== ISSUE 197 ==== CONSUMABLE ONLINE ======== [December 17, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Al Muzer, Joe Silva Correspondents: Michelle Aguilar, Christina Apeles, Niles J. Baranowski, Mike Bederka, Jason Cahill, Matthew Carlin, Patrick Carmosino, John Davidson, Andrew Duncan, Krisjanis Gale, Paul Hanson, Chris Hill, Eric Hsu, Scott Hudson, Steve Kandell, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' CONSUMABLE'S TOP 5 ALBUMS Of 1999 Wilco, _Summerteeth_ (Reprise) Beck, _Midnite Vultures_ (DGC) Jason Falkner, _Can You Still Feel?_ (Elektra) Nine Inch Nails, _The Fragile_ (Interscope) Flaming Lips, _The Soft Bulletin_ (Warner) WRITER'S INDIVIDUAL TOP 5 LISTS Michelle Aguilar - T.W. Walsh, Guided By Voices, April March, Moby, Belle and Sebastian Dan Aloi - Wilco, Chris Cacavas & Junkyard Love, Van Morrison, Fountains of Wayne, Grand Drive Christina Apeles - Gomez, Flaming Lips, Beck, Dot Allison, Superchunk Joann Ball - Randi Driscoll, Sally Taylor, Skunk Anansie, Jact, Pretenders Jason Cahill - Rage Against The Machine, Nine Inch Nails, Sleater-Kinney, Beck, Fiona Apple Matt Carlin - Pavement, Fantomas, Flaming Lips, Handsome Boy Modeling School, Nine Inch Nails John Davidson - Wilco, Guided By Voices, Gomez, Jason Falkner, Sloan Andrew Duncan - Mr. Bungle, Old Time Relijun, Blur, Boom Boom Satellites, Nine Inch Nails Bob Gajarsky - Shack, Robbie Williams, Freestylers, Smash Mouth, Pet Shop Boys Chris Hill - Wheat, Lullaby for the Working Class, Mogwai, Godspeed You Black Emperor!,Sparklehorse Bill Holmes - Gigolo Aunts, Bent Scepters, Cherry Twister, Wilco, Walter Clevenger and the Dairy Kings Scott Hudson - Chris Cornell, Jason Falkner, Taxiride, Stone Temple Pilots, Zen Mafia Steve Kandell - Beulah, Tom Waits, Superchunk, Built To Spill, Flaming Lips Wes Long - XTC, Ben Folds Five, Jason Falkner, Fountains of Wayne, Negro Problem Wilson Neate - Gorky's Zygotic Mynci, Everything But The Girl, Atari Teenage Riot, Marc Almond, Lo-Fidelity Allstars Linda Scott - Sting, Tom Petty and the Heartbreakers, Nine Inch Nails, Counting Crows, Crosby Stills Nash and Young Don Share - XTC, Super Furry Animals, Robyn Hitchcock, Gorky's Zygotic Mynci, Jason Falkner Scott Slonaker - Matthew Sweet, Beck, Wilco, Moby, Macy Gray Kerwin So - Jimmy Eat World, Papa M, Reach The Rock, Godspeed You Black Emperor!, Juno Lang Whitaker - Rob Swift, Beck, Goodie Mob, Roots, Ibraham Ferrer --- Top 5 - Michelle Aguilar 1) T.W. Walsh, _How We Spend Our Days (Made In Mexico). A late entry dark horse contender that only came out in November but broadsided its way into my heart. Although T.W. Walsh's _How We Spend Our Days_ comes from a young man still in his twenties, it sounds like the rambling, unadorned thoughts of a middle-aged Franz Kafka character; a quiet Everyman whose latent fears and insecurities are surfacing with the passage of years. The direct honesty and beautifully melancholy melodies here had me humming these songs absently, long after the disc went back into the jewel case. 2) Guided By Voices, _Do The Collapse_ (TVT). An indie pop thoroughbred that many GBV fans were initially tempted to stall in the paddock. Under the stewardship of producer Ric Ocasek who somehow managed the trick of sounding both lush and thin at the same time, GBV achieved the same feat. They sound bigger and more realized than ever before on _Do The Collapse,_ without completely sacrificing the naively thin sound that won them fans in the first place. One need only hear the opening track, "Teenage FBI" to hear the sound of success. 3) April March, _Chrominance Decoder_ (Mammoth). Ok, this is really not for everyone. For starters, most of it's in French. But this blissfully straight-faced sendup of Francoise Hardy-style '60s ye-ye Euro-pop is dead-on historically accurate at capturing the French '60s obsession with indiscriminate assimilation of American traditions ranging from Burt Bacharach to rock and roll, to cocktail jazz and Brill Building bubblegum. Meanwhile, April March (really American Elinor Blake, ex-Pussywillows and former Ren and Stimpy illustrator) sounds like if she had only been alive at the right time, she would have been duking it out with Brigitte Bardot to dangle on Serge Gainsbourg's arm. 4) Moby, _Play_ (V2). Like the Beastie Boys' trilogy, _Paul's Boutique,_ _Check Your Head_ and _Ill Communication,_ this album has many tracks that feel like meanderings. It is an album of starts and stops, entrances and exits. But like the Beasties, you can't help but want to Moby around on those meanderings. Utterly mindless, but the best dance hybrid of the year. As much fun as Moby appears to be having on the album cover. 5) Belle and Sebastian, _Tiger Milk_. Soon after the band released this album, Belle and Sebastian decided it hated the songs so much, they destroyed all remaining copies they could find. But they couldn't find them all, lucky for us B&S junkies. This album is more of the cheeky-but-pretty boy angst that I love them for. --- Top 5 - Dan Aloi 1. Wilco, _Summerteeth_ (Reprise). For all that they are - an American band in their first truly collaborative effort - and all that they are not. As in not afraid to explore new musical territory and challenge their fans' expectations, and not the great white hope of roots-rock/alt-country those fans wanted them to remain. Uncle Tupelo is dead, folks. Get over it. An occasional folk guitar or banjo part aside, Wilco's third album casts them as a pop band -- and one with a psychological dark side. A Beach Boys-inspired layered production and endless-summer vibe permeates the album, but it's only stark sunshine and metalflake paint throwing Jeff Tweedy's decidedly demented lyrics into relief. It's the feel-good bummer album of the year, with songs more than hinting at murder, domestic and substance abuse, and suicide. Keyboard/guitar player Jay Bennett channels the Beatles with backwards tape loops, Elvis Costello in "Pieholden Suite," and, with Tweedy singing "My Darling," a wasted John Lennon at the piano. Overall, _Summerteeth_ is so compelling you'll listen again and again, and not just to spot the musical references. 2. Chris Cacavas & Junkyard Love, _Dwarf Star_ (Innerstate). When he sings a love song to his guitar, he's an angelic sibling to Neil Young. He covers Matthew Sweet ("Someone to Pull the Trigger") and he likes rock'n'roll and Lyle Lovett ("I Like Lyle Lovett"). And his good taste extends to the rest of this sweet-sounding album, no pun intended. A onetime member of California country-rockers Green on Red, after that band folded Cacavas moved to Europe and released records there for some time. Now back in the States with his first domestic solo release in years, and with his sensitivity and devotion to seeking some pure emotional truth with a song, _Dwarf Star_ should raise Cacavas' cult status considerably. 