Best Albums of 2010: #4 - Big Boi: Sir Lucious Left Foot...The Son of Chico Dusty

"I keep it play while some choose to play it safe." - Shutterbugg

I know that track-by-track reviews can be lazy and lame, but there's honestly no other way for me to handle Antwan Patton's magnum opus, Sir Lucious Left Foot...The Son of Chico Dusty. Each track is completely unique and distinct--they would hardly sound like they were recorded for the same album if it weren't for Big Boi's calming presence on each track and for numerous callbacks to 1980s electro-soul (most notably in "Shutterbugg"). It's amazing that label drama almost deprived us from hearing this awesome record.

"Feel Me (Intro)" - As Big Boi says at the end, "damn, that wasn't nothin' but the intro." Big Boi and company fit more unique textures and layers onto this 1 and a half minute track than many rap artists fit on a whole album. "Feel Me" is a fine overture of Sir Lucious Left Foot's musical style, featuring rolling piano chords, wah-wah pedal and idiosyncratic choirs riding the bass.

"Daddy Fat Sax" - If it weren't for "Feel Me," "Daddy Fat Sax" would also have served as a fine intro to the album. Mr. DJ's production is an album highlight, with random blurts of zipper-like synths, lush keys and an ultra-deep voice singing the title over the chorus. Big Boi's on top of his game, as well, especially in the quick first verse, where he blasts the rap world for forgetting about him before transitioning to speculation about the fate of the Obama presidency.

"Turns Me On (ft. Sleepy Brown & Joi)" - The first production from Outkast's house production team, Organized Noize, is somewhat laidback, with a repeating midi theme and smooth electric piano. Though the backing track is laid back, Sleepy Brown and Joi add a frenetic and creepy element to the track with their off-kilter harmonies and percussive sound effects. "Turns Me On" is somewhat of a lyrical exercise for Big Boi, as he slips inventive rhymes into his doubletime flow. The highlight: the bridge, which I won't spoil here (skip to the 2:30 mark in the song).

"Follow Us (ft. Vonnegutt)" - "Follow Us" was fairly maligned by many critics for its bland contribution from Vonnegutt, who come off as third-rate Nickelback or Kings of Leon impersonators on their chorus. Big Boi's flow is not quite as elastic on this track on some of the others, but he still feels at home on Salaam Remi's slinky, melodic beat. It's a good sign when this is one of the weaker tracks on the album.

"Shutterbugg" - I wrote about "Shutterbugg" here, and my opinion hasn't changed much. It's an album highlight and will surely feature on Summer playlists for a long time.

"General Patton" - It’s sorta hard to take Big Boi seriously when he says “get the South up out your mouth,” considering “General Patton” has the crunkiest beat since the heyday of Lil Jon. The opera sample in the beginning is undercut nicely by the violent bursts of brass, and Big Boi sounds angrier than he’s been since “B.O.B.” Plus: the track ends with an ultra-deep voice describing a sex act called “The David Blaine,” which is even funnier than it sounds.

"Tangerine (ft. T.I. & Khujo Goodie)" - "Tangerine" is a fairly straightforward strip club track, with a walking guitar line and prominent drums, but contains enough creative musical and vocal flourishes that it doesn't stick out on the album. T.I. kills it: "Real talk, my reality is your fantasy."

"You Ain't No DJ (ft. Yelawolf)" - Andre 3000's only appearance on his partner's album is behind the boards on "You Ain't No DJ." Big Boi was initially planning on using a more rock-influenced track for Yelawolf, but relented when he heard Dre's metallic, sparse and fierce beat. Yela himself is a revelation, bending his flow around the mechanical percussion, his country-fried personality bursting out of the speakers ("I party in poverty with people like 'yeah, you're famous so what?'/I bet you can't hitch this semi up to this tow truck"). (Try to find a different version of the video, since the best parts of Yelawolf's verse are censored)

"Hustle Blood (ft. Jamie Foxx)" - "Hustle Blood," produced by Lil Jon, is Big Boi's take on the standard Southern syrup jam. The beat seems to move in slow motion and is drenched with deep voices and reverb. Jamie Foxx sounds great on record for the first time since "Slow Jamz." Big Boi's rapid flow gives the song a shot in the arm, ratcheting up the intensity.

