==== ISSUE 132 ====    CONSUMABLE     ======== [December 18, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
  Correspondents:     Daniel Aloi, Joann Ball, Tracey Bleile, Lee 
                      Graham Bridges, Scott Byron, Patrick Carmosino, 
                      Krisjanis Gale, Bill Holmes, Eric Hsu, Tim 
                      Hulsizer, Robin Lapid, Stephen Lin, Scott Miller, 
                      Linda Scott, Rainier Simoneaux, Scott Slonaker, 
                      Simon Speichert, Jon Steltenpohl, Simon West, 
                      Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
Editor's Summary of 1997 / Consumable Online's Top 5.
	Individual Top 5 Lists
Daniel Aloi - Martin Luther Lennon, Whiskeytown, Beat Angels, 
   Saturnhead, Ben Folds Five
Joann Ball - Olive, Love Spit Love, Salt-n-Pepa, Prodigy, 
   Catherine Wheel
Tracey Bleile - Verve, Dandy Warhols, Whiskeytown, drivin n'cryin, 
   Refreshments
Lee Graham Bridges - Howie B, Aphex Twin, Moby, Negativland, 
   Nick Cave & The Bad Seeds
Bob Gajarsky - Space Monkeys, Space, Meredith Brooks, Artificial 
   Joy Club, Monaco
Bill Holmes - Montgomery Cliffs, Radiohead, Richard X Heyman, 
   Pursuit Of Happiness, Michael Shelley
Tim Hulsizer - Belle & Sebastian, Pavement, Squarepusher, Baby Bird, 
   Grant McLennan / Radiohead
Tim Kennedy - Teenage Fanclub, Verve, Oasis, Sundays, Seahorses
Reto Koradi - Patent Ochsner, Mark Eitzel, Faith No More, Pat 
    MacDonald, Radiohead
David Landgren - Tranquility Bass, Baby Bird, Luscious Jackson, 
   Divine Comedy, Laika
Sean McGill - Prodigy, Jane's Addiction, Rollins Band, Deftones, 
   Depeche Mode
Scott Miller - Old 97s, Walt Mink, Martin Luther Lennon, Ron
   Sexsmith, Honeydogs
Al Muzer - The Hutchinsons, Birdbrain, World Party, Dots Will
   Echo, Sloan
Linda Scott - Rolling Stones, Paul Rodgers, Alice Cooper, 
   Sammy Hagar, Carnival
Joe Silva - David Byrne, Bjork, Julian Cope, Belle & 
   Sebastian, Cornershop
Scott Slonaker - Radiohead, Foo Fighters, Guided By Voices, 
   Ben Folds Five, Sarah McLachlan
Jon Steltenpohl - Ani DiFranco, Frank Sinatra, Devlins, 
   Madeleine Peyroux, "The Artist"
Simon West - Verve, Oasis, Prodigy, Charlatans, Space Monkeys
Lang Whitaker - Bjork, Ben Folds Five, Rev. Al Green, Radiohead, 
   Victor Wooten
Back Issues of Consumable
---
	Editor's Summary of 1997.

	In the annals of music history, it is doubtful 1997 
will appear as more than a blip on the radar.  Most writers 
for Consumable echoed similar sentiments - the music that 
landed out there and caught our ear, for the most part, didn't 
sell gadzillions of albums, and the artists didn't meet with 
the royal family.  Staffer Scott Slonaker may have summed it 
up best when he noted that 1997 was more carried by singles 
than albums - not in terms of quantity sold, but in terms of 
quality.
	We can look back at 1997 as a year when a band which 
formerly said "Fuck E.M.I." was signed - outside the United 
States - to EMI, and landed a worldwide hit with "Tubthumping".
Who'd have thunk the anarchists would have a song that would 
be played right alongside Gary Glitter and KC & The Sunshine 
Band at sporting events?
	It also was kiss-up time to major artists such as U2. 
_Pop_ was released to international acclaim and fanfare by the
media, but that quickly fizzled as people realised that it just 
wasn't anything that spectacular.  
	R.E.M. became a three-legged dog with the departure 
of their drummer; Prodigy had a huge multi-album signing (due 
to the media's realization that electronica is 'the next big
thing') to Madonna's label, Maverick; a somewhat rushed Oasis record 
wound up being overshadowed in many circles by the band the 
Gallaghers helped bring back to life, the Verve; the Wu-Tang Clan 
dominated clothing racks and record charts without a loss of integrity.  
Ska gained a much larger fan base due to Reel Big Fish, Buck O'Nine, 
Sublime and veterans Mighty Mighty Bosstones, and finally, the
Jackson 5 were somewhat re-incarnated as a white trio from the 
Midwest known as Hanson.
	Those are some of the events which helped shape 1997.  
But rather than merely skim through the big events, we've included 
a brief mention by each writer of their top 5 albums of the year - 
and why those records made their top 5 list.  Take a look, see 
which ones you haven't listened to in 6 months (or those 
that you haven't heard at all!), and remember...we'll do it all 
again next year.
	Thanks to all our loyal readers and staff members for 
supporting the Internet's oldest music reviews publication, Consumable 
Online. - Bob Gajarsky, Editor In Chief.
---
	Consumable Online's Top 5 of 1997:

1) Radiohead, _OK Computer_
2) Verve, _Urbal Hymns_
3) Prodigy, _Fat Of The Land
4) Bjork, _Homogenic_
5) Ben Folds Five, _Whatever And Ever Amen_
---
	Top 5 - Daniel Aloi

