We Might Be Wrong 2001 closes with the big list: our 15 favorite albums of the year. As with last year, there is a link provided to listen to each album in its entirety at Grooveshark. 56 albums in total received at least one vote this year (you can see the individual contributors' lists here). Again, feel free to let us know what you think in the comments or post your own lists; thanks for reading.
May 1, 2012
April 30, 2012
We Might Be Wrong: The Top 10 Singles of 2001
As we did last year with the year 2000, we begin our look back at 2001 with our list of our 10 favorite singles of the year. Our list was compiled using a points system similar to the one used last year, and once again, any single released during the calendar year as well as any single appearing on a 2001 album was eligible for inclusion. 81 singles received at least one vote in the poll this year; these are the top 10! (Individual contributors' lists can be found here.)
Also, rather than providing links just to listen to each single, we've provided links to the music videos for each song, seeing as some of these videos are among the best ever made (particularly #4, #2 and #1).
So, here it is. Let us know what you think, and feel free to post your own top tens in the comments..enjoy!
Also, rather than providing links just to listen to each single, we've provided links to the music videos for each song, seeing as some of these videos are among the best ever made (particularly #4, #2 and #1).
So, here it is. Let us know what you think, and feel free to post your own top tens in the comments..enjoy!
April 29, 2012
We Might Be Wrong: 2001
So this blog has been rather neglected for awhile, as seems to sometimes happen, but this week we will be publishing our second annual edition of We Might Be Wrong: tomorrow, we'll be publishing our Top 10 Singles of 2001, and on Tuesday, our Top 15 Albums of 2001. We know you've been looking forward to this.
March 2, 2012
McCoy Tyner at the Blue Note Club
During a recent trip to New York City, a friend of mine was reading through the New Yorker and casually noted that McCoy Tyner would be playing at the Blue Note Club the following night. After skipping a couple heartbeats, I expressed to my friend that this was something we should see.
For several years McCoy Tyner had been at the top of my list of performers to see live. I had nearly gotten to see him on a couple of occasions, but had been unable to attend for one reason or another. Anyway, I had always imagined that if I did get to see him, it would be in some giant hall like the Four Seasons Centre in Toronto, where I saw Dave Brubeck in 2007. But the Blue Note Club is a small, intimate venue, and there was McCoy Tyner, sitting at his piano less than ten feet from me. It was an almost surreal experience.
But it was indeed real. The show itself, of course, was wonderful. Tyner was joined by saxophonist Gary Bartz, who he had recorded with in the late '60s and early '70s, and who played beautifully; bassist Gerald Cannon; and a young Cuban drummer, Francisco Mela, who threatened to steal the show. But of course, no one was stealing this show from the man of the hour. Tyner's presence in itself was special, and his playing was as powerful as ever, his left hand a driving force behind the music. It was one of those rare shows where you realize in the moment that you're witnessing something extraordinary.
[Listen to "Blues on the Corner" at Grooveshark]
For several years McCoy Tyner had been at the top of my list of performers to see live. I had nearly gotten to see him on a couple of occasions, but had been unable to attend for one reason or another. Anyway, I had always imagined that if I did get to see him, it would be in some giant hall like the Four Seasons Centre in Toronto, where I saw Dave Brubeck in 2007. But the Blue Note Club is a small, intimate venue, and there was McCoy Tyner, sitting at his piano less than ten feet from me. It was an almost surreal experience.
But it was indeed real. The show itself, of course, was wonderful. Tyner was joined by saxophonist Gary Bartz, who he had recorded with in the late '60s and early '70s, and who played beautifully; bassist Gerald Cannon; and a young Cuban drummer, Francisco Mela, who threatened to steal the show. But of course, no one was stealing this show from the man of the hour. Tyner's presence in itself was special, and his playing was as powerful as ever, his left hand a driving force behind the music. It was one of those rare shows where you realize in the moment that you're witnessing something extraordinary.
[Listen to "Blues on the Corner" at Grooveshark]
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