The Best Albums of 2020

It’s that time of year again: December. Unlike other people who come up with “best of” lists, I use a totally scientific method, and therefore my list is more correct: Emacs tallies which albums I’ve listened to the most in 2020, and those are ipso facto cogito alea jacta hoc the best albums of the year.

ARE YOU DOUBTING SCIENCE

Irreversible Entanglements

Who Sent You?

Sacred Paws

Run Around The Sun

Gil Scott-Heron

We’re New Here (a Reimagining by Makaya McCraven)

Nihiloxica

Kaloli

75 Dollar Bill

I Was Real

Adult.

Perception is-as-of Deception

Joan as Police Woman

Cover Two

Max de Wardener

Music For Detuned Pianos

Peter Broderick & Friends

Play More Arthur Russell

Yves Tumor

Heaven To A Tortured Mind

Aksak Maboul

Figures

Four Tet

Sixteen Oceans

Shirley Collins

Heart’s Ease

Shopping

All Or Nothing

The Soft Pink Truth

Shall We Go On Sinning So That Grace May Increase

So there you have it: Irreversible Entanglements released the best album this year. I hope somebody notifies the AP of these developments.

But I didn’t just buy new music this year. No. I’ve never been discoging more. It’s almost like I was spending more time on the couch this year than previous years. I don’t know why. (I seem to have acquired about 450-ish releases this year.) So here’s the best old music that I discovered this year. It’s slightly less scientific because of the selection criteria.

Fad Gadget

Fireside Favourites

Trash Kit

Confidence

Severed Heads

Clifford Darling, Please Don’t Live In The Past

Tuxedomoon

Live At The Palms (1978)

Biting Tongues

Don’t Heal

Brian Auger & Julie Tippetts

Encore

Don Armando’s 2nd Avenue Band

Don Armando’s 2nd Avenue Band

Mike Rutherford

Smallcreep’s Day

Aksak Maboul

Before and After Bandits

David Allred

Alone on Friendship Island

Jerry Harrison

The Red And The Black

Jim Black Trio

Reckon

Keith Tippett, Julie Tippett, Trevor Watts, Colin McKenzie

Warm Spirits, Cool Spirits

Kid Creole & The Coconuts

Off the Coast of Me

Mars

3E

It’s been the best year ever, both for new and old music.

Except for some other years.

There. I said it.

MCMXXXIX VII: Nancy Drew… Reporter

Nancy Drew… Reporter. 1939. William Clemens.

I mean… I didn’t expect much from this movie — it’s a shortish, goofy B movie thing. But it seems odd to me how little of the Nancy Drewiverse they’ve retained? I mean… I don’t remember much of Nancy Drew… but didn’t she have a gal pal? And stuff? This just seems to be… kinda generic… “teenage girl detective” stuff?

I may be totally wrong, and this is canonical Nancy Drew.

Other than that, there doesn’t seem to be anything wrong with this move: It’s a kids’ mystery movie, and the performances are pretty fun to watch. The mystery isn’t very mysterious.

This is a pretty amusing movie.

I mean, it’s not… good? But it’s amusing.

This blog post is part of the 1939
series
.

MCMXXXIX VI: Made for Each Other

Made For Each Other. John Cromwell. 1939.

Oh, I’ve seen this one before! And not too long ago, either. I wonder where…

Emacs knows everything. I watched this in… October? Last year?

Hey! I even blogged about it. This is a serious break-down in my movie methodology.

Oh well! Now it’s in 2K.

I’m liking it a lot more this time around.

OK, now I see what I was talking about in the previous blog. It’s really odd in that … there’s not much of anything going on. It seems like it’s aiming for screball comedy, but the timing is all off.

It’s like they could have just changed these scenes a smidgen, and it’d be hilarious. But instead the scenes just … sit there: They’ve got all the ingredients right, but it just doesn’t work.

So weird.

I can only imagine what Preston Sturges would have done with this material. It’s got scenes that should be hilarious, but instead are just kinda tepid. It’s got scenes that should be seething with righteous anger, but instead are just vaguely annoyed with the extreme injustice of what’s happening.

It’s a movie of squandered opportunities, but the performances are really good. Carole Lombard, or course, but also the smaller roles, like Louise Beavers.

Just when you think it’s gotten as bad as it’s going to get, it get worse.

Man.

I wonder whether there was something here at some point, but then was somehow ruined during the making.

This blog post is part of the 1939
series
.

MCMXXXIX V: Honolulu

Honolulu. Edward Buzzell. 1939.

So much drama!

Heh. That was a good fake-out.

This is most amusing.

And horribly racist.

And that’s the main problem with this movie: Robert Young really isn’t that believable as somebody who’d people would go nuts for. I mean, he’s great and all, but imagine if this were Cary Grant instead.

And now there’s Eleanor Powell! She’s delightful.

It’s all delightful. I don’t think I’ve stopped smiling since this movie came on. It’s a perfectly fluffy little movie.

So the rest of the people are dressed up as movie stars, and Eleanor Powell shows up as… “The King Of Harlem”? I had to check whether that was actually a thing… and … it’s not?

Hm… Oh, it’s Bill “Bojangles” Robinson. It’s a good dance routine.

“And the way those kids dove after those pennies!”

I think this may be the most racist movie I’ve seen in quite a while!

(But Gracie Allen did say “I ran out of pennies, so I threw a five dollar gold piece and they never knew the difference.” And she’d wonderful.)

Eleanor Powell is amazing; I want to watch all her movies. But this is supposed to be a Hawaiian dance, and… did they choreograph this entire thing without once going to Hawaii? I know, it’s 1939, and the Japanese may bomb them, but… still!?

“You see, he’s only my brother by marriage. My father married my mother and he’s their son.”

This movie is hilarious. It doesn’t let up for a second — it’s silly the entire way through, and doesn’t even make a vague attempt at being respectable at any point.

It’s also really racist, way beyond what you’d expect of a movie from 1939, so you may want to avoid it, anyway.

This blog post is part of the 1939
series
.