	1) Martin Luther Lennon, _Music for a World Without 
Limitations_ (NotLame): Insanely great, crazily catchy pure pop 
from a Southern California madman. Tony Perkins (his real name) 
leads a crack band and reels out 12 hook-happy tunes as he sings 
from the point of view of a schoolyard sniper, a gun-happy NRA 
zealot, a high schooler with a devastating crush, and a guy who 
badly wants his medication. All in good fun, at least musically. 
	2) Whiskeytown, _Stranger's Almanac_ (Outpost/Geffen). 
Signed after No Depression magazine flat-out loved their 1996 
indie release _Faithless Street_ and sponsored a national tour, 
this Raleigh, N.C. band has seen two major lineup changes since 
that album was recorded. But the ever-popular tortured artist 
effect is still in place for young twentysomething singer and 
songwriter, Ryan Adams. His high and lonesome romantic pleas, 
set to fiddle and pedal steel tears, are born of quiet and 
cathartic desperation -- from "16 Days" and "Excuse Me While I 
Break My Own Heart" to "Waiting to Derail." Less rock and twang 
than sturm und drang, but I like it. And somehow, not quite as 
downcast as Son Volt.
	3) Beat Angels, _Red Badge of Discourage_ (Epiphany). 
The kind of power pop band I could only dream about before it 
actually existed - in Tempe, Arizona, yet, home of overmatched 
bar bands like the Gin Blossoms. The Beat Angels' 10-song 
followup to "Unhappy Hour" quotes liberally from the Who, Kinks 
and a vinyl melting pot of '70s poptopia (their logo even apes 
Cheap Trick). Guitarist Michael Brooks, singer Brian Smith and 
their pals are on a mission of retro-awareness in bashing 
"Saturday Punks" ("dumber than junk/Don't even know about 
Strummer and Jones") and in other nasty little digs Smith takes 
in songs like "My Glum Sugar-Plum" ("She looked like Marianne 
Faithfull in 1967..."). Probably the best album The Figgs never 
made. 
	4) Saturnhead, _Introducing... Arizona's Thin Mistake_ 
(Resolution). Vancouverite Terry Miles (guitarist for Cinnamon / 
The Kelley Affair) hunkered down all alone with his 4-track in 
mid-1996, and came up with this -- 43 perfectly realized song 
snippets that add up to a conceptual spin across a nonexistent 
AM dial. Miles did it all -- save for one of the songs, from Marq 
DeSouza's 4-track, and a couple of background vocals. And it's 
incredible, as a sequence of unvarnished little pop gems that 
don't sound "lo-fi" at all. Lots of Beatles-Kinks-Big Star 
touches; listen for the Bowie tribute "The Golden Age of Mars." 
The newest Minus 5 album almost won this slot in my list, for 
the same variety, Kinks-like concept and execution -- albeit 
with studio time, an all-star band and longer and fewer songs.  
This seemed the more worthy achievement.
	5) Ben Folds Five, _Whatever And Ever Amen_ (Sony 550). 
A Chapel Hill, N.C. songwriter whose young, brash, very '90s 
attitude rests atop an amalgam of piano-pop influences - Gershwin 
and Todd Rundgren, Elton John and Joe Jackson, Vince Guaraldi 
and many more. You won't find too many popular songs that say 
"Kiss my ass - goodbye" ("One Angry Dwarf and 200 Solemn Faces") 
and "Fuck you too -- giveme my money back, give me money back, 
you bitch" ("Song for the Dumped"). Neither will you find many 
melodies as achingly beautiful as "Brick," "Fair" and "Smoke." 
A trio, not a quintet -- and one of my favorite live bands of the 
past two years.  In them I find new hope for pop music being 
popular again. 
---
	Top 5 - Joann D. Ball

	1) Olive, _Extra Virgin_ (RCA). Trip-pop with all the 
right flavors.  Olive's Tom Kellett and Ruth-Ann Boyle are 
heavily influenced by sweet soul music and it shows as they 
incorporate dub reggae, drum & bass, and ambient into the 
grooves.  "You're Not Alone" was the only single I heard on 
the radio this year that sent me into the record store for 
the full-length release.  As a fan of melody and intelligent 
lyrics, it was a pleasure to find all of this plus great music 
under the umbrella category "electronica."  A must have debut 
disc that is perfect for all moods and activities.
	2) Love Spit Love, _Trysome Eatone_ (Maverick). This 
stellar sophomore release from Richard Butler's new band Love 
Spit Love is on par with his finest work with The Psychedelic 
Furs.  Butler's classic rasp is  skillfully complemented by 
collaborator Richard Fortus' fretwork and a tight rhythm 
section - a combination that produces all the right textures 
and layers.  On _Trysome Eatone_, the quartet delivers a 
collection that is emotional, mature and poetic.  Radio singles 
"Long Long Time" and "Fall on Tears" are mere samples of this 
incredible offering.
	3) Salt-n-Pepa, _Brand New_ (London/Red Ant).  The mike 
sounds nice indeed!  Cheryl "Salt" James, Sandra "Pepa" Denton 
and DJ Dee Dee "Spinderella" Roper are in full effect on their 
fifth release.  They enjoy a new sense of direction and creative 
freedom while exploring the diverse territories of rap, R&B, 
pop, rock and gospel.  Salt-n-Pepa continue to express 
themselves and remain  upfront and honest with their demands, 
needs and desires.  Lead single "RU Ready" is only the beginning 
of this hour long celebration of life, faith, sexuality.
	4) Prodigy, _Fat of the Land_ (Maverick/Warner Bros.). 
Hailed as the electronica record that finally broke the sound 
barrier in U.S., Prodigy's aggrotechno had the edge that 
Americans needed to hear.  And it didn't hurt that the band 
had a video poster boy in the form of Keith Flint with his 
Johnny Rotten-come-lately looks.  "Firestarter," with its Art 
of Noise sample, and "Breathe" were the mega hits here.  The 
new single "Smack My Bitch Up" and its controversial video are 
currently generating a new wave of attention and publicity for 
the band and the record.  But it's too bad that "Diesel Power" 
was probably considered too rap-oriented for alternative rock 
radio because Prodigy owes much of its power and sound to rap 
pioneers Public Enemy.  In fact, there are moments during 
"Breathe" when I swear I hear Chuck D. shouting "Bring the 
Noise!" After all, that's what Prodigy is all about.
	5) Catherine Wheel,_Adam and Eve_  (Mercury).  _Adam 
and Eve_ is Catherine Wheel's fifth release and the most 
ambitious one to date.  A superbly crafted concept album which 
explores the range of human experiences and emotions, it 
features short transitional pieces between songs which provide 
flow and cohesion.  From the sweeping rises and falls of "Future 
Boy," through the crashing and pulsing of lead single 
"Delicious," to the atmospheric "Ma Solituda," this record 
earns its place in the cd changer.  Complex and intricate, 
it's guaranteed that you'll discover something new during 
every listen.
---
	Top 5 - Tracey Bleile

