Top Fifty Favorite Albums of 2004 - Pt. 3

And here it is ... One item: Brian Wilson - Smile. I didn't consider this a 2004 release - I considered it a re-recording of an un-released record. Now, I think Smile is very good (after about twenty listens that is) and obviously a landmark achievement for Brian Wilson. There are so many wonderful things about this record (and the least is that is finally released), most of all it's the songs: "Cabin Essence", "Surf's Up", "Wonderful"/"Song For Children"/"Child Is The Father Of The Man", and obviously, "Good Vibrations" and "Heroes & Villains". I just want to say, "Thank you, Brian Wilson."

Here is a recap of #50 - #11:
50. Fancey - Fancey 71.32 49. Meow Meow - Snow Gas Bones 67.80 48. The Secret Machines - The Secret Machines 69.89 47. Sons And Daughters - Love The Cup 69.54 46. CocoRosie - La Maison de Mon Reve 63.83 45. Water School - Break Up With… 69.96 44. The Libertines - The Libertines 72.21 43. The Spectacular Fantastic - Vortex Of Vacancy 64.15 42. United States Of Electronica - U.S.E. 67.92 41. TV On The Radio - Desperate Youth; Bloodthirsty Babes 71.61

40. Interpol - Antics 69.30 39. The Church - Forget Yourself 69.32 38. The Lassie Foundation - Face Your Fun 73.50 37. Elliott Smith - From A Basement On A Hill 70.89 36. Frausdots - Couture, Couture, Couture 69.50 35. The Thrills - Let's Bottle Bohemia 70.35 34. The Streets - A Grand Don't Come For Free 73.43 33. The Arcade Fire - Funeral 71.10 32. Joy Electric - Hello, Mannequin 74.57 31. The Ponys - Laced With Romance 73.67

30. Green Day - American Idiot 72.94 29. All Night Radio - Spirit Stereo Frequency 74.05 28. The Coral - Magic & Medicine 72.33 27. Map - Think Like An Owner 73.51 26. On The Speakers - On The Speakers EP 73.60 25. Franz Ferdinand - Franz Ferdinand 76.03 24. Rogue Wave - Out Of The Shadows 74.42 23. Razorlight - Up All Night 75.17 22. The Zutons - Who Killed The Zutons? 72.44 21. Guided By Voices - Half Smiles of The Decomposed 67.14

20. Paul Westerberg - Folker 70.75 19. The Magnetic Fields - i 75.68 18. Ron Sexsmith - Retriever 74.75 17. Graham Coxon - Happiness In Magazines 71.33 16. Destroyer - Your Blues 75.50 15. The Futureheads - The Futureheads 75.26 14. The Delays - Faded Seaside Glamour 73.50 13. Of Montreal - Satanic Panic In The Attic 77.64 12. The Stands - All Years Leaving 75.75 11. !!! - Louden Up Now 74.15

10. M83 – Dead Cities, Red Seas, & Lost Ghosts 79.73
When Pitchfork creams their Diesel jeans over a record, I have to hear it. I expect to hate it, to mock the Fork for getting all wound up over nothing, to proclaim “Another incident of hyperbole by the indie elitist contrarian”. As you can see by this ranking, I was wrong. M83 rocks it with ambience and soul and atmosphere and pop. Taking the best from the Shoegazers and the Ambients, the songs surge with walls of guitar and electronic sounds. Sure, the record is overindulgent and overblown, but it’s equally achingly rich and sublime.

09. A.C. Newman – The Slow Wonder 76.37
Carl Newman gets a grant from the Canadian and makes a wonderful indie pop record. Sure, comparisons to his band of talented rascals, The New Pornographers, is inevitable (the songs certainly could be on that band’s records), but songs like “Drink To Me, Babe, Then”, “The Cloud Prayer”, and “Most Of Us Prizefighters” are too subtle for the energy that The New Pornographers jam. Newman’s songcraft is exemplary, cementing his place as one of the best out there.

08. The Delgados – Universal Audio 78.86
Initially, I was disappointed with Universal Audio, the Delgado’s fourth full-length record. The band takes on a more conventional instrumental approach, shedding the lush orchestration and Dave Fridman production. The lyrics seem a bit tamer lacking the overt cynical sarcasm of UA’s predecessor, Hate. It was the single, “Everybody Come Down” that kept me listening and compelling me to listen more. Soon, the strength of the melodies and hooks came through as I shed my expectations of what The Delgados should sound like, and appreciate the songs themselves. Check out: “Is This All That I Came For?”, “The City Consumes Us”, “I Fought The Angels”, “Girls Of Valour” and tell me this isn’t a great record.

07. Dogs Die In Hot Cars – Please Describe Yourself 75.02
Don’t let the band’s name steer you away, I know it’s utterly ridiculous. This quintet is making some of the most nostalgic, yet fresh music out there. A friend of mine said, “I like how the US is bringing back this dancy or just indie version of the 80's, while the Brits are bringing back either the straight pop side or the more angular post punk side - and doing it better in most cases. Dogs Die in Hot Cars fall into the 'straight pop' category, but … they inject a ton of personality into their music.” The lyrics are smart (check out “Pastimes & Lifestyles” where two characters lament their lives in the city and in the country – each yearning to get away, and pining for the other’s locale). These songs are so infectious, well-constructed, and diverse.

