Review of the Day: ‘Natural Disaster,’ Greg Attonito (2011)

Over the course of two-plus decades, The Bouncing Souls have shown us how a punk band can and should grow up gracefully. Their most recent releases—2006’s “The Gold Record” and 2010’s “Ghosts on the Boardwalk”—are arguably the best of their career, delivered as these New Jersey misfits hit middle age. They succeeded by never losing their youthful vigor, even as it was tempered by maturity. Frontman Greg Attonito has spent his entire life writing and singing about his central themes of love, loyalty, friendship, and a sense of community that can make a difference.

His bandmates’ jaunty riffs and boundless energy are key to making those ideas not seem trite and rote. Unfortunately, when you take the Souls out of the equation, the flaws in Attonito’s game are glaring.

His new solo EP is aptly titled. It’s a mess—offering blink-and-you've-forgotten-them melodies riddled with cringe-worthy lyrics that—not buoyed by the Souls’ effervescent sound—come across mostly like the scribbles of a moony teenager in his first creative writing class. “I love you … your voice … your scent,” drones “Cincinnati Dream”; “I wanna see the colors of my soul/I wanna break the boundary of rock and roll,” opines “Teardrops”; opener “How Many Songs” (which musically tries way too hard to be “interesting”) naively reiterates the tired notion that a love song can “change the world all over.”

But by far the worst is “Sexiest Girl,” which opens, “The sexiest girl in the world is you, it’s true.” More embarrassingly awful couplets ensue that I refuse to print here. It’s one of the worst songs I’ve ever heard.

The remaining two tracks save “Natural Disaster” from being just that. “Volcano” is a nice acoustic ditty that could’ve fit on the “Juno” soundtrack and gets bonus points for incorporating a muted trumpet. Country ballad “Eyes,” meanwhile, is easily the best cut on the EP and the only one I can recommend from this release with no hesitation. It’s wonderfully soulful and sweet (in a good way).

I give Attonito credit for trying, I guess, but “Natural Disaster” merely reiterates how perfectly the Souls’ talents complement one another. Because it didn't quite bother me until now, but the band's frontman has been saying the same thing for a really long time.

Grade: D+

Favorite Track: “Eyes”

Least Favorite Track: “Sexiest Girl”

CD of the Day: ‘Bon Iver,’ Bon Iver (2011)

Bon Iver symbolizes everything I’ve grown to despise about indie music. From the restrained (some might say precious) falsetto vocals right down to the bushy, unkempt beard that is a requirement of the scene. I even bristle at the pretentious way you’re supposed to say the name (it’s pronounced “bone e-vair").

So why is it I’ve been listening to this album so much? It starts with a drum part.

“Bon Iver” opens with a plaintive guitar melody as intro to first song “Perth.” A backing choir slides into the song next, followed by a muted military snare cadence. Justin Vernon (the actual “Bon Iver”) sneaks in next, adding his nearly indecipherable high-pitched, yet warm voice. The music swells and ebbs like a wave, adding bits and pieces of other little sounds until, at 2:32, this monstrous drum pattern explodes into the mix, pounding away like indie Metallica. There are no lyrics the rest of the way, but a horn section joins the fray. By the last burst of sound, you have one of my favorite songs of the year.

That drum part, which lasts less than two minutes, unlocked this whole album for me. I’m not as enthralled with the rest of “Bon Iver” as I am of “Perth,” but that’s not to say there aren’t some fine moments. “Minnesota, WI” has some funky elements that remind me of TV on the Radio, while “Holocene” is another slow-building acoustic gem. Lead single “Calgary” aptly summarizes the entire album with its lush, heavy synth-and-percussion arrangement (even if it does sound uncomfortably too close to Coldplay in the first few bars), and “Towers” bounces along like the best song Tom Petty never sang in falsetto. I don’t even mind the Peter Cetera-style closer, “Beth/Rest,” which so many critics seem to revile (but maybe that’s just because I like Peter Cetera).

I lose patience with the middle trio of songs, though. "Michicant" and "Wash" are decent, but "Hinnom, TX" kinda sounds like Jemaine Clement doing David Bowie. Together, these three slow tracks bog down the middle of the record terribly.

“Bon Iver” is challenging work that sets a definite mood. It’s the type of music you don’t put on just for background noise; like The National, it's great for driving by yourself on a dark night. My guess is you’ll either really like it or really, really won’t. Before I ever heard it, I certainly would’ve put myself in the latter category. And I would’ve missed out on one of my favorite albums of the year.

