If the music industry was like the movie industry—and it is but that’s a think piece for another time—the executives would be freaking out over scheduling. So many long-awaited returns and superstar records came out this year that, if this was the movie business, someone would have moved some of them to a less busy year. This year has simply been an embarrassment of riches. In getting my research together to construct these lists, I realized that there was a metric crapton of records I still hadn’t heard, reissues of which I was totally unaware, and records with which I wanted to spend more time. So even though this is a good snapshot of what I was listening to this past year, it still feels incomplete. If you don’t see a record on here, it’s likely not a snub. I just haven’t heard it yet. Catch me in March when I finally get caught up with 2013. And without further hedging or apologies, here’s what got burn this past year.

Best Albums

1. Justin Timberlake, The 20/20 Experience, Part 1 (RCA)
After Timberlake spent the last six and a half years seemingly uninterested in music, but very interested in becoming the next cast member of Saturday Night Live, this record was a welcome surprise. Featuring production once again from Timbaland, this record was at times overstuffed with ideas, grooves and running times, but it pays off in the stone cold grooves, playful come-ons and some of Justin’s most confident performances of his career. And spanning the range from his trademark stutter rhythm dancefloor bangers to Radiohead-influences tunes and even a carnival throwdown, Timbaland is on top of his game. There’s something about the combination of the two that makes them both work harder. Could there have been some editing? Sure. But with a record that sounds this infectious and fun, you can’t blame them for not wanting the fun to stop.

2. My Bloody Valentine, MBV (self-released)
One would never think that the Beach Boys, Guns ‘N Roses, and the alternative nation would have something in common. But as Smile was for the Beach Boys and Chinese Democracy was to the long-suffering GNR fans so was the follow up to My Bloody Valentine’s 1991 album Loveless to the shoegaze fans of the ’90s. While Loveless wasn’t a monster seller, it was a well-respected album whose reputation and influence only grew in subsequent years. But no one would imagine that it would take the band 22 years to finally release the follow-up, simply titled MBV. There had been so many claims about the record being released over the years at various times that it seemed a safe bet it was never actually going to come out, despite the increased live activity of the band. Thus it was a shocker when bandleader Kevin Shields casually mentioned that the album would be out and then two days later it was. Does it live up to all the hype, expectation and fervor? Well, results may vary. But one thing that isn’t in doubt is that it’s an unabashed My Bloody Valentine record and a logical successor to Loveless. While the layers of gauzy production have thinned, it’s still an album for the headphones. And though it may not shift the paradigm like Loveless once did, MBV shows that there’s still plenty of juice left in the formula.

3. Run the Jewels, Run the Jewels (Fools Gold)
The unlikely collaboration of the consummate Southern MC (Killer Mike) and the abstract Brooklyn producer/MC (El-P), which began last year with the former’s excellent R.A.P. Music, continues under the banner of Run the Jewels. On paper, it still remains as logical as sardines and apple pie, but from the second the first track hits, it’s more like a new look Run-DMC or rebooted Outkast. With EL-P’s trademark claustrophobic industrial clatter largely set aside, he instead brings an aggressive 21st century boom-bap to the table. Lyrically, they both take a more loose approach to the proceedings. While there are some storytelling moments, they are more often content to make a “rappity-rap” record. Bless them for it.

4. Kanye West, Yeesus (Roc-a-Fella/Def Jam)
Say what you want about Kanye West—and Lord knows he’s generated enough column inches for a nice leather bound volume this year—one thing you have to admit is that he keeps things interesting. And Yeezus is, if nothing else, a lot to chew on. At various turns angry, militant, playful, filthy, soulful, and cold, it covers a lot of ground. The first indication that Yeezy was on some other other stuff was the twin debut of the industrial tinged “New Slaves” and “Black Skinheads.” But that was only part of the story. Sonically the album jumps and skips around with gleeful disregard. Anytime you combine diverse production from sources that range from No ID to Daft Punk you never know what to expect and the record follows through with that promise. It’s a messy, divisive whiplash of a ride, but it may also be the purest distillation you’ll get of Kanye in 2013. Yeezus isn’t a record for everyone, but it’s one you can’t ignore.

5. Daft Punk, Random Access Memories (Columbia)
For people who only clamped on to Daft Punk in the wake of being sampled on Kanye West’s “Stronger” or via the excellent Alive 2007, this record seems to not make sense. But for those who had to hold their noses through 2005’s Human After All, R.A.M. seemed like a welcome return. Disco always seemed to have a place in the Daft DNA so it seemed logically that they draft the legendary Nile Rogers and Giorgio Moroder into service. And while the other guests (Paul Williams, Julian Casablancas, Pharell Williams, and Grizzly Bear), seem not to make sense in the context of banging beats, in returning to the spirit of “One More Time,” it clicks. It’s a record full of loose-limbed, disco-fied soul grooves and a nice history lesson all in one. In addition, if “Get Lucky” doesn’t make you want to dance like your drunken uncle at a wedding reception, you may want to reconsider some things.

