Now It's On

Album Review: Kathleen Edwards "Voyageur"

Canadian singer/songwriter Kathleen Edwards is back with her fourth studio album and "Voyageur" has received its fair share of attention for her main collaborator on the project. Bon Iver front-man Justin Vernon not only co-produced the album, he can be heard throughout on various instruments, as well as providing prominent backing vocals. It marks a change in direction from Edwards folksier past, but results in one of the best releases in this early part of 2012.

That is not to say there are no elements of folk and country in the songs on "Voyageur". There is some twang in album opener "Empty Threat" and the short but sweet "Sidecar" to name a few. But there is a much more focused pop mentality to a good portion of these songs. First single "Change The Sheets" is as radio friendly as you'll hear Edwards, keyboards boiling underneath this summery pop/rock track.

The mid-tempo acoustic rock jangle of "Chameleon/Comedian" is another highlight, Vernon's influence can certainly be heard on this one, as can his vocal howls towards the end. The ballads are mostly saved for the end of the album, but there's not a bad one amongst the five included here. From the soft rock of "For The Record" to the atmospheric piano based "Pink Champagne", these songs are drenched in loveliness. None more than "A Soft Place To Land", a duet with Vernon, co-written by John Roderick. It's quickly entered the running for most beautiful song of 2012 with Edwards displaying her skills on the violin as well.

The darker, but no less gorgeous "Going To Hell" is another track not to be missed. 'I'm going to Hell in a basket I've made/woven from the letters and it spells your name', Edwards sings in the heart wrenching chorus. After a quiet start the song bursts into a sea of electric guitar and drums, never losing its stunning allure.

It's still early in the year, but "Voyageur" is destined for a spot in my rotation of albums I revisit time and again throughout 2012. I'm sure it will be there at year's end when it comes time to make my Best of the Year list as well. Norah Jones, Sean Carey (also from Bon Iver) and Francis and The Lights also guest on the album, but it is Vernon who leaves his biggest mark on "Voyageur". He's helped Kathleen Edwards craft what should stand as one of 2012's finest. 

Official Website of Kathleen Edwards

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Purchase "Voyageur" from Amazon.com

Purchase "Voyageur" from CD Universe

 

Music Video: And The Giraffe "Underground Love"

And The Giraffe is duo Josh Morris and Nick Roberts. Originally meeting while at university in Gainesville, Florida, the two became best friends and now music partners and their project is enticing, dreamy folk-pop. Their first EP, "Something For Someone", was released in August of last year and can be downloaded via the 'name your price' option on their Bandcamp page.

Just released is the video for my favorite song off the EP, "Underground Love". Shot in Los Angeles with the help of their friend Harrison Sanborn, it's a testament to how beautiful things can turn out despite a minimal budget. A budget so minimal in fact, the duo says it was shot for nothing other than the cost of food and parking when they moved to different locations. That didn't stop them from producing a fitting video for a lovely song. 

Check out the "Something For Someone" EP at And The Giraffe's Bandcamp page

Official Website of And The Giraffe

Bootleg Review: Prince "Husney's: A Work In Progress"

 

Over the years, a large amount of material from Prince's pre-Warner Bros. debut has surfaced amongst collectors. Prince signed with the label in June of 1977 but his first album "For You" did not see release until April of 1978. Home recordings from 1976-77 circulated long ago, as did material recorded in various studios leading up to the sessions around "For You".

One such session is captured here, recorded in 1977 at the Loring Park office of Prince's first manager, Owen Husney. Prince is joined by Andre Cymone on bass and Bobby Z. on drums for a collection of eight instrumentals that feature Prince mainly on keyboards. There are no known titles for these instrumentals, but they are obviously songs that were worked on and not just loose, free form jamming or rehearsing.

These instrumentals have been circulating for quite some time but, as has been the case in the last couple years, this release brings with it a quality upgrade. Which is not to say the previous sources were bad, they were actually quite good. But Cosmic Records have put forth a release clearly from as lo generation a source as you're likely to find for these sessions. Once again we have a bootleg release that has been upgraded to commercial release quality.

