One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms &Hungry Freaks, Daddy,& Freak Out! quickly posits the Mothers of Invention as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though, Frank Zappa was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest &Trouble Every Day, & Zappa exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate Freak Out!'s underlying principles: acceptance of differences and free individual expression. Zappa would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work, Freak Out! contains at least the rudiments of almost everything that followed, and few of Zappa's records can match its excitement over its own sense of possibility.

East-West is the second album by The Butterfield Blues Band, released in 1966 on Elektra Records, EKS 7315 in stereo, EKL 315 in mono. It was recorded at the famed Chess Studios on 2120 South Michigan Avenue in Chicago. It peaked at #65 on the Billboard pop albums chart.

Fresh Cream is the debut studio album by British supergroup Cream. It was the first LP release of producer Robert Stigwood's new "Independent" Reaction Records label, released in the United Kingdom as both a mono and stereo version on 9 December 1966, the same time as the single release of "I Feel Free".

Da Capo is the second album by American rock group Love, released in January 1967 by Elektra Records. The bulk of Da Capo was recorded between September 27 and October 2, 1966. "7 and 7 Is" was recorded on June 20, and had been released as a single in July of 1966 backed with "No. Fourteen", an outtake from their debut album.

Roger the Engineer (original UK title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by the English blues rock band The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell. It was the only Yardbirds album with all original material. Although the record was officially titled Yardbirds (and still is in authoritative chart sources, such as The Guinness Book of British Hit Albums), it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the cover drawing of the record's audio engineer Roger Cameron by band member Chris Dreja. Due to the influence of Jeff Beck's experimentation with guitar distortion, the album is considered a precursor to heavy metal.

Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966, by Capitol Records. It was produced, arranged, and primarily composed by Brian Wilson with guest lyricist Tony Asher. Recorded largely between January and April 1966, it furthered the orchestral sound introduced in The Beach Boys Today! (1965). Initially promoted as "the most progressive pop album ever", Pet Sounds is recognized for its ambitious production, sophisticated harmonic structures, and coming of age themes. It is widely regarded as among the greatest and most influential albums in music history. Wilson viewed Pet Sounds as a solo album and attributed its inspiration partly to marijuana use and an LSD–rooted spiritual awakening. Galvanized by the work of his rivals, he aimed to create "the greatest rock album ever made", surpassing the Beatles' Rubber Soul and extending Phil Spector's Wall of Sound innovations. His orchestrations blended pop, jazz, exotica, classical, and avant-garde elements, combining rock instrumentation with layered vocal harmonies, found sounds, and instruments not normally associated with rock, such as French horn, flutes, Electro-Theremin, bass harmonica, bicycle bells, and string ensembles. Featuring the most complex and challenging instrumental and vocal parts of any Beach Boys album, it was their first in which studio musicians, such as the Wrecking Crew, largely replaced the band on their instruments, and the first time any group had departed from their usual small-ensemble pop/rock band format to create a full-length album that could not be replicated live.

1966年，吉他大师Eric Clapton为了继续施展在布鲁斯方面的抱负，离开了先前的乐队，跑到伦敦找到John Mayall的Bluesbreakers一起合作，仅仅数月之后，Clapton就离开了Bluesbreakers，组建了Cream。然而，就是在这样一次短暂的合作期间，却诞生了一张伟大的专辑，这张专辑从一开始就以Clapton的吉他为卖点，在伦敦引发了对Clapton的崇拜热潮，有fans打出了“Clapton是神！”的标语，吉他之神从此也就成了Clapton的绰号。 这张专辑在布鲁斯摇滚历史上的地位可谓十分显赫，被认为在很多方面创立了布鲁斯摇滚的标准。专辑在该年度进入UK专辑排行榜的前十。 这张专辑在滚石杂志选出的500张历代最强专辑中排名第195位。

For the first time in 40 years, here it is in dangerously powerful MONO, exactly as it was intended: the stupefying debut album by Texas' heroic psychedelic point-men, the 13th Floor Elevators, on Sundazed's uncannily accurate high-definition vinyl! The unearthly banshee howl of Roky Erickson, the blistering guitar of Stacy Sutherland and the demented electric jug of Tommy Hall haven't sounded this scary since their glory days in the third eye of the lysergic hurricane!

First CD reissue of the album. Revolver is the seventh studio album by the English rock band the Beatles. It was first released on 5 August 1966, accompanied by the double A-side single "Eleanor Rigby" and "Yellow Submarine". The album was the Beatles' final recording project before their retirement as live performers and marked the group's most overt use of studio technology to date, building on the advances of their late 1965 release Rubber Soul. It has since become regarded as one of the greatest and most innovative albums in the history of popular music, with recognition centred on its range of musical styles, diverse sounds and lyrical content. Credits: Made By – PDO, Germany – 2896 974 Published By – Northern Songs Ltd. Printed By – EMI Services Benelux B.V. Phonographic Copyright ℗ – EMI Records Ltd. Copyright © – EMI Records Ltd. Design [Cover Designed By], Cover – Klaus Voormann Engineer – Geoff Emerick Lead Vocals [Lead Singer] – George Harrison (tracks: 1, 4, 12), John Lennon (tracks: 3, 7, 9. 11, 14), Paul McCartney (tracks: 2, ,5, 8, 10, 13), Ringo Starr (tracks: 6) Photography By – Robert Whitaker Producer – George Martin Written-By – Harrison* (tracks: 1, 4, 12), Lennon/McCartney* (tracks: 2, 3, 5 to 11, 13, 14) Made in W. Germany ℗ 1966 Original Sound Recordings made by EMI Records Ltd. © 1966 EMI Records Ltd. Printed in Holland by EMI Services Benelux B.V. Uden

This Super Audio Compact Disc (SACD) recording offers high-resolution sound and is playable on both standard CD players and SACD-compatible devices.