Grade: B+

Favorite Track: “Perth”

Least Favorite Track: “Hinnom, TX”

My Favorite Movies of 2010

In honor of tonight’s Academy Awards, let’s all put 2010 to bed. I’ll do my part here with my favorite films from last year:

9. The Town

Ben Affleck, where you been all my life? This guy is undergoing a career resuscitation the likes of which are rarely seen. First, his sparkling directorial debut “Gone Baby Gone,” and now this, a tense thriller that is worthy of being mentioned in the same sentence as “Heat.” And, man, Jeremy Renner is must-see viewing once again.

7. The Fighter/True Grit

These are listed together because they both left me feeling the same way: They’re both solid genre films with excellent performances, but neither raises to the level of truly “great.” That’s not a knock on them, either. It’s just we’ve seen the boxer/Western before; making a film that doesn’t just parrot the genre is an achievement in itself, and these are both excellent examples of well-worn areas. But neither rose above their respective worlds to set themselves apart.

6. The A-Team

This is where I remind you, this is not a “best of” list, but rather a ranking purely on favortism. “The A-Team” is not a better movie than those listed above it, but it was such a pleasure to watch. This should’ve been a bigger hit than it was. The casting is the key: the four leads—Neeson, especially—take their roles seriously and give the film a gravitas most stupid action movies lack. It helps, of course, they have a great script to work with, packed with one-liners that leave you chuckling long after the credits roll. Pure fun, this one.

5. Inception

I didn’t actually love this movie; the gotcha ending was extraordinarily irritating. But I rank it this high because it was so fascinating. Christopher Nolan has a singular vision, and he’s the only director working in Hollywood today who could’ve pulled this off—the Spielberg of this generation. We always complain about not seeing anything original in the Cineplex … well, you certainly can’t make that claim here. Nolan twisted our minds and our senses into pretzels this summer, and irritating ending or not, it left us all talking afterward. That, alone, is a worthy achievement. Add the stunning visuals and whirlpool storytelling, and “Inception” is one I think we’ll still be talking about a decade from now.

4. Harry Potter and The Deathly Hallows—Part 1

Director David Yates pulled off a magic trick of his own with this one, somehow making J.K. Rowling’s complex mythology (confusing even when reading her novel) understandable. And along the way, he made a movie with the heart and soul of an indie wrapped in the budget and trappings of a blockbuster franchise. Not many directors would take the time in a production like this to allow for one of its best scenes: Harry and Hermione’s dance in the darkest of nights. The best installment yet of this series, “Deathly Hallows—Part 1” will go down as “The Empire Strikes Back” of the Potter films.

3. Get Low

The most underappreciated, underrated film of 2010. Robert Duvall, Bill Murray, Sissy Spacek, and Lucas Black (you know, the kid from “Sling Blade”) all give outstanding performances in this story of love, betrayal, guilt, and redemption. It starts out as an offbeat comedy about a man planning his own funeral, and then in Act 3 morphs into a touching tale of a man in search of forgiveness for a sin he’s carried with him for far too long.

2. Toy Story 3

If asked a different day, this may be my favorite film of last year. A true masterpiece, Pixar somehow managed to top itself yet again in its signature franchise. Laugh-out-loud funny, edge-of-your-seat exciting, jaw-droppingly imaginative (toys as mafiosos!), and an ending that can make grown men cry … this is a tremendous film for all ages. Its message of looking to the future and not clinging to the past is one to live by.

1. The Social Network

A portrait of an online artist as a young man, this fascinating and gripping tale of Facebook creator (?) Mark Zuckerberg left me pondering for days what the cost of fame, wealth, and success. Aaron Sorkin (though I loathe him personally) delivers the crowning achievement of his career with a script that deftly weaves what is essentially two legal proceedings into a spellbinding narrative. Add the sure hand of director David Fincher, a career-defining performance from Jesse Eisenberg, and the fact “The Social Network” left me puzzling over its revelations for days, and that all adds up to my favorite film of 2010.

***

A Note About ‘The King’s Speech’

I understand why this film earned so much critical acclaim and so many nominations, but it left me feeling too cold to make this list. Colin Firth, Geoffrey Rush, and Helena Bonham Carter are all outstanding, but Firth’s character is a little hard to root for. I hope it doesn’t win tonight.

‘Unknown’

Ah, I had such hopes for this movie. “Taken” is one of my favorite films of the past five years, so the idea of Liam Neeson stomping around Europe again in another leather jacket had me looking forward to another go-round. Heck, it even has an abrupt, one-word title!

