The Monster Mashup

It’s time, I think, for a seasonal repost of my spoooooooky Halloween mashup, “Now That’s What I Call Ghosts Laughing!”, featuring the mellifluous tones of Disney legend Paul Frees (excerpted from the Haunted Mansion recording sessions) lovingly arranged on top of some fat beats. Enjoy.


This Be the Word

The New York Times has a history of bowdlerizing Philip Larkin’s “This Be the Verse”. Here’s my response to that.

They change your words, the New York Times.
They may not need to, but they do.
They pluck what’s famous from your rhymes,
Replacing “fuck” with “mess” or “screw.”

But prudishness does not befit
Reporters who would plumb the muck
And call our leaders on their shit,
And try, a little, not to suck.

God gave profanity to man
To tell us, mock me how you may.
Some act as pious as they can,
But fuck those fucking fucks, I say.

From the Mashed-Up Files of Mr. Francis J. Heaney

I used to make a lot of mash-ups. In theory I still might make more (my most recent was a couple years ago), but clearly I’m in no rush. But here are some of my old ones that I still like!

“Kiss Me, Eleanor” (The Beatles vs. The Cure)
Right-click to download.

“Ice Rack” (Madonna vs. Zony Mash)
Right-click to download.

“Your Superfunkicalimagination” (Brian Wilson vs. Prince)
Right-click to download.

“Woman’s Burden” (John Lennon vs. The Rolling Stones)
Right-click to download.

This next one was originally made as a submission to “A People’s History of the Dismemberment Plan”, the fan remix album. Travis told me at some point that it had been under consideration for the album; I like to imagine that it would have made the cut had it not been for, you know, the bevy of uncleared samples.

“Following Through (Tropicalia mix)” (The Dismemberment Plan vs. Caetano Veloso & Gilberto Gil)
Right-click to download.

Jerry Herman’s Lonely Hearts Club Band

Often, when Lorinne is in a show, I’ll make her a themed mix CD as an opening night gift. For her latest performance as one of the three leading ladies in the Jerry Herman revue, “Jerry’s Girls,” I thought I might do something different — namely, a collection of Jerry Herman/Beatles mash-ups. After realizing the amount of time it was taking me to make even one such mash-up, I just went ahead and made a mix CD instead. But here’s the one I did make: “Hello, Something” (which is George singing on top of Herb Alpert’s rendition of “Hello, Dolly”):


(Right-click and save here if you’d like a copy.)

Original Musiquarium

On the way home from the National Puzzlers’ League convention, having already played a whole lot of One, Two, Three and Breakfast Combo, I was trying to brainstorm a not-yet-used approach to a guessing game, and came up with this, which turned out to be pretty fun, though I think there are still a few small kinks to work out. Thanks to Ken for helping come up with the Stevie Wonder-inspired title.

Original Musiquarium

Any number that does not seem totally ridiculous can play. One player (the cluer) thinks of a well-known song. If that player knows the song very well and does not feel they need any references, cool; however, it is allowed (and probably not a bad idea) for that person to get out their phone and pull up the lyrics of that song for reference.

The other players are trying to guess the song, and do so by asking Go Fish-like questions for which the lyrics of the song are the “cards”. For instance, you might ask “Do you have any beverages?”, which might be answered, “Yes, I have Coca-Cola.” The cluer does not have to give a comprehensive list of beverages in the song; one is sufficient. The guessers may later ask “Do you have any other beverages?”, but should guess at least one other category in between. Categories can be pretty much anything you can think of, but they should actually be broad categories of things and not overly specific. Let’s continue the theoretical game above by way of example:

“Is your song ‘Lola’?”


“Do you have any furniture?”

“Yes, I have an armchair.”

“Do you have any buildings?”


“Do you have any sporting equipment?”

“Yes, I have a football.”

“Do you have any other furniture?”

“Yes, I have a sideboard.”

“Is your song ‘Come Together’?”


After someone successfully guesses the song, that player thinks of a new song and the game continues until everyone would rather be doing something else. You could play noncompetitively, with guessers asking questions whenever they think of them, or you could be more rules-y and have guessers take turns, in which case I would suggest that a single player can keep guessing as long as their questions get a “yes” response; if they ever get a “no” (or “Go visit the original musiquarium”, if you wish) or if they try to guess the song and fail, play passes to the next person.

