This is what played CDs before there were MP3s.

50) Ice Cream - Battles (Ft. Matias Aquayo). The truth is, this song kind of irritates me. I like the opening build, but once it gets going, it gives off too much of a Smash Mouth vibe. In the interest of fairness it should be noted that this song is better than anything Smash Mouth ever wrote.

49) 17 - Youth Lagoon

48) Whirring - The Joy Formidable. This track is a killer guilt-free rock track. Hayley Williams totally wants to be Ritzy Bryan when he grows up.

47) How Deep Is Your Love - The Rapture. This song is on the list in spite of the obvious (and shameful) Sisquo call back.

46) Yonkers - Tyler, The Creator

45) Snooze 4 Love - Todd Terje. If you don’t know this track than A) you don’t read Clef Notes diligently enough, and B) you don’t know jack about awesome electronica.

44) The Other Shoe - Fucked Up

43) My Angel Is Broken - Atlas Sound

42) I Don’t Want Love - The Antlers. You should start practicing this song on your acoustic guitar before it gets warm, so it’ll be ready to lure the ladies. Of course there is almost no chance you have the required falsetto.

41) Youlogy - Shabazz Palaces

40) Street Halo - Burial. The father (or at least, the older uncle) of dub-step didn't want the kids to forget about him, so he returned triumphantly to show then how it's done.

39) Winter Beats - I Break Horses. I like to think that I Break Horses exists to keep my obsession with Sweden strong... Oh, and the song is an awesome example of post-shoegaze (yeah, I am also sickened by writing that hyphenated atrocity).

38) The Great Pan Is Dead - Cold Cave

37) Crystalline - Bjork

36) Rolling In The Deep - Adele. Face it, the song is pretty solid, and she sings better than you do anything.

35) Lotus Flower - Radiohead. I had to drug myself in order to keep this song from ending up higher than it deserved.

34) Headlines - Drake. This is the first of my boyfriend's three mentions on this list. More than any other artist (SQUEE!).

33) We Bros - Wu Lyf

32) Otis - Kanye West & Jay - Z. “You ain’t accustomed to customs/ you ain’t been nowhere, hanh?”

31) Prizewinning - Juliana Barwick

30) Ungirthed - Purity Ring. You really need to give this song a try. There is something both bewitching and fascinating about the track’s musical construction, and the way it's juxtaposed against the vocals...  [Be warned this video is NSFW]

29) Looping State Of Mind -  The Field

28) Monopoly - Danny Brown. This track is admittedly not for the easily offended, nor for those with an aversion to scatological hooks.

27) Honey Bunny - Girls

26) Novacane - Frank Ocean

25) Marvin’s Room - Drake. Drake narrowly beat out Frank Ocean according to my algorithm. The deciding factor? Drake’s cutene-, I mean "Canadianess."

24) Queen Of Hearts - Fucked Up

23) Blue Eyes - Destroyer

22) R4 Theme Song - Big K.R.I.T

21) Last Night At The Jetty - Panda Bear. This song features the best utilization of a two word bridge possibly in the history of music.

20) Glass Jar - Gang Gang Dance

19) I’m On One - DJ Khaled (Drake, Rick Ross, Lil’ Wayne). This song comes complete with Syrup quality control guidelines. Thanks Drizzy you're the best!

18) The Wall - Yuck

17) Vomit - Girls

16) Replica - Oneohtrix Point Never. This song is not for everyone, just those of you who enjoy ambient music, loneliness, and feeling your soul die.

15) Believer - John Maus. I can’t really explain how, but this song is so much better than it is. Also, you should note that I consider the top fifteen to be essential listening!

14) Cruel - St. Vincent

13) 212 - Azealia Banks (Ft. Lazy Jay). Watch out for this young lady next year, she is going to be bigger than Nicki Minaj, and this song is the proof of my claim.

12) House Of Balloons/Glass Table Girls - The Weeknd

11) Dreamin’ - Big K.R.I.T

10) Abducted - Cults. There is a good chance you heard this song more than any other song on the list this year. There is also a good chance you have a beard, wear glasses, and are older than you tell people you are.

9) Need You Now - Cut Copy

8) Helplessness Blues - Fleet Foxes

7) Holocene - Bon Iver. AHHHHHH!!!!

6) Califonia - EMA

5) The Wilhelm Scream- James Blake

4) The Words That Maketh Murder - PJ Harvey

3) Gangsta - tUnE-yArDs. If this list reflected my own personal taste, and not the distilled mathematical certainties of countless hours of work, then Gangsta would have been the number one song of the year. Merril Garbus broke the mold with this cut, which features a uniqueness that is missing not just from music, but from life. To say that this song is odd is an understatement. The truth is, it’s gloriously strange. That being said, it’s also catchy as hell, and makes you want to move, which is something that, frankly, we can all do a little more.

2) Video Games - Lana Del Rey. What often gets lost amid all of the hate and conspiracy theories that surround and obscure Lana Del Ray is that this woman really can sing (face it, haters). Video Games is without a doubt the most written-about song of 2011 but, beyond that, it is also exquisitely produced (I know, I know, by Illuminati taste-makers), well written, and features the sleepy, slightly apathetic/slightly wistful, very seductive charms of a woman who will be huge in 2012, whether you like it or not (P.S. I hear she recently signed a modeling contract!).

1) Midnight City - M83. The first time I heard this song I knew it was the best track of the year. As a matter of fact,  I actually featured it as a Clef Notes Track of the Week twice in 2011 (which, as we all know, is basically the musical equivalent of winning a Nobel Prize). Anthony Gonzalez released one hell of a record in 2011 and Midnight City is its neon crown jewel from the future. The main sample that serves as the song’s backbone is actually Gonzalez’s voice, warped and distorted beyond recognition, then spliced and repeated to perfection. I can't explain what an amazing feat of inspiration and ingenuity it is to turn your voice into one of the year's most recognizable samples, so I won't even try (besides you wouldn't get it anyway... JK) Anyway... Midnight City is not only the year’s best song, it even manages to sneak in a saxophone outro while not infuriating me in the process, which to this day I still consider impossible. Bravo, Mr. Gonzalez, bravo.

10) Return Of 4 Eva - Big K.R.I.T

With Return Of 4 Eva, Big K.R.I.T. released what is without question my favorite hip-hop album of the year. A gifted producer and emcee, K.R.I.T has become one of the game’s fastest rising stars on the strength of numerous mixtapes, none more impressive than the retro blast of southern soul that is Return Of 4 Eva. Over the course of 21 tracks K.R.I.T blows out your speakers, with thumping bangers like R4 Theme Song, poignant social commentary like Another Naive Individual Glorifying Greed And Encouraging Racism, and completely superb tales of coming up, and aspiration, like Dreamin', which is hands down one of 2011’s best tracks.

9) Black Up - Shabazz Palaces

Shabazz Palace’s Black Up is the most profound and exemplary work of art produced within the hip-hop genre in 2011. From a sonic, lyrical, and conceptual aspect, this record pushes the genre to a place it is not too familiar with, but desperately needs to be. From the moment the atmosphere of Free Press And Curl begins to build, you are aware that this is not your typical hip-hop release. As the warped beat and highly intellectual lyrics present themselves, you can’t help but be both impressed and intrigued. Over a brief but dense 36 minutes, this record delivers mind-altering cuts such as Youthology, The Kings New Clothes Were Made By His Own Hands, and Swerve The Reaping Of All That Is Worthwhile- tracks which just manage to scratch the surface of the discoveries within this unquestionably great LP.

8) House Of Balloons - The Weeknd

Over the course of 2011 you heard House of Balloons everywhere; at hip parties, trendy nightspots and, if you’re anything like the people I know (which, face it, you are), numerous times when you laid down with your significant other. House of Balloons is 2011’s best R&B release, its most influential non-dub step release, and most of all, a hazy, seductive, and superb record. By employing mysterious marketing techniques, unique album art aesthetics, and choosing to take a low profile in the custom of modern internet-born artists, The Weeknd themselves cultivated a serious mystique over the course of the year. That mystique coupled with sublime songwriting like in The Morning, High For This, and the terrifyingly catchy House of Balloons/Glass Table Girls (which also wins 2011's award for best use of a Siouxsie and the Banshees sample) it all adds up to an incredible debut and fantastic record.

7) Father, Son, Holy Ghost - Girls

I have no doubt that there are friends of yours out there who think this is the best album of the last ten years, and I also have no doubt that I don’t like those people. Every now and again a record comes around that is great, but is overshadowed (and maybe even a little distorted) by the hype that surrounds it, and to some extent this is the case with the latest Girls album. Father, Son, Holy Ghost is a great and, at moments, even timeless record, which I assure you is more than happy simply being one of the best of 2011. Christoper Owens manages to channel his unique childhood and an appreciation for 70s Americana into a brilliant collection of songs which play out like distant memories of places you never were. If you're looking for computer samples, psychedelia, or the beloved wobble, look elsewhere, as you will not find such things on this album. What you will find instead are near perfect representations of pop that your parents loved (Magic), six-plus minute odes to nostalgic melodrama (Vomit), and wildly catchy songs that you would have to be clueless not to appreciate (Honey Bunny). Father, Son, Holy Ghost is a prime example of using one’s influences as a sonic compass through the sea of musical composition and deserves most of the praise it has received in 2011.

6) James Blake - James Blake

To be fair, this record had made this list before it even came out. If I was a betting man, back in 2010 I would have wagered a massive sum that it would have been this year’s best. James Blake did not invent dub step, he was just responsible for bringing it to a whole new demographic of white kids. Regular readers should already be aware that I consider this young man to be a genius, and the reason is simple...this young man is a genius. In an era when bedroom recording has become a limitless conduit for inspiration, Blake crafts an obscured gray world of swells, clicks, pops, and stark silences. There is something both futuristic and organic about Blake’s music; it captures both the sterility of technology and, due mostly to the unique character of his voice, the warmth of the soul. Each track on his self-titled debut LP is a gem that deserves to be admired, but if I had to choose its best representatives I would direct your attention to Unluck, I Never Learnt To Share, and Lindesfarne I &II. If you don’t know who James Blake is as you read this column then you better act fast, because odds are the kids will move on sooner rather than later.

5) Helplessness Blues - Fleet Foxes

As a man who was born and raised in the city my appreciation for all things pastoral is minimal at best. Because of my fear of grizzly bears, wolves, and some families of flowers, I don’t often venture out into the woods, but if I needed to I could do so by just sitting in my apartment and listening to Fleet Foxes’ Helplessness Blues. Hailing from Seattle, this band of densely bearded acoustic guitar players has been enchanting listeners with their folk stylings since 2008. Their debut record has already become a modern classic, and its greatness has been completely eclipsed by the majesty of Helplessness Blues.

It is easy to describe art as "beautiful" due to the constraints of the English language, but in truth no other word can capture the amber glow of this record. Each song on Helplessness Blues contains a precious quality which makes them sound like they hang in the halls of quiet museums alongside the somber yet dignified works of Flemish masters. This record is pretty damn close to flawless and completely immersive. From the opening finger-picked figure of Montezuma we are drawn to the autumnal grandeur of this music, enjoying the wonders within Battery Kinzie, Sim Sala Bim, Blue Spotted Tail, and the album’s masterpiece and title-track.

4) Past Life, Martyred Saints - EMA

I was hip to EMA such a long time ago, I kind of want to stick a flag in her. Before the Nirvana covers, the Youtube video sensations, and the approval of Spin Magazine, I was already a devotee of this guitar-playing Viking descendant from South Dakota. There may be some of you out there saying “Hey man, what about her work with The Gowns?” to which I say: this is not about The Gowns, this is about the year’s best debut record and #4 album.

There’s something heartbreaking, shattered, and raw about Past Lives, Martyred Saints. The songs on this record feel like confessionals of a tortured woman who can’t possibly be in her twenties. The album aims to eviscerate you emotionally, starting with the apocalyptically bleak The Grey Ship and continuing through the gut-wrenching catharsis of California, the head-spinning bounce of Milkman, and the quiet brutality of Marked. With the release of such a stupendous debut record EMA has placed herself in a precarious position for delivering a follow-up, but we don’t need to worry about that now. All we need to do is listen to this record and be amazed.

3) Let England Shake - EMA

As I sit here typing, I have a hard time believing this album is only the third best record of the year. Since it dropped back in February, I have been nothing but captivated by the poetic and aural beauty of the ode to country/condemnation of war that is PJ Harvey’s Let England Shake. It goes without saying that Harvey is one of this era’s most consistent and dependable artists, but I suspect few truly believed that she had a record of this magnitude still left within her. Fortunately for us she did, and it stands here not only as one of the year’s best, but as the best by any female artist in 2011.

One can sit and listen to the first seven tracks of Let England Shake and encounter nothing but brilliance.  Harvey is in  mesmerizing form on this album and it is palpable from the opening seconds. As a listener it is easy to hear how much the content and themes both inspired and resonated with Harvey, and it gives the impression that we are reading diary entries that were never meant to be seen. For nearly 40 minutes this record surrounds you in a smoke-filled, cloudy, fading landscape where scenes of resplendence are mourned and tomorrows are feared. Frankly, if you are sitting there thinking “Hey man, this is the best record of the year, bro” while I would tell you that you were wrong, I would be really delicate with my arguments.