	1) The Verve, _Urban Hymns_ (Virgin). The Verve 
are reunited, clean, and sober, and have made this hands
down the most emotional release of the year - both in 
content and the surrounding energy.  Despite the flap over 
the "Bitter Sweet Symphony" sample, these songs are highly 
original and pack an auditory wallop.  More than just 
beautiful noisemaker shoegazers, the Verve have filled this 
album with joy and thunder (thank you Mr. Stipe, for saying 
it better than I can).  A must-have.
	2) Dandy Warhols, _...the Dandy Warhols come down_ 
(Capitol). The eerie synths and layers of rhythms haunt you 
like a white noise daydream you don't want to wake from.  
Their irony-laden anti-drug single "Not If You Were The Last 
Junkie On Earth" was one song I didn't mind coming across on 
the radio. Play this one loud at a big party, and everyone 
will be moving, I guarantee it.
	3) Whiskeytown, _Strangers Almanac_ (Outpost/Geffen). 
Highly evocative of Uncle Tupelo.  That said, where it lacks 
originality, it's the strongest Americana offering this year.  
I was depressed beyond belief - no pun intended - with 
everything put out by originators; Jayhawks, Son Volt and 
Wilco all bored the hell out of me.   A great many of the 
songs on this release will conspire to make you wrap your 
arms around yourself and fight off the corny lump in your 
throat.
	4) drivin n'cryin, _drivin n' cryin_ (Ichiban). Proof 
positive that true talent will shine through any set of 
circumstances.  Kevin Kinney is one incredibly talented 
songwriter/troubador, and this self-produced and released 
effort is as strong as anything done under the relative 
safety of the major umbrella.  Worth seeking out, as I don't 
think it's getting a lot of promotion.  
	5) Refreshments, _The Bottle & Fresh Horses_ (Mercury). 
I owe Al Muzer an apology.  I didn't want to like this album, 
but the banditos from Tempe snuck up on me and clopped me over 
the head with the attitude stick on this one.  This release 
didn't so much shake the sophomore jinx as simply danced 
around it.  They don't make huge leaps and bounds from the 
debut, but they definitely shown they're a lot more than a 
novelty rock n'roll act.  Al, you were right - "Heaven or the 
Highway Out of Town" is one of the rockingest songs of the year.
----
	Top 5 - Lee Graham Bridges

	1) Howie B, _Turn The Dark Off_ (Island).  What should 
be said about Howie B first and foremost is that he is 
reinvigorating a dying scene. While _Turn The Dark Off_ may be 
less in the burdensome "electronica" category due to its lack 
of techno cliches, it is this exact originality that breathes 
life into authentic techno and gives new meaning to the word 
"progressive".  This album is the yin to the yang of _Music 
For Babies_, his last album, which was an ambient set, and 
unfortunately, not nearly as representative of Howie's 
personality in composition, which can be seen through his 
extensive work with Massive Attack, Bjork, Tricky, U2, and Brian 
Eno as well as _Turn The Dark Off_.  Here the rhythm is set in 
motion, and it is the beats that make this album such a dazzle.  
It's only too bad that _Turn The Dark Off_ can't be ranked 
higher than #1--this one is a must have.  Check out 
http://www.howieb.co.uk for more info.
	2) Aphex Twin, _Come To Daddy_ (Warp!).  Richard James 
has developed a routine of one-upping himself on every record 
he produces.  To describe the evolution of the music he has 
produced would take too long; it suffices to say that _Richard 
D. James_, the last one, showed an enhancement of the dynamic, 
frenetic qualities of Aphex Twin repertoire.  In addition to 
this, _Come To Daddy_ supplements the music with a dose of pure 
insanity, proven by the wild screaming and promises of "I will 
eat your soul" in the main mix of the title track, and tracks 
like "Funny Little Man" as a whole (the madness is beyond 
description here).  _Come To Daddy_ demonstrates the creative 
ingenuity that will ensure James always has an audience without 
being spoiled by the grubby hands of the mainstream.
	3) Voodoo Child/Moby, _The End of Everything_ (Elektra).  
The widely revered Moby revived an older monicker to present the 
side of his music that always appears (even on his 
proto-hardcore guitar oddity _Animal Rights_) but never fully 
develops on his other records.  Most tracks unfold very slowly, 
reach their climax and fade without creating much fuss.  
"Reject" is an 18-minute long ambient set comparable in its 
sparseness only to his _Underwater_ disc included with some 
copies of _Everything Is Wrong_.  "Slow Motion Suicide" is a 
humbling, unforgettable track.  _The End of Everything_, as 
Moby intended, is a hidden gem in the glut of electronic music 
on shelves today.
	4) Negativland, _Dispepsi_ (Seeland).  While Negativland 
do perform actual _songs_ on the album, it is the sound collages 
that make _Dispepsi_ one of the best albums of 1997.  Clips from 
commercials, talk radio, promotional voiceovers and the like 
serve to poke extreme fun at American advertising and 
commercialism and the ways they interface with everyday life, 
although most of the joke is on the soft drink industry. 
Distorted, juxtaposed celebrity voices and other soundbytes 
repeat to an annoyingly hilarious effect, as background music 
switches back and forth and continues slightly off-beat 
underneath it all.  An absolutely brilliant album.
	5) Nick Cave & the Bad Seeds, _The Boatman's Call_ 
(Mute/Reprise).  Nick Cave, the prince of darkness from "down 
under" returned early in the year with the "Bad Seeds" to produce 
a maturely beautiful album of minimal texture.  Simple melodies 
effortlessly produced from piano, bass, and occasional drums 
accompany Nick's rich, authentically moving vocals as he sings 
tales of lust, love, and loss.  "Idiot Prayer" is an instant 
classic.
---
	Top 5 - Bob Gajarsky

