The Top Ten Albums of 2008

For the 2008 “Yes, No, or Maybe So” one-sentence reviews, CLICK HERE!

By Chris Moore:

At long last, here it is…

My top ten list of the best albums of 2008.

Top Ten Albums of 2008

1.  Saturday Nights & Sunday Mornings – The Counting Crows
2.  That Lucky Old Sun – Brian Wilson
3.  Viva La Vida – Coldplay
4.  Accelerate – R.E.M.
5.  Modern Guilt – Beck
6.  Snacktime – Barenaked Ladies
7.  A Hundred Million Suns – Snow Patrol
8.  Consolers of the Lonely – The Raconteurs
9.  The Red Album – Weezer
10. Loyalty to Loyalty – Cold War Kids

Honorable Mention:

Liverpool 8 – Ringo Starr
Momofuku – Elvis Costello

Yes, No, or Maybe So: One-Sentence Reviews of 2008 Albums

(Arranged in alphabetical order by band)

With so many albums being released every week, what are they all like?  Which are worth your time?  These one-sentence reviews are the answers to those questions!

Snacktime (Barenaked Ladies) – MAYBE SO

Review:  Fun and even educational for kids, yet substantive and musically interesting for adults – don’t let this be the one Barenaked Ladies album missing from your shelf!

Top Two Tracks:  “7 8 9” – “Pollywog in a Bog”

Modern Guilt (Beck) – MAYBE SO

Review:  Beck’s unique voice is the anchor of this rock album that successfully integrates both loops and modern effects with the simplest acoustic, electric guitar, and keyboard sounds front and center in the mix.

Top Two Tracks:  “Gamma Ray” – “Modern Guilt”

Way To Normal (Ben Folds) – MAYBE NOT

Review:  While this is a great breakup album with some typically provocative Ben Folds lyrics and strong instrumental work, there are simply too many disposable tracks and a general feeling throughout much of the album that we’ve been here before.

Top Two Tracks:  “Bitch Went Nuts” – “Brainwascht”

That Lucky Old Sun (Brian Wilson) – YES

Review:  This is Wilson’s modern masterpiece for the summer months, offering more punch than a fresh cup of coffee (“Morning Beat”), piano ballads for the ages (“Forever She’ll Be My Surfer Girl” and “Midnight’s Another Day”), and spoken word transition tracks (lyrics by SMiLE collaborator Van Dyke Parks) that won’t disappoint, all in a thoughtfully ordered and nicely blended track listing.

Top Two Tracks:  “Forever She’ll Be My Surfer Girl” – “Live Let Live”

11 (Bryan Adams) – MAYBE NOT

Review:  This is pretty much what you would expect, which doesn’t mean it can’t be great fun – clichéd, cheesy lines notwithstanding.

Top Two Tracks:  “I Ain’t Losin’ the Fight” – “Oxygen”

Loyalty to Loyalty (Cold War Kids) – MAYBE SO

Review:  The Cold War Kids’ breakthrough album (#21 on the Billboard 200) further establishes their strong, unique sound – Willett’s vocals and Russell’s guitar work being their strongest assets, set against the driving force of Maust’s bass and Aveiro’s drums – aside from perhaps a couple disposable tracks, the album is a stand out.

Top Two Tracks:  “Against Privacy” – “Mexican Dogs”

Prospekt’s March EP (Coldplay) – NO

Review:  Okay, Coldplay, it’s time to step up to the plate a la Wilco: release these tracks (only 3 or 4 are really worth the listen, anyway) on the next reissue of Viva La Vida AND offer them as a free download to anyone who has already bought the album; none of this shameful EP garbage for one of the most wildly successful bands in the world!

Top Two Tracks:  “Life in Technicolor II” – “Glass of Water”

Viva La Vida (Coldplay) – YES

Review:  Coldplay has finally hit an album-worthy home run, complete with beautiful instrumental bookends, richly explored thematic elements, big pop-radio worthy singles, and multi-movement tracks; this is the album that will help them begin living up to the hype that has surrounded the band for years.

