LIST: My 10 Favorite Songs of 2017 So Far

It’s time for my annual July 1 mid-year favorite songs post! I’ve kept track as always but like last year, no time for longer write-ups. There’s already been a ton of great music this year so narrowing this down to 10 was tough.

Below you’ll find YouTube clips of my favorite songs of 2017 so far and an embedded Spotify playlist as well. You can also find that playlist here. The songs are presented in alphabetical order by artist.

Enjoy!

THE COURTNEYS – “MINNESOTA”

JAPANDROIDS – “NO KNOWN DRINK OR DRUG”

JAY SOM – “BAYBEE”

LCD SOUNDSYSTEM – “CALL THE POLICE”

LORDE – “GREEN LIGHT”

THE NATIONAL – “THE SYSTEM ONLY DREAMS IN TOTAL DARKNESS”

REAL ESTATE – “STAINED GLASS”

THE WAR ON DRUGS – “HOLDING ON”

WAXAHATCHEE – “SILVER”

THE XX – “SAY SOMETHING LOVING”

LIST: My 10 Favorite Albums of 2016

After posting my favorite songs of 2016, I’m now ready to unveil my 10 favorite albums from this unbelievably great year in new music. For your reference, here are my favorite albums lists from 2011, 2012, 20132014 and 2015.

Before I get to the long-form thoughts on the 10 best albums I heard this year, here are albums 20 through 11 on my list, accompanied by one song from each.

20. Wild Nothing – Life on Pause (“To Know You”)

19. Cullen Omori – New Misery (“No Big Deal”)

18. Kendrick Lamar – untitled unmastered. (“untitled 03 | 05.28.2013”)

17. Chance the Rapper – Coloring Book (“All Night”)

16. Bon Iver – 22, A Million (“22 OVER S∞∞N”)

15. Lucy Dacus – No Burden (“I Don’t Wanna Be Funny Anymore”)

14. Sunflower Bean – Human Ceremony (“Come On”)

13. David Bowie – Blackstar (“Lazarus”)

12. Radiohead – A Moon Shaped Pool (“Burn the Witch”)

11. Solange – A Seat at the Table (“Don’t Touch My Hair”)

Here they are, my 10 favorite albums of 2016.

local10. Local Natives – Sunlit Youth

Local Natives are the hardest-working band in the game these days. They tour constantly and all throughout the world. They did take a short break after finishing touring their second album, Hummingbird, but this year they returned with Sunlit Youth, which represented a departure from the more conventional sound of their first two records. They’ve gone in a slightly more electronic direction here, but the results are still outstanding. It starts with the synth-driven excellence of “Villainy” and then the best song here, “Past Lives”. Lyrically, Sunlit Youth is pretty political, with the already-dated “I have waited so long, Mrs. President” line in the frantic “Fountain of Youth” and the never-dated defense of feminism in “Masters”, an all-out rocker reminiscent of their best song, 2010’s “Wide Eyes”. The one song here that sounds generally like a classic Local Natives song is “Dark Days” which improbably features guest vocals from the lead singer of the Cardigans (remember them?). I always give bands extra points for trying new things, and the Natives deserve many for going down a bold new path with Sunlit Youth. I should mention here that I’ve had the chance to hang out with the guys in Local Natives a few times, including recently when they came to Providence and Boston, and I can’t say enough about how nice and generous they are to their fans. That makes their success all the more enjoyable.

parquet9. Parquet Courts – Human Performance

These four Brooklyn dudes have come a long way in just a few years. Human Performance is Parquet Courts’ third full-length record and with each record they’ve progressed from their punkish roots to a well-rounded indie rock band. Without a doubt, Human Performance is their best effort to date, leaving behind some of their screamy and atonal vibes for a truly cohesive work making ample use of melody and different sounds beyond the thrash of Light Up Gold and Sunbathing Animal. From the jump, there’s a different feel. “Dust” is a more organized, straightforward opener with a really strong guitar line. The title track comes next, with lead singer Andrew Savage’s echoed choruses adding something dramatic to the tune about a breakup: “It never leaves me / Just visits less often.” I love the spaghetti western feel of “Berlin Got Blurry”, which really feels like a song to listen to on a long road trip. On the lengthy, winding road of “One Man No City” Austin Brown takes over lead vocals, seemingly focusing on the end of the world over bongo beats before the band jumps into a Velvet Underground-inspired maelstrom of guitar and drums. There is really no telling how high Parquet Courts will fly now that they’ve discovered this new polish to their sound. With Human Performance, there is no longer a ceiling on what they can be.

freetown8. Blood Orange – Freetown Sound

I was a bit late to Dev Hynes’ previous album as Blood Orange, Cupid Deluxe, but was nonetheless enraptured by his ability write meaningful, soulful and funky R&B. These songs were deeply sexy but also brilliant examples of the form, textured with scintillating, jazzy beats, Nile Rodgers-like guitar work and vocals from Hynes and a variety of guests. Hynes keeps the beat going on Freetown Sound, another phenomenal exploration of all things R&B. There’ve been many excellent albums the last few years by black artists taking a focus on what it means to be black in today’s world, including Black Messiah, To Pimp a Butterfly and A Seat at the Table, and Freetown Sound joins that cadre with Hynes’ own experience as both a black man and an immigrant (he’s British and lives in Brooklyn). “All we ever wanted was a chance for ourselves,” he sings on “Chance.” Later, on the topically-titled “Hands Up”, Hynes describes the anxieties of the day for so many (“Are you sleeping with the lights on baby?”) Elsewhere, Hynes takes a backseat vocally to Empress Of on “Best to You”, a very different kind of love song but one that showcases her measured singing over a frenetic beat. There’s still time for fun on Freetown Sound outside the heaviness of subject matter, and that’s best heard on “E.V.P.”, which is far and away my favorite Blood Orange song to date. To say “E.V.P.” has a killer groove would be the understatement of 2016, a groove befitting the guest appearance here by new wave goddess Debbie Harry. Freetown Sound is an impressive collection from an impressive artist who continues to rise.

diiv7. DIIV – Is the Is Are

Zachary Cole Smith, the leader of melodic Brooklynites DIIV, has some issues. He’s been arrested for heroin violations, has various health problems, and pretty much every time I’ve seen DIIV in concert he’s acted like a dick. This year he introduced each song by name and then quickly said “We’re called DIIV!” before launching into them, asked people in the crowd for drugs and accused us of being boring and depressing. This isn’t exactly a great way to endear yourself to fans. But, musically, DIIV have ever been better than this year’s Is the Is Are, their sophomore LP. Smith is the dominant creative force here, and I appreciate someone with demons who isn’t afraid to confront them in their art. The ringing guitar work on Is the Is Are is perhaps its defining trait musically, with outstanding sounds on the gorgeous “Loose Ends” and the shimmering “Healthy Moon”. On “Dopamine”, Smith and company spin a bright melody while he sings candidly about fighting drugs. (“Would you give your 34th year / For a glimpse of heaven / Now and here?”) DIIV’s best track here, and probably their best to date, is the beautiful “Under the Sun”, which Smith said was about how love saved him. The melodious guitar riffs recall the late-’80s wonder of the Cure as Smith sings “Yes I’ll come back to you / No I won’t ask where you run / Under the sun” to his girlfriend, pop songstress Sky Ferreria. As a person, I hope Smith continues to heal himself and get better. I’d like to think Is the Is Are is a step in the right direction personally while also being the best step DIIV has taken creatively.

blond6. Frank Ocean – Blonde

I adored Frank Ocean’s 2012 solo breakthrough Channel Orange. It was a lengthy treatise on the world Ocean saw, and it helped bring me back to R&B after years on the sidelines. The world waited over four years to hear something significant from Frank again. After several false starts, he finally released a visual album, Endless, and an audio album, Blonde (although he wrote it as blond on the record, which sounds about right for Frank’s style). While I could care less about the former album, the latter didn’t disappoint. Blonde is a portrait of an artist at a crossroads. Frank very easily could have made a 40-minute record with songs like “Pyramids” or “Thinkin Bout You” (the most conventional song on Blonde is “Pink + White”, which also happens to be the best song here). Instead he followed his muse and created an hour-long journey populated with diverse detours, some of which even push the boundaries of what qualifies as a song. Some of these songs are insanely sparse, only accompanied by one or two instruments. But what fills in the gaps are Frank’s otherworldly vocals. He’s seriously the best male singer in pop music and his voice carries otherwise spare tunes like “Solo”, “Self Control”, “Ivy”, and “White Ferrari”. On the incredible harmonic outro of “Self Control”, a bazillion Franks sing achingly about a lost love. Blonde is an intense journey and shows how separate and unique Frank’s many talents are. This was worth the wait, and if we get more records like Blonde, he can take as much time as he wants between releases.

tlop5. Kanye West – The Life of Pablo

This album is a mess. The Life of Pablo seemed to take forever to complete, went through several name changes, has songs that seem like half-finished thoughts, and once it finally was released in the early morning hours of a bitterly cold Valentine’s Day, Kanye West couldn’t help himself and tinkered with the damn thing over and over. Despite all those problems, and despite being an aforementioned mess, The Life of Pablo is a beautiful, exciting mess, and rightfully in Kanye’s pantheon of great accomplishments. Musically, TLOP is on par with anything he’s ever done. Like Blonde, there is often sparse instrumentation but Kanye is brilliant at picking and choosing his spots. Here’s an artist trying new things, pushing his boundaries as a writer, composer and producer while challenging us to push our own as listeners. The biggest problem with TLOP, however is…Kanye. The dude just can’t help himself. The music and beats are beyond superb on tracks like “Father Stretch My Hands”, “Famous”, “Feedback”, “Highlights” and “Waves” but they’re all brought down a notch by his borderline-juvenile rantings about such things as wishing he could affix a GoPro to his penis and hoping he still has a chance to fuck Taylor Swift. The biggest exception to this is the haunting, excruciatingly personal “Real Friends”, his most naked song in years. The best Kanye is vulnerable Kanye, and on “Real Friends” that’s his default mode. Other highlights include the explosive duet with Kendrick Lamar “No More Parties in LA” and the heavily spoken-word, written-in-the-moment jam of “30 Hours”. I’ve resigned myself to the fact Kanye will never again eclipse what he did on 2010’s My Beautiful Dark Twisted Fantasy. But Kanye at 80 percent of his capabilities is better than almost every other artist on the planet, and that’s what we got on TLOP.

