January 30, 2026 by A.S. Van Dorston

Revisiting favorite albums that are 60 years old this year.

Top 100 Albums of 1966 | Mix | Breakdown: Genre Lists | Movies | Books

In jazz, the album, envisioned as a cohesive piece of work, goes back to 1946, when Duke Ellington released Black, Brown and Beige as an album of 78 RPM records. After Columbia Records introduced the 33 1/3-rpm microgroove LP in 1948, again it was Ellington who was the first to release a piece of work, Masterpieces by Ellington (1951) recorded specifically for the LP format. With rock & roll, pop rock and folk, however, it took them a long time to making LPs that weren’t just a few singles and filler, unless you count Frank Sinatra, who meticulously sequenced In the Wee Small Hours (1955) to maintain a consistent mood of loneliness and heartbreak. The Beach Boys’ Little Deuce Coupe (1963) was one of the first in the rock era, tied to the theme of hot rod culture. By 1965, we had The Beatles’ Rubber Soul and Bob Dylan’s Highway 61 Revisited amping things up for the art of the album. Aside from those two artists, I don’t really see a big difference in 1966, with most bands and artists stuck in the old ways. Nevertheless, change was percolating, with a prescient foreshadowing in Frank Zappa & the Mothers of Invention’s Freak Out!, which had no singles, just a sustained double album barrage of savage satire and experimental music. Meanwhile, The Velvet Underground & Nico was recorded in April, but will remain in the can until the next year. The delay likely made no difference, it took two decades for it’s influence to spread.

On most of the blurbs I include a few rankings beyond my own — one is a crowd sourced aggregate from the site Rate Your Music, which took over from Allmusic.com as my go-to source for researching music in the 21st century, and Acc laimed Music, which aggregates all the major publications. Album of the Year has taken over as the go-to aggregator for recent year-end lists, which also means that it’s rankings for 1966 reflect more recent lists that reflect current tastes more.

Genre

While Soul and all it’s variations (Southern Soul, Deep Soul, Pop Soul, Chicago Soul, Motown) remained firmly singles based, several artists (Otis Redding, Nina Simone, Terry Callier, Wilson Pickett, Percy Sledge, Ike & Tina Turner, Sam & Dave, The Temptations, James Brown, Howard Tate) released albums strong enough to compete with Jazz, which was not really in decline, but simply progressing so far forward that it’s popularity was overtaken by the more commercial rock era, and the psychedelic explosion coming around the corner.

Comeback

While Frank Sinatra’s popularity had become eclipsed in the early to mid-60s by the British invation, pop and Motown, he had a popular resurgence with the huge “Strangers in the Night” single from the album of the same title. It’s not like he had even slowed down though, as September of My Years (1965) was an even better album. Roy Orbison had a hot streak of several singles after a lull for a few years. Three years in pop culture in the 60s, when music was progressing at warp speed, was much different than in the 21st century.

Debut

The 13th Floor Elevators debuted with the first full-fledged psychedelic album. They were hardly on anyone’s radar at the time, but their stature would grow immensely as time went by. There were also great debuts from Small Faces, Love, The Seeds and Cream.

Memoriam

Richard Fariña (29), Bobby Fuller (23), Bud Powell (41), Johnny Kidd (30), Mississippi John Hurt (73). Just about everyone was alive in 1966, with three of the five above taken by motorcycle and car crashes. We can thank Ralph Nader for his work in advocating car safety that this didn’t happen as often after the 60s.

Underrated

Many of the artists here were also some of the most commercially successful. But one artist that seemed overlooked in comparison to the acclaim that Marvin Gaye and Stevie Wonder got, was Curtis Mayfield. While, like many of his peers, he would suffer from some artistic decline later in the decade, in 1975 he was still in top form, but No Place Like America Today remains overlooked as a classic of protest soul.

Disappointment

I wasn’t born yet, so this is hindsight. I suppose with the leaps and bounds that the Beatles, Beach Boys took in recording and production techniques, most other artists were relatively far behind the curve, at least in terms of amplified rock and soul. At this point by far the best sounding albums were the acoustic recordings in jazz.

Surprise

I wasn’t born yet, so this is hindsight. I always assumed Paul Revere & the Raiders kind of sucked, but they were actually really great. Had they switched to just the Raiders much earlier and ditched the revolutionary war costumes, they probably would have fared better critically.

Fester’s Lucky 13 – The Best Albums of 1966

1. The Beatles – Revolver (Parlophone)

Like most people still breathing, I grew up listening to The Beatles. Between my mom and uncle, our household had many of their singles and nearly all the albums through the White Album. We had “Paperback Writer / Rain” and “Eleanor Rigby / Yellow Submarine.” But inexplicably, no Revolver. So I heard it (and Abbey Road) for the first time as a teen rather than a toddler, already with a sizable music collection, much of which (ELO, Queen, Cheap Trick) was inspired by Revolver-era Beatles. And yet it still sounded completely fresh and contemporary, experimental and brilliant. The title is perfect, implying at least a triple meaning. As the record revolves around the turntable, the sounds are the natural evolution of the band from a regular touring group to strictly studio wizards, creating music with the most dazzlingly innovative studio production, leagues ahead of everyone. It’s a metaphorical revolver gun, loaded with bullets of perfectly conceptualized tracks set to blow your mind. It’s revolutionary, steering the sound and artistic direction of literally thousands of bands, and Western culture. There’s no point in highlighting tracks, as they’re all perfect. It’s the greatest pop rock album ever made. With hundreds of thousands of pages written about this (I highly recommend Ian MacDonald’s Revolution in the Head: The Beatles’ Records and the Sixties from 1995 as the best critical guide) so there’s not much more left to be said, other than some people are not wired to like this album. If one can live with that alarming knowledge, nothing else is surprising.

2. The 13th Floor Elevators – Psychedelic Sounds of the 13th Floor Elevators (International Artists)

Better than Blonde on Blonde and Pet Sounds? Hellz yea it is, if you favor sinister psychedelic garage rock over folk rock and sunshine pop. This Austin, Texas band lead by Roky Erickson was the American counterpart to Pink Floyd, but they were the first ever to release a full-on, self-identified acid fried freakazoid psych album. It kicks off with the classic “You’re Gonna Miss Me,” which was later part of the historic Nuggets compilation. But “Roller Coaster” is just as great and twice as menacing, providing the template for generations of dark psych bands to follow. “Reverberation” and “Fire Engine” were covered by dozens of garage psych bands, and even deep cuts like “You Don’t Know” and “Kingdom of Heaven” sizzle with dark magic. The 13th Floor Elevators laid down the template for most of my favorite bands.