3. Van Morrison, _Back on Top_ (Virgin). Self-important curmudgeon or Celtic saint? Whatever your opinion of Van Morrison, he has never failed to deliver one excellent album after another. Like a handful of other great 20th-century singers -- Frank Sinatra, Tony Bennett, Billie Holiday, Nina Simone -- he provides a benchmark of quality others are measured against. The title is an indication -- this is a return to early-'70s form as a set of spiritual and romantic ballads, carried by his soulful voice and inspired by classic gospel and R&B. It comes just in time to reassert his status, after a series of live albums, anthologies covering his work from Them to recent outtakes, and jazz recordings with Georgie Fame. Anyone put off by such subtle perceptions that the man is slipping can feel confident again that they're getting the Van they fell in love with, and in love to. 4. Fountains of Wayne, _Utopia Parkway_ (Atlantic). A concept album -- remember them? -- all about growing up in suburbia, and living for the occasional escape from boredom among the cookie-cutter cul-de-sacs. Full of a '70s AM-radio vibe but firmly set in a never-never-land of the '80s, _Utopia Parkway_ recalls, quite literally, the heady days of piling into a car to hit the mall or go to a Laser Floyd show, and pining away, contemplating doing anything -- even getting a tattoo -- to impress a girl. While the songs come mostly from Chris Collingwood and Adam Schlesinger's experiences of growing up in western Massachusetts and the greater New York/tri-state area, almost anyone can relate. And the album is a hell of a lot more fun than you might remember your own teen-age years being. 5. Grand Drive, _Road Music_ (Loose Recordings U.K.). All the way from England comes this slice of apple-pie Americana. Sweetly melodic and evocative, the songs of brothers Danny and Julian Wilson are unassuming but powerful, mournful but uplifting. Loaded with gospel piano and organ fills, acoustic and electric alt-country guitar parts and soaring harmonies, there are plenty of tasty sonic reference points for fans of The Basement Tapes, or the '90s works of Wilco, Son Volt and The Jayhawks. But rather than being merely derivative, Grand Drive excels with real songcraft, from the opening bars of "Tell It Like It Is" through the rest of _Road Music_'s 11 original songs. --- Top 5 - Christina Apeles 1) Gomez, _Liquid Skin_ (Virgin). Once again Gomez releases an extraordinary album that is textured, dense in orchestration and rich in verse. This band is sure to have a long lifes-pan on the music scene as they continue to experiment and develop their bluesy sound with such passion, you can't help getting wrapped up in the layered guitars, multiple vocalists and inventive musical arrangements. 2) Flaming Lips, _The Soft Bulletin_ (Warner). Frontman Wayne Coyne is a musical genius, enough said. 3) Beck, _Midnite Vultures_ (DGC). There is no better party favor than this in the jukebox. For an artist who continually reinvents himself with every album, Beck once again takes the best of what came before, adds his quirky lyrics packed full of pop culture references, and produces an album that is just downright funky. Culling grooves from Kraftwerk to Prince, Tom Tom Club to Funkadelic, _Midnite Vultures_ proves that Beck knows how to get down and boogie. 4) Dot Allison, _ Afterglow_ (Arista). Somewhere between Stina Dordenstam and Julee Cruise you'll find the exquisite voice of Dot Allison, former vocalist of trance outfit One Dove. Collaborating on different tracks with the innovative talents of Kevin Shields of My Bloody Valentine, Mani of Primal Scream/Stone Roses and newcomers Death in Vegas, Allison's debut album takes her listeners through an imaginative musical journey teeming with intrigue, a scenery of arousing beats, escorted by vocals that are both angelic and erotic. 5) Superchunk, _Come Pick Me Up_ (Merge). It is not because they are indie pop veterans, or the fact that they put on remarkable live shows, or even because bassist Laura Ballance was fun to interview, that _Come Pick Me Up_ is one of my favorite releases for 1999. If you had a year and a half nephew turn to face you while Superchunk was playing and smiling, starts to bouncing his head to the music, how could you not think the album is great? --- Top 5 - Joann Ball 1) Randi Driscoll, _Climb_ (East River Records). On her superior debut _Climb_, Southern California-based singer/songwriter Randi Driscoll brilliantly captures the passion, power and purpose of music. The heart and soul of _Climb_ is "What Matters," a moving tribute to hate crime victim Matthew Shepard that was recently spotlighted in Rolling Stone Magazine. On "What Matters," which is now the official song of The Matthew Shepard Foundation, Driscoll sings with conviction about the value and importance of unconditional love. And on the other eleven tracks, she similarly captures the essence of the human spirit and expresses it through her inspired melodic piano playing and amazingly rich and crystal clear vocals that is the basis of her adult acoustic pop-rock sound. Among the standout songs on this excellent collection are the simple piano and strings arrangement of record opener "Paper Hearts," the mid-tempo "Who I Am" which celebrates the joys of true love and "Drive Me Home" a seductive number that is convincing in its surrender to temptation. Without a doubt, _Climb_ has all the elements that could make it this generation's _Tapestry_ and could move just as many listeners. 2) Sally Taylor, _Tomboy Bride_ (Blue Elbow). Sally Taylor is an extremely talented singer/songwriter who rejuvenates and updates acoustic guitar folk-rock. On her stellar debut _Tomboy Bride_, the Boulder, Colorado based Taylor sings of the determination needed to follow dreams on "Alone," laments love lost on "The Complaint," and celebrates self-confidence and independence on the bouncy "Happy Now." And Taylor suggests with the beautiful "Sign of Rain," a song that brings to life the sounds and images of Martha's Vineyard at Christmastime, that she is definitely a rising star in her own right. 3) Skunk Anansie, _Post Orgasmic Chill_ (Virgin). Why Skunk Anansie, one of this decade's best British musical offerings, still flies below the radar in the U.S. is one of popular music's great mysteries. Not only does the band kick out an extremely potent blend of punk-inspired rock, but extraordinary lead singer Skin infuses her amazing vocal range with a level of intensity that is simply unmatched by her contemporaries. Once again on _Post Orgasmic Chill_, Skunk Anansie delivers the goods with characteristic style and present it in a superbly polished package. The complex signature changes of the aggro-charged lead track "Charlie Big Potato," as well as the aching, emotion-filled "Tracy's Flaw" and the simply perfect, radio-friendly melodic rock of "Lately" and "Secretly" are just four of the twelve reasons why _Post Orgasmic Chill_ is an experience that shouldn't be missed. 