The Cowsills’ “Hair” Brings the Counterculture Sound to the Mainstream in 1969
In 1969, at the height of the hippie movement and the era of rock ‘n’ roll revolution, a family pop band known for their squeaky-clean image did something no one expected: they turned a rebellious, countercultural anthem into a chart-topping mainstream hit. The Cowsills’ version of “Hair”, originally from the groundbreaking Broadway musical of the same name, became an unlikely pop sensation, bridging the generational divide and bringing the sound of the counterculture into American living rooms. With its infectious harmonies, exuberant energy, and a chorus that celebrated long locks as a symbol of freedom, the song shot to No. 2 on the Billboard Hot 100, proving that even a wholesome family band could capture the spirit of a turbulent era.
The Cowsills were a real-life family band from Newport, Rhode Island, composed of siblings Bill, Bob, Paul, Barry, John, and Susan, along with their mother, Barbara. They started as a Beatles-inspired garage band in the mid-1960s before becoming known for their bright harmonies and pop-friendly sound. With hits like “The Rain, The Park & Other Things” and “Indian Lake”, they were marketed as America’s answer to The Partridge Family—except they were the real deal. But behind their sunny, polished image, the band had a genuine musicality and a knack for tight, complex vocal arrangements. Their ability to adapt their harmonies to a variety of styles is what made “Hair” such a surprising and effective recording.
The song “Hair” originated from the 1967 rock musical of the same name, which was a defining cultural artifact of the counterculture movement. Written by Galt MacDermot, James Rado, and Gerome Ragni, the musical Hair was a bold, unapologetic exploration of themes like war resistance, free love, and nonconformity. The title song was an ode to the long-haired, flower-power aesthetic of the time, humorously listing all the ways in which the singer’s hair defied conventional standards. It was a rebellious, tongue-in-cheek anthem, and when The Cowsills—arguably one of the most clean-cut acts in pop music—decided to cover it, the contrast was striking.
When it came time to record their version, The Cowsills leaned into their strengths: impeccable vocal harmonies and boundless energy. The production was bright and polished, with a driving brass section and a raucous, almost theatrical exuberance. The band’s enthusiastic, almost breathless delivery made the song a playful celebration rather than an act of defiance, which may have been key to its crossover success. The chorus, layered with soaring harmonies and exclamatory interjections, turned the song into something irresistibly fun—perfect for radio play.
Upon its release, “Hair” became an instant success. It climbed the Billboard Hot 100 rapidly, peaking at No. 2 in May 1969, and became the biggest hit of The Cowsills’ career. The song’s unexpected success brought the themes of the musical Hair into a broader cultural conversation, making countercultural aesthetics more accessible to mainstream America. While the Broadway show had courted controversy with its nudity and anti-war messages, The Cowsills’ version softened the edges, making the song palatable for AM radio without losing its anthemic spirit.
The success of “Hair” also marked an interesting moment in pop music history, where the dividing lines between youth rebellion and mainstream pop were beginning to blur. The song allowed conservative parents and their children to share a cultural moment—one that was born out of the underground but made safe for family singalongs. In this way, The Cowsills served as unlikely ambassadors, bringing elements of rock musicals and counterculture to audiences who might otherwise have resisted them.
For The Cowsills themselves, “Hair” was both a triumph and an anomaly. While they had enjoyed success with earlier hits, this was their biggest and most enduring single. It briefly positioned them as a band capable of transcending bubblegum pop, though they never fully broke out of that mold. However, the song’s success did open doors, leading to more television appearances, international recognition, and solidifying their place in late-’60s pop history.
In terms of broader influence, “Hair” helped legitimize rock musicals as a source of mainstream pop hits. The success of Hair as a Broadway show had already paved the way for rock-driven theatrical productions, but The Cowsills’ single proved that these songs could stand alone on the pop charts. It foreshadowed later musical-to-pop crossovers, such as Jesus Christ Superstar and Grease, where cast recordings or reinterpretations became hit records.
Several artists have since covered “Hair”, though none achieved the same level of mainstream success as The Cowsills. The song remains one of the most recognizable from the musical, often performed in revival productions. Even decades later, it stands as a snapshot of the late ’60s, when cultural boundaries were shifting, and even a family band could momentarily tap into the zeitgeist.
At the time of its release, The Cowsills were navigating both professional success and personal struggles, including tensions within the family and disputes over management. Despite these challenges, “Hair” remains their signature hit and the song that best encapsulates their ability to blend sophisticated pop craftsmanship with the unfiltered energy of the era.
Decades later, “Hair” is still played on oldies stations and included in retrospectives on ’60s music. It continues to be an emblem of the period’s spirit—playful, irreverent, and joyfully rebellious. While The Cowsills never quite sustained their chart success into the ’70s, this one song secured their legacy as a band that, however briefly, captured the sound of a changing America.
In retrospect, The Cowsills’ version of “Hair” is more than just a novelty hit—it’s a fascinating cultural artifact that showcases the ways in which pop music can absorb and reframe underground movements for mainstream audiences. It serves as a reminder that even the most unexpected artists can sometimes tap into the pulse of a generation, whether by intention or serendipity.