06. The Walkmen – Bows & Arrows 73.05
Bows & Arrows starts off with a peculiar track with warbling keyboard and trembling guitar as lead singer Hamilton Leihauser wonders, “What’s in it for me? I came here for a good time, and you’re telling me to leave…” The tone is set, for the next forty-some minutes, the band takes you on a semi-conceptual voyage of fading youth and broken relationships complete with self-awareness, betrayal, isolation, anger, resignation, revenge, and confusion. On the tremendous single “The Rat”, Leihauser confesses: “When I used to go out I would know everyone that I saw/Now I go out alone, if I go out at all” – a telling lyric that he isn’t the same person he once was. The most remarkable thing about the record is that each song perfectly captures the mood of the lyric, passionately and emotionally, stirring both head and heart.

05. Communiqué – Poison Arrows 76.47
This record is my surprise of the year. I bought this on a hesitant recommendation and was blown away on the first listen. Communiqué tweak the alterna-power-pop milieu with a bit of post-post-punk edginess (think Interpol) and indie pop (think The New Pornographers). “The Best Lies”, “Ouija Me”, “Perfect Weapon”, and “Death Rattle Dance” are near pop perfection. It’s striking how Communiqué knows exactly when to put giant cymbal crashes or jagged guitar riffs as the chorus launches, synth lines to accentuate (but not obscure) the melodies, perfectly placed drum fills to further liven up the songs. The choruses are exhilaratingly blissful, the hooks are mind-bogglingly big; it’s simply indisputable: this is great pop songwriting.

04. Loretta Lynn – Van Lear Rose 75.00
When I heard Jack White Stripe was involved with the making of this record, I was skeptical to say the least, but strangely intrigued. Would she go the path of recent Johnny Cash records, and appeal towards a “younger” audience? Or would this just be White using her as a “tool” (*shudder*)? It was widely reported that Lynn was calling the record "countrier than anything I've ever cut,” and the pre-release hype seemed to affirm. I bought the record at one of those big box electronic stores, bee-lined to the car, ripped open the packaging, and loaded up the CD player in my car. The opening song “Van Lear Rose” confirmed what Lynn had been saying. So many great tracks, but you’ve got to check out the achingly honest “Miss Being Mrs.”, the song-bio “Story of My Life”, and the amazing duet with Mr. Jack on “Portland, Oregon”.

03. The Fall – The Real New Fall LP (formerly Country On The Click) 77.14
The Real New Fall LP is the 436th record from the pint-swilling mercurial belligerent enigmatic vitriolic Mancunian curmudgeon brilliant poet/songwriter genius, Mr. Mark E. Smith, and it’s his best in years. Smith tones down the synthesizers (they are still there, just not as prevalent), choosing to take a guitar-oriented approach (the guitars are intensely menacing and aurally severe). While some had written M.E.S. off, he demonstrates that he can still deliver: his vocals are wonderfully awful, the lyrics discernible, incisive, and with quick wit. He has a conversation with a fish, is utterly pissed that “someone” won’t “open the box”, hates the countryside … so much, refers to Mike Love as “the worm in the bacon of BB”, gives the story to some trouble in Portgual, takes a swipe at Mr. Julian H. Cope, and even writes a “love” song. There are plenty of classic Fall rockers (“Sparta 2#”, “Green-Eyed Loco Man”, “Contraflow”, “Boxoctosis”, “Protein Protection”), experimental art-pop (“Mike’s Love Hexagon”, “Xralothep”), brooding post-punk balladry (“Janet vs. Johnny”), electronica (“Recovery Kit 2#), and each song is a winner. If you don’t have this record, I suggest you get it right quick. If not, I don’t have time for you. M.E.S. wouldn’t either.

02. Ted Leo/Rx – Shake The Sheets 78.10
Shake The Sheets is the record that I wanted Ted Leo to make. He pared his band down to a trio, put the vocals right up front-n-center and created a rough, energetic, raw, full of power, loud, smart as tacks record that possesses a killer instinct. “Me And Mia” is the obvious single and it’s near perfect power pop, but so is “Walking To Do”, “Criminal Piece”, “Shake The Sheets”, and “Bleeding Powers”. You know I’m a sucker for this kind of pop, but what really grabs me is his unique amalgamation of pop and post-punk that makes Leo more than another power popster, take the incredible “Little Dawn” – exuding the power of D.C. hardcore, a chorus that’s unbridled, and the mesmerizing 2-minute mantra of “It’s all right, It’s all right, It’s all right, It’s all right, It’s all right, It’s all right, It’s all right, It’s all right, ….”

01. The Legends – Up Against The Legends 78.82
These Swedes made an incredible record, packed with hit after hit after hit. From my review for Bandoppler: “Discerning music listener, the mantra is: “It’s about the songs” – and yes, the Legends have the songs; each packed tightly with solid bass lines, littered with handclaps galore, multiple minimalist leads that accentuate the melody while the rhythm guitar stays the course, working together in near perfection … it’s nearly sensory overload. But the songs aren’t bloated; this cacophony of sounds makes the listening experience that much more compelling. And compelling is this record. The amount of hits packed into the barely 30 minute record length is just sick.”

Top Fifty Favorite Albums of 2004 - Pt. 2

You may be asking yourself, "Why does Short have a record with a lower AQM score ranked higher, than one with a higher score?" Ahhh, you are astute! The AQM is a score that objectively rates a record on the quality of the songs. Now, a record may have very strong songs, but it doesn't resonate with me "aesthetically" if you will. I think it shows that we don't necessarily enjoy records that are chock full of good songs, but rather, we enjoy the records that resonate within our hearts, our souls, our emotions. I am impressed by stellar songcraft, but I'm moved by music that hits on a primal, soul level... and maybe that's more important. Here we go, on the march to my Top Ten Favorite Albums of 2004!

