#78. The Beatles | Sgt. Pepper's Lonely Hearts Club Band (1967)

My first exposure to Sgt. Pepper was the awful 1978 movie starring The Bee Gees and Peter Frampton. Yes, those Bee Gees and that Peter Frampton. Of course, at the time I LOVED that movie! When I saw it again as an adult, I was amazed at how bad my taste in movies must have been as a child.

Having said that, the movie did expose me to the music of The Beatles... even if it was being sung by George Burns.

OK, enough about the movie, I'm here to talk about the album, and I could talk about this album forever.

This is one of the greatest concept albums, that isn't really a concept album. "Beatlemania" was fading and the band had decided to stop touring. Instead, they created a concept album that could essentially "tour" for them. McCartney invented fictitious alter-egos for each band member that allowed them to experiment with their songs.

The album starts with the title song, which introduces Sgt. Pepper's band and segues into a song introduction for the band's leader, "Billy Shears" (Ringo Starr), who performs "With A Little Help From My Friends." A reprise version of the title song appears as a book-end just before the climactic "A Day In The Life."

After these three songs, the concept was abandoned. Lennon went on record stating that none of the songs he contributed had anything to do with the original concept.

The only thing that could have made this album any better would have been the inclusion of two songs that were originally recorded for, but released prior to this album: "Strawberry Fields Forever" and "Penny Lane."

Track Listing:
01. Sgt. Pepper's Lonely Hearts Club Band
02. With A Little Help From My Friends
03. Lucy In The Sky With Diamonds
04. Getting Better
05. Fixing A Hole
06. She's Leaving Home
07. Being For The Benefit Of Mr. Kite
08. Within You Without You
09. When I'm 64
10. Lovely Rita
11. Good Morning
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
13. A Day In The Life

#77. Nico | Chelsea Girl (1967)

Most famous for her work with the Velvet Underground (which I'll be listening to in the next week or so), this was Nico's solo debut, and I was blown away. It was both simple and complex at the same time. The sound of her brooding voice over the strings provided by three members from the Velvet Underground was just beautiful.

Also known for her list of lovers (including Jim Morrison, Iggy Pop, and Brian Jones), Nico introduced the world to a then-unknown Jackson Browne, a young guitarist who contributed three songs to this album ("The Fairest Of The Seasons," "These Days," and "Somewhere There's A Feather"). And, yes, they were lovers also.

The contributions from the finest songwriters of the era didn't end with the fledgling Browne and Velvet Underground members Lou Reed, Sterling Morrison, and John Cale. Tim Hardin provided the chilling "Eulogy To Lenny Bruce" and even Bob Dylan offered his song "I'll Keep It With Mine."

Aside from the vocals, I loved the baroque chamber music feel to this album. No drums at all, but plenty of electric viola, marimba, guitar, cello, harmonium, and flute. The album was not generally well-received upon its initial release due to its experimental sound, but it has since influenced countless female artists, including Patti Smith and Siouxsie Sioux, and two of its tracks were included on the soundtrack of The Royal Tenenbaums.

Track Listing:
01. The Fairest Of The Seasons
02. These Days
03. Little Sister
04. Winter Song
05. It Was A Pleasure Thing
06. Chelsea Girls
07. I'll Keep It With Mine
08. Somewhere There's A Feather
09. Wrap Your Troubles In Dreams
10. Eulogy To Lenny Bruce

#76. Astrud Gilberto | Beach Samba (1966)

Switching from the eclectic stylings of Nina Simone to the Brazilian swagger of Astrud Gilberto was a little tough. It kind of felt like I was on an emotional roller coaster yesterday. To go from the desperate pleas of "If I Should Lose You" to the come hither sounds of "Stay" was quite a jump. But, you have to love an album that starts with "Stay...and we'll make sex with music."

There were definitely some misfires on this album. The annoying marching band sounds and seemingly infinite lists of different types of parades on "A Banda (A Parade)." And how do you make the great Lovin' Spoonfuls song "You Didn't Have To Be So Nice" any sweeter? Why, you turn it into a duet with your six year-old son, of course. I absolutely love the original version of this song, but I almost went into a diabetic coma from this version. I'm highlighting it anyway. We'll call it a "guilty pleasure."

As a whole, this was a fine album of harmless, smooth, easy-listening music that would have gone perfectly with the frozen drinks and poolside laziness I enjoyed last weekend in Palm Springs.

