BOB’s FAVORITE ALBUMS of   2011*

(The asterisk is to acknowledge I only listened to a small fraction of the hundreds of albums I normally heard all those 35 years I was pop music critic at the Los Angeles Times—though I tried to listen at year’s end to the most acclaimed albums of 2011. On the strong possibility I missed some of the year’s most commanding works, think of the 10 albums below as simply my favorite new releases for the year—recommendations from me to you. You can hear tunes from all these albums thanks to a podcast of my Feb. 12 radio show that ran on KCSN-FM in Los Angeles. Go to http://rocknrolltimes.kcsn.org and click on the Feb. 12 show. The show, “Rock ‘n’ Roll Times With Robert Hilburn” airs from 4 to 5 p.m. every Sunday on KCSN 88.5 in Los Angeles—or stream it at that time at www.kcsn.org).


ALBUM OF THE YEAR

     Paul Simon, “So Beautiful or So What” (Concord)—This is such a passionate, ambitious and stylish collection that it deserves a place alongside “Graceland” on the shelf of great pop albums. Lyrically sophisticated and musically inventive, “So Beautiful” is a spectacular mix of ideas and emotions. Favorite track: “Questions for the Angels,” which includes this wise, witty line, “If you shop for love in a bargain-store/ And you don’t get what you bargained for/ Can you get your money back?”

RUNNERS UP

     2) Tom Waits’ “Bad as Me” (Anti)—In his best outing since “Mule Variations,” the wonderful and original singer-songwriter gives us a wide-ranging work that looks at everything from the state of our nation to relationships to aging. Special moments:  the melancholy, bittersweet “Last Leaf” and “New Year’s Eve.”

     3) P.J. Harvey, “Let England Shake” (Vagrant)—This is a serious and substantial project—dark reflections on England and its history of battlefields—that conveys Harvey’s brilliance as a writer and record-maker.  Most unforgettable tune: “Hanging in the Wind.”

NEXT IN LINE

    Adele’s “21” (XL/Columbia)—Don’t let all the Grammy awards and five months on top of the sales charts turn you off this fabulous young English singer. Adele Adkins’ voice is a soulful wonder. Start by listening to “Rolling in the Deep” and “Don’t You Remember.”

     Florence + the Machine’s “Ceremonials” (Universal Republic)–Florence Welch’s voice lacks the jolting force of Adele’s, but she’s an extremely smart and stylish singer who frames her voice in a more exotic, edgy way.  Try: “Only If for a Night” and “Breaking Down.”

     The Decemberists’ “The King is Dead” (Capitol)—This consistently imaginative band’s literate, stylish country-edged folk songs remind you this time out of a mixture of R.E.M. and the Band. The tunes are sweet, intimate and enchanting. Listen to: “Down by the Water.”

     Anna Calvi’s “Anna Calvi” (Domino)—Also from Britain, this newcomer applies a seductive Flamenco guitar to seductive musical shading that might best be described as “torch rock.” Recommended: “I’ll Be Your Man.”

AND MORE
     The Black Keys’ “El Camino” (Nonesuch)--Rock ‘n’ roll that’s accessible and fun.

     The Roots’ “Undun” (Def Jam)—The year’s hip-hop highlight.

     The Pistol Annies’ “Hell on Wheels” (Sony Nashville)—Rowdy honky-tonk collection from a trio that is Miranda Lambert’s side project.

A RANKING OF ALL 46 movies I’ve seen this year:

     1)   “The Tree of Life.” This is a meditation on faith that challenges viewers to examine their own spiritual beliefs. The loose, almost stream-of-consciousness approach has caused many critics (and moviegoers) to accuse director Terrence Malick of being vague and inconclusive. But the film, with its glorious scenes of a world being formed, moves in a surprisingly coherent fashion for what is such a profoundly personal reflection. One of the leading questions is the existence of human flaws in a supposedly perfect universe. Who is to blame? Why can’t even a single family—a father and a son or even brothers—avoid moments of conflict? Added bonus: an unusually compelling performance by Brad Pitt.

