Here’s an excerpt:

The Louvre Museum has 8.5 million visitors per year. This blog was viewed about 190,000 times in 2011. If it were an exhibit at the Louvre Museum, it would take about 8 days for that many people to see it.

Click here to see the complete report.

15. Mastodon – The Hunter
I haven’t really listened to metal since middle school, and then it was mostly Metallica. Nevertheless, I made sure to check out Mastodon’s The Hunter, which surprised me as a serious offering true heavy metal. Crank up those headphones and listen to this one the whole way through.

Mastodon – Black Tongue

14. Eddie Vedder – Ukulele Songs
Anything Eddie puts out will be on a best album list for me. He could release an album of blowing his nose and I’d probably love it. So the fact that these ukulele songs are actually good makes it even better, and makes me comfortable putting this album on the best of 2011.

Eddie Vedder – Dream A Little Dream

13. Girls – Father, Son, and Holy Ghost
These guys are truly coming into their own with this album, moving past the simple songwriting structures of the past to more expansive endeavors. While the album may be a bit stylistically jumpy, it makes up for it by ensuring that every single song is great.

Girls – Vomit

12. The Antlers – Burst Apart
Wide sounds, big emotions, and a thumping bass drum are what these guys do best, and on Burst Apart they do it better than they’ve ever done. Peter Silberman has come into his own as a falsetto vocalist and the band’s swelling sound meshes perfectly with his voice. And while the previous album worked off overarching musical and storytelling themes, this one goes a step further by letting go of themes and making sure each song flows well into the next. It’s an album of unique and complete ideas that still work together as a whole; a work of short stories as opposed to a continuous narrative. And while continuous narratives are exciting, I’m glad the Antlers stepped out of their comfort zone to make this kind of album. It’s beautiful and belongs in the top albums of the year.

The Antlers – Won’t Want For Love

11. My Morning Jacket – Circuital
It’s hard for me to properly review anything by MMJ, as I basically think everything they release is gold. There’s such an energy to this Lousiville band that seems missing in other acts which always comes through in their music. Though primarily a live band, these guys are no strangers to the studio, and this album shows that. Just like Evil Urges did, Circuital takes MMJ off in a new direction that’s unique but still tied to their previous body of work. More anthemic (“Victory Dance”), acoustic (“Slow Slow Tune”, “Wonderful”), and crazy (“Outta My System”, “Holdin On To Black Metal”) than what they’ve released in the past, My Morning Jacket has once again taken an successful experimental step towards musical dominance.

My Morning Jacket – Holdin On To Black Metal

10. Childish Gambino – Camp
So it’s all a joke. It’s all real. I have no idea. And I don’t really care anymore. But Donald Glover wowed me on this one. An album that is both absent of shtick and full of it. A musician who has no idea whether or not he’s serious. It could’ve seemed overthought, silly, and, like most albums released by actors – bad. But it’s not. It’s very very good. The production. The beats. His flow, which seems to always be a bit off, but in a good way. His mixtapes have been amazing, but the album is just fantastic. Which is why Mr. Gabino has made it to my top albums of 2011.

Childish Gambino – Hold You Down

9. Gillian Welch – The Harrow and the Harvest
I discovered Gillian Welch this year, around the time that my roots/bluegrass obsession began. If you haven’t heard of her, you’re probably wrong; chances are you’ve  heard her sing on the O’ Brother Where Art Thou soundtrack, or on one of the many collaborations she participates in. As for this album, The Harrow and the Harvest is a stunning piece of work; a must-listen for any fans of bluegrass, blues, country, or roots music.

Gillian Welch – Scarlet Town

8. St. Vincent – Strange Mercy
No woman’s voice manages to be so creepy and beautiful at the same time, as does Annie Erin Clark’s (AKA St. Vincent). The music is a never-ending barrage of musical goodness that sounds like no one but St. Vincent. Her voice and the music she writes are patently her own, and this album shows her explosive talent and the level of creative genius she can attain. Every single time I’ve listened to this album, I’ve wanted to listen to it the entire way through – and I have. And if this doesn’t prove the greatness of an album, I don’t know what does.

