Listed below are the best albums of the 1960s as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 3 hours ago).
"I feel like this album could have been (and still could be) better received if it had better packaging and marketing, and a better title, which sounds weird maybe, but people weren't prepared for what a change of direction it is. If you tell me something is cosmic blues, I'm expecting loosey-goos...""I feel like this album could have been (and still could be) better received if it had better packaging and marketing, and a better title, which sounds weird maybe, but people weren't prepared for what a change of direction it is. If you tell me something is cosmic blues, I'm expecting loosey-goosey somewhat-psychedelic white-boy blues noodling....like Big Brother. But this isn't that, it's basically urban R&B, what they called Soul back then, and it's a big swerve for her, and it should have been framed that way. I agree it could be a little better mixed and mastered, but I think the arrangements are good...really good. She got away from her "big brothers" and took control of her own sound, and maybe people weren't ready for that. Also, I think there's a lot of "They don't give a damn about any trumpet playin' band/It ain't what they call rock and roll" reaction to this record. I don't tend to love vocalist-over-studio-band records, but this one is really good, it's not a collection of songs like a lot of those tend to be, but a single work with a nice arc and pace. Underrated as hell, I'd say.
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"The Who's second album is a much more democratic affair than it's predecessor, my generation. Both Roger Daltrey and even Keith Moon contribute to the songwriting, but unfortunately again like, my generation, it flatters to deceive. There is some good stuff here though, Boris the spider, is one o...""The Who's second album is a much more democratic affair than it's predecessor, my generation. Both Roger Daltrey and even Keith Moon contribute to the songwriting, but unfortunately again like, my generation, it flatters to deceive. There is some good stuff here though, Boris the spider, is one of John Entwistle's most glorious creations, it's a giddy black comedy, featuring the kind of humour The Who were always excellent at. So sad about us, is one Pete Townshend's best songs of the band's early years, but the most substantial track is his, a quick one, while he's away, a mini opera, which takes up about a third of the album, it's an enjoyable cut. Best of the rest is Daltrey's, see my way, and Entwistle's, whiskey man. There's a bit of filler here with Moon's nonsense, cobwebs and strange, and Pete's, don't look away, although there is an entertaining version of, heatwave. As when, my generation, was made, The Who were a better singles group than albums at that time, but that would finally change on their next release, The Who sell out. "[+]Reply
"Joni has been blowing my mind lately. I previously had only a passing knowledge of her work, and in my head I almost thought of Blue as her coming out party, her first great album. I thought of her jazz albums as her most revered albums and perhaps that is true, but I just didn't have a clear pic...""Joni has been blowing my mind lately. I previously had only a passing knowledge of her work, and in my head I almost thought of Blue as her coming out party, her first great album. I thought of her jazz albums as her most revered albums and perhaps that is true, but I just didn't have a clear picture of her capabilities as a musician or as a lyricist.
For my much more quickie 1968 list I discovered her debut and I was incredibly impressed. I was wondering why that album was not mentioned as one of the great debut albums of the 60s or even of all time. It was delicate, detailed, featured moments of intensely inventive musical expression. And it was number 4 for 68. And as I looked ahead at 69-72, my mouth watered with all the surely great albums I'd get to yap about in the future.
Which brings us to this album, 1969's sophomore album Clouds. And you know what? This is a masterpiece. It takes everything which made Song To The Seagull so vibrant and brilliant to me and turns it up even further. Joni just honed her talents to a bright, razor sharp level here. The lyrics became more personal and biting and, to me, more beautiful, the guitar playing is the same level of insane but more clear and mesmerizing, the arrangements were less busy and have more room to breathe.
And here's the thing, when I hear the songs "Chelsea Morning, "That Song About The Midway", "The Gallery", "I Think I Understand" and "Both Sides Now" I am filled up with an intense affinity for Joni. Like, I am just in love, I feel like I hearing someone I just really like, I empathize, and I just smile and say "Sing it, I feels you". That is a silly point perhaps, but I just want to say that cuz its unique. I don't have that feeling about solo artists much where I just love hearing them speak their minds like I'm hearing a peer and I am just filling up with joy. Dylan on Nashville Skyline and Blood On The Tracks and Freewheelin' and Another Side has that going for it, Townes on Live At The Old Quarter in particular, Joni on this and Ladies of the Canyon and Blue, and there may be a few other examples, but its a rare feeling is all I'm saying.
