A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
The further we get from the present day, the more we’ll find retroactive changes to the Favorite Edition lists. The 2007 list sees a lot of shifting in the Favorite 10, and a number of retroactive additions.
Explosions in the Sky, All of a Sudden I Miss Everyone
UA, Golden green
The Dead Betties, Nightmare Sequence
Björk, Volta
unkie, the Price of Fame
Nico Muhly, Speaks Volumes
Stephen Sondheim, Company (2006 Cast Recording)
Once, Music from the Motion Picture
Sasagawa Miwa, Mayoi Naku
Tokyo Jihen, Goraku (Variety)
Other favorites from the year:
Synapse/Elliott Cole, The Oracle Hysterical
Tommy heavenly6, Heavy Starry Heavenly
Kawai Kenji, Seirei no Moribito
Office, A Night at the Ritz
M.I.A., Kala
The National, Boxer
Band of Horses, Cease to Begin
Jason Isbell, Sirens of the Ditch
The cast recording for 2006 production of Company gets a retroactive boost, missing the Favorite 10 the first time out. A PBS broadcast of the revival directed by John Doyle went a long way in raising its ranking.
I didn’t discover the Dead Betties till a year and some change after the release of Nightmare Sequence, and it would have shot up to the Favorite 10 had I known about it. The album doesn’t lose its punch more than a decade on.
Rufus Wainwright’s Release the Stars and Smashing Pumpkins’ Zeitgeist fall of the list entirely. I think those albums earned their place on the Favorite 10 because I was not paying attention to what was happening in 2007, if the expanded list is any indication.
I’m not sure I actually like The National, but I remember catching the band’s appearance on Live from the Artists Den and thinking Matt Berninger was a tall drink of water. Boxer is rather fine album, nonetheless.
I would not have picked up Band of Horses without Renée Fleming. I get them mixed up with the Band of Heathens and Band of Skulls.
I didn’t actually like Sirens of the Ditch the first time I listened to it. I was just starting to explore Jason Isbell’s work after hearing Southeastern, and I wanted everything to sound like it. I had no context about his work with Drive-By Truckers. Sirens of the Ditch is closer to his work with the Truckers than his more recent albums, and that understanding goes a long way to building appreciation for his solo debut.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
Spotify finally arrived in the US in 2011, and at the time, digital releases meant iTunes downloads. Vinyl album releases still came with CDs to go with them.
Like 2012, the 2011 Favorite Edition doesn’t alter the original list very much, and releases from that year haven’t really made its way into my collection since then.
Duran Duran, All You Need Is Now
Kuriyama Chiaki, CIRCUS
Chiara String Quartet, Jefferson Freidmann: String Quartets Nos. 2 and 3
SuiseiNoboAz, THE (OVERUSED) END OF THE WORLD and I MISS YOU MUH-FUH
MO’SOME TONEBENDER, MO’SOME TONEBENDER
Matt Alber, Constant Crows
James Blake, James Blake
Steve Reich, WTC 9/11 / Mallet Quartet / Dance Patterns
Jason Isbell and 400 Unit, Here We Rest
Frank Ocean, nostalgia, ULTRA
Other favorites from the year:
Edwin Outwater, From Here On Out (Kitchener-Waterloo Symphony)
Kronos Quartet / Kimmo Pohjonen / Samuli Kosminen, Uniko
NOW Ensemble, Awake
The Decemberists, The King Is Dead
itsnotyouitsme, Everybody’s Pain Is Magnificent
John Lunn, Downton Abbey
Death Cab for Cutie, Codes and Keys
Abigail Washburn, City of Refuge
Jason Isbell and Frank Ocean are retroactive additions. I wouldn’t have been aware of either artist before 2011. nostalgia, ULTRA is probably Ocean’s best album, and Here We Rest shows Isbell prepared for the breakthrough of Southeastern two years later.
Kronos Quartet and The Decemberists get bumped from the Favorite 10 as a result.
Edwin Outwater is a late discovery but also emblematic of the music I was exploring at the time. His album with the Kitchener-Waterloo Symphony is about as literal as you can get with the term “indie classical”.
2011 was also the final year I lived in Austin, Texas. I didn’t get around to posting the year-end list till March 2012 because I was busy with my move to Seattle in January.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
I relaunched this site in early 2014 to focus more on discovering catalog music than newer artists. As a result, I didn’t get a chance to revise the Favorite Edition 2013 list after I discovered a number of critical favorites.