3. Bob Dylan – Blonde On Blonde (Columbia)

I have a couple reservations about this album being seen as Bob Dylan’s peak. The absolutely sh*t opener “Rainy Day Women #12 & 35” which I will always loathe, and the kind of pedestrian misogyny of the popular love songs “I Want You” and “Just Like a Woman” indicate to me that he’s on the decline after the peak of Highway 61 Revisited. But man, the rest of the album is absolutely mesmerizing. The most truly surreal, psychedelic lyricist of the era. I don’t get people who can’t/won’t listen to him because of his vocals. This album has his best, most expressive singing, and I firmly believe the best interpreter of Dylan is Dylan, and the only artist to do one of his songs better was Jimi Hendrix.

4. The Kinks – Face To Face (Pye)

On their fourth album, Ray Davies truly hits his stride as a songwriter. While most other England’s A-lister bands were still sounding heavily influenced by American music, The Kinks really boiled down what it meant, and sounded like, to be British. Arguably this happened with the killer run of singles from the trailblazing psych of “See My Friends,” and the sharply satirical character sketches “A Well Respected Man” and 1966’s “Dedicated Follower of Fashion.” While the big single on Face to Face is the sublime “Sunny Afternoon,” for the first time every track on the album feels essential, from “Rosy Won’t You Please Come Home” and “Dandy” to “House in the Country,” “Rainy Day in June” and my favorite, the elegantly psychedelic “Fancy.” In fact, it could have been a credible double album, with later CD reissues including eight additional amazing songs like “I’m Not Like Everybody Else” and “Dead End Street.” Due to being banned from touring the U.S. from 1965-69, their albums didn’t have they impact for us Yanks as they should have. It took decades for appreciation to grow for this and the subsequent run of classics.

5. Otis Redding – Complete & Unbelievable: Dictionary Of Soul (Stax)

Two albums in the Lucky 13, what can I say, Otis is da man. Chock full of hits like “Sad Song,” “Tenderness,” “My Lover’s Prayer” and all the deep cuts are ace too, like the rockin’ “Sweet Lorene,” and the shoulda been single “You Left the Water Running.” Marvin Gaye, Stevie Wonder and Curtis Mayfield, who all released recordings this year, would go on to push soul into more progressive frontiers in the 70s, but right now, Otis is at his peak and unbeatable. Dig it, believe it. And who knows what he had done had he not died that horrible day on December 10, 1967, just 26 years old.

6. Nina Simone – Wild is the Wind (Philips)

While Pastel Blues (1965) remains Nina Simone’s best album, ending with the unbeatable career highlight “Sinnerman,” what’s remarkable about this album is that it’s nearly as great, even though it’s made up of leftovers from previous album sessions. How in the holy hell does someone leave out “Four Women”? “Lilac Wine”?? “Wild is the Wind”??? In a sense, the source songs don’t make much of a difference. Simone could turn anything, like traditional pop standards and showtunes into titanic powerhouses. In 2003 I bought the box set Four Women: The Nina Simone Philips Recordings, which collected seven albums recorded in just 29 months between 1964 and 1966, documenting an artist who transcended sublime musicianship to became a sorceress. Ten years later, David Bowie covered the title track on his album Station to Station, and while I never got to see Simone live, I saw the next best thing, Jeff Buckley singing “Lilac Wine” live in the mid-90s.

7. The Beach Boys – Pet Sounds (Capitol)

Brian Wilson made good use of his time at home after bowing out from touring duties. The Beach Boys Today! (March 1965) and Summer Days (And Summer Nights!!) in June showed his production and arrangement skills progressing at warp speed. Then the Beatles released Rubber Soul in December, and lit a fire under him. He put on his big boy pants and got to work, having the gall to try to compete with the Beatles. It’s fascinating how widely varied the reactions are to it. It didn’t sell nearly as well as Wilson expected at the time, and the acclaim came slowly, reflecting my own experiences with it. As a teen, I was hugely disappointed by some of the corny lyrics by jingle ad writer Tony Asher. But over the years it grew on me more and more. While Wilson was proudest of the first single “Caroline No” and the instrumental “Let’s Go Away for A While,” Paul McCartney said “God Only Knows” was the “greatest song ever written” and he wasn’t far off. From “Wouldn’t it Be Nice” through “I Just Wasn’t Made for These Times,” the album is just achingly beautiful.

8. The Rolling Stones – Aftermath

The album where Jagger-Richards click as consistent, original songwriters. Never mind that the UK version pictured here doesn’t include one of my alltime faves, “Paint it Black,” instead they have another ace single not on the U.S. version, “Mothers Little Helper,” not to mention “Under My Thumb.” The US version is missing three more tracks, including “Out of Time,” but whatever, the post-CD era we can hear all the tracks. The Rolling Stones would continue to get better and filthier, but this is a landmark first of their run of consistently great albums.

9. Small Faces – Small Faces (Decca)

Holy s**tballz this album is underrated. I rarely Small Faces on best-of lists. I remember first hearing it 30+ years ago and thinking, wow, this is what the Who should have sounded like on record in ’66. There is no longer an excuse for bands sounding more wimpy and twee when they have a reputation for being a ferocious live act, because of this album. Consider this, Keith Moon really didn’t start sounding like Keith Moon on studio recordings until ’69, whereas Kenney Jones was a complete animal on this album. So who influenced w/Who? Funny thing, Jones chose to reign in his wild chops when he actually joined the Who. Also, Robert Plant learned how to holler from Steve Marriott on “You Need Loving,” and Rod Stewart owes his entire career to him. While there was only one official album release from their Decca era, they recorded more than enough for a double album. Had just a few singles like “Hey Girl,” “All or Nothing” and the psychedelic “My Mind’s Eye” been included, it would have nudged this album further up the list.

R&B | Freakbeat | RYM #128

10. John Coltrane – Meditations (Impulse!)

Many fans were turned off by John Coltrane’s Ascension, which is fair enough. It was a bold experiment that took big risks and wasn’t completely successful. Those looking for a proper sequel to A Love Supreme can find it here. Recorded November 23, 1965, the same tunes were originally recorded on September 2, and released in 1977 as First Meditations (For Quartet). It’s fascinating to hear the evolution, with the initial sessions more conventional sounding, while the finished version is full on free jazz, just as intense as Ascension, but with every note feeling like it’s fulfilling it’s artistic role within the chaos. It’s the sound of Coltrane taking another step forward in his increasingly urgent spiritual quest that would end, at least on this plane, in about 20 months.