2) Hurry Up We're Dreaming - M83

Much like Kanye West last year, the fact that this record came out in November essentially voided its ability to be the best record of the year. That said, what Anthony Gonzalez accomplished on his two-disc magnum opus Hurry Up We’re Dreaming is the literal definition of phenomenal. Every time I discuss electronic work, I feel compelled to reiterate the extent of the sonic responsibilities which are the composer’s burden. The electronic composer is responsible for the inspiration, the majority of the performance, and the Herculean process of producing music which is comprised of seemingly limitless musical elements. When done well the listener is usually provided with highly enjoyable and entertaining music. When done remarkably, the listener is given the gift of utterly magnificent art...which is exactly what this record is.

Within the universe of Hurry Up We’re Dreaming’s splendor we find a record conveying the sensation of what it is like to wish for your past while being at peace with your future. These are the songs of a man entering his third decade and coming to the realization that one does not end up where they expected. Thankfully, Gonzalez does not spend his time lost within lamentations, instead, he accepts the progression of both his art and his life, and with a spirit of adventure embarks on a journey to let all parties involved know it will be okay.

Because this is a double album, it would be absurd of me to highlight all of its fine moments. Not only is it hard to choose which tracks best depict this record's various glories, it also has to be experienced in its entirety to be completely appreciated. Not being one to back down from a challenge (or keep my opinion to myself) I will recommend Midnight City, Raconte-Moi Une Histoire, The Bright Flash, New Map, and Steve McQueen. Those songs all possess a little bit of Hurry Up We’re Dreaming’s stellar radiance and should be enough to convince you of its grandeur.

1) David Comes To Life - Fucked Up

Throughout history the greatest art has been propelled by equal parts ambition and inspiration, a  mixture of catalysts which compels the spirit to strive for more than the ordinary. Why create a bust of a hero when you could create a statue? Why aim for a simple painting when you could paint a mural? Why write a sentence when you could write a story? Why make just another hardcore record when instead you can compose a work about love, class, faith, and existence, all while making the best record of the year?

By this point, we’re all aware of the tragic love story that makes up the majority of David Comes To Life's narrative, but this album is about SO much more than (pfft) love. Being savvy and in-touch members of the modern world, Fucked Up interwove a murder-mystery, metaphysical struggle, and revelation into the fabric of this record, all in order to provide more than enough conversation fodder for dudes who enjoy wearing flannel and hanging out in bars. The thing is...when considering all of this record’s artistic worth (which is vast) it’s easy to forget that it totally kills. Just so we understand, when I say "kills" I don’t mean in some “current excuse/standard” for kills, I mean legit triple guitar high BPM shit. The musicians in Fucked Up have never sounded any tighter, impassioned, or unified, and their music is made infinitely better for it.

Before I go any further in this praise orgy, I would be remiss if I didn’t address the vocals of Damian Abraham. I understand the hardcore singing is an acquired taste and can be perceived as caustic to some listeners, but a matter of taste should not be enough for you to dismiss this album. If you can’t “get into” this record because Abraham’s voice turns you off then let me be the first to let you know that you are close-minded and myopic in your views on music (sorry).

Moving on.

Over 18 tracks this record delivers a constantly-pummeling attack of awesome which makes you feel like you want to get into a fight with the world (in a life conquering, non-violent way of course). As the album begins with the sublime instrumental Let Her Rest, it sets the stage for over one hour of kinetic, visceral, and unbelievably catchy tunes. This is the kind of record which rewards multiple listens, as each time you hear it your ear is drawn to a new lick, a newly deciphered line of vocals, or freshly discovered plot hook. There is no better exercise in listening than David Comes To Life, there is no finer moment in rock, and most of all, there is no greater album in 2011.

___

Well there you have it my dude and dudettes, another year past us, another Best Of List. 2011 wasn’t the strongest year of musical releases, but there were enough great records to put together a pretty solid top 20. As for those artists who just narrowly missed this list, I would like to extend my apologies to Cults, Oneohtrix Point Never, Raphael Saadiq, Gang Gang Dance, The Field, Kendirck Lamar, Ice Age, Wild Flag, Atlas Sound, and The Pains Of Being Pure At Heart. I loved your records, but apparently not enough. Time will only tell what 2012 has in store for us (other than the coming hysteria of course), but as a critic and fan of the world’s most personal art, I hope for the best.

So what do you think? Did your favorite record make the list? What was the biggest omission? Did you like Bon Iver more, or David Comes To Life less than I did? Should have I given Adele's 21 a spot? What are you looking forward to next year?

By most critical accounts 2011 was a below average year for musical releases. Over the last month or so, you’ve read my musical pundit brethren try to explain the year’s shortcomings, and in some obsequious cases even make excuses for it. Of course a given year’s deficiencies mean absolutely nothing to critics when it comes to making end of the year rankings. It’s the duty of the sonic-analyst (it’s a new title I am working on) to spend countless hours plugging unquantifiable variables into elaborate (read: imaginary) algorithms, and then use those calculations to formulate infallible end of the years lists. I personally allocate nearly twenty hours a week to the charts, graphs, computer simulations, runes, and entrails that comprise my ranking process, constantly reevaluating and refining my list, and now she is ready for you to consume, consider, and hopefully not condemn. 2011 has been a long and at times decent year, and here are its twenty best records.

(20) The King Of Limbs - Radiohead

If you would have told me that Radiohead’s 2011 release would only be twenty on my year end Best Of list, I would have guessed that somehow the order of numbers had changed, and now "twenty" was in fact "one." Don’t get me wrong, The King Of Limbs still manages to pack some sublime music into its far too few (eight) tracks, but I would be remiss if I didn’t admit that it needed more. Nevertheless, the album is still a exquisitely produced and composed work, which was crafted by the world’s best band, and for that we should be grateful (I write as a single tear rolls down my cheek).

(19) Take Care - Drake

Because I am an honest and open person, I will freely admit to all of you that I have a serious man-crush on Drake. Maybe I like his flow, maybe I like the cut of his jib, maybe my infatuation with him is just the newest manifestation of my love of Toronto. Whatever the reasons are, every time I hear a note of his work I feel compelled to stop, listen, and enjoy. Take Care is Drizzy’s second full-length LP, and it’s a nearly eighty minute long love letter from Drake to himself. From the opening cut’s first verse we find a Drake who knows how great he was, but is more interested in letting you know how great he is... The thing is, he’s right, but don’t take my word for it. Try asking your girl, your sister, or, yes, even your mom.

(18) Slave Ambient - The War On Drugs

With Slave Ambient, The War On Drugs released a record that managed to have one foot firmly entrenched in the musical splendors of  classic American rock, and the other on a shimmering plane of futuristic psychedelia. This record is both comforting and adventurous in an effortless and thrilling way, which makes you question why this band isn't more popular. Take its opener, Best Night, for example: the music slowly takes form from its scattered beginnings, and lulls you into its depths, before Adam Granduciel's voice tricks you into thinking its Tom Petty’s and you find yourself thinking... Have I heard this before? You have and you haven’t, and that is the beauty of Slave Ambient.

(17) Strange Mercy - St. Vincent

One of 2011’s best musical trends was without a doubt the impressive frequency of strong releases from female artists. There were a staggering amount of solid records from women this year, and the first to make this list belongs to the angelic St.Vincent. Strange Mercy is a sensual, moody, and diverse record full of haunting vocals, sonic surprises, and exemplary guitar playing (though admittedly not your father's guitar playing). Annie Clark’s sound is taken to new places on this record, and her listeners reap the benefits, as tracks like Northern Lights, Surgeon, and (one of 2011’s best songs) Cruel show off a myriad of the Texas native's considerable talents.

(16) Whokill - tUne-yArDs

Merrill Garbus is as singular an artist as exists within the current musical pantheon. For the last three years she has been releasing music as tUnE-yArDs, and crafting an unquestionably unique and peculiar sound that was perfected with her sophomore release, Whokill. There will be few records on this list which possess fascinating intricacies like those that make up this album’s ten tracks. Simply put, nothing else out there sounds like Bizness, Powa, or the ridiculously enjoyable Gangsta, and those tracks are just the tip of Whokill’s tremendous, and quirky iceberg.

(15) XXX - Danny Brown

Danny Brown is as new and exciting a voice as hip-hop has these days. The Michigan-born emcee dropped his debut record, XXX, back in August and from the moment it hits the streets the rap world took notice. Brown is yet another example of a new breed of emcee which is attuned to the trappings, vices, and complexes of the modern generation (and thankfully he is not a part of Odd Future). The "Adderall Admiral" exposed the world to the Dr. Jekyll and Mr. Hyde like duality of his psyche on XXX, as imaginatively deranged cuts like Die Like A Rockstar and Monopoly exist side by side with grittier “message” tracks like Party All The Time and Scrap Or Die. I hope desperately that this debut is just a hint of the greatness to come from Mr. Brown.

(14) Bon Iver - Bon Iver

I am sure there are some of you out there who are surprised with this record’s placement on my list. After all, there are some major outlets (cough: Pitchfork) who have proclaimed it Album Of The Year. The thing is... It’s just not. Bon Iver’s self-titled second record is definitely a great album, which immaculately displays the incredibly otherwordly voice of Justin Vernon. Furthermore, there is no doubt that it has some beautiful songs on it - Holocene, Calgary, and Perth are definitely examples of that - it’s just a little monotonous. Honestly, if I had my way I would have rationalized a way to NOT put it on this list, but this isn’t about me, and in reality Bon Iver put out one of the year’s best records.

(13) Tomboy - Panda Bear

When Noah Lennox released Person Pitch back in 2007, most of the cool kids didn’t know who he or Animal Collective were, let alone the mainstream. Since that time, he and his Maryland cohorts have literally become music’s vanguard, and the expectations for his latest solo record, Tomboy, were sky high. Luckily for Lennox, his fans, and music in 2011, Tomboy was a superbly solid record (not Person Pitch, but still quite good). Because this record was basically all Lennox it displayed a more serene and heavenly quality than most Animal Collective stuff, and the departure from the heavily sampled sound of his preceding record was both welcome and effective.

(12) Kaputt - Destroyer

Fans of Dan Bejar are well aware of the self-contained Universe that his songs have given birth to. They are also familiar with his elegant voice, and the distinctive singing cadence he tends to employ. What they didn’t know was that he could take a left turn like he did on Kaputt and still put out a graceful and charming record. I found myself humming and singing this light, breezy record more than any other on this half of the list, as songs like Chinatown, Blue Eyes, and A Savage Night Of The Opera would make their way into my head and never leave, thankfully... I didn't want them to anyway.

(11) Yuck - Yuck

Every now and again a band comes along and puts out a debut record which makes me wish I was both young and one of their members. It used to The Pains Of Being Pure At Heart, but they put out a record this year and it didn’t make the list. My current dream is to be in Yuck. Hailing from London, this fresh faced quartet put out a fuzz-drenched, obscenely catchy, and truly stellar self-titled first record. From the second Get Away makes your ears explode with it’s phased-out distortion and angular lead lick, this record sinks its hooks into you and refuses to let go, with songs like Georgia, The Wall, and downtempo numbers like Suicide Policeman, serving as heralds of the band's fresh and new awesome.

That’s it for now kids, check back on Monday for the top ten!

The Best Albums Of 2010 (#10-#1)

10) High Violet - The National

I will be the first to admit that The National only paint in one color but, man, what a gloriously gloomy gray it is. From the moment you hear the bass drums and distorted oscillations that introduce Terrible Love, the fist track on High Violet, you can basically hear the whole record play out before you like a maudlin overture. As the track opens up and reaches its climax you’re compelled to succumb to the sadness, and just let it wash over you.

High Violet is an impressive example of a band refining itself, and not being afraid to simply do what they do best. You don’t come to The National for fairy tales; you come for the melancholy and the Mariana Trench-deep baritone of lead singer Matt Berninger. Everything is more focused on High Violet, and the songs benefit greatly. Tracks like Bloodbuzz Ohio, Lemonworld, and England are all great, and show us a band that is just about ready to leave the confines of indie behind.

9) The Suburbs - Arcade Fire

The release of The Suburbs was, without a doubt, THE event in indie in 2010. Message boards all throughout the Internet were littered with the frenzied anticipation surrounding this record’s release. I understand what led to this - after all, over the course of their two previous LPs, Arcade Fire had become “the only indie band that mattered.” With their own version of the Canadian musical family/gang-flavor, Arcade Fire has weaved ornate tapestries of near baroque brilliance, all while expressing the fears and hopes of the children inside us all. On The Suburbs, the band decided to bring much of the same flair but, this time, the record is about growing up.

A great deal of my contemporaries have labeled this record a masterpiece, which I consider a bit of an overstatement; that being said, this record did grow on me a lot over the course of this year. Like everyone else I enjoyed Month Of May and Ready To Start immediately (I even really enjoyed Rococo). As time went on, I also began to appreciate Sprawl II and Half Light II, and finally heard the record through the ears of others.

8) Everything In Between - No Age

Coming up with a follow-up to a classic record has to be one of the most daunting tasks in music. I imagine an artist being haunted by the specter of the classic as they hunt for inspiration, record, and even while listening to the final mixes. Many bands have been destroyed by this combination of pressure and doubt. Luckily, for fans of noise-punk, No Age did not become one of these casualties.

