13 incredible forgotten rock albums from the 1960s

As a seasoned music enthusiast who has spent countless hours immersed in the rich tapestry of sounds that defined the 60s, I can confidently say that these bands have left an indelible mark on the annals of rock ‘n’ roll history. From the raw energy of the Sonics to the harmonious blend of Moby Grape, each group brought something unique and captivating to the table.

Although the 1960s might not be considered the pinnacle of rock & roll history, it’s challenging to deny that no other decade was as electrifying. For every youngster who strummed an electric guitar or turned on a Farfisa organ, a vast, unexplored landscape lay before them. The potential was boundless.

Although the musicianship might not have reached its peak yet, the raw enthusiasm was as intense as music could convey. Essentially, every rock and roll group since then has aimed to recapture that initial spirit. It’s no wonder that numerous contemporary bands trace their inspiration back to the early days of rock. They were the trailblazers.

It’s no secret that the pivotal role in rock & roll was recognized by listeners back then. Lenny Kaye, who later produced and played guitar for Patti Smith during the 1970s, was among countless young people from the ’60s captivated by this new music. In 1972, at the age of 25, Kaye initiated the Nuggets album series for Elektra Records. His mission was to collate standout tracks from the American garage rock era that bloomed in the mid-’60s and significantly influenced the development of psychedelic and punk rock, which would revitalize rock & roll in following decades.

13 rock albums from the 1960s that should have never been forgotten

Initially, the Nuggets compilation featured approximately 27 tunes, many of which came from bands whose names faded into obscurity within a decade. However, this idea proved to be exceptionally popular, leading to over a dozen spin-offs. These were circulated among various record labels and eventually crossed the borders of the United States. Today, you can purchase Rhino’s 12-set collection, containing a total of 168 American songs. Moreover, you can find similar compilation series highlighting early rock & roll from different countries.

As a gamer diving into the world of retro tunes, I’ve come across many bands in the Nuggets collection that are often labeled as one-hit wonders. Some of these bands truly seemed to have struck gold by capturing lightning in a bottle with their unique sound. However, for most, it felt like a tough game of odds. Breaking through the pop music scene back in the mid-’60s was no easy feat, and it often came down to sheer chance and timing – the right song at the right place and the right time.

A local band could build a dedicated fanbase, but to gain wider recognition, they’d need radio exposure. To achieve radio play, they often required the support of a big record label. However, securing a contract with a major label was usually contingent on their music sounding like that of iconic acts such as the Beatles, the Beach Boys, or Bob Dylan.

It would grow somewhat easier over time, though the basic parameters remain the same to this day. Still, the investment for a band was not that steep. They could pick up some cheap instruments, practice a little bit, and just start playing. Some of them even pushed hard enough to release an album or two.

Today, let’s examine albums from various bands that served as pioneers in the music industry. This could be likened to a compilation titled “Nuggets“, except we’re focusing on full-length albums rather than individual singles. Many of these bands were active for quite some time, but most disbanded – in the specific context we’re discussing – by 1970. However, their impact was immense. It’s challenging to estimate exactly how many young musicians like Lenny Kaye were inspired by these bands and motivated to dive into rock & roll after attending one of their local performances.

Today, we’re showcasing thirteen lesser-known treasures. The size of the list is slightly larger than my typical choice, as I wanted this to be a truly global selection. Since many of these bands made their mark in their local scenes (either native or adopted), I’ve organized this into regional categories. We’ll kick things off with four groups that originated outside the U.S., followed by three from the east, central, and western regions of America to complete our list.

We’ll begins about far away as you can get from the USA…

The World

The Explosive Sound of the Atlantics by the Atlantics (1964)

Heading westward from Sydney, Australia, I’d find myself nearly 7,000 miles away from Cape Town. Alternatively, going east would bring me slightly over that distance to Buenos Aires. Yet, despite these fascinating destinations, the Sydney-based instrumental quartet opted to christen their band ‘The Atlantics.’ Naming my DC-based band ‘Tuvalu’ would be akin to their choice, a nod to a distant land that holds a special place in our hearts but is far from our immediate location.

