Adele, Kanye West, Foo Fighters, Bon Iver, and Skrillex were among the big winners at the 2012 Grammy Awards.

The night’s biggest champion, Adele won Six Grammys, including Best Album (21), Song of the Year (“Rolling in the Deep”), Record of the Year (“Rolling in the Deep”), Best Pop Solo Performance (“Someone Like You”), Best Pop Vocal Album (21), and Best Short Form Music Video (“Rolling in the Deep”).

Nominated for a total of seven Grammys, Kanye picked up Best Rap Album for My Beautiful Dark Twisted Fantasy, topping Lil Wayne, Lupe Fiasco, Nicki Minaj, and even himself (and Jay-Z). His song “All of the Lights” also earned Best Rap Song and Best Rap/Sung Collaboration, while his Watch the Throne single with Jay-Z, “Otis” won Best Rap Performance.

Foo Fighters took home five Grammys, including Best Rock Album (Wasting Light), beating Best Rock Song (“Walk”), Best Rock Performance (“Walk”), Best Hard Rock/Metal Performance (“White Limo”), and Best Long Form Music Video (Back And Forth).

Bon Iver earned the award for Best New Artist, and their standout sophomore LP took home Best Alternative Album, beating out Radiohead, My Morning Jacket, Death Cab For Cutie, and Foster the People. Update: Watch Justin Vernon’s acceptance speech below (via Spinner).

Skrillex won three Grammys, including Best Dance Recording, Best Dance/Electronica Album, and Best Remixed Recording.

Other notable winners included Tony Bennett and the late Amy Winehouse, whose duet “Body and Soul” earned Best Pop Duo/Group Performance; Paul Epworth (Foster the People, Adele), who beat out Danger Mouse and Butch Vig for Best Producer; and Bruce Springsteen, who earned Best Boxed or Special Limited Edition Package for The Promise: The Darkness on the Edge of Town. Last year’s big winners, Arcade Fire also won a Grammy, picking up Best Recording Package for their film Scenes From The Suburb.

You can see the complete list of winners at the Grammy’s website.

Well, America does. If Twitter is any indication, millions of people still tune in and actually gripe about the wins and losses; you do recall the great Arcade Fire meme of 2011, right? What’s more, with a handful of unique performances, specifically those oddball collaborations this year (e.g. Foo Fighters and Deadmau5; Beach Boys and Maroon 5 and Foster the People), there admittedly is somewhat of a reason to tune in, even if we all know Adele will sweep.

Still, there are some categories that flirt with the mind: Will Wilco win over Foo Fighters for Best Rock Album? Could Bon Iver actually nab the Best New Artist win from Skrillex? Does Kanye West need Jay-Z to win another Grammy? Do the Grammys still love Gaga?

On paper, none of these nominations tend to mean anything to us, but if Arcade Fire’s win last year is any consolation, then some of these younger, budding artists could be in the running to nab a few million more fans. Wouldn’t it be just wonderful to hear several more Americans dumbfounded at another indie act? Aren’t you jumping for joy at the likelihood of another dozen more snide editorials within our circle laughing at them? Wouldn’t that just be dandy?

We’ll see come Sunday. Personally, I’m amped to see Brian Wilson’s face when they transition from “Good Vibrations” into “Moves Like Jagger” – that is, if the Grammys heed Satan’s advice.

Anywho, check out who we think will win. If you recall, we’ve been right on the money in the past. Not.

-Michael Roffman
President/Editor-in-Chief

Album of the Year

Who Will Win: Adele – 21
Who Should Win: Adele – 21

What CoS Says: Anyone who hasn’t already figured out why Adele’s 21 will win Album of the Year needs to steer clear of sharp objects and wear a safety helmet at all times. As the best-selling album since 2004, 21 was the single greatest pop album of the entire year, fulfilling every single requirement necessary to be deemed a true crossover hit.  Singles, specifically “Rolling in the Deep” and “Someone Like You”, played literally around the clock worldwide? Check. Said tracks featured in ad campaigns/commercials? Check. A record-setting 19 weeks at No.1? Check. Your mother asking for it for her birthday/Mother’s Day? Awkward check. Artistically speaking, the album ached with a romantic forlorn that was truly universal, delivered in a triumphant and grandiose fashion that appealed to the sensibilities of both young and old, lame and hip. No better album could have meant as much to the whole wide world. -Chris Coplan

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Before we continue, let’s attempt to clear up one of the most confusing questions in all of music: the difference between Song of the Year and Record of the Year. According to Slate, Song of the Year awards the songwriter for a song released, while Record of the Year rewards a song’s performance and production.

Song of the Year

Who Will Win: Adele – “Rolling in the Deep”
Who Should Win: Bon Iver – “Holocene”

What CoS Says: History points out that the majority of artists who are both songwriters and performers tend to win both Song and Record of the Year, which means Adele is floating along nicely here. Having said that, the decision should be split this year, given that the chart-topping juggernaut is already likely to win Album of the Year and Record of the Year, as well. But, this isn’t a race in kindergarten, so that sort of thinking goes out the window in these professional circles of sorts. It’s just unfortunate that such a rich, multi-layered, and intricate piece as “Holocene”, which has only topped dozens of critics’ lists for 2011, will get swept aside, which is what’s essentially being done here. Then again, it’s not like Justin Vernon cares anyhow. -Michael Roffman

Record of the Year

Who Will Win: Adele – “Rolling in the Deep”
Who Should Win: Adele – “Rolling in the Deep”

What CoS Says: Adele hits all the right notes literally and metaphorically with “Rolling in the Deep”, which is why she should and will win Record of the Year. Perhaps the least self-explanatory category, Record of the Year goes to a track’s producers and performers, while Song of the Year is awarded to a track’s songwriter. The distinction might be small, but it’s worth noting. Even though Adele is up for Song of the Year, it’s unlikely that the committee will pick her as the best songwriter over “All of the Lights”’ all-star lineup of Kanye West, Rihanna, Fergie, and Kid Cudi. Though Adele won Best New Artist and Best Pop Vocal Performance in 2009, she lost the category in question to Robert Plant and Alison Krauss (something the Grammy Awards have a history of doing). This time around, she and her team deserve credit for a masterfully arranged song. From the skeletal strums opening “Rolling in the Deep” to the Motown handclaps and tambourines, Adele’s magnificent husk ties it all together. -Harley Brown

Best Rock Album

Who Will Win: Foo Fighters – Wasting Light
Who Should Win: Foo Fighters – Wasting Light

What CoS Says: Foo Fighters’ Wasting Light will win Best Rock Album for a couple of reasons, the first of which is that the stats don’t lie. Dave Grohl and his assorted cohorts have picked up this particular prize more than any other artist, dating back to the award’s creation in 1995, a year that proved the Rolling Stones were still kind of relevant when they won for Voodoo Lounge. The only times the Fighters have been nominated here and lost were to John Fogerty’s Blue Moon Swamp (The Colour and the Shape, ’98) and U2’s How to Dismantle an Atomic Bomb (In Your Honor, ’06). Neither of those artists are nominated this year. Be wary of dark horse Jeff Beck, though, because occasionally the Grammys will skew old (e.g. Herbie Hancock and Steely Dan’s Best Album wins). While Wilco is also a likely candidate, we’re putting our money on the Foo for the win. We’ve stated our reasons previously, too. -Justin Gerber

Best Rap Album

Who Will Win: Kanye West – My Beautiful Dark Twisted Fantasy
Who Should Win: Kanye West – My Beautiful Dark Twisted Fantasy

What CoS Says: Simply put, My Beautiful Dark Twisted Fantasy should win Best Rap Album because it’s perfect. Really, though: Fantasy received 94/100 points on Metacritic, which collated reviews from nearly 50 sources. The Los Angeles Times’ Ann Powers said it best when she called West’s fifth LP, “Picasso-like, fulfilling the Cubist mandate of rearranging form, texture, color and space to suggest new ways of viewing things.” There are few albums, rap or otherwise, that can claim such grand ambitions. It would be a notable snub if the committee passed over West’s arguably best work to date, especially since it awarded Best Rap Album to West’s discography (with the notable exception of 2008’s 808s and Heartbreak, which apparently still makes ‘Ye bitter). But what of his collaboration with Jay-Z, Watch the Throne, which is also up for Best Rap Album? Jay may be “the president of the world,” but he doesn’t hold a candle to being on God’s iPod. -Harley Brown

Best Alternative Album

Who Will Win: Bon Iver – Bon Iver
Who Should Win: Bon Iver – Bon Iver

What CoS Says: The Rock and Roll Hall of Fame inducted The Sex Pistols in 2006, despite the band rejecting the honor. I don’t know about you, but when I think of our generation’s British punk rockers, I think of Bon Iver. Yes, despite Justin Vernon’s criticisms of the Grammys, as well as the band’s lack of being British and punk rocking, I wouldn’t count them out in this category. Bon Iver’s created the most buzz of the five nominees, more so than the mighty Radiohead and the decidedly less mighty Death Cab for Cutie. If there’s any dark horse in this category, bet on My Morning Jacket, but otherwise, you’ll hear “Bon Iver” mentioned two times when the winner is announced. Given that they’ll likely be swept by Adele in other categories, we’d say this win would be much deserved. -Justin Gerber

Best Pop Solo Performance

Who Will Win: Bruno Mars – “Grenade”
Who Should Win: Lady Gaga – “Yoü And I”

What CoS Says: The battle for Best Pop Solo Performance really breaks down into a war over America’s preferred musical aesthetic. The eventual winner, Bruno Mars, represents America’s love for the bad-boy-with-a-heart-of-gold archetype; he’s got slicked back hair, brooding good looks, leather jackets galore, and he even beat a drug rap. But his track “Grenade” was the definition of sappy ode, complete with promises to maim and murder himself all in the name of love. Those two dichotomous elements make for the perfect pop performance, as if James Dean had somehow been able to mate with a slightly less talented Justin Timberlake and that offspring sang his heart out in one of this year’s few truly memorable ballads.

On the opposing end of the pop star spectrum, Lady Gaga represents our quiet obsession with the wacky, otherworldly pop star with the skin of a chameleon.  Gaga’s piano-powered “Yoü And I” should be the one to take home the Grammy for a couple of key reasons. Besides the fact that it’s a much more moving, cutesy exploration of the bond between two people, “Yoü And I” is way more weird, sounding as if it were a freaky amalgamation between Mariah Carey and Bob Dylan. As much as America loves its tales of bad boys gone good, a more refreshing tale is that of someone letting their freak flag fly high and inspiring other weirdos to follow suit. Oh, and umlauts are the illest. -Chris Coplan

Best Rap Song

Who Will Win: Kanye West & Jay-Z – “Otis”
Who Should Win: Kanye West & Jay-Z – “Otis”

What CoS Says: Kanye West will likely win this category, so it’s really a matter of who he’ll win it with. I’m leaning towards his Watch the Throne partner, Jay-Z, a.k.a. Blue Ivy’s Pops, for their big-deal collabo “Otis”. True to life, the one thing getting in Kanye’s way is Kanye himself, for “All of the Lights”. It’s ‘Ye and Hova’s number one competition. As for the other nominees, I don’t know if the Grammys are ready to hand out an award to Chris Brown for reasons that have been mentioned ad nauseum, and Dr. Dre’s “I Need a Doctor” didn’t live up to the Eminem-assisted hype last year. Maybe the 22nd century’s release of Detox will give him back some much needed cred.

And what can I say? “Otis” pays homage to the great Otis Redding, features what may be West at his most assured (“I made ‘Jesus Walk’ so I’m never going to hell”), and is all around a better song than the other nominees (although, “All of the Lights” is so close). Say what you will about West offscreen, but the man can produce the hell out of a track. But, even in the unlikely event that someone else wins, Lord, please let Mr. West accept the things he can’t change and let us pray that all of his pain be champagne. -Justin Gerber

Best Rock Song

Who Will Win: Mumford & Sons – “Sigh No More”
Who Should Win: Radiohead – “Lotus Flower”

What CoS Says: Mumford & Sons will win Best Rock Song because “The Cave” has become a juggernaut impossible for the nebulous awards committee to ignore for the second year in a row. For the 53rd Grammy Awards, the committee passed over “Little Lion Man” off Sigh No More in favor of Neil Young’s “Angry World” in the same category, and jazz multi-instrumentalist Esperanza Spalding trumped both Mumfordmania and Bieber Fiever by winning Best New Artist, so Mumford & Sons are due some recognition outside the quantitative realm of record sales, which are impressive in an of themselves. Last October, Mumford & Sons became the first independent artist to sell over one million albums digitally, not to mention that their debut is the second most downloaded album after fellow Grammy nominee Adele. The National Academy of Recording Arts and Sciences will most likely pick Mumford & Sons to honor the “listening habits of the general population,” which they have been accused of ignoring, especially for this year’s Awards.

Radiohead has claimed Best Alternative Music Album about once every three years—a prize that OK Computer, Kid A, and In Rainbows well deserve—but winning in only one category pigeonholes the band’s consistent innovation. The King of Limbs is arguably Radiohead’s least accessible album, released to mixed reviews and failing to top year-end lists across the board. Though the album wasn’t universally acclaimed, “Lotus Flower” somehow managed to find its way into the mainstream, uniting the critics and the fans with its complex rhythms and Thom Yorke’s weird yet somehow endearing version of the robot. “Lotus Flower”’s nomination for Best Rock Song is the last chance, at least in an official capacity, for Radiohead to achieve recognition for an album that pushes the group’s limits, in large part by perplexing its ardent fan base. Plus, the song (and dance) provokes thought and warrants repeated listens in a way that “The Cave”, with its rampaging punk-folk and blatant lyrics, does not. -Harley Brown

Best New Artist

Who Will Win: Skrillex
Who Should Win: Bon Iver

What CoS Says: When he takes this award, Skrillex is going to cause a lot of debate (to be fair, he already has). Still, with the Academy constantly trying to shrug off their image as stuffy, old music ignoramuses, Skrillex may be their dark, dirty, half-shaved man. He’s responsible for finally getting dubstep to crossover in America, love it (or him) or hate it (or him). Furthermore, he’s the first DJ ever to be nominated in the category. He’s a twofer, a young-gun at the forefront of an exploding genre and a musician without a guitar or piano. Besides, look at his competition: The only rap act ever to win was Arrested Development in 1993 (Kanye lost to Maroon 5), so the generally “safe” J. Cole and “too vulgar for BET” Nicki Minaj seem unlikely; The Band Perry. . .  I’m sorry, who? If they’re looking to attune themselves to “real” listeners, they’re not going to award another country-pop act. Bon Iver presents the only real threat, but the chance to bring an electronic artist, especially one currently so ubiquitous, into the echelon of Grammy winners will be hard to pass up.

Why Bon Iver probably won’t win is easy, given Justin Vernon’s recent comments and proverbial middle fingers. Then again, maybe that’s exactly why they should win. With Vernon’s distinctly anti-“mainstream” sentiments, he’s the consummate modern indie artist. Yet he fronts a band which outsold his perhaps more familiar contemporaries in its first week, while topping megastars like Lady Gaga and Adele. He helped craft Kanye West’s Dark Twisted opus, contributed to the Twilight: New Moon soundtrack with St. Vincent, worked alongside James Blake, and was called “a fucking genius” by Rick freakin’ Ross. Hell, even Skrillex thinks Bon Iver should take this one home. When you think about it, this could be everything the Academy ever wanted. What better way to prove that you’re still relevant, or still “hip,” then by giving the Best New Artist award to a group who couldn’t give a damn what you think? Of course, Bon Iver is not just that; they’re an unparalleled act overflowing with talent and bleeding beauty. They’re perfect for this in so many ways, and I for one would love to see the shocker of a win – and acceptance speech. -Ben Kaye

When Lawrence Tynes of the New York Giants kicked that dramatic, overtime field goal in the NFC Championship Game, not only did he set up a rematch of Super Bowl XLII with the New England Patriots, but he also made a date with the one and only Madonna. “The Queen of Reinvention” will be providing this year’s halftime entertainment, joining a star-studded roster that has recently included The Who, Bruce Springsteen and the E Street Band, and Tom Petty and the Heartbreakers. I am one of millions who would rather forget that the Black Eyed Peas were at the Super Bowl last February; as will.i.am and Fergie were badly lip-syncing, I distinctly remember thinking that there are at least 10 other artists more deserving of this position and honor than BEP.

And so, as the wagering begins to intensify over who will have the best commercial, let alone which team will cover the damn spread, Consequence of Sound would like to take this opportunity to present — a themed list. What follows are 10 musical acts who we could envision belting out some of their tunes either in New Orleans, New York City, or Glendale, Arizona, the respective homes for the next three Super Bowls. Most are rational choices, while some can be construed as wishful thinking. Rather than count these down as per usual with a list, we’ve divvied things up into three categories: Dependable Divas, Veteran Rock Warriors, and for the win, Alt/Indie Hail Marys. Ready, set, hut!

Dependable Divas:

Adele

Here’s hoping Adele’s health issues are behind her and that the two-syllabled sensation from the UK can get some rest before starting work on her highly anticipated third album. She probably won’t be “23” any more by the time it comes out, but it’ll no doubt be huge and deserving of a stage at the Super Bowl. The only question really is if she can be “engaging” enough as a halftime show performer. Vocally, there’s no doubt. Wonder if her ex-boyfriend was a London Monarchs fan? Anyone remember the World League of American Football?

Beyoncé

Not that she isn’t talented enough on her own to command the attention of 100 million people at the Super Bowl, but the possibilities that exist with Ms. Knowles as a headliner are truly head-spinning. Hip-hop fanboys would drool at the prospect of a Jay-Z guest spot, maybe even with Throne cooperator Kanye West to do “Paris” a half-dozen times. And what if “B” were to take some time off only to make a triumphant return at a future Big Game? Can you imagine the hoopla that would be created if daughter Blue Ivy Carter made an appearance? Anyone know the record for youngest singer at a Super Bowl? (She already has one accolade from Billboard.)

Katy Perry

Given that Super Bowl halftime shows tend to lean pop more than any other music genre, I think it’s pretty safe to say the now former Mrs. Russell Brand is a virtual lock to add this event to her resume at some point–likely when she records the follow-up to her mega-smash Teenage Dream. You know, the album with as many number one singles as Michael Jackson had for Bad. Not sure if this necessarily puts Katy Perry in the same league as MJ, but whatevs. And hey, there’s a chance ‘Ye would show up to sing his parts on the “E.T.”.

