A more extreme example, since Elton John naturally leads me to thoughts of Billy Joel, is Billy’s abrupt departure from pop music while he was still near the height of his abilities. After massive sales for his
Rod was a monster success in the Seventies. Once the dance era died out though, he was stuck trying to figure out what to do. He had branched out so far from where he had started that he stranded himself. Now I will admit I am a big fan of his 1970’s stuff and I was curious about what he would do. I was willing to give him a chance because I liked where he was now more than where he came from although I’m sure people who loved his Maggie May/Gasoline Alley period hated his disco stuff. Rod succeeded far better than I would have expected, to everyone’s happiness except my own. He first became a workman-like rocker, with some moderately enjoyable songs, although even then he too frequently tended towards maudlin sap like Downtown Train and My Heart Can’t Tell You No. Then in 1987, he magnificently amalgamated all of his previous efforts into the album Out Of Control. His voice worked perfectly with the rock songs, his ballads were heartfelt and touching but with enough of an edge to make him seem like a roguish Casanova, and his pop-leaning stuff had some of the melodic thrust of his disco era without any of the cheesiness. He collaborated with musicians that perfectly framed his strengths and pushed him to excel.
I was hoping he would continue in that vein for decades. Alas, he reverted back to his mediocre transition period and when that petered out, he made an abrupt left turn and recorded an album of standards, The Great American Songbook, that became a smash hit. Now, four Standards albums later, the guy known for his bluesy rasp of a voice is working as a smooth crooner. If I wanted to hear a crooner, I would listen to Harry Connick or Michael Buble. I’d put on some Frank Sinatra (well, I personally wouldn’t but other “crooner inclined” listeners might.) Or if I wanted a rock-leaning crooner, I’d put on some Boz Scaggs, who I think Rod Stewart is unknowingly imitating. See, I don’t need Rod Steward to croon for me- I have other people who can do it better. I need Rod to deliver arena-shaking disco pop or at least front the consummate rock band. When he stretches too far from what he does well, he becomes expendable and even a bit ridiculous.
Now you might be thinking that all these examples are from dinosaur rock acts. Wrong. This year alone, there were handfuls of contemporary artists who did this and gravely disappointed me. Most of the artists I like, I like because of their own particular style. They fill a niche I enjoy. I have certain bands for certain niches and if they stray elsewhere, I am left with a void in that niche and a half-hearted effort in some other niche that is already filled by other artists. If a band is going to try something new, they need to do it better than the other people who already do it. If you can’t be good at something new, you shouldn’t abandon what already works well for you. Some recent examples are The Dandy Warhols, Aimee Mann and the Black Eyed Peas. The Dandy Warhols have, over their last three albums, perfected a hazy, heavy vibe that calls to mind the best of David Bowie’s work. Even though they come across as stuporous slackers, they are really limber musicians who understand the balance between hitting a groove and beating a dead horse. The last album was a bit shaky and showed signs off falling of that precarious balance beam but they salvaged themselves with three excellent songs. This time around, they departed a bit from their
The Black Eyed Peas did the same thing. They ignored their strengths- the male/female vocal interplay, the dance-pop vibe and the catchy hooks. Instead, they leaned more towards rap. I don’t think I need to tell you that there are a lot of people already doing rap, and they are certainly doing it better than songs like My Humps. Aimee Mann’s detour was slightly less intentional or cynical. She has always been an introspective musician and she channeled that tendency into her lyrics this time around. She made a concept album, The Forgotten Arm, about a transitory alcoholic who is also meant as a metaphor for
By now, you might think the year has been a bust. It almost was because most of my favorite acts made unwelcome or unsuccessful detours (Styx, Aimee Mann, Adrian Belew, Nada Surf, Moody Blues, Sheryl Crow) or failed to live up to par (Bloodhound Gang, Nine Inch Nails, Garbage, Weezer, The Cardigans). What makes this year such a success, however, is the unexpected return of one of my all-time favorite acts, who oddly enough were also a one-hit wonder. Back in 1992, Daisy Chainsaw came out with an EP and album that captivated me. From the moment I heard Love Your Money I succumbed to their particular style. It was a raw mix of punk elements and fractured melodies, in the vein of Nirvana or Sonic Youth, but with a more intense feeling of psychotic danger. When I saw them play live, the lead singer, Katie Jane Garside, had a shaved head and torn dress and would wail and scream into the microphone- when she wasn’t busy banging it on her head. Daisy Chainsaw sort of scared me at the same time they connected with my lingering feelings of alienation and aimlessness. By the following year, the band had disappeared. It was just another of the many alternative rock acts that were chewed up and spit out by the pressures of the music industry. Even so, during the subsequent years I would periodically pull out the CDs and remind myself what a unique act they were. Their style perfectly meshed with my interests in industrial, alternative, rock and techno music. I would sometimes look in their bin at the music store or check music websites for news of them but nothing came of it. They were gone.