One issue that came up is the problem of “lyrics that totally give the song away.” If anyone tries this game, I’d be interested to hear your thoughts on that. For instance, I was cluing “It’s the End of the World As We Know It (And I Feel Fine)” and was asked “Do you have any people?” Well, I had Leonard Bernstein, Leonid Brezhnev, Lenny Bruce, and Lester Bangs, obviously, but those are all total giveaways, so I said, “Yes, I have a famous conductor” (which was still enough to solve the song, it turned out, but took a little more puzzling out and seemed more interesting, all things considered). There is also the problem of words in the title; for instance, another song was “Hotel California”, and I asked, “Do you have any buildings?” There didn’t seem to be any way around answering “Yes, I have a hotel,” which was a bit of a giveaway. I think perhaps words in the title of the song should be exempt, in which case the answer to that question would have been, “Yes, I have a building, but I cannot reveal it.”

Anyway, that’s the game. Let me know if you try it!

The Holy Tango Basement Tapes

Recently, the Holy Tango of Literature made the news, with my Maya Angelou pastiche “Yoga Alumnae” being quoted in a remembrance of Ms. Angelou in the Washington Post (although its anagrammatic premise was left as an exercise for the reader). The Holy Tango, as most of you know, asked the question, “What if poets and playwrights wrote works whose titles were anagrams of their names?”, and then there was a musical spin-off, the Holy Tango Basement Tapes, which asked the very similar (but much more effortful to follow through with) question, “What if musical acts wrote works whose titles were anagrams of their names?”

Well, imagine my surprise when I learned today that the band Interpol has volunteered to help out with the Holy Tango Basement Tapes by releasing an album entitled “El Pintor” (Spanish for “The Painter”), joining a very elite group of musical anagrammaticists that includes The Cure (with their song “Cut Here”) and Brian Eno, sort of (his song “King’s Lead Hat” is an anagram of Talking Heads). Anyway, in honor of this event, I thought I’d post a convenient zip file of the various Holy Tango songs I’ve managed to finish recording over the years. The songs are:

Prince, “Pincer”
Elvis Costello, “It Loves Cellos”
Paul Simon, “Up on Islam”
Britney Spears, “Presbyterians” (featuring Tate Evans)
Joni Mitchell, “Mitch in Jell-O”
Pet Shop Boys, “The Bossy Pop”

Lyrics after the jump if you want to really get into it. Still unrecorded: Patsy Cline’s “Tiny Places.” Someday, I promise.

Continue reading

Branching back out into songwriting

Two friends of ours, Julianne and Megan, recently got married, and part of the reception was a cabaret featuring songs on the theme of “home.” Faced with the choices available among the sheet music I had handy — which included the Smiths’ very depressing “Back to the Old House”, Kate Bush’s less-than-cozy “Get Out of My House”, and Paul Simon’s appropriate but too frickin’ difficult to play “Something So Right” — I opted instead to follow my usual custom in such situations and wrote my own song (with some melodic improvements from Lorinne). There’s no recording of the performance — which is just as well, honestly — so I recorded a home demo version. And here it is! It’s called “Let’s Build a Nest.” (Right-click here to download a copy.)


Let’s Build a Nest

Once upon a time, two birds of a feather
Sat at two ends of a telephone wire;
They caught each other’s eye and they scooched close together,
Then one told the other, here’s what I desire:

Let’s build a nest, let’s build a nest,
That is my first and last request.
I had to get that off my chest,
But I’m glad I confessed.
Let’s find a tree for you and me, don’t you agree that would be best?
Please say you’ve acquiesced, let’s build a nest.

The other bird just smiled (as much as birds can with a beak),
And said, now this might sound just like some tired old cliche,
But when you looked at me, you cast a spell with your mystique,
And I was so enchanted, I was just about to say:

Let’s build a nest, let’s build a nest,
Now that the thought has been expressed,
As you can tell, I don’t protest,
And in fact I feel blessed.
So now let’s sing as we take wing to do the thing that you suggest,
And then we both can rest inside our nest.
Let’s get started on it yesterday, our nest.
To take a bough will be our quest, let’s build a nest!



Favorite non-2013 music of 2013

While I was working on my list of favorite albums of 2013, I reminded myself of what I’d been listening to by skimming through the stuff that had been added to my iPod over the year, and saw a lot of worthy music that it seemed a shame to exclude simply because none of it had been released in 2013. It was all new to me! And so I made this other list. It’s numbered but not actually in any particular order. I kept it limited to things I could add to a Spotify playlist, but even so it got kinda long. Oh well! Here we go!

1) The Lifeguards, “Paradise Is Not So Bad” (from “Waving at the Astronauts”)

Robert Pollard’s output is exhausting and I only really love a fraction of it, so I don’t make a big effort to follow it all. But I was reminded this year of how much I enjoy Doug Gillard’s guitar work, and so when I learned Gillard had written all the music for this album, I got interested.