The value of a release like this is all in the eye of the beholder. For sound quality, you can't get any better. For historical purposes, it is important for fans to have this in their collection. But these are not songs I will re-visit much, if ever. I love a lot of instrumental music, but these are fairly average 70's funk and R&B grooves with some jazzy numbers thrown in for good measure. The playing is certainly impressive enough, Bobby Z is given more room to show off his drumming skills than he would be as Prince's drummer in the Revolution, but an hour's worth of these type of instrumentals can be a bit much to get through. Again, for history's sake, this is a must own for collectors. But it is more a curiosity to check out once, then put on the shelf, content knowing you have it in your collection but will rarely play it again.

Still, even if I am lukewarm to the material, the quality here is top notch, from the sounds to the artwork. Cosmic Records have gone with a cartoonish 70's motif and the covers look great. Once again, thanks and much credit goes out to those responsible for sharing this material, and those who take the time to continue to provide high quality, completely free releases to the collecting community.

Music Video: Active Child "Hanging On"

"You Are All I See" was my #4 album of 2011. "Hanging On" was the song that hooked me on the music of Active Child and it still haunts me every time I listen to it. Now we have the official music video for the track, beautiful footage of nature and a fishing expedition with a twisted ending. Get engulfed in Pat Grossi's enchanting music.      

Album Review: The Maccabees "Given To The Wild"

I have been living with this album for a week now, playing it at home and in the car non-stop. Not only does it get better with every listen, it's clear that The Maccabees have made the first great album of 2012 with "Given To The Wild". The English rock band's third album marks their biggest commercial breakthrough to date, debuting at #4 in the UK. No word yet if this will see a U.S. release, but it would be a crime if this is not the album to break them in the States. 

Self described as cinematic in nature, "Given To The Wild" tantalizes both with its moments of shimmering beauty, and there are many, and its grandiose walls of sound. The Maccabees never miss a beat, knowing when to exhibit restraint and when to turn on the jets and go full bore without going over the top. It's dramatic, orchestral, melodic rock at its finest.

After a brief intro, the album kicks into gear with the somber guitar lines of "Child". What starts out sounding as a standard medium tempo ballad is given life with a horn section joining in throughout the song which bursts into a joyous final 90 seconds. This leads into one of the album's top tracks, "Feel To Follow" which exemplifies the mastery at work here. There's a swooning chorus of "oohs" and a quiet breakdown before a soaring post-rock conclusion. It's the first of many stunning tracks.

Producer Tim Goldsworthy, best known for his work with UNKLE, definitely makes his mark on the album as electronic flourishes are added to The Maccabees guitar based rock sound. "Ayla" has fluttering piano and keyboard lines running underneath the song, "Went Away" relies heavy on keyboards and "Go" has a stuttering beat behind it's bursts of guitars and keys. "Heave" is awash with ethereal harmonics.

At the center of the album is another of its highlights, "Forever I've Known". Starting out slow and simmering, the song alternates between picking up steam and soft moments but when it kicks back in after lead singer Orlando Weeks pleads "Can we still try" repeatedly, it punches you in the gut with an urgent guitar line by Hugo White made to plant itself in your skull and live there. It's a monumentally grand rock song.

"Given To The Wild" is unstoppable all the way to the end and closes with a trio of its most beautiful songs. "Unknow" is a dark, icy rocker with angelic vocals that offset the driving moodiness of the music. "Slowly One" is a gentle acoustic number for its first half before heading into an electrified conclusion. Album closer "Grew Up At Midnight" is a tender ballad that culminates with a majestic explosion of chanted vocals, pounding drums, flourishing piano and guitars. It is truly as I described earlier a wall of sound and then suddenly, just when you think it is about to reach over the top proportions, it all just drops out, closing the song with simple, echoed guitar notes just as it started. It's a jaw dropping conclusion to a magnificent album.   

I can only hope "Given To The Wild" will eventually see a U.S. release. There has been talk of American tour dates later in the year, so there is reason to be optimistic. But with an album this impeccably good, it's worth every penny to import and get in your hands right away. The Maccabees have produced a masterpiece. I can't recommend this highly enough. 

"Given To The Wild" was released in the U.K. January 9, 2012 on Fiction Records.

Official Website of The Maccabees

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Purchase "Given To The Wild" from Amazon.com (import only)

Bootleg review: Prince And The New Power Generation "Trente Et Un Zero Huit Neuf Trois"

Prince fans have been spoiled over the last year with the high quality bootleg releases we've seen. Sparkling clear soundboard concerts, rehearsals and studio outtakes have been coming fast and furious. What we have here is the other side of the collecting coin. An audience recording from Prince's 1993 Act II Tour with The New Power Generation, recorded in Paris on August 31st. 

