Top 20 Records of 2004

1. Franz Ferdinand – Franz Ferdinand (Domino): The truly great records are ones that as the final bars of one track end, your mind is already playing the opening notes of the next song, as your ears anticipate another great tune. I got this feeling with Franz Ferdinand's debut often, as I heard it in record stores, at friend's homes and elsewhere. This is simply a superior pop record, with tight playing and bursting with hooks. Two particularly impressive things to note: 1) this isn't 11 versions of the same song. A few songs do fit a certain mold – the established sound, if you will – but the band varies the sounds, while staying true to the essential concept; and, 2) these songs have meaning. Not necessarily in some grand social or political context, but the lyrics here aren't throwaways. They have observations and stories they want to get out. While they make you dance.

2. The Streets – A Grand Don't Come For Free (Vice/Atlantic): This is about as close as any music that I've listened to has come to literature. The hook of this concept album is not the plotline, really. What grabs the attention is Mike Skinner's geezer character, and Skinner's keen sense of observation on the many small details of life. The music is so basic, and is essentially a formula (simple rhythm verses for Skinner's narrative ‘rapping' and then a vocalist doing the sing-song chorus), yet it's good enough to hook the ears, while the words and the fact that you care for the sad bastard who's front and center hooks the brain and heart. I didn't think Skinner could follow up the debut and can't even conceive how he will handle following this one.

3. Mission Of Burma – On/Off/On (Matador): Picking up where they left off more than two decades earlier, all three members of Mission Of Burma are keenly focused and never let go of the musical ideas they championed in the first place. As a result, this album is actually stronger than the incredible music that preceded it. Each member has only gotten smarter and more skilled – in particular, Roger Miller's songwriting blossomed post-Burma and the band is now rewarded. There may not be another "That's When I Reach for My Revolver" or "Academy Fight Song" on this disc, but there are quite a few songs that are just one notch below. This sounds like a band that's far from over.

4. The Arcade Fire – Funeral (Merge): This is what ecstasy sounds like. A six-person core, augmented by numerous folks on strings and other ‘non-rock' instruments create a 21st Century Wall Of Sound. The band is so well versed in the rock tradition and takes these old elements and stitches them together in a new way and then plays every song with a stunning life force. The music is nostalgic, romantic, sad and rapturously joyful. What is really amazing is that this record sounds like James Taylor compared to how fiery they are live.

5. Ken Stringfellow – Soft Commands (Yep Roc): Stringfellow took his ‘70s singer-songwriter pills before putting together this album. Apparently, most of these songs were either directly or indirectly inspired by the birth of a child. This makes sense in how so often, Stringfellow finds places in these songs to unleash his awesome vocal power, as if he can't harness the powerful emotions that such an event creates. There are a few grand epic tunes and a healthy dose of songs infused with an R & B/soul influence. This is music that you can really feel.

6. The Futureheads – The Futureheads (WEA International): The jagged guitars, the herky jerky rhythms which somehow spin into sing along choruses, the youthful passion and songs about being a young adult in the big city. This album is an adrenaline rush that is callow yet smart. There is no doubt that these lads are working off their inspirations, but they are doing it to further their own ends, not to show off. Moreover, they have introduced the notion of multi-part harmony singing to post-punk music, giving them a singular identity and quite the exciting sound.

7. A.C. Newman – The Slow Wonder (Matador): What starts off as an album of songs that could have appeared on a New Pornographers album, which would have been fine, blossoms into a showcase for Newman's great songwriting ability. As the disc goes on, he shows that he still has the talent to craft elegant music, in the vein of his work with Zumpano, but with more emotional weight. And, perhaps solely for my benefit, he unveils a penchant for Electric Light Orchestra, and builds on the work of Jeff Lynne.

8. Poor Luther's Bones – Inside The Outsider (Heavy G): Your basic roots/psychedelic/old fashioned rock ‘n' roll band. Garth Forsyth's songs have been written, arranged and performed to near-perfection. Listening to this disc is the aural equivalent of looking through a photo album that has silvery daguerrotypes, turn-of-the-century sepia tones and vibrant color shots. The songs show an utter command of the roots of rock music, sometimes staying pretty close to the roots, other times flying to the stratosphere.

9. The Reigning Sound – Too Much Guitar (In The Red): A blistering assault. Even the slow songs rock like mothers. Greg Cartwright and his crew play rocked up R & B with a fury rarely heard since the early years of The Saints. Mixing sharp shooting originals with well chosen covers, they prove that Memphis is still producing great music.

