You Ain’t No Picasso’s 50 Favorite Albums of the Decade

As a 23-year-old, this last decade was special to me. Not only did I “come of age” during it, but its also the first in which I started listening to music that beyond the Beatles. I graduated high school in 2004, graduated college in 2008 and along the way heard some of the best music I could have ever hoped to hear. As a celebration of what a great time this decade has been, I thought it would be fun to list 50 of my favorite albums in some approximation of order of enjoyment. I did, however, limit myself to one album per band, so that knocked a handful off the list. Still, I’m sure I forgot a few, so be sure to leave your list (or just what I forgot) in the comments.


(679, 2004)

Easily one of the top five concerts I’d like to go back and appreciate from this decade is when I saw Annie. At the time I only knew “Heartbeat” and was waiting for her to play it the entire time. But since then I’ve realized this is definitely one pop record that’s got the brains to back up the chewing gum. Plus it’s one of the few whose glitzy production is an asset rather than a hindrance.


(XL, 2007)

Originally I was a little let down by Kala. I’m not the biggest fan of “Boyz” and “Bamboo Banga” and those were the first two tracks I heard off the record. Those have since grown on me a bit, but the real winners here scattered throughout. It’s the production of “Jimmy” and “Paper Planes,” mixed with Maya’s excellent vocal delivery that’s slowly made it edge out Arular in my mind.

The RootsGame Theory

(Def Jam, 2006)

Admittedly this album has lost a bit of its punch since “Here I Come” became the intro music for Jimmy Fallon. Luckily this record has a ton of punch to spare. Really, no matter what you’re looking for in a hip hop record, this album has got it. It’s exceptionally well produced, great lyrics, fantastic beats and plenty of riffs to appeal to even the whitest of fans (me).

Elliott SmithFigure 8

(DreamWorks, 2000)

Is it the best Elliott Smith album? Clearly not. But seeing as its only one of two to fall within the decade, it shouldn’t be a big surprise that it’s on here. Plus, it’s actually great if you don’t compare it to its bigger brothers; it’s got one of the best heartbreak songs of the decade (“Everything Reminds Me of Her”) and maybe my favorite Elliott Smith song of all (“Son of Sam”) — I know, I’m a weird one.

The New PornographersMass Romantic

(Mint, 2000)

When I saw the New Pornographers (yes, with Neko and Dan Bejar), I knew almost nothing from this record. Cut to a few months and a copy of this LP signed by everyone in the band later and it’s one of my favorites. I think it’s just barely better than A.C. Newman’s Slow Wonder, but it’s an edge not many pop records have. I mean, the first three tracks on this thing alone constitute a better pop album that almost any other one of this decade!

Brian WilsonSMiLE

(Nonesuch, 2004)

Sure, we’d already heard most of the hit songs in one fashion or another, but wasn’t this clearly one of the best albums of the decade? Not only did the production almost come close to hitting the near mythical mark he dreamed of so long ago, but we got to hear a slightly alternate take on “Good Vibrations.” One of the best sequenced pop records of all time.

The WalkmenBows + Arrows

(Record Collection, 2004)

I heard Bows + Arrows just before departing for college. In fact, I seem to remember wearing this CD out doing yard work my last summer before college. It’s an album that I really don’t play as often as I should, but one that I’ve happily enjoyed for nearly six years now. Of all the albums on this list, this has some of the best vocal delivery/guitar interplay.

PhoenixWolfgang Amadeus Phoenix

(V2, 2009)

My girlfriend isn’t known for tolerating weird music by relatively unknown groups, but even she had to question how anyone could not like this record. Be it the fun jangle of “Lisztomania” or the heartwarming punch of “Love Like a Sunset Part II” into “Lasso,” this record is sure to win over anyone who has two ears and a heart.

BeulahThe Coast is Never Clear

(Velocette, 2001)

Beulah are one of the great bands we lost this decade. They left us with some fantastic records and a suitably good tour DVD, but it still doesn’t feel like enough. But like the popular saying goes, it’s better to have heard “A Good Man is Easy to Kill” than never loved at all.

The Boy Least Likely ToThe Best Party Ever

(Too Young To Die, 2005)

When this album came out, I said that it felt like the album I most believed I would have make… if I had ever gotten around to making fantastic albums. It’s got a ton of great pop songs (“Be Gentle With Me”), some of the best sing-alongs of the decade (“I’m Glad I Hitched My Apple Wagon to Your Star”) and and one of the most heartwarming/heartbreaking songs I’ve ever heard (“My Tiger, My Heart”).

