Bobby B's Top 50 Albums Of The Decade (#25-21)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36] [#35-31] [#30-26]

25. Kid A - Radiohead (2000)

While I completely understand my own enthusiasm for this album, I can't say that I really get why everyone else loves it so much. I've noticed that it's already topped some other 'best of the decade' lists and it was also Radiohead's first mainstream number one. But if this album is so commercially viable, then how come King Crimson isn't the most popular band of all time? Or how come other old school eccentricitists like Can or Van Der Graaf Generator isn't emanating out of every 14 year old girl's headphones? I'll never understand how Radiohead has done it, but I'm very glad that they have, because expanding the boundaries of what can be referred to as music is something that has been explored as far back as the early 1900's with french composer Edgar Varèse, and brought into the mainstream by the psychedelic movement of the 60's. Say what you will about Radiohead's over indulgent ways, but any band that brings a redefining of what is acceptable to the mainstream masses is worthy of our respect. And Kid A sounds awesome in headphones. [Myspace: Radiohead]

24. Destroyer's Rubies - Destroyer (2006)

So I've had just over 3 years to fully absorb Dan Bejar's way of thinking as is transmitted through his lyrical wordplay, his thoughts and transgressions along with carefully studying just how his mind works and what it is that makes him tick and I gotta say that I still don't know what the hell he's talking about. But he just sounds so dang cool when he's musing and Destroyer's Rubies continues to be an entertaining listen from start to finish. The fact that it confuses me to the point where there are many times while listening that I find myself actually laughing out loud at how bizarre his ruminations can get (i.e.-sapphires vie for your attention, cheap dancers they mean well in their way but priest says - "please, i can't stand my knees and i can't bear her raven tresses caught up in the breeze like that!" etc etc etc) is only part of its charm and I still find it most enjoyable to continue the journey to finding out what it all means. Besides, if Bejar was easier to understand, what would be the point of returning? [Myspace: Destroyer]

23. Yoshimi Battles The Pink Robots - The Flaming Lips (2002)

It is a risky move to create an album that is steeped in the glory days of prog, it is an even riskier move to create an album that is steeped in the second wave and significantly lesser cool days of nouveau prog. The fact is that Wayne Coyne's musical opus about dueling futuristic robots has more in common with FM's Black Noise and ELO's Time than it does with more "respectable" acts like Pink Floyd or Can. Of course, much like my number 25 pick above, this all explains why the album is on MY personal list, but it doesn't really make sense of the fact that the public at large seemed to enjoy this album also. It's a weird one, that's for sure, with its electronic flourishes and bizarre content, and admittedly, I have to be in the mood for it. But when I am, it's an awesome sonic spectacle that reaps rewards and surprises with every listen. It's amazing, but I've listened to the album hundreds of times and there'll still be certain noises, blips, bleeps and moments of instrumentation that catches me off guard, particularly within the two major instrumental pieces, Yoshimi Battles The Pink Robots Pt 2 and Approaching Pavonis Mons by Balloon (Utopia Planitia). I also appreciate the album's lasting power, and how some of the songs that I thought were throwaways at first, have become my favorites, such as In The Morning Of The Magicians and All We Have Is Now. Stunning. [Myspace: The Flaming Lips]

22. Funeral - Arcade Fire (2004)

Ok, so this album is great and wonderful and fantastic and bla bla bla, yada yada yada. It's a great album, I get it. This one is destined to top more decade end charts than any other, and it's deserved, nobody is denying that. I do think that the accolades are a bit overblown, especially the ones where people are calling this the most original thing they've ever heard. The fact is, if you've ever listened to anything prior to this decade, than you know that not only has this sound been done before by the likes of Byrne, Bowie and others, but it's also been done better. Heck, if you really know your Canadiana, then you must've noticed how much Neighbourhood 3 (Power Out) sounds eerily similar to Rush's Red Sector A, at least at certain moments. Does that stop this from being a great album? Of course not. If you're going to emulate past artists, those are good ones to go to, even if the Rush fans and Arcade Fire fans still refuse to mingle at my parties. And as much as I hate the hype, the album is still responsible for some of my favorite musical moments of the year. The last minute breakdown of Une Anee Sans Lumiere, the woah-oh-oh's of Wake Up, the incredible lift-off of Rebellion (Lies) and the epic grandiosity of In The Backseat. So to sum up: album=great, overhype=bad. Alright? We still cool? [Myspace: Arcade Fire]

21. Boxer - The National (2007)

If ever there was an album that was a textbook example of a grower for me, this was it. At first I found it very hard to focus on. The borderline comatose slur of Matthew Berninger was consistently lulling me to the sleep, and if I wasn't such a sound sleeper then I'm sure that the blast of horns at the end of Fake Empire should have waken me with a jolt, but at first, it didn't. Then I went from easy distraction to mild intrigue, thinking that a couple of the songs were pretty dang epic before finally embracing the album as a whole the way most of my friends already had. Like most of my all time favorites, taking the time to let these recordings sink in is what eventually triggers a response within me, a response that, quite honestly leads to addiction and that's the case with Boxer, I've become addicted to it. This magnificent album is one of contrasts, as it is both comforting and alienating, political and deeply personal, melacholic and triumphant. It's a great album to put on when I'm feeling good, and it's an even better album to put on when I'm feeling lousy. That settles it, I know what I'm going to be listening to today. [Myspace: The National]

