The Top Fifty Favorite Albums Of 2005 - Pt.1

All right, here we go – my Top 50 Favorite Albums of 2005. As in the past, I will start off by saying: 1) this is not a definitive list (I did some research and learned from looking at 5 other 2005 year-end lists, I didn’t even hear over 150 records that comprised those best-of lists; and of course, there are records that I didn’t hear and would’ve loved, or records that I got into too late to make my list, or records that I’m too thick in the head to comprehend their excellence, etc.); 2) I am applying the Album Quantifier Model score (e-mail me if you need more info) which is one indicator of ranking; and 3) I may like records a lot that didn’t have the best songs, and the converse applies. The key to understanding the list is this question I asked myself: “How often did I reach for the record and listen to it straight through?” The answer was a major determinant of where the record finally ended up in the rankings. I will be posting ten each day all week, so be sure to check back often!!!

50. Charlotte Hatherley – Grey Will Fade, (Double Dragon) 74.05
As (now ex-) guitarist for Irish wunderkids, Ash, Charlotte Hatherley developed a familiarity with finely crafted songs full of plenty guitar muscle, indelible hooks, and sweet melody. This is her first solo record (although, she did contribute a few tracks over her nine years with Ash) and its chock full of slick-ear-bleeding-guitar-power-pop. Hatherley is at her best on the rockinest tracks that are typically marked by quick vocals and jarring changes (see “Kim Wilde”, “Paragon”, “Why You Wanna”, and “Bastardo”). The record exhibits a definite songwriting prowess, but something doesn’t feel quite right (The sequencing? The slick production? The sameness? I can’t quite put my finger on it). Two things are undeniable about Grey Will Fade: 1) the hooks are always there and always catchy; and 2) she has a way with rhythm. Hatherley has given us the most promising release of 2005. Oh, in case you missed my Top 50 Songs, “Bastardo” is absolutely a perfect song. Also check out: “Summer”, “Why You Wanna”, “Grey Will Fade”

49. Joy Electric – The Ministry Of Archers, (Tooth & Nail) 73.84
Honestly, the best part of Joy Electric recent output is the weird blippy-glitchy-robot-psych-instrumentals. They have a peculiarity that sucks you in and forces you to ask the most important of all questions: “Why?” Outside the instrumentals, The Ministry Of Archers is another what-you-expect record from Joy E. While Martin has his formula (dictated partly by his all-analog-all-the-time methodology, and partly by his consuming fire to write the perfect pop song), it still resonates with me. “The Ministry Of Archers” bangs hard with its near-industrial beat is followed by “Most Terrible Archer” with its tiny beats and trebley synth lines ---> the pych-synth of “Become As Murderers”, ---> the sinister beat heavy “A Hatchet, A Hatchet”, ---> a bizarre instrumental “Hornets Horns”, ---> followed by the strongest track on the record, “Quite Quieter Than Spiders” (which borrows the haunting riff from The Shins’ “New Slang”) … you get the picture. TMOA flows beautifully from song to song – the instrumentals adding another much needed dimension to the Joy E listening experience.

48. The Soundtrack Of Our Lives – Origin Vol. 1, (Republic/Capitol) 72.21
This record was probably the toughest of all for me to stomach this year. Anyone who knows me or read my previous year-end write-ups knows the praise I heap on this Swedish band. I guess the biggest problem I had with this TSOOL record is that it sounded more retro than ever. The band had always been able to balance preciously on the precipice of retro by infusing their songs with 21st Century rip-offs and timeless pop sensibility. For the most part, Origin Vol. 1 doesn’t do that. And for the most part, the songwriting is still there. “Heading For A Breakdown” is a great single (whereas, “Bigtime” was a poor choice for a single – ton of potential but it was on a road to nowhere with one of the laziest hooks ever) and one nice side trip they took was on the psychedelic ballad, “Midnight Children”. “Transcendental Suicide” is a tremendous rocker with Pete Towshend poses and Jagger swagger, but it seemed more mimicry. “Age Of No Reply” at times is catchy as hell and revolves wonderfully, but it had a Behind The Music outtake feel. The proto-punk of “Mother One Track Mind” is a real fist pumper, but I’ve heard it all before. Despite all of my griping, the record continued to find its place in my rotation all year long, and while I did plenty of track skipping, when I settled on a track, I turned it up and sang at the top of my lungs. AND TSOOL is the best live band going right now – their concert early 2005 at the Fine Line in Minneapolis was pure rock n roll domination.