Track Listing:
01. Stay
02. Misty Roses
03. The Face I Love
04. A Banda (Parade)
05. Oba, Oba
06. Canoeiro
07. I Had The Craziest Dream
08. Bossa Na Praia (Beach Samba)
09. My Foolish Heart
10. Dia Das Rosas (I Think Of You)
11. You Didn't Have To Be So Nice
12. Nao Bate O Coracao

#75. Nina Simone | Wild is the Wind (1966)

I've always loved Nina Simone. She could be just as bluesy as Billie Holiday and just as jazzy as Ella Fitzgerald. But some would argue that she was never as consistent as either.

For example, this album is a collection of left-over studio and live recordings from '64 - '65 and ranges from jazz ballads to traditional folk songs, from the near-calypso sound of "Why Keep On Breaking My Heart" to the somber title track. But, for me, this album shows off her incredible range. Especially on the self-penned, "Four Women," a series of four vignettes that reflect common stereotypes of African-American women. They are: the hard-working, but never appreciated Aunt Sarah, the mixed-race Saffronia, the prostitute Sweet Thing, and the angry and bitter Peaches.

A few years ago, my then-roommates Chris & Paul loaned me a copy of Nina Simone: An Anthology and I immediately fell in love with her voice. She does a cover of The Beatles' "Here Comes The Sun" that rivals George Harrison. So, thanks Chris & Paul, and you guys should definitely check out this album!

Track Listing:
01. I Love Your Lovin' Ways
02. Four Women
03. What More Can I Say
04. Lilac Wine
05. That's All I Ask
06. Break Down And Let It All Out
07. Why Keep On Breaking My Heart
08. Wild Is The Wind
09. Black Is The Color Of My True Love's Hair
10. Either Way I Lose
11. If I Should Lose You

#74. The Yardbirds | The Yardbirds (1966)

So, Eric Clapton left the chart-friendly Yardbirds for the more blues-purist sounds of the Blues Breakers. But the Yardbirds needn't worry. They replaced him with another guitar rock god, Jeff Beck.

While Clapton was grounded more in the blues genre, Beck had a psychedelic, garage band edge to his performances. They took the bassline to "Rock Around The Clock," added Beck's winding guitar and rousing calls of "Hey!" and created a hit single with "Over, Under, Sideways, Down," one of the standout tracks on this album.

The great thing about this album is that they are able to mix up supercharged blues, early psychedelic rock, feedback and Gregorian monk chants to great effect. Though The Yardbirds would only record three studio albums and 2 US compilation albums, they started the careers of three of rock's most famous guitarists: Eric Clapton, Jeff Beck and Jimmy Page.

Track Listing:
01. Lost Woman
02. Over, Under, Sideways, Down
03. The Nazz Are Blue
04. I Can't Make Your Way
05. Rack My Mind
06. Farewell
07. Hot House Of Omagarashid
08. Jeff's Boogie
09. He's Always There
10. Turn Into Earth
11. What Do You Want
12. Ever Since The World Began

#73. John Mayall's Blues Breakers | Blues Breakers with Eric Clapton (1966)

Shortly after this album was released, graffiti started popping up around London, which simply stated, "Clapton is God." Bridging the gap between his time with The Yardbirds and the formation of Cream, this was Clapton's first fully realized album as a blues guitarist, and possibly the best British blues album ever.

Clapton toured with John Mayall for about a year prior to recording this album and the goal was to try and capture the energy of the band's live performances. It can definitely be felt on the opening track, a great cover of an Otis Rush song, "All Your Love." The sounds of the Hammond organ and Clapton on guitar make you feel like you're in a honky tonk on the Mississippi.

Even though this album is a showcase for Clapton's talent, Mayall's contributions were no less notable. He was able to incorporate his original songs "Little Girl" and "Key To Love" with revered blues standards such as "Hideaway" and "Ramblin' On My Mind." The latter featuring Clapton's very first lead vocal. So, ok, he stole the spotlight again.

Track Listing:
01. All Your Love
02. Hideaway
03. Little Girl
04. Another Man
05. Double Crossing Time
06. What'd I Say
07. Key To Love
08. Parchman Farm
09. Have You Heard
10. Ramblin' On My Mind
11. Steppin' Out
12. It Ain't Right

#72. The 13th Floor Elevators | The Psychedelic Sounds of the 13th Floor Elevators (1966)

"It is this quest for pure sanity that forms the basis of the songs on this album." That was the quote in the liner notes that I read before listening to this album for the first time. This album was anything but sane. It is, however, one of the first psychedelic rock albums ever. I mean, it's in the title.

