Great Double Albums

One of the great artifacts of the album age was the double album. This ancient relic was a rock behemoth, requiring not one large vinyl disc, but two. Pre-dating the now passé CD format (with it’s 80 minutes worth of music) this was four “sides” of music – twice the fun at almost twice the price. The double album was a statement by an artist that said “see what I can do”; sometimes a misstep, sometimes a masterpiece, but almost always an experience.

I don’t know why I have a personal love of the double-album, but as I started thinking about this list I realized that almost all of my favorite albums by my favorite albums were “doubles”.  It’s the risks that are taken, the quirky songs that get included, and the grab bag approach that I love; artists stayed safer with single albums, but went for it on the doubles. There’s also the fact that you have to be established to release a double, so artists were generally more seasoned and ready for a challenge.

When loaded on an iPod they’re just a bunch of music, but as you listen to the ups and downs, twists and turns, and unexpected surprises try to keep the concept of these as one piece of music.  I’ve already featured my three favorites of all time (here, here, and here) so I’m skipping those in my list. Enjoy.

10. The Wall – Pink Floyd

Critics can call The Wall indulgent, narcissistic, or overblown, but this is an amazingly powerful piece of music.  Thematically, this is a dark, moody record and musically it is a masterpiece.  Motifs run throughout the record, leading to a unified piece of music, yet still has pieces that work individually.   The opener, “In the Flesh?”, rocks as hard as anything the Floyd ever did; “The Trial” is pure theater; the guitar solo on “Comfortably Numb” (though overplayed to the point of ridiculousness) is still one of the best in the history of rock music. (Listen to: “In the Flesh?”, “Nobody Home”, “Mother”)

9. Warehouse: Songs and Stories – Hüsker Dü

Hüsker Dü “super fans” may point to Zen Arcade as their better double album, but for me Warehouse is a far better collection of songs.  The entire record is a back and forth between Bob Mould and Grant Hart, each song alternately written and sung by each, yet the playing is tight just as you’d expect from this very underrated band.  Definitely not a good sign for band unity, though, and this was their last studio release.  The early Hüsker Dü records are great, but it is nice to hear some cleaner production on this record.    (Listen to: “Back from Somewhere”, “Could You Be the One?”, “She Floated Away”)

8. Electric Ladyland: The Jimi Hendrix Experience

As great as Hendrix’s two first albums are, they only hint at the potential expected of him after he exploded on the scene in London, 1966.  Electric Ladyland, though, proved his greatness to everyone and his best record by far.  You can hear the experimentation on the record, as Hendrix is constantly pushing the boundaries of the studio.  Musically, he incorporates more funk and R&B than before, melding styles and making them all work.  And, of course, his guitar work is incredible.  It’s truly one of the great tragedies that he died so young.    (Listen to: “Crosstown Traffic”, “Rainy Day, Dream Away”, “Burning of the Midnight Lamp”)

7. Quadrophenia: The Who

I may be picking against the grain again by choosing Quadrophenia over Tommy, but this is one of my truly favorite records ever.  The Who, as a band, was so much more on top of their game by this point in their career, and Pete Townshend had definitely matured as a songwriter.   Sure, Tommy was the first “rock opera”, but Quadrophenia is better.  The musical themes play off each other throughout the record, and the story (about Jimmy, a young Mod in the 1960’s) is a little more true to life than Tommy.  It may not be their best record (that’s Who’s Next), but it’s a close second. (Listen to: “Cut My Hair”, “5:15”, “Sea and Sand”)

6. Blonde on Blonde: Bob Dylan

I once read a quote by Dylan that said Blonde on Blonde came closest to sounding like the music in his head, proving that there’s a lot going on up there.  All due respect to the Beatles, but this is really the first great double album, and really a blueprint for the White Album.  Dylan shows off so many styles here, blending country, rock, blues, and folk together.  The depth of quality here is ridiculous.  This is the record that turned me into a Dylan fan. (Listen to: “Visions of Johanna”, “Most Likely You Go Your Way (And I’ll Go Mine”, “Sad Eyed Lady of the Lowlands”)

