Keep on dreaming; that's just what I'm going to do

2011-08-15T02:13:00.001-06:00

Clarke's Best Music '10

2011-01-14T15:48:00.062-07:00

Top 50 Albums

1. My Beautiful Dark Twisted Fantasy – Kanye West

Say what you will about the man, but never doubt that the music Kanye West makes is anything less than superb. On MBDTF, West lets everything he’s learned from his four previous records culminate in a staggering, layered, behemoth record that knocks you out while breaking all the rules of hip-hop. Most people want to separate the man and the music, but on MBDTF, West tackles who he is – and who he is perceived to be – with such honesty and humour that it’s obvious he’s done some soul searching. He touches styles all over the board, from the electric guitar driven “Gorgeous,” to the throbbing percussion of “Monster” and the epic unrestrained id of “Runaway.” In a time where the music world seems to be scaling back, let’s have a toast for an artist who gives the listener all they can handle. And then a little more. That’s any music fan’s fantasy.

2. This is Happening - LCD Soundsystem

On what is supposedly LCD Soundsystem’s final record, James Murphy and crew pull out all the stops, taking their blend of dance music and indie rock and turn it into the smart man’s dance record. He goes from the silly, “Drunk Girls,” to introspective, “I Can Change,” with the greatest of ease, keeping you moving the entire time. Listening to This is Happening is enough to make anyone believe what Murphy clearly does – sometimes, salvation can be found on the dance floor.

3. The Suburbs – The Arcade Fire

The Arcade Fire have never done anything small, and The Suburbs is as sweeping and sprawling as their subject. Leave it to a group of Canadian alt-rockers to tackle the adventures and dreams of the middle class with such piercing honesty and depth. That, and sonically they’ve never sounded tighter, even when they get messy, it’s clear it’s for a reason. There is no other group who could take a subject so vast and make it sound so intimate. Just like the best neighbors.

4. Brothers – The Black Keys

The Black Keys have been making some of the best blues music since their debut in 2002. On their sixth album, Brothers, the Keys cut loose creating some of their most atmospheric and rowdiest music yet. This is not only blues at it’s best, but it’s rock and it’s purest. Immediate and rollicking, foot-stomping and grungy. Everything one wants the blues to sound like. Sometimes there is nothing better than stripping a music down to it’s purest form. That’s where you find the gold nuggets.

5. Heaven is Whenever – The Hold Steady

The Hold Steady are the best bar band that’s now playing venues way bigger than bars. Their music is the perfect mix of classic rock infl uences and The Clash style punk. They even tap into their inner U2 on standout track “The Weekenders,” and acous tic stylings with “The Sweet Part of the City.” They even make radio-friendly sound great with “Hurricane J.” Listeni ng to Heaven is Whenever really poses one question – is there anything The Hold Steady can’t do?

6. Contra – Vampire Weekend

Vampire Weekend made such a great debut record that fans were more than a little nervous about their sophomore release. With the release Contra, fans breathed a collective sigh of relief. Not only did they maintain their college-boy, Paul Simon influenced, Afro-styled rock, but they deepened the sound, honed their writing, and made an album that beats its predecessor. Perhaps nobody out there is writing music as fun and literate as Vampire Weekend. There is no contradicting that.

7. American Slang – The Gaslight Anthem

The Gaslight Anthem would be the best Bruce Springsteen cover band in the world, but instead they spend their time making music just as intense and fun, while making the hoodrats and low-lives sound like magisterial heroes – take “The Queen of Lower Chelsea,” and “The Boxer” as examples. Springsteen would proud. And maybe a little jealous, too.

8. Thank Me Later - Drake

The best debut of the year was also one of the best hip-hop records of the year. Instead of swagger and boasting, Drake spends Thank Me Later meditating on the highs-and-lows of his new fame. It’s a rare gift that one of the biggest names in modern hip-hop can be humble and introspective, and actually mean it. Don’t let that description make it sound like the record isn’t fun. Tracks like “Find Your Love,” are great party tracks, but slow burners like “Light Up” and “Karaoke,” are where the real money is. We really should thank him now.

9. Love King – The-Dream

The-Dream is not only one of the best writers and producers in modern R&B, and his own releases are lush affairs, mixing soul music with raunchy fun that would make R. Kelly fume with envy. One can’t take songs like “Make Up Bag” and “Panties to the Side,” too seriously, even if they cause you laugh. Sexy and funny – it doesn’t always work, but The-Dream makes it work.

10. Live in Las Vegas – Dave Matthews & Tim Reynolds

The third live release of Dave Matthews and Tim Reynolds’ acoustic show is their best yet, succeeding in making two guys with acoustic guitars sound both intimate and elegant. Reynolds brilliant rendition of Led Zeppelin’s “Kashmir,” is a knock-out, and the sweetness of “Loving Wings,” is enough to weaken the most hardened listener. Live music is rarely so touching.

11. Infinite Arms – Band of Horses

Band of Horses have flown under the radar for years, but their time may have come with Infinite Arms, a luminous collection of songs that move from sprawling anthems like “Factory,” to pop-inspired indie fun like “Northwest Apartment.” The band’s album proves their potential really is infinite.

12. How I Got Over – The Roots

The Roots’ best album of their career is also a total embracing of soul, indie rock (see the fact that Monsters of Folk and Joanna Newsom are on the album). It’s a shot of new energy to a band that knows how to make the most of it.

13. Come Around Sundown – Kings of Leon

After breaking into the big time with Only By the Night, Kings of Leon were under a lot of pressure to deliver an album that matched it. If Come Around Sundown isn’t as full of singles as ObtN, it’s a more complete album in it’s entirety. The tracks establish a new depth, sure to keep listeners coming around.

14. The Age of Adz – Sufjan Stevens

Sufjan Stevens hasn’t released a proper album since his brilliant state themed album, Come on, Feel the Illinoise. Adz isn’t as folky and earthly as Illinoise is, but it’s far more experimental, and it looks good on Stevens. It may be an out there post-apocalyptic space oddity (which is a hell of a thing to attempt anyway), but it’s still full the beautiful lunacy only Stevens can achieve.

15. Georgia Warhorse – JJ Grey & Mofro

JJ Grey may be one of the most underrated blues musicians working today, delving into the musical history of the delta blues. Still, his work has never been more immediate or catchy than on Warhorse. The blues is alive and well, and in more than capable hands.

16. Live at The Troubadour – James Taylor & Carole King

No record has a warmer sound than this reuniting of the two singer-songwriters who made coffeehouse music cool. Taylor and King play off each other like the longtime friends they are, and their music interweaves just as gorgeously as it did back when it was written.

17. High Violet – The National

The National have made a name for themselves writing fuzzy guitar rock with lyrics that unabashedly wear their hearts on their sleeves. Yet High Violet reaches a new peak for the group, and puts them in the running for the role of America’s U2. A race that they’re leading – as they should be.

18. ArchAndroid – Janelle Monae

Monae is a protégé of both Outkast and Diddy, but her funk, hip-hop, soul infused style is something all her own. On her full-length debut, she cuts loose with songs about robots and a crazy sci-fi world. The album is so much fun, shows so much talent and skill, it honestly can raises the question about what world Monae is from.

19. Odd Blood – Yeasayer

Yeasayer’s second album is a bizarre mix of electronica infused indie rock. There are shimmering funk songs about standing up for yourself like, “Ambling Alp,” and the best slow-dance song that’ll never be played at a dance (“I Remember”). Experimental music has never been so enjoyable – or so human.

20. The Orchard – Ra Ra Riot

One of the best indie bands around, one that plays like a smaller, punk version of Arcade Fire, more than match their debut with The Orchard. Songs this glossy, poppy and witty don’t just grow on trees, but Ra Ra Riot makes it seem easy.

21. Pink Friday – Nicki Minaj

The current first lady of hip-hop goes a little too R&B on her debut, but still manages to ably display why she’s the most in demand female rapper on the scene right now. Never doubt that Minaj can be as raunchy as the boys, as she shows on “Roman’s Revenge,” or as sweet as Rihanna on “Save Me.” Here’s hoping for more of the former, but this is one hell of a start.

22. White Crosses – Against Me!

Fans of the early records of Against Me! were no doubt a little shocked by how “mainstream” the music on White Crosses is, but with music this full of hooks, politics and even a love song or two, it’s a sign of expanding their musical pallet. It may be a signal the band is getting away from their messy beginnings, but with music this good, moving is growing.

23. The World’s Not Bad – Smoosh

This indie pop duo of teenage girls from Seattle prove that age is hardly ever an indicator of how talented one is. This music is so ambient, pulsing and vivid, that it almost sounds like they’re trying to be a new Radiohead. On their peaks, they’re heading in the right generation.

24. Wake Up! – John Legend & The Roots

The Roots join John Legend to form the best 70’s soul band of the 2000’s. Instead of leaning towards more famous numbers, Wake up! goes for lesser known but equally powerful political driven songs. There’s no better way to bring this music to a new generation, one that could really use it.

25. God Willin’ & The Creek Don’t Rise – Ray LaMontagne & The Pariah Dogs

LaMontagne has made his bread and butter off of quiet acoustic rock with a voice that grabs listeners and won’t let go. On God Willin’ LaMontagne keeps the voice, and taps into a funky blues vibe, that has him tapping musical resources he’s never used before. Clearly, he is having a great time discovering.

26. All Day – Girl Talk

DJ Gregg Gillis is the unquestioned master of mashing up songs – usually ones that would be completely counterintuitive (i.e. The Band and Gucci Mane) – and turning it into the best dance disc of the year. All Day is no exception, with Gillis mixing up U2, John Lennon and Bruce Springsteen with the likes of Nicki Minaj, Jay-Z and Drake. You won’t have more listening to a record all year.

27. The Lady Killer – Cee Lo Green

One half of Gnarls Barkley is Cee Lo Green, a brilliant hit-maker who brings all his talents to bear on a disc of neo-soul and funk that could easily be written off, except for the fact that Green puts loads of heart into every song. Even if he’s telling someone to “fuck off.”

28. Pass the Jar – Zac Brown Band

Zac Brown became one of the biggest names in country with the release of his debut last year. If anyone is curious why there has been such much attention, this brilliant double live album will answer all questions. From rollicking segues from favorite “Free” into Van Morrison’s “Into the Mystic,” to guest stars like Kid Rock and Joey + Rory, Brown puts on one hell of a show. Buy this album to hear it all.

29. Revolutions Per Minute – Reflection Eternal

Hi Tek and Talib Kweli have been kings of underground hip-hop for years, and often working together under the name Reflection Eternal. While it has been some time since their last release together, these veterans show they can still bring the rhymes with the best of them. Here’s to hoping for another reunion of these old friends.

30. Body Talk - Robyn

Sweedish techno queen Robyn brings the grooves on Body Talk, a collection of her two Eps she released this year, and a few bonus tracks. The tracks work together seamlessly, and they never slow the beat down. There’s enough great music to keep your head bopping long after the record has stopped.

31. The Pursuit – Jamie Cullum

The British jazz pianist/singer-songwriter returns from a five-year hiatus with a brilliant collection of modern vocal jazz. His piano chops are as good as ever, and while The Pursuit doesn’t match the pure musical joy of Twentysomething, it’s perhaps some of hit catchiest songwriting to date. He focuses more on original material than covering standards, but as the brilliant track “Wheels” demonstrates, with a little more experience he could be penning standards of his own.

32. Volume Two – She & Him

The follow-up to their cult smash debut, actress Zooey Deschanel and songwriter M. Ward return with another batch of sunny 60’s pop. Their songwriting is more mature, Deschanel’s vocal range is wider, and the music is more lush. When everything is better, how can one go wrong?

33. The Winter of Mixed Drinks – Frightened Rabbit

One of the best bands no one has heard of, Scotland’s Frightened Rabbit will hopefully get the audience they deserve with this brilliant, sparse and melancholic album. With a sonic style that is clearly influenced by The Cure and The Shins, Frightened Rabbit create a musical landscape all their own that listeners will want to get lost in.

34. Together – The New Pornographers

This alt-country group, headed by Carl Newman and Neko Case release their best record yet. A perfect collection of folk drenched rock and with Case just off her stunning record, Middle Cyclone, her vocals ably demonstrate why she is one of the best female voices around today. As rollicking as it is lovely, it’s the perfect blend.

35. Danger Days: The True Lives of the Fabulous Killjoys – My Chemical Romance

Give it up for the fact that these emo boys finally ease up on the gothic whining and embrace a sonic blast of energy and dare I say it, fun. This record sounds like a blast of 80’s rock meshed with late 90’s punk. This is the sound of a normally depressed band smiling for once. Sounds good.

36. Rebel Within – Hank III

Hank III may be one of the biggest wildcards in modern country. He’s completely aghast at the “modern” country sound, and instead embraces a freewheeling, outlaw style full of swearing, sex and moonshine. He’s supposedly cleaned up for this record, and while there are a few more somber songs than usual, he’s still as wild as ever when it comes to music. Some things don’t – and shouldn’t – change.

37. Be My Thrill – The Weepies

Husband and wife Deb Talan and Steve Tannen write some of the simplest, yet loveliest folk ballads around. They outdo themselves on Be My Thrill, their most accessible album yet. If it’s a little more mainstream, with music this sweet and honest, that’s fine. Hearing it each time is such a sweet thrill.

38. Hands All Over – Maroon 5

Maroon 5 was never anything but a pop band, but where they stumbled a bit on their second release, their third find them completely embracing a style of 80’s rock that would make Def Lepard proud. It’s clear that even if they’re not reaching for anything groundbreaking, they’re having a good time making the music, and that counts for a lot.

39. Foundling – David Gray

Gray gets back to his acoustic roots on this stunning collection of finger-picked ballads. Not since his masterpiece White Ladder, has Gray created music this gorgeous and intimate. The record plays like someone sitting in your home, strumming an acoustic guitar. It’s the sound of enchantment.

40. Shame, Shame – Dr. Dog

Dr. Dog continues to be the best The Band band since The Band. Shame, Shame might just be their breakthrough album, their Music from Big Pink, if one will allow. The songwriting throughout is so consistent and the music filled with such a spirit of Americana that it’s hard not to get swept away. Don’t fight it.

41. Apollo Kids – Ghostface Killah

Ghostface was one of the key members of the Wu Tang Clan, and if that wasn’t enough, he’s been making brilliant solo albums on the side for more than a decade. He steeps himself in old soul samples on Apllo Kids, while laying over it some of the best rhymes around. Ghostface is truly an embodiment of the cliché that some things do get better with age.

42. July Flame – Laura Veirs

Veirs has been turning out reliably lush girl coffeehouse rock for over a decade, but July Flame finds her reaching a new musical peak, writing songs that are not only warm, but genuinely moving. Her hooks are so subtle that they slip into your mind and stay there with the greatest of ease. And stay there long after the album is done.

43. April Uprising – John Butler Trio

The fan base for Australia’s John Butler Trio has been steadily growing for years, and April Uprising is sure to increase the numbers by leaps and bounds. Butler shows off some of his best guitar work, and also deepens his lyrical abilities. A major step forward for the artists, it’s sure to be a surge in their audience.

44. I Learned the Hard Way – Sharon Jones & The Dap Kings

Jones and her band are a soul unit that could have easily been plucked out of the 50’s and sound almost the exact same. Tapping into Aretha style soul, Jones proves that her emotion soaked voice is more than a match for anyone who thinks that modern R&B has replaced the real deal. For the real deal, this is the ticket.

45. The Twilight Saga: Eclipse – Various Artists

Say what you will about the movies (and there’s plenty to say) but the Twilight Saga puts out some of the best soundtracks in the last couple years. Tapping into the indie scene with a vengeance, each soundtrack has gotten bigger and better artists to write for them. Eclipse reaches a new high, with music from The Black Keys, Cee Lo, Vampire Weekend, Beck and Band of Horses. Ignore the films, reveal in the music.

46. Champ – Tokyo Police Club

The music created by Tokyo Police Club is fast, energetic, and – the crucial aspect that sets them apart from their peers – super literate. Indie punk is rarely this intelligent, melodic and fun. It’s a punk band for fans of Vampire Weekend.

47. All Birds Say – Carl Broemel

The guitarist from My Morning Jacket proves that Jim James isn’t the only member of the band who can write beautiful music. Broemel’s record plays like the best Wilco album Wilco never made. Full of lush alt-country ballads, Broemel proves that MMJ’s success is not the product of one man.

48. Go – Jonsi

The lead singer of Sigur Ros creates the most symphonic and stirringly gorgeous record of the year. Listening to Jonsi’s music is like being transported to Middle-Earth or some other world. As he does with Sigur Ros, the lyrics are mostly indistinguishable – in part because they’re in a made up language – but it really doesn’t matter, with music this beautiful, the words stop being important.

49. To The Sea – Jack Johnson

Johnson’s fans would riot if he changed his sound up too much, so it’s a good thing that while Johnson continues to embrace the electric guitar, he’s still able to keep his laid back, beach record atmosphere. To The Sea is Johnson’s most sophisticated and adventurous record to date. Sometimes, growth is a good thing.

50. The Guitar Song – Jamey Johnson

Jamey Johnson made a big splash when he hit the country scene, tapping into the old school of the genre. With his Cash-esque voice, and brilliant guitar work, Johnson showed all the phonies how it’s done. On The Guitar Song, a sprawling two-dsic record, Johnson writes about both the dark and light of life. There hasn’t been this much ambition in country for a long time. Keep an eye on Johnson – he’s going to take listeners places.