Okay, and even on the songs which are a bit darker and detached from that feeling of kinship I feel on half this album, songs like "Tin Angel", "Songs To Aging Children" etc, I feel something else almost as powerful. Its like Joni could convey a whole complete world and feeling with some perfectly chosen guitar chords or piano chords and sing out these deep lyrics with such musical prowess that I just instantly buy in.
Okay, and I'm not on my game today expressing why I love this album. Its great! Okay!?
The way she says "I am Dead!" with that strange accent or something on "The Gallery" and the whole chorus just kills me! Its just so impossibly great! The mood and the dark, hypnotic beauty of the opener "Tin Angel", and the unearthly harmonies in "Songs to Aging Children", oh my gosh oh my gosh, the sheer joyeous beauty of the entirety of "Chelsea Morning", the sweet then sad then sweet etc yo-yo of "That Song About The Midway" with its just amazing everything,, and of course the stunning and hall of fame level perspective and joy and reality of "Both Sides Now", etc etc I just love so much about this album.
Now when I laid out these ranks a few days ago, I didn't foresee my sudden upsurge in love for that Steve Young album. So maybe when I get to the rating it will seem strange that this is higher than that. But really, I stand by these rankings. Cuz the highs of this album, the happiness and empathy I feel here is much greater than for Rock Salt and Nails, even if I feel that may be a better all around album.
I will say also that the A Capella (spelling that right? doubtful ryan, doubtful) performance of "The Fiddle and the Drum" grates on me a bit. scratch that, it grates on me a lot. Just annoys me and ruins the whole momentum of the otherwise genius album. Also the song "Roses Blue" is strange and has cool and strange effects and all but it just doesn't work for me by and large. And.... those are the gripes I have.
This album is great, Joni is the greatest vocalist on this list (sorry Tim Buckley) she is one of the best guitarists here. She is top 5 lyricist probably all time. She is/was a greater songwriter with a better ear for music than almost everyone who has ever existed on earth. And she is great. There.
"Moons and Junes and Ferris wheels
The dizzy dancing way you feel
As every fairy tale comes real
I've looked at love that way
But now it's just another show
You leave 'em laughing when you go
And if you care, don't let them know
Don't give yourself away
I've looked at love from both sides now
From give and take, and still somehow
It's love's illusions I recall
I really don't know love at all" - Joni Mitchell
Rating: 9.4/10"[+]Reply
""Ain't that Good News" from 1964 was the last album Sam Cooke released in his lifetime, and for me it is also one of his most consistent and artistically successful. In 1964 Cooke was more or less a veteran in pop music, but this album clearly (especially the original side 1) proves he was far fr..."""Ain't that Good News" from 1964 was the last album Sam Cooke released in his lifetime, and for me it is also one of his most consistent and artistically successful. In 1964 Cooke was more or less a veteran in pop music, but this album clearly (especially the original side 1) proves he was far from finished in his musical development. Cooke is often called the father of soul, and not least because the songs he wrote and recorded during the last 2-3 years of his lifetime. Cooke had in most of his songs an ease and light way of dealing with both very personal and serious themes, and this is one the characteristics of this album, where most of his original songs could well be called classics. Good examples are "Good Times", "Another Saturday Night", "Meet Me at Mary's Place" and of course "A Change Is Gonna Come" which came two exemplify the 1960s' Civil Rights Movement.
On tracks like "Ain't that Good News", "Good Times" and his touching interpretation of "The Riddle Song" Cooke shows that he is in tune with the new sounds that streamed to America from Europe, especially thanks to The Beatles.
This is undoubtedly Cooke's most modern album, although some of the more orchestrated tracks on the original side two, may be mostly rooted in the 1950s.
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""At San Quentin" is one of the all-time essential live albums. Johnny Cash had released the live album "At Folsom Prison" just a year before but "At San Quentin" is its equal in every way (well, except for the fact that this album lacks the song "Cocaine Blues"). The defining moment comes on the ..."""At San Quentin" is one of the all-time essential live albums. Johnny Cash had released the live album "At Folsom Prison" just a year before but "At San Quentin" is its equal in every way (well, except for the fact that this album lacks the song "Cocaine Blues").
The defining moment comes on the song "San Quentin." The crowd of convicts simply EXPLODES with adoration for Cash and vitriol for the prison as they hang on to every word of the song:
"San Quentin, may you rot and burn in hell!
May your walls fall and may I live to tell!
May all the world forget you ever stood.
And may all the world regret you did no good."
