It's about that time - listening to music is something that I spend quite a lot of time doing (between commuting, studio time, etc.), and quite naturally I've got some opinions about what I listen to.  In case you're curious about what I was listening to last year, why don't you check out Clay's Top Ten Albums of 2008. 

Cool?  Alright, without any further ado, here's my top ten of 2009.

10.  The Warlocks - “The Mirror Explodes” 

With the absence of any familiar laconic, druggy, reverb-drenched releases to sink my teeth into (aka a new Black Rebel Motorcycle Club album), the Warlock's latest filled that gap nicely. I'd love to tell you all about their tight playing, great hooks, and energetic songs, but that's not what they're about. Throw this one on, sit back (waaaaay back), and relax. You've got some classic west-coast psychedelia to process... 

9.  Red Fang - “Red Fang” 

Heavy, brother! These guys come off like a much less-polished Queens of the Stone Age, and that's right up my alley. “Prehistoric Dog” is the highlight of the album, but there's not too much lag over the course of the rest of the album. It's just good, heavy, hard rock. If you like those things, and your needs are not being currently met, give Red Fang a try. 

8.  Nirvana - “Live at Reading” 

I'm particularly torn on this album. First off, it's freaking great. It's Nirvana, playing while they still enjoyed it, in front of an enormous audience who were clearly geeked to see them play. It's a great recording, it's a great set-list (aside from omitting “Love Buzz”), it's a great band. What the hell else could I possibly want here? First off, “Love Buzz.” If you're telling me that it's worth cutting songs and between-song banter to get down to one disc, I'd suggest you eat a dick. I'm very much of the school that live recordings (especially ones that purport to represent a particular show) should be a warts and all affair. Also, if you were to suggest that the folks that might be interested in buying a live Nirvana album after all these years are going to balk at a 2-disc set, well, I'd provide three options. First, put out an uncut version for superfans/completists. Secondly, you could just eat the twelve cents per unit it costs (or whatever) to include the second disc, and price it exactly the same as you would have a one-disc version. Thirdly, you could include a code so that those of us who buy the album can go online and download that one song in MP3 format, since we're all going to immediately throw this album on our iPods or whatever anyhow. Instead, we've got a compromised version of a great concert, and it's highly unlikely that there's going to be an official uncut release at any point in the near future. Whomever is responsible for this album chose the stupidest possible way to get around the running length of the show, so thanks for that. 

But it is a blistering concert, and if you even kind of like/liked Nirvana, this is exactly the sort of thing you're probably going to want. Or you could get the re-issue of “Bleach,” because the bonus concert on that album is pretty freaking great, too. 

7.  Rancid - “Let the Dominoes Fall” 

I miss ska. There, I said it out loud. I loved ska in the 90's, and I love it now. Unfortunately, it's pretty slim pickings these days for that classic 90's Warped Tour sound, and it's even worse for ska. Tim Armstrong remedied that with his solo album a couple of years ago, and now he's back with Rancid. I'm not sure that I ever understand anything he ever says, but it doesn't matter. It doesn't matter! When Rancid (or Tim himself) put out an album, it brings back memories of cute girls skanking in plaid skirts, angry punk chicks, and just plain good times. It also helps that Rancid's songs are catchy as hell, go down like a Coke on a hot day, and blow by before you even realize it. Hey, Tim! I ain't worried about a god damn thing either! 

6.  Mos Def - “The Ecstatic” 

Phew! This one may have been the biggest return to form of the year. Now I'm not going to lie to you, and tell you that “The Ecstatic” is on par with “Black on Both Sides” or the Black Star album. It's not, because those are certifiable classics, and most artists would be lucky to reach those heights even once over the course of their career. But when the eastern (as in far-eastern) riff hits on “Supermagic,” it's like those last couple of albums are a distant memory. Mos is making music because he must, not out of obligation. I don't know that for sure, I just know how “The Ecstatic” feels. And it feels like it's time to crank that sucker up to 11 and ride the beat. For the first time in a few years, I'm looking forward to what's coming next. 

5.  Dinosaur Jr. - “Farm” 

Okay look, yeah, I'm getting on that bandwagon. You know, those bands that were underground in the 80's, never quite got their due, and broke up before the rest of the music world caught up to what they were doing. You know, bands like Mission of Burma (who's latest album was also really good). Now Dinosaur Jr., they made a really good album here. I know you're thinking that I'm getting a little Pitchforky here, but I'm going to tell you this; it's a relief to hear an album this good, this loud, and this feisty from a band led by a guy with white hair down to his ass. It's a good listen, but it also gives me hope that I can be that guy when I get to that point. So don't take that away from me, that glimmer of hope for those years. 

