Tag Archives: Alicia Keys

2016 Albums

1 Jan

Here is my annual countdown of top albums.  I actually kept up on it throughout the year, and things are much better researched as a result.  I tried to listen to all the big name artists and my favorite artists as they came out in 2016.  And if I had extra time, I listened to genres I like or names I thought sounded cool, or whatever Spotify suggested.  This might be my best work yet!  From last 2016 album that made the cut, to my top choice for 2016’s album of the year:

 

26.  Melissa Etheridge:  I was pretty surprised myself at how far down the list her album felt.  The main problem?  Trying too hard, and it’s a pretty grave error.  I gave leniency to artists who tried something different (and fell a little short), who only came away with 1 or 2 songs I liked, or who just kinda did the same thing they’ve always done and sounded boring as a result.  But Etheridge, is lower, because it’s like she feels a little washed up and is insecure.  I liked “Born Under a Bad Sign” but it’s a cover and let’s face it, Homer Simpson sings that like a boss.  Melissa needs to regain confidence, have a message again, and regain some passion.

25.  Alicia Keys:  I wanted to like it.  I like the stripped down, no makeup cover.  I like the message of empowered women.  I did not, however, and unfortunately, really like the album.  I wanted it to be more piano-driven.  I wanted more range in the singing.  I wanted it to be a little softer.  What I got was a LOT of 1990’s throw-back, complete with pseudo telephone call interlude and everything.  I got a toughness.  I got disappointed.  I didn’t hate “Blended Family” and I thought “Pawn It All” with it’s soul/blues vibe was the stand-out song.

24.  Bon Iver- Experimental and jarring.  I liked the last albums because it was calming and relaxing.  This one is definitively-NOT.  I can see he was trying to do some avant-garrd electronic, but the music lost it’s dreamy, meditative quality in the process.

23.  Bruce Springstean:  I like this album better than I like his other stuff (not at all).  It sounds like a blue-collar worker that just got off a double shift and stepped up on the kariokee stage–a beer in hand, of course.  It’s gritty and rugged.

 

–>>We’re entering the neutral zone.  Nothing really BAD, but not super-interesting either<<——-

22.  Gavin DeGraw:  I can hear influences of Maroon 5 and Bruno Mars.  It’s OK, but DeGraw needs to find his own voice.

21.  The Head and the Heart:  I saw these guys open for Dave Matthews Band at the Gorge one year.  And I don’t remember a thing about them.  This album is much the same.  There is nothing wrong with the music.  It’s pleasing, it’s plesant enough, it’s fine.  It’s just hardly worth mention.

20.  Hank Williams:  This bawdy tavern album should precede this fictional evening of frightened rabbits.  It’s amped up, energetic, and rowdy–as it should be.  Nothing new here though.  One Trick Pony.

19. Frightened Rabbits:  It’s Irish music after the party.  When everyone has passed their drinking limit, and the raucous singing and jigging is done, and people are passing out or crying.  Still an integral part of the scene, but certainly not the upbeat story of the beginning of the night.

18. Brittany Spears:  Is ever the perky, dancy pop star in this new (and every previous) album.  This time she seems to have more command.  The lyrics indicate she’s taking control and will not be pushed around.  The tracks are intentional.

17.  Dawes- Easy-listening.  It’s good background with nothing wrong about it.  The reason it doesn’t rank higher, is that it also has nothing particularly interesting about it either.

16.  Elton John:  I have always liked Ser John, from the crazy-saucy 1970’s-1980’s sing-alongs to the quieter, more reserved “Peachtree Road” and “The Diving Board” CD’s.  This album falls in with the more subdued fare, and that’s fine.  But compared to the previous 2 albums, it’s a little. . .  Dare I say, boring.

15.  Kings of Leon- Hipster rock.  It’s a staple.  It’s good in the car.  It reminds me of Seattle.  This album is a good effort-though there’s not a “Sex on Fire” stunner ready for radio.  “Around the World” does come closest to main-stream appeal.

