The first six months saw the release of most of the best albums, while some of my favorites have already recorded next year’s contenders but won’t release them until ‘12. These heavy hitters include The Foreign Films, Explorers Club, and Bryan Scary.

One: Marco Joachim, “Hidden Symphonies.” “Hidden Symphonies” is a pop masterpiece that achieves a Sgt. Pepper-like grandeur through constant melodic and textural invention. “Gramercy Park” is as memorable as anything the Beatles achieved in later years. “Cellophane Sue” is an obvious goof on “Polythene Pam” and a solid hit in its own right. Marco is immeasurably aided by producer/guitarist Jon Gordon whose epic guitar is all over these tracks.

Two: Cirrone: “Uplands Park Road.” These Sicilian brothers (with Ferdinando Piccoli on drums) reinvent the modern pop song drawing on the Beatles, the Beach Boys, Big Star, the Byrds, Crosby, Stills and Nash, the Hollies, the Zombies and every other great power popper, but they have a unique sound built around three-part harmonies and Alessandro’s and Mirko’s thrilling guitar work. Don’t believe perfection is unobtainable. Listen to this record.

Three: Supraluxe: “The Super Sounds of Supraluxe.” The Twin Cities-based trio don’t sound like a trio due to the density of each member’s contribution. Every song burrows into your skull and contains a surprising but logical development. “Lester Bangs” pays tribute to the late writer (who once slept in my bed) with a rockin’ raver. “Sunday’s Not So Bad” should put-paid to “Easy Like Sunday Morning” once and for all.

Four: Bookends: “Proud Of My Stereo.” Silly name for an album of sweeping grandeur and emotional range. Like Supraluxe, this Finnish trio casts a spell out of all proportion to their size. The songs by Lauri Leskinen and Ville Terila shun Brill Bdlg. conventions in favor of an experimental melodic palette reminiscent of XTC. “Shaking Off the Mantra” has more melodic invention than whole albums by other groups.

Five: The Secret Powers: “What Every Rose Grower Should Know.” Mad pop experimentalism along the lines of Yes and XTC yields TSP’s best record yet. The title track in particular is pop rococo, each change-up sucking you deeper into the experience. And has there been a better animals song than “Tarantula?” Or a better Ennio Morricone/Sergio Leone riff than “The Desert?”

Six: The Turnback: “Drawn in Chalk.” Another trio with an enormous sound, The Turnback absorbs every great power pop trope of the past forty years and feeds them back fresh. Echoes of the Beatles, Moby Grape, The Cars, the Plimsouls and you name it find their way into the songs which emerge totally fresh. The record serves as a partial soundtrack to singer/songwriter/actor Todd Giglio’s gut-wrenching film of the same name, which asks the question, When do you give up on your dream of being an artist and face the real world? But not all these great songs appear in the movie. More about the movie later but in the meantime this is a must-have.

Seven: Radio Days: “C’est La Vie.” Like the Turnback, this Italian quartet has absorbed every power pop trope and turned them into something unique, with stunning harmonies, more hooks than a Russian trawler, and Omar Assadi’s massive guitar to which he frequently adds a lounge-like coda, like a drop of black paint in a bucket of white that ultimately results in the paint appearing even whiter. “Dirty Tricks” with its stop and go rhythm is a dirty trick on the listener as you want the song to go on forever.

Eight: Meyerman: “Who Do You Think You Are?” Gotta love a power pop pioneer who wears his heart on his sleeve. Theo Mayer’s quartet, with guitar monster Mike Eckhart, worships at the Fountains of Wayne, the Move, and Ed James, whose “Welcome to the Show” is a predecessor to Meyerman’s “Intro/Tonight” and “Permission to Rock You,” a one-two punch that will leave you reeling and gasping for more.

Nine: Kelly’s Heels: “Playing Into Your Hands.” Another trio with an enormous sound because they all sing. Bob Kelly’s songs are reminiscent of the Mamas and the Papas and their greatest acolytes, Marmalade Souls. That is, these are songs of sweeping emotion, brilliant hooks and unending musicality.

