The past 12 months had more great music going on than any year in recent memory.
Some of the most innovative artists of the last decade — Kanye West, Daft Punk, Queens of the Stone Age, Vampire Weekend and Arcade Fire — all made watershed albums.
Rock & roll greats like John Fogerty, Paul McCartney and David Bowie proved they could be as vital as ever.
The EDM explosion kept blowing up thanks to artists like Disclosure and Avicii; old-school titans like Eminem and Pusha T pushed hip-hop forward alongside new-school innovators like Chance the Rapper, Earl Sweatshirt, J. Cole and Danny Brown; Kacey Musgraves and Ashley Monroe made country that was traditional and iconoclastic.
But the most exciting news of the year might've been the astonishing number of breakout new artists, from retro-Eighties sister act Haim, to Brit-folk prodigy Jake Bugg, to indie-rockers Parquet Courts, to post-punkers Savages to chart-topping 17-year-old truth-bomber Lorde.
Even Miley Cyrus' wrecking ball of an adult-oriented breakout album was kinda awesome.
Oh 2013, you gave so much and asked so little; 2014, get crackin'. You've got a lot to live up to.
Rolling Stone's 10 best albums, ranked >
10. John Fogerty, "Wrote A Song For Everyone"
The songs Fogerty wrote in Creedence Clearwater Revival are as embedded in the American grain as any in rock & roll.
But this collection of recut CCR hits and solo tracks — recorded with fans like Bob Seger, My Morning Jacket, Keith Urban, Miranda Lambert and Foo Fighters — shows how vital and relevant his songwriting remains more than 40 years after it owned the radio.
Fogerty updates his Vietnam War missive "Fortunate Son" for the Iraq-Afghanistan era backed by the Foos, belts out "Born on the Bayou" alongside Kid Rock, unspools the ballad "Someday Never Comes" with roots rockers Dawes, and gets locked in a guitar duel with Brad Paisley on the underrated solo gem "Hot Rod Heart."
The result is a wonderful conversation of an album — not to mention a damn good time.
9. Arctic Monkeys, "AM"
On its fifth album, this quintessentially British band moved to L.A., took inspiration from old Aaliyah hits and glam Bowie, and made a spiky, slinky beast of a record, perfect for that moment in the evening when you just realized that maybe that seventh drunk text you sent to your ex-girlfriend wasn't such a hot idea.
The album was reportedly inspired by Alex Turner's breakup with model and TV host Alexa Chung, and songs like "Why'd You Only Call Me When You're High" and the achingly slow "Do I Wanna Know" are full of slow-simmering heartache.
The careening "chip-shop rock & roll" (as Turner called it) of previous records was replaced by a creeping desert-rock paranoia. And the frayed party's-over lullaby "Mad Sounds" might've been the sweetest Velvet Underground echo of Lou Reed's final year.
8. The National, "Trouble Will Find Me"
These Brooklyn guys have spent the past decade building their rep as the most resplendent sadsters in indie rock, a band whose ornate music matches the Cure-size heartache of singer Matt Berninger.
But on the best record of their career, they pare back that richly ornamental sound to reveal its black-candy pop core. Berninger moans his afflicted romantic entreaties like a man drowning in too much merlot and just enough Leonard Cohen, over tensely coiled rhythms and hazy guitar shimmer.
The National's fast songs have never had such immediate surge, and their slow ones have never had such elegiac power. "If you want to see me cry, play Let It Be or Nevermind," Berninger sings on "Don't Swallow the Cap," nailing the album's ambition to make mood-swing rock with old-school gravitas.
See the rest of the story at Business Insider