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Top 100 Tracks of 2010 (75-51)

 

75. “Doubt”

The Corin Tucker Band

I always thought Carrie Brownstein was the more punk rock of the ladies in Sleater Kinney. I always thought she had the fire, the anger, and the edge that counteracted Corrin Tucker’s more feminine approach. I was wrong. So wrong.

 

74. “Stranded”

The Walkmen

I’m a sucker for trumpets, especially when they sound this damn dreamy.

73. “Theme From ‘Cheers””

Titus Andronicus

Looking back on my year, one memory that stands out the most is when me and BDWPS contributer PtheStudP visited Cheers in downtown Boston.  After a two-hour marathon at a beer festival, our tour guide Steph led us to Cheers where her friend Justin was bartending.  What I thought was going to a quick tourist visit turned into hours of drunken splendor. Soon the variety of beers and shots somehow turned into a night of boisterous chanting of  “U-S-A!”, “Lord-By-ron!”, and “Tom Arn-old!”  This song brings me back to that night, not necessarily because of the reference to Cheers in the title, but the chorus that could have easily been one of our chants that night: “So let’s get fucked up, and let’s pretend we’re all okay, and if you’ve got something you can’t live with, save it for another day. Save it for another day.”

72. “Bloodbuzz Ohio”

The National

After carrying The National’s Matt Berninger to Ohio, I’d like that same swarm of bees to visit Jim Tressel’s house.

71. “Tame On the Prowl”

The Medications

In most cases, my adoration of The Medications stems from trying to untangle the vine of intertwined guitar licks in each song.  “Tame On the Prowl” continues this tradition, but also features a melody that will quickly wrap around your Hippocampus.

70. “Whores; The Movie”

El-P

Not only is “Whores; The Movie” a stellar song, but it would also make a great movie (preferably in 3-D).

69. “Leave You Forever”

Cloud Nothings

I could never leave this song forever.

68. “Apartment Wrestling”

Maximum Balloon (featuring David Byrne)

If you’ve ever wondered what TV On the Radio would sound like if they joined forces with The Talking Heads, it’s as amazing as you expected.

67. “Grief Point”

Destroyer

This is not really a song, rather an audio-short-film, or an audio-psycho analysis, or maybe just the ramblings of a confused artist. Whatever the case, this eight minute insight into the mind of Dan Bejar and his view of music at this point in his career is fascinating.  Earlier this year, Bejar discussed ending his recording career altogether (fortunately he didn’t with a new album coming out soon), and this B-side to his “Archer on the Beach” EP captures him in the midst of this confusion of what role his music plays in both his life and his listeners.  Plus, I just like the imagery of “picnic baskets filled with blood”.  Call me a hopeless romantic!

66. “Fresh Hex”

Tobacco (featuring Beck)

“Maniac Meat” is such a fun fucking album and on “Fresh Hex” Beck joins the party, giving the album his own fresh take on their energetic sound.

65. “Pop Culture (revisited)”

The Ponys

The Ponys originally formed in Chicago back in 2001, and one of their earliest songs was “Pop Culture”.  For whatever reason, this song never made it onto a major record, only being heard during live performance.  I can still remember them playing this song when I first saw them live four years ago.  But in 2010, with the release of their song EP “Deathbed Plus 4”, “Pop Culture (revisited)” was finally released from captivity, and it sounds as lively as ever.

64. “Swim Until You Can’t See Land”

Frightened Rabbit

Water has always represented rebirth, and on “Swim Until You Can’t See Land” singer Scott Hutchison swims not only for a renewal, but also to feel alive again.

 

63. “You Must Be Out of Your Mind”

The Magnetic Fields

This past year I’ve had to learn how to forgive others, and also tried to gain forgiveness for those I’ve hurt.  In both cases this isn’t the easiest of tasks.  As the person who was wronged, there is some agitation with the idea that by simply saying “I’m sorry” that everything goes back to the way they were. They don’t and they never will. But as the person asking for forgiveness, you can’t “simply press rewind” and things will be they way they once were no matter how bad you would like them to.  Stephin Merritt’s snarky lyrics take on the persona of the one burned, and his stance can be either an anthem for moving on or a eulogy for a relationship (depending one what side of the forgiveness fault-line you stand).

 

62. “Waterfall”

Fresh & Onlys

The Fresh & Onlys are time travelers, but instead of going to the past, they’ve come to us from the 60s, bringing with them a sound that has been long forgotten. Amazingly, a song like “Waterfall” grows out of the oldies, yet sounds like nothing else on the radio.  This is the type of song that would lead Marty McFly to say, “I guess you guys aren’t ready for that yet, but your grandparents loved it.”

 

61. “Below the Hurricane”

Blitzen Trapper

At first this seems like a beautiful little folk song, but halfway through the band kicks it up a notch with Doobie Brother’s persona that is sweetened with a couple drops of harmonica.

