The Top Fifty Favorite Albums Of 2003 - Pt.5

When I perused the projected releases for 2003, I had no idea what my Top Ten would look like. I had a sneaking suspicion that the Pernice Brothers and The New Pornographers would end up there, but as for the other eight slots … I had no idea. Two debuts and three sophomore outings represented in my Top Ten suggest that I was indeed looking for something new in 2003. Still, it was a good year for the rock. The previous twenty or so spent a considerable amount of time in my CD player (or iPod), but these ten undeniable affected me more than the others. It’s been quite a ride. I hope you enjoyed this past week, I know I enjoyed sharing my thoughts on my favorite records.

10. The Sleepy Jackson – Lovers 79.33
Genre hopping on yer debut record is a blessing and a curse. A blessing because critics and fans give you slack, especially when the songs are there; a curse because you are compared to Beck (and all those connotations that accompany that). The Sleepy Jackson may be all over the place on Lovers, but Luke Steele (who is The Sleepy Jackson) pulls it off flawlessly. Steele makes all sorts of pop: dreamy (“Good Dancers”, “Don’t You Know”), angular post-punk (“Vampire Racecourse”), 80s electro (“Rain Falls For Wind”, “Tell The Girls I’m Not Hanging Out”), Beatles-esque (“This Day”, “Come To This”, “Mourning Rain”), or alt.country-leaning (“Acid In My Heart”, “Miniskirt”, “Old Dirt Farmer”). Steele has the songs and punctuates them with a bit of armchair psychedelia. It’s fun to play name the influence, but such an exercise misses the point. Steele brings a sundry quirkiness to the simple pop formula that makes this record more than the sum of its parts. It is one of the complexly simple records that leave you craving more.

09. The Joggers – Solid Guild 77.08
Ever since Lou Reed mumbled-talked-sang his oddball lyrics, singers have found solace in not having to sing well (see Mark E. Smith, J.Michael Stipe, Stephen Malkmus). Darrell Bourque (bass), Murphy Kasiewicz (guitar), Jake Morris (drums), and Ben Whitesides (guitar) all sing – while “better” than Reed, they are more in the vein of Malkmus. The reason I even bring it up is that the vocals, from straight leads to four-part harmonies, are a big part of Solid Guild, differentiating the band from the field of hot post-post-punk-new-wave-of-new-wave-of-new-wave acts. “Back To The Future” is the best example of this with its four-part indie rock harmony breakdown, but, in reality, it’s all over the record. Lots of gaunt guitar riffage, herky-jerky rhythms, disco-funk-rock beats, and hooks galore, The Joggers play caustically catchy songs. This is one of those records you put on for your friends, and smile while they stop mid-sentence to ask, “What is this?”

08. Belle & Sebastian – Dear Catastrophe Waitress 82.00
I’ll admit it. I was one of those folks who gave up on Belle & Sebastian. I clung to the brilliant If You’re Feeling Sinister like a security blanket. There was no way they could top that record. And further, how long can they continue to recycle that fey-Nick-Drake-magna-cum-pop thang? It just seemed to be getting too formulaic, too static, too detached. I was especially confounded by the EPs, Sing Jonathan David and I’m Waking Up To Us, which disallowed the said “formula”. When I first heard DCW, I couldn’t believe my ears: the glam stomp beat of “Step Into My Office”, the lush orchestration on the title track, the bizarre Motown of “You Don’t Send Me”, and a jagged Squeeze-like “Stay Loose” (that was almost too much!), what was going on? If it weren’t for “Wrapped Up In Books” (three cheers for this track!), “Lord Anthony”, and “Asleep On A Sunbeam”, I would say the band completed reinvented itself. Stuart Murdoch’s lyrics are as quotable and clever as they have always been, great couplets, funny observations, and bittersweet tales of crestfallen youth. Every track is worth a million bucks, shoot, the band sets the template on how to make great songs to make a great record. “I’m A Cuckoo”, “Roy Walker”, “Stay Loose”, and “Step Into My Office” are some Belle & Sebastian’s best songs (and there’s a lot of those).

07. The Ladybug Transistor – The Ladybug Transistor 78.62
When a band has two distinctive lead vocalists, it gives ‘em a leg up on the competition. Gary Olson’s trembling semi-creepy baritone and Sasha Bell’s sweet as sunshine alto makes The Ladybug Transistor a more diverse record. “In December” (vocals by Olson) bounces along for a minute to be interrupted by a swelling orch-pop wordless bridge that ends as abruptly as it began; and back to the bouncy melody (and then repeats). Bell delivers “Hangin’ On The Line”, a giddy up pop tune (a true toe-tapper), and the amazing “The Places You’ll Call Home”. “A Burial At Sea”, “Song For The Ending Day”, and “Splendor In The Grass”, sung by Olson, typify Ladybug Transistor’s exceptionally captivating songs. The All Music Guide’s Tim Sendra states it wonderfully, “a killer batch of songs that are catchy and involving.”

06. Supergrass – Life On Other Planets 81.00
2003 was the year of Show-Off-Yer-Glam-Influence and Supergrass did it best. These twelve tracks move with a serious T.Rex/Bowie sexy snotty swagger while ripping off hooks like they were parchment (see “Za”, “Funniest Thing”, “Grace”). This is one of the most entertaining and charismatic records of the year. “Never Done Nothing Like That Before” shreds like a post-modern Kinks meets The Sex Pistols – shaming the Libertines into shatting their Diesel jeans. The aforementioned “Grace” is such a killer, kick ass track, that if you don’t jump up to shake yer booty, then you have no soul.

05. Pernice Brothers – Yours, Mine, & Ours 79.32
Emphasizing the guitars and banishing the strings, Joe Pernice made the sneakiest record of 2003. Yours, Mine, & Ours is so bloody consistent, each track flowing wonderfully into the other (only the plaintive “Judy” disrupts the record). Peyton Pinkerton’s leads jangle and quiver under Pernice’s amazing vocal performance. The band is in full stride, playing off each other and the melodies without a hint of struggle. Lyrically, “I think it’s the same bummer it’s always been,” said Pernice when I interviewed him. “Baby In Two” is a haunting down-tempo track that is utterly brilliant on both a lyrical and musical level. 80s Brit rock is the touchstone here (check out the homage to New Order on “Sometimes I Remember”), but as always, the melodies and hooks are all Joe Pernice.

04. The New Pornographers – Electric Version 81.42
Initially, I considered this record a let down. Being a discerning music listener, I knew I had to give it time. While it definitely is not as immediate as 2001’s Mass Romantic, the songs are still as crazy and energetic and hooky. Carl Newman kicks out the jams in mega-force style – fist pumping anthems, fat dirty guitars, unpredictable changes and countless hooks. Neko Case’s contribution is critical as evident on “Miss Teen Wordpower”. Full-time Destroyer, Dan Bejar, contributes three unbelievable tracks (“Chump Change”, “Testament To Youth In Verse”, and “Ballad Of A Comeback Kid”). It’s as if the NPs are a three-headed-indie-rock monster, each snapping and tearing your flesh with unrestrained pop brilliance. It never has felt so good to be attacked.

03. The Tyde – Twice 79.23
Incredibly buoyant melodies injected with plenty of guitar jangle, impressive drumming (courtesy of Velvet Crush’s Ric Menck), and complimentary keyboards with flashes of heavy guitar crunch. The Tyde know how to take a great melody and just keep it out front and center, while the instruments fervently rock out (see the breakdown in “Henry VIII”). Freelancer extraordinaire J.Edward Keyes says, “The Tyde is sprawling, sunny, buoyant songs that sound like Felt would have if Lawrence lived in California and not the UK.” Most definitely. The Felt influence permeates the record, but like all great bands, they transcend that influence. “Go Ask Yer Dad” is just a sick, sick song. The record ends with “New D”, it throbs like the limitless ocean; a most appropriate way to close the record.

02. The Shins – Chutes Too Narrow 82.48
The Shins style isn’t so much that they are indie rock band, but rather that they dodge simple genre/sub-genre classification. In 2001 they released the stunning Oh, Inverted World that not only garnered critical acclaim, but it sold very well for an independent release. The dreaded “sophomore slump” was bandied about in the press. Fear not, with Chutes Too Narrow, the Shins made an even better record their the debut. The record is richly produced, the driving acoustic guitars, percolating drums, vintage synths, and perfectly placed electric guitar crunch/jangle/leads/etc. The record has it all: infectious acoustic based pop-rockers (“Kissing The Lipless” and “Mine’s Not A High Horse”); a sweetly 60s drenched ballad-of-sorts (“Saint Simon”), two-steppin-out-shuffle (“Fighting In A Sack”), and all out rockers (“Turn A Square” and “So Says I”). This record is big time songwriting, cementing The Shins as one of the best new bands of the 21st Century.

