The National

Rust Is Just Right’s Best Albums of 2017

Today is April 17, and while the rest of the nation trudges through another Tax Day (a few days later this year), we here at Rust Is Just Right choose this occasion to return from the dead and release our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists; 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year; and 3) It provides a handy consumer guide for people to focus where to spend their tax refund.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Phoebe Bridgers – Stranger in the Alps; Fleet Foxes – The Crack-Up; Godspeed You! Black Emperor – Luciferian Towers; Vince Staples – Big Fish Theory; Tyler, the Creator – Flower Boy; Wolf Parade – Cry Cry Cry (7 plays)

It should come to no surprise for our readers the band who inspired our site’s name would crack our Top Ten with our return, though their low placement on the list may raise some eyebrows.  While their return has enough artistic merit to make it more than a simple cash-in on instant nostalgia, Cry Cry Cry lacked the standout songs that marked Wolf Parade’s previous work, with the album seeming to be more competent than anything.  Still, the one-two punch of Dan Boeckner’s “Artificial Life” and Spencer Krug’s “King of Piss and Paper” (reversed for the video) should alleviate the worries of any fans that the Canadian supergroup still has gas left in the tank.

I felt bad for the short people behind me

Wolf Parade, at the Crystal Ballroom

Tyler, the Creator bounced back from a couple of forgettable efforts with an ambitious album that recalls why fans were so impressed with the Odd Future crew back when “Yonkers” first hit, mixing bangers with surprisingly introspective tracks.  We’ll leave the discussion about the lyrical prowess of Vince Staples to others (they never really impressed us that much, but the words aren’t usually our focus), but the beats on Big Fish Theory were a goddamn revelation considering the malaise that seems to be spreading over modern hip-hop these days.  We’re not sure what gets the party going with the kids these days, but bump Vince’s latest on your headphones and you should be set for one heart-pumping adventure.

Much like Dinosaur Jr., another iconic alternative group, Godspeed has shown new life after their return from their prolonged hiatus.  However, as good as their recent albums have been, they seem to be following a similar arc where the third album doesn’t quite have the juice of its two predecessors.  That said, the climax of “Bosses Hang” is exactly what we need these days.

Phoebe is the newcomer to the party, and her delicate debut is perfect for late-night listens.

9. Dieg Cig – Swear I’m Good at This; The War on Drugs – A Deeper Understanding (8 plays)

What can we say–we love duos.  The mix of the sugar-sweet vocals with the propulsive punk makes Diet Cig a welcome addition to the garage rock revival.  The War on Drugs exceeded our expectations; we had begun to get tired of the band’s style (and had read too many critiques of their sound), so we weren’t exactly pumped for their latest.  However, there are plenty of songs on Understanding which will make the band’s eventual Greatest Hits release.  That said, we pray that on the next album Adam Granduciel learns you can use drum patterns besides ones that hit on 2 and 4.

The War on Drugs, at the Crystal Ballroom

8. Alvvays – Antisocialites; Beck – Colors; LCD Soundsystem – American Dream; Protomartyr – Relatives in Descent (9 plays)

Alvvays went a bit darker with their follow-up to their self-titled debut, and added new textures to their indie-pop sound.  Beck finally released his often-teased follow-up to the Album of the Year winning Morning Phase, and while it seems the rest of the country wasn’t psyched for a return of “fun” Beck, we found this album plenty enjoyable.  Beck may have fussed over individual sounds endlessly before the release of Colors, but repeated listens prove it was well worth the effort.  LCD Soundsystem was another welcome return of indie rock royalty, and though it seems they may have stalled a bit creatively after their wonderful initial three album run, “Call the Police” was worth the price of admission in and of itself (though we wish they could have found a way to include the teaser single “Christmas Will Break Your Heart” on the album).  Protomartyr further honed their sound of post-punk mixed with the ravings of an esoteric college professor.  Relatives was not as initially catchy as The Agent Intellect, so it may discourage new fans, but eventually it hooks your way into your brain–see how the line “She’s just trying to reach you” keeps repeating throughout and how it fits with the themes of the record.  The lyric from the Michigan band of “It’s been leaded by snider men to make profit from the poor” might be the best line from 2017, but it’s the following line I keep repeating in my head: “I don’t want to hear those vile trumpets anymore.”

Protomartyr, at the Doug Fir

7. Broken Social Scene – Hug of Thunder; The National – Sleep Well Beast (10 plays)

Hug of Thunder might be the most consistent front-to-back record in the BSS catalog, with several songs that are just really damn uplifting.

