The Daily Times

It goes without saying, but it’s worth repeating �" Top 10 lists are subjective and, relatively speaking, superfluous.

Let’s face it �" most people don’t rely on critics or music journalists to dictate their tastes. If that were the case, most of the songs you hear on the radio would be relegated to backwater Myspace pages with a handful of fans and only a few listens each day. And most music intellectuals are, granted, out of touch with the music-buying masses.

That’s not because we don’t know good music; it’s just that our idea of “good” doesn’t exactly line up with the people who crank local radio stations to top volume. I admit, we’re a bit snobbish when it comes down to it, and we tend to look down our noses at the mass-market commercial music that sells millions of albums. Not because it’s no good �" obvously, a lot of people think it is, or the artists wouldn’t be making millions.

It’s just that, to those of us who have the luxury of listening to so much more music, to so many other unheard-of artists, it sounds soulless. Sure, an act like Justin Bieber sounds like a million bucks, but that’s because he spent that much on production and recording. And that’s the thing �" an artist like Justin or Lady Gaga probably sells records just as much for being in the public spotlight as they do for being talented. In fact, it’s probably more of the former and less of the latter �" but, like this list, that’s just my opinion.

For me, to discover an artist or a band that sounds so ... passionate about what they do, so invested emotionally, so willing to bare their souls and put the emotional wreckage of their hearts and lives on display ... man, that’s good stuff. That’s real life. That’s something I identify with in a way I’ll never be able to with a kid like Justin Bieber, unless he happens to record the modern-day equivalent of “Imagine” in the years to come, which I seriously doubt will happen.

That’s what captures my attention. That’s what makes up the bulk of this year’s Top 10 lists. Granted, it doesn’t mean that the 10 albums included here are the be-all, end-all of music for 2010. Certain albums and genres have been overlooked; not on purpose, but because ... well ... I just can’t afford the money and the time to listen to them all.

So without further ado, here are the official Weekend editor’s selections for the Best Albums of 2010:

Sage Francis, “Li(f)e”

Released: May 11

Metacritic rating: 68 (out of 100)

They say: “On the epic new record Li(f)e, Sage Francis attempts to speak truth to the lies that pervade all facets of existence. Backed by an unusual consortium of indie rockers, Rhode Island’s finest dissects the human condition with brutal honesty and unparalleled wit.” �" http://Urb.com

We say: Say what you will about the rhymes of Sage Francis �" when the final track of “Li(f)e” rolls around, it’s enough to make anyone who remembers the tortures of adolesence clutch their chest and grimace. On “The Best of Times,” he goes into great detail about his youth as an out-of-place kid who used to “wonder if I’d lived to see my first kiss.” Slipping a love note in the wrong locker, staying away from the school dance because he didn’t want to watch his “imaginary girlfriend” dance with another guy ... Francis trades in the real, and while the rest of “Li(f)e” seethes and simmers with jaded cynicism, he wraps the CD on a note of optimism that essentially amounts to this �" it’s gonna be OK. Francis is one of the few hip-hop artists out there who rhymes for the thinking fan; it’s a shame more people haven’t heard of him.

Key tracks: “Three Sheets to the Wind,” “Love the Lie,” “The Best of Times”

The National, “High Violet”

Released: May 11

Metacritic score: 84

They say (Sputnikmusic review): “The National should give faith to anyone who has become disillusioned with indie music, anyone who misses a time where it didn’t seem like all the musicians thought they were better than you and you could actually relate to the damn words they were singing. ‘High Violet’ is another batch of cement to further supplement The National’s already unshakable concrete career.”

We say: The National’s performance at Big Ears 2010 was hailed as a high point, and for good reason �" the band churned through the bulk of the material that would be released a couple of months later. Once again, singer-songwriter Matt Berninger sets the tone on this album with a voice that sounds like it’s trying to carry the weight of 10,000 souls. He paints stark, mournful landscapes on songs like “England” and “Terrible Love.” “Go out at night with your headphones on again, and walk through the Manhattan valleys of the dead,” he sings on “Anyone’s Ghost” �" and with “High Violet” playing as the soundtrack, such a walk would be a lonely one indeed. A beautiful ache is found on this one.

Key tracks: “Terrible Love,” “Bloodbuzz Ohio,” “England”

Gold Motel, “Summer House”

Released: June 1

iTunes customer rating: 5 stars (out of 5)

They say (music reviewer Sarah C. Morrison): “But in the end, all you really need to know is that if you need a good happy soundtrack for anything you do during this summer, just spend a while in Gold Motel’s beautifully decorated, multi-coloured ‘Summer House’.”

