THE TOP 10 ALBUMS OF 2008
B. Love’s Top 10
1. Manchester Orchestra – Let My Pride Be What’s Left Behind (Canvasback) Yes, it’s a 5-song EP and three are live reinventions of old songs. But when you open with a devastating one-two punch like “I Can Feel A Hot One” and “I Was A Lid” and close with “Sleeper 1972,” brevity is clearly the soul of genius.
2. Amanda Palmer – Who Killed Amanda Palmer? (Roadrunner) Dresden Dolls / 2 + Ben Folds = Dynamic chamber-pop. Palmer may not be the most emotionally balanced singer-songwriter on the planet, but songs like “Astronaut,” “Ampersand” and “Leeds United” made her among the most exciting.
3. Vampire Weekend – Self Titled (XL Recordings) Released way back in January, VW’s debut was the rare blogosphere hit that deserved every bit of hype, combining the Afro-pop elements of Paul Simon’s Graceland with indie-rock and Weezer wit. The results were charming and utterly infectious.
4. Kanye West – 808s & Heartbreak (Roc-A-Fella) If pride goes before a fall, this is the sound of its aftermath. Humbled and heartbroken after the death of his mother and a break-up with his fiancé, West delivered the most earnest and emotional album of his career, redefining himself in the process.
5. TV On The Radio – Dear Science (DGC/Interscope) TV On The Radio may be the perfect band for our iPod shuffle culture, careening from thunderous epics (“Halfway Home”) to funkified jams (“Crying”) to rap-style verbal assaults (“Dancing Choose”) to moody trip-hop (“Stork & Owl”) in the first four songs.
6. Coldplay – Viva La Vida or Death & All His Friends (Capitol) Taking a page from U2’s career book, Chris Martin & Co. collaborated with Brian Eno, and the result was their best album yet. Epic, emotional and experimental, it’s an undeniable artistic achievement from one of Brit-pop’s best bands.
7. Janelle Monae – Metropolis: The Chase Suite (Bad Boy) It’s not often an artist as original as this ATLien comes along, moving from Outkast-style space-funk to operatic grandeur, from Shirley Bassey-inspired epics to classic R&B balladry with equal aplomb. Can’t wait to see what she comes up with next.
8. Sigur Ros – Með suð í eyrum við spilum endalaust (XL Recordings) The iTunes genre for opening track “Gobbledigook” is “Ewok Techno.” It’s as good a description as any for this Icelandic act’s emotionally rich, sonically expansive sound, which only seems to be getting more dynamic and expressive with time.
9. Metallica – Death Magnetic (Warner Brothers) Think life ends at 40? Check out the latest album from middle-aged James Hetfield and Co., which will take your favorite 20-something band’s album out for drinks, get it trashed, roll it for spare change and leave it beaten and bloody, just to teach it a lesson.
10. Emily Wells – The Symphonies: Dreams Memories & Parties (Creative Control) Sounding like she was raised on a musical diet of equal parts Vivaldi, Cocteau Twins, Bjork and Biggie Smalls, this L.A.-based multi-instrumentalist/composer is absolutely nothing like anything you’ve ever heard before.
DeMarco Williams’ Top 10
1. EMC – The Show (M3) Concept albums have a knack for sucking. In this semi-autobiographical masterpiece about a group of trying-to-make-it MCs, it bumps to near perfection. Credit groovy production and the crazy wordplay from Masta Ace, Wordsworth, Punchline and Strick for it all coming together.
2. Erykah Badu – New Amerykah Part One (4th World War) (Universal Motown) A lot about this album (the title, the message in “Telephone”) doesn’t make sense. Still, an esoteric message of funk/rap/soul progression somehow comes through. And then there’s “Hump,” Badu’s zenith about just making it. We all can understand that.
3. Nas – Untitled (Def Jam) Everybody –ignorant blacks (“Fried Chicken”), suburban whites (“Testify”), Rush Limbaugh (“Sly Fox”)- gets it from a fuming Nasir Jones on this one. Shame on all those who stayed away, thinking it would just be more racially-motivated finger-pointing because it was once titled Nigger.
