Last Updated on March 25, 2026 by Black Sunshine Media
All hell broke loose in the late 60s–early 70s, and despite (or maybe because of) the chaos, we have boatloads of albums you must hear before you die. Equally important, we’re now seeing a phalanx of splinter genres reaching maturity: psychedelic, folk rock, country rock, heavy metal, hard rock, acid rock, jazz fusion, jazz rock, progressive, and art rock.
It’s becoming clear that good old-fashioned dance rock, i.e., rock n’ roll, is temporarily out of fashion. People weren’t dancing as much in 1969–1970. Rock bands played ballrooms, and audiences were amply stoned to stand there and watch. At most, a mild boogie might break out.
Nevertheless, I reckon there’s something in this era for everybody.
The Albums You Must Hear Before You Die…Or Not essay series is an ongoing rebuttal to 1001 Albums You Must Hear Before You Die, edited by Robert Dimery. Originally published in 2015. Updated in 2025.
Above all, it’s still the same drill. I listen to these records with a simple directive: Is this a must-hear album? Or not? And maybe suggest an alternative or two.
Must-Hear Albums Rating Key:
- Strikethrough indicates what you probably think it does
- Green indicates highly recommended listening
- Underlined indicates questionable but ultimately acceptable record
- Red indicates a generally hazardous material
- Blue bold italic indicates ABSOLUTELY MUST HEAR BEFORE YOU DIE
Albums You Must Hear Before You Die…Or Not (1969)
Note: Suggested alternatives are from the same year as the contested entry unless otherwise indicated.
Blood, Sweat & Tears – Blood, Sweat & Tears (1969)
Here’s an outfit that sounded great on their debut album, Child Is the Father to the Man (1968). Unfortunately, Al Kooper left, and David Clayton-Thomas joined on lead vocals. The eponymous second album, BS&T, won the 1969 Grammy for Album of the Year, and this is one of several proverbial lines in the sand: Accolades mean nothing.
The same cat who produced this unacceptable jazz-rock bullshit (James William Guerico) was also working with Chicago and Moondog. Few songs in the pantheon of popular music strike a murderous rage in my heart like “Spinning Wheel.” The only other song I can think of is “You Made Me So Very Happy”, which is also on this album.
Captain Beefheart & His Magic Band – Trout Mask Replica (1969)
A new plateau in art rock. Experimental avant-garde blues. All experimental rock from this post forward is judged by Trout Mask Replica.
Chicago – Chicago Transit Authority (1969)
You should probably hear Chicago Transit Authority, if only for reference. James William Guercio is all over 1969, man. He owns it. But if you accept the Chicago challenge, there’s a lot of trombone in your future. However, this is mercifully offset by some great songwriting and killer guitar wrangling from Terry Kath, who might have been the dumbest kick-ass guitar player to own a firearm, Ted Nugent notwithstanding. On a positive note, we’re done with this high school jazz-rock nonsense.
Creedence Clearwater Revival – Bayou Country (1969)
Creedence Clearwater Revival – Green River (1969)
Most CCR records have one or two hits, plus maybe a sleeper track. The rest is choogle. What, exactly, is choogle? There’s a 2007 article in the Austin Chronicle that puts way more thought into it than I’m willing to expend. Choogle is white-boy boogie. And we’ve already heard plenty of it.
One of the champions of “greatest hits bands“, CCR released seven studio albums, which means they have approximately 20 good-to-great jams, all of which fit quite nicely on a single compact disc, Chronicle, Vol. 1 (1976), also known as Chronicle: The 20 Greatest Hits. [Note: “Keep on Chooglin'” is not on the greatest hit compilation.]
Crosby, Stills & Nash – Crosby, Stills And Nash (1969)
The first CS&N album is essential listening for one terrible reason. It’s another signpost for the emergence of soft rock, which leads to easy listening. Until now, we haven’t heard many folk singers, acoustic guitars, and three-part harmonies since the Kingston Trio. The Hollies came close, but they lacked big hits until Graham Nash left the band to join…CS&N.
Dr. John, The Night Tripper – Gris Gris (1969)
Spooky voodoo, New Orleans R&B, psychedelic swamp rock. Nothing else sounds like Gris Gris.