Veteran Rock Warriors:

Queen

I am very tempted to type “Led Zeppelin” here instead, but I think that ship has finally sailed for good. Queen has more big game anthems anyway, and they are also going to become a lot more topical amongst Americans thanks to an upcoming biopic on the life and times of singer Freddie Mercury. Sasha Baron Cohen is starring in that (currently titled A Kind of Magic), and there always seems to be talk that the surviving members of Queen are gearing up for something or another with either Paul Rodgers, Adam Lambert, or even Lady Gaga. If not Queen, then maybe…

Green Day

Photo by Heather Kaplan

No, Queen’s We Will Rock You musical hasn’t hit Broadway yet, but American Idiot sure did and quite successfully to boot. It was such a success that Green Day are franchising it out, first as a national touring production, and a film version is due sometime in 2013. Super Bowl XLVIII, or 48 in case you skipped the class on Roman numerals like Bart Simpson did, will be held in New York City. I’ll take Green Day backed by the AI cast any day over some gawd-awful tribute to Broadway that will try to be foisted on viewers. Green Day also has strong ties to next year’s SB hosts, New Orleans,  since reopening the Superdome along with U2 after Hurricane Katrina, but I already have someone lined up for them…

AC/DC

This, to me, is the easiest no-brainer on the entire list. No one does high-octane, jock-friendly songs much better than the proverbial thunder from down under. Not that it was considered for CoS’ most anticipated list, but a new album from them is being rumored for mid-to-late 2012, with another lengthy world tour sure to follow (the Black Ice one lasted nearly three years). I’m confident the boys will be up for making a stop in New Orleans next year around Mardi Gras time. Oh, and if you weren’t aware, AC/DC will be celebrating their 40th anniversary in 2013. Can you say, “Super Bowl XLVII, here they come?!” You’re welcome…

Pearl Jam

Of all the great bands that made their mark during the “Alternative Nation” heyday of the early ’90s, Pearl Jam is the one whose sheer perseverance has made them household names and thus logical candidates for this honor, to say nothing of their fiercely loyal fan base. Plus, they apparently have another album in them, so they’ll continue to be relevant for another few years before the temptation to go completely nostalgic becomes too overwhelming. Knowing that Disney has produced a lot of SB halftime shows in the past, I shudder to think that the idea of an “All-Star Salute to Grunge” has at least been considered. Before you think I’m crazy, I ask you to keep this recent Mickey Mouse T-shirt design in mind.

Alt/Indie Hail Marys:

Coldplay

This actually wouldn’t be that much of a stretch, as Chris Martin and his Coldplay mates are right up there these days in any conversation regarding the “biggest band in the world right now.” No one has been confirmed yet, but maybe they’re using the London 2012 Olympics as a warm-up. Whether or not you are of the opinion that they may have, um, borrowed from other musicians on a few of their songs, they have a lot of tunes with the kind of anthemic quality that would fit in extremely well at America’s biggest sporting event. (I’m thinking “Paradise” and “Viva la Vida” in particular.)

Arcade Fire

Photo by Debi Del Grande

One year later, there’s a good chunk of the American Midwest still asking, “Who is Arcade Fire?” (Yeah, that infamous site is always up, even though it hasn’t been updated in months.) The chances of them playing a future SB halftime show are admittedly slim, but the fact that Arcade Fire are Grammy winners does carry significant, mainstream weight. It would make for quite the spectacle to see all those band members furiously banging on their instruments during something intense like “Wake Up”, a song which is no stranger to football highlight reels.

The White Stripes

No one thought the New York Giants had a prayer when they faced off against the unbeaten New England Patriots four years ago. If sports and music have one thing in common, it’s that absolutely anything can happen. So, forget a Coachella reunion sometime down the line; wouldn’t this be an unbelievable way for Jack and Meg White to come back with a bang? And for anyone who doubts The White Stripes could pull this off, did you ever think you’d hear people oh oh oohing along to the main riff from “Seven Nation Army” at stadiums and arenas around the world?

Here’s a revelation: the music industry never sleeps. One would think the holiday season would be a time of rest. “Only Santa works these hours,” your mother might have said ages ago. Not in the digital era. Not when Twitter enables artists to be their own publicist, label, and distributor. (We love you Patrick Stickles.) Consequently, yours truly spent Christmas afternoon stringing together the words “Merry eX-Mas and Suck My Dick.” Sorry, Mom!

Below you can find a recap of news coverage from the last two weeks. Among the major themes: Mixtapes, covers, and more money for Adele.

On a side note: We can’t wait to show you what’s in store for 2012. Buckle up.

– Van Halen is going on tour.

– Adele‘s 21 is the best-selling album since 2004.

– Hear the new ASAP Rocky track, “Pretty Flacko”.

– Check out a new song from Frank Ocean, “4 Tears”.

– Hear Destroyer cover New Order’s ”Leave Me Alone”.

– Listen to and/or watch the video for jj‘s new song, “VI”.

– Hear an unreleased Pearl Jam demo from 1991 entitled “Chinese”.

– Watch The Flaming Lips‘ extra trippy cover of “I Am the Walrus”.

– Watch footage of My Morning Jacket covering Gil-Scott Heron’s “The Bottle”.

– Listen to R.E.M. cover ABBA’s “Does You Mother Know?” during a concert in 1984.

– Watch Jónsi‘s video for “Gathering Stories”, from his soundtrack to We Bought a Zoo.

– Hear Lady Gaga‘s previously unreleased Born This Way outtake, “Stuck on Fuckin’ You”.

– Hear the new single from Paul McCartnery featuring Eric Clapton, “My Valentine”.

– Captain Beefhart‘s “lost” 1976 album Bat Chain Puller will finally be released in January.

– Memoryhouse kicked off their big 2012 with a cover of The Zombies’ ”This Will Be Our Year”.

– Cocteau Twins are reissuing their compilation album Stars and Topsoil: A Collection (1982-1990).

– Download the final installment of The Weeknd‘s mixtape trilogy, Echoes of Silence. Then read our review.

– Raekwon and T.I. dropped New Year’s mixtapes entitled Unexpected Victory and Fuck Da City Up, respectively.

– Watch Titus Andronicus frontman Patrick Stickles perform a non-ironic cover of Lana Del Rey’s “Video Games”.

– That’s not the only “Video Games” cover we heard though; check out Silver Swans‘ wintery twist on the infamous track.

– Download Lykke Li‘s The Lost Sessions Vol. 1, featuring stripped-down versions of three songs from Wounded Rhymes.

– Kraftwerk, New Order, Justice, Tiësto, Fatboy Slim, Avicii, David Guetta, and M83 top the massive bill for Ultra Music Festival 2012.

– Watch the video for Cat Power‘s newly reworked version of ”King Rides By”. An mp3 of the song is also available in exchange for a charitable donation.

– Download the new mixtape from rising Brooklyn MC Mr. Muthafuckin’ eXquire, the wholesomely-titled Merry eX-Mas & Suck My Dick.

Adele’s 21 is not just the best-selling album of 2011, it’s the best-selling album of the last seven years. Having just reached 5.28 million in total sales, the British sensation’s sophomore effort is now the biggest-selling record in the U.S. since Usher moved 8 million copies of Confessions in 2004, according to Billboard.

For point of reference, Lady Gaga’s Born This Way sold 2.03 million units this year and Eminem’s Recovery was top-seller in 2010 with 3.42 million. Mother Monster may have beaten Adele this year in touring revenue (duh), but absolutely no one is touching her on the charts.

Below, you can watch the video for Adele’s “Rolling in the Deep”, which was our 37th best song of 2011. 21 came in at #34 on our best albums list.

Blur will deliver their first live performance in over three years at the 2012 Brit Awards, bassist Alex James has confirmed to XFM Radio. The band, who last performed together in the summer of 2009, will be honored with the Outstanding Contribution To Music Award at the ceremony at the O2 Arena on February 21st, 2012.

“We’re going to play, which is brilliant, it’s like putting the Blues Brothers back together,” James told XFM.

However, James remained vague on further live shows. “Well, lets hope – heritage year next year. [Would] be good wouldn’t it?” he noted. ”I wish I could tell you more. I’m sure it will happen one day but I don’t know when. It’s quite nice to keep it special.”

Along with Blur, the 2012 Brit Awards promises a comeback performance by Adele, as well as an onstage collaboration between Rihanna and Coldplay. Below, you can watch live footage of Blur performing “Song 2″ at Glastonbury 2009.

“Song 2″ (Live):

At this year’s Record Store Day – the April one, not the November shindig – I felt something that hadn’t occurred to me in probably 10 years. I felt excited to hold a record. Standing in line, clutching the inside of my far-too-thin hoodie (thanks, Chicago wind), I paced back and forth in my mind, thinking, God, I hope I get this album. The item in question? Big Star’s unreleased Third.

Of course, I didn’t get it. Nobody did. The store didn’t even receive a copy. So, instead, I spent a couple bucks on some singles, bit my lip, and went home somewhat satiated. But, for the 45 minutes prior to that moment, it was something slightly alien, but moreover familiar. There used to be a time when you couldn’t get an album.

Not everyone can remember that feeling, but they should. Prior to the digital revolution, music was somewhat of a privilege. As a child, you might spend weeks saving up money for something that takes less than two clicks to grab now. Don’t get me wrong — it’s liberating. But value gets partly tossed aside now. It really shouldn’t.

The album is by far the most integral facet of the music industry. People throw out EPs, toss in singles, but albums really mean something. If it’s even halfway decent, it’s essentially then a collection of perfected thoughts, emotions, and creations that are meant to be consumed, examined, and experienced. This year, we had far too many experiences – seemingly overloaded by an open-door policy of music thanks to Spotify.

That didn’t stop us, however, from finding 50 albums we thoroughly enjoyed.

-Michael Roffman
President/Editor-in-Chief

50. Ryan Adams – Ashes & Fire

In 2011, a record like this with precise craft, honest and bare songwriting, and gorgeous, subtle polish seldom gets made. Ashes & Fire is a mainstay because of its demeanor: authentic, exposed, and sublime. It’s a departure from the soaring years with the Cardinals and the rowdy solo work of yesteryear. Instead, Ryan Adams is mellow and content; his voice gleams from artfully sparse production (see: “Dirty Rain”). A tightly focused survey of the remaining ashes of his past, the album subtly questions what to do with all that history in light of a different self and becomes a modern classic in the process. -Liz Lane

49. The Joy Formidable – The Big Roar

The Joy Formidable may very well be the most appropriately named band to make their full-length debut this year. On The Big Roar, the Welsh trio’s brand of hook-laden guitar pop is a delight to behold as Ritzy Bryan’s urgent delivery transforms song after song into something anthemic. Their swirling layers of guitars and rapid-fire percussion pack enough of a forceful punch to live up to the other half of the band’s name. Full of catchy choruses and relentlessly energetic guitar crunches, The Big Roar is a stadium-sized album amidst a sea of clubs. -Frank Mojica

48. Astronautalis – This Is Our Science

On This Is Our Science, Astronautalis, aka Charles Andrew Bothwell, sounds as convincing singing about a turbulent relationship on “Secrets on Our Lips” as he does spitting verses on cryogenic experimenter Robert Nelson on “Midday Moon”. But it’s not just for intellectuals: Bothwell duets with Tegan Quinn on “Contrails” and features rapper P.O.S. on the album’s title track, gaining both indie and hip-hop street cred. This diversity catapulted Astronautalis’ fourth album into the iTunes top 10 downloads when it was released. In addition, producer John Congleton’s signature desperate, moody arrangements add emotional depth to This Is Our Science’s largely intellectual material. -Harley Brown

47. Ty Segall – Goodbye Bread

At just 24 years old, Goodbye Bread is Ty Segall’s fifth full-length, and again he plays every instrument. The stats are impressive, but this spotless collection of West coast garage tunes handily earns this spot. Less howl-y and punky than previous releases, Segall varies his influences from John Lennon (“I Can’t Feel It”) to smokey blues rock (“The Floor”), all loaded with warm, fuzzy reverb. Songs like “Comfortable Home (A True Story)” show the young artist’s growth into a more personal songwriter, his half-languid falsetto more revealing than ever. It’s mellower, sure, but it’s also some of his most carefully considered output yet, leading to some of his best. And there’s still plenty of stomp and roll. -Benjamin Kaye

46. Summer Camp – Welcome to Condale

The cover of Summer Camp’s Welcome to Condale features a woman in a bathing suit doing a keg stand. So appropriate for an album that tempts the imagination, concocting this place called “Condale” where the kids are hot, the music spacey and romantic. The album is jaded Americana (even though the band is from England), conjuring images of the boardwalk, $2 beer specials, and sand in your hair. Their foreign nature only makes their fascination with American culture that much more apparent. This is an album for losing your virginity in the backseat (“Last American Virgin”), getting sunburned by the lake (“Summer Camp”), and smoking your first joint (“I Want You”). It doesn’t attempt to hide the fact that it relishes in the cliché while embracing a nostalgic beauty that makes the frivolity of youth so universal. -Summer Dunsmore

45. Jay-Z & Kanye West – Watch the Throne

Watch the Throne, likely the most widely anticipated album of the current decade thus far, sounds exactly like what it is: Two of hip-hop’s most powerful overlords reveling in knowing that they’re just that. In barely 45 minutes, Yeezy and Hov plow through the likes of bionic pop-rap (“Lift Off“), borderline-dubstep (“Who Gon‘ Stop Me“), exotic grandeur (“Murder to Excellence“), and bare-bones soul (“Otis”), all of which is – this cannot be overstated – immaculately produced. Plus, with these two guys constantly playing verbal ping-pong, the whole album is indubitably and nearly incessantly fun. And that’s really all it ever needed to be. -Mike Madden

44. Yuck – Yuck

Admittedly, every sound on Yuck’s self-titled debut is one we’ve all heard before. Rather than embracing one particular influence, Yuck seamlessly pays tribute to nearly all of indie rock’s greatest legends from song to song (e.g. Pavement, My Bloody Valentine, and Dinosaur Jr.). Sure, there is a revitalization of the fuzzed-out sounds of the late 80’s and 90’s here, but Yuck also taps into the spirit and emotional highs and lows that made those bands so intriguing in the first place. Sometimes, it’s not what you do but how you do it that matters. -Frank Mojica

43. Mikal Cronin – Mikal Cronin

A few months back, our own Jeremy D. Larson wrote that the tone of Mikal Cronin’s self-titled debut falls “somewhere between Velvet Underground’s Loaded and The White Stripes’ White Blood Cells.” For one, he’s right. Yet moreover, the album exudes this sentimental presence that recalls ’60s mainstays like The Byrds or Jefferson Airplane. It’s a hazy experience that’s quite addicting, like a 151-glazed night in your college heartbreaker’s dorm room. (What? Stay with me, folks.) Check into Cronin’s living room stunner “Hold On Me”, a track that frolics with mousy percussion and cyclical acoustics. It’s a moody think piece. Not moody in the sense that you’re out to scratch the world’s eyes out, but sort of like that welcoming isolation you pine for from time to time. Fact: Sometimes being alone feels better. With a voice and ear like Cronin’s, it’ll always sound better. -Michael Roffman

42. Kendrick Lamar – Section .80

Twenty-four-year-old rapper Kendrick Lamar is a native of Compton, CA, but you’re not likely to figure that out while listening to Section.80. Its beats bear almost nil resemblance to the storied G-funk of the city’s past. Rather, the album is built around electro-tinged, blurry near-boom-bap that gives Lamar more than enough room to do whatever he chooses on the mic, something he takes full advantage of. Plus, his finest verses (found on “A.D.H.D.” and “Fuck Your Ethnicity”) occasionally evoke 2Pac at his least thuggish. No small feat there. -Mike Madden

41. Washed Out – Within & Without

Two years ago, Ernest Greene was just beginning to take Washed Out beyond a childhood bedroom side project. After a year of Sub Pop signage and this full-length debut, Within and Without, Greene is headed beyond being another chillwave act with synths. This album is devastatingly gorgeous, submerging listeners in Washed Out’s world of dense, warm vocals (“Eyes Be Closed”),  gloomy love songs with strings (“Far Away”), and jaunty pop  (“Before”). Within and Without is a kaleidoscope of discovery, uncovering directions Greene’s counterparts have yet to explore. -Lauren Rearick

40. The Mountain Goats – All Eternals Deck

All Eternals Deck is a marvel, overflowing by turns with apathy, cheerful quirk, barely contained rage, and quiet wistfulness. And that’s just the first four tracks. John Darnielle’s vocal range is on full display here, laid over desperately driving guitars on 13 tracks as varied as they are meaningful. There are so many juicy pockets of lyrical cleverness here (see: “Estate Sale Sign”, “Prowl Great Cain”, and “For Charles Bronson”) that the album requires repeat listens to soak them all in. Fortunately, we’ve had most of 2011 to do just that. -Megan Ritt

39. Danny Brown – XXX

The greatest treasure of Detroit rapper Danny Brown’s breakthrough mixtape, XXX (an acronym that alludes to sex, drugs, and Brown’s age), is that it delivers as many ridiculous and hilariously clever lines as any other release this year. A brief sampling: “Sorta like Squidward and his clarinet/I’m in ya bitch mouth,” “You softer than Flanders’ son/Don’t make me put hands on son,“ “I‘m higher than Swizz Beatz’s hairline.” Oh, and the oft-dissonant, largely trimmed-down production has its moments, too (“Blunt After Blunt”, “EWNESW”, “DNA”). -Mike Madden

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38. Oneohtrix Point Never – Replica

Daniel Lopatin has been making progressively bigger waves with each release since 2008’s Russian Minds, but Replica is easily his best, most accessible full-length to date. Rather than the swirling analog haze that colored his previous work, the album sees Lopatin mine the discarded junk culture of yesteryear for a singular, strangely dystopian vision of the future more akin to that of a science fiction author than a musician. From the piano-laden “Power of Persuasion” to the meditative ambiance of “Submersible”, Replica is remarkable music unlike anything else on Earth, or anywhere else for that matter. -Möhammad Choudhery

37. Real Estate – Days

Ben Folds chronicled the suburbs with white boy angst. Arcade Fire did it with melancholia. Real Estate takes a more laid-back approach, shrouding their simple, yet relatable, lyrics about suburban New Jersey (the songs have straightforward titles like “It’s Real” and “Wonder Years”) in a fog of hazy guitar solos and precise rhythm that could take place anywhere in the nation, as long as it’s not a city. Like a high school summer, it feels relaxed and alluringly repetitious. And isn’t that the point? -Dan Caffrey