This is why the marketing people at Warner Bros. make so much money, because I’m sure there were thousands and thousands just like me who went out to see this dreck based on those same warm, fuzzy “Taken” feelings. Unfortunately, the similarities end just about there.

“Unknown” is like a combination of “Taken,” “The Bourne Identity,” and “The Fugitive”—with all the bad clichés and none of the smarts and wit of those three far superior films. The story starts off quite well, with Neeson as a biologist in Berlin for a big conference who gets into a car accident and has his brain rattled (hello, Mr. Bourne). So he then tries to piece his life back together and prove he is who and what he says he is (hello, Dr. Kimble). All the while, he’s dodging shady people in dark SUVs trying to capture and/or kill him. Why on earth is this happening to him? That’s actually a very intriguing question that Neeson handles with the grace and charm you love him for.

It all starts to unravel, though, right around the time Neeson escapes his stalkers via an obligatory car chase through the streets of Berlin (not a cop car in sight!). There is no way a middle-aged scientist should be able to drive like that, and it’s the first hint all is not what it seems in “Unknown.”

Ever since “Taken” was so resoundingly embraced by conservatives for its strike-first-strike-hard-no-mercy-sir! attitude toward bad guys, I think Neeson’s been scrambling to resuscitate his liberal cred. First he said C.S. Lewis’ Narnia novels weren’t strictly Christian stories (please!). And now he stars in a movie where a poor, plucky, working-two-jobs-to-get-by illegal immigrant plays a critical heroic role, all the while an American government/big business complex tries to steal an agricultural development that would, of course, feed the poor around the globe for free. Can't have that! Give me a break. It’s all so stereotypical, unoriginal, and, worst of all, boring.

It’s no surprise that “Unknown” veers dramatically off course as soon as these ideological elements begin to make themselves clear. The third act is so stupid—with dialogue to match (this movie even makes January Jones sound terrible)—people in my screening were laughing. And not in a good way. I just rolled my eyes and got the heck out of there.

At least I’ll always have “Taken.” Maybe I’ll go watch that again to get the taste of this disaster out of my mouth.

Grade: D+

'This Is Where the Fun Begins': The Avett Brothers, Live in D.C., 2.18.11

Sunday night’s Grammy performance was a big one for The Avett Brothers, perhaps the most important five minutes of their career. Paired with Bob Dylan and Mumford & Sons, these good ol’ boys from North Carolina were one of the most buzzed-about groups both before and after the show aired, exposing them to millions and millions of people who I’m sure had never heard their brand of bluegrass/folk/country/punk/rock before. Even Tony Kornheiser gave them a shoutout on his TV show, “Pardon the Interruption.”

They didn’t directly address the Grammys during their show Friday night at D.C.’s soldout Constitution Hall (their first gig since), but they let their songs do the talking. I believe it is absolutely no accident they opened with “Murder in the City,” a gorgeous ballad off 2007’s “The Second Gleam” EP that features just Scott and Seth Avett, one guitar, one mic, and one spotlight. The key line goes like this:

A tear fell from my father’s eyes

I wondered what my dad would say

He said, “I love you and I’m proud of you both

In so many different ways.”

So, yeah, it’s only two minutes into a nearly two-hour show, and I already have goosebumps. There would be more.

The Avetts certainly show no signs of folding under the pressure of their burgeoning fame. Friday’s show sold out long before the Grammys, and Constitution Hall is the largest D.C. venue the brothers have headlined to this point. Their sound and stage presence is so assured, they definitely did not seem undersized for the room. The big, full-band moments exploded off the stage, while the quiet numbers were captivating.

The key, I think, is how authentic and genuine they are as they go about their business. These songs they play are too intense—be that intensely emotional or intensely fun—to just go through the motions. And it’s not like this is some outsized rock outfit that can rely on squalling guitars for support: They go up there with an acoustic guitar, banjo, cello, stand-up bass, and occasional drumkit and piano and just let fly. At the end of “Kick Drum Heart,” for example, Seth did something I’ve never seen before: to punctuate the heartbeat drum cadence at the end of the song, he walked back to their stage drape and started hitting it in time with the kick drum, causing the whole thing to flutter like a heartbeat. At another point he climbed on top of their gear boxes at stage right—almost into the laps of the people in the box seats—to lead a crowd singalong. As is his practice, meanwhile, Scott broke a banjo string rather early in the show (see start of "Paranoia" video below).