The response is so thunderous that Cash plays the song a second time immediately thereafter. Here you have one of the biggest stars in the world speaking directly to the hearts of some of the "lowest" men in the world and the connection is electric.
Add to that the fact that you have Cash favorites "I Walk the Line" and "Folsom Prison Blues," plus the premiere of two great new songs: the Bob Dylan/Johnny Cash penned "Wanted Man" and Shel Silverstein's hilarious "A Boy Named Sue." And of course, if you pick up an extended CD re-release of the album, it has even more classics than the 10 issued on the original release.
Cash always amazes me with his ability to mix humor, vulgarity and spirituality. His mastery of all three are what made the prisoners love him, and why this album will always be one of my favorites."[+]Reply
"Sitting on the Dock of the Bay has to be one of the all-time great tracks for empathy. You can really imagine the lack of direction, sense of loss, and searching for hope. You can see yourself sitting there with him watching time roll away. What a craftsman with his voice."Reply
"Quite a simple collection of songs that are trying to hook you to their choruses and make you sing them for the rest of the day. This works to a varying degree of success with the best tracks coming very early on. Almost every track on side 1 has a fantastic chorus and is so infectious to listen ...""Quite a simple collection of songs that are trying to hook you to their choruses and make you sing them for the rest of the day. This works to a varying degree of success with the best tracks coming very early on. Almost every track on side 1 has a fantastic chorus and is so infectious to listen to. I leave this album with Baby Love and Where Did Our Love Go firmly wedged inside my brain. The song that has grown on me the most though is When The Lovelight Starts Shining Through His Eyes which is such an effective song and I always sing along to it whenever it comes on. However, side 2 is the complete opposite and I find no song really works on there at all. If you removed the whole of side 2 I think it would only make the album better as all the boring and dull tracks would be removed. Overall, a simple but effective release that is let down drastically by the second half in my opinion. "[+]Reply
"A Salty Dog was the last Procol Harum album to feature the original 5-piece line-up. Compared to the previous two, which were very much dominated by Gary Booker's songs and vocals ( not a negative thing at all ), more space is given to guitarist Robin Trower and organist Matthew Fisher. Robin Tro...""A Salty Dog was the last Procol Harum album to feature the original 5-piece line-up. Compared to the previous two, which were very much dominated by Gary Booker's songs and vocals ( not a negative thing at all ), more space is given to guitarist Robin Trower and organist Matthew Fisher.
Robin Trower debuts as leadsinger on his own "Crucifiction Lane" and he wrote "Juicy John Pink" - both songs show the roots of Procol Harum as a tight r&b band. Trower also co-wrote the acoustic "Too Much Between Us" with Brooker - beautifully sung by Brooker, by the way.
Matthew Fisher produced the album, and arranged the orchestra for three of the songs - most note-worthy the title track, which is one of the greatest songs ever written and recorded. Compared to Brooker's Fisher's voice may appear somewhat thin, but he sings his two songs "Wreck of the Hesperus" and "Pilgrim's Progress" beautifully, and both songs fit in nicely on the album. "Pilgrim's Progress" bears big resemblance to the classic "A Whiter Shade of Pale". The charming "Boredom" with its Carribean rhythms is a Brooker/Fisher collaboration, adding to the great variety in styles which characterize the album.
Apart from the unique "A Salty Dog", the album features another Brooker classic "All This and More" - classic Procol Harum sound. Inspiration from the Band's recently released "Music From Big Pink", shines through on "The Milk of Human Kindness". The Band was a big inspiration for Procol Harum. "The Devil Came From Kansas" is one of the few tracks I often consider skipping over - too heavy and noisy; seems somewhat out of place on the album. Much better is the B-side "Long Gone Geek"; another heavy thing, which sounds inspired by The Small Faces or Humble Pie.
Among the bonus-track you may find there are four rare live-tracks from a 1969 April tour in the States. Great to hear the original band live - again their r&b roots shine through.
With this album you could say that the band scored a natural hat trick; having their debut and "Shine on Brightly" in mind. "[+]Reply
"This record struggles with its brilliance, a more brilliant record I'm not sure there is, I never tire of it, I know all the words, my friends know all the words. Like some people know all the bits to The Sound Of Music, we know all the bits to Absolutely Free."Reply
"Has some great parts, but some mediocre parts drag it down a bit. The bass and drum solos are too long and rambling, yet I would say Ornette's soloing stands out (minutes 10-19)"Reply