Idolator

The social-music site Last.fm—which allows users to track the music they listen to on their computers via a process called "scrobbling," and also has full-song streaming capabilities for certain tracks—released its "most listened to" list earlier this week. The artists list was topped by MGMT; the most-listened-to album was Coldplay's Viva La Vida; and perhaps owing directly to the previous two factors, the "best tracks" list had one surprise on it, and that was the fact that Katy Perry's "I Kissed A Girl" snuck in between repeated spins of "Electric Feel," "Viva La Vida," and other MGMT and Coldplay songs.

THE GOOD: I forgot that Foals (No. 7 on artists) existed. I liked that album!
THE BAD: Raise your hands if you thought Does It Offend You, Yeah? would wind up on any year-end lists, even ones that probably overweigh albums that came out early in the year.
THE WHAAA? So yeah, it's kind of hilarious that last.fm chose to do an unweighted track list, because the repeated listens to both Viva and MGMT's Oracular Spectacular were so intense, the top 10 tracks list looks like this: Coldplay-Coldplay-MGMT-MGMT-Coldplay-Coldplay-Katy Perry-Coldplay-Coldplay-MGMT. (Actually, you could probably write some sort of song based around that structure, where "Coldplay" = a verse, "MGMT" = a chorus, and "Katy Perry" = a shrilly annoying bridge.) So how does a writer do up a kinda-boring list in a punchy enough way to make people continually click through its attached gallsticle? After the jump, we put Last.fm's writeups through the text-matrix site Wordle to see just what words stuck in writers' and editors' minds. ("WTF can't people just listen to something else" not included.)

London's Fact Magazine—which runs one of the sharpest-witted, up-to-the-minute music blogs around—has been doling out year-end lists for a few weeks now, the newest of which is its Top 20 albums, preceded in recent weeks by Top 20s of reissues and DJ mixes. These lists are thankfully different than the ones you'll find in the big U.K. mags, which we're thankful for even when their logic escapes us. The albums, reissues, and mixes lists are after the jump, but first, a few impressions.

THE GOOD: Sorry, Fleet Foxes: Fact's got other priorities. The Top 20 albums is the strongest publication list so far this year—nearly all of the titles I've heard on it (Gang Gang Dance, No Age, Zomby, Portishead, Jay Reatard, Flying Lotus, H&LA, 2563, Vampire Weekend, the Bug, Claro Intelecto) are good-to-great by my ears.
THE BAD: That Kelley Polar album (No. 17) is pretty weak sauce, guys.
THE WHAAA? Surely 2008's giant pile-up of African vault finds deserves a heftier representation in the reissues Top 20 than Orchestre Poly-Rhythmo de Cotonou at No. 18? (At the very least, the majordomos at the mag need to give Franco's Francophonic Vol. 1, just out on Sterns, a spin.) And grateful as I am to Fact to linking to that Prins Thomas Resident Advisor podcast (I'd tried to find it to no avail earlier in the year), surely the fact that it was posted October 15, 2007, counts against it as a 2008 mix, shouldn't it?

Yesterday the iTunes Store released its year-end lists, and while its "best of" lists are somewhat intriguing (the albums rundown is topped by Raphael Saadiq, while the "Best Songs" list has both Motley Crue's "Saints Of Los Angeles" and Hercules & Love Affair's "Blind" in its top 10), it's the sales charts, of course, that allow us to place our collective finger somewhere near the pulse of those people who buy albums from the comfort of their cubicles/drunken late-night outings. Perhaps unsurprisingly, Coldplay's Viva La Vida—which was promoted heavily by an ad for the iTunes Store—is the top-selling album of the year. Top 50 is after the jump, but first, a few impressions.

THE GOOD: I don't know why, but there's something hilarious about Disturbed's Indestructible (No. 28) being nestled between Paramore and the soundtrack for Sex And The City.
THE BAD: The overall MOR-ness of the chart—Leona, Amy, Duffy, Colbie, even Counting Crows all the way down at No. 43—shouldn't be all that surprising, although I did raise my eyebrows at the notion that enough people bought the OneRepublic album that it landed in the top 10. I know digital sales are a fraction of overall album sales even now, but really? Is the power of Timbaland's "ay"-ing that profound?
THE WHAAA? For all its power as a singles-sales force, there sure were a lot of soundtracks that flew off iTunes' virtual shelves—10 in the top 50 alone, including the Juno soundtrack, which placed third overall. Also in the upper reaches of the year-end chart: The Across The Universe soundtrack, probably because it brought together Bono and Evan Rachel Wood; and the unkillable Alvin & The Chipmunks soundtrack (No. 24—right ahead of Duffy!). Although if you click through you'll see that its most popular track by a far, far margin is whatever version of "The Christmas Song" has been included on the disc. For some reason, this comforts me a lot.

Last year, Stephen King could only pick seven albums that he liked from the year's offerings, but 2008 has apparently been kinder to King's ears: Not only was he moved to pick a full top 10, he placed two albums—Buckcherry's Black Butterfly and the Pretenders' Break Up The Concrete—at No. 1. Whoa, don't get too crazy now!

THE GOOD: Hey, I liked that Al Green album too.
THE BAD: The gallisticle (my new term for those pageview-inflating lists that are presented as galleries: feel free to pass it along!) is peppered with "dancing about architecture" punnery and "aw, gosh, EW, you don't have to give me space in your mag" bloviation like the following: "Of all the things I write about for EW, pop music's the hardest, because a columnist doesn't get paid for saying, 'I dunno, I just like it.' But can I really explain why I love 'I Kissed a Girl' by Katy Perry and would be delighted never to hear Taylor Swift's 'You're Not Sorry' again? No. All I can say is that I find 'the taste of her cherry ChapStick' in 'Girl' entrancingly sexy, while everything about 'You're Not Sorry'... makes me sorry." That's the sort of wordplay that gets Uncle Stevie the big bucks! Suck it, layoff victims!
THE WHAAA? "This is as dense and allusive as James Joyce's Ulysses, only you can dance to it." Guess what copyright-busting PC user he said that about? Somewhere, some dude who gets paid to write about rock full-time (well, at least most of the time in this economy) is sobbing for not having thought of the Joyce allusion first.