Ten: Kensington: “Borders.” This Dutch quartet sounds like a cross between Field Music and the Byrds with great jangle and Everly Brothers harmonies courtesy of the two guitar slingers, Casper Starreveld and Eloi Youssef. Youssef has a unique guitar style that sounds almost pizzicato.

“Themes” is a good listen, but I can surely see why Winding Refn would choose the tracks he did, particularly Kavinsky’s “Night Call” during the opening credits. Jewel’s “Themes” are subtle, a little too cool and laid back for the on-edge tone of the film, and they’re experimental–messing around with  rhythms when a simple kick-snare-kick-snare much better represents the single-minded driving force of Ryan Gosling’s character. Furthermore, the synths are noticeably MIDI instead of analog, which would have made the film seem low-budget and campy.

Still, it’s an interesting listen to think of what may have been, and it’s a reminder that script isn’t everything; style and tone can make or break a film as much as stilted dialogue can. For comparison, here’s the song that was ultimately chosen for “Drive”’s opening sequence–a work with far more grit, aggression, and swagger:

Kavinsky, “Night Call”

Have any suggestions, past or present, for the Playlist? Send a link with an embeddable player to edulis@breitbart.com.

Of all the contemporary Christian bands in the genre’s mid-to-late ’90s boom period, Starflyer 59 was one of the few respectable acts, as they understood the difference between “Christian rock” and “rock made by Christians.” Skirting the edges of grunge, shoegaze, and emo, the band carved a respectable niche for itself alongside contemporaries like Pedro the Lion, gaining enough industry respect to inspire a covers album after their breakup. The track “Do You Ever Feel That Way?”, re-recorded by sunshiney haze-rockers Candy Claws, adds a noisy, ebullient, wider scope to the original’s lilting melody, and Candy Claws pull off Starflyer singer Jason Martin’s vocal affectations rather uncannily.

For those unfamiliar with Starflyer 59, here’s a track from one of their latter works:

Starflyer 59, “Good Sons”

The New Wave-heavy sound of “Good Sons” eases our transition to another recently unveiled cover song.

Destroyer, “Leave Me Alone” (New Order Cover)

Dan Bejar may be better able to hit  high notes than New Order’s Bernard Sumner, but he’s still able to convey the same vulnerability and weariness as the British frontman responsible for keeping the remaining members of Joy Division out of the unemployment line. Aside from adding some atmospheric, heavy reverb during the verses, there aren’t many obvious changes in Destroyer’s take on “Leave Me Alone,” but this faithful adaptation somehow carries on the unique atmosphere of Bejar’s latest album, “Kaputt.” There’s more subtext here than in Sumner’s original–more longing, more ennui– and the instrument tracks are noticeably more dynamic, dropping in and out and slowly building to a satisfying climax. This appears on a mix of New Order covers compiled by Mojo Magazine.

And to represent New Order, here’s a song that, if you catch me on the right day, I believe is the greatest ever recorded:

New Order, “Bizarre Love Triangle” (12″ version)

Have any suggestions, past or present, for the Playlist? Send a link with an embeddable player to edulis@breitbart.com.

10. Korn (Featuring Skrillex) – “Narcissistic Cannibal”

This is a decision so bad it had to time travel from 1998 to get here. Sure, Korn’s popularity may be lagging, but is that really a good reason to intentionally imitate Nine Inch Nails imitators like Filter or Stabbing Westward? Nu metal and electronica do not mix, especially toothless, uninspired, most-likely-merely-contractually-obligated nu metal and electronica. This one makes the #10 slot on the list because it’s mostly just bad, but since I’m not above tawdry dubstep, I usually at least make it to Skrillex’s breakdown after a few choruses.

9. Kreayshawn – “Gucci Gucci”

Wait, what? White hipster chicks trying to act ghetto? No, Internet. Stop this. You know better. I know better. I should know better, but I can’t… stop… watching…

8. Insane Clown Posse – “Leck Mich Im Arsch”

The Insane Clown Posse. Covering Mozart. Produced by Jack White. Need I say more? Hear the full version here. The only takeaway I have from this is what lengths mad genius Jack White will go to conjure even the smallest smidgen of artistic merit from the makers of “Miracles” and “Big Money Rustlas.” It appears “Leck Mich Im Arsch” was a fun way to resurrect this lesser-known scatological Mozart piece and grab attention for the release, whereas the single’s B-side, “Mountain Girl,” actually works by reining in ICP’s redneck rhapsodizing and shaping it into a whimsical modern-day bluegrass story song.