It starts with the band's only hit (if you consider #55 on the Billboard charts a hit), "You're Gonna Miss Me." How can you not like a song with an electric jug in it?

There were a couple of other songs that I liked. The really dark and eerie "Roller Coaster" and "Fire Engine" were fun, but most of the album was just really, really bizarre. I was definitely too sober for this one.

Track Listing:
01. You're Gonna Miss Me
02. Roller Coaster
03. Splash 1
04. Reverberation (Doubt)
05. Don't Fall Down
06. Fire Engine
07. Thru The Rhythm
08. You Don't Know (How Young You Are)
09. Kingdom Of Heaven
10. Monkey Island
11. Tried To Hide

#71. Parsley, Sage, Rosemary and Thyme | Simon and Garfunkel (1966)

This album is often considered Simon & Garfunkel's first masterpiece. After the frantic rush to put out their previous record Sounds Of Silence, to capitalize on the title track's popularity, the duo exerted full control over this LP and took more like three months to complete it.

The time and effort they put into this album is instantly obvious on the opening track "Scarborough Fair / Canticle," a haunting pop masterpiece that infuses myriad vocal overdubs with the intricate sounds of a harpsichord. The rest of the album is not as imposing, but no less beautiful.
"Homeward Bound" is arguably the best song ever written about a musician's life on the road, and it was a Top 5 hit for the duo. The literary name-dropping and rich string orchestra accompaniment of "The Dangling Conversation" is just beautiful. I imagine this song being very popular on college campuses at the time, evoking images of graduate school couples drifting apart. Of course, it probably resonated more with English Lit majors, than, say, Physics majors.

The album ends with a grim and ironic portrait of the US in 1966. It's a sweet version of "Silent Night" over a news broadcast mentioning the death of Lenny Bruce, the escalation of the war in Vietnam and Martin Luther King, Jr.'s call for a Civil Rights march on Cicero, Illinois. This track does somewhat date the album, but then so does the use of phrases like "Feelin' Groovy."

Track Listing:
01. Scarborough Fair/Canticle
02. Patterns
03. Cloudy
04. Homeward Bound
05. The Big Bright Green Pleasure Machine
06. The 59th Street Song (Feelin' Groovy)
07. The Dangling Conversation
08. Flowers Never Bend With The Rainfall
09. A Simple Desultory Philippic (Or How I Was Robert McNamara'd Into Submission)
10. For Emily, Wherever I May Find Her
11. A Poem On The Underground Wall
12. 7 O'Clock News/Silent Night

#70. Aftermath | The Rolling Stones (1966)

This album proved to be a major artistic breakthrough for the Stones, being their first to consist solely of original compositions. In essence, this was their Hard Day's Night.

It begins with one of my favorite Stones songs ever, "Mother's Little Helper," a portrait of pill-popping housewives embellished by sitar -- although, like "Out Of Time," "Take It Or Leave It," and "What To Do," it was left off the US release. But don't feel too bad for America, we got the brilliant "Paint It Black" instead. This was a common feature of British pop albums because UK albums typically did not include tracks that had already been released as singles, and because British pop albums usually consisted of 13 or 14 tracks, while American albums usually featured 11 or 12 tracks.

This album sees the Stones stretching out for the first time and really experimenting with their sound. "Lady Jane" is an Elizabethan ballad that features Brian Jones on the dulcimer. And although "Under My Thumb" was never released as a single, it is one of their most popular songs from the period. Perhaps it's the sexist lyrics dedicated to an overly pushy woman. Even the conventional songs do not disappoint; the best being the ridiculously rude "Stupid Girl."

Track Listing:
01. Mother's Little Helper
02. Stupid Girl
03. Lady Jane
04. Under My Thumb
05. Doncha Bother Me
06. Goin' Home
07. Flight 505
08. High And Dry
09. It's Not Easy
10. Out Of Time
11. I Am Waiting
12. Take It Or Leave It
13. Think
14. What To Do

#69. Freak Out! | The Mothers of Invention (1966)

How appropriate that I got to listen to Frank Zappa's debut album on Halloween weekend?

Originally called The Mothers, nervous execs at MGM realized what they had on their hands and worried that the controversial name might scare off DJs.

