Bobby B's Top 50 Albums Of The Decade (#15-11)

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] [#25-21] [#20-16]

15. The Stage Names - Okkervil River (2007)

Okkervil River are the decade's greatest examples of combining self reflection with compelling storytelling, presenting a narrative that may or may not be autobiographical, but makes for an entertaining and tragic story either way. They've displayed this exceptionally on previous albums, but this 2007 release has taken that formula and made it rock. While most artists believe that somber lyrics should be accompanied with somber melodies, Will Scheff took the opportunity to take those ideas and turn them on their heads with an album that can easily be described as a full on rock 'n roll assault. Charging out of the gate with three rockers right off the bat, Scheff and company refuse to hold back, and the album is mostly action packed from start to end. For those moments where the album does chill out, the band does not sacrifice thrill for monotony, as songs like the album's centerpiece A Girl In Port goes epic as it builds and builds to its brassy climax. The album brings it all together in the grand finale with John Allyn Smiths Sails, a song about the tragic death of poet John Berryman, with a reworking of the traditional Sloop John B making the song sound celebratory despite the subject matter being so sad. The reason the album appeals so much to me is in its ability to seek out positivity in a sea of negativity as it celebrates death, as much as it celebrates life. [Myspace: Okkervil River]

14. Lifted, Or The Story Is In The Soil, Keep Your Ear To the Ground - Bright Eyes (2002)

Not only the most pretentious album title on the list, this album may also be in the running for being the most pretentious album on the list period, which for me, is part of what makes it so great. Although there are a couple of contrived moments, overall Oberst has never sounded so open, and on this album he sounds to me like he's seriously taking some therapeutic measures for reasons of self growth, as opposed to simply sounding angsty to sell a record. Of course, I could be wrong and easily fooled but whatever, it works for me. Originally, it was a shoo-in for my top ten, since not only have I listened to it repeatedly throughout the course of the decade, but it also contains what is probably my favorite song of the decade (the highly emotive Waste Of Paint), but upon listening to it more recently, I decided to knock it down a couple of notches in favor of a few albums that are more where I'm at right now. As I mentioned while blabbing about my #18 pick, I'm not always into what Bright Eyes is doing, and probably less so these days but when Conor is properly focused, he can really knock it out of the park. His lyricism has never been better, with odes to constant failure like Nothing Gets Crossed Out ("it's too hard to focus with all this doubt, I keep making this to-do list but nothing gets crossed out"), the human need for companionship expressed in Bowl Of Oranges ("I learned the lesson that everyone is alone and your eyes must do some raining if you are ever going to grow") and the aforementioned Waste Of Paint where his personal feelings of desperation have never come across more clearly and although his warbly vocal is not for everybody, for me it adds that extra sense of realism that I find very moving. [Myspace: Bright Eyes]

13. Smile - Brian Wilson (2004)

This masterpiece does have the unfair advantage of being 37 years in the making, as Wilson began this self proclaimed "teenage symphony to God" all the way back in 1966. Recording difficulties, his own mental breakdown and the fact that the rest of The Beach Boys just wanted to surf, prevented the project from ever reaching any official form of completion, although I've been listening to fan-made bootleg versions of this one for years. The fact that Brian Wilson was a misunderstood genius has been well documented yet sadly overshadowed by his former band's penchant for recording catchy, but basically saccharine sounding songs about surfing, girls, sunshine and surfing. This orchestral song suite is as brilliant as I'd anticipated it would be, as it gels together in a way that includes classical flourishes with singalong lyrics, doo wop melodies and creative segues into a package that begs to be experienced as a whole piece, as opposed to being simply a collection of songs. The album also gets extra marks for surpassing the initial hype. With 30 plus years of build-up, I think that we were all pretty skeptical that this finished product could possibly live up to such heightened expectations, enabling most of us to hold on to those old bootlegs, just in case. The fact that the finished product is even better than expected is a real testament to the genius of Wilson, and there's no doubt that the album will continue to be heralded as one of the true classics of the rock era. [Myspace: Brian Wilson]

