Top 9 Music Albums of 1966
by 
DriftingOrpheus 
- Chart updated: 02/26/2025 04:45
- (Created: 06/12/2020 15:43).
- Chart size: 9 albums.
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Film director Todd Haynes once made a wonderful film entitled I'm Not There (2007). In it, a fabled troubadour, storyteller, prophet, father, icon and outlaw all follow an intersecting, snaking path of existence. They all went by the name of Bob Dylan. "A song is something that walks by itself" said the poet. Todd Haynes knew there was no single way to personify music's resident Shakespeare, but this album may be the finest summation of the man himself.
Laying out themes of love, loss, ambition, desolation, desire and drug use, all of which could apply to Dylan during his finest creative years, Blonde on Blonde serves as the magnum opus for one of music's finest artists. He's never been more cheeky than with Rainy Day Women #12 and #35. He's never been more bashfully in love than with I Want You and he's never been more appreciative than with Sad-Eyed Lady of the Lowlands. Dylan never more clearly presented his thoughts through music and we have the LP to prove it.
A stunning collection of emotional highs and lows, one can't help but marvel at Dylan's wordplay and pension for lyrical brainstorm. Through all this, Dylan stayed tight-lipped while contemporaries such as the Fab Four themselves gawked at his greatness. The bard stayed playfully humble or ostentatiously coy for the entire duration. I suppose the truth comes down to how you view the man, or maybe more astutely, his music.
"Mona tried to tell me
To stay away from the train line
She said that all the railroad men
Just drink up your blood like wine
An' I said, "Oh, I didn't know that
But then again, there's only one I've met
An' he just smoked my eyelids
An' punched my cigarette"
- Stuck Inside of Mobile with the Memphis Blues Again
Standout Tracks:
1. Just Like a Woman
2. I Want You
3. One of Us Must Know (Sooner or Later)
98.63 [First added to this chart: 11/03/2020]
Laying out themes of love, loss, ambition, desolation, desire and drug use, all of which could apply to Dylan during his finest creative years, Blonde on Blonde serves as the magnum opus for one of music's finest artists. He's never been more cheeky than with Rainy Day Women #12 and #35. He's never been more bashfully in love than with I Want You and he's never been more appreciative than with Sad-Eyed Lady of the Lowlands. Dylan never more clearly presented his thoughts through music and we have the LP to prove it.
A stunning collection of emotional highs and lows, one can't help but marvel at Dylan's wordplay and pension for lyrical brainstorm. Through all this, Dylan stayed tight-lipped while contemporaries such as the Fab Four themselves gawked at his greatness. The bard stayed playfully humble or ostentatiously coy for the entire duration. I suppose the truth comes down to how you view the man, or maybe more astutely, his music.
"Mona tried to tell me
To stay away from the train line
She said that all the railroad men
Just drink up your blood like wine
An' I said, "Oh, I didn't know that
But then again, there's only one I've met
An' he just smoked my eyelids
An' punched my cigarette"
- Stuck Inside of Mobile with the Memphis Blues Again
Standout Tracks:
1. Just Like a Woman
2. I Want You
3. One of Us Must Know (Sooner or Later)
98.63 [First added to this chart: 11/03/2020]
Year of Release:
1966
Appears in:
Rank Score:
25,063
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
The rhetoric around 1966's Pet Sounds tends to be reduced to white noise these days due to the sheer volume that it embodies. Brian Wilson's first pet project gets praised to the heavens long before he attempted his hand at a teenage symphony to God. However, it would be dishonest to champion the unbridled success that Pet Sounds is without applauding the contributions of Wilson's fellow Beach Boys, whose creative input and vocal dexterity helped shaped the spine of the record. Yes, Pet Sounds is and remains a supermassive footprint in the annals of popular music that remains uneroded by the passage of time. However, for me, a self-diagnosed diehard of a group that presently gets reduced to karaoke duty on seniors night at the local tavern (which is shame considering the remarkable legacy of The Beach Boys), the album represents something far different. It's a vivid snapshot of an ensemble that was firing on all cylinders, with (nearly) all of the Beach Boys full committed to Brian's madcap and daring artistic direction. A unshackled, fully energized Wilson, with help from the Wrecking Crew, captained a forward thinking, yet classically aligned project that would forever dwarf the rest of the band's output. Most importantly, the end product paints a picture of one of the last times that the Beach Boys were truly happy as a unit. This headspace helped produce the most beautiful pop album of all time.