Tomorrow: Bobby B's 50 Albums Of The Decade (#20-16)

"The song within my soul, the melody that can't grow old"

Today I spent the whole day (literally) sitting at my local tax person's office, waiting to see how much I owe the government this year. In that room, the radio was set at Oldies 1150 AM. It's your typical oldies station, playing the hits of the 50's ,60's and 70's ranging from rock 'n roll classics with cred like The Stones, CCR, and The Beatles to classic Motown like Marvin Gaye and Aretha Franklin as well as some schmaltzier stuff like Lesley Gore and Bobby Vinton (pictured above.) Perhaps not my selection of choice, but relatively inoffensive nonetheless. At one point however, a lady in her mid to late 40's leans in to the person next to her, and I overhear her saying, "This music sucks!" For some reason, not only did I instantly assume that her personal mp3 player consisted of the unimaginative musical stylings of Cher and Rod Stewart, with perhaps a touch of Beyonce, just to prove that she's till "hip", but her comments also really irritated me. Why?

At first, I really didn't know why. It's not that I have any Lesley Gore in my iTunes catalogue, nor do I own '14 Golden Greats by Sam Syrup and the Sappytones.' Still, for some reason her blanket statement made me a little bit irate. After thinking about it, I came up with a few possible reasons for my state of perturbation.

First of all, there's the fact that "This music sucks!" is not stated as an opinion, it's stated as a statement. I love opinionated people. As a matter of fact, I thrive on it. When someone says that they can't stand one of my favourite artists, I'm instantly intrigued as to their possible reasons for feeling that way with the hopes that it will lead to further stimulating conversation. But when someone makes a statement such as that which was stated above, I need evidence. In what way does said artist suck? Is it a case of a pretty face providing a diversion from the fact that other talents are actually playing the music, i.e. a Milli Vanilli type situation? Has listening to their music actually caused people (without former evidence of instability) to convulse and commit some serious crimes against random innocent bystanders? Is it possible that not one single being on this planet has derived an ounce of joy from the artist's sacharine style? Seriously, what reason, other than the fact that YOU don't like them, could there be for you to make such a huge accusation of suckage?

A second reason for my mild irritability could also be the fact that sometimes, there just seems to be a lack of respect for musical heritage. Regardless of personal preference, the contributions that these entertainers made allowed for music to evolve into the grand variety that surrounds us today. While it's true that some of the oldies exude a certain level of naivete, expecially those of the pop variety that precede Beatlemania and the onslaught of psychedelia, the astute listener can still hear the early stages of indie rock evolution. Lesley Gore's teenage heartbreak can be heard throughout the tunes of Camera Obscura and other modern day troubadors of twee. Indie cred exudes in the croons of Jens Lekman or Stephen Merritt, but how would that croon exist if not for 50's Bobby's like Darin, Vinton or Vee? It's true, I may not listen to many of these entertainers on a regular basis, but there comes a time when we need to accept the fact that most of these artists were certainly groundbreaking for their time. I also feel that there was a purity to the music that was played on the radio back then that is painfully lacking in the music that is played on the airwaves today. And it's not the purity in content that I'm referring to, but the purity in style and instrumentation.

My thoughts are not that of an old cranky curmudgeon. I'm actually younger than the person who made 'the statement' and I have always felt that good music should never be era-specific, but it should be able to transcend a certain time period. I think that music has never been more exciting than it is right now as artists continue to borrow from the past and create a future of limitless possibilities. The true musician and music lovers appreciation for the past assures us that the oldies most certainly do not suck. If it doesn't turn your own personal crank that's cool, but making the lame aforementioned statement just makes you look like a musical buffoon who obviously lets mainstream media dictate your personal taste, instead of putting forth the effort to try to generate a taste of your own.

Now sitting in the waiting room at the tax office all day, that sucks.

The above lyric is taken from 'My Heart Belongs To Only You' by Bobby Vinton.

Other stuff in the world of 'indie' and 'not-so-indie' rock:

Great Bloomers are interviewed on this week's Zygiella podcast in support of their CD release party for Speak Of Trouble. That takes place on Saturday May 2nd at The Horseshoe. [Myspace: Great Bloomers]

Michael McKean of Spinal Tap, The Folksmen and other awesome fake bands, is interviewed on this week's edition of the Stuck In The 80's podcast and it's incredibly entertaining. He will be joined by fellow Tappers Christopher Guest and Harry Shearer for the 'Unwigged and Unplugged' tour at Massey Hall on Thursday May 21st. [Myspace: Unwigged and Unplugged]

Kim and Kelley Deal of The Breeders talk about roller derby, Danzig and the songs on their latest EP Fate To Fatal over at Magnet. [Myspace: The Breeders]