4) Jact, _Jact_ (Trauma Records). Whether you call it post-Britpop or Britpop the next generation, Jact has a patent on the musical ingredients that make the formula work. Under a moniker that is slang for amped, excited and ready to go, ex-Pusherman Andy Frank injects his gritty slice-of-life lyrics with smoky pub-worn vocals over Ted Hutt's sizzling guitar licks. With a solid rhythm section in bassist Jeff Peters and drummer E.J. Eiriksson, Jact captures the glitter and sex of seventies glam on "Magic #3" while displaying fine acoustic sensibilities on the mortality tale "Losing More Than Heaven." And midway through the 13-track release, Jact deliver a winning triple power play with the shimmering guitar numbers "Future's Gone," "Starred in This Film Before" and "Barricades." On their self-titled debut _Jact_, the Los Angeles-based quartet of Brits Frank, Hutt and Peters and Canadian Eiriksson prove that quality Britpop for the new millennium can indeed be produced Stateside. The added bonus here is that it's even more filling and with less bickering than the brand imported from Manchester. 5) Pretenders, _Viva El Amor_ (Warner Bros.). On _Viva El Amor_, the Pretenders proudly showcase the essence of pop-rock that will land the band in the Rock and Roll Hall of Fame in a few years. Twenty years into it, Chrissie Hynde is definitely a legend in her own time and she still has that special tough and tender vocal touch. And the band is in top form with expert drummer Martin Chambers, talented guitarist Adam Seymour and rock solid bassist Andy Hobson complementing Hynde's underrated rhythm guitar work which rounds out the Pretenders' signature melodic sound. Driven by songs like "Human" (which should have been the lead American single), the Swinging London buzz of "Popstar," the rabble-rousing "Legalise Me," and the touchingly sincere "From the Heart Down," the Pretender's seventh studio effort is a testament to the fact that they really don't make 'em like they used to! --- Top 5 - Jason Cahill 1) Rage Against The Machine, _The Battle Of Los Angeles_ (Epic). Every now and then, a band releases an album that borders on perfection and although it doesn't quite get there, it comes pretty damn close. _The Battle Of Los Angeles_ is such an album. It rocks with a fury from start to finish and is absolutely relentless in both its pace and it's message. In fact, in an album full of highlights and masterful moments, the one thing which manages to stand out from the rest is the exceptional guitar work of Tom Morello. On _The Battle Of Los Angeles_ Morello manages to distinguish himself as one of modern rock's premiere guitarists, deserving of being placed in the company of the elite, for he does so much more than just set the album's pace. He uses his guitar to create an entire universe of sounds, pulses and rhythms and when all is said and done, it's hard not to realize that Morello's instrument is the heart of the record, the foundation upon which everything rests. The word which best describes _The Battle Of Los Angeles_ is relentless. In fact, there isn't a moment on the album where the energy subsides long enough for you to catch your breath, wipe your brow, and pick your jaw up off the floor. It's that good. 2) Nine Inch Nails, _The Fragile_ (Interscope). The release of the new Nine Inch Nails album was, perhaps, the most eagerly anticipated release in the past five years. After all, it had been that long since the release of _The Downward Spiral_, one of the definitive albums of the 90's and an album that made Nine Inch Nails and its creator Trent Reznor modern rock deities. Ten years after that groundbreaking release, the band is as relevant as ever, having created another masterpiece with _The Fragile_. A two disc album containing more than twenty songs, _The Fragile_ is a masterpiece of emotional complexities and raw energy. Let's just hope it's not another five years before we hear from Reznor again. 3) Sleater-Kinney, _The Hot Rock_ (Kill Rock Stars). No band has matured over the years quite as quickly as Sleater-Kinney, while still maintaining their so-called indie-credibility. _The Hot Rock_, easily the band's finest album to date, is a ferocious offering of blistering rock, coupled with an unabashed lyrical intensity. From the absolute urgency of "Banned From The End Of The World" to the heartbreaking beauty of "The Size Of Our Love", the album just might be a glimpse into the future of modern rock. 4) Beck, _Midnite Vultures_ (DGC). Not one to shy away from change, _Midnite Vultures_ is sharply different from anything in Beck's catalog. Whereas 1996's _Odelay_ was full of inventive, yet obscure samples and digital complexities, his latest effort is overflowing in 60's style funk and soul with a wide array of contrasting styles and tempos. _Midnite Vultures_ paints Beck as the love impresario of a bizarre universe only Beck could create. There's definitely a sexual undercurrent running through each song, but not once does Beck take himself too seriously. But, with lyrics like "I'll do your laundry / Massage your soul / I'll turn you over / To the highway patrol", how could he? The album's highlight, and perhaps Beck's finest song to date, is "Debra", a song Beck frequently plays in concert, yet never put on an album, until now. The song features some of Beck's most amusing lyrics to date and showcases him as a more accomplished vocalist than any of us thought. _Midnite Vultures_ is Beck's finest release to date - an original and often brilliant mixture of inventive and finely crafted songs. 5) Fiona Apple, _When The Pawn..._ (Epic). Granted, the actual album title, ninety words in length, is about as pretentious as you can get. But ignore that and focus instead on the album's content, which in and of itself is surprising in its maturity and range. The album, filled with Beatles influences, piano laden hooks and powerful vocals, is Apple's best work to date and far surpasses her debut effort by leaps and bounds. --- Top 5 - Matt Carlin 1) Pavement, _Terror Twilight_ (Matador). Take away the super distorto guitars and cut and paste aesthetic and you still got great tunes. And this is their finest batch ever, says I. 2) Fantomas, _Fantomas_ (Ipecac). Mike Patton's death metal fantasy band with the former drummer from Slayer!!! No lyrics, one minute songs, hot stuff. 