01. Black Box Recorder – Passoinoia 80.90
And here we are, at number one. Luke Haines is the most underrated, overlooked, and ignored songwriter of his generation. The brain behind the once hyped Auteurs (Mercury Prize nominated in 1992, only to be beat by Suede), Haines has continued to burgeon as a force in rock n roll (even if no one is paying attention). Black Box Recorder is his “synth-pop” group with John Moore (guitars/keyboards/etc.) and Sarah Nixey (sexy-n-dominate chanteuse). Passionoia is the third BBR and it pulls no punches; Haines wouldn’t even dream of having it any other way. Passionoia is an exhortation and a condemnation of popular culture: from rock-n-roll know-it-alls (“The School Song”) to wannabe American/Pop Idols (“Being Number One”, “Girls Guide To The Modern Diva”) to extolling Andrew Ridgely (“Andrew Ridgely”). The lyrics are biting, divisive, humorous, and, obviously, thought-provoking. There are too many great lines to quote in this space, just trust me, they are that good. Haines and Moore take songwriting credits, so I’ll give credit where credit is due. Each song is incredible, from the melody to the hooks to the actual performance; Haines/Moore put Nixey’s vocals where they belong: front and center. Her delivery can be sexy sweet, even cutesy and the next line outright bitchy. Even the packaging is amazing with it’s naughty-upper-class-elite murder scene, as the members of BBR relax by the pool there are broken bottles of Cristal and champagne flutes and a naked dead body floating. The record ends with an epic tale of twisted childhood dysfunction (to say the least!) that is simultaneously beautiful and grotesque. Passionoia is great because of the songs, the lyrics, and the packaging are unified into a single and concise vision; pure Rock that is uncomfortably stirring. "Destroy your record collection, it's for your own protection."

The Top Fifty Favorite Albums Of 2003 - Pt.4

I remember when buying a record was a leap of faith. In 1985, there was no Internet, thus, I couldn’t demand an opinion via a myriad of music related websites. I couldn’t send a “What do you think of this record?” e-mail to my most trusted music buddies across this country. I lived in a podunk town in West Central Minnesota – and the cool records were at the mercy of what the “old guy” (a thirty-something) at Mother’s Records would stock. It was all about hanging out at that store, reading weird fanzines, as well as SPIN and Rolling Stone. At home I would watch IRS’ The Cutting Edge on MTV (this is how I got into The Jesus & Mary Chain). I would buy whatever Twin/Tone, SST, and Alternative Tentacles would release (you had to exercise discernment for IRS, even though they had R.E.M.). I also didn’t have the discretionary income I have today. I probably bought twenty to thirty records a year through high school. I couldn’t afford to slip up and buy shitty records! In many ways, I miss taking that leap of faith each time I purchase a record (now, CD, but I can’t help but call them records) – I busily sample songs via MP3s, easily surf for hundreds of opinions, I still get swag courtesy of my zine publishing days, etc. etc. ad vomitus. It’s a glut of information and I don’t know if I use it properly. I purchased (new and/or used) around 70+ records this year and it still comes down to about twenty or thirty records I am really proud to own. What has more information, more data, more inputs given me? I don’t know. As I assembled my Top Twenty, I felt as though, if I had taken that leap of faith more often this year, these would have been my purchases.

20. Mull Historical Society – Us 75.43
The masses and the critics are a fickled folk, Colin McIntyre can attest. In 2002, he released Loss to pretty much overwhelming positive reviews. In 2003, he follows up with Us and generated little more than a blip on the radar. The record has four stellar songs: “The Final Arrears”, “Live Like The Automatics”, “Gravity”, and “The Supermarket Strikes Back”; and on top of that, eight other very good songs (too bad the record ends with two rather plain songs). McIntyre writes songs that are melody-driven mini-rock-symphonies, always employing striking changes and/or bridges. Oh yeah, Us is way better than Loss.

19. Sloan – Action Pact 74.63
Sloan will never make a great record – by that I mean a record that will absolutely demand to be played and take it’s place with the Top Ten of the year. Nope, they won’t. They do wear their influences, but as Pitchfork’s reviewer commented (in a slightly below positive appraisal), “It's not even as clear-cut as a derivative band churning out songs not up to par with the icons they emulate; on past albums, Sloan has written better songs than anything The Rolling Stones have put out in 20 years.” There is nothing wrong with that and this is what makes each Sloan release a must own. They are absolutely consistent, guilty of crafting extremely melodic, catchy, and hooky songs paying homage to their heroes. Still, each record has a song or two that surprises you with pure organic energy, and Action Pact is no different. “Gimme That” is a Stooge-tastic political diatribe on the U.S.A.’s bawdy haughtiness. “The Rest Of My Life” and “False Alarm” are more than just remarkably crafted tunes; the lyrics are honest and are two of Sloan’s best songs. Action Pact is not a revelation; it is a confirmation.

18. Christopher A. Myers – Water School 77.33
C.A. Myers is a singer/songwriter from B-more whose music falls between Big Star and Denison Witmer. Water School is nine gentle, spine tingling tunes of mostly acoustic-power-pop songs (effectively employing piano and electric keyboards to add a bit of texture). The melodies are simple and kind; so utterly pleasant to the ears, yet slightly melancholic. “How Appropriate Is Love?”, “(Hey You Can Call Me) Johnny Guitar”, and “Skies Gone By” are, well, just good songs. Myers has an understated sense-of-humor in his lyrics: “We talk shrink nearly every day/And with barometer management, it’ll be ok/There’s nothing to be afraid of” he croons on the Office Space corporate ditty, “The Company Shrink Plan”. Visit his website for information on obtaining this excellent release.

17. Mando Diao – Bring ‘Em In 74.55
Mando Diao is from Sweden. They play a blend of Stooges, Nuggets garage, and The Rolling Stones. I can hear you, discerning music listener, groaning, “Not another freaking “garage rock” band from Sweden?!” I hate to tell you so, but kind of … They definitely fit into that Swedish 60s/70s neo-garage milieu. They have more in common with incredible The Soundtrack of Our Lives, than The Hives and The Hellacopters. And I say, “YAY!” Mando Diao kick out the jams via 60s R&B, bit of 90s Brit Pop, and, even (gasp!), 70s Tom Jones (see “Mr. Moon”). Crazy farsfisa organ, wild guitars, and diverse vocals; a hot sound that critics and hipsters drool over, indicating, this is a flash-in-the-pan. Hold on there, it’s about the songs, and these Swedes got ‘em. There is not a single “bad” song on this record; it flows from top-to-bottom nearly perfectly. When you want a record to get you pumped up for a night out, this is the platter you need to spin.

16. Beulah – Yoko 78.30
Beulah returns from a two-year sabbatical with gloomy yet pop-infested record of lost relationships. Bitter, angry, hurt, Miles Kurosky’s lyrics are sincere reflecting maturation as a person, as well as a songwriter. “My Side Of The City” finds Beulah rocking out harder than before, matching the lyrical grittiness. “Me And Jesus Don’t Talk Anymore” is a reassurance/explanation/condemnation to/of a former lover or a family member (or even to Beulah’s fans, if one chooses to be overly analytical). The song with its mysterious intro, fat bass riff, and country-ish guitar is the whole package. Beulah has always hinted at this noisy mood, but they finally fleshed it out on this record. Indie rock is rarely this moving.

15. Ted Leo & The Pharmacists – Hearts Of Oak 69.35
In my Top Fifty Songs 0f 2003, I asked, “Ted Leo, why did I ignore you for so long?” An editor at one of the rags I contribute to said, “Yeh, uh, where the hell HAVE you been? You're slipping professor.” Well, yeah. I kept hearing about how Ted Leo has taken his 80s hardcore roots and mod-influence, and melded them with power pop, so I had to hear this dude, and I wasn’t about to put it off a second longer. It was true and then some (seriously, no less that eight remarkable tracks!). Leo and his band plow through some of the rockingest, catchiest jams (see “2nd Ave, 11AM” and “I’m A Ghost” for the best examples) this side of late-70s Costello, mid-80s Husker Du, and early-90s The Posies. The truly refreshing thing about Leo is his lyrical competency and his overall passion. An invigorating shot in Rock’s ass.

14. Ian McCulloch – Slideling 74.30
I’m not fooling myself and thinking that Ian McCulloch’s solo work is better than his output with The Bunnies, but it’s pretty damn solid. McCulloch’s songs on Slideling compliment his strength: his voice. The melodies don’t demand too much out of him, thus, allow him to throw in those little vocal tricks he has perfected over the past 20-plus years. “High Wires”, “Love In Veins”, “Seasons”, and “She Sings (All My Life)” are the perfect songs for McCulloch to be singing now. The songs utilize crunchy electric guitars, driving acoustic guitars, piano, and smooth changes to par excellance.