36. Bill Callahan – Apocalypse

For anyone who thought Bon Iver was the definitive impressionistic album of the year, Bill Callahan’s latest proves to be its strictly Americana counterpart. Hell, just look at the cover art. With Apocalypse, Callahan turns the Americana landscape into an ocean of sounds. Over a fiddle, an organ, a pedal steel, and reverb swells, Callahan becomes America’s most forward thinking country/folk singer still making music rooted in those old-time standards. “DC-4-5-0,” Callahan laments in the last moments of Apocalypse.  It’s an interesting sentiment, a powerful statement made without any real words. It’s the record’s Drag City serial number. As Callahan closes the door on yet another chapter in his demented world of horses, gunslingers, and cattle prodding, he is well aware that he’s doing so. It’s the question of where he’ll head next that makes the current state of his affairs all the more fascinating. In the meantime, we’re glad he’s leaving off here. -Drew Litowitz

35. Unknown Mortal Orchestra – Unknown Mortal Orchestra

Anonymity and avoiding press in the hyper-mediated blogosphere turns out to be a pretty effective tactic for getting some attention – especially for Unknown Mortal Orchestra, whose music turned out to be as difficult to place on the genre spectrum as it is to put a face on their online presence. With the release of their self-titled debut, the heavy hooks of Bandcamp viral “Ffunny Ffriends” find a home in a tightly performed but cheaply produced space odyssey – an intricate mix of psychedelics, speedy guitar riffs, and otherworldly vocals. Frontman Ruban Nielson’s knack for melody (who can resist “How Can U Luv Me?”) and treating the voice as an instrument proves to be the icing on the cake, validating the weird internet hype and translating the buzz into legitimacy. -Caitlin Meyer

34. Adele – 21

A lot of people may roll their eyes at the inclusion of Adele’s 21 to year-end lists, but you can’t deny the staying power and grip the album has had on popular music. Love her or hate her, you couldn’t walk past a stereo or TV that wasn’t playing Adele this year. Being a pop music juggernaut doesn’t mean the album shouldn’t be respected, however. From the infectious “Rolling in the Deep” to the heart-wrenching “Someone Like You” to the vengeful “Set Fire to the Rain”, the album is solid front-to-back. Adele’s voice is a one-of-a-kind, jazzy, smoky, emotional powerhouse, and the fact that she is still topping charts months after the album was released shows she has a complete right to be on everyone’s year-end list. -Nick Freed

33. Cut Copy – Zonoscope

Leaner, meaner, and with more percussion. That’s the gist of Cut Copy’s excellent (and Grammy-nominated) follow-up to In Ghost Colours. Zonoscope sprawls into epic, tribal sounds and Beach Boys vocal harmonies, retaining its New Order moodiness and evoking sounds of native Australian ’80s new wave. If you went to a festival this summer, chances are you heard one of these hip-shaking beats wafting across a simmering summer vista. Do yourself a favor and listen to them again. Re-live your summer. -Paul de Revere

32. Gotye – Making Mirrors

One-by-one the countries of the world are falling in love with Gotye. The Austrailian multi-instrumentalist’s third album, Making Mirrors, has found its way into U.S. playlists in the wake of his video for “Somebody that I Used to Know” featuring Kimba. In it we see Gotye, with the charming anarchistic boyishness of Sting, singing with the heartrending honesty of Phil Collins. Ultimately it’s Collins’ bandmate Peter Gabriel that Gotye gets compared to the most, and for an obvious reason – the album is a musical wonderland of deeply layered and sophisticated pop sounds the likes of which we haven’t heard since So. From the Miracle Mile-like nuclear romance of “Eyes Wide Open”, to the lavish electro-reggae of “State of the Art”, Making Mirrors is sonically diverse, and with Gotye’s disarmingly genuine lyrics, it pulls madly at our heartstrings. -Cap Blackard

31. Kate Bush – 50 Words for Snow

The most precious thing Kate Bush possesses is a rather magical way of thinking, and her latest record reflects this through utilizing an array of idiosyncratic collaborators (Elton John, Stephen Fry, her son Albert “Bertie” McIntosh) and characters ranging from a romantic snowman to a Yeti. Snow is a perfect inspirational touchstone for Bush, because when it falls, it makes everything seem more clear and yet retains a dreamlike quality. 50 Words for Snow is the musical equivalent of a long, yearning sigh, with songs like “Wild Man” and (almost 14-minute-long) “Misty” inhabiting a half-lit world that at different turns takes in driving beats, haunting piano, and spoken word to create the kind of unusual, inventive, and expansive sound Bush has become synonymous with, and she remains a sensual metronome of sorts (especially her voice, so unwavering and true) -  comforting and necessary in this increasingly confusing world. -Siobhán Kane

30. The War on Drugs – Slave Ambient

Despite the subtraction of Kurt Vile, The War on Drugs keep chugging along with their latest effort. Slave Ambient is a 12-track wallop filled with Dylan-esque vocals, instrumentals, and, yes, ambience. Singer/guitarist Adam Granduciel takes us through the rough-and-tumble landscape where we find the catchy, constant stream of “Best Night”, the steady thumping of “Your Love Is Calling My Name”, and the acoustic-driven coda of the elegiac “Black Water Falls”. The guitar play between Granduciel and Dave Hartley is second to no one this year. -Justin Gerber

29. The Men – Leave Home

The Men nailed their demands to the door of the Church of Punk/Hardcore and peaced-out for greener pastures. The melting pot that resulted on Leave Home is an alarm call for purists and tourists alike. It plays like a record-collector’s wet dream with obvious hat-tips to Spaceman 3, Joy Division, The Wipers, and whatever else is in The Men’s milk crates. But there’s no prerequisite to feel the primal churning squalor of  ”L.A.D.O.C.H.”, a song specializing in blunt trauma force to the guts-bag. The cocaine-surf instrumentals, relentless noise punk, and post-punk kraut-rock tunes that quake with the words, “Can you push them away?” over and over are all hurled into a storm of angular guitars, walls of drums, knives, fists, and sweat that doesn’t ever let up. This album’s so far from pure that if you snorted it you’d land straight in the ER. Man, that’s what’s so great about it, though. -Jeremy D. Larson

28. Kurt Vile – Smoke Ring for My Halo

Smoke Ring for My Halo is probably the easiest album to digest in 2011. That is, if you enjoy a good daydream. With his spidery guitar scales, sunset-staring vocals, and uber-melancholic lyrics, Kurt Vile sucks you in. It’s so easy to get lost here. Right off the bat, “Baby’s Arms” acts as a wormhole, to which you’re sliding into repetition and soul-seeking rhythms. From there it’s pure moonshine. Down quick, hard-hitting. Producer John Agnello keeps things at home, as well, which is where Vile belongs. We like our singer-songwriters close to us, and it doesn’t get any more intimate than this. Looking for a friend? Consider this album your new roommate. Just don’t expect him to do the dishes. Though, he’ll certainly keep you company. Always. -Michael Roffman

27. Childish Gambino – Camp

If Drake is the MC who made it cool to rap and emote, then Childish Gambino (aka actor/comedian Donald Glover) helped evolve the style into something far more nuanced and outlandish. Thanks to his comedic background, Gambino peppers his tracks with catchy rhymes and clever quips galore (like the line from “Sunrise”: “I’ve seen it all, like I’m John Mayer’s penis hole”). He’s an MC who understands the power of beats and an appealing production style, which he demonstrates on cuts like the menacing “Bonfire” and the electro-heavy “Heartbeat”. But it’s his wide-open emotional sentiments that make the LP shine outside the confines of its genre. Whether he’s confessing his detachment from the black community in “Backpackers” or sharing the pain of his childhood heartache with “That Power”, Gambino wears his heart on his pink polo shirt, readily rubbing into listeners’ faces at any given moment. Looks like the joke’s on us after all. -Chris Coplan

26. Wild Flag – Wild Flag

Wild Flag aren’t Sleater-Kinney 2.0, and that wound up being a good thing. The highly anticipated debut from the Sleater/Helium/Minders supergroup is a new beast entirely, harder rocking than anything they’ve done before. While Carrie Brownstein and Mary Timony’s voices will stir up a few warm, familiar memories, the overdriven guitars and psychedelic keyboard breakdowns make an outstanding case towards a new era for these musicians. Wild Flag stands as an impressive debut, with or without the band members’ all-star pedigrees. -Austin Trunick

25. Panda Bear – Tomboy

The journey of Panda Bear’s latest LP, Tomboy, was more akin to that of a hip-hop album than an indie solo record. After the first single dropped in the summer of 2010, Panda Bear announced a late fourth quarter release for his follow-up to the critically acclaimed, Person Pitch. Like countless rappers before him, Noah Lennox delayed his album again and again, finally releasing it on April 12th. The album is sonically smaller than Person Pitch but not any less ambitious. While wholly longer than its predecessor, the individual songs are short and to the point, resulting in fantastic, succinct blasts of space-age pop like “Last Night at the Jetty” and “Surfer’s Hymn”. -Carson O’Shoney

24. SBTRKT – SBTRKT

London artist SBTRKT has swept the world this year with his self-titled debut LP, rocking festivals and small venues alike. A leading proponent of post-dubstep sprinkled with a tad of R & B soul, his sound provides something astoundingly unique for the music scene: pure, unbridled novelty. “Wildfire” is the album’s standout track, its main synth bass line too infectious to ignore on the dance floor. “Living Like I Do” is stylistically different, evidencing more trance-like influences, and it shows the diversity of the album. Singing about love and heartbreak, with beats sometimes dizzying, sometimes morose, the album is an emotional exposition of SBTRKT’s affinity for the music medium. -Summer Dunsmore

23. The Weeknd – House of Balloons

The Weeknd really took this year by storm, in case you hadn’t been paying attention. It’s been a hurricane of success – the 21-year-old Toronto native is seemingly unstoppable. But it all started with the twisted allure of House of Balloons. From heavy hitting single fodder like “Wicked Games” and “High For This” to unsung heroes like the mellow “Coming Down”, or the Beach House-sampling “The Party & The After Party”, The Weeknd created a cohesive album equal parts grime and glamor. Multiply some of the tightest production this year by Abel’s pure upper register and you’ve got a winner. Now multiply that sum by uber-enticing lyrics of grotesquely beautiful over-indulgence, and what’s the outcome? An album that goes down smooth, but also leaves your esophagus battered, bleeding, and hurting oh so good. -Winston Robbins

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22. Thundercat – The Golden Age of Apocalypse

Super-bassist Stephen Bruner, aka Thundercat, is only 27, but he already has the sort of resume most only dream of, logging performance credits with everyone from Snoop Dogg to Erykah Badu, along with a full-time gig as bassist for thrash-fusion legends Suicidal Tendencies. Someone this good could only play sideman for so long, though. After lending his virtuosic talents last year to Flying Lotus’ magnificent beat odyssey Cosmogramma, Lotus returned the favor by producing Bruner’s stellar debut, The Golden Age of Apocalypse. But make no mistake. This is Thundercat’s Golden Age, his smooth bass runs and smoother falsetto starring throughout. The beat-heavy “Daylight” and dreamy rework of George Duke’s “For Love I Come” are obvious highlights, though Thundercat’s distinctly cosmic presence and unparalleled skill make for essential listening from start to finish. -Möhammad Choudhery

21. Girls – Father, Son, Holy Ghost

Christopher Owens’ sweet, puppy dog eyes timbre convinces just about anyone that despite substance problems, scars of a former religious cult, heartache, and anxiety, everything is just alright in the present. Father, Son, Holy Ghost harnesses music’s spiritual characteristics in a conspicuous manor, as Owens and his band mates cleverly balance yearning gospel pangs with snotty, west coast retro rock. There’s paranoia (“Die”), choir loft church organ soul (“Vomit”, “My Ma”, and “Love Like a River”), and an overall smart execution of style no matter what Girls’ carefree fuck-it-all style says (see: “Just a Song”). Their sophomore album shows that Girls have honed in on a truly distinct sound that pulls from past influences, but manages to sound wholly original and really, really good. From poppy, riff-heavy opener “Honey Bunny” to the emotional apexes of the final three tracks, Father, Son, Holy Ghost plays as a complete and fantastic album. -Liz Lane

20. Tom Waits – Bad As Me

How fitting that in the same year as his Rock and Roll Hall of Fame induction, Tom Waits released an album that reminds us precisely why we love and still need the old rain dog. In crisp, vibrant bursts, Bad As Me revisits and revitalizes numerous styles and sounds from across Waits’ nearly 40-year career. But this record is much more than an old beatboxing junkman’s recycling project. Whether it be the tender frankness of lover’s plea “Back in the Crowd”, the cool chill of life’s autumn felt on “Last Leaf”, or the jarring nightmare of wartime romp “Hell Broke Luce”, Waits’ finest songs still shine a brief light upon those who often go unseen and unheard, which is precisely why we need him. Yes, we like to “stomp, whistle, and scream” and “dance with a soldier’s glee” (whatever that entails exactly), but Waits also knows that we need to cry in our beer, howl at the moon, and occasionally have our lives dignified by a stranger sparing a moment to listen to our sad stories. The fact that Bad As Me somehow manages to make it all so goddamn fun is what makes him Tom Waits. -Matt Melis 

19. Fucked Up – David Comes to Life

From a deceptively quiet beginning roars Fucked Up’s epic punk opera, David Comes to Life. Composed of 18 tracks that form four acts, the eponymous David rises and falls through love, loss, and ultimate redemption, which might not be as notable a project if the entire thing wasn’t screamed into your headphones by Fucked Up’s own Damian Abraham. Fortunately, Abraham and his backing guitars manage to ratchet out many levels of emotion amidst the chaos (and if that’s not the sound of heartbreak, then nothing is), turning David into not just another noisy punk album but a meaningful, moving journey through that most universal of emotions – love. -Megan Ritt

18. Atlas Sound – Parallax

Bradford Cox has never been one for compromises, in performance or on record. Every single release under the Atlas Sound moniker or in collaboration with his fellow Deerhunter bandmates has been a thorough representation of his tenacious artistic vision at the current time. Parallax, though in part an homage to the Neil Young and Patti Smith singer-songwriters of yore, is no exception to this trend, replete with Cox’s trademark creative guitar inventions, alien soundscapes, and queer punk attitude. Dealing with neglect, personal perception, and, yes, romance, the album shelters some of the catchiest (“Mona Lisa”), starkest (“Flagstaff”), and most intricate (“Amplifiers”) songs in Cox’s body of work thus far. It is this exact contrast of the candidly sweet with the unabashedly weird and unexpected – the acoustic noise with the controlled studio work – that makes Parallax and Cox’s music in total the unique gift to modern music that it is. -David DiLillo

17. The Horrors – Skying

Skying is a paragon of how to face the pressures of matching initial critical success with a follow-up: Nut up, evolve, and do something people might not expect. The Horrors lock their goth-outlined, post-punk gaze down on their pop-laced shoes and dive into ’80s influences to put together an album encapsulating their progression as a band. Faris Badwan’s vocals have been raised and fleshed out; everything is subtler, tighter, and more atmospheric than 09’s Primary Colours, all of which works to this album’s favor. From the insanely absorbing rumblings and synths of “Changing the Rain” to the spellbinding repetitions of “Moving Further Away”, each track could soundtrack a John Hughes film as easily as a hazy dance scene. By being brave enough to vary their sound, The Horrors are proving to be a band capable of understanding and managing growth – something not every act can accomplish. -Benjamin Kaye

16. EMA – Past Life Martyred Saints

The songs feel more captured than recorded, like the studio just happened to be in the right place at the right time to catch the drones, the noise, the insipidness, and the catharsis. The connection between each of the nine tracks is loose; some howl with feedback and noise, while others play at a grunge revival, and then there’s the cantillation of “California”, a homily so raw it has the congregation squirming in the pews. But the wide palate of Erika M. Anderson is the prize of the record. Her knife is sharp and knows who to cut and where and how and can do it in a hundred different ways to leave someone just as marked as she is. Couple that with the cool breeze of a west coast girl who knows how to write a catchy melody, and the masochism of Past Life Martyred Saints really becomes something very real and addictive. -Jeremy D. Larson

15. Radiohead – The King of Limbs

Radiohead has attained a status such that every album it releases is expected to reach groundbreaking heights, introducing the world to some new luminous idea that will set the bar for all pop and rock music yet to come. It’s understandable, because Radiohead has done that a couple of times. But while The King of Limbs doesn’t do that, it does nothing to earn unwarranted hostility either. There are several gems that have etched a permanent place in Radiohead’s oeuvre, including the invigorating “Bloom”, the wordless wonder “Feral”, and, of course, “Lotus Flower”. If Radiohead is finished making instant classics, it will be no tragedy if The King of Limbs is a sign of things to come. -J. Harry Painter

14. Fleet Foxes – Helplessness Blues

Over 12 spiritually emotional tracks, Robin Pecknold marries his flawless vocals to harmonies and expertly woven instrumentals, all in a rich and satisfying circle. The songs are charged with memorable, soaring melodies, and Pecknold’s observational, first-person lyrics are teasingly profound. On the title track, Pecknold sings, “If I know only one thing, it’s that everything I see/of the world outside is so inconceivable/that often, I barely can speak.” Fortunately, he still does. A hallmark is usually pretty small to the naked eye. When this record is dusted off in 30 or 40 years, you will surely find the word classic etched somewhere discreet. -Tony Hardy

13. Beyoncé – 4

Born from bits and pieces of Fela Kuti, Broadway musicals, and Lionel Richie, 4 is simultaneously one of Beyoncé’s most musically diverse and personal records. It’s a master class, of sorts, of pop music over the last 40 years. From the mega-sized R&B/show tune/love anthem of “Countdown” to the old-school swag of “Party” featuring André 3000, 4 is a hit factory extravaganza – only with more substance. It’s incredibly personal; far deeper than anything else in her otherwise emotionally available career. Yet it’s also quite compact, doing away with some fluff and filler that plagued her past LPs. Already, we’re bubbling over with joyous anticipation for what 5 has to offer. -Chris Coplan

12. Colin Stetson – New History Warfare Vol. 2: Judges

This year, bass saxophonist Colin Stetson went from little-known indie symphony stalwart (having backed everyone from LCD Soundsystem to Tom Waits) to a solo force in his own right. Nothing could encapsulate his stratospheric shot to prominence better than his second long-player, a formative mesh of free jazz, thrumming drone, and beautifully structured songwriting. Even more impressive is that the disc is composed solely of single takes without any overdubbing or looping. That’s right. Other than vocal contributions from Laurie Anderson and My Brightest Diamond’s Shara Worden, the alternately cacophonic and startling, beautiful noises are coming straight from Stetson’s sax, proving his instrumental mastery and writing genius. -Adam Kivel

11. The Antlers – Burst Apart

Burst Apart couldn’t have been more appropriately titled, as it signifies the complete departure from the moving darkness of Hospice, the adherence to genre norms, and, most importantly for the band, The Antlers’ status as a one-man show. The creative talents of Peter Silberman, Darby Cicci, and Michael Lerner seamlessly fuse together throughout Burst Apart‘s 10 tracks to create everything experienced in their live show and, more markedly, a mesmerizing collaborative vision. Dynamism becomes the key word as the record progresses. The shifts from “Rolled Together”‘s hypnotic groove to straightforward rocker “Every Night My Teeth Are Falling Out” are executed without pause, without the emotive lyrics suffering in the least – proving anew that maybe, as long as you’re The Antlers, you really can have it all. -Caitlin Meyer

10. Drake – Take Care

Hip-hop’s a jungle full of bloodthirsty lions decked out in diamonds and looking for their next target. But suddenly a young lion emerges into a clearing: Drake. While his counterparts are all about pure thuggery and bragging ad infinitum, Drake’s sophomore LP changes the landscape with heartfelt, emotional confessions of lost love and personal inadequacies.