3) Flaming Lips, _The Soft Bulletin_ (Warner). Fine pop music in the Pet Soundsian tradition, with some of the best drum sounds around. 4) Handsome Boy Modeling School _So How's Your Girl_ (Tommy Boy). A hip-hop album you can listen to from start to finish without getting bored. Truly a revelation. 5) Nine Inch Nails, _The Fragile_ (Interscope). Call me crazy, but that Trent Reznor has gotten funky. Still scary. But funky too. Bonus! --- Top 5 - John Davidson 1) Wilco, _Summer Teeth_ (Warner). With his first band Uncle Tupelo, Jeff Tweedy was kind of the kid brother, the one whose songs always seemed to look up to the mature introspection of cohort Jay Farrar. My how time changes. As Son Volt and Farrar falter, Wilco with Tweedy at the helm have become one of the best bands in America. A rootsy, edgier version of _Pet Sounds_, _Summer Teeth_ is a spellbinding trip through thirty-something mid-America. 2) Guided By Voices, _Do the Collapse_ (TVT). For years they were a working man's band that indie snobs tried to keep a secret, but with a jump to the sort-of major leagues in TVT, the rest of us could finally appreciate the GBV chant. The bad habits that once sprung from minimal finances and unrestrained songwriting (tape hiss, fragmentary song ideas, beer-induced craziness) are peeled back on _Do the Collapse_, letting Robert Pollard's love for the Who and Big Star come shining through. 3) Gomez, _Liquid Skin_ (Virgin). A condensed, modern, British version of Widespread Panic. Sort of. Laid back psychedelic front porch folk jams. A couple of killer ballads. Proof positive that not everything coming from Britain is Oasis, Blur, or techno. In fact, this might be one band worth the NME hype. 4) Jason Falkner, _Can You Still Feel?_ (Elektra). He's a pop artist with skills on the level of Jon Brion, yet Falkner can't seem to get a good break.or the press. _Can You Still Feel?_ was as good a Big Star record as there's been in years, though not as starkly lonely as Chilton's fare tends to be. A first-rate songwriter, arranger, and musician, here's hoping that the millenium will offer Falkner a better label home next time out. 5) Sloan, _Between the Bridges_ (Murderrecords). Yes, they're that good. Five solid records have made them famous in Canada yet they appear to be stuck in the same state as Tragically Hip down here in the United States. No matter, _Between the Bridges_ was another fine tribute to the joys of Cheap Trick, Bad Finger, and My Bloody Valentine. One of those ambitious indie records that you can still hum along with. --- Top 5 - Andrew Duncan 1) Mr. Bungle, _California_ (Warner). Mike Patton is a unique performer with an amazing vision. He has gone from the vocalist of hard rock/metal band Faith No More to chewing on a carrot and recording it for John Zorn's label to forming a band called The Fantomas and transforming an album and live show into an orchestrated comic book. However, Mr. Bungle could be the sanest motley crue out of the bundle, and _California_ is the band's most talented and diverse release to date. Sounding like a cross between The Beach Boys, Christopher Cross, the Tom and Jerry cartoon and little niblets of every other musical style masterfully thrown together, _California_ is a perfect listen all the way through. 2) Old Time Relijun, _Uterus and Fire_ (K). Old Time Relijun defines rock and roll in its purist form. With _Uterus and Fire_, the Olympia band turns rock and roll into a catalyst of sexual frenzy. Their sound is sweaty, loud and raunchy. With song titles like "Dagger" and "Archaeopteryx Claw," you can not help but to move your hips from side to side like Linda Blair from "The Excorcist." 3) Blur, _13_ (Virgin). With the simple outburst of "Song 2" from Blur's previous self-titled release, the band won over the fans of pop culture worldwide. With _13_, it's back to business for the British pop group and a fantastic collection of catchy tunes in the weirdest sort of way. The gospel intro of "Tender" follows through with the quirky "Bugman." "Coffee & Tea" is neo-folk pop, while "B.L.U.R.E.M.I." makes off with a quick dash of punk. 13 takes the experience of their previous self-title release, and reverts back to the days of _Parklife_. 4) Boom Boom Satellites, _Out Loud_ (Epic). Boom Boom Satellites has taken electronica to its extreme while giving nods to jazz influences like Miles Davis or Art Blakely. Each song contains a full palette of both electronic and human drumming effects, combined with various sampling and proto-metal guitars. "Push/Eject" may be the hitmaker from the bunch, but make sure the seat belt is fastened tight because each song is equally as good. 5) Nine Inch Nails, _The Fragile_ (Nothing). For about two years, this album was eagerly anticipated to hit the mass market, and finally the two-CDs have been released just short of the Year 2000. _The Fragile_ contains a more intelligent and less-angry Trent Reznor as he touches on early industrial and tints of minimalism. Don't worry, there is plenty of Reznor angst to go around, and CD Two really shines as some of NIN's greatest work. --- Top 5 - Bob Gajarsky 1) Shack, _H.M.S. Fable_ (London). Burt Bacharach meets the La's; Michael Head may be fighting his drug addictions, but this album has (literally) been years in the making. Well worth the wait. 2) Robbie Williams, _The Ego Has Landed_ (Capitol). While _Ego_ is a compilation of two internationally released discs, it serves as the first American exposure for Mr. Williams. And though successful solo acts from boy bands are harder to find than needles in a haystack, not only has Williams been successful, but has found something money can't buy - credibility. 3) Freestylers, _We Rock Hard_ (Mammoth). Somewhere between the 80s B-boy beats and the frenetic beats captured so wonderfully by Fatboy Slim - utterly irresistible. 4) Smash Mouth, _Astro Lounge_ (Interscope). Fully breaking the sophomore jinx, Smash Mouth prove that they can put together an entire album - and although their songs are starting to become a bit formulaic, at least _Astro Lounge_ has hooks. The same can't be said of their debut. 5) Pet Shop Boys, _Nightlife_ (Sire). The duo known as the Pet Shop Boys seemingly have been around forever, and bouncing from label to label - with almost no U.S. sales - but _Nightlife_ is their strongest effort since _Please_. --- Top 5 - Chris Hill 1) Wheat,- _Hope and Adams_ (Sugar Free). Their debut, _Medeiros_, concealed pop romanticism behind cloudy skies of hazy guitar - splendid in its restraint and the tenderness under the heavy woolen clothing. Enter superproducer du jour Dave Fridmann (Flaming Lips, Mogwai, Mercury Rev) for Wheat's second. Near perfect, and the only album this year where each song makes me forget the previous in the rush of elation. I'm particularly fond of the Simon and Garfunkel reference in "Body Talk (Part Two)", but picking a favorite is a harder choice than Sophie's. 2) Lullaby for the Working Class, _Song_ (Saddle Creek / Bar None). With a name inspired by a Tolstoy essay and mature songwriting that belies their youth, Lullaby for the Working Class appeals to the Faulkner fan in me. Their lyrically-rich and musically-innovative sound resonates and amplifies with each listen. The Nebraska group combines guitar, violins, cellos, banjo, glockenspiel, drums, and an upright bass, for a blissful romp through Elysian fields. A band I hope lasts for decades. 