1960s Singer/Songwriter Albums by 
Mercury 
NOTE: I actually did rank this. Some of these ranks go against where they were initially ranked in my Music Diary. But Here ya go. I did not rank the honorable mentions YET. They are in order of when they appeared on the Music Diary.
I had a Diary, maybe even still do, where I listened to a bunch of Singer/Songwriter albums. First from pre 66, then 67, then 68, and then I went absolutely nuts deep dive into 69. This chart basically lists out every album mentioned with its corresponding review or note in that September-October 2017 Music Diary project. That is why some things won't make sense, references to videos posted in that thread won't make sense. References to rank won't make much sense. My system even changed, the number of albums ranked per year changed. The first thing though was I essentially pointed out that Dylan 63-66 dominated. After the dylan you have my top 10 pre 67 singer songwriter albums, then some albums which were honorable mentions for that period, then top 8 1967 albums, then some honorable mentions, then top 5 1968, followed by honorable mentions, then you have hella honorable mentions for 69 followed by the top 25(!) 69 singer songwriter albums ranked.
The total number of albums mentioned came out to 95. I added 5 albums i hadn't mentioned to get it to an even number.
Let me know your thoughts in the comments, and okay bye.
- Chart updated: 10/17/2017 20:15
- (Created: 10/14/2017 06:40).
- Chart size: 100 albums.
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#1 of 1968
No upset or out of left field choice for number 1 here. This remains for me one of those albums where its clear something strange and abstract and almost divine happened. Like few albums before or since such as A Love Supreme, this album almost feels like it has a Godly influence. I don't know how to explain it, but almost every aspect of this record seems soft as air, like a fleeting moment of clarity, like some gossamer in the air which when you reach for it, it is gone, never quite attainable in terms of full conception.
The music, a brilliant mix of irish folk, soul, jazz, blues, and a hundred other things seemingly, is impossible for me to really pin down or categorize. There are moments here of musical beauty and ascendance which is rarely heard. And the vocals by a 23 year old master Van Morrison are mercurial, passionate, they sweep from extreme to extreme as if guided by some unseen hand of some unseen higher power. And the words keep the theme of dichotomy going. Insofar as there are words here that just feel right, they conjure up images and feelings so innate in us as human beings, so true to our conceived form or essence, and yet when you really try to analyze them they, again, seem completely unknowable and abstract.
A Specific moment which for some reason never fails to send shivers down my body is in "Madame George". You know that point at the very beginning when you've just gotten done being happy and exuberant on the previous track "The Way Young Lovers Do" when the bass comes in all slack and earthy like and at that moment Van comes in with his sweet soul? That part for some reason, that exact moment and the whole concatenation of moments leading up to it for some reason makes me think of mental clouds opening, like a person (could be me or you when you listen or Van) is having a moment of spiritual oneness, when he is experiencing a moment of true epiphany and clarity. That for some reason just blows me away every time.
Also the horn on "Slim Slow Rider" is unearthly. Anyway, I won't go into all the points which are exemplary of this albums majesty, cuz, I just don't wanna. Just listen to it again (and again and again and again...) or for the first time.
Just a little inside baseball, I have had this post open and being edited for 3 days. I'm a freak about these lists. I do a lot of listening and dorky "Research". Anyway, you know you have a true towering classic when you find it nearly impossible to move away from an album long enough to even consider other albums for a list. Well, that's been the struggle with Astral Weeks lately.
In closing, How this album came to be is one of those truly miraculous moments. 50 years later and there has still been nothing like Astral Weeks. And every time I go to listen to this profound statement of humanism and spiritual inspiration, I know that I am in for some sort of unearthly reward. This album... my God... Love Applause Love Applause Love
"In another world
In another world
In another time
Got a home on high
Ain't nothing but a stranger in this world
I'm nothing but a stranger in this world
I got a home on high
In another land
So far away
So far away
Way up in the heaven
Way up in the heaven
Way up in the heaven
Way up in the heaven" - Astral Weeks
Grade: 10/10 [First added to this chart: 10/14/2017]
No upset or out of left field choice for number 1 here. This remains for me one of those albums where its clear something strange and abstract and almost divine happened. Like few albums before or since such as A Love Supreme, this album almost feels like it has a Godly influence. I don't know how to explain it, but almost every aspect of this record seems soft as air, like a fleeting moment of clarity, like some gossamer in the air which when you reach for it, it is gone, never quite attainable in terms of full conception.