Note: Originally released in January 1968.
Dusty Springfield – Dusty In Memphis (1969)
Few female singers of the British Invasion survived the record industry. Dusty’s blue-eyed soul, orchestral pop, and dramatic ballads were huge hits in the U.K., not so much in the U.S. You might remember her from “Son of a Preacher Man”, which is on Dusty in Memphis. Otherwise, it’s not a must-hear album.
Elvis Presley – From Elvis in Memphis (1969)
We’re near the end of “listenable” Elvis records, so dig in on From Elvis in Memphis. Or not.
Fairport Convention – Liege And Lief (1969)
Fairport Convention – Unhalfbricking (1969)
Fairport Convention introduced a distinctively English identity to British folk rock music and helped awaken much wider interest in traditional music in general. One of these albums is a must-hear, but not both. Liege and Lief has more Bang! for my listening buck.
Flying Burrito Brothers – The Gilded Palace Of Sin (1969)
Here, I face a major dilemma. If I say it’s a must-hear album, I’m not being honest. If I say don’t bother listening to this, I’m not being fair. Whether I like it or not, country rock is a thing, and these guys were the Pangaea of the genre. All that middle-of-the-road, cut along the grain, country rock sawdust starts here.
Ask yourself these questions: Do I like Wilco? Do I own any Eagles albums? If you answered yes to either question, you should probably give this record a spin. But honestly, the legend of Gram Parsons is a fascinatingly morbid tale and far more interesting than anything on The Gilded Palace of Sin.
Frank Zappa – Hot Rats (1969)
Hot Rats consists of instrumental jazz-influenced compositions with exhaustive soloing; hence, the music doesn’t resemble earlier Zappa albums (with the original Mothers of Invention). Five of the six songs are instrumental (“Willie the Pimp” features a short vocal by Captain Beefheart). Zappa described the album as “a movie for your ears.”
The record is also notable for the song “Peaches en Regalia”, which became a late-night staple of album-oriented rock (AOR) radio. Make of this what you will.
Isaac Hayes – Hot Buttered Soul (1969)
This landmark soul record contains a 12-minute cover of “Walk on By” (Burt Bacharach) and an 18-minute version of “By the Time I Get to Phoenix” (Jimmy Webb).
Johnny Cash – Johnny Cash At San Quentin (1969)
Another must-hear prison album? Nuh-uh. He got us on Folsom Prison.
King Crimson – In the Court of the Crimson King (1969)
In the beginning, progressive rock was rock n’ roll with classical influences. King Crimson took it one step further, advancing into experimental realms with jazz and symphonic elements.
Led Zeppelin – Led Zeppelin (1969)
Led Zeppelin – Led Zeppelin II (1969)
Led Zeppelin II is superior to the debut album in every way, setting the blueprint for hard rock to follow. Every member of this band is an elite player, but especially John Paul Jones (bass).
Leonard Cohen – Songs From A Room (1969)
No dice. Already heard this cat. Nothing new here. Not impressed. Leonard Cohen is a greatest hits artist.
MC5 – Kick Out The Jams (1969)
Modern punk rock is nothing more than a fashion statement.
Miles Davis – In A Silent Way (1969)
If you’re a jazz enthusiast, this list and my opinion are completely useless to you.
On his 1969 release, In A Silent Way, Miles Davis leads us into the splinter genre of jazz fusion, which is just below samba and bossa nova on the Pay-No-Mind list. The problem with jazz fusion is that it’s not for listening; it’s for playing.
The term “jazz-rock” was created in the late 1960s to describe records by Zappa and Davis, and is often used as a synonym for “jazz fusion” and music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music. The genre is distinct from Canterbury Scene progressive rock and other forms of prog-jazz fusion, in which extended prog instrumentals use improvisation and take on a jazz-influenced feel.
Jazz fusion developed from funk and R&B rhythms, plus the amplification and electronic effects in rock. It features complex time signatures derived from non-Western music, extended instrumental improvisational compositions with a jazz approach, often using wind and brass, and always displaying a high level of instrumental technique.
Esotericism is the holding of ideas preserved or understood by a small group of those specially initiated, or of rare or unusual interest, which is a convoluted way of saying that jazz fusion is designed to appeal to the highest common denominator.
