Classic 60s Guitar Hits – Songs to Learn and Play

Tamoure was one of the many dance-inspired instrumentals that helped keep saxophonist and bandleader Bill Justis in the spotlight after his breakthrough success with “Raunchy.”

Released as a single in 1963, the lively recording reflected the brief international fascination with the Tahitian-inspired Tamouré dance craze that swept through Europe and parts of North America during the early 1960s. Justis, already respected for his work with Sun Records and for helping shape the Memphis and Nashville sound, delivered the tune with his trademark blend of saxophone-driven melody and upbeat rhythm.

While the record did not become a major chart hit on the scale of his earlier work, it found an audience among fans of instrumental pop and dance music. The recording captures a period when dance crazes regularly inspired new releases and showcases Justis’s ability to transform contemporary trends into polished, radio-friendly instrumentals.

A You're Adorable  recorded by Brian Hyland in 1969, appeared on his album Tragedy – A Million to One.

Originally a 1948 Perry Como hit, Hyland revived the tune with a light, bubblegum-pop arrangement. Though released as a single, it didn’t chart significantly in North America, but it helped broaden Hyland’s repertoire beyond his teen-idol image.

No true music video was produced, but Hyland performed it on several televised variety shows.

Hyland chose the song partly because he admired Perry Como and wanted to reintroduce 1950s pop standards to a younger audience.

Sealed With A Kiss was released in 1962 and became Brian Hyland’s signature ballad. The song appeared on the album of the same name and reached No. 3 on the Billboard Hot 100 and No. 3 in the UK.

Its gentle arrangement and teenage-romance theme made it a summer classic. No official video exists, but Hyland performed it frequently on TV throughout the ’60s.

The song has been widely covered — most notably by Gary Lewis & The Playboys (1968) and Bobby Vinton (1972), whose version also reached the Top 20. Despite being a teenage heartthrob hit, Hyland later admitted it was one of the most challenging songs he ever recorded due to its sustained high vocal lines.

Baby The Rain Must Fall was recorded by Glenn Yarbrough and released in 1965 as the title song from both the motion picture Baby the Rain Must Fall and Yarbrough’s album Baby the Rain Must Fall.

Written by composer Elmer Bernstein and lyricist Ernie Sheldon, the song became Yarbrough’s biggest solo hit after leaving the Limeliters. The single reached No. 12 on the Billboard Hot 100 and climbed to No. 2 on the Adult Contemporary chart. No traditional music video was produced, but the song is heard prominently in the film starring Steve McQueen and Lee Remick.

Its gentle melody and reflective lyrics captured the folk-pop sound of the mid-1960s. Trini Lopez and Chris Connor later recorded their own versions.

Venus In Blue Jeans was released in 1962 and featured on Jimmy Clanton’s self-titled album. Issued as a single, it became one of Clanton’s biggest hits, reaching No. 7 on the Billboard Hot 100.

Its catchy melody and youthful lyrics helped solidify Clanton’s position among early-’60s pop crooners. A promotional performance clip aired on several TV programs of the time.

\The song’s earliest recording actually came from singer Jimmy Jones, though Clanton’s version became the definitive hit. Songwriter Howard Greenfield later said the title came to him after seeing a girl walk by in denim while he waited for a taxi.

Make Me An Island was a single released back in 1969 from the album of the same name.

It became one of Dolan's signature hits and helped establish him as an international artist. The song was written by Albert Hammond and Mike Hazlewood, who were also responsible for several other popular tracks of the era.

"Make Me An Island" reached the number 3 position on the UK Singles Chart, marking Dolan's highest-charting single in Britain. It also performed well in other European countries, reaching number 1 in Ireland and the Netherlands.

You're Such A Good Looking Woman is an upbeat, brassy pop tune that became one of Joe Dolan’s signature hits, cementing his status as one of Ireland’s most charismatic entertainers.

Released in 1969 and written by songwriting duo Albert Hammond and Mike Hazlewood, "You're Such a Good Looking Woman" was a chart success, reaching #3 in Ireland and cracking the UK Top 20.

The song’s infectious melody, bold orchestration, and Dolan’s powerhouse vocal delivery made it a radio favorite and a staple of his live performances for years. Its timeless charm continues to resonate with fans of 60s pop and lounge-style vocal tracks.

Goodbye was ACTUALLY written by Paul McCartney AND was released by Mary Hopkin in 1969 as a follow-up to her hit “Those Were the Days.” Although not included on her debut album, the single reached No. 2 in the UK and No. 13 on the Billboard Hot 100.

McCartney also produced the track, contributing guitar, bass, and arrangement ideas.

No official video was made, but Hopkin performed the song on several European TV specials. McCartney’s original demo — once considered lost — resurfaced decades later and revealed nearly identical phrasing to Hopkin’s final version.

Those Were The Days,  produced by Paul McCartney in 1968, appeared on Mary Hopkin’s debut album Post Card. Released as a single, it became an international smash, hitting No. 2 on the Billboard Hot 100 and No. 1 in the UK.

