Sixteen brilliant Baroque pop albums that make for must-listens

As a connoisseur of music spanning decades and genres, I find it fascinating to delve into the rich tapestry of baroque pop, a genre that beautifully blends classical and contemporary elements. The diversity in this list is truly astounding – from the pioneers like John Cale and Arthur Verocai who brought baroque pop to the forefront in the 70s, to modern-day artists like Storefront Church who continue to push the boundaries of this genre.

In the 1960s, baroque pop evolved into a distinct subcategory, yielding several extraordinary albums, many of which were released between the heart of the sixties and the mid-70s, and continue to produce exceptional albums even up to the present.

Some gave it different names – from baroque rock to orchestral pop, mostly characterized by the use of compositional techniques of classical music, as well as instruments, particularly that from the classical music period called baroque.

Instead, let’s focus on how pop and rock music, often infused with elements of jazz or Brazilian bossa nova, took center stage. The impact of pioneers in these genres like Phil Spector and Burt Bacharach was unmistakable.

16 Baroque pop albums you need to have on high rotation

It’s often claimed that the Beatles set the stage for Baroque Pop with their influential song “In My Life.” However, it appears that it was actually the Beach Boys’ groundbreaking album “Pet Sounds” (1966) that truly ignited the trend. Notably, Brian Wilson, the genius behind “Pet Sounds,” continued this innovative approach when he reimagined the band’s unreleased album “Smile” in 2004.

In the realm of Baroque Pop music, some outstanding albums continue to shine brightly, like “Forever Changes” by Love (1967), “Astral Weeks” by Van Morrison (1968), and “Odessey and Oracle” by The Zombies (1968). These timeless masterpieces are still highly regarded today. However, there is a wealth of Baroque Pop albums that match their brilliance but have not received widespread recognition. Some were critically acclaimed but remained within cult circles, others were overlooked or forgotten, and some simply didn’t get the attention they deserved. Here is a list of sixteen such albums that every pop/rock enthusiast should be aware of.

The Left Banke – Walk Away Renee/Pretty Ballerina (1967)

Essentially, it was Michael Brown, the primary songwriter and keyboardist of the band, who first used the term “baroque pop.” This was following the success of their popular song, “Walk Away Renee,” which served as inspiration for the naming of another one of their hits, “Pretty Ballerina.

Despite being filled with polished pop/rock treasures that one might expect to capture a broad audience’s interest, the album itself remained relatively overlooked, despite multiple re-releases and favorable reviews.

Van Dyke Parks – Song Cycle (1967)

Parks served as the songwriter and played a crucial role in collaboration with Brian Wilson for The Beach Boys’ unofficially released album called Smile. Later on, Parks showcased his talent for complex orchestrations and arrangements on this debut solo project. In essence, Parks took on what Wilson was intended to accomplish with Smile – a representation of the pinnacle of American music, encompassing folk, pop, and classical genres, but presented solely through his unique perspective (ear).

Duncan Browne – Give Me Take You (1968)

In England, Duncan Browne drew inspiration from The Left Banke, the Beatles, the Zombies, as well as English folk and classical music, resulting in a deeply emotional, melancholic, fully-orchestrated album. Some believe that Nick Drake may have been influenced by this work of Browne’s.

Billy Nichols – Would You Believe (1968)

In a similar vein to Browne, another British artist named Nichols was signed to the same label (Immediate), which adopted the baroque pop genre and released an album that initially received less acclaim upon its debut but gained more recognition later on. However, it appears that Nichols drew more inspiration from the Beach Boys’ groundbreaking “Pet Sounds” album, with producer Andrew Oldham contributing impressive arrangements.

Margo Guryan – Take A Picture (1968)

During that period, Margo Guryan was primarily known as a songwriter. However, she chose to venture into recording her own music for the first time. This debut album, characterized by its bright and airy feel, is richly orchestrated with elements of jazz and bossa nova. Initially perceived as a commercial failure, it eventually garnered critical acclaim and a dedicated fan base. This newfound recognition led to a tribute album being released in her honor, following her passing.

Sagittarius – Present Tense (1968)

If some musicians were responsible for creating fantastic Baroque and Sunshine Pop albums, one such duo consists of Gary Usher, who contributed to Pet Sounds lyrics, and Curt Boetcher, key figures in the production of this first Sagittarius album.

