Because of my past life as an on and off rockcrit, I still get asked to vote in various music polls. And it seems like I get asked earlier and earlier every single year. It’s difficult to come up with a list when you are still digesting music: for example, the new Tom Waits doesn’t make my list because I haven’t heard it enough times. (And no spoilers!!)
One of the more interesting things to note is that in an era where the album has been eclipsed by the single; the single has actually been eclipsed by the song. One of the trends that has been growing but has reached its tipping point this year with all of the various polls is that they mostly aren’t ranking singles anymore, but rather “songs” or “downloads” or “tracks.” Sure, there are now, and will always be what we used to think of as “singles:” people still have to have something upon which to focus — noone who ventured into any public space or airwaves this year could avoid “Crazy” — but not always. I think that this reflects the post-millenial randomization of how we immerse ourselves in music.
I’m no different: all I ever wanted from a radio station was some kind of mix of things I already loved; things I was getting to love; and new discoveries which I could love. Or not, as the case may be. And now that I can do that in nearly every situation, I have. One of the things that has become evident is that digital music has changed my listening habits for the forseeable future: while I still buy CDs, I don’t really listen to albums as albums that much any more.
Albums have become buckets of songs. Or directories, actually. And the directories that are filled with the highest percentage of songs that I love the most are — by definition — the best albums. What does this mean in English? It means that my list of favorite records is going to be drawn from a wider — but not deeper — pool. It means that records that tell stories, where every song makes the songs around it better, might get lost in the shuffle. It means that a great set-up track to an even greater follow-up track could be just a few minutes of lost opportunity.
I don’t know what to do about that, though ironically some of my favorite recent records have been concept-y albums that break through in their entirety — Separation Sunday, American Idiot, Southern Rock Opera — which suggests that there is a part of me that misses putting 5 CDs on the changer and letting it go in order. Of course, that would mean that I would have to do it all over again in a few hours and who wants that when I can just point the Slimserver to a hard drive, select “Random” and hit play and it will pretty much never run out of music . . .
And still not come close to finding everything out there. It just ain’t possible anymore, folks.
In any event, the following are my favorite 10 albums, CDs, records, downloads, directories –whatever you want to call them — as well as songs that I loved & my favorite reissues. This list — as always — is highly subjective, and likely to change over the rest of my life. Hell, it may change by the time I end up voting in the Pazz & Jop poll. If I do this year. And as always, it’s also skewered wayyy too Indie, as that’s essentially my niche. I know that these aren’t the best albums of the year, just the ones I like the most.
Top 10 Albums
- The Hold Steady – Boys and Girls in America (Vagrant): Craig Finn and Tad Kubler opened up their music this year, and so instead of riffs with rants that were part of a larger storyline, we got an album full of, well, just fucking great songs. Now, I happened to love those riffs with rants — I’m still not over “The Swish” or “Banging Camp” — but pound-for-pound, this is their best album. From “Stuck Between Stations” to “You Can Make Him Like You” to “Southtown Girls,” there isn’t a bad song here, and just when you think that a song isn’t going anywhere, it’s redeemed by some telling detail in the words or a sing-along chorus, like for example “Gonna walk around gonna walk around gonna walk around and drink,” which is both. I think that this is their third straight winner in in three years. And would like to point out that the last time the same band made my #1 record two years in a row was The goddammned Clash in 1979-80, back before many of these boys and girls in these songs were born, and I was just beginning to live a lot of these stories.
- The Long Winters – Putting The Days to Bed (Barsuk) – Big epic pop songs, full of ringing guitars and memorable choruses. Never, ever will there be anything wrong with that.
- Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not (Domino) – Yes, the hype became almost unbearable, but over the year, the songs kept getting stronger even as the hype mutated into backlash. Bollocks to the hype and to the backlash: it’s just purely modern two-guitar post-Britpop that is either the beginning of something all-time or a fondly-remembered one-off. Upcoming song title: “Sometimes The Hype Given Something Is Actually Well-Deserved, So Shut Up, Already”
- Yo La Tengo – I Am Not Afraid of You and I Will Beat Your Ass (Matador) – Welcome back Ira, Georgia and James, all is forgiven. Thanks for not just the album title of the year, but leading off with “Pass The Hatchet, I Think I’m Goodkind,” which isn’t just the psychedelic noise-guitar jam of the year, but quite possibly the first time that The Velvet Underground has loved them back.
- Drive-by Truckers – A Blessing and a Curse (New West): You just get the impression that Patterson, Jason & Mike could do this every year: walk into the studio and crank out a dozen or so near-perfect rock ‘n’ roll songs. This year, the songs seemed a bit more personal, as announced by the (criminally ignored) single, the unironic love/hate song “Feb 14” and sealed by the closer “World of Hurt,” where Patterson Hood — the writer of some of some of the best death songs ever — declares “it’s good to be alive.”
