Stay Positive (Part 1)

As promised, I'm back to the 2008 retrospective stuff. I've decided the best of/worst of approach is getting a little played out and might reflect too much of pessimistic perspective. So from here on in, I'm gonna view the cup half full. Maybe this is a resolution I'll carry out into the new year -- who knows. I am just going to list the tops for the remaining major categories. These will be in traditional countdown fashion, as you'll see:

Top 10 Shows of 2008

Honorable Mention: The Gaslight Anthem @ Roseland Ballroom 10/13/08

Granted this band was designated the opening slot for a four-band bill, it might be a little controversial to to place in the top ten. However, this just goes to show how much I believe in the Gaslight Anthem. I'll give them my honorable mention spot. Churning out a majority of The '59 Sound's Jersey Shore-inspired catalog in the allotted 40 minutes, this was a make-or-break show for me. The fact that I continually rave about them will tell you how well that went. People are still talking about Gaslight's recent performance on Conan, so I think 2009 will only keep the momentum going for one of my new favorite bands.

10) Fountains of Wayne @ The Highline Ballroom 2/8/08

The saddest thing to consider about this New Jersey power-pop quartet is that they will likely go down in the annals of history as one-hit wonders for "Stacey's Mom." But like comrades Nada Surf, this band has produced some of the best pop-rock for the better part of the decade, and has been critically received for every album that's been put out. When I saw these guys in February, it was my first time at the Highline Ballroom (one of the better venues in Manhattan), so I was blown away by the sheer intimacy of venue as well as the slew of upbeat 3 and half minute beauties that were churned out with ease. Can't wait to see these guys again.

9) The Killers @ The Highline Ballroom 7/29/08

Same venue, MUCH different band. I was skeptical about the validity of this secret show because it was mysteriously easy to get tickets. As everyone knows, this is an arena-sized band -- for them to play the 600 person capacity Highline Ballroom was a little bit of a head scratcher. But when they did eventually come on, they knocked it out of the park. Combining the usual suspects with b-sides, lesser known tracks, and new songs "Spaceman" and "Neon Tiger," this show restored my faith in the band I hadn't really been into since college.

8) Ryan Adams & The Cardinals @ The Apollo Theatre 10/31/08

I know, I know. For someone who's a little too obsessed with this guy, the eight spot might seem a little out of place. This just goes to show how brilliant 2008 was for me in terms of concert attendance. Don't get me wrong; this was yet another classic Ryan Adams Halloween show -- the fact that it was at the legendary Apollo Theater was worth the trip alone. Skewing mostly new material, Adams decided it was a good idea to avoid the very songs that helped to build his strong fan base. I don't know how well this strategy was received by those in attendance, but it worked for me. His clean attitude has surely led to spot-on singing/guitar playing.

7) The National @ Brooklyn Academy of Music 2/23/08

Another legendary venue, another soon-to-be legendary band. This marked the first show of the year I'd been to outside of Manhattan, and let's just say it was worth the borough crossover. Matt Berninger's morose baritone set the tone for a memorably bleak winter evening (in a good way). Playing most of the songs off of many critics' top 2007 pick (Boxer), as well as host of old material I was admittedly unfamiliar with, this show officially made me a believer. I'm looking forward to this band's follow-up, which will hopefully see an '09 release.

6) Mark Kozelek @ The Highline Ballroom 6/13/08

I think it's pretty apparent which New York venue wins MVP this year for me. I think this show takes the cake for most anticipated concert of the year. Ghosts of the Great Highway remains one of the best records of all time for me, and by June I was REALLY getting into the most recent Sun Kil Moon album, April. Not to mention Kozelek's solo stuff AND his catalog with former '90's band Red House Painters. So yeah, a lot to look forward to. Mark was dead on -- distributing equally from all of his projects with finger-picking ease. "Lost Verses" was hauntingly beautiful. Enough said.