	1) Space Monkeys, _The Daddy Of Them All_ (Interscope).
If someone fell asleep for the past ten years and wanted to know 
the history of British music in 1 hour, this is the disc to 
give them.  The amazing part is that while Oasis, Blur and the 
Prodigy are getting all the hype, Manchester's latest export is 
the one that deserves all the credit.  And if you absolutely 
need to get your Oasis fix, they periodically have the Gallagher 
snarl on their songs.
	2) Space, _Spiders_ (Universal).  Included in some writers' 
1996 list by virtue of its early release in Europe, the 
category-defying _Spiders_ saw a 1997 issue in the States.  
Space appeared in the Austin Powers movie ("Female of the Species"), 
and could have been just at home in Jackal.  Absolutely 
underrated.
	3) Meredith Brooks, _Blurring The Edges_ (Capitol).  
Sure, she sometimes sounds like Alanis.  But more often than not, 
Brooks establishes her own identity in a world where female 
singer/songwriter/guitar-players are becoming a more common 
occurrence.
	4) Artificial Joy Club, _Melt_ (Interscope).  "Sick and 
Beautiful" was the warped single, but lead singer Sal hits all the 
right chords on tracks like "Skywriting" while the line between 
pop and alterna-rock is blurred even further.
	5) Monaco, _Music For Pleasure_ (A&M).  Peter Hook gets 
his revenge on those who thought he couldn't do anything significant 
outside the shadow of New Order.  The leadoff single "What Do You 
Want From Me" is brilliantly derivative New Order, while "Buzz 
Gum" is more traditional Britpop.  New Order afficionados are 
probably still worshipping this disc.
---
	Top 5 - Bill Holmes

	1) Montgomery Cliffs, _Andiamo_ (115).  A low-budget, 
high voltage masterpiece from a three-piece NYC band, The Cliffs 
parlay the guitar-bass-drum formula into something much greater. 
Great songs, whip-crack musicianship and a sense of humor that 
rocks your world and still makes you think. And the best part? 
They're better live. This disc kept getting back in the player 
all year long, and how better to measure your favorite?
	2) Radiohead, _OK Computer_ (EMI/Capitol).  I thought 
last year's record was a bold statement but this one tops that. 
Call it a rock opera or a concept record or just an amazingly 
intense piece of music, but NO ONE else is making records like 
this in 1997. Thom Yorke's vocals are mesmerizing, and the 
guitar work takes each song into another dimension. If you 
haven't, let this one grow on you, and you will be richly 
rewarded.
	3) Richard X Heyman, _Cornerstone_ (Turn-Up).  This 
will come out in 1998 on Permanent Press Records with an 
additional track, and I considered holding off until then, 
but I've had this version for almost the entire year. Pop genius 
Heyman was sorely missed but has returned with his strongest and 
most complete work to date. A song cycle about love, loss, and 
our place in time, Heyman again takes his place among our 
greatest songwriters.
	4) The Pursuit Of Happiness, _The Wonderful Word Of The 
Pursuit Of Happiness_ (Iron Music).  No one writes about 
unrequited love like Moe Berg! Fourteen brief snips of wonder 
that segue together into a thirty minute tour through angst, 
heartbreak, love and bitterness. Rocks hard, smiles sweetly, 
and shines with the most unique harmony vocals in rock. Canada's 
treasure should be everybody's baby.
	5) Michael Shelley, _Half Empty_ (Big Deal).  Imagine 
Jonathan Richman fronting the Fountains of Wayne and you can get 
an idea of the wry and wonderful Shelley. Took me completely by 
surprise, but his knack for a hook combined with the acoustic 
garage pop flavor of the music makes this a big winner at my 
house. "Think With Your Heart" is one of the best pop songs of 
the 1990's and worth the price of the record alone.
---
	Top 5 - Tim Hulsizer

	1) Belle & Sebastian, _If You're Feeling Sinister_ 
(The Enclave). This Glaswegian septet defines their own sound 
and simultaneously saves pop music as we know it.  Every review 
of the album called it "fey" and that is absolutely true.  High 
voice, strings, honey-dripping melodies and thoroughly 
intellectual lyrics.  Hell, it's almost poetry!  Amazing!
	2) Pavement, _Brighten the Corners_ (Capitol/Matador). 
My personal favorite Pavement LP to date, this one is 
definitely a keeper.  Steve Malkmus keeps writing these songs 
that stick in my head, even though I can't figure out what the 
hell he's singing about.  Still, if you listen close there are 
worlds to discover here.  Type slowly, indeed.
	3) Squarepusher, _Hard Normal Daddy_ (Warp - import).  
Tom Jenkinson is the mastermind behind this crazed drum'n'bass 
music.  He has inked a deal with Nothing Records in the USA, so 
be on the lookout for the Squarepusher ouvre in your favorite 
record shop. Scratchy, swirly, bassy and experimental.  The 
album preceding this one is just as good, as are the EPs that 
have followed it recently.
	4) Babybird, _Ugly Beautiful_ (Atlantic).  In the 
immortal words of a British music reviewer, "Who knew there 
were this many great pop songs left to be written..and that 
one man would write them?!"  At first I was skeptical about 
this disc, as I thought the production was a bit slick for my 
taste.  Then I listened to his brilliantly cynical love-lyrics.  
I believe, baby.  You will too.
	5) TIE Grant McLennan, _In Your Bright Ray_ (Beggars 
Banquet) / Radiohead, _OK Computer_, (Capitol). What a copout, 
huh? I guess you can see that I like pop music, preferably from 
the British Isles and/or former-British penal colonies.  So be 
it, because this stuff is fantastic.  Radiohead delivers an 
album that deserves all of the critical praise heaped on it.  
Exploratory yet melodic, holding up to repeated listens.  And 
what can I say about Grant McLennan?  He's still one of the best 
pop songwriters around, as evidenced by the new album. Love and 
life, just the way I dig it.
---
	Top 5 - Tim Kennedy

