Exploring the Eastern Influence: A Deep Dive into 60s Rock Songs

The 1960s was a decade of revolution, not just socially and politically, but also musically. Amidst the amplified guitars and drum beats of rock and roll, a fascinating new sound emerged, one that resonated with the tones of the East. This was the era when Indian music, with its intricate melodies and spiritual depth, began to weave its way into the fabric of 60s Rock Songs, creating a unique and enduring musical fusion.

The phenomenon, sometimes termed “Indomania,” was more than just a fleeting trend. It was a genuine cultural exchange, driven by curiosity, artistic exploration, and a burgeoning global consciousness. While some might have superficially dabbled with the sitar for novelty, many musicians delved deeper, seeking to understand and incorporate the essence of Indian music into their work. This exploration wasn’t about appropriation, but about appreciation and the enriching power of cross-cultural artistic dialogue.

One of the most prominent figures in this movement was George Harrison of The Beatles. His fascination with India and its music, particularly the sitar, was transformative. Harrison’s journey began with lessons from the legendary Ravi Shankar, a relationship that profoundly impacted his music and opened the doors for Indian sounds in Western pop.

“It is strange to see pop musicians with sitars. I was confused at first. It had so little to do with our classical music. When George Harrison came to me, I didn’t know what to think, but I found he really wanted to learn. I never thought our meeting would cause such an explosion, that Indian music would suddenly appear on the pop scene. It’s peculiar, but out of this, a real interest is growing.” – Ravi Shankar

Shankar’s quote reflects an initial skepticism, perhaps wary of a superficial trend. However, he recognized the genuine interest and the potential for a deeper appreciation of Indian music to emerge. And indeed, this cross-pollination proved to be a significant moment in music history, broadening horizons for both artists and listeners.

The Beatles’ journey to Rishikesh in 1968 further solidified this connection. Their time spent in India at Maharishi Mahesh Yogi’s ashram wasn’t just a spiritual retreat; it was a period of intense creativity. While there, they composed numerous songs, many of which reflected their evolving perspectives and the Eastern influences they were absorbing. This period, despite its complexities and eventual disagreements, remains a testament to the deep impact India had on one of the most influential bands of all time.

The adoption of Indian musical elements wasn’t limited to just instrumentation. It extended to the philosophical and spiritual undercurrents that permeated much of Indian classical music. The 60s counter-culture, with its search for meaning and transcendence, found resonance in the meditative and introspective qualities of Indian music.

To make the sounds of India more accessible to Western musicians, instrument manufacturers like Danelectro introduced the electric sitar in the late 1960s. This invention bridged the gap, offering a familiar guitar-like form factor while retaining the distinctive twang and resonance of the sitar. The electric sitar became a key ingredient in many 60s rock songs, allowing for easier integration of Indian sounds into a rock context.

The influence of Indian music continued to echo in popular music for decades to come, proving it wasn’t just a fad. Bands like Yes, Kula Shaker, Manic Street Preachers, and Oasis, in later decades, incorporated Indian sounds, demonstrating the lasting impact of this 60s musical revolution.

But the heart of this exploration remains rooted in the 60s. Let’s delve into some iconic 60s rock songs that beautifully illustrate this Eastern influence:

Early Explorations (1965-1966): Pioneering the Fusion

• “See My Friends” (1965) – The Kinks: Often cited as one of the first Western pop songs to incorporate the sitar, “See My Friends” was inspired by Ray Davies’ visit to India. Its melancholic melody and sitar drone created a unique sound that hinted at the musical explorations to come.

• “Heart Full of Soul” (1965) – The Yardbirds: While the fuzz guitar version is more widely known, The Yardbirds initially recorded “Heart Full of Soul” with a sitar. This version, though less favored by the band, showcases the early experimentation with the instrument in a rock context.

• “Norwegian Wood (This Bird Has Flown)” (1965) – The Beatles: From the Rubber Soul album, this song marked a turning point. George Harrison’s sitar playing, inspired by Ravi Shankar, blended seamlessly with the folk-inspired melody, creating a raga-rock fusion that was both innovative and captivating. This song is pivotal in demonstrating the early, yet sophisticated, integration of the sitar within popular Western music.

