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)

Wilco’s “Yankee Hotel Foxtrot” (2002) – The Weekend Review

Originally posted 2009-12-27 23:57:53. Republished by Blog Post Promoter

** This is the fourth in a five part series of music reviews, counting down from the #5 to the #1 albums of the decade, 2000-2009. On January 2nd, 2010, the #1 album will be revealed, along with the complete Weekend Review picks for the Top Thirty Albums of the Decade. **

By Chris Moore:

RATING: 5/5 stars

There are those albums that are easily inserted into categories, labeled by genre.  Then, there are those albums which do not, those veritable square pegs hovering above round holes.

Yankee Hotel Foxtrot belongs to the latter.

Being that this is one of the most written-about albums of the decade, there have been just as many genre classifications as there have been reviewers.  Regardless of the fact that much of Wilco was formed from ex-Uncle Tupelo members, it is certainly not alt-country, although the trademark rough edges are present in all the right places.  It is not the country-tinged folk rock of Wilco’s debut release, A.M., although Tweedy’s leads sometimes attain that same wonderful raw quality that was so prominent on their first album.  It is not the acoustic rock of Being There, though the acoustic guitars are still quite prominent in the mixes.

Indeed, Summerteeth, their third album, can now be viewed as the proving grounds and a stepping stone to Yankee Hotel Foxtrot — in a sense, as the Today! to their Pet Sounds, the Highway 61 Revisited to their Blonde on Blonde.

It is the clarity of overall vision and focus, as well as the variety of sounds and styles on this record that makes Yankee Hotel Foxtrot one of the best rock albums of the decade.  In many ways, Wilco’s previous recordings were all leading up to this masterpiece, an album that yielded a slew of alternate takes, arrangements, outtakes, and additional mixes.  They poured all they knew about songwriting, performing, and recording into this album, and that is what is most apparent in the tight, finely crafted tunes, every bit as much as it is evident across the sprawling, chaotic landscapes of songs like the opening track.

It has become somewhat difficult to separate the music of Yankee Hotel Foxtrot from the controversy that surrounded it at the time of its release.  Certainly, when they set out to record their fourth studio album, they couldn’t have predicted the poor reception of the record label that would lead to them being dropped from their contract.  They couldn’t have envisioned breaking ground on the now-standard practice of streaming their album in full before its official release.  They couldn’t have known that the story around the album would sell so many copies and overnight transform their band’s image from a fairly obscure alt-country band to the folk/alternative rock trendsetters that they are known as today.  And yet, all the same, these things came to pass, filmed every step of the way by Sam Jones for the documentary I Am Trying to Break Your Heart: A Film About Wilco.

Moreso than ever, this is an album that now needs to be taken, at least initially, on its own merits.  Nine years after it was recorded and eight years after the controversy and hype have subsided, we are left with the task of locating Yankee Hotel Foxtrot among the greatest albums of the decade, and perhaps of all-time.

Thankfully, it has stood the test of time.

Wilco's "Yankee Hotel Foxtrot" (2002)

The Weekend Review's pick for the #2 album of the decade, 2000-2009, is Wilco's 2002 release, "Yankee Hotel Foxtrot."

Listening to this album is an entertaining, sobering, and all-around interesting experience from the fade in on track one to the fade out on track eleven.  “I Am Trying to Break Your Heart” is, of course, the flagship song of the record, establishing both the tone and the mood for the other ten tracks to come.  On the one hand, it is a song with such a simple chord progression and melody that it could be — and has been — easily translated to a solo acoustic performance.  Still, something is lost without, on the other hand, the reluctant bass lines, synthesized sounds, and haphazard yet steady drums.  The sum total of the instruments and vocals introduces a narrator who sounds decidedly detached, inviting us into a realm where we imagine and remember our saddest moments, the conflicts that have defined our romantic lives.

