The KCRW Best Of 2017 Party!

2017 is almost over, and I think we're all breathing a collective sigh of relief. I know we all breathed one together last night at Apogee Studios for the KCRW Best of 2017 shindig, in the best way possible - through the most acclaimed music of the year.

Music and public radio lovers gathered at the excellent Santa Monica facility run by producer Bob Clearmountain to count down the KCRW D.J. picks for their favorite albums and tunes of the year. Small bites and delicious drinks were served, and the newly added cocktail tables in the studio made it all the more easy to enjoy. Early arrivals were treated to a smooth d.j. set from Reggie Watts, who we discovered is as funny as he is talented. He was soon joined by our host, Morning Becomes Eclectic D.J. Jason Bentley, clad in a holidazzling shiny jacket to be proud of. When Bentley asked Watts what was the highlight of his 2017, he responded after some thought with, "I saw this kid pick up a penny ... " and he was right. That was about as good as it got ... besides the music.

Each album selection was announced by a KCRW D.J. opening a sealed envelope, and after an extra rough week in Southern California with all the awful wildfires and an awful government, everyone was ready to celebrate with some good year-end jams.

The list kicked off with #10, announced by Rachel Reynolds, who books the bands for MBE, and chose Father John Misty as her favorite live session of the year. The tenth spot was given to Elbow for their Little Fictions. Reynolds called it "Incredibly beautiful", and "Absolutely stunning .. you can feel the warmth of their living room in Manchester, England. They played "Magnificent (She Says)" from the album, and it was enough to immediately put it on my to-get list.

Travis Holcombe was up next to announce #9, which was Beck's Colors. "I like happy Beck, and it's been a long time since we've heard him. He's on my personal Mount Rushmore of musical icons, and Happy Beck is even better." When asked if it made his personal list, Holcombe replied that it did not, cracking everyone up. They played the track "Wow", prompting the guys to say that they think Beck has been listening to his kids' records a lot in this return to his "Odelay" sound.

#8 honors were presented by Dan Wilcox, and given to Washed Out for their Mister Mellow. This one DID make the Wilcox Top 10, who said he got lucky because this was the album he had listened to the most in 2017. They spun "Hard To Say Goodbye", and I could see why they gave these accolades to this groovy chill-wave group. Cool.

Smooth-voiced Garth Trinidad came up to throw down the #7 spot, which went to Dan Auerbach for Waiting On A Song. This one was definitely on my personal list, and my album of the Summer. It sounds like Summer. It was also my favorite Apogee session of the year, as I was introduced to this lovely album live in this very room. Trinidad remarked that Auerbach was "Our new generation of greats, when we've lost so many ... he dispels the myth that white people don't have soul." Bentley agreed, calling Auerbach a "Genius", and when they spun "Cherry Bomb" it was not hard to hear why. LOVE this album.

Newest D.J. José Galvan took the stage with his drink in hand, ready to reveal the occupant of the #6 spot. Chicano Batman took it home for their excellent Freedom Is Free. It made Galvan's personal list, and he spoke to the fantastic year this band has had. An epic sunset slot at Coachella that by all accounts was especially memorable, and Bentley commented on how they were the only band there that was really SAYING something, socially and politically. They got the biggest applause so far of the evening, and it got louder when they played the title track, "Freedom Is Free". The bass line gave Galvan shivers, and Bentley added that "They also have style, which I appreciate." Clearly. Chicano Batman is a group you want to know more about, trust a sister.

"You're such a character, I love you.", said Bentley by way of welcoming Jeremy Sole to the stage, to which Sole replied, "I like me." Between his shirt and Bentley's jacket, they combined to "break the internet" as they said, (though this was for a radio show). Sole got #5, and gave it to Gabriel Garzón-Montano for his Jardin, which garnered huge applause. "We can talk about this album all day long,"  Sole said, adding that Garzón-Montano knocked it out of the park this Summer at the Annenberg Space outdoor concert opening for Miguel. He dedicated this album to Prince, so he had me at hello, but it is truly exceptional. Everyone was shouting requests, but they played "Fruit Flies", which was so good it had Sole kicking both feet straight out, yelling, "Come ON!" They also played "Crawl" and Bentley shook his head, saying, "It's SO Prince." It would have been fine if they'd played all the tracks, but we had a list to get back to. When Bentley asked Sole what he was looking forward to in 2018, he answered, "Impeachment!" - which received perhaps the biggest applause of the night. Rightfully so. Get Jardin though - it's great.

