Top 20 60s Songs You Forgot Were AWESOME

#20: “She Says Good Morning” (1968)The Pretty Things

The post-Beatles landscape of the 1960s signified a lot of change within the landscape of pop music. Artists like The Pretty Things hurried to catch-up to how Fab Four LPs like “Sgt. Pepper’s” were inspiring a lot of musicians to try dipping their creative toes into the complex world of The Concept Album. The former’s “S.F. Sorrow” was an interesting effort to this end, a cult classic recording that contained hard-edged psychedelic tunes like “She Says Good Morning.” The tune fits within the three-and-a-half-minute pop music parameters, sure, but it also manages to include driving drums, fuzzed-out guitars and a snotty lead vocal. This is British psych that’s kicking open the rock opera gates with a vibe all its own.

#19: “Astronomy Domine” (1967)Pink Floyd

They were actually known as THE Pink Floyd back then; an era when these progressive and psychedelic pioneers were really exploring the inner-reachings of mind-expanding rock ‘n roll. It’s “Astronomy Domine” that kicks off the very first Floyd LP, “The Piper at the Gates of Dawn,” and what an opener it is. This is martial-sounding, heavy and crazy sounding music for 1967; a tune that’s indicative of the madcap genius from Floyd’s founder, Syd Barrett. Psychedelic jet-fuel for the space age that drives home the harder-edged side of Pink Floyd’s music during an era where practically everything seemed to be possible…so the band simply tried it all.

#18: “Gentle on My Mind” (1967)

John Hartford

This country song doesn’t follow what many would consider a typical song structure– there isn’t a defined chorus, the verses meander on, and it only ever rhymes itself with its title line. And yet, “Gentle on My Mind” is a beautifully crafted, thoughtful piece that became a hit for musician Glen Campbell shortly after it was released by its original recording artist, John Hartford. Unless you’re a big fan of retro country music, this poetic tune may not be on your radar despite its popularity in the 1960s. So, next time you’re looking for a song to play as you look wistfully out across a winding river, queue up this masterpiece!

#17: “Tracy” (1969)The Cuff Links

If that voice behind “Tracy” by The Cuff Links sounds familiar, that’s because it belongs to Ron Dante, the man behind years of recorded bubblegum music greatness. Dante is probably best known for his contributions to The Archies, as well as scores of television commercials throughout the 1960s and ‘70s. “Tracy” is an in-and-out pop tune that may, on the surface, sound rather innocuous. A close attention to the arrangements will reveal a remarkable tightness and efficiency, however, not to mention Dante’s rich and melodic lead vocals. This is a song that practically sparkles with sixties sunshine, right from the very first bah-bah-bah, and we love every second.

#16: “Tin Soldier” (1967)Small Faces

Punk rock didn’t emerge in a vacuum. There were a number of presciently aggressive British bands that helped pave the way for The Sex Pistols and their ilk. Groups like The Kinks and Small Faces, the latter of which boasted one heck of a guitarist in Steve Marriott. The future co-founder of Humble Pie showcased his hard rock chops here on “Tin Soldier,” a remarkably hard-edged and heavy tune for 1967 that’s anything but dreamy. Instead, Marriott and his Small Faces keep their heads down with a working-class groove that’s raw, simple and effective. It’s not quite psychedelic, but still classic; a Brit-rock anthem from one of the most fertile periods in that country’s rich musical history.

#15: “Spooky’ (1967)Classics IV

It was a quirky and strange moniker, to be sure, yet Classics IV didn’t let this get in the way of anything when it came to their cover of Mike Shapiro’s pop tune “Spooky” back in 1967. The group’s penchant for crafting instrumental tunes was abandoned in favor of a now-classic vocal, one that immediately dates “Spooky” to this very groovy decade. The tune ties into the “witchy woman” aesthetic that was emerging within the hippie subculture during this time, which also makes “Spooky” tailormade for a Halloween party. It’s a short, sweet and ghostly pop tune that’s remained the primary musical calling card for the recorded career of Classics IV.

#14: “Had to Cry Today” (1969)Blind Faith

It’s one of those classic rock albums that you may know, thanks to its infamous withdrawn LP sleeve. But have you listened to Blind Faith lately? “Had to Cry Today” was a standout cut from this supergroup collaboration that included Eric Clapton, Steve Winwood, Ric Grech and Ginger Baker, a bluesy crawl that makes the best out of Blind Faith’s collective talents. The song’s main riff is heavy as all get out, and is amplified by Baker’s hard-hitting drumming. Meanwhile, Steve Winwood’s soaring tenor voice flies atop all of “Had to Cry Today,” which includes plenty of time for those premium Clapton lead breaks, as well. They call it “classic rock” for a reason, after all.

