50. The Band - Music from Big Pink
The Band emerged from the shadow of Bob Dylan in 1968 as a truly singular and unique band. Nearly every member was a multi-instrumentalist. Everyone sang, and their unique vocal harmonies sounded like no one else. After touring with Dylan as his backing band they retreated to upstate New York to record a bunch of material that eventually surfaced as The Basement Tapes. While there, Rick Danko, Richard Manuel, and Garth Hudson shared a house with pink siding where much of the music for the album was composed. The enormous amount of material written for the album resulted in a first rate collection that still stands as one of the great debut albums. Despite how many hundreds of times I’ve heard it, there really is no topping “The Weight”.
49. John Coltrane - My Favorite Things
What happens when arguably the greatest tenor saxophone player picks up the soprano sax? Well in 1961 it resulted in a smash success that endures as one of the finest jazz records ever made. Containing only 4 songs it was Trane and his well oiled quartet re-imagining some of the great American songbook. In addition to the title track which became a hit single in an edited version are Cole Porter’s “Ev’ry Time We Say Goodbye”, and two Gershwin numbers on side two “Summertime” and “But Not for Me”. Much of the soloing expanded on ideas established with Giant Steps but there was really no stopping McCoy Tyner and Coltrane in 1961.
48. Country Gentlemen - Country Songs Old and New
Released in 1960, the debut album from Country Gentlemen was damn near the finest bluegrass album ever recorded. The quartet of guitar, mandolin, banjo, and bass with four vocalists was unmatched. After a few years as a touring act, they finally got an opportunity to record at the dawn of the new decade. If you love any form of bluegrass music this is essential listening, and if you don’t this album might change your mind. As the title suggests it is a selection of classic numbers with a few originals from various members. Unfortunately not a ton of information about the album is available, but if you dig classic American root music, this is a must.
47. The Who - Sell Out
Before diving head first into a full fledged rock opera, Pete Townsend and The Who tested the waters with a collection of unrelated songs tied together with fake radio promos and public service announcements. By their third album, they had all but abandoned the blues based mod rock of their debut. “I Can See For Miles” became a rare top ten hit for the group and the only single released from the album. In addition to having some fun with commercialism the band was embracing the growing baroque pop scene of the time, particularly Entwistle’s “Silas Stingy”. “Mary Anne With the Shaky Hand”, “Tattoo”, and “I Can’t Reach You” all could have been singles in their own right. An ambitious ride it captured The Who on the cusp of grand ambitions but finding their own voice.
46. The Byrds - Sweetheart of the Rodeo
With the addition of Gram Parsons to the lineup, The Byrds decided to go full country on Sweetheart of the Rodeo. The gamble did not pay off commercially but resulted in a future classic that is often regarded as the finest country-rock album ever made. The establishment in Nashville thought of them as a bunch of California hippies, and the rock crowd wasn’t quite on board with this new direction. Parsons for his part tried to make the most of his very brief stint in the group. Tensions with Roger McGuinn led to him quitting before the album was released, and a few of his vocals were re-recorded. Luckily the original masters survived and we can now hear things as initially intended. Perhaps my favorite track is the Louvin Brothers cover “The Christian Life” which might have seemed sarcastic if it wasn’t so faithful. Despite the immersion in country, they did still include two Dylan songs who coincidentally enough was about to release his own country album the next year.
45. Rolling Stones - Aftermath
Aftermath was up to that point the most important record made by the Rolling Stones. It was the first time they put out an album of all original material. “Paint it Black” remains one of the all time great songs and helped firmly entrench the Stones as one of the darker bands in rock. Both “Stupid Girl” and “Under My Thumb” earned plenty of ire for their misogyny but it's hard to hate on them when they’re that catchy. The more baroque elements of December’s Children are present on “Lady Jane” and “I Am Waiting”. They weren’t quite ready to abandon their blues roots and at least the superior US version closes with their longest song “Going Home”.
44. The Kinks - Something Else by the Kinks
Face to Face established the Kinks as a force in British music, but Something Else considerably raised the stakes. Containing the top three UK singles “Death of a Clown” and the single greatest song Ray Davies ever wrote “Waterloo Sunset”, the group’s 5th outing was an undeniable masterpiece. During their American exile they began to double down on their British influence, particularly embracing music hall stylings. Not to be outdone by his brother, Dave Davies also contributed the straightforward power pop of “Love Me Til the Sun Shines” and “Funny Face”. It marked Ray Davies first attempt at taking over the producing of the album, which he admitted he was a bit out of his element. Mixing mishaps notwithstanding, when the songs are this good it really didn’t matter. Luckily for us, they were only beginning to peak.