Top Two Tracks:  “42” – “Violet Hill”

Saturday Nights & Sunday Mornings (Counting Crows) – YES

Review:  The concept album of the year, Saturday Nights & Sunday Mornings’ songs are aptly split between those that address the primal side of human nature, making decisions by instinct and engaging in debauchery, and the more reflective side of the psyche, reconsidering past decisions, experiences, and even dream images in the early light of Sunday morning.

Top Two Tracks:  “Insignificant” – “You Can’t Count On Me”

Momofuku (Elvis Costello) – MAYBE SO

Review:  Named for the inventor of instant ramen noodles, Momofuku may have been recorded at a breakneck pace, but there are some quality songs here: interesting arrangements, heartfelt performances, and of course, clever and poetic lyrics.

Top Two Tracks:  “American Gangster Time” – “Flutter and Wow”

Electric Argument (The Fireman) – NO

Review:  The guise of the Fireman may allow Paul McCartney the opportunity to relax, experiment, and otherwise stretch out, but a fully realized album that lives up to his vastly impressive recent work this is not.

Top Two Tracks:  “Sing the Changes” – “Dance ‘Til We’re High”

Sleep Through the Static (Jack Johnson) – NO

Review:  Filled with peaceful songs recorded in very clear sound quality… that will most likely put you to sleep – not even close to what you would expect from the follow-up to In Between Dreams.

Top Two Tracks:  “What You Thought You Need” – “Go On”

The Glass Passenger (Jack’s Mannequin) – MAYBE NOT

Review:  With their most recent release, Jack’s Mannequin has cracked the top ten of the Billboard 200 and found a bright, clean, and upbeat sound while addressing a number of serious topics; if some of the songs didn’t sound so similar and if McMahon’s vocals didn’t strain and reverberate oddly at times, this would be a great album.

Top Two Tracks:  “Crashin’” – “Bloodshot”

Seeing Things (Jakob Dylan) – MAYBE SO

Review:  Jakob Dylan finds some soothing and rootsy acoustic sounds on his debut solo album… now, let’s just hope he uses it to return with more force and feeling to a full band next time!

Top Two Tracks:  “Valley of the Low Sun” – “War is Kind”

Greenlight (Jeff Copperthite) – MAYBE SO

Review:  The first solo album from one half of the late nineties rock band Quilt, Greenlight is all you could hope for from a debut release – a range of songs that demonstrate Copperthite’s considerable instrumental abilities, including a couple standouts that will make listeners look forward to the next solo release.

Top Two Tracks:  “Home” – “Aware”

Perfectly Clear (Jewel) – MAYBE NOT

Review:  The latest phase for this folk singer turned dance/big band star turned country artist, Perfectly Clear is a well executed country album – nothing less, but not much more.

Top Two Tracks:  “Love is a Garden” – “Till It Feels Like Cheating”

Insides Out (Jordan Zevon) – MAYBE NOT

Review:  Bitingly witty at times, helplessly romantic at others, and always in-your-face realistic, Jordan Zevon’s debut release boasts finely crafted – if predictable – vocals and strong – although standard – instrumentation; he’s on his way to a great album, but hasn’t quite made it this time.

Top Two Tracks:  “The Joke’s On Me” – “Payday”

Mudcrutch (Mudcrutch) – MAYBE SO

Review:  An instantly likeable album with a classic sound that is somehow still unique and infectious, the power of Mudcrutch’s debut release – much like the faded face on its cover – tends to dissipate over time; as with many releases this year, it’s not bad for a start and is perhaps the best debut album (and one of the best new bands) of 2008.

Top Two Tracks:  “Orphan of the Storm” – “Lover of the Bayou”

Home Before Dark (Neil Diamond) – NO

Review:  An album of enjoyable three minute songs… that drag on redundantly for six minutes.