St. Vincent – Cheerleader

7. Kanye West and Jay-Z – Watch The Throne
This one aged quite nicely. They hype and hoopla of the initial release of this album marred, to some degree, our ability to truly see this album for what it was. But months later, it’s clear that this is one the best albums of the year. Kanye’s production, beats, and lyrical absurdity/hilarity/brilliance combined with Jay-Z’s voice, perfectly smooth flow, and sense of dominating cool he brings to every verse he opens his mouth makes this album one of the best superstar collaborative rap albums we’ve seen.

Kanye West and Jay-Z – No Church In The Wild

6. Lima Finn – FOMO
A brilliant work of pop-rock which by all means should be dominating FM radio. Mr. Finn’s songwriting skills are better than any pop/rock star/producer out there, yet he remains the favorite of a limited number of indie-rock fans. It’s frustrating and stupid, and just affirms to me the stupidity and vapidity of masses, who are more obsessed with Lady Gaga – who may be creative and innovative in her style, persona, and presence, but whose music is boringly derivative and rarely brings anything new to the table – than with the excellent Liam Finn. If radio pop music is Two and a Half Men, then Liam Finn is Arrested Development. Let’s just hope he doesn’t go anywhere before everybody realizes what they’re missing.

Liam Finn – Jump Your Bones

5. Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile – The Goat Rodeo Sessions
Classical and bluegrass are two genres which aren’t necessarily thought of in the same sentence. One gives off the impression of dirty underground bars with rowdy patrons and homemade alcohol. The other evokes high class, tuxedos, and proper etiquette. Stylistically too, the music varies greatly – one is studied and hopefully mastered and doesn’t leave much room for improvisation. The other is many times self-taught and almost entirely improvised. Yet, they do share one important facet – the love of four unbelievable musicians. All masters at their own instruments (Yo-Yo Ma – cello, Stuart Duncan – fiddle/mandolin/banjo, Edgar Meyer – bass, Chris Thile – mandolin), these musicians have come together to release an album of overwhelming music, that marries bluegrass and classical in a way that didn’t really seem possible before them.

Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile – Goat Rodeo

4. The Decemberists – The King Is Dead
From folklore to folk music, so too the transition from The Hazards of Love to The King is Dead. And it’s a welcomed change; even though THOL is my favorite Decemberists album, it wasn’t something that could’ve been repeated and the band was wise not to try. TKID, however, is no simple album. The songs are a beautiful collection of folk rockers – a nice treat in this world of overproduced indie rock. Plus, that Meloy and co. made the music video for “Calamity Song” as a tribute to the eschaton debacle in David Foster Wallace’s epic novel Infinite Jest just made me love this band even more. I’ve repeated more often than not that The Decemberists are fast becoming one of my favorite bands, and thus this is our #4 album of 2011.

The Decemberists – Calamity Song

3. Wilco – The Whole Love
Jeff Tweedy continues to inspire. This album is a beautiful step forward in the Wilco canon; something that can’t necessarily be said for the band’s last few albums. Lyrically, Tweedy is great; a confused poet, focusing more on the way they words sound together than what they actually mean. But of course Wilco always was about meaning through music and feel, as opposed to nakedly obvious lyrics – so this is to be expected. The album is bookended by two of the best Wilco songs ever: “Art of Almost” takes advantage of Nels Cline’s talent as one of music’s most creative noisemakers to produce a cacophonous symphony that’s both anxiously Kafka-ian and beautiful at the same time. “One Sunday Morning (Song for Jane Smiley’s Boyfriend)” is a demo of an acoustic guitar and piano line that the band jammed on for about 12 minutes, which made it on the album because of its perfect imperfections. The best Wilco album in years, this is our #3 album of the year.

