Top 18 Music Albums of 1962 by kokkinos 
- Chart updated: 10/17/2021 20:15
- (Created: 08/20/2021 19:52).
- Chart size: 18 albums.
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Let’s begin by declaring that this is the first record of his that I ever bought, I had already listened to Black Saint And The Sinner Lady and a couple of other Mingus albums and then I discovered this series, I wanna say it was called Masters Of Jazz, but I looked it up and nothing shows up, so it must have been a different title, when I get to my family home -unlikely to happen anytime soon - , I’ll try to dig it up and tell you the exact name. Anyway, it consisted of 22 parts, each one dedicated to a different jazz musician and it included his biography plus 1 album. Well, my initial reaction was to be disappointed it had this instead of Black Saint ..., how wrong was I. Based on Sketches Of Spain being my favourite by Miles Davis, I guess this can’t be that much of a surprise. If I had to compare them, this is a more honest take on the Latin spirit/culture. It fully immerses itself In it, it isn’t afraid to get its hands dirty, while the other one is looking from some distance, more academic if you will. So, what does the album cover tell us? “The album Charlie Mingus feels is his best work” yeah, sure, too bad he’s told something similar for pretty much every single album he ever recorded. The second part of the sentence is definitely more interesting “he and his men re-create an exciting stay in Mexico’s wild and controversial border town”. Now we ‘re talking, this serves as an accurate description of what you are about to hear. It was recorded in 1957, yet released in 1962 - it has been said that RCA was busy promoting a certain Elvis Presley and didn’t have the time to bother with any other artist. So, he visited Tijuana alongside drummer Dannie Richmond while being in a rather negative state of mind – his relationship with his wife Celia was in ruins – so he wanted to escape his problems by exposing himself to various dubious situations – you know what I mean. At the same time, he didn’t forget his craft and managed to create a piece of art that would embody his experiences. Dizzy Moods is the opening track, it's based on a Dizzy Gillespie composition “Woody ‘n You”, where trumpet player Gene Shaw steals the show. Ysabel's Table Dance is by far the most memorable thing here, I’ d say it’s a top 3 Mingus track. Its inspiration is obvious, a night club and some exceptionally skilled at a particular form of dancing that requires taking your clothes off girls. I guess Ysabel must have been a damn fine woman. It starts as a dizzying flamenco that raises dramatic intensity, followed by a piano interlude and then Hadi’s sax works its magic, not to mention some trademark uncontrolled shouting. Tijuana Gift Shop is based on a Mexican melody mixed with some traditional bop themes, a combination that works much better than one might expect. Los Mariachis is another totally unpredictable piece with endless twists and turns that you couldn’t have seen coming – it’s also the bluesiest track of the album. The closing track, Flamingo, finally brings the listener to peace offering a dreamy goodbye. Many artists have based their entire careers on transforming their personal struggles into a creative outburst and the way Mingus does it here surpasses most -if not all- of them. We can relate with some albums, because they remind us of the life we live and then there are albums that we relate, because they offer us a glimpse of a different life, that we may or may not have wanted to have lived instead. This is probably the best example of the second category. To sum it up, there’s one word that perfectly describes this album: hedonistic- I wanna say I came up with it myself, but the truth is there’s a very good chance I “borrowed” it from someone else, I really can’t recall, whatever. Ideally, I would like to close this comment with the pompous statement that this is my favourite jazz album of all time, but this would be somewhat misleading, if not outright pretentious, I feel the urgency to stress once more how painfully close his top four albums are for me and that each of them could have been given the nod.
[First added to this chart: 10/17/2021]
Year of Release:
1962
Appears in:
Rank Score:
513
Rank in 1962:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
5
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It should have become clear by now that Mingus has a tendency to hit the nail on the head with those titles and this one’s no exception, that’s the perfect title, Oh yeah! The same applies to the album cover as well, he is in a league of his own. Moving on to the real deal, Mingus gives up the bass – Doug Watkins is in charge instead- and takes up piano and vocals – oh yeah, those vocals! Well, they are not exactly that, but how can you describe them – that’s a running theme throughout this album, lots of things are going on that are almost impossible to express through words-, probably an unprecedented hybrid between shouting/squealing/howling/whatever. At some point he was asked how come he decided to add “singing” to his repertoire, he said something along the lines of I always do, it’s just that this time around the mics were left open, lol. Blues - in the rough/gritty way that I usually don’t like, but Mingus has the hands of Midas, everything he touches becomes gold - with a healthy dose of soul/gospel and tons of humour are the three main elements that make this album what it is. The opening track is madness personified, Mingus is in the zone and there’s no way you can stop him. It’s easy to tell artists like Frank Zappa and Captain Beefheart were taking notes. Wham Bam is a piece that wouldn’t be out of place in Pithecanthropus Erectus, it expands on some ideas that were present there, the only difference being you could say it’s on steroids this time. Eat That Chicken is another refreshingly crazy ride, and again, what can one say about this stuff, words can’t do it justice, or at least I'm not good enough with them to carry off such a task. Passions of a Man makes for another spectacular and groundbreaking show, it is rightfully considered one of the very first moments of psychedelic music put on record. Above all, if there's one thing that makes this album stand out, it’s definitely the mood, everyone‘s having so much fun to the point it is instantly infectious, you ‘ll join the party without a second thought and soon enough you will not remember how or why you got there, but you won’t care that much about it anyway – and to return to the point I made at the start of this comment, you ‘ll be screaming Oh Yeah!.
[First added to this chart: 10/17/2021]
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I guess you could view him as a male version of Etta James, i.e. monumentally talented individual that shines so very bright even when surrounded by mediocre songs and elevates them to unthinkable levels of greatness thanks to his wonderful voice, crystal clear yet emotionally fragile. We get to see some versatility as well, Dance introduces us a completely different side of him that seems to have come out of the blue compared to the first part of this record. I prefer his ballads by some distance, but it’s nice to see that he rocks better than most of his peers. The self-titled track is fabulous and my favourite here, though most bass aficionados will point to Lana – and for good reason - as the highlight of the album.
[First added to this chart: 10/17/2021]
Year of Release:
1962
Appears in:
Rank Score:
332
Rank in 1962:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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Aw, look at this album cover, what a cute little boy, I 'm sure he'll make it big when he grows up.
Here's another album I probably rank slightly higher than the average listener. Unless I’m mistaken, I believe Dylan himself isn't such a big fan either. I agree with Mercury’s remark a few posts back that it’s slightly overlooked, if not underrated – maybe its historical significance overshadows its value as a standalone piece of art.
There’s a variety of ways an artist’s career might develop. Some of them knock it out of the park with their very first try – and it’s not uncommon that they run out of ideas and never top their debut. But there’s a certain magic when you watch an artist make baby steps towards greatness and be there when he realises his full potential – and some of the greatest artists of all time did follow a similar course, that’s the natural progression I guess. Unfortunately, I didn’t have the chance of being there as it all happened and this wasn’t one of the first Bob Dylan albums I got my hands on. I can’t help but wonder how people who have been following him all along feel when listening to it now and how it compares to their very first listening experience almost 60 (!!) years ago, a really crushing thought. Anyway, for Bob Dylan, the journey from apprentice to master lasted only a year, as his next release, The Freewheelin’ Bob Dylan, would emphatically showcase. This shouldn’t let us forget or ignore the position this one deserves, the rookie charm wouldn’t be repeated ever again, it’s exclusively available here.
So, fasten your seatbelts, it all starts with the very first track, You ‘ re No Good. Even though it’s a cover, it shows some of his trademark characteristics, economical and cynical, speaking straight to the bone. Then it’s time for the first original, the first glimpse of his humongous talent as a songwriter. It comes with a semi-autobiographical vibe, though one has to be careful with that kind of descriptions, it’s extremely hard to distinguish reality and myth in Dylan’s work. His first experiences in New York make him realise it’s not exactly generous to guests, this negativity comes to life through the images he paints in a refreshingly straightforward and vivid manner, it’s cold and lonely out there. The consensus is that the covers are performed with various levels of success, but I can hardly find anything to complain about, he leaves his mark on all of them, the most important part being that each of them is instantly recognisable. The second original, Song to Woody, is obviously a tribute to his hero, Woody Guthrie. It’s touching how small and irrelevant he feels in front of his idol, though I have to confess I consider it inferior to Talkin’ New York – mainly due to how great that one is, nothing against Song To Woody, which is also excellent.
