Top 20 Best Albums of 2013

I’m still an album guy. Not necessarily vinyl, but Albums with a capital A to mean a body of work consisting of a group of songs. I’m mostly a digital consumer of music, on MP3 and yes I still sometimes rock CD’s in the car.

It seems nowadays we talk more about how we listen to our music, instead of the actual music itself. We flash badges on social media to signify that we’re with Pandora or Spotify, we subscribe to iTunes or (in my case) Amazon MP3. We see flashy commercials for $200 headphones and share playlists between our phones and auto-post our current listening pleasures on Facebook and Twitter. And I guess it’s assumed most people are listening to their awesome playlists of trending tracks, on random of course.

But I still listen to full albums. I never throw a bunch of songs by different artists into a queue, I listen to each “album” straight through. I’m not saying it’s any better and I’m not here to rant on how things have changed. But lost among the technology discussions and the hand wringing over digital rights and the business of music and the allegedly dying Music Business… let’s remember the actual music. And, for me, The Music comes not in the form of the Hottest Track of The Summer or Latest Trending Single.

When I talk about The Music, I want to talk about albums. The Best Albums of 2013, in fact, according to me and based on what I liked listening to the most. Here are my Top 20 Albums of 2013:

20. Atoms For Peace – AMOK
Flea’s famous funk sounds a bit buried among the Thom Yorke/Nigel Godrich production that mostly sounds like a continuation of Yorke’s first solo album. But the subtle rhythms by not just Flea but percussionists Joey Waronker and Mauro Refoscodo reveal themselves through repeated listening. It might be a better Tide-You-Over-Til-The-Next-Radiohead album than the last the Radiohead album was.

19. Hiss Golden Messenger – Haw
Catchy folk recommended for fans of Dawes and/or Dr. Dog.

18. Nine Inch Nails – Hesitation Marks
Was never really into NIN when they first peaked, but have grown to dig on some recent Trent Reznor projects. And surprisingly this new one is quite “accessible” (which is what critics say when they want to let you know it isn’t just noise… there are actual hummable songs and hooks here).

17. David Bowie – The Next Day
I was never a massive Bowie enthusiast. A casual fan. The best-of’s and hits collections were enough for me. I respected him but admit I was never well versed in the depth of what’s considered all of the best albums. I actually don’t think much about David Bowie. But then with little notice he came back out of left field and what was assumed to be a likely quiet retirement and graceful aging if health permitted. And the album was a rockin’ and infectious gem or a record that I was kinda addicted to listening to for several weeks there. Even if you’re just a little Bowie-curious, definitely worth checking out The Next Day.

16. Inspectah Deck w/ 7L & Esoteric – Czarface
7L & Esoteric have a knack for pumping out modern-day “90s Hip-Hop Classics” if you know what I mean. Their basic production value and overall aesthetic is a direct descendant of the Guru & DJ Premier pairing that gave Gang Starr it’s mass appeal. The catchy beats come in waves as the smilies and metaphors surf atop them effortlessly. On 2013’s Czarface, they’re joined by Inspectah Deck a microphone master and unsung hero from the Wu-Tang Clan to inject even more energy into mix.

15. Nick Cave & the Bad Seeds – Push Away the Sky
On Push Away the Sky we get mellow and creepy Nick. And somehow it’s every bit as effective, affecting, and addictive as rocking and creepy Nick was on Dig Lazarus Dig!

14. Daft Punk – Random Access Memories
At times gimmicky and pastiche, these robot dudes really do know how to make some great-sounding music. Niles Rodgers incomparable guitar work is the MVP here, even if after a while the whole funky 70s vibe does eventually lose some of it’s luster. But beyond the “Get Lucky” sheen there’s a variety of tracks here, including some spoken word by Giorgio Moroder, with the subtle standout being “Instant Crush” featuring a lead vocal by Julian Casablancas of The Strokes. Daft Punk may never pull off those helmets, but somehow they managed to pull off making the robots sound human and the humans sound like robots. And you can dance to it.

13. Black Sabbath – 13
OK if they couldn’t work things out with original drummer Bill Ward, at least they got former Rage Against the Machine beatmaster Brad Wilk to crush these classic-sounding riffs. Considering what a debacle a comeback album like this could have been, it’s a downright enjoyable and rockin’ return to form (of sorts). And yes of course I switched them around so they’d be #13 on this list. \m/

12. Leif Vollebekk – North Americana
Oh, look: It’s this year’s “Haunting, sparse acoustic production meets Dylanesque phrasing” album. And it’s a good one.

11. Avett Brothers – Magpie and the Dandelion
Tremendous live band, and on record they remain sad but true. It’s such bummer music, but you believe every word and the harmonies are so good that you have to keep listening.

