The 1960s stands as a pivotal epoch in music history, particularly for rock and roll. This decade witnessed an explosion of creativity, innovation, and cultural shifts that profoundly shaped the landscape of music we know today. From the raw energy of garage rock to the psychedelic explorations and the burgeoning sounds of hard rock, 1960s Rock Bands redefined musical boundaries and left an indelible mark on generations to come.
This list delves into some of the best rock albums of that transformative decade, spotlighting one essential album per artist to showcase the breadth and depth of talent that emerged. While many iconic names could easily fill such a list multiple times, this curated selection aims to provide a diverse representation of the key players and groundbreaking sounds that defined the 1960s rock scene. Even with this extensive compilation, numerous influential artists like King Crimson, Santana, Janis Joplin, The Byrds, Yardbirds, and Cream, alongside a wealth of underground pioneers, remain just beyond the spotlight. (See the “Bubbling Under” section for more!).
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The Beatles – Revolver (1966)
For many, The Beatles are synonymous with the 1960s rock revolution, and Revolver is often cited as the album where they truly transcended their pop origins to embrace a more experimental and studio-driven approach. While early exposure to Beatles singles like “Rain/Paperback Writer,” “We Can Work It Out/Day Tripper,” “Eleanor Rigby/Yellow Submarine,” and “Strawberry Fields Forever/Penny Lane” offered glimpses into their evolving sound, Revolver was a revelation.
Moving beyond the frustrations of perceived filler tracks on Rubber Soul (like “Michelle” and “Girl”), Revolver is a remarkably consistent album, brimming with innovation. While Sgt. Pepper’s Lonely Hearts Club Band often held the top spot in critical polls, Revolver has rightfully ascended in recent years, recognized for its groundbreaking studio techniques, songwriting depth, and its pivotal role in shaping psychedelic rock. Tracks like “Tomorrow Never Knows” and “Eleanor Rigby” remain testaments to the band’s unparalleled creative peak during this era.
The Beatles Revolver Album Cover -
Van Morrison – Astral Weeks (1968)
Van Morrison’s Astral Weeks stands as an unparalleled artistic leap, even within the rapidly evolving landscape of 1960s rock music. Emerging from the Belfast garage band Them, Morrison initially found solo success with the upbeat pop-soul of “Brown Eyed Girl.” However, Astral Weeks defied all expectations, showcasing a radical departure into uncharted musical territory.
Recorded in New York City with top-tier jazz musicians, Astral Weeks was born from improvisational studio sessions. Morrison, providing only vague direction, played acoustic guitar in a booth while the band intuitively followed, crafting a unique hybrid of chamber folk, soul, blues, and jazz. This mystical and genre-bending album initially puzzled audiences, achieving wider recognition only after Morrison’s subsequent, more accessible albums in the 1970s. Astral Weeks possesses an ethereal, haunting quality, a unique sonic ghost captured in the recording studio, making it a timeless and irreplaceable masterpiece within the canon of 1960s rock albums.
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The Jimi Hendrix Experience – Are You Experienced? (1967)
The arrival of Jimi Hendrix in 1967 was a seismic event in rock music. While The Beatles, the biggest band in the world, released Sgt. Pepper’s Lonely Hearts Club Band in May 1967, Hendrix’s debut album, Are You Experienced?, released just weeks prior, ignited a revolution of its own. Hendrix’s electrifying performance of the Sgt. Pepper title track at a London club was not just a tribute, but a bold declaration of his arrival as a force to be reckoned with.
Hendrix’s revolutionary guitar technique and showmanship, including playing behind his back and masterful use of the whammy bar, redefined the role of the electric guitar in rock music. His audacious move of asking Eric Clapton, then considered a guitar icon himself, to tune his guitar after a blistering set, further cemented his bravado and undeniable talent. Are You Experienced? unleashed a torrent of iconic tracks like “Purple Haze,” “Foxey Lady,” and “Hey Joe,” establishing Jimi Hendrix as the undisputed guitar god of the 1960s and forever altering the course of rock music.
