Since my year-end album lists always come out so late, I found a way to beat the rush of year-end lists. Release my best of 2021 list right before all the best-of 2022 lists arrive! Well, even tHAT didn't happen. But I promise my best-of list for 2022 will be published soon!
Back in 2021, rock music continued to thrive. Enjoy the list and tell me your favorites and any that you think I missed.
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| The Weeknd |
Biggest Disappointments: There are three great songs on
Foo Fighters' Medicine at Midnight, but the rest is gross alternarock.
Mac McCaughan’s The Skin of Yourself has three perfect songs and the rest is instrumental soundtrack filler. I've loved all of
BC Camplight's work, but Shortly Takeoff is a mostly painful stinker. I was excited for
Julien Baker's Little Oblivions, but after several listens, I can't get past the sheer boredom of it.
Loney Dear's A Lantern and a Bell didn't exactly have high expectations (the promising band has been absent for the past decade or so) but this was a particularly bumming return during a pandemic year.
The Weeknd's House of Balloons is really unexciting, even more since it was released soon after he was given the Super Bowl halftime spotlight. Not that I ever expected much from
Greta Van Fleet, but their derivative rock has fallen from Led Zeppelin homage to painful poor-man's Tesla.
St. Vincent’s Daddy’s Home is creative and even sounds a little like Pink Floyd at times but it’s just not catchy or memorable like her other releases.
Lou Barlow's Reason to Live is really no different than some of his masterful lo-fi Sebadoh releases of the 1990s, but it's just kind of depressing and unnecessary in 2021.
Fucked Up's Year of the Horse brings a sub-par release from one of the better pure punk bands around.
Low Cut Connie's Tough Cookies: Best of the Quarantine Broadcasts is a mildly fun barrage of covers but also pretty unnecessary from a band that brings much higher expectations.
Prince's Welcome 2 America is a let-down; despite a couple of fun tracks, this is mostly stuff lacking in originality.
The Killers' Pressure Machine seems to have a rural concept going on, but there just aren't many good songs to go with the odd dialogue sprinked throughout.
Jason Isbell and the 400 Unit's Georgia Blue is a very competent collection of covers about the Peach State but it lacks excitement.
Parquet Courts’ Sympathy for Life is a repetitive math-rock-new-wave bore, which is hard to say for a band that has mesmerized me for a decade as New York post-Talking Heads rock.
Willie Nelson's The Willie Nelson Family isn't bad at all, it's just non-essential considering the high bar he's set for himself.
Pom Pom Squad's Death of a Cheerleader has some pretty good songs but I thought this band would become more of one of my favorites.
Neil Young and Crazy Horse's Barn makes me realize I probably have about all the Neil Young I need in my collection, and while I really like "Tumblin' Thru the Years" and the rest isn't bad, it seems overall pretty unnecessary.
Cub Scout Bowling Pins' Heaven Beats Iowa is not as special as hundreds of other releases from Bob Pollard of GBV.
Bitter Defeat's Minor Victory is "middle-age malaise" punk from a great Brisbane, Australia band. I'm not sure if long-ago-great
Cat Power's releases still qualify as disappointments, but exciting and vital would be a stretch for Covers.
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| Lara Jane Grace |
Best EPs: The Linda Lindas' self-titled debut EP would be in the running for best long player if it were a long player. This is as much fun as music gets.
But the best EP of the year undoubtedly goes to Lara Jane Grace’s At War with the Silverfish, as she continues her unbeatable punk-pop streak. A close runner-up is L.A.'s
CARR, with I'm So Bored, which could probably be a Taylor Swift-level megahit if weren't so down-to-earth and pottymouthed.
Death Cab for Cutie's The Georgia EP is great because the band has such impeccable taste in covers from Georgia bands.
Million Miles' Escape is smooth R&B with a mix of yacht rock.