30. Green Day - American Idiot 72.94
29. All Night Radio - Spirit Stereo Frequency 74.05
28. The Coral - Magic & Medicine 72.33
27. Map - Think Like An Owner 73.51
26. On The Speakers - On The Speakers EP 73.60
25. Franz Ferdinand - Franz Ferdinand 76.03
24. Rogue Wave - Out Of The Shadows 74.42
23. Razorlight - Up All Night 75.17
22. The Zutons - Who Killed The Zutons? 72.44
21. Guided By Voices - Half Smiles of The Decomposed 67.14
20. Paul Westerberg - Folker 70.75
19. The Magnetic Fields - i 75.68
18. Ron Sexsmith - Retriever 74.75
17. Graham Coxon - Happiness In Magazines 71.33
16. Destroyer - Your Blues 75.50
15. The Futureheads - The Futureheads 75.26
14. The Delays - Faded Seaside Glamour 73.50
13. Of Montreal - Satanic Panic In The Attic 77.64
12. The Stands - All Years Leaving 75.75
11. !!! - Louden Up Now 74.15

Top Fifty Favorite Albums of 2004 - Pt. 1

I know, I know, I've been quite the slacker in 2005. Don't tell me about it - I'm struggling with simple New Year "goals" (I just can't call 'em "resolutions" - it's a word I don't like ... like "crotch"). Well, this year I will be listing my Top Fifty Records, but I will only be giving a review for those that make the Top Ten. Oh come on! I apologize, but that's no reason to call me names! Simmer down. OK, it goes like this: name of band/musician, album title, and Album Quantifier Model (AQM) Score. The AQM is based on a 0 to 100 score with a perfect record scoring the magical and pretty 100. So here we go:

50. Fancey - Fancey 71.32
49. Meow Meow - Snow Gas Bones 67.80
48. The Secret Machines - The Secret Machines 69.89
47. Sons And Daughters - Love The Cup 69.54
46. CocoRosie - La Maison de Mon Reve 63.83
45. Water School - Break Up With… 69.96
44. The Libertines - The Libertines 72.21
43. The Spectacular Fantastic - Vortex Of Vacancy 64.15
42. United States Of Electronica - U.S.E. 67.92
41. TV On The Radio - Desperate Youth; Bloodthirsty Babes 71.61
40. Interpol - Antics 69.30
39. The Church - Forget Yourself 69.32
38. The Lassie Foundation - Face Your Fun 73.50
37. Elliott Smith - From A Basement On A Hill 70.89
36. Frausdots - Couture, Couture, Couture 69.50
35. The Thrills - Let's Bottle Bohemia 70.35
34. The Streets - A Grand Don't Come For Free 73.43
33. The Arcade Fire - Funeral 71.10
32. Joy Electric - Hello, Mannequin 74.57
31. The Ponys - Laced With Romance 73.67

The Top Fifty Favorite Songs Of 2004 - Pt.5

For the last week, it’s been all about me, my thoughts on music – what is good and what is bad. Me. Me. Me. I’m sure you are in awe of the extreme brilliance that is my list. I’m sure you are ready to go out and make a mix CD of these 50 songs, or track down the songs you don’t have, you may even be adjusting your own list due to my keen observations and opinions. Well, as I conclude my list of my favorite songs of the year, I thought I’d take the focus off of me, and reflect on a legend – John Peel, the renowned BBC DJ who died October 25, 2004.

It’s because of John Peel’s Festive Fifty that I even bother to come up with my own list. Ever since that list became easily accessible via the Internet, I’ve been reading. The list, as well as his Radio 1 show playlists, was always a source to discover new bands, but more often I would argue with it, sitting alone at my computer scrunching up my face, rolling my eyes, or saying, “Finally, a pick that makes some sense!” (take 2001’s list that had four of the top seven spots occupied by The White Stripes and The Strokes, I thought Peel had lost his head). Still, I knew deep in my heart that Peel was a genius, the best, the most awesomest DJ/music aficionado ever. Why? Because he was a fan, a bonafide fan of rock n roll. He wasn’t contrarian for the sake of being contrarian; he wasn’t obscure for the sake of being obscure; he wasn’t a snob. He wanted everyone to hear the music that he loved. In addition to his Festive Fifty and his radio show, the releases of his Peel sessions exposed me to countless cool bands (Joy Division, Bauhaus, The Wedding Present, The Smiths, etc.). And he had impeccable taste and a discerning ear. I mean, it’s been widely reported that his all time favorite song was “Teenage Kicks” by The Undertones. That’s quite a favorite song.

John Peel was 65 years old … damn, 65 and he never stopped seeking out new music, new bands. He bucked nostalgia, he didn’t choose to live only in the past. He kept moving forward. As a music fan, it’s inspiring to see. In today’s music industry, where record sales and sex appeal are lauded, Peel was integrity – he didn’t care about pleasing a label or following the charts, he played what he loved. I love this quote by The Fall’s (one of Peel’s favorite bands) Mark E. Smith when asked by Uncut if he was upset when heard the news of John Peel’s passing: “I was, yeah. I'm still upset about it now. I actually only met him about three times but ...he's gone, and when you see some of the bastards still walking around...”

