Gone are the days when artists can hide meh-bad songs in an album and still sell based on 1-2 singles (thank goodness). As such, I penalized the less than good songs more than I scored the awesomes high. Streaming is harsh. Here’s the scale I used for this entire list:
awesome 5
A-Gr cusp 4.5
Great 4
Gr-G cusp 3.5
Good 3
G-N cusp 1
Neutral -1
N-M cusp -2
Meh -3
M-S cusp -4.5
Skip -6
Another aside-I try only to rank songs released on the calendar year. Sometimes I’m unaware a ‘live’ song isn’t new, or I judge a remix or something. This year I must say there were a LOT of cheatee, not actually new, music put out in 2021:
Madonna-True Blue (35th Anniversary Edition); Green Day- Insomniac (25th Anniversary Deluxe Edition); Avril Lavigne- Bite Me single; Metallica single; Sam Smith-Love Goes (live) & soundtrack produced by him? Rufus Wainwright-live; Jason Isbell- live; Sarah Bareilles-live; The Black Keys- remastered, live; Pink-remixes; Blondie-Spanish; Kelly Clarkson-Christmas
You see there were a lot of people putting something out, so the Wiki 2021 Albums list looked overwhelming, but a lot of artists were tricky. They got their name out, but didn’t put in a lot of work *side-eye* Seems to me like everyone had a lot of time to think and write and get something together during the 2020 Covid-pause.
There’s my parameters. Let’s commence the count-from bottom of my reviewed to the best of the best 2021!
Vampire Weekend– S (too experimental & discordant)
tot = nope
I abandoned this one, because I just couldn’t. You’ll see a theme this year-not everything is made for me, not everything is appreciated by me. It’s fine. This is one of those.
John Mayer-Sob Rock
I was torn about even reviewing this album. John Mayer has been a long time staple of mine, but new information has come to light (Jessica Simpson) and I feel like it isn’t all that ethical to support him. But I thought I’d at least give it a chance. Well, I shouldn’t have. It’s nothing special. Nothing much was going on in the songs. Boring. And by the time I got to the baby-talking track (cringe!) I was over it. There are just too many albums this year to fuss about with a meh one. So I aborted mission halfway through.
tot = NOPE
Last Train Home M
Shouldn’t Matter but It Does G
New Light M
Why You No Love Me S (baby talk)
Wild Blue M
Shot in the Dark; I Guess I Just Feel Like; Til the Right One Comes; Carry Me Away; All I Want is to be With You
Those were the only two albums that I could not make myself finish. The next ones scored in the negatives. That just means they either had tracks to skip, mehs, or not enough songs that moved me.
Neil Young Crazy Horse-Way Down the Rust Bucket-Live
I really couldn’t get past the awful singing. IDK why listeners are very hard on women who don’t/can’t/lose their singing, but it seems like it’s tolerated if men do it *cough patriarchy/misogyny*
Country Home- S (pretty bad singing)
Surfer Joe and Moe the Sleeze- S (bad)
Love to Burn- N
Days that Used to be- G
Bite the Bullet- M
Cinnamon Girl- M
Farmer John- M
Over and Over- G
Danger Bird- N (terrible singing knocks the score down)
Don’t Cry No Tears- G
Sedan Delivery- G
Roll Another Number (for the Road)- M (bad singing)
Fuckin’ Up- M
T-Bone- S (About 5 words in the song)
Homegrown- N (good harmonies)
Mansion on the Hill- S (bad)
Like a Hurricane- Gr (probably best on album)
Love and Only Love- Gr
Cortez the Killer- G
Skellig- M
Dun Loaghaire- G
Accumulates- G
Heart and Soul- N-G cusp
Laughing Gas- N
No False Gods- M-S cusp
Deep Water Swim- G
Spiral Arms- M (repetitive)
The White Owl- M
Dares My Heart be Free- N
House with No Walls-M
Can’t Hurt More Than This- M
All That We Asked for- M
Doja Cat- Planet Her:
Now, I know. This is the album that is getting the most hype this year. I only listened to it for that reason. And last year I listened to Dua Lipa for the same reason, and really liked it. The magic didn’t happen this year. I like the title of this album, and that’s about it for me. And that’s OK. Not every album is made for me, nor enjoyed by me. I wasn’t feelin’ this one. I might be the only one on the planet.
A; 1Gr4; 2Gr-G7; 2G3; 1G-N1; 1G-M0; 3N-3; 7M-21; S = tot -9
Woman- G (Repetitive.)
Naked- N
Payday- Gr-G (Good ambient sounds, but Minnie Mouse singing.)
Get Into It (Yuh)- Gr-G (Baby-voice is ehhhh, but rap is good and fast.)
Need to Know- Gr (Catchy and I like the repeated words)
I Don’t Do Drugs- N (Xylophone is interesting and different, but the rest of the song is kinda boring.)
Love to Dream- M
You Right- N
been Like This- N-M (Somewhat high note is good, but the song is just boring.)
Options-Gr (Moag!)
Ain’t Shit- M (The only thing I liked was the counting.)
Imagine- M
Alone- M
Kiss Me More- G-M (Disco sound)
You Right (Extended)- G (The duet is probably the best on the album. I also liked the breathes/breathing sounds.)
Up and Down- G-N
Tonight – M
Ride- M
Why Why- M
Kaleo
I wanted to love this one like I loved their last album. But it really fell off in the second half. It probably would have ranked higher if the latter half was edited out completely.
Listen!!! N-G (the brr brr noise saves it. and nice piano)
Don’t Need Nothing N-G (finally, a beat! is this what the album is missing?)
Stomach N
Personal Cathedrals Gr-G (a better singing style, more lyrically intricate)
Hold Out M
Billie Eilish- Happier Than Ever:
I almost aborted listening, because the entire first half of this long album was pretty ‘background music’ (boring). But it bothers me to not finish things so I pressed on a little more, and I’m kinda glad I did, bc it did get better. Track order is a major problem here! Mix it up or cut the front half.
Hailey’s Comet- N-G (Sounds a lot like 1930s type of singing/crooning. This goes on for too short of a time. There’s a pause and then it seems to be a whole different song? Then, that’s too short as well.)
Not My Responsibility- S (Need to sing)
Overheated M
Everybody Dies- M (I can hear her breathes a lot, and it doesn’t sound good. Big yawn.)
Your power- G
NDA- Gr-A. (catchy . Same tune as her 1st album. Good moàg)
Therefore I Am- N
Happier Than Ever- Gr
Male fantasy- G
M (Glitch is always welcome. Has rap .)
Shovels & Rope- Busted Jukebox Volume 3
Soooo? Is this supposed to be a kid’s album? Title it better, because I needed to listen with that expectation in mind.
Hush Little Baby- S (WTF is this shit?)
In My Room- G
What a Wonderful World- N (Great song, played too slow. Whistle & talking sucked)
You Are My Sunshine- N
Cry Baby- G
My Little Buckaroo- M
Everybody Hurts- N (Weird choice for a kid’s album, if this is one…)
Mother Earth and Father Time- M
The Ants Go Marching- A (Fucking great syncopation!)
Tomorrow- G
We’ll get into the middle of the pack tomorrow. And I’ll come back and number these when I finish the last two album-rankings.
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.
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