10. Raheem DeVaughn – The Love & War MasterPeace (Jive)
I can probably attest better than most that there is no shortage of self-promotion in the urban music world and where Raheem doesn’t tell us how great he is on this record, he gets Dr. Cornel West to do it for him. But what sets Raheem apart from many of his bravado-wielding contemporaries is that he more than backs it up with what can only be described as R&B anthems: baby making anthems (‘Bedroom’), club anthems (‘The Greatness,’ ‘I Don’t Care’), and political anthems (‘Nobody Wins a War’). This is a long record and only lands this far down the list on account of how much I listened to it this year, but make no mistake, The Love & War MasterPeace is an all-timer.
Recommended: Lead single ‘Bulletproof’ feat. Ludacris and the hilarious ‘B.O.B.’

9. Bryan Ferry – Olympia (Virgin)
A true comeback long in the waiting, Olympia satisfies on all fronts, with Ferry just as smooth as he’s ever been in his now relatively (for a pop star) advanced years. In collaboration with players new (Flea, Groove Armada, Scissor Sisters) and old (Phil Manzanera, Eno), Ferry has created moments on Olympia reminiscent of his finer moments with Roxy Music for which we all adore him. And of course the fantastic Kate Moss-featuring packaging does enough to remind us of the Roxy years in and of itself. A return to form.
Recommended: The broody single ‘You Can Dance’ is a classic opener, but the Groove Armada collaboration ‘Shameless’ is the show-stopper.

8. Kate Nash – My Best Friend Is You (Fiction)
To be honest I probably never thought she would feature on a year end list and I certainly wasn’t thinking that when I gave this record a punt off the back of the catchy girl-group inspired ‘Do-Wah-Doo.’ Nash can be a notoriously grating figure but on this record she discards her previous dime-a-dozen whiny stories of relationship frustration in the most part for tales of her rather more interesting personal neuroses and musical experimentation (‘Mansion Song,’ ‘I’ve Got a Secret’). For once it’s a little more interesting thinking about where Kate Nash might be going, rather than where she’s been.
Recommended: Album opener ‘Paris’ walks the line between her new and old styles, while ‘I Just Love You More’ recalls 90s angst in a way you wouldn’t expect.

7.  Sia – We Are Born (Monkey Puzzle/Jive)
While I was an unabashed champion of Sia’s excellent last record, this was something of a surprise for me in the sense that her most famous songs have all been ballads and you could never really see her going all out for it over the course of an album. But We Are Born contains some of her best work to date and it’s notable that while there are a couple of ballads on the record, the standout tracks are all extremely uptempo if not upbeat (‘Bring Night’, ‘Clap Your Hands’, ‘The Fight’, ‘You’ve Changed’, ‘Big Girl Little Girl,’ etc). A welcome move in the right direction.
Recommended: ‘Bring Night’  & ‘Stop Trying’ rank among Sia’s most immediate work to date.

6. Mark Ronson & The Business Intl – Record Collection (Columbia)
Ronson is an easy artist to like but a hard artist to truly love – that is in part because the strength of his material so often relies on the abilities of his guest stars, as was demonstrated on the Version album. However on Record Collection he’s strengthened his hand in using his own vocals for the first time as an outlet and displaying a knack for getting the most out of himself by complimenting his voice with the right collaborators (Ghostface Killah and Simon Le Bon to name but two). As ever, though, this album still stands on the strengths of its guests, with the appearances from Q-Tip, Rose Elinor Dougall (but more on her later), Andrew Wyatt and of course Alex Greenwald providing highlights.
Recommended: ‘Bang Bang Bang’ was instantly one of the singles of the year, while ‘Introducing the Business’ is more of an anthem than you might expect out of this motley crew.

5. Wir sind Helden – Bring mich nach Hause (Columbia)
This record started off much further down the list and then as the year drew to a close found itself inching up bit by bit, as I just had to keep listening to it over and over. There’s no question that this is a back to basics affair that sees the Heroes abandoning much of their high-energy electro-inclinations of the past and focusing on much more downtempo, rewarding songs that are less instant than much of their back catalogue. Like many of the records on this list, Bring mich nach Hause marks a welcome, experimental change in direction for one of the most consistently excellent bands of the last decade. But with that said, while the new direction is richly rewarding, as seen on the title track and ‘Dramatiker,’ it’s the more uptempo tracks that bring you back for more.
Recommended: The excellent ‘Kreise’ fits as close with (and improves upon) the bands recent back catalogue as is possible, with the slower and pessimistic ‘Flucht in Ketten’ a perfect foil.

4. Uffie – Sex Dreams and Denim Jeans (Ed Banger)
180 degrees the other direction meanwhile is Uffie, who proclaims loudly several times over the course of this record that her greatest talent is that she has no talent. That is of course an exaggeration on both our parts but it is a paradox in the extreme that the ‘I’m lazy and don’t give a fuck’ nature of her words on tracks like ‘MC’s Can Kiss’ and ‘Our Song’ are backed by some of the most urgent and exciting music of the year. Whether that is a testiment to Uffie herself or the many talented producers involved with the record is hard to say, but the reality is that stripping all of that away, Uffie is lyrically blessed in a way that translates itself to record in a way that dwarfs many if not all of her contemporaries by comparison.
Recommended: These records live or die by clutch singles and the standout track is ‘Difficult’ (backed by an amazing video), with the Pharrell Williams-featuring ‘ADD SUV’ also proving a classic.

3. Rose Elinor Dougall – Without Why (Scarlett)
This is a DIY masterpiece. It’s official, in retrospect Rose was the most beloved of all the Pipettes for her bewitching ways (vocally & aesthetically) and after extricating herself from a group that clearly after their incredible debut album lacked direction (as seen on this year’s follow up), she set about creating her own. While she may have got more recognition for her time as part of the Business Intl on Ronson’s album and tour, this is a very complete album in its own right, sporting no fewer than five self-released singles. From the Stereolab aping ‘Another Version of Pop Song’ to the wistful ‘Find Me Out’ and lush ballad ‘May Holiday,’ this is a record full of very special moments. Hopefully Rose can continue to make a name in her own right in addition to the many collaborations she’s endured thus far.
Recommended: Channelling 80s REM and Morrissey at their best the rest of this album makes it hard to pick just two, but opener ‘Start/Stop/Synchro’ and closer ‘May Holiday’ provide two vastly different and wonderful shades of this record.