#13: “7 and 7 Is” (1966)Love

Are you one of those music fans that’s focused primarily upon chart hits, or do you enjoy full album deep dives? It’s interesting to view how such a respected rock act like Love didn’t actually achieve a lot of commercial success during their heyday. “7 and 7 Is” exists as one of the group’s biggest hits; a driving garage rock track with a punk rock spirit and plenty of fire in its belly. The song serves as a sort of precursor to the heavier landscapes Love would explore on albums like “Four Sail” and “Out Here,” while still documenting leader Arthur Lee’s expansive musical horizons. What can we say? Love rules, and you should definitely check out their albums to find out exactly why.

#12: “Season of the Witch” (1966)Donovan

The term “psych-folk” is one that’s commonly used as an umbrella catch-all term for a lot of weird and musically loose experimentations with folk-rock music during the 1960s and ‘70s. “Season of the Witch” by Donovan fits nicely within these descriptive parameters, a moody and hypnotic piece that feels quite cinematic in scope. There’s a languid pacing and dreamy atmosphere at play that lends “Season of the Witch” a creepy and occult vibe that’s difficult to resist. There’s a reason why this tune always seems to come back around in movies and television, after all; a reminder of Donovan’s place within the cultural zeitgeist of the 1960s.

#11: “Psychotic Reaction” (1966)Count Five

The psych-rock revolution was upon us back in 1966 when Count Five released their hit single, “Psychotic Reaction.” This was a barn-burning garage-rock tune with attitude and energy to spare, one that helped catapult Count Five into the rock ‘n roll conversation. It’s a simple and direct approach that assists “Psychotic Reaction” to success, as the tune makes the most out of its one-eyed, bluesy riff with some surprising tempo shifts. It’s a little garage-punk, a little hard rock and a whole lot of fun. Count Five didn’t make it into the seventies as a group, but the legacy of their “Psychotic Reaction” (album and single) remain secure within the annals of rock ‘n roll.

#10: “Aquarius/Let the Sunshine In” (1969)

The 5th Dimension

This one goes out to all the astrology nerds. The 5th Dimension’s biggest hit is actually a medley of two songs from the musical “Hair” — and it sounds just as theatrical as you’d expect. With elements of psychedelic soul, sunshine pop, gospel, and show tunes, “Aquarius/Let the Sunshine In” covers nearly all the bases of the 60s music scene. Teasing an upcoming age of spiritual enlightenment, the song was a hopeful anthem for the decade’s hippie movement. It might be a little early for the mostly 70s soundtrack, but its campy sci-fi lyrics practically scream for inclusion in a “Guardians of the Galaxy” sequel.

#9: “Something in the Air” (1969)

Thunderclap Newman

The Beatles weren’t the only 60s band calling for revolution. Thunderclap Newman’s only hit, “Something in the Air,” was a metaphor for the changing cultural landscape. Although peace, love, and flower power were all the rage throughout the decade, they weren’t necessarily getting protesters anywhere in the way of social change — instead, the edgy song advocated for more dramatic measures of organizing against issues like the Vietnam War, including violence. Even if you haven’t heard of Thunderclap Newman, you’ll almost certainly recognize a familiar face: guitarist Pete Townshend first formed the band as a side project from The Who.

#8: “Georgy Girl” (1966)

The Seekers

Besides offering serious political anthems, the music of the 60s could also be light and breezy. One of the best examples is the Seekers’ “Georgy Girl,” which instantly begins with one of pop’s catchiest hooks. From its opening whistle, the Australian folk-pop hit glides effortlessly between cheery and wistful throughout its runtime. The story of a frumpy young woman who comes out of her shell following a makeover, it was written as the theme song for a movie of the same name. Despite being a happy tune, it has little in common with today’s empowerment anthems, encouraging the subject to change her style for male attention. Either way, some distance from the 60s’ attitudes towards women has made it just as enjoyable.

