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40 Albums Baby Boomers Loved That Millennials Don’t Know

From Tina Turner to Eric Clapton, these LPs were beloved by millions, but are younger generations finding them?

40 Classic Baby Boomer Albums

Courtesy of Courtesy of A&M Records; Capitol Records; RSO Records; Warner Bros. Records

Some albums transcend their eras, finding their way into the cultural canon and continually being rediscovered by subsequent generations of listeners. And some don’t. For whatever reason, be it dated production, a social context that doesn’t translate, or any number of far more ineffable causes, the following albums were beloved by millions of baby boomers and yet, unlike, say, the inarguably canonical Dark Side of the Moons and London Callings of the world, seemed not to resonate particularly strongly beyond their initial audience. Check back again in a few years, and this list, hopefully, will look entirely different.

The Guess Who, 'American Woman'

Courtesy of RCA Records

The Guess Who, ‘American Woman’ (1970)

Nixon was in the White House, the Vietnam War was years from its end and Canadian rockers the Guess Who were none too impressed with their neighbors south of the border. The title track of their seventh album flaunted their discontent with a heavy riff and frontman Burton Cummings' rasped screed, and it was a Number One single. The remarkably catchy record contained two other angry hits – "No Time" (as in "no time left for you") and "No Sugar Tonight" (as in "no sugar tonight") – but they were palatable enough to warrant AM radio play and a Top 10 chart record for American Woman in 1970. Nearly five decades and one ubiquitous (and bland) Lenny Kravitz cover later, the record sounds like a curious relic from an era when Uncle Sam's behavior was enough to push even Canadians over the edge. 

Laura Nyro 'Eli and the Thirteenth Confession

Courtesy of Columbia Records

Laura Nyro, ‘Eli and the Thirteenth Confession’ (1968)

An optimist might suggest that 1968's Eli and the Thirteenth Confession lives on in martyrdom, its influence apparent on everyone from Kate Bush and Tori Amos to St. Vincent and Joanna Newsom. But Laura Nyro's effervescent second album deserves more explicit canonization, even if she's no longer with us to advocate for it (she died of ovarian cancer in 1997). The jazzy, balladeering, doo-wopping Eli (whose standout single, "Eli's Comin'," was later turned into a top-10 hit by Three Dog Night) showcased Nyro as composer, performer, lyricist and co-producer and also marked her debut on the Billboard album chart. Forty-six years after Thirteenth Confession, and thanks in large measure to it, we've come to accept and nurture strident, talented, slightly idiosyncratic female artists. Still, Eli itself doesn't quite fit with our folk- and rock-centric remembrance of the late 1960s. 

Jefferson Airplane, 'Crown of Creation'

Courtesy of RCA Records

Jefferson Airplane, ‘Crown of Creation’ (1968)

Crown of Creation doesn't feature hits as popular as "Somebody to Love," "White Rabbit," or "Volunteers," but Jefferson Airplane's fourth album proves the combustible group truly evolved, even as the band was gradually dissolving. The 11-song LP begins with Grace Slick singing about drummer Spencer Dryden's nudity-related arrest on "Lather," followed by Marty Balin's psych-romance "In Time" and "Triad," a David Crosby-penned song about three-way love that was rejected by the Byrds. She later shows off her trademark howls on the title track, while guitarist Jorma Kaukonen and bassist Jack Casady add even heavier interplay than the group's prior efforts. Despite hitting No. 6 on the pop album chart, the title single peaked at 64, a disappointment from their earlier successes. Still, Crown of Creation shouldn't be overlooked by any psychedelic lovers – Bay Area peers like the Grateful Dead and Santana seem more widely remembered – as it offers some of the Airplane's most intriguing music.

Roberta Flack, 'First Take'

Courtesy of Atlantic Records

Roberta Flack, ‘First Take’ (1968)

The story of Take One's rise to the Billboard album chart's top slot starts with Clint Eastwood. Roberta Flack's stunning, extended interpretation of Ewan MacColl and Peggy Seeger's 1957 folk song "The First Time I Ever Saw Your Face" (first popularized in 1962 by the Kingston Trio), didn't gain traction until it played behind a sex scene in Eastwood's 1971 directorial debut, Play Misty for Me. But then Flack has always been more of the soul singer's singer (Lauryn Hill and the Fugees' "Killing Me Softly" notwithstanding, Flack's vulnerability is the DNA encoded in Mary J. Blige's tender side) than she is a pop commodity. Take One, released in 1968,remains her only Billboard-crowning studio LP, and similar to the legendary Nina Simone, Flack's prolific abilities as a cover artist have unfairly diminished her broader recognition as a pure talent and standards-bearer. 

Micheal Bloomfield, Al Kooper, Stephen Stills, 'Super Session'

Courtesy of Columbia Records

Michael Bloomfield, Al Kooper, Stephen Stills, ‘Super Session’ (1968)

Three years after collaborating with Bob Dylan, Al Kooper and Michael Bloomfield decided to unite for a somewhat free-form recording session in which they would record a full album in two days. Kooper was looking for a new project after his departure from Blood, Sweat & Tears, and had hoped to record Bloomfield in a way that captured the guitarist's superior live improvisations. Backed by two of Bloomfield's Electric Flag bandmates, keyboardist Barry Goldberg and bassist Harvey Brooks, as well as drummer Eddie Hoh and session horn players, they recorded six songs, including the Coltrane-inspired keyboard workout "His Holy Modal Majesty." The next day, however, Bloomfield didn't show up to the studio and Kooper called in Stephen Stills, who had recently departed Buffalo Springfield, to play guitar on a handful of covers including Bob Dylan's "It Takes A Lot to Laugh, It Takes A Train to Cry" and a funky extended version of Donovan's "Season of the Witch." The resulting masterpiece featured Bloomfield on the LP's first side and Stills' work on the other, and peaked at No. 12 on the LP charts. It's a precursor to today's jam band efforts. 

Blood, Sweat & Tears

Courtesy of Capitol Records

Blood, Sweat & Tears, ‘Blood, Sweat & Tears’ (1968)

Best known for playing the organ on Dylan's "Like a Rolling Stone," Al Kooper formed the jazz-tinged, horn-heavy Blood, Sweat & Tears in 1967 but left following the band's first album, the psychedelic Child Is the Father to the Man. In came booming singer David Clayton-Thomas, and the group followed up their debut with this eclectic self-titled LP that features covers of Traffic's "Smiling Phases," Laura Nyro's "And When I Die," and Billie Holiday's "God Bless the Child," as well as the hit "Spinning Wheel." The chart-topping Blood, Sweat and Tears remains a pioneering classic in the fusion genre, marrying jazzy horns, pop melody, and classical counterpoint into a cohesive album.

Phil Ochs Pleasures of the Harbor

Courtesy of A&M Records

Phil Ochs, ‘Pleasures of the Harbor’ (1967)

In the early-to-mid-Sixties, Ochs was just a notch below Bob Dylan in the protest-singer pantheon. But Dylan's historical presence is so overwhelming that he's become a stand-in for the entire folk movement, marginalizing the likes of Ochs in the popular imagination. Don't sleep on him. When folk faded away, Ochs himself turned from simple acoustic-guitar arrangements to the more ambitious and heavily orchestrated Pleasures of the Harbor (1967). After seven musically and lyrically detailed song epics, the "The Crucifixion" closed the LP melancholy fashion with an eight-minute allegory comparing JFK to Jesus.  

Arlo Guthrie Alice's Restaurant

Courtesy of Reprise Records

Arlo Guthrie, ‘Alice’s Restaurant’ (1967)

Can you imagine a playfully meandering 18-minute, 34-second song that sounds like a joke but is really a war protest becoming a radio hit in 2014? Well, Arlo Guthrie (Woody's son) pulled that off with 1967's "Alice's Restaurant Massacree," a ragtime-influenced ditty with a meandering story based on a real-life incident involving Guthrie. In brief, the protagonist is working at the titular restaurant on Thanksgiving Day when he has to take the trash to the town dump, only the dump is closed, so he leaves the garbage there. He gets arrested by local cops, gets fined in court, and later is deemed unfit to be drafted for the Vietnam War because of his crimes. The folk star originally played the song live on the radio, with the performance becoming an unlikely hit. As it was too long to be released as a single, it became the entire first side of the Alice's Restaurant LP, along with six more tracks that range from protest songs ("Ring-Around-a-Rosy Rag") to lovelorn ballads ("Chilling of the Evening") to purely silly ("The Motorcycle Song"). The album peaked at No. 17 on the charts and led to a movie of the same name, starring Guthrie, in 1969, a great reminder of just how effective a bit of absurdity can be when it comes to combating serious issues.

The Paul Butterfield Blues Band

Courtesy of Elektra Records

The Paul Butterfield Blues Band, ‘The Paul Butterfield Blues Band’ (1965)

While acts like the Rolling Stones and Yardbirds were reworking traditional blues into rock across the pond, the multi-racial Paul Butterfield Blues Band came along as one of the States' best young acts in the genre. Based out of Chicago, the lineup included Butterfield on vocals and harmonica, as well as the legendary twin-guitar attack of Elvin Bishop and Mike Bloomfield, who built upon the sounds of Elmore James and Muddy Waters, whose songs they covered on their exciting 1965 self-titled debut. The album and their impressive live performances led Bob Dylan to draft Bloomfield for "Like a Rolling Stone," as well as his bandmates bassist Jerome Arnold and drummer Sam Lay, for his controversial electric performance at the '65 Newport Folk Festival. The band later expanded its repertoire into jazz and fusion, a nascent genre in the late Sixties, while somehow getting less credit than their English counterparts. Regardless, the blues has long since been relegated to its own stylistic niche. 

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