8 Classic Rock Albums from the 1960s with Annoying Vocals

Even classic albums can have elements that some fans find less than perfect. Here’s a look at eight acclaimed 1960s albums where the vocal performances stirred mixed feelings among listeners, despite the undeniable talent and innovation behind them.

The Beatles – “The Beatles (The White Album)” (1968)

While “The White Album” features an eclectic mix of songs, “Revolution 9” stands out as a particularly divisive track. This avant-garde sound collage, filled with tape loops and spoken-word sequences, lacks traditional vocals but its jarring, non-musical elements were challenging and annoying to many listeners, marking a stark contrast to the melodic styles found on the rest of the album.

Bob Dylan – “Bringing It All Back Home” (1965)

Dylan’s shift from acoustic to electric, coupled with his unique vocal style that blends singing and spoken word, was bold but divisive. His distinctive voice, while lyrical and expressive, wasn’t universally embraced.

The Rolling Stones – “Their Satanic Majesties Request” (1967)

This album marked a psychedelic departure from the Stones’ blues roots, with vocal mixes that could sometimes overshadow the music. Mick Jagger’s use of heavy reverb sometimes clashed with the album’s softer, more ethereal tracks.

Frank Zappa and The Mothers of Invention – “We’re Only in It for the Money” (1968)

Zappa’s satirical and unorthodox vocal delivery, designed to mock and provoke, didn’t appeal to all listeners. The vocals were innovative but could detract from the sophisticated musical compositions for those not in tune with his sarcastic tone.

The Doors – “Strange Days” (1967)

Jim Morrison’s deep, dramatic delivery contributed significantly to The Doors’ allure but also divided audiences. On tracks like “When the Music’s Over,” his intense and unconventional style was either mesmerizing or overly theatrical, depending on one’s taste.

Neil Young with Buffalo Springfield – “Buffalo Springfield Again” (1967)

Neil Young’s distinctive high-pitched, nasally voice was a standout feature of Buffalo Springfield’s sound. However, on this album, some tracks highlighted a vocal rawness that clashed with the smooth instrumental backdrop, polarizing listeners.

The Velvet Underground – “The Velvet Underground & Nico” (1967)

Featuring the German singer Nico on several tracks, this album introduced a unique vocal style that was both hypnotic and aloof. Nico’s deep, monotone delivery on songs like “Femme Fatale” and “All Tomorrow’s Parties” was groundbreaking but perceived by some as emotionless or detached.

Cream – “Disraeli Gears” (1967)

Cream’s “Disraeli Gears” is often praised for its musical innovation and Eric Clapton’s guitar work, but Jack Bruce’s high, sometimes wailing vocal style on tracks like “Strange Brew” and “Tales of Brave Ulysses” was seen by some as grating, detracting from the overall psychedelic sound of the album.