7. Britney Spears – “I Wanna Go”

At thirty years old, Britney Spears could totally drop the teenage sexpot image and still have a vibrant career, right? Right? This is downright embarrassing. She still shapes her mouth to sing her vowels as baby sounds, the double entendre is as clumsy as Alec Baldwin on his iPhone–I would say I’m baffled why she would debase herself this way, but I’m sure it can be explained by the multitudinous digits printed on Ms. Spears’ paycheck. So why is this song so listenable? I’ll admit it; I like a lot of the production trends in Top 40 music right now–club music that’s gaudy, repetitive, loud, over-compressed, and unapologetic–the aural equivalent of B cinema. She may not be acting her age, but Britney’s being entirely honest about what she has to offer. The fact that its chorus shares the tiniest helix of musical DNA with Sufjan Stevens’ “Vesuvius” might have something to do with it, too, but maybe that’s just me desperately hanging onto a scrap of dignity.

6. Rebecca Black – “My Moment”

“Friday” was the banal train wreck that rocketed Ms. Black from obscurity to national stardom, but it can be easily excused. It was a fluke, a vanity project probably pushed on her by disgusting stage parents, its dopey lyrics penned by the creepy opportunists running Ark Music Factory. “Friday” was an innocent song which pushed an innocent girl into a corrupt world; Black’s followup single “My Moment” is a tragic portrait of a young woman pursuing a fantastical dream while she comes of age, assailed simultaneously by the vitriol of the Internet and copious iTunes residuals. It’s beyond tragic, even… it’s downright menacing. She’s not just trying to get to school and have a good time anymore. She wants this fame. She wants to wear fancy dresses and walk the red carpet. She wants to sing to adoring crowds. And she wants to shove it right back in your face, you heckling riffraff. “I’m about to blow up,” she warns her “Friday” detractors–an ominous lyric from a California girl who, only three years old pre-9/11, would have been a vulnerable, impressionable young tyke for Al Qaeda to shape and mentor. Let’s have the DOJ keep an eye on this one.

5. Attack Attack! – “Smokahontas”

This was technically released in 2010 on Attack Attack!’s self-titled album, but the video was released in early 2011, so I’m stretching the rules a bit here. Attack Attack! is infamous for popularizing the term “crabcore,” wherein a guitarist lowers his bottom to the same altitude as his knees and crabwalks. What caught my attention, though, was the bizarre fusion of hardcore screamo music (as hardcore as you’ll get from suburban middle-class white kids in Ohio, I imagine) and angsty, autotuned teen-pop techno. These people heard this before they released it, right? At least Korn just tacked on Skrillex’s synth drums and gurgle-bass to their existing sound instead of lurching back and forth between metal riffs and Yo Gabba Gabba hooks. Either they knowingly put out some of the most embarrassing rock music ever produced, or they truly lack the self-awareness to see how awful this is. Either way, my ears win, despite the pain.

4. CJ Fam – “Ordinary Pop Star”

While some were content to let Rebecca Black’s “Friday” be their final exposure to Ark Music Factory, some of us dug deeper. While there were many worthy entries in this exploitative preteen pop genre, some from Ark and others not, nothing quite arouses the level of revulsion and shame as CJ Fam’s “Ordinary Pop Star.” Identified as 11 years old in another Ark Music Factory video, CJ delivers a tongue-in-cheek ode to the destructive downward spiral initiated by one’s entrance into the public eye that’s as trashy as it is catchy. What’s disturbing here is that Ms. Fam is proof that the entertainment industry, pushing for a younger audience (the only mass clientele they can still get), will exploit younger and younger children to achieve this, and nothing but a major child labor/molestation scandal will delay them. From the looks of how the Ark founders are eying that monitor with CJ Fam footage, it looks like it’ll happen sooner rather than later.

3. LMFAO – Everything

It’s insufficient to post a single song from “party rockers” LMFAO. It’s more important to see them being “real” in an interview. Between their half-baked sentiments about creating true art, frat-boy ghetto affectations, and random scuffles with presidential hopeful Mitt Romney, these men are either pulling off the greatest piece of performance art in history, or… no. I have to stop myself. It’s just stupid. Extremely, extremely stupid.

