Beatles vs. Stones

There seems to be a common thread to a lot of postings, being the "older" music is better music, citing The Everly Brothers, early Beach boys etc.... as being the real creative stuff.  I would submit that this is pure nonsense and just a bad case of "back in the old days" syndrome.  Not only has most every form of pop/rock music progressed and improved with time, but many, if not all the the greats, produced their best music in the later part of their careers.  Be honest and tell me which sounds better on your current system and you would really rather listen to:

Abbey Road or Revolver

Exile on Main Street or Out of Our Heads

Guitar Shop or Beck-Ola

Come On In This House or any previous Junior Wells LP

Damn Right I Got The Blues or any previous Buddy Guy LP

Freedom or Everybody Knows This Is Nowhere

Hard Again or any previous Muddy Waters LP

Young Lions and Old Tigers or Take Five

Time to accept that while the older music is great, in most every case the advancement in recording technology, experience and skills of the musicians etc,,, means the later stage recording far exceed the early discs.  IMHO 

@bigtwin I'll take Revolver, by far.  I'll take Exile.  I do like both the other alternatives, though.

@curtdr  Of course it's all personal taste when it comes to music, but I never understood why the "critics" continue to list Revolver as the greatest (or in the top 3) pop/rock LPs of all time.  I will admit that Taxman could be the greatest political commentary ever put to rock music.  "My advice to those who die, declare the pennies on your eyes".  That line still kills me.  But.......  listening to the groove laid down in "Come Together", or the brilliant use of two channels, and the vocals in "Because"....  I still use that track to show off my system.  Kills every time.  Revolver is a good record.  A couple uses of new techniques, but...........it's no Abbey Road.  IMHO 😁

White wine vs red wine.

Abbey Road falls further down the list for me, Beatles-album-wise.
“Because” and “You Never Give Me Your Money” are world-beaters, especially “Because.” There are some things about “I Want You (She’s So Heavy)” I really like.

I find the intensity of adulation “Something” receives somewhat mystifying. It’s nice and all, but, IMO, not the composition so many characterize it as. I like “Here Comes the Sun” a bit more, I suppose (I really like when George and Paul Simon did it live/acoustic with harmonies and all on SNL in ‘76), but a certain Pop Culture Mythology Machine has branded these two George songs as something I don’t personally recognize.
If I never heard “Maxwell’s Silver Hammer,” “Octopus’s Garden,” “Oh! Darling,” or “Come Together” ever again, I wouldn’t cry.
The rest of the stuff is…nice.

I’ll take stunning compositions/arrangements (I don’t judge music by whether or not playing it on a fancy system may impress audio nerds) like “Eleanor Rigby,” “Here There, and Everywhere,” and “For No One” with excellent 2nd-tier songs like “And Your Bird Can Sing,” “I’m Only Sleeping,” “Love You To,” “She Said, She Said,” and “Got to Get You Into My Life.”
If the only good track on the album was “Tomorrow Never Knows,” that alone would be well worth the price of admission. Still astonishing.
If all that occurred on the album, studio-innovation-wise was “Tomorrow Never Knows,” Revolver would automatically be a huge milestone in popular music.

For anyone who wants to know the depth of Revolver’s studio innovations, I would suggest reading chief engineer Geoff Emerick’s book, Here, There and Everywhere. It’s safe to say that the recording of that album employed far more than “a couple uses of new techniques,” to say nothing of “Tomorrow Never Knows,” and is pulling out all the stops, engineering-innovation-wise, in ways Abbey Road simply isn’t.