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BONNIE “PRINCE” BILLY Sept. 28 at Ronny’s. The new songs were transformed into sprawling, loose-limbed, full-band arrangements. … Will Oldham took the stage and removed his flip-flops, revealing his pink-painted toenails. Oldham’s fingernails had pink nail polish, too, and his eyes were underlined with black makeup. The eyeliner was smeared on the left side of his face, looking like a bruise. As usual, Oldham’s face was covered with bristly hair, including a walrus mustache. As he sang, Oldham often contorted his legs and arms as if he were improvising some yoga moves. … As Oldham writhed and the band filled out the songs with an almost jazzy sense of exploration, it reminded me sometimes of Van Morrison from the Astral Weeks era. Ventolin Rezeptfrei Online / Zithromax Romania Online

ROBBIE FULKS RESIDENCY all year long at the Hideout. One of the most delightful things happening in live music in Chicago is the ongoing residency by Robbie Fulks on most Monday nights at the Hideout. As a series, this perhaps deserves a special place outside my top 10 concert list, but let’s give Fulks the kudos he so richly deserves and just say that live music rarely gets better than this. He played 38 dates at the Hideout in 2010, and a fellow fan who’s been keeping track of the set lists tells me he’s played more than 400 different songs over the course of those shows. Fulks doesn’t just do the same sort of set every week. He plays with a revolving set of other musicians and singers and sometimes organizes the shows around themes, such as tributes to Alex Chilton or ’70s country music. I feel like something of a slacker because I made it to only five Fulks Hideout shows. (I saw Fulks perform with Nora O’Connor Feb. 8 and Dec. 27, with the Hoyle Brothers April 5, with Greg Cahill April 26, and with Robbie Gjersoe and Jenny Scheinman Aug. 23.) Fulks is a terrific guitarist, very skilled at acoustic finger picking, the sort of musician who can quickly learn new songs and improvise. He’s also an excellent songwriter, a good singer and one of the funniest, smartest raconteurs around. All of that, plus his great taste in music and musicians, adds up to an experience that’s truly enchanting to witness. The sets I saw with O’Connor were probably my favorites — she’s such a beautiful singer — but the other sets included many highlights, too. At the show with Gjersoe and Scheinman, it was exciting to see the three musicians skillfully finding their way through some songs they clearly hadn’t rehearsed, playing with a sense of improvisatory exploration — and doing it with a light sense of humor about it all. Moduretic Generika Drugstore / Benicar Prescription 7th

THE NATIONAL Sept. 26 at the Riviera. Lead singer Matt Berninger began the concert closely hugging his microphone, but as the show went on, he became more animated, bouncing his microphone stand like a toy. During instrumental passages, he paced the stage, raising his clenched fists, like someone fighting off voices in his head. Berninger’s dance is awkward, lacking the typical rock-star moves, but it feels authentic. He seems to be expressing the emotion and energy he’s feeling from these songs in the only way he can. … It was thrilling how the National’s songs built to dramatic climaxes … During the final song, “Terrible Love,” Berninger walked out into the audience, singing out in the midst of the crowd’s voices for several minutes. Buy Nolvadex And Clomid Pct (Note: The photo above is actually from a different National show, their set this summer at Lollapalooza.)

THE ARCADE FIRE Aug. 8 at Lollapalooza in Grant Park. The seven musicians in the Arcade Fire are still swapping instruments and working up a sweat as they pound away with their violins, guitars, keyboards and even a hurdy-gurdy. The songs from the new album The Suburbs, sounded strong, but older songs provided the cathartic climax of the concert, as the audience sang along with “Rebellion (Lies)” and “Wake Up.” It was as if the crowd was defying the lyrics Win Butler had sung earlier in the new song, “Month of May” — “Now, some things are pure and some things are right/But the kids are still standing with their arms folded tight.” These kids were not just standing there with their arms folded tight. Ciprofloxacin Deutsch Online / Cialis Online Bestellen

