Also, here are a couple other ways to experience these albums. First, after each album, I’ve embedded a link that says ‘Spotify.’ If you’re logged into that service, the link will take you directly to the album, when possible (the No. 1 album, sadly, cannot be streamed, per the band’s request).

If that doesn’t work for you, tune into KUAF at 91.3 for a session where Ozarks at Large host Kyle Kellams and I discuss our top tunes. We’ll play samples from a few of the cuts, including those from albums found below. Our chat takes place in the noon hour and repeats in the 7 p.m. time frame Jan. 2.

Disagree, or know something I missed? Let us know here.

Now, to the list…

10) “The Hunter” by Mastodon — It’s not often that “metal” and “melody” are used as descriptors for the same kind of music, but that’s what Mastodon pulls off with “The Hunter.” From the bludgeoning provided by the opener “Blood Tongue” to the closing song “The Sparrow,” the Georgia band offers a set of well-crafted songs that alternate between sung and screamed. They provide plenty of heavy here.

“The Hunter” on Spotify

9) “Civilian” by Wye Oak — At it’s heart, the third album by Wye Oak is a folk record. But the two-piece band from Baltimore has explored all the rough edges of that genre, most pointedly in the unrequited-love-meets-guitar-crescendo surge of “Holy Holy.” Alternately charging and halting, this record will stick with you.

“Civilian” on Spotify

8) “Cults” by Cults — Although Cults’ self-titled debut album touches on some darker elements, those feelings are cloaked in the sugary sweet vocals of Madeline Follin. Joined only by guitarist/percussionist Brian Oblivion, the Manhattan duo could be confused for breezy summer fare unless some introspection is given to the lyrics. Clocking in briskly at just less than 34 minutes, it feels meatier than what a duo with access to a few guitar chords ought to be capable of.

“Cults” on Spotify

7) “Barton Hollow” by The Civil Wars — Continuing a trend of less is more (and duos) The Civil Wars have distilled their blend of folk and country into a few ultra-pure elements: guitars and voices. The Nashville duo’s debut “Barton Hollow” is equal parts haunting and beautiful. Singles such as “Poison & Wine” don’t provide the full depth of this album, which sounds like it comes from two people who have been singing together their entire lives, not a couple of songwriters who met at a Nashville coffee shop in 2009. I further predict that a song by The Civil Wars will be included on every mixtape/playlist about love or loss that is assembled in the next year or so.

“Barton Hollow” on Spotify

6) “Bon Iver” by Bon Iver — Justin Vernon, the artist-in-chief of Bon Iver, returns from the isolation of his previous album (2008’s brilliant “For Emma, Forever Ago”) for a more lush sound, but considering how sparse the previous release could be, this album doesn’t veer too far into the land of the overwrought. Returning are Vernon’s unmistakable falsetto and sense-of-place emotion. I don’t love this album as much as I did, “For Emma…” — that’s a tough task — but Vernon has made another essential album.

“Bon Iver” on Spotify

5) “The Whole Love” by Wilco — I’ll be the first to admit that Wilco’s eighth studio effort, “The Whole Love,” drags a bit in its middle. But bookending are two of the best compositions in Wilco’s long and storied career: the guitargasm called “Art of Almost” and 12-minutes of highs and lows in “One Sunday Morning.” Wilco has fully finalized their transition from pop-heavy alt country darlings to full-on progressive rock band, and with mixed results along the way (some beautiful songs on “Sky Blue Sky” and a largely forgettable “Wilco (The Album)”). They mostly hit the mark here, even when they stop the guitar solos long enough for a ditty such as “I Might.”

“The Whole Love” on Spotify

4) “Hurry Up, We’re Dreaming” by M83 — Ambitious as a double disc release are the contents of Anthony Gonzales (he’s M83)’s dance floor electronica as captured in “Hurry Up, We’re Dreaming.” This record is a soundscape of many layers, with heavy on drums and beats and surprises along the way. That may all be best captured in the second track “Midnight City,” a combination of shuffling beats and vocals that swell into a saxophone-induced climax meant to cause spontaneous dancing.