4.  Modest Mouse - “No One's First, and You're Next” EP 

I feel kind of bad listing an EP this high up on my list, especially one that's a b-sides collection. But then again, against all odds, it holds together really well. I don't know what else to tell you about this EP right here, but you might want to track it down. Especially if you're into Modest Mouse, you might want to track it down. 

3.  NOFX - “Coaster” 

Really? NOFX? Look, I'm not going to apologize for this one. If I want to hear some good, snotty, borderline offensive punk rock, where else would you suggest I go? You know and I know that the answer lies with Fat Mike. Everything else in this vein is second rate. I will admit, Fat Mike's been writing an awful lot of songs about alcoholism and drug abuse these days, and I'm starting to worry about him. I'm starting to worry that I'm going to be flipping channels and find him in therapy with Dr. Drew. And then, as these things go, he'll get all serious, and all those great, funny NOFX songs will be a thing of the past. But at the same time, listen to “Blasphemy (the Victimless Crime)” or “I Am an Alcoholic” and tell me that's a risk you're not willing to take. And on the other hand, “We Called It America” and “Best God in Show” have him coming off pretty sharp. So while I'm a little worried about Fat Mike, I've also listened to this album more than anything else this year (other than my top two albums). Keep it up, man! 

2.  The Dandy Warhols - “...Are Sound” 

I had such an unbelievably hard time figuring out what was going to be #1 and #2 this year, because for me, these two albums stood head and shoulders above the rest. It wasn't even close, really. 

“The Dandy Warhols Are Sound” is basically the first version of 2003's “Welcome to the Monkey House,” which was rejected by the Dandys' label, and then was remixed without their involvement. That was the version (along with an extra song) that hit record stores, and it was a really good album. It's not like the band disowned it or anything. However, they've had the original version, mixed by Russell Elevado just laying around, and when they were finally free from their contract, decided to put out “...Are Sound.” 

This album is a radically different listening experience from “Monkey House.” The only way I can think of to put it is that the sparkle has been removed. This version sounds like something a band could produce, while WTTMH had a layer of sheen to it that worked really well with the sort of cool, detached vibe the Dandys have. Here, the drums are really stripped bare of effects, but the vocals are also treated very differently. In “The Last High,” this has the effect of revealing a great deal of vulnerability in the vocal performance. Hearing Courtney Taylor-Taylor subtly choking on the line “Maybe you'll call me/maybe you won't” in the chorus is startling and humanizing. On the whole, “...Are Sound” is a more melancholy, human record. It's the difference between a morning after where the night before went well, and one where you think it might have gone well, but aren't entirely sure. 

This isn't an album that's likely to change one's perception of the Dandy Warhols. Sure, there's an academic appeal – a second version of the same material handled by a different producer. But if you like them, this is way better than just a curiosity. If not, the differences between the two albums aren't so radical that this album is going to become a must-own. It's a fantastic batch of songs either way, and this one stands on it's own. This is one of the two albums that I've been listening to fanatically for the last few months or so, and I think it would have been the number one if it weren't for it's earlier remixed doppelganger. 

1.  Aceyalone - “And The Lonely Ones” 

You ever see someone who's really good at what they do, having fun? Now, the thing about people who are really good at what they do is that they make the difficult seem effortless. But the ones who are a little better than that? Not only do they make what they do seem like it's no work at all, but sometimes there's a moment where they'll tip down their glasses, wink at you, and then hit a detail that's mind-bogglingly perfect, just to show off a little. Just to let you know. 

There's a moment like that on this album, in the song “Push n' Pull.” Acey's rapping, loosely swinging over a swing groove. His line goes “I was told/by a man so old/that when he spoke/time stood still,” at which point all the instruments except the hi-hat and the horn drops out until he's done with the rest of the line. And it's so fucking perfect that it raises goosebumps AND a huge grin goes across my face every time I hear this song. Acey just let me know just how good he is, and it's just a small moment in a short album that goes by quicker than perhaps anything else I've ever listened to. 

This album is something like 28 minutes long – chock full of Motown and doo-wop goodness. Aceyalone's been bouncing between styles on his last couple of albums (the last one was his tribute to Jamaican dancehall music, done entirely in patois), and I didn't really know what to expect when I got it, other than that I generally like his work. Much like the Dandy Warhols album, I've been listening to this album repeatedly, obsessively. It's infectious, a master having fun. It's not the heaviest material, it's not a rapper rapping about guns and blow, it's a musician making music.

And, as a very special bonus, here's the video for my favorite song of the year: