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The Top 10 Songs of the 2011 – The Countdown Begins Tomorrow!

19 Dec

As the title of this post suggests, the top 10 songs of 2011 countdown begins tomorrow. I am pumped. Last year was the first time I counted down the top 10 songs of the year (the previous year I did a decade in rock round-up poll – “Smooth” took the crown of best rock song of the 2000-2009 decade, but I chose “Devils and Dust” by Bruce Springsteen and I defended that choice here).

I had an excellent time compiling the top 10 songs of the year and profiling each of them in a daily (except Sunday) format. Every post category takes a back seat to this countdown. Interestingly, but not surprisingly (I guess then it really isn’t that interesting), it was quite tough to put together this list. Before I did my research, I had a preconception that this year in music was weaker than 2010. While 2010 saw such releases as “Home” and “King of Spain,” 2011 has songs like – NOPE! You are going to have to wait for the top 10. Patience is a virtue.

Inevitably, though, some songs missed the top 10 list by a smidgen. Last year I did a top 11, but, come on, that’s just an excuse for not being able to choose. This year I got the list down to 10 excellent songs ranging from electro-psychedelic to jazzy throwback (only clue I am giving out). But like I said some songs missed the cut. I am going to post these songs with a brief statement in this semi-preview post. And, as you will see, these are strong songs and, given some more time to think about the list, one or two of them may have been on it.

Remember, this list of 10 is completely based on my personal discretion. Yes, I admit, I am not a fan of most rap. I tend to favor Indie/Rock. These genre preferences do impact my decision making. If you think that Nicki Minaj’s “Super Bass” is the song of the year, you will most likely dislike this list. I am not discounting the song. It is #1 on many end-of-the-year lists and an enjoyable song for individuals with different musical inclinations. I do, however, urge you to follow this list. There are some gems that are universally enjoyable – in my opinion of course. If you want a little basis on how this is done please take a look at last year’s Rundown where I outlined the entire 2010 countdown.

Now, on to the songs that missed the cut.

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“Shell Games” by Bright Eyes

“Shell Games” by Bright Eyes is track two on The People’s Key, which was released in February of 2011. Bright Eyes, of course, is the brainchild of singer/songwriter extraordinaire Conor Oberst. The album, Bright Eyes’ eighth, was the definition of a solid release. The best song on it is “Shell Games,” a fast-paced lyrical tour-de-force (with even a mention to Sisyphus!).

“At the architect who imagined this
For the everyman, blessed Sisyphus
Slipping steadily into madness
Now that’s the only place to be free”

The song features a Bell X1-like 80’s style chorus, staccato piano chords, and Oberst’s passionate voice. Well done.

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“Shake it Out” by Florence and the Machine

“Every Teardrop is a Waterfall” by Coldplay

I’m grouping these two songs together because I share similar feelings for both. Supposing I had a little more time with these songs and their respective new albums, they both may have found a way onto the list. These singles are classic releases for both of the bands and both songs are good. I enjoy them both. They are just not top 10 worthy, in my opinion. If I was doing top 10 albums of the year, though, both of these new releases would have found there way onto that list.

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“Black” by Rome

And leading the best album of the year list would be Rome. This superior collection of songs from odd supergroup Danger Mouse, Daniele Luppi, Norah Jones, and Jack White is a mix between modern production, spaghetti western, and pure, unadulterated awesomeness. “Black” is one of the better songs off of the album. The album as a whole is wonderful. It is a true listening experience. Taken independently, though, the songs are either instrumental wonders or cool singles. Cool but not top 10 worthy

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The Best Songs of 2011 – A Brief Preview

6 Dec

Yes, it’s Tuesday, and despite my intention of profiling another obscure classic rock band, I just simply do not have the time. But that’s alright. I do have the time to provide some excellent news. Excellent news if you enjoyed the post stylings of last year at around this time.