2. Gorillaz – Plastic Beach (Parlophone)
Demon Days and the entire Demon Days experience was so incredible that you just had to wonder, where does any band, nevermind one that doesn’t exist, go from there? Well, apparently, you up the ante with even more outstanding guest appearances from some of the greatest artists of all time, make more unbelievably great pop music and then you take it on an even bigger and better tour around the world. While there are the lovely delicate moments on this record (‘Broken,’ ‘To Binge’) you would come to expect, the undoubted highlights are Gorillaz at their most whimsical (‘Some Kind of Nature’ with Lou Reed), most intent (‘White Flag’ with Kano, Bashy and the Lebanese National Orchestra for Arabic Music) and most danceable (‘Rhinestone Eyes’ & ‘Glitter Freeze’). The perhaps most amazing thing about this record, with no disrespect to the incredible ‘Stylo’ with Bobby Womack & Mos Def, is that the two best tracks are the ones that don’t even feature any guest stars. Sorry, Snoop!
Recommended: The aforementioned ‘Rhinestone Eyes’ is the best single that wasn’t, and the unbelievably lush career-defining ‘On Melancholy Hill’ was almost the best single that was.

1. Kent – En plats i solen (RCA)
It was with some surprise that just 8 months after my favourite album of 2009 was released, and still in heavy rotation in my day to day listening, that I received a link with news of another new Kent album, to be released the next day. All things being equal I approached En plats i solen with considerable trepidation as most people would any album that they read was put together from songs created at the same time as a previous album. Were these simply leftovers or b-sides that didn’t make the cut? Are these tracks that weren’t good enough?

It’s only recently that I’ve discovered that Kent are one of the most outstanding bands of the last decade (their 90s output is also outstanding but is not quite in the same league to me). With that in mind, this album deserved a fair chance and when given one it became immediately clear that for the second consecutive year, without a shadow of a doubt, Kent had contributed the #1 album. There is no question that En plats i solen is a cohesive record start to finish and it is to me the more (sonically) upbeat companion to Röd’s darker musical style. Yet again they lead off with an understated opening track (‘Glasäpplen’) which before long turns into a gut-busting tempest of beats, bass and synths. This sets the tempo for the rest of the record, however while it is another hugely electronic driven record, unlike its predecessor there is an underlying emphasis from start to finish on huge pop songwriting which probably hasn’t been seen since 2002′s Vapen & Ammunition.

I haven’t and won’t post a singles rundown this year because more than most years, the list would be dominated by singles from albums in my top 10. However unlike last year, this year’s Kent album features the best singles of the year as well, with both parts of the lead double a-side single ‘Gamla Ullevi’/'Skisser för sommaren’ pipping Gorillaz’ ‘On Melancholy Hill’ to the post. In many ways this double a-side sums up the record perfectly, ‘Gamla Ullevi’ an absolute synth driven club anthem, and ‘Skisser för sommaren’ one of the most perfect 4 minute guitar pop singles in recent memory… with a singalong chorus where you don’t need to understand Swedish to take part.

I could go on but I’ll stop there. This is an incredible record and the one which I’ve listened to far more than any other released in 2010. Who knows what 2011 holds for Kent but on the showing of the last two years I’m not sure if I’d want any change at the top of this list next year!

SWISS MISS
Tina Roth Eisenberg’s inspirational collection of curious and clever design works, practical tips, tricks & enhancements to every day life, whimsical video clips and things that just plain “make her look” or “make her smile.” It’s also introduced me to her globe-spanning “Creative Mornings” series, of which I can’t wait to attend my first very soon!

SECOND AVENUE SAGAS
Without question, Ben Kabak’s blog leads the line for New York City (and sometimes further afield) subway and transport coverage. It’s no secret that I’m a keen trainspotter and SAS (named for the troubled Second Avenue Subway presently under construction) provides plenty of fascinating insight into what keeps a city ticking over, above and below the ground. In spite of his ruthless and laudable exposing of politicians’ ignorance, hypocrisy and negligence as it relates to NYC’s transport issues, the only issue I can take with Kabak is his banal obsession with riders who stand near the doorways between stations. Not all folks do it out of laziness…

SOUTH SIDE SOX
There are plenty of fantastic White Sox blogs and communities on the internet but SB Nation’s fan-driven community wins out for me, as it is maintained by a wide cross-section of fans who live all over the globe with the same enthusiasm for the Pale Hose. What makes SSS stand out from rival teams’ communities within SB Nation is the spice of the writing… infused with the sort of passion, knowledge, sarcasm, and character that set Sox fans ahead at the very least of any of their near rivals.

QUESTIONABLE CONTENT
I’ve never truly been a fan of comics but Jeph Jacques has created an indie-rock comedy set in a futuristic but plausibly real world in the future, concerning an ever growing circle of friends and their work/relationship issues mixed in among their just plain nonsensical, amusing day to day conversations. It’s a small town story where iPods and robots (or by their technical names, ‘AnthroPC’s') are sentient and subservient and the characters are friendly & likeable, despite their miscues which drive the story ever forward.

WANKEN
Shelby White’s curiously-titled (to English speakers) blog is an awe-inspiring collection of design masterclasses from around the globe, spanning the worlds of architecture, fonts, industrial design, music, ads & posters, music, and more. This site is a much more recent addition to my day-to-day reading list than the other 4, however its impact on my interests definitely justifies its spot on the list.

BUT ALSO
Credit should be given to a major portal I visit on a daily basis… BBC Sport’s football site, headed by editor Phil McNulty. His insight and analysis is among the best in the world, and he certainly stands head and shoulders above his BBC colleagues in terms of his direct, honest reflections on the beautiful game. Other football writers may be more impactful across other forms of media (e.g. Podcasts) but that’s another article for another day…

I’d love to hear other people’s top sites!

10. The Bird & The Bee – Ray Guns Are Not Just the Future
Admittedly this was a toss up between this record and the also-Greg Kurstin produced Lily Allen record. But having lived with both for the entire year, having seen both performed live, and having given both opportunity to be aired out around the house as well as on the morning commute, there’s something just a bit more rewarding and earnest about Inara George’s delivery. This album runs maybe 1 or 2 tracks too long but just when you think it’s about to peter out, you get an injection of what makes Greg Kurstin arguably one of the best pop producers in the world and that on merit secures a spot in this top 10.
Singles Bar: Toss up between Polite Dance Song & My Love.
Deep in the Cut: Meteor.

