For the last four years, I've been putting together "best-of" music lists around mid-December for the previous year. Well, guess what time it is, and just because I don't have anyone paying me for this one doesn't mean it's not going to happen. Same rules as usual apply: only full-length studio albums whose original release date falls in 2009 are eligible. Please read, agree/disagree, and discuss
1. Third Eye Blind, “Ursa Major” – As a long-time listener, I’ve got to hand it to them—this is not only the best collection of songs the 90s radio rock staples have put together to date, it’s an easy pick for album of the year. From the dramatic opener of “Can You Take Me” to the effervescent acoustic guitar on “Bonfire” to the subtle lyrical wordplay of “One In Ten,” there’s not a clunker in the bunch. Just steer clear of their live show.
2. Lucero, “1372 Overton Park” – As a fan of both the Replacements and the Hold Steady, it’s almost impossible to not love Lucero’s latest. Ben Nichols’s voice rasps like whiskey on granite, with the welcome addition of a “Pleased To Meet Me”-style horn section punctuating the band’s always-excellent brand of bluesy rock. Lucero is a band that never fails to deliver, but on their latest, they’ve completely upped the ante.
3. The Rikters, “The Rikters” – A local scene staple, the Rikters started out strong and have been steadily getting better and better. Their latest self-titled release oscillates between channeling Ted Leo (“Give Me Tonight”), Smoking Popes (“Just Another Love Song”) and Jeff Buckley (“Q&A”), as well as their own blend of sweet, poignant melancholy (the heartbreaking masterpiece “Ava”). Doug Jenkins has one of the most impressive voices in music today, and it’s a mystery why these guys aren’t on top of the rock world yet.
4. Baby Teeth, “Hustle Beach” – I’ve been keeping an eye on Baby Teeth for the last three years or so, and their third full-length is a stunner. They’ve cut the guitarist and are back to the original three-piece lineup; but just pop on “Big Schools” (an epic number that would do Springsteen proud) or the menacing “Snake Eyes,” and it’s clear that the group is sounding as huge as ever. If these guys were an import from a European country, Pitchfork would be all over them; as it is, they’re still one of the best bands Chicago has offered in years.
5. P.O.S., "Never Better" – The best thing to hit independent hip hop in years, P.O.S. caught my attention with a lackluster collaboration with the Hold Steady's Craig Finn from 2006's "Audition." Despite the novelty of that track, P.O.S. proved himself an able emcee on the rest of that record, and the horn- and beat-heavy production was nice; on his followup, he outdoes himself on every level. From the intensity of "Let It Rattle" to the wordplay of "Savion Glover" to the exuberant "Goodbye," it seems safe to say "Never Better" is the most aptly-named release of the year.
6. William Elliott Whitmore, “Animals In The Dark” – This may be the single most authentic-sounding album I’ve ever heard, with the possible exception of Whitmore’s earlier work. The man, accompanied by his own guitar or banjo and occasionally some sparse percussion, is the very definition of an “old soul,” the fact that he’s not even hit middle age yet notwithstanding. “Hell or High Water” is a hair-raiser, but then again, so’s every other song here.
7. Dinosaur Jr, “Farm” – As good as 2007’s “Beyond” was, “Farm” is better. Way better. As in, possibly the best album the terrible threesome has ever released. J Mascis’s vocals are just as apathetic as ever, but they seem to have more punch on these songs. Also, the songs are some of the best of his career. But it can’t be attributed to Mascis alone—Lou Barlow is still one of the most interesting bassists in rock music, and his return to the fold is welcome indeed (and he contributes his usual two stellar songs to the album as well); and Murph’s jazz-informed drumming was missed from the first moment he left. If you still haven’t heard them yet, this is as good a place to start as any.
8. Them Crooked Vultures, “Them Crooked Vultures” – Oh my goodness yes. No other album released this year rocks so well, and with Homme, Grohl and Jones as the culprits, it’s no wonder. The album stands head and shoulders above any Queens Of The Stone Age release, pummels every other Foo Fighters side project into submission, and the riffs stride with the ballsiest Zeppelin ever recorded. “Mind Eraser No Chaser” is a must, but you may as well grab the whole album.
9. Two Tongues, “Two Tongues” – A scene kid’s wet dream, this collaboration between Saves The Day and Say Anything is actually better than anyone could have predicted. Max Bemis and Chris Conley are both prolific and demonstrative songwriters, but working together has produced something far greater than the sum of its parts. Unfortunately, this album seems destined to be a one-off novelty, the emo equivalent of Temple Of The Dog; whether or not that’s the case, one’s better than nothing.
10. Billy Talent, “Billy Talent III” – I bought their first album on a whim at Target when I was about fifteen. Once I got past the weirdo screams, I was totally sucked into the manic riffing and clever lyrics. The second album had its moments, but lacked the spark that the first one had; “III” finds the Billy boys back on the ball (alliteration win!), with a phenomenally strong batch of songs. These riffs sound like they could break jaws, and vocally this is the group’s most accessible album yet.