5) My Morning Jacket @ Radio City Music Hall 6/20/08

Without a doubt, this show was the most important performance ever for Jim James and crew. I remember seeing My Morning Jacket just three short years ago a D.C.'s 930 club -- a show that didn't even sell out. Since then, a lot has changed. I was skeptical about the band's booking at such a large venue, but after seeing James tear down the house with a near 3-hour performance, I knew there was no turning back. Shortly after, the band was booked for an MSG New Year's show. If you've got no New Year's plans just yet and don't want to spend the absurd $100+ "all you can drink" bar fee, this is definitely a worthwhile alternative. Live album surely to follow.

4) TV On The Radio @ Brooklyn Masonic Temple 10/13/08

For TVOTR to clock in at number four, this just goes to show how stiff the competition was this year. Definitely the most interesting venue of the year. The Brooklyn Masonic Temple is exactly how it sounds -- the performance space resembled the appearance and size of an elementary school gymnasium. This being said, it was impossible to not like this show. The band played the perfect blend of old and new on an evening that featured a full horn section for the majority of the show. Considering the hype that surrounds this band, I have a feeling it will be a while before I see them at a temple again.

3) Neil Young & Wilco @ MSG 12/16/08

Not to cut corners here, but I just saw this show last week and went into great detail a couple posts ago. Just scroll down to read all about it.

2) Fleet Foxes @ The Grand Ballroom at The Manhattan Center 10/4/08

Don't be deceived by the venue's name; there's nothing colossal about this ballroom located above the Hammerstein Ballroom. And quite frankly this is what made this show so special to me. The Fleet Foxes are hands down the most exciting success story of 2008. To see them play at such a tiny standing room venue was absolutely mind-blowing. These guys are about as hyped as Vampire Weekend, but unlike their '08 amigos, they are legitimately worthy of all this praise. Sweet harmonizing, precocious arrangements, brilliant musicianship, and the best possible attitude for a hipster-approved band are only a few things that make this Northwest quintet the best thing ever. Bonus points for the legendary beards.

1) Sigur Rós @ The Museum of Modern Art 6/17/08

This show will go down as the most transcendent in my book. For this was just not aural ecstasy by one of the best bands in the world; those who were in attendance we treated to a visual art exhibit beforehand by fellow Icelandic countryman Olafur Eliasson. The free Grolsch beer didn't hurt in helping to set the tone. Definitely the best cultural experience of 2008 for me. Refering back to an earlier post, "throughout the course of the night, the guys brought out their standard surprises, which included a full horn section, a wind section, and singer Jónsi Birgisson's trademark falsetto vocals/bow guitar playing abilities." A life-changing combination which easily made this the best show of the year.

The Best of Times, The Worst of Times (Part 3)

Best Kept Secret of 2008:
Sun Kil Moon - April

Whether it's his "solo" releases or his albums under the moniker Sun Kil Moon, Mark Kozelek continues to astonish. This year, he released the second SKM of completely original material on April Fools Day. The album title? April, of course. This is some of the best songwriting I've ever heard. So much so that it boggles the mind that this guy isn't getting more mainstream press or getting headlining stints at bigger venues. Which I guess works out for the people who are crazy about him. If you've never heard of him, you've probably seen him in a movie or two. He plays the quiet bass player in Almost Famous, as well as the mentor to Jason Schwartzman's character in Shopgirl.

Worst Kept Secret of 2008:
Vampire Weekend - Self-Titled

I've got absolutely nothing against this band. I really loved their debut album, but I will go on the record to say that Vampire Weekend has had the easiest path to success in the history of music. As already mentioned, VW was the first band to grace the cover of Spin without releasing any material. I'm pretty sure they played SNL before their album even charted. Before you knew it they had songs in movies, commercials, and video games. By year's end they played not one, not two, but THREE sold out shows at New York's Terminal 5. At this rate, I have a good feeling they'll get their first Garden show in 2009.

And for the record, yes, it is pure coincidence that the year's best and worst kept secrets just happen to feature what appears to be camera mistakes at unsuspecting chandeliers. Oh the hilarity.