Eric J. Lawrence is a real music scholar, and you could kind of tell he wasn't that into the #4 spot that he announced .. LCD Soundsystem's American Dream - which made neither his nor Bentley's (nor mine) lists. Lawrence called it basically a James Murphy solo album, but called LCD Soundsystem "one of the most potent live bands around", and said "I have no problem with the new album." Not exactly a ringing endorsement, but the list makers and Grammy committee must have thought differently. OK.

"I'm having 'Best Of List' remorse!", said Chris Douridas when he took the stage. It really is so hard to choose from so much good music every year, but it has to be done, and the #3 spot this year went to King Krule for The OOZ, probably my own least favorite album of the year. Blech. Like, I'll change the radio station if it comes on, and I love me some KCRW. I don't get why people like this stuff, but they do. They played "Dum Surfer" which made me sick, and made Douridas say "I thought it delivered on his weirdness." Yeah. It did. Moving on ...

D.J. Valida gave #2 to "one of the best poets of our time" - Kendrick Lamar for Damn. This one made Valida's list, my list, and probably everyone else's list at #1, because, just DAMN. His social consciousness, his production, his lyrics ... "He does it all so beautifully," Valida said, and I wholeheartedly agreed. Bentley clearly did not, cutting short the track "Love" saying, "Alright, alright...". Not everything is for everyone (*See: King Krule), I get it, but on this one Bentley may be all by himself.

As I might be in thinking that KCRW's #1 would not have made my any-numbered list, but Raul Campos came up and gave it to The War On Drugs for A Deeper Understanding - which I do not have for the choosing of this album in the top spot. Not my cup of tea, but Campos called their songs "epic" (meaning in their length, I believe), and called their Apogee Session his favorite of the year (I missed that one. On purpose.) I don't mean to be snarky, it's just not my jam. The honors were accepted by Atlantic Records' Brian Corona, who thanked KCRW for "sharing all the musical joy in this room", which there really was. A joy both tangibly felt and sorely needed, especially this weird and trying year. An acceptance video by The War On Drugs was played, and they were rightfully grateful.

Best Song of the Year honors went to Amber Mark for "Lose My Cool", and Best New Artist was given to Tom Misch. How all of the year's music can be gone through and chosen as best is a hugely daunting task, but KCRW does it well, and stresses to the listener once again how very, very important music is to us all in our daily lives, and how important KCRW is in delivering it (their pledge drive is on now - thank them with your support!). Individual D.J. Top 10 lists can be compared HERE.

Bentley thanked everyone for coming, though we should have been thanking him. The party carried on to celebrate this year's victors, but I raced across town to The Miracle Theater in Inglewood to catch a benefit show (for The Miracle Theater Foundation) from Tom Freund and friends. I love the Miracle space, and though I missed a bunch of the music, I caught Freund backing up the excellent spoken word poet, Adwin Brown to a rapt audience. It was another round of awesome music, making us feel lucky we live in an area with so much abundant and wonderful live musical offerings. 2017 is almost behind us, and music was probably the best part of it. THANK YOU to the music makers, and to the people that bring it to us as well. Cheers to an even better list - and world - next year, everyone!

*KCRW photos courtesy of Brian Feinzimer

Dan Auerbach Live For KCRW Apogee Sessions - Waiting On A Song

KCRW's Jason Bentley introduced Dan Auerbach for last night's Apogee Sessions (at Bob Clearmountain's Apogee Studios) by saying, "Please welcome one of the most important musician/ songwriter/producers of our time," and it was no hyperbole. Auerbach and his friend, Pat McLaughlin, came on to the tiny little stage at Apogee and showed us just why he garners such high praise.

It had been a perfectly gorgeous day in Southern California, and when Auerbach and McLaughlin sat down - and got down - with their first song, "Waiting On A Song" (from Auerbach's new album of the same title), it was so lilting and lovely, it immediately recalled a summer day sitting on a riverbank watching the clouds drift by. For me, anyway. I dug it right away, as did everyone packed in there so tight you truly couldn't move.

By way of introducing "King Of A One Horse Town", Auerbach said that he and McLaughlin had written it together when "We had a fling last summer ... it was hot." He and McLaughlin exchanged looks, and he added, "Nah, not that hot." They sang of how they "could barely pull my weight around", and I got it. Some days even that feels like too much. But we persevere ... often thanks to music. 

