The TOP TWENTY ALBUMS of 2011 (The Year-End Awards)

Originally posted 2012-02-05 02:00:04. Republished by Blog Post Promoter

By Chris Moore:

It is the best and truest mark of artistry in the music industry, and sales are no indication of significance.  Sequencing and thematic continuity, sonic experimentation within a basic set of familiar parameters, a healthy range of types and topics: these are the standards by which to judge an album.

The album.

It ascended into an art form in the mid-sixties under the careful work of artists like the Beatles, Bob Dylan, and the Beach Boys.  It was taken to new heights with the experimentation of later bands, from the concept albums of the Moody Blues to the spin-off success of artists like Bruce Springsteen.  The album – and rock in general – saw a rebirth in the nineties, with the work of those like Weezer, the Wallflowers, the Barenaked Ladies, and a slew of others who led a surge of excellent rock music.

These days, the album has faced a crossroads.  Specifically, with the advent and surge of digital sales, the physical formats of music are on the chopping block.  Still, with the rise of vinyl sales even as CD sales continue to decline, there is hope yet.  And, contrary to an army of naysayers, there are still excellent albums being made.  This year, as with the past several years that I have been tuned into a vast array of albums, I would say there are about five albums that will undoubtedly stand the test of time and compete for top spots when I eventually get around to my Best Albums of All Time list.  Which, at this point, might have to wait until I hit retirement.

But, for the moment, you have my Best Albums of 2011 list, and if you’re interested in reading more about any of these albums, you can access my Weekend Review report (including star rating, production info, and a full review) by simply searching the album title and band name in the search bar above.  And, of course, if you see reason for disagreement or any gaps in my list, it’s up to you to leave comments below.

1)  The Whole Love (Wilco)

2)  The King is Dead (The Decemberists)

3)  Last Night on Earth (Noah & the Whale)

4)  Wasting Light (Foo Fighters)

5)  Bad As Me (Tom Waits)

6)  Unfortunate Casino (Gerry Beckley)

7)  The King of Limbs (Radiohead)

8)  Yuck (Yuck)

9)  Lasers (Lupe Fiasco)

10) W H O K I L L (The Tune-Yards)

11) The Graduation Ceremony (Joseph Arthur)

12) Vol. 2: High and Inside (The Baseball Project)

13) Collapse Into Now (R.E.M.)

14) Move Like This (The Cars)

15) The Valley (Eisley)

16) Cloud Maintenance (Kevin Hearn)

17) I’m With You (Red Hot Chili Peppers)

18) Alpocalypse (Weird Al Yankovic)

19) No Color (The Dodos)

20) Nighty Night (8in8)

 

Honorable Mention:

The Way It Was (Parachute)

The Dreamer, The Believer (Common)

One of a Kind: An R.E.M. Retrospective

Originally posted 2011-10-18 23:48:48. Republished by Blog Post Promoter

By Ben Neal:

(Written 9/30/2011)

When R.E.M. announced that they would be calling it a day as a band last Wednesday, it produced a plethora of reactions from hard-core fans of the band, from casual, now-disaffected fans, and really anyone with a pulse who lived in the 80s or 90s. For many it was a visceral reaction to a band they have cared about forever was disbanding, but for many the reaction has been less about the band itself, but for what they represented to so many people: an undying institution that defined so much of the last three decades and brought music to a brave new world.

R.E.M. was an odd success story. Most legendary rock bands have a sex symbol lead singer, a generous amount of tabloid fodder, accessible power ballads, and embrace the height of their success; R.E.M. had very little of any of that. During their early 1990s vast popular successes of Out of Time and Automatic for the People, they weren’t interested in touring, their music was always obscure and abstract, and discounting the time Peter Buck mixed sleeping pills and wine aboard a trans-Atlantic flight, R.E.M. never really made headlines for the typical rock-band reasons.

