150 Best Albums of 1968/’69

Okay yeah, I admit it, that was not-quite-8-year-old me and probably one of my brothers, marching with signs up and down the driveway at 8439 Northport Drive in Cincinnati, waiting for Dad to get home from work and chanting “Vote for Nixon! The world needs fixin’!” whenever a car drove by. Did my parents vote Republican? No idea, and they didn’t stay alive quite long enough for me to ask. Also no idea what in the world I thought needed “fixin’,” and what I figured Nixon could do about it. Riots and assassinations (MLK in April, RFK in June) and the Vietnam draft and drugs were turning the country upside down and ripping it apart at the seams, and I was oblivious. When I saw reactionary headlines about “Reds,” I assumed they meant our baseball team on the verge of ’70s greatness, even as the Knothole League hid me way out in right field.

I would’ve been four years younger than Kevin Arnold in The Wonder Years, the lookback show that ABC ran from 1988 to 1993 and I’ve recently started watching on Hulu — initially set in 1968, albeit a 1968 with Everything You Always Wanted to Know About Sex from 1969 and Our Bodies Ourselves from 1970 and junior high school hippies from, well, probably never. A year later IRL, after the moon landing, I’d get not only the brand-new box-encased first-edition Baseball Encylopedia for Christmas, but my first manual Smith Corona and a groovy cube-shaped ottoman cushion thing covered in zodiac signs. By then The Brady Bunch was my favorite show. Never did get that fringed suede vest.

The world of rock’n’roll was supposedly turning upside down at the time as well, and supposedly had been ever since Sgt. Pepper’s and freeform FM radio changed the rules of the game. And what did we mostly get for it, to capture the zeitgeist? A whole lot of twee music-hall homages that usually remind me of “Cups and Cakes” by Spinal Tap, and a whole lot of stodgy white boys moaning the blues. On recommendation of the Stranded appendix, I finally while compiling this list checked out Johnny Winter’s Second Winter (“a thrilling personal statement matched only by Eric Clapton’s Layla,” Uncle Greil sez) and the Steve Miller Band’s Children of the Future (“a gorgeous celebration of innocence” backed with “a freewheeling celebration of experience”) and they were both….listenable? More listenable than I’d’ve guessed, anyway. But still too choking on sepia-toned dust to make the grade, just like the first couple Humble Pie LPs, not to mention Music From Big Pink and Nashville Skyline and Traffic, meh. But I tried.

As for the twee stuff, I remember being frightened a couple years later when I first heard about Peter Tork getting arrested for hashish possession, but not ’til I finally broke down and sat through the Head soundtrack did I understand what a horrible idea mixing Monkees with marijuana was. 1968 and 1969 turn out to be the age of between-song blackouts and audio vérité breaks that wind up the acid-rock antecedent of hip-hop skits — the Monkees did ’em, Simon and Garfunkel did ’em (“Voices of Old People”), the Deviants and Alice Cooper etc did ’em. Clearly, it was all Frank Zappa’s fault.

I should mention here that there was actual hippie music in my house when I was growing up. Maybe not in ’68 or ’69, but definitely a few years later, when my widowed dad remarried a woman (still alive as we speak) with a post-teenage son who’d been in bands and who no doubt saw Alice or Iggy or Nugent or Seger or Mitch Ryder or the MC5 or SRC play dances at his high school before he graduated in ’70, because who that age in the Detroit area didn’t, plus I’m pretty sure he bragged about it once, back before we fell out of touch a couple decades ago. When he was still living in our basement he had what struck non-music-fan-me at the time as a sizable record collection, big enough that I tried swiping a couple of his albums at one point and got caught. Once again, I wish I could recall the specifics. I vaguely remember one being by King Crimson.

Somehow, a few of his (or somebody else’s?) hippie albums made it to the wheeled rack-cart under the little record player in the living room upstairs — most famously the Moody Blues’ nightmarishly artworked but innocuously progged 1968 In Search of the Lost Chord (okay, “Ride My See-Saw” isn’t bad), but more mysteriously the Yellow Payges’ 1969 Volume One and Neon Philharmonic’s The Moth Confesses from the same year, neither of which band ever made it into the Billboard 200 and neither of which I’ve ever heard anybody utter a single word about since. I also remember my dad and stepbrother cross-generationally exchanging Simon and Garfunkel LPs one Christmas.