Free Jazz | Spiritual Jazz | RYM #7 | Acclaimed #38 | AOTY #32

11. Love – Da Capo (Elektra)

Many who saw them play on the Sunset Strip assumed that Love were primed to reach the kind of audience that a little brother band they helped get signed to their label, The Doors, ended up getting. Love were simultaneously too raw and sophisticated, baroque but wild, and the evidence is all on their second album. Arthur Lee just wasn’t made out to be a rock star, and willfully prevented it from happening by refusing to tour and play Monterey Pop fest the next year. Time has gradually corrected such injustices, as their stature has grown over the decades. And while the 18:56 long “Revelation” has it’s detractors, it’s a jam. Jim Morrison took copious notes.

12. Terry Callier – The New Folk Sound of Terry Callier (Prestige)

While he was mainly associated with progressive Chicago soul and soul jazz, Terry Callier’s debut was a full-on folk album, but an extremely special one. While he mostly interprets standards, his vocals (that remind me at times of Nina Simone) and arrangements achieve a hauntingly ethereal quality that as far as I can tell had not been done before (Richie Havens comes closest), but would eventually be heard from Tim Buckley, Nick Drake and John Martyn in the next few years. Callier himself would languish underappreciated under the radar until he quit music in 1983 to raise his daughter and work as a computer programmer at the University of Chicago. His records gradually became sought after rare groove grails for their unique hybrid of soul, folk and jazz. The Acid Jazz label coaxed him out of retirement, flying him to London in 1991 to play a gig to rapturous response, sparking a triumphant second chapter to his career.

Folk | Country Blues | Soul Jazz | RYM #74

13. Otis Redding – The Soul Album (Stax)

Why is Otis Redding the greatest soul man of his era? There are prettier and more technically accomplished singers. But if you ever listened to the Stax boxed set, Otis always stands out, triggering the gooseflesh, whether he’s coveringSam Cooke, Eddie Floyd & Wilson Pickett, or even filler like “Scratch My Back.” His passion and sincerity has the gravity of entire galaxies. Of course when he has top notch material like “Cigarettes and Coffee,” no one can touch him. Just be careful who you play “Just One More Day” for, because that single track has probably sparked more post-breakup hookups than any other.

Best Sellers

The Beatles – Revolver (7.2 million)
The Monkees – The Monkees (5M)
Simon & Garfunkel – The Sounds of Silence (3.2M)
Simon & Garfunkel – Parsley, Sage, Rosemary & Thyme (3.2M)
Bob Dylan – Blonde on Blonde (2.3M)
The Beach Boys – Pet Sounds (1.6M)
The Rolling Stones – Aftermath (1M)
Bill Cosby – Wonderfulness (1M)
Frank Sinatra – Strangers in the Night (1M)
Ray Coniff – Somewhere My Love (1M)
The Mamas & the Papas – If You Can Believe Your Eyes & Ears (1M)
Sergio Mendes & Brasil 66 – Herb Alpert Presents (550K)
Cream – Fresh Cream (504K)

Mix: Tidal | Spotify | Apple | All Platforms

1966 Top 100

The Beatles – Revolver
The 13th Floor Elevators – Psychedelic Sounds of the 13th Floor Elevators
Bob Dylan – Blonde On Blonde
The Kinks – Face To Face
Otis Redding – Complete & Unbelievable: Dictionary Of Soul
Nina Simone – Wild Is The Wind
The Beach Boys – Pet Sounds
The Rolling Stones – Aftermath
Small Faces – Small Faces
John Coltrane – Meditations
Love – Da Capo
Terry Callier – The New Folk Sound of Terry Callier
Otis Redding – The Soul Album
The Byrds – Fifth Dimension
Sun Ra & his Solar Arkestra – The Magic City
Cecil Taylor – Unit Structures
Wilson Pickett – The Exciting Wilson Pickett
Percy Sledge – When A Man Loves A Woman
Yardbirds – Roger The Engineer
John Coltrane – Coltrane Live At The Village Vanguard Again!
Percy Sledge – Warm & Tender Soul
Ike & Tina Turner – River Deep – Mountain High
The Sonics – Boom
Wayne Shorter – Speak No Evil
Albert Ayler – Live In Greenwich Village
Sam & Dave – Hold On, I’m Comin’
The Who – A Quick One
The Seeds – The Seeds
Donovan – Sunshine Superman
Cream – Fresh Cream
The Animals – Animalisms
Monks – Black Monk Time
Simon & Garfunkel – Parsley, Sage, Rosemary and Thyme
John Coltrane – Ascension
Paul Revere & the Raiders – The Spirit of ’67
Buffalo Springfield – Buffalo Springfield
The Temptations – Gettin’ Ready
Love – Love
Count Five – Psychotic Reaction
The Remains – The Remains
The Standells – Dirty Water
Paul Revere & the Raiders – Midnight Ride
Simon & Garfunkel – Sounds of Silence
Patty Waters – Sings
Ennio Morricone – The Good, The Bad, And The Ugly
Lee Morgan – Search For The New Land
James Brown – I Got You (I Feel Good)
Larry Young – Unity
Jackie McLean – Right Now!
Blues Magoos – Psychedelic Lollipop
Howard Tate – Get It While You Can
The Mothers of Invention – Freak Out!
Archie Shepp – Mama Too Tight
Them – Them Again
Jacques Brel – Jacques Brel (Ces gens-la)
John Lee Hooker – It Serve You Right To Suffer
Slim Harpo – Baby Scratch My Back
Sun Ra – The Heliocentric Worlds of Sun Ra, Vol. 2
Albert Ayler Trio – Spirits Rejoice
The Seeds – A Web Of Sound
Herbie Hancock – Maiden Voyage
Mississippi John Hurt – Today!
Skip James – Today!
Robert Pete Williams – Louisiana Blues
Art Blakey & The Jazz Messengers – Indestructible
Sly & The Family Stone – A Whole New Thing
John Mayall With Eric Clapton – Blues Breakers
The Paul Butterfield Blues Band – East-West
Don Cherry – Complete Communion
The Shadows Of Knight – Back Door Men
The Music Machine – (Turn On) The Music Machine
The John Handy Quintet – The 2nd John Handy Album
Joe Henderson – Inner Urge
Martha & the Vandellas – Watchout!
Komeda Quintet – Astigmatic
Hank Mobley – Dippin’
Joe Henderson – Mode for Joe
Sonny Simmons – Staying on the Watch
Andrew Hill – Smokestack
Tim Buckley – Tim Buckley
The Supremes – I Hear A Symphony
Wes Montgomery Trio – Portrait of Wes
The Spencer Davis Group – Autumn ’66
Wes Montgomery Trio – Guitar on the Go
Sam & Dave – Double Dynamite
The Shadows Of Knight – Gloria
Hank Mobley – Straight No Filter
Ray Charles – Crying Time
Question Mark and the Mysterians – 96 Tears
Big Mama Thornton with the Muddy Water Blues Band – Big Mama Thornton with the Muddy Water Blues Band
Little Willie John – Nineteen Sixty Six – The David Axelrod/H.B. Barnum Sessions
Anthony Williams – Spring
Jimmy Smith – Got My Mojo Workin’
Paul Revere & the Raiders – Just Like Us!
Mulatu Astatke & His Ethiopian Quintet – Afro-Latin Soul
Orlando Julius – Super Afro Soul
Smokey Robinson & The Miracles – Away We a Go-Go
The Blues Project – Projections
Nina Simone – Let It All Out
The Mamas & The Papas – If You Can Believe Your Eyes and Ears