“Hurry Up, We’re Dreaming” on Spotify

3) “Days” by Real Estate — It’s fitting that perhaps the most easy going of these albums kicks off with a song called “Easy.” Best described as surf rock, this 10-song collection feels like a nice, calm breeze. Highlights abound, including the track “It’s Real.” Which is exactly how one feels about Real Estate after a cruise through this disc.

“Days” on Spotify

2) “Death of a Decade” by Ha Ha Tonka — The one (semi) local band on this list, I was introduced to Ha Ha Tonka at Wakarusa in early June, bought this album and have rarely stopped listening to is since. It too is a straight-ahead rock record, though the southern Missouri band’s instrumentation leans them toward bluegrass. So does the group’s multi-part harmonies, which are best captured on tunes such as “Hide It Well.” This album is probably the least familiar to those scouring best-of lists, but do yourself a favor and play this album about five times and see if you don’t agree with me.

“Death of a Decade” on Spotify

1) “El Camino” by The Black Keys — It feels unfair to have two lists in a row with The Black Keys in the top five, but if they are going to put out a stellar album every 12 months, there isn’t much I can do to avoid it. The duo has one-upped themselves with “El Camino,” a riff-rocking, thunder-drumming collection of fist pounding tunes such as “Lonely Boy” and “Gold on the Ceiling.” There are surprisingly tender moments buried here, too, such as “Run Right Back,” about a guy who keeps chasing after a doomed love and “Little Black Submarine” which starts life as a folk ballad before exploding into a frenzy of guitar.

Honorable Mention: “Departing” by Rural Alberta Advantage, “The Harrow and the Harvest” by Gillian Welch, “Hot Sauce Committee Part 2” by The Beastie Boys, “It’s a Corporate World” by Dale Earnhardt Jr. Jr., “Burst Apart” by The Antlers, “Circuital” by My Morning Jacket

When John Oates plays in Fayetteville on Thursday (Nov. 3), he won’t have his longstanding musical partner beside him, but he will have a full band and a host of new songs with him.

Oates is one half of the ubiquitous pop/soul duo Hall & Oates. Together with Daryl Hall, Oates sold millions of albums and charted 34 singles, including “Rich Girl,” “Out of Touch” and “You Make My Dreams Come True.”

Oates has been touring as a solo artist or with a band of his own for about 10 years now. He is currently on the road in support of his newest album, “Mississippi Mile,” a collection of songs from the Mississippi Delta region. Included on the record are covers of songs by artists such as Mississippi John Hurt, Chuck Berry and Curtis Mayfield. Also included are the tracks “All Shook Up” by Elvis Presley and “You Make My Dreams Come True,” a reworking of the Hall & Oates tune.

“When I play solo, I don’t ignore my history, but I put a different spin on the songs people have heard a million times,” Oates says in the official biography that accompanies the new album.

Tickets are $20 in advance or $22 at the door. Tickets are available at the venue, at Liquor World in Fayetteville and online. The show will begin at 8 p.m.

Rev. Peyton's Big Damn Band photo courtesy Bill Steber

The lucky ones are on their way right now.

For artists and those with early-entrance passes, the Yonder Mountain String Band’s Harvest Music Festival begins today (Oct. 12). For the rest of us, the events begin in earnest tomorrow (Oct. 13) and continue through Oct. 16.

In between those dates will be nearly 100 sets of music performed by about 75 bands. In other words, a very good time.

The annual festival is expanding, festival director Brett Mosiman tells me in a story that published in Friday’s What’s Up! section [Note: subscriber-only content].

This year’s festival, the second with Yonder Mountain String Band as a partner and the seventh overall, is expected to draw about 7,500 fans, which would be an attendance record.