Sorry, got carried away with the reminiscing there. Another big tail-end-of-the-’60s innovation was obviously really really long songs, such as for example Rare Earth (“Get Ready”) and Iron Butterfly (“In-A-Gadda-Da-Vida”) filling entire sides with heavy numbers that wound up frequently weaved into the mix by early New York disco DJs a half-decade-or-so hence. And there was the trend (maybe less new?) of artists turning ridiculously prolific — For example, discogs.com lists seven Supremes LPs between 1968 and ’69, plus four more with the Temptations, plus a Christmas album with Bing Crosby and Bob Hope. Over the same span, Glen Campbell apparently released 11 solo albums (a couple of them seemingly iffy cash-ins via former record labels), a vocal collaboration with Bobbie Gentry and a guitar one with somebody named Stan Capps. James Brown put out 11, too. (Most unappetizing dance craze: “Mashed Potatoes Popcorn.”)

Other music from these years turned out very much ahead of the game, such as “Caledonia” by New York trio Cromagnon (later covered by Japanese neo-psych wizards Ghost) using clanking percussion and demonic hissing that passes for industrial rock 20 (or at least 15 if you count Belfegore) years early; “Machines” by sadly-not-theremin-crazy-enough Lothar and the Hand People also predicted future industriousness, and the Silver Apples went so far as to be the first synth-rock duo on the face of the earth. 63-year-old Black vaudeville veteran Pigmeat Markham, who had one of two comedic hit funk records about a here-coming judge, sounded exactly like old-school rap music, a decade before the fact. (His judge song got to #19 on Billboard’s pop chart; Shorty Long’s to #8.) It took me more than 40 years to realize Gruppo Sportivo stole the super-catchy tune in 1977’s “Superman” from Zappa’s 1968 “Take Your Clothes Off When You Dance.” And Amon Düül recorded a song called “Tusch” six years before ZZ Top!

Finally, one last major fad was concept albums with alleged narrative arcs attached, but you couldn’t follow them then and you can’t follow them now. The Who’s Tommy has too much filibustering between its couple okay songs, and the Kinks ones have the same problem except more better songs. No wonder your Flamin’ Groovies and NRBQs (and Masked Marauders and Ruben and the Jets!) wanted to retreat to a simpler and more straightforward rock’n’roll era. It had been a long time since they did the stroll. Though, in their ways, maybe Sly Stone and Creedence and the Archies and Ohio Express and Elvis (!!) and Chocolate Watchband had never stopped. Also in 1968 and 1969, lots of jazz happened. And Tropicália, way down in Brazil. And a couple Beatles albums with Paul-is-dead clues or whatever. Another year for me and you. Oh wait, guess I mean two.