I’ve only been listening to The Avett Brothers for a year or so. Their catalog is so deep I haven’t had the time to explore it all and know every song from the first chord, like I do with my favorite bands (that will change, though, after this show). But their songs are the kind that feel like best friends by the end, even if you’ve never heard them before. Their music is one big open invitation to come join the family. They played three unreleased cuts Saturday night, and the best for me was easily “Open-Ended Life,” a wide-open rocker that’s one of the most straightforward uptempo songs they’ve ever written. This must be on their next album.

I guess they’re still technically touring off their breakthrough album, 2009’s “I and Love and You,” but you’d never know it by the setlist, which reached as far back as “November Blue” from their first full-length album, 2002’s “Country Was.” Every album had at least one representative at the party, most notably 2007’s “Emotionalism.”

That record’s “Paranoia in Bb Major” was one of my favorites of the night. Again, I believe this song was intentionally selected with the Grammys in mind, due to this utterly appropriate verse:

I’ve found myself in

A place that I’ve never been

A place that I thought that I would never be

These people looking back at me

Cue 3,700 voices raised in a unified cheer. More goosebumps.

The two showstoppers of the night, however, were probably their two best-known songs. “I and Love and You” was the perfect way to close the main set, as that song builds to a huge crescendo and then ends with a massive a capella singalong. And then there's “Head Full of Doubt/Road Full of Promise.”

This is the song they played Sunday at the Grammys, and I thought it was a poor choice. Following Mumford & Sons’ intense intro, the Avetts pushed “Doubt” too far to try and match (or perhaps it was just nerves). Back in the friendly confines of their own show, though, they played it with just the right mixture of strength and tenderness. What I love so much about this track is how everyone on it shines: when it hits that final glorious chorus, the entire band is at full power, and the heady brew they stir up is exactly right for whatever room they’re playing. If The Avett Brothers have written a better song, I haven’t heard it yet.

The show wasn’t perfect, but that had nothing to do with the band and everything to do with the venue. Constitution Hall is a horrible place to see a concert. The sound is often muddy and difficult to mix (Scott’s banjo was lost early in the show and the bass was up way too high). The seats are so close together on the floor it’s almost impossible to move and dance around with any genuine fervor. And the room’s just big enough to let in the tourists, yet small enough that those same morons can shout obnoxious things during quiet moments (quiet songs included!) and still be heard clearly. Can someone just go build a 9:30 Club that’s about three times the size of the original?

That said, the Avetts’ abundant joy easily overcame these shortcomings. Theirs is the type of show where you clap your hands until they’re red and sore … and then just keep clapping some more.

The Avett Brothers

Constitution Hall

Washington, D.C.

2.18.11

Murder in the City

Salina

Kick Drum Heart

Down with the Shine

Pretty Girl from Cedar Lane

January Wedding

Paranoia in Bb Major

Slight Figure of Speech

NYE Song

Will You Return

I Killed Sally’s Lover

Colorshow

Sanguine

Bella Donna

Shame

Head Full of Doubt/Road Full of Promise

Open-Ended Life

November Blue

Go to Sleep

I and Love and You

ENCORE

And It Spread

Distraction #74

Talk on Indolence

Show Time: 1 hour, 50 minutes

‘And Now A Thousand Years Between’: Robert Plant and the Band of Joy, Live in D.C., 2.1.11

So there he was, one of the legendary hedonistic rock stars of all time, standing at the front of the stage bathed in red light, singing about Satan. Only now, Robert Plant is performing a song about Satan’s destruction.

What a strange and wonderful career Plant has had—certainly the most productive and fulfilling of any of his former Led Zeppelin bandmates. He’s changed his sound effortlessly over the years to suit his ever-curious musical inclinations. At 62, Plant has found yet another muse in America’s traditional music, the stuff of Tennessee mountains and Mississippi riverbeds. It started in 2007 with his unlikely but sublime pairing with Alison Krauss, and continues today with his own Band of Joy, an all-American all-star cast.

Plant brought the Band of Joy to D.C. Tuesday night for an intimate gathering (for him, anyway) at Constitution Hall. The nearly two-hour set was a countrified showcase of Plant’s entire career, from his work with Zeppelin through his solo stuff and, of course, several selections from his excellent new release, 2010’s eponymous “Band of Joy.”

The Band was more rambunctious than Plant’s last time in the D.C. area with Krauss and T-Bone Burnett, but not as much as I expected. Plant kept himself in check for much of the night, only occasionally letting rip with his Golden God howl (which is still in fine form). He was clearly pleased to be onstage with the likes of Buddy Miller (lead guitar/vocals) and Patty Griffin (vocals), as he meshed with instead of sang over them. In fact, some of the best songs of the night came when Plant moved to the back of the stage and let his bandmates take the lead, most notably a wonderful version of “Satisfied Mind” with multi-instrumentalist Darrell Scott out front. Plant’s harmonica work on Miller’s bluesy “Somewhere Trouble Don’t Go” was fun, as well.