The music, a brilliant mix of irish folk, soul, jazz, blues, and a hundred other things seemingly, is impossible for me to really pin down or categorize. There are moments here of musical beauty and ascendance which is rarely heard. And the vocals by a 23 year old master Van Morrison are mercurial, passionate, they sweep from extreme to extreme as if guided by some unseen hand of some unseen higher power. And the words keep the theme of dichotomy going. Insofar as there are words here that just feel right, they conjure up images and feelings so innate in us as human beings, so true to our conceived form or essence, and yet when you really try to analyze them they, again, seem completely unknowable and abstract.
A Specific moment which for some reason never fails to send shivers down my body is in "Madame George". You know that point at the very beginning when you've just gotten done being happy and exuberant on the previous track "The Way Young Lovers Do" when the bass comes in all slack and earthy like and at that moment Van comes in with his sweet soul? That part for some reason, that exact moment and the whole concatenation of moments leading up to it for some reason makes me think of mental clouds opening, like a person (could be me or you when you listen or Van) is having a moment of spiritual oneness, when he is experiencing a moment of true epiphany and clarity. That for some reason just blows me away every time.
Also the horn on "Slim Slow Rider" is unearthly. Anyway, I won't go into all the points which are exemplary of this albums majesty, cuz, I just don't wanna. Just listen to it again (and again and again and again...) or for the first time.
Just a little inside baseball, I have had this post open and being edited for 3 days. I'm a freak about these lists. I do a lot of listening and dorky "Research". Anyway, you know you have a true towering classic when you find it nearly impossible to move away from an album long enough to even consider other albums for a list. Well, that's been the struggle with Astral Weeks lately.
In closing, How this album came to be is one of those truly miraculous moments. 50 years later and there has still been nothing like Astral Weeks. And every time I go to listen to this profound statement of humanism and spiritual inspiration, I know that I am in for some sort of unearthly reward. This album... my God... Love Applause Love Applause Love
"In another world
In another world
In another time
Got a home on high
Ain't nothing but a stranger in this world
I'm nothing but a stranger in this world
I got a home on high
In another land
So far away
So far away
Way up in the heaven
Way up in the heaven
Way up in the heaven
Way up in the heaven" - Astral Weeks
Grade: 10/10 [First added to this chart: 10/14/2017]
Year of Release:
1968
Appears in:
Rank Score:
17,107
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
138
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#2 of 1968
In October 1968, before any Poco or Eagles or even Flying Burrito Brothers albums, and just a mere month after the monumental release of The Byrds' Sweetheart of the Rodeo, Dillard & Clark released this landmark album. Arguably the first country rock album, this album is not great merely for reasons of historical significance. No, the songs, the Freaking Songs, are out of this world. The music is backbeat drivin', pastoral packin', gorgeous harmonica laced, harmony heavenly, BLISS! The tight harmonies between Doug Dillard and Gene Clark are truly incredible. And even at this stage in his career, it was clear gene Clark was already a songwriters songwriter.
This album has become so much a part of me and is so goddamn seemingly CUSTOM BUILT for my enjoyment and adoration, that it is hard to explain how much I love it or why for that matter. It's just a wholesome, earthy, perfectly structured rock album, country album, songwritrer album (I am mostly thinking of Gene Clark here. I know it is cheating cuz this ain't marked as Singer/Songwriter on RYM...but it is clear to me the lyrical content and much of the music is Gene Clark through and through.) and just album period. Its 28 minutes of Americana at its best. There is absolutely nothing off about it, there is nothing "merely good" about it, and , okay, I'll just say it, its better than even Gilded Palace of Sin! There! I said it! Now get out of my sight so I can think about what I've said. Ignore that... I am vacillating pretty heavily here. They're both perfect!
Grade: 9.7/10 [First added to this chart: 10/14/2017]
In October 1968, before any Poco or Eagles or even Flying Burrito Brothers albums, and just a mere month after the monumental release of The Byrds' Sweetheart of the Rodeo, Dillard & Clark released this landmark album. Arguably the first country rock album, this album is not great merely for reasons of historical significance. No, the songs, the Freaking Songs, are out of this world. The music is backbeat drivin', pastoral packin', gorgeous harmonica laced, harmony heavenly, BLISS! The tight harmonies between Doug Dillard and Gene Clark are truly incredible. And even at this stage in his career, it was clear gene Clark was already a songwriters songwriter.