Local rock 'n roll photography phenom Pete Nema is interviewed at A Table For One, an excellent local blog. [Myspace: Pete Nema]

Win Butler of Arcade Fire is interviewed by Clash Magazine about Funeral, which the magazine named the #1 album of the last five years. An interesting, if somewhat controversial list. [Myspace: Arcade Fire]

Passion Pit's new video for The Reeling is featured over at Now Magazine. The album Manners is out on May 18th, and they are making another attempt to play Toronto at Lee's Palace on June 16th. [Myspace: Passion Pit]

Jetplanes of Abraham

The Canadian orchestral music collective type band is becoming such an overwhelming indie fad these days, that the appearance of another one may not be super exciting to some people. But seriously, does the idea of more bands like Arcade Fire or Broken Social Scene really sound like a bad thing? The fact is, that every time I get wind of another band from Canada boasting more than 5 members, playing enthusiastic indie rock that employs as many instruments as a band can squeeze onto a single disc, I start to salivate more than just a little bit.

Jetplanes of Abraham are just such a band, hailing from Ottawa, Ontario. Their self titled debut is beyond outstanding. Containing an exciting amount of infectious pop hooks and sporting instruments as wide and varied as violin, xylophone and the usual bass, guitar, keyboards and drums, these guys and gals fit in very well with the aforementioned bands. The vocals will paralyze you, (but in a good way) and there are so many excellent sing along and clap along moments that it is sure to bring out your inner indie rock child. Some of the highlights for me are "Four Part Harmony" which sounds like it's actually boasting more of a billion part harmony; "Take The Cash" which works with the "start slow and build" formula, which for me is always money; and the brilliantly titled "Complications, Fascinations and Quitting Your Job" which is like the delicious stew of the mix, incorporating many different moods and flavors and smooshing it altogether into one epic song.

The buzz on their live show however is rapidly growing. From what I've read, the band is having a ton 'o fun onstage, running from one end of the stage to the other to set up for several instrument changes throughout the course of their set. Sounds like my kind of show! The beauty thing is that attending one of their shows will be significantly kinder on your pocketbook than those other bands ... for now anyways. Sadly, I'm out of town for their next T-dot appearance, but I guarantee that this one is a must see for those who enjoy the live rock 'n roll as much as I do.

Jetplanes of Abraham are playing at Sneaky Dee's on the corner of College and Bathurst on October 6th.

Photo by Bonnie Findlay

Listen: The entire album can be streamed here.
Download: Tunnels/ Terminals mp3
Myspace: Jetplanes Of Abraham
Videos: For Now (live at the National Gallery of Canada) youtube
Not Tonight (live in Ottawa: CD release party) youtube
Purchase: Jetplanes of Abraham at their online store

Arcade Fire - Neon Bible

I guess I should be used to the fact that my opinion continues to be completely different than everybody else’s on Earth. However, it still continues to shock me every time. Case in point: Arcade Fire.

‘Funeral’ is, arguably, the most important indie release of all time. Music lovers everywhere were completely smitten with it. It topped more year-end lists than any album in history and it earned Arcade Fire enormous amounts of respect. I thought it was great…but not THAT great. It was not my album of the year, but it did make my top 10. It didn’t blow my mind, it didn’t restore my faith in humanity and it didn’t cure my blindness. (OK, I’m not blind, but you get the point.) I just simply thought it was very good, and it got better as time went on. However, upon hearing "Neon Bible", I was ready to post an “OK now I get it...” type of review. Because upon first listen, this one did, in fact, blow my mind. I think this CD is a significant step up for the band. The playing is tighter. The writing is more imaginative and Win Butler’s voice is not only better, but I think it’s WAY better. But again, people seem to disagree with me. Phrases like “sophomore slump” and “it’s not 'Funeral' but…” seem to be circulating throughout the review world. The reviews seem to be generally positive, but not overwhelmingly so, as was the case with “Funeral.” I, (surprise surprise) disagree.

Since this is my blog and I’m entitled to my opinion, I would like to go on record as saying that I think “Neon Bible” is every bit as good as "Funeral" and, at this point, I would say even better. That having been said, there’s no doubt that every music blog on earth will be reviewing this little ditty this week, so I’ll keep my personal observations brief. "Keep The Car Running" is a burst of energy with vocals a la David Byrne. “Black Waves / Bad Vibrations” is another astonishing epic, which seems to be the band’s specialty. "No Cars Go" a reworking of a song from their first EP, with extra oomph and bravado, but the shouts and “heys” are going to be a definite crowd pleaser on the live stage. Like "Funeral", the CD sucks you in to the point where you’re completely lost in the moment; the strings and organs creating a wall of sound that is, in an overused hyphenated word, earth-shattering! The real test will be to see what I think of “Neon Bible” a few weeks from now. It’s always been my experience that my favourite albums take some time to grow on me. Albums I immediately love, on the other hand, I often grow tired of after a few listens. I’ll just have to wait and see.

Downloads:
Black Mirror mp3
Intervention mp3

Arcade Fire on myspace
Purchase “Neon Bible” over at Amazon.ca.