Yep, that's right. GoingOnRecord has been simplified to OnRecord. Make sure to change the address in your blog reader (if you still want to read about good music).
Some classic UK R&B has been coming out this year, but Jessie Ware is the one most worth paying attention to. She doesn't look like your typical pop or soul star, yet perhaps the best comparisons have been made to Sade, one of the greatest R&B vocalists to ever step out of the UK. Whether Jessie is epically belting about your "Wildest Moment", or playfully singing a catchy pop tune like "Sweet Talk", the sounds coming out of her are raw and beautiful. In a world of pop music that's trying too hard to be sexy, Jessie Ware's naturally sexy tone is breath of fresh air. Also, did you know she found her earliest success in a taxi? Yep, check this out:
11. Coexist - The XX
Since their album Islands, I have been falling in love with the work Jamie, The XX's DJ does. He has created some of the most original and beautiful remixes I have ever heard or imagined. With The XX, he generally creates an atmosphere for Romy Madley Croft's soft and haunting voice. Their 2012 album, Coexist does more of the same of what they do best. Their sound feels detached, as if they are primarily creating a world to step into, rather than communicating an idea or expressing an emotion. This is one of my favourite records to play while doing administrative catch-up, or to discover is being played in a coffee shop.
10. MTMTMK - The Very Best
This year I was able to go see The Very Best live in Seattle, and had no idea before I got there that they even had a new record out. I have appreciated everything this Malawian lead and Swedish DJ have ever produced, so it was no surprise that I bought the new album as soon as we got home. MTMTMK stands for "More to Malawi Than Madonna's Kids," and features a bit more dance music than The Warm Heart of Africa did. If you are still unfamiliar with these guys, look into both albums - the first for a more African feel, and MTMTMK for more of a sense of blended cultures. This album also brought some attention to Seye (pronounced like Cher), the Nigerian-born, London-bred singer-songwriter who toured and collaborated with The Very Best. I would have considered one of Seye's songs in my top 12, only that my favourite is not actually available yet. Still, here's a video of him singing J.O.A.N.N.A.:
9. True - Solange I was racking my brain whether to include E.P.'s on this list. There were a few really great and really promising short albums that came out this year, from Brandi Carlisle, Shad, and Azealia Banks, for example. But there is something about this 7-track collection from Beyonce's younger sister that I simply can't exclude. Maybe it's the 80's R&B throwback (the record is full of drum tracks, synthesizer, and even retro sounding harmonies) just when we most miss Whitney Houston's early years. Maybe we've all been secretly wishing to know what Beyonce would sound like if she weren't an epic diva. For whatever reason, True feels as though it's exactly what a musical doctor would prescribe.
8. The Heist - Macklemore & Ryan Lewis This album may still be in the "Under $8" section on iTunes. That's how I picked it up, only having really listened to the two tracks that had viral videos, "Same Love," and "Thrift Shop". I actually forgot I had purchased it, until one day a song popped into my headphones while my ipod was on shuffle (a rare moment, indeed). Macklemore surprised me by being far more than your average white rapper. He does hip hop justice by both speaking out on issues, and having a sense of humour, two things that I believe hip hop music does at its best. There are a couple moments that could feel slightly preachy to some, but for the most part this is a solid record built on thought and guts.
7. Love this Giant - St. Vincent and David Byrne I think this collaboration makes more sense than any I've heard of in a long while. Two incredibly talented, brilliant, and quirky musicians from different generations team up to give us exactly what you would expect, plus some extra horns. The only downside to Love This Giant is that Annie Clark (St. Vincent) doesn't have nearly enough guitar solos. Still, it's clear through the work they did produce that both David and Annie respect and generally enjoy each other's music and style, which along with their stunningly complementary vocals, makes this team-up worth every effort.