After the final burst of distortion, the second song, “Kamera,” wastes no time in laying out a much more polished folk-rock sound, describing uncertainty as to “which lies I have been hiding, and which echoes belong.”  Tweedy continues, “I’ve counted out days to see how far I’ve driven in the dark with echoes in my heart.”  It is a pretty song; it is a catchy song.  My only reservation here is lyrically — for instance, why spell the title with a “K” rather than a “C”?  As Robert Christgau seemed to point out in his own review of the album, any major concerns about the album’s quality will most likely be focused around the lyrical quality.  While I think he is, as per usual, deaf to the quality of this excellent album, I will admit that I vacillate as to the meaningfulness of some of the lyrics.

Overall, the album speaks to me, and yet, some of the songs may be found shaky on an individual inspection.

But this should be for you to decide as you listen.

“Radio Cure” is next, bringing the pace down to a crawl, expounding on the effects of distance on love.  It is followed by “War on War,” a protest song of sorts that seems to attack simple-mindedness with simplicity.  If nothing else, Tweedy cries the universal truth that, “You have to learn how to die if you wanna be alive…”  One can suppose that this is not necessarily meant as a commentary on physical violence, but moreso in the context of the romantic relationship in shambles that is described throughout the album.

In “Jesus Etc.” and “Ashes of American Flags,” the lyrics rely on allusions to Christianity and the American dream, respectively.  In the former, the singer attempts to reassure a Christ-like lover who is set on leaving, “last cigarettes” being all she can get before she sets about “turning your orbit around.”  The mournful quality of the latter is unsurpassed, particularly as Tweedy repeats the chorus: “All my lies are only wishes; I know I would die if I could come back new.”  Again, there is the Christian — or perhaps Buddhist — metaphor of a death leading to a rebirth.  We can assume that this relationship being referred to is dying or already dead, and the question, of course, remains: what will be reborn in its place?  The song ends with the singer “saluting” the ashes of American flags, “and all the fallen leaves filling up shopping bags.”

Anyone who has gone through a breakup after a meaningful relationship has undoubtedly undergone this phase of the healing process.

The seventh and eighth tracks sidestep a bit, the first — “Heavy Metal Drummer” — taking a nostalgic and upbeat flashback to memories of past summers filled with rock concerts and parties and the second — “I’m the Man Who Loves You” — coming across as a manic return to the present, the singer declaring, “If I could, you know I would just hold your hand and you’d understand: I’m the man who loves you!”

Subsequently, we learn that the singer’s declaration of love has not had the desired effect.  Indeed, “Pot Kettle Black” is an important transition point on the record as Tweedy sings of coming to terms with the realities of the relationship that exists between these two people.  Its abstract lyrics are no attempt to dodge specificity; rather, this is a great case study for how the mind perceives the breakdown of something so dear.

The final two tracks provide another excellent couplet in this eleven line album.  “Poor Places” establishes itself as an anthem for isolation, with the singer ultimately decreeing, “It’s hot in the poor places tonight; I’m not going outside.”  This is not an entirely unexpected turn of events.  After all, the album has covered a lot of melancholy ground, including what can arguably be construed as failed attempts at jump-starting a broken relationship.

When the final track arrives, it is somewhat of an enigma.  “Reservations” is one of the simplest, saddest, and most sincere love songs in the Wilco catalog.  The refrain, “I’ve got reservations about so many things, but not about you,” can be interpreted in several different ways — as a final attempt at reconciliation, as a statement after having reunited with the person (although there is less evidence for this), or perhaps most directly as parting words.  Judging from the ominous silence that follows, complete with sounds that can only be compared to a violent wind, the final interpretation seems the most likely.

From beginning to end, Yankee Hotel Foxtrot is one of those rare albums that connects on both mental and emotional levels, calling on the listener to think in order to deconstruct meaning from the songs and utilizing all the right sounds to convey all the right feelings.  This was the album that singlehandedly led me into a breakup, nursed me through the depression that followed, and brought me back to the love of my life. (“What was I thinking when I let go of you?…”)

As the disclaimers read in those lovely commercials about diet pills, my results may not be typical, but my life is better for having experienced this album.  I hope — and have faith — that this album will have even half the effect on you that it did on me.

Wilco Summer 2009 REVIEW – Wappingers Falls, NY: Saturday, 7/18/2009

Originally posted 2009-07-19 02:14:31. Republished by Blog Post Promoter

For the Set List, CLICK HERE!

