So, what did I leave out? Well, I’d give honorable mention to these three:

• “I Want You Back,” The Jackson Five, 1969
•  “Jump,” Van Halen, 1984
• “Walking on Sunshine,” Katrina and the Waves, 1985

I’d also say that Neil Sedaka, Herb Alpert, Paul McCartney, Bette Midler and ELO definitely merit inclusion on the registry. However, I had a hard time picking one definitive song representing the best of each. 

Although here I got it narrowed down to “I’m Sorry” or “Rockin’ Around the Christmas Tree.” I’m still not sure which of those two to pick.

And oh yeah, maybe I should’ve made room for “Magic” by Olivia Newton-John too. But I think we’ve razzed Tom Breihan enough about that record. At least for now.

Anyway, those are my picks. Let me know what you like and dislike and would add, omit or change in the comments below.

And we’ll see which if any of these the registry committee picks in a few months from now.

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