Broken Social Scene, at the Crystal Ballroom

By contrast, Sleep Well Beast is a step down for The National, but they’ve been on fire since Alligator and you can’t expect them to maintain perfection forever.  The electronic flourishes to the album are a nice touch, and there are several standout songs that will be great additions to the average setlist.  Simply put, the album gets dinged only because it pales in comparison to their recent string of successes.

The National, at the Schnitz

6. Death From Above 1979 – Outrage! Is Now; Queens of the Stone Age – Villains; Run the Jewels – Run the Jewels 3 (11 plays)

Death From Above officially dropped the “1979” from their name, but it’s going to take us a while to get used to it.  However, we are thrilled that the return to form of The Physical World was no mere fluke, and we’re exceedingly pleased to see the band continue to evolve.  At first, it may seems the album dips in the middle, but after a few times through it becomes clear the forays into sludgier metal riffs are a welcome evolution for the duo (and will help save the stamina of a singing drummer).  Hell, see how easy they make metal look with the hard-hitting opener, “Nomad”.  We may overrate these guys compared to others, but honestly, we have no idea why “Freeze Me” wasn’t a bigger summer hit.

Death From Above, at the Roseland

It took a few times though to get on the same wavelength as QOTSA for their latest, with our initial impression being that a few of the better songs would have worked just fine as Eagles of Death Metal tracks instead.  But once we got lost in the sound and feel of the record, we began to appreciate it more.  Also, “Villains of Circumstance” will be remembered as one of their best ever.

Queens of the Stone Age, at the Hult Center

RTJ is in a strange position, because the schedule of their leak and official release had them straddling the line between 2016 and 2017 lists, but this feels like the right spot for them (if we included every single listen since its release, it would tie for the top spot).  RTJ3 isn’t as lean as its predecessors, but there’s plenty here that will leave listeners longing to hear the continuing saga of Jamie and Mikey.

Run the Jewels, at the Crystal Ballroom

5. Joey Bada$$ – All-Amerikkkan Bada$$; The xx – I See You (12 plays)

A couple of surprises make it into the top half of the list!  We were not impressed with Joey’s debut, but All-Amerikkan Bada$$ is an impressive step forward, effectively mixing groovy R&B and political hip-hop.

We thought The xx had already begun running out of creativity with the decent Coexist, but it turns out there is still juice left in their minimalist indie rock.  Who knew you could make introverted love songs so danceable?

4. Big K.R.I.T. – 4eva Is a Mighty Long Time (13 plays)

Big K.R.I.T.’s ambitious new record easily slides into the trinity of Wu-Tang Forever and All Eyez on Me on the list of greatest hip-hop double albums.  Though nominally split between his two personalities with the party anthem heavy “Big K.R.I.T.” and the introspective gospel-tinged “Justin Scott”, the album flows just fine as one long piece.  Hell, even the few skits on the album can be listened to more than once!

3. Cloud Nothings – Life Without Sound; Grizzly Bear – Painted Ruins; Japandroids – Near to the Wild Heart of Life (14 plays)

Now here’s a triumvirate you would expect from us.  Japandroids got an early jump on everybody with a January release, which partially explains their high ranking on this list, though we don’t want you to put too much in that disclaimer.  Wild Heart of Life is a half-brilliant, half-decent album, which explains our reluctance to fully commit to any direction in our assessment.  The title track opener is an all-time great for the band, and the run from “Midnight to Morning”, “No Known Drink or Drug”, and “In a Body Like a Grave” finish the album on a rousing note.  It’s the middle songs which sag, though we appreciate them as experimental forays necessary for a duo who wish to have a long career.

Japandroids, at Revolution Hall

Grizzly Bear once again returns with an album that sounds great on headphones, begging for you to pick out more and more details with each listen, all in a style that’s perfect for either driving in the car or listening late at night.

Grizzly Bear, at the Roseland

Cloud Nothings made the most consistently brilliant punk record of the year, and goddammit I hope that band keeps moving on to bigger and better things.

Cloud Nothings, at the Doug Fir

2. Kendrick Lamar – DAMN.; Spoon – Hot Thoughts (16 plays)

After the overflowing To Pimp a Butterfly, a record that placed a lot of its emphasis on being a complete album, it seemed Kendrick was coming back with a series of hard-hitting singles–“Humble.” and “DNA.” were huge, aggressive tracks which got everybody fired up for the release.  The initial impression of DAMN. as a series of singles eventually proved to be incorrect, as Kendrick revealed more of the thought process behind the album.  For us, though, the switch was flipped when the “Collector’s Edition” was released, which flipped the tracklisting from back-to-front.  All of a sudden, the album seemed to have a much better flow, and its themes became more readily apparent.

