on the bias: best music of 2010
There probably won’t be too many surprises on this “Best of” music list for those of you who read this blog even on a semi-regular basis. I love a wide variety of music – from Kanye to Tchaikovsky. And I’m totally biased. What I have found amusing is that many of my Worst picks are on a lot of year end top album lists. Which isn’t much of a surprise. So, it’s with completely absurd and unabashed biased enthusiasm that I present my favorite music from this year (which also coincide with some of my favorite live shows of the year).
Best Album:
The Black Keys, Brothers
What can I possibly say about this band that I haven’t already? The fact that they are kicking off the new SNL season this weekend (shameless plug) makes me happy – it just means more people will view their complete awesomeness and incredible abilities as musicians. They sound like no one else, and the energy and life they bring to their craft is what keeps me coming back time and again to this record. I have listened to it in its entirety hundreds of times. The hipsters will tell you this isn’t their best album; and I’m not sure even I’m saying that it is. But there isn’t a single misstep from song to song, and they have stripped out some of the noise and experimental vibe that accompanies their earlier recordings into a more refined piece of work that makes sense as stand-alone songs and as a whole piece of continuous listening. This is a band that deserves any and all attention they receive because it’s always about the music first. The fact that they’re getting paid and getting some recognition is long overdue. And this is a wonderful introduction to their special brand of garage blues-soul rock. I could gush for days...
A close second:
Ben Folds/Nick Hornby, Lonely Avenue
If you thought I had great bias leanings toward The Black Keys, that ain’t nothin’ compared to the love I have for all things Ben Folds. I believe he is one of the most underrated artists currently working, except for the esteem he holds among his peers. When I first heard about this collaboration with Nick Hornby, I was intrigued and secretly hoping it wouldn’t be a disaster. It very easily could have if it would have been any other pairing; Hornby’s love of pop culture and clever writing style, however, is perfect for lyricism – it’s already built into the way he expresses himself. And the words bear a sometimes uncanny resemblance to Folds’ own style of songwriting. Ben Folds is a sophisticated pop song stylist, however, and he takes Hornby’s words and makes them soar. Very few can churn out the catchy hooks and melodies like Folds. And I dare you to listen to “Saskia Hamilton” and not have it spring back into your head at crazy times throughout the day. Just writing the words has now implanted that chorus in my brain for the rest of the day.
Too good:
Bruce Springsteen, The Promise
What can I say? He’s The Boss. Take two of my favorite classic albums (Born to Run and Darkness on the Edge of Town) and fill the gap with unreleased material that dates squarely between them. Sure, the recordings are from 1978. So it doesn’t really qualify them as a true 2010 recording, but let me tell you something – it sounds just as fresh listening to it now for the first time as it would have when I was 5 years old. Not a single song on this double disc that I’d remove. In fact, it’s a travesty they weren’t released earlier. It’s bright-eyed, balls-out rock music from an artist that is clearly beginning to hit his stride and it’s years ahead of its time. Easily one of the best records of the year.
David Gray, Foundling
I seem to catch a lot of flack for my support of David Gray, and I have to say that I really don’t understand it. He is a true singer-songwriter of the highest order. And while a lot of people consider the “Babylon” days his most successful and accessible, I heartily disagree. I believe all of his records have gotten progressively more interesting and the songwriting much more refined over time. Don’t get me wrong, I love early David Gray. But there’s a restraint, simplicity and deliberateness to both discs here that I find refreshing. David Gray’s radio singles, with all their lushness and fancy production values, are nothing to sneeze at, but he really shines as a wordsmith when the tunes are a little more stark and bold in their simplicity. This double-disc really grew on me over time.
Kanye West, My Beautiful Dark Twisted Fantasy
Yes, I know. He’s ridiculous – the ego, the misguided and often hilarious public outbursts (at least I find them thoroughly amusing), the supposed disrespect. He’s also ridiculously talented. At times, I think he has a mental illness, or at the very least some serious social disorder at work – although I am always up for his defense, because I think a lot of people really need to lighten up and I find his candor and inability to reign in his personality refreshing. And he has finally found a way to poke fun at himself even when everyone else still pokes and prods him. He has opinions. He expresses them. So what? He also has a knack for writing and producing some really interesting, progressive and solid music. The point is that he takes chances within a genre that tends to be pretty monotonous and seems to become stale without his presence. This is yet another example of the way he frequently colors outsides the lines of the rap/soul/r&b worlds. He has a unique mind and ability to process those influences and emerge with something new, something different with every outing. The music industry would be a boring place without him. You go, boy.
Guster, Easy Wonderful
I have no idea why Guster isn’t one of the most successful pop bands on the planet. I really don’t. Anyone who knows Guster knows they put on a flawless live show (one of the best sets I saw all year), they have rabid loyal fans, and they write some of the catchiest songs. They are, however, a thinking man’s pop band so that’s probably part of the problem when it comes to their popularity. It takes me days to bust a Guster lyric loose from my head once I’ve listened to this record. It’s shimmery, sugary pop with a bite. Smart lyrics, fantastic vocals and harmonies and really talented musicians take this material to the next level. I love that they don’t take themselves too seriously, but they always make their music pop perfection.