Wilco – Art of Almost

2. M83 – Hurry Up, We’re Dreaming
The world seems obsesses with irony these days. Not a classical understanding of irony (“A mode of speech in which the literal or implied meaning of the words is the opposite of the intended meaning.” a-la Bryan Garner’s A Dictionary of Modern American Usage), but the one dominating popular culture, in which one will wear Christmas sweaters, listen to Train, Journey, or Bon Jovi, and will gush about why Republicans are hilarious. All of these things will fit loosely into the definition of irony since the hipster in question is indicating by their over-excessive love for the unpopular that they actually hate that very thing. This is all and good, and gives the ironic speaker the warm feeling of satisfaction that accompanies putting something else down. But what it doesn’t do is tell you what that person actually does like. Sure, you think “Soul Sister” is a dumb song. But what’s a good song? This shtick allows people to make fun of what they claim to hate without risking their own cred by revealing what they actually like.
M83′s Anthony Gonzalez has no such qualms. There is no shtick to this man. This is a musicians who, unapologetically, set out to write, produce, and record an epic album. He ran the risk of a. failing and b. being ridiculed by the very fans his music is consumed by. Yet, his determination to make something truly great prevailed and he released the double album (heresy!) Hurry Up, We’re Dreaming. This isn’t the place for a deeply-delving review of the album (check that out here), but it is the place to declare that Mr. Gonzalez succeeded in the best of ways and thanks to him we have our #2 album of the year.

M83 – Intro (feat. Zola Jesus)

1. Bon Iver – Bon Iver 
No longer limited to the acoustic-guitar-meanderings of a cabin-bound-hermit, Bon Iver (the album) has elevated Bon Iver (the band fronted by Justin Vernon) to the status of a true band; full songs dominated not only by vocals but by instruments as well, a production quality that not only exceeds the DIY standard of his previous offerings but also the industry standard, and a hauntingly-beautiful expansive album that’s no longer just for bearded hipster kids, but for all music fans alike. Brilliantly, Vernon has been able to maintain that level of intimate emotion that was captured in his earlier rawer albums in this heavily produced monstrosity of an album. That ability to not only draw people in by the intimacy of scratchy vocals and an acoustic guitar, but with multi-part, multi-instrument, magnificently written pieces isn’t easy to come by. Either you fail miserably and sound like you’re trying too hard, or you succeed brilliantly. The best classical composers were able to manage myriad sounds, instruments, and feelings in their music. With Bon Iver, Justin Vernon has mastered that skill. Masterfully composed, expansively produced, and brilliantly executed – Bon Iver is without a doubt the best album of the year.

Bon Iver – Holocene

Tim Tebow is a terrible QB. Statistically speaking, the man is abysmal. First of all, he doesn’t pass the ball. In the eight games played this season he has thrown a mere 125 times. That’s about 15 throws a game. Compare that with Jay Cutler, the QB for the run-heavy Bears, who throws 30 passes a game. To make this clear, the QB for the team that has running sensation Matt Forte throws more than the QB who’s starting running back is a washed-up Willis McGahee. And then there’s his completion percentage which is 46.9% – which means that of ever two passes he throws, fewer that one are actually caught.

Yes somehow, the man is winning. Somehow, Tebow is leading my beloved Broncos to the top of the (admittedly bad) AFC West. The media chalks it up to his “intangibles.” Which is code for “we have no idea how this guy is winning but he is, so let’s make up a stupid word to explain the inexplicable.” As a statistically bent human being, I über-loathe this approach to explaining sports.

But let’s take a step back first. First, I know this is a music blog, but I also happen to be a sports fan, most specifically a Denver Broncos fan. I was born in Denver, and though we had moved to Baltimore right around my 3rd birthday, I was a Broncos fan for life. First of all, my dad is a lifelong fan. Legend has it that I was with my father when he watched  both The Drive and The Fumble (sorry Cleveland). So even though we moved to Baltimore, we didn’t have the Ravens yet, and so my football allegiance was forever solidified with the Broncos of Denver.

So what does this have to do with music? Nothing. I just wanted to write about Tim “the idiot” Tebow.

