Tag Archives: best albums of the 2010s

What Were the Best Albums of the Twenty-Teens? (Part 8 of 10)

We have now barreled our way onward to part eight of our ten-part review of the critic’s choices for the best 52 albums of 2010-2019! (Surely I mean 50 instead of 52. No? No. See below.)

If you missed parts one through seven, you can read them here:

( Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 )

This is one of three musical blog series I’m doing this year. If you like this, go check out the final installment of my overview of the critic’s choices for the 20 best albums of 2020, and my latest monthly review of 2021 new releases as I search for the 21 best albums of 2021.

So, 50 makes more sense as a “top xx” list number than 52, doesn’t it? It does! However, I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff rather than trying to figure out how to jettison two of them.

This series will have 10 posts of 5 albums each (or 6 each on the last two) and then a final wrap-up. That established, on with Part 8!

Melodrama (Lorde, 2017, 4 votes)– Lorde’s second album starts with an emotional punch and dynamic multi-layered music. And it doesn’t let up from there, along with generous servings of her lyrical intelligence and strong and honest vocal presence. Her combination of power, seriousness, and ability to produce something interesting and pleasing to listen to is truly impressive.

   

Modern Vampires of the City (Vampire Weekend, 2013, 7 votes)– Long have I heard of this Weekend of Vampires, but little did I know of what they actually sounded like. On top of that, lots of people I know have recommended this album to me, and 7 out of 10 critic’s top of the decade lists seem to agree. It gets off to a Beatlesque and unusual start, which is a nice way to catch one’s attention. From there it’s high energy, catchy, and if a little formulaic, a good execution of a great formula- hooky indie rock, 60s pop, sweetly smooth vocals, lyrical cleverness, just enough noise to catch one’s attention without stopping the pop. If not quite a transcendent album for the ages (like, I’m not sure what it’s doing in Rolling Stone’s list of the 500 Greatest Albums of…ever…, for example), I can at least see why so many folks liked it.

   

My Beautiful Dark Twisted Fantasy (Kanye West, 2010, 7 votes)– Kanye West’s debut album was one of my favorites of the 00s (if not the whole damn century so far), and his next two albums also acquitted themselves admirably. Beyond that, I hadn’t really kept up with his further musical output, beyond knowing it was somewhat more uneven, so I’ve been looking forward to checking this out. It is well worth the checking out! His vocal flow, lyrical prowess, sampling intelligence, and production skill are all in top form here. And it is, as the name would imply, a darkly textured take on himself, his ego, and the fallout of fame. Along the way it goes through so many moods and musical modes, but retains the subject focus, tying the whole thing together. All in all, a powerful album!

Night Time, My Time (Sky Ferreira, 2013, 4 votes)– The debut album from one of the original MySpace musical sensations. It’s a very solid pop album, with a darker rock edge to its vocal and musical texture. And darn catchy too! The whole thing is a little inconsistent, but the inconsistency is between merely solidly good and freaking great. All in all, a good reminder that pop often may not be profound, but it doesn’t have to be dreck.

Norman Fucking Rockwell! (Lana Del Ray, 2019, 4 votes)Godamn, man child/ You fucked me so good that I almost said, “I love you” is quite a lyrical start! And so sweetly vocally and musically delivered. And that really, it seems to me, is the secret of what she does here. Smoky sultry music, rich warm vocals. She could be delivering the sweetest most torchy album ever. And she is, but with lyrics that dazzle with their intelligence and emotional complexity and bite with their edge. It’s a potent combination, and I am totally signed off on this being one of the best things that came out last decade.

This is where we leave off for now, 80% through. Two more installments to come, and then the wrap-up!

 

What Were the Best Albums of the Twenty-Teens? (Part 7 of 10)

Here begins part seven of our ten-part review of the critic’s choices for the best 52 albums of 2010-2019! (One for each card in the deck! That wasn’t the reason for choosing the number, though. See further below.)

If you missed the earlier installments, you can read them here:

( Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 )

This is one of three musical blog series I’m doing this year. So go check out the final installment of my overview of the critic’s choices for the 20 best albums of 2020, and my latest monthly review of 2021 new releases as I search for the 21 best albums of 2021.

Okay, now that you’ve read all that, why 52? I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

This series will have 10 posts of 5 albums each (or 6 each on the last two) and then a final wrap-up. And with that, let’s get on with Part 7!