jew4. Jimmy Eat World – Integrity Blues

I wrote about what Jimmy Eat World means to me when Damage made my 2013 end-of-year list. To sum up: Jimmy Eat World is my favorite band of the last 15 years and I’ve marked the changing seasons of my life alongside their music. Dating back to Futures in 2004, however, even I’d argue the quality of their music has declined with each album. Every now and then a song like “Carry You” or “Stop” would emerge and remind me of their greatness. But they hadn’t really done it over the course of a whole album a long time. The wait is over. Integrity Blues is Jimmy Eat World’s best album since Futures, and I’m still leaving open the possibility it’s better than Futures (I may need 12 more years to determine that, however). The quality of the songwriting and music are amazing here, the vast majority hitting their signature sound with lyrical content focusing on heartbreak and picking up the pieces. Opener “You With Me” is an absolute revelation, a smashingly successful, huge-sounding table-setter. My favorite song of 2016 was album centerpiece “Sure and Certain”, a classic Jimmy Eat World song in the vein of all their best hits both musically and lyrically. The melodic beauty of “You Are Free” would fit on album they’ve ever done and features typically out-of-this-world drumming from Zach Lind. I love the bouncy guitar sound on “Through”, the quiet innovation of the title track, and the epicness of their traditional epic closer “Pol Roger.” There’s even some room for hard rock: the bone-crushing guitar outro of “Pass the Baby” is possibly the hardest these guys have ever rocked. I do wonder how much more music we’ll hear from Jimmy Eat World, as Jim Adkins said the guys asked themselves why they’d make another record before doing this one. I’d hope the experience of making Integrity Blues reinvigorated Jimmy Eat World. It has certainly reinvigorated longtime fans like me.

pinegrove3. Pinegrove – Cardinal

Imagine, for a moment, this alternative musical universe: after the mid-’90s dissolution of Uncle Tupelo, Jeff Tweedy links up with Jimmy Eat World and starts a new band (Jimmy Eat Wilco?) that plays country-tinged pop punk. That’s roughly the sound I would ascribe to Pinegrove, who this year dropped their major label debut Cardinal. It’s a simple comparison, but Pinegrove deserve credit for sculpting a sound all their own in 2016. You’re just as likely to hear eardrum-rattling post-punk power chords on Cardinal as you are light touches of banjo and mandolin. In total, this quick half-hour is the most full-of-life and carpe diem-eqsue collection of songs I came across this year. Their sounds aren’t reminiscent, but Cardinal reminds me a great deal of Japandroids’ Celebration Rock: a record you can pump your fist to while taking on the world. And similar to Celebration Rock, Cardinal focuses more on the intimacy of friendships than romantic love. This is highly apparent in the album bookends of “Old Friends” at the outset and “New Friends” at the end. The latter reminds me of what it was like going off to college with that uneasy confidence you experience as a teenager. “I resolve to make new friends,” sings Evan Stephens Hall. “I liked my old ones / But I fucked up, so I’ll start again.” Hall’s voice warbles with emotion from the outset of the record, a voice feeling familiar yet distant. “Every outcome’s such a comedown,” Hall yelps on “Old Friends,” while later managing to include the word “solipsistic” in a rock song. “Then Again” bursts at the seams with energy and every kind of guitar shit-kicking riff you can imagine; “Aphasia” and “Visiting” are awesome explorations of Hall trying to find that confidence to be the person he wants to be; “Size of the Moon” is the thoughtful, building, dramatic penultimate marvel that hints at years of future success for these kids. In a year so difficult for so many, I’d imagine Cardinal provided a shot of life at the right time. And if you need it as 2016 comes to an end, I’d suggest giving Pinegrove a chance.

whitney2. Whitney – Light Upon the Lake

Two years ago, when Smith Westerns called it quits after just three albums, I worried the uber-talented Chicago kids wouldn’t find individual success. I’m happy to report those worries were unfounded. While frontman Cullen Omori put out a mostly-terrific yet overly-slick solo debut in March, lead guitarist Max Kakaceck and drummer Julian Ehrlich released their debut album as Whitney in June. With Light Upon the Lake, Ehrlich (who mans the vocals as well as the drums for Whitney) and Kakaceck have blazed their own trail in ‘60s-influenced guitar rock. While the soft touches of Smith Westerns remain in much of what’s here, it’s actually Ehrlich’s other previous band, Unknown Mortal Orchestra, that provides most of the influence over the sound, feel and production of Light Upon the Lake. UMO has this incredible knack of making their records sound like they were actually recorded in 1968, and that’s a trick Whitney picked up, especially on the UMO-flavored short rocker “The Falls”. The filter on Ehrlich’s voice throughout the record also has this effect as well, a honey-flavored tone that teeters on falsetto from time to time, showcased on the horn-powered “Polly”, bouncy closer “Follow” and the crisp, string-backed opener “No Woman”. (Side note: when I saw Whitney this year, Ehrlich said “No Woman” was about not having a girlfriend and he seemed pretty down about it. Poor Julian…) My favorite song here is the acoustic-driven “Golden Days”, a lament for lost love that sounds huge with its singalong “na na nas” but maintains a simple beauty. And, overall, despite most of the songs being about the end of relationships, Light Upon the Lake has an unmistakable air of fun. This is no better found than on “No Matter Where We Go”, a rollicking and sweet song brimming with bright riffs and this whimsical chorus: “I can take you out / I wanna drive around / With you with the windows down / And we can run all night.” Smith Westerns may be dead, but Kakaceck and Ehrlich are soldiering on, brightly into the future, with Whitney as their vehicle for psychedelic wonderment.

cshr1. Car Seat Headrest – Teens of Denial

In so many ways, 2016 was a disaster. But for new music, it simply was not. Most of our remaining pop/rock stars put out new material: Kanye West, Frank Ocean, Beyonce, Drake, the Weeknd, Radiohead, Justin Timberlake, Rihanna, Kendrick Lamar, David Bowie. Several of my own favorite bands brought new tunes. And from newer artists, the volume of outstanding work was dizzying. In all, 2016 was quite possibly the best year of new music I’ve experienced in my 30 years. Yet with all that, the album standing above all others was the major-label debut of a lo-fi indie rock band with a stupid name led by a heretofore unknown Virginian millennial. Car Seat Headrest’s Teens of Denial is the best rock album not named Lost in the Dream released this decade. Will Toledo’s band crafted 12 incredible songs touching a wide range of influences: the mostly-understated and occasionally-wild vocal style of Stephen Malkmus, the melodic guitar of the Strokes, the soft/loud dynamics of the Pixies and thoughtful lyrical overtures in the long line of Bob Dylan, Leonard Cohen, Jeff Tweedy and, more recently, Courtney Barnett. Toledo isn’t treading a ton of new ground here: he’s just perfecting it and coming across like a savvy veteran doing it. Teens of Denial has killer guitar work, like the klaxon call of opener “Fill in the Blank”, the bone-crushing power chords of “Destroyed by Hippie Powers” and “1937 State Park”, and the start/stop chops of “Unforgiving Girl (She’s Not An)”. But there’s room for more: “Drugs With Friends” sounds like a wayward Wilco song with Toledo lamenting that “I did not transcend / I felt like a walking piece of shit” after taking drugs. “Drunk Drivers/Killer Whales” is one of the best rock songs in years, hitting that loud/soft dynamic while Toledo sings starkly about his inner demons. And there are even epics like the 11.5-minute marvel “The Ballad of the Costa Concordia” and “Cosmic Hero” which starts with plaintive horns and ends with wailing guitars and drums as Toledo screams: “I will go to heaven! / You won’t go to heaven! / I won’t see you there!” It’s the sound of a rock outfit leading the charge of a new generation, planting a flag in uncertain times. My three favorite albums this year are by young bands making either their major-label or full-length debuts. As difficult as 2016 was, bands like Car Seat Headrest give us one thing: hope. And man, do we need it.

LIST: My 25 Favorite Songs of 2016

All year, I keep track of my favorite music and now that it’s December, I’m ready to share with you what made the cut for my favorites of the year, starting with my 25 favorite songs of 2016.

This has been a mind-blowingly amazing year for new music, so much so that I expanded this list from my traditional 20 songs to 25. Keeping with tradition, I’ll let the songs speak for themselves in this post and reserve longer thoughts for my 10 favorite albums post next week.

I considered songs for this list that had any kind of release (be it on a single or an album) in 2016. And, as always, I only included one song per primary artist to ensure no one artist dominated the list.

Lastly, I created a Spotify playlist of these songs here and embedded at the bottom for your listening pleasure (the playlist is meant to be listened to as a 25-1 countdown, despite the numbers next to each song).

Here are my favorite songs lists for 2012, 20132014 and 2015.

Enjoy these awesome songs and stay tuned for my albums post next week.

25. TWO DOOR CINEMA CLUB – “BAD DECISIONS”

24. WILCO – “WE AREN’T THE WORLD (SAFETY GIRL)”

23. KENDRICK LAMAR – “UNTITLED 06 | 06.30.2014.” (No audio in video, listen below on Spotify)

22. JOHN MAYER – “LOVE ON THE WEEKEND”

21. BON IVER – “29 #STRAFFORD APTS”

20. WILD NOTHING – “JAPANESE ALICE”

19. RADIOHEAD – “TRUE LOVE WAITS”

18. M83 – “GO!”

17. CULLEN OMORI – “CINNAMON”

16. CHANCE THE RAPPER (FT. LIL WAYNE & 2 CHAINZ) – “NO PROBLEM” 

15. DAVID BOWIE – “I CAN’T GIVE EVERYTHING AWAY”

14. PARQUET COURTS – “ONE MAN NO CITY”

13. LOCAL NATIVES – “PAST LIVES”

12. LUCY DACUS – “STRANGE TORPEDO”

11. BLOOD ORANGE – “E.V.P.”

10. SOLANGE – “CRANES IN THE SKY”

9. SUNFLOWER BEAN – “EASIER SAID”

8. KANYE WEST – “REAL FRIENDS”

7. FRANK OCEAN – “PINK + WHITE”

6. PINEGROVE – “NEW FRIENDS”

5. WHITNEY – “GOLDEN DAYS”

4. CAR SEAT HEADREST – “DRUNK DRIVERS/KILLER WHALES”

3. JAPANDROIDS – “NEAR TO THE WILD HEART OF LIFE”

2. DIIV – “UNDER THE SUN”

1. JIMMY EAT WORLD – “SURE AND CERTAIN”

RED SOX: Why Fire Farrell?