  1. The Stooges The Stooges (Elektra ’69)
  2. Isaac Hayes Hot Buttered Soul (Enterprise ’69)
  3. The Velvet Underground White Light/White Heat (Verve/Polygram ’68)
  4. Desmond Dekker The Israelites (Uni ‘69)
  5. The Masked Marauders The Masked Marauders (Deity ’69)
  6. Sly and the Family Stone Stand! (Epic ’69)
  7. Creedence Clearwater Revival Green River (Fantasy ’69)
  8. Tom T. Hall Homecoming (Mercury ’69)
  9. Thelonious Monk Underground (Columbia ’68)
  10. Captain Beefheart & His Magic Band Trout Mask Replica (Straight ’69)
  11. Led Zeppelin Led Zeppelin II (Atlantic ’69)
  12. Rolling Stones Let It Bleed (London ’69)
  13. The Great Society with Grace Slick Conspicuous Only in Its Absence (Columbia ’68)
  14. The Jazz Composers Orchestra The Jazz Composers Orchestra (JCOA ’68)
  15. Shocking Blue At Home (Metronome Germany ’69)
  16. Creedence Clearwater Revival Willy and the Poor Boys (Fantasy ’69)
  17. Pharoah Sanders Karma (Impulse! ’69)
  18. Desmond Dekker This is Desmond Dekker (Trojan UK ’69)
  19. Albert Ayler New Grass (Impulse! ’69)
  20. Easy Rider (Dunhill ’69)
  21. MC5 Kick Out the Jams (Elektra ’68)
  22. Dusty Springfield Dusty in Memphis (Atlantic ’69)
  23. Bubblegum Music is the Naked Truth Volume 1 (Buddah ’69)
  24. Jorge Ben Jorge Ben (Philips Brazil ’69)
  25. The Bob Seger System Ramblin’ Gamblin’ Man (Capitol ’68)
  26. Rolling Stones Beggars Banquet (London ’68)
  27. The Band The Band (Capitol ’69)
  28. Fairport Convention Liege & Lief (Island UK ’69)
  29. Eric Dolphy Iron Man (Douglas ’68)
  30. The Ethiopians Engine 54 (WIRL Jamaica ’68)
  31. Led Zeppelin Led Zeppelin (Atlantic ’69)
  32. Santana Santana (Columbia ’69)
  33. Gilberto Gil Gilberto Gil (Philips Brazil ’68)
  34. Big Brother & the Holding Company Cheap Thrills (Columbia ’68)
  35. Jimi Hendrix Electric Ladyland (Reprise ’68)
  36. Hank Thompson Smoky the Bar (Dot ’69)
  37. Milton Nascimento Milton Nascimento (Odeon Brazil ’69)
  38. Kaleidoscope A Beacon From Mars (Epic ’68)
  39. Merrilee Rush Angel of the Morning (Bell ’68)
  40. Elvis Presley From Elvis in Memphis (RCA Victor ’69)
  41. Jefferson Airplane Crown of Creation (RCA Victor 68)
  42. Duke Ellington …And His Mother Called Him Bill (Bluebird/RCA ’68)
  43. The Beatles Abbey Road (Apple ’69)
  44. Miles Davis In a Silent Way (Columbia ’69)
  45. The Golden Earring Eight Miles High (Atlantic ’69)
  46. Terry Riley A Rainbow in Curved Air (Columbia Masterworks ’69)
  47. The Archies Everything’s Archie (Calendar ’69)
  48. The Velvet Underground The Velvet Underground (MGM ’69)
  49. Neil Young Everybody Knows This is Nowhere (Reprise ’69)
  50. Jonathan Klein Hear, Oh Israel: A Concert Service in Jazz (National Federation of Temple Youth ’68)
  51. James Brown and the Famous Flames Live at the Apollo Vol, II (King ’68)
  52. Jefferson Airplane Volunteers (RCA Victor ’69)
  53. Elvis Presley Elvis: TV Special (RCA Victor ’68)
  54. Miles Davis Nefertiti (Columbia ’68)
  55. Amon Düül II Phallus Dei (Liberty Germany ’69)
  56. The Isley Brothers It’s Our Thing (T-Neck ’69)
  57. The Heptones On Top (Studio One Jamaica)
  58. Dr. John Gris-Gris (Atco ’68)
  59. Tony Joe White Black and White (Monument ’69)
  60. Archie Bell & the Drells Tighten Up (Atlantic ’68)
  61. Byard Lancaster It’s Not Up to Us  (Vortex ’68)
  62. Procol Harum Shine On Brightly (A&M ’68)
  63. Shorty Long Here Comes the Judge (Soul ’68)
  64. The Flying Burrito Bros The Gilded Palace of Sin (A&M ’69)
  65. Don Cherry Eternal Rhythm (MPS Germany ’69)
  66. James Brown and the Famous Flames I Can’t Stand Myself When You Touch Me (King ’68)
  67. The Mothers of Invention Cruising With Ruben and the Jets (Verve ’68)
  68. Ornette Coleman New York is Now! (Blue Note ’68)
  69. Merle Haggard and the Strangers Pride in What I Am (Capitol ’69)
  70. The Beatles The Beatles/White Album (Apple ’68)
  71. Terry Riley In C (Columbia Masterworks ’68)
  72. Fairport Convention What We Did on Our Holidays/Fairport Convention (A&M ’69)
  73. Milton Nascimento Courage (A&M/CTI ’69)
  74. Otis Redding The Dock of the Bay (Volt ’68)
  75. Caetano Veloso Caetano Veloso (Philips Brazil ’68)
