Having concluded the rundown of this year’s finest albums, it seems only fair to mop up those which just missed the cut or were simply released too late to have enough of an impact. Now, if you are of a sensitive disposition or still find that mentions of Robbie Williams bring you out in a rash, I’d skip the bit about Take That if I were you. But make sure you’re still reading when I get onto Gregory & The Hawk, Edwyn Collins, The Phantom Band, Broken Records and Caribou.
But first, reissues. 2010 was a bumper year for deluxe reissues and some of the finest musical acts had their histories dusted off, turned up and even, in some cases, remastered for the better. Whether we’re talking about the simple but splendid best of from Suede or uber-deluxe box sets for which the mortgaging of your house or first-born were a requirement, there was plenty of scope for misty eyed nostalgia this year and it really sound rather good. The Orange Juice box set deserves another quick mention here because it is one of those bodies of work which you really should have nestlings on your shelf somewhere. It’s the aspect of music consumption which still requires you to keep at least one toe out of the all digital download lifestyle, as box sets are no fun without the, er, box. Collection pretty much everything they ever did and including some things which aren’t strictly necessary but nice to have anyway, ‘Coals To Newcastle’ is a lovingly curated set, with all due attention to detail awarded to these magnificent songs. Naturally, sometimes it’s a bit too unavoidably Eighties on the production side, but that is largely part of the charm of these acerbic, energetic and downright precocious tunes. If you missed the boat on requesting this for Christmas, think of it as a pre-VAT increase treat to yourself. Or something. Oh, think of your own lie then.
‘Station To Station‘ in its jumbo box edition was the reissue of the year for me, containing as it did a frankly unnecessary number of versions of the same, admittedly magnificent, album which, to my mind, is his best ever and makes for a quite staggering listen via the DVD high resolution audio track of the original master. I’ve written a Spotlight piece on the record for Clash, which will appear in the January issue, hitting news stands any day now. I’m sure some version of it will make its way onto the site at some point. I can see how, at £80, it might not be the most appealing deluxe musical purchase open to you, but, if you’re a big fan of the album, accept the inevitable and get out the cash.
The top 30 2010 releases was a tricky list to get finished, as at least 35 albums were intensely vying for a position from the off. These New Puritans‘ ‘Hidden’ was originally on the list but I found myself wondering exactly how many listens were for pleasure and how many were simply some form of aural challenge. There’s much to appreciate, plenty to be impressed by and, by fuck, they’re good live, but I just wasn’t sure how much I actually loved playing it. And so it just dipped out. Likewise, ‘Swim’, by Caribou, which is a delightfully engaging electronic beast, launched magnificently by the Erland Oye featuring ‘Odessa’. In the vague mental lists which preceded the final countdown, it was caught in a battle with Four Tet for the position of ‘electronic album in the 30-21 bit’ and at the last minute dropped out altogether. Well worth sampling, as I suspect even if the whole thing doesn’t grab you, certain bits will. Edwyn Collins made a heartwarming comeback, prompting good feeling from pretty much anyone who likes music, and delivered a raw, direct and potent record in ‘Losing Sleep‘. The slightly raggedy edges only added to the charm. But for the occasionally annoying multitude of guest performers, it would likely have been comfortably within the list and I still feel a little odd about leaving this one out. A late arrival in my orbit was ‘Leche’ by Gregory & The Hawk, which is actually singer-songwriter Meredith Godreau doing her quirk-pop, orchestrated-folk, endearing whimsy thing. The voice takes a few listens to learn to love, but once she’s got you, you’ll be hooked. If you like your Alessi’s Ark or early Joanna Newsom then ‘Leche’ is one for you to seek out in the early days of the new year.
The Phantom Band continued to do their own thing, building on the majesty of ‘Checkmate Savage‘ and pursuing a more fleshed out and substantial sound with ‘The Wants‘. It’s a great album, and one which I suspect will continue grow on me as the months roll along. The other one with potential for being a sleeping giant is the second offering from Broken Records, ‘Let Me Come Home‘, which sounded a little to studied and Acarde Firey on first listen, and you’ll have noticed the incredibly high placing of ‘The Suburbs’‘ in the end of year list. That said, some cracking songs and one which I think will rise victorious out of the long wintery evenings.
Which just leaves Take That‘s ‘Progress’ which, and I shit you not, is the finest pop album of the year, the best thing they’ve ever released and, gasp, all the better for the return of Robbie. An electronic pop album which evokes everything from the Scissor Sisters to Bowie‘s techno period, it is a fine, fine, mature record, marking the first successful foray into the notion of the ‘man band’. ‘The Flood’ is now ubiquitous, but ‘SOS’, ‘Kidz‘ and ‘Happy Now’ are all minor triumphs deserving of your attention. Seriously. The marvellously Hi-NRG way in which the chorus kicks in on that last track is a delight to behold. By all means ignore me on this, and clearly there are at least 30 albums more deserving of your attention than ‘Progress’, but if you write it off out of pop snobbery, more fool you and your empty, joyless life.