Everything In Between is a brutally killer record. Of all the albums in the top ten it possesses the most edge and is the least palatable, but fuck the proletariat. Over 13 tracks, No Age constructed a record that is adorned by vibrant chaos the way a king wears a crown. With monster tracks, featuring glorious hard-wave noise, like Life Prowler, Glitter and Shred and Transcend, No Age provided people who like their music ultra loud with a gift in 2010. This record isn’t just limited to face melting, as my favorite track is still the post-shoegaze piano driven excellence that is Positive Ambition, which shows off the band's down-tempo softer side.

7) Before Today- Ariel Pink's Haunted Graffiti

Ariel Pink is one of the most unique active American musicians in any scene. The man has been writing songs since age 10, and has recorded over 500 tracks on cassette tapes since the mid-90s. He produces and creates practically all of his music, at times even using some rather unconventional methods like generating drum sounds from his mouth and armpits. Since the early 00’s Pink has produced 12 records of stunning vision and ingenuity, none more so than his latest, Before Today.

Ariel Pink’s Haunted Graffiti: Before Today, marks an advancement in fidelity that actually improved the work of this lo-fi master. The lack of hiss has been replaced by an exuberance that helps lift and expand the tunes to a size that sets this record apart from Pink’s other LPs. Pink’s trademark genre synthesis is still on fine display throughout; tracks like Round And Round, Bright Lit Blue Skies, and Menopause Man all sound like they are playing on the greatest AM station from outer-space ever, and showcase the talents of Pink in a fashion that is impossible to not appreciate.

6) Lisbon - The Walkmen

New York city based hipster-icons The Walkmen have released a somewhat hit-or-miss string of albums since dropping Bows + Arrows (the best record in their catalogue) back in 2004. Over three LPs they have had more tragedies (A Hundred Miles, Pussycats) than triumphs (You & Me), but with the release of Lisbon they managed to fly close to the sun, and keep their wings intact. You all have no idea how pleased I am by that whole tragedy/Icarus tie in.

Lisbon was recorded in just 5 days which, by today’s standards, is like writing a novel in a week. Fortunately, the album's quality does not suffer as a result of this studio alacrity, and it should probably serve as an example to those artists who spend days obsessing about mic placement. This album is 11 tracks of reverb-drenched, treble-heavy splendor that ranges from the somewhat asymmetrical (Victory), to radio-ready (Angela Surf City, one of the best singles of 2010). Along the way there is some melancholy brass (Stranded), a throwback (Blue As Your Blood), and some serious loveliness (While I Shovel Snow), all collected for your Ray Ban wearing pleasure.

5) Sir Lucious Left Foot: The Son Of Chico Dusty - Big Boi

It's impossible to  imagine the impact this album would’ve had had it been released back in 2008 as was originally slated. Sadly, the geniuses at Jive weren’t convinced that it had any hits, so they stalled it. In that time the memory of Outkast’s triumphs faded, and it looked bleak for Big Boi. What’s worse is he saw the best-rapper-in-the-game title be passed from Yeezy to Weezy and back, all while his own hotness was being delayed by clueless executives.

Thankfully great music is timeless, and Sir Lucious Left Foot: The Son Of Chico Dusty is beyond great. This is my favorite hip-hop record of the year. It has everything; dizzying production that stays smooth as silk, some profound flow, and serious funk. Who needs auto-tune when you can listen to the talk-box awesome of Shutterbug? Who’d ever want to listen to sci-fi/funk facsimiles when you can listen to the dope on dope of Fo Yo Sorrow? Who else can build a beat out of choirs and horns that sounds as badass as General Patton? The answer to all these questions is no one, which is exactly who should dislike this album.

4) Halcyon Digest - Deerhunter

I'm pretty sure that Deerhunter wasn’t even ready for the sort of acclaim that Halcyon Digest has received since its release back in September. I have actually seen this record placed as high as number one on a couple of lists around the Internet - it’s usually either this record or, in most cases, Kanye’s.This is the record that Deerhunter will always be able to say catapulted them from a band that no one had ever heard of to a band that some people might know.

The main reason for the newfound appeal of Deerhunter is the somewhat radical change in overall sound and fidelity from their previous efforts. This record is shrouded in a murkiness that envelops the listener from the very first measure of Earthquake, the album’s spectacular opener. Sonically, this album is about blending the obscured with the dreamy, and even some light here and there, in a brilliant and radiant fashion. Songs like Helicopter, Don’t Cry, and the unreal Desire Lines are all excellent, and prove that change isn’t always a bad thing.

3) Teen Dream - Beach House

I find it surprising that so many people have forgotten about this record. Back when Teen Dream dropped at the start of the year it was universally acclaimed, and looked like a shoe-in to be in the top 5 of most lists of this nature. Sadly, music critics are allowing themselves to become prisoners of the moment, and are disregarding what is a heavenly and ethereal work of art. We at Culture Blues aren’t distracted by the newest shiny thing, and know when/how to give props.

Listening to Teen Dream is one of the most pleasurable aural experiences available. From the second you hear the delay drenched guitars of Zebra you are transported to a sublime sonic landscape where all you need to do is drift and smile. Almost every stop on this musical journey is gleamingly beautiful; from Used To Be, to Silver Soul, to Norway, to 10 Mile Stereo this record truly glows. I have had the pleasure of seeing Beach House twice in concert this year, and heard them fill the air with these tunes. You need to be your own friend and catch them if you can... after you have heard this record to death, of course.

2) My Beautiful Dark Twisted Fantasy - Kanye West

What can be said about My Dark Beautiful Twisted Fantasy that hasn’t become redundant by now? In the review I wrote about this record a couple of weeks ago, I already declared it a masterpiece. I’m far from the only one. Every media outlet in the world has lauded this record, in a way that hasn’t been seen in some time. So I am sure some of you out there are asking yourselves “Then why isn’t it number one, dumbass?” To which I say, “Calm down, Kanye. Number two is really fucking good, though I am well aware that is not enough for the likes of you.”

Basically everything about My Dark Beautiful Twisted Fantasy is fantastic. We all know the merits of Dark Fantasy, Gorgeous, Power, Monster,  and Lost In The World (if you don’t, you probably live in China and aren’t reading this anyway), but the record is more than just sick tracks. The album’s production is tight, Kanye’s rhymes are sharp, the flow is better than ever, and the sequencing is outstanding. All of these factors add up to the best hip-hop record of the year, and Kanye’s best ever.

1) This Is Happening - LCD Soundsystem

James Murphy released the soundtrack of 2010. This Is Happening is a peerless record; it’s an hour of music that is superb in both its appeal and production. Over 9 tracks, listeners are treated to exquisitely crafted toe-tapping, ass-shaking, dance-punk, sprung from the mind of a man who is as talented as he is cool (a rare feat in today’s industry). There has been so much written about Murphy’s gargantuan mental database of not just music history, but its core and essential elements. On This Is Happening he uses this expertise to create a record whose frequencies are all tweaked and panned to fastidious perfection. The bass is rounder than a sphere, the drum kits are phased and dry, the reverbs are perfection incarnate, and Murphy’s chameleonesque vocals are not only in their best form, but are also placed in the mix with precision. To top it all off, all of this wonder goes on without ever feeling cluttered or claustrophobic.

I could go on and on about this record's production, but at the end of the day we all know that the songs are what matters, and Murphy dazzles us here as well. The first track I was exposed to from This Is Happening is still my favorite, and that is the incredible All I Want, a song that channels Eno-era Bowie and the stellar All My Friends (which is one of my favorite songs of all time) all while achieving its own perfection. Beyond the shores of that greatness are numerous other gems, like your girlfriend’s favorite new-wave homage, I Can Change, and the sprawling opener that warps in an epic-strutter, Dance Yrself Clean. To be honest, there is no soft spot on this album; even songs like Drunk Girls, Pow Pow, and You Wanted A Hit have been blasted at parties and grooved out to by your friends, and their friends, all over the world - some of them just didn’t know it was LCD Soundsystem (it has happened to me numerous times).

Ultimately, I would say the reason This Is Happening was chosen as album of the year was because it was the album of the year. What I am trying to say is: this record was not only the best produced, while featuring some of the best songs, but it become as much a part of the year as the World Cup or the oil spill. As I said in my opening statement, James Murphy released the soundtrack of 2010.

***

Well, there you have it kids, the year's best music. My apologies must go out to the artists that fell just short of making the list. Though Fourtet, Hotchip, The Black Keys, James Blake, Erykah Badu, Emeralds, Curren$y, Rick Ross, and Best Coast all put out great albums this year, sometimes in life one must make tough decisions. For those of you who want to whine about Vampire Weekend, go make your own list.

Did your favorite album make it? Should Kanye have been number one? What do you guys think is the biggest omission? Let us know in the comment section below.

As pop culture aficionados, your friends at Culture Blues are not immune to the end-of-year lists currently overwhelming the internet. Welcome to Listmania, where Culture Blues ranks their favorite shit in a bunch of different categories. Music lists always elicit passionate responses. With that in mind, let's infuriate by ranking the year's best! Here is #25-11 on our Best Albums of the Year list. #10-1 can be found here.

The Best Albums Of 2010 (#25-#11)

25) Gemini - Wild Nothing

Jack Tatum put together a record which transports you to smoke-filled nightclubs haunted by pale, black-clad misfits of the era before the MP3, and he did it all from his bedroom. There is an audible reverence on this record for a time when dream-pop expressed the love, wishes and confusions of people who thought Depeche Mode were sellouts. This notion of respect guides Tatum as he crafts his ode to the the late 80s, and enlivens tracks like Bored Games, Drifter, and The Witching Hour, making each song play out like a praise to its influence.

24) King Of The Beach - Wavves

This year indie was obsessed with two things: 1) Excessively long album titles and 2) Going to the beach. With King Of The Beach, Wavves became the beating heart of going out to catch some rays while smoking bowls and listening to some lo-fi. Nathan Williams hasn’t been on the scene all that long, but he has already managed to develop a reputation as a somewhat immature stoner who isn’t the best at keeping a band together. On King Of The Beach the rhythm sections consists of Steven Pope and Billy Hayes, and together these dudes pump out a fun and energetic cloud of Coppertone-laced smoke, featuring tracks like King Of The Beach, Super Soaker, and Linus Spacehead, all of which are great for a lazy, sunny day.

23) Fang Island - Fang Island

Although this record came out in February, I didn’t get my hands on it until the summer, which was totally my bad. Since my first listen I have been in love with this album, and have been trumpeting its merits to anyone looking for a new band to get into. Fang Island is part prog-rock, part math-rock, with just the slightest dose of psychedelia (in order to appease Pitchfork readers); all in all, completely awesome. Sure, those of you who are more “with it” have already seen the video for Daisy, but there is so much more to this record than those fantastic 3+ minutes of audio. Allow me to direct your ears to the quirky shuffle of Life Coach, the twin six-string madness of Careful Crossers, and the epic satisfaction of Davy Crockett (wait for the 2:32 mark!). I think your iPod could do for a little of this.

22) Congratulations - MGMT

MGMT could have just put out the sequel to Oracular Spectacular. They could have pleased all of the kids in Three Wolves Howling at the Moon t-shirts, providing them with more jams to take ecstasy and drink PBR to. Instead, they decided to please themselves. Just about every review of Congratulations had some variation of this statement: “Though there’s no monster single on it, a la Time To Pretend, this is a far superior record to Oracular Spectacular.” More than 8 months since its release that sentiment still remains true. Tracks like Someone’s Missing, Brian Eno, and Flash Delirium still sound like they come from a new, and better, band.

21) Swim - Caribou

Dan Snaith is a post-everything world’s musical chameleon and architect. Part mathematician, part composer, the Canadian-born Snaith has been releasing music since the millennium’s dawn under the guises of Manitoba and Caribou. For those not familiar with either of those names, Snaith’s music can be summed up as meticulously constructed electronic compositions that manage to contain a remarkable amount of soul. On Swim we find a songwriter inspired by loneliness and weariness, and he leads us through a journey filled with dazzling clatter (Found Out), phased atmosphere (Lalibela), and endless groove (Odessa). Swim is the type of record that repays the thorough listener, even after numerous spins, with new discoveries and the type of audio candy meant for a good set of headphones.

2o) Cosmograma - Flying Lotus

I bet those of you who like their electronic dance music to be cacophonous, and slightly schizophrenic, haven’t stopped listening to Cosmograma since it dropped back in May. This isn’t so much an album as it is a listening experience; it’s the kind of music that can only generate from genius, and there may as well not be track numbers. Cosmograma is as dense as a record can get, with practically every second of audio packed with all sorts of expertly panned sounds that come together to form a collage of near unbelievable greatness. There is something for all EDM lovers on Cosmograma; from the sci-fi leanings of …And The World Laughs (complete with Thom Yorke cameo), the reconstructed jazz of Arkestry, or the slightly more traditional thump of Do The Astral Plane, there is no doubt you will be bobbing that head until your neck hurts.

19) Treats - Sleigh Bells

Treats begins with the kind of gigantic sonic statement that made this record an absolute favorite among the coolest kids with the tightest jeans. The mammoth drum machine assault of Tell ‘Em, combined with the obscenely distorted, simple guitar riffs of Derek Miller and the melodic chant-singing of Alexis Krauss, are the perfect intro to the formula that Sleigh Bells will repeat over and over again on Treats, to great effect. This record is all about the use of juxtaposition but, rather than using the sonic chaos to create dissonance between the music and the vocals, it is used more like a frame, or lens. Whether it be the angular swagger of Infinity Guitars, the sublime loops of Rill Rill, or the fuzzed-out repetition of A/B Machines, Treats is guaranteed to blow your ears out, and leave its hooks spinning through your head.

