21. Black Keys – Little Black Submarines 22. Atlas Genius – Trojans 23. Ed Sheeran – The A Team 25. Imagine Dragons – It’s Time 26. Rihanna – Diamonds 28. Silversun Pickups – Bloody Mary (Nerve Endings) 30. Phillip Phillips – Home

Roger’s Top 20 Albums: Part 3



10. Taylor Swift – Red

Taylor Swift is the epitome of a modern day superstar. She is completely in touch with her fanbase, and knows how to make those outside of that niche at least have some respect for her. She has an uncanny ability for songwriting, her stories are fleshed out tales of ideas and thoughts that the masses can relate too, and while the jury may still be out, her vocal prowess is coming along. “Red” – her second straight 1 million+ debut week seller – may very well be her crowning achievement. It begins to take Taylor out of the safe, country/HAC realm she had so easily conquered already, and she begins to take on new, foreign sounds. Whether it be the cheeky pop of “We Are Never”, the dub step and beat drop of “Trouble”, or U2-style anthems like “State of Grace” – she has branched out successfully where many before her have faltered. Has she abandoned the sound that made her a star? No. Songs like “Red” still sound great at Country radio, and her duets with Ed Sheeran and Gary Lightbody show she has a knack for scouting good talent. We live in a world where Taylor Swift reigns over pop music, and I think the majority of people are OK with that.



9. John Mayer – Born & Raised

John Mayer may be one of the few people who is not OK with the Taylor domination, especially because he’s felt the sting of her songwriting wrath. Along with a vocal cord granuloma that halted album promotion and touring prospects, it’s easy to say this wasn’t a good year for Mr. Mayer. Nonetheless, he dropped the album of his career, as “Born & Raised” abandoned the pop-leaning tracks that always made their way on his previous albums. People knew John Mayer was a solid guitar player when “Heavier Things” came out, and while “Continuum” and “Battle Studies” always hinted at some Hendrix meets Southern soul, they were never complete collections. This album is no fluff. There isn’t much here that would be a hit single, but everything is memorable. From “Something Like Olivia”, to “Queen of California”, to “Age of Worry” – it’s vintage, authentic, and it’s raw, bare bone talent. Many think he will keep isolating his legion of College 20-something females behind with records like this – but what he may lose he will gain and then some in devoted, true music lovers as fans.



8. Alabama Shakes – Boys & Girls

Much about that Southern soul – nothing comes harder than Brittany Howard and the boys of Alabama Shakes – who are now reeling in Grammy nominations and a new found life for “Hold On” at Alternative radio. I remember hearing “Hold On” for the first time – I thought it was a husky dude singing it – and I thought, damn, this pulls at the heartstrings. It’s gut wrenching. And while that single will always be the heavyweight of this album, the rest of it does stand very well on it’s own – much thanks to Ms. Howard for that. Her dynamite, husky pipes lend way to menacing tracks like “I Aint The Same”, “Hang Loose”, and “Heartbreaker” – which smoke and sizzle intensity. She is the complete package though, and she lets her heart hang on her sleeve with songs like “You Aint Alone” and “Be Mine” – where you believe the angst. This band is likeable, and we want to rally behind them. What a refreshing addition to the modern rock roster.



7. Metric – Synthetica

Speaking of new faces at Modern Rock, Metric are slowly but surely beginning to cement their status as “core” artists at the format. While they’ve always been huge in Canada, their last four singles in a row have gone at least top 20 in the US – and it’s only a matter of time before they break through that top 10. While many dismissed their previous effort, “Fantasies” – I was a believer, and I very much believe in this album as well. Albeit, it takes some time because the sounds are so diverse. Some of it smokes out of the gate, songs like “Youth Without Youth”, “Artificial Nocturne”, and “Synthetica”, are immediate winners and have that trademark Metric sound. Others, delve into a mid-tempo territory that you don’t get too often from Haines and company, such as “Breathing Underwater” and “Speed The Collapse” – the two album highlights I’d argue. They swim the intermediate waters between the usual Metric roster, their thrashers like “Monster Hospital” or their true subdued efforts like “Police & the Private”. They experiment with cheeky pop in “Lost Kitten”, which I think is a fan favorite, and then there is the experimental sounds of “Dreams So Real” and the Lou Reed collaboration. But a sure **** surprise is the nostalgic, 80’s sounding “Clone” – which has an atmospheric, under the stars kind of vibe to it. That’s a lot of playing around on one album. And while it doesn’t feel cohesive at times, you gotta admire the ambition.