9. Jump Clubb – The Love of No Dance
Perhaps a bit of an unorthodox choice here as The Love of No Dance rings in at a limp 21 minutes, but you can place this very much in the ‘all killer no filler’ category. These tracks are very much the sound of the night before evolving into the morning after, dark beats and synth sounds mixed in with dancefloor fillers. While we’re all waiting for an LCD Soundsystem record, this’ll do.
Singles Bar: The title track received some love on woxy.com so I suppose that counts.
Deep in the Cut: A Frozen Hug.

8. The Decemberists – The Hazards of Love
This, on the other hand, is a magnum opus, an album grand in both scope in execution, nearly to the tipping point of just being too much. But with much ambition either comes a desperate failure or a magnificent success and I’d place this in the latter category. While it’s not a record that is endlessly listenable on repeat, it makes enough of a statement to stick with you for days after each listen. It’s not an iPod album and singles are not to be found here but there is a story arc, recurring themes both musically and lyrically, masterful arrangements, fantastic guest vocals particularly from the likes of Shara Worden and one of the tracks of the year in The Wanting Comes in Waves/Repaid.
Singles Bar: The Rake’s Song is as close as you’ll get.
Deep in the Cut: Difficult to top The Wanting Comes In Waves/Repaid.

7. Alicia Keys – The Element of Freedom
Again we veer to the other end of the spectrum, to an album loaded with singles that could not be more radio-ready and more concise. Every beat on this record is perfect and perhaps like its predecessor on this list, the album’s main shortcoming is simply in its length, the fact that it’s easier to listen to as groups of tracks than it is to listen as a complete work. But what tracks! While the payoff from this December release may come far into the new year,  as a work of some of the best R&B and pop songs of this year, and some might say, this artist’s career, it’s worthy of a 2009 placing.
Singles Bar: Try Sleeping With A Broken Heart.
Deep in the Cut: This Bed.

6. Blakroc – Blakroc
The genius collaboration between The Black Keys and some of hip hop’s finest bears wonderful results in the shape of the Blakroc album. It leaves you asking all of the questions: “Where did they get ANOTHER verse from ODB?” “Did Raekwon put a foot wrong all year?*” “Who is this guy (NOE) who sounds like Jay-Z and why is he better than him?” “Is Mos Def the smoothest poet around?” This is a rarity in modern hip hop in that despite being assembled as a collaboration, it is a thoroughly listenable and enjoyable album from start to finish with no discernable blemishes or weaknesses.
Singles Bar: Ain’t Nothing Like You (Hoochie Coo) isn’t the single I’d have picked but it’s strong nonetheless.
Deep in the Cut: Coochie is the single I’d have picked.
*The Raekwon album didn’t make this list owing to my having got it just too late in the year to truly register, but it is a stellar album deserving its place on other people’s lists.

5. Manic Street Preachers – Journal For Plague Lovers
I didn’t see this one coming. Even as an apologist for the Manics, and a fan of over a decade, I didn’t think they would make an album that would even be in the ‘best album of the year’ discussion. Especially not when I found out they were trying to make The Holy Bible Pt. II with lyrics written entirely by Richey Edwards. It just didn’t seem right. But I was wrong. With Steve Albini at the controls, this record was produced perfectly and contains all of the raw energy and power that would be required of such an ambitious undertaking. And James Dean Bradfield proves he’s still able to cram as many words into a verse as it takes to stay true to the powerful words on paper. There weren’t many lyricists of the 90s as impactful as Edwards and for that legacy to have impacted this decade in fitting form is an unexpected – and welcome – pleasure.
Singles Bar: Peeled Apples was as close as you’d get to a focus track.
Deep in the Cut: This Joke Sport Severed and the title track reflect the best of the softer and harder sides.

4. A Fine Frenzy – Bomb In A Birdcage
Which one of these is not like the others? A Fine Frenzy was heretofore (and perhaps still) known as being a whiny major label creation who lived on Vh1, muzak for Starbucks sipping Gen X’ers who’d lost their edge. But while the major label machine seems to have gone all wrong for her in the aftermath of her second record, the results of the record itself are some of the finest, catchiest pop songs of the year. Alison Sudol still throws out a downbeat ballad here and there, but this album is by and large uptempo cheery pop tunes that should be the soundtrack for road trips for springs, summers and autumns to come. To find an album this rich and deep from an artist whose history had been so shallow was reward indeed.
Singles Bar: Lead single Blow Away is perhaps not instant, but works its way into your brain and stays lodged there for weeks.
Deep in the Cut: Elements and Electric Twist showcase Sudol’s newfound ability to ramp a song up into a dramatic payoff.

3. A Camp – Colonia
Nina Persson has become a favourite of mine this decade where I really don’t think she’s put a foot wrong. Colonia, in collaboration with Nathan Larson, maybe be one of her most thorough albums of that stretch. Persson’s touch has always been that she is able to master the most delicate of ballads as well as the most uptempo foot stompers and both elements are here in somewhat equal measure. While her voice is undoubtedly the centerpiece of any record, this is also a beautiful arranged album. And that it happens to contain one of the singles of the year? That doesn’t hurt either.
Singles Bar: Stronger Than Jesus is anthem that went over the world’s head in 2009.
Deep in the Cut: Of many, lead track The Crowning for its quaint eccentricities and the fiery My America stand out for me.

2. Dizzee Rascal – Tongue N’ Cheek
Dizzee’s never been an album artist. Maybe he’ll disagree, having dropped three albums loaded with substantial content previously, but I’ve always found something wanting from his LPs. He’s always been a great singles artist – perhaps it’s no surprise then that this album, his first to essentially have had half the tracks released as singles, stands up a bit more without all of the filler. Tongue N’ Cheek is to the point. Dizzee’s older, more mature, and while he’s still as cheeky as ever, as reflected in the title, the production values of all of the tracks on the album and the cleverness of his rhymes are unmatched when compared with past records. Tongue N’ Cheek is a feel good record you can listen to from start to finish, full of hits and with plenty to spare.
Singles Bar: Dance Wiv Me is undoubtedly the show-stopper, but fourth single Dirtee Cash is also stellar.
Deep in the Cut: Road Rage is hilarious and entertaining, everything you’d want from Dizzee.

1. Kent – Röd
My brother sent me the video for the lead single from Kent’s latest album and said “watch this.” So I did, and I wasn’t hugely bowled over but there was just something about it that like all good first singles, lead you to want to check out the entire record. Sometimes you just have a feeling, the same kind of feeling I had when I got into last year’s album of the year winners Los Bunkers. And in both cases, it was a feeling of “I don’t know what they’re saying, but fuck me if this isn’t great music.”