13. Cosmic Rough Riders – Too Close To See Far 80.68
Glasgow, Scotland has one of the most exciting music scenes in the world. Cosmic Rough Riders are one of the new up-and-coming, critically acclaimed bands to come from the northern Scottish city. Sweet, slick power pop typified by insanely catchy melodies, big choruses, and addictive hooks, Too Close To See Far is a record that rules. “Because You” is a summertime roll-the-windows down and drive with the music blaring tune. “Life In Wartime”, “Kill The Time”, and “Sunrise” recall early 90s R.E.M. with jangle guitars and mandolin riffs (in the case of “Sunrise”). “Now That You Know”, “The Need To Fly”, and “Blind” find CRR exuding a heavy Teenage Fanclub influence. Interestingly, the band builds on its 2000 debut, Enjoy The Melodic Sunshine, despite losing their principal songwriter and lyricist, Dan Wylie, to the lure of a solo career. Guitarist and vocalist, Stephen Fleming, takes the mantle of songwriter and succeeds effortlessly. He crafts a sunshiney record of pure pop songcraft with a nice lyrical edge (none of the songs are as sweet as they appear to be).

12. The Strokes – Room On Fire 72.62
The Strokes have vastly improved on their decent debut, Is This It. Still, the biggest problem with The Strokes is still that blasted dumb distorto-vocal, but it’s not the focal point on Room On Fire because Casablancas actually sounds interested. What makes Room On Fire a better record is that it is actually engaging. Casablancas injects some guts into his lazy, I-don’t-care-vocal shtick (see “The End Has No End”, “Reptilia”, “The Way It Is”, “What Ever Happened?”). Further, the songs are stronger by striking a balance between hooky pop and angular rock. “12:51” with its moog-copping guitar riff, tight melody is a great lead single. “Reptilia” is an absolutely terrific song (see my Top 50 Songs - #21). It’s easy to hate the Strokes by getting wrapped up in their celebrity, the hype (neither deserved or un-deserved), and the story behind the music. The key is the songs, and Room On Fire has some great ones.

11. The Vells – The Vells 78.46
One of the best new bands of 2003, Seattle’s The Vells make some of the loveliest, oddest, and catchiest indie pop. Much like their Pacific NW brethren The Shins and The New Pornographers, The Vells are peculiarly distinctive, traditionally pop, and are difficult to describe. Tristan Marcum’s amazing falsetto tenderly delivers the well-crafted melodies. “Blue, Blue Bones”, a down by the shore sea shanty reggae revolves and jam packs its four minute length with more pop delights than should be allowed. “Light On The Right” represents everything that make the Vells more than a twee-indie pop act: the unpredictable melody, the serendipitous guitar fills, restrained yet energetic drums, and again, that ability to revolve, to refresh itself via its lovely hook. “Starlights Our Way” with its kick ass handclaps, killer rhythm guitar, and charmingly heavy guitar pounds your head, shaking you, bringing you to your senses. Marcum’s lyrics are something to behold, the way he plays with words, messing around with connotation, it may be difficult to ascertain the meaning, but that’s half the fun. This five-song EP leaves you begging for more.

The Top Fifty Favorite Albums Of 2003 - Pt.3

The rankings are getting tough. I will push on, and I will publish with reckless abandon these next ten records. What can I say? These are all must own records, for sure. So if you don’t have them, then go buy them.

30. Daniel Johnston – Fear Yourself 72.17
Daniel Johnston and his records have been scrutinized since the early 90s when hipsters began to collaborate on his releases. Not to retread history, but in the early-to-mid-80s Johston recorded his own material on his own boombox; as he became more noticed (by those in the Austin, TX music scene) mid-profile rock stars worked with him. There has been endless debate on whether Johnston’s records are as good as his collaborators or if they are as good as his songs. I choose the latter. On Fear Yourself, Johnston’s melodies and lyrics are superbly complimented by Sparklehorse’s Mark Linkous’ instrumentation and arrangements. “Fish” is a wonderful song, simple and catchy. “Mountain Top” and “Love Not Dead” are great upbeat rockers with Johnston delivering his melodies most excellently. “Syrup Of Tears”, “Must”, and “Forever Your Love” (Johnston’s piano is absolutely radiant) are uncomfortably heartbreaking ballads. Linkous helped bring Johnston’s songs to a level never before reached.

29. Baxter Dury – Len Parrott’s Memorial Lift 74.33
The son of legendary cult rocker Ian Dury, Baxter Dury makes a debut that would make his pops proud. Baxter’s record is a weird one, most definitely. Heavy and laid-back pysch-pop recalls Beck as well as countless Nuggets 2 unheard ofs. Portishead’s Adrian Utley and Geoff Barrow collaborate on a couple tracks with “Gingham Smalls 2” being a standout cut. “Lucifer’s Grain” has to be nod to Syd Barrett-era Pink Floyd (and it’s a terrific song; like Elliott Smith doing Barrett). I suppose in my younger years, I’d call this drug music, but now, I just call it good.

28. Guided By Voices – Earthquake Glue 70.57
This record really is a puzzlement. On one hand, it seems like Bob Pollard is trying to rock harder than he ought, allowing his songs to be bloated with classic rock riffs; while on the other hand, I cannot deny the melodies and hooks. It seems that Pollard is letting his Wire fan-geek shine through a bit more than usual on this record with it’s jagged, angular guitar riffs (“Useless Inventions”, “Of Mites And Men”), as well as his admiration for the Who (“She Goes Off At Night”, “Apology In Advance”, “Secret Star”). Still, the record contains undeniable Pollard genius such as the trademark GBV of “My Kind Of Soldier” and the genius “The Best Of Jill Hives.” This baby got some seriously heavy rotation when I got it, but faded into the stacks about a month later.

27. The Raveonettes – Chain Gang Of Love 71.60
“That Great Love Sound” and “Heartbreak Stroll” are monumental songs that really demonstrate the greatness that The Raveonettes have in them. But the rest of the record treads a bit too closely to Honey’s Dead-era The Jesus & Mary Chain. There is nothing that I hate more than blatantly derivative records. The reason I couldn’t write this off is the songs are very much there. Recorded with the self-imposed constraint of being in booming b-flat major, the sound had to reflect TJAMC. The melodies are entirely catchy, the hooks are so there, and the choruses are almost too damn catchy. This is terrific pop, even though it may slag too much from those noisy Scots.

26. The Delgados – Hate 76.83
While discussing this record with a friend, he remarked, “Holy shit! The strings are over-the-top, it’s as if they said, why have a ten-piece orchestra, when we could have a 100,000 piece orchestra!” Yes, the strings are the first thing you are confronted (and yes I mean confronted) with on Hate, but they aren’t the whole story. Terrific lyrics and vocals (by Emma Pollock and Alun Woodward), The Delgados have a great schtick with their sweet, slightly melancholy, melodies and downright cynical lyrics. There really isn’t a dud on the record, it’s just a bit too long.

25. Sun Kil Moon – Ghosts Of The Great Highway 71.05
Mark Kozelek makes a triumphant return from his AC/DC cover laden “solo” career with his new band Sun Kil Moon. Ghosts Of The Great Highway is not a departure from Kozeleks more well known Red House Painters, but who cares. I don’t even know why I brought it up. “Glenn Tipton” is an excellent opening track that softly segues into “Carry Me Ohio” an absolutely gorgeous track (that should have been somewhere on my Top Fifty Songs). “Gentle Moon” is a lovely tune exuding a severe “Katy Song” vibe. The garage rock Kozelek style of “Lilys And Parrots” dominates. Unfortunately, the record is pulled down by the mediocre “Si Paloma” and the indulgent excruciating “Duk Koo Kim” which impacts the AQM to be a bit lower than it otherwise would be.

24. Grandaddy – Sumday 77.75
I docked the Super Furry Animals for being too straightforward given their past; well, here I laud Grandaddy for reigning in the experimental tendencies and being more basic. First, this is one of those records I can play top-to-bottom and enjoy each song, listening, even singing along to each track. Second, Grandaddy’s songwriting has gotten much stronger over each of their releases, the melodies are nice and easy and unique enough (even though Jason Lytle’s vocals can get annoying if ingested too often). The straight pop of “Now It’s On”, the lush indie rock of “Lost On Yer Merry Way” (love the driving guitars), to the epic “O.K. With My Decay,” Grandaddy creates a record that is consistent and captivating.

