This was my most highly anticipated album of the year, and it delivered big time. I have probably given this album more spins than any other this year and have most of it on my shuffle as well (I have so much Mayer Hawthorne on my shuffle that when it plays two or three of his songs in a row, I can't fault it). However, I do have to say that it took me a little time to adjust to Mayer's new sound, since this is his first album that he did not produce himself. Because other producers glossed things up, my first feelings about the album were that Mayer sounded like a lot of great bands, but not very much like himself. It took a while for the unique nuances that make Mayer so special to shine through all the musical references and slick production. That isn't to say that I didn't love half the album ("Backseat Lover," "Wine Glass Woman," "The Stars are Ours" are special favorites) and all the bonus tracks right off the bat. In fact, the bonus tracks -- including "Physicality" on the vinyl, "Designer Drug," and "Small Clone" -- are some of the strongest songs on this release.
Ever since I first got into him back in 2008, Jamie Lidell has been one of my very favorite live artists, and this album is just as solid as any of his live shows. Jamie flawlessly melds influences from across the musical spectrum to create his very own sound. This eponymous effort is heavy on funk topped with Jamie's smooth, soulful vocals. "You Naked" is the standout track, followed closely by "I'm Selfish" and "Big Love." However, this is an album that I prefer to listen to as whole, because that whole is certainly greater than the sum of its parts.
I found out about Betty Who from All Things Go and decided to listen to this EP because the picture that accompanied the post had enough 80s-ness going for it to catch my eye. Turns out the songs are 80s enough to be simply irresistible. After that fateful first listen, I proceeded have these four songs on a constant loop for about three days. So basically desert island material; it's just that good.
Billy Currington has been on my radar for years -- "Must Be Doin' Somethin' Right" is a classic in my book. As I mentioned in my 2013 Concerts post, I only knew a few of his songs, but due to the lack of country shows in New York City, decided to go see him live, since most country shows are a good time no matter what. That show took place about 10 days before this album came out, and those ten days couldn't pass fast enough. Based on what I heard at the show, I knew I needed these tunes on demand. On my very first listen, We Are Tonight was one of those albums that felt perfect, like an old worn tee shirt that I'd had forever. The songs are fun and easy to sing along with. The only misstep is a cover of Jack Johnson's "Banana Pancakes," which wouldn't be so bad in itself, but is made cringe-worthy by a misguided rap verse.
The raucous, very 80s "Finish What We Started" (which has an awesome video) is the single that this EP supports, and while I naturally think that song is super fun, it is actually all the other tracks that keep me coming back to this album. "Reset," "Cheer Up," and "All The King's Men" all have a beautiful gentleness that made this my bed-time album for weeks on end. In addition to this compelling new material, two older tracks -- "Don't Let Go" and a standout cover of "This Must Be the Place" -- are also included. Between his music and his videos (and often a combination of the two, as the name of this EP implies), I'm always eager to see and hear what Miles Fisher will create next.
"Blurred Lines" itself may have been the song of the summer, but once I got this album in my hands, I immediately took to "Ain't No Hat 4 That" (whose lyrics include the word "obstreperous," which I'm guessing was one of Alan Thicke's writing contributions), "Ooo La La" (I hope those "rosé waterfalls" are of the sparkling variety), "Feel Good," and the bonus track "Pressure." Many of these pop gems sound like they should have come right on the heels of 'N Sync's Celebrity, instead of a full 12 years later. And I mean that as high praise. Robin Thicke has successfully taken that irresistible boy band pop sound and infused it with his excellent songwriting and soulful vocals. Sadly, Justin Timberlake's solo effort this year failed to be even half as good as Blurred Lines. Robin may not have JTim's dance moves, but he has swagger to spare.
I didn't think it was possible for Glen Campbell to infuse any more emotion into his highly nuanced songs. I was wrong. As soon as I heard the first few songs on this album, I knew it was something special. Songs that I had previously failed to truly connect with, like "Wichita Lineman," suddenly resonated with me. And songs I already loved, like "Gentle On My Mind" and "Rhinestone Cowboy," took on whole new lives. Having seen Glen Campbell in concert last year, I have the deepest respect for this man who refuses to forsake his art, which he clearly loves, any sooner than he absolutely must. I have a feeling that Campbell will continue to surprise us right up until the very end, and I hope that end is a long way off yet.
I didn't even realize John Mayer was putting out an album this year until it showed up in the new releases email from Newbury Comics this summer. As it happens, Paradise Valley ended up being the perfect summer chill-out album for lazy nights on the porch, or lazy nights I wished I could be on a porch. The country twang running through the songs on this album give it the perfect laid-back vibe. Mayer's vocals, lyrics, and musicianship are all in fine form on each and every song.
To say Sting has gone high-concept seems a bit redundant, but this album-cum-Broadway-Show-soundtrack feels like the culmination of all the shipyard and seaside imagery that has run through his work for years, inspired by the unique working-class culture that surrounded him during his childhood and young-adulthood in Wallsend, Newcastle. The songs on this album convey a grand vision, while being sung from the points of view of very down-to-earth characters. Like so much of the work that has come before it, The Last Ship clearly bears the mark of alchemy that only a singular talent like Sting is capable of conjuring.
10. Soundtracks: Charles Swan, Kon Tiki, & Oblivion
Like 2011, 2013 was a terrific year for soundtracks. In addition to these three absolute standouts, I also greatly enjoyed the soundtracks for The Sapphires and Trance.
A Glimpse Inside the Mind of Charles Swan III - Liam Hayes delivers a deliciously retro score -- full of Chicago-esque horns and Todd Rundgren-esque vocals -- for a delightfully gonzo movie.
Kon-Tiki - Johan Söderqvist perfectly captures the vastness of the ocean, the excitement of adventure, the courage needed to face the unknown, and the exotic volatileness of the Pacific in his haunting and powerful score. The music fits seamlessly in the film and then conjurers its images long after you have left the cinema.
Oblivion - M83, Anthony Gonzalez, and Joseph Trapanse combine their talents to achieve a SciFi score that is full of humanity, but touched with hints of menace. This is another score that is intrinsic to the feel of the film, but is also immensely listenable on its own.
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