14.  James Vincent McMorrow:  This music is chill.  Good for background.  It’s the type of album you would play for a quiet dinner party or to relax in the tub.  It’s the vibe Bon Iver used to be–before all that experimental SOUND intruded.

13.  Sum 41:  What a surprise entry!  I did not expect much from this band-a decade past its peak.  I was happily pleased to hear a still punkish, but more mature set.  “The Fall and the Rise” rivals anything by Green Day.  It’s throbbing beat and rebel lyrics really open up the album and made me want to hear more.  “War” is another winner.

12.  Lady Gaga:  I can’t decide if I’m inspired or annoyed by Lady Gaga’s career directory.  She ripped off the Club Kid dress code, introducing it to the mainstream as if it were her own.  And now she’s shamelessly stealing Madonna’s singing arc, going from pop hits, to more serious fare.  It’s a good recipe for longevity, but I’m not so sure I’m ready to hear her more serious side (and see her business acumen in action).  And I stand by my opinion that the Superbowl’s national anthem was awful–even if I’m the only one alive who thinks that.  But it did help to contribute to the new image of maturity this album is going for.  The standout track on Joanne is most certainly “Million Reasons” which shows Lady Gaga isn’t just photo-worthy, but has inspiring lyrics and a good voice.  Bottom line-once you get used to the fact the party-phase is over, this album is a sturdy offering.

11.  OneRepublic-  They used to be one of my new favorite bands.  I thought the songs were catchy and I liked the Native American flair of the last album.  Except this album is SO electro-pop.  A total copy-cat of Daft Punk–who I don’t think are that great.  Yeah, I said it.  I think Daft Punk is over-hyped.  And ‘Oh My My’ is is rip off of that.  Still, this review isn’t a dislike–it’s just relative to previous works and other music on this list.  Despite my harsh criticisms, I do like several of the songs.  “Lift Me Up,” NbHD,” “Wherever I Go,” are catchy, and “Better” a Twenty-One Pilots-eske electro-pap (that’s the word I coined for pop-rap) gets stuck in my head every time I hear it.

10.  Green Day-  It’s a little wrote.  Maybe they’re past their prime.  And certainly if the band is still considered (sell-out) punk, it’s barely.  But they were one of the first bands I liked, they are one of the most continuously good producers of music, and there are a few stand out tracks.  “Bang Bang” is saucy and hard-core, probably the most punk on the album, and maybe for the last few albums.  My favorite track, and the best political statement is, “We Live in Troubled Times,” which in light of this Trump victory is a spotlight to current events, and a prophecy of the future.  “Revolution Radio” and “Still Breathing” are catchy.  The rest are a little tired, but in a dearth of (main-stream) punk artists–still relevant.

9.  The Avett Brothers:  This album feels more. . .  Communal.  It’s a sort of folksy, around-the-campfire sound.  “Satin Pulls the Strings” has the rock that I look for with The Avvett Brother’s material, but the rest of the tracks were a little lighter fare.  Like they have mellowed a little–or are trying to break into that Americana Grammy category.  “Divorce Seperation Blues” with the yodelling, harkens a Dude Ranch weekend–whimsical, yet relevant to today.  I think this is one of theose albums, that you grow an appreciation for the more you listen.  And the nature of this list is sort of listen once and rate.  I think I’ll like it more and more when I’m not judging for a countdown.

8.  The Lumineers:  I’ll be honest–I expected more.  Don’t get me wrong, ‘Cleopatra’ is listed toward the top of this list for a reason.  I just really, really liked the acoustic partially-bluegrass sounds of their last album.  But all that’s gone.  The bluegrass portion of the music, anyway.  It has that stripped down feel, and unpolished sound that has been secretly perfected.  But the foot tapping aspects are no more.  Still, “Ophelia” and “Cleopatra” are catchy, radio-worthy high points of the record.