- Robyn Hitchcock & The Venus 3 – Ole Tarantula (Yep Roc): An unexpected return to form after what seems like a decade (some might say two, but they’re wrong) of wandering in the wilderness. Of course, for Robyn, that wilderness is his own brain, which was still good for a couple-three strong songs per album. This time around, he gives us nearly a full record’s worth in what is by now his classic, highly personal style. If you ever liked him in the past quarter-century, you’ll like him again. Let’s only hope that his most famous bandmate was paying attention.
- Bob Dylan – Modern Times (Columbia): If I don’t think that his first #1 album ever isn’t quite as good as his last two albums — neither as startling as Time out of Mind nor as epic as “Love and Theft” — that’s on me, because other Zim fans think this is the best of his latest trilogy. Where he goes from here, not even he knows. Just as long as he keeps going.
- The Concretes – In Colour (Astralwerks): On some songs, great gobs of color; or others, just little dabs where needed.
- Neil Young & Crazy Horse – Live at the Fillmore East 1970 (Reprise): Sure, it could have been longer. And sure, “Winterlong” and “Wondering” are nice rarites, but hardly essential (except for pointing out how little he was really trying on Everybodys Rockin), and “Downtown” isn’t all that different from the take on Tonight’s The Night, then what’s to recommend this? Oh yeah, the amazing extended takes on “Cowgirl in the Sand” and “Down By The River,” each of which I’ve heard 35 zillion times in the past 35 years, yet both of which sound fresh and new because — oh yeah — they were. Also just missing this list: Living With War, where Neil single-handedly rassles the Prez to the ground.
- Sonic Youth – “Rather Ripped” (Geffen): As per entires on Yo La Tengo and Robyn Hitchcock, a long-time fave returning to form. If you love the form, you’ll love this record. I do, and I do.
Honorable Mention:
- Secret Machines – Ten Silver Drops
- Neil Young – Living With War
- Jenny Lewis – Rabbit Fur Coat
- Pete Yorn – Nightcrawler
- Silversun Pickups – Carnavas
- Raconteurs – Ranconteurs
- Cat Power – The Greatest
- Robert Pollard – From A Compound Eye
- The 88 – Over and Over
- Pearl Jam – Pearl Jam
- Wolfmother – Wolfmother
- Rhett Miller – The Believer
- Ray Davies – The Tourist
- Sufjan Stevens – The Avalanche
- Amy Rigby – Little Fugitive
- Tom Waits – Orphans
Songs:
- Yo La Tengo – Pass The Hatchet, I Think I’m Goodkind
- Camera Obscura – Hey Lloyd, I’m Ready to Be Heartbroken
- Jenny Lewis and The Watson Twins – Rise Up With Fists!
- Dan Bern – Storm
- Yeah Yeah Yeahs – Cheated Hearts
- Cat Power – Living Proof
- Pearl Jam – Worldwide Suicide
- Gnarls Barkley – Crazy
- Raconteurs – Steady, As She Goes
- Drive-by Truckers – Feb 14
- Drive-by Truckers – World of Hurt
- Dramarama – Everybody Dies
- Wolfmother – Woman
- Pete Yorn – Policies
- Long Winters – Ultimatum
- The Hold Steady – You Can Make Him Like You
- Concretes – Fiction
- Sonic Youth – Pink Steam
- Walkmen – Louisana
- Marah – Sooner or Later
- Neko Case – Margaret vs Pauline
- Steve Wynn – No Tomorrow
Reissues:
- Pretenders – Pretenders (Rhino)
- R.E.M. – And I Feel Fine… The Best of the I.R.S. Years 1982-1987
- Pavement – Wowee Zowee
- Replacements – Don’t You Know Who I Think I Was?
- The Byrds – There Is A Season
And what exactly has been wrong with the recent Yo La Tengo albums?
I recently purchased “The Black Parade” by My Chemical Romance for my son, as a reward for a very good report card. Needless to say, dad loves this album too, and not just because he wants to be down with the younger gen. This album is sonically stunning, almost perfect from start to finish in an American Idiot way. It’s great because MCR understand what it takes to rock. Yes, rock. You can pull out old Queen, Bowie, Alice Cooper, Think Lizzy albums anyday, but can you combine them all into one complete modern whole? The answer is yes. Right here.
Sure, it’s dark, it deals with death as a not very nice alternative to a miserable life but basically, that’s what half of rock ‘n’ roll has always been about anyway. So, big thumbs up, and kudos also to making the best video of the year for the title track.
Right now, my favorite album of the year.
As for re-issues…I’m loving the What it Is. Funky Soul and Rare Grooves by Rhino. Greatest funk you’ve probably never heard.
Of course, everything on this list is great too. Although I would have to point out that the excellent new Beck album is missing in action.
One minor quibble — an album recorded live in 1971 doesn’t qualify as best new music of 2006. That’s a reissue, or something. (Assuming it was bootlegged!) It’s a favorite, for sure.
Kirk,
After the great streak from President Yo La Tengo through “I Can Hear The Heart Beating As One,” where they put together one great album after another, the last two seemed flat.
