hissyfit: Toronto Tim Says: My Best of 2014

Monday, 15 December 2014

Toronto Tim Says: My Best of 2014

Tim Patrick is a good friend.

Here are his choice cuts from 2014.

As you can see, he knows his onions...
Why not add your list at the bottom under 'Comments'?
Or, you could email me your list and comments and I'll post separately...
Come on.
We all like a list.
Mine follows shortly...

TORONTO TIM's - BEST OF 2014

Excellent year for new music! There won't be many surprises listed here, since I've already tipped my cards earlier in the year via several 'hissyfit' postings.

Here they are anyway...

SONG OF THE YEAR:

JONES - "Somewhere North Of Here" (Easy choice. Another timeless classic)

ALBUMS OF THE YEAR:

THE WAR ON DRUGS - 'Lost In The Dream' (blown away by this one. Earns a slot in my top 30 LP's of all time)

THE PAINS OF BEING PURE AT HEART - 'Days Of Abandon' (mixed reviews by critics, but it's my top "pop" album of the year)

CHERRY GHOST - 'Herd Runners' (sparkling gem from Simon Aldred - highly recommended)

JONES - 'To The Bone' (a grower - Yes, a change can be good, very good...)

JOE HENRY - 'Invisible Hour' (Humdinger... May be Joe's best ever...)

BEN WATT - 'Hendra' (I miss Tracey's golden pipes, but Ben's voice in fine form & very solid tunes abound)

DAMIEN RICE - 'My Favorite Faded Fantasy' (still a few cheesy lyrics, but a surprisingly strong return to form - Thanks TJ)

TOM HICKOX - 'War, Peace & Democracy' (promising newcomer. "Pretty Pride Of Russia" my 2nd favorite tune this year)

BILL PRITCHARD - 'A Trip To The Coast' (unknown veteran makes a real nice record)

PETER JAMES MILLSON - 'Sweet The Love That Meets Return' (lovely album, full of heart - Thanks Nick)

SILVER SEAS - 'Alaska' (best mate and longtime co-writer of Josh Rouse, produces catchy tunes that sound like... Josh Rouse!)

PEARLFISHERS - 'Open Up Your Coloring Book' (way too sprawling, way too sweet, but I'm a big fan of David Scott so this one makes the list)

FUTURE ISLANDS - 'Singles' (kinda weird stab at retro 80's synth-bands that caught my fancy)

NOTE: Sorry to some old favorites whose latest releases just weren't good enough - Bruce Springsteen, Deacon Blue, James, Stars, Simple Minds, um... U2.

Also, Mary Chapin Carpenter's latest 'Songs From The Movie' would have made my "Best Of" list, except that it consists of older songs reinvented with orchestral arrangements, so doesn't qualify.

24 comments:

Meetwood Flac15 December 2014 at 16:36
Ha Ha - Nice one Tim - you probably have no idea of what's gone on with the the banter regarding War On Drugs album!!! It's topped lots of polls over here and in the US but has, let's say, divided opinion, eh Trev? Glad I've got some of these. MCC, well, it made MY list - it wasn't really a Best Of, so in MY book - it qualifies - quality list though.
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Meetwood Flac15 December 2014 at 16:52
OK, here goes for my list of 2014 (in no particular order)