"Never In My Wildest Dreams" promises to be this year's big wedding first dance song, trust me. It's so beautiful, and absolutely dreamy, I couldn't help but get choked up. If someone sang you that song - never mind wrote it for you - it would be so on. I instantly got crushes on both of these dudes, as their harmonies wove together a deeply touching love song where the honest lyrics of "Never in my wildest dreams would I be loving you ... dreams come true." The whole joint was in a full on swoon after that one, and hopefully it gave the guys present a mental note to step up their own game. Phew.

"Livin' In Sin" featured some serious riffage from both, and McLaughlin's mandolin really shone. I also like how Auerbach puts his whole body into his playing, really crouching into his guitar and becoming a part of it. These cats are really, truly players' players ... all of which was further illuminated in the interview portion of the evening that came next.  Bentley came back and McLaughlin split to give his chair up for the Q and A.

Bentley shared that Auerbach had just written a song in the green room, and had to immediately record it, which is why the whole shebang started a little late. Auerbach cracked that it would be available for sale at the door on the way out ... and I wouldn't be surprised, with how prolific this guy is. Auerbach, though from Akron, Ohio, has made his home in Nashville for the last eight years, and it's very clear how much he has embraced the legendary music town.  After constant touring for years with The Black Keys, The Arcs, and solo, producing albums for a ton of people (Dr. John, Lana Del Rey, Ray LaMontagne, etc, etc...), he decided to stick around Nashville last summer and just work on writing music. His friend, "Ferg" (David Ferguson) made introductions to all the players and writers around town for him, and before you knew it, he was so inspired he bought a building - a former call center - and turned it into his own studio, Easy Eye Sound.

Easy Eye Sound is now also the name of Auerbach's own label, to help bring music to the world from people that live in Nashville, and have spent their entire lives being creative. "I feel a connection to music that draws from everything, but isn't one thing in particular ... and that is the Easy Eye Sound." I love it.  Auerbach told about how when he was recording his new "Shine On Me", he kept hearing Mark Knopfler's (Dire Straits) guitar in his head, so got his email and sent him the song. Two days later he sent it back with his guitar part  ... "And I've still never met him." That anecdote speaks to how highly Auerbach is respected among his musical peers, and the feeling is mutual. "You pray a song comes along ... that's a bit dramatic, but you want to work with somebody that helps ignite that creative spark." It seems as though there's a whole lot of that going on over at Easy Eye Sound these days, and it feels exciting. "I hoped it would happen, and it's happening. It's very special," he said, confirming that. He said he records so much, and employs so many musicians in Nashville that the President of the Musician's Union pats him on the back when he sees him, saying, "Anything you need." He ribbed Bentley a bit, saying that they have a recording of Bentley saying, "I can feel the reverberation of your rocking through the walls" from a past KCRW performance that they play on a loop to entertain themselves. In those days, all the players wore big beards and intimidated Bentley, he said. Auerbach laughed, and said, "I've never intimidated anyone, it's empowering."

That wrapped up the interview, and McLaughlin returned to help Auerbach further intimidate us all. They kicked off the second set with "Trouble Waits For You", a jangly, strolling along kind of a song. Again, these players were all the way into it, yet kind enough to take us along with them on this jaunt. "Stand By My Girl" (also off the new Waiting On A Song album), which cracked everyone up when they got to the lyric, "I'm gonna stand by my girl ... she'll kill me if I don't." At song's end, Auerbach joked that "That's a true story. Sad, but true." It was again awesome, as was "Trouble Weighs A Ton" from Auerbach's first solo album, Keep It Hid. It was gorgeous, even though Auerbach had promised "not to be too intimidating" - they still were. "You've got a couple miles to go to drive me crazy ..." - Auerbach writes great lyrics, man.

"Shine On Me" is the obvious hit, and was again extra- evocative of summertime. I mean, it shouts out to Raybans. I was feeling a bit of a burn on my arms from a day trip along the PCH, so summertime was on my mind, but if it hadn't been, this song would have done the trick for sure. Blast it, roll down your windows, and enjoy yourselves this summer, friends! With jams like this, you really can't help it.

