Best of 2010 – Producer John Hampton’s Top Ten Albums

I must, rather than just spit out my favorite records made in 2010, take a second to explain the diligence taken in coming up with my choices.

I thought that for people who peruse this fine site’s opinions for their edification (and also my own site, www.jhamptone.com – where I make observations relating to the differences between professional recording vs. those of the ubiquitous “bedroom studio” which has unfortunately become rather trendy this week, though usually nowhere near the calibre of the professional places) that it could be of real benefit to know exactly what people are liking and not liking 2010. I mean the record buyer, the person who lines artists’ pockets (as well as many reading this) with money to live off of, send kids to college with, buy cars with, weed, etc.

So how in the hello/good-bye does one go about finding what people are listening to and buying? You remember people: your mom, plumbers, the sacker at the grocery store, guys on the power co. crews, muffler installers at Meineke, YOU, wreck divers … And how do you get that info without being influenced by record company “hype”, the toads who THINK they can tell you what’s good, despite whether it really is or not?

Many magazines have these polls, and their “Bests of” are usually trustworthy because in a business where art is the main staple, we simply can not afford to be bought. Not even for a Neeley’s BBQ Bologna sammich, with SLAW!

I took the approach that most probably take: I asked. But the query must cross all cultural, racial, religious and even state lines, if you are to arrive at a point close to the truth. I asked myself; then I asked my children, 4 bright, musical minds ranging in age from 18 to 28 and their friends, my brothers, sisters, their friends, business associates, the lady at the Deli at Schmucks, or whatever they call that outfit now, African-Americans, Asian-Americans, African-Asians, Australians, Bavarians, some French buddies, and even a few Manhattanites. And I wrote down all of their opinions.

If 10 people do this, when you compare these lists, it reads like total chaos. There seems no artistic rhyme or reason. But plow on ahead, and very slowly, just as Mandelbrot predicted, “from disorder comes order.” A pattern begins to emerge; the same names come up again and again the more one asks, “Who are your favorite ten bands from last year?”

And with 20 people, where you would expect to see 200 different answers, you see more like 40 answers that match; many people are reporting the same artist. So by the time it’s your turn again to review what the best 10 records of 2010 are, there are indeed only about 15 to 20 that are going to be in the running. So now now, a very few but broadly tasteful bunch will listen to those 20 or so. If EVERYONE likes a certain record, it’s in, and so forth. Your 200 names that became 40, then 20, is now down to 12.

So we play “the opposite game.” What 2 records of these 12 do you like the least? This goes around the room a couple of times until, at last, we arrive at TEN records we all feel good about calling the best 10 of 2010.

There are those records out there that we never found but we KNOW for a FACT would dazzle everyone. We simply deduce that those are the artists bound for greatness in some other way. I mean, American Idol has to have SOME talent pool to pick from, right?

So, this list was a collaboration between many trustworthy musical minds and the unwatched masses that still actually buy music.

1: PLAIN WHITE T’s – Wonder of the Younger
Another fine form of modern Pop-rock music, interesting arrangements and harmonies, as well as a safari through a colorful sonic palette are what separate this group of musical Illinoiances from the fray. Hard, loud, and proud at times, acoustically prepped at others, as in “Rhythm of Love”, makes for a colorful and highly entertaining record almost reminiscent of a rock version of Simon and Garfunkel. There’s no reason this band from the midwest shouldn’t wow more and more listeners as we head toward the best of ’20.

2: CARIBOU- Swim
These cats were featured on “Goodbye Melody” by LWT this year, in addition to making 2 versions of “Swim”. Hypnotic rhythm tracks and sonic ethereality dominate this very long step toward progressing music away from all of the mediocre mishmash we seem to have almost become at peace with. And to myself, anyway, it is a long awaited step. WAKE UP! THIS IS GREAT MUSIC! I love “Found Out”.

3: FREE ENERGY – Stuck on Nothing
These artists released their “Bang Pop” on another album in November, a compilation entitled “Now THAT’s what I call Music”, which also included one by Katy Perry, Maroon 5, and of course, Elvis and his “Suspicious Minds“. This record, first of all, sounds like it got run over with a Toro 1500 bagging mower. But many of these others do as well. It’s almost shiny “pop” music, but the engaging lyrics take it more toward mindless fluff. “Bang Bang” the single on the comp record, could easily be a teen anthem. And it may be. The almost cluttered production actually frames the singing well, allowing his insightful message to come on through. Good record.

4: TEENAGE FANCLUB – Shadows
Ahhhh … TFC. “My good man, may I get another Martini?” I’ve always loved this stuff ; it NEVER gets stale. Did you know that Teenage Fanclub has made almost 80 records in their career? Always non-angst vocally, Norman and Raymond have always blended like neopolitan ice cream, sans the strawberry genre. Chilled songs that conjure vision and, on this record more than most, the token guitar army gives way a lot to allow more colors chime right on through, like steel guitar, piano, and I think I even heard a recorder. It’s a sound reminiscent of The Byrds and Gin Blossoms, but there are always colors and messages of today branded into it’s hide.