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The Velvet Underground – The Velvet Underground & Nico (1967)
By 1967, blues-based rock, while still enjoyable, was becoming somewhat formulaic. The Velvet Underground emerged as a vital counterpoint, rejecting blues conventions and embracing a stark, urban sound that was starkly at odds with the prevailing hippie ethos of the Summer of Love. Love songs were rare; instead, Lou Reed’s lyrics offered unflinching observations of street life, drug culture (“I’m Waiting for the Man,” “Heroin”), and the decadent parties of New York’s art and social elite at Andy Warhol’s Factory and Max’s Kansas City.
Like The Stooges, The Velvet Underground’s strikingly original music, featuring the haunting vocals of Nico, initially resonated deeply within musical circles. While not immediately commercially successful, their impact on subsequent generations of musicians was immense. Decades later, their influence became widely apparent in the rise of punk and indie rock, solidifying their status as pioneers of alternative rock and a crucial band in the history of 1960s rock bands.
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Bob Dylan – Highway 61 Revisited (1965)
Bob Dylan in 1965 was at the zenith of his creative powers, and Highway 61 Revisited stands as a monumental achievement. Following the groundbreaking Bringing It All Back Home, which featured classics like “Subterranean Homesick Blues” and “Mr. Tambourine Man,” Highway 61 Revisited ascended to even greater heights of lyrical and musical innovation. Dylan’s surrealist imagery and poetic narratives achieved a mind-expanding psychedelia that other bands sought through elaborate studio effects.
Each song on Highway 61 Revisited unfolds into a unique and richly layered world, defying easy interpretation. Lines like “Now when all the clowns that you have commissioned / Have died in battle or in vain” evoke vivid imagery that transcends literal explanation. Dylan’s often-underrated vocal melodies, particularly on tracks like “Queen Jane Approximately” and “Just Like Tom Thumb’s Blues,” are integral to the album’s power. The album also spawned the iconic, non-album single “Positively 4th Street,” further cementing Dylan’s unparalleled creative streak in this era and his critical role in shaping 1960s rock music and beyond.
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Love – Forever Changes (1967)
Arthur Lee, the enigmatic frontman of Love, seemed perpetually positioned for stardom, yet often found himself at the wrong time, despite being in the right places. Forming the LAG’s with Johnny Echols and briefly including Jimi Hendrix, Lee and Echols later founded Love, signing with Elektra Records in 1965. They even facilitated The Doors’ signing to Elektra. Despite releasing acclaimed albums in 1966, Love’s breakthrough to mainstream success was hampered by Lee’s reluctance to tour outside California.
Forever Changes, released in 1967, is now recognized as their psychedelic baroque pop masterpiece. However, its initial impact was limited to their Los Angeles scene. Decades later, Forever Changes gained widespread recognition, becoming a fixture on “best of 60s” lists. Its lush orchestrations, poetic lyrics, and melancholic beauty make it a timeless classic and a testament to the often-overlooked brilliance within 1960s rock bands.
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The Pretty Things – S.F. Sorrow (1968)
The Pretty Things, contemporaries of The Rolling Stones in the early British rock scene, crafted a body of work that often rivaled their more famous peers in quality and innovation. While their follow-up album Parachute (1970) is also highly regarded, S.F. Sorrow (1968) stands as a pioneering concept album and a psychedelic rock masterpiece. Initially overlooked, S.F. Sorrow predates The Who’s Tommy as a rock opera, and arguably surpasses it in songwriting and sonic adventurousness.
Recorded at Abbey Road Studios shortly after Sgt. Pepper and Pink Floyd’s Piper at the Gates of Dawn, S.F. Sorrow boasts exceptional production quality for its time. While loosely narrative and undeniably psychedelic, the album’s strength lies in its powerful songs, such as “Defecting Grey” and “Walking Through My Dreams.” Despite initial obscurity, S.F. Sorrow has been rightfully rediscovered and celebrated as a landmark album within the psychedelic rock movement and a key work from 1960s rock bands.
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Pink Floyd – The Piper At the Gates Of Dawn (1967)
The Piper at the Gates of Dawn, Pink Floyd’s debut album, is a quintessential psychedelic rock experience and one of the defining albums of the 1960s. Completed at Abbey Road Studios just after The Beatles finished Sgt. Pepper, Piper explores both whimsical fantasy and darker, more unsettling sonic landscapes. Syd Barrett’s unique songwriting and imaginative vision are central to the album’s charm, blending childlike wonder with avant-garde experimentation.
