Bobby B's 50 Albums Of The Decade: The Thrilling Conclusion (#5 - 1)

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] [#15-11] [#10-6]

Drum roll please....

5. Illinoise - Sufjan Stevens (2005)

Forget about simply putting out a concept album, Sufjan Stevens actually had the nerve to attempt a concept series. It appears that the fifty states, fifty albums project was most likely abandoned after this one, the second in the series, but when you've reached a pinnacle such as this, why continue? If I were to simply pick up this album without any prior knowledge, it would likely have been returned to the pile without even listening. Everything from the length of the song titles, (one song title is 53 words long) to the length of the album itself (clocking it at just under 75 minutes) would normally be too daunting a task for even one as ambitious as myself to undertake. But the hype eventually got to me, and boy, am I glad that this time, for once, the hype was right! This highly melodic history lesson of sorts has the feel of an epic movie, with all of the ingredients in tact. There's action, humor, moments that pull on the heartstrings as well as moments that make you think, not to mention villains that you boo and heroes that you cheer for. Mr. Stevens is one gifted individual, as is showcased by the fact that he can take some of the wordiest lyrics I've ever read, and combine these poetic puzzles to some of the hookiest musical accompaniment I've ever heard. There are some prize worthy melodies on this one: Decatur, Casimir Pulaski Day and the current king of road trip classics Chicago, to name a few. And the fact that the whole thing ends with such an amazing instrumental number called Out Of Egypt, Into The Great Laugh of Mankind and I Shake The Dirt From My Sandals As I Run that plays like a sonic stew of BSS, Peter Gabriel and The Mothers of Invention is like the perfect reward for sitting up and committing yourself to such an awesome album. [Myspace: Sufjan Stevens]

4. Black Sheep Boy - Okkervil River (2005)

While we're still in the vein of the highly ambitious, taking a classic Tim Hardin folk song and expanding on the song's theme by creating a full length concept album around it, would certainly fall in that category, and only the literary mind of Will Scheff would ever be able to pull that off. Normally, I'm a big believer that for a good lyrical album to work, it should be just as easy to enjoy whether one is paying attention to the lyrics or not. But this album is sort of the exception to that rule. Not that the album isn't good if you're not paying attention to the words and themes, but you really need to have the lyric sheet in front of you if you're going to be dropping this album in at number 4 on a 'best of the decade' list. The album touches on feelings of isolation and loneliness in a way that we can all relate to, no matter how popular we are (or think we are.) His ability to wax poetically while still maintaining candor and frankness cannot be an easy job, but this is exactly what he does throughout the course of the album, proving just how talented a songwriter he is. The fact that he does this so effectively makes it the type of album that can really speaks to me as I listen, to the point where I can actually see myself in the narrative. And those moments where the guitars literally blast out of the speakers are just an added bonus. [Myspace: Okkervil River]

3. The Trials Of Van Occupanther - Midlake (2006)

The opening piano notes of Roscoe are like a giant magnet that draws me in every time that I put this one on. In fact, whenever the song comes up on shuffle, it doesn't take long for me to shut off the shuffle feature and just let the album play, because you don't just listen to Roscoe and not let the rest of the album continue. That's like watching the opening scroll of Star Wars and then turning the channel. You just don't do it! The classic 70's sound of this album is an unabashed throwback, but it works so well that you just have to go with it. The album has a real earthy vibe to it, and when Tim Smith's understated vocals come in, accompanied by one of the strongest rhythm sections of the moment, I can almost smell the burning wood of a campfire, and feel the cool breeze off of the ocean. With acoustic guitars and flutes that chime like the earlier folksier output of Jethro Tull to the layered bassline and guitar backdrops that play like early to mid 70's period Fleetwood Mac, this album is sharp in beauty and rich in melody. The biggest secret to the album's success is the band's sense of control. Some of the instrumental moments at the end of the songs Head Home and We Gathered In Spring, show that the band is quite capable of bombarding us with grand progressive moments or over indulgent jam band adventures, while the vocals in songs like Young Bride and In This Camp show that Smith could probably sing the phone book if he wanted to, but the band chooses to keep things simple and accessible. Within the confines of The Trials of Van Occupanther, that approach works to their advantage and the album never overstays its welcome. [Myspace: Midlake]