Indeed, Röd is like all Kent albums nowadays, entirely sung in Swedish. Not that you would notice. This is some of the most breathtaking, emotive music released in this decade, and I don’t think from the second or third listen to the album that there was ever a moment when it wouldn’t become my number one album of 2009. Röd contains the perfect storm of beats and synths forming the base for a dance-rock record that never sounds retro for a moment – a trick many of their contemporaries in the genre have never managed to quite completely pull off. And yet, remembering that Kent were once an indie rock band tipped for international stardom that never quite completely happened, it is easy to find remnants of the huge anthemic choruses of hits past.

Yet, Röd is full of challenges, all of which more than pass muster. Sjukhus meanders along, building over 6 minutes before exploding into the type of singalong that even Brian Eno couldn’t conjure out of Coldplay. Krossa Allt features a heavy synth driving the chorus that unlike some of their Swedish contemporaries (looking at you, The Sounds), doesn’t sound cliched. Vals för satan is arguably the type of song that stands between James Murphy or Hot Chip and megastardom. Lead single Töntarna, while sounding not dissimilar to Depeche Mode, is better than anything released on that band’s 2009 album. How Ensamheten immaculately transitions from a beautiful acoustic ballad to a bass heavy club anthem in mere moments is frankly beyond me. Taxmannen channels New Order at their finest. One could go on and on but at the end of the day, Röd is more than an achievement, it’s a start to finish classic that outpaces the rest of their contemporaries by miles and miles. This isn’t the sound of 4 scrawny kids still learning how to play guitar in a Brooklyn loft who stumbled into a record deal and the hype machine. This is the sound of a band at the peak of their game, the sum of what they have created being the best music I heard this year. No contest. It’s not even close.

It’s crazy to think about, but ever since I was 15 I wanted to see the Manics live. Most logical folks will question their posturing and ridiculous attitude and legacy but in an age where there are no bands with any degree or modicum of substance, I’m glad I can at least say that this (along with one or two others of the time) was a band worth clinging to, a band you could BELIEVE IN. Those bands don’t exist anymore. But I’ll touch on that in a later entry at another time.

Like most people, when I started going to shows you really didn’t know what you were going to get. Now, setlists are immediately posted online from every show on the tour and you know more or less what you’re in for. Ignoring that, and the logic that dictates you’ll get more songs from certain albums than others, and the songs that always get played, I decided to construct a fantasy setlist – 2-3 tracks from each of the 9 albums. I’d love to see other folks do this for bands they feel passionate about as well so feel free to send them along.

These are the tracks I’d want to see on Wednesday, if I were running the show:

Non album singles
Motown Junk – ferocious raw energy in 3 minutes, perfect punk attitude.
The Masses Against The Classes – ferocious raw energy, 10 years later: ‘I’m tired of giving a reason, when we’re the only thing left to believe in…’ and how.

Generation Terrorists
Motorcycle Emptiness – The culmination of pop music’s obsession with the 6 minute power ballad… if it were a ballad. And that guitar just takes you somewhere else.
You Love Us – Just the prospect of a band playing this song to a frothing (not anymore, we’re all too old) crowd of people is tantalising.
Tennessee – ‘Media sells a trace of hate’ - never more resonant than now

Gold Against The Soul
Sleepflower – A little over the top and polished on record, might be great in a raw live environment.
La Tristesse Durera – Classic.

The Holy Bible
Faster – Again, the sheer force of the energy in this one is immense. Used to play this on my bass until my fingers bled.
Of Walking Abortion – They played this at the Millennium gig and Nicky said the bar must have sold a record number of pints during this one, but I love it! The bass drives it, but the ridiculous guitar riff makes that youngster Bellamy look like an amateur.

Everything Must Go
A Design For Life – You have to include it.
The Girl Who Wanted To Be God – Can’t imagine this gets many live airings but everything about this song is fantastic and perfect.
Enola/Alone – ‘I’ll take a picture of you to remember how good you looked…’ drenched in nostalgia.

This Is My Truth…
Ready For Drowning – One of the most underrated tracks of its time.
If You Tolerate This… – Somewhat of a wayward anthem which in a way is a metaphor for much of the catalogue.
Tsunami – Another quiet/loud one with a huge chorus. If only they ever actually played it with the sitar!

Know Your Enemy
Found That Soul – Can’t believe Let Robeson Sing gets more airings than this, straight ahead back to basics rock.
Freedom of Speech… – Particularly relevant (if slightly obtuse) in this country.

Lifeblood
To Repel Ghosts – Seems like the only way this should be listened to is in a very dark room with flashing lights out of booming speakers.
1985 – One of the most underrated album lead-off tracks.
Solitude Sometimes Is – If only for the xylophone.

Send Away The Tigers
Send Away The Tigers – Somewhere, Slash is trying to figure out how he didn’t get to that riff first. Can’t wait to see this.
The Second Great Depression – If only because Indian Summer is essentially A Design For Life Part Deux.

Journal For Plague Lovers
Journal For Plague Lovers – Don’t think this will be one of the new ones to get played, such a shame. Great chorus.
All Is Vanity – See above.
This Joke Sport Severed – Probably their most epic, string laden, beautiful track since the Everything Must Go era.

Banksy, somewhere, is probably finding the omnipresent, crude copying of his style quite hilarious. Why wouldn’t he? Suburbanite nerf bats are taking to the streets, frothing with anger and waving their homemade banners of the president with blood dripping from his mouth, in clown make-up, or looking like that old bag of chuckles himself, the Führer. And of course it was the latter exhibition that became internet-famous when some know-nothing shat the bed when she had her 15 seconds to really ask the tough questions and, as a constituent, grill her democratically elected representative. Instead, Mr. Frank shot her down and all of these recently smug bed wetting centre-left wingers waved it in everyone’s face on their Twitter feeds.

For me, that should really be the end of it, but there’s still something inside that leads me to ask: Hitler? Why? Is it because that is the only shocking historical figure that Americans can really associate with something that’s bad? I know I’m a day late and an idea short, but the analogy is so feckless it really does beggar belief. On one hand, you have a guy who, whether he is right or not, whether you agree with him or not, is trying to change the way people get medical assistance in a way that he believes is for the better. On the other hand, you had a guy who wanted to give people he viewed culturally and genetically superior more Lebensraum by murdering everybody else. That comparison’s the kind of farce that the Iannuccis, the Moffats, the Linehans couldn’t ever possibly write. It’s just beyond absurd.