23. Starflyer59 – Old 76.30
From Bandoppler Magazine, Issue One: “This is not chaos,” Martin insists. “I don’t believe in chaos in songwriting. There is an order to it. It either makes sense or it doesn’t. The chord goes into this chord for a chorus. It’s two plus two.” Well, J.Martin, math isn’t so easy for everyone as it is for you. Old is a record that finds Starflyer59 tweaking their sound once again: early on it was noisy shoegaze, in the late 90s it was indie pop, now it’s…. prog pop? Post-punk-orch-psych-pop? Whatever it is it succeeds. Shoot, “First Heart Attack” pulls out the stops full-on Pink Floyd (and not the hipster lauded Syd Barrett Floyd!). The addition of drum maestro Frank Lenz and Dicky Swift with his keyboard prowess and hot falsetto bgvs add potency to the elixir. “Underneath”, “Major Awards”, “New Wife, New Life”, “The Kissing Song”, “The Lights On” and “Unbelievers” are solid tunes. Ten year on and SF59 keeps getting better.

22. Ryan Adams – Love Is Hell Parts 1 & 2 76.40
These EPs nearly didn’t make the list. I didn’t even want to have to deal with them, I didn’t want to have to explain myself, I didn’t want to get into it over why Ryan Adams is a genius. I didn’t think it was worth it. Frankly, I just avoid the press on the man. Whatever. I know what I hear; I know that these are good songs. Most know the back-story, that Love Is Hell was supposed to be the proper followup to 2001’s Gold, but the label rejected it. As Love Is Hell: the EPs were intended to be a single full-length, I will interpret it as such. Adams has always reflected his influences and on this record, out comes the sound of the UK in the 80s. It’s a compelling blend, Adams decidedly American melodies juxtaposed against reverb-heavy-jangle, bendy guitar lines, steady backbeat, sublime riffs. The melodies, whether upbeat (“Love Is Hell”, “This House Is Not For Sale”) or downhearted (“Political Scientist”, “Hotel Chelsea Nights”, “The Shadowlands”) are still his shunning derivativeness with a classic country ticks and rock n roll tocks. It’s really pathetic that his label rejected what would have been universally hailed as a great record.

21. The Weakerthans – Reconstruction Site 73.68
This one of the those power pop records that moves – by that I mean, it is laid out impeccably with booming rockers (“The Reasons”, “Over Retired Explorer (Dines With Michel Foucault In Paris, 1961)”, “Plea From A Cat Named Virtue”), sweet classic pop tracks (“Reconstruction Site”, “Psalm For The Elks Lodge Last Call”), and tender ballads (“One Great City!” is how I felt when I lived in Des Moines, IA). Canada is giving the ultimate power pop gifts (Sloan, The Joel Pleskett Emergency, The Flashing Lights, et al) to us arrogant Americans. I am contrite and accept with open arms.

The Top Fifty Favorite Albums Of 2003 - Pt.2

A record is only as good as its weakest track. This pretty much sums up the next ten records on my list. Each has some really excellent singles, but as a whole, the record gets bogged down by weak-to-downright-awful song(s). These records are the ones that probably frustrated me the most this year – so close, but so far from being a part of the elite. But that’s ok. They still provided a ton of pleasure, tons of rock n roll exhilaration, and they reflect a passion that touches the soul. That’s what matters.

40. Radiohead – Hail To The Thief 72.54
A tremendous lead single (“There There”), an incredible (if not pretentious) album cover, and a hype machine that had been rolling since Amnesiac dropped off the charts (Rock Conspiracy Theory coming: sure, we believe you that those MP3s of Hail To The Thief were “illegally” acquired and distributed; you guys looked great standing up for the fans by making the label send out the Cease And Desist orders to remove the songs from websites and hard drives), Hail To The Thief had to succeed. And it did, really. A balance between the knob twiddling tendencies and the brit pop megahits was struck, and the results were as good as could be expected. There is nothing wrong with the record… once you accept that they will not make another OK Computer.

39. The Rapture – Echoes 64.59
As an album, this sucks. Really poor sequencing that kills the flow, a couple very weak songs (“Open Up Your Heart”, “Infatuation”), and hype hype HYPE. I’m sick of it. Then I listened to the record, really listened. The three-pack of tracks 5-7 are the sickest, most captivating three-song run of 2003. Amazing. “Sister Savior” and “Heaven” are equally great. One of those records that, pared down, would have made a great EP.

38. Arab Strap – Mondays At The Hug & Pint 66.90
Arab Strap is known for their filthy lyrics, snail-paced drunken melodies, and Aidan Moffat’s existential angst; Mondays At The Hug & Pint does not deviate. But, Arab Strap does expand on their sound with a more “upbeat” effort: “The Shy Retirer”, “Seranade”, “Flirt”, and “Fucking Little Bastards” are terrific examples. I suppose the subtext to this record is the collaboration between Moffat and Bright Eyes’ Conor Oberst (Bright Eyes). Their common ground is found in the lonely relationships they lament and their unhappy existence, but they take diametrically opposing routes: Aidan Moffat is the hedonist and Conor Oberst is the emo-whiner. Their collaboration on several tracks on this record (and namely “Act Of War”) doesn’t seem to work as Oberst’s over-the-top bleat wrecks the unique Moffat melody. Nevertheless, the tracks sans Oberst are respectable and in the case of “The Shy Retirer”, a masterpiece.

37. Dressy Bessy – Dressy Bessy 72.81
2003 saw the demise of the Elephant 6 Collective (as you discerning music listeners know), those like-minded purveyors of pop fizzled into band breakups and new material being shelved (with possible resurrections and reincarnations in 2004). Undeterred, Dressy Bessy held steadfast and released a slab of tough-cutesy pop that is propelled by the great single “Girl, You Shout”. Dressy Bessy is not going to blow your mind with four or five incredible songs; rather they have laid out 11 tracks that are consistently good. Tammy Ealon and her band are consistent; you can count on them to craft songs that are catchy, energetic, and sweetly pleasurable.

36. BMX Bandits – Down At The Hop 72.11
Glasgow, Scotland based BMX Bandits play an addictive brand of simple pop, and this is their best record. Duglas T. Stewart and Francis McDonald (stalwarts on the Glasgow scene and tight peers of the seminal Teenage Fanclub) craft an excellent collection of sexy-twee-power-pop that will make you smile. Stewart’s lyrical humor shines through on “I’m In Such Great Shape” (an ode to exercise as the precursor to a stellar sex life); his innocent profundity excels on “The Road of Love Is Paved With Banana Skins” (yes, it is!), and minimalist melody prosper on “Back In Your Arms” and “Back In Her Heart” (heck, the whole record!).

35. Centro-Matic – Love You Just The Same 72.81
These boys from Texas may not be the most original band out there, but they do have the songs. Love You Just The Same is built on Pavement-esque indie rock flavored with alt.country. The band has no fear of an occasional string arrangement that adds a nice oomph to a great concoction. To me, the rockers (“Spiraling Sideways”, “Breathe Deep Not Loud”, “Flashes & Cables”) really shine; others disagree, I blame it on my hardcore roots. With only a couple mediocre tracks, this record flows nicely marked by an excellent mix of rockers and ballads. LYJTS is one of the surprises of 2003.

34. Joy Electric – The Tick Tock Treasury 73.00
Ronnie Martin moves his analog synth pop machine further into prog slash experimental territory on this record. The title track, “(I Am) Made From The Wires”, and “The Confectionary” are what one comes to expect from Joy E.: captivating melodies and hooky as ever. When Martin digs back into Kraftwerk, krautrock electronic noodling on tracks like “St. Glockenspiel’s Science Faire” and “The Chronometers Of Switzerland”, it shows his growth and mastery of analog technology. “C Minor Miners” is a brooding minimalist track that is weird and prog-gy. Always a slave to melody, Martin is still connected to mission control no matter how far out he goes. An entirely satisfying release.

33. Super Furry Animals – Phantom Power 72.79
The highly anticipated follow-up to the excellent Rings Around The World, that was a bit of a let down. It isn’t that the songs aren’t there, they are; it’s just that Phantom Poweris much too straightforward for Super Furry Animals. Perhaps, I’m being unreasonable, but the magic of previous SFA releases is their ability to be really weird, really out there, while remaining accessible. “Liberty Belle”, “Venus & Serena”, and “Golden Retriever” are terrific pop songs, but quite common (save for some weird electronic beats and effects gurgling underneath). I admire their creative lyrical construction that takes President Bush and American policies to task. It’s funny (and somewhat disheartening) that a Welsh band had the strongest indictments of the Bush Administration in an age where more American musicians should be outraged.

