okay, three things at a time.

Last week I started a little experiment with the intention of making myself more familiar with the music I have collected. I decided I would choose three albums a week and listen to nothing but those three albums. I decided on Jackson Brown - Jackson Browne, Damien Jurado - Caught in the Trees and Local Natives - Gorilla Manor. Now, I will admit that I did not listen to these albums exclusively. I think that would have turned into punishment rather than enjoyment. So, I allowed myself to take breaks from those three albums and listen to other things, the rule being that the other things had to be albums I already knew inside and out. They ended up being things like Modest Mouse's The Moon and Antarctica, Coldplay's Parachutes, Grizzly Bear's Veckatimest, Mos Def & Talib Kweli's Black Star and Bjork's Homogenic.

I'm happy to report that this went well. I actually found myself wanting to listen to the three albums I had chosen more. The songs would get stuck in my head and I would choose to go back to them. And now I feel like I have a more intimate knowledge of all three albums. Success! So, I'll try it again this week. My selections are below.

I like to try and make these blog posts and my approach to music about more than just the music. As big as music is in my daily life, if I'm being honest I'll admit that this kind of stuff has no ultimate importance. I'd rather not squander all of my free time writing about things of no real meaning, regardless of how fun it might be. And I'd prefer not to waste your time either. But I think the way I have been approaching music this past week is a method that could be applied to several other facets of life.

We are consumers. We take and take and take, many times without knowing exactly what it is we're taking. Someone tells us that it's good, we believe them and we keep taking. We eat up albums, movies, books, news, gadgets, work and school assignments and often treat them as nothing more than tasks. I love me some technology. The Internet is brilliant. But let's not allow all of this accessibility to overtake us. Let's slow down. Enjoy a quiet evening or afternoon and make something ours, our own. Let's own things, make them a part of who we are (only if they fit, of course). Let's understand them. I grow a bit tired of feeling overwhelmed by all of the things being thrown at me and then I realize that a lot of the time, I'm reaching out to receive them instead of controlling how fast and furious I take things in. I've been reading Anne Lamott's Bird by Bird (yes, I'm still reading it). Her advice for aspiring authors is to practice observation skills. Practice noticing the small details of the people and things around you, then use those details in your stories. That seems like good life advice too. Get to know ourselves and our surroundings a bit better.

Here are this coming week's three albums of choice: Neil Young's self-titled solo debut from 1968 (the remasterd version, of course), The Black Keys/Damon Dash rock/rap mash up project from last year, Blakroc, and the new album from Danger Mouse and James Mercer of The Shins, Broken Bells.

I've Loved Her So Long - Neil ...

On The Vista Feat. Mos Def - B...

The Mall & Misery - Broken Bel...

best of the '00s, pt. 9

In response to a Paste magazine article, I've been listing what I feel to be the best 50 albums of the past decade, in no particular order. As I admitted last week, however, I have saved some of my personal favorites for the last few entries. Here are 10 through 6. We're so close!!




10. Radiohead - In Rainbows (2007)

Let's forget about the music for a minute. In Rainbows had influence and was original before most people even had a chance to listen to it. How, you ask? Because the band gave it away, for free. They side stepped the evil empire of record labels and distribution companies and offered the music as a "pay what you feel" download on their website. No discs, just downloads. What a brilliant experiment! Of course, they could do it and do it successfully because they are Radiohead and have a massive following, but the move suddenly had folks scratching their heads and debating the future of optical discs. I for one, whose employer just happens to be in the business of manufacturing optical discs, took notice. Here we have a band who seems to challenge the industry with each release and now in addition to influencing the way music is made, they challenge the way it is distributed. Seems pretty significant.

On top of all that, In Rainbows is a brilliant return to the guitar based Radiohead we all knew and loved in 1995. Their sound is more mature, of course, and instead of trying to find something new here they seem content with who they are, confident and comfortable with the sound they've crafted after so many years. In Rainbows is your favorite t-shirt, the one that's worn in, soft and safe. It's your big, comfy chair, the one that holds you just right. What I love about this band, however, is that even in their more reaching moments, when they are trying to test the limits of their sound, they do so with such ease. In that regard, even the new things end up fitting just right and feel just as comfortable as the old.




