Best 50 Pop Albums from 2000-2009: #10-#1

This is the final entry in this week's countdown of the top 50 pop albums of the 2000s. The links for #50 - #11 are at the bottom of this post.

10. Yelle - Pop Up (2007)

If a 22-year old Madonna had been a hipster in the 21st century, she might have sounded something like this. The debut album from this French trio was an adventurous and sarcastic trip that was heavily influenced by house and a few strands of DNA from the early works of Cyndi Lauper and the aformentioned Madge. At its best, Pop Up yielded propulsive DJ staples such as "Je Veux Te Voir" and "A Cause Des Garçons" that had vocalist Julie Budet's sassy vocals to distinguish them along with some colorful splashes of 1980s electropop. Other rainbow-flavored cuts like "Mali Puli," "85A" and "Ce Jeu" provided the perfect excuse to bounce around with Pixy Stix as the drug of choice, while at the other end of the spectrum, the album's slower moments were equally captivating as well with the tender "Tu es beau" and the first half of "Tristesse/Joie." For an album attempting to bottle as much as sweat as Pop Up, slow songs usually produce a lull. That turned out to not be the case since there's rarely a duff moment to be found here.

Key tracks: "Je Veux Te Voir," "Tristesse/Joie," "Ce Jeu," "A Cause Des Garçons"

Best 50 Pop Albums from 2000-2009: #20-#11

I'm counting down the top 50 pop albums of the 2000s this week. This is part 4 of 5.

20. Freeform Five - Strangest Things (2004)

The only proper studio album to date from British producer/DJ Anu Pillai took the flash of his previous house and electro tracks and provided a twist of funk to the songs here, allowing the music to expand beyond the remix audience that Pillai earned his name with. The album also found time to focus on less dance-oriented material, such as "Ask Me Tomorrow" and "What Are You Waiting For" that showed Pillai's diversity as a songwriter and carried over into helping make the uptempo songs so hook-filled.

Key tracks: "Electromagnetic," "No More Conversations," "Eeeeaaooww,"  "Losing My Control" "Strangest Things"

Best 50 Pop Albums from 2000-2009: #30-#21

This week, I'm counting down the top 50 pop albums of the 2000s. This is part 3 of 5.

30. Girls Aloud - Tangled Up (2007)

Coming off the disappointing Chemistry, Girls Aloud once again set the standard for British pop music with an invigorating fourth album that showed growth while keeping their trademark fierce attitude intact, ditching the ballads—long one of their weak spots on their albums—in the process. The group had always skirted with sex appeal, but Tangled Up felt like the first effort that made a conscious decision to show that the former reality show contestants had finally grown into women.

Key tracks: "Can't Speak French," "Black Jacks," "Call The Shots"

Best 50 Pop Albums from 2000-2009: #40-#31

This week, I'm counting down the top 50 pop albums of the 2000s. This is part 2 of 5. 

40. Spymob - Sitting Around Keeping Score (2004)

While they gained most of their fame as the backing band for N*E*R*D, their own tunes have more in common with the power pop of Todd Rundgren and Jellyfish and the polished soul of Hall & Oates. The determined energy they showed on In Search Of... brought even more of a punch to choruses that already had their fair share of candy coating.

Key tracks: "Stand Up & Win," "It Gets Me Going" "Sitting Around Keeping Score"

Best 50 Pop Albums from 2000-2009: #50-#41

In a recent New York Times article, "The Extraordinary Science of Junk Food", it is discussed how certain foods and drinks are tested and manufactured to create a "bliss-point," which is basically that part of the brain that tells us to keep consuming regardless of what our bodies tell us. In a lot of ways, pop music is also about hitting that bliss-point, that point that brings us immediate pleasure and makes us repeat customers in the process. At its foundation, the purpose of most pop music is to hit that spot that makes us smile or dance without little thought or explanation as to how we got there. Much like how the scientists in that article went through exhaustive research to get the most out of a product, the same level of care and detail goes into making something aurally addictive in less than three-and-a-half minutes.

The previous decade provided us a renaissance in the genre, in which previously unheralded pop acts could now sit at the same table as some of the most acclaimed artists in respected fields such as rock, hip hop and so on. With the advent of the Internet allowing our tastes to broaden, there was no shortage of good music to be found, which makes the 2000s the perfect period to reexamine pop and with enough time having passed by, we can look at some of the later additions to the decade objectively and fairly.