5: DEAD WEATHER – Sea of Cowards
Then behind TFC comes Allison Moss, Li’l Jack, Dean, and Jack White with this record that pushes every part of the envelope there is to push. The most typical thing on this disc is that there IS no typical. Everything I’ve heard Jack White produce, (even from behind the drums) is about as atypical as having 7 toes on 3 feet. Allison, reminiscent (vaguely) of Poison Ivy from The Cramps, is just brutal from the stage. Sure don’t want to piss her off. But the musical land mine that takes out most punk-pop-rock is sidestepped here with the wings of not being punk-pop-rock! Their attitude is real, like early Zeppelin; that attitude is the punk with the rock, or the pop with the punk, or sometimes, it’s a “nothing I can compare it to”. Allison’s “Die by the drop” is dead hard and dead true. Rhythmically, The 2 Jacks keep occupied to free up Dean to be darkly playful. Like I’ve always said, the best music says the most with the least. A real jewel, this record. Jack White should be named “BOOM®” on it. Or how about “Bam Bam®”?

6: EMINEM – Recovery
This kid’s simply genius; as original as it gets, and hard. And the song “Love the Way you Lie” that combines the white kid Em, and the Africano Americus Rhianna, boldly performing a musical style normally intrinsic to the other, is simply brilliant. This record comes with a deluxe version that gives you 3 extra songs and a download booklet of some sort. I predict multiple Grammys.

7: AVENGED SEVENFOLD – Nightmare
Anytime a band can make an easy melody, most people call it “pop” music. Well, that ain’t what this is: Great choruses, visionary lyric, set in a hHeEaAvVyY vehicle. But it goes down easy and approaches fun to sing along with. Awesome guitar work. Is that Pantera’s Vinnie on skins? (Deluxe version – gives you 2 extra songs… but you pay for them! Now THAT’s De-Luxe)

8: BRUNO MARS – Doo Wops & Hooligans
Surely this kid is NOT from America. Hawaii? Sounding at times like a rock version of Michael Jackson, Bruno combines his infectious melodies with a lyric to just fall in to; in a magical way. If you like Rock, R&B, POP-(ular), reggae AND lemon mixed with champagne, there is no chance you’ll regret spending your hard earned cash on this. The Deluxe has 4 more songs and a booklet (download). Highlight (mine) “Talking to the Moon” Great work, Bruno.

9: THE BLACK KEYS – Brothers
If you sang your vocal performance through a Matchless Chieftain on 10, we’re in. This sounds to me like what the seventies wanted to be. Quirky rhythm “stuff” pushing melodic guitar parts need a something on top, which will be our singist, who sings as many hooks as the guitarist play. These two obvi-ists will find something that works and cram it down your throat. That’s a bit unfair, but the eclectic duo Dan and Patrick from Akron are no stranger to things memorable; a song, a lyric, a drum part, guitar part, or even a concept. If it works, they wear it proudly. Check ’em out. It’s one sonic safari.

10: ROBERT PLANT – Band of Joy
I would imagine after decades of anything from purported witchcraft to drugs and drink and seeing your drummer take himself out with too much … much, taking the strong headwind that fills your spinnaker with him, to remain moving ahead and even name your record “Band of Joy”, the former Zeppelin vocalist must be made of iron. I have always thought Robert was the voice that most bands of the ’80s wanted to be, but never got close to. I remember hitting my head on my friend Mike’s mom’s car doorway the second I heard the opening to “Good Times, Bad Times”. So ME? Biased? Nah, no way. Many of these could have been on “III”, fitting nicely with “Friends” while others are showing what he learned on his run-ins with Nashville. This classic rock voice can actually embrace any music style, as Robert proves here.

HONORARY MENTION:
There are three artists I felt needed honorary mention for various reasons:

ELECTRIC SIX – Zodiac
These guys from Detroit have so much fun when they play that I have YET to see the singer, Dick Valentine (aka Tyler Spencer) without a smile on his face. Their bit (so far) of national recognition brought us a couple of infectious “pop/rock” hits: Gay Bar and Danger (High Voltage).

SID SELVIDGE – I Should Be Blue
What very, very few people know about Mr. Selvidge is that more than a singer, player, he is a music historian that can bring the listener a genre such as “The Blues” with music that dates back to the origin of the blues. The importance here is that all genres of music are relatives of others, and it all comes from a very few lineages as well.

JOYCE COBB – Joyce Cobb with the Michael Jefrey Stevens Trio
This record is a rare combination of Jazz and Blues music, Blues being an art-form that many Jazz players find a bit beneath them… at least some do. But these guys got the perfect voice when they found Joyce in that she, too, is a fusion of both worlds. Imagine Ella meets … Joyce?

John Hampton is a Grammy winning producer/recording engineer whose experience includes working on albums with The Gin Blossoms, The White Stripes, The Replacements, The Cramps, Alex Chilton and John Kilzer.