The album raises a poignant “what if” scenario: what if Syd Barrett and Roky Erickson (of the 13th Floor Elevators) had not succumbed to the detrimental effects of drug use? Their tragically curtailed careers amplify the preciousness of albums like Piper at the Gates of Dawn and the preceding singles, which capture a fleeting moment of psychedelic brilliance. Piper remains a cornerstone of psychedelic rock and a testament to the innovative spirit of 1960s rock bands.
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The Who – My Generation (1965)
My Generation, The Who’s explosive debut album, often stands apart from their later, more conceptual works. For many, it remains their most consistently enjoyable and arguably their best album. This version, often including bonus tracks like “Circles” and “I Can’t Explain,” balances raw energy, mod sensibilities, and proto-punk aggression. While containing covers like “I’m a Man,” the album is propelled by original anthems and a fierce, youthful spirit.
Pete Townshend famously claimed there was no perfect Who song, but My Generation comes remarkably close, capturing the band at their rawest and most potent. While The Who would strive for more ambitious concepts and rock operas later in their career, My Generation is a testament to their initial power and impact. With its bonus tracks, My Generation serves as a near-perfect encapsulation of The Who’s early brilliance and their crucial role in shaping the sound of 1960s rock bands.
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Led Zeppelin – Led Zeppelin II (1969)
Led Zeppelin emerged at the tail end of the 1960s, but their impact was immediately seismic. While later controversies regarding plagiarism would surface, Led Zeppelin’s pioneering approach to style, arrangements, and dynamics was undeniable. Their self-titled debut was a thunderous arrival, but Led Zeppelin II, released just ten months later, pushed boundaries even further, solidifying their proto-metal sound.
Led Zeppelin II unleashed iconic tracks like “Whole Lotta Love,” “What Is and What Should Never Be,” and “Ramble On,” showcasing their signature blend of blues-rock power, folk influences, and lyrical themes inspired by fantasy and mythology. Despite the overplay of some tracks, Led Zeppelin II‘s raw energy, innovative guitar work, and sheer sonic force continue to captivate and inspire, cementing its place as a cornerstone of hard rock and a vital album from the final years of 1960s rock bands.
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Free – Free (1969)
Free, despite achieving mainstream success with the hit single “All Right Now” in the 1970s, crafted a remarkable body of work throughout the late 1960s and early 70s. Their self-titled second album, Free (1969), often considered their finest, showcases their mature sound and exceptional musicianship, especially considering their youth – the band members were only 17-20 years old.
Free exudes a lush, dreamy atmosphere, epitomized by the zen-like simplicity of “Broad Daylight.” The album demonstrates a remarkable consistency and depth, making a strong case for exploring Free’s entire discography beyond their biggest hit. Free is a testament to their understated brilliance and their position as legends among musicians, deserving wider recognition within the pantheon of 1960s rock bands.
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The Rolling Stones – Let It Bleed (1969)
For much of the 1960s, The Rolling Stones excelled as a singles band, second only to The Beatles in chart dominance. However, their albums, while often good, sometimes lacked the consistency of their singles output. Aftermath (1966) and Between the Buttons (1967) were enjoyable, but didn’t quite reach the heights of the era’s best albums. While Beggars Banquet (1968) is often cited as the start of their classic period, some find its forays into country, folk, and blues less convincing.
Let It Bleed (1969) marks a significant step forward, fully integrating the Stones’ patented swagger into their evolving sound. The album features some of their most enduring tracks, including “Gimme Shelter,” “Live With Me,” “Midnight Rambler,” “Monkey Man,” and “You Can’t Always Get What You Want.” Let It Bleed showcases the Rolling Stones at their peak, solidifying their status as rock and roll icons and a leading force among 1960s rock bands.
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Small Faces – There Are But Four Small Faces (1967)
The Small Faces’ discography can be somewhat confusing due to different UK and US releases and self-titled albums. There Are But Four Small Faces (1967), a US release, serves as a perfect bridge between their mod R&B roots (“Talk to You”) and their later psychedelic explorations on Ogden’s Nut Gone Flake (1968) (“Here Come the Nice”). Alternatively, it can be seen as the ideal balance of both styles, featuring some of their most iconic songs.