420px-John_Farrell_7-27-13

Up until the last six or eight months, I listened to Boston sports talk radio pretty regularly dating back to when I first moved to an area where I could easily pick up the signals of WEEI and the Sports Hub in my car. But, I gave it up and went back to music and podcasts for one, simple reason:

I refuse to be a sucker for bullshit, easily-disproven narratives meant to whip the already-rabid local sports fanbase into a frenzy.

Because that’s what virtually all of these shows do. They aren’t there to inform or enlighten. There’s no place for in-depth discussions like the one Bill Simmons recently had on his new show with Mark Cuban and Malcolm Gladwell about the business of basketball. Sports talk radio exists solely to get people like you and me to listen by taking an “everyone and everything sucks” position to get people talking and drive up ratings. That’s it.

In Boston, this attitude feeds into a sense of entitlement that, like it or not, makes the fans in nearly every other city in America hate our guts. Most of them think we should not be allowed to complain about anything for the next 50 years.

And I get very disappointed when people who I know are smart buy into these hot take narratives instead of thinking critically.

Just yesterday, several of these blowhards were discussing the Red Sox’ decision to utilize former big league pitcher Brian Bannister, who has served in the front office doing pitching analysis, in more of an on-field role. They railed against this move, calling Bannister a “nerd” and saying the pitchers don’t need more “numbers” to help them. This is the kind of anti-intellectual dreck that we do not accept in analysis of other mediums (like politics and business, for example) but seems perfectly acceptable when it comes to sports.

I still listen to Toucher & Rich most every morning because those guys are in on the joke. You can tell that neither of them take any of this stuff seriously. Hell, they even have a segment called “The Hot Take Police” where they mercilessly destroy professional and well-paid bloviators (like the ones who work at their station) for their absurdness.

On the rare occasion lately when I’ve unfortunately listened to non-T&R local sports radio, I’ve been bombarded with call after call after call for Red Sox manager John Farrell to be fired. To which I ask: why? And what purpose would it serve?

If the season were to end today, the Red Sox would make the postseason and appear in the Wild Card game. I know since June 1 the team hasn’t played well, going 13-18 in that time.

But given the low expectations of their pitching staff coming into the year, and the injuries they’ve dealt with that have mostly depleted their depth, doesn’t this feel like where you’d expect them to be right now? Within striking distance in the AL East and, at worst, in the postseason?

This isn’t to say everything is wonderful. While his peripheral numbers appear fine, on the whole David Price hasn’t delivered. Besides the surprising performance of Steven Wright and the decent, workman-like job by Rick Porcello, every other starting pitcher has been a flat-out disaster. Not one member of the bullpen, including Craig Kimbrel, has been consistent with the possible exception of Heath Hembree.

And while the Red Sox offense remains first in the AL in hits, runs, batting average, on-base percentage and slugging percentage, it has disappeared for stretches and undoubtedly has cost them games. Not to sound too much like Nick Cafardo, but it appears this Red Sox lineup “can be pitched to” and taken out of commission.

At times, Farrell has had to turn to the likes of Bryce Brentz, Ryan LaMarre, Deven Marrero and Mike Miller (not THAT Mike Miller) in key situations due to a constant stream of injuries to position players, primarily to left fielders. The devastating injury to Carson Smith, lost for the year and probably most of next to Tommy John surgery, left Farrell with few options he can consistently rely on in the bullpen. Plus, he’s had to parade out Clay Buchholz, Joe Kelly, Eduardo Rodriguez, Roenis Elias, Sean O’Sullivan and various other assorted flotsam and jetsam as starting pitchers, all with varying degrees of ineptitude.

All of this is to say that I fail to see where any of the club’s struggles this year are directly the fault of the manager. He has done his best with the team he was given. It is not his fault his bench is almost always made up of guys who belong in AAA. It’s not his fault two-fifths of the starting rotation he’s been handed can’t get out of the 5th inning most nights. In turn, it’s not his fault his bullpen is so constantly taxed that he must option pitchers back and forth to AAA just to get fresh arms. William Cuevas, anyone?

The manager is always an easy target when a team struggles (again, the Red Sox are in the playoffs if the season ended today). But at what point do we pin blame on the actual big-league ballplayers themselves who aren’t performing, and the front office who didn’t identify these problems in the first place?

Sure, Smith’s injury was a surprise since he was apparently given a clean bill of health at the time of that trade. That injury fundamentally changed the bullpen’s structure, and Dave Dombrowski and Mike Hazen are still yet to address that change with help from outside the organization (although I have little doubt they will once the market settles).

However, in the offseason the front office seemed completely OK with going into the year with Buchholz, Kelly and Rodriguez in the rotation. Only an injury to Rodriguez in spring training opened the door for Wright’s unbelievably great season to date.

After signing Price, I’m not sure how serious the team was about adding more pitching either through free agency or trades. At best, this now appears to be a miscalculation by the front office, that the team didn’t put in an effort to sign Johnny Cueto or Jeff Samardzija or even Scott Kazmir or Doug Fister to complement Price and Porcello.

Now, none of this is to say John Farrell is the second coming of Earl Weaver or Casey Stengel. Nobody is above criticism. His usage of bullpen arms is often questionable (although some of his odd moves are out of necessity, as noted above) and in the past he’s stuck with veterans/players with big contracts too long when they’ve under-performed (although that hasn’t been the case as much this year, with Travis Shaw winning the 3B job over Pablo Sandoval an example).

I just don’t see how firing him is going to make the team play better. I’m guessing everyone would want bench coach Torey Lovullo to take over, since he did so well when Farrell was receiving cancer treatments last year. Yes, Lovullo did a great job when the team was well out of contention and there was no pressure on him to perform. Nonetheless, he did so well the Red Sox reportedly rewarded him with a contract for this year on par with that of first-year managers to keep him in Boston.

So that should make this decision all the more easy: fire Farrell, elevate Lovullo and we’ll all be happy, right?

Well, I hate to put in a pin in that particular hot-take-filled hot air balloon, but here’s a newsflash for you: in baseball, the bench coach’s job is to act as an in-game consultant for the manager. If a manager is smart, he bounces his decisions off the bench coach and they come to a consensus on what to do. In addition the bench coach often acts a conduit to the players regarding day-to-day decisions by the manager. So whatever decisions are being made by Farrell, and whatever messages he’s sending the players, are going through Lovullo as well. If they weren’t on the same wavelength, Lovullo would not be here. They’re basically bookends.

So if you’re going to fire Farrell, you might as well fire Lovullo too and start over completely. You’ll have to go outside the organization to find a new manager. And what you’ll have is a cadre of angry Red Sox players who’ll have to learn the tendencies of someone completely new in the middle of their season.

And besides, the history of firing the manager mid-season for a team expecting to make the playoffs isn’t pretty. Only one team since 1980 that’s done that has won the World Series: the 2003 Marlins. From what I can tell no other team who replaced their manager mid-season in that stretch has won a league pennant.

Firing Farrell won’t make the pitchers better. It won’t make the bench longer. It won’t make the offense more consistent. Dombrowski has to make make moves to fix what ails this team. Based on his history, I believe he’ll do just that. Addressing the bullpen and bench won’t be overly difficult. The starting rotation, however? He may have to get creative, with a total lack of arms available.

The failure or success of the 2016 Red Sox should not fall on the shoulders of the manager alone. He does not deserve to lose his job over it. It’s up to the front office to make the right moves, and the players to play up to their capabilities.

That’s my hot take.

MUSIC: My 10 Favorite Songs of 2016 So Far

On this day each year I usually post 2,000 words or so highlighting my 10 favorite songs of the year exactly six months in. Well, this year I simply did not have time to write anything of appreciable length. But, I’ve still been keeping track of my favorite tunes and am happy to present them to you in truncated form.

Below you’ll find YouTube clips of my favorite songs of 2016 so far and an embedded Spotify playlist as well. You can also find that playlist here. The songs are presented in alphabetical order by artist.

Enjoy!

CAR SEAT HEADREST – “DRUNK DRIVERS/KILLER WHALES”

CHANCE THE RAPPER – “ALL NIGHT” (FT. KNOX FORTUNE)

CULLEN OMORI – “CINNAMON”

DIIV – “UNDER THE SUN”

KANYE WEST – “REAL FRIENDS”

M83 – “GO!” (FT. MAI LAN)

PARQUET COURTS – “ONE MAN NO CITY”

RADIOHEAD – “BURN THE WITCH”

SUNFLOWER BEAN – “EASIER SAID”

WILD NOTHING – “JAPANESE ALICE”

MUSIC: Pet Sounds Turns 50

The_Beach_Boys_-_Pet_Sounds

Today, Pet Sounds turns 50. It’s one of my favorite albums ever. And I have a few things to say about it.

It was sometime in the spring of 2000 when I first discovered Pet Sounds, the greatest ever achievement from the greatest American rock band of them all, the Beach Boys. I was in 7th grade, which needless to say, is an interesting time in one’s life. I had an affinity for ‘60s music going back to my Beatles obsession that started years earlier. But that spring ABC aired a two-part TV movie entitled “The Beach Boys: An American Family” that stoked my interest in the band (the movie was forgettable, yet the music was anything but).

