Bobby B's Top 50 Albums Of The Decade (#35-31)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36]

35. Ys - Joanna Newsom (2006)

I get an amazing number of hits to my site from people googling the phrase "I Hate Joanna Newsom", simply because the word 'hate' is in the title of this here blog, and I've talked about Ms Newsom on a few occasions. Of course, they're usually angered to find that when I make reference to her it's always surrounded by flattering phrases that couldn't be further from the idea of me hating her. On the contrary, I love Joanna Newsom! But it's understandable why some might find it hard to warm up to her. There's that high pitched squeaky voice, those meandering 17 minute songs, the preference for harps instead of guitars and not a hook to be found in the lot. But I don't think that you'll find a more ambitious album this decade, and the magical pairing of Newsom and Van Dyke Parks is an otherwordly adventure that begs to be experienced. This album is not made for dancing, nor is it a delightful piece of background music perfect for playing at your next dinner party. This album is a work of art and it deserves to be treated as such. This is an album that demands a listener's full attention as it fluctuates from mellow flowing movements to harsh gothic trajectories, all working together to create a musical number that is simultaneously enticing and unsettling. A challenging listen for sure, but well worth the effort. [Myspace: Joanna Newsom]

34. Hometowns - Rural Alberta Advantage (2008)

Admittedly, I'm still in the throes of RAA hype at the time of preparing this list, so it'll be interesting to see if this album's inclusion will be reflected on with rolling eyes by the time 2020 rolls around, but for now, I still find myself consumed in the glow of this masterful release. The fact that I still listen to the album as much today as I did a year ago when it was first released is a good sign, as is the fact that, despite my penchant for being contrary, I haven't felt the desire to rebel against the current hype, as overbearing as it is getting these days. For now, there's just no denying the fact that this is just simply a collection of great songs from start to finish with not really any duds in the lot. The challenge at this point will be where does the band go from here. A series of great songs this is, but I don't think I want their sophomore to be just more of the same. And as much as we all strive to judge an album based on its own merits, our human nature can't help but be tainted somewhat by future releases (see my #43 pick.) So the pressure is on, but in the meantime, I'm more than happy to enjoy Hometowns for what it is as it sits comfortably amongst my favorite releases of the decade. [Myspace: Rural Alberta Advantage]

33. Glissandro 70 - Glissandro 70 (2006)

My prog loving soul can't help but bask in the glow of this local post-rock amalgam of Craig Dunsmuir and Sandro Perri. This one time collaboration makes good use of the build up approach, with each cut opening with a few loops and repetitious drones before exploding into a series of sounds and styles that incorporate Afro-beats, tribal chants, progressive chord changes and even slight leanings towards electro. The opening song Something serves as a bit of a teaser, with a disjointed looping acoustic guitar being accompanied by sounds and atmospheres before giving way to Analogue Shantytown, which is a six minute piece that opens with a looping harmonica accompanied by a whispered 'shantytown' chant before transforming into an experimental piece that hearkens back to the early 80's period of King Crimson mixed with an almost jazzy vocal before embarking on a celebratory revisiting of the opening 'shantytown' chant that is all encompassing. The album's centerpieces, Bolan Muppets and Portugal Rua Rua are inspirational slices of 'almost' danceable psych flourishes that should appeal to fans of Animal Collective with their odd and challenging arrangements. The album ends with a trance inducing 13 minute track called End West that is pretty close to perfect, and makes me wonder why this collaboration has never bothered to release a sophomore album. On the other hand, why mess with perfection? [Myspace: Sandro Perri]

32. A Ghost Is Born - Wilco (2004)

Jeff Tweedy's experimental phase hit a whole other level with the release of this one. At first listen, I actually remember saying something to the effect that it was every bit as good as Yankee Hotel Foxtrot, and a natural progression from the expanding ideas presented on its predecessor. That opinion has obviously softened since then, but it doesn't mean that this album is not an outstanding achievement in its own write. There are many moments where the album feels as if it has a loose and improvisational feel, which is outstanding considering that Tweedy himself has commented on the fact that every guitar solo and moment of ambient noise was carefully organized and premeditated. The part at the end of At Least That's What You Said, for example, is intoxicating. There are also moments where the band sounds as if they're deliberately trying to alienate, most notably during the wall of synth at the end of Less Than What You Think. This may not be a moment that I always enjoy listening to, but I can't help but admire it to a certain extent. And then there's Spiders (Kidsmoke) and it's incredible jammy feel. The song is over ten minutes in length and yet I still find myself hitting the repeat button whenever it plays. Simply amazing. [Myspace: Wilco]

31. Figure 8 - Elliott Smith (2000)

While it's true that throughout the Elliott Smith catalog there are moments that are more philosophical (1997's Either/Or), more heart wrenching (1998's XO) and more experimental (2004's posthumous release From a Basement On A Hill) , for me no album is more enjoyable a listen than 2000's Figure 8. Smith's passing in 2003 was probably the musical death that I found most difficult to hear, simply because for me, it seemed to come out of nowhere. While it's true that clues of his unhappiness were always prevalent in his lyrics and even in his interviews, I honestly didn't see it coming and I was always looking forward to seeing him perform live. So Figure 8's upbeat and positive feel is just the way that I would prefer to remember him. And I realize that titles like Everything Means Nothing To Me and I Better Be Quiet Now don't exactly scream positivity, but the dreamlike nature of the music and presentation just makes me picture in my mind a person who was relatively happy while he recorded these songs. That's the image that I choose to see whenever this album is playing and it always makes me smile. [Myspace: Elliott Smith]

Tomorrow: Bobby B's 50 Albums Of The Decade (#30-26)