Last December saw the inception of the Top 10 songs of the year list. Click here for the rundown of the top 10 songs of 2010. I wasn’t sure if I was going to have it become an annual end-of-the-year event, but, because of a great response from you fantastic readers, I have decided to bring it back…with different songs obviously. So, starting on Tuesday, Dec. 20 (supposing everything goes according to plan) I will start profiling the top 10 songs of 2011 (my opinion of course). This year saw the release of some excellent albums and songs and I look forward to sifting through potential list makers and picking the top 10.

As you may have taken from the picture at the top of this article, I do plan on previewing the list with a song. Will “Shell Games” by Bright Eyes, a song off of their February (oh how it seems so long ago) release The People’s Key, the band’s first in four years, be on the top 10 list? I’m honestly not sure. But it is a great song released in 2011 so I wanted to profile it for your listening pleasure.

Bright Eyes is led by the pained croon of Conor Oberst and his catchy melodies and lachrymose lyrics propelled Bright Eyes to Indie fame before the Indie genre was even in diapers. “Shell Games” moves to the tune of an obsessive piano, 80’s synth, heavy drums, and a distinct melody. It provides the Bright Eyes flavor we have all come to enjoy – a dark infectiousness. And the lyric. Goodness.

“I was dressed in white, touched by something pure
Death obsessed like a teenager
Sold my tortured youth, piss and vinegar
I’m still angry with no reason to be

At the architect who imagined this
For the everyman, blessed Sisyphus
Slipping steadily into madness
Now that’s the only place to be free”

His scholarly and literary lyrics depict a tortured bibliophile, a somewhat bookish musician who combines quasi-existential philosophy with rhythm. Intelligent music that is also enjoyable. I love that.

A Poetic Commute – Some Itinerant Posting From The Music Court

4 Nov

Not quite like this, but, it was pretty splendid.

Happy Friday readers. I have a short, delicate post for you all this afternoon. A “poetic” post, if you will. Today, as I commuted to work, I noticed a radiant sunrise (and people ignoring it) and it goaded me to take out my blackberry and scribble down some words in a note. So, in a manner similar to SWOD (an old Music Court category where I took a vocabular word and matched it to a song), I will do the same with my brief poetic passage below. What the heck, right? Let’s change it up a bit (like the theme). Will this be consistent? I’m not sure? I enjoy creative writing, and while I do not often propagate this information, I feel that some well-intended verse cannot hurt. Let’s get to it, shall we.

“Why must we ignore the sunrise? Have we become immune to its ineffable splendor? Do we not wake up early on vacations to fit the early sunrise into our perturbed schedules and spurious relaxation? We “plan” to see a daily event that we could witness everyday. And we say “wow” as the sun performs its matutinal act over an eastern mountain or a spotless sea. We hug. We kiss. We claim to respect the pulchritude of our observable realm. “I understand.” But I, we, you do not.

 The Fall sunrise, a sky dappled with orange smoke with red undertones. A halcyon melody, a wake-up song to the world. It bathes clouds in light as it methodically unwraps itself from warm bed sheets. It doesn’t smile, yawn, wave, but sits up and stares  at specks of moving particles, neurons and synapses, shooting signals at incredible speeds.  Yet, it is shunned, forced to rise while only getting passing glances from the same quotidian molecules, looking only at the train, distracted by pieces of bland technology, and the market presentation at noon. Take a moment before the fire is lit and the sun sits on its throne in the sky. For a brief moment it is waking up and it’s never a dull, pablum morning. We can learn from a sunrise, if we would only open our eyes.”

“It’s the Same Old Song” – No, Really, It Is!

2 Nov

The Four Tops

The Four Tops was a perfect example of a fantastic band. Not just a premier, Motown hit-machine, but a solid, long-lasting band; one that could only be separated by death. The Tops were together from 1953-1997. 1997 is when Lawrence Payton passed away. Today, only Duke Fakir remains. Sadly, both Obie and lead-singer Levi Stubbs have passed away in recent years. But, and I know this sounds awfully corny, the Four Tops created a legacy that transcends time and death.