Thirteen years later, I was still carrying the torch (I’m nothing if not loyal beyond reason) and happened to see something about a spin-off band called Queen Adreena. Katie Jane left Daisy Chainsaw because she was burned out from the pressures of fame (and probably hurt by banging her head with a mike) which is why the band fell apart. Ten years later though, she rejoined Crispin Gray, Daisy’s principal songwriter and guitarist, to create a new band called Queen Adreena. I couldn’t find the CDs anywhere though. When I went overseas, I check there too but to no avail. Then one day, I saw that there was a new Daisy Chainsaw album. Oddly enough it featured all the original members except Katie Jane Garside, although she had by this time done 3 albums with Crispin Gray in Queen Adreena. What’s that about? Why not just re-form as Daisy Chainsaw? Did she hate one of the other members or something? Regardless, it was an opportunity I couldn’t pass up. Not only did I order the Daisy album from Barnes & Noble, I decided to take a chance and order the last two Adreena albums directly from their label’s website. It was a
With trepidation, I put on the first CD. I decided to start with a Queen Adreena one because I knew what I expected from Daisy Chainsaw and if that album wasn’t up to par, I had no other ones to look forward to. Adreena was an unknown quantity. Three songs into the album, I was in love again. They had everything I loved about Daisy. The fractured melodies, the chunky fuzzy guitars, the psychotic vocalizations, the menacing lullabies. It was all there. When I played the Daisy album, it was like 1993, like the second album had come out the year after the first one, just like expected. These two bands were some bipolar version of the original Daisy Chainsaw. They had the same essence but took different approaches to get there. Adreena is more of an experimental, goth based band. If Siouxsie And The Banshees rocked a bit harder, they would be Adreena. Daisy Chainsaw was more melodic and catchier but they dirtied up their songs with an element of danger and surprise. If Sonic Youth were more pop-leaning, they would be Daisy Chainsaw. The only thing I was disappointed about was the fact that the entire time I was listening to the new Daisy album, I imagined what Katie Jane Garside would have brought to it. The songs were really good, and her unique style would have elevated them to sublime, instead of merely terrific.
Even though all four albums were terrific, Daisy/Adreena would still have single-handedly salvaged the entire year in music because each of the albums had one song that was phenomenal and far above the quality of the rest of them. I can’t count the number of times I listened to the lacerating stomp of Pretty Like Drugs, the deranged scream of FM Doll, the perfect cacophony of Sleeping With Heaven or the ominous muttering of X-ing Off The Days. Finding such gems as these are why I listen to music, why I allow myself to be hopeful about things, why I love entertainment. Finding something that rings true and provokes an emotional response within me is priceless. Looking at a painting that resonates or hearing a song that stirs me tells me I’m still alive, that my hardened wall can be breached by something magical. Of course, I’m not necessarily recommending these albums to anyone. It’s possible I’m the only one in the world who would appreciate them. They are very dense, scary and noisy to say nothing of schizophrenic, offbeat and twisted. All I know is they work for me, like very few things did this year. With that lead-in, let’s look at the rest of the competition this year.
I Buy Anything They Do
Adrian Belew Side Two (2005); Adrian BelewSide One (2005)- Belew did his part in making experimental music this year. These albums sound like someone recorded a guitar tuning session. There aren’t really any songs in here, just random sounds that sometimes make a pleasant pattern but more often don’t.