  76. Loretta Lynn Fist City (Decca ’68)
  77. Aretha Franklin Lady Soul (Atlantic ’68)
  78. Silver Apples Silver Apples (Kapp ’68)
  79. The Zombies Odessey and Oracle (Date ’68)
  80. Yes Yes (Atlantic ’69)
  81. The Temptations Puzzle People (Gordy ’69)
  82. The Chocolate Watchband The Inner Mystique (Tower ’68)
  83. The Deviants Disposable (Sire ’68)
  84. The Flamin’ Groovies Sneakers (A Snazz Recording EP ’68)
  85. Tropicália Ou Panis Et Circencis (Philips Brazil ’68)
  86. The Kinks Something Else By the Kinks (Reprise ’68)
  87. Wilson Pickett The Midnight Mover (Atlantic ’68)
  88. Blue Cheer Outsideinside (Philips ’68)
  89. Amon Düül Collapsing Singvögel Rückwärts & Co (Metronome Germany ’69)
  90. King Crimson In the Court of the Crimson King (Atlantic ’69)
  91. Simon and Garfunkel Bookends (Columbia ’68)
  92. The Deviants Ptooff! (Sire/London UK ’68)
  93. John Fahey The New Possibility: John Fahey’s Guitar Soli Christmas Album (Takoma ’68)
  94. The Music Machine The Bonniwell Music Machine (Warner Bros./Seven Arts ’68)
  95. Flamin’ Groovies Supersnazz (Epic ’69)
  96. Coven Witchcraft Destroys Minds & Reaps Souls (Mercury ’69)
  97. Cromagnon Cromagnon/Orgasm/Cave Rock (ESP Disk ’69)
  98. Van Morrison Astral Weeks (Warner Bros./Seven Arts ’68)
  99. NRBQ NRBQ (Columbia ’69)
  100. The Mothers of Invention Uncle Meat (Bizarre ’69)
  101. Archie Bell & the Drells I Can’t Stop Dancing (Atlantic ’68)
  102. Blue Cheer Vincebus Eruptum (Philips ’68)
  103. Os Mutantes Os Mutantes (Polydor Brazil ’68)
  104. The United States of America The United States of America (Columbia ’68)
  105. Celia Cruz & Tito Puente Quimbo Quimbumbia (Tito ’69)
  106. Roland Kirk The Inflated Tear (Atlantic ’68)
  107. Aretha Franklin Aretha Now (Atlantic)
  108. The Byrds Sweetheart of the Rodeo (Columbia ’68)
  109. Pigmeat Markham Here Come the Judge (Chess ’68)
  110. Merle Haggard and the Strangers Mama Tried (Capitol ’68)
  111. James Brown It’s a Mother (King ’69)
  112. The Holy Modal Rounders The Moray Eels Meet the Holy Modal Rounders (Elektra ’68)
  113. Sun Ra Monorails and Satellites (Saturn Research ’68)
  114. Musica Eletronica Viva Friday (Polydor ’69)
  115. David Allan Coe Penitentiary Blues (SSS International ’69)
  116. Jethro Tull Stand Up (Reprise ’69)
  117. Lottie Golden Motor-Cycle (Atlantic ’69)
  118. Sonny Sharrock Black Woman (Atco ’69)
  119. Jeannie C. Riley Harper Valley P.T.A. (Plantation ’68)
  120. Cream Wheels of Fire (Atco ’68)
  121. Rare Earth Get Ready (Rare Earth ’69)
  122. Johnny Johnson and the Bandwagon Johnny Johnson and the Bandwagon (Epic ’68)
  123. Fleetwood Mac Then Play On (Warner Bros. ’69)
  124. The Deviants The Deviants #3 (Sire ’69)
  125. The Allman Brothers Band The Allman Brothers Band (Atco/Capricorn ’69)
  126. The Human Beinz Nobody But Me (Capitol ’68)
  127. The Doors Waiting for the Sun (Elektra ’68)
  128. Ohio Express Ohio Express (Buddah ’68)
  129. Deep Purple Deep Purple (Orbit/Tetragrammatton ’69)
  130. R.B. Greaves R.B. Greaves (Atco ’69)
  131. Donovan The Hurdy Gurdy Man (Epic ’69)
  132. Siren Siren (Dandelion)
  133. O.C. Smith Hickory Holler Revisited (Columbia ’68)
  134. Joni Mitchell Clouds (Reprise ’68)
  135. .John Stewart California Bloodlines (Capitol ’69)
  136. Spirit The Family That Plays Together (Ode ’68)
  137. The Kinks Are the Village Green Preservation Society (Reprise ’68)
  138. Sunny and the Sunliners Little Brown-Eyed Soul (Key-Loc ’69)
  139. The Pentangle Basket of Light (Reprise ’69)
  140. Dionne Warwick Valley of the Dolls (Scepter ’68)
  141. The Soft Machine The Soft Machine (Probe ’68)
  142. Margo Guryan Take a Picture (Bell ’68)
  143. Dragonfly Dragonfly (Megaphone ’68)
  144. Diana Ross and the Supremes Love Child (Motown ’68)
  145. Steppenwolf Steppenwolf (Dunhill ’68)
  146. Bobbie Gentry The Delta Sweete (Capitol ’68)
  147. Hugo Montenegro and his Orchestra Music From A Fistful of Dollars & For a Few Dollars More & The Good, The Bad and The Ugly (RCA Victor ’68)
  148. The Shaggs Philosophy of the World (Third World ’69)
  149. Johnny Cash At Folsom Prison (Columbia ’68)
  150. Baseball: The First 100 Years (Fleetwood ’69)