Def Leppard's Leppard on the Loose should be disqualified from this list on its cheesy name alone, but this is undeniably classic-style Lepp.
dad sports' I AM JUST A BOY LEAVE ME ALONE !!! is a slice of punctuation-challenged perfect sunshine-pop out of Ottawa.
beabadoobee's Our Extended Play is the 2020's answer to The Blake Babies and it's gorgeous.
Car Seat Headrest offers great Bowie, Who, Nine Inch Nails, and Kate Bush covers on MADLO: Influences.
Guster's two EPs (Rainy Day Guster and Happier Songs) keeps the string of great pop releases rolling for this Boston band.
GospelbeacH's Jam Jam EP is more California sunshine pop from the Elephant 6-inspired band.
Samia's Scout presents an atmospheric little indie-pop gem.
Annie's Neon Lights is a welcome addition from an inventive dance artist who takes on Jesus and the Mary Chain alongside Patrick Swayze!
The Black Watch is on fire, with an LP high on the list and these two, The White EP and The Nothing That Is EP.
Landon Conrath's 2AM is total pop-party cheese that's impossible to dislike.
The Airport 77s' Losers Win / The Illustrated Book of Cupid are DC power-poppers in the vein of the rocktabulous Urge Overkill and feature one member who plays in my music-get-together group.
Boise Cover Band's Unoriginal Artists has Built to Spill's Doug Martsch weaving some of his most beautiful tapestries since the mid-90s.
Beachwood Sparks' Sandbox Sessions is such smooth and good California sunshine rock.
Frances Forever's paranoia party hangs beautifully together with the pop centerpiece "space girl."
Bastards of Melody's Dover EP provides uplifting power pop, verging on the Beatles' "Getting Better," out of NYC.
Nada Surf's Cycle Through is one of this immaculate band's lesser efforts, but it's still better than 95% of rock music.
My Autumn Amor's Quiet Girl has two standout tracks and a few other good ones from a very L.A.-sounding songwriter of earnest soft rock.
My Idea's That's My Idea features Lily Konigsberg and more of her hot streak of twee rollicking and background talk pop, this time with a perfect George Harrison guitar vibe.
Teenage Dads' Club Echo displays an exciting Aussie pop sensibility, while harkening back to the early 2000s NYC sound.
Hitsujibungaku's you love is dream pop with driving guitars from Japan with a deep catalog that I can't wait to explore more.
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| J Mascis |
Best Reissues/Box Sets: John Lennon's Plastic Ono Band (Ultimate Collection) is his best solo release song for song and this version brings in all the rehearsals that led to the also-included final versions.
George Harrison's All Thngs Must Pass 50th Anniversary is bulging with great outtakes and alternate versions of the legendary first solo release of the Beatle.
Nancy Sinatra gets her due with the best collection of her tunes yet on Start Walkin' 1965-1976.
Rilo Kiley's self-titled 1999 debut gets a re-issue for the best reason of all in that I somehow never discovered it back when I was loving all their other classic releases (opener "Frug" gets a special call-out as one of the greatest pop songs ever).
Dinosaur Jr.'s live show has been captured better than ever before with the mind-blowing Emptiness at the Sinclair. I don't cherish live albums often, but this one's a career-spanning keeper with a lot of versions of songs that add significant elements to the originals. As if that weren't enough,
J Mascis blessed us with almost-Robert-Pollard levels of output in 2021, including his solo Fed Up and Feeling Strange box set, which includes a 1993 CBGB live acoustic set, the Martin + Me album, an unreleased track, and an unreleased 1998 live show from Copenhagen.
The Beach Boys' Feel Flows box set collects all the sounds created during the Sunflower and Surf's Up sessions, which are two of my very favorite BB albums, and there is pretty much a full album of unreleased songs included.
The Beatles' Let It Be (Super Deluxe) box includes many of the sessions from this year's epic Get Back documentary. It's for diehards, but really, who isn't a Beatles diehard (and if not, well, I probably can't help you by now).