6. ...Little Broken Hearts - Norah Jones Like no Norah you've heard before, ...Little Broken Hearts shows off the jazz standard singer's versatility, and producer Danger Mouse's ability to transform an artist's sound. Like Adele's 21 the year before, ...Little Broken Hearts is an album dedicated to a break-up, and although it hasn't reached nearly the level of mainstream success that 21 did, I find it refreshingly more mature and balanced on the dejected-to-irate spectrum. Highlights for me are "Sad Goodbye", "Happy Pills", and "Miriam". Just click on the album image to stream all the songs.
5. Boys and Girls - The Alabama Shakes The Alabama Shakes have the secret power of time travel. Every time I play Boys and Girls I have to remind myself that I do not actually live in the 60's. The album kicks off with the addictive single, "Hold On", and then does nothing less than restore my faith in Rock & Roll. The album is filled to every last edge with lyrics of desire, anger and sadness that are only deepened by Britney Howard's soulful, raspy, low croon. I have yet to see them live, but I've heard this is necessary, so if you have the chance, don't pass it up.
4. Good Kid, M.A.A.D. City - Kendrick Lamar I did not like this right away. At first listen, I couldn't handle the macho and misogyny long enough to get past the first half. Good Kid, M.A.A.D. City tells Lamar's own coming-of-age story, and at first, Kendrick tries to prove himself a man with the usual tough act. In order to see him grow, you need to give the album/story time. Punctuated by voicemails left by Lamar's parents (beginning angrily asking for the car back but eventually become gentle invitations to come home) this solid rap record leaves a surprising message of manhood: that it's not perfected in violence but in taking care of family. Although it is heard best in context, I've embedded my favourite song off the record below.
3. The Idler Wheel... - Fiona Apple
I had started to give up on hope that Fiona Apple would come out with another album as amazing as Tidal or When the Pawn... She has certainly returned to the longer album title though, this time with an exactly Twitter-kosher 140 characters. The Idler Wheel... is exactly what I want to expect from Apple: fast jungle-inspired rhythms mixed with slower angst-y ballads, held together by Apple's own eccentric personality and dark imagination, and unique percussive-style piano. The best place to stream this one is on grooveshark, so instead of a soundcloud link, here's a bizarre video you should watch from The Idler Wheel is Wider Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do:
2. The Bravest Man in the Universe - Bobby Womack
There was something about 2012 that brought a lot of older artists out to record. Springsteen, The Stones, The Beach Boys and even Van Halen all released music this year, but only Bobby Womack was able to give us something that feels stunningly relevant and original, while holding a greater depth of experience and wisdom. His age can be heard in his voice, and I think it makes The Bravest Man in the Universe Bobby's best album yet.
Stream it at the Guardian, here.
1. Channel Orange - Frank Ocean
Someone asked me what my life highlight from 2012 was, and my first instinct was to say Frank Ocean. I anticipated this album like nothing else this year, so it had a strong potential to let me down, but obviously it did not. Channel Orange explores the disadvantages of living a privileged rich kid's life along with a couple deep and personal instrospective pieces that are held together by flipping television channels that offer news from the outside world. The music is fresh and heavy R&B with a hip hop attitude, and I can't get enough of it. If you still don't have this album, click the image to the right for a stream of it on soundcloud. I doubt you'll last long without purchasing this one.
My favourite part of winter holidays is surprisingly not the Bailey's in my hot chocolate, or the smell of our Christmas tree when I walk downstairs, but the excuse to reflect on the nearly completed year, and all of the music it has brought us. I don't know whether it was the threat of an apocalypse or what, but some very good music was released in 2012. Originally I was planning to simply put an album list out, but I realized I would be skipping over some amazing songs not included on what I would consider a stand-out album. So, here are the 12 songs of 2012 I would consider best:
12. Adorn - Miguel
Quite simply some classic and sexy R&B right here. This video isn't anything special, but I'm listening to this song while I write about the other songs further up the list.
11. Into the Wild - LP
An example of the power of ukelele and whistling. Laura Pergolizzi has written for Christina Aguilera, Avril Lavigne, and Rihanna, but it seems to work much better when she sings her own stuff. Also, there is this fun Thelma-and-Louise-inspired video.