6. The Killers – Battle Born

This was going to make my top 5, but honestly, The Killers just aren’t having a good year for me. While many critics would say this is their best album since “Hot Fuss”, I’m not even sure I can agree with that. I’ve missed out on seeing these guys live TWICE this year, one time due to phony tickets, and the other time due to Flowers having bronchitis. Maybe that’s why I can’t truly rally behind this? I’m sure / hoping this stuff transcends even better on the live stage. Beyond “Runaways” and “Miss Atomic Bomb”, which are truly just poor man versions of “When You Were Young” and “Read My Mind” – what hits are here? Very few. “Battle Born”, which is the song they use to close their shows out now, will never be able to replace “All These Things” – and songs like “Deadlines and Commitments”, “Flesh & Bone”, “From Here On Out”, “Here With Me” – have a been there, done that feel – and it was done better before. So why is this #6? The Killers are one of my favorite bands, and their live show (which I’ve seen 6 times already) is one of the best in town. And to be fair, “The Way It Was” and “Be Still” do have a nice sentimental feel to them as well. If you get over hoping for another “Brightside”, and if you get over that maybe they’ll never put out another album as good as “Hot Fuss”, and just enjoy this for what it is – it’s a pretty great album. It’s just hard to forget their outstanding library of past hits and how this just doesn’t compare.



5. Bruno Mars – Unorthodox Jukebox

Bruno Mars isn’t just for the ladies everyone. Much like Justin Timberlake did, Bruno is starting to show he is the real deal. While his debut album was full of serviceable, “chicks dig it” radio hits, it did have hints of what was to come. Songs like “Liquor Store Blues”, “Runaway Baby”, and “The Other Side” – were all hints of several old school tricks up his sleeve. And here they are, and talk about multiple personalities. The influences heard on this album is something to behold. Thank the Police for “Locked Out Of Heaven”, thank Jackson 5 for “Treasure”, thank Marvin Gaye for “Gorilla”, “When I Was Your Man”, and “Young Girls”, thank Al Greene for “Show Me”, and thank James Brown for “Natalie” and “Money Make Her Stop”. While this may make Bruno Mars seem like he lacks authenticity or any sort of identity – it’s also a glimpse of his incredible resume of talents. His scope is so huge, that on a second album, you can’t blame him for not having a laser focus. There is not one bad song on this album. What a blast to listen too.



4. Mumford & Sons – Babel

It would just be easier to copy and paste my review for “Sigh No More”, when it hit #2 on my year end chart. Because really, does this sound much different? And while that may initially seem like a bad thing, it’s most certainly not – because at least 8 or 9 songs here feel brand new, even if they follow the same formula that the boys of Mumford make look so easy. For every “Thistle & Weeds”, there was a “Hopeless Whisper”, for every “Little Lion Man”, there was a “Babel” and “I Will Wait, for every “Roll Away Your Stone”, there was “Lover of the Light”, and for every “I Gave You All”, there was “Lovers Eyes” and “Holland Road”. The comparisons are easy to make – but the sound is so conquering, that its easy to embrace once again. Will they be able to do it a third time and still get away with it? Who knows. But for know, reel in the fact that this sound has allowed a band to sell more records and more ticket stubs than the likes of Green Day, Linkin Park, Chili Peppers, etc. The boys are back in town.



3. Muse – The 2nd Law

About a month ago, this was sitting in the lower portion of the top 10 for the year end show. But then I got floor tickets for Muse in April – and I thought, hmm, I’m gonna give this another listen – and man oh man, am I glad I did. It’s like I connected with something I hadn’t the first several times around? But there really isn’t a bad song on this is there? Not to mention, the array of sounds and influences here is about as insane as the Bruno Mars record. “Supremacy” should have been the Bond single (much respect Adele), with it’s brooding crime feel. “Save Me” sounds like Oasis’“Champagne Supernova”, “Survival” sounds straight out of the Freddie Mercury playbook, and try and tell me that “Big Freeze” doesn’t sound like U2’s “Where The Streets Have No Name”. Nonetheless, classic Muse is here. “Animals”, “Explorers”, “Panic Station”, and “Madness” – are all familiar territory we’ve come to know and love. My one complaint? There isn’t a track that strikes the magical balance of something like “Starlight”. “Supremacy” is too immediate, and “Madness” doesn’t pack enough oomph. But despite not having that one magic moment, the entire album shines collectively and is going to be a riot live.