The Lemonheads' Lovey 30th Anniversary Edition features the near-perfect (the slightly muffled production still isn't fixed) original album plus an absolutely killer live set.
The Rolling Stones' Tattoo You Super Deluxe is a fun listen with the great original album, some high quality rarities, and a 1982 live set.
The Dropkicks from Scotland can be forgiven for sounding exactly like Teenage Fanclub since their songs are almost always completely perfect, as on display with The Best of.
Voom's Hello, Are You There? is one of the more pleasant pop surprises of the year, with the reissue of this 2006 lost album spanning styles from the early Beatles to the late Beatles to Ween.
Tom Petty & the Heartbreakers rebooted a pretty loose and fun Angel Dream from 1996.
Frank Sinatra’s Reprise Rarities Vol. 5 is a fun, poppy collection with duets by the likes of Dean Martin and Nancy Sinatra.
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| The Beths |
Best Live Album:
The Beths' Auckland, New Zealand 2020 captures a band from a country that was able to stay open and have indoor concerts through much of the pandemic, and this great band chugs through with full-speed versions of their many greatest hits.
132. Kanye West: Donda (this hot mess is easily three times too long, but there are 7 to 8 excellent-to-great tunes buried amongst the over-inflated, puffed-up ruins of the increasingly unlikable Kanye)
131. Brix Smith: Lost Angeles (former Fall guitarist puts together an articulate 90s-alt style pop collection)
130. My Morning Jacket: My Morning Jacket (even MMJ's worst album is still good enough to make my year end list, this is groovy is a good way but jammy in not the greatest way)
129. SASAMI: Squeeze (there is some beautiful stuff here in the vein of Liz Phair meets a modernized Joni Mitchell, and including a J. Mascis appearance, but there is a fair share of unlistenable garbage too. The highlights are worth it)
128. Sleater-Kinney: Path of Wellness (this has a handful of really good songs but is not as good as I was hoping for from the trio's return, perhaps because Janet Weiss is no longer smashing the drums)
127. Matthew Sweet: Catspaw (the formula continues, with power-pop singing and melodies over laser shooting lead guitar, and this one starts a little slow but nails it by the end as another great MS release)
126. Aeon Station: Observatory (former member of the Wrens creates a new band and it's somewhere softer and poppier but with a similar sound to 90s greats Swervedriver)
125. Sarah Mary Chadwick: Me and Ennui Are Friends, Baby (this quiet collection of pandemic raunch can only be taken in small doses, but any of those doses can be just what the doctor ordered)
124. The Natvral: Tethers (this is Kip Berman's band following the breakup of the Pains of Being Pure at Heart; it's different from his old band, a little more folky, and not as great)
123. The Orange Peels: Celebrate the Moments of Your Life (this indie-pop band is back after a long time away, and there are five or so absolutely gorgeous psych nuggets sprinkled through too much filler)
122. Flyying Colours: Fantasy Country (shoegazing Aussies release gorgeous sophomore album)
121. Sturgill Simpson: The Ballad of Dood and Juanita (not one of my favorite Simpson releases, but he's raised the standard so high for bluegrass and country that even this minor release still makes the list)
120. Glitterer: Life is Not a Lesson (this one-person band from my town of Takoma Park, Maryland puts out a big, spacerock sound that reminds me of Car Seat Headrest meets A Flock of Seagulls)
119. Willie Nelson: That's Life (Willie is the perfect person to cover these light and breezy Frank Sinatra classics)
118. Andrew Gabbard: Homemade (an Ohioan who uses the bright sounds of Big Star, The Beatles, and The Beach Boys to enhance his excellent songwriting)
117. Teen Creeps: Forever (this Belgium band doesn't really bring anything new to the mix but revisits the sounds of the indie-rock 90s nicely)
116. Ducks Ltd.: Modern Fiction (jangly wave from Canadian/Australians that just feels good to hear)