32. The Decemberists – Her Majesty The Decemberists 75.34
Hot on the heels on the critically acclaimed debut, Castaways & Cutouts, The Decemberists offer up another platter of quirky, peculiar indie pop tunes. Colin Meloy’s extensive vocabulary permeates these bizarre tales of liars with a knicker fetish, admiration for Myla Goldberg, gymnasts, bachelors and brides all wrapped up in stellar pop songwriting, it’s definitely unique, if not uncomfortably familiar (though Meloy does distance himself ever so slightly from the Jeff Magnum/Neutral Milk Hotel comparisons that dogged him in press for Castaways & Cutouts). Sounds like unabashed praise, eh? Ah, discerning music listener, you would think the record would have rated higher, eh? For some reason, I wasn’t compelled to listen to this record as much as others. I respect the songs (“Song For Myla Goldberg” and “Billy Liar” are excellent), but tracks such as “The Gymnast, High Above The Ground”, “Red Right Ankle”, and “As I Rise” didn’t really go into the soul, they just exist. I need more.

31. The Star Spangles – Bazooka!! 72.40
The Star Spangles are a power-garage-pop band that craft some of the dirtiest (as in dirt, not in saucy) songs mixing a healthy does of Stooges/New York Dolls animal rock, pre-Tim Replacements, and classic The Rolling Stones. Sloppy, yet unsettling tight, the songs romp and rock and hit ya upside the head. Ian Wilson’s tobacco and whiskey-shredded vocals recall a young Westerberg (a good thing). The band rocks “Which One Of The Two Of Us Is Gonna Burn This House Down”, “I Live For Speed”, “Stay Away From Me”, “I Don’t Wanna Be Crazy Anymore”, and “In Love Again” like their lives depend on it. It’s too bad that several average songs smack dab in the middle of the record drag this baby down, before being saved by “In Love Again” and a reverent cover of “Crime Of The Century”, only to end on a two-song fizzle. This is an outstanding debut by one of the most promising bands out there today.

The Top Fifty Favorite Albums Of 2003 - Pt.1

The ranking of my Top 50 Records proved not as difficult as it was for songs. I can attribute this to two reasons: 1) I didn’t have as many to go through (almost 75); and 2) I have a tool called the Album Quantifier Model (AQM) that scores each record. What is this AQM? Simply put, it is model that spits out a score based on Song Score, Record Length Factor, Album Flow, Concept, Packaging, and Historical Significance. Each of these components factor into the overall pleasure (and ultimately, the greatness) of the record. Naturally, the Song Score makes up the bulk of the overall score. I have included the AQM score after each record. The actual model development began from some discussions with friends; and the actual AQM that I used was developed with my good pal, Jeff Teel (thanks ‘Saw, you rock). You will notice that I sometimes rank a record with a higher AQM Score lower than another record. This is because we (or at least, I) enjoy a record that isn’t as “good”, and I choose to tweak the order by ranking them based on how many times I listened to the record. If I listened to a record with a low AQM a bunch, I made the choice to move it up in my rankings. So here we go, my favorite records of 2003 starting at #50. I will be posting ten each day all week, so be sure to check back often!

50. The White Stripes – Elephant 72.04
Probably, the most consistent White Stripes release. “Seven Nation Army” is a really good single, with it’s apocalyptic post-Led-modern-Zep guitar riff, and Meg’s drumming is huge and solid. While Jack still pulls off the same ol’ same ol’, the songs are stronger and the album flows much more nicely. I like the “vintage” sound, the noisy mix, the rattling drums, the abrasive guitars, but overall, the record is plagued by the uninspiring “In the Cold, Cold Night”, the jokey “Well It’s True That We Love…” and meandering jams like “Ball And Biscuit” (Jon Spencer fucked with the blues much more effectively).

49. My Morning Jacket – It Still Moves 72.33
“Dancefloors” and “One Big Holiday” really show how My Morning Jacket ain’t no Southern Rock Revivalists, even though they hint at it. I couldn’t really make out what it is about this band that I love and that I hate; all I knew was that MMJ was taking something old (Southern Rock genre, Neil Young) and molding it into something truly 21st century. The record is too long, too muddled, and slightly above average.

48. Ed Harcourt – From Every Sphere 73.33
Harcourt is a difficult one because he teeters along the precipice to nearly fall into the vast uninspired pit of Adult-Alterna-Contemporary-Lite-Pop. When he is the semi-quirky, slightly edgy pop troubadour, I love him. But about half this record does fall under that tepid Adult-Alterna-Contemporary-Lite-Pop. Anyone upon hearing the record, knows that this is for casual listeners, but songs like “Watching The Sun Come Up”, “The Birds Will Sing For Us”, and “All Of Your Days Will Be Blessed” are excellent, near perfect orch-pop gems. And that makes the album worth every specially-priced at $9.99 penny.

47. The Jayhawks – Rainy Day Music 74.50
Nothing new here, this is a very safe record for the Jayhawks. Rather than trying to become some sort of indie-alt.country-pop band, they go back to what works. “Tailspin” is a song that celebrates themselves: the standard Jayhawks melody, the big soaring chorus, and trademark vocals by Gary Louris; there is nothing wrong with it. At this stage in their career, this is the perfect record. While not necessarily “memorable”, it is enjoyable and that’s cool. And the title is perfect, this is rainy day music.

46. Paul Westerberg – Come Feel Me Tremble 70.36
No where near the comeback/greatness of 2002’s Stereo/Mono, but there is still reason to believe. “Crackle & Drag (alt. Version)” is the pinnacle of Come Feel Me Tremble. But look to “Knockin’ ‘Em Back”, “Pine Box”, and “Meet Me Down The Alley” for classic Westerberg passion and dirty songcraft. The filler is more predominate this time around, but I’m glad the guy is still committing his songs to tape and hanging them out there to get whacked.

45. The Minders – The Future Is Always Perfect 69.12
I suppose this is more of a mini-LP or a long-EP, but nevertheless, the Minders release a very pleasant record of raw indie pop with a few surprises. The angular post-punk/indie pop track “28X” is a welcome diversion from their formula. “It’s So Hard”, “Tearway”, “Here Goes Nothing”, and “Go Wave Your Hand” are tinged with new wave synths to also add that something to their sound. Martin Leaper’s vocals are as good as ever.

44. Ryan Adams – Rock N Roll 63.18
Not necessarily a good record (see the low score), but when Adams is on, he is on. Rock N Roll is the epitome of a flawed and convoluted record: really awful rockers (“1974”, “Note To Self: Don’t Die”, “Shallow”), throwaway tracks (“Rock N Roll”, “Do Miss America”) and that enfant terrible genius (“Burning Photographs”, “Boys”, “The Drugs Not Working”). While many love to pile on RA, and in a way he deserves it, in the end it’s rather unfair. He did record an excellent record, Love Is Hell, which was rejected by his label as too depressing/downbeat/mopey, a compromise was reached where it would see the light of day as two EPs. I wonder if Rock N Roll was just a “punk” reaction to his label: “You want me to rock? Fine, I’ll rock, here is a bunch of stuff I can fart out in a week, slap down on tape, and appease you.” Or is he just acquiescing? Either way, it’s no wonder this record (overall) stinks. Still, the three songs I noted are so good, so wonderful, so amazing, that I kept playing Rock N Roll. Take it for what it is, a loud record that rocks… like Journey or Boston. I love you Ryan Adams. Seriously. You are one of my favorites. No lie.

43. The Coral – The Coral 69.08
One of those UK hyped bands, that went absolutely nowhere in the US. This actually was released in the UK in 2002, but didn’t hit US shores (and special end caps at mass merchandisers with a super low price of $5.99) until 2003. The Coral play a unique brand of neo-Nuggets-garage and it’s pretty cool. I think the record suffers from an overly slick production that renders the songs a bit too pristine. “Goodbye” and “Dreaming Of You” are top notch, but the rest of the record treads water. Nevertheless, the band is quite young and offer up tons of potential.

42. Drive By Truckers – Decoration Day 70.92
Fairly standard alt.country guitar rock, but done very well. Like Whiskeytown (the greatest alt.country band ever), DBT jam classic rockers (“Sink Hole”, “Do It Yourself”, “Marry Me”) and melancholy ballads. Lyrically, DBT really succeed from a starkly honest anti-suicide ode to love-n-hate to advice from yer pops. The music and lyrics reflect the South, but reflect bigger than Lynrd Skynrd and The Allman Brothers.