10. “Hello? Is This Thing On?” by !!!
Nothing made me wince as much as reviews and features touting bands that play “dance punk” or “post-punk-disco”. Seriously, could journalists and critics name-drop Gang Of Four or Public Image Ltd. any more than they did in 2004? Based on recommendations from a couple friends, I decided to try out !!! (pronounced “chick-chick-chick”, in case you were wondering). It took time for me to “get” this, but one track that stood out from those initial listens was “Hello? Is This Thing On?”. The groove is infectious, the melody is mysterious and slightly sinister, the bass line is killer, and the last two minutes of paranoid schizo ranting is awesome: “Everybody’s acting like I’m crazy. Am I making any sense at all? Does anybody speak English?” It’s total club music, but the song says everything except “party”, “have a good time”, “let’s get it on”. That's truly edgy.

09. “Vice” by Razorlight
This song is utterly familiar, it’s been sung a million times before, another diatribe about love. “Vice” is dynamic, rising and falling, running and stumbling; lead singer Johnny Borrell’s voice is desperate, pissed off, tender, reaching an anxious pitch, he cries, “I did what I could! Sometimes I run, and, yeah, sometimes I fall If it’s l-o-v-e I’ll see ya later …” It’s the last minute and four seconds that blow my coal – the drum rolling crescendo, the Clash-like call and response vocals (“L-O-V-E”) then Borrell rants, ad libs, and crumbles into a sweaty, heartbroken heap on the floor.

08. “Banquet” by The Bloc Party
More tuneful than Franz Ferdinand, less spastic than The Futureheads, more complex than The Strokes, more addictive than The Killers … STOP! Enough comparisons! It’s the multiple changes, the perfectly applied distortion pedal, and the absolute catchiness of melody and chorus that makes this song Top Ten material from one of the most exciting and promising new bands of 2004. Pay attention the time elapsed indicator on your CD player – at 2:30 you will blow your coal.

07. “You Gonna Be My Love Machine” by Jet vs. Girls Aloud
I despise the “mash-up” phenomena. Sure, it’s kind of cool to see how technology can turn crappy songs into a cool song. Let’s be honest, it’s kitschy-novelty. And I wholeheartedly believe this, until I heard "You Gonna Be My Love Machine"; it’s too irresistible, infectious, and inspired to toss off. By combining the music of that awful Jet song “You Gonna Be My Girl” with the lyrics and melody of “Love Machine” by UK cheese-pop group Girls Aloud, the result is three and a half minutes of astonishing 60’s-girl-group jacked up by 70s-cock-rock creating a near perfect pop song.

06. “Me & Mia” by Ted Leo/Rx
Ted Leo pares his band down to a trio and the results are stunning – a bit rougher but more energetic. Leo’s band gives the solid foundation for his melodies and “Me & Mia” is one of the best he’s ever written. Great hook, great melody, great bridge (!) delivered with the utmost energy and passion. While it’s great to hear any time, the best is in the car with windows rolled down and the stereo cranked on a hot summer day: pure fist pumping, singalonging, air guitaring, head snapping glory.

05. “Death Rattle Dance” by Communiqué
“I’ll never tell, take it my grave …” goes the chorus, as I am jamming the air guitar in full effect, lip synching at the top of my lungs, stomping my foot gently on the floor. I love to rock out … at work. “I wanna scream and shout! Let it out all out! Dancing to your death rattle …” The thing that makes “Death Rattle Dance” so fucking awesome is how the verses pull back and the chorus suddenly soars to epic proportions. This interplay of loud and soft, reserved and exuberant is positively extra-extraordinary.

04. “The Kids Just Wanna Have Fun” by The Legends
From my review for Bandoppler: “A super-fast acoustic guitar line drives “The Kids Just Wanna Have Fun” on the verse; the chorus is a proclamation, carefree, unbridled, and proud. At the two-minute mark the instruments take over and the lead singer delivers an absolutely gigantic hook that would make countless songwriters insanely jealous. This is irresponsible bliss.”

03. “Sparta 2XX” by The Fall
Mark E. Smith spits, slurs, sneers, and smirks his take on football hooliganism compare/contrast the bloodlust of Ancient Greek soccer (Smith taunts “How I will change/When you give me/Something to slaughter” which keyboardist Elini Poulou chants in Greek between verse and chorus – how clever and brilliant) to today’s mainstream UK soccer fan. Musically, Smith and his band construct a catchy, intense tune: the jagged one-chord guitar on the verse, the slinky middle eastern-meets-punk lead guitar riffs, and pounding rhythm; throw in those vocals, it's disconcerting and wild. M.E.S. is a genius.

02. “It’s Only Time” by The Magnetic Fields
Stephen Merritt at his most tender. It’s nice to see another side of Merritt, but even better write such an immediately incredible song (one listen and your hooked). The softly plunking piano and moaning electric guitar set the tone as Merritt mildly sings (in the upper part of his register), “I’ll walk your lands, and swim your sea, marry me, marry me, I will be free, marry me, marry me” – it’s gorgeous, it’s heartfelt, it’s dramatically romantic; makes me think of my wonderful fiancée.