Top 100 Songs

1. POWER (feat. Dwele) – My Beautiful Dark Twisted Fantasy – Kanye West

The first single off West’s masterpiece gave listener’s a taste of the direction he was going in: totally experimental, introspective and arrogant all at once. It’s one of his best singles, and shows that no matter what anyone says about the man, he’s a musical genius. “He knows he’s so fucking gifted,” West rhymes on the song. Go ahead and try to argue that.

2. Fuck You – The Lady Killer – Cee Lo Green

Break-up song of the year goes to this ballsy neo-soul number from Green, who gives the finger to radio standards, telling his ex and her new man to fuck themselves. Never has swearing at the one who broke your heart been more cathartic or more fun. The music is well constructed that even the clean version – “Forget You” – works, but for my money, the uncensored version is where it’s at.

3. Dance Yrself Clean – This is Happening – LCD Soundsystem

A nine-minute slow burner, James Murphy takes his time building his nerdy dance music, but when it finally slams into gear, it’ll knock you back. Murphy is the thinking man’s techno artist, introspective, self-deprecating and literate. Still, his music is infinitely accessible, and this one’ll have people dancing themselves clean over and over.

4. The Weekenders – Heaven is Whenever – The Hold Steady

The Hold Steady reached a new peak with “The Weekenders,” a U2 influenced rocker that goes from shimmering guitars to head-banging rock in no time at all. Lead singer Craig Finn gets the award for best line of the year: “the theme of the party is the Industrial Age/And you come in dressed like a train wreck,” while creating a rocker about making sense of love.

5. Next Girl – Brothers – The Black Keys

One of The Black Key’s dirtiest sounding songs, it’s also one of their most infectious. Dan Auerbach channels the blues so well it’s hard to believe he wasn’t plucked out of the Mississippi Delta, and both his vocal and guitar work are on full display here. Pat Carney’s drumming has always been the band’s heartbeat, and he keeps it pounding throughout. This is the sound of two musicians just hitting their stride.

6. My Love – Twilight Saga: Eclipse – SIA

The voice of the techno group Zero-7, SIA has never sounded lovelier or more organic than on this heavenly ballad. Her tones are warm and earthy, the lyrics so full of longing that it’s impossible to ignore, or forget. Sometimes simplicity works best, and as demonstrated here, it can be completely devastating in the best possible way.

7. I Need A Dollar – Good Things – Aloe Blacc

Totally embracing the soul music of the 70’s, Blacc’s song is one that Bill Withers would have been proud to do. Singing about finding work over a piano line as catchy as this, using horn lines and his raspy voice, he’s created a new anthem for the countless people looking for work, while avoiding being depressing. That’s quite a feat.

8. Light Up (feat. Jay-Z) – Thank Me Later – Drake

Darke’s debut album proves that the young MC is more about lasting power than making noise for a short while, so who better to rhyme with than one of the game’s best? Jay-Z instructs the newcomer on how to last, but when Drake rhymes about working while his friends party, it’s clear that he’s all about making the best music he can. He’ll be around for a while.

9. Run – Contra – Vampire Weekend

Vampire Weekend turn out hook-laden tunes like ticker-tape, but they’ve topped themselves with “Run.” Powered by a brilliant guitar riff and heavenly strings, it’s enough to get even the laziest person of their feet and on the move.

10. Finnerodja – The World’s Not Bad – Smoosh

This two-piece, teenage girl indie band spent their first two records creating infectious indie pop, but from the first seconds of “Finnerodja,” it’s clear they’re going for something different. The melodies sound more Radiohead-esque, the vocals more mature, the production more dynamic. Everything about it is older, more mature, and better.

11. The Diamond Church Street Choice – American Slang – The Gaslight Anthem

The Gaslight Anthem has always had Springsteen flowing through their veins, but rarely have they displayed it to such effect as they do on this track. The doo-wop intro is brilliant, leading into one of their hookiest songs. It’s a definite diamond.

12. Monster (feat. Bon Iver, Rick Ross, Jay-Z & Nicki Minaj) – My Beautiful Dark Twisted Fantasy – Kanye West

Perhaps the most bizarre song on West’s album, “Moster” is exactly what it says – a six-minute beast featuring Bon Iver, Rick Ross, Jay-Z and Minaj, who steals the show from the boys in the cameo of the year. Listening to Minaj change voices like one possessed, Jay-Z’s cool dominance and West’s restless excitement, monsters have never been this much fun.

13. Dear God 2.0 (feat. Monsters of Folk) – How I Got Over – The Roots

The Roots tap into the inde rock scene, mixing the Monsters of Folk with their funk-infused hip-hop to spectacular effect. Immediately infectious, it’s a new peak for a band on the forefront of musical exploration.

14. Younger Us – Younger Us/Sex and Dying in High Society – Japandroids

Fuzzy guitar rock at it’s best, Japandroids have created a new anthem for young people who already yearn for the better days of their past. The idea might be a bit ridiculous, but when it’s pulled off with so much sincerity, and with such energy, it’s hard to stay cynical. And that’s the point.

15. Wheels – The Pursuit – Jamie Cullum

Overlaying his jazz piano over speeding train drum work, “Wheels” is Cullum’s catchiest song to date. Social protest rarely sounds like this much fun, as Cullum wonders aloud about the state of the world. Judging from the music, there’s no answer but to keep rolling along.

16. The High Road – Broken Bells – Broken Bells

The Shins’ James Mercer and Gnarls Barkley’s Danger Mouse may seem like an odd match, but this techno-infused indie rock song is as catchy as anything Gnarls Barkley did and as smart as the Shins’ best. Odd or not, there’s no arguing with “The High Road.”

17. Loving Wings – Live in Las Vegas – Dave Matthews & Tim Reynolds

A live Dave Matthews Band fan favourite, “Loving Wings” is even prettier when it’s just Matthews and Reynolds. Reynolds sublime guitar work underscores one of the best love songs Matthews has ever written, creating a whole new live classic.

18. Nothing But the Whole Wide World – Women and Country – Jakob Dylan

With a guitar melody right out of James Taylor’s songbook, Dylan has written a folk classic brimming with hope for the future. Sounding more like his father every day, and backed by Neko Case, Dylan proves he’s “got nothing but the whole wide world to gain.”

19. Florida University – Love King – The-Dream

On one of the best break-up songs of the year The-Dream unleashes all his production talents and his hilariously witty song writing for a song not about the actual university, but the initials. With hilarious asides about a clean version, and what his mother would think, it’s about as much fun as one can have chanting a school abbreviation.

20. She’s Long Gone – Brothers – The Black Keys

The Black Keys take their grungy blues sound to the limit on this foot-stomping cut, with some of Auerbach’s best guitar work, and Carney’s most dynamic drumming. These guys stampede through a song like no one else in the business, and create a blast a doing it.

21. Locked Inside – The ArchAndroid – Janelle Monae

Monae created one of the most interesting soul records of the year, bringing in funk, hip-hop and techno to form one perfect sound. “Locked Inside” is a danceable example of why she’s so good at what she does: the song is infectious, unorthodox and unforgettable.

22. Bamboo Bones – White Crosses – Against Me!

If Against Me! has traded a little of their indie cred for a bigger audience, its okay when they make songs as good as this. Tapping into the infinite catchiness of pop-punk, the Florida band creates a song about standing up for yourself (even against God) and taking a stand. And that message is very much in line with all their previous music.

23. Airplanes Part 2 (feat. Hayley Williams of Paramore and Eminem) – B.o.B. Presents: The Adventures of Bobby Ray – B.o.B.

With a hook from Paramore’s Hayley Williams, this cut from B.o.B. is a fantastic testament to the power of a great hook and interesting lyrical work. Eminem’s appearance is one of the cameos of the year, but it’s the chorus that sucks you in every time and doesn’t let you go.

24. Factory – Infinite Arms – Band of Horses

As grand and sweeping as the night sky, Band of Horses open their third record with a swirl of guitars and strings, over pulsating drums. The sound and vocals echo into space, yet still sound immediate and intimate. The possibilities for Band of Horses really are infinite.

25. Wake Up Everybody (feat. Common and Melanie Fiona) – Wake Up! – John Legend & The Roots

Legend may just be the best male soul voice of this generation, and The Roots are definitely one of the best bands (rap or otherwise) so the musical offspring of this group is something to take notice of. Their version of the Harold Melvin classic is a stunning example of the power of older music to be recreated for a new generation. Everybody wake up is right.

26. Bloodbuzz Ohio – High Violet – The National

The National finally broke through this year, and somber rockers like this one are why. Singing like the last guy at a seedy bar, Matt Berninger laments being forgotten by his home while guitars and pianos swirl like a snowstorm keeping him stuck in the bar. Homesickness has never sounded this good.

27. Swim – Astrocoast – Surfer Blood

With a sound straight out of the school of Echo and The Bunnymen and The Jesus Mary and Chain, mixed with 80’s hair-rock guitar, “Swim” shouldn’t work, but not only does it work, it knocks it out of the park. It’s a testament to the band that they’re able to make it work as well as they do. Keep an eye on them.

28. Breakneck Speed – Champ – Tokyo Police Club

Moving along at the pace the title implies, “Breakneck Speed” is three minutes of the catchiest guitar pop-punk of the year. It also helps that there’s actually something to lyrics. Champs indeed.

29. Belinda – Lonely Avenue - Ben Folds & Nick Hornby

With lyrics clearly penned by Hornby (witty, funny, self-deprecating and harsh), Ben Folds turns this hilarious midlife crisis ballad into something actually moving. That’s the sign of a real partnership.

30. Sorry – Love King – The-Dream

The final song on the deluxe version of Love King is an a cappella knock out. For all the lush productions of his music, when he strips it all away to just his voice, he proves he’s more than just sexual innuendo – there’s some real music going on here, too.

31. Free/Into the Mystic – Pass the Jar – Zac Brown Band

Brown and Band know just how to mix original music with classics, creating one seamless piece of live music. The blending of their hit “Free” into Van Morrison’s opus “Into the Mystic,” is a stunning example of how all music can go together.

32. Misery – Hands All Over – Maroon 5

Adam Levine and Co. delivered another radio take over with “Misery,” tapping into 80’s rock to create a pop song that is universally recognizable, subtly naughty and all kinds of fun.

33. What’s My Name (feat. Drake) – Loud – Rihanna

Rihanna proves why she’s the undisputed queen of hit-making R&B with this reggae inspired ballad, featuring a brilliant intro from Drake. Still, Rihanna’s voice is the main attraction, and she’s got one of the sexiest voices in the industry. Who could forget her name?

34. Every Day – All Day – Girl Talk

DJ Gregg Giles doesn’t just make mash-ups on whims; often times his work has a deeper message to it. Witness of the brilliant mixing of Jay-Z over Modern English’s “Melt With You,” or his wrapping up with John Lennon’s “Imagine.” Listen to this and tell me that there’s not an art to this.

35. Hear My Train A Comin’ – Valleys of Neptune – Jimi Hendrix

Hendrix imbibed every piece of music he touched with the blues, so it’s no surprise the release of previously unheard material features this stunning blues classic that never made it onto one of his records. The guitar work, as always, goes from understated to stunning on a dime and serves as another reminder of an amazing talent lost.

36. Save Me – Pink Friday – Nicki Minaj

While Minaj’s debut was a little more R&B than many wanted, she proves she has a firm understanding of the genre with “Save Me.” As catchy as the best Rihanna song, Minaj proves she can groove with the best of them when she wants to.

37. Just Begun (feat. Jay Electronica, J. Cole and Mos Def) – Revolutions Per Minute – Reflection Eternal

Two old friends – and two of hip-hops best voices – return for the most poetic rap track of the year. These guys can create a beat that keeps your head bouncing, even while they wrap political poetry around your head.

38. If It Wasn’t for Bad – The Union – Elton John and Leon Russell

These two rock veterans are the perhaps the best pairing of the year, and they create a brilliant classic rock throwback, based on Russell’s growling voice and John’s brilliant piano playing. Add on T Bone Burnett as the producer, and there’s nothing bad about this.

39. Little Lovin’ - Catching A Tiger – Lissie

Driven by a brilliantly simple acoustic guitar hook, Lissie makes a major name for herself with this instantly catchy folk-rock number. The way the song builds like a train gaining speed is all the more fun as it takes the listener for a great ride.

40. Animal – Habits – Neon Trees

A dance-pop number that’s a mix of The Cure and Phoenix, “Animals” is this year’s “1901.” Infinitely playable and danceable, it’s the perfect song for getting ready for the club. And at the club. And after the club, too.

41. My City of Ruins – My City of Ruins [Live from the Kennedy Center Honors] – Eddie Vedder

Recorded for Bruce Springsteen’s Kennedy Center Honors, Vedder turns “My City of Ruins” into the full-on tribute to loss and hope that it always has been. His simple delivery is buoyed by a gospel choir backing, creating a modern American hymn.

42. Station – Shame, Shame – Dr. Dog

Americana music hasn’t sounded this good since The Band and Bob Dylan brought it to the masses on The Basement Tapes. “Station” could easily have come from that record, but Dr. Dog infuse it with their own sense of funk and some brilliant slide guitars to create a complete original.

43. Pickup Truck – Come Around Sundown – Kings of Leon

Kings of Leon forego the immediate hooks on “Pickup Truck,” and instead create something infinitely catchier – a song you have to invest in. By the time the chorus comes around (with one of their best hooks) you’re already sucked in.

44. I Loves You, Porgy – Brian Wilson Reimagines Gershwin – Brian Wilson

Wilson is the perfect person to take Gershwin’s lush orchestrations and love struck lyrics and bring them to a new generation. The end result sounds like the best song from Pet Sounds that The Beach Boys never recorded.

45. Jonathan Low – Twilight Saga: Eclipse – Vampire Weekend

Vampire Weekend take their signature sound and give it an acoustic kick on “Jonathan Low,” creating guitar work that could have come from Simon & Garfunkel. The overall sound is all theirs, and they show that they have all kinds of ways to grow as a band.

46. City with No Children – The Suburbs – Arcade Fire

“City with No Children” is about as lush and lovely as the Arcade Fire get, filling the song with grungy guitars, hand-claps and brilliant vocal work. There’s nothing empty or not youthful about this one.

47. National Ransom – National Ransom – Elvis Costello

A middle finger to the bankers who have gotten the world in such a mess, Costello gets back to his punk roots, delivering a blistering attack on the financial world. Anger sounds good on him.

48. Thieves – Volume Two – She & Him

A song that could have easily been a doo-wop hit from the 50’s, “Thieves” is powered by M. Ward’s lush guitar work and Deschanel’s powerful voice, which completely steals the song.

49. Blazin’ (feat. Kanye West) – Pink Friday – Nicki Minaj

Minaj and West have all kinds of fun sampling Simple Minds’ “Don’t You (Forget About Me),” both stars proving why they’re at the top of the hip-hop game right now. Props to West for the funniest line on the track: “I’ve got two White Russians, we still need some drinks.”

50. Skinny Love – Fidelity! – JP, Chrissie and The Fairground Boys

The influence of Bon Iver – even though he’s only released one official record –on music has been huge, but never has it been more clearly shown than by the fact that Chrissie Hyde is covering him. Iver should’ve got a female vocalist for his version – Hyde and JP turn it into a torch song for the ages.

51. On the Sunny Side of the Street/Fool in the Rain – Nikki – Nikki Yanofsky

Supposedly Jimmy Page hated “Fool in the Rain” so much he did as little work as possible on it. That’s okay, because Yanofsky takes it, matches it with a classic, and creates a whole new jazz standard. It’s her song now.

52. You’re Dead to Me - Up on the Ridge – Dierks Bentley

Bentley abandoned the traditional country trappings for a bluegrass driven album, and it’s all to the better as this brilliant break up song shows. The banjo playing is superb, and the lyrics are both bitter and funny. This is how country should sound.

53. Blossom – Live at the Troubadour – James Taylor & Carole King

Taylor and King’s live version of the Taylor standard is the definite of simple elegance. Just a guitar and piano, and a voice, but out of these three things comes a sound so warm and familiar, it’ll make you fall in love with the raw power of music all over again.

54. Ambling Alp – Odd Blood – Yeasayer

One of the most musically interesting songs of the year, “Ambling Alp” is also some of the best advice for children from parents ever put to music. As warm as it is infectious, this should be played for every son by his father.

55. Bull Rider - …featuring Norah Jones – Norah Jones & Sasha Dobson

This cover of a Rodney Crowell with cult country singer Sasha Dobson gets the Norah Jones treatment: sultry vocals, slick music and most of all, the warm feeling of an old friend.

56. Please Speak Well of Me – Be My Thrill –The Weepies

With a sound right out of the 60’s folk scene, The Weepies capture the sound of earnestness on this simple number. There’s no frills, nothing extra: just plain sweet songwriting and even sweeter music.

57. This Electric – It’s What I’m Thinking: Photographing Snowflakes – Badly Drawn Boy

With a guitar line that runs like an electrical current throughout the song, “This Electric” sounds like The Verve mixed with Beck. The result is something sonically lovely, funky and definitely electrifying.

58. For the Summer – God Willin’ & The Creek Don’t Rise – Ray LaMontagne & The Pariah Dogs

“For the Summer,” is LaMontagne at his quintessential best: just a couple guitars, a steady beat from the drums, and that rusty voice that speaks of both weariness and hope. It may have been the quietest song about the summer of the year, but it’s also the prettiest.

59. Heavy in My Arms – Twilight Saga: Eclipse – Florence & The Machine

The title says it all, as Florence & The Machine bear down on the listener with heavy bass guitars and keys, but it’s her voice that really makes the song – it’s strong enough to carry anything, and she carry’s the song away.