4. Lil Wayne – Tha Carter III (Cash Money) Even if you take pop mainstays “Lollipop” and “A Milli” from the equation, the million-selling-in-seven-days Wayne would still have a wonderful CD that embodies everything about hip hop: storytelling (“Dr. Carter”), soul-searching (“Let the Beat Build”) and sheer bravado (“Get Money”). Well done, Weezy.
5. Jake One – White Van Music (Rhymesayers) The whole producer compilation thing can be a bugger. Underground fans look at the track listing and see names like Freeway (“The Truth”) and Royce Da 5’9” (“Glow”), get excited and are immediately disappointed with songs that wouldn’t have been interludes elsewhere. With this fluid project, think the exact opposite… just put it to souled-out beats.
6. Solange – Sol-Angel and the Hadley St. Dreams (Geffen) Hell, half of America doesn’t even know Beyonce’s lil’ sister came out with this frolicking bit of R&B-fused do-wop this year. Guess they’ll never know what all the boogying to the jovial “Sandcastle Disco” and “T.O.N.Y.” is all about. And that’s too bad.
7. The Game – L.A.X. (Interscope) Game is currently beefing with Cali newcomer Bishop Lamont. Truthfully, the whole quarrel seems kinda one-sided, seeing as how The Game can flip from piss-in-your-pants fright (“House of Pain”) to pen-wielding might (“Letter to the King”) at the drop of a Cool & Dre or Hi-Tek beat.
8. Estelle – Shine (Atlantic) While her U.S. debut was stuffed with A-list support (John Legend, Kanye West), you have to give this London lass an “E” for her cute lyrics, bobbing beats and unique vocals. Pop radio gets an “F” for never catching a hold of sure winners “More Than Friends” or the Cee-Lo-featured “Pretty Please.”
9. Rick Ross –Trilla (Def Jam) So, this former drug dealer is also a former Miami-area correctional officer. Big deal! You don’t really believe 75% of the stuff you hear in rap songs anyway, do you? Good, then you’ll certainly enjoy these crime-riddled tales of excess put to smooth production and narrated by Officer Ross.
10. Ludacris – Theater of the Mind (Def Jam) Though Luda had some lows in ’08 (Max Payne- Yikes!), this album triumphed without the aid of Auto-tune or an Akon appearance. In fact, for every T-Pain cameo on Theater, there’s T.I. and Common to show that, when motivated, Ludacris is one of entertainment’s best.
John B. Moore’s Top 10
1. Flogging Molly – Float (Side One Dummy) Every band with access to a mandolin and tin whistle thinks they’re a Celtic rock band. But few will ever be able to turn out an album resembling Flogging Molly’s latest. From the opening jangly chords of “Requiem for a Dying Song” to the closer, Float is flawless.
2. Gaslight Anthem – The '59 Sound (Side One Dummy) Practically a love letter to Springsteen, with nods to Roy Orbison and Counting Crows. With sing-along working class odes to everything from classic cars to Miles Davis, The ’59 Sound is proof that this band is bound to be around for decades to come.
3. The Loved Ones – Build & Burn (Fat Wreck Chords) One of Philly’s best bands is starting to move away from the punk camp and settle for more of a straight-ahead rock sound, but there’s no complaining here. Their second CD is also their strongest lyrically, and hopefully a prelude for what’s to come.
4. The Clash – Live at Shea (Legacy) The first time The Clash’s historic show has been available from start to finish, with a set list that could stand in as a greatest hits disc thanks to songs like “Train in Vain,” “Spanish Bombs” and “London Calling.”
5. The Riot Before – Fists Buried Deep in Pockets (Say-10) My vote for most underrated album of the year. Drawing inspiration from DIY outfits like Hot Water Music and Smoke or Fire, The Riot Before’s stellar second album brims with blue collar punk anthems like “Election Day” and “Threat Level Midnight.”
6. Tim Barry – Manchester (Suburban Home) Ex-Avail frontman Barry picked up an acoustic guitar a few years ago and hasn’t let go of it since. On his latest, he seems to have perfected the punk/folk hybrid, backing politically-charged lyrics (“South Hill”) and angst-tinged vocals with subtle guitar and drums.