3) Mogwai, _Come on Die Young_ and _EP + 2_ (Chemikal Underground). '99 saw two releases from the mighty Scotsmen. "Burn Girl Prom Queen" off the EP is phenomenal: who'd have thought a band that mentions (and has covered) Black Sabbath as an influence would produce an eight minute exhalation of brass? Mogwai is the calm before the storm, then the storm itself. Music by which to levitate. _CODY_, notably, sees Dave Fridmann (of the above Wheat cd) at the helm - who will the Good Witch Glinda touch next? 4) Godspeed You Black Emperor!, _Slow Riot for New Zero Kanada_ (Kranky). Their previous album should have been on '98's best list, had I gotten it in time. This is the perfect disc to play, walk out of the room, then race back in to check what song (or more accurately, what point in the 17+ minute song) is playing. A soundtrack without a movie, in its moments of pure string/guitar/drum incandescence, I see ballerinas, iced-over lakes, fast-riding cavalries, and Jimmy Cagney gangster films. Discover your own visions. 5) Sparklehorse, _Good Morning Spider_ (Capitol). Utter despair and impish glee meets studio wizardry and inventiveness. _GMS_ was a '98 U.K. release and inexplicably delayed until '99 in Mark Linkous' homeland, so it makes my list. Linkous' near- fatal accident brought a resonance to this album that turned out to be happenstance - just two of the songs were written post- paralysis (and recovery). "Saint Mary" still tugs at the heart, eleven months after first listen. Many singles from both sides of the happy/sad fence. --- Top 5 - Bill Holmes 1) Gigolo Aunts, _Minor Chords And Major Themes_ (E Pluribus Unum). With its strong pop sensibilities and smart lyrics, _Minor Chords And Major Themes_ is just as effective blasting from the speakers as it is accompanied by a rainy sunset and a broken heart. Stunningly cohesive, yet easily broken down to one hit single after another. 2) Bent Scepters, _Hellevator Music_ (Ginger). The perfect name for these guys would be "The Garage Doors"...amazingly atmospheric melting pot of psychedelic, fuzz, garage and surf music played with intensity and passion. Any band that covers The Zombies on one record and Frank Zappa on the next is okay in my book! 3) Cherry Twister, _At Home With Cherry Twister_ (Not Lame). Alternately soft and loud, filled with changing tempos, great vocals and ripping guitar solos...usually a strong melody outdone by the chorus, which is in turn leapfrogged by the hook and the bridge. A masterfully versatile pop record. 4) Wilco, _Summerteeth_ (Reprise). Tweedy stripped down the band and reconstructed its direction, a move that alienated some diehard Uncle Tupelo purists but should thrill anyone with an open mind and a respect for the art of songwriting. 5) Walter Clevenger and the Dairy Kings, _Love Songs To Myself_ (Permanent Press). With a witty and sometimes self-depreciating tone, Walter and the boys meld twang, pop and barroom rock into an energetic and accessible sound that deserves to be pumping out of radios everywhere. --- Top 5 - Scott Hudson 1. Chris Cornell, _Euphoria Morning_ (A&M). Chris Cornell has proven that whatever musical situation he is thrust into, he always shines. With his debut solo effort _Euphoria Morning_, Cornell has reached Supernova proportions. A departure from the Soundgarden grunge, _Euphoria Morning_ offers insight into Cornell's more introspective side combining 60's psychedelic melodies with intelligent, often emotive lyrics. _Euphoria Morning_ is highlighted of course, by Cornell's astonishing vocal range. Not only a great debut record, but a great record, period. 2. Jason Falkner, _Can You Still Feel?_ (Elektra). There is no one in music that writes such fluidly structured, hook-laden pop tunes as Jason Falkner. Can You Still Feel has a late 60's/early 70's pop vibe that is amazingly modern, vibrant and uplifting. _Can You Still Feel?_ should be part of everyone's collection; especially those who have a ravenous appetite for sensible, carefully-crafted pop. 3. Taxiride, _Imaginate_ (Sire). Taxiride may be the most underrated band of 1999. The Melbourne based quartet scored big with "Get Set" and then dropped off the charts. If the truth be told, _Imaginate_ is a fantastic record. The record is full of strong pop/rock tunes layered in thick, seamless harmonies that are reminicent of Crosby, Stills and Nash, Beatles and Everly Brothers. 4. Stone Temple Pilots, _No. 4_ (Atlantic). After a three year hiatus, STP stormed back with their finest work to date. No. 4 is a hybrid of the white-knuckled grunge tones found on Core and the psychedelic/pop sounds that grace _Purple_ and _Tiny Music_... Songs like "Glide", "Church On Tuesday", "Sour Girl" and "Sex and Violence" evidence a more mature approach to their music, without abandoning out their grunge roots. One of only a handful of true rock albums released this year and possibly the only one worth adding to your collection. 5. Zen Mafia, _California_ (RCA). Victor Murgatroyd and Chris Johnson's first outing is a direct hit. _California_ combines elements of hip-hop/dance and rock grooves behind Murgatroyd's Lou Reed vocal narration. The album is laced with hooky choruses and great harmonies. If ever there were a sleeper record in 1999, _California_ would be it. --- Top 5 - Steve Kandell 1) Beulah, _When Your Heartstrings Break_ (Sugar Free). Delirious power pop from San Francisco punctuated with big fat horns - a lot like fellow Elephant 6 band Apples In Stereo, but with less _Pet Sounds_ baggage. "Emma Blowgun's Last Stand" and "If We Can Land a Man On the Moon, Surely I Can Win Your Heart" are even better than their titles. 2. Tom Waits, _Mule Variations_ (Epitaph). The long-awaited album from the last American icon/iconoclast actually manages to live up to its lofty anticipation. Amazingly, this works both as a sampler for the uninitiated and a satisfying offering for those who have been with him all along. 