Aimee Mann Forgotten Arm, The (2005)- I said everything important above. A big disappointment because normally she is so good. Guess after this album and the previous Lost In Space one, I need to permanently lower my expectations.
Styx Big Bang Theory (2005)- This is a cover album.
has always written their own stuff. They
don’t even do covers in concert so what’s the deal here? They aren’t bad, in fact they are quite well
done but did I really need to know what it would sound like if Styx did “I Am The Walrus”?
Therapy? High Anxiety (2003)- One of my favorite bands. A solid album but not a milestone.
Berlin 4Play (2005)- The first three albums generated such great music and fond memories that I’ll give them a pass for a couple bad or average albums. This is their first one of those.
Bloodhound Gang Hefty Fine (2005)- I don’t know what to make of this. The Gang forgot to create some good beats and they buried their lyrics, normally a strongpoint, under those weak beats. If you can’t hear the Bloodhound Gang and rhythms are dull, what do you have? Just a clever album cover and that’s not worth $13.
Chris Isaak Christmas (2004)- Hey, it’s Chris Isaak. I like the guy’s style and I need a few more Christmas albums.
Daisy Chainsaw …For They Know Not What They Do (2004)- Unbelievable.
Dandy Warhols Odditorium Or Warlords Of Mars (2005)- Are they washed up or is this a fluke?
Garbage Bleed Like Me (2005)- Each album gets less distinctive and less memorable.
Jayhawks, The Blue Earth (1989)- I can see where their roots-pop style started from but not surprisingly this debut album is very weak when comparing it to their follow-up stuff. It’s more of a historical artifact from a great band than it is an enjoyable album on its own.
Juliana Hatfield Made In China (2005)- The only bad thing about this album is that this is the one that made me realize Juliana has moved from being one of those performers where I love every song she does to one that has some really good songs on an okay album. The same happened when I heard Billy Joel’s The Bridge or
Styx’s Edge Of The Century. I loved the songs What Do I Care and My Pet
Lion because they paid more attention to her rock inclination than some
previous efforts and Digital Penetration was catchy in a way that had been
missing for a bit. I think this may be a
bridging album for her- one that gets her spark going again to where next time
she recaptures what made her great, like Ministry did with
Animositisomina. She is selling it
directly from her website and therefore eliminating record label pressures to
sound a certain way to get released. It
sort of worked for Aimee Mann- she’s now free to release whatever crap she
feels like. Aimee and Juliana need to
collaborate again. They could both learn
something from each other.
Kylie Minogue Ultimate Kylie (2004)- Two new Kylie songs and several new pictures adorning the CD booklet. How could I not get it?
Madonna Confessions On a Dance Floor (2005)- Madonna returns to her dance roots, regaining her gay cache and in the process alienating me, the only person in
who seemed to like her last
two rock/electronica albums. The songs
are okay, but they go on for too long and don’t show the same creative flair
that was on display on those two previous albums. They are begging for remixes. America
Michael Penn Mr. Hollywood 1947 (2004)- Oh goodness. Where to start with this one? I had such high hopes because Penn is four for four in terms of making a great album. Unfortunately, he caught his wife’s (Aimee Mann) unfortunate affliction- focusing his efforts on making a concept album at the expense of good songwriting. I’m not even sure what the exact concept of this is, I just know it supposedly has one. Maybe golden age
Hollywood as a metaphor
for ? His, and Mann’s, albums are usually very rich
and take several listens to properly sink in but this time the several listens
made the experience more painful, not deeper.
My Beatles-esque pop niche is going unfilled. America
Ministry Side Trax (2004)- A collection of side projects from Ministry and Al Jourgensen. It’s good to have since many of the items are from out of print singles and EPs.
Moody Blues December (2003)- The Moody Blues do a Christmas album. It’s not a bad album, as Christmas albums go, but why why why? The Moody Blues are all about being mysterious, cosmic and, well, moody. Writing a song like Don’t Need A Reindeer sort of takes away that edge.
Nada Surf The Weight Is A Gift (2005)- Another band that changed their sound. They lightened up and lost their identity in the process. I can’t think of any songs from this album when normally I find myself humming songs days later after I’ve heard one of their albums.
Nine Inch Nails With Teeth (2005)- NIN had a nice comeback. Granted, it was a comeback to The Downward Spiral rather than Pretty Hate Machine but it’s a step in the right direction. This CD sounds more like what Trent Reznor promised for The Fragile, which is a funkier, R&B leaning sound. Overall, there are too many similar songs and some generic filler, but there are two fantastic songs, ones that can be considered classic NIN songs- Hand That Feeds and Only- and a couple others that are memorable. This is another album that I hope is a transitional one.
Paul McCartney Chaos & Creation In The Backyard (2005)- Paul teamed up with the producer from Radiohead and it shows. Where Paul used to have a couple excellent rockers every album, now he has none, which is the same thing that happened to Radiohead. It doesn’t make for a bad album though, it’s just not typical McCartney. The whole album has a mournful, introspective feel and the rhythms are very subdued. Paul normally has a very happy sound, so this takes getting used to. It’s like he did a whole album in the vein of Yesterday. The standouts are How Kind Of You, Too Much Rain, Riding To Vanity Fair and the title track. I would like to see the two of them collaborate again, because I think Paul would tailor his songs to the producer’s style rather than the other way around, like this time. The material would probably turn out better because Paul is at his best when he has someone challenging him to excel.
Placebo Once More With Feeling (Greatest Hits) (2004)- One new song.
Prince Rainbow Children (2001)- Have you ever wondered what Prince would sound like if he wrote like Steely Dan? Oddly enough, one of the selections on this album answers that question. The title track had me checking the liner notes to see who wrote it or if Becker and Fagin did backup vocals. Neither of those seems to be the case but it is the best Steely Dan song in the last 5 years. (Yes, I know they have done two albums in the last 5 years, but this song is better than any on the first album and I haven’t yet listened to the second album. That’s for next year. As of this moment though, it’s a great de facto Steely Dan song.) The rest of the stuff is okay but nothing I would look forward to hearing if I was at a Prince concert. Plus, there are some stupid voice interludes where it sounds like God is narrating the album while speaking through a tin can.
Queen Adreena Taxidermy (1999); Drink Me (2002); Butcher And The Butterfly, The (2005)
Shakespears Sister # 3 (2005)- You probably didn’t realize that there was ever a third Shakespear’s Sister album. That’s because there wasn’t. This is something I ordered directly from Siobhan Fahey’s website. It was material that was intended for the third album until Marcella Detroit left the band and pretty much sunk their record contract. I don’t know why because she hasn’t since done anything on her own, so why leave a successful band? As I write this, I understand the irony of it because Siobhan left Bananarama to start this band, but it least there was some purpose for her departure. Siobhan doesn’t have a label right now and instead is spending her time DJ-ing and writing stuff for future solo albums. I also get the sense that some of the songs that ended up on # 3 were written after
Fahey’s lyrics seem like direct slams on her former partner. Nothing here quite lives up to
the previous two S.S. albums but they are good enough to be released. Detroit
I can imagine what they would have sounded like had the two continued working together. I think it would have been a great album. As it is now, it is an interesting artifact to have (and my CD booklet came signed by Siobhan) and there are several songs worth listening to even if they aren’t proper Shakespear’s Sister songs. The noteworthy ones are Do I Scare You, Opportunity Knockers and Can U Wait That Long. A side note about the website- it is one of the weirdest artist run sites I’ve ever seen. There are a few pages where I can’t even figure out what I’m supposed to do there. Check it out sometime- I thinks it is siobhanfahey.com.
Sheryl Crow Wildflowers (2005)- She’s slipping. She did the same introspective thing that Paul McCartney did, but the results weren’t as good. This is a very forgettable album.
Weezer Make Believe (2005)- Rivers, why don’t you rock anymore? Where is the metal-pop I’ve come to expect? Maladroit and the green Weezer albums were so good. They were perfect power pop, like the Raspberries teamed up with Nine Inch Nails to create a perfect fusion just for me. This album has one good song- no, not Beverly Hills, the O.C. theme song wannabe, but rather We Are All On Drugs, a song that would have been a cool B-side to a single from the two earlier albums.