• “Sunshine Superman” (1966) – Donovan: Donovan’s psychedelic anthem, “Sunshine Superman,” and the album of the same name, are rich with Indian instrumentation. Sitar, tambura, and tabla rhythms are woven throughout, most notably in tracks like “Three Kingfishers,” exemplifying the burgeoning raga-rock sound.

• “Tomorrow Never Knows” (1966) – The Beatles: Closing track of Revolver, “Tomorrow Never Knows” is a psychedelic masterpiece. George Harrison’s sitar and tambura create a hypnotic drone, layered with tape loops and John Lennon’s otherworldly vocals. This track is a landmark in experimental rock and a prime example of the sitar’s potent contribution to psychedelic soundscapes.

• “Love You To” (1966) – The Beatles: Also from Revolver, this George Harrison composition is arguably the Beatles’ deepest dive into Indian music. Featuring Indian musicians and instruments, “Love You To” placed the sitar front and center, moving beyond novelty and embracing a genuine Indian musical structure within a rock framework.

• “Paint It Black” (1966) – The Rolling Stones: Brian Jones’ sitar riff in “Paint It Black” is instantly recognizable. This track was a commercial breakthrough, becoming the first song featuring a sitar to reach #1 in the UK. Jones, who studied sitar, effectively used the instrument to create a distinctive and somewhat exotic flavor within the Stones’ rock sound.

• “Turn-Down Day” (1966) – The Cyrkle: This upbeat pop-rock tune from The Cyrkle also subtly incorporated sitar elements, showcasing the instrument’s versatility across different styles within the 60s music scene.

• “Eight Miles High” / “Why” (1966) – The Byrds: While “Eight Miles High” is often debated for its psychedelic or jazz influences, the drone and melodic contours also hint at Indian raga structures. David Crosby’s interest in Ravi Shankar, alongside John Coltrane, informed the song’s innovative and exploratory sound.

• “Lord Sitar” (1966) – Big Jim Sullivan: Capitalizing on the “sitar mania,” session guitarist Big Jim Sullivan, under the moniker “Lord Sitar,” released an album of pop covers played on the sitar. While perhaps a novelty, it further cemented the sitar’s presence in the popular consciousness.

• “Raga Rock” (1966) – The Folkswingers: Another example of commercial exploitation of the trend, The Folkswingers, featuring Harihar Rao on sitar, released an album of sitar-infused covers of contemporary hits, solidifying “raga rock” as a recognizable subgenre, however loosely defined.

Expanding the Palette (1967-1968): Deeper Integration and Experimentation

• “Paper Sun” (1967) – Traffic: Traffic’s debut single, “Paper Sun,” features Dave Mason on sitar, adding a psychedelic and slightly Eastern-tinged flavor to their burgeoning sound. This song marked the beginning of Traffic’s exploration of diverse musical textures.

• “Hole in My Shoe” (1967) – Traffic: Traffic continued their sitar experimentation with “Hole in My Shoe,” again featuring Dave Mason. This track, even more commercially successful than “Paper Sun,” further embedded the sitar sound into the mainstream pop-psychedelic landscape.

• “Within You Without You” (1967) – The Beatles: From Sgt. Pepper’s Lonely Hearts Club Band, “Within You Without You” is George Harrison’s most ambitious Indian composition. Employing a full ensemble of Indian musicians and instruments, including sitar, dilruba, and tabla, the song fully immersed listeners in an Indian classical soundscape within the context of a Beatles album.

• “San Francisco (Be Sure to Wear Flowers in Your Hair)” (1967) – Scott McKenzie: While not overtly Indian in instrumentation, this anthem of the Monterey Pop Festival, written by John Phillips, captured the zeitgeist of peace, love, and cultural openness that was intertwined with the interest in Eastern philosophies and music.