60. Get Up (feat. Chris Brown) – No Mercy – T.I.

T.I. and Brown are the perfect pair for this song about getting up after you falling down. Both artists take the song to limit, performing like they’re both been there. Which is fitting, since they both have.

61. I’ll Be Waiting – The Sound of Sunshine – Michael Franti & Spearhead

Franti channels U2’s “Bad,” for one of his best love songs yet, which is saying something about an artist who only writes about love and forgiveness. The Edge could have easily written the guitar, but the lyrics and sentiment are all Franti.

62. One Short Night – Grace Potter and the Nocturnals – Grace Potter and the Nocturnals

Potter is lined up to be this generations Bonnie Raitt, and she proves she’s more than up to the task on this funk-driven number. Her voice has never been stronger – or sweeter – and with music this good, you’ll want it to last all night.

63. All the Best – Broken Hearts and Dirty Windows: Songs of John Prine – My Morning Jacket

MMJ pay tribute to one of their key influences with “All the Best.” Front man Jim James sings with all heart and earnestness, and as usual, the rest of the band creates a luscious sonic landscape for him. If only all covers could be this good.

64. Only the Wine – Foundling – David Gray

The opening track from Foundling is as sweet and intoxicating as the best wine. Gray lets his shimmering acoustic guitars carry the track, while he gets drunk on the loveliness of the music and lyrics. It’s impossible not to join him.

65. Hang With Me – Body Talk – Robyn

Robyn proves that she’s the queen of techno with “Hang With Me,” a song as infectious as it is adventurous. A number about just being friends, it’s hard not to fall in love with her and the music.

66. Wrote A Song for Everyone - You Are Not Alone – Mavis Staples

Staples has been one of the most powerful voices in music for decades, and she proves that she can still command a song with this gospel gem, backed by grungy electric guitars and produced by Wilco’s Jeff Tweedy. Rarely have the old and new met in such glorious fashion.

67. Diamonds Made from Rain – Clapton – Eric Clapton

On this gospel inspired blues number, Clapton displays how sometimes the subtlest of guitar work can be the most powerful. Backed by a brilliant horn line, “Diamonds” fits perfectly alongside such favourites as “Let it Grow.”

68. I Can See Your Tracks – July Flame – Laura Veirs

The heir apparent to Eva Cassidy’s brand of smoky blues with a voice that cuts like a knife, Veirs brings her considerable talent to bear on “I Can See Your Tracks,” the perfect song for a grey day.

69. Do You Remember - The Orchard – Ra Ra Riot

A slow burner with a brilliant string section and techno style drums, Ra Ra Riot shows a musical sophistication that grows organically from their indie rock roots. It’s a song worth remembering.

70. Rill Rill – Treats – Sleigh Bells

A blast of indie-techno fresh air, “Rill Rill,” hits the listener with drums like canon fire, chiming electric guitars and keys, and voices that float over the music like clouds. A true sonic treat.

71. Gotta Know – Georgia Warhorse – JJ Grey & Mofro

Grey proves that he’s up to his neck in the blues on “Gotta Know,” a blues ballad in the purest sense of the term – powered by a heavy piano line and lilting guitar lines, it’s a song that everyone should know.

72. Window Shopping – I Learned the Hard Way – Sharon Jones & The Dap Kings

Jones takes her man out for a ride on this funk-driven number that would make Aretha proud. The organ work is brilliant, and Jones voice never let’s up. Don’t be like the subject of the song, and let this one pass you by.

73. Home – Something For the Rest of Us – Goo Goo Dolls

By now the Goo Goo Dolls have writing radio gems down to a science, and “Home,” is a perfect example of how it’s done. Infectious guitars and a sing-along chorus make for a surefire hit.

74. The Wrestle – The Winter of Mixed Drinks – Frightened Rabbit

These Scottish boys create an epic of U2-sized proportions, at once aesthetically deep and immediately catchy. The song builds like a storm, and explodes with the thunder of drums and guitars. It’s a knock-out.

75. See How Man Was Made – So Runs the World Away – Josh Ritter

Ritter’s quietly devastating voice and music is on display at it’s best on this track. Relying mostly on an acoustic guitar and his voice, he shows that sometimes one is the prettiest number.

76. Take Care – Teen Dream – Beach House

Hypnotic and gorgeous, Beach House’s best album yet also yields this stunner. Quietly moving, poignant and full of reverb guitars, it’s perfect for a summer day outside or a cold night in.

77. Ghost Town – Under Control – Cary Brothers

A piano-driven ballad that would make Chris Martin envious, “Ghost Town,” is full of echoing guitars and vocals, that truly sound like they’re being sent out into empty space. Music this full of life is enough to banish any ghosts.

78. The Sea – The Sea – Corinne Bailey Rae

Rae’s second album – made after the death of her husband – is a melancholy and hopeful journey, best captured on this track. Her voice is as powerful as ever, the lyrics haunting and infectious. Saying goodbye has rarely sounded so sweet.

79. Talkin’ 2 Myself (feat. Kobe) – Recovery – Eminem

On Eminem’s most personal album yet, perhaps the most personal track on it deserves the most credit. Fully accepting how down and out he was, while also ably demonstrating that he’s back, Em shows why truth is better than fiction.

80. Sing – Danger Days: The True Lives of the Fabulous Killjoys – My Chemical Romance

A song about hope is one of the last things expected from MCR, but “Sing” shows that when these guys abandon the somber, they can write a rocker that’ll have your first pumping in the air.

81. Green Eyes – King of the Beach – Waves

What starts out as a Coldplay-style ballad quickly turns into an experiment in mixing grunge guitars with lovelorn lyrics. Turns out it’s a mix made in heaven.

82. Sailboats – An Airplane Carried Me to the Sea – Sky Sailing

Before he was Owl City, Adam Young was Sky Sailing. While “Sailboats” doesn’t hit the highs of “Fireflies,” it’s quieter and lovelier, and with his confession of undying love for Audrey Hepburn, it proves Young has always been the best kind of romantic: hopeless.

83. Shove – LOVE – Angels & Airwaves

Angels & Airwaves continue to expand their sonic landscape on this hook-laden arena rock ballad. Perfect for a new generation of slow dances.

84. Boyfriend – Crazy For You – Best Coast

Fuzzy guitars and Beach Boy style vocals mesh perfectly in this love-drenched that would make Robert Smith jealous.

85. The Ghost of Rockschool - Belle & Sebastian Write About Love – Belle & Sebastian

Belle & Sebastian channel Air on this techno ballad that floats along on clouds of lovely horns and guitar.

86. The Poet – Junky Star – Ryan Bingham

The Oscar-winner for the Crazy Heart soundtrack ably displays that he’s more than a one-trick pony with this stripped down song that could have been a b-side from Bob Dylan’s John Wesley Harding.

87. Mystery Man – April Uprising – The John Butler Trio

The Australian slide-guitar wizard writes one of his catchiest tunes yet. Anchored by his brilliant finger work and penetrating lyrics, hopefully Butler will be less of a mystery to mass audiences.

88. This Bed - Thistled Spring - Horse Feathers

Autumnal and lilting, Horse Feathers create one of the loveliest songs of the year. With nothing but an acoustic guitar and violin, “This Bed,” is as warm and comforting as your bed on a cold morning.

89. I’m Falling In Love Again – Band of Joy – Robert Plant

Plant goes back to his blues roots on this shambling ballad that would have fit just as well on a 1960’s blues record as it does today. The man can still hit the high notes, and still drench the words with feeling.

90. Oh What A Feeling – Nothing’s Impossible – Solomon Burke

The late soul great lets his huge voice get lifted by sweet guitars and a pitch perfect organ line. A brilliant final offering from a voice that will be sorely missed.

91. The Difference Between Us – Sea of Cowards – The Dead Weather

Jack White can write a rock hook like nobody’s business, no matter who he’s playing with – or what instrument he’s playing. This track is a perfect example of why he’s one of the most commanding musicians of his generation.

92. Alley Cats – One Life Stand – Hot Chip

A techno ballad from one of the smartest dance bands around, “Alley Cats” is lovely as it is catchy, running on shimmering guitar lines and string sections. The perfect slow dance song for people who don’t like to slow dance.

93. Trouble Comes Running – Transference – Spoon

With an intro that sounds lifted from the Rolling Stones, Spoon kicks into one of their rowdiest songs yet, bouncing along to a guitar beat right out of the 60’s that sounds perfectly at home in 2010.

94. Healing Hands – The Rainwater Lp – Citizen Cope

Recorded with the cracks and pops of an old vinyl record, matched with warm organs and even warmer vocals, this song is the musical healing for what ails you.

95. Push - Glow – Donavon Frankenreiter

Frakenreiter is the reigning king of laid back summer music, and he hits a new high with
“Push,” a song that should have dominated summer play lists.

96. Fear Itself – Permalight – Rogue Wave

A little bit psychedelic, a little bit folk ballad, “Fear Itself,” is as refreshing as the sea air that the song mentions. It’s a breath of fresh air.

97. 2getha Baby – Apolo Kids – Ghostface Killah

A fantastic mix of pure soul sampling and hardcore rhyming, Ghostface handily shows that after decades in the game, he’s still an MVP.

98. Carried Away – All Birds Say – Carl Broemel

Awash in a swirl of guitars and lilting vocals, this quiet gem from the My Morning Jacket guitarist gives Wilco a run for their money on alt-rock sweetness.

99. All the Things I Could Never Say – The Boxer – Kele

The Bloc Party lead singer gets in touch with his inner DJ, letting techno beats and carry this bittersweet love song through the listener’s heart and down to their tapping toes.

100. I’ll Take Care of You – I’m New Here – Gil Scott-Heron

The classic soul singer proves he’s still relevant with this haunting ballad that sounds like the best Tom Waits song he never wrote.

Reissues

1. The Promise – Bruce Springsteen

2. The Witmark Demos: 1962-1964 – Bob Dylan

3. Live On The Sunset Strip - Otis Redding

4. Exile on Main Street – The Rolling Stones

5. …featuring Norah Jones – Norah Jones

6. James Taylor – James Taylor

7. Bitches’ Brew – Miles Davis

8. Can’t Stand the Weather – Stevie Ray Vaughan and Double Trouble

9. Damn the Torpedoes – Tom Petty & The Heartbreakers

10. Pinkerton - Weezer

Live Albums

1. Live in Las Vegas – Dave Matthews & Tim Reynolds

2. Live On The Sunset Strip – Otis Redding

3. Live at The Troubadour – James Taylor & Carole King

4. Pass the Jar – Zac Brown Band

5. Live in Berlin - Sting

6. iTunes Live from Soho Ep – Phoenix

7. iTunes Live from Soho Ep – The XX

8. London Sessions – LCD Soundsystems

9. iTunes Sessions – The Black Keys

10. VH1 Storrytellers – Kanye West

Music DVDs

1. Crossroads Guitar Festival 2010 – Eric Clapton

2. 360: At the Rose Bowl – U2

3. The 25^th Anniversary Rock and Roll Hall of Fame Concerts – Various Artists

4. London Calling – Live in Hyde Park – Bruce Springsteen & the E Street Band

5. Songs from the Road – Leonard Cohen

6. The 4 Complete Ed Sullivan Shows – The Beatles

7. Stones in Exile – The Rolling Stones

8. Concert Collection – Frank Sinatra

9. Live, Volume 3 – The Avett Brothers

10. Live from The Artists Den – David Gray

Soundtracks

1. The Twilight Saga: Eclipse – Various Artists

2. Scott Pilgrim vs. The World – Various Artists

3. The Social Network – Trent Reznor & Atticus Ross

4. Inception - Hans Zimmer

5. Harry Potter and The Deathly Hallows, Part 1 – Alexandre Desplat

6. Lost: The Final Season – Michael Ciacchino

7. Never Let Me Go – Rachel Portman

8. Tron Legacy – Daft Punk

9. Treme: Season 1 – Various Artists

10. Get Low – Various Artists

Box Sets

1. Darkness on the Edge of Town – Bruce Springsteen

2. Mono Recordings - Bob Dylan

3. The 25^th Anniversary Rock & Roll Hall of Fame Concerts – Various Artists

4. Signature Box – John Lennon

5. West Coast Seattle Boy – Jimi Hendrix

6. Exile on Main Street – The Rolling Stones

7. Band on the Run – Paul McCartney & Wings

8. CTI Records: The Cool Revolution – Various Artists

9. Bitches’ Brew: 40^th Anniversary Collector’s Edition – Miles Davis

10. Matador at 21 – Various Artists

Michael Buble at the Pepsi Center - 03.30.10

2010-04-05T15:37:00.002-06:00

If there was ever any doubt that Michael Buble is a showman in the vein of class-acts like Frank Sinatra, his concert at the Pepsi Center Tuesday shattered those doubts.

Much like Sinatra, Buble is able to draw in crowds of all kinds, as the packed stadium displayed. There were teenage couples sitting next to couples with walkers, and every age group in between. Also like Sinatra, Buble is able to enliven any crowd with his witty sense of humor, banter, and of course, his soaring voice.

He kicked off the show with a thundering version of "Cry Me A River," complete with fireworks to coincide with his hitting the final notes, he drew the audience in with gigantic numbers like that, "Feeling Good," and one of his self-penned hits, "Everything."

A voice as smooth as his also lends itself perfectly to the ballads and light fare that were also Sinatra's bread and butter, and he eased his way through a string of classics like "Georgia on My Mind," "All I Do is Dream of You," and "Me and Mrs. Jones."

The best thing about seeing Buble in concert is his interaction with the audience. He was constantly telling jokes and conversing with crowd. For somebody whose voice is larger than life, his personality is extraordinarily humble, and his constantly expressed gratitude cannot be doubted for a moment.

This finds perfect expression in what he claimed would be how he closed every show with, "A Song for You," penned by Leon Russell. No song better expresses Buble's love for his audience.

And do they love him back? Guessing based on the fact that the crowd sang along with every song, and when he went down onto the floor to sing an acoustic version of "Home," (hilariously doing the starting lines of "Freebird," and Jason Mraz's "I'm Yours" first), his reception was like an athlete or more appropriately, a rock star.

Blame it on the fact that he just wants to have fun with his audience. He broke into random versions of Michael Jackson's "Bille Jean" and The Beatle's take on "Twist and Shout," from Ferris Bueller's Day Off, when talking about his childhood in Canada.

There is no doubt that as long as Buble keeps bringing beloved music to audiences both young and old, and keeps his humble nature, he'll give Ol' Blue Eyes a run for his money.

Setlist:
Cry Me A River - Crazy Love
All of Me - Crazy Love
At This Moment - Crazy Love
Mack The Knife - More/Special Delivery
Everything - Call Me Irresponsible
I've Got the World on A String - Call Me Irresponsible
Best of Me
Crazy Love - Crazy Love
Georgia on My Mind - Crazy Love
For Once in My Life - Michael Buble
Billie Jean/Twist and Shout
All I Do is Dream of You - Crazy Love
Home - It's Time
Save the Last Dance - It's Time
How Sweet It Is (To Be Loved By You) - It's Time
Heartache Tonight - Crazy Love
Haven't Met You Yet - Crazy Love
Encore:
Feeling Good - It's Time
Me and Mrs. Jones - Call Me Irresponsible
A Song For You - It's Time

Patty Griffin at The Paramount Theatre - 03.29.10

2010-04-05T15:28:00.003-06:00

Patty Griffin has created a cult following for years, based on her completely stunning voice, a mix of the country stylings of Emmylou Harris and the soul of Aretha Franklin. Most of her music has been in the country, or alt. country vein, but when she took to the stage at The Paramount Theatre, it was in support of a gospel album.

Downtown Church, Griffin's latest, is full mainly of covers of the wide history of spiritual music, and while it might seem a departure for her, her voice with it's amazing range is perfectly suited to such soaring melodies.

During her performance - after a brilliant blues/country opening set by Buddy Miller, in which Griffin performed for the whole set - she mostly stuck to songs from Church or songs she had written that fit the bill of "spiritual," like the twin high points from Children Running Through, "Heavenly Day," and "Up to the Mountain (MLK Song)."

While it might not seem so based on her music, Griffin has a humble and hilarious stage presence, which she displayed to full effect, cracking jokes about being on a "lapsed Catholic gospel tour," and bantering with an audience that gave all its attention and energy to her, causing her to stop often and make sure it was a Monday night.

The reception for Griffin showed that as long as she is in possession of such a moving voice, it doesn't matter what she sings. If she sings it, they will come.

John Mayer at the Pepsi Center - 03.23.10

2010-03-29T10:59:00.004-06:00

Despite all that goes on in his personal life, John Mayer still puts on a hell of a concert.

After an invigorating opening performance by Michael Franti and Spearhead - who had the crowd clapping and jumping for a straight hour, demonstrating the joyful power of music - Mayer took to the stage.

Keeping the banter to his usual self-deprecating style, he instead focused on the music, giving the crowd at the Pepsi Center who braved a snowstorm to see him an evening of blistering guitar work.

Taking most of the setlist from his latest release, Battle Studies, he burned his way through a cover of "Crossroads" that would make his friend Eric Clapton proud, and sent his guitar wailing through "Slow Dancing in a Burning Room."

Keeping in touch with his more pop/folk roots, he played his first hit, "No Such Thing" with all the energy of somebody just getting started, and gave fans a double treat with a solo-acoustic versions of "Comfortable," from his debut EP, and brilliant cover of Tom Petty's "Free Fallin'."

Mayer is a musician very much in touch with the wide range of influences on his music. From tapping into a U2-esque guitar line on "Heartbreak Warfare," to leading into "Half of My Heart" with Bob Dylan's "Just Like a Woman," and injecting his soulful "Gravity" - perhaps his best song to date - with Otis Redding's "I've Got Dreams," Mayer imbues his music with a sense of history, which is part of what makes it so accessible.