Invasion of Privacy (Cardi B, 2018, 6 votes)– Strong bold vocal flow? Check. Self-empowered swagger? Check. Spare, clean, sampling and production full of interesting choices? Check. Tracks that get your head bobbing, and strike a variety of moods? Check. Songs that are about something and show moments of reflection and vulnerability among the swagger? Check. Sometimes the guest stars get a little distracting, but otherwise this is pure gold.

 

Lemonade (Beyonce, 2016, 7 votes)– Her voice, of course, is never less than amazing. But that’s almost the least of the things going on here. Multilayered production, clever and varied musical choices, deeply personal lyrics that tackle the political and the private (sometimes the very private matter of marital infidelity), with equal parts biting humor, anger, and raw vulnerability. It kind of puts every other pop record of the decade on notice for their lack of ambition.

Lonerism (Tame Impala, 2012, 5 votes)– Some years ago, I was driving through the wilds of western New York with my wife when we heard something on the radio so weird and wonderful that we immediately had to know what it was. It turned out to be Tame Impala’s song “Elephant” from this album. I’ve listed to two later Tame Impala albums in this blog series and my 2020 review, and expected them to be amazing based on that song, but was decidedly underwhelmed. It turns out this is the album I was looking for the whole time after all. It’s a (distorted) pitch-perfect neo-psychedelic masterpiece from start to finish.

Lost In The Dream (The War on Drugs, 2014, 4 votes)– It starts off vocally and musically billowy and  golden, but with maybe too smooth a production. And yep, track two is in the same vein, it reminds me of the 80s, and not in a good way, but in a victory of airtight musical package over authenticity/vitality kind of way. I mean, it’s technically very good, there are some flourishes I enjoy, but I don’t really feel anything the whole way through.

LP1 (FKA Twigs, 2014, 4 votes)– I must confess, I’d heard the name, but I had no idea what kind of twig an FKA twig was. So this was all pleasant surprise- the theatrical vocals, air of vulnerability, music based in dance/pop but full of experimental edge and offbeat surprises. Tahliah Debrett Barnett (FKA Twigs is her musical stage name) is an English singer-songwriter, record producer, dancer, and actress, aka she’s overflowing with talent, and all of it is on display here. It never let go of my attention the whole way through.  

And here we close for now, 35 in and 17 to go…

What Were the Best Albums of the Twenty-Teens? (Part 6 of 10)

We now commence part six of my ten-part review of the critic’s choices for the 52 best albums of 2010-2019- Past the halfway point! (Did I not know Top 50 would be a more typical choice than 52? I did. There is a reason…)

If you need to catch up on the first five installments, you can find them here:

(Part 1 Part 2 Part 3 Part 4 Part 5)

This is one of three musical blog series I’m doing this year. You can, should you so choose, read the final installment of my overview of the critical consensus for the 20 best albums of 2020, and the latest monthly review of 2021 new releases as I search for the best 21 albums of 2021.

So, to return to the open question, can I count to 50? I can! But this is what happened: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 posts of 5 albums each (but 6 each on the last two) and then a final wrap-up. Now that you know, let’s get on with Part 6!

Emotion (Carly Rae Jepsen, 2015, 5 votes)– The opening track is very poppy and very fun. And so, it appears, is the rest of it. It reminds me of Taylor Swift, though perhaps a little slicker and less substantive than her work from a comparable time. Really pretty good as dance-oriented pop music goes, and it does sound emblematic of the decade. So in that sense, maybe a signal album, but I’m not quite sure about “best”.

Good Kid, M.A.A.D City (Kendrick Lamar, 2012, 5 votes)– This is the album that put Kendrick Lamar on the critical map, and deservedly so. Musically and vocally, it’s full of choices that put it above the crowd of hip-hop albums. If it stopped there, that would be notable enough, but on top of it there’s actually a structured storyline running throughout, and lyrics that feel searingly honest. It’s an album that observes the toughness of what he grew up in, and shines with a desire to rise above it even as it describes the fear of it dragging him back down.

Golden Hour (Kacey Musgraves, 2018, 6 votes)– A textured country album, definitely often leaning on the obvious/pop side lyrically, but the vocals are earnest enough to sell it. Musically, it’s lush, grounded in pop country, but drawing on dance music, electronic, and indie rock. It’s all very good, and the best moments are great, but I don’t know about it adding up to a “decade’s best”- I have a feeling the best country albums are better than this as a whole, and the best pop albums are too. What she’s done here in bringing together both sides of that equation is still worthy of notice though!