Though Plant didn’t choose my two favorite songs off “Band of Joy” for this particular night (“The Only Sound That Matters” and “Central Two-O-Nine”), he still showcased why this latest effort really is such a joy. Highlights included the silky smooth “Harm’s Swift Way,” the slow burn of “Cindy, I’ll Marry You Someday,” and “House of Cards,” which ends with Plant, Griffin, and Miller harmonizing at full throat.

Plant chose three songs from his solo career; two of them—“In the Mood” and “Tall Cool One”—were fantastic, while “Down to the Sea” was just OK and killed a bit of the momentum early in the show. “In the Mood” was slowed down to an elegiac chant, while “Tall Cool One” brought all the flair you’d expect.

But, let’s be clear here, the best selections of the night were, of course, the Zeppelin tracks, all of them reworked into classic Americana.

The show opened with a stripped-bare version of “Black Dog” similar to the one Plant revamped for his shows with Krauss, with perhaps a half-step up in intensity. “Tangerine” was as beautiful as you’d hope it would be, while the Band allowed Plant to embrace the folk roots of “Ramble On” and “Gallows Pole” with more strength than their original incarnations. “Rock and Roll,” meanwhile, was transformed into a honky-tonk juke joint stomper. And Plant made my night by including a verse from “In My Time of Dying” into his medley of spirituals with Patty Griffin.

My favorite Zep track of them all, though, was a total surprise: “Houses of the Holy” has never been one of my upper-tier songs, but Plant’s rootsy reworking of it with the Band of Joy turns it into a masterpiece. He slows it down and allows Miller to give it a pure country ballad flair that builds into a spectacular final minute where the Band really kicks in and lets loose, spurring one of Plant’s most impassioned performances of the show. It’s wonderful stuff, and I encourage you to check it out below:

It seems to be fashionable in the blogosphere these days to undermine Plant’s work with Krauss, but you’ll never hear that from me. I missed her presence at this show, even if it did allow Plant to expand his horizons even further. But I continue to watch in amazement at the transition Plant’s made these past few years. He’s experiencing a career resurgence the likes of which most artists his age could never dream of. He could go out and make a bazillion dollars touring with Led Zeppelin, but instead he’s content and excited to play challenging little shows in venues like Constitution Hall.

The magic didn’t last with Krauss, which saddens me. Here’s hoping Plant can keep this Band of Joy together for awhile, because if Tuesday’s concert is any indication, they have a lot of potential left to explore.

Robert Plant and the Band of Joy

D.A.R. Constitution Hall

Washington, D.C.

2.1.11

MAIN SET

Black Dog

Down to the Sea

Angel Dance

Houses of the Holy

Satan Your Kingdom Must Come Down

Move Up (Patty Griffin)

Cindy, I’ll Marry You Someday

12 Gates to the City/Wade in the Water (Griffin)/In My Time of Dying

Satisfied Mind (Darrell Scott)

Tangerine

Harm’s Swift Way

House of Cards

Somewhere Trouble Don’t Go (Buddy Miller)

Monkey

You Can’t Buy My Love

Ramble On

Tall Cool One

Gallows Pole

ENCORE

In the Mood

Rock and Roll

And We Bid You Goodnight

Show Time: 1 hour, 45 minutes

The Music of 2010

Despite my CD of the Day project that dusted off some older CDs in my collection, I still made plenty of time for great new music in 2010. As is my Black Friday custom, all of the music below comes with the highest possible recommendation as you search for stocking stuffers and the like.

ARTIST OF THE YEAR

Trombone Shorty

I’d never heard of this young New Orleans phenom until this year, and then it seemed like he was everywhere. And with good reason. Troy “Trombone Shorty” Andrews plays with a fire in his belly, whether he’s attacking his audience with his eponymous instrument, squealing on trumpet, singing, or dancing his way across the stage. The guy is electric, both on his new record, “Backatown,” and in concert. His blend of rock, funk, hip hop, and R&B is infectious, envigorating, and, as a trombone player myself, inspiring. His show at the 9:30 Club in August was so great, we’re going back for more on New Year’s Day.