To put it another way, as you listen to this band, it gradually becomes clearer what they’re about. They play instrumental surf music in the vein of Dick Dale’s style. The first track on their third album, titled “Dimitrius,” has a western hoedown feel, thanks to Theo Penglis’ skillful guitar playing. You’ll also find a charming melody in “Cherry Pink & Apple Blossom White,” a lively pace in “The Sheriff of Nottingham,” and a unique interpretation of Dave Brubeck’s work in “Rondo a La Turk.” Despite the similarities in their approach, they manage to keep things fresh by subtly altering the sounds and rhythms.

Among the Atlantic’s most recognized tunes is “Bambora,” which was first released in an earlier album. However, I find that their album titled “Explosive Sound ” seems to offer a more comprehensive collection of songs.

Black Monk Time by the Monks (1966)

Originating from Gelnhausen, Germany, these monks surprisingly spoke with an American accent. The reason being, they were actually a group of young Americans. During their leisure hours stationed in what was then West Germany, they essentially pioneered punk rock. They produced one album that exuded the same confidence as the top-tier punk musicians.

On their debut track “Monk Time,” they introduced themselves, followed by a sequence of lively, upbeat songs such as “Shut Up,” featuring a trippy organ melody, and “I Hate You,” starting with an elegant organ introduction before evolving into a smooth jazz piece that aptly reflects its title.

Their biggest hit was the gruffly primitive ode to adolescent romance “Boys are Boys and Girls are Choice,” which I think is a misspelling of the title because it sure sounds like they are chanting “boys are boys and girls are joys” when I listen. They also had the chugging “Complication,” which could have served as a model for the Knack a decade later. The Monks split up and reformed a couple of times over the years.

In essence, they seemed to stay within their initial creations, and it’s hard for me to imagine them progressing further if they had been provided with more opportunities. However, I recall having similar thoughts regarding the Ramones, but they managed to make a significant impact after being inspired by The Monks.

Bakerloo by Bakerloo (1969)

Currently, we’re diving into some intense blues rock, thanks to this trio hailing from the Midlands. While Clem Clempson may not have been as fiery as Eric Clapton, he certainly gave him a run for his money, and on their sole album, you might be tricked into believing it’s Cream playing. The debut track, “Big Bear Ffolly,” is an impeccable blues instrumental that could fool anyone.

I can’t help but admire how they push boundaries, incorporating a harmonica into their rendition of Willie Dixon’s “Bring It On Home” or blending Clemson’s harpsichord in tracks that bridge the gap between crossover and Johann Sebastian, creating an ultra-cool vibe with “Drivin’ Backwards.” They slow things down with blues numbers like “This Worried Feeling,” showcase their guitar skills in songs like “Last Blues,” and end it all with a 14-minute blues symphony, “Son of Moonshine,” that rolls along like a freight train. Clemson departed to join another band following the Bakerloo album and later replaced Peter Frampton in Humble Pie.

Get the Picture by Pretty Things (1965)

The primary drawback for Pretty Things was that they weren’t quite as iconic as the Rolling Stones. Emerging from London concurrently, they shared a similar style of blues-infused rock ‘n’ roll with catchy hooks that garnered some radio attention. Vocalist Phil May had a rawer tone compared to Mick Jagger and may not have been as mesmerizing, but he was undeniably an exceptional blues shouter. As for their guitarist, Dick Taylor, his skills were on par with Keith Richards in terms of delivering blues licks.

In their second album, side A primarily features original songs, many of which are exceptional, such as the brooding “Can’t Stand the Pain,” and the groovy “We’ll Play House.” They also include a mix of covers, showcasing Slim Harpo’s “Rainin’ in My Heart” and a delightful rendition of Solomon Burke’s “Cry to Me.” The album concludes with May paying tribute to Ike Turner’s “Gonna Find Me a Substitute.