2. Selena Gomez & The Scene – “Love You Like a Love Song”

Rest in peace, similes. But then again, the gargly dubstep bass… I’m torn.

1. Big Freedia – “Y’all Get Back Now”

Wait, how did this one even get on the list? This is just plain one of the best songs of 2011. Yeah, that’s right, haters, there is nothing to dislike about “Y’all Get Back Now.” Seriously. This is ’90s club-inspired, booty-shaking rap that is life affirming and heartwarming. This is about as basic as hip-hop can get–consisting of Freedia’s vocals, drums, bass, the occasional MIDI orchestral stab and air raid siren–and that’s all we need. The more sophisticated barely middlebrow among you may scoff, but hey, sometimes it’s perfectly fine to eat a Big Mac instead of filet mignon. If it’s got a danceable beat, goofy lyrics, and an infectious atmosphere of fun, you may be preventing yourself from loving it only for fear of feeling foolish.

“John Ondrasik’s love for our military families and devotion to the welfare of our men and women in uniform comes through again in this fifth album,” said Amy Palmer, Chief Operating Officer for Operation Homefront, a co-producer on the album series, said in a statement. “All of the talented artists who have lent their voices to ‘CD for the Troops V’ have shown their support for our military in an incredible way.”

Service members or their spouses with valid military ID can order, at no cost, the CD at CDfortheTroops.com. The albums are not available for sale to the public.

“It’s all about the troops and their families”, says Ondrasik, “They are the heart and spine of our nation. As for the CD for the Troops going platinum, it’s a powerful statement of support for those whose sacrifice secures or our freedom.”

“CD for the Troops V” includes music by Ondrasik of Five for Fighting fame, Chicago, Train, Sara Bareilles, REO Speedwagon, Shaggy, Matt Nathanson, Brett Dennen, Jack’s Mannequin, Mayday Parade and The Civil Wars.

The new documentary “The Other F Word” shows what happens when some of the biggest punk rockers around are confronted with fatherhood. It’s not what they teach you at Rock School, but being a daddy might just be the best thing that ever happened to the tattooed rockers in this heartfelt feature.

The film only grazes past a few nagging questions, most notably whether becoming a neo-Ward Cleaver debunks those anarchist rock anthems. This “Word” rings true whenever it shows how the parental bonds are even mightier than the need to rock.

“The Other F Word” interviews a wide array of musicians from the punk rock landscape, from ex-Black Flag singer Ron Reyes to Blink 182’s Mark Hoppus. The documentary’s main subject is Pennywise frontman Jim Lindberg, a soft-spoken father of three trying to balance his punk rock duties with the demands of fatherhood.

Lindberg isn’t as old as geriatric rockers like Mick Jagger and Roger Daltrey, but he still has to dye his goatee jet black and deal with missing parent-teacher conferences due to touring conflicts. Something has to give, but coming to that decision won’t be easy.

“The Other F Word” scores as an undiluted look at the modern rock tour. We don’t see a gaggle of groupies lining up to keep our rock gods company. Instead, we watch Lindberg and his mates settle into three star hotels and foul-smelling tour buses. The only way to stay in touch with their loved ones is via Skype-like devices, but watching a flickering image of your children hardly makes one Parent of the Year.

Few rock documentaries nail the finer details of the touring musician with such elegant strokes.

The rest of the film involves touching footage of fathers spending quality time with their wee ones or using their talents to sing their kids to sleep. The film gently milks the humor found in seeing heavily pierced men putting their public selves aside to play with their kids. There’s a reason why these punk rockers put their music on hold to be good daddies. Most of them didn’t have fathers themselves, or some had the kind you wouldn’t wish on an enemy. The ache in their hearts won’t let them abandon their children. Flea, the manic bassist of The Red Hot Chili Peppers, tears up while describing his own dysfunctional family.

And, in the film’s most touching sequence, we watch Everclear’s Art Alexakis sing a solo version of “Father of Mine” while staring defiantly into the camera.