115. Gary Louris: Jump for Joy (two releases from former Jayhawks this year makes for a good year indeed; a strong pop album throughout)
114. Deep Sea Diver: Impossible Weight (I know nothing about this band but the album is catchy and complex new wave through and through)
113. FURS: When You Walk Away (another band I know nothing about other than they are from the UK and have a California/Beachwood Sparks via NYC/Strokes vibe)
112. The No Ones: The Great Lost No Ones Album (a very catchy version of the usual sounds brought to us from the collaborations of R.E.M.'s Peter Buck and The Minus 5's Scott McCaughey)
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| Pacific Range |
111. Pacific Range: High Upon the Mountain (if what you need is a deadringer for a really good new Grateful Dead album, then this is the choice for you in 2021)
110. Azure Ray: Remedy (the duo is back after a pretty quiet past decade, and their usual style of serene pop is in tact and solid throughout, although there are no particularly standout tracks)
109. Admiral Fallow: The Idea of You (this Scottish band is back with its fourth album, and it's a great add to your Sunday morning vibes collection)
108. Robert Plant and Alson Krauss: Raise the Roof (an enjoyable trek through the styles of Plant circa In Through the Out Door-era Led Zeppelin and post-Zep mysticism; the old guy's still got it)
107. Billy Bragg: The Million Things That Never Happened (this is instantly one of my favorite Bragg releases, with catchy, semi-political pop throughout)
106. The Martha's Vinyard Ferries: Sun's Out Guns Out (a supergroup featuring members of Mission of Burma and Come sounds similar to those groups with splashes of Sonic Youth and Slint)
105. Another Michael: New Music and Big Pop (this is pretty pop from Philadelphia)
104. Bill Callahan and Bonnie “Prince” Billy: Blind Date Party (a gorgeous and sprawling collection of collaborations that are super weird but essential for fans of either artist)
103. The Full Counts: Next Up (led by the guitarist of one of my 90s lost faves, Gumball, this ventures into Ramones/Velvet Undergound New Yawk pop punk)
102. Latvian Radio: Phooey! (this NYC power-pop band has been kicking around for a while; I just discovered them and this is a consistantly fun listen)
101. E.R. Jurken: I Stand Corrected (if you can stand the weirdometer of a mashup that sounds like Olivia Tremor Control meets GBV, then you will look under the hood here to discover some great psych-pop hooks)
100. Guided by Voices: It's Not Them. It Couldn't Be Them. It Is Them! (for readers of this blog, this is a shockingly low chart position for anything Robert Pollard/GBV-related, but much of this is dark with about five typical pop classics sprinkled in, but it's a definite lesser GBV release)
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| Kevin Rowland |
99. Kevin Rowland: The Beauty (this is the wackiest, and probably most likely to be hated, release on this list, but the former Dexy's Midnight Runners frontman's takes on The Beatles, Bruce Springsteen, and, especially, Whitney Houston, among others, NEED to be heard. The topper is the album cover artwork)
98. Rodrigo Amarante: Drama (this is an excellent listen for Brazilian tropicalia fans all the way through)
97. Tierra Whack: R&B?, Pop?, and Rap? (A series of releases that are nowhere near as classic as 2018's Whack World, but she is a hook machine who is close to mastering all three genres)
96. Katy Kirby: Cool Dry Place (a quiet release reminicent of a lo-fi Stevie Nicks highighted by the title track and a bunch of other really interesting story songs)
95. Exploding Flowers: Stumbling Blocks (jangle-pop from L.A. that provides a light-breeze laid-back summer soundtrack)
94. Wurld Series: What's Growing (a weirdo grinding-guitar pop release from New Zealand that is lots of fun)
93. Cub Scout Bowling Pins: Clang Clang Ho (this is an obscure, weird little side project from Robert Pollard of GBV, and it's actually quite an understated pop keeper)
92. Ex Norwegian: Hue Spotting (a mix of Elephant 6-style psychedelia and disco, which is definitely not a genre mashup you see often; oh, and the band is from Miami Beach (?))