Starting in the early 1980s, the band became a mainstay of college radio and hipsters around the world with singles like “Radio Free Europe” and “Gardening at Night” which ultimately culminated in the band’s first two albums Murmur and Reckoning. The albums initially garnered better reviews than commercial success, but the band quickly developed a cult following in college towns and on the East Coast. The music, already quite abstract, was made the moreso by lead singer Michael Stipe’s trademark mumbling (in the pre-internet era, fans of the band were fond of debating with one another what the lyrics to early songs actually were). A mere two years after Murmur, the band released the surreal, gothic Fables of the Reconstruction, which thematically was an exploration of the mythology of the American South and mostly featured songs on local eccentric figures of Athens, GA.

By this time, Stipe had thankfully been convinced to sing more clearly, but the band was by this point unable to break out of their college radio niche. With Life’s Rich Pageant the band really found its footing, with clearer lyrics, a decidedly and increasingly political agenda, and a sound like we hadn’t really heard before. A continuation of the post-punk movement that combines strong elements of the New York-based New Wave with a healthy dose of Americiana, they were The Byrds crossed with The Velvet Underground crossed with Springsteen.

A couple more indie records (and finally, some mainstream radio play with the often misinterpreted songs “Fall on Me” and “The One I Love”), and noticeably less mumbling from Stipe provided the band a launching point and after 1987’s Document, R.E.M. left their indie roots for a lucrative contract with Warner Bros.

By the time their WB debut, Green, was released in 1989; it marked their sixth album in a mere seven years and being an album that was heavily hyped, and initially was underwhelming to some listeners, but still packs quite the punch. “Orange Crush,” in particular, with Bill Berry’s recognizable drums at the on-set was an innovative song and still holds up well today. This record, also known for the impressive “World Leader Pretend” and R.E.M.’s first foray in touching GLBT issues with “The Wrong Child” in some ways represents, along with their final album Collapse Into Now, the best “sampling” of the variety of music R.E.M. produced. However, their next album really sent them into a stratosphere by themselves: Out of Time a fairly non-commercial folk-country album that produced two of their biggest hits, the disowned by the band “Shiny Happy People and the surreal “Losing My Religion,” but the real heart of the record were songs like “Near Wild Heaven” and “Texarkana.” To date, this record represents their largest commercial success, and is, the two hits aside, one of their most non-commercial records.

Their next album Automatic for the People is generally considered their best album and continued their popular and critical successes. While some would have expected the band to follow up Out of Time with a faster, more upbeat album; R.E.M. went the other direction with a slow, somber album that largely dealt with issues of death, mortality, and tackled the AIDS crisis head-on. The album produced “Everyone Hurts,” an anthem for the chronically depressed, and glorified long forgotten and tragic entertainers like Andy Kaufman (“Man on the Moon”) and Montgomery Clift (“Monty Got a Raw Deal”). To date, no album makes me feel more at home on a rainy day.

In 1994, they released their follow-up, Monster and the critical and commercial success that had come so easy to them their entire career was suddenly hard to come by. Maybe it’s because they had reached such high peaks that they were doomed to be “repeating themselves” or being “not as good as they once were” in many people’s eyes. Monster was a significant success, but left many people disappointed and cold, and in some ways that was the band’s fault. The album was a glammed up mock-rock record (many people didn’t get the joke) with singles like “What’s the Frequency, Kenneth?” and “Crush with Eyeliner” that lampooned celebrity, sex, and love. During the Monster tour, drummer Bill Berry suffered an aneurysm on-stage in Europe and later left the band in 1996 for a simple life on a farm near Athens. For many casual fans, it gave them permission to move on from the band; for critics it gave them an easy narrative to dismiss the band and say they should have followed Berry’s lead. Indeed, had they called it a day in 1996, their legacy would be something of mythological proportions (like The Clash), but they did the right thing and kept on making high quality music.