10. Who - St Vincent & David Byrne
This combination of young and old artist seems meant to be, and this song is the standout from Love this Giant. The horns, the rhythms, the quirky... it was love at first listen.
9. Somebody that I Used to Know - Gotye
I almost didn't put this on the list, but the truth is when we remember 2012 years from now, we are still likely to get this in our heads. Why is it as good as it is? Mostly Kimbra, probably, considering the rest of the Gotye album is dreadfully boring. Instead of posting the actual video, I think the majority of us can relate to this:
8. Same Love - Macklemore & Ryan Lewis
Passionate, political and heartwarming. Macklemore & Ryan Lewis have proved themselves to be risk takers, so why not release a rap track promoting marriage equality? Then again, he is not coming out himself, and this is post-Frank Ocean. Still, he thoughtfully identifies himself as an advocate in a musical culture that is not exactly known for its pro-gay rhetoric (as Macklemore himself points out).
7. Disparate Youth - Santigold
I have been hoping for a track like this from Santigold for some time. It's a great pop tune with an addictive groove, but it's also a track full of hope, possibility and revolution, without too much emotion.
6. Love Interruption - Jack White
I know Jack White can kill a rock guitar solo, but I like him best when he's bluesy, and this is one of my favourite things he has ever done. This song also gave me a new appreciation for the bass clarinet.
5. Call Me Maybe - Carly Rae Jepsen
I won't lie, I was a skeptic the first time I heard Carly Rae Jepsen on the radio. However, I quickly moved the song to 'guilty pleasure', and by the time summer rolled around it was just plain 'pleasure'. And I know I'm not the only one, based on the number of covers and parodies that cropped up. Here's my favourite version:
4. Hold On - The Alabama Shakes
Hooray for new bands that sound old! These youngsters remind me of a female-fronted Black Keys. Soon after this song blew up on youtube, I couldn't find a vinyl copy of Boys and Girls in stock anywhere. Literally no one expected their success to reach the heights that it did in the time that it did, and now they are going to represent at the Grammy's against the likes of Jack White and Frank Ocean. Good luck, Shakes!
3. Bad Girls - M.I.A.
A great song, paired with this video that is not only a joy to watch, but one that cleverly commentates on the Saudi government's ban on women drivers. The video has everything - bling, guns, desert drag races, a ginger kid - and is made only more boss by its political swagger.
2. Climax - Usher
I have been an Usher fan since the day I first saw him on BET, doing his chair dance to "You Make Me Wanna". Still, when I heard he was releasing a song called "Climax," I worried that Usher was following in the older and creepier footsteps of R. Kelly. What a pleasant surprise to hear it instead describe the emotional experience of an inevitably ending relationship. And what better way to communicate feelings than with nearly constant falsetto.
1. Bad Religion - Frank Ocean
Hands down. There is no question for me that this song was the most moving (emotionally and beat-wise) song of the year. In the midst of his bad religion, Ocean finds community and compassion with a taxi driver of another faith. In some ways Ocean came out of the closet with this song - it was one of the first places early reviewers noticed a different pronoun than expected - but what makes Bad Relgion truly beautiful is not his subject, but the way he approaches this unrequited love: with vulnerability, grace, and courage.
So it seems that this is the season for break-ups among my friends, and having written on the more recent For Emma, Forever Ago by Bon Iver, I've decided to stick with the theme for one more post, and stray from my original order for the reruns. Break-up albums have been doing alright lately, either by allowing an artist to reinvent their sound, like ...Little Broken Hearts did for Norah Jones, or bringing album sales on the map, not to mention help an artist shovel in the Grammys, like 21 did for Adele. Forget lemonade, when life gives you a bad break-up, make some freaking good music.