Among the acts performing are Yonder, Railroad Earth, Bela Fleck & The Flecktones, Split Lip Rayfield, The Reverend Peyton’s Big Damn Band, Todd Snider and more. If you click on the ‘Read the rest of this entry’ link at the bottom of the story, you can see a full lineup of mainstage performers.

Tickets begin at $55 for a Thursday-only pass and range to $355 for a VIP pass. In between those price points are several ticket options (including the $175 four-day event pass) that include some options for those hoping to commute from Northwest Arkansas to the site and back.

Camping is available (even encouraged) and lots of amenities are located at the site, from showers to food vendors.

We’ll see you down there starting Thursday afternoon.

Yonder Mountain String Band’s Harvest Music Festival

Main Stage Music Schedule

The festival has four stages of music, with bands often playing simultaneously. Listed below is the schedule of band’s performing on the festival’s largest stage. For a complete schedule of musicians and other events, visit www.yonderharvestfest.com.

Oct. 13

1:30 p.m. — Ben Miller Band

3 p.m. — Mountain Sprout

4:45 p.m. — Matthew and the Atlas

6:30 p.m. — Corey Smith

8:30 p.m. — Railroad Earth

Oct. 14

12:30 p.m. — Dumptruck Butterlips

2 p.m. — The Reverend Peyton’s Big Damn Band

3:45 p.m. — Emmitt-Nershi Band

5:30 p.m. — Split Lip Rayfield

7:30 p.m. — Railroad Earth

9:30 p.m. — Yonder Mountain String Band

Oct. 15

Noon — Trampled by Turtles

1:45 p.m. — The Wilders

3:30 p.m. — The Travelin’ McCourys and Peter Rowan

5:30 p.m. — Cornmeal

7:30 p.m. — Bela Fleck and The Flecktones

9:30 p.m. — Yonder Mountain String Band

Oct. 16

There are no performers on the main stage on Oct. 16, but several notable performers are scheduled for the Harvest Tent, which serves as the prime entertainment for the festival’s last day. Here are those artists:

2 p.m. — Larry Keel & Natural Bridge

3:30 p.m. — Peter Rowan

5 p.m. — Sara Watkins

6:45 p.m. — Greensky Bluegrass

8:30 p.m. — Trampled by Turtles

Bryan Adams

[Update, 10 a.m. Monday] We’ve received word that Bryan Adams’ concert scheduled for tonight (10/10) has been postponed. His website alludes to the singer’s “croaky throat.” The new date, according to the Fort Smith Convention and Visitors’ Bureau, will be Oct. 29. Previously issued tickets will be honored at the new date. Refunds should be handled through Ticketmaster.

Unless you’ve been hiding in the dark corners of the world, you know who Bryan Adams is. Or, perhaps you know Bryan Adams’ songs. He’s recording smash hits such as “Cuts Like a Knife,” “Summer of ’69″ and more.

Adams is currently on what he’s calling the “Bare Bones” tour, which will bring him to the Fort Smith Convention Center on Monday (Oct. 10) for a show there. For the tour, he’s offering the songs in a much more intimate setting and arrangement, often with just him on guitar.

In a recent email question-and-answer session, Adams wrote me about learning his songs again, the concept behind the tour and the album of the same name and his philanthropic activities.

The answers are below, and you can see them if you click on the ‘Read the Rest of this Entry’ link at the bottom of the post.

Tickets to his 8 p.m. show are $35-$85, plus fees, and can be purchased by calling 800-745-3000 or through Ticketmaster.

Kevin Kinder, Northwest Arkansas Media: Tell me a little bit about the concept behind the “Bare Bones” album. What were you trying to capture with the recording?

Bryan Adams: The album was recorded originally for fans that came to the Bare Bones show. We had so many people asking where they could get it, so I made one for that purpose. It wasn’t meant to be an international release, but my record company got wind of it, and they decided to release it. And it’s interesting, because it’s been following me around the world. For example we went to India and it was certified gold, we just came back from Australia and it went to number 7 on the iTunes chart there…The moral of the story? Touring helps music.