The album was neither a critical nor a commercial success, but did develop a huge cult following in the US by the early 70s. The album was initially more successful in Europe where it influenced many rock groups, including The Beatles. It has been said that this album was a major influence on Sgt. Pepper's Lonely Heart's Club Band.

Rock's 2nd double LP, and first for a debut act, begins with the track "Hungry Freaks, Daddy," which is very reminiscent of The Rolling Stones' "(I Can't Get No) Satisfaction" and became one of Zappa's most recognized songs. The album content ranges from rhythm and blues, doo-wop and standard blues-influenced rock to orchestral arrangements and avant-garde sound experiments. This is not for the casual listener, but if your musical tastes are a little "out there," I would definitely recommend this one.

Track Listing:
01. Hungry Freaks, Daddy
02. I Ain't Got No Heart
03. Who Are The Brain Police?
04. Go Cry On Somebody Else's Shoulder
05. Motherly Love
06. How Could I Be Such A Fool
07. Wowie Zowie
08. You Didn't Try To Call Me
09. Any Way The Wind Blows
10. I'm Not Satisfied
11. You're Probably Wondering Why I'm Here
12. Trouble Every Day
13. Help I'm A Rock
14. The Return Of The Son Of Monster Magnet

#68. Midnight Ride | Paul Revere & The Raiders (1966)

I was a little worried when I discovered I was going to have to listen to an entire album by Paul Revere & The Raiders. You see, one of my least favorite songs of all time is their 1971 track "Indian Reservation." It's one of those songs that will creep into your soul and slowly drive you crazy.

So, I put my disdain for this song aside and listened to Midnight Ride. It actually wasn't that bad. I definitely like the opening track "Kicks," the anti-drug anthem that treats your brain like it's already turned to mush. Of course, it ends with the ridiculous "Melody For An Unknown Girl," the instrumental love song for "someone I don't even know yet."

This album also includes the garage classic "I'm Not Your Stepping Stone," which would later be covered by The Monkees, but this is the version that inspired the Sex Pistols' version.

Track Listing:
01. Kicks
02. There's Always Tomorrow
03. Little Girl In The 4th Row
04. Ballad Of A Useless Man
05. I'm Not Your Stepping Stone
06. There She Goes
07. All I Really Need Is You
08. Get It On
09. Louie, Go Home
10. Take A Look At Yourself
11. Melody For An Unknown Girl

#67. If You Can Believe Your Eyes and Ears | The Mamas & The Papas (1966)

OK, I couldn't possibly talk about The Mamas & The Papas without bringing up the controversy surrounding them. Did you know that when this album was originally released it was pulled from the shelves because the image of the toilet on the cover was declared indecent? Not to mention their incorrect use of apostrophes!

And now, 43 years later, Mackenzie Phillips reveals that she had an affair with her father, John Phillips (one of the Papas). Ick.

All controversy aside, this is actually a really good album. Anyone who has ever listened to the radio is probably familiar with "California Dreamin'" and "Monday Monday,"and "Go Where You Wanna Go" can't be far behind. But there are some other really compelling songs here as well, the rockin' "Straight Shooter," the torch song version of "I Call Your Name" and one of the most beautiful renditions of "Spanish Harlem" ever recorded.

Track Listing:
01. Monday, Monday
02. Straight Shooter
03. Got A Feelin'
04. I Call Your Name
05. Do You Wanna Dance
06. Go Where You Wanna Go
07. California Dreamin'
08. Spanish Harlem
09. Somebody Groovy
10. Hey Girl
11. You Baby
12. The In-Crowd

#66. Face to Face | The Kinks (1966)

Before listening to this album, I had very limited familiarity with The Kinks. I knew their big hits ("You Really Got Me," "All Day And All Of The Night," "Victoria" and, of course "Come Dancing"). But, I had never heard a single song from this album. It turns out that this is a great collection of '60s pop song and some even consider it one of the first rock & roll concept albums. There's a loose theme of English class and social structures on songs like "A House In The Country" and "Most Exclusive Residence For Sale." In the album's original inception, frontman Ray Davies intended to bridge the songs together with sound effects, but was eventually forced to revert to the more standard album format.

This album wasn't a big hit, it reached no. 139 on the US album charts, but it heralded the start of The Kinks' classic period. I'll be hearing from The Kinks again when I get to listen to their follow-up album cleverly titled, Something Else By The Kinks. I can't wait!