01. “The Rat” by The Walkmen
“Can’t you hear me? I’m beating on the wall!/Can’t you see me? I’m pounding on your door!” sings Hamilton Leithauser – equally pissed and pleading. It’s the juxtaposition of opposites that makes “The Rat” such a unique and wonderful song: the guitars are dissonant and melodic; the rhythm section is frenzied and tight. The melody is delivered with urgency, resignation, and fury. This is jarring and creates an emotional complexity that just isn’t found in pop music. Leithauser laments growing older, the shifting of power – relationships (friends and lovers) fade into self-serving dances, the joy of “going out” disappears in isolation, being the rejected and the rejecter – and his vocal delivery encompasses all of the emotions in a very authentic and honest way (unlike the over-the-top posturing of say, Conor Oberst or countless “emo” bands). “The Rat” transcends the typical hipster struggles (ennui, irony, self-absorption) and addresses universal issues (love, loneliness/alienation, aging). A complete song in every way possible.

The Top Fifty Favorite Songs Of 2004 - Pt.4

20. “Association (Channel Mash Mix)” by International Airport
Glasgow, Scotland has consistently been bringing some of the best indie-pop music to the world for over twenty years and Tom Crossley’s International Airport is most definitely part of this relentless Scottish pop invasion. “Association” is a cut of pure pop delight in the vein of Teenage Fanclub, BMX Bandits, and The Pastels. This particular mix puts I.A.’s performance in the left channel, while Teenage Fanclub covers the song in the right; the results are stunning.

19. “I Don’t Believe You” by The Magnetic Fields
Merritt’s lyrical creativity has always set him apart from most indie-pop contemporaries, so it’s no surprise that “I Don’t Believe You” has utterly quotable lyrics. I particularly dig the opening line, “So you quote unquote love me” as well as, “So you’re brilliant, gorgeous, and ampersand after ampersand”. The music – gently strummed acoustic guitar, country-bumpkin banjo riffs, indie-pop-soft-shoe-shuffle drumming – absolutely fits this very Merritt melody, it’s tremendous.

18. “First Of The Gang To Die” by Morrissey
This track hearkens back to the rockabillied-glam-pop of 1992’s Your Arsenal and that’s a good thing. While the verses are standard Moz-fare, the chorus is where this song absolutely dominates. As he launches into it, his voice is magnificent as he sings, “ Hector was the first of the gang with a gun in his hand …” with that stuffy-matter-of-fact-sadness; it sends shivers through your body.

17. “What You Waiting For?” by Gwen Stefani
This single peaked at only #47 on the Billboard 100, no doubt (natch!) deemed a flop by Stefani’s label. But sales and airplay don’t matter here – “What You Waiting For?” doesn’t have a lot wrong with it, other than the stupid words and the dumb hook “Take a chance you stupid ho”. Regardless, this is pop and pop is to be easily digested (yes), catchy (yes!), and addictive (YES!). The music suits her style perfectly – dirty dance beats, sinister guitar riffs, sexy vocals, a hint of 80s nostalgia – Stefani’is hitting on all cylinders here.

16. “American Idiot” by Green Day
Not only is this song chock full of hooks, but it rocks hard, and the lyrics are excellent. It’s almost unbelievable that this song even was consumed by the masses (peaked at #61 on the Billboard 100) – given that the charts are plagued with songs exhibiting extreme lyrical vapidity. “Idiot” is three minutes of buzzcocked pop-punk perfection, remarkably snotty, and totally unexpected.

15. “Everybody Come Down” by The Delgados
After two records that were lush with heavy orchestration, The Delgados return to a simpler sound of the basic rock n roll combo. While some may lament the lack of experimentation in the Delgados’ pop, I prefer the simple life. The Delgados have always been masters of melody, but on “Everybody Come Down”, Emma Pollock’s melody is upfront and central; the strings and guitar noise present on previous records don’t muddle it up. This song could have easily been in my Top Ten – I know the late great John Peel placed at #6 on his Festive Fifty.

14. “Pastimes & Lifestyles” by Dogs Die In Hot Cars
Dynamics; the word epitomizes this song. Immediately you are smacked in the face with the chorus (an epic cacophony of crashing cymbals, a throbbing bass line, and jangling guitars), which ends as quickly as it started. The instruments drop out and the verse takes over, the melody slowly builds to that chaotic chorus. This building up and tearing down brings you into the song, so when the chorus hits, it’s a triumphant experience.

13. “Take Me Out” by Franz Ferdinand
I knew this song was great when I heard it everywhere (radio, NFL bumper music, shopping malls, etc.) and didn’t loathe it. One thing that strikes me about “Take Me Out” is Franz F doesn’t sit still (they know how to play the dynamics game): the song revolves, switches gears, churns forward, chugs back over itself. The band tops it all off with the sickest guitar riff (you know the one!) and a freaking huge hook, it’s avant pop at its best.

12. “Freakin’ Out” by Graham Coxon
I found out about ex-Blur guitarist, Graham Coxon’s solo record from a post on an Internet message bored (home of the uber-fan, the bored, and/or extremely lonely – yes, I am an uber-fan; and no, I am not extremely lonely). The post specifically mentioned this song, and read something like this: “’Freakin’ Out’ is like The Monkees meets Guided By Voices”. I couldn’t agree more, thanks to clubDougFan72.