Roger’s Top 100 Tunes: Part 10



10. Calvin Harris – Feels So Close

Closing out a banner year for Calvin Harris, here is his first true, solo, monumental hit. “Feels So Close” revs like an engine, it builds from an anthemic tune that’s easy to sing along with into a rip roaring dance floor explosion. It feels like shredding down an open freeway on a motorcycle, not that I’ve ever done that, but I’d imagine that’s what it’d be like. To follow up “We Found Love” with this, he couldn’t have done it any better.



9. Lana Del Rey – Video Games

Talk about a cult favorite. Like her or not, Lana Del Rey at one point or other invaded your subconscious with this terrifying track. It’s ominous, yet endearing. No one conveyed angst and desire quite like this in 2012 – “It’s you, it’s you, it’s all for you”, “They say that the world is built for two” – and it’s littered with more and more memorable lines throughout the entire song. She may have blown this on SNL, but she also killed it on Letterman, and throughout her entire summer festival swing, where it became a memorable moment for everyone who had the pleasure of hearing it.



8. Frank Ocean – Thinkin About You

While Lana made us feel for her, Frank Ocean challenged us to be honest. It goes without saying that his big revelation before his album dropped was a huge moment for music, but it also set the tone for a truly honest record. “Thinkin About You” has a magical falsetto chorus, and smooth verses that segway through an incredible story of first times, new experiences and new ground conquered. This was just the introduction to an album that couldn’t have possibly been any better to introduce a new age musician.



7. Walk The Moon – Anna Sun

Here is the song that The Killers wish they could still write/produce. This quietly became a song to remember in Summer 2012, an explosive debut single from a new band who was creatively free of expectations and hindrances. When you’ve got nothing to lose, this is the kind of modern rock anthem for the ages that can be created. And while the rest of their album doesn’t sit in the same company as this giant, this song will always make me feel real good for the 4-5 minutes that I listen to it.



6. Mumford & Sons – I Will Wait

After the globe conquering “Sigh No More”, Mumford & Sons were in complete opposite territory; they have everything to lose, everything to prove, and the expectations were sky high. And man oh man, did they ever not falter. While some would say that “Babel” is an all too literal interpretation of the if it ain’t broke don’t fix it approach, these guys are talented enough that a round 2 of “Sigh No More” is A-ok with me, and apparently with the millions of people who have eaten this up already. “I Will Wait” is classic Mumford, slow build, banjo, explosive chorus, that gets bigger every go around. It’s also looking like a multi format hit, as its starting to build at CHR and HAC. This is going to be a game changing moment at their live show. Can’t wait for them to tour!



5. Metric – Breathing Underwater

Along with “Clone” and “Speed The Collapse”, this track began to explore a new sound for Metric on their latest album, the terrific ‘Synthetica’. It’s soft spoken, but packs a mighty wallop. It has trademark lines, and has the feel of a song that unites thousands of fans, lighters in hands, completely mesmerized by a lead vocalist who is so in control. Aside from “Gimme Sympathy”, this is their best work.



4. The Lumineers – Ho Hey

The little song that could. What started off as an acoustic guitar and some spot on harmony, has turned into a national phenomenon. The story of indie music rising, and becoming accessible to the masses, will be attributed to bands like Mumford & Sons, and yes, the Lumineers. It’s the simplest 3 minutes of your life, but it’s minutes you’d never ask to have returned to you. I read an article that compared this to songs like “You Are My Sunshine” – and with a hook like, “I belong with you, you belong with me, you’re my sweetheart” – is that idea so farfetch’d? A defining, jukebox record for 2012 without question.



3. Alabama Shakes – Hold On

This song is titanic big. It’s a showcase for Brittany Howard, and it’s a representation of the inconceivable talent this band possesses. It sounds like your old man’s records, it sounds like something that shouldn’t have connected the way it did. But it did. And it’s happening again, with the Grammy push, “Hold On” is going to be sent to radio again. 2013 will hopefully push these guys into the national conscience, because frankly, everyone deserves to be in the know.


Tomorrow or the next day: #2-1 tunes and albums! Dont miss it

Roger’s Top 20 Albums



2. Frank Ocean – Channel Orange

Frank Ocean was the “sexy” choice for an album to get excited about early this year. Along with his revelation, he scored some of the best reviews for a new artist this year, and exceeded 100k in it’s opening week sales. Once the initial hype wore off, he still stuck around, and that’s because there was actual substance to his music. What he had already alluded to in his ground-breaking contribution to “No Church In The Wild”, Ocean released an album that was open-minded, confident, and one that lured people with it’s scorching honesty. He fleshes out the details and characters like no other cat in the game, and trying to label his style to one specific genre is a daunting task, because for every song that sizzles with his D’Angelo like falsetto, there’s another Stevie Wonder-style keyboard jam. Throw in some psych prog rock and cluster f*ck tracks like “Pyramids”, and we’ve got something worthwhile to talk about.