Track Listing:
01. Party Line
02. Rosy Won't You Please Come Home
03. Dandy
04. Too Much On My Mind
05. Session Man
06. Rainy Day In June
07. A House In The Country
08. Holiday In Waikiki
09. Most Exclusive Residence For Sale
10. Fancy
11. Little Miss Queen Of Darkness
12. You're Lookin' Fine
13. Sunny Afternoon
14. I'll Remember

#65. Black Monk Time | The Monks (1966)

The story of The Monks sounds almost too good to be true. Five American soldiers stationed in Germany form a rock band to blow off steam, and after starting off playing ordinary R&B-influenced music, their songs evolve into something that bear no resemblance to anything happening in pop music in 1966, This very well could be the first-ever punk rock album. I imagine that it sounds a bit more normal today than it possibly could have back in '66. Within a year of the release of this, their first album, the band would break up (reportedly over disagreements about a possible tour of Vietnam).

Oh, and they did dress like monks.

Track Listing:
01. Monk Time
02. Shut Up
03. Boys Are Boys And Girls Are Choice
04. Higgle-Dy-Piggle-Dy
05. I Hate You
06. Oh, How To Do Now
07. Complication
08. We Do Die Du
09. Drunken Maria
10. Love Came Tumblin' Down
11. Blast Off
12. That's My Girl

#64. Blonde on Blonde | Bob Dylan (1966)

I recently asked someone what their favorite Bob Dylan album was, and without hesitation, she responded "Blonde On Blonde." At the time, I hadn't yet listened to this album and thought it might be hard to top Highway 61 Revisited, which, at the time, was my favorite Dylan album. Boy, was I wrong.

This was rock's first double album and its success helped ensure the progression and experimentation for other bands to come. It was both a commercial success, launching several hit singles, and a critical success. Both VH1 and Rolling Stone list it as their ninth greatest album of all time.

"Rainy Day Women #12 & 35" opens the LP with a staggering clamor, with session players reportedly moved around to play unfamiliar instruments and encouraged to follow the song's central suggestion that "everyone must get stoned."

The album continues with soon-to-be classics such as "Visions Of Johanna," "Stuck Inside Of Mobile WIth The Memphis Blues Again" and "Just Like A Woman." I think my first exposure to "Just Like A Woman" was in the scene from Annie Hall with Shelley Duvall as a reporter from Rolling Stone. She quotes the song and asks her date, Alvy Singer, if he made it to the Dylan concert. His response, "no, I couldn't make it that night, my raccoon had hepatitis."

The album ends with the epic "Sad Eyed Lady Of The Lowlands," Dylan's longest song to date, clocking in at 11:20. Growing up, I preferred songs that were at the commercially acceptable length of 4 minutes or less. I had no patience. I've gained a better appreciation in my old age, and if the artist has something to say, I don't mind an 11 minute song.

Dylan would not be heard from for a couple of years after this album, and when he returned, his music and sensibility had permanently changed. And I won't hear from Dylan again until 1975's Blood On The Tracks. I think I'll miss him.

Track Listing:
01. Rainy Day Women #12 & 35
02. Pledging My Time
03. Visions Of Johanna
04. One Of Us Must Know (Sooner Or Later)
05. I Want You
06. Stuck Inside Of Mobile With The Memphis Blues Again
07. Leopard-Skin Pill-Box Hat
08. Just Like A Woman
09. Most Likely You Go Your Way (And I'll Go Mine)
10. Temporary Love Achilles
11. Absolutely Sweet Marie
12. 4th Time Around
13. Obviously 5 Believers
14. Sad Eyed Lady Of The Lowlands

#63. Fifth Dimension | The Byrds (1966)

One of the first CD's I ever bought was a K-Tel compilation called Super Groups Of The '60s. It featured "Mr. Spaceman" by The Byrds, which I admit is an odd choice to represent this band. It is, however, a perfect example of the fascination that Byrds-man Roger McGuinn had with all things sci-fi.

Among the first songs recorded for this album was "Eight Miles High," an early excursion into psychedelic rock. Despite its influential qualities, most radio stations refused to play, believing the title to be a reference to recreational drug use. According to the CD's liner notes, the lyrics pertain to the approximate cruising altitude of commercial airlines and the group's first visit to London in 1965.

Shortly after writing "Eight Miles High," Gene Clark, the band's main songwriter left the group. He originally blamed his fear of flying on preventing him from fulfilling his obligations to the band. It was later revealed that the pressures of touring and being the band's chief songwriter were too much for him. Roger McGuinn and David Crosby scrambled to put an album together, and they ended up producing one of the band's best records.