11. “Mr. Brightside” by The Killers
It’s easy to hate the Killers. They are so damn good looking, they have the coolest vintage sport coats, their record is so slick, their label just pushed and pushed and pushed ‘em everywhere. I mean, this stuff is a bit too pristine to be lumped in even with The Strokes. Still, I am writing about the songs, motherfucker. “Mr. Brightside” is a song that has nothing wrong with it (besides that shiny sheen production) – the melody is simple, easy to sing-a-long with, the hooks are obvious and implant themselves deep in the inner brain, the chorus is huge, and the song never settles down, the band moves the song forward and it gets bigger as it goes on. My favorite part happens at the one-forty-four mark when lead singer, Brandon Flowers talk-sings: “It started out with a kiss, how did it end up like this” all the sudden a distorto backing vocal says, “It was only a kiss” and then Flower jumps in “It was only a kiss!” and immediately launches the song forward. It kills me every time.

The Top Fifty Favorite Songs Of 2004 - Pt.3

This is getting good.

30. “Nearer Than Heaven” by The Delays
The Delays give us the prettiest song of 2004. While this is prototypical brit-pop, the chorus transcends sub-genre and soars (courtesy of Greg Gilbert’s unique and amazing vocals). All Music Guide describes the band’s sound, “… rather like the Hollies meeting the La's ...” that’s just about right. On this track, they are undeniably sublime.

29. “Remember Me” by The Zutons
These Liverpool bands have a thing for the Gram Parsons/Byrds/late60s/California brand of country & western. While there isn’t much new going on here, the addition of sax, various percussive elements, and a really hot melody tweak the song just enough. The lyrics tell a tale that makes me chuckle: the singer’s best friend has a new girlfriend and he’s so in love, his friendship is in jeopardy (he doesn’t even go out drinking with the boys!). The singer avows that no matter what happens, he’s gonna be there for his love-struck pal. “Remember me when she leaves you, and you come and knock on my door/Well, I can nurse your broken heart, ‘cause that’s what friends are for” … awwwww.

28. “Sweet Dreams” by On The Speakers
When Ian Sefchick left Creeper Lagoon, I sincerely hoped that he would surface again. Here he is fronting On The Speakers – from the songs here it’s obvious that he was the creative force behind much of Creeper’s sound. “Sweet Dreams” is from their debut self-titled EP and picks up where Creeper left off on Take Back The Universe and Give Me Yesterday: huge guitars, arena rock power chords, giant instrumental passages, stick-in-yer-head melody, big hook; it’s all here.

27. “Decent Days And Nights” by The Futureheads
Two-minutes and thirty-one seconds of nervous energy, severe tension, unexpected release, jarring changes epitomize this incredible single by Sunderland’s The Futureheads. For me, nearly any song from their self-titled record could be on this list, but this is the song that I kept singing in my head. This is the song that forces me to break into spastic Ian Curtis dance moves regardless of where I am: in the car, at work, walking down the street, in the shower; danger zones.

26. “Perfect Weapon” by Communiqué
This is the point in the countdown where all the songs are just hits. Communiqué really is a power pop band, but with this weird amalgamation of 21st Century-post-post-punk-trendy and Triple AAA modern rock. This track has a driving backbeat, an absolute sick hook, and smoking chorus. Uh huh, Communiqué, you do have the perfect weapon!

25. “Pass It On” by The Coral
Like The Zutons’ “Remember Me”, this track exudes that California-sunshine-country sound, but “Pass It On” is infused with a hint of melancholy. A lovely minor-key acoustic guitar riff opens the song (and then continues throughout), keys and electric guitar come in and James Skelly’s top-notch vocal performance/melody take over. “Pass It On” is earnest and laid-back; a wonderful tune about moving past the disaffection of life, “When it’s done/And all of this is gone/Just find a feeling, pass it on.”

24. “On The Table” by A.C. Newman
Our second New Pornographer on the list, A.C. “Carl” Newman also released his first solo record, The Slow Wonder, in 2004. I’m sure you can guess that this sounds like a New Pornographers’ song, but there’s no need to go down that road. Newman continues to dominate as a songwriter – “On The Table” is melodically spectacular, great changes, the hooks are there (of course, they are!), and lyrically, clever and poignant. I love how he chose to have the piano drive the song, functioning like a lead guitar (he would do this again on TSW, but with a cello on “The Town Halo”).

23. “Here She Comes Again” by The Stands
The Stands may be paying royalties to The La’s (who isn’t being “influenced” by The La’s these days?), but I don’t care. When derivative (this is more than homage) is done this well, it matters not … well, maybe a little. Maybe a lot. Seriously, I made fun of this song so much, but every single time I heard it, but I found myself singing at the top of my lungs, jamming it hardcore.

22. “How Lester Lost His Wife” by Of Montreal
Of Montreal is known for quirky arrangements plastered with odd changes and songs-within-the-song, so the weirdness of “How Lester Lost His Wife” shouldn’t come as a surprise. Absurdity never made so much sense. Freaky hooks, hurdy-gurdy organ riffs, big muff distortion, echo chambered vocals, toy xylophone licks, [breath!] fit together like one-two-three. It’s like gourmet pop music or abstract expressionist realist pop or hell; just listen and you’ll know that it’s just hot.

21. “The Power Is On” by The Go! Team
Unbridled energy, indie hipster cheerleading, hip-hop/funk beats, classic 80s electronica, American indie rock – this is the music of The Go! Team. I don’t actually own this record, as it’s an import only, and I hate paying the massive $25-$30 price, so I went to their label’s, Memphis Industries, website where I could stream a few tracks. I fell in love with this song, jamming it for weeks. It clicks on so many levels (from the beats to the instrumentation to the performance) it just moves and makes even the most jaded discerning music listener believe in the power of music.