"Be Still (ft. Janelle Monae)" - Driven by a simple piano melody, "Be Still" is a vocal showcase for Monae, barely even featuring the Son of Chico Dusty, himself. Still, it serves as a nice transition from the club atmosphere of the first half of the record to the even crazier second half.

"Fo Yo Sorrows (ft. George Clinton & Too $hort)" - I love everything about this song. The bouncy, hypnotic beat; George Clinton's gurgling intro; the four line cameo by Too $hort about Jesse Jackson ("one of my favorite rappers happens to be Too $hort"); "A FAT ONE"; the deranged imagery of the chorus ("sit and smile from ear to ear, with a fistful of your girlfriend's hair"). Organized Noize and Big Boi create an entire warped world in "Fo Yo Sorrows," and Big Boi takes advantage of the atmosphere to rap about the sorrows he acknowledges in the chorus.

"Night Night (ft. B.o.B & Joi)" - In the middle of "Night Night," Big Boi stops, saying that he wasn't supposed to rap the second verse, but he might as well cause he "likes to destroy shit." This is probably the most logical place for Andre 3000 on the album, and we probably would have been graced by an awesome verse by Three Stacks, if it weren't for label drama. The presence of B.o.B, the king of Andre 3k disciples, draws even more attention to Dre's absence. Despite the lack of an Outkast reunion, "Night Night" is a lot of fun: it's a more frenetic version of "Follow Us," but with a more compelling chorus.

"Shine Blockas (ft. Gucci Mane)" - I bumped "Shine Blockas" for over a year before the official release of Left Foot. "Shine Blockas" is probably the most commercial song on the album. It does not smooth out the creative edges of Big Boi's vision, but it focuses his idiosyncratic style to a condensed, more mainstream package. "Shine Blockas" rides a lush soul sample and a catchy, if nonsensical, chorus by Gucci Mane, carried by Big Boi's dynamic wordplay and knack for witty turns of phrase ("I came equipped like a prophylactic now they riding dick").

"The Train, Pt. 2 (Sir Lucious Left Foot Saves the Day)" - "The Train" is where Sir Lucious Left Foot winds down, with soothing, Four Tet-esque electronics and eerie whistles. Big Boi often seems like he's broadcasting live from another planet, especially on this track.

"Back Up Plan" - "Back Up Plan," produced by Organized Noize, seems like a venue for Big Boi to fit in all the ideas that wouldn't fit onto other tracks on his album. At the end of the track, Big Boi sighs "I'm through...I done had enough," and you believe him. It's amazing an album can be as entertaining, inventive and surprising as Sir Lucious Left Foot through its fifteen tracks.

Best Albums of 2010: #5 - LCD Soundsystem: This is Happening

"Your time will come, but tonight is our night, so you should give us all your drugs" - "Pow Pow"

If This is Happening truly is the final album by James Murphy as LCD Soundsystem, it's a fitting end. This is Happening is an overview of the strengths and greatest hits of LCD Soundsystem's singles. "Pow Pow," an eight-minute dance anthem with observant pronouncements about party life in the 2010s, recalls 2004's "Yeah!" another single that augmented its solid groove with true-to-life and often hilarious quips about modern life. "All I Want," an album highlight, echoes Sound of Silver's "All My Friends," which also ditched the electronics of most LCD tracks and replaced them with traditional rock instrumentation. "All I Want" also shares the latter's introspective lyrics. "I Can Change," can act as a prequel to "Someone Great," with Murphy's protagonist attempting to salvage a broken relationship (which he mourns in "Someone Great"). "Drunk Girls" is the "North American Scum"-style jokey but catchy party song.

Though This is Happening steps on some familiar ground, Murphy expands his sonic and lyrical palette, emphasizing the importance of his own voice in his works and fine-tuning his witty lyrical barbs (see the quote in the header). Each track averages around six minutes in length, but Murphy never seems to run out of new musical ideas or inspired lyrics that keep the record from getting boring. Opener "Dance Yrself Clean" builds slowly to a euphoric climax, making the most of its nine minute runtime. "You Wanted a Hit," a response to industry folks and critics who wanted Murphy to break into the mainstream, teases its melody in a long intro and ends with a chant of "we won't be your babies." Closer, "Home," with its swirling, ethereal synths and popcorn percussion, unifies the records' themes and returns home to the melody of the opening track, tying a ribbon around what may be Murphy's going away present.

