4 Classic Rock Flops From 1960 That We Can't Help But Love

Rock music was still only a few years old in 1960, and in many quarters was considered a subversive and potentially dangerous genre that had the power to corrupt the youth of America. While not everyone was willing to adapt their listening habits to the new sound, cutting-edge rock and roll soon developed a huge audience, with rock hits storming the charts week in, week out. Many such singles, including Chubby Checker's "The Twist" and the Hollywood Argyles' "Alley Oop," are remembered fondly as classics that are foundational to the rock music we enjoy today. But even though rock and roll and the 7-inch vinyl single market were both booming, not every worthwhile rock single released in 1960 made it to the upper echelons of the charts. 

We've chosen four great rock tracks that flopped in 1960 by failing to break into the Top 50 of the Billboard Hot 100. Each represents a disappointing chart performance for an artist who was in their prime that year, from rock musicians whose sound now seems to define the early 1960s to guitar gods who would prove to be highly influential to future generations. These tracks nevertheless enjoy acclaim from rock enthusiasts as cult hits, and in our opinion are definitely worth revisiting today.

Bo Diddley's influence on rock and roll cannot be overstated, with his self-titled 1955 single introducing for the first time the irresistible and iconic "Bo Diddley Beat," which would be copied by countless rock acts. But despite his immense stature as one of rock's trailblazers, Diddley's performance on the pop charts is surprisingly muted, with only "Say Man" scraping into the Top 20 and just five songs on the Billboard Hot 100. Of course, his lack of presence is attributable to the fact that the Hot 100 only began in 1958, but that doesn't explain why his catchy 1960 single "Road Runner" languished at the bottom of the pop chart, peaking at only No. 75 during a stay of six weeks.

The poor performance of "Road Runner" is surprising, considering its seemingly obvious commercial appeal. As well as referencing the popular "Looney Tunes" character — Diddley's backing singers even perform some "beep beeps" throughout the track, when not offering some lively touches of vocal harmony toward the end of each verse — the track features one of Diddley's most soulful vocal performances, and, of course, his driving guitar over an irresistible, danceable beat. "Road Runner" undoubtedly deserved better, and we think it still makes a fun addition to any rock and roll playlist.

Chuck Berry's discography in the late 1950s and early 1960s is timeless — indeed, it is difficult to identify another figure in the history of rock music who has had a greater impact. His guitar playing alone moved the genre forward in leaps and bounds, setting the template for later big names such as the Beatles and the Rolling Stones. "Let It Rock" is a textbook Berry tune, but its commercial performance when it was released in 1960 was surprisingly low, peaking at No. 64 on the Billboard Hot 100.

One reason for this is its obvious similarity to Berry's signature song, 1958's "Johnny B. Goode." The two songs are both 12-bar blues compositions that share his idiosyncratic vocal melody, as well as a narrative lyrical style to such a degree that they may be difficult to tell apart. But there are some subtle differences; the railroad theme of "Let It Rock" is reflected in the chugging of its rhythm section, and Berry's guitar work is more groove-focused and less prominent than in "Johnny B. Goode," where it takes the lead throughout.

You could argue that there is no need to listen to "Let It Rock" when "Johnny B. Goode" is out there as an evergreen crowd-pleaser. But if you're looking to expand your rock and roll playlists with lesser-known tunes that nevertheless will scratch that classic rock itch, "Let It Rock" is a no-brainer.

It's difficult to imagine today, but back in 1960 there was a huge audience for instrumental rock, and Duane Eddy's "twang" guitar performances are remembered as forming the foundation of some of the best-loved tracks of the era. His single "Kommotion" could easily be counted among the guitarist's finest work, but it was a comparative flop back in 1960, stalling at No. 78 on the Billboard Hot 100.

"Kommotion" is characterized by Eddy's enthrallingly melodic twang guitar style, as well as its interplay with the track's cinematic strings, courtesy of the song's co-writer and producer Lee Hazlewood. Its Western-style shuffling rhythm is interspersed with thrashy passages that arguably prefigure surf rock, as well as some tastefully wailing brass that enters around the halfway mark, keeping things interesting and unpredictable. A foot-tapper if ever there was one, "Kommotion" is coolly chaotic and playful, with a plethora of ideas crammed into its sub-three-minute runtime. What more could you ask for?

The Fireballs, a New Mexico outfit that once turned out chart-climbing rock instrumentals, was one of the bands that critics say suffered as a result of the changing sound of the 1960s, despite having the biggest single of 1963 with "Sugar Shack." But even when The Fireballs was in its prime, not all of its singles landed. The Latin-infused track "Vaquero (Cowboy)," for example, was released in 1960 around the time of the band's greatest successes, but unfortunately failed to take The Fireballs up the charts, languishing at No. 99 on the Billboard Hot 100 and proving to be a commercial disappointment.

Listening now, the single may have failed to capture the imagination of listeners in the same way as other instrumentals of the day due to the absence of an earworm lead guitar part or an especially infectious bassline. It's unfortunate, because "Vaquero" ultimately succeeds as an atmospheric Tex-Mex track, with a pleasing shuffle and a playful interplay between the two guitars that keeps things interesting without outstaying its welcome. Cue it up with Frankie Laine's "Rawhide" and The Coasters' "Down in Mexico" at the start of your next trip to set the right tone for the open road.