See the rest after the break.

Les Savy FavInches

(French Kiss Records, 2004)

I’m kind of cheating here because Inches is technically a compilation. But I just couldn’t bare to leave it off, given that it’s got one of my favorite songs of the decade. I don’t know what I would do without “The Sweat Descends” and thus don’t know what I would do without this record.

MGMTOracular Spectacular

(Sony, 2008)

I’ve spent enough time on here talking about MGMT that I don’t really feel like going into too much depth here. I’d been loosely following the band for a while prior to their major label signing, got an advance copy about half a year before the record came out and was sure they were dead in the water. The album was beautiful, but I never thought it would catch on. This is a prime example of why I’m not an A&R guy: I don’t give people enough credit. It’s psych, it’s pop, it’s fantastic.

InterpolTurn on the Bright Lights

(Matador, 2002)

This is one of the records that I’ve had the pleasure of rediscovering over the course of putting together this list. I wore this album out when I first heard it and even bought some rather pricey tickets to see Interpol stand around dramatically in Louisville. Still, some of the tracks on here are downright unbeatable. “NYC” broke my heart the first time I heard it and I’d only spent three days in the City years prior. It’s our generation’s “New York, New York”

Jens LekmanOh, You’re So Silent Jens

(Secretly Canadian, 2005)

Though it’s technically a collection of singles and assorted tracks, I’m going to allow it to fit under the banner of “studio album” because it’s just that fantastic. If you can hear “A Sweet Summer’s Night on Hammer Hill” without feeling like you’re a joyous 15 year old again, then I’m not sure w can see eye to eye on much in the way of pop music.

The DecemberistsHer Majesty the Decemberists

(Kill Rock Stars, 2003)

Of all the groups on this list, none of fallen quite so far in my eyes as the Decemberists. Their first two records occupied most of my time when I first got to college, but they seem to have lost the magic. I know no band wants to keep remaking the same album for the rest of their career, but you could do worse than to keep mining an area so beautiful as Her Majesty the Decemberists.

Kanye WestLate Registration

(Roc-A-Fella, 2005)

At first it pained me to include Kanye on this list. He’s gone from being one of the decade’s most forward thinking artists to one of the biggest pains. However, recent transgressions don’t make up for the fact that this is a great record. It’s Jon Brion co-produced and features one of my favorite songs of the decade: “Gold Digger.”

Stephen MalkmusFace the Truth

(Matador, 2005)

I really had a hard time narrowing it down to one Stephen Malkmus album. I mean, Pig Lib is what hooked me, the self titled is great, but I just had to go with Face the Truth. “Baby C’mon” and “Pencil Rot” alone would probably merit inclusion to this list, but it’s the rest of the album that’s made it last so long in my memory. Ironically this is one of the few albums on here which disappointed me on its release.

Vampire WeekendVampire Weekend

(XL, 2007)

In the old days it would take about a decade to go from hype to backlash to appreciation, but these days we can knock it out in two years. Vampire Weekend were one of the biggest darlings of this decade, but a lot of people were either worn out quickly or never enthralled to begin with. Personally I was hooked early and have loved this record ever since. There’s not a bad song on here and — though it’s obviously heavily inspired — it wound up being one of the freshest breaths of air we got this decade.

Daft PunkDiscovery

(Virgin, 2001)

For the longest time I only had Daft Punk’s singles and a copy of their 2007 album Alive. Then, after chatting with my coworker Erik for a while, I realized I was a fool for not picking up their albums. I threw on a used copy of Discovery and had my mind flipped over and tossed to side B. It was a brand new way of thinking about music and I thank them for it immensely.

Man ManSix Demon Bag

(Ace Fu, 2006)

Man Man have yet to put out a dull album, but Six Demon Bag is so far their apex. They sacrificed none of their wild side in order to perfect their songwriting, resulting in their best songs yet. You can’t beat “Engrish Bwudd” and “Spider Cider” in terms of unrestrained craziness, and you can’t touch “Ice Dogs” as far as wild-eyed bizarro R&B.

Patton OswaltWerewolves and Lollipops

(Sub Pop, 2007)

If I’m being honest, I’ve probably listened to Patton Oswalt’s record Werewolves and Lollipops more than most of the records on this list that have been out the same amount of time. Sure, it’s no Radiohead, but like those Brits, Patton is the best there is at what he does. Any time I was in the car with a friend for more than 40 minutes, you can bet I put on Werewolves and Lollipops.