We all clapped wildly, enough to get the guys to jam one more song, which was "Goin' Home". The beautiful strumming took me back to the river's edge, on a lazy day where maybe getting some Countrytime Lemonade would be the tallest order of the day. Wholesome goodness that instantly made you homesick, even if you were home. I almost hitchhiked from this studio to Minnesota when  Auerbach sang, "I spent too long away from home ...", and it hasn't even been that long. The prominent line from the tune goes, "Be thankful for all you got", and was so just LOVELY that I again choked up - of course. What a wonderful reminder through song - to indeed be SO, SO thankful for what you got, because if you were here, in this moment, hearing tunes like these, you truly had an awful lot to be grateful for.

With that, it was "So long, hope to see you again soon in some form!" and Auerbach and McLaughlin were off - probably to record another excellent tune backstage. And I was off - to go get Waiting On A Song to help me have an even more beautiful summer. I hope you'll have the same! Thanks so much to KCRW for putting on yet another fantastic evening of live music. Love you.

Waiting On A Song is available now - everywhere.

*Photos courtesy of KCRW/Brian Lowe

KCRW's Best Of 2016!

KCRW held a little soiree last night to celebrate its Top 10 list for 2016. The Los Angeles music tastemakers (and almost everyone I know's favorite radio station and all day companion) got a jump on the end of the year list making, unveiling their top picks before we're even to December ... and I bet most others will follow their choices pretty closely, as all are excellent.

The party was held at legendary producer Bob Clearmountain's Apogee Studios in Santa Monica, where KCRW often holds intimate live music showcases as well. The place is fairly small, so the place was packed with loyal listeners wanting to compare our lists. Whiskey drinks were served, and KCRW logo cookies were also on offer. As it was basically standing room only, things got under way quickly and moved along at a good pace. Morning Becomes Eclectic DJ, Jason Bentley, got the proceedings underway (in some very stylish pants), welcoming everyone and explaining the process. Each station DJ comes up with their own TOP 10 list, then the results are complied into the master list. With so many losses in the music world this year, the evening felt especially poignant. I choked up more than once.

A rep allegedly from the accounting firm of Deloitte comically brought up the sealed and numbered envelopes, and then Bentley brought up DJ Marion Hodges to unveil the number ten spot. #10 was A Seat At The Table from Solange. Hodges cracked everyone up saying, "Solange has her hands in a lot of fires ... wait, that's not a saying." but her point was made. Solange had a lot going on this year, music supervising shows like HBO's Insecure as well as releasing this really great piece of work. Hodges chose the track "Don't Touch My Hair" to play for us, and it was immediately clear both how good the album is and how incredible the sound system at Apogee Studios is. Wow.

DJ Dan Wilcox came up next (with his beer) to reveal #9 - Autolux's PUSSY'S DEAD. Wilcox said that it might be #9, but it was #1 as far as most awkward title to say on the radio - but that it's gotten easier since the election - sigh. This one is a ROCK album, that Wilcox said is the first one to really live up to the live show put on by Autolux. He chose the track, "Hamster Suite" to play, which really showcased the work of who Wilcox says is the best drummer in rock today, Carla Azar. I immediately added it to my list of year end must haves. Rock.

#8 was introduced by DJ Liza Richardson, and it was Bon Iver's 22, A Million. Richardson joked that this envelope should really have been opened by Wilcox, as he's obsessed AND hails from the same town as Bon Iver, Eau Claire, Wisconsin. "It's so different from everything else right now. It's hip hop meets folk, with really interesting samples, like Paulo Nutini," explained Richardson. She chose "33 God" to play, and it was deep, starting out with a beautiful treated piano that took you right into that Bon Iver world ... and made you want to go stay at the Ace Hotel.

DJ Eric J. Lawrence took the stage in a bright red holiday shirt to let us in on what was in the #7 spot ... but as he is the "Alternative to the Alternative" former music librarian for the station, he had his own choice first, and it was Future Of The Left's The Peace And Truth Of Future Of The Left. He did not have a track to play of that one, so we'll have to research that, but the real spot here went to Radiohead's A Moon Shaped Pool. This one was, of course, on my list as well, and had to agree with Lawrence when he said that they are the "Pink Floyd of our time." He played the opening track, "Burn The Witch". "It's a bit of a downer, Folks," said Lawrence by way of introduction ... but a pretty awesome downer, for sure.

#6 honors went to the newest KCRW DJ, Karene Daniel, and to Andy Shauf's The Party. This one I had never heard of, so it was good to get turned on to something new that I've clearly slept on. Shauf basically narrates a late night party throughout the album, and Daniel played the track, "To You". It's kind of a love confession that Daniel said was "Soft, tender, rare, and beautifully honest." I concur.

