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Posts tagged ‘Top 10’


In The Dust #12: The 10 Best Reissues of 2011

Once a week In The Dust rolls up its sleeves and digs to the back of the rack to find that record, the one you never knew you always wanted, the one that’s lost but not forgotten.

You’ve probably noticed a rush of lists lately, not only here at Thought On Tracks, but from every other music outlet. It’s that time of year, the output of new tracks slows and the critics begin to look back, not forward, as the calendar reaches its last page. We’ve seen the release of some brilliant new music this year, adeptly and diligently covered by our very talented authors, but as most of you may know, the eye of this piece looks not on the new, and this author’s sensibilities are dated and dusty. No release can better purse its lips and release one’s taste from the grime of age than the reissue.

Cleaned up, remastered, rediscovered, retooled, reordered, repackaged, revamped, the reissue is the music industry’s key weapon in the fight against time. Tastes change. Technology advances. Production slows and so does the heart. It is for all these reasons a reissue is necessary, to keep us from forgetting history in a society that is constantly looking forward, behaving as if it has none. Reissues, like Proust’s madeleine cake, re-invigorate a love that feels both lost and everlasting, tied to a period of life into which we are wholly thrust, through the channel of that love, and are allowed to somehow, indirectly, experience again. It is in this spirit that the best reissues are created: thoughtful, reverent, and comprehensive. It is in this same spirit that I present, in no particular order, for each is immortal in its own right, the 10 best reissues of 2011.

Brian WilsonThe Smile Sessions Box Set

What is there to say about an album that is at once completely incoherent and absolutely brilliant? Borne of utter insanity, Smile and its ancillary recordings are, not surprisingly, in large part utterly insane. Began by The Beach Boys in 1966 as an American answer to Sgt. Pepper’s, Smile held a reputation as one of the greatest and most fabled unfinished projects in the history of rock ‘n’ roll. The Smile Sessions Box Set collects all the tape from the definitive Smile sessions, recorded with The Beach Boys in 1966-1967.

Inextricably tied to its mastermind, Brian Wilson’s, mythical antics, deteriorating emotional condition, abuse of LSD and general erraticism, Smile, Wilson’s “teenage anthem to God”, was widely believed to be dead, forever lost to the annals of rock lore, but with the help of original lyricist Van Dyke Parks and musician and composer Darian Sahanaja, Wilson was able to finally complete the album, rerecording it in its entirety and releasing it in 2004.

John FaheyYour Past Comes Back to Haunt You: The Fonotone Years (1958-1965)

Many will not have heard of John Fahey, but if you like M. Ward, you like John Fahey. Ward admittedly built the bulk of his guitar style on Fahey’s brand of minimalist folk fingerpicking, often crediting with spawning its own genre, American Primitive Guitar. Borrowing from a number of American music traditions, Fahey yoked traditional musical strands of American roots together with world and the avant-garde to create something familiar, yet entirely unique.

Your Past Comes Back to Haunt You: The Fonotone Years (1958-1965) chronicles what one might call Fahey’s early nativist period, before he ventured deeper into the avant-garde. The collection is full of faithful interpretations of American music, from old Delta blues to Appalachian string ballads, western rumbles and stomps and beautiful, soul-stirring folk gospel. It is Fahey at his most natural, connecting with the music that, like his blood, sits just beneath the surface of his skin, waiting to leap from it like Whitman’s yawp. It is American musicology, and an American education, in a box.

Junior Wells’ Chicago Blues BandHoodoo Man Blues [Expanded Edition]

This selection should come as no surprise. Subject of the 6th In The Dust, Hoodoo Man Blues, by Junior Wells’ Chicago Blues Band, is long an author’s favorite. Widely regarded as one of the greatest blues records ever recorded, the 2011 reissue of Hoodoo Man Blues includes one unreleased song, “I Ain’t Stranded”, and loads of studio chatter and alternate takes, giving you a direct look inside the “blues bar band” world of Chicago’s Southside. For more, please see In The Dust #6: Junior Wells’ Chicago Blues Band – Hoodoo Man Blues.