The other part is the sheer fun and joy the fans get out of it. The crowd sang along to practically every song, taking the lead in the bridge of live favorite "Why Georgia," and it was obvious that despite his personal missteps, it's the music that matters.

As long as Mayer remembers that - and keeps putting his heart into his shows - he'll be fine.

Setlist:
Heartbreak Warfare - Battle Studies
Crossroads - Battle Studies
Vultures - Continuum
No Such Thing - Room for Squares
Perfectly Lonely - Battle Studies
Slow Dancing in a Burning Room - Continuum
Assassins - Battle Studies
Comfortable - Inside Wants Out
Free Fallin' - Where the Light Is
Waiting on the World to Change - Continuum
Half of My Heart - Battle Studies
Bigger Than My Body - Heavier Things
Why Georgia - Room For Squares
Encore
Who Says - Battle Studies
Gravity - Continuum

Clarke's Best Music '09

2009-12-31T21:27:00.034-07:00

Top 50 Albums

21^st Century Breakdown – Green Day

The album that best captured the hesitation and hope of the post-Bush era of America, Green Day proved itself to be the voice of America this year. The album shows influences from Springsteen, The Clash, and most notably, The Beatles. Green Day isn’t just a punk band anymore; they’ve grown up into something else entirely – the sound of a country.

Working On A Dream – Bruce Springsteen

In a decade of three great Springsteen albums, Working is perhaps his loudest and most adventurous. The Boss hasn’t lost his touch for writing a rocker that makes you think, or just reaching into your chest and squeezing your heart. He’s not called The Boss for nothing.

Battle Studies – John Mayer

Mayer blends all his previous styles – acoustic-folk, rock, blues, funk – into the perfect pop album, his own Blood on the Tracks. As usual it’s filled with Mayer’s wry self-deprecation and humor, but it’s also one of his most dynamic releases.

It’s Blitz! – Yeah Yeah Yeahs

Less punk than their previous albums, the Yeah Yeah Yeahs have taken their sound to new levels, from danceable classics, to acoustic guitar ballads. Proving that their one of the best bands working now, these new areas perfectly compliment a band that grows with each album. Where they go from here, one can only guess, but I can’t wait.

Together Through Life – Bob Dylan

Dylan took a trip south of the border for this Mexacli-drunk blast. Dylan’s gritty voice has become more and more fitting, and while the lyrics aren’t as good as on Modern Times, the album sounds like Dylan having fun. And when he does, great music isn’t far away.

No Line On The Horizon – U2

U2’s most eclectic album since Achtung Baby has the boys from Ireland in their best for, not only kicking out the rockers, but expanding the sonic landscape that they’ve played such a huge role in creating. Not as commercial or radio friendly as their past two records, it nonetheless stands as one of their best.

Manners – Passion Pit

The best techno album of the year was made by a band that’s not techno at all – Passion Pit is more dance-indie-rock than anything, but the swirling, foot-tapping results of the best debut of the year are the best songs to dance to you’ll find anywhere. The album is a cohesive piece of sheer joy, and that’s what you’ll feel walking away from it.

Wolfgang Amadeus Phoenix – Phoenix

Phoenix’s fourth album was perhaps the hookiest record of the year, and the only one to name check 19^th century composers. Single after single of fantastic dance-pop made for one of the most infectious albums of the year. I dare you to put it on and stay in your seat.

Post-Nothing – Japandorids

The pinnacle of the return of fuzzy-guitar, lo-fi rock, Post-Nothing is a head-banger that will surprise with how well drums, guitar and vocals can be used to great something with so much subtle melody. At first it may just seem like a noise record, but the more listens, the deeper the sound. That’s what every band hopes for.

Humbug – Arctic Monkeys

Less dance and more Smiths than their previous two albums, the Arctic Monkeys created an album that would – and should – give all Smith’s followers pause. Not that the album was recorded in answer to The Smiths, but the tone of both the lyrics and the music recall them at their best. It may be a little heavier than fans are used to, but the effect is better.

Backspacer – Pearl Jam

Clocking in at barely over half-an-hour, Pearl Jam managed to tap into all their different areas of interest – punk, acoustic folk, rock – and threw them together to create one of their most bombastic albums ever. The mood changes from song to song, but the sheer joy of the craftsmanship remains constant throughout.

What Will We Be – Devendra Banhart

Banhart has always made eclectic music, and What Will We Be doesn’t give up that tradition, but instead uses it to create his most accessible record. It’s more laid back, and is a lot like the early music of the Grateful Dead, mixed in with the occasional dollop of Led Zeppelin.

Monsters of Folk – Monsters of Folk

Perhaps the most talented “super group” since The Traveling Wilbury’s, the mix of Bright Eye’s Conor Oberst and Mike Mogis, My Morning Jacket’s Jim James and She & Him’s M. Ward created the best rock-folk album of the year. The band worked on all the songs together, but each artist gets a tune or two on which to shine. With talent like this, that’s a lot of gems.

The First Days of Spring – Noah And the Whale

The best break-up album of the year, The First Days of Spring deal mostly with the aftermath of a break-up: not wanting to get out of bed, dating other people and moving on with your life. The music isn’t sappy in the least, and the gorgeous instrumentation and vocals conjure up spring – and the hope that it brings – in the heart and mind.

Astral Weeks Live At The Hollywood Bowl – Van Morrison

Astral Weeks definitely ranks up there in the top albums ever recorded, and this live version should climb the list of live records. Morrison – always a jazzman – messes with the order of the songs, and adds his own scat flavorings throughout, but the mood is the same. The result is a star only a little dimmer than it’s predecessor.

Big Whiskey And The GrooGrux King – Dave Matthews Band

Since the DMB’s last record, the band lost their saxophonist Leroi Moore, and what more fitting tribute than to make one of the band’s most dynamic albums in his honor. It’s also quite possibly Dave’s loudest album, and his grittiest. A fitting tribute for a musician lost too soon.

Dark Was The Night –Various Artists

The year’s best compilation sported rare tracks from all of indie’s superstars, from Feist and Yo La Tengo, to Cat Power and My Morning Jacket. The tone is mostly somber (this shouldn’t be a surprise, given the album’s title) but there’s a definite beauty to the dark.

The Open Door EP – Death Cab for Cutie

Though not a full album, Open Door gave Death Cab fans a sense of where the band will be heading. Ben Gibbard’s melancholic lyrics are still the same, but the music is ever-changing, which makes Death Cab one of the most interesting bands around today. This will make anyone hope they’re heading to the studio soon.

XX – The XX

The Cure would be proud of this British band, whose somber guitar melodies and intertwining male/female vocals make the music stand out from the countless Cure followers. There’s a deceptive simplicity to the music here, and the lyrics go from dark to sexy on a dime, but there’s no arguing with the intoxicating end result.

The Fall – Norah Jones

Jones’ most fully realized album since her debut took the world by storm, The Fall perfectly blends the country and rock sounds she’s experimented with on her second and third albums. The result isn’t quite a jazz record, but it isn’t a rock one, either. It smacks of Tom Waits (an intentional thing) and features some of Jones’ most adventurous writing.

Swoon – Silversun Pickups

The heirs-apparent to the sonic world of Smashing Pumpkins, Swoon demonstrated just how heavy – and lovely – reverb-driven guitars can be. Sporting one of the best track one’s of the year, the Silversun Pickups have perfectly angled themselves to blow-up big, and soon. Not bad for a sophomore album.

A Tribute To – Yim Yames

Recorded by himself, shortly after the death of George Harrison, Yim Yames (better known as Jim James) creates a quietly devastating tribute to perhaps the most underrated Beatle. All the songs are brilliant, but “My Sweet Lord,” and “All Things Must Pass,” stand apart as true measures of how talented Harrison was. He couldn’t have asked for a better voice than Yames.

So Far Gone – Drake

The most unexpected rap star of the year, So Far Gone is only an EP, taken from the internet mixtape that set the web ablaze. Signed with Lil’ Wayne’s record label, and sporting a couple of appearances by Weezey himself, Drake appears to be the next big thing in rap. After a listen to this album, it isn’t hard to understand why.

Crazy Love – Michael Buble

Buble may be this generation’s Sinatra, and if that’s the case, he fully embraces the fact on Crazy Love. As usual, it’s full of brilliant covers, but what sets Buble apart is the fact that he’s also a talented songwriter, penning two of the best tracks on the record. Ol’ Blue Eyes left some pretty big shoes to fill, but with every album, Buble is proving himself more and more ready to step into them.

One Fast Move Or I’m Gone – Jay Farrar and Benjamin Gibbard

What started as a soundtrack to a film about Jack Kerouac’s Big Sur turned into a partnership made in indie-rock heaven. This “soundtrack” is full of acoustic guitar-driven road songs, songs about moving, songs about loss. Farrar and Gibbard get the spirit of Kerouac right, and turn it into musical form. That’s something to be proud of.

Merriweather Post Pavilion – Animal Collective

Animal Collective has always taken the sounds of folk, and pushed them to new, crazy areas. Sometimes the results were less than stellar, but that’s not the case on Merriweather, an album that’s as much fun to listen to, as it undoubtedly was to make it. Though they push boundaries, they never go too far, always keeping the music immediate and joyous.

Glasvegas – Glasvegas

One of the year’s best UK imports, Glasvegas has the sonic sensibilities of U2 and a voice as arresting and full of emotion as Bono. They’re not challenging U2 as the biggest band in the world, yet, but after a couple of listens to this gorgeous album, it’s easy to see that that day may not be too far off.

I And Love And You – The Avett Brothers

The best country, or alt-country (depending on your definition) album of the year, The Avett Brothers got the lilting ballads and foot-stomping rockers just right. From a band whose previous release was titled Emotionalism, these brothers have the art of expressing emotion through voice and music down to a science.

Blueprint 3 – Jay-Z

The king of rap returned to claim his throne, and did he ever. Hova has always been full of swagger and bravado, and the most annoying part – to his competition, anyway – is that its almost always justified. Teaming up with old producer Kanye West, Jay-Z produced another album full of hooks, pounding lyrics and great samples. Haters, eat your heart out.

Outer South – Conor Oberst and The Mystic Valley Band

Oberst is one of the most prolific musicians working today, and on his second record without the Bright Eyes moniker, he acquaints himself admirably with southern folk rock. He also shares the vocal and songwriting spotlight with members of his talented Mystic Valley Band. In all, it’s a convincing case for those who say Oberst is the new Dylan.

Middle Cyclone – Neko Case

Case has one of the best voices in rock, and she uses it to full effect on this dynamite of an album, where she turns her voice and music into a force of nature, hitting the listener hard. She’s released several solid albums already, but this is her best so far. A cyclone, indeed.

Hazards of Love – The Decembrists

While not quite as good as The Crane Wife, Hazards of Love still shows one of the most exciting bands around growing and evolving. A quasi-concept album about the love between the supernatural and the natural, Hazards brims with wild guitars, echoing vocals and excellent song-writing. The result falls a little due to over ambition, but there’s no fault in being overly ambitious.

Oh My God, Charlie Darwin – The Low Anthem

In the best straight-folk release of the year, The Low Anthem proved that despite all the freak-folk that has risen, there’s a place for gorgeous harmonies and simple, acoustic guitar work. Anybody who doubts that need only listen to the album’s opener to be convinced.

Baby Darling Doll Face Honey – Band of Skulls

One of the best releases from a British band, Baby Darling is a bit like The White Stripes, only with a fuller sound. Part of what makes the band work is having the male and female vocalists going at it over punk and rock music in the vein of The Arctic Monkeys. The sound is sometimes heavy, sometimes bluesy, but always catchy.

City Of Black And White – Mat Kearney

Kearney got rid of the sing-song-rap that spoiled his debut record, and took the focus to songs more in the area of Coldplay. Sure, it’s not new tracks or anything, but Kearney’s voice is so sweet and the music so lovely, you can forgive him for indulging himself in a sound that’s a little familiar.

Summer of Hate – Crocodiles

Another of the wave of low-fi, fuzzy guitars bands in the vein of My Bloody Valentine and The Jesus and Mary Chain, Crocodiles got the formula right, and created a short, but fantastic album. Using guitar reverb as a palate, the band creates songs that are both hypnotic and catchy at the same time. That’s no small feat.

Strict Joy – The Swell Season

Once launched Glen Hansard and Marketa Irglova to superstardom, and there was a lot riding on their second release. Strict Joy hits all the marks and then some, capturing not only the winsome music from Once, but adding some more upbeat songs about finding new love in life. If people wanted Hansard and Irglova to stick to the same sound, then they’re missing the promise these two musicians have. Give Strict Joy a listen, and see all they can be.

Already Free – The Derek Trucks Band

The blues album Trucks has been working up to for years, Already Free not only features some of Trucks’ best guitar work on record, but also the most vocal work, from such artists as Susan Tedeschi and Doyle Bramhall II. All this mixes beautifully to create one of the most solid blues records released in a long time.

In And Out Of Control – The Raveoettes

The second release in two years from The Raveonettes is a little more accessible than last year’s, but the sound is basically the same – the great vocal work and the sonic work of Echo & The Bunnymen. The songs may be a little more poppy, but with numbers like the shimmering, “Last Dance,” nobody should be complaining.

Bible Belt – Diane Birch

Perhaps the best soul record of the year, Bible Belt is a lot like Dusty Springfield’s Dusty in Memphis: a white girl singing soul songs with a love and conviction that crosses color lines. Birch’s voice can echo the likes of both Carole King and Aretha Franklin, and its obvious she was influenced by both. There’s even a bit of Cat Power thrown into the mix, and the end result is something both familiar and new.

Back & Fourth – Pete Yorn

Yorn’s best release since his debut, Back & Fourth offers some truly heart-rending numbers, and also Yorn at his most unburdened. It sounds like, for the first time in a while, Yorn is just enjoying making music, and the end result is an album to be proud of. Hopefully, he’ll take himself a little less seriously from now on.

Wilco (the album) – Wilco

The perfect follow-up to Sky Blue Sky, Wilco’s latest is another walk through the alt-country lanes by one of its masters. Mostly guitar driven, always swinging, Wilco (the album) is the sound of a band having fun. Ever since Yankee Hotel Foxtrot, Wilco has become a pillar of inventive rock, and its great to hear the band just enjoying making music, without any pressure or labels. The enjoyment is infectious.

Keep It Hid – Dan Auerbach

The blues are in Dan Auerbach’s blood. He found the perfect outlet for it in The Black Keys, but his love for the music is so deep, he had to release a solo record just to exercise it. The album is a little bit more straight-ahead blues than The Keys’ recent releases, but the love of the music shines throughout. It may be a step back, but its one worth taking.

Rhett Miller – Rhett Miller

The self-titled release from the head of The Old 97’s is an alt-country record Ryan Adams could be proud of. The songs are all earnest tales of love and loss, and when you lay Miller’s voice over some truly great Whiskeytown-esque music, there’s not much else one could ask for.

Popular Songs – Yo La Tengo

Yo La Tengo does what they do best on their latest release, an album full of indie rock gems. It’s not as guitar-rock driven as I Am Not Afraid Of You, but it more than makes up for it melodically, and the last two songs, clocking in at nearly twenty minutes, are musical manna.

Kamaal the Abstract – Q-Tip

A fusion of hip-hop and jazz, Kamaal was supposed to be released in 2002, but owing to its less than commercial sound, it took seven years for it to see the light of day. It was worth the wait, coming from A Tribe Called Quest’s beat master and featuring some truly unique mixes.

Songs Up In Her Head – Sarah Jarosz

The best bluegrass album of the year also ranks as one of the year’s best debut records. Jarosz is perfectly in touch with the Appalachian tradition, and has the musical chops to take that tradition and turn it into something accessible and new. She also proves herself to be a gifted songwriter, and her voice is borderline angelic. Watch out, Alisson Krauss.

Troubadour – K’Naan

A rapper from Somolia – thus, one who actually has lived through the experiences he raps about – K’naan made a splash at the same time the Somalian pirates were making a splash in the news. Unlike them, K’naan talks about hardship, but with a passionate drive to improve things. It also doesn’t hurt that the album has some of the best and most original beats of any rap record.

Bitte Orca – Dirty Projectors

In a year of pretty wild folk records, Bitte Orca stands out not only because of the sheer vocal freedom that the band produces, but also because o the cart-wheeling guitars and ever-changing sonic landscapes. It’s a wild ride worth taking again and again.

White Lies For Dark Times – Ben Harper And The Relentless7

Ben Harper put away the more experimental side of himself and went for a flat-out blues-rock record. The result is one of the best efforts of Harper’s career, mixing killer slide guitar with some of his most passionate vocals.

Top 100 Songs

21 Guns – 21^st Century Breakdown – Green Day

Green Day has written a lot of catchy songs in their day, but a major salute goes to one that actually says something along with getting stuck in your head. It’s the perfect mix of ballad and rocker, and the lyrics fit our days perfectly: “One 21 guns/lay down your arms/give up the fight./One 21 guns/throw up your arms/into the sky.”

Meet Me on the Equinox – New Moon Soundtrack – Death Cab for Cutie

The Twilight Saga drives me crazy, but the soundtrack gave outlet to one of Death Cab’s best songs, so it earns a point or two for me. The song is all ambience, with Chris Walla’s guitars swelling and swirling with Ben Gibbard’s voice, never stronger or more confident. “Everything ends,” Gibbard repeats over and over. For this band, let’s hope not.

Lisztomania – Wolfgang Amadeus Phoenix – Phoenix

Probably the hookiest song of the year, this head-bouncer by the French Phoenix will get in your head and keep you bopping in step long after the song is over. Plus, how often is it something this infectious name checks a famous classical pianist?

Heartbreak Warfare – Battle Studies – John Mayer

The opener from Mayer’s third record shows that he’s not happy staying too long in any one genre of music. After mixing blues and pop perfectly on Conintuum is back to his folk roots, electrifying them as he goes. The guitar is straight out of U2, but the lyrics are pure Mayer: “If you want more love/why don’t you say so?” Simple, effective. Right on the money.

Cornerstone – Humbug – Arctic Monkeys

The best song from the British Isle – and also the best heartbroken track of the year – “Cornerstone,” is a Smiths-esque, meandering trip through bars as the narrator looks for a girl close enough to his ex, and who will let him call her by his ex’s name. Catchy, wry and melancholy. Morrisey, eat your heart out.

Best I Ever Had – So Far Gone-EP – Drake

The best song from the most surprising rising star in rap this year, “Best I Ever Had” leaves no doubt why critics and listeners are so excited about his music. His flows sound like Jay-Z, the production sounds like Kanye West, but the end result is uniquely Drake. Best I Ever Had, indeed.

There’s No Secrets This Year – Swoon – Silversun Pickups

The best song the Smasing Pumpkins never wrote, “Secrets” is the catchiest piece of music to come out of the resurgence of lo-fi, fuzzy guitar rock. The lead track from their second album, this should help Silversun become less of a secret.

The Fixer – Backspacer – Pearl Jam

Less than three minutes of Pearl Jam and their most punk and honest at the same time. Anything Eddie Vedder sings, I believe, but he out does himself on this gem from one of the band’s best albums. There’s nothing here that needs fixing.

16th & Valencia, Roxy Music – What Will We Be – Devendra Banhart

Sounding a bit like the follow-up to Banhart’s “Lover,” “16^th” might be his most accessible song yet. That’s probably because it’s obvious how much fun he’s having playing the music. The guitar hook gets under your skin, and the various instruments Banhart employs make for one of the most dynamic songs of the year.

Train Song – Dark Was The Night – Feist and Ben Gibbard

Gibbard and Feist make the perfect duo in this haunting, minimalist collaboration that draws the earnestness out of both their voices, and intertwines them to delicate – and devastating – effect. You really believe their lovers on the way to each other.

Run This Town (featuring Rihanna and Kanye West) – Blueprint 3 – Jay-Z

Hova released another reason why he’s still a force to be reckoned with in hip-hop with Blueprint III, and the catchiest track from the album makes his point perfectly. Rihanna and Kanye are the perfect partners for the track, and one listen proves that Jay-Z still runs the rap town.

Little Secrets – Manners – Passion Pit

The best debut album of the year, a swirling, delightful mix of pop and dance, with a shot of disco for flavor, “Little Secrets,” is a great example of why everyone was making such a fuss about this little record. There is absolutely nothing not danceable about this track – but the vocals, especially the kids choir – but it over the top.

VCR – XX – The XX

Want to know what The Cure would have sounded like working with a female singer? Go no further than this absolutely gorgeous stunner. One of the best love songs of the year, “VCR” fully establishes The XX as one of the best new acts of the year.

Charlie Darwin – Oh My God, Charlie Darwin – The Low Anthem

Perhaps the loveliest thirty-seconds of the year come from this song. Luckily, the whole song is golden, not just the opening. It’s a mix of CSNY, My Morning Jacket and Appalachian folk. The lead vocals are so lilting that they actually send shivers down one’s spine. This is a Charlie Darwin everyone can agree on.

Why I Am – Big Whiskey And The GrooGrux King – Dave Matthews Band

One of the most up-tempo – and that’s saying something – songs the Dave Matthews Band has released to date, “Why I Am” is both a tribute to late saxophonist Leroi Moore and a guaranteed number to get you out of your seat, and moving. Leroi couldn’t have asked for more.

All Things Must Pass – A Tribute To – Yim Yames

Yim Yames – or Jim James from My Morning Jacket – is one of the best vocalists working in music today, and this shimmering cover of the George Harrison classic is yet another example of why James can do no wrong. The music is so stripped-down, the lyrics so heartfelt, you just get swept up.

Sweet Disposition – Conditions – The Temper Trap

This song owes a great debt to the film (500) Days of Summer, which featured this Cure-esque beaut to the world. It’s possible that it would have broken through somewhere else, since the bass line is that hard to forget, the lyrics so sincere. However it got here, it’s a sweet, sweet thing.

I Quit Girls – Post-Nothing – Japandroids

The best track from the best grunge album of the year, “I Quit Girls” is about the girl who changes your life, and what you do once she’s gone. The lyrics are simple, but sweet, and the interplay of guitar distortion and pounding drums say everything else. Not only is it a lesson for artists in that genre – it’s a lesson for musicians in general.

Forever (featuring Kanye West, Lil Wayne and Eminem) – More Than A Game Soundtrack – Drake

Without a doubt the most start-studded – and best – collaboration of the year, “Forever,” throws together four of raps greatest and lets the magic happen. If one thinks the artists here don’t mix, just give the track a spin. You’ll change your mind.

Atlantic City – War Child Presents Heroes – The Hold Steady

The Hold Steady has always taken a note from Springsteen, so they were the perfect band to cover one of The Boss’s greatest pieces of songwriting. They manage to capture the yearning of the original, while throwing in a horn line and a wicked guitar solo. It’s no wonder Bruce hand-picked them to cover the song.

She Is Love – Losing Sleep – Parachute

A song James Taylor would be proud of, “She is Love” is just a guy, a guitar and his heart. Sometimes this can be boring – on this one, it’s sheer beauty. For the unlucky in love, this is what hope sounds like.

I Want You! – Living Things – Peter Bjorn and John

Peter Bjorn and John prove themselves to be the masters of infectious hits after “Young Folks,” and now “I Want You!” a guitar-driven piece of music that’s programmed like a rocket to hit your ears and get stuck there.

I’m On A Boat (featuring T-Pain) – Incredibad – The Lonely Island

What can you say about a rap group made up of white-boy comedians that take T-Pain and his auto-tuner voice, and turn it into one of the funniest – and catchiest – songs of the year? It’s just this side of brilliant.

My Wife’s Home Town – Together Through Life – Bob Dylan

Bob Dylan is probably the best bitter break-up songwriter ever, and he shows that he still has his bite on this track. His voice is so fittingly gritty, the guitar and accordion so in touch with the old honky-tonk tradition, that all you can do is sit back and laugh when he growls out, “All I can say is hell’s my wife’s home town.’ And at the end of the song he laughs – the sound of pure joy.

A Quick One, While He’s Away – 21^st Century Breakdown (iTunes Exclusive) – Green Day

Green Day has always been influenced by The Who, and for those who doubt, give a listen to this stellar cover of one of The Who’s most dynamic and adventurous songs. It’s eight minutes of pure rock bliss.

Outlaw Pete – Working On A Dream – Bruce Springsteen

The lead track from another classic by The Boss, “Outlaw Pete,” could be the soundtrack to a Cormac McCarthy song just as easy as a Johnny Cash number. The build up to the thundering end, and the rawness in Bruce’s voice when he calls “I’m outlaw Pete!” leave no doubt that The Boss isn’t done working yet.

Cold Fame – Baby Darling Doll Face Honey – Band Of Skulls

A slow-burner from Britain’s best new band, “Cold Fame,” plays like an old blues song if The White Stripes covered it. The guitar is at the forefront, echoing the tones of Stevie Ray Vaughn, while the vocals call to mind the Arctic Monkeys. The result is anything but cold.

Fireflies – Ocean Eyes – Owl City

The catchiest indie-electronic number since The Postal Service burst upon the scene, “Fireflies,” is as sweet as candy, and just as addicting. It may not have the depth of the Postal Service at their best, but with hooks this good, it’s no wonder it became a number one track of the year.

A Diamond And A Tether – The Open Door EP – Death Cab for Cutie

Even though Ben Gibbard is now a married man, “A Diamond” is a comfort for those fans whose love for his yearning, heart-broken lyrics draw them again and again to Death Cab. As always, Chris Walla’s production is outstanding, the music among the band’s best, and Gibbard’s lyrics are perfectly scared of love. Fans, rest easy.

Astral Weeks/I Believe I’ve Transcended – Astral Weeks Live At The Hollywood Bowl – Van Morrison

Morrison has always embraced jazz and the improvisation that goes with it, and he takes it to glorious new heights on this live version of the title track to his best album. Near the end, when he repeats over and over that “he’s transcended,” I dare anyone to argue.

Too Many Dicks (On The Dance Floor) – I Told You I Was Freaky – The Flight of the Conchords

For my money, this was the club hit of the year. Will it actually be played in any clubs? Probably not, but still. The Conchords take their folk expertise and transfer it with hilarious precision to dance music. The result is hilarious, and danceable as hell.

Last Dance – In And Out Of Control – The Raveonettes

The Raveonettes do The Cure proud on “Last Dance,” delivering a fuzzy guitar beauty worthy of “Pictures of You.” This should be the last dance at all the proms this year, but it won’t – their loss.

Horseshoes and Handgrenades – 21^st Century Breakdown – Green Day

Perhaps the most punk song on Green Day’s latest, “Horseshoes,” shows that even though the band has expanded their sound, the can still pen a good old fashioned head banger. When Billie Joe Armstrong bellows “I’m not fucking around!” it’s easy to believe him.

Haven’t Met You Yet – Crazy Love – Michael Buble

In addition to being the closest thing this generation has to Sinatra, Buble continually demonstrates that he can flourish a pen in the way Ol’ Blue Eyes never did. “Haven’t Met You,” could very well become a standard that other people cover in a couple years.

Colorado Girl – Townes – Steve Earle

The passion Steve Earle put into his tribute to Townes Van Zandt is nowhere more clearly evident than on this gorgeous, stripped down ballad. Wherever Van Zandt is, he has to be happy with this result.

One Fast Move Or I’m Gone – One Fast Move Or I’m Gone – Jay Farrar & Benjamin Gibbard

Farrar and Gibbard capture the freewheelin’ spirit of Kerouac’s Big Sur, with all the sweetness and melancholy that it entails, best on the title track from this tribute. Less a road song, and more a ballad to the road, it’s a sentiment that Kerouac would be proud of.

The First Days of Spring – The First Days of Spring – Noah And The Whale

The opening track from the best break-up record of the year, you won’t find a more lushly beautiful song on any other record this year. The strings and echoing guitar burrow into your head and heart. What else could one ask of from a break-up song?

Sandman, The Brakeman and Me – Monsters of Folk – Monsters of Folk

The “super group” of the year, the best of all the members come together in “Sandman.” Obviously a very Obest-infulenced track, the guitar moves like a train, and the harmonies don’t get any lovelier.

Even If It Is So – Kamaal The Abstract – Q-Tip

Q-Tip got in touch with his jazz sensibilities on Kamaal and the results are best displayed on “Even If It Is So.” Jazz spawned rap, and Q-Tip proves he’s an MC with an active – and danceable – ear for history.

Constellations (featuring Eddie Vedder) – En Concert – Jack Johnson

A fan favourite since it was released years ago, “Constellations” gets some added heart with the addition of Eddie Vedder. This song is further proof that these two need to make an album together. If “Constellations” is any indication, the result would be a beaut.

Bite Hard – Tonight: Franz Ferdinand – Franz Ferdinand

Franz Ferdinand abandoned the punk sound they’ve been chasing and embraced the funk side of their music, and the result is a gloriously catchy track that’ll have you dancing like you’re back in the ‘70s.

Don’t Wanna Cry – Back & Fourth – Pete Yorn

Sounding like an early Bob Dylan break-up song, Yorn taps into something heart-wrenching and honest with this song. The song is proof that real men aren’t afraid to cry.

My Girls – Merriweather Post Pavilion – Animal Collective

Animal Collective got their lovely mix of psychedelic folk down to a science on Merriweather, and “My Girls,” is the epitome of how simultaneously gorgeous and swirling the music can be. Just like the first taste of new love.

I Was Young When I Left Home – Dark Was The Night – Antony + Bryce

Dessner

This song has been covered countless times, but there’s something immediately arresting about this version. That special ingredient is the raw sadness in Antony’s voice – a hurt so deep that you’d think he was singing it as he walked the lonesome road home.

I And Love And You – I And Love And You – The Avett Brothers

The Avett Brothers may well be the best thing to happen to alt-country since Ryan Adams, and if you doubt that statement, give this title track a listen. The heart-piercing beauty will play your heart strings as potently as the piano keys that drive the song.

Undressed – Sound the Alarm – Howie Day

There’s nothing subtle about this song, but sometimes you just have to say it. “I like us best, undressed,” Day sings over an immediately infectious guitar line. When he makes this kind of music, that’s when I like Day best.

Wear and Tear – Break Up – Pete Yorn & Scarlett Johansson

The guitar line on this track will grab you right away, and if not, just wait for the interplay between Yorn and Johansson’s voices. They both sound untrained, unpracticed and totally human.

Brooklyn – Gary Go – Gary Go

An ode to New York that Billy Joel or Ryan Adams would be proud of, this Coldplay-esque jewel is driven by a lilting piano line and, near the end, a great horn line. The vocals really make it believable that Brooklyn could be quiet enough for a song as lovely as this to be heard.

One Hundred Million Years – Hold Time – M. Ward

M. Ward hit it big last year with Zooey Deschanel on She & Him’s debut, but this tracks that he can still write folk beauties with the best of them. His next project is a follow-up to She & Him, but he can drop music like this anytime he wants.

Natural Disaster – Noble Beast – Andrew Bird

The whistling folk wunderkind hits the nail on the head with this meandering folk ballad, straight out of the hills of Appalachia. Bird has never sounded more earnest, or better.

Rosalyn – New Moon Soundtrack – Bon Iver & St. Vincent

One of the odder pairings of the year works to devastating effect on this stand-out number from New Moon. St. Vincent adds some real layers to the song, but it’s the voice of Bon Iver that carries the song. Until his follow-up album is ready, this is more than enough to keep fans happy.

I’ll Go Crazy If I Don’t Go Crazy Tonight – No Line On The Horizon – U2

An anthem in the best U2 tradition, Bono hits all the high notes as The Edge lets his understated guitars shimmer just behind the vocals. If this is crazy, colour me crazy.

Heads Will Roll – It’s Blitz! – Yeah Yeah Yeahs

The Yeah Yeah Yeahs traded in their straight-up New York punk for something a bit more danceable, and they hit the jackpot with “Heads.” When Karen O orders you to “Dance/dance/till you’re dead,” you’ll have no problem following her orders.

The Prowl – Keep It Hid – Dan Auerbach

The Black Keys are undoubtedly one of the best blues bands around, the solo debut by guitarist Dan Auerbach shows that their love for the blues is all encompassing without sacrificing anything in the way of hooks.

Feeling the Pull – Strict Joy – The Swell Season

A great road song by the duo made famous by Once, “Feeling the Pull” perfectly captures the ennui that comes in love and life, and how sometimes all one can do is hit the road, and look for something new.

I Wouldn’t Need You – The Fall – Norah Jones

When a song by Norah Jones starts out with the line “If I touched myself/the way you touched me,” you know you’re in for a new Jones. The music is a little less jazzy, but it’s just as hooky and her voice is in perfect form. New isn’t always a bad thing.

Life Itself – Working On A Dream – Bruce Springsteen

Perhaps Springsteen’s most uplifting song since “The Rising,” “Life Itself” shows the Boss at his most introspective, and arresting. He’s still the master of blending hopes for love and a better world into a moving whole.

Empire State of Mind Pt. II – Elements of Freedom – Alicia Keys

This song was made famous with Jay-Z off of his record, but this solo version aptly shows Keys’ love for New York, her subtle piano skills, and her uncanny ability to write a catchy melody line. Its more intimate than the predecessor, and there’s something to be said for that.

Straight Away – City Of Black And White – Mat Kearney

“Straight Away,” is the perfect example of why it was wise of Mat Kearney to abandon the pseudo-rap from his first record, and focus on the more Coldplay-esque ballads. When he gets it right, it’s a thing of beauty.

El Corporal – Dark Was The Night – My Morning Jacket

Sporting a fantastic horn line and the typical vocal styling of Jim James, with the baritone backing vocals and swinging guitar, “El Corporal” is everything that’s so wonderful about MMJ.

Night/Day – (M)orning – Mae

The best song from Mae’s most ambitious record, “Night/Day” is a tone-perfect emo-ballad, that manages to be more than just a love song. The music is swirling and the pulls the listener into a sonic wonderland.

Never Say Never – The Fray – The Fray

An example of what has made The Fray such a big name, “Never” is about as catchy as a piano-driven love ballad can be, without being written by Chris Martin. The voice is earnestness incarnate, and when you match that with the music, it’s a slow dance number waiting to happen.

Daddy’s Gone – Glasvegas – Glasvegas

From one of the best debuts of the year, Glasvegas perfectly blends the guitar reverb of U2 with the earnest singing of Glen Hansard from The Swell Season. It’s a sweeping mix.

Shiver Me Timbers – Other Covers – James Taylor

One of Tom Wait’s best – and most underrated – songs gets a pitch-perfect treatment from James Taylor. Instead of being driven by the piano, Taylor uses acoustic guitar and a superb violin to give it the perfect melancholy tone. This is how a cover should be done.

Mary Pickford – Pictures – Katie Melua

A meditation on some of film’s early stars, while simultaneously showing off Melua’s gorgeous voice and guitar playing. All the stars mentioned would be proud to be included in something this lovely.