41. Nada Surf – Let Go 67.17
Yeah, this record really snuck up on me, in that I was never entirely in love with it, but I never hated it. For some reason, it kept finding its way into my CD player. I barely even purchased this record, as all I knew of the band was that heinous Weezer knockoff tune, “Popular”. I listened to the record at the local record store’s listening station and was pleasantly surprised. Not really any super-strong songs, but quite a few really nice ones (“Happy Kid”, “Blizzard of ‘77”, “Fruit Fly”, “Blonde On Blonde”).

The Top Fifty Favorite Songs Of 2003 - Pt.5

Naturally, it is impossible to make a list that is entirely objective. A year or two ago, I discussed the futility of this exercise (creating a “best of” list) via e-mail with a friend. When he sent out his Top Ten Records of that year, he wrote: “No matter how hard you try, how scientific you get, there is no way to make them definitive. Even if you listen to 5,000 in any given year, there’s always a couple hundred that you haven’t heard, and no amount of last-minute scurrying is going to somehow compensate for months of missed listening.” I will admit that my list is nowhere near comprehensive. There are songs that should be on the list that were not included. There are songs that are ranked too high, others ranked too low. Still, I feel comfortable with saying these are my fifty favorite songs of 2003. I shall end this rambling and present the Top Ten. This is my list. Not yours. And if you don’t like it, then go screw yourself. Better yet, challenge yourself, and compile your own list. And share with others the life-giving songs that moved you.

10. “Miss Teen Wordpower” by The New Pornogrphers
Great pop songs have two things: a great melody and a great hook. “Miss Teen Wordpower” is such an utterly complete and fantastic pop song in that the melody couldn’t be more infectious and the hook couldn’t be huger (delivered by Neko Case with attitude and confidence that drips through your stereo speakers). The New Pornos raison d’etre is sheer unbridled energy channeled through the pop song idiom. This track begins innocently enough with rollicking drums, sweet vintage keys, and the gentle melody. It’s that hook that just propels the song into the stratosphere. The relentless pop attack shreds yer eardrums and moves yer feet.

09. “The Shy Retirer” by Arab Strap
The first second I heard this track; I fell in love with it. Aidan Moffat is known for his psychologically pitiful and sexually filthy lyrics, horribly beautiful vocals, and songs that move at snail’s pace. “The Shy Retirer” finds him stretching out and crafting an infectious, yet brooding, pop masterpiece. Wonderful strings, classic 60s horns, that cheap ass drum machine, and Moffat’s trademark vocals. The lyrics are no less pathetic than to be expected, but more quotable than ever. “You know I’m always moanin’, you jump start my serotonin” is the greatest couplet this side of Stephen Merritt.

08. “Go Ask Yer Dad” by The Tyde
The last minute thirty of this song is so remarkable, that shivers immediately run up and down my spine. The Tyde has melded the melodic tricks of their heroes into their own voice, and this reaches its pinnacle on “Go Ask Yer Dad”. Ric Menck’s (Velvet Crush) drumming serves as the perfect bottom; the proverbial glue holding the song together. The way he moves from hi-hat to crash cymbal on the changes, shoot. Darren Rademaker’s melody is smooth, quietly persistent. Excellent changes, each fitting into the whole of the song like a glove. The thirty-two second instrumental breakdown reflects what happens when a band is on. And I mean on.

07. “Crazy In Love” by Beyonce
From the colossal Jay-Z muggin’ intro to the hook-laden fadeout, Beyonce flaunts her undeniable talent. The song rips a funk, urban R&B, and hip-hop amalgamation with its thick deep beats, 70s horn riffs, and super-catchy melody. This is executed with a hell of a lot more style than Kelis or Ashanti could ever possess.

06. “House Of Jealous Lovers” by The Rapture
Jagged guitars, handclaps, rhythmic cowbell, and funky dance beat open this indie-post-punk-dance-rock track in full effect. The verse gives way to Gang of Four-ish angular guitar riffs, funky bass lines, and Luke Jenner’s Bob Smith cries of “House of jealous lovers!” It’s really nothing new, but when it’s executed this well and this precise, the song transcends derivative. There is nothing stale about the track – it has soul.

05. “Weakest Shade Of Blue” by Pernice Brothers
The track opens with a click of the sticks, then an acoustic and bass guitar pounding away on a single note, setting the stage for Pernice to launch into one of his best melodies. The way “Could it be so wrong, so wrong” falls out his mouth (with Laura Stein’s excellent background vocals serving as the perfect compliment), it’s sublime. The changes are subtle; yet, tug you hard with each occurrence. Pernice’s vocal performance is literally flawless, especially when he takes it up an octave or two and mournfully croons, “Weakest shade of bluuuue.” Unbelievable.

04. “Hey Ya” by Outkast
Talk about setting hip-hop on its ear! Andre3000 crafts the most addictive single of the year. An already respected and innovative rap superstar, he reaches back to the mid-60s and (unconsciously) makes an indie pop song, a daring excursion (this could have really flopped). Everything about this song is right, or is that “ice cold”? The bridge (“Shake it like a Polaroid picture”) is quirky and sexy all at once.

03. “Did I Say” by Teenage Fanclub
This Norman Blake composition is the best song he has ever written. The opening with just piano and Blake’s voice is lovely without being fey or precious. The melody is so simple, that you think it had to be written before … but it hasn’t. The super-quick drum fills that indicate the changes are a brilliant touch. Blake knows not to needlessly extend the song, as it clocks 2:24. Lyrically, it can be a tearjerker given the right circumstances. It’s difficult to put the greatness of this track into words as it succeeds musically, lyrically, and emotionally.

02. “Fish” by Daniel Johnston
While credit has to be given to Sparklehorse’s Mark Linkous for creating the sound of “Fish”, it’s still Johnston’s melody and words that form the meat of the tune. The song is unique with no real verse-chorus-verse structure, it alternates between a fuzz bass/keyboard passage then a full-on rock band passage and repeats. As wonderful and as cute as it is heartbreaking, the lyrics are great making this one of the best songs about unrequited love. “Shed a tear like blood on the floor, its only love & nothing more,” sings the courageously sad Johnston.

01. “That Great Love Sound” by The Raveonettes
One word explains this song: huge. Huge guitars, huge hooks, huge drums, huge bass line. Recorded in booming b-flat major, Sharin Foo and Sune Rose Wagner dominate all other songs released this year. This song isn’t great just because of the melody/hooks, but the sound is magnificent: just dirty and raw enough to give it an edge; the lead guitar riff is awesome; the thick fuzz bass rattle is most excellent; the key change is over-the-top exuberant. So entirely simple, so absolutely minimal, it’s mind-boggling that this song could be this good. “That Great Love Sound” is the sickest of the sick; the rockingest of the rock; the best of the rest.

The Top Fifty Favorite Songs Of 2003 - Pt.4

Late in 2003, I read a collection of writings by rock critic Griel Marcus. His style is very heavy for a rock writer – some have even called him “academic”. He incorporates his extensive vocabulary and knowledge of historical events, philosophy, and political theories into his record reviews, features, and essays to a point that may seem pretentious or uppity; still, the man is compelling, and even profound at times. One piece in that really inspired me was his review of Julian Lennon’s 1984 debut, Valotte. In this review (that was so much more than a review), he defines what makes a record “good” or “bad”. A good record is exemplified in the song itself, in the performance the singer/guitarist/etc. “wants what he or she wants, hates what he or she hates, fears what he or she fears, more than anything in the world”, thus impacting the listener to live “more intensely.” Conversely, a bad record “is so cramped and careful in spirit that it wants most of all to be liked.” While assembling this list, I considered Marcus’ criteria. I believe every one of these songs is “life-giving”, songs that moved me (and I hope would move you), and didn’t exist only to be “liked”.

20. “The Rest Of My Life” by Sloan
Let’s be honest, this is the kind of song you expect from Sloan: clean production, Beatles-esque elements, awesome harmonies, nice dynamics, hooky – overall, trad power pop. But this song is one of the bands finest. The lyrics perfectly encapsulate the push-n-pull of being an independent free-spirit faced with the reality of getting older and the inevitability of settling down; a soundtrack of my life.

19. “One Foot In The Grave” by Pernice Brothers
Joe Pernice is one of the greatest songwriters out there today. He is one of the few that can get the music and lyrics right; to be equally remarkable. This track moves, propelled by Thom Monahan’s rock solid bass line and Pernice’s flawless vocal performance. The changes are wonderful with Moon-y drum fills and tenderly jagged guitar riffs. The song closes with lots of great drum fills and Pernice moaning “With one foot in the grave…” This is good stuff.