RUNNERS UP

     “Margin Call.” It’s the night before the economic collapse of 2008 and a low level employee in a giant Wall Street firm realizes the disaster ahead for his company and its rivals because they are all dealing in flawed (and increasingly worthless) mortgage-based securities. That may not sound like the plot you need for a psychological thriller, but first-time writer-director J.C. Chandor brings us inside the corporate with an intimacy and emotional power that gets us caught up in the debate over how the company should handle the crisis—and there are plenty of heroes and villains along the way. Jeremy Irons is magnificent as the corporate boss and Kevin Spacey nearly matches him as the employee who most wrestles with the ethical issues involved.

     “The Artist.” Bravo! Even if this silent, black and white French production by director Michel Hazanavicius did nothing more than thumb its nose at the circus-like effects of modern filmmaking, it’d deserve our affection. But the movie does much, much more to win our allegiance. It’s a love story on many levels. First, the love between a silent actor whose fame has deserted him with the advent of talkies and a fresh-faced young actress whose open, outgoing personality is ideal for the new movie format. Then the movie celebrates the love of a man and his dog, but mostly “The Artist” is about our love of movies. The acting deserves special praise, from Jean Dujardin and Berenice Bejo as the principals to John Goodman as the head of a Hollywood studio and James Cromwell as Dujardin’s loyal chauffeur. The real strength of the film is the sweet innocence and heart that Hazanavicius unfurls on the screen. Tip: Bring a pencil and pad so you can keep track of all the echoes of classic films, starting with “Singin’ in the Rain” and “Sunset Boulevard.”

     “The Descendants.” Just as he showed in “Sideways” and “About Schmidt,” director Alexander Payne has a marvelous way of telling us so much about the rites and rituals of American life by focusing on the private journey of a single individual—and he has absolutely the right instincts for casting. This time out, George Clooney—who is rapidly becoming our generation’s Cary Grant for his ability to charm us in any role, how ever heavy or light—adds to the memorable portraits by Paul Giamati and Jack Nicholson. He plays a husband who tries to act decently as he faces a series of life-altering decisions about his daughters and his role in his larger family’s legacy.

     “Double Hour.” To look at this film as only a tip of the hat by Italian film by director Giuseppe Capotondi to the psychological sleight of hand of Alfred Hitchcock’s “Vertigo” fails to acknowledge the achievement of the movie. Things start off nicely when a failed policeman, now a security guard, meets a mysterious young woman at a social dating club. Are they meant for each other—or is the intrigue they encounter part of someone’s plot? A smart, stylish, ever surprising film.

     “Meek’s Cutoff.”  Much like “The Hurt Locker,” we step into a remote world of combat (of a sort) and paranoia—a taut, gripping film that is so unrelenting in its mystery and pace that you never sense even a trace of compromise. Director Kelly Reichardt focuses on a small wagon train that gets lost in the vast openness of Oregon in the 1840s and turns to a Native American stranger for help, only to worry if they are being led to safety or into an ambush. Another standout performance by Michelle Williams. Excellent script by Jon Raymond.

The entire list in order of preference:

A
The Tree of Life
Margin Call
The Artist
The Descendants
Double Hour
Meek’s Cutoff

B
Bridesmaids
Melancholia
Certified Copy
Ides of March
Incendies
Easy A
The Guard
Barney’s Version
The Hedgehog

B MINUS
My Week with Marilyn
Cave of Forgotten Dreams
Win Win
Drive
The Trip
The Help
Moneyball
Midnight in Paris
The Dilemma

C
The Girl with the Dragon Tattoo
Beautiful Boy
Unknown     
Lincoln Lawyer
Exploiting Raymond

C Minus
Colombiana
Love Crime
Last Night
Shame
Adjustment Bureau
Hanna
Company Men

D
Horrible Bosses
Source Code
Cedar Rapids
Hall Pass
Fast Five
The Skin I Live In
Just Go for It

F
Pirates of the Caribbean on Stranger Tides
The Mechanic
Hangover II
Country Strong

The End
(This is a list in progress; some year-end films are still to be seen, so we may add others over the next few weeks.) 