If Rap Gets Jealous (featuring Kirk Hammett) – Troubadour – K’naan

One of the best new names in rap, this track demonstrates why K’naan is a figured to be reckoned with. When he raps about being new to the game, saying “Instead of getting a beat from KanYeezy/who’d probably take half my budget/I could save the back end and do it tight,” he’s not just bragging.

Lua – Dark Was The Night – Conor Oberst + Gillian Welch

A stripped down version of one of Bright Eye’s best songs, this duet of voices and guitars gets at the heart of the song – the loneliness and longing of love.

Nothing But A Miracle – Bible Belt – Diane Birch

Perhaps the best new voice in soul, Birch taps into the tradition of the greats like Aretha Franklin with this organ driven gem. Birch can sometimes sound like Carole King, Franklin or Joni Mitchell. She channels King here to devastating – in the best sense – effect.

You Never Know – Wilco (the album) – Wilco

“You Never Know” is the sound of Wilco having fun, ignoring all the pressures placed on a band of this importance. Tweedy muses on the coming apocalypse while channeling The Traveling Wilburys, and perhaps oddest of all, injects a sense of hope into the mix.

Rock That Shit – Love vs. Money – The-Dream

One of the best neo-soul voices of our generation, The-Dream perhaps produced the best baby-making record of the year, and this song is the perfect demonstration of why you’ll want to get down to his music.

Sleeper – Beasts Of Seasons – Laura Gibson

With a guitar opening that sounds like something out of Joni Mitchell, but with a voice more reminiscent of Marketa Irglova, Gibson crafts a subtle ballad that both grabs you and then soothes you at the same time.

Okay, I Feel Better Now – Crash Love – A.F.I.

A.F.I. abandoned their punk rockabilly sound a couple albums ago, in favor of the more emo-flavored anthems, and while some may disagree about the wisdom, there’s no arguing with songs like this, which plays like the best crowd pleaser one could imagine.

Jackdaw – Draw The Line – David Gray

David Gray goes back to his roots on Jackdaw, and it’s a perfect example of why sometimes wandering away is okay, as long as you’re coming home again. In the vein of Gray’s best, White Ladder, Jackdaw is a welcome return to a great sound.

Days Is Almost Gone – Already Free – The Derek Trucks Band

There’s no doubt that Trucks is one of our generation’s best guitarists, and this track shows how when you mix his playing with a good old fashioned blues ballad, the results are some of the most stirring blues music in a long time.

I Wanna Kill – Summer of Hate – Crocodiles

Crocodiles tap directly into their Jesus and Mary Chain influence on “I Wanna Kill,” and the result is a song that can sit comfortably with “Just Like Honey,” as a fuzzy-guitar gem.

What You Do To Me (featuring Jim Jones, Billy Danze and Nicole Wray) – Blakroc- Blakroc

What at first seems a ridiculous mash-up – the blues of The Black Keys, with some of today’s best rappers – works to perfect effect, as shown on this song. Auebach’s voice is the perfect compliment to Nicole Wray’s, and the total effect is a wonder.

Can You Discover? – LP – Discovery

A band made up of members of Ra Ra Riot and Vampire Weekend, this is a revision of one of Ra Ra Riot’s best songs, and the electro-happy result is a perfect example of why both bands are so popular.

Happier Blues – The Ballad of John Henry – Joe Bonamassa

One of the best “classical” blues guitarists working today, “Happier Blues,” is a great example of why Bonamassa is such a force to be reckoned with on the guitar. It’s nice to have someone with a deep respect for the blues still playing.

Like Love – Rhett Miller – Rhett Miller

The vocals on “Like Love,” are straight out of Ryan Adams, the music is a swelling wave of alt-country guitar, and the lyrics are some of Miller’s best. What do else do you need?

Here To Fall – Popular Songs – Yo La Tengo

Yo La Tengo has always been at the fore of indie music’s expanding horizons, and “Here to Fall,” doesn’t disappoint in giving listeners something both adventurous and infectious to listen to. It smacks a bit of Pink Floyd mixed with Thievery Corporation, but the end is all Tengo.

Annie – City Of Black And White – Mat Kearney

About as lovely a song as was released this year, “Annie,” is a simple ballad in the vein of Tracy Chapman’s “Fast Car.” Kearney’s guitar and voice echo into sonic space with gorgeous effects.

The Hazards of Love 2 (Wager All) – Hazards of Love – The Decembrists

The Decembrists are so adventurous that when they write something as catchy and radio friendly as this, it can sometimes throw listeners off. Luckily, this song is so good, it won’t throw anyone off for long.

I Got The Reason #2 – Outer South – Conor Oberst And The Mystic Valley Band

A stripped down guitar and faint organ are the main instruments in this beautiful song that ranks amongst Oberst’s best. It’s great that he’s been experimenting more and more musically lately, but it’s always nice when an artist comes back to what’s familiar.

Leap – Welcome Joy – The Cave Singers

The Cave Singers channel both Fleetwood Mac and Ryan Adams on their second release, and if you think that’s an odd mix, one listen to “Leap” should clear away any doubts you have.

Hideaway – Where The Wild Things Are Soundtrack – Karen O and the Kids

Fans of Karen O’s heavier stuff with the Yeah Yeah Yeah’s might be thrown off a bit by the subtle beauty of “Hideaway,” but for those with an ear for it, its proof that if O hadn’t joined YYY, she could have been a killer solo star.

This Must Be The Place (Naïve Melody) – Live – Shawn Colvin

Shawn Colvin’s live cover of The Taking Heads standard is the quintessential example of the raw power just a guitar and voice can have when used correctly.

Gifted (featuring Kanye West, Santogold & Lykke Li) – The Spirit of Apollo – N.A.S.A.

A great techno-dancehall song, featuring one of the oddest – and best – group of musicians, “Gifted,” is yet another example of despite West’s off-mic antics, when he’s on, he’s on.

If I Can Come Home To You – Strange Faith And Practice – Jeb Loy Nichols

Nichols has mixed folk with jazz brilliantly over his career, but this song is perhaps his best combination. The jazz guitar and piano blend beautifully with the strings, and Nichols’ voice is the icing on the cake.

Life’s A Dream – There Is No Enemy – Built To Spill

It is hard to compare Built To Spill to anyone, their sound is so unique. Whoever they remind you of, there’s no disputing the greatness of this killer guitar song. As always with Built to Spill, the vocals almost steal the show, but the music hangs in their just fine.

Pretty Wings – Blacksummer’snight – Maxwell

Sounding at first like a children’s lullaby, “Pretty Wings,” shows why Maxwell is the rightful heir to Prince’s soul sound. It’s easy to see why this song was the biggest hit off of Maxwell’s most recent album.

Love Vignettes – Around the Well – Iron & Wine

Iron & Wine is known for his stark arrangements, and when he turns that talent to a political song, the result is as bewitching as anything he’s done before.

Lay There & Hate Me – White Lies For Dark Times – Ben Harper & Relentless7

A fantastic Jimi Hendrix-esque blues number, Harper’s guitar blazes through this standout song. And it has one of the best lines of the year: “Never trust a woman who loves the blues.”

History (featuring Talib Kweli) – The Ecstatic – Mos Def

Mos Def proves that he’s still as relevant as he was when he and Kweli broke into the hip-hop scene with Black Star. He’s a master of taking personal stories and laying them down over killer jazz beats.

This Tornado Loves You – Middle Cyclone - Neko Case

Case has one of the strongest voices in music today, and when she applies it to music as lovely as this, the result will knock you over. She sounds a bit like Stevie Nicks on “Tornado,” but the sound is so uniquely Case, there’s never any doubt who it is.

Long Black Veil (featuring Jeff Tweedy) – The List – Rosanne Cash

According to her father, “Long Black Veil,” is one of the most important country songs ever, and Cash gives it the reverential treatment such a piece of music deserves. The addition of Tweedy on harmonies was a stroke of genius.

Along The Way – Remain – Tyronne Wells

The simple desire to be everything that someone wants, without all the faults is the subject of Wells infectious ballad. It’s a radio-perfect single waiting to happen.

A Ghost – The Boy Who Never – Landon Pigg

Pigg channels the jazz sound of Van Morrison on this song about the beauty of believing in things one cannot see. It’s certainly a sentiment Morrison would approve of.

Appaloosa – Before the Frost/Until the Freeze - The Black Crowes

The Crowes tap fully into their country side on this song, that echoes The Band at their best. Part slide guitar ballad, part vocal gem, it’s a full-blooded hit.

See You – Farm – Dinosaur Jr.

A guitar-reverb blast, “See You,” shows why the regrouping of this band is cause for celebrating. The vocals are as earnest as they’ve ever been, and the guitar solos are barn burners.

Lucky Day – Glitter & Doom Live – Tom Waits

Wait’s growl can show as much heartache and pain as anger, and when he applies it to a ballad like “Lucky Day,” it cuts to the heart of even the toughest listener.

Top Reissues

1. Archives Vol. 1 (Box) – Neil Young

2. The Unforgettable Fire (Deluxe) – U2

3. The Who Sell Out (Deluxe) – The Who

4. Bleach (20^th Anniversary Edition) – Nirvana

5. Reckoning (Deluxe) – R.E.M.

6. Bluesbreakers with Eric Clapton (Deluxe) – John Mayall and the Bluesbreakers

7. Wait for Me (Deluxe Edition) – Moby

8. I Am Sasha Fierce (Deluxe) – Beyonce

9. Hopes and Fears (Deluxe) - Keane

10. Tuesday Night Music Club (Deluxe) – Sheryl Crow

Top Live Albums

1. Astral Weeks Live At The Hollywood Bowl – Van Morrison

2. Dreamin’ Man Live ’92 – Neil Young

3. En Concert – Jack Johnson

4. A Positive Rage – The Hold Steady

5. The Live Anthology – Tom Petty & The Heartbreakers

6. Celebracion De La Ciudad Natal – My Morning Jacket

7. Glitter & Doom Live – Tom Waits

8. Meets Madison Square Garden – Michael Buble

9. Live – Shawn Colvin

10. Live at Royal Albert Hall – The Killers

Top Music DVDs

1. En Concert – Jack Johnson

2. A Positive Rage – The Hold Steady

3. Rock and Roll Hall of Fame Live – Various Artists

4. Woodstock: 3 Days of Peace and Music

5. Meets Madison Square Garden – Michael Buble

6. Live at Royal Albert Hall – The Killers

7. Chris Botti in Boston – Chris Botti

8. Live in London – Leonard Cohen

9. Live from the Royal Albert Hall – Joe Bonamassa

10. Live from Madison Square Garden – Eric Clapton and Stevie Winwood

Top Soundtracks

1. New Moon – Various Artists

2. (500) Days of Summer – Various Artists

3. Where the Wild Things Are - Karen O

4. Away We Go – Alexi Murdoch

5. Inglourious Basterds – Various Artists

6. Pirate Radio – Various Artists

7. Up in the Air – Various Artists

8. LOST Season 4 – Michael Giacchino

9. Mad Men Season 2 – Various Artists

10. The Watchmen - Various Artists

Top Box Sets

1. Stereo Box Set – The Beatles

2. Archives Vol. 1 – Neil Young

3. New York – Frank Sinatra

4. The Live Anthology – Tom Petty

5. Deluxe Edition Box Set – U2

6. One Fast Move or I’m Gone – Jay Farrar & Benjamin Gibbard

7. Get Yer Ya-Ya’s Out – The Rolling Stone

8. Big Whiskey And The GrooGrux King (Deluxe) – Dave Matthews Band

9. Live 1973-2007 – Genesis

10. Keep An Eye on the Sky – Big Star

Couple o' Book Reviews

2009-08-26T22:43:00.004-06:00

There are a lot of books that start out with a strong premise, but fail to deliver on what should be an inventive story. Count How I Became A Famous Novelist by Steve Hely in that category.

The book centers on Pete Tarslaw, an office drone who decides to write “the best sellingest best seller of all time.” His motives are mainly based on a desire to show up at his ex-girlfriend’s wedding as something more than just a seat at the singles table, and a belief that he’s discovered the perfect con: writing novels.

Now, this could have been a funny story, but it comes off as almost insulting. Pete’s cynical views on the publishing world (while probably correct) are supposed to be witty, but instead come off as too glib to be satire. This is parody and not particularly brilliant at that. I’ll give Hely points for doing pretty decent caricatures of famous novelists, but none of makes any lasting impression.

The main problem is the characters. Hely never tells the reader why Pete is so hung-up on his ex-girlfriend. There’s no hint as to what they were like together, and if they had something special, or if she was just his last real girlfriend. Pete’s character in general is pretty unlikable, and even when he’s supposed to become sympathetic, he just sounds whiny.

The best part of the book is the fake New York Times bestseller list he creates on page 43.

Hely name-checks plenty of real authors in his book, like Stephen King, Cormac McCarthy and James Joyce – enough to know that he has real respect for artists who really can create something meaningful. At the novel’s end, as Pete describes a book that actually matters, he says, “I wish I’d written something that good."

Me too.

Ryan Boudinot’s Misconception is a “coming of age” story that never grows up to equal books that have done way better before – see J.D. Salinger’s Franny and Zooey. The story has basically all been done before, and the characters are too flat to garner any real attention from the reader.

The book is about Cedar Rivers and Kat Daniels, two adults who shared a turbulent high school summer together, and are reconnecting twenty years later, because Kat is writing a book about it, and needs Cedar’s promise that he won’t sue.

The rest of the story is told in flashbacks – with a return to the present here and there – about their budding romance and the totally messed up summer that totally ruins everything. Like I said, the plot is all too familiar - without giving everything away, see Juno for a far better take on one of the novel’s main subjects.

The thing that kills the story are the characters, who despite going through some pretty horrific stuff, don’t seem affected (in the past, or present) at all. Parents get divorced, children run away, there’s child abuse and pretty much everything else you would expect from a Dateline special, but none of it appears to change the characters in anyway. “Cardboard cutouts” is the phrase that comes to mind.

This is a shame, because there were several parts of the novel that had me chuckling out loud, especially in the beginning, but it all fizzles out to grey by the book’s end.

There’s too little here to make the reader really care about anything that’s going on.

Sadly, the novel’s title says it all.

"We're gonna be doing one thing and one thing only... killing Nazis."

2009-08-22T14:04:00.005-06:00

“Once upon a time in Nazi occupied France...”

So begins Quentin Tarantino’s latest opus, Inglourious Basterds. The film is a shining example of what continues to make Tarantino one of today’s most compelling directors: his near perfect ear for dialogue, the nuances of his characters and an ability to build tension that would make Hitchcock proud. Oh yeah, and a smattering of violence just to point out how obsessed our culture is with it.

As has always been the case, Tarantino is a director drunk with films and the history of cinema. Perhaps no other working director is as aware of the power of film to change history (which he takes full advantage of in Basterds), and history’s effects on film. Watch as he name checks Charlie Chaplin and some of the greats of German cinema in the same scene, or the way that the bulk of the kick-ass soundtrack is Ennio Morricone music. Tarantino is some kind of wonder DJ of a director, blending everything together into a perfect piece of celluloid.

Besides, there’s a rare joy that comes from hearing Tarantino’s dialogue in no less than four languages: French, English, Italian and German.

Basterds – which is broken up into five chapters – takes place over four years in Nazi occupied France. The title refers to a group of Jewish-Americans lead by Lt. Aldo Raine (Brad Pitt), a man who has some Apache blood flowing through his veins, and uses his ancestors' example as a way to disrupt and dishearten the German people. From all the men in his group he asks for one hundred Nazi scalps, each. “And I want my scalps,” he growls in a gritty Tennessee accent.

Playing against him – although the characters don’t meet until the climax of the film – is Col. Hans Landa (Christoph Waltz), better known as “The Jew Hunter.” Waltz is the Nazi’s head man when it comes to finding people, and a load of the film's tension comes when he encounters Shosanna Dreyfus (Melanie Laurent), a French Jew whose family had Waltz had killed. Dreyfus runs a cinema in Paris, and when a smitten Nazi hero brings a bunch of the Nazi higher-ups – including the Furher himself – to her theatre for a movie premiere, her plan for revenge and the Basterds all converge.

Viewers will have to throw out what they know from high school history for the ending, but that’s okay. What’s going on is too entertaining – and more than just a little cathartic – to suspend disbelief. Tarantino choreographs the final gun-fight like a spaghetti-western on steroids, and it’s a beauty.

All the actors are in top form, but three deserve special mention. Pitt is comic gold, bringing a hilarious mix of dry wit, violence and Americanism to Raine. Watching him not at all hiding his thick southern accent as he speaks Italian will have your sides splitting.

Laurent is a wonder as Shosanna. The sheer fortitude she brings to her character is amazing, all the more so when she loses it for a moment after meeting Landa three years after her family’s murder. Her final speech – fittingly, it’s a small movie – is as a prime example of vengeance personified.

The real winner, however, is Waltz. He imbues Landa with a perverse charm and ability to disarm someone verbally without missing a beat in any language. Waltz is so good you almost find yourself rooting for him, which considering what he stands for, is saying something indeed.

At the film’s end, as Lt. Raine looks at a bit of his handiwork, he comments, “You know what? I think this might be my masterpiece.” Go see Inglourious Basterds, and you’ll feel the same way about Tarantino. There’s nothing inglourious about it.

"Welcome to A World Where Anything Is Possible"

2009-08-15T12:43:00.003-06:00

For anybody who is concerned that Pixar is the only studio producing animated films that touch on anything other than cheap gags, Japanese master Hayao Miyazaki has brought another gem to the screen. Ponyo will pop your eyes with visual wonders, while cutting through the noise to touch you on a human level.