TITUS ANDRONICUS July 17 at the Pitchfork Music Festival in Union Park. From my review for Signal to Noise magazine: The Bruce Springsteen influence was obvious from the opening seconds of the first song, “A More Perfect Union,” when singer Patrick Stickles yelled out the lyrics: “I never wanted to change the world, but I’m looking for a new New Jersey, because tramps like us, baby, we were born to die!” Guest players on horns and strings gave the songs a sense of grandeur resembling Neutral Milk Hotel, as Stickles and his bandmates flailed around with their guitars every chance they got. An American flag was draped over the front of the keyboard, and the Stars and Stripes dangled from Stickles’ guitar, too. Titus Andronicus is hardly your typical bunch of patriotic flag-wavers, but the band’s lyrics show a deep appreciation of American history and the long struggle to secure our freedoms. Amid the loud, rollicking chords and Stickles’ keening, emotion-drenched vocals, the crowd chanted, “U.S.A.! U.S.A! U.S.A.!” Buy Cheap Seroquel Online / Markenpillen Viagra Online

JÓNSI April 28 at the Vic. The concert built from a hushed quiet in the early songs to a cathartic burst in the encore, with Jónsi singing in a falsetto that was often angelic and occasionally demonic. The set itself was a masterpiece, with a shifting series of projected images making the stage feel like a cabinet of wonders. Buy Kamagra Cheap

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RICCARDO MUTI CONDUCTS THE CHICAGO SYMPHONY ORCHESTRA Sept. 19 at the Jay Pritzker Pavilion in Millennium Park. It was a great spectacle to see so many thousands of people cramming into the park to see (or at least hear) the debut of the great maestro as the CSO’s new musical director. The fans waved Muti flags as he nimbly led the orchestra through a lovely outdoor concert, making even the most familiar pieces of music (such as the Fantasy-Overture from Tchaikovsky’s Romeo and Juliet) sound fresh. Buy Viagra Jelly Online

TUNNG Nov. 17 at Schubas. The spirited, sing-along and dance-around-like-a-fool side of Tunng was on full display when the group came to Chicago for the first time in three years. Given Tunng’s reputation as something of a folk-rock group, who would’ve expected Mike Lindsay to don a pair of goofy glasses that would’ve been appropriate for Bootsy Collins? … This was quite a joyful musical affair. Nizoral Shampoo Buy Uk

RUNNERS-UP
SYL JOHNSON Nov. 27 at the Old Town School of Folk Music.
PHOSPHORESCENT Aug. 5 at the Empty Bottle
LCD SOUNDSYSTEM July 17 at the Pitchfork Music Festival in Union Park
LIGHTNING BOLT July 18 at the Pitchfork Music Festival in Union Park
JUSTIN TOWNES EARLE Sept. 18 at Lincoln Hall
SUPERCHUNK June 20 at the Taste of Randolph Street
FANFARLO April 7 at Lincoln Hall
THE TALLEST MAN ON EARTH May 28 at Lincoln Hall
THEE SILVER MT. ZION MEMORIAL ORCHESTRA May 27 at Schubas
CARIBOU July 12 at Millennium Park
IGGY & THE STOOGES Aug. 29 at the Riviera Theatre
CONDO FUCKS and ELEVENTH DREAM DAY May 16 at the Hideout
JENS LEKMAN Jan. 3 at the Viaduct Theater
ANDREW BIRD Dec. 16 at the 4th Presbyterian Church
THE FLAT FIVE Dec. 10 at the Hideout
GUIDED BY VOICES Oct. 13 at the Riviera
THEE OH SEES Sept. 16 at Lincoln Hall

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THE NATIONAL: HIGH VIOLET (4AD)
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From the opening notes to the very end, High Violet continually strikes that tricky balance that the National is known for — somehow sounding dazed and tense at the same time. The National has made some great records before, particularly 2007’s Boxer, but this one feels like an almost perfect distillation of its tightly wound, tamped-down anthems. Unsettling phobias run through the lyrics about ghosts, zombies, circus geeks and swarms of bees, but the majestic music feels more like a tonic to scare off the fear.

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San Francisco singer-songwriter and all-round musical genius Kelley Stoltz has made a string of top-notch records that hearken back to the golden era of the ’60s, playing most of the instruments himself. His latest record continues in that vein, but it leans more toward the Kinks and the Troggs, with the rawer sounds of ’60s garage rock. The compositions are still beautiful, with smart chord changes and guitar and bass lines that accomplish so much in a few simple turns, but it’s all a bit rougher around the edges. There’s one cover, a catchy take on an obscure 1965 British single, Buy Nexium Online Canada — and it’s a terrific match with Stoltz’s originals.