–>  getting good<–

7.  Michael Buble:  We all know Buble is my boyfriend.  And I think his business plan of jumping into an empty genre, and pandering to the middle-aged women is a genius.  But I was torn this year.  I couldn’t decide if the album was–too much pandering and disengenuine, or the result of a true passion for the almost forgotten swing genre.  It goes pretty far to the Sinatra crooning sound.  I had to take some points off his ranking because the answer to that question wasn’t quite clear to me.  But if he does MEAN it, the album is another great work.  But certainly intent matters, here.  My favorite song, is “I Wanna be Around,”  which I could not tell at first if it was a love song or a break up song.   Another strong song is the “Nobody But Me, alternate version with trumpet.”

6.  Panic!  At the Disco:  High energy!  This album is certainly a rejuvenation for the band.  I don’t follow the band members, but the sound leads me to believe a major life obstacle has just been surmounted.  Everything feels new and hopeful and exciting.  I originally heard one of the tracks in Lake Tahoe, and I felt like I was behind the times.  Because it seemed like the song had already broken out ages ago–which was not the case.  It just FELT like I missed the boat, because this is one of those albums, then when you listen to it, makes you cooler than you actually are.  Also, with original ideas over sampled tunes, this is the newest album, that seems like a familiar, old friend.  Each song could be a single.  This is a party album, a running mix, and a car-trip standby.

5.  Adele:  Everything you expect from Adele:  The soulful sound, pitch-prefect singing, that longing voice conveying heart ache.  It’s a solid effort, and yes, even though “Hello” has been parodied to death–I still think it’s the stand-out track.  “River Lea” is also really nice

4.  Lukas Graham:  A new artist, but so good that the album made my best albums of 2016 list.  The first weekend I heard this self-titled album, by this Denmark native, I was ready to make it the number 1 album of 2016.  It’s good.  I love it.  It’s different–piano, rap, R&B, blues, rock and soul can all be heard.  The singing holds up, and can almost feel gospel.  The lyrics tell a story, and it feels spiritual.  My only negative is that the music doesn’t stand up to the test of time for one reason only.  I guess America isn’t as family-oriented as many countries, because after a bit, the common mention of family got a little distracting and. . .  Tiresome?  It isn’t like close family ties are boring or annoying to hear about, but Graham mentions his family in nearly every song–and it IS just this side of too much.  But that’s a small complaint.

3.  Regina Spektor:  I usually have to be in a certain mood to listen to Specktor.  And who doesn’t hate that damned, SUPER-long “Orange is the new Black” intro that goes on and on and on while showing creepy pieces of weird faces?!  I can’t STAND that, and after like a full 5 minutes it sucks the life right out of me.  Especially during a binge-watching marathon–which, P.S. there is no other way to watch the series.  We have the fast-forwarding down to a science, and I implore Netflix to only show the intro on the first episode of a season.  Because HATE!  Anyway, Specktor, or re-GINA (rhymes with female anatomy) as I call her can get too wail-ey and spoken word poetry for me.  Normally.  I really thought her newest album overcomes all that and is female music without being too much.  “Bleeding Heart” could even be a radio single.

–>great!<–

2.  Beats Antique-  A coworker played this, introducing me to the world music, circus, jazz electronic, that I believe has technically been around for years and years already.  And as I’ve listened more and more in 2016, I feel like I’ve already been a fan for years and years.  The music just attaches in your psyche and resonates.  I saw them in concert, and thought their stage show was severely lacking–especially for such an experienced and well traveled band.  While the music calls for tigers jumping through hoops, cobras in baskets, and belly dancers, the best they did was stand holding a golden hoop.  At any rate, I hope they go mainstream.  This album is worldly and electronic, and experimental as ever–like you’d hope.  But it also harkens back to Jazz and Blues and makes you feel like you’re sitting in a dark corner of Louisiana enjoying a hurricane.

1. Kaleo:  Technically, should be listed under best new artist, but was so great they made it to my best overall album of the year list.  Well-rounded and singable, but also seriously substantial.  I love “Way Down We Go” with such obvious gospel influence is the leading single.  The band is fun to listen to, but by no means lighthearted fare.  It inspires thought.  Take “Broken Bones” with its folksy, chain-gang feel.  It makes me look to history, and acknowledge the fact that music is one of the few places where black people have carved out a platform to talk about their lives, challenges, and political concerns.  Rap music didn’t just stem from nowhere.  “Automobile” hearkens back to that 1970s story-telling song vibe.  And it’s got a catchy hook also.  “All the Pretty Girls” sounds like Bon Iver and James Vincent McMorrow, in that it’s quiet and sweet.  But I think it’s more catchy than those artists with it’s get-it-stuck-in-your-head ‘won’t you lay me down’ chorus.