43. Bob Dylan - Another Side of Bob Dylan
Following the dire seriousness of The Times They Are A-Changing showed Dylan’s much more playful and less serious side. It was also his last album as the sole performer, drawing the ire of folk purists with his decision to go electric. Of course that crowd was already turning on him when he didn’t deliver another album exclusively of socially conscious protest songs. Dylan even tried his hand at piano on “Black Crow Blues”, but despite the novelty it was far from the only highlight. “All I Really Wanna Do”, “Spanish Harlem Incident”, “Chimes of Freedom”, “My Back Pages”, and “It Ain’t Me Babe” all quickly joined the ranks of Dylan standards.
42. The Beatles - A Hard Days Night
Rushing a movie out to capitalize on the extraordinary popularity of The Beatles might have seemed like an excuse to cobble together scraps. Instead it became the first Beatles album to feature exclusively Lennon and McCartney originals. At this point they were becoming a well oiled machine but A Hard Days Night was the first time they started to make the claim that they might just be the greatest band of all time. Take your pick from the hits and deep cuts and you’ll hear a duo that seemed incapable of making a bad record.
41. The Velvet Underground - The Velvet Underground
After the abrasive White Light/White Heat John Cale departed the Velvets, to be replaced by multi-instrumentalist Doug Yule. There are always going to be people who champion one era over the other but the more laid back and slightly straightforward approach of this self-titled album was a breath of fresh air. As he would on Loaded, Yule actually sings the opening track “Candy Says”. He also harmonized with Reed on the brilliant “Jesus”. Everyone got a chance to ramble into the microphone for “The Murder Mystery” and Mo Tucker closed things out with “After Hours”. At the time this was by far the group's most accessible album but as always commercial success remained elusive.
40. Bob Dylan - John Wesley Harding
I’m not entirely sure it’s out of place to say Bob Dylan pulled masterpieces out of his ass in the 60s. Dylan seemed like one of those musical geniuses who seemed to grow bored of his own abilities. He was without question the best folk singer and songwriter of his generation, and he dove head first into his own unique noisy brand of rock and roll. Following a somewhat long hiatus, he came back near the end of 1967 with an album that seemed at first glance to be a return to his roots but on closer inspection was just the start of another chapter. The noisy electric rock of Highway 61 and Blonde on Blonde were replaced by acoustic guitars, simple melodies, and dense, enigmatic lyrics. Dylan didn’t fully embrace country music but dipped his toe enough to encourage a legion of Dylan worshipers to follow his lead. “The Ballad of Frankie Lee and Judas Priest” is one of his greatest never heard of songs. The title track as well as “All Along the Watchtower” help give the album a loose narrative feel that make it seem like a unified concept album. I might argue this is Dylan’s most accessible album and a perfect introduction to what all the hullabaloo was about.
39. Charles Mingus - The Black Saint and the Sinner Lady
Recorded on January 20, 1963 The Black Saint and the Sinner Lady was Charles Mingus’ most ambitious musical venture and arguably his most successful. Written as one continuous piece as a ballet with four tracks and six movements, it quickly became his masterpiece and one of the finest jazz albums ever recorded. The piece was recorded with an 11-person band which helps give it an orchestral feel. It was Mingus’s intention to blend jazz and classical with African music and some Spanish themes. Working with arranger Bob Hammer, Mingus rehearsed with the group for 6 weeks before getting everything in place to record.
38. Donald Byrd - A New Perspective
Adding a choir to a jazz album sounds like a recipe for disaster but I’ll be damned if Donald Byrd didn’t pull it off. In fact looking at a few entries elsewhere on this list, I might be into that sort of shit after all. Byrd’s masterpiece was a singular approach to the very 60s idea of where to take jazz next. Although not a lot of artists followed his path laid out here, it might be more from the realization that you couldn’t improve upon it. Coltrane and others might have been trying to bring a sense of spirituality to jazz in the mid-60s but Byrd committed himself to making his own hymnals. I thought this was instantly one of the ten best jazz albums ever made when I first heard it, and nothing in the last 25 years has altered that opinion.
37. The Beatles - Help!
It’s a cosmic understatement to have said The Beatles were on a roll in 1965. They made their second, and in my opinion superior film Help!, which led to this album, their first of two undeniable masterpieces that year. Although Help! definitely saw the band evolving and pointed towards their future sounds, it was in a lot of ways their final Beatle-mania album. There were still a few covers, including a surprisingly wonderful rendition of Buck Owens’ “Act Naturally”, but their originals were in another class altogether. “Yesterday” might have been their biggest hit, but it isn’t even my favorite McCartney song on the album, a title I’d gladly hand to “I’ve Just Seen a Face”. George Harrison finally got on the board as a competent songwriter with “I Need You”, and Lennon was freely pushing the band into more folk rock territory. It’s not as front to back consistent as their next several albums, but Help was a tremendous leap forward for the guys. Even “Ticket to Ride” got to be featured in a Doctor Who episode, clearly the true sign these boys had made the big time.