What more is there to say about Ocean than that the guy is smooth as hell. “Thinking About You”, “Lost”, “Sweet Life”, “Crack Rock” – are layered in charisma, charm, and shoulder swagger. “Pyramids” demonstrates his sky high ambition with its monstrous dub step throw down, and the church bell meets organ coronation of “Bad Religion” – gives Frank an almost Prince-like quality. It’s not all heavy hitting, tracks like “Super Rich Kids”, “Sierra”, and “Pilot Jones” – do have a sense of light heartedness to them, even if at their roots they still pack a wallop.

Grammy accolades, tons of year-end lists. All he needs to be set up for longevity is at his footstep. But still, very little touring. And a sometimes shaky social persona. What will Frank Ocean make of his incredible talent? Time will tell, but for now, we have this incredible record to enjoy.

Roger’s Top 100 Tunes



2. Gotye f. Kimbra – Somebody That I Used To Know

I remember at the end of the 2011 year-end show, I said that the first big song for 2012 would be this very track. “Somebody” infiltrated the music scene very early this year, and the fact that it’s managed to sustain enough momentum to give it a #2 showing this year is nothing short of incredible. A simple xylophone chime that culminates in a gut wrenching chorus was all it took for Gotye to resonate with the masses. This is pitch perfect songwriting. Detailed, elaborate, well executed – all the while telling the simplest of stories. The addition of Kimbra as a female antagonist was a beauty move – and she adds just the right touch to this track to make it feel extra special. The way these two harmonize on the final chorus is nothing short of magical. Not to mention – this spawned the ever impressive Walk off the Earth phenomenon (Burlington, Ontario represent!)

This track spent a lofty 4 months at #1 on my monthly chart, but more importantly, along with “We Are Young” by fun., it began the Modern Rock infiltration of mainstream radio. This of course has now led to acts like The Lumineers, Of Monsters and Men, and even Mumford & Sons to having new found success at the format. Ushering in this new brigade of music to the masses is no easy feat – but all it takes is one special song to do it.

#1 Album & Tune of 2012



Of Monsters & Men
Song: “Little Talks”
Album: “My Head Is An Animal”

It’s more often than not that I have a year-end double. Kanye West did it, The Killers have done it, and last year Adele did it. Joining prestigious company is the fantastic band from Iceland, Of Monsters & Men, who caught me completely off guard with the best record of the year. It all started with “Little Talks”, a track that heralds the collective musicianship we rarely see unless its bands like The Arcade Fire. The diverse instrument range, the harmonizing yet competing nature of the male/female lead vocalists, and it’s greengrass roots, made for a song that you could really rally behind. “There’s an old voice in my head that’s holding me back, well tell her that I miss our little talks” – this back and forth dialogue between the Icealandic vocal power houses is what first introduced us to the special talent of this band. The track is feel good, and has held up remarkably well all year. It’s still in my top 10 most played for the month, and to hear it live, was probably my favorite musical moment of the year. All of this, drove me to the album.

“My Head Is An Animal” is an album so organic, ethereal, and serene, it almost feels in touch with nature. As incredibly hipster as that sounds – this band created a landscape for this album that makes it seem set in the mountainside. The lyrics are vivid, the sounds are as crisp as cold, winter air, and the vocals are the kind you’d hear around a rip, roaring fire. Along with “Little Talks”, tracks like “Mountain Sound”, “Finner”, “Dirty Paws”, “King and Lionheart” – all embrace that collective sense of community, which makes this band so likeable. They’re not afraid to tone it down either – songs like “Love Love Love”, “Lakehouse”, and “Slow & Steady” – all demonstrate a sense of sensibility and openness that demonstrates confidence uncharacteristic of a debut album. Seeing these guys live only furthered my love for the band – they were so genuinely appreciative, so pumped to play to a crowd that loved the music, and they sounded absolutely perfect.

So my one quarrel? How did these guys not get a Best new artist nomination? It’s bewildering. Nonetheless, “Little Talks” could shape into a top 40 hit this year, and it looks like “Mountain Sound” is about to be a big #1 on Alternative. I hope 2013 blows the door wide open for this band, because they genuinely deserve it.