By Chris Moore:

As you walk in the gates at a Wilco concert this summer, your ticket is scanned and you are handed a free tour program.

That’s right; I said “FREE.”

And this is no cheap artifact thrown together for the sake of it.  This is a 34 page program, printed and bound as professionally as any other band’s tour program for which you would probably spend in the ballpark (pun intended) of $15 to $20.  Inside, you’ll find exclusive band photographs, the “Wilco Top 5-a-go-go” (a set of “Top 5” lists from the band members), interviews with Jeff Tweedy and Derek Welch (who designed the Wilco toys and the Nudie suits you see in the artwork for the new album), reproduced handwritten lyrics for “Country Disappeared,” a brief word from Glenn Kotche about a custom aspect of his drumset, a scorecard listing all the Wilco songs across the x-axis and all the locations for the summer tour down the y-axis, cartoons, and more…

I think you get the idea.

Although I didn’t know it when I entered the gates Saturday at Dutchess Stadium in Wappingers Falls for my first Wilco concert, this is precisely the type of show the band was about to put on: one jam-packed with more effort, creative energy, and ability to impress than I ever thought possible.

Over two and a half hours — and that’s AFTER Conor Oberst and the Mystic Valley Band left the stage — Wilco played a full set with two encores that added up to 29 songs.  The band entered by simply strolling through a gate on the first base line, walking across the outfield, and running up the steps to launch immediately into a rocking version of “Wilco (the song),” the opening track from their new album.

Throughout the night, Jeff Tweedy and the boys of Wilco played predominantly from their most recent four albums (Yankee Hotel Foxtrot, A Ghost is Born, Sky Blue Sky, and Wilco (the album) – six songs a piece, except for Sky Blue Sky‘s five), but they also played three songs from their third album Summerteeth and dusted off one each from their 1995 debut album A.M. (CLICK HERE to read a review of A.M.), its 1996 followup Being There, and the first Mermaid Avenue.

The first 22 songs — the main set — came at a rapid pace, as the band members somehow maintained the same soaring level of enthusiasm for recreating some of their best songs, as well as some deeper album cuts, onstage with either note-for-note perfection compared to the studio versions (“I Am Trying to Break Your Heart,” “Shot in the Arm,” & “Walken”) or by introducing interesting new rythyms, riffs, and other interesting aspects to their interpretations (“War on War,” “Too Far Apart,” & the by-now-classic concert version of “I’m the Man Who Loves You”).

Throughout the night, Tweedy interacted with the crowd in his characteristic way, the night’s main topics being the mosquitoes that were swarming the stage — “Does anyone have any DEET?” he asked — and the glow sticks that were being tossed around amongst the audience members at the foot of the stage — he mimed a set of “try to hit me, I dare you!” arm motions during one song, causing a volley of glow sticks to shower the stage, showing off the audience’s profoundly poor coordination.

“You guys have really bad aim,” Tweedy laughed at the end of the song.  That prompted a few more glow sticks to be launched in his direction, but he managed to duck each of them.

The first encore only included two songs, but it stretched on for more than twenty minutes.  The first song, “Poor Places,” was a heartfelt rendition of Yankee Hotel Foxtrot‘s penultimate track.  It was followed by a scorching, more than full-length version of A Ghost is Born‘s “Spiders (Kidsmoke).”  The latter is one of the songs that showed off the considerable talent and electric stylings of the three guitarists — Tweedy, the incredible Nels Cline (who truly brought a distinctive guitar style to the band when he joined in early 2004), and Pat Sansone (who was really unleashed in the second encore when he engaged in a volley of solos that passed between him and Cline as though they were firing automatic weapons).

The encore ended with Tweedy calling for the audience to clap to the beat, raising their arms above their heads.  As the instrumentation dropped away, he issued a challenge; apparently, the Brooklyn, New York crowd at Keyspan Park couldn’t keep up the beat after the band stopped playing.  Instead, they sped up rapidly.

For a brief moment after they stopped playing, I thought this crowd would fare better… but it was not to be so.  The members of Wilco motioned for the crowd to slow down and Tweedy started laughing as they went back to their instruments for the final riff of “Spiders.”