2) Bonnie Hayes With the Wild Combo, “Shelly’s Boyfriend” (from “Good Clean Fun”)

This song was one of a bunch I heard this year for a sad reason: the great songwriter Scott Miller died. I rode out the dark feelings brought on by that by reading his book of year-by-year music lists (much like the one I’m writing right now), “Music: What Happened?”, a book which I mentioned in the Agony Aunts entry on the previous list without explaining what it was, because I forgot the other reference to it was on a different list. That’s what comes of writing two lists simultaneously, I guess. Anyway, this, which Scott Miller called “a shining example of power and intelligence behind a veneer of simplicity”, was his favorite song of 1982.

3) Phoebe Snow, “Love Makes a Woman” (from “Never Letting Go”)

This could’ve been from any number of albums, because I’d never heard any of them and they’re all pretty great. She sounds to me like the soul music version of Joni Mitchell.

4) Emmanuelle Parrenin, “Plume Blanche, Plume Noire” (from “Maison Rouge”)

An idiosyncratic French folk album with psych elements and even a song noted for predicting the sound of trip-hop decades in advance (that would be “Topaze”). Lovely throughout.

5) Raymond Scott, “Suite for Violin and Piano (2nd Movement)”

I had no idea Raymond Scott had written a classical piece. I wish he had written more! It’s pretty different from his manic jazz compositions, though the through-line from there to here is audible.

6) Rufus Featuring Chaka Khan, “At Midnight (My Love Will Lift You Up)” (from “Ask Rufus”)

This was a recommendation taken from Questlove’s “Mo Meta Blues”. I had pretty much only remembered Chaka Khan as the woman that some guy wanted to be allowed to rock in the 80s, but man, I was missing out on a lot. I particularly like this track because it’s a little proggy.

7) Stackridge, “Fundamentally Yours” (from “The Man in the Bowler Hat”)

Speaking of prog.

8) Martha and the Muffins, “World Without Borders” (from “Danseparc”)

Another band I only knew from one song, “Echo Beach”, and even that one I never heard until well over a decade had passed since its original release. Took me long enough to listen to the rest of their albums (of which there are many, all pretty uniformly good).

9) Lusine, “Two Dots” (from “A Certain Distance”)

I think I heard this song on This Is My Jam before I gave up on that website because the music streams kept skipping. The lyrics are Platonically simple: “Two dots joined by a line / Might be detached by a crime / Who is responsible when the line is stretched? / Who is responsible when it becomes a triangle? / How irresponsible when the line is stretched / How irresponsible when it becomes a triangle.” I read it as a quiet musing on romantic infidelity but I’m sure other interpretations abound.

10) Jon Auer, “City of Sisterly Love” (from “Though a Faraway Window: A Tribute to Jimmy Silva”)

I would’ve posted the original Jimmy Silva version, but Spotify ain’t got it (and the version they do have is mistitled, but whatcha gonna do). I feel like I should’ve known about this guy, since he ran with the Young Fresh Fellows and I was very into them back in college, but nope. I am belatedly very angry with the universe for the fact that Silva died in his 40s from chicken pox.

11) The Blue Ox Babes, “Pray Lucky” (from “Apples & Oranges”)

Every so often I get on a Dexys Midnight Runners kick, but for some reason it wasn’t until this year that I discovered the Blue Ox Babes, a band that spun off from Dexys when Dexys was still pretty much a Philadelphia-style soul band, and whose Celtic folk-soul sound Dexys completely and blatantly stole for their breakthrough album, “Too-Rye-Ay”, after bandleader Kevin Rowland heard the Blue Ox Babes’ demo tape. He managed to get the jump on them, release-wise, and then they got tarred as Dexys imitators, which, ugh, it’s killing me just thinking about it. Anyway, you can buy pretty much everything they ever recorded in one go and it’s quite good.

12) Joan Armatrading, “Eating the Bear” (from “Walk Under Ladders”)

Much as with Phoebe Snow, I had way too many excellent albums to choose from here. I went with this song because XTC’s Andy Partridge contributes the electric guitar.

13) Arnold Hammerschlag Group, “Swish” (from “Sailing Neptune’s Water”)

Well, Arnold is a friend of mine, but I promise, his appearance here is not nepotism. He’s a trumpeter and jazz composer and I find this track of his particularly easy on the ears.

