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Top 10 albums of 2011

Every “Best Of” list is entirely subjective so keep that in mind when making your way through this compendium.

My No. 1 album of 2011 might not even be in your Top 10, which is why we hope to hear from you with your picks for the best new recordings you heard during the past year.

But to these years, it was the year of Adele, the spicy British songstress who absolutely dominated the charts for much of the year and decidedly so.

Here in order, is my list of the best albums of 2011:

This album, simply called “21,” is the follow-up to Adele’s 2008 debut smash “19,” which were both named after her age when she wrote the songs for the respective discs.

This sophomore set is earthy, soulful, filled with anguished torch songs delivered with authority and straight-to-the-gut production values that steer clear of the vocal gimmickry and studio craftsmanship that dominate so many discs by the so-called divas of this era.

Instead we’re treated to fire and passion, starting with the killer lead single “Rolling in the Deep” and carrying through tracks like the Philly soul styles of “He Won’t Go,” the Janis Joplin-like shredded roar of “One and Only,” or the driving dance fury from a jilted lover in “Rumor Has It.”

As we’ve all seen, a lot of teen singers hit it big and are forgotten fast. Adele hit it big in her teens, but the woman is in this for the long run. Absolutely no question about it.

Tracks to download: “Rolling in the Deep” “One and Only.”

Maintaining one’s street cred while being universally beloved can indeed be tough terrain to maneuver so it took awhile for the stereotypical “difficult second album” to finally surface.

It’s here at last and songwriter Robin Pecknold, together with Skyler Skjelset, Casey Wescott, Josh Tillman, Christian Wargo and Morgan Henderson turn in a very cohesive outing that despite its title is far from bluesy. Instead it is steeped in late ‘60s and early ‘70s echoes, and Pecknold has been refreshingly open in pointing to Van Morrison’s “Astral Weeks” in particular as a huge influence on the approach to recording the album. For all those who think they can’t lock into any kind of new music since “Four Way Street,” you might want to check into “The Plains/Bitter Dancer,” which is ridiculously reminiscent of Crosby, Stills and Nash in its vocals; “Lorelai,” which features Brian Wilson-styled backing vocals; or the magnificent, very folk-flavored title track which is filled with rebellious, socially-conscious lyrics that are simultaneously traced in self-doubt.

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