Tracks like “Itchycoo Park,” “Up the Wooden Hills,” “I’m Only Dreaming,” and “Tin Soldier” highlight Steve Marriott’s powerful vocals and the band’s songwriting prowess. Ronnie Lane (“Green Circles”) and Ian McLagan (“(Tell Me) Have You Ever Seen Me”) also contribute strong vocal performances, adding to the album’s depth. With deep cuts like “Get Yourself Together” (a clear influence on The Jam), There Are But Four Small Faces stands as a superior choice over Ogden’s Nut Gone Flake for many, showcasing the Small Faces’ versatility within the 1960s rock bands landscape.
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The Beach Boys – Pet Sounds (1966)
The story of Pet Sounds‘ genesis is intertwined with the rivalry and mutual inspiration between Brian Wilson and The Beatles. Legend has it that Rubber Soul (1965) inspired Wilson to create Pet Sounds, which in turn pushed The Beatles to new heights on Revolver (1966). Initial listens to Pet Sounds might be underwhelming due to the immense hype, but repeated exposure reveals its intricate beauty and groundbreaking production.
“Wouldn’t It Be Nice” and “God Only Knows” are undeniable masterpieces, representing some of the most perfect songs The Beach Boys ever recorded. While comparing Pet Sounds to Rubber Soul is like comparing “apples and oranges,” the competitive spirit undoubtedly spurred artistic growth. Pet Sounds stands as a testament to Brian Wilson’s genius and a landmark achievement in 1960s rock music, even amidst the personal struggles Wilson faced during its creation.
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The Zombies – Odessey & Oracle (1968)
The Zombies, formed in 1961, were part of the British Invasion, achieving early hit singles. However, their masterpiece, Odessey & Oracle (1968), was initially overlooked, even forgotten for a time. Despite the omnipresence of “Time of the Season” and “Care of Cell 44” on the radio, Odessey & Oracle‘s full brilliance was not immediately recognized.
Like albums from Small Faces, The Pretty Things, and Love, Odessey & Oracle has undergone a critical re-evaluation and is now rightfully considered a canonical work. It is the epitome of psychedelic baroque pop, featuring lush arrangements, sophisticated melodies, and Colin Blunstone’s distinctive vocals. The album’s belated success, particularly after “Time of the Season” became a hit after the band had already broken up, underscores its enduring quality and its crucial contribution to the diverse soundscape of 1960s rock bands.
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Captain Beefheart & the Magic Band – Trout Mask Replica (1969)
Don Van Vliet, known as Captain Beefheart, was a unique and uncompromising artistic force. While some fans may know him primarily for his visual art career, his musical output, particularly Trout Mask Replica (1969), remains a challenging and groundbreaking work. His early album Safe as Milk (1967) was rooted in blues rock and psychedelia, but Trout Mask Replica marked a radical departure into uncharted sonic territory.
Forcing his Magic Band to adopt unconventional playing techniques, Beefheart crafted an album unlike anything heard before. Its dissonant harmonies, fractured rhythms, and surreal lyrics are the sonic equivalent of his abstract paintings. Trout Mask Replica remains abrasive and demanding, but for those willing to abandon musical preconceptions, it reveals its own bizarre logic and artistic coherence. It is a testament to Beefheart’s uncompromising vision and a truly unique entry within the realm of 1960s rock bands.
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Art – Supernatural Fairy Tales (1967)
Art, initially known as The V.I.P.s, were a band playing freakbeat and R&B in the mid-1960s. Briefly featuring Keith Emerson before he formed The Nice, they rebranded as Art and fully embraced psychedelic rock for their debut album, Supernatural Fairy Tales (1967). Featuring striking cover art by Hapshash And The Coloured Coat, the album delves deep into psychedelic experimentation.
Tracks like the title track and “Think I’m Going Weird” showcase their innovative psych-rock explorations, while tracks like “Room With A View” and “Rome Take Away Three” demonstrate their raw rock energy. Despite its quality, Supernatural Fairy Tales was largely forgotten until recent rediscovery. The band subsequently transformed again, becoming Spooky Tooth, leaving Supernatural Fairy Tales as a fascinating, if overlooked, gem within the broader context of 1960s rock bands.
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The Kinks – Arthur (Or The Decline And Fall Of The British Empire) (1969)
The Kinks, throughout the late 1960s, embarked on a remarkable run of classic albums, rivaling The Rolling Stones, The Who, and even challenging The Beatles in terms of album consistency. While favorites among their discography may vary, Arthur (Or The Decline And Fall Of The British Empire) (1969) stands out as a particularly poignant and emotionally resonant work.