Marvin GayeWhat’s Going On [40th Anniversary Super Deluxe Edition]

In March of 1970, Tammi Terrell, Gaye’s long-time singing partner, died six weeks before her 25th birthday of a malignant brain tumor. Gaye was devastated. He felt responsible for her illness and death. Refusing to perform or record, he withdrew from music altogether and tried out for the Detroit Lions, hoping to begin a career as a professional football player. He was unsuccessful, but this tangent lead to working with songwriters Al Cleveland and The Four Tops’ Obie Benson on a track called, “What’s Going On”, co-written for The Originals. Cleveland and Benson convinced Gaye to record the song himself, eschewing in a newly social, political and further spiritually conscious period in Gaye’s music.

Now, Marvin Gaye’s 11th record, and arguably his most famous, gets the super deluxe treatment. Rereleased with a whopping 28 bonus tracks, 16 of which have never seen the light of day, including a stripped down test mix of “What’s Going On”, original mono mixes of the album’s singles, and a ton of spare parts, alternate mixes and jams, this is a bevy of information on a truly significant American artist at the crux of his career.

Miles DavisLive In Europe 1967:Best Of The Bootleg Vol.1

Bop. Live. In Europe.

As if that isn’t enough, this recording of Miles Davis’s Second Great Quintet, the first in an intended series, features not only Miles Davis, the original cool cat, heir to Armstrong and Bechet’s thrones as king of the trumpet, it also boasts Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams, all of whom are fully-realized legends with storied and celebrated careers. This was at the time, and is today, one of the greatest bands ever assembled, and here they are raw, off-the-cuff, unfettered and uninhibited, playing the way the best bands play, fearlessly, dangerously, and in the best of all conditions for jazz: live.

The SmithsThe Smiths Complete

First thing’s first, this is not technically “complete”, so this is not the end of the road for those who want to own everything. They did leave some things out, but this is almost everything: the four studio albums remastered, three compilations of the singles and one-offs and a live record.

For those who know The Smiths, this is a condensed representation of the long and tumultuous career of one of the best bands of all-time. For those who don’t know The Smiths, this is a dense, cavernous route to the essence of a legendarily depressive and hopelessly romantic Manchester alternative rock band, Johnny Marr, its innovative guitarist, and Morrissey, its lead singer, one of the most notorious and iconic frontmen ever, master of tragic beauty:

And if a double-decker bus / Crashes into us / To die by your side / Is such a heavenly way to die / And if a ten-ton truck / Kills the both of us / To die by your side / Well, the pleasure – the privilege is mine

“There Is a Light That Never Goes Out” – The Smiths, The Queen Is Dead

In the words of another poet, the French Dramatist, Jean Racine, “a tragedy need not have blood and death; it’s enough that it all be filled with that majestic sadness that is the pleasure of tragedy”.

The Rolling StonesSome Girls [Deluxe Edition]

In a lot of ways an oddball in The Stones’ oeuvre, Some Girls attempts to bridge The Stones’ trademark roughness and modern pop trends. The result is weird, commercial and excellent. The group tackles disco, very faithful country and several strange, punkish brands of western, echoing, as does its cover art, the rising punk movement in the U.S. and their native Britain.

Much more polished than their previous work, and unabashedly more commercially ambitious, Some Girls shows The Stones at a point of portage: crossover into the rage and the popular, or turn around and go the way they came. What resulted is the last great record they ever made. This reissue includes an entire bonus disc of unreleased recordings made during the Some Girls sessions, further document of a band in flux.