As a devoted admirer, I’m thrilled to share that by leveraging their extensive network, they managed to bring in musical legends like Glen Campbell and Bruce Johnston of the Beach Boys for our project. Initially, the album didn’t receive much attention, but the tune “My World Felt Down” was later included on Lenny Kaye’s iconic compilation Nuggets, which catapulted it to fame.

Scott Walker – Scott 4 (1969)

Following his departure from The Walker Brothers, Scott Walker, renowned for having one of the most remarkable voices in contemporary music (spanning pop to avant-garde), produced a sequence of numbered solo albums, with this one marking the conclusion (for now). The initial three albums garnered some success on British charts, but this one did not. However, it proved to be his most musically refined work. Subsequently, he dabbled in commercial music once more, but soon returned to experimental and avant-garde realms.

Initially, the first three releases found success on the UK music charts, but this one did not. Interestingly, however, it proved to be the most polished musically. Following this release, Walker dabbled in commercial music once more, but eventually delved into experimental and avant-garde realms.

David Axelrod – Songs of Experience (1969)

As a devoted admirer, I’d like to share that during the production process, Axelrod drew inspiration from the works of William Blake, much like he did for his previous album, “Songs of Innocence.” In this new work, Axelrod masterfully demonstrates what it means for arrangements to be fully realized. The sound is a captivating blend of pop and classical orchestration, infused with delightful jazz undertones, showcasing the pinnacle of his exceptional skills as an arranger.

Marc Jonson – Years (1972)

20-year-old Jonson had created this album when some believed the golden age of baroque pop was over. However, it appeared that Jonson disagreed with this notion, as he self-produced a nearly forgotten masterpiece. His work drew inspiration from the psychedelic aspects of baroque pop (similar to Van Morrison and Love’s Arthur Lee), but managed to maintain a unique identity.

Arthur Verocai – Arthur Verocai (1972)

Known as a skilled producer and arranger in his home country Brazil, it’s no surprise that Verocai’s first solo album gained cult status elsewhere for good reasons. By blending the sounds of Brazilian Tropicalia with Western pop and funk, he filled his music with grand orchestras and brass sections, resulting in unique and captivating tunes.

John Cale – Paris 1919 (1973)

Following his departure from Velvet Underground, Cale’s solo work seldom failed to impress, but this newly deluxe album stands among his finest works. Constructed as a series of musical narratives, the album showcases a blend of rock and jazz sounds, featuring artists like Lowell George of Little Feat and Wilton Felder from Crusaders, alongside richly orchestrated arrangements.

Virginia Astley – Hope in a Darkened Heart (1986)

Over time, baroque pop persisted, and that is evident in the album produced by British composer Astley (with Ryuichi Sakamoto) as its proof. This album represents Astley’s approach to the songs as miniature scenes or delicate watercolor paintings, with classical elements interwoven into her dream pop melodies.

The Sea Nymphs – On the Dry Land (1995-2015)

Originating as a spin-off from the rockier Cardiacs, The Sea Nymphs emerged in the nineties. However, they didn’t fully embody the essence of what groundbreaking baroque pop albums had offered three decades prior until well into that period. Their music, a blend of exceptional songwriting influenced by both folk and chamber music, saw its initial recordings in the mid-nineties. Unfortunately, due to health issues, it wasn’t until 2015 that their album was finally completed.

Rufus Wainwright – Poses (2001)

Throughout his career, Wainwright has maintained a deep connection with classical music, which is evident in his choice of genre for his first album (produced by Van Dyke Parks). This attachment persists in this, his second album. The traditional elements of baroque pop are abundant here, but Wainwright has modernized the sound by incorporating loops and beats at various points, thus carrying baroque pop into the 21st century.

The Divine Comedy – Absent Friends (2004)

Neil Hannon, an innovative Irish musician and the mastermind behind The Divine Comedy, has been recognized as one of the leading figures in baroque pop since the early ’90s. Despite maintaining a consistent output, this album stands out among his works as it seems to encapsulate nearly all the musical styles he’s explored up until its release.

Storefront Church – Ink & Oil (2024)

Lukas Frank and his Storefront Church demonstrate convincingly that baroque pop remains a potent musical presence today. Musically, Frank incorporates all the essential elements of baroque pop, but his compositions are fully developed and his lyrics carry a much deeper, darker tone, mirroring the current mood in many respects. Despite its somber undertones, the album provides an immensely satisfying listening experience.

2024-11-25 14:01