See full list here.

Breakdown: Genre Lists

As always, you can deep dive any of these these genres with the list search. While previously I had limited an album to one genre list, it didn’t accurately reflect the multi-genre nature of many of these albums. So this year an album will show up in multiple lists. I have a widget that automatically pulls from the database, so as albums are added and moved around in the future, this will reflect it.

Psychedelic, Psych Pop, Prog Pop & Psych Prog

One of the few American bands that could compete with the Brits, The Byrds had immediate success with mixing Bob Dylan and The Beatles with Roger McGuinn using the Rickenbacker 12-string guitar a key element of their signature jangle. On their third album, they aimed higher, mixing psychedelia with John Coltrane (particularly “India”) and Ravi Shankar, most notably on “Eight Miles High,” hands down the greatest song released that year.

The Beatles – Revolver (Capitol) | UK
The 13th Floor Elevators – Psychedelic Sounds of the 13th Floor Elevators (International Artists) | USA | Bandcamp
The Kinks – Face To Face (Reprise) | UK
The Beach Boys – Pet Sounds (Capitol) | USA
Love – Da Capo (Elektra) | USA
The Byrds – Fifth Dimension (Columbia) | USA
Yardbirds – Roger The Engineer (Columbia/Edsel) | UK
The Seeds – The Seeds (GNP Crescendo) | USA
Donovan – Sunshine Superman (Pye ) | UK
Cream – Fresh Cream (Atco) | UK
Love – Love (Elektra) | USA
Count Five – Psychotic Reaction (Double Shot) | USA
The Remains – The Remains (Epic) | USA

Baroque Pop & Sunshine Pop

Paul Revere & the Raiders were on a hot streak in 1966, releasing no less than three full albums, all of them solid. They had a surprisingly rough and raw garage sound that should have been vastly more popular than they were. My theory is the cheesy outfits and the name hurt them. They would finally change their name to the Raiders for their thirteenth album, Collage (1970), at least ten albums too late.

The Kinks – Face To Face (Reprise) | UK
The Beach Boys – Pet Sounds (Capitol) | USA
Love – Da Capo (Elektra) | USA
Paul Revere & the Raiders – The Spirit of ’67 (Columbia) | USA
Tim Buckley – Tim Buckley (Elektra) | USA
The Mamas & The Papas – If You Can Believe Your Eyes and Ears (Dunhill) | USA
Bob Lind – Don’t Be Concerned (Fontana) | USA
The Lovin’ Spoonful – Hums of The Lovin’ Spoonful (Kama Sutra) | USA
Judy Collins – In My Life (Elektra) | USA
Manfred Mann – As Is (Fontana) | UK
The Lovin’ Spoonful – Daydream (Kama Sutra) | USA
The Monkees – The Monkees (RCA) | USA
Roy Orbison – The Orbison Way (MGM) | USA

Pop Rock

In 1966 bands (or rather, labels) were still self-sabotaging prospects of assembling the best albums possible by excluding their greatest songs. “Happy Jack,” “I’m a Boy” and especially “Substitute” would have rocketed The Who’s second album into a contender for best of the year. Instead, it’s a step down from their scorching debut. However, props for boldly tackling a 9:11 minute mini rock opera. It really came to life when they performed it at the filming of The Rolling Stones’ Rock & Roll Circus, which remained unreleased for decades, as they blew their hosts out of the studio with their performance of “A Quick One, While He’s Away.”

The Beatles – Revolver (Capitol) | UK
The Kinks – Face To Face (Reprise) | UK
The Who – A Quick One (MCA) | UK
Donovan – Sunshine Superman (Pye ) | UK
The Shadows Of Knight – Gloria (Dunwich) | USA
The Mamas & The Papas – If You Can Believe Your Eyes and Ears (Dunhill) | USA
Syndicate of Sound – Little Girl (Bell) | USA
Chris Farlow – The Art of Chris Farlowe (Immediate) | UK
The Everly Brothers – Two Yanks in England (WB) | USA
The Hollies – For Certain Because… (Parlophone) | UK
The Lovin’ Spoonful – Hums of The Lovin’ Spoonful (Kama Sutra) | USA
The Grass Roots – Where Were You When I Needed You (Dunhill) | USA
The Lovin’ Spoonful – Daydream (Kama Sutra) | USA

Folk Rock & Psych Folk

Despite the appearances of Dylan’s insulting treatment ofDonovan in the documentary Don’t Look Back, they got along better than the editing made it look like. Though it would make sense for him to feel threatened. Donovan was a superior guitar player, and while Dylan’s work at this time would represent the tail end of his initial peak, Donovan was just warming up on his third album at age 20 seeing him weaving folk, jazz, pop, blues and Eastern music into a potent form of worldly psychedelia. And “Season of the Witch” is simply one of the best, languidly menacing jams of the year.

