When you think of classic rock, chances are you think of it in terms of the album. That’s not to say that individual songs don’t stand out. But if you wanted to be considered one of the elite purveyors of the genre, you needed to step up at some point and deliver an album that became a kind of undeniable classic. But what about the albums that have perhaps been unfairly overlooked over the years, even though they were delivered by some of the greats? Here are six examples of albums that should have been classics and maybe still might be if we can convince enough people to check them out.
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1. Magical Mystery Tour by The Beatles (1967)
People often overlook Magical Mystery Tour when talking about The Beatles‘ catalog in favor of other monumental records like Abbey Road, The Beatles (aka “The White Album”), or Sgt. Pepper’s Lonely Hearts Club Band. Then there’s the argument that MMT wasn’t actually an album at all, as it was originally only an EP release in the United Kingdom, consisting of songs from the trippy 1967 film of the same name devised by the Fab Four.
In most cases, American versions of the Beatles’ albums were a bit of a mess, failing to capture the group’s true vision. But the American version of Magical Mystery Tour was filled out by a couple singles from that year that hadn’t yet been collected on a U.S. album. The end result is a stellar collection of songs: “The Fool on the Hill,” “I Am the Walrus,” “Hello, Goodbye,” “Strawberry Fields Forever,” “Penny Lane,” and “All You Need is Love,” to name just a few. Try to find any other album from that or any other era with that much firepower.
2. The Who Sell Out by The Who (1967)
Because the next album released by The Who would be the revolutionary rock opera Tommy in 1969, The Who Sell Out took a backseat over the years. As justly praised as Tommy has been, the earlier record can make its own case as being among the best material the band ever released. The radio program concept dips in and out, so it’s best just to concentrate on the songs. They include the stunning hit single “I Can See for Miles,” along with telling Pete Townshend character sketches like “Mary Anne with the Shaky Hand” and “Odorono.” The Who Sell Out also contains some of the most tender songs the band ever conjured, with heartfelt tracks like “Sunrise” and “Our Love Was” showing that the band could pull back on the throttle and be just as effective.
[RELATED: 5 Deep Cuts from The Who]
3. The Wild, the Innocent & the E Street Shuffle by Bruce Springsteen (1973)
Before he actually fulfilled his promise as “the future of rock and roll,” Bruce Springsteen was a scruffy, soulful singer/songwriter who tended to reel off long, winding, wordy songs that built him a loyal, mostly regional following. His 1973 debut, Greetings from Asbury Park, N.J., had some high points but was uneven. However, he got it just right with The Wild, the Innocent & the E Street Shuffle later that year. Each song was an adventure, from the elegiac homage to the boardwalk “4th of July, Asbury Park (Sandy)” to the stunning street life tales “Incident on 57th Street” and “New York City Serenade.” The wild, rambling “Rosalita (Come Out Tonight)” offered incredible musical peaks and charmingly self-deprecating lyrics. He was building the legend even then. The rest of the world just hadn’t caught on yet.
4. On the Border by Eagles (1974)
Perhaps because it catches them in transition, this record, the Eagles’ fourth, doesn’t receive a lot of love from the critics. Yet it’s just that lack of identity that makes it so interesting. You’re always surprised by what comes up next when you’re listening. Granted, On the Border is bookended by a pair of hit LPs that stuck to the band’s tried-and-true formula to that point: rabble-rousing country rock (“Already Gone”) and soulful balladry (“Best of My Love”). In between are several wild swings: the satiric rocker “James Dean”; the surprisingly funky title track; and “Ol’ 55,” whereby those sweet harmonies leaven the song’s writer, Tom Waits’ acidity. Extra points for the beautiful Gram Parsons tribute “My Man,” the finest moment Bernie Leadon ever enjoyed with the group.
5. Candy-O by The Cars (1979)
The Cars’ debut album almost feels like a greatest hits compilation, as it’s filled with songs that have become classic rock staples. Their follow-up affair, Candy-O, had high expectations to meet, and since it wasn’t filled with non-stop sugar-rush singles like the first record, it seemed like a letdown at the time.
Hearing it now, it feels like nothing less than a new wave masterpiece, albeit a moody one. Ric Ocasek still delivered the songwriting hooks, but he did so with songs brimming with angst and unrequited lust. Highlights include the sure-footed mid-tempo ballad “It’s All I Can Do,” featuring Ben Orr’s irresistible vocals, and the soaring closer “Dangerous Type,” with Ocasek at his insinuating best on lead. And that doesn’t even take into account the thrilling moment when the avant-garde screams of “Shoo Be Doo” fade into the clean, crunching lines of the title track.
6. The Final Cut by Pink Floyd (1983)
Many people hold a grudge against this album for what it represented: the death knell for Pink Floyd’s classic lineup. Roger Waters’ insistence on another concept album, one the other members never really liked, was too much for David Gilmour to bear. But if you can put all that aside and judge the record on its own merits, you might be surprised at how well it holds up today.
To believe the record’s critics, you’d think it was Waters standing on a soapbox shouting at people for 45 minutes. But there are moments of true musical beauty in songs like “The Post War Dream,” “The Gunner’s Dream,” and the title track. (More recent reissues of the album, which include the brilliant “When the Tigers Broke Free,” gild the lily.) Forget the context and just focus on the music, and you’ll find this album a hidden gem amongst the Floyd catalog.
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