We say: “It feels like endless summer, the light shining through,” Greta Morgan sings on the debut album of Gold Motel, her post Hush Sound project that channels the shimmering waves of heat that rise off of baking beach sand just above the water line. Southern California was on Morgan’s mind when she crafted the album, she told The Daily Times earlier this year, and it shows �" the end result is hook-heavy pop that shimmers and shines, buoyed by Morgan’s optimism and her keen ear for the sort of music that makes fulfilling ear candy. It bounces, beams and skitters through the brain like butterflies; as cheesy as it sounds, “Summer House” is a collection of truly lovely songs that defy one’s ability to keep feet still and head from bobbing.

Key tracks: “Perfect,” “Safe in LA,” “Don’t Send the Searchlights”

Sleigh Bells, “Treats”

Released: June 1

Metacritic score: 84

They say (Slant Magazine): “Even though it’s as ambitious an exercise in freeform genre-splicing and pure, amp-blowing volume as has been attempted in the past few years, it’s always at least as fun as it is smart, taking the three great pillars of guilty-pleasure music (deafening arena-rock swagger, sugary pop hooks, and delirious dance beats) and rolling them together into a singularly appealing cacophony.”

We say: It took a minute for “Treats” to grow on me, mostly because the cacophony of sound, the bombast of noise and sheer exuberance of how it’s all put together, comes blasting out of the speakers on the first track. “Tell ’Em” is just the tip of the iceberg, as the duo the duo of Alexis Krauss and Derek E. Miller distill what they do into a frenzy of energy. “Treats” practically bursts at the seams with beats, rhythms, repetitive melodies and quick-hit blasts of percussion that rattle the mind �" and your speakers. It’s more than an impressive debut �" it’s the sound of a creative tour de force that demands you pay attention and celebrate along with.

Key tracks: “Kids,” “Run the Heart,” “A/B Machines”

The Gaslight Anthem, “American Slang”

Released: June 15

Metacritic score: 80

They say (Absolute Punk): “‘American Slang’ takes the best of what the band has shown they can do, and moves it into early ’60s Motown, combining it with a rich Springsteen/Strummer sound (which is just how Fallon will always be; it works for him, get over it) over a soulful rhythm section, with sprinkles of Sam Cooke, Otis Redding and Smokey Robinson in there for good measure.”

We say: Say what you will about New Jersey rockers Bon Jovi and Bruce Springsteen, but there’s no denying that however sappy they may get, those bands have made some of the best American rock ‘n’ roll of the past 50 years. The Gaslight Anthem have a while before they reach such a stature, but the New Jersey quartet are worthy torchbearers �" “American Slang” is fist-pumping in its delivery, earnest in its intentions and demanding on your volume knob, because when a song like “Stay Lucky” pours forth with its killer hooks, you’ll want to crank it up as far as it’ll go. Best straightforward rock ‘n’ roll record released all year.

Key tracks: “Stay Lucky,” “Boxer,” “Old Haunts”

Arcade Fire, “The Suburbs”

Released: Aug. 3

Metacritic score: 86

They say (New Musical Express): “Many bands make noises about having made an album that demands to be listened to as a whole, but ‘The Suburbs’ structure defies skipping, pulling you into its world until it’s done with you. Sonically, it’s the best-produced rock album we’ve heard, full of a subtle atmosphere that sounds like nothing else at the moment.”

We say: The sauntering, jangling opening track of “The Suburbs” belies its angst, as front man Win Butler and co. lament the restlessness and the growing homogenization of Middle America. It’s difficult to figure out how a Canadian band sounds so spot-on about American themes, or why they keep churning out one phenomenal album after another �" but we’re glad of it. “The Suburbs” contains some of their most cynical musings to date, as well as one of the hardest tracks the band has ever recorded �" the driving, angry sounds of “Month of May.” This album may wind up on a lot of lists simply because of the band that made it, but it every case, it’s a well-deserved placement.

Key tracks: “Ready to Start,” “City With No Children,” “Month of May”

Dylan LeBlanc, “Pauper’s Field”

Released: Aug. 24

Average iTunes customer rating: 5 stars

They say (Rolling Stone): “Dylan LeBlanc can’t help but let his roots show on his debut, with brooding songs built around pedal steel and fingerpicked acoustics. He’s got the doomed romanticism of Townes Van Zandt, and his slurry voice shines with backup from Emmylou Harris and dad James.”

We say: When Dylan LeBlanc sings the way that he does on “Pauper’s Field,” the weight of his world hangs heavy on every note. The stark beauty of his voice, augmented by simple guitar and pedal steel, is in sharp contrast to the swirling miasma of melancholy that anchors his songs. Without knowing anything about LeBlanc, a first-time listener of “Pauper’s Field,” his breathtaking new album, might swear the Louisiana native spends his days on the porch of some back-bayou cabin, staring at yellowing photos of a lost love and remembering decades of his life long gone. Such an assumption would be a mistake, however �" LeBlanc is only 20 years old, which makes this subdued journey into pain and heartache all the more wondrous.