Bob Dylan – Blonde On Blonde (Columbia) | USA
The Byrds – Fifth Dimension (Columbia) | USA
Donovan – Sunshine Superman (Pye ) | UK
Simon & Garfunkel – Parsley, Sage, Rosemary and Thyme (Columbia) | USA
Buffalo Springfield – Buffalo Springfield (Atco) | USA
Love – Love (Elektra) | USA
Simon & Garfunkel – Sounds of Silence (Columbia) | USA
Tim Buckley – Tim Buckley (Elektra) | USA
The Blues Project – Projections (Verve ) | USA
Fred Neil – Fred Neil (Capitol) | USA
Norma Tanega – Walkin’ My Cat Named Dog (Stateside) | USA
Jefferson Airplane – Takes Off (RCA) | USA
Richie Havens – Mixed Bag (Verve) | USA

Garage, Rock & Roll & Proto-Punk

The amount of talent that went through the Yardbirds is legendary, but alas, it served more as an experimental workshop and launching pad for bigger bands (Cream, Led Zep, Jeff Beck Group). But this is the closest they got to a great, if not consistent, classic album, top loaded with stunners like the opening “Lost Women” and especially “Over, Under, Sideways, Down.”

The 13th Floor Elevators – Psychedelic Sounds of the 13th Floor Elevators (International Artists) | USA | Bandcamp
The Rolling Stones – Aftermath (London) | UK
Small Faces – Small Faces (Polygram) | UK
Love – Da Capo (Elektra) | USA
Yardbirds – Roger The Engineer (Columbia/Edsel) | UK
The Sonics – Boom (Etiquette) | USA
The Seeds – The Seeds (GNP Crescendo) | USA
Monks – Black Monk Time (Polydor) | Germany
Paul Revere & the Raiders – The Spirit of ’67 (Columbia) | USA
Love – Love (Elektra) | USA
Count Five – Psychotic Reaction (Double Shot) | USA
The Remains – The Remains (Epic) | USA
The Standells – Dirty Water (Tower) | USA

Folk, Chamber Folk, Folk Pop

Simon & Garfunkel, the favorite duo of the dorkiest person in your life, like auntie who mostly listens to showtunes, or in my case, my high school coach. It goes to show that sometimes, more so in the 60s, great music can be popular and popular music can be great. Favorite deep cut, “Flowers Never Bend With the Rainfall.”

Terry Callier – The New Folk Sound of Terry Callier (Prestige) | USA | Bandcamp
Simon & Garfunkel – Parsley, Sage, Rosemary and Thyme (Columbia) | USA
Simon & Garfunkel – Sounds of Silence (Columbia) | USA
Tim Buckley – Tim Buckley (Elektra) | USA
The Mamas & The Papas – If You Can Believe Your Eyes and Ears (Dunhill) | USA
Fred Neil – Fred Neil (Capitol) | USA
Norma Tanega – Walkin’ My Cat Named Dog (Stateside) | USA
Tim Hardin – Tim Hardin 1 (Verve) | USA
Richie Havens – Mixed Bag (Verve) | USA
Gordon Lightfoot – Lightfoot! (United Artists) | Canada
David Blue – David Blue (Elektra) | USA
Bob Lind – Don’t Be Concerned (Fontana) | USA
The Grass Roots – Where Were You When I Needed You (Dunhill) | USA

Blues & Blues Rock

While The Seeds are often cited as an important proto-punk band, I think of them more as proto-indie. Sky Saxon wanted very badly to be a major star, and certainly made a go of it, strategically based in L.A. and scoring some cameos on TV shows. His vocal talents were limited, however, which suited their raw garage psych material just fine, particularly the standout singles that were definitive Nuggets material, “Pushin’ Too Hard” and “Can’t Seem to Make You Mine.” While the next album, Web of Sound may be technically more consistent, it lacked those killer singles, and standouts like “Evil Hoodoo.”

Bob Dylan – Blonde On Blonde (Columbia) | USA
The Rolling Stones – Aftermath (London) | UK
Yardbirds – Roger The Engineer (Columbia/Edsel) | UK
The Seeds – The Seeds (GNP Crescendo) | USA
Cream – Fresh Cream (Atco) | UK
The Animals – Animalisms (Decca) | UK
The Remains – The Remains (Epic) | USA
Blues Magoos – Psychedelic Lollipop (Mercury) | USA
John Lee Hooker – It Serve You Right To Suffer (Impulse!) | USA
Slim Harpo – Baby Scratch My Back (Excello) | USA
Mississippi John Hurt – Today! (Vanguard) | USA | Bandcamp
Skip James – Today! (Vanguard) | USA | Bandcamp
Robert Pete Williams – Louisiana Blues (Takoma) | USA

Experimental, Modern Classical

Who knew that the first proto-punk was created by five GIs in West Germany in 1964? It took a few decades for word on their only official album to spread, but this is the dark matter that connects The Sonics to the Velvet Underground to Can to Iggy Pop and David Bowie in Berlin to Sonic Youth and beyond.

John Coltrane – Meditations (Impulse) | USA
John Coltrane – Coltrane Live At The Village Vanguard Again! (Impulse) | USA
Monks – Black Monk Time (Polydor) | Germany
The Mothers of Invention – Freak Out! (Verve) | USA
Archie Shepp – Mama Too Tight (Impulse) | USA
Karlheinz Stockhausen – Kontakte für elektronische Klänge, Klavier und Schlagzeug (Wergo) | Germany
Tod Dockstader – Organized Sound by Tod Dockstader: Luna Park / Traveling Music / Apocalypse (Owl) | Germany
Tod Dockstader – Organized Sound by Tod Dockstader: Drone / Two Fragments from Apocalypse / Water Music (Owl) | Germany
Gruppo d’Improvvisazione Nuova Consonanza – Gruppo d’Improvvisazione Nuova Consonanza (RCA) | Germany
Sun Ra & his Arkestra – Monorails And Satellites Vols. I & II (Evidence) | USA
Cecil Taylor – Conquistador! (Blue Note) | USA