KK: Was it recorded as one take during one show, or were these tracks culled from a series of performances?

BA: They were from a few different shows in the Northeast and a few tracks recorded in Oslo, Norway.

KK: I understand that, prior to 2008, you hadn’t done a lot of solo shows. What did you learn about yourself as a performer when it was just you, a guitar and a spotlight again?

BA: The first thing I wondered was why I had never done more of this earlier. I suppose being comfortable with my band prevented me to thinking this way, I mean why change? I tell you why, I like to push myself and the music, I’ve never rested on my past, I’m all about tomorrow and today.

KK: Were there significant changes to the arrangement of these songs? Did you have to relearn these songs to tell them as a solo artist?

BA: Never mind relearn, how about simply learning them! I always joke about how I forget things all the time, and I only know three chords, etc … , then this show comes along and there is no room for error. I have to focus. Within the show, there are always changes, but for the most part the songs are true to how they were written.

KK: Where there any songs that seemed, after they were reworked for a more intimate setting, to be better suited for a solo approach? How so?

BA: Yes quite a few, but ultimately I think they all work in this setting, and what’s more, some of them have interesting stories, and it’s good to tell people about how some of them came about.

KK: Tell me a little bit about the process of selecting the tunes that were included on the album. I understand that fans had some influence over which tracks made the cut?

BA: Completely, it was fan driven on Twitter. I asked people for their comments, and took it from there. Some people wanted obscure, some people wanted all the hits, some people wanted new stuff, so I did a bit of everything.

KK: So, is the show your fans in Fort Smith will see similar to what you’ve captured on this record?

BA: It is similar in some respects, but the show has many more songs than the album does. In fact, I’ve just recorded another show at the opera house in Sydney, which was a spectacular setting. I may even make a “Bare Bones 2” out of it. We’ll see.

KK: In a setting such as this, without a band or video boards or the like to draw attention, all eyes are on you all the time. Did you have to reinvent your own stage presence, too?

BA: I try not to think about all the eyes, that would be too strange! I just try to make the show as interesting and as minimal visually as possible, the emphasis being on the music and the usual idiotic banter that i whirl around.

KK: Philanthropic work is a big part of what you do. What kind of charity cause or philanthropic opportunity really speaks to you?

BA: Kids. I love the idea of being able to make a small difference to kids, and my foundation has supported many activities of other foundations with their desire to help people. That’s the premise of the work we do.

KK: You’ve also created a charitable foundation. Tell us a little bit about what you do with that organization.

BA: The principle is to help people help people. For example, if someone came to us with a legitimate idea to build a school in Africa and teach local people a trade in the process, we’d look at helping fund that idea. There have been many examples of this kind of support over the past seven years.

KK: It appears it’s been a while since you’ve performed in Arkansas. Any fond memories of a show or event here come to mind?

BA: Touring there reminds me of my early days touring America as a support band for the likes of bands like Journey. Good times.

KK: Thanks for taking the time to answer these questions, Bryan. We’re all looking forward to seeing you in a couple weeks[Ed note: It was a couple weeks ago when the interview occurred, but the show is closer than that now: Oct. 10].

BA: Thanks to you. Looking forward to coming back.

Girl Talk (and The Fray and Dierks Bentley) is coming to Fort Smith.

Festival on the Border officials earlier this month announced the lineup and confirmed the event that will take place on Sept. 9-11 in Fort Smith.

I went to the press conference. I wrote a story about it. And, then, I forgot to blog about it. Whoops.

Here’s what you need to know.

The multi-day, multi-venue event begins in earnest with a combination of country performers on Sept. 9. That evening, Dierks Bentley and Randy Rogers Band will perform at Harry E. Kelley Park.

On Sept. 10, a triumvirate of pop rockers — The Fray, Girl Talk and Andy Grammer — will perform on the UAFS Campus Green.