Lee “Scratch” PerryReturn of Pipecock Jackxon

Credited by some as the originator of “dub”, Lee “Scratch” Perry is a reggae legend, instrumental in the growth of reggae and its acceptance across the world. His production techniques are a thing of wonder, widely influential and totally innovative, but his personal life is truly stranger than all. Known to defecate in champagne flutes as an illustration of man’s primitive and animalistic nature and secret them around his house for his wife to later find, Perry’s insanity runs very, very deep, and on Return of Pipecock Jackxon he wears it on his sleeve.

The final album to emerge from Perry’s infamous Black Ark studio in Jamaica before burning it down in a fit of rage to “cleanse himself of his sins”, Perry recorded Pipecock Jackxon during a period in which he frequented Amsterdam and took LSD in bulk. This string of various “escapes” from mounting social tension and personal stress produced what many see as Perry’s darkhorse masterwork, a rich opus expanding on the themes of his past work, while also hinting at a strange and promising future for reggae, dub, and even soul and R&B to come.

Ray CharlesSingular Genius: The Complete ABC Singles

106 songs and each better than the last, such is Ray Charles’s radical contribution to ABC Records during his 13-year tenure there. Recorded during what is known as Ray’s “crossover” years, the ABC singles are famous for racially integrating country and pop music, and for Ray’s legendary contract, one including several noteworthy stipulations like ownership of his masters, which virtually no one in the industry had ever received, much less a black artist. During this period Ray also realized his power as interpreter rather than author, ceasing to write new material and growing into the iconoclastic and idiosyncratic master of the popular standards for which he was famous in his later years. For fanatics, the set includes both the A and B sides of all 53 singles, 30 previously unreleased songs, and 21 receiving, for the first time, the digital treatment.

Louis ArmstrongSatchmo: Ambassador of Jazz

OK. Many of you are probably saying that this is cheating. Satchmo: Ambassador of Jazz will not be released in the U.S. for another three and a half weeks, but it’s Louis Armstrong. The rules do not apply.

Armstrong’s influence on music and the world is incalculable. Pioneer of “hot jazz”, scat singing and the trumpet as a solo instrument, Armstrong was truly a visionary, one-of-a-kind, and one the first black performers to completely “cross over”. As a musician he was second-to-none, and as a personality, he was irresistible. His importance, his grandeur, cannot, by any stretch, be overestimated and, honestly, it makes this author’s heart ache to even think about it.

This collection streamlines the former 10-CD Armstrong retrospective into a 4-CD set. Most will probably never need the 10 CDs containing virtually everything he’s ever done, but all should have it. At the very least, all should have this, for it is the gospel, the Bible of music, a love letter to and a symbol of all things indispensable.

As is the nature of a limited list, some things get left out. Honorable mention for the best reissues of 2011 goes to:

Pink FloydDiscovery Box Set: The Complete Studio Recordings of Pink Floyd

NirvanaNevermind [Deluxe Edition]

Jesus & Mary ChainPsychocandy [Expanded Edition]

And, last but not least:

Iggy Pop & James WilliamsonKill City (Restored, Remixed, Remastered)

All are immortal albums and all require space in everyone’s collection.

Written by Ben Brundage


Rob’s Top 10 Albums of 2011

A Note on The Rankings

I hate lists. I don’t understand the necessity of slapping a score on anything other than a sporting event. This is particularly true of art. Pitchfork’s rating system is the single element of that blog that I loathe the most. When Drake’s album Take Care recently earned an 8.6, I vomited a bit. However, I understand that it was an important release for a lot of listeners. An album that I consider the greatest of the year, could be the worst thing you’ve ever heard. Who the fuck am I to tell you otherwise? Art is subjective and should remain so. If you talk to me next week, my list of top albums will likely be different – or the rankings, at minimum, would be shuffled. That being said, here’s my Top 10:

10. The BonesettersSAVAGES!

This is an Indiana blog, and we spend the bulk of our time covering the Indianapolis music scene. With that in mind, I would have felt irresponsible for failing to include my favorite Hoosier release of the year. As I said in my review earlier this week, this is an album free of gimmicks. Just pure, unadulterated goodness. Go see The Bonesetters live. Buy the album. Thank me later.