91. Gnawing: You Freak Me Out (Richmond, Va. rockers with a distinct bent towards early Dinosaur Jr. sludge rock)
90. Yola: Stand For Myself (she's a true British rock star with big sounds in her music and voice, and a very deep soul)
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| Lil Nas X |
89. Lil Nas X: MONTERO (there's nothing as earth-shaking as "Old Town Road," but there's plenty to enjoy including the A Star is Born-like duet with Miley Cyrus)
88. Arrow Beach: Juicy Fruit Castle (this is a consistently strong collage of psychedelic upbeat pop by a band I know nothing about but dig a lot, and I think I'll like even more with more listens)
87. Corvair: Corvair (boy-girl pop from Portland that reminds me a lot of the reigned-in, understated dramatic indie pop of the great and dearly missed Velocity Girl)
86. High on Stress: Hold Me In (a great little alt-country band with a few songs here that should be big hits and the rest of it is totally enjoyable also)
85. Travis: 10 Songs (this band is back with its usual collection of beautifully orchestral pop)
84. The Hold Steady: Open Door Policy (this Minneapolis band always sounds a little the same, but there is a great addition of horns on this release and several standout, greatest-hits-destined tracks)
83. Lucero: When You Found Me (these country-mood rockers have hints of Afghan Whigs, Drive-by Truckers, the Del Fuegos, and the Church - a wide range for sure but shaped into their own cocktail)
82. Stephen Malkmus and Von Spar: Can's Ege Bamyasi (SM is perfect for this faithful cover of the German prog-rock band's classic album, I admit I like this more than the original)
81. Rosali: No Medum (Philly artist with some cool grinding guitars on top of a female version of Kurt Vile, in a laid-back canyon-rockin' sort of way)
80. Dirty Nice: Lobster (although much of this wave pop release might not totally stand up in a couple of decades, the first half is filled with insta-classic party hits)
79. Aaron Lee Tasjan: Tasjan! Tasjan! Tasjan! (this reminds me a little of Alex Cameron, with swoon-worthy pop hooks galore, although it loses a little steam in the second half)
78. FRITZ: Pastel (this high-flying release is from Newcastle youths who sound like a cross of a noisy My Bloody Valentine and soaring Yuck)
77. Kings of Leon: When You See Yourself (I still, after all these years, feel I shouldn't like this band, but this album is filled with great songs and a handful that are rocking, bass-pumping party stompers)
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| Bottled Up |
76. Bottled Up: Crystal (the best release out of Washington DC this year is an art-pop release that is kind of all over the place, with the title track being one of the year's tops)
75. UV-TV: Always Something (this Queens three-piece plays very catchy power pop that takes several listens before its 80s-wave brilliance shines through)
74. Gruff Rhys: Seeking New Gods (this is truth in advertising as it seems the ever-reliable Rhys is truly reaching for some unattainable glory in the universe through music)
73. Wares: Survival (an exceedingly beautiful debut album with a hint of Arcade Fire feel to it)
72. Headlight Rivals: Mattson (ok, so this is from 2019 but I just discovered it this year; and it's throwback 90s power pop like the Replacements)
71. Dry Cleaning: New Long Leg (one of the more original new-wave/post-punk bands, out of Britain, with great cool-girl speak-singing)
70. Ryan Adams: Big Colors (his latest album was delayed for two years after serious allegations of abusive behavior, but this is nevertheless a thoughtful collection of alt-country/yacht-rock tunes)
69. The Riverbreaks: Forever (I don't know much about this band, which I think is from the Washington DC region, but it's a great mellow alt-country collection that sounds inspired by a trip to Mexico)
68. Sufjan Stevens and Angelo De Augustine: A Beginner's Mind (this release finally marks the return of Illinoise-style Stevens, with beauty and humor laced throughout)
67. Sleaford Mods: Spare Ribs (the coolest crunk-rap-rock out there is somewhere between the Beasties and The Jam, and it's totally addictive)