“Daddy gave me a name, then he walked away,” he sings, looking like the same little boy hurt so many years ago.

The documentary briefly explores how the artists abandon their quasi-anarchist mantra to maintain a roof over their families’ heads. One wishes writer/director Andrea Blaugrund Nevins pushed her subjects harder here, but her delicate touch elsewhere is so rewarding it’s hard to blame her for that approach.

“The Other F Word” shows grown men who dedicated their professional lives to defying authority putting that aside to raise the best kids possible. It’s the kind of family values both the left and right can embrace, and it’s a powerful tribute to the role dads play in their children’s lives.

Yes, people still buy those shiny silver disks, especially since it’s hard to wrap up a digital file and stuff it in a stocking. With that in mind, here are some recent book and music releases which could be just the right gift this holiday season.

BOOKS

• “Arguably” by Christopher Hitchens – The great writer may be battling cancer, but his rapier wit remains unchanged. “Arguably” assembles some of his thoughtful essays for easy consumption.
• “Pauline Kael: A Life in the Dark” by Brian Kellow – Conservatives may know Kael best for her infamous quote regarding President Richard Nixon’s re-election vote tally, but for movie buffs Kael’s prose represents a thoughtful, albeit typically left-of-center, voice.

• “Bossypants” by Tina Fey - The woman behind the infamous Sarah Palin impersonation is a top-notch humorist, and her first foray into the book realm proves it.
• “On the Island” by Tracy L. Garvis Graves – The compelling tale of an English teacher whose invitation to work on a tropical island ends up in disaster is a first-rate survival yarn.
• “The Ledge” by Jim Davidson and Kevin Vaughn – The year 2010 ended with movie goers marveling at “127 Hours,” the true story of Aron Ralston’s inspiring escape from a mountain chasm. Readers can relish another true tale of adventure and survival with this detailed account of two men battling the elements.
• “Delirium” by Lauren Oliver - A young woman living in a government-controlled society finds love as well as purpose in this young adult novel.
• “Rescue” by Anita Shreve – Smart, sensitive tale of a man’s attempt to rehabilitate a troubled woman.
• “Swamplandia” by Karen Russell - Gator wrestling meets family dysfunction and loss -what’s not to love?
• “In 50 Years We’ll All Be Chicks … And Other Complaints from a Middle-Aged White Guy” by Adam Carolla – He’s the toast of the podcasting world, but Carolla’s shtick translates easily to the printed page. Politically incorrect, and proud of it.

MUSIC

• “21,” Adele – Possibly the biggest crowd pleaser of the year, with appeal to pop, rock, blues, and soul aficionados alike. Who doesn’t like “Rolling in the Deep?”
• “Bad as Me,” Tom Waits – The idiosyncratic  songwriter returns with his first full album proper since 2004’s “Real Gone,” revealing he’s still got a few fresh twists to take with his growly saloon-fixture aesthetic.
• “First World Manifesto,” Screeching Weasel – Screeching Weasel is one of the greatest pop punk bands ever, so it’s a delight to know that lead singer Ben Weasel is both conservative and Catholic, much to the chagrin of the punk community. Support this free thinker and get some great pop punk for yourself with his latest release.
• “Helplessness Blues,” Fleet Foxes – If you think vocals should be recorded in a single take with zero auto-tuning, this great American folk band is for you.
• “As Far as Yesterday Goes,” The Red Button – Near-perfect pop that feels like it was unearthed from a Flower Power time capsule. Seth Swirsky, a Big Hollywood contributor, and Mike Ruekberg re-team for another batch of great songs, from the blistering beauty of “I Can’t Forget” to the mournful “Picture,” you can’t go wrong with these 12 tracks.
• “Songs for Christmas,” Sufjan Stevens – Take a listen for yourself. A great mix of reverent but fresh takes on traditional Christmas music, plus plenty of magnificent originals. Also a great record of Sufjan’s progress as a songwriter over the years.
• “Best of Gloucester County,” – Danielson – Profiled on Big Hollywood at the time of its release, “Best of Gloucester County” is a rich, detailed celebration of family life and growing older and wiser, expressed through one-of-a-kind folk rock.
• “Bon Iver,” Bon Iver – Lush, expressive, melancholy folk music working from a wide sonic palette. A newly-released deluxe edition includes a music video for each and every song.
• “Drive” Soundtrack – Italo-Disco is back!
• “Era Extraña,” Neon Indian – Hazy, shoe-gaze-y but never lazy synth rock from the son of Mexican pop star Jorge Palomo.
• “Hurry Up, We’re Dreaming,” M83 - Huge ’80s/John Hughes nostalgia trip, massive synth sounds. This is a rare double album that doesn’t drag; plus, if you buy it, you’ll be sticking it to unions!
• “Portamento,” The Drums -Very minimalist rock. Fans of both Joy Division and the Beach Boys will feel right at home.