#7: “Build Me Up Buttercup” (1968)

The Foundations

The subject of their biggest hit might have taken them for granted, but the Foundations remain a 60s soul staple. Much soul music of the time was about a man mistreating a woman, but the group turned gender roles on their head for a song about the exact opposite. On “Build Me Up Buttercup,” they also follow in the footsteps of Motown groups like the Temptations and the Four Tops with an added British twist. Not only were they one of the first successful mixed race groups in the UK, but their vocals on this track are equally harmonious — the song’s timeless sound continues to resonate with listeners even though the Foundations would disband shortly after in 1971.

#6: “Daydream Believer” (1967)

The Monkees

Decades later, people are still going bananas for the Monkees’ signature hit. While the Beatles had long moved on to trippier pastures, the made-for-TV boy band was leaning into their teen-pop sound more than ever. On “Daydream Believer,” they sang to a homecoming queen over a whimsical bubblegum backdrop. As the group’s last number-one hit, it feels slightly bittersweet with an underlying theme of fading youth. Thankfully, lead singer Davy Jones would later reintroduce the song to a whole new audience, creating one of the best gags in “SpongeBob” history. “Daydream Believer” proved that the Monkees were more than just a manufactured copy of the Fab Four.

#5: “A Whiter Shade of Pale” (1967)

Procol Harum

It’s about time this song makes a come-Bach. If you want to know what the biggest Baroque composer would sound like with lyrics and rock-era instruments, look no further than “A Whiter Shade of Pale.” Even though Procol Harum is obviously paying homage to Bach’s “Air on the G String,” the organ-heavy arrangement is still original enough to stand on its own. “A Whiter Shade of Pale” became one of the biggest hits of 1967’s Summer of Love, showcasing a subdued side of the psychedelic genre amid wilder offerings from Jefferson Airplane and Jimi Hendrix. Over 50 years after its release, the song was inducted into the Rock & Roll Hall of Fame in 2018 as part of their very first round of singles.

#4: “Happy Together” (1967)

The Turtles

Slow and steady wins the race, or at least gets the Turtles fourth place. The verses of “Happy Together” may seem humble and unassuming, but they quietly build to one of the biggest pop choruses of the 60s. Once the minor key turns to major, the song suddenly explodes into a wave of pop ecstasy. However, according to lead singer Howard Kaylan, several artists perplexingly passed on it prior to the Turtles. Thankfully, the band was able to recognize the song’s staying power in and outside of the 60s decade and claim it for themselves. No matter how you toss the dice, “Happy Together” will go down in history as one of pop’s greatest love songs.

#3: “The House of the Rising Sun” (1964)

The Animals

Okay, this one technically isn’t from the 60s. “The House of the Rising Sun” is a folk song whose exact origins are unknown, passed down through generations and cultures until landing in the Animals’ lap. The band’s version, widely considered the definitive one, deals with a narrator down on his luck after getting caught up in gambling in New Orleans. The lyrics never say for sure what happened in the title house, but based on the song’s ominous organ, it clearly wasn’t anything good. Further adding to its mystique, historians still aren’t in agreement over whether the house was a jail, brothel, or even existed at all. Despite telling a cautionary tale, being bad has never sounded so tempting.

#2: “Downtown” (1964)

Petula Clark

Forget all your troubles, forget all your cares: that’s the exact effect of listening to “Downtown.” Full of hope and wonder, Petula Clark’s biggest hit stateside sounds ripped from a Broadway musical. Rather than staying inside and moping on a bad day, the British singer suggests immersing yourself in the lights and sounds of the nearest busy city. Even pulling off a key change without feeling gimmicky, it’s nearly impossible not to crack a smile during “Downtown”’s three-minute runtime. Numerous artists have since been inspired by the song’s message of escapism, with the likes of Dolly Parton and even Baby Spice Emma Bunton releasing their own cover versions, but Clark’s stage-ready vocals have yet to be topped.

#1: “Time of the Season” (1968)

The Zombies

Just like the creatures that inspired the band’s name, this song refuses to die. Contrary to its title suggesting a passing fad, “Time of the Season” is one of the most enduring songs of the 60s. Surprisingly smooth and sensual, the Zombies’ cult classic marks a turning point for popular music getting less prudish. Between the breathy sound effects and iconic organ solo, “Time of the Season” conjures an atmosphere equally steamy and seedy. Lyrics of the 1960s have rarely been more explicit than here either: rhyming “pleasured hands” with “Promised Lands,” the Zombies don’t even try to hide what the song is about. Decades after its release, “Time of the Season” has held on for a reason.

What’s your favorite deep cut sixties jam? Let us know in the comments!