3. Superchunk, _Come Pick Me Up_ (Merge). Superchunk is somehow getting better after ten years of writing the catchiest songs on earth. This time around, horns and strings augment the old formula, without detracting from what made the formula so successful to begin with. And if you're not down with the brass, "Good Dreams" should keep you sufficiently rocked. 4. Built to Spill, _Keep It Like a Secret_ (Warner). More streamlined than '97's sprawling _Perfect From Now On,_ but still large and epic enough to give prog rock indie cred. With his soaring guitars and reedy vocals, Doug Martsch is the missing link between Neil Young and J. Mascis. 5. The Flaming Lips, _The Soft Bulletin_ (Warner). Equal parts maudlin and effervescent, this collection of ditties about bugs, bombs, and open wounds sounds like a companion piece to Mercury Rev's _Deserter Songs,_ both of which were produced by the latter's Dave Fridmann. Full of bold, symphonic arrangements and lyrical quirks, _The Soft Bulletin_ is kiddie music for grown-ups. --- Top 5 - Wes Long 1) XTC, _Apple Venus_ (TVT). The Swindon duo, Andy Partridge and Colin Moulding, create a sumptuous and dizzyingly splendid amalgam of string-arranged and acoustic pop penned during a five-year strike against their then recording company Virgin. Reminiscent of the _Skylarking_ album this one is easily as good as anything XTC has ever done. This is pop? 2) Ben Folds Five, _The Unauthorized Biography Of Reinhold Messner_ (Caroline). Why do these guys constantly make me feel like I'm listening to a school musical written and performed by child prodigies? The addition of extra backing musicians, especially the string section, enables a once fun-time happy go lucky band to grow up and achieve near perfection. "Regrets" is easily one of the best songs of the year. This disc constantly surprises me the way Radiohead's _OK Computer_ did. 3) Jason Falkner, _Can You Still Feel?_ (Elektra). Jason's second effort, following the criminally overlooked _Author Unknown_, proves to be anything but sophomoric. Falkner plays all the instruments and controls the listener like a master puppeteer, leading you all too safely in one direction while pulling the rug from beneath you with far too clever mood and chord changes. This son of a bitch is good. 4) Fountains of Wayne, _Utopia Parkway_ (Atlantic). Should be titled "The Complete Idiots Guide To The Perfect Three Minute Pop Song." Well conceived and contagious as hell hooks coupled with lyrics that you'll catch yourself quoting to your friends make this disc a pop masterpiece that you'll not soon tire of spinning. 5) The Negro Problem, _Joys & Concerns_ (Aerial Flipout). This Southern California band defies categorization, grooving along on a funky-assed baritone fueled course to a flowery world you'll blissfully lose yourself in. Get past the Prince-goofy spelling of the achingly lovely "ComikBuchland" and soulful "Ahmnot Madatcha" and you'll find two of the better songs of 1999. Endlessly creative tunes with often-humorous lyrics delivered by an ultra-compelling vocalist backed by horns, keys, harmonies and the occasional banjo. The most promising band I know of. --- Top 5 - Wilson Neate 1) Gorky's Zygotic Mynci, _Spanish Dance Troupe_ (Beggars Banquet). Dropped by Mercury, Gorky's bounced back with this gem. By 90s standards it's an album of late-60s/early-70s duration, a mere 37 minutes. But that makes sense as it's a brilliant evocation of those periods: the best of early Floyd, The Soft Machine, Nick Drake, Fairport Convention, and some Bowie/Roxy-esque glam. It's not a simple imitation but, rather, a uniquely creative pastiche. This is largely due to Euros Childs and his precociously self-assured songwriting talent. Gorky's combine crafted musicianship, off-beat weirdness and sincerity without the pretension and pointlessness of art-rock noodlers. To write a song about poodles during which you bark and which people will want to hear more than once is an achievement in itself. 2) Everything But The Girl, _Temperamental_ (Atlantic). In 1996 Everything But The Girl completely refashioned themselves, turning out the stunning _Walking Wounded_. That album seemed impossible to top. But they've managed just that with _Temperamental_. Like _Walking Wounded_, it's not exactly a barrel of laughs; in fact, it's probably darker but here they've achieved a synthesis of vocal melody and music that moves their sound to another level entirely. Against the grain of fashionable-yet-emotionally-empty techno, EBTG take largely anonymous formulae and inscribe them with feeling and mood. Thanks to Thorn's powerful and evocative vocals that hang perfectly over Watt's subtle, compelling house dabblings, they've created the perfect pop record. Music you can dance to and listen to. 3) Atari Teenage Riot, _60 Second Wipe Out_ (Grand Royal). If you're lucky enough to have hearing-impaired neighbors, no neighbors, or if you reject the fascist hegemony of neighbors, as Alec Empire would encourage, then you'll have listened to techno-punk's finest hour at the volume it demands. If an auto pile-up were recorded and remixed, it would sound like ATR: a relentless aural assault, a juggernaut-sized throbber of a headache at 140 bpm. Alec pushes us through this physically challenging album like an anarchist drill sergeant on a punk rock assault-course. The energy is enhanced by the lyrical anger - making Crass sound like The Teletubbies (yes, ATR are still railing against all ideological and repressive state apparatuses). Whether you can take ATR seriously is irrelevant, as it was with punk - it's the attitude and pose, stupid! A special Christmas gift for grandmother perhaps? 4) Marc Almond, _Open All Night_ (Instinct). Still sleazy after all these years, Marc Almond is back with another winner and quite possibly his best work for some time. He's still out there trawling the boudoirs, bars and street corners of his uniquely conceived city of night, scouring the usual territories of torment, melancholy, lust, desperation, self-destruction, and delicious excess over which his oeuvre has lingered since the outset. And musically, _Open All Night_ displays the variety that has always characterized Almond's work: trip hop, techno, Latin beats, white soul, jazz, the camp torch song, and the dark ballad make up the rich texture of this album. He continues to be a rare talent with a distinct musical and lyrical vision. If only more people would take notice. 