12. Set Yourself On Fire - Stars (2004)

The subtle intricacies of pop music have never sounded more nuanced than on this third offering by Stars. The album is a grand romanticized listen for many reasons: First of all, there is the fact that there's a great eloquence exuded in every perfectly articulated syllable sung by the charismatic Torquil Campbell. The more understated, yet charming vocals of Amy Millan serve as the greatest complement to those of Campbell, creating a melodramatic atmosphere that weaves in and out of the album in the same way that it tends to within most relationships, romantic or otherwise. No, Campbell and Millan are not a couple in real life, but the natural interplay that they possess throughout the album never sounds "put on" or "for show", and you'd be forgiven for assuming that, not only are they a couple, but they have been one for years. This is by far their most consistent album, with every song working together to create a defined whole. One of my favorite moments is the opening track about two former lovers meeting together entitled Your Ex-Lover Is Dead which is both affectionate and damning at the same time, as is indicated in the harsh lyric "and all of the time you thought I was sad, I was trying to remember your name." There's the obvious homages to mid 80's English pop such as Calendar Girl and the album's "hit" Ageless Beauty. And it's those celebratory moments that really help escalate the album to majestic heights, namely What I'm Trying To Say and Soft Revolution, where the mission is made clear in the lyric "we are here to take the blame, to take the taunts and if the shame, we are here to make you feel." Exactly. It's those expressed feelings that make this album so great as it hits on every nerve and moment that dwells in each and every one of us. Sounds corny, but it's true. [Myspace: Stars]

11. Broken Social Scene - Broken Social Scene (2005)

The Social Scene's follow up to 2002's You Forgot It In People is a mess. It's jumbled and sloppy, and very much lacking in the structured hooks that were so prevalent on the previous album. Yes, this is one huge catastrophic mess. However, so is the desk in my office but I promise you that I would never be able to get a single thing accomplished if my desk wasn't in the state that it's currently in. Sometimes it can only be out of chaos that true inspiration is derived, and I find this album to be as inspirational as they come. The album is a sonic boom of conflicting sounds and ideas with layered symphonies that clash as much as they complement, but I absolutely love it! The most appealing thing about BSS has always been the way that they can make their music sound like a community in action, and this album is the noisy din of just such a community. The sequencing is just perfect, with each song outshining the one prior, culminating in the epic, and somehow appropriately titled, ten minute explosion of It's All Gonna Break. The album is downright exhausting, and I usually need a few minutes of silence and a stiff drink once it's finished, but it also weilds several surprises every time I put it on, making every listen a unique experience unto itself. How many albums can you say that about? [Myspace: Broken Social Scene]

Tomorrow: Bobby B's 50 Albums Of The Decade (#10-6)

Stars w/ Jade McNelis @ The Phoenix

The first time I saw Stars was at a small venue in Hamilton. (I'm of course talking about the band Stars. The first time I saw actual stars was in grade 3 when Barry Stevens and I both decided we were in love with Tammy who sat in row three of our class. We figured that the only logical way to decide who gets to marry her would be by means of a schoolyard brawl. He pushed me. I fell. My head hit the ground and that's when I saw the aforementioned 'stars.' Needless to say, I didn't win Tammy's heart. But if I remember correctly neither did Barry so booya! But I digress...)

As I was saying, the first time I saw Stars was a few years ago in Hamilton at a place called The Casbah, which had a capacity of only 250 or so and, if I remember correctly, it wasn't sold out. Well, here we are a few years later and they're playing four sold out shows at the 1100 capacity Phoenix. They've hit the big time, and it's totally deserved as they are nothing if not consistent.

The opening act was Montreal's Jade McNelis. Her performance was adequate enough although I don't know if this was the right venue and/or crowd for her style of music. She's your typical singer- songwriter who plays the piano, and she definitely has a beautifully haunting vibrato in her voice. At the show, the songs were a little bit too "been there, done that" for me, but upon sampling her music on her myspace page, her songs do demonstrate a certain measure of promise. It would be neat to see her at a smaller venue in a more intimate setting to see what her music is actually capable of.