Berry’s final album is the woefully under-rated New Adventures in Hi-Fi, an album composed of songs recorded on the ill-fated Monster tour. The album also proved to be quite controversial and alienated some of their middle America following with songs like “New Test Leper” where Michael Stipe declared that he couldn’t say that “I love Jesus” and begged those who judged his lifestyle to “call me a leper.” Still, it’s a fascinating album that produced a great number of back catalog tracks like the aforementioned “Leper,” “The Wake-Up Bomb,” and “Bittersweet Me.”

After Berry left, the band, innovators always, increasingly gravitated towards technology. With 1998’s Up, the band relied on a synthesizer that made the album sound more like Radiohead than R.E.M., but still produced extraordinary songs such as “At My Most Beautiful” and “Hope.” The somber Up, gave way to the sunny Beach Boys-esque Reveal, which features “Imitation of Life” (stealing the title from the long-forgotten Douglas Sirk 1950s film), perhaps the band’s best single and the optimistic tracks “I’ll Take the Rain” and “I’ve Been High.” Their contemporary [U2’s] Bono declared the album to be some of their best work and to this date I’ve yet to find a better album to listen to on a sunny July day by the pool.

Next came their much maligned 2004 effort Around the Sun—an album that certainly has its flaws, but from the haunting lead single “Leaving New York” to the Carvaggio-inspired “Boy in the Well,” I’ve always found the album to be a perceptive, yet somber assessment of the immediate post 9/11 period. Where Around the Sun tried to find hope in dark times, their 2008 effort Accelerate was an angry indictment of the Bush administration with biting songs like Mr. Richards and Houston, but also beautiful tracks like “Hollow Man” and “Supernatural Superserious”, which 15 years earlier would have surely ruled the top of the charts. Accelerate was a true return to form for the band, with an aggressive sound not heard from the band for nearly 20 years and generated solid reviews.

This spring their final album, Collapse Into Now was a mix of the slow, somber songs that populated Around the Sun and the hard-rockers of Accelerate and generated the band’s best reviews since Berry left the band in ’96. Highlights included the beautiful New Orleans-ode “Oh My Heart” and “Discoverer.” As I re-listened to Collapse a few days ago, it’s truly a very poignant and very R.E.M. record. The closing track “Blue”, a stream-of-consciousness track with a cameo by Patti Smith, makes a perfect end to a great career. Stipe sings (or speaks) “This is my time and I am thrilled to be alive….20th Century collapse into now.”

R.E.M. had contemporaries to be sure—U2 chief among them – but few other bands were as successful for as long, nor did many bands have the impact that four—and later, just three guys who call Athens, GA home – did on our musical world. But R.E.M. was just different from any other rock band. The guys were, well, weird; Stipe increasingly embraced his role as a prominent “queer artist,” and they did things on their own terms. Unlike other rock bands of similar stature, R.E.M. never really strived to be the biggest band in the world; they became so successful oftentimes in spite of themselves. They wanted to be successful, sure, but where U2 or the Stones might take pride in playing the biggest venues—R.E.M. didn’t. Similarly, many bands (oftentimes sincerely) think of themselves as bands with a global conscience, but so many of these bands’ (many of which I love) songs with a global consciousness are songs like “Peace on Earth” or other vague songs with obvious themes. R.E.M. always went a step farther. There were no songs with a generalized “war is bad” message, but rather a litany of songs about Latin American politics, acid rain, pollution, AIDS, corporate downsizing, and so on; and they did so in non-obvious and abstract ways that treated their audience like adults who could read between the lines. Whereas many bands’ bread-and-butter songs were about love and relationships, not many R.E.M. songs were—rather they made songs about a town on the Arkansas-Texas border, on forgotten tragic entertainers, and eccentric senior citizens.