So that brings me to 1977, the year of my all-time favourite break-up album: Fleetwood Mac's Rumours. Although a 5-piece band, each member of Fleetwood Mac was in the midst of struggling with personal failed relationship. John and Christine McVie (the bassist and keyboardist respectively) were in the midst of divorce from 8 years of marriage; Lindsey Buckingham and Stevie Nicks were in an off period of their "on-again-off-again" relationship; and drummer Mick Fleetwood was reeling from discovering his wife cheating on him. On top of all this, since the release of their 1975 self-titled album, the band was regularly shooting down dramatic rumours being circulated by the press; everything from deathly illnesses and love-children to a massive member change. They were falling apart, and few of them could communicate with one another regarding anything other than the music they were working on. The fact that Rumours was even created in the midst of all that relational stress is nothing but a miracle.
Even more miraculous is how Fleetwood Mac is able to maintain their poppy sound while so miserable. The album appropriately begins Second Hand News, but instead of being used as a synonym for rumours, it is how the left lover feels after he's been replaced. Still, there is almost happiness in the midst of frustration - as though he's trying to laugh off what has happened in order to deal with the grief. The subtle yet clear Dreams plays next, and I can almost smell the tension that must have been in the studio as Stevie sings her own words about begrudgingly letting someone go, aching for her ex to be aware of "what (they) had, and what (they) lost".
Lindsey Buckingham gets the next word on Never Going Back Again, but although the title suggests he won't return to the relationship, this lyrically sparse track seems too relaxed and not angry enough to be a break-up song. There is something else he won't return to, maybe because of what he learned in his now failed relationship with Nicks, or maybe not. It's rather vague, but it seems to be more about coming to terms with himself than it does an angry break-up song. Besides, soon enough we get something much closer to that in Go Your Own Way, also penned by Lindsey. (For some unknown reason, I am on a first-name basis with these band members). Don't Stop finds itself wedged between Lindsey's songs, with an incredibly bright take on moving on from a break-up, wanting both parties to just be happier with whatever comes next.
Nearing the end of a relatively happy side A, Rumours takes a turn with Songbird, one of the most beautiful and timeless love songs ever. What makes it a break-up song more than anything else is the sadness in the tone of the singers voice, and this is something that necessarily is replicated when Songbird is covered by Eva Cassidy, Willie Nelson, or whoever might do it next.
It's always a stretch for me to flip the record over to The Chain, Rumour's most bitter song so far, and yet ironically, it also boasts some of the tightest harmonies between Lindsey, Stevie, and Christine. The tightness of the entire band is made clear in the sexy You Make Loving Fun. The bass line is sick, and the harmonies that echo Christine are perfect. I am beginning to believe that Christine McVie might have been one of the best songwriters of the 70's (along with Stevie, of course).
I Don't Want To Know returns to the bitter playfulness that is in Second Hand News. Similarly, the singer doesn't want to hold the other back, or "stand between (him) and love", but just wants everyone to get along and "feel fine". But perhaps appropriately after this attempt at confidence, Oh Daddy is a somewhat pathetic attempt to recognize what mistakes the singer has made. To be honest, I find this one to be a dud. Anything with "daddy" as a repeated lyric is doomed.
Rumours, along with some of the relationships it wrestles with, come to a close with Gold Dust Woman, where the fictional woman is told to "pick up the pieces and go home", and the song ends with an extended instrumental outro seeming to noisily hold on and avoid an actual finish. The only appropriate sound to immediately follow Gold Dust Woman is silence, during which I imagine all the band members quietly pack up their instruments and leave separately. I'm sure it never actually happened that way, but even though the band hung together for a while longer in this formation, they were never able to make another album match the honesty, beauty, and frustration that this one did.
I have had so much difficulty in motivating myself to write about my 2008 rerun album this particular season, so I have decided to skip right to the album I chose for 2007 instead. Along with Radiohead's In Rainbows (which I gave the top spot in my top 12 albums of the '00's and wrote about here), there is no question in my mind that the album of 2007 I'm most likely to 're-run' is Bon Iver's debut For Emma, Forever Ago.
