Here is my now-traditional top-ten list of the albums I’ve listened to the most in the previous calendar year. (See this list of previous entries.) Also in accordance with tradition, it’s ridiculously late.
I listen much more to whole albums than to individual tracks, so each year I pick the ten albums that I listened to the most (not counting compilations), as recorded on the two computers where I listen to most of my music. (So these counts don’t include listening in the car or on my phone.) I limit the selection to no more than one album per artist, and skip albums that have featured in previous years. Then from each of those ten objectively selected albums, I subjectively pick one song that I feel is representative.
Here they are in ascending order of how often I listened to them.
#10 The Pine Hill Project — 2015 — Tomorrow You’re Going (2 listens)
I helped to kickstart this album, a collaboration between two repeat what-I’ve-been-listening-to veterans Richard Shindell and Lucy Kaplansky, so I was really keen to hear it. It’s an album of covers of their favourite country-folk songs, and based on how much I loved Cry Cry Cry I thought it had a good chance of hitting it out of the park.
Yet somehow, it just didn’t quite happen for me. It may yet prove to be a slow burner, but as I write this (having listened to the album twice more in early 2016) I can’t name a single song on it. I guess that tells its own story.
So how did it get onto my annual top ten albums? Simply because, for reasons I don’t understand, there are very few albums that I listened to very much in 2015. Only the top five made it into double figure — indeed only the top five accumulated more than four listens!
#8= Paul Simon — 1983 — Hearts and Bones (3 listens)
Now this album is an absolute stone-cold classic, and I can’t begin to understand why it was such a commercial flop on its release. It may even be my very favourite Paul Simon album, which is saying a lot.
I won’t write too much about it now because at some point it will be the subject of a full-length essay in my Paul Simon series; but I will say that when I was Warwick university in 1989, some friends bought me this LP as my 21st birthday present, and its emotional power was so effective that it ruined my day.
#8= The Beatles — 1963 — Please Please Me (3 listens)
It surely doesn’t need saying that this album was the result of the single hardest day’s work ever put into any project. Fourteen tracks recorded (eight of them Lennon and McCartney compositions, six of them covers), in a little over twelve hours (10am-10:45pm). It was the Beatles’ debut and therefore the recorded beginning of what was indisputably the greatest musical journey of the late 20th century — perhaps ever.
I also listened three times each to With the Beatles, A Hard Day’s Night and Abbey Road this year; and twice to Beatles for Sale, Help!, Rubber Soul and Revolver; and once to all their other albums. They just don’t get old.
#6= Judas Priest — 1980 — British Steel (4 listens)
I don’t admire this album, but I have to admit it’s really grown on me since I wrote about it for the Heavy Metal Timeline series. As I said back then, this is really pop music played in a metal idiom. But whereas I said that with a bit of a sneer in 2014, now I say it with more affection.
#6= Steely Dan — 1977 — Aja (4 listens)
I like Steely Dan’s Pretzel Logic very much, so I decided to listen to Aja when I read that it’s one of David Crosby’s favourite albums. So far, it’s not really settled into my mind: I enjoy listening to it, but only one track (Deacon Blues, above) has really landed with me.
#5 Porcupine Tree — 2005 — Deadwing (10 listens)
Parts of this album are gorgeous; but my sense with this, as with the same band’s The Incident, is that there’s a big gulf between the songs that work magnificently and those that are really disposable. The title track (above), Lazarus, Arriving Somewhere But Not Here, and Glass Arm Shattering are quite lovely; Shallow and Halo I can get along very well without.
I feel like Deadwing ought to be one of those albums that adds up to more than the individual songs; but if it is, I’ve not yet got it.
Porcupine Tree is the band led by Steven Wilson, who we’ll be hearing more from later in this post.
#4 Dar Williams — 2015 — Emerald (11 listens)
A welcome return to top form after the good-but-not-great The Promised Land and In The Time of Gods. I rate Emerald as Williams’ best album since 2005’s My Better Self, which is saying something. Her eye is clear, her mind is sharp, her lyrics are incisive and her tunes are singable. How is she not better known?
#3 The Neal Morse Band — 2015 — The Grand Experiment (13 listens)
The king of prog rock returns with a not-exactly-solo-album. Previous outings hsve been credited to Neal Morse, with the songs all written by him; but this one is a band effort. His long-term collaborators Mike Portnoy and Randy George are on drums and keyboards as usual, but this time they’re joined by guitarist Eric Gillette and multi-instrumentatalist Bill Hubauer. The result is a typically inventive album, but perhaps with more of the feel of Transatlantic than a Neal Morse solo album. Which is fair enough since this, like that, is the result of a collaboration.