Best Live Album of 2008:
The Clash - Live At Shea Stadium


It's only appropriate that The Clash finally released this legendary set the week after the Mets played their final game at their home stadium. I have a soft spot in my heart for this album because it was recorded at a place where I had experienced so many fond memories (oddly enough, the album was recorded two months before I was born). I couldn't think of a better venue/band pairing if I tried. Shea Stadium and The Clash are one in the same: both were never the sexiest or best at what they did, but they both MATTERED. And now, like the band, the stadium is now just a part of history. Probably for the best.

Worst Live Album of 2008:
Fall Out Boy - **** Live In Phoenix

Alright, first thing's first. I like Fall Out Boy more than I should. There, it's out there. Hey, if Elvis Costello is a fan, these guys gotta be doing something right. Their new album (Folie A Deux) is actually incredible. The live show, on the other hand, needs work. They should have mabye considered this before releasing a live CD/DVD this year. Thanks for the memories, but you really shouldn't have.

Best EP of 2008:
The Avett Brothers - The Gleam II

I've noticed an proliferation of EP's this year. I don't know if this is a new thing, but artists big and small (Coldplay, Cat Power, Fleet Foxes) have been releasing these babies like wildfire. That being said, I need to give the award to the Avett Brothers simply because theirs best exemplifies what an EP is intended to do: showcase a good sampling of a relatively unknown artist. The Gleam II is a perfect little folk concoction that gets the job done in under 20 minutes. Looks like it worked. Supposedly this brother act is opening up for Dave Matthews Band on its upcoming spring tour.

Worst EP of 2008:
The National - The Virgina EP

This unfortunate distinction is by no means a reflection of The National itself. Boxer is one of the best albums of the decade, and this band has one of the more promising careers in the indie rock realm. However, this supposed EP (which breaks all EP rules) is nothing more than a compilation of demos, b-sides and live tracks. To me, this is all pretty unnecessary at this point. Sorry, guys.

The List (Part 8)

For 100-91 (Part 1), click HERE.
For 90-81 (Part 2), click HERE.
For 80-71 (Part 3), click HERE.
For 70-61 (Part 4), click HERE.
For 60-51 (Part 5), click HERE.
For 50-41 (Part 6), click HERE.
For 40-31 (Part 7), click HERE.

30) King of Leon - Aha Shake Heartbreak (2004)
Tennessee rockers Kings of Leon successfully evaded the sophomore slump with their American breakthrough Aha Shake Heartbreak. The Followill clan, who successfully took Europe by storm with Youth and Young Manhood, finetuned their sound to make a record that appealed to their own countrymen. They've since never looked back. Leadoff single "The Bucket" was met with considerable acclaim, which really got the ball rolling for these guys. It didn't hurt to have multiple songs featured in commercial campaigns and top-rated TV shows such as "Entourage". Evoking everything from early seventies garage rock to Southern blues, Aha Shake is simply 36 minutes of the decade's best rock music.


29) TV On The Radio - Return to Cookie Mountain (2006)
Any band that can swing a David Bowie collaboration gets the stamp of approval in my book. TV On the Radio's third full length album, Return To Cookie Mountain (a possible Super Mario reference?), did indeed feature Mr. Stardust's background vocals on the brilliant "Province". But this is just the tip of the iceberg, as the record contains a host of other guests that only further cement this album's standing among the best of 2006. The anthemic "Wolf Like Me" is what really launched this Brooklyn band into the indie-rock stratosphere. Big things are expected for TV On The Radio's follow-up, Dear Science, which comes out in just over a month.


28) The Streets - Original Pirate Material (2002)
The first thing that comes to mind when people initially hear The Streets is "England's answer to Eminem". However, if you skim below both Mike Skinner's (his real name) skin color and his delivery, you'll discover that there simply is no comparison. And despite what the pseudonym might imply, Skinner does not exactly lead a thug life. In fact, the content of The Streets' debut completely forsakes stereotypical hip-hop undertones all together -- to the point that some could argue that this is even a rap album at all. Hell, this one could very well fit in the notorious spoken word bin for all I care. But, if you want to get all technical, The Streets is considered "garage" music in the sense that it blends rap, two-step, and reggae. In any case, Skinner is a wizard of wordplay as is evident on a stellar debut.


27) Kanye West - Late Registration (2005)
If Kanye West were to hang up his glow-in-the-dark shutter shades tomorrow, there's no question that Late Registration would be considered his masterpiece. When Mr. West burst onto the scene in 2003, he took hip-hop by storm. Everyone became Kanye-crazy -- so as one can imagine, a lot was at stake for his follow-up. And let's just say he didn't exactly disappoint. Whether it was the Jamie Foxx-duet "Golddigger," or the Curtis Mayfield-sampled "Touch The Sky," Kanye took it to a whole other level with his poppy, radio-friendly blend of hip-hop. Hell, he even made Adam Levine of Maroon 5 fame tolerable with ballad "Heard 'Em Say". The success of this release prompted 'Ye to even release a live album called Late Orchestration, which was recorded at Abbey Road Studios.


26) The National - Boxer (2007)
The National are just another success story of relentless perseverence. Matt Berninger and gang had been around since 1999 and had been cranking out some pretty excellent records since 2001. However, they only recently started turning some heads last year with the near-flawless fourth album Boxer. Berninger's morose baritone single style is definitely an aquired taste, but if you give the band a chance, you'll discover some pretty deep material here. Just to give you idea of this album's accoladaes: Paste Magazine named it their album of the year, "Mistaken for Strangers" was #92 on Rolling Stone's list of 100 Best Songs of 2007, and yes, even Pitchfork (boo!) ranked Boxer #17 in their annual end of the year best-of list.


25) Bob Dylan - "Love And Theft" (2001)
What can I say? Bob's the man. After a forgettable run of albums in the 80's and early 90's, Dylan returned to form with 1997's Time Out of Mind. Earning critical acclaim from nearly every source (and even Album of the Year at the Grammys), this one proved that Bob still had a little gas in his tank. And although many thought that this record would be Dylan's swan song, he returned in 2001 with the equally brilliant "Love And Theft". And as the fantastic 2007 film I'm Not There depicts, this one explores Dylan's continually changing musical persona. Long gone are the days of early 60's folk, mid 60's electric rock, and pretty every other genre that Dylan has straddled throughout his legendary career. "Love And Theft," at its core, is a homage to rockabilly, jazz, jump blues, and country swing -- music that manages to even predate his folk days. How bout them apples?


24) My Morning Jacket - Evil Urges (2008)
I think I've driven my point home about this album, so I will spare you my accolades. For my complete review of Evil Urges, click HERE. When the dust settled, this one actually ended up received some pretty mixed reviews (most notably from arch-nemesis Pitchfork), but don't be fooled because Urges actually shows some growth for MMJ in a VERY positive direction. I really like how they progressed from their masterpiece, Z -- so much so that this one steadily gains some ground on its predecessor. I've said it before and I will say it again: My Morning Jacket is the best live band in the world.


23) Ryan Adams - Love Is Hell (2003/2004)
This is yet another controversial Ryan Adams pick, but hell, this one's just a classic to me. Love Is Hell was originally supposed to Ryan's highly-touted follow-up of completely new material since successful breakout Gold. However, one Adams' label listened to the material, they insisted that it was not "commercially viable" and scrapped plans to release it at all. As a result, Ryan was forced to quickly regroup and record Rock N Roll. Upon Ryan's insistence, Lost Highway compromised by choosing to release Love Is Hell as two separate EP's in late 2003 - Love Is Hell pt. 1 and Love Is Hell pt. 2. Both did much better than expected, prompting to release the album as initially conceived in 2004. And here's a fun fact, if any of you ever wondered where I came up with the title for this very blog's name, just listen to "Please Do Not Let Me Go".


22) Sun Kil Moon - Ghosts of the Great Highway (2003)
After splitting up the Red House Painters -- one of the more under appreciated bands on the '90's -- Mark Kozelek formed Sun Kil Moon with former Painters drummer Anthony Koustos. This move proved to be fortuitous, as Ghosts of the Great Highway soon became Kozelek's best-selling and most critically-received album to date. Inspired by a laundry list of deceased boxers (of all things), Ghosts proved to be a much more quiet and intimate setting for Kozelek. Most of the content on this record is acoustic-driven and lyrically more extroverted than the work from his former band. Drawing up comparisons from everyone from Nick Drake to Neil Young, this album only goes to show that Kozelek is one today's most gifted songwriters. If you've ever seen the Steve Martin/Claire Danes film "Shopgirl," Ghosts is represented in the soundtrack with the inclusion of "Carry Me Ohio," and "Lily and Parrots". As an added bonus, Kozelek himself has a small role in the movie.


21) Eminem - The Marshall Mathers LP (2000)
It boggles my mind that this album was released over eight years ago. I was a junior in high school and I recall fondly hearing "The Real Slim Shady" being incessantly blasted from the cars in the student parking lot. To me, this song was the high school equivalent of "Hey Ya". Ah, the days. And here's an even more mind-boggling stat: The Marshall Mathers LP sold over 1.76 million copies in its first WEEK. Today, in a era of a record industry meltdown, an artist would be lucky to sell this many copies in a YEAR. Needless to say, this record went on to sell 21 million copies worldwide and solidified Eminem as one of the most influential artists of all time. And although he's been laying low for quite awhile now, Eminem is supposedly releasing his forst studio album in four years in late 2008.

Mistaken For Strangers

Let me first apologize (the three people who actually read this blog) for being MIA for the past week. When I started this blog a month ago, it was my intention to post on a regular basis, so going a week without a single entry is simply unacceptable in my books. Blah, blah, blah...I'm very sorry and it won't happen again.

Ok, back to the grind.

In ten words or less, I URGE you to check out The National (below). And yes, I know what you music aficionados are thinking -- back to the Monday-morning quarterbacking. This Brooklyn-based quintet (removed from Cincinnati) has been around for the better part of the decade, but I just discovered them last year after their fourth release, Boxer, garnered universal critical acclaim. To me, The National are a weird group -- in a good way. When I first gave them a listen, I became instantly bored by their sound was not impressed in the least. In fact, I grouped them in the same dreaded category as the Arcade Fire -- a handful of uncreative, talentless bands who have been mysteriously granted god-like status to hipsters globally (see also MGMT, Caribou, LCD Soundsystem).

However, the band has withstood the time for me, and now I cannot get enough of them. I have even delved into some of their back catalog which is equally praiseworthy. To me, my newfound interest in this band follows the "Kid A theory". Let me explain. I loved Radiohead's mid-90's Bends/Ok Computer material. When I found out that Thom Yorke and gang were finally releasing a new album in 2000, I was psyched. However, when I heard the first single, "Optimistic", I was anything but this. I could honestly not believe that this cacophony was coming from the same dudes who produced mainstream rock faves that included "High & Dry", "Creep", and "Fake Plastic Trees". When I got my hands on the album, it was much of the same and I had sincerely lost interest in one of my formerly-favorite bands. The album was lauded as record of the year from critics everywhere, and I just couldn't wrap my head around this. Then something happened which to this day unexplainable: the music just started to make sense. Songs that were unlistenable gradually became tolerable, and then somewhat enjoyable. One day it all just all came together, and it has since stuck with me. This is exactly how it happened to me with The National's Boxer.

I was lucky enough to catch the band's second sold-out show at the Brooklyn Academy of Music last Saturday night. All I gotta say is, "wow" (also in a good way). The National started the night off with crowd pleaser "Start A War" and continued to play most of the material off of Boxer, as well as a smattering of tunes off their previous efforts (which I will admittedly say I wasn't to familiar with). The band was remarkably spot-on the entire night -- featuring singer Matt Berninger's characteristic barititone vocals and a John-Lennon look-alike for a drummer who's playing was absolutely incindiery. The theater's gorgeous intimacy provided the perfect environment for The National's beautifully somber tone. The night reached its climax during crowd-favorite "Fake Empire" -- a tune that utilized the horn section from its studio release, and also included the added bonus of wind orchestra ensemble that played with the band the entire night. An ambitious effort to say the least, but hell, it worked. The band played a couple of encores to a theater crowd that was on its feet the entire night, and then graciously left the stage to whistles and howls for more. If the reception the band received that night is any indication of of their future, it looks like it will be anything but a boring ride.