Sigur RosTakk…

(Geffin, 2005)

I was torn about which Sigur Ros album to include, but the scales were tipped by the fact that “Hoppipolla” is one of my favorite songs of all time. Takk.. gets derided occasionally for being Sigur Ros’ mainstream, accessible record, but it’s still one of most beautiful works I’ve ever heard. Hit play on this one and prepare for a 65 minute emotional journey.

MenomenaFriend and Foe

(Barsuk, 2007)

The production and mix on Friend and Foe are so well done that I often want to lump Menomena into an artsy, post-rock category that really doesn’t suit them. They write fairly basic pop songs, but do such a fantastic song dressing them up with instrumental interludes and backing tracks that it puts them into a different world. Sections of “Evil Bee” sound like rock’s answer to classical music, while “the Pelican” is a dramatic work that feels more at home in the Phantom of the Opera than a rock LP.

The Apples in StereoDiscovery of a World Inside the Moone

(SpinART, 2000)

This is the pop album of the decade that most blew my mind. I was a bit late to the game, but I’ve quickly become one of Discovery‘s most dedicated fans. It’s got most of my favorite Apples songs on it and really no clunkers to speak of. And the best part? Every song is uplifting, life affirming and quite the earworm.

The Polyphonic SpreeTogether We’re Heavy

(Good Records, 2004)

I can’t imagine going on tour with 25+ members, let alone arranging such an intricate album for their performance. But Tim DeLaughter proved again that he’s the best there is at what he does by coming out with the best orchestral pop record of the decade. It’s a cohesive album that works best together, but still reigns supreme when spit into singles. But really, you’ve got to go with the “Everything Starts at the Seam” into “When the Fool Becomes the King” transition. That’s an inseparable one-two punch if I’ve ever heard one.

DeerhoofApple O

(Kill Rock Stars, 2003)

If I were to make a list of my favorite opening songs, Deerhoof’s “Dummy Discards a Heart” would rank right up there with the best of them. Deerhoof are one of my favorite contemporary groups and it’s for all the reasons Apple O is so great: they have killer riffs, great melodies and they know how to combine dissonance and beauty.

Modest MouseThe Moon and Antarctica

(Epic, 2000)

This is one of the first “hip” records I was into. Somehow one of my friends in high school got into Modest Mouse and suddenly there was a whole pocket of us there who thought they were the best thing ever. Our album of choice was, of course, The Moon and Antarctica. It’s got a range and quality that eludes Modest Mouse’s other records and most other bands as well. I mean really, they’ve got “Paper Thin Walls,” “Tiny Cities Made of Ashes” and “3rd Planet” on the same album. That’s diversity, my friends.

LCD SoundsystemSound of Silver

(DFA, 2007)

I’m not going to lie to you guys. I really loved LCD Soundsystem’s self titled record, but I really didn’t see them becoming one of the biggest critic’s darlings of the decade. But hey, I’m always glad to be wrong when it comes to great music. This is one record where pretty much every song could have been a single. It’s great production, great songwriting and some great lyrics.

WilcoYankee Hotel Foxtrot

(Nonesuch, 2002)

One of those landmark albums that I was slightly slow getting into. I picked it up toward the end of high school (03-04) and immediately saw why it was such a big deal. They were fairly daring with the production (thanks for that, Jim O’Rourke) and it paid off in spades. “I Am Trying to Break Your Heart” is the best produced folk song of the decade.

Panda BearPerson Pitch

(Paw Tracks, 2007)

Here’s the only time I’ve really got to give props to another blogger. GvB spent so much time talking this album up that I had to give it a shot. It’s Pearl Jam/Built to Spill/Arcade Fire of the end of the decade in that it’s inspired countless rip offs and imitations. But it’s for a good reason, Person Pitch has the most original personality of any album released since Kid A.

Ted Leo/RxTyranny of Distance

(Lookout!, 2001)

This is one of the few albums to buck the trend of being my first introduction to the artist or group. I heard a few singles of Ted Leo’s, but Shake the Sheets was my introduction when it came out. (It was also my introduction to vinyl, since I wanted something big for him to sign at his Louisville concert). But the one that’s stuck with me the longest is Tyranny of Distance. It’s got its share of hits, but this is another case where the non-singles are the ones that keep my interest. The sly pop of “My Vein Illin” and the gentle acoustics of “the Gold Finch and the Red Oak Tree” make this a one of the best, most versatile guitar albums of the decade.