This album has become so much a part of me and is so goddamn seemingly CUSTOM BUILT for my enjoyment and adoration, that it is hard to explain how much I love it or why for that matter. It's just a wholesome, earthy, perfectly structured rock album, country album, songwritrer album (I am mostly thinking of Gene Clark here. I know it is cheating cuz this ain't marked as Singer/Songwriter on RYM...but it is clear to me the lyrical content and much of the music is Gene Clark through and through.) and just album period. Its 28 minutes of Americana at its best. There is absolutely nothing off about it, there is nothing "merely good" about it, and , okay, I'll just say it, its better than even Gilded Palace of Sin! There! I said it! Now get out of my sight so I can think about what I've said. Ignore that... I am vacillating pretty heavily here. They're both perfect!
Grade: 9.7/10 [First added to this chart: 10/14/2017]
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#3 of 1968
I feel like Joni Mitchell is a genius. Like, I recognize that now. Its like she envisions or, more accurately, hears music with more clarity than almost any human in pop music history. From the jump, with this solo debut of hers, its clear she is a legitimate A+ guitarist, a freakishly pristine and perfect pitch singer, and lyrically a poetic force of nature. Even on this, her first go at an album, she took all these insane talents and managed to put out a truly gorgeously shimmering debut album, which feels full and completely filled in despite it being by and large just her and a guitar. She manages to fill up the sound completely with complex chord structures and intensely beautiful, constantly shifting and soaring vocals.
Intimate songs like "The Dawntreader" and the character study "Marcie" almost sound too angellic. And the guitar playing is, again, incredibly dexterous and sounds easy almost because she was such a virtuoso - case in point the ease of her singing over the top of the complex guitar of" Sistowbell Lane". There are also some parts that are just over the top with their speedy 2 or 3 part vocal parts like in "The Pirate of Penance" is unlike anything singer-songwriters of the time.
The only knock I have against this record is that the vocal pyrotechnics do get a bit over the top. Just every once in awhile. Also its not like the whole flow of the album or the poetry here bites quite as hard as they do on "Blue". So, no, I'm not quite ready to say this is on the same level as that album. Still, its G-R-E-A-T.
This album should be recognized as one of the best debut albums of the 60s. I don't feel like that is the general consensus, and that saddens me.
Grade: 9.0/10 [First added to this chart: 10/14/2017]
I feel like Joni Mitchell is a genius. Like, I recognize that now. Its like she envisions or, more accurately, hears music with more clarity than almost any human in pop music history. From the jump, with this solo debut of hers, its clear she is a legitimate A+ guitarist, a freakishly pristine and perfect pitch singer, and lyrically a poetic force of nature. Even on this, her first go at an album, she took all these insane talents and managed to put out a truly gorgeously shimmering debut album, which feels full and completely filled in despite it being by and large just her and a guitar. She manages to fill up the sound completely with complex chord structures and intensely beautiful, constantly shifting and soaring vocals.
Intimate songs like "The Dawntreader" and the character study "Marcie" almost sound too angellic. And the guitar playing is, again, incredibly dexterous and sounds easy almost because she was such a virtuoso - case in point the ease of her singing over the top of the complex guitar of" Sistowbell Lane". There are also some parts that are just over the top with their speedy 2 or 3 part vocal parts like in "The Pirate of Penance" is unlike anything singer-songwriters of the time.
The only knock I have against this record is that the vocal pyrotechnics do get a bit over the top. Just every once in awhile. Also its not like the whole flow of the album or the poetry here bites quite as hard as they do on "Blue". So, no, I'm not quite ready to say this is on the same level as that album. Still, its G-R-E-A-T.
This album should be recognized as one of the best debut albums of the 60s. I don't feel like that is the general consensus, and that saddens me.
Grade: 9.0/10 [First added to this chart: 10/14/2017]
Year of Release:
1968
Appears in:
Rank Score:
614
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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#4 of 1968
Man, this album is a trip. The utter lack of acoustic guitars is notable especially compared to his first album. But the whole album even when its quietest uses electric guitars with beautiful little effects. And this album is "Psychedelic" but in a very interesting and unique way. It doesn't sound ridiculous in its psychedelia.
His voice is strange and has similar sounds to Tim Buckley at times (but not in at all all Tim Buckley's glory, so don't at all go in thinking you're in for a Tim Buckley through and through equal.), and the production is sad and yet menacing at times in a similar vein to Forever Changes. There are lots of horns and strings, especially on side 1. And there are parts of this album which totally reminded me of Destroyer in its matter of fact peotic ramblings with somewhat strange musical soundscapes swirling around the vocal, this is especially true of track 2 "Late Sleeping day". And another thing I love about this album is its incisive, i mean the productiona nd the sound of the instruments are all so clear, the drummer kills, and the bass is great and the guitars twinkle, and even the somewhat annoying horns all are at least very vibrant and in your face. There is no bleeding of the instruments together in other words.