The song was adapted from a 1920s Russian folk melody, which fascinated McCartney enough to champion it for Hopkin’s debut. A promotional film clip shot in a tavern-style setting served as its early music-video equivalent. Many artists have covered it, including Dolly Parton (2005).

Hopkin recorded the song in five languages to help boost worldwide sales.

A World Without Love was the very first single ever released by the British duo Peter And Gordon way back in 1964. Paul McCartney actually wrote this song.

The song was a #1 in the UK and the US.

McCartney was dating Peter's sister at the time and moved in with her when he was 16. Paul didn't think the song was good enough for his new band The Beatles so he gave the song to Peter Asher who had just landed a recording contract with his duo partner Gordon Waller.

The song is found on their album of the same name.

I Go To Pieces is a song written by Del Shannon and was a hit for Peter And Gordon back in Feb 1965. These guys were touring with Del Shannon in the fall of 1964 in Australia. Del sang the song to

The Searchers in their dressing as they were touring also, but they passed. But Peter And Gordon heard the song from another dressing room and asked Del if they might record the song, which he agreed.

The track is on the album of the same name.

Lady Godiva hit the airwaves in 1966 and appeared on Peter & Gordon’s album Lady Godiva and became one of their more humorous hits. Issued as a single, it reached No. 6 on the Billboard Hot 100.

The duo performed the song on multiple TV programs, though no dedicated music video was produced. The track’s playful lyrics led to it being banned on some UK stations for being “too suggestive,” which ironically boosted sales.

The Canadian version of the single used a slightly different mix with louder brass accents.

True Love Ways gave Peter & Gordon one of their most successful recordings when the British duo revived Buddy Holly’s heartfelt ballad in 1965. Written by Holly and longtime collaborator Norman Petty, the song had originally been recorded in 1958 but found new life during the height of the British Invasion.

Issued as a single and later included on the duo’s True Love Ways album, Peter & Gordon’s version reached No. 2 on the UK Singles Chart and climbed to No. 14 on the Billboard Hot 100 in the United States. A promotional performance film was produced to support the release, helping introduce the classic to a new generation of listeners.

The recording’s rich orchestration and smooth harmonies highlighted the duo’s strengths while honoring Holly’s original. Later versions by artists such as Mickey Gilley and Cliff Richard further demonstrated the song’s enduring appeal across several decades.

Woman was released in 1966 and is most notable because it was written by Paul McCartney under the pseudonym “Bernard Webb.” The song appeared as a non-album single and reached No. 14 on the Billboard Hot 100.

McCartney used the alias to test whether his songwriting success depended on the Lennon-McCartney name — and the song’s success proved it didn’t.

No official video was produced, but the duo promoted it heavily on radio and TV. Several lesser-known artists later covered the tune, though none saw chart success. McCartney finally admitted authorship only after the song had risen high on the charts.

If I Had A Hammer was recorded by Peter Paul & Mary for their 1962 debut album and became one of their signature protest songs. Released as a single, it reached No. 10 on the Billboard Hot 100 and No. 3 on the Adult Contemporary chart.

The trio performed the song widely on U.S. television and at civil-rights events, though no formal music video existed. The original version was written and first recorded by The Weavers in 1950.

Peter, Paul & Mary’s rendition won two Grammy Awards in 1963 — Best Folk Recording and Best Performance by a Vocal Group.

Right Field is a track on the trio’s 1980 album Reunion and became a charming favorite despite never charting.

Written by Willy Welch, the song tells a nostalgic Little League story and resonated strongly with fans who grew up in the ’50s and ’60s.

A children’s-themed music video was later produced for educational programs, making it one of the few PPM songs with a true video companion.

The track became so beloved in schools that Welch later turned it into a children’s book.

The Wedding Song was written and recorded by Paul Stookey in 1969 and appeared on his album Paul and. Released as a single in 1971, it reached No. 24 on the Billboard Hot 100 and quickly became a wedding standard.

The inspiration came after Stookey wrote the piece for Peter Yarrow’s wedding ceremony. No official video was created, though numerous televised performances helped popularize it.

The song has since been covered by Anne Murray (1971), Mary MacGregor (1979), and Captain & Tennille (1995). Stookey has long insisted that the song “belongs to God,” donating all royalties to charitable causes.

Niki Hoek,  released by P.J. Proby in 1967, became one of his most recognizable singles. Written by the Addrisi Brothers, the song reached No. 23 on the Billboard Hot 100 and was later included on Proby’s album P.J. Proby.

Although it didn’t produce a music video, the song was performed on several variety shows. The track is notable for its swamp-rock groove, which later inspired covers by Aretha Franklin (1968) and Jim Ford.

The quirky title refers to a fictional girl from Louisiana — songwriter Don Addrisi reportedly came up with it during a road trip.

From Clare To Here came out in 1976 on Ralph McTell’s album Right Side Up and became one of his most beloved ballads. The song wasn’t a major charting single but received heavy airplay on folk radio.