 

Best of 2012: NEW ALBUMS

6 Jan

Best Music Produced in 2012:

Finally.  I intended on publishing this on New Years Eve when it’s a little more relevant.  These important decisions take time, and listening.  Several listenings to really pars apart the minute details between albums.  It’s a more subjective measure, then just copying LastFM statistics.  You can’t use the stats, because albums produced later in the year are at a disadvantage.  So this is based on my careful listening and whittling of songs–as well as my own unsubstantiated opinions and feelings.  Oh, and let’s get this out of the way right off the bat–I in no way italicized or put into quotations album or song titles.  This took a look time to write (as you can see by the post date of Jan 6), and I just didn’t devote any more time then necessary to grammar.  Just appreciate the music, and forget proper English, OK?  So finally, finally the long awaited, BEST OF 2012 ALBUMS blog (from good to *glorious–for you, mom).  Enjoy–I know I enjoyed listening and writing it.

Thriller

Honorable Mentions:

30.  The Fray–which I found a little too churchy to stand up.

29.  Jack Johnson’s live HI benefit album, which featured many other artists, but was too libertine.

28.  Rhythms Del Mundo with their African remixes of popular songs.

the Fray

27.  Carrie Underwood-Blown Away

Meh–I can’t say I was.  I found it too poppy for the most part.  I want a little more range and a little more country twang from Carrie.  What I got was a very commercial effort and three songs I could settle on liking.  Maybe next album, Carrie will write more of her own material, get back to her roots, or at least construct the CD without sales figures and commercial appeal in mind.

Carrie Underwood

26.  Matt & Kim-Sidewalks

I suppose I like the IDEA of the album much more then I actually liked Sidewalks.  Indie music seems so cool, so hipster.  But each song was too similar to the next for me to really appreciate the whole album.  After a quick couple of listens I was tired of hearing the same song in slightly different variation.  I found only two songs which I liked for longer then a day.

25.  Ke$ha-Warrior

Mmmm, this one was good for working out, and I’m sure dancing.  I fount it to be a slightly immature record though.  Maybe I dislike a very genre-specific record.  It certainly makes sense that I redered a very country-pop, indie, and dance-pop albums to the bottom of my 2012 list.  On this one my attention was only captured momentarily, the songs were too poppy to hold up even over a week.  I think Ke$ha has potential as an artist if she can write a little deeper lyrics, while keeping the dancy beats.

24.  Jason Mraz-Love is a Four Letter Word

At first I was very enamored with Love is a Four Letter Word.  I couldn’t get enough of the catchy tunes, and Jason’s commentaries about the songs.  It just didn’t hold up over time though.  The more I listened, the more I got annoyed with certain songs, or intros to the songs.  So unfortunately  what started out as a very, very good thing, ended up on the chopping block so to speak.  By the end of the year I was left with just 5 songs I felt were outstanding and liked to play repeatedly.

where's Peter

23.  White Rabbits-Milk Famous

Apparently, in my best-of 2012, I require several things:  Originality, while being true to the expected sound.  Check.  Coolness factor.  They have it.  Many good songs, that mean something to me and that I can listen to anywhere and on repeat.  Sure.  Several Genres.  This is where the White Rabbits fell flat.  They are indy and hipster and original, and yet each song on Milk Famous was much the same.  Just OK.

cherry

22.  Pink-The Truth About Love

I like Pink.  Always have.  I don’t care how immature or how volatile a person she is.  And this album was no exception, I found songs I could sing to, feel emotionally, and dance with.  And I loved how she featured other artists for the first time.  Good things–I like six songs.  But a good, chart-topping, year wowing album requires more then one awesome single and a few notable duets.  There is just no way to put The Truth About Love at the top of any list.  When you listen, you know it’s the junk food of female pop artists. Pink may have a little more staying power then most, and she may have slightly more to say lyrically, but there is just something about this album that isn’t adult.  Despite serious subject matter, Pink is unable to delve deep into her (or my) psyche to warrant serious success.  I want more songs like “Sober” and “Who Knew” that really stop me in my tracks while still being singable.