Standout Tracks: "Dance Yrself Clean"; "I Can Change"; "All I Want"; "Pow Pow"; "Home"

Best Albums of 2010: #6 - The Walkmen: Lisbon

"Today's a day like any other" - "Angela Surf City"

Lisbon is a typically great album from The Walkmen, one of the tightest groups in the current Indie scene. Though trend-hopping seems to be the bread and butter of many Indie Rock groups, The Walkmen march to the beat of their own drum. Lisbon is a sparse and lyrical masterwork, built on heavy drumbeats and skeletal guitars, elevated to transcendence by the signature howl of frontman Hamilton Leithauser. Though Lisbon sports many excellent tracks, like "Stranded," "Blue as Your Blood" and "Woe is Me," the second track, "Angela Surf City" stands out from the pack and wins the dubious honor of being Flawless Crowns' Track of the Year.

"Angela Surf City" utilizes the familiar soft-verse/loud-chorus recipe popularized by the Pixies and Nirvana, but is anything but formulaic. The verses, with a relatively subdued delivery by Leithauser over scratchy guitar and pounding drums, evoke the rolling white caps alluded to in the lyrics. The chorus, however, is a tsunami, as the guitars swtich from playing jangly riffs to thunderous power chords and Leithauser wails for his love ("You took the high road, I couldn't find you!"). "Angela Surf City" shows how the Walkmen can make any Indie Rock trope fresh through great performances and simple, yet poetic, lyrics.

Reviewing the Hits: 2010

2010 - The Homogenization of Pop

In 2010, massive conglomerates of superstar producers conspired to stranglehold the music business with their signature sounds. The Max Martin/Dr. Luke/Benny Blanco songwriting troika (Dr. Luke is the main producer these days) fuse power pop guitar chords with house beats and thick synthesizers. Stargate, a European production team, specialize in minimalist, repetitive techno, with melodic interludes and room for the singer to improvise. French House DJ, David Guetta, produced 2009's massive "I Gotta Feeling" and helped drive the modern pop scene towards the pulsating four/four beats that define radio pop and steered the Black Eyed Peas in their current direction (for better or worse). Lastly, Bruno Mars' creative team, the Smeezingtons, specialize in breezy, summery breed of R&B that pays homage to Motown and 50s doo-wop. The point I'm trying to make: all of these people make music that sounds basically the same! If you listen to 2010's number one hits, four of them were written by Dr. Luke, another four by Stargate, two of them by the Smeezingtons and one by Max Martin without Dr. Luke and company. "Raise Your Glass" sounds like "Teenage Dream," which sounds like "California Gurls," which sounds like "Tik Tok," which sounds like "Like a G6," and so on. Hopefully, 2011 will mark a return to individuality in the modern pop landscape, but that seems unlikely, as the first month of the year featured alternating number ones by Bruno Mars and Katy Perry's Stargate production "Firework." Now onto the hits:

"Tik Tok" - Ke$ha - (1/2-2/27/2010; 9 Weeks)
Everything about this song makes me want to hate it with the entirety of my being: Ke$ha's horrible, trashy drunk-girl rhymes, with auto-tune highlighting random phrases; that stupid line about wanting to party with guys who look like Mick Jagger (who looks like [url=http://www.agileproductdesign.com/blog/images/mick_jagger.jpg]this[/url] nowadays), and Ke$ha herself, with her random piercings and shorts that barely reach her thighs. Yet, I can't help but kinda like this song. The song is clearly designed to be an anthem for vapid sorority girls and drug addled club chicks, and on that front it works fine. There are enough quotable lines ("brush my teeth with a bottle of jack," "the party don't start til I walk in") and inspired musical flourishes (especially that "oh oh" in the chorus) for me to understand its appeal and not dismiss it outright.
5/10