Miyazaki, the genius responsible for such treasures as Princess Mononoke and Spirited Away, has always been a fan of pictures that feature a strong female protagonist (not unlike underrated TV man, Joss Whedon). So, in remaking what is already considered a classic, The Little Mermaid, Miyazaki adds more humour and a more defiant female lead. I’ll be crucified for this by some, but I’ll take his version over the Disney’s original any day.

In the movie, Ponyo (Noah Cyrus) is the daughter of an undersea wizard who is attempting to keep the ocean in balance with an acceleratingly destructive human world (another common Miyazaki theme). Before any images get conjured up, let me stop you right here: Ponyo isn’t any kind of luscious mermaid – instead, she’s a goldfish with a human-like face. When she is rescued on the seashore by a little boy named Sosuke (Frankie Jonas), they fall head over heels for each other. It’s the kind of sweet, child love that doesn’t really get portrayed much in movies anymore.

Just like in The Little Mermaid, Ponyo defies her father and uses magic to turn into a real girl, but is their love real? That’s the question that gets answered as the story unfolds.

As any Miyazaki fan knows, his plots are never that simple. There are subtexts galore here: ageism, environmentalism and strained family relations. Ponyo isn’t quite as geared for the older audiences as Spirited Away and Howl’s Moving Castle were, but it truly is a film that both old and young will be dazzled by.

Give Disney credit for doing a fantastic job dubbing the film, so it doesn’t distract from the images, and still gives depth to the characters. Actors Tina Fey, Matt Damon, Cate Blanchett and Liam Neeson all give strong performances without showboating.

Naturally, the real joy of Ponyo is the visuals. Miyazaki stands out in a crowd that is coming to rely so heavily on computer-animated work, and leans far more towards more “traditional” animation. But don’t let that fool you – there’s nothing old-school about the undersea world he creates, or the time-capsule worthy image of Ponyo running across living waves during a storm.

When the Oscars roll around, its up in the air between Up and Ponyo for Best Animated Picture, and I don’t know where I stand as of yet. All I know is that Ponyo is the perfect, shining way to close out the summer season.

As Ponyo becomes a real girl, she revels in the wonders all around here, never missing a thing that delights her. Go see Ponyo and you’ll know how she feels.

"I can't stay." "I know."

2009-08-14T22:37:00.002-06:00

The Time Traveler’s Wife snuck up on me. The film - based on Audrey Niffenegger’s novel – takes its time grabbing you, and as I’ve read the book already, I knew how the film would end. So does the audience. So, it was quite to my surprise that, as the film neared its climax, I had a pit in my stomach. I knew what was happening it was affecting me on an emotional level. I bought it all: hook, line and sinker.

Colour me a hopeless romantic.

To be fair, The Time Traveler’s Wife could pretty fairly be labeled a “chick flick,” but that’s not a term I’m sure I really believe in. We’ll ignore the fact that this – like most “chick flicks” – was written and directed by men, and the fact that Brad Pitt (yes, that Brad Pitt) was an executive producer. Just because a film is a drama about love – something that both sexes go through – doesn’t mean that it’s something that should only appeal to women. For God’s sake, Casablanca may be the most famous “chick flick” of all, but if Bogie can pull it off with style and his manhood intact, I see no reason why modern men can’t enjoy these films as well. But I digress.

The plot of Traveler is easy to sum up, but confusing (at first, anyway) to jive with. It revolves around Henry DeTamble (Eric Bana), a man who has a neurological disease that causes him to randomly travel through time. The woman he loves, Claire Abshire (Rachel McAdams), he first met when he traveled back in time to when she was six years old, and they’ve been in love ever since. The story follows their life together, going through the many pitfalls that would accompany such a condition.

The joy in the film (and in the book) comes from watching it all play out. You experience life out of order, as Henry does, but it allows a unique perspective on the major events of life. As would be expected, it’s a tearjerker, so be prepared.

Bana shows yet another side of himself (see his flair for the hilarious in Funny People), dropping the tough-guy attitude he usually has for a man vibrantly in love with a woman, and how the very nature of who he is is breaking them down. McAdams, one of the sexiest and most talented actresses we have today, brings the money as she always does, acutely exhibiting the joy and heartache that Claire experiences trying to deal with Henry’s condition. They’re the third wonder couple of the summer’s film season, and watching them together touches on some kind of magic.

The pacing is a little slow, as I already said, but by the end, I wanted to see more of their life together, which gets a bit rushed in order to get to the ending. Most of the science transferred over from the book gets lost, and instead the movie’s focus is the relationships, which hurt the film a little, but not over much.

The Time Traveler’s Wife is basically what one would expect from a so-called “chick flick,” but hell, that’s okay with me. So they turn up the schmaltz. It works, and that’s what the audience wants anyway (the scene – clichéd as it may be – where Claire and Henry run through a field towards each other gave me goose bumps). Put your prejudices aside and let it carry you away.

"Comedy is for Funny People"

2009-08-01T13:16:00.002-06:00

Judd Apatow is a lot like Quentin Tarantino was in the late 90’s; he has his hands on a lot of films (writing, producing, ec.) but he’s only directed two – now three – films. Audiences have come to expect a certain kind of comedy from Apatow's movies: funny and crass, but deeply rooted in the characters and about way more than cheap laughs.

In respect to all these expectations, Funny People is without a doubt, Apatow’s most mature film. Its fitting that the story is based on getting older, and what to do when you see the next generation coming up, when you’re still uncertain of what you want to do. Fittingly, the bulk of the movie’s cameos – another requirement from Apatow's films – are older entertainers. Warren Zevon and Jackson Browne both get name-checked - one movingly, the other hilariously -, and James Taylor has perhaps the funniest cameo in the whole movie.

The movie’s plot is centered around George Simmons (Adam Sandler) a former stand-up comedian, turned comedy actor who has lost himself in a slew of crappy family films and meaningless relationships. When he finds out that he has a form of leukemia, he starts to reassess his life. On the top of his mind is the quintessential “girl that got away,” Laura (Leslie Mann).

Into this world comes Ira Wright (Apatow regular, Seth Rogen), a hopeful comedian whose sense of humour catches George's attention one night in a comedy club, so much so that he hires Ira to be his assistant. The two have a great love of comedy, and a real friendship develops, even if George doesn’t want to admit it.

So, when George gets the news that he has miraculously beaten the disease, he has to decide what to do with the second chance he’s been offered. No fair spoiling the end, but its not what would be expected from this kind of comedy.

This all may sound a little too dramatic for an Apatow comedy, but Apatow is a director who knows how to blend humour and heartbreak together seamlessly. Even if the movie was a bit long, all the scenes go toward advancing who these two men are. You could call Funny People a “bromance” (which is a term that just drives me up the wall), but it really is about two men trying to find a way to do what they love in the world.

As always, the supporting cast is fantastic. Jonah Hill and Jason Schwartzman as Ira’s roommates are hilarious, but my favourite was Eric Bana, dropping all the action/drama gravitas he normally is saddled with, and going for outrageously funny as Laura’s Australian husband.

The main three actors are all at the top of their games. Mann (Apatow’s wife) has never been more lovely or vulnerable, skillfully creating a woman in the midst of a crossroads in her life. Rogen, who seems made to deliver Apatow’s brilliant lines, is as funny and charming as he’s ever been, while still conveying all the emotions of a green guy in the world of comedy.

The real money is Sandler, though. After doing a bunch of lackluster roles, Funny People is his best acting display since Punch Drunk Love. I’m not sure how much of his own life he plumed for the role of George, but he brings all kinds of loneliness, bitter humour and confusion to bear for this character. I know he won’t get any love when the award season roles around, but he knocks it out of the park here.

Funny People isn’t as laugh-out loud funny as The 40-Year-Old Virgin or Knocked Up, but it is a film that shows a writer/director coming to grips with age in an industry that usually tries desperately to avoid aging. For me, age looks good on Apatow.

"All My Memories from High School are from Tonight"

2009-07-27T14:37:00.002-06:00

I Love You, Beth Cooper is a lot like high school. It starts out with promise, fizzles out into the same old thing in the middle, but manages to turn bittersweet by the end. Its certainly not going to become required high school experience watching (like The Breakfast Club) but its no Not Another Teen Movie, either.

The plot (based on the hilarious book by Larry Doyle, who penned the screenplay) is pretty simple – and familiar. Dennis Cooverman (Paul Rust) is the stereotypical geeky high school valedictorian, who has had a major jones for Beth Cooper (Heroes’ Hayden Panettiere, who I would love to see cast as someone who isn’t a cheerleader, because I think she may have some actual acting chops if she could ever show them), who is also the typical high school hottie – cheerleader, blonde and a stupid boyfriend.

Inspired by the advice of his best friend Rich (Jack Carpenter) and burdened with the knowledge he’s about to leave school behind, having never spoken to Beth, Dennis declares in his speech that he, well, loves Beth Cooper.

Embarrassed but flattered, Beth and her two token cheerleader friends actually show up to Dennis’ extremely lame graduation party, but a jealous boyfriend follows, which leads to a night of being chased around by punks, awkward sex jokes, and ultimately, the heart-warming affirmation that this geek is the one who is really ahead in life.

Like I said, same old story. The beginning, with its awkwardness, but positive affirmation about saying what you never could say actually has some promise, and if the movie had followed this line, it could have had a much larger impact. In the middle, however, it falls into the same jokes audiences have seen ad nauseam.

Surprisingly, even though the end is pretty predictable and has its share of clichés, when Rust and Panettiere finally get alone together and talk, and both take off the mantles of the roles they play in the high school hierarchy, there’s some genuine human connection. The two play earnest and confused well, and you actually understand why Dennis would fall for Beth.

The book – as is always the case when the book came first – is better than the movie, but its disappointing because since the author is overseeing the transfer, one would hope that he would be able to transfer more of the subtle humour and teenage angst that were so well done in his book.

I Love You, Beth Cooper, isn’t going to knock anybody out of the park, but if you can make it to the end, you might just see a tinge of wit and humanity. There are worse ways to end a picture.

"Its love, not Santa Claus"

2009-07-25T13:24:00.002-06:00

Give it up for a cinematic love story that’s not afraid to explore all the nuances of love – both the joy and the heartache – using two believable, relatable characters. In an age of over-dramatized soap flicks or callous one-nighter movies, (500) Days of Summer is the sunlight breaking through the clouds.

The story owes a large debt to films like The Graduate (which gets name-checked several times in the film, in fantastic ways) than to the typical list of romantic comedies. Being a major romantic myself, it added another layer of enjoyment to the film that it’s the male lead who is the more lovesick. This doesn’t pop up as much in cinema as I would like, and whenever it does, it right away sets the film off from its peers.

Said male lead in Summer is Tom (one of today’s best working actors, Joseph Gordon-Levitt), who gets perhaps one of the greatest introductions on film in a while, from the movie’s narrator: “Tom Hansen of New Jersey, grew up believing he’d never truly be happy until the day he met the one. This belief stemmed from early exposure to sad British pop music and a total misread of the movie, The Graduate.” When Tom meets Summer (the enchanting Zooey Deschanel) at the office where he works writing greeting cards, be believes that day has come.

What follows is the story of their relationship, told Memento-style, jumping around chronologically, as they go from boy-meets-girl, down the familiar relationship path, with some major hitches in the road. The biggest being that Summer doesn’t believe in love, or in “being anyone’s anything.” Still, Tom breaks down her walls as their story progresses, but as the narrator warns, “this is not a love story. This is a story about love.”

You’ll have to watch the film to see what the actual difference is, and its no fair spoiling the ending, but what viewers get is a much more in-depth examination of all that goes along with being in love than most movies provide. There’s the brutality of going back in one’s mind in an attempt to find the moment things started to sour, the complete and utter difference between reality and expectations when one sees their ex again, and of course, the joys of first getting together. Audiences will be hard-pressed to find a movie that more accurately describes being in love.

Major props go out to director Marc Webb and writers Scott Neustadler and Michael H. Weber for crafting a film that allows visuals to take the place of dialogue in describing how a character feels – the dancing scene after Tom and Summer’s first night together is one of the purest expressions of joy on film of the summer.

Of course, the real power of the film is Gordon-Levitt and Deschanel, who join John Krasinski and Maya Rudolph from Away We Go, as two actors who bring everything to the table in their portrayals of being a couple. Deschanel is at her quirkiest and most charming, and she’s never looked lovelier. It’s a no-brainer why Tom falls for her from word one. Gordon-Levitt continues his streak of fantastic performances bringing all manner of wit and heartache to Tom. These two make you believe in their love, the way the classic movie couples did. The film feels less like something that was written, and more like videos of real life, their acting is so vibrant.

Summer is winding down and Autumn’s on the way, but there’s no better way to catch some of the last summer joy than (500) Days of Summer. Its one for the ages.

Summer Music Recommends

2009-07-08T22:40:00.001-06:00

Here's a bunch of albums that came out right around the summer, and I haven't had a chance to write full reviews of. There's little blurbs under them, but they're all worthwhile!

Swoon - Silversun Pickups
Fuzzy guitars and pounding lyrics make for a great grey day record.

Together Through Life - Bob Dylan
The master songwriter goes south of the border for a little Mexicali-Blues.

Summer of Hate - Crocodiles
Waves of guitar reverb make for the best album from a Jesus and Mary Chain follower in years.

21st Century Breakdown - Green Day
The best rock album of the year, and a great example of Quadrophenia-esque rock concept albums.

Big Whiskey and the GrooGrux King - Dave Matthews Band
One of the DMB's best efforts yet, and a fine example of how they can mix musical styles into a cohesive and engaging mix.

Secret, Profane & Sugarcane - Elvis Costello
Costello takes a break from his punk rock roots to delve into Americana roots, straight out of Appalachia.

Wolfgang Amadeus Phoenix - Phoenix
The only pop-punk album you'll find that name checks a half-ton of 19th Century composers.

White Lies for Dark Times - Ben Harper and the Relentless7
Harper steps away from his more experimental records for a Hendrix-style guitar based jammer.

Back & Fourth - Pete Yorn
Yorn hasn't made a consistently decent record since his debut, but he nails it on his fourth effort.

Sunny Side Up - Paolo Nutini
Nutini takes everything from Scottish ballads to reggae beats for a great summer mix of styles.

Electric Dirt - Levon Helm
The Band's drummer releases the best album The Grateful Dead never made, only better.

City of Black & White - Mat Kearney
Kearney abandons the weird Brit-rap from his debut and sticks with the gorgeous ballads that work best.

Wilco (The Album) - Wilco
Another album from Wilco in the vein of Sky Blue Sky, Wilco gives fans a great alt. country record.

Manners - Passion Pit
An amazing mix of punk and dance-techno, this may well be the catchiest release of the summer.

Bible Belt - Diane Birch
Birch is a more old-school soul version of Cat Power, and her album sounds like something right out of the Mississippi delta.

In Defense of Megan Fox

2009-06-28T19:41:00.002-06:00

A major part of contemporary American culture is deconstructing people in the spotlight, whether they are politicians, musicians, actors or even those who are having their fifteen minutes of fame (i.e. Susan Boyle, Jon & Kate, ad infinitum). The list of reasons that we do this is undoubtedly as long and varied as the people who enjoy this pastime so much; there’s curiosity, animosity, jealousy, boredom and countless other reasons. What rarely ever happens is a regular person defending one of these people.

That’s what I am endeavoring to do with Megan Fox, because being in the spotlight as much as she has recently, the woman’s taken a lot of flack, and I’m not quite sure how much of it is deserved.

To get it right out of the way, I’m not going to lie and say that, as a heterosexual male, Megan Fox didn’t first come to my attention because of her looks. Of course she did. The way the first Transformers film was made, that was exactly the point, and let’s be honest: it worked. Myself and countless other males around the country were hooked from scene one. This fact makes me biased, of that I have no doubt, but this discussion could only be started by someone who is biased.

The first thing I’d like to address is the many people online and in the critical circles who claim that Fox is only “pretending to act,” and who completely disregard any acting abilities she has. Let’s be honest: she’s no Meryl Streep, yet. Yet is the key word of that phrase, because I’ve watched her films several times, and I see a definite potential for some serious acting chops. I think most of the basis for these condemnations come from the fact that she’s only been in big-budget summer films (with the exception of How to Lose Friends and Alienate People but there she was basically typecast as a exaggerated version of the person the press thinks she is) which, let’s face it, are hardly the kind of films that really hone actors’ skills. I think that once she gets offered some meatier roles – ones that aren’t just about spectacle – that people will see a different side to her. I’d love to see her in some kind of quirky comedy or drama, because I think she has the talent to do something real and visceral with these kinds of roles.

Of course, one must consider the fact that Fox enjoys the bigger movies better, and who’s to argue with that? If those are the films that she enjoys making, why should she be railroaded for it? “Big” movies like The Dark Knight and The Lord of the Rings have shown that just because a film has a big budget, that doesn’t mean that it can’t be powerful and moving, despite its massive scope. There’s no reason to discredit somebody’s abilities just because they don’t do an occasional indie film here or there. They just aren’t some people’s style.

All the criticism I hear about Fox’s acting – how shallow it is, and is based solely on her looks – calls to mind Marilyn Monroe. She too was considered less of an actor and more eye candy, something she battled her whole career. Yet looking back, who could have brought more humor to Some Like it Hot or heartbreak to The Misfits? Fox has only been in three movies so far – which is a fact that people seem to forget when they’re attacking her – so I would hardly say she’s had a decent chance to develop her skills as an actor yet. There’s some kind of grace period for an actor to really develop their skills that we just don’t allow anymore. Give her time, and the right roles, and I remain confident she’ll surprise a great many people.