Rush to see:

    “The Tree of Life.” This is a meditation on faith that challenges viewers to examine their own spiritual beliefs. The loose, almost stream-of-consciousness approach has caused many critics (and moviegoers) to accuse director Terrence Malick of being vague and inconclusive. But the film, with its glorious scenes of a world being formed, moves in a surprisingly coherent fashion for what is such a profoundly personal reflection. One of the leading questions is the matter of human flaws in a supposedly perfect universe. Who is to blame? Why can’t even a single family—a father and a son or even brothers—avoid moments of conflict? Among the many wonders of "The Tree of Life" is that Malick even draws honest, compelling performances out of such film-celebs as Brad Pitt and Sean Penn. This is an inspired and inspiring film. Does anything else come close in 2011?

 “The Trip.” This English film reunites the gifted team of actor Steve Coogan and director Michael Winterbottom, who have gave us a pair of witty, wonderful gems: “Twenty-Four Hour Party People,” an inspired look at the invigorating, but drug-stained Manchester music scene, and “Tristram Shandy: A Cock and Bull Story,” an especially inventive film about trying to film what has been called an unfilmable novel. Get them both on Netflix to pick up on the pair’s wry style and then rush out to the theater to see this story of a restaurant critic (who apparently has no interest in food) traveling around rural England with a far more together pal (the very funny Rob Brydon), hoping desperately to find something that brings passion and commitment to his hollow life. There are some gentle lessons about human nature and some out-right belly laughs that occur when the two pals find a common love for imitating celebrities, including Michael Caine, Roger Moore and Woody Allen at the dinner table.

     “Bridesmaids.” I didn’t have very high expectations when I went into the theater despite lots of favorable word-of-mouth. But I was pleasantly surprised. Kristen Wiig, from “Saturday Night Live,” was perfect as a mixed-up young woman who feels even more downcast than usual when her best friend gets married, leaving her all the more alone. Wiig’s character has never been much good at anything and she can’t even master the role of an encouraging bridesmaid. Doesn’t sound like that hilarious a story, but “Bridesmaids” is a winner from wire-to-wire. There are some scenes that merely make you smile, others that make you chuckle and still others that make you laugh out loud.  Wiig has already shown on “Live” that she has a smart, inventive mind and she makes the transition to the big screen with ease. Look forward to big things from her.
 

Wait for the DVD on Netflix.

     “Beautiful Boy.” Michael Sheen and Maria Bello are outstanding as parents of a teen-age son who, shockingly, goes on a shooting rampage that kills numerous students at his college. The film tracks the couple as they try to regain their emotional balance after the tragedy, sometimes comforting each other, sometimes blaming the other for what has happened. It’s a draining film that has some power, but the script never really rises above the expected, leaving you oddly unaffected by all the suffering.

     “Midnight in Paris.” The story line in Woody Allen’s recent string of movies has been so thin that you feel he comes up with the script over a single lunch—and this doesn’t really break his disappointing streak. There is a BIG plot device here that gives this film more surface charm than his other recent ones, but the fantasy device is so lightweight that it falls apart if you know about it before you go into the theater. So, avoid reviews or a discussion with anyone who has seen this movie. Unfortunately, I heard about the story “twist” before buying my ticket, so it made everything seem especially threadbare.


Avoid at all costs:

     “Pirates of the Caribbean: On Stranger Tides.” Let’s drop Johnny Depp’s name from any further discussion about the great contemporary actors until he apologizes for wasting our time with this hapless endeavor. Doesn’t he have any shame? The facial tics and Keith Richards’s impersonation were fabulous the first time out with “Pirates” but the antics have reduced him to the level of a hack in this film. Plus, it’s kinda disconcerting that this film has no real story.

     “The Hangover Part II.” Even if you loved the first “Hangover” (as I did), stay far, far away from this follow-up. Trust me. “The Hangover” had a sweet, underdog quality that made the humor all the more embracing. The tone this time is cold, crude and hard. No one comes away looking good—even the current-day wonder Zach.

ALBUMS
(This is not meant to be a comprehensive guide to new releases; simply some albums that have caught my ear in recent weeks)

    Paul Simon, “So Beautiful or So What” (Concord)--This isn’t just another case of a great artist coasting on his reputation. “So Beautiful” is such a passionate and ambitious collection that it isn’t just the best Simon album since “Graceland,” but a work so inspiring that it deserves a place alongside that landmark work from the 1980s. Lyrically sophisticated and musically inventive, “So Beautiful” is a spectacular mix of ideas and emotions. Favorite track: “Questions for the Angels,” which includes this wise, witty line, “If you shop for love in a bargain-store/ And you don’t get what you bargained for/ Can you get your money back?” Essential.