My Album of 2014 - Simone Felice - Strangers

Mary Chapin Carpenter - Songs From The Movie

Danny & The Champs - Live Champs

Good Luck Mountain - Too

Ray Cooper - Palace Of Tears

John Fullbright - Songs

IQ - The Road Of Bones

The Delines - Colfax

Sturgill Simpson - Metamodern Sounds In Country Music

Robert Reed - Sanctuary

Yes - Heaven & Earth

Tim Bowness - Abandoned Dancehall Dreams

Stone Foundation - To Find The Spirit

Robbie Boyd - So Called Man

Luke Jackson - Fumes & Faith

Blair Dunlop - House Of Jacks

Jones - To The Bone

Doug Paisley - Strong Feelings

Peter James Millson - Sweet The Love That Meets Return

Redlands Palomino Company - Broken Carelessly

Oysterband - Diamonds On The Water

Paul McClure - Smiling From The Floor Up

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Hissyfit15 December 2014 at 17:13
Mmm. More homework for me then Nick!
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Anonymous15 December 2014 at 17:22
Just done a Spotify list of my fave. Lots of cross over Tim, but I need to see if any late entries in my Xmas sack . Going to try silver seas and war on drugs tops my poll too. What is it with the deacon blue lp? The production seemed fuzzy or were the songs just not as good as the last LP ? Anyway disappointment of the yr
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Anonymous15 December 2014 at 21:02
Lots of cross over with my favourites too. In my best of the year selection I'm with you, Tim, with The Pearlfishers, Bill Prichard, Ben Watt, Cherry Ghost and ofcourse Mr. Jones. To those I'll add ;
Roddy Frame - Seven Dials
Allo Darlin' - We Come From The Same Place
Erland and the Carnival - Closing Time
Martin Carr - The Breaks
Weeping Willows - The Time Has Come
Neville Skelley - Carousel
James King and the Lonewoves - Lost Songs Of The Confederacy
Skinner Group - Back on the Horse
Damon Albarn - Everyday Robots
Lapland - S/T
The Orchids - Beatitude 9
The Autumn Defense - Fifth
Compilation of the year goes to Boo Hewerdine fighting off fine albums from The Dream Academy, The Bluebells, The Jazzateers and Bowie
and lastly track of the year to Tom Wardle 'She Kissed Me'
...and David I'm with you for Deacon Blue being Dissapointment of the year.

Now to go and check out War on Drugs that everyone's going on about
Phil
Tel Aviv
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Anonymous16 December 2014 at 10:21
Lots of good stuff to choose from this year:

As the others The War on Drugs album is phenomenal - will become a classic.

Trevor's album took a while for me to 'get' and I needed a number of listens before it hit home but is a beautiful piece.

Other stand-out albums for me:

Steve Gunn - Way Out Weather

Leonard Cohen - Popular Problems

Sharon Van Etten - Are we there yet?

Alien Envoy (Nick Kelly) - Loads

Beck - Morning Phase

Blake Mills - Heigh Ho

Damon Albarn - Everyday Robots

Phil Selway - Weatherhouse

Gruff Rhys - American Interior

Goat - Commune

Disappointments were under performing albums from Ryan Adams and Eels (Good but not as good as they should be)

Most looking forward to the Decemberists new album.

Hope you all have a great Christmas and New Year

Glyn

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Hissyfit16 December 2014 at 11:11
Nice list Glyn. I loved the reassuring tone of Lenny's; the woozy comfort of the Beck album and the downbeat charms of Damon's. The rest is homework!
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Anonymous16 December 2014 at 19:06
I do like the sound of the silver seas one - just checked out on Spotify and order placed with the other evil empire. Thanks Tim
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Anonymous16 December 2014 at 22:32
one thing that's nagging me is the random numbers in these lists! 13 , 21 - what's happened to a good old top 10 (top marks for Glyn) or top 20. I'm finding the randomness slightly disturbing
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Tim Patrick17 December 2014 at 00:42
Oh boy, someone really is having a hissyfit... I plead insanity and lack of mathematical skills. Punishment?
By the way David, I hope you'll publish your Top 10 (or whatever #) here this year. Last year you left us in the dark about your selections, leaving me curious...
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Anonymous17 December 2014 at 18:02
Will do - part of the trouble is from about aug onwards I start sticking cds on my xmas wishlist and am expecting a bumper crop this yr - so best of probably wont appear until first week of jan - maybe trev will allow me a guest post?
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Anonymous17 December 2014 at 18:09
Tim for ref - last yeasr was
1 crimson red prefab sprout
2 english electric omd
3 Beast in its tracks - josh ritter
4 ghost of a mountain - tired pony
5 machineries of joy - british sea power
6 in Cassidy's care - you know who
7 triumph of hope - mostar diving club
8 standards - Lloyd cole
9 terra firma - stornoway
10 rewind the film - manic street preachers