White Stripes, The Get Behind Me Satan (2005)- Their worst album, which means it’s still one of the 10 best albums of the year. I loved My Doorbell (“When you gonna ring it, when you gonna ring it?”) and Blue Orchid, a rave-up similar to Seven Nation Army from Elephant. A friend of mine really got into Appalachian music this year (Don’t ask me why- I have no earthly idea.) and this album seemed to have been made just for her. It is sparse and spooky, as epitomized by the song Little Ghost. Jack White seems to have taken his role in
to heart- he looks hillbilly. Cold Mountain
I Liked The Last Album/Love The Current Single
Barbra Streisand Guilty Pleasures (2005)- She teamed up with Barry Gibb for a follow-up to 1980’s Guilty album which explains why I now own two Barbara Streisand albums. Nothing here is as good as the best things from Guilty but I’m happy to see Barry Gibb working and writing again. I consider this a better than normal Streisand album and a worse than normal Bee Gees effort.
Ben Folds Songs For Silverman (2005)- I like the Ben Folds style so I bought this.
Billy Idol Devil's Playground (2005)- Billy, congratulations. You are one of the few artists who changed things up this year and actually succeeded at it. A couple of your rockers sound really good, and I give you special thanks for writing a better Cult song (Evil Eye) than anything that band has done in 10 years. Then your almost acoustic stuff, like Lady Do Or Die is quite melodic and very catchy. If this was a just world, you’d have had a couple radio hits from this album instead of having your generic prototypical Billy Idol song Scream die on the vine. Even your Christmas song was startling good and very amusing. I’m adding it to my line-up of songs I play at Christmas.
Black Eyed Peas Monkey Business (2005)
Black Rebel Motorcycle Club Take Them On, On Your Own (2003)- A second offering, just as good as the first.
Foo Fighters In Your Honor (2005)- For a two disc offering (one CD of hard stuff, one of softer stuff), I’m surprised I only like three or four things.
Fountains Of Wayne Welcome Interstate Managers (2003)- Stacy’s mom has got it going on, so I bought this CD. Several good things here, but much of it is more downbeat that the hit song.
Franz Ferdinand You Could Have It So Much Better (2005)- Two albums from now, I really think I’m going to like this band. The CD has a plethora of hooks but none of them quite turn into successful songs. The effort is there but the results don’t show it. Keep trying because I like where you are headed. Also, you had the year’s coolest cover. I fell in love with that yelling girl and would have bought the album regardless of what it sounded like.
Hives, The Tyrannosaurus Hives (2004)- What I said for Franz Ferdinand also applies to these guys.
Mitch Hedberg Mitch All Together (2003)- This is a spoken word comedy album. It is fall-on-the-floor funny. Since it is comedy, I can’t really describe it, you’d just have to hear it. The secret is all in the delivery. Just telling you the jokes wouldn’t convey what makes them funny. Even so, I’ll still try. Elsewhere in this year’s review is a section with many of Hedberg’s best jokes. I got this shortly before the guy died so unfortunately there is no more new Mitch to look forward to. I’ll have to get his first album and then be done with him.
Modest Mouse The Moon & Antarctica (2000)- After hearing Good News, I got this album. It is more of the same stuff which means I love it. Barren soundscapes periodically littered with beautiful harmonies and melodies.
Pulp His 'N Hers (1994)
Al Green Your Heart's In Good Hands (1995)
Annie Anniemal (2004)- The reviews touted this Swedish starlet as the new Kylie or new Madonna. She’s neither and that’s the bad news. Her voice is too wispy and the production is too repetitious to live up to those icons and her songs liberally crib from Tom Tom Club, Lisa Lisa, Human League and New Order in addition to Kylie and Madonna. The good news is that she sounds like a knock-off of several bands that I like. It’s a good way to pass the time between releases from the originals.
Bijou Phillips I'd Rather Eat Glass (1998)
Heart Jupiter's Darling (2004)- Heart is staging a comeback and they did it the smart way- by writing good songs and letting the production showcase the strength of the songs instead of burying it. Like Billy Idol, they changed things up a bit, being more subtle and restrained in order to highlight the songwriting. Several of the things here are almost acoustic but that actually is what makes them work, because they accentuate the skill of the band. Even at sixteen songs, this album is over too soon.