9. FeistMetals

Canadian singer-songwriter Leslie Feist rose to prominence with her 2006 release The Reminder, featuring pop songs that immediately engrained themselves in the listener’s mind like “1234” and “Mushaboom.” Unfortunately, that album toed the line of tolerance for me, coming dangerously close to played out irrelevance. That’s part of the reason why I adored her 2011 release Metals. I found myself repeatedly reaching for these songs any time I was in the mood for easy listening. It has never failed me, and never gotten old.

8. The CoastsThe Coasts

This album means a lot to me. I was introduced to lead singer Ike Peters via I fell immediately in love with his self-titled release when it hit the interwebs in August. Peters and bandmate Eric Mount were kind enough to grant this blog its first band interview, despite the fact that we still had no clue what we were doing. Okay, maybe we still don’t, but that post legitimized this project for me. At the time, I didn’t realize that we were the first publication of any kind to interview The Coasts. A few months later, their song “RIOT!” had reached enough ears to be played during the credits of 90210. I feel like their band and our blog have grown up together, like neighborhood kids that played on the same soccer team. More important than any of this is the fact that this album kicks ass. I love these guys and I can’t wait to see where they go from here.

7. Paul SimonSo Beautiful or So What

Like the best movies, Paul Simon keeps getting better with age. His 2011 release is worth is right up there with Graceland and The Rhythm of the Saints as one of his greatest releases to date. Refusing to rest on his laurels, Simon soaks in influences like a world weary sponge, spewing them forth to the masses in his own unique voice. And what a voice! I left his recent Bloomington performance convinced that it was the best retirement-age rock show I have ever been to. This revelation comes despite the fact that I have seen Dylan (multiple times), The Stones, The Beach Boys, Clapton and Elton John. He is the best. Period.

6. Iron & Wine – Kiss Each Other Clean

Indie superstar and renowned grower of beards, Sam Beam, has been wowing critics and audiences with his awe inspiring acoustic songwriting for years. One of the toughest decisions of my year was to skip out on his show at The Vogue for The Black Keys at The Lawn. I know, life is tough right? I knew Beam could write a song with the best of them. However, I was never convinced that his writing style could withstand the force of a full backing band. All concerns can safely be put to rest. I would argue, to the displeasure of his rabid fan base, that Kiss Each Other Clean is Beam’s greatest work to date. I’m still kind of pissed at myself for leaving “Big Burned Hand” off of my list for best songs of the year. Shame on you, Rob. Shame.

5. Stephen Malkmus and the JicksMirror Traffic

The first four tracks of Mirror Traffic may go down as my favorite sequence of songs of the year. I have, admittedly, never delved deep into the indie legend’s catalog. The massive amount of material from Pavement and his various side projects was always too intimidating from a size perspective for me to sift through. Fortunately, Mirror Traffic was too good to ignore, and I am now officially on the bandwagon. The second song, “No One Is (As I Are Be)” contains the best line of the year from this writer’s humble opinion: “I cannot even do one sit-up / Sit-ups are so bourgeoise” Only Malkmus could have written that line. His sold out show at Earth House was one of the year’s best, and so is this album.

4. Bon IverBon Iver

This one took a while to grow on me. To be honest, I have a general disdain for artists that rely too heavily on vocal effects. I’m a non-violent person, but I wouldn’t hesitate to put a bullet between the eyes of whatever scum bag invented the insufferable auto-tune machine. Though I respected Justin Vernon’s 2008 debut, For Emma, Forever Ago, for its sincerity and emotional candor, the music itself left me less than enthused. It wasn’t until his performance at The Murat that I realized my feelings were misplaced. The depth of Vernon’s self-titled album was on full display that night. The songs are so deceptively simple, that I stood slack jawed as his nine-man band went to work. Congrats to Bloomington label Jagjaguwar on putting out some of the best shit this side of 2010.