9. The Shins - Chutes Too Narrow (2003)

I was the first person I knew listening to The Shins, way before Zack Braff and Garden State. So, there! I happen to think they make first rate pop music. As in, their music is the definition of pop music. That's probably an overstatement though. Their lyrics are too cryptic. At any rate, Chutes Too Narrow is a pop gem, but don't let the label "pop" trap you. This is not simple music, by any means. While not completely different from their debut, Oh, Inverted World, it's more consistent. It's deeper, more sophisticated. It's the peak of their sound. It drew comparisons to The Beach Boys. It's kind of impossible not to like. The opening track, "Kissing the Lipless" is louder and more emotional than anything done previously. James Mercer's voice is distinct, recognizable and his ability to shape catchy melodies is remarkable. I'm not sure how you don't like this band or this album.




8. Fleet Foxes - Fleet Foxes (2008)

I could say the same for Fleet Foxes - I'm not sure how you don't like this music. This album plays as if it's the bands fifth, not their first. Their sound is well developed and their vocals dipped in gold. They carry a sense of broad music history and a feeling of well traveled experience. They employed the same producer as The Shins, Phil Ek, and just like Chutes Too Narrow the Foxes sound big, bright and full of life.

I think the unique success of this album lies in the vocals. Much like Animal Collective, it seems uncommon to find a band that thrives on the strength of their vocals, more so than their instrumentation. That's not to say either band sacrifices the sound of their instruments. Fleet Foxes have found the perfect backdrop for their vocal harmonies and the whole package feels like a campfire sing-a-long or a mountain high. It just makes you want to wear plaid and move into a log cabin in the middle of nowhere.




7. Vampire Weekend - Vampire Weekend (2008)

For some reason this feels like one I'll have to defend strongly. Instead, I'm going to do the opposite. Yes, they sound a bit too much like Paul Simon. No, I don't think that's a weakness. They are an indie band that uses violins and cellos and a harpsichord. Pitchfork compares it to African pop. Given the sound of their fellow New York peers, I find this album to be completely original and fairly courageous. One thing is for sure, you either love it or you hate it. Maybe it's too simple for you. Maybe you don't like Paul Simon. Maybe you're just not impressed. That's okay. For me, it's infectious and incredibly easy to listen to from front to back. Now that they have a number one album with their second effort, Contra, it's likely we'll be hearing a whole lot more from them.




6. Ghostface Killah - Fishscale (2006)

How do I justify this...? I'm having a hard time with it, I'll tell you that much. Here's all I've really got: This was the first time since Ghost's own 2000 release Supreme Clientele that anyone from Wu-Tang did anything remotely interesting. Actually, that's not true. I take that back. Masta Killa's No Said Date in '04 was superb, but no one knew about it. So now I'm telling you, if you're a Wu fan, go get a copy right now.

Okay, so...why did I include Fishscale in this list? It's probably my most personal choice. It wasn't influential or original, although I would argue that few have Ghost's gift for gab and his mainstream status did provide some exposure for underground beat makers MF Doom and J Dilla. In fact, the production is quite impressive. In addition to Doom and Dilla, big name hit makers like Just Blaze and Pete Rock contribute. One of my favorite things about Ghost is his habit of rhyming right over a sample, over the original vocals and everything (see "Big Girl"). It's hard to even call it a sample, he's just rhyming over the original song as is. At any rate, that still doesn't really explain why I included this album here.

If I consider rap albums that shaped my decade, this is one that stands out for me. I have a soft spot for Wu-Tang and up until Fishscale I had started to believe the members of the Clan were washed up. This one proved that Ghostface still has it and his inclusion of fellow Wu alumni ("9 Milli Bros" and "Dogs of War") gave me a little hope that the Clan might pull it together again, which they did the very next year on 8 Diagrams.