Forgotten 60s Rock Guitar Gems You’ll Want to Play

Some tracks faded into obscurity—not because they lacked quality, but because they got overshadowed by bigger chart-toppers of the era.

This page shines a spotlight on forgotten 60s rock gems that still pack a musical punch, especially for guitar lovers.

If you’re looking for new material that blends vintage charm with strong melodies and underrated guitar work, these lesser-known classics are a treasure trove.

Yesterday Has Gone was a haunting 1968 hit by British pop-rock band Cupid’s Inspiration, known for its dramatic orchestration and soaring vocals.

The song reached #4 on the UK Singles Chart and remains their best-known track.

Its lush, melancholic arrangement and emotional delivery gave it a distinct place among late-60s British ballads, and it still resonates as a hidden gem of the era.

Come On Down To My Boat, released in 1967, was the debut single from Every Mother’s Son and appeared on their self-titled album. The song became their biggest hit, climbing to No. 6 on the Billboard Hot 100 with its bright, beach-pop sound.

Although no music video was produced, the band performed it on several television shows, including The Ed Sullivan Show. The tune was originally recorded a year earlier by The Rare Breed under the title “Come and Take a Ride in My Boat.”

The band’s clean-cut image was intentionally crafted by MGM Records to appeal to fans of The Monkees.

Black Is Black, recorded by Spanish band Los Bravos, was released in 1966 and included on their album Black Is Black. Issued as a single, it reached No. 4 on the Billboard Hot 100 and hit No. 2 in the UK, becoming one of the first major international hits by a Spanish rock group.

No official video existed, but the group’s TV appearances helped the song reach global audiences. The tune has been covered often, including a Top 20 UK version by La Belle Époque in 1977.

The driving bass line was played by top UK session musicians because the band arrived late to the London recording session.

Baby I Won't Let You Down was a 1970 single by Pickettywitch, a British pop group fronted by singer Polly Brown.

Though the band is best known for their Top 5 UK hit “That Same Old Feeling,” this follow-up single continued their run of melodic, radio-friendly tracks.

While it didn't chart as high as their breakout hit, the song showcased the band’s signature blend of light pop and soul influences and remains a nostalgic favorite among collectors of early '70s British pop.

Til We Kissed was recorded in 1965 and appeared on Ray Columbus & The Invaders’ album Original Numbers.

Released as a single in New Zealand and Australia, it charted strongly regionally and became one of the group’s most recognized tracks. Known for its early beat-pop sound, the song never had an official video but was performed frequently on local TV.

The song was actually adapted from The Ronettes’ song “How Does It Feel?” — re-written with new lyrics after Phil Spector withheld licensing.

Out Of Sight Out Of Mind was released in 1967 by The Avengers, a little-known garage rock band whose work has become something of a cult favorite among collectors of obscure ‘60s rock.

The song has appeared on several compilations of lost or rare garage tracks, where it stands out for its raw vocal delivery, haunting guitar lines, and moody atmosphere.

While it didn’t chart nationally, it captured the brooding teenage angst of the era and remains a gem for fans of the genre.

Juliet was the breakout hit for British pop band The Four Pennies, released in 1964.

The ballad struck a chord with audiences and became a surprise chart-topper, reaching #1 on the UK Singles Chart—the group’s only song to achieve that feat.

Known for its gentle orchestration and heartfelt vocals, “Juliet” became a staple of early ‘60s British pop and remains the band’s signature tune.

Despite their brief time in the spotlight, The Four Pennies carved out a lasting legacy with this romantic gem.

Walk Away Renee was released in 1966 and appeared on The Left Banke’s album Walk Away Renée/Pretty Ballerina. The single reached No. 5 on the Billboard Hot 100 and helped define the “baroque pop” sound with its string arrangement and harpsichord.

No traditional music video was produced, but televised performances circulated widely. The song inspired many covers, including hit versions by The Four Tops (1967) and Rick Price (1970).

Songwriter Michael Brown wrote it about bandmate Tom Finn’s girlfriend — creating tension that later contributed to the group’s breakup.

Baby Make It Soon was released by Marmalade in 1969 and stands as one of the band’s melodic pop-rock gems.

Written by Tony Macaulay and John Macleod, the track reached #9 on the UK Singles Chart, showcasing the group’s ability to blend catchy melodies with emotional sincerity.

While not as globally recognized as their later hit “Reflections of My Life,” this song helped solidify Marmalade’s position in the late ’60s British pop-rock scene. Its lush orchestration and heartfelt vocals exemplify the softer side of the psychedelic pop movement.

Reflections Of My Life hit the airwaves in 1969 and featured on the album Reflections of the Marmalade, became the band’s signature hit. Issued as a single, it reached No. 10 on the Billboard Hot 100 and No. 3 in the UK.