10. Clutch – Earth Rocker
If you know Clutch, you know they are the best relatively unknown hard rock band in America. If you’ve never heard of Clutch, you need to get with the program. And this new effort is as good as any place to start. Maybe I’m blinded by the shiny newness of the crunching riffs, but Earth Rocker might every bit as good as previous Clutch classics like Robot Hive Exodus, the self-titled album from 1995, or whatever you think is the Best Clutch Album. By the way, these guys wont just rock your face off, they’re also underrated songwriters. Dig in.

9. Vampire Weekend – Vampires of the City
That rare breed of “critics darlings” who actually live up the hype. Incredibly well-crafted album that may have marketed as a new sound actually succeeds by combining the best features of their first two albums. Cinematic and precise, and somehow still fun.

8. Jason Isbell – Southeastern
Stunning singer/songwriter strips it down, with sensational results. If you think you hate country music, think about checking out this (and every) Jason Isbell album. Short on twang, but long on songs.

7. The Roots & Elvis Costello – Wise Up Ghost
It’s weird. It’s like people are stalking the weird thoughts in my head. Not even that, cuz I never dreamed of putting the Roots and Elvis Costello. But I’ve loved them both very much for a very long time. And yet even I found word of their collaboration to be odd. But hot damn if this isn’t a great set that finds E.C. In his usual whine, but the songwriting and the rich tapestry of grooves of Questlove and the band make this one of the most enjoyable records from Elvis in a while. And, along with their Wake Up! Collab with John Legend in 2011, it’s yet another funky notch in the belt of the Legendary Roots Crew.

6. Pearl Jam – Lightning Bolt
I don’t throw them on here lightly. What I mean is this isn’t a “career” award or anything like that. Their new album is GOOD. Really good. Not that the last two were bad, but they were okay/good. Like at the time we knew they were sorta Pearl-Jam-By-Numbers generic “good” but we convinced ourselves they were actual Good. But Lightning Bolt is Good. Really good. Pearl Jam good.

5. Eminem – The Marshall Mathers LP 2
Apologies to Jay-Z and his buddy Kanye, but as far as megastar rappers who can still put out a great album and rip the mic to shreds to the point that he’s murdering the English language… Eminem sits atop the throne. His more famous counterparts might have bigger social media strategies and yachts and famous wives, but hip-hop has always been mostly about LYRICS. Jay-Z is an iconic rapper but he no longer has anything to say. Kanye’s always been a good producer and still makes incredibly interesting music (the beats and backing tracks) but he’s never been a good rapper. On The Marshall Mathers LP 2, Eminem proves that he still has plenty to say and the astounding verbal dexterity and unparalleled flow with which to do it. Instead of boring us with stories of champagne and caviar, Marshall Mathers doesn’t mind showing us he’s still hungry.

4. Killer Mike & EL-P – Run the Jewels
Probably my favorite hip-hop album of the year. While El-P has a reputation as a space-age futuristic producer (and he is that), he also drops some seriously old-school beats and bangers that rival the best producers in the game. And oh by the way, on this set he harnesses his frenetic flow on the mic and more than holds his own next to his buddy Killer Mike, who again brings his hard rhymes and booming vocal style. This logical progression from last year’s R.A.P. Music album (credited to Killer Mike, and produced by EL-P) find the pair once again proving the “Hip-Hop Is Dead” doubters dead wrong.

3. Queens of the Stone Age – Like Clockwork
This might be the most perfect record of the year. Josh Homme has picked up his axe and this time he’s brought Dave Grohl’s thunderdrums along on a bunch of the songs, and even Elton John (!) shows up. Perfectly crafted rock’n’roll music, Like Clockwork is a timeless classic. [Speaking of Sir Elton, this seems like a good place to throw an Honorable Mention to John’s fine new album The Diving Board.]

2. Jonathan Wilson – Fanfare
Oh, I shoulda made this album #1. Perhaps my favorite album of the year in that this record makes me want to use the word exquisite. It makes me think of words like beautiful and even meticulous. For such an organic and classic analog sound, it’s still so pristine… in the way that poets probably once wrote of pure art. (I guess. I’ve never read much poetry.) It’s the kind of album that demands and deserves a lot of attention. On Fanfare, singer/songwriter and underrated guitar whiz Jonathan Wilson reminds us of his extraordinary gifts as a producer. He was the man behind the boards for well-received albums in recent years by Dawes, Father John Misty, and Roy Harper… and now working for himself he allows his amazing songs to blossom beyond the Laurel Canyon laid back jam vibe and constructs an Album with a capital A. That deep shit that makes guys like me write this stuff singing their praises. His guitar tone. The deep sound he captures off the grand piano. His gift of voice. OK, I need to stop. Just know that this guy is making some very special music.