Global, Ska, Bossa Nova & African

Jacques Brel – Jacques Brel (Ces gens-la) (Barclay) | Belgium
Mulatu Astatke & His Ethiopian Quintet – Afro-Latin Soul (Worthy) | Ethiopia
Orlando Julius – Super Afro Soul (Polydor) | Nigeria
Mulatu Astatke & His Ethiopian Quintet – Afro-Latin Soul Vol. 2 (Worthy) | Ethiopia
King Sunny Adé & His Green Spot Band – King Sunny Adé & His Green Spot Band (African Songs) | Nigeria
Baden Powell & Vinicius de Moraes – Os afro-sambas de Baden e Vinicius (Forma) | Brazil
Violeta Parra – Las últimas composiciones de Violeta Parra (RCA) | Chile
Baden Powell – Tristeza on Guitar (Polydor) | Brazil
Laurel Aitken – Ska with Laurel (RIO) | Jamaica
Ali Akbar Khan – Morning & Evening Ragas (Connoisseur Society) | India
Ravi Shankar – Sound of the Sitar (World Pacific) | India
The Joe Harriott Double Quintet – Indo-Jazz Suite (Atlantic) | Jamaica/India
Elis Regina – Elis (Philips) | Brazil

Soul & Pop Soul

Wilson Picket may not have the vulnerability of his FAME studios colleague Percy Sledge, but otherwise he’s the complete package. He could scream up-tempo funk like James Brown, swing like Sam Cooke at his most rockin’, and get as gritty, earthy and country as Otis. Soul/R&B musicians had not yet got full albums down as a concept, but the killer to filler ratio here is exceptional, with “Land of 1000 Dances,” “634-5789,” “Barefootin'” “Ninety-Nine and One-Half (Won’t Do)” and of course “In the Midnight Hour.” His third and best album.

One of my favorite things is my Rhino bookback box set of Sledge’s complete The Atlantic Recordings. The cover is purple velvet, fitting for the country soul legend who helped put FAME studio in Muscle Shoals on the map. The titular single from his first album kicked it all off for one of the greatest soul crooners/wailers of all time.

Southern Soul | Deep Soul | Country Soul | RYM #130

Otis Redding – Complete & Unbelievable: Dictionary Of Soul (Stax) | USA
Nina Simone – Wild Is The Wind (Philips) | USA
The Rolling Stones – Aftermath (London) | UK
Small Faces – Small Faces (Polygram) | UK
Otis Redding – The Soul Album (Stax) | USA
Wilson Pickett – The Exciting Wilson Pickett (Atlantic) | USA
Percy Sledge – When A Man Loves A Woman (Atlantic) | USA
Percy Sledge – Warm & Tender Soul (Atlantic) | USA
Ike & Tina Turner – River Deep – Mountain High (A&M) | USA
Sam & Dave – Hold On, I’m Comin’ (Stax) | USA
The Who – A Quick One (MCA) | UK
The Animals – Animalisms (Decca) | UK
The Temptations – Gettin’ Ready (Motown) | USA

R&B & Funk

Despite Phil Spector nearly ruining this album with his bullshit. (half the songs sound like you’re walking down a long hallway with them in the high school gymnasium at the other end), the songs and performances will not be denied. And despite Ike’s abuse, Tina’s spirit will not be crushed. On their seventh album, Tina’s gritty, soulful vocals have reached peak performance. Beyond the big hits of the title track and “It’s Gonna Work Out Fine,” there’s plenty of other fascinating tracks, like “I Idolize You,” where there are more layers of irony than a 7 layer cake, which Tina cuts through with a hot serrated knife. And from her defiant tone, I sense she just might have been tempted to use it on Ike too, or perhaps Phil, or both.

R&B | Soul | Pop Soul | RYM #104 | Acclaimed #10

The Rolling Stones – Aftermath (London) | UK
Small Faces – Small Faces (Polygram) | UK
Ike & Tina Turner – River Deep – Mountain High (A&M) | USA
The Who – A Quick One (MCA) | UK
The Animals – Animalisms (Decca) | UK
Paul Revere & the Raiders – Midnight Ride (Columbia) | USA
James Brown – I Got You (I Feel Good) (King) | USA
Them – Them Again (Decca/Deram) | UK
Sly & The Family Stone – A Whole New Thing (Epic) | USA
Martha & the Vandellas – Watchout! (Motown) | USA
The Spencer Davis Group – Autumn ’66 (Fontana) | UK
Ray Charles – Crying Time (ABC-Paramount) | USA
Question Mark and the Mysterians – 96 Tears (Cameo ) | USA

Jazz-Funk & Soul Jazz

There’s a few top notch practitioners of Hammond driven soul jazz this year, including Jimmy Smith and even Booker T., but no one can beat this lineup on Larry Young’s album with Elvin Jones and Joe Henderson.

Nina Simone – Wild Is The Wind (Philips) | USA
Terry Callier – The New Folk Sound of Terry Callier (Prestige) | USA
Larry Young – Unity (Blue Note) | USA
The John Handy Quintet – The 2nd John Handy Album (Columbia) | USA
Hank Mobley – Dippin’ (Blue Note) | USA
Wes Montgomery Trio – Portrait of Wes (Riverside) | USA
Hank Mobley – Straight No Filter (Blue Note) | USA
Ray Charles – Crying Time (ABC-Paramount) | USA
Jimmy Smith – Got My Mojo Workin’ (Verve) | USA
Nina Simone – Let It All Out (Philips) | USA
Jimmy Smith – Hoochie Coochie Man (Verve) | USA
Jr. Walker & the All Stars – Road Runner (Tamla Motown) | USA
Booker T. & The M.G.’s – And Now! (Stax) | USA

Jazz

One of Sun Ra’s most popular albums, and arguably his best, it strikes a perfect balance between is far out explorations and more conventional jazz, though still pushing boundaries of improvisational free jazz. His colorful backstory as being part of an Afro-Alien diaspora perhaps draws more attention to his music than more virtuoso musicians, but the whole package adds up to something special.

Free jazz is a slippery thing for me. I only dig a handful of releases, and don’t quite have a deep enough knowledge of jazz to properly describe why. All I can say is that I abandon analysis and ride the hurricane that is Cecil Taylor’s crazy chord shapes that may be wild and unpredictable, yet also feel fairly composed and structured along the lines of some modern classical music. I experience some mild synesthesia of colors and shapes to go along with the sounds. A spice not for every palate, but without a doubt a landmark jazz event.

Free Jazz | RYM #40 | Acclaimed #22 | AOTY #12

Summarizing a career of a prominent saxophonist like Wayne Shorter in one album is a fool’s errand. To get a proper sense of him, you need to hear his work on many key albums with Art Blakey & the Jazz Messengers, Lee Morgan, Freddie Hubbard, Gil Evans and Miles Davis. He arguably reached his peak on his fourth and fifth albums as a bandleader, Juju (1965) and this one, both infused with a unique vibe of Caribbean exotica and gothic horror. At least, that’s the imagery that enters my mind. But with the impressionism of this type of post-bop modal jazz, others might just imagine a warm ocean breeze. Either way, you can’t go wrong with this top tier jazz mastery.