Dane Cook Retaliation (2005)- Another comedy album, but unlike Mitch Hedberg, the jokes wear out after repeat playing. I got this because Dane Cook did one of the best stand-up TV specials I’ve ever seen. He was like a wild man, a rock star of a comedian, like Sam Kinison. I still like him but not as much as I did after seeing the special.
Irish Rovers Best Of Irish Rovers (1999)- I had to get this because an old girlfriend used to play it and I have some nostalgic memories about some of these songs, like The Unicorn. Besides, everyone needs some traditional Irish music in their collection.
Johnny Maar Boomslang (2003)- I liked his work with Electonic but this is sort of bland.
Julee Cruise Voice Of Love (1993)- More like the typical torch-singer or balladeer, and not the Twin Peaks style I was hoping for.
Music, The The Music (2003)- Like Jane’s Addiction with more balls.
Spoon Kill The Moonlight (2002)
Stevie Nicks Trouble In Shangri-La (2001)- A nice return for Nicks. Several good songs on here, that sound like Stevie Nicks circa Other Side Of The Mirror. From the copyright dates, it looks like some of these had been hanging around since the Fleetwood Mac years. Don’t know if that’s why they sound good or if it’s because Stevie has regained her writing talents. Hopefully a transition to even better future work
Tears For Fears Everybody Loves A Happy Ending (2004)- I was hesitant when I bought this because most bands can’t get back together after 20 years and still sound good. Plus, Tears For Fears was never one of my favorite bands. I usually liked their stuff but I didn’t normally buy it- they were a radio only band. After hearing these songs though, I went back to listen to some of their other albums and was amazed to find that I owned nothing by Tears For Fears except their greatest hits album. If they could make an album this good this far into their career, how good is their stuff from their peak years? Even when I narrowed down what I liked from this album so I could put it on my monthly car tape, I ended up with five songs. What makes me sad is that this is supposed to be a one shot deal- a kiss-and-make-up album from the two principals, after years of going their own way. If the title didn’t make it obvious, many of the lyrics allude to the temporary nature of the reunion. Either that or they are commenting on the shortness of mortality. Actually, I think it’s both because although the songs have a happy sound, they also have an undercurrent of melancholy, mortality, and bittersweet feeling.
Transcendence Sleep With You (2003)- Crap. Sometimes I wonder why I listen to reviews. The only good thing on this album, and also the only time they aren’t talking about sex and/or “pussy” is when they abruptly decide to sing about the actress Minnie Driver.
Various Artists Rock Against Bush, Vol. 1 (2004)- A bunch of artists singing about how bad George Bush is. All proceeds go towards the Democratic Party so that they can defeat Bush in the 2004 election. Turns out they didn’t succeed but some of the music, from Ministry, Sum 41, Offspring, Social Distortion, etc…, is pretty good.
Wild Orchid Wild Orchid (1996)- The first band Fergie (Black Eyed Peas) was in. Generic pop.
Rounding Out My Collection
Bee Gees Horizontal (1968)
Charlatans Up To Our Hips (1994)
Chris Rea God's Great Banana Skin (1992)
Daft Punk Human After All (2005)
Duran Duran Rio (1982); Duran Duran (1981)- The band is even better than I remember. The first two albums are more Euro-pop than teenie-bopper pop.
Edie Brickell Volcano (2003)- Time to give up on her. A one hit wonder.
Kid Creole & The Coconuts Kiss Me Before The Light Changes (1994)
Kinks Give The People What They Want (1999)- It’s time I started listening to more Kinks since several of the bands this year were copying their formula (Franz Ferdinand, et al). The problem is where to start. There is no authoritative greatest hits collection and many of their albums are out of print. I’ll just have to pick up CDs as I come across them cheap.
Mariah Carey # 1s (1998)
Mark O'Connor American Seasons (2001)
New Order Waiting For The Siren's Call (2005); Power, Corruption & Lies (1983)- I’m done with New Order. None of the older albums hold up in comparison to their singles and it’s not worth the cost for the new albums.