The attacks on her personality in my mind are tied together with her image as a sex symbol, so I’ll examine these two things together. Our country is very confused when it comes to sexuality. We condemn those who are too expressive with their sensuality, while at the same time, making fun of those who are more introverted when it comes to that aspect. The fact that Fox is not only completely comfortable with her sexuality, but appears to embrace it and all the connotations – both positive and negative – that go along with it turns a lot of people off. Somebody that comfortable with themselves becomes intimidating to people who aren’t, but perhaps wish they could be. She gets the labeled as a man-eater, or as a stuck-up person just because she is aware of the fact that she is attractive, and goes along with it. It takes a huge amount of confidence to accept a label the way she has, and I’ve admired her from the start for her ability to do this so naturally. Yet in all the interviews, stories (from people who have spent real time with her, not just a minute) and discussions, she has always come across to me as a very confident, funny and sweet person. She has a very dry, sarcastic sense of humor, and as somebody who is the same way, if people aren’t used to that, it can really alienate or offend them until they get it.

Hollywood and our culture on the whole have a nasty habit of making beautiful women out to either be mean or stupid, something that has been a part of our male-dominated society for ages. That’s why they broadcast during those pre-movie trivia games – like its some kind of shocking news – that Natalie Portman went to Harvard, or that its such a big deal that Emma Watson would rather go to university than act. Megan Fox is just one of countless actresses who gets pegged with this prejudice.

You can throw that whole “boy with the rose,” thing out there – which anyone will admit was an honest mistake (some of these people should try having their picture taken 100 times in two minutes and see how much they are able to notice) – but she handled it very well, apologizing right off and hoping that she could maybe find the boy and apologize personally. That maybe doesn’t fit with how some people view her, since she’s evidentially so conceited, but I see the situation as a glimpse of how she really is, not how people want her to be.

I won’t apologize for being a Megan Fox fan any more than I would apologize for being an Audrey Hepburn fan. I hope eventually people stop talking about what she can’t do, and everyone gives her a chance to show us what she can.

"You Won't Have This Much Fun Again Until You Discover Oral Pleasure!"

2009-06-27T14:55:00.003-06:00

For anyone tired of all the big-budget blockbusters of the summer, Away We Go will be a breath of cool air. Who knew that Maya Rudolph (from SNL) and John Krasinksi (from The Office) could take this little idea of a movie and turn it into a comic gem in the style of The Graduate and Garden State?

This is the pop-indie movie people have been waiting for all summer (this and (500) Days of Summer) and boy, does it deliver on all fronts. You’ll leave the theatre smiling, just to turn around and watch it again.

The plot of Away We Go is pretty simple. Verona (Rudolph) and Burt (Krasinksi) - an un-married couple, by Verona's choice - decide they need to find a new place to raise their coming baby, and go on a kind of cross country journey in search for the perfect place.

They make stops in cities where they have family or friends, starting in Phoenix, then on to Madison, Montreal and Miami. The characters that populate each place are in turns hilarious, odd, and heart-breaking, but always well-developed, and appropriately human.

All these secondary characters are brought to life by first-rate acting, but the two winners have to be Maggie Gyllenhaal as LN- a Madison professor who has taken family life to a frightening level – and The West Wing’s Allison Janney, (who makes every picture she’s in better) Verona’s old colleague Lily, who is as vulgar and crass as she is hysterical.

Let’s be honest though; this is Rudolph and Krasinski’s picture. They make you believe in their quirky love the way Charlie Chaplin and Virginia Cherrill did in City Lights, the way Audrey Hepburn and Gregory Peck did in Roman Holiday and the way Zach Braff and Natalie Portman did in Garden State.

Rudolph is all kinds of sweet, sarcastic and sexy, totally underplaying a character that could have easily been destroyed by too much talk, too many tears…just too much. Watching her face as she battles her emotions shows the viewer exactly what she is experiencing.

I can only use superlatives for Krasinksi’s performance. He is flat-out fantastic in a role that calls for odd-ball humor, tender emotion and everything in between. This is the nail in the coffin for the handful of women out there who haven’t already fallen for Krasinski on The Office. The way he blends his trademark wit and humor with feeling and melancholy (and always managing to make it either hysterical or touching, as the situation calls for) is a wonder. Oscar take note – this is the kind of performance those little gold statues were made for.

Of course, three cheers go to real-life married couple Dave Eggers and Vendela Vida for their wonderfully written screenplay and Sam Mendes for his compassionate direction. Eggers and Vida deserve an Oscar nod for Original Screenplay, as well.

And props for tapping folk singer/songwriter Alexi Murdoch for the film’s main musical voice. He got left behind after The O.C. crowd forgot about him, but this should bring him to the wider audience he deserves.

Before they decide to go on their trip, Verona asks Burt if he thinks they’re fuck-ups. He replies in the negative, but she remains unconvinced. As the magic of Away We Go proves, the answer is an unequivocal “hell no.”

Transformers 2: Revenge of the Fallen

2009-06-24T15:38:00.002-06:00

Everything about Transformers 2: Revenge of the Fallen is the very definition of “sequel” in the strictest sense of the word. There’s nothing particularly inventive in this sequel: it’s basically the same plot, the same characters, the same themes – only bigger, louder and longer.

Now, the most important question is, does that matter? If you’re someone who is looking just for entertainment for entertaiment’s sake, or if you’re an intelligent viewer who has the capability to turn their brain off for several hours and just immerse yourself in some eye-popping visuals, than this is summer blockbuster manna.

Like previously stated, the gang from 2007’s hit are all back. This time Sam Witwicky (Shia LeBeouf) is about to start college, two years after the Autobots (the good robots) first landed on earth. He’s excited about starting a new stage in his life, one that’s normal and alien-robot free. Mikaela (Megan Fox) is majorly in love with Sam – as he is with her - though the main conflict between the two of them throughout the film is that neither of them can actually bring themselves to say the “l word.”

As he’s packing up to go, a sliver of the All-Spark from the first film, catches Sam’s eye, and makes a major imprint on his brain, causing him to see the Cybertron’s language everywhere. It turns out the symbols he sees are a map that both the Decepticons and Autobots need to find a source of energy that will take the earth’s sun for it’s energy.

So, the race is on to find where this source is before a resurrected Megatron and a whole list of new baddies can locate it.

Like I said, same plot, just bigger. Way bigger; the movie clocks in at right around two-and-a-half hours, when it could have easily been far shorter.

The acting is nothing spectacular. LeBeouf is hilarious in those awkward moments he always seems to find himself in, and there’s momentary glimmers of some real leadership power, but it gets buried under an avalanche of clichés. Fox is as gorgeous as ever, but she gets stuck playing the role of girlfriend/piece of luggage. Despite these facts, the two have genuine chemistry and I’d be lying if I didn’t say I thoroughly enjoyed their scenes together. There’s a genuine wit and sexiness present there and I blame their performances on the lack of material and characters written in such a one-dimensional way, that there’s not much they can do with it.

Of course, the real reason most will be going to this is for the action sequences, and those don’t disappoint. Just like in the previous film, the sound and visuals of the Transformers as they do their thing will pop your eyes. If only the scenes didn’t get bogged down so much with lame new “comedic” characters, they’d flow a lot better.

For all of this, I found myself enjoying Transformers 2. I guess I have the ability to turn my brain off and just float along with the movie. If that’s your idea of a good flick, or if you want to seem some major visuals, this is the movie for you.

A New Twist on an old Con

2009-05-30T15:19:00.002-06:00

Listen up, all you yegs: Rian Johnson, the writer/director who brought film noir back into style with 2005’s Brick is back, this time adding his magic touch to the con film. If Brick was his Maltese Falcon, than The Brothers Bloom is his The Sting.

Johnson has a knack for snappy dialogue and wonderful characterization, and is an extremely literal director, a phrase that here means he’s obsessed with storytelling. There’s a touch of Wes Anderson’s style is Johnson’s second picture, but the sheer cinematic joy is all his. Besides, there’s something to be said for a film whose two main characters’ names are Stephen and Bloom, the centerpieces of James Joyce’s Ulysses.

The best thing about The Brothers Bloom is the characters; no doubt about it. The plot is a fantastic ride of twists and turns, but it’s the actors and the unique characters they play that are the real money in this con caper.

Mad props to Mark Ruffalo and Adrien Brody as Stephen and Bloom, respectively, for bringing devilish wit and humanity to the titular characters. Stephen is all action and smarts, an author of “dead Russian writer” proportions who uses real life to spin his stories into cons. Bloom just follows his brother’s lead, immersing himself in whatever character his brother has written for him, which leaves him feeling like a man without a life.

That is, until Stephen sets his sights on Penelope (Rachel Weisz) – a rich orphan who collects hobbies in her massive New Jersey mansion – as their final con, setting into play a rich tapestry of events culminating in a conclusion at once witty, shocking and heartbreaking. That’s all I’ll give as far as the plot goes – it’s a ride one has to go on for themselves.

The leading ladies are the real thieves in this one, stealing practically every scene they’re in. Weisz is a sweet, sexy wonder full of mischief and childlike excitement that leaps right off the screen as has you jumping up and down for joy. The scene where she describes how best to not get cheated will performing a series of elaborate card tricks will knock you down flat.

Save an explosion of applause for Rinko Kikuchi, who plays a nearly silent Japenese wonder criminal named Bang Bang. Kikuchi already proved she could act in Babel, but her comic turn here, which is at times as melancholy as it is erotic, better land her some more starring roles, pronto. She’s the spice that makes Bloom really sizzle.

For a break from all the summer blockbusters, The Brothers Bloom is just the ticket. It’s like running through the sprinklers after days of going to the pool: fun, fast and full of moving life. What else is summer all about?

"What's That in the Sky?"

2009-05-29T22:23:00.000-06:00

Not only is Pixar’s latest film, Up, a magnificent piece of art, but the title lends itself to all manner of fantastic puns that describing soaring, flying, and the sky’s the limit. Fortunately for the viewer – and unfortunately for the reviewer – these turns of phrase don’t do the film justice by a long shot. It wasn’t quite as good as Wall-E for me (blame that on being a sucker for romance) but it comes within a hair’s breadth of matching it.

In the hands of any other studio, a film about an old man – Carl Fredricksen (Ed Asner) – who ties a bunch of balloons to his house so he can float down to South American to fulfill a promise to his dead wife, could have easily turned into a farce or just plain schmaltz. In this studio’s able hands, it instead becomes the wonder film of the summer. No other picture will dazzle your senses, pop out your eyes visually and still manage to be uproariously funny and moving at the same time.

The plot is pretty simple, as stated above. I should mention that Carl picks up a passenger on his journey, one pudgy wilderness-camper named Russell, who provides much of the film’s more obvious humour. Add in a delightfully adorable talking dog named Dug, and you’ve got a live one on your hands. There are plenty of laughs and thrills to delight both children and adults – and how many so-called “family films” can actually achieve that?

The real power of Up is its focus on the realities of life. Pixar’s films have never talked down to kids, and have often handed down pretty heavy subjects to those in the single-digits. In that regard, Up may be Pixar’s darkest film to date (the opening of the film – a dialoguess story of a married couple’s life - is one for the time capsule, despite its darkness), but by showing viewers that life can be cold and hard sometimes, the filmmakers only increase the power of the love and life that carries the movie along. This isn’t just film making for children – it’s a movie for people, in the grandest tradition of the term.

In a summer full of movies that promise wonders galore (Terminator, Harry Potter, Transformers), Up is the real wonder; a film that never lets its magic get in the way of the human story. Tie a balloon to it and let it fly you away.

The Edge of Love Review

2009-05-13T07:50:00.003-06:00

Let’s get one thing straight: Keira Knightley has it all. She’s a damn fine actress, she’s got the pretty in spades, she can sing and she can quite literally light up the screen – as she does in the opening scene of her latest film, The Edge of Love, based on the life of Dylan Thomas. I submit that if Scarlett Johansson is this generation’s more intellectual Marilyn Monroe, than Knightley is our more sensual Audrey Hepburn (if you think that’s crazy, consider that Kinghtley is slated to play the lead in a new version of My Fair Lady). Just like Hepburn, even if the material isn’t all it should be, she still manages to shine.

Alas, sub-par material is the case in Edge. Being billed as the “next Atonement” – it isn’t – is setting the bar pretty high, and the movie doesn’t quite make it. I place less blame on the actors - Sienna Miller, Cillian Murphy and Matthew Rhys – and more on the writer and director.

The main hang-up is that the movie never gets a strong foothold on what the story is, which causes the same problem for the audience. I felt like the director John Maybury couldn’t quite decide if he wanted to tell the story of Welsh poet Thomas, or the women who loved him, and so instead he tried to do both, without pulling either off. The film felt directionless and meandering, which is okay when you have such pretty images to look at – not just the actors, but the beautiful cinematography – but it holds a movie back from having any lasting impact. Personally, I was more interested in the women who loved him than Thomas himself (that may be because I don’t know much about him, and the fact that out four, Rhys’ performance was the most lackluster), but just picking a story to tell and running with it would have grounded the movie. Its like they were trying to make a more serious Shakespeare in Love, but couldn’t decide on what to focus on – the man or the love.

As for the acting, there was a lot that was glossed over, or just not conveyed. I couldn’t for the life of me figure out what would make Rhys’ callous, uncharming Thomas so irresistible to Miller’s Caitlin and Knightley’s Vera. It couldn’t have just been that he was a poet, but I never saw what it was. Miller’s acting was fine as Thomas’ lose canon of a wife, but a glimpse into her more vulnerable side would have done a lot in the way of creating empathy. Despite the shady character build up, I was still surprised by Thomas’ sudden turn into utter douche-baggery near the film’s end, which seemed to me out of left field.

Murphy as William, a WWII “hero” does an admirable job, even if it’s odd seeing him in a not so creepy role, and he and Knightley play well together, but there wasn’t enough of them to really sell it for me. Blame that on the film’s lack of focus.

To be honest, though, this is totally Knightley’s show, and while the performance certainly isn’t flawless (her Welsh accent comes and goes and we never see the moment where she really falls for Williams) she’s got the fire that keeps the film burning, even if it’s a slow burn.

Just like falling in love, its not enough to just go to the edge, but you have to commit and jump. The Edge of Love does just what it says: gets to the edge, but can’t quite make that final leap.

"I'm Working on A Dream"

2009-02-07T11:02:00.003-07:00

Less than two years since Bruce Springsteen and the E Street Band released Magic, a lush new collection of songs that hearkened back to their boisterous past of The Wild, The Innocent and The E Street Shuffle, the Boss and band got together and put together Working on a Dream, the most sonically diverse album since Born to Run. And damned if it doesn’t offer up a host of surprises along the way.

Springsteen, who has proved himself the most literate rock writer since Dylan, is a master-smith when it comes to recording albums that ably balance epic storytelling with numbers that encapsulate entire feelings and moments in one song. His subjects are as wide ranging as the music on Dream, whether he’s tackling the old west, having a major jones for the check-out girl at the grocery store, or laboring in this fading world to create something meaningful. If all this sounds a bit heady, don’t worry – Springsteen is having too much fun to get dragged down by anything. If the album had an overarching theme, it is hope, which blazes forth from even the darkest subjects.

As far as opening numbers go, good luck finding any this year more immediately arresting or dramatic than “Outlaw Pete,” a Guthrie/Williams/Dylan-esque story of a cowboy cursed by bad luck since before he was born. The song is eight minutes long, and starts quiet but crashes like a storm by the end, with a fantastic guitar solo and Springsteen’s voice overpowering everything as the voice of God or the thunder, wailing “Outlaw Pete, can you hear me?” The Boss hasn’t sounded this big coming out of the gate since “Thunder Road.”

From there he gets into some of the most upbeat songs he’s written in a while, with “My Lucky Day” and “What Love Can Do.” “Surprise, Surprise” sounds like a forgotten British Invasion hit that Springsteen dusted off and added his own touch to.

“Queen of the Supermarket” displays why he was aptly called the “next Dylan” when he first arrived on the music scene, with this gem of a story about a lonely man who finds love – or just lust – with a girl who works at a supermarket, but can’t say anything about it. The lyrics read like something John Updike would be proud of but the music has the dramatic sweep of Phil Spector’s wall of sound.

Always a realist, the album’s “darker” numbers tackle the uncertainty of the future, and the acceptance of death. The bouncy “Tomorrow Never Knows” bleeds into “Life Itself,” which sounds like what many would call “classic Bruce.” It’s an admission that life will ultimately lose to time no matter what, and all one can do is find someone to help make it through the day.

Of course, the title track could have been Obama’s theme song just as easily as “The Rising,” and is as genuine a song about the longing for hope and what it takes to bring it about as anyone could ask for. While Springsteen is clearly aware that all’s not well in the country, there’s nothing to stop it from getting better.

The album’s closer, a gorgeous elegy for organ player Danny Federici, is the follow up to “Wild Billy’s Circus Story,” and paints a lonesome picture of the carnival closing for the last time as the sun sinks behind the horizon. Federici, and fans, couldn’t ask for a better song to tie together an album that shows for Springsteen and the E Street Band, the show is still going on.

“The Wrestler,” for which Springsteen won a Golden Globe for, is a nice bonus cut, and fits well with the rest of the album, but Dream would have been just as stellar without it. The only thing really missed is more of Clarence Clemons wailing saxophone, but otherwise there’s little to bitch about.

Two stellar Springsteen albums within two years, and one his best in years; as he sings in “The Wrestler,” “tell me friend/can you ask for anything more?”