Ascension: John Coltrane And His Quest by Eric Nisenson came out at the perfect time, in 1995, when pretty much all of Coltrane’s catalog had become available on CD. I had heard the popular classics, from Blue Train (1958) and Giant Steps (1960) to My Favorite Things (1961) and Crescent (1964), and was ready for more, but not ready for Ascension. I worked through his entire catalog while reading the Nisenson book, and it really enhanced my understanding and appreciation. While A Love Supreme (1965) was the culmination of his work set as a humble offering of gratitude to god, on Ascension Coltrane went cosmic. He expanded his quartet to an eleven piece experimental big band in a collective effort to untether themselves from the limits of harmony and meter to reach a higher level of spiritual intensity. So less a conversation, and more a group dive into the infinite void. I’d say one doesn’t enjoy Ascension, but rather submits to it. Not for everyone, and not a heavy rotation kind of experience, but rather one that leaves a dent in your brain that changes the way you experience any kind of intense, challenging music thereafter. That said, it wasn’t entirely successful. Not all the players were on the same wavelength, resulting in dissonance that lacks some of the sharpness of Coltrane’s contemporary inspirations, Ornette Coleman and Sun Ra and his Arkestra. Flaws and all, it’s still a powerful document.

Nina Simone – Wild Is The Wind (Philips) | USA
John Coltrane – Meditations (Impulse) | USA
Sun Ra & his Solar Arkestra – The Magic City (Saturn) | USA | Bandcamp
Cecil Taylor – Unit Structures (Blue Note) | USA
John Coltrane – Coltrane Live At The Village Vanguard Again! (Impulse) | USA
Wayne Shorter – Speak No Evil (Blue Note) | USA
Albert Ayler – Live In Greenwich Village (Impulse) | USA
John Coltrane – Ascension (Impulse) | USA
Patty Waters – Sings (ESP) | USA | Bandcamp
Lee Morgan – Search For The New Land (Blue Note) | USA
Larry Young – Unity (Blue Note) | USA
Jackie McLean – Right Now! (Blue Note) | USA
Archie Shepp – Mama Too Tight (Impulse) | USA

Vocal Jazz

Patty Waters is brand new to me, but I was immediately blown away by her bold debut, tackling avant-garde, improvisation and free jazz with mesmerizing results.

Vocal Jazz | Avant-Jazz | Free Jazz | Free Improvisation | RYM #37

Nina Simone – Wild Is The Wind (Philips) | USA
Patty Waters – Sings (ESP) | USA | Bandcamp
Ray Charles – Crying Time (ABC-Paramount) | USA
Nina Simone – Let It All Out (Philips) | USA
Lou Rawls – Soulin’ (Capitol) | USA
Dusty Springfield – You Don’t Have to Say You Love Me (Philips) | UK
Aretha Franklin – Soul Sister (Columbia) | USA
Elis Regina – Elis (Philips) | Brazil
Astrud Gilberto – Look to the Rainbow (Verve) | Brazil
Nancy Wilson – Tender Loving Care (Capitol) | USA
The George Benson Quintet – It’s Uptown (Columbia) | USA
Walker Brothers – Portrait (Philips) | USA
Esther Phillips – Esther Phillips Sings (Atlantic) | USA

Traditional Pop & Standards

In most of the United States, 1966 was hardly a psychedelic hippie party. It was stubbornly conservative, not only in small town America, but also the music establishment in New York City and Hollywood, who drew a hard line against any young countercultural musicians. Case in point, here’s the winners of the 8th annual Grammy awards that year: Record of the Year: Herb Albert & the Tijuana Brass; Album of the Year: Frank Sinatra; Song of the Year: Tony Bennett; Best New Artist: Tom Jones. Beatles and Dylan? Never hoid of ’em, move along, nothing to see here. Sinatra would also win both Record and Album of the year (Revolver was nominated but didn’t win) at the 9th edition in 1967. The Beatles were thrown an insulting scrap with Song of the Year for their their worst single from 1965, “Michelle.” So even then, fuck the Grammys, and fuck Sinatra and his psychopath mafia sponsored rat pack. Nevertheless, he was a good singer.

Frank Sinatra – Strangers in the Night (Reprise) | USA
Nina Simone – Nina Simone With Strings (Colpix) | USA
Frank Sinatra – Moonlight Sinatra (Reprise) | USA
Barbra Streisand – Je m’appelle Barbra (Columbia) | USA
Barbra Streisand – Color Me Barbra (Columbia) | USA
Tom Jones – From the Heart (Decca) |
Nancy Wilson – Nancy – Naturally (Capitol) | USA
Shelby Flint – Cast Your Fate to the Wind (Valiant) | USA
Peggy Lee – Big Spender (Capitol) | USA
Mel Tormé – Right Now! (CBS) | USA

Country, Country Blues/Psych/Rock/Soul

It’s hard to fathom that Percy Sledge is underrated, but it didn’t even make the Acclaimed or AOTY lists. That’s fuckin nuts. Sledge helped soul break through to the mainstream with his powerhouse hit “When A Man Loves a Woman,” but he was no one-hit wonder. His second album kicks off with “It Tears Me Up,” which gives stiff competition for his greatest song, along with the swoony “Warm and Tender Love.” His performances are all top tier throughout. For example, on “I’m Hanging Up My Heart for You,” when this man wails, it’s like he’s ripping his heart out of his chest and presenting it to you. Sledge is the real deal.