The Walkmen, Lisbon
Another band I’m predisposed to enjoy time and time again. And I would feel like this is completely and unabashedly biased if they weren’t so damn good. This fall’s live show was nothing short of fierce, focused and truly showcased the band’s catalog of songs with a frenetic pace. I know what I’m going to get when I listen to one of their albums; and that’s comforting. There are always little surprises along the way, but there is absolutely no mistaking a song by The Walkmen. They just get better and better; which is pretty scary considering they were great out of the gate. But I really enjoyed where they were heading with this effort, and I look forward to the next with impatience.
Pete Yorn, Pete Yorn
I’ve heard a lot of mixed reviews regarding this record and in some ways I do understand them. When I first heard that Frank Black was going to produce the record, I was pretty excited because although at first glance this wouldn’t seem a likely pair, it makes perfect sense to me. What I like about Pete Yorn (besides his obvious and overall manly appeal) has always been this sense that he’s stretching himself with every record. Perhaps a bit more subtly than it appears, but I feel like this one takes some of the more experimental elements from Nightcrawler (a personal favorite) and melds them with the catchiness of the first two records. I’m still waiting for him to really hit on every cylinder on every song; there always seems to be at least one song that I just don’t quite get on his albums, but that’s not the measuring stick I use for a successful and interesting record. He is more troubadour than progressive rock, but when he hits the mark (as he often does here) he has that magical quality to transcend his singer-songwriterness.
*On a personal note, there are few things that I look forward to more than a live Pete Yorn show. The fact that he is touring with Ben Kweller this spring is pretty much the most fantastic double-bill I could have conjured up. Take a look at a classic Ben Kweller song below:
Honorable Mentions:
Superchunk, Majesty Shredding
Not surprisingly, this is good stuff. I went through a phase this fall where I had this on repeat for awhile. I’ve always loved Superchunk, and this comeback effort definitely still has the stuff. It’s been awhile since a full-length effort has graced our presence and I realize now that I’ve really missed this band.
KT Tunstall, Tiger Suit
She’s the bomb. And scary talented. It comes naturally, and I love her style. She hits more than she misses and I really feel like she’s on the verge of busting out a pretty significant album in the future. Love her. She just does her thing.
Spoon, Transference
Another solid effort from a consistently great band. Not much to say here, as Spoon continues to churn out some of the most interesting and cerebral music out there. This may not have the modest commercial success of the last record, but it’s never, ever boring.
Neon Trees, Habits
I’m almost embarrassed to put this on here because it’s become a bit of a guilty pleasure of mine. I cannot help it. It’s freaking catchy as hell and a really interesting ‘80’s throwback sound that I dig. Feel free to judge, but only after you’ve listened and haven’t gotten one of these songs stuck in your head.
Best Album:
The Black Keys, Brothers
What can I possibly say about this band that I haven’t already? The fact that they are kicking off the new SNL season this weekend (shameless plug) makes me happy – it just means more people will view their complete awesomeness and incredible abilities as musicians. They sound like no one else, and the energy and life they bring to their craft is what keeps me coming back time and again to this record. I have listened to it in its entirety hundreds of times. The hipsters will tell you this isn’t their best album; and I’m not sure even I’m saying that it is. But there isn’t a single misstep from song to song, and they have stripped out some of the noise and experimental vibe that accompanies their earlier recordings into a more refined piece of work that makes sense as stand-alone songs and as a whole piece of continuous listening. This is a band that deserves any and all attention they receive because it’s always about the music first. The fact that they’re getting paid and getting some recognition is long overdue. And this is a wonderful introduction to their special brand of garage blues-soul rock. I could gush for days...
A close second:
Ben Folds/Nick Hornby, Lonely Avenue
If you thought I had great bias leanings toward The Black Keys, that ain’t nothin’ compared to the love I have for all things Ben Folds. I believe he is one of the most underrated artists currently working, except for the esteem he holds among his peers. When I first heard about this collaboration with Nick Hornby, I was intrigued and secretly hoping it wouldn’t be a disaster. It very easily could have if it would have been any other pairing; Hornby’s love of pop culture and clever writing style, however, is perfect for lyricism – it’s already built into the way he expresses himself. And the words bear a sometimes uncanny resemblance to Folds’ own style of songwriting. Ben Folds is a sophisticated pop song stylist, however, and he takes Hornby’s words and makes them soar. Very few can churn out the catchy hooks and melodies like Folds. And I dare you to listen to “Saskia Hamilton” and not have it spring back into your head at crazy times throughout the day. Just writing the words has now implanted that chorus in my brain for the rest of the day.
Too good:
Bruce Springsteen, The Promise
What can I say? He’s The Boss. Take two of my favorite classic albums (Born to Run and Darkness on the Edge of Town) and fill the gap with unreleased material that dates squarely between them. Sure, the recordings are from 1978. So it doesn’t really qualify them as a true 2010 recording, but let me tell you something – it sounds just as fresh listening to it now for the first time as it would have when I was 5 years old. Not a single song on this double disc that I’d remove. In fact, it’s a travesty they weren’t released earlier. It’s bright-eyed, balls-out rock music from an artist that is clearly beginning to hit his stride and it’s years ahead of its time. Easily one of the best records of the year.
