Adele, Bon Iver Beat Coldplay, Chilis for 2011s Top CD: Review

December 29, 2011, 2:00 PM EST

By Mark Beech

Dec. 29 (Bloomberg) -- The year started with Lady Gagas forecast that her new CD would be the centurys best.

Now 2011 ends with Gagas little monster fans resorting to Twitter sniping at her British rival Adele, whose 21 is the best selling album in four years, shifting more than 13 million copies worldwide, according to her record label, XL.

Adeles commercial success has alienated those critics who shy away from recommending anything too obvious. Still, 21 remains the finest of the 1,000 or so new CDs Ive heard in 2011, and a strong pick for Grammy and Brit award success in February. Its retro in an Amy Winehouse way, right from Rolling in the Deep through to the closing Someone Like You.

Gagas Born This Way has its moments, with the title track all over the airwaves, and she certainly bettered Britney Spears, peddling the same disco vibe as Rihanna and Katy Perry.

Two relatively obscure bands, the Fleet Foxes and Bon Iver, returned with challe! nging se cond albums. I loved Helplessness Blues by the Foxes from its first play and, like Adeles, I gave it a ***** rating. While I initially awarded a less enthusiastic *** to Bon Ivers eponymous CD, I kept coming back to its subtle charms, whatever else was on the review pile. With a few months perspective, its a real grower.

No need for second thoughts on two U.S. veterans who released their finest work in years. Tom Waits growls his way to more greatness on Bad as Me. Ry Cooder gets rude about bankers on the Woody Guthrie-like Pull Up Some Dust and Sit Down.

English Roses

Exceptional CDs by British chanteuses included Let England Shake, P.J. Harveys concept album about war, which won the Mercury Prize. Florence Welch blasted out on Florence & the Machines poppy Ceremonials and Anna Calvi made an assured self-titled debut. Laura Marlings thoughtful A Creature I Dont Know, Kate Bushs ambient 50 Words for Snow and Katy Bs danceable On a Mission werent far behind.

While Winehouses posthumous Lioness was a patchy farewell, the great Gil Scott-Heron lived to hear the splendid remix of his work by Jamie XX, Were New Here. He died shortly afterwards.

Those heading for the holiday sales wont go far wrong by buying any of these impressive CDs: Paul Simons literate So Beautiful or So What; U.S. singer Eilen Jewells bluesy Queen of the Minor Key; Drakes crooned Take Care; Danger Mouses filmic Rome; Leslie Feists moody Metals or pianist Jon Regens jazzy Revolution.

Loud and Proud

All of the above are good for late-night introspection. Those wanting something louder can opt for the Beastie Boys, who made some noise with Hot Sauce Committee Part Two and Mastodon, making even more with The Hunter. Just a notch behind them, the Foo Fighters melted speakers with Wasting Light.

For those who got past the hideous Damien Hirst fly cover, the Red Hot Chili Peppers crank up their guitars on Im With You. For my money, the best offering from a U.S. group in 2011 was The Whole Lov! e by ind ie darlings Wilco, while The King Is Dead by the Decemberists was a pastoral delight.

There were some disappointments. Lou Reed and Metallicas Lulu, Mick Jaggers SuperHeavy project and the Strokess comeback fell short of their considerable hype. Jay-Z and Kanye Wests collaborative Watch the Throne failed to deliver on its boasted brilliance.

Bickering Brothers

There was as much braggadocio from the Gallagher brothers who used to be Oasis (and, it seems, will be again when they have finished bickering). Liam struck first with the half-baked Beady Eye. Noel did better with High Flying Birds.

British groups made some impressive music thats worth a listen. Try Skying by the Horrors, A Different Kind of Fix by Bombay Bicycle Club, The English Riviera by Metronomy, Suck It and See by the Arctic Monkeys and Build a Rocket Boys by Elbow.

Coldplays Mylo Xyloto has little to dislike and much to like. Its professionally produced, tuneful and so safe as to be a little dull. Radioheads King of Limbs is a little more edgy -- the best rock is usually a little provocative. Its what its there for, right?

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(Mark Beech writes for Muse, the arts and leisure section of Bloomberg News. The opinions expressed are his own.)

--Editors: Jim Ruane, Farah Nayeri.

To contact the writer on the story: Mark Beech in London at mbeech@bloomberg.net or twitter.com/Mark_Beech

To contact the editor responsible for this story: Manuela Hoelterhoff at mhoelterhoff@bloomberg.net.