18) The Age of Adz - Sufjan Stevens

No matter what the Internet or that preachy “Sufjan purist” friend of yours says, The Age Of Adz is actually a great record. Admittedly, it is not the work of breathtaking elegance that was Illinoise (what is really?), but I honestly believe if this was the work of some new over-ambitious folkie then it would be a far more celebrated record. Such is the burden of expectation, and the occasionally myopic point of view that is a result of fandom. Seriously, what problems can one really have with tracks like Too Much, Now That I’m Older or (my personal favorite) Vesuvius? These are all excellent examples of a songwriter who is evolving and is trying his best to take your ears with him. Stop hating, start accepting.

17) Archandroid - Janelle Monae

By now there is little doubt that you have heard Janelle Monae's astoundingly popular tracks Cold War, Tightrope (which both have a very similar vocal hooks), and Dance Or Die. Some of you may even have read articles proclaiming her as a visionary talent ready for stardom. Usually my cynicism prevents me from buying into such intense hype, but in the case of Monae I am, at least, renting. It is easy to admire the ambition of The Archandroid; at seventy minutes and 18 tracks, it is the longest of all the records on this countdown not made by Joanna Newsom, and its futuristic story and ridiculous catchiness indicate that Monae is obviously not content with being the next R&B star... she seems to have plans for world domination.

16) How I Got Over - The Roots

The Roots have not made a bad record since they joined Def Jam and with the release of How I Got Over they have released their best. Clocking in at 43 minutes this record is the shortest The Roots have ever made, but what it lacks in length it makes up for in a refined sense of maturity and the further evolution of their jazz meets neo-soul brand of hip-hop. All of the band’s essential elements are on display to great effect; ?uestlove still lives in his house within the pocket, Black Thought is as intricate and introspective as ever, and the group’s sonic encyclopedia of samples and influences has grown to include the likes of Joanna Newsom (Right On), Monster Of Folk (Dear God 2.0), and even the Dirty Projectors (Tunnel Vision). I know that the band has its detractors for their choice of bill paying methods (being the Late Night with Jimmy Fallon band), but hey, none of you buy records anyway... not even great ones.

15) Body Talk (Compilation) - Robyn

If I had more balls, I would write without fear that I think Robyn may be better than Lady Gaga but, sadly, I don’t (I became a eunuch to enhance my singing abilities). Since I began writing Clef Notes, I have reviewed two of Robyn’s Body Talk EPs and their compilation record. Each time I sit down to listen to her work I am impressed by her consistency and talents. The Body Talk compilation contains most of the highlights from Robyn’s year of releases and is the best dance-pop record of the year by far. With absolutely killer numbers like Fembot, Dancing On My Own, and U Should Know Better, Robyn is keeping the world dancing, and representin’ Sweden HARD.

14) Plastic Beach - Gorillaz

I was already under the impression that Gorillaz were a part of the mainstream. After all, Damon Albarn and Jaime Hewlett’s fictional four piece has already been in popular videos, sold millions of records, and even played the Grammys with Madonna. In spite all of that, Plastic Beach has truly crossed the group over in a way none of their previous efforts had. I'm increasingly surprised by the diverse cross-section of people who have expressed their adulation for Plastic Beach, and of course it is much to the music’s credit. Don’t get me wrong, it's easy to see what all these people enjoy; two of the singles (Superfast Jellyfish and On Melancholy Hill) are excellent, and the album makes the most of some unique choices in guest appearances like sinfonia ViVA, and of course, Snoop.

13) Forgiveness Rock Record - Broken Social Scene

At 14 tracks, Forgiveness Rock Record is a robust 63+ minutes that manages to touch on every sub-genre of indie and rock, all with the trademark Broken Social Scene feeling of a grand musical commune having the time of their life. From the minute the atmosphere, drums, and legato lines of the record’s intro track (Wold Sick) slide into your ear, you can hear the enthusiasm, and feel the glow, that radiates from this album. From that track forward this record is full of superb moments like the ethereal All To All, the boisterous Art House Director, and the white-knuckle tension of Chase Scene. Those tracks just scratch the surface of this record’s awesome, but don’t take my word for it... go listen to it NOW!

12) Have One On Me - Joanna Newsom

It is hard for me to think of a performer who is as critically acclaimed as Joanna Newsom. Her last record (Ys) was considered to be one of the past decade’s very best, and the anticipation that awaited its follow-up was enormous. Fortunately for all of her fans, Newsom delivered massively with a triple album of her particular brand of genius. Have One On Me may be my personal favorite record of Newsom’s; I appreciate how her voice has deepened, and that she sings with more clarity now, and I dig some of the new arrangement choices. Songs like Good Intention Paving Company, Jackrabbits, and Have One On Me (which feels more like something off of Ys) show us the kind of completely unique, harp-wielding faerie that Newsom truly is, and that music is better for her.

11) The Monitor - Titus Andronicus

The Monitor is, hands down, the best Civil War concept album of the year (how many others have you heard?). All kidding aside, I am actually a bit embarrassed that I only got turned on to it this winter. The Monitor is almost a revelation; the way this album weaves its concepts (there is also a breakup narrative going on) without even a sniff of pretension is astounding in its effortlessness. The album at its core is a barroom sing-a-long, with choruses that are larger than life, and is the direct result of blasting Born To Run while driving down the Garden State Parkway. Titus Andronicus paint a vivid picture on The Monitor, using a much richer sonic palette than on their debut. The band really spreads its wings, with tasteful touches of everything from violin to banjo to piano, and antiquated sounding snares. There are almost too many songs to choose from, but since I like to be your Sherpa I would suggest A More Perfect Union, No Future Part Three: Escape From No Future, Richard II, and A Pot In Which To Piss In, but I'm not doing this record justice. There are so many great hooks and musical nuggets that this record needs to be heard in its entirety. That way you can also hear Craig Finn of The Hold Steady do cameos as the voice of Walt Whitman!

So what are you thoughts on the list so far? How many of these records have you heard? Where do you think Kanye will end up? Let us know in the comments below.

The orchestra swells as we reach the conclusion of our list of the Decade's best albums. This is the cream of the crop people; all of these records were not only great, they were also groundbreaking, innovative, and ARE the best! If you missed any (or want to relive the experience) the following links will take you to where you want to go. 50-36, 35-21, 20-11.

(10) Neon Bible - Arcade Fire

I went back and forth for a long time on this one. I knew that I was going to put an Arcade Fire record here at number 10, I just had a hard time with whether it would be Funeral or Neon Bible. This quandary essentially boils down to the age-old musical argument... Which is better: The raw vibrancy of a debut, or the refined sophistication of a later release? There is no definite answer to this question; some debuts are stunning (Appetite For Destruction, Slanted and Enchanted, Led Zeppelin, Are You Experienced?), they have the unrestrained passion of songs that the artists had been working on their entire lives. On the other hand, when a band's soul becomes unfenced by no longer needing to worry about day jobs, and record labels allow them to explore and experiment in the studio, the results are often astonishing (Led Zeppelin 2-3-4, Electric Lady Land, O.K. Computer). As you can see, I have thought about this for a while.

In the end, I decided to go with Neon Bible because it is just a more complete experience than Funeral. The sound that emanates from your speakers when listening to Neon Bible is a beautiful jumble of Baroque-pop that fills your ears with resplendence. You can hear the traces of a variety of instruments swirling through Neon Bible's mix; they're all played with the Polyphonic Spree-like joy of the "if you got em', play em" mentality that is an Arcade Fire recording process. This record is lush, riotous, and at times quite French (Canadian) but it sustains a warm glow throughout its 47 minute run time. With songs like the mandolin tinged Keep The Car Running, the organ meets accordion radiance (you read that right) of Intervention, the AF trademark violin + snare punctuation of No Cars Go, and the GMajor stomp of the Springsteen influenced Antichrist Television Blues (my personal fave), I can lay my head down tonight confident that I chose the right record. (GC)

(9) The Marshall Mathers Lp - Eminem

What does it take to be the first white rapper to ever sell a bagillion records AND earn some legitimate street cred? Well, first, it helps if you don't look like this, or sound like this. Then, it is important to get a respected mentor who is a superstar rapper/producer/entrepreneur, and finally you have to NOT be a gimmick. After the release of Eminem's hugely successful Slim Shady LP (an album full of all the hits and "funny videos" that one could want), people were lined up around the block to see if the rapper could deliver a follow up that... Well... Delivered. Once the Marshall Mathers LP dropped, it was obvious to everyone that he was no gimmick. Eminem was the perfect figure for his time; a brash, intelligent, and media savvy emcee, he was the last salvo of MTV's relevance (for a person who said he hated all things TRL, he seemed to be on there a whole lot).

There was a tone of humor to Eminem's first record which all but vanished from the Marshall Mathers LP. Em's second major label release is a much darker and more personal album, that ruminates on his rise to the top of the charts, and calls out all of the people who pissed him off along the way. A highly explicit album, numerous lines were censored on all retail versions due to allusions to the Columbine tragedy, and descriptions of dead toddlers. This album was wrought with all the controversy a record label could dream of for its biggest star; the Marshall Mathers LP was protested by Women's advocacy groups, derided by anti-defamation leagues, and generally hated by anyone who took offense easily. Of course, all of this is merely a footnote in the tale of an album that should only be judged by its musical content. Songs like I'm Back and Kill You are undiluted portrayals of Emenim's wit, self-awareness, perspective, and signature delivery, while Kim is a frantic, grim, and at times too-real fantasy sequence where he kills his ex-wife (it is seriously intense). This record also has his two most successful singles, Stan and The Real Slim Shady, songs that are both great, but after 10 years we have all heard far too many times (it is okay to admit it). (GC)

(8) Fever To Tell - Yeah Yeah Yeahs

The philosophy that Karen O and Nick Zinner adopted when forming their band was simple; essentially they wanted to care more about attitude than they did about theory, and the result of this doctrine is Yeah Yeah Yeahs, THE most original band to come out of New York this decade. This band IS the reason that Brooklyn became the Mecca for ALL hipsters and D-Bags the world over (trust me, as a life-long New Yorker, I can assure you that Williamsburg was anything but a desirable locale in the 90s). There have been few E.P.s that I can remember that got people in as big a tizzy as Master (Y.Y.Y's first release), you could literally hear the squeals from the Village Voice offices all across the city, and the salon lines for asymmetrical haircuts wrapped around the block. The kids were going nuts, and they were salivating for a full-length album to sink their teeth into... The pressure was not too much for Yeah Yeah Yeahs.

Fever To Tell fucking kills; it is raw, visceral, and wants to kick you in the head. There are elements to this record that are so edgy you definitely need a tetanus shot before a listen: the "now everyone is using it" Echo-Plex delay, the RP-20 loop mastery, the angular and sputtering drum dynamics, and of course the supernatural growl and timbre of Karen O's voice (one of the best studio voices in rock today). The whole is much greater than the sum of its badass parts though; Fever To Tell has some intensely exhilarating songs on it! The opener (Rich) starts of with eighteen measures of an "analog-round" Echo-Plex loop, before unleashing a torrent of post-punk fuzz, Man is a free form bombastic blues for a generation of kids that know nothing about the Mississippi Delta, and No No No has the kind of shifts in feel that you wold expect from a prog band. The two greatest moments on the record are the exceptional Y Control (my favorite song off of Fever To Tell, and a staple of Friday nights all over the city) and their "MTV hit"/sweet love song Maps; both show more clear versions of the band's appeal... and why they acquired their renown. (GC)

(7) Late Registration - Kanye West

Like I mentioned back in number 26, Kanye West is an unlikable fellow. He also put out three tremendous records in the Oughties (fuck 808's). Much like the Arcade Fire entry in the top ten, this slot was debated furiously; the arguments for College Dropout vs. Late Registration were fierce, feelings were definitely hurt, and in the end we went with Late Registration 'cause it had a tiny bit more polish and didn't have a song with the word Jesus in the title (kidding...kinda). This album does not contain the story of his near fatal car accident (College Dropout), nor was it the one that had him opening up for U2 (Graduation). This record featured the Kanye that we should have had forever; a different Kanye, a kinder, gentler Kanye... one whose voice had a now nowhere to be seen mix of humility, and appreciation of his success. A very human, very un-Kanye, Kanye.

The first element that draws one's attention on Late Registration is the production. The near absence of auto-tune makes this just about the greatest interpretation of Chipmunk Soul to date. The merging of mo-town and traditional boom-bap within the digital sphere of pro-tools makes the beats on Late Registration damn near flawless. Once you process the digital ear candy of songs like Gold Digger and Touch The Sky, you are engrossed and entertained by the lyrical content of the rest of the record. Heard Em' Say (my favorite track on the record) depicts the antithesis of a postcard urban universe, with its pun-riddled verses about government aide and cop cars it provides a sublime accompaniment to the piano accented Philly-sound arrangement. Hey Mama is a song that is even more poignant now, in the light of the tragedy that befell Mr. West's mother, than it was at the time of its release, and Roses tells a sorrowful tale of hospitals, x-rays, and mortality. All in all, Late Registration is a complete and oddly admirable record from an emcee who now demands we bow in the presence of his greatness. (GC)

(6) Is This It? - The Strokes

When I was in college it took me a while to understand why everyone was wearing a studded belt and no one combed their hair. On my way from class to class I would pass students wearing super tight black jeans and denim jackets, and wonder if they were all a part of some gang that my fade would not allow me to join. I finally built up the courage to ask a friend about the style fad that had our school in its grips and his answer was short and concise... "It's all on account of The Strokes" he said. I looked at him blankly, and he went on to tell me about this five piece from the Lower East Side; their sound (the terms neo-garage or garage-rock revival had not been coined yet), their style, and of course, their record. After class, I went to my local music shop (this is before BitTorrent) hopped on the train, popped it into my CD player, and instantly understood.