Shortly thereafter I splurged my allowance money on a couple of Beach Boys greatest hits compilations and Pet Sounds. Inside I discovered a whole new world of pop music, one I never knew existed. Since then, it has been one of my three favorite albums ever, alongside Who’s Next and Abbey Road.

Pet Sounds was like opening a sonic Pandora’s box. For the first time, I experienced pop sensibilities in music alongside very sophisticated, very refined instrumental stylings. Most of all, though, I strongly identified with the words, mostly conjured by Brian Wilson and his co-writer Tony Asher.

I’ve always associated Pet Sounds with this overarching theme lyrically: the transition from youth to adulthood, and how hard it can be. But at the same time, the hallmark of Pet Sounds musically is so very rich and vibrant. And that’s what stands out to me most after so many listens.

Wilson was in the throes of a competition with the Beatles to reach creative heights in pop music that started after he picked up a copy of Rubber Soul in late 1965. He was also dealing with his own emotional issues and a taste for psychotropic drugs. Amidst this, he wanted to take his music in a more artistic direction. For context, the previous Beach Boys album was called Beach Boys’ Party! And that only arrived six months before Pet Sounds.

These were not simply boy-girl love songs, or songs about cars and surfing, which had dominated the Beach Boys’ catalogue up to that point. Wilson had started to dabble in introspective, self-examining lyrics with 1963’s seminal “In My Room”, but Pet Sounds was different. This was virtually an entire album dedicated to very specific feelings of youth, love, frustration, disappointment and desire. It was one of the key landmarks in creating the style of “concept albums” that would come to dominate the popular rock landscape.

Years later, the late Beatles producer Sir George Martin put it simply: “Without Pet Sounds, Sgt. Pepper never would have happened…Pepper was an attempt to equal Pet Sounds.”

The Beach Boys not only changed music forever with Pet Sounds but it changed how I thought about music forever. I love Pet Sounds just as much today as I did when I was a wide-eyed 14-year-old growing up in a small town. I hear so much of what Pet Sounds started in today’s music as well.

So in honor of its 50th anniversary, I’m taking a song-by-song look at 13 tracks that make up Pet Sounds. I’ll write more about some songs than others, but know that each has played a vital role in making this incredible album stand all tests of time. Enjoy.

“WOULDN’T IT BE NICE”

One of the greatest albums ever deserves one of the greatest opening songs ever, and that’s what we get with “Wouldn’t It Be Nice.” Over the last 50 years, few songs have ever encapsulated the feeling of being young and in love, and the frustrations often associated with that feeling, better than “Wouldn’t It Be Nice.”

From those opening harp plucks to the gorgeous, “Good night, sleep tight” ending fade-out, this song bursts with enthusiasm and joy from a sonic standpoint, supplied by legendary studio players the Wrecking Crew here and throughout the album. I imagine these lyrics have been recited by lovestruck youngins over the phone to each other for years, all the while hoping their parents didn’t pick up the phone to listen.

(You know, back when people had landlines. Work with me here!)

Although love is the prevailing theme, Brian Wilson’s words are also imbued with adolescent impatience. Note that Wilson and Love sing more about hypothetical joys than actual ones. Thinking and wishing and hoping praying that something might come true is all well and good, but won’t result in immediate happiness.

It’s that frustration that makes this song unique and worth so many listens.

“YOU STILL BELIEVE IN ME”

Really the only negative thing I can say about Pet Sounds is that “You Still Believe In Me” feels out of place as the second song. Coming off the sugar rush of “Wouldn’t It Be Nice”, “You Still Believe In Me” is quite a downer. However, it’s still terrific for what it is, and it sets the emotional tone for much of what’s to come.

This is less of a straightforward pop song and gets more into the chamber/symphonic style Wilson was really going for, including its lilting guitar runs and harpsichord strums. The harmonies along with the percussion hits at just the right times make “You Still Believe In Me” extremely memorable.

But what really takes the cake here is the inclusion of a bike horn and bell near the end. This is not the last time on Pet Sounds you’ll hear something unusual.

“THAT’S NOT ME”

Mike Love doesn’t get a lot of opportunities to flex his nasally vocal muscles on Pet Sounds, but he took advantage each time, including here on the deeply-introspective “That’s Not Me.” On an album of so many favorites, this one has always stood out to me thanks to its unique subject matter.

Over the course of two-and-a-half minutes, Love and Wilson go on an interesting vocal journey. The speaker here isn’t talking so much about who he is, but what he is. He wants to be independent, but he’s scared. He doesn’t sound optimistic about what his self-examination has ultimately wrought. “What matters to me is what I could be / To just one girl.” The music takes soft and quiet approach while the speaker slowly loses his mind.

In addition, this is perhaps the only track on Pet Sounds where the Beach Boys actually got to play their own instruments (including Dennis Wilson on drums, which definitely didn’t happen on any other songs here). The internal journey for Love/Wilson is accompanied by some fun guitar licks by Carl Wilson and Glen Campbell, and Brian taking a whirl on the organ.

And, the song includes (and ends on) one of my all-time favorite vocal couplets.

“I once had a dream so I packed up and split for the city / I soon found out that my lonely life wasn’t so pretty.”

Love it. Always have, and always will.

“DON’T TALK (PUT YOUR HEAD ON MY SHOULDER)”

This is the first of several very sad-sounding songs here. “Don’t Talk (Put Your Head On My Shoulder)” is expertly constructed by Wilson both lyrically and musically. Here’s a song about two people going through difficulty and hoping to find strength in each other. But the way Wilson sings, both the speaker and subject know it’s over, or at least close to being over.

So many of the lines sit with the listener for a while, punctuated by swelling strings throughout and big-sounding percussion late in the proceedings. “We could live forever tonight / Let’s not think about tomorrow,” the heartbroken Wilson sings. And the chorus that’s so earnest it’s almost painful to listen to, especially at the end when Wilson hits the high note on “heeeeaaaaaaaart-beat.”

There’s so much to the texture of this song that’s easy to miss because it’s so quiet. That includes a looping bass line and quiet guitar runs. When Wilson implores “listen, listen, listen,” he’s not just talking about his heartbeat. What a brilliant little song.

“I’M WAITING FOR THE DAY”

In terms of subject matter, “I’m Waiting For The Day” is more traditional and straightforward than many of the others here. Brian Wilson is simply offering his love and support to a young girl of his interest who was recently left heartbroken. With that, Wilson is biding his time and “waiting for the day when you can love again.”

But musically, “I’m Waiting For The Day” is a wonder, another Phil Spector-inspired Wall of Sound taking a simple song of love and longing into another stratosphere. Anchored by huge percussion, a full orchestra of strings and a flute solo midway through, “I’m Waiting For The Day” is a marvel. It’s the one song on this album that would not have felt totally out of place on the Motown releases of the day.

“You didn’t think!” Wilson shouts as the song closes and the organ sounds shoot out amongst the timpani blasts. “I’m Waiting For The Day” might be the most underrated song on Pet Sounds, one I love going back to every time to find something in the Wall of Sound I may have missed previously.

“LET’S GO AWAY FOR AWHILE”

Pet Sounds features two instrumentals, “Let’s Go Away For Awhile” being the first. It’s a quick jaunt, but I’ve always felt like it was like going on quite a journey. It’s a quiet song, but a warm one with a lot of different orchestral touches.

My favorite part has always been about 1:40 in when the drums and other percussion instruments kick in. It makes this quiet song all the sudden feel pretty big.

Anyway, it’s a good little interlude before heading into the second half of the album. I’ll have much more to say about the second instrumental later on.

“SLOOP JOHN B”

Popular at the time of its release, “Sloop John B” doesn’t really fit in lyrically with the rest of Pet Sounds–at least on the surface. It’s an old traditional island song Brian Wilson rearranges in the musical style of the album after he was introduced to it by Al Jardine. It’s the first song the Beach Boys laid down for Pet Sounds.

The lyrics here recount a maritime excursion gone wrong, but the feelings vulnerability and frustration to fit right in with Pet Sounds. “This is the worst trip I’ve ever been on,” Love sings. “I want to go home.” That sounds a lot like the other first-person narrators on this album.

“Sloop John B” is also notable because of the funny “promotional film” aka music video embedded above. There were not many of these in the mid-’60s, and it’s memorable if nothing else for the image of Brian Wilson leading the guys fully-clothed in a pool while carrying a rubber dinghy. I think that video probably influenced this recent video by one of my favorite bands.

“GOD ONLY KNOWS”

You’ve heard it more times than you can count.

Thousands of brides have walked down the aisle to it. Hundreds of mixtapes have been anchored by it. It served as a TV show theme, soundtracked the end of one of the greatest movies of all time, and has been covered by everyone from Andy Williams to Elvis Costello to Mandy Moore to Paul Dano. It has provided strength to millions in times of both love and despair. Fifty years on, it feels timeless, note-perfect and indestructible.

“God Only Knows” is arguably the greatest pop ballad ever written. And it’s a song I’ve adored deeply since the first time it hit my ears.

It’s hard to believe Carl Wilson has been gone for almost 20 years. But well before he left this Earth in physical form, he laid down a perfect vocal track for “God Only Knows” that will live as long as people can hear.

No matter what’s been going on in my life since I discovered Pet Sounds, and no matter how many times I’ve heard it, “God Only Knows” always hits me the same way. It brings tears to my eyes. It is truly a piece of unimaginable beauty. From the incredible arrangement, to Carl’s vocals, to the lyrics of longing and love to the impeccably-arranged and dramatic closing vocal round with Carl, Brian and Bruce Johnston, this is just damn perfect.

Without “God Only Knows”, Pet Sounds would still be great. But maybe not iconic. Thank God for “God Only Knows”.

“I KNOW THERE’S AN ANSWER”

“I Know There’s An Answer” is not overly direct in its message, but the years have revealed that Brian Wilson intended the lyrics to be about drugs. The original title for the song was “Hang On to Your Ego”, which Wilson related to LSD users losing themselves when ingesting the hallucinogenic.