	1) Teenage Fanclub, _Songs From Northern 
Britain_ (Creation/Sony).  This is joyful guitar music 
in the tradition of Beatles, Byrds,  Neil Young, The 
Eagles.  A finely crafted work from a happy yet thoughtful 
bunch of chaps.
	2) Verve, _Urban Hymns_ (Virgin). Verve have made 
76 minutes of some of the most vital songs of many a year.  
Vocalist Richard Ashcroft is a man of passion,  conveying 
desolation but with a glint of glory in his eye. 
	3) Oasis, _Be Here Now_ (Creation/Epic). Not the 
most original music you'll hear or the best lyrics, but 
the songs remain excellent,  and this contains some of 
their best performances to date.
	4) Sundays, _Static And Silence_ (Geffen). A thing 
of beauty and a joy forever.  Harriet's singing is as 
uplifting as ever and the gentle arrangements are a worthy 
update on the great first album of seven years past.
	5) Seahorses, _Do It Yourself_ (Geffen). A good 
solid first album from the plucky youngsters,  and they 
are not overpowered by the presence of guitar God Squire.
---
	Top 5 - Reto Koradi

	1) Patent Ochsner, _Stella Nera_ (Ariola - Europe). 
Clearly the best album so far from one of the most popular 
Swiss rock bands. Not musically innovative, but great songs 
with some of the best lyrics ever written in our language, 
with "Los" being a love song of premier class.
	2) Mark Eitzel, _West_ (Warner). One of the very few 
CDs that does not only contain sonic waves, but also emotions. 
It is dark and sad, but more touching than most. Peter Buck 
only adds to Eitzel's qualities known from AMC.
	3) Faith No More, _Album Of The Year_ (Warner). The 
mass public seems to show less and less interest in crossover, 
but Faith No More stay completely unimpressed and just get 
better. In a fairer world, a single like "Ashes To Ashes" 
would take all charts in storm.
	4) Pat MacDonald, _Sleeps With His Guitar_ (Ark21). 
Unspectacular at first listen, but it gets better and better 
with each listen. Pat MacDonald proves that he is a much more 
gifted musician than most people expected from his work with 
Timbuk 3.
	5) Radiohead, _OK Computer_ (Capitol). Not quite as 
amazing as _The Bends_ was, but Radiohead are not standing 
still and confirm themselves as one of the essential bands 
of our decade. 
---
	Top 5 - David Landgren

	1) Tranquility Bass _Let The Freak Flag Fly_ 
(Caroline/Astralwerks).  I came across this sometime in 
July and it has never been far from the player ever since. 
A blend of 60s vibe with 90s technology. Despite a couple 
of track oddities, this has been by far the most frequently 
played CD this year.
	2) Baby Bird _Dying Happy_ (Baby Bird Recordings UK). 
After being bitterly disappointed by _Ugly Beautiful_, his 
studio effort, I was overjoyed to pick up _Dying Happy_, 
another selection of 4-track recordings from the archives 
of Mr. Baby Bird. This is his most coherent work to date, 
a dark album full of melancholy and despair. The last four 
tracks are simply brilliant.
	3) Luscious Jackson _Fever In, Fever Out_ (Capitol 
/Grand Royal).  It's a pity the world insisted, yet again 
this year, on paying attention to another completely 
manufactured group of five scantily clad women with no 
musical ability or artistic merit. Because it meant that a 
lot of people deserving recognition simply disappeared from 
the map. Luscious Jackson are four girls who play their own 
instruments, and write their own songs of love, sex and 
nudity, are produced by Daniel Lanois and have honed some 
delicious pop. This is an album that grows on you.
	4) Divine Comedy _A Short Album About Love_ (Setanta).  
The French call Neil Hannon "The pope of pop". It's a pretty 
good assessment. Here then, are 7 songs, all about love, 
performed with strings, woodwinds, brass, the whole bit. 
Where most people would stumble before the pitfalls in such 
a genre, Mr. Hannon pulls it off with remarkable aplomb. I 
play this to cheer myself up.
	5) Laika _Sounds Of The Satellites_ (Too Pure/Virgin). 
At times, this sounds a lot like Single Gun Theory; breathy 
vocals, quiet grooves and keyboard riffs that snag you in. 
Lots of excellent tracks on this one, although there are a 
couple of things in here that need tightening up. Points lost 
for having one of those ghastly "mystery tracks" at the end 
of the CD. People who do this obviously have never used a 
shuffling multi-CD player. Just say no.
---
	Top 5 - Sean McGill

	1) Prodigy, _The Fat of the Land_ (Maverick/Warner).  
It was loud, it was abrasive, I couldn't get it out of my CD player.
	2) Jane's Addiction, _Kettle Whistle_ (Warner).  Sure 
there were only four new tracks, but _Kettle Whistle_ was like 
visiting with old friends - they're not getting any younger, but 
it was damn nice to hear from them again.
	3) Rollins Band, _Come In And Burn_ (Dreamworks).  A 
worthy successor to _Weight_, the latest Rollins Band album is 
more personal than the rest, but still retained the hard edge that 
defines the group.
	4) Deftones, _Around the Fur_ (Maverick/Warner).  If this 
album had come out at the beginning or middle of the year, it would 
have made its way to number one. It hasn't left my stack in three 
months, and probably won't for three more. Heavy, intense, but 
suprisingly melodic in parts, this is the album Korn will never 
put out - and that's their loss.
	5) Depeche Mode, _Ultra_ (Warner).  It's been a few years 
and a couple of bouts with recovery, but _Ultra_ is a throwback to 
the great Depeche Mode music of the past: slow, depressing, and 
recommended by four out of five potential suicide victims in the 
world...but in comparison to the rest of this list, I found it 
uplifting.
---
	Top 5 - Scott Miller