McTell wrote it after hearing an Irish laborer in London say, “It’s a long way from Clare to here,” inspiring a story of homesickness and migration. No music video exists, though the song became a staple of his live shows.

It has been widely covered, including by Nanci Griffith (1993) and The Dubliners. McTell has said it’s one of the few songs he wrote fully in one sitting.

Streets Of London originally released this track in 1969 and it also later appeared on McTell’s 1974 album Spiral Staircase and became his signature work. The 1974 re-recorded single reached No. 2 on the UK Singles Chart.

Though not accompanied by a music video, the song’s vivid imagery and compassion made it a folk anthem. It has been covered more than 200 times, including versions by Roger Whittaker, Anti-Nowhere League, and Sinead O’Connor.

McTell originally wrote the song about Paris but changed the location to London because he felt British audiences would connect more deeply with its themes.

I Want To Stay Here showcased the polished vocal chemistry that made Steve Lawrence and Eydie Gormé one of the most successful husband-and-wife recording acts of the 1960s. It was released during a period when the pair regularly blended pop, traditional vocal standards, and contemporary material, the song appeared on one of their early duo projects and reflected the sophisticated adult-pop sound that dominated much of their catalog.

Rather than relying on dramatic orchestration, the recording allowed their expressive voices to carry the story of independence and emotional uncertainty. Although it was not among the duo’s major charting singles, the song became a favorite for fans who appreciated their ability to turn everyday relationship themes into engaging performances.

Lawrence and Gormé were frequent television guests throughout the decade, and songs such as this helped reinforce their reputation as two of America’s most polished and versatile vocal entertainers.

Suspicion transformed Terry Stafford from an unknown singer into a national recording star in 1964. Written by Doc Pomus and Mort Shuman, the song had first been recorded by Elvis Presley, but his version was never released as a single in the United States.

Stafford’s recording began life as a simple demo, with producer Bob Summers playing nearly all the instruments himself. After gaining traction on California radio stations, the record spread across the country and eventually reached No. 3 on the Billboard Hot 100, selling more than a million copies.

Many listeners initially believed it was Presley because Stafford’s voice closely resembled Elvis’s vocal style. The single’s success was particularly impressive because it climbed the charts during the height of Beatlemania. Although no official music video existed in that era, television appearances helped promote the record and establish Stafford as one of the decade’s memorable pop performers.

Forever is the career-defining masterpiece by the New Zealand band The Fourmyula, appearing on their 1969 self-titled album. Written by band member Wayne Mason, the song was released as a single and became a massive domestic success, reaching No. 2 on the New Zealand charts. It is often cited as one of the greatest compositions in the country’s musical history, eventually being voted into the APRA Top 100 New Zealand Songs of All Time.

A fascinating historical detail is that the band recorded the track at the legendary Abbey Road Studios in London while attempting to break into the international market. This exposure to high-level production helped create the lush, melodic sound that defines the recording. While it remains a Kiwi classic, the song has seen various local covers, though the original remains the definitive version of the "New Zealand Invasion" era.

Lady Scorpio ... was recorded by New Zealand group The Fourmyula during the vibrant rock scene that emerged in the country during the late 1960s and early 1970s. Built around a strong melodic hook and driving rhythm section, the song reflected the growing influence of British and American rock music on New Zealand performers while maintaining the band’s own distinctive style.

Released as a single, it earned regional airplay and helped strengthen the group’s reputation among local audiences. The Fourmyula were known for combining pop accessibility with harder-edged rock arrangements, and “Lady Scorpio” became one of their better-known recordings.

Although it did not achieve major international chart success, the track remains of interest to collectors of New Zealand rock history. Its blend of catchy songwriting and energetic performance offers a snapshot of a period when local bands were beginning to gain greater recognition alongside the overseas acts that dominated radio playlists.

Hurt So Bad is a soul-stirring ballad performed by the legendary vocal group The Imperials (often known as Little Anthony and the Imperials). Originally released as a single in 1965, the song was a commercial powerhouse, peaking at No. 10 on the Billboard Hot 100 and No. 5 on the R&B charts. It is the centerpiece of their album Goin' Out of My Head.

A compelling aspect of this recording is its sophisticated orchestral arrangement, which helped bridge the gap between doo-wop and the emerging soul sound of the mid-60s. The song’s massive popularity led to numerous high-profile covers by artists such as Linda Ronstadt, who took it back to the Top 10 in 1980, as well as The Lettermen and Alicia Keys.

Despite the many iterations, The Imperials' original version is still celebrated for Anthony Gourdine's exceptional lead vocal performance.

The songs featured here showcase the softer, melodic side of 60s guitar music—from heartfelt folk harmonies to bright pop arrangements. Each lesson brings out the emotional essence of the original while making it accessible to players of all skill levels.

If you’ve enjoyed working through these tracks, be sure to explore our other 60s guitar pages for more legendary tunes, one-hit wonders, and acoustic-friendly favorites.

There’s a world of vintage guitar magic waiting to be rediscovered.