2. Yankee Hotel Foxtrot - Wilco (2002)

We've all heard the story surrounding this album, making it the greatest success story in the history of indie music, as well as the defining moment when the record labels lost all credibility. But the whole adventure would not have gelled so effectively if the music on this album was not as good as it claimed to be, and the fact is, that even when listening to the album 7 years on, it's still an intoxicating beauty. The fact that all of the members of the band had the guts to take a collection of songs that would have worked just fine as subtle slices of alt-country fare, and expand them into sonically challenging art rock collages is an inspired move, and one that paid off in spades. I Am Trying To Break Your Heart is almost tear jerking, and that's amazing when you consider that the beat changes several times throughout the song, it's enshrouded in white noise and the lyrics don't really make any sense to me. There are other moments of expansive brilliance like the two songs that close the album, namely Poor Places and Reservations. Both of those songs contain atmospheric codas that, if left in lesser hands, would render the skip button necessary. Instead, they both dare you to keep listening and I don't know anyone who hasn't enjoyed the payoff that comes from doing so. Finally, to the staff of Reprise Records who claimed that the album wasn't commercial enough, I've got to know if they were even listening to tracks like I'm The Man Who Loves You, Pot Kettle Black, Heavy Metal Drummer or Jesus, Etc. because those are four of the greatest pop songs of all time, and they're all on the same album. If that doesn't equal record sales, than I don't know what does. The fact that this became Wilco's best selling album proves that they were wrong, we were right, and from that day on, this is my second favorite album of the decade and who needs them? [Myspace: Wilco]

1. You Forgot It In People - Broken Social Scene (2002)

If you follow this blog at all, then you already knew that this album had to be my number one! When I first heard it, (which incidentally was the day after I first saw them perform live) it single handedly restored my faith in the artistry of music. I had grown up listening to artists that were determined to strive beyond existing stagnant music forms, beginning that education with progressive rock, and then moving towards punk, new wave, 80's college radio and the beginnings of grunge, when suddenly, in the mid 90's I just got tired of it all. By the end of the decade, all I wanted was a good hook and a catchy pop style. That all changed when I saw Broken Social Scene play live and the celebratory nature of art rock was reawakened in me. There were something like 17 people on that stage, playing some songs that would be considered pop and other songs that would be considered avant garde. Some of the songs followed a verse chorus verse chorus format, while others were just the repeating of the same line over and over again, while yet other songs were instrumental blasts of horns and feedback. The band worked together like a well oiled machine, while each individual was contentedly admiring the talents of the guy or girl beside them and looking genuinely surprised at what was unfolding around them. What I saw on that stage was not just a band uniformly playing a collection of songs, it was a community of people that loved music and wanted not only to impress each other, but to be impressed by each other. And when I picked up this album and popped it into my CD player, the band actually managed to accomplish the seemingly impossible by transposing that energy and camaraderie to a physical disc. In my teens, I used to listen to albums repeatedly, to the point where I knew every snap crackle and pop that the cassette shot forth. By the time I hit my 20's however, those days were seemingly gone, both due to life getting in the way, and just general ADD. Again, that all changed with this album. I listened to it non stop for a couple of months, and then pulled it out weekly for a couple of years after that. It had been ages since an album had that kind of staying power for me then, and it hasn't happened for me since. There were undeniably better albums released this decade in a technical sense, but for me, where I was at the time it was released, where I was at the time that I picked it up, and where I am now, there really is no other album that comes close. This is my album. This is the one that originally motivated me to start blogging about music. This is the one that originally reawakened my desire for live music. This is the one that caused me to ignite a fire for what is going on locally. Yes, this is my favorite album of the decade. End. Gush. Now. [Myspace: Broken Social Scene]

Bobby B's 50 Albums Of The Decade Are:

1. You Forgot It In People - Broken Social Scene (2002)
2. Yankee Hotel Foxtrot - Wilco (2002)
3. The Trials of Van Occupanther - Midlake (2006)
4, Black Sheep Boy - Okkervil River (2005)
5. Illinoise - Sufjan Stevens (2005)
6. Third - Portishead (2008)
7. Man Made - Teenage Fanclub (2005)
8. Sebastopol - Jay Farrar (2001)
9. The Hazards Of Love - The Decemberists (2009)
10. Sorry Love - Pipas (2006)
11. Broken Social Scene - Broken Social Scene (2005)
12. Set Yourself On Fire - Stars (2004)
13. Smile - Brian Wilson (2004)
14. Lifted, Or The Story Is In The Soil, Keep Your Ear To The Ground - Bright Eyes (2002)
15. The Stage Names - Okkervil River (2007)
16. Love Is Hell - Ryan Adams (2004)
17. Let's Get Out Of This Country - Camera Obscura (2006)
18. I'm Wide Awake, It's Morning - Bright Eyes (2005)
19. The Crane Wife - The Decemberists (2006)
20. Gang Of Losers - The Dears (2006)
21. Boxer - The National (2007)
22. Funeral - Arcade Fire (2004)
23. Yoshimi Battles The Pink Robots - The Flaming Lips (2002)
24. Destroyer's Rubies - Destroyer (2006)
25. Kid A - Radiohead (2000)
26. Let It Die - Feist (2004)
27. Fox Confessor Brings The Flood - Neko Case (2006)
28. Cryptograms - Deerhunter (2007)
29. Desperate Hearts, Blood Thirsty Babes - TV On The Radio (2004)
30. Heartbreaker - Ryan Adams (2000)
31. Figure 8 - Elliott Smith (2000)
32. A Ghost Is Born - Wilco (2004)
33. Glissandro 70 - Glissandro 70 (2006)
34. Hometowns - Rural Alberta Advantage (2008)
35. Ys - Joanna Newsom (2006)
36. Welcome Interstate Managers - Fountains of Wayne (2003)
37. You Are Free - Cat Power (2003)
38. For Emma, Forever Ago - Bon Iver (2008)
39. Icky Thump - White Stripes (2007)
40. Goodbye Doris - Fox Jaws (2007)
41. The Revolution Starts...Now - Steve Earle (2004)
42. And Then Nothing Turned Itself Inside Out - Yo La Tengo (2000)
43. Is This It- The Strokes (2001)
44. Sunset Tree - The Mountain Goats (2005)
45. The Weekend - The Weekend (2000)
46. Left And Leavng - The Weakerthans (2000)
47. Never Hear The End Of It - Sloan (2006)
48. Writer's Block - Peter Bjorn And John (2006)
49. Everything I've Forgotten To Forget - Amos The Transparent (2007)
50. Gold - Ryan Adams (2001)

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

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] [#15-11]

So how exciting it this 'eh? We're about to embark on my top 10 selections for the 2000's and I, for one, am very surprised at the difference a countdown makes to a blogger's readership. Maybe I should throw a few declining numbers in front of my opinions more often. If you've been following along, I'd like to take the opportunity to thank you for taking an interest, and I'm looking forward to checking out all of the other lists that are sure to emerge over the next few months. But for now, without further ado, here are the final two installments of my completely biased and self-indulgent list of (the best) my favorite albums of the decade:

10. Sorry Love - Pipas (2006)

And the highest climber on the countdown is this obscure little ditty from 2006 by Madrid/London/Brooklyn's Pipas. Claiming a paltry number 23 ranking on my original best of 2006 list, this is an album who's subtle charms needed a little time to percolate before they managed to completely take over my sappy twee-hugging soul. I haven't been seeing this one on any other lists, and if you try googling it, you'll see that it really did receive only a limited bit of coverage. But my goodness, is it infectious, as the hushed whisper of vocalist Lupe Nunez-Fernandez settles into the part of my brain that is usually reserved for falling in love. It sounds corny, but the album sunk into my subconscious like a warm and comforting breeze, to the point that I actually find myself craving it. It has a very minimalistic approach, basically pulled together by two people equipped with only a keyboard, guitar and drum machine but it's in its simplicity that the album scales such wonderful heights. It would be very easy to reference the works of Saint Etienne, Young Marble Giants, Charlotte Gainsbourg or even Camera Obscura when referring to this charming duo, but even those artists haven't been able to lull me into the atmosphere the way that this impressive disc has. And at ten songs and less than 24 minutes, many artists can learn a lesson on what it means to be concise from these guys. If you're unfamiliar with this one (which apparently, most people are) make sure you pick it up and listen to it before you fall asleep at night with a warm cup of tea. When you're done, do it again. If you're human, then there's a good chance that you'll have grown as addicted as I am to this beautiful release. [Myspace: Pipas]