"Imma Be" - Black Eyed Peas - (3/6-3/13; 2 Weeks)
Back in my 2009 list, I tore into the Black Eyed Peas, accusing them of intentionally appealing to the lowest common denominator of music fans (namely preteens) and not seeking any type of artistic fulfillment with their music (the same can be said about Ke$ha, I guess). "Imma Be" isn't too different, but it's significantly better than either of their 2009 behemoths. In "Imma Be," the Peas experiment with their usual sound, incorporating more futuristic electronic bleeps and shifting the rhythm around for each verse. "Imma Be" isn't great, but I'll give it some extra points for the Roger Troutman/Daft Punk outro
5/10

"Break Your Heart" - Taio Cruz ft. Ludacris - (3/20; 1 Week)
Every time I look at a song title and I see the words "featuring Ludacris," I get excited. Luda is probably the most entertaining guest rapper around and he has the ability to elevate even the most mundane track to greatness with his elastic flow and emphatic punchlines. Unfortunately, Ludacris is on autopilot here, ceding the floor to Taio Cruz after two brief verses. "Break Your Heart" is a standard, inoffensive club track and Cruz is devoid of personality and is not a good enough singer to be very compelling outside of the club. A visit to the good Dr. Luke helped him out for his next, probably even more popular track ("Dynamite"), but "Break Your Heart" leaves a bad taste in my mouth.
4/10

"Rude Boy" - Rihanna - (3/27-4/24; 5 Weeks)
The first great number one of 2010. Rihanna had a huge year in 2010, with three number one singles and one huge number one guest appearance. "Rude Boy" is probably the best. For her last LP, Rated R, Rihanna retreated inward, delving into her personal demons and highlighted her emotional vulnerability. With 2010's Loud, Rihanna emerged from her shell stronger than ever; all three of her number ones in 2010 are about how awesome she is, how lucky her man is to have her and how he better be amazing in bed. "Rude Boy," a Stargate production, nominally returns Rihanna to her Caribbean roots, with a few dancehall references in the lyrics and a steel-drum-esque synth bouncing during the chorus. However, there are few real dancehall influences on the track, and the song draws its strength from Rihanna's skill at hypnotically playing with and repeating words and phrases. In "Rude Boy," Rihanna is the one with the power, and she knows how to flaunt it.
9/10

"Nothin' on You" - B.o.B ft. Bruno Mars - (5/1-5/8; 2 Weeks)
Though he was a mixtape darling for a few years before 2010, B.o.B's major label debut drew more critical vitriol than any other rap release in 2010 (besides maybe Recovery). While I was disappointed by The Adventures of Bobby Ray, I don't think it really deserved the beating it took. "Nothin' on You," an effortlessly breezy summer jam, is one of the better tracks on the album. Bruno Mars said that he was inspired by the doo-wop classic "I Only Have Eyes For You," by the Flamingos, when he wrote the chorus and the throwback element is obvious. Mars has a talent of merging 50s and 60s melodies and sentiments with modern beats and B.o.B, one of our most musically gifted MCs, embraces the melodic piano line, rapping double-time about love and loss.
7/10

"OMG" - Usher ft. will.i.am - (5/15; 5/29-6/12; 4 Weeks)
If I were to make a list of modern singers who sound great without auto-tune, Usher would probably top the list. Remember "Yeah!"? That was awesome! Unfortunately, Usher embraces the robot on the will.i.am produced "OMG," a song that completely wastes Usher's prodigious talents as a singer and performer. The crowd noise gimmick goes from annoying to infuriating throughout the song and the uninspired, arrhythmic raps during the verses further doom this track to sub-mediocrity.
3/10


"Not Afraid" - Eminem - (5/22; 1 Week)
2010 marked the triumphant return of Eminem to the forefront of the popular music scene. For music fans of my generation, Eminem is a universally beloved icon, a man who rapped about what we would only snicker about amongst ourselves. Recovery marked Eminem's official step into adulthood - the playfulness, hilarity and (most importantly) willingness to say anything and offend anybody was nowhere to be found. I guess "Not Afraid," a stale, clunky attempt at an inspirational ballad, is a necessary step for Eminem, announcing to the world that he overcame his problems and is back to making music full time. I wish that "Not Afraid" was more enjoyable; the flow is there, but the wordplay isn't (that "it's a wrap" line is pretty egregious") and Em is still rapping over the same blend of uninspired beats as his Encore days. Now that he got Recovery off his chest, he can go back to being the Eminem we all love.
4/10

"California Gurls" - Katy Perry ft. Snoop Dogg - (6/19-7/24; 6 Weeks)
A summer anthem for a generation of kids who've never heard of the Beach Boys, Perry has stated that "California Gurls" is supposed to be a response to "Empire State of Mind." While Jay-Z's low-key verses and Alica Keys' big chorus in "Empire" illustrate the contrast between the intimate details and grand scope of living in New York, there is no such subtlety in "California Gurls." Though the song is ostensibly about California, the music video seems to be set in Candyland, with ice cream plants and cotton candy clouds. Katy Perry, though a decently talented singer, exploits her own sexuality for record sales as blatantly as anyone outside of the Pussycat Dolls. It's not that I object to using sex to sell your product, but starting the second verse with "SEX...on the beach," is a little clumsy and obvious. I appreciate that Perry has a sense of humor, and I'm amazed by Snoop Dogg's ability to remain gangsta while wearing ice cream overalls, but I'm afraid it's a big "meh" for this one.
5/10

"Love the Way You Lie" - Eminem ft. Rihanna - (7/31-9/11; 7 Weeks)
Remember in my "Rude Boy" review how I was talking about how Rihanna's Loud singles present a woman who faced her demons and became stronger? How she's the one with the power and how she'll never bend to her man's will? Well, here's Rihanna, music's most famous victim of domestic violence since Tina Turner, singing a chorus for Eminem, a man who frequently raps about murdering his wife, about how she loves her boyfriend even though he is abusive. Look, I know the song was hugely popular and that Rihanna's appearance probably means that she's fully recovered from her personal trauma, but I can't help but feel uncomfortable when Em raps about throwing his girlfriend out the window ("that's why they call it window pane" -- clunk!) and Rihanna sings about how much she loves it.
3/10


"Teenage Dream" - Katy Perry - (9/18-9/25; 2 Weeks)
This is probably the only Katy Perry song where she doesn't wink at the camera. A straightforward love song, again produced by Dr. Luke, Perry sings about how she loves her man so much that she feels like a teenager. Honestly, I know the song is just as manufactured and superficial as anything else that Katy Perry has done, but it works for me. "Teenage Dream" has an honest sweetness to it that distinguishes it from her usual vapid and playful sexuality.
7/10

"Just the Way You Are" - Bruno Mars - (10/2-10/23; 4 Weeks)
Let me start by saying that I definitely prefer this to the Billy Joel song. "Just the Way You Are" uses an airy four-chord progression with piano and synthesized whistling during the chorus to create probably the nicest thing that anyone has ever said or done for a girl. Mars' schtick is to play the perfect boyfriend, which nicely suits his talent for writing sweet piano ballads. In this one, the sweetness becomes a bit overwhelming--I can practically feel my teeth ache when listening to this song.
6/10

"Like a G6" - Far East Movement ft. The Cateracs and Dev - (10/30-11/6, 11/27; 3 Weeks)
The epitome of a brainless club song, but that's not necessarily a bad thing. The words are hilariously stupid, but the bassline is creamy. I love that little chant of "808" right before the "actin' like they drunk part." There are some songs that are impossible to intelligently write or think about and this is one of them. Just put your hands up.
7/10

"We R Who We R" - Ke$ha - (11/13; 1 Week)
The winner of the way better than it looks on paper award for 2010. Dr. Luke's beat is even busier than usual, with torrents of synth during the chorus and inspired vocal modulations during the bridge. Ke$ha's free associative flow during the intro reminds me a bit of Life Without Buildings, which is a compliment. This is the best Ke$ha song because Dr. Luke uses her voice as a sounding board for his techno dreams, rather than relying on her imbecilic rhymes, to launch a solid club track.
6/10