Arthur blends social commentary, satire, and personal reflection, exploring themes of British life, colonialism, and war. Tracks like “Victoria,” “Australia,” “Yes Sir, No Sir,” “Some Mother’s Son,” “Shangri-La,” and “Mr. Churchill Says” showcase Ray Davies’s exceptional songwriting and the band’s musical versatility. Often overshadowed by The Who’s Tommy, Arthur is arguably a more cohesive and thematically rich rock opera, highlighting The Kinks’ underappreciated brilliance within the landscape of 1960s rock bands.
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The 13th Floor Elevators – Easter Everywhere (1967)
The 13th Floor Elevators, pioneers of psychedelic garage rock, gained cult status after “You’re Gonna Miss Me” was featured on Lenny Kaye’s Nuggets compilation. Roky Erickson’s distinctive vocals and the band’s raw, psychedelic sound influenced generations of garage and psych bands. Formed in Austin, Texas, in 1965, they released their debut album, The Psychedelic Sounds of the 13th Floor Elevators, in 1966, establishing themselves as early innovators of the genre.
Easter Everywhere (1967), their second album, is considered their artistic peak, highlighted by the epic, nearly 8-minute track “Slip Inside This House.” “Earthquake” and “Levitation” showcase their energetic side, while the rest of the album explores more nuanced psychedelic textures. While reissues of their music often face criticism for sound quality due to lost master tapes, the raw, lo-fi nature of their recordings is part of their unique charm and their enduring appeal within the 1960s rock bands scene.
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Tim Buckley – Happy Sad (1969)
Tim Buckley’s second album, Goodbye and Hello (1967), garnered more initial critical attention, but Happy Sad (1969), his third album, marked his true artistic breakthrough, revealing the mesmerizing “starsailor” persona he would become known for. Happy Sad features a unique instrumental palette, incorporating congas, vibraphone, and bass marimba, creating a distinctive sonic foundation.
However, it is Buckley’s virtuosic voice that truly defines the album, effortlessly navigating between pastoral folk, progressive elements, and cosmic avant-garde jazz. Opening with a reinterpretation of Miles Davis’s “All Blues” on “Strange Feelin’,” the album unfolds into soaring tracks like “Buzzin’ Fly” and the evocative “Love From Room 109 at the Islander (On Pacific Coast Highway).” “Gypsy Woman,” with Buckley’s improvisational and primal vocalizations, pushes boundaries and anticipates punk sensibilities. While Buckley would explore even more experimental territories later, Happy Sad remains his most balanced and accessible masterpiece, and a poignant entry in the story of 1960s rock bands.
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Nick Drake – Five Leaves Left (1969)
Nick Drake, a young singer-songwriter discovered by Joe Boyd (co-founder of the UFO Club and producer for Pink Floyd and Fairport Convention), possessed a talent too delicate and ethereal for the mainstream success of the late 1960s. Drake rejected Boyd’s initial arranger choice, opting for his friend Robert Kirby to realize his musical vision for Five Leaves Left (1969). He allowed Boyd to bring in Harry Robinson for “River Man,” acknowledging the song’s ambitious scope.
Five Leaves Left is a masterpiece of baroque chamber folk, characterized by Drake’s introspective lyrics, haunting melodies, and delicate arrangements. However, it stood apart from the more popular Americana sounds of the time. Drake’s severe depression and aversion to touring further hindered his initial recognition. Despite its initial obscurity, Five Leaves Left has since been rediscovered and celebrated as a timeless classic, and a testament to the quiet brilliance within the 1960s rock bands era, even though Drake’s sound was distinct from typical “rock”.
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Amon Düül II – Phallus Dei (1969)
Amon Düül II emerged from a German hippie commune, initially producing more conventional psychedelic rock before evolving into a more experimental and groundbreaking force. Phallus Dei (1969), translating to “God’s Cock,” marks the beginning of their most awe-inspiring musical phase. While bands like Can, Kraftwerk, and Neu! are often considered gateways to Krautrock, Amon Düül II offer a highly recommended entry point for those seeking psych-prog with intense guitar freakouts.