14) Kit Hain, “Awaking Again” (from “Looking for You/Spirits Walking Out”)

A criminally overlooked 80s singer/songwriter. I’m considering getting a turntable that can convert to mp3 just so I can hear her non-album singles. This album was produced by Mike Thorne, also the producer of Wire’s best album (“154″…as I think I’ve managed to mention in like three different blog posts now, and I don’t even post a lot) and “Tainted Love”, and also a Roger Daltrey solo album on which Daltrey covers a couple of Kit Hain songs. Who fans hated that album, but I like it quite a bit. It also features an obscure Bryan Ferry composition, in case you ever wanted to hear what late-period Roxy Music would have sounded like with Roger Daltrey singing.

15) The Parachute Men, “Sometimes in Vain” (from “The Innocents”)

I’m not sure there’s anything particularly distinctive I can really point to about this band, but it presses a lot of key buttons, ’80s-music-wise, and sometimes that is all one really needs.

16) Philippe Cauvin, “Comme un Miroir d’Echo” (from “Memento”)

This was a recommendation from a Russian music fan of my online acquaintance (as were Kit Hain, Judie Tzuke, and Li Garattoni). Two of his favorite genres are cheesy 80s AOR and French prog rock. A fine combination. This is on the prog side but is more like experimental solo classical guitar.

17) Shugo Tokumaru, “Katachi” (from “In Focus?”)

This album is from late 2012, so maybe I should have just fudged things and put it on the 2013 list. Anyway, I got super into a whole bunch of obscure Japanese acts this year (well, obscure here, anyway), and almost none of them are on Spotify. This fellow came up on as a related recommendation when I was looking up one of those other acts. He’s one of those people who plays every instrument (and uses a lot of instruments), and makes wild, busy, supermultitracked pop songs.

18) Penetration, “Shout Above the Noise” (from “Coming Up for Air”)

I really wanted to include a song from the self-titled album by Pauline Murray & Invisible Girls, an uncannily great post-punk album featuring killer songs enhanced by the perfect guitar of Vini Reilly, among other luminaries — but Spotify wasn’t having it (though there’s always YouTube), so I went with this instead, from her first band, which also rules. I see the AllMusic reviewer hates this album. Screw that guy.

19) Judie Tzuke, “New Friends Again” (from “Welcome to the Cruise”)

Another fine example of “how had I never heard of this person?” I think she’s better known in England, despite what seems like the plum promotional situation of opening for megastar Elton John on a North American tour (his label also released her first three albums). She’s got an extensive discography and is still releasing albums, though I’m less into her late-90s-and-onward output, which is very “grown-up and tasteful former rocker”-type songwriting. They’re still not bad albums by any means, but I don’t find much occasion to bother with them when there are nine others that are way better.

20) Ea Philippa, “Hestenes Sang” (from “Fjerne Himle”)

Sometimes I will wander over to and look for people who have given 5-star ratings to my favorite albums, and see if they have anything in their list of high-rated albums that I haven’t heard of. That’s how I ran across Ea Philippa, who’s got a little Bjorkiness going on, though is much more in a chamber-pop/Nordic folk vein. Her albums are available as downloads, but if you like her enough to purchase, you might consider shelling out for the physical CDs, which are packaged in origami-like fold-out cardboard flowers.

21) Three Minute Tease, “Thanks for Lifting My Leg” (from “Three Minute Tease”)

This band is wack-folk singer-songwriter Anton Barbeau backed up by Robyn Hitchcock’s Egyptians (Andy Metcalfe and Morris Windsor). I like Anton Barbeau pretty well but usually think he needs an editor, and I think having bandmates of their caliber both inspired him to step up his game and helped make sure that what got onto the album was actually the best material. (And they really are an ace rhythm section.)

22) Nona Hendryx, “Problem” (from “Nona Hendryx”)

I was listening to some Labelle and realized that most of their original songs besides “Lady Marmalade” were written by Nona Hendryx, and so I started working my way through her solo albums. Which are … a mixed bag! A bunch of them consist pretty much entirely of underwritten dance-y 80s stuff (“Nona”, “The Art of Defense”, “Female Trouble”). But then there’s the jazzy “It’s Time” (with Kahil El’zabar’s Ethnics), the drifty-synthy “Skin Diver”, and the protest-rocking “Mutatis Mutandis”, all quite good, and my favorite, her self-titled solo debut, the most straightforwardly rocking-out of her albums. (And if you only know the song “Winning” from the 1981 Santana version, as I did, you might be surprised to discover Nona recorded her own cover of it four years earlier.)