The East Coast of the United States

The Remains by the Remains (1966)

1966’s late summer was an exhilarating period for Barry Tashian and the Remains. Just weeks before their debut album hit the shelves, they graced the stage at Suffolk Downs Racetrack in Boston. Sharing the spotlight that night were the Ronettes, the Cyrkle, with the Beatles, a British group, headlining the event.

Tashian formed his band with companions from Boston University, and they established a fan base in Boston. Just like many garage bands of the era, they started developing a sound similar to the Beatles. However, Tashian, who later achieved a prosperous career as a bluegrass and folk musician, had musical preferences that extended beyond the usual garage rock. This doesn’t mean they couldn’t create a great rock sound.

The Remains offer an impressive rendition of Billy Vera’s song “Don’t Look Back,” which was later popularized by Robert Plant. They truly shine in their interpretation of Bo Diddley’s classic “Diddy Wah Diddy,” where harmonica and guitar dominate the melody. Tashian’s original compositions, such as “When I Want to Know” and “Baby I Believe in You,” reveal his pop-oriented eccentricity, providing a delightful contrast to the gritty garage rock that the Remains are generally recognized for.

Projections by the Blues Project (1966)

The initial Blues Project had a short lifespan, yet they significantly impacted Greenwich Village’s musical landscape by fusioning blues rock with progressive elements in an intriguing mix. Most of the blues melodies originated from guitarists Danny Kalb and Steve Katz, while the progressiveness stemmed primarily from Al Kooper, a versatile multi-instrumentalist. Despite his extensive collaborations over time, Kooper remained associated with Kalb and the group for just one album. However, this brief collaboration resulted in one of the most polished garage rock albums of that decade.

The album starts off with a soulful “I Can’t Keep From Crying,” then transitions to the classically-inspired “Steve’s Song” by Katz. Next, we’re grooving to Chuck Berry’s lively “You Can’t Catch Me.” Side one concludes with some gritty blues from Muddy Waters – “Two Train Running.” Side two maintains its diverse nature, moving from the catchy pop tune “Cheryl’s Going Home” to the unique “Flute Thing,” showcasing the talent of Andy Kulberg (yes, a blues band with a flute!). After the album Projections, the Blues Project broke apart. Some members went on to form Blood, Sweat, and Tears, while others continued recording as the Blues Project.

Bitter Sweet by the Hangmen (1965)

Growing up in the same Maryland suburbs as The Hangmen, I unfortunately missed their live performances in Washington, D.C during my childhood. However, their most notable song, “What a Girl Can’t Do,” represents some of the best music from the ’60s garage scene. It masterfully combines pop and rock elements, with an essential harmonica part. In fact, every local band attempted to cover this iconic tune.

However, the Hangmen boasted an impressive repertoire beyond these mentioned tracks. On their album “Bitter Sweet“, they kick off with a dreamy rendition of Roy Orbison’s “Dream Baby” and conclude with a nearly flawless cover of Van Morrison and Them’s “Gloria”. They deliver a beautiful take on “Let It Be Me”, but truly shine when they rock out in songs like “Faces” and “Isn’t That Liz.

In due course, Bob Berberich, a drummer, teamed up with Nils Lofgren, another local from the Washington D.C. suburbs, within his band Grin. While I can’t verify the claim, I find it intriguing that the Hangmen supposedly arrived at their performances in an ancient black hearse. It would be delightful if this rumor were true.

The Midwest

Distortions by The Litter (1967)

Under their first album titled “Distortions“, it’s clear what to expect – a high-energy ride. Hailing from Minneapolis, these rockers kick things off with an explosive tune penned by their producer, Warren Kendrick. “Action Woman” delivers a powerful dose of distorted guitar from Zip Caplan and the thunderous drums of Tom Murray. Amidst the chaos, singer Denny Waite stands strong. The sound transcends the norm of what was known as garage rock at that time.