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BONNIE “PRINCE” BILLY & THE CAIRO GANG: THE WONDER SHOW OF THE WORLD (Drag City)
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Will Oldham, who most often calls himself Bonnie “Prince” Billy these days, is one highly prolific singer-songwriter, with a complex, hard-to-track discography. He’s been on something of a roll with his last several recordings, and the latest is one of his best yet, a collaboration with the Cairo Gang, otherwise known as Emmett Kelly, a talented Chicago musician with a sensitive approach to playing the guitar. When the two of them play live together (something that really ought to be seen), you can feel how they’re feeding off one another. And that comes through on this strong set of 10 mostly acoustic songs. In a review earlier this year for Buy Zithromax 250 Mg Online magazine, I wrote: Oldham has never sung better, gently catching all the subtle nuances of his melodies. His lyrics read like poetry on the page, but somehow even his archaic turns of phrase feel natural when he sings them. … Oldham dares to let his mind take him to places other songwriters avoid. On the last track, the elegiac “Kids,” he sings from the perspective of an aging man who’s afraid of moving, fearful of losing his ability to sing. If anything, Oldham sounds more fearless than ever. The two Bonnie “Prince” Billy shows I saw Chicago this fall were great, featuring Kelly and a full band. But this earlier, apparently unamplified duo concert by Oldhan and Kelly — captured on amateur video at Monster Island Basement in Brooklyn — looks even more amazing. The clip below begins in the middle of one song, “With Cornstalks or Among Them,” and continues with the song, “The Sounds Are Always Begging.”

ARVO PÄRT: SYMPHONY NO. 4 (ECM)
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Arvo Pärt is one of the great living composers, and this year ECM released a recording of the first symphony he’s written in 37 years. The symphony is not really the form of music he’s known for, and this is not a typical symphony. Although Pärt has a full orchestra at his disposal — the Los Angeles Philharmonic, conducted by Esa-Pekka Salonen in 2009 at the Walt Disney Concert Hall — the symphony often sounds more like a piece of chamber music. It opens with serenity and stillness, like glimmers of light blinking in a night sky. But the same formulas that bind together the stars take on another, more menacing aspect as the symphony unravels over the course of three movements, arriving at a strangely tense and unresolved climax — unresolved except for the slight, almost passing resonance of a bell ringing at the very end. Like much of Pärt’s music, it feels mystical and soulful. (Here is a short essay I wrote about Pärt for a feature on classical music’s most inspiring people in the Propecia Uk Prescription.)

THE 1900s: RETURN OF THE CENTURY (Parasol)
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The 1900s have been one of Chicago’s best bands over the past few years, and they emerged from some apparent turmoil with a slightly reconfigured lineup on this new record —sounding as strong as ever. The music isn’t quite as lushly orchestrated as it was on their superb 2007 album Cold and Kind, but the melodies are just as inventive, the words are great pop-song poetry, and the vocals by the trio of lead singers have never been so lovely. Another addictive collection of sweet songs with a bittersweet tinge.

PHOSPHORESCENT: HERE’S TO TAKING IT EASY (Dead Oceans)
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Phosphorescent — which is essentially one guy, singer Matthew Houck, plus whatever musicians he assembles — has made good records in the past, but he/they seem to have found a new sense of purpose after doing a Willie Nelson tribute record in 2009. The result is the year’s best country record — or should we say alt-country? Country-rock? Forget all those labels. These are just great songs from top to bottom, with arrangements reminiscent of classic, old-time country and western.

THE SADIES: DARKER CIRCLES (Yep Roc)
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No doubt, the Sadies are one of the most talented guitar bands you’ll ever see in concert. Using barely any effects pedals, they’ll show you how guitar, bass and drums are played by people who really, really know how to do it — but they also put that virtuosity to the service of the songs they’re playing, rather than simply showing off. And over their past few records, they’ve also matured into strong songwriters. The Sadies’ previous album, New Seasons, was my favorite of 2007. The new one ranks a notch below that one, but it’s a nearly unassailable bunch of tightly arranged roots-rock tunes, concluding with an incredible overture of sorts — the accurately named track “10 More Songs,” which crams a whole album’s worth of majestic guitar riffs into 4 minutes and 15 seconds.

