The following ten records were my favorites during the “aughts” or “O”s or “aughties” or whatever we’re referring to them as now that it’s the “tens” or “teens” or “tweens” or what have you.

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“Why D’ya Do It?”—jealous and wrathful—stole the show, suiting her better now than when she recorded it back in 1979. Maybe it was the contrast of seeing Faithfull dressed so quaintly and poised while shouting out, “Whyd ya do it, she said, whyd you let that trash get a hold of your cock, get stoned on my hash ?” That did it. The evening came into miraculous focus during this song. Her fierce snarl danced around the ska-inflected guitar and tore down any notions of artistic comfort to take refuge in. In just a matter of minutes, the whole being of Faithfull was on display—the delicate flaxen-haired flower girl of the ’60s, the homeless tramp of the ’70s, the drug addict, the smoky-voiced cabaret singer, the Weimar-era reenactor, the Shakespeare interpreter—all her incarnations summoned up at once.

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Fans of Grandaddy probably sensed they would one day hear again from Jason Lytle, the band’s former singer/songrwriter/reluctant leader, for despite its well-documented struggles, Grandaddy proved to be resilient. Now Jason Lytle is back. Though he’s relocated from Modesto, Calif. to Bozeman, the fifth-largest city in Montana, his distinctive sound is unchanged. This interview by Nina Gregory.

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The Sadies are Canada’s magnificent responding echo to California country and just finished a set of shows with Black Mountain. Their new album (featuring John Doe, one in a long line of Sadies collaborators also including Andre Williams, Robyn Hitchcock and Jon Langford) is out now on Yep Roc. This interview by Chris Ziegler.

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