23) Devine & Statton, “In the Rain” (from “Cardiffians”)
24) Weekend, “The End of the Affair” (from “La Varieté”)

In another story of discovering a band in a somewhat roundabout way, I was listening to an old Rough Trade compilation which featured Belle & Sebastian covering Young Marble Giants’ “Final Day” (another great song), and I thought maybe it was high time I actually listened to Young Marble Giants, a band that I barely knew but was cited as a major influence by lots of acts I’m a fan of. So anyway, I liked them, but their low-fi aesthetic makes them the kind of thing my ears get tired of in high doses, and I ended up getting more interested in some of the acts that vocalist Alison Statton worked with after YMG broke up, including Devine & Statton and Weekend, all of which have a breezy European feel I enjoy (a bit like early Style Council).

25) Jenny Scheinman, “The Careeners” (from “Crossing the Field”)

I noticed violinist Jenny Scheinman’s name cropping up regularly in the credits of Bill Frisell albums and started getting curious about her solo albums. This is a wonderfully diverse instrumental collection that I had a hard time selecting a song from — you might also try out the Thelonious Monk-ish “That’s Delight” or the groovy syncopated African-influenced “Song for Sidiki” — but I went with this one as being a particular showcase for the violin.

25) Chance, “Dead Medley” (from “In Search”)
26) Honey Ltd., “No, You Are” (from “The Complete LHI Recordings”)

A coworker recommended Chance’s “In Search” to me; I’d never heard of it, but it’s a legendary oddity, pressed privately and mostly impossible to find until this recent reissue. Chance Martin was a friend of Johnny Cash (and worked in various roles as one of his crewmembers for many years), but while Chance and Cash both work under the umbrella of whatcha might call country music, Chance is waaaaay way way off from anything traditional. More like drunk psychobilly blooze-prog country. Wild stuff. Meanwhile, the Honey Ltd. reissue was just sitting there on the front page of the website when I went to order the Chance album, and there was something about it that rang a bell … turns out I’d heard their second album, though they were going by a different name then (Eve, having changed the name after the departure of one member). Anyway, Honey Ltd. features a sort of dreamy lite-psych sound with lovely, unusual harmonies. They didn’t have a lot of success with either incarnation of their band (sounds like a lot of acts on Lee Hazlewood’s label met the same fate); a shame, but good that their stuff is available again.

27) Alessandro Alessandroni, “La Metropoli” (from “Inchiesta”)

Another genre I’ve been listening to this year is “library music”, which is to say, albums meant to be used as stock music to score films and TV and such. There’s a lot of it out there, and of course not all of it interesting by any means, but several composers are pretty reliable, and Alessandroni is one of them. (Piero Umiliani is another; see #30 below.)

28) Matia Bazar, “Io Ti Voglio Adesso” (from “Berlino … Parigi … Londra”)

Also from Italy comes Matia Bazar, another band I discovered by poking around; in this case, several albums of theirs appeared on one user’s lists of favorite 80s albums by year surrounded by more usual suspects. Matia Bazar’s earliest stuff is more in a straightforward 70s pop-rock vein, and then around this album they started adopting new wave trappings (even more so on the next two albums, “Tango” and “Aristocratica”). Singer Antonella Ruggiero sounds a little Kate Bush-esque on this track.

29) Happy Rhodes, “She Won’t Go” (from “Find Me”)

Speaking of singers who are (sometimes) reminiscent of Kate Bush, here’s Happy Rhodes, whose vocal range is so wide that some listeners wonder who the male singer on her albums is. Her earliest albums feature a Fucking Scary Monster on the cover which might make one mistakenly assume she is actually an 80s metal band, but I am informed that the monster is a childhood imaginary friend and personal guardian, so, okay then. She has an interesting tension between beautiful melodies and dark subject matter (as one might suspect from someone who once dreamed up a Fucking Scary Monster as an imaginary protector).

30) Piero Umiliani, “Caravan” (from “Ode to Duke Ellington”)

The aforementioned Piero Umiliani has written a lot of music, one piece of which I guarantee you know very well: “Mah Na Mah Na”. I suspect you could wake up one morning, decide to listen to nothing but Piero Umiliani during your waking moments, and still be at it a week later. Anyway, I selected his version of “Caravan” because “Caravan” rules and I dig his retrofuturistic electronic arrangement.

31) Stump, “Charlton Heston” (from “A Fierce Pancake”)

Stump is the band Primus wishes it was … which I realize doesn’t sound like much of a recommendation. But they share many traits — big elastic bass lines, goofy lyrics, quirky vocal delivery. “Charlton Heston” isn’t the song that most embodies their sound to me (that would be “Buffalo“), but it’s a good one and more importantly for the purposes of this post is the only Stump song on Spotify. I was made aware of the existence of Stump via a remarkable one-man cover rendition of their “Ice the Levant” by Rhodri Marsden (of Scritti Politti and multiple other bands).