60. “I Learned the Hard Way”

Sharon Jones & the Dap Kings

The only thing I don’t like about this song is the fact that she never defines exactly what this guy did to turn her into such a bitter old maid.

 

59. “Mr. Peterson”

Perfume Genius

This eerie song tells the story of a teacher, Mr. Peterson, leaving a note on a student’s paper telling them to meet him at a certain time and place. For some reason, the narrator meets up with the teacher, smokes weed with him, and possibly has sex with him (although this event is only inferred).  When the teacher goes on to kill himself, the narrator doesn’t necessarily hold a grudge toward him. Instead, the speaker hopes that Mr. Peterson can find a place where he’s wanted, even if that place be hell.

So yeah, this songs kinda depressing.

 

58. “Moves”

The New Pornographers

After their lackluster 2007 release “Challengers”, I’d kinda written The New Pornographers off.  It just seemed like their sound had run its course and had no where else to go.  But on their latest release, “Together”, the band has found new ways to eek a little more life out of their collective, especially on a song like “Moves” that amps up their classic sound with a driving orchestral addition.

57.  “Suffering Season”

Woods

I made the mistake this summer of defining Woods as the next Neil Young. The falsetto vocals do conjure up images of Sir Neil, but a song like “Suffering Season” shows the band is influenced by many other voices of the past (possibly the Mamas and the Papas?).

56. “Girlfriend”

Ty Segall

In just two minutes, Ty Segall will have you singing along.  That has to be some type of record.

55. “Favourite Food”

Tokyo Police Club

Getting old stinks, a point this song pounds into the ground.  Not only have I had to face the facts that I’m no longer young, but my parent’s aging has become apparent, a notion that scares me.  When the lyrics say “cause it’s sweet getting old” followed by “Let the hospital be your home”, I can’t help but feel that Tokyo Police Club are being morbidly ironic. I would like to believe that there is some hope hidden within the metaphors of this riveting song, but I can’t seem to find them.

54. “Written in Reverse”

Spoon

With all that screaming and punching of piano keys, something must have really pissed Britt Daniels off. But unlike the Incredible Hulk, you’ll like Britt when he’s angry.

53. “Relief”

Sam Amidon

I really should start listening to some R Kelly.  A couple of years ago I couldn’t quit listening to Bonnie “Prince” Billy’s cover of R. Kelly’s “The Word’s Greatest”.   This year Sam Amidon, who is known for his modern interpretations of classic folk songs, switched his routine by taking R. Kelly’s “Relief” and giving it a more classic ambience. On second thought, I’ll just stick to people covering R. Kelly.

52. “POWER”

Kanye West

Even though it’s the third track on “My Beautiful Dark Twisted Fantasy”, “POWER” is the introduction to the Shakespearan tale found on this album.  In it, Kanye portrays a man dealing with the struggles of being in power. At times he seems arrogant and aloof, but near the end of the song the listener begins hearing a man realizing that the one thing he doesn’t have power over is himself.  By the time the outro arrives, the speaker is standing on a ledge envisioning himself jumping, saying, “This would be a beautiful death”.

Oh, and did I mention it samples King Crimson’s “21st Century Schizoid Man”?

51. “He Would Have Laughed”

Deerhunter

A lot of great musicians died in 2010 (Captain Beefheart, Ronnie James Dio, Mark Linkous), but the most devastating loss in my view was the death of Jay Reatard simply because Jay had so much left to create, so must potential.  Being friends with Jay, Deerhunter’s Bradford Cox wrote “He Would Have Laughed” in dedication to the lost genius.  I’m not sure if the song is necessarily about Jay with its abstract lyrics, although there is something there within the lyrics “Where do all my friends go?” and “What did you want to be?”.  I think the connection to Jay’s life is found within the music its self, with the slow progression that eventually goes into a euphoric swell, but then, just like Jay’s life, the song just suddenly stops. Fuck.

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The Roots “How I Got Over” / Maximum Balloon “S/T”

Ever since I heard Santana’s “Supernatural” I’ve held a deep hatred for the collaboration album. You know, the album where an artist features a different guest on each track, creating an album that resembles a soda-pop-suicide?  I just can’t fathom the true creativity involved when an artist pops into the studio for an afternoon and is gone the next.  After seeing “The Promise”, a documentary on the year long toil and turmoil that Bruce Springsteen and the E Street Band endured while recording “Darkness On the Edge of Town”, I can’t imagine the same commitment in the buffet style approach to the art form we hold dear to our hearts here at BDWPS: the album.

These guest appearance albums are common in hip-hop, where I guess they are more likely to work since the rap tradition has always grown out of family  tradition of helping up-and-coming lyricists and supporting those that have your back.  But even this can be a downfall at times. For example, Big Boi’s 2010 release is 70% incredible and 30% mediocre due simply to the likes of Jamie Foxx, Sleepy Brown, and Janelle Monae breaking up the high-energy romp that General Patton has frolicking through most of the tracks.  Two other recent albums from 2010 show the collaboration album at both its best and its worst.