9. The Hazards Of Love - The Decemberists (2009)

Believe it or not, I originally had this album up at an even higher position but opted to err on the side of caution seeing as this album is easily the newest release on the list. I originally intended to have at least a couple more albums from '09 included, but it's very hard to give an album such 'classic' status without letting the dust settle a little bit. However, I'm pretty sure that if I haven't grown sick of Meloy's rock opera about fawns that turn into men at highly inappropriate times, as they fall in love with princesses with grouchy witch mothers who conspire with evil evil beings known as rakes, then I likely never will. I've gushed about this album enough over the course of the year that it probably isn't necessary to do so yet again, but as much as I keep listening to it, I never seem to get sick of it, and believe me, I've been listening to it a lot. Another reason that I can be fairly sure that my love for this album is more than just a passing phase is the fact that, if I were to make a list of my favorite albums of all time, some of the much maligned concept albums of yore would still unashamedly make that list, as I still listen to them quite often. Only time will tell if this is actually Meloy's greatest work, but for now, it is sitting comfortably in my top ten faves of the decade, as well as being probably my second most listened to album of the decade [Myspace: The Decemberists]

8. Sebastopol - Jay Farrar (2001)

The ashes of Uncle Tupelo have been blowing around an awful lot this decade as Wilco has continued to rise to the top of the so-called indie "it" list, and Son Volt have released one solid (if somewhat predictable) album after another. But for those that feel as if Farrar lacks that general need to spread his wings and experiment a bit with his sound, then they've clearly never engaged in more than a simple perfunctory listen to his solo albums, in particular this 2001 release. This is my favorite of his post-Tupelo releases (next to Trace, of course) and it shows him trying his hand in psychedelia, blues, a touch of prog and swirling power pop, along with the usual doses of alt-country. But what helps this album to rise above his other works for me (as great as they all are) is the fact that his gift of melody has never been more defined. Songs like Voodoo Candle, Feed Kill Chain and Direction are amongst the strongest tunes he's ever written, while Make It Alright and Barstow both have a classic feel that would not seem out of place next to some of Neil Young's finest moments. Finally, we all know that Farrar's lyrics can get pretty embarrassing from time to time, and there are certainly some "what the?" moments on this one too, but in most case, his rattling poetic obscurity actually sounds pretty cool, as opposed to being overwrought and contrived, even though I still don't necessarily know what he's talking about: (eg: "aftershock, the daily din, metals and monsters, sanguinary vitamins..." (huh?)) Many fans may not share my enthusiasm for this one as it is surely one that will continue to divide the Farrar camp, but to my ears it's pretty close to perfect. [Myspace: Jay Farrar]

7. Man Made - Teenage Fanclub (2005)

The band who's debut Bandwagonesque back in 1991 actually beat Nirvana's Nevermind as album of the year in Spin's annual poll, cannot be said to be bombarding us with an overabundance of music these days. They don't release material all that often, but when they do, you can pretty much guarantee that it's going to be something endearing and easy to enjoy. When Man Made was released in 2005, I had stated to many of my friends that I think it just may be my favorite album by the Scottish jangle popsters. Today, even with the passing of time, I stand by that claim. Admittedly, choosing your favorite Teenage Fanclub album is sort of like choosing which one of your children you love the best, but I do find that this is their only album that I usually listen to from start to finish. Yes, even the aforementioned Bandwagonesque has a couple of skippers on it. For whatever reason, this album soothes me. The opening track It's All In My Mind is the only song on the album that comes close to being a throwaway, not because it's bad, but because it suffers from a bit of overfamiliarity. But from the second song on, the album unleashes one hook after another, showcasing a gentility that still may not be necessarily new, but its heartwarming nature is a direct result of that dependability. The majority of the albums on my list are here because of the way that they challenge me, but reliability can be equally important, and when I need something that I can rely on, this album is the only one that will do. From this decade anyway. [Myspace: Teenage Fanclub]

