Al Bedsitter's Best 20 Albums of 2012 (part 1 of 3)- This is crazy...

It's a tradition and here it is.  My favorite albums of the previous year.

2012 was clearly the year of the Elders of Rock - Dylan, Cohen, Neil Young, Iggy, John Cale, Patti Smith, Scott Walker, John Lydon, and Jimmy Cliff to name a few.

There were a lot of good albums, and a lot of good albums early in the year.  I have no complaints about 2013.  Maybe, there wasn't that defining album.  The closest I come is This is PiL, but there is no OK Computer, no The Suburbs.

So, without further ado, some surprises from the veterans, with an appreciation of Bandcamp to find the ones that are just starting on their path, and a couple of Bad Seeds along the way.

Barry Adamson – I Will Set You Free (Central Control)- I know Adamson as an original  Bad Seed and 1996’s Oedipus Schmoedipus.  That was an interesting album of the type of jazz and guitar noir that featured some amazing guest vocals from Nick Cave and Jarvis Cocker which overshadowed the rest.  Adamson does what he does here (without anyone stealing his spotlight) just dripping in European Cool and cinematic drama.

Buck Satan & the 666 Shooters- Bikers Welcome Ladies Drink Free (13^th Planet)- This Al Jorgenson project has been a rumor for two decades.  Now released, expectations were surely low.  An industry/country project seemed novel during Ministry’s heyday, but there’s nothing on here that Hank Williams the 3rd hasn’t covered already during his career.  The hybrid also means it resembles one-hit wonder Rednex (“Cotton Eyed Joe”) more than it does any other artist.  That said, this album delivers on the promise of a silly, fun time.  An instant cult classic. 

Chumbawamba & Red Ladder- Present the Original Cast Recording of “Big Society” (No Masters)– A musical hall production written by band guitarist Boff Whalley and starring Phil Jupitus and the agit-prop group Red Letter might have caught some people off guard.  The band always appreciated music hall and it gives them a perfect vehicle for their message.  In this case, using the 1920s – a time full of robber barons, over-exuberant generals, and racist/sexist masses.  Nothing like now, of course, and certainly  not a metaphor for the 1%.  The music is pretty good, too.  A nice swansong from Pop's favorite anarchists.

Jimmy Cliff- Rebirth (Universal) – Cliff always seems to take a backseat to Bob Marley in how America views reggae artists (despite Cliff’s The Harder They Come movie and classic soundtrack).  Rebirth does an excellent job at helping Cliff’s profile.  Teaming with producer Tim Armstrong of Rancid was inspired (Truly, it was Joe Strummer’s idea), and this should appeal to ears that primarily focus on rock.  The album features some classic ska sounds with anthemic choruses and driving rhythms, and nowhere does it come together better than what may be the best song of the year “One More” .

Cloud Nothings – Attack on Memory (Carpark Records)- the Steve Albini-produced third album was where I picked up on Dylan Baldi and his Cleveland-based band.  The band appeals to the part of me that loves lo-fi with screaming (Think The Thermals) and should also appeal to all my indie friends (who spent the 90s listening to DC bands and Emo bands of the day like Braid and Sunny day Real Estate).  Pitchfork loves them, which gives me pause, but they remind me of all the bands I mentioned above with a strong pop sensibility.  Think of a modern-day Jawbreaker.

The Cult – Choice Of Weapon (Cooking Vinyl) – Improbably I heard a lot of buzz about this being one of the best albums of the year, but once I checked it out, I was convinced.  The Cult had one bonafide classic album, maybe more (Love, Electric, Sonic Temple), but no one would have expected a reunited Cult to put out something this good.  The lyrics are a bit silly (of course) but as long as they are delivered confidently by Ian Astbury and backed by some of Billy Duffy’s best work (and produced masterfully by Bob Rock) , it is some great Doors-inspired blues rock.

Foe- Bad Dream Hotline (Mercury/Vertigo)-  Artists like Foe were popular 10 or 15 years ago, but I am not sure if that audience is still around for this British 21-year old.  I can't be sure- the sound- electro-rock (multimedia rock?) with strong female feminist vocals- never quite escapes the shadow of Garbage (Shirley Manson was an early supporter) , but it succeeds on its own.  Catchy pop lyrics and unique sounds.  A promising debut and probably would have been a certain chartbuster if released a decade earlier.