TL;DR: Due to years of formal training, jazz cats are armed with technical skills they don’t get to show off in a predictable setting.
Neil Young With Crazy Horse – Everybody Knows This Is Nowhere (1969)
Raw, energetic folk meets garage rock, featuring two of Young’s most timeless numbers, “Cinnamon Girl” and “Down By the River”.
Nick Drake – Five Leaves Left (1969)
Five Leaves Left is not his best album, but it’s better than 95% of the competition.
Pentangle – Basket Of Light (1969)
I’m only saying yes to Basket of Light because Bert Jansch was in the band. That’s it. We’ve already had a belly full of the Canterbury Scene (jazzy-prog-folk) with Fairport Convention. Otherwise, welcome to the Renaissance Fair, m’lords and ladies! It’s because of this bullshit that we have things like medieval folk rock.
Quicksilver Messenger Service – Happy Trails (1969)
They didn’t get hyped like their contemporaries, Jefferson Airplane and the Grateful Dead, but Quicksilver was an important band in the rising bluesy psychedelic and acid rock genres. But is this a must-hear album? I’m afraid not.
Scott Walker – Scott 4 (1969)
David Bowie borrowed heavily from Walker’s brooding art pop approach. I didn’t need to hear Scott 4, but you might.
Sly & The Family Stone – Stand! (1969)
If you scrap the 13-minute version of James Brown’s “Sex Machine”, Stand! is a phenomenal record chock-full of hits.
The Band – The Band (1969)
Most contemporary rock scholars would call The Band a must-hear album. I can’t argue with them anymore.
The Beatles – Abbey Road (1969)
Are all the Beatles’ records inherently must-hear albums? No. Abbey Road is among the first albums you should leave at the curb if you ever need to evacuate the premises in a hurry.
Aside from “Come Together”, “Something”, “I Want You (She’s So Heavy)”, “Here Comes the Sun”, and “Because”, it’s a jumble of half-baked ideas and “Octopus’ Garden”.
The Bee Gees – Odessa (1969)
Fuck these disco jokers. Odessa is yet another domino in the conga line of soft rock (adult contemporary).
Suggested Alternative: Moondog – Moondog (1969)
Please refer to my piece on Louis Hardin aka Moondog.
The Kinks – Arthur: Or The Decline And Fall Of The British Empire (1969)
It’s a discouraging world history lesson of a title, and I’d watch my Kinks intake. They have several more albums to consider. You don’t need to hear all of them. Arthur is a 6/10 experience. Britpop doesn’t exist without it.
The Rolling Stones – Let It Bleed (1969)
My second favorite Stones record after Beggar’s Banquet (1968). Let It Bleed‘s only weak spot is “Midnight Rambler”.
The Stooges – The Stooges (1969)
A proto-punk classic. You should own The Stooges just to say you own it.
The Temptations – Cloud Nine (1969)
So far, we haven’t heard a must-hear album from Smokey Robinson and the Miracles, Stevie Wonder, the Four Tops, etc. Cloud Nine is a fine album, but you could skip it and not miss anything you aren’t getting from the radio. However, it’s a curious landmark in the subgenre of psychedelic funk, standing tall with Funkadelic and Sly and the Family Stone.
Suggested Alternative: Stevie Wonder – Where I’m Coming From (1971)
A controversial departure from Stevie’s Motown sound, Where I’m Coming From includes “If You Really Love Me” and the ballad “Never Dreamed You’d Leave In Summer” (the older sister of “Superwoman (Where Were You When I Needed You?)”.
The Velvet Underground – The Velvet Underground (1969)
Following the gorgeously abrasive White Light/White Heat (1968), creative differences forced John Cale from the band, taking his avant-garde stylings with him. Lou Reed brought in Doug Yule on bass and set a course for straightforward rock jams and tender love ballads.
1969 was a bold move that didn’t pay off commercially, but gained respect and status retroactively. And if you like The Velvet Underground, there’s a very good chance this is your favorite record.