6. Third - Portishead (2008)

Speaking of artists that don't release very much, Portishead's record of three albums in 15 years certainly does not make them all that prolific, but the idea of quality over quantity is beyond appropo. This album forces repeat listening, both from the standpoint that it has so much to offer, and also in the way that it makes you want to be sure that you aren't missing anything. In my prior review, I believe that I referred to this album as 'large' and that description still remains true, although I think that it may be more accurate to say that it's 'freakin' huge!' There are moments that are psychotic, yet there are also moments of sheer beauty. It's weird and chaotic, yet it still contains moments that flirt with accessibility. It's a terrifying album, but it is also very endearing, especially during those moments where Beth Gibbons voice is given more prominence in the mix. In other words, this album has it all, and although it can be quite daunting and overwhelmingly jarring at times, it's the type of experience that makes you think, sort of like a good art film. Unlike some of the other choices on my list, this is not an album that I can listen to every day, but for those moments when I need something a little bit shocking, not in lyrical content of course, but in overall ambiance, than this is the go-to album for me. [Myspace: Portishead]

Tomorrow: Bobby B's 50 Albums Of The Decade: The Thrilling Conclusion (#5-1)

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)

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

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. Gang Of Losers - The Dears (2006)

The first time I ever saw Murray Lightburn, his band The Dears was opening for Sloan and he was wearing a t-shirt with the words PROGRESSIVE ROCK sprawled across it for all to see. Right away, I knew I'd like the guy! After that, it admittedly took a bit of time, but since then, The Dears blend of epic musical adventure and sweetly downtrodden lyrics have continued to reel me in with each subsequent release. On Gang of Losers, the grandiosity and orchestral flourishes were toned down in favor of tighter arrangements and a little bit more immediacy, but nowhere has the band sounded like they were more in charge of their sound than on here, despite all of the personal turmoil between band members that may have been taking place behind the scenes. Furthermore, the album is just so beautiful, and Murray's vocals really speak to me on this one. Knowing that he and Natalia had just given birth to their child at the time of Ticket To Immortality makes the line "the world is really gonna love you" ever more touching, as I relate it to the birth of my nephews whenever I hear it. And then there's that title track. I think that you have to be deeply and madly in love with your best friend to be touched by that song in a complete sense, and the longer you've been with that person and the more you've accomplished together as a team just makes it all the more powerful. My wife and I have been together for over 13 years now and we've adopted that song as our own (Gang of Losers? so, you think we might have some self-esteem issues?) and lyrics like "you and I are on the outside of almost everything" and "we have the same heart" cause me to well up almost every time because there truly is nothing more precious than being on a team against the world with a perfect soulmate. (OK, you guys gagging a little bit yet? Sorry, professional music journalism shall commence now...) [Myspace: The Dears]

19. The Crane Wife - The Decemberists (2006)

I don't know how Colin Meloy manages to combine pretentiously bookish lyricism with such down-to-earth amicable charm, but I just can't seem to get enough of it. He's the ultimate geek, shamelessly showcasing styles and sounds that are as decidedly uncool as it gets, which was a risky yet admirable move for a band that had just "graduated" to the major labels. From the three part out of sequence title track that is based on a Japanese folk tale to the sprawling 11 minute prog rock opus The Island, a song which would not be out of place if it were a segment of Jethro Tull's Thick As A Brick, the band certainly was not bent on catering to popular opinion and the fact that they do so unapologetically is very compelling. When I listen to this album, it feels as if they're truly into what they're doing and it doesn't come across as alienation for alienation's sake. In fact, to me, the album isn't alienating at all. It's still very easy to listen to and full of hooks and melodies that help make the album simultaneously accessible and challenging. I'm also madly in love with the closing track Sons And Daughters, which boasts a singalong chorus that is pure delight when experienced in a live setting. [Myspace: The Decemberists]