You see, music has an indefinable ability to take a location on our planet and turn it into the most important place of the moment. Like the spandex clad Los Angeles of the 80's, and the flannel draped Seattle of the 90s, the Oughties belonged to New York; it was just split into two different phases. A few years before they all took the L train across the East River, hipsters used to fill hole-in-the-wall bars on the Lower East Side and pretend to be these dudes. The style wasn't new, they didn't invent a genre or anything. What they did do was stake a claim on cool. The Strokes took a look at the pop star/model dominated music scene, and effectively made it all obsolete with their cynical, stylized, and dispassionate debut. These are the kind of kids who can't be bothered to be impressed by a single thing you say or do, and it is that aloofness that make this record rad and lands it here on the countdown. Just listen to the apathy of Someday, the whine of Hard To Explain , and the downright irreverence of Barely Legal,and it is easy to see why they became the champions of the disaffected. It isn't all eye-rolling and smirks though, two of the more lively songs on the records are also the band's biggest American and U.K. hits (Last Night, N.Y.C. Cops), and show that they can sweat a little... If they can be bothered to, that is. (GC)

(5) Elephant - The White Stripes

I distinctly recall a summer where the mainstream media was trying to lump The White Stripes in with all the other "The" bands of the turn of the Century (you remember The Hives, The Vines etc.). Man, could that uninformed generalization have been more wrong? While the rest of the bands with the word "The" in their name were trying their best to be The Stooges-light, The White Stripes wanted nothing more than to be different from everybody else. Starting way back with the bands self-titled debut in 1999, Jack and Meg White had been trying to post-punk the blues in a way that wasn't derivative or banal. Each release that followed pushed the band towards their goal (they did need to learn to play their instruments after all), and in 2001 they released White Blood Cells, an album that almost killed the garage-rock revival before it started (after all, there are no Hotel Yorbas and We're Going To Be Friends on their contemporaries' records). White Blood Cells could have easily made it onto this list, it is a really good record... But... Elephant is better.

From the second you hear the octave dropped B that starts off the faux bass-line riff of Seven Nation Army, you can hear the evolution; their sound had expanded, their songwriting was better, they were the new and improved White Stripes, and they wanted to show off. Whatever algorithm Jack White uses to come up with his tunes had been perfected during the recording sessions for Elephant, and we, the listeners, would reap all of the benefits of his now-refined messy genius. The White Stripes were now using their aesthetic to showcase themselves to a very formidable degree; songs like The Hardest Button To Button and I Just Don't Know What To Do With Myself sound like no one else in music and are as impressive as they are singular. The greatness of this record is not limited to its radio dominant singles; there are some really great tracks that were not as "mainstream friendly", like the surf/psycho billy inspired Hypnotize, the deconstructed near avant-garde artistry of Little Acorns, and the melt your face off blues freak-out that is Ball and Biscuit! Thank god they weren't just another "The" band. (GC)

(4) Yoshimi Battles The Pink Robots - The Flaming Lips

"Her name is Yoshimi, she's a black-belt in karate." She is also the protagonist of my favorite record of the entire Decade, the unforgettable Yoshimi Battles The Pink Robots, by The Flaming Lips. The tenth album in the Lips' illustrious catalogue, Yoshimi tells the story (loosely) of  a young lady who must battle an army of robots who view us humans as mercurial, irrational, and undeserving beings. As it weaves this tale, it also provides us with unfathomably deep (and sometimes rather maudlin) ponderings on issues as diverse as mortality, vanity, love, deception, war, pacifism, and artificial intelligence/emotion. It is a record of unparalleled and inconceivable sonic achievement, with staggering production and compositions of unsurpassed and seemingly endless creativity. The journey this record takes you on cannot be measured with "11 songs" or "47.4 minutes," but rather, with a feeling of escapism that is beyond words. This isn't an album. This is a TRUE work of art.

When I first got my hands on Yoshimi, it was among other burned CDs that I had gotten from a band mate. I was not aware of it in any way other than it was new Flaming Lips and I was a big fan of The Soft Bulletin. I gave it a listen first, intending to do no more than give it the musical equivalent of a skim... I never got around to hearing those other records. My mind was completely blown. Every track that came through my speakers was an aural conquest; first I got myself familiar with "story tracks", the filtered jangle of the semi-acoustic Yoshimi Battles The Pink Robots Pt.1 and Fight Test, the trip-hop melancholy of One More Robot/Sympathy 3000/21, and the heartbreaking downtempo ambience of All We Have Is Now. After I had fully appreciated those songs, I let myself explore the atmosphere of their instrumentals (Approaching Pavonis Mons By Balloon, and Yohsimi Battles Pink robots Pt.2), their non-story amazements  (Ego Tripping At The Gates Of Hell, In The Morning of The Magicians), and every other second of this record's near life-changing majesty. The density of wonder on this record is impossible to take in all in one sitting, thankfully that gives you an excuse to hear it again and again. (GC)

(3) Yankee Hotel Foxtrot - Wilco

Of all of the records in the top ten, this is the only one of them that can be classified as vulnerable. Jeff Tweedy is the kind of singer/songwriter that has no problem being candid with his poetry and confessions. The opening lines to Wilco's fourth studio album are, "I am an American aquarium drinker/ I assassin down the avenue," "I'm hiding out in the big city blinking/ What was I thinking when I let go of you." That kind of sincerity is often hard to find in music, most artists are so hung up on sounding deep, or not sounding trite, that they forget how powerful feelings and honesty can be. Wilco's lack of put-on is one of the reasons they have the most devoted fans in music, and why they have survived for so long through the ever changing industry terrain of the near 15 years they have been releasing records. They have a couple of albums that can be considered classics (A Ghost Is Born, Summerteeth) but chief among them is Yankee Hotel Foxtrot.

It is worth pointing out that Wilco's record label did not want to release this record; due to a failed merger (or some other boring business bullshit) Warner Brothers. was under a lot of pressure to cut costs. They appointed some clueless asshole (Mio Vukovic) to monitor the progress of this record and pitch suggestions to the band, and he detested it. After Vukovic sufficiently poisoned the well at Warner, the execs believed there was no single on the record, and in June of 2001 they asked Wilco to leave the label. Instead of financial compensation, Wilco asked for the masters of Yankee Hotel Foxtrot. The band then decided to stream the record on their website (a radical idea back then), while they shopped it and finally ended up singing with Nonesuch, a different subsidiary of Warner Bros., who took them back after critical acclaim helped them realize the gravity of their mistake (man the industry is screwed up sometimes).

All controversies aside (there is another one involving longtime member Jay Bennett's release), Yankee Hotel Foxtrot is one of the most heartfelt, noisy-yet-serene, and winsome records that has been released in the post-alternative world. It is one of those pristinely pure records that sounds good in your dreams, your headphones, your car, and your memories. It is an American Classic that was just awaiting its unveiling and discovery; I can not ever recall a record shattering expectations that were SO oxygen thinning high- this record was supposed to be amazing, and it is. I could list just about any track of this album and proclaim it a highlight; there is the bubble-like delicacy of the percussion that introduces I Am Trying To Break Your Heart, the violin adorned peacefulness of Jesus etc., subliminally non-invasive electronic blips and drum-machine flourishes of Heavy Metal Drummer, down-strum chill of Kamera, or coked-out Country ramble of I'm The Man Who Loves You (complete with horns!). This record is SO good it doesn't just belong on this list of praise, it belongs on ALL lists of praise! (GC)

(2) The Blueprint - Jay-Z

One has to assume that the South Bronx residents who got together for block parties in the late 70s were completely unaware of the fact that they were starting a cultural revolution. Built on a foundation of DJing, break dancing, graffiti, beat boxing, and rapping, Hip-Hop emerged from the public basketball courts and parking lots of "the Boogie down," and onto the social landscape, due to the hunger (both literal and figurative) and reality of the street. Since its early days of Kangol hats and gold rope-chains (I really wanted one of those back then), the one time "passing fad" has become the singular most influential cultural entity post Kurt Cobain, and NOTHING has even come close to dethroning it. Once the genre began to develop its own genuine stars (no offense Sugar Hill Gang), and America figured out how to accept/market it, Hip-Hop became mainstream and developed its own icons and legends like Biggie, Pac, and Jay.

The story of Jay-Z is the quintessential post Lyndon Johnson urban metropolis fairy tale. A now almost timeworn saga of rising from the projects to the top of the charts, that still shines as a beacon of hope to kids today. Jay-Z has reached levels of power and money that would make Solomon blush; he has his own clothing line, cologne, vodka, shoe, watch, night club, basketball team, satellite, and string of islands in the south pacific, all of which were earned thanks to his flow, esprit, and guile. This kind of success has only been equaled by one of his "peers," but Puffy can't rap worth a damn and is no more than Biggie's coattail rider, while Master P's "empire" was amateurish at best. Such are the width and breath of Jay-Z's accomplishments, he is the only emcee to have truly conquered the street and Madison avenue; there are a myriad of reasons for his supremacy, Reasonable Doubt, Hard Knock Life, Life and Times, and the aiguille of his catalogue, The Blueprint.

In order to combat bootlegging, The Blueprint was released a week ahead of schedule. Roc-a-fella executives could not have predicted that the new release date was the blackest and darkest day of this American Decade; not even 9/11 could keep The Blueprint from attaining its place in the annals of Hip-Hop. The legend of The Blueprint begins with the recording process; it is said that it was cut in two weeks, and Jay allegedly penned the lyrics in TWO DAYS! At the time of The Blueprint's conception, Mr. Carter was experiencing some trials and tribulations (he was awaiting two trials for gun possession and assault), he used the recording process to block out the worries and distractions which led to a renewed focus and vigor. All of these factors created an environment that produced Jay-Z's greatest record, an album that managed to blend the mainstream appeal of Soul & R&B (yes Kanye is on board as one of The Blueprint's many producers) and the vivid street poetry/prose that Jigga has made his own. With colossally huge hits like IZZO and Girls, Girls, Girls this album's radio play was not just relegated to the country's rap stations, those jams made this record a must have, but it's tracks like Never Change and Song Cry that show off the glory of this album with their heartfelt proclamations and throwback samples. My favorite track would have to be the brutal "diss track" Takeover, a cut that bends Nas over Jay's knee and gives him the spanking he deserved for trying to blast Jigga (Nas should have known better).

In the now almost ten years since The Blueprint dropped, Jay has retired and come back and continues to be the foremost personality in the game (your folks know who Jay-Z is); this album still serves as a template for Hip-Hop records today (we are talking hundreds of copycat albums people)... and you know what they say... imitation is the most sincere form of flattery. (GC)

(1) Kid A - Radiohead

You know you saw this one coming. Putting this list together took a lot of work; numerous hours were spent listening to records (you have to immerse yourself in order to get to the heart of something), researching band histories, and tracking down album art. There were some extensive deliberations, moments of doubt, and even, some wonderful periods of discovery. A lot of this list was fluid and amorphous as it was compiled, but there were a few albums that were set in stone; Kid A was one such record. I knew on the first draft of this list that Kid A would be number 1; it is the kind of bold and forward thinking statement that you know art was intended to express. Radiohead saw the future with this record; the specter of the information age was looming on the horizon and Thom Yorke and company were among the first to be made uneasy by it. Kid A is a reaction to a cold world of technological dehumanization, it is a treatise on the prospects of a digital Millennium and the new anonymous face of disaffection, it was also so far ahead of its time sonically that bands are still sprinting in an attempt to catch up.

Few bands ever drop a record as monumental and seminal as O.K. Computer; in the band's excellent documentary, Meeting People Is Easy, one watches as the press actually asks Thom Yorke questions like "What is it like to know that you have made the best record of the last twenty years?" and "Were you aware of the impact this record would have on the music world as you were recording it?" This kind of insane hyperbole scared the crap out of Radiohead... They were well aware of the fact that there was no possible way they could release a record that would be able to match the vision and acclaim of O.K. Computer (Zeppelin had a similar problem after they released 2). So what did they decide to do? Well, they took the hardest of all possible lefts and spat in the face of convention by putting down their instruments and reinventing the band of the moment.

The very first sound that you hear on Kid A is the middle C of a Nord Lead,; not a Fender Telecaster, not a Takamine acoustic, not even a Remo drum head, but a Swedish keyboard. After that the convoluted, warped, and almost indecipherable samples of Yorke's voice begin to fade in and out of hard pans, before he assures you that Everything is in its Right Place. I have heard many people's stories about their experiences listening to Kid A for the first time, in most cases people didn't get it, some were annoyed by it, and others disappointed, but they admit that upon further exposure its genius came into focus. I like to compare it to the first time one sees an impressionist painting; your entire life you are exposed to the trained hands and eyes of classical masters, so it comes as quite a shock when you see some Van Gogh or Monet for the first time, but after your mind is opened to the possibilities of art you become aware of other forms of greatness.