It would be a few more years before Neil Young would pen the ultimate anti-drug song of this era, “The Needle and the Damage Done.” That was a much more overt plea against drugs. But here was Wilson, in 1966, telling people to be careful with this stuff. And in the ‘60s, being a pop musician and singing anti-drug songs was decidedly uncool.

Among the songs here, “I Know There’s An Answer” has some of the most interesting and diverse instrumentation, including “bass harmonica” (which I never knew existed), tack piano and Glen Campbell chiming in with some banjo. Despite the message, this may have been one instance where the drugs were working for Wilson from a creative standpoint.

“HERE TODAY”

It starts with just a little glance now.

This is easily the most fun song on Pet Sounds.

Right away you’re thinking ‘bout romance now. (Oooooo-ooooo!)

Mike Love re-takes the vocal controls on “Here Today”, weaving a cautionary tale about that someone who catches your eye amidst a blaring maelstrom of instruments. Like “Wouldn’t It Be Nice”, “Here Today” bursts at the seams with energy and panache. It’s almost dizzying how many different sounds we experience here. Everything from the fun little guitar runs, the organ smacks, the brass section and the timpani hits all work in perfect concert.

But like with “Wouldn’t It Be Nice”, the giddiness of the music goes on behind the veneer of someone who has experienced hardships when it comes to love. “A brand new love affair is such a beautiful thing / But if you’re not careful think about the pain it can bring,” Love sings.

Toying with the loud/soft dynamic that Brian Wilson so expertly managed throughout Pet Sounds, “Here Today” is dramatic, exciting and an awesome ride for all three minutes. It’s one of the songs I always look forward to hearing most whenever I put the album on, and puts a huge smile on my face.

“I JUST WASN’T MADE FOR THESE TIMES”

As a teenager, this was the Pet Sounds song I identified with most closely. It was almost like Brian Wilson had written a song just for me, 35 years in the past.

It’s a song that everyone, no matter their station in life, can relate to at one time or another. The idea for this seemed to spring from Wilson’s own ambition to make an album no one believed would be viable.

When I was a kid, I was outspoken in class but shy around classmates. From a young age I had a wide range of knowledge of subjects like music, baseball, history and politics that made me very different from anybody else in my age range. I was so much like the person Wilson sings about, it’s scary. They said I had brains, but they didn’t do me good at least with the kids around me. I often felt I wasn’t made for those times. I found solace in this music at a time when I badly needed it.

“I Just Wasn’t Made For These Times” is the quintessential Pet Sounds song, one that encapsulates everything Wilson was trying to do here, from the words down to the chamber-pop sounding music.

Matt Weiner also used this one during Mad Men’s pivotal Season 5 episode “Far Away Places” when Roger Sterling took his first hit of LSD. If there was ever a show where “I Just Wasn’t Made For These Times” was appropriate, it would be Mad Men, and I’m glad that show found use for something from Pet Sounds during its run.

One other note here: an unusual instrument for rock music called a theremin was included near the end of this track. The creepy-sounding instrument would later be used to much greater effect (and impact) on a Beach Boys single later in 1966.

“PET SOUNDS”

The second of the two instrumentals here is by far the more interesting, unique and weird. The title track to Pet Sounds is in fact the most out-there track on the album and for a lot of people at the time was probably the strangest thing they’d ever heard on a pop record. (My message to those people: just give it a few months.)

What the hell is going on here? How does it even make sense? How is it melodic? And, most importantly, how is “Pet Sounds” so good?

It turns out Wilson originally intended “Pet Sounds” to be a James Bond theme, and you can hear some remnants of that idea in the way the track slinks along. That uncanny percussion sound, which apparently came about after Wilson asked his drummer to smack his sticks on two empty Coke cans, helps keep all the wild sounds together.

There are bongos here. There is some oddly-distorted guitar. There are bass notes from brass instruments you didn’t really think would be possible. The only thing “Pet Sounds” doesn’t have is a vocal track. And in 2:38 it’s over, leading into the final track.

“CAROLINE, NO”

This song, man. Wow.

There can only be one word to describe it: devastation. Have you ever heard a sadder breakup song in the 50 years since? And, hell, the roughly 5,000 years before it?

In just shy of three minutes, Brian Wilson weaves a tale of woe about the end of a relationship in the starkest and most evocative terms imaginable.

“Where did your long hair go? / Where is the girl I used to know?”

“I remember how you used to say / You’d never change / But that’s not true”

“It’s so sad to watch a sweet thing die / Oh, Caroline, why?”

An album that starts with such hope and idealism as “Wouldn’t It Be Nice” comes to a crashing end with “Caroline, No.” It’s even hard to listen to sometimes. The sadness in Wilson’s voice is just…devastating. I can’t really use any other words to describe this one. My gosh.

Of course, the album ACTUALLY ends with the actual sounds of pets. More specifically, dogs barking at a blaring train rolling by.

It’s a fitting ending, really, as that train carried with it the sounds a new generation would use to propel pop and rock into the next era. Sgt. Pepper’s and Electric Ladyland and Tommy and After the Gold Rush and Blue and Exile on Main St. and Dark Side of the Moon were all still to come. But in that moment, Pet Sounds stood apart.

When it was released, Pet Sounds was both a critical and commercial disappointment (at least in America). It did not take long for it to pick up steam and be considered the cultural landmark it is today.

For me, it will always represent something special, a time in my life when I began to appreciate things that took time, foresight and brilliant execution to create. Pet Sounds will always be special to me for that. And the music of course remains so affecting, so beautiful, so perfect and so damn good.

Happy birthday, Pet Sounds. Here’s to the next 50 years.

LIST: My 10 Favorite Albums of 2015

After posting my favorite songs of 2015 last week, I’m now ready to unveil my 10 favorite albums from this unbelievably great year in new music. For your reference, here are my favorite albums lists from 2011, 2012, 2013 and 2014.

Before I get to the long-form thoughts on the 10 best albums I heard this year, here are albums 20 through 11 on my list, accompanied by one song from each.

20. Best Coast – California Nights (“So Unaware”)

19. Unknown Mortal Orchestra – Multi-Love (“Multi-Love”)

18. Destroyer – Poison Season (“Times Square”)

17. Wilco – Star Wars (“Taste the Ceiling”)

16. Viet Cong – Viet Cong (“Continental Shelf”)

15. Grimes – Art Angels (“Realiti”)

14. Waxahatchee – Ivy Tripp (“Air”)

13. Alabama Shakes – Sound & Color (“Future People”)

12. Passion Pit – Kindred (“All I Want”)

11. Toro y Moi – What For? (“Buffalo”)

Here they are, my 10 favorite albums of 2015.

DepressionCherry10. Beach House – Depression Cherry

The first new music in over three years from Beach House, the Baltimore-based dream pop duo of Victoria Legrand and Alex Scally, appeared in July, with the release of “Sparks” and the announcement of their fifth album Depression Cherry. “Sparks” is unlike anything in Beach House’s catalogue, drawing clear and direct influence from My Bloody Valentine instead of simply building on their own past. If I didn’t know this was a Beach House song, the rich guitar layers and Legrand’s Bilinda Butcher-like vocals would convince me it was an outtake from m b v. I also wondered if Legrand and Scally were going for a more shoegaze-inspired sound on Depression Cherry, or just generally moving in a different direction. Neither turned out to be the case. Instead, Depression Cherry is another excellent Beach House album, continuing their mastery of the ethereal and wondrous. It may not equal either of its two predecessors, Teen Dream and Bloom, but it stands on its own thanks to complete ownership of a unique and warm sound. These songs include building opener “Levitation,” gorgeous emotional center “Space Song”, arpeggio-filled “PPP”, solemn marcher “Wildflower” and heavenly, blissful closer “Days of Candy.” Especially after releasing a second, more-sparse LP Thank Your Lucky Stars in 2015, Beach House should be leaders in the clubhouse to provide the soundtrack for David Lynch’s “Twin Peaks” reboot in 2017. Nobody is creating better spacey, big-sounding and dreamy pop music right now than Beach House.

FadingFrontier9. Deerhunter – Fading Frontier

Despite being undeniably one of the marquee American indie rock bands of the last decade, it had been a while since we’d heard the best of Deerhunter. After releasing the transcendent Halcyon Digest in 2010, which contained some of the best songs ever from leaders Bradford Cox and Lockett Pundt, 2013’s Monomania was all glam and garage rock and really did nothing for me. After Cox was seriously injured in an accident last year, I began to wonder if Deerhunter’s best days were over. I’m glad I was wrong, as this year’s surprise release of Fading Frontier is a return to form, a back-to-the-basics record from a band that knows both when to rock out and when to get a little weird. I was immediately struck by the ease, melody and calmness of “Breaker”, a Tom Petty-esque jam awash in 12-string Rickenbackers and absolutely my favorite Deerhunter song since “Desire Lines.” It’s also the rare Deerhunter song with a two-part harmony by Cox and Pundt. Fading Frontier generally sounds like a band settling into a great groove with where they are. Other highlights for me include the trippy, Real Estate-vibe of opener “All the Same”, the crunchy, grimy rock sound of “Snakeskin,” and the fun, vocally-mesmerizing “Living My Life.” Deerhunter can be a great band when they sound focused and clear, so it’s a relief Cox is healthy and Deerhunter is back doing what they do best.

Goon8. Tobias Jesso Jr. – Goon

All it took to put a heretofore-unknown Vancouver-born singer-songwriter on the map was a five-word January tweet from Adele. “This is fantastic,” the UK songstress wrote, “click away,” followed by the video for Tobias Jesso Jr.’s breakout single, “How Could You Babe”. From there, 2015 became the Year of Jesso, anchored by his March debut album, Goon. Jesso populated his first release with plaintive piano ditties recalling ‘70s singer-songwriters such as Randy Newman, Emitt Rhodes and Harry Nilsson (apparently he’d never listened any of them before writing Goon), striking a nerve that hasn’t been touched in popular music in many years. With Jesso’s vocal range and superior piano skills on display (even though he’s only played for THREE YEARS!), songs like the longing ballad “Without You,” the run-down reality of “Hollywood,” the McCartney-esque sway of “Just a Dream” and the beautiful sentiment of “Leaving LA” reach the ears with incredible ease. He manages to include a couple wonderfully-crafted, finger-picked guitar tunes here as well: “The Wait” carries a folksy innocence while closer “Tell the Truth” hits more of an end-of-relationship note. Working alongside producers like Ariel Rechtshaid, JR White and Patrick Carney, Jesso has the songwriting chops of someone years his senior while maintaining a youthful, and sometimes playful, edge to what’s on Goon. Adele had it right: Jesso is fantastic, and after her collaboration with him on her new album got him even more notoriety, his potential for continued greatness has no ceiling.