Not only did For Emma shape what we would expect from Justin Vernon and the rest of the Bon Iver crew, it also seemed to speak directly to our hearts (especially of the broken variety) through barely-comprehensible lyrics and sparsely produced acoustic guitar. The truth is, we tend to love an album with a story, and this album has a particularly good one. Vernon had hit rock bottom with both his romantic relationship, and his band at the time. Carrying his grief and pain into solitude, he decided to process by moving to a secluded cabin to write, play, and record some songs. The result: an album of intimately expressed and beautifully written tracks full of atmospheric tension.
The record begins with Flume, a song covered by none other than Peter Gabriel himself. See what you think of that, here. I'm not sure what I think about understanding all the words in this song, since part of what draws me into the raw emotionalism of Bon Iver's music is the way his Vernon's voice makes it hard to make out the english words. There is a sense that the only language that is clearly being spoken is that of music, and when a word or phrase does break in to my consciousness, it becomes especially meaningful. One of the clearest sounds in Flume is a muffled echo, reminding me that when grief is most poignant, sometimes nothing else sounds clear.
Although Lump Sum begins with monkish motet-like harmonies, the song picks up with a faster pace, without losing the sadness that permeates the entire album. The echoey sounds continue in the harmonies, and the song fades perfectly into Skinny Love, arguably the most popular song from For Emma..., and for good reason, since few break-up songs are able to so honestly hold in tension such raw emotion with thoughtful reflection.
The Wolves (Act I and II) slows down and emphasizes harmonies that remind me of Fleet Foxes. It moves from being nearly the sparsest track on the album, to being the most dense, complete with a horn section and chaotic drum set solo, and finally returning to the sparse voice and guitar feel it began with. I feel as though if I took a bit more time with this song, I would find all five stages of grief represented. Someone else can do that though. I'm moving on to my first love of this album: Blindsided.
Just this listen through, I realized was how clear Vernon's vocals are on Blindsided. It seems as though the only thing he can make sense of verbally is his feelings from being blindsided, and his continual reeling from the shock.
Creature Fear and Team are two songs that carry the most volume and energy on For Emma, but instead of coming across as angry, they sound confused and desperate. Team is also the one lyric-less track on the album (though Vernon's voice and whistle can still be heard), but I hardly notice this because of how Vernon treats his voice already like one of the instruments.
For Emma seems as though he has moved to a point of considering closure. Don't get me wrong; he's still fairly bitter, ("Go find another lover... to string along") but the relationship feels "forever ago". My favourite part of this song are the horns. The strumming pattern gets old, but it does carry this sense of moving forward, one step at a time. If the album ended here, I think it would sound like a fabricated happy(ish) ending, but luckily it does not.
Vernon ends with an "excavation" - Re:Stacks is a reflection that questions the entirety of his lost relationship. He plays with the metaphor of gambling in a way that is full of both sadness and hope. Hope, because there is a hint in the last line that the album itself is a part of the process towards moving on. He may have hit rock bottom, but he knew exactly where to channel that painful, chaotic energy: into an album that wrestles with his fears and griefs vulnerably and honestly. This is an album that I will return to, not only when I am at my worst, but perhaps especially when I am.
The 2009 Re-Run was a no-brainer for me. I allowed one other album to keep a foot in my list of options for a while, but there is no evading the fact that Mumford & Sons' debut album will be most often and likely returned to. I've found a lot of reviewers have been extraordinarily hard on Sigh No More, perhaps because of its rather quickly spread success; something so loved by the mainstream couldn't possibly be brilliant! But it is. Sigh No More is brilliant, not for its musical experimentation nor deep insights, but for its simple ability to speak of and to the human experience, with hope and stomping of feet.