David Gray, Foundling
I seem to catch a lot of flack for my support of David Gray, and I have to say that I really don’t understand it. He is a true singer-songwriter of the highest order. And while a lot of people consider the “Babylon” days his most successful and accessible, I heartily disagree. I believe all of his records have gotten progressively more interesting and the songwriting much more refined over time. Don’t get me wrong, I love early David Gray. But there’s a restraint, simplicity and deliberateness to both discs here that I find refreshing. David Gray’s radio singles, with all their lushness and fancy production values, are nothing to sneeze at, but he really shines as a wordsmith when the tunes are a little more stark and bold in their simplicity. This double-disc really grew on me over time.
Kanye West, My Beautiful Dark Twisted Fantasy
Yes, I know. He’s ridiculous – the ego, the misguided and often hilarious public outbursts (at least I find them thoroughly amusing), the supposed disrespect. He’s also ridiculously talented. At times, I think he has a mental illness, or at the very least some serious social disorder at work – although I am always up for his defense, because I think a lot of people really need to lighten up and I find his candor and inability to reign in his personality refreshing. And he has finally found a way to poke fun at himself even when everyone else still pokes and prods him. He has opinions. He expresses them. So what? He also has a knack for writing and producing some really interesting, progressive and solid music. The point is that he takes chances within a genre that tends to be pretty monotonous and seems to become stale without his presence. This is yet another example of the way he frequently colors outsides the lines of the rap/soul/r&b worlds. He has a unique mind and ability to process those influences and emerge with something new, something different with every outing. The music industry would be a boring place without him. You go, boy.
Guster, Easy Wonderful
I have no idea why Guster isn’t one of the most successful pop bands on the planet. I really don’t. Anyone who knows Guster knows they put on a flawless live show (one of the best sets I saw all year), they have rabid loyal fans, and they write some of the catchiest songs. They are, however, a thinking man’s pop band so that’s probably part of the problem when it comes to their popularity. It takes me days to bust a Guster lyric loose from my head once I’ve listened to this record. It’s shimmery, sugary pop with a bite. Smart lyrics, fantastic vocals and harmonies and really talented musicians take this material to the next level. I love that they don’t take themselves too seriously, but they always make their music pop perfection.
The Walkmen, Lisbon
Another band I’m predisposed to enjoy time and time again. And I would feel like this is completely and unabashedly biased if they weren’t so damn good. This fall’s live show was nothing short of fierce, focused and truly showcased the band’s catalog of songs with a frenetic pace. I know what I’m going to get when I listen to one of their albums; and that’s comforting. There are always little surprises along the way, but there is absolutely no mistaking a song by The Walkmen. They just get better and better; which is pretty scary considering they were great out of the gate. But I really enjoyed where they were heading with this effort, and I look forward to the next with impatience.
Pete Yorn, Pete Yorn
I’ve heard a lot of mixed reviews regarding this record and in some ways I do understand them. When I first heard that Frank Black was going to produce the record, I was pretty excited because although at first glance this wouldn’t seem a likely pair, it makes perfect sense to me. What I like about Pete Yorn (besides his obvious and overall manly appeal) has always been this sense that he’s stretching himself with every record. Perhaps a bit more subtly than it appears, but I feel like this one takes some of the more experimental elements from Nightcrawler (a personal favorite) and melds them with the catchiness of the first two records. I’m still waiting for him to really hit on every cylinder on every song; there always seems to be at least one song that I just don’t quite get on his albums, but that’s not the measuring stick I use for a successful and interesting record. He is more troubadour than progressive rock, but when he hits the mark (as he often does here) he has that magical quality to transcend his singer-songwriterness.
*On a personal note, there are few things that I look forward to more than a live Pete Yorn show. The fact that he is touring with Ben Kweller this spring is pretty much the most fantastic double-bill I could have conjured up. Take a look at a classic Ben Kweller song below:
Honorable Mentions:
Superchunk, Majesty Shredding
Not surprisingly, this is good stuff. I went through a phase this fall where I had this on repeat for awhile. I’ve always loved Superchunk, and this comeback effort definitely still has the stuff. It’s been awhile since a full-length effort has graced our presence and I realize now that I’ve really missed this band.
KT Tunstall, Tiger Suit
She’s the bomb. And scary talented. It comes naturally, and I love her style. She hits more than she misses and I really feel like she’s on the verge of busting out a pretty significant album in the future. Love her. She just does her thing.
Spoon, Transference
Another solid effort from a consistently great band. Not much to say here, as Spoon continues to churn out some of the most interesting and cerebral music out there. This may not have the modest commercial success of the last record, but it’s never, ever boring.
Neon Trees, Habits
I’m almost embarrassed to put this on here because it’s become a bit of a guilty pleasure of mine. I cannot help it. It’s freaking catchy as hell and a really interesting ‘80’s throwback sound that I dig. Feel free to judge, but only after you’ve listened and haven’t gotten one of these songs stuck in your head.
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