Track Listing:
01. 5D (Fifth Dimension)
02. Wild Mountain Thyme
03. Mr. Spaceman
04. I See You
05. What's Happening?!?!
06. I Come And Stand At Every Door
07. Eight Miles High
08. Hey Joe (Where You Gonna Go)
09. Captain Soul
10. John Riley
11. 2-4-2 Fox Trot (The Lear Jet Song)

#62. Fred Neil | Fred Neil (1966)

Fred Neil? Anyone? Anyone? OK, when I first bought this album, I had no idea who Fred Neil was, but I then discovered that he wrote one of my favorite songs from a movie, "Everybody's Talkin'" from Midnight Cowboy.

I also learned that Neil was a very influential folk-rock singer inspiring many artists of the day, including Stephen Stills, David Crosby, Joni Mitchell, John Sebastian (of the Lovin' Spoonful) and Bob Dylan. This was an OK album and I don't really have that much to say about it. I imagine it was on the list because of Neil's influence on other artists. That's great. Thanks, 1001 Albums.

Track Listing:

01. The Dolphins

02. I've Got A Secret (Didn't We Shake Sugaree)

03. That's The Bag I'm In

04. Badi-Da

05. Faretheewell (Fred's Tune)

06. Everybody's Talkin'

07. Everything Happens

08. Sweet Cocaine

09. Green Rocky Road

10. Cynicrustpetefredjohn Raga

#61. Pet Sounds | The Beach Boys (1966)

Leave it to Brian Wilson to write a love song that begins with the line, "I may not always love you." So begins "God Only Knows," the first American pop song to feature "God" in the title. Wilson agonized over the title for fear that it wouldn't get airplay. It is now considered one of their most recognizable songs. Behind "Kokomo," of course.

Pet Sounds is often revered as one of the best rock albums of all time. There are definitely some great songs on here, but I don't think there's a spot in my all-time-must-own-albums-on-a-desert-island-top-ten list. Maybe in my top 40.

"Wouldn't It Be Nice" and "God Only Knows" have always been two of my favorite Beach Boys songs (behind, "Kokomo," of course). So, the album was definitely off to a good start for me. I fell in love with about every other track, but I think a new favorite is the percussion-heavy "I'm Waiting For The Day." And an old favorite that I fell in love with all over again, "Sloop John B," a traditional West Indies folk song about a notorious boat crew that partied a little too hard whenever they made port.

After the release of Pet Sounds, Wilson's slide into madness began. Many of their fans were confused by this new sound and shunned the album. As a result, Wilson became obsessed with making the perfect pop album. Meanwhile, in England, The Beatles were rising to the challenge presented by Wilson with the release of Sgt. Pepper's.

P.S., "Kokomo" is one of my least favorite songs in the world and I guarantee that it will be stuck in my head at least until lunchtime today.

Track Listing:
01. Wouldn't It Be Nice
02. You Still Believe In Me
03. That's Not Me
04. Don't Talk (Put Your Head On My Shoulders)
05. I'm Waiting For The Day
06. Let's Go Away For Awhile
07. Sloop John B
08. God Only Knows
09. I Know There's An Answer
10. Here Today
11. I Just Wasn't Made For These Times
12. Pet Sounds
13. Caroline, No

#60. Revolver | The Beatles (1966)

When I was in high school, one of my favorite cassette tapes was The Beatles 1962 - 1966. It was volume one of a two volume greatest hits collection that only featured their singles. So, the only songs from Revolver were "Eleanor Rigby" and "Yellow Submarine." By the time I made it to college, I had purchased this album on CD and fell in love with it.

The Beatles were tired of doing sounds that people could claim to have heard before. Revolver had a sound that transcended the '60s. Earth, Wind & Fire brought "Got To Get You Into My Life" into the disco era. The Jam copied the riff from "Taxman" for their UK chart topper "Start!". And The Chemical Brothers practically based their career on "Tomorrow Never Knows." There were so many experiments and different sounds on this one album that it could have easily been a disjointed mess. Instead, it's one of the best modern pop albums in the world.

Did you know that the composition of "Eleanor Rigby" was based on the score from Psycho? And that some of the lyrics from "She Said She Said" were taken verbatim from a conversation Lennon had with actor Peter Fonda while on an LSD trip?