By the time Stars hit the stage however, the audience was poised and ready, enthusiastically taking in every note and every sound. Torquil Campbell, more than ever before, did everything he could to prove himself to be the most endearing frontman there is, consistently thanking the audience simply for "listening to the music." Amy Millan was also in fine form, playing up her persona as the incredibly eccentric indie girl who loves to rock. The setlist was equally made for old and new fans alike, highlighting most of the songs from both this years' In Our Bedroom After The War and their previous effort Set Yourself On Fire. They included a few of their older songs as well, making for a very well rounded evening. During "Genova Heights," Torq spent the first verse singing backstage, before donning a crazy looking light bulb suit, reminiscent of the type of thing you would've seen at a Peter Gabriel concert 15 years ago. During the duets, Torq and Amy would often look at each other while singing, as if they were a lovestruck couple on their first date. And closing with the title track of their latest CD was just as gripping as I assumed it would be. Stars are one of those bands that you can always count on to put on a spellbinding show EVERY SINGLE TIME. Something that I personally found quite euphoric was the deafening sound of the audience singing their songs. I realize that this is nothing new when it comes to the live show, but I guess that it just felt surreal to me personally as I constantly reflect back to that first show in Hamilton, where several people didn't even know who they were, let alone enthusiastically singing along. It is awesome to see the amount of success that Stars have been enjoying both here, and in other parts of the world. It's definitely a confirmation of the fact that we are living in a very exciting time for music, where artists that would not have been able to get arrested in the label controlled world, are now being able to sell out larger capacity venues and have their music exposed to throngs of music lovers everywhere. Stars understand because if you've ever heard or read an interview with Torq or any of the other members, you'd know that nobody loves music more than they do. Songs for music lovers, by music lovers. Long live bands like Stars.

Photos: Stars @ The Phoenix on flickr / Jade McNelis @ The Phoenix on flickr
Myspace: Jade McNelis / Stars
Videos: The Night Starts Here by Stars on youtube / Wins bu Jade McNelis on youtube

Stars - In Our Bedroom After The War

Officially, Stars' fourth album entitled "In Our Bedroom After The War" is being released on September 25th. However, in order to legally accommodate those who simply cannot wait that long, the band has opted to digitally release the album 3 days ago, just 4 days after completion. Works for me. I downloaded it that day and have listened to it several times since. Although it lacks some of the majesty of "Set Yourself On Fire," I still like it quite a bit. The orchestration seems to have toned down a touch, but overall they're still cranking out the romantic pop that has been synonymous with their name for a few years now. Amy's voice is as magnetic as ever, and Torq seems to be getting a little bit more experimental with his voice. He sounds like a completely different vocalist while singing the chorus of "Take Me To The Riot" which is one of the strongest cuts. I also love the falsetto he's sporting in "The Ghost of Genova Heights," giving Barry Gibb a run for his money. Amy seems to be getting a little more stage time on this one, which I don't know if I like. I mean, she's got a great voice, but I think the songs that they do together are by far, the strongest. I always thought it was weird that "Ageless Beauty" was the "hit" on the last album since I personally thought that it was one of the album's weaker songs. This one also opens with a beautiful instrumental intro and ends with the epic piano-y title track, which gives the album a compelling uniformity. Final analysis: good album but it's missing the mind-blowiosity of tunes like "What I'm Trying To Say" or "Soft Revolution" from SYOF.

Stars are performing day 2 of V-Fest on Toronto Island on Sept 9th, along with Peter Bjorn & John, Tokyo Police Club, Metric and Blonde Redhead, to name a few. I really really really want to go to this show, but I'm afraid the old budget won't allow it this time around. So if you're going, I hate you but have a good time.

Download:
The Night Starts Here mp3

Stars' myspace page.
Download "In Our Bedroom After The War" on the Arts & Crafts page.

Memphis - A Little Place In The Wilderness

It’s very rare when the wife and I agree on music, but we both must acknowledge the fact that Torquil Campbell has got to be the most pleasant sounding voice in indie rock. His other band Stars is one of our current favourites, and the first time we saw them live (in an intimate club in Hamilton) still ranks among one of our best live experiences ever. That’s why, while waiting for a new Stars album, the sophomore release by Memphis, entitled “A Little Place In The Wilderness” is just we needed to tie us over.