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| Descendents |
66. Descendents: 9th and Walnut (these punks are back at full force after decades away, and this album is stellar throughout with a few tracks that are stone-cold classics of the genre)
65. Lily Konigsberg: The Best of Lily Konigsberg Right Now (this is the lesser of her two releases this year, but it's still a winning lo-fi pop keeper)
64. Juniper: Juniper (this album by a 15-year-old girl from New Jersey puts the fun into rock music; although it tails off a bit at the end, the first half is as good as any other album this year)
63. 2nd Grade: Wish You Were Here Tour Revisited (Philly band writes great and usually humorous lo-fi bedroom pop; beware: it's extremely catchy)
62. Secret Machines: Awake in the Brain Chamber (a beautiful return from the NYC space rockers, with "Everything Starts" among my favorite songs of the year)
61. Son Volt: Electro Melodier (this is one of Jay Farrar's best releases post-Uncle Tupelo, and sounds like Springsteen if Springsteen were a little better)
60. Cassandra Jenkins: An Overview on Phenomenal Nature (this former member of David Berman's Purple Mountains offers a complex and quiet painting of an album)
59. The Spires: Era Was (California rockers put together what sounds like a lost Pavement album, somewhere between Brighten the Corners and Terror Twilight)
58. Snoop Dogg: From Tha Streets to Tha Suites (ok, of course nothing will ever match Doggystyle, but this collection grooves all the way through nonetheless)
57. Julianna Hatfield: Blood (this could have been the best EP of the year, but even with some unnecessary songs, the good ones are as great as Julianna has ever been)
56. Flower: None Is (But Once Was) (like Julianna's album just mentioned, if this one didn't tail off so much at the end, it might have been the best NYC indie-wave-punk album since The Strokes' Is This It)
55. Tambourina: Tambourine Dream (this little-known gem of a band from Michigan delivers on a fully-formed long player that is perfect for pandemic daydreaming and is in the running for my best new band of the year)
54. Sofie: Cult Survivor (I don't know anything about this person, but the title is apt and sounds like something from a Manson survivor released back into L.A. to make sense of it all, and it's addicting)
53. Lukas Nelson and Promise of the Real: A Few Stars Apart (it’s somehow very comforting to know that we will have someone who sounds just like Willie Nelson to carry on for a long time)
52. The Felice Brothers: From Dreams to Dust (this is a criminally underrated band, touching this time on pop culture and Honda Fits plus a whole lot of other great lyricism and melody)
51. Close Lobsters: Post Neo Anti (another instaclassic from these way-under-heralded Brit poppers)
50. Dead Stars: Never Not Here (these Brooklynites crunch somewhere between Soul Asylum and Nirvana and make you long for the return of live music and sweaty crowds)
49. Dropkick: The Scenic Route (an exact replica of Teenage Fanclub; this band has been making albums forever and I just discovered them with this one. It’s every bit as perfect pop as TF)
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| Colleen Green |
48. Colleen Green: Cool (there is truth in advertising in the title of this one, from an L.A. indie songstress with pulsing pop bass lines who had been away for a few years - a few years too long)
47. Lucy Dacus: Home Video (I haven't been a huge fan so far, but this album hit me in the heart, with some of the best lyrical writing of the year)
46. Lindsey Buckingham: Lindsey Buckingham (the guitarist offers a subtle, adult-contemporary middle finger to his ex-bandmates in Fleetwood Mac with probably his most inspired full effort ever)
45. Disq: Collector (a lot of fun Weezer/Bright Eyes-type punk-lite from a group of Wisconsinites, and perfect for a pandemic with all the songs about screen time)
44. Weezer: Van Weezer (what a double threat year for these pop-pun jokesters. Not sure how they get away sampling all those hair-metal riffs but it makes for a fun ride)
