In this new feature. we’re heading back to June 1965 — a month when fuzz-guitars, soulful ballads, and experimental sounds began reshaping the landscape of British pop and rock.
Let’s dive into the records that were spinning on Dansettes and jukeboxes sixty years ago.
The Rolling Stones – (I Can’t Get No) Satisfaction
Although British fans had to wait until August 1965 to buy “Satisfaction” in the shops, DJs and clubs were already blasting it in June thanks to American imports. The Stones’ iconic riff, courtesy of Keith Richards, and Mick Jagger’s sneering take on consumerism and desire, captured the spirit of frustrated youth everywhere.
By the time Decca finally released it in Britain, the track was already a global smash, topping charts in more than 15 countries. The New Musical Express praised its “buzzing, rasping guitar” and its instantly memorable hook. It was the Stones’ fourth UK No.1 — and the anthem that cemented their place in rock history.
The Yardbirds – Heart Full of Soul
Hot on the heels of “For Your Love,” the Yardbirds released another Graham Gouldman-penned single. “Heart Full of Soul” was intended to feature sitar and tabla players, but when that session fell flat, Jeff Beck stepped in, bending his guitar through a fuzz box to imitate a sitar.
The result was groundbreaking: one of the earliest tracks to bring Indian influences into British pop, months before the Beatles’ “Norwegian Wood.” Many even hail it as the first psychedelic rock single. It soared to No.2 in Britain and No.9 in the States.
Them – One More Time
After the huge success of “Here Comes the Night,” Van Morrison and Them seemed poised for another hit. Instead, June’s release, “One More Time,” stalled outside the Top 50. Critics admired Morrison’s powerful, soulful delivery, but the moody track lacked the punch of their earlier singles.
Even so, it showcased Morrison’s gift for emotional depth — and while it wasn’t a chart success, it remains a fascinating listen for fans of his early work.
Ben Carruthers & The Deep – Jack O’ Diamonds
Here’s where things get really interesting. Actor Ben Carruthers (who starred in John Cassavetes’ Shadows) struck up a friendship with Bob Dylan in London. Dylan handed Carruthers some lyrics, which were transformed into “Jack O’ Diamonds,” produced by Shel Talmy with a dream line-up: Jimmy Page on guitar, Nicky Hopkins on piano, and Glyn Johns behind the desk.
The single fused folk-rock cool with London’s mod sound, and while it wasn’t a hit, it later found new life when Fairport Convention covered it in 1968. A true hidden gem of June ’65.
The Pretty Things – Cry to Me
The Pretty Things took on Solomon Burke’s soul classic “Cry to Me,” giving it a more restrained, dynamic twist than their earlier raw rockers. Phil May’s smoky vocal and the band’s subtle groove gave the song a fresh edge.
Backed with “Get A Buzz,” the single reached No.28 in Britain but fared even better in the Netherlands, climbing to No.11. Proof that the Pretties were always more than just Stones imitators.
Chris Farlowe & The Thunderbirds – Buzz With the Fuzz
Before his big 1966 hit “Out of Time,” Chris Farlowe and his band were already fixtures on the R&B circuit. Their June single “Buzz With the Fuzz” captured the jazz-tinged Soho club sound, with standout playing from Albert Lee on guitar and Dave Greenslade on organ.
Though the single didn’t chart, its lyrics painted a cheeky picture of London’s nightlife — red lights, gambling, and wild encounters. A real time-capsule of mid-60s club culture.
Thee – Each and Every Day
Here’s a curiosity: Thee, managed by Reg King (ex-chauffeur to Brian Epstein), landed a Jagger/Richards composition for their debut. With Jimmy Page again on guitar, “Each and Every Day” had Stones DNA all over it.
Unfortunately, despite the connections, the single went nowhere — and it ended up being the group’s only release. Today it stands as a collector’s piece and a glimpse into the many bands who flickered briefly during the beat boom.
The Boys Blue – You Got What I Want / Take a Heart
Both sides of this single were written by Mikki Dallon, and both were later recorded by The Sorrows (who scored a hit with “Take a Heart”). The Boys Blue versions were grittier, horn-driven, and a little more sophisticated than the stripped-down Sorrows takes.
Though it sank without trace in ’65, the record is now prized by collectors of British R&B obscurities.
The Untamed – So Long / It’s All Right
Yet another Shel Talmy production — and another with Jimmy Page on guitar. The Untamed’s James Brown cover was energetic but couldn’t touch the original. Instead, it was the B-side that stole the show: a sharp slice of mod pop that hinted at bigger things. Sadly, like many mid-60s hopefuls, The Untamed never got the break they deserved.
Wrapping Up
Looking back at June 1965, we find a mix of immortal classics and overlooked curios. The Stones gave the world one of rock’s greatest anthems, while The Yardbirds pushed sonic boundaries. Van Morrison and Them stumbled commercially but showed promise. And tucked between the cracks were fascinating one-offs from artists like Ben Carruthers, The Boys Blue, and Thee — names that may have faded but left behind recordings that still thrill collectors and 60s obsessives today.