18. “Where Have All The Rude Boys Gone?” by Ted Leo & The Pharmacists
Ted Leo, why did I ignore you for so long? Much has been made of his ability to take his hardcore roots and meld them with melody and hooks, so I won’t say anymore than: yeah, definitely. “Where Have All The Rude Boys Gone?” hits on both lyrics (smart, thought-provoking, reflect a sense-of-humor) and music (rocks hard, lots of great changes).

17. “The Best Of Jill Hives” by Guided By Voices
Uncle Bob has one of these every record – just an incredible pop song. The thing that really makes “Jill Hives” great is how the melody flows seamlessly, the song revolves, and it’s economic. Further, it demonstrates that Pollard hasn’t lost his ability to write a totally memorable solid pop song. The. This is why I keep buying GBV records.

16. “The Places You’ll Call Home” by The Ladybug Transistor
Totally out of left field comes The Ladybug Transistor, a band I’d written off long ago. This track is absolutely sick. Sasha Bell assumes lead vocal duty and the results are astonishing. As with so many songs on this list, it’s about a great melody, strong hooks, and a lyrical prowess that makes the song complete. Bravo, The Ladybug Transistor, you are the Comeback Band of the Year!

15. “Darts Of Pleasure” (Home Demo Version) by Franz Ferdinand
I chose this Internet-only version due to its sheer raw power. Glasgow’s FF are being hyped in the UK, but it’s completely deserved. They are lumped with the current hip post-punk-dance-rock milieu (Interpol, The Rapture, etc.) as they reflect influences of Joy Division, Gang Of Four, and Wire. The thing that separates FF is they are bent on melody (albeit in a post-punk-dance-rock milieu sort of way) and a more traditional pop song structure. Lots of energy that demands the song to be played loud.

14. “Come To This” by The Sleepy Jackson
Aussie Luke Steele (is that a comic book name?) made one of the best records of the year, and this track is a time-warped Beatles jamming with The Orgone Box. Wonderful thick piano, fucked up pseudo-steel guitar, classic 80s alterna descending guitar riffs, and little weirdo plunks and plinks underneath it all. The song sticks in yer head, compelling you to hum it on the bus or walking down the street or as you nod off to sleep.

13. “Being Number One” by Black Box Recorder
The second time Luke Haines, John Moore, and Sarah Nixey appear on my list. This song is a wonderful sarcastic, cynical, satirical jab at the American Idol/Pop Idol phenomena. Nixey sings from the perspective of a newly christened pop star about the ups and downs of “being number one.” Nixey and Haines sing a sort of Pop Idol Beatitudes: “God bless the public, God bless number one, God bless the radio, God bless TV, God bless parking money…” Brilliance. Sheer brilliance.

12. “Step Into My Office, Baby” by Belle & Sebastian
A sly and un-p.c. tale of sexual office politics that succeeds on so many levels: lyrical, musical, personal, etc. The glam stomp juxtaposed with Stuart Murdoch and Stevie Jackson’s vocal interplay and strings and acoustic guitar and horns, oh my, makes for a gripping track! This is the best B&S has been since If You’re Feeling Sinister.

11. “In Da Club” by 50 Cent
“Go shawty, it’shyerberthday/ we gonna party like it’sherberthday…” a universal hook line, who doesn’t want, no expect, to party when it’s your birthday? The track is film noir soundtrack meets Dre beats, bloody menacing. 50 Cent’s monotone flow is fresh, especially when he throws an odd inflection (up or down) for no apparent reason. The rest of the lyrics are almost as ludicrous as “Hot In Herre”, but who cares? It’s that beat, the bridge, and that hook.

Next: The Top Ten. I'm getting goosebumps.

The Top Fifty Favorite Songs Of 2003 - Pt.3

Recently, I attended an in-store acoustic performance by Super Furry Animals at Let It Be Records in downtown Minneapolis. It wasn’t too great – they didn’t want to play songs that they would be playing at the show later that evening, so, they took requests. It became humorous as people would yell out songs and the reply would be “We don’t know that one anymore” or “That’s too complex to play”. A couple songs were pretty decent (especially their acoustic version of “No Sympathy”), but most were songs where lead singer, Gruff Rhys, forgot the words and even the melodies. When they did play a song, it was amazing how it sounded like the previous song. As a matter of fact, you could really see their “formula” being unveiled. The thing is: I have always considered SFA to be a group that has so much diversity in their songs despite utilizing electronics, various effects, and sound warps. Strip it all away, and the core of each song would be unique. Now I don’t think that is the case, they have their formula. And I don’t think that is bad, but it made me think about what makes a great song great. It’s not just the melody and the hook and the chorus, but it’s also what you do with the essence of the song.

30. “Little Red Light” by Fountains Of Wayne
Forget that novelty crap “Stacy’s Mom” (yeah, funny lyrics – cue giddy high school-ish laughter). This song has a tremendously huge hook, lots of power in its pop, and only slightly jokey lyrics. There’s a definite early 90s Redd Kross in this track. I found myself listening to this track several times in a row every time I played it.

29. “Which Of The Two Of Us Is Gonna Burn This House Down” by The Star Spangles
The Replacements meets The Exploding Hearts; Ian Wilson’s vocals are drunk and stoned and gritty as hell, but still carry a trashy classic-rock-punk-pop melody. The rapid-fire vocals on the verses are great, the guitar riffs are hot, and this thing moves. When I first caught wind of the Strokes bringing a “garage-rock-revival”, this is what I thought they would sound like.

28. “Make Her Day” by The Go-Betweens
Pure pop. The Go-Betweens second comeback record Bright Orange Bright Yellow is slightly disappointing, but this track reflects how damn good the band is when they play to their strengths: dynamic shifts, languid vocals, and melody, melody, melody.

27. “The Supermarket Strikes Back” by Mull Historical Society
Scotsman Colin MacIntyre makes another really strong record, Us, in 2003 and this song is just amazing. The changes are so smooth and always take the song to the next level. In the middle of the song, he goes from verse to chorus to bridge to chorus and the song just gets bigger and bigger. Grocery shopping, mower blade sales, drug use, and spiritual awakening, what more can one ask for in a pop song?

26. “Light On The Right” by The Vells
From my article on The Vells for Bandoppler Magazine: “The songs dig into your ears, discerning music listeners: words and melody co-habitate, one moment embraced in blissful love, the next locked in struggle over implications and secrets. The instruments are tight yet subtly absurd: there is push and pull, ying and yang, Dark and Light in the songs, and it moves you, makes you actually listen. This is not an easy task; it took about a dozen listens for me to comprehend this juxtaposition in pop songs. It’s this paradox, the sugary surface joined to elegiac flesh, that can be disconcerting and enables easy dismissal (“another twee-indie-pop sissy band”), but if you allow yourself to listen, you find there is much more going on.”

25. “Time For Heroes” by The Libertines
I’m not gonna let the hype deter me from enjoying great songs! The Libertines were/are/were hyped by the UK press and it spilled over a bit to the US, but I think their record flopped. “Time For Heroes” is definitely an homage to The Clash, but this song doesn’t lean too heavily (it’s a fine line). Classic mid-70s punk with a nice 21st century touch, the song is infectious, fun, and great to crank up.

24. “Golden Retriever” by Super Furry Animals
These eclectic Welsh sonic pop obscurists craft a wonderful single that is surprisingly straightforward. I love the swamp-R&B-boogie chorus, the acoustic guitar on the verses, and the cacophony of swirling guitars and vocals to close the song.

23. “The Band” by Mando Diao
Carrying a heavy dose of Tom Jones into the neo-Nuggets-garage-rock-revival, Mando Diao makes a perfect Saturday night record (thanks Marc). Driving, musical, passionate, catchy – this commands a big time sing-a-long. The vocals and the driving guitar on the chorus really blow my coal.

22. “Grace” by Supergrass
Many would say this is way too derivative, but I’m too old to care anymore. Yep, Ziggy Bowie, Warrior T.Rex, and 70s glam stomp typify this hip-shaker. The worst part of the song is that it’s almost too catchy. This song is not just a revival, it’s a celebration of rock’s reckless abandon.

21. “Reptilia” by The Strokes
No excuses, this is a great song. “Reptilia” shows that Julian Casablancas can inject some energy into his songs. The guitar solo at the 1:50 mark is one of my favorites of all time; especially how the rhythm guitar keeps going. The tension is what really gets me into the song: tense vocals, tense guitars, tense drums, tense bass line… I could listen to this anytime, anywhere.

The Top Fifty Favorite Songs Of 2003 - Pt.2

This is the first time I really sat down and tried to do a list of my favorite songs from the past year. Like I have said before, it was very difficult. Basically, I put 150 songs into a playlist on my iPod and went through them at work on random play (I did this several times over a couple weeks… seriously). Eventually I got the list down to 50 songs. It was tough. One thing that I learned about songs while doing this: the songs you think are great, may only be great in the context of the record, but don’t stand out as strong on their own. Intuitively, I kind of suspected that, but it was really pronounced after doing this exercise.