This is just a fantastic and recommended album. The sound quality or the production qualities do date it a bit, but once you get past that methinks if you're a Love, Tim Buckley, or any number of late 60s weirdos fan then you'll be glad you checked this out.
Oh and "Leaves Never Break" is a fucking masterpiece! It starts so actually frighteningly intense then explodes into this other worldly psychedelic jam which to my ears is insanely great. The vocals are drenched in menace, with this horn off in the distance, and then the vocals occasionally explode and crack and are recorded in such an abrasive way. And the albums shifts between loud and quiet, back and forth. Then the song segues into the next track "It's Always Somewhere Else" which is this very nimble jazz song with stellar songwriting. The way it shifts is so great. Seriously this part of the album in particular will make you Forever Changes fans swoooooooon.Yeah its stellar.
Jake Holmes and this album deserve a whole hell of a big bundle of love. Do your part, ye who readeth this!
9.0/10 [First added to this chart: 10/14/2017]
Man, this album is a trip. The utter lack of acoustic guitars is notable especially compared to his first album. But the whole album even when its quietest uses electric guitars with beautiful little effects. And this album is "Psychedelic" but in a very interesting and unique way. It doesn't sound ridiculous in its psychedelia.
His voice is strange and has similar sounds to Tim Buckley at times (but not in at all all Tim Buckley's glory, so don't at all go in thinking you're in for a Tim Buckley through and through equal.), and the production is sad and yet menacing at times in a similar vein to Forever Changes. There are lots of horns and strings, especially on side 1. And there are parts of this album which totally reminded me of Destroyer in its matter of fact peotic ramblings with somewhat strange musical soundscapes swirling around the vocal, this is especially true of track 2 "Late Sleeping day". And another thing I love about this album is its incisive, i mean the productiona nd the sound of the instruments are all so clear, the drummer kills, and the bass is great and the guitars twinkle, and even the somewhat annoying horns all are at least very vibrant and in your face. There is no bleeding of the instruments together in other words.
This is just a fantastic and recommended album. The sound quality or the production qualities do date it a bit, but once you get past that methinks if you're a Love, Tim Buckley, or any number of late 60s weirdos fan then you'll be glad you checked this out.
Oh and "Leaves Never Break" is a fucking masterpiece! It starts so actually frighteningly intense then explodes into this other worldly psychedelic jam which to my ears is insanely great. The vocals are drenched in menace, with this horn off in the distance, and then the vocals occasionally explode and crack and are recorded in such an abrasive way. And the albums shifts between loud and quiet, back and forth. Then the song segues into the next track "It's Always Somewhere Else" which is this very nimble jazz song with stellar songwriting. The way it shifts is so great. Seriously this part of the album in particular will make you Forever Changes fans swoooooooon.Yeah its stellar.
Jake Holmes and this album deserve a whole hell of a big bundle of love. Do your part, ye who readeth this!
9.0/10 [First added to this chart: 10/14/2017]
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#5 of 1968
This was a surprising recent discovery for me. Everything from the name of the artist to the name of the album to the pictures I'd seen of the artist, to the album descriptions of "Outlaw Country (to be fair along with folk and singer/songwriter) made me think this would be some gritty no-nonsense country album with lean and mean and somewhat silly lyrics 'bout living your own life and being a rough rider. But I saw it on Norman Bates' Normlore chart and I decided to check it out.
I can say there is nothing here which is like the description I laid out earlier. The song is a delicate balance between the bluegrass-y rambunctiousness of tracks like "I Makes Money", and most notably, the sweet, sensitive, introspective acoustic folk found on the brittle, beautiful, very lo-fi title track and "Broken Toys" and "Little Bird".
The most famous or most notable perhaps songs here is "The Ballad of the Hulk". And this track is...interesting. Its a jamming, hyperactive, organ-filled, anti-establishment gem of sorts. Its just this fast rapping vocal delivery of a sort of avalanche of defiant poetry. It's actually really cool. And as the song goes, the guitars and drums pick up more and more and it gets all the more propulsive. Its an interesting snapshot of the era as well.
Also gotta say Jerry Jeff Walker had a strong lyrical talent. Its surprising a bit to see he hasn't gotten as much credit as many of his peers, when I think he's on par with many of the greats (*cough*guy*clark*cough).