Kid A is a work of unquestionable greatness, it is an album that could have only been made by an absurdly talented band with nothing to lose. Over the course of ten tracks, Kid A takes you to a world of sounds that are as captivating as they are foreign. It is an album that doesn't just have atmosphere, it has an entire ecosystem of ideas and aural wizardry. This magnificent record is woeful at times (How To Disappear Completely), uproarious at others (National Anthem), and downright heavenly when the time calls for it (Motion Picture Soundtrack). Kid A is also responsible for exposing the masses to an entire genre of underground electronica and trip-hop; there were NO other albums in the Billboard top 200 with songs on it like the gloomy Morning Bell, or the I-can't-believe-this-is-SO-amazing Idioteque (seriously Idioteque is downright remarkable).

I would love to be able to ask Thom Yorke how he and his band-mates felt, when they learned that they could essentially do no wrong. Of course, he would probably just snicker and roll his eyes; but I bet somehow... that would be awesome too. (GC)

Wow that certainly was a labor of love! We here at Culture Blues hope you enjoyed reading it as much as we enjoyed making it. Now go out there and check out the records that you aren't familiar with.

Editor: Giovanny Caquias

Panelists & Contributors: Jeremiah White, Bill Magee, and Carl Alter (if only in spirit)

Here we are in Act III of our Best Albums of the Decade list, and it is getting quite dramatic. As we enter the top 20 there is a noticeable escalation in quality; some of these records are beloved by a vast number of people, and deservedly so, as these are all very worthy entries.  If you have missed any of this countdown so far, here are some links to catch you up. 50-36, 35-21. Enjoy!

(20) The Fame - Lady Gaga

It is hard to think of an artist on this list that is more current than Lady Gaga. She is on the cover of everything, guest starring in everyone's newest singles, and appearing in countless salacious dreams all over the world. People talk about her outfits, her sexuality, and her personality; she is a fascinating figure, who is placed prominently in the collective consciousness of the moment. With all the buzz and hype it is easy to forget that she put out a fucking outstanding record in 2008; thankfully this is a MUSIC list! The Fame is a superb dance/pop record full of so many hits that it can leave you concussed. Whether it's Gaga's ode to bisexuality SMASH Poker Face, or the sparkling shimmer of dance floor staples like Just Dance (her breakout single) and Lovegame, this record practically drowns you in hooks and gonna-make-you-sweat energy. Lady Gaga is even managing to sell records in a day and age when doing so is even harder then dealing with the Paparazzi (see what I did there? That may be my favorite track on the record). If Gaga is on the verge of attaining mythic status (she still has a rather long way to go), the catalyst for her ascendancy will be this exceptional record. (GC)

(19) Fleet Foxes - Fleet Foxes

As far as debut records go, few come out of nowhere while receiving as much adulation as Fleet Foxes, by Fleet Foxes. Some media outlets have gone so far as to call it an American classic, while others have called it the most rewarding album of this Decades' second half. My opinion is a little bit from each column. This is a unquestionably satisfying record, full of some of the most self-assured tracks you will ever find on a debut. You come to this Fleet Foxes record for the era-defying-arrangements (Ragged Wood) and peacefully glorious aesthetics (Red Squirrel/Sun It Rises), but you stay for the Appalachian-Folk meets SoCal pop harmonies like those found on White Winter Hymnal. This record is like a paean to all of the influences that one can find on this nations AM radio stations; it is reverent, devoted, and a truly wonderful work that begs to be the soundtrack of your next lazy Sunday (that line had nothing to do with SNL, by the way). (GC)

(18) Chutes Too Narrow - The Shins

I have never seen Garden State, but I am aware of the exposure that movie earned The Shins. The inclusion of Caring is Creepy and New Slang on the soundtrack for the Zach Braff movie instantly changed the profile of the one time indie-rock darlings, helping record sales and upgrading the hotels they stay at while on tour. I believe that James Mercer and company were fortunate to have released Chutes Too Narrow before Garden State premiered-the pressure to release a follow up to Oh, Inverted World (from which the tracks on the Garden State soundtrack were pulled) would have been enormous, and probably would have sunk the band. Luckily for everyone (well, at least for The Shins and their fans), that was not the case and Chutes Too Narrow was allowed to be the natural development of The Shins. Chutes is a record that shows off all of the Shin's best qualities: the patented quirkiness of Mercer's melodies a la Young Pilgrims, the range and acrobatics of his voice on tracks like So Says I, and the sensible yet memorable musicality of the band's instrumentation that frames the entire record, but is best represented on Turn A Square. (GC)

(17) I'm Wide Awake, It's Morning - Bright Eyes

Bright Eyes dropped two records in 2005; one was a severe departure from their established sound (Digital Ashes In a Digital Urn) and the other (I'm Wide Awake, It's Morning) happened to be the best alt-folk record of the entire decade. Conor Oberst is a lot of things: prolific, pretentious, polarizing, and while these labels all have some modicum of truth to them, they fail to recognize or describe his song writing genius. This is the sort of record whose only upkeep is pressing play; after that, all that is left to do is enjoy the divine voyage through the daydreams and observations of one exquisitely crafted and magnificently paced album. The first sounds that fill the silence of I'm Wide Awake are Oberst taking a sip of some tea before beginning a free verse rant about a woman and a plane crash, after some string scratches and a count-in, the music explodes with the driving, and simply perfect At The Bottom Of Everything. That track is followed by one triumph after another from the quiet, candid, cleverness of Lua, to the wonderfully shifting dynamics and build of Old Soul Song (my favorite song on the record by FAR!!!). This album is a blessing to those with the luxury of hearing, and provides pure enjoyment to anyone who appreciates music. (GC)

(16) Turn On The Bright Lights - Interpol

If you went to a hipster-thrown party in 2002 then your bottles of Stella, and conversations about the Bush administration, were probably soundtracked by the din of this record. You were not even allowed to consider yourself hip without thorough knowledge of this record, and the understanding that this album was awesome. Emerging from the (at that point burgeoning) New York City rock scene that was so "it" this decade, Interpol brought its particular blend of post-punk revival and Joy Division impersonations (let's just get that out of the way now) to the sonic landscape with this very polished and super well received debut album. At the time of its release, Turn on the Bright Lights was lauded as the artistic and sophisticated answer to the neo-garage denim-clad fad that was sweeping the nation's trend epicenters. It was considered "big-boy" music for people who are in touch with their nihilism and wear it proudly on their sleeves instead of trying to drink it away. This type of buzz is hard to live up to; it usually tears through carefully calculated images and exposes albums for what they truly are. In the case of Turn On The Bright Lights, no amount of scrutiny can find shortcomings on songs like Obstacle 1 (a powerful song with a chorus that bursts through the almost maddening restlessness of its verses). Other notable tracks include PDA (their most popular tune to date), Stella Was A Diver And She's Always Down (a song that manages to overcome its obscenely pretentious title), and their ode to the greatest city in the world, N.Y.C. (GC)

15) Stankonia - Outkast

There was a moment when it looked like Outkast was going to become the P.Funk of the third Millennium (that was WAY before they started acting). Upon hearing Stankonia for the first time I wished that all hip-hop records could sound like this one. Big Boi and Andre 3000 fucking broke the mold with Stankonia, a record so fresh and inventive that it ranks as my favorite rap record of the oughties. You name it and Outkast excels at it on this record: Comedy sketch interludes? Only some of the funniest ever. Sick beats? Someone should call the goddman CDC. Tight rhymes? This record practically suffocates! Stankonia is as unconventional as the emcees who grace it, and so are its songs. Miss Jackson is a song that tells a story that is beyond trite in the world of hip-hop... but it's told in such a singularly unique way that it feels completely original. So Fresh and So Clean is a number that groups with turntables generally don't even try to attempt, and B.O.B. not only has the kind of energy that will inspire you to conquer the world, but the also the kind of lyrical fireworks that will burn down your house.(GC)

14) Black Holes & Revelations - Muse

Frequent readers of this website are already aware of my profuse love of Muse. I became a devoted fan when Absolution made it state-side; they were sort of like Radiohead, but younger, heavier, and a lot more prog! Back in 2006, I was anxiously anticipating the release of Black Holes & Revelations - I can vividly recall the day I "obtained" my copy and the immediate shock and awe I experienced upon first listen. This record is what distant intergalactic races listen to as they cruise the Universe, looking for adventure. It is a phenomenal collection of songs that cover all of the facets of our modern psyche, from interstellar love songs of breathtaking beauty (Starlight, Invincible), to epic tales of conspiracy fueled paranoia (Knights of Cydonia) and Euro-dance infused moments of unequaled coolness and vitality (Supermassive Black Hole). In the wake of their latest release, The Resistance, it becomes instantly apparent that BH&R is/was the peak of the band creatively (a lamentable realization for fans), and what a peak it was! Black Holes and Revelations is only a few tracks away from being this generations' Dark Side of the Moon, though as it is it's still utterly brilliant. (GC)

13) In Rainbows - Radiohead

There is a somewhat well known game that you can play with Radiohead records: if you listen to the opening track from each of their albums serially, you can distinctly hear not just the details and aspects of their latest evolution, but also the hyper-aware deconstruction of their previous works. The first track on In Rainbows (15 Step) blitzes your ears with soaking wet drum machine hits, and handclaps... HANDCLAPS! This is fucking Radiohead we are talking about! Thank God for us that this IS Radiohead, and that opener (along with the rest of this record) is superb. In Rainbows is Radiohead's seventh studio release and its most urbane; this album is full of the type of compositions that you could only expect from The Best Band In The world. This record is an exemplary example of a band mixing atmosphere (Nude), tension (Jigsaw Falling Into Place), and gleaming musicianship (Bodysnatchers), into relevant (yet trend-defying) rapture. The story of In Rainbows isn't just about the stupendous music, though... Something has to be said about the ingenious and ground-breaking distribution method that the band used to release In Rainbows. In October of 2007, Radiohead made this record available as a digital download using a "name your own price" method of purchase. Consider that for a moment... The largest band in the world put out a new record of unreleased material (not a single or E.P.) and theoretically gave it away for FREE! I have heard a lot or arguments that try to dismiss this feat, such as "They have already made their money." While the members of Radiohead are surely all stinking rich, that wasn't really a determining factor. There are a litany of other bands that are in even better fiduciary positions than Radiohead that would never compromise their profit margins in such a fashion (that's right, I am talking about you, U2)... But there is only one Radiohead. (GC)

12) Stories From The City, Stories From The Sea - P.J. Harvey

When it comes to being a successful and respected woman in alternative rock it helps if you are fearless, audacious, and otherworldly talented. P.J. Harvey is all of those things and probably even more that we aren't aware of. A critical darling, Harvey has been making music on her terms since 1992 with only one record in her catalogue achieving real commercial success before Stories From The City, Stories From The Sea (that being 1995's To Bring You My Love). The release of Stories From The City showcases a Harvey that is at her full strengths as a singer, songwriter, and rhythm guitar player; this record brims with a fierceness and attitude that you will never find from some other less-everything "alternative sirens." The record goes for the jugular right out of the gate with the ferocious Big Exit, it then goes on to venture through all sorts of sonic landscapes from the sixteenth-note high-hat celerity of A Place Called Home, to the stirring and indelible The Whore's Hustle and The Hustler's Whore, a rip-roaring four minute sprint through the trademark soft-loud-soft structure that is at the core of most alternative music. The record does lag a tiny bit toward the end (except for the rockin' and extremely lascivious This Is Love), but it doesn't at all detract from just how fucking good this record, and P.J. Harvey, is. (GC)

11) What Ever People Say I Am That's What I'm Not - Arctic Monkeys

Call me un-American, but I am a bigger fan of Britain's Arctic Monkeys than I am of The Strokes. Sure, The Strokes were there first (that is, if you don't count the actual garage scene of yesteryear), but there is something more kinetic about the Monkeys, something more fun. Whatever People Say I Am, That's What I'm Not, kicks off with the thunderous drum hits of The View From Afternoon, a song that announces the arrival of the band bombastically with the almost spit-like cadence of its verses, and the hunt and peck feel of the guitar line. Once that track is over, you are pushed right into what is probably their most massive U.K. hit, I Bet That You Look Good On The Dance Floor, a song whose chorus is so good it is like a fucking license to print money. The highlights of the record are not limited to the first few selections; the second half of Whatever is undoubtedly the strongest part of the record. With songs like the pugnacious From The Ritz To The Rubble, the candid A Certain Romance, and the outstanding When The Sun Goes Down,Whatever People Say I Am is the kind of record that will NEVER leave your music generating device. (GC)

The beat goes on, as we continue to countdown the top albums of the outgoing Decade. Here is a link to 50-36 if you missed yesterday's episode. Don't forget... If your curiosity is piqued, feel free to check out some of the tunes by clicking on those handy links!