More than anything, what made R.E.M. tick and what made their fans love them is doing things on their own terms. They, inexplicably, refused to tour the two biggest albums—not because of contract disputes, but because they simply didn’t feel like touring. Immediately after signing the biggest contract in music history, they went out and made an inaccessible album like Up. R.E.M. were trailblazers, and showed the music world, and aspiring musicians throughout the world, that an indie sensation and making music for a major label were not incompatible. Before R.E.M., bands had to choose between the two, but R.E.M.’s breakthrough cleared the way for acts like Nirvana, The Decemberists, and Arcade Fire to reach mainstream success while still making the music they wanted to make—all while inventing the genre of alternative rock as we know it.

Their break-up announcement (the decision was made earlier in the summer, yet their label was not informed until just hours before the announcement) was likewise classic R.E.M. A quiet statement on their webpage that stated it rather matter-of-factly: there would be no farewell tour, or a tearful talk show interview; they were just done as a band. For fans, it came as both a shock and resigned expectation. Their lyrics recently had made it clear they were afraid that they would “overstay my welcome” (“All the Best”) and of always being “on repeat…and incomplete” (“Hollow Man”). Ultimately, the band members lived thousands of miles apart and the band had become a side project for the members who all had their own pet projects. This coupled with label politics (the end of their WB contract and new management at the label they had called home for over 20 years), made it seem like a natural end for the band.

R.E.M. was a truly one of a kind band. Every album was singular: from the 80s jangly rock of Life’s Rich Pageant to the folk-alt-country of Out of Time to the glam mock-rock of Monster to the Radiohead-esque Up; each R.E.M. album was an event and a singular work of art. As a recent tribute said no band was as good for as long as R.E.M., and few made the impact they did, both musically and commercially. Few bands come along that have had their impact and done so many things on their own terms. Yes, their production slowed down (10 albums in their first 13 years, compared to 5 in their last 15) and admittedly the product suffered some in later years, but they remained innovators and perpetually fascinating musicians till the end.  As Stipe sings in the beautiful “Oh My Heart” off their final album: “It’s sweet and it’s sad, and it’s true.” That’s R.E.M. in a nutshell.

The Top Ten Albums of 2008

Originally posted 2009-07-28 14:08:51. Republished by Blog Post Promoter

For the 2008 “Yes, No, or Maybe So” one-sentence reviews, CLICK HERE!

By Chris Moore:

At long last, here it is…

My top ten list of the best albums of 2008.

Top Ten Albums of 2008

1.  Saturday Nights & Sunday Mornings – The Counting Crows
2.  That Lucky Old Sun – Brian Wilson
3.  Viva La Vida – Coldplay
4.  Accelerate – R.E.M.
5.  Modern Guilt – Beck
6.  Snacktime – Barenaked Ladies
7.  A Hundred Million Suns – Snow Patrol
8.  Consolers of the Lonely – The Raconteurs
9.  The Red Album – Weezer
10. Loyalty to Loyalty – Cold War Kids

Honorable Mention:

Liverpool 8 – Ringo Starr
Momofuku – Elvis Costello

Ranking every Beach Boys album and song: “Surfin’ USA” LP (by Songwriter Jim Fusco)

Originally posted 2008-02-08 10:56:21. Republished by Blog Post Promoter

By Jim Fusco:

ALBUM – SURFIN’ USA

Farmer’s Daughter – 6 (early promising song)
Surfin’ USA – 6 (catchy, but also a stolen melody, so it loses some points)
Lana – 5
Lonely Sea – 7
Shut Down – 7
(this is a great bluesy song)
Finders Keepers – 6 (endearing)
Let’s Go Trippin’ – 4 (filler)
Stoked – 3 (see last song)
Misirlou – 2 (because at this point in the album, I am sick of instrumentals!)
Noble Surfer – 6
Honky Tonk – 1 (why all the instrumentals!!)
*The Baker Man – 1 (probably the most ridiculous song they did next to Ding Dang)
Surf Jam – 1 (we get the idea)

** Here’s another album I like, but I think it’s a step back from their first. I know they were trying to make music people could dance to at parties, but the instrumentals don’t stand up now. They come across as a lack of effort. They have so much vocal talent- it’s a shame there’s not more songs with vocals! **