Anyway, this is a very cool album and I really like it. And what's more I may love his follow up, 1969's "Driftin' Way of Life" album even more. Which makes 1969 alllll the mooooore stacked... that's gonna be a chore. A glorious and fun one, but a chore nonetheless.
8.4/10 [First added to this chart: 10/14/2017]
This was a surprising recent discovery for me. Everything from the name of the artist to the name of the album to the pictures I'd seen of the artist, to the album descriptions of "Outlaw Country (to be fair along with folk and singer/songwriter) made me think this would be some gritty no-nonsense country album with lean and mean and somewhat silly lyrics 'bout living your own life and being a rough rider. But I saw it on Norman Bates' Normlore chart and I decided to check it out.
I can say there is nothing here which is like the description I laid out earlier. The song is a delicate balance between the bluegrass-y rambunctiousness of tracks like "I Makes Money", and most notably, the sweet, sensitive, introspective acoustic folk found on the brittle, beautiful, very lo-fi title track and "Broken Toys" and "Little Bird".
The most famous or most notable perhaps songs here is "The Ballad of the Hulk". And this track is...interesting. Its a jamming, hyperactive, organ-filled, anti-establishment gem of sorts. Its just this fast rapping vocal delivery of a sort of avalanche of defiant poetry. It's actually really cool. And as the song goes, the guitars and drums pick up more and more and it gets all the more propulsive. Its an interesting snapshot of the era as well.
Also gotta say Jerry Jeff Walker had a strong lyrical talent. Its surprising a bit to see he hasn't gotten as much credit as many of his peers, when I think he's on par with many of the greats (*cough*guy*clark*cough).
Anyway, this is a very cool album and I really like it. And what's more I may love his follow up, 1969's "Driftin' Way of Life" album even more. Which makes 1969 alllll the mooooore stacked... that's gonna be a chore. A glorious and fun one, but a chore nonetheless.
8.4/10 [First added to this chart: 10/14/2017]
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#8 of 1969, Part I
I can't seem to figure out how to get his debut self titled debut to even show up as a link choice. Which is 2 things: REALLY INSANELY ANNOYING!!!!!!!!! and also a kind of sweet metaphor for the general concensus of this album.
Depending on what database you're on this is either a 68 or 69 album, and I trust BEA and RYM more than others. So there ya go.
Anyway, Neil's debut is not bad. I actually quite like certain aspects of it. Its clear that Neil Young wasn't yet sure about his image, sound, style at this point. As a result there is a lot of surprising Baroque folk, country sounds here. And even on some of the better tracks here, the orchestra, all weepy and at times over the top, undermines the general rugged grit of Neil Young's songs. Still, the strings sure are pretty!
Some of the songs here are actually excellent, such as "The Loner", "The Old Laughing Lady", etc. But boy, "The Loner" is amazing and rocks so hard! Then those fudging strings elbow in and I'm just not feeling it.
Anyway, I don't wanna stay on this album here too long. I'll just say there was some slight slivers of the potential greatness of solo Neil on this album. But, really it is a big surprise how quickly he shed the bs and made a dozen straight goodies. All he had to do was nix the string arrangements of Nitschke and bring his beats of beast bands into the studio and the legend of Neil Young would be born.
Rating: 6.7/10 [First added to this chart: 10/14/2017]
I can't seem to figure out how to get his debut self titled debut to even show up as a link choice. Which is 2 things: REALLY INSANELY ANNOYING!!!!!!!!! and also a kind of sweet metaphor for the general concensus of this album.
Depending on what database you're on this is either a 68 or 69 album, and I trust BEA and RYM more than others. So there ya go.
Anyway, Neil's debut is not bad. I actually quite like certain aspects of it. Its clear that Neil Young wasn't yet sure about his image, sound, style at this point. As a result there is a lot of surprising Baroque folk, country sounds here. And even on some of the better tracks here, the orchestra, all weepy and at times over the top, undermines the general rugged grit of Neil Young's songs. Still, the strings sure are pretty!
Some of the songs here are actually excellent, such as "The Loner", "The Old Laughing Lady", etc. But boy, "The Loner" is amazing and rocks so hard! Then those fudging strings elbow in and I'm just not feeling it.
Anyway, I don't wanna stay on this album here too long. I'll just say there was some slight slivers of the potential greatness of solo Neil on this album. But, really it is a big surprise how quickly he shed the bs and made a dozen straight goodies. All he had to do was nix the string arrangements of Nitschke and bring his beats of beast bands into the studio and the legend of Neil Young would be born.