36. Creedence Clearwater Revival - Green River
CCR’s second album of 1969 and third overall was their first undeniable masterpiece. Seeing many of their contemporaries stoned and drunk while barely staying in tune, the group opted to stay sober going straight edge before that was a thing. This discipline helped pay off with enormous productivity. Capitalizing on the success of their breakthrough single “Proud Mary” released earlier in the year, both “Bad Moon Rising” and the title track made it to #2. “Lodi” became a hit as well and set the standard for life on the road songs. My favorite song on the album has always been “Wrote a Song for Everyone” which remains arguably the group’s finest deep cut.
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35. BB King - Live at the Regal
Recorded on November 21, 1964 at Chicago’s Regal Theater this is the finest live album recorded in the 1960s and possibly of all time. At the very least I can fairly confidently say King’s vocal performance is the best ever recorded. No matter how many times I hear it, I will forever get chills every time I hear “How Blue Can You Get” which absolutely has the single greatest line delivery in music history. This may seem like a lot of superlatives, but Riley was the King for a reason and there is no better showcase to what an absolute powerhouse and legend he was. There are plenty of moments to show just how commanding he was on the microphone and his incredible wit and sense of humor. However this is about the blues and with “Every Day I Have the Blues”, “Sweet Little Angel”, “You Upset Me Baby” every number is a highlight.
34. Bob Dylan - Bringing it All Back Home
Dylan’s first foray into electric rock included just the first half of the album, but Dylan quickly established that he was going to rock like no one else had in the past. This began what was his most fascinating and critically acclaimed era, but the second side showed that he could still do folk better than anyone around as well. From the word salad of “Subterranean Homesick Blues” to “It’s All Over Now, Baby Blue” Dylan was clearly in a class by himself. The fact that the entire album was recorded over the span of two days shows just how much of a well oiled machine Dylan had become by early 1965. It was the perfect transition album from the early folk purist to the iconoclast he would become.
33. Isaac Hayes - Hot Buttered Soul
After the commercial disappointment of Presenting Isaac Hayes, Hayes was all set to return to his role as songwriter and behind the scenes man at Stax. After Stax split with Atlantic records they suddenly lost their entire back catalog and executive Al Bell ordered every artist to record new music. Hayes agreed provided this time he would have complete artistic control, and thankfully for all involved Bell agreed. The album featured only four songs, allowing for ample time to develop deep grooves. Things open with the Burt Bacharach and Hal David “Walk on By” which is stretched out to over 12 minutes without a second wasted. "Hyperbolicsyllabicsesquedalymistic" was the lone original for the sessions and immediately looks ahead to what George Clinton would start doing with Funkadelic. Jimmy Webb’s “By the Time I Get to Phoenix” closes things out, and at 18 minutes long it allows Hayes to dig deep into narrative soul music. Hot Buttered Soul is a perfect album that remains one of the great soul recordings.
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32. Simon and Garfunkel - Bookends
The last Simon and Garfunkel album of the 60s was met with eager anticipation. After the breakthrough of “Sounds of Silence” and the Graduate soundtrack, expectations were sky high. Loosely conceived as a concept album about the life journey from childhood to old age, it solidified the duo as a major force. The record took over a year and a half to record and resulted in multiple stops and starts. Since the group had a clause in their contract that Columbia would pay for studio time, they fully took advantage. Hiring multiple session musicians and sometimes painstakingly re-recording songs note by note. The perfectionism would pay off in the final product and whatever work went into it proved well worth it. “A Hazy Shade of Winter”, “At the Zoo”, “Faking It”, and of course “Mrs. Robinson” were all released before Bookends was finished allowing a great amount of fanfare to precede things. “America” might very well be my favorite song from the duo and for my money Bookends was their finest hour.
31. The Jimi Hendrix Experience - Axis: Bold as Love
Hendrix improved by leaps and bounds with each of his releases. Are you Experienced had some great songs but was limited by the conservative thinking of manager/producer Chas Chandler who seemed determined to make every song concise and radio friendly. The obvious exception was “Third Stone from the Sun”, which Hendrix seems to take as a jumping off point here with the bizarre opener “ESP”. His playing was better here, and he largely abandoned the fuzz of his debut to focus on cleaner and more soulful leads. I will still argue that “Bold as Love” and “Little Wing” are the two best songs Hendrix ever wrote and the fact that they’re both on this album easily puts it over its predecessor. Even Noel Redding got to sing on “She’s So Fine”, but this was definitely Jimi’s show. The long winded freak out of “If 6 was 9” became a counter-culture anthem and even appeared in Easy Rider. “Castles Made of Sand”, “Spanish Castle Magic”, and “Wait Until Tomorrow” proved Hendrix was more than capable as a vocalist as well as guitar god.