Also on Sept. 10, Mark O’Connor will join the Fort Smith Symphony for a show at the Arkansas Best Corp. Performing Arts Center. Among other songs, the symphony will play music from the film “True Grit.”

Tickets to the country show or the pop show are $10. Tickets to the symphony show are $25. All proceeds go to charity, and organizers expect 10 charities will benefit from the music festival. You can purchase tickets through the the festival’s website or through UAFS box office by calling 788-7300.

See some of you there?

Got 2 and a half minutes? Listen to this then. And, while you’re at it, ‘Hurry hurry hurry, before I go insane!’ That’s right, listen now!

The Ramones were so uncool they became cool.

In the age of disco, they wore black leather jackets. In a time when glam rock dominated the airwaves with its extravagance and production, The Ramones used three chords (if that) and a lot of shouting. They began most of their songs with “1… 2… 3… 4…” — it was a way of making sure they were all going to start at the same time.

And, in many ways, you can argue that they legitimized punk.

Time was not kind to The Ramones, as they never had the same success late in their career as they did in the beginning. And time (and, in some cases, substance abuse) got to their health, too. Three of the original members died within 10 years for the group’s 1996 retirement.

CJ Ramone

Along the way, several new members joined the group, all taking the stage name Ramone, just like the original members did when they band formed. Among the late additions was Christopher Joseph Ward, who adopted the name C.J. Ramone and replaced Dee Dee Ramone he retired in 1989. C.J. toured with the band until it disbanded in 1996 and recorded three albums with the group in those seven years.

C.J. Ramone will bring his tour to Fayetteville for a show Thursday (July 21) at George’s Majestic Lounge. He will perform Ramones songs.

Admission to the 9 p.m. show is $13.

George Jones

Perhaps big music festivals aren’t your thing. Perhaps you’re skipping Wakarusa. No big deal.

There’s music in Northwest Arkansas and the surrounding areas, too.

Crooner George Jones has hit No. 1 on the country charts several times with songs such as “Golden Ring,” “Yesterday’s Wine” and “He Stopped Loving Her Today.” Jones was inducted into the Country Music Hall of Fame in 1992. He still tours, and will perform at Downstream Casino in Quapaw, Okla., tonight (June 3). Tickets to the 8 p.m. show are $20-$60 and are available through the casino gift shop or through its website.

The casino is also sponsoring a benefit for victims of the tornado that passed through Joplin, Mo.

It will take place from 2-8 p.m. on Sunday (June 5) and feature music by The Cate Brothers Band, Liverpool Legends, The Nace Brothers Band and more. Tickets range from $10-$30.

In Bella Vista, Grammy nominee and 2011 Dove Award winner Lizzy Long will team up with bluegrass legend Little Roy Lewis for a show Saturday (June 4) at Riordan Hall in Bella Vista. The show, produced by Brumley Entertainment, will combine these musical talents with a catered meal from Fred’s Hickory Inn. Tickets are $40-$45 for adults and $35-$45 for children. For information, visit www.brumleyentertainment.com or call 696-9876. Dinner is at 6 p.m. and music starts at 7 p.m.

Elsewhere, the blues weekend continues in Eureka Springs and Wakarusa, where we’ll be, continues through Sunday.

See you at a show or two (or three or four)?

The Del McCoury Band with the Preservation Hall Jazz Band. All photos by KEVIN KINDER, NWA Media.

Early into his band’s performance on Sunday (4/17) night at the Walton Arts Center, Preservation Hall Jazz Band clarinet player Charlie Gabriel summed up the night quite well.

He’d just heard his own band’s improvisational, earnest take on Hank Snow’s “A Good Gal Is Hard To Find,” which earned a whoop of applause from the audience.

“Boy, that was good,” Gabriel said.

Clint Maedgen of the Preservation Hall Jazz Band

It earned him a laugh or two, but it contained an acknowledgment of just what the crowd was in for during the rest of the evening. Between the New Orleans jazz institution Preservation Hall Jazz Band and stage mates from the equally iconic bluegrass group the Del McCoury Band, guests during Sunday’s show got both an education in traditional American music and exuberance.

