Hidden gems: 7 B-sides from the 1960s that became legendary

It might surprise you to learn that even the influential figures in the music industry, often referred to as executives, don’t always predict which songs will become hits. Sometimes they miss the mark, and sometimes their mistakes are significant. Occasionally, they release songs they consider just ‘filler’, only for these songs to turn out to be absolute gems. These hidden treasures from the 1960s are known as the most remarkable B-sides.

It’s likely that many of our young music enthusiasts aren’t familiar with the concept of a B-side. Back when I wasn’t even around yet, records companies used to release only one song at a time, but they would also include an additional song as the B-side, which was less popular or new.

In common parlance, the track anticipated to become popular was typically the main one (A-side), while the secondary track (B-side) often consisted of additional material. Contrary to expectations, the B-side could sometimes turn out to be the preferred song among listeners, even though it might seem puzzling why certain lesser-known tracks gained popularity.

The seven great B-sides of the 1960s live on in music history

To many enthusiasts of audio artistry, it might seem unthinkable that once upon a time, music was disseminated on tangible objects known as records. However, it’s heartening to note that vinyl is experiencing a resurgence, despite the fact that major record labels primarily concentrate on complete albums.

As a gamer, I’ve noticed that B-sides, those lesser-known tracks often found on the flipside of records, are seldom seen nowadays, with most singles featuring just one tune. It seems like giving away one track for free when you could sell the potential B-side separately, doesn’t it? While the era of the traditional B-side might be gone, these hidden gems have managed to endure the test of time.

“Green Onions” (“Behave Yourself”) – Booker T and the M.G.s, 1962

In 1962, we had our initial success. That year, a R&B group was established in Memphis, Tennessee, and they became the regular band for the renowned Stax Records. Later on, they backed several well-known artists such as Otis Redding, Bill Withers, and Sam & Dave.

In 1962, when Booker T. Jones was only 17 years old, he was accompanied by Steve Cropper on the guitar, Lewie Steinberg on the bass, and Al Jackson Jr. on the drums. It was Jones who developed the main melody that later evolved into one of the most iconic instrumental pieces ever created.

Initially, the track made its debut on the Volt label as a B-side to “Behave Yourself” in May. Recognizing its potential, DJs played it extensively at radio stations across the country. In July, Stax reissued the record, which became Booker T. and the M.G.’s most successful hit ever.

The track “Green Onions” was the first single on their inaugural album, serving as its lead number. Regarding their band name, M.G.s, it indeed derives from the British sports car. However, Steve Cropper, who became a member in 1965, shares that the moniker stands for “Musical Geniuses,” a claim that’s hard to refute.

“Wipe Out” (“Surfer Joe”) – The Surfaris, 1963

Play another instrumental mix, Ma’am DJ. The rock band that delivered one of the most legendary drum solos ever, originated from four teenagers attending high school in Southern California. It wasn’t the Beach Boys we’re referring to here.

This group, while not quite reaching the level of fame achieved by legendary pop music figures, enjoyed a significant period of popularity comparable to that of any other band. At one point, they matched or even surpassed many bands in terms of their impact. Furthermore, the tune “Wipe Out” is just as memorable and iconic as any hit song from that era.

In early 1963, the song “Surfer Joe” on the A-side was a modest success in local markets. Initially put out by the DFS label for the regional market in January, it had a future hit track as its B-side. Following closely, Princess Records published it in February, and then Dot Records released it nationally in April.

Wipe Out” made its way up to the second spot on the Billboard Top 100, falling just short of Stevie Wonder’s “Fingertips.” It re-entered the charts in 1966 and 1970, and has since been covered by numerous artists, including the Ventures on two separate occasions, as well as the Muppets, with Animal delivering an impressive drum solo.

“Linus and Lucy” (“Oh, Good Grief”) – The Vince Guaraldi Trio, 1964

For our third song in a row, it’s an instrumental. Can’t help but feel like we’ve traveled back to the groovy ’60s! So far, we’ve drawn from soul with Booker T & the M.G.s and surf rock with the Surfaris. This time around, let’s immerse ourselves in jazz, a sound that was as common as nursery rhymes during that era.

The music you’re hearing is reminiscent of the Peanuts animated specials, beautifully composed by the Vince Guaraldi Trio. While you might not know its name, you’ve undoubtedly heard the track “Linus and Lucy” countless times before.

As a gamer, I’d say this: Back then, I was part of a trio (me on piano, Monty on bass, and Colin on drums), and we had just scored a massive hit with “Cast Your Fate to the Wind,” which even snagged a Grammy. Now, here’s an interesting twist: The producer for those beloved Peanuts specials was taken by our hit song. He reached out to me, asking if I could compose music for a documentary they were currently filming.

The documentary titled “A Boy Named Charlie Brown“, though it didn’t get aired, saw light later in 1964 through an album by Guaraldi named “Jazz Impressions of a Boy Named Charlie Brown“. “Oh Good Grief” was initially the main track, but ultimately a better song took precedence.

