1965 is the earliest I'm going to take this poll, mostly because I didn't want the first years of this contest to all become a pissing contest between the Rolling Stones, Beatles and Dylan. I had to make some tough choices for this poll, as many of the seminal artists of this year released not one but two or three fine albums. Still, I think I made the right choices. I've not met a Beatles fan who says he prefers Help! to Rubber Soul in earnest. The Rolling Stones released three pretty good records in that year, but I think Now! gets the nod because it's the most consistent record. I chose the Kinks Kontroversy album over Kinda Kinks, because I think the former is a slightly better record for no good reason.
The toughest choice was Dylan, obviously. Both are nearly perfect albums, but Highway 61 is more mythic in status so I gave it the nod over Bringing it All Back Home. The easiest choices, in contrast, were Today! over Summer Days and Summer Nights (a horribly uneven outing), and Coltrane's fantastic Meditations record over the other 6 or 7 he released that year.
1965 also saw the birth of two legends of Rock and Roll, the Byrds and The Who, who released two fantastic debut albums. Both are included here for consideration.
I struggled a bit with the last option, ultimately choosing The Sonics over the Fugs' first album and The Pretty Things' debut (both artists have superior later records). I also omitted Miles Davis' ESP record.
Note: Frank Zappa's Freak Out! is actually a 1966 record, contrary to what the FnB list says. So let's not go there
The Beatles - Rubber Soul
Quote:
While the Beatles still largely stuck to love songs on Rubber Soul, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds. The group and George Martin were also beginning to expand the conventional instrumental parameters of the rock group, using a sitar on "Norwegian Wood (This Bird Has Flown)," Greek-like guitar lines on "Michelle" and "Girl," fuzz bass on "Think for Yourself," and a piano made to sound like a harpsichord on the instrumental break of "In My Life." While John and Paul were beginning to carve separate songwriting identities at this point, the album is full of great tunes, from "Norwegian Wood (This Bird Has Flown)" and "Michelle" to "Girl," "I'm Looking Through You," "You Won't See Me," "Drive My Car," and "Nowhere Man" (the last of which was the first Beatle song to move beyond romantic themes entirely). George Harrison was also developing into a fine songwriter with his two contributions, "Think for Yourself" and the Byrds-ish "If I Needed Someone."
Bob Dylan - Highway 61 RevisitedQuote:
Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex.
The Rolling Stones - Now!Quote:
Although their third American album was patched together (in the usual British Invasion tradition) from a variety of sources, it's their best early R&B-oriented effort. Most of the Stones' early albums suffer from three or four very weak cuts; Now! is almost uniformly strong start-to-finish, the emphasis on some of their blackest material. The covers of "Down Home Girl," Bo Diddley's vibrating "Mona," Otis Redding's "Pain in My Heart," and Barbara Lynn's "Oh Baby" are all among the group's best R&B interpretations. The best gem is "Little Red Rooster," a pure blues with wonderful slide guitar from Brian Jones (and a number one single in Britain, although it was only an album track in the U.S.). As songwriters, Jagger and Richards are still struggling, but they come up with one of their first winners (and an American Top 20 hit) with the yearning, soulful "Heart of Stone."
The Beach Boys - Today!Quote:
Brian Wilson's retirement from performing to concentrate on studio recording and production reaped immediate dividends with Today!, the first Beach Boys album that is strong almost from start to finish. "Dance, Dance, Dance" and "Do You Wanna Dance" were upbeat hits with Spector-influenced arrangements, but Wilson began to deal with more sophisticated themes on another smash 45, "When I Grow Up," on which these eternal teenagers looked forward to the advancing years with fear and uncertainty. Surf/hot rod/beach themes were permanently retired in favor of late-adolescent, early-adult romance on this album, which included such decent outings in this vein as "She Knows Me Too Well," "Kiss Me Baby," and "In the Back of My Mind." The true gem is "Please Let Me Wonder," one of the group's most delicate mid-'60s works, with heartbreaking melodies and harmonies.
The Byrds - Mr. Tamborine ManQuote:
One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe"). The originals were lyrically less challenging, but equally powerful musically, especially Gene Clark's "I Knew I'd Want You," "I'll Feel a Whole Lot Better," and "Here Without You"; "It's No Use" showed a tougher, harder-rocking side and a guitar solo with hints of psychedelia.
The Who - The Who Sings My GenerationQuote:
An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record. Pete Townshend's exhilarating chord crunches and guitar distortions threaten to leap off the grooves on "My Generation" and "Out in the Street"; Keith Moon attacks the drums with a lightning, ruthless finesse throughout. Some "Maximum R&B" influence lingered in the two James Brown covers, but much of Townshend's original material fused Beatlesque hooks and power chords with anthemic mod lyrics, with "The Good's Gone," "Much Too Much," "La La La Lies," and especially "The Kids Are Alright" being highlights. "A Legal Matter" hinted at more ambitious lyrical concerns, and "The Ox" was instrumental mayhem that pushed the envelope of 1965 amplification with its guitar feedback and nonstop crashing drum rolls. While the execution was sometimes crude, and the songwriting not as sophisticated as it would shortly become, the Who never surpassed the pure energy level of this record.
The Kinks - The Kinks Kontroversy(no allmusic review)
John Coltrane - MeditationsQuote:
This CD reissues what was arguably the finest of the John Coltrane-Pharoah Sanders collaborations. On five diverse but almost consistently intense movements ("The Father and the Son and the Holy Ghost," "Compassion," "Love," "Consequences," and "Serenity"), the two tenor saxophonists, pianist McCoy Tyner, bassist Jimmy Garrison, and both Elvin Jones and Rashied Ali on drums create some powerful, dense, and emotional music. Unlike some of the live jams of 1966, the passionate performances never ramble on too long and the screams and screeches fit logically into the spiritual themes. This would be the last recording of Coltrane with Tyner and Jones.
The Sonics - Here Are the SonicsQuote:
The Sonics that Wailers bassist Buck Ormsby took into a small studio and unleashed on the world show a live band at the peak of its power, ready to mow down the competition without even blinking twice. Their debut long-player (originally issued on the Etiquette imprint) is reprised here with new liner notes by Norton prexy Miriam Linna in the original mono. The flame-throwing hits of "The Witch," "Psycho," "Boss Hoss," and "Strychnine" are aboard, along with versions of "Do You Love Me," "Dirty Robber," "Have Love Will Travel," and "Walkin' the Dog" that are no less potent. This long-play vinyl reissue also boasts the addition of four bonus tracks: "Keep a Knockin'" (the original B-side of "The Witch") and three selections from an Etiquette Christmas album, "Don't Believe in Christmas," "The Village Idiot," and "Santa Claus." Another important chunk of Seattle rock & roll history.