The two bands became unlikely musical partners after Del McCoury recorded a guest spot with the Preservation Hall band several years ago. In the time since, the groups have teamed up both for a series of performances but also for an album called “American Legacies,” which was released last Tuesday (April 12).

The bands played several of those songs together, but also took the time for individual tracks such as the jazz band’s take on Louis Armstrong’s “Ol Man Mose” and the Del McCoury Band’s cover of the bluegrass staple “Bluegrass Breakdown.”

The groups traded members in various alignments all night, and it was some of the more interesting combination of musicians that provided the highlights.

Del McCoury, left, with son Robbie McCoury

At one point, for instance, McCoury joined the Pres Hall Band for the song “After You’re Gone,” a song that let his one-of-a-kind vocals have the focus for a few moments. To the contrast, McCoury left his band onstage for a song and allowed Mark Braud, the trumpet player for Pres Hall, to take the vocals on “Sugar Blues.”

It was in that kind of convivial spirit that the night continued, with the musicians taking turns, swapping stories and clearly finding joy in playing songs with new musical partners.

That joy extended to the audience, and in a fitting bit of revelry, several of the band members led a parade around the venue which ended with about a dozen audience members dancing onstage to a rambunctious, extended take on “When the Saints Go Marching In.”

That may be a song best suited for a New Orleans band, but no one — including those onstage — minded the help.

Set List: 1) The Band’s In Town; 2) Jambalaya (On the Bayou) [Hank Williams cover]; 3) One Has My Name (The Other Has My Heart) [traditional country song]; 4) Ol’ Man Mose [Louis Armstrong cover] 5) A Good Gal [Hank Snow cover]; 6) Hello Lonely [Del McCoury Band solo]; 7) Bluegrass Breakdown [Bill Monroe cover by Del McCoury Band] 8) You Don’t Have to Be a Baby [Ernest Tubbs/Tennessee Ernie Ford cover]; 9) After You’ve Gone [jazz standard]; 10) Instrumental number

— Intermission —

11) Instrumental by Preservation Hall Jazz Band; 12) Habenero music; 13) Banjo Frisco; 14) Sugar Blues; 15) I’ll Fly Away; 16) Instrumental jam/When The Saints Go Marching In

Jeremy Camp

Starting to get cabin fever? How about watching some live music?

Contemporary Christian musician Jeremy Camp brings his current tour to Van Buren for a show Saturday (Feb. 5) at the Van Buren Fine Arts Center. During his recording career, Camp has recorded 19 No. 1 Christian hits and has sold more than three million albums. Tickets range from $15 to $45 and are available by calling 800-965-9324 or at www.itickets.com.

You could also catch some classical guitar this weekend. Serbian-born classical guitarist Nemanja Bogonovic has been playing guitar since the age of seven and performing in public since the age of 10. He’ll bring his talents to Fayetteville on Sunday (Feb. 6) for a show at Greenhouse Grille. The show is being packaged with a dinner that begins at 5 p.m. Bogonovic’s performance begins at 7 p.m. Tickets are $75 and can be reserved by calling 444-8909.

There is also a rockabilly concert Saturday at Victory Theater in Rogers. We told you a little bit about it earlier this week.

Elsewhere, you can find Cletus Got Shot tonight (Feb. 4) at Smoke & Barrel Tavern. Admission is $3.

You can also find the Blind Boys of Alabama tonight at the Walton Arts Center. We’ll tell you a little bit more about them later today.

Looking for something else? Try the calendar on the blog’s homepage.

We’ll see you around.

What Army

Fayetteville hard rockers What Army are preparing to release their third album, “Where The Skeletons Are,” at a show tonight (Dec. 15) at Rogue Pizza Co. The recording is a concept album about a friend’s series of nightmares. Admission to the 9 p.m. show is $3. Rollo Tumasi will serve as the opening act.