The second in the ten-part series celebrating the best music of the last fifty years, this time we delve into the one hundred best albums of the 1960s. To see the list of the top 100 songs of the same decade, click here. If you're caught up, read on to see what I picked as the best full-lengths of the decade.
The most noticeable aspect of this list is how predictable it is. Some might be surprised by the ordering, but I doubt anyone will be stunned by what was selected, especially at the top. That isn't necessarily a bad thing, but it is undeniable. The reasoning is pretty simple: since this is a decade of "classics," the ones that have stood the test of the time have deserved their beloved status, and in many ways, a lot of the most popular records of this decade indeed are the best. There are also two other major factors. First, the LP didn't even catch on as a viable commercial or artistic product as a whole for half of the decade (in fact, only thirteen albums on this list were released from 1960-64). Second, many of the genres we know and love today were still in their fetal forms at best, indicating a narrower range of artists and style selections than any of the later decades. This contributes to a strange dynamic in quality—while the top of this decade's list is easily the strongest of any present and future list, the bottom is also the weakest.
There are no number restrictions this time around, so an artist can have more than five entries (two of which nabbed six). The only other discerning rules are: 1) No live albums, unless the album contains a majority of material that was never given a proper studio release (such as #47), 2) No soundtracks, unless only one artist or group performed all of the songs and the majority of the material is original, and 3) No compilations. That, of course, means that no greatest hits packages are considered, no matter how great they were (this was, after all, a "singles decade"). But this also excludes several other efforts that collected past releases into one long player. Sorry, King of the Delta Blues Singers (Robert Johnson), Magical Mystery Tour (The Beatles), Howlin' Wolf [The Walkin' Chair Album] (Howlin' Wolf) and Having a Rave Up (The Yardbirds). Even the Misunderstood's Before the Dream Faded was not considered because half of it was composed of early demos and didn't even get a proper release until 1982—to any Misunderstood fans: it would have made the list, so I can only say that this stickler apologizes for the decision.
Since there was no restriction to quantity that would "taint" the absolute honesty of the selections, I shall also check off the twenty-five albums that just missed the cut for each of the album lists, both in an effort to give a little love to those that just fell short and also to give notice to any that you might feel were unfairly ignored and whether or not they were in strong contention. Listed in alphabetical order, they are as follows:
Aftermath by the Rolling Stones [1966 / Rock]
All Summer Long by the Beach Boys [1964 / Pop]
The Angry Young Them by Them [1965 / Rock]
As Safe As Yesterday Is by Humble Pie [1969 / Rock]
Bayou Country by Creedence Clearwater Revival [1969 / Rock]
Bookends by Simon & Garfunkel [1968 / Folk]
Buffalo Springfield Again by Buffalo Springfield [1967 / Folk]
Duke Ellington & John Coltrane by Duke Ellington & John Coltrane [1962 / Jazz]
Freak Out! by Frank Zappa & the Mothers of Invention [1966 / Rock]
Goodbye and Hello by Tim Buckley [1967 / Folk]
A Hard Day's Night by the Beatles [1964 / Pop]
Life by Sly & the Family Stone [1968 / Soul]
Love by Love [1966 / Rock]
Midnight Blue by Kenny Burrell [1963 / Jazz]
Nashville Skyline by Bob Dylan [1969 / Country]
Outsideinside by Blue Cheer [1968 / Rock]
Point of Departure by Andrew Hill [1964 / Jazz]
Pride in What I Am by Merle Haggard [1968 / Country]
A Saucerful of Secrets by Pink Floyd [1968 / Rock]
Scott 2 by Scott Walker [1968 / Rock]
Song for My Father by Horace Silver [1964 / Jazz]
Steppenwolf the Second by Steppenwolf [1968 / Rock]
This Is Our Music by Ornette Coleman [1960 / Jazz]
Wild Honey by the Beach Boys [1967 / Pop]
Yer' Album by the James Gang [1969 / Rock]
Those came up just short; so which ones made it? As always, feel free to comment on what choices you agree/disagree with or share your own favorites. Now let's see what were mine.
100. Ascension
by John Coltrane
1965
Jazz
Destined to be a choice that will satisfy no one, I neither think that Ascension is the groundbreaking masterpiece that avant and free jazz fans think it is nor the abrasive slab of chaos that its detractors decry it as being. Instead, it's an album that I can respect and admire from a distance. I recognize the craftsmanship and the disregard for rules in a genre that's defined by those who push the limits of those rules. And there's no questioning the formidable talent in the ensemble banging out massive sheets of cacophonous horns that clatter like noisy acid rain. But no matter if it's an album I rarely ever want to hear; after a few minutes of twitchy adjustment, it's hard not to slip away and get lost in its vibrantly messy charms. 