Key tracks: “If the Creek Don’t Rise,” “Emma Hartley,” “5th Avenue Bar”

Jamey Johnson, “The Guitar Song”

Released: Sept. 14

Metacritic score: 90

They say (Los Angeles Times): “With ‘The Guitar Song,’ he’s made an ambitious work that goes down easy. Johnson may masquerade as a throwback but what he really aims for is timelessness, and he usually hits his mark.”

We say: If it were a single CD, Jamey Johnson’s “The Guitar Song” might be the best thing released all year. As it is �" a double album of country so traditional and hardcore it sounds almost out of place amid the country-pop drivel on the radio these days �" it’s still the best thing to come out of Nashville all year. It drags in places, but by and large, Johnson’s choice selections of covers and his originals �" revolving around a country boy trying to navigate the big bad music industry �" are as good as anything you’ll hear on the radio, period. In light of “The Guitar Song,” the rest of the country music world is left to shake his dust out of their perfectly coiffed hair-dos.

Key tracks: “Playing the Part,” “Macon,” “California Riots”

Sharon Van Etten, “Epic”

Released: Sept. 21

Metacritic score: 82

They say (Spin review): “On ‘Epic,’ she’s grown as brassy as vintage Lucinda Williams while still drowning in the intimate bite of street noise, the confessional feel of studio chatter, and the postmodern swirl of dream-pop slurry.”

We say: On “Epic,” singer-songwriter Sharon Van Etten gets to stretch her legs, putting together a full band to flesh out the songs in a manner she didn’t have on her last album. As a result, the new album �" complete with strings, electric guitar, drums and swirling, soaring music �" raises the bar even higher. A song like “One Day” meanders with chiming chords and gentle backbeat, floating on a weary sing-song chorus that Van Etten imbues with the gorgeous melancholy of a thousand restless nights; “A Crime” rides Van Etten’s desperate acoustic strumming, the paralysis of unspoken passion straining at the song’s edges like unrequited love distilled into sound. The bittersweet ache of her voice, the poignancy of her lyrics �" they resonate with those whose emotional undercurrents run deep.

Key tracks: “A Crime,” “Peace Sign,” “One Day”

Girl Talk, “All Day”

Released: Nov. 15

Metacritic rating: Not yet available

They say (Pitchfork): “‘All Day’ is a reminder that, despite the number of party DJs and bedroom mashup artists, nobody does it better than Gillis; here he makes the strongest argument yet for himself as a master of his craft.”

We say: Is that ... Ludacris, mashed up with Black Sabbath? “Blitzkrieg Bop” intertwined with “Waiting for the Sun”? Rapper Wale spitting the rhymes to “Pretty Girls” over Beck’s “Loser”? Why yes. Yes it is. What the heck, you ask? Just the new album “All Day” from one-man mash-up king Girl Talk, the guy who takes just about everything, from Fugazi’s “Waiting Room” to Beyonce’s “Single Ladies”, puts them in a blender and produces something mind-blowing in terms of fun. It’s a game, almost, picking out the snippets of this song or that, and you can’t help but shake your head and smile at the ingeniousness of it all.

Key tracks: “Let It Out,” “On and On,” “Steady Shock”

Honorable Mentions

Vampire Weekend, “Contra,” released Jan. 11: Another amazing album from the indie-pop/world music outfit that sold out its Big Ears 2010 show. Light-hearted and shiny, it’s a feel-good record of catchiness.

Carolina Chocolate Drops, “Genuine Negro Jig,” released Feb. 16: Putting on this CD is like taking a step back in time �" to a time you didn’t know existed. African-American stringband music is still a little known genre, but with the rough-as-sawdust, sweet-as-honey sounds on this record, you’ll be a little better educated.

Ted Leo and the Pharmacists, “The Brutalist Bricks,” released March 8: Punk with a conscience �" and, for fans who have seen the video for the incredibly catchy single “Bottled In Cork,” a healthy dose of humor as well.

Titus Andronicus, “The Monitor,” released March 9: Punk �" as a history lesson. The band’s furious retelling of key Civil War moments is a reflection of life in America 2010 as well.

The Hold Steady, “Heaven is Whenever,” released May 4: The opening track, “The Sweet Part of the City,” is a languid blues number, marking this as a departure for the New York-based rock band. But not too much of one �" Craig Finn’s trademark cynical swagger is all over this one.

Band of Horses, “Infinite Arms,” released May 18: There’s no other way around it �" the music made by Charleston, S.C.-based Band of Horses is just pretty. Chiming guitars, shimmering chords and Ben Bridwell’s plaintive vocals make this a must-have.