The Top Fifty Favorite Songs Of 2004 - Pt.2

It’s inevitable there will be deserving songs left off of this list. Last year I left The Yeah Yeah Yeahs’ “Maps” off the list, and I totally loved that song! Oh yeah, and there’s “Elevator Love Letter” by Stars, “Smells Like Happiness” by The Hidden Cameras, “The Black Path” by Aerogramme, and “”A Forced Escape Canoe” by Ben Davis. Oh yeah! And “Mystery and Crime” by The Joel Plaskett Emergency (oh that song is so damn good!). Shoot! So, I would like to apologize to those songs that I have and will leave off my list: “I’m sorry that I left you off my list. You don’t deserve that kind of treatment. I know, I know. What? Yes, it’s unfair … and disrespectful. I ‘m very sorry to you, Song-That-Invariably-Will-Be-Left-Off-My-List. What? Oh fine, I’m sorry that I’m such a bastard. What? No, I’m not gonna say that I’m an insensitive asshole. I’m sorry. C’mon let’s go get down to DQ and get a Blizzard. My treat! Does that sound good? Yeah, I thought so…” And off I go with my arm around those songs I dissed … accidentally.

40. “Trouble Trouble” by The Ponys
Lead singer Jerod Gummere’s Richard-Hell-slash-XTC-yelp exemplifies the urgency of this full-on blast of Nuggets -garage R&B – dirty, uninhibited, sexy, dangerous – screw the Hives and the major label they rode in on. Turn this baby on and hit the town … or something like that. Sometimes the best reason to listen to a song is because it rocks. If the chorus doesn’t move you, you don’t have brain.

39. “Nailed To The Floor” by The Shut-Ins
A veritable hunk of pop that is equally idiosyncratic, ominous, and catchy (think The Fall), this demo track rocks it hard. Neil Weir’s vocals are amazingly M.E.S. awful but with more soul – in case, you have no fucking clue, this means they are good. The song chugs from verse-to-chorus and back with nervous tension intensified by Neil’s sister and co-collaborator, Martha’s wonderful “oo-ahs” on the chorus (talk about a great chorus and hook!). The guitar is incredibly harsh, the bass is ponderously punchy, and the drum machine is ice cold: a potent concoction. No proper release from The Shut-Ins at this point, but you can listen to this demo (and others) at their website.

38. “The Phonograph Plays, Part And Parcel” by Joy Electric
For over ten years, the criminally underrated Ronnie Martin has been constructing some of the finest synth-pop songs. This song is what you expect from Ronnie: strong melody, great chorus, solid hook, but it’s further enhanced by Ronnie’s lovely and mournful vocal performance (maybe his best ever), the keenly nostalgic house beat, and the perfect integration of his trademark whirs/buzzes/blips into the song. This could be very well the best performance Martin has committed to tape.

37. “I Don’t Really Love You Anymore” by The Magnetic Fields
Classic Merritt: cello on lead, ukulele on rhythm, a wonderful melody, cleverly silly lyrics. I love how he drops his vocal down to that creeky-croak baritone on the last word of certain lines. This song rolls forward immaculately over its two-minutes and thirty-three seconds duration.

36. “New Ways Of Living” by Destroyer
Oddly gripping, ingenuously glamorous, subtly addictive, Dan Bejar and his Destroyer are making some of the most challenging pop music out there today. What is this? Glam-folk-troubadour-pop? Maybe. Synth-folk-80s-nostalgia-prog? Perhaps. The track seems to have more in common with orchestras than rock bands (there is no proper drum kit, just an occasional snare, timpani, cymbal crashes, glockenspiel). No matter, when the melody is this unique and still listenable, I just call it a great song.

35. “Unrecorded” by M83
During the autumn season, this track was the soundtrack to the daily commute. As my bus would come to the stop at 2nd Ave N and 6th St., I would press play on this track, dismount the bus and begin my trek to the office. Walking down the crowded sidewalks, up escalators, through skyways, blaring this track, I would pass the corporate minions and homeless freaks and glance at each face while the driving shoegazer electronica would resound in my ears. It seemed weird: this music, these indeterminate faces … until this homeless guy with missing teeth came begging … it seemed even stranger.

34. “Disconnect The Dots” by Of Montreal
I love it when a group re-invents itself. Electronic beats and synthesizers infiltrate the indie-psychedelia that was Of Montreal. The band has always had the songs, but they’ve been obstructed by their eccentricity in arrangement and/or melody and acid-freaked lyrics. The dancey groove on this track balances out the oddball lyrics (twee and obtuse as ever), this isn’t just a single it’s a proclamation.

33. “Not About To Lose” by Ron Sexsmith
Sexsmith gets better with each record, he’s become a songwriter tour de force (along the lines of the magnificent Joe Pernice). I love the Byrds-ian electric guitar riffs, tinkling keys, and inconspicuous drum fills. A wonderful string drenched intro, glorious melody, one sweet hook, and an affecting performance; “Not About To Lose” is songwriter wonderment.

32. “Modern Woman” by Dogs Die In Hot Cars
Late in the year, I was listening to Please Describe Yourself by Dogs Die In Hot Cars a lot and this song really caught my ear. I really love the arrangement: the way the guitars swarm only to give way to classic 80s jangle; the changes are just sick; the chorus soars; the bridge brings the song down nicely, giving you a breather and the song keeps moving. Just a really hot track.