Jason Isbell, Southeastern
Jarell Perry, Simple Things
Patty Griffin, Silver Bell
Sam Amidon, Bright Sunny South
James Blake, Overgrown
Sigur Rós, Kveikur
Hem, Departure and Farewell
Blood Orange, Cupid Deluxe
Emmylou Harris and Rodney Crowell, Old Yellow Moon
LEO Imai, Made from Nothing
Other favorites from the year:
Rhye, Woman
Kanye West, Yeezus
Johnny Hates Jazz, Magnetized
TV Mania, Bored with the Internet and Prozac?
Ty Herndon, Lies I Told Myself
Res, Refried Mac
Janelle Monáe, The Electric Lady
Jason Isbell had caught my eye with the stark but stunning cover of Southeastern, but I didn’t follow up on that fascination till well into 2014. Nor did I make the connection between Blood Orange and Solange till after 2013 had passed.
Isbell and Blood Orange bumped Johnny Hates Jazz and TV Mania, while Rhye and Kanye West nearly crack the Favorite 10.
I dug The College Dropout, but West can teach Billy Corgan lessons in being insufferable. Yeezus, though, sounded like an indie rock record, so I could overlook the man and focus on the art. I wouldn’t cut him that slack nowadays.
Ty Herndon came out of the closet in 2014, and he was cute enough for me to take a listen to his greatest hits collection, This Is Ty Herndon. I ended up liking it more than I expected, mostly because I really can’t stand country radio.
Lies I Told Myself shows up on this list because it sounds way more confident than anything on This Is Ty Herndon.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
2015 started strong with the return of Sleater-Kinney, and it stayed strong all the way through the release of the Hamilton cast recording. That said, the list goes through quite a number of changes, consolidating some stragglers and bouncing a few titles off.
Lin-Manuel Miranda, Hamilton: An American Musical
Kendrick Lamar, To Pimp a Butterfly
Sleater-Kinney, No Cities to Love
Jason Isbell, Something More Than Free
Torche, Restarter
Björk, Vulnicura
Deebs and Jarell Perry, Shift
Steve Grand, All-American Boy
Janet Jackson, Unbreakable
Gaytheist/Rabbits, Gay*Bits
Other favorites from the year:
Software Giant, We Are Overcome
Miguel, Wildheart
Madonna, Rebel Heart
Duran Duran, Paper Gods
Enya, Dark Sky Island
The Weeknd, Beauty Behind the Madness
Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit
ASIAN KUNG-FU GENERATION, Wonder Future
Andrew Norman, Play
Troye Sivan, Blue Neighborhood
The Favorite 10 sees one title switched out — Gaytheist and Rabbit’s split EP for Miguel’s Wildheart. Father John Misty, Takaakira Goto, Seattle Symphony and Kronos Quartet make way for Andrew Norman, Troye Sivan and Software Giant.
Eight years into 2010s, 2015 is so far turning out to be my favorite year for the decade. The hierarchy of the list gives a false sense of preference — some of the albums outside of the Favorite 10 got as much play time as those at the top of the list.
Duran Duran and Enya could have occupied spots in the Favorite 10 if the field weren’t so crowded.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
Do I have new favorites? Which ones have fallen out of favor? This time around, we’ll cover a greater span of time from as recently as last year, all the way to 1978!
This most recent decade won’t see much in the way of significant revisions, as I explore deeper into catalog releases than following new artists. Wouldn’t it be odd if I discover new artists from 2017 five years from now? Probably not.
Jason Isbell’s previous two albums ranked high on the Favorite Edition lists of 2013 and 2015, but The Nashville Sound had a tenuous grip on its position in the 2017 list. The late discovery of Sampha and Eluvium gave Isbell the final nudge.
Anne Dudley took up Eluvium’s vacated spot, nearly knocking Living Colour off.
Brandon Stansell makes his first appearance on the list. Stansell performed at the Concert for Love and Acceptance, hosted by Ty Herndon. Like Herndon, Stansell is a country artist, although he’s starting his career out of the closet.
A few titles didn’t get included in the last round-up of new releases, and the release schedule for late autumn hasn’t quite yet coalesced. So this list is thinner than I prefer.
Perfume, Future Pop, Aug. 15
We probably reached peak Perfume two albums ago, if the cool reception to COSMIC EXPLORER is any indication. Imaginative videos can’t quite make up for the weakness of the last few singles, but will either stop me from placing a pre-order? Unlikely.