5. Physical Graffiti: Led Zeppelin

So often Zeppelin is overlooked as a great overall rock band, and seen just as the precursor to Metal.  It’s easy to focus on the songs you’ve heard a thousand times on radio and forget what a great band they really were.  Every time I hear Physical Graffiti (and that’s pretty often) I hear the freshness of it, the relaxed nature of it, and the incredible musicianship.  This is Zeppelin at their absolute pinnacle, showing the full force of their repertoire with a self-assuredness you don’t often hear anymore.  (Listen to: “In My Time of Dying”, “The Wanton Song”, “Ten Years Gone”)

4. All Things Must Pass: George Harrison

After playing third fiddle to Lennon & McCartney for 8 years, All Things Must Pass was like a musical explosion from George Harrison.   He had so many songs in backlog from his years in The Beatles, that he was overflowing with ideas and music.  In later years, Harrison complained about the Phil Spector production, but the lush sound on the record adds so much to these songs that I have to disagree.  Spiritual, melodic, with wonderful slide guitar.  One could argue that this is the best solo record by a Beatle (not me, I’d give the slight nod to Plastic Ono Band).  Technically, this is a triple album as it was released with a third album of jams, that you really should ignore.  The only flaw to a masterpiece.  (Listen to: “Isn’t it a Pity”, “Run of the Mill”, “All Things Must Pass”)

3. Songs in the Key of Life: Stevie Wonder

What a run Stevie Wonder had in the 1970’s.  After getting creative freedom, he released five records in five years, each better than the last and culminating in this 1976 double.  A truly ambitious undertaking, these songs range from the very personal to the universal, with incredible arrangements and playing throughout.  You could resequence the songs and have an album on love and relationships, and one on the struggles of the world.  Better left untouched, though, as each listen leaves you in awe of Stevie’s talent.    (Listen to: “Village Ghetto Land”, “As”, “Knocks Me Off My Feet”)

2. Exile on Main Street: The Rolling Stones

I was always a Beatles guy, and never really loved the Stones growing up.  Sure, I knew almost all of their big songs, but it was the 1980s and the Stones were old news to me.  Then I heard Exile on Main Street and understood.  This record is all about feel, and the Stones sound like they’ve been playing together for a million years.  There’s an ease to the playing that’s never forced, but the songs are generally dark and moody.  The album is a sort of an accidental masterpiece.  Recorded in a French chateau as the band was avoiding tax issues in England (hence the “exile” in the title) they used their mobile studio to record it.  The problem, though, was the sound, and they could never get it right.  In fact, they weren’t very happy with the end result at all – great songs, but they sounded muddled and dirty.  But that’s one of the aspects of Exile that makes it great.  The Stones always wanted to be real blues artists, and this sounds like real blues straight from the Mississippi delta. Watch the documentary, “Stones in Exile”, from 2010 to learn more.  (Listen to: “Casino Boogie”, “Torn and Frayed”, “Ventilator Blues”)

1. Sign ‘O’ The Times: Prince

Like Stevie Wonder in the 1970’s Prince had an amazing run in the 80’s.  1999, Purple Rain, Around the World in a Day, and Parade were all huge hits and showed how versatile Prince’s music was.  He could have played it safe and mint money forever.  But this is not an artist who plays it safe, and Sign O’ The Times is proof of that.  Following the theme of most of these double albums, this was an ambitious and sprawling record with style changes throughout.  This was also the first “solo” record from Prince since 1999, leaving his band, The Revolution, behind.  He plays almost everything on this record himself, like a funky mad scientist in the lab.  As with all great double albums, this has style shifts all over the place.  From social commentary, to mindless fun, to quirky vignettes, it really takes you on a trip through Prince’s mind and music.  Strange place, but it’s fun for a listen.   (Listen to: “Ballad of Dorothy Parker”, “If I Was Your Girlfriend”, “The Cross”)