The illustrious record begins with 12-string guitar twangs of "Wouldn't It Be Nice", a daydream yearning for romantic freedom, away from the restraints of being a youth. It's a premise seemingly rooted in the early days of the band, born of the triad of cars, girls and surfing. However, the lyrics mark a noticeable schism between eras, abandoning the face value nature of Girls on the Beach and Fun, Fun, Fun while having more in common with the metaphorical complexity of In My Room and Surfer Girl. Still, Wilson opts to live through his fantasies as opposed to acknowledging a murky future, a grim harbinger for the minimal staying power of young love, packaged within one of the most genial melodies in the band's canon. It's a formula that the Boys would employ later down the line in much darker, less disguised LP's. Track two, "You Still Believe in Me", commences with one of music's most tear-inducing introductions. The gorgeous prepared piano motif shimmers with fragility as the strings are plucked. Amidst the tempo changes, Wilson employs bike horns and harpsichord bathed in the trademark Beach Boys harmonies. The track celebrates the power of unconditional adoration and forgives the fallibility of human beings. "That's Not Me" deals with internal deliberation and self-diagnosis. Dennis Wilson's drums propel the track as lead vocals from Mike Love detail the prioritization of career success and remaining true to one's self. Track four, "Don't Talk (Put Your Head on My Shoulder)" embodies the simplest song on the record thus far in terms of thematic weight. However, the song lends itself to projection from the listener, offering a figurative shoulder to rest during their own personal strife. It's a song of considerable intimacy, perpetually cascading downwards as considerate cymbal strikes and bass ease the listener into tranquility.
Track Five, "I'm Waiting for the Day" emphasizes emotional patience and perseverance as a bombastic drum sequence outlines the uptempo cut. The statement here is one of poignant understanding and the value of following your heart in lieu of settling. The dynamic nature of the track is exemplified as drums and woodwinds simultaneously flurry between vociferous and restrained passages. The album arrives at its first instrumental with "Let's Go Away for Awhile", a piece that Brian Wilson has called the "most satisfying of his life". The track smolders to start, escalating with precise drum hits as horns and strings hover carefully underneath. The final track of the first side owes its inclusion to Al Jardine, who pushed for Brian to record the song. What came of it was a remarkably vibrant, twinkling rendition of a well-traveled folk tune. Another appearance of the doubletracked bass provides "Sloop John B" with punch and affirms the song's place as one of the more jolly excursions on Pet Sounds. It also provides respite from the introspective nature of the tracks preceding it. It echoes the Beach Boys of the past, armed with a newfound sonic complexity and whimsy. Residing in the eighth spot on the record is a landmark, spawning a life of its own, far beyond the context of Pet Sounds as a whole. Hyperbole aside, "God Only Knows" remains the centerpiece of Pet Sounds, equal parts innocent, melodramatic and brilliant. Sleigh Bells kiss the air as Carl Wilson's vocals leave nothing to the imagination. The string arrangement that permeates throughout envelopes the piece in a cocoon of sonic sublimity acting as a conduit for the emotional heft of Wilson and Asher's lyrics.
Brian Wilson details his enlightenment during an LSD trip in a track that was originally known as "Hang On to Your Ego". What we now know as "I Know There's an Answer" marks somewhat of kaleidoscope of sonic flavor on the record, exemplified by a bass harmonica solo and hammond organ. The track initially dealt with the dangers of relying on LSD to pacify your troubles. After some internal pushback, Wilson and Terry Sachen were forced to rewrite. However, inklings of the original intent have remained. "They come on like they're peaceful, but inside they're so uptight; They trip through their day and waste all their thoughts at night." Tenth Track, "Here Today" partially subverts the themes of "I'm Waiting for the Day" while never compromising the latter's significance. The former paints a picture of a cautionary tale of love for love's sake. It carries a bit of sentiment from the pop balladry of the late 50's and early 60's but tunefully updates the spirit of the piece to accommodate to Pet Sound's lush, baroque sensibilities. The attitudes expressed in "Here Today" further accentuate reflections of an innocent, wide-eyed Beach Boys style from the past converging with a wiser, more pensive creative outlook for the band. Pet Sound's final trio alternate between reflective pieces and the psychedelic, sonic identity of the record. "I Just Wasn't Made for These Times" explores one's place in society amidst anxiety-riddled theremin that colors the piece. "Pet Sounds" is a sonic, exotica-laced trip supported by four different kinds of saxophones and Coca-Cola cans. Finally, "Caroline, No" ends the record on a downtrodden note, reflecting on a former flame that can't be recognized anymore from his own vantage point as the ambience of barks and a chugging train ends the LP.