32) Patrick Zimmerli and Octurn, “Morning” (from “The Book of Hours”)

I’m a fan of jazz pianist Brad Mehldau, but he puts out a lot of music and I don’t do the best job of keeping up with all of it. One that I recently got around to was “Modern Music”, an album by Mehldau and Kevin Hays of two-piano compositions and arrangements by Patrick Zimmerli, who was new to me, but walks a half-classical-half-jazz line very well. “The Book of Hours” is sort of chamber jazz — layered, tightly composed when it’s not loosening up to let the players stretch out, and covering a wide range of moods. Also good is Zimmerli’s “Phoenix”, which tries to integrate electronics into acoustic jazz as smoothly as possible and does a nice job of it.

33: Li Garattoni, “Find Out What I’m Dreaming” (from “Find Out What I’m Dreaming”)

This delicate avant-pop album is mostly out of print, though for some reason four songs from it appear on a new-agey compilation. Time was you could find a rip of the LP online (which I know for … reasons), but now I think you would have to hie yourself to a file-sharing service and cross your fingers. Or, you know, ask someone who has a copy, if you can think of such a person.

Favorite albums of 2013

Does the world really need another best-of-2013 music list? Of course not (which is why my sense of urgency was low enough that I didn’t get around to finishing it until just now), but I wrote one anyway. It’s a top-28 list, because that was where I decided I was done.

I’ll start with #1 momentarily, but first, here’s a Spotify playlist to listen to while you read (or to listen to instead of reading, if you want, I’m not your mom).

1) Janelle Monae, “The Electric Lady”

I appear to be a sucker for eclectic funky-soulful-jazzy ladies (see also #10 and #18). Many friends had recommended her earlier album “The Archandroid” to me, but I still managed to miss it (I think I was underwhelmed by “Tightrope” when I heard it on the radio and so didn’t go out of my way to hear more). Anyway, this album is all over the map in the best way, and I liked it so much I even overlooked that it has SKITS, usually a guaranteed demotion. It’s also possible Janelle is the beneficiary of my having bought her entire oeuvre all at once, leading me to overrate this album slightly based on my collective enjoyment of all 2.5 albums … but what the hell, this isn’t an exact science.

2) Prefab Sprout, “Crimson/Red”

Prefab Sprout have been mostly on hiatus for a while, and the last album they did release was a spruced-up unreleased album, so hooray for this one, which is all newly recorded but sounds like it could’ve been released alongside any album from their prime and fit right in. Some of these tracks feel like little master classes in how to write songs, particularly “The Old Magician.” Not available on Spotify, so you’ll have to head over to YouTube to hear samples.

3) Eleanor Friedberger, “Personal Record” / Wesley Stace, “Self-Titled”

I hadn’t been following Eleanor Friedberger’s solo career because I’d tried out her former band, the Fiery Furnaces, and never much liked them. On paper, the Fiery Furnaces seemed like just the sort of brainy overcomplicated thing I usually love, but despite multiple attempts, only a few of their songs stuck with me. But then I heard that Eleanor’s new album entirely consisted of collaborations with one of my favorite songwriters, Wesley Stace (formerly known sometimes as John Wesley Harding), so I had to give it a shot — and holy crap, what an album (and what great 70s-sounding production). Later I looked into it a bit more and realized that most of the Fiery Furnaces’ songs were by Matthew Friedberger, So, apparently I only like one Friedberger sibling. Meanwhile, two of the Stace/Friedberger collaborations appear in alternate versions on Wesley Stace’s first album under his own name, another excellent album in a recent string of same (“Who Was Changed and Who Was Dead,” “The Sound of His Own Voice”). His album also shares her 70s-radio ambience and confessional subject matter, solidifying all the more my brain’s opinion that these two albums ought to get filed together.

4) Paul McCartney, “New”

Well, Paul McCartney, he’s pretty good, I suppose. “I Can Bet” reminds me of something from “Press to Play” but I haven’t figured out what.

5) Neko Case, “The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You”

Neko Case’s voice is pretty much always transcendent, but sometimes her albums shoot me right in the heart (“Fox Confessor…”) and sometimes they glance off (“Middle Cyclone”). This is in the first of those groups, and has the added benefit of rocking out a little more than usual (on “Man”), something I’d been hoping to hear.