HONORABLE MENTIONS

The Avett Brothers

The Gaslight Anthem

Patty Griffin

Robert Plant

The Whigs

ALBUM OF THE YEAR

“American Slang,” The Gaslight Anthem (2010)

This should be no surprise, really, since I devoted five days and thousands of words to this spectacular album earlier this year. Everybody always talks about a “sophomore slump,” but third albums are tricky, too, and dangerous. Gaslight had a lot of pressure living up to “The ’59 Sound,” and they nailed it. And not by simply re-recording that album, but by going in a new, more difficult direction.

“American Slang” is the band’s finest record, their most well crafted. Brian Fallon was already one of my favorite songwriters of all time before this album, and yet his work here reaches a new level of depth. These are lyrics you want to sit with and read along to the music, spend time thinking about; I could quote at least a dozen favorite lines. What I love most is that he tackles difficult personal issues without losing his inherent optimism. This may be Gaslight’s version of “Darkness on the Edge of Town,” but there’s light at the end of their tunnel.

And the songs! As you’ll see below, I finally managed to settle on one, but at least five tracks from this album were considered my “favorite” at one point or another this year, and I still haven’t fully decided. Pop, punk, soul, classic rock … “American Slang” has it all, yet it all still sounds distinctly Gaslight.

The band set itself apart from its peers with this record.

HONORABLE MENTIONS

“Backatown,” Trombone Shorty (2010)

“Band of Joy,” Robert Plant (2010)

“Crazy Heart,” soundtrack (2010)

“Ghosts on the Boardwalk,” The Bouncing Souls (2010)

“Good Morning, Magpie,” Murder By Death (2010)

“I and Love and You,” The Avett Brothers (2009)

“In the Dark,” The Whigs (2010)

“The Promise,” Bruce Springsteen (2010)

“Soulsville,” Huey Lewis and the News (2010)

“Why You Runnin’” EP, Lissie (2009)

“You Are Not Alone,” Mavis Staples (2010)

DISAPPOINTMENTS

“High Violet,” The National (2010)

“Maya,” M.I.A. (2010)

“The Suburbs,” Arcade Fire (2010)

SONG OF THE YEAR

“Suburbia,” Trombone Shorty (from 2010’s “Backatown”)

Never would I have thought my favorite song of 2010 wouldn’t have a single lyric, but greatness is greatness, and “Suburbia” is great. There’s so much going on in this trombone-and-guitar manifesto I don’t know where lyrics would even fit, anyway. There’s so much power in this track; Trombone Shorty is absolutely blasting away on his instrument, with a backing band equal to his call. What I really love about this song, though, is how it moves and changes, shifting shapes in so many ways over the course of just 3 minutes 20 seconds. And yet, the powerhouse core riff is always there, waiting to explode again. Since I first heard this song, whenever I needed a boost of energy in 2010, I went straight to “Suburbia.”

25 HONORABLE MENTIONS

“Ain’t No Grave,” Johnny Cash (from 2010’s “Ain’t No Grave”)

Johnny Cash’s final album isn’t as good as the other American Recordings, but this track, which plays like a sequel to “God’s Gonna Cut You Down,” was worth waiting for. The sparse, chain-rattling chiller is one of his best from this series.

“All Those Yesterdays,” Pearl Jam (from 1998’s “Yield,” as performed live 5.13.10)

As I wrote back in May, this was one of my Pearl Jam “bucket list” songs. Never thought I’d hear it in person (they’ve only played it 13 times since 1998), but always hoped to. It did not disappoint. The closing track to my favorite Pearl Jam album was as majestic as ever.

“Awake My Soul,” Mumford and Sons (from 2009’s “Sigh No More”)

In the Star Wars novels from recent years, there’s a phrase the authors like to use: suit action to words. That’s the idea with this song. I do actually feel revitalized after listening to it. This was a strong contender for Song of the Year from a brilliant new band.

“Big Eyes,” The Bouncing Souls (from 2010’s “Ghosts on the Boardwalk”)

The Souls continued to stretch themselves with this album, and this song, in particular. It plays like a more serious take on the front-porch feel of “The Pizza Song.” With its acoustic rhythm guitar and overall toned-down vibe, this shows real growth and is one of the band’s best tracks.

“Bloodbuzz Ohio,” The National (from 2010’s “High Violet”)

Yeah, I hated this album. But if I only had one song to try and make someone a National fan, “Bloodbuzz Ohio” wouldn’t be a bad choice. Everything I love about the band is in this song: the pounding drums; the swirling guitars; the piano flourishes that dance around the edges; and Matt Berninger’s resonant voice, which sounds as good as ever here. This is the one song from “High Violet” that holds up to “Boxer,” which is the best compliment I can possibly give it.

