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2011: The year in band names

‪With the rise of simply monikered bands like Yuck, The Weeknd, Real Estate, Blouse, Corridor, Cave, and others, perhaps the world has never needed more bizarrely—or at least memorably—named groups. W
MC Hammer’s Please Hammer Don’t Hurt ’Em

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Quiet Riot’s Metal Health

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Bob Dylan's Modern Times

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Blues Brothers' Briefcase Full of Blues

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Metallica’s St. Anger rode a wave of dysfunction to the top of the charts

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Lauryn Hill’s The Miseducation Of Lauryn Hill

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Phil Collins was just your average, everyday, kind of creepy star when he made No Jacket Required

In We’re No. 1, A.V. Club music editor Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept
Trent Reznor made alt-rock’s last stand with The Fragile

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be “popular” in pop music, and how that concept has changed over the y
The fake Beatles album Yesterday And Today once topped the charts

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea
Foo Fighters’ debut was a bridge between Nirvana and mid-’90s alt-rock

Longtime readers of The A.V. Club might remember Permanent Records, a recurring feature that ran on the site in the late ’00s. Subtitled “Albums from The A.V. Club’s Hall Of Fame,” Permanent Records s
Boston’s blockbuster debut proved a tough act to follow on deadline

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea
Kerplunk captures the sound of Green Day before the breakthrough

A closer look at the records that matter most.
Prince’s Batman soundtrack is not the embarrassment it’s reputed to be

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea
Why Billy Joel’s An Innocent Man disproves John Philip Sousa’s musical fears

Permanent Records is an ongoing closer look at the records that matter most.
Santana’s Supernatural was 1999’s most surprisingly successful album

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea
Interpol’s Turn On The Bright Lights brought sexy back to indie rock

Maybe it wasn’t apparent at the time, but 2001 was a massively influential year for music. Rap-rockers and post-grunge monoliths like Lifehouse, Nickelback, and Linkin Park enjoyed chart and radio hit
Jimmy Buffett pulled in some country-music ringers for the horribly titled License To Chill

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea
Fartbarf, Neon Piss, and more: the year in band names 2012

What does it take to stand out in the crowded world of music? Good songs? The right look? A record label and management who know what they’re doing? Maybe. Or you could just have a preposterous name a
Why the fatalistic Goodbye Yellow Brick Road remains Elton John’s most popular album

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the yea

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