The ranking of the albums are based mostly on how greatly I felt that "bliss-point" was achieved, overall quality and how well it has held up. I did take into account cultural and critical significance, but not very much, if barely at all. Pop music should be about that moment you flip out in the car when a song you like comes on, even if it's years old, not how a bunch of people bought into a hype for three months.

One more thing: since a good deal of these albums had months between the release in their native country and the United States, I often came across the international version first, which is what I'm judging on in a lot of cases. I'll be rolling out ten entries a day this week, with #10-#1 being revealed on Friday. But for now, let's get started with #50-#41.

Hectic But Eclectic's Top 200 Singles of the Decade (2000-2009)

Here is my final decade list and it was definitely the toughest one to compile. The Internet really exploded this decade which opened myself and millions of others to more music quicker than ever. My list would look completely different if not for the Internet and it's probably the only way that international acts like Girls Aloud, Teddybears STLHM and Destra cracked my list. As with the album and film lists, this is one made of passion. There is little consideration given to what was culturally or commercially significant. It's simply what I connected with and what I felt was great music, which is the way it should be for anyone who loves the arts. Sure, a list based on "important" singles would make for great debate, but it's just not as fun as going with my heart. Also, keep a look out next week for my albums and singles list for 2009.

Hectic But Eclectic's Top 70 Films Of The Decade (2000-2009)

Here's another decade list for you. Even moreso than my albums list, I went more with personal connection for ranking. While the quality and achievement of a film plays heavily as well, it's ultimately the impression that the movie left on me that guided this list. Call it a list of passion if you may. As much as I admired and enjoyed Memento, I didn't feel strong enough about to it include it here, even though it's still a good film and I would recommend it to anyone. On the other side, I love to watch Josie & The Pussycats at just about any time, but can acknowledge that it is flawed, thus not giving me the heart to include it here. The reasoning applied for those two films is pretty much why this list is at 70 and not the traditional 100. I couldn't stand to put anything on here that didn't engage me immensely.

Hectic But Eclectic's Top 100 Albums of the Decade (2000-20009)

Here is my list of the albums that I dug most during the 2000's. For the longest, I felt that Kid A was my #1 of the decade, but I can't deny how much Kala has been apart of my life, even though it's only a few years old. I seriously don't think there's been a week where a song from that album hasn't been in my head and it's one of the few albums in recent memory that I always have an urge to listen to. Both Kid A and Kala are fine albums and in another ten years, their positions might be easily reversed, but for the moment, Kala, with all it's attitude and dizzying genre-hopping feels like the superior album. The rest of the list follows in the same way, with a mixture of what I felt was high quality and my own personal connection to the albums to decide their ranking.

Ten On Tuesdays: Greatest Live Performances of the 2000's

As someone who frequents a lot of concerts, I can tell you that there is nothing like experiencing great music live. The energy is contagious and there's always an air of electricity that resonates through the room. One of the marks of a great live performance is that it can have that same power whether you're there in person or watching from the comfort of your own living room. This edition of Ten on Tuesdays takes a look at the best live performances of the decade in my opinion. I took into account the overall quality, memorability and how well it held up over the years. I've also only included performances that were broadcast to a wide audience, either on TV or online.

These ten performances, all in chronological order, left their mark on me when I first saw them and they still give me chills to this day. Of course, there had to be some omissions. As much as I wanted to include Bruce Springsteen's premiere of "My City of Ruins" for the 9/11 charity telecast because of its importance and how much it struck me at the time, it still stands as only merely a good performance removed from the context. My sentimental favorite was Lauryn Hill breaking down during "Peace of Mind" on MTV Unplugged 2.0 because you rarely get that intimate of a look at a big artist, but I concluded that it probably could have been trimmed by a few minutes, but it's still nonetheless magical. Five years from now, I might also kick myself for not including Lady GaGa's recent performance on Saturday Night Live, but I could go on and on about all the great ones I might have missed on this list.


Mary J. Blige - "No More Drama" (Grammys, 2002)



The nation was still in the healing process from the events of 9/11 and all the additional stress and paranoia that it brought on. Mary J. Blige's "No More Drama" took on a whole new meaning in this context and when she belted it out while running back and forth across the stage, you can feel that she understood the newfound weight of the song too. Blige opened her soul for the world to see like few others could do and you can't help but feel all her pain and hope.