• “White Summer” (1967) – The Yardbirds (and later Led Zeppelin): Jimmy Page’s “White Summer,” performed by both The Yardbirds and Led Zeppelin, drew heavily from Indian and Arabic musical scales and tunings. While primarily guitar-based, its modal melodies and improvisational feel resonate with Indian classical forms.

• “Monterey” (1967) – Eric Burdon and The Animals: “Monterey,” celebrating the Monterey Pop Festival, features the electric sitar, directly referencing the burgeoning psychedelic and cross-cultural music scene. The Animals further explored this direction on their album Winds of Change, directly inspired by George Harrison.

• “Gomper” (1967) – The Rolling Stones: From Their Satanic Majesties Request, “Gomper” showcases Brian Jones’ multi-instrumental talents, potentially including sitar, within the Stones’ psychedelic experimentation.

• “Green Tambourine” (1967) – The Lemon Pipers: “Green Tambourine” reached #1 with its catchy melody and, while not explicitly Indian, its exotic instrumentation, including what sounds like a sitar-like effect, contributed to the overall psychedelic pop sound of the era.

• “I Was Made to Love Her” (1967) – Stevie Wonder: Stevie Wonder’s hit “I Was Made to Love Her” surprisingly features the electric sitar, demonstrating the instrument’s reach across genres and its integration into mainstream soul and pop music.

• “Axis: Bold as Love” Album Cover (1967) – The Jimi Hendrix Experience: While not musically Indian-influenced, the album cover of Axis: Bold as Love depicted Jimi Hendrix and band members as Hindu deities, reflecting the broader cultural Indomania and the sometimes misconstrued or appropriated imagery associated with it.

• “The Inner Light” (1968) – The Beatles: A George Harrison composition, “The Inner Light,” recorded in Bombay, is deeply infused with Indian musicality and spirituality. Its lyrics, drawn from the Tao Te Ching, and its instrumentation create a meditative and contemplative atmosphere.

• “Om” (1968) – The Moody Blues: From In Search of the Lost Chord, “Om” by The Moody Blues directly referenced the sacred Hindu mantra. Justin Hayward played sitar, and Graeme Edge tabla, in this overt exploration of Eastern spirituality within a rock context.

• “Sit With The Guru” (1968) – Strawberry Alarm Clock: “Sit With The Guru” by Strawberry Alarm Clock is a more pop-oriented take on the trend, incorporating sitars in the outro and referencing meditation and polytheism, reflecting the broader cultural fascination with gurus and Eastern spirituality.

• “After Tea” (1968) – The Spencer Davis Group: “After Tea” by The Spencer Davis Group prominently features the sitar, demonstrating its continued presence even as musical trends evolved within the late 60s.

• “Hurdy Gurdy Man” (1968) – Donovan: Written in India, Donovan’s “Hurdy Gurdy Man” combines hard rock elements with psychedelic textures and the drone of the tambura, creating a powerful fusion that reflects his deep immersion in Eastern sounds and experiences.

• “Real Life Permanent Dream” (1968) – Tomorrow: “Real Life Permanent Dream” by Tomorrow, featuring future Yes guitarist Steve Howe, begins with sitars, showcasing the instrument’s continued appeal in psychedelic rock.

• “Wonderwall Music” (1968) – George Harrison: George Harrison’s soundtrack for the film Wonderwall is a dedicated exploration of Indian music. Recorded primarily in Bombay, it features a wide array of Indian instruments and musicians, blending Western harmonies with Indian musical forms.

• “Sattva” (1968) – The Rascals: “Sattva” by The Rascals starts with a sitar intro, indicating a move towards more mature and experimental sounds, departing from their earlier pop hits.

• “Hooked on a Feeling” (1968) – B.J. Thomas (Original Version): The original version of “Hooked on a Feeling” by B.J. Thomas features an electric sitar in the intro and outro, adding a unique sonic touch to the song.

• “Cry Like a Baby” (1968) – The Box Tops: “Cry Like a Baby” by The Box Tops also utilizes the electric sitar, integrating it into their blue-eyed soul sound.