Southern Soul | Country Soul | RYM #262

Terry Callier – The New Folk Sound of Terry Callier (Prestige) | USA | Bandcamp
Percy Sledge – Warm & Tender Soul (Atlantic) | USA
Buffalo Springfield – Buffalo Springfield (Atco) | USA
Robert Pete Williams – Louisiana Blues (Takoma) | USA
Dan Penn – The Fame Recordings (Ace) | USA
Gordon Lightfoot – Lightfoot! (United Artists) | Canada
Esther Phillips – The Country Side of Esther Phillips (Atlantic) | USA
The Lovin’ Spoonful – Hums of The Lovin’ Spoonful (Kama Sutra) | USA
The Monkees – The Monkees (RCA) | USA
Merle Haggard and The Strangers – Swinging Doors and the Bottle Let Me Down (Capitol) | USA
Johnny Paycheck – The Lovin’ Machine (Little Darlin’) | USA
Red Simpson – Roll, Truck, Roll (Capitol) | USA
Marty Robbins – The Drifter (Columbia) | USA

Live Albums

Coltrane returns to the Village Vanguard after his landmark 1962 live album. What a difference four years makes. John Coltrane was still and up and coming star then, and now he’s broken through to other dimensions with his free jazz septet, including Pharoah Sanders, Alice Coltrane, Jimmy Garrison, Rashied Ali and Emanuel Rahim. It’s wild and dissonant, but an easier listen than his studio albums from this year, even though his 20+ minute version of “My Favorite Things” is unrecognizeable from earlier incarnations. It’s also breathtaking.

John Coltrane – Coltrane Live At The Village Vanguard Again! (Impulse) | USA
Albert Ayler – Live In Greenwich Village (Impulse) | USA
Albert Ayler Trio – Spirits Rejoice (ESP) | USA
Miles Davis – Four’ & More: Recorded Live in Concert (Columbia) | USA
Charles Mingus – Right Now: Live at the Jazz Workshop (Fantasy) | USA
The Chambers Brothers – People Get Ready (Vault) | USA
The Dubliners – Finnegan Wakes (Transatlantic) | Ireland
Geno Washington And The Ram Jam Band – Hand Clappin’, Foot Stompin’, Funky-Butt . . . Live! (Piccadilly ) | UK
The Rolling Stones – Got Live If You Want It! (London) | UK

Singles

In tribute to all the vinyl community YouTubers who have been entertaining me while I cook and clean up in the kitchen, I made a list of the the coolest singles as actual singles, not just favorite tracks (which you can find in the playlist). My mom had a lot of them, so they are etched in my brain like a serial number.

The Byrds – “Eight Miles High”
The Beatles – “Rain / Paperback Writer”
The Rolling Stones – “Paint it Black”
The Beach Boys – “God Only Knows / Wouldn’t it Be Nice”
Otis Redding – “Try a Little Tenderness”
Simon & Garfunkel – “The Sounds of Silence”
Percy Sledge – “When a Man Loves a Woman”
Donovan – “Season of the Witch”
The Kinks – “Sunny Afternoon / I’m Not Like Everybody Else”
The Who – “Substitute”
? and The Mysterians – “96 Tears”
Wilson Pickett – “In the Midnight Hour”
Love – “Seven and Seven Is”

Mix: Tidal | Spotify | Apple | All Platforms

Movies

Michaelangelo Antonioni wanted The Who for their mod style and auto-destruct energy, but couldn’t afford them. Amazingly he already knew about The Velvet Underground and considered them, but would have cost too much to fly them and their Andy Warhol’s Factory entourage to England. After Eric Burdon turned it down, he went with the Yardbirds, which was a great choice, with both Jimmy Page and Jeff Beck in the lineup at the time. A reluctant Beck was coaxed into smashing his guitar like Townshend. It was a great scene in a stylish, classic thriller.

Blow Up – Michaelangelo Antonioni (thriller)
Who’s Afraid of Virginia Wolf? – Mike Nichols (drama)
Andrei Rublov – Andrei Tarkovsky (historical drama)
Torn Curtain – Alfred Hitchcock (thriller)
Farenheit 451 – Francois Truffaut (sf)
Persona – Ingmar Bergman (drama)
Made in U.S.A. – Jean-Luc Godard (crime/mystery, comedy)
The Battle of Algiers – Gillo Pontecorvo (historical drama, war)
The Good, the Bad and the Ugly – Sergio Leone (western)
Incubus – Leslie Stevens (horror)
Daisies – Věra Chytilová (comedy, drama)
The Sword of Doom – Kihachi Okamoto (action, drama)
Trans-Europ-Express – Alain Robbe-Grillet (thriller, mystery)

Television

Space, the final frontier. Star Trek initially only lasted three seasons due to low ratings, but gradually became a cult classic, reinforced by re-runs, which is of course when I watched them in the 70s. It became a juggernaut franchise that’s still going today. It was a good year for TV shows, as many on this list were syndicated, inspired dozens of movies and franchises.

Star Trek
The Man from U.N.C.L.E.
Mission Impossible
Dark Shadows
Batman
I Spy
Dragnet
The Monkees
Get Smart
Walt Disney’s Wonderful World of Color
Bewitched
The Lucy Show
Daktari

Books

Like most innovative art, Thomas Pynchon’s The Crying of Lot 49 was initially deemed as a failure compared to V. (1963). However, it’s uniquely linear approach and brevity made it a popular entrypoint ot Pynchon, and is now a postmodern classic. With the detective Oedipas Maas unable to uncover satisfyingly definitive answers in the story, it’s considered an anti-detective novel, something Pynchon would revisit in later books.

Thomas Pynchon – The Crying of Lot 49
Daniel Keys – Flowers for Algernon
Jean Rhys – Wide Sargasso Sea
Robert A. Heinlein – The Moon is a Harsh Mistress
Truman Capote – In Cold Blood
J.G. Ballard – The Crystal World
Samuel R. Delaney – Babel 17
Thom Keyes – All Night Stand
Robert Sheckley – Mindswap
Roger Zelazny – The Immortal
Philip Jose Farmer – Night of Light
Harry Harrison – Make Room! Make Room!
Usula K. Le Guin – Rocannon’s World (Hainish Cycle #1)

Bubbling Under: Jaqueline Susann, Hunter S. Thompson, James Clavell, Roald Dahl, Agatha Christie, Don Carpenter, Vladimir Nabokov, Lilian Jackson Braun, Isaac Asimov, Larry McMurtry, Michel Foucault.

Posted in: Bandcamp, Books, Features, Film, Listicles, Lucky 13, News, Rants, Reissues, Reviews, TV, Videos/Singles

Tagged: Bob Dylan, Books 1966, Cecil Taylor, Fester's Lucky 13: 1966, John Coltrane, Love, Movies 1966, Nina Simone, Otis Redding, Small Faces, Sun Ra & His Solar Arkestra, Terry Callier, The 13th Floor Elevators, The Beach Boys, The Beatles, The Byrds, The Kinks, The Rolling Stones, Top Albums of 1966

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