    P.J. Harvey, “Let England Shake” (Vagrant)--This is a serious and substantial project—dark reflections on England and its history of battlefields—that conveys Harvey’s brilliance as a writer and record-maker. Most unforgettable tune: “Hanging in the Wind,” which includes the heartbreaking war zone image, “Walker’s in the wire/ Limbs pointed upward/ There are no birds singing, ‘The White Cliffs of Dover’.” Highly Recommended.

    Anna Calvi’s “Anna Calvi” (Domino)--This British newcomer writes, sings and plays guitar with an intensity and urgency that is reminiscent of P.J. Harvey, and her songs, too, often offer hits of mystery and lust. Wonderfully alluring. Among many highlights: the instrumental “Rider to the Sea.” Highly Recommended.

    Lucinda Williams, “Blessed” (Lost Highway)--Few people write about conditions of the heart with as much eloquence or depth as Williams, whose latest batch of songs adds nicely to a remarkable body of work that stretches back to the 1970s. Coolest song: “Kiss Like Your Kiss.” Sample line, “There’ll never be a spring so perfect again/ You’ll never see a yellow so rich/ The grass will never be quite as green/ And there’ll never be a kiss like your kiss.”  Recommended. 

    Ron Sexsmith, “Long Player Late Bloomer” (Ronboy Rhymes)--Sexsmith’s sweet, smart, heartfelt songs have been praised album after album for more than 25 years now, but there is also much to be said about his vocals, which are as customized and caressing as his best melodies. The songs remain impressive, but the vocals seem especially engaging this time out. Favorite track: “Get in Line,” which opens with these taunting lines, “Heavy clouds all hanging around/ And the sun refuses to shine/ If you’re bent on bringing me down/ Better get in line.” Recommended.

    Adele’s “Adele21” (XL/Columbia)--Adele Adkins’ voice leaps from the speakers with captivating, star-making force on the opening track of her second album, although, of course, she’s already a star (Her debut CD (“19”) established her as a major young hit-maker.) Not everything is as ear-catching as the opening number (which Adkins co-wrote). You wish at times she had more challenging material and she sometimes seems uncertain about her artistic direction. But she is a contender and it’s noteworthy that someone as demanding as Rick Rubin produced four of the tracks.  Worth checking out.

Eagerly Awaiting These Albums:

    The Kills’ “Blood Pressure” (just out)

    Robbie Robertson’s “How to Become Clairvoyant” (just out)

    Alison Krauss & Union Station’s “Paper Airplane” (April 14)

    Steve Earle’s “I’ll Never Get Out of This World Alive” (April 26)

    Fleet Foxes’ “Helplessness Blues” (May 3)

    Randy Newmans’ “The Randy Newman Songbook, Volume 2” (May 10)

    Danger Mouse & Daniel Luppi’s “Rome” (May 17)

    Moby’s “Destroyed” (May 17)

    My Morning Jacket’s “Circuital” (May 31)

    Eddie Vedder’s “Ukulele Songs” (May 31)

    Arctic Monkeys’ “Suck It and See” (June 6)

AND:

    Dr. Dre’s “Detox” (this year?)

BRIGHT EYES’S “THE PEOPLE’S KEY” (Saddle Creek)
√ Bob Certified
    Conor Oberst demonstrated in 2002’s “Lifted or the Story Is in the  Soil, Keep Your Ears to the Ground” that he was one of the most gifted singer-songwriters in years—and he delivered his masterpiece three years later in “I’m Wide Awake, It Must Be Morning.” In that album, the Omaha native, who records under the group name Bright Eyes, looked at the world with such intimacy and penetrating observation that you couldn’t help but think of another Midwesterner who arrived in the early 1960s. Like that Minnesota native before him, Oberst felt uncomfortable with all the media acclaim and commentary, especially the part about being the voice of a new generation. So, he seemed to take a few side steps in his subsequent albums—as if trying to catch his breath and figure out his goals as a musician. With “The People’s Key,” Oberst steps out of the confusion with his most focused and revealing set of songs since “Wide Awake”—and he has some fresh musical textures to match. He continues to be angry at the hypocrisy of the political arena, but he also seems more humble. The answers aren’t as definite and the world doesn’t swirl as around him as much. Still, he continues to value concepts of honor and sacrifice with an almost spiritual fervor, stressing the importance of community and brotherhood. This CD doesn’t exhibit the consistency of “I’m Wide Awake,” but it asserts a similar excellence in the best moments, including “Beginner’s Mind,” “Ladder Song” and, especially, “One for You, One for Me.” In the latter, he sings: One for the breadlines / One for the billionaires / One for the missing / One for the barely there / One for the certain / One for the real confused / One for me, okay, now One for you.” 