From the baller anthem of “Headlines” to the drunken loneliness and outbursts in “Marvin’s Room”, Take Care is Drizzy’s declaration of his own shortcomings in the middle of a white-hot ride up the charts, a spellbinding narrative if there ever was one. Drake has taken the work of his first, slightly disappointing record and shown himself to now fully understand the delicate balancing act he must endeavor. In essence, Drake has rewritten the rules of the rap game, adding much-needed depth to the swagger contest of modern verse slangin’. All hail the new king of the jungle. -Chris Coplan

9. Destroyer – Kaputt

According to Destroyer frontman Dan Bejar, Kaputt‘s coke rock aesthetic was never intentional. There was no irony, no hidden homage to Roxy Music and latter-day Steely Dan as many music fans and critics thought. It was just how he heard the songs. Whether you believe that insistence or not, the album’s enchanting mood and charismatic weirdness are undeniable. Bejar’s time-traveling tales of cryptic romance and doomed nightlife are laced with electronic drums, smooth jazz flute, and dreamy saxophone, the sonic equivalent to a Thomas Pynchon novel viewed through the glitzy fracture of a disco ball.

Opener “Chinatown” wraps the listener in the record’s world of slowly dying neon, the title track flits back and forth between what’s more appealing, cocaine or women (the band never bothers to decide), and album centerpiece “Suicide Demo for Kara Walker” escorts us through 400 years of the American party scene by way of a brown paper bag. The lyrics are impenetrable, and none of it probably ever happened, but that doesn’t keep us from feeling like we were there. -Dan Caffrey

8. tUnE-yArDs – w h o k i l l

It’s rare to make music that people have never heard before; but on w h o k i l l, tUnE-yArDs have done just that, combining ancient African musical traditions like polyrhythms with looping and other modern technologies. More importantly, with songs like the irresistibly anthemic “Bizness”, Merrill Garbus has expanded from a blog-cherished eccentricity to a universal must-see. Her arrangement of two saxophonists, a bassist, and her own vocal and percussive instrumentation has rarely, if ever, been seen in music history. Not only that, her husky, yet lilting, squawk—which veers from eerie on “Wooly Wolly Gong” to famously siren-imitating on “Gangsta”—demonstrates noteworthy versatility.

With w h o k i l l, Garbus has ascended to the ranks of groundbreaking female artists like Lauryn Hill and MC Lyte, whom she emulates on “Doorstep” and “Killa”, respectively. Like other female artistic idol Bjork, she uses her voice nontraditionally, at times to convey a political message (i.e. call-and-response loops that sound like monkeys, singing the lyrics to “America”, on “My Country). Despite all this ground she’s covered, Garbus continues to challenge herself like on “You Yes You”, when she asks, “What’s that about?” when she starts to sing about personal satisfaction and, thus, perhaps complacency. Songs like the atonal, stop-and-start “Es-so” exemplify w h o k i l l’s aural challenge because it sounds more pleasing with each listen, challenging the listener to meet Garbus on her level instead of vice versa. And, ultimately, the effort is worth it. -Harley Brown

7. M83 – Hurry Up, We’re Dreaming

With Hurry Up, We’re Dreaming, M83 set out to capture the stuff that dreams are made of – and succeed. This is nothing new in the world of dream pop and electronica, but M83′s ability to distil childhood longing and teenage nostalgia into spirit lifting, anthemic, synth opuses is second to none. He captures it. If you were a dreamy kid, adventuring at night, and trying to live out your dreams in the day – these songs crystallize that special feeling, that certain time, that tragic, beautiful, ever-fleeing youth. It’s an incredible thing to put on some headphones, curl up in bed, and go back.

Picking up where Saturdays = Youth left off, Hurry Up, We’re Dreaming‘s sound matures while its subject matter remains in the same vein. That said, this is not a repeat performance. Anchored by far more analog instruments, and a thematic concept that spans two discs, M83 uses the space he’s created to its fullest with both gripping singles like “Midnight City” and affecting, transcendental instrumentals and interludes. “Claudia Lewis” recaptures the lavish art pop production of the ’80s and lovingly reinstates it as the ideal sound for rooftop dancefloors. “New Map” couples epic modern synth tracks with a smooth 70′s flute and sax arrangement for an exciting new sonic experience. With Hurry Up, We’re Dreaming, M83 has proven himself as the most exciting electropop act of the current age – a musical mind inevitably looking back, but always pushing forward. -Cap Blackard

6. James Blake – James Blake

It’s almost hard to remember the pre-Bon Iver owl hoot collaboration days of James Blake, but believe it or not the debut album that took the blogwaves by storm is less than a year old. James Blake is the London post-dubstep singer-songwriter at his most consistent and most focused, with not a misstep to be found through 11 tracks. It’s easy to write Blake off as a one-trick pony if one merely samples a song or two, but this album is so far above that that the criticism is criminally uncalled for.

James Blake isn’t a conceptual journey, but, sonically, each track offers something not heard in the track preceding it. Whether it’s full-on dubstep throbbing as on “I Never Learnt to Share”, straightforward, soulful piano balladry as on “Give Me My Month”, or vocal manipulation and sampling as on “To Care (Like You)”, Blake’s first and so far only full-length album holds the listener’s attention despite being chock-full of unabashed minimalism. It’s not just an extended experiment in fun new sounds, however. There are sing-along moments aplenty, from the Feist cover “Limit to Your Love” to the hook-heavy “The Wilhelm Scream” and sentimental album closer “Measurements”. If Blake has set the bar so high here that he never matches it, that’s one thing, but it cannot be justly denied that the bar is nonetheless high and worthy of all the shameless imitation it will inspire. -J. Harry Painter

5. Foo Fighters – Wasting Light

Badass pop-rock is back, and Dave Grohl is driving the truck. Two things (other than being led by a Nirvana alum) have made Foo Fighters wildly successful for almost 20 years: an acute pop sensibility and a goofy sense of humor. They’re both present on Wasting Light, but there’s something even more important: a thrashing, hard rock attitude and sound that kicks you in the face and makes you want more. Part of this is due to the much lauded return to analog recording on this album, and the garage band sound is quite literal, since it was recorded in Grohl’s garage-cum-studio.

Grohl’s expertly crafted melodies are much more lyrical than a typical hard rock song, but from the opening dissonant strumming of “Bridge Burning”, it’s clear that the Foo Fighters are returning to some of the grungy-ness of that early ’90s alternative sound. Amidst the tight vocal harmonies of “Dear Rosemary” or the power ballad “I Should Have Known” or the über-poppy “Arlandria”, Foo Fighters deliver a bona fide metal track in “White Limo”, with Grohl’s screaming vocals and a heavy chromatic guitar riff. No wonder they put Lemmy in the video. When Grohl said, “never lose faith in real rock and roll music” at this year’s VMAs, this was the sound he meant. -Jake Cohen

4. PJ Harvey – Let England Shake

On her ambitious eighth album, PJ Harvey crafts a lush ode to her homeland that is brutal and uplifting, admonitory and exalting. Through evocations of The Great War (WWI) and other conflicts, Let England Shake paints an achingly beautiful picture of a country built on the lives of young soldiers and broken promises, simultaneously praising its glory while lamenting its modern stagnation and bloody history. A polarity of sentiment, grandiose without the pretense, explores the conflict of patriotic love (“The Last Living Rose”) with sociopolitical dissatisfaction (“England”).

The poetic resonance is breathtaking, and Harvey makes you feel it. Her voice, flooded with emotion, soars and swirls amidst autoharps and horns, creating a sonic landscape unlike anything she’s done before. It’s strikingly passionate, with a hauntingly marching momentum that pulls you in to her tales of war and hope. The sound is bolstered by recording in a repurposed church, adding a hallowed echo perfectly suited to the subject. Its success is immutable; the album nabbed this year’s Mercury Prize, making PJ Harvey the first artist ever to receive the distinction twice. Though the music and lyrics give strong grounds to call this album an all-time great, the honors bestowed on it cement its place in the annals of musical, nay, artistic masterpieces. -Benjamin Kaye

3. Shabazz Palaces – Black Up

2. Bon Iver – Bon Iver

Justin Vernon is out of the cabin. With Bon Iver he begins his return to civilization, now accompanied by throngs of sensitive fans and new street-cred courtesy of Kanye West. On this journey, Vernon could have followed the blueprint of For Emma, Forever Ago: churn out new songs dominated by an acoustic guitar and stripped-down production. However, he opted to go in a new direction with a fleshed-out, proper band and Bruce Hornsby as a muse.

Bon Iver needs to be heard in order from beginning to end, as most great albums do. The deceiving hush in the opening moments of “Perth” begins the journey to “Beth/Rest”, a synth-driven, kitchen-sink track with a guitar solo straight out of A Momentary Lapse of Reason that still polarizes fans months after its release. But that’s the beauty of Vernon’s risk-taking throughout the album. He didn’t rest on his laurels and create For Emma: Vol. 2. If anything, he created Bon Iver Mach 2, now with saxophones. The inclusion of the best song of the year, the gorgeous acceptance found within “Holocene”, didn’t hurt the album’s placing as our second-favorite album of the year, either. -Justin Gerber

1. St. Vincent – Strange Mercy

“He thought there was going to be so much—more than he had ever dreamed possible… instead there was absolutely nothing.” It’s a line that sounds stripped from the best of Annie Clark’s songs; except that it isn’t. It belongs to Marilyn Monroe, in one of her diaries that dates back to April 1955. But how tragic, and how intimate, is that? Here’s Monroe, one of the most widely sought after figures in the history of pop culture, digressing on the fear of disappointment, especially to a loved one. It’s a recurring element in much of her personal writings. It’s also one of the driving motivations for Clark’s best work to date, Strange Mercy.

“Oh America, can I owe you one,” Clark laments by album’s end on “Year of the Tiger”. It’s one of the most poignant and culturally relevant tracks of the year–a bombastic herald to the States’ end times, when capitalistic whores die at the hands of coffee makers. What bitter, insightful precision. Look to your town squares, your universities, your banks, and your financial districts. It’s a mercurial year for Americans. The track’s sort of wavy, lazy distortion exemplifies that. We’re wary of the errors, we’re indignant of our culture, and we’re starting to wake up.

But there’s a deeper sense of self-awareness that Clark exhibits here. It goes back to Monroe. She hints that, despite the culture’s pre-conceived notion that all is equal, it’s anything but that. People scoff at the misogynistic, heavily racial days of Mad Men every Sunday (y’know, when it returns), but it’s not too far off today. It’s still, in many ways, a man’s world, and Clark underscores this error. On “Surgeon”, she cries out how she “spent another summer on [her] back” and of things that let her “get along, get along,” and later on the title track, she insists she’ll remain by her “lost boys.” This idea couldn’t be any more boldly stated than on “Cheerleader”, where she calls members in her family “honest thieves,” chalking it up to an America “with no clothes on.” So, why stay? As she suggests later into the album on “Champagne Year”, “it’s not the perfect plan, but it’s the one we got.”

It’s dense, morose stuff, though you wouldn’t really notice. Clark has spent far too much time etching out adventurous rhythms, crossbreeding genres in each track; you’d be remiss to even acknowledge some of its lyrical madness. It’s a delightful listen with a foreboding underbelly, if you will. Take the transition from funky treading to its synth-laden baths at the end of “Dilettante”, for instance. That’s the sort of stuff a guru carves out. But, Clark proves worthy of that title earlier on (if she hadn’t via 2009′s Actor) with “Cruel”, this year’s most attractive pop song with the most invaluable question of ‘em all: “How could they be casually cruel?” Is she being rhetorical, or does she desire an answer? Hopefully the former, because quite pathetically nobody has the answer. Christ, what does that say about us? -Michael Roffman

50. Ryan Adams – Ashes & Fire
49. The Joy Formidable – The Big Roar
48. Astronautalis – This is Our Science
47. Ty Segall – Goodbye Bread
46. Summer Camp – Welcome to Condale
45. Jay-Z & Kanye West – Watch the Throne
44. Yuck – Yuck
43. Mikal Cronin – Mikal Cronin
42. Kendrick Lamar – Section .80
41. Washed Out – Within & Without
40. The Mountain Goats – All Eternals Deck
39. Danny Brown – XXX
38. Oneohtrix Point Never – Replica
37. Real Estate – Days
36. Bill Callahan – Apocalypse
35. Unknown Mortal Orchestra – Unknown Mortal Orchestra
34. Adele – 21
33. Cut Copy – Zonoscope
32. Gotye – Making Mirrors
31. Kate Bush – 50 Words For Snow
30. The War On Drugs – Slave Ambient
29. The Men – Leave Home
28. Kurt Vile – Smoke Ring For My Halo
27. Childish Gambino – Camp
26. Wild Flag – Wild Flag
25. Panda Bear – Tomboy
24. SBTRKT – SBTRKT
23. The Weeknd – House Of Balloons
22. Thundercat – The Golden Age of Apocalypse
21. Girls – Father, Son, Holy Ghost
20. Tom Waits – Bad As Me
19. Fucked Up – David Comes to Life
18. Atlas Sound – Parallax
17. The Horrors – Skying
16. EMA - Past Life Martyred Saints
15. Radiohead – The King of Limbs
14. Fleet Foxes – Helplessness Blues
13. Beyoncé – 4
12. Colin Stetson – New History Warfare Vol. 2: Judges
11. The Antlers – Burst Apart
10. Drake – Take Care
09. Destroyer – Kaputt
08. tUnE-yArDs – w h o k i l l
07. M83 – Hurry Up, We’re Dreaming
06. James Blake – James Blake
05. Foo Fighters – Wasting Light
04. PJ Harvey – Let England Shake
03. Shabazz Palaces – Black Up
02. Bon Iver – Bon Iver
01. St. Vincent – Strange Mercy

As previously reported, Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International is the name of Amnesty International’s 75-track, 4-disc Bob Dylan tribute album, comprised of new or previously unreleased Dylan covers from Adele, My Morning Jacket, Queens of the Stone Age, Silversun Pickups, The Gaslight Anthem, Patti Smith, Dave Matthews Band, Sting, Joan Baez, Bryan Ferry, The Who’s Pete Townshend, Sinéad O’Connor, Elvis Costello, Pete Seeger, Fistful of Mercy, Bad Religion, Mark Knopfler, Cage the Elephant, and, of course, Miley Cyrus and Ke$ha.

The collection will be released in North America on January 24th via Fontana Distribution and elsewhere on January 30th via Fontana International. Right now, however, you can stream all 75 tracks on Amnesty International’s Facebook page.

All profits from the sale of the album will benefit Amnesty International. Check out the tracklist below.

Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International Tracklist:
Disc 1
01. Raphael Saadiq – Leopard-Skin Pill-Box Hat
02. Patti Smith – Drifter’s Escape
03. Rise Against – Ballad of Hollis Brown
04. Tom Morello The Nightwatchman – Blind Willie McTell
05. Pete Townshend – Corrina, Corrina
06. Bettye LaVette – Most of the Time
07. Charlie Winston – This Wheel’s On Fire
08. Diana Krall – Simple Twist of Fate
09. Brett Dennen – You Ain’t Goin’ Nowhere
10. Mariachi El Bronx – Love Sick
11. Ziggy Marley – Blowin’ in the Wind
12. The Gaslight Anthem – Changing of the Guards
13. Silversun Pickups – Not Dark Yet
14. My Morning Jacket – You’re A Big Girl Now
15. The Airborne Toxic Event – Boots of Spanish Leather
16. Sting – Girl from the North Country
17. Mark Knopfler – Restless Farewell

Disc 2
01. Queens Of The Stone Age – Outlaw Blues
02. Lenny Kravitz – Rainy Day Woman # 12 & 35
03. Steve Earle & Lucia Micarelli – One More Cup of Coffee (Valley Below)
04. Blake Mills – Heart Of Mine
05. Miley Cyrus – You’re Gonna Make Me Lonesome When You Go
06. Billy Bragg – Lay Down Your Weary Tune
07. Elvis Costello – License to Kill
08. Angelique Kidjo – Lay, Lady, Lay
09. Natasha Bedingfield – Ring Them Bells
10. Jackson Browne – Love Minus Zero/No Limit
11. Joan Baez – Seven Curses (Live)
12. The Belle Brigade – No Time To Think
13. Sugarland – Tonight I’ll Be Staying Here With You (Live)
14. Jack’s Mannequin – Mr. Tambourine Man
15. Oren Lavie – 4th Time Around
16. Sussan Deyhim – All I Really Want To Do
17. Adele – Make You Feel My Love (Recorded Live at WXPN)

Disc 3
01. K’NAAN – With God On Our Side
02. Ximena Sariñana – I Want You
03. Neil Finn with Pajama Club – She Belongs to Me
04. Bryan Ferry – Bob Dylan’s Dream
05. Zee Avi – Tomorrow Is A Long Time
06. Carly Simon – Just Like a Woman
07. Flogging Molly – The Times They Are A-Changin’
08. Fistful Of Mercy – Buckets Of Rain
09. Joe Perry – Man Of Peace
10. Bad Religion – It’s All Over Now, Baby Blue
11. My Chemical Romance – Desolation Row (Live)
12. RedOne featuring Nabil Khayat – Knockin’ on Heaven’s Door
13. Paul Rodgers & Nils Lofgren – Abandoned Love
14. Darren Criss featuring Chuck Criss and Freelance Whales – New Morning
15. Cage the Elephant – The Lonesome Death of Hattie Carroll
16. Band of Skulls – It Ain’t Me, Babe
17. Sinéad O’Connor – Property of Jesus
18. Ed Roland and The Sweet Tea Project – Shelter From The Storm
19. Ke$ha – Don’t Think Twice, It’s All Right
20. Kronos Quartet – Don’t Think Twice, It’s All Right

Disc 4
01. Maroon 5 – I Shall Be Released
02. Carolina Chocolate Drops – Political World
03. Seal & Jeff Beck – Like A Rolling Stone
04. Taj Mahal – Bob Dylan’s 115th Dream
05. Dierks Bentley – Senor (Tales of Yankee Power) (Live)
06. Mick Hucknall – One Of Us Must Know (Sooner Or Later)
07. Thea Gilmore – I’ll Remember You
08. State Radio – John Brown
09. Dave Matthews Band – All Along the Watchtower (Live)
10. Michael Franti – Subterranean Homesick Blues
11. We Are Augustines – Mama, You Been On My Mind
12. Lucinda Williams – Tryin’ To Get To Heaven
13. Kris Kristofferson – Quinn The Eskimo (The Mighty Quinn)
14. Eric Burdon – Gotta Serve Somebody
15. Evan Rachel Wood – I’d Have You Anytime
16. Marianne Faithfull – Baby Let Me Follow You Down (Live)
17. Pete Seeger – Forever Young
18. Bob Dylan – Chimes Of Freedom

I promised the staff I would not go all Masterpiece Theater with this intro, so I’ll be brief. Our Annual Report has reached its halfway point with our Top 50 Songs of the Year. The many flags of our staff are hoisted high — and we couldn’t be happier with what we’re saluting. From Cults’ very first song to Tom Waits’ thousandth song, we put up the tracks that left us with more thoughts, feelings, and impressions than any other. We think we done good.

But just to make sure the world still spins on its axis, let us know what you think we missed from our list and what you liked in the comments. We thrive on that stuff.

Additionally, we’ve got the de rigueur Top 50 Songs of the Year Spotify playlist for you, a quick link to purchase the song on Amazon, and an easy ctrl-c +ctrl-v list for you at the very end immediately following our #1 song of the year.

As always, our profuse thanks for reading, enjoy these tunes, and we’ll see you again next week for the second half of our 2011 Annual Report.

-Jeremy D. Larson
Content Director

50. Ellie Goulding – “Lights”

At age 24, Ellie Goulding’s folktronica turned heads across the world, especially with “Lights”. Remixed from here to high heaven by killer producers, sampled by Lupe Fiasco for his latest mixtape, and dropped by DJs looking to get well-dressed girls on the dance floors from the Bay Area to Eastern Europe, its appeal lies in its honest vocals, minimalistic beats, and stark, raving energy. It’s Goulding’s first charting single in the U.S. and Canada, and judging from the widespread allure (and the thousands who camped near her stage at festivals nationwide), it likely won’t be her last. -Paul de Revere

49. Cults – “Go Outside”

Going from relative obscurity to indie stardom isn’t anything new, but the way Madelline Follin and Brian Oblivion of Cults did it with such New York coolness and style still seemed incredibly refreshing. By the time the mainstream caught wind of Follin’s adorably unique, helium-filled balloon voice, “Go Outside” was already a bona fide song of the summer contender. Its lyrics are like a mantra for anyone in a going-nowhere relationship, delivered in an irresistibly sweet, poppy tone. And how can you not dig that crazy glockenspiel solo? -Gilles LeBlanc

48. Big K.R.I.T. – “Country Shit” (Remix)

The original version of “Country Shit” showed up on last year’s K.R.I.T. Wuz Here, but this remix, featuring all-new bars from Ludacris and Bun B, goes harder in every way. Over a chopped and looped vocal sample and thunderous bass, K.R.I.T. delivers an unusually aggressive verse for “the folk in Texas that’s forever wreckin’ with the Styrofoam cup and the purple fluid.” This is a rave-up, no doubt, and it just might be the greatest Dixie rap get-together this side of “Int’l Players Anthem”. -Mike Madden

47. Mikal Cronin – “Apathy”

So much good came out of the fertile ground of the San Francisco psych/garage scene this year, and Mikal Cronin’s debut LP may be best in show simply because he’s got the hooks. “Apathy” digs in with stopgap verses and a vintage 60’s underground sound. Cronin is wrestling with that all-too-real twentysomething identity crisis; he’s a man who’s sure he doesn’t want apathy or empathy. Or everything. Or anything. His generation struggles with defining themselves, and finding a fine line between slacker and sincere is difficult. This loud and splashy confession pretty much nails that frustration. -Jeremy D. Larson

46. Cold Cave – “The Great Pan Is Dead”

The primal themes and screams of Wesley Eisold on “The Great Pan Is Dead” could have been penned by the Vikings or the Huns or some dodgy Germanic tribe. It’s ostentatious like an arena song with more than enough of Eisold’s hardcore/noise/new wave bent to make it sound like it could have been out on Wax Trax! Records. “Yeah/I will come running/gunning through the years/hunting heart/crushing fears,” except Eisold makes it seem like he’s going to do this while completely on fire. All the while, at its core, it’s just a romantic ode to someone who warrants truly epic imagery — imagery that would fall flat without the high-stakes propulsion of the music below it. If love songs are played in Valhalla, this may be the only thing allowed. -Jeremy D. Larson

45. Das Racist – “Michael Jackson”

“I’m fucking great at rapping!” With those five words, Himanshu “Heems” Suri embraces the new identity that he, Victor “Kool A.D.” Vazquez, and Ashok “Dap” Kondabolu have forged as Das Racist. Where elsewhere they’ll make you wonder whether this whole rap thing is just a lark, here D.R. take the simple to the nth degree. Whether it’s that ultimately basic brag, the “Michael Jackson/a million dollars/you hear me?/holler” chorus, or A.D.’s lithe “You go girl, it’s your world”, this song embraces the brilliance of simplicity. The beat kills, and references to Richie Valens, “Parenthood”, and McGuyver all smashed together somehow just makes sense. -Adam Kivel

44. The Horrors – “Still Life”

To be one of the 50 best songs of the year, at least one element of your introduction has to grab attention. With “Still Life”, The Horrors gave us three options. There’s the wobbly tape loop that gradually fades in, the body-vibrating drumbeat, and the bell curve synth melody. All that before we even get to the vocals! Faris Badwan sounds cautious, almost fragile, in the speak-sing verses. Once the chorus kicks in and the melody lights up, though, he richly belts out line after line, guaranteeing a sing-along from even the most casual fan. -Joe Marvilli

43. Bill Callahan – “Riding for the Feeling”

Bill Callahan is one of America’s most low-profile existentialists. “Riding for the Feeling” is a great example of why. Callahan’s smooth baritone lightly jogs along his own acoustic strumming, impressionistic organ, reverb-soaked electric guitars, and salt-and-pepper drums to craft a statement of beautiful futility. Mr. Callahan is capital letters THE TRUTH, and he spits a lot of it: “With intensity, a drop evaporates by law/In conclusion, leaving is easy when you’ve got some place to be.” How ’bout that for some cold, hard facts? But as the song progresses, it becomes clearer and clearer that the place Callahan has to be doesn’t really exist–that he’s just riding somewhere else, merely riding for the feeling. And so are we. -Drew Litowitz

42. Dum Dum Girls – “Coming Down”

A single of anguish, “Coming Down” is the side of Dum Dum Girls no one has ever seen. During the six-minute ballad, the ladies leave the mystery of their personas to find bliss in the wake of something awful, the death of front woman Dee Dee Penny’s mother. The same fuzz can still be found, but this time there’s more emotion and urgency. Penny wanted fans to feel something, and it’s hard not to at 3:31 with Penny’s declarations of departure. Lo-fi becomes a thing of careful beauty on “Coming Down”. -Lauren Rearick

41. Lykke Li – “I Follow Rivers”

Though it’s called Wounded Rhymes, Lykke Li’s second LP could have easily been titled Wounded Rhythms. For proof, take a listen to “I Follow Rivers”. The melody drunkenly sways alongside her vocals, ranging from subdued verses to triumphant choruses. Clanging, hollow beats don’t just stick to the tempo, but occasionally flair and boost the background up. The woozy synth line remains laid-back but isn’t sloppy. Instead, it loosely drives the song forward without becoming the focal point. That’s saved for Lykke Li’s playful performance. On an album with as many heavy songs as this one has, that’s certainly a breath of fresh air. -Joe Marvilli

40. Wilco – “One Sunday Morning”

Jeff Tweedy warns us that this majestic 12-minute closer to The Whole Love is long in the very first line, but it’s a caution that proves to be moot. Despite the length and refusing to change its basic rhythm or structure, the song never tires, keeping the listener’s attention by sneaking in layer upon layer of instrumentation at strategic moments, then pulling it away. The whispering patter of Mikael Jorgensen’s piano may not drive the melody but blossoms and wilts at the mention of key words like “bells” and “the Bible.” Lyrically, it’s in the same vein as Sky Blue Sky closer “On and On”, a meditation on the relationship between Jeff Tweedy and a past acquaintance that only they understand. But its autumnal feel and confessional tone mean something different to everyone, the perfect tune for looking back on the year in non-linear terms. -Dan Caffrey

39. Liturgy – “Generation”

Brooklyn’s Liturgy have spent the last couple of years working up quite the shitstorm in metal circles for their admittedly ostentatious attempts at re-conceptualizing the genre from the ground up in what they call “transcendental black metal”. Critical response to their latest LP Aesthethica, was pretty much split down the middle largely for that reason. But all talk about the band’s perceived pretension is shot to bits by the initial blast of noise that kick off the album’s best track, the starkly minimal instrumental “Generation”. Seven minutes of blazing guitars and cracking snares, this slab of molten no-wave fury is more akin to early-day Swans than anything remotely “transcendental”, or even “black metal” for that matter. Even so, they’ve catalyzed progress and conversation in a genre that has, for decades now, stagnated in Norse Mythology and church burning scandals. Who says you need corpse paint to rock? -Möhammad Choudhery

38. Washed Out – “Amor Fati”

Washed Out’s Ernest Greene continues to distance himself from chillwave, creating one of the year’s most danceable tracks in “Amor Fati”. Fans have come to expect an inclusion of synths, but it’s the addition of an infectious chorus from Greene that makes for an unexpected moment of pop. The prominent vocals provide a break of warmth from the chillwave lull of its counterparts. Its latin title “amor fati” translates to love of fate. If this is where Greene’s destined, we’re lovestruck, too.   -Lauren Rearick

37. Adele – “Rolling in the Deep”

Each year, there comes a song that is seemingly everywhere, from non-stop radio play to appearances in TV ads and basic cable shows. In 2011, that song was Adele’s “Rolling in the Deep”. Musically, it appealed to a plethora of audiences, as if it were assembled from an equal number of dark, bluesy soul tunes and light, airy disco tracks. The vocals are among Adele’s finest, with an undercurrent of immense wisdom driving forward the larger-than-life, emotionally devastated cries of pain and confusion. But it’s the song’s overall sentiment, of having immense romantic regrets and laying every last one of them on your ex, that made this cut such a massively universal experience. Rare is the track that can mend wounds and help sell the iPhone 4S, but “Rolling in the Deep” does all that and more. -Chris Coplan

36. AraabMUZIK – “Streetz Tonight”

Don’t let the trance label deter you. AraabMUZIK’s Electronic Dream is an atmospheric trip from beginning to end. Best experienced as a whole, there are moments that jump out from the rest, perhaps none more than “Streetz Tonight”. Here, AraabMUZIK dials back his trademark drum machine ingenuity in favor of woozy synth grooves and airy, simplistic female vocals for a different, more laid-back type of head rush. -Austin Trunick

35. Tom Waits – “Hell Broke Luce”

Listeners had to be surprised the first time they heard this jarring, psychotic, nightmarish romp through a combat zone. “Hell Broke Luce” takes the form of a deranged boot camp march (“I had a good home, but I left, right, left”), with the time between Waits’ grating barking filled with banging and clanging, in-and-out guitars, sampled machine gun fire, and even a tuba during one brief lull. Lyrics include drill sergeant/grunt vulgarities, embittered questioning of authority, and lines that suggest the soldier protagonist sees himself as forever severed from the person he was before the war. (“What did you do before the war? /I was a chef, I was a chef/And what was your name? It was Jeff, Jeff”). I have no basis to judge whether or not Waits has captured the hellish realities of war on “Hell Broke Luce”, but I can say that if you’re listening to this track while out walking, it’ll keep you in step. Left, right, left. –Matt Melis

34. Kurt Vile – “Jesus Fever”

Ars longa, vita brevis, as the old adage goes: “Art is long, life is short.” On Kurt Vile’s “Jesus Fever”, the heartland rocker deals with this inevitable fate, all over a jangly progression that feels curated by Lindsay Buckingham circa 1975. One biting line: “When I am a ghost, I’ll see no reason to run/When I’m already gone/If it wasn’t taped, you could escape this song/But I’m already gone.” The lesson? Art is forever. In the digital age – especially a booming one like this year’s – that line takes on a whole new meaning. Art is forever… and everywhere. Now, how meta would it be if kids are listening to this in 100 years? Guess we’ll never know. -Michael Roffman

33. The Black Keys – “Lonely Boy”

“These guys just don’t stop. The late-in-the-year arrival of “Lonely Boy” signaled a much anticipated dose of the Akron blues mongers, even though fans were still simmering from 2010’s Brothers. El Camino’s complete rip-roaring genius aside, the stealthy emergence of the lead single’s video of a solitary man dancing his ass off became an instant sensation as “Lonely Boy” could be heard leaking out from city bus riders’ headphones for a good week after its internet landing. And for good reason. The song is an infectious smack in the face of gritty blues riffs and powerful, rockabilly-influenced fury. Dan Auerbach’s muddy guitar rips into the single as Patrick Carney’s attack drums and a smattering of quirky backing keys propel the song into a spaced-out rock stratosphere where Mark Bolan and blues greats serve as ruling deities. As our own Harley Brown attests, the Keys are at the height of their game, and “Lonely Boy” is Exhibit-A of their zenith status. -Liz Lane

32. Battles – “Ice Cream”

When Gloss Drop single “Ice Cream” dropped, it was the test for many of whether Battles would be the same after losing frontman Tyondai Braxton. The verdict? Not exactly the same, but that is no disappointment. The track wades familiar territory for Battles while placing itself among the trio’s more accessible work. Guest vocalist Matias Aguayo shines with a keen impersonation of Braxton’s trademark vocal manipulation over an irresistible, glitchy two-chord jam. Recommended with a scoop of cake batter on a waffle cone, but maybe not in the bathtub. -J. Harry Painter

31. Kate Bush – “Wild Man”

50 Words for Snow is a rare album themed to winter holiday months while not being pigeonholed as a Christmas album. “Wild Man” is a testament to that. It’s a seven-minute journey through the snowy crags of Tibet, name-dropping countless faraway places and romanticizing the fabled Yeti as only Kate Bush could. That said, it’s a very different Bush song in a lot of ways, with guest vocalist Andy Fairweather Low providing the chorus and Bush swapping out her usual vocal stylings with a husky Mark Knopfler-esque dialogue for most of the track. The sweetness of Bush’s words and the song’s misty, musical veil make it easy to mistake “Wild Man” as a love song, but that’s not quite it. It’s a tribute to the mysteries still hidden in the natural world and the figments we chase, rounding the corners of distant hills, just out of reach. -Cap Blackard

30. Mr. Muthafuckin’ eXquire – “The Last Huzzah” (Remix)

This Mr Muthafuckin’ eXquire remix, paying homage to Craig Mack’s “Flava in Ya Ear remix”, dilutes the year’s cattle call of mixtapes, guest spots, and debut LPs down to the strongest collective showing from any five rappers on a single track. Everyone’s got their fuel, whether its Despot’s “vodka soda,” Danny Brown’s “straight shots of Cuervo,” or El-P’s “straight shots of Sterno.” The track’s an ode to getting lit up, a celebration of skill and saying, “Fuck it all.” If these five guys stumble into 2012 with this much moxy, the same as Biggie, Craig Mack, LL Cool J, and Busta Rhymes did back in 1994, they’ll be the ones coming up big and making great comebacks. -Jeremy D. Larson

“The Last Huzzah” (Remix) (feat. Despot, Das Racist, Danny Brown & El-P)

29. The Strokes – “Under Cover of Darkness”

It is the oft-used “return to form,” right? The yearning Julian Casablancas vocals and the doo-wop exchange between the guitarists and drummer Fab Moretti. Top it off with another great solo courtesy of Nick Valensi, and you have the makings of classic Strokes. We may not be talking about Angles years from now, but I’ll let you know the moment this song finally stops dancing around my head. -Justin Gerber

28. Beirut – “East Harlem”

The way Beirut toys with sense of place is so darn impish and charming. With the title and lyrics of “East Harlem”, you can’t tell whether Zach Condon is crooning about Amsterdam or New Amsterdam (NYC). Yet, at the same time, the details hardly matter. In this song about distance, you don’t know where you are for sure; you’re too lost in the sonic neighborhood or city block Condon has constructed. “Uptown, downtown” can seem like a “thousand miles between us” when you’re intent on studying the gorgeous detail of “East Harlem”, this city-song of blinding lights and gorgeous brass melodies. Go on, dwell in it. Stay awhile. -Paul de Revere

27. The War on Drugs – “Come to the City”

The anthemic centerpiece on one of the year’s most road-ready albums, “Come to the City” is to be played either with the windows down while  drifting along highways or in a stadium/field of a thousand pumping fists. It’s that kind of Arcade Fire-meets-Tom Petty power spun over reverberating organs and snapping drums that makes you want to lean your head out the car window and let the emotion wash over you with the wind. With Kurt Vile off on a solo career, frontman Adam Granduciel’s contemplative lyrics get to shine on their own. “I’ve been drinking up the sweet tea/It was made just for me,” he sings in a Dylan-esque warble. It was made for you, too, so drink up. -Benjamin Kaye