And of course, yes, it’s offensive. But what’s most offensive isn’t the metaphor. What’s offensive is that the people who are raging with a sense of injustice (to a proposed change to a facet of the way they live their life), are by and large completely unable to actually take a second and learn the facts. That they, when faced with the opportunity to give their representatives an informed piece of what of they think, decide to instead halfheartedly wave a crudely photoshopped image around and shout allusions to the Third Reich, a term they probably couldn’t even spell nevermind describe, and one of the words comprising it is in English.

What’s offensive in this day and age is that those who are so wound up with anger about something that might or might not impact their health and well being were nowhere to be seen when thousands of their countrymen were taking a vacation to the other side of the world and coming home in coffins. And what’s amazing is that ten years ago, any average idiot could peddle hate and gain a following while hiding behind their keyboard. Now you can do it while influencing thousands of your compatriots from the sanctity and safety of a major network studio, and no one’s going to think twice because who has time when they could be playing The Sims?

Or is it no one except Olbermann and Maddow, the supposed “great white hopes” of sane thinking that have had their bollocks chopped off by the fact that instead of reporting with any shred of dignity, they have chosen to present their programs for entertainment’s sake. And when you do that, you lose cred, you’re no different than the Becks and O’Reillys. You’re the other side of the same coin. Because it’s about ratings and therefore, it isn’t about those who laugh last laughing best, it’s about those who laugh at all bringing ad revenue. Hell, if Bush had introduced this plan, who’s to say we wouldn’t see the same folks waving a photoshopped image of him at Orrin Hatch from a printout they got off Rachel Maddow’s website?

Anyhow, I was going to level some sort of thought out critique of what this all really means and how we’re lurching into some sort of 21st Century Trailerpark McCarthyism but frankly I can’t really be fucked. At this point, Obama should just get on with it, grow out a little moustache and with a wry smile tell everyone he was actually inspired by Charlie Chaplin, the old commie pinko. Now that’d really get their goat.

1. No Doubt – first gig I ever properly went to. It was the Tragic Kingdom tour, and it was pretty crap. Civ and The Vandals opened, and I bought a t-shirt because I thought that’s what you’re meant to do. Saw a lot of people from school there and felt pretty cool as well.

2. Matthew Good Band - first gig I went to alone. Stood right at the front and got sweated all over by the filthy mouthed Canadian. They were a pretty average band but they gave it their all and in a small venue as a 17 year old, it was pretty magnificent.

3. Calla – they opened for Team Cooper. Lots of reverberation around the venue. I wasn’t old enough to know shoegaze but it felt like going back about 12-13 years and growing your hair in a bowl cut.

4. JJ72 – Saw them opening for Coldplay before Hilary left. Oh, Hilary. I got a setlist but it got ruined the same night. We blagged our way backstage, hoping to meet up with JJ72 but they were gone and we had to hang out with Coldplay instead.

5. Muse – this one took a while after a few false starts but finally happened. Great show it must be said, couldn’t believe the line stretching blocks and blocks outside the venue in the dead of summer, just to get in.

6. Embrace – saw them at a festival in 2001, lots of crowd surfing which I really couldn’t believe. It was better than I’d have thought, to be honest.

7. Gorillaz x5 – all in different circumstances and the last three coming at the Apollo. Not really much to say here that hasn’t been said, but memorable experiences all…

8. Faithless – another festival show, great fun as well. On record you know what a Faithless song is going to sound like but in the live atmosphere it was quite good.

9. Coldplay x4 – the first three times I saw them, they just got better and better. The first time was before they were festival headliners and it was not even a year after Yellow and it was pretty amazing, it was the culmination of a small band becoming big. After that, their most triumphant American theatre gig, then their first arena tour. The last show was at Madison Sq. Garden, the infamous Viva free show, and it was pretty bad by their standards.

10. Ash x6-10 – not sure how many times I’ve seen them but they are the one band I’ve always just wanted to see over and over again because they are so full of energy and their music is more or less timeless. They’ve fallen off the radar a bit lately, which is a shame because I’d happily go and see them once a year for the rest of my life.

11. Blur – this was without Graham, but at the same time it was pretty incredible because you grow up and then your favourite band goes away for long periods of time, they all do side projects and then you think the chance has passed. Even so definitely one of the highlights of my gig going life. That I didn’t make it to Hyde Park this year will haunt me for a very long time.

12. Super Furry Animals – you never see a show in New York with as much crowd participation as this, truly amazing! Was really excited that they played all my old favourites as well, and Gruff came onstage in a power rangers helmet.

13. Lily Allen – good show at the Bowery, tiny venue and it was completely packed. Fun stuff but the sound wasn’t great and she was a bit drunk by the end of it so I took off early, which I rarely do.

14. Mason Proper x20 – can’t remember how many times I’ve seen them, in front of crowds of ten and crowds of a hundred, in TV studios and theatres and bars. One of those bands that will forever be associated with certain friendships in your life but I’m sad that whenever I brought friends to see them, it was inevitably the worst gigs they’d ever play! But when they are on it’s just magic and I’d tell anyone about them.

15. The Pipettes – waited an age to see this and it was great. They tried to get everyone dancing to different degrees of success… I remember them saying “don’t worry about looking uncool, you’re at a Pipettes concert already!” No wonder 2 of them left within a few months after!

16. Interpol – the 2/3 full MSG show. I actually thought it was a great performance but it was a band that was synonymous with certain experience in my life and it was an important gig for me. At the same time, bit of a lack of judgement there and it was a little underwhelming from both sides of the stage in terms of interaction.

17. We Are Scientists – I’ve seen them twice, both times in venues with bad sound. Not sure what it is but I always felt it could be that little bit better, but on the other hand felt reasonably satisfied. Would definitely see them again though.

18. The Cooper Temple Clause – This is one I’m happy I got in before they withered away and split. Great gig in support of the second album. Not sure how many people went but it couldn’t have been many, in this venue in Detroit above a bowling alley. We bowled next to them and they signed our copy of CMJ for the student radio station which I thought was brilliant. Apparently they’re all doing very normal things now like farming. Wikipedia says Ben’s managing a lower league football team, can’t speak to that but he was the consummate frontman. Wow. Team Cooper RIP.