5) Lo-Fidelity Allstars: _How to Operate with a Blown Mind_ (Skint/Columbia). The Lo-Fidelity Allstars may be the Chemical Brothers with vocals (and rock instruments) - and definitely without Ecstasy. Their sound perfectly encapsulates a certain side of London in the late '90s, but it's not the Cool Britannia where Noel Gallagher has cocktails chez Tony Blair. It's somewhere darker, out on the streets, where the scene is at once more bitter and more alive with tension, simmering with discontent. Sneering vocals and dystopic lyrics compete with funky keyboards, taking the shallow urban glamour of a _Lock, Stock and Two Smoking Barrels_ to the dance floor without losing any of the menace. --- Top 5 - Linda Scott 1) Sting, _Brand New Day_ (A&M). Sting leads the pack with his most stylistically integrated album thus far. Tracks with bossa novas, Bach revisions, country flairs, soft rock begin with the smashing "Brand New Day" and building to the big finale, "End of the Game". All that musical talent in one man. Who'd have guessed The Police would spawn this man for all musical seasons? 2) Tom Petty and the Heartbreakers, _Echo_ (Warner). Tom Petty has been in the musical business for 23 years. Not a man to chase trends, Petty has released another in his series of perfectly consistent, mellow albums. _Echo_ has a tougher bite than the others with lyrics that are cutting and defiant. So many singles can come off this one, and they'll be a standout at any concert where Petty can barely fit his hits into a two hour program. 3) Nine Inch Nails, _The Fragile_ (Interscope). The long awaited Trent Reznor album needs two CDs and 102 minutes to complete. _Fragile_ is deliberately misnamed - it snarls and bites all the way through. Disc one has the expected NIN overload with big guitar sounds and pounding drum machines. Disc two has more emphasis on the beat. Listen to _The Fragile_ in one sitting. Despite their vocal fans, Marilyn Manson and the new Axl Rose can't touch the Reznor genius. 4) Counting Crows, _This Desert Life_ (Geffen). Adam Duritz, frontman, singer and lyricist for Counting Crows, has reached back to the band's debut album, _August and Everything After_ and found some joy missing in the sophomore effort. This third album is everything you could wish for from this fine pop band. Duritz' legendary slowness in penning lyrics succeeds in giving us the variety of "Hanginaround", "Mrs. Potter's Lullaby" and "All My Friends". A dramatic singer backed by an outstanding band - Counting Crows' _This Desert Life_ is thought provoking and fun. 5) Crosby, Stills, Nash & Young, _Looking Forward_ (Warner). This band has been playing together off and on for thirty years and has released just four albums. Each is a jewel, and _Looking Forward_ is a magnificent acoustic-based album with the beautiful harmonies we've come to expect from CSN&Y. _Deja Vu_ was their first and best, but _Looking Forward_ is a wonderful bookend. Neil Young is excellent on guitar and vocals, and all four men have something important to contribute. CSN&Y: long may you run. --- Top 5 - Don Share 1) XTC, _Homespun_ (TVT). Say what you want about Andy Partridge's demos being nearly identical to the final products, and the relative weakness of Colin Moulding's demos (I call it shyness). Nobody else except for Pete Townshend combines grandiosity of vision with home studio sweetness so darn lovably. _Apple Venus_ (a masterpiece) would have been my album of the year, but I realized that I play these demos with far more pleasure. 2) Super Furry Animals, _Guerrilla_ (Flydaddy). Lots of people like the Flaming Lips' _Soft Bulletin_ - well, here's the way Welsh craziness sounds. Let's call it the Hard Bulletin. This band deserves more credit for pure whack than the Lips and the Rev combined. 3) Robyn Hitchcock, _Jewels for Sophia_ (Warner). Not just another Robyn Hitchcock album, I'm relieved and pleased to say. It rocks. It makes the eyes glisten in sadness, and with goofy pleasure, at its jokes (and what could be more timely than making fun of Seattle?). Remarkably, its quirky finger is right on the pulse - odd thing for a Brit who used to copy Syd Barrett's English eccentricities -of America. 4) Gorky's Zygotic Mynci, _Spanish Dance Troupe_ (Beggars Banquet). Even odder than Super Furry Animals, which makes them more peculiar than Lips plus Rev, as above. Be advised, however, that this is their most soothing and rustic album: if Belle and Sebastian and Lilac Time went tripping and started talking in tougues, here's what you'd get. 5) Jason Falkner, _Can You Still Feel?_ (Elektra). Don't even bother to call this power pop: it is not Matthew Sweet. Falkner drives right off the genre map with this album, which rubbed some of his own far-from-numerous fans the wrong way and saw him dropped by the record label that figured out how to make money from The Doors and possibly even Love: that's how bent this music is, and why it deserves our support. It shrieks, it beats its breast, it has melodic moments it flees from like a cat from eyedrops, and its heart is unerringly in the right place. If Alex Chilton could be bothered, he'd be making albums like this one, which picks up where _Radio City_ left off, without imitating it, or anybody. --- Top 5 - Scott Slonaker 1. Matthew Sweet, _In Reverse_ (Volcano). 1999 represented a major rebound from 1997 and 1998. _In Reverse_ is Matthew Sweet's best album ever (yes, fans, that includes _Girlfriend_) - but not because of the much-ballyhooed Spectorian production techniques. Instead, Matty simply did what's too often lost in the shuffle: he wrote a great batch of tunes. Sure, "If Time Permits" and "Untitled" benefit enormously from the heavy reverb and massed backing, but they really work because they're gorgeous and memorable songs. The pastiche of '60s and '70s keeps things fresh; Bread would have killed for a soft-rocker like "Trade Places" or "Hide", and "Faith in You", fueled by new guitarist Pete Phillips, kicks like a mule. The album-ender, "Thunderstorm", is a ten-minute megamix of four classic Sweet ditties that will leave you breathless. A similar retro aesthetic and McCartneyesque gift for melody also fueled Owsley's excellent self-titled debut. 2. Beck, _Midnite Vultures_ (DGC). The question must have dogged Beck as it does so many other legendary artists- what do you do when you've made your masterpiece? Thankfully for everyone, Beck decided against remaking _Odelay_ (which he might have been able to pull off) and simply laid down the boogie. "Nicotine and Gravy" could be an outtake from _Purple Rain_, and "Hollywood Freaks" is a rap parody that represents the closest thing to a "Loser" sequel he has. The sheer sonic wizardry of _Midnite Vultures_ is nothing short of jaw-dropping. It may be some serious silicone in places (the falsetto soul of "Debra"), but the soundscape and songwriting keep you from caring. Gay Dad's similarly no-holds-barred approach to Britpop allowed _Leisure Noise_ to deliver some refreshing pop kicks. 