Memphis is basically Torquil on lead vocals with his long time friend Chris Dumont on guitar and harmonies. James Shaw (Metric) joins in on bass, trumpet and some drums and Josh Troger (Sam Roberts Band) also plays the drums. For the most part, Stars fans will also enjoy Memphis. Obviously the absence of a female presence does make this a slightly different (and perhaps less pleasing for some) listening experience, but Torq’s gift for melody, as well as his highly articulate poetic lyricism is still very much intact. Most of the album falls into a mellow indie-pop vibe, but there are a few deviations. “Incredibly Drunk on Whisky” is a silly but fun little ditty, that feels like a real throwback to 40’s style jazz, complete with Barney Bigard-like clarinet playing. “Time Away” is an airy number, capable of lulling one to dreamland. The album also contains a mildly interesting instrumental number in the vein of something off of “Pet Sounds” entitled “Shadows and Amazons.” The best song however, happens to be the first single. It’s an obvious choice called “I’ll Do Whatever You Want” which is very Arts & Crafty and should satisfy all of the fans of the BSS world.

Download:
I’ll Do Whatever You Want mp3

Memphis on myspace.
Purchase “A Little Place In The Wilderness” on Amazon.ca.
Watch the video for “I’ll Do Whatever You Want” on youtube.

Reily - We Were Archaeologists

It’s odd, but so far this year the CD’s that have blown my mind the most are both only 5 song EP’s. The first one is the excellent Hero Cycle’s phenomenal “Lakes And Ponds” EP, which I reviewed a few weeks ago. The second of course, is Reily’s “We Were Archaeologists.” I know that I’ve raved about them quite a lot this week, and I assure you this will be it for a little while, but this EP is beautiful beyond words.

I purchased both their first full-length and the EP at the same time. “Listen To The Rain” is a very promising debut that relies heavily on Lisa Horvath and Megan Bonnell’s captivating and unique vocal style. It’s a little bit like The Cranberries meet Sarah Harmer, and it definitely falls more into the singer-songwriter end of the spectrum. “We Were Archaeologists,” however, takes giant leaps forward into orchestral pop territory that has been grazed by artists like Stars, Delgados and, more recently, Young Galaxy. But in many ways this EP surpasses even them. Again, Lisa and Megan’s harmonies are like nothing I’ve ever heard before. They both possess a similar technique, but Lisa’s vocals are in a slightly lower register than Megan’s, which makes them sound almost haunting together. For this release, they also introduce the bass-y vocal stylings of Nathan Stretch, which offsets the female vocals, adding yet another layer to this already multi-layered outfit. There are two songs in particular where the three voices are used to enormous effect. “When You Came Around, I Came Around Too” is your typical boy-girl relationship-type song, but then the third voice comes in, acting as sort of an inner monologue-type idea that simply blows the doors off of anything that’s been done before. And the final track, “Talk Sweet; Walk Tall [Breathe Deep]” is an exercise in vocal gymnastics, where all three singers seem to be in some sort of vocal competition with one another that sounds nothing short of awesome, especially when you consider that Nathan’s pounding bass, Anthony James victorious drum technique and Nick Bernal’s wailing guitar are also an active part of the competition. The song “We Are Geologists” is probably the hookiest song in the bunch, with a repetitive chorus that is very BSS-like. And “Raindrops” is just so darned beautiful.

I’ve been given many CD’s to listen to this week, some good, some not so good, but in between every CD on my list, I’ve been enthusiastically coming back to “We Were Archaeologists.” At their shows, they’ve introduced a few songs for an upcoming CD that sounds like it’s going to be absolutely euphoric. Pick up their music now, and go see them live before you’re dishing out $50 to see them at Massey Hall.

You can listen to their music on their myspace page and you can purchase their CD’s and other merchandise at their online store.

Photo is courtesy of Brian Emmanuel.

Young Galaxy - Come And See (Post)

Young Galaxy is the latest addition to the Arts & Crafts family of insanely good Can-rock. I don’t know much about them yet but I do like what I hear so far. Right now the band is said to consist of only two members, Stephen Ramsay and Catherine McCandless, although on tour they’ll been joined by Pat Sayers, Stephen Kamp and Susan Beckett. Stephen Ramsay is the tall dude who’s been playing with Stars for the last little while, and his new project has been described as shoegazey dream-pop. The band has only recently played their first live show and the above video is not really a music video, but it does capture what Young Galaxy is all about onstage.

Young Galaxy is playing tonight (Jan. 23) at The Horseshoe as part of Dave Bookman Nu Music Nite. (That means it’s free!) Other acts on the bill are Don Vail, Last Town Chorus and The Films.
Visit the Young Galaxy myspace page.
Purchase the “Swing Your Heartache” tour EP here.
Purchase the “Swing Your Heartache” 7” here.