Audience recordings can be all over the map. I've enjoyed some more than soundboards, simply because they can capture the atmosphere and electricity of the crowd better when done right. This is not a bad recording. Prince's vocals are very clear throughout, but the music is rather muddy and Prince's voice clearly sounds sped up. It's just at a higher pitch then normal, not quite reaching Alvin and the Chipmunks Land but obviously not pitched correctly on the tape. If I had to grade the sound quality here, I'll go with a solid C.

The other downfall of this release, no fault of The Factory Records who have put this release out, is how pedestrian this show is. Prince's Act II Tour came on the heels of his name change to that infamous unpronounceable symbol and marked the beginning of his all out war with Warner Bros. Records. It was his first tour since disowning the name 'Prince' and he declared this would be the last time he would be playing his hits live as they belonged to 'Prince', and that was no longer where he was at anymore. "Ashes to ashes, dust to dust. I hate to do this, but for you I must" he proclaims before "Sexy MF". So what we have here is a rather bland set of hits, mixed with some of the songs off of his most recent release at the time, the 'Symbol' album.  

There is nothing wrong with a show focusing on the hits per se. The Nude Tour is still one of my favorite tours of Prince's as he played full, and often rearranged and extended versions, of many of his most popular songs. But for Act II, he was starting to fall into the habit of fitting as many of his songs into Vegas-style medleys that are beneath him. The piano medley, in other tours a highlight, is even annoying here as Prince jumps from song to song within seconds. There is a complete lack of spontaneity to this show, very few extended jams or solos, with the guitar solo on "She's Always In My Hair" a rare exception. Even a near twelve minute version of "Purple Rain" fails to excite. On many shows during this tour, Prince would play new, unreleased songs as the encore, but on this night his encore consists of a medley of "1999" with "Baby I'm A Star" and a closing jam of "America" mixed with "D.M.S.R.".    

This is supposedly a better source than the previous recording of this show, but do not let that fool you, this is still strictly for completists only. A very by the numbers show that never veers far from the basic setlist played on most nights of the Act II Tour.

Bootleg Review: Prince And The Revolution "Parade Demos"

2011 was a stellar year for Prince collectors. New bootleg releases surfaced containing a plethora of longed for and much sought after material, from crystal clear rehearsals to soundboard concerts, with a mind blowing, pro-shot DVD to top it all off. But it has not taken long for 2012 to get off to a rollicking start with this release. 4DaFunk have started the New Year off with a bang for sure with the release of "Parade Demos". Yes, these tracks have been in circulation for a long time, but you have never heard them like this. 

These demos first made their appearance way back in 1987 on a vinyl bootleg called "Charade". It was the second bootleg I ever purchased, and the one that really opened my eyes to the world of unreleased Prince music. I was searching local record stores for a bootleg of the much talked about "Black Album" and finally came across one on vinyl at DJ Records, a tiny store in a strip mall that is, of course, long gone these days. As my hands shook holding this unreleased album I had been reading about and dying to hear, my eyes caught the "Charade" album sitting behind it in the bin. I had no idea what it was, I was a naive 16 year old in pre-Internet days, I just knew I had to have it as it was Prince and something I did not own.

As exciting as it was to finally hear "The Black Album", "Charade" was just as magical. Different versions of songs I knew and loved from "Parade", songs I did not even know existed like "Others Here With Us", and a song I had only read about in "Old Friends 4 Sale". I had no idea fans could get access to this kind of stuff at the time. The quality was damn good too, as it was when this bootleg eventually made its way to CD in later years. It was even recently 'remastered' in 2010, but even that release cannot touch 4DaFunk's "Parade Demos".

As it states on the cover, these tracks have never been shared before in this quality. They are sourced from a low-generation tape, not from any existing bootleg and sound amazing. A few of these songs are identical to what was released on "Parade", but thankfully they have been left intact here. This is the configuration of the actual tape, it should be left alone and, as on "Charade", they've done the right thing. "New Position", "Under The Cherry Moon", "Life Can Be So Nice" and "Sometimes It Snows In April" were released as is, so there are no difference,s but since some of these tracks segue into each other, keeping everything unedited is preferable. 