30. The Byrds - Mr. Tambourine Man
The Byrds were perhaps unfairly considered America’s answer to The Beatles when they first came around in 1965. With the assist to Dylan for the title track and three other songs, they emerged as their own wonderfully unique band. With chiming 12-string guitar, and some beautiful vocal harmonies the band was never better than their debut. Gene Clark was already showing that he was no slouch in the songwriting department as well with “I’ll Feel a Whole Lot Better” being possibly my favorite Byrds song ever. They may have gotten more adventurous in later years, but I’m not sure they were ever better. Along the way they helped define what would eventually be coined the Laurel Canyon sound. Every jangle pop band who dabbled in country music owes a debt to this album.
29. John Coltrane - Giant Steps
Released less than two months into the new decade, Giant Steps made the bold claim that John Coltrane was about to be the future of jazz music in the new decade. Utilizing a technique that would be named sheets of sound, his playing and chord changes would set a new standard for jazz saxophone. Giant Steps was his first album for Atlantic records and the initial sessions went unreleased for years. The one constant throughout the recording was Paul Chambers on bass who the song “Mr. P.C” was named after. The final session for the album resulted in the classic “Naima” which was named after his then wife Juanita Naima Grubbs. Although this was his first masterpiece of the new decade, it was far from his last.
28. Led Zeppelin - Led Zeppelin II
Recorded largely on the road throughout early 1969, Led Zeppelin’s second album launched the group into superstar status, topping the charts on both sides of the Atlantic and eventually going 12x platinum. Nearly every song has become a staple of FM rock radio since its release and it is somewhat hard to hear the album with fresh ears after all this time. Growing up with this album it has seemingly been a part of my life forever, but what makes it so enduring is just how great the details are. From the studio trickery of “Whole Lotta Love”, the solo in “Heartbreaker” and the ridiculous bass playing in “The Lemon Song” I can never get tired of this album.
27. King Crimson - In the Court of the Crimson King
There were inklings of progressive rock throughout the latter half of the 60s. Epic soundscapes from Hendrix, the Grateful Dead and even the Who hinted at what could be. In the Court of the Crimson King is where this potential became fully realized. Among many standout albums throughout their career it is arguable that King Crimson was never better than on their debut. It’s definitely hard to argue they ever had a song as awesome as “21st Century Schizoid Man”. All five songs however were perfection, and it is hard to pick a highlight with “Moonchild”, “Epitaph” and “The Court of the Crimson King”. This perfect moment in rock would be short lived as the band underwent the first of countless lineup changes almost immediately after finishing their debut.
26. The Kinks - The Kinks Are the Village Green Preservation Society
Ray Davies took his fascination with all things British to its most logical conclusion with this album. He devised a romanticized countryside that never really existed and proceeded to pine for it like a regular crotchety old grandpa. The opening title track is among his most joyful songs, and the rest of the album helps flesh out the basic ideas established there. After the increased confidence in brother Dave on Something Else, his contributions seem all but eliminated this time around. The initial concept for Village Green kicked off several years before, and the song “Village Green” was initially recorded all the way back in November of 1966. It would be the first album fully produced by Ray Davies and the last featuring original bassist Pete Quaife. The commercial disappointment of the album helped solidify their status as critically lauded cult artists.
25. The Doors - The Doors
The Doors found a way to make their own way in music without sounding like anyone else, but also avoiding a lot of boring wankery that plagued a lot of the other bands that followed in their wake. Anyone who isn’t a fan of “The End” I highly recommend getting some medical grade THC and watching Apocalypse Now. As for the rest of the album, this is the band at their most focused, unique, and vital. I could probably listen to “The Crystal Ship” on repeat for the rest of my days and be a happy man. Even their obligatory blues cover “Back Door Man” is so endearingly made their own and who doesn’t love Morrison bellowing “I eat more chicken any man ever seen”? You can’t help but be taken in by everything Morrison, Kreiger, Manzarek, and Densmore were laying down. Every future Doors album has great moments but they never quite put it all together like this again.
24. Elvis Presley - From Elvis in Memphis
“I had to leave town for a little while” is the first line of the album, and it could easily be read as a reference to how Elvis spent a decade as a movie star and his only albums were soundtracks. After the popularity of his movies and soundtracks were declining his ‘68 Comeback Special showed that he hadn’t lost a bit as a singer and performer. Vowing to record new material, From Elvis in Memphis was the first official release post-comeback and infinitely his best album. His voice was in top form and the songs helped him reclaim his status as the King. The sessions produced two of his most iconic singles that weren’t included on the original album as well, “Suspicious Minds” and “Kentucky Rain”, which helps illustrate how good the sessions were if those were the quality of the outtakes. Elvis seems to have found music that suited him, and boy does he ever deliver.