So Tebow is bad. It’s been statistically proven. So why is he winning? The religious would say that it’s his faith in his lord and savior that is propelling this mildly talented football player to a 4-1 record this season. NFL broadcasters and sportswriters attribute it to his aforementioned “intangibles.” I would disagree there. It all comes down to terrible coaching, and poor football decisions.

Tim Tebow is what we call a “wild card.” He’s a threat, not because he’s particularly talented, but because he doesn’t act like he’s expected to act. He’ll just as likely hand it off as run it himself. And he won’t slide – he’ll run right into linebackers to gain a few more yards. Broncos fans love this. They love grit and gutsy players. They loved it when John Elways helicoptered over LeRoy Butler in Super Bowl XXXII. They loved it when Terrell Davis would play through migraines. And they love Tim Tebow.

Personally, I would rather almost anyone play QB for the Broncos. Am I happy with the wins? Yes, of course. Do I think it’s sustainable? Not a chance. Tebow’s status as a “wild-card” will only last so long, and his inability to throw should give defenses a clue into how to play this team.

So while I’m enjoying this little winning spurt, there’s no way that a QB who can’t throw the ball can actually win a playoff game, and that’s why I want Jay Cutler back. Jay Cutler? Yes. That trade for Kyle Orton was the dumbest thing since the Orioles traded David Wells for Jimmy Key, and I want it reversed on account of stupidity.

Is there a point to this rant? No. Only that Tim Tebow is a doofus. NFL defenses are doofusier for letting him run all over them. And if Denver wins the Super Bowl under him, I will gladly eat this post.

Moral of the story: Tebowing is bad for you, the Broncos don’t have a chance with Mr. Tebow at QB, and I will continue to be plagued by following sports teams which have under-performed for the last ten years.

Tom Waits – Bad As Me

Google’s music-focused press conference yesterday was surprisingly underwhelming. They released Google Music to the public, which many of us have been using in Beta for the last few months. It’s a cloud-based music service to which you can upload up to 20,000 songs for free, and can listen to them everywhere. They’ve also included a store, and a way to share music via Google Plus. Sounds cool, except for the fact that Amazon has a similar product, but upgrades you to unlimited storage space if you buy any mp3 album through them. And Apple just rolled out iTunes Match, which allows users to upload 25,000 songs to the cloud, and Apple will match those songs (even if they’re stolen) with higher quality versions.

But of course, there’s a catch to both Amazon and Apple. Amazon only let’s you upload mp3s. This kind of sucks, especially if you have a collection of FLAC or mp4 or any other music type. Going through and converting everything is kind of annoying, so that’s out. Also, rumor is that they down-sample everything, so even if you upload a 320kbps version of every mp3 you own, you’re still probably streaming it at 128kbps – an audiophile’s worst nightmare.

Apple is also tricky. Firstly, they’re charging $25 a year for their service. Sounds great and reasonable, but compared the the free options it’s annoying. And their “higher quality” versions of songs means they upgrade your 128 or 190kbps tracks to 256. Not bad, but also ear-grindingly frustrating for those who care about high quality audio.

And then there’s Google. Sure, you can’t download the songs from the cloud. And their store is lacking and doesn’t bring anything new to the table. And their social features are bested by the combination of Spotify and Facebook. Nevertheless, they’re the number one cloud choice for me, and here’s why:

1. There’s an iPhone app
2. You can upload any music file type
3. You can stream high quality audio
4. They have a free, unreleased, Pearl Jam bootleg in their store

That’s basically all I need. Good quality audio that I can listen to anywhere + free Pearl Jam. No, this is not a good system to backup your music – you can’t even download the songs. And the 20,000 song limit will get annoying pretty soon. But for now, I’m flying high and enjoying having a good chunk of my music, anywhere I go.

Ben Harper – Rock N Roll Is Free (live)

Check out a radio rip of The Black Keys’ “Run Right Back,” the B-Side to “Lonely Boy” which will be released on Record Store Day on vinyl. The forthcoming album El Camino drops December 6th.