Things start off here, as they do on "Parade", with the same four tracks all running into each other. But instead of "Christopher Tracy's Parade", the opening song was then known as "Wendy's Parade" with references to Prince's character in "Under The Cherry Moon" replaced by Revolution guitarist Wendy Melvoin, referred to as 'little girl Wendy' here. Besides the lyric change, the basic tracks were used on the released version, with Clare Fischer's orchestration added later. This then leads into "New Position" before an alternate version of "I Wonder U". This is missing any of Clare Fischer's orchestration, but more importantly on this recording, Prince shares the lead vocal with Wendy. Prince decided to drop his vocals from the released version, marking the first time Prince did not sing lead vocals on one of his released songs. "Under The Cherry Moon", same as released, then follows.

One of the strangest unreleased Prince songs circulating is next in "Others Here With Us". Opening with a looped sample of screams , the song is almost devoid of live instrumentation. There is a lone organ playing the melody and a lumbering drum beat, but the majority of the song is Prince's vocal over all kinds of looped screams, howls and other assorted off-putting, creepy sound effects. The lyrics match the dark mood, unquestionably one of the more disturbing songs Prince ever recorded, and I can see why he decided to put it back in the vault. I love the track, it just doesn't fit the ultimate, more light hearted air of "Parade". Apparently there also exists a version with Clare Fischer's orchestration added, but that is uncirculating amongst collectors. I'd be very interested to hear how the song changed once Fischer got a hold of it. 

The true highlight of these demos is "Old Friends 4 Sale". I first read about this track in the 1985 interview Prince did with Rolling Stone so I was floored when I finally got to hear it. This is an incredibly personal song, with Prince addressing his life in the wake of the mania that was "Purple Rain". From changes in his band, to problems with associates, to people who left the Prince camp he felt had back-stabbed him, it is a revelation to hear Prince get this personal on record. He simply does not do it often enough. There are references to cocaine use, surely directed at Morris Day and his former bodyguard Big Chick Huntsberry. Huntsberry sold a story to the National Enquirer detailing a paranoid Prince, painting him as a recluse who was afraid to leave his house in the aftermath of his super-stardom. It deeply hurt his former boss, leading him to agree to the Rolling Stone interview to try to make himself look like a somewhat normal figure. But that pain is all unveiled in the lyric here. '4 someone who said they would die 4 me/sold some, they sold some more pictures and all my little memories/chump change is 2 unravel the mystery/But life is no fun, life is no fun without fantasy/Some things r better left unsaid/and some people r better left untrusted'. 

Sadly, when Prince finally released "Old Friends 4 Sale" in 1999 on his "The Vault" compilation, he did what he usually does and used a re-recorded version from 1991 where he completely changed the lyrics to make them less personal, and in the process non-sensical. It's one of the worst bastardizations of a great lyric in his career, but thankfully the original version lives on in the bootleg world in near perfect quality now. There is also a version circulating from this period with Clare Fischer's orchestration added,  but I have always preferred this original demo. It is a perfect song, the sad melody matching Prince's somber, emotional vocal performance.

"Old Friends 4 Sale" segues into another highlight, the still unreleased "All My Dreams". This over seven minute track is a tour de force for the experimentation that Prince was engaged in with The Revolution at this time. After opening with a light funk/pop groove, the middle section features a slowed down Prince vocal that was later partially re-used on the song "Acknowledge Me". It then goes into a jazzy instrumental showcase with Lisa Coleman soloing on the piano and the bass, presumably Prince, popping and running all over the place. The song then returns to its original structure. After not making the cut for "Parade", it was set to be the closing track on 1986's "Dream Factory" album, but Prince decided instead to disband The Revolution. That album, and this song, remain unreleased to this day.

The demo tape closes with two alternate versions. "Girls & Boys" is identical to the released version other than a brief intro of Wendy saying 'For God's sake' and the ending of the song which closes with drum claps. In its released version these claps were removed as the song segued right into "Life Can Be So Nice". "Love Or $" is the final track here and this is more like a rehearsal of the song than a full fledged studio version. There is a prevalent rhythm guitar part that was not used on the released song, and Prince gives a relaxed vocal, whereas his sped up Camille voice was used on the B-side to "Kiss", where this song eventually wound up.