43. Paul Weller: Fat Pop (the Brit is in yet another renaissance period of his career; this one rocks like The Jam and softens up like The Style Council)
42. Gary Olson: Gary Olson (the former Jayhawk comes back with a mellow winner, with "Navy Ships” probably being the best yacht-rock song since the 1980s)
41. Current Joys: Voyager (this is a deep, sometimes rocking and often gorgeous, release with hints of Okkervil River from a master songwriter from Reno whom I had never heard before and will eagerly look to in the future)
40. Boyish: BLUE RAIN (I don't know much about this band, but they appear to be from Japan and play Sea and the Cake-style jazz pop, heavy on the yacht rock and saxophone. Quite possibly different than the U.S.-based Boyish band that is also good)
39. The Lil Smokies: Tornillo (this is the best bluegrass pop of the year, or maybe in many years, and the Montana band offers a great mix of upbeat and heartbroken)
38. Momma: Two of Me (this grew on me and harkens back to lazy and catchy guitar bands of the 90s like Madder Rose; fits in easily alongside indie rockers like Snail Mail)
37. Keuning: A Mild Case of Everything (lovers of The Killers will be particularly excited about this super-catchy Killers-like release from an ex-member of The Killers)
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| illuminati hotties |
36. illuminati hotties: Let Me Do One More (this band is clearly a lot of Millennial brattiness to handle, but the first half of the release is as catchy as anything on this list)
35. Modest Mouse: The Golden Casket (this wonderfully weird rock return of Isaac Brock's is beyond welcome, with repeat listens providing endless rewards)
34. Wavves: Hideaway (yet another sneaky, little underrated release from San Diego's punk-pop laureate Nathan Williams)
33. Snail Mail: Valentine (this is an excitingly complicated record. It’s not easy to figure out but it’s not particularly complicated either. I don’t think it will go down as a classic like her first release, but it might end up just as good in reality)
32. Mike Polizza: Long Lost Solace Find (this artist teams up with Kurt Vile for a gorgeous laid-back version of J. Mascis in tropical desert mode)
31. Pip Blom: Welcome Break (she has been floating around the indie sphere for a while but this release finally lands a better punch than her previous ones, with a big-rock Courtney Barnett feel)
30. Rich Ragany and the Digressions: Behind Nostalgia and Heartache (I was turned on to the band in Classic Rock Magazine, which compared it to The Replacements' Don't Tell a Soul, which is true, with some mix of Bash N Pop and softer Guns N' Roses. A treat of a rock n' roll find)
29. Simon Bromide: Following the Moon (this debut album mixes The Kinks with Paul Westerberg and a splash of Pink Floyd to create something entirely new from this Brit popper)
28. Daniel Wylie and the Cosmic Rough Riders: Atoms and Energy (this is a beautiful entry in the indie-rock sweepstakes, with a nearly flawless Beach Boys/America/CSNY/Teenage Fanclub-like first half)
27. Kasey Musgraves: star-crossed (the country/not-country star has produced her second straight album of stunning beauty)
26. Dean Wareham: I Have Nothing to Say to the Mayor of L.A. (this slow-grower marks the beautiful return of the Luna leader, who has been greatly missed over much of the past decade)
25. Ladyhawke: Time Flies (her fourth album continues her pretty near perfect streak of dancey pop with a non-Top-40 edge that just makes you happy; for example, listen to "Adam")
24. Francis Lung: Miracle (this wins the award for most Beatlesque release of the year and often displays the brilliance of this former member of WU LYF)
23. Rosie Tucker: Sucker Supreme (the L.A. songwriter filled this item with pop hooks and great lyrics, and will open on dates for one of my faves, The Beths, in 2022)
22. Lily Konigsberg: Lily We Need to Talk Now (this is a fascinating mix of semi-experimental and weird-laced Top 40 pop, featuring a couple of the very best songs of the year in "Proud Home" and "Sweat Forever," in a Lemonheads/Liz Phair/Ben Lee/Kayne West vein)