“Cry to Me,” Huey Lewis and the News (from 2010’s “Soulsville”)

There’s a full post coming about this album of Stax covers, but for now let me just say: How great is this?!?! Huey and the News may be a fun bar-band-gone-huge from the ’80s, but this release, their first in years, demonstrates there was a lot of depth hiding behind those winking and smiling hit songs. Tough to choose a favorite, so this one may or may not be here for its association with the “Dirty Dancing” soundtrack.

“The Day,” Murder By Death (from 2010’s “Good Morning, Magpie”)

After a wonderfully idiosyncratic album, MBD reminds at the conclusion to “Magpie” they can still bring the apocalyptic heavy. “The Day” is spooky, scary, spectacular stuff. The last 30 seconds alone make this song one of my favorites of the year.

“Everywhere I Go,” Lissie (from 2009’s “Why You Runnin’” EP/2010’s “Catching A Tiger” LP)

If you’re gonna sing about angels, then you should probably have the voice of one. That’s Lissie, who stunned me with her 2009 debut EP's stark beauty. “Everywhere I Go” gets the nod here, but really any of those five songs could be considered a favorite of the past year. Unfortunately, she fell victim to pop sensibilities on her first official LP, which makes the inclusion of this song stand out like a sore thumb. Still, when she hits that “ANGELS” note … wow.

“Fallin’ & Flyin’,” Jeff Bridges and Colin Farrell (from 2010’s “Crazy Heart” soundtrack)

There are a handful of great songs from Bridges on this outstanding soundtrack to a spectacular film, but I went with this one because it was my favorite scene in the movie, when Farrell joins Bridges onstage. Bridges does this little motion telling Farrell to get back on the mic that I just love, like a dad showing pride for his son. Bridges is magnificent as both an actor and singer, and this is just one of several examples. (Farrell’s shockingly good as a Western vocalist, too.)

“Far Away,” Jose Gonzalez/“Deadman’s Gun,” Ashtar Command (from 2010’s “Red Dead Redemption” soundtrack)

“Red Dead Redemption” is one of the best video games I’ve ever played. Entertainment Weekly described the smash hit from Rockstar (“Grand Theft Auto”) like walking around in “Deadwood,” and that’s just about right. And not only is the game awesome, but so is the soundtrack. These two moody Western ballads come at crucial points in the game and set the perfect tone for what’s happening on screen. They’re a testament to the level of quality Rockstar achieved with this singular title.

“Head Full of Doubt/Road Full of Promise,” The Avett Brothers (from 2009’s “I and Love and You”)

The Avetts’ voices speak to me in an elemental way I’m a little at a loss to explain. It’s the clarity, I think. They sing with such grace, and power, and finesse, and energy—sometimes all at once, sometimes just pieces of those things. This song is also a good representation of the positivity the Avetts strive to create—in themselves, in their fans, in their world. It’s right there in the title: Everyone has doubts, but there’s always reason for hope; you have to use that hope to drown out the darkness in yourself. Be aggressive about it. It’s a song about living out your dreams, but the subject matter is handled frankly, realistically, and in that acknowledgement is its power.

This song includes one of my favorite lyrics of the past year:

When nothing is old, deserved or expected

And your life doesn’t change by the man that’s elected

If you’re loved by someone you’re never rejected

Decide what to be and go be it

Match lines like that to a sweeping, moving score, and you have one of my favorite songs of the year.

“Heavy in Your Arms,” Florence + the Machine (from 2010’s “Eclipse” soundtrack)

Florence Welch is on the verge of exploding into the popular consciousness. Her 2009 debut, “Lungs,” was one of my favorites from last year and it’s still gaining traction—one of those slow-burn situations. Last weekend she delivered one of the best “Saturday Night Live” performances I’ve ever seen, and next year she’s opening for U2. This song isn’t one of her very best, but it’s a more than serviceable introduction for the Twilight crowd, which certainly can’t hurt (just ask Paramore and Muse). The thunderous percussion, dramatic pauses and changes of direction, and, more than anything, Welch’s clarion-call of a voice … it’s all here in this track.

“Hundred/Million,” The Whigs (from 2010’s “In the Dark”)

The year I finally joined Facebook, The Whigs’ Parker Gispert summarized the digital age with this song: “There’s a hundred million people in my mind/Which is me, and which is not?” That’s the chorus of this sinewy rocker, which kicks off one of my favorite albums of the year.