Blood Orange, Negro Swan, Aug. 24
How did I miss news about a new album by Dev Hynes?
Oh, he announced it when my mom was in town and caught the flu, about a week before I would become briefly unemployed. Has it really been two years since the release of Freetown Sound?
Mandy Barnett, Strange Conversation, Sept. 21
I’ve Got a Right to Cry is a classic album that has been relegated to bargain bins and thrift store shelves. The Owen Bradley-produced album probably did too good of a job calling up the ghost of Patsy Cline, whom Barnett has portrayed on stage.
Barnett recently did a duet with Kenny Chesney, which … whatever. But I would still check out this album because I’ve Got a Right to Cry is an album that just doesn’t wear out, even after nearly two decades.
Jason Isbell and 400 Unit, Live from the Nyman, Oct. 19
It’s easy to marvel at how effortlessly it seems Jason Isbell spins his tales, but when he shreds on stage, it’s a sight to behold.
Fastball, All the Pain Money Can Buy (Deluxe Edition), Nov. 9
Oh, hey, it looks like part of my wish is coming true — All the Pain Money Can Buy is headed for a vinyl release, albeit saddled with bonus material for its 20th anniversary, which I’m pretty sure I’ll be getting anyway.
2017 was a rather active year in music, but when it came to new releases, I opted to leave a lot of stuff on the shelf. A decade ago, new albums by Arcade Fire and Grizzly Bear would have been breathlessly awaited. I don’t get the sense either had much staying power beyond their release dates.
As a result, I ended up purchasing a total of 34 new titles, approximately 7 percent of my total buying activity. The remaining purchases? Catalog and reissues. This list, in other words, comes from a small pool of albums.
Onitsuka Chihiro, Syndrome
Royal Wood, Ghost Light
RADWIMPS, Your name.
Sam Smith, The Thrill of It All
Sam Amidon, The Following Mountain
Kronos Quartet, Folk Songs
Gaytheist, Let’s Jam Again Soon
Living Colour, Shade
Jason Isbell and 400 Unit, The Nashville Sound
Renée Fleming, Distant Light
Sam Smith and Living Colour are the big changes from the mid-year list. The Thrill of It All isn’t as weird as I hoped it could be, but it’s a more appealing album than Smith’s debut.
Shade is the perfect soundtrack for the frustration of living under the current administration. Pre-release press mention the blues as a springboard for the album, but really, Living Colour transform the blues in ways that are nigh unrecognizable.
Other favorites from the year:
Eluvium, Shuffle Drone: I hate both the repeat and shuffle buttons on my playback mechanisms. That said, Matthew Cooper deserves mad props for creating an album that puts both buttons to excellent use.
Sampha, Process: I admit I didn’t listen to this album till a few weeks ago, once it started showing up on year-end favorite lists.
David Rawlings, Poor David’s Almanack: My long-simmering discovery of Gillian Welch will have to wait for another entry, but it’s the reason David Rawlings shows up here.
Shiina Ringo, Gyakuyunyuu ~Kuukoukyoku~: Part of me misses the rocking Ringo-chan of the early 2000s, but then hearing these songs side-by-side with the artists who recorded them first deepens my appreciation for her.
Sufjan Stevens / Nico Muhly / Bryce Dessner / James McAlister, Planetarium: It helps to have heard this album with a laser light show.
The Drums, Abysmal Thoughts: Jonny Pierce takes over the show.
Cocco, Cocco 20 Shuunen Kinen Special Live at Nippon Budokan ~Ichi no Kan x Ni no Kan~: The live performances don’t stray too far from what’s heard in the studio, but Cocco’s voice doesn’t seem to have aged a bit.
Duran Duran, Thanksgiving Live at Pleasure Island: If you’re a fan of the seriously-underrated Medazzaland, this live album is a must-have.
I’m not the kind of person who has to post selfies or photograph everything I’m eating or doing.
Except concerts.
That would be Janet Jackson pictured with this entry.
JACK Quartet, Meany Hall, Jan. 10
I ran into my music theory TA at this concert, and we both we a bit meh about the program. JACK is a great quartet, but I honestly can’t remember much beyond the Morton Feldman piece which opened the concert.
The [untitled] series introduces me to a lot of new music of which I never follow up after hearing it. I still love going to these concerts, though.
University of Washington Modern Music Ensemble, John Zorn: Cobra, Meany Hall, March 1
I’ve known about Cobra for years, but this performance was the first I’ve attended. Recordings can’t do this piece justice. It must be experienced live to understand it.