19. A Fine Frenzy – she opened for Rufus Wainwright which I didn’t stay for. I thought she was talented but pretty much as expected. Would love to see her play again as the new album is far superior to the last one…

20. Tristan Prettyman – a little let down by this performance as I felt she needed more than a 3 piece band to fill out the sound. The big songs should have been bigger and the delicate songs needed more instrumentation. Had one of those horrible record label meet & greets afterwards where I was a bumbling idiot so I’m sure she wasn’t impressed by me either. All in all a shame as I love that last record.

21. The Cloud Room – introduced to them opening for Muse and I couldn’t get over how great they were. Immediately went on a hunt to find the album which I played for most of the next year. A real shame they’ve only had an EP since, to my knowledge.

22. Keane – I saw them in their infancy playing first of three on a bill with Rooney and the next band on this list. Barely anyone in the venue at that point and I’m pretty sure not many people had any idea they’d go on to be as huge as they were. As a show it was bland but the thing was that you were just mesmerised by Tom who had the most amazing set of pipes – what a voice! They’d only released about 4 songs at this point but couldn’t get enough after that.

23. The Sounds – Same show as Keane, saw them very early on in their development. George and I took a couple of them out to TGI Friday’s before in this interview for the student radio station that I don’t think we ever did anything with. They wanted to eat the biggest burgers we could get. I remember really loving this, it was my favourite album of that year and it was just one of those exciting gig moments.

24. Hot Chip – This show had a bit of a real wow factor. I wasn’t expecting anything outrageous but it was so fun, the songs just came into another level in the live setting. Watching 3000 people bounce up and down over 3 levels of Terminal 5 was pretty incredible, and we were definitely among them…

25. Nicole Atkins – similar situation to the Cloud Room in that I hadn’t heard her before seeing her open for another band, and was absolutely blown away by her voice. The record’s a little theatrical but it was perfect in that setting. Nearly blew away the headlining act but not quite.

26. Doves – lucky enough to see them at the peak of their game, in England in support of the Last Broadcast. What a super show, and it ended with Sub Sub’s Space Face which I thought was just fantastic, I felt like we must have been at the Hacienda, but no, we were in Birmingham.

27. The Delgados – they were opening for Doves and this must have been not long before they split up. This was in support of the Hate album, the lead single from which ended up being my single of the year that year.

28. The Decemberists x2 – first time was at Terminal 5 the day after Obama got elected and WOW! That was amazing. It was a real party atmosphere. They must have played for near on 3 hours and not a single person left. Everything about this show was brilliant, the lead up, the gig itself, the crowd interaction, the special sauce that makes the show unique to that band and of course the euphoric feeling walking out into the night afterwards. Truly marvellous. Second time was at Radio City on the Hazards of Love tour and I thought the first half (the album) was great, but wasn’t impressed with the rest of it. Bad venue for a band like them.

29. Ben Kweller – another one I managed to catch very early. This show was in a room over a pub in Chalk Farm and there must have been maybe 100 people squeezed in there, if that. Very much in demand and a good chap I know who is also a singer invited me to come along. Ben came over and said hello later and he was quite sweaty and looking forward to a ride around the London Eye.

30. Spooks – saw them at Shepherd’s Bush Empire, probably my favourite venue in the world it must be said. I remember them saying “fuck this RAP SHIT, who wants to see HIP HOP!?” which I thought was pretty cool as they had a full on band behind them. They were a pretty average hip hop group but they did do a good show and I was compelled to see them after they tore up a festival I’d seen earlier in the week.

31. Delinquent Habits – they opened for Spooks and that shit was crazy. There were two really cute girls and a midget next to me and they spent half the show pouring Hennessey from the stage into all three of their mouths. The little guy was loving it. At the end of the show they poured shots for the whole front of the crowd, which took some doing.

32. The Bird And The Bee – Carnegie Hall! Great show, fantastic acoustics and it was really a moment to savour even though Inara had a cold. Really lovely. Probably about as far the other direction from Delinquent Habits as it’s possible to get.

33. The Kooks – they played Central Park and I thought it was pretty average.

34. Africa Express/Honest Jon’s Revue – This show was at the Lincoln Center and it was marvellous. Such a great blend of musicians from around the world, predominantly of african origin, playing all kinds of music. Have to say the highlights were Candi Staton’s “I’ll Sing A Love Song To You” and the end, when Damon came up to play “Sunset Coming On” from the Mali Music record. Afterwards I had a drink in the hotel bar with Tony Allen, who also played an incredible show, but we didn’t really have much to talk about.

35. The Mighty Narwhale – must have seen them a few times in various places. The thing about Jon is that he has this magnetism about him as a performer that was pretty fantastic. They were a really weird band and I mean that in the best possible way and I was very sad when they broke up. The album was promising.

36. Badly Drawn Boy – he played on the roof! It was where I used to work and he played a lovely show up there. There’s something about one man and a guitar that can be really boring unless you’ve got something about you and he obviously has that. If I remember correctly I was hugely excited about him playing All Possibilities.

37. Orwell – probably one of the more unlikely shows I’d ever seen… they played at some bar I’d never heard of in West Michigan and I organised my whole French class to come along for it. I really loved this and I remember looking on longingly at another girl in the class throughout most of the show but at the end of the day, that’s what you’re supposed to do with French music. The album they were touring at the time is fantastic and I hope I get to hear more from them in future.

38. LCD Soundsystem – They co-headlined with the next band on this list at Randall’s Island and more than anything I went because it was supposed to be a cultural event and you don’t want to not go to those. It turned out to be spectacular and gave me a new appreciation for James Murphy and his music, a truly marvellous show. His band was fantastic.

39. The Arcade Fire – I’ve never been a huge fan against all odds but I have to say this was good, probably punctuated by Win going into the crowd at the end and leading the show from there, which in the middle of a massive field is impressive.

40. Nelly Furtado – saw her play in support of her first album at a festival. It was pretty average but she looked great and the highlight was when she ran down in front of the front row and we made eye contact. When you’re 18 or whatever that’s important. I was in the front row for Coldplay, who followed… not her!

41. Birdmonster – this show was in a small bar in Kentucky and I went because I happened to be down there and Mason Proper were opening. It ended up being quite good but I have to say, the opening band won out on that day.

42. Green River Ordinance – I’m not really into bands like these most of the time, but I saw them play The Canal Room and it was really a hell of a show. Five guys who do what they do incredibly well and go out there and perform… it’s very hard not to root for a band like that.