• “Carpet Man” (1968) – The 5th Dimension: “Carpet Man” by The 5th Dimension features a subtle sitar appearance, showcasing its integration even into vocal-harmony driven pop.

• “SF Sorrow” Album (1968) – The Pretty Things: The concept album SF Sorrow by The Pretty Things incorporates sitar in several tracks, including “SF Sorrow Is Born” and “Death,” adding to the album’s psychedelic and experimental atmosphere.

• “Moog Raga” (1968) – The Byrds: “Moog Raga” by The Byrds is an instrumental piece that pushes the boundaries, using sitar in an experimental and almost electronic music precursor style.

• “Sound Asleep” (1968) – The Turtles: “Sound Asleep” by The Turtles features the sitar, audible around the one-minute mark, adding texture to their sunshine pop sound.

• “The Way” (1968) – July: “The Way” by July, reminiscent of early Pink Floyd, likely incorporates sitar-like sounds or effects, fitting within the psychedelic and experimental rock of the time.

Into the Psychedelic Sunset (1969-1979): Lingering Echoes

• “Frowning Atahuallpa (My Inca Love)” (1969) – Tyrannosaurus Rex: This Tyrannosaurus Rex track, while lyrically referencing South America, oddly includes “Hare Krishna” in the lyrics, showcasing the sometimes-eclectic and less informed adoption of Eastern themes.

• “A Rainbow in Curved Air” (1969) – Terry Riley: Terry Riley’s experimental album A Rainbow in Curved Air, while not strictly rock, was deeply influenced by Indian classical music and jazz. Its innovative use of repetitive patterns and improvisational elements influenced rock musicians like Pete Townshend.

• “Across the Universe” (1969) – The Beatles: “Across the Universe” by The Beatles features George Harrison on sitar and John Lennon singing the mantra “jai guru deva om,” blending spiritual themes with the band’s evolving sound.

• “Black Mountain Side” (1969) – Led Zeppelin: Led Zeppelin’s instrumental “Black Mountain Side” is directly inspired by Celtic folk and Indian classical music. Jimmy Page used sitar tuning on his guitar, and tabla is featured, creating a fusion of Eastern and Western folk traditions.

• “Tommy” (1969) – The Who: Pete Townshend’s rock opera Tommy was inspired by the teachings of Meher Baba, an Indian spiritual master. This philosophical influence permeated the album’s themes and reflected the broader interest in Eastern spirituality within rock music.

• “I’ll Go Alone” (1969) – Humble Pie: “I’ll Go Alone” by Humble Pie begins with sitar played by session musician Lyn Dobson, with Peter Frampton on tabla, demonstrating the continued use of Indian instrumentation in hard rock contexts.

• “At Home” Album (1969) – Shocking Blue: Shocking Blue’s album At Home featured sitar on tracks like “Love Buzz” and “Acka Raga,” and the band continued to use sitar in later albums, showcasing its lasting appeal in European rock.

• “Once I Had a Sweetheart” (1969) – Pentangle: Pentangle’s folk-jazz fusion track “Once I Had a Sweetheart” features John Renbourn on sitar, highlighting its integration into diverse genres beyond just rock and pop.

• “My Sweet Lord” (1970) – George Harrison: George Harrison’s solo hit “My Sweet Lord” is a direct expression of his Hindu faith, praising Krishna and incorporating the Hare Krishna mantra. While not featuring sitar, it represents the deeper spiritual connection to India that permeated his work.

• “Signed, Sealed, Delivered I’m Yours” (1970) – Stevie Wonder: Stevie Wonder continued to utilize the electric sitar on “Signed, Sealed, Delivered I’m Yours,” further solidifying its presence in soul and R&B.

• “Jumpin’ Jack Flash” (1970) – Ananda Shankar: Ananda Shankar, Ravi Shankar’s nephew, covered The Rolling Stones’ “Jumpin’ Jack Flash” on his self-titled album, showcasing a full Indian instrumental interpretation of a rock classic and bridging the two musical worlds.