The Black Keys – Run Right Back

Three wonderful years with the love of my life. Can’t wait for the next 300.

Smashing Pumpkins – Thirty Three

The White Stripes – Fell In Love With A Girl

Magic Sam – My Love Will Never Die

Drake’s forthcoming album Take Care has leaked in full. Since “The Ride” was the only song not included on the earlier leak, I figured I’d share it here.

Enjoy.

Drake – The Ride

You probably know him as Troy Barnes from NBC’s hit show “Community.” And if you don’t, then you should. Donald Glover (no relation to Danny) is a hilarious and fantastic actor. Which is why I was initially hesitant when I heard that he also rapped. How many times are actors/musicians/athletes able to shine when they cross over into another form of entertainment? Shaq and Allen Iverson’s rap albums were terrible. Some people like Bon Jovi’s acting, but I think he’s horrible. Ludacris was great in “Crash” but that’s the exception to the rule.

So it’s no surprise that I was reluctant to accept Childish Gambino – a name he came up with by Wu-Tanging his name (mine would be Officer Stinkah) – as a legitimate rapper. But then I first listened to his EP which he released earlier this year and was blown away. Is it polished? No. Is it crude? Very much so. Is he sometimes self-deprecating to the point where it becomes uncomfortable? Sure. But he was really good. His lyrics were potent and critical of himself and others. And his beats were fantastic for someone who was self-producing a mixtape on his laptop. And so I was hooked, and patiently awaited the release of his full-length album.

Well, here it is.

Camp is fantastic. There are times when it’s overproduced. And there are times when it sounds like he was just trying to be Kanye West. But lyrically it’s wonderful. The album starts off with Mr. Glover trying to prove his “hood” legitimacy. “He’s saving up so we can get our own place/ in the projects, that sounds fancy to me,” Glover sings in the opening track – “Outside.” “Gun pulled in her face, she still made dinner.” Already on the defensive, Childish opens the album by trying to prove that he came from the same projects that everyone else did. Sure, he was able to attend and graduate from NYU, but his roots – possibly important for his rapper cred, and certainly important to him – are presented here in plain sight. It’s hard to tell if he’s mocking the concept of rap-cred or if he’s actually trying to prove himself. My guess is that it’s a little bit of both. “Firefly” continues as he describes his childhood and being poor and unable to go to concerts. He then veers into one of his other favorite topics – that he’s black and a rapper, but accused of being ‘white’ – “the only black guy at a Sufjan concert.”

Gambino begins his tirade in full force during “Hold You Down.” He talks about being poor and wanting a nice jacket, but since his mom couldn’t afford so he “hit the office stole some Tommy Hill from lost and found.” He attacks the stereotypes (“White kids get to wear whatever hat they want. When it comes to black kids, one size fits all.”), lashes out at white people who think that their love of black culture makes them less racist (“You’re not not racist because The Wire’s in your Netflix queue.”), and fights back against people saying he’s not black enough (“He said I wasn’t really black because I had a dad.”). But the true gem of the track is when he tells us “I won’t stop until they say James Franco is the white Donald Glover.” Is he kidding? Is he making fun of stereotypes? Is he mocking himself and the fact that people care about stupid things? Is he post-race and looking back at the stupidity of these arguments?

And then he goes back and compares himself to the godfathers of rap. “Rap’s stepfather, yeah, you hate me but you will respect,” on “Bonfire” and on “Hold You Down he raps “Listening to Sky’s The Limit on my Walkman. Thinking if Biggie can make it through man then I can,” comparing himself to the best of the best. It’s kind of like Jordan Crawford claiming he can be better than Michael Jordan.

So what exactly is going on here? Is Childish Gambino serious? Is this an ironic stab at the stupid details of music, hip-hop, race, and roots that we spend a ton of time studying? Is he for real?