Even if nothing else were to surface in 2012, the release of this highly upgraded version of the "Parade Demos" is a coup for Prince fans and collectors. It joins an ever growing list of absolutely essential Prince bootlegs. We're not likely to hear any better, clearer versions of these songs than here, as close to release quality as we'll see, and this is a revelatory release. A tremendous thanks, as always, to those responsible and to 4DaFunk for releasing it freely. Also, thanks to the fantastic Prince Vault website, where some of the details shared here about individual tracks originated. It's an invaluable site for Prince research and information.

Bootleg Review: Prince "Montreux Like Jazz" (DVD)

Being a Prince fan can be a frustrating experience. Prince will turn 54 this year and I certainly do not expect him to be the groundbreaking, innovative genius he was through most of the 80's. His studio albums have fallen into the trap most legendary artists find themselves in when they reach this stage of their career. Still capable of putting out some great songs and enjoyable records, but nothing that comes near their former greatness, often times sinking into mediocrity. 

But where Prince has always kicked ass is in the live forum. His prowess in concert is one of the main reasons he continues to be one of the most bootlegged artists of his time. Practically every show gets taped and eventually finds its way into the hands of his fans and collectors. Lately though, Prince has seemed to pick and choose when to truly 'bring it' live. Yes, the majority of his standard concerts are still entertaining and better than the majority of live shows you'll see, but it's pretty obvious when he is just going through the motions. The hunger he once had is not there on a nightly basis, and his regular tours are too much of a greatest hits review on many nights, great for the casual fan, but leaving the long time, die-hard fan often wanting more. 

So if I'm ever asked why I continue to be a rabid fan, collecting every show I can get my hands on, I can now point to this release. A two-DVD set of Prince at the 2009 Montreux Jazz Festival that serves as a reminder for those that forgot, Prince is still one of, if not the, greatest live musician alive. This set captures both of the shows performed on July 18, 2009 in a stunning pro-shot video. The quality is good enough for an official release, of which one was talked about and planned before Prince once again dropped the ball on preserving his musical legacy. It's absolutely asinine that this was not released to the world, it's that good. So Prince once again misses out on giving his fans what they want and leaves it to the bootleggers to do it right.

Frankly, it's probably a blessing Prince didn't release this as I am sure he would have edited it down to a 'Best Of' from both shows. What you get here are both complete sets, unedited, uncut, as it happened in Switzerland that night. I've seen some complaining from the spoiled segment of the fan base that these two shows are too similar. Yes they share a few of the same songs, but both sets are drastically different both in setlist and tone. 

Show one focuses much more on Prince's jazzier material and ballads. It opens with the guitar heavy "When Eye Lay My Hands On U" and a fantastic, radically re-worked version of "Little Red Corvette", but from there things tend to stay on the mellow side. Songs like "When The Lights Go Down", "Willing And Able" and "She Spoke 2 Me" are pulled from Prince's jazz-pop catalog, while he delves into some of his greatest ballads including "Eye Love U, But Eye Don't Trust U Anymore", "Insatiable", "Scandalous" and the set closing "Nothing Compares 2 U". But the highlight of the first show is a jaw dropping performance of "Empty Room" as Prince absolutely tears it up on guitar, specifically during the final two minutes of the song. He's got 'that look' on his face during the scintillating solo that says 'I know I'm a bad ass' and it's awe inspiring to watch.

Show Two also opens with "When Eye Lay My Hands On U" but it veers far from the opening show after that as Prince doesn't let go of his guitar for damn near forty minutes. One of many highlights is a performance of Billy Cobham's "Stratus" that showcases the rest of his band, Renato Neto and Morris Hayes on keys, Rhonda Smith on bass and John Blackwell on drums. This is followed by a rocking version of Elvis Presley's "All Shook Up" which goes into a killer version of Prince's own "Peach". A cover of Jimi Hendrix's classic "Spanish Castle Magic" is next before Prince then pulls out his own classic, 1980's "When You Were Mine". The re-worked "Little Red Corvette" bookends this run of guitar heavy work and this entire portion of the show is a God-send for those who like to see Prince on guitar.

The second half of Show Two is equally as incredible with a long funk jam on "All The Critics Love U In New York", of course rechristened "All The Critics Love U In Montreux". The unreleased 1986 song "In A Large Room With No Light" was re-worked for this festival and follows before the second show closes with an emotional performance of his anthem, "Purple Rain". This is one of those songs that Prince has played so much it can be easy to get tired of hearing in concert, especially in some of the throw-away shortened versions he has done over the years, but this is a full performance and he is pouring his heart into it, as he does the entire night.