The album opens with Following the Call (above) ten minutes of fascinating and ever-changing music introduced by perfect harmony vocals. Lovers of harmony will also enjoy the album’s very gentle third track, Waterfall, which I’ve more than once seen likened to the work of Crosby, Stills and Nash. (One of the great things about this band is that four of the five members can and do sing.)
This is a very joyful album, and I’ve loved listening to it — not only the 13 times that my records show I’ve heard it on my computers, but also many times in the car and on the kitchen CD player. And I am absolutely pumped about the Neal Morse Band’s forthcoming double concept album The Similitude of a Dream.
#2 Joni Mitchell — 1974 — Court and Spark (18 listens)
Arguably Mitchell’s most immediately appealing and approachable album, and certainly her most commerically successful one. But that doesn’t mean that the music is at all dumbed down; even less so, the lyrics. As always, she is razor sharp, perceptive and expressive — and she leaves plenty of work for the listener to do in arriving at conclusions about the songs.
More than her other albums, Court and Spark is a unity — especially on side 1, where all five songs feel like part of an intergrated suite. One side 2, the individual songs can be picked apart a little more easily, which is why I chose Just Like This Train (above) as the sample track. But I could so easily have chosen Down to You or Trouble Child. Oh, there is so much goodness on this album.
#1 Steven Wilson — 2015 — Hand. Cannot. Erase (31 listens)
Absolutely, unambiguous, overwhelmingly the album of the year for me, by a mile. Wilson has always been clever, and he’s never made an album without absolutely beautiful tracks on it. But this time he’s upped his game, and Hand Cannot Erase is magnificent from start to finish. There is honestly no weak track anywhere on the album.
Hand Cannot Erase is a concept album, based very loosely on the true story of Joyce Vincent, who died of unknown causes in a London flat in 2003, but whose body was not found for more than two years — a woman so disconnected from the society she lived in that no-one even noticed when she wasn’t there any more. The viewpoint character of Hand Cannot Erase is not Vincent: all the details of her life are made up. But the outcome is the same.
Muscially, this is just perfect: a marvellous combination of prog rock, ambient, and even dubstep. Despite the wildly varying styles, there are common threads running through the whole album so it really is a unity. It’s difficult to pick a single track, so I’ve gone with the video above which includes both the brief instrumental introduction First Regret and the opening song Three Years Older. Wilson is himself a consumate musician, but is not afraid to surround himself with even better instrumentalists — not least Guthrie Govan, a guitarist of sensational technique but also, more importantly, with perfect judgement. He knows what to play, and when, and how, to best serve the song. And each song is there to serve the album.
The big honorable mention this year is the first CD of Steven Wilson’s Grace for Drowning — with 21 listens, it was actually my second most-listened album of the year, and I absolutely love its somewhat Radiohead-like Deform to Form a Star. But as there was already a Steven Wilson album at #1, it was ineligible. The next honorable mention was Joni Mitchell’s Hejira (ineligible due to the inclusion of Court and Spark and because of its own previous appearance in 2011). Otherwise it was a bunch of albums (mostly Beatles ones) with three listens each that either had appeared in earlier years or were by artists appearing higher on this year’s list.
Only one of last year’s YouTube videos has gone away in more than eighteen months since I wrote that post, which gives me some encouragement that the rate of pointless copyright-related publicity-prevention may be slowing down. Accordingly, I’ve put together a YouTube playlist of this year’s favourites, so you can listen to them all if you wish.
Well, your tastes are fairly eclectic. I don;t know all of these artists, but I did get a chuckle out of the inclusion of Judas Priest. I listened to a lot of Proest at one point myself, but it is a bit odd juxtaposed with the rest of the artists on your list I do know.
I’m happy to see Steely Dan on your list. They are without a doubt my favorite pop act. I can’t think of another band as consistently good- there’s a whole series of albums on which there are not only no weak songs, but hardly even a mediocre track. I would probably have a harder time picking a few favorite Steely Dan songs than I would with any other act.
I do try to be eclectic — to avoid missing out on good music merely because it’s not in a style that I’m familiar with. It was Duke Ellington who wrote that “There are simply two kinds of music, good music and the other kind”. I aim to appreciate good music wherever it can be found. (A case can be name that Judas Priest is not “good music”; but it works, and that makes it good in my book.)