Big Hollywood writers Ezra Dulis, Meira Pentermann and Ron Capshaw contributed to this guide.

Outstanding new voices such as Marco Joachim, Cirrone or The Turnback would have had numerous singles in the top ten thirty years ago.

There are many reasons for the press’s lack of interest including economics, but there is a cultural reason, too. The establishment press long ago became suspicious of art for art’s sake. Beauty and good vibes are so bourgeoisie. It’s got to have an edge, an attitude or sucker punches about the failure of the capitalist system, the hypocrisy of religion, or the need to take public transport.

The movement reached its apotheosis in Spin’s infamous 1993 review of Jellyfish’s ‘Spilt Milk.’  The magazine’s reviewer dismissed the album as mindless ear candy, offering faint praise for one song, the vaguely classist ‘Russian Hill. ‘The reviewer thought it was about the haves versus the have-nots. Music shorn of socio-political content is ‘not relevant.’  It’s even worse if the band voices an opinion contrary to the kultursmog.

Modern recording technology and the Internet enable bands to be their own labels and gin up interest.  Why would Hindu Rodeo or Bryan Scary send a review disc to Rolling Stone?  They don’t advertise in Rolling Stone.  Hence, Rolling Stone has no interest in them.  Imagine Rolling Stone reviewing Hindu Roideo’s “Evil White Man,” with lyrics like:

I  wish I was a black man, so I’d know right from wrong, so I’d never belong, so I’d protest this song, but I’m an evil white man.

Due to the changing nature of technology, music magazines themselves are on the verge of extinction, like their host bodies the dinosaur music labels. Major labels have shunned power pop with a few exceptions like Barenaked Ladies, Cheap Trick, a rebooted Cars and the Gin Blossoms. They “get” bands like Cheap Trick because they’ve been around for thirty years. They’re part of the scene. They had verifiable hits! And they advertise in print.

The last time Rolling Stone mentioned Jellyfish was in a short article about Jason Falkner in 2001. The article focused on Falkner’s reaction to the death of George Harrison and said, “Even if Falkner never uttered a word about it, his life-long Beatles fandom would be evident in the melodic treasures that makeup his two Elektra albums, 1996’s Jason Falkner Presents Author Unknown and 1999’s Can You Still Feel?, not mention in the heavy-handed homages of his early Nineties outfit Jellyfish” (emphasis mine).

Innovation and distribution have changed the way we consume music. Thirty years ago, every college town was rife with record stores – big chains like Discount Records and Sam Goode. Twenty years ago, those stores switched over to CDs. But today the big box stores are barely keeping their CD sections alive. Consumers download music into their iPods. There’s no physical package to roll joints on or find out who wrote what. Many young musicians recognize this and offer CDs which may only be obtained from their websites or at live shows. You download both music and the album art.

Jerry Rio of Sunrise Highway says, “Except for the Beyoncés or Lady Gagas there’s no money being made by labels. And power pop… forget about it.  I think about people like Usher or John Legend… it’s nowhere near Motown or R&B from the great years. I think the Kings Of Leon suck.  I was listening to ‘Jigsaw Puzzle’ on Beggars Banquet last night. What a song, production, performance.  Music is not quite as inspired these days.”

Online magazines such as www.absolutepowerpop.com, www.powerpopaholic.com, www.popgeekheaven.com, and many others have sprung up on the web to serve the needs of the power pop community. PopGeekHeaven is the work of Bruce Brodeen, whose Not Lame label released over 100 albums from 1994 to 2010, many of which became highly-sought collectors’ items.