What more can be said about Spoon?  The band is incapable of releasing a less-than-great album at this point, and Hot Thoughts shows off a fun side that had been hiding in the background for a few years at this point.  Britt and the guys walk the tightrope of staying true to their “sound” while not repeating themselves–for example, the funky “Can I Sit Next To You” fits right alongside their early hit “I Turn My Camera On” without it being a rehash.

Spoon, at the McDonald Theater

We love the whole album, but we’re going to keep the somber “I Ain’t the One” and the relevant-to-these-times “Tear It Down” on repeat.

1. Slowdive – Slowdive (17 plays)

The return of My Bloody Valentine may have inspired more ink, but we appreciated the return of the other titans of shoegaze more.  Slowdive fits right in next to Souvlaki and Just for a Day, but doesn’t feel like a mere revival of their early-90’s peak.  The music is as gorgeous as ever, venturing from the delicate haunting vocals in the ballads to the big rush of guitars in the epics.

Slowdive, at the Crystal Ballroom

We’re not sure if we’ll look back in ten years and definitively say we made the right choice on the number one album of 2017, but we’re confident in saying we’ll still love the hell out of this album.

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Catching Up On The Week (Nov. 20 Edition)

A few #longreads for the weekend…

This week we have a few articles for your perusal that directly relate to the bands we covered over the past few days.  First, we have two extended profiles on Beach Slang, our new favorite band.  SPIN dives into the band’s biography in detail, while Grantland (R.I.P.) looks at the band in context of modern indie rock.

After reading our review of Everclear’s sold-out show in support of the twentieth anniversary of Sparkle and Fade, be sure to check out this Willamette Week piece which provides details on the making of the album (and covers how Art Alexakis earned a certain reputation around Portland), as well as this interview with Art for The Oregonian.

Finally, settle in and read this lengthy look at the state of The National from Stereogum, including how they ended up pursuing side projects like EL VY and Pfarmers, as well as the work that the band has done in following up Trouble Will Find Me.

Review: EL VY – Return to the Moon

Side-projects are best experienced with an open mind, with little-to-no expectations based on the previous work of its members.  They are often useful for musicians, in that they provide an outlet for previously unused musical ideas or allow them to express different aspects of their personalities, but they can prove disappointing to the audience when the work does not match the quality of previous results.  So while it may be initially tempting to have high hopes for a collaboration between members of The National and Menomena, two of the best bands in indie rock from the past decade, it is probably in the listener’s best interests to approach their work with caution.

Then again, EL VY’s Return to the Moon is a thoroughly enjoyable lark, and fans of the other bands of Brent Knopf and Matt Berninger should find plenty to love with this project.

In many ways, Return to the Moon is a side-project that lives up to the expectations of a supergroup, since in many ways it does sound like a more experimental Menomena record with guest vocals from The National.  Knopf brings the cut-and-paste approach of his former group, offering up hundreds of quick musical ideas over the album’s eleven tracks; careful listeners may be able to pick out variations of the piano riff and acoustic guitar chords from “Wet and Rusting” sprinkled into a couple of tracks.  The music generally sticks to that intimate indie rock style, but there are quick forays into funk and other left-field genres that keeps the listener guessing.

Berninger seems to relish the chance to step outside the seriousness of his regular gig, and reveals a more playful part of his personality.  This is most apparent in the playful and profane “I’m the Man to Be”, which includes a line in the chorus about his “person”.  For the most part, Berninger is content to deliver his vocals with that trademark soothing baritone, which fits in nicely with Knopf’s compositions.

The album tends to lose momentum as it progresses, though the blend of the harder-hitting “Sad Case” and “Happiness, Missouri” is a highlight of the second half.  However, the opening title track is one of the catchiest singles of the year, and had me humming along for the past few weeks, and there are several other pleasant songs that are nearly its equal.

EL VY, Live at the Doug Fir

The show on Tuesday night had the atmosphere of a homecoming, even though it was only EL VY’s second show.  Even the tickets reflected the casual nature of the evening, as it described the group as “a collaboration between The National’s Matt Berninger and Me.”  The “Me” of course refers to local musician Brent Knopf, who has previously delighted Portland music fans with his previous work in Menomena as well as his solo effort as Ramona Falls, and now makes up the other half of this indie rock “supergroup”.  While there were a couple of issues in making the transition from recording project to a functioning live act, they were only minor speed bumps during an otherwise entertaining show.