just currie just misses out

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Tim Patrick18 December 2014 at 04:22
Thanks Dave, your list reminded me to order Tired Pony. Look forward to your guest spot...
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Meetwood Flac22 December 2014 at 20:31
Nice to see a shout out for the Steve Gunn album - I really rate that one :)
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‘Jones’ is Trevor Jones; principle songwriter with the critically acclaimed duo Miracle Mile, where he works alongside collaborator, arranger and musical partner Marcus Cliffe. Together they have produced nine albums, the latest of which was 2012’s ‘In Cassidy’s Care’, rated ‘Album of the Month’ by HiFi News, with respected journalist Johnny Black noting that Miracle Mile were “far and away the most unfairly unsung musical wizards ever to emerge from this sceptered isle. Big on memorable tunes wrapped around honest-to-goodness emotionally involving lyrics.”

Trevor Jones has also previously produced four solo albums: ‘Hopeland’ (2009), ‘Keepers’, (2010), ‘To the Bone’ (2014) and ‘Happy Blue’ (2016). Co-produced again with Marcus Cliffe, ‘Carver’s Law is another triumph of intimacy.
Previous critical acclaim for Trevor Jones:

“Gorgeous, as ever. Trevor Jones finds the poetry in real life; gently beautiful and genuinely moving. You may cry.” The Sunday Times

“Masterpieces of subtlety and observation clothed in sumptuous, lush melodies.” R2

“Jones is in a class of one. Near-perfect explorations of the human heart. The beauty on offer here is enough to make you weep. It did me.” Americana UK

“Achingly tender.” Folk Radio UK

“Intellectually as well as emotionally engaging.” MOJO

"Meticulously orchestrated, careful and complex, this is canny songwriting leavened by bona fide humanity." Q

“Moves you to tears and refreshes the soul. Scintillating.” Maverick

"Gentle enchantment. The loveliest melodies you've ever heard.” Uncut

“Classic pop songwriting, gorgeously realised. Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving” The Times

Miracle Mile: A User's Guide by Johnny Black

Despite being based in a home studio in a rural backwater on the outskirts of West London, Miracle Mile chose to name themselves after a fictional gold rush main street half a world away where, according to adventure yarn spinner Jack London, ragged 49ers would blow their hard-won nuggets on booze and broads.
They apply a similarly unorthodox approach to their career in general. The band’s core duo of singer/guitarist Trevor Jones and multi-instrumentalist/arranger Marcus Cliffe have been relentless in their pursuit of the perfect song. Not the fastest, the gnarliest or the loudest, not even the most instantly commercial, but the song whose melody, lyrics, arrangement, performance and spirit might stand the test of time, giving pleasure to listeners not just for years but centuries.
They’d be the first to admit they haven’t yet found that perfect song and maybe never will, but I’d argue that their albums — the documentary evidence of that search — deserve a place alongside the best work of time-tested tunesmiths as elevated as Randy Newman, Elvis Costello or Tom Waits.

Marcus Cliffe wasn’t yet on board when the first album, Bicycle Thieves, arrived in 1997 but already it was evident that frontman Jones didn’t fit in with the prevailing mode. There was no rage, bitterness or self-loathing in his songs and nothing at all turned up to eleven. Instead, he offered meticulously orchestrated slices of ordinary human life, transforming the mundane into the marvellous with carefully crafted lyrics sincerely delivered. Even here, though, the hypnotic sample-based "Recycletwo" revealed a willingness to experiment that marked Jones out as more than just a pop craftsman in the vein of Crowded House or Aztec Camera.

What had started essentially as a recording project had become a five-piece live band by the time the follow-up, Candids, was released in 1998. Loaded with nagging guitar hooks and dynamic vocal interplay, it included one particularly affecting piece, "Small Ad," which featured just one line of lyric, the heart-rending couplet, "Baby’s shoes, never used." With those four words, Jones conjured up a yawning abyss of grief that other writers might struggle to evoke in an entire album.