  1. via facebook:

    Steve Crawford
    I can’t wait to do a deep dive into this and I love that the Who and the Band weren’t included.

    Chuck Eddy
    One Band album IS included, actually! Just not the boring one.

    Steve Crawford
    Great title: “Bubblegum Music is the Naked Truth.”

    Chuck Eddy
    Decades later, I contributed to a book with the same title.

    Steve Crawford
    I would have The Kinks “Arthur” pretty high on my list, but it’s good to see “Something Else” and “Village Green” included.

    Chuck Eddy
    I really couldn’t get into Arthur. Though again, I did try.

    Steve Crawford
    I love “Victoria,” “Shangri-La,” and “Australia” in particular, but the consensus seems to be that it is the weakest effort of that trilogy of releases.

    Chuck Eddy
    Yeah, those songs seemed good, but the rest struck me as extremely spotty. Oddly, I’ve almost definitely heard the Fall’s cover of “Victoria” more than the Kinks’ original over the years. Both are pretty great.

    Edd Hurt
    My top 20 are:
    1 Miles–In a Silent Way
    2 The Band–Big Pink
    3 Captain Beefheart–Trout Mask Replica
    4 Stones–Let It Bleed
    5 Tony Williams–Emergency!
    6 Dusty in Memphis
    7 Gilberto Gil–Gilberto Gil
    8 Arlo Guthrie–Running Down the Road
    9 The Byrds–Notorious
    10 Velvet Underground–S/T
    11 Otis Redding–The Dock of the Bay
    12 Fairport Convention–What We Did on Our Holidays
    13 Kaleidoscope–A Beacon from Mars
    14 Delaney & Bonnie–The Original
    15 The Kinks–Something Else
    16 Zombies–Odessey
    17 Ollie and the Nightingales-S/T
    18 Procol Harum–A Salty Dog
    19 Flamin Groovies–Supersnazz
    20 The Stooges–S/T

    Chuck Eddy
    A Salty Dog drew total blanks for me — though I wound up liking Shine On Brightly quite a bit, oddly enough. And given 2021’s sea-chantey craze, maybe the Salty Dog songs are more relevant these days.

    Edd Hurt
    I like “Arthur” but never listen to it. I think Tony Joe White on Monument is pretty spotty. None of the several James Brown 1969 albums are worth getting unless you love his instrumentals, though he does cover John D. Loudermilk on one of them. 1970’s “It’s a New Day” is far more substantial, as is, of course, and it was mostly recorded in ’69, “Sex Machine.” The Tony Williams album I got into only in the last few years, and it’s really great. I like Jorge Ben but the albums on Philips are somewhat inconsistent. “Big Pink” is the one Band album I love, though the second one I do cherrypick tracks off of sometimes. I am just burned out on CCR, but “Willy” is a great album. The Ollie and the Nightingales is one of the very best Stax things, a perfect record.

    Edd Hurt
    Oh man, for superschlock “Salty Dog” is the best. “Pilgrim’s Progress.”

    Chuck Eddy
    Speaking of Sex Machines, Sly Stone’s one is almost 14 useless minutes, without which Stand! would probably have finished even higher.

    Edd Hurt
    “Arthur” is really good, actually. But it is more…recessive, leading toward that ’70s crap. I coulda listed “Village Green,” it’s in my top 100, I guess. Sometimes I think it’s their masterpiece, just burned out on it.


    Steve Pick
    Nine year old me was way more embarrassing in his political support than you were, though at least I only said it in school a couple of times. Faced with 90% of my fellow students voicing support for Nixon, and parents at least mentioning Humphrey, I, completely unaware of what it meant, expressed an inclination for Wallace. We were kids – what the hell did we know? I was still two years away from a return to music interests – I only knew “Here Comes the Judge” from Rowan & Martin’s Laugh-In, which also introduced me to the Strawberry Alarm Clock. Oh, and in the early 70s, when I subscribed to Sporting News just so I could manually update the baseball statistics of every major league player, I discovered that Baseball Encyclopedia and fell head over heels in love!

    Steve Pick
    By the way, there are way too many records I love and /or like in your list to even begin to write anything about them all. There are probably almost as many things you dis that I love – Music From Big Pink and Arthur among them. I remain completely unconvinced by Frank Zappa – for most of my life I thought the world was divided between Zappa fans and Beefheart fans until I met a guy who didn’t like either, and now I realize you seem to like both.

    Chuck Eddy
    I’ve never thought Zappa was remotely funny, own almost nothing by him. But his East L.A. doo-wop homage strikes me as sincere, with more warmth and heart than I’d think possible. He could also play some cool guitar.

    Tim Ellison
    Is that one of your favorite Tom T. Hall albums?

    Chuck Eddy
    Definitely. His other album from 1969, Ballad of Forty Dollars and His Other Great Songs, has an amazing title track but not a whole lot otherwise.

    Jaz Jacobi
    “a groovy cube-shaped ottoman cushion thing covered in zodiac signs”: okay, I need this more than I need to breathe oxygen to live

    Chuck Eddy
    Google-image-searched it; couldn’t find anything. Not sure I’m describing it right — Maybe one-and-half-foot cubed in size?

    Jaz Jacobi
    I totally was not expecting the Masked Marauders LP to be in ANYBODY’s top five, but I very much love that it is! I’ve owned that record for about twenty years, maybe I should finally LISTEN to it… 🙂


  2. via facebook:

    Phil Dellio
    Wow–have you ever mentioned Cincinnati? I’m sure you have, but I have no recollection of that.

    Chuck Eddy
    I don’t know! Lived there kindergarten to 4th grade, roughly.

    Phil Dellio
    Johnny Bench’s first few seasons, but just on the cusp of the Big Red Machine.

    Graham Ashmore
    I guess the Big Red Machine began in earnest in 1972, though it was coined in ’69. 1971 was a major slip.

    Phil Dellio
    Yeah, they fell back to sub-.500 for some reason, the one blot in a decade-long run.

    Graham Ashmore
    Phil, off season from Bench, Helms at second, Carbo and Foster useless, Concepcion’s OBP .246, nada bench apart from McRae.

    Chuck Eddy
    Okay, tacked on another gratuitous sentence about the Reds.

    Phil Dellio
    Looking at Baseball Reference right now…Different team without Morgan. I didn’t even realize Foster was in the lineup then–he moves out of the picture after that until ’75. I got to see them at spring training in ’72.

    Graham Ashmore
    I didn’t get the Baseball Encyclopedia, but my parents did give me The Sports Encyclopedia: Baseball, which I devoured for years.

    John Smallwood
    What part of town did you live in?

    Chuck Eddy
    Well, it’s been a half century, and I was just a wee tyke. Have only been back there once or twice since, decades ago. Have vague memories of my neighborhood being called “Cherry Grove” or “Forest Hills”, maybe?

    John Smallwood
    Chuck Eddy It was probably Forest Park

    Chuck Eddy
    Forestville, more likely
    A yep, there’s Northport Drive — and Summit Elementary, though I went to Immaculate Heart of Mary, at Beechmont Ave/125 and Hawkins Lane.



  3. via email:

    Frank Kogan

    Four albums from 1968, none of which I listened to in 1968, and only one of which I listened to prior to 2020.

    And the two I bought in 1968 that were most important to me (and were from 1966):

    Don Allred

    I did that too—a fair chance I heard choices 2 and 3 at my cool (brother & sister) friends’ house around that tyme—def Parsley Sage and In My Life, the latter striking me as, “Oh! This is the modern repertoire!” Hearing Boy God Dylan sandwiched in with those others was v. satisfying (think that was the one incl. her take on “Pirate Jenny,” which D said in Chronicles was a crucial influence on his writing (might have heard in in the Brecht review his girl friend stage managed, but all this worked for me then) oh yeah, here’s my Twitter foursome:
    “WITHOUT saying your age post, please post 4 albums that came out when you were 14” sry 0 images, boot:
    Jerry Lee Lewis/Live At The Star Club, Hamburg
    Another Side Of Bob Dylan
    The Rolling Stones/England’s Newest Hit Makers
    Etta James Rocks The House


  4. via facebook:

    Yuval Taylor
    My favorites of 1968: the 14-track acetate of Bob Dylan and the Band’s Basement Tapes; Van Morrison, Astral Weeks.
    My favorites of 1969: Willie Colón, Guisando; Willie Colón, Cosa Nuestra; Fairport Convention, What We Did on Our Holidays; and Dusty Springfield, Dusty in Memphis.
    Willie Colón and Hector Lavoe were the Keith Richards and Mick Jagger of 1969. The hardest-edged New York sound ever, absolutely galvanic.
    And Something Else by the Kinks was first released in 1967 in the UK, otherwise I’d include it too.


  5. via facebook:

    Chuck Eddy
    Is it weird that I never noticed until just this second that “Electric LaDYLANd,” which has a Dylan cover, includes the word “Dylan”? (Don’t remember anybody ever mentioning it.)

    Kevin Bozelka
    No, this is not weird. It’s weird to notice it.

    Piotr Orlov
    Electric Lad Dylan. Fun. What a lovely album. Been playing it a bunch last few years.

    Graham Ashmore
    I bet it was intentional.

    Scott Bloomfield
    Also cool: “Crosstown traffic” finds Jimi predicting a traffic jam straight up ahead; and the very next track is a long jam with Steve Winwood – of Traffic!

    Chuck Eddy
    That Jimi, what a comedian!

    Kevin Bozelka
    Chuck Eddy and that title includes children’s musician Raffi!

    Chuck Eddy
    Yeah but he doesn’t cover any Raffi songs, so…

    Kevin Bozelka
    Chuck Eddy they both did the Star Spangled Banner!

    Chuck Eddy
    Good point.

    Mike Freedberg
    Not had I
    Avd I think it’s intended

    Scott Seward
    CHUCK is sooooooo stoned right now.

    Chuck Eddy
    On salad!!

    Howard Wuelfing

    Edd Hurt
    Jimi could have done a great Dylan album…with Manfred Mann.

    Adam Sobolak
    Jack Bruce-era?

    Edd Hurt
    Around the time of Mann’s great Coulson, Dean, McGuiness, Flint Dylan album “Lo & Behold.” ’73-ish.

    Dan Epstein
    Dude… have you ever REALLY looked at your hand?

    Edd Hurt
    I just remember the naked women on the first LP I bought of the album, when I was 16…

    Chuck Eddy
    There were certainly quite a few.

    Edd Hurt
    Seemed like a lifestyle

    Chuck Eddy
    Something to aspire to.

    Edd Hurt
    Dylan only had the one woman most of the time

    Anthony Cohan-Miccio
    I definitely assume Robbie was annoyed by BAND of Gypsys.

    Adam Sobolak
    All makes me think of how it was only quite recently that I discovered how “I Want To Hold Your Hand” invented the Kinks—that is, swap John & Paul for Ray & Dave and it wouldn’t make a difference…

    Barry Mazor
    Positively 8th Street


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