21.  Alicia Keys-Girl On Fire

Alicia does a good job straddling the line between R&B, piano, pop, soul, and jazz music.  For that, I have to rank Girl on Fire toward the top-more albums of 2012.  In addition, good CD title too.  That said, I only liked six of the offerings.  Usually, with Alicia’s music, I can’t really LOVE each song, but grow attached to at least one.  Not so with Girl on Fire.  No song really grew on me as they had with past albums.  So she gets mediocre rank.

LF polar bear

20.  Minus the Bear-Infinity Overhead

I just expected more.  There was nothing wrong with Infinity Overhead (except that terrible, gritty video for “Steel & Blood”) but I had hoped for more.  The songs were good.  Easy listeners, that were repeatable.  Indy and cool and true to their roots.  I guess I looked forward to the album release so much that these seven songs I ended up liking most did not measure up.  Good music, but a let-down all the same.

IMG_20120901_173242

19.  Dave Matthews Band-Away From the World

I really hate to say it–I do.  Especially as a relatively new fan, whose favorite moment of 2012 was The Gorge Concert on Labor Dave Weekend.  Away From the World wasn’t the best CD DMB has ever put out.  Sure, “Mercy” grows on you and the video concepts are amazing.  There are just no stand out songs, and certainly not of sufficent length, jams, or live footage.  Now, I’m hungering for a new album already, because 2012’s just didn’t do the band justice.  I wish I could rank this one higher. . .

18.  Alanis Morressette-Havoc and Bright Lights

I’m not afraid to say it–I loved Jagged Little Pieces.  Not a popular opinion anymore.  It was one of my staple CDs for years–still is in the case of a break up.  After Jagged though, Alanis sort of lost her edge for me.  I didn’t really love her efforts until this year.  And this album features a lot of songs I don’t hate.  Though I can’t really say I felt much toward them.  I would classify Havoc and Bright Lights as unobtrusive.  The best album Alanis has put out in years, but not a knock out, stand out by any means.  It’s good background or study music.

my x-mas 14

17.  Bon Iver-Stems Project

This album was produced very early in 2012.  And it’s sits toward the middle of my favorites list despite eventual categorization as just unobtrusive, because it has a couple things.  Different variations of the same song?  Surprisingly a good idea.  It has a very original vibe?  Yup.  Indie? sure.  Hipster? definitively.  And yet, it’s not presumptuous.  Stems Project may not have any stand-alone, stand out songs, but in it’s achievement as indy-hip minus the attitude, I commend it.

Fiona Apple-Criminal

16.  Fiona Apple-crazily long obnoxious title, I’m not going to try to write out.

Jarring.  That’s the most effective description I can think of for *insert longest most unwieldy album title of all time here*  This is over a couple of other artist offerings, because even though I could hardly listen to some of the songs, Fiona was saying something.  Sometimes in a good way, oftentimes exceeding my listening saturation point.  I do like that Fiona did her own thing.  She made her own rules, and really went for it–not keeping an eye on record label profits.  Respectful effort for sure, and I can see potential again, because we all know Fiona can be a little unstable and unpredictable as a person–though she channeled that nicely for the album.  I do suggest less shouting and a shorter title for the next project.  Oh, and by the way, I don’t know if anyone can beat Fiona’s singing chops with her garble-waver and range of pitch.

15.  Amy Ray-Lung of Love

I always have love for any half of the Indigo Girls.  And I feel like Lung of Love has a more country feel to it.  Which is an awesome addition to the rock, folk, and punk infused grooves she already has going.  Extra bonus points for incorporating Brandi Carlile’s voice.  I also like the other featured artists on this album.  Except, I don’t know what it is, but Amy Ray has this way of getting a momentum where every song has the same vibe.  Even with all those different genres and contributing artists.  I start to wonder where one songs ends and the other begins.  And it isn’t in a cohesive–this CD has a theme way.  It’s like she finds an original sound, then sticks to that same sound too much, so that by the end of the CD it’s not novel at all.  I say an album that goes together is fine–but too much of a good sound just becomes boring.