Maximum Balloon
“S/T”
[DGC, 2010]

RATING: 5

Last year TV on the Radio’s Kyp Malone released a solo album under the moniker Rain Machine and the results were sometimes intriguing, but more commonly hum-drum and lacking. As discussed in my review of the album, it’s difficult to match up to the magnitude found in the works of TV On the Radio.

Despite this, fellow bandmate Dave Sitek tried his hand at a solo album a month ago using the name Maximum Balloon.  The project allowed Sitek to expand the layers within his sound and let loose, creating a synth-pop jog that lends its self to the sounds of 80s artists like Prince and Talking Heads. You can tell that Sitek is having fun, free from the pressure that goes with being in a world power band like TVOTR and having to follow-up classics like “Return to Cookie Mountain” and “Dear Science”.

Yet, I can’t help but feel that Sitek may have felt TOO liberated with his music. Instead of holding his own, each track features a new vocalist ranging from Karen O to David Byrne, and even inviting his band mates Kyp Malone and Tunde Adebimpe in to sing on a few tracks.  The result is a wide range of sound without a real focus guiding it forward. Sitek’s backing tracks aren’t signature enough to make this sound like one single artist known as Maximum Balloon; it resembles a movie soundtrack more than anything.  Sitek is the DJ at a high school dance, standing to the side providing the background music to a sea of prepubescent make-out sessions, none of which who are taking note of the “killer mix” on the speakers.

When his bandmates step in to sing, it sounds like a TV On the Radio song. When Karen O steps up to the mic it sounds like a Yeah Yeah Yeah’s song.  But even these songs aren’t strong enough to stand-alone and would likely be consider b-sides for a TVOTR or YYY album.

Kyp Malone on “Shakedown”, a real crowd pleaser…..:

There are a couple high-points on the album, including the Aku assisted opening-track “Tiger”, and “Apartment Wrestling” – the best song due to David Byrne putting Sitek’s music in a full-nelson and making it his bitch.  While other artists on the album seem tentative and bored, Byrne does what he does best and dominates the final track. If only he’d gone all 10 rounds and saved Sitek from a less than stellar showing.

Does anybody else wish Byrne would join TVOTR in the same way legend Johnny Marr joined Modest Mouse?:

The Roots
“How I Got Over”
[Def Jam, 2010]

RATING: 8.5

I worried that Jimmy Fallon had ruined The Roots like he’s done over the years to so many SNL skits and movies.  When I first heard they would be the house band for a show that features more awkward interviews than Magic Johnson’s talk show, I was confused. How did this help The Roots? What did they get out of being on late, late night?  Even playing at ten o’clock for Conan would be a stretch simply because I don’t see how any steady gig like this would help their music or their cred in the rap community.

Then I heard their 2010 release “How I Got Over” and it all made sense. By playing nightly within the confines of a show that no one watches, the band was able to continue honing their craft through a medium that also provided them with the chance to meet a variety of artists (somehow Fallon’s show has had an absurd list of artists coming through the studio including a performance by Bruce Springsteen AND Neil Young together).

These two elements are evident on “How I Got Over”, where track after track features another guest appearance to go alongside the bands compelling jams.  The difference with The Roots approach to the collective-style album is that there is never a question who’s album this is: the band firmly has its fingerprints deeply pressed into every nook and cranny of “How I Got Over”.   When The Monsters of Folk softly sing an opening prayer on “Dear God 2.0”, ?uest Love’s pin-point drumming responds like a voice from beyond; when John Legend soulfully croons on “The Fire”, Kamal Gray’s constant pulse on the piano is the fuel that keeps the flame burning; when the sample of Joanna Newsom’s “The Book of Right On” appears on “Right On”, Black Thought plays the perfect anti-thesis to her distinctive voice,  punctuating his point right on cue.

Instead of letting their guests over-stay their welcome, they seem more like accents to The Roots live sound, now featuring much less of the sampling seen in past works. The band’s nightly practice sessions on live television have obviously assisted within track after track of tight instrumentation.

Beyond the fact that this is an album of guest appearances, it’s also a pretty extraordinary work as a whole.  While many of the band’s past albums have focused on the ills of the world, this is an album of triumph and optimism. “How I Got Over” is exactly what the title says: a narrative of getting over the set-backs and adversity that one will face in a lifetime.  Instead of wallowing on the negative, the album continues with a constant from song to song: keep your head up and move forward. This many seem like a corn-ball, inspirational poster in music form, but The Roots handle it like true craftsmen, building the story from the bottom up.  Each song leads into the next with the narrator rising up throughout, starting at the bottom where it delves into the hardships of growing up to the ghetto, and eventually elevating from one song to the next toward an adulation that arrives near the end with songs like “The Fire” and “Tunnel Vision”.  Now if only the band could rise up from the evil clutches of Jimmy Fallon.

This is what happens when you hang around Jimmy Fallon too long:


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