Have One On Me (Joanna Newsom, 2010)– The instrumentation and production is so clever, bringing in layers like the late Beatles. Her voice weaves in and out, soars and dips, sometimes sing-song, sometimes wispy, sometimes powerful. Between all these factors, there’s enough variability in a single song to be almost exhausting, but it holds the attention. And lyrically it’s often kind of trippy, creating a surreal idiosyncratic world of its own in the manner, say, of Kate Bush or Tori Amos. That’s the upside, and it’s very significant. On the downside, it’s hard to keep up over the length of a triple album (runtime comes in at about two hours), and it gets more conventional, and often lower energy, as it goes on. It’s hard to ignore the merits, but I’m not sure it totally succeeds as an album.

    

In Colour (Jamie xx, 2015, 6 votes)– British Dj Jamie xx delivers the kind of electronic dance music album that was maybe more common in the 90s and early 00s- strong beats, cleverly deployed samples, vocal snippets, but somehow structured in a way that makes it still work as a song along somewhat recognizable pop/rock lines. As you know if you’ve been following my three series this year, electronica is not generally my bag, but this variety of it, and how skillfully it’s done, absolutely is!

And there we are, 60% in on our review of the 2010s. What will the remaining 40% reveal? Stay tuned!

What Were the Best Albums of the Twenty-Teens? (Part 5 of 10)

Here we are with part five of my ten-part review of critic’s choices for the 52 best albums of 2010-2019! Halfway there! (52’s a weird number isn’t it? See below for the reason why…)

If by chance you missed the earlier editions, you can find them here:

(Part 1 Part 2 Part 3 Part 4)

This is one of three musical blog series I’m doing this year. So go check out the final installment of my overview of the critical consensus on the 20 best albums of 2020, and my latest monthly review of 2021 new releases en route to finding the best 21 albums of 2021.

So. 52. It’s like this: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 posts of 5 albums each (or 6 each on the last two) and then a final wrap-up. With that explained, let’s get on with Part 5!

DAMN. (Kendrick Lamar, 2017, 5 votes)– From the first this made musical and lyrical choices that show something special is going on here. The dense weaving of storytelling, the unusual vocal mixing choices, the strategic deployment of music samples to set a mood, it all works. His 2012 album Good Kid, M.A.A.D City was a heck of a thing to have to live up to. Darned if this doesn’t do it!

Days Are Gone (Haim, 2013, 5 votes)– For my 2020 list I’d listened to their album Women in Music, and quite liked it. This feels like it leans even more poppy than that, but retains what I really liked about that album- a nearly perfect pop sensibility but some power and substance behind it. This does register as lighter than their later album, though. Is this the earlier album’s fault? No, and yet they must reverse-chronologically suffer for my knowledge!

Daytona (Pusha T, 2018, 4 votes)– It’s got energy and swagger, all right, and the wordplay is top notch. The music mix and sampling is crisp and sharp. The lyrics have some weight and meaning too. A little derivative (you’ll hear lots of influence of Jay-Z and Kanye West here- who produced it) but all in all, this is a very worthy effort.

Dirty Computer (Janelle Monae, 2018, 5 votes)– If you make a sexy, smooth R&B/dance album, I’m on your side. If you make an album with political/social import that doesn’t get polemical, I’m on your side. If you make an album full of smart, unusual lyrical, vocal, and musical choices, I’m on your side. If you make an album with sci-fi/tech themes, I’m on your side. If you do all of these together, you are Janelle Monae, and I’m over the moon.

DS2 (Future, 2015, 4 votes)– Early on I’m thinking this is a little more autotuned than I like, but the lyrical content is interesting at times, and there’s a pleasing air of menace in the music. However, there seems to be a lot more “bitch” and “pussy” here than I like. On balance, it’s a “no” for me.

And there we are with Part Five. 25 down, 27 to go. Five more posts. We can do it!

