MY TOP 10 ALBUMS OF 2012

When the general manager at my work asked that all staff create a list of their ten favorite albums of 2012, I squirmed with excitement. Being an obsessive person, with obsessive person tendencies, this is the type of task that I thrive on.

It took me a long time to narrow the list down to just ten albums. Seriously, where do you start? After considering all of the variables, I think I crafted a pretty stellar list.

10. Foxy Shazam - The Church of Rock and Roll
Though hailing from college radio charts for some time Foxy Shazam had never really piqued my interest before this year. They are an indie glam band that belongs in the 70’s. Foxy Shazam released an album this year called The Church of Rock and Roll which was produced by The Darkness’ Justin Hawkins.

Hawkins influence is extremely noticeable. Not to mention the unparalleled resemblance to Freddy Mercury vocals and David Bowie stylings. The initial song that sparked my interest in the album was ‘I Like It’ with complete thanks to the thick guitar and Robert Plant-esque power vocals.

As a whole The Church of Rock and Roll is a theatrical, glam rock effort best enjoyed loud - maybe in a seedy bar. It’s jaunty, and memorable.

9. Tame Impala - Lonerism
Read this.

8. Gary Clark Jr. - Blak and Blu

Since the release of his EP almost two years ago, and after seeing Gary Clark Jr. live at Lollapalooza I was dying for more. It is a difficult time for the blues. Clark’s raw talent exceeds that of any other up and coming solo blues guitarist right now. Discovered by Eric Clapton and being compared to greats like Jimi Hendrix, and Stevie Ray Vaughn, GCJ has a big role to fill.

Blak and Blu portrays his obvious knack for blues style guitar, but the album as a whole can also be described as an R&B album. B&B is full of funk, blues and buttery grit and rhythm. It is clear that Clark is best when left to rip on his guitar though. His playing is down right dirty; all encompassing. And, while tracks like ‘Ain’t Messin’ Around’ are great, his talents are really laid out in ‘Please Come Home’ where we experience Clark’s falsetto which preceeds slick passionate guitar about 1:37 mins into the song.

Gary Clark Jr. is seemingly easy to overlook because of his overall humble demeanor - also not unlike the late great Jimi Hendrix. After taking a closer look it becomes apparent that his talent is unparalleled. Blak and Blu is to be celebrated by any modern day blues worshiper.

7. Yukon Blonde - Tiger Talk
Read this.

6. Bahamas - Barchords
Read this.

5. The Sheepdogs - The Sheepdogs
Read this.

4. Alabama Shakes - Boys & Girls
Though a newer band (formed in 2009) Alabama Shakes play like they have been creating together for decades. The Shakes depict a new kind of southern rock/blues/rock soul. Britany Howard, the voice fronting the blues based goodness, has a  soul infused voice that is reminiscent of another time. Her southern soul infusing into Alabama Shakes southern rock band is not unlike the great works of Janis Joplin or Tina Turner.

‘Be Mine’ is probably B&G’s stunner. Howards smoky rasp aside, the rest of the band are able to show off their bluesy guitar knack. The intensity displayed on ‘Be Mine’ is years matured, making it difficult to believe that this is only The Shakes first album.

The howls, tight guitar licks, rootsy take on the blues and soul rock music is not matched to any other group this year. I mean, no other group has Brittany Howard.

3. Jack White - Blunderbuss
In the same fashion the world spread the good word, ‘Clapton is God’, all over England in the 60’s, I wish to share the message ‘Jack White is Genius’. Spread the word. I’ve seen White three times live now - and I’m surprised not more. The first time with the White Stripes, the second with the Dead Weather and the third as a solo act (unfortunately never with the Raconteurs). This man is a genius. I don’t care who wants to dispute this, I won’t listen. It is fact in my mind. The sheer versatility, openness and musical master mind ability that Jack White possess is enough to leave you dumbfounded and hating yourself for not being a better… anything.

Blunderbuss made me nervous. I thought if this isn’t perfect, he’s screwed. Jack White has created a persona for himself, one that I have bought, and if that persona is at all altered in a negative way, he’s shot. Thankfully, Blunderbuss delivers. It is chalk full of inventive garage rock, dabbling with raw blues riffing. Being a multi-instumentalist himself, it is no wonder that the spotlight is shared with varying parts of the Blunderbuss outfit.

White’s Detroit music influence will forever be prevalent. But it is his Nashville impact that shines through on key tracks like ‘Love Interruption’. There are so many layers to Blunderbuss that well represent Jack White. In ways it can be viewed as a folk album, while parts sound country. As a whole it is perfection.

2. Mumford & Sons - Babel
Read this.

1. The Shins - Port of Morrow
Read this.

2012 Album Roundup; Bruno Mars (Unorthodox Jukebox)

Bruno Mars - Unorthodox Jukebox
Released: December 11, 2012

I’ve been receiving more than my fair share of flack recently regarding Bruno Mars’ latest album Unorthodox Jukebox. I like it. The album, not the flack.

Like the vast majority of friends and acquaintances I surround myself with whether it be through work, play or twitter I too did not expect UJ to be my cup of tea. When I explain to someone that I do in fact think that Bruno Mars did an excellent job in representing his skill set on this album, in a more than appealing way I am faced with the same dumbfounded looks - more often than not.

With that said, let me break it down for you. Unorthodox Jukebox is not my favorite album of the year. Not even close. But that does not take away from the fact that it was well done, and has many parts of which appeal to me.