Top Two Tracks:  “Pretty Amazing Grace” – “The Power of Two”

The Slip (Nine Inch Nails) – MAYBE SO

Review:  The landscape of The Slip is that of violence and corruption, but even more acutely of the impact upon and influence of the individual in a society that is taking turns for the worse – add in Trent Reznor’s supplying this album for free online, taking intricate care to provide track (not just album) artwork and typed-in lyrics, and you’ve got a strong release.

Top Two Tracks:  “1,000,000” – “Discipline”

Break Up the Concrete (The Pretenders) – MAYBE NOT

Review:  While there’s nothing particularly remarkable here, Break Up the Concrete is a surprisingly strong release from Chrissie Hynde and company, nicely blending acoustic and electric rock with a rockabilly sensibility peeking through intermittently.

Top Two Tracks:  “Love’s A Mystery” – “The Last Ride”

Accelerate (R.E.M.) – YES

Review:  From the first notes of distorted electric guitar to the final “yeah” voiced by frontman Michael Stipe, Accelerate is a non-stop rock’n roll joy ride punctuated by numerous standout tracks, instrumental moments, and some of the strongest lyrics from Stipe in years; this R.E.M. album more than lives up to what its title implies about the pacing.

Top Two Tracks:  “Living Well is the Best Revenge” – “Supernatural Superserious”

Consolers of the Lonely (The Raconteurs) – MAYBE SO

Review:  For anyone who claims there are no new bands making great rock music, here come the tremendous Raconteurs to tell stories with urgent vocals, infectious guitar licks, plenty of distortion while maintaining a healthy respect for the acoustic guitar, horns, and so much more as traces of classic rock and modern rock are inseparably mixed.

Top Two Tracks:  “Top Yourself” – “Many Shades of Black”

The Bird and the Bee Sides (Relient K) – MAYBE SO

Review:  In and of itself, The Nashville Tennis EP is a generally middle of the road affair with a handful of standout tracks and several disposable songs; however, when combined with The Bird and the Bee Sides, it boasts new material as well as enough rare tracks to fill the gaps in any Relient K fan’s collection – never mind that 13 songs add up to a generous “EP,” clocking in for a total of 26 songs on this single disc release.

Top Two Tracks (“The Bird”):  “At Least We Made It This Far” – “I Just Want You To Know”

Top Two Tracks (“The Bee Sides”):  “Up and Up (Acoustic)” – “Who I Am Hates Who I’ve Been (Acoustic)”

Liverpool 8 (Ringo Starr) – MAYBE SO

Review:  Even though Starr split with longtime collaborator Mark Hudson during the making of Liverpool 8, this album is a worthy addition to his recent catalog, and although it may not be the strongest of the Roundhead records, it’s a must-hear for Ringo and rock fans alike.

Top Two Tracks:  “Liverpool 8” – “If It’s Love That You Want”

Detours (Sheryl Crow) – MAYBE NOT

Review:  This album is a bit of a mess, as some songs (“God Bless This Mess,” “Love is All There Is”) are heartfelt standouts and others (“Love is Free,” “Peace Be Upon Us”) seem phoned-in and generally distract from the great material this album has to offer.

Top Two Tracks:  “Shine Over Babylon” – “Detours”

A Hundred Million Suns (Snow Patrol) – MAYBE SO

Review:  Don’t let the inferior first single “Take Back the City” fool you: A Hundred Million Suns is the long-awaited next step in Snow Patrol’s evolution, offering up much to enjoy hearing and feeling and even more to interpret – and, thankfully, AHMS is a vast improvement over Eyes Open, and a worthy follow-up to Final Straw.

Top Two Tracks:  “Crack the Shutters” – “The Planets Bend Between Us”

The Red Album (Weezer) – MAYBE SO

Review:  The Red Album is something of an enigma – several tracks (“The Greatest Man That Ever Lived,” “Everybody Get Dangerous”) are among the quirkiest, most original and inventive work ever to grace a Weezer release, yet the album gets sidetracked in material that is easy on the ear, but overly simplistic (think “Heart Songs” and “Dreamin’”) – but it’s an interesting one; it is difficult to determine whether the first ever contributions from the other band members provides an exciting boost or simply more confusion to the album.  (And why no “Miss Sweeney” on the main album release?)

