It's finally time, faithful readers. After a 1 month delay (sorry), we here at The Ideological Cuddle are very proud to name our favorite album(s) of the past decade. We've discussed some great albums that have had profound influences on my life over the past 10 years. The crown jewel of this list trumps them all. Without further adieu...
NUMBER 1:
The Hold Steady - Separation Sunday & Boys and Girls In America
Sorry, I just can't choose between these two records, and there is way too much on these two records that is essential to who I am, how I look at things, and how I listen to things to leave one of them off of the list. Maybe it's the affinity I feel for lead singer Craig Finn - I mean, how many lead singers in indie rock these days are the same general age that I am? (it's rhetorical, no need for smart ass answers from anyone out there looking to call yours truly "old"). His world-weary view and "been there, done that" observations of youth behaving very badly resonate with those of us that have moved on to more deadline-filled endeavors. Those of us beyond a certain age can't just return to our boozy, promiscuous days in real life, but The Hold Steady's music can take us there.
Separation Sunday is more of a rumination on religion, where Boys and Girls In America is a slice-of-life snapshot of what the title implies and the narrative threads of these two records are something to be admired. Each song cycle revolves around a group of three characters - Charlemagne, Gideon, and Hallelujah ("but her friends all called her Holly"). These three go through more in the space of 22 songs than any "normal" human being could endure - illicit drugs, drug deals, murder, arrest, religion, STDs, it's all here. As you can tell by the names of the characters, the band has a lot to say about religion as well. A main focus throughout both albums, religion is cast as a crutch and a redemption, it's never all good or all bad, but it's definitely a driving force. By the end of these two records, it's tough to tell if Finn is a fan of organized religion as he straddles the line between true believer and blasphemer.
Two albums' worth of songs about drugs, sex, religion, and parties might be good enough by itself, but it helps that each record is catchy as hell. Loaded with hooks and a loose bar band sound, The Hold Steady sound like the early E Street Band (without the overrated front man... Yeah, I said it...). One of the things that pushed The Hold Steady to achieve this sound, especially on these two records, was Franz Nicolay. The unique keyboard and accordion player became a full-time member of the band after their first record, Almost Killed Me, and brought an element of sound that the band was lacking. His organ, piano, and accordion lines fill a void in the band's sound that they may not have realized they couldn't live without. Unfortunately, the band will have to live without Franz from here on - it was announced this weekend that Nicolay had left the band and pursue separate endeavors. The band may never be quite the same without Franz's trademark handlebar mustache at the forefront.
Not enough can be said about Tad Kubler, the band's lead guitarist. He sets the tone for these songs time and time again. "Stuck Between Stations" is a perfect example - driving guitar line propelling the song forward with ascending piano and glockenspiel notes reeks of Bruce Springsteen and his crew (take away Finn's voice and it sounds like the greatest song the Boss never wrote). The guitar solo in the song's bridge is devil-horn-hand-sign worthy. His solo at the end of "Same Kooks" later on the record echoes Thin Lizzy and Ted Nugent. Listen to all of these two records and you might think that Kubler should be ranked among modern rock's finest guitarists - you'd be right (and these two records don't even cover his finest, lighter-raising moment - his solo on "Lord, I'm Discouraged" from 2008's Stay Positive - which he played on double neck guitar when I saw the band at the Phoenix in Toronto late in that year).
A lot has been made of Craig Finn's vocal delivery, which alternates between a rough growl and a rapid fire recitation of the lyrics. You can't exactly call his voice "typical", and it certainly wouldn't work for many bands, but it's perfect for The Hold Steady.
It's been about 4 years since I first experienced this band. I can safely say that I have listened to The Hold Steady more than any other band since then. When I first purchased Boys and Girls In America (dirt cheap from the Vagrant Records website along with With Strings: Live at Town Hall by the Eels - see this post for details, as it ranked #15 in my Decade's Best list), it didn't leave my CD player for 3 months. Literally. It was the record I listened to when I visited my grandfather alive for one of the last times. It helped me through his death by allowing me to escape reality and live inside of Craig Finn's dreamworld for a little while. I was clearly obsessed, and I clearly haven't been cured.
A last comment on the band - the live experience. The BFF and I saw The Hold Steady with The Drive-By Truckers at The Phoenix in Toronto (as mentioned above) and saw them tear through 17 tunes in about 60 minutes with the ferocity of a punk band and the swagger of the world's greatest rock & roll band. They barely paused between songs, unless it was to allow Craig Finn to ramble about multiple subjects. Finn stood front and center through each second, gesticulating to the crowd, screaming the lyrics that we all knew by heart, hearing them being thrown right back at him. Nicolay was at stage right, behind his keyboard kit wearing a white suit, handlebar mustache in all of it's curvy glory. Tad Kubler was at stage left, looking low key (even when holding the double-neck). Galen Polivka (bass) and Bobby Drake (drums), the rock solid rhythm section, took a back seat to the other three, but laid the foundation for everyone else to shine above. It was telling that, after they had exhausted the crowd, many didn't even stay to listen to the DBTs.
Finn might sum up the entire experience by the dueling refrains from "Stevie Nix" on Separation Sunday. He alternates cries of "Oh to be 17 forever" with "Lord, to be 33 forever". Which is it? Maybe the point is that both are the epitome of who we are - two ages, one with no experience and nothing but adrenaline propelling us forward, the other, more aged and wiser, with less fire in our bellies, but more insight into ourselves.
I hope that many of you who haven't heard The Hold Steady's brand of indie rock check out the songs below. Those of you already familiar with the band can find some other tracks at this previous post. I hope everyone out there catches The Hold Steady live, as that's how they deserve to be heard. Party with them, and maybe you can say that "Killer parties almost killed me".
It has been a pleasure presenting my favorite 20 albums of the last decade to all of you who have chosen to stop by at this little blog. I hope that each reader tells a few friends about the things that you've read about here and invite them to read as well. I really feel that this blog is finding its voice and will continue to present new music insights in the coming year. We have plans to present reviews of new albums (I've been dying to present my thoughts about Spoon's latest masterpiece, Transference) and post full bootleg concerts (lots of these lined up). Keep reading. We're only getting started.
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