23. Flatt and Scruggs - Foggy Mountain Banjo
There might be a secret hillbilly in all of us when you fire up this bad boy. Perhaps the best loved duo in bluegrass history Lester Flatt and Earl Scruggs were seriously cooking in 1961. Just a hair under 30 minutes they breeze through the most foot stomping, hootin’ and hollerin’ yee-hah shit you are ever likely to hear. This must have hit like crack to good ole boys in 1961 or really any time you bless your ears with “Ground Speed”. The rest of the numbers are loosely more of the same but who needs variety when the banjo picking is this hot?
22. Miles Davis - In a Silent Way
Although considered Miles' first fusion record, the blueprint was certainly there on Filles de Kilimanjaro. I’m not sure anyone would anticipate how special this record would be and help set the stage for his stellar fusion era. Most of his second great quintet was there for the recordings with the addition of Brits John McLaughlin and my namesake Dave Holland. Recorded over a day and meticulously edited together to create a cohesive piece. The entire sessions were released on a box set and helps to shed light on the process. Davis would use the same method on Bitches Brew, but the recording here is noticeably more chill. Later reviews have even referred to it as “proto-ambient” music but regardless of what you label it In a Silent Way is pure magic.
21. Aretha Franklin - I Never Loved a Man (The Way I Love You)
It took me a long time to finally come around on “Respect”. It’s an iconic song for sure, one she took right from Otis Redding and forever made her own, but to me it’s like listening to “Satisfaction” from the Stones. Luckily for Aretha and all of us, every other song on the album is better, yeah you heard me. It’s so easy to see Aretha as this institution that has had praise heaped on her for decades based solely on reputation. This album is really the reason why she is an institution. Sure Lady Soul helped cement her legacy, but this really is the finest soul record that was ever recorded, at least by a female vocalist. Every song is outstanding, and she really brings it home with her rendition of “A Change is Gonna Come” which might even surpass Cooke’s version.
20. The Zombies - Odyssey and Oracle
As we officially enter into the top twenty a lot of usual suspects will appear. If you happen to think I have a particular album too low, rest assured I probably do as well. Odyssey and Oracle was the last album from the Zombies and was released after the band had officially broken up, resulting in some sketchy promoters forming fake Zombie bands to cash in. Determined to go out on top they tapped into a near perfect mix of baroque chamber pop with every song containing magnitudes of hooks. I’ve heard “Time of the Season” enough for several lifetimes, but damned if it isn’t great just the same. Keyboardist Rod Argent and bassist Chris White seemed to have a bit of a healthy competition in the songwriting department with each member delivering a side worth of gold. However with “Care of Cell 44”, “Rose for Emily” and “Time of the Season” I think Argent might have won that battle.
19. Bob Dylan - Highway 61 Revisited
Highway 61 Revisited picked up where the first side of Bringing it All Back Home left off, and proceeded to take that concept to its masterful conclusion. Dylan abandons most of his pretensions as a folk troubadour as he digs into messy blues and garage rock. The album opens with what’s come to be his most defining song, the oft-covered “Like a Rolling Stone” which I swear there are entire books written about its influence and inspiration. Much of the album embraces sometimes surreal and drugged out imagery, a fascination he would push further on his next album. Mike Bloomfield of the Paul Butterfield Blues Band joined Dylan and he makes sure his talents are used to their utmost. “Desolation Row” closes this album in grand fashion, and it seems like a fitting send off to his folk roots.
18. The Kinks - Arthur (or the Decline and Fall of the British Empire)
This was the final Kinks album of their distinctly British period. I’ve always been a little vague as to the legal reasons they were unable to tour the US in the second half of the 60s, but they spent their time wisely making music with a distinctly national flavor. Arthur continued the upward trajectory begun all the way back on The Kink Kontroversy. A concept album of sorts about turn of the century Britain. “Victoria” is certainly on the short list of the band’s catchiest songs and it sets the album up beautifully. “Yes Sir, No Sir” and “Some Mother’s Son” ease the album into more serious territory but are still incredibly sound melodically. This is an album where Ray Davies admitted the idyllic Village Green was a hoax and this was a more truthful representation of his British identity. Some may disagree but I find this to be their masterpiece.
17. Rolling Stones - Let it Bleed
The Stones struck gold with Beggars Banquet, and took that momentum into Let it Bleed. It was the last album to feature any contribution from Brian Jones, who was largely reduced to background percussion at this point. New guitarist Mick Taylor makes his debut here, but his contributions are largely supportive. “Gimme Shelter” opens the album and is damn near the best song the band ever wrote, certainly one of those I am incapable of getting sick of. The rest of the album returns to the mix of blues, folk, and country that made Beggars so great. The whole album is highlights, from the country fried version of “Country Honk”, “Midnight Rambler”, “Monkey Man”, “Love in Vain”, “Live with Me” and even the auspicious debut of Keith Richards the lead singer on “You Got the Silver”.