Not only that, but they’ve just begun to impress. The Litter skillfully covered “I’m So Glad,” a blues classic by Skip James, in a style reminiscent of Cream, and gave a psychedelic twist to Buffy Marie-Saint’s “Codine,” with Jim Kane’s bass serving as the foundation. Moreover, they added their own renditions of The Who songs – a speedier version than the original “Substitute” and a more distorted take on “A Legal Matter.

They close with an explosive “I’m a Man.” Throughout, the sound pours out of the speakers. The Litter went through more breakups and reconciliations than a Tuesday afternoon soap opera. The band stayed hot, but the sound grew a bit more generic.

Gloria by the Shadows of Knight (1966)

Personally, I encourage you to listen to both renditions and make your own choice between the renowned Hangmen’s take on “Gloria” and the iconic Shadows of Knight’s cover of Van Morrison’s classic. Jimy Sohns’ performance is a strong contender against Morrison’s original masterpiece. Also, similar to the Blues Project, Shadows of Knight have their own rendition of Muddy Waters’ “I Got My Mojo Working,” but with a more energetic and spirited twist. Enjoy your music exploration!

Warren Rogers skillfully plays around with “Boom Boom” by John Lee Hooker, and he appropriately includes the classic Chuck Berry riff in “Let it Rock.” Notably, bassist Joseph Kelly takes on two roles, playing both the bass and the harmonica in this piece.

They conclude Gloria by playing three consecutive Willie Dixon classics, emphasizing their blues heritage. However, Sohns and Rogers also offer a couple of robust originals – the heavy-rocking “It Always Happens This Way” and “Darkside,” which hint at some Electric Light Orchestra (ELP)-inspired psychedelia. Unfortunately, Sohns passed away a few years ago, leading many longtime music enthusiasts from Chicago’s vicinity to revisit their old vinyl records and re-listen to Gloria.

Fever Tree by Fever Tree (1968)

The captivating atmosphere in Houston’s Fever Tree band stemmed from the contrasting drives of guitarist Michael Knust and keyboardist Rob Landes. This dichotomy enabled them to delve into hard rock blues, a genre that complemented singer Dennis Keller’s deep baritone voice, as well as more progressive rock with classical influences. Evidence of this blend can be found in the first two tracks on their self-titled debut album. “Imitation Situation1” has a feel reminiscent of a Sergio Leone composition, while seamlessly transitioning into the bluesy rock of “Where Do You Go?” Frequently, they would blend both styles within a single song.

On the album Fever Tree, “San Francisco Girls” was the standout track and their sole hit. This song, a near-flawless example of psychedelia, skillfully combines Landes’ harpsichord and organ with Knust’s guitar solos. Many of their songs were penned by either Knust or Landes, in collaboration with producers Scott and Vivian Holtzman. However, it seems they excelled most when performing spacey covers, as demonstrated in their rendition of Wilson Pickett’s “Ninety-nine and One Half”. This track once more layers various synth sounds over a bluesy guitar rhythm.

Apart from their own compositions, they additionally play a medley of The Beatles songs. Landes’ synth harpsichord sets the scene for “Day Tripper,” seamlessly incorporating fragments of both “Eleanor Rigby” and “We Can Work it Out.” Lastly, they offer a beautifully rendered interpretation of a Neil Young song from the Buffalo Springfield era titled “Nowadays Clancy Can’t Even Sing.” The band disbanded following several more albums. Landes pursued a versatile career in Houston as a writer, arranger, and performer. Knust occasionally reunited with different lineups, but Fever Tree never regained that initial intensity.

