The year 1969 gave classic-rock fans plenty to celebrate: Abbey Road, Led Zeppelin II, Tommy, the Woodstock festival. Those landmarks have dominated the conversation for generations but they tell only part of the story.

Alongside the albums and singles that never left rotation were chart hits that gradually slipped away, FM-radio favorites buried beneath bigger songs and rewarding album cuts that deserve another listen. Here are 12 songs worth rediscovering.

Crosby, Stills & Nash—”49 Bye-Byes” (Crosby, Stills & Nash)

Overshadowed by such tracks as “Suite: Judy Blue Eyes,” “Marrakesh Express” and “Wooden Ships,” this closing number from the trio’s landmark debut features one of Stephen Stills’ most spirited performances. Built around driving electric guitars, a heavy organ groove and signature vocal harmonies, it hints at the heavier rock direction the group would soon explore on Déjà Vu. The song’s lyrics contains 49 lines.

Cass Elliot—”It’s Getting Better” (Bubblegum, Lemonade, and… Something for Mama)

Written by Barry Mann and Cynthia Weil, this release furthered the great vocalist’s solo success, climbing to #30 on the Hot 100 and reaching the Top 10 in the U.K. Produced by Steve Barri, the record pairs an unmistakable voice with polished late-’60s pop production. It remains one of the finest performances from the artist outside of her work with the Mamas and the Papas.

The Byrds—”The Ballad of Easy Rider” (Easy Rider soundtrack)

Roger McGuinn co-wrote this tune with an uncredited Bob Dylan after discussions with film star Peter Fonda. The reflective ballad became the centerpiece of the group’s late-1969 album, effortlessly blending folk, country and rock with understated confidence. It stands among the strongest recordings from the band’s later years.

Flying Machine—”Smile a Little Smile for Me” (Flying Machine)

Written by Geoff Stephens and Tony Macaulay, this beautifully crafted pop single reached #5 in the U.S. but failed to chart in the group’s native U.K. The lead singer, Tony Burrows, also fronted hits for Edison Lighthouse, White Plains and Brotherhood of Man, among others. The three-minute gem proved there was still room for irresistible pop melody on the airwaves.

Edwin Starr—”Twenty-Five Miles ” (25 Miles)

A year before “War” made him an international star, the singer delivered a powerhouse vocal on this track. Co-written by the artist with Johnny Bristol and Harvey Fuqua—with Bert Berns and Jerry Wexler later credited—the single climbed to #6 on both the Hot 100 and the R&B chart. Its pounding rhythm and urgency make it a Motown classic.

Friends of Distinction—”Grazing in the Grass” (Grazin’)

Hugh Masekela’s original instrumental had already topped the charts, but the group transformed it into a vocal hit that reached #3. Their smooth, rapid-fire harmonies gave the composition an entirely different personality while preserving its easygoing feel. It remains one of the era’s best vocal reinterpretations.

Crazy Elephant—”Gimme Gimme Good Lovin'” (Crazy Elephant)

Written by Joey Levine and Ritchie Cordell, this bubblegum classic climbed to #12 on both the Hot 100 and the U.K. Singles Chart. Driven by pounding drums and handclaps, the energetic track has aged remarkably well. Sometimes great rock and roll simply aims to make you smile.

Smith—”Baby It’s You” (A Group Called Smith)

Originally recorded by the Shirelles, this Burt Bacharach, Luther Dixon and Mack David composition found raw new life through Gayle McCormick’s commanding vocal. The group’s blistering, three-and-a-half-minute blues-rock arrangement reached #5 on the Hot 100 and remains a compelling rock reinterpretation of a pop standard.

Related: 1969—The year in rock

Ray Stevens—”Gitarzan” (Gitarzan)

Co-written with Bill Everette and co-produced with Fred Foster and Jim Malloy, this wonderfully offbeat novelty hit is packed with jungle sound effects and rapid-fire vocal changes. The track reached #8 on the Hot 100 and showcased the artist’s remarkable versatility.

Sir Douglas Quintet—”Mendocino” (Mendocino)

Doug Sahm blended Texas rock, Tex-Mex, country and British Invasion influences into an unmistakable sound. This infectious tune climbed to #27 on the Hot 100 and became a major success across Europe. Anchored by a signature Vox Continental organ, the song remains one of Sahm’s definitive recordings.

Cat Mother and the All Night Newsboys—”Good Old Rock and Roll” (The Street Giveth… and the Street Taketh Away)

Co-produced by Jimi Hendrix alongside the band, this joyous medley stitched together standards like “Sweet Little Sixteen,” “Long Tall Sally” and “Whole Lotta Shakin’ Goin’ On.” The single climbed to #21 on the Hot 100, celebrating the genre’s first generation at a moment when rock was rapidly evolving.

Classics IV—”Everyday With You Girl” (Traces)

Following a string of major hits, the group delivered another polished pop-rock gem with this release. Written by Buddy Buie and J.R. Cobb, the single reached #19 on the Hot 100… solid, but well behind the top 5 success of “Spooky,” “Traces” and “Stormy.” Dennis Yost’s warm vocals and the band’s understated musicianship made consistency look effortless.

Related: Much more on Classics IV

Related: One year later… 12 overlooked rock songs of 1970