What Were the Best Albums of the Twenty-Teens? (Part 4 of 10)

Commencing part four of my ten-part review of critic’s choices for the 52 best albums of 2010-2019! (Wait! What? 52? There is a reason, see below…) If you missed the earlier editions, you can find them here:

(Part 1 Part 2 Part 3)

This is one of three musical blog series I’m doing this year. So go check out the latest installments of my overview of the critical consensus on the 20 best albums of 2020, and my monthly review of new releases en route to finding the best 21 albums of 2021.

So, wait, did I say 52? This is what happened: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 total posts of 5 each (or 6 each on the last two) and then a final wrap-up. With that explained, let’s get on with Part 4!

Celebration Rock (Japandroids, 2012, 5 votes)– Hey, that’s some good rock! At least on the opening track. It’s got the guitar. It’s got the backbeat. It’s got surging passionate vocals. It’s got the feedback fade after. They totally know how rock song structure works as well, and there are affecting lyrics. Without sounding absolutely the same track after track, there isn’t a track that stops rocking. God bless Canadians, I sometimes think they’re the only ones who still get it.

    

Black Messiah (D’Angelo & the Vanguard, 2014, 5 votes)– In a previous iteration of this kind of exercise a few years back, I had been confidently informed by critics that D’Angelo’s album Voodoo was one of the best albums of the 00s. I had trouble getting there. It was good stuff, but I couldn’t see what I was getting from it that I wouldn’t, for example, get from Prince (who it felt heavily derivative of). I’m having a similar reaction to this. To be fair, though, I suppose this could be considered praising by faint damnation, since that’s a pretty darn elevated reference point.

Channel ORANGE (Frank Ocean, 2012, 7 votes)– This is the second of two albums of his that made the list, and the chronologically earlier of the two (the other one being Blonde from 2016). Well done Frank! Like that album, the autotuned nature of some of the vocals here gives me pause. Also, like that album, the lyrical wit, interesting sampling and production, and varied musical approaches utterly overcomes those reservations. I can see how this got listed, especially since it came out first!

Control (SZA, 2017, 7 votes)– Musically sophisticated, emotionally honest, and lyrically complex R&B. Some tracks are harrowing, some sweetly vulnerable, some sarcastic, and some downright hilarious, like Doves in The Wind in which she (SZA is the stage name of Solána Imani Rowe) uses samples from Westerns and Kung-fu movies and a guest appearance by Kendrick Lamar to explore the obsession with pussy. On the downside, it’s got more than a bit of the “autotuned” sound that’s the bane of the decade and maybe falls a little short in overall coherence. Part of the issue may be that, as the 19th album from the list I’ve listened to, I’m now comparing it to the very best-structured albums from the list. That’s pretty minor sour grapes considering how high quality this is, and how powerful she is.

Currents (Tame Impala, 2015, 4 votes)– This is a little trippy, which I hear is their jam. But, more on the dance/electronic side of trippy, with some new wave influence. It reminds me, perhaps, of something the Flaming Lips might put out, except from them I’d expect even more weirdness, and also more overarching album structure. The tracks are also tending a lot toward sameness. Not bad, by any means, but I’m not convinced this adds up to a “decade best” album.

And that’s it for this installment! 20 down, 32 to go…

What Were the Best Albums of the Twenty-Teens? (Part 3 of 10)

Welcome to part three of my ten-part review of critic’s choices for the 52 best albums of 2010-2019! (52 is weird, right? We ended up with that number for technical reasons explained below.) If you missed the earlier editions, you can find them here:

(Part 1 Part 2)

This is one of three musical blog series I’m doing this year. You may also want to check out the latest installments of my overview of the critical consensus on the 20 best albums of 2020, and my monthly review of new releases en route to finding the best 21 albums of 2021.

So, 52? It’s like this: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 total posts of 5 each (or actually 6 each on the last two) and then a final wrap-up. Got it? Then let’s do Part 3!

Body Talk (Robyn, 2010, 7 votes)– I think this is Swedish dance music that would have sounded pretty at home somewhere in the borderline between the 80s and the early 90s? It’s well performed and well produced, and there are some songs here that are clever, unusual, and fun, which I certainly would want in my collection as singles. But overall I have trouble feeling like it adds up to a consistent album, never mind “Best of the Decade” territory.

     

Bon Iver (Bon Iver, 2011, 5 votes)– The great danger of indie folk is that it has a tendency to sound the same- both internally from track to track in an album, and between albums. Which is not to say it is, by any means, bad. But a solid album’s worth of no changes in musical or vocal tone, well, that doesn’t always make for a great album. This album is fine, as far as I can tell. Just not a kind of fine I particularly groove on. And, fine or not, it never feels like it gets to great.

