Looking Back at 2011: The Top 20 Albums of the Year (Part 1)

20. The Hunter - Mastodon
This one was part of a two-horse race to see which CD would finish off the list. It was either this or Mylo Xyloto by Coldplay. It was brute force vs. expert songcraft. It was beefy vocals vs. soaring falsettos. It was guitar blitzkrieg vs. swirling synth artistry. While it really was a tough call, I always believe that, in the end, you have to go with the album that rocks your face off. And with crushers like "Black Tongue," "Curl of the Burl," and "Stargasm," the fifth album by the Atlanta rock quartet does just that.

19. Born This Way - Lady Gaga
Did this album have its flaws? Absolutely. Tops upon the list would most likely be "You and I," a lousy wannabe country song that probably should have been dropped from the album after the musicians started playing the first notes in rehearsals. However, it is also filled with songs that seek to push pop music forward, often while reaching shamelessly back into the past. Examples include the Giorgio Moroder-cribbing "Marry the Night" and the title track, which of course bares more than a passing resemblance to a major song by one of the fashion icon's most obvious inspirations.

Better Late Than Never Reviews: Ashes & Fire - Ryan Adams

One of the most frequently heard criticisms during country-tinged troubadour Ryan Adams’ career has been that he is too prolific. Especially during the hyperactive year 2005, during which he released Cold Roses (a doublealbum!), Jacksonville City Nights, and 29, it has been remarked that his tendency to quickly churn out new releases has resulted in diminishing returns. However, if subsequent Adams releases turn out to be as focused and effective as his latest, the Glyn Jones-produced Ashes & Fire, the refrain most often heard may be that he is not recording enough.

Working from a minimalist template, this album showcases a refreshed-sounding Adams and song craft that finds several melodies taking up permanent residency in the mind of the listener. “Do I Wait” builds on a bassy acoustic and tastefully echoed vocals, leading up to a finale that soars on squiggly Hammond organ swirls, a subtly dramatic electric guitar coda, and a effectively layered vocal harmony, while the title track features twangy guitar, ragtime piano (provided by frequent partner-in-crime Norah Jones), and something that has long been an Adams staple: an epic chorus accompanied by country-fried electric.