Pet Sounds leaves an impression in the musical terrain like an asteroid scar, forever altering its climate. As stated earlier, this has all been well-documented and explored. Inversely, listeners should see the album as a catalyst and less of an artifact, effortlessly as relevant today as it was then. It's the musical representation of the faith bestowed in others by trusted friends. It's a warm, inviting embrace awash in human fallibility and the subsequent understanding that should come with it. Brian Wilson would personally struggle soon after and his fellow Beach Boys would progressively diminish along with the fruits of their labor (despite a handful of gems). The cruelty of time would shroud their innovative accomplishments with only the gimmick that pigeon-holed them remaining. However, for one shining moment, five timid young men were at the forefront of musical expression and progression, in an era where the album as an artistic construct had not yet been fully realized. From "Little Deuce Coupe" to "God Only Knows", the Beach Boys had reached Nirvana with Pet Sounds as their guiding light.
"God only knows what I'd be without you."
- God Only Knows
1. Wouldn't It Be Nice
2. Sloop John B
3. You Still Believe in Me
93 [First added to this chart: 11/03/2020]
The illustrious record begins with 12-string guitar twangs of "Wouldn't It Be Nice", a daydream yearning for romantic freedom, away from the restraints of being a youth. It's a premise seemingly rooted in the early days of the band, born of the triad of cars, girls and surfing. However, the lyrics mark a noticeable schism between eras, abandoning the face value nature of Girls on the Beach and Fun, Fun, Fun while having more in common with the metaphorical complexity of In My Room and Surfer Girl. Still, Wilson opts to live through his fantasies as opposed to acknowledging a murky future, a grim harbinger for the minimal staying power of young love, packaged within one of the most genial melodies in the band's canon. It's a formula that the Boys would employ later down the line in much darker, less disguised LP's. Track two, "You Still Believe in Me", commences with one of music's most tear-inducing introductions. The gorgeous prepared piano motif shimmers with fragility as the strings are plucked. Amidst the tempo changes, Wilson employs bike horns and harpsichord bathed in the trademark Beach Boys harmonies. The track celebrates the power of unconditional adoration and forgives the fallibility of human beings. "That's Not Me" deals with internal deliberation and self-diagnosis. Dennis Wilson's drums propel the track as lead vocals from Mike Love detail the prioritization of career success and remaining true to one's self. Track four, "Don't Talk (Put Your Head on My Shoulder)" embodies the simplest song on the record thus far in terms of thematic weight. However, the song lends itself to projection from the listener, offering a figurative shoulder to rest during their own personal strife. It's a song of considerable intimacy, perpetually cascading downwards as considerate cymbal strikes and bass ease the listener into tranquility.
Track Five, "I'm Waiting for the Day" emphasizes emotional patience and perseverance as a bombastic drum sequence outlines the uptempo cut. The statement here is one of poignant understanding and the value of following your heart in lieu of settling. The dynamic nature of the track is exemplified as drums and woodwinds simultaneously flurry between vociferous and restrained passages. The album arrives at its first instrumental with "Let's Go Away for Awhile", a piece that Brian Wilson has called the "most satisfying of his life". The track smolders to start, escalating with precise drum hits as horns and strings hover carefully underneath. The final track of the first side owes its inclusion to Al Jardine, who pushed for Brian to record the song. What came of it was a remarkably vibrant, twinkling rendition of a well-traveled folk tune. Another appearance of the doubletracked bass provides "Sloop John B" with punch and affirms the song's place as one of the more jolly excursions on Pet Sounds. It also provides respite from the introspective nature of the tracks preceding it. It echoes the Beach Boys of the past, armed with a newfound sonic complexity and whimsy. Residing in the eighth spot on the record is a landmark, spawning a life of its own, far beyond the context of Pet Sounds as a whole. Hyperbole aside, "God Only Knows" remains the centerpiece of Pet Sounds, equal parts innocent, melodramatic and brilliant. Sleigh Bells kiss the air as Carl Wilson's vocals leave nothing to the imagination. The string arrangement that permeates throughout envelopes the piece in a cocoon of sonic sublimity acting as a conduit for the emotional heft of Wilson and Asher's lyrics.