The Youngbloods – Elephant Mountain (1969)
How the Youngbloods figure to be essential listening is beyond me. You should be familiar with their lone hit, “Get Together” and its hyper-hippie bullshit:
Come on, people now/ Smile on your brother/ Everybody get together right now
“Get Together” is not on Elephant Mountain, which is loaded with jazzy acoustic ballads (“Sunlight” and “Ride the Wind”), country/folk pop (“Smug” and “Beautiful”), and bluesy hard rock (“Sham”). Somebody has done a cover of “Darkness, Darkness” better than the version found here.
Van Morrison – Astral Weeks (1969)
Like Joni Mitchell and Leonard Cohen, Van Morrison was an untouchable darling of contemporary music journalism. Critics loved his brand of Celtic rock n’ blue-eyed soul. They’ll say Astral Weeks is a must-hear album.
Albums You Must Hear Before You Die…Or Not (1970)
Note: Suggested alternatives are from the same year as the contested entry unless otherwise indicated.
Ananda Shankar – Ananda Shankar (1970)
I’m not sure why we’re talking about Indian contemporary fusion, but this Shankar record is fucking hilarious. I will never again be able to hear “Jumpin’ Jack Flash” without sitar and tablas.
Black Sabbath – Black Sabbath (1970)
Black Sabbath – Paranoid (1970)
Unpopular opinion: Sabbath’s first must-hear album was massively influential in the development of heavy metal, but it’s an overrated listening experience. Side 1 is brilliant. Side 2 is a hard blues rock snooze.
Paranoid is a complete, focused work. Side 1 opens with “War Pigs”, slides into “Paranoid”, creeps around “Planet Caravan”, and closes with “Iron Man.” Side 2 rips through “Electric Funeral”, “Hand of Doom”, “Rat Salad”, and “Fairies Wear Boots”. It lays the foundation for all heavy metal to follow.
There’s no contest between these two records. And since we’re going to hear a lot more Sabbath in the future, we can skip the debut.
Cat Stevens – Tea For The Tillerman (1970)
You don’t need Cat Stevens. Nobody does. He’s got two timeless folk rock jams (“Wild World” and “Peace Train”) and three warehouses full of venomous dreck like “Morning Has Broken” and “Father and Son.” If you must, get a greatest hits collection. Run away from Tea for the Tillerman.
Crosby, Stills, Nash & Young – Déjà Vu (1970)
It’s a wonderful record, but “Almost Cut My Hair” and the title track drag things down just a bit. “Country Girl” is a letdown, too. No offense.
David Bowie – The Man Who Sold the World (1970)
I can’t imagine how this gets left off the original 1001 Albums You Must Hear Before You Die list.
Deep Purple – In Rock (1970)
I’ll give you just one reason why I’ve always hated Deep Purple, and it’s on this record.
In Rock opens with “Speed King”, which sounds like a hard-charging, toe-tapping hard rock jam. They get me invested in the groove, but 90 seconds into the song, they drop into extended organ and guitar interplay. Forgot all about that uptempo blues chug. A minute later, they ease back into the jam, but I’m already gone.
I’ll give them another review when Machine Head (1972) comes out.
Derek & The Dominos – Layla And Other Assorted Love Songs (1970)
You’ve heard “Layla” more times than you can count. You’re familiar with the slide guitar stylings of Duane Allman. You’ve probably been erroneously told that Eric Clapton is a special guitar player.
Layla is one of the few rock records I find offensive, as in, “What kind of a fool do you think I am?” sort of way.
George Harrison – All Things Must Pass (1970)
This one hurts the most because I’ve always been fond of George Harrison’s songwriting. However, with few exceptions, every double album in the history of rock music could probably be pared down to a very long single LP. Even the Beatles’ White Album (1968) contains some questionable filler (“Why Don’t We Do It In the Road?”, “Honey Pie”, and “Revolution 9”).
Harrison was “the quiet Beatle”, but he had an ego, too. And that’s the only reason anybody would put out a triple-disc collection of songs that would quite literally make a good EP. That is, one side of an album, or roughly 15-20 minutes. Six sides is fucking terrorism, I mean it. Why do we need two versions of “Isn’t It a Pity”? The third album, “Apple Jam”, is a bunch of two-chord improvisation nonsense.
All Things Must Pass was crowned the champion of Beatle solo albums by the music press, but I think people just liked George Harrison, the quiet Beatle.