 

Brothers (The Black Keys, 2010, 4 votes)– Remember Rock? Remember when you first heard it? Really heard it? The further one gets into this century, the harder it is to remember what that felt like. The Black Keys, like the White Stripes (lots of bad blood there, don’t tell them I compared them), remember. This album, like their music in general, taps into that threshold where blues crosses over and becomes rock. And in the process takes me back to why I loved rock in the first place.

 

Burn Your Fire For No Witness (Angel Olsen, 2014, 5 votes)– I liked the intro with its richly textured acoustic guitar, and her beautifully dolorous voice. Then the second track kicked into a 90s rocker girl mode, and uh, I was done for. Her vocals are very interesting, with smart and nervy lyrics, and the music knows its way around rock history. It keeps changing musical modes, but is tied together by her undeniable presence. By track three I was officially ensorcelled, and remained so until the end.

Carrie & Lowell (Sufjan Stevens, 2015, 5 votes)– To say this isn’t quite the tour de force that his album Illinoise was, well, that’s like saying “not quite Brothers Karamazov, but still good Dostoyevsky”. The emotional and musical texturing of the songs is rich, and the lyrics, as always, searingly earnest and personal. If there’s anything more I might ask for, it’s more moments, vocally and musically, that break out of the relatively narrow emotional palette of the album. Then again, it’s an album about sorting out the emotional aftermath of his mother’s death, so you can’t exactly fault it for that.

All right, there we are! Fifteen down, which means 37 to go. Who knows what wonders we still have to discover?  

What Were the Best Albums of the Twenty-Teens? (Part 2 of 10)

Welcome to the second installment of my review of the best albums (according to critical consensus) of the 2010s. If you missed Part 1, you can find it here. This is one of three musically-themed blog series I’m doing this year. You may also be interested in my review of the reputed 20 best albums of 2020 (latest edition here), and my search for the 21 best albums of 2021 (January edition here).

To quickly review methodology, I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 total posts of 5 each (or actually 6 on the last two) and then a final wrap-up. And now, without further ado, here’s Part II!

Anti (Rihanna, 2016, 7 votes)– There’s musical and lyrical sophistication here, and songs that are sometimes more conventional, sometimes more personal and confessional. It’s very well produced, but I don’t know that it makes the level of a “best album” of the decade. It is, par excellence, what a big chunk of the decade sounded like. But I’m not sure it holds up to the best of other soul/R&B/dance albums from the same time period.

Art Angels (Grimes, 2015, 4 votes)– The ethereal disembodied first track almost sent me away, but then the variability and verve of the subsequent efforts brought me back. Quirky music, quirky vocals, very upbeat. She knows pop music, and then keeps ‘effin with it with dissonant choices, which I appreciate. If this was the average level pop music was landing at, it would be a grand thing!

Beyonce (Beyonce, 2013, 6 votes)– From the first track, which tackles body image and social pressure, this is a pop album in service of a higher purpose. Whether tackling social issues, personal biography, or emotional confession, track after track aims for import. In lesser hands, this could be an unwieldy exercise. But given skill and vision, it can be pulled off, and is amazing when it works (cf. Janet Jackson’s Rhythm Nation). Beyonce’s hands are not lesser- between mastery of the musical idioms of soul and R&B, by turns soaring and subtle vocals, rich production, and incisive lyrics, she delivers.

Blackstar (David Bowie, 2016, 6 votes)– As a David Bowie fan, I had been curious about his final album. The opening/title song is mesmerizing and self-valedictory, in the course of 10 minutes, it tries out styles from throughout his long career. Subsequent tracks stick more to a unified musical theme, with healthy portions of dissonant art rock and electronic beats. Vocally and musically the tracks are unsettling in the way many a Bowie song can be unsettling, and then on top of that there is an obvious concern with history, legacy, and mortality throughout. It’s a powerful thing to do with a record and makes for a fitting swan song.

  

Blonde (Frank Ocean, 2016, 8 votes)– Is it just me, or does the first track sound like an autotuned chipmunk? Real vocals kicked in midway, but the sound was still very autotuned. Which is a shame, because musically it’s making many unusual and interesting choices for R&B. Dammit, it’s growing on me. The arrangement and production is actually really, really good. Except for the occasional dip back into autotuned chipmunk. But this is a fun and unusual sounding album. I can see why it ended up on so many lists!