His harmonica is pure bliss. I’ve had the pleasure of listening to this on vinyl many times and there are parts when I worried the power of his playing will shatter the record into pieces – thankfully, it never did. His guitar playing is far from spectacular – you’d have a hard time calling it professional either – but I’d say it’s generally on point and serves its intended purpose just fine. His energy (just listen to Freight Train Blues) and his “hunger” are contagious. He is young and alive, he keeps relentlessly attacking those – based on my limited knowledge, some of them classics, some of them not so much - traditional songs and tearing them apart while giving them new life in the meantime. However, the most impressive is how effortlessly this operation is executed, he gives the impression that it’s no big deal for him, he’s been there done that multiple times, there are instances where he sounds like a veteran. It was all recorded in the space of two days. I can safely say he didn’t need any more. Just two days and he was on the right track, the music as we knew it would soon become a thing of the past, it would never be the same again. On the other hand, it has to be said that, not only was this record far from a commercial success, it remains largely unnoticed even today. Still, I’d recommend it without any hesitation. It’s cool having the chance to see where he began. (To return to a point I made when I started looking deeper into 1962, what a year for debuts, Bob Dylan, The Beach Boys, Stevie Wonder, Herbie Hancock, etc.)
Here's another album I probably rank slightly higher than the average listener. Unless I’m mistaken, I believe Dylan himself isn't such a big fan either. I agree with Mercury’s remark a few posts back that it’s slightly overlooked, if not underrated – maybe its historical significance overshadows its value as a standalone piece of art.
There’s a variety of ways an artist’s career might develop. Some of them knock it out of the park with their very first try – and it’s not uncommon that they run out of ideas and never top their debut. But there’s a certain magic when you watch an artist make baby steps towards greatness and be there when he realises his full potential – and some of the greatest artists of all time did follow a similar course, that’s the natural progression I guess. Unfortunately, I didn’t have the chance of being there as it all happened and this wasn’t one of the first Bob Dylan albums I got my hands on. I can’t help but wonder how people who have been following him all along feel when listening to it now and how it compares to their very first listening experience almost 60 (!!) years ago, a really crushing thought. Anyway, for Bob Dylan, the journey from apprentice to master lasted only a year, as his next release, The Freewheelin’ Bob Dylan, would emphatically showcase. This shouldn’t let us forget or ignore the position this one deserves, the rookie charm wouldn’t be repeated ever again, it’s exclusively available here.
So, fasten your seatbelts, it all starts with the very first track, You ‘ re No Good. Even though it’s a cover, it shows some of his trademark characteristics, economical and cynical, speaking straight to the bone. Then it’s time for the first original, the first glimpse of his humongous talent as a songwriter. It comes with a semi-autobiographical vibe, though one has to be careful with that kind of descriptions, it’s extremely hard to distinguish reality and myth in Dylan’s work. His first experiences in New York make him realise it’s not exactly generous to guests, this negativity comes to life through the images he paints in a refreshingly straightforward and vivid manner, it’s cold and lonely out there. The consensus is that the covers are performed with various levels of success, but I can hardly find anything to complain about, he leaves his mark on all of them, the most important part being that each of them is instantly recognisable. The second original, Song to Woody, is obviously a tribute to his hero, Woody Guthrie. It’s touching how small and irrelevant he feels in front of his idol, though I have to confess I consider it inferior to Talkin’ New York – mainly due to how great that one is, nothing against Song To Woody, which is also excellent.
His harmonica is pure bliss. I’ve had the pleasure of listening to this on vinyl many times and there are parts when I worried the power of his playing will shatter the record into pieces – thankfully, it never did. His guitar playing is far from spectacular – you’d have a hard time calling it professional either – but I’d say it’s generally on point and serves its intended purpose just fine. His energy (just listen to Freight Train Blues) and his “hunger” are contagious. He is young and alive, he keeps relentlessly attacking those – based on my limited knowledge, some of them classics, some of them not so much - traditional songs and tearing them apart while giving them new life in the meantime. However, the most impressive is how effortlessly this operation is executed, he gives the impression that it’s no big deal for him, he’s been there done that multiple times, there are instances where he sounds like a veteran. It was all recorded in the space of two days. I can safely say he didn’t need any more. Just two days and he was on the right track, the music as we knew it would soon become a thing of the past, it would never be the same again. On the other hand, it has to be said that, not only was this record far from a commercial success, it remains largely unnoticed even today. Still, I’d recommend it without any hesitation. It’s cool having the chance to see where he began. (To return to a point I made when I started looking deeper into 1962, what a year for debuts, Bob Dylan, The Beach Boys, Stevie Wonder, Herbie Hancock, etc.)