The resident DJ for the night was Raul Campos, and he left his post to disclose the #5 choice. He asked as he ripped open the envelope, "Is it gonna be a Latin Alternative album?" Bentley drily replied, "I doubt it", which got a laugh, though it was sadly true. Instead it was Wilco's Schmilco. Campos called it "An album from the heart", and named Jeff Tweedy as one of the best songwriters of our time. "If I Ever Was A Child" was the chosen song, and the first time I choked up. I don't know why really, it just touched me. It might have been the incredible sound in there. It felt extra intimate and sweet and simply moving. Another one that was on my own list of 2016 faves.

DJs Garth Trinidad and Jeremy Sole shared duties for #4 (and it was cool to see what they look like, though Trinidad had a Movember thing going on, so I'll need to see him again. I think Sole's abundant facial hair is an always thing), and the honors went to A Tribe Called Quest's We Got It From Here ... Thank You 4 Your Service. This was my #1. I laughed when Trinidad said it was HIS #1 before he even heard it. He called it a "Legacy record", and it truly is. Sole added, "They didn't have to think outside the box, 'cause there is no box. The best thing about their new album is that it's an old album." Exactly. I didn't realize that they went into the studio to begin recording the album on the night of the Paris shootings last year. Heavy. You feel it. They spun bits of "We The People" and "Solid Wall Of Sound" and I think everyone agreed with Trinidad when he said, "I'd gladly give up the talking to listen to the whole record" after Bentley cut it off to chat. Plus it sounded EXTRA great inside those Apogee walls. Incredible, really.

One of my favorite KCRW DJ's came on to present #3, Anne Litt. Her voice is very soothing to me, and she again nearly reduced me to tears (OK, she did) when she revealed that #3 was David Bowie's Black Star. Losing Bowie earlier this year was a big deal to everyone, but it clearly meant a lot to Litt, who had even brought along her vinyl copy of Black Star. She said that she learned of Bowie's passing when Wilcox was playing a whole bunch of Bowie songs in a row last January, making her go "WTF?!", and then learning the news. "This album is focused in a way that maybe only a dying man can be," Litt mused, adding that she thought he was back in a way that she hadn't heard before. "I Can't Give Everything Away" played, and as Bowie's voice floated over us posthumously, well, I was choking back tears again. It was the last song on a final record, and fairly obviously set up as a farewell. This album is not on the list because Bowie died. It's there because it's great. (Oh, for the record, Litt's personal #1 choice was the Hamilton soundtrack!)

#2 was given to DJ Travis Holcombe to reveal, and it went to Kaytranada for 99.9%. This was another one I've slept on, so was surprised to hear that this one was the #1 choice for Bentley. We were told it was great as an album, or as all singles. I think I've heard like one on KCRW, so this will warrant further listening from me. They played the track "Bullets" (with guest spot from Little Dragons), which Bentley commented was a really cool groove for a really heavy subject (gun violence). Holcombe admitted to that being lost on him, and Bentley asked if he'd listened to the lyrics. "I haven't. I'm more of a beats guy, lyrics are low on my list." OK. Then I imagine his own #1 choice of La Femme's Mystere must contain some pretty phat beats.

DJ Anthony Valadez got to reveal the #1 album for 2016 ... after a room full of people rolled their tongues as a drumroll ... it was Anderson.Paak's Malibu! This was appropriate as I first heard of Paak on an MBE studio session, and he's since been pretty much everywhere, on every album, of everyone. Paak could not be in attendance so Valadez and Bentley shlepped out to Highland Park to record a video of Paak's receiving the news. A happily hyped Paak shouted, "Tight! I've always wanted to do an acceptance speech via satellite! Thank you! Yes, Lord!"

And there you have it! The Top Ten Albums of 2016 according to KCRW! Campos spun on as the party continued there at Apogee Studios. 2016 has been a brutal year in so many ways, that it was actually lovely and touching to focus on the good things like music that enrich our lives every day, and realize that it hasn't been all bad. In fact, a lot of it has been absolutely wonderful. Thank you to KCRW and Apogee Studios for having us, and for exposing us all to the best music in the world every single day. We're already looking forward to next year. Really, really forward.

Cheers to all the winners, and thank you to them too! Your art matters. Really, really matters.

*Photo courtesy of Brian Feinzimer for KCRW.