1. Portugal The Man – Evil Friends
For many years I stopped writing about music. Writing as a “Music Critic” for the student paper throughout high school and college had eventually turned me off for the obvious and predictable reasons. Why are we trying to describe music? Who are we to decide what’s “good” when music is so subjective? And then when albums like Evil Friends would come out from bands like Portugual The Man, I would try to rewrite some form of disclaimer about how it’s silly for us to try to explain what something sounds like. I cant tell you who or what Portugal The Man sounds like. (In fact, their real name is Portugal. The Man, with that period in the middle. Probably just to piss off people like me who write about music. Everyone hates music critics.) But I can tell you that this album is awesome. It might seem a little weird at first, but it’s a grower.

I won’t tell you how to listen to it… or on what platform… just listen. You wont be able to stop.

Best Albums of 2012: Not Just a List!

I knew when the Fall new-album schedule had Bob Dylan, the Avett Brothers, and Patterson Hood releases on the same Tuesday morning that it would be the best September 11th ever.

Sure enough, none of them disappointed.  Bob Dylan returned with Tempest, a gritty and at times scathing stew of blues and folk serving as an amazing reminder of the late-career consistency he’s shown on record in the new century. Great Bob Dylan records are the reason people like me make lists like this every year.

Whether willingly or unconsciously, the Avett Brothers and Patterson Hood (lead driver and navigator of the Drive-By Truckers) are indeed disciples, descendants, and torchbearers of the folk-rock tradition personified and perfected by Dylan. And neither act seems to cower from the challenge, even if they’d scoff at my assertion that they belong in the same sentence as the legendary Dylan.

Seth and Scott Avett are blessed with much sweeter voices of course; and the songs (from the Beatlesque harmonies and tearjerkers to the more rockin’ numbers) on The Avett Brothers’ The Carpenter are perfect showcases for their natural talent.

phood-hlritdPatterson Hood’s Heat Lightning Rumbles in the Distance might actually be his best album to date. Fronting the Drive-By Truckers, Hood had already built a career as a gifted storyteller and master painter of pictures, and now the solo Heat Lightning flashes it right in our faces. There’s one scene where he shows up just after midnight at a liquor store in the next county cuz it’s Monday now and the liquor laws allow them to start selling again. It’s sad and lonely, but then Hood’s protagonist sees some “friends.” Even sadder, there’s already a line of “zombies” there when they flip the sign to open. This all transpires within the first verse of the first song.

From that first track on, it’s apparent that this will be a strange and telling ride, from that bleak scene at the liquor store in “12:01” all the way to where it “winds around dead-man’s curve where the lady from the Sunbeam bread wrapper was killed in that head-on” in “Untold Pretties.” Easily one of my Top 3 Albums of the year.

The other two were Chuck Prophet’s Temple Beautiful, reviewed here, and Jack White’s Blunderbuss (which I wrote about over the summer in this Heavy Rotation column). Other albums that I blurbed about in the first half of the year that make this Best Albums of 2012 list are:

Dr.John – Locked Down
Killer Mike – R.A.P. Music
Van Halen – A Different Kind of Truth
KRS-One – The BDP Album
DJ Premier & Bumpy Knuckles – Kolexxxion
Father John Misty – Fear Fun

soundgarden king animal artOne of the most pleasant surprises of the year was Soundgarden’s King Animal. They were always a good band, and made a few great records back in the day. But after such a long layoff, I was only expecting a shell of a bland Soundgarden-by-numbers album. I was wrong, this album really is great. The first two tracks might fit that bill of as-expected uninspiring rockers, but from track 3 through the end King Animal sits right up there with the bands’ finest moments from their Badmotorfinger-Superunknown peak.

At the end of the year, December saw the release of an album called Carry On, by a guy named Willy Mason. Never heard of him, but started noticing some good reviews so I checked it out. Really glad I did, as this album is both instantly likable and a slow-burning grower. Terrific songwriting meets production that ranges from trippy and atmospheric to stripped down and raw. Think Beck meets Daniel Lanois. Or just forget my half-assed attempts at catchy descriptions and just go buy Willy Mason’s Carry On right now. It’s like a secret gem. An out-of-the-blue underdog landing on my list of Best Albums of 2012.

The Rest Of The Best:

Jimmy Cliff  Rebirthjimmy cliff rebirth
Neil Young & Crazy Horse – Psychedelic Pill

Jason Isbell – Live in Alabama
Led Zeppelin – Celebration Day (reviewed here)
Alabama Shakes – Boys & Girls
Various Artists – Country Funk 1969-1975
Bonnie Raitt – Slipstream
Bill Fay  Life Is People
Band of Horses Mirage Rock

Rush – Clockwork Angels. That’s right, I’m risking what little credibility I might have by putting the polarizing RUSH on this list. Fact is, or my opinion is, this new Rush album rocks. There’s no synthesizers or cheesy electric drums. It’s not just guitar-driven, but the guitars actually sound like guitars. I realize most people hate the sound of Geddy Lee’s voice, and I’ll admit I can only take it in small doses. But this is a solid showing by the aging-but-legendary trio from Canada. I know it’s not cool to admit liking Rush, that’s why I hid this part all the way at the end.