Adventure7. Madeon – Adventure

My introduction to Madeon, the stage name of 21-year-old French dance/pop producer Hugo Pierre Leclercq, came early in the form of a punch with a fistful of sugar. The first song to appear in 2015 from his debut album, Adventure, was “Pay No Mind”, a collaboration with Passion Pit’s Michael Angelakos with Two Door Cinema Club’s Sam Halliday. From the very first second, “Pay No Mind” is a blast, with its looping guitar licks, Angelakos’ typically great vocals and a general sense of euphoric fun. It remained my favorite song of the year from the first time I heard it to today. But luckily for Leclercq, “Pay No Mind” is only one of several great tunes on Adventure, which is another instance of a new artist sounding beyond their years on their first album. There’s the house-ish, mostly instrumental and equally as fun early track “OK”, the power pop of “La Lune” with Bastille’s Dan Smith, the imperial, methodical stomp of “Imperium” (which sounds like it could have been in a “Matrix” movie), the driving Mark Foster collaboration of “Nonsense” and the sensual R&B beats of “Innocence” among the standouts. Leclercq’s production is so clean, so clear, so precise and so bright, it’s just unreal. Listen to closing statement “Home”, a beautiful and dramatic send-off about the struggles of his creative process, complete with his own terrific vocal performance, and be spellbound that this kid is only getting wiser, and better.

EveryOpenEye6. Chvrches – Every Open Eye

I loved Chvrches’ debut album, The Bones of What You Believe, and I love their follow-up, Every Open Eye, just as much. The Scottish trio truly owns their dance-inspired synthpop corner and now sport an even more impressive catalogue. Every Open Eye doesn’t really find Chvrches treading on new territory beyond to their debut. It’s just that Lauren Mayberry, Iain Cook and Martin Doherty have something extremely special; a style that came along at a perfect time given what resonates today. Like their debut, Every Open Eye opens with a murderer’s row of knockout pop songs, with its first five songs comprising its core of excellence. “Never Ending Circles” opens the proceedings with stomping bombast while lead single “Leave a Trace” represents the best of Chvrches’ dramatic power-pop intensity. The pace gets more frenetic with “Keep You On My Side” and keeps up on the cheery “Make Them Gold.” Then, there’s “Clearest Blue”, the best Chvrches song to date, a builder behind Mayberry’s dramatic vocals that erupts two minutes in with an endorphin rush of synths and beats. Later tunes like “Empty Threat” and “Playing Dead” don’t reach quite as high, but maintain the polish of this sophomore effort. The only complaint: reminiscent of my biggest gripe with Bones, the weakest moment here is Doherty’s drab vocal performance on “High Enough to Carry You Over.” I appreciate the effort at democracy, but Chvrches belongs to Mayberry, her voice and her words. The faster Chvrches learns that, they’ll fly even higher.

ToPimpaButterfly5. Kendrick Lamar – To Pimp a Butterfly

The music world held its breath in 2014 awaiting new music from Kendrick Lamar, the next in a long line of hip hop artists with more on their minds than cash, cars and saying degrading things about women. Kendrick is so talented, so thoughtful, so expressive and so creative; a perfect combination to make him a standout in his generation. The energetic, frantic, “That Lady”-charged single “i” provided a small glimpse, but the bigger picture was even better when To Pimp a Butterfly was announced in February and surprisingly dropped two weeks later. It’s an outstanding follow-up to Kendrick’s breakthrough, good kid, m.A.A.d. city, one that puts all of his many talents and styles in one place for all to see. This is a capital A album, one that doesn’t lend itself easily to the single-friendly listening culture of today. Considering that good kid transformed Kendrick into a household name thanks to bangers like “Backseat Freestyle” and “Swimming Pools (Drank),” I give him tons of credit for not making an album full of copycats. Besides “i,” only the bouncy, funky “King Kunta” and the angry, racially-charged “The Blacker the Berry” struck me as possible heavy-rotation singles. Elsewhere, To Pimp a Butterfly must be appreciated as a whole, a portrait of an artist as a young man, determining where he fits and what he needs to say to make sense of it. Many of the songs flow smoothly, inspired more by R&B than Kendrick’s West Coast rap lineage, with songs like “Institutionalized,” “Momma,” “These Walls” and “Complexion.” In addition, Kendrick repeats lines from a poem about his mortality throughout the album, giving To Pimp a Butterfly a sense of humanity, which often goes missing from major hip hop releases.

blieveimgoindown4. Kurt Vile – b’lieve i’m goin down

Over the last year or so, Adam Granofsky earned some mainstream fame after the War on Drugs’ outstanding Lost in the Dream gained notoriety (it was also my favorite album of 2014). In 2015, it was Granofsky’s former bandmate and fellow long-haired, guitar-wielding badass Kurt Vile who got a similar opportunity. b’lieve i’m goin down, Vile’s sixth solo album, presents an eclectic mix of different styles coalescing into a much more laid-back and folksy sound than what Granofsky makes. However, these guys have at least one thing in common besides their lengthy follicles: they write, record and release amazing rock songs, and this is my favorite album of Vile’s to date. There’s electric rock here on the kickass opener “Pretty Pimpin” and the waste-case recollections of “Dust Bunnies.” There’s gorgeous, finger-picked acoustic on so many of these songs, including “That’s Life tho (almost hate to say),” “Stand Inside,” “Kidding Around” and “All in a Daze Work,” showing off the range of his pure talent. He even dabbles with the banjo on “I’m an Outlaw.” The wonderful mix of b’lieve i’m goin down doesn’t end there, with the shifty piano stop-time rock of “Lost my Head there” utilizing some interesting recording techniques and drumming signatures from Kyle Spence. Vile covers a lot of ground sonically but also leaves lots of room for his great, detached, almost spoken-word vocal style. On the quiet, drum machine-backed closer “Wild Imagination.” Vile sings of seeing things in pictures of someone from his past that may not really be there. He later says he’s feeling too many feelings all at once, but keeps imploring himself, softly, to “give it some time, give it some time.” It’s a nice note to end on for Vile, who really spreads his wings on b’lieve i’m goin down.

Wildheart3. Miguel – Wildheart

Miguel Jontel Pimental, the 30-year-old L.A. born-and-bred, style-melding singer whose popularity rose steadily before 2015, is known to the world by just his first name. But there’s a lot more to this man than that. His fame exploded this year thanks to Wildheart, with his brand of electrified and sexified R&B, drawing from the best of the best: Marvin Gaye, Prince, Stevie Wonder, Al Green, James Brown–they’re all here in some way. Yet Miguel manages to create something funky, soulful and downright amazing of his own. The focus of Wildheart is pretty transparent: these are songs about fucking. Sometimes Miguel beats you over the head with it (I mean, listen to “the valley”!) but more often, he takes a delicate approach, one much more about shared joy than machismo. On the gorgeous, building “Coffee”, Miguel wants more than just evenings of fun without feeling, singing “I don’t want to wake you / I just want to watch you sleep” as he brews a pot. Wildheart goes beyond the bedroom too, with the heartfelt “what’s normal anyway” exploring Miguel’s painful experiences as a child of mixed race, and “leaves,” anchored by its “1979” riff (for which Miguel gave Billy Corgan a songwriting credit), uses the changing of seasons as a metaphor for a breakup he never saw coming. Midway through we meet “waves”, an absolute banger, hotter than a bazillion blazing suns, seemingly about actually catching waves but more about grabbing life by the balls. That’s all before the wildly-catchy final 1:15 of the song, with that crazy, layered harmony vocal track atop Miguel’s hot beats. The other real standout after “waves” is epic closer “face the sun”, with Lenny Kravitz dropping a terrific guest guitar performance. Again not capitulating to his image as a player, Miguel sings of his love not needing to worry about someone new, cooing over and over “I belong with you!” while Kravitz goes nuts on guitar. It’s a perfect cap to a great album. If Miguel continues to follow the blueprint of Wildheart, there’s no telling how much his star will rise.

NoCitiesToLove2. Sleater-Kinney – No Cities to Love

In the decade between Sleater-Kinney albums, the post-punk trio’s stature grew to nearly-mythic proportions, especially after so many bands were influenced by their pioneering riot grrrl sound. That overall phenomenon is not uncommon in recent music history, with Neutral Milk Hotel and My Bloody Valentine getting similar treatment. I’d also liken it to the legacy of long-gone TV shows like “The Wire” that grow exponentially more loved after going off the air. Imagine, then, if David Simon made a sixth “Wire” season that was higher-quality than virtually its entire original run. Because that’s what Sleater-Kinney did with No Cities to Love. A massive part of their appeal in the ‘90s and ‘00s was the rawness displayed by Corin Tucker, Carrie Brownstein and Janet Weiss both on record and in concert. Now, after 10 years apart, their sound is wiser, cleaner and accessible, but still manages to smack you with more than enough raw, visceral intensity. It’s not easy to pull off, and the result of their effort is a razor-sharp focus and one of the best hard rock releases this decade. The album’s attitude is best captured in the chorus of riff-heavy centerpiece “A New Wave”, the best song here, belted in unison by Tucker and Brownstein: “No outline will ever hold us.” It’s an attitude that exists from the initial rumble of opener “Price Tag,” a track anchored by Tucker’s otherworldly vocal prowess, to the slow burn of the alternative-era rock in closer “Fade.” In between, it’s simply one outstanding two-to-three minute rocker after the next. “Surface Envy” bangs along with looping ascending and descending guitar lines; the title track harkens back to the bass and guitar runs of Arctic Monkeys’ debut album (which got popular around the time Sleater-Kinney initially stopped); the powerful and vicious “Gimme Love” has crunchy riffs and perfectly-timed drumming from the criminally-underrated Weiss; and Brownstein sings of staving off trauma in the screechy and proggy “Bury Our Friends.” Who knows if Sleater-Kinney will remain a thing after 2015. But we should all be grateful No Cities to Love not only exists, but recasts their already-airtight legacy in even more reverential terms.