40. “Henry VIII” by The Tyde
Great intro!! When lead vocalist Darren Rademaker comes in with his wavering “NOW…” and the band launches into the verse, I wanna boogie down. A song that shows their Felt influence (see “Crystal Canyons” too), but it’s tweaked with a bit of REM jangle and Velvet Underground attitude. Also, love the keyboard breakdown that goes into that light Felt-y guitar line. Tight as hell too.

39. “The Reasons” by The Weakerthans
BIG violent power pop guitar riffs makes me slobber like a giddy tween boy admiring the girls at a gymnasium dance. Love how the lyrics are consciously cheesy, but entirely sweet: “I know you’d roll your eyes at this, but I’m so glad that you exist.” Love that.

38. “The School Song” by Black Box Recorder
Shoot, Luke Haines’ lyrics and music are something to behold. He slaps you with this sexy-punk-synth-pop; it’s so funny, but the point is clearly made: you don’t know shit. Sarah Nixey’s vocals are killer, sexy, full of attitude: “Wipe that idiotic smile off your face. When here you do what I say…” yes, Ms. Nixey, spank me again. Oh, the sweet arrogance of “Destroy your record collection, it’s for your own protection” is immaculate.

37. “Girl, You Shout!” by Dressy Bessy
From the amplifier hum to the overdriven guitars to Tammy Ealon’s excellent vocals (that hint of a rasp!), this song delivers indie pop perfection. This is as good as the best songs by The Apples In Stereo (the quintessential and best indie pop band ever). I love it when DB rocks out – so cute, but so tough.

36. “Me And Jesus Don’t Talk Anymore” by Beulah
A difficult song. I don’t know about the long minor plodding intro, but once the song gets going at the 1:20 mark, it’s a hot track! Miles Kurosky’s vocals and lyrics are, well, awesome. Nice touch with the pedal (lap?) steel, fuzz bass riff, and then the song just builds and builds so wonderfully. Almost a country boogie with orch-pop flourishes. There’s a lot of tension here.

35. “Billy Liar” by The Decemberists
“Billy Liar’s got his hands in his pockets, staring over at the neighbor’s knickers down”, sings Colin Meloy. The Decemberists are so weird! KNICKERS? I always think of some weird post-Civil War Era something or another when I hear the records by this Portland band. The key to the greatness of “Billy Liar” isn’t the odd lyrics, but the odd melody and changes – and it’s hooky; a tremendous concoction.

34. “Turn A Square” by The Shins
This song rocks! It’s like the prog Sunny Day Real Estate meets the Shins own acoustic rock, and the hooks are so there. Again, lots of tension going on, and the song revolves effortlessly. Top notch.

33. “The Road Of Love Is Paved With Banana Skins” by BMX Bandits
Absolute truth in the title of this song. Kindred spirit (and collaborator) of Teenage Fanclub, Duglas T. Stewart has recorded a super-duper ultra-terrific twee Beach Boys/Scottish Power Pop song. The economy of this song is tops, great melody, great bridge, great hooks all in under 3 minutes.

32. “Do It Yourself” by Drive-By Truckers
A down and dirty and heartfelt anti-suicide ode from the very good record, Decoration Day. While pretty standard alt.country.rock, the grittiness and the lyrical intensity propel this into a must hear. I do think there are better songs on the record, but this one always moved me more than others.

31. “Testament To Youth In Verse” by The New Pornographers
A Dan Bejar composition that swings. Bejar’s contributions to the New Pornographers are always more eclectic, big on Hunky Dory inspired melodies (yet still idiosyncratic), than Carl Newman’s songs. The wonderful coda of “The bells ring no-no-no-no-no-no-etc.” is a surreal “round” sung in a school for brain-fried acid freaks that swells to heaven’s gates.

The Top Fifty Favorite Songs Of 2003 - Pt.1

I made a resolution to keep this blog updated on a regular basis, yes, I did! And I have failed so miserably. Naturally, I have a million excuses (well, that's a bit hyperbolic, actually, I have about four or five excuses, but it feels like a million). Well, I refuse to disappoint and will be making up for big time over the next two weeks. It is true! Tons of content will be posted Monday - Friday for the next two weeks. And I have a theme, even!

After much consternation, much preparation, much deliberation, I have complete my Best of 2003 lists and I will be posting them throughout the next two weeks. This week (02/02/04 - 02/06/04) will be my Top Fifty Most Favorite Songs of 2003. Inspired by readings of Mr. John Peel's Festive Fifty and Pitchfork Media's publication of their lists, I sat down with 125 of my favorite songs and ranked them, whittling it down to 50. It was one of the toughest things I have ever done. My brain hurt after about ten iterations, but I finally settled on fifty songs ranked in an order that I could defend while simultaneously being satisfied. I will be publishing the list, ten at a time, over the next five days. As they say in show business, without further ado, #50 through #41:

50. “So Says I” by The Shins
The Shins go fairly straightforward on this wonderful indie pop song; high energy, great vocals, and that big “Whooo-ooo-oo”; while the “single” from the excellent Chutes Too Narrow, though it isn’t the best song on the record.

49. “All Of Your Days Will Be Blessed” by Ed Harcourt
Sometimes hearing a song live makes you pay closer attention when listening to the record. This is definitely the case with “All Of Your Days Will Be Blessed.” The melody rises and falls and rises to the driving chorus. Odd glockenspiel riffs and Harcourt’s excellent vocals, make this a must hear. It was a brilliant move for Harcourt to leave in the “background” wheezing and squeaking of the mellotron on the intro.

48. “All You Need Is Hate” by The Delgados
Brilliant hook. The Delgados have an uncanny ability to over-orchestrate, but make it sound so natural. As evidence: this track. Lovely and biting.

47. “Love In Veins” by Ian McCulloch
I know this dude who says, “Ian McCulloch could sing the phone book and it’d be great.” I concur, his vocals are as great as ever. This upbeat rocker with air-guitar inducing leads, nice touch of orchestration, and a great vibe. To anyone who has fallen in love, this song captures the feeling perfectly (the double entendre “I got you under my skin” acknowledges the joyous unity, fear, and irritation).

46. “Back To The Future” by The Joggers
Where did these guys come from? Not really a singles band (the songs are best appreciated in the context of their full length), but this warrants inclusion for the wonderful four-part-indie-pop-post-punk-harmony breakdown just past the halfway point of the song. Spine tingling. Just so out of left field that you can do nothing but say, “That is so cool!”

45. “Because You” by Cosmic Rough Riders
Pure glossy Scottish power pop here; nothing new at all (actually, they may be treading too close to Teenage Fanclub’s sound), but who cares. Insanely catchy, totally sing-a-long, and a great hook; definitely a tremendous song to roll down all the windows and crank up in the car on a summer drive. Nice lyrics that aren’t as sweet as they appear to be.

44. “Spiraling Sideways” by Centro-Matic
Centro-Matic scores no points for originality, but they more than make up for it crafting an excellent indie rock rocker. The thing that really gets me with this song is the changes; so utterly familiar but executed with such ferocity, I can’t help but snap my head back and purse my lips. “Awlright!”

43. “Fractions & Feelings” by Stephen Malkmus & The Jicks
What happened on Pig Lib? This track is from the limited edition EP that was packaged with the aforementioned record. This tune is wonderfully classic Malkmus – but older, more mature (in a good way). Love the acoustic guitar and piano juxtaposed against the angular guitar line. It’s much better than any track on Pig Lib, and way too good for an EP. Oh well.

42. “Crackle & Drag (alt. Version)” by Paul Westerberg
From Come Feel Me Tremble, Westerberg puts a “rock” version right in front of this quiet mostly acoustic version that kills that noisier take. Lyrics are the kind we expect from Westerberg, depressingly funny, poignant, a storyteller song (add this to his great story songs like “Androgynous”, “Here Comes A Regular”, “Skyway”, “Johnny’s Gonna Die”, etc.). Love the ending with Westerberg’s annoyed, lazy “Yeah” to a phantom “Paul are you down there?”

41. “Now It’s On” by Grandaddy
Like The Shins, Grandaddy plays it pretty much straightforward on this tasty pop single. Lytle acted like he hated the song when he introduced it at Grandaddy’s show at First Avenue in Minneapolis. What a dork. STILL, the song’s sweet, descending ELO sponged chorus is what really gets me. Add to it that driving fuzzed out guitar riff and, yeah, it is on.

Stay tuned, tomorrow will be #40 - #31 ...