47. Echo & The Bunnymen – Siberia, (Cooking Vinyl) 72.25
From the opening jangle of “Stormy Weather” to the closing piano-based Brit balladry of “What If We Are”, Siberia is the consummate Echo & The Bunnymen record. Like The Go-Betweens, the Bunnies have been making great records in a rediscovered Phase 2 of their band life. The aforementioned opener, “Stormy Weather”, is a wonderful track of that exhibits so much of the Bunnies oeuvre – tremendous guitar work (both electric and acoustic), a solid hook, and Ian McCulloch’s trademark vocals. “Parthenon Drive” finds the band perfectly in sync, recalling their breakthrough 1987 self-titled release. Highlights abound, this is their guitar record – check out the haunthing guitar flourishes on “In The Margins” and “Everything Kills You”; the dirty-screwed-down-blues-crunch on “Stormy Weather”, “Parthenon Drive”, “Of A Life”; the tricky riffs on “Make Us Blind”; the white disco-funk of the title track; and 80s nostalgia of “Sideways Eight”. Lots of guitar! McCulloch and Sergeant may not be stretching out (and should they?), but they release a solid record capturing their past, and updating with just enough “today”.

46. Pitty Sing – Pitty Sing, (Or.Music) 70.67
The biggest problem with this record: it’s so goddamn slick. Not in that good pop slick like Prefab Sprout. I can deal with that. This is just slick like … The Killers. Ewww. There is this 80s Pretty In Pink soundtrack vibe that is nearly overbearing – it’s very reminiscent of the era’s obscure Christian alternative pop scene (see Common Bond, Crumbacher, early-The Choir, Vector). Pitty Sing is just such a bizarre record – lots of filler clogging up the arteries, but the heart beats on. It’s the heart of this record that pulls it into my Top 50. What changes my tune every so slightly is the strength of melody/hook of songs like “Hanging On Me”, “Bleeding Hearts”, “Anyway”, “Telephone”, “Radio”, and “Go Cry”. I’m sure you’d agree with me.

45. Ryan Adams & The Cardinals – Cold Roses, (Lost Highway) 71.31
Oh, Ryan Adams – you are dissed, scorned, held up as the poster child of everything that is wrong with snobby-shit-talking-indie-gone-superstar-poser-ism. You even took Paul Westerberg too seriously and made an ass of yourself, drunk on stage in Minneapolis, bringing more hate for no fault but your own. You aren’t punk. You tend to whine too much, or to play nice when there’s no need to (what’s with that requested interview and then sequel with Pitchfork writer Amanda Petrusich?). I happen to agree with Westerberg, you do need your teeth kicked in. Maybe you’ll finally get a goddman sense of fucking humor. Listen to “Folk Star”. And why the fucking hell did you put Cold Roses out as a double album? Fuck me. Honestly. Shit. You make it so easy to hate you. And, you sound like a brat (I’ve heard the call to DeRo). This is what you should say: “Listen to my record, Cold Roses. Play: “Sweet Illusions” and “If I Am A Stranger” and “Magnolia Mountain” and “When Will You Come Back Home?” and “Beautiful Sorta” and “Cherry Lane” and “How Do You Keep Love Alive” and “Easy Plateau” and “Let It Ride” and “Rosebud” and “Cold Roses” and “Dance All Night” and “Life Is Beautiful” and “Friends”. And then you shut the fuck up.” If you said that, I’d love you more than I already do.

44. Blood On The Wall – Awesomer, (The Social Registry) 71.24
This brother-sister lead combo of Ben and Courtney Shanks (guitar and bass, respectively; both share lead vocal duty) and Ida drummer Miggy Littleton form a wonderful power trio that hearkens back to late-80s/early-90s post-punk-indie-rock. While that is an accurate, and definitely tepid, classification, I prefer to say that Blood On The Wall are what the offspring of Lynrd Skynrd would sound like if they were influenced by Royal Trux, The Pixies, and Sonic Youth. Yeah, they are that cool. “Right To Life Tonight” is a track that is centered by a fucked-up blues riff and has Ben taking the lead vocals, shrieking like Jonathan Richman, Gordon Gano, or Darren Hayman. On “Heat From The Day” Courtney talk/sings over a blanket noisy-extreme-riffage. Her delivery is less frantic and more laid-back-freak-cool like Jennifer Herrema or Kim Gordon. “Dead Edge Of Town” is a driving tune propelled by a muted bass line and tribal drumming while Ben noodles around coaxing a variety of ghost-like howls from his guitar, then extenuates it all with blasts of Psychocandy feedback. The highlight is the frosty-jerk-laden “Reunite On Ice” – lots of super-fast-riffing, high-to-low bass progressions, and tom heavy drumming. The track is the complete package, showing all that makes Blood On The Wall awesomer (No he didn’t!!!).