3. Real EstateDays

The album of the fall is also one of the best releases of the year. I’m a sucker for great singing, addictive choruses and easy listening. Days has it all. I don’t see this album leaving my rotation of weekly listens any time in the near future. It’s a go to for road trips, drinking outdoors and attempted make-out sessions. I can play this album for my parents or my peers and the response is the same: these kids rock.

2. tUnE-yArDsW H O K I L L

To understand my love for Merrill Garbus, you need simply read my review of her Bloomington show at Rhino’s. I’ve said it before and I’ll say it again, there is no other artist like this. Garbus exists in a world of her own. Sure there are plenty of indie bands looping their voice and backbeats, but none of them have her voice. I remember sitting up late at night when NPR Music announced their stream of W H O K I L L via their First Listen series. I had been awaiting this release with baited breath, and Garbus delivered. Her style is not for everyone and if you don’t agree with my selection, there’s no hard feelings. tUnE-yArDs just happens to be a sound that gets my juices flowing.

1. The Beach BoysSmile

They just don’t make them like this anymore. Period. Unlimited studio time with world class studio musicians is a thing of the past. You win Napster. Although the songs from Smile are undeniable winners, the real joy I derive from this album comes from listening to Brian Wilson nitpick musicians in the studio. Though he is a certifiable nutjob, the simple fact remains that his ears should be preserved in a museum for all eternity. The man is responsible for some of the greatest pop songs that have ever graced the airwaves, and the eccentricity that led to this greatness is on full display here. Thanks for finally allowing the masses to finally get a taste.

Written by Rob Peoni


Brett’s Top 10 Albums of 2011

10. Cold CaveCherish the Light Years

The title of this album suggests that there is glimmering feeling transmitted when you push play.  After opening track “The Great Pan is Dead” entered my brain for the first time, I quickly realized that the light years were being cherished because they did not exist. This album is for a dimly lit room with plenty of space to get up and bang out. The quest for one shining moment is the message that I am left with every time I listen to this record. This record leaves me empty in a good way.  I feel like I am stuck in the mines of Chile, face full of dust, yearning for salvation.  The fact that I enjoy this dark musical dungeon is reason alone why Cherish the Light Years makes this list.  As I look around my apartment I find a handful of light builds that need to be replaced.  I think it can wait.

9. The Rural Alberta AdvantageDeparting

This album is a void filler.  We all understand what it feels like to be the rebound, but albums like this make it feel comfortable.  Lines like “I will hold you tight enough to crush your veins” in opening track “Two Lovers” sends a gripping message to me.  This album is about loss and The Rural Alberta Advantage brilliantly makes me ok with the topic.  Losing anything in life can be a personal challenge, but songs like “Tornado 87” make it relatable.  There are few records that should be used as medicine or a coping mechanism and Departing certainly is my remedy for any thrashing defeat.  Although the scars of defeat remain, Departing gives us a direction to head in order to mend.

8. The BonesettersSAVAGES!

It is absolute honor to put a local album on my list.  The Bonesetters deserve this one.  Rob’s review was laid out so brilliantly that I can’t possible think of anything more to say about it.  I am so excited to be in the space for this band’s escalation.  The ceiling is high for the Bonesetters, and believe me, we will let you know about their every move.  They have earned it with this initial gift to Indianapolis.

7. The DrumsPortamento

The proud sophomore effort that sings like a plea but is as confident as the class president.  I feel like I am walking the halls of my high school, but the era is the 80s. This album is the answer to all of The Smiths requests from years back.  Lines like “The people look at me with a little sympathy” make me think that The Drums were the underappreciated youth of their respective schooling systems. A subtle popularity to own and I am glad Portamento drives this under the radar status symbol in the proper direction.