And that’s it for Part II. Ten down, 42 to go! Which means we may learn the secret to Life, the Universe, and Everything…

What Were the Best Albums of the Twenty-Teens? (Part 1 of 10)

And here we are, the third of three musical blog series I’ll be doing this year. In my first foray, I set out to listen to new releases every month in search of the 21 best albums of 2021. My second series tackles a review of critic’s choices for the 20 best albums of 2020. These are both part of a New Year’s intention of getting caught up with current music, after years spent filling out previous decades and also distracted by cross-country moves, family issues, fighting creeping fascism, etc.

Because of all of the above, my relative outage on newer music extended through most of the past decade. So this third series will be working its way through the critical consensus on the best albums of 2010-2019, and seeing what is what. (Some years back I did something similar for the 2000s, you can find my wrap-up of that series here.)

A quick note on methodology, which was fairly simple. I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. It wasn’t clear to me going in just what my cut-off would be in terms of number of albums, but as it happened, albums getting 4 votes and up totaled 52, which was close enough to 50 to serve as a good round-up.

And now I’m working my way through listening to them, and writing reviews as I go. I’ll do 10 total posts of 5 each (and 6 on the last two) and then a final wrap-up. With that explained, let’s get going with Part I!

1989 (Taylor Swift, 2014, 5 votes)– It is obviously disingenuous in some wise to say I missed this album, because it’s Taylor Swift, and if you didn’t hear “Shake It Off” and some of the other singles from this album in the last decade, you probably weren’t in the last decade. Importantly for an album, the non-hit singles here are as comparably compelling and well-done as the hits. Look, I’m a rock guy, I’m a genre classics and alternative guy, I’m a history/deep cuts guy. But there’s nothing wrong with good pop music, and this is pop music at its finest. 

A Seat at the Table (Solange, 2016, 8 votes)– Solange, reportedly, is not fond of being compared to older sister Beyonce. If you’ve found yourself on either side of that sibling comparison game, this is probably understandable to you. As it happens, she’s earned independent review, because, at least based on what I hear here, she’s a force in her own right. This album is soulful, weary, and wise from the first note. It mixes the personal and the social, and there’s genuine vulnerability throughout. And, while keeping a general smooth low-tempo R&B vibe, it takes musical and vocal chances that are lovely. If you want to play a comparison game, this honestly reminds me of Prince in its complexity and quality.

A Moon Shaped Pool (Radiohead, 2016, 4 votes)– As has been documented elsewhere in my music writing, I don’t particularly care for Radiohead. I’m aware that this puts me at odds with every music critic ever, as well as many actual humans I know. Now, don’t get me wrong. They’re not, by any means, bad. It’s just, I like moody atmospheric music. Sometimes. I like elliptical lyrics. Sometimes. I like lackadaisical low-key anguished vocals. Sometimes. But 50 minutes solid of that and only that? It’s just not a mood I’m often in. Despite some fine moments and individual songs that worked for me, I was not in that mood listening to this album as a whole. It might be someone else’s cup of tea, though!

Acid Rap (Chance the Rapper, 2013, 7 votes)– Rich, fun, and dynamic from the get-go with “Good Ass Intro” (which is), and it doesn’t let up from there. Musically, it makes excellent use of an amalgam of Soul, Funk, R&B, and Jazz backgrounds. The lyrics are also so well done, both clever, informed by pop culture references, and meaningful. And the vocals cycle through multiple modes- staccato rapid flow, straight-up singing, spoken word. Altogether, it’s a kaleidoscope of moods and modes that sounds like its title. It’s easy to see why this ended up on so many lists!

AM (Arctic Monkeys, 2013, 4 votes)– This starts off with solid beat and vaguely sinister guitar, which is a good way to get me on board. Then come the vocals and lyrics, which also have a dark and slightly sleazy feeling. The songs also display an excellent feel for the interplay between music and vocals, how each should move around the other for maximum impact. Even in the second half, when it sometimes slips into softer croonier and more “high concept” tracks, every song fires on all cylinders. This is sophisticated dirty rock the way sophisticated dirty rock is supposed to be done!   

All right, that’s five down, 47 to go. Saints preserve us, and see you next time for another five!