The first song and title track of Sigh No More acts as almost an overture does to an opera, but instead of foreshadowing melodies, it hints at the dynamics and stylistics that make up Mumford & Sons' flavour. It begins with emotional harmonies over a quiet plucked guitar, and slowly but surely, the bluegrassy folk band builds up to what they love most: full band at full volume, driven by a kick drum on every beat. Ironically enough, if we listen to this album before knowing anything about this new English group, the first song invites us into the middle of a story - a relationship - in which the singer, Marcus Mumford, cries, "you know me!" Now I feel as if I do, and that is one of the reasons I will always go to this record when I need a pick me up.
I've been listening to this album quite a bit this week, and I find it's most effective when I happen to be feeling a lot of feelings. Marcus Mumford becomes the thoughtful and encouraging voice in my head, attempting to out-yell the negative ones. "The Cave" is one of those songs that is so good to yell out loud to yourself, whether it's you who needs to hear it, or someone else. No wonder it's their second biggest single and the most listened-to song from the album on my personal iTunes.
I mostly appreciate "Winter Winds" for the horns it profiles, but also the way it appropriately references speaking to one's self. It leads up to one of my favourite tracks, "Roll Away Your Stone", which uses its religious references to explore the vulnerability and courage of friendship.
I recently watched Taylor Swift do a cover of the next track on the album, "White Blank Page". Unsurprisingly, she doesn't do it justice at all. This is because the beauty of this song lies not in the cuteness of love, but in the "swelling rage" of it being unrequited. I especially like the violin lines, and singing along to the "ahh's". "I Gave You All" continues a rant - perhaps on the same relationship lost - and is equally fun to sing to. We end up with the longest break from full instrumentation since the start of the album, and it's kind of nice break. Don't worry, it builds back before too long, and even brings the horns back as well.
"Little Lion Man" is one of the most justified uses of profanity in a chorus - there's just something about an apology that authentically recognizes how much the apologizer has messed up, and there's something really unsatisfactory about the verb "mess". This music video was my very first introduction to Mumford & Sons:
I listened to this album while trying to plough through a large pile of paperwork-errands in one of my borrowed offices today, and though much of the album is full of tension and pressure, the one song that I found incredibly weighty and stressful was "Thistle and Weeds". Soon enough I was calmed by Sigh No More's most-like-a-hymn, "Awake My Soul". Sitting in my office with the weight of my two-page-long to-do list, this song felt like a prayer. Other times it may seem a bit trite. A friend recently asked me how many of Mumford's lyrics come straight from one of his father's sermons. Well, either way, the result is sing-along-able tracks that, even if cliche'd, work great.
"Dust Bowl Dance" kicks it back into pressure mode, but at least the two songs are broken up long enough so that my shoulders don't explode from tension. The final track, "After the Storm" is appropriately titled after this rush of an album. We leave the album with some stark images of death, fear, and loneliness, but also some words of comfort ("love will not break your heart, but dismiss your fears") in this lullaby. It's a song I can sleep on, or, as I have often done, return back to the beginning of Sigh No More.
Here it is, the first of the Record Rerun series. Beginning with 2010, I'll be moving backwards, picking an album from every year.
It could be a little tricky to predict that an album less than 2 years old will be one I listen to for years to come. 2010 was a decent year for music, but I have to admit, this decision wasn’t so difficult for me. Although there were a fair amount of stand-out albums - Sufjan, Kanye, Janelle Monae, Erykah Badu, Beyonce, Cee-Lo, Arcade Fire and The Black Keys, to name a few – still, Wake Up! was a relatively quick pick. It did help that I’ve written about a few of the albums above already. But ultimately, this gospel-saturated collaboration between John Legend and The Roots (and a few other guests) gives off the sense that it intends not only to be a great album of its year, but an all-time classic.
In 2010, I so anticipated this record. I love John Legend's voice and style, but am often let down by his actual song choices, so I was stoked for him to work with The Roots on some soul covers. I picked it up immediately, and was not disappointed. The animated cover art is beautiful, and the music is even better. I suggest a relatively high volume for your ideal listening experiece. Speaking of, if you want to listen along, here's the soundcloud link: http://soundcloud.com/billboard/sets/wake-up-john-legend-and-the-roots
“Hard Times” kicks off the album with some brief reflection time, as ?uestlove gives us some cymbal love, and John Legend freestyles a bit before the beat drops. And when it does, it drops hard. Nearly every beat is accented by something, whether it’s the drums, horns, or bass. It's a full song, with a lot of anger-release potential, showing off just how tight The Roots can be.