	1) Old 97s, _Too Far to Care_ (Elektra). The opening 
song "Time Bomb" is a near dead ringer for The Clash's "Police 
On My Back" and it'll put you in a party mood right from the 
start. But Rhett Miller and the rest of the band keep up the 
attack throughout with songs that run from heartbreak ("Salome") 
to hilarious tongue-in-cheek irony ("Niteclub"). This album has 
everything every great rock album ever had, from hook-a-minute 
guitar lines to barroom sing-along choruses so don't be put off 
by the band's alternative country label. This is rock and you'll 
have a great time listening to it.
	2) Walt Mink, _Colossus_ (Deep Elm). There is not a 
stadium in the world big enough to hold this band's talent, let 
alone the songs on this, its best full-length release. John 
Kimbrough (guitar and vocals), Candace Belanoff (bass) and 
Orestes Morphin (drums) whipped up mix of musical references 
that could keep you discussing pop theory for the next week. 
Consider  "She Can Smile." It sounds like a twisted acoustic 
Beatles tune to start but has a Hendrix riff in the chorus and 
a near-Yes guitar solo. And it blends seamlessly. All 10 songs 
sound better turned up way loud, so there's a definite 70s 
stadium rock quality to it all. Kimbrough is a major guitar 
talent, on the level with rock's greatest. He writes pop songs 
that challenge his technical abilities but never become 
self-indulgent note fests. His lyrics include topics like alien 
invasions and models who want to break up with their boyfriends 
but can't afford to unless they land another modeling job. This 
is one wild ride of an album.
	3) Martin Luther Lennon, _Music for a World Without 
Limitations_ (Not Lame).  Pop goes everything, even the songs 
about guns. If you've ever heard the term "post-punk pop" thrown 
around and wondered what it meant, check this out. 
Singer-songwriter Tony Perkins has a gift for bouncy yet crunchy 
pop tunes that seem to get it all done in three minutes or less. 
The opening track, "Kill Kill Kill," is a "Dancing in the Street" 
(Martha and the Vandellas) for the 90s. "Gun Heaven" is as snide 
as anything the Sex Pistols or Elvis Costello ever concocted, 
but it has a good beat and you can dance to it -- if you don't 
mind getting out of breath. "Tabernacle o' Clay" sounds silly 
when you first hear it, but it's a complete heartbreaker 
reminiscent of the 50s-era hit "Teen Angel." If you like your 
power pop mostly fast and slightly furious, you could do no 
better than this.
	4) Ron Sexsmith, _Other Songs_ (Interscope). Canadian 
Ron Sexsmith's pure voice and songs of everyday life serve not 
only as a reminder of why singer-songwriters first grabbed our 
attention, but also as a challenge to performers to, pardon the 
expression, "keep it real." Throughout his second full-length 
release, Sexsmith challenges the notion that a pretty voice and 
pretty acoustic-based melodies equal clean-cut emotions and 
cookie-cutter songs. In fact, the emotional range runs the 
gamut, from uneasiness ("Pretty Little Cemetery") and poignancy 
("Honest Mistake" and "So Young") to buoyant comedy ("Clown in 
Broad Daylight"), outright sadness ("Strawberry Blonde" and 
"Child Star") and self-deprecation ("Average Joe").  
Ultra-confessional, deeply serious, overly well-intentioned, 
falsely angry singer-songwriters turned the singer-songwriter 
genre into that Dana Carvey "Saturday Night Live" caricature, 
singing songs about his girlfriend "choppin' brocc-o-li." Thank 
goodness for Sexsmith.
	5) The Honeydogs, _Seen A Ghost_ (Debris/Mercury). Oh, 
sure! Throw in a little pedal steel guitar, a few two-part 
harmonies and some two-step shuffle beats and you've got 
alternative country, right? Well, I say not necessarily. On 
its third album, this Minneapolis band mines some of the same 
1970s rock and pop ground that Wilco went for with "Being 
There." True to their name, though, The Honeydogs have a 
smoother, easier-listening sound that makes romantic songs 
like "I Miss You" more romantic and the borderline country 
heartbreakers like "Those Things are Hers" more heartbreaking. 
The album even includes elements of psychedelic rock ("Into 
Thin Air") and full-bore Replacements garage rock ("Cut Me 
Loose, Napoleon"). Instantly enjoyable, this album leaves a 
lasting impression.
---
	Top 5 - Al Muzer

	1) The Hutchinsons, _Plastic Fruit & Popcorn_ (RTG).  
A loud, abrasive, melodic, hook-filled amalgamation of Ramones 
'n' Raspberries garage-buzz power-pop packed with more crunch 
than Westerberg ever managed and boasting bigger cajones than 
the Romantics in their prime.
	2) Birdbrain, _Let's Be Nice_ (TVT). A rich, diverse, 
sweeping effort that defied radio and commercial pigeonholing, 
Birdbrain's second full-length disc was an edgy blend of pop, 
grunge, angst, anger, despair and suicidal darkness that also 
featured the semi-hit, "Youth Of America."
	3) World Party, _Egyptology_ (Enclave).  Karl Wallinger 
artfully pillages and plunders the best of the mid-'60s British 
Invasion for divine inspiration on World Party's fourth release.
	4) Dots Will Echo, _Get Your Hands Off My Modem, You 
Weasel_ (DWE).  While the record is a dazzling pop masterpiece 
in its conception, scope, execution and overall feel, track No. 
99 -- a dark, solemn, thoughtful, torchy, piano and tears version 
of The Flintstones theme -- was what guaranteed this group a spot 
on my Top 10 list a mere three weeks into the new year. 
	5. Sloan, _One Chord To Another_ (Enclave). The four very 
distinct singer/songwriter/anglophiles that make Sloan one of the 
few working democracies in existence continue to carve out a 
distinct pop niche for themselves with this brilliant release. 
---
	Top 5 - Linda Scott

	1) Rolling Stones, _Bridges To Babylon_ (Virgin).  
I loved the album first time through, and if you haven't 
heard the big single "Has Anybody Seen My Baby?", you're 
missing something Stone special.  Stones are on tour now 
and groove out on stage just like always.  They are so 
good.
	2) Paul Rodgers, _Now_ (Velvel). This is Rodgers 
first solo album in 12 years, and he can still do it alone.  
What a voice!  The man has been the voice of rock for 30 
years, and he still has it.
	3) Alice Cooper, _A Fistful Of Alice_ (EMD/Angel).  
This album is mostly live, recorded in Sammy Hagar's Cabo 
Wabo Club in Mexico.  Other rockers guesting on _A Fistful 
of Alice_ include Hagar, Slash, and Rob Zombie. Alice 
brings out old hits, and the guests give them some new zing.
	4) Sammy Hagar, _Marching To Mars_ (MCA).  The big 
hit single off this album is "Little White Lie" with Hagar 
and Slash on guitars - a lightning combination.  This is a 
total rock album.  Makes you feel good just listening. Get 
up and dance.
	5) Various Artists, _Carnival_ (RCA). This album was 
put together by Sting and his wife to benefit the rainforest.  
Sting's involvement insures that other high powered artists 
will perform.  These include, in part, Bette Midler, Madonna, 
Ruben Blades, Elton John, Annie Lennox.  The album is a good 
length at 77 minutes.  The cover is very attractive as is the 
cd itself.  Just a pleasing disk to look at and listen to.  
---
	Top 5 - Joe Silva