Thanks for the supporting words for Steely Dan. I’ll persist with that album.
While I’d have a hard time naming my favorite Steely Dan album it wouldn’t be Aja. A lot of the playing on Aja is amazing though. I happen to be a big Wayne Shorter fan, so there’s that. One of the things I really like about Steely Dan is that they get really great performances out of session players, but manage to still be very definitely Steely Dan. Another thing I like about them is that even their weaker tracks (and I think Aja has a couple of those) are still pretty good songs. And I do love Deacon Blues- it’s a great song even if you don’t listen to the lyrics, but the lyrics are very good, very smart. We all have a bit of Deacon Blues in us, I think.
As for Priest- well, I did listen to them a lot at one point in my life, especially Screaming for Vengeance and Defenders of the Faith. Those are maybe not the best Priest albums, but they were the ones that were current at the time. Anyway, I agree that even if Priest were not the pinnacle of Western music they were good at being what they were. I don’t listen to them anymore, but I have a certain nostalgic affection for them, and every once in a while I hear one of their songs and it gives me a little smile.
I agree about eclecticism as well- I was pretty closed-minded about music when I was younger, and disdainful of what wasn’t what I happened to be into.at the time. I was a dedicated jazz Nazi for quite a while (I spent a lot of time trying to learn to play bebop, and never managed to be good at it- I developed a superficial ability to ape the form, but I was never able to get to the heart of it in my own playing.)
What can I say? I was young, and I had a regrettable tendency toward zealotry when I was young (and perhaps do to this day, though I like to think I have learned _something_ since then.) I missed out on some good music as a result. If you had told 13-year-old me that he would eventually think highly of Cyndi Lauper he would have been surprised to hear it. (Meaningless point of trivia: someone I knew lived in her former dorm room not too many years after she had, so I can in all honesty say I partied hard and often in Cyndi Lauper’s dorm room. Just not while she lived there ;) .)
Your post prompted me to compile my own 2015 top 10, since last.fm makes it easy(ish). They list # of tracks played, so I divided by the # of tracks in each album to get an approximation of number of plays.
Here it is:
1) 7,9 plays – Pink Floyd — The Endless River (2014)
A new Pink Floyd album. #1 place was inevitable really.
2) 6,0 plays – Ihsahn — After (2010)
That sax on “On the shores”, oh my. The album could use a little more variety overall, but still I’m happy to see it coming in second.
3) 5,9 plays – Zaz — Recto Verso (2013)
This is straying quite a bit from my usual musical habits, which is probably why I only listen to about 1/3 of the songs on the album. That 1/3 is soooo good though.
4) 5,9 plays – Teeth of the Sea — Master (2013)
Heh, not sure how to even describe this one. The build up on that opener track hooked me in, decided to check out the album, ended up listening to it quite a bit.
5) 4,8 plays – Sleeping Pulse — Under The Same Sky (2014)
A side project by Antimatter’s Mick Moss. No single track has stuck in my memory and the songwriting on this is a bit disappointing, yet it still *sounds* good.
6) 4,6 plays – Various — True Detective: Music from the HBO series (2015)
There is some good stuff in here, but well over half of these plays were just me listening to the 5 Lera Lynn tracks obsessively.
7) 4,5 plays – Riverside — Love, Fear and the Time Machine (2015)
New Riverside album, nuff said. Would be higher in the list but it came out relatively late in the year.
8) 4,3 plays – Goat — Commune (2014)
The second Goat album. The first one was better but this one’s fun as well.
9) 4,0 plays – Opeth — Pale Communion (2014)
The least engaging of Opeth’s releases in a while, hence the relatively low place.
10) 3,2 plays – Ghost — Meliora (2015)
This is so good. Pop metal at its best.
Looking back, I’m surprised at how much of the list are current releases. Only 3 of the entries are older stuff that I only discovered after the fact, which is more normal for me.
What doesn’t surprise me is how spread out my listening habits are. #1 has barely 2 times as many listens as #9, and overall the top 10 albums only accounted for 10% of tracks played that year.
Interesting stuff, Pedro. I will have a go at finding some of these.
But for me, it’s much more about listening to albums than songs.
I often put the player on random. Like a friend of mine once said, “it’s like radio but it only plays the songs you like” :)
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