ANNA CALVI’s “ANNA CALVI” (Domino)
√ Bob Certified
    This debut album opens with a daring instrumental track, “Rider to the Sea,” which is built around a Gypsy-styled guitar run. It feels like it is going to be a dramatic introduction to an ambitious new artist (something along the lines of what the very theatrical David Bowie might have done in the 1970s). You keep waiting for the vocal, not realizing the opening track is, indeed, the introduction to this English artist. It’s Calvi playing guitar and the mood of the track is entirely in keeping with the sense of passion, mystery and lust that also colors her vocals and songs. Though there are other influences at work, Calvi’s music ultimately falls into the tradition of P.J. Harvey. Even the song titles—“Desire,” “The Devil,” “Blackout”—convey the edgy, earthiness and force of Harvey’s music. But Calvi is no clone. She’s just mining a similarly soulful, sultry musical vein. “Anna Calvi” will be releasedMarch 1. Highly recommended.    

“THE MECHANIC” and “JUST GO FOR IT”
Save your time and money
    There was a period a few years ago when I would routinely walk out of movies if I was bored, but I thought I was getting more patient. It was a good two years since I bailed on a film—until last week when I did it twice. Even if you, too, are generally a fan of Jason Statham and Adam Sandler (who star in these films respectively), you’ll be hard pressed to find anything in either film to care about. There’s rarely a strong plot in Statham’s films, but he’s a charismatic guy and the directors normally know how to keep the action flowing. But the action is as lackluster as the plot in “The Mechanic.” Part of Sandler’s appeal is he comes across as a likeable guy, but charm can only take you so far. Even he looks bored much of the time in “Just Go for It.”

BOOKS

   DAN CHARNAS’ “The Big Payback: The History of the Business of Hip-Hop”
√ Bob Recommended
    It is usually wise for music journalists to focus on artists rather than businessman, but Dan Charnas reverses things in this massive, 645-page look at the businessmen (and women) who helped rap evolve from a New York street sound into an international cultural phenomena—and the result is remarkable. A former writer for The Source magazine as well as an executive in the music industry, Charnas writes about the East Coast wing of hip-hop with such dogged detail that you virtually find fascinating revelations on every page—many of them correcting long-standing music biz myths. Though the book chronicles such key steps in rap as Sugar Hill Records, MTV’s early rap shows and Roc-A-Fella Records, the primary thread is the interactions of Russell Simmons, Rick Rubin and Lyor Cohen. They were responsible for Def Jam Records, which was the seminal outfit in establishing rap as a viable commercial and critical force. In one sense, Charnas may have been better off focusing the book entirely on Def Jam because the attempt to cast a wider net and serve as the “history of the business of hip-hop” will leave many readers frustrated. That’s because the book devotes little time to the West Coast rap world of Interscope Records, which—through the music of such figures as Dr. Dre, Tupac, Eminem, Snoop Dogg and 50-Cent—was largely responsible for expanding rap to a massive, mainstream stage. Even without the Interscope story, “The Big Payback” is an invaluable book. But the omission makes it feel like an incomplete one. A possible Volume II?


MOVIES

   “TRUE GRIT”
The usually reliable Coen Brothers play it far too safe.
    From the film noir gem “Blood Simple” to the comic brilliance of “Fargo,” the Coen Brothers have been wonderful storytellers who deliver works that are smart and risky enough to be hailed as both demanding and sophisticated. But almost everything here in this remake of the John Wayne movie of the late 1960s—from the endlessly broad humor to cartoonish the raw violence—feels so carefully calculated to win a mainstream audience’s approval that you feel betrayed. The western’s best scene is when newcomer Hailee Steinfield, as the smart and savvy 14-year-old heroine Mattie Ross, verbally duels a veteran horse trader and comes away with both the bully’s money and pride. But the main reason you’re going to hear so much praise about Steinfield is that the other leads are immensely disappointing. Matt Damon is miscast as a Texas Ranger, Jeff Bridges is hopelessly one dimensional in Wayne’s role of the grizzly, booze-soaked Rooster Cogburn and Josh Brolin is wasted as a killer on the run. Lots of laughter in the theater, I admit, but it felt too cheap for a Coen Brothers production.