“You guys were good,” he politely exaggerated after the song ended.

When they left the stage for the second time, I thought for certain that the show had ended.  After all, they had played 24 songs and it had been two hours since they took the stage at 8:30pm.

And yet they still returned for more!

The second encore kicked off with an upbeat rendition of “The Late Greats” that had the entire crowd moving — from foot-tapping to full-out dancing — and smiling.  Next came the first single off the new album, “You Never Know,” complete with note-for-note perfect George Harrison-esque slide guitar by Cline.

“You have time for a couple more?” Tweedy asked, to which he received the deafening screams of the crowd.

When they kick-started “Heavy Metal Drummer,” you would have thought this was Lynyrd Skynyrd about to play “Freebird” for the response that issued forth from the audience.  They played a great version, but nothing could have prepared me for their interpretation of “Hoodoo Voodoo.”  With lyrics that Woody Guthrie wrote for his children but was never able to record, this track appeared as one of the Tweedy leads on Mermaid Avenue. I’ve always liked this song, but I’ve never loved it the way I did for those five minutes they played it, complete with a new driving guitar riff, pitch-perfect vocals by Tweedy as though we were in the studio with him back in 1998, and outstanding guitar work by Cline and Sansone.

Even though Tweedy had only asked the crowd if they had time for “a couple more,” Wilco launched into one final song.  By this time, the concert had to end at some point.  “I’m A Wheel” was just as good a song to close with as any that remained unplayed from their catalog.

As the song ended, Tweedy said a brief farewell, and Wilco turned on the crowd and exited from whence they had come.

Walking to my car, I realized that this is a fifteen year old band that is somehow in their prime now.  I’m so accustomed to seeing bands that have been playing for decades, that I forget sometimes that it is a different experience to attend the concert of a band that still has something to prove to history — namely that they deserve a place in the memories of rock music fans for all time.  I entered Dutchess stadium a big fan of the band, but tonight, Wilco had me convinced that they deserve that aforementioned place.

All in all, this was by far the best $42 I have ever spent.  If you have the opportunity, get out there and see this band at the peak of their game (ballpark pun, this time, NOT intended…).

The Weekend Review: September 2011 Report

Originally posted 2012-01-01 16:00:17. Republished by Blog Post Promoter

By Chris Moore:

September was, for me, the slowest new music month of the year thus far, but if the only music released in a thirty day span is a brand new Wilco studio album, you’ll find me a happy camper each time.  Jeff Tweedy and company have yet to disappoint me, and regarding The Whole Love specifically, Wilco has rarely impressed and entertained me so greatly (probably only once before; can you guess on which record?).  Read on…

The Whole Love (Wilco)

Producer: Jeff Tweedy, Pat Sansone, and Tom Schick

Released: September 27, 2011

Rating: 5 / 5 stars

Top Two Tracks: “Born Alone” & “Dawned on Me”

From start to finish, The Whole Love exemplifies the Wilco experience: traces of what you’ve come to love, unexpected turns (particularly, this time around, in “Capital City”), and a careful sequencing that unites twelve distinct songs along a single thread.  Bookended by relatively lengthy experimentation in the distortion-drenched, feedback-fueled romp “Art of Almost” and the pleasant acoustic twelve-minute narrative “One Sunday Morning (Song for Jane Smiley’s Boyfriend),” the majority of the tracks on The Whole Love are concise efforts, ranging from the retro-stomp of “I Might” to the lush acoustic production of “Black Moon.”  On most tracks, it becomes clear that it is not so much that Wilco is an experimental band so much that they are innovative in their arrangements, in their seemingly instinctive sense of how to blend movements in songs, which instruments to bring high in the mix when, and how best to (subtly) layer in beds of synthesized sound for atmosphere.  From start to finish, The Whole Love is a striking effort: one of those albums that yields up new revelations with successive listens, one that begs to be left alone when the twelfth minute of track twelve fades and cycles back into to the first tentative moments of “Art of Almost.”  If you hear only one new album this year, I would posit that Wilco’s latest disc is the most expansive, complete, fully rendered of them all; a true must-listen.