16. Creedence Clearwater Revival - Willy and the Poor Boys
It seems staggering that a band could release three albums in a calendar year and somehow the last one would be the best. Willy and the Poor Boys was everything great about CCR. They did have a couple of huge hits with “Down on the Corner” and “Fortunate Son” whose lyrics are among Fogerty’s best. What makes this album their best is actually the incredible quality of the “filler”. Two of the covers, “Cotton Fields” and “The Midnight Special” couldn’t have been more perfectly suited to the band. This is about as good as roots rock gets, showcasing all of the many strengths this band had. They were a well oiled machine by the time of this release and they hadn’t yet started to show any signs of fatigue.
15. Rolling Stones - Beggars Banquet
Between the Buttons was a great album, but its follow up Their Satanic Majesties Request was a mixed bag of Beatle worship and misguided space rock. They regrouped and hired Jimmy Miller to produce their next album and it was the one that forever established The Stones as the gods they are. “Sympathy for the Devil” was unlike any Stones song before it and was a brilliant way to announce the new un-compromised sound of the band, which also featured the best lead playing Keith Richards ever did. They were always huge blues fans, but here they opened the door to country and folk influences as well. “Prodigal Son” should be a hell of a lot better known today, and “Dear Doctor” showed the band had a sense of humor. What really seals the deal though is “Salt of the Earth” which was as good of a closer as Jagger and Richards ever wrote. This was arguably the most important record in their career and the one that finally established they were second to none.
14. Bob Dylan - The Freewheelin' Bob Dylan
Released a couple days after his 22nd birthday, Dylan’s second album is the one that took him from promising folk artist to the voice of his generation. His songs were covered by nearly every one of his contemporaries and they helped define the early 60s better than anyone else. Among the protest songs were several songs showing Dylan’s wit and his sense of humor, letting people know he didn’t need to be serious all the time. Even after 60 years this still has some of his best songs, including “Don’t Think Twice, It’s Alright” which I happen to think is his best song. “Girl from the North Country” also happens to be one of his most beautiful, and was later re-recorded as a duet with Johnny Cash for Nashville Skyline. There’s part of me that always preferred my Dylan acoustic, and none of his albums show off that particular skill set quite like Freewheelin’. Reversing the all covers and two originals format of his first album to all originals with two covers was a risky move, but it forever altered the landscape of popular music. From the opening of “Blowing in the Wind” to “I Shall Be Free”, the voice of a generation allegations were ringing loudly.
13. The Jimi Hendrix Experience - Electric Ladyland
Jimi Hendrix was an obsessive perfectionist. He fired his manager and spent an absurd amount of time and money in the studio to record his third album. Sessions routinely got out of control, as numerous hangers on, guest musicians, and all night sessions yielded few if any results. Hendrix eventually was satisfied enough with the album to release it and it forever cemented his status as a legend. It represents the rare time he got to put out his vision without outside interference, and the fact that he was never satisfied with his next album leaves this as his last complete work. Opening this up to a double album he was able to freely explore more songs, including a 16 minute live jam with Steve Winwood on “Voodoo Chile”. His love of jazz comes through particularly on “Rainy Day (Dream Away)”, and he never stopped using the studio as its own instrument. Noel Redding contributes his finest song “Little Miss Strange” and it would be his last with Hendrix, quitting during the recording sessions. “Voodoo Child (Slight Return)” and “All Along the Watchtower” are two of his most recognizable songs, the latter of which features arguably the best wah sound in music history. This was Hendrix at his best and a defining album of the 60s. We can forever speculate on what might have been with Hendrix, but in the 60s we at least got three albums of undeniable perfection.
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12. The Band - The Band
If The Band were ever to emerge from the shadow of Dylan, this was how they did it. Their self titled album was a masterpiece of Americana, it sounded like a history lesson, and the songs included were among the finest ever recorded. Largely acoustic, it did feature some deep swamp funk on “Up On Cripple Creek”. “Rocking Chair” is simply one of the greatest songs ever written and it’s the perfect summation of what made this album great. Robbie Robertson wrote or co-wrote every song on the album which makes its uniquely Southern feel all the more impressive considering Robertson was Canadian. Hell even the album cover had the group looking like they stepped out of a Civil War re-enactment. They continued the three vocal attack present on Big Pink, but here it seemed much more suited to the music. This was a perfect album and truly unique in rock. Many artists tried their hand at roots rock, but The Band were just too idiosyncratic to be copied.
