¶ … Beatles
Rubber Soul (1965) [UK version]
Rubber Soul is a spatial and open production, bedecked but not overfilled with novel ideas and instruments. Its songs resemble little vignettes of Pop Art, with the lyrics matching the arrangements and the melodies' quality. Even the straightforward, amusing rocker, Drive My Car, has been performed with tight grooviness, virtually twinkling in self-amusement. Lennon gets better than ever before with this album, via innovative, thoughtful classics like Girl, Nowhere Man, Norwegian Wood, and the magnificent In My Life. McCartney's poppier and lighter songs maintain a cheerful and fresh atmosphere and his tuneful bass-playing propels everything. (McCormick, 2009)
Revolver (1966) [UK version]
Revolver reflects the band in its most cohesive and artistic mood, while retaining self-expression. Considered the Beatles' greatest album, this album has so much happening: Sitars and tablas weave mystical magic in Love You Too; ripe horns flow across Got to Get You Into My Life; the first ever recorded backwards solo guitar-playing is seen in I'm Only Sleeping; tape loops, the spirit of madness, and mountainous drumming combine in Tomorrow Never Knows; beautiful harmonies roll out of Here, There and Everywhere; and even Ringo, known for his very worst songs, performs satisfactorily with Yellow Submarine (McCormick, The Beatles - Revolver, review, 2009)
Sergeant Pepper's Lonely Hearts Club Band (1967)
Using the alter ego disguise, the band had finally enabled its real self to emerge with this album. Apart from a few comparatively modest touches, alter egos did not make any obvious appearances in the album. A single glance at its cover expresses how far the band had developed since their initial state. In an era of stuffy musical formats, political conservatism, fixation on the past, and sexual fear, Sergeant Pepper's optimistic message -- that it is imperative to endeavor towards visionary breakthroughs and that they can be attained in all areas of life -- may be considered much more vital now, as compared to the last two decades (RollingStone, 1987).
Magical Mystery Tour (1967)
This lean album creates a sense of urgency, and lets listeners know that all calliope tapestries, trippy echoes, and cheerful whistles have a purpose. Overall, Magical Mystery Tour is a package of nearly the best Beatles had to offer, namely, "I Am the Walrus," "Hello / Goodbye," "All You Need Is Love," "Penny Lane," and "Strawberry Fields Forever." Its title track is also one of the best ever (Caffrey, 2009), with its new brass section sounding absolutely regal (one can even say "biblical"). McCartney's bass adds momentum to "Flying," while "Your Mother Should Know" induces feelings of nostalgia. Stellar moments in the first half of the album include Blue Jay Way's feeble tribal drumming and the spooky Hammond organ. The lyrically, philosophically, and musically resonant "All You Need Is Love" which carries a sincere universal message of benevolence, is the last item in the album (Caffrey, 2009).
The Beach Boys
Pet Sounds (1966)
The album's love songs commence with the theme of 60's adolescence, which lays the album's whole basis before listeners. "You Still Believe in Me" carries the theme some way farther, beyond past indiscretion to the reconciliatory "Don't Talk (Put Your Head on My Shoulder)," where Brian sings Tony Asher's gentle lyrics. The album also includes sensitive songs of self-doubt, nervousness, and sickness, namely "I'm Waiting for the Day," "That's Not Me," "I Know There's an Answer," and "God Only Knows." Each tune has a distinctive flavor, a small brilliant touch, which distinguishes it from the others (Davis, 1972). The album ends on a stoic note, with the angry blaster "Here Today" reflecting estrangement and distrust, in contrast to the earlier optimism. The affair ends bitterly; with the low-key "I Just Wasn't Made for These Times" expressing general disillusionment. The climax - "Caroline, No" -- is a haunting, heartbreaking, melancholic piece that reflects the hollowness and incredulity at losing one's lover (Davis, 1972).
Smiley Smile (1967) ("Heroes and Villains" taken from the "Smile Sessions" version.]
A sort of sequel of Pet Sounds, Smiley Smile portrays songs that are mostly strange experiments -- the "Woody Woodpecker Symphony," wraps wordless, twisting harmonies in ambience and spare instrumentation; the not-even-three-minute-long She's Going Bald rattles through peculiar lyrics, horror movie piano, and jazzy melodies, and Wonderful twists the plain pop ballad foundation with piercing harmonies and whispered vocals. The album also incorporates brilliant pop numbers like Good Vibrations and Heroes and Villains (SputnikMusic, 2010).
Wild Honey (1967)
This album introduces the raspingly spectacular Carl Wilson with "she's my girl!" After Smiley Smile's spooky otherworldliness, this album is strikingly normal. It includes the playful number "A Thing or Two" featuring...
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