• “Cruel Sister” (1970) – Pentangle: Pentangle’s “Cruel Sister” again features sitar, demonstrating its continued use in folk and experimental music scenes.

• “The Coming of the Other One” (1970) – Twink: Twink’s experimental track “The Coming of the Other One” from his album Think Pink features sitar, showcasing its use in more avant-garde and psychedelic contexts.

• “Baba O’Riley” (1971) – The Who: “Baba O’Riley” by The Who, while not using a sitar, is named after Meher Baba and Terry Riley, and its synthesizer intro is inspired by Riley’s A Rainbow in Curved Air, demonstrating the indirect but lasting influence of Indian-inspired experimental music on mainstream rock.

• “Siberian Khatru” (1972) – Yes: Yes’s “Siberian Khatru” features Steve Howe on electric sitar, including a prominent sitar solo, showcasing its integration into progressive rock and Howe’s continued mastery of the instrument.

• “Do It Again” (1972) – Steely Dan: Steely Dan’s “Do It Again” features an electric sitar solo by Denny Dias, demonstrating its unexpected appearance in jazz-rock fusion and its versatility across genres.

• “Tales from Topographic Oceans” (1973) – Yes: Yes’s ambitious album Tales from Topographic Oceans was inspired by Hindu scriptures. While not heavily featuring sitar, its conceptual basis reflects the ongoing influence of Indian philosophy and spirituality on progressive rock.

• “I Know What I Like (In Your Wardrobe)” (1973) – Genesis: Genesis’s “I Know What I Like (In Your Wardrobe)” features electric sitar, heard throughout the song, showcasing its continued use in art-rock and progressive pop.

• “Give Me Love (Give Me Peace on Earth)” (1973) – George Harrison: George Harrison’s “Give Me Love (Give Me Peace on Earth),” while not featuring sitar, continues his exploration of religious themes and his desire for spiritual liberation, rooted in his Hindu faith.

• “Come and Get Your Love” (1974) – Redbone: Redbone’s hit “Come and Get Your Love” utilizes the electric sitar, showcasing its continued presence in funk and pop-rock into the mid-70s.

• “Chrome Sitar” (1976) – T. Rex: T. Rex’s “Chrome Sitar” directly references the instrument in its title and features sitar in the intro and throughout, indicating a nostalgic nod to the 60s sitar craze within glam rock.

• “Wild Mountain Honey” (1976) – Steve Miller Band: Steve Miller Band’s “Wild Mountain Honey” from the Fly Like An Eagle album incorporates sitar-like sounds, suggesting the instrument’s lingering influence even in 70s rock.

• “Vrindavan” (1978) – Ananta: Ananta’s “Vrindavan” directly references a sacred Hindu site and likely incorporates Indian musical elements, showcasing a more direct and perhaps less diluted form of Indian musical influence in the late 70s.

• “The Steve Howe Album” (1979) – Steve Howe: Steve Howe’s solo album The Steve Howe Album features the Danelectro Coral Sitar Guitar on tracks like “All’s a Chord” and “Look Over Your Shoulder,” demonstrating his continued dedication to the instrument and its unique sound.

• “Philby” (1979) – Rory Gallagher: Rory Gallagher’s “Philby” utilizes the electric sitar to create an “eastern feel” due to the song’s theme of espionage, demonstrating a more thematic and less purely musical application of the sitar sound.

• “Hare Krishna” (1979) – Ilan Chester: Ilan Chester’s “Hare Krishna” is a direct musical expression of his Hindu faith, showcasing a personal and spiritual connection to Indian music and mantras within a contemporary musical context.

The incorporation of Indian musical elements into 60s rock songs was a transformative and enriching chapter in music history. It wasn’t just about adding a sitar to a track; it was about a genuine cultural exchange, a broadening of musical horizons, and a reflection of the era’s spirit of exploration and openness. These 60s rock songs, infused with the sounds and spirit of India, remain a testament to the power of music to transcend boundaries and create something new and beautiful.

What are your favorite Indian-inspired classic rock songs? Share your thoughts in the comments below!

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