11. The Beatles - Rubber Soul
There are no bad Beatles albums, but the jump in quality from Help to Rubber Soul is staggering. The album featured no singles and was the first to be considered a complete LP from the band. It also featured all original material showing how far the band grew in just the span of a few months. “Nowhere Man” was their first song not to deal with love and was just one example of the maturity they were rapidly showing. Lennon was far from done and its debatable “In My Life” was his finest hour as a writer. At the very least George Martin’s piano solo on it was a mini-masterpiece. George Harrison offers one of his best, in the Byrds-esque “If I Needed Someone”. Paul has plenty of highlights himself, including “Michelle” and the opener “Drive My Car”. This was a new era for the band, and one that showed they were just officially hitting their peak.
10. Led Zeppelin - Led Zeppelin
Later albums may have seen Zeppelin evolve and diversify their sound, but for my money they needed no improvement. Their first album is the Ft. Sumter of hard rock. Jimmy Page decided to produce the album himself and he made John Bonham’s drumming leap out of the speakers. No longer would that soft cardboard sound appear on drums. The guitars are loud and reverberated and Robert Plant wails like no one before him. Much of the songs came from previous works, “Dazed and Confused” was from Page’s days with The Yardbirds, and there are two official covers of Willie Dixon songs. The rest of the album is just cobbled together blues, amplified, and re-purposed to fit their own unique sound. Zeppelin would never sound this raw, chaotic, and brilliant on record. They established themselves as leagues above everyone else and they inspired the rest of the music playing world to try in vain to catch up to them. By the time Plant starts singing “Oh Rosie” in “How Many More Times” Led Zeppelin showed they were the future of music.
9. Bob Dylan - Blonde on Blonde
Bob Dylan was never more prolific or creative during the two years comprising Bringing it All Back Home, Highway 61 Revisited, and Blonde on Blonde. If you’ve been paying attention you’ll realize that I think he saved the best of these for last. Blonde on Blonde is a Dylan album that doesn’t really impress much on a first listen. I’ll admit my first listen many years ago was met with an overrated reaction. This is an album that sticks with you though. It works itself into your subconscious, and resonates with you for days, weeks, months, years after you hear them and the lyrics are like an obsessed riddle with no answer. It is an imperfect gem that was Dylan’s longest album at the time, and one of the very first double LP sets. There is so much going on here it’s staggering. His musical styles seem to jump all over the place, and there is no shortage of things to say. Dylan could have never recorded again after this album and he still would have gone down as one of the greatest songwriters of all time.
8. The Velvet Underground and Nico - The Velvet Underground and Nico
Although a commercial non-entity upon its release, the debut from the Velvet Underground might make a case for the most influential album ever made. Lyrically this album blazed more trails than we’ll ever fully comprehend. Lou Reed simply wondered why movies, books, and poetry could talk about these unsavory subjects but why not music? Musically it is a wonderful balance. Half the album seems to lull you into a comfortable daze, the rest seems like the fever dreams of someone de-toxing. The droning viola of John Cale, the choppy solos of Reed, the deep “singing” of Nico, it is truly singular in the history of rock as well as the Velvet Underground. They never would record with Nico again, Lou Reed would shortly sever their relationship with Andy Warhol, and their next album was ear piercing noise fest of obnoxiousness passed off as brilliant art. The band would never be this unified, this trailblazing, this melodic, and this vital again. Countless critics have praised this album to the high heavens, so really what more can I add?
7. John Coltrane - A Love Supreme
If we were keeping score, you had to know this album was coming at some point in time. Simply put this is not only John Coltrane’s greatest work, but the finest jazz album ever made. Recorded on December 9, 1964 with his quartet of pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones it marked the culmination of one of the most creative and impressive runs in all of music. Depending on who you ask this is a spiritual experience, the definitive modal jazz composition, akin to speaking in tongues, and even a foundation for a new religion. The fact that it is so uncompromising yet accessible struck a perfect balance in 1965. Time has only added to the legend and mystique of the piece, I hate to keep saying perfect, but there really is no better word to describe it.
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6. The Beatles - Revolver
Revolver has more than once been cited as the greatest album of all time and that’s a status that isn’t entirely unwarranted. The Beatles continued their development by forever expanding their sound. “Eleanor Rigby” features only strings and is one of their most haunting songs. George Harrison introduces the sitar on “Love You To” one of the unprecedented three songs of his included. They dive head first into psychedelia on “Tomorrow Never Knows”. For my money though “For No One” is the album’s highlight, and joins “Here, There, and Everywhere” as the two songs I’ve listened to the most from this album. Like any great Beatles album your favorite songs could change literally with each listen. It would also mark the end of their touring era, and their final studio album that would have different US and UK versions.