I think the album title may shed a bit of light on his intent. Aside from the last line of “Bonfire,” there’s no reference to anything about camp throughout the entire album. Until the end of “That Power” where Mr. Glover tells us a story about coming back from summer camp. It’s spoken word. It’s meaningful for anyone who ever went to camp, or had a teenage relationship. “We’re still at camp as long as we’re on the bus and not at the pickup point where our parents will be waiting for us.” After he spills his heart out to the girl he’s been hanging out with all summer long, he expresses his feelings to her, after which she goes around and mockingly tells all of her friends about it. At which point, Donald changes gears, stops being a storyteller, and shows us where this never-ending self-deprecating rant has come from. “I told you something – it was just for you, and you told everybody. So I learned cut out the middle man, make it all for everybody always.”

So this is where it comes from. Or maybe it’s just another story. But if not, then Childish is the least cynical and ironic person ever. He’s just a guy who’s always shared all of his thoughts with everyone, instead of keeping them inside, because he was burned so badly at age thirteen. Is this bullshit? Maybe. But it would explain why his raps sound like uninterrupted racing thoughts – because that’s what they are. They’re the unedited thoughts that everyone has. Everyone stresses about racism and roots and girls and being poor and being cool. Everyone has those thoughts running through their heads. Most of us just keep it inside to maintain a facade of being normal. Childish Gambino has taught himself to share everything, not because it makes him more powerful, a better person, or a better rapper. But because it’s the only thing he knows.

Is it all a big joke that he’s playing on us now? Pretending to be this honest while actually laughing behind the curtain? Possibly, but music is art, and art is in the eyes and ears of the consumer. And this is how I’d like to see it. Congrats, Donald Glover – not only does the album sound great, but it’s a beautiful diary that you’ve shared with the rest of the world.

“I wish I could say that this is a story about how I got on the bus a boy and got off a man, more cynical, hardened, and mature and shit. But that’s not true. The truth is I got on the bus a boy. And I never got off the bus. I still haven’t.”

Childish Gambino – Hold You Down

Childish Gambino – That Power

Radiohead has announced a US Tour in early 2012. Sad for me, it’s focused mainly in the southern half of our country, so unless they add more dates, I’ll be sitting this one out.

Radiohead 2012 tour dates
Feb 27 – Miami, FL American Airlines Arena
Feb 29 – Tampa, FL St. Pete Times Forum
Mar 1 – Atlanta, GA Philips Arena
Mar 3 – Houston, TX Toyota Center
Mar 5 – Dallas, TX American Airlines Center
Mar 7 – Austin, TX Frank Erwin Center
Mar 9 – St. Louis, MO Scottrade Center
Mar 11 – Kansas City, MO Sprint Center
Mar 13 – Broomfield, CO 1stBank Center
Mar 15 – Glendale, AZ Jobing.com Arena

Radiohead -Supercollider

Despite the weather turning sour and the year drawing to a close, we have no shortage of new music these days. I haven’t been able to post that much this week (NaNoWriMo is occupying much of my free time), but there are a few great songs that I couldn’t not share.

• I’m not the hugest Mumford & Sons fan. But since I’ve recently begun playing mandolin, I’ve been trying to dabble in music that has more of a bluegrass tinge to it. Though this is mostly indie alt rock, there’s definitely a bluegrass taste to this band and this track – “Ghosts That We Knew,” which they debuted on Philly’s Radio 104.5.
• John Darnielle of The Mountain Goats captivates my attention whenever he releases anything at all. The ID3 tags that Mr. Darnielle put on this track before releasing in on Twitter define the genre as “plaguecore” as the song does happen to be about a plague. The song is called “Thucydides II-58″ so my guess is that JD is talking about the Plague of Athens, which Thucydides – the Greek historian and inventor of scientific history – survived. History aside, it’s a great lo-fi acoustic track.
• And finally, two of Ms. Amy Winehouse‘s songs have been posthumously released. We have a collaboration with Nas called “Like Smoke” which juxtaposes Amy’s soulful voice with Nas’ flow, and a poppy soulful number called “Our Day Will Come.” Hearing the tracks is bittersweet; that they’re so good only shows us how great of a talent we truly lost.