99. Traffic
by Traffic
1968
Rock
Traffic is better known for its famous players, the dabbles into prog, acid and jazz, the instability of the lineup and the wide variety of reactions they got, both loved and loathed and everything in between. But their eponymous album is still the best representation of their myriad sensibilities, containing a few well-known hits ("Feelin' Alright," "You Can All Join In") and at least a couple of understated and underrated should-be-classics ("40,000 Headmen," "Vagabond Virgin"). The two stars of this show are Steve Winwood and Dave Mason, and although they had greater moments apart than together in this setting, the alternating style keeps this album fresh even after forty years and multiple spins. 
98. Here Are the Sonics
by the Sonics
1965
Rock
Like many garage rock debuts, Here Are the Sonics is a mixture of original material and covers. But rather than go through the motions, the Sonics play the familiar tunes with the sort of sloppy and reckless abandon that gave them enough punch to be vivaciously memorable. Their versions of mostly iconic staples are roadhouse gems, but what makes this album truly special are a pair of originals that remain a timeless influence on punk rock: "The Witch" and "Strychnine." Predating the better-recognized proto-punk legends of the Stooges and Velvet Underground, inspiring two of the most influential acts of all time is worth plenty of admiration. 
97. Mott the Hoople
by Mott the Hoople
1969
Rock
Known best for being saved by David Bowie (and the subsequent album, All the Young Dudes), their finest full-length moment was actually their debut, which lacks the glam sheen of their later work. It's not shocking that Bowie found some common interest; I wouldn't even be surprised if Ian Hunter's vocal inflection on "Rock and Roll Queen" informed his Hunky Dory phase. But the straighter rock sound, while lacking an immediate and original voice, delivers the better batch of tunes. Their instrumental version of "You Really Got Me" adds some barroom blitz and bluesy grit to the familiar tune without bastardizing the Kinks' classic. Meanwhile, "At the Crossroads" is tough, cynical and Dylan-esque, and "Rabbit Foot and Toby Time" (another instrumental) is reminiscent of early-70s Deep Purple. Some might label it as a blueprint lacking direction, but there's no faulting a good hard rock collection. 
96. John Wesley Harding
by Bob Dylan
1967
Folk
It's still argued if John Wesley Harding was a reactionary album or just the mindset of Dylan at that time. After a few years among electric guitar masterpieces, Dylan recovered from his famous motorcycle accident and pared down the sound, texture and lyricism for his Blonde on Blonde follow-up that landed in stores around the same time that psychedelic rock artistry and Summer of Love populism was all the rage. The stories on this record are told simply (only the religious imagery tends to evoke a more colorful reaction) and the performance just the far side of laconic. Just because it's not one of Dylan's absolute best doesn't mean that it's not worth four or five listens at the very least. 
95. Crosby, Stills & Nash
by Crosby, Stills & Nash
1969
Folk
It seemed a match made in heaven to bring together the forceful lyricism of David Crosby, the ambitious and multi-tiered instrumental skill of Stephen Stills and the pop melodicism of Graham Nash. And even though some of the songs sound a bit creaky today, the few missteps are forgiven for the great ones, especially the oft-overlooked Kennedy assassination perspective on "Long Time Gone," the lush and ominous murkiness of "Wooden Ships," the airy romanticism of "Guinevere" and the gorgeous four-part melody of "Suite: Judy Blue Eyes." Ignore all the squabbles, ego tirades and countless reunions/break-ups; their first effort together remains a long player that will never become too dated to appreciate. 
94. Fleetwood Mac
by Fleetwood Mac
1968
Blues
Not to be confused with their other eponymous album from 1975, Fleetwood Mac's first album is a startling revelation to the majority who know them best for their occasionally electrifying, occasionally unbearable popular period with Lindsey Buckingham, Christine McVie and Stevie Nicks. Fleetwood is actually a blues rock record with little attention to the pop and psychedelic circus of its era. Peter Green remains one of most underrated musicians and songwriters of the era, and coupled with slide guitarist Jeremy Spencer's squally tempest, they made a formidable pair in the late-60s British blues explosion. Special attention goes to the amusing "Looking for Somebody" and the smoky, Latin-tinged scorcher, "If I Loved Another Woman." 
93. My Kind of Blues
by B.B. King
1961
Blues
Although better known for his great blues singles, King did manage one great long player that was more than just a summation of his popular cuts. He even favors a rougher and tinnier sound, like it was recorded in an aluminum can without that big band density he's associated with. This decision sees songs like "You Done Lost Your Good Thing Now" and "My Own Fault Darling" strut mercilessly with emotional devastation thanks to the brief gaps of silence that cry as loud as King's guitar. Since it's stripped down to let his full-throated plea bleed out of the speakers, there aren't too many classic individuals in this mix, but you'll be hard-pressed to find a better collection of King's work (including his hits packages) that sounds stormier, fresher and sweeter to your ears. 