5. The Beatles - Sgt. Peppers Lonely Hearts Club Band
Upon its arrival in the summer of love 1967, Sgt. Peppers was THE album to end all albums. The one that launched the concept album craze, prompted countless acts to think about the total picture. Albums were no longer a collection of songs or singles, but a unified whole. Since we’re talking about The Beatles here, every song on this album is better than every song anyone else ever wrote, but by measuring it against the other songs in their catalogue, “She’s Leaving Home”, “A Day in the Life”, and “Lovely Rita” are all time classics. Ringo laid down perhaps his greatest drumbeat in the “Sgt. Peppers (reprise)” and happens to offer some of his best vocals in “With a Little Help From My Friends”. This is the album The Beatles delivered after retiring from touring, and their first unified studio album (US and UK versions were the same) showed just what could happen if the greatest band in the world were given free reign to make the greatest album the world had yet seen. It is the musical equivalent of Citizen Kane, since its legacy often blinds new audiences to just how special it was.
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4. The Beach Boys - Pet Sounds
From the first time I heard this album I knew its massive praise was justified. It was the result of an arms race in music, inspired by The Beatles Rubber Soul. Brian Wilson began to use the studio as his own instrument and wanted to craft a complete album with no singles to match The Beatles. His obsession paid off in one of the greatest albums ever recorded but it never came close to equaling the popularity of those Beatles albums and led to a serious nervous breakdown. This album helped define what came to be known as Baroque pop, and featured quite possibly the most lush and beautiful arrangements ever captured on record. Hardly a one man show, the remaining Beach Boys certainly hold up their end of the bargain with some of the most beautiful vocals ever. They were light years removed from surfing and the beach, showing an increasingly maturing sensibility particularly on songs like “God Only Knows” and “I Just Wasn’t Made For These Times”. Wilson made the right call bringing in Tony Asher to write the lyrics. Popular as it might be, I’m hard pressed to find a happier or more beautiful song than “Wouldn’t It Be Nice”, still one of the greatest album openers of all time. It is the type of album that is so good it sometimes makes you mad other albums aren’t up to this level.
3. The Beatles - Abbey Road
There is an old cliché that all good things must end, and by the end of the 60s it seemed like there were no new worlds to conquer for The Beatles. They put aside their bickering long enough to make one last grand masterpiece and it comes damn close to topping them all. The second side was structured as a suite, which was conceived more as a way to find a home for many half finished musical ideas. They never stopped experimenting and Abbey Road saw their first use of the Moog synthesizer which helps give an ever slight glimpse of where they might have gone in the 70s. Ringo contributed his best song with “Octopus’s Garden”, and George was at his peak on “Something” and “Here Comes the Sun”. McCartney dominates the second side and “You Never Give Me Your Money” might be the best Beatles song not named “Let it Be”. Everything does come together (huh, get it?) on “The End” which features everybody trading off solos, including a rare one from Ringo. The Beatles couldn’t have scripted a better end musically to their incredibly influential career.
2. Van Morrison - Astral Weeks
Van Morrison’s freak accident of a masterpiece is a transcendent marvel of a record. Recorded in a weekend with a group of musicians given almost zero direction, it was lightning in a bottle and almost impossible to duplicate. After signing a horrible deal, Morrison found himself with a huge hit “Brown Eyed Girl” but very little to show for it. His next solo album was as decidedly un-commercial as he could get, evoking more ethereal tones and much more similar to jazz than the blues of Them. The music is beautiful, and features probably the best bass playing on record courtesy of Richard Davis, which compliments Morrison’s stream of consciousness lyrics spectacularly. Although there are certainly highlights like “Madame George” and “Sweet Thing” this is meant to be taken collectively. The preferred method of listening to this is to turn off all the lights, put the album on, lie down and just let it wash over you.
1. The Beatles - The Beatles
When posting a countdown it often feels anti-climatic when the list hits #1. Anyone keeping track, and even slightly familiar with my musical taste knew this album was coming and few should be surprised that the best album from the best band would top this 60s list. I know it is subjective to rank albums (and fun), but there is a large and passionate cult of White album enthusiasts who seemingly make loving this album their entire personality. Perhaps at its simplest this is the best Beatles album simply because it is the MOST Beatles album. Thirty glorious songs, often messy, showing everyone in the group bringing their ideas to the fore. There is a darkness that hangs over the album, from “Blackbird”, “I’m So Tired”, “Happiness is a Warm Gun”, to “Rocky Raccoon”. On the other end are Beach Boys esque romps like “Back in the USSR”, “Everybody’s Got Something to Hide Except for Me and My Monkey”, “Savoy Truffle”, “Ob-La-Di, Ob-La-Da”, and the list goes on. It is the greatest double album ever made I think after 200 reviews I’ve said enough.