“Compared to What” settles into a groove, without ever
letting go of the drive already established. As it fades out, piano runs and
tambourines give us a decidedly philly-style introduction to the title track,
“Wake Up Everybody”. The duet
features Melanie Fiona, who sounds best when harmonizing with Legend, but I am
probably biased. Common also makes
an appearance, which is also just fine with me. I feel like it would be a good idea for him to collaborate
with John Legend more in the future.
The call to “Wake Up” continues into “Our Generation”, with the punchy
response of, “let’s straighten it out”. The invitation to accept responsibility and make things better is refreshing, and the baritone
saxophone doesn't hurt either.
“Little Ghetto Boy” – first the prelude, which comes
across more as a spoken word over piano and drums, and then the song – begin Side B of the record. The song
flows seamlessly, and kicks in with Black Thought rapping over a progression
led by an organ. These two
related tracks represent what this album is all about: optimism in the face of
pain and suffering. Never does
“Little Ghetto Boy” excuse the kid to spiral – he's expected to grow up and
change his situation – but neither does it minimize the difficulty that his
situation presents. Like in “Our
Generation”, a the choral response is repeated, but instead of an imperative, a
different kind of hope is offered: “everything has got to get better”.
I somehow always miss the next song on Wake Up! Even
when I intentionally listen to it, by the time “Humanity” drops its reggae
feel, and talking “about love the way it should be…” and I forget all about
“Hang In There”. Both songs offer optimistic hope and encouragement, and feel laid-back, which you should enjoy before you're taken to church on Side C & D of the vinyls.
“Wholly
Holy” is a song I would legitimately love to hear in a church. On this record that calls us to not only believe, but act towards making our world more live-able, it makes sense that the spiritual
overtones would be given some explicit reference.
I have a sneaky suspicion that “I Can’t Write Left
Handed” was The Roots' favourite song to record. Legend opens it up with some preamble, recognizing that, “war is always hell. It always will and it always has been”, before launching into to this beautiful soul-folk song, telling the story of a man shot in the arm. This song is long, builds slowly, and is performed in
every imaginable collection of dynamics.
John Legend shows what he’s made of, as he repeats a lot of the
story several times, yet every time brings the lyrics alongside a deep-seated
emotion and soul.
One last time, I flip the vinyl over for the shortest
Side of the record. “I Wish I Knew
How It Would Feel to be Free”, and “Shine” complete the song cycle, by moving
the focus not just to ourselves, but letting stifled voices heard. You should probably listen to Nina Simone doing “I Wish I Knew…” as well, because she is the bomb. "Shine" works almost as a benediction, or a modern day version of "This Little Light of Mine". While we move out to Wake Up the world around us, and make it better, "Shine" reminds us not to write anyone off, and let them shine on.
It is so easy to complain about everything and anything, but this album inspires hope in a way that few have the confidence to do. Happy listening, and I'll try to be quick with posting my 2009 rerun. Peace out.
Some classic UK R&B has been coming out this year, but Jessie Ware is the one most worth paying attention to. She doesn't look like your typical pop or soul star, yet perhaps the best comparisons have been made to Sade, one of the greatest R&B vocalists to ever step out of the UK. Whether Jessie is epically belting about your "Wildest Moment", or playfully singing a catchy pop tune like "Sweet Talk", the sounds coming out of her are raw and beautiful. In a world of pop music that's trying too hard to be sexy, Jessie Ware's naturally sexy tone is breath of fresh air. Also, did you know she found her earliest success in a taxi? Yep, check this out:
I was racking my brain whether to include E.P.'s on this list. There were a few really great and really promising short albums that came out this year, from Brandi Carlisle, Shad, and Azealia Banks, for example. But there is something about this 7-track collection from Beyonce's younger sister that I simply can't exclude. Maybe it's the 80's R&B throwback (the record is full of drum tracks, synthesizer, and even retro sounding harmonies) just when we most miss Whitney Houston's early years. Maybe we've all been secretly wishing to know what Beyonce would sound like if she weren't an epic diva. For whatever reason, True feels as though it's exactly what a musical doctor would prescribe. 