Top 10 Albums (That We Reviewed) From 2011

It’s always so tough to pick only 10 records.

Let’s start our look back on a great year in new music with a list of the Top 10 Albums of 2011 that we actually wrote reviews for here on Bums Logic. This crop of reviews represents some of the core material published as we launched this new site in 2011 and we thank you all for listening and reading along.

Next week we’ll add another dozen or so favorites from this year that we didn’t write about…. and then maybe think of an excuse to add others, or combine them into one master list and rank them in order. Or not.

So here’s our Top 10 Albums (That We Reviewed) From 2011, in no particular order, and all with links to our original reviews:

Tom Waits – Bad As Me

Drive-By Truckers – Go-Go Boots

Jason Isbell and the 400 Unit – Here We Rest

Wilco – The Whole Love

Mastodon – The Hunter

Stephen Marley – Revelation Pt.1: Root of Life

Bon Iver – Bon Iver

Beastie Boys – Hot Sauce Committee Pt.2

G. Love – Fixin’ To Die

Sonic Youth – Simon Werner a Disparu

If the Cover Fits: Great Art to Match Some of the Best Albums of 2011

You can’t judge an album by its cover, but there’s something about when certain albums seem to match their covers, often in some odd unexplained way. For me, it’s not something obvious like “yea, it’s a picture of the band playing the music,” but something much subtler. So this isn’t necessarily my 10 Most Favorite Albums of 2011 so far (though many of them might make that list if it existed), these are just 10 Favorite Covers That Happen To Match Their Music Well. Or something like that.


The War on Drugs
Slave Ambient
The kind of album that’s hard to describe: it’s lush and dreamy but it still has an organic sound and chugging pace that seems in conflict with itself. Same for how many tracks sorta hum along on what seems like just one chord and yet you don’t feel bored. It’s an interesting drone, if that’s even possible. Like Bob Dylan meets Velvet Underground. Slave Ambient sounds how that cover looks. It’s this very strange intersection of electronica and Americana, though it doesn’t overtly sound like either.

PJ HarveyLet England Shake
Stark and fluttering, subtly explosive, beautiful yet blunt. PJ Harvey delivered one of the finest albums of the year so far and this black and white cover is just sharp enough for the occasion.

Jay-Z and Kanye WestWatch the Throne
Is that not the perfect cover for Jay Z and Kanye West’s Watch the Throne? Just pure gold. Delicate wrapping, and you could say at times some paper-thin rapping as well. The cover doesn’t tell you the title or the artist (of course, you already know that you are in the presence of royalty), it simply conveys luxury. Insisting that it is the best of the best because, well, it’s the most expensive. But what’s inside? Like the cover, the album is more flash than substance. The only promise that’s really delivered here is that of more luxury. Expensive samples, top notch production, and signature styles (for better and worse) of the two co-star’s verses about, well, luxury. More gold rapping. The only album cover that might have been more appropriate would be a scanned image of their bank statements and tax returns.

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Jason Isbell Hits Home

Sometimes records come along and they just creep in and grow on you. But even the ones that grow on you can still be familiar upon first meeting, like that person you meet who you just connect with on some level like you knew them before, or whatever it is that some folks refer to as a good vibe. Or like a creaky floor that’s just always sounded that way and for some reason it’s a subconscious comfort of sorts.

Jason IsbellAnd then in walks Jason Isbell’s latest album Here We Rest. It’s instantly likeable and the kind of record that sounds as good on Sunday morning as it did on Saturday night. It’s dense with real life, not unlike a film. There’s a perfect mix of heartbreak and promise; of love and pain, of dreams and regrets.

The sound of Isbell and his fine band, the 400 Unit, is also perfectly mixed. There’s a clarity and separation that allows each guitar and organ part to seep out without calling too much attention to itself. The different sounds used (acoustic and electric guitars, fiddles, slide guitar, pianos and organs) are tasteful and always right on, and there’s “layers” without having 17 overdubs of extra guitars needlessly doubling parts.

Isbell’s coffee-stained vocal delivery is warm and sweet; a southern drawl meets blue-eyed soul that he honed when first winning us over as a member of the Drive-By Truckers. On some of DBT’s finest albums, Isbell’s songs (especially “Outfit,” “Decoration Day,” “Danko/Manuel,” “Goddamn Lonely Love”) were among the highlights, if not the centerpieces. No surprise that his first two solo albums were solid (but overlooked) gems. And this latest one is proving to be his finest, rewarding repeated listens with subtle nuances. Certain lyric lines just hit you, sometimes for their meaning and other times for Isbell’s phrasing; or both, when he turns a phrase like “No one gives a damn about the things I give a damn about.”

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