    “THE ILLUSIONIST”
So classy, so charming…so unfulfilling
    After giving us one of the most exquisite animated films ever in “The Triplets of Belleville,” Sylvain Chomet takes a surprise step sideways this time out by basing his new animated film on a never filmed script by French actor-director Jacques Tati. But the melancholy story of an aging magician slowly losing his place in the world juxtaposed against a young woman suddenly finding her future feels simply too minimal. We are never allowed to get inside either the magician or the woman, which makes everything on the screen feel just out of reach. With “Triplets,” we felt part of the film. With “Illusionist,” we are just outsiders.

    MADE IN DAGENHAM”
Nothing horribly wrong, but very slight.
    There are some engaging touches in this story about some English female factory workers bonding together in the late-1960s to get equal pay with men—notably the acting of Sally Hawkins and the always reliable Bob Hoskins—but the script is so straight-forward that the movie feels too thin for the big screen. Despite the upbeat tale, there so little insight and surprise that you end up feeling let down.

“THE KING’S SPEECH”
√ Bob Recommended
   Though I still have a few more highly-touted films to see this year, this splendid tale of a maverick speech therapist helping King George VI find his voice (in more ways than one) moves past “The Social Network” on my list of favorite/best movies of 2010. Colin Firth, who should have won the Oscar last year for “A Single Man,” is again superb as the king and Geoffrey Rush is ideal as the eccentric therapist. There are some overly sentimental moments, but the overall vision and execution have a timeless, majestic feel. Excellent direction and script.

 “THE FIGHTER”
  √ Bob Recommended    
   Your feelings about this surprisingly daring film may rest largely on whether you believe Christian Bale’s super-charged performance as Mark Wahlberg’s older, crack-addicted brother and trainer. For much of the saga of junior welterweight prizefighter Mickey Ward, Bale seems to be on the verge of spinning out of control, but his manic, wild-eyed antics are vindicated in a video clip shown over the final credits. In it, we see that Ward’s brother, Dickey, was every bit as relentlessly theatrical as Bale’s portrayal. Melissa Leo’s turn as Wahlberg’s pushy, dominating mother is equally inspired. Given these acting fireworks, it’s a wonder that Wahlberg is able to also stand out even though his character, Ward, is far less colorful. Then again, the real story here is Ward’s dysfunctional family, not his ring exploits—and it is Wahlberg’s nicely disciplined performance that ultimately gives the “The Fighter” its humanity and heart.

“HOW DO YOU KNOW”
 Slow, disjointed, senseless
   Reese Witherspoon is in top form, but even her considerable charm isn’t enough to overcome the slow pace and implausible plot. She is cast as a young woman whose life has just been shook by disappointment and who is trying to regain her balance and confidence by choosing between two totally unsuitable beaus. Owen Wilson is fun as a spoiled, girl-crazed major league pitcher, while Paul Rudd seems rudderless as a man fighting against being manipulated by his wealthy father (nice, if predictable, part for Jack Nicholson). The thing you keep asking yourself throughout the long movie is why she is wasting her time with either guy—and you never get an answer. The end comes like a thud. What ever happened to James L. Brooks’ touch?

  “I LOVE YOU PHILLIP MORRIS”
Nice Jim Carrey performance isn’t enough.
   Just because it’s a true story doesn’t make it interesting. In fact, this chronicle of a flamboyant con-man’s transformation from suburban husband to a white-collar corporate whiz is pretty standard, agreeable cinematic stuff if you strip away the romantic bond between Jim Carrey and Ewan McGregor.  The only real strength is an engaging performance by Carrey.

My Favorite Albums for 2010 *

     (The asterisk is to acknowledge that this year I only listened to a small fraction of the hundreds of albums heard annually during the many years I was pop music critic at the Los Angeles Times. So, think of the 10 albums as simply my favorite new releases for the year—recommendations from me to you. That said, the top choices—by Arcade Fire and Kanye West—both live up to my top album choices over the years.)