6) David Bowie, “The Next Day”

After the dead zone that was Bowie albums for a long time (“Earthling,” “Outside,” “Hours” … meh), “Heathen” and “Reality” were a huge relief, proof that he hadn’t lost it. Going back to them now, they’re still good, but I find them a little unexciting. Especially compared to this one, which is (let’s all say it together) the Best Bowie Album Since … “Black Tie White Noise!” (Oh, sorry, I probably ruined the unison there, because I’m pretty sure I’m in the minority in loving that one.) There are a couple of sleepy tunes here, and it’s tempting to downgrade this for the asshole move of releasing a special bonus disc edition mere months after the original release (which itself had a regular version and a deluxe version), but I can’t do it, it’s too good.

7) Bryan Ferry Orchestra, “The Jazz Age”

What’s that? Roxy Music and Bryan Ferry songs rearranged for 20s-style jazz band, recorded on vintage equipment? You would have to lock me in a box and bury it deep underground to keep me from acquiring that. I hope this stuff is making the rounds on the swing dance circuit.

8) The Dismemberment Plan, “Uncanney Valley”

A critically unloved comeback by a critically beloved band. I don’t really get what’s not to like here, really. Sounds like the Dismemberment Plan to me! I suppose there are a couple of places that have a little feel of “we’re trying to figure out exactly how we used to do this” that’s probably going to be inevitable when you have a group that used to do this for a living ten years ago and is now doing it on the side in between having regular jobs, but come on. At least half of this is great and the rest is certainly all songs I would much rather have existing in the world than not.

9) Ghost Train Orchestra, “Book of Rhapsodies”

I discovered Ghost Train Orchestra by happenstance, while looking up the Raymond Scott Orchestrette to see what they were up to — which turned out to be opening for the Ghost Train Orchestra at a CD release show. I wasn’t able to make it to that show, so I just bought the CD instead, which, I reasoned, was a lot like a concert that didn’t require standing up for two hours. Anyway, this album features a few Raymond Scott tunes, but also the works of some lesser-known eccentric bandleaders not far from the Raymond Scott aesthetic, played to perfection. Those pieces were the main attraction for me but I was also pleasantly surprised to find the Raymond Scott pieces to be inventively reinterpreted (particularly “Celebration on the Planet Mars,” stretched out to like four times its usual length).

10) Alice Smith, “She”

Alice Smith’s 2007 debut, “For Lovers, Dreamers & Me,” was a great, eclectic soul album that made me look forward to what she would do next … but unfortunately, what she would do next would apparently be “have record label troubles,” leading to a six-year hiatus before her follow-up emerged. But hey, better late than never. At first it didn’t grab me quite as immediately as the first album, but it’s been growing on me steadily. Now I’m ready for more again. One option: everyone buy this album and make Alice Smith a huge success, and maybe the unbelievable asshats at Sony will change their minds and decide to release the completed but inexplicably shitcanned Alice Smith album they’ve been sitting on for years.

11) Julia Holter, “Loud City Song”

This is either as eccentric and jazzy as you can get while making dreamy pop, or as dreamy and poppy as you can get while making eccentric jazz. Reminds me a little bit of Kate Bush, but reminds me more of one of my favorite albums of last year, Mimi Goese and Ben Neill’s “Songs for Persephone.”

12) Daughn Gibson, “Me Moan”

This is one of those albums where if you describe its contributing elements, it does not quite sound like a thing that should work. Country music riffs sampled, chopped, and spliced in a sorta-hip-hop way, plus a deep-voiced singer who kind of sounds like he’s doing a caricature of a country crooner’s vocal tone (or maybe it’s more like Ian-Curtis-as-country-singer). You made your own genre, sir! Good show.

13) Robyn Hitchcock, “Love from London”

Well, if you know Robyn Hitchcock, you kinda know what to expect from any new album. You know it’ll be, at the very least, decent, and it will probably mention fish at some point. I tend to prefer (lately, anyway) his more acoustic, harmony-heavy releases, like “Spooked” or this one.

14) Elvis Costello & the Roots, “Wise Up Ghost”

I’d like to extend a personal thank-you to Questlove for helping to make Elvis Costello interesting again (a service Elvis Costello has himself provided to other songwriters in his day).

15) Johnny Marr, “The Messenger”

Johnny Marr has one of the greatest guitar sounds ever, so while I’ve enjoyed plenty of his post-Smiths work (Electronic, his guest appearances with Pet Shop Boys), it’s been odd how rarely his guitar has really been front and center. I mean, what was that shoegaze crap he was doing with the Healers? Yeesh. Anyway, this album sounds very Smithsy-sans-Morrissey, and although Morrissey’s entertainment value is undeniable, I am kind of sick of his pissy shenanigans, so it turns out Smithsy-sans-Morrissey is juuuuuust right for me right now.