(35) Hot Fuss - The Killers

Few bands are liked by more girlfriends than The Killers-this is scientific fact. Seriously, check out your ladies' iTunes library; you will find Hot Fuss in there amongst the Amy Whinehouses and Lady Gagas. She sings their songs in the shower, hums then as she reads... It is what it is... You expect it... It doesn't bother you... You just can't stand how much you like them too! You blamed it on her in the beginning, but before you knew it, you were checking for tour dates, firing up the ol' youtube to watch the Mr.Brightside video, and trying to keep your new found infatuation a secret from her. Whatever... You still like Tool and The Stones, you still watch sports and play first person shooters. You've also "got soul" but are not in fact "a soldier". Thus is the genius (I am being completely tongue in cheek here, people) of Hot Fuss, a record that was so huge, it somehow managed to make Brandon Flowers a rock star. This record has more hooks in it than a Portuguese fishing vessel; musically it does nothing to impress, but not everything has to be about transpositions and depth, some things are more like cotton candy... Mmmmm candy. (GC)

(34) Personal Journals - Sage Francis

Sage Francis’ debut album came on the heels of his excellent song Makeshift Patriot, released in the wake of the 9/11 attacks, which created extremely high expectations. Those expectations were more than met by this album that strayed from the external criticism of much of his earlier work and did exactly what its title suggested. The album sees Sage go from being a helpless child (opener Crack Pipes) to a brother dealing with his sister’s self-mutilation (the perfect Inherited Scars) to a bitter and jaded adult (Message Sent). A humorist, an accomplished lyricist and spoken word artist, and an unhinged performer with punk rock sensibilities (Specialist – you must see this song performed live), Sage Francis has covered many topics in his impressive catalog, but none have proved as captivating as Sage Francis. (JW)

(33) Veckatimest - Grizzly Bear

Veckatimest is a perfect example of how a modern, ultra-scrutinized, and painstakingly recorded album can still retain its organic and loose qualities. Spawned from the first true collaborative efforts between Ed Droste and Daniel Rosen (Grizzly Bears' previous releases were comprised of songs that were all gestated by individual members before recording), Veckatimest is the type of record any indie band would dream of making; Grizzly Bear has cultivated their sound and distilled their essence into a record that keeps its integrity, but also demands that you take notice. This is just about as tangible a cross-over success as you can have in todays music industry (Jay-Z and Beyonce were spotted at a gig last summer), but they are not by any means a household name. Fear not loyal fans, they are still in essence a Chamber-Pop/Psych-folk four piece, they are now just writing songs like the angelically glorious Two Weeks, and the spellbinding shuffle/stutter While You Wait For The Others. You don't have to be afraid of change...We can all reap the benefits of that. (GC)

(32) Alice - Tom Waits

In the 80's, Tom Waits went from being an offbeat crooner to a plain old psychopath.  Ever since, his output has always been singularly insane.  Alice is mostly songs written for the play of the same name, which is based on the love between Lewis Carroll and Alice Liddell, for whom he wrote Alice in Wonderland.  For the most part, the album is demented lullabies.  "How does the ocean rock the boat?/How did the razor find my throat?" he sings on the opening title track and "I remember the showers/But no one puts flowers/On a flower's grave" on Flower's Grave.  The album takes a shocking turn on Kommienezuspadt which features Tom singing in fake German over what sounds like a swing band from the underworld.  After all the insanity, the album ends with Fawn, one of the loveliest instrumentals I've ever heard.  Definitely a worthwhile album from one of music's greats. (BM)

(31) Rings Around The World - Super Furry Animals

It is quite possible that you aren't too familiar with the work of Guff Rhys and his British five piece, Super Furry Animals. This sort of  ignorance (brought on by lack of visibility in our markets) needs to stop at once! Super Furry Animals are a spectacular band that has been consistently dropping quality records this entire decade; Phantom Power is an excellent record, and just about all of their LP's have some great moments on them. Paramount among all of their releases, however, is Rings around The World, an album that takes you on a cosmic voyage through a dizzyingly produced vortex of powerpop and sonic chicanery. The songs on Rings are diverse and dazzling; this record feels a lot like The Flaming Lips, only more restrained, and has all of the blips and fizzes you would expect from a record with its title (Sidewalk Surfer Girl),  while still maintaining a timeless sensibility (It's Not The End Of The World). This shouldn't be the last Super Furry Animals record you buy, but it should definitely be your first! (GC)

(30) Up The Bracket - The Libertines

Chances are that the only things you know about Pete Doherty are that he has a slew of legal issues, a serious drug problem, and he used to be engaged to Kate Moss. Well, that dude also used to front a band called The Libertines, which at the turn of this Century were a bonafide product of the feverish, yet ephemeral, British hype machine. They were Britains first answer to The Strokes (like the Arctic Monkeys but more dangerous), complete with their own neo-garage sound, and a record full of catchy songs- but with cockneys and hard drugs. You can tell when you are listenting to this record that this band was great,  and you can also hear why they couldn't last. There is an element of instability to the song on Up The Bracket that is audible from the moment you press play; Vertigo (the opener) kicks off the racket with a serpentine opening riff and a chorus full of God awful (yet fucking great) harmonies. As you continue to listen you hear the untrained (Death On The Stairs), and uninterested brilliance (Up The Bracket) of a band that was more into the free drinks than the autographs. (GC)

(29) You Are Free - Cat Power

Cat Power has always been more than the sum of her parts.  She doesn't have the greatest musical chops, or even the best writing skills, but somehow she manages to air out her demons in a way that is original and exciting.  She spent the 90's producing what is essentially misery set to music and having drunken meltdowns nightly on stage.  On 2003's You Are Free, she pulls from her blues-rock roots, adding some piano songs and bringing on some high-profile guests like Eddie Vedder on vocals and Dave Grohl on drums.  The album opens with I Don't Blame You, a clunky piano ballad about a rock star brought down by fame (possibly Kurt Cobain).  On Good Woman she gut-wrenchingly sings the simple sentiment "I want to be a good woman/And I want for you to be a good man".  The album is not all total downers, however;  Speak for Me and He-War (one of the best singles of the decade, in my opinion), both powered by Grohl's drumming, are fun and unique sounding.  The heart of the album might be Maybe Not, a four-chord piano ballad where she sings "We could all be free/Maybe not with words/Maybe not with a look/But with your mind".  The music and lyrics are so simple, but somehow Cat Power creates a sound that doesn't exist anywhere else. (BM)

(28) Kill The Moonlight - Spoon

Few cities in America can match the kind of track record that Austin, TX has when it comes to homegrown bands and local music. We are talking New York, L.A., Seattle... And that is about it. The capitol of Texas has a diverse and lengthy list of groups that cover just about every genre that you can master with a six string. The best of the indie bands to come out of Austin is without question Spoon; a band that emerged from the mid-nineties alternative scene and has managed to fare a lot better than their peers.-THIS is what kids with beards and square framed glasses were listening to back in 2002 (in Austin that is). Kill The Moonlight has a profound duality to it; a sonically varied record with Hammonds, Wurlitzers, and an extensive revisiting of all of their finest reverberations. On the one hand you can sit back and listen to cunningly clever songs like The Way We Get By (Sorry I couldn't find a better vid), or you can lose yourself in the sound hunting that is a composition like Paper Tiger. Either way you are sure to have a great time, and realize that you don't have to be in the NorthEast to be indie. (GC)

(27) Illinoise - Sufjan Stevens

There have only been a few moments in my life where I have been utterly shocked by how good a record was upon first listen. We're talking Exile on Main Street, Loveless, and, most recently (and surprisingly) , Illinoise by Sufjan Stevens. This is modern folk masterpiece of such high quality and grandeur that it amazes me that you haven't heard it. Part of his as-yet-incomplete 50 state collection, Illinoise is the follow up to Greetings From Michigan, a record that also could have found itself on this countdown (even Black Swans was under serious consideration) . There is practically no flaw in this aural gem; Sufjan (stepson of Cat Stevens) delivers elegantly crafted songs, eloquently worded lyrics (this record is both very political and spiritual), and arrangements that are as classic in feel as they delightful in experiencing. The albums first offering, Concerning the UFO Sighting in Highland IL, is a beautifully quiet, piano-driven, two minute lullabye that lulls you into this record's majesty. You then drift like a feather past wonderful uptempo numbers (Come On Feel The Illinoise), homages to his roots (Decatur), and colossal instrumentals (The Black Hawk War). (GC)

(26) Graduation - Kanye West

Anyone who hasn't been in a coma all decade already knows that Kanye West is a total dick. Some of his antics this decade have been awesome ("George Bush hates black people"), and some have been absurdly awful (Taylor Swift), but this isn't a list of the decades' personalities. This is a list of the best albums of the decade, a list that Kanye will be showing up on multiple times (just accept it). His first entry on the list is Graduation, the album that brought auto-tune pitch correction technology to the proletarians. Before this record was released there were a lot less singing robots in hip-hop;  today it seems there is a mandatory auto-tune requirement that has to be adhered to before a record is even sequenced. I can't hate entirely though... Kanye is a very intelligent and sophisticated emcee, his rhymes are tight and extremely clever (as he will be the first to tell you). As good as his flow is, it pales in comparison to his skills as a producer; the evolution of his trademark Chipmunk Soul has reached a point of peerless greatness. I mean, think back to some of your favorite Tribe records, then spin Stronger and listen to the difference. The man is like the Hendrix of producers (I can't believe I just made that correlation) and the tracks on this record are slicker than the Exxon Valdez (Good Life), but better for the environment. (GC)

(25) Separation Sunday - The Hold Steady

The Hold Steady is simply the marriage of Craig Finn’s street poetry to loud classic rock stylings replete with sing along choruses and monster guitar solos. It’s at once inviting and totally inaccessible, which is one of the things so great about them. Music that begs to be listened to on the open road and absurdly rich lyrics that beg to be decoded. Separation Sunday offers supreme satisfaction on both counts. This tale of three recurring characters is told against a backdrop of violence, drug deals, vision quests and baptisms. And it features The Hold Steady at their most cryptic (The Cattle and the Creeping Things), their most anthemic (Your Little Hoodrat Friend) and their most poignant (Multitude of Casualties). Separation Sunday is a twisted, convoluted tale you should spend the better part of the next decade attempting to decipher. (JW)

(24) Return To Cookie Mountain - TV On The Radio

TV on the Radio is the kind of band that can ONLY be formed in New York City. An electro/alternative/free jazz/indie band from Brooklyn, TVotR spent the earliest years of this Century playing clubs that YOU could land a gig at, to crowds smaller than a murder of crows. From the moment I first learned of them, I thought they were destined for great things, and when they released Return To Cookie Mountain (their major label debut), I was a little scared of my precognitive abilities. Return To Cookie Mountain is a brave, stimulating, and singular record, that isn't so much challenging as it  is uncommon. This album is like a tasty goulash that is flavored with everything from break-neck, spinning-sample glow (Wolf Like Me), to warped-stutter groove (I Was A Lover), all while the INCOMPARABLE Tunde Adebimpe croons, moans, and shows off what may be the best damn pipes in indie -nay, all music- today. (GC)

(23) The Pretty Toney Album - Ghostface Killah

Of all the members of Wu-Tang, Ghostface Killah has enjoyed the most solo success, and this album is where he really started to create a legacy of his own rather than just being an offshoot of the Clan. Heralded as one of the greatest rappers of his time, Ghost’s style has developed into a loud, in-your-face blend of vivid storytelling, non-sequiturs and impenetrable slang, and his music is generally more in the R&B tradition than the typical Wu-Tang dungeon rap. The Pretty Toney Album is Ghost at his finest, including a sex song involving a charley horse (Tush), a harrowing tale of running from the cops (Run), and a genuine soul throwback (Holla). (JW) 

(22) Discovery - Daft Punk

I am NOT the kind of guy who goes out to "tha club". I prefer spending my nights drinking whiskey and listening to Fender Twins breakup over having a bass drum thump in my chest. As true as these facts may be, I do LOVE E.D.M (Electronic Dance Music); there is something about the drones and production that fascinates me (I just happen to be more of an Aphex Twin kind of guy, but this isn't a 90s list). Daft Punk's Discovery is without question the best "pure" dance record of the Decade; it's the kind of album that will encourage even the most staunch anti-dance loyalists to snap their fingers and move about (even if just subtly). I am talking about the sort of ProTools meets Reason marriage that you know computers were made for; the production is flawless, the flangers sweep  across the moon (Digital Love), the auto-tune is pitch perfect (One More Time), and there is even some bad-ass phased-out guitar playing (Aerodynamic). Next time you are throwing a party, and NOT playing Rock Band, try giving this record a spin... If your friends are dancing that makes you do doing it slightly more excusable... I will be judging though. (GC)

(21) Merriweather Post Pavilion - Animal Collective

 (Album of 2009)

Animal Collective have been lurking on the outskirts of the mainstream this entire decade. The four piece from Baltimore had dropped 7 studio albums before M.P.P. and, although the vast majority of their records have been fantastic, none had managed to capture the imagination of the plebians like their latest release. Merriweather Post Pavilion comes off as the culmination of an entire Decades' worth of experiments; throughout their catalogue Animal Collective have been pushing the boundaries of neo-psychedelic noise pop, stretching the limits of form and exploring the depths of rhythm. Those explorations have not only forged the band, but have served as a form of freeing catharsis... They have been there, they have done that, and they are fucking amazing at it. You get the sense as you listen to M.P.P that this is the record that Animal Collective has been building their entire career toward, the destination they always had in mind, and once they got there they broke out the Ecstasy and threw an amazing party! This is without a doubt the Album of 2009; I suspect as the years pass that the legend of M.P.P will continue to grow and inspire (imagine a generation that grows up on this record!), the hyperbole will be piled to the moon and it will become a record collection staple. As it is, I have taken to referring to this album as Tech Sounds (an homage to the Beach Boys classic record Pet Sounds, but you already knew that) a nickname that is earned not due solely to the AMAZING (AMAZING!!!) West-Coast harmonies that saturate this record, but also because of the STELLAR production and, of course, the unbelievable and sensationally catchy songs, My Girls, Summertime Clothes, Brother Sport ...I can go on and on. Its all here!!! The African Chant cadences, the reverb dripping samples, the pulsating bass-drums, and the splendor... Don't forget the splendor. (GC)

In this humble editor's opinion, music is the most personal of the arts. Think about it for one second... How many times in your life have you heard someone say something like "This song is about my life, man"? We remember songs in the background of profound moments of our lives, we translate specific arrangements and  measures into feelings; it is a very unique and special thing. Obviously, making a list like this is no triviality; hours were lost in deliberation, harsh judgments were passed, and in the end a list was spawned. Although music IS a personal thing, this is NOT a personal list; we here at Culture Blues try our best to maintain our integrity (at least online) and thus have made a list of what we consider to be the cream of the crop. Please enjoy our opinions- we even provided links to songs from each of the records... Consider it a musical journey through the best albums of the Decade that effectively killed music.