“Hustle and Cuss,” The Dead Weather (from 2010’s “Sea of Cowards”)

I instantly fell in love with this lowdown, dirty piece of blues when it was used on the soundtrack for UFC’s hype series for the Brock Lesnar/Cain Velasquez heavyweight title fight in October. It played in the background as Lesnar went through his grueling, ferocious workout, and fit the mountain of a man perfectly. Even though Lesnar went on to lose that bout, I’ll always think back on the mixture of those images and this song with fondness. It takes Jack White an album to figure out his bands; he’s now three-for-three on second efforts, as “Cowards” is a significant improvement over last year’s “Horehound.”

“Kentucky Rain,” Elvis Presley (from 2009’s “From Elvis in Memphis: Legacy Edition”)

As I mentioned last year at this time, my appreciation for Elvis has grown steadily since visiting Graceland in 2008. It culminated this January, as there was quite a bit of hype surrounding Presley’s 75th birthday. I’m actually drawn more to his latter-career period, so after putting “Suspicious Minds” on my list for 2009, I went looking for more of the same and found this stirring gem on the bonus disc of “From Elvis in Memphis.” The entire album is great, but this was the track that most captured the power of “Suspicious Minds.” That man sure could sing.

“Long Hard Times to Come”/“On the Run,” Gangstagrass (from 2010’s “Justified” soundtrack)

My favorite new TV show of the season, Timothy Olyphant’s modern Western “Justified” was accompanied by two breakthrough tracks from Gangstagrass, who mixes bluegrass and hip-hop so well, I wonder why someone didn’t think of it a long time ago. “Long Hard Times to Come” plays over the show’s opening credits, while “On the Run” was in the trailer. Both songs perfectly capture the sentiment of the show and were crucial elements of why I loved the series so much. Can’t wait ’til February for Season 2!

“The Only Sound That Matters,” Robert Plant (from 2010’s “Band of Joy”)

Plenty of goodies to pick from on Plant’s outstanding new album, but this simple country-feeling ballad rose to the top, if for no other reason than the main guitar lick reminds me of Springsteen’s “My Hometown.” The only thing that could’ve made this charming effort even better is Alison Krauss’ voice.

“Orphans,” The Gaslight Anthem (from 2010’s “American Slang”)

I’ve gone back and forth and back again on which song to select from my Album of the Year. I finally settled on “Orphans” because it’s the capstone for the album—the mission statement. If I had to pick one line to summarize the entire record, it would be from “Orphans”: “And the clothes I wore just don’t fit my soul anymore.” It’s a song about moving on, standing on your own, establishing yourself. It is “American Slang.”

“Radioactive,” Kings of Leon (from 2010’s “Come Around Sundown”)

I love the sentiment of this song, that no matter how much things change you can always go back to your roots to find some clarity. It’s a fitting first single for this band, who became insanely popular between this release and their last, 2008’s platinum-selling “Only By the Night.” The gospel choir is a great touch, too, for one of the band’s best efforts.

“Rock Problems,” The Hold Steady (from 2010’s “Heaven Is Whenever”)

Craig Finn’s self-deprecating sendup of frontmen complaining about their success is a breath of fresh air. Over one of the hardest-rocking songs on his band’s new album, Finn speaks from a fan’s perspective about how those of us in the real world just can’t sympathize with his “rock and roll problems.” “This is just what we wanted,” Finn agrees. 1993 Eddie Vedder, are you listening?

“Snow Is Gone,” Josh Ritter (from 2010’s “Hello Starling” re-release)

So this folky gem would’ve been great any time I heard it, but it just happened to come across my radar following the worst snowstorm of my life. There couldn’t have been any better timing for a track that sounds like spring breaking through winter's gloom. I defy you not to at least tap a toe to this, which is like the best type of Ryan Adams song—only joyful instead of drunkenly morose.

“Sons of Liberty,” Frank Turner (from 2009’s “Poetry of the Deed”)

I’m sure Frank Turner is a liberal (aren’t they all?), but this song was a personal anthem this year as I watched President Obama, Nancy Pelosi, Harry Reid, and their ilk reshape our nation in their own socialist image. The last line of this rousing Irish folk/punk monster track eviscerates those who want the government to run their lives for them:

’Cause a man who’d trade his liberty

For a safe and dreamless sleep

Doesn’t deserve the both of them

And neither shall he keep

Amen.

“You Are Not Alone,” Mavis Staples (from 2010’s “You Are Not Alone”)

The inspired pairing of this gospel legend with Wilco’s Jeff Tweedy led to the latter’s best song in years. Tweedy’s duet here with Staples meshes so perfectly, it’s like their two voices become one. It’s a beautiful song, both lyrically and musically. More of this on the next Wilco album, please, Jeff.