6. Disclosure, Settle (Island)
While America is once again on a dance music bender—this time under the guise of the simultaneously sterile and rancid term “EDM”—this British duo’s debut felt like a breath of fresh air. The record dives into the UK’s funky house past, along with UK garage, two-step, and some synth-pop, but always with an eye toward the future. Every song sounds like a single and feels like a kick in the pants. It’s perfect for those slightly tired of raging and fist pumping, but still having a mind to dance with that cutie across the bar.

7. Elvis Costello and The Roots, Wise Up Ghost (Blue Note)
I am an unabashed and unashamed fan of both Elvis Costello and The Roots, so the announcement that the two parties were getting together was the fanboy equivalent of having breakfast for dinner. And while the endeavor may seem worrisome to those who haven’t been following the evolution of The Roots, it’s one of those perfectly absurd, but perfectly logical pairings. With their time on Late Night With Jimmy Fallon and their series of collaboration albums (Booker T, John Legend, and Betty Wright), The Roots have proven themselves to be one of the most versatile bands in music today. And though Costello is no stranger to hanging out in new musical neighborhoods, rest assured, it’s not his “rap” album. Instead, it’s an excellent blending of both camps, with Costello seeming particularly fired up.

8. Haim, Days Are Gone (Columbia)
If you’ve only seen photos of Este Haim’s most excellent bass face, you might be confused by what music you’re actually going to hear. Be prepare to be confused: instead of some gnarly ’70s grooves, Haim’s debut album is full of tasty early-80s radio grooves. Actually, it sounds like the band has a worn pair of Stevie Nicks’ first two solo records. That wistful sensibility mixed with modern R&B production influences resulted in one of those perfect stylistic mash-ups you didn’t know you wanted until it actually happened.

9. David Bowie, The Next Day (Columbia)
Conventional wisdom and quite a few column inches were spent declaring the retirement of David Bowie. His last studio record came out in 2003, and other than some select guest spots on albums by TV On The Radio and, er, Scarlett Johansson, as well as pop-up live appearances with Arcade Fire, David Gilmore, and Alicia Keys, he largely faded into the background. Ten years without an album after a long career seemed to signal that Bowie was quietly pulling up his shingle. So it came as quite the shock when in January he announced his new album, The Next Day, was being released in March and oh, by the way, here’s the single. That single, “Where Are We Now,” was a bit misdirected, suggesting that Bowie was in an introspective, twilight mode. Instead, the record is full of tense guitars, elegant menace, and more attack than the single would suggest. Surrounded by much of his usual supporting cast, it’s a strong return without the weight of being a new reincarnation of the legendary singer. No asterisk needed, The Next Day is a worthy addition to the catalog.

10. Jim James, Regions of Light and Sound of God (ATO)
My Morning Jacket leader Jim James (or Yim Yames if you’re nasty) has always had a love affair with R&B and soul. And on his debut solo album he goes full-tilt boogie, but in a skewed manner. Like a more rocking version of James Blake’s minimalist excursions, he comes off as a spacey lover man who’s not afraid to get a little weird. Sometimes it’s hard to see why a lead singer would want to go solo, but here the answer is clear. James finally got the chance to luxuriate in expansive grooves without the pressure to rock. Sure, he does rock in places, but instead he’s content to lean into the pocket for a record that’s sweet, spiritual, and sexy.

Honorable Mentions

Counterfeit Madison, Opened and Shut (self-released)

Gliss, Langsom Dans (Modern Outsider)

The Uncluded, Honkey Fright (Rhymesayers)

Har Mar Superstar, Bye Bye 17 (Cult)

Lizzo, Lizzobangers (Totally Gross National Product)

Luscious Jackson, Magic Hour (City Song)

Best Singles

Robin Thicke, “Blurred Lines”

Daft Punk, “Get Lucky”

Connections, “Tough City”

Justin Timberlake, “Pusher Love Girl” and ”Suit and Tie”

Chvrches, “The Mother We Share”

Jay-Z, “Holy Grail”

James Blake, “Retrograde”

Disclosure, “White Noise”

Arcade Fire, “Reflktor”

Kanye West, “New Slaves” and ”Black Skinheads”

Lorde, “Royals”

The Uncluded, “Bats”

Lizzo, “Batches & Cookies”

Best Reissues

Unwound, The Kid Is Gone (Numero Group)

Various Artists, Purple Snow (Numero Group)

Nirvana, In Utero: 20th Anniversary Edition (Universal)

The Breeders, LSXX (4AD)

Various Artists, Traxbox (Harmless)

Jimi Hendrix, People, Hell and Angels (Legacy)

Mad Season, Above: Deluxe Edition (Legacy)

Best Shows

Murs, Prof, and Fashawn
February 27, The Basement, Columbus

Lee Ranaldo and The Dust
May 25, Ace Of Cups, Columbus

The Uncluded
June 7, Wexner Center, Columbus

Bats For Lashes
August 23, Newport Music Hall, Columbus

Mission Of Burma
September 13, Ace Of Cups, Columbus

Spiritualized
September 15, Wexner Center For The Arts, Columbus

Screaming Females
September 26, Ace Of Cups, Columbus

Har Mar Superstar and Lizzo
October 2, Double Happiness, Columbus

Big Freedia
October 25, The Basement, Columbus

Sebadoh
November 14, The Basement, Columbus