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The Tallest Man on Earth — the stage name for Sweden’s Kristian Matsson — is a very traditional, acoustic-guitar-picking folk-rock singer-songwriter. It’s an old genre, but it’s far from exhausted, and Matsson is doing it as well as just about anyone right now. His dexterity on the guitar is impressive, and he’s surprisingly lively in concert, rarely standing still for more than a minute or two. But he’s mostly worth watching because of his gift for memorable melodies and words.

GRINDERMAN: GRINDERMAN 2 (Anti-)
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It was hard not to wonder if the first Grinderman record would turn out to be a one-off stunt by Nick Cave. He recorded under a different name than usual, working with a subset of the musicians who play in his bigger band, the Bad Seeds, and the experience seemed to give him a jolt of electricity. It’s a good thing Cave reassembled Grinderman for a sophomore record, which is just as raging and raw as the first one, running over with black humor in the lyrics and an unstoppable power in the ragged blues-punk guitar riffs. This year, the middle-aged Cave showed the kids how to rock. (Warning: The first of the videos below, “Heathen Child,” is NSFW. It’s also insanely, wonderfully weird.)

JANELLE MONÁE: THE ARCHANDROID (Bad Boy/Wonderland)
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If only other young pop and R&B divas were as inventive and daring as Janelle Monáe. Her ambitious debut runs a wide gamut, from an orchestral introduction to bouncy dance music and elegant ballads, with a sci-fi theme running through the whole thing. She made her record the way she wanted to, and she had the director’s vision — and the powerful, nimble voice — required to pull it off.

AND THE NEXT 50 … in roughly descending order:
11. Kings Go Forth: The Outsiders Are Back (Luaka Bop)
12. LCD Soundsystem: This Is Happening (DFA/Virgin)
13. The Arcade Fire: The Suburbs (Merge)
14. She & Him: Vol. 2 (Merge)
15. Mavis Staples: You Are Not Alone (Anti-)
16. Nina Nastasia: Outlaster (Fat Cat)
17. Dios: We Are Dios (Buddyhead)
18. Sharon Van Etten: Epic (Ba Da Bing)
19. Tunng: …And Then We Saw Land (Thrill Jockey)
20. Best Coast: Crazy For You (Mexican Summer)
21. Deerhunter: Halcyon Digest (4AD)
22. Caribou: Swim (Merge)
23. Avi Buffalo: Avi Buffalo (Sub Pop)
24. Midlake: Courage of Others (Bella Union)
25. Kronos Quartet with Alim & Fargana Qasimov and Homayun Sakhi: Rainbow: Music of Central Asia Vol. 8 (Smithsonian Folkways)
26. Dr. Dog: Shame, Shame (Anti-)
27. Black Mountain: Wilderness Heart (Jagjaguwar)
28. A Broken Consort: Crow Autumn (Tompkins Square)
29. Laura Marling: I Speak Because I Can (Astralwerks)
30. The Vaselines: Sex With an Ex (Sub Pop)
31. Spoon: Transference (Merge)
32. The Black Angels: Phosphone Dream (Blue Horizon)
33. The Besnard Lakes: The Besnard Lakes Are the Roaring Night (Jagjaguwar)
34. Owen Pallett: Heartland (Domino)
35. Thee Silver Mt. Zion Memorial Orchestra: Kollaps Tradixionales (Constellation)
36. Woods: At Echo Lake (Woodsist)
37. Cave: Pure Moods (Drag City)
38. Sharon Jones & the Dap Kings: I Learned the Hard Way (Daptone)
39. Justin Townes Earle: Harlem River Blues (Bloodshot)
40. The Fall: Your Future Our Clutter (Domino)
41. Laura Veirs: July Flame (Raven Marching Band)
42. White Hills: White Hills (Thrill Jockey)
43. The Acid Mothers Temple & the Melting Paraiso U.F.O.: In O to Infinity (Important)
44. Belle & Sebastian: Write About Love (Matador)
45. Charlotte Gainsbourg: IRM (Elektra/Asylum)
46. Clogs: The Creatures in the Garden of Lady Walton (Brassland)
47. Gil Scott-Heron: I’m New Here (XL)
48. Jónsi: Go (XL)
49. The Love Language: Libraries (Merge)
50. Barn Owl: Ancestral Star (Thrill Jockey)

And then there were, oh, about a hundred more records I heard from 2010 that I liked — if only I had more time to absorb them all.

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