Readers have complained that previous power pop news did not advance the conservative movement,* but I think that’s part of the point. Remember when music was just music and didn’t have to serve an agenda? Rio asks an all too familiar question: where is today’s Motown? Power pop bands dare to deliver pure pleasure for which they are dismissed as “selfish.” We’d like to live in a less-politicized culture where choosing a song is not a political statement. Power pop is that culture.

*Which is not to say there haven’t been great conservative power poppers and rockers: Ray Davies, Danny Elfman, Hindu Rodeo, Rush, Lynyrd Skynyrd, Rick Altizer, even John Lennon if we’re to believe the recent revelations.

Can you hit the “scan” button on your car radio and not hear something from the nasal singer’s canon? And bully for that. Petty – with and without the Heartbreakers – has been delivering consistently great rock music for decades. Long may he reign.

But Petty’s recent comments concerning corporate radio weren’t music to our ears.

The band was playing a pledge-drive benefit for KCSN, Cal State Northridge’s public radio outlet. The longtime classical music station switched to a genre-mixing “smart rock” format this year, and its fall pledge drive is aimed at boosting the station power to reach a much wider audience.

Petty mixed in some deep cuts along with standard hits like ‘Refugee.’ But he also sided with public radio versus the model which can’t stop playing his songs.

“I guess I should say something about why we’re here,” Petty said about a half-hour in. “First of all, nothing scares corporate radio like public radio.” He then addressed the big story of the week on Los Angeles airwaves: The sacking of Petty pal and The Last DJ inspiration Jim Ladd from Cumulus-owned KLOS. “Jim Ladd was fired this week for having an imagination,” he said.

No one likes to see talented deejays head for the unemployment line. Terrestrial radio continues to endure growing pains due to both the lousy economy and the changing nature of today’s media. That too often means listeners lose the locally produced shows they had enjoyed for decades.

So why doesn’t Petty put on more shows for public radio? Why don’t his peers?

It still feels odd to hear Petty slam a media outlet which has done so much to spread his music to the masses. But if he really wants to support public radio, he should do more than an occasional benefit concert for the cause.

Stories like that always bring a tear to my eye. There’s nothing quite as stifling to art and creativity than arbitrary rules placed on artists by disinterested third parties, and labor unions are a major offender. Thus, it’s heartwarming to see union members rebel against their leaders because of the passion they have for a project–going the extra mile to make it an outstanding product and to make it feasible by charging less than their standard pay.

—–

That documentary’s story also stuck out to me because a recent Pitchfork interview with Anthony Gonzalez, frontman for the French electronica group M83, revealed a similar story, this time involving his newly-released double album “Hurry Up, We’re Dreaming”:

Pitchfork: When I spoke with you last year, you said you were worried about having enough money to make a double album.

AG: We had a good budget to make a 10-track album with good sound, so we had to find ways [to stretch that out]. It was difficult. But [producer] Justin [Meldal-Johnsen] did an amazing job putting a lot of artists together who worked for no money, just because they were in love with the project. I always wanted to play with strings and brass, and Joseph Trapanese, who did the arrangements for the album, didn’t get paid. We didn’t put the real names of the string and brass players on the album because they’re part of a union, and it’s illegal to work for shitty money. They’re credited, but with fake names. [emphasis added]

Though Gonzalez is an established artist who does receive funding from a record label for studio time, his story is but another anecdote in the continuing democratization of the music business. Because of the amazing technology available to artists for cheaper than ever before, songwriters and performers are bypassing the arcane rules and unfair nepotism of existing power structures such as labels and unions. They have virtually complete control over their final product and its distribution if they want it, and we are therefore seeing the firstfruits of a truly free music market where anyone can become someone and no idea or product gets buried without a fair chance to attract an audience.

As such, the world of music is being much more personalized, much more experimental, and, to those who explore beyond the world of Top 40, incredibly rewarding. I can’t think of a better example than “Hurry Up, We’re Dreaming”’s first single, “Midnight City,” which you can view above. While the song evokes the dark soundscapes of ’80s New Wave, something this ambitious would never have been feasible at that time for an artist with such a small audience. Thus, it’s a fitting welcome to the music world of 2011; this will be the decade of the individual toppling the gatekeeper.