“Gloria” (“Baby Please Don’t Go”) – Them, 1964

It seems you’re asking for a rephrase of this passage into more straightforward language:

“Are vocals permitted? That’s surprising, but given Van Morrison’s involvement, I suppose we’ll make an exception this time. For clarification, ‘Gloria’ was released in November, while ‘Linus and Lucy’ followed a month later. I don’t claim to travel through time, but it seems even Van Morrison might have that ability given he wrote the hit about adolescent desire at only 18 years old.

As a devoted music lover, I can’t help but share my excitement about a fascinating tale. Originally released as the lesser-known sidekick, “Gloria” surprisingly overshadowed the intended main hit. This powerful rock anthem was later covered by The Shadows of Knight in a slightly more laid-back style back in 1965, and it turned out to be even more successful!

As a music enthusiast and gaming aficionado, I’ve got to share some trivia about a legendary song that’s close to my heart. It was first introduced by the mighty Van Morrison, but later in the 70s, it saw two incredible interpretations. A few years after Van’s original rendition, The Doors added their own twist to it. Then, Patti Smith took it a step further in ’75, blending it with her powerful poem, “Oath.” Whether you dig The Doors’ version or Patti Smith’s unique take, it all stems from the musical titan, Van Morrison.

“A Change Is Gonna Come” (“Shake”) – Sam Cooke, 1964

It seems reasonable to assert that Sam Cooke’s work has transcended the ordinary realm of music and delved deeply into the soulful domain. Beyond being simply a great tune, one might wonder if there is any cultural importance attached to it. Indeed, the Library of Congress recognized its significance as culturally, historically, and aesthetically significant.

Moreover, Rolling Stone magazine ranked it third on their list of the top 500 greatest songs ever created, and first among all protest songs. Without a doubt, this song is truly exceptional.

By 1964, Sam Cooke had already earned the title of a megastar, with chart-topping hits such as “You Send Me,” “Cupid,” and “Wonderful World” dominating the radio waves in the late 50s and early 60s. However, the recording industry considered these songs safe for him, but Cooke yearned for something more.

1. He couldn’t help but join the demonstrations advocating against racism.
2. RCA Victor requested a lively, fun dance song, so “Shake” was created.
3. However, “A Change is Gonna Come” was the powerful message that touched the hearts of people worldwide.

“Unchained Melody” (“Hung on You”) – Righteous Brothers, 1965

Hey there! I’m thrilled to see you’ve made it past 1964, just like countless other hits on this list. Among them, the song “Unchained Melody” truly stood out as it dominated the A-side of its single release. What makes this tune unique is that the hit version wasn’t originally recorded by the artists who first released it. In fact, The Righteous Brothers’ cover was released a full decade after the original version came out.

Indeed, a remarkable seven different variations were released, specifically between the United States and the United Kingdom, during the year 1955 alone. Among these, one was performed by the renowned artist, Liberace. Feel free to draw your own conclusions from this information.

In the well-known version, it’s common knowledge that legendary producer Phil Spector was instrumental in producing the Righteous Brothers’ hit single “Hung On You” in 1965. Interestingly, Spector didn’t show much interest in the B-side and allowed Bobby Hatfield and Bill Medley, the duo themselves, to handle it entirely. Medley selected the song for the B-side, while a coin toss determined who would get the solo on that track, with Hatfield coming out on top.

In contrast to earlier renditions, the climactic final chorus was a game-changer that significantly contributed to its success. It gained new popularity when featured in the movie “Ghost”. The duo remade it, and both versions climbed charts simultaneously. Interestingly, they were the first to make the top 20 together with two versions of the same song before – quite remarkable indeed! Definitely iconic.

“I’m a Man” (“Keep On Runnin'”) – The Spencer Davis Group, 1967

In easier and more natural language, the sentence could be: “It wasn’t until two additional years that the recording industry made a significant error in gauging public preferences, but they nailed it with this smash hit. You may recall him from before, as the Spencer Davis Group had an enormous success with ‘Gimme Some Lovin’.’ However, ‘I’m a Man’ didn’t quite match that chart-topping achievement, despite the record company’s savvy understanding of what would be a hit.

This wasn’t a ten-year-delayed remake, but if Ten Years After had tackled “I’m A Man,” it would have been spectacular. However, the song was actually penned by Steve Winwood and producer Jimmy Miller. The funk in this blues-rock classic is as rich and dense as black molasses.

Although people might associate it with molasses due to their nationality, this is actually a British band we’re discussing. Interestingly, Chicago – specifically, Chicago Transit Authority – included a cover of it in their first album, but with radically different lyrics compared to the original version. Despite my admiration for early Chicago, nothing can quite compare to the authentic rendition.

2025-08-23 13:00