Jones quickly realised that live performance was not his forte and retired to the womb of the studio for 1999’s third album, Slow Fade, which also saw the birth of the partnership that would lift Miracle Mile higher still above the norm. Marcus Cliffe, in demand as a player for Steve Earle, Emmylou Harris, Daniel Lanois, Mark Knopfler and others, was drafted in on upright bass.
Immediately the music took a more intimate turn, with Jones exploring the little things that illuminate the big things. Almost every song offers up at least one unforgettable line, like "I'd rather be ashes than dust" in "Everybody Loved You," or the concept of filling the void left by his loss of faith "with despair and metalware" in "Starwatching."
Slow Fade was further enhanced by the delicately filigreed swirls and swoops of England’s finest steel guitar maestro, B.J. Cole, whose style sat so well with Jones and Cliffe that he has become virtually a full-time member of the band.

And then, out of nowhere, catastrophe struck. Trevor Jones’ beloved sister died in tragic circumstances. It’s typical of the man that, rather than wallowing in his grief as he had every right to do, he dealt with his loss in the quiet, honest dignity of "Sister Song," the achingly lovely tribute that concludes the fourth album, Alaska. It can’t have been coincidence that the album, despite its meltingly beautiful musical landscape, was named for one of the coldest places on earth.

By the time of Stories We Could Tell in 2004, Miracle Mile were drawing critical plaudits in every significant British magazine and newspaper, along with comparisons to such pop pluperfectionists as Prefab Sprout and the Blue Nile. Critics were noting that Miracle Mile was fast becoming a repository of timelessly romantic music fueled by the same shamelessly emotional human concerns that inspired the great standards. More than this, it was being noticed that while most bands go into decline after two or three albums, Miracle Mile were getting better, perhaps because they’d avoided the trap of trying to be contemporary, and had no need to be more outrageous than the competition, largely because they didn’t see music as a competitor sport.

The sixth album, Glow, showed up in 2005 and found Jones and Cliffe further expanding their musical palette mixing Celtic folksiness with slow, semi-industrial percussion on the inspirational "An Average Sadness," blending Badalamenti guitars with Bacharach horns on "What Kate Did Next," and opening "Strange Sympathy" with a beautifully synthesised string orchestration before letting the song melt seamlessly into a laid-back country-rock rumination on the gap between aspiration and acquisition. Glow was also their most lavishly packaged disc, gorgeously presented at no small cost to themselves.

Album No. 7, Limbo, offered fifteen songs overflowing with sensitively wrought melodies and heart-fluttering lyricism. If it’s not a contradiction in terms, Limbo was even more quietly passionate than usual, deliciously understated and, at times, devastatingly tear-jerking.

‘Cassidy’s Care’ followed in 2012 and received similar critical acclaim.
Miracle Mile may just be too concerned with timeless quality for their own short-term commercial good. They’ll never sink a fang into the jugular when they can plant a whisper of a kiss on that sensitive spot at the nape of the neck and set off a tiny ripple that will, in the fullness of time, explode in the heart. I, for one, wouldn’t want it any other way.
Johnny Black

“Trevor Jones finds the poetry in real life; Marcus Cliffe anchors it in the sweetest pop. Gorgeous as ever. You may cry.”
Sunday Times

"Gentle enchantment. The loveliest melodies you've ever heard."
UNCUT

“Gorgeous melodies, hooks galore, intelligent lyrics that demand and repay careful listening, beautifully produced instrumentation, and an overall effect that combines poignancy and joy in equal measure. Music and words come together in a state as close to perfection as makes no difference, and leaves you with a delicious ache that makes you hug yourself with the sheer overwhelming joy of hearing such wonderful music. The beauty on offer here is enough to make you weep. It did me."
Americana UK

“A little oasis illuminated by musical creativity, glimpsed like a lovely mirage. Intelligent tunefulness that doesn’t kowtow to passing trends has always been as rare as fish fingernails, but it’s here.” Mojo

“Classic pop songwriting, gorgeously realised” The Times

“Moves you to tears and refreshes the soul. Scintillating.”
Maverick

“A tender sadness. Songs that have universal resonance.”
Netrhythms

"Trevor Jones has produced a gorgeous pop album that few will hear — unless there’s justice in the world.’ The Wall Street Journal

“Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving”
The Sunday Times