(50) Hail To The Thief - Radiohead

If you don't get Radiohead you are going to have a hard time with this countdown (you've been warned)... The first sound you hear on Hail To The Thief is Jonny Greenwood plugging in his guitar and checking his levels. This acts as a prologue to Radiohead's sixth studio album, and it marks a return to the band's alternative influences of halcyon days. The longest Radiohead record to date, Hail To The Thief is a work of focused and refined energy; the band seems at peace with themselves on this record (like they have finally accepted being Radiohead), and it shows in their sonic palette, if not in the thematic content of their compositions. There are plenty of moments of sheer brilliance on this album, whether it be the percussion drenched and haunting There There, the monster-bass-lined, synth backed Myxomatosis, or the hypnotically beautiful time signature shifts of Go To Sleep; this record is an awesome way to start of a list of this magnitude. (GC)

(49) Now You Are One Of Us - The Paper Chase

A Paper Chase album is a dark affair. The songs are all about sex, death and the end of the world. A criminally underappreciated band, their sound infuses hard rock sensibilities with unexpected instruments and sound effects. There are violins, distress calls and creatures scuttling across floors. Front man (and accomplished freelance producer) John Congleton’s lyrics are dense and morbid, but they are also witty and hyper-literate. Now You Are One of Us represents their most accessible work of the decade. With epic arrangements (You’re One of Them Aren’t You?), memorable refrains (You Will Never Take Me Alive) and some of the most beautiful discord and chaos you will ever hear (Wait Until I Get My Hands On You), this is a trip to the dark side that is worth taking over and over again. (JW)

(48) The Grey Album - Danger Mouse

These days, Danger Mouse is known as a superstar producer and the musical half of Gnarls Barkley, but there was time when he was nowhere near the radar of the masses. Back at the dawn of the decade, Danger Mouse was struggling -like all up-and-comers- to make his mark and get some heat; but that all changed in 2004 when he effectively invented a sub-genre with his seminal remix project The Grey Album. A true testament to technology, this record not only made the term "mashup" common parlance, but it also brought together two ENORMOUS musical entities (The Beatles and Jay-Z), in a fashion which brought them both exposure to different generations and audiences. I defy you to give these versions of 99 Problems or Change Clothes a listen, and not nod your head in both approval, and agreement. (GC)

(47) I'll Sleep When You're Dead - El-P

Indie hip-hop mogul El-P makes dense, meandering music not fit for mass consumption, but I’ll Sleep When You’re Dead is a masterpiece. Its cyberpunk vibe suits his music, which is captivating even when it doesn’t make sense. The production is flawless; from the booming drums of Up All Night to the slow build of The League of Extraordinary Nobodies. Lyrics run the gamut from unrelenting wordplay (Drive) to (relatively) straightforward storytelling (the sci-fi Habeas Corpses). El-P doesn’t release much solo material; fortunately, this album was well worth the wait. (JW)

(46) Oracular Spectacular - MGMT

Unless you have been to Williamsburg, Brooklyn on a Friday night, it may be hard for you to understand the relevance of MGMT. Of course, chances are quite high that you're already a fan of one of their infectious singles, Time To Pretend or Kids, you just didn't know they wrote them. MGMT is a neo-pyschedlic outfit that consists of two (no-doubt) often inebriated dudes (Ben Goldwasser, Andre VanWyngarden), who dropped one of the most fun and ass-shaking records of the entire decade. Oracular Spectacular is a blast of indie dance, synthpop, folktronica that will have you smiling, gyrating, and tapping your feet; the sound is joyous, refreshing... and no doubt laced with something. This record is perfect for parties, orgies, or anything where people want to bounce around and look like idiots (oh, I mean, dance). (GC)

(45) New Amerykah Part One (4th World War) - Erykah Badu

Erykah Badu has always been a bit of a psycho. On her fourth album, New Amerykah Part One (4th World War), she decided to fully embrace that fact, and the results are spectacular. The album cover alone gives it a place on this list-perhaps the best of the decade. The songs are eccentric and eclectic from the beginning; the downright bizarre opener, Amerykahn Promise, is a classic funk song straight out of a Blaxploitation movie. The songs take strange turns, often turning into completely different songs. The Cell ends with eight lines sung a cappella which are repeated so many times that it's comical. On Me, she is as autobiographical as it gets, singing "Had two babies different dudes/And for them both my love was true" and "This year I turned 36/Damn it seems it came so quick/My ass and legs have gotten thick yea/It's all me". The majority of the rest of the album is political; a particular highlight is Soldier, which deserved to be a hit of Umbrella proportions. She sums up the state of the nation with lines like "To the girls on prescription pills/I know how ya feel/To my boys in Iraqi fields/This ain't no time to kill". This album is exciting and fresh and shows Erykah Badu's true caliber as an artist. (BM)

(44) Sound Of Silver - LCD Soundsystem

It has come to my attention that people out there in the world like to dance. Whether you're on the dance-floors of Europe, South America, Asia, or here in the lower 48, you're all brought together as one by a pulsing beat and the unstoppable urge to shake your ass. In most cases (modern and avant-garde disciplines aside), dancing requires music, and it would be highly beneficial to all parties involved if said music is not just appropriate, but awesome as well (think about the reaction you would get if you played Seasons of the Abyss on a Friday Night at Webster hall). Sound of Silver is a dance-punk gem crafted by James Murphy, who deftly mixes all of his influences with a lack of self-consciousness that is enlivening, and gladdening. There is a bit of Eno, a touch of The Underground, and the obligatory dashes of New Wave; it all blends together into a dance record full of instant can't-get-them out-of-your-head classics like Someone Great, and All My Friends. (GC)

(43) Back To Black - Amy Winehouse

How many classic soul/jazz vibe-records did you hear on the radio prior to the release of Back To Black? I know it's an odd question, but I ask it to make a point: in a decade laden with interchangeable female popstars, and equally forgettable records, Amy Winehouse's second release was like a piece of alien, sparkling, wonder. Back To Black is a record from another time; with it's vintage production style, fearless song writing, and Winehouses's amazingly evocative singing, this record streaked to the top of charts around the world, and brazenly showed off the merits of "throwing back" every now and again. Critically acclaimed (B.T.B tied the record for most Grammys by a female performer with 5), this record was the best selling release of 2007, and ranked in the top ten of 2008 on the strength of chart-toppers like Tears Dry On Their Own , No Good (my favorite track on the record), and her MEGA HIT, Rehab. (GC)

(43) American Idiot - Green Day

Billy Joe must have sixteen year-old boys brought to him on a bi-annual basis for a twilight-zone-like, youth-stealing/inspiration ceremony. A full decade after conquering the world with the release of 90s landmark Dookie, Billy Joe accomplished the practically impossible feat of assuming the voice of a second generation of young people. American Idiot is a rock-opera about growing up in a Bush-Cheney era U.S., with the prospects of war and recession on the horizon. With its seemingly endless string of popular cuts, "American Idiot" was an inescapable force in the summer of 2004; the radio was trumpeting the record with an obsessive zeal, the kids all had their newly bought black t-shirts on, and Green Day was playing to the largest crowds of their career. Is it a punk record? No. Green Day stopped being a punk band a LONG time ago. This record is a work of artistic maturity, and that growth has allowed to band to write some of their best work, i.e. their magnum opus Jesus of Suburbia, a song that they would have never been able to write in the 90s, but is clearly the bands apex. (GC)

(41) Tha Carter III - Lil' Wayne

Lil' Wayne has been in the game for longer than most people realize. Before he became President of Cash Money Records in 2005, he was the youngest member of their crew at age 15. As a member of the Hot Boys in the late 90's, Wayne was almost a gimmick; a young kid with a unique flow, contributing what he could to albums that never really caught any fire. His first solo release "The Block Is Hot" came out all the way back in 1999, and was received well by critics and the street, but it's shine was tarnished by two subsequent records that lacked luster. It wasn't until 2004, and the release of the first Tha Carter LP that he became the "Weezy" we all know today. With his now-trademark dreads, a light years worth of advancement in his rapping style, and lyrical themes, Lil' Wayne was poised and able to assume his seat as the "Hottest Rapper In The Game". Tha Carter III is the the pinnacle of Wayne's evolution; a brutally raw and air-tight record, with so many sick verses you may need some antibiotics after your first listen. There is a musical open-mindedness to this record that helps place it here on this list- how many rappers do you know that could release Phone Home, 3 Peat, and Mr. Carter all on the same record? Only one... Only one. (GC)

(40) Songs For The Deaf - Queens Of The Stone Age

If your only exposure to Queens of the Stone Age has been from the mainstream media outlets, then stop reading this list and go get this record right fucking now! This album is two things without question: 1)Eclectic. Most don't know that Songs For The Deaf is a concept album which takes the listener on a roadtrip from the Mojave Desert to Los Angeles, while tuning into different radio stations along the way (S.F.T.D. sounds like three badass bands got together and made a record; each track shifts more in style than it does in genre, but all the songs work together to make a complete and unified vision). 2)Killer! This is the heaviest record on the countdown so far; some tracks just pummel your ears with distorted throbbing bass and down-strummed power chords that are rumbling with obscene amounts of low end... Their Billboard Top 20 tracks Go With The Flow and No One Knows are perfect examples of what I'm talking about. (GC)

(39) A Rush Of Blood To The Head - Coldplay

They say that every dog has its day, and in the case of Coldplay, I suppose (sigh) that they're right. I should point out that I hate this band with a passion; I view their very existence to be an insult and attack on people with ears. That being said, this is not a list of MY favorites, this is a list of the best records of the decade, and both sales and acclaim prove that a lot of you people liked this (though I find few who will admit to it). This is the record that catapulted Coldplay from being annoying and simplistic Radiohead knockoffs, to rich and famous Radiohead knockoffs. Whether it was the cascading piano lines of Clocks, the adult comtempo boredom of In My Place, or the unbelievably plagiristic God Put A Smile Upon Your Face, there was such a positive reception to this record that now Coldplay sells out arenas all over the wold. The record is not totally banal though... I will admit that The Scientist is a completely spectacular song, worthy of all the praise that it has received. (GC)

(38) Never Better - P.O.S

Everything P.O.S. does is heavily influenced by his love of, and participation in, punk, hardcore and other rock disciplines. But make no mistake, he is a rapper. Never Better is his third, most recent and indeed best, solo album. This time the jarring, screeching guitars and distortion are complimented perfectly by a more traditional hip-hop motif. From the ferocious free association of the opening track (Let It Rattle) to the consumerism critique of the radio ready Low Light Low Life, there’s seemingly no style P.O.S. can’t handle. The album seamlessly transitions from sweeping euphoria (Purexed) to jittery anxiety (Get Smokes) and oozes the same sincerity and anger of his previous releases. As obsessed as he is with individualism, P.O.S. has finally nailed down a style that is simultaneously accessible and completely unique. (JW)

(37) Seachange - Beck

Human beings tend to like to put things into context. When Sea Change came out in 2002, most critics wrote more about how the record related to the rest of Beck's catalogue, rather than focus on the record itself. While it is fairly interesting that Beck set aside rapping and falsetto for an entire album, it isn't actually a huge departure.  His writing has always been pessimistic, and most of his albums have a miserable song or two hidden throughout (Blackhole, Ramshackle and Nobody's Fault But My Own come to mind). What is interesting is that he cut out all the filters of wit and irony that separate him, the person, from his songs. There is no doubt that he is singing about things that really happened to him. With song titles like Lonesome Tears, Lost Cause and Already Dead, this is certainly not a cheerful record. The songs, however, are beautifully written, and Nigel Godrich's simple production conjures up memories of Nick Drake, The Velvet Underground, The Zombies and Neil Young. Beck's father, David Campbell, did the orchestrations, which are particularly spectacular on Paper Tiger. This album is massively cathartic, and now, seven years later, still massively listenable. (BM)

(36) Train Of Though - Talib Kweli & Hitek as Reflection Eternal

Train of Thought represents Talib Kweli in his most pure form. Flawless lyrics and storytelling kissed with emotion and social commentary. Kweli’s partnership with producer Hi-Tek results in a focused set of bangers. From fairly straightforward rhymes of supremacy (Eternalists) to meditations on love (Love Language) to standout guest appearances (Rah Digga and Xzibit on Down for the Count), this album has a lot offer. The crowning achievement, however, is undoubtedly the bonus track. A reimagining/extension of Nina Simone’s Four Women, the nearly 7 minute long track is a love letter to weathered women and the African American oral tradition. Short on cheap sentimentality and long on vivid storytelling and raw emotion, the song is painfully beautiful and a perfect ending to a harsh yet soulful album. (JW)