AT THE TOP

     1        Arcade Fire’s “The Suburbs”  (Merge)
         At a time when thousands of young rock bands seem to have given up on trying to dominate the cultural landscape the way groups from the Beatles to U2 once did, the Fire burns with ambition and purpose, making music that is both thrilling sonically and insightful lyrically. Suburban life is a topic that invites cliché and ham-fisted declarations, but Win Butler (and cohorts) speaks eloquently about both times wasted and lessons learned from the past. A brilliant, inspiring work.

     2  Kanye West’s “My Beautiful Dark Twisted Fantasy” (Roc-A-Fella/Island Def Jam)
     Along with expanding rap’s thematic zone, West’s early goal was to expand rap’s sonic range to include anything that entered his imagination, be it a string section or prog-rock. “Fantasy” is his boldest step forward since “Late Registration” in 2005. The album is smart, provocative, funny and revealing—touching on matters as diverse as West’s own celebrity and compulsiveness to the nation’s cultural values. An album filled with both sweeping grandeur and deep-rooted intimacy. A modern classic. 

The Runners-up (alphabetical) 

     The Black Keys’ “Brothers’ (Nonesuch)
     After years of being spoken about chiefly as White Stripes-ian because the Keys, too, is an intense, roots-minded blues-rock duo from the Midwest, Patrick Carney and Dan Auerbach do much here to assert their own identity, thanks chiefly to improved songwriting. The music here is taut and tenacious, bristling with the sensual urgency of the blues.

     Dead Weather’s “Sea of Cowards” (Third Man/Warner Bros.)
     White and his mates in Dead Weather are reminding us that rock at its most powerful is neither conventional nor safe. It is the voice of extremism, fueled with an optimism and faith that music can still touch the heart and stir the imagination—and that albums, not just individual tracks, do matter.

     Elton John and Leon Russell’s “The Union” (Decca/Rocket) 
     Leon Russell once stood at the very center of rock ‘n’ roll, both on the “Mad Dogs and Englishmen” tour and his own albums. This album not only puts the spotlight back on him, but it also reminds us that Elton is more than a flashy superstar. He and lyricist Bernie Taupin are superb pop-rock forces. Produced by T Bone Burnett.

     The National’s “High Violet” (4AD)
     These Brooklyn-based Ohioans’ musical vision combines the rock tension and spectacle of Jesus & Mary Chain (“Terrible Love”), quiet evocativeness of R.E.M. (“Afraid of Everyone”) and grand declarations of early David Bowie (“Bloodbuzz Ohio”) in imaginative reflections about trying to find and maintain emotional balance.

The rest of the Top 10 (alphabetical)

     Elvis Costello’s “National Ransom” (Hear Music)
     There’s such fury in the opening track that you could picture Costello listening to his old, high-energy gem “Pump It Up” before recording it. Besides a thoughtful body of songs, some of which speak to the national psyche, the album employs several of the musical styles that have interested the Englishman over the years, including music hall.

     Cee Lo Green’s  “The Lady Killer” (Elektra)  
            “F—k You” is one of the most irresistible singles since “Crazy,” but it’s far from all that this Georgia mix of hip-hop, neo soul and dance fever has going for it. The tone is playful, but some moments are tender and surprisingly humble for a man who calls himself a lady killer. Winning in a lively, mainstream way.

     Janelle Monae’s “ The ArchAndroid” (Bad Boy/Atlantic)
     This remarkably ambitious musical brew toasts some of the most alluring pop/hip-hop/soul/disco/rock sounds of the last 50 years. The singer playfully cites such as influences as James Brown’s cape, Stevie Wonder’s mirrored glasses and Jack White’s mustache.  Add Walt Disney, Judy Garland and Grace Jones. Full of life and heart.

     Munford & Sons’ “Sigh No More” (Glassnote)
      There’s a rustic, country, folk, even bluegrass spirit flowing through this English quartet’s debut album,  along with a winning youthful optimism underscored in the title track, “Love, it will not betray, dismay or enslave you / It will set you free.” But the band touches on enough melancholy moments to keep the music rooted in reality.