Rating: 6.7/10 [First added to this chart: 10/14/2017]
Year of Release:
1968
Appears in:
Rank Score:
554
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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Honorable Mention for 1968
[First added to this chart: 10/14/2017]
Year of Release:
1968
Appears in:
Rank Score:
5,853
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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Honorable Mention for 1968
[First added to this chart: 10/14/2017]
Buy album
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Honorable Mention for 1968
[First added to this chart: 10/14/2017]
Buy album
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Honorable Mention for 1968
[First added to this chart: 10/14/2017]
Year of Release:
1968
Appears in:
Rank Score:
1,539
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Total albums: 22. Page 1 of 3
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1960s Singer/Songwriter Albums composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1960 | 0 | 0% | |
| 1961 | 0 | 0% | |
| 1962 | 0 | 0% | |
| 1963 | 3 | 3% | |
| 1964 | 7 | 7% | |
| 1965 | 12 | 12% | |
| 1966 | 6 | 6% | |
| 1967 | 12 | 12% | |
| 1968 | 22 | 22% | |
| 1969 | 38 | 38% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Bob Dylan | 8 | 8% | |
| Phil Ochs | 5 | 5% | |
| Tim Hardin | 3 | 3% | |
| Bert Jansch | 3 | 3% | |
| Laura Nyro | 3 | 3% | |
| Tim Buckley | 3 | 3% | |
| Fred Neil | 3 | 3% | |
| Show all | |||
1960s Singer/Songwriter Albums chart changes
| Biggest climbers |
|---|
| Up 99 from 100th to 1st Looks Like Rain by Mickey Newbury |
| Up 93 from 99th to 6th John by John Phillips (ZW) |
| Up 91 from 98th to 7th Songs From A Room by Leonard Cohen |
| Biggest fallers |
|---|
| Down 45 from 8th to 53rd The Paul Simon Songbook by Paul Simon |
| Down 41 from 17th to 58th Songs Of Our Times by P.F. Sloan |
| Down 41 from 18th to 59th Songs Of Protest And Anti-Protest by Chris Lucey |
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| Top 100 Music Albums of the 1960s |  bertrandu | 1960s decade chart | 2017 | |
| Top 100 Music Albums of the 1960s |  MrFrogger | 1960s decade chart | 2015 | |
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1960s Singer/Songwriter Albums similarity to your chart(s)
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1960s Singer/Songwriter Albums ratings
90/100 (from 5 votes)
where:
av = trimmed mean average rating an item has currently received.
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Showing all 5 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
95/100  | 08/11/2024 19:15 |  DommeDamian | | 89/100 |
100/100 | 12/03/2023 01:52 | Moondance | | 85/100 |
 100/100 | 10/14/2017 17:52 |  baystateoftheart | | 96/100 |
| 100/100 | 10/14/2017 11:33 |  Repo | | 100/100 |
| 90/100 | 10/14/2017 07:09 |  bobbyb5 | | 90/100 |
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1960s Singer/Songwriter Albums favourites
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1960s Singer/Songwriter Albums comments
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100/100
From Moondance 12/03/2023 01:53
Absolutely love this chart - I can feel the passion you had in creating it. I came to this chart via exploring Vince Martin's anthology - and I will certainly return here as I notice a few artists that have escaped me to date on my own journey through singer/songwriters.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From Repo 10/14/2017 11:33
Repo 10/14/2017 11:33
I think the biggest surprise for me is how low you rank Nick Drake's debut which I consider a masterpiece. I know that you are just getting into Tim Buckley and his charms take a little time, but I know that you've adored Drake for a long time.
But, there is so much stuff here I do not know that's it's impossible to really argue with these ratings. You've become the master in a genre and time period that I thought I knew rather well. Proving yet again that I know nothing. Damn you for that, Mercury. lol
But, yeah this is really, really great stuff. You should definitely continue this project for as long as it still inspires you. Just don't feel compelled to move at such a breakneck speed. lol. When you do, well hop on over to my Mellow Zone. lol.
Peace, brother. Truly phenomenal work, here! Keep it up!!!
Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
90/100
From bobbyb5 10/14/2017 07:12
bobbyb5 10/14/2017 07:12
Awesome. I'm going to make one right now myself. It's going to look very different from yours. I'm more of a pop/rock singer songwriter type of guy. But your chart is awesome anyway, just different than mine will be.
Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)
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