The Magnetic Fieldsi

(Nonesuch, 2004)

Expect to see this one perform a bit better in the singles category than it does in the albums. i has some of the Magnetic Field’s best lyrics, wittiest songs and catchiest melodies, but there’s just too many filler songs for me to rank it higher than this. Still, “I Don’t Believe You” is one of my all time favorite songs and “I Thought You Were My Boyfriend” and “I Wish I Had an Evil Twin” are two of the best Magnetic Fields songs out there.

Andrew BirdMysterious Production of Eggs

(Righteous Babe, 2005)

Did this album really come out in 2005? It seems like it’s been a part of my life forever. It’s got his biggest hits (“A Nervous Tic” and “Fake Palindromes”) and the songs solo artists with guitars would give their thumbs to write (“Sovay” and “Measuring Cups”). But the real reason this is such a fantastic record is because it’s his best combination of violin/guitar interlay plus his best songwriting. “Skin, Is My” is one of his best songs and one of the most fun to hear live — it loses no impact on the record either.


(LaFace, 2000)

The token rap album on here. For most of this past decade and my entire life, Outkast was just a singles band. It wasn’t until about two years ago when I found a used copy of Stankonia at CD Central and decided to give it a chance. The big surprises here were that so many of my favorite singles of theirs were all on one album and that there were still a ton of great tracks I hadn’t heard. “Gasoline Dreams” and “So Fresh, So Clean” are some of the best rap tracks I’ve ever heard and they aren’t even the best songs on the album. My only complaint is that I tent to get tired of the interlude after the first few.

Death From Above 1979You’re a Woman, I’m a Machine

(Vice, 2004)

Probably one of the best two-person bands ever. Definitely one of the best two-person bands I’ve seen You’re a Woman I’m a Machine is a wicked album that should probably have just been a good album. It is against all odds a really testosterone-filled, dance record that has fantastic songwriting and some lyrics almost as great as the riffs.

The ShinsChutes too Narrow

(Sub Pop, 2003)

Sure, Oh Inverted World has the two best Shins songs. I doubt anyone will argue that with you. But as far as a complete package, Chutes Too Narrow was where they really hit all the areas full force. It’s got singles, sure — “So Says I” hooked me right off — but it’s the supporting cast of songs that keeps me interested. What’s an album worth if it’s just an excuse for singles? Nothing. That’s why songs like “Turn a Square,” “Fighting in a Sack” and my personal favorite, “Gone for Good,” make this one of the best albums of decade.

Wolf ParadeApologies to the Queen Mary

(Sub Pop, 2005)

Were they the next Arcade Fire? Not quite; but they really didn’t need to be. They were the first Wolf Parade. On their own Krug and Boeckner are two of the best indie songwriters. Together, they made one of the best albums of anyone out there. And man, if you throw “Disco Sheets” from the EP into the mix of this album, it’d probably jump two spots on the list.

Bishop AllenCharm School

(2003, Champagne School)

The first chords of the album-opening title track sound like waking up into a chaotic world in which you’re already late. The idea was no doubt aimed at the idea of being thrown into a charm school, but it works perfectly for my introduction into the world of indie pop music. Bishop Allen’s Charm School was one of the first records I bought that wasn’t on the radio and the one that taught me to dig deep and find gems. Almost seven years later and I’m still looking for an album to hit me the same way Charm School did this past decade.

Belle & SebastianDear Catastrophe Waitress

(Rough Trade, 2003)

An old friend of mine, Kristine, passed Dear Catastrophe Waitress on to me mid-high school and helped change my musical destiny. I remember listening to a CD of it on the long bus ride to from Elizabethtown to Bardstown to high school. Yeah, The Life Pursuit is a gem, but DCW is where B&S were rolling on all cylinders first. It’s got the best hooks (“Step Into My Office, Baby,” “I’m a Cuckoo”), the most daring/exciting production (“If You Find Yourself Caught in Love”) and the best guitar tones (“If She Wants Me”). If I was to allow two entries from each band, The Life Pursuit would have made it as well, but DCW barely edges it out.

Animal CollectiveFeels

(FatCat/Paw Tracks, 2005)

Am I crazy for picking Feels? Probably. But this is the album where they completely nailed both production and songwriting and the result is just fantastic. Everything from the piano on “Did You See the Words” to the percussion/melody interaction on “the Purple Bottle” is once in a lifetime genius. Even though this new period of the past two albums is probably their best of their career, but Feels is their best single album.

