9 Forgotten 1960s Singles That Should Have Been Bigger

The 1960s produced many memorable songs, but some singles, despite their quality, didn’t achieve the recognition they deserved. Here are nine tracks from that era that, while not chart-toppers, left a lasting impression.

The Moody Blues – “From the Bottom of My Heart (I Love You)”

Released in 1965, this song showcased The Moody Blues’ early R&B style before they transitioned to a more progressive sound. The track reached #22 on the UK charts and #93 in the US, indicating moderate success.

Despite its heartfelt lyrics and soulful melody, “From the Bottom of My Heart” didn’t achieve the widespread acclaim of their later works like “Nights in White Satin.” However, it remains a testament to the band’s versatility and musical roots.

Simon Dupree & The Big Sound – “Day Time, Night Time”

Before evolving into the progressive rock band Gentle Giant, the Shulman brothers performed as Simon Dupree & The Big Sound. Their 1967 single “Day Time, Night Time” didn’t chart as high as their hit “Kites,” but it showcased their psychedelic pop sensibilities.

The song’s catchy rhythm and experimental sounds hinted at the musical direction the brothers would later pursue. While not a major hit, it remains a notable entry in their discography.

The Byrds – “Artificial Energy” and “Goin’ Back”

“Artificial Energy,” released in 1968, delved into themes of drug use, reflecting the era’s counterculture. Its bold subject matter limited its commercial appeal, but it demonstrated The Byrds’ willingness to tackle controversial topics.

In contrast, “Goin’ Back,” a cover of a Carole King and Gerry Goffin song, offered a nostalgic look at lost innocence. Though it reached #89 on the US charts, it didn’t achieve significant success, yet it remains a poignant piece in their catalog.

The Kinks – “Picture Book” and “Shangri-La”

“Picture Book,” from their 1968 album “The Kinks Are the Village Green Preservation Society,” wasn’t released as a single but gained recognition years later, especially after being featured in a 2004 HP commercial. Its playful melody and reflective lyrics resonate with listeners even today.

“Shangri-La,” released in 1969, peaked at #27 in the UK. The song offers a satirical take on suburban life, showcasing Ray Davies’ sharp songwriting. Though not a major hit, it remains a standout track in their discography.

The Yardbirds – “Little Games” and “Puzzles”

“Little Games,” released in 1967, marked a shift in The Yardbirds’ sound, incorporating more psychedelic elements. The song reached #51 on the Billboard Hot 100.

Its B-side, “Puzzles,” continued this experimental trend. While neither track achieved significant chart success, they showcased the band’s evolving musical direction during a transformative period.

The Who – “Jaguar” and “Christmas”

“Jaguar,” recorded during sessions for The Who’s 1967 album “The Who Sell Out,” remained unreleased until later compilations. Its energetic rhythm and catchy chorus made it a fan favorite despite its initial obscurity.

“Christmas,” from their 1969 rock opera “Tommy,” delves into the protagonist’s inner turmoil. Though not released as a single, it stands out for its emotional depth and narrative significance within the album.

Small Faces – “Afterglow of Your Love”

Released in March 1969, “Afterglow of Your Love” was the final single by Small Faces before their split. The song reached #36 on the UK Singles Chart.

Despite its modest chart performance, the track is celebrated for its soulful vocals and rich instrumentation, capturing the band’s essence during their peak.

The Robbs – “Bittersweet”

“Bittersweet,” released in 1966, showcased The Robbs’ harmonious blend of pop and rock. While the song didn’t chart significantly, it exemplified the band’s melodic sensibilities.

Their music, characterized by tight harmonies and catchy hooks, earned them a dedicated fan base, even if widespread commercial success eluded them.

The Monkees – “Listen to the Band”

Released in 1969, “Listen to the Band” marked a departure from The Monkees’ earlier pop sound, embracing a more country-rock style. The song didn’t achieve major chart success but demonstrated the band’s evolving musical direction.

Its inclusion in their television special “33⅓ Revolutions per Monkee” highlighted their desire to be seen as serious musicians, moving beyond their manufactured image.