Now that 2007 is behind us, the dust settled and the memories dissipating (or sticking) steadily, I thought it would be fun to recall some of the records that made the year for me. I think it’s important to note that only one of these records was released last year. More importantly, this list represents a group of albums that, despite individual release dates, defined this particular year for me. Make sense? Who cares, let’s go!

Supergrass: Road to Rouen (2005)



This is a band that I previously avoided, largely because all of their albums released prior to this one just didn’t do anything for me. That isn’t to say they don’t have any other good material, or that I simply didn’t dig deep enough; I’m just not at the liberty to discuss their previous work. What I can discuss, however, is this remarkable record. From the epic opener; to the standout ode to emotional incongruence, Sad Girl; to Coffee in the Pot (which wouldn’t sound out of place on a Coral record); to the understated closer, Fin; the entire record runs its course in a tight 35 minutes and 19 seconds, leaving no emotion uncharted and no musical mood untouched; all the while maintaining a sound that is richly produced, uniquely playful and wonderfully mature. 5 stars.

Aretha Franklin: Spirit in the Dark (1970)



The power of Aretha Franklin’s voice speaks for itself; and with all that has been written about this amazing woman, any attempt to summarize her influence or achievements within the confines of this silly little blog would be downright foolish. Spirit in the Dark represents an under-explored moment in Aretha’s career and, in my opinion, one of the richest. With 5 songs penned by the diva herself, the album also represents a creative standout for Aretha. The title track sings with spiritual release; Don’t Play That Song makes me thank god I’m alive; and Aretha’s version of The Thrill is Gone, particularly her proclamation of "free at last," moves me with every listen. 5 stars.

Gruff Rhys:
Yr Atal Genhedlaeth (2005)



Candylion (2007)



The last few years have been Super Furry years for me, no doubt. But as I look back on 2007, it is SFA frontman Gruff Rhys’ solo work that has really blown me away. Both Yr Atal Genhedlaeth and Candylion represent very diverse departures from SFA’s more boisterous and slickly-produced records; and both offer unique explorations into the musical-mind of this brilliant man. Yr Atal Genhedlaeth serves up 11 tracks of welsh-language, lo-fi goodness, kicking off with the brilliant Gwn Mi Wn (entirely acapella, save for the totally fat drum track), continuing on through a range of break-beat pop numbers (Rhagluniaeth Ysgafn; Caerffosiaeth) and more somber moments (Pwdin Wy 2). Throughout, the record sounds like a charmingly intimate affair, and to hear a performer like Gruff (so often surrounded by densely layered arrangements) step out and minimize is quite a treat.

Candylion, on the other hand, ups the arrangements, but doesn’t skimp on the creativity. Much of the record is in English, lending immediately to its accessibility (at least in comparison to Yr Atal Genhedlaeth), and the expansive arrangements make it a bit more SFA-like than its predecessor. The title track is a perfect pop gem, and varied moments like Lonesome Words and Gyrru Gyrru Gyrru keep the record interesting but invariably sunny throughout. Painting People Blue, in particular, defines the record’s sound; swinging with bells on a jazz-infused rhythm and harmony-driven melody. Brilliant. 5 stars / 5 stars.

The Beatles: Revolver (1966)



Thanks in large part to Luke Lukas, 2007 was a Beatles renaissance for me. Albums I was already familiar with, like Abbey Road and Sgt. Pepper’s, took on whole new meanings; and albums I had never listened to very closely, like Revolver and Help!, were absolute mainstays in the iPod. Revolver, in particular, completely consumed me this past year. From the bouncy, George-penned opener, Taxman; to Paul’s experimental, oddly somber yet bizarrely jovial, Eleanor Rigby; to my personal favorite on the record, Lennon’s ode to idleness, I’m Only Sleeping; to the ground-breaking, one-chord closer, Tomorrow Never Knows; the record, if not the Beatles best, certainly stands as one of their most consistent and solid. Contextually, I can’t begin to imagine what Revolver must have sounded like in 1966. The reverse guitars, densely-layered string arrangements, tape loops and multi-part harmonies certainly helped spark a musical revolution that the Beatles would continue to lead throughout the 60s. I’m grateful I can still get lost in it today. 5 stars.

Kings of Convenience: Riot on an Empty Street (2004)



Riot on an Empty Street was certainly a surprise for me. All I knew about Kings of Convenience before I picked up this record was that they are Swedish and that their music is quite mellow. This was both a correct and incorrect summation. The two men behind this band (Erlend Øye and Eirik Glambek Boe) are, in fact, Swedish. To simply call the music "mellow," however, is quite misleading. Yes, the guitars pluck and shimmer in a very precise way; and, yes, the vocals hover softly with smooth melodies and clever but emotional lyrics. But it is really the vocal harmonies and the more danceable moments that make this record standout for me. Add two tracks featuring Feist (the album highlight Know How and wonderful closer, The Build Up), and you have a solid record, filled with understated vocal beauty and surprisingly buoyant grooves. I’d Rather Dance with You is a sunny ode to cutting the small talk, and the heartbreaking opener, Homesick, laments the loss of longing for home with the words:

Homesick
‘cause I no longer know
where home is

Perfect for the springtime bus ride, this one is beautiful from beginning to end. 5 stars.

Leonard Cohen: Songs of Love and Hate (1971)



2007 was a long year, and this record crept in right at the beginning for me. Like other artists of his caliber, it is difficult for me to articulate the importance of someone like Leonard Cohen. I will say that Songs of Love and Hate is an absolutely brilliant and intensely emotional affair. Lyrically, the record rivals anything I’ve heard, and the tone remains somber throughout. Avalanche is quite possibly the best opener in the history of modern music (I know that might sound like a stretch, but just listen to it before you make an argument)*. The rolling guitars, the strings that build into a veritable "avalanche" of sound, and the lyrics of malicious loss make it a particularly difficult track to follow. But Cohen does it. Further into the record, Famous Blue Raincoat, written in the form of a letter, recounts a situation in which the speaker toils over and perhaps reconciles the loss of his lover at the hands of the recipient. It is a sadly beautiful moment, and one that, perhaps for personal and contextual reasons, stands out as one of the most powerful I’ve ever heard. More than just a record, Songs of Love and Hate is an aural blanket that I have rested beneath many a night. 5 stars.

Sly & The Family Stone: There’s a Riot Goin’ On (1971)



From the fusion-jazz explorations of Miles Davis; to the politically charged hip-hop that would explode so many years down the road, Sly & The Family Stone influenced everything. There’s a Riot Goin' On is their finest moment. Teeming with sometimes cynical, sometimes hopeful moments of funk/soul experimentation, the record never misses a beat. The drum opening of Luv N’ Haight sets the tone for the grooves that will drive the entire record. Just Like a Baby is the most soulful, blues-oriented track on the record, replete with sweetly driven rhodes sounds and some of the most incredible harmonies ever put to tape. Family Affair is a classic of struggle and togetherness, and the closer, Thank You for Takin’ me to Africa is a dirty, bass-driven, funk dirge that only Sly could have penned. This is one of those records that no one can deny, and if you haven’t heard it yet, quit denying yourself. 5 stars.

Some very honorable mentions:

Funkadelic: Maggot Brain (1971)

Kraftwerk: Trans-Europe Express (1977)

Ann Peebles: I Can't Stand the Rain (1974)

Benoît Pioulard: Précis (2006)

Bob Dylan: Highway 61 Revisited (1965)

Freestyle Fellowship: To Whom it May Concern (1991)

Piano Magic: Disaffected (2005)





* This, of course, refers to a history of modern music without Black Sabbath, Black Sabbath, Black Sabbath. ;)