31. “Huffman Prairie Flying Field” by Guided By Voices
Pollard writes the absolute perfect swan song for his band. Initially, I had a big gripe about the last 1 minute 16 seconds, as he repeats "For far too long" to fade out. Upon additional listens, I realized that it fits the end of GBV (and Pollard’s fascination with “nobody cares”, “I’m an old drunk”, etc.). With the right lighting, at the right time of day, I even get a bit weepy-eyed as the lead guitar soars and the vocals fade under that classic GBV sound. The highlight of this track is how Pollard delivers the hook: “I’ve come to start up my head/been closed and locked up”, stunning how he found this hook, for this song, for this record.

The Top Fifty Favorite Songs Of 2004 - Pt.1

As I wrote last year, picking my Top Fifty Favorite Songs is a difficult task. And like last year, I loaded about 150 songs into a playlist on my iPod, and listened and ranked and re-listened and re-ranked, until I couldn’t stand doing so. Now, lest there be much confusion, this list is not the 50 best songs of 2004, rather the 50 songs I, me, loved the most over the last year. Now, there definitely is a method to my list-making madness: yes, the list is comprised of my 50 favorite songs; but that doesn’t mean that the list has been set arbitrarily. No, no discerning music listener, these 50 songs are ranked with number 50 being the least favorite of my 50 favorite songs, and number 1 being my most favorite of my 50 favorite songs. Excellent. And remember, I will be posting ten songs per day for the next five days. Read on!

50. “Legal And Tender” by Map
Vocals and melodies have never been main Map dude Josh Dooley’s strong suit, but he got it right here – the song rocks, propelled by Dooley’s guitar heroics and complimented beautifully by lovely female backing vocals and a tight rhythm section. Dooley’s Map has never impressed me, but their 2004 release Think Like An Owner is a very pleasant surprise. “Legal And Tender” is a dirtied-up-American-new-wave-metal take on The Smiths.

49. “Neighborhood #2 (Laika)” by The Arcade Fire
This track consistently stood out on each listen to Funeral (one of 2004’s most hyped records – deservedly/undeservedly so). The vocals drip with distance, the guitars are catatonic, the drums steady the whole shebang; Win Butler’s gothic-moan-Byrne-croon-XTC-yelp is melodically creepy and strangely comforting as he intones, “Our mother shoulda just named you Laika!”

48. “Tragic Novelty” by The Spectacular Fantastic
TSF’s principal, Mike Detmer, crafts a song that any indie-popsta-sucka would devour. I wrote in my review for Bandoppler: “Tragic Novelty” is an absolutely tremendous grooving mini-pop-symphony (three “movements” over three minutes and twenty-three seconds).” Badfinger, The Apples In Stereo, Guided By Voices are all reference points, but Detmer’s got his own voice.

47. “My Dad” by Paul Westerberg
Westerberg puts his own style and spin on the “tribute” song, full of humor and insight; he even gets downright sentimental – kind of grown-up for the guy who wrote “Mamadaddydid” (from 1996’s Eventually). I’ve always related to Westerberg’s lyrics, and the words of “Mamadaddydid” resonate within me, so it’s with interest (and, even, hope) that I could arrive at that place to sing a “My Dad” someday. Sometimes a pop song can make you re-think your own life. Still, if anyone else wrote this song, I would most likely write it off as “cheeseball.”

46. “Trouble Loves Me” by The Legends
The Legends impressive Up Against The Legends is packed with hit-after-hit, so it was difficult to choose what songs affected me the most. “Trouble Loves Me” is one of song from that record that I kept coming back to … this is insanely catchy and the chorus knocks your legs out from under you.

45. “There’s Always Music” by United State Of Electronica
Horribly monikered U.S.E. cranks out the party tunes as 2004’s Junior Senior (awww, that’s so easy), but applied in the proper environment this is perfect music. “There’s Always Music," delivers the title track for any hipsters-gone-wild party: the intro is epic, the hook is addictive, talk about a straight up massive, booty shaker.

44. “Great To Be Fine” by Velvet Crush
Chastain and Menck craft one of the prettiest songs of the year. There is so much going on in this wonderful power-alt-country-pop track – weepy pedal steel, honky tonk piano, Byrds-y guitar riffs, an earnest bridge – but the song never bogs down; conversely, it soars to yummy earthly pop ecstasy.

43. “Hear Me Out” by Ben Kweller
Ben Kweller can really write some nice pop tunes, and “Hear Me Out” is one of his best songs ever: sweet and muscled; twee and messy; tender and demanding. It’s tough to make a simple song convincing, but Kweller pulls it off naturally.

42. “C’mon C’mon” by The Von Bondies
This is the most idiotic, vapid, and trendy song ever written that succeeds way, way more than it has any right. It’s too easy to let the Von Bondies back-story influence their songs, so just shut up about that tiff with Jack White. “C’mon C’mon” is restless, it grooves, it moves, plus, it's more tuneful than The Hives, more urgent than The Killers (fellow GQ-office monthly playlist entries), The Von Bondies dominate with this track.

41. “Til The Morning Comes” by Fancey
New Pornographer Todd Fancey gets all sunshiney, optimistic, cheery on this slab of pure pop delight. The melody is smooth and addictive, lots of those indie popster staples like “ba-ba-bahs” and bright shimmering harmonies are punctuated perfectly by electric guitar distortion, vintage synths, and a slight-disco-beat. This song brings summer warmth regardless of the season.