Pavement Crooked Rain, Crooked Rain (1994)- I never listened to Pavement before so I gave them a chance this year. It’s not bad, but I don’t know if it’s good enough to buy too many more. Maybe I’ll try one more album. I don’t want to be ignorant about the heyday of college/alternative rock.
Robert Plant Mighty Rearranger (2005); Principle Of Moments, The (1983); Dreamland (2002)- I think I like Plant better than Led Zeppelin. These albums are awesome, especially Rearranger. I love the Eastern flourishes and mysticism. The sound is dreamy, erotic and transcendent.
Rush Hold Your Fire (1987)- Aimee Mann sings backup on one song.
Sam Phillips Fan Dance (2001)
Soundtrack On Her Majesty's Secret Service (1969); You Only Live Twice (1967)
Soundtrack Stuart Little (2002)- It has a Holly Knight song on it, sung by Shawn Colvin.
Various Artists Entertainment Weekly 80's On Edge (1999)- Free with my renewal. You can never have too many 80’s collections.
Burned A Copy
Kelly Clarkson Breakaway (2004)- I, like all of America, love the song Since U Been Gone.
Neutral Milk Hotel In the Aeroplane Over the Sea (1998)- An interesting album, sort of like Wilco or Modest Mouse in the way they merge multiple styles and have a stream of consciousness feel.
Stiff Little Fingers Anthology (2002)- Mike liked a song I burned on one of my Year In Music CDs so he got this collection, which I borrowed and liked so I then burned a copy. I’ll resist putting it on this year’s CD since I don’t want to create an endless loop that tears a hole in the time-space continuum. The band wants to be the Clash but they fall short of that ambition, naturally. They are good enough though to merit favorable comparison to other Clash pretenders, like The Alarm or Rage Against The Machine.
On Thin Ice
Cardigans, The Long Gone Before Daylight (2002)- I paid to import this CD a couple years ago but naturally it wasn’t that good. By the time I properly listened to it, this year, it had come out domestically. It still wouldn’t have justified the price. I know their hit Love Fool was a fluke and contrary to most of their other songs, but here is one time where I wish a band would recycle their hit endlessly. Kind of like Robert Palmer did with Addicted To Love. At least they could repeat the formula of their more typical sound, like Favorite Game or Erase/Rewind.
Download Effector (2000)- I have not heard any good solo stuff from former Skinny Puppy members. I’ve tried several different permutations and it is all unlistenable crap so I’m giving up.
Rinocerose Music Kills Me (2002)- I wouldn’t have guessed that this band would decide to record aEuro-disco album but unfortunately, it’s too generic to catch my fancy. Anything by other disco-era bands is better so why waste my money buying this when I can just play something I already own.
Richard’s 20 Favorite Albums Of 2005
20) Stiff Little Fingers- Anthology
19) Black Rebel Motorcycle Club- Take Them On, On Your Own
18) Therapy?- High Anxiety
17) Madonna- Confessions On A Dance Floor
16) Paul McCartney- Chaos & Creation In The Backyard
15) Stevie Nicks- Trouble In
14) Robert Plant- Mighty Rearranger
13) Modest Mouse- The Moon & Antarctica
12) Billy Idol- Devil’s Playground
11) Shakespears Sister- # 3
10) White Stripes- Get Behind Me Satan
9) Nine Inch Nails- With Teeth
8) Mitch Hedberg- Mitch All Together
7) Juliana Hatfield- Made In
6) Heart- Jupiter’s Darling
5) Tears For Fears- Everybody Loves A Happy Ending
4) Queen Adreena- Taxidermy
3) Queen Adreena- Drink Me
2) Daisy Chainsaw- …For They Know Not What They Do
1) Queen Adreena- The Butcher & The Butterfly
Richard’s 10 Most Disappointing Albums
10) Foo Fighters- In Your Honor
9) Black Eyed Peas- Monkey Business
8) Bloodhound Gang- Hefty Fine
7) Nada Surf- The Weight Is The Gift
6) Jayhawks- Blue Earth
5) The Cardigans- Long Gone Before Daylight
4) Rinocerose- Music Kills Me
3) Download- Effector
2) Aimee Mann- The Forgotten Arm
1) Michael Penn- Mr.