As I compiled my list of the best music of the decade (a much, much longer list than you see here) one inescapable conclusion reared its shaggy head: the last 10 years pretty much belonged to Jack White.

How many other artists produced five stellar albums in the aughts, not to mention a couple of killer side projects and (that old rock critic standby) incendiary live shows?

No one, that’s who.

So, the best album of the decade really came down to which White Stripes album did you like more, White Blood Cells or Elephant.

Thankfully there’s no wrong answer. I first became enamored of “Fell in Love With a Girl,” totally fell for “Dead Leaves and the Dirty Ground,” became quite close to “We Are Going to Be Friends” and spent a lot of time in “Hotel Yorba” and “Little Room.”

On the other hand, Elephant had “Seven Nation Army.”

“Seven Nation Army,” motherfuckers. How could a song released in 2003 sound like it invented the bass line? Not just that bass line, but the whole concept of bass lines.

So as we recap our favorites of the decade, rock lives on into the new century in various forms, from low down and dirty to high and arty to pulsating and poppy, while what was once the cutting-edge hip-hop has devolved into auto-tuned disco synth. No doubt something new will emerge in the next decade to take our minds off it.

1. The White Stripes: White Blood Cells (or Elephant)
2. Wilco: Yankee Hotel Foxtrot
3. Outkast: Stankonia (or Speakerboxx/The Love Below)
4. Green Day: American Idiot
5. The New Pornographers: Electric Version (or maybe Mass Romantic)
6. The Flaming Lips: Yoshimi Battles the Pink Robots
7. LCD SoundsystemL Sounds of Silver
8. TV on the Radio: Return to Cookie Mountain
9. Jay-Z: The Blueprint
10. The Strokes: Is This It?

Just a few of the runner-ups:

Queens of the Stone Age: Songs for the Deaf, Rated R
Belle & Sebastian: Dear Catastrophe Waitress
Drive By Truckers: Southern Rock Opera, Dirty South
Sufjan Stevens: Come On Feel the Illinoise
Arcade Fire: Funeral
Franz Ferdinand: Franz Ferdinand
Decemberists: Picaresque, Crane Wife
Radiohead: In Rainbows
Ben Folds: Rockin’ the Suburbs
Missy Elliott: Miss E…So Addictive
The Roots: Phrenology

They say that you never get a second chance to make a first impression…unless you’re a musician, of course. In what other world can you hate something with the white-hot fire of a thousand suns, only to discover one day that a switch involuntarily flipped in your head that makes you think, “You know what, I really like these guys!”? Truth be told, it happens to us nearly every day, and most of the time it’s with a band or artist that we as music reviewers are supposed to love unconditionally but, for whatever reason, we just don’t. Or at least didn’t up until recently.

Call this the companion piece to our list earlier this year of bands that we just don’t get – which was almost universally misinterpreted as a staff-wide condemnation, rather than each writer speaking for himself – only with a much more positive vibe. The Bullz-Eye writers bare their souls and confess to previous biases that have since turned to heartfelt crushes (or at the very least, tolerance of a band’s existence). The list of acquired tastes is a who’s who of Hall of Famers, critical darlings, and…Cobra Starship? Who let that guy in here?

Flaming Lips
My first exposure to the Flaming Lips was seeing the video for “She Don’t Use Jelly” on MTV’s “Beavis and Butthead” show, which immediately pegged the Lips as a novelty in my mind (and not one that I even enjoyed all that much). How could one not see novelty in a song with a character who spreads Vaseline on her toast? This was kid stuff, and yes, I could be a silly kid, but where I drew my lines of tolerance for silliness were admittedly very arbitrary (example: I unironically enjoyed Mister Ed). As such, I completely shut out the Lips.

Fast forward five years later: I was just about finished with college, working at a record store, yet still very skeptical when a respected friend and coworker slipped me an advance copy of The Soft Bulletin in 1999 (10 years ago already?). His taste was generally pretty spot on, so I gave it a shot. From the first song, I heard a completely different band, one that was drawing inspiration from one of my all-time favorites – Brian Wilson. I came around almost instantaneously upon hearing “Race for the Prize,” and even grew to dig “She Don’t Use Jelly” too. How stupid could I have been all that time? Blame it on my youth. – Michael Fortes

Guided by Voices
The buzz was loud and clear on Bee Thousand, the lo-fi masterpiece by Dayton alt-rockers Guided by Voices. This was the record that everyone positively had to own, so I borrowed it from a friend of mine…and totally didn’t get it. The songs aren’t finished! Are these demos? When lead singer Robert Pollard – whose last name should be a synonym for ‘prolific’ – saw a song to its completion, as he did on “Tractor Rape Chain,” I was definitely into it, but too many of the songs felt like piss takes to me, so I politely stayed off the bandwagon. Five years later, he made “Teenage FBI” with Ric Ocasek, which I loved, but still didn’t buy any of their records. Then they dropped Human Amusements at Hourly Rates, a compilation of Pollard’s more, ahem, finished songs, and I finally bit, and the disc scarcely left my CD player for months afterward. And then, of course, the band broke up just when I was beginning to appreciate them. Luckily, they recorded 16 albums in 17 years before calling it quits. The only question now is: which one do I start with? – David Medsker

To read the rest of “I’m Gonna Make You Love Me: 15 Great Bands We Used to Hate,” click here.