11. The Thermals, “Now We Can See” – Any year the Weakerthans don't release an album is a grim year for music...but the Thermals do a nice job of filling in the gaps. And, on their most recent, they do a better than good job. "Now We Can See" is a tremendous batch of hooky, simplistic punk rock with smart lyrics. For fans of the borderline obnoxious, the unabashedly snarky, and the fantastically singable.
12. Pearl Jam, “Backspacer” – I am not, strictly speaking, a Pearl Jam fan. I like a few songs here and there, and I own a couple of albums, but they are not a band I will usually reach for. “Backspacer” is the exception. Sounding more vibrant than I’ve ever heard them, this album just slams from beginning to end. Huge guitars, bellowed vocals, and no shortage of nifty guitar solos all come together brilliantly, and should make the band’s former label regret ever crossing swords with these guys.
13. The Devil Wears Prada, “With Roots Above And Branches Below” – I’ll admit, I was skeptical of this band. The name, in my mind, was synonymous with the Hot Topic clientele: tight pants, guyliner, too much black, you know who I mean. And, let’s be honest, most of that music just isn’t anything that has appealed to me since I was about fifteen. But after hearing from all directions that TDWP was worth looking into, I grabbed this album, and was floored by the experimental, technically-dazzling-but-impossibly-catchy metal coming at me. Plus, with song titles like “I Hate Buffering” and “Danger: Wildman,” how can you go wrong?
14. Vertical Horizon, “Burning The Days” – Sure, I may be biased—Vertical Horizon was my favorite band for years—but “Burning The Days” was one of the most welcome surprises of the year. Since 2004’s lackluster “Go,” I’d more or less lost faith in this band; then the band goes and releases their most accomplished collection to date. Sure, the production is a bit overdone, but lyrically, Matt Scannell is at the top of his game (see “All Is Said And Done,” or “Even Now,” co-written with none other than Neil Pert), and it’s nice to hear Keith Kane’s vocals back in the mix.15. Brother Ali, “Us” – I’ve thought for years that the Rhymesayers collective consistently produces some of the most interesting hip hop artists around. Granted, Atmosphere (the label’s flagship duo) is a bit hit-or-miss, but albums like “Us” are what makes the label worth following. Produced by Atmosphere’s Ant, the disc sounds like the middle ground between Public Enemy, the Roots, and a raging gospel band. For my money, the best (and most underrated) hip hop album of the year.16. The Decemberists, “The Hazards of Love” – What do you do when your group consistently outdoes itself at every turn, growing from a quirky, arty, hyperliterate indie darlings into grandiose indie sensations? Make the jump to prog rock! At least that’s what the Decemberists did, with their most eclectic outing to date. Song structures? Who needs ‘em! Electric guitars, gospel-tinged backing vocals, and Colin Meloy’s trademark conceptual twists and turns bring this album to a level not even hinted at, even by 2007’s spectacular “The Crane Wife.”
17. Thrice, “Beggars” – This is a band that just refuses to stop changing. From the thrash-metal of their debut to the wildly experimental “Alchemy Index” EPs in 2007, Thrice keeps pushing the envelope. “Beggars” is the group’s least experimental album in years, but it’s still unlike anything they’ve ever done. Eschewing heaviness of any sort, the group focuses on the Almighty Groove on this record—and does it well.
18. Phoenix, “Wolfgang Amadeus Phoenix” – I don’t think I really like this album as much as most of my friends do, but it’s hard not to mention on this list. These French guys are really good. “Wolfgang Amadeus Phoenix” features unpredictable (but unbelievably hooky) melodies, unorthodox instrumentation—and the cheekiest album title I’ve seen in a long time.
19. HEALTH, “Get Color” – HEALTH isn’t my usual fare. I don’t generally go for lo-fi noise rock. That’s not to say it’s without merit, it’s just not my thing. But “Get Color” is an album I was waiting on for almost a year. When it finally came out, I bought it as soon as I could scrape together the cash. HEALTH takes electronic music and infuses it with something so screamingly, undeniably organic, human, alive that it’s impossible to ignore. It’s not a pleasant listen, but that’s not the point—this album is the sound of being unapologetically alive in the age of computers.
HONORABLE MENTION:
The Lonely Island, “Incredibad” – Yeah, it’s dumb. Yeah, it’s overplayed. And yeah, the title track is just plain terrible. But hell if it’s not hilarious. The Lonely Island have managed to create possibly the most effective and mainstream musical comedy album since Weird Al Yankovic, and have done it with all original songs. Not for the faint of heart, but worth investing in for anybody who needs a laugh now and again, and isn’t particular about a few naughty words.
