It’s not at all uncommon to encounter a barrage of singer songwriters belting away and strumming their guitars as you cross the campus. It’s a scene that can be traced to the music and counterculture of the ’60s, though I’m always reminded of the hilarious scene in “Animal House,” in which John Belushi, playing the drunken Bluto, smashes a folk singer’s guitar. My own opinion of the ’60s and its great music is decidedly higher than Bluto’s. I present my top three essential ’60s albums.
“Sgt. Pepper and His Lonely Hearts Club Band” is probably the most famous and overplayed album in The Beatles discography.
Though it’s a great record, their self-titled album, referred to as “The White Album,” better showcases each of The Beatles and their talents.
Unlike prior albums, 1968’s “The White Album” is fragmented and consists of many different styles of music. From the ska influenced “Obla-di Obla Da” to the guitar wailings of “Helter Skelter,” both penned by singer and bassist Paul McCartney, every song seems completely different than the tracks preceding and ahead.
“The White Album” also sees George Harrison’s first truly great Beatles composition with the song “While My Guitar Gently Weeps.” In the guitar solo, the instrument is played in such a way that it actually sounds like it’s crying, a musical contribution from guest guitarist Eric Clapton.
By 1966 Bob Dylan had cemented his reputation as an electric artist, much to the chagrin of folk purists. His album “Blonde on Blonde” is the culmination of his ’60s rock’n’roll experimentation and it is jammed pack with solid tunes.
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“Stuck Inside a Mobile With the Memphis Blues Again” is my favorite track. The song, over seven minutes long, is seemingly straightforward enough with full band instrumentation and an upbeat organ melody, which is definitive of Dylan’s mid ’60s style. However, the lyrics are a hodge-podge of different narratives and psychedelic imagery. Other standout tracks include “Visions of Johanna” and Dylan’s beautiful tribute to his then wife, “Sad-Eyed Lady of the Lowlands.”
Ever since the Beatles attained a mythical stature, far prior to their 1970 breakup, the Beach Boys have been given the shaft by those all too willing to dismiss them as a novelty surf band and oldies staple. The genius of the Beach Boys was in their singer, songwriter and producer Brian Wilson and his ability to craft deceptively intricate pop music. –
“Pet Sounds”, released in 1966, is the artistic highpoint of Wilson and the Beach Boys.
The album, inspired by the cohesive sound of The Beatles’ “Rubber Soul,”is uniform in full orchestral instrumentation and rich production. Drums give way to timpani. Instead of guitar solos we get flute solos and harpsichords abound. The songs, though naïve and innocent in melody, reflect a mature understanding of love, longing and change. All three of these themes are present in the haunting final track “Caroline No.”
For all the music aficionados and musicians on campus, the next time you decide to drop out, tune in and turn on, be sure to play some “White Rabbit” for me.