This album may still be in the "Under $8" section on iTunes. That's how I picked it up, only having really listened to the two tracks that had viral videos, "Same Love," and "Thrift Shop". I actually forgot I had purchased it, until one day a song popped into my headphones while my ipod was on shuffle (a rare moment, indeed). Macklemore surprised me by being far more than your average white rapper. He does hip hop justice by both speaking out on issues, and having a sense of humour, two things that I believe hip hop music does at its best. There are a couple moments that could feel slightly preachy to some, but for the most part this is a solid record built on thought and guts.
I think this collaboration makes more sense than any I've heard of in a long while. Two incredibly talented, brilliant, and quirky musicians from different generations team up to give us exactly what you would expect, plus some extra horns. The only downside to Love This Giant is that Annie Clark (St. Vincent) doesn't have nearly enough guitar solos. Still, it's clear through the work they did produce that both David and Annie respect and generally enjoy each other's music and style, which along with their stunningly complementary vocals, makes this team-up worth every effort. 
Like no Norah you've heard before, ...Little Broken Hearts shows off the jazz standard singer's versatility, and producer Danger Mouse's ability to transform an artist's sound. Like Adele's 21 the year before, ...Little Broken Hearts is an album dedicated to a break-up, and although it hasn't reached nearly the level of mainstream success that 21 did, I find it refreshingly more mature and balanced on the dejected-to-irate spectrum. Highlights for me are "Sad Goodbye", "Happy Pills", and "Miriam". Just click on the album image to stream all the songs.
The Alabama Shakes have the secret power of time travel. Every time I play Boys and Girls I have to remind myself that I do not actually live in the 60's. The album kicks off with the addictive single, "Hold On", and then does nothing less than restore my faith in Rock & Roll. The album is filled to every last edge with lyrics of desire, anger and sadness that are only deepened by Britney Howard's soulful, raspy, low croon. I have yet to see them live, but I've heard this is necessary, so if you have the chance, don't pass it up. 
I did not like this right away. At first listen, I couldn't handle the macho and misogyny long enough to get past the first half. Good Kid, M.A.A.D. City tells Lamar's own coming-of-age story, and at first, Kendrick tries to prove himself a man with the usual tough act. In order to see him grow, you need to give the album/story time. Punctuated by voicemails left by Lamar's parents (beginning angrily asking for the car back but eventually become gentle invitations to come home) this solid rap record leaves a surprising message of manhood: that it's not perfected in violence but in taking care of family. Although it is heard best in context, I've embedded my favourite song off the record below.
There was something about 2012 that brought a lot of older artists out to record. Springsteen, The Stones, The Beach Boys and even Van Halen all released music this year, but only Bobby Womack was able to give us something that feels stunningly relevant and original, while holding a greater depth of experience and wisdom. His age can be heard in his voice, and I think it makes The Bravest Man in the Universe Bobby's best album yet.
Someone asked me what my life highlight from 2012 was, and my first instinct was to say Frank Ocean. I anticipated this album like nothing else this year, so it had a strong potential to let me down, but obviously it did not. Channel Orange explores the disadvantages of living a privileged rich kid's life along with a couple deep and personal instrospective pieces that are held together by flipping television channels that offer news from the outside world. The music is fresh and heavy R&B with a hip hop attitude, and I can't get enough of it. If you still don't have this album, click the image to the right for a stream of it on soundcloud. I doubt you'll last long without purchasing this one.