18. I'm Wide Awake, It's Morning - Bright Eyes (2005)

Despite the fact that Bright Eyes places fairly high on my list on two occasions, (yes, you will be seeing them again) I wouldn't necessarily refer to myself as a huge Conor Oberst fan. His early material (circa 95-98) can be incredibly hit and miss, and at times he can be irritating (Digital Ash In A Digital Urn) and downright boring (Cassadaga) but when he gets it right, my goodness, is it ever good! If Oberst could maintain the consistency of this album throughout the course of his career, than the Dylan comparisons would be completely justified, since this album showcases some very poignant lyrics. "In this endless race for property and privilege to be won, we must run" Whew! Also, on some of his other albums, there are moments where his brand of angst seems a tad contrived, whereas on this album, it all comes across as genuine (even if, technically, it may not be.) Lua, for example, is an amazing song, where Oberst tones down his trademark quiver in favor of a subtle hush that sucks you in as you strain your ears not to miss a breath. It's in those moments that, try as I might, I cannot avoid getting the old 'chills down the spine' feel. The same can be said for Landlocked Blues, the duet with Emmylou Harris, who has apparently shared a moment with everyone on my list (see pick #30 and 41). The album ends most triumphantly with Road To Joy, which is certainly not the first song to rip off Beethoven's Ode To Joy, but never has it been done with such swirling guitared, epic sounding bravado. [Myspace: Bright Eyes]

17. Let's Get Out Of This Country - Camera Obscura (2006)

I love the way that this album makes me feel. It is a study in contrasts how the lyricism of Camera Obscura can seem so downtrodden and somber on paper, yet sound so uplifting and inspirational in my headphones. There's something about their Scottish approach to the sounds of twee, coupled with their knack for creating syrupy sweet sounding 60's inspired pop that makes me want to shuffle my feel to their music, even if Tracyanne Campbell is on the verge of crying while these songs are being belted out. This is an example of an album where the band doesn't take too many risks, but the ones that they do take sound as if they were tried and tested first so as to guarantee success. The heavy chamber pop organs, for example, that overtake songs such as Lloyd I'm Ready To Be Heartbroken and Tears For Affairs would be a bit cheesy in less calculated hands, but here they also add a necessary frivolity to the proceedings. And then there's Dory Previn, its weepy vocal being one of the most subdued, yet beautiful vocals I've ever heard. [Myspace: Camera Obscura]

16. Love Is Hell - Ryan Adams (2004)

It's funny but, although I obviously knew that I loved Ryan Adams, it didn't occur to me just how much I loved him until I started compiling this list. With three albums making the final cut (see #50 & 30) he is easily the one who is represented the most, and I swear that I did not initially plan it that way. However, when an artist releases more albums than anyone else, I suppose the odds are mathematically stacked in his favor, and it works the other way too, in the sense that there's also a handful of Adams albums that had no chance at making the final cut. Still, of all of his works, this one is my favorite and, not surprisingly, this is probably his most solemn release of them all. In fact, at first, Lost Highway didn't even want to release it as it was deemed too dark to be commercially viable, and he offered to release the sub-par Rock 'n Roll album instead. But when the compromising 2 EP's went on to actually be somewhat successful, the label conceded and the album was re-released as a full length. The album is just chock-full of delightfully damaged ditties, the best of which are This House Is Not For Sale, Anybody Want To Take Me Home and English Girls Approximately, all of which highlight some of Adams favorite themes, namely heartbreak and heartache. As far as I'm concerned, this one is a classic that should not be judged based on a brutal Pitchfork review, nor by its throwaway Oasis cover (which, incidentally is still a little bit better than the original.) [Myspace: Ryan Adams]

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

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)

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

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. Heartbreaker - Ryan Adams (2000)

The argument that most of the world's greatest art is derived from sadness is one that I've always worked hard to refute, but a guy like Ryan Adams doesn't make it easy for me to do so. It doesn't get much sadder than his solo debut, which apparently was inspired by the ending of a romantic relationship. Obviously this is not exactly uncharted territory in the world of (real) country music, but Adams leaves no misplaced notions that the feelings portrayed here are anything but genuine. I love the album's deceiving opening, where it begins with a hilarious interchange between him and David Rawlings about whether or not Morrissey's Suedehead is on the album Viva Hate (it is), before lunging into an upbeat rockabilly number called To Be Young (Is To Be Sad, Is To Be High). From that point on though, Adams plays some of the most melancholy music I've ever heard. Oh My Sweet Carolina is a homesick ballad featuring the always beautiful vocals of Emmylou Harris. You may be able to remain composed during Bartering Lines or Damn Sam (I Love A Woman That Rains) but by the time Come Pick Me Up comes along on the playlist, you might as well just set aside the foolish machismo for awhile and let the waterworks flow, because this is an artist that was not put in the recording studio for our foolish amusement. [Myspace: Ryan Adams]