	1) David Byrne, _Feelings_ (Luaka Bop/Warner).  
While he may be a pace or two off the cutting edge, his 
instincts are still tack-sharp. The bounty of quality stuff 
here proves that, while most of his contemporaries hopes now 
rest in reissues, Byrnes songwriting ability is far from 
slipping.
	2) Bjork, _Homogenic_ (Elektra). Now that U2s bubble 
has largely burst, the future may rest squarely on Icelandic 
shoulders. Simply stunning.
	3) Julian Cope, _Interpreter_ (Cooking Vinyl). 
Finally given a U.S. release, straight-up kosmiche pop for 
alien people.
	4) Belle and Sebastian, _If You're Feeling Sinister_ 
(Enclave).  Not content waiting for him to die, Ray Davies 
soul is prematurely born again in Scotland. You can now toss 
away your Alma Mater.
	5) Cornershop, _When I Was Born For The 7th Time_ 
(Luaka Bop/WB).  Tjinder Singh cuts, pastes, drones, and 
generally scares Lou Reed with how underground and velvety 
the new millenium could be.
---
	Top 5 - Scott Slonaker

	1) Radiohead, _OK Computer_ (Capitol).  Running 
wild with the ideas toyed with on _The Bends_, Radiohead 
fashioned a (semi-) concept album far more futuristic than 
a whole hard drive full of techno.  Aggressive, harsh, 
bleak, mechanical, and pessimistic, but somehow also 
languid, relaxed, pastoral, organic, and hopeful, _OK 
Computer_ outdistanced the field by several lengths.
	2) Foo Fighters, _The Colour and the Shape_ 
(Roswell/Capitol). To quote CMJ New Music Monthly, "At a 
time when we needed it, this is a moment to keep believing 
in rock."  Expanding Dave Grohl's post-Nirvana project to a 
full-band effort, _The Colour and the Shape_ expertly pummels 
the ears with implements of imposition such as the torrid 
"Monkey Wrench", the now-classic dynamics of "Wind Up", and 
the industrial-strength Fab Four-isms of "Hey, Johnny Park!"  
Best of all, this record should finally end the relentless and 
annoying Nirvana comparisons that have plagued the band from 
the start.
	3) Guided By Voices, _Mag Earwhig_ (Capitol/Matador).  
Lo-fi British Invasion-esque pop auteur Robert Pollard heads 
in the opposite direction from both labels.  Enlisting the 
able backing of Cleveland's Cobra Verde, Pollard sheds the 
Beatles basement-tapes vibe for chunky rock 'n roll (classic 
in the best sense of the word) while still retaining the 
whimsical and idiosyncratic lyrical matter.  Interspersed 
throughout the record are occasional sonic reminders of the 
band's Luddite past, which is a nice touch.  "I Am A Tree" 
is the usually-concise GBV's five-minute epic, and "Bulldog 
Skin" should have been an up-from-the-underground radio hit.
	4) Ben Folds Five, _Whatever and Ever Amen_ (550 
Music). Rocking the 88s like few others in this decade can, 
Ben Folds and his crack rhythm section made their major-label 
debut a dandy. As aggressive at times as any punk band (see 
"Song for the Dumped" as example numero uno), the Five 
(actually three) also have quite the Eltonesque touch for 
power balladry ("Brick").  In between, Folds dabbles in 
everything from Bee Gees harmonies ("Fair") to cutting, quirky 
pop with the attitude and bite of Elvis Costello ("Battle of 
Who Could Care Less").  Like all great talents, Folds 
simultaneously keeps his roots in the past while reshaping 
the present.  _Whatever and Ever Amen_ is a treat.
	5) Sarah McLachlan, _Surfacing_ (Arista).  A reliable 
oasis from the ever-growing army of pissy, angst-ridden 
bleaters and cloying, precious folkies, Sarah McLachlan's 
fourth album manages to display both strength and grace.  
While it isn't exactly a grand departure from her previous 
effort, _Fumbling Towards Ecstasy_, songs such as the pulsating 
"Sweet Surrender", the gorgeous "Adia", and the solemn "Do What 
You Have to Do" more than compensate.  The incredible 
achievement of the Lilith Fair aside, _Surfacing_ cements 
McLachlan's position among the paragons of not just women in 
music, but music, period.
---
	Top 5 - Jon Steltenpohl

	1) Ani DiFranco, _Living in Clip_ (Righteous Babe). 
_Living in Clip_ proves a truth that the music industry has 
forgotten: If you make excellent music, you'll sell records.  
Ani DiFranco has sold over 750,000 copies of her supercharged 
albums with limited air play and without a major label.  
_Living in Clip_ is a fan's delight containing 2 CD's chock 
full of intense live tracks and a full color tour book.  On 
the stage is where DiFranco shines, and _Living in Clip_ 
never fails to deliver.
	2) Frank Sinatra with the Red Norvo Quintet, _Live 
in Australia, 1959_ (Blue Note/Capitol).  Your impression 
of Frank Sinatra might be of an aging crooner with ties to 
the mob, but this album unearths a younger, hipper Sinatra.  
(Norvo introduces him as their new "boy vocalist".)  This is 
a jazzy, carefree Sinatra who makes funny quips and plays to 
the audience any chance he can get.  A phenomenal recording.
	3) The Devlins, _Waiting_ (Radiouniverse).  No 
sophomore slump here.  _Waiting_ is one of those moody, 
moving albums that manages to skirt the fine line between 
pop and alternative with ease. Touring with Sarah McLachlan 
got them producer Pierre Marchand and his friend Tom Lord-Alge. 
The end result is mesmerizing.
	4) Madeleine Peyroux, _Dreamland_ (Atlantic).  Harry 
Connick Jr. proved that classic music never goes out of style, 
and Peyroux captures the same nostalgia.  _Dreamland_ is a 
brilliant collection of covers and originals in the style of 
Billie Holiday and Bessie Smith.  Each song is a little gem.
	5) "The Artist" (Prince), _Emancipation_ (NPG 
Records/EMI-Capitol).  Out of 3 bulging CD's, there's at 
least a CD and a half of incredible material on 
_Emancipation_.  Prince, despite his indulgences (mainly 
love songs to Mayte), proves himself to still be one of the 
world's best producers and performers.  A little judicious 
editing would have put a 2 CD _Emancipation_ on the same 
level as _Purple Rain_ or _Sign  o' the Times_.
---
	Top 5 - Simon West