26. Frank Ocean – “Novacane”

If the majority of Odd Future is the id, then R&B crooner Frank Ocean is the ego. His depravity is just as endless, but he exemplifies his more reserved, complicated side on Nostalgia, Ultra standout “Novacane”. The beat is a monstrous amalgamation of hip-hop bass, random, glitchy noises, and, most important of all, a solid groove that sounds stuck between genres and intentions. Establishing a drug-fueled storyline involving porn stars and a trip gone bad, Ocean paints a picture of a stunted youth in search of the next big high to cure what ails him. The diagnosis for Ocean’s soul is grim, but the pursuit of absolution never sounded so intoxicating. -Chris Coplan

25. Girls – “Vomit”

“Vomit” is an anthem of solitude. Like Elliott Smith and Nirvana before him, Christopher Owens struggles with his own opiate addiction. This song is a declaration of an inescapable torment, an unanswered longing, a tender futility. The beginning guitar riff echoes with loneliness like a flickering lightbulb in a dark room. Owens repeats the line “looking for love” as he and Chet White descend into instrumental insanity: A guitar solo wracked with distortion erupts, an organ hums beneath, and melismas sound out through the song’s climax. “Vomit” is its own manifesto, expressing the belief that madness is freedom, that pain is inspiration. -Summer Dunsmore

24. Beastie Boys – “Make Some Noise”

Hip-hop is always boasting how it’s a young person’s game, but “Make Some Noise” proved that the Beastie Boys are dogs who still have some bite left in them. The fortified funk they sic on us at the start of Hot Sauce Committee Part Two is aggressive, witty, and sweeping. It’s classic Beastie Boys… and then some. In light of their recent setbacks – from “MCA” Adam Yauch’s struggle with cancer to the album’s various delays – the Brooklyn legends ferociously returned to the spotlight. This single is a testament to that. While there’s a lot of wax-scratching nostalgia going on, there’s just too much energy at hand to ignore. So, when Yauch says, “The best is yet to come, and yes, believe this,” we most certainly do. -Gilles LeBlanc

23. Real Estate – “It’s Real”

A good-natured single, “It’s Real” by Real Estate defines California surfer rock. It’s a song about puppy love, as singer Martin Courtney croons, “I carved our names into a tree/I walked on decomposing leaves/I skated on a frozen sea/It’s real as far as I can see.” It does what indie music does best: weaves poetic, charming lyrics with a hooky chorus. However, it’s unique to many other love songs, which usually express the pains of heartbreak or the dark side of obsession; this love song is a revelry, an exposition of energy and enthusiasm that comes with the fascination for a loved one. It’s real. -Summer Dunsmore

22. Childish Gambino – “Bonfire”

Donald Glover plays the clueless Troy Barnes on Community. So, why take his nom de rhyme, Childish Gambino, even the slightest bit seriously? Because of “Bonfire”, dummy. The lyrics encapsulate Gambino’s wit (“This Asian dude, I stole his girl, and now he got that Kogi beef”) and even offer up the nastier side of the MC’s rainbow-colored personality (“The shit I’m doin’ this year? Insanity/Made the beat then murdered it, Casey Anthony”). It’s also got one of the LP’s most beloved and recognizable beats, equal parts bouncy club anthem and gritty garage rock jam. But really, it’s Gambino’s impassioned and visceral delivery style, like he’s barking at the listener, that makes this track a true burner. -Chris Coplan

21. Fleet Foxes – “Helplessness Blues”

Fleet Foxes’ titular track off Helplessness Blues is a lovely distillation of their sound, with the spectral doves of musicians like Roy Harper and Van Morrison flitting around for company. It’s such an epic poem that five minutes can hardly contain its beauty or its magnificent scope, which ranges from jangling folk to heavyweight, ethereal rock. By now, everyone knows the group’s sublime harmonies are their namesake, but when entwined with urgent guitar work and despairing language, it only adds deep emphasis to that fact. Feeling helpless has rarely felt so nourishing, building up to what can only be called a dappled sunlit kind of music, “my light in the dawn.” -Siobhan Kane

20. Radiohead – “Lotus Flower”

Anybody who heard Thom Yorke’s live versions of “Lotus Flower” back in ’09 and ’10 never could have imagined what it would morph into when it eventually made its way onto this year’s The King of Limbs, a surprise in and of itself. That finger-picked guitar ballad is now long forgotten thanks to the skittering rhythms, distant hand claps, and other ridiculous noises that now constitute “Lotus Flower”. The song is as dub-dance-y as Radiohead has ever sounded, with a backdrop culled from fractured loops of god knows what. But what makes “Lotus Flower” so noteworthy is how Yorke embodies it: with a healthy dose of croon-swagger. Confidence hasn’t always been Yorke’s vocal forte, but he straddles the line so perfectly between that and melancholy that it opens up a lot of doors for what Radiohead is capable of. That’s a shitload of open doors, by the way. -Drew Litowitz

19. Cut Copy – “Need You Now”

It’s a tough feat to render six minutes of addicting hooks. But that’s what Cut Copy managed to do with “Need You Now”. That explains why it opens the Australian outfit’s latest LP, Zonoscope: Hit ‘em with a punch, snag ‘em with a hook. Vocalist Dan Whitford employs a slick baritone throughout, which certainly pushes this number ahead, but it’s when he lets loose four minutes in that the heat turns up. While not as immediate as tracks like “Take Me Over” or “Where I’m Going”, it’s all about the payoff sometimes, and you won’t find a better one than here. It’s so heavy they need a downer at the end to bring things back to element. Talk about a trip. -J. Harry Painter

18. Neon Indian – “Polish Girl”

Ever wondered if the Super Mario coin-grab effect could be sampled successfully in a song? Welcome to the world of Neon Indian. Alan Palomo’s wistful cadence tells of lost love on Era Extraña standout “Polish Girl”, while spaced-out 8-bit synths evoke the longing, inescapable feelings of shoegaze. Yet, the result is a blissful four and a half minutes itching for a spin on the dance floor. With “Polish Girl”, Neon Indian has traded their signature chillwave stylings in favor of a dreamy spin on dance pop and set the new standard for retro chic. -Frank Mojica

17. Drake – “Take Care”

“Take Care” is one of six or seven tracks that could easily be deemed the best of the batch from Drake’s enigmatic, epic sophomore album of the same name. Set firmly atop impeccable (and unconventional) production by Jamie xx, the track soars with an unstoppable, sensual hook by hip-hop diva Rihanna: “If you let me, here’s what I’ll do/I’ll take care of you.” I defy any heterosexual man to refuse that offer. But what makes this track stand out more than anything is the potency with which Drake raps. As he battles insecurity, brutal honesty, and harsh reality, we see the side of Drake that was promised from the beginning – the talented side. -Winston Robbins

16. Jamie xx – “Far Nearer”

Between his masterful Gil Scott-Heron collab/remix LP We’re New Here, the slew of top-notch remixes he put out (including a HUGE rework of Adele’s “Rolling in the Deep”), and a couple of choice spots on Radiohead’s TKOL RMX compilation, Jamie xx’s huge 2011 quelled any and all doubts that he could succeed out of the shadow of the xx. And all that goes without mentioning “Far Nearer”, his debut solo release and crowning achievement to date. Built around a sun-drenched Caribbean steel drum line and a mangled Janet Jackson vocal, it’s a dance anthem for the ages and one hell of a way to launch one’s solo career. How’s that for setting the bar high? -Möhammad Choudhery

15. The Mountain Goats – “High Hawk Season”

Revolution hung thick in the air this year, and John Darnielle’s prescient salvo seems to be the people’s anthem that never was (meanwhile, 3EB turned this in). Darnielle’s boilerplate solo voice/acoustic guitar is backed by a four-part male a capella chorus that, despite The Mountain Goats’ obscene prolificacy, paves whole new avenues for a guy who’s been doing this for a long, long time. Darnielle’s vocals vary in dynamics and enunciation, causing the words to teem with frustration and resolve, something arena-worthy with just doo-wop harmonies and earnest songwriting. Sadly, Post-Barbershop-Quartet is not a genre I can throw on Pandora…yet. -Jeremy D. Larson

14. The Weeknd – “Wicked Games”

House of Balloons is fraught with tracks that are going to make you wish you lived a different, sexier life, but not one of them is more powerful than “Wicked Games”. As The Weeknd croons in his phenomenal upper register, “Bring your love baby, I can bring my shame/Bring the drugs baby, I can bring my pain,” you might honestly find yourself wishing you were addicted to codeine and emotionless sexual encounters. The track’s appeal to everyone’s dark side is endless. And while most listeners won’t ever pick up a Styrofoam cup full of prescription cough medicine and Jolly Ranchers to get faded, the song provides insight into a twisted life of beauty with a deep layer of abhorrent immorality looming just below the surface. -Winston Robbins

13. The Throne – “Niggas in Paris”

It’s still baffling that one of the hardest-hitting tracks on Watch the Throne contains a Will Ferrell sample from the figure skating parody Blades of Glory. “No one knows what it means, but it’s provocative,” Ferrell explains. “It gets the people going!” The long-anticipated collaborative record between rap’s reigning monarchs is a celebration in excess, but it comes packed with knowing winks like this one. Jay-Z and Kanye West roll in with a slow burn on top of piercing synth loop, gaining momentum as the song unravels, propelling one another into top form on this explosive club-pleaser. It’s Jay-Z’s methodical, fast-firing approach that sets the stage for West’s urgent, free-flowing (if a bit bonkers) rhymes; on an album grounded in the spirit of a healthy competition between the two powerhouse emcees, it’s on “Niggas in Paris” that they come together as a single, unstoppable hip-hop dream team. -Austin Trunick

12. Destroyer – “Kaputt”

In the world of the album’s title track, drugs and women are indiscernible — two intangible forces that are meant to be chased across clubs, kingdoms, and radio airwaves around the globe. Destroyer frontman Dan Bejar never catches either one, but decides to write a song about it and dedicate it to America, a fact that he blatantly states in the final verses. Amidst wind effects, slowed-down disco bass, synthesized bleeps, and foggy trumpet, the band topples the fourth wall, then builds it back up again to continue their quest across time, space, and celebration for a high they may never get, but in turn bestow upon their audience. -Dan Caffrey

11. Wild Flag – “Romance”

“Romance” is the most unabashedly pop song on Wild Flag’s self-titled debut. More Bow Wow Wow than Bikini Kill, it shows a different, deliriously infectious side of this burgeoning supergroup. With a ringing, crunchy guitar punch over pounding surf drums, it’s the killer hook in the chorus that will keep you coming back again and again. (If you’re not tapping your toes by the time it gets to the hand clap-driven “shake, shimmy, shake” breakdown at the song’s climax, you’re probably not a warm-blooded human.) Straight-up rock and roll this irresistibly catchy is a rare treat in this day and age; “Romance” should be finding its way onto feel-good mixtapes for a long, long time. -Austin Trunick

10. Foo Fighters – “Rope”

The glorious possibilities of a three-guitar attack in Foo Fighters is truly felt with this tune from Wasting Light. With Pat Smear having officially returned to the lineup, the band created some of their most aggressive music to date. The echoing intro gives in to a track that bops between pop and alt-rock, before launching into Chris Shiflett’s thrash-metal solo near the song’s conclusion. Of course, it’s Dave Grohl’s constant that ties it all together. That being the tireless Taylor Hawkins, who proves once more why he’s one of the finest drummers in the game today, yesterday, and tomorrow. As the first single, “Rope” announced the return of the Foo, and in hindsight, it’s the cattle call that would go on to cement the band as the biggest rock act on the planet. They’ve had a good year. -Justin Gerber

9. James Blake – “The Wilhelm Scream”

The first thing anybody who listens to James Blake’s true breakout track notices is how undeniably incessant it is. It’s a classic study in repetition.

With Blake’s cyborg croon evaporating into palm-muted guitar masked as a digital processor, interspersed with the sound a black hole makes when you throw the whole genre of dubstep into it, the song slowly explodes into a haze of static, processed synth-organ, and the deepest bass around. It’s like a noised-out tribute to every sub-genre of reggae-inspired dance music, that both mourns its present dilution in the mainstream and celebrates the places it still has yet to go.

What’s most interesting about “The Wilhelm Scream”, though, is what this repetition means to Blake and why he’s created this song in the first place. At its core, the song is Blake re-envisioning something he must have heard incessantly over the past few years: his own father, soft rocker James Litherland’s “Where to Turn”, from his 2006 album, 4th Estate. Under this context, the song becomes a manifestation of Blake’s nostalgia and love for his pops — his memories and emotions aurally orchestrated into an infectious haze of confused sounds that come together perfectly. Cool, right? -Drew Litowitz

8. SBTRKT – “Wildfire”

As SBTRKT, Aaron Jerome has been one of the year’s most buzzed-about breakout artists. On “Wildfire”, the masked producer recruits 2011’s must-have collaborator, Yukimi Nagano (of electro-soulsters Little Dragon), for the year’s essential dance floor jam. Between a bassline that can only be described as downright filthy and the irresistible allure of Nagano’s velvety vocals, “Wilfire” is pure sonic sensuality. Drawing inspiration from South London post-dubstep to house to R&B, “Wildfire” takes everything that ever made someone dance in the past 20 years and spins it into something futuristic. As it deftly defies any single label, SBTRKT’s scorching style on “Wildfire” is a reflection of how the future will one day remember 2011. -Frank Mojica

7. EMA – “California”

Equal parts Psychocandy, Sinead O’Connor, Patti Smith, and Lou Reed, Erika M. Anderson’s (aka EMA) “California” turns heads with its aggressive-yet-vapid delivery and lyrics that spin tales of reckless abandonment. “What’s it like to be small-time and gay?” she crudely asks mid-song. “What does failure taste like? To me it tastes like dirt,” she asks and answers herself towards the end. It’s a slow shuffle that never really leads to an anthemic release as its rusty sprawl suggests, but that’s sort of the point. On paper, it’s just as seclusive and cyclical.

Sort of like madness. Anderson’s a native of South Dakota, so one has to wonder what her perspective is here. Here’s a supposition: It’s the struggle that California – the land of dreams and mystery, as suggested even by the likes of Steinbeck – isn’t what it appears to be. It’s a wasteland. It’s a falsity. But, she’s not alone there. When she says, “Fuck California,” so do we. Because if there’s anything we’ve learned from reality television, MTV, or reading short bios on any musician who’s ever surfaced on the Sunset Strip, California breeds a special sort of crazy. Anderson may never find her small-town roots again (“Schizophrenic rules the brain”), but she’s created one powerful ode to it. One of the best of its kind. -Michael Roffman

6. St. Vincent – “Cruel”

If you’re going to write a rock song around a single riff, it better be a ridiculously good one, something that you’re happy to get stuck in your head. There have been a few that fit the bill in indie rock over the last few years; Modest Mouse’s “Float On” and MGMT’s “Kids” come to mind. Add St. Vincent’s “Cruel” to that exclusive list. Annie Clark writes a completely oddball, vaguely old-timey verse melody, complete with saccharine background strings. But when she sings “oo-eh-oo-eh-oo-llll” on the titular lyric, that distinctive synthesizer riff comes into focus and simply owns you. It’s silly, it’s uplifting, it’s catchy, and it can completely carry the song. Throw in a majorly danceable backing track, a languid distorted guitar solo, and Clark’s wispy but powerful voice, and it’s indie rock gold. -Jake Cohen

5. tUnE-yArDs – “Bizness”

Merrill Garbus’ wonderful first single from her second record, w h o k i l l, reflects her decision to focus some aspects of the live experience into studio recordings, and certainly, the wild energy of “Bizness” is hardly constrained by the medium of a record. Perhaps this is what makes her great: The medium of music is the vehicle through which she has chosen to convey her creativity, but it cannot bind her. “Bizness” begins with the kind of vocal gymnastics that brings to mind David Longstreth dancing in a frying pan — lovely, gloopy, roaming sounds that also act as a warm vocal harpsichord of sorts.

Then there is the percussive aspect. The way Garbus layers sounds and percussion is a joy to hear, the military beats, along with a kind of skeletal, clickety-clack kind of sound that reconnects to her fascination with African rhythms. Her world is one that is anchored by a childlike sense of wonderment, and when the arresting, strident horns step in, you cannot help but smile. This is also because you sense her giddy reverie in taking apart traditional song structures and building them up again in her own image. When she sings “I’ll bleed if you ask me,” you really believe it, because her thoughtful sincerity is clear, amidst the revels. The visual accompaniment to the song (the video directed by Mimi Cave) is a perfect rendering of tUnE-yArDs’ ethos – to reach out to the child in all of us, keeping us young, keeping us strong, keeping us dreaming. -Siobhan Kane

4. Beyoncé – “Countdown”

At this point in her exceptional career, Beyoncé has transcended the traditional confines of pop diva status. Her latest album, 4, is full of the finest cuts of her career, be it for their infectious, poppy nature or for their demonstration of real, relatable emotional displays. And one could easily say “Countdown” is the best song on that album and leave it at that. To do so, however, is to discredit a track that is not only great, but a step above on a record whose primary notion is of stepping further into sonic grace.

From the initial wail of Bey’s voice to the marching band vibe, the track is the heart and soul, the lifeblood of a record that is a dynamo of R&B gold, both new and old. Queen B has built an empire of love songs and tributes to her boo(s), but none, be it on this album or the three before, come off as easily and thoroughly as they do here. We dare anyone to resist falling under the spell of the chorus where, like a Gucci-wearing version of The Count, Beyoncé counts down the ways in which she loves her man. It’s everything we love about Beyoncé: the sing-along-ability, the bombastic nature, and the beat that digs its nails into your hips to make them shimmy all night. Count it any way you want, this number’s a shining gem in Beyoncé’s bangin’ catalog. -Chris Coplan

3. M83 – “Midnight City”

A Parisian M83 fan said to me this year that Anthony Gonzalez is “the best French music producer, more famous in [the] U.S. than France.” So what’s made “Midnight City” and its double album source, Hurry Up, We’re Dreaming, catch fire like it has in the States this year? Well, “Midnight City” is a great single, for one. And it’s in a Victoria’s Secret commercial, which doesn’t hurt its exposure stateside, either. Surely, at this point, M83 has never been more popular than they are right now. And this year, a lot of that gets chalked up to “Midnight City”.