43. The Go! Team – Thunder, Lightning, Strike, [US version] (Memphis Industries) 76.42
On the surface this band is just plain annoying. The cornerstone of this hypothesis is the prevalence of cheerleader chanting across the whole record (which definitely contributed to my reluctance to play it). This is treading close to novelty. But I’m one to stick with records I purchase with my hard-earned casheesh, and the payoff did come. What The Go! Team lacks in melody and annoys in indie-rock-cheerleading, they gain in pure exuberance, the power to maintain the groove, and get your ass shaking. “The Power Is On” blew me away last year (a track where the cheerleading actually works to the max). When this finally hit the US shore at a more friendly purchase price, I snapped it up quickly. “Junior Kickstart” with its Stax of horns and Sonic Youth guitars is a whopper (“Ladyflash” is another), “Huddle Formation” has a twee-C86 influence and “Panther Dash” with its 70s cop movie vibe has a killer groove. It’s the new-ish songs included on the US release (“We Just Won’t Be Defeated” and “Hold Yr Terror Close”) that concern me a bit. They are decent (the latter being too precious for its own good), but nothing like the strongest tunes from the original UK release.

42. Marbles – Expo, (spinART) 69.19
Most of you know that Marbles is Apples In Stereo creative guru, Robert Schneider’s solo side project. Expo hits the indie-pop world as the Apples remain on hiatus (in flux? disbanded?). I only bought this because I’m a huge fan of Schneider and the Apples, and I'm a completist. I went into listening with no expectations. So I wasn’t surprised, when … I’m going to get this out of the way … I realized that this is an extremely flawed record – half of the songs just don’t work, whether due to a poor melody, poor execution, or poor arrangement. But I forgive Schneider for this, I mean, when the other five tracks are simply perfect pop, it more than makes up for the subpar. Typically, Schneider has been unfairly criticized for aping the sounds of his heroes with the usual suspects Brian Wilson, The Beatles, and assorted 60s Nuggets. On Expo, Schneider tapped into ELO’s Jeff Lynne, but the results come off less derivative (the best example is the not-so coincidentally titled, “Magic”). “Cruel Sound” is a minute-and-a-half of pure pop brilliance, “Circuit” has a weird electro-meets-calliope vibe, and “Out Of Zone” has some neat studio trickery to complement an amazing melody and chorus. The record closes with the epic “Move On” (check the electronic vocal effect and think ELO) – equally touching and sad; a melancholy end to the end of the record.

41. Kathleen Edwards – Back To Me, (Zoe) 70.50
Canadian singer/songwriter Kathleen Edwards made the best Ryan Adams record this year. Back To Me’s center is the songs “In State” and “What Are You Waiting For?” – while the songwriting is tremendously standard – but solid – alt.country (which is the major drawback of this record, the music doesn’t compel you to listen), the delivery is so utterly sincere and truly heartfelt that the words she sings become overbearingly real, and, thus, the music is an appropriate backdrop (the more her vocals and her words stand out, the more compelling). Edwards’ vocals exude a heartbroken vulnerability, but it’s the spit and vinegar she puts into each line that is so disconcerting. Edwards' is like when Mr. Adams is at his best, she may be lonely, but she’s confident and pissed. It’s such a welcome affront to what a “country gal” is expected to sing about (see also, the track “Independent Thief”), she transcends the stereotype that a woman who speaks her mind is a bitch or worse. There is femininity to the record that other alt.country female songwriters lack (or contain too much of). The real testament is that she injects so much emotion in such a unique way into each of the songs she has written, striking such a sweet balance – it can only be called great songwriting. This record is one of 2005’s big surprises.
--->