92. Waiting for the Sun
by the Doors
1968
Rock
The weakest of the Doors' great albums, Waiting for the Sun was considered a disappointment when it was first released. But in the years since, this one may have aged the best. Excepting "Hello, I Love You" (which remains the band's most overrated hit), very few of these songs still get continuous airplay on rock radio. This helps "The Unknown Soldier" remain as robust and spooky as it first was, "Not to Touch the Earth" as decadently bizarre and "Five to One" as sinister and stomping. "Summer's Almost Gone" is also one of their best melodic rock ballad numbers. All in all, its greatest asset is in taking their psychedelic rock beginnings down different twisted avenues; it lacks a lot of the fire and muscle, and the songwriting isn't as reliably catchy, but the results are consistently potent enough to deserve repeated listens so it can grow on you.
91. Blind Faith
by Blind Faith
1969
Rock
One of the early supergroups, Blind Faith was destined to burn out but not fade away. Basically Cream expanded to a quartet that substituted Steve Winwood for Jack Bruce, Blind Faith stands alongside Derek & the Dominoes as brief-lived coulda-beens. Comprised of only six songs (one of which is an overlong but technically impressive jam), it's easy to blink at until you pop it in. And then Clapton's masterful "Presence of the Lord" and a pair of Winwood-penned (but aesthetically different) slices of brilliance ("Had to Cry Today," "Can't Find My Way Home") hit you and it's impossible to believe it's not as big as Cream or Traffic. Batting .500 seems pretty weak for me to consider it one of the best full-lengths of the decade, but the other three only slouch in the others' presence. But seriously, how stoned were they when they came up that controversial album cover? 
90. Hot Buttered Soul
by Isaac Hayes
1969
Soul
Marking one of the most important evolutionary steps of soul music, Hot Buttered Soul brought on the bells and whistles to the more straightforward R&B tones of Stax and Motown. With only four songs (three near or beyond ten minutes), there's plenty of time and space to let the smooth sounds ripple and roll across the landscape, making pocket symphonies even more theatrical in their presentation. No matter how ballistic the funk parts are or how sentimental the love songs can be, this one's richer and tastier than the album title can even suggest. Plus, it hasn't been run into the ground with repeated plays like Hayes' more famous Shaft highlights have. 
89. The Bridge
by Sonny Rollins
1962
Jazz
Sonny Rollins famously retired at the young age of twenty-nine, believing that he didn't have the chops to pursue a career in jazz. But he blessedly came back three years later with The Bridge, easily the most famous and popular album of his prolific legacy. Over the course of forty minutes, he impressionably squeezes fresh juice out of old standards like "You Do Something to Me" and "Without a Song." Still, the highlights are the two compositions that Rollins handled himself, especially the title track, which takes Ornette Coleman's Free Jazz not as a springboard but as a crib sheet. Yet the results don't sound copied, but rather reinterpreted, blazing a fiery melody across the racing, liquid beat. 
88. The Allman Brothers Band
by the Allman Brothers Band
1969
Rock
With the possible exception of Lynyrd Skynyrd, no band summed up Southern rock better than the Allmans, and their debut still remains one of their finest hours. Their rendition of Muddy Waters' "Trouble No More" nearly matches the original and "Black Hearted Woman" remains one of their best unsung studio moments. But the keystones to this album are the start and finish. Beginning with "Don't Want You No More" segueing into "It's Not My Cross to Bear," the sleek dual guitar attack of Duane Allman and Dickey Betts brings you in slow and steady. By the time the album climaxes, it's already woven a spell around you, but the fiery thunder of "Whipping Post" that delivers you to the silent close remains stirring to this day. 
87. Boogie with Canned Heat
by Canned Heat
1968
Blues
While most blues-based rockers of the time were adding more muscle and crunch, Canned Heat maintained a looser, more slovenly vibe. The title is both reassuring and fitting—there's a lot of boogie-woogie going on here. Notable mostly for the excellent hit, "On the Road Again," the album also contains the sinister "Turpentine Blues" and the anthemic "Amphetamine Annie," which owes at least a minor debt to blues icon, Albert King. But the key is "Fried Hockey Boogie," which tosses off any pretense of compact and fluid songwriting and instead lets every virtuoso run rampant with a series of solos and an extended full band jam. More of an exercise than an authentic arrangement, it nevertheless proves that as far as skill was concerned, these guys are shamefully underrated. 