43. Cat Power – she opened for Interpol and it was the wrong venue and the wrong crowd. But her voice was fantastic and it was one of those things that no matter where you hear the voice, you’re going to be mesmerised by it. Instantly became a fan after this.

44. Moving Units – they opened for Blur and were another opener of the many already listed that defied expectations, but for some reason I never got into them on record.

45. LSDudes – they opened a new venue in Grand Rapids and at the time that was a pretty important thing, so we all went down to watch it. All kinds of video game background video and sound effects and I’m pretty sure I’ll never see another show like it again. Joystix was undoubtedly the highlight.

46. Late of the Pier – this must have been during CMJ week in New York. They were absolutely bonkers and thinking back on it now, they are probably what LSDudes would have ended up sounding like if LSDudes were good enough to get a record deal.

47. Ra Ra Riot – this was at some tastemaker showcase that we somehow blagged our way into at the last minute. They played on the floor and it was pretty stellar, it was one of those moments when you could tell that something fantastic was about to happen to the band and they’ve gone from strength to strength since then.

48. Mosquitos – this was at some showcase in Minnesota years ago. They stuck out like a sore thumb because they were planning for a very uncool showcase of college kids that just aren’t really into that kind of music. I did think it was cool though. For a bonus point, Ying Yang Twins and Vanessa Carlton played later in the showcase and were much more well received although I think the kids were freaked out by Carlton playing a song about wanting to fuck a vampire… I was just disappointed the Ying Yang Twins didn’t do The Whisper Song.

49. Gnarls Barkley – this was ridiculous, it was a Myspace Secret Show and all kinds of folks were there. The line down the block looked like it was going to go for miles. I physically ran into Woody Harrelson (sorry about that) and Janelle Monae and I think I spent most of the gig wedged in next to half of Travis. The guestlist for this must have been ridiculous. This was on the 4th day of 100 degree heat last summer and inside Irving, it felt like we were all going to die but die loving it. Cee-Lo took his shirt off which… I don’t think I saw coming.

50. Arctic Monkeys – only stayed for a few songs in truth as it was part of All Points West 2009 a.k.a. the worst festival in history. I don’t think I’ve ever enjoyed a festival setup less than this one. But I did manage to hear my two staples, Brianstorm and Fluorescent Adolescent, which were marvellous.

Next up: Manic Street Preachers in October… a band I never thought I’d get to see and can’t believe I will…

And of course there’s been no small amount of romance, of love (for fuck’s sake…), of parties and hangovers and rock shows and the morning after the night before, huddled in front of the video games not wanting to come out of my room until 7pm. And a bit of the odd work as well.

But what of it? I guess today I felt compelled to write after taking in La fille de Monaco, and realising that the more things change, yes, the more they stay the same. When I came to New York, by and large, all I had was cinema and music and an open map and despite the meticulous social planning that makes up most of the week, when you want to get away from your life you know that you can always rely on those same things.

I got the A to West 4th and walked across the village, headed into the Angelika, got my ticket, sat down, and got whisked away to that world of French cinema where only the names ever really change. There’s inevitably a bizarre love triangle, beautiful cityscapes, cute girls on scooters, gorgeous women making love to unattractive men (perhaps this is why we go), some twisted crime happens, there’s a wacky plot twist with one of the central characters dying, and then an end to the storyline that defies logic. Yet, I go back time and again because, fuck me, the French have figured out that this shit is gold and when you stop putting Depardieu in everything, it only gets better (no offense mate).

I left the cinema and walked down to the 2/3 at Chambers via Mercer and Church streets, as I wanted to avoid Broadway. Not least because I’d done that walk last week, but because of my longstanding ambition to walk the entire length of Broadway in Manhattan and having not done it yet, not wishing to get bored of it. Church Street was brilliant: garbage strewn everywhere on the street outside the post office at the corner of Canal made it feel like it was the end of the world, like one of those scenes from the opening of 28 Days Later, only without all of the evil undead and about 3,000 miles away. But otherwise, very much like that. There’s something alluring about Tribeca, it looks like it might actually be a fantastic place to live, quiet weekends and cornershop cafes amongst the bustling weekday activity of suits and deals. There was something a bit off though about the air quality, a slightly foul like something’s still lingering in the air down there from when the towers fell just around the corner, but that’s probably reading too much into it and one could come over all spiritual here but that’s just not my style.

Eventually made my way down into the platform, felt as if a train was going to hit me from behind as I walked atop the uptown A/C track in the mezzanine at Chambers, eventually making my way over to the 2/3 platform at Park Place. In 20 minutes we’re halfway up the island, alighting at 96th to pick up the ritual Sunday evening Pad Kee Mao, running into Walter on Broadway & 101st. Amazing to see your great friends when you least expect it, nowhere near where either of you live, totally by chance. Hit a shake at the Ben & Jerry’s before picking up dinner and rocking back up to 168th on the 1. And it was a truly stunning evening in the heights, blue skies giving way to red and orange through the clouds as the sun set over New Jersey and the Hudson River as I walked home.

Anyhow, that was about 4 hours of the long holiday weekend, the rest of it wasn’t worth discussing, but I’m amazed at how throughout the excitement, boredom, frustration, happiness, and the rest of the shit that’s happened over the course of the last few years, throughout all that’s changed, the interests that gave me something to work from when I moved here are still doing the business. Without the passion for culture and exploration I don’t know where I’d be, so cheers to NYC for today, back to work tomorrow, and I’ll write about the rest of the shit later. Perhaps even by next time I’ll have finished the Broadway Walk.

Some albums were just made for sunshine. The first day I could get to Amoeba in LA, I was desperately looking for that record, but nothing stood out for me, and I left empty-handed. I went back the next day when the new Gomez record came out, more to pick that up to listen on the flight home than with any real expectation about finding a trip-defining record.

Back when I used to drive, I had an iPod connector so that I could constantly soundtrack the scenery without having to deal clumsily changing CDs or the dearth of quality on commercial radio. However, I don’t drive anymore, haven’t got the tools of the trade and was left with a rental car full of dreadful radio selections and one CD. So for the remainder of my week in Southern California, it was all about Gomez.

A New Tide is a solid record. It’s not amazing, and I guess most folks wouldn’t consider Gomez to have had a truly amazing record since Bring It On. That might be unfair. I’ve liked all the records, even if they are a bit hit and miss. And while A New Tide hasn’t been universally well received, sometimes that just doesn’t matter. It was that record that seems against all odds to have been made for sunshine. Like most Gomez records it has a couple of clunkers, but the highlights are simply stunning.