Of MontrealSatanic Panic in the Attic

(2004, Polyvinyl)

So many of these albums are probably ranked highly because they were my first introduction to the group they represent. Belle & Sebastian, Sufjan Stevens and the Magnetic Fields all have albums on here that were the first of theirs I heard. Same with Of Montreal. The difference is how tightly I stand by Satanic Panic in the Attic belonging on this list. Of Montreal’s discography is great, but this is THE album to start with and the one that’ll likely stay with you the longest. When I first heard “Disconnect the Dots” and “Rapture Rapes the Muses,” I thought they were the best two songs I’d ever heard a band of my generation make. And really, Kevin nailed the production on such a complex album that ranges from “Lysergic Bliss” to “Vegan in Furs.”

Grizzly BearVeckatimest

(Warp, 2009)

I conducted a very deliberate experiment in 2009with Veckatimest at its core. I listened to it over and over for about two months after it leaked, then pretty much put it away for the rest of the year with only a few exceptions. Was it still as mindblowingly well written and produced at the end of the year as it was in the beginning? You bet. It may have been the buzz album of the year, but I can promise you that I’ll still be playing this record for my kids. And if their jaw doesn’t drop at the intro to “Southern Point,” I’ll know they were switched at birth.

RadioheadKid A

(Capitol, 2000)

I heard Kid A shortly into my discovery of Radiohead, but it wasn’t until I’d made my way through the rest of their discography that it started to make sense. It, like nearly every Radiohead record, is an album that pushes the boundaries in always more than one direction. “Everything In Its Right Place” is unlike anything before it, but really, so is “Optimistic” and “Idioteque”

White StripesDe Stijl

(SFTRI/XL, 2000)

After getting into White Blood Cells, I downloaded all the White Stripes’ albums and burned them onto cds (man, that was a long time ago). De Stijl isn’t the most single heavy album in their discography, but it’s been this slow burner that’s continued to burn strong for almost a decade.

Sufjan StevensSeven Swans

(Sounds Familyre, 2004)

I can’t give you an exact number of all the concerts that have literally made me weep, but I can tell you that Sufjan playing songs off Seven Swans is among the very limited number. If every person has one tenth the beauty inside them that’s inside this record, then we really are all basically good in side.

The Flaming LipsYoshimi Battles the Pink Robots

(Warner, 2002)

One of the first albums I obsessed over. It was the perfect gateway into the weird, welcoming world of the Flaming Lips. This record is a perfect, complete package with some of the decade’s best songs.

My Morning JacketZ

(ATO, 2005)

You might want to chalk this album’s high rank up to Kentucky pride, but it’s really not the case. It’s no fluke that My Morning Jacket are one of the biggest bands in the country. The songs on Z are BIG. They’re monsters who demand your attention focus and worship. Any time you want to think stadium rock is dead, just remember that there’s only one band out there still doing it well. These are songs for your headphones, your car and crowds of tens of thousands of people.

Arcade FireFuneral

(Merge, 2004)

There are a handful of albums I could say led me to start this blog, but none more direct than Funeral. The moment I heard it, it turned me into such an obsessive fan that I had to read and hear everything about the Arcade Fire that I could. That led me to blogs and a desire to share everything I could about this record and my newfound love of music. And I know they’re big Byrne and Bowie fans — I am too — but this album is one of a kind.

The UnicornsWho Will Cut Our Hair When We’re Gone?

(Alien8, 2003)

This record expanded my mind just before I went to college to expand my mind. This was one of the key albums in my late high school discovery that some of the best music ever made was made by bands you’d never hear without digging a little bit. This record is six years old and I’ve STILL yet to hear anything quite like it. It’s a one of a kind gem that we’re lucky to have. If you’re sad they never made a follow-up, be thankful we got this one at all.

SpoonKill the Moonlight

(Merge, 2002)

I had heard Spoon before listening to Kill the Moonlight, but this was when I realized that they were one of the greatest, most consistent bands of the decade. This record is dark and sparse, but also uplifting and layered. It’s an album to mindlessly drive around your city to, and one to obsess over in private. Every single piece of this album is great; it’s top-to-bottom a masterpiece of which I will never tire.