These shows have also been released on CD but you really do lose something without the video accompaniment. It's nice to have perfect sound quality audio of these shows, but the passion, hunger and attitude Prince brought to these shows this night need to be seen to be felt. He has that arrogant, cocky look about him all night, the look a long time fan knows is going to equal a great show, and here he delivers two in the same evening. This was a night where Prince obviously felt he had something to prove, and when he comes to the stage with that attitude, forget it. No one can touch him. This is an absolutely essential release for any fan, certainly one of the best Prince bootleg video releases ever.

The Best Albums Of 2011: Part Three (10-1)

#10 - Jeremy Larson "They Reappear" (Released 3/15/11)

Jeremy Larson's third full length is a stunning achievement. A song cycle through life, love and loss that Larson wrote, produced and played most everything on, including those strings that sound like a full orchestra backing him. Nope, that is Larson meticulously recording every string part himself and building an orchestra of one. A simply beautiful album and his best. My full review is here.

#9 - Duran Duran "All You Need Is Now" (Released 3/22/11)

Mark Ronson helped Duran Duran sound like Duran Duran again with the comeback album of the year.This is what the follow-up to "Rio" should have sounded like and to get that album in 2011 was a thrill. The classic Duran Duran sound, yet sounding fresh and current at the same time. How wonderful to have these pop music legends back and relevant again. My full review is here.

#8 - Bell X1 "Bloodless Coup" (Released 4/12/11)

The biggest band in Ireland not named U2 came through with their best album yet with "Bloodless Coup". Filled with swooning ballads, electronic influenced pop and rock and Paul Noonan's continued lyrical mastery, Bell X1 expanded their sound and delivered the goods yet again. My full review is here.

#7 - Adele "21" (Released 2/22/11)

Let me play music snob for a minute. I reviewed this album about a month before it was released and turned Adele into the biggest music star of the year. I knew this album was going to be big, but even I didn't expect Adele to become such a star I'd actually start to get sick of hearing some of these songs. But it is nice to see a true talent selling millions of records and dominating radio for once, and long after the hype has died down this will still be a great album. And I'll still never forget seeing her live this year in a small theater because it'll probably be the only time she plays somewhere like that locally again. My full review is here.

#6 - Radical Face "The Family Tree: The Roots" (Released 10/4/11)

This one came out later in the year, but I knew from the first listen this was bound to be one of my favorite albums of the year. Ben Cooper returned under his Radical Face pseudonym with another folk/pop masterpiece. Chock full of melodic acoustic and piano based music, this is a compelling listen from start to finish.

#5 - James Vincent McMorrow "Early In The Morning" (Released 1/25/11)

More great music coming out of Ireland, this time of the folk/pop variety. With his mesmerizing voice, James Vincent McMorrow is in complete command of his craft on his debut album. Spectacular all the way through and one to watch for years to come. My full review is here.

#4 - Active Child "You Are All I See" (Released 8/23/11)

New Jersey's Pat Grossi created an album that haunted me upon first listen. His angelic falsetto soars over a mix of 80's synth pop, his ethereal harp lines, various current day electronic genres and classical and ambient touches. The heartbreaking "Hanging On" is what led me to check this album out and I was floored all the way to the end with the knockout punch coming in the form of the icy cool gorgeousness of "Johnny Belinda". Stunning. My full review is here.

#3 - Bon Iver "Bon Iver" (Released 6/21/11)

Justin Vernon avoided the sophomore slump with a better album than his debut, opening up Bon Iver to a more collaborative effort in the studio. A warm, masterful work and I've yet to find a more gorgeous song released in 2011 than "Holocene". My full review is here.

#2 - Dolorean "The Unfazed" (Released 1/18/11)

One of the first 2011 releases I checked out back in January and it never let go of its hold on me. The Portland, Oregon band led by Al James draws from folk, country and rock influences and "The Unfazed" is their masterpiece. An exploration of the end of a relationship that is both deeply personal and highly relatable, by the end of the album hope is restored by the wonderment of falling in love again on "How Is It". My full review is here.