Phallus Dei is a sprawling, improvisational, and often chaotic album, reflecting the band’s commune origins and their embrace of psychedelic experimentation. It is a challenging but rewarding listen, essential for those interested in exploring the more avant-garde and experimental fringes of 1960s rock bands and the burgeoning Krautrock scene.
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MC5 – Kick Out The Jams (1969)
MC5, hailing from Detroit, were a raw and politically charged force within the late 1960s rock scene. Kick Out The Jams (1969), their debut album, is a live recording that perfectly captures their explosive energy and confrontational spirit. It’s a rare instance where a live album truly encapsulates a band’s essence, especially for a debut release.
The album’s title track, “Kick Out the Jams,” became an anthem of rebellion and counterculture. MC5’s high-energy performance, proto-punk aggression, and politically charged lyrics set them apart, even within the dynamic landscape of 1960s rock bands. Kick Out The Jams remains a crucial document of their raw power and influence on punk and hard rock.
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High Tide – Sea Shanties (1969)
High Tide, like Flower Travellin’ Band, has experienced a resurgence in popularity in recent decades, particularly among fans of psych-prog and heavy, experimental rock. Sea Shanties (1969), their debut album, showcases a unique and adventurous blend of Tony Hill’s heavy, fuzzed-out guitar riffs, proto-metal elements, and Simon House’s distinctive violin playing.
While perhaps less widely known or influential than some other albums on this list, Sea Shanties offers a thrillingly original sonic experience. Its mix of heavy psych and prog jams resonated with a new generation of listeners in the 2010s, solidifying its place as a cult classic and a noteworthy, if underappreciated, album from 1960s rock bands.
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The Stooges – The Stooges (1969)
The Stooges, led by the iconic Iggy Pop, were synonymous with raw, chaotic energy and proto-punk rebellion in the late 1960s. Despite their reputation for onstage mayhem and sonic experimentation with unconventional instruments, their self-titled debut album, The Stooges (1969), reveals a surprisingly focused and impactful collection of songs. Produced by John Cale of The Velvet Underground, the album captures their raw power and nascent songwriting abilities.
“I Wanna Be Your Dog,” with its iconic distorted guitar riff, “1969,” “No Fun,” and “Real Cool Time” are proto-punk anthems that influenced countless bands in the punk era and beyond. While “We Will Fall” is a less successful experiment, the album as a whole is a powerful introduction to a hugely influential band. The Stooges marks the beginning of their legendary career and their vital contribution to the evolution of 1960s rock bands into harder and more confrontational territories.
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Blue Cheer – Vincebus Eruptum (1968)
Blue Cheer, formed in San Francisco in 1966, often remain overlooked in discussions of the city’s famed music scene of that era. Their extreme volume, distortion, and Neanderthal simplicity likely alienated them from the more hippie-oriented San Francisco sound. However, Blue Cheer stand as crucial proto-metal pioneers, predating even Black Sabbath in their sheer sonic heaviness.
Vincebus Eruptum (1968), their debut album, is a visceral and groundbreaking work of heavy rock. While half of the album consists of covers, Blue Cheer’s interpretations, particularly their thunderous rendition of “Summertime Blues,” are transformative. Vincebus Eruptum is not just proto-metal; it also foreshadows proto-punk, grunge, and stoner/doom psych. It remains a landmark in heavy music and a testament to the diverse sounds emerging from 1960s rock bands.
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Procol Harum – A Salty Dog (1969)
Procol Harum, often remembered solely for their hit single “A Whiter Shade of Pale,” were a far more complex and underrated prog/art rock band. A Salty Dog (1969), their third album, showcases their peak creative powers. While Shine On Brightly (1968) is also a strong contender, A Salty Dog is often considered their masterpiece.
The title track itself is an ambitious and beautiful song, hinting at their prog leanings. The album features memorable melodies, sophisticated arrangements, and Robin Trower’s exceptional guitar work. A Salty Dog reveals Procol Harum’s depth and artistry beyond their one hit, solidifying their place as a significant, if often underappreciated, band within the prog and art rock movements that emerged from 1960s rock bands.
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The Doors – The Doors (1967)
The Doors, fronted by the charismatic and controversial Jim Morrison, were a phenomenon in 1967. While their excesses and pretensions are easily parodied, their massive popularity is undeniable – they were second only to The Beatles in record sales in 1967. Their self-titled debut album, The Doors (1967), is deeply ingrained in the cultural consciousness of the era.