One of the coolest concert posters ever.

One of the coolest concert posters ever.

The band’s debut album Return to the Moon had only been released on Friday, and I am sure there were many in the crowd that had not been able to listen to it in its entirety before the show (my copy only arrived the afternoon of the show, so I was only able to get through it once).  Nevertheless, the audience remained enthusiastic throughout the night, even if they had no idea what to expect.   The crowd did show their appreciation for the few songs that they did know, with a few even having learned enough of the lyrics to sing along for a bit.  Songs like “Return to the Moon” and “I’m the Man to Be” had an extra pop to them and were highlights of the set, and one could easily see why they were shared in advance of the album.

The tone of the evening was very light and informal, and one could see that Matt enjoyed the break from the usual seriousness associated with his main gig.  Matt had fun with Brent as he spent some time in-between songs trying to diagnose what exactly went wrong for a couple of measures, citing his own inability to remember his cue to sing for one and playfully arguing with Brent about how one of his chords caused him to overshoot on a vocal jump in another (and in the process showing the difference between recording alone to a track and singing with a live group).  But for the most part, everything went as seamless as one could expect from a brand new group playing one of their first shows.

EL VY also enjoyed the opportunity to play with some of their friends, as local musician Ural Thomas joined in to help fill in some of the background vocals he provided on the album, along with opening act Moorea Masa.  But perhaps the best moment of the night was when the group selected an out-of-leftfield cover, the massive Fine Young Cannibals hit “She Drives Me Crazy”.  Matt opted to bring Roland Gift’s falsetto down a couple of octaves, but otherwise the band captured the song perfectly, to the delight of many in the crowd.

The lighting makes it seem so dramatic.

The lighting makes it seem so dramatic.

Opening act Hibou were quite impressive, veering from the quiet and languid music that recalled Deerhunter to more epic, bombastic rock that would fit in perfectly fine at an arena and not a basement club.  Moorea Masa has a beautiful voice, and the delicate harmonies that she produced with her fellow vocalists brought to mind a female version of Fleet Foxes.  I am looking forward to seeing both of these acts swing through town again.

Over the Weekend (Sept. 14 Edition)

New music, videos, and other news to help you kick off the week…

This week we have quite a few videos to share, and not much else, so it should be pretty easy for our readers to have fun while expending a minimum of effort.  First, we recommend that fans of The Black Keys take a look at The Arcs, the latest side-project from Dan Auerbach.  The new group recently released their album Yours, Dreamily… and last week put out a psychedelic video for their song “Outta My Mind”, which recalls the recent work of Dan’s main gig, if a little more playful in tone.

Speaking of side-projects, Matt Berninger (frontman of The National) and Brent Knopf (Ramona Falls, formerly of Menomena) have joined forces to record as EL VY, and the results they have shared so far are interesting to say the least.  Their album Return to the Moon is not set to be released until October 30, but for now enjoy Matt having some fun in SoCal with the slinky “I’m The Man To Be”.

Albert Hammond, Jr. of The Strokes is promoting his third solo album, Momentary Masters, and for the video of “Caught By My Shadow” he pays a bit of homage to The Seventh Seal with his chess battle with death.  However, viewers are unlikely to confuse it with the Bergman classic, considering Hammond’s version involves way more special effects.

If you are still in the mood for something strange, be sure to watch Viet Cong’s latest video from their self-titled debut, “Bunker Buster”, which features some bizarre visuals and a sci-fi storyline.

The premiere of The Late Show with Stephen Colbert was the biggest news in entertainment last week, and among the memorable moments from the show’s first week was this amazing performance by Kendrick Lamar of a medley of songs from To Pimp a Butterfly.  Be sure also to tune in on Tuesday night, when Run the Jewels are set to perform with TV on the Radio.

Apparently The Decemberists were even more productive during their hiatus, as in addition to this year’s What A Terrible World, What A Beautiful World, the band is set to release the EP Florasongs on October 9.  The band gives a taste of what to expect with the song “Why Would I Now?”

And finally, if you are looking for something to satisfy your desire for lists, you might check SPIN’s look back to 1995 with their list of “The 95 Best Alternative Rock Songs of 1995”.