Lead single Airstream Driver is a fantastic singalong for racing through dense traffic, while deeper cuts Win Park Slope and Sunset Gates are hugely rewarding listens against the backdrop of the cool blue sky and mountains around LA. Little Pieces is an absolute gem.

I must have listened to the record 7-8 times driving to and from the office, back and forth from downtown, up and down from the Hills, down Sunset to In-N-Out and back, and then finally down into the OC at the weekend. Of course there have been many more records made over the course of history that have captured the essence of SoCal much better than this one ever could. But on the other hand, for me to have the chance to get away to someplace almost completely foreign and lose myself in almost every possible meaning of the word, it was important to have a record on hand to provide the perfect soundtrack. That I can count on Gomez to still do that for me after all these years since Bring It On is marvellous.

This is what getting into the business was supposed to be about, that old school record label feeling, the platinum plaques, the studios, the history. LA as a whole is a special but barely tolerable mess, but the tower is the jewel in the crown, a true landmark – one of few universally recognisable landmarks after the Hollywood sign itself.

I have problems doing the ‘tourist’ thing. I only came out here if I could get them to let me work, and I’m not really fussed about doing the things people need to do. Maybe it’s a New York thing, you live in the best city in the country and you start to think that nothing else matters. Driving across America last year taught me otherwise. There’s something special about LA, but the things you have to tolerate and manage in LA are the things that you never think about in New York. And I’m not a beach person.

But I love a good drive. Especially on secluded, winding roads. For all of the money I spent on getting a car out here, I haven’t been able to really drive on any street at any time that didn’t have any degree of traffic. It hadn’t really been enjoyable. So I ran a few errands in town and then headed out for the hills. That’s when you realise: it isn’t so much the things in the city that make the city special, it’s the things this city represents: stardom and seclusion, the ability to buy yourself a palace far above everyone and with a view of everything. To live a life where you’ll be seen more in a week than most people will in their lifetime, and then be able to bury yourself away in the side of a mountain on a street that bends like a contortionist on Robaxin. And some of them are probably on Robaxin.

So I drove up, away from Hollywood and Beverly Hills, to see those things, to get out on the open road, up Mulholland Drive and Coldwater Canyon and other streets which have had films named after them and if they haven’t, doubtlessly will in future. Simply marvellous: Stopping at scenic stopovers high above the smog, where you can see for miles. Getting lost and not knowing which way is which. Having to be careful to make the hairpin turn and not fall off the side of the mountain.

I may not ever get the stereotypical experience but I always want to get the memorable ones. Stopping at absolutely classic diners in Hollywood off the beaten path, ending up in a plainly bizarre used record store on Ventura Blvd in Studio City, keeping calm on the 101 with the new Gomez record, watching the sun set over Dana Point: all things to remember this trip by. The harsh realities of the greatest city await, but before I go back we might try and have a few more nights of unexpected, if memorable, moments.

The music business is dead. Creativity is king and trust me, within this business there is very little. This lack of creativity and inability to adapt has destroyed the major labels. They’re still there, just like a tree still stands even after it has died. But it doesn’t contribute. Just like the dinosaurs became extinct, all of the artists from the major label era are faced with this ‘adapt or die’ decision. New species of artist are already popping up in their place, artists who care about taking part in the direct conversation between them and their fans. Of course, a few of the old artists have figured this out and evolved into a new creature as well.

Like most bands, I got into Idlewild because I was into Blur. They were on the same ‘indie’ label and hadn’t broke yet. They had a small legion of hardcore fans and that was really about it. I saw as much as I could of this band through 2 inch Real Video streams online and knew I had to get into them. Eventually the I’m A Message video made its debut on MTV2 and I could properly enjoy Idlewild for about 2 minutes. And their videos were all shit but I didn’t care, the songs were weird and not like anything on the radio and Roddy sang like he had some kind of personality disorder and I was a teenager and I loved it. And no one knew who they were and this was MY NEW BAND.

Fast forward about 10 years and major label success has come and gone, the machine squeezing every last drop out of the band through compilations and left the band out to dry. An indie release followed the band leaving Parlophone, to muted reception, and I think most fans sort of thought that was that. But Idlewild returned, and despite not being as Nine Inch Nails or Radiohead, decided to go it alone for the time being and give their loyal fans – the ones who had mostly been there since their 1998 debut Captain mini-album – the chance to get the inside track on the new record.

I had to get in on the action. It was a great deal, better than any deluxe packaging (I’m looking at you, U2). Order our new record now, and we’ll give you the first chance to buy tickets to see us play at a set of gigs where we play all our albums in order, then we’ll let you download 15 tracks from those shows so you can make your own Idlewild live album, then we’ll give you all of the exclusive updates from recording in the studio as it happens, then you’ll get the first option to see us live playing those songs after we come out of the studio, and then we’ll send you the record as soon as it’s mastered, with no wait for a release date to buy it in the store. We’ll make it just for you!

This is the type of relationship that endears the fan to the band – that you could get all of this for less than $20 is almost immaterial – you feel engaged! No longer is it just about going to the horrible megastore and getting a piece of plastic inside a case, it’s about a relationship, feelings, loyalty. And once again, it’s about feeling like this band is your band, that no matter how small the minority of people who care about this record, that minority includes you and you are a part of the process.

Of course, the record could be a clanger. It could be awful, and there’s no way of knowing. But that’s always the case with any record you buy off the back of one single in the old school model. In what Idlewild have done, the battle for attention on the new record has already been won: I downloaded my live tracks and made my Idlewild fantasy live album, listened to it on the way into work and got into a bunch of old songs I hadn’t heard in ages. I sat at home today doing laundry and listening to 1998′s full length debut Hope Is Important and got transported back to where I was when that record came out. When things were simpler, when I had an unstoppable enthusiasm for consuming records on quality and not just quantity. I’ve been reading the band’s updates and I am excited for the new record, without having heard a note of a single.

I wish I could be there for the sold out live shows of new and old material, but it’s not to be. But as disheartening as it is, intimately experiencing the pitfalls of the major label structure on a day to day basis, I’m thankful that one of my personal favourites understands and gets it. That keeping a fan happy isn’t just about the deluxe reissue (though those are nice as well!), it’s about making them feel a part of the experience again, something I, for one, haven’t felt for years.