Indigo Girls

14.  A Fine Frenzy-PINES

I love the enchanting whimsy of A Fine Frenzy in general.  And this album, certainly gels together in a nice theme.  Problem the best presented cohesive package of the year.  The only trouble with PINES is the length of some of the songs.  A couple of my favorites are 6-7 minutes long.  A few are just extraneous in length.  Anyway, a nice dramatic effort, that will last in time for sure.

CO wildflower

13.  Green Day-Uno, Dose, Tres

Though there were technically three albums, I judge as one musical effort this year.  Of course, conceptually, the guys deserve kudos for thinking outside the box and producing three separate  yet combinable CDs each several months apart.  I think it’s a great marketing ploy, it’s different, and it’s creative.  Together-it’s a lot too many songs, that tend to blend toward one sound.  Many songs lack their own characteristics, instead being obvious “fillers.”  Yet, I’m not sure I would have liked the 12 songs I ended up liking well, AS much if they would have been on just one disc, as one offering.  So I rank Green Day as top of the middle in my 2012 list, if nothing else for their creativity in bucking a rigid label-system to produce three mini-albums at three intervals.

12.  Keane-Strangeland

There was a different vibe on 2012’s CD then Keane had in the past.  Still good, just another variety   The one thing I disliked was really based on a feeling, then tangible qualities.  I felt like Keane had a certain umm, what’s the right word?  Not arrogance–that’s too much.  Just a level of comfort and familiarity that comes with being sure of success.  I got the feeling Keane feels established enough to not TRY and struggle to make it anymore.  Which, they may have a well-established fan-base, but I think very few artists truly get to stop worrying about their number of listeners.  It ranked just slightly lower because it’s heavy Europe.  There is just a UK vibe that, as a true American (I suppose) turned me off.  This makes it sound like I didn’t like the record at all, which isn’t the case at all.  I felt very strongly toward the 12 songs I did like though, and there were plenty more offered on Strangeland.

11.  Eisley-The Valley

It’s difficult to believe that more then one person is singing.  The blending is impeccable.  I think the musicality, the beats especially, are improved from their last few albums.  If I had to describe what Eisley does to me when I listen to The Valley, it’s to tear delicately.  The lyrics and peaceful pitch gets inside my head and heart, and the emotion behind along with the instrumentation rips at my insides.  It’s a soft assault on my sensibilities.

NV Feb 2010 241

10.  Maroon 5-Overexposed

I have no idea what it is.  These guys are just different from everybody else.  I really can’t put my finger on what makes their music so outstanding.  They can say mean things in ways that get stuck in your head.  Their beat initiates dance moves unparalleled.  They are poppy, and seem uncategorizable (yeah, I make up words to suit my purposes) as anything else.  Yet, it isn’t mindless, bubble-gum dance pop that is fleeting and superficial.  A relative flurry of music in the last two years doesn’t hurt to keep them on the radar.  But it’s more than that, too.  I guess that’s what is so great about Overexposed–you don’t know what makes it shine, and why you can’t stop listening.  But you do.

9.  Trampled by Turtles-Stars & Satellites

Damn you Trampled by Turtles!  First off, they get marked down where no one else was even judged, for NOT having any merch featuring a group of turtles, or any turtle at all.  If an animal is in your band name you HAVE to have it on at least one piece of merchandise!  Rawr.  Anyway, the music–ugh, I wanted more fat-playing banjo and fiddle.  I wanted upbeat, dancing blue-grunge or whetever they call their hybrid bluegrass, country, rock, indy, folk music.  But Stars and Satellites was quiet and thoughtful.  Which is not bad.  Not at all.  Just not exactly what I wanted.  So even though I liked every single song, and found no problems (other than the afore-mentioned merch dearth) they are here.  Because the prior CD was better.  That’s all.

turtle line 2

8.  Lifehouse-Almeria

The same band, but just different enough to be totally new–that’s the beauty of Almeria.  I liked the bouncier, dancier songs, though they were still laid-back and chill as Lifehouse has ever been.  I liked this especially, because with such a dramatic change of style, it doesn’t seem forced or over-marketed.  I don’t see Lifehouse catering to record labels or commercial interests with this change.  It just feels like an establishment of maturity.  A great effort, and I can’t want for more.