The Black Keys, “Brothers,” released May 18: Fuzz-heavy blues-rock by two guys who know what they’re doing. With one foot in each genre and a deft hand at the studio controls, they’ve put together the finest record since “Rubber Factory.”

LCD Soundsystem, “This Is Happening,” released May 18: How unfortunate this album is supposed to be a swan song for the electronic-rock outfit. The bombastic grooves make it a grand note to go out on, and fans are crossing fingers that the group won’t call it quits after all.

Eminem, “Recovery,” released June 21: He’s still as visceral as he ever was, but the Detroit-based rapper turns his critical eye �" and blistering rhymes �" inward for an album that deconstructs and tears apart the man himself as much as pop culture.

Best Coast, “Crazy For You,” released July 27: Fuzzy, dreamy California pop with a dose of psychedelia, centered around songs about teenage love, angst and daydreams. A killer summer soundtrack.

The Best Local Albums of 2010

Erick Baker, “Holding the Pieces in Place” �" It’s no wonder, really, that singer-songwriter Erick Baker has a standing Valentine’s Day gig at The Bijou Theatre �" and sells it out. No one does the sensitive singer-songwriter thing with more skill, soul and earnest love for the music and the fans than this guy, and “Pieces” is a showcase of all that he does best.

Jay Clark, “Jammin’ at Hippie Jack’s” �" Live albums are hit or miss �" what makes this one a hit is the intimate manner in which its presented. Clark’s commentary and between-song banter gives more insight into the songs, and to the man who penned them �" making the whole affair a rich offering by a guy who should be considered a local treasure.

The Dirty Guv’nahs, “Youth Is In Our Blood” �" With the Black Crowes giving it a rest at the end of the year, may we nominate Knoxville’s own Dirty Guv’nahs as heirs to the thrown? The anthemic sounds of this CD, recorded with The Band’s Levon Helm, are beautiful �" and the video the group just debuted is so darn good you’ll smile the whole way through.

Mic Harrison and The High Score, “Great Commotion” �" Could it be that Mic and the boys are ... gasp ... getting more mature? Sure, the hard driving, country-meets-Southern rock standby material of drinking and hard living is still here, but so are some grown up themes that make this the local band’s best yet.

Hudson K, “Shine” �" Christina Horn goes beyond �" way beyond �" her roots as a Tori Amos sound-alike on “Safety Line,” Hudson K’s debut EP. With “Shine,” there’s still the element of girl-and-a-piano pop that made Hudson K a great band to begin with, but the additional elements she brings to the table make “Shine” a gem �" and not just a local one.

Tim Lee 3, “Raucous Americanus” �" It takes a certain gravitas to pull off a double album, but the reconfigured Tim Lee 3 does so with aplomb. It’s a gritty effort, but one that finds its center in the drumming of Matt Honkonen and the step up to the plate by bassist/songwriter Susan Bauer Lee.

Melungeons, “Blackwater Swamp” �" If singer Rus Harper, East Tennessee’s answer to Iggy Pop, is involved, then you know it’s going to be an album that’ll leave bruises on your eardrum. The Appalachia-meets-Cajun-country sounds of Melungeons is a long canoe paddle down a dark river at midnight, with the eyes of unknown creatures glittering back at you from the banks.

Sarah Pirkle, “Walking Tall Through High Weeds” �" The “Duchess of Barb Hollow,” as we affectionately call her, finally gets her due on a proper solo album �" and it’s worth the wait. Country, fiddlin’, Old Time lamentations, straight-up foot-stompers �" this one has it all, and East Tennessee music fans are all the better for it.

Sam Quinn, “The Fake That Sunk A Thousand Ships” �" The guy who was half of the everybodyfields delves into some of his most morose material ever, packaging it in country feedback and that warbling voice that sounds like somebody bottled up heartbreak and threw it in a deep, dark hole to marinate for a hundred years.

Senryu, “Inkling” �" It’s a crime, or at least it should be, that a pop band with all of the frenetic energy, sonic experimentation and ability to write songs that lodge in the brain has to struggle for recognition in its own backyard. Senryu belongs on the national stage, not just an East Tennessee one.

Local Album Honorable Mentions

Homemade Wine, “Music for the Salty Soul” ... Steel String Swingers, “Liquor on the Wall” ... Scott Miller, “Christmas Gift” EP ... Christabel and the Jons, “The Christmas Album” ... Greg Horne, “Basically Sane” ... Sean McCollough and Friends, “This Is Our House” ... John Myers, “I Ain’t Goin’ Nowhere” ... Todd Steed and Bob Deck, “Unmind: A Solution for Modern Life” ... Senryu, “Attached at the Hip” EP ... Katie and the Bass Drums, “MasterBeatFactory”

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