Seattle Symphony, Aaron Jay Kernis: Violin Concerto, Benaroya Hall, March 18
Violinist James Ihnes has a lot of creative capital in Seattle as director of the seasonal chamber music festival, so I think the audience was willing to give Kernis’ concerto a chance. The piece and the performance went over well.
Japan Nite Tour, Chop Suey, March 22
Damn, had it been five years since I’ve attended a Japan Nite concert?
Emerson String Quartet, Meany Hall, April 21
There’s no way I would miss an Emerson concert with Shostakovich or Bartok on the program.
Seattle Symphony, [untitled 3], Benaroya Hall, April 28
A program centered around Andy Warhol concluded with a “popera”, which actually was far more engaging that I expected.
University of Washington Harry Partch Ensemble, Oedipus: A Music Theater Drama, Meany Hall, May 6
UW has a number of Harry Partch’s custom instruments, which were put to use in a production of Oedipus. Without the visual element, they pretty much sound like gamelan.
Midnight Oil, Moore Theatre, May 31
Yeah, definitely my favorite show of the year. The set list covered the entire span of their career, and just about everything I wanted to hear live I did.
Low + MONO, Neptune Theatre, June 16
I’ve known about Low for a long time — mostly through the band’s cover of “Africa” by Toto — but I was never curious enough to seek them out. I was duly impressed, even if I don’t think I’ll own anything other than Things We Lost in the Fire. MONO, of course, brought it.
The Revolution, Showbox, July 15
The band crafted the set list incredibly well. It started off with some obscure but recognizable stuff, but the second half kicked off the favorites. And everyone left pleased.
Jason Isbell and 400 Unit, Paramount Theatre, Sept. 12
Jason Isbell delivered a flawless performance as usual. The audience, though, was weird. It was a Tuesday night, and the Seattle Freeze was in full force, with half the audience sitting and the other half standing.
Sam Amidon, Fremont Abbey, Sept. 22
If nothing else, you really must go to a Sam Amidon show just to hear him talk between songs.
Janet Jackson, Key Arena, Sept. 27
I held onto my ticket after two cancellations, and I was glad I did. No opening act. Just Janet dishing out hit after hit in an epic DJ mix, only live.
I think this concert was the first where only one piece on the program was entirely unfamiliar to me. It’s always nice to hear Steve Reich’s Different Trains live.
Depeche Mode, Key Arena, Oct. 21
I think Depeche Mode 101 ruined this concert for me. I hadn’t really followed the band since the early aughts, and much of the set list drew from more recent albums.
Kronos Quartet, Federal Way Performing Arts Center, Nov. 4
Kronos has a way of upending expectations. Just when you think you’ve seen them do something new, some composer has them attach bowstring to a plastic toy.
![[The Dead Betties - Nightmare Sequence]](https://musicwhore.org/wp-content/uploads/2018/11/TheDeadBettiesNightmareSequence-300x300.jpg)
![[Edwin Outwater - From Here on Out]](https://musicwhore.org/wp-content/uploads/2018/11/EdwinOutwaterFromHereOn57867DBVJ_f-300x300.jpg)
![[Blood Orange - Cupid Deluxe]](https://musicwhore.org/wp-content/uploads/2018/11/BloodOrangeCupidDeluxe2110207_f-300x300.jpg)
![[Gaytheist / Rabbits - Gay*Bits]](https://musicwhore.org/wp-content/uploads/2018/11/GaytheistRabbitsGayBits14329923YW_f-300x300.jpg)
![[Sampha - Process]](https://musicwhore.org/wp-content/uploads/2018/11/SamphaProcess2017176371_f-300x296.jpg)
![[Jason Isbell and 400 Unit - Live from the Ryman]](https://musicwhore.org/wp-content/uploads/2018/10/JasonIsbell400UnitLive196779PY5H_f-300x300.jpg)
![[Perfume - Future Pop]](https://musicwhore.org/wp-content/uploads/2018/07/perfume-future-pop-300x296.jpg)
![[Duran Duran - Budokan]](https://musicwhore.org/wp-content/uploads/2018/04/DuranDuranBudokan2018184597_f-300x300.jpg)
![[Living Colour - Shade]](https://musicwhore.org/wp-content/uploads/2017/12/living-colour-shade-300x300.jpg)
![[Janet Jackson, Key Arena, Sept. 27, 2017]](https://musicwhore.org/wp-content/uploads/2017/11/20170927_204719-1024x576.jpg)