86. Face to Face
by the Kinks
1966
Rock
Further proof that an artist's anguish often equates to an audience's delight, Face to Face saw Ray Davies suffering a nervous breakdown prior to recording the seminal record. It also saw a new writing maturity for Davies, who began fashioning bittersweet reflections on outsiders and fools, shlubs and everymen. These observations, though loosely connected, ushered in the next era for the Kinks, particularly in the way they approached long players. Hits like "Sunny Afternoon" and "Dandy" are great, of course, but so are "Party Line," "Rainy Day in June," "Little Miss Queen of Darkness," and several others that had potential to be singles. And, if for nothing else, the innovative use of sound effects predates most of the more famous albums and artists that integrated them in a more noteworthy fashion (Beatles, Beach Boys, etc.). 
85. Canned Wheat
by the Guess Who
1969
Rock
Fueled by jazz melodies and boogie rhythms, the Guess Who narrowly escaped the burden of being "Canada's answer to popular rock." Burton Cummings summoned memories of CSN harmonies, John Fogerty's throaty burr and (especially at the end of the wonderful "Undun") the howl of Robert Plant. The arrangements and instrumentation pressed into the soundscapes of bands as different as Buffalo Springfield, Jefferson Airplane and the Who. But on Canned Wheat, everything gelled well enough to allow the band to unleash a series of tremendous songs that overwhelm any notion of surface-deep plagiarism. Besides "Undun," there's also an early (and superior) version of their future hit, "No Time," some great low key ballads like "6 A.M. or Nearer" and the Stills-esque "Minstrel Boy," and the extended jam of "Key." 
84. Days of Future Passed
by the Moody Blues
1967
Rock
Meshing rock, symphony and prog, the Moody Blues were always pretty theatrical in their efforts, which led to quite the uneven catalog. But their debut LP remains a fixture among the prog and psych devoted. "The Day Begins" and "Another Morning" are both minor classics in their own right, alternately evocative and playful (sometimes at the same time), but it's the second side that continues to make the uninitiated swoon upon first listen. Beginning with the radio hit, "The Afternoon" (better known as "Tuesday Afternoon"), through the heavier edge of "Twilight Time" and culminating with the enduring classic, "Nights in White Satin," it's a half that rivals single side efforts from any British psychedelia maestro (yes, even the Beatles). Some fools look at it as self-important camp; you should probably just ignore them. 
83. Please Please Me
by the Beatles
1963
Rock
The first Beatles full-length isn't as great as their later albums, but feels like a true debut (and a fine one at that). Essentially the band's early live set done over in the studio, most of it was famously recorded in a matter of hours. The more innocent and naïve moments are a bit dated and slight for my taste (including their very first single, "Love Me Do"), but songs like "Ask Me Why," "Misery" and "Do You Want to Know a Secret" still sound fresh today for lack of overkill. Then there's that famous one-take of "Twist and Shout," which remains one of their most raucous blitzkriegs ever caught on tape. For all of the Beatles' unparalleled innovations in the recording studio, that one sounds less like pure luck of circumstances, but rather an instance where the entire band worked so tight and enthusiastically that they were capable of magic at the drop of a hat. What precedes that closer are footnote references to such a claim.
82. Chelsea Girl
by Nico
1967
Folk
Like the Velvet Underground, Nico was hardly heard during her time but the influence is heard in many acts since. Chelsea Girl, often seen as a companion of sorts to The Velvet Underground & Nico, didn't even satisfy the chanteuse, who found the post-production addition of strings and flutes disastrous. But the brooding baroque folk results shouldn't be scoffed at—the interior turmoil is evident whenever Nico opens her mouth, a slow flood of chilly mannerisms and deep hurt. "These Days," in particular, has enjoyed a bountiful second life and is considered one of the great songs of the era (written by Jackson Browne when he was only sixteen), but the album's middle section is most astonishing, especially the unrecognizable Bob Dylan tune, "I'll Keep It with Mine," and the extended Lou Reed/Sterling Morrison centerpiece, "It Was a Pleasure Then." 
81. Modern Sounds in Country and Western Music
by Ray Charles
1962
Soul
One of the very first big-selling full-length records in popular music, Modern Sounds helped establish the notion that long players could be a viable outlet for the music industry. The reason behind its success is pretty simple: it's an extravagant cross-section of soul, country & western, R&B and pop, making it accessible to pretty much anyone. Charles had plenty of better songs than anything found on this release, but his mastery of combining so many disparate sounds into something as sonically focused as this is truly remarkable. He even remakes several of country's most timeless standards into new versions that are actually better than the originals. No small feat, and this one's no small winner.
List continues on next page.
