While many Vanderbilt students tend to listen to the culturally relevant musicians of today, some opt to listen to the music their parents or even grandparents grew up on. Whether it is music released during the presidency of John F. Kennedy or the turn-of-the-century, songs by artists from Bob Dylan to Fiona Apple have proven to create multi-generational connections over time. In this first edition of “Retro Roundup,” members of The Hustler’s staff highlight some of their favorite albums from the 1960s, from the British Invasion to the Laurel Canyon music scenes. 

Alex Brodeur, Deputy Life Editor 

Crosby, Stills & Nash, “Crosby, Stills & Nash” (1969) 

Folk-rock icons David Crosby, Stephen Stills and Graham Nash created one of the most successful supergroups from Laurel Canyon’s folk music scene and subsequently released their self-titled debut album in 1969. “Crosby, Stills & Nash” is not a quintessential album from the 1960s but an album that best resembles the sounds of Laurel Canyon. The three of them sing about personal travels — “Marrakesh Express” — and historical events, like the assassination of former U.S. Senator Robert F. Kennedy — “Long Time Gone”. These themes are conveyed to listeners in the form of catchy folk-rock tracks — “Suite: Judy Blue Eyes,” “You Don’t Have to Cry” — and country-tinged ballads — “Lady of the Island,” “Helplessly Hoping”. It serves as the perfect introduction to the Laurel Canyon musical atmosphere while also providing listeners with a collection of songs to accompany study sessions or a walk around campus. 

Claire Kelly, Staffer-in-Training 

The Beatles, “Abbey Road” (1969) 

While it feels almost criminal to pick just one Beatles album, as their music dominated both the 1960s and my childhood, I find myself continually turning to “Abbey Road.” The record holds significant nostalgic value and seems to get better with each re-listen, constantly revealing new instrumentation and lyricism. Produced during a time of strain within the group, “Abbey Road” never lets up and feels like the culmination of The Beatles’ best work.  

The album opens with “Come Together,” a song that John Lennon once said was among his favorites, and which Ringo Starr later named his favorite Beatles song. It closes with “Her Majesty,” which was not intended to end the record, especially given that the penultimate track is titled “The End,” but Paul McCartney disliked its original placement. The album also features George Harrison’s “Something” and “Here Comes the Sun,” arguably his two best Beatles songs; “Octopus’s Garden,” sung by Ringo Starr, which I had the pleasure of seeing live this past summer; and “Golden Slumbers,” a Lennon-McCartney composition that may be the group’s most beautiful, emotional and masterfully crafted piece. 

I could hear any argument for the best Beatles album, but “Abbey Road” feels the most complete from top to bottom and truly showcases the best of The Beatles. 

Kirsten Lane, Staff Writer 

Joni Mitchell, “Clouds” (1969) 

In 1969, Joni Mitchell released her sophomore album, “Clouds,” and it’s everything to love about 1960s folk. “Clouds,” which Mitchell wrote entirely herself, offers a folksy culmination of feelings of bliss, ambiguity and romanticism. She delivers these emotions through tracks such as “I Don’t Know Where I Stand” and “Both Sides, Now.” There’s also the charming “Chelsea Morning,” where Mitchell reflects on her time in Chelsea, New York City, especially perfect for those of you who have your eye on Vanderbilt’s upcoming NYC campus in the Chelsea neighborhood. As a whole, Mitchell’s effortless poeticism, a hallmark of her music career, is woven throughout the album. It’s the kind of album that can put you in a contemplative and poetic mood, making your everyday campus walk feel all the more aesthetically pleasing.   

Andrey Sarkanich, Staffer-in-Training 

The Animals, “Animal Tracks” (1965) 

True to their name, The Animals produced a veritable jungle of sounds with “Animal Tracks.” Released in two versions — a UK version and a US version — that contrast starkly with one another, “Animal Tracks” provides a great summary of The Animals’ career from their founding in 1964 until late 1965. Highlights of the UK version include the fun, snappy covers of Bo Diddley’s “Road Runner” and Ray Charles’ “Mess Around,” along with The Animals’ grittier and more natural take on Chuck Berry’s “How You’ve Changed,” which seems to go down a bit too smoothly. I really enjoyed the US version of the album, which contained a ton of The Animals’ recent original hits like “We Gotta Get Out of This Place,” “Club A-Go-Go” and “Roberta.” Each of these songs delivered The Animals’ rough-hewn style of blues with their iconic swing, complete with jumping notes from Alan Price on the keyboard and, of course, Eric Burdon’s strident baritone.