16) Ethan Lipton, “No Place to Go”

This is a jazz song cycle about a company relocating to Mars, and the plight of the workers who don’t want to relocate to Mars and are left behind, jobless and drifting. One of the songs is from the point of view of the last sandwich left over from a catered meeting. That probably gives you enough information to know if you want to hear this.

17) Rhye, “Woman”

This is kind of a retro-80s new-wave-meets-yacht-rock kind of thing. Some bits remind me of Fleetwood Mac, or Sade, or maybe a little Bronski Beat. Anyway, it’s solid enough to be well worth hearing on its own merits, nostalgia value aside.

18) Laura Mvula, “Sing to the Moon”

The livelier songs on this are what got my attention at first (“Green Garden”, “That’s Alright”), but there are some amazing arrangements and harmonies throughout (“Like the Morning Dew”, “Make Me Lovely”). There are still a few tracks where my attention wanders, but this is quite a debut album.

19) TMBG, “Nanobots”

They Might Be Giants! Still great! Still throwing a ton of stuff at the wall and seeing what sticks, just the way I like it!

20) Agony Aunts, “Big Cinnamon”

A band I discovered via Scott Miller’s “Music: What Happened?” — though it would be more accurate to say that’s actually how I discovered the Corner Laughers, of whom the Agony Aunts are a more psych-influenced alter ego. I enjoy the lyrical constraint of the verses in “Family Drugs”, where lines recur with syllables dropped out (“You disregard what I say / I guard what I say”).

21) Mike Keneally, “You Must Be This Tall”

I love Mike Keneally, a prog-rocker who can seemingly do just about everything; he’s equally impressive on guitar and keyboards, and is a highly inventive songwriter who can somehow make a song catchy and fun despite it being ridiculously complicated. That said, this album isn’t my favorite of his, though it’s still quite good; it just feels kind of like an odds-and-ends collection, which it basically is. Really you should go hear “Wing Beat Fantastic” (his collaboration with XTC’s Andy Partridge), “Dancing”, or “Wooden Smoke” first.

22) John Grant, “Pale Green Ghosts”

It’s possible this one is underrated here just because I only discovered it very late in the year and haven’t listened to it much. Skimming it again for the sake of this list, I’m realizing how good these lyrics are — dark, funny, and unexpected.

23) Darcy James Argue’s Secret Society, “Brooklyn Babylon”

Another late discovery (but hey, that’s a benefit of not finishing this list until the end of January). If you think big-band jazz should be more influenced by Steve Reich, here is the album for you.

24) Analog Birds, “No-Knock” (single)

I heard about this band (which, like a lot of music on this list, falls into the “oddball but catchy” category) on an mp3 blog. Their entire oeuvre-so-far is available for free download. Mixed feelings! Yes, it’s crappy that a band this good seems to have no non-tip-jar-based income, but hey, at least they exist and you can hear them!

25) Wire, “Change Becomes Us”

The current incarnation of Wire goes back and reworks some uncompleted songs from around the breakup of their first incarnation, which is to say, their prime. This isn’t quite the second coming of “154” (it would be #1 with a bullet if it were), but it’s definitely a big step up from their last few albums, which have sounded pret-ty samey to me.

26) My Bloody Valentine, “mbv”

The fact this exists at all is pretty impressive given how long the universe has been waiting for a new My Bloody Valentine album. Honestly I’m not a megafan — I agree “Loveless” is great, but it’s the kind of thing I listen to and am basically satisfied with that amount of that kind of thing instead of wanting to shout to the skies UNIVERSE GIVE ME MORE OF THIS — so I reacted to its announcement not so much by passing out from shock and joy but more by being like “oh, huh, whaddaya know…I reckon I oughta buy that thing there.” And yeah, it’s good! Now I have another thing to listen to when I want to hear this kind of thing!

27) Masami Tsuchiya, “Swan Dive” (EP)

At the same time I’ve been working on this “favorites of 2013” list, I’ve also been working on a “favorite things I heard for the first time in 2013 that did not themselves get released in 2013” list. Masami Tsuchiya, a Japanese guitarist/singer/songwriter who has worked with David Sylvian and Arcadia, among others, was on that list, and while I was looking on Spotify to figure out which of his songs to include, I saw that he actually released this EP, which I’d had no idea existed, in 2013. Well, okay then!

28) Grant Hart, “The Argument”

I’m more of a Bob Mould fan when it comes to Husker Du boosterism, but hey, other guy from Husker Du, gotta say I did not expect you to come up with a half-decent concept album based on “Paradise Lost”! This might have appeared higher on the list, but when I say “half-decent” I am being fairly literal; there are a lot of songs on here I don’t much like at all. But the good songs are very good, so. Here it is.