Top Two Tracks:  “The Greatest Man That Ever Lived” – “Thought I Knew”

Brian Wilson’s “Brian Wilson Reimagines Gershwin” (2010) – The Weekend Review

By Chris Moore:

RATING:  3.5 / 5 stars

For songwriters with strong, distinct voices, albums populated by covers are typically stopovers between other, more serious efforts.  For Wilson, it appears that projects such as this are where he looks these days to keep himself occupied while he waits for inspiration to strike.

Brian Wilson Reimagines Gershwin delivers just about what you’d expect from the former Beach Boy: lush harmonies laid over a bed of smart, tight pop music, albeit the pop music of a bygone era.

Perhaps the slogan for this release should have been, “Brian Wilson updates the music of the Gershwin brothers… to the sixties!”

The greatest criticism I can lob at Reimagines is its apparent contentment to revisit the established.  Wilson was given access to fragments of songs written but never finished by Gershwin that numbered in the triple digits, and yet there are only two new compositions — “The Like in I Love You” and “Nothing But Love” — which provide the bookends for the full-length tracks.

Simply put, this is what prevents Reimagines from reaching the same creative heights as Mermaid Avenue (the original, and Vol. II not so much), a similar project conducted by Wilco and Billy Bragg.  The key difference there, of course, was that they dipped exclusively into unfinished lyrics and wrote the music for them.  The results on Mermaid Avenue should be attributed just as much to Wilco and Bragg as to Guthrie, whereas Reimagines often reads as a collection of Gershwin tracks with the Brian Wilson filter applied.

In other words, Reimagines often plays more as a tribute from Wilson and his band than as a fresh and creative project.

On the other hand, to label Reimagines as a straightforward tribute to the Gershwin brothers would be to unfairly marginalize the creative spirit that Wilson so evidently brought to these recordings, not to mention the crispness and emotion that each of his lead vocals are imbued with.  There can be no question as to his intentions; he clearly threw himself into the project, as supported by reports that he would spend eight hours a day in the studio perfecting his vocals.

Brian Wilson Reimagines Gershwin (2010)

Brian Wilson Reimagines Gershwin (2010)

There are many, many positive words to be said about this record.

For starters, even on a project that lends itself to slow paced, old-school compositions — and he does indulge at times — Wilson and his crack band of music makers manage to carve out a record that verges on rock.  As would be expected, there are some beautiful bass lines and some wonderfully fun harmonies that beg to be sung along with.

There are other touches, many of them subtle, that should allow for Reimagines to be accepted among Wilson’s studio discography, as opposed to a one-off side effort.  Paul Von Mertens’ contributions can’t be overstated, serving as a link between the instruments that were employed on many of the original recordings of these songs and Wilson’s more rock/pop-oriented arsenal of drums, guitar, and bass.  Likewise, Probyn Gregory’s acoustic guitars add significantly to many of the tracks, filling in the gaps admirably.  The acoustic guitar is not an instrument one might readily associate with Wilson’s general sound, which makes it all the more notable.

“Rhapsody in Blue,” snippets of which serve as the intro and outro of the record, should be familiar to fans as a song that Wilson has noted in past interviews as one of his influences.  That this is the song he chose to place at the corners is quite fitting, and that he would choose to sing the multiple vocal tracks entirely on his own may, if nothing else, be read as a sign that he is still in command of his music.  Reports of his mental acuity — or lack thereof — may not have been greatly exaggerated, but no one should presume to claim that Wilson is present on his recordings in name only these days.