Notably, the guitar solo was recorded backward, giving it a unique sound years before reverse solos became common. Although no official video existed, the band’s TV performances helped push the song internationally.

The track has been covered more than 50 times and is often praised for its unusually dark lyrics compared to other late-60s pop hits.

Live, released in 1967, appeared on The Merry-Go-Round’s self-titled album and showcased Emitt Rhodes’ early songwriting talent. The single reached No. 63 on the Billboard Hot 100, gaining modest success but strong cult following.

No official video was produced, though the band performed it on several California TV programs. The Bangles famously covered the song on their 1984 debut EP.

Emitt Rhodes recorded most of the album himself, foreshadowing his later reputation as a one-man “home studio pioneer.”

Free As The Wind was released in 1966 and became one of the standout tracks from The Myddle Class, a New Jersey garage-rock group managed by Carole King and Gerry Goffin.

Although issued as a single, it barely charted nationally but became a cult favorite among garage-rock collectors. No video accompanied the song, and few TV appearances survive.

Members of the band later formed part of the early lineup of Steel Mill — the pre-E Street Band project featuring a young Bruce Springsteen.

Time Won't Let Me came out in early 1966, appeared on The Outsiders’ album of the same name and became their biggest hit. The single climbed to No. 5 on the Billboard Hot 100 and stayed on the charts for 15 weeks.

The band promoted it heavily on TV, though no true music video existed. The song has been covered by The Jackson 5 (1970) and Iggy Pop (1981), among others.

Its signature horn riff wasn’t played by the band — it was performed by Cleveland session musicians brought in to punch up the arrangement.

I Love How You Love Me was released in 1961 and became the breakout hit for The Paris Sisters and appeared on the album of the same name.

Produced by Phil Spector, the single reached No. 5 on the Billboard Hot 100. Although no music video was made, the trio performed it on several national programs.

Countless artists later covered it, including Bobby Vinton (1968), whose version hit No. 9. Spector insisted the lead vocal be sung in an almost whisper-like tone, helping define the early “soft pop” style.

Walk Right In was released in 1962 and csn be found on The Rooftop Singers’ album Walk Right In! and became a huge folk crossover hit. The single reached No. 1 on the Billboard Hot 100 and No. 1 on the Adult Contemporary chart.

The song itself was an update of a 1920s jug-band tune by Gus Cannon. No official video was produced, but the group performed it widely on TV.

The distinctive twin-12-string-guitar sound helped spark a surge in 12-string acoustic guitar sales in the early 1960s.

Let The Feeling Begin, released in the late 1960s, was a regional hit for The Steam Machine and is remembered mostly through oldies compilations.

Although released as a single, it didn’t chart nationally and never appeared on a full studio album. No music video was made, and very little archival footage survives.

The song became a minor cult favorite among Northern Soul collectors in the UK, who discovered it through rare-record fairs.

That Thing You Do, is a song by The Wonders, a fictional band from the 1996 film "That Thing You Do!" written and directed by Tom Hanks. The movie is about a one-hit wonder band from Erie, Pennsylvania, in the 1960s.

The song was written by Adam Schlesinger and recorded by the real band Fountains of Wayne. Although The Wonders are not a real band, their story and music pay tribute to 1960s pop rock and the experiences of real bands from that era.

The Wine Song was released in 1965 when The Youngbloods were still developing their signature folk-rock sound and appeared on their album The Youngbloods. It was not issued as a major single, so it never charted.

The track didn’t receive a music video, but the band regularly performed it in their early club sets.

Though known for “Get Together,” the group originally leaned more toward blues-infused material like this track, which reflected Jesse Colin Young’s early songwriting style.

You Were On My Mind was released in 1965 and can be found on We Five’s debut album and became their biggest hit. The single reached No. 3 on the Billboard Hot 100 and stayed in the Top 10 for several weeks.

A promotional film clip was produced, making it one of the earliest folk-rock songs with a proto-music-video. Originally written and recorded by Sylvia Tyson of Ian & Sylvia in 1964, the We Five arrangement added dramatic harmonies and a faster tempo.

Lead singer Beverly Bivens left the band shortly after the hit, contributing to their short chart lifespan.

In The Year 2525, released in 1969, became a massive worldwide hit for Zager & Evans and appeared on their album 2525 (Exordium & Terminus). The single spent six weeks at No. 1 on the Billboard Hot 100 and also topped charts in the UK and Canada.

No official music video existed, but the duo performed it on numerous TV shows. The song has been covered many times — including notable versions by Visage (1983) and Laibach (1994).

Zager & Evans remain the only artists in history to have a No. 1 hit in the U.S. and never chart again.