Catching Up On The Week (Apr. 17 Edition)

Some #longreads as you prepare yourself for Record Store Day…

It should be obvious that we here at Rust Is Just Right love record stores, and so it would seem to follow that we would appreciate the “Record Store Day” celebration.  However, as the “holiday” has grown in recent years, we have begun to realize that the success of the promotion can be a double-edged sword for the very businesses it was meant to protect: a sudden influx of sales can be good, but it means little to these stores if these sales do not create regular customers, and the emphasis on special releases has the problem of crowding out vinyl production, with limited edition records for established artists taking up space initially earmarked for truly independent bands.  Pitchfork has a piece that breaks down in more detail the ambivalent feelings that Record Store Day has generated.

It may sound counterintuitive at first, but the thesis of this Stereogum essay makes more sense the more you think about it–Brian Wilson certainly had an impact on the creation of punk rock.  Elsewhere on the site, the Anniversary Machine takes a look at the tenth anniversary of Alligator from The National, which marked a significant turning point for the band.  The best point made in the article is that despite what some detractors may say, there is a real evolution from Alligator to the present day in The National’s sound.

The School of the Art Institute of Chicago is awarding Kanye West with an honorary degree, and FADER has an interview with the president and dean of the school explaining their decision.  Though it has generated a mild amount of heat among a minority of students and some alumni, it is an easily defensible choice, as explained in the piece.

An ugly spat has been brewing between Black Sabbath and drummer Bill Ward, and it has spilled over into the public sphere this week.  Rolling Stone has an interview with Ward explaining the origins of the dispute and the band’s current situation.

The highly-anticipated second album from Alabama Shakes will be released on Tuesday, and Consequence of Sound talked to frontwoman Brittany Howard about Sound & Color as well as the band’s rise to fame.

Finally, Cuepoint has a fantastic piece courtesy of Bethlehem Shoals on the legacy of Percy Sledge, who should be remembered for more than his mammoth hit “When A Man Loves A Woman.”

Over the Weekend (Apr. 6 Edition)

New videos and other fun stuff as you fill in the hours around the NCAA championship game…

Lots of new songs and videos to get through this week, so let’s get straight to the action.  After announcing a North American tour and releasing a new track (the groovy epic “Let It Happen”), Tame Impala has finally revealed some details about their followup to the fantastic Lonerism.  The album Currents will be available later this year, and to help celebrate the news the band released another track, the slow-burning “‘Cause I’m A Man”.

My Morning Jacket continues to leak out new songs from their upcoming album The Waterfall, sharing the ballad “Spring (Among the Living)” last week.  My immediate reaction was to say that it is a more dramatic version of “Victory Dance” from Circuital, but with a seriously ripping guitar solo.

Kendrick Lamar is doing the rounds in promoting his album, which involves things like talking to MTV about the origins of the album title to doing radio interviews discussing how he did the Tupac interview that closes To Pimp a Butterfly, as well as announcing his engagement (congrats, btw).  Kendrick also released the music video for the new album’s latest single, “King Kunta”, which features a performance in his hometown of Compton.

The National have shared a previously unreleased track from the Trouble Will Find Me sessions, a song called “Sunshine On My Back” that features Sharon Van Etten on vocals.  The band explained in a Facebook post various options for people to purchase the track.

Most of us were not able to make it down to Austin for SXSW this year, but NPR is doing us a real solid favor by hosting video of TV on the Radio’s performance at the festival.

Legendary punk rockers Refused announced a new tour last week, this time emphasizing smaller venues.  If you are unaware how much we love the band, you should take note that the header photo that graces this site comes from their reunion show at the Roseland from a few years ago.  Unfortunately, though it would have been amazing to see them perform at the Doug Fir, tickets sold out in about two seconds, so it is unlikely RIJR will be able to review the show.

Maybe our inability to purchase tickets was due to the fact that we forgot to post the latest Run The Jewels video.  Killer Mike and El-P released the video to the fantastic “Close Your Eyes (And Count to Fuck)” which features a memorable appearance from Rage Against the Machine’s Zack de la Rocha.  Enjoy the symbolism.

And finally, watch another one of those “let’s see what today’s teenagers know about the 90’s” videos.  This one has kids listen to various 90’s songs, and for the most part they didn’t do too badly.  I can forgive these guys for not knowing Ace of Base or how the non-rockers were unfamiliar with Tool’s “Sober”, but it pains me that so few knew who Coolio was or could identify Green Day’s first big hit.