Here’s how it breaks down by year:

2000: 7
2001: 3
2002: 4
2003: 6
2004: 10
2005: 9
2006: 2
2007: 7
2008: 1
2009: 2

12 thoughts on “You Ain’t No Picasso’s 50 Favorite Albums of the Decade”

  1. as a long-time-follower-but-lately-less-so of this blog and one who has definitely benefited from your shared personal discoveries, i’d like to point out two albums i hope you will admit to overlooking, albums that i found through visiting this site, will always associate with the site, and, in the greater scheme of a run-on sentence, still value as not only top 50 of the decade but also of all that alleged time that transpired before it.

    page france – “hello, dear wind”
    pants yell! – “recent drama ”

    where are they then, you fuck? but cheers to the “charm school” mention, one representative of the holy indie-pop triumvirate is better than none. DCW has “Piazza, new york catcher” and a lot of tedium; it is an understatement to say that stuart made the right followup. spoon? i’m not sure i know of a band that goes farther out of its way to avoid saying anything.

    still, a good list. it reliably represents what i admire about your coverage: the peel-esque lack of posturing: an admiration for good hooks made by competent kids: well articulated messages within the writers grasp and the more compelling failures.

    also don’t hedge your support for “figure 8,” it is easily, easily one of his best. “son of sam,” “somebody i used to know,” “happiness,” “wouldn’t mama be proud,” “stupidity tries,” “can’t make a sound”… these are all among his best. 16 solid tracks.

  2. I apologize for having started to curse you to the depths of a Jonas Brothers concert… before I saw which album you picked as no. 1 lol

    I’m discovering/ re-listening to a bunch of the albums you listed, but I really f’in love me some Kill The Moonlight.

    Of all the things that went absolutely apeshit this past decade, great music, from old trusted bands and new sensations alike, still found a way to rise through. Here’s to hoping this current one will trounce it, won’t be easy.

  3. Slightly surprised at the lack of Yeah yeah yeahs among a few other groups it would appear you’d enjoy/had better albums than some of the ones you chose.

  4. As someone who found this list using Stumbleupon, and who has not yet taken time to browse the rest of the site, I can only hope and pray that your exclusion of The Postal Service’s “Give Up” was due to some sort of extreme prejudice (maybe Ben Gibbard stole your girlfriend?) and not due to oversight. Granted, it is their only album, maybe it is a bit mainstream, but how can you not love the emotional intensity of that album?

    Don’t get me wrong, of the albums i have heard on this list (35-40 of them), i would agree with their inclusion here, and i am doing my best to hear the rest to see how i feel about them. I understand that not everyone digs songs about being dumped, looking back on lost love, and the occasional nuclear apocalypse, especially when they are set to such upbeat, almost happy synth beats. But my question is how does one not appreciate the lasting impression these guys made with just one record? None of the other artists on this list (to my knowledge) have only one record, meaning their recognition has not been as immediate at The Postal Service. Any indie kid worth their corduroy elbow-patch jacket knows who they are, and every one of them pines for another record from them. That kind of devotion and excitement about a band who has (and very probably will) only made one record makes them deserving of a spot.

    Please don’t take this as an attack on your list, I was very pleased to see you include The Boy Least Likely To and The Decemberists, as none of the other Best of the ’00’s lists I have read have done so. Hats off to you, and good day.

  5. Hey Scott,

    Thanks for the comment. Truthfully I just never really got into the Postal Service. Never owned a copy of the album and never had any friends who were way into it. I usually like hearing their stuff when it comes on, but have never been THAT crazy about it. And truthfully I prefer it when other people cover songs off that album (the Shins, Rilo Kiley, etc). I’m not the biggest an of the production style they use, but I think the songwriting is top notch.


  6. Matt,

    Your mention of friends is something i never took into account when making those statements. I was a member of the college radio station at my school, and it seemed that to my group of friends, filling 5 minutes of air with The Postal Service was the best thing you could do at the time. And parties, oh the parties… It may not seem terribly logical or sensible, but “Give Up” was THE party album for my suite/house/apartment, and these memories may have done a little bit to color my love for the album.

  7. You have Arcade Fire, but where’s the Strokes man? Is This It was nothing other than incredible. Otherwise your list is absolutely fantastic.

  8. The Unicorns mention is fantastic. Picked it up right before I left for college too; made my experimental years all the more experimental. Thanks for representing KY out there in the music world.

  9. I can’t believe you’re the only blog I’ve seen AC’s Feels on the top of decades list. i’ts my favorite AC record and completely agree with you, Im dumbfounded by some inde mags that didn’t even put it in their top 100 !
    Anyways great list, cheers keep it up.

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