29. Desperate Youth, Blood Thirsty Babes - TV On The Radio (2004)

TVOTR is a band that has been very consistent throughout this decade as all three of their studio albums were considered quite seriously for inclusion on this list. When I listened to them all through more recently though, it was this 2004 (studio) debut that had to be the winner since it's the original in terms of them solidifying an avant garde sound that is currently beyond comparison. For me, TVOTR is basically a genre unto themselves. When I want to listen to psych rock for example, there are many artists, old and new, that I could go to. The same goes for folk music, and pop music. But when I'm in the mood for TVOTR music, only TVOTR will do. The harmonies and swirling vocalizations of Tunde Adebimpe and Kyp Malone take bizarre doo-wop sonics to another level, while the music itself takes the standard bass, guitars and drum approach and layers it to a point where it becomes a grand looping orchestra. And the acapella groove of Ambulance hits me in a clouds parting, heavens opening sort of way. There's no doubt that they'll continue to be one of my 'purchase without needing to hear first' bands, since their consistency is now an established fact, as far as I'm concerned. [Myspace: TV On The Radio]

28. Cryptograms - Deerhunter (2007)

While last year's Microcastle and subsequent tour established to us all that Bradford Cox has gotten most of the weird out of his system, I'm eternally grateful that he managed to get this psych rock experience out to the masses beforehand. His more streamlined sound of today is still amazing as he continues to break down boundaries with his unique and original vision, but in terms of artistry and special experiences, nothing can compare with the sonic achievement of Cryptograms. I love the album's schizophrenic approach with the songs alternating between heady rockier, almost straightforward numbers and disjointed soundscapes that make the spaces inbetween the songs crucial to the album's overall tone. The fact that the album was recorded at two different sessions actually works in its favor as this enables it to serve as a document of growth from a confused disheveled beginning to a more focused yet eclectic conclusion. [Myspace: Deerhunter]

27. Fox Confessor Brings The Flood - Neko Case (2006)

There are many reasons why Neko's Fox Confessor... album is one the best of the decade. For one, there is the unique structuring of the songs as they deliberately steer clear from anything overly conventional while still borrowing heavily from the pioneers of the past. There is also the strength that is to be found in the lyrical aspect of the album. Lines such as "The night I fell into the lion’s jaws /To my regret /And your delight /Those teeth themselves could not divine /Nor their pressure estimate /The haze I wish to never break /And to never contemplate" are stacked with unusually stark imagery. But let's be honest, the main reason she's here is that voice! That unparalleled, powerfully sultry voice is such that one can't help but be a slave to its charms. Nowhere is this more obvious than when she belts out the title to That Teenage Feeling, where that intoxicating vocal presence of hers takes me back, not to my own teens, but to the pre-adult years of generations past with a classic feel that epitomizes a time that is often categorized as innocent, even though Case's homage makes it clear that such was not always the case. [Myspace: Neko Case]

26. Let It Die - Feist (2004)

And while we're on the topic of unparalleled vocalists, is it any surprise that Leslie Feist has gone on to become the household name that we all knew she should be? Well, I guess the true answer to that question is actually 'yes' since although she's discovered the pot of gold, so to speak, there are many other equally deserving artists who have not. And it's true that her current popularity has spawned a crapload of imitators but even more tragic is the fact that artists who have been doing this longer than she has are now in danger of being accused of imitating her as well, since she has opened a path that many are now free to follow. Wow, what was supposed to be praise for her album is now sounding like a rant, but let me apologize by saying that Let It Die deserves it all. What's interesting is the fact that, although I like the popular Mushaboom song, as well as the popular Bee Gees cover (Inside and Out), one of my favorite songs is actually the cover of Françoise Hardy's L'Amour ne dure pas toujours simply because, for me, that song encapsulates all that I find endearing about Feist's whole persona. She's certainly got an air of mystery about her, that certain twinkle in her eye if you will, but she also seems completely down to Earth and approachable as well, and both of those sides shine throughout the course of this album. [Myspace: Feist]

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