"What's My Name" - Rihanna ft. Drake - (11/20; 1 week)
On the one hand, "What's My Name" sports Drake's worst verse ever. On the other hand, Rihanna's chorus is her catchiest since "Disturbia." I'm a sucker for hooks, so the other hand wins BIG. Oh, and the square root of 69 is 8.30662386, in case anyone was wondering.
9/10

"Only Girl (In the World)" - Rihanna - (12/4; 1 week)
"Only Girl" boasts Rihanna's strongest vocal performance to date over a Eurodance beat (provided by Stargate). "Only Girl" expands upon Rihanna's newfound strength--she's the only girl who can make you feel like a man, so you better treat her like she's the only girl in the world. This track reminds me a little bit of the techno version of Bryan Adams' "Heaven," but Rihanna's strong vocals elevate the song above Eurotrash.
8/10

"Raise Your Glass" - Pink - (12/11; 1 Week)
"Why so serious?" has been Pink's mantra for a long time. She's never been afraid to poke fun at herself or others. Unfortunately, "Raise Your Glass" might as well be "Generic 2010 Pop Song," as it features all the elements. Teen pop, guitar rock and French house pureed into one indistinguishable mush, quiet verses and a LOUD chorus and lyrical clunkers like "don't get fancy, let's get dancey" and "if your too school for cool." Though I may not like all of Pink's songs, none of them are as boring as "Raise Your Glass."
4/10

"Firework" - Katy Perry - (12/18, 12/25 (in 2010); 2 Weeks (in 2010))
People keep on writing songs for Katy Perry that she simply does not have the pipes for. I keep thinking about what Mariah Carey or Alicia Keys would do with a song like this. I also keep thinking about the "Firework" video, in which fireworks explode out of Katy Perry's boobs. Ladies and gentlemen, the biggest pop star in the world!
3/10

Best Albums of 2010: #7 - Robyn: Body Talk

"I've got some news for you. Fembots have feelings too." - "Fembot"

Question: "How can Robyn become popular in the United States?"

Scandinavian Electropop heroine Robyn seems to have all the ingredients to become a force in the American pop music scene: she has a knack for writing catchy and tuneful hooks over pulsating house beats and for infusing her dancefloor anthems with genuine emotional pathos and strong vocals. Robyn makes music designed for the dancefloor and for the radio, and she does it extremely well, yet she remains obscure in America outside of the blog community. Given the increased prominence of electronics and house in popular music and the international success of electropop peers Lady Gaga and La Roux, Robyn would fit in easily on the Billboard charts. The question is: how can Robyn overcome her niche audience in America and gain mass appeal?

The answer: an all-Robyn episode of Glee. Though an episode exclusively featuring songs by an unknown Swedish songstress might drive away casual viewers, Glee's rabidly devoted fanbase will tune in every week, regardless of what the cast will perform. Furthermore, Robyn's music is dramatic and emotional enough to carry an episode of television and her tendency to make grand statements about the experience of being young and in love and express them through stadium-sized hooks fit nicely with the soap-operatic emotions and angsty stories, which are Glee's bread and butter. The exposure granted by Glee would give Robyn some traction on the Billboard charts (hey it worked for Cee-Lo).

Here's a potential tracklist:

"Dancing on My Own" - The best track off Body Talk chronicles Robyn's defiant response to a romantic rejection. Robyn heads to a club, hoping to win a man's heart, only to realize that her man has feelings for another woman. "I'm giving it my all, but I'm not the girl you're taking home," she belts, "I'll keep dancing on my own." As the song progresses, Robyn's sadness morphs into a triumphant defiance ("I just came to say goodbye"), and the titular phrase becomes less of an expression of loneliness and more an action of independence, as a woman as strong as Robyn does not need to define herself by her successes and failures in love. This song would be performed by whichever lead female character is currently pining for the lead male character.

"Hang With Me" - "Hang With Me" is one of the few pop songs dedicated to the familiar phenomena of the "Friend Zone." In "Hang With Me," Robyn is not looking for someone to love, but someone to confide in and comfort her without the trappings of a serious relationship. A moving and powerful ballad, "Hang With Me" is the perfect song for the popular girl to sing to the kid in the wheelchair.

"Fembot" - See the quote above the article. The song would be used as yet another way for Jane Lynch's Sue Sylvester to once again prove that she is an actual human being, not just a well-oiled insult machine.