The West Coast

Here are the Sonics by the Sonics (1965)

Although the Sonics didn’t originate Seattle grunge, they were a significant influence for many key figures in that movement. The band from Tacoma was led by fast guitarist Larry Parypa, backed by his brother Andy on bass and Bob Bennett on drums. Gerry Roslie’s rough vocals fronted the group, while Rob Lind added saxophone solos that were as powerful as they were soulful. They fearlessly covered Motown’s “Do You Love Me” and Chuck Berry’s “Roll Over Beethoven,” delivering raw and aggressive versions of both tunes.

Roslie composed several tracks on the album, including “The Witch,” which initiated side 1, and “Psycho” that started off side 2. His approach was primarily mimicking the Motown style, but with a bit of roughness added through yells and distortion. The remainder of the first release contained chaotic, lively, and engaging renditions of songs such as “Money,” “The Night Time is the Right Time,” and “Good Golly Miss Molly.

Above all, the Sonics demonstrated that by amplifying a solid tune and playing it with vigor and speed, you could excite an audience. While the Monks were sowing the seeds of punk music in Europe, the Sonics were doing the same on the opposite side of the globe. Much like other bands we’ve talked about, the original Sonics didn’t remain together for long after their initial release, but they have been re-emerging periodically throughout the years – whenever a new movement arises based on attitude and enthusiasm, you can often find traces of the Sonics within its genetic makeup.

Moby Grape by Moby Grape (1967)

1967 saw Moby Grape, based in San Francisco, emerge as a band on par with iconic groups like Jefferson Airplane and the Grateful Dead, who were known for their psychedelic roots. Notably, all five members of Moby Grape were proficient in playing guitar, singing, and songwriting. The lead guitarist, Jerry Miller, and drummer Don Stevenson kick-started their debut with “Hey Grandma,” a lively pop rock number that showcased intricate guitar solos and country-style harmonies.

Next, it was Bob Mosely’s chance to add a touch of slowness with the funky “Mr. Blues”, maintaining the rhythm from the guitars and harmonizing. Following this, Peter Lewis took over with the strong rock beat of “Fall on You”. Lastly, Miller and Stevenson displayed their acoustic folk skills beautifully in the lovely “8:05.

We haven’t yet discussed Moby Grape’s distinctive vocalist, Skip Spence. He doesn’t contribute a song until later in side 1 of the album. “Omaha” is as representative of San Francisco as anything Jefferson Airplane was producing at the time (Spence had a brief stint playing drums for them). Additionally, Spence concludes the album with “Indifference,” a hard rock guitar track that could have been produced by The Grateful Dead.

Regrettably, much like the legendary English musician Syd Barrett, Spence faced similar challenges. He battled with substance abuse and mental health problems that significantly hindered his career progression. Tragically, he lost his life to cancer in 1999. The band Moby Grape continued releasing albums during the late ’60s; however, Spence’s decline and eventual departure marked their end.

(Turn On) The Music Machine by the Music Machine (1966)

In the classic “Nuggets” album, the standout tune “Talk Talk” by The Music Machine made its mark, alongside tracks from various other bands mentioned. This band, led by vocalist-guitarist Sean Bonniwell, combined garage rock with the jazz elements provided by keyboardist Doug Rhodes, creating a unique blend. “Talk Talk,” penned by Bonniwell himself, epitomized his ambition to create music that was raw and edgy, characterized by its fuzz and bite.

The Music Machine not only performed unique renditions of Neil Diamond’s “Cherry, Cherry” and George Harrison’s “Taxman”, with Bonniwell providing distinctive vocals and Rhodes adding intricate details. However, this method wasn’t as effective on “96 Tears,” a song that was already garage-style, but it surprisingly fits perfectly on the album’s closing track, a spacey reinterpretation of “Hey Joe.

Originally, Bonniwell’s song “The People in Me” had potential for success, but it was only “Talk Talk” that gained popularity at that moment. The original band released one more album following this, but it leaned heavily towards Bonniwell’s influence, as suggested by the new name, The Bonniwell Music Machine.

2024-12-10 14:01