Tim,
While MCR isn’t as annoying as say, Muse, I still don’t hear them. I know that their record is getting some good write-ups, and all I’ve heard is the single. Every single minute of every single day on either Indie or KROQ. Perhaps if I heard the whole album.
As far as music from 1971 goes: if it was released for the first time this year, it counts, simple as that. That’s how it has always worked.
I definitely want to hear that Rhino funk collection.
Ok, Muse I’ve only heard the one song, which is fine if a bit annoying after repeated listenings. But I can’t comment on the album as I’ve only heard the one song.
RE: “That’s how it has always worked.” Well, for you, sure. This is your list.
As for the Neil Young, yes, this may be one of the great releases of the year. But will it turn up in Best Albums of 2006 lists other than your own, or will it turn up in Best Reissues of 2006 lists, like mine? If this does appear on other “Best of 2006” lists I would love to know where. I know it’s on the Rolling Stone list of best reissues of 2006, but not the Top 50 Albums of the year. I just have a problem with archival stuff that we are familiar with for 30 years making my top 10 of 2006. Seems kinda arbitrary. (Whereas as the new “old” Tom Waits stuff that has never been released, that would qualify.)
I say we make a list of things that qualify to be listed for best of lists of 2006. Donald Rumsfeld can be the arbitrator. Because he knows, what he knows, but it may not be what I know he knows, but he also knows what you know because he’s been reading your emails.
Right. The Basement TapesV.U. in 1985. The Genuine Bootleg Series 1-3 in 1991. Just to name a few of like releases that made loads of top 10 lists.
Quote Robert Christgau on The Basement Tapes (sad to say that over the past 25 years I’ve read this enough to have it memorized):
Perhaps you want a more recent example: how about that John Cotrane/Theolonius Monk live at Carnegie Hall set that came out last year. That made nearly every top 10 list in existence, and it was recorded nearly a half-century ago!
I guess we agree to disagree… I could make a top 10 of reissues very easily. To me, it’s simply two lists.
I don’t see any reissues on the following lists of 2006 music: Rolling Stone, Guardian, Telegraph, Spin, LA Times, Onion A/V Club, The London Times.
With 10 spots, there’s plenty going on to fill those. Let’s see what the Pazz and Jop poll says!
I’m not agreeing to shit. By definition, a re-issue is the issuing again of something, no? Something that has already been issued at least once.
So, when, exactly, was the Neil Young Live at the Fillmore East first issued?
Oh. 2006.
So how can it be a re-issue? Answer: it can’t.
Also, if you check the 2005 lists of those same publications, I guarantee that you’ll see that Monk/Coltrane disc. And I ask again, how is that different?
Dylan ’66? So, let me get this straight. Only because the greatest bootleg ever is legitimized in 1998 with a proper release it is the Album of the Year in ’98? An album we’ve been listening to since high school? Please.
Here’s my main reason… I see it as two separate markets, and two different motivations by the record companies to release these. You have companies like Rhino that specialize in unearthing stuff that exists in vaults, or live recordings sitting on the shelves. These are released for the completists and the music geeks, mainly. Not to make the top 100. I guess the comparison I would make is that if some archealogist unearthed an old Roman site and found something that was a precursor to the bottle opener and called it the best invention of 2006, that wouldn’t seem right to me either.
I know some archival titles appear, sporadically, on top yearly lists. I just don’t agree with that either. There is such an industry in reissues today that it almost warrants a top 10 of its own. Otherwise, a LOT of my top 10 would simply be reissues. And to me, that would be insulting to today’s musicians in some respect to call it the best of [insert current year].
Let me recap: My list for 2006 music would be music recorded recently and released in 2006. And that is where I said we agree to disagree. But this is your list, so fine. I like the idea of two lists, so I’ll get to work on that now.
Besides, and I know this is a horrible example, the Grammys and any other music awards focus solely on new music. Apples and oranges, all I’m sayin’.
Here’s the comparison I would make: what if they unearthed a flying car from a Roman ruin?
Wouldn’t that be the best invention of 2006? Or would you say that it can’t be, because it’s been hid for thousands of years!
A flying car! That’s what the Dylan live 66 is!
Well, true. But I would still take Dylan ’66 over a flying car any day.
Couldn’t agree more on The Hold Steady cd. I love every cut. Makes me think about a different path Springsteen might have taken after Born to Run.
I thought it was a pretty good year for some of the veterans. Rosanne Cash, Elton John and Donald Fagen all put out (in my opinion) remarkably good stuff.
Certainly a great list of uncompromising music. I love about 85 % of your list. Here are some bands I like that didn’t show up on your favorites: The Thermals. LUCERO, TV ON THE RADIO, THE KAMIKAZE HEARTS, THE PONYS, BAND OF HORSES, MISSION OF BURMA, LOS LOBOS, THE IMPOSSIBLE SHAPES, THE SHYS, THE BLACK KEYS , THE DETROIT COBRAS, IRVING,and The WHIGS.
As far as reissues , I love WIRE, ERIC DOLPHY, PERE UBU, NINA SIMONE, and CAPTAIN BEEFHEART!