James Taylor – Sweet Baby James (1970)
Storytelling singer-songwriters don’t get much better than “Suite for 20 G.” It’s a simple and elegant proto-soft rock record.
John Lennon – Plastic Ono Band (1970)
Superlatives abound when discussing Plastic Ono Band, and it remains one of those records that ends too soon. But you must respect that Lennon didn’t have an endless fountain of killer ideas. He’s gonna run out of gas, too.
Led Zeppelin – Led Zeppelin III (1970)
I dunno. III is a polarizing album. A kinder, gentler Led Zeppelin. You’ll either love it or hate it.
Paul McCartney – McCartney (1970)
McCartney proves that Paul was probably the most musically talented member of the Beatles. On the other hand, it contains a couple of super-stinkbombs (“Valentine’s Day”, “Oo You”, and “Momma Miss America”).
Most people probably missed the dig at Lennon on “The Lovely Linda”.
Miles Davis – Bitches Brew (1970)
Bitches Brew would be essential listening if… Never mind. It’s your call.
Neil Young – After The Gold Rush (1970)
Nick Drake – Bryter Layter (1970)
Ten years ago, I would have told you that Nick Drake is only important because he managed to influence a surprising number of songwriters, without selling many records. Today, I think he has a lovely voice, and Bryter Layter is my favorite.
Rod Stewart – Gasoline Alley (1970)
I love this record, but Rod’s got a pair of must-hear albums coming soon.
Santana – Abraxas (1970)
He seems like a genuine guy, but Santana’s brand of Latin rock bores me with such focus and dedication that it feels personal.
Abraxas contains three of Santana’s biggest hits, “Black Magic Woman”, “Oye Como Va”, and “Samba Pa Ti”.
Simon & Garfunkel – Bridge Over Troubled Water (1970)
The pinnacle of folk rock was blockbuster mainstream success.
Soft Machine – Third (1970)
If you were going to sit through a Soft Machine record, Third is probably the easiest listen, though that’s not saying much; it’s a double LP. Their previous record, Volume Two, launched a transition towards a purely instrumental sound vaguely resembling jazz fusion. In May 1969, this lineup acted as the uncredited backup band on two tracks of Syd Barrett’s solo debut album, The Madcap Laughs (1970)
Third was unusual for its time in that each of the four sides featured one suite. “Moon in June” (side 3) is probably the highlight of the album. Third is the best-selling Soft Machine recording and marks their transition from psychedelic music to jazz.
Spirit – Twelve Dreams Of Dr. Sardonicus (1970)
One of the most underrated psychedelic prog rock records of the 1970s.
Stephen Stills – Stephen Stills (1970)
Stephen Stills is a fine musician, but an entire album is too much. Besides, we get plenty of him from Crosby, Stills, Nash & (Sometimes) Young.
Alternative Suggestion: Syd Barrett – The Madcap Laughs (1970)
We had the privileged horror of watching and hearing Syd Barrett slowly disappear from this world. It’s disheartening because he was so talented. Just think what he might have done had he not gone mad.
The Madcap Laughs is the most compelling documentary of schizophrenia in music to date. I can’t sit through the whole album; it only takes two or three songs before the creeping madness is under my skin, like I’ve been dosed with a tainted batch.
The Carpenters – Close To You (1970)
Take this easy listening bullshit out back and shoot it in the head.
The Doors – Morrison Hotel (1970)
The Doors’ first album is a must-hear. Everything else is not. I’ve argued that even though they’re one of my favorite bands, and Jim Morrison is one of my favorite singers, the Doors are strictly what’s known as a “greatest hits band.” You might bother getting the first album, but you’d be much better off with a best-of compilation.
The Grateful Dead – American Beauty (1970)
The Grateful Dead – Live/Dead (1970)
Over the years, I’ve wasted far too much time talking about how and why the Grateful Dead suck.
The Who – Live At Leeds (1970)
A phenomenal live performance.
Traffic – John Barleycorn Must Die (1970)
The only must-hear Traffic album, just barely. Traffic is another greatest hits band.
Van Morrison – Moondance (1970)
Moondance is an album.
If you loved or hated these reviews, don’t hesitate to let us know in the comments! And if you enjoy the post, share it on social media! Thanks in advance!