Track Listing:
01. Taxman
02. Eleanor Rigby
03. I'm Only Sleeping
04. Love You To
05. Here, There And Everywhere
06. Yellow Submarine
07. She Said She Said
08. Good Day Sunshine
09. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want To Tell You
13. Got To Get You Into My Life
14. Tomorrow Never Knows

#59. My Generation | The Who (1965)

There are two songs on this album that I absolutely love: "My Generation" and "The Kids Are Alright." I've been a big fan of "My Generation" since my '60s phase in high school. I've heard "The Kids Are Alright" before, but I don't think I've ever really listened to it. Given the chance, this could easily become by favorite song by The Who.

This was The Who's debut album and it's interesting to hear how their sound began and how it would eventually evolve.

There's a great short from Animaniacs where Slappy Squirrel and her nephew Skippy travel back to Woodstock and see the Who on stage. Who? The band. No, not The Band, Who! Hilarity ensues.

Track Listing:
01. Out In The Street
02. I Don't Mind
03. The Goods Gone
04. La La La Lies
05. Much Too Much
06. My Generation
07. The Kids Are Alright
08. Please, Please, Please
09. It's Not True
10. The Ox
11. A Legal Matter
12. Instant Party (Circles)

#58. Highway 61 Revisited | Bob Dylan (1965)

He experimented with it on his last album, Bringing It All Back Home. With Highway 61 Revisited, Dylan fully embraces his new electric sound. When he plugged in at the 1965 Newport Folk Festival, his sound sparked controversy amongst folk purists who were demanding he continue to perform songs like "The Times They Are A-Changin'." Now that's irony. Dylan had adapted to a new sound and after the release of this album, his fans would soon follow.

This album opens with the epic "Like A Rolling Stone" and it's really no surprise that Rolling Stone magazine dubbed this the Greatest Song Of All Time. It's just good marketing. It really is a great song, but there are 8 other songs here that range from reflective folk-rock and blues to garage rock. I could spend all day writing about the literary and historical references on each song, but I have to go to work.

I will say that "Queen Jane Approximately" is my new favorite Bob Dylan song. He has this way of sounding condescending and compassionate at the same time. Some argue that "Queen Jane" is actually referring to the Queen of Folk Music, Joan Baez. Apparently, the two had some sort of falling out before Dylan embraced his new rock & roll persona, but here Dylan is offering to help pick up the pieces when "Jane" is through deceiving herself.

"Desolation Row" was Dylan's most ambitious song at the time. Clocking in at nearly eleven and a half minutes, it was his longest song to date. Dylan himself describes this song as "an eleven-minute voyage through a Kafkaesque world of gypsies, hoboes, thieves of fire, and historical characters beyond their rightful time."

Track Listing:
01. Like A Rolling Stone
02. Tombstone Blues
03. It Takes A Lot To Laugh, It Takes A Train To Cry
04. From A Buick 6
05. Ballad Of A Thin Man
06. Queen Jane Approximately
07. Highway 61 Revisited
08. Just Like Tom Thumb's Blues
09. Desolation Row

#57. Mr. Tambourine Man | The Byrds (1965)

With the title track of this album, The Byrds became the first US group to rival the artistic and commercial dominance of The Beatles. They also gave Bob Dylan his first international number one hit, inspiring him to go electric and kick-start the folk-rock movement.

The album expands on that sound and features two more souped-up Dylan covers, including the top 40 single "All I Really Want To Do." My second favorite song here, after the title track, is one of the songs penned by Byrds-man Gene Clark, "I'll Feel A Whole Lot Better" (later covered by Tom Petty). It's not a happy subject, but the jangling guitar and soothing harmonies make you forget that it's a break-up song ("I'll probably feel a whole lot better when you're gone").

Their sound has endured over the years, and I can definitely hear the contemporary artists that they've inspired: The Pretenders, The Smiths, The Stone Roses, and R.E.M. to name a few. If you like any of those groups, you should give The Byrds a listen. I loved it!

Track Listing:
01. Mr. Tambourine Man
02. I'll Feel A Whole Lot Better
03. Spanish Harlem Incident
04. You Won't Have To Cry
05. Here Without You
06. The Bells Of Rhymney
07. All I Really Want To Do
08. I Knew I'd Want You
09. It's No Use
10. Don't Doubt Yourself, Babe
11. Chimes Of Freedom
12. We'll Meet Again