10. Brian Wilson – Presents Smile (Nonesuch): After a few months, it's still hard to get a full handle on this album, but there is no doubt that it is a singular achievement from one of the great American songwriters of all time. This is a true rock symphony that intersperses great songs, in that nonpareil Beach Boys style, with interesting interludes. As I kept listening to it, Wilson's weathered vocals seemed to add to the work. He'll never be the singer he once was, but he is expressive and the aged sound of his instrument gives this more resonance.

11. Sukilove – You Kill Me (Hidden Agenda): The hints of the buoyant pop band are still there. Pascal Deweze's superb voice and melodic instinct can not be overwhelmed, even though he adopts a murky blues-rock based attack. This is a powerful, emotional album, teeming with anger and bitterness. It's as if Roddy Frame and PJ Harvey got together to make an album.

12. Scissor Sisters – Scissor Sisters (Polydor): For the most part, Scissor Sisters are a good dance band, with one great track, the cover of Pink Floyd's "Comfortably Numb". Meanwhile, they are also a fantastic pop band, adding to the tradition of Elton John and Robbie Williams with songs like "Take Your Mama". Finally, they can also do songs in the mold of Pet Shop Boys, like "Return to Oz". A very accomplished debut.

13. K-oS – Joyful Rebellion (Astrawerks): This Toronto rapper incorporates swell R & B moves and some reggae beats into the hip-hop mix. It doesn't hurt that he may be an even better singer than rapper. The combo of sharp beats and top notch songcraft is fueled by many of the lyrics, which are reflective takes on what it means to be an M.C. This is the rapper most likely to cover a Love song.

14. Poster Children – No More Songs About Sleep And Fire (Parasol): This might be their best album, though that could be said of almost any Poster Children disc. With a new drummer and some concerns about the state of the world, the Children sound more inspired than ever. "The Leader" and "Now That It's Gone" rank up there amongst the better socio-political commentary songs of 2005. Buzzing guitars, dynamics and some nice hooks throughout the disc.

15. Chris Stamey with Yo La Tengo – V.O.T.E. (Yep Roc): This album just kept getting better, from the inspired cover versions of Television, The Yardbirds, Cream and others, to the new version of Stamey's old dB's chestnut "The Summer Sun" and a 10 minute epic with some of the grandest guitar playing on any record to come out this year. Yo La Tengo showed a tremendous versatility, helping Stamey pull off some things that he might not have accomplished on his own.

16. American Music Club – Love Songs For Patriots (Merge): A grand reunion. It helps that Mark Eitzel happened to have penned one of his best batches of songs in years. Everyone plays with intensity and control. Many of the songs have a menacing power that never gets unleashed, it just burns slowly. This is balanced with lighter moments. Like many cynics, Eitzel is a true romantic underneath his sad sack exterior.

17. Loretta Lynn – Van Lear Rose (Interscope): How much credit should Jack White get for this record? It's kind of like Phil Jackson coaching Michael Jordan – he couldn't have won a championship with Jordan, but Jordan never won a title until Jackson came along. White encouraged Lynn to write and she came through with terrific songs. And he found some musicians who could do her justice, while providing a fresh take on a traditional country style. With that in place, Lynn proved that she is still an amazing force, not just in creating songs and then in singing them.

18. Ted Leo + Pharmacists – Shake The Sheets (Lookout): After two classic albums, Leo simply doesn't come up with as many great songs. Moreover, reverting to trio format also limits (a small bit) where they can go with them. It is indicative of the high standards that Leo has set that this album could be viewed as a disappointment. But it isn't, as he still comes up with hooks galore and his political lyric writing gets better and better.

19. The Features – Exhibit A (Universal): This Tennessee band brings some of the excitement of early Roxy Music and Sparks into their frenetic rock attack. But instead of sounding neo-glam, they shoot this through the modern rock of bands like Pixies and Weezer to come up with an energetic sound that stands on its own. Very few songs are as automatic as numbers like "There's A Million Ways to Sing the Blues" or "Blow It Out".

20. Rocket From The Tombs – Rocket Redux (Smog Veil): Richard Lloyd, who was subbing for the late Peter Laughner, does a great job producing these recordings of the classic band that ultimately led to Pere Ubu and The Dead Boys. It was about time these tunes got a proper studio recording. Lloyd and Cheetah Chrome smoke throughout, and David Thomas rocks more than he has in years. A couple songs are just alright, but versions of songs like "Sonic Reducer" and "Final Solution" are excellent, and lesser known numbers state a case for the Rockets being a great band.

Honorable Mention:

Chris Stamey, Kevin Tihista's Red Terror, Tangiers, Michael Carpenter, Tim Reid, Dogs Die In Hot Cars, RockFour, The Casual Dots, Nouvelle Vague, Iron & Wine, Lolas, Olympic Hopefuls, Paybacks, The Lackloves, Doug Gillard, The Original Mark Edwards, Cheese, Major (and others I'm forgetting).

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