#1 - The Envy Corps "It Culls You" (Released 8/26/11)

The Envy Corps have started selling a tongue in cheek t-shirt declaring themselves 'Radiohead for Coldplay fans'. Yes it's funny, and somewhat true, but "It Culls You" is also better than the 2011 releases from either of those bands. Luke Pettipoole leads the way with crunching bass work on this scintillating album that delves into funky grooves while still firmly entrenched in the melodic indie pop/rock world the band excels in. "Give It (All) Up" and "In The Summer" lead a fine group of ballads contained here as well. "It Culls You" staggered me on first listen and continues to with its brilliance. My full review is here.    

The Best Albums Of 2011: Part Two (20-11)

#20 - Thirteen Senses "Crystal Sounds" (Released in the UK 2/21/11)

Released as a download only in the U.S., Thirteen Senses excel in spacey rock with a pop sensibility. Swooning melodies and choruses intertwine with dreamy strings and orchestral movements to make for a compelling listen. My full review is here.

#19 - Hey Rosetta! "Seeds" (Released 2/15/11)

Released as a download only in the U.S., "Seeds" will see a full re-release in February 2012 now that Hey Rosetta! have been signed to ATO Records. This Canadian powerhouse could not be more deserving. Known as a can't miss live band, which I can confirm after having the honor of seeing them perform at the DIY Festival in Ferndale this past fall, Hey Rosetta! produced another gem in "Seeds". Majestic and moving orchestral and chamber pop that hopefully reaches a wide audience in the States this year. My full review is here.

#18 - Death Cab For Cutie "Codes And Keys" (Released 5/31/11) 

Far superior to 2008's "Narrow Stairs", Death Cab came back with a release that shines from start to finish. An album alive with what the band does best, with "Home Is A Fire" the highlight. My full review is here.

#17 - The Original 7ven "Condensate" (Released 10/18/11)

The Time returned 21 years after their last studio album with a new name thanks to Prince, but all seven original members. And they silenced any doubters with a fun, funky slice of the Minneapolis Sound. You'd be hard pressed to find a better funk/R&B album released in 2011. The reunion may be short-lived however with Jesse Johnson apparently having left the band. It'll be a shame if this good of a comeback is wasted. My full review is here.

#16 - Matthew Ryan "I Recall Standing As Though Nothing Could Fall" (Released 6/22/11)

Plain and simply one of the best songwriters working today, Matthew Ryan followed up the brilliant "Dear Lover" with another essential album. This time tackling many of the world's ills, Ryan delivers music that moves, inspires, questions and calls you to act. My full review is here.

#15 - Moby "Destroyed" (Released 5/17/11)

Moby picked up where "Wait For Me" left off with another album of beautiful, downbeat electronic, but this time there were also enough covert beats and harder edged tracks to lighten things up just a bit. Moby seems to be at a place, far enough removed from the insanity that was "Play", where he knows what he does best, and he delivered it again on "Destroyed". My full review is here.

#14 - The Lonely Forest "Arrows" (Released 3/22/11)

The Lonely Forest made their major label debut and put out one of 2011's best rock albums. Think of them as a harder edged Death Cab For Cutie, and it's no surprise they were the first signing to Death Cab member Chris Walla's record label. "Arrows" hits hard. My full review is here.

#13 - Beastie Boys "Hot Sauce Committee Part Two" (Released 5/3/11)

I grew up loving hip-hop in the days of Public Enemy, Ice Cube, Ice-T and so many others, but the genre has long passed me by. How nice it was then to have a hip-hop album in 2011 that took me back to those great days of old. The Beastie Boys are legends and this album is funky, packed with nasty grooves and beats and masterfully produced.

#12 - The Juliets "Perfect Season" (Released 11/5/11)

Jeremy Freer cements his reputation as one of the finest composers in Michigan and The Juliets take the crown as the finest pop band coming out of the state right now. This is sheer mastery of pop music with classical and baroque influences. Electric guitar based songs play a bigger role this time around, but Freer also delivers his two finest ballads to date in the title track and the stunning "Ad-Lib". My full review is here.

#11 - Other Lives "Tamer Animals" (Released 5/10/11)

After opening for Bon Iver in 2011, Oklahoma's Other Lives are set to open for Radiohead during their upcoming 2012 U.S. tour. It's well deserved exposure for a band that is now near the top in the indie world at delivering gorgeous, cinematic folk/rock. Swelling strings, twinkling piano, it's all here and it is not to be missed.