7. The Hold Steady – Stay Positive (Vagrant) Listening to Stay Positive, it’s hard to believe bars existed before these guys were around to play in them. The Hold Steady strip away all pretentiousness and faux attitude in favor of substance and solid songwriting.
8. Osaka Popstar – Rock 'Em O'Sock 'Em Live! (Misfits Records) It’s hard to believe this punk supergroup (comprised of refuges from The Misfits, The Voidoids and The Ramones), could top their 2006 debut, but adding the immediacy of a live audience managed to do just that.
9. Ninja Gun – Restless Rubes (Suburban Home) Ever wondered what the son of a Valdosta, GA pig farmer would write about? Judging from songs like “Red State Blues,” it’s feeling out of place in the middle of nowhere. This sophomore CD is packed with amazing roots-rock that’d make Gram Parsons proud.
10. Vampire Weekend – Self Titled (XL Recordings) Recorded by over-educated, African drumming-obsessed children of privilege, I wanted to write this album off as more underserved hype from the Next Big Things. But from the first track on, this is one of the most exciting debut releases in years.
Jon Latham’s Top 10
1. The Hold Steady – Stay Positive (Vagrant) Craig Finn’s cinematic narratives cast a brooding shadow over the characters that populate the drug-fueled all-nighters in the Hold Steady universe. The album offers up a brilliantly balanced helping of heartbreak and hope, masked in carefree sing-along choruses.
2. My Morning Jacket – Evil Urges (ATO) Jim James and Co. turned down the reverb, amped up the guitars, and brought the funk to create an eclectic, cerebral collection. Melding indie-folk with southern rock and the sexuality of Prince have made James’ heart-tugging compositions even more palpable.
3. Drive-By Truckers – Brighter Than Creation’s Dark (New West) Shaken by Jason Isbell’s exit and inspired by their acoustic tour, Patterson Hood and Mike Cooley did some of the best songwriting of their careers. The hardship and heartbreak are masterfully sharpened by the pedal steel work of John Neff and the legendary Spooner Oldham on keyboards.
4. Death Cab for Cutie – Narrow Stairs (Atlantic) The follow-up to their major label breakthrough finds the Seattle quartet reaching greater peaks, revealing Death Cab’s musicianship anew. Love and woe come to life in a new way, with differently styled tracks that run together like one long piece of music.
5. The Boxmasters – Self Titled (Vanguard) Billy Bob Thorton’s classic (i.e. ‘60s) country band showcased a mixture of originals and twanged-up covers. The weird thing is, it’s damn good. The original tunes cement the piece together, making this the strangest fun you could have listening to an actor sing.
6. Sigur Ros – Með suð í eyrum við spilum endalaust (XL Recordings) Iceland’s most enigmatic export released their most concentrated collection yet, with acoustic ballads, symphonic swells and a boy’s choir. The inherent beauty makes every listen a new emotional experience.
7. Coldplay – Viva La Vida or Death & All His Friends (Capitol) Chris Martin wrestled with the neurotic demons he’s been counting since “Yellow” struck gold, and the payoff truly sounds like a Brian Eno collaboration. Maybe that’s what has the snobs pissed; they’ve been forced to admit Coldplay made a good album.
8. Centro-matic/ South San Gabriel – Dual Hawks (Misra) Sister bands from Denton, TX deliver a double CD that rarely meets in the middle. Centro-matic’s disc is a fuzzed-out piece of indie-rock magic, while SSG serves up the most beautiful slice of melancholy since the Flaming Lips’ ‘The Soft Bulletin’.
9. Nick Cave and the Bad Seeds – Dig!!! Lazarus Dig!!! (Anti) Cave’s trademark brooding doom takes a backseat as the Bad Seeds lay down some funky new grooves for him to lament over. Cave is not the angry young man he used to be, but he refuses to be boring.
10. Metallica – Death Magnetic (Warner Brothers) ‘Death Magnetic’ bullied ‘Chinese Democracy’, stole its lunch money, and kicked its ass on the playground for good measure. That’s what happens when you maintain a functioning band for decades, allowing the unit to succeed and fail at various points.
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