	1) The Verve, _Urban Hymns_ (Virgin).  An absolute 
classic, from the opening strings on "Bitter Sweet Symphony" 
to the final 'Fuck You!' of "Come On". _Urban Hymns_ has 
offended some long-time Verve purists as too commercial, but 
it's hard to find fault when the songs are as good as this. 
Every track is a winner, particularly the moving "The Drugs 
Don't Work" and the wonderful "Velvet Morning". "I need to 
hear some sounds that recognize the pain in me," sings Richard 
Ashcroft, and The Verve have provided those sounds for the 
rest of us.
	2) Oasis, _Be Here Now_ (Epic).  Every song on this 
third effort is rock-solid Oasis, and for the first month 
after it was released, I was convinced it was the best album 
of the decade. The glow faded rather more quickly than with 
the previous two albums, but _Be Here Now_ is still a bloody 
good album, suffering only from several otherwise brilliant 
songs that simply go on too long, and a tendency toward 
overproduction. Still nothing here that quite matches the 
attitude and excitement of their debut, _Definitely Maybe_, 
but the Oasis juggernaut continues an amazingly consistent 
run of high quality songs - their B-sides still put most 
A-sides to shame. With Noel Gallagher publicly demanding 
change from himself and his band, the next album should be 
an interesting one...
	3) The Prodigy, _The Fat Of The Land_ (XL/Maverick).  
Two of the best singles in recent years in "Firestarter" and 
"Breathe" and not inconsiderable hype meant The Prodigy's 
third album had a lot to live up too. It did. The previously 
mentioned singles justify the purchase alone, and most of the 
rest of the album matches that quality. Musical bloke Liam 
Howlett effortlessly blends hard guitar, slamming  beats, hip 
hop breaks and samples, and in Maxim and Keith, two of the 
most alarming "vocalists" in memory. A near masterpiece.
	4. The Charlatans, _Tellin' Stories_ (Universal/MCA).
The Charlatans return from yet another tragedy - this time 
the death of keyboardist Rob Collins, and release their most 
consistent album to date. Chemical Brother Tom Rowlands 
supplies beats and loops here and there, the Hammond Organ 
swirls, and the band knock out some of the best tunes of 
the year. "How High", "North Country Boy", "With No Shoes" 
and the title track are brilliant, joyous tunes, and the 
final track, the instrumental "Rob's Theme", is a poignant 
moment indeed. A glorious album.
	5) Space Monkeys, _The Daddy Of Them All_ (Interscope).  
Refer to the 12/4 issue of Consumable. Find Bob Gajarsky's 
review. Insert it here. Great stuff. Britpop, chemical beats, 
hip hop samples. The most variety in a single album I've heard 
this year. All of it's excellent, one hell of a debut.  Check 
out especially "We Are The Supercool", the heavy "Ready For The 
Rampage" and the surprisingly charming ballad, "Sweetest Dream". 
This would probably be higher on my list, had I had it longer 
than 48 hours.
---
	Top 5 - Lang Whitaker

	1) Bjork, _Homogenic_ (Elektra).  Bjork is one of 
the few artists that have grown up on her own in plain view 
to all of us. On _Homogenic_, Bjork matures to a higher plane 
than most people thought imaginable. She takes oddly 
synthesized and shockingly syncopated beats, wraps them in 
lush strings, stirs in sweet melodies, and then liberally 
sprinkles her Icelandic pixie dust all over it. The song 
"Jsga" splits my vote for song of the year...
	2. Ben Folds Five, _Whatever And Ever Amen_ (Sony/550).  
...with "Song For The Dumped", the greatest break-up song ever 
recorded. Besides "Dumped", Ben Folds Five's sophomore album 
is a tight throwback to piano-driven rock and roll. It sounds 
like what would have happened if George Gershwin had grown up 
with an amp and distortion pedal lying around the house.
	3. Rev. Al Green, _Anthology_ (The Right Stuff).  Four 
CD's of the coolest man ever to walk the earth. This 
comprehensive collection chronicles Green's rise from his 
Memphis roots to his current legendary status. Starts with 
"Pack Up Your Train" and even has the gospel music that his 
career has evolved into. There are also several wonderfully 
bizarre covers ("I Wanna Hold Your Hand"; "Light My Fire"; 
"We've Only Just Begun"). It's the bomb.
	4. Radiohead, _OK Computer_ (Capitol). I know it 
might seem like I'm trying to jump on the critical bandwagon, 
but I thought this record was an amazing leap for Radiohead. 
It's hard to believe these were the same guys who did "Creep" 
a few years ago. Thom Yorke's vocals and lyrics are brilliant, 
and I also find "Let Down" more beautiful every time I hear it.
	5. Victor Wooten, _What Did He Say?_ (Compass).  As 
a member of Bela Fleck and the Flecktones, Victor Wooten had 
shocked musicians and fans worldwide with his numbing genius 
on the bass guitar.  On _What_, his second solo album, Wooten 
again proves why he's the best player walking our planet, 
tapping out melodies and bass lines simultaneously, while 
remaining so deeply immersed within the groove that he could 
strike oil at any moment. If you are a musician that has never 
heard Victor Wooten play, enlightenment awaits.
---
Founded in August, 1993, Consumable Online is the oldest continuous
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