Featuring iconic tracks like “Light My Fire,” “Break On Through (To the Other Side),” and “The End,” The Doors established their signature blend of blues, rock, and psychedelic elements, imbued with Morrison’s poetic and often dark lyrics. Despite later lineup changes and Morrison’s untimely death, The Doors’ initial albums, particularly their debut, remain essential listening and a defining sound of 1960s rock bands.
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Traffic – Traffic (1968)
Traffic’s self-titled second album, Traffic (1968), is arguably their most underrated work. While their psychedelic debut, Mr. Fantasy, is also excellent, Traffic showcases the band’s unique fusion of psychedelic rock, blues rock, jazz rock, folk rock, and hints of progressive rock. Opener “You Can All Join In” exemplifies this genre-bending approach, evoking a nimble and soulful Southern Rock vibe, before Southern Rock even fully existed.
“Pearly Queen” features Hendrix-esque guitar licks and a trippy outro, while “Don’t Be Sad” displays Steve Winwood’s powerful vocals reminiscent of Steve Marriott of Small Faces. “Feelin’ Alright?” is deceptively simple yet incredibly effective. Traffic is a testament to their musical versatility and their ability to seamlessly blend diverse genres, making it an undersung classic within the broader landscape of 1960s rock bands.
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Creedence Clearwater Revival – Willy And The Poor Boys (1969)
Creedence Clearwater Revival (CCR) were incredibly prolific in 1969, releasing three albums in that single year. Willy And The Poor Boys (1969), their fourth album overall, is their most diverse, showcasing their mastery of Americana – from swamp rock and country rock to folk and blues rock.
“Fortunate Son” is a timeless anti-war anthem and one of the defining protest songs of the 1960s. “Effigy,” with its sprawling, emotive guitar solo, foreshadows the template that Neil Young and Crazy Horse would later explore. Willy And The Poor Boys is a testament to CCR’s songwriting prowess and their ability to capture the American spirit within the context of 1960s rock bands, even while drawing on diverse American musical traditions.
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Bubbling Under: More Essential 1960s Rock Bands and Albums
This list only scratches the surface of the incredible music produced by 1960s rock bands. Many other albums and artists deserve recognition. Here are some “bubbling under” albums that could easily have made the main list, representing further diversity and depth within the decade:
- Spooky Tooth – Spooky Two (Island, 1969)
- Gun – Gun (Epic/Repertoire, 1968)
- King Crimson – In The Court Of The Crimson King (EG, 1969)
- The Millennium – Begin (Columbia, 1968)
- July – July (Epic, 1968)
- Tomorrow – Tomorrow (See For Miles, 1968)
- The Move – Move (Polydor, 1968)
- Fairport Convention – Liege and Lief (A&M, 1969)
- Janis Joplin – I Got Dem Ol’ Kozmic Blues Again Mama! (Columbia, 1969)
- The Sonics – Here Are The Sonics! (Etiquette/Big Beat, 1965)
- The Byrds – Younger Than Yesterday (Columbia, 1967)
- Dr. John The Night Tripper – Gris-Gris (Atco/Rhino, 1968)
- Santana – Santana (Columbia, 1969)
- Mighty Baby – Mighty Baby (Head, 1969)
- The Open Mind – The Open Mind (Philips, 1969)
- Kak – Kak (Epic, 1969)
- Kaleidoscope – Tangerine Dream (Fontana/Repertoire, 1967)
- Can – Monster Movie (Spoon/Mute, 1969)
- Euphoria – A Gift From Euphoria (Capitol, 1969)
- The Outsiders – CQ (RPM, 1968)
- Roy Orbison – In Dreams (Monument, 1963)
- Yardbirds – Roger The Engineer (Columbia/Edsel, 1966)
- Cream – Disraeli Gears (Atco, 1967)
And beyond these albums, countless other artists contributed to the rich tapestry of 1960s rock music, including The Youngbloods, Pentangle, Donovan, Jaques Brel, Scott Walker, Nico, Moby Grape, and Jefferson Airplane. The 1960s were truly a golden age for rock music, and these albums and artists represent just a glimpse into the incredible creativity and innovation of that era.