7.  Ben Folds 5-The Sound of the Life On the Mind

Yay they’re back!  Ben Folds +/- Five is like a club.  You just have to know to understand.  And apparently, I hold membership, because I’m finding it difficult to explain this to outsiders:  It’s less piano (which I loved) but still awesome.  Though the songs on The Sound of the Life On the Mind (or something to that effect-damn, keep album titles short!) seem somehow more down-tempo they are still captivating.  And not really down-tempo.  I totally just said two opposing statements, but it makes sense if you compare the older stuff to this new release.  At any rate, I found seven really solid songs and can’t stop listening to them.  What else can you say, but listen?

6.  Matchbox Twenty-North

Another YAY, they’re back.  What’s the refrain–again with more feeling?  That’s how I felt with North.  It’s everything great about Matchbox 20, lyrically superior, emotion, singable, textured.  But with more feeling.  Every song resonated with me.  I left the CD wanting more.  That’s why they’re in this position.  Also, they don’t really transcend genres or have a purely original sound.  That’s not criticism, just when you have to rank the best albums of a year it comes down to the meticulous details to differentiate the top from the superior.  And these guys are comfortably at the top.

N. lights 10

5.  David Gray-Foundling

A surprise new favorite.  Like everybody else I had heard David Gray, liked some of the more popular songs, then regaled him to the background.  Between 2012 Draw the Line and Foundling, I found 20 songs that I could not tire of.  Yes, they are still good for the background, but the more I listened, the more I felt in tune with David’s unpretentious croonings.  A secret success, that’s already has a huge fan-base.  Add me.

4.  John Mayer-Born & Raised

Growth, so much growth can be ascertained from this album.  I’ve always liked John, but I found Born & Raised to be his best work yet.  It was just the right blend of emotional, country, soul-searching, and pop.  I liked nearly every song, and thought the effort raised above commercial marketing and genre alone.  He stood alone and was his own person, overcoming, sameness (cute guy + guitar) syndrome.  It feels like John grew up, and with that maturity found his real musical niche.

fireworks 13

3.  Adele-21

Oh the talent! I have nothing new to say, that hasn’t already been said or written throughout the year.  This gal is the real deal–no disputing that.  Belying her physical appearance, she can belt it out like a soul-queen.  Riveting and heart-felt, that’s how I would describe 21.  And the ONLY reason she doesn’t rate higher on my list, is she put the album out too early in the year.  Last January, and due to over-play, I’m somewhat over it.  As much as a person can be, anyway.  Not Adele’s fault, or by any lacking of the music quality at all either.  I’ve just had enough for now.  I see this album will be classic, and remain on best-off all-time lists.

2.  Brandi Carlile-Bear Creek

Believe you me–I wanted to pick Brandi’s CD as the top album of the year.  If only for cute-ness factor (Brandi’s not the album).  But there is that ONE song on Bear Creek that I alone just do not feel.  Everyone else likes it, but this is my list, and that song took the CD down a notch.  Anyway, Bear Creek is amazing.  I feel it transcends genres, is re-playable, goes with any activity or mood, and does well live. I also thing it will stand up to the test of time.

Brandi cute cowgirl

And–drumroll please–the number one album of 2012–as I see it:

1.  Mumford & Sons-Babel

Musically and lyrically.  Catchy with longevity.  Multiple listens in a variety of contexts.  I deem Babel the number one album of 2012, just because I was able to listen to it everywhere over and over without tiring of it.  Also, because I enthusiastically liked each song.  The ONLY downfall is Mumford & Sons don’t tour in the U.S. widely if at all.  I would happily take in a concert of theirs!