6. CultsCults

A book of snippets laid out more like a photo album than a record.  I see before I hear when I visualize this record.  This drastic switch in my experience flips the script while changing my outlook on music.  “Go Outside” was the first song I heard from this record and it has paved the road and painted the lines into my 2012.  The writing is on the wall in lyrics, “You really want to hole up, you really want to stay inside and sleep the light away.”  A relatable situation where Cults step in a presents me with a challenge.  Why not yonder outdoors,  I will turn the page because there are plenty of pretty pictures.

5. GirlsFather, Son, Holy Ghost

The guys from Girls write about relationships. Their debut Album and EP Broken Dream Club taught me this.  These two first releases was the coaching that allowed me to truly appreciate what Girls was all about.  After listening to Father, Son, Holy Ghost for the past few months I feel like I finally understand Girls enough to pass their test. These guys rarely have the answer to their own female problems, but they use music as an elixir.  Song, ‘Die’ yells “No, nothing’s gonna be alright, no we’re all gonna get fucked up tonight, no, nothing’s gonna be okay, no it’s all going down the drain tonight”. Certainly, the remedy to any post relationship blues.

4. YuckYuck

It feels like this album has been with me the longer than any release of the year. It feels like an old pair of ripped jeans that I just can’t part with.  While some doubt the authenticity of Yuck because of their homage to a collection of indie rock forefathers, I continue to feel genuine comfort with each successive spin.  Describing each of their songs might take so long that it puts another hole in my Wranglers.  As the winter continues, Yuck will inevitably provide me warmth.  Even as the oncoming snow storms enter the air, Yuck sews a patch on my jeans as the ball drops on 2011.

3. Smith WesternsDye It Blonde

Smith Westerns grew up a lot with Dye It Blond.  Although, these guys are not of legal drinking age I feel like they are so musically mature that they deserve a free pass in any bar in America.  Dye It Blond is like a fake ID. It not only makes the band look older than they may appear, but also serves as evidence that they belong in the same scene as the older kids.  The guitars on “Still New’”are perfectly placed and layered.  The lyrics of “Imagine Pt. 3” are the work of an old savvy songwriter.  The tips that they convey on “End of the Night” can be used by any man, of any age, regardless of circumstance.  Straight to the point “Oh, it’s the end of the night, it’s the end of the night, are you going to go home?”  I wish I had this kind of courage.  I guess I will listen to Dye It Blonde a couple more times for inspiration.

2. Bon IverBon Iver

It is rare that I describe an album as beautiful, but this is one of those times.  It does not feel right to listen to this record on anything, but vinyl.  It was made for the time.  I feel cold as I listen to every single lyric of Justin Vernon.  Bon Iver released this masterpiece in June, but it is peaking now because it embeds itself in the blistering winter months on the horizon.  The tip of the icicle has yet to be formed for this record for me.  The point is that this album has withstood a half a year and traveled through many different locations on my musical map.  Minnesota, WI, Hinnom, TX, and Lisbon, OH to name a few. Authentic or not these are all places we have all traveled.  This record is just a means to bring us all back these spaces at the same time.  I feel like I am riding in a sled and Bon Iver is the driver.  Who knows where we are heading next?  I have my coat and mittens.  Thrilled to me along for the ride.

1. Real EstateDays

Real Estate Days is me.  It is everything I look for in a record and more.  The melodic guitars carry me from beginning to the end.  It is Alpha and the Omega and I’m stuck in between.  They build a comfortable space for me each and every time I reach for a listen.  Tracks like “Green Aisles” challenge me not only to explore myself but my surroundings.  Lyrics “All those wasted miles, all those aimless drives through the green aisles, our careless lifestyle, it was not so unwise, no” provide validity to my own personal cause.  This album teaches me that it is completely acceptable to mess up, because it will point me in another direction.  Days is a seasonal inspiration to me.  Days is my lotion in the sunlight and winter jacket in the snow. It is the perfect protector. It is the compass that directs my next move. This album teaches me to tighten my strings, even if my first attempt is a bit out of tune.

Written by Brett McGrath