Brian Wilson details his enlightenment during an LSD trip in a track that was originally known as "Hang On to Your Ego". What we now know as "I Know There's an Answer" marks somewhat of kaleidoscope of sonic flavor on the record, exemplified by a bass harmonica solo and hammond organ. The track initially dealt with the dangers of relying on LSD to pacify your troubles. After some internal pushback, Wilson and Terry Sachen were forced to rewrite. However, inklings of the original intent have remained. "They come on like they're peaceful, but inside they're so uptight; They trip through their day and waste all their thoughts at night." Tenth Track, "Here Today" partially subverts the themes of "I'm Waiting for the Day" while never compromising the latter's significance. The former paints a picture of a cautionary tale of love for love's sake. It carries a bit of sentiment from the pop balladry of the late 50's and early 60's but tunefully updates the spirit of the piece to accommodate to Pet Sound's lush, baroque sensibilities. The attitudes expressed in "Here Today" further accentuate reflections of an innocent, wide-eyed Beach Boys style from the past converging with a wiser, more pensive creative outlook for the band. Pet Sound's final trio alternate between reflective pieces and the psychedelic, sonic identity of the record. "I Just Wasn't Made for These Times" explores one's place in society amidst anxiety-riddled theremin that colors the piece. "Pet Sounds" is a sonic, exotica-laced trip supported by four different kinds of saxophones and Coca-Cola cans. Finally, "Caroline, No" ends the record on a downtrodden note, reflecting on a former flame that can't be recognized anymore from his own vantage point as the ambience of barks and a chugging train ends the LP.
Pet Sounds leaves an impression in the musical terrain like an asteroid scar, forever altering its climate. As stated earlier, this has all been well-documented and explored. Inversely, listeners should see the album as a catalyst and less of an artifact, effortlessly as relevant today as it was then. It's the musical representation of the faith bestowed in others by trusted friends. It's a warm, inviting embrace awash in human fallibility and the subsequent understanding that should come with it. Brian Wilson would personally struggle soon after and his fellow Beach Boys would progressively diminish along with the fruits of their labor (despite a handful of gems). The cruelty of time would shroud their innovative accomplishments with only the gimmick that pigeon-holed them remaining. However, for one shining moment, five timid young men were at the forefront of musical expression and progression, in an era where the album as an artistic construct had not yet been fully realized. From "Little Deuce Coupe" to "God Only Knows", the Beach Boys had reached Nirvana with Pet Sounds as their guiding light.
"God only knows what I'd be without you."
- God Only Knows
1. Wouldn't It Be Nice
2. Sloop John B
3. You Still Believe in Me
93 [First added to this chart: 11/03/2020]
Year of Release:
1966
Appears in:
Rank Score:
39,184
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
86.5
[First added to this chart: 11/09/2023]
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85.3
[First added to this chart: 03/04/2024]
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84.9
[First added to this chart: 09/18/2023]
Year of Release:
1966
Appears in:
Rank Score:
1,193
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
82.1
[First added to this chart: 11/03/2020]
Year of Release:
1966
Appears in:
Rank Score:
49,531
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
78.2
[First added to this chart: 11/30/2020]
Year of Release:
1966
Appears in:
Rank Score:
4,274
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
77.7
[First added to this chart: 09/20/2021]
Buy album
- #Sponsored
74.8
[First added to this chart: 01/14/2023]
Total albums: 9. Page 1 of 1
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Top 9 Music Albums of 1966 composition
| Artist | Albums | % | |
|---|---|---|---|
|
|
|||
| The Beach Boys | 1 | 11% | |
| Art Blakey & The Jazz Messengers | 1 | 11% | |
| Lee Morgan | 1 | 11% | |
| Wayne Shorter | 1 | 11% | |
| The Beatles | 1 | 11% | |
| Simon & Garfunkel | 1 | 11% | |
| Jacques Brel | 1 | 11% | |
| Show all | |||
Top 9 Music Albums of 1966 chart changes
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| Best Ever Artists | |
|---|---|
| 1. The Beatles | |
| 2. Radiohead | |
| 3. Pink Floyd | |
| 4. David Bowie | |
| 5. Bob Dylan | |
| 6. Led Zeppelin | |
| 7. The Rolling Stones | |
| 8. Arcade Fire | |
| 9. Nirvana | |
| 10. Neil Young | |
| 11. The Velvet Underground | |
| 12. Kendrick Lamar | |
| 13. Miles Davis | |
| 14. The Smiths | |
| 15. The Beach Boys | |
| 16. R.E.M. | |
| 17. Kanye West | |
| 18. Pixies | |
| 19. Bruce Springsteen | |
| 20. Jimi Hendrix |