“Summertime,” the first full-length cover, touches on bits of Billy Stewart’s chart-topping 1989 version in the intro but quickly spreads out into a ballad filled out with horn blasts, twinkling bursts of piano, and strings that loom ominously on the horizon.  This version is a bit slow, but after the recognizable Wilson-esque romp of “The Like in I Love You,” it’s as though he is flexing his classical muscle, as he continues to do on “I Loves You, Porgy.”

Subsequently, the instrumental “I Got Plenty O’ Nuttin'” sounds like it could have been found on a Pet Sounds outtakes tape, the bass harmonica adding greatly to that feel.  “It Ain’t Necessarily So” is probably the first track on the album that is a fully realized blending of traditional and more modern styles, to the point that the two are difficult to distinguish between.

This is when Reimagines works so well: when Wilson manages to blends a traditional approach toward these songs with his own distinctive sound.  Contrary to some recent criticism, Wilson does not merely reconfigure the words to fit over instrumentals that conjure his previous songs, except perhaps for “They Can’t Take That Away From Me.”  Where it works exceedingly well, by the way.

Where the album does fall short is on tracks like “‘s Wonderful” and “Love is Here to Stay” that fail to transcend lounge music, being little more than standard covers that don’t diverge all that much from the originals.

“I Got a Crush on You” sounds like it was ripped off a best ballads of the fifties disc, and it works surprisingly well.  It is followed by “I Got Rhythm,” which sounds like a cross between SMiLE and surf rock on the intro, before settling down into a groove that sounds like all the best parts of a sixties Beach Boys song.  Then comes the indisputable latter-half gem “Someone to Watch Over Me,” easily one of the most beautiful little tracks Wilson has recorded in years.

The original tracks are the strongest efforts on the album, and it is for this reason that the decision to stick primarily to covers will always baffle and disappoint me.  It is the single strongest justification for why I’ve denied Reimagines a rating of 4 stars: for all the promise of what could have been.  It is still an enjoyable record and I would argue that it has earned its place as a serious effort, in league with Wilson’s recent and quite excellent albums.

The BEST COVER SONGS of 2011 (The Year-End Review Awards)

By Chris Moore:

What better way to kick off a Monday at the Laptop Sessions acoustic cover song music video blog than to unveil the Weekend Review’s picks for the top ten cover songs of 2011.  After all, this is kind of our thing.  And this has been a busy year for covers.  Not only were there two – not one, but two! – collections of Buddy Holly covers released as tribute to the legendary singer/songwriter in 2011, but there were also two covers EPs put out by Relient K.  This is not to mention Brian Wilson digging back to his childhood (farther back than the Gershwin brothers this time) for the inspiration to In the Key of Disney.

A regular amount of covers wasn’t enough for 2011.  No, no: 2011 needed more covers!  Now, as you’ll recall from our mission statement, it has always been the goal of this blog to put an end to the proliferation of bad covers on YouTube.  In keeping with that tradition, we will now take the time to recognize these non-YouTube covers that have demonstrated excellence this year, standing out from the pack of mediocre (or worse) ones:

1)  “(You’re So Square) Baby, I Don’t Care” – Cee Lo Green (Cover of Buddy Holly)

2)  “Caroline No” – America (Cover of the Beach Boys)

3)  “Here Comes My Girl” – Relient K (Cover of Tom Petty & the Heartbreakers)

4)  “Colors of the Wind” – Brian Wilson (Cover of the Disney song)

5)  “Baby” – Relient K (Cover of Justin Bieber)

6)  “Not Fade Away” – Florence and the Machine (Cover of Buddy Holly)

7)  “Interstate Love Song” – Relient K (Cover of Stone Temple Pilots)

8)  “It’s So Easy” – Paul McCartney (Cover of Buddy Holly)

9)  “Listen to Me” – Brian Wilson (Cover of Buddy Holly)

10) “You’ve Got a Friend in Me” – Brian Wilson (Cover of the Disney song)

 

Honorable Mention:

“Surf Wax America” – Relient K (Cover of Weezer)