Year of Release:
1962
Appears in:
Rank Score:
879
Rank in 1962:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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His collaboration with Mingus should be enough to cement his legacy as a legendary saxophone player, but his work as a band leader ain’t half bad either. He is one of the most addictive jazz musicians I can think of, you can’t quite put your finger on the exact reason he draws you in, you simply find yourself coming back for more of his performances. Here he is on top of his game, so you know you are in for a treat.
[First added to this chart: 10/17/2021]
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Wow, what is this and how isn’t it more well-known? I thought another 1962 album, namely Oh Yeah by Charles Mingus would be the most inspiring for artists like Frank Zappa and Captain Beefheart, but this one is plain bonkers, they must have been taking notes. It's one of the earliest examples of psychedelic music, it makes for a terrifying (in a style Suicide would master more than a decade later), spiritual (a Western take on Buddhism, Taoism, and Hinduism) and outright hysterical journey that words can't do it justice, you got to experience it yourself. There are many albums I’ve encountered in the course of this diary that I plan to re-visit at some point, so that I have a chance to form an established opinion on them, and this is near the very top of this list.
[First added to this chart: 10/17/2021]
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Even though I think he’s at his best when he plays the flute, the man can do pretty much anything, he knows no boundaries. He covers a lot of ground, exploring various ideas through a mix of original material and well known standards. Despite his uncompromising and experimental mentality– I mean, the man has been a major influence on Frank Zappa, that’s all you need to know - his sound is always easy on the ears and highly enjoyable, which is a basic ingredient of the recipe for success – for me at least, as it tends to happen with many of my favourite jazz artists, i.e. Mingus or Dolphy. Another remarkable feature of this album is that no track is longer than 5 minutes, yet there’s so much going on in each of them, you can never predict what turn it will take next, the epitome of density and conciseness.
[First added to this chart: 10/17/2021]
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(Discovered this thanks to Hayden’s chart, excellent rec as always).
Speaking of emotionally fragile, that’s as intense as it gets. You are a first-hand witness as her voice – and her heart – are breaking to pieces, it makes for a haunting, almost disturbing experience, it’s definitely not for the faint-hearted. [First added to this chart: 10/17/2021]
Speaking of emotionally fragile, that’s as intense as it gets. You are a first-hand witness as her voice – and her heart – are breaking to pieces, it makes for a haunting, almost disturbing experience, it’s definitely not for the faint-hearted. [First added to this chart: 10/17/2021]
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I can only do so long without Eric Dolphy, so here we go again. The truth is I don’t find myself returning to this as often as some of his other records, but it remains an important piece of the puzzle if you are trying to figure out this multidimensional artist. Also, I can’t deny the beauty of Ode to Charlie Parker. It’s as if it came straight from above, outright heavenly.
[First added to this chart: 10/17/2021]
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There’s something about this album, it takes you back to primitive times and brings a very ugly side to the surface, which makes it so very human to the core. If only folk was like that more often (ok, I haven’t been looking that hard, so there’s a good chance it is, I don’t know).
[First added to this chart: 10/17/2021]
Total albums: 18. Page 1 of 2
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Top 18 Music Albums of 1962 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Charles Mingus | 2 | 11% | |
| Karlheinz Stockhausen | 1 | 6% | |
| Daphne Oram | 1 | 6% | |
| Julio Sosa | 1 | 6% | |
| Roy Orbison | 1 | 6% | |
| Booker Little | 1 | 6% | |
| Bob Dylan | 1 | 6% | |
| Show all | |||
Top 18 Music Albums of 1962 chart changes
| Biggest fallers |
|---|
| Down 1 from 4th to 5th Let Freedom Ring by Jackie McLean |
| Down 1 from 5th to 6th This Is IT by Alan Watts |
| Down 1 from 6th to 7th Domino by Roland Kirk |
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Other year charts by kokkinos
(from the 1960s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 32 Music Albums of 1965 | kokkinos | 1965 year chart | 2022 | |
| Top 36 Music Albums of 1964 | kokkinos | 1964 year chart | 2022 | |
| Top 33 Music Albums of 1963 | kokkinos | 1963 year chart | 2022 | |
| Top 18 Music Albums of 1962 | kokkinos | 1962 year chart | 2021 | |
| Top 14 Music Albums of 1961 | kokkinos | 1961 year chart | 2021 | |
| Top 13 Music Albums of 1960 | kokkinos | 1960 year chart | 2022 | |
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.