Currents1. Tame Impala – Currents

Just shy of 100 years ago, Robert Frost wrote of the road not taken, and how going that way made “all the difference.” The easiest thing Kevin Parker could’ve done before recording his third album as Tame Impala was follow Lonerism, his breakout release with the Black Sabbath-y rocker “Elephant” Parker later said “paid for half my house.” Instead, Parker traveled the road not taken. It indeed made all the difference, because in 2015, Parker released possibly my favorite album in five years with Currents. I knew things would be different in March when opening marvel “Let It Happen” showed up, an eight-minute hell storm of sounds and movements maintaining some of Lonerism’s psychedelia but blazing a new trail with synthesizers, watery vocals and a wicked guitar line coming in late. It pointed to the perfect mix of rock, pop, soul, funk, disco, electro and dance that would become Currents. The final fruits of Parker’s labor appeared in July, and it lived up to my expectations (I mention only Parker here because he wrote every song on Currents, produced and mixed it in his Australian home studio and–are you ready for this–played every fucking instrument on it. Seriously.). Currents is not stuck in a ‘60s-era time warp: instead, Parker takes cues from Motown and Michael Jackson in many areas, including the sprawling “The Moment” and the true R&B slow jam of “Cause I’m a Man”, which I could imagine being a song MJ decided not to record for Thriller. I get why fans of Parker’s previous guitar-heavy work may not appreciate much of Currents, outside of brisk rocker “Disciples” and a few others. But this such a triumphant and creative work from start to finish with Parker going places no one else is touching in 2015. Parker manages to weave a narrative theme with his lyrics, too. Where Lonerism was about being alone, Currents is about having the ability to change, and accept change. Yes, there’s a song called “Yes I’m Changing,” but there’s also the spoken-word slice of life in “Past Life” and the acceptance of a breakup in the heart-wrenching jam “Eventually.” On the gorgeous late-album swirl of “Reality in Motion”, one of Parker’s best to date, he takes a chance on someone special. “I just need to breathe out / Decisions are approaching / Reality in motion,” he sings. That personifies the chance Parker took on Currents, resulting in astounding, innovative brilliance.

LIST: My 20 Favorite Songs of 2015

All year, I keep track of my favorite music and now that it’s mid-December, I’m ready to share with you what made the cut for my favorites of the year, starting with my 20 favorite songs of 2015.

This has been a truly incredible year for new music, and I had a very tough time cutting down this list to 20 and even coming up with a fair order. I wrote about many of these songs on my mid-year top 10 list, and as usual I’ll let the songs speak for themselves in this post and reserve longer thoughts for my 10 favorite albums post next week.

I considered songs for this list that had any kind of release (be it on a single or an album) in 2015. And, as always, I only included one song per primary artist to ensure no one artist dominated the list.

Lastly, I created a Spotify playlist of these songs here and embedded at the bottom for your listening pleasure (the playlist is meant to be listened to as a 20-1 countdown, despite the numbers next to each song).

Here are my favorite songs lists for 2012, 2013 and 2014.

Enjoy these awesome songs and stay tuned for my albums post next week.

20. EL VY – “RETURN TO THE MOON (POLITICAL SONG FOR DIDI BLOOME TO SING, WITH CRESCENDO)”

19. VIET CONG – “SILHOUETTES”

18. UNKNOWN MORTAL ORCHESTRA – “CAN’T KEEP CHECKING MY PHONE”

17. ALABAMA SHAKES – “SHOEGAZE”

16. BEST COAST – “FEELING OK”

15. GRIMES – “FLESH WITHOUT BLOOD”

14. KENDRICK LAMAR (FEAT. BILAL, ANNA WISE & THUNDERCAT) – “THESE WALLS”

13. WAXAHATCHEE – “UNDER A ROCK”

12. PASSION PIT – “WHERE THE SKY HANGS”

11. BEACH HOUSE – “SPACE SONG”

10. TOBIAS JESSO JR. – “WITHOUT YOU”

9. KURT VILE – “PRETTY PIMPIN”

8. TORO Y MOI – “EMPTY NESTERS”

7. DEERHUNTER – “BREAKER”

6. DESTROYER – “DREAM LOVER”

5. CHVRCHES – “CLEAREST BLUE”

4. SLEATER-KINNEY – “A NEW WAVE”

3. MIGUEL – “WAVES”

2. TAME IMPALA – “LET IT HAPPEN”

1. MADEON (FEAT. PASSION PIT) – “PAY NO MIND”

RED SOX: Dombrowski in, Cherington out

Like with my post when Larry Lucchino stepped down as Red Sox president and CEO, I have many thoughts swirling around my brain about the hiring of Dave Dombrowski as the Red Sox first-ever president of baseball operations and the departure of GM Ben Cherington. As such, I will present my thoughts in bullet form starting…now.

  • There hadn’t been much indication the Red Sox were interested in hiring Dombrowski when word came down this week that it was, in fact, happening, and after being offered a chance to stay on, Cherington would leave. It took me by surprise for sure, and the Red Sox did a great job of keeping the whole thing quiet until they broke the news themselves. I’m excited Dombrowski is coming on board for a multitude of reasons, but my surprise is mostly due to what I believed was a philosophical clash between John Henry’s stats-driven approach and Dombrowski’s more traditional, scouting-based evaluations. But, clearly discussions between the two sides left both believing the arrangement will work. In all of his stops, Dombrowski has shown willingness to do the bidding of his owner (for example, building up, tearing down and then building back up the Marlins of the late ‘90s and early ‘00s, then building up and sustaining success for the Tigers for nearly 10 years).
  • If the Red Sox were going to hire someone from outside the organization to run baseball ops, they could not have picked a better candidate than Dombrowski. For nearly 30 years, Dombrowski has been a successful GM, winning the World Series in Florida in ‘97, building the foundation for the ‘03 championship Marlins club, taking the Tigers to the World Series twice in ‘06 and ‘12 and nearly going there in ‘11 and ‘13. Mike Ilitch wanted to win a World Series and while it didn’t happen, it wasn’t for lack of work by Dombrowski. He made big, bold, ballsy moves throughout his tenure, signing the likes of Pudge Rodriguez, Magglio Ordonez, Prince Fielder and Victor Martinez, while trading for Miguel Cabrera, Max Scherzer, Anibal Sanchez and Doug Fister. While running baseball ops, Dombrowski also drafted stars like Justin Verlander and Curtis Granderson while also picking up scrap-heap guys like J.D. Martinez. So the pedigree for sustained success is there.
  • The biggest knock against Dombrowski in his time in Detroit was not putting together a championship-caliber bullpen. To me, this isn’t a huge concern. At different times, Dombrowski had guys like Todd Jones, Joel Zumaya, Joaquin Benoit, Joe Nathan, Joakim Soria and many other guys with terrific track records in his bullpen. The problem with bullpens is you could put together a collection of All Star closers and there’s still a chance they all suck. These guys are so volatile and can go from being amazing one year to out of the big leagues the next. Dombrowski just never hit on the right mix. Don’t forget that in Florida his closer was Robb Nen, so it’s not like he has no idea how to find relievers.  
  • Dombrowski comes to Boston with a treasure chest of prospects, many at lower levels, and a solid amount of young talent at the big league level. It’s going to be very interesting to see how he handles those guys, since he has no attachment whatsoever to players drafted, signed or traded for before he arrived. In some respects that’s a good thing, since I think Cherington and Theo Epstein before him were hesitant to move prospects they’d brought into the franchise. At the same time, it’s up to Dombrowski to pick the right players to move to address the team’s big league needs. Based on his track record in Detroit, I have a lot of confidence in Dombrowski to do just that.
  • Dombrowski plans to hire a GM to work under him, mostly to cross the Ts and dot the Is on contracts, initiate discussions with other clubs and agents on moves, and generally ease the workload Dombrowski will now face. While the Red Sox will hold an interview process for GM candidates, much of the recent speculation has focused on Frank Wren, who worked with Dombrowski in Montreal and Florida and was most recently GM of the Braves from ‘10 to ‘14. Wren has a reputation as a bad manager of people and, like Dombrowski, doesn’t grasp analytics in a way Henry probably likes. He also signed Melvin Upton Jr. to a bad free agent deal and gave Dan Uggla an ill-advised extension. But, as Mark Bradley of the Atlanta Journal-Constitution pointed out here, Wren did take the Braves to the playoffs three times as GM. And, it’s not like he’d have final say on baseball ops like he did in Atlanta. I wouldn’t get too hung up on who gets hired to be GM under Dombrowski. It will effectively be like what Cherington was to Epstein before Epstein left.
  • The Boston Globe’s Alex Speier has a good look at how Dombrowski may handle the logjam of DH-types the Red Sox currently employ, given that Dombrowski faced a similar conundrum in Detroit after ‘13. As long Dombrowski can drum up interest, I could see him moving Hanley Ramirez as early as this month and definitely in the offseason. As much as I love Hanley’s bat, there simply isn’t a position here for him. I like that Dombrowski didn’t simply stick to the club mantra that Ramirez will be the LF going forward. I’d stick with Pablo Sandoval at one corner and address the other corner in the offseason, depending on what’s out there. An outfield of Jackie Bradley Jr., Mookie Betts and Rusney Castillo looks awfully good for next year. As long as they can all remember how many outs there are each inning, of course.
  • Dombrowski faces a very delicate, very difficult decision involving John Farrell. Under normal circumstances, when a new president of baseball operations comes in, they will understandably want the opportunity to bring in a manager they know can work with them. If Farrell were currently in the dugout, I’d have little doubt Dombrowski would fire him. Instead, Farrell is undergoing the fight of his life, receiving chemotherapy treatments after lymphoma was discovered during hernia surgery. It’s hard for me to imagine Dombrowski would fire Farrell while undergoing cancer treatment. But, at some point, a decision will need to be made. I would assume that may happen early in the offseason, since it will be a factor in free agent signings and the availability of other candidates. My guess is that if all goes well, Farrell will get a shot to manage the team next year but will be on a short leash. The only way that doesn’t happen is if a candidate becomes available that Dombrowski doesn’t want to see go elsewhere.
  • An exasperating game around here the last few years played by Red Sox fans and observers has been “Who is really running things on Yawkey Way?” With Dombrowski now in charge of baseball operations and Sam Kennedy in charge of business operations, I think we now have a much clearer picture of what’s going to happen. The buck on baseball decisions will stop with Dombrowski. If something goes right, or wrong, he will be pointed to. This is a very, very good thing for the Red Sox going forward.