"Time Machine" - An upbeat anthem about feeling the need to go back in time and erase one's mistakes. "Time Machine" is very versatile for the show's format, as characters on Glee make mistakes frequently and "Time Machine" lends itself for fancy sets and choreography. This song would be perfect for Mr. Schu, the choir leader, when singing about marrying his horrible shrewish wife.

"Cry When You Get Older" - Though "Cry When You Get Older" did not appear on the official version of Body Talk, it was unquestionably one of the best songs Robyn released all year. The main theme of "Cry When You Get Older," that "love hurts when you do it right/you can cry when you get older," somewhat undermines the central melodramatic conceit of Glee--that the problems and relationships of high school kids are real and worth exploring. However, the song's assertions that life goes on even after love dies could provide a emotionally satisfying climax, underlying the central theme of the episode: though high school love can be heartbreaking and destructive, it's important not to define yourself by your romantic failures, but by a strong conviction that everything is going to be alright. This song would be performed by Robyn in a guest appearance, assuring the cast that while their problems seem big, they should not beat themselves up.

This episode would be bolstered by album re-releases and television appearances, providing a place for Robyn in the American popular conscience.

The Best Albums of 2010 returns from vacation

"In the suburbs, I learned to drive" - "The Suburbs"

8. Arcade Fire - The Suburbs

In 2010, the Arcade Fire joined a very short list of Indie Rock darlings who hit it big in the mainstream without drastically simplifying or consciously making their music more accessible. The Suburbs was a number one album and earned the band an Album of the Year nod at the Grammy's. Here's why I think that happened (and why it happened with The Suburbs):

1. The Arcade Fire are a fantastic live act. Their music is perfectly suited to huge arenas (there are few things more emotionally arresting than a full stadium chanting the chorus to "Wake Up") and they know how to put on a show. When I went to see them at the garden, they were ridiculously energetic and enthusiastic (during "Rebellion (Lies)," the drummer picked up his bass drum, strapped it to his back and jumped around the stage while beating it) and frequently switched instruments during their performance. Arcade Fire shows have a tendency to convert a few non-believers into fans. The Suburbs is perfectly suited for live performance: the studio version of the songs don't have the bombast of Funeral, or even Neon Bible, but feature elaborate musical arrangements and interludes that fill up the room when performed. The best songs on The Suburbs fully realize their potential when performed live.
2. As pop music gets simpler (see this NY Times article), the Arcade Fire's trademark grandiosity sticks out. The trick is: keep the emotions simple and child-like, and make the music grand and complex. "Empty Room" features a whirlwind of strings, churning guitars and a frenzied vocal perfromance by Regine Chassagne, but the simple lyrics reflect the pleasures and fears of being alone.
3. Two of the Arcade Fire's biggest and most cited influences are U2 (expansive guitar tracks, melodic riffs, epic scope) and Bruce Springsteen (storytelling through lyrics, diverse instrumentation, romanticizing youth and locations), two artists that became extremely popular without embracing pop. Arcade Fire rose to prominence organically, without any manufactured label hype or hit singles, gradually building a fanbase through word of mouth and live performance. Like U2 and Springsteen, they have become mainstream because music fans accepted and embraced them, not because they compromised their musical values or talent. Now, they are free to enjoy the spoils of their hard work.
4. The songs. Each Arcade Fire album has around 4 or 5 instant classics, and The Suburbs is no exception. My favorite track from the album is "Sprawl II (Mountains Beyond Mountains)," a Regine Chassagne showcase about abandoned shopping malls rising like mountains in suburban wasteland. "We Used To Wait" rides a pretty piano line to explore how life was different in a time when people actually had to mail letters to other people. The driving anthem, "Ready to Start," will probably the band's go-to concert opening song for years to come. The Suburbs represents one of the Arcade Fire's greatest strengths: the ability to combine childlike innocence with adult experience to create a wholly unique and necessary niche in the modern alternative scene.

Standout Tracks: "Ready to Start," "Sprawl II (Mountains Beyond Mountains)," "We Used to Wait," "Rococo," "Half Light II (No Celebration)"