Bruno Mars is a keener. He is that kid in class who everyone likes, and wants to hate, but really just loves. He’s the kid who can say something to make the teacher blush, and talk his way out of lunch detention. He’s also the kid who will help you with your homework and ride bikes with you afterward. It’s difficult to dislike the guy.

Coming from a genuine place with an obvious understanding of primitive music origins, with attention to styling details, Bruno Mars has released a genre varying musical expose. At the forefront it is an R&B album with an unrequited dose of pop music. Delving into the depths of UJ, you can find so much more.

Have you even wondered what it would be like if Michael Jackson had been the forefront of The Police rather than Sting? No, I hadn’t either. But on Mars’ first single off UJ , ‘Locked Out of Heaven’ you get a feel of what that experiment would be like. And while it sounds like an awful idea, it works. ‘Locked Out of Heaven’ is unbearably catchy leaving you helplessly repeating “eh-eh/eh-eh-eh-eh-eh-eh/oooh” alongside Mars. The beat is steady, easy to follow and enjoyable.

By the way, the theme of this album is sex. Whether Bruno Mars is talking about having her, or getting her back, the pith of his message is what he did or wanted to do to her. This is clear in ‘Gorilla’, another MJ inspired track frothy with sweat.“You’ll be banging on my chest/ bang bang/gorilla. You and me baby makin love like gorillas”. The vocals sound like a clean, tuned up version of the Weeknd. From ‘Gorilla’ Mars moves to ‘Treasure’ a pop funk jam revealing his versatility and influence.

Like every experimental artist Bruno Mars dabbles in reggae/dancehall on ‘Show Me’. It’s typical and what you would expect of the keener. But, it’s good. And will end up on someones stoner soundtrack. Well done Mars. ‘If I Knew’ is a favorite of mine. The lyrics are not particularly tonic, but as his soul effort off Unorthodox Jukebox I think Mars nailed it. Otis would be proud.

The album ends with a duet with jazz sensation Esperanza Spalding called ‘Old and Crazy’. It’s a lovely end to the genre infused trip. I want to put on a frilly dress and transport back to post WWI. The old timey piano, and sax is a fun, daring final attempt.

Bruno Mars has corrected all the errors he made when creating Doo Wops and Hooligans. Unorthodox Jukebox is eclectic, it’s thought out, it’s really good. And, while it is clear that his sound resembles that of so many others; Michael Jackson, Prince.. - not so unlike a popier Mayer Hawthorne - he has donned his genres with his own special touches. This will likely be Bruno Mars’ greatest piece of work. He is damn talented.

Excuse me while I go listen to it again.

Something's Got Ahold On Me (Etta James)

I don’t mind when modern artists sample other artists work. Often times the newer artist reinvents it and is able to make it their own, shielding their thievery. Cool. What grinds on my nerves, though, is that the original artist is so rarely, clearly acknowledged.

When Kanye West and Jay-Z sampled Try a Little Tenderness they were wise enough to name the track ‘Otis’ after the genius [Otis Redding]. Despite the fact that the song that the two rappers wrote has absolutely nothing to do with Try a Little Tenderness besides the repeated sample, and came off as braggy - no surprise - and mostly irritating, mutilating the best soul song ever written, at least they had enough class to credit Redding.

Musicians are constantly borrowing from other musicians. It’s easiest to do in this day with the excuse “it’s all been done before”. Within the last few years there have been some not so obvious ones; Lupe Fiasco using Modest Mouse’s bass line from Float On in his 2010 hit The Show Goes On. I thought his usage of Modest Mouse’s beat worked really well with his initial ‘Laser’ single. The two complimented each other well, and worked. There have also been instances where the references were extremely obvious; Pitbull thrives on sampling. From using Harry Belafonte in Shake Shake Senora with T-Pain and Sean Paul to sampling Mickey & Sylvia’s Love is Strange on his Men in Black 3 song Back in Time, Mr. Worldwide doesn’t shy away from a little sharing.

Until recently sampling hadn’t irked me so much. It wasn’t until a song by (arguably) one of the best female blues voices we will ever know had her song taken and remixed over and over again that I became a wee bit annoyed.

In 1962 Etta James released a self titled album matching in calibre to her album premiere At Last!. It was the blues powerhouse’s third record. On this third album James displays her vocal range and gives evidence to her songstress monstrosity. This self titled album laid out James vigor. It was dancing in the mud with a clean dress on. Dirty and so so so sweet it was sinful.

In 2011 Avicii released a song he mixed called Levels. He used Etta James Somethings Got A Hold On Me as the founding sampling of the song. He made it catchy, danceable and a perfect club scene romp. Flo Rida, riding on Avicii’s coat tails, took (seemingly) Avicii’s mix and created his own flavor for Somethings Got A Hold On Me and called it Good Feeling. Like Avicii, the song was club suitable and beyond catchy. These two weren’t the only ones to sample the blues all star, Pretty Lights is among a throng of electronic acts who followed in Avicii’s footsteps.

There is nothing wrong with any of these artists using Etta James in their jams. What bothers me is the little recognition that James is receiving. Drunk off their ass party goers likely have no clue how much the late blues goddess contributed to their party anthems.

In an attempt to educate the unknowing youth, please listen to [late] Etta James sing her song Something’s Got A Hold On Me.