21. Jesse Malin: Sad and Beautiful World (the title describes the music perfectly by this grizzled NYC rocker who just keeps staying hyper relevant to rock)
20. Kiwi Jr.: Cooler Returns (the modern iteration of Pavement, this release from Toronto - not Australia - was hard to top for non-stop pure joy in 2021)
19. High Waisted: Sick of Saying Sorry (surf glam rock doesn't usually make it this high on my lists, but this NYC band is firing on all cylinders throughout this banger)
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| Japanese Breakfast |
18. Japanese Breakfast: Jubilee (yet another of the many great new female artists on this list, ranging from beautiful offbeat ballads to party ragers, from this published author and former 9:30 Club coat-check girl)
17. girl in red: if i could make it all go quiet (Norway's greatest dance pop effort of the year brings exhibit A of how cynical today's youngsters are capable of being about love and life; really grew on me after a couple spins)
16. The Telephone Numbers: The Ballad of Doug (these San Francisco soft poppers have a lot of the same sounds going as Teenage Fanclub and is my favorite twee pop of 2021)
15. Teenage Fanclub: Endless Arcade (the Scots are the same as they've ever sounded: great. They matched my mellow yet rocking needs when I was 20 and they still do when I'm 50)
14. Liz Phair: Soberish (this one really grew on me and is on par with her classic first three albums)
13. Weezer: OK Human (it seems like I say that "this is Weezer's best release in a long time" for nearly all of this emo-pop band's releases, but this is truly in the mix for album of the year)
12. Silver Synthetic: Silver Synthetic (this is a bit of a New Orleans supergroup, featuring a member of one of my faves, JEFF the Brotherhood; like a sunshine version of the Allman Brothers)
11. Max Bloom: Perfume (it's great to have one of the leaders of the classic group Yuck back, with new music that sounds like a more laidback version of ... well ... Yuck)
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| Arlo Parks |
10. Arlo Parks: Collapsed in Sunbeams (this is the best album by a Brit on this year's list and the title sums it up, as a mellow thing of beauty worth listening to again and again)
09. The Black Watch: From Something That (it’s like the return of Echo and the Bunnymen, only this is the best album the Bunnies would have ever made, and this band is somehow not from England but rather Santa Barbara)
08. Olivia Rodrigo: SOUR (this was unlikeable upon the first couple listens, with its American Idol-type histrionic vocals, but repeat listens display the birth of a real superstar pop singer and songwriter)
07. Courtney Barnett: Things Take Time, Take Time (the Aussie is on as hot a streak as anyone these days in rock n'roll; this is another collection of essential storytelling songs with major, off-kilter hooks)
06. Taylor Swift: Fearless (Taylor's Version) (I knew several of these re-done songs seemingly like the back of my hand but never had this early Swift album in my library; it's hard to deny that this is perfect pop music)
05. Guided By Voices: Earth Man Blues (a perfect description of the pandemic year, this still-somehow-always-fresh collection from GBV even includes a Zoom reference; simply great and something that will likely grow greater with age)
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| The Goon Sax |
04. John Mayer: Sob Rock (I've never liked this singer-songwriter-bluesman much, but this yacht rock release is the best album from that genre in decades)
03. Taylor Swift: Red (Taylor's Version) (the queen of pop is on the hottest streak of anyone in music, with more than 15 of these songs being greatest-hits-level classics. Crazy)
02. Dinosaur Jr.: Sweep It Into Space (I’ll go so far as to say: adding another instant classic to one of the best catalogs of any bands in rock history)
01. The Goon Sax: Mirror II (these Aussies have been bopping around just outside the top 10 on my past year-end lists, but this weird, pop, dream release will be their masterpiece)