3. Wilco, _Summer Teeth_ (Reprise). After their stunning collaboration with Billy Bragg, _Mermaid Avenue_, Wilco decided against returning to the country-rock genre exercises that always pose a threat and went for the big top with _Summer Teeth_, a wonderfully realized shot of Beach Boys-Bee Gees-influenced piano-drenched pop. But, once again, great songs (notice a theme?) push it over the top. The organ-piano interplay in "Can't Stand It" is particularly memorable, and it sounds like the Wilsons themselves paid a studio visit to drench "Nothingsevergonnastandinmyway(again)" in oo-wee-oo backing harmonies. Yet, frontman Jeff Tweedy streaks songs such as "A Shot in the Arm" and "We're Just Friends" with road-weary restlessness and ennui, adding both vinegar and staying power to the heady mix. _Fight Songs_, from Dallas' Old 97's, is another example of how great tunes ("Nineteen", "Murder or a Heart Attack") make all the difference. 4. Moby, _Play_ (V2). _Play_, if you strip out the movie-score-reject padding that composes most of its final third, is the first-ever electronic blues record. Moby's never sounded more inspired than on cuts like "Natural Blues" and "Why Does My Heart Feel So Bad?"; he simply lays back, keeps the sound simple, and lets blues recordings from the '20s and '30s do the work. As long as he doesn't try to vocalize himself ("Machete", "The Sky is Broken"), _Play_ is powerful, intoxicating stuff. Oh, yeah, and you get the old-school jam "Bodyrock" tossed in for free. Air's _Moon Safari_ is another example of techno's recipe given interesting flavor through the judicious use of "Sugar Sugar" and loungy drizzle. 5. Macy Gray, _On How Life Is_ (Clean Slate-Epic). Lauryn Hill may still be grabbing the headlines, but singer-songwriter Macy Gray made an underrated gem of her own. Macy's rough-and-ready vocals sandpaper "Do Something" and "Why Didn't You Call Me" to a shine, and the single "I Try" is a drop-dead gorgeous hymn to wistful love. The secret to her success, besides songs (what else?), is the organic, sweaty clatter of her many-pieced backing band. And any album not by Ween with a song titled "Sex-O-Matic Venus Freak" gets extra points. British space-roots outfit Gomez ride the nod-'n-sweat juke-joint stomp to success on _Liquid Skin_, even if it's mostly the same as their debut. When it ain't broke, don't fix it. --- Top 5 - Kerwin So 1) Jimmy Eat World, _Clarity_ (Capitol). Fall in love with rock all over again. Actually, I just wanted to write that. But in all seriousness, the third full-length from this Tempe, AZ, quartet sparkles with the innocence and romance sadly lost in today's market of vapid aggression and commercially depressoid offal that passes as art. Thirteen strong songs pushed into the echelons of brilliance by clear, heartfelt vocals and unbelievable production by the ever-talented Mark Trombino, _Clarity_ is great first-kiss material. Heck, there's even a Christmas song (of sorts) on here. 2) Papa M, _Live From a Shark Cage_ (Drag City). Meditative, alluring guitar soundscapes crafted by indie rock's guiding light, David Pajo. Modern instrumental music that's neither pretentious nor New Age-y, but packs plenty of depth. Wonderful. 3) Various Artists, _Reach the Rock_ Soundtrack (Hefty). John McEntire (of Tortoise fame, and a talented producer and engineer in his own right) was commissioned by John Hughes (the man behind the '80s Brat Pack movies) to score the soundtrack to his latest film. McEntire turns in seven original, evocative pieces, and ropes in some help from other post-rock luminaries (including Tortoise and the Sea and Cake) to round out one of the most consistent releases this year. The sparse but richly melodic closing track by Dianogah will leave you breathless, and is worth the price of admission alone. 4) Godspeed You Black Emperor!, _Slow Riot for New Zero Kanada_ (Kranky). If you could expand tenfold on the alienation and helplessness conveyed by Radiohead's _OK Computer_, you'd get something akin to Montreal, Canada's Godspeed You Black Emperor. This two-song, half hour long EP continues the band's exploration of the isolation and death of the human spirit in the context of urban decay and hyper-modern society-- all without vocals. The only voice comes by way of interview samples with an angry man on the street, explaining why he hates and distrusts the government. The songs, utilizing weeping strings and other symphonic elements along with standard rock instrumentation, build and collapse over the span of 10 to 15 intense minutes, at times reaching overwhelming rushes of ineffable sadness, despair, and majesty, all beautifully mangled together. Godspeed's music is not for the timid: if there's something lurking deep inside of you, this is the band to drag it out, kicking and screaming. 5) Juno, _This is the Way It Goes and Goes_ (DeSoto). It's rare when a bonafide rock band releases a debut this deep and affecting, flowing with so many musical ideas that somehow work in concert. I'm still trying to plow through this album, as a matter of fact, but off-hand I'd say they remind me of bands as diverse as Nirvana, aMiniature, Jawbreaker, and Mogwai. Juno's managed to pull elements like shoegazer and emo rock together to create a dark, powerful sound that's uniquely their own. As lead singer Arlie Carstens put it in a great interview with the zine Lost At Sea, "We wanted the record to sound massive and enveloping. Pull the listener in and immerse them in a mood. Give them a lot to decipher and play with." They've certainly accomplished that, and we should give thanks. --- Top 5 - Lang Whitaker 1) Rob Swift, _The Ablist_ (Asphodel). Rob Swift's turntables might wobble but they sho 'nuff don't fall down. Finally distinguishing himself from his X-men collborators, Swift shows who's the fastest of them all, laying down thick beats with tight hooks. 2) Beck, _Midnite Vultures_ (DGC). White men can't dunk, but Beck proves they can funk like the best of them. This straight-faced homage to '70s chocolate soul needs only the Love Unlimited Orchestra to push it into classic territory. 3. Goodie Mob, _World Party_ (LaFace) After two records of serious soul-searching, the Mob finally gets their party on in grand fashion, with their most commercially viable record yet. Plus, Cee-Lo gives long-overdue props to the Chicken Melt Plate at Waffle House. 4. The Roots, _Things Fall Apart_ (MCA) Don't stick the spear in the side just yet - hip-hop isn't dead, as long as The Roots are still around. And their track "You Got Me," featuring Erykah Badu, might be the most poignant hip-hop song ever. 5. Ibraham Ferrer, _Buena Vista Social Club Presents Ibraham Ferrer_ (Nonesuch). Even though I didn't understand a word on this record, Ferrer's voice is imbued with a sense of bittersweet pathos that goes far beyond lexicon. --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. 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