I’ll wrap this up with some thoughts about Cherington. It’s hard to see him leave. I think I first became aware of Cherington around 2002, when he was one of several whiz kids the Red Sox were elevating to high positions following Henry’s purchase of the team. Cherington was hired as a scout under Dan Duquette. He leaves Boston as one of two general managers since 1918 to win a World Series for the Red Sox.

It’s hard to say Cherington deserved to keep his job, or at least all of his powers, after experiencing what will likely be consecutive last place finishes after winning the ‘13 World Series. For all the great moves he made to put together that team, nearly every move he’s made since has backfired. This is a results-based business, and the results simply weren’t there to justify Cherington continuing on as GM.

I think ultimately, Henry and Tom Werner didn’t trust that Cherington was the right person to turn this team around and find sustainable success. That’s got to really sting Cherington.

As a fan, I always held Cherington in high regard, and still do. He seemed like a truly honest, intelligent and thoughtful guy who worked very hard for over decade to get his chance to run the organization he grew up rooting for in small-town New Hampshire. He succeeded immensely, and then failed miserably.

Now he’s out of the picture. Based on numerous reports, it sounds like Henry and Werner were not entirely forthright with Cherington about their pursuit of Dombrowski and what it would mean for his future in Boston. Henry also claims he told Cherington about the Dombrowski discussions more than a week before Cherington said he was made aware of such talks. I can’t blame Cherington for walking away, especially in that light, after taking so many shots for the club’s failures since 2013.

After seeing things like this happen for so many years, I’ve come to the conclusion that Henry and Werner are very good businessmen who’ve been successful in many walks of life…but they’re simply bad with people. Ask Terry Francona. Hell, even ask Lucchino. Look at the statement they released when Farrell left for cancer treatment. What happened to Cherington is probably the least egregious of all these. I’m not saying he deserved to keep his job, but he deserved better than this.

It’s still disappointing as a fan that this is apparently the way the guys who brought us three World Series championships feel they need to treat people and do business. Still, that didn’t keep a quality baseball executive like Dombrowski from coming here, so maybe I’m making too much of this.

I hope Cherington gets another shot soon to run a team.

RED SOX: Life After Lucchino

On Saturday night, Boston’s media outlets reported the impending departure of Red Sox president and CEO Larry Lucchino from those organizational roles. A transition for longtime COO Sam Kennedy to take over as team president appears set for October, but there’s no immediate clarity on who becomes CEO.

I have a lot of thoughts swirling around in my head about what this all means, so I’ll present them as bullet points starting…now.

  • Lucchino’s departure doesn’t come as a surprise. Going as far back as spring training, reports surfaced that his role in the organization was getting diminished and that more of his energies would be focused on the PawSox. He became part-owner of the PawSox this year and took on a bigger role in new stadium efforts there when his partner, Jim Skeffington, died suddenly in the spring. The writing was on the wall here, but I do find the timing, right after a quiet Red Sox trade deadline during the third disappointing season in four years, to be interesting. I’m still not sure what to make of it. It was also the rarely-seen Saturday news dump, which Roger Goodell is probably angry he didn’t think of first.
  • I’m thrilled Kennedy will be team president. A Brookline High School classmate of Theo Epstein, Kennedy is super-sharp, super-bright and learned at the feet of Lucchino for over two decades. Numerous franchises in several sports have tried to lure Kennedy away from Boston (including the Toronto Maple Leafs last year) but he always stayed. I’d have to think this part of Lucchino’s succession had been in the works for a long time. Kennedy won’t have any say in baseball operations matters, unlike what Lucchino’s role had been since arriving in 2002. The Red Sox business interests will be in good hands with Kennedy for hopefully many years to come.
  • So, who then becomes the next Red Sox CEO, or will there even be one? Will the Red Sox go outside the organization to bring in a “head of baseball ops” or “chief baseball officer” type to run the show? Could Ben Cherington be elevated to that role and a new GM gets hired? If owner John Henry and chairman Tom Werner decide to go outside for a new CEO/head of baseball ops, where would that leave Cherington? These are all extremely important questions to be ironed out over the next few months.
  • A lot of interesting names will be thrown out there for a new CEO-type for the Red Sox, and I suspect current Tigers CEO/president/GM Dave Dombrowski will be atop many of those lists. His contract is up after this season and it’s unclear if he’ll return to Detroit. He’d be an outstanding choice, as the architect of the 1997 Marlins and the successful run of Tigers teams dating back to 2006. You may hear A’s VP and GM Billy Beane’s name mentioned (after all, he nearly took a Godfather offer from Henry to be Red Sox GM before Epstein was ultimately promoted), but according to Cot’s, he holds a four percent ownership stake in the A’s, so I doubt he leaves that behind to go run a different team.
  • Lucchino’s departure, and the possibility of someone else having a major, final say on baseball decisions, may present an opportunity for the Red Sox to reset some of their baseball ops structure. The results of these last two seasons in particular lend credence to the idea that something just isn’t working there, that while many moves looked solid at the time they were made (including the John Lackey trade to St. Louis, trading Yoenis Cespedes for Rick Porcello, signing Pablo Sandoval and Hanley Ramirez to market-value deals), the immediate return on most of them has been subpar at best. A new voice may change things a bit.
  • The remainder of my thoughts here will be about Lucchino and the complicated legacy he leaves behind. While it seems he’ll continue to have some role within the Red Sox, running the day-to-day operations of the club won’t be part of that. As he’d already started to scale back his duties, I wonder if it’s been for the best. I’ve criticized Lucchino as much as anyone over these 14 seasons, and he was always better at business than baseball operations, but some things about his tenure are inarguable: the change in Red Sox culture that started when Henry bought the team came about because of Lucchino. He spearheaded improvements to Fenway Park, making it a destination after years of neglect. There is no chance the Red Sox win three World Series, come within one game of getting to two other World Series and appear in the playoffs seven times total without his guidance, direction, ambition, drive and gravitas. Period. End of discussion. The Red Sox are losing that and, depending on who comes in, they could be worse off for it.
  • Conversely, Lucchino is at least partly responsible for many things that went wrong with the Red Sox over the last decade or so. He briefly won a power struggle with Epstein that resulted in the latter’s winter “sabbatical” after the 2005 season. It was an embarrassing episode for the organization but Henry’s affection for Epstein eventually won out and he returned with relative autonomy over baseball ops from 2006 until he left after 2011. During that time Lucchino’s influence seemed fleeting, but his status as president/CEO meant Epstein could only get so far, leading to Epstein’s move to Chicago. That influence crept back in when Cherington was promoted and it was mostly because of Lucchino that Bobby Valentine was hired as manager in 2012, leading to the biggest joke of a season in recent memory (much bigger than the last two years). Likely because of his domineering and sometimes off-putting personality, I think people around here tended to blame Lucchino every time things went wrong and assigned very little of the credit to him when things went right. That comes with the territory in Boston, but again, that’s why his legacy is complicated. While the Red Sox don’t win those three World Series without him, they are also about to come in last place for the third time in recent years. He deserves both blame and credit for it all.
  • I want to get back to Lucchino’s sense of gravitas for a second. When the Red Sox failed to sign Cuban defector Jose Contreras before the 2003 season, despite offering just as much and possibly more than the New York Yankees, Lucchino dropped an all-time quote on the New York Times: ”The evil empire extends its tentacles even into Latin America.” That quote sent shock waves around the baseball world and reverberated especially in New England. This was the indication the Red Sox were not willing to take things lying down, that they wanted to beat their rival and bring a World Series title to Boston for the first time since World War I. It was not a quote that typified previous Red Sox regimes and made fans around here realize things would be different. That’s what Lucchino brought to Boston, and in turn, that’s what they’ll be missing when he’s gone.
  • In 2013, in the days between the end of the regular season and the AL Division Series, the Red Sox held an open workout/scrimmage at Fenway Park that fans could attend for free and sit anywhere they chose. It was on a weekday afternoon and I was between jobs, so I went and got myself a great seat in the grandstands directly behind home plate. It’s easy to forget now how awesome 2013 was, especially after the 2011-2012 debacles, because that team was so much fun to watch and they’d essentially been wire-to-wire division champions. So getting to see them do their thing for free that day was quite a treat. Anyway, later in the proceedings, I noticed Lucchino strolling through the walkway between the grandstands and the box seats behind home plate. He was wearing a plaid button-down shirt and jeans and blended in with the crowd so well that I doubt many people realized it was him. After saying hello to a few people, he took a seat by himself in the box seats a few rows in front of me. For the next half-hour or so, he conversed with fans sitting nearby and several came over to sit down near him and ask him questions about the team and the ballpark. I didn’t go up to say anything myself, but if I had I would have told him how much I appreciated the club’s turnaround that season. I just thought it was neat thing for the team’s CEO and president to do that.

No matter what you think of him, things won’t be the same without Larry Lucchino running the Red Sox. What that means for the long-term success of the franchise remains to be seen.