Best 60s Rock Guitar Songs to Play on Acoustic

On this page, you'll find a handpicked selection of 60s rock guitar songs that still sound fresh today — and are fun to play on acoustic guitar.

From the soulful harmonies of The Mamas & The Papas to the jangly folk-rock tones of Buffalo Springfield, each tutorial includes strumming tips, chord shapes, and tuning advice tailored for intermediate players.

Whether you're drawn to Blind Faith's bluesy riffs or the radio-ready hooks of Jay and The Americans and The Raspberries, you’ll find practical guidance to help you master these timeless tracks. Perfect for home practice, gig sets, or nostalgic jam sessions.

Can't Find My Way Home recorded in 1969 for Blind Faith’s self-titled album, became one of the group’s most enduring tracks.

Although not released as a major single in the U.S., it became a staple on FM radio and is often considered one of Steve Winwood’s finest vocal performances.

No official music video was produced, but live footage from the band’s 1969 Hyde Park concert is frequently circulated. The song has been widely covered — including notable versions by Bonnie Raitt (1971), Ellen McIlwaine (1972), and Joe Cocker (1991). Clapton played the acoustic guitar part even though Winwood originally wrote the song on electric.

She Cried was released in 1962 and became the breakout hit for Jay and the Americans, reaching #5 on the Billboard Hot 100.

With its haunting melody, dramatic build-up, and emotionally charged vocals, the song captured the heartbreak of lost love in a way that resonated deeply with teen audiences of the early 60s.

The band's signature blend of doo-wop and orchestral pop is on full display here, laying the foundation for their string of hits to follow. A great choice for guitar players looking to explore expressive chord changes and simple, powerful rhythm work.

I'd Wait a Million Years was released as a single in July 1969 and later included on The Grass Roots’ album Leaving It All Behind. The song became a major hit, reaching No. 15 on the Billboard Hot 100 and showcasing the band’s polished pop-rock sound.

A promotional performance clip appeared on several TV shows of the era, though no traditional music video existed. The single’s success helped revive the band’s chart momentum as they entered the 1970s.

Trivia fans might enjoy that the song exists in two mixes — a shorter single version and a longer album cut featuring an extended intro that rarely received radio play.

Midnight Confessions was released in 1968 and became The Grass Roots’ biggest hit, climbing to No. 5 on the Billboard Hot 100. It later appeared on their album Golden Grass. Unlike many of their earlier singles, this track featured a full horn section, giving the song its signature punch.

Although no official video was made, the band performed the hit on programs like American Bandstand. The tune was originally recorded by The Ever-Green Blues (1967), but the Grass Roots’ version overshadowed the original completely.

Lead singer Rob Grill didn’t play bass on the recording — the track used top Los Angeles session players from the Wrecking Crew.

Sooner Or Later was released in 1971 as a single form the album Their 16 Greatest Hits. The song was written by Dennis Provisor, who was a keyboardist and vocalist for the band.

"Sooner Or Later" was released as a single in 1971 and reached #9 on the US Billboard Hot 100 chart.

It was the bands last top 10 in the US.

Things I Should Have Said came out as a single in 1967 and reached No. 23 on the Billboard Hot 100. It later appeared on the band’s album Let’s Live for Today.

While the Grass Roots didn’t produce a true music video, they performed the track on several variety shows, boosting its visibility.

The song has been covered occasionally, though no version has eclipsed the original. Early mixes of the song included extra backing harmonies that were trimmed for radio length but can still be found on some compilation reissues.

Two Divided By Love is a song by The Grass Roots, a popular band from the 1970s. It was written by Michael Price and Dan Walsh.

The song talks about the pain of love when two people feel separated from each other. It was released as a single in 1971 and was part of their album called "Move Along."

The song did well on the music charts, reaching number 16 on the Billboard Hot 100 chart.

California Dreaming an iconic song released in 1965, has become synonymous with The Mamas and The Papas' signature sound. It was featured on their album "If You Can Believe Your Eyes and Ears," released the same year. T

he song achieved remarkable success on the music charts, reaching the 4th position on the Billboard Hot 100 in the United States and the 23rd position on the UK singles chart.

Over the years, "California Dreamin'" has been covered by a multitude of artists and bands, attesting to its timeless appeal. Notable covers include renditions by Barry McGuire, Bobby Womack, José Feliciano, and even the Beach Boys.

Creeque Alley released in 1967 as part of their album "Deliver," is a distinctive song in The Mamas and The Papas' repertoire. Unlike their chart-topping singles, "Creeque Alley" wasn't released as a single and didn't chart separately. However, it played a crucial role on their "Deliver" album, which reached No. 2 on the Billboard 200 chart, showcasing the album's commercial success.

Written by John Phillips and Michelle Phillips, two integral members of the band, "Creeque Alley" is an autobiographical narrative that offers a candid glimpse into the formation and early experiences of The Mamas and The Papas.

Monday Monday released in 1966, was featured on the group’s album If You Can Believe Your Eyes and Ears and quickly became one of their signature songs. Issued as a single, it reached No. 1 on the Billboard Hot 100 and won the Grammy for Best Pop Performance by a Duo or Group.

The track wasn’t accompanied by an official music video, but televised appearances helped cement its popularity. Several artists have covered it — including Petula Clark and The 5th Dimension — though none matched the original’s chart impact.

Denny Doherty admitted he didn’t think the song was strong when they first rehearsed it, only to watch it become their biggest hit.

Go All The Way appears on The Raspberries’ 1974 album Starting Over, though it wasn’t released as a single. While it didn’t chart, the track is admired by fans for its blend of power-pop hooks and Eric Carmen’s emotional vocal delivery.

No official video exists, but a few live recordings from tour dates circulate online.

The song wasn’t widely covered, although several modern power-pop bands have performed it in tribute concerts. The Starting Over album marked a heavier, more guitar-driven shift for the band, influenced by producer Jimmy Lenner and the emerging hard-rock sound of the mid-’70s.

Let's Pretend was on their second album, "Fresh," released in 1972. This song didn't do as well on the charts, but it still reached number 35 in the US.

It's a softer love song that shows off the band's skill with melodies. The song helped make The Raspberries famous for their power pop sound, which mixed rock energy with pop catchiness. This song are still played on radio stations today and are remembered as classic examples of 1970s power pop music.

Should I Wait is actually not a 60s song but a 1973 song from the bands album "Side 3".

The song was never released as a single.