Merry Christmas

Merry Christmas, from everyone here at Rust Is Just Right!  We’ll celebrate this holiday the same way we do all the others–with way too much food and indie rock!

Once again, The National has collaborated with Bob’s Burgers to produce a new carol for the holiday canon, this time branching out into Christmas music.  It’s delicate and way-too-serious in a goofy-sort-of-way, which is exactly what we’d expect from this partnership.  We hope that for those of you celebrating today that you make this a small part of your festivities, and for those of you who aren’t, that it at least puts a smile on your face.

The Best Concerts of 2014

We do things a little differently around here when it comes to the traditional lists like “Best Albums of the Year”, since we like to take the extra time to see if we may have missed anything.  But we admit we can’t resist the opportunity to look back on other highlights of the year, so it’s the perfect time to create an arbitrary ranking of the best concerts we saw this year. 

Over the course of 2014 we saw a grand total of 32 different concerts (including two separate festivals), giving us close to an average of three different shows a month to see national touring acts.  Considering that we had to travel at least an hour to and from all but one of these shows, allow us to shed our modesty for a second and say that this was quite the accomplishment.  Luckily, not a single concert could be even remotely considered a dud, so it makes narrowing down the list to just ten shows that much harder.  That said, we think that these shows are worthy of special recognition, and we invite you to use the tags to read up on our reviews for each performance.

Cloud Nothings put on a great show, but will have to settle for just outside the top ten.

Cloud Nothings put on a great show, but will have to settle for a spot just outside the top ten.

Honorable Mention for The Thermals playing a show in Salem and making the town seem like a real cool place for once.

10. The Men, live at Dante’s

9. Hamilton Leithauser, live at the Doug Fir

8. The National, live at the Les Schwab Amphitheater

7. Modest Mouse, headlining Project Pabst

6. TV on the Radio, live at the Crystal Ballroom

5. Queens of the Stone Age, live at the Keller Auditorium

4. Beck, live at Edgefield

3. Neutral Milk Hotel, live at the Crystal Ballroom

2. Death From Above 1979, live at the Crystal Ballroom

1. Slowdive, live at the Crystal Ballroom.

It’s no surprise that the top of the list is loaded with reunions, though the exact order goes against what probably would have been predicted at the beginning of the year; the biggest shock remains that shows at the Crystal Ballroom ended up being the venue to house the best shows, though that speaks to the ability of each of those groups to overcome any obstacles that tricky room could toss their way.

Let’s hope that any shows we see in the next year live up to the unbelievable standard that this past year has set!

Over the Weekend (Dec. 22 Edition)

Some videos and lists and other fun stuff as you continue to put off Christmas shopping…

Last week we said farewell to one of our favorite late night comedy shows with the end of The Colbert Report, but that wasn’t the only great program that finished its run last week.  The Late Late Show with Craig Ferguson was underrated for the entirety of its run, as few could match the creativity and anarchic spirit of its host.  Craig ended things with a bang on his last show, and it was nice to see this tribute at the top of his show.  Here’s the official video, though it’s missing an excellent second half as seen in this link.

The “Bang Your Drum” performance was an excellent followup to the latest rendition of the annual holiday tradition of Darlene Love performing “Christmas (Baby Please Come Home”) on The Late Show with David Letterman.  Of course, what really takes the performance to another level is the bari sax solo, but all the musicians are worthy of praise.

Once again, we have even more lists for your consultation.  Cokemachineglow has multiple lists for top albums, and then there are best videos lists from Vulture, PASTE, and Buzzfeed.  While there are several good selections, I’m surprised to see the absence of our personal pick for best music video of 2014, the haunting “Story 2” from clipping.

Song Exploder has an excellent interview with members of The National, who discuss the creation of “Sea of Love” for Trouble Will Find Me.  They really go deep into the making of the song, so all those budding songwriters out there should take note.

In a bit of unsurprising news, the Yeah Yeah Yeahs are “on a bit of a hiatus” according to Karen O.  But it sounds like it’s just down time and not anything signalling the end of the band, which is great.

The Replacements have released some new music, and to say it’s different than what you would expect would be an understatement.  Pitchfork has the link to the 25 minute jazz improve piece “Poke Me In My Cage”.

Daniel Kessler from Interpol’s side project Big Noble just released their first music video, providing a visual accompaniment to the soundscape “Stay Gold”.

And a melancholy farewell to Joe Cocker, who possessed one of the great voices in rock history.  His cover of “With A Little Help From My Friends” was a huge part of my childhood, and I’m sure millions of others could say the same thing.