But look deeper. “Midnight City”, like all of M83′s music, touches on feelings valued deep within the American heart: light, innocence, and youth. M83 just shrouds them behind synth sheen and vocal processing on Gonzalez’s voice. When you imagine its abstract, misty mood piece in the classic Americana setting of Lover’s Lane or Makeout Point, it clicks. The narrator and a girl look out over how “the night city grows” a “mutating skyline.” “The city is my church,” Gonzalez sings. “It wraps me in the sparkling twilight.” It’s so gorgeous and wondrous, how can you not weep from its beauty? And how many songs this year have done that? O beautiful, for spacious skies, indeed. -Paul de Revere

2. Tyler, The Creator – “Yonkers”

Cast aside all preconceived notions or any conclusions that you may have drawn about Odd Future for just a second. Try and get back to the moment when you first heard “Yonkers”. Whether you were a longtime fan or you were victim to the viral video that got tossed around for a few weeks, it moved you. It moved some to anger, and it moved others to excitement; regardless of direction, though, it moved you. There are few times in life when a song will force you to stop everything you’re doing because you’re too busy picking your jaw up off the floor. Even fewer are the times when those selfsame songs are written and produced by a 19-year-old. Much criticism has been cast in the direction of this song and at Tyler in general; many found his lyrics involving misogyny, brutal violence, and even rape to be supremely offensive. And ultimately, that’s a decision best made on an individual basis. But you cannot deny that, for better or worse, “Yonkers” is one of the most powerful hip-hop singles in recent memory. Still sends chills down my spine. -Winston Robbins

1. Bon Iver – “Holocene”

For as often as Justin Vernon’s cabin hibernation is parodied, doesn’t it sound just a little enticing? Leaving it all, sequestering yourself away from a world that won’t stop spinning? In some ways, Vernon never left that seclusion. The songs on Bon Iver may sprawl and breathe more, but they’re still born form Vernon’s desire for privacy and escape. They’re rural, surreal, and separate, and “Holocene” captures the essence of Vernon’s world, just as he tries to capture the essence of our current epoch.

The song pivots around the lyric “All at once I knew/I was not magnificent” and the garden of romantic words and loosely related imagery around it. Acoustic crescendos push the plot along, and the band’s woodwind and found sound arrangement provide the scenery. Whole ages of emotions advance and recede throughout its course, yet it manages to stave off melodrama.

Vernon recalls three hazy memories in three verses and gives them context with that pivotal lyric — an ego check. These are the lasting moments that Vernon hangs on to through it all. Can we find meaning outside of ourselves and inside missed connections or little moments we have with friends and family? This truly is what outlasts things. Now, none of this ideology is revolutionary, but Bon Iver renews its vows in the context of 2011 — a year of exponential speed and growth, of revolution and dissatisfaction, of disillusionment and displacement across whole swaths of culture and class. “Holocene” is that moment of reflection on the escape vessel as you float away from the wreckage and towards Bon Iver’s world. If escapism is increasingly how we deal with our problems, that ubiquitous cabin in the woods sounds better and better with each coming year. -Jeremy D. Larson

50. Ellie Goulding – “Lights”
49. Cults – “Go Outside”
48. Big K.R.I.T. – “Country Shit” (Remix)
47. Mikal Cronin – “Apathy”
46. Cold Cave – “The Great Pan is Dead”
45. Das Racist – “Michael Jackson”
44. The Horrors – “Still Life”
43. Bill Callahan – “Riding For the Feeling”
42. Dum Dum Girls – “Coming Down”
41. Lykke Li – “I Follow Rivers”
40. Wilco – “One Sunday Morning (Song for Jane Smiley’s Boyfriend)”
39. Liturgy – “Generation”
38. Washed Out – “Amor Fati”
37. Adele – “Rolling in the Deep”
36. AraabMUZIK – “Streetz Tonight”
35. Tom Waits – “Hell Broke Luce”
34. The Black Keys – “Lonely Boy”
33. Kurt Vile – “Jesus Fever”
32. Battles – “Ice Cream”
31. Kate Bush – “Wild Man”
30. Mr. Muthafuckin’ eXquire – “The Last Huzzah” (Remix)
29. The Strokes – “Under Cover of Darkness”
28. Beirut – “East Harlem”
27. The War on Drugs – “Come to the City”
26. Frank Ocean – “Novacane”
25. Girls – “Vomit”
24. Beastie Boys – “Make Some Noise”
23. Real Estate – “It’s Real”
22. Childish Gambino – “Bonfire”
21. Fleet Foxes – “Helplessness Blues”
20. Radiohead – “Lotus Flower”
19. Cut Copy – “Need You Now”
18. Neon Indian – “Polish Girl”
17. Drake – “Take Care”
16. Jamie xx – “Far Nearer”
15. The Mountain Goats – “High Hawk Season”
14. The Weeknd – “Wicked Games”
13. The Throne – “Niggas in Paris”
12. Destroyer – “Kaputt”
11. Wild Flag – “Romance”
10. Foo Fighters – “Rope”
09. James Blake – “The Wilhelm Scream”
08. SBTRKT – “Wildfire”
07. EMA – “California”
06. St. Vincent – “Cruel”
05. tUnE-yArDs – “Bizness”
04. Beyoncé – “Countdown”
03. M83 – “Midnight City”
02. Tyler, the Creator – “Yonkers”
01. Bon Iver – “Holocene”

Opening song “Hometown Glory” immediately sets the tone, as she proves that her talent requires little else but a piano, and Adele’s soul-powered voice is enough to fill the Royal Albert Hall five times over. “Chasing Pavements” is a highlight from her debut, while the Bob Dylan-penned “Make You Feel My Love” serves here as a tribute to Amy Winehouse. Adele asks those in attendance to light up their cell phones in memory to the late singer. As a disco ball swirls across the starry ocean-sized audience, it’s a truly touching moment, especially as Adele herself has acknowledged the influence Winehouse has had on her career.

She covers The Steeldrivers (“If It Hadn’t Been for Love”) and Bonnie Raitt (“I Can’t Make You Love Me”) and both come across as heartfelt and stunning, yet it’s her own songs and self-deprecating, humorous storytelling found on the full concert DVD which find her truly connecting with the audience. Before launching into a “rare, happy song” entitled “I’ll Be Waiting”, Adele charmingly lets everyone know, “I’m pretty miserable, really.”

The bulk of the setlist centers around her record-breaking album, 21, which includes many of the real gems she’s got in her catalog thus far. She prefaces “Take It All” by saying, “It’s got some high notes, so bear with me. I’ve had a respiratory infection.” It’s a bit of a shaky performance, especially since it draws the listener back to her health issues, whether directly vocally related or not. “Rumour Has It”, a tongue-in-cheek, “takin’ the piss” kind of song aimed at her rumor-believing friends, brings the tempo up a notch, although it’s hard to deny that the hook of the song, performed late in the set, finds her voice sounding a bit strained.

The incredibly moving “Someone Like You” should have been the final number –  while she listened to the audience sing back the chorus of the emotionally charged song, Adele was left in tears, revealing her genuine sincerity and gratefulness. Instead, “Rolling in the Deep” is played last, and is admittedly nasally, although the crowd’s hand claps and singing help to energize it into a fitting finale.  Nonetheless, both of her last songs, which served as her encore, are moving moments and a definitive celebration of how far she’s already come.

The 90-minute DVD is beautifully shot, if a bit too quick with the cutaways, and includes all of the between-song banter, giving people a chance to see her cracking quips about her ex-boyfriends, cackling like the best of them, and throwing up the middle finger. It further enhances the comfortable setting of a “cup of tea and a take-away” vibe she wishes to portray to her fans, so as to maintain intimacy no matter the size of the venue. Also included is an eight-minute, black and white, behind-the-scenes look at her, sans makeup and in hair curlers, on the day of the show. It’s interjected with short fan interviews as they wait in line for what will be Adele’s already classic performance.

Although her witty remarks and expletive-filled jokes might cause some of her mom fan base displeasure, it also makes her the most real singer out there, while emphasizing her purpose: she might have suffered some wounds in love, but has a spunky attitude to fall back on when she falls out of love. Unlike Beyoncé, she’s not pining for the all-around sweetheart title, and thankfully, is as far from the awful Katy Perry methods of whipped cream-shooting boobs as it gets. Then again, it just shows that she’s in a class of her own.

In regards to today’s female singers, some might say she fills a niche, but lucky for her, it’s a wide-ranging field in which she doesn’t have to pander to just one type of fan. Her music appeals to those who like a good pop song, those who feel rhythm and blues in their blood, and those who just happen to like to sip on their lattés with a bit of heartbreak tearing away at their insides. Another live Adele concert might not come about until 2013, but Live at the Royal Albert Hall should help her find new fans and keep the devoted ones wishing for her speedy recovery.

Essential Tracks: “Hometown Glory”, ”Turning Tables”, “Someone Like You”

The nominees for the 2012 Grammy Awards were officially revealed during a live television broadcast on Wednesday night, and Bon Iver was among the most called! Justin Vernon and Co. received a nomination for Best New Artist, while their song “Holocene” is up for both Song of the Year and Record of the Year. Bon Iver, the album, also was nominated for Alternative Album of the Year.

Now, before we go any further, let’s first remember this is Grammys and the rules make little sense: 1.) The cut off date for an eligible song/record/album was September 30th, 2011, so Drake’s Take Care won’t receive consideration until next year. However, Kanye West’s My Beautiful Dark Twisted Fantasy, which was released in November 2010, was eligible. 2.) To be eligible for Best New Artist, an artist must have released, as a featured performing artist, at least one album but not more than three (which explains why Bon Iver is nominated on album number two.) 3.) The difference between Record and Song of the Year: Record of the Year is given to the artist who performs the song and the people who produce the track, while Song of the Year is awarded to the songwriter who wrote said song. Also, let’s not forget about the 31 categories no longer in existence.

Along with Bon Iver, Adele picked up a slew of nominations, including Album of the Year, Record of the Year, and Song of the Year. Kanye West’s opus My Beautiful Dark Twisted Fantasy did not receive a nomination for Album of the Year, however, the rapper’s “All of the Lights” is in the running for Song of the Year. In addition, both My Beautiful Dark Twisted Fantasy and West’s joint LP with Jay-Z, Watch the Throne, were nominated for Best Rap Album. Foo Fighters also received love, with Wasting Light nominated for both Album of the Year and Best Rock Album.

Other notable nominees include Radiohead (Best Alternative Album, Best Rock Song), Wilco (Best Rock Album), My Morning Jacket (Best Alternative Album), Robyn (Best Dance/Electronica Album), and The Decemberists (Best Rock Song). You can find the nominees for the major categories below. The entire list is available at Grammy.com.

Winners will be revealed February 12th at 8pm ET on CBS.

Album of the Year:
Adele – 21
Foo Fighters – Wasting Light
Lady Gaga – Born This Way
Bruno Mars – Doo-Wops & Hooligans
Rihanna – Loud

Record of the Year:
Bon Iver – “Holocene”
Adele – “Rolling in the Deep”
Mumford & Sons – “The Cave”
Bruno Mars – “Grenade”
Katy Perry – “Firework”

Song of the Year:
Kanye West – “All of the Lights”
Mumford & Sons – “The Cave”
Bruno Mars – “Grenade”
Bon Iver – “Holocene”
Adele – “Rolling in the Deep”

Best New Artist:
Bon Iver
J. Cole
Nicki Minaj
Skrillex
The Band Perry

Best Rock Song:
Mumford & Sons – “The Cave”
The Decemberists – “Down By The Water”
Coldplay – “Every Teardrop is a Waterfall”
Radiohead – “Lotus Flower”
Foo Fighters – “Walk”

Best Rock Album:
Foo Fighters – Wasting Light
Jeff Beck – Rock ‘N’ Roll Party Honoring Les Paul
Kings of Leon – Come Around Sundown
Red Hot Chili Peppers – I’m With You
Wilco – The Whole Love 

Best Alternative Album:
Bon Iver – Bon Iver
Death Cab For Cutie – Codes and Keys
Foster the People – Torches
My Morning Jacket – Circuital
Radiohead – The King of Limbs 

Best Rap Song:
Kanye West – “All of the Lights”
Wiz Khalifa – “Black and Yellow”
Dr. Dre feat. Eminem – “I Need A Doctor”
Chris Brown feat. Busta Rhymes & Lil Wayne – “Look At Me Now”
Jay-Z & Kanye West – “Otis”
Lupe Fiasco – “The Show Goes On”

Best Rap Album:
Jay-Z & Kanye West – Watch the Throne
Lil Wayne – Tha Carter IV
Lupe Fiasco – Lasers
Nicki Minaj – Pink Friday
Kanye West – My Beautiful Dark Twisted Fantasy 

Best Dance/Electronica Album:
Cut Copy – Zonoscope
Deadmau5 – 4×4=12
David Guetta – Nothing But The Beat
Robyn – Body Talk, Pt. 3
Skrillex - Scary Monsters and Nice Sprites 

For Christmas this year, some lucky boys and girls will awaken to find Adele‘s new concert film Live at the Royal Albert Hall underneath the tree. But before you go run to your friendly neighborhood big-box store, a few sneak peeks are being offered to make this holiday season a true Adele-mas. The first goodie is a 30-minute stream of the film, where Adele performs five songs: “Rolling In The Deep”, “Hometown Glory”, “Chasing Pavements”, “Set Fire to the Rain”, and “Someone Like You”. Available for one-day only, watch the video below.

Then, head over to the Guardian‘s Music blog, where the entire live album is streaming in full. Peep the full album tracklist below.

Live at the Royal Albert Hall is available everywhere tomorrow (November 29th) via XL Recordings.

Live at the Royal Albert Hall Tracklist:
01. Hometown Glory
02. I’ll Be Waiting
03. Don’t You Remember
04. Turning Tables
05. Set Fire To The Rain
06. If It Hadn’t Been For Love
07. My Same
08. Take It All
09. Rumour Has It
10. Right As Rain
11. One & Only
12. Lovesong
13. Chasing Pavements
14. I Can’t Make You Love Me
15. Make You Feel My Love
16. Someone Like You
17. Rolling in the Deep

Last month we told you of an upcoming Bob Dylan tribute album being put together in celebration of Amnesty International’s 50th anniversary. At the time, My Morning Jacket, Adele, David Matthews Band, and Ke$ha were among the confirmed participants. Now, the set’s entire tracklist has been revealed, and Ke$ha’s cover of ”Don’t Think Twice, It’s All Right” is just the beginning of the insanity.

Spanning four discs and 75 tracks (!!!), Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International packages together new or previously unreleased Dylan covers from artist of all different genres and generations. Obvious highlights include covers of “You’re A Big Girl Now” by MMJ, “Outlaw Blues” by Queens of the Stone Age, ”Not Dark Yet” by Silversun Pickups, “Drifter’s Escape” by Patti Smith, and “Lay Down Your Weary Tune” by Billy Bragg.

Other notable contributors include The Who’s Pete Townshend (“Corrina, Corrina”), Sting (“Girl from the North Country”), Bryan Ferry (“Bob Dylan’s Dream”), The Gaslight Anthem (“Changing of the Guards”), Elvis Costello (“License to Kill”), Mark Knopfler (“Restless Farewell”), Sinéad O’Connor (“Property of Jesus”), Joan Baez (“Seven Curses (Live)”), Fistful Of Mercy (“Buckets Of Rain”), Bad Religion (“It’s All Over Now, Baby Blue”), Cage the Elephant (“The Lonesome Death of Hattie Carroll”), and Pete Seeger (“Forever Young”). Dylan himself contributes the album’s namesake.

And just because, Ms. “On Melancholy Hill”  (aka Miley Cyrus) takes on “You’re Gonna Make Me Lonesome When You Go” and Maroon 5 tackles “ I Shall Be Released”. Also, Seal and Jeff Beck randomly team up for a reworking of “Like A Rolling Stone” and actress Evan Rachel Wood contributes her cover of “I’d Have You Anytime”.

The collection is scheduled for physical and digital release in North America on January 24th, 2012 via Fontana Distribution. It will then be distributed internationally through Fontana International on January 30th. All profits will go to benefit Amnesty International.

Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International Tracklist:
Disc 1
01. Raphael Saadiq – Leopard-Skin Pill-Box Hat
02. Patti Smith – Drifter’s Escape
03. Rise Against – Ballad of Hollis Brown
04. Tom Morello The Nightwatchman – Blind Willie McTell
05. Pete Townshend – Corrina, Corrina
06. Bettye LaVette – Most of the Time
07. Charlie Winston – This Wheel’s On Fire
08. Diana Krall – Simple Twist of Fate
09. Brett Dennen – You Ain’t Goin’ Nowhere
10. Mariachi El Bronx – Love Sick
11. Ziggy Marley – Blowin’ in the Wind
12. The Gaslight Anthem – Changing of the Guards
13. Silversun Pickups – Not Dark Yet
14. My Morning Jacket – You’re A Big Girl Now
15. The Airborne Toxic Event – Boots of Spanish Leather
16. Sting – Girl from the North Country
17. Mark Knopfler – Restless Farewell

Disc 2
01. Queens Of The Stone Age – Outlaw Blues
02. Lenny Kravitz – Rainy Day Woman # 12 & 35
03. Steve Earle & Lucia Micarelli – One More Cup of Coffee (Valley Below)
04. Blake Mills – Heart Of Mine
05. Miley Cyrus – You’re Gonna Make Me Lonesome When You Go
06. Billy Bragg – Lay Down Your Weary Tune
07. Elvis Costello – License to Kill
08. Angelique Kidjo – Lay, Lady, Lay
09. Natasha Bedingfield – Ring Them Bells
10. Jackson Browne – Love Minus Zero/No Limit
11. Joan Baez – Seven Curses (Live)
12. The Belle Brigade – No Time To Think
13. Sugarland – Tonight I’ll Be Staying Here With You (Live)
14. Jack’s Mannequin – Mr. Tambourine Man
15. Oren Lavie – 4th Time Around
16. Sussan Deyhim – All I Really Want To Do
17. Adele – Make You Feel My Love (Recorded Live at WXPN)

Disc 3
01. K’NAAN – With God On Our Side
02. Ximena Sariñana – I Want You
03. Neil Finn with Pajama Club – She Belongs to Me
04. Bryan Ferry – Bob Dylan’s Dream
05. Zee Avi – Tomorrow Is A Long Time
06. Carly Simon – Just Like a Woman
07. Flogging Molly – The Times They Are A-Changin’
08. Fistful Of Mercy – Buckets Of Rain
09. Joe Perry – Man Of Peace
10. Bad Religion – It’s All Over Now, Baby Blue
11. My Chemical Romance – Desolation Row (Live)
12. RedOne featuring Nabil Khayat – Knockin’ on Heaven’s Door
13. Paul Rodgers & Nils Lofgren – Abandoned Love
14. Darren Criss featuring Chuck Criss and Freelance Whales – New Morning
15. Cage the Elephant – The Lonesome Death of Hattie Carroll
16. Band of Skulls – It Ain’t Me, Babe
17. Sinéad O’Connor – Property of Jesus
18. Ed Roland and The Sweet Tea Project – Shelter From The Storm
19. Ke$ha – Don’t Think Twice, It’s All Right
20. Kronos Quartet – Don’t Think Twice, It’s All Right

Disc 4
01. Maroon 5 – I Shall Be Released
02. Carolina Chocolate Drops – Political World
03. Seal & Jeff Beck – Like A Rolling Stone
04. Taj Mahal – Bob Dylan’s 115th Dream
05. Dierks Bentley – Senor (Tales of Yankee Power) (Live)
06. Mick Hucknall – One Of Us Must Know (Sooner Or Later)
07. Thea Gilmore – I’ll Remember You
08. State Radio – John Brown
09. Dave Matthews Band – All Along the Watchtower (Live)
10. Michael Franti – Subterranean Homesick Blues
11. We Are Augustines – Mama, You Been On My Mind
12. Lucinda Williams – Tryin’ To Get To Heaven
13. Kris Kristofferson – Quinn The Eskimo (The Mighty Quinn)
14. Eric Burdon – Gotta Serve Somebody
15. Evan Rachel Wood – I’d Have You Anytime
16. Marianne Faithfull – Baby Let Me Follow You Down (Live)
17. Pete Seeger – Forever Young
18. Bob Dylan – Chimes Of Freedom

Some people see Christmas/Hanukkah/the Winter Solstice/Festivus as a time for family and friends and celebrating the inherent warmth and goodness in us all. Others view these as tired traditions, cooked up to fuel rampant consumerism and act as a means of torture by making you choose between frostbite and spending time with Uncle Maurice. And others just try to get by through the oceans of eggnog and terrible, terrible sweaters. But we here at CoS believe you don’t have to choose between being jolly and celebrating something earnest and true. While Santa Claus may be giving gifts of toys and goodies, we’re giving the gifts of hope and creativity with our annual Holiday Gift Guide. It’s way better than that fire truck you wanted for Xmas ’96.

Now you may be asking yourself, “How does just another list of items to buy offer up anything of any real value?” Well, children, come sit down by the fire as we weave our explanation like popcorn strings on a Christmas tree. It’s true that some of these music-related gifts are just fun or silly, like the Official DEVO Yellow Suit (page eight) or the Illustrated “Juicy” by Notorious B.I.G. (page seven). But the rest of the gifts, ranging from the Dinosaur, Jr. Cassette Trilogy (page two) to the Z.vex Effects Instant guitar petal (page nine) all have slightly more value than being great gag gifts (or to wear as kickin’ costumes next Halloween). These may be material goods, and sometimes overpriced material goods at that, but don’t forget what you’re ACTUALLY giving: music. Not just sounds or noise that are either enjoyable or total rubbish, but something that can reshape emotions and create new, life-altering experiences for someone.

By giving something like The Bridge School Concerts 25th Anniversary Edition DVD, you’re telling someone you love, “Hey, this could change your life for the better and make you see things in a whole new way.” That is the promise of music, why people obsess over it and try to cram every sound and every tiny detail and unimportant contextual nuance into a $17 DVD or a $140 box set or a $12 CD. It’s one gift that can actually make someone’s life better and spread honest-to-goodness cheer in a time of year when people cram boxes with meaningless ties and perfume sets that dilute the reason for the season. Music is the one thing that transcends all the junk of the holiday season, like a red-nosed reindeer through a blizzard, to get at the heart of why we celebrate in the first place: connecting with people on a truly deep, meaningful level and cherishing those aforementioned bonds.

So whether you’re buying for yourself or a loved one, take a good, hard look through our Holiday Gift Guide and see if you can spread a little ho-ho-happiness. That way, you’re giving someone special something unique that they could never find elsewhere. And if they re-gift it to you next year, then that’s cool too, right?

-Chris Coplan
News Editor

P.S. – From ours to yours, have a safe and prosperous holiday season.

P.P.S. – Be sure to bookmark our guide and check back often as we’ll be posting new ideas throughout the holiday season.

Box Sets

The Beach Boys: The Smile Sessions Box Set

What: The long-awaited “lost” Beach Boys album receives the lush, deluxe treatment reserved for the finest audiophiles. Over five CDs, two LPs, and two 7″ singles, SMiLE finally comes to life, featuring myriad session recordings, alternate takes, early demos, and the proposed unfinished album. The story continues with the set’s 60-page companion book, stuffed to both ends with lyrics, Frank Holmes drawings, unreleased photos, production notes, anecdotes from surrounding family and friends, and, naturally, liner notes by the band. Throw in a 24″ x 36″ poster and put it all in a three-dimensional shadow box lid…and it’s difficult to avoid smiling. -MR

Buy: Available now for $139.99 via Amazon.com.

Beastie Boys: Hot Sauce Committee Pt. 2 Deluxe Edition

What: The legendary hip-hop trio repackages their 2011 album in a two-disc, deluxe edition set. Available on both DVD and Blu-ray, the set includes the long and short versions of the star-studded Fight For Your Right Revisited film, the Spike Jonze-directed music video “Don’t Play No Game That I Can’t Win”, and a 130-page hardback book featuring behind-the-scenes photos of the making of Fight For Your Right Revisited. Order through the group’s website and also receive a Stuyvesant Phys. Ed T-Shirt. -AY

Buy: Available November 25th exclusively at participating independent record stores as part of Record Store Day’s Black Friday promotion. A limited number of sets is also available for $88.98 via the group’s website.

The Dear Hunter: The Color Spectrum: The Complete Collection

What: The 36-tracks constituting the tremendous 9-EP undertaking The Color Spectrum from Casey Crescenzo’s band The Dear Hunter are collected here on three CDs. Also included is a DVD containing more than two hours of footage from Crescenzo’s country-spanning journey recording the effort with a variety of producers and fellow musicians. The final piece is a 52-page booklet of pictures, lyrics and insight about the collection. -BK

Buy: Available now digitally ($34.99) and on CD($24.69) via Amazon.com. Both the limited edition collection of nine colored vinyls and the deluxe wood box set have sold out, so good luck with that.

Dinosaur, Jr.: Cassette Trilogy

What: Limited to just 500 copies and encased in a custom wooden box, the set packs cassette copies of Dinosaur Jr.’s first three albums — 1985′s Dinosaur, 1987′s You’re Living All Over Me, and 1988′s Bug. In addition, the wooden box features the classic Dinosaur Jr. ‘monster’ artwork. -AY

Buy: Available now for $39 via Joyful Noise Recordings. Note: only 350 copies are available for purchase online, with the remaining 150 copies to be sold on the band’s December West coast tour.

The Doors: LA. Woman Singles Box

What: Billed as a “one-of-a-kind limited, serial-numbered box set” commemorating the 40th anniversary of The Doors’ landmark album, L.A. Woman Singles Box packs classic tracks “The Changeling”, “Riders on the Storm”, and “Love Her Madly”, backed with newly-discovered and never-before-heard alternate takes of each song, and a fourth single of never before-released studio banter. The box artwork also includes the original Messianic image of the naked woman nailed to the telephone pole used for the album’s inner sleeve. -AY

Buy: Available November 25th for $49.98 exclusively at participating independent record stores as part of Record Store Day’s Black Friday promotion.

Elvis Costello & The Imposters: The Return of the Spectacular Spinning Songbook!!!

What: Limited to just 1,500 copies, the set features a CD, DVD, and 10-inch vinyl EP of material from Elvis Costello’s two-night stint at The Wiltern in Los Angeles on May 11th and 12th, 2011. The CD comprises 16 tracks from both nights, the 10″ features four live cuts, and the DVD packs footage of the entire second night, including a special appearance from The Bangles. In addition to the music, the box set contains a 40-page hardcover book of photos, a diary from Costello detailing each gig, a 20″ x 30″ concert tour poster, a limited edition postcard, and a replica spinning wheel to play with at your discretion. -CC

Buy: Available December 6th for $268.29 via Amazon.com.

John Fahey: Your Past Comes Back to Haunt You

What: Like John Fahey?  Want to hear some of his earliest recordings, taped in a dingy basement in Frederick, MD?  Want to listen to hella-old reel-to-reel tapes of him drunkenly answering questions about his music and career interspersed between some insanely beautiful acoustic guitar playing? Well then, what better way to ring in the holiday spirit than six hours over 115 unearthed, remastered tracks of early John Fahey recordings over 5 discs, an 88-page book chronicling the legendary picker’s life, rare photographs of the guy, and some ill packaging?  Not much, not much. -DL

Buy: Available now for $69.56 via Amazon.com.

Leonard Cohen: The Complete Albums Collection 

What: The 18-disc box set compiles Leonard Cohen’s 17 studio and live albums, from his 1967 debut Songs of Leonard Cohen up to 2009?s live release Songs From the Road. Each CD in the set is remastered from original analogue master tapes and housed in a mini-LP replica jacket based on their original artwork. In addition, the package includes a 36-page booklet full of “discographical annotations and recording information, as well as a 1,300-word essay by Pico Iyer. -AY

Buy: Available now for $119.99 via Leonard Cohen Global Store. An 11-disc set compiling only his studio albums is also available for purchase.

Mickey Newbury: An American Trilogy

What: Mickey Newbury may just be one of country music most criminally-underheard artists. More closely related to artists like Leonard Cohen and Townes Van Zandt than Conway Twitty, Newbury’s soft songs are full of weighted emotion and beautiful lyrical imagery. A perfect introduction to a hidden gem, An American Trilogy box set collects arguably his three greatest albums from the late 1960s/early ’70s (It Looks Like Rain, ‘Frisco Mabel Joy, and Heaven Help the Child) as well as a fourth disc of rare demos and outtakes. -AT

Buy: Available now for $71.97 via Amazon.com. Vinyl editions of each disc are also available separately via Drag City’s online store.

Neutral Milk Hotel Vinyl Box Set

What: The vinyl-only box set comprises every single one of Neutral Milk Hotel’s albums and EPs along with some 15 unreleased tracks. Among the items included are the band’s two LPs (1996′s On Avery Island and 1998′s In the Aeroplane Over the Sea), a 7″ single of two never-before-released songs in “You’ve Passed” (b/w “Where You’ll Find Me Now”), another 7″ single of unreleased and live versions of “Little Birds”, a picture disk 7″ single of “Holland, 1945″, and a 10″ EP called Ferris Wheel on Fire featuring eight unreleased acoustic recordings. -CC

Buy: Available November 22nd for $88 via the band’s official website. All of the included tracks will also be available at a pay-as-you-please price via his Bandcamp account.

Pink Floyd Discovery Box Set

What: Fourteen albums. Sixteen CDs. One 60-page artwork booklet. From 1967′s The Piper at the Gates of Dawn up to 1994′s The Division Bell, this set collects it all, making it an absolute gem for any Pink Floyd fan, both new or old. So, if you’ve got a loved one begging to go on a trip, consider this your cheapest (and most worthwhile) option. See you on the other side. -MR

Buy: Available now for $178.99 via Amazon.com.

Phish: Hampton/Winston-Salem ’97

What: The long-awaited sound recordings of Phish’s first two-night stint at Hampton, VA’s Hampton Coliseum (aka the “Mothership”) from November 21st and 22nd of 1997, accompanied by the live recording of the band’s follow-up performance at Lawrence Joel Veteran’s Memorial Coliseum in Winston-Salem, NC, on November 23rd. Re-mastered by Fred Kevorkian, the seven-CD box set contains all the music performed over those three nights (45 songs, over eight hours across seven discs), plus never-before-heard material from soundchecks at both venues. -DS

Buy: Available December 6th in various formats: 7-CD box set ($39.99), ALAC ($34.97), FLAC (34.97), and MP3 (26.87) via LivePhish.com.

Ray Charles: Singular Genius: The Complete ABC Singles

What: Containing the A and B-sides of 53 singles (that’s 106 songs) on five CDs, Ray Charles’ Singular Genius: The Complete ABC Singlesis exactly what it says it is. The box set holds every single Charles released while signed to ABC-Paramount Records between 1960 and 1972, a peak era for a musician who had finally found “mainstream” success. Out of the 106 digitally remastered tracks included, 21 will be having their first ever digital release, while 30 are debuting on CD. -BK

Buy: Available now on CD and digitally for $42.98 via Amazon.com.

Rivers Cuomo: The Pinkerton Diaries + Alone III

What: In 237 pages, The Pinkerton Diaries gives unparalleled insight into Rivers Cuomo’s mind from 1994 to 1997, the period in which Weezer’s landmark album Pinkerton was formed. Beginning on the day of The Blue Album’s May 10th ’94 release, the book collects Cuomo’s “journals emails, letters, photos and school papers” alongside “lyric notebooks, music compositions, and studio notes from the Pinkerton sessions.” First editions are hand numbered. The companion album, Alone III, contains 26 demos of both released and unrealized tracks, all recorded during the years recounted in the book. -BK

Buy: Set for a December 12th release, pre-orders are ongoing Cuomo’s website: book and CD for $75, and a premium pack with t-shirt, lithograph, and post-card set for $135.99.

Rush: Sectors

What: Compiling Rush’s 15-album, 14-year run on Mercury Records, the three separate six-disc box sets each include five chronological CDs and a 5.1 surround sound DVD. Sector 1 comprises the band’s 1974 self-titled debut and ends with their first live album, 1976′s All the World’s a Stage. Sector 2 features 1981′s Moving Pictures and 1977′s A Farewell to Kings, which also gets the DVD treatment. Sector 3 starts with 1982′s Signals and concludes with 1988′s double live album, A Show of Hands. Each Sector comes with a booklet of photos and lyrics, with all three boxes forming a Rush CD road case. –CC

Buy: Available November 21st, Sector 1, Sector 2, and Sector 3 each cost $48.46 via Amazon.com.

Sigur Rós: Inni

What: Directed by Vincent Morisset, Inni compiles footage of Sigur Rós’ 2008 performance at London’s Alexandra Palace, their final show before embarking on an indefinite hiatus. A limited deluxe edition set includes the film and a corresponding live album, a 7″ single featuring a previously unreleased cut called “Lúppulagid”, an exclusive and unique-to-each-box artefact from the show itself in a numbered, printed envelope a DVD of the 5-minute short “Klippa”, and more, all of which are packaged in a printed 7″ sized 4 panel slitpack. -AY

Buy: Available now for $79 via the band’s website. A standard edition, comprising just the film and the album, as well as a digital edition are also available.

 The Smiths Complete: Deluxe Box Set

What: In an effort to bankrupt every fan of The Smiths, Rhino Records UK has put together the ultimate box set for completists, vinyl enthusiasts, and, well, any self-respecting music fan. Titled The Smiths – Complete, the forthcoming package features remastered editions of The Smiths’ eight albums (by Johnny Marr, no less), both on CD and 180-gram audiophile vinyl, in addition to all 25 of the group’s singles on individual 7?. They also decided to throw in some prints, a few posters, and a DVD of the group’s music videos. Just remember, we’ve got a very long winter ahead of us. Best to plan accordingly. -MR

Buy: Available now for $499.98 via Rhino Records. CD or vinyl-only box sets are also available.

Sting: 25 Years

What: The four-disc set comprises 45 remastered tracks that were “personally curated by Sting”, in addition to Rough, Raw & Unreleased: Live At Irving Plaza, a previously unreleased live concert DVD. It’s all housed in a hardcover book containing intimate and rare photos from world renowned photographers, complete lyrics, personal commentary and a newly written introduction by Sting. -MR

Buy: Available now as a 3 CD/DVD set for $119.99 via Amazon.com.

U2: Achtung Baby: Uber Deluxe Edition

Buy: A box set which truly lives up to its name, the Uber Deluxe Edition of U2′s landmark album Achtung Baby packs six CDs, including the original album, the follow-up Zooropa, B-sides, and re-workings of previously unheard material recorded during the Achtung Baby sessions. Also squeezed in are four DVDs featuring the new Achtung Baby-focused documentary From The Sky Down, the concert film Zoo TV:Live From Sydney, and all the videos from Achtung Baby, in addition to bonus material. And if that weren’t enough, the set also includes the album’s five singles pressed on clear 7″ vinyl and packaged in their original sleeves, 16 art prints taken from the original album sleeve, an 84-page hardback book, a copy of Propagandamagazine, four badges, a sticker sheet, and, yes, a pair of Bono’s trademark glasses, with all of the above comes contained in magnetic puzzle tiled box. -AY

What: Available now for $434.99 via Amazon.com. A Super Deluxe Edition, a Deluxe Edition, a vinyl-only box set, and a standard CD release are also available.

The Who: Quadrophenia – The Director’s Cut

What: Spanning five discs and 60 tracks, the Quadrophenia box set includes a re-master of the original double album, 25 demos from Pete Townshend’s archives, including five songs not on the album that portray the original version of the Quadrophenia concept, an eight-track DVD titled The Quadrophenia 5.1, and a replica 7″ of the hit single “5.15″ (b/w “Water”). In addition to the music, the set also includes a 100-page hard-back book featuring a 13,000-word essay by Townshend that sheds light on the band during the album’s recording, as well as a track-by-track guide to the demos and studio diary entries. -CC

Buy: Available now for $143.99 via Amazon.com. Double vinyl and digital editions are also available.

Books

Love Goes to Buildings on Fire: Music Made New in New York City in the ’70s

What: Do you ever wish you could have experienced New York City in the ’70s? Maybe witness the birth of punk rock, loathe the spawn of disco, and get lost in all the in-betweens? Rolling Stone‘s senior critic Will Hermes takes you there; more specifically, from New Year’s Day 1973 to New Year’s Eve of 1977. It’s a first person account of one of the most culturally rich movements in music history, and it’s all for your leisurely reading. Better yet, you don’t need a Delorean t