When I think of Motown, I think of the Four Tops, The Temptations and The Supremes. These bands jump to the forefront of my mind because of their sheer level of success. In Berry Gordy‘s tightly run Motown machine, if you could snap your fingers and harmonize, you could almost be guarenteed a hit. He, and his illustrious group of songwriters and background musicians, pretty much created inevitable success for so many acts. The Four Tops had more success than most.

The reason for this can be boiled down to three reasons. Levi Stubbs’ vocal was distinctive, smooth, exciting, and a whole bunch of other adjectives. He certainly had one of the best lead vocals of all the Motown acts. Seriously, in my opinion, just as good as Diana Ross,  David Ruffin, Smokey Robinson and Marvin Gaye. Perhaps, the two best voices to come out of Motown were a little young during the label’s glory days. That being Michael Jackson and Stevie Wonder. They would mature. Yeah, they had/have pretty amazing voices. Anyway, Levi Stubbs’ voice fit Motown R&B/Soul exceptionally well, and it worked even better with his bandmates. Number 2: the band was loose, fun, and performed with zany vigor. Number 3: The songs.

Today’s song of the day: “It’s the Same Old Song.” And it really is, trust me:

The dance moves are legit. Let me explain to you how this aptly title song got its apt title. You see, Berry Gordy, like I said above, ran a tight ship. After The Four Tops hit #1 with “I Can’t Help Myself” in June of 1965, Gordy wanted to reap the most out of the band as possible. So, he ordered a new song to be written for them in a day. That’s right, a day. Go! So Motown’s principal production team, the Holland brothers and Lamont Dozier, got to work. As Duke recalls:

“Lamont Dozier and I were both a little tipsy and he was changing the channels on the radio. He said, ‘It sounds like the same old song.’ And then he said, “Wait a minute.” So he took “I Can’t Help Myself” and reversed it using the same chord changes.”

Yeah, that’s it. And, keep in mind, “I Can’t Help Myself” is practically the same song as The Supremes’ “Where Did Our Love Go,” obviously one of the most inspirational Motown classics. The team worked around the clock creating the song, and by 3 p.m. the next day, the song was released and sent to radio stations, where it eventually hit #5 on the Hot 100 chart and #2 on the R&B chart. Yeah, it’s the same old song, but it is awesome.

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“Going up the Country” – Back to Binghamton.

13 Oct

If you have been viewing this blog for a while, you know that a post about “Going up the Country” by Canned Heat has become synonymous with my trips up to Binghamton. What started as a quick and short post just to alert readers that I was driving four hours north to Binghamton (and could not post that day because of it), became a tradition, a sort-of good luck charm, declaring safe passage up to Binghamton University. I graduated from Binghamton last Spring and I am now settled into the world of commuting, but, as the title of this post suggests, I will be visiting the Ol’ Alma Mater this weekend, and therefore “Going up the Country” returns.

Canned Heat’s “Going up the Country” struck it big because of its appearance in the Woodstock movie. Because of its bluesy and rhythmic bustle, and apt message (for the journey to Woodstock was a trip up the New York country), the song became that Woodstock song. Alan Wilson’s trademark high-pitched and possessed croon just assisted in the song’s overall aura.

I have posted about this song too many times. How can I possibly make this any different? Well, hmm, today I believe I will do my favorite cover version of the song.

Here is “Going up the Country,” the 50’s shuffle version.

The band is Kitty Daisy & Lewis and this country/rock-a-billy/all-around twang sibling throwback play music in London. This version of the song has gained over one million views on YouTube, which is a pretty extraordinary feat. It moves. It’s cool. A well-put together and filmed cover.

But my favorite version (that is not the original) is not a cover at all. Instead, it is actually what the song is based on (or completely stolen from, matters who you ask). Alan Wilson is listed as the writer of the